Ralph Sutton - The Second Set

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 64:31
Size: 170,5 MB
Art: Front

(5:53)  1. Sleep
(5:23)  2. Moonglow
(5:38)  3. Basin Street Blues
(5:24)  4. Perdido
(2:04)  5. Love Me
(6:15)  6. Always
(5:11)  7. Love Lies
(6:52)  8. Gone With The Wind
(5:10)  9. Tea For Two
(6:33) 10. Sweet & Lovely
(7:31) 11. If Dreams Come True
(2:33) 12. Honky Tink Trein Blues

Ralph Sutton was one of the few living masters of stride piano by the time this night club engagement was recorded in St. Louis. This is the second volume of music recorded during his March, 1999, gig at the Backstage Bistro, but it is by no means inferior to the earlier Gaslight CD. Accompanied by two seasoned veterans, bassist Jack Lesberg and drummer Frank Capp, Sutton is in top form. One doesn't normally think of "Moonglow" as part of a stride pianist's repertoire, but Sutton's jaunty interpretation should prompt other practitioners to include it in their books. "Basin Street Blues" features a delightful call-and-response between the artist and Lesberg in its introduction before the leader takes over to work his magic with this jazz standard. The pianist also is featured on several delightful solos, including an alternate take of "Love Me" (a tune all but forgotten by most jazz musicians), a tantalizing performance of "Love Lies," a jubilant "Tea for Two," plus the added bonus of a private recording made in 1950, in a fan's home, of Sutton's romp through the boogie woogie classic "Honky Tonk Train Blues." Highly recommended! ~ Ken Dryden https://www.allmusic.com/album/the-second-set-mw0000015355

Personnel: Ralph Sutton (piano); Jack Lesberg (bass); Frank Capp (drums).               

The Second Set

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Katharine Mcphee - Unbroken

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 47:27
Size: 109,0 MB
Art: Front

(3:54)  1. It's Not Right
(3:06)  2. Had It All
(3:58)  3. Keep Drivin'
(3:20)  4. Last Letter
(3:43)  5. Surrender
(3:57)  6. Terrified
(3:32)  7. How
(3:47)  8. Say Goodbye
(4:14)  9. Faultline
(3:21) 10. Anybody's Heart
(3:11) 11. Lifetime
(4:17) 12. Unbroken
(3:00) 13. Brand New Key

Throwing the baby out with the bleach water, Katharine McPhee ditches dance-pop and her long brunette locks for her second album, Unbroken, upgrading to AAA crossover pop and a short blonde crop. The sudden departure was necessary, driven by the general disregard for her 2007 debut, which in typical post-American Idol fashion, chased after big hit singles at the expense of her show persona. On Idol, McPhee always favored middle of the road over modern, and Unbroken returns her to that course, bringing her somewhere within the vicinity of Paula Cole (who co-writes the title track), Rachael Yamagata (who co-writes “Keep Drivin’”) and Mandy Moore’s stylized ‘70s throwback, flavored with the slightest traces of modern sounds, including a vague borrowing of Beyoncé phrasing. The vibe fits McPhee, feeling like a deliberate blend of her “Over the Rainbow” and KT Tunstall tribute, but its cautious, careful crawl creeps right into the marrow of the album, slowing its heartbeat to a murmur. Professional that she is, McPhee sings to the contours of the song, fading into their supple formlessness and never investing them with personality. The only time Unbroken awakens from its deep slumber is at the end, when she rolls around to Melanie’s “Brand New Key” for a bonus track; it’s the only song with a melody that hooks, the only song that gives McPhee a stage where she can strut and, tellingly and sadly, its status as a golden oldie offers a reminder that she was better on Idol than she has been on record. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/unbroken-mw0000823407               

Unbroken

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George Garzone & Trio Da Paz - Night of My Beloved

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 58:55
Size: 135,3 MB
Art: Front

(7:30)  1. Felicidade
(5:56)  2. Gentle Rain
(4:11)  3. Choro
(5:59)  4. Pra Dizer Adeus
(5:50)  5. Alone
(6:10)  6. A Noite do Meu Bem (Night of My Beloved)
(5:48)  7. Falando de Amor
(6:06)  8. Ballad for Lana
(5:35)  9. The Shadow of Your Smile
(5:50) 10. Fotografia

George Garzone is a marvelous tenor saxophonist who is also known as a highly regarded educator. Some of people he has taught includes Branford Marsalis, Mark Turner, Joshua Redman, and many more. Garzone's debut album arrived fairly late in 1995 with the main influences coming from Stan Getz and John Coltrane. For this exceptional release, Garzone tapped into his love of Getz as he was paired with Trio da Paz, a superlative Brazillian trio led by the prominent guitarist, Romero Lubambo. In addition, piano expert Kenny Werner also joins this outstanding group of musicians. The casual listener might mistake this album as background music but that would be wrong. A sharp listener will pick up and savor the music being played by these masters. Each musician is tuned in to each other and aware of the right moment to play each note. This is an album that rewards deep listening.

Personnel:  George Garzone (tenor sax); Kenny Werner (piano); Romero Lubambo (guitar); Nilson Matta (bass); Duduka Da Fonseca (drums).

Night of My Beloved

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John Beasley - MONK'estra, Vol. 1

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 54:16
Size: 125,5 MB
Art: Front

(6:21)  1. Epistrophy
(8:03)  2. Skippy
(8:16)  3. Oska T
(2:50)  4. Monk's Processional (Medley)
(3:43)  5. 'Round Midnight
(6:46)  6. Ask Me Now
(3:14)  7. Gallop's Gallop
(9:13)  8. Little Rootie Tootie
(5:47)  9. Coming on the Hudson

Since the 1950s, composer-arrangers have made orchestral versions of Thelonious Monk’s music. I have so far heard none that have been quite so bold as John Beasley in recasting what he calls the “architecture” of these dauntingly angular piano pieces for a jazz orchestra. He lifts Monk’s melodies away from their native idiom of bebop and replants them in the musically cosmopolitan 21st century. Monk’s insistent, almost manic worrying at single phrases is replaced by sudden surprises and changes of direction. The variety of orchestral textures seems endless too. There’s a lot to take in, and a lot of conventional ideas to set aside, but through it all Monk’s themes emerge as strong as ever. https://www.theguardian.com/music/2016/aug/21/john-beasley-monkestra-vol-1-review-thelonious-monk

Personnel:  Piano – John Beasley;  Vibraphone – Gary Burton;  Alto Saxophone, Soprano Saxophone – Bob Sheppard, Danny Janklow, Tom Luer;  Trumpet – Bijon Watson, Brian Swartz;  Trombone – Francisco Torres ;  Trumpet – Brian Swartz, Gabriel Johnson;  Drums – Terreon Gully;  Bass Clarinet – Tom Peterson;  Trombone – Ryan Dragon

MONK'estra, Vol. 1

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London Grammar - Truth Is A Beautiful Thing

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 79:22
Size: 182,8 MB
Art: Front

(4:29)  1. Rooting For You
(4:41)  2. Big Picture
(4:28)  3. Wild Eyed
(4:35)  4. Oh Woman Oh Man
(6:04)  5. Hell To The Liars
(4:05)  6. Everyone Else
(4:17)  7. Non Believer
(4:34)  8. Bones Of Ribbon
(4:22)  9. Who Am I
(5:04) 10. Leave The War With Me
(5:07) 11. Truth Is A Beautiful Thing
(4:54) 12. What A Day
(3:30) 13. Different Breeds
(3:05) 14. Control
(3:42) 15. Trials (Demo)
(4:09) 16. May The Best (Church Mix)
(4:13) 17. Rooting For You (Demo)
(3:53) 18. Bitter Sweet Symphony (Live At Maida Vale Studios, London / 2017)

English trio London Grammar combine sparse electronic pop in the model of the xx with dramatic, big-voiced lead singer Hannah Reid's vocals, which evoke Annie Lennox and contemporaries like Florence Welch and Natasha Khan of Bat for Lashes. Reid and guitarist Dan Rothman met in the dorms of Nottingham University, where they began writing music together in 2009 and later added multi-instrumentalist Dot Major to complete the lineup. The following years saw them refine their sound with atmospheric electronics and subtle percussion, and they often played to rooms of no more than ten people. Their popularity rose with the 2012 release of "Hey Now," which they uploaded to the Internet, instantly finding a digital cult following. Their fans were not just in the U.K., but also on the other side of the world in Australia, where their self-released 2013 debut EP, Metal & Dust, reached the top of the digital charts. The same year they signed to Ministry of Sound and the single "Wasting My Young Years" appeared as their first release on the label. The year 2013 also saw them play a sold-out show at the Islington Assembly Hall and make an appearance at the Great Escape Festival in Brighton. In September 2013, London Grammar released their eagerly awaited debut album, If You Wait, with the album debuting on the U.K. album chart at number two and hitting the Top 20 in Australia, New Zealand, France, and Ireland. With the album receiving positive reviews, the trio headed out in support of the release in 2014, culminating in two sell-out shows at London's Brixton Academy. That same year they also picked up two Ivor Novello awards for the single "Strong," as well as two AIM awards for Breakthrough of the Year and Most Played Independent Act. After a whirlwind 2014, the trio retreated into their normal lives, rekindling friendships and writing new music. At the beginning of 2017 the group released the first fruits of those sessions: the single "Rooting for You," followed a month later by the Jon Hopkins-produced "Big Picture." Two more singles followed  "Truth Is a Beautiful Thing" and "Oh Woman Oh Man" before their sophomore album, Truth Is a Beautiful Thing, was released. Working with the likes of Paul Epworth, Youth, and Hopkins, the album saw the trio taking their sparse electronic pop into more cinematic territory. ~ Scott Kerr https://www.allmusic.com/artist/london-grammar-mn0003066904/biography

Truth Is A Beautiful Thing

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Javon Jackson - For One Who Knows

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 49:59
Size: 114,6 MB
Art: Front

(8:02)  1. For One Who Knows
(5:46)  2. Etcetera
(5:33)  3. Angola
(7:25)  4. Notes in Three
(6:23)  5. Jane's Theme
(6:40)  6. Paradox
(5:48)  7. Useless Landscape
(4:19)  8. Formosa (Gorgeous)

This CD only has one fault, but it is a major one. It seems that no matter what he plays (whether it be an obscure song by Wayne Shorter, Herbie Hancock, Sonny Rollins, or Antonio Carlos Jobim, or one of his two originals), Javon Jackson sounds too close to comfort to Joe Henderson; in fact there are times when the tenor-saxophonist sounds identical. That is a real pity, for Jackson consistently shows the ability to take chances successfully, and his supporting cast (particularly pianist Jacky Terrasson and acoustic guitarist Fareed Haque), is quite strong. The music, essentially advanced hard bop with hints of the avant-garde, is stimulating and generally unpredictable. Now, if only Javon Jackson would put away his Joe Henderson records for a few years. ~ Scott Yanow https://www.allmusic.com/album/for-one-who-knows-mw0000176785

Personnel: Javon Jackson (tenor saxophone); Jacky Terrasson (piano); Fareed Haque (acoustic guitar); Peter Washington (bass); Billy Drummond (drums); Cyro Baptiste (percussion).      

For One Who Knows

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Barbra Lica - Love Songs

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 35:03
Size: 81,1 MB
Art: Front

(3:14)  1. So In Love
(3:45)  2. Coffee Shop
(3:15)  3. That's What I Hate
(2:37)  4. Waking Up
(3:41)  5. Lovefool
(4:29)  6. How Insensitive
(3:34)  7. Did I Just Say That
(3:39)  8. I Get A Kick Out Of You
(3:30)  9. Don't Get Around Much Anymore
(3:14) 10. Secret Heart

Barbra Lica (vocalist) was born and raised in Toronto, Ontario. She grew up surrounded by musicians and she was constantly encouraged to broaden her musical horizons. She discovered jazz at the age of six and immediately began to sing along to the music of Doris Day, Ella Fitzgerald and Peggy Lee. Barbra has already amassed an impressive list of performing credits including collaborations with Dave Young, Peter Appleyard and The Brian Barlow Big Band as well as having a featured track on Paul Novotny and Joe Sealy’s album, Songs. 

In May 2012 her debut album entitled, That's What I Do, was released with a live-to-air concert celebration on JAZZ.FM91 hosted by Ross Porter, President and CEO of JAZZ.FM91. She continues to perform regularly in the Greater Toronto Area, presenting a wide repertoire of both jazz standards and original music. Her thoughts on pursuing a career as a jazz musician: “Nice work if you can get it. And you can get it  if you try.” 

In November 2013, Barbra was named first runner-up at the Sarah Vaughan International Jazz Vocal Competition. http://www.canadianjazzarchive.org/en/musicians/barbra-lica.html

Love Songs

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George Garzone - Quintonic

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 44:25
Size: 101,8 MB
Art: Front

(4:54)  1. Gargonzola
(7:41)  2. Crystal Ball
(6:28)  3. Idiosyncrasies
(5:49)  4. Restless
(7:46)  5. Ellwood
(6:07)  6. Abeid from Zanzibar
(5:37)  7. The Gargoyle Returns

"Gargonzi", "Berzone" call em whatcha like, the tenor sax duo of George  Garzone and Jerry Bergonzi from "Beantown" (Boston, Mass) quite excite on this 2014 disc. This CD appears to  be have been sponsored by the Danish Music Publishers Society and features a more than able rhythm section of pianist Carl Winther (who not only produced the date but penned four of the tracks) Johnny Aman on bass, and Anders Mogensen on drums. The front line hornmen sport an "obbledeygobbeldy" manneristic which refers to a post-Coltrane technique (also developed by Dave Liebman, Steve Grossman, Bill Evans,et al) which involves  a pumping off of the lower notes in order to get a ricochet-like effect escalating vertically to higher registers of the horn. Mind you this might be an anorakian pursuit of interest for saxophonists, but it is difficult to pull off and does have a distinctive and rather emotional, fiery edge to it. It sits well with both Garz and Gonz possessing dark and somewhat hollow, echoey tonal qualities which offer a refreshing contrast to the plethora of brighter, shimmery and brittle sounds that so many contemporary saxists have today. Winther's "Crystal Ball" has a gentle medium bluesy groove with a pensive and moody horn line that  leads to heroic solos all round. Bergonzi contributed two pieces, the melodic "Idiosyncrasies" and the brisk 12 bar burner, "Ellwood" which offset Winther's repertoire nicely. Everything is well controlled throughout with squeaks, squeals and even the odd honk. Quality stuff indeed. ~  Frank Griffith http://www.jazzviews.net/george-garzonejerry-bergonzi---quintonic.html

Personnel:  George Garzone, Jerry Bergonzi- tenor sax; Carl Winther- piano; Johnny Aman- bass; Anders Morgensen- Drums

Quintonic

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Carl Winther & Jerry Bergonzi - Inner Journey

Styles: Piano And Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 60:35
Size: 139,8 MB
Art: Front

( 8:09)  1. Talisman
( 4:40)  2. Requiem for Jw
( 3:59)  3. Inner Journey
( 4:46)  4. Kma
( 8:33)  5. Bar None
(11:24)  6. Triton
( 6:05)  7. Wheel of Fortune
( 3:47)  8. Long Gone
( 4:16)  9. Golem
( 4:51) 10. Medusa (Bonus Track)

A really great pairing, and one we're not sure we've ever heard before the tenor of Jerry Bergonzi and the piano of Carl Winther coming together here in an album that sparkles especially strongly on its big number of original tunes by Winther! Winther's got a round, rolling approach to his music that's also greatly supported by the bass of Johnny Aman in the quartet and while Bergonzi retains some of his sharper edges on tenor, he also seems to hit this lyrical beauty that we might not always associate with his music not mellowing out, but maybe opening more emotionally in ways that really illuminate his longstanding genius on his horn. The quartet also features Anders Mogensen on drums who often seems to kick back a little bit, and let the bass and piano really shape the tunes on titles that include "Triton", "Bar None", "KMA", "Inner Journey", "Requiem For JW", "Talisman", "Golem", and "Long Gone".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/847332/Carl-Winther-Jerry-Bergonzi:Inner-Journey

Personnel:  Carl Winther (piano); Jerry Bergonzi (tenor saxophone);  Johnny Aman (bass);  Anders Mogensen (drums).

Inner Journey

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Branford Marsalis - Random Abstract

Styles: Saxophone  Jazz
Year: 1988
File: MP3@320K/s
Time: 74:09
Size: 170,3 MB
Art: Front

( 6:46)  1. Yes And No
(11:05)  2. Cresent City
( 9:57)  3. Broadway Fools
( 8:13)  4. LonJellis
( 5:42)  5. I Thought About You
(16:25)  6. Lonely Woman
( 0:34)  7. Steep's Theme
(11:03)  8. Yesterday's
( 4:20)  9. Crepuscule With Nellie

Branford Marsalis (on tenor and soprano) and his 1987 quartet (which also includes pianist Kenny Kirkland, bassist Delbert Felix and drummer Lewis Nash) stretch out on a wide repertoire during this generally fascinating set. Very much a chameleon for the date, Marsalis does close impressions of Wayne Shorter on "Yes and No," John Coltrane ("Crescent City"), Ben Webster (a warm version of "I Thought About You"), Ornette Coleman ("Broadway Falls") and even Jan Garbarek (on a long rendition of Coleman's "Lonely Woman"). Random Abstract also includes a jam on Kirkland's "LonJellis," a piece without chord changes. This is one of Branford Marsalis' most interesting (and somewhat unusual) recordings. ~ Scott Yanow https://www.allmusic.com/album/random-abstract-mw0000195820

Personnel: Branford Marsalis (Saxophone); Kenny Kirkland (piano); Delbert Felix (bass); Lewis Nash (drums).           

Random Abstract

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Betty Carter - Look What I Got!

Styles: Vocal Jazz
Year: 1988
File: MP3@320K/s
Time: 48:33
Size: 111,2 MB
Art: Front

(5:43)  1. Look What I Got
(4:56)  2. That Sunday, That Summer
(7:40)  3. The Man I Love
(4:41)  4. All I Got
(4:20)  5. Just Like The Movies (Time)
(4:55)  6. Imagination
(2:41)  7. Mr. Gentleman
(6:35)  8. Make It Last
(6:57)  9. The Good Life

This well-rounded set gives listeners a good look at the adventurous music of Betty Carter. For this CD, she is joined by one of two rhythm sections (with either Benny Green or Stephen Scott on piano) and, on four of the nine songs, tenor saxophonist Don Braden. Carter twists and turns some familiar songs (such as "The Man I Love," "Imagination" and "The Good Life") along with a variety of lesser-known material including two songs of her own. Consistently unpredictable (whether scatting or stretching out ballads) Betty Carter's recordings are always quite stimulating. ~ Scott Yanow https://www.allmusic.com/album/look-what-i-got-mw0000195894

Look What I Got!

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Harry Connick, Jr. - Oh, My Nola

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 66:38
Size: 152,9 MB
Art: Front

(3:39)  1. Working In The Coal Mine
(3:58)  2. Won't You Come Home, Bill Bailey?
(3:26)  3. Something You Got
(5:03)  4. Let Them Talk
(3:41)  5. Jambalaya (On The Bayou)
(4:16)  6. Careless Love
(4:14)  7. All These People
(4:32)  8. Yes We Can Can
(2:41)  9. Someday
(3:59) 10. Oh, My Nola
(4:45) 11. Elijah Rock
(4:59) 12. Sheik Of Araby
(3:50) 13. Lazy Bones
(3:31) 14. We Make A Lot Of Love
(4:26) 15. Hello Dolly
(5:32) 16. Do Dat Thing

After Hurricane Katrina devastated New Orleans in the summer of 2005, musician Harry Connick, Jr. was one of the first people to lend not only his celebrity, but also his own two hands in aid to the survivors of the catastrophe. Connick brought a television crew with him as he traveled through his damaged hometown and shot footage to help draw attention to the situation. Soon after, he organized the benefit telethon A Concert for Hurricane Relief on NBC to raise money for the beleaguered residents of New Orleans. It was clear through all of this that Connick truly loved his hometown and perhaps even felt he owed the city a debt for all it had given to him. In that light, though he tastefully underplays his feelings about the tragedy, Connick's Oh, My Nola is clearly his response to Hurricane Katrina. But rather than making a one-note album filled with anger and sadness though he expresses those emotions here, too Oh, My Nola feels at once like a party-driven celebration of all that is New Orleans and a love letter to the city he almost lost. Featuring songs from, of, and about New Orleans, Oh, My Nola touches on almost every musical style that has come from the city and, in a similar sense, every style Connick has delved into over the years. For that reason it's both his most expansive and personal album to date, and finally finds the pianist/vocalist/arranger coalescing his eclectic tastes in jazz standards, stride piano, funk, Cajun, gospel, and contemporary pop under a unified vision that not surprisingly takes him back to the roots of New Orleans music.

To these ends, he turns Allen Toussaint and Lee Dorsey's classic R&B cut "Working in the Coal Mine" into a swaggeringly funky big-band workout. Similarly inventive, he does Hughie Cannon's traditional "Won't You Come Home, Bill Bailey?" as a second-line-inspired big-band swing number reminiscent of his own When Harry Met Sally soundtrack. But while these numbers showcase Connick's obvious talent for arranging and crafting large ensemble numbers, other cuts such as the traditional "Careless Love" reveal his more laid-back, country-inflected barroom piano style that recalls his early solo albums 20 and 25. Mixing this approach, Connick once again returns to Toussaint with the spiritual and motivational "Yes We Can" in a loping and funky, large-ensemble style. Always a student of American popular song, it's no surprise that Connick's original compositions stand up next to the classic tracks here; however, it's also on these originals that he moves toward expressing his anger over what happened to the city. On the half-improvised, stark, and funky "All These People" Connick sings, "I was so damn scared I held hands and wandered with the crazy man, but he wasn't crazy and I wasn't scared/We were just brothers that stood there and stared at all those people waiting there." 

It's one of the few moments of outright protest on the album and deftly conveys Connick's first-hand account of post-hurricane New Orleans. However, listening to the whole of Oh, My Nola, it becomes clear that the true protest Connick is concerned with is a protest of the soul against events that conspire to erase all that we hold dear. This is best expressed in Connick's own title track. Set to a simple midtempo traditional New Orleans jazz beat, he sings, "How proud would Louie and Mahalia be, to know that their memory was safe with me?/Oh, my Nola, old and true and strong just like a tall magnolia tree/Sit me in the shade and I'm right where I belong/Oh, my New Orleans, wait for me." ~ Matt Collar https://www.allmusic.com/album/oh-my-nola-mw0000554122                 

Oh, My Nola

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Michal Urbaniak - Fusion III

Styles: Violin Jazz
Year: 1975
File: MP3@320K/s
Time: 49:54
Size: 114,6 MB
Art: Front

(5:29)  1. Chinatown (Part I)
(6:15)  2. Kuyaviak Goes Funky
(5:48)  3. Roksana
(2:41)  4. Crazy Kid
(5:21)  5. Prehistoric Bird
(4:22)  6. Bloody Kishka
(4:44)  7. Cameo
(6:22)  8. Stretch
(4:46)  9. Metroliner
(4:00) 10. Chinatown (Part II)

With song structures similar to Mahavishnu Orchestra and electric-era Return to Forever, Michal Urbaniak's Fusion III appealed to the same fusion-buying clientele. What most distinguishes this music from that of its contemporaries was the unique vocalizing of Urbaniak's wife, Ursula Dudziak. She could sound at times like a Polish Flora Purim, at other times like a synthesized presence from another world. On this recording, Urbaniak's playing is fresh and engaging, and his compositions occasionally sound like Frank Zappa's instrumental work from this same era. John Abercrombie and Larry Coryell turn in blistering guitar passages, and bassist Anthony Jackson and drummer Steve Gadd provide a funkified rhythmic foundation. ~ Jim Newson https://www.allmusic.com/album/fusion-iii-mw0000917962

Personnel: Michal Urbaniak (violin); Urszula Dudziak (vocals, synthesizer, percussion, electronic percussion); John Abercrombie (guitar); Wlodek Gulgowski (electric piano, electric organ, Moog synthesizer); Anthony Jackson (bass guitar); Steve Gadd (drums).              

Fusion III

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Ahmad Jamal - Marseille

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 59:38
Size: 136,8 MB
Art: Front

(8:34)  1. Marseille (Instrumental)
(5:48)  2. Sometimes I Feel Like A Motherless Child
(8:30)  3. Pots en verre
(7:23)  4. Marseille (feat. Abd Al Malik)
(8:48)  5. Autumn Leaves
(5:55)  6. I Came To See You / You Were Not There
(6:23)  7. Baalbeck
(8:14)  8. Marseille (feat. Mina Agossi)

There are few true jazz legends left alive now let alone still recording albums of the calibre of Marseille. Ahmad Jamal is one such venerable figure and the octogenarian (born July 2, 1930) has recorded an album of consistent brilliance. Jamal prefers to refer to his playing as American classical music rather than jazz and he's been regarded as a "mainstream" pianist but to stylistically stereotype him in this fashion is to do him an injustice. The title track is afforded three different versions, the first being a mesmeric modally-inspired instrumental foray. The title is also a paean to a country that has enthusiastically supported Jamal throughout his long career culminating in the French government awarding him the prestigious Chevalier De L'Ordre Des Arts Et De Lettres in 2007. The album itself was recorded in Malakoff, a suburb on the outskirts of Paris. It's well-known that Miles Davis was a fan of Jamal's and admitted to being influenced by the pianist. Miles and Jamal became friends in the 1950s and Davis recorded Jamal's "Ahmad's Blues" on Workin' and "New Rhumba" on Miles Ahead. So on one level, it's not too surprising that on "Sometimes I Feel Like A Motherless Child" Jamal includes a funky quote from Davis's "Jean Pierre" from We Want Miles, released in 1982. But on another level the inclusion of this vamp, which bookends the track, demonstrates how versatile is Jamal's approach, and how a standard can be completely transformed so seamlessly.

The quoting continues on "Pots En Verre" with a repetition of two tantalisingly familiar chords from Lee Morgan's "The Sidewinder." The French rapper Abd Al Malik contributes tersely spoken words in French on the next beguiling version of "Marseille" on which Jamal evinces an alternative chordal interpretation. "Autumn Leaves" is given a rich makeover, with percussionist Manolo Badrena and drummer Herlin Riley adding a Latin-esque feel and all underpinned by James Cammack's resonant double bass. There's even a micro-quote from Oliver Nelson's "Stolen Moments" here too. The languid "I Came To See You / You Were Not There" and the more vibrant "Baalbeck" almost conclude this set but for the addition of a sumptuous third version of "Marseille," adorned by Mina Agossi's mellifluous vocals. It's undoubtedly Jamal's use of space and deft light and shade which characterise his playing and this proves that frenetic pyrotechnics are not necessary to make a huge impact on an audience. This extraordinarily beautiful album, simultaneously released on CD and double vinyl, demonstrates how age alone does not diminish an artist's musical ability and creativity. This superb album's appeal will be undoubtedly very wide indeed. ~ Roger Farbey https://www.allaboutjazz.com/marseille-ahmad-jamal-jazz-village-review-by-roger-farbey.php

Personnel: Ahmad Jamal: piano; James Cammack: double bass; Herlin Riley: drums; Manolo Badrena: percussion; Abd Al Malik (4), Mina Agossi (8): vocals.

Marseille

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Louis Prima Jr. and The Witnesses - Blow

Styles: Vocal And Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 40:44
Size: 94,0 MB
Art: Front

(2:40)  1. Blow
(4:19)  2. Go, Let's Go
(5:10)  3. New Orleans
(5:10)  4. Someday (feat. Leslie Spencer)
(3:21)  5. That's My Home (feat. Louis Prima)
(2:51)  6. Fame and Glory
(3:24)  7. Might Be Crazy (feat. Leslie Spencer)
(3:17)  8. Goody Two Shoes
(3:21)  9. I Just Wanna Have Fun (feat. Leslie Spencer)
(2:39) 10. Robin Hood
(4:27) 11. Those Million Things

For a while, Louis Prima Jr. resisted the call of the wild. The only son of the celebrated Vegas headliner, Prima Jr. fronted a locally successful rock outfit in his 20s and continued to dabble in music while building a career in Sin City’s food and beverage trade. It wasn’t until 1995 that the trumpeter and vocalist, then 30, decided to focus fulltime on recapturing the colossal showmanship of his late father. Seventeen years later, having formed his own band of Witnesses, he made his recording debut with Return of the Wildest!, comprising mostly covers from his dad’s repertoire. Blow is fresher, bolder and braver, its playlist dominated by sharp, rowdy originals. Prima Sr. was a master of controlled chaos. While Prima Jr. captures his old man’s frenetic, party-all-night ethos ably, his sound is more loosely explosive with distinct rock underpinnings. His voice barely hints at Sr.’s barbequed foghorn, remaining much closer in tone and timbre to Huey Lewis. Papa Prima had two secret weapons: Keely Smith and Sam Butera. In Marco Palos, Prima Jr. has a sax ace every bit as ferocious as Butera. Vocalist Leslie Spencer sounds nothing like Smith (who ever could?) but is an impressively soulful stylist, gutsy and powerful. Prima invades his father’s songbook just twice, for a rollicking “Robin Hood” and a blistering, from-the-grave duet with Louis Sr. on “That’s My Home.” Side-by-side with his father, Louis Jr. proves how worthy an heir he is to dad’s King of Cool mantle. ~Christopher Loudon https://jazztimes.com/reviews/albums/louis-prima-jr-the-witnesses-blow/

Personnel: Louis Prima Jr. (vocals, trumpet); Leslie Spencer (vocals); Ryan McKay (guitar); Marco Palos (saxophone); Ted Schumacher (trumpet); Steve Pandis (flugelhorn); Philip Clevinger (trombone); Gregg Fox (piano, organ); A.D. Adams (drums).

Blow

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John Driskell Hopkins & The Joe Gransden Big Band - You Better Watch Out!

Size: 102,5 MB
Time: 39:56
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Santa Claus Is Coming To Town (3:13)
02. Grandma Got Run Over By A Reindeer (Feat. Bela Fleck) (4:18)
03. Rudolph The Red Nosed Reindeer (3:29)
04. Santa Baby (Feat. Aoife O'Donovan) (3:43)
05. I Saw Mommy Kissing Santa Claus (Feat. Joe Gransden) (3:54)
06. Here Comes Santa Claus (Feat. Clay Cook) (2:56)
07. Happy Holiday - The Holiday Season (3:06)
08. Sing A Kris Kringle Jingle (2:43)
09. Donde Esta Santa Claus (Feat. Daniel De Los Reyes) (3:29)
10. Zat You, Santa Claus (2:43)
11. Jolly Old Saint Nicholas (2:56)
12. The Man With The Bag (3:22)

John Driskell Hopkins (founding member of the Zac Brown Band) has released his second holiday album, entitled You Better Watch Out, with The Joe Gransden Big Band. This follows the success of In the Spirit: A Celebration of the Holidays, released in 2015 with the Atlanta Pops Orchestra (and on vinyl in 2016).

Recorded and mixed at Hopkins’ new studio — Brighter Shade Studios — You Better Watch Out will feature appearances by musicians including Béla Fleck (“Grandma Got Run Over by a Reindeer”), Joe Gransden (“I Saw Mommy Kissing Santa Claus”), Aoife O’Donovan (“Santa Baby”), Daniel De Los Reyes (“Donde Esta Santa Claus?”) and Clay Cook (“Here Comes Santa Claus”).

You Better Watch Out!

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Karen Souza - Velvet Vault

Size: 100,4 MB
Time: 40:30
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. I Fall In Love Too Easily (3:45)
02. Don't Let The Sun Go Down On Me (3:58)
03. I'm Beginning To See The Light (2:34)
04. Valerie (4:12)
05. I'm Not In Love (4:05)
06. You Got That Something (4:04)
07. In Between Days (3:20)
08. In The Blink Of An Eye (3:43)
09. Walk On The Wild Side (3:14)
10. Angel Eyes (4:17)
11. Kids (3:13)

Three years after the release of her successful Essentials II, jazz diva Karen Souza is back with her fourth studio album. Velvet Vault is the title of a collection that combine jazz standards with jazz reworks of pop classics plus two songs co-written by Karen herself. Japan's superstar Toku duets with Karen on the track "You Got That Something". Also part of the album are Amy Winehouse guitarist Robin Banerjee and the legendary Tom "Bones" Malone (Blues Brothers, Saturday Night Live Band). Vocals were recorded in New York at the Orchard studios and produced by Richard Gottehrer of Blondie, Richard Hell and Dr. Feelgood fame. Velvet Vault is without a doubt, Karen's most accomplished record to date and will definitely surpass the success of her previous efforts.

Velvet Vault

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Fabrizio Bosso Quartet - Merry Christmas Baby

Size: 116,2 MB
Time: 49:25
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Vocals
Art: Front & Back

01. Winter Wonderland (3:35)
02. Frosty The Snowman (Feat. Walter Ricci) (3:11)
03. The Christmas Song (Feat. Karima) (5:19)
04. Jingle Bells (5:03)
05. Grown Up Christmas List (2:28)
06. Jingle Bell Rock (Feat. Walter Ricci) (5:46)
07. Have Yourself A Merry Little Christmas (4:21)
08. Silent Night (3:53)
09. Merry Christmas Baby (5:31)
10. Let It Snow! Let It Snow! Let It Snow! (1:44)
11. What Are You Doing New Year's Eve (Feat. Walter Ricci) (5:56)
12. Jingle Bell Rock (Feat. Walter Ricci) (Radio Edit) (2:34)

Fabrizio Bosso è uno dei più importanti e conosciuti musicisti jazz italiani. Due anni fa ha dato vita al Fabrizio Bosso Quartet, che raggruppa sotto lo stesso nome musicisti tra i più bravi in circolazione: Julian Oliver Mazzariello al piano, Jacopo Ferrazza al contrabbasso, Nicola Angelucci alla batteria e Bosso alla tromba.

Questo Natale il quartetto ha registrato "Merry Christmas Baby" (Warner Music), un album con i classici natalizi arrangiati in chiave jazz. "Merry Christmas Baby" vede inoltre la collaborazione delle voci di Walter Ricci ("Frosty the snowman", "What are you doing new year's eve?" e "Jingle bell rock") e di Karima ("The Christmas Song").

Merry Christmas Baby

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Nate Najar - Christmas In December

Size: 100,1 MB
Time: 42:47
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Smooth Jazz
Art: Front

01. Mistletoe And Holly (4:28)
02. Angels We Have Heard On High (6:57)
03. I'll Be Home For Christmas (4:53)
04. Hallelujah (5:03)
05. This Christmas (5:33)
06. What Are You Doing New Year's Eve (4:42)
07. River (4:31)
08. Merry Christmas Baby (4:18)
09. Have Yourself A Merry Little Christmas (2:18)

“Christmas in December” is a new collection of holiday favorites from guitarist Nate Najar. Ranging from the subdued soul of the Donnie Hathaway classic “This Christmas” to the bright swing of “Mistletoe and Holly” and easy bossa nova of “I’ll Be Home For Christmas,” Najar draws on his widely varied musical experiences to present this engaging set. Vocalist Betty Fox turns in a captivating performance on Leonard Cohen’s “Hallelujah” accompanied by Nate’s lush chording, while tenor saxophonist Jeff Rupert and trumpeter James Suggs take turns on the soul drenched “Angels We Have Heard On High.” All the while the sound of Nate’s Ramirez classical guitar (formerly owned by the late Charlie Byrd) sets the mood.

In an industry that likes to conveniently pigeonhole even its most adventurous artists, Nate Najar has stood out with his full embrace of the great possibilities of playing jazz. Inspiring growing numbers of fans with his distinctive approach of playing jazz on the acoustic classical guitar with a right hand classical approach, the multifaceted artist has performed hundreds of trio dates throughout the world, scored a Top Ten Billboard Jazz single (“Groove Me”) and recorded tribute projects to his idol Charlie Byrd and the music of Brazil. The All Music Guide called Nate “one of the most consistently interesting and stylish young guitarists on the jazz scene.” JazzTimes Magazine referred to Nate’s playing as “intimate and soulful” and perhaps the greatest endorsement comes from Becky Byrd, wife of the late guitarist Charlie Byrd- “There is no doubt that there is a piece of Charlie’s soul in Nate’s mind, heart and fingers. Get ready world, here comes Nate Najar!"

Christmas In December

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Natalie Williams - A Little Bit Of Christmas!

Size: 116,6 MB
Time: 49:45
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals/Xmas
Art: Front

01. God Rest Ye Merry Gentlemen (3:58)
02. In The Bleak Midwinter (3:54)
03. A Little Bit Of Christmas (4:22)
04. Little Drummer Boy (2:56)
05. Fairytale Of New York (Feat. Brendan Reilly) (4:38)
06. Jesus, What A Wonderful Child (4:44)
07. Oh Holy Night (4:05)
08. This Christmas (3:05)
09. Have Yourself A Merry Little Christmas (3:42)
10. Coventry Carol (2:59)
11. What Does Santa Get For Christmas (4:35)
12. Stille Nacht (Silent Night) (3:32)
13. Xmas X My XXX (3:08)

One of the UK’s most endearing and popular soul/jazz artists, singer-songwriter Natalie Williams has 7 critically acclaimed albums under her belt and a dedicated following that extends throughout the world. Her Ronnie Scott’s residency, Soul Family Sundays has sold out every month for over 10 years, seeing her perform to over 30,000 enthusiastic fans at the world renowned jazz club.
Natalie has toured the globe as both a solo artist and lead vocalist of Jazz-Funk sensation, Incognito, and has performed at many of the world’s leading live music events and venues, including the London Jazz Festival, the Royal Albert Hall, The Barbican Centre, Montreux Jazz Festival, BB Kings in New York, Jakarta Jazz Festival, Blue Note in Tokyo, Love Supreme Festival, Glastonbury and many more…

Williams’ adaptable vocal talent and songwriting ability has brushed most musical styles.To the mainstream world of commercial music, she is an underground artist known for her distinctive vocals which have appeared on tracks by drum and bass icons such as Hospital Records DJ, Nu:Tone, with whom she has collaborated extensively. Most recently, she appeared as a featured artist with DnB producer and DJ, Goldie, their recent single, ‘Adore You’ from Goldie’s new album has gained rave reviews worldwide. Her own youthful output of soul and R&B based tracks resulted in her receiving a MOBO nomination.

August of 2016 saw her supporting the legendary Herbie Hancock on the Queen Mary 2 crossing from Southampton to New York and her most recent album ‘Kaleidoscope’ was greatly supported by Jazz FM who play-listed her duet with the virtuosic multi-instrumentalist and Grammy winning artist, Jacob Collier, on Billy Joel’s ‘For The Longest Time’.

2017 so far has been an eventful year for Natalie, starting in January with an amazing 22 date arena tour across the U.K as the featured guest artist for Young Voices. Says Natalie: “Young Voices has been an absolutely magical experience. Hearing 8000 kids singing together every night in those iconcic venues was utterly mind-blowing. I’m super excited to be doing the 2018 tour, this time having written a special song just for the Young Voices project. I can’t wait!!’

A Little Bit Of Christmas!

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