Steve Tibbetts - Natural Causes

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 44:08
Size: 101,9 MB
Art: Front

(1:34)  1. Sitavana
(6:27)  2. Padre-Yaga
(5:51)  3. Attahasa
(4:27)  4. Chandogra
(3:10)  5. Sangchen Rolpa
(6:11)  6. Lakshmivana
(2:15)  7. Manikarnika
(0:52)  8. Ishvaravana
(5:05)  9. Gulezian
(1:23) 10. Kili-ki Drok
(1:33) 11. Kuladzokpa
(2:58) 12. Lament
(2:16) 13. Threnody

Alongside Stephan Micus, Steve Tibbetts occupies a somewhat rare position in ECM's roster of longstanding musical collaborators. Like the German composer/multi-instrumentalist, this "Zen Guitarist" defies ECM's general rule of two days to record, one day to mix (with minimal editing and overdubbing); instead, Tibbetts has, with rare exception, recorded his music from a home base in St. Paul, Minneapolis again like Micus, sometimes taking years between recordings and with minimal label intervention. Unlike Micus, however, who produces his albums in isolation, Tibbetts regularly collaborates with others, most notably percussionist Marc Anderson a constant companion since the guitarist's ECM debut, Northern Song (1982). Despite Tibbetts' recruitment of others engendering a certain spontaneity absent in Micus' carefully constructed work, his similarly multi-tracked music does rely on texturally expansive but sonically detailed soundscapes. Like 1994's career milestone, The Fall of Us All (1994), A Man About a Horse (2002) was a deceptively ambitious collection of largely calming but still unequivocally deep performances, calling upon a larger cast of characters. Natural Causes's return to the relative simplicity of a duo with Anderson last heard on Northern Song (1982) still stands out amongst Tibbetts' ECM discography for its all-acoustic nature. Simpler in premise, perhaps, but comparisons with Northern Song only demonstrate just how far Tibbetts has come. His predilection, here, for 12-string acoustic guitar might draw superficial comparison to label mate Ralph Towner, but Tibbetts eschews the Oregon cofounder's detailed, change-heavy compositional constructs; relying, instead, on miniature orchestration built from relatively diminutive instrumentation. Tibbetts layers over 20 guitar tracks on "Gulezian" co-written with guitarist Michael Gulezian and the only piece not written solely by Tibbetts without ever feeling overcrowded. Its overt folksiness reflects the perennially undervalued Gulezian's biggest touchstone acoustic guitar icons like Leo Kottke and John Fahey but with Tibbetts at the helm it retains, unsurprisingly, an episodic sense of evolution, as miniature moments of serenity and near-silence contrast with rhythmic passages driven only occasionally by Anderson's economy of sound and pulse. Tibbetts' piano and kalimba underpin tracks like the hypnotically propulsive "Chandogra," while Anderson's steel drum engenders additional timbral diversity on "Lakshmivana." Still, it's Tibbetts' resonant 12-string imbued in phrasing and serpentine linearity by the guitarist's longstanding Far East interests in general, and the work, here, of Sultan Khan in particular that's Natural Causes' defining voice. All-acoustic it may be, but Tibbetts' still employs some studio wizardry to create lush sonic backdrops, as he does at the end of "Lakshmivanam." Billed as a duo recording, Natural Causes' multifaceted nature, continually revealing layers and trance-inducing sonorities make clear that there's a silent third partner: the studio itself. Natural Causes couldn't have been created outside the confines of the recording studio but in its organic holism and absolutely timeless nature feels as though it were made in some remote outdoor locale. Natural Causes' vivid imagery makes it, in fact, the ideal companion to Norwegian pianist Acker Bilk's similarly cinematic but utterly different Remembrance, also released in North American by ECM, on the same day. ~ John Kelman https://www.allaboutjazz.com/natural-causes-steve-tibbetts-ecm-records-review-by-john-kelman.php

Personnel: Steve Tibbetts: guitars, piano, kalimba, bouzouki; Marc Anderson: percussion, steel drum; gongs.

Natural Causes

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Barre Phillips - For All It Is

Styles: Contemporary Jazz
Year: 1971
File: MP3@320K/s
Time: 39:58
Size: 148,0 MB
Art: Front

(6:45)  1. Just 8
(3:41)  2. Whoop
(7:02)  3. Few Too
(4:30)  4. La Palette
(6:05)  5. Y En A
(7:06)  6. Dribble
(4:46)  7. Y. M.

This unusual meeting of minds pits bassists Barre Phillips (who also penned the proceedings), Palle Danielsson, Barry Guy, and J. F. Jenny-Clarke with percussionist Stu Martin in a tactile playoff with mixed results. It’s remarkable to think that four behemoths could sound so open, and so one shouldn’t be surprised to encounter a few tangles in “just 8.” For the most part, however, this introductory track maintains the clarity of separation that characterizes the album’s latter remainder. Either way, it’s a jaunty ride into an unprecedented sound-world. Martin anchors “whoop” with his engaging loops amid a menagerie of pizzicato signifiers. Along with “few too” it evokes a jack-in-the-box weeping for want of exposure. From that unrequited lament comes a bright promise, skewed by a hope that the world turns not even for itself. It’s a melancholic hope, to be sure, but hope nonetheless. Martin’s absence here makes the track an early standout: just the rocking of bows pressed into myriad shapes by insistent fingertips. “la palette” and “y en a” form another pair, taking a decidedly architectural approach to this most warped string quartet. Together, they form a cycle of destruction, pain, and healing.The album only really comes together in the final two tracks. Where “dribble” proves an apt title for its dotted ritual, “y. m.” dances like an anonymous car alarm stripped of its batteries and given new acoustic life. The latter is a particularly complex, anchored piece that spits out some utterly brilliant turns of phrase. For All It Is, for all it is, is above all an exercise in linguistics. Its cognates are familiar, even if the grammars are not. Although I’d likely recommend this one least out of Phillips’s otherwise astonishing ECM outings, for the completist it will be an intriguing blip on the radar of all four bassists’ careers. https://ecmreviews.com/2013/08/01/for-all-it-is/

Personnel: Bass, Composed By, Producer – Barre Phillips;   Bass – Barry Guy, J.F. Jenny-Clarke, Palle Danielsson;  Percussion – Stu Martin

For All It Is

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Ken Dodd - All The Songs I Love Disc 1, Disc 2 And Disc 3

Album: All The Songs I Love   Disc 1

Styles:  Vocal
Year: 2005
File: MP3@320K/s
Time: 75:55
Size: 178,3 MB
Art: Front

(2:00)  1. Happiness
(2:41)  2. For Someone Special
(2:47)  3. If
(2:46)  4. Every Second Every Minute
(2:44)  5. When There Was You
(3:26)  6. As Time Goes By
(4:06)  7. I Wish You Love
(2:15)  8. Happy Days And Lonely Nights
(3:23)  9. Somewhere My Love
(2:51) 10. Among My Souveniers
(3:18) 11. When Love Comes Round Again
(2:55) 12. Those Golden Days
(2:40) 13. The Stars Will Remember
(2:40) 14. Just Out Of Reach
(3:07) 15. And I Love Her
(2:40) 16. If You Love Me (I Won't Care)
(3:17) 17. How Wonderful To Know
(2:57) 18. More Than Love
(2:43) 19. I'd Do Anything
(2:44) 20. It's A Funny Old World
(2:23) 21. Let Me Cry On Your Shoulder
(3:03) 22. Think Of Me (Wherever You Are)
(2:49) 23. Tears Won't Wash Away These Heartaches
(2:16) 24. You Wanted Something To Play With
(2:05) 25. Road To Happiness
(2:18) 26. It's Love
(2:50) 27. Tears

All The Songs I Love   Disc 1

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Album: All The Songs I Love  Disc 2

Time: 76:59

Size: 180,7 MB

(2:54)  1. Promises

(2:57)  2. Still

(2:36)  3. I Can't Begin To Tell You

(2:55)  4. The Sum Of One

(2:48)  5. True

(2:56)  6. Eight By Ten

(3:23)  7. Azzurro

(2:46)  8. Sweet Memories

(2:50)  9. I'll Find A Way

(2:56) 10. If I Should Lose

(3:16) 11. Once In A While

(3:13) 12. Four Strong Wind

(2:30) 13. In The Morning

(2:56) 14. What A Wonderful World

(2:14) 15. I'm Always Chasing Rainbows

(2:35) 16. Romantica

(2:52) 17. True Love

(2:41) 18. Love Me With All Your Heart

(2:43) 19. The Old Fashioned Way

(3:01) 20. For All We Know

(2:44) 21. My Thanks To You

(2:57) 22. More Than Ever

(2:35) 23. Someday You'll Want Me To Want You

(3:05) 24. My Little Corner Of The World

(2:43) 25. She

(3:02) 26. May You Always

(2:39) 27. Younger Than Springtime

All The Songs I Love  Disc 2

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Album: All The Songs I Love  Disc 3

Time: 77:47

Size: 182,4 MB

(2:36)  1. The River

(3:47)  2. Love Is Like A Violin

(3:14)  3. The Story Of A Starry Night

(2:40)  4. Say

(2:43)  5. With All My Heart

(3:05)  6. Becuase I Love You

(2:45)  7. Every Little Tear

(2:36)  8. Back In Your Own Backyard

(2:36)  9. My Life

(3:48) 10. Try To Remember

(2:57) 11. I Can't Hold Back The Tears

(3:06) 12. Another Time Another Place

(3:15) 13. One Upon A Time

(2:36) 14. If I Give My Heart To You

(2:49) 15. Morning Please Don't Come

(3:18) 16. (They Long To Be) Close To You

(2:57) 17. A Pink And Pleasant Land

(1:56) 18. You Brought A New Kind Of Love To Me

(2:46) 19. My Heart Tells Me

(2:26) 20. Only You (And You Alone)

(3:07) 21. A House With No Windows

(3:01) 22. Can I Forget You?

(4:04) 23. It Is No Secret

(3:08) 24. So Deep Is The Night

(3:16) 25. The Key

(3:03) 26. Brokenhearted

Respectfully known as "Britain's undisputed king of comedy," Ken Dodd (born Kenneth Arthur Dodd) was one of the most successful artists in the history of the British theater. He set the record for the longest run at the Palladium in London, in 1958 performing two shows a night and three on Saturday for an unprecedented 42 weeks. Dodd was equally successful as a romantic balladeer, recording such hits as "Love Is Like a Violin," a Top Ten hit in 1960, and "Tears," which spent five weeks in the top chart position and became the top-selling British single of 1965. He continued to find success with his translations of Italian ballads "The River," "Broken-Hearted," and "When Love Comes Around," and a tune, "Promises," based on Beethoven's "Pathetique" sonata. A popular television artist in the 1960s and '70s, Dodd starred in such British TV shows as The Ken Dodd Show, Doddy's Mixed Box, and Ken Dodd's Showbiz. Liverpool-born Dodd grew up in Knotty Ash, a small district of the British city. While still in his teens, he began performing comic versions of such well-known songs as "Professor Yaffle Chuckabutty, the Operatic Tenor and Sausage Knotter." Launching his professional career in 1954, he appeared in Blackpool during the summers of 1955 and 1956. By 1958, he was featured act at the Central Pier in Blackpool. In an attempt to reach the youngest members of his audiences, Dodd created the Diddymen, a fictionalized group that included Dicky Mint, Mick the Marmalizer, Hamish McDiddy, and Neil Ponsonby-Smallpiece. Although puppets were used for TV appearances, children or midgets portrayed the Diddymen during their annual Christmastime concerts. ~ Craig Harris https://itunes.apple.com/ie/album/all-the-songs-i-love/id695450821

Thank You DJ38!!!

All The Songs I Love  Disc 3

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Max Roach - Drums Unlimited

Styles: Jazz, Hard Bop, Post-Bop 
Year: 1966
File: MP3@320K/s
Time: 41:40
Size: 138,5 MB
Art: Front

( 3:36)  1. The Drum Also Waltzes
(12:47)  2. Nommo
( 4:23)  3. Drums Unlimited
( 5:24)  4. St.Louis Blues
( 3:05)  5. For Big Sid
(12:25)  6. In The Red (A Xmas Carol)

Other than a trio set with the legendary pianist Hasaan Ibn Ali, this set was Max Roach's only recording as a leader during 1963-67. Three of the six numbers ("Nommo," "St. Louis Blues" and "In the Red") find Roach heading a group that includes trumpeter Freddie Hubbard, altoist James Spaulding, pianist Ronnie Mathews, bassist Jymie Merritt and, on "St. Louis Blues," Roland Alexander on soprano. Their music is essentially advanced hard-bop with a generous amount of space taken up by Roach's drum solos. 

The other three selections ("The Drum Also Waltzes," "Drums Unlimited" and "For Big Sid") are unaccompanied features for Max Roach and because of the melodic and logically-planned nature of his improvisations, they continually hold on to one's attention. ~ Scott Yanow https://www.allmusic.com/album/drums-unlimited-mw0000312587

Personnel: Max Roach (drums); Roland Alexander (soprano saxophone); James Spaulding (alto saxophone); Freddie Hubbard (trumpet); Ronnie Mathews (piano).        

Drums Unlimited

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Caro Josée - Summer's Ease

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 46:42
Size: 107,5 MB
Art: Front

(4:49)  1. Cocomo
(2:26)  2. In Distress
(2:41)  3. All Forgotten Dreams
(4:33)  4. Mr. Django
(2:43)  5. If There's a Heaven
(5:37)  6. Isfahan
(4:52)  7. Like a Cha Cha
(3:10)  8. Louboutins
(2:18)  9. On the Sunny Side
(4:40) 10. Girl from Vietnam
(5:15) 11. Rain Down
(3:31) 12. Marguerite

Summer’s Ease stands for an attitude toward life because the stories I tell are mainly set in warmer regions. Whether Ibiza, Laguna Beach, Liguria or the Cote d’Azur, all of them are part of my life. These are the spots where I replenish energy, and with Summer’s Ease I take all the listeners along on my musical journey. http://www.carojosee.com/

Summer's Ease

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Steve Tibbetts - Exploded View

Styles: Guitar Jazz, Fusion
Year: 1986
File: MP3@320K/s
Time: 38:06
Size: 88,4 MB
Art: Front

(5:37)  1. Name Everything
(3:36)  2. Another Year
(5:17)  3. A Clear Day And No Memories
(4:31)  4. Your Cat
(1:59)  5. Forget
(4:56)  6. Drawing Down The Moon
(2:28)  7. The X Festival
(4:03)  8. Metal Summer
(5:35)  9. Assembly Field

Opening with a bang that builds to a thunderstorm, Exploded View is the definitive Steve Tibbets album. His electric guitar howls defiantly without a lot of power chords or convention, and his musicianship is top-notch, perhaps an Adrian Belew without the pop, plus a nod toward world music in production value. Tibbets scrapes and tears through the sky ("Name Everything," "Your Cat") with jaw-dropping intensity, but it would all be too much if there weren't such rich texture and softness folded into the disc as well. "Drawing Down the Moon" is a comparatively restrained piece with acoustic guitars, shakers, kalimba, congas, and a mixed bag of other percussives. A sort of unsettling warmth pulses throughout the track to pull the listener in and carry them along for a midnight desert drive. Another thing that sets this piece apart is its consistency in dynamics. On other tracks, the musicians run up and down the spectrum, but this one seems to be much more linear. Depending on your tastes, this could either be the best track on the album, or it may be the tame contradiction to the earthquake of music happening all around it. Either way, it's a welcome breather. The album is also a great showcase for Marc Anderson, a fantastic percussionist who shines here. He really understands the musical dialogue going on between himself and Tibbets' guitar. It's rare for one of them to lead or accompany the other  the symbiosis is such that you couldn't pry them apart with a crowbar, and any sheet music would still show their separate parts blurred together. The final minute of "A Clear Day and No Memories" is the only time Anderson leaves the room (probably to mop the sweat from his brow), and the tenderness of the acoustic guitar blooms like a single flower in a minefield. Songs like "The X Festival" give Anderson the almost impossible task of keeping up with himself, switching tempos, dynamics, and instruments repeatedly in a mere two-and-a-half minutes. The sweet harmonics of the tabla and the pounding waves of the bigger drums swell with urgency until the whole thing breaks apart with curious and unsettling abandon. Somewhere on the perimeter, Bob Hughes lays down the bass, but his contributions may be felt more than heard as he participates in the mix rather than adding anything new to it. Several moments have the feel of a tribal circle, accentuated by Claudia Schmidt, Bruce Henry, and Jan Reimer talented vocalists providing wordless chants and passionate upswells. Schmidt is an especially good match in aesthetics; she shows up again in 1994's The Fall of Us All, which really came the closest to recapturing the spirit of this album. Look for it. ~ Glenn Swan https://www.allmusic.com/album/exploded-view-mw0000188744

Personnel: Steve Tibbetts (guitar, kalimba, tapes); Claudia Schmidt, Bruce Henry, Jan Reimer (vocals); Bob Hughes (bass); Marc Anderson (congas, steel drum, percussion, berimbau); Marcus Wise (tabla).               

Exploded View

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Don Sebesky - Moving Lines

Styles: Contemporary Jazz, Big Band 
Year: 1984
File: MP3@320K/s
Time: 41:47
Size: 96,5 MB
Art: Front

( 4:27)  1. Claire's Song
( 6:22)  2. Cherokee
( 5:16)  3. Moondreams
( 5:11)  4. I Go To Rio/Mardi Gras
(13:40)  5. Malaguena
( 6:50)  6. Skyliner

As a composer, arranger and conductor, he has worked with such orchestras as the London Symphony, the Chicago Symphony, the Boston Pops, The New York Philharmonic, the Royal Philharmonic of London, and the Toronto Symphony.  His Broadway theater credits include Porgy and Bess (London production by Trevor Nunn), Sinatra At The Palladium, Sweet Charity, Kiss Me Kate (2000 Tony Award), Bells Are Ringing, Flower Drum Song, Parade, The Life, Cyrano, The Goodbye Girl, Will Rogers Follies,  and Sinatra At Radio City. Among his film credits are The Rosary Murders (starring Donald Sutherland), Hollow Image (starring Morgan Freeman), The Last of the Belles (starring Susan Sarandon), Let's Get Lost (starring Chet Baker “ Best Documentary at the Cannes Film Festival), The People Next Door (starring Eli Wallach and Julie Harris), Time Piece (Jim Henson Productions “ Academy Award nomination for Best Short Subject).  For television, Sebesky's work has included Allegra's Window on Nickelodeon (Emmy nomination), The Edge of Night on ABC (Emmy nomination), and Guiding Light on CBS (Emmy nomination).  As a recording artist, Sebesky's work includes nine recordings under his own name, all of which were GRAMMY nominated.  Included are Giant Box, Rape of El Morro, Full Cycle, Moving Lines, Symphonic Sondheim, I Remember Bill (1999 GRAMMY Award), and Joyful Noise (winner of two GRAMMY Awards in 2000). Sebesky has also created the music for many well known commercials.  Among the companies he has represented are:  Corning (Clio Award), Hanes, Hallmark, Dodge Trucks, General Electric (Clio Award), Hershey's, Cheerios, Calvin Klein (Clio Award), Nike, Oil of Olay, Pepsi and Kodak.  Sebesky is the author of the best selling orchestration text book, The Contemporary Arranger. http://www.donsebeskymusic.com/about.htm

Personnel:  Electric Piano, Conductor, Arranged By, Producer – Don Sebesky;  Acoustic Bass, Electric Bass – Jay Leonhart;  Alto Saxophone, Soprano Saxophone, Clarinet, Flute – Alex Foster;  Baritone Saxophone, Bass Clarinet, Flute, Clarinet – Roger Rosenberg;  Bass Trombone, Horn [Baritone], Tuba – Alan Raph;  Drums, Percussion – Jimmy Madison;  Electric Guitar [12 String], Acoustic Guitar [12 String] – Ken Sebesky;  Leader, Piano [Acoustic];  Tenor Saxophone, Clarinet, Flute, Piccolo Flute, Flute [Alto & Bass] – Eddie Daniels;  Trombone, Horn [Baritone] – Jimmy Pugh;  Trumpet, Flugelhorn – Barry Ries, Brian O'Flaherty

Moving Lines

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Jimmy Barnes - Soul Deeper Disc 1 And Disc 2

Album: Soul Deeper Disc 1

Styles: Vocal, Rock
Year: 2000
File: MP3@320K/s
Time: 36:30
Size: 84,0 MB
Art: Front

(2:35)  1. Land of 1000 Dances
(3:21)  2. Chain of Fools
(3:36)  3. What Becomes of The Broken Hearted
(3:51)  4. To Love Somebody
(3:06)  5. 634-5789
(2:56)  6. Ain't Too Proud to Beg
(2:42)  7. I Put a Spell on You
(2:33)  8. Money
(2:48)  9. Hold on I'm Comin'
(2:57) 10. Dancing in The Street
(3:24) 11. All The Young Dudes
(2:35) 12. Respect

Album: Soul Deeper Disc 2

Time: 16:24
Size: 37,7 MB

(2:10)  1. Rip it Up
(2:46)  2. I'll go Crazy
(3:18)  3. Who's Making Love
(5:24)  4. Is This Love
(2:44)  5. Hound Dog.

Soul Deeper... Songs From the Deep South is an album by Australian rock singer Jimmy Barnes. Following the success of his 1991 album Soul Deep, Barnes returned with another album of soul covers. A special 2CD edition was released, featuring five bonus tracks. It was certified Platinum by ARIA in Australia. https://en.wikipedia.org/wiki/Soul_Deeper..._Songs_from_the_Deep_South

Soul Deeper Disc 1 And Disc 2

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Stan Getz, J.J. Johnson - Stan Getz & J.J. Johnson At The Opera House

Bitrate: MP3@320K/s
Time: 73:02
Size: 167.2 MB
Styles: West Coast jazz
Year: 1960/1987
Art: Front

[9:45] 1. Billie's Bounce (Stereo Vers.)
[8:08] 2. My Funny Valentine
[7:59] 3. Crazy Rhythm (Stereo Vers.)
[9:01] 4. Blues In The Closet (Stereo Vers.)
[7:57] 5. Billie's Bounce (Mono Vers.)
[8:28] 6. My Funny Valentine (Mono Vers.)
[7:47] 7. Crazy Rhythm (Mono Vers.)
[3:43] 8. Yesterdays (Mono Vers.)
[3:52] 9. It Never Entered My Mind (Mono Vers.)
[6:17] 10. Blues In The Closet (Mono Version)

Whatever Norman Granz was using as a thinking man's energy drink in 1957 when he formulated this Jazz at the Philharmonic all-star band should be bottled and sold to the world. This stroke of genius was manifested in pairing Stan Getz with J.J. Johnson, backing them up with pianist Oscar Peterson's legendary trio including bassist Ray Brown and guitarist Herb Ellis, and adding MJQ drummer Connie Kay to this truly classic jazz sextet. Two JATP concerts done in Chicago (in stereo) and Los Angeles (in mono) comprise this expanded edition CD, with some stretched-out jams, repeat tunes, and extra material. Originally tabbed as an unusual teaming of tenor sax and trombone, the two principals sound well-suited, very compatible in their dynamic levels, and especially congruous when they play together, while Peterson is absolutely supportive so that these two giants of jazz can cut loose. The shorter concert in Chi-Town has the band absolutely on fire from the get-go, burning up the definitive bop flag-waver "Billie's Bounce" over ten minutes of hard-swinging perfection. Neither Getz nor Johnson had ever played the Charlie Parker evergreen before, nor had either of them done "My Funny Valentine," offered here with Getz's lead line as the trombonist follows gently in his footsteps via a midtempo pace. The swing-era standard "Crazy Rhythm" is cranked up very fast, and features a clever harmony from Johnson, while "Blues in the Closet" closes the show with the simplest bop idea turned into a brilliant, long-winded discourse from all the participants. For the L.A. show, the program also starts with "Billie's Bounce," done differently on the harmonic end just for kicks, while "My Funny Valentine" uses a completely different introduction from the horns. Peterson charges up "Crazy Rhythm" as the sax and 'bone play more in sync, while "Blues in the Closet" again closes the set, but is much shorter, faster, and a bit sloppy at the outset. The add-ons include a short (under four-minute) and easygoing feature for Johnson on "Yesterdays" and another brief rendering of the ballad "It Never Entered My Mind," exclusively for the soulful Getz and a more pronounced Ellis. The extraordinary playing by these expert jazzmen elevates this album to legendary status. It is some of their best work (from a pivotal year in modern jazz recording), and a shining example of how professionally Granz could mix and match musicians to form optimal results. ~Michael G. Nastos

Stan Getz & J.J Johnson At The Opera House mc
Stan Getz & J.J Johnson At The Opera House zippy

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Werner Acker - Roots

Bitrate: MP3@320K/s
Time: 46:38
Size: 106.8 MB
Styles: Guitar jazz
Year: 2016
Art: Front

[4:41] 1. One More
[3:42] 2. Lipa
[3:15] 3. Roots
[3:46] 4. Another Five
[4:48] 5. Easy Going
[4:20] 6. In A Sentimental Mood
[3:43] 7. Johnson Road
[3:59] 8. Output
[3:48] 9. Eternal E
[4:17] 10. You Don´t Know What Love Is
[2:32] 11. Fifteen Seconds
[3:42] 12. Done

Werner Acker - Guitars; Andreas Francke - Alto Sax; Uli Gutscher - Trombone; Matthias Dörsam - Tenor Sax, Baritone Sax; Rainer Scheithauer - Hammond B3, Fender Rhodes, Wurlizer, Grand Piano; Hansi Schuller - Double Bass, E-Bass; Herbert Wachter - Drums .

Often a good glass of wine and a motivating advice from a close friend is enough to make something special. Exactly this glass of wine and the convincing kick from drummer Herbert Wachter made Werner Acker devote himself to his debut album Roots. An album that reflects the musical roots of the artist as well as Acker's talent and groove on the guitar.

Werner Acker has been active as a studio and live musician for 45 years and in recent decades has been able to present himself as a versatile sideman in countless musical projects. But now he is the one who is in the center and debuts at the age of 60 years with his first album Roots. This fact alone proves that the guitarist has never lost the fun and the joy of music. Also, his sophisticated, innovative and expressive way of playing the guitar is one of the album's special features.

The own compositions and arrangements convince by the sound, groove and joy of improvisation. The artist and his band thus manage to bridge the gap between Rhythm & Blues, Soul and Jazz without losing the album's unified groove and sound concept. Werner Acker himself describes the musical context of Roots as: a mixture of clear earthy beats and grooves and a sound that is characterized by bluesy, jazzy and funky guitars, accompanied by Hammond B3, Wurlitzer and Rhodespiano, grand pianos, bass, respectively. Double bass, drum set and a robust brass section consisting of alto sax, trombone and tenor, or baritone saxophone.

The relationship to his instrument is essential for Werner Acker. The recordings were recorded on different, sometimes very old guitars, the musician enthuses. In addition to instrument, sound and groove, the interplay with longtime musical companions and now good friends is the foundation for the album. Even though it took a bit longer until the first album, this does not mean that the second one has to wait a long time, enough compositions are just waiting to be released. The musical euphoria and the groove will certainly not be lost to Werner Acker in the next few years. (Translated from German.)

Roots mc
Roots zippy

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Joey Dee & His Starliters - Doin' The Twist (Recorded Live At The Peppermint Lounge)

Bitrate: MP3@320K/s
Time: 39:22
Size: 90.1 MB
Styles: Pop/Rock/Rock N Roll
Year: 1961/2000
Art: Front

[1:59] 1. Peppermint Twist Pt. 1
[3:38] 2. Ram-Bunk-Shush
[4:10] 3. Ya Ya
[2:58] 4. Sticks And Stones
[6:26] 5. Shout
[1:52] 6. Peppermint Twist Pt. 2
[3:52] 7. Hold It
[3:55] 8. Fanny Mae
[4:47] 9. Honk Tonk
[5:41] 10. Mashed Potatoes

In 1960, the Starliters were noticed by agent Don Davis while performing at a Lodi, New Jersey, nightclub called Oliveri's. The group was booked at an intimate venue on 45th Street in New York City called the Peppermint Lounge for what was supposed to be a one-time weekend gig. During their initial appearance at the nightclub, actress Merle Oberon and Prince Serge Oblinski were dancing much of the night there, which was reported the next morning by columnists Earl Wilson and Cholly Knickerbocker. The next night, it took barricades and mounted police to keep the crowds in line, which had backed to Broadway, and for several months thereafter, the craze continued at the Lounge. Celebrity visitors continued to make an appearance, such as Judy Garland, John Wayne, Jackie Kennedy, Nat "King" Cole, Shirley MacLaine, Tennessee Williams, Truman Capote, and Liberace. Dee and company were such a sensation that they became the house band for the Peppermint Lounge for over a year. Dee wrote "Peppermint Twist," along with producer Henry Glover, as a tribute to the lounge and the song scored #1 on the U.S. charts in early 1962. It sold over one million copies, and was awarded a gold disc.

Doin' The Twist mc
Doin' The Twist zippy

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Till Brönner - That Summer

Bitrate: MP3@320K/s
Time: 57:18
Size: 131.2 MB
Styles: Trumpet jazz, Vocals
Year: 2004
Art: Front

[ 3:24] 1. Your Way To Say Goodbye
[ 4:11] 2. Bein' Green
[ 4:43] 3. High Falls
[ 5:33] 4. When Your Lover Has Gone
[ 3:33] 5. Estrada Branca
[ 4:59] 6. Antonio's Song
[ 5:09] 7. Ready Or Not
[ 5:13] 8. After Hours
[ 3:52] 9. So Right, So Wrong
[ 3:53] 10. Wishing Well
[12:44] 11. Medley: Rising Star/Dr. Bill

German trumpeter Till Brönner's 2004 album That Summer features the pop-jazz artists smooth, laid-back horn style. Included are such originals as "Your Way to Say Goodbye," and "Ready or Not" as well as Brönner's take on the standards "Bein' Green" and "When Your Lover Has Gone." ~Matt Collar

That Summer   

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48th St. Collective - Vintage Approach

Bitrate: MP3@320K/s
Time: 31:55
Size: 73.1 MB
Styles: Electronica
Year: 2014
Art: Front

[2:28] 1. Sweet Dreams (Are Made Of This)
[3:10] 2. Breakfast In America
[4:16] 3. Superstition
[2:38] 4. Gypsy Woman (She's Homeless)
[3:53] 5. 99 Red Balloons
[3:42] 6. Missing
[3:16] 7. Rat In My Kitchen
[3:12] 8. Come Together
[2:38] 9. Just Like Heaven
[2:38] 10. I Feel Fine

Vintage Approach mc
Vintage Approach zippy

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Gabriela Anders - Latina

Bitrate: MP3@320K/s
Time: 36:25
Size: 83.4 MB
Styles: Latin jazz
Year: 2004
Art: Front

[3:57] 1. Si O No
[4:42] 2. Estas En Mi (Salsa Version)
[4:20] 3. Mi Destino En Tu Mirar
[4:23] 4. Reina
[3:25] 5. Esto No Es Amor
[4:22] 6. Tu Lo Sabes Bien
[4:27] 7. Enigma
[3:54] 8. Asi Estoy Yo
[2:52] 9. Kalima

Born into a family of musicians, the Argentinean native studied classical guitar and piano in Buenos Aires while listening closely to her father, jazz saxophonist Jorge Anders. "There were so many influences when I was growing up, and I wanted to do something with them all. My father's concerts and studio work certainly affected me, as did the music of Brazil; it's so harmonically rich and so interesting melodically". After high school, Anders decided to continue her studies in New York. Her ongoing exposure to music of various sensibilities and her innate ability to fuse styles and formats were abundantly revealed in a few demo tracks she made on the cheap. Shortly thereafter, Anders became one of the only artists ever signed to Warner Bros. from unsolicited material.

Gabriela Anders debut CD, "Wanting" elicited much praise for Anders vision and impassioned vocal style. Anders unique marriage of pop, Latin and jazz resulted in Vogue and People, among others, describing Anders and her music as: "exotic and bold"; "wonderfully soulful"; and "one of the most distinctive new voices to hit the music scene in years" Gabriela Anders continues a journey of musical excellence and introspection with her "Eclectica", a collection of Brazilian, R&B and jazz- influenced songs, and with her new all Spanish release, "Latina”, Says Anders, "Growing as a musician is absolutely the most important thing to me". Some of today's most soulful musicians are featured on Eclectica and Latina: Wayne Krantz, Pedrito Martinez, ‘Negro’ Hernandez, John Benitez, Ron Lawrence, Cliff Lyons, Rick Savage, Luis Bonilla, Hector Martignon y Otmaro Ruiz, Romero Lumambo and Portinho. All songs on "Latina" are composed and arranged by Anders and feature a wide spectrum of latin rhythms: from salsa to bossa nova, from romantic ballads to afro Brazilian dance songs.

Latina mc
Latina zippy

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Oscar Peterson Trio - Live At CBC Studios 1960

Bitrate: MP3@320K/s
Time: 36:41
Size: 84.0 MB
Styles: Bop, Piano jazz
Year: 1997
Art: Front

[5:58] 1. My Heart Stood Still
[2:11] 2. Blues For Big Scotia
[3:22] 3. Autumn Leaves
[2:00] 4. Sweet Georgia Brown
[4:28] 5. How About You
[4:19] 6. I Got Plenty O' Nothin'
[1:29] 7. Cookin' At The Continental
[4:01] 8. I Didn't Know What Time It Was
[3:31] 9. Let There Be Love
[5:15] 10. Dancing On The Ceiling

After recording a ton of music in 1959, the Oscar Peterson Trio only made one studio album in 1960 (The Music from Fiorello) and was not documented again until July 28, 1961. This 1997 CD has ten selections recorded for the Canadian Broadcasting Corporation but not released commercially until decades later. Pianist Peterson, bassist Ray Brown and drummer Ed Thigpen, as usual, swing hard, with O.P. being the dominant force. Among the highlights of the predictably excellent program are Peterson's "Blues for Big Scotia," "My Heart Stood Still," "How About You," "Cookin' at the Continental" and "Dancing on the Ceiling." This tight trio was nothing if not consistent! ~Scott Yanow

Live At CBC Studios 1960 mc
Live At CBC Studios 1960 zippy

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Freddie Redd - San Francisco Suite

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 40:57
Size: 95,1 MB
Art: Front

(13:30)  1. San Francisco Suite
( 3:37)  2. Blue Hour
( 3:47)  3. By Myself
( 4:05)  4. Old Man River
( 5:02)  5. Minor Interlude
( 6:34)  6. This is New
( 4:19)  7. Nica Steps Out

This early recording by pianist Freddie Redd (a straight CD reissue of the original Riverside LP) features Redd's trio of the time, with bassist George Tucker and drummer All Dreares. The CD reissue is highlighted by the 13½-minute title piece, a suite that in its five melodies depicts the jazz life in San Francisco during the era. Redd shows potential both in his writing and his boppish playing. The remainder of the fine set has the group's interpretations of three other Redd originals and a trio of standards. An excellent effort. ~ Scott Yanow https://www.allmusic.com/album/san-francisco-suite-for-jazz-trio-mw0000309826    

Personnel: Freddie Redd (piano); George Tucker (bass); Al Dreares (drums).            

San Francisco Suite

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Gloria Loring - Today

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 32:15
Size: 74,2 MB
Art: Front

(2:58)  1. Today
(3:07)  2. Good Day Sunshine
(3:46)  3. The Song Is Love
(2:48)  4. Catch The Wind
(2:28)  5. One Way Ticket
(2:34)  6. Hard Loving Loser
(2:59)  7. Meantime
(3:10)  8. Going Out of My Head
(2:35)  9. Don't Tie Me Down
(3:17) 10. Until It's Time for You to Go
(2:29) 11. Just Say Goodbye

Gloria Loring is the recording artist of the #1 hit song Friends and Lovers; co-composer of television theme songs Diff’rent Strokes and Facts Of Life; an audience favorite as “Liz Chandler” on Days Of Our Lives; spokesperson for the Juvenile Diabetes Research Foundation; the author of five books benefitting people with diabetes; a keynote speaker for corporations and non-profits; and one of few artists to sing two nominated songs on the Academy Awards. The depth and diversity of Gloria’s talents and skills are impressive. As a performer, she toggles from classic rock to standards, from Broadway to pop, in clubs, performing arts centers, symphonies, and casinos. She’s starred in movies of the week, television specials, and theatrical productions, including a national tour of Anything Goes. She is a certified yoga instructor and an articulate champion of biomedical research.

Gloria’s new musical show TV Tunez, a celebration of television’s best theme songs that earned standing ovations, is in development for a Las Vegas run. She is currently in the studio with producer Ted Perlman and songwriting legends Burt Bacharach and Desmond Child. Standing ovations greeted Gloria’s recent concerts with The Palm Beach Pops Symphony in tribute to the Streisand Songbook. The Palm Beach Daily News raved, “Loring commanded the stage from Note One... First and foremost, the lady came to sing and sing she did bringing the right combination of pipes and acting chops to give the evening’s tall order its due.” After her four-year-old son was diagnosed with diabetes, she created and self-published two volumes of the Days Of Our Lives Celebrity Cookbook which raised more than $1 million for diabetes research. She has also written Kids, Food and Diabetes, Parenting a Child with Diabetes, The Kids, Food & Diabetes Family Cookbook, and Living With Type 2 Diabetes: Moving Past the Fear. Gloria’s newest book, a spiritual autobiography titled Coincidence Is God's Way of Remaining Anonymous, details a series of extraordinary coincidences that transformed her life and provides insight into how each of us can use coincidence for good. It is represented by William Gladstone of Waterside Productions whose clients include Neale Donald Walsh and Eckhart Tolle.

She has shared the stage with the Pointer Sisters, the Supremes, Billy Crystal, Bill Cosby, and Bob Hope, and performed on numerous award shows, including the Emmy Awards, Academy Awards, and Golden Globes. In the beginning of her career, Gloria was profiled in an hour-long documentary, "Two Singers," with the legendary Aretha Franklin.  Gloria is featured on saxophone hottie Jimmy Sommers’ CD, Time Stands Still, singing the Peggy Lee classic, Fever. In an intriguing twist, her newest CD, A Playlist, features her R&B sensation son, Robin Thicke, on two tracks, and days after its release, jazz guitarist Gil Parris invited her to record Robin’s mega-hit Lost Without You with him. Gloria was honored by the Juvenile Diabetes Research Foundation with the Lifetime Commitment Award and the Founders Award from the National Disease Research Interchange. The Miss America Organization gave her the Woman of Achievement Award, an honor she shares with past recipients Barbara Bush, Roslyn Carter, and Hillary Clinton. She is listed in Who’s Who in America and Who’s Who of American Women. http://www.glorialoring.com/About/

Today

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Herb Hall - Old Tyme Modern

Styles: Clarinet Jazz
Year: 1969
File: MP3@320K/s
Time: 39:46
Size: 91,7 MB
Art: Front

(3:44)  1. Old Fashioned Love
(4:50)  2. All Of Me
(3:21)  3. Buddy Bolden's Blues
(4:54)  4. Crying My Hear Out For You
(4:12)  5. Swinging Down Shaw's Hall
(3:57)  6. Beale Street Blues
(2:34)  7. How Come You Do Me Like You Do
(3:36)  8. Willow Weep For Me
(4:53)  9. Do You Know What It Means To Miss New Orleans
(3:41) 10. Sweet Georgia Brown

A member of a distinguished New Orleans musical family, Herb Hall was the youngest of 5 brothers. His brother Edmund became a world-renowned clarinetist. After time in San Antonio and Philadelphia, Hall moved to New York and joined the Eddie Condon band in 1957. He toured France and North America with Sammy price and generated much excitement on Louisiana Lament, a studio session for Vogue. In '67 Hall shared the stage in Toronto with Don Ewell and a year later with The Jazz Giants (issued as Wild Bill Davison, the Jazz Giants, Sackville 3002). This all-star band returned to Toronto several times and it was on one of these tours that Herb recorded this quartet date on January 10, 1969. ~ Editorial Reviews https://www.amazon.com/Old-Tyme-Modern-Herb-Hall/dp/B000001741

Personnel: Herb Hall - Clarinet;  Claude Hopkins - Piano;  Arvell Shaw - Bass;  Buzzy Drootin - Drums

Old Tyme Modern

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Gary Peacock - Shift In The Wind

Styles: Post-Bop, Avant-Garde Jazz 
Year: 1981
File: MP3@320K/s
Time: 47:33
Size: 123,9 MB
Art: Front

( 6:15)  1. So Green
( 5:03)  2. Fractions
( 8:15)  3. Last First
( 5:51)  4. Shift In The Wind
( 6:56)  5. Centers
(10:01)  6. Caverns Beneath The Zoth
( 5:10)  7. Valentine

Bassist Gary Peacock teams up with the underrated pianist Art Lande and drummer Eliot Zigmund for a set of group originals that emphasize close communication between the trio members, really an extension on the innovations of Bill Evans. The interplay between these masterful musicians is more significant than the actual compositions and rewards repeats listenings. ~ Scott Yanow https://www.allmusic.com/album/shift-in-the-wind-mw0000653451 

Personnel: Gary Peacock (bass); Art Lande (piano); Eliot Zigmund (drums).        

Shift In The Wind

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Barre Phillips - Mountainscapes

Styles: Contemporary Jazz
Year: 1976
File: MP3@320K/s
Time: 37:43
Size: 93,1 MB
Art: Front

(5:54)  1. Mountainscapes I
(2:48)  2. Mountainscapes II
(4:23)  3. Mountainscapes III
(4:29)  4. Mountainscapes IV
(4:53)  5. Mountainscapes V
(4:36)  6. Mountainscapes VI
(3:24)  7. Mountainscapes VII
(7:12)  8. Mountainscapes VIII

In his classic case study of Melanesian cargo cults, Mambu, anthropologist Kenelm Burridge introduced the concept of the myth-dream, which he reduces to “a series of themes, propositions, and problems which are to be found in myths, in dreams, in the half-lights of conversation, and in the emotional responses to a variety of actions, and questions asked.” According to Burridge, what makes any such cult successful is the immediacy with which its figurehead is able to articulate the myth-dream, unleashing a barely conscious longing to know and resolve that which lurks in our mental shadows. The resulting destabilization is a shared process of salvation. I dare to claim the music of Barre Phillips as providing that same function. It embodies a psychological imperative to bring into focus that which inhabits the half-light of our awareness, and fulfills that need through sound. The only difference is that, here, there is neither the promise of salvation nor of migration, but rather the simple need to soak in the immediate essence of wherever one may stand.

Mountainscapes is divided into eight parts of spirit-tugging magnificence, products of a mind that, though only cursorily represented on ECM, has done us a great service in recording his sounds for posterity. Mountainscape I hovers at the margins before unleashing a crackling free groove. The beautifully synthesized sounds and enthralling bass playing, not to mention an absolutely captivating soprano solo from reedman extraordinaire John Surman, give us a rich taste of resolution. It is an unexpected transition, one that jolts the heart into awareness every time. II is a quieter follow-up, enigmatic, peripheral. Like the myth-dream, it lingers just beyond our reach, baiting our desire to know it in full. III is an exquisite piece enhanced by organ and electronics. In IV, the bass becomes a huge rope hefted and swung like a mast cord in a seasoned shipmate’s hands before a saxophonic wind illuminates its sails. The drums never quite stand upright, crossing their feet instead in a continual swagger. V fades in with a synthesized arpeggio. Some sinuous bass notes and a stellar saxophone peek out from the woodwork here. The bass thrums like a groaning in the earth. Meanwhile, a synthesizer bubbles to the surface before fading into transfiguration. VI begins with a lavish wash of electronics embroidered by Phillips’s harmonic threads. It’s a short track, but for me the most effective on the album. VII begins with more pulchritudinous arpeggiation. The sax trails along, trying to place its footsteps in the same imprints as the bass trails not to far behind: the trio as mise-en-abyme. An electric guitar surprises us in the final part, wound by an enthralling sax to feverish heights and playing us out in a gentle finale. In the end, this is music to be experienced rather than described. And so, I will stop trying. https://ecmreviews.com/2010/12/17/mountainscapes/?

Personnel:  Barre Phillips bass;  John Surman soprano and baritone saxophones, bass clarinet, synthesizer;  Dieter Feichtner synthesizer;  Stu Martin drums, synthesizer;  John Abercrombie guitar

Mountainscapes

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