Grant Stewart Quarter - Buen Rollo

Styles: Saxophone Jazz
Year: 1999
File: MP3@256K/s
Time: 54:17
Size: 100,1 MB
Art: Front

(8:55)  1. It's All Right With Me
(7:04)  2. Pannonica
(4:03)  3. Cyclops
(6:54)  4. Dizzy Moods
(6:25)  5. Manhattan
(5:45)  6. O.D.
(7:00)  7. Scotch Thing
(8:07)  8. Something To Live For

   Born in Toronto, Canada on June 4, 1971, Grant Stewart was exposed to the music of Charlie Parker, Wardell Gray and Coleman Hawkins by his father, a high-school English teacher and semiprofessional guitarist. Father and son often played together for hours on end. It was through these early experiences and his father's encouragement that Stewart first developed a strong ear for melody, style, and improvisation. He began with the alto saxophone at age 10, and when he was 14 his first teacher, noted Toronto bandleader Pete Schofield, invited him to play professionally in Schofield's Big Band. At 17 he switched to the tenor saxophone and was soon playing with such master saxophonists as Pat Labarbara and Bob Mover. Stewart considers Mover to be one of his greatest teachers and among his strongest influences along with Sonny Rollins, John Coltrane, Don Byas, and Lester Young. Since moving to New York City at the age of 19, Stewart has studied with such masters as Donald Byrd, Barry Harris, and Joe Lovano, and performed with Curtis Fuller, John Hendricks, Clark Terry, Etta Jones, Bill Charlap, Frank Gant, Dan Barrett, Bob Mover, Brad Mehldau, Russell Malone, Larry Goldings, Peter Bernstein, Jimmy Cobb, Harry Connick , Harold Mabern, Mickey Roker, Arthur Harper, Jimmy Lovelace, Cecil Payne, Dick Hyman, Herb Geller and was a member of the last Al Grey Sextet. https://musicians.allaboutjazz.com/grantstewart

Stewart can be found playing at such clubs in NY as, Birdland, Smoke, The Ketano, The Jazz Standard, Fat Cat and can be heard every Tuesday night at Smalls Jazz Club. Stewart has performed all over North America and Europe as well as Japan, Brazil, Taiwan and was one of the first jazz artists to be invited to play at the historical Hermitage Museum in St.Petersberg Russia. Grant was also a featured artist at the Guggenheim Museums' Jazz series with his trio-featuring Jimmy Cobb. Stewart has two releases as a leader out on Criss Cross, Downtown Sounds and More Urban Tones, as well as a third on the Fresh Sounds label entitled Buen Rollo. Downtown Sounds, heralded by critics in the U.S., Canada and Europe, was recorded in 1992 and includes Brad Mehldau, piano, Kenny Washington, drums, Peter Washington, bass and Joe Magnarelli, trumpet. Geoff Chapman, of the Toronto Star selected Downtown Sounds as one of the Top Five Jazz Albums of 1994. More Urban Tones features Peter Bernstein, guitar, Peter Washington, bass, and Billy Drummond, drums. You can also hear Grant on Ryan Kisors' recent Quintet release The Awakening on Criss Cross Jazz. One of his latest projects is a two-tenor group co-led with Eric Alexander. The C.D.is called Wailin' and is available on Criss Cross. Grant's latest quintet release Estate featuring Bill Charlap and Joe Cohn is available on Criss Cross as well.

Grant Stewart Quartet: Grant Stewart (tenor saxophone); Fabio Miano (piano); Chris Higgins (bass); Marc Miralta (drums).

Buen Rollo

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Don Sebesky - Giant Box

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 59:35
Size: 140,1 MB
Art: Front

(13:56)  1. Firebird/Bird Of Fire
( 5:50)  2. Song To A Seagull
( 8:15)  3. Free As A Bird
( 8:11)  4. Psalm 150
( 5:40)  5. Vocalise
( 9:48)  6. Fly/Circles
( 7:52)  7. Semi-tough

It's a bit bizarre to find an album called Giant Box in a small cardboard case, or as a download lacking physical form, but times change. When Don Sebesky's grand musical statement on CTI hit the marketplace in 1973, it came in a classical-type record box, befitting the stature of the music. Opinions vary as to whether Sebesky can be said to have been a savior of jazz in the '70s, or a jazz Judas who helped to commercialize the music. Truth be told, he's neither. Sebesky is simply a great arranger and talent who happened to thrive in this music during a period when the ideology of jazz was fractured in so many ways. Sebesky bore the brunt of critical attacks against this new offshoot, but he wasn't trying to reinvent the wheel. While his arrangements were occasionally excessive, many of his works are also masterful musical creations that create an entire universe of sound, in service of a particular artist's vision. While there may be reservations about the "Sebesky Sound," hindsight shows his arranging brilliance, as demonstrated on Giant Box.

The early '70s success of CTI afforded Creed Taylor the opportunity to give Sebesky some musical freedom on this project, and what he came up with is astonishing. Sebesky fuses Igor Stravinsky's "Firebird" and John McLaughlin's "Birds Of Fire" into a single work, featuring cinematic orchestral episodes and exciting solos from the likes of Hubert Laws and Freddie Hubbard. Joni Mitchell's "Song To A Seagull" becomes a feature for Paul Desmond's distant and lonely sounding alto saxophone, but Ron Carter's bass makes friends with him and the pair proves to be simpatico in its conversational work. The first of three Sebesky originals ("Free As A Bird") is also the first number that deals in hard swinging big band writing, and it also features some wonderful solo work from pianist Bob James, Freddie Hubbard now on flugelhorn and Grover Washington Jr. on soprano saxophone. Sebesky's take on Jimmy Webb's "Psalm 150" is the one number that doesn't stand up too well, as it comes off like a combination between solemn chanting, Donald Byrd's A New Perspective (Blue Note, 1963), standard-issue funk, and "Aquarius" from Hair (1967). Things get back on track with Desmond's sad-eyed saxophone work on "Vocalise," which also features vibraphonist Milt Jackson and Sebesky's superb string writing. The final pair of pieces on the album are representative of Sebesky's experimental side ("Fly/Circle") and understanding of popular, groove-based music ("Semi-Tough"). "Fly/Circle" is an episodic number that features Laws' effects-laden flute runs, Sebesky's pleasant vocals, an eerie Bernard Hermann-esque woodwind statement, solos over a small group setting, and more. "Semi-Tough" goes in a completely different direction, as Sebesky taps into raunchy, straight-up street funk that's part-Isaac Hayes and part Sanford And Son. While Giant Box is indicative of the bigger-is-better approach of the times, it also serves as a benchmark for creativity in arranging and composition, and helps to place Sebesky's talents in the proper light. ~ Dan Bilawsky https://www.allaboutjazz.com/giant-box-don-sebesky-cti-masterworks-review-by-dan-bilawsky.php

Personnel: Don Sebesky: piano (7), electric piano (1, 2, 3), organ (7), accordion (3, 6), clavinet (7), vocals (4, 6); Bob James: piano (3, 5, 6), organ (4, 7); Ron Carter: bass, electric bass, piccolo bass; Billy Cobham: drums (1, 4, 7); Jack DeJohnette: drums (2, 3, 5, 6); George Benson: guitar (7); Harry Leahey: guitar (1); Airto: percussion (1, 6, 7); Rubens Bassini: conga drums (4); Dave Friedman: percussion (4); Phil Kraus: percussion (4); Ralph MacDonald: percussion (4); Paul Desmond: alto saxophone (2, 5); Joe Farrell: soprano saxophone (6); Grover Washington, Jr.: alto saxophone (7), soprano saxophone (3); Milt Jackson: vibraphone (5); Freddie Hubbard: trumpet (1, 5), flugelhorn (3); Hubert Laws: flute (1, 6); Jackie Cain: vocals (4); Roy Kral: vocals (4); Randy Brecker: trumpet; Alan Rubin: trumpet; Joe Shepley: trumpet; Wayne Andre: trombone, baritone; Warren Covington: trombone, baritone; Garnett Brown: trombone; Paul Faulise: bass trombone, baritone; Alan Raph: bass trombone, baritone; Jim Biffington: french horn; Earl Chapin: french horn; Phil Bodner: flute, piccolo, clarinet, soprano saxophone, tenor saxophone, oboe, English horn; Jerry Dodgion: flute, piccolo, clarinet, soprano saxophone; Walt Levinsky: clarinet, tenor saxophone; George Marge: flute, clarinet, soprano saxophone, baritone saxophone, oboe, English horn; Romeo Penque: flute, piccolo, clarinet, soprano saxophone, oboe, English horn; Tony Price: tuba; Al Brown: violin; Harry Cykman: violin; Max Ellen: violin; Paul Gershman: violin; Harry Glickman: violin; Emanuuel Green: violin; Harold Kohon: violin; Charles Libove: violin; Harry Lookofsky: violin; Joe Malin: violin; David Nadien: violin; Gene Orloff: violin; Elliot Rosoff: violin; Irving Spice: violin; Seymour Barab: cello; Charles McCracken: cello; George Ricci: cello; Alan Shulman: cello; Margaret Ross: harp; Homer Mensch: concert string bass; Lani Groves: background vocals (7); Carl Caldwell: background vocals (7); Tasha Thomas: background vocals (7).

Giant Box

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Screaming Headless Torsos - Live!!

Styles: Jazz Funk
Year: 2002
File: MP3@320K/s
Time: 66:27
Size: 153,7 MB
Art: Front

( 4:15)  1. Just For Now
( 5:04)  2. Smile In A Wave
( 5:16)  3. Jazz Is The Teacher
( 8:48)  4. Blue In Green
( 7:31)  5. Word To Herb
( 5:40)  6. Hope
( 6:45)  7. Vinnie
( 4:20)  8. Darryl Dawkins' Sound Of Love
(11:13)  9. Kermes Macabre
( 7:29) 10. Dig A Pony

Fans of the Screaming Headless Torsos' unique brand of avant-gardist funk-jazz-rock fusion had very little to chew. Apart from the group's 1995 debut CD, the only document was a high-priced rare Japanese import. Guitarist David "Fuze" Fiuczynski bought back the rights to the tapes, had them fantastically remastered, and reissued them on his own U.S.-based label, Fuzelicious Morsels, as Live. Culled from two shows at the Knitting Factory in September 1996, this CD features the same lineup as on the studio album from the previous year and most of its songs too. The renditions of "Smile in a Wave," "Vinnie," the chilling "Kermes Macabre," and the funked-up "Word to Herb" show how much liberty Fuze could take with his guitar solos mostly atonal and completely out there. "Word to Herb" especially transcends its original version, thanks to incredible amounts of energy from all musicians. But as good these tracks are, the fans will want this CD for the four songs that did not appear on the studio album. "Just for Now" opens the proceedings with a great discharge of jazz-funk, a typical Torsos track. "Darryl Dawkins' Sound of Love" casts singer Dean Bowman as a Barry White-like crooner to great effect. The Beatles' "Dig a Pony" gets a treatment similar (but not quite as exciting) as Miles Davis' "Blue in Green." Sound quality has been enhanced, putting the listener in the front row to (re)live the galvanizing experience that was a Torsos show. Begin with the studio CD (reissued at the same time under the title 1995), just so you start at the same point as everyone else. ~ François Couture  https://www.allmusic.com/album/live%21%21-mw0000214399

Personnel: Dean Bowman (vocals, rap vocals); David Fiuczynski (guitar, electric guitar, strings); Gene Lake, Jojo Mayer (drums); Daniel Sadownick (percussion).

Live!!

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Gene Ammons - Red Top

Bitrate: MP3@320K/s
Time: 43:11
Size: 98.9 MB
Styles: Bop, Saxophone jazz
Year: 1994/2009
Art: Front

[3:10] 1. El Sino
[2:54] 2. Ineta
[2:56] 3. Wild Leo
[3:00] 4. Leaping Leo
[3:07] 5. Just Chips
[2:55] 6. Street Of Dreams
[2:58] 7. Good Time Blues
[2:54] 8. Travellin' Light
[3:07] 9. Red Top
[3:06] 10. Fuzzy
[2:44] 11. Stairway To The Stars
[3:01] 12. Jim Dawgs
[4:31] 13. Big Slam Part 1
[2:43] 14. Big Slam Part 2

Baritone Saxophone – Leo Parker; Bass – Ben Stuberville, Gene Wright; Drums – Chuck Williams, George Brown; Piano – John Houston, Junior Mance; Tenor Saxophone – Gene Ammons; Tenor Saxophone, Baritone Saxophone – Mack Easton; Trombone – Lino Murray; Trumpet – Howard McGhee, Johnny Coles. Recorded in Detroit, October 4, 1947. Recorded in Chicago November 18, 1952, April 15, 1953 (B2) or June 1953.

Tenor-saxophonist Gene Ammons is well-featured on this LP, playing as a sideman with baritonist Leo Parker's sextet on four numbers from 1947 and heading two sessions of his own from 1952-53. The latter performances (which also include trumpeter Johnny Coles and pianist John Houston in the octet) are highlighted by a remake of Ammons's hit "Red Top," warm ballad versions of "Street of Dreams," "Travellin' Light" and "Stairway to the Stars" and an extended tenor battle with Mack Easton on "Big Slam." ~Scott Yanow

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Katia Guerreiro - Até Ao Fim

Bitrate: MP3@320K/s
Time: 41:14
Size: 94.4 MB
Styles: Fado, Vocal
Year: 2014
Art: Front

[3:42] 1. 9 Amores
[2:36] 2. Mentiras
[4:00] 3. Até Ao Fim
[2:50] 4. Disse Ao Mar Que Te Amava
[2:13] 5. Janela Do Meu Peito
[2:45] 6. Fado Dos Contrários
[5:54] 7. Fado Da Noite Que Nos Fez
[3:58] 8. Quero Cantar Para Lua
[3:22] 9. Sei Que Estou Só
[3:24] 10. Nesta Noite
[2:21] 11. As 4 Operações
[4:03] 12. Eu Gosto Tanto De Ti-Canção Para A Mafalda

She was born in South Africa, grew up in the Azores and was discovered in Lisbon. She wanted to be a teacher, a veterinarian, and became a doctor. But fate found it. And she found Fado. Work of fate? It is her conviction that she exists and is attentive to it. So she does not make plans, she lets life happen to her. It was for this confidence that she waited for the right moment. The moment when all the elements were aligned, in the same rhythm, in the same poetry, in the same passion. She waited for the poems. She waited for the music. She waited for everyone with whom she wanted to go the long, long wished path, long prepared. The themes have been collected over the years. From inside the drawer that is her heart, they left to be sung with the emotion that characterizes it. There were many, the choice was difficult, but the 12 elected represent the new Katia Guerreiro, whom in recent years has prepared for this now. At her side, Tiago Bettencourt, "a passionate fado who besides being an excellent musician is also a friend", assured the production and musical direction of the project, but also wrote, solo and in partnership, some of the songs. Always with her, João Veiga, Pedro Castro, Luis Guerreiro and Francisco Gaspar, the musicians who have long been following his fado. To these were added other, bigger names of Portuguese music, such as Professor Joel Pina, Pedro Jóia, André Ramos, Artur Caldeira. In the authorship there are 20 names. Some in absolute debut, others in posthumous honor. All in harmony, Until the End. (Translated from Portuguese.)

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Greg Cordez - Paper Crane

Bitrate: MP3@320K/s
Time: 56:03
Size: 128.3 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[7:31] 1. Brown Bear
[8:26] 2. 8.23
[3:12] 3. Real And Imagined
[7:21] 4. November
[4:32] 5. Schrodinger Vs. Cat
[5:38] 6. Up Quark
[2:52] 7. Black Bear
[5:53] 8. Camilla Rose
[4:17] 9. Ron Free
[6:16] 10. 1000 Paper Cranes

Greg Cordez has been one of the go-to bassists in Bristol over the last few years, and has enrolled four of the city’s best players in his quintet for this rather lovely album. He’s a fine player, too, but it’s the writing – all 10 tracks are his – that comes through most strongly here. There’s one unaccompanied bass intro, when the depth of his sound reverberates, but hardly any bass soloing as such. The leader’s reticence – which some, like Gary Giddins, think becoming for bass players – allows the others to shine. Nick Malcolm’s astringent lyricism on trumpet and Jake McMurchie’s rich, spirited tenor sax impress throughout, as does Mark Whitlam’s thoughtfully varied drumming. But for me pianist Jim Blomfield responds even more brilliantly to these pieces. I don’t think I’ve ever heard him play better. There’s a crystalline clarity to his sound when he is laying out the themes and a string of solos, some reflective, some tumultuous, that provide a succession of standout moments.

Cordez’s writing is most often gently song-like, although the longest track, 8.23 (the time it takes light to reach Earth from the Sun) takes a more upbeat, rock-inflected path and Schrodinger vs Cat does likewise with some scrunchy electronics and free blowing for good measure. Several of the other tunes have an attractively melancholic undertow, including one titled after the unsung drummer Ron Free (yes, it’s a real name) and the closing 1000 Paper Cranes. That title references origami, as does the CD’s cleverly folded sleeve, reflecting the care and attention to detail that characterises the whole set. There’s nothing thrown together here – memorable as the results of that can be in the right session. This is considered music-making, illuminated when the band play live by the stories Cordez tells about the inspiration for each piece. But the story-telling in the playing is sufficient to itself on the recording, one which contains pieces that reveal themselves to be pleasantly insinuating when you realise at the end you’d quite like to listen to them all again right away. ~Jon Turney

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John McNeil - Fortuity

Bitrate: MP3@320K/s
Time: 60:46
Size: 139.1 MB
Styles: Trumpet jazz
Year: 2001
Art: Front

[ 5:09] 1. Lose my number
[ 8:25] 2. Faun
[ 3:47] 3. Fortuity
[ 7:54] 4. ECM
[ 4:34] 5. The old standard
[ 0:31] 6. Midrange Interference
[11:27] 7. Fire and rain
[ 5:39] 8. Shy Nola
[ 5:48] 9. I will
[ 7:27] 10. Blewbo

Alto Saxophone, Baritone Saxophone – Allan Chase; Bass – John Sullivan; Drums – Eric Thompson (7); Flute – Derek Olphy (tracks: 4); Trumpet – John McNeil; Viola – Katherine Vincent (tracks: 4). Recorded September 1999.

This CD came about following a one-shot concert by trumpeter John McNeil and alto saxophonist Allan Chase, along with bassist John Sullivan and drummer Eric Thompson. The program of this studio session focuses on McNeil's writing, with plenty of solo space. McNeil's approach to trumpet is lyrical yet deliberately low key. The up-tempo "Lose My Number" is an adventurous blend of post-bop and avant-garde. Chase switches to baritone sax and violist Kate Vincent and flutist Derek Olphy (both guests are multi-tracked to create the sound of a larger group) are added for the lovely "Faun." "The Old Standard," a trio piece omitting Chase, was inspired by "My Shining Hour," though the chord changes of this old chestnut are fleeting at best. Two of the most surprising tracks are pop tunes, including a freewheeling take of James Taylor's "Fire and Rain" that only gives itself away as they settle down around the halfway mark; there's also the Beatles' "I Will" heard in a playful Latin arrangement. This superb date is well worth acquiring. ~Ken Dryden

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Teddi King - A Girl And Her Songs

Bitrate: MP3@320K/s

Time: 33:24

Size: 76.5 MB

Styles: Jazz vocals

Year: 1957/2010

Art: Front

[2:43] 1. A Sailboat In The Moonlight

[2:42] 2. Nothin' For Nothin'

[3:14] 3. After All It's Spring

[2:43] 4. My Future Just Passed

[3:23] 5. You Don't Know What Love Is

[2:37] 6. Indian Summer

[2:34] 7. Chicken Today And Feathers Tomorrow

[2:35] 8. Porgy

[2:50] 9. Laughing At Life

[3:43] 10. Autumn In New York

[2:02] 11. Why Shouldn't I

[2:12] 12. Alone Together

For whatever reasons Teddi King remains a largely overlooked if not underrated singer. This CD "A Girl and Her Song" finds Teddi at the very peak of her performing powers. In later years she suffered from poor health and her voice in the recordings before her untimely death had lost a lot in terms of timbre. Teddi King had all that a female vocalist could wish for. A beautiful instrument, perfect diction and that vital quality of knowing how to use them in order to convey a range of emotions.

"You Don't Know What Love Is" has been sung probably by all the greats and yet her version is a stand out with its compelling seriousness. Teddi King took her art seriously, excelling in both the dramatic song; listen to her in the almost unknown but marvellous Dorothy Fields version of "Porgy", as well as the the light hearted "A Sailboat in the Moonlight" or Richard Whiting's (Margaret's father) "My Future Just Passed". Those who may already be familiar with Teddi King would certainly do well in having what is in my opinion one one of her best albums while for those who do not know her, this makes a fine introduction to this worthy artist. ~Michael Sharp

A Girl And Her Songs 

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Eric Gale - The Essential Eric Gale (2-Disc Set)

A guitarist who was used for many R&B-oriented dates and occasionally played jazz, Eric Gale had an appealing sound and was best while performing lazy melodic blues. He was most significant to the jazz world in the early '70s, when he recorded often as a sideman for CTI, later on with the group Stuff, and on isolated tracks on his own sessions. Gale's fine 1987 EmArcy set In a Jazz Tradition shows what he could really do. ~ Scott Yanow

Album: The Essential Eric Gale (Disc 1)
Bitrate: MP3@320K/s
Time: 70:23
Size: 161.1 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[7:46] 1. Forecast
[7:19] 2. Dindi
[4:15] 3. Tonsue Corte
[3:34] 4. Killing Me Softly With His Song
[6:10] 5. Sara Smile
[7:40] 6. Ginseng Woman
[3:51] 7. Red Ground
[6:07] 8. East End, West End
[6:10] 9. She Is My Lady
[6:16] 10. De Rabbit
[5:49] 11. Thumper
[5:21] 12. Multiplication

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Album: The Essential Eric Gale (Disc 2)
Bitrate: MP3@320K/s
Time: 57:50
Size: 132.4 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[8:26] 1. Morning Glory
[4:49] 2. Gypsy Jello
[7:21] 3. Oh! Mary Don't You Weep
[6:17] 4. Part Of You
[7:00] 5. Lookin' Good
[5:21] 6. Let-Me-Slip-It-To-You
[4:44] 7. You Got My Life In Your Hands
[5:07] 8. Touch Of Silk
[8:43] 9. Au Private

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Freddie Redd - Freddie Redd In Sweden

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:08
Size: 158,1 MB
Art: Front

(2:55)  1. Dawn Mist
(3:18)  2. Beautiful Adela
(4:29)  3. I'll Remember April
(2:35)  4. Reminiscing
(2:11)  5. Get Happy
(3:02)  6. Bye Bye,Blackbird
(3:06)  7. Blues X
(3:45)  8. People's Park
(2:35)  9. A Night In Nalen
(3:38) 10. Blue Hour
(3:12) 11. Studio Blues
(3:58) 12. Farewell To Sweden
(4:17) 13. Debut (bonus track)
(5:20) 14. Lady J. Blues (bonus track)
(5:48) 15. Things We Did Last Summer (bonus track)
(4:52) 16. Ready Freddie (bonus track)
(5:19) 17. I'll Remeber April (bonus track)
(3:39) 18. These Foolish Things (bonus track)

CD release that contains the complete 1956 LP Freddie Redd in Sweden plus the pianist's first trio session and the only two trio tracks from Redd's only recorded live performance in Sweden. Freddie Redd is a very talented yet obscure and underrated pianist. Despite enjoying a long life in which he never stopped playing, Redd has left behind a rather sparse body of recorded works. Although he played with such great Jazz names as Art Blakey, Coleman Hawkins, Tina Brooks, Sonny Rollins, Charles Mingus and Lou Donaldson, the quantity of his recordings is sorely lacking. The quality of these recordings, however, is of the highest order. When Swedish trumpeter Rolf Ericson was commissioned to find American musicians to travel to Stockholm for a series of modern Jazz concerts, Redd was chosen along with bassist Tommy Potter and drummer Joe Harris. All his trio recordings during that tour are included on this release. 18 tracks. Lone Hill Jazz. ~ Editorial Reviews https://www.amazon.com/Sweden-FREDDIE-REDD/dp/B000W7YX4U

Personnel: Piano – Freddie Redd;  Bass – John Ore, Tommy Potter;  Drums – Joe Harris , Ron Jefferson

Freddie Redd In Sweden

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Caro Josée - Turning Point

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 50:22
Size: 115,8 MB
Art: Front

(4:34)  1. La Terrazza
(5:48)  2. Paris
(6:53)  3. The Lawyer's Wife
(5:04)  4. Night Time
(2:16)  5. Bouillabaisse
(4:18)  6. Mona Lisa Liut
(4:32)  7. A Love Like This
(3:20)  8. No Stars in My Sky
(3:19)  9. Sos
(5:43) 10. It's Impossible
(4:29) 11. Mi Amor

“Turning Point, the title flies to me in Lingueglietta, an enchanting mountain village overlooking Lorenzo al Mare. I’m sitting in the sunshine and listening to my first mixes as I gaze at the sea and think back on the last few years. My mother’s death changed me, our wonderful daughter is becoming more grown-up, our son’s voice is changing and I’m in a phase of awakening, at a turning point in my life.” Caro Josée uses these words on her website to describe what’s special about the album being presented. Caro Josée goes her own way without relenting to the pressure from what is commonly known as a trend-oriented music business. Before she took her ‘family break’, as Caro she delivered 5 successful album productions to that very business and went on to become an icon with the legendary house band at “Onkel Pö’s”, once a famous club in Hamburg. In 1978 she was awarded the German Record Prize as “Up-and-Coming National Pop Artist” and promptly received labels such as ‘top-secret tip’ so typical of the industry. In a cover feature for the magazine Stern she was even designated a ‘Rock lady’, which brought effective publicity but had little to do with the music. Now outfitted with an enhanced musical understanding of herself and having matured by gaining lots of life’s experiences beyond the stage, in 2012 this singer with that ‘certain something’ in her voice has added her middle name and completed an album that is certainly one of the most expressive and emotion-packed productions by a German artist in the recent past. Not one note on it seems to be superfluous or lacking, whether played or sung: The tracks are to the point and staged as clear as glass. The fantastic soundtrack for a wonderful, mild summer evening when thoughts can run free.

Jazzier than ever is a good way to describe how Caro Josée sounds on “Turning Point”. On these recordings she is supported by first-rate musicians such as Jean Jacques Kravetz on the Fender Rhodes (Peter Maffay, Udo Lindenberg), as well as by the two co-producers Andreas Paulsen, piano (Ina Müller Band among others), and Martin Scheffler, guitar (Rosenstolz among others). Special moments with an extremely atmospheric touch are contributed by solos from guitarist Manusch Weiss, who comes from a renowned family of Sinti musicians, and trumpet-player Reiner Winterschladen (Nighthawks, NDR Bigband). An out-of-the-ordinary symbiosis of Blues-tinted Sinti Jazz and the coolness of laid-back trumpet riffs, all of which go to show once again that Caro Josée is an artst who doesn’t let herself be easily boxed in a category. Her album offers songs to dream to and others that merit listening attention: tales of life & loss, about major emotions. These tracks display a strong yet still vulnerable woman who has arrived at a turning point in her life full of passion, though without pathos: a woman with embraces life to the fullest. Caro Josée and her band are going to be appearing live, too, this time together with guest soloist Manusch Weiss. On April 28th at the Hamburg Town Hall (“Lange Nacht der Museen” event), on May 26th at the Elbjazz festival, at additional dates in the early summer and on tour in the fall of 2012, this vocalist will be touching audiences with sounds to relax to and reflect on.

Personnel:  Vocals – Caro Josée;  Rhythm Guitar – Enzo Weiss;  Trumpet – Reiner Winterschladen; Violin – Zwetelina Hauboldt; Piano – Andreas Paulsen; Guitar – Manusch Weiss, Martin Scheffler

Turning Point

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George Russell - New York, New York

Styles: Big Band, Bop
Year: 1959
File: MP3@320K/s
Time: 45:26
Size: 104,3 MB
Art: Front

(10:33)  1. Manhatten
(11:41)  2. Big City Blues
(10:10)  3. Manhatten - Rico
( 8:00)  4. East Side Medley
( 5:00)  5. A Helluva town

George Russell was one of the most forward-thinking composers and arrangers on the jazz scene during the 1950s, but his work was generally more appreciated by musicians than the jazz-buying public. New York, New York represents one of many high points in his career. He assembled an all-star orchestra, including pianist Bill Evans (a frequent participant on Russell's recordings), Art Farmer, Bob Brookmeyer, John Coltrane, and Milt Hinton, among others.

In Rodgers & Hart's "Manhattan," Russell has the soloists playing over the orchestra's vamp, while he also creates an imaginative "East Side Medley" combining the standards "Autumn in New York" and "How About You." His original material is just as striking as his arrangements, while vocalist Jon Hendricks serves as narrator between orchestra segments. While this release has been reissued several times, it rarely remains in print for long, so don't miss the opportunity to acquire this elusive CD. ~ Ken Dryden https://www.allmusic.com/album/new-york-ny-mw0000309054 

Personnel: George Russell (leader, arranger, chromatic drums); Jon Hendricks (spoken vocals); Hal McKusick, Phil Woods (alto saxophone, flute, clarinet); John Coltrane, Benny Golson, Al Cohn (tenor saxophone); Gene Allen, Sol Schlinger (baritone saxophone); Art Farmer, Doc Severinsen, Ernie Royal, Joe Wilder, Joe Ferrante (trumpet); Bob Brookmeyer, Frank Rehak, Tom Mitchell, Jimmy Cleveland (trombone); Bill Evans (piano); Barry Galbraith (guitar); Milt Hinton, George Duvivier (bass); Charlie Persip, Max Roach, Don Lamond (drums); Al Epstein (bongos).             

New York, New York

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Jimmy Cliff - Brave Warrior

Styles: Vocal, Reggae
Year: 1978
File: MP3@320K/s
Time: 37:21
Size: 86,3 MB
Art: Front

(3:37)  1. My People
(4:24)  2. Bandwagon
(3:56)  3. Every Tub
(4:33)  4. Don't Let It Die
(3:46)  5. Actions Speaks Louder Than Words
(3:40)  6. A Million Teardrops
(4:24)  7. Brave Warrior
(5:21)  8. Save A LIttle Loving
(3:36)  9. My People

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

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

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

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

Brave Warrior

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Herb Ellis, Joe Pass - Two For The Road

Bitrate: MP3@320K/s
Time: 44:21
Size: 101.6 MB
Styles: Guitar jazz
Year: 1974/2006
Art: Front

[4:48] 1. Love For Sale
[3:27] 2. Manha De Carnaval
[3:06] 3. Am I Blue
[4:30] 4. Seven Come Eleven
[2:47] 5. Guitar Blues
[3:57] 6. Oh Lady, Be Good
[2:46] 7. Cherokee (Concept 1)
[4:04] 8. Cherokee (Concept 2)
[3:22] 9. Seulb
[2:24] 10. Gee Baby, Ain't I Good To You
[2:15] 11. Try A Little Tenderness
[3:58] 12. I've Found A New Baby
[2:52] 13. Angel Eyes

This recording was the third and final matchup between guitarists Herb Ellis and Joe Pass and, unlike the first two (which were both made for Concord), this is a duo date rather than a quartet session. Pass was just beginning to gain recognition for his remarkable unaccompanied solos, but Ellis had not recorded in such a sparse setting before. They complement each other quite well on such tunes as "Love for Sale," "Seven Come Eleven," "Oh, Lady Be Good," "I've Found a New Baby," and two versions of "Cherokee." Highly recommended. ~Scott Yanow

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Guido Basso, Doug Riley - A Lazy Afternoon

Bitrate: MP3@320K/s
Time: 55:37
Size: 127.3 MB
Styles: Trumpet jazz
Year: 1997/2003
Art: Front

[3:41] 1. A Lazy Afternoon
[6:56] 2. Never Let Me Go
[5:20] 3. Sweet Georgie Fame
[7:09] 4. My Foolish Heart
[6:29] 5. Estate
[6:22] 6. Lush Life
[6:23] 7. I Can Dream Can't I
[6:10] 8. Embraceable You
[4:31] 9. Polka Dots & Moonbeams
[2:32] 10. A Lazy Afternoon (Alternate Version)

He's not Canada's best known jazz musician, but Guido Basso has been around since the mid-'60s, playing tart, hot licks, and heading large and small bands. He's made mellow mainstream sessions, done Afro-Latin and big band dates, plus bop and originals. ~ Ron Wynn

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John Bunch - Tony's Tunes

Bitrate: MP3@320K/s
Time: 64:07
Size: 146.8 MB
Styles: Piano jazz
Year: 2003
Art: Front

[3:53] 1. I've Got The World On A String
[4:44] 2. Somewhere Along The Line
[5:05] 3. Emily
[4:04] 4. Broadway
[5:04] 5. The Second Time Around
[6:29] 6. Sleepin' Bee
[4:44] 7. Forget The Woman
[3:48] 8. Takin' A Chance On Love
[3:36] 9. The Good Life
[4:44] 10. Chicago
[3:53] 11. Maybe September
[6:44] 12. Street Of Dreams
[3:55] 13. Girl Talk
[3:16] 14. Put On A Happy Face

John Bunch (piano); Bucky Pizzarelli (guitar); Jay Leonhart (bass). Recorded at Nola Recording Studio, New York, New York on May 12, 2003.

No one can accuse John Bunch of having a short career; born on December 1, 1921, the veteran pianist was 81 when he recorded Tony's Tunes for Chiaroscuro on May 12, 2003. What's the secret to Bunch's success? In addition to having impeccable chops and an inherent sense of swing and melody, Bunch is smart enough to realize that a musician needs to be true to himself. All these years, Bunch has been a swing-oriented pianist along the lines of Teddy Wilson and Nat King Cole; that's his turf, and he has excelled by sticking with what he does best. This CD is called Tony's Tunes because all 14 of the songs are ones that Bunch played with Tony Bennett in the '60s, when he was the singer's music director -- familiar gems that range from "Street of Dreams" and Harold Arlen's "I've Got the World on a String" to Neal Hefti's "Girl Talk." Tony's Tunes is a tribute to Bennett, but it's a tribute on Bunch's own pianistic terms; there are no vocals at all, and Bunch maintains an improviser's mindset whether he is interpreting "Chicago" (that toddlin' town!) or "Put On a Happy Face." When Chiaroscuro president Hank O'Neal (who produced this release) first came up with the idea for Tony's Tunes, he seemed to envision an album of unaccompanied solo piano. But Tony's Tunes ended up being a trio session -- not a traditional piano trio (piano, bass, and drums), but a drummer-less trio uniting Bunch with frequent companions Bucky Pizzarelli (guitar) and Jay Leonhart (bass). That piano/guitar/bass format is, of course, the same format that the Nat King Cole Trio favored in the '30s and '40s, and it's a format that works pleasingly well for Bunch throughout this fine CD. ~ Alex Henderson

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Di Anne Price - Deja Blu

Bitrate: MP3@320K/s
Time: 43:05
Size: 98.6 MB
Styles: Blues-jazz piano & vocals
Year: 2009
Art: Front

[3:05] 1. Tonight's The Night (2002 Version)
[5:05] 2. Wild Women Don't Have The Blues
[8:51] 3. Wong Key Hole
[3:02] 4. Fisherman's Blues
[4:25] 5. The Spinach Medley- I Didn't Like It The First Time
[3:24] 6. Fishing In The Sea Of Matrimony
[4:07] 7. Knocking Myself Out
[3:37] 8. Will My Man Be Home Tonight
[4:22] 9. Blues Have Been Good To Me
[3:03] 10. Pig Meat

Di Anne gets to the heart and meaning of a song that appeals to everyone. “When I play this music, sing these songs, I'm saying ‘share this story with me. I want real drums, real bass, and I want it to be my voice that people hear, not something created in a studio.”

Di Anne’s approach to music is shared with "Her Boyfriends" - drummer Tom Lonardo, saxophonist Jim Spake, and bassist Tim Goodwin. "Playing with them makes my back tingle. It's like making love," Di Anne says. "When we play, we're telling a story, and no matter where I start, they go with me." ~John Taylor

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Arnett Cobb - Just Like That

Bitrate: MP3@320K/s
Time: 103:53
Size: 237.8 MB
Styles: Saxophone jazz
Year: 2017
Art: Front

[5:20] 1. Blue And Sentimental
[6:53] 2. The Way You Look Tonight
[4:44] 3. I Don't Stand A Ghost Of A Chance
[5:20] 4. Black Velvet
[4:46] 5. Darn That Dream
[6:02] 6. Georgia On My Mind
[5:01] 7. Smooth Sailing
[3:17] 8. Your Wonderful Love
[5:07] 9. P.S. I Love You
[8:18] 10. Blues Around Dusk
[7:11] 11. Willow Weep For Me
[5:36] 12. (I'm Left With The) Blues In My Heart
[4:46] 13. Hurry Home
[8:54] 14. Lover Come Back To Me
[2:49] 15. Why Try To Change Me Now
[7:34] 16. Blue Me
[4:24] 17. Charmaine
[7:43] 18. Blue Sermon

A stomping Texas tenor player in the tradition of Illinois Jacquet, Arnett Cobb's accessible playing was between swing and early rhythm & blues. After playing in Texas with Chester Boone (1934-1936) and Milt Larkin (1936-1942), Cobb emerged in the big leagues by succeeding Illinois Jacquet with Lionel Hampton's Orchestra (1942-1947). His version of "Flying Home No. 2" became a hit, and he was a very popular soloist with Hampton. After leaving the band, Cobb formed his own group, but his initial success was interrupted in 1948, when he had to undergo an operation on his spine. After recovering, he resumed touring. But a major car accident in 1956 crushed Cobb's legs and he was reduced to using crutches for the rest of his life. However, by 1959, he returned to active playing and recording. Cobb spent most of the 1960s leading bands back in Texas, but starting in 1973, he toured and recorded more extensively, including a tenor summit with Jimmy Heath and Joe Henderson in Europe as late as 1988. Arnett Cobb made many fine records through the years for such labels as Apollo, Columbia/Okeh, Prestige (many of the latter are available on the OJC series), Black & Blue, Progressive, Muse, and Bee Hive. ~ Scott Yanow

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King Pleasure - Golden Days

Bitrate: MP3@320K/s
Time: 30:49
Size: 70.6 MB
Styles: Vocal jazz
Year: 1960/1981
Art: Front

[2:55] 1. Moody's Mood For Love
[2:59] 2. The New Symphony Sid
[2:55] 3. Don't Worry About Me
[2:24] 4. Little Boy, Don't Get Scared
[2:47] 5. Parker's Mood
[3:47] 6. Golden Days
[4:39] 7. Tomorrow Is Another Day
[5:13] 8. No, Not Much
[3:06] 9. All Of Me

Bass – Wilfred Middlebrooks; Drums – Earl Palmer; Piano, Arranged By – Gerald Wiggins; Tenor Saxophone – Harold Land, Teddy Edwards; Trombone – Matthew Gee.

In many ways, King Pleasure wrote the book on bop vocalese, composing and performing lyrics to famous jazz solos. If not the first to do it, he was certainly the first to have hit records doing it, including "Moody's Mood for Love," based on James Moody's version of "I'm in the Mood for Love"; Gene Ammons's "Red Top"; and "Parker's Mood." In the process, he led the way for other jazz singer-lyricists such as Jon Hendricks and Annie Ross. On this 1960 session, the original scat vocalist is heard recapping some of his greatest successes, including the famous James Moody and Charlie Parker solos. He's joined by two of the most underrated modern jazz tenor saxophonists, Harold Land and Teddy Edwards. After being impressed by the verbal wit and gymnastic diction that Pleasure's art demands, listeners may be struck by how much his mellow sound resembles that of Land or Moody. ~Stuart Broomer

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Ithamara Koorax - Brazilian Butterfly

Styles: Vocal, Brazilian Jazz
Year: 2006
File: MP3@320K/s
Time: 79:38
Size: 185,7 MB
Art: Front

( 8:24)  1. O Vento
( 6:38)  2. Escravos De Jo
(10:23)  3. Amor Em Jacuma
( 6:06)  4. Lamento Negro
( 6:45)  5. Butterfly
( 6:29)  6. Fica Mal Com Deus
( 8:49)  7. Noite De Temporal
( 4:11)  8. A Lenda Do Abaete
( 5:52)  9. Coco Penerue
( 7:05) 10. Carinhoso
( 8:52) 11. Frenetico

Except for two ballads the cosmopolitan "Carinhoso with her Brazilian jazz fusion compatriots Azymuth, and Herbie Hancock's title track Ithamara Koorax's ninth album is her most adventurous release. It seems constructed to honor legendary Brazilian vocalist Flora Purim and her husband/bandleader/percussionist Airto. This Brazilian Butterfly soars and flutters while multiple percussionists (often as many as four on the same song, most often led by the late and legendary Dom Um Romão, with Koorax frequently flailing away among them) knit together, pull apart, then reweave hot thick blankets of Brazilian rhythm. Romão's "Amor Em Jacuma occasions an international jazz jam as Ron Carter's thoroughly upright acoustic bass and Cuban pianist Gonzalo Rubalcaba's roiling piano set table for a solo helping of meaty trombone from Raul de Souza of Brazil. Pianist Francesco Gazzara lovingly renders Hancock's title tune, especially in his solo, which builds up chords then reconsiders their construction in equal parts musical architecture and alchemy. Koorax breathes her most romantic vocal, and it's hard to imagine that many mortals can resist her languid invitation to "Stay awhile... which just seems to float throughout the air forever, like... a Brazilian butterfly.  

The remaining material seems specifically composed and arranged to stress test Koorax's four-octave range. She swings joyously from the framework of Milton Nascimento's "Escravos de Jo, a melodic abstraction airy and inscrutable not packed full but no less complex as Joni Mitchell's Shadows & Light collaborations with Pat Metheny and Jaco Pastorius. Her voice soars above the Afro-macumba chant "Lamento Negro and streams bright as dawn to open "Fica Mal Com Deus, then completely changes tone and color by digging into the low notes with the growling fury of a blasting trumpet. The opening "O Vento and closing "Frenetico drive Koorax's Brazilian journey further into outer space: Her voice intricately navigates the thorny, shimmering thicket of electric piano and four percussionists in "O Vento and hangs in "Frenetico, where the background frame of congas, bass drum and cymbal (not her voice) emerges as the lead instruments. Each is an excellent vehicle for discovering, then remembering, that Brazilian Butterfly is Koorax's most fertile adventure in exploring the boundaries of contemporary Brazilian vocal music. ~ Chris M.Slawecki https://www.allaboutjazz.com/brazilian-butterfly-ithamara-koorax-irma-molto-jazz-review-by-chris-m-slawecki.php

Personnel: Ithamara Koorax (vocals, percussion); Eloir de Moraes (vocals, rap vocals, bass drum, cymbals, percussion); Thiago de Mello (vocals, acoustic guitar, berimbau, piano, percussion); Dom Um Romao (vocals, drums, percussion); Nelson Angelo (guitar, acoustic guitar); Francesco Gazzara (guitar, nylon-string guitar, piano, electric piano, Fender Rhodes piano, keyboards); José Ramos (flute, baritone saxophone); Carlos Malta (bass flute); Raul de Souza (trombone); Carlos Fuchs, Gonzalo Rubalcaba (piano); José Roberto Bertrami (electric piano, Fender Rhodes piano, keyboards); Paula Faour (electric piano, keyboards); Manuel Gusmao, Massimo Sanna (acoustic bass); Jorge Pescara (electric bass, fretless bass); Alex Malheiros (electric bass); Ivan Conti (drums); Marcelo Salazar (congas, bongos, percussion); Sidinho Moreira (bongos, percussion); Mauro Mirti, Eduardo Piloto Barretto, Jadir de Castro, Gaudencio Thiago De Mello, Laudir DeOliveira, Arnaldo DeSouteiro (percussion).

Brazilian Butterfly

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