Bobby Previte's Weather Clear Track Fest - Hue And Cry

Styles: Jazz, Post Bop
Year: 1993
File: MP3@320K/s
Time: 57:55
Size: 133,4 MB
Art: Front

( 4:05)  1. Hubbub
( 5:59)  2. Smack-Dab
( 6:04)  3. Move Heaven And Earth
(14:10)  4. 700 Camels
( 7:03)  5. Valerie
(13:16)  6. Hue And Cry
( 7:15)  7. For John Laughlan And All That We Stood For.

Hue and Cry features an eight-strong, all-star version of Bobby Previte's Weather Clear, Track Fast band and results in one of his finest efforts as a leader. Along with Henry Threadgill, Previte, in the late '80s and early '90s, was one of the leading figures of avant-garde jazz, using mid-sized groups to explore complex compositional ideas more than as solo vehicles. He's also extremely adept at tension-and-release structures, often using what might have been an introductory riff for anyone else as an extended phrase, wringing out every bit of melody from it, and leaving the listener in a juicy state of anticipation for the eventual burst into the central theme. Previte uses an interesting pairing up in this band, with Don Byron and Marty Ehrlich often both playing clarinet, Robin Eubanks and Eddie Allen on brass, and, most prominently, Anthony Davis on piano alongside Larry Goldings' organ. Goldings is particularly out front on many of the pieces here, giving the band a very different cast from their earlier recording. 

Only the ambitious "700 Camels" fails to cohere completely; the remainder of the tracks all have both imaginative writing and (at the least) solid playing and soloing. On the other hand, the similarly lengthy title track pulls all the right switches, layering material in a rich fabric and hurtling toward a satisfying climax. The closing number is an unusual dirge, with Previte playing a martial rhythm, Davis trickling out single notes like rainfall, and Ehrlich keening on soprano. Recommended! ~ Brian Olewnick  https://www.cduniverse.com/search/xx/music/pid/1497658/a/hue+and+cry.htm

Personnel: Bobby Previte (drums), Marty Ehrlich (alto & tenor saxophones, clarinet, bass clarinet), Don Byron (baritone saxophone, clarinet), Eddie Allen (trumpet), Robin Eubanks (trombone), Anthony Davis (piano), Larry Goldings (organ), Anthony Cox (bass)

Hue And Cry

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Esther Williams - Inside Of Me

Styles: Vocal, Soul 
Year: 1981
File: MP3@320K/s
Time: 36:51
Size: 85,3 MB
Art: Front

(7:49)  1. I'll Be Your Pleasure
(3:55)  2. Inside Of Me
(3:40)  3. Make It With You
(3:40)  4. You Are The Spice Of My Life
(4:28)  5. You Can Use It
(5:56)  6. Ready For Love
(3:42)  7. Who Said It Was Wrong
(3:38)  8. You Can Have It All

When Esther Williams' Inside of Me was first released in 1981, there was a lot of talk about how disco had died. To hear some people tell it, disco was so out of fashion in 1981 that even Donna Summer was trying to be new wave. But truth be told, disco was quite plentiful in 1981. Disco never died; it evolved and diversified, and new terms emerged in the ‘'80s (dance-pop, deep house, Hi-NRG). Williams enjoyed some exposure in dance clubs in 1981, especially with her seductive hit "I'll Be Your Pleasure" (which opens this album). Inside of Me, which the Brooklyn-based Funky Town Grooves reissued on CD in 2011, doesn't get into Euro-disco at all; rather, Williams favors a disco-soul approach (à la Loleatta Holloway or Jocelyn Brown) on club-friendly offerings such as "I'll Be Your Pleasure," "You Can Have It All," and "You Can Use It." 

But it would be a mistake to think that Inside of Me is strictly an album of uptempo dance grooves. Actually, the slower jams are very much in the Philadelphia soul vein, including "You Are the Spice of My Life," "Ready for Love," and the title song. So even though some parts of this 36-minute CD are club-friendly, other parts of it have a lot of quiet storm appeal. Inside of Me was not a huge commercial hit when it first came out on LP back in 1981; regardless, this is a solid effort from the talented but underexposed Williams (who married Washington, D.C.-based jazz saxophonist Davey Yarborough and shouldn't be confused with the actress who appeared in all those MGM musicals in the '40s and '50s). And it is good to see Inside of Me reissued on CD after being out of print for many years. ~ Alex Henderson https://www.allmusic.com/album/inside-of-me-mw0000847118               

Inside Of Me

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Gare du Nord - Kind of Cool

Styles: Smooth Jazz, Future Jazz 
Year: 2003
File: MP3@320K/s
Time: 54:47
Size: 143,4 MB
Art: Front

(5:11)  1. Kind Of Cool 1 (Inner City Groove)
(5:49)  2. Sold My Soul
(4:14)  3. L'Hôtel Beat
(6:08)  4. Panchira (Rasa Clinic, 1962)
(5:29)  5. Profondo Blu
(4:13)  6. Dark Chill
(4:59)  7. Kind Of Cool 2 (Miles Et Juliette)
(4:35)  8. Chinese Whispers, Japanese Strings
(3:38)  9. You're So Tight
(4:45) 10. Yo... Que Pasa?
(4:27) 11. I'm Not A Woman, I'm Not A Man
(1:13) 12. Très Cool

As I fluttered through the album shelf in a well-known store, one album caught my eye more than others. Perhaps it is the exotic French inscription, Gare du Nord, or the oval and intriguing wrapping, but in my opinion the combination of the two is the winner, since at that time the journey still clung to me following my return from Paris and I have always loved the purple color.  Gare du Nord is the busiest train station in Europe and is located in the heart of Paris. The name means "the station of the north", and I think it is the most appropriate name for this pair, thanks to the versatility, urbanity, speed and changing styles that characterize railway stations in general and their music in particular. This is the second album of the French-inspired duo, which originally came from Germany and Belgium. Most of the songs were produced in large industrial cities such as Memphis, Berlin and London, and the album was produced in just three weeks. Despite the little time, the album is a delightful and colorful combination of sounds, languages and colors. A combination of different styles of blues, bossa nova, electronic music, jazz and a lot of soul that create one album with a clean and light sound and an uneven but complete musical line.

The album opens with the Kind Of Cool section, which has a distinctly urban feel. It was as if, at this moment, the door of the train car closed and galloped toward the next stop. A pleasant start accompanied by light jazz touches and an urban groove. Next, Sold My Soul, presents a different and different side from the opening, a combination of blues music touching along with wonderful and deep text, all of which is won by the pleasant voice of C Robert Walker who collaborates with the duo. In the fourth section, Panchira, Indian oriental music is associated with an amazing female voice and involves Western electronic rhythm. Panchira is a Japanese expression that was said to a Japanese girl with her skirt up and part of her body exposed. The album cover shows this picture not by chance. To a certain extent I felt that the duo had left no room for coincidence and closed all the edges, creating a clean and accurate album. The sixth track, Dark Chill , was written in the wake of the Twin Towers disaster, a symbol of the dark moments that accompany our lives. There is a mix of chilling media reports with threatening and mesmerizing music.

Later on the album the train continues to gallop between languages ??and places, Busana Nova melodies, light jazz and Latin rhythms. I could really feel the city, the place and the atmosphere in the wake of rooted music. The track that closes the album, Tres Cool, is like the final station, the sound of the groove from the opening returns again in a way that sums up the whole long trip. The auctioneer calls everyone to come down. Beyond the pleasant sounds that make you want to lie on a couch in the sun, it seems that the album is a quick urban creation of changing styles and sounds from one of the creators' ears. Beyond that, it hints at the universality of the Gare du Nord music center. The variety of styles that characterize the album gives it a special touch of internationality, a kind of touching the soul while riding a cool train around the world. When the final station is not known, every listener can choose a place to go down. Translate by Google  http://www.106fm.co.il/albums/12771

Kind of Cool

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Vincent Herring - Mr. Wizard

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 49:31
Size: 115,8 MB
Art: Front

(4:28)  1. All God's Children Got Rhythm
(4:43)  2. Citizen Of Zamunda
(4:05)  3. Hopscotch
(5:04)  4. You Leave Me Breathless
(5:04)  5. Four By Five
(7:43)  6. Encounters
(5:21)  7. Cassius
(7:19)  8. The Walk Home
(5:40)  9. Mr. Wizard

With more than a dozen discs as a leader under his belt, Vincent Herring has developed a foolproof prescription for making great records: employ compatible sidemen, choose appealing compositions and approach the music with zealous devotion. On Mr. Wizard the brilliant saxophonist follows this formula faultlessly and the result is another rewarding listening experience. Herring has one of the most recognizable voices on alto saxophone in music today and is increasingly developing his own personality on soprano as well, as heard on three of the nine tunes here. Joined by young veterans of his recent recordings  trumpeter Jeremy Pelt, bassist Richie Goods, drummer E.J. Strickland and an impressive newcomer in pianist Danny Grissett the leader navigates his quintet through a program mainly comprised of originals by the group’s members.  Beginning with a bebopping arrangement of “All God’s Children Got Rhythm,” featuring alternating alto and trumpet calls and responses in the melody and four bar exchanges with Strickland, the band shows where it’s coming from before Goods’ “Citizen Of Zamunda,” with its modernistic Native American sounding melody and rhythm featuring the leader’s soprano, demonstrates where it can go. Grissett’s “Hopscotch,” named for its stuttering introduction, is an engaging line that might easily be mistaken for a Horace Silver classic. Herring’s impassioned alto is particularly attractive on “You Leave Me Breathless.” The quintet fires up McCoy Tyner’s tricky “Four By Five” with admirable aplomb, breathing new life into a classic from a still neglected period of the jazz repertory. A second Grissett original, “Encounters,” is an harmonic exploration of the territory originally mined by Miles Davis’ ‘60s quintet, with the entire group blending into an expressive impressionism propelled by Strickland’s provocative percussion discussions. A pair from the pen of Pelt, “Cassius” and “The Walk Home,” the former a swinging affair and the latter a pensive waltz, demonstrates the trumpeter’s strength as a composer. Herring wraps up the date with his own “Mr. Wizard,” a Jazz Messengerish anthem that gives everybody in the band the kind of workout you can expect to hear in one of their exciting live performances. ~ Russ Musto https://www.allaboutjazz.com/mr-wizard-vincent-herring-review-by-russ-musto.php

Personnel: Vincent Herring: Alto Sax, Soprano Sax; Danny Grissett: Piano; Richie Goods: Bass; Jeremy Pelt: Trumpet; E.J. Strickland: Drums.

Mr. Wizard

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Louis Hayes - Serenade For Horace

Styles: Jazz, Post Bop

Year: 2017

File: MP3@320K/s

Time: 59:00

Size: 135,5 MB

Art: Front

(4:53)  1. Ecaroh

(5:20)  2. Señor Blues

(5:51)  3. Song For My Father (feat. Gregory Porter)

(4:08)  4. Hastings Street

(5:14)  5. Strollin'

(5:55)  6. Juicy Lucy

(5:03)  7. Silver's Serenade

(6:44)  8. Lonely Woman

(5:01)  9. Summer In Central Park

(5:49) 10. St. Vitus Dance

(4:56) 11. Room 608

This gem of a tribute album is, in the words of the poet Wordsworth, a "recollection in tranquility" conceived and led by drummer Louis Hayes in memory of his beloved lifelong friend, pianist Horace Silver. In 1956, Silver invited Hayes to New York City from his native Detroit to join the Horace Silver Quintet, which produced a series of ground-breaking Blue Note albums. Now, at 80, Hayes' drumming is as superb and as youthful as ever, a reason in itself to have this album. He brings together a group of seasoned, dedicated musicians to honor Silver, not by imitating or outdoing him, but by playing his music with great fidelity to Silver's ideas and the hard bop period which he helped to innovate. Thankfully, Hayes had the wisdom neither to copy nor expound upon but definitely emulate Silver's contribution in many respects. Pianist Tom Lawton has aptly summarized Silver's unique playing as follows: "Horace had a mixture of a very guttural approach to bebop: a percussive right-hand attack and often very raw, drum-like left-hand accents, (best example: "Opus de Funk"). He also explored a funky, gospel-tinged, soul and groove influenced music ("Song For My Father") that had a unique feel because of his father's origin in the island of Cape Verde." The Cape Verde Islands off the coast of West Africa were slave trade transit points to South America and the Caribbean and where Creole culture -so important to jazz originated, and which shares the Portuguese influence with Brazil. Silver composed his well- known "Song for My Father" after a trip to Brazil that profoundly influenced his subsequent playing. Silver was a prolific composer, sometimes adding his own lyrics. Most of his originals on this album are from the extended and extensive Blue Note recordings between 1952 and 1981. "Ecaroh" (Horace spelled backwards!) and "Room 608" are from the pre-Hayes Jazz Messenger period in which hard bop was literally invented. The album provides a retrospective that is firmly rooted in Silver and hard bop, but is more laid back and less feisty than the original Silver recordings.

The first tune, "Ecaroh" presages the whole album. Hayes' drumming is superb and measured, in contrast to the banal prestidigitation we hear too often. His swing is lighter and more subtle than in the Silver era, perhaps influenced a bit by Elvin Jones. The horn players Abraham Burton on tenor saxophone and Josh Evans on trumpet, vibraphonist Steve Nelson, and bassist Dezron Douglas are completely in service of the music rather than inserting their own idiosyncracies. Next, the iconic "Señor Blues" is a tad slower than on the Silver recording Live at Newport '58 (Blue Note, 2008). Hayes and the group emphasize the R&B influence over the Latin rhythm implied in the title. The saxophone and trumpet work is sharp and clean, echoing Silver Newport cohorts Junior Cookand Louis Smith. Guest vocalist Gregory Porter does a fine if understated delivery of "Song for My Father" with inflections that bear a distinct resemblance to Kurt Elling. The Brazilian samba rhythm that influenced Silver in writing this song comes through clearly. Dee Dee Bridgewater's version (Love and Peace: A Tribute to Horace Silver, Verve, 1995) is faster and more intense. Porter is closer to Silver's intention, but Silver's inspired piano improvisations on this song are well worth going back to for their own sake. At the suggestion of the producer Maxine Gordon, Hayes wrote one original for the collection. "Hastings Street" was stimulated by his memories of Detroit and is a "classic" hard bop tune that is a prefect vehicle for solos, in this case by Burton, Evans, and Nelson. Some feather-like vibes comping by Nelson adds a special touch, and there is some generous co-improvising at the end, something Silver liked to do in his arrangements. "Strollin'" is a virtual replica of the Horace Silver Quintet version on Horace-Scope (Blue Note, 1960) with Junior Cook on tenor and Blue Mitchell on trumpet. "Juicy Lucy" features an outstanding saxophone solo by Burton. The group does a straightforward version of "Silver's Serenade," while Silver's "Lonely Woman" (not the Ornette Coleman tune) is notable for Bryant's extended piano tribute to Silver, which one has been waiting for all along! Silver had a sunny disposition on most days, and "Summer in Central Park" is, as the title suggests, a pleasant sunny day walk in the park. The title of the next tune, "St. Vitus Dance," portends something different but turns out not to be so. St Vitus Dance is a disease characterized by rapid, uncoordinated jerking movements. The version on this album swings so well that it is a cure for that disease rather than a symptom of it! The album ends with "Room 608," a fast-paced strictly bebop tune which shows the important Bud Powell influence on Silver. Silver could have become just another great bebop player, but he was wise enough to pursue his own voice, which, if we can judge from the lyrics of "Song for My Father," is a striving that came from the advice of his dad. And Louis Hayes is to be thanked for adhering to his stated goal: a loving remembrance and tribute to Horace Silver rather than a flashy post- modern pot-boiler. ~ Victor L.Schermer https://www.allaboutjazz.com/serenade-for-horace-by-victor-l-schermer.php

Personnel: Louis Hayes: drums and leader; Abraham Burton: tenor saxophone; Josh Evans: trumpet; Steve Nelson: vibraphone; David Bryant: piano; Dezron Douglas: bass. (Gregory Porter, vocalist, on Song for My Father.”)

Serenade For Horace

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Georgie Fame, Lena Ericsson, Lasse Samuelson - Georgie, Lena, Lasse

Size: 104,3 MB
Time: 42:38
File: MP3 @ 320K/s
Released: 1986/2010
Styles: Jazz/Pop
Art: Front

01. My Second Home (5:13)
02. O Georgia Moon (3:36)
03. Runaway (2:45)
04. My Ship (3:35)
05. Let The Rest Of The World Go By (2:59)
06. Yes Indeed (3:00)
07. Soon And Very Soon (3:38)
08. Come Sunday (4:03)
09. Georgia On My Mind (3:49)
10. Amazing Grace (3:12)
11. Sweet Perfection (3:07)
12. Stormy Weather (3:35)

Personnel:
Vocals – Georgie Fame, Lena Ericsson
Piano – Georgie Fame
Drums – Egil Johansen, Ola Brunkert
Flugelhorn – Lars Samuelson

Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Booker T. & the MG's, and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic. ~by Steve Huey

Georgie, Lena, Lasse

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Michel Camilo - Live In London

Size: 123,7 MB
Time: 53:29
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Piano Jazz
Art: Front

01. From Within (Live) (10:37)
02. The Frim Fram Sauce (Live) ( 5:51)
03. A Place In Time (Live) ( 8:08)
04. Island Beat (Live) ( 5:30)
05. Sandra's Serenade (Live) ( 6:26)
06. Manteca (Live) ( 7:48)
07. I Got Rhythm - Caravan - Sing Sing Sing (Live) ( 9:05)

While he may be best known for fronting dynamic trios, piano titan Michel Camilo does just fine by himself. There's tremendous propulsion, clarity, and strength in play when Camilo takes to the bench, and there's truly no place better to hear that than in a solo setting.

Camilo has explored this format on record before—first on Solo (Telarc, 2005), later on What's Up? (Okeh, 2013)—but those efforts spoke to his work in the studio. Live In London was captured on the stage, making it Camilo's first live solo record. In many respects, the distinction is unimportant. His dazzling technique, complete with Art Tatum-esque flourishes, classical allusions, and Latin jazz flair, rarely differs from album to album or place to place. And his directional compass typically points to the same realms. The real difference that's noticeable here is in how Camilo responds to the moment and, subsequently, how the music blooms. His pianistic proficiency on all three albums is incontestable—let's face it, the man's chops are out of this world—but the level of passion he projects on this one completely trumps what he brought to those aforementioned dates.

Those in attendance for this performance at The Queen Elizabeth Hall in June of 2015 were given a real treat, as Camilo clearly wasted no time getting down to business. "From Within," where rhapsodizing quickly gives way to fervent thoughts, kicks off the show, serving as a springboard into the pianist's world. Then Camilo provides a quick detour to another time and place on "The Frim Fram Sauce" before returning to his own oeuvre with a glowing and dazzling "A Place In Time." Two more originals follow, offering contrast in tempo and tone. "Island Beat," a dance-friendly Cuban treat with a montuno foundation, and "Sandra's Serenade," built on contemplative ground, couldn't be more different. Yet both speak directly to the artist's state of mind and artistic outlook.

To wrap things up, Camilo gives the audience some crowd-pleasers with substance and power. "Manteca" is a tour de force, grooving over its insistent bass line, darting here and there, pouncing, sprinting, and even taking a brief trip to a Harlem rent party; and the album-ending medley—a sweat-inducing trip through "I Got Rhythm," "Caravan," and "Sing Sing Sing"—plays as vaudeville and pure virtuosity rolled into one entertaining package. Michel Camilo's been operating on this high a level for decades, but he consistently remains something to marvel at. ~Dan Bilawsky

Live In London

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Judy Renaud & Eddie Tobin - A Time For Love

Size: 129,1 MB
Time: 55:22
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. A Time For Love (5:05)
02. A Foggy Day (3:02)
03. Early Autumn (4:43)
04. Besame Mucho (5:11)
05. Always On My Mind (3:11)
06. No Moon At All (3:21)
07. The Gentle Rain (5:08)
08. Cry Me A River (5:23)
09. The Island (5:49)
10. Everytime We Say Goodbye (5:10)
11. This Masquerade (5:04)
12. With You I'm Born Again (4:08)

I've always enjoyed the intimate club venues and the camaraderie of the local and out-of-town people I meet on a weekly basis. These are the folks that keep me going, that make me want to show up every night. They listen, they hear, and then they want to take the music home with them. This past year I spent some time in the studio with one of my favorite piano players, Eddie Tobin and we managed to record a few great songs in a short time. The result was three albums of jazz standards done the way we do them every night in the club. Just nice stuff!

Our first album, "When Love Comes Around The Corner, released in October 2016, is in it's second pressing thanks to our fans and friends. Wow! It's a great feeling to get these songs out there and to know that you, the listener, are enjoying the effort and helping make dreams and goals become realities.

"Something Cool," is the second album Eddie and I recorded this year and the title song is in tribute to one of my favorite female vocalists, June Christy. Hope I did it credit June! I am excited about this album that we released early 2017. Some great songs that don't get recorded that often anymore and they were fun to do.

"A Time For Love" is the third and final album in this series of jazz standards that Eddie and I recorded this past year and the choices here make a nice velvety bookend to the trilogy. Lots of great love songs to sit back and just listen to and enjoy. It will be released in November 2017.

I re-entered this world of music 25 years ago and have been lucky to spend time with some pretty amazing musicians both on the job and in classes and clinics. Jazz vocalists like Madeline Eastman whose credits include Director of the Stanford Jazz Clinic Vocal Workshop, and Artistic Director of Jazz Camp West who taught me to stretch, take chances and what it means to “swing” a song – no matter the tempo. Rebecca Paris, who I credit with making me aware of the importance of being authentic in my presentation of a song and telling the story so it can be understood and embraced by everyone listening. Mark Murphy who taught me why phrasing and dynamics are important in making a song interpretation my own. My husband, Tom Renaud who taught me that while I may be fronting the band, the best thing about the experience is being “part” of the band. And Diane Schuur, who after giving me a few critical pointers on presentation said, “I hope you are singing somewhere and often. You need to be heard.” Pretty fast company for me at the time. Still is! These are just some of the people who have been influential in helping me become the singer and performer I am today.

In my career I have always stuck around my home base where I live and play. Home for me was San Francisco for many years. I've also lived and worked in Ft. Lauderdale, Sacramento, Virginia Beach, Charlotte, San Jose, and for several years now, back in the Sarasota area of Florida. I've had the good fortune to perform with some of the most amazing musicians who, like me, have either stuck to their home base, or returned to their home bases after years on the road. We have the distinct pleasure of creating musical magic for ourselves and our fans. The list is long, but just to name a few musicians you might recognize, there is Steve Homan and Boyd Phelps in California. Jim Stack and Doug Henry in North Carolina. The After Six Big Band in Sacramento, opening for Pete Escovedo and Pancho Sanchez in a concert series with Nancy Wilson, Joe Williams and Louie Bellson. In the Sarasota area, Charlie Prawdzik, Fred Williams, and Mark Neuenschwander and concerts for the Sarasota Jazz Club. And for eighteen years my amazingly talented husband, Tom Renaud and I have worked a duo act wherever we've lived.

For the past five years, Eddie Tobin, my musical collaborator on this album, has become a huge part of my musical life. When we make music together it ebbs and flows, circles with energy and fun, softness and stillness, magical sounds and spaces. It just flows. We communicate and it feels good! Let me tell you a little about him.

Eddie Tobin is a piano player, arranger, vocalist, and entertainer extraordinaire and the consummate musician who truly cares about what he is presenting to the public. He started out on accordion at 5, piano at 11, and then studied music at the University of Miami with his mentor, Vince Laurence Maggio. For years he played around the Miami area, on cruise ships, and then performed all over the United States. Tell him where you are from and he has probably played there. Really! In 1987, he made Nashville his home for 15 years. He played for the Forester Sisters, opened for Kenny Rogers, played with Brenda Lee, and then became pianist and conductor for a show band for four years. Then came a seven and a half year ride as pianist, music director and conductor for Engelbert Humperdinck, performing all over the world at places like the London Palladium, Montreal’s Place Des Arts, the Universal Amphitheater in Los Angeles, and the Kremlin Palace of Moscow and traveling to Hong Kong, Australia, New Zealand, Germany, Belgium, and at various casinos in Las Vegas and around the country. Over the years his repertoire has grown to include a lot of genres. He covers most of it. For the past twelve years he has resided here on the west coast of Florida and has become one of Sarasota's fraternity of fine musicians and one of the busiest musicians in the area. Aren't we lucky!

I've always enjoyed the intimate club venues and the camaraderie of the local and out-of-town people I meet on a weekly basis. These are the folks that keep me going, that make me want to show up every night. They listen, they hear, and then they want to take the music home with them. And while it's been a long time coming, this album is a result of those requests. An album of requested favorites and some personal favorites. Two more albums are in production for release in 2017. Just like the kid I was so long ago, I just couldn't stop singing my songs. It's been quite a journey so far - one I wouldn't want to have missed for the world. And far from over!

A Time For Love

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Shane Theriot - Still Motion

Size: 103,8 MB
Time: 44:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Big Wig (4:34)
02. Just Sco Away (4:56)
03. F Thing! (3:16)
04. Long Money (4:23)
05. Yerba Mate Blues (5:52)
06. Iridescence (3:50)
07. Mid City Ditty (3:52)
08. The Water Was Cool, Perfect (4:25)
09. Cut And Dried (3:59)
10. At The End Of The Day (5:41)

Hailing from New Orleans, guitarist and producer Shane Theriot is a solo artist and upper-echelon session ace amid his stints with Hall & Oates, Ben Folds, and the Neville Brothers as the list goes on. Indeed, he has that soul-funk New Orleans vibe going on. But Theriot's far-ranging capabilities include jazz and blues, yet more importantly, he has that very special touch and feel that morphs into his musical persona, regardless of genre. On this outing, he assembles a formidable support system, including fabled New Orleans-based musicians, drummer Johnny Vidacovich and bassist James Singleton along with drummers extraordinaire, Jim Keltner and Kirk Covington, who alternate duties on a per-track basis.

The production is largely built in medium tempo funk and rock motifs with a few jazzy breakouts and other deviations or mini reconstruction efforts, marked by Theriot's crisply articulated phrasings via emphatic notes, crunching chord patterns and spirited solos. Moreover, the respective drummers inject solid beats, press rolls, off-beats, quirky tempo changes and punchy straight-four grooves with slick maneuvers intertwined into a given theme.

"Long Money" is an up-tempo ballad, featuring the guitarist's polytonal dynamics, framed with chutzpah and succinct melodies. Here, vibraphonist Matt Dillon adds soft colors, paired with the leader's congenial hooks. But "Mid City Ditty" is a swinging jazz blues, accelerated by Vidacovich's sweeping metrics and peppering accents. And the final track "At The End Of The Day," opens with Leni Stern's brief, yet uplifting spoken word, followed by Theriot's sublime voicings and sparkling solo that culminates into an airy mood-evoking tone poem, complete with tantalizing fabrics of sound.

While Theriot's previous solo albums have delved into the jazz-fusion space, while not forgoing the funk groove element, Still Motion is a downhome type venture, overhauled with a modern uplift, and abetted by the guitarist's technical savvy and compassionate performances. ~by Glenn Astarita

Personnel: Shane Theriot: guitars, lap steel, Omnichord, (bass on tracks 2, 4); Jim Keltner: drums (tracks 2, 4); Johnny Vidacovich: drums (tracks 3, 5, 6, 7, 10); James Singleton: upright bass (tracks 3, 5, 6, 7, 10); Kirk Covington: drums (tracks 1, 8, 9); Nate Wood: bass (track 1); Chris Maresh: bass (track 8); Leni Stern: voice on (track 10).

Still Motion

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Reta Watkins - That Christmas Feeling

Size: 100,2 MB
Time: 38:22
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Big Band, Pop, Xmas
Art: Front & Back

01. It's The Most Wonderful Time Of The Year (3:24)
02. Mary, Did You Know (3:04)
03. Have Yourself A Merry Little Christmas (5:54)
04. Sleigh Ride (3:39)
05. Christmas In Heaven (4:15)
06. Wonderful Christmastime (3:10)
07. I've Got My Love To Keep Me Warm (3:19)
08. Behold Emmanuel (4:34)
09. The Christmas Song (3:42)
10. White Christmas (3:15)

Clear-tone vocalist Reta Watkins keeps the songs and feel traditional on this Christmas album, also including a pair of impressive originals. Of the latter, the team of Jeremy Johnson and Paul Marino deliver deeply thoughtful and celebrative pieces “Behold Emmanuel” and “Christmas in Heaven” which fit well in any stocking stuffer.

Watkins sounds cozy with the Nelson Riddle-style arrangements on pieces like “I’ve Got My Love To Keep Me Warm” and “It’s the Most Wonderful Time of the Year.” Her voice glistens like the star on top of the tree on “Mary Did You Know” and is as inviting as mistletoe on “Sleigh Ride.” Nice mix of old and new! ~by George W. Harris

That Christmas Feeling

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Scott Bradlee's Postmodern Jukebox - The New Classics (Recorded Live!)

Size: 119,7 MB
Time: 50:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. (Meet) The Flintstones (Live) (0:48)
02. All About That Bass (Live) (4:17)
03. Introduction (Live) (1:18)
04. Bad Blood (Live) (3:36)
05. Time After Time (Live) (4:55)
06. My Heart Will Go On (Live) (3:19)
07. Singing In The Rain (Live) (0:52)
08. Umbrella (Live) (3:00)
09. Halo (Live) (5:08)
10. Bye Bye Bye (Live) (4:14)
11. Don't Stop (Live) (3:50)
12. I Will Survive (Live) (4:38)
13. Black Hole Sun (Live) (6:15)
14. Stacy's Mom (Live) (3:42)
15. Don't Stop (Reprise) (Live) (0:56)

Postmodern Jukebox, also widely known by the acronym PMJ, is a rotating musical collective founded by arranger and pianist Scott Bradlee in 2011. PMJ is known for reworking popular modern music into different vintage genres, especially early 20th century forms such as swing and jazz.

The New Classics

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Duke Jordan - Change A Pace

Bitrate: MP3@320K/s
Time: 51:25
Size: 117.7 MB
Styles: Bop, Piano jazz
Year: 1979/1990
Art: Front

[5:46] 1. Change A Pace
[5:42] 2. I Thought You'd Call Today
[7:06] 3. Double Scotch
[5:24] 4. Miss Kissed
[5:46] 5. Diamond Stud
[7:18] 6. It's Hard To Know
[6:42] 7. Anything Can Happen
[4:52] 8. Deacon's Blues
[2:46] 9. My Queen Is Home To Stay

After a flurry of recording activity, Duke Jordan had few opportunities to record as a leader for most of the 1960s. That changed in the following decade with the beginning of his long, fruitful relationship with the Danish label Steeplechase. By the time of this 1979, the pianist had moved to Denmark; he is joined by the great Danish bass virtuoso Niels-Henning Ørsted Pedersen and drummer Billy Hart, playing nine originals by the leader. The loping ballad "I Thought You'd Call Today" merits a bittersweet lyric to go with it, while "Double Scotch" sounds like the kind of jaunty tune that could have been conceived by Billy Strayhorn in the '40s. "Diamond Stud" is a breezy number with a few twists, with great solos all around. While none of Duke Jordan's compositions on this date ever became as well known as his "Jordu," "Flight to Jordan," or "No Problem," this session is warmly recommended. ~Ken Dryden

Change A Pace

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Angelo Debarre - Portrait Of Angelo Debarre

Bitrate: MP3@320K/s
Time: 76:06
Size: 174.2 MB
Styles: Swing, Gypsy jazz
Year: 2002/2013
Art: Front

[3:37] 1. La Gitane
[3:20] 2. Blues En Mineur
[4:42] 3. Csardas De Monti
[2:44] 4. Valse De Bamboula
[5:39] 5. Nuages
[3:39] 6. Douce Ambiance (Django Reinhar
[4:44] 7. Romano Trajo
[3:31] 8. Coeur De Bois
[2:16] 9. Swing Chez Toto
[5:48] 10. Have You Something
[2:34] 11. Impromptu
[2:38] 12. Mw
[2:26] 13. Black And White
[3:03] 14. David
[4:50] 15. Angelo's Caprice
[3:49] 16. Inquietude
[3:50] 17. Mw
[5:44] 18. Anouman
[3:35] 19. There Will Never Be Another You
[3:27] 20. Swing Gitane

Accordion – Gabriel Androne (tracks: 8, 9), Ludovic Beier (tracks: 10); Balalaika – Petro Ivanovitch* (tracks: 12); Contrabass – Antonio Licusati (tracks: 8 to 10), Bernard Malandain (tracks: 14 to 17), Frank Anastasio (tracks: 1 to 4), Pete Kubryk-Townsend (tracks: 11), Pierre Procoudine Gorsky (tracks: 12), Svein Aarbostad (tracks: 13, 18, 19); Guitar – Moreno (9) (tracks: 13), Per Frydenlund (tracks: 18, 19), Phillippe "Doudou" Cuillerier (tracks: 14 to 17); Lead Guitar – Angelo Debarre; Percussion – Xavier Desandre Navarre (tracks: 14 to 17); Piano – Bojan Zulfikarpašić (tracks: 14 to 17), Tord Gustavsen (tracks: 5 to 7); Rhythm Guitar – Chris Garrick (tracks: 11), Max Robin (tracks: 8, 9, 14 to 17), Michel Delacroix (tracks: 10), Serge Camps (tracks: 1 to 4); Violin – Dave Kelbie (tracks: 11), Florin Niculescu (tracks: 8, 9, 14 to 17), Ola Kvernberg (tracks: 18, 19).

The recordings from which the contents of Portrait of Angelo Debarre were drawn were originally recorded and released on a variety of labels between 1989 and, strangely enough, 2002 (the same year as the compilation's release). Most of these tracks, though not all, find Angelo DeBarre paying tribute to the legendary Django Reinhardt, either by playing Reinhardt's compositions ("Anouman," and the inevitable "Minor Blues"), or by playing originals and other modern compositions in a style clearly indebted to the gypsy jazz master. The oldest -- and the most recent -- of these performances are the ones most explicitly based on the Reinhardt-Grappelli quintets of the 1930s; the 1989 cuts, which include thrilling renditions of "La Gitane" and "Minor Blues," feature DeBarre in a trio format, backed up only by acoustic rhythm guitar and bass; "There'll Never Be Another You" and " Swing Gitane" both add Ola Kvernberg's violin to the mix (and feature an almost all-Norwegian ensemble). Elsewhere, Gabriel Androne adds a melancholy accordion to "Coeur de Bois" and "Swing Chez Toto," and a balalaika makes an appearance on "Romano Trajo." What this all amounts to is a nice balance between slavish tribute and creative boundary-pushing. Highly recommended. ~Rick anderson

Portrait Of Angelo Debarre

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Teddi King - Now In Vogue

Bitrate: MP3@320K/s
Time: 37:14
Size: 85.3 MB
Styles: Jazz vocals
Year: 1955/2011
Art: Front

[2:53] 1. Why Do You Suppose
[3:39] 2. Over The Rainbow
[2:37] 3. This Is Always
[2:42] 4. Fools Fall In Love
[2:58] 5. I Didn't Know About You
[3:26] 6. I'm In The Market For You
[2:22] 7. You Hit The Spot
[3:17] 8. Something To Live For
[2:40] 9. You Can Depend On Me
[4:07] 10. Old Folks
[2:49] 11. Like A Ship Without A Sail
[3:39] 12. You Turned The Tables On Me

The subtlety and intimacy of the signature Storyville label sound perfectly complement what critic Whitney Balliett once dubbed Teddi King's "peaceful, spacious way of phrasing," and Now in Vogue captures in full the singer's Zen-like serenity, showcasing her uncommonly lyrical phrasing and deep affinity for melody. Recorded with a stellar septet including trombonist Bob Brookmeyer, trumpeter Nick Travis and pianist Billy Taylor, the session boasts a deceptive simplicity that underscores the sheer grace of all its participants. King's contralto is both the focal point and just another instrument in the mix, fusing with the music so seamlessly that it seems as if she's been singing these songs and playing with this band her entire life. ~Jason Ankeny

Now In Vogue

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Mingus Big Band - Blues & Politics

Bitrate: MP3@320K/s
Time: 74:58
Size: 171.6 MB
Styles: Contemporary big band
Year: 1999
Art: Front

[ 8:41] 1. It Was A Lonely Day In Selma, Alabama-Freedom
[ 8:19] 2. Haitian Fight Song
[ 9:44] 3. Goodbye Pork Pie Hat
[ 5:12] 4. Don't Let It Happen Here
[11:36] 5. Meditations For A Pair Of Wire
[ 6:33] 6. Pussycat Dues
[ 8:53] 7. Oh Lord Don't Let Them Drop That Atomic Bomb On Me
[15:56] 8. Little Royal Suite

The music of jazz bassist-composer Charles Mingus (1922-79) was decidedly vibrant and spirited, much like the man himself. He melded aspects of blues, swing, and bebop with a unique arranging flair (he was a huge fan of Duke Ellington) and a sharp sense of humor in concocting pieces that were sometimes rambunctious and rhythmic, sometimes poignant and brooding. Ultimately, Mingus's music was quite accessible and almost always touched the listener. The New York-based Mingus Big Band--an outgrowth of the Mingus Dynasty groups that were formed after the artist's death--has, since 1991, purveyed his works with authenticity and vitality; the first-rate Blues & Politics is no exception. Here, as the title indicates, selections with a blues essence touch on matters of social importance. "Haitian Fight Song" is a riotous, riff-oriented piece where the band drops in walls of sound over a driving beat. Soprano saxophonist Alex Foster and trumpeter Randy Brecker deliver ear-catching solos. "Pussycat Dues" is a raucous slow blues where trombonist Conrad Herwig's gleaming tone and solid swing are standouts. On the telling "Goodbye Porkpie Hat," tenor saxophonist Seamus Blake epitomizes emotive expression. The climactic "Little Royal Suite" is an intricate, brazen work. On the opening track, the late composer's voice is heard reciting an impromptu poem, "It was a Lonely Day in Selma, Alabama." Heady, heated stuff. ~Zan Stewart

Blues & Politics

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Brianna Thomas - You Must Believe In Love

Bitrate: MP3@320K/s
Time: 67:02
Size: 153.4 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[5:48] 1. Bye Bye Blackbird
[4:59] 2. Don't Be That Way (Feat. Russell Malone)
[7:27] 3. Love Doesn't Die (Feat. Wycliffe Gordon)
[5:31] 4. I Should Have Known (Feat. Wycliffe Gordon)
[4:03] 5. Daydream
[6:45] 6. Lover Of My Soul (Feat. Riza & Marcus Printup)
[6:38] 7. Never Dreamed You'd Leave In Summer
[6:39] 8. In A Mellow Tone
[6:03] 9. Stardust
[8:06] 10. Bree's Blues
[4:57] 11. You Must Believe In Spring

Wall Street Journal stated Brianna Thomas "may be the best young straight ahead jazz singer of her generation". Born and raised in Peoria, Illinois, was selected to participate in the prestigious Betty Carter Jazz Ahead Program, an elite artist in residence program for musicians and composers at the Kennedy Center in Washington DC. Ms. Thomas moved to NYC in 2007 to attend The New School University and has since established herself as a talented vocalist on the music scene. Since graduating college in 2011, Ms. Thomas has performed with many jazz greats including: Clark Terry, Wycliffe Gordon, Wynton Marsalis, Russell Malone, The Legendary Count Basie Orchestra, Michael Feinstein and longtime hero Dianne Reeves. Ms.Thomas also continues to perform worldwide for venues and was a 2014 musical ambassador touring South East Asia for the "American Music Abroad" program, as a guest vocalist with The Amigos Band - singing folk, bluegrass, gospel and jazz. She teaches with JALC's Jazz For Young People Program to educate students in New York City School's about the importance of Jazz in American History and Today.

The ensemble is Brianna Thomas, vocal, Allyn Johnson, piano, Yasushi Nakamura, bass, Ulysses Owens, Jr., drums, with special guests Russell Malone, guitar, Marcus Printup, trumpet, Wycliffe Gordon, trombone, Nick Grinder, trombone, Tivon Penticott, tenor sax, and Riza Printup, harp. ~Grady Harp

NEW LINK! You Must Believe In Love

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Jenna Mammina - Meant To Be

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 45:52
Size: 106,3 MB
Art: Front

(3:36)  1. Lotus Blossom
(4:29)  2. Running To Stand Still
(3:54)  3. Dirty Work
(4:20)  4. You Can Close Your Eyes
(3:13)  5. Honeysuckle Rose
(4:17)  6. The Same Things
(2:45)  7. The More I See You
(4:06)  8. A Love That Lasts
(3:02)  9. In A Mellow Tone
(4:16) 10. Distant Water
(2:18) 11. Put 'Em In A Box...
(5:31) 12. Hope That I Don't Fall In Love With You

On Meant to Be Jenna Mammina uses jazz, pop, and folk compositions as her vehicles for personal expression. The CD maxes out the bliss factor with quality assists from Andre Bush on electric and acoustic guitars, Matt Rollings on piano and B3 organ, James Genus on acoustic and electric bass, and Tony Mammina on background vocals. She tags her sensitive, air-brushed phrasings and silky nuance on songs by Billy Strayhorn, Donald Fagen, Walter Brecker, James Taylor, Duke Ellington, and Thomas "Fats" Waller, as well as "The Same Things" and "A Love That Lasts," the original compositions Mammina co-penned with long-time collaborator and guitarist Andre Bush. "Lotus Blossom" is her full train piece on this outing. Mammina's choice of phrasings adds dimension and sinew to her whisper-like voice. She's is graceful and balletic in form, but her magnetism comes straight through the speakers. Meant to Be seems to channel wise spirits of old and new and has certainly expanded the boundaries of pop, jazz, and folk standards Jenna Mammina explored on Under the Influence to help her do what she does best  taking different creative styles and producing a meditative-like composition that soothes, entices, and floats. ~ Paula Edelstein https://www.allmusic.com/album/meant-to-be-mw0001202844    

Personnel:  Jenna Mammina - Vocals;  Tony Lindsay Vocals (Background);  Paul McCandless - Horn (English), Sax (Soprano);  Matt Rollings - Organ (Hammond), Piano;  Rob Burger - Accordion;  André Bush - Guitar (Acoustic), Guitar (Electric), Musical Director;  Darol Anger - Violin;  Matthew Brubeck - Cello;  James Genus - Bass (Acoustic), Bass (Electric);  John Shifflett - Bass (Acoustic);  John Mader, Jason Lewis - Drums;  Tom Miller - Percussion           

Meant To Be

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Scott Wendholt - From Now On

Styles: Trumpet Jazz
Year: 1996
File: MP3@256K/s
Time: 66:25
Size: 122,7 MB
Art: Front

(4:45)  1. From Now on...
(6:54)  2. Magnolia Tones
(8:55)  3. Solar
(9:02)  4. In a Sentimental Mood
(6:35)  5. At the Falls
(8:24)  6. Times Past
(5:54)  7. Dear Old Stockholm
(8:33)  8. Promise
(7:17)  9. I Remember You

Trombonist Steve Armour appears on From Now On… Scott Wendholt Quartet/Sextet [1123] and he made these observations about Scott in the liner notes to the recording:  “ …, I believe that the closer an artists gets to artistic success not financial or critical success of their art as a commodity, but success in creating the artistic statement he or she envisions the more their art will reflect who they are as people. In his life and in his art Scott carries always an athletic grace and confidence, a certain surety of step and of motion. There is a straightforward clarity and honesty reflected in his demeanor, refreshingly free of the back-slapping, toothy-grinned veneer of so many Jazz status-seekers, as well as in his music.” From any number of perspectives, then, getting more familiar with the music of Scott Wendholt is a gratifying experience. As a step in that direction, a viewing of the following video will bring you closer to it as on it Scott renders a striking version of Mal Waldron’s Soul Eyes with Vincent Herring on alto saxophone, Kevin Hays on piano, Dwayne Burno on bass and Bill Drummond on drums. The track is from Scott’s The Scheme of Things Criss Cross CD [1078].

Personnel: Trumpet – Scott Wendholt;  Alto Saxophone – Steve Wilson;  Bass – Larry Grenadier;  Drums – Billy Drummond;  Piano – Bruce Barth;  Tenor Saxophone, Soprano Saxophone – Tim Ries (tracks: 3, 4, 7. 9);  Trombone – Steve Armour.

From Now On

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Jimmy Cliff - Greatest Hits

Styles: Vocal, Reggae, Pop
Year: 2008
File: MP3@320K/s
Time: 66:45
Size: 153,9 MB
Art: Front

(2:36)  1. You Can Get It (new version)
(3:16)  2. I Can See Clearly Now (new)
(3:10)  3. Wonderfull World (new)
(4:46)  4. Vietnam (new version)
(5:02)  5. War A Africa
(4:51)  6. Peace
(3:53)  7. Samba Reggae
(4:04)  8. Roll On Rolling stone
(7:48)  9. Shout For Freedom
(3:33) 10. Stepping Out Of Limbo
(4:16) 11. I'm A Winner
(5:06) 12. Haunted
(3:41) 13. True Story
(2:41) 14. Many Rivers To Cross
(4:01) 15. Brand New Key
(3:53) 16. Brand New Key (Rasta Version)

  It's one of the music industry's great ironies that today, outside of reggae circles, Jimmy Cliff is perhaps better known for his film appearances than his music. Even after a string of hits, the singer never quite managed to break into the mainstream, although he seemed poised for international stardom during the late '60s/early '70s. The singer was born in St. James, Jamaica, on April 1, 1948, with the less prosaic name James Chambers. His talent was evident from childhood, and he began his career appearing at local shows and parish fairs. Feeling ready for the big time at the age of 14, he moved to Kingston and took the surname Cliff to express the heights he intended on reaching. Cliff recorded two unsuccessful singles before he was spotted by Derrick Morgan, who brought him to Leslie Kong. His first single for the budding producer, "Hurricane Hattie," was an instant hit. Unusually, Cliff remained with Kong until the producer's death; most Jamaican artists flit from studio to studio. The singer's loyalty was rewarded, however, by a string of follow-up hits. In the early years, the pair helped set the ska scene alight, both in Jamaica and in Britain, where the singer's singles were picked up by Island Records. "Miss Jamaica," "King of Kings," "One Eyed Jacks," and "Pride and Passion" have since become classics of the original ska era.

By 1964, Cliff's star was so bright that he was selected as one of Jamaica's representatives at the World's Fair. A successful residency in Paris followed, and Island head Chris Blackwell eventually convinced the singer to relocate to Britain. The label itself was in the process of shifting away from Jamaican music and into progressive rock, and thus Cliff began composing songs with an eye to cross over into that market.  It was a risky plan, but ultimately a successful one. In 1968, Cliff released his debut album, the excellent Hard Road, and won the International Song Festival with "Waterfall," a song that became a smash hit in Brazil. He swiftly moved to that country to take advantage of his success, but even greater heights were in the offing. The following year, "Wonderful World, Beautiful People" proved to be his international breakthrough. The single soared to number six on the British charts, and charmed its way into the Top 25 in the States. The song's anti-war follow-up, "Vietnam," proved to be less popular, even if Bob Dylan called it the best protest song he'd ever heard. Regardless, Cliff's new album, 1969's Wonderful World, was critically acclaimed, and saw the singer starting to build a following amongst the AOR crowd. The title track, a cover of Cat Steven's "Wild World," was another smash in 1970, and Desmond Dekker took Cliff's own "You Can Get It if You Really Want" to number two in Britain. And then tragedy struck. Leslie Kong, who had continued to oversee Cliff's career during this entire period, died unexpectedly of a heart attack in August 1971. The singer was at a loss, as he'd grown up under the producer's wing and was abruptly forced to fend for himself. Another Cycle, which arrived later that year, was proof that Cliff was beginning to get his career back on track. One of the last projects Kong had undertaken was overseeing the soundtrack to the movie The Harder They Come. Produced and written by Perry Henzell, this powerful film featured Cliff in the leading role, and upon its release swiftly became an underground classic. The soundtrack, which boasted a clutch of Cliff's own compositions, was an equally seminal record. 

This should have pushed the singer into the mainstream, but Island dropped the ball and turned their attention to Bob Marley instead. The timing was also off in the U.S., where the movie didn't see release until 1975. Cliff left Island's roster and signed to Reprise in the U.S. and EMI in the U.K., but fared no better on either label. 1973's Unlimited, 1974's Struggling Man, and the following year's Brave Warrior were unable to sustain the success of Another Cycle, never mind improve upon it. During this time, Cliff converted to Islam and traveled to Africa in search of his roots, and his newfound religious devotion began to heavily influence his music. In 1975, with the release of The Harder They Come in the U.S., Cliff's second album for the year, Follow My Mind, immediately grabbed America's attention and became his first album to reach into the bottom of the chart. Reprise then decided it was time for a greatest-hits collection, although this would be accomplished via a live album. Rolling Stones' producer Andrew Loog Oldham was brought in to oversee the project, and Cliff was sent out on the road to tour and record. What the label received was one of Cliff's most ferocious albums to date, Live: In Concert. The singer was not ready to wallow in nostalgia, and throughout the rest of the decade he continued releasing albums that were thoroughly modern in sound and fierce in delivery.

Cliff ended his relationship with Reprise in the new decade with 1981's "Give the People What They Want, and moved to Columbia. He formed a new backing band, Oneness, and embarked on a tour of the U.S. with Peter Tosh; there was also a fabulous performance at Reggae Sunsplash that year. 1983's The Power and the Glory inaugurated his partnership with Kool & the Gang, and the album was nominated for a Grammy. Its follow-up, Cliff Hanger, would win the award in 1985. However, 1989's Hanging Fire became his last effort for Columbia, although the singer continued to release material in both Jamaica and the U.K. During this period, Cliff also co-starred in the movie Club Paradise. He returned to the American charts in 1993 with his cover of "I Can See Clearly Now," from the soundtrack for Cool Runnings, which glided into the Top 20. More singles and albums followed, and the singer remained a potent musical force. A comeback album of sorts, Black Magic, which featured duets with high profile stars like Sting, Joe Strummer, Wyclef Jean and others, appeared from Artemis Records in 2004. In 2012 he partnered with Rancid frontman Tim Armstrong for Rebirth, a nostalgic return to form. ~ Jo-Ann Green https://www.allmusic.com/artist/jimmy-cliff-mn0000295276/biography

Greatest hits

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Esbjörn Svensson Trio - When Everyone Has Gone

Styles: Piano Jazz

Year: 1993

File: MP3@320K/s

Time: 65:58

Size: 153,7 MB

Art: Front

(6:42)  1. When Everyone Has Gone

(8:30)  2. Fingertrip

(6:42)  3. Free Four

(8:26)  4. Stella by Starlight

(5:29)  5. 4 am

(4:14)  6. Mohammed Goes to New York, Part I

(5:41)  7. Mohammed Goes to New York, Part II

(3:58)  8. Waltz for the Lonely Ones

(5:34)  9. Silly Walk

(4:18) 10. Tough Tough

(6:20) 11. Hands Off

Like so many American players, Sweden's Esbjorn Svensson has backed his share of pop artists but is essentially a jazz improviser at heart. Svensson's enthusiasm for improvisation came through loud and clear on his Dragon dates of the 1990s, one of which was the decent When Everybody Has Gone. Backed by fellow Swedes Dan Berglund (bass) and Magnus Ostrom (drums), Svensson favors the piano trio format and draws on post-bop influences like Chick Corea, Bill Evans and Keith Jarrett on the standard "Stella By Starlight" and originals ranging from the pensive "4 a.m." to the melancholy "Waltz for the Lonely Ones" and the Middle Eastern-influenced "Mohammed Goes to New York." Much of Svensson's work tends to be introspective and impressionistic, but things get surprisingly funky and almost Horace Silver-ish on "Tough Tough." This CD was released by the Stockholm-based Dragon label, but made its way to some U.S. stores as an import.~ Alex Henderson https://www.allmusic.com/album/when-everyone-has-gone-mw0000422878

Personnel: Piano [Grand Piano], Electric Piano [Fender Rhodes], Synthesizer [Roland D 50, Oberheim] – Esbjörn Svensson;  Double Bass, Whistle – Dan Berglund;  Drums, Percussion, Vocals [Arabic Style] – Magnus Öström

When Everyone Has Gone

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