Pat LaBarbera, Kirk MacDonald Quartet - Silent Voices

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 68:52
Size: 158,3 MB
Art: Front

(3:02)  1. Days of Old
(6:44)  2. Walk the Talk
(9:23)  3. We Three
(4:52)  4. Messin' with Messiaen
(7:40)  5. Silent Voices
(4:18)  6. Message to Andre
(5:36)  7. Manhattan Getaway
(6:10)  8. Sideways
(7:33)  9. Baby Blue
(5:12) 10. 22nd Street Waltz
(5:14) 11. The Hang
(3:02) 12. Days of Old (take 2)

The oxymoronic title of Silent Voices belies and simultaneously validates interesting things about this recording. Far from silent in its artistic message, it is an intelligent, evocative, and brilliantly communicative effort. Its "voices" dominate, ring loud, and are intensely passionate. Most stentorian, they emanate from deep within the respective creative wellsprings of these four superior performers. Pat LaBarbera Kirk MacDonald Quartet and Kirk MacDonald, both esteemed woodwind men (and colleague professors at Toronto's Humber College), show that their respective jazz chops are in outstanding order throughout and they also offer original compositions of depth and tantalizing complexities. The ensemble and solo work here is nothing short of, well, name your superlative. The interplay between the two front men is umbilical and non-competitive. Their work with bassist Overs and drummer Nussbaum there's no pianist is superb. The lack of a piano adds to the interaction the Toronto Tenors have with Overs and Nussbaum. This is a textbook lesson on jazz intra-group rapport and creative communication.

The album intrigues from Cut One. "Days of Old" is a slow-moving elegiac effort which grows deeply melancholic. "Walk the Talk" is struttin' sax stuff. Hard. Masculine. Driving. "We Three" is a freer, slow-drawing tone painting. "Messing with Messiaen" is another pounding cooker with lots of exotic, pentatonic "plumbing." The title tune, "Silent Voices" is a stone heart-wrencher a slow, beautiful black and white scene depicting a sad aria of longing souls. "Get Happy" is a quirky-jerky jaunt. "Manhattan Getaway" is a fierce burner with the two sly foxes chasing young rabbits. "Sideways" is an M. C. Escher-like walk through melody and chord  think post-Modern Monk. "Baby Blue" is a straight-ahead "Melancholy Baby" contrafact. "22nd Street Waltz" is an endless lilting wind-blown moebius-like ribbon of "He says He says." "The Hang" it's an "I've Got Rhythm" variant  burns as if Fred and Wilma Flintstone were throwing acid around. A "Days of Old" second take returns to neatly bookend the session. Actually, a very nice production touch. Silent Voices is an impactful, stimulating effort from a quartet of musicians whose passion for the art, their instruments, and their colleagues is palpable. The work has so much "weight" that these voices will resonate both initially and on many repetitive listenings. And, it screams so very, very loudly. ~ Nicholas F.Mondello https://www.allaboutjazz.com/silent-voices-pat-labarbera-kirk-macdonald-quartet-jazz-compass-review-by-nicholas-f-mondello.php
 

Personnel: Pat LaBarbera: tenor and soprano saxophones; Kirk MacDonald: tenor and soprano saxophones; Kieran Overs: bass; Adam Nussbaum: drums.

Silent Voices

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Illinois Jacquet - Flying Home: The Best Of The Verve Years

Bitrate: MP3@320K/s
Time: 79:04
Size: 181.0 MB
Styles: Bop, Saxophone jazz
Year: 1994
Art: Front

[3:01] 1. Speedliner
[2:32] 2. Pastel
[2:44] 3. Groovin'
[2:51] 4. Cotton Tail
[2:57] 5. Boot 'em Up
[3:03] 6. Bluesitis
[3:06] 7. Lean Baby
[2:41] 8. Port Of Rico
[2:53] 9. Where Are You
[3:19] 10. Heads
[3:29] 11. It's The Talk Of The Town
[8:24] 12. The Kid And The Brute
[4:13] 13. Sophia
[6:49] 14. Honeysuckle Rose
[3:41] 15. Star Dust
[6:13] 16. Las Vegas Blues
[5:03] 17. Achtung
[5:56] 18. Have You Met Miss Jones
[2:51] 19. No Sweat
[3:09] 20. Flying Home

Illinois Jacquet's reputation as a premier improvising swing-to-bop tenor saxophonist is firmly cemented via these 20 selections, actually the best of the Clef label recordings in the '50s produced by Norman Granz. This is a well-chosen collection, with groups ranging from small ensembles and spirited organ combos (check out the very hip "Port of Rico") to a select few big bands. Many tracks such as "Speedliner," "Heads," "The Kid and the Brute," and "Achtung" were perfect jam vehicles, and are great inclusions here, but Jacquet was not only known in that format. His extraordinary ballad work, rivaled only by Lester Young and Ben Webster, is well represented on a smattering of standards as well as "Pastel," "Bluesitis," and "Where Are You?" On top of that, you get all-time hits "Honeysuckle Rose" and "Cotton Tail," and his signature solo during "Flying Home." The urgent, forward-thinking, or tender sound of Illinois Jacquet is well documented on this fine compilation, which is easily recommended for both Jacquet mavens and newcomers to this mighty musician. ~Michael G. Nastos

Flying Home: The Best Of The Verve Years

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Chris Connor - A Portrait Of Chris

Bitrate: MP3@320K/s
Time: 34:37
Size: 79.3 MB
Styles: Jazz vocals
Year: 1961/2006
Art: Front

[2:47] 1. Follow Me
[2:42] 2. Alone Together
[2:51] 3. All Too Soon
[2:44] 4. Love
[3:22] 5. Where Flamingos Fly
[3:00] 6. Here's That Rainy Day
[2:24] 7. Day In, Day Out
[2:45] 8. If I Should Lose You
[2:20] 9. I Gotta Right To Sing The Blues
[2:48] 10. Harlequin
[4:20] 11. I'm Glad There Is You
[2:31] 12. Sweet William

Contemporary singers like Diana Krall have the sleek cocktail-diva act down pat: one part slinky dress; one part slow, sexy songs; and one part deep, smoky voice. Krall, though, learned from a number of women, like Chris Connor, who wrote the book on torch singing back in the '50s. Recorded in 1961, A Portrait of Chris finds the singer accompanied by a lively band and strings as she interprets a dozen standards. Conner's calling card is her lovely, deep voice. It reaches down and delivers ballads like "Here's That Rainy Day" and "All Too Soon" in rich, full colors. Like Julie London, Conner's cool and calm approach always gives the impression that it's three a.m. and only a handful of people remain in the bar. She infuses "Sweet William" and "If I Should Lose You" with sad longing, leaving one to imagine her the loneliest person on the planet. She turns up the heat on "Day in, Day Out" and "I Gotta Right to Sing the Blues," and delivers a spunky version of "Harlequin." James Ritz' liner notes serve as a good introduction to Connor and also place her in historical prospective. With the release of A Portrait of Chris, jazz fans can supplement their collections with the lovely singing of an original from the golden age of jazz divas. ~Ronnie D Lankford Jr.

A Portrait Of Chris   

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Joey DeFrancesco - Falling In Love Again

Bitrate: MP3@320K/s
Time: 58:37
Size: 134.2 MB
Styles: Soul jazz, B-3 Organ jazz
Year: 2003
Art: Front

[7:55] 1. All Or Nothing At All
[5:07] 2. But Not For Me
[4:01] 3. Falling In Love Again
[7:05] 4. Love For Sale
[6:02] 5. Dearly Beloved
[3:15] 6. Can't We Begin Again
[6:11] 7. My Romance
[4:03] 8. Street Of Dreams
[4:31] 9. Secret Love
[4:50] 10. Pennies From Heaven
[5:32] 11. Everytime We Say Goodbye

Is this still young but nearly legendary hipster, who almost singlehandedly rekindled jazz's interest in the Hammond B-3 organ, going to the dogs? The folks at Concord Records hope so, sending out a doggie biscuit with their press materials as DeFrancesco gives one of his favorite East Coast jazz singers, Joe Doggs, a prominent spotlight. Doggs' soulful vocals (praised in the liner notes by Quincy Jones and very reminiscent of the passionate Jimmy Scott experience) and fresh, expansive arrangements are at the cool, swinging heart of the collection's 11 cherished standards. Between vocal passages, the organ great also continues his long tradition of working with top trad jazz names like Pat Martino, tenorman Red Holloway, drummer Jeff Hamilton (complementing DeFrancesco's core trio member Byron Landham), and Kevin Eubanks. "All or Nothing at All" rolls along at eight minutes, with DeFrancesco's B-3 simmering coolly under Doggs' sweet seductive vocals before swinging harder during the playful instrumental break punctuated by Martino's crisp guitar solo. The same basic principles embrace the easy, strutting take on the Gershwins' "But Not for Me," with DeFrancesco's lively soloing giving way to a fiery tenor spotlight by Holloway. Other standards given the royal treatment are "Love for Sale," "Dearly Beloved," and "My Romance." Next time when you hear the term "Dogg style," you may think beyond Snoop Dogg and the more vulgar connotations. ~Jonathan Widran

Falling In Love Again

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Machito Orchestra - Afro-Cuban Jazz Suite

Bitrate: MP3@320K/s
Time: 17:13
Size: 39.4 MB
Styles: Latin jazz
Year: 1951/2005
Art: Front

[2:54] 1. Cancion
[3:14] 2. Mambo
[2:39] 3. Mambo2
[2:11] 4. 6/8
[3:40] 5. Jazz
[2:33] 6. Rhumba Abierta

The Afro-Cuban Jazz Suite is largely remembered as a Norman Granz commission. The reason for this is that the legendary Charlie Parker participated in the first Suite, completed and recorded in December, 1950. Moreover, even many of the musical arts cognoscenti will recall this first Suite as music performed by Machito. Most listeners forget that it was Chico O’Farrill who wrote, arranged and conducted the piece first for Machito and his Afro-Cuban Orchestra. ~Raul de Gama

Afro-Cuban Jazz Suite

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Patrick Cornelius - Infinite Blue

Bitrate: MP3@320K/s
Time: 46:46
Size: 107.1 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[5:04] 1. Regent Street
[5:51] 2. Infinite Blue
[0:53] 3. Into To Waiting
[7:09] 4. Waiting
[4:14] 5. Puzzler
[5:47] 6. Unfinished Business
[6:14] 7. In The Quiet Moments
[4:42] 8. My Green Tara
[6:49] 9. Projection

Patrick Cornelius: alto saxophone; Frank Kimbrough: piano; Michael Janisch: bass; Jeff Ballard: drums; Nick Vayenas: trombone (1, 4-6, 9);Michael Rodriguez: trumpet (2, 4, 5); John Chin: piano (9).

Veteran New York saxophonist and composer Patrick Cornelius delivers his fourth album as leader with Infinite Blue, a gem of a recording that sparkles with an A-list of players interpreting eight new originals and one cover tune in one audacious session of music. Not really an unusual feat for this three-time winner of the ASCAP Young Composer Award (2005-2007), the music on this album features a variety of hard bop elements as well as intricate tender ballads providing a fair share of moments to experience often.

The saxophonist wastes no time in defining this album as primarily his through measured solo performances beginning on the opening "Regent Street" and guiding the music with the help of Chick Corea/Brad Mehldau drummer Jeff Ballard whose pounding drums and crashing cymbal accents paint the music. Trumpeter Michael Rodriguez and renowned pianist Frank Kimbrough, just two of New York's finest musicians performing in the Cornelius sextet, take pronounced roles on the title track marking this piece infinitely solid. The reflective balladic "Waiting" is introduced by the only non-New York-based musician of the group, London-based bassist Michael Janisch who turns it over to pianist Kimbrough whose light chords turns the number into a beautiful haunting piece of music. In stark contrast, "Puzzler" unleashes a hard up beat rhythm that brings an expanded horn section with both the leader and Rodriguez sharing the space with trombonist Nick Vayenas for a quick rumble. One of the standout tunes on the recording, "Unfinished Business," has Vayenas playing middle to upper register trombone to Cornelius's crafty alto voice.

The Soft spot of the album goes to the gorgeous slow ballad "In The Quiet Moments," where the saxophonist performs a slow burn to Kimbrough's accompanying light keys and Ballard's warm brush stokes for a highlight of the album. Unlike many recordings, Cornelius caps this fantastic effort with the surging hard bop "My Green Tara" showcasing some of his best chops of the session and closes the recording with pianist John Chin's "Projection" featuring Chin in his only appearance on a sweet melody that captures one last dynamic solo from the saxophonist and the very essence of Infinite Blue, an album that has all the elements of great music: elegant compositions, world-class players and a gifted point man leading the way. ~Edward Blanco

Infinite Blue

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Dennis Chambers - Outbreak

Styles: Jazz Fusion, Funk 
Year: 2002
File: MP3@320K/s
Time: 57:21
Size: 132,1 MB
Art: Front

( 5:21)  1. Roll Call
( 7:03)  2. Otay
( 5:19)  3. Groovus Interruptus
( 6:08)  4. Paris On Mine
( 6:09)  5. In Time
( 4:32)  6. Plan B
(10:59)  7. Outbreak
( 5:46)  8. Baltimore, DC
( 6:00)  9. Talkin Loud And Sayin Nothin

Drummer Dennis Chambers is a first-call session ace who is comfortable within a variety of settings and/or genres. He has also evolved into one of the most admired drummers on the globe due to his high-powered polyrhythmic funk beats and supercharged sense of swing. In short, he's a dynamo! With his second solo release, he enlists his former boss, guitarist John Scofield, amid jazz superstars such as brothers Michael (sax) and Randy (trumpet) Brecker among others. Here, Chambers drives it all home via his now infamous attack, consisting of complexly woven tom fills and snappy, funk-drenched rhythms. Much of the credit should be directed towards arranger/producer/keyboardist Jim Beard, who once again demonstrates his prowess for achieving the desired effects. On the piece titled "Otay," fusion bassist extraordinaire Gary Willis leads the way via his impossibly fast lines in concert with Scofield's sinewy plucking and Chambers' sweeping funk pulses. 

Some of these works are marked by the Brecker Brothers' chirpy unison choruses and the ensemble's morphing of gospel, fusion, and jazz-based grooves. Through it all, Chambers' presence is undeniably felt, while this outing also benefits from strong material and the soloists' zestful endeavors. ~ Glenn Astarita https://www.allmusic.com/album/outbreak-mw0000594272
 

Personnel: (Collective): Dennis Chambers, drums; Michael Brecker, tenor sax; Bob Malach, tenor and bass saxophones; Aaron Heick, alto sax; Randy Brecker, Jim Hynes, trumpet; Michael Davis, trombone; Jon Herington, John Scofield, Nick Moroch, guitars; Dean Brown, guitars, bass; Jim Beard, clavinet, Hammond B3, Rhodes, synth, Wurlitzer piano; Will Lee, Gary Willis, Matt Garrison, Rodney "Skeet" Curtis, bass; Arto Tuncboyaciyan, percussion; Danny Sadownick, congas.     

Outbreak

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Lisa Ono - Look To The Rainbow

Styles: Vocal Jazz

Year: 2009

File: MP3@320K/s

Time: 49:52

Size: 114,4 MB

Art: Front

(3:04)  1. I'm Beginning To See The Light

(2:50)  2. Honeysuckle Rose

(4:05)  3. Moonglow

(3:52)  4. My Funny Valentine

(4:00)  5. Goody Goody

(3:26)  6. Don’t Know Why

(5:03)  7. Stormy Weather/Here s That Rainy Day

(3:23)  8. It’s Only A Paper Moon

(2:56)  9. Moonlight Serenade

(3:37) 10. You’d Be So Nice To Come Home To

(3:48) 11. The Shadow Of Your Smile

(3:43) 12. On A Clear Day

(5:59) 13. Look To The Rainbow

Lisa Ono is one of the best Japanese interpreters of contemporary bossa nova. A singer, violonista (acoustic guitar player), and songwriter, she has had her albums released internationally. To date, she has recorded 12 albums (Catupiry, 1989; Nanã, 1990; Menina, 1991; Serenata Carioca, 1992; Namorada, 1993; Esperança, 1994; Minha Saudade, 1995; Rio Bossa, 1996; Essência, 1997; Bossa Carioca, 1998; Dream, 1999; and Pretty World, 2000) with special appearances by top artists like Tom Jobim, Sivuca, Paulo Moura, Danilo Caymmi, and Toots Thielemans. Having lived in Brazil until she was ten, she took advantage of her father's connections he was a nightclub owner in the city of São Paulo and was Baden Powell's manager. Moving back to Japan, he opened the Saci Pererê nightclub, where Lisa Ono began to perform the Brazilian repertory, especially samba and bossa nova. She also founded the label Nanã, which promotes Brazilian music in Japan. ~ Alvaro Neder https://itunes.apple.com/us/album/look-to-the-rainbow-jazz-standards-from-l-a/id305719944

Look To The Rainbow

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Art Pepper - Presents “West Coast Sessions!”: Volume 1 (Disc 1 And Disc 2)

Album: Presents “West Coast Sessions!” Volume 1: Sonny Stitt Disc 1

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 67:43
Size: 156,3 MB
Art: Front

(6:40)  1. Scrapple From The Apple
(6:30)  2. Wee
(8:40)  3. Bernie's Tune
(8:44)  4. How High The Moon
(5:56)  5. Walkin'
(6:07)  6. Groovin' High
(7:23)  7. Bernie's Tune (Take 1)
(6:42)  8. Bernie's Tune (Take 2)
(4:45)  9. Wee (Take 1)
(6:11) 10. Groovin' High (Alternate Take)

In 1977, saxophonist Art Pepper was approached by Japanese label Atlas about possibly doing some recording. Pepper, then under contract to the Fantasy/Galaxy label, was obliged to find a work-around and decided to appear as a sideman on the recordings, bringing on various "headliners" to release the albums under. For the fourth and fifth Atlas albums, Pepper brought in saxophonist Sonny Stitt, with whom he had performed but never recorded. Omnivore's 2017 reissue of those sessions, Art Pepper Presents West Coast Sessions, Vol. 1: Sonny Stitt, brings this period of Pepper's career into sharp focus with liner notes from producer and Pepper's then wife and manager Laurie Pepper. Here, we get both albums, originally released in 1980 as Groovin' High: Sonny Stitt & His West Coast Friends and Atlas Blues: Blow! & Ballade!. We also get a handful of previously unissued alternate takes. The first sessions (Groovin' High) feature Stitt and Pepper backed by pianist Lou Levy, bassist Chuck DeMonico, and drummer Carl Burnette. Together, they fly through a set of brightly delivered, well-worn bop standards including a piercingly assured take on "Walkin," with their dual altos slicing through the opening melody. However, while there is some fine playing by all involved, the Groovin' High cuts sound somewhat routine in comparison to what is to come. The real discovery here are the Atlas Blues dates that found Pepper conscripting legendary West Coast pianist Russ Freeman along with bassist John Heard and drummer Burnette. A longtime associate, Freeman had recorded several times before with Pepper in the '50s, appearing on such albums as Surf Ride, Mucho Calor, and Modern Art. By the '70s, Pepper's open-minded ear for post-John Coltrane harmonics, not to mention years of hard living, meant that he wasn't particularly inclined to try and re-create his tender '50s style. His playing on these dates is typical of his latter-period, with vigorous in-the-moment solos that seem to flow directly out of his psyche, like a cubist bop haiku one minute and a mangled blues aside the next. However, with Freeman at his side, Pepper sounds warmly engaged and their chemistry evokes wild hope of those early West Coast years. Ultimately, on both sets, it's the juxtaposition between Stitt's seamless bop flow and Pepper's thoughtful, bluesy reticence that remains magical. ~ Matt Collar https://www.allmusic.com/album/art-pepper-presents-west-coast-sessions-vol-1-sonny-stitt-mw0003009536  

Personnel: Tenor Saxophone – Art Pepper, Sonny Stitt; Drums – Carl Burnett; Piano – Lou Levy, Russ Freeman

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Album: Presents “West Coast Sessions!” Volume 1 Sonny Stitt Disc 2

Time: 42:31
Size: 98,1 MB

( 9:35)  1. Atlas Blues
(11:27)  2. Lester Leaps In
( 4:59)  3. Autumn In New York
( 5:35)  4. My Funny Valentine
( 4:55)  5. Lover Man
( 5:57)  6. Imagination

Presents “West Coast Sessions!” Volume 1 Sonny Stitt Disc 2

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Monty Alexander, Ray Brown & Herb Ellis - Triple Treat II

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 53:35
Size: 122,9 MB
Art: Front

(5:17)  1. Lined With A Groove
(8:09)  2. Straighten Up And Fly Right
(6:51)  3. It Might As Well Be Spring
(3:40)  4. Seven Come Eleven
(6:10)  5. Fred
(5:59)  6. Smile
(6:28)  7. I'll Remember April
(5:12)  8. PolkaDots And Moonbeams
(5:43)  9. Lester Leaps In

Five years after the original Triple Treat, pianist Monty Alexander has a reunion with guitarist Herb Ellis and bassist Ray Brown in a program that is in the tradition of both Oscar Peterson and Nat King Cole. A special bonus is violinist John Frigo who sits in on four of the eight songs. Highpoints include Ray Brown's "Lined with a Groove," "Straighten up and Fly Right," "Seven Come Eleven" and "Lester Leaps In." ~ Scott Yanow https://www.allmusic.com/album/triple-treat-vol-2-mw0000199080

Personnel: Monty Alexander (piano), Ray Brown (bass), Herb Ellis (guitar), John Frigo (violin)               

Triple Treat II

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Tommy Flanagan - Thelonica

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 48:29
Size: 111,3 MB
Art: Front

(4:26)  1. North Of The Sunset
(5:31)  2. Light Blue
(5:08)  3. Off Minor
(7:03)  4. Pannonica
(4:14)  5. Ask Me Now
(4:14)  6. Thelonious
(7:35)  7. Reflections
(5:06)  8. Ugly Beauty
(5:11)  9. Thelonica

Recorded just ten months after Thelonious Monk's death, pianist Tommy Flanagan's tribute features eight of Monk's compositions plus Flanagan's own "Thelonica." Assisted by bassist George Mraz and drummer Art Taylor, Flanagan does not sound at all like Monk but he recaptures his spirit and hints strongly now and then at his style on this fine (and often introspective) outing. ~ Scott Yanow https://www.allmusic.com/album/thelonica-mw0000188156

Personnel: Tommy Flanagan (piano); George Mraz (bass instrument); Art Taylor (drums).                 

Thelonica

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Jim Hall - Where Would I Be?

Bitrate: MP3@320K/s
Time: 39:25
Size: 90.2 MB
Styles: Guitar jazz
Year: 1971/1991
Art: Front

[4:18] 1. Simple Samba
[5:11] 2. Where Would I Be
[4:55] 3. Careful
[3:26] 4. Baubles, Bangles And Beads
[8:09] 5. Minotaur
[3:50] 6. I Should Care
[3:55] 7. Vera Cruz
[5:37] 8. Goodbye, My Love

Bass – Malcolm Cecil; Drums – Airto Moreira; Guitar – Jim Hall; Piano – Benny Aronov. Recorded at Mediasound Studios, NY City July 1971.

Although the rhythm section was more "modern" than he usually used (keyboardist Benny Aronov, bassist Malcolm Cecil, and Airto Moreira on drums and percussion), guitarist Jim Hall (who always had a harmonically advanced style anyway) has little difficulty adapting to the fresh setting. Highlights of the well-rounded CD reissue include Hall's "Simple Samba," "Baubles, Bangles and Beads," an unaccompanied "I Should Care," and Milton Nascimento's "Vera Cruz." ~Scott Yanow

Where Would I Be?

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Susan Krebs - Jazz Gardener

Bitrate: MP3@320K/s
Time: 53:34
Size: 122.6 MB
Styles: Jazz-blues vocals
Year: 1999
Art: Front

[3:48] 1. In The Name Of Love
[4:54] 2. Skylark
[4:55] 3. Compost Blues
[3:12] 4. You Don't Know What Love Is
[4:44] 5. Small Day Tomorrow
[4:45] 6. Cockeyed Optimist
[4:04] 7. What'll I Do
[4:41] 8. My Foolish Heart
[6:55] 9. The Blues Are Brewin'
[2:47] 10. Give Me The Simple Life
[4:56] 11. Don't Fence Me In
[3:47] 12. Jazz Gardener

Given the wide diversity of music, arrangements, and vocal styles represented on her maiden album, Susan Krebs' "jazz garden" must be bursting with a plethora of blossoms. Although there's a touch of the blues in virtually everything she touches, Jazz Gardener sings the blues most notably on "Compost Blues" (a blues with a Latin beat) and "The Blues Are Brewin." There are also ballads, like Irving Berlin's "What'll I Do?" in a very soulful, somber mood, which Gary Foster's doleful soprano saxophone helps to create and maintain. Contemporary pop music is represented by Jerry Rankin's "In the Name of Love," while smooth, jazzy sounds are found in "You Don't Know What Love Is." "Don't Fence Me In" is a pop blast from the past, and "Cockeyed Optimist" from the Broadway musical South Pacific starts off in a melancholy atmosphere before seguing into a bossa nova. Krebs can also swing, as seen on "My Foolish Heart" with Jerry Kalaf's brushes whisking the meolody along. The playlist and arrangements are like the weather; if you don't fancy what you're hearing now, wait a track or two and things will change. Categorizing Krebs' voice is not easy; it is anything but prissy and dry, but filled with emotion ranging from a deep, throaty hue to a girlish, higher-pitched tone. Although there's no scatting or other wordless vocalizing, Krebs vocals swoop, drop behind the beat, and generally stay just a little off center. "Skylark," more than any of the other cuts, demonstrates her vocal gymnastics and her emotional intensity. After she delivers a song, Krebs leaves nothing on the table. Her excellent diction and interpretative abilities pay tribute to her teacher, the inestimable Sue Raney. There's outstanding help and support on this variegated agenda of tunes. Guest Gary Foster lends his alto to a rendition of "Small Day Tomorrow" and his tenor to "The Blues Are Brewin." He seems to be a favorite of female songbirds, having been a guest on albums by Natalie Cole, Monica Mancini, and Wesla Whitfield. Louis Durra's organ and Jerry Kalaf's vibes provide a smooth background for "You Don't Know What Love Is." Durra is equally facile on the piano and provides solid accompaniment for Krebs throughout the session. Joe Romano's trumpet helps to end the album on an upbeat note with his muted contributions on "Jazz Gardener," one of two originals on the record. For most, more than one listening of Jazz Gardener will be necessary to fully appreciate Susan Krebs' way with music. This album is well worth the time and effort. ~Dave Nathan

Jazz Gardener

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Arne Domnerus - Jazz At The Pawnshop 2

Bitrate: MP3@320K/s
Time: 60:13
Size: 137.8 MB
Styles: Bop
Year: 1991/2011
Art: Front

[ 7:16] 1. Over The Rainbow
[ 7:30] 2. Gubben Och Kallingen
[10:30] 3. In A Mellow Tone
[ 6:33] 4. Nancy With The Laughing Face
[ 5:56] 5. High Life (Take 2)
[ 3:56] 6. Poor Butterfly
[ 6:14] 7. Exactly Like You
[ 9:09] 8. Things Ain't What They Used To Be
[ 3:05] 9. It Don't Mean A Thing It Don't Mean A Thing

The second of four volumes that fully document a 1976 engagement at the Pawnshop Jazz Club in Stockholm, Sweden, this set differs from the others in that vibraphonist Lars Erstrand is not present. Arne Domnerus (on alto and clarinet) heads a quartet also featuring pianist Bengt Hallberg, bassist Georg Riedel and drummer Egil Johnasen. Other than an African folk song (a second version of "High Life,") and a Swedish folk song, the repertoire is dominated by swing standards; highlights include a lengthy "In a Mellow Tone," "Poor Butterfly" and "Things Ain't What They Used to Be." ~Scott Yanow

Jazz At The Pawnshop 2

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Luciana Souza - Book Of Chet

Bitrate: MP3@320K/s
Time: 46:08
Size: 105.6 MB
Styles: Brazilian jazz vocals
Year: 2012
Art: Front

[5:37] 1. The Thrill Is Gone
[5:13] 2. Forgetful
[4:21] 3. He Was Too Good To Me
[5:40] 4. I Get Along Without You Very Well
[4:13] 5. Oh You Crazy Moon
[2:51] 6. The Touch Of Your Lips
[5:05] 7. The Very Thought Of You
[4:25] 8. I Fall In Love Too Easily
[4:12] 9. I Don't Stand A Ghost Of A Chance With You
[4:25] 10. You Go To My Head

Brazilian vocalist Luciana Souza pays tribute to legendary trumpeter/singer Chet Baker on her 2013 album The Book of Chet. The third album Souza has recorded with husband and producer Larry Klein, The Book of Chet also features guitarist Larry Koonse, bassist David Piltch, and drummer Jay Bellerose. Interestingly, while Souza has picked a handful of songs that will certainly will be recognizable to longtime Baker fanatics, these are definitely lesser known standards from Baker's catalog. Subsequently, there is no "My Funny Valentine" or "There Will Never Be Another You," and instead Souza delves into evocative versions of "Forgetful," "He Was Too Good to Me," "The Touch of Your Lips," and others. These are intimate, reflective recordings that capture Baker's laid-back melodicism. ~Matt Collar

Book Of Chet

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Mariza - Live In London

Size: 173,9 MB
Time: 75:57
File: MP3 @ 320K/s
Released: 2004
Styles: Fado, World
Art: Front

Personnel:
Guitar (Portuguese) – Luis Guerreiro
Acoustic Guitar – António Neto
Bass (Acoustic) – Fernando Baptista De Sousa
Piano – Tiago Machado
Trumpet – Guy Barker

The new queen of the Portuguese folk music known as fado shines in the impressive Mariza Live in London, a 2003 concert recorded at the Union Chapel in London. The twenty something Lisbon resident has been hailed as the successor to fado legend Amália Rodrigues; now, after two well-received CDs, comes Mariza's first filmed concert performance, and it is stunning.

No wonder fado has been compared to the blues: the actual musical content is different, but in terms of both origin (both come from a variety of cultures, in this case including strains of Spanish, Brazilian, and African sounds) and lyrical bent (with its constant element of saudade, roughly translated as yearning or longing, fado, like blues, is mournful, soulful music), it's every bit as deep.

Mariza is backed primarily by acoustic guitar, acoustic bass guitar, and "Portuguese guitar," a 12-string instrument that looks something like a lute and sounds a bit like a Greek bouzouki; there is some piano as well, and Guy Barker's muted trumpet provides "O Deserto" with a pronounced jazzy feel. But the singer is the main attraction here, and the power and passion of Mariza's delivery on "Barco Negro" and nearly all the others in the 16-song set, including more upbeat, celebratory numbers like "Oica La o Senhor Vinho" (the introductions are in English, but the tunes are all in Portuguese) are undeniable. Add to that Mariza's black cloak and clothing, her stylish, peroxide-blonde perm, and her highly theatrical movements and expressions, along with the darkened chapel and superb lighting, and you've got an audio-visual experience so dramatic and moving that it easily renders the language barrier irrelevant. ~Sam Graham

Live In London

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Pee Wee Russell & Coleman Hawkins - Jazz Reunion

Styles: Clarinet Jazz
Year: 2002
File: MP3@320K/s
Time: 45:36
Size: 105,9 MB
Art: Front

(6:29)  1. If I Could Be With You One Hour
(8:56)  2. Tin Tin Deo
(7:18)  3. Mariooch
(7:33)  4. All Too Soon
(7:26)  5. 28th And 8th
(7:52)  6. What Am I Here For

This LP (whose contents have been reissued on CD) features a reunion between tenor-saxophonist Coleman Hawkins and clarinetist Pee Wee Russell; they revisit "If I Could Be with You," a song they had recorded together in a classic version back in 1929. Russell was beginning to perform much more modern material than the Dixieland music associated with the Eddie Condon players and on this set (which also features trumpeter Emmett Berry, valve trombonist Bob Brookmeyer, pianist Nat Pierce, bassist Milt Hinton and drummer Jo Jones), he plays a couple of Duke Ellington tunes, two originals and "Tin Tin Deo." Hawkins is also in fine form and this somewhat surprising program is quite successful. ~ Scott Yanow https://www.allmusic.com/album/jazz-reunion-mw0000195279

Personnel: Pee Wee Russell (clarinet); Coleman Hawkins (tenor saxophone); Emmett Berry (trumpet); Bob Brookmeyer (trombone); Nat Pierce (piano); Milt Hinton (bass); Jo Jones (drums).          

Jazz Reunion

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Barbara Carroll - Old Friends

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 44:40
Size: 102,6 MB
Art: Front

(3:38)  1. Old Friends
(4:23)  2. Together Wherever We Go
(3:59)  3. Early Autumn
(4:21)  4. There Will Never be Another You
(3:29)  5. Looking At You
(6:13)  6. Dancing On The Ceiling
(3:59)  7. Can't We Be Friends
(5:08)  8. Too Soon
(3:43)  9. Aus Nossos Silhos
(5:44) 10. You Stepped Out Of A Dream

Entering her nineties, Barbara Carroll could boast that she had been playing piano for over 85 years. Not without a pause to sleep and eat, obviously, but with a determination that might suggest such extremes. Born Barbara Carole Coppersmith, she began the instrument at only five years old and went on to classical training three years later, eventually graduating from the New England Conservatory. In terms of professional stagecraft, her initial training ground was a USO tour during World War II in which she was part of an all-girl trio. This was quickly followed by leading her own trio on New York City's famous lane of jazz, 52nd Street, where she adopted a variation of her middle name, Carole, as a stage name. The pianist was associated with such fine players as guitarist Chuck Wayne and bassist Clyde Lombardi, but what would develop into an extensive discography began in 1949 with a recording session backing up multi-instrumentalist Eddie Shu for the Rainbow label.

Among female piano players, Carroll was known as the first to venture into the progressive bebop style that was especially associated with Bud Powell. Unlike the infamous Billy Tipton, Carroll also did not think it was necessary to hide the fact that she was a woman in jazz but this was New York City, not Oklahoma or the state of Washington. Not that Carroll had an easy time in a genre dominated by men. "People tended to put you down before they ever heard you," she commented. "If you were a girl piano player, the tendency was to say: 'Oh, how could she possibly play?' You never even got a chance to present what you could do. But then, if you did prove yourself, it almost became a commercial asset, in a sense; you were regarded as unique."

One audience that found Carroll to their liking was the high society crowd, becoming enamored with her during an extended run at the ultra-chic Embers supper club. Her group at the latter venue included the bassist Joe Shulman, whom she married in 1954. Carroll did not ignore the pop styles of subsequent decades, yet always managed to keep a strong jazz flavor present in whatever material she performed. If swing was a bay leaf, it would be said that Carroll had a large bush growing right outside her kitchen window. She recorded for many of the best labels in the genre including Verve and Atlantic and continued to be in demand at clubs and cabarets into her nineties, playing a regular gig at Manhattan's Birdland venue until December 2016. Carroll also worked as an actress on occasion, such as the Broadway play entitled Me and Juliet. She died in February 2017 at the age of 92. ~ Eugene Chadbourne  https://itunes.apple.com/us/album/old-friends/889301524

Personnel:  Barbara Carroll - Vocal; Phil Bodner - Reeds;  Jay Leonhart - Bass;  Grady Tate - Drums         

Old Friends

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Milton Nascimento - Courage

Styles: Vocal, Brazilian Bossa Nova 
Year: 1969
File: MP3@320K/s
Time: 34:27
Size: 81,1 MB
Art: Front

(3:52)  1. Bridges (Travessia)
(3:13)  2. Vera Cruz
(2:45)  3. Tres Pontas
(4:12)  4. Outubro (October)
(3:27)  5. Courage
(3:23)  6. Rio Vermelho
(3:26)  7. Gira Girou (Round 'N' Round)
(4:28)  8. Moro Velho
(2:31)  9. Catavento
(3:07) 10. Canção Do Sol (Saltworkers Song)

Milton Nascimento's first album for North American ears, recorded at Van Gelder Studios in New Jersey under the watchful eye and discerning ear of Creed Taylor, is a masterpiece, a gorgeously executed tour through his early songs. Backed beautifully by Eumir Deodato's lush orchestrations and a clutch of sidemen from the Taylor stable (including Herbie Hancock, Airto Moreira, and Hubert Laws), Nascimento unveils one first-class tune after another, many of which would ignite a rush of cover versions. Among the songs North Americans heard for the first time were "Vera Cruz," "Tres Pontas," "Morro Velho," the scatted "Catavento," and the intensely moving "Bridges" ("Travessia")" the latter which launched Nascimento's name on the world music scene. Singing in English, Portuguese, and often with no words at all, Nascimento's odd yet masculine and expressive baritone stands out like a moaning foghorn from the smooth A&M/Taylor sonic formula, a haunting combination. This was Nascimento before tropicalismo, when he latched onto the tail end of the bossa nova movement and quickly became one of its most inspired performers and songwriters. To some admirers, Courage remains his best record, period. ~ Richard S.Ginell https://www.allmusic.com/album/courage-mw0000199723   

Personnel:  Milton Nascimento - vocals;  Wayne Andre, Paul Faulise, John Messner, Tony Studd, Bill Watrous, Chauncey Welsch - trombone;  Burt Collins, Marvin Stamm - flugelhorn;  Ray Alonge, Joe DeAngelis, Paul Ingraham - French horn;  George Marge - clarinet;  Danny Bank, Harvey Estrin, Hubert Laws, Romeo Penque, Jerome Richardson, Bill Slapin, Joe Soldo - flute;  Herbie Hancock - piano;  Eumir Deodato - organ, arranger, conductor;  Jose Marino - bass;  João Palma - drums;  Airto Moreira - percussion;  David Nadien, Anahid Ajemian, Frederick Buldrini, Alexander Cores, Harry Cykman, Lewis Eley, Harry Glickman, Emanuel Green, Raoul Poliakin, Max Pollikoff, Matthew Raimondi, Joyce Robbins, Tosha Samaroff, Avram Weiss, Jack Zatde, Joseph Zwilich - violin;  Alfred Brown, Harold Coletta, Theodore Israel, David Mankovitz, Emanuel Vardi - viola;  Charles McCracken, George Ricci, Lucien Schmit, Alan Shulman - cello;  Anamaria Valle - vocal

Courage

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Pat LaBarbera - The Wizard

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 31:26
Size: 77,3 MB
Art: Front

(9:53)  1. Night And Day
(7:14)  2. Cattin'
(7:17)  3. You're A Weaver Of Dreams
(7:01)  4. The Wizard

The older brother of Joe LaBarbera (drummer with Bill Evans during 1978-1980) and arranger/trumpeter John LaBarbera, Pat has been a fixture in Toronto since moving to Canada in 1974. He played in a family band early on, attended Berklee (1964-1967), and gained recognition for his exciting solos with Buddy Rich's big band (1967-1973). After settling in Toronto (where he has done quite a bit of studio work), LaBarbera toured with Elvin Jones (1975-1978). He has recorded as a leader for PM, Sackville, and Justin Time. ~ Scott Yanow https://itunes.apple.com/sg/album/the-wizard/id632794082

Personnel:  Tenor Saxophone [Tenor Sax] – Pat LaBarbera;  Bass – Andy McCloud;  Drums – Bruno Biriaco;  Guitar – Roland Prince          

The Wizard

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