Van Morrison - Versatile

Styles: Vocal, R&B
Year: 2017
File: MP3@320K/s
Time: 68:40
Size: 157,5 MB
Art: Front

(3:17)  1. Broken Record
(3:33)  2. Foggy Day
(3:38)  3. Let's Get Lost
(3:45)  4. Bye Bye Blackbird
(4:01)  5. Skye Boat Song
(4:07)  6. Take It Easy Baby
(4:52)  7. Makin' Whoopee
(4:10)  8. I Get A Kick Out Of You
(3:37)  9. I Forgot That Love Existed
(4:33) 10. Unchained Melody
(4:40) 11. Start All Over Again
(5:29) 12. Only A Dream
(6:04) 13. Affirmation
(3:10) 14. The Party's Over
(6:02) 15. I Left My Heart In San Francisco
(3:35) 16. They Can't Take That Away From Me

Versatile is Van Morrison's 38th album, and follows the release of the excellent R&B and blues covers collection Roll with the Punches by less than three months. Like its predecessor, it's primarily a covers set, but its focus is on jazz and pop standards from the Great American Songbook with six originals added for good measure. Historically, these experiments haven't worked for rock artists: Rod Stewart delivered five overblown, badly sung collections from the canon, and Bob Dylan delivered five discs of highly idiosyncratic interpretations of the stuff. Even Boz Scaggs tried them with very mixed results. Morrison fares better than his peers due to experience standards have peppered his set lists for decades. Versatile is not a pillar in his catalog, but it's not a cynical cash-in, either.  Morrison surrounds himself with a septet that includes saxophones, trombone, keys, guitar, bass, and drums. Most of these tracks were recorded in hotel lounges in Ireland's County Down, adding to the slippery jazz feel. The canonical material proves a real interpretive challenge. Curiously, he opens the record with a throwaway new original entitled "Broken Record," that shows off his band's fingerpopping swing quotient but little else. He quickly recovers with a fine reading of the Gershwin's "A Foggy Day," showcasing his fluid phrasing and empathic lyric interpretation. His Chet Baker worship is well known, so it shouldn't come as a surprise that he takes on "Let's Get Lost." His take is jaunty, offering tinges of Jimmy Rushing-inspired R&B while retaining its identity as a jazz tune. 

While his muted scat groove on Cole Porter's "Bye Bye Blackbird" is overly strident, he gives a polished, nuanced performance to the composer's "I Get a Kick Out of You." "Makin' Whoopee" contains a nice bluesy chart (Dave Keary's electric guitar playing recalls Grant Green's), but Morrison's vocal is uncomfortably stilted. Among his own tunes are two new ones the punchy, Jimmy Witherspoon-esque "Take It Easy Baby" and the contemplative, nearly spiritual, modal, instrumental "Affirmation" with Sir James Galway guesting on flute as well as beautifully rendered rearrangements of catalog material "I Forgot That Love Existed," "Start All Over Again," and "Only a Dream." There is also a deeply satisfying arrangement of the traditional "Skye Boat Song" that melds Celtic soul with Celtic swing as Morrison's smoky alto sax leads the rest of the horn section's lithe groove. While he could have left off the too-often covered "Unchained Melody" and "I Left My Heart in San Francisco" as they add nothing to the originals, readings of "The Party's Over" and the Gershwin closer "They Can't Take That Away from Me" are impeccable examples of Morrison's mercurial phrasing and limpid modern arrangements that make swing their top priority. Versatile has its flaws and will likely appeal most to longtime fans, but Morrison fully invests himself in each tune, singing them as if he wrote them. This is head and shoulders above similar efforts by his peers and a solid addition to his shelf. ~ Thom Jurek https://www.allmusic.com/album/versatile-mw0003123437

Versatile

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Jaki Byard - Blues For Smoke

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 38:53
Size: 89,5 MB
Art: Front

(5:57)  1. Excerpts from european episode
(4:32)  2. Aluminium baby
(3:41)  3. Pete and Thomas
(4:12)  4. Spanish tinge N . 1
(5:44)  5. Flight for the fly
(4:52)  6. Blues for smoke
(2:07)  7. Jacki's blues next
(5:06)  8. Diane's melody
(2:40)  9. One two five

Pianist Jaki Byard's first recording as a leader was not released domestically until this 1988 CD. That fact seems strange for Byard is absolutely brilliant on the solo piano set. Many of his selections (all nine tunes are his originals) look both backwards to pre-bop styles and ahead to the avant-garde including such numbers as "Pete and Thomas (Tribute to the Ticklers)," "Spanish Tinge No. 1," and "One, Two, Five." The most remarkable selection is "Jaki's Blues Next" which has Byard alternating between James P. Johnson-type stride and free form à la Cecil Taylor; at its conclusion he plays both styles at the same time. A highly recommended outing from a very underrated pianist. 

~ Scott Yanow https://www.allmusic.com/album/blues-for-smoke-mw0000091532 

Jaki Byard plays solo piano.

Blues For Smoke

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Helen Shapiro & Humphrey Lyttlelton - Echoes Of The Duke

Styles: Vocal Jazz

Year: 1985

File: MP3@320K/s

Time: 49:31

Size: 114,1 MB

Art: Front

(3:10)  1. Take The 'A' Train

(3:12)  2. I Ain't Got Nothin' But The Blues

(3:05)  3. I Got It Bad And That Ain't Good

(2:57)  4. Cross A Busy Street

(3:03)  5. Just Squeeze Me

(4:48)  6. I Let A Song Go Out Of My Heart - Don't Get Around Much Any More

(4:23)  7. It Don't Mean A Thing If It Ain't Got That Swing

(3:29)  8. Drop Me Off In Harlem

(3:54)  9. Do Nothing Till You Hear From Me

(2:50) 10. Pritti Nitti

(5:13) 11. Mood Indigo

(2:45) 12. Just A-Sittin' And A-Rockin'

(3:37) 13. Echoes Of The Duke

(2:58) 14. Caravan

Helen Shapiro is remembered today by younger pop culture buffs as the slightly awkward actress/singer in Richard Lester's 1962 debut feature film, It's Trad, Dad. From 1961 until 1963, however, Shapiro was England's teenage pop music queen, at one point selling 40,000 copies daily of her biggest single, "Walking Back to Happiness," during a 19-week chart run. A deceptively young 14 when she was discovered, Shapiro had a rich, expressive voice properly sounding like the property of someone twice as old, and she matured into a seasoned professional very quickly. She grew up in London's East End and was performing with a ukulele at age nine as part of a school group -- supposedly called Susie & the Hula Hoops, whose members included a young Mark Feld (aka Marc Bolan) that used to sing their own versions of Elvis Presley and Buddy Holly songs. She subsequently sang with her brother Ron Shapiro's trad jazz turned skiffle outfit at local clubs before enrolling in classes at Maurice Burman's music school in London. Burman was so taken with Helen Shapiro's voice that he waived the tuition to keep her as a student. He later brought her to the attention of Norrie Paramor, then one of EMI's top pop producers (responsible for signing Cliff Richard & the Shadows). Shapiro's voice was so mature that Paramor refused to believe from the evidence on a tape that it belonged to a 14-year-old until she came to his office and belted out "St. Louis Blues." She cut her first single, "Please Don't Treat Me Like a Child," a few weeks later and broke onto the British charts in 1961.

That record was an extraordinary effort for a 14-year-old. Shapiro's voice showed the maturity and sensibilities of someone far beyond their teen years; her depth of emotion, coupled with the richness of her singing, made her an extraordinary new phenomenon on the British pop scene. She surprised everyone once again with her second single, a slow ballad called "You Don't Know," which managed to appeal to listeners across several age groups and hit number one in England. This was followed by the greatest recording of her career, "Walking Back to Happiness," which scaled the top of the charts with far greater total sales. Ironically, she'd never wanted to cut it; she felt it sounded hopelessly corny and old-fashioned, but her singing invested the song with such depth that it transcended any limitations in the writing. This was to be the last time Shapiro would top the charts. Her next record, "Tell Me What He Said" (written by Jeff Barry) was held out of the top spot by the Shadows' "Wonderful Land." In April of 1962, Shapiro made her movie debut in Lester's It's Trad, Dad, but her single of "Let's Talk About Love" (featured in the movie) never broke the Top 20. Shapiro next turned back to the songwriting team of John Schroeder and Mike Hawker, who had written "Walking Back to Happiness" and "You Don't Know," for what proved to be her last Top Ten record, "Little Miss Lonely." She made the charts once more with "Keep Away From Other Girls," the first song by Burt Bacharach to make the British Top 40. During this period, Shapiro also got the opportunity to record Neil Sedaka's "Little Devil," and the two later became friends when Sedaka toured England. Listening to Shapiro's records nearly 40 years later, it's amazing to think that her hit-making career lasted only two years. She was equally at home belting out "The Birth of the Blues," imparting a surprisingly blues-influenced feeling to "A Teenager in Love," or oozing pre-feminist defiance in "Walking Back to Happiness," and by rights should have been able to find a niche on the charts well into the middle and late '60s. The incongruity of a 15-year-old who might usually be spending her time in high school doing a song like "Walking Back to Happiness" was lost in the more innocent era in which she worked. 

Shapiro wasn't remotely as soul-influenced as Dusty Springfield (though Shapiro's Helen in Nashville album from 1963 does sort of anticipate Dusty in Memphis), or a raspy shouter like Lulu, and there wasn't much of the cool teenager in her in the style of Sandie Shaw or the wounded teen softness of Lesley Gore. Rather, Shapiro was much more of a female pop/rock crooner, almost a distaff Bobby Darin with a style all her own, and should have been able to cut a path for herself well into the '60s in the music marketplace.

It wasn't to be, however. After appearing in her second movie, Play It Cool, which starred Billy Fury, Shapiro faded from the charts, although she didn't disappear from the British musical consciousness. She still headlined tours in the United Kingdom and in early 1963, she made the acquaintance of a support act that had been newly signed to EMI: the Beatles. She headlined the Beatles' first national tour of England and Shapiro and the group enjoyed each other's company. At 16, she was much more the seasoned professional than the older Liverpool quartet, who loved her voice and her unassuming manner. She sang with them on the bus, advised them to make "From Me to You" their next record after "Please Please Me," and they, in turn, wrote "Misery" for her. Astonishingly, EMI not yet sensing the golden touch that the Beatles (who had yet to cut their first LP) would soon reveal declined to give Shapiro the chance to record a Lennon-McCartney tune, costing her the chance to become the first artist to cover a Lennon-McCartney song just at the point when the Beatles were about to sweep all before them in the pop charts. There's no telling what Shapiro, with her rich intonation, could have done with that downbeat little diamond in the rough in the early Lennon-McCartney song bag. Shapiro had another chance at an even more promising song later in 1963 when she went to cut an album in Nashville. In a session backed by the likes of Grady Martin and Boots Randolph, she cut the very first recording of "It's My Party." And again, EMI failed to get behind the single, sitting on its release until a virtual unknown named Lesley Gore got her rendition out first on Mercury and topped the U.S. charts. Shapiro's career at EMI ended in 1963 and her periodic attempts to resume recording at Pye, DJM, and Arista over the next decade failed to generate any chart action. Shapiro has busied herself over the years very successfully as an actress, appearing as Nancy in Lionel Bart's musical Oliver and appearing on British soap operas as well. She has remained an attraction on the cabaret circuit over the decades and was well-known enough as a pop culture figure to justify the release of a best-of CD in Japan in the early '90s. She also cut albums devoted to the music of Duke Ellington and Johnny Mercer.  https://www.allmusic.com/artist/helen-shapiro-mn0000571112/biography    

Echoes Of The Duke

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Bobby Timmons - Holiday Soul

Styles: Christmas, Soul Jazz
Year: 1964
File: MP3@320K/s
Time: 42:21
Size: 100,5 MB
Art: Front

(3:12)  1. Deck The Halls
(7:06)  2. White Christmas
(5:20)  3. The Christmas Song
(4:40)  4. Auld Lang Syne
(6:28)  5. Santa Claus Is Coming To Town
(5:36)  6. Winter Wonderland
(5:05)  7. We Three Kings
(4:51)  8. You're All I Want For Christmas

Bobby Timmons became so famous for the gospel and funky blues clichés in his solos and compositions that his skills as a Bud Powell-inspired bebop player have been long forgotten. After emerging from the Philadelphia jazz scene, Timmons worked with Kenny Dorham (1956), Chet Baker, Sonny Stitt, and the Maynard Ferguson Big Band. He was partly responsible for the commercial success of both Art Blakey's Jazz Messengers and Cannonball Adderley's Quintet. For Blakey (who he was with during 1958-1959), Timmons wrote the classic "Moanin'" and, after joining Adderley in 1959, his song "This Here" (followed later by "Dat Dere") became a big hit; it is little wonder that Adderley was distressed when, in 1960, Timmons decided to return to the Jazz Messengers. "Dat Dere" particularly caught on when Oscar Brown, Jr. wrote and recorded lyrics that colorfully depicted his curious son. Timmons, who was already recording as a leader for Riverside, soon formed his own trio but was never able to gain the commercial success that his former bosses enjoyed. Stereotyped as a funky pianist (although an influence on many players including Les McCann, Ramsey Lewis, and much later on Benny Green), Timmons' career gradually declined. He continued working until his death at age 38 from cirrhosis of the liver. ~ Scott Yanow https://itunes.apple.com/us/album/holiday-soul/1049485618

Personnel: Piano – Bobby Timmons;  Bass – Butch Warren;  Drums – Walter Perkins

Holiday Soul

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Nat King Cole Trio - Live At The Circle Room & More

Styles: Vocal And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 72:40
Size: 173,6 MB
Art: Front

(0:39)  1. Opening Theme
(2:57)  2. Oh, But I Do
(3:10)  3. I'm Thru With Love
(3:49)  4. ''C'' Jam Blues
(3:13)  5. My Sugar Is So Refined
(4:11)  6. I'm In The Mood For Love
(2:35)  7. I Found A New Baby
(3:03)  8. I Don't Know Why
(2:29)  9. If You Can't Smile And Say Yes
(3:05) 10. It's Only A Paper Moon
(3:55) 11. One O'Clock Jump
(2:23) 12. Everyone Is Saying Hello Again
(2:34) 13. Sweet Georgia Brown
(3:26) 14. Sweet Lorraine
(2:44) 15. Oh, But I Do
(3:21) 16. My Sugar Is So Refined
(1:44) 17. Closing Theme (F.S.T.)
(2:58) 18. My Mother Told Me
(2:43) 19. Exactly Like You
(3:25) 20. Part Of Me
(2:35) 21. What Have You Got In Those Eyes
(3:16) 22. Top Hat Bop
(3:07) 23. Go Bongo
(2:37) 24. Rhumba Blues
(2:28) 25. Boulevard Of Broken Dreams

This Live at the Circle Room date has been issued before, but the bonus material of the same band from a later date makes this an extra special set. For starters, the Circle Room, in the Hotel La Salle in Milwaukee, was the town's premier jazz spot in 1946. The first 17 tracks on this CD come from four performances between September 21 and 25 of that year. Cole, with Oscar Moore and Johnny Miller, had begin his singing career in earnest, and playing in front of a lounge crowd seemed like the most natural thing in the world for him. Indeed, as bottles click, and the periodic murmur of voices in the foreground appear in the mix, the listener will be transported into Cole's magical space. From Ellington's "C Jam Blues," to "I'm in the Mood for Love," "I'm Thru With Love," and "Sweet Georgia Brown," the Cole trio kicks it with grace and elegance. The latter eight cuts here are form 1949, from a date in Los Angeles, and feature Joe Comfort and Jack Constanzo as the rhythm section. While the development of Cole's voice and arrangements were well-suited for the nightclub, his harmonic adventures were curtailed in this setting. ~ Thom Jurek https://www.allmusic.com/album/live-at-the-circle-room-more-mw0000104438

Personnel:  Nat King Cole (vocals, piano);  Oscar Moore, Irving Ashby (guitar);  Johnny Miller, Joe Comfort (bass);  Jack Costanzo (bongas, congas)

Live At The Circle Room & More

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David Linx & Diederik Wissels - Winds Of Change

Styles: Vocal And Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 56:40
Size: 130,3 MB
Art: Front

(3:18)  1. Force Of Habit
(6:51)  2. In Search Of Proper Shelter
(4:43)  3. You
(5:21)  4. Just You Stand
(4:56)  5. Make Today Today
(4:27)  6. Run A Race Or Two
(4:04)  7. On A Slow Train
(2:21)  8. Speak Up
(5:07)  9. Come Around
(2:56) 10. One Mile A Day
(4:03) 11. Winds Of Change
(4:38) 12. I Don't Know, Do You
(3:49) 13. I Will Dance For You

Winds of Change marks twenty-five years of artistic collaboration between David Linx and Diederik Wissels. Their repertoire is known to have given a new place and a new breath to the voice in contemporary jazz. Since 1992, the duo has recorded ten albums and collaborated with such artists as Paolo Fresu, Fay Claassen, Maria Pia de Vito, Maria Joao and Mario Laginha. Linx and Wissels have received all of Europe's major awards for jazz recordings. Many of their songs have become standards that have been adopted by many vocalists in the world. 

On the thirteen tracks of Winds of Change, Linx and Wissels are accompanied by Christophe Wallemme on bass and Donald Kontomanou on drums. They are also joined by star trumpeter Ibrahim Maalouf. These songs are a reflection of the times, steeped in nostalgia. ~ Editorial Reviews https://www.amazon.com/Winds-Change-David-Linx/dp/B00B8XC25Y

Personnel: David Linx (vocals); Diederik Wissels (piano, Fender Rhodes piano, Wurlitzer organ); Christophe Wallemme (acoustic bass); Donald Kontomanou (drums). 

Winds Of Change

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Steve Turre - Keep Searchin'

Styles: Trombone Jazz
Year: 2006
File: MP3@320K/s
Time: 63:30
Size: 149,2 MB
Art: Front

(9:13)  1. Sanyas
(6:25)  2. Faded Beauty
(5:43)  3. Thandiwa
(6:50)  4. Reconcilliation
(4:02)  5. Time Off
(5:41)  6. My Funny Valentine
(7:45)  7. Easy Now
(4:53)  8. Steppin' Out
(5:44)  9. Da Blues
(7:11) 10. Keep Searchin'

Few jazz artists today are as adept as Steve Turre in straddling the "one foot in the future, one foot in the past" endeavor. On his past two CD releases, the long-time Saturday Night Show trombonist tipped his hat to a couple of past masters: to fellow trombonist J.J. Johnson with One4J: Paying Homage to J.J. Johnson (Telarc, '03) and to Rahsaan Roland Kirk with The Spirits up Above (High Note, '05). On Keep Searchin' Turre pays tribute to his own musical/life philosophy on a set of forward-looking original (mostly) compositions, performed with a group of stellar musicians. The disc opens with Turre's "Sanyas," which was his first recorded original compostion, from Woody Shaw's Moontrane (Muse, '74). Turre blows in here on the conch shell a sound so far in the past that's it's come back around to the future in front of pianist Xavier Davis' pattering raindrops, yielding a warmly haunting sound that gives way to some high octane open horn blowing, with Akua Dixon weaving a scratchy fabric behind him on baritone violin. The group chemistry is wonderful. Dixon takes a solo that gives way to Stefon Harris, who shines up the sound on the vibes, leading into Xavier Dixon's dark turn on piano. 

The Stephon Harris tune "Faded Beauty" opens with Turre talking on a pixie mute plunger, a smooth wah-wah flow that gives way to Davis' slightly astringent (at least at the beginning) piano solo in front of a flexible rhythm. Turre leans toward the past with a reverent take on the Rodgers and Hart standard "My Funny Valentine," where Davis sparkles behind the horn's deep tone. The band puts some bounce into Grachan Moncur's "Thandiwa" and turns up the heat on Curtis Fuller's "Time Off," as Turre pays his respects to a couple of unerrated trombone masters. Turre mixes up the sound with different mutes throughout, and adds, again, the hollow, peacefully haunting timbre of the conch shell on the closing title track. An excellent set by an ever-searching artist. 

~ Dan McClenaghan https://www.allaboutjazz.com/keep-searchin-steve-turre-highnote-records-review-by-dan-mcclenaghan.php
 

Personnel: Steve Turre: trombone, shells; Stefon Harris: vibes; Akua Dixon: baritone violin; Xavier Davis: piano; Dion Parson: drums; Gerald Cannon or Peter Washington: bass.

Keep Searchin'

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Carmen Gomes Inc. - Carmen Meets Kharma

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 64:42
Size: 148,7 MB
Art: Front

(6:21)  1. Summertime
(4:03)  2. Heaven is a state of mind
(7:02)  3. Pastora
(7:01)  4. I believe
(5:06)  5. Take it all
(3:59)  6. I'll pay the band
(5:22)  7. Gazing at the sun
(4:56)  8. Green and Blue
(4:40)  9. Soul
(6:38) 10. Billie's Blues
(4:33) 11. September
(4:55) 12. It's about time

Carmen Gomes (vocals) is able to add her personal 'je ne sais quoi' to the pieces she sings in an inimitable way. She won several prizes, performed at the North Sea Jazz Festival and played with Louis van Dijk and the Metropole Orchestra. Folker Tettero (guitar) mingles jazz, blues and funk into his own unique blend. He promises to be one of the leading jazz guitarists of his generation. He plays with the New Standard Trio and the band Amsterdam Headliners.

Peter Bjornild (DK) (double bass) dedicates his musical genius and international experience to bring the sound of the band to the highest level. He has played with Ed Thigpen, Thad Jones and Bennie Wallace, among others. Marcel van Engelen (drums) has played with Mark Murphy, Lee Konitz and Toots Thielemans and sees to the rhythmic manoeuvrability of the ensemble in his own subtle way. The four musicians complement each other perfectly. Strong as soloists, yet continuously searching for unity, they are capable of picking up each musical theme and moulding it into the unique sound which is so typical of this band. http://www.mymusicbase.ru/PPB/ppb33/Bio_3328.htm

Personnel: Vocals – Carmen Gomes Inc;  Bass – Peter Bjornild;  Drums – Marcel Van Engelen;  Piano – Cajan Witmer

Carmen Meets Kharma

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Grover Washington Jr. - Strawberry Moon

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 44:22
Size: 107,3 MB
Art: Front

(4:30)  1. Strawberry Moon
(4:40)  2. The Look Of Love
(4:46)  3. Shivaree Ride
(5:10)  4. Caught A Touch Of Your Love
(2:46)  5. Maddie's Blues
(5:39)  6. I Will Be Here For You
(5:53)  7. Monte Carlo Nights
(4:27)  8. Keep In Touch
(6:29)  9. Summer Nights

Grover Washington, Jr.'s first album in three years (and debut for Columbia) did not yield any major hits but found him playing in prime form. Switching between his distinctive soprano, alto and tenor, Washington is joined by bassist-producer Marcus Miller, a large rhythm section and guest vocalists B.B. King ("Caught A Touch Of Your Love") and Jean Carne (on two songs). Highlights include "Strawberry Moon," "The Look Of Love," "Maddie's Blues" and "Summer Nights." ~ Scott Yanow https://www.allmusic.com/album/strawberry-moon-mw0000649776

Personnel: Grover Washington, Jr. (soprano, alto & tenor saxophones, Fender Rhodes, synthesizer); B.B. King (vocals, guitar); Jean Carne, Spencer Harrison (vocals); Marcus Miller (various instruments); James Lloyd (piano, Fender Rhodes, synthesizer); Joey DeFrancesco (piano, Fender Rhodes); James "Sid" Simmons (synthesizer); Richard Lee Steacker, Michael J. Powell (guitar); Gerald Veasley (5-string bass); Tyrone Brown (electric upright bass); Jim Salamone (drums, percussion, programming); Darryl Washington (drums, timbales); Leonard "Dr." Gibbs (conga, percussion); Ellen Cohen (wind chimes, bell tree); Jason Miles (programming); Elizabeth Hogue (background vocals).

Strawberry Moon

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Donald Byrd - First Flight

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 54:48
Size: 125,7 MB
Art: Front

( 6:13)  1. Blues
( 6:26)  2. Tortion Level
( 7:32)  3. Woody 'n You
( 7:36)  4. Dancing In The Dark
(14:27)  5. Parisian Thoroughfare
( 5:35)  6. Yusef
( 6:56)  7. Shaw 'Nuff

First Flight: Yusef Lateef with Donald Byrd is trumpeter Donald Byrd's debut LP. Recorded in his native Detroit with such local players as tenor saxophonist Yusef Lateef, pianist Berry Harris, and Bernard McKinney on euphonium, Byrd is heard at the age of 22 when he was very much influenced by Clifford Brown. Unlike Byrd, Lateef already had his own style at this early stage. The sextet here mostly performs bop originals plus a blues, "Yusef," and "Torsion Level." All of the music is straight-ahead and swinging. A fine beginning for the very interesting career of Donald Byrd. ~ Scott Yanow https://www.allmusic.com/album/first-flight-yusef-lateef-with-donald-byrd-mw0000266267

Personnel: Donald Byrd (trumpet); Frank Foster , Yusef Lateef (tenor saxophone); Bernard McKinney (euphonium); Hank Jones , Barry Harris (piano); Frank Gant, Kenny Clarke (drums).        

First Flight

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David Linx & Diederik Wissels - Up Close

Styles: Vocal And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 57:49
Size: 133,2 MB
Art: Front

(1:10)  1. I Tell My Heart...
(5:07)  2. Sojourner
(4:50)  3. Lord Of The Groundless
(3:47)  4. Ease Of Sunrise
(3:35)  5. Lunch At Midnight
(6:01)  6. What Goes Around Comes Around
(3:21)  7. The Tale ...
(3:44)  8. Meaning
(5:57)  9. Spoken Silence
(2:59) 10. Upon My Soul
(5:24) 11. In Between The Roses And The Ashes
(4:37) 12. Greying Roofs
(3:58) 13. One Morningstar Away
(3:11) 14. Poughkeepsie

Born in Brussels (Belgium), march 22, 1965, Singer, composer lyricist, producer and multi-instrumentalist Lives in Paris (France). David Linx recorded over fifteen albums as a leader or co-leader and is a regular guest in the world of jazz and other projects (John Cage, Mr. Kagel). On tour and / or studio has worked since the early 1980's with: Harry "Sweets" Edison, Johnny Griffin, Clark Terry, slide Hampton, Natalie Dessay, the Count Basie Orchestra, Frank Foster, Toots Thielemans, Mino Cinelu, Marc Ducret, Philippe Catherine, Paolo Fresu, Erik Truffaz, Aka Moon, Billy Taylor, Khalil Chahine, Roy Ayers, Oumou Sangaré, Meshell Ndegeocello, Billy Cobham, Lena Willemark, Palle Danielsson, Jon Christensen Didier Lockwood, Richard Galliano, Bernie Worrell, Michel Portal, Abraham Laboriel, Kenny Wheeler, Claude Nougaro, Mark Murphy, Sheila Jordan, Ivan Lins, Daniel Humair, Gonzalo Rubalcaba, Omara Portuondo, Fay Claassen, Agnès Jaoui, Maria Pia de Vito, Irene Jacob, Rhoda Scott, John Clayton, Nguyen Lê, Craig Street, Ernie Wilkins,The Dutch Metropole Orchestra, Orchestra Jazz Della Sardegna, Sly Dunbar and Robbie Shakespeare, Steve Coleman, Jon Faddis, Ray Lema, Marc Ribot, Charles Trenet, Horace Parlan, Sahib Shihab, Andy Sheppard, Juan Mosalini, Laika Fatien, Aldo Romano, Charlotte Rampling, Jeanne Added, Viktor Lazlo, Bob Stewart, Minino Garay, Hanna Schygulla, Maria Joao, Mario Laginha, Hector Zazou, Gustavo Beytelman, Maria Medeiros David Gilmore, Philippe Baden Powell, Sergio Krakowski, Maurane, Juliette, Greg Cohen, Michel Fugain, Tetê Espindola, Ray Lema, Kevin Breit, Claudio Roditi, Norma Winstone, Ibrahim Maalouf, Nicole Garcia, Lenine, Mederic Collignon, Cristina Zavalloni, Nathalie Baye, Magic Malik , Hamilton de Holanda, Tigran Hamasayan, Jacques Schwartz-Bart, Youn Sun Nah, Elisabeth Kontomanou, Hugh Koltman, Ran Blake, Jason Scheff, Keith Olson,...More..http://www.davidlinx-official.com/biography.html

Personnel: David Linx (vocals); Diederik Wissels (piano); Hans Van Oosterhout (drums, cymbals).

Up Close

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Dexter Gordon Quartet - The Apartment

Styles: Saxophone Jazz 
Year: 1974
File: MP3@320K/s
Time: 47:05
Size: 108,1 MB
Art: Front

(5:51)  1. The Apartment
(7:30)  2. Wee-Dot
(7:17)  3. Old Folks
(7:50)  4. Strollin'
(7:43)  5. Candlelight Lady
(6:04)  6. Stablemates
(4:47)  7. Antabus

While in Europe, tenor-sax-great Dexter Gordon recorded many sessions with pianist Kenny Drew, bassist Niels Pedersen and drummer Albert "Tootie" Heath. All are worth acquiring and this one is no exception. In addition to three of his originals (including the title tune), the quartet performs the old bop line "Wee-Dot" and Horace Silver's "Strollin" while the ballad "Old Folks" is taken as an emotional Gordon-Pedersen duet. ~ Scott Yanow  https://www.allmusic.com/album/the-apartment-mw0000181338     

Personnel:  Dexter Gordon (tenor saxophone); Kenny Drew (piano); Niels-Henning Orsted Pedersen (bass); Albert "Tootie" Heath (drums).

The Apartment

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Helen Shapiro - Tops With Me

Styles: Vocal Jazz
Year: 1962
File: MP3@320K/s
Time: 33:51
Size: 80,2 MB
Art: Front

(2:31)  1. Little Devil
(3:25)  2. Will You Love Me Tomorrow
(3:36)  3. Because They're Young
(2:39)  4. The Day The Rains Came
(2:52)  5. Are You Lonesome Tonight
(2:18)  6. A Teenager In Love
(2:23)  7. Lipstick On Your Collar
(3:34)  8. Beyond The Sea
(2:42)  9. Sweet Nothins'
(2:38) 10. You Mean Ev'rything To Me
(2:23) 11. I Love You
(2:44) 12. You Got What It Takes

Helen Shapiro's debut LP is a selection consisting primarily of covers of recent hits associated with other singers. It's an astonishingly wide array of material, associated with the Shirelles ("Will You Love Me Tomorrow?"), Elvis Presley ("Are You Lonesome Tonight?"), Marv Johnson ("You Got What It Takes"), Connie Francis ("Lipstick on Your Collar"), Bobby Darin ("Beyond the Sea"), Brenda Lee ("Sweet Nothin's"), and, from a uniquely British perspective in the jacket notes, Marty Wilde ("A Teenager in Love"), among others. She does well with the repertoire, backed by Martin Slavin & His Orchestra in tasteful fashion on most of it, and Shapiro was probably the only female singer in England at the time who would not embarrass herself covering an early Motown number, "You've Got What It Takes" in fact, that song, a convincingly raspy "Sweet Nothin's," and "A Teenager In Love" are the best tracks here. None of the rest is too memorable as a performance, or a threat to the originals. 

The primary goal seems to have been to show off the 15-year-old singer's range, intonation, and control, which this disc does admirably. Most of the contents of this LP subsequently appeared on two EPs, and some of the best of those appear on See for Miles' The EP Collection disc. The 24-bit remastering on some editions, however, does impart extraordinary presence and depth to the sound. ~ Bruce Eder https://www.allmusic.com/album/tops-with-me-mw0000087140

Tops With Me

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Herb Alpert & The Tijuana Brass - Herb Alpert's Ninth

Styles: Trumpet Jazz
Year: 1967
File: MP3@320K/s
Time: 28:43
Size: 71,6 MB
Art: Front

(2:11)  1. A Banda
(1:58)  2. My Heart Belongs To Daddy
(2:40)  3. The Trolley Song
(2:27)  4. The Happening
(3:38)  5. Bud
(2:29)  6. Love So Fine
(1:54)  7. The Love Nest
(2:43)  8. With A Little Help From My Friends
(2:05)  9. Flea Bag
(2:53) 10. Cowboys And Indians
(3:40) 11. Carmen

The cover art of Herb Alpert's Ninth is hilarious a bust of grim old Beethoven wearing a Herb Alpert sweatshirt, a parody of the pop icon fad going around at the time and maybe a comment on the rock world's newfound pretensions in the wake of the Beatles' Sgt. Pepper. In any case, Herb Alpert's Ninth does introduce some highbrow pretensions of sorts to Alpert's Ameriachi sound some very subtly applied strands of strings on several numbers and a madcap, multi-sectioned fantasy of tunes from Bizet's Carmen that is full of in-jokes from the opera and the TJB's hits. Alpert is also quite aware of the brave new world around him; he does a spare, lazy, yet entirely novel-sounding cover version of Sgt. Pepper's "With a Little Help from My Friends" and gives the Supremes' "The Happening" a bouncy workout. There is also a touching memorial to the late Ervan Coleman ("Bud") and another underrated contribution from the Alpert songwriting team, Sol Lake's swinging "Cowboys and Indians." The TJB still churns out the Latin American rhythms, but sometimes with a shade less exuberance.~ Richard S.Ginell https://www.allmusic.com/album/herb-alperts-ninth-mw0000207755

Herb Alpert's Ninth

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Milt Buckner - Mighty High

Styles: Jazz, Post Bop

Year: 1960

File: MP3@320K/s

Time: 58:33

Size: 134,1 MB

Art: Front

( 2:45)  1. Mighty  High

( 2:24)  2. Teach Me Tonight

( 7:07)  3. Abstraction

( 4:37)  4. Two Flights Up

( 3:41)  5. After Hours

( 3:18)  6. D.T.'s

( 1:41)  7. Organ Grinder's Swing

( 2:47)  8. Willow Weep For Me

( 4:52)  9. Burnt Out

( 2:40) 10. Syncopated Clock

( 3:08) 11. Castle Rock

( 2:47) 12. Haunting Me

Understatement was always Milt Buckner's strong suit, and Mighty High plays beautifully to those strengths, pairing the organist with guitarist Kenny Burrell, bassist Joe Benjamin, alto saxophonist Jimmy Campbell, and drummer Maurice Sinclair to create a collection of short, simple, and sweet jazz tunes energized by the wonderful rapport of the assembled players. Unlike fellow Hammond B-3 maestros like Jimmy Smith, Buckner clearly savors the group dynamic, eschewing theatrics in favor of brief yet effective solos that never attract attention away from the groove. The music crackles with collaborative energy, drawing its strength from numbers. ~ Jason Ankeny https://www.allmusic.com/album/mighty-high-mw0000878741

Personnel:  Organ – Milt Buckner;  Guitar – Kenny Burrell;  Alto Saxophone – Jimmy Campbell;  Bass – Joe Benjamin;  Drums – Maurice Sinclair

Mighty  High

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Javon Jackson - Me and Mr. Jones

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 57:16
Size: 131,4 MB
Art: Front

( 6:31)  1. Me and Mr. Jones
(11:11)  2. The Masquerade is Over
( 7:31)  3. Theme for Penny
( 8:31)  4. Opus One-Point-Five
( 8:04)  5. A Certain Attitude
( 8:54)  6. A Free Man?
( 6:31)  7. Buzz-At

Already possessing a very distinctive tenor sax sound, Javon Jackson's debut as a leader is an exceptional effort. Jackson, 26 at the time of the recording, joined forces with 40-year-old James Williams, 19-year-old Christian McBride and 64-year-old Elvin Jones to create a powerful musical statement that bridges the generations. "Mr. Jones" refers to the master drummer, whose presence and energy are felt throughout the recording, especially on the medium swingers "The Masquerade Is Over" and Williams' "A Certain Attitude," as well as on the title track and "Theme for Penny," two uptempo Jackson originals that begin with brief drum solos. Also making his presence felt is McBride, whose tone, time, and imagination belie his age. One of 1992's best releases. ~ Greg Turner https://www.allmusic.com/album/me-and-mr-jones-mw0000085280  

Personnel: Javon Jackson (tenor saxophone); James Williams (piano); Elvin Jones (drums, Christian McBride (bass).             

Me and Mr. Jones

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Carl Winther Quartet - Sonic Shapes

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 53:37
Size: 122,9 MB
Art: Front

(4:51)  1. The Out Society
(9:41)  2. Threshold
(7:23)  3. The Prophet
(6:39)  4. Uranian Overtones
(5:59)  5. Yerevan Mama
(7:24)  6. The Falcon
(6:44)  7. James Moody
(4:53)  8. The Core

Danish jazz has experienced an explosive growth in talent over the past decades: A broad scope of young musicians, encompassing older idioms, hard-core, lyrical neo-cool and freeform. A group of original pianists threaten the monopoly on the international scene of the world-famous Danish bassists. One of the finest of these young talents is 26-year old Carl Winther, a graduate from the Rhythmic Conservatory in Copenhagen. While studying, he was already honing his chops on the jazz scene alongside many well-known musicians. He met the Swedish bassist Joel Illerhag at the conservatory, and they have played together for the past four years. The band’s drummer is 42-year old Anders Mogensen. Also a graduate from the Rhythmic Conservatory, Mogensen heard Winther and Illehag while serving as an external examiner at conservatory concerts in 2006/2007. He liked the energy and intensity of their approach, and before long they formed a trio, touring Europe and USA in 2010.

On Sonic Shapes the trio joins forces with Boston-based Jerry Bergonzi, one of the great saxophone influences over the last 35 years. In the 1970’s his apartment in New York was a practice room for like-minded sax-players such as Joe Lovano, Bob Berg and Michael Brecker. Over the years he has often played in Denmark, and his recordings include drummer Alex Riel’s The Riel Deal (Stunt, 1995) and Unriel (Stunt, 1997), on which Michael Brecker also played. Sonic Shapes was recorded in May 2011 following a successful club tour in Denmark and Sweden. The quartet is smoking, and there is already talk of a new tour. This is not your usual European trio borrowing a little stardust from an American legend. Bergonzi is very enthusiastic about the collaboration, and the inspiration goes both ways. The two bandleaders each contribute half of the compositions. The musicians represent three generations playing music rooted in sharp, no-non- sense, modern New York jazz. This music isn’t afraid to groove or flex its muscles. Carl Winther is the son of trumpeter Jens Winther, who died earlier this year, and this CD is dedicated to his memory.

Personnel:  Piano – Carl Winther; Tenor Saxophone – Jerry Bergonzi;  Bass – Joel Illerhag;  Drums – Anders Mogensen

Sonic Shapes

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Bodil Niska - Blue

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 55:14
Size: 126,9 MB
Art: Front

(5:50)  1. In the Wee Small Hours of the Morning
(4:58)  2. How About You
(4:31)  3. Et gammelt stykke Oslo
(6:09)  4. Taking a Chance on Love
(4:49)  5. Little Lulu
(3:23)  6. Vika mitt drommested
(5:27)  7. Sunday
(3:47)  8. Golden Earrings
(5:04)  9. For All We Know
(5:44) 10. Little Old Lady
(5:28) 11. Blues for Madeleine

Norwegian Bodil Niska is one of the few female tenor saxophone artists around to work in the tradition of jazz legends such as Ben Webster, Stan Getz, Zoot Sims or Coleman Hawkins. Her tone is soft, yet powerful and soulfully expressive. Her musical approach takes the legacy of the golden years of jazz into the 21st. century. Bodil was born in the arctic town of Hammerfest, located in northern Norway where she grew up playing in the school marching band. Her first musical memory is sitting on her father's lap while he played Misty for her. Aksel Niska , an accomplished engineer, painter and accordion player also introduced her to the saxophone sounds of Ben Webster and Stan Getz. When the school band managed to acquire their first saxophone, Bodil had to physically fight off the boys in the band to get her hands on the instrument. She won and she never looked back. Bodil quickly devloped her interest for jazz to the point that she became something of a jazz icon in her small home town. She played in numerous jazz band configurations, wrote jazz articles for the local newspaper, arranged concerts and festivals and managed the jazz club on her spare time.

After moving to the nation's capital Oslo in 1990, Bodil Niska effortlessly blended into the urban jazz scene. Mostly due to her mentor / jazz personality / journalist / photographer Randi Hultin . The fabulous Randi introduced Bodil to a veritable who's-who in national and international jazz. She sent private recordings of Bodil to many of her legendary jazz friends, including Sonny Rollins who promptly wrote back: "Damn! The woman can PLAY!" Encouraged by her friends and colleagues, Bodil formed all-girl group, aptly named Girl Talk in 1992. In addition to Bodil, this group consisted of Elizabeth Walker on piano and Tine Asmundsen on bass. The group recorded their acclaimed album Talkin 'Jazz in 1996. In 1998 Bodil embarked on a solo career with the help and support of jazz legend / piano player / composer / arranger Egil Kapstad . With the incredible bass player Bjørn Alterhaug and Swedish drummer par excellence Pelle Hultén their longtime musical friendship was instrumental in producing Bodil's first solo album First Song in 2000. First Song went on to become the best selling jazz album in its genre in 2000. The cover for First Song was inspired by Dexter Gordon's famous cover on Ballads and is a tribute to him, his music and his inspiration. Blue (2004) was a labor of love and took a long time to plan and put together. In her liner notes she says:

"In jazz, the melody is often used only as a tool for improvisation and invention. Freeing yourself from the confines of the melody is sometimes considered to be the very essence of jazzPersonally, I am always touched by a good melodic line, phrase or mood. So on this album I've tried to stay as true to the melody as I could, to clear away some of the musical dust - to find my way back. "

Night Time (2008) puts Bodil in a different musical context. The introduction of the brilliant Claes Crona Trio from Sweden, and swedish born norwegian resident guitarist / composer / arranger Staffan William-Olsson as well as a horn section makes for a more playful swingier musical approach. I put more emphasis on the melody, she expects to receive more than her share of critizism from the "jazz police" who seem to favor inprovisation and technique about musical sincerety. Between musical engagements Bodil Niska owns and runs the all-jazz music store and café Bare Jazz (Norwegian for Only Jazz ) in Oslo. She is often used by the media as a spokesperson for the art of jazz. In 2000, she presented the Norwegian version of the jazz Grammy awards, and she has appeared in numerous national and international radio and television shows. http://www.niska.no/index.php?option=com_content&view=article&id=67&Itemid=53

Blue

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London Grammar - If You Wait

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 43:05
Size: 99,4 MB
Art: Front

(3:21)  1. Hey Now
(3:04)  2. Stay Awake
(3:05)  3. Shyer
(3:20)  4. Wasting My Young Years
(4:13)  5. Sights
(4:34)  6. Strong
(4:28)  7. Nightcall
(3:28)  8. Metal & Dust
(3:59)  9. Interlude (Live)
(4:43) 10. Flickers
(4:46) 11. If You Wait

A trio of Nottingham University graduates who only released their first music last December, London Grammar are so buzzy that there are expectations of a Mercury nomination, despite this album not being out until next week. Blame it on their trippy, translucent electronica, which outdoes even the xx in terms of veiled understatement this record is essentially comprised of slow-build digital clacks and sighs. There's a startling counterpoint in Hannah Reid's fleshy vocals; in full flight, as on Strong, she brings Evanescence-style emo to the hush, and she has the lung capacity of Sia Furler on Hey Now (whose intro is near-identical to Furler's Titanium). This pairing of the ethereal and the visceral makes for an interesting enough album, albeit one that sometimes begs for a kick in the backside the piano ballads Nightcall and Interlude strive for dramatic quiescence, but achieve that Adele B-side feeling. But the clattering Wasting My Young Years wisely recognises that "it takes some time to get it right" and time is on their side. https://www.theguardian.com/music/2013/sep/05/london-grammar-if-you-wait-review

If You Wait

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Carmen Gomes - Carmen Gomes Sings The Blues

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 51:58
Size: 119,5 MB
Art: Front

(3:47)  1. A Fool For You
(5:13)  2. Sinner's Prayer
(6:23)  3. In the Evenin' Mama
(6:00)  4. God Bless the Child
(3:29)  5. Mary Ann
(5:36)  6. Losing Hand
(5:25)  7. Hallelujah I Love Her So
(4:47)  8. The Way That I Feel
(4:42)  9. One For My Baby
(2:24) 10. Cotton Fields
(4:06) 11. Fare Thee Well

Carmen Gomes (vocals) is able to add her personal 'je ne sais quoi' to the pieces she sings in an inimitable way. She won several prizes, performed at the North Sea Jazz Festival and played with Louis van Dijk and the Metropole Orchestra. Folker Tettero (guitar) mingles jazz, blues and funk into his own unique blend. He promises to be one of the leading jazz guitarists of his generation. He plays with the New Standard Trio and the band Amsterdam Headliners.

Peter Bjornild (DK) (double bass) dedicates his musical genius and international experience to bring the sound of the band to the highest level. He has played with Ed Thigpen, Thad Jones and Bennie Wallace, among others. Marcel van Engelen (drums) has played with Mark Murphy, Lee Konitz and Toots Thielemans and sees to the rhythmic manoeuvrability of the ensemble in his own subtle way. The four musicians complement each other perfectly. Strong as soloists, yet continuously searching for unity, they are capable of picking up each musical theme and moulding it into the unique sound which is so typical of this band.http://www.mymusicbase.ru/PPB/ppb33/Bio_3328.htm

Carmen Gomes Sings The Blues

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