Gerald Wilson Orchestra - Monterey Moods

Styles: Jazz, Big Band
Year: 2007
File: MP3@320K/s
Time: 59:44
Size: 137,0 MB
Art: Front

( 6:12)  1. Allegro
( 9:09)  2. Jazz Swing Waltz
( 7:09)  3. Ballad
(11:36)  4. Latin Swing
(10:01)  5. Blues
( 2:27)  6. Bass Solo
( 1:40)  7. Hard Swing
( 6:00)  8. I Concentrate On You
( 5:26)  9. The Mini Waltz

A decade ago, when he was commissioned to write music to commemorate the fortieth anniversary of the Monterey Jazz Festival, Gerald Wilson produced the memorable, double Grammy Award-nominated Theme for Monterey (MAMA Records,1998). Now the 89-year-old dean of American Jazz composers has scored another triumph, saluting the festival's golden anniversary with a picturesque seven-part suite, Monterey Moods, that musically epitomizes the scope and character of that annual event. The motif is deceptively simple: a three-note idea used in various ways as the bedrock of each movement (Allegro/Jazz Swing Waltz/Ballad/Latin Swing/Blues/Bass Solo/Hard Swing), much as a single melodic phrase was deftly rearranged to underscore each section of Theme for Monterey. Wilson's orchestra introduced Moods at the Monterey Festival and recorded it in a studio for Mack Avenue Records. The album's playing time has been increased to nearly an hour by appending Wilson's atmospheric arrangement of Cole Porter's "I Concentrate on You (featuring son Anthony Wilson's mellow guitar) and his gregarious "Mini Waltz (solos courtesy of trumpeter Jimmy Owens, baritone saxophonist Ronnie Cuber and special guest Hubert Laws on flute). The suite is almost entirely upbeat; even the slower-paced "Ballad simmers in a Basie-like groove behind heated solos by Laws and tenor saxophonist Kamasi Washington. The remaining movements personify their names, using Wilson's spare entrée as a springboard for a series of bright and swinging vignettes marked by powerful rhythms and persuasive solos. The rhythmic muscle is supplied by Anthony Wilson, pianist Renee Rosnes, bassist Peter Washington and drummer par excellence, Lewis Nash. The improvisations for the most part are by Laws, Cuber, Owens, Wilson, trumpeters Terell Stafford and Sean Jones, saxophonists Kamasi Washington, Ron Blake, Antonio Hart and Steve Wilson. Peter Washington is also showcased on the suitably named "Bass Solo. Writing a suite like Monterey Moods would be a daunting task at any age, let alone for someone on the doorstep of his ninetieth birthday. But Wilson has risen to the challenge, composing another in a series of masterful compositions whose evolution began nearly seventy years ago. In the liner notes, Wilson says he's looking forward to "the sixtieth celebration at Monterey. So are we. ~ Jack Bowers https://www.allaboutjazz.com/monterey-moods-gerald-wilson-mack-avenue-records-review-by-jack-bowers.php
 

Personnel: Gerald Wilson: composer, arranger, conductor; Jon Faddis: trumpet, flugelhorn; Frank Greene: trumpet, flugelhorn; Sean Jones: trumpet, flugelhorn; Jimmy Owens: trumpet, flugelhorn; Terell Stafford: trumpet, flugelhorn; Steve Wilson: alto and soprano sax, flute; Antonio Hart: alto and soprano sax, flute; Ron Blake: tenor sax; Kamasi Washington: tenor sax; Ronnie Cuber: baritone sax; Dennis Wilson: trombone; Luis Bonilla: trombone; Jay Ashby: trombone; Douglas Purviance: bass trombone; Renee Rosnes: piano; Anthony Wilson: guitar; Peter Washington: bass; Todd Coolman: bass; Lewis Nash: drums. Special guest: Hubert Laws: flute.

Monterey Moods

---

Joe Henderson - Mirror, Mirror

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 43:51
Size: 100,7 MB
Art: Front

(6:00)  1. Mirror, Mirror
(6:18)  2. Candlelight
(9:44)  3. Keystone
(9:45)  4. Joe's Bolero
(4:03)  5. What's New?
(7:58)  6. Blues for Liebestraum

As anticipated, Germany-based MPS' famed audio engineering expertise besides its tenure as a prominent jazz record label  lives up to expectations with a superb remastering effort of the 1980 LP led by tenor sax great John Henderson and a band featuring jazz giants, pianist Chick Corea, bassist Ron Carter and drummer, Billy Higgins. The packaging includes the original liners and a photo of the original master tape box. The 180-gram vinyl offering boasts a detailed soundstage, but more importantly showcases an ensemble that presses all the right buttons amid the respective artists' storied technical gifts and their influential presence within the global jazz community, past and present. Here, the drummer provides a clinic as he lays on top of the beats with crisp accents, snappy bop metrics and paces the group with precision-oriented ride cymbals hits, consummated by his buoyant and near- flawless timekeeping skills.

Henderson's breathy and fluid lines, contrasting inflections and acutely placed dynamics are the ingredients that culminate his authoritative stance, and he can turn an up-tempo piece into a ballad on a nanosecond's notice. Yet, Corea's block chord comping and counterpoint on Carter's piece "Candlelight," is abetted by Higgins' sweeping and delicate brushes across the kit; however, the pianist's unaccompanied solo prior to the Coda is pure icing on the cake. The quartet navigates through another Carter composition "Keystone," which is constructed on a funky and popping groove, where Corea's extended solo complements Henderson's poetic lines as the band combines a quirky and playful mindset throughout. And the leader's horn of plenty comes at you with full force during his comp "Joe's Bolero," featuring Latin accents and a shimmering pulse. The band shifts directions with a floating type ballad on the jazz standard "What's New," followed by the Corea penned bop burner, "Blues for Liebestraum." Sure enough Mirror Mirror weathers the sands of time, especially via this crystalline and full-bodied audio uplift, coupled with the musicians' intuitive interactions and egalitarian course of action. ~ Glenn Astarita https://www.allaboutjazz.com/mirror-mirror-joe-henderson-mps-review-by-glenn-astarita.php

Personnel: Joe Henderson: tenor saxophone; Chick Corea: piano; Ron Carter: bass; Billy Higgins: drums.

Mirror, Mirror

---

La Vergne Smith - The New Orleans Nightingale: Complete Recordings 1954-1956

Size: 116,4+105,1 MB
Time: 49:15+40:14
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

CD 1:
01. One Scotch, One Bourbon, One Beer (1:38)
02. Lover Man (2:26)
03. Hurry On Down To My House (1:25)
04. Blues In The Night (2:39)
05. Straighten Up & Fly Right (1:21)
06. One For The Road (3:33)
07. I Like That Kind Of Carryin' On (1:54)
08. Moonlight In Vermont (3:24)
09. That Old Black Magic (2:04)
10. Hey There (3:24)
11. You'd Better Go Now (2:37)
12. The Nearness Of You (3:21)
13. A Hundred Years From Today (2:27)
14. There Is No Greater Love (3:05)
15. Am I Blue (2:38)
16. I've Got A Right To Cry (2:44)
17. Fool That I Am (2:49)
18. Mobile (2:42)
19. Somehow (2:56)

CD 2:
01. Basin Street Blues (2:18)
02. Imagination (2:37)
03. Careless (3:00)
04. It's Over (3:20)
05. Blue Skies (1:53)
06. I Surrender Dear (2:11)
07. Out Of Nowhere (1:33)
08. This Love Of Mine (1:50)
09. St. Louis Blues (2:53)
10. When Your Lover Has Gone (2:30)
11. Blue Prelude (2:51)
12. Too Marvelous For Words (2:12)
13. I Almost Lost My Mind (3:07)
14. (How Can You Stay Away) So Long (3:00)
15. Stormy Weather (2:01)
16. Glory Of Love (2:50)

Personnel: La Vergne Smith (vcl, p, celeste), Wallace Davenport (tp), Wendell Albert Eugene (tb), Red Tyler (bar), Howard Mandolph (vb), Ernst McLean (g), Philip Darios (b), Earl Palmer (d)

La Vergne Smith was a singer and pianist whose warm, engaging way with torch songs and bluesy tunes was a popular part of the night-life French Quarter of her native New Orleans in the late 40s and 50s. Her vocal style was intimate and sensitive, and her self-accompaniment on piano simplest, yet she still projected a sophisticated approach that delighted the clientele of the smarter, candlelight saloons that began appearing there in 1947.

In this case, the boîte was the Old Absinthe House, located at the corner of Bienville and Bourbon streets in New Orleans, and known for the worm-wood derivative for which the place was namedabsinthe. It was in that musty green ambience, where she started singing in early 1954, that her Cook and Savoy albums included here were recorded. And it was there, during the third year of her engagement, that her artistry was captured on the Vik label for the final album of this set, on which she sings with so much feeling, warmth and conviction, enhanced by some fine, sympathetic New Orleans musicians.

CD 1 - Tracks #1-11, from the album "Angel in the Absinthe House"

CD 1 - Tracks #12-19 & CD 2, tracks #1-4 from the album "The New Orleans Nightingale"

CD 2 - Tracks #5-16, from the album "La Vergne Smith"

The New Orleans Nightingale CD 1
The New Orleans Nightingale CD 2

---

Susan Kohler - Wide Open Heart: The Songs Of Rupert Wates

Size: 119,7 MB
Time: 51:41
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. If Ever My Love (5:16)
02. Traveling Circus (6:54)
03. Days Of Mercy (7:12)
04. Further Down The Road (5:52)
05. Ghost Dance (5:09)
06. Fear Of Flying (6:27)
07. Prayer (6:13)
08. Morning Bird (4:34)
09. Waiting (3:59)

Fortune smiled when I met London-born Rupert Wates, a most gifted singer-songwriter. Rupert is prolific, and insightful, becoming a force in American music, touching the hearts of his listeners. His story is hard to pin down, the journey of his music covers all aspects of human experience, pushing the boundaries of music from artful to playful, to pensive and inward-looking, to cries for social justice.

Rupert has graciously granted me the opportunity to record some of his songs. Together with jazz veterans Jeff Colella, Chris Colangelo and others, we are honored to present “Wide Open Heart,” the songs of Rupert Wates.

As you listen, I hope Rupert's songs will inspire you to live from the center of a wide open heart. — Susan Kohler

Wide Open Heart

---

Dave Stryker - Big City

Size: 127,7 MB
Time: 55:11
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz
Art: Front

01. Big City (6:49)
02. All Night Long (7:05)
03. Feel' Good (6:54)
04. Every Time We Say Goodbye (8:07)
05. It Was A Very Good Year (9:17)
06. If Ever I Would Leave You (8:22)
07. Biddy Fleet (8:33)

While jazz's miniscule 3% of overall CD sales in North America argues that it's not only marginalized, but in serious trouble, the genre continues to see an upsurge in the number of gifted players who operate with loyal followings that may not make them wealthy, but certainly allow them to continue evolving. For every high-profile artist like Pat Metheny, there's a multitude of guitarists operating at or just below the radar. They may not be as eminently innovative, but in their own way they are not only keeping the tradition alive, but moving it forward in small increments.

Dave Stryker is one such guitarist. Since moving to New York in the early '80s from Omaha, Nebraska, Stryker has built up a significant body of work, including nearly twenty releases as a leader and sideman work with artists like organist Jack McDuff, singer Kevin Mahogany, and saxophonist Stanley Turrentine. Coming from a rich blues background, his own projects have been a reflection of that lineage, but they have also stretched out to include the Miles Davis-informed Shades Project with drummer Lenny White and the cross-cultural Trio Mundo. His latest release, Big City, continues to showcase his soulful lyricism, warm and inviting tone, and an advanced linear conception that finds him capable of confidently navigating the most challenging of changes.

Stryker's choice to enlist pianist Dave Kikoski, bassist Ed Howard, and drummer Victor Lewis was an inspired one. The three have been working together as part of trumpeter Eddie Henderson's group for the past couple of years, and they come with a built-in chemistry and complexion that allows Stryker to run the gamut, from the burning "Cherokee -based original composition "Biddy Fleet to a clever modal reinterpretation of the classic "It Was a Very Good Year and the relaxed Stryker-penned blues "All Night Long. Recorded live to two-track on one day in November of 2004, Big City comes as close to being there as possible, with an in-the-moment vibe and complete engagement from start to finish.

Stryker's thick tone has some precedence in Pat Martino's darker sound, but while he has the chops to be able to pull off some lightening-quick exchanges, as he does on "Biddy Fleet, he's also a more relaxed, behind-the-beat player than Martino, keeping bright tunes like "Feelin' Good in the pocket. His intro to the Cole Porter ballad "Every Time We Say Goodbye demonstrates his capacity for rich chordal interpretation.

It's often difficult to know exactly what will make an album resonate in ways that give it a broader reach, but if sheer honesty, unassuming commitment, and evocatively intelligent playing are anything to go by, Big City should place Stryker in a position of greater prominence. ~By John Kelman

Personnel: Dave Stryker (guitar); David Kikoski (piano); Ed Howard (bass); Victor Lewis (drums)

Big City

---

Danii Roundtree - Memoirs

Size: 100,2 MB
Time: 36:19
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Soul Vocals, Crossover Jazz
Art: Front

01. My Man (2:49)
02. Pillow Talk (3:47)
03. Jukebox Boogie (2:55)
04. Magic (3:39)
05. Blue Eyes (4:15)
06. Crave (3:38)
07. Caroline (2:39)
08. Dys-Funk-Shu-Null Love (3:44)
09. Karma (3:31)
10. Good Day Lover (5:18)

Danii Roundtree is a rising name in today’s jazz scene. Her upcoming debut album Memoirs, is playful, creative, and particularly fitting for fans of old-school funk, pop, and soul, though, it doesn’t actually fully commit to any of these sub-genres specifically. Featuring a nine-track mix that ranges in tempo from slow to moderate, the music is supplied by The Retro Rebels, while the backup vocals are provided by The Coco Puffs.

Performing since 2009, Roundtree has seemingly followed what could be the world’s oldest advice for talent seeking to break out of the mold: start with what you know. According to Roundtree: “Memoirs is an album written from true life events. We all have that one love story that ends before it starts. And I just so happen to be a singer/ songwriter who documents through song. This album is literally a collection of my memoirs. All the records are personal.”

The music on Memoirs varies in style, incorporating jazzy big band and swing influences, like in “My Man,” “Juke Box Boogie,” and “Pillow Talk.” Preferring simple percussion to anything outwardly experimental, she relies on wind instruments to carry her retro sound. Otherwise, guitars and pianos (and possibly a xylophone) provide additional support, especially on songs with swing components, like “Magic," "Blue Eyes" and “Dysfunctional Love.” But when she tackles soul, like she does in “Caroline,” that's when her powerful voice really gets a chance to shine.

Both outgoing and reserved, Roundtree’s vocals perfectly complement the music, at times evoking comparisons to famed songstresses like Billie Holiday, Aretha Franklin, and Erykah Badu. Though some of her songs feature traces of popular hits, like Nina Simone’s “I Put a Spell on You” at the very beginning of “Karma," Roundtree always manages to add something that is distinctly her own, while paying homage to the jazz legends that came before her, as well as the contemporary musicians who inspire her today.

Memoirs

---

Fiona Lawe Davies - Imaginary Grace

Size: 114,2 MB
Time: 49:02
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Straight To The Top (2:43)
02. A Bit Of A Departure (6:14)
03. Nature Boy (5:35)
04. Delicate (6:16)
05. Turn Me On (3:51)
06. In A Manner Of Speaking (4:38)
07. Come Back To Me (3:26)
08. I Melt With You (6:09)
09. You'd Be So Nice To Come Home To (3:30)
10. The Nearness Of You (6:37)

The songs Fiona sings are the stories she wants to tell. If honest, audacious reimaginings of indie and jazz classics are what you want to hear, then this is the album you want to buy.

For more than 15 years, Fiona has been honing her craft on Perth’s stages, including regular performances at Perth’s premier jazz venue, The Ellington Jazz Club. Fiona’s unique vocal ability is both pure and sultry, with a rhythmic lilt and intimate style. She draws inspiration from classic jazz artists such as Joe Williams and Julie London, modern jazz icons like Shirley Horn and Brad Mehldau and a slew of heart-rending indie artists including Rufus Wainwright, Damien Rice and Portishead.

The album, Imaginary Grace, was conceived and recorded with her long-time collaborators, Chris Foster (piano), Nick Abbey (double bass) and Daniel Susnjar (drums). These extraordinary musicians and composers are leading lights in the Australian music scene and their resumes are bursting with international performance credits, recordings and awards. In concert with Fiona, their energy, generosity and spontaneity will capture your heart and delight your senses.

“Fiona has such a great connection with the music that she chooses and composes. Her jazz and pop integrity run deep throughout the eclectic mix of material which showcases a beautiful and unique voice.” – Russell Holmes, jazz pianist and composer

“Performing with Fiona Lawe Davies is always a joyful experience, an emotional state which has been clearly captured on her album.” – Daniel Susnjar - drummer, percussionist, composer and educator

“Sassy, sophisticated, soulful and sexy... just a few words to describe the brilliance of Fiona Lawe Davies……Her singing voice is sultry and soulful, transporting you back to a time when the only music playing on the radio was cool Jazz.
I love her stripped down versions of modern music and I can't wait to hear the new album for a once in a lifetime, magical and unique voice that touches your soul." – Caroline Watson, Operations Manager, Robert Oatley Vineyard

Imaginary Grace

---

Rahmlee Michael Davis - Vintage One Collection

Size: 179,0 MB
Time: 77:08
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. It's Alright Already (4:56)
02. Most High (9:59)
03. Thank You For Ya (4:26)
04. Heaven (4:55)
05. Mandela (5:19)
06. Poinciana (4:58)
07. Baby Boy (3:59)
08. Yeah (4:02)
09. Dolphin Dance (9:08)
10. Crescent (9:32)
11. Lembranca (4:59)
12. He Is Here (6:16)
13. Please Don't Make Me Weep (4:34)

Rahmlee Michael Davis, trumpeter, composer, arranger, producer, Chicago native, recorded early in his career as a studio musician with such labels as Brunswick, Chess, Dakar, Curtom, Columbia and Capitol Records just to name a few.

Rahmlee has recorded with such noble artists as: Earth, Wind & Fire, Phil Collins, The Jacksons, Tyrone Davis, Frida (of ABBA), Jackie Wilson, The Whispers, Michael Jackson, Stanley Turrentine, The Sylvers, Side Affect, Rodney Franklin, B.B. King, The Chi-Lites, Barbara Acklin, The Artistics, Gene Chandler, Tupac Shakur, Curtis Mayfield, Snoop Dogg, Donny Hathaway, Ramsey Lewis, Young-Holt Unlimited, Minnie Riperton, Philip Bailey, The Emotions, Klique, Charles Earland, Macy Gray, Bobby Womack, Al McKay & The L.A. All Stars/The Earth, Wind & Fire Experience and countless others. Rahmlee appears on most of these recordings in conjunction with the ORIGINAL Earth, Wind & Fire horn section; independently known as “The Phenix Horns Esquire.”

It was Rahmlee‘s versatile and unique musical style that made him so in demand and brought him to the attention of Earth, Wind & Fire. Along with the late Don Myrick, the late Lui Lui Satterfield and Michael Harris, he spent 8 years establishing The Phenix Horns section as an integral part of the musical act awarded Gold and Multi-Platinum albums, and numerous Grammys. Earth, Wind & Fire made musical history as the world’s greatest pop/rock band. Their worldwide tours are still talked about as some of the best and most successful ever staged.

After noting their explosive presence with Earth, Wind & Fire, Phil Collins initiated a musical coup, and The Phenix Horns became an important element of his decade long string of Gold and Platinum recordings, as well as very successful world tours.

Vintage One Collection

---

Kelly Green - Life Rearranged

Size: 155,2 MB
Time: 67:03
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Life Rearranged ( 3:17)
02. Never Will I Marry (Feat. Josh Evans, Noam Israeli & Tamir Shmerling) ( 4:08)
03. I'll Know (Feat. Christian Mcbride) ( 3:25)
04. Little Daffodil (Feat. Steve Nelson, Josh Evans, Noam Israeli & Tamir Shmerling) ( 3:52)
05. If You Thought To Ask Me (Feat. Josh Evans, Kush Abadey, Jovan Alexandre, Mike Troy & Matt Dwonszyk) ( 5:38)
06. I Should Care (Feat. Christian Mcbride & Noam Israeli) ( 4:00)
07. Culture Shock (Feat. Josh Evans, Kush Abadey, Jovan Alexandre, Mike Troy & Matt Dwonszyk) (11:51)
08. Sunday In New York (Feat. Christian Mcbride, Josh Evans & Noam Israeli) ( 5:14)
09. Simple Feelings - The Truth (Feat. Josh Evans, Kush Abadey, Jovan Alexandre, Mike Troy & Matt Dwonszyk) ( 5:50)
10. If I'm Lucky (Feat. Steve Nelson) ( 5:01)
11. All Of You (Feat. Josh Evans, Jovan Alexandre, Mike Troy, Kush Abadey & Matt Dwonszyk) ( 5:15)
12. I Sing (Feat. Christian Mcbride, Josh Evans & Noam Israeli) ( 5:01)
13. Life Rearranged (Reprise) (Feat. Josh Evans, Kush Abadey, Jovan Alexandre, Mike Troy & Matt Dwonszyk) ( 4:26)

This album is a story of my life through original compositions and arrangements of standards that speak to my life on a personal level. I got together with some of my favorite musicians and friends in the world and we recorded this music "live" in the studio in December of 2016. "Kelly Green is one of the most talented and spirited people I know. Everything about her is joyous and swingin'!" - Christian McBride

Life Rearranged

---

Tasha Taylor - Revival

Size: 183,1 MB
Time: 77:59
File: MP3 @ 320K/s
Released: 2003
Styles: R&B, Soul, Blues
Art: Front

01. Stay (3:58)
02. Like A Child (3:31)
03. Hairdown (3:26)
04. Honey (3:31)
05. If Tomorrow Never Comes (4:23)
06. Southern Girl (4:22)
07. There's A Way (5:05)
08. Wonder Woman (4:09)
09. Circles (3:38)
10. Working Day (3:46)
11. The Other Side (4:26)
12. Older (3:09)
13. Diamonds (3:29)
14. Slipping Away (4:11)
15. Little Miss Suzie (3:25)
16. I Begin (3:22)
17. Gypsy (3:43)
18. Only For You (4:19)
19. Love Letter (3:39)
20. Stand (4:16)

Tasha Taylor grew up in Dallas Texas and started writing songs at the age of 14. The daughter of "the wailer " himself, Johnnie Taylor,
Tasha grew up influenced by legendary artists such as the Jackson Five , Natalie Cole and Johnnie guitar Watson on the road with her dad. Growing up in the presence of music lead her to follow in her father's footsteps. She went o to record a duet with him on his hit cd "Good Love". The song they perfomed was " Aint that Loving You".
Now Tasha is continuing to branch out in soul music. Working on songs and production that create a hybrid of soul, funk ,rock and blues.
The live show is also a place were Tasha shines. Bringing together the storytelling of an old soul and a voice to back it up.

Revival

---

Jan Garbarek - Works

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 51:10
Size: 117,3 MB
Art: Front

( 8:14)  1. Folk Song
( 1:33)  2. Skrik + Hyl
(11:21)  3. Passing
( 2:23)  4. Selje
( 5:40)  5. Viddene
( 4:31)  6. Snipp, Snapp, Snute
(12:26)  7. Beast of Komodo
( 4:59)  8. Svevende

Norwegian saxophonist Jan Garbarek's icy tone and liberal use of space and long tones has long been perfect for the ECM sound and, as a result, he is on many recordings for that label, both as a leader and as a sideman. He had won a competition for amateur jazz players back in 1962, leading to his first gigs. Garbarek worked steadily in Norway throughout the remainder of the '60s, usually as a leader but also for four years with George Russell (who was in Scandinavia for a long stretch). Garbarek began recording for ECM in the early '70s and, although he had opportunities to play with Chick Corea and Don Cherry, his association with Keith Jarrett's European quartet in the mid-'70s made him famous, resulting in the classic recordings My Song and Belonging. In the '80s, Garbarek's groups included bassist Eberhard Weber and at various times, guitarists Bill Frisell and David Torn. Garbarek, whose sound has remained virtually unchanged since the '70s, collaborated with the Hilliard Ensemble in 1993 (a vocal quartet singing Renaissance music) and the result was a surprisingly popular recording. Visible World followed in 1995, and four years later he resurfaced with Rites. In April of 1999, Garbarek and the Hilliard Ensemble returned with Mnemosyne. He issued In Praise of Dreams in 2004, and finally released his first live album as a leader, Dresden, in 2009. In 2012, ECM released the live archival recording Magico: Carta de Amor, by the Magico trio that also included guitarist Egberto Gismonti and bassist Charlie Haden. ~ Scott Yanow https://itunes.apple.com/us/album/jan-garbarek-works/id272061988

Personnel:  Saxophone [Soprano], Flute – Jan Garbarek;  Bass – Charlie Haden;  Guitar – Egberto Gismonti;  Drums – Jack DeJohnette;  Guitar – Bill Connors;  Organ – John Taylor;  Bass – Arild Andersen.

Works

---

Tia Brazda - Cabin Fever

Styles: Vocal

Year: 2012

File: MP3@320K/s

Time: 14:00

Size: 32,8 MB

Art: Front

(2:44)  1. Cabin Fever

(2:05)  2. Man Up!

(2:46)  3. Too Crazy

(3:01)  4. Wild Jack

(3:22)  5. Thief in the Night

Tia Brazda has established herself as a sparkling presence on the jazz scene in Canada and beyond, performing from Montreal to Paris to Amsterdam, and at such notable festivals as the Vancouver International Jazz, Toronto International Jazz and Bestival (UK). Her debut EP, Cabin Fever burst onto the scene in February 2012, hitting #1 on the iTunes Canada Jazz chart as well as receiving play on CBC Radio 1, Jazz FM 91.1 and college radio stations across Canada. Originally from Vancouver, but having honed her cutting-edge sound in the clubs of Toronto, Tia’s sassy songs and pin-up girl style have made a startling impression, paying homage to the golden era while still remaining daringly modern. Now with her debut full-length album Bandshell, Tia comes out swinging with a more polished flair, updating her vintage vibe from flats to heels. The 10 tracks examine affairs of the heart from a rollercoaster's front car view, neatly packaged and bowed with Brazda's superb Billie Holiday-meets-Amy Winehouse-like vocals. The album also debuted at #1 on the iTunes Jazz Chart in Canada and was ranked #5 by Jazz FM 91 in Toronto on their list of Top 10 Canadian jazz albums of 2015. It also hit #24 on the CMJ national jazz radio chart in the U.S. after being added to over 30 stations nationwide. http://tiabrazda.com/

Cabin Fever

---

Maynard Ferguson - High Voltage

Styles: Trumpet Jazz 
Year: 1987
File: MP3@320K/s
Time: 42:57
Size: 99,4 MB
Art: Front

(5:53)  1. Jack Usage
(5:29)  2. Sunday Morning
(5:49)  3. High Voltage
(3:43)  4. Stardust
(6:05)  5. Marketplace
(4:30)  6. Walkin' On The Pier
(4:49)  7. Snap
(6:35)  8. Shufflemonk

When he debuted with Stan Kenton's Orchestra in 1950, Maynard Ferguson could play higher than any other trumpeter up to that point in jazz history, and he was accurate. Somehow he kept most of that range through his career and since the 1970s has been one of the most famous musicians in jazz. Never known for his exquisite taste (some of his more commercial efforts are unlistenable), Ferguson nevertheless led some important bands and definitely made an impact with his trumpet playing.  After heading his own big band in Montreal, Ferguson came to the United States in 1949 with hopes of joining Kenton's orchestra, but that ensemble had just recently broke up. So instead, Ferguson gained experience playing with the big bands of Boyd Raeburn, Jimmy Dorsey, and Charlie Barnet. In 1950, with the formation of Kenton's Innovations Orchestra, Ferguson became a star, playing ridiculous high notes with ease. In 1953, he left Kenton to work in the studios of Los Angeles and three years later led the all-star "Birdland Dreamband." In 1957, he put together a regular big band that lasted until 1965, recorded regularly for Roulette (all of the band's recordings with that label are on a massive Mosaic box set) and performed some of the finest music of Ferguson's career. Such players as Slide Hampton, Don Ellis, Don Sebesky, Willie Maiden, John Bunch, Joe Zawinul, Joe Farrell, Jaki Byard, Lanny Morgan, Rufus Jones, Bill Berry, and Don Menza were among the more notable sidemen. After economics forced him to give up the impressive band, Ferguson had a few years in which he was only semi-active in music, spending time in India and eventually forming a new band in England. After moving back to the U.S., Ferguson in 1974 drifted quickly into commercialism. Young trumpeters in high school and colleges were amazed by his high notes, but jazz fans were dismayed by the tasteless recordings that resulted in hit versions of such songs as the themes from Star Wars and Rocky and much worse. After cutting back on his huge orchestra in the early '80s, Ferguson recorded some bop in a 1983 session, led a funk band called High Voltage during 1987-1988, and then returned to jazz with his "Big Bop Nouveau Band," a medium-sized outfit with which he toured the world up until his death from kidney and liver failure on August 23, 2006. ~ Scott Yanow http://www.allmusic.com/artist/maynard-ferguson-mn0000397042/biography

Personel:  Trumpet [Holton M.f. Horn Trumpet], Trombone [Superbone], Flugelhorn – Maynard Ferguson;  Baritone Saxophone, Tenor Saxophone, Soprano Saxophone, Flute, Scat – Denis DiBlasio;  Bass – Rick Shaw;  Drum Programming [Additional] – Bernie Dressel;  Drums – Ray Brinker;  Guitar – Michael Higgins;  Keyboards – Todd Carlon;  Percussion – Steve Fisher

High Voltage

---

Narada Michael Walden - Evolution

Styles: Vocal, Soul 
Year: 2015
File: MP3@320K/s
Time: 56:38
Size: 130,2 MB
Art: Front

(5:00)  1. Evolution
(3:45)  2. Billionaire On Soul Street
(4:26)  3. Babys Got In Going On
(5:12)  4. Freedom
(3:47)  5. Song For You
(4:41)  6. It's The Sixties
(3:18)  7. Tear The House Down
(4:28)  8. Me And My Girl
(6:12)  9. Heavens In My Heart
(4:28) 10. Standing Tall
(4:16) 11. Long And Winding Road
(3:15) 12. Show Me How To Love Again (Booda Remix)
(3:44) 13. Billionaire On Soul Street (Booda Remix)

2015 release from the veteran producer, drummer, singer and songwriter. Evolution is a strong statement from Narada, inspired by the "retro" sound that is so prevalent on the radio and in clubs today. The album features mostly original material and two covers Freedom by Richie Havens and The Long and Winding Road by John Lennon and Paul McCartney. 

Narada explains about the album's first single: "This album Evolution means the world to me because it reflects my personal feeling of spirituality and that feeling renewed for life by having my children Kelly and Kaylah in my life and my wife Katie. Having children now at this time in my life really has touched my heart to feel like WOW! Look how lucky and how blessed I am by God." ~ Editorial Reviews https://www.amazon.com/Evolution-Narada-Michael-Walden/dp/B015RD3L4Q

Evolution

---

JC Stylles - Blakey Grease

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 46:18
Size: 106,9 MB
Art: Front

(6:41)  1. Hammerhead
(6:12)  2. Ping Pong
(6:51)  3. Yama
(5:04)  4. United
(6:11)  5. Hipsippy Blues
(4:16)  6. Stretching
(5:10)  7. Pensativa
(5:50)  8. One by One

The photos that adorn the cover and back panel of guitarist JC Stylles Exhilaration And Other States make Stylles look like a cross between a '50s rockabilly musician and a Brian Setzer wannabe, but his music has nothing to do with either one. The Australian-born and New York-based guitarist deals in burning organ trio swing, with a few ballads and some other seasonings thrown in for good measure, as he tackles standards and a few surprises from outside the jazz canon. Both Stylles' biography and his music betray a fondness for George Benson's playing, but not the Benson that sets off fusion fireworks or deals in smooth grooves. Stylles' style usually veers closer to the Benson that took the baton from Wes Montgomery and ran with it. While Stylles is clearly the star of this show, his trio mates are superb supporting players that help to drive this music along. Organist Pat Bianchi brings his bright and cutting sound to bear on a large number of these pieces, but he also proves to be a sensitive accompanist, capable of dialing things down when the music calls for it ("Don't Explain"). His solos on the livelier material can be exciting and unpredictable, as demonstrated with some sprays of notes on "Tune For Roger," or straightforward in a pleasing manner. As per most organ group recordings, the drummer Lawrence Leathers gets little space to solo, but Leathers' swinging drumming is the heartbeat of this music. Stylles' choice of repertoire is as eclectic as can be, covering everybody from Cole Porter and Billie Holiday to Stevie Wonder and R. Kelly, but he manages to find a common thread in most of the material. He lights up the faster numbers with his articulate single note lines and his solo trading with Bianchi, and he takes complete control on the ballads, which can be haunting ("Don't Explain") or heavenly ("I Want To Talk About You"). Stylles isn't afraid to detour into slick, R&B territory (R. Kelly's "It Seems Like You're Ready"), but the guitarist sounds best on material that moves at a sprinter's pace, as demonstrated by his searing solo work on Wayne Shorter's "Pinnochio." While the music on Exhilaration And Other States may cover a wide range of emotions, it seems like everything that Stylles' delivers is capable of evoking a state of euphoria. ~ Dan Bilawsky https://www.allaboutjazz.com/exhilaration-and-other-states-jc-stylles-motema-music-review-by-dan-bilawsky.php

Personnel: JC Stylles: guitar; Pat Bianchi: organ; Lawrence Leathers: drums.

Blakey Grease

---

Ralph Alessi - Quiver

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 56:27
Size: 129,5 MB
Art: Front

(2:57)  1. Here Tomorrow
(5:18)  2. Window Goodbyes
(6:56)  3. Smooth Descent
(6:46)  4. Heist
(9:49)  5. Gone Today, Here Tomorrow
(6:14)  6. I to I
(5:17)  7. Scratch
(7:05)  8. Shush
(4:14)  9. Quiver
(1:47) 10. Do Over

Quiver finds trumpeter Ralph Alessi and his quartet in a lyrical, reflective mood. Alessi describes the atmosphere in the recording studio as "pensive," a quality that imbues this music. The group includes most of the players from Alessi's acclaimed ECM leader debut Baida (2013). Drew Gress (double-bass) and Nasheet Waits (drums) return, with Gary Versace taking the piano chair in place of Jason Moran. Tempting to ascribe the differences between the two sessions to the pianists, but I think it has more to do with the material and the interaction of the whole band. "Here Tomorrow" opens the set with a brief legato meditation, and the mood for much of the album is established from the start. Versace often begins the pieces with an unadorned statement of the harmony, and doesn't even take a solo until the third track, "Smooth Descent" (which is also a bit more up-tempo). "Heist" breaks the mold by opening with solo trumpet, but it makes room for another piano solo and a bass solo from team player Gress. At almost ten minutes "Gone Today, Here Tomorrow" is the longest selection, and it too contains more moderate up-tempo music, finally giving Waits an opportunity to cut loose a bit. While there's no burning here, it certainly is not all taken at rubato or ballad tempo. "Scratch" is built upon an ostinato, following some lovely piano playing on "I to I." "Shush" combines all of the previous musical elements by beginning rubato. building to an energetic middle section, then closing with a repeating pattern. Only the closer "Do Over" provides a large contrast, as the band plays the only really up-tempo tune in the program while Waits solos all the way through. It's far too short, and it's a shame the record doesn't contain a bit more of this kind of playing. The variety would have been welcome. But while it's a generally low-key session, it's full of beautiful playing and empathetic group interaction. ~ Mark Sullivan https://www.allaboutjazz.com/quiver-ralph-alessi-ecm-records-review-by-mark-sullivan.php

Personnel: Ralph Alessi: trumpet; Gary Versace: piano; Drew Gress: double-bass; Nasheet Waits: drums.

Quiver

---

Lils Mackintosh - Black Girl

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 49:53
Size: 115,2 MB
Art: Front

(0:22)  1. Intro
(4:03)  2. Black girl
(3:09)  3. Shorty George
(3:13)  4. Bottle up and go
(3:22)  5. Ledbetter
(3:07)  6. Relax your mind
(3:42)  7. Slavery is still around
(2:50)  8. Goodnight my teen
(4:34)  9. Backwater blues
(4:41) 10. Take this hammer
(1:32) 11. Bring a little water
(3:12) 12. Silver city bound
(3:08) 13. Hurt me
(3:35) 14. Good morning blues
(5:16) 15. Take this hammer (instrumental)

Lils Mackintosh (Amsterdam, June 11, 1955) is a Dutch singer, composer, actress and writer. At seventeen she was talent-scouted by the Dutch actor Jack Monkau and traded a formal education for a career in music. Being the daughter of two parents in the music industry, a career along that road seemed a natural step to take. Lils became a professional singer with the acceptance of a role in the musical 'Hair'. Next she played key roles in the Dutch rock opera 'Ik, Jan Cremer' and the high profile musical 'Barnum'. Lils then decided to become more experienced as a lead singer and played in different rock and hardrock bands. She also toured on a regular basis. One of the highlights was an extended tour in Sudan, Kuwait and Egypt. This was also the period in her career where she had the honor to perform with jazz legends like Oscar Peterson and B.B. King. In 1977, Lils released her first jazz single, a cover version of the Rogers & Hart classic 'My Funny Valentine'. Winning the 1990 'Vocalistenprijs' at the Dutch Jazzconcours in Breda lead to a significant career change. Lils then decided to specialize in jazz music. She started to perform extensively in Europe and the United States and was a regular performer at the legendary North Sea Jazz Festival. In 1993 she released her debut album, ‘It’s not perfect to be easy’. She received recognition for this album with the nomination for an Edison Jazz Award. Two more albums were released in this period: 'This is the strangest life I've ever known' is released in 1994, followed by 'Seasons', in 1997.

Being an artist with the desire to develop and transform, Lils took a different take on her career when she formed the 'Lils Mackintosh & The Swing Cats' band in 1998. This period also marked the return to the theatre, with the 'Jazznight' theatre tour, together with the Beets Brothers, the Stylus Horns and the Rosenberg Trio. Her fourth studio album, 'Black girl' produced by the renowned saxophone player Hans Dulfer, is a tribute to the American blues singer and guitar player Huddie Ledbetter. The album was released in 1999 and made a big impression in the jazz scene. This, in turn, lead to Lils' first Edison Jazz Award. Published on multi-channel SACD in 2002, Lils' first live endeavor was a recording session at the Bimhuis in Amsterdam, in front of a live audience. The album, named 'In the wee small hours of the morning' was well received by both critics and audiophiles. That same year the Beets Brothers released the first ever Dutch jazz DVD, featuring Lils and Hans Dulfer. A close collaboration with saxophone player Wouter Kiers, lead to the release of the concept album 'Comes love' in 2005. All of the songs deal with different aspects of love and relationships. After a period of extensive touring in Europe, Lils released the album 'About crazy'. This 2008 album is an intimate portrait of an artist who has seen significant ups and downs in her personal life. Lils also used the classic Hammond organ to create a distinctive moody and melancholic sound. The album coincidentally marked the start of her long term collaboration with the Dutch saxophone player Clous van Mechelen. The release of the 2010 album 'A fine romance' is an audiophile's delight. This was actually a remastering of Lils' debut album. In this version, extra care was taken in finding the right balance between voice and band, and achieving the highest possible sound quality. 

The album is a classic demo disc for the demonstration of high end audio systems.  Lils Mackintosh is an award winning jazz- and blues singer and is considered one of the most distinguished artists in the Dutch jazz scene. Lils has worked with the likes of Oscar Peterson, B.B. King, Scott Hamilton, Rita Reys, het Rosenberg Trio, Cor Bakker, Madeline Bell, Hans Dulfer, Candy Dulfer, Louis van Dijk, The Beets Brothers, Georgie Fame and the Dutch Swing College Band. Lils has also worked on different projects as an actress and voice-over performer. She has done numerous commercials, some of which have become quite famous in the Netherlands.http://www.lilsmackintosh.nl/lils-eng-biografie.htm

Personnel:  Vocals, Arranged By – Lils Mackintosh;  Double Bass – Frans van Geest;  Drums – Hans Dekker;  Piano, Arranged By – Peter Beets;  Tenor Saxophone – Alexander Beets, Hans Dulfer (tracks: 10, 12, 15);  Trumpet, Flugelhorn, Arranged By – Jan Wessels

Black Girl

---

Miles Davis - Doo-Bop

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 40:04
Size: 93,9 MB
Art: Front

(3:57)  1. Mystery
(5:02)  2. The Doo-Bop Song
(4:41)  3. Chocolate Chip
(4:40)  4. High Speed Chase
(5:07)  5. Blow
(5:32)  6. Sonya
(4:38)  7. Fantasy
(4:56)  8. Duke Booty
(1:28)  9. Mystery (reprise)

If On the Corner suggested hip-hop beats as far back as two decades ago, then consider Doo-Bop as offspring. Miles' teaming with producer Easy Mo Bee is a natural more in league with England's acid jazz scene than anything in the trumpeter's recent canon. Those who've howled over the post-Bitches Brew work will find no solace here; instead, chalk this up as one of Miles' most entertaining efforts. ~ Steve Aldrick http://www.allmusic.com/album/doo-bop-mw0000078184

Personnel: Miles Davis (trumpet); A.B. Money, J.R. (vocals); Easy Mo Bee (rap vocals).

Doo-Bop

---

Jerry Bergonzi - Peek a Boo

Styles: Saxophone Jazz 
Year: 1992
File: MP3@320K/s
Time: 59:06
Size: 136,6 MB
Art: Front

( 5:30)  1. Peek a Boo
( 7:05)  2. Internal Affair
(11:01)  3. I'll Let You Know
( 8:32)  4. Idiosyncrasies
( 7:23)  5. Manipulations
( 7:53)  6. Zonian Mode
( 4:54)  7. Creature Feature
( 6:46)  8. Up for the Count

As a tenor saxophonist and composer, Bergonzi asserts himself further on this date with a quintet of established players. Trumpeter Tiger Okoshi forms a good partnership with 'Gonz up front, while the dazzling piano pyrotechnics of Joachim Kuhn, the solid bass playing of Dave Santoro, and the very able drumming of Daniel Humair give the leader quite a foundation from which to work. All eight cuts, save one, are neo-boppish, modern, mainstream vehicles written by Bergonzi, and they express a quick-witted, head-solo-tail written format which, for the most part, swings pretty hard. The CD is bookended with the title track and "Up for the Count," both upbeat numbers with a fervor that's chock full of notes, loaded with 16th's and 32nd's, especially from Kuhn. The latter tune has a staggered phrase, stop-start melody similar to that of Charles Mingus, and a tenor-drum workout for a bridge. Two bluesy swingers are placed back-to-back: The Kuhn-penned "Manipulations" features overloaded lines from piano and bass, and in "Zonian Mode," the tenor and trumpet get antsy ahead of the bar lines, with Kuhn showing moments of anxiety while the rest prove relatively settled into the groove. Scattered, chopped sounds crop up during the easy-paced but seismic melody of "Creature Feature." A Swiss-cheesed "Internal Affair" sounds like a sliced-and-diced, darker take on "Social Call." The hardest swinger is "Idiosyncracies," during which 'Gonz and Tiger live up to their aggressive nicknames. At a most intricate juncture, "I'll Let You Know" has a two-note chord piano ostinato, contrary swinging bass, and unison horns in a Blue Note/Riverside cum Randy Brecker mode. It is also within this piece that Kuhn's piano rattles cages with dizzying blizzards of notes on his solo. The more individualistic he becomes, the more challenging the music becomes, and Bergonzi has certainly upped the ante here with this exceptional combo. Were this an actual working, touring band the results might be different, especially down the road, but all in all this proves to be quite a credible, at times startling effort. ~ Michael G.Nastos http://www.allmusic.com/album/peek-a-boo-mw0000174312

Personnel: Jerry Bergonzi (tenor saxophone); Tiger Okoshi (trumpet, flugelhorn); Joachim Kühn (piano); Daniel Humair (drums).

Peek a Boo

---

Michael Dease - All These Hands

Styles: Trombone Jazz
Year: 2017
File: MP3@320K/s
Time: 65:54
Size: 151,5 MB
Art: Front

(5:44)  1. Creole Country
(2:47)  2. Delta City Crossroads
(6:36)  3. Good & Terrible
(5:55)  4. Territory Blues
(6:10)  5. Benny's Bounce
(2:03)  6. Black Bottom Banter
(8:16)  7. Downtown Chi-Town
(5:59)  8. Gullah Ring Shout
(6:49)  9. Chocolate City
(5:53) 10. Memphis BBQ & Fish Fry
(7:16) 11. Brooklyn
(2:21) 12. Up South Reverie

Trombonist Michael Dease is never short on ideas, but this one might be his best yet: With All These Hands, Dease traces the early migratory patterns of jazz through his own well-crafted originals. He starts in NOLA and moves along to many a music mecca, including the Mississippi Delta, Chicago, Detroit, Philadelphia, Washington D.C., and New York. All the while he addresses regional dialects that developed as jazz permeated different regions while remaining cognizant of the need to avoid the quicksand of the past. This is Dease's take on jazz's journey, not his attempt at making a period piece. The port of departure for this musical saga is "Creole Country," a number transported by a Vernell Fournier-esque beat that speaks to the Crescent City's melting pot culture through rhythm. Steve Wilson's flute adds color and fills gaps, Renee Rosnes' fingers dance across the keys of the piano, Etienne Charles brings warm light with his flugelhorn work, and Dease is predictably strong in his solo delivery. It's the perfect number to serve as a launch pad for this project. Dease packs his bags after that opener, quickly moving on to his next destination "Delta City Crossroads," the first of several down-home duets to bring roots music into the picture. Here he chats with guitarist Randy Napoleon, engaging in call-and-response, moaning, vocalizing, and sighing with mute in hand. Intimate excursions like these are interspersed between full band numbers throughout the album, serving as a reminder that jazz and blues traditions are inextricably linked. The music that follows those opening tracks further underscores Dease's respect for the history of the music. "Benny's Bounce" serves as a representation of Philadelphia's rich jazz legacy, nodding to iconic saxophonist-composer Benny Golson through its name and harmonic pathways; "Black Bottom Banter" brings Detroit and its outskirts into view, as Dease and bassist Rodney Whitaker take a short trip through the 8-bar blues; "Downtown Chi-Town" captures the resolute spirit of the Windy City in its straight-eighth bearing; "Memphis BBQ & Fish Fry" is a greasy good time, as Dease mixes it up in trio with Wilson's soprano saxophone and Rosnes' Wurlitzer; and "Brooklyn" stands firm atop Rufus Reid's sturdy bass lines. Oh, the places that jazz goes! When taken as a whole, All These Hands proves to be both sobering and delightful, as Dease delivers one uplifting performance after another while also addressing all of the racial ills that shadow(ed) jazz and jazz musicians. Dease never turns a blind eye to history's truths, but he never lets them get the better of him either. He's a force for positivity, and All These Hands is proof positive of that statement. ~ Dan Bilawsky https://www.allaboutjazz.com/all-these-hands-michael-dease-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Michael Dease: trombone; Renee Rosnes: piano (1, 3, 5, 7, 9, 10, 11); Gerald Cannon: bass (1, 3, 5, 7, 9); Lewis Nash: drums (1, 3, 5, 7, 9); Lewis Nash: drums (1, 3, 5, 7, 9, 11); Steve Wilson: flute (1, 7), alto saxophone (5), soprano saxophone (10); Etienne Charles: flugelhorn (1), trumpet (3, 9); Randy Napolean: guitar (2, 4, 8); Rodney Whitaker: bass (4, 6, 8, 12); Jason Hainsworth: tenor saxophone (7); Diego Rivera: tenor saxophone (7); Rufus Reid: bass (11); Dan Pratt: tenor saxophone (11).

All These Hands

---