Benny Goodman - The Benny Goodman Story

Bitrate: MP3@320K/s
Time: 60:27
Size: 138.4 MB
Styles: Big band
Year: 1955/1985
Art: Front

[3:08] 1. Down South Camp Meetin'
[3:11] 2. And The Angels Sing
[3:12] 3. Good-Bye
[7:22] 4. Sing, Sing, Sing (Parts 1 & 2)
[1:04] 5. Shine
[3:51] 6. One O'clock Jump
[2:45] 7. Bugle Call Rag
[3:01] 8. King Porter Stomp
[0:43] 9. Let's Dance
[3:01] 10. Don't Be That Way
[2:55] 11. It's Been So Long
[2:47] 12. Sometimes I'm Happy
[2:32] 13. Goody Goody
[3:13] 14. Avalon
[3:24] 15. Moonglow
[3:42] 16. Alicia's Blues
[3:17] 17. Memories Of You
[3:33] 18. China Boy
[3:37] 19. Seven Come Eleven

This is an amazing recording from 1955 that features Benny with an all-star studio orchestra featuring Harry James, Lionel Hampton, and Ruby Braff. These re-recordings of some of Benny's most famous songs are stunning replicas of vintage 1930s style swing a la Fletcher Henderson as they were meant to be heard, in clear, brilliant Hi-Fi sound. Some of these arrangements even come close to surpassing the original recordings, such as "Down South Camp Meetin'" (with the driving bass line provided by George Duvivier propelling the whole thing). Also, Benny himself sounds fresh and inspired in this session, playing with more fire and energy than in any other of his fifties recordings. Just one drawback, Bobby Donaldson and Don Lamond fail to capture the Krupa magic with their drumming as evident by "Sing, Sing, Sing" (Donaldson) and "Don't Be That Way" (Lamond). Wouldn't it have been great if Gene Krupa would have been present at this session with Goodman and James as he was in the film version? Nonetheless, this is a must-have BG CD, one that documents his real contribution to jazz. ~Amazon

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Eight To The Bar - The Joint Is Jumpin'!

Bitrate: MP3@320K/s
Time: 40:14
Size: 92.1 MB
Styles: Swing, Soul
Year: 1983/2005
Art: Front

[3:03] 1. No Doubt In My Mind
[6:25] 2. Play It On Your Saxophone
[2:55] 3. I Wanna Rock
[2:48] 4. Hold Tight
[4:41] 5. Cold, Cold, Cold
[3:50] 6. Beat Me Daddy, Eight To The Bar
[2:48] 7. I Heard It Through The Grapevine
[2:24] 8. It Don't Mean A Thing If It Ain't Got That Swing
[4:21] 9. Sing, Sing, Sing
[2:55] 10. Demon Rum
[3:58] 11. Heart Like A Lion

This CD, originally released in 1981, has been recently re-issued by popular demand. The CD was Eight to the Bar's first, recorded at a live gig at a major venue in New England, Toad's Place in New Haven, CT. You can hear the excitement as the packed house cheers the band on. Many of the band's classic original tunes, such as the searing rock saxophone jam, "Play It On Your Saxophone" came from this record. The band's highest energy record ever.

Drawing its musical influences from American roots music -- swing, boogie-woogie, and Motown, Eight to the Bar is known for its outstanding instrumentalists and sophisticated musical and vocal arrangements, highlighted by female vocals. With the support of independently produced CDs and videos, Eight to the Bar has cultivated a large, enthusiastic following that has put them in clubs from Maine to Miami as well as Europe and the Caribbean. Their rigorous touring schedule has included opening spots for Big Bad Voodoo Daddy, Manhattan Transfer, Robert Cray, the late Roy Orbison and Ray Charles, several European tours, and most recently, a tour of the Republic of Georgia at the invitation of the U.S. Embassy located there.

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Tony DeSare - Night Life

Bitrate: MP3@320K/s
Time: 39:31
Size: 90.5 MB
Styles: Vocal, Cabaret
Year: 2017
Art: Front

[3:30] 1. All Of Me
[3:41] 2. It's All Right With Me
[5:18] 3. Can't We Be Friends
[3:08] 4. If I Fell
[5:01] 5. To Make You Feel My Love
[3:43] 6. Lover Come Back To Me
[5:17] 7. Lush Life
[2:46] 8. Sabre Dance Boogie
[3:09] 9. In The Wee Small Hours
[3:55] 10. How I Will Say I Love You

Pianist/vocalist Tony Desare is a jazz musician and crooner in the tradition of Frank Sinatra and Nat King Cole as well as such revivalists as Harry Connick, Jr. and John Pizzarelli. A native of New York State, Desare began playing piano at a young age and by 17 had more than a few live performances under his belt. During his time at Ithaca College, Desare continued performing and developed a loyal following around upstate New York. Moving to New York City in 1998, he nabbed a gig playing at the Marquis Hotel in Times Square and eventually landed a role in the off-Broadway musical Our Sinatra. A chance meeting with guitarist Bucky Pizzarelli during a performance at the Apollo Theater led to numerous projects between the up-and-coming Desare and the journeyman Pizzarelli.

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Ann Peebles - Tellin' It

Bitrate: MP3@320K/s
Time: 32:35
Size: 74.6 MB
Styles: R&B, Memphis soul
Year: 1975/2014
Art: Front

[2:53] 1. Come To Mama
[2:49] 2. I Don't Lend My Man
[4:57] 3. I Needed Somebody
[3:07] 4. Stand By Woman
[2:55] 5. It Was Jealousy
[3:05] 6. Doctor Love Power
[4:34] 7. You Can't Hold A Man
[3:05] 8. Beware
[2:39] 9. Put Yourself In My Place
[2:26] 10. Love Played A Game

Ann Peebles was at the height of her fame in 1975 when she cut the album Tellin' It -- she had scored her biggest chart hit the year before with "I Can't Stand the Rain," and Tellin' It reflected the kind of hard-edged but soulful groove that had taken Peebles to the upper reaches of the charts (and was producer Willie Mitchell's stock in trade). The album's opening cut, "Come to Mama," even features the same sort of fractured rhythmic undercurrent that had hooked "I Can't Stand the Rain," but Peebles and Mitchell had the good sense not to deliver ten remakes of her hit; instead, Tellin' It merges polished production with tough, sinewy grooves (the strings on "Stand By Woman" and "It Was Jealousy" add a touch of class, but don't clutter up the funk of Howard Grimes' superb drumming and the punch of the Memphis Horns), and Peebles here reaffirms her status as one of the best female voices in R&B, cutting to the heart and soul of each lyric whether she's looking for a new man ("Doctor Love Power") or breaking up someone's previously happy home ("Stand By Woman"). And while the disco explosion would make soul sets like this obsolete in a few years, Tellin' It features plenty of cuts that can fill the dancefloor without robbing Peebles of her soulful passion and sassy spirit. Fine stuff. ~Mark Deming

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Celtic Thunder - The Show

Bitrate: MP3@320K/s
Time: 50:38
Size: 115.9 MB
Styles: Celtic pop
Year: 2007
Art: Front

[6:20] 1. Heartland (2015 Show Version)
[3:17] 2. The Mountains Of Mourne
[3:21] 3. The Voyage
[3:34] 4. Come By The Hills
[3:40] 5. Remember Me (Recuerdame)
[3:34] 6. Desperado
[3:09] 7. Steal Away
[3:53] 8. The Island
[3:42] 9. The Old Man
[3:29] 10. Brothers In Arms
[3:20] 11. Lauren & I
[2:47] 12. Puppy Love
[3:01] 13. Cal Local Hero
[3:23] 14. Ireland's Call

A show rather than a group, Celtic Thunder was conceived by Sharon Browne and written and arranged by Phil Coulter and designed as a contemporary exploration of Celtic music, which means it falls to the pop-dance side of the spectrum more than it does to the traditional side. The show was staged, recorded, and filmed in Dublin in August of 2007 and featured five male vocalists, Damian McGinty (only 14 years old when the show was recorded), Keith Harkin, Paul Byrom, Ryan Kelly, and George Donaldson, rotating leads through a set of traditional and contemporary songs, several of them written by Coulter. A CD and DVD of the event appeared from Decca in 2008. The quintet's 2009 sophomore effort, Take Me Home, was stocked with traditional Irish and Scottish ballads peppered with a handful of pop/rock covers, while 2010's It's Entertainment relied exclusively on commercial pop hits. Celtic Thunder returned to their roots for 2011's Heritage, a meld of new and traditional material. Paul Byrom left before the album was complete, having recorded numerous tracks for the set before leaving; he was replaced by Emmet Cahill, although both men appear on the recording. Storm, a full theatrical production, arrived that same year, followed by Voyage and Voyage II in 2012 and the group's tenth album, Mythology, in 2013. Celtic Thunder vocalist George Donaldson died of a heart attack at his home in Glasgow, Scotland in March of 2014. February 2016 saw the release of Legacy, Vol. 1, which featured Colm Keegan, Keith Harkin, Ryan Kelly, Emmett O'Hanlon, and Neil Byrne reuniting with guest artist -- and Glee! star -- Damian McGinty for a live show celebrating the influence of Irish and Celtic music around the world. Legacy, Vol. 2, which featured the same lineup and focused on hits and fan favorites, arrived in August of that year. In early 2017, Celtic Thunder presented Emmet Cahill's Ireland, a collection of Irish standards sung by Cahill. Months later, the group released Inspirational. ~Steve Leggett

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Laura Crema - Blue Shadows on the Trail

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 44:31
Size: 103,3 MB
Art: Front

(2:55)  1. Sugar Moon
(2:47)  2. Break It to Me Gently
(3:18)  3. Black Is the Color of My True Love's Hair
(4:33)  4. Blue Shadows on the Trail
(2:49)  5. Sit Right Down and Write Myself a Letter
(3:28)  6. I'm so Lonesome I Could Cry
(2:39)  7. The Lonesome Road
(3:37)  8. Don't Fence Me In
(2:48)  9. Katerina
(3:03) 10. Tumbling Tumbleweeds
(4:28) 11. Motherless Children
(4:02) 12. I've Always Been Crazy
(3:57) 13. Ramblin' Man

Jazz vocalist Laura Crema is not only a great singer but also an evocative musician. Her new album Blue Shadows on the Trail showcases both her stunning voice and ingenuity. Crema has re-imagined some of the finest classics while making them uniquely hers at the same time, recreating them for a new generation of folk, jazz, and country lovers. This album is a feast with rich flavors that will satisfy your musical palette. Delightful and charming, "Sugar Moon" is fitting to be placed as the first track in the album. It gives listeners a taste of what to expect Crema’s heavenly voice, a fusion of genres, and a creative re-imagining of a classic. Crema offers a slow jazz, folk country rendition of a K.D. Lang song. This stripped-down version of the song will make listeners savor its beautiful lyrics all the more. The piano and guitar solos are lovely, complementing Crema’s blissful voice. It’s like a sweet lullaby you can slow dance to under the moonlit sky. Famously sung by Nina Simone, the folk and jazz version of "Black Is the Color of My True Love’s Hair" is intense and hauntingly beautiful. Crema’s enchanting voice creates a more passionate yet endearing version of the song. The violin and guitar accompaniment making the song enthralling and enigmatic at the same time. Crema’s rendition of this classic is like a slow unveiling of an elusive loved one. Her voice effortlessly shifts from mysterious to magical. Many singers have covered Blind Willie Johnson’s "Motherless Children" like Bob Dylan, Eric Clapton, and Rosanne Cash. Crema’s velvety voice is what differentiates her version from the rest. Her American folk and Western swing fusion make this song slightly upbeat with a touch of country music, adding more flavor to it. Crema accomplishes something incredible in this track. She balances the sense of urgency with clarity and vulnerability, allowing the message of this song to resonate louder than ever before. There is strength in her ethereal voice, making this rendition more provocative than it already is. Crema’s new album is a collection of blended genres that gives birth to revitalized originals. Her captivating voice and independent vision allows her to transcend the limitations of covers and produce re-imagined songs that have a life of their own. ~ The Journal of Roots Music, Sept 17, 2016 http://www.lauracrema.com/reviews.html

Blue Shadows on the Trail

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Misia - Do Primeiro Fado Ao Ultimo Tango Disc 1 And Disc 2

Album: Do Primeiro Fado Ao Ultimo Tango Disc 1

Styles: Vocal, Fado
Year: 2016
File: MP3@320K/s
Time: 75:43
Size: 176,0 MB
Art: Front

(2:53)  1. Fado Adivinha II
(4:13)  2. Dança De Magoas
(3:34)  3. O Vendaval
(5:01)  4. Lagrima
(2:38)  5. O Manto Da Rainha
(2:43)  6. Duas Luas
(3:08)  7. Liberdades Poeticas
(4:10)  8. Garras dos Sentidos
(3:08)  9. Ainda Que
(4:34) 10. Autopsicografia
(4:30) 11. Tive Um Coracao, Perdi-o
(4:57) 12. Paixoes Diagonais
(3:20) 13. Que Sera (feat. Adriana Calcanhotto)
(3:36) 14. Rasto de Infinito
(4:20) 15. Nao Me Chamem Pelo Nome
(2:31) 16. Veste De Noite Este Quarto
(4:23) 17. Fado Das Violetas
(5:24) 18. Maria La Portuguesa (feat. Martirio)
(2:19) 19. Fado do Ciume
(4:10) 20. Yo Soy Maria

Mísia's 25-year career is celebrated with the release of a new album. But this is not a disk! In addition to marking the return of one of Fado's best performers, "From the First Fado to the Last Tango" brings together for the first time in a single album the songs of Mísia's election, chosen from the immense roll of remarkable compositions of this artist. With the release of the album "Mísia" in 1991, begins what, according to the journalist and writer Manuel Halpern, will be called the New Fado, writing in his book "The Future of Saudade", about the rebirth of the fado: "... The temporal delimitation is always difficult. But if we were forced to set a date for the beginning of the New Fado, it would be March 1991, the time when Mísia released her first album. Everything that is before is a kind of prehistory. "Through a selection made by Mísia herself," From the First Fado to the Last Tango "takes us on an extraordinary journey through her already long but always brilliant career. "Fado", "Tanto Menos Tanto Mais", "Claws of the Senses", "Diagonal Passions", "Ritual", "Canto", "Mísia" - Mísia's 1st album and celebrating this year's 25th anniversary - "," Drama Box "," Streets, Lisbonarium & Tourists "and" Lady of the Night "without forgetting the recent" Delikatessen Café Concerto "and" For Amália ". Translate by Google https://www.fnac.pt/Misia-Do-Primeiro-Fado-ao-Ultimo-Tango-2CD-CD-Album/a1001530#?

Do Primeiro Fado Ao Ultimo Tango Disc 1

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Album: Do Primeiro Fado Ao Ultimo Tango Disc 2

Time: 71:14
Size: 165,7 MB

(4:05)  1. Unicornio
(4:27)  2. Triste Sina
(3:14)  3. Amalia sempre e agora (feat. Maria Bethania)
(2:56)  4. Ciumes De Um Coracao Operario
(3:10)  5. Fogo Preso
(4:09)  6. Valsa das Sombras
(4:01)  7. Fado Triste
(3:33)  8. Misterios Do Fado
(3:12)  9. As Time Goes By
(4:12) 10. Hurt
(3:07) 11. Esas lagrimas son pocas (feat. Dead Combo)
(3:18) 12. So nos Dois (feat. The Legendary Tiger Man)
(3:17) 13. La Chanson D'Helene (feat. Iggy Pop)
(2:50) 14. Vivendo Sem Mim
(3:09) 15. Cancao de Alcipe
(3:56) 16. Da Vida Quero os Sinais
(4:21) 17. Pressagios de Alfama
(4:02) 18. Ese Momento
(3:33) 19. Naranjo En Flor
(2:32) 20. Cha Cha Cha Em Lisboa (feat. Melech Mechaya)

Do Primeiro Fado Ao Ultimo Tango Disc 2

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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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