Cory Weeds - Let's Groove: The Music Of Earth Wind & Fire

Size: 149,6 MB
Time: 64:39
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Let's Groove ( 6:58)
02. Getaway ( 6:44)
03. Devotion ( 7:36)
04. You And I ( 6:08)
05. The Way Of The World ( 6:11)
06. Imagination ( 5:29)
07. Shining Star ( 8:21)
08. Kalimba (10:30)
09. After The Love Has Gone ( 6:39)

Exploring the upbeat, soulful melodies of Earth Wind and Fire, Let's Groove is a sizzling fresh take on this classic music for lovers of jazz, soul, and R&B music alike. NYC organist Mike Ledonne returns to the Cellar Live fold for his third collaboration with saxophonist Cory Weeds, with a stellar BC/New York band including Steve Kaldestad (BC), Dave Sikula (BC), and Jason Tieman (NYC).

Let's Groove

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Jeremy Steig - Firefly

Styles: Flute Jazz
Year: 1977
File: MP3@320K/s
Time: 35:33
Size: 81,6 MB
Art: Front

(11:55)  1. Firefly
( 5:48)  2. Living Inside Your Love
( 2:59)  3. Everything Is Coming to the Light
( 7:26)  4. Hop Scotch
( 2:04)  5. Sweet Hour of Prayer
( 5:17)  6. Grasshopper

Produced by Creed Taylor himself, Jeremy Steig's jazz-funk throwdown, Firefly, is one of the great forgotten masterpieces of the genre. Steig is a monster flutist who may lack some of Herbie Mann's subtlety, but more than makes up for it with his chops. Taylor surrounded Steig with a band that was testosterone-fueled yet knew how to get the sexy grooves. Firefly was designed for the purpose of being a hit in the dance clubs, and it should have been, because it kicks ass on that level as well as on the jazz-funk beam. Arranged and conducted by pianist Dave Matthews, the band included guitarists Eric Gale, Hiram Bullock, and John Scofield, Richard Tee on keys, drummers Steve Gadd and Allen Schwarzberg, conguera Ray Mantilla, percussionist Sue Evans, and vocalist Googie Coppola. As for the commercial edge, tracks like Dave Grusin and Earl Klugh's sublime groover "Livin Inside Your Love," features beautiful double-tracked flute solos going into the red on the funky soul edge; then there's the title track opener where Steig plays inside and out in shimmering interplay with Gary King's popping bassline. But it's on "Grasshopper," a Steig original, that this disc really soars. Overdriven chunky guitars, cutting across one another, electric Rhodes, and acoustic piano in counterpoint on two different melodies, bass bubbling like Sly Dunbar's, and orchestral horns giving Steig a punch lead line he can really mess with in his fills and solo. This is burning. ~ Thom Jurek https://www.allmusic.com/album/firefly-mw0000460410

Personnel:  Jeremy Steig – flute;  Burt Collins, Jon Faddis, Joe Shepley, Lew Soloff – trumpet;  Sam Burtis, Jerry Chamberlain, Tom Malone – trombone;  Dave Taylor - bass trombone;  Richard Tee – keyboards;  Richie Beirach – piano;  Cliff Carter – synthesizer;  Hiram Bullock, Eric Gale, John Scofield - electric guitar;  Gary King – bass;  Steve Gadd, Allan Schwartzberg – drums;  Ray Mantilla – congas;  Googie Coppolla – vocals;  Sue Evans – percussion;  David Matthews - electric piano, arranger

Firefly

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Randy Crawford - Miss Randy Crawford/Raw Silk

Styles: Vocal, Soul
Year: 2005
File: MP3@320K/s
Time: 77:18
Size: 177,3 MB
Art: Front + Back

(3:47)  1. Halleluijah, Glory Halleluijah
(3:15)  2. I Can't Get You Out Off My Mind
(3:19)  3. I'm Under The Influence Of You
(3:07)  4. Over My Head
(3:28)  5. Desperado
(2:24)  6. Take It Away From Her (Put It On Me)
(3:06)  7. Single Woman, Married Man
(3:39)  8. Half Steppin'
(3:06)  9. This Man
(2:26) 10. At Last
(4:52) 11. I Stand Accused
(4:28) 12. Declaration Of Love
(3:52) 13. Someone To Believe In
(4:42) 14. Endlessley
(4:09) 15. Love Is Like A Newborn Child
(4:01) 16. Where There Was Darkness
(3:43) 17. Nobody
(4:25) 18. I Hope You'll Be Very Unhappy Without Me
(3:04) 19. I Got Myself A Happy Song
(4:58) 20. Just To Keep You Satisfied
(3:16) 21. Blue Mood

In 2005, the Wounded Bird label reissued six of Randy Crawford's seven earliest albums 1981's Secret Combination remained in print on its own at the time via two-for-one discs. 1977's Miss Randy Crawford and 1979's Raw Silk are combined here with no-frills packaging. The former, produced by Bob Montgomery, carries a pronounced Southern touch throughout (even when compared to her 1976 debut) and, save for its disco-era string arrangements and some studio flourishes, could pass as an early '70s release. Raw Silk, one of Crawford's best albums, is relatively contemporary, graced with electric piano lines shared by Don Grusin and Leon Pendarvis. The up-tempo numbers are just as strong as the quiet storms an oft-neglected notion, given that many R&B fans instantly associate Crawford's solo work with her smooth ballads. ~ Andy Kelman https://www.allmusic.com/album/miss-randy-crawford-raw-silk-mw0000260841

Personnel: Greg Poree, John Tropea, Ken Bell, Larry Byrom (guitar); Sheldon Kurland, Lennie Haight, Martin Katahn, Samuel Terranova, John Catchings, George Binkley III, Roy Christensen, Virginia Christensen, Wilfred Lehmann, Carl Gorodetzky, Marvin Chantry, Gary VanOsdale (strings); Billy Peutt (flute); Dennis Good, Harrison Calloway, Jr., Harvey Thompson, Ronnie Eades (horns); Don Grusin, Leon Pendarvis (piano, electric piano); Pat Henderson, Julia Tillman, Maxine Willard Waters (Fender Rhodes piano); William D. "Smitty" Smith (Clavinet, organ, Wurlitzer organ); Randy McCormick (keyboards); Rick Marotta, Roger Clark (drums, percussion); James Gadson (drums); Phyllis Saint James (percussion, background vocals); Joe Porcaro (percussion).

Miss Randy Crawford/Raw Silk

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Tim Miller - Trio Volume 2

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 43:20
Size: 100,4 MB
Art: Front

(6:19)  1. Electric
(4:26)  2. By The Sea
(2:54)  3. Elements
(4:28)  4. Flying
(2:21)  5. Night Sky
(5:13)  6. Arc
(3:52)  7. Thread
(3:43)  8. Grey Blue
(3:24)  9. Trace
(2:40) 10. Drop Of Ink
(2:30) 11. Recall
(1:25) 12. Open

Very few guitarists have digested, head-on, the daunting influence of Alan Holdsworth, and then assimilated it into their own playing. Fewer still have combined Holdsworth's no-longer-futuristic linearity with the science of melodic chord permutation, as promulgated by the likes of George Van Eps, Ted Green and Mick Goodrick. Even fewer are in their thirties, like Tim Miller. These qualities alone would make Miller's current release the second with his trio including acoustic bassist Dr. Joshua Davis and drummer Take Toriyama auspicious, but there is much more to consider here. Miller has taken his game up way up in terms of the sound he's achieving on record, to the point where his work advancing the breadth of the tone palette alone can now be compared to those at guitardom's highest levels. Miller's approach is deceptively simple. Driven by his belief that the electric guitar is too midrange-heavy to "work" with acoustic instruments, he chased down the high end by isolating himself in a room with a guitar and a microphone and placing his amplifier in another room. Both acoustic and electric outputs were recorded, and are capable of being blended at will throughout. From a technical recording standpoint, then, the degree of innovation here appears relatively modest. Aesthetically, though, there is a level of shimmering discernment and detail at play here that pushes the elusive annals of tone. A dazzling bounty of tonal delights from vintage dreadnought to fat bop, steely Strat to Texas Tele emerge, played at breakneck speed and sometimes changing from measure to measure. Miller's blistering legato technique is more percussive than Holdsworth's his chord work even more modern and complex, yet always musical, never guitaristic. Steve Hunt recorded and engineered this outing, making it special by bringing all his previous experience with Holdsworth to bear.

The opening track, "Electric," features an airy acoustic head, pulsed by a chord ostinato and propulsed by a beaten snare that sounds copped from rag-tag street kit by Toriyama. Miller begins his solo with a gorgeously sustained single tone. From there he builds, in seconds, two complex, rhapsodic figures that collapse on themselves, all the while adding echo, subtracting sustain, metering metal and pumping air into the tone. He then combines the discerning changes in tonal detail with improvisational detail, repeating a 32nd note motif that subtly changes from measure to measure, developing into its own intervallic song. Toriyama does not keep pulse, challenging Miller at every turn, the clatter abetting what up to that moment, is Miller's (and band's) finest hour. That five minutes alone anoints Miller as the jazz world's guitar Superboy. The next 40 minutes only get more momentous, with Miller out-playing and out-tone-meistering himself from one tune to the next. He takes respite only to issue a definitive solo spot that sounds like his personal revel to the "Night Sky." Miller also gives composition a twist by intermingling motifs, statements and devices from each of the tunes, to the degree that the recording becomes one labyrinthine compositional whole. Yet many, like "Trace," can stand on their own, as catchy gems chock full of hummable melodies, with flashes of energetic soloing. Joshua Davis' sense of time is solid at times locking with the bass portions of Miller's chord voicings and (thanks to some crafty recording) sounds electrifying yet woody, as on "Trace." Toriyama logs one of his greatest recorded performances ever, benefited by the best recording of it, as evidenced in the turn-on-a dime ride swing melded to crushing jazz-rock stylings slammed against each other in "Thread." Miller dedicated the recording to Toriyama but it's the drummer himself who provides the only tribute needed. Whoever hears this recording will know that during his all-too-short stint here, Toriyama thoroughly mastered the drum kit, fearlessly incorporating some sounds that, previous to his work, seemed not to belong. And whoever hears some of his other work will know he did the same over the complete range of musical idioms. Miller believes that this is his most personal recording to date, on which the sound he has imagined for so long has finally made it onto record. That's just one reason why Mr. Miller was recently cited by no less than Alan Holdsworth, in the most recent issue of Guitar Player Magazine, as one of two current guitar players to watch. ~ Phil Dipietro https://www.allaboutjazz.com/tim-miller-trio-vol-2-by-phil-dipietro.php

Personnel: Tim Miller: guitar; Joshua Davis: bass; Take Toriyama: drums.

Trio Volume 2

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Dave Liebman, Joe Lovano - Compassion (The Music of John Coltrane)

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 52:27
Size: 121,4 MB
Art: Front

( 6:11)  1. Locomotion
( 8:09)  2. Central Park West / Dear Lord
( 8:46)  3. Ole
( 5:20)  4. Reverend King
( 6:39)  5. Equinox
(17:18)  6. Compassion

In 2007 BBC Radio commissioned saxophonist Dave Liebman to record an all Coltrane program to mark the 40th anniversary of legendary saxophonist/composer John Coltrane's passing. Asked to bring in Saxophone Summit the band Liebman co-led with fellow saxophonists Joe Lovano and Ravi Coltrane Liebman managed to assemble regular members Lovano, pianist Phil Markowitz, and drummer Billy Hart, along with bassist Ron McClure as a substitute for the unavailable Cecil McBee. Ten years later, the session is being released to commemorate the 50th anniversary of Coltrane's passing on July 17, 1967. Billy Hart says that "we're all just unbelievable Coltrane fans." If the playing alone wasn't enough to show that, there's also the evidence of Liebman's album Homage To John Coltrane (Owl Records), going back to 1987. This set opens with "Locomotion," a distinctive take on the blues from Blue Train (Blue Note, 1958). The tune contains the germs of many later Coltrane works, and makes a great launching point, the classic two tenor lineup dueling with each other and egging each other on. A ballad medley showcases the two horns individually Lovano on tenor for "Central Park West" from Coltrane's Sound (Atlantic, 1964; but recorded in 1960); Liebman on soprano for "Dear Lord" from Transition (Impulse!, 1970, but recorded in 1965). This spiritual ballad has long had a special place for Liebman, and is the only composition repeated from his early tribute album.  

"Olé" from Olé Coltrane (Atlantic, 1961) represents Coltrane's long term interest in world music, which later came out in tunes like "India" and "Brazilia." After an introduction featuring wood flute and flute, the Spanish-tinged melody is introduced by tenor and soprano saxophones. "Reverend King" from Cosmic Music (Impulse!, 1968, but recorded in 1966) features Liebman on flute, accompanied by Lovano's alto clarinet: a lovely combination unique to this track. "Equinox" (also from Coltrane's Sound) is another blues, returning to the tenor/soprano combination. The album closes with "Compassion" from Meditations (Impulse!, 1966), dipping into Trane's late period. It gives Hart a solo showcase before launching into the free group improvisation with little steady pulse or set harmonic progressions that typifies late Coltrane. The band is so comfortable with this approach that they play it much like the earlier material: a bit more outside, but there is no sharp dividing line. John Coltrane's career was so compressed that the compositions here recorded between 1958 and 1966 represent six distinct stylistic phases. The more-or-less chronological presentation demonstrates how far he progressed in such a brief period, as well as how he maintained his own voice all the way. Coltrane's music needs no defense, but these players make an excellent case for it all the same. ~ Mark Sullivan https://www.allaboutjazz.com/compassion-the-music-of-john-coltrane-dave-liebman-resonance-records-review-by-mark-sullivan.php

Personnel: Dave Liebman: tenor saxophone, soprano saxophone, wooden recorder, C flute; Joe Lovano: tenor saxophone; aulochrome, alto clarinet, Scottish flute; Phil Markowitz: piano; Ron McClure: bass; Billy Hart: drums.

Compassion (The Music of John Coltrane)

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Jeff Steinberg Jazz Ensemble - Cafe Cubano

Bitrate: MP3@320K/s
Time: 43:50
Size: 100.4 MB
Styles: Latin jazz
Year: 2016
Art: Front

[3:25] 1. Perdido
[3:29] 2. De-Lovely
[3:24] 3. Perfidia
[3:37] 4. Fascinating Rhythm
[3:51] 5. Make Someone Happy
[4:05] 6. Besame Mucho
[4:02] 7. All Or Nothing At All
[3:17] 8. Speak Low
[3:19] 9. Tangerine
[4:31] 10. This Masquerade
[3:29] 11. If I Were A Bell
[3:16] 12. I Wish You Love

After more than thirty-five years as a composer, arranger/orchestrator, pianist, producer and music educator, Jeff Steinberg's work continues to span the professional spectrum which includes spectacular Jazz, Big Band, and Orchestral recordings as well as original scores for advertising, television, and film.

Upon graduating from the Berklee School in 1969, he joined The Glenn Miller Orchestra under the direction of Buddy DeFranco and toured the United States, Canada, Great Britain and Japan. Since then, he has worked with such luminaries as Maynard Ferguson, Count Basie, Stan Kenton, Perry Como, and Michel Legrand, and produced and arranged music for the advertising campaigns of General Motors, McDonald’s, ALCOA, The Monsanto Company, TimeLife and others. He has arranged, conducted, and performed with and for The London Symphony, Scottish National Orchestra, London Philharmonic Orchestra, the orchestras of Nashville, Detroit and Tampa, as well as Randy Newman, Anne Murray, Art Garfunkel, Roberta Flack, Michael Feinstein, Olivia Newton-John, and Paul Anka.

Steinberg currently serves as a frequent POPS Conductor for The Nashville Symphony and other orchestras with whom his productions of “Jazz At The Symphony” featuring the talents of Jeff Coffin, Denis Solee, Mark Douthit (The Other Three Tenors), Beegie Adair, Lori Mechem, Rod McGaha, Jay Patten, George Tidwell, Annie Sellick, Sandra Dudley and others have drawn critical acclaim and sell-out crowds.

Cafe Cubano

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Georgia Gibbs - The Best Of Georgia Gibbs: The Mercury Years

Bitrate: MP3@320K/s
Time: 65:06
Size: 149.1 MB
Styles: Vocal pop
Year: 1996
Art: Front

[2:26] 1. Kiss Of Fire
[2:27] 2. Tom's Tune
[2:58] 3. While You Danced, Danced, Danced
[2:50] 4. Cry
[2:25] 5. So Madly In Love
[2:37] 6. My Favorite Song
[2:08] 7. Seven Lonely Days
[2:29] 8. For Me, For Me
[2:42] 9. The Bridge Of Sighs
[2:59] 10. Home Lovin' Man
[2:31] 11. I Love Paris
[2:47] 12. Autumn Leaves
[2:21] 13. Somebody Bad Stole De Wedding Bell
[2:04] 14. My Sin
[2:58] 15. How Did He Look
[1:54] 16. Wait For Me Darling
[4:13] 17. It's The Talk Of The Town
[2:30] 18. Tweedle Dee
[2:17] 19. Dance With Me Henry (Wallflower)
[2:29] 20. Sweet And Gentle
[2:29] 21. I Want You To Be My Baby
[2:47] 22. Goodbye To Rome
[2:15] 23. Kiss Me Another
[2:45] 24. Happiness Is A Thing Called Joe
[2:35] 25. Happiness Street

The Best of the Mercury Years contains 25 tracks from Georgia Gibb's tenure at Mercury Records. Over the course of the compilation, all of the vocalist's charting singles -- including the number one hits "Kiss of Fire" and "Dance With Me Henry" -- are included, as well as terrific lesser-known numbers which help make this album the definitive retrospective of Gibb's career. ~Thom Owens

The Best Of Georgia Gibbs: The Mercury Years

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Larry Goldings, Harry Allen - When Larry Met Harry

Bitrate: MP3@320K/s
Time: 52:34
Size: 120.4 MB
Styles: Piano Jazz, Saxophone jazz
Year: 2011
Art: Front

[3:12] 1. Morning Has Broken
[4:49] 2. Slo-Boat
[3:02] 3. The Look Of Love
[4:10] 4. Lucky Am I
[3:53] 5. Benny's Dream
[6:44] 6. Sous Le Ciel De Paris
[5:40] 7. Salad Days
[4:09] 8. Miles Above
[4:13] 9. Bud's In Bloom
[5:11] 10. I Can See Forever
[4:26] 11. Valse D'antan
[3:00] 12. Hester Street, 1896

Larry Goldings: piano, bells, vibes, organ; Harry Allen: tenor saxophone; Doug Weiss: bass (3, 5, 6, 8, 10, 11); Neil Miner: bass (2, 4, 7, 9); Andy Watson: drums.

There is always a place in the world for beautifully played jazz, where the saxophonist doesn't sound like he's trying to inflict pain on his horn, and the pianist just hits all the right notes. Tenor player Harry Allen and his keyboard partner, Larry Goldings, are the musicians, and the album is When Larry Met Harry.

Of the twelve tracks on the record, eight were penned by Goldings, which is noteworthy because they would sound right at home with a 1950s Ben Webster combo playing standards. They are mostly slow to mid-tempo tunes with an emphasis on melody and tasteful presentation. Mercifully, the affair never dips into a syrupy morass, even on "Benny's Dream," which features a string section in the background—a potential kitschy trap. The device, which is only deployed on this track, adds just enough effect to compliment the tune without overwhelming it.

"Bud's In Bloom," the most up-tempo song of the set, shows off some solid bebop chops in the tradition of Charlie Parker's best compositions, but without any frenetic eruptions to upset the overall tone of the record. This band can cook, but it does so in good taste. One of the few covers on the date, Burt Bacharach's "The Look of Love," brings the syncopated bounce of the rhythm section—drummer Andy Watson and bassist Doug Weiss—forward into the mix, as the leaders lay back on a song that's as much about the notes that aren't played as the ones that are.

Despite its generally laconic pace, this is a tautly performed album. The musicians are clearly in sync with each other, and there are virtually no musical loose ends in evidence. Allen is a buttery, warm player with an elegant tone, and a gentle but insistent presentation. Goldings sticks mostly to the piano, but overlays some very subtle keyboard accents throughout. The production values are very strong, with a natural presentation and big wide soundstage. The piano, in particular, sounds very full and lifelike, captured with all of its harmonic textures intact. ~Greg Simmons

When Larry Met Harry

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Junior Cook - The Place To Be

Bitrate: MP3@320K/s
Time: 60:32
Size: 138.6 MB
Styles: Saxophone jazz
Year: 1989
Art: Front

[ 5:02] 1. Cedar's Blues
[11:36] 2. I Should Have Known
[ 5:34] 3. Are You Real
[ 4:30] 4. She Rote
[ 9:01] 5. Gnid
[ 7:49] 6. This Is The Place To Be
[ 8:52] 7. Over The Rainbow
[ 8:04] 8. Cup Bearer

This 1988 recording is the first of three excellent recordings under Junior Cook's leadership on the Steeplechase label. This Europeon label seems to record older, lesser known jazz musicians that U.S. labels won't touch. The description "lesser known" applies to Junior as well as any description. Although he has had a long and distinguished musical career, he was eclipsed by such tenor giants as Coltrane and Rollins. He has played with Horace Silver, Cedar Walton, Blue Mitchell, and led his own groups. He died at age 58 in 1992. In the last few years of his life, he was a featured soloist in the McCoy Tyner Big Band.(If you haven't heard this band, get their recordings.)

He is a fine, swinging hard bop tenor player. If anything, he reminds me of Hank Mobley and George Coleman, who are also lesser known greats. Not bad company. The quartet features Mickey Tucker on piano and a fabulous drummer, Leroy Williams. Mickey Tucker may not be a star, but he plays brilliantly. Wayne Dockery ably holds the bass chair. This quartet swings with a joyful abandon. Although the tune selection includes lesser known originals and standards, they are delightful tunes, which this group grabs a hold of takes to the skies. ~A Jazz Lover Since 1960/Amazon

The Place To Be

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Antonio Carlos Jobim, Elis Regina - Elis & Tom

Bitrate: MP3@320K/s
Time: 37:57
Size: 86.9 MB
Styles: Bossa Nova, Latin jazz
Year: 1974/2009
Art: Front

[3:32] 1. Águas De Março
[1:42] 2. Pois E
[3:51] 3. Só Tinha De Ser Com Você
[2:16] 4. Modinha
[2:42] 5. Triste
[3:56] 6. Corcovado
[1:43] 7. O Que Tinha De Ser
[3:03] 8. Retrato Em Branco E Preto
[1:38] 9. Brigas Nunca Mais
[2:03] 10. Por Toda A Minha Vida
[2:45] 11. Fotografia
[2:20] 12. Soneto Da Separação
[3:11] 13. Chovendo Na Roseira
[3:08] 14. Inútil Paisagem

This beautiful -- and now legendary -- recording date between iconic Brazilian vocalist Elis Regina and composer, conductor, and arranger Tom Jobim is widely regarded as one of the greatest Brazilian pop recordings. It is nearly ubiquitous among Brazilians as a household item. Regina's voice is among the most loved in the history of Brazilian music. Her range and acuity, her unique phrasing, and her rainbow of emotional colors are literally unmatched, and no matter the tune or arrangement, she employs most of them on these 14 cuts. Another compelling aspect of this recording is the young band Jobim employs here and allows pretty free rein throughout. He plays piano on eight of these tracks, and guitar on two others, but the fluid, heightened instincts of these players -- guitarist Oscar Castro-Neves, Luizão Maia on bass, drummer Paulinho Braga, and pianist César Mariano -- reveal them to be at the top of their game for this rather informal date that does include a few numbers with a full orchestra. That said, most of these songs were completed as first takes with very little overdubbing. The ballads are stunning -- check"Modinha," written and arranged by Jobim. The chart, even with an orchestral backing, is amazingly terse because the composer knew Regina worked best within minimal settings. Only two minutes and 16 seconds in length, it nonetheless captures the Portuguese notion of "saudade" perfectly. Of course, most of these tunes are bossa novas. The opening "Águas de Março" features a deceptively simple cat-and-mouse vocal call and response, kicking the disc off on a light, cheerful note; it's a delightful and very sophisticated number, but it feels effortless. "Triste" is one of Jobim's finest tunes, and there is scarcely a better version of it than this one. Even with electric guitars (complete with a semi-funky solo in the middle eight) on top of the nylon strings, the gauzy yet pronounced rhythms and the languid melody delivered by Regina are gorgeous. "Corcovado" is done with an orchestra, full of lilting flutes and a deep string backdrop. It is mournful and sensual. Jobim plays guitar and piano here, and adds a hushed backing vocal to Regina's refrains. It's an unusual reading, but a stellar one. "Brigas, Nuncas Mais" is a wonderfully accented -- if brief -- bossa nova with all the percussion just above the threshold of hearing. It's all guitars, bass, and Regina in the first verse before the Rhodes piano and counterpoint enter near the end. She does more to express the true elegant sensuality of the bossa nova in a minute and 13 seconds than some singers have in a lifetime. Jobim's classic jazz ballad "Inútil Paisagem" is very difficult to deliver well, because it requires incredible restraint and emotion. Accompanied only by Jobim's piano -- and his all-but-whispered backing vocal -- this is truly one of Regina's greatest performances of the 1970s. It closes the album on a stunning high note, leaving nothing to be desired by the listener. ~Thom Jurek

Elis & Tom

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Herbie Mann - Caminho De Casa

Styles: Flute Jazz
Year: 1990
File: MP3@320K/s
Time: 53:45
Size: 123,4 MB
Art: Front

(6:34)  1. Caminho De Casa (Pathway Home)
(3:35)  2. Gabriela's Song
(7:48)  3. Aparecida
(4:55)  4. Your Body (Seu Corpo)
(4:23)  5. Pão E Poesia (Bread And Poetry)
(5:41)  6. Yesterday's Kisses
(8:48)  7. Anima (Soul)
(5:59)  8. Choro Das Aguas (Cry Of The Waters)
(5:59)  9. Doa A Quem Doer (No Matter Who It Hurts)

Flutist Herbie Mann and his group of the time (Jasil Brazz) perform contemporary Brazilian music on this CD, including three numbers by Ivan Lins. Some of the treatments are strictly easy listening or close to bossa nova, while others would fit into the "contemporary jazz" category. On a whole, this is a pleasing set, both as background music and for close listenings one of Mann's better ones from the past 20 years. ~ Scott Yanow https://www.allmusic.com/album/caminho-de-casa-mw0000317671

Personnel: Herbie Mann (flute, alto flute); Eduardo Simon, Mark Soskin (piano); Romero Lumbambo (guitar); Paul Socolow (bass); Ricky Sebastian (drums); Cafe (percussion)

Caminho De Casa

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Jaimee Paul - At Last

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 57:08
Size: 131,6 MB
Art: Front

(5:05)  1. At Last
(5:29)  2. Cry Me A River
(4:39)  3. Fever
(4:43)  4. Crazy
(3:16)  5. What A Difference A Day Makes
(5:02)  6. Summertime
(5:11)  7. Lover Man
(3:50)  8. Sentimental Journey
(5:04)  9. Stormy Weather
(4:07) 10. Whatever Lola Wants
(3:27) 11. Love, You Didn't Do Right By Me
(4:12) 12. You Belong To Me
(2:56) 13. Over The Rainbow

It is said that imitation is the sincerest form of flattery, but there are fine lines between imitation, derivation, and attribution. Nashville based singer Jaimee Paul is fond of classic jazz-pop singers, string arrangements, and ballads, as heard on this recording. Her voice is distinctive, borrowing from the phrasings of her idols, and at times Aretha Franklin. The thick arrangements by Jeff Steinberg overwhelm Paul's voice on many occasions, which in fact matches the over-enunciated phrasings the vocalist favors. There are songs which feature a smaller ensemble featuring pianist Beegie Adair and guitarist Jack Jezzro that work better musically and allow Paul's natural voice to shine through. All of the tunes here have been done a million times before, and not much is really added to previous versions, and there's a lack of real creative spark that might make any of these renditions more distinctive and unique. "At Last" is an unfortunate choice, given the timing of the controversy between Etta James and Beyoncé about its authenticity. 

Little Jimmy Scott rendered this a classic, a fact most people forget, but here Paul's restrained voice à la Sister 'Re and the soppy strings leave it lying flat. "Summertime" also suffers from saccharine overarrangement, while "Sentimental Journey" is better, but exposes Paul's propensity to force overemphasized phrases. Happily, she's more relaxed and open-ended with the understated skyline strings during "Lover Man," the simpler "Love, You Didn't Do Right by Me," and "You Belong to Me" where her limited range is well suited. A bossa nova take of "What a Difference a Day Makes" (incorrect title) with Adair's quartet is a more interesting arrangement, Paul sounds more like herself as Jezzro's strident rhythm chords pace "Fever," and the finale "Over the Rainbow" with just Adair showcases the spare, subtle sounds Paul will hopefully explore on a future recording. Steinberg boasts a talented orchestra that could have been more effective with trimming, and showcases some fine cameo solos from trumpeter Leif Shires (Paul's husband) tenor saxophonist Dennis Solee, and especially Jezzro. This recording lacks risk-taking and expansiveness, elements that will hopefully factor into Jaimee Paul's future work, which needs a bigger and broader repertoire if she wants to be considered as, like her influences, a jazz vocal artist. ~ Michael G.Nastos https://www.allmusic.com/album/at-last-mw0000807765

At Last

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Beegie Adair - Dancing In The Dark: A Tribute To Fred Astaire

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 45:10
Size: 104,1 MB
Art: Front

(3:46)  1. Cheek To Cheek
(3:20)  2. The Way You LooK Tonight
(3:32)  3. Dancing In The Dark
(3:22)  4. Puttin' On The Ritz
(4:46)  5. Change Partners
(3:51)  6. They Can't Take That Away From Me
(4:02)  7. By Myself
(3:59)  8. Nice Work If You Can Get It
(3:01)  9. Pick Yourself Up
(3:51) 10. Let's Face The Music And Dance
(3:23) 11. They All Laughed
(4:11) 12. Isn't it A Lovely Day

Ms. Beegie Adair is one of those musicians many people have heard without realizing it. As a regular Nashville session hand, she has played with no less than Johnny Cash and Dolly Parton. Adair also has had a parallel career as a jazz pianist in the genially lyrical mold of Errol Garner and George Shearing. Dancing In The Dark is a tribute to the music sung by and associated with Fred Astaire. (While not a jazz singer per se, Astaire himself recorded with jazz musicians such as Oscar Peterson on occasion.) Accompanied only by bass and drums, Adair imbues these classic, old-school romantic songs with good-natured swing, keeping that aspect of Astaire's flair intact. ~ Mark Keresma https://www.allmusic.com/album/dancing-in-the-dark-a-tribute-to-fred-astaire-mw0000794474

Personnel: Beegie Adair (piano); Roger Spencer (bass instrument); Chris Brown (drum).

Dancing In The Dark: A Tribute To Fred Astaire

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Lew Tabackin & His Tokyo Friends - In A Sentimental Mood

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 64:41
Size: 150,3 MB
Art: Front

( 6:21)  1. But Not For Me
( 6:02)  2. Laura
( 6:01)  3. When Your Lover Has Gone
( 6:19)  4. All This and Heaven Too
( 4:45)  5. Will You Still Be Mine?
( 6:42)  6. Speak Low
( 6:53)  7. Sophisticated Lady
( 6:36)  8. Stablemates
(10:01)  9. In A Sentimental Mood
( 4:57) 10. Frolic Sam

Lew Tabackin is one of the few jazz musicians who has been able to develop completely different musical personalities on two instruments. As a tenor saxophonist, he is a hard-driving, tough-toned player reminiscent of Sonny Rollins, Don Byas, and sometimes, tone-wise, Ben Webster. But as a flutist, he sounds like a highly expressive master of Asian classical music. Whether heard as the main soloist with his wife Toshiko Akiyoshi's jazz orchestra or jamming with a small group, Tabackin has been a masterful player for the past several decades.

Tabackin studied at the Philadelphia Conservatory from 1958-1962 as a flute major. After serving in the Army and moving to New York in 1965, he worked with Maynard Ferguson, the Thad Jones-Mel Lewis Orchestra, Joe Henderson, Elvin Jones, and the Tonight Show Band, among others. From 1968-1969, he was a main soloist with the Danish Radio Orchestra. After marrying Toshiko Akiyoshi, he toured Japan with her (1970-1971). When they moved to Los Angeles in 1972, they formed her orchestra, which, thanks to Akiyoshi's arrangements and Tabackin's solo talents, became one of the top jazz big bands. In 1982, they relocated to New York, where the orchestra has continued on a part-time basis. Lew Tabackin has since played in many different small groups, remaining a brilliant improviser. He has recorded as a leader on an occasional basis through the years, most notably for Inner City (1974-1977), Ascent (1979), and Concord (starting in 1989). ~ Scott Yanow https://www.allmusic.com/artist/lew-tabackin-mn0000215652/biography

Personnel: Lew Tabackin - tenor sax;  Tsuyoshi Yamamoto – piano;  Yoshio "Chin" Suzuki – bass;  Jimmie Smith - drums

In A Sentimental Mood

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Lafayette Gilchrist - 3

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 54:11
Size: 124,3 MB
Art: Front

( 9:24)  1. Visitors
( 5:32)  2. In Depth
( 7:15)  3. Spheres of Existance
( 8:40)  4. The Last Train
( 7:20)  5. Volcano Red
( 5:41)  6. The Enquizator's request
(10:16)  7. Inside Outside

3 is Gilchrist's third album and his first trio release. He composed, arranged and throws every throbbing note down in the company of his Baltimore homeboys "Blue" Jenkins on bass and Nate Reynolds on drums. "The sound I was hearing in my head is coming from when I first heard Money Jungle," Gilchrist explains. "It's a trio record with Duke Ellington, Charles Mingus, and Max Roach. To me, it sounds like an orchestra being played by a trio. I was inspired to make something that sounded big and grandiose just like that."  Mission accomplished: Gilchrist and crew, especially drummer Reynolds, who once pounded beats for soul legend "Wicked" Wilson Pickett, rock this music hard. Jenkins and Reynolds often play so strong and fast in counterpoint to Gilchrist's forceful attack that their rhythms become runaway locomotives and it's often a marvel that the pianist can keep pace. Amazingly, Gilchrist does, and resurrects process structuralist ghosts like Art Tatum and Cecil Taylor (in "Volcano Red") and even Thelonious Monk ("The Equizinator's Request"). Gilchrist cryptically yet insightfully annotates each song title, so his description of "In Depth" can be read as "The pride of James Brown and the depth of inquiry of Andrew Hill," and of "Volcano Red" as "It's the way I like my band to play, like a pot boiling over." Gilchrist's rhythm section adds so much power and counterpoint to his playing that 3 often sounds like no other piano trio record. In the spry "Inside Outside," Gilchrist seems barely tethered to the rhythm section, and he gnaws on the introductory flurries of "Visitors" like a starving dog until the rhythm pumps up in volume and tempo, whipping his hands faster and faster. "The Equizinator's Request" majestically rocks and just keeps rolling, careening and plummeting as if trapped in rapids, full of an exciting sense of the unexpected, and of rollicking and funky fun. ~ Chris M.Slawecki https://www.allaboutjazz.com/3-lafayette-gilchrist-hyena-records-review-by-chris-m-slawecki.php

Personnel: Lafayette Gilchrist: piano; Anthony "Blue" Jenkins: bass; Nate Reynolds: drums.

3

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Cyrus Chestnut - Revelation

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 60:09
Size: 138,0 MB
Art: Front

(6:24)  1. Blues for Nita
(6:26)  2. Elegie
(6:11)  3. Lord, Lord, Lord
(3:28)  4. Macdaddy
(2:46)  5. Sweet Hour of Prayer
(7:22)  6. Little Ditty
(6:25)  7. 187
(6:39)  8. Dilemmas
(2:43)  9. Revelation
(5:07) 10. Proverbial Lament
(6:34) 11. Cornbread Pudding

On Revelation, Cyrus Chestnut offers 60 minutes of tasty, gospel- and blues-infused trio music. Both accessibility and virtuosity mark Chestnut's jazz playing, and his affinity for spirituals, hymns and down-home blues is evident in his emotional approach. He is fond of building momentum almost as if he were an evangelical preacher with repetitive and extended right-hand runs, and is most effective on the quicker, faster paced numbers. For this album, he is joined by Christopher J. Tomas (bass) and Clarence Penn (drums). The trio communicates well and swings hard. Nine of the 11 tracks on this, Chestnut's first release for Atlantic, are originals. Three of the album's best tracks are the bright, exciting "Elegie," the delicate solo vehicle, "Sweet Hour of Prayer" (backed only by Penn's brushes) and the pretty, original "Proverbial Lament." Many of the other tracks are played at faster tempos, none faster than "Macdaddy," on which he flexes his considerable chops. Revelation is a clean, enjoyable set led by a very promising young pianist. ~ Brian Bertolini https://www.allmusic.com/album/revelation-mw0000108247

Personnel: Cyrus Chestnut (piano); Christopher J. Thomas (bass); Clarence Penn (drums).

Revelation

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France D'Amour - En Love Majeur

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 45:53
Size: 105,6 MB
Art: Front

(3:19)  1. Je Me Sens Bien
(2:41)  2. À Travers Tes Yeux
(4:15)  3. Mon Coeur Acoustique
(2:46)  4. Puzzle
(2:36)  5. 1,2,3 Et Voilà
(3:16)  6. Les Cheveux Au Vent
(3:20)  7. Les 4 Doigts De La Main
(5:13)  8. On Est Fait! (Mix Radio)
(3:54)  9. J'en Fais Qu'à Mon Coeur
(3:45) 10. J'veux Rentrer Chez Nous
(3:12) 11. Smile
(4:01) 12. On Est Fait! (Mix Radio)
(3:31) 13. J'en Fais Qu'à Mon Coeur (Mix Radio)

Born France Rochon in March of 1966 in Quebec, France D'Amour was a singer/songwriter who released her first album, Animal, in 1992. 1998 found D'Amour taking up the role of Esmerelda in the musical Notre-Dame de Paris. Her string of hit records continued through to 2007, when she released her top forty album Les Autres. ~ Chris True https://itunes.apple.com/us/album/en-love-majeur/id716047333

En Love Majeur

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Theo Hill - Live At Smalls

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 68:25
Size: 159,2 MB
Art: Front

( 8:49)  1. Ellipse
( 9:55)  2. Teeth
( 7:54)  3. Four by Five
( 5:25)  4. Naima's Lullaby
( 7:07)  5. Iris
( 7:15)  6. Promise of the Sun
(12:56)  7. Mantra
( 9:00)  8. Without A Song

Theo Hill: Live at Smalls is pianist Theo Hill's debut recording as a leader on the SmallsLIVE label. On this set, Hill is joined by saxophonists Dayna Stephens and Myron Walden, bassist Joe Sanders and drummer Rodney Green. The recording pays homage to Hill's first appearance as a professional pianist in NYC at Smalls Jazz Club. After graduating cum-laude from the prestigious Jazz Conservatory at Suny Purchase University in 2004, he has toured extensively throughout five different continents and has been featured at hundreds of venues across the globe. ~ Editorial Reviews https://www.amazon.com/Theo-Hill-Live-at-Smalls/dp/B00QSX2VQ4

Personnel:  Theo Hill – Piano;  Dayna Stephens - Tenor Sax/EWI;  Myron Walden - Alto Sax;  Joe Sanders – Bass;  Rodney Green - Drums

Live At Smalls

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Sharel Cassity - Just for You

Styles: Saxphone Jazz
Year: 2008
File: MP3@320K/s
Time: 39:39
Size: 91,5 MB
Art: Front

(5:29)  1. Phibes' Revenge
(6:01)  2. Just for You
(5:57)  3. Irazu (Wish You Were Here)
(5:03)  4. Lover Man
(4:05)  5. Wow
(7:03)  6. Roditi's Dream
(5:59)  7. Cherokee

Crafting a wide range of bop-infused musical styles and playing odd-metered grooves on familiar standards to original compositions, alto saxophonist Sharel Cassity presents her recording debut as leader with a truly enticing session of jazz that is Just for You. Based in New York and an educator by profession, Cassity academically trained at both the New School and Juilliard, and is a talented woodwind specialist who also performs on all saxophones, flutes and the piccolo. On this album however, she sticks with the alto and demonstrates her searing chops on the instrument throughout. Her previous recording experience includes appearing on trombonist Michael Dease's Clarity (Blues Back Records, 2007). Here she returns the favor, with Dease performing and contributing three compositions, including the title piece. Cassity assembles a power-packed woodwind section that, besides herself and Dease, includes Tom Barber on trumpet and flugelhorn and Pete Reardon-Anderson on tenor sax. Altogether the altoist records with a seven-piece light ensemble that delivers a stellar supporting performance. Cassity kicks off the program in blistering fashion on Dease's rapid-moving opener, "Phibes' Revenge," demonstrating her fiery side. In stark contrast to the hot beginning, the music mellows out on the cushy title tune, which features Dease as well as bassist Paul Beaudry on stylish solos. It is Cassity however, who puts the exclamation point on this one with one of her better performances of the album.  

One piece not to be missed is Cassity's rendition of Roger Ramirez's classic, "Lover Man," where her soft alto tone sets the stage for pianist Adam Birnbaum's beautiful treatment of the song, ending with a high-register alto phrase. Cassity blends in and becomes one of the guys as the entire horn section kicks in with a terrific Tom Barber arrangement of Lennie Tristano's lively "Wow." She again separates herself from the group, leading the music on Dease's following "Roditi's Dream." There have been many versions of Ray Noble's jazz standard, "Cherokee," but Cassity provides a special performance here, blowing one mean sax in wicked frenzied fashion. The tune seems to fly by even though Vincent Ector weighs in with a pounding on the drums, a finale over as quickly as it began. Just for You is a highly enjoyable debuts that begs the question: where has this artist been and why has she not been heard from before? With this very impressive first offering, Sharel Cassity makes beautiful music and does it Just for You. 

~ Edward Blanco https://www.allaboutjazz.com/just-for-you-sharel-cassity-dw-review-by-edward-blanco.php

Personnel: Sharel Cassity: alto saxophone; Michael Dease: trombone; Tom Barber: trumpet, flugelhorn; Pete Reardon-Anderson: tenor saxophone; Adam Birnbaum: piano; Paul Beaudry: bass; Vincent Ector: drums.

Just for You

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Stan Getz - Live in Paris

Styles: Saxophone Jazz 
Year: 1996
File: MP3@320K/s
Time: 57:10
Size: 131,7 MB
Art: Front

( 6:04)  1. Un Grand Amor
( 5:02)  2. Blood Count
( 8:23)  3. Airegin
( 7:28)  4. Blue Skies
( 9:46)  5. On The Up And Up
(10:16)  6. I Wanted To Say
(10:07)  7. Tempus Fugit

One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself, and to his credit he never stopped evolving. Getz had the opportunity to play in a variety of major swing big bands while a teenager due to the World War II draft. He was with Jack Teagarden (1943) when he was just 16, followed by stints with Stan Kenton (1944-1945), Jimmy Dorsey (1945), and Benny Goodman (1945-1946); he soloed on a few records with Goodman. Getz, who had his recording debut as a leader in July 1946 with four titles, became famous during his period with Woody Herman's Second Herd (1947-1949), soloing (along with Zoot Sims, Herbie Steward, and Serge Chaloff) on the original version of "Four Brothers" and having his sound well-featured on the ballad "Early Autumn." After leaving Herman, Getz was (with the exception of some tours with Jazz at the Philharmonic) a leader for the rest of his life. During the early '50s, Getz broke away from the Lester Young style to form his own musical identity, and he was soon among the most popular of all jazzmen. He discovered Horace Silver in 1950 and used him in his quartet for several months. After touring Sweden in 1951, he formed an exciting quintet that co-featured guitarist Jimmy Raney; their interplay on uptempo tunes and tonal blend on ballads were quite memorable. Getz's playing helped Johnny Smith have a hit in "Moonlight in Vermont"; during 1953-1954, Bob Brookmeyer made his group a quintet and, despite some drug problems during the decade, Getz was a constant poll winner. After spending 1958-1960 in Europe, the tenor man returned to the U.S. and recorded his personal favorite album, Focus, with arranger Eddie Sauter's Orchestra. Then, in February 1962, Getz helped usher in the bossa nova era by recording Jazz Samba with Charlie Byrd; their rendition of "Desafinado" was a big hit. During the next year, Getz made bossa nova-flavored albums with Gary McFarland's big band, Luiz Bonfá, and Laurindo Almeida, but it was Getz/Gilberto (a collaboration with Antonio Carlos Jobim and João Gilberto) that was his biggest seller, thanks in large part to "The Girl from Ipanema" (featuring the vocals of Astrud and João Gilberto).

Getz could have spent the next decade sticking to bossa nova, but instead he de-emphasized the music and chose to play more challenging jazz. His regular group during this era was a piano-less quartet with vibraphonist Gary Burton, he recorded with Bill Evans (1964), played throughout the 1965 Eddie Sauter soundtrack for Mickey One, and made the classic album Sweet Rain (1967) with Chick Corea. Although not all of Getz's recordings from the 1966-1980 period are essential, he proved that he was not afraid to take chances. Dynasty with organist Eddie Louiss (1971), Captain Marvel with Chick Corea (1972), and The Peacocks with Jimmy Rowles (1975) are high points. After utilizing pianist Joanne Brackeen in his 1977 quartet, Getz explored some aspects of fusion with his next unit, which featured keyboardist Andy Laverne. Getz even used an Echoplex on a couple of songs but, despite some misfires, most of his dates with this unit are worthwhile. However, purists were relieved when he signed with Concord in 1981 and started using a purely acoustic backup trio on most dates. In 1987, Getz had a large tumor removed from behind his heart. Subsequent tests revealed that he had liver cancer and cirrhosis, most likely due to years of substance abuse. Undeterred, Getz embarked on a strict, herbal-based diet hoping to treat the lymphoma. By fall 1988, MRI scans revealed that the tumor had dramatically shrunken in size. Buoyed by the good news, Getz remained active, touring with pianist Kenny Barron and recording the albums Apasionado (1990) with Herb Alpert and You Gotta Pay the Band (1990) with vocalist Abbey Lincoln. Sadly, Getz's cancer never fully abated and he died on June 6, 1991 at age 64. His final recording, 1991's People Time, is (despite some shortness in the saxophonist's breath) a brilliant duet set with Barron. ~ Scott Yanow https://www.allmusic.com/artist/stan-getz-mn0000742899/biography

Personnel:  Stan Getz - tenor saxophone;  Jim McNeely – piano;  Marc Johnson – bass;  Victor Lewis - drums

Live in Paris

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