Barbara Lea - The Devil Is Afraid Of Music

Bitrate: MP3@320K/s
Time: 53:48
Size: 123.2 MB
Styles: Jazz vocals
Year: 1977/2014
Art: Front

[1:46] 1. The Devil Is Afraid Of Music (1927)
[2:32] 2. Don't Smoke In Bed
[2:33] 3. Deep Summer
[3:10] 4. Think Well Of Me
[4:29] 5. Born To The Bayou
[2:56] 6. Run For The Roundhouse, Nellie
[3:19] 7. Guess I'll Go Back Home (This Summer)
[2:47] 8. Lonely Acres
[4:51] 9. Deep Elm (You Tell 'em I'm Blue)
[1:47] 10. Peaceful Valley
[3:52] 11. A Woman Alone With The Blues
[3:17] 12. A Cottage For Sale
[2:32] 13. 'tain't So, Honey, 'tain't So
[3:16] 14. Old Folks
[3:28] 15. Little High Chairman
[2:33] 16. My Egotism Is Hurtin' Me
[2:39] 17. 'round My Old Deserted Farm
[1:53] 18. The Devil Is Afraid Of Music (1950)

Bass – Mel Alexander; Clarinet – Bob Mitchell; Drums – Tony Cooper; Piano – Loonis McGlohon.

Willard Robison was one of the more underrated songwriters, whose wistful melodies, unexpected chord changes, and nostalgic lyrics (which often yearned for a earlier simpler time) were actually quite charming. On this CD reissue, singer Barbara Lea is joined by a rhythm section headed by pianist Loonis McGlohon in 1976 (clarinetist Bob Mitchell sits in on one song), and on five equally rewarding numbers recorded in 1992 with pianist Dick Cary, guitarist Dave Koonse, and bassist Putter Smith. (The latter were recorded so as to bolster the playing time of the CD.) Lea, whose basic and lightly swinging style perfectly fits this music, performs such numbers as "Think Well of Me," "Guess I'll Go Back Home," "Deep Elm," "A Woman Alone with the Blues," and Robison's three best-known songs: "A Cottage for Sale," "'Tain't So, Honey, 'Tain't So," and "Old Folks." A perfect project. ~Scott Yanow

The Devil Is Afraid Of Music

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Ludovic Beier - Live @ Jazz Standard

Bitrate: MP3@320K/s
Time: 64:55
Size: 148.6 MB
Styles: Accordion jazz
Year: 2009
Art: Front

[4:04] 1. Yellow Cab Blues
[5:57] 2. Waltz For Richard
[7:14] 3. Bluesette
[7:08] 4. Panamathan
[6:52] 5. Little Dreams
[7:13] 6. Swing Street
[6:36] 7. You Must Believe In Spring
[5:58] 8. Good Morning Bahia
[6:55] 9. Oblivion
[6:55] 10. Brazilian Yellow Cab

Born in 1978, jazz musician in his soul since his childhood, Ludovic Beier is passionate about the sound "west-coast". He discovers his idols (Chick Corea, George Duke, Charlie Parker, Miles Davis, George Benson ...) who influence him during the years of his musical training. He began composing at a very young age and glanced through his albums some of his themes, ballads to bebop ...

Angelo Debarre's meeting will mark the beginning of his career as a jazz musician, a moment he had been waiting for a long time. In a very short time, his name associated with that of Angelo takes on an international dimension with, ultimate consecration, a series of triumphant concerts at the famous club BIRDLAND in New York, temple of the planetary jazz. During this American tour Ludovic played and "jammed" with, among others, Dorado Schmitt, James Carter, Paquito D'Rivera and Frank Wess. In addition, the performances of some concerts were broadcast on the legendary radio WBGO.
The album "Swing Rencontre" is well criticized and appreciated by the press and the media, giving it a distribution in the United States, Europe and Asia. The second album of the duet "Come Into My Swing" was released in August 2003 distributed by Harmonia Mundi following a tour to United States at prestigious festivals such as San Francisco, Chicago, Ann Arbor, Montreal ... In March 2006, he had the great privilege to play at the concert "MAGIC OF TOOTS" at Carnegie Hall NYC with Toots Thielemans, Herbie Hancock, Eliane Elias, Ivan Lins, Oscar Castro-Neves, Paquito D'Rivera, Joe Lovano, Ari Honig, Scott Colley and Kenny Werner. In 2005, Ludovic Beier also received the Grand Prix Gus Viseur, and was awarded the 2007 SACEM Spring Prize by receiving the Francis Baxter Prize. (Translated from French.)

Live @ Jazz Standard

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Patti Austin - The Ultimate Collection

Bitrate: MP3@320K/s
Time: 52:55
Size: 121.1 MB
Styles: R&B, Jazz vocals
Year: 1995
Art: Front

[4:15] 1. Hold Me
[4:47] 2. Ability To Swing
[4:56] 3. Givin' In To Love
[3:27] 4. We Fell In Love Anyway
[5:11] 5. The Heat Of Heat
[5:05] 6. Through The Test Of Time
[4:05] 7. You Brought Me Love
[4:31] 8. The Girl Who Used To Be Me
[5:01] 9. Love Is Gonna Getcha
[3:32] 10. Soldier Boy
[4:07] 11. I'll Keep Your Dreams Alive
[3:52] 12. Reach

Patti Austin's honed vocal instrument (she's been singing since she was five) has nailed its share of hits, but not nearly enough for one of urban/soul/pop's better divas. Her clear, compelling soprano never gets tiring, even though she always keeps it in check. You don't get vocal aerobics from Austin á la Chaka Khan or Whitney Houston; you get a smoldering fire that's in a class of its own. Duets with Johnny Mathis, George Benson, and Cleve Francis (the rare African-American country singer) spice this concise 12-song best-of, which is orchestrated by a who who's list of producers, includingThom Bell and Rod Temperton. Revered among the urban jazz set, Patti Austin deserves a bigger piece of the pop pie as well. ~Andrew Hamilton

The Ultimate Collection

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Scott Wendholt - What Goes Unsaid

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 60:52
Size: 141,1 MB
Art: Front

(7:30)  1. Times Lines
(8:43)  2. Her Allure
(7:49)  3. Tangled Webs
(5:55)  4. What Goes Unsaid
(6:35)  5. Bright Moon
(6:43)  6. September in the Rain
(7:55)  7. B.G.
(9:38)  8. Blues on Hold

This solid quintet session is Wendholt's first since the release of 1997's excellent Beyond Thursday. All the tracks except for "September in the Rain" (played in a 5/4 arrangement) were written by Wendholt, in contrast to the thoroughly mixed format of the previous record. Wendholt's unabashedly straightahead writing, while not terribly original, takes some interesting twists and turns consider the busy, unison 16th-note lines that arise quite unexpectedly on the C section of "Her Allure." While What Goes Unsaid doesn't quite have the live, spontaneous spark that Beyond Thursday did, it is still an auspicious showcase for Wendholt's virtuosic horn, as well as that of tenor saxophonist Eric Alexander. Pianist Anthony Wonsey, drummer Dennis Irwin, and drummer Billy Drummond make for a sensitive and yet forceful rhythm section. Wendholt crafts a beautiful ballad melody on the title track, and at the other end of the spectrum, a fast, irresistible bop line on "Bright Moon." On the 6/8 hard bop vehicle "Tangled Webs," he begins his solo accompanied only by Irwin one of several instances of ensemble give-and-take that make the group well worth hearing. ~ David R.Adler https://www.allmusic.com/album/what-goes-unsaid-mw0000064495

Personnel: Scott Wendholt (trumpet); Eric Alexander (tenor saxophone); Anthony Wonsey (piano); Dennis Irwin (bass); Billy Drummond (drums)           

What Goes Unsaid

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Kate McGarry - Show Me

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 45:00
Size: 104,4 MB
Art: Front

(4:29)  1. Show Me
(3:43)  2. Gypsy in my Soul
(4:02)  3. Moon and Sand
(4:31)  4. The Thrill is Gone
(5:53)  5. Oceano
(4:01)  6. Aqui O
(6:01)  7. East of the Sun
(3:30)  8. This Is Always
(4:42)  9. Get Out of Town
(4:03) 10. One Eye Laughs, One Eye Weeps

Too many jazz singers try too hard, placing tech-nique and pyrotechnics above genuine feeling and personal expression. Not Kate McGarry. A Massachusetts native now based in Brooklyn, McGarry has a natural, unaffected manner that separates her from the pack of wannabe divas. On Show Me, McGarry takes a relaxed, patient approach to a well-chosen set of standards plus two Brazilian tunes, sung in Portuguese, including the haunting Djavan ballad "Oceano." McGarry knows the value of taking one's time and there's not a hurried note to be heard on the album. The mood here is quiet, languorous, even melancholy, but McGarry occasionally cuts loose a bit, as on her funky treatment of "Gypsy in My Soul." Though she has serious jazz chops and dis-plays her scat skills on "East of the Sun" and Cole Porter's "Get Out of Town," McGarry's voice and delivery are most reminiscent of jazzy pop singers like Joni Mitchell, Rickie Lee Jones and Holly Cole. Sometimes sweet, sometimes sultry, always abundantly musical. McGarry's also a vocalist who interacts well and creatively with her fellow musicians, and she's surrounded by some fine ones here, including gui-tarist Steve Cardenas, saxophonist Bill McHenry, bassist Scott Colley, drummer Kenny Wollesen and pianist Karen Hammack, along with a small string section on a handful of numbers. With Show Me, Kate McGarry shows she's a singer worth watching - and definitely worth hearing. ~ Joel Roberts https://www.allaboutjazz.com/show-me-kate-mcgarry-palmetto-records-review-by-joel-roberts.php

Personnel: Kate McGarry (vocals); Bill McHenry (soprano & tenor saxophones); Karen Hammack (piano); Scott Colley (bass); Kenny Wollesen (drums); Mauro Refresco, Joe Hinrichs (percussion).

Show Me

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Ray Vega - Squeeze, Squeeze

Styles: Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 54:19
Size: 127,9 MB
Art: Front

(4:12)  1. Black Nile
(4:05)  2. Smile, You're In Beirut
(7:59)  3. Contemplation
(4:41)  4. Ne Quitez Pas
(5:40)  5. Squeeze, Squeeze
(6:04)  6. Both
(6:10)  7. Salazar
(4:46)  8. Sky!
(6:10)  9. Crescent Mood
(4:28) 10. La Tercera

Trumpeter Ray Vega is a triumphant example of a musician liberated rather than straightjacketed by his Latin jazz expertise. Years of playing in bands as notable as Tito Puente's and Mongo Santamaria's clearly have reaped rewards in terms of his bright, rhythmically punchy, powerhouse delivery. Vega's own description of his current style as "Latin Bop" accurately describes his second disc as a leader on Palmetto. The bow to bop is made perfectly clear by his covers of Wayne Shorter's "Black Nile" and McCoy Tyner's "Contemplation." In both instances the Latin accents and tone colors and I hear Dizzy Gillespie's influence on Vega are mingled by edgy, fluttery runs bringing a most un-Latin ancestor to mind, Lee Morgan. This isn't to say that Vega doesn't have his own distinctive sound, but he's unafraid to reveal influences both close and far from his Latin roots. Vega's band works well with his Latin bop focus, particularly percussionist Wilson "Chembo" Corneil and drummer Adam Weber. The title tune, one of four original compositions by Vega, is a tour de force of various Latin dance styles weaving in and out out of a funky bop theme. It evokes a street carnival atmosphere, a spontaneous joy, that permeates this highly playable and adventuresome session. ~ Norman Weinstein https://www.allaboutjazz.com/squeeze-squeeze-ray-vega-palmetto-records-review-by-norman-weinstein.php

Personnel: Ray Vega, Boddy Porcelli, Igor Atalita, Gregg August, Wilson "Chembo" Corneil, Adam Weber

Squeeze, Squeeze

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Spanish Harlem Orchestra - United We Swing

Bitrate: MP3@320K/s
Time: 68:48
Size: 157.5 MB
Styles: Salsa, Latin jazz
Year: 2007
Art: Front

[3:52] 1. Sho Intro
[6:04] 2. Llego La Orquesta
[5:42] 3. En El Tiempo Del Palladium
[5:32] 4. Se Formó La Rumba
[6:13] 5. Sacala Bailar
[5:28] 6. Ahora Si
[5:23] 7. Que Bonito
[4:38] 8. Salsa Pa'l Bailador
[5:32] 9. Mujer Divina
[5:19] 10. Soy Candela
[4:40] 11. Plena Con Sabor
[6:09] 12. Danzon For My Father
[4:10] 13. Late In The Evening

Spanish Harlem Orchestra, the two-time Grammy winning Salsa and Latin Jazz band, sets the standard for excellence for authentic, New York style, hard core salsa. Live or recorded, it doesn't get any better. Whether a concert hall or an outdoor jazz festival, there is no easing you in, they are coming at you full force from start to finish. Their energy on stage, rich sound and musical precision leave audiences mesmerized until the last note is played. With an unwavering respect for the musics rich history, thirteen world-class musicians and vocalists come together to create an unparalleled musical experience.

Now in its fourteenth year, SHO, as they are known to fans, is dedicated to the sounds of the barrio. Their music is characterized by the raw, organic and vintage sound defined by the genre. They are on a mission to keep the musical legacy of salsa dura "hard salsa" alive and expand its audience to those who love great music, not just Latin music. Grounded in the past, while focused on the future, they strive to keep the music relevant, while creating a unique and fresh approach. With four albums, and as many Grammy nominations, this Latin Jazz powerhouse knows it is crucial to continually push themselves and raise the bar. They recently released their fifth album, featuring two of America's great jazz icons, Chick Corea & saxophonist Joe Lovano. Oscar Hernandez and Spanish Harlem Orchestra continue to raise the bar of excellence in their music.

United We Swing

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Julie London - Lonely Girl

Bitrate: MP3@320K/s
Time: 29:36
Size: 67.8 MB
Styles: Jazz vocals
Year: 1956/2010
Art: Front

[2:32] 1. Lonely Girl
[2:07] 2. Fools Rush In
[2:38] 3. Moments Like This
[2:35] 4. I Lost My Sugar In Salt Lake City
[2:35] 5. It's The Talk Of The Town
[1:56] 6. What'll I Do
[1:54] 7. When Your Lover Has Gone
[2:43] 8. Don't Take Your Love From Me
[2:35] 9. Where Or When
[1:48] 10. All Alone
[2:10] 11. Mean To Me
[2:09] 12. How Deep Is The Ocean
[1:47] 13. Remember

Liberty Records was pleasantly surprised when Julie London's debut album was such a big hit. Julie Is Her Name did contain the hit single "Cry Me a River," but each featured mellow jazz guitar and bass backing -- which was considered commercial suicide in 1955. So, instead of changing direction and recording the follow-up Lonely Girl with a full orchestra, Liberty wisely allowed London to strip the accompaniment down even more on the album by dropping the backing down to one instrument. Lone guitarist Al Viola plays gentle Spanish-tinged acoustic behind the hushed vocalist, and it suits London perfectly. While the singer was often chided for her beauty and lack of range, she deftly navigates these ballads without any rhythmic underpinnings to fall back on. London's intense focus on phrasing and lyrics recalls Chet Baker's equally telescopic approach. So while most of the album contains the usual midnight standards, London sings them in her own way. The title track is the one unfamiliar tune here, and it's a real gem, penned by Bobby Troup (he was London's producer, paramour, and future husband). The low-key Lonely Girl beat the sophomore slump and initially did almost as well in the charts as Julie Is Her Name. Instead of stripping away the guitar in order to make London's next release be the first a cappella torch album, Troup crafted Calendar Girl, a big-budget orchestral affair that was more in keeping with the thematic pop albums released at the time. ~Nick Dedina

Lonely Girl

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Dominick Farinacci - Adoro

Bitrate: MP3@320K/s
Time: 61:23
Size: 140.5 MB
Styles: Bop, Trumpet jazz
Year: 2007
Art: Front

[6:00] 1. Adoro
[7:02] 2. Summertime
[6:30] 3. Adios Nonino
[7:00] 4. Body & Soul
[8:31] 5. Un Cancion Para Matilde
[5:47] 6. Love Dance
[5:47] 7. January
[4:03] 8. Contemplation
[6:08] 9. Mea Culpa
[4:30] 10. I Wish You Love

Ohio-born trumpeter Dominick Farinacci is a technically gifted and lyrical artist with a bent for swinging, straight-ahead jazz. Born in Cleveland in 1983, Farinacci first began playing trumpet in the sixth grade. Along with private lessons, he gained valuable experience attending the Saturday music program at Cleveland's Tri-C Community College. By the time he entered high school, he was already an accomplished jazz musician, performing regularly around the city.

As a teenager, Farinacci was selected as a member of the prestigious High School Grammy Awards All-Star Big Band in California; an honor he earned three years in a row. Also during high school, he attended the Berklee College of Music Summer Jazz Program and opened for trumpeter Wynton Marsalis at the Tri-C Jazzfest in Cleveland. Based off that performance, Marsalis invited Farinacci to appear on the PBS concert special Live from Lincoln Center: A Tribute to Louis Armstrong.

After high school, Farinacci was accepted into the inaugural class of the Juilliard Jazz Program. It was while studying at Juilliard that his performance at another Lincoln Center concert, a tribute to trumpet legends Lee Morgan and Freddie Hubbard, that Farinacci caught the attention of producer Todd Barkan who signed him to a recording contract. In 2002, he released his debut album, Manhattan Dream, featuring pianist Mulgrew Miller, bassist Chip Jackson, and drummer Joe Farnsworth. The following year, he won first place in the Carmine Caruso International Jazz Trumpet Competition. Several more albums followed, including 2004's Besame Mucho and 2006's Adoro.

After graduating Juilliard, Farinacci remained in New York City and continued releasing albums like 2009's Lovers, Tales and Dancers and 2011's Dawn of Goodbye. He also spent two years living on and off in Qatar in the Middle East as the first Global Ambassador for Jazz at Lincoln Center. In 2016, Farinacci released his first album for Mack Avenue, Short Stories, featuring production from industry legend and fellow Cleveland native Tommy LiPuma. ~ Matt Collar

Adoro

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Horace Parlan - Frank-Ly Speaking

Bitrate: MP3@320K/s
Time: 56:11
Size: 128.6 MB
Styles: Piano jazz
Year: 1977/1994
Art: Front

[ 3:54] 1. Frank-Ly Speaking
[ 4:28] 2. Quietude
[ 6:30] 3. Hit It
[ 8:14] 4. Mirror Lake
[10:04] 5. Chocolate Cadillac
[ 6:39] 6. Misty Thursday
[ 7:22] 7. U.A.I
[ 8:55] 8. Veronica's Walk

Alto Saxophone – Frank Strozier; Bass – Lisle Atkinson; Drums – Al Harewood; Piano – Horace Parlan; Tenor Saxophone – Frank Foster. Recorded February 5, 1977.

This 1977 session in the United States marked a rare return to his native land for pianist Horace Parlan, where he reunited with old friends and made his first recording with another veteran. Featuring alto saxophonist Frank Strozier, bassist Lisle Atkinson, drummer Al Harewood, and ex-Basie tenor saxophonist Frank Foster (working with Parlan for the first time), the band benefited from playing a one-nighter and holding an afternoon rehearsal rather than going into the studio cold. Most of the selections played on this date were composed by fellow expatriates, including Thad Jones, Idrees Sulieman, and Duke Jordan, along with Parlan's buoyant hard bop vehicle "Frank-ly Speaking." The sauntering rendition of Jones' "Quietude," Atkinson's intricate "Hit It," and an extended workout of Sulieman's "Chocolate Cadillac" are also among the session's highlights, while the playing is inspired throughout the date by everyone involved. ~Ken Dryden

Frank-Ly Speaking

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Rolf Ericson & Johnny Griffin - Sincerely Ours

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 38:36
Size: 89,6 MB
Art: Front

(5:53)  1. Double Digit
(8:02)  2. Fragrance
(6:06)  3. Oblivion
(5:53)  4. Taboo
(4:42)  5. Sweet And Handsome
(7:58)  6. Korn Blues

One of Sweden's finest trumpeters, Rolf Ericson played in the U.S. often enough to gain a strong reputation. He started on trumpet when he was eight and, after hearing Louis Armstrong play in Stockholm in 1933, he switched to jazz. Ericson recorded in Sweden with Alice Babs and others starting in 1945, moved to New York in 1947, and played with Charlie Barnet (1949) and Woody Herman (1950). After returning to Sweden in 1950, he recorded as a leader and with Arne Domnérus and Leonard Feather's Swinging Swedes. He also toured and recorded with Charlie Parker. Back in the U.S. during 1953-1956, Ericson played with the big bands of Charlie Spivak, Harry James, the Dorsey Brothers, and Les Brown and was with the Lighthouse All-Stars. In 1956, he toured Sweden and played with Ernestine Anderson and Lars Gullin. During 1956-1965 in the U.S., Ericson was with Dexter Gordon, Harold Land, Stan Kenton, Woody Herman, Maynard Ferguson (1960-1961), Buddy Rich, Benny Goodman, Gerry Mulligan, and Charles Mingus, among others. There were also occasional tours with Duke Ellington during 1963-1971 and plenty of freelance jobs. In 1971, he settled in Germany as a studio musician, but Ericson returned to the U.S. several times over the next couple of decades. His warm tone and creative yet melodic style were always considered an asset. ~ Scott Yanow https://itunes.apple.com/us/album/sincerely-ours/id305133628

Personnel:  Trumpet – Rolf Ericson;  Tenor Saxophone – Johnny Griffin;  Piano – Fritz Pauer;  Bass – Lukas Lindholm;  Drums – Ronnie Stephenson;  Flugelhorn – Rolf Ericson

Sincerely Ours

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Julienne Taylor - The Heart Within

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 44:20
Size: 103,7 MB
Art: Front

(3:41)  1. I Knew I Loved You
(3:51)  2. Guitar Man
(3:33)  3. You Are Not Alone
(2:13)  4. I Was Born to Love You
(3:32)  5. Forever Our Love
(3:44)  6. If You Leave
(5:10)  7. Forbidden Colours
(2:39)  8. We Go Round
(3:03)  9. Please, Please, Please
(3:13) 10. Hard to Say I’m Sorry
(3:53) 11. Can't Let Go
(2:11) 12. You Are My Love
(3:31) 13. Baby Can I Hold You?

An album with a selection of fresh interpretations of new wave, classic love songs and originals in her own unique and distinctive style. Highlights include a beautiful version of Michael Jackson's You Are Not Alone, The Smith's Please, Please, Please and Queen's I Was Born To Love You and her original songs which include 'Can't Let Go','We Go Round' and 'Forever Our Love'. ~ Editorial Reviews  https://www.amazon.com/Heart-Within-Julienne-Taylor/dp/B005Z2WBNC         

The Heart Within

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Jerry Bergonzi - Just Within

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 65:12
Size: 149,5 MB
Art: Front

(7:01)  1. Our Love Is Here to Stay
(8:51)  2. Optimum Propensity
(5:29)  3. Out House
(7:36)  4. Red's Blues
(5:43)  5. Before It Happens
(9:38)  6. The Ray
(7:08)  7. Hank
(8:41)  8. Solar Return
(5:02)  9. Giant Steps

Although this is a tenor-organ-drums trio, the music is much more advanced than typical soul-jazz. Tenor saxophonist Jerry Bergonzi ranges style-wise from Joe Henderson on the first few selections to early John Coltrane on the later cuts. Organist Dan Wall shows more versatility than the usual Jimmy Smith-inspired organist, and drummer Adam Nussbaum is alert in support. The music is mostly comprised of Bergonzi's advanced but fairly straight-ahead originals, with the exceptions being a fresh rendition of "Our Love Is Here to Stay" and a version of "Giant Steps" that has sections in 6/4 and 5/4 time. Everyone plays up to par on this excellent modern post-bop date. ~ Scott Yanow https://www.allmusic.com/album/just-within-mw0000030717

Personnel: Jerry Bergonzi (tenor saxophone); Dan Wall (organ); Adam Nussbaum (drums)    

Just Within

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Clifford Jordan - Hello, Hank Jones

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 29:53
Size: 68,6 MB
Art: Front

(15:23)  1. Vienna
( 6:58)  2. Bohemia After Dark
( 7:32)  3. Love for Sale

Direct-to-disc recordings were highly sought by audiophiles during their heyday in the late '70s and early '80s, prior to the widespread availability of digital recordings. The technology had its advantages, especially during jazz sessions, where musicians the caliber of Clifford Jordan weren't handicapped by the engineer's inability to splice takes or overdub afterwards. Jordan, who is the leader of the session, shines on tenor sax, driven by an outstanding rhythm section with seasoned pianist Hank Jones, bassist Reggie Workman, and drummer Freddie Waits. Following an extensive exploration of Jordan's very catchy post-bop "Vienna" (which he previously recorded nine years earlier for the LP In the World), the quartet shifts into a bop mode with a superb take of Oscar Pettiford's "Bohemia After Dark" and a hard-blowing interpretation of Cole Porter's "Love for Sale." Like all direct-to-disc recordings, this long unavailable LP is a limited edition that was in short supply and difficult to find even when it was issued. Any jazz fan fortunate enough to locate a copy decades later will enjoy the performances and marvel at the warm, very intimate sound achieved by the musicians and the engineers on that summer day in 1978. ~ Ken Dryden https://www.allmusic.com/album/hello-hank-jones-mw0000877175

Personnel:  Clifford Jordan - tenor saxophone;  Hank Jones - piano;  Reggie Workman - bass;  Freddie Waits - drums

Hello, Hank Jones

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LeeAnn Ledgerwood, Ron McClure, Billy Hart - Renewal

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 61:48
Size: 142,4 MB
Art: Front

( 7:32)  1. Summernite
( 6:26)  2. I Wish You Knew
( 5:02)  3. All Blues
( 3:51)  4. Renewal
(10:55)  5. Adagio
( 7:14)  6. A Shade of Jade
( 5:28)  7. 502 Blues
( 8:01)  8. My Foolish Heart
( 7:15)  9. Autumn Leaves

An album that bursts out beautifully, right from the very first note then continues to hold us rapt throughout, with that strong sense of surprise we love from a really well-done piano trio album! LeeAnn Ledgerwood's no stranger to the recording studio, but this album really feels like something special and different a set that has her musical imagination maybe sparked with even more swing than before, all balanced with a warmly lyrical touch and set up in perfect communication with the bass of Ron McClure and drums of Billy Hart! 

The album's the sort that someone might be playing, and you'd step over and ask "What's that?" especially on the more upbeat numbers, which really grab us. Titles include the originals "Renewal" and "I Wish You Knew" plus "All Blues", "Summernite", "502 Blues", "A Shade Of Jade", and "Autumn Leaves".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/859856/LeeAnn-Ledgerwood:Renewal

Personnel: LeeAnn Ledgerwood, piano;  Ron McClure, bass;  Billy Hart, drums.

Renewal

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Big John Patton - Let 'em Roll

Bitrate: MP3@320K/s

Time: 39:50

Size: 91.2 MB

Styles: Bop, Soul-jazz

Year: 1965/1993

Art: Front

[6:48] 1. Let 'em Roll

[7:20] 2. Latona

[6:52] 3. The Shadow Of Your Smile

[6:45] 4. The Turnaround

[5:35] 5. Jakey

[6:27] 6. One Step Ahead

Drums – Otis Finch; Guitar – Grant Green; Organ – John Patton; Vibraphone [Vibes] – Bobby Hutcherson. Recorded on December 11, 1965.

In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date. What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's "The Turnaround," which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs. Also notable are Patton's own tunes, the most beautiful of which is "Latona," a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out. This is one of the least appreciated of Patton's records, and there's no reason for it; it is great. ~Thom Jurek

Let'em Roll 

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Courtney Pine - Black Notes From The Deep

Bitrate: MP3@320K/s
Time: 41:09
Size: 94.2 MB
Styles: Saxophone jazz
Year: 2017
Art: Front

[3:11] 1. Rules
[4:51] 2. You Know Who You Are
[3:19] 3. Darker Than The Blue
[5:35] 4. Rivers Of Blood
[3:15] 5. In Another Time
[4:53] 6. The Morning After The Night Before
[4:25] 7. A Change Is Sure To Come
[6:27] 8. How Many More
[3:56] 9. Butterfly
[1:13] 10. A Word To The Wise

Ever one to mix things up, Britain’s most celebrated jazzer follows a low-key ballads album with a collection centred on funk-oriented duets with vocalist Omar, though Courtney Pine – back on tenor sax for the first time in years – conjures assorted moods. Rivers of Blood is a brooding meditation taking its title from Enoch Powell’s 1968 racist speech, while A Change Is Sure to Come is a wistful, flute-driven piece. Omar brings an elegant touch to Herbie Hancock’s Butterfly, and snappy vitality to opener Rules. Robert Mitchell’s piano shines among a supporting trio, and Pine, whether in contemplation or post-bop flurry, shows why he’s still top dog. ~Neil Spencer

Black Notes From The Deep

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Yusef Lateef - Part Of The Search

Bitrate: MP3@320K/s
Time: 38:14
Size: 87.5 MB
Styles: Saxophone jazz
Year: 1974/2006
Art: Front

[3:42] 1. K.C. Shuffle
[0:39] 2. Oatsy Doatsy 1
[2:27] 3. Soul's Bakery
[3:25] 4. Lunceford Prance
[3:41] 5. Rock House
[0:15] 6. Oatsy Doatsy 2
[3:36] 7. In The Still Of The Night
[3:25] 8. Superfine
[4:11] 9. Strange Lullaby
[2:56] 10. Big Bass Drum
[9:53] 11. Getting Sentimental

Yusef Lateef's Atlantic albums tended to be erratic affairs with plenty of chances taken and the overall results being a mixed success. This set (reissued on CD) is one of his better efforts from the era. Lateef, doubling on tenor and alto this time, is backed not only by his trio but a big band, string quartet, three background vocalists and a variety of electric keyboardists and guitarists. There are enough good tracks (particularly "Lunceford Prance," "Rockhouse" and "I'm Gettin' Sentimental Over You") to make this a release worth checking out. ~Scott Yanow

Part Of The Search

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Cilla Owens - 'tis What It Is

Bitrate: MP3@320K/s
Time: 54:20
Size: 124.4 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[4:11] 1. I Mean You
[4:17] 2. Little Niles
[3:24] 3. Thou Swell
[2:06] 4. Twisted
[4:57] 5. 'tis What It Is
[5:18] 6. The Nearness Of You
[7:40] 7. Little Sunflower
[3:23] 8. You Don't Know What Love Is
[6:15] 9. What Is This Thing Called Love
[4:13] 10. Simple Samba
[4:20] 11. Take The 'a' Train
[4:12] 12. Fine And Mellow

Cilla Owens' credits include appearances at Lincoln Center, Carnegie Hall, The Blue Note, the original Small's Paradise, Symphony Space, Henry Street Settlement Playhouse, and the legendary Village Gate. She has performed in Germany, the Caribbean, and at various music festivals including Jazzmobile, The Newport Summer Fest, and La Fete de la Musique. For several years she performed with the Great Day Chorale, dedicated to the preservation of the Negro Spiritual, under the inimitable direction of master musicologist Louvinia Pointer. Cilla Owens is presently the Director of the Jazz Vocal Workshop at Hunter College/CUNY, where she earned a second B.A. in Music, and a M.A. in Performance. She is also the founder/director of the Jazzvox Performance Workshop as well as a private vocal coach.

Throughout the years Cilla has had the pleasure of performing with a variety of artists including Lionel Hampton, Bross Townsend, Michael Hill, Bob Cunningham, Tony Lewis, and Babi Floyd. She is a regular at the historic Cornelia Street Cafe in Greenwich Village, where she gets to rock the house along with Paul Shapiro's 'Ribs And Brisket Revue'.

'tis What It Is

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Jackie McLean - A Fickle Sonance

Bitrate: MP3@320K/s
Time: 35:03
Size: 80.2 MB
Styles: Bop, Saxophone jazz
Year: 1961/2000
Art: Front

[7:03] 1. Five Will Get You Ten
[5:51] 2. Subdued
[4:51] 3. Sundu
[6:46] 4. A Fickle Sonance
[5:44] 5. Enitnerrut
[4:44] 6. Lost

Alto saxophonist Jackie McLean was one of the few jazz players to come up through bebop and incorporate free jazz into his style. Even though A Fickle Sonance preceded McLean's intense 1962 album Let Freedom Ring, the playing remained in a swinging blues-oriented style, showing no hint of the direction his music was about to take. The sidemen on the date (Tommy Turrentine [trumpet], Sonny Clark [piano], and Butch Warren [bass]) prove to be an invigorating combination of musicians, however not as involved in the burgeoning free music as drummer Billy Higgins. At the time of these sessions, Higgins had already played with Ornette Coleman, providing a link to the avant-garde, but nevertheless his playing follows the hard bop pace of the others. McLean provides two original compositions, "Subdued" and the title track, while Clark, Turrentine, and Warren fill the remaining tracks. ~Al Campbell

A Fickle Sonance

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