Bennie Green - Walking Down

Bitrate: MP3@320K/s
Time: 41:01
Size: 93.9 MB
Styles: Bop, Trombone jazz
Year: 1956/2013
Art: Front

[12:00] 1. Walkin' (Down)
[12:18] 2. The Things We Did Last Summer
[ 5:37] 3. East Of The Little Big Horn
[ 5:44] 4. It's You Or No One
[ 5:19] 5. But Not For Me

The third of Bennie Green's three Prestige albums from 1955-1956 features the personable trombonist in a quintet with the young tenor-saxophonist Eric Dixon (here showing a strong Paul Gonsalves influence), and an obscure but swinging rhythm section (composed of pianist Lloyd Mayers, bassist Sonny Wellesley, and drummer Bill English). The solos are colorful if occasionally stumbling, and the arrangements of the four standards and Green's "East of the Little Big Horn" have their share of surprises; "Walkin'" and "The Things We Did Last Summer" are taken at two different tempos while "It's You or No One," normally a ballad, really cooks. ~Scott Yanow

Walking Down

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Lisa Craze - November Daisy

Bitrate: MP3@320K/s
Time: 32:21
Size: 74.1 MB
Styles: Vocal
Year: 2018
Art: Front

[3:42] 1. November Daisy
[4:19] 2. Maybe All Along
[3:51] 3. Gateway
[5:37] 4. What If The Sky (Forgot How To Rain)
[2:48] 5. Bad Feeling
[4:21] 6. Yes, It's Time
[1:57] 7. I Am Revealed
[5:42] 8. Someone Else To Know

Piano: Darrius Willrich and Robert Evangelista; Keys : Darrius Willrich; Guitar: James Howard and John Raymond; Bass : James Clark; Drums: John Stout; Flute : David Miner; Saxophone: David Miner; Clarinet: Dewey Marler; Horns ; Robert Lee; Strings: Arranged and Performed by Andrew Joslyn.

Lisa Craze is a singer/songwriter from Seattle, Washington. She sang as a child but was silent for about 30 years- instead concentrating on radio newscasts. After reconnecting with music in her church, she started performing and eventually writing and recording. Now she writes and sings songs of Love, Hope, Loss, Pain, Faith and Life. She crosses genres, knowing the Universal nature of music.

November Daisy mc
November Daisy zippy

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The John Bunch Quintet - John's Bunch

Bitrate: MP3@320K/s
Time: 58:27
Size: 133.8 MB
Styles: Piano jazz
Year: 1975/2002
Art: Front

[5:09] 1. John's Bunch
[8:02] 2. Love You Madly
[4:12] 3. Who Cares
[4:29] 4. Cecily
[4:46] 5. Isfahan
[4:39] 6. Just Friends
[6:22] 7. Cecily (Take 2)
[4:01] 8. Just Friends (Take 2)
[5:16] 9. John's Bunch (Take 7)
[6:34] 10. Cecily (Take 1)
[4:51] 11. Isfahan (Take 2)

A rare set made in 1975 for Harry Lim's Famous Door label, John's Bunch finds veteran swing pianist John Bunch making his debut as a leader. He jams four standards and his own "John's Bunch" and "Cecily" in a quintet with tenor saxophonist Al Cohn, trombonist Urbie Green, bassist Milt Hinton, and drummer Mousie Alexander. It is a rare pleasure getting to hear Urbie Green (normally a studio or mood music musician) in this small-group setting, and his beautiful tone blends in well with the cool tone of Cohn. Recommended. [The CD reissue adds alternate takes to four of the six selections (with two new versions of "Cecily"), so it practically doubles the amount of music.] ~Scott Yanow

John's Bunch mc
John's Bunch zippy

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Bruce Forman Quartet - There Are Times

Styles: Guitar Jazz
Year: 1987
File: MP3@320K/s
Time: 43:39
Size: 101,0 MB
Art: Front

(5:28)  1. There Are Times
(5:29)  2. Milan K
(4:25)  3. All The Things You Are
(4:50)  4. The Nearness Of You
(5:05)  5. Stella By Starlight
(4:13)  6. Con Alma
(4:33)  7. Strike Up The Band
(4:26)  8. Prelude To A Kiss
(5:05)  9. Little Rootie Tootie

Because he has spent most of his life living in northern California, guitarist Bruce Forman tends to be underrated, if not completely overlooked, but he has always been an exciting bop-oriented player. This outing with pianist George Cables, bassist Jeff Carney, drummer Eddie Marshall and guest vibraphonist Bobby Hutcherson has an excellent assortment of songs (including "All the Things You Are," "Strike Up the Band" and Thelonious Monk's "Little Rootie Tootie"), inventive solos, and an upbeat feel throughout. Recommended. ~ Scott Yanow https://www.allmusic.com/album/there-are-times-mw0000198048

Personnel: Bruce Forman (guitar); George Cables (piano); Bobby Hutcherson (vibraphone); Eddie Marshall (drums); Jeff Carney (bass).

There Are Times

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Morgana King - Simply Eloquent

Styles: Vocal
Year: 1986
File: MP3@320K/s
Time: 38:06
Size: 124,5 MB
Art: Front

(4:53)  1. I Get A Kick Out Of You
(5:21)  2. Every Time We Say Goodbye
(3:22)  3. Let's Call The Whole Thing Off
(6:01)  4. Down In The Depths
(5:01)  5. It Never Entered My Mind
(3:52)  6. Will You Still Be Mine
(6:13)  7. Body And Soul
(3:18)  8. Simply Eloquent

None of the more than 30 albums recorded by singer Morgana King since the mid-'50s have been embraced by the size of the audience that bought tickets to see the first two chapters of The Godfather film trilogy, in which King acted in the role of Mama Corleone. But it would be wrong to assume she has had more impact as an actress than as a vocalist. Her acting roles, few and far between, are chosen with care, but do not have the resonance of some of her finest recordings. Millions saw her onscreen in The Godfather films, but her performance was certainly overshadowed by performers such as Robert DeNiro and Al Pacino, not to mention the famous turn by Marlon Brando as her husband. Another role of King's was in the 1997 film A Brooklyn State of Mind; she has also appeared in several television productions. It is possible that there are actors and actresses who have named Morgana King as a great inspiration. Yet, the results of a simple Internet search under her name only yielded dozens of quotes from vocalists and other musicians about the great influence of her recordings and singing style, not her work before the camera. It might not be a surprise when a young female singer gushes about King's albums, but these fans also include deeper thinkers such as classical bass virtuoso Gary Karr. References to her music also show up regularly in fiction as a kind of mood-setting device, such as: "It was a beautiful day in Malibu. He got up, made a coffee and put on a Morgana King record."    

Some record collectors might be surprised to realize that a complete set of King sides might eliminate any elbow room for, say, the discography of one of the prolific blues guitarists with this regal surname. Morgana King sides can be divided into several periods. It took her almost eight years to peak at whatever commercial success she was going to have with the 1964 A Taste of Honey album, thus ending the early years. She then was absorbed into the Atlantic and Reprise corporation and an exemplary series of releases by singers such as Big Joe Turner, Ruth Brown, Lavern Baker, and Ray Charles. The label's greatest producers stared the oncoming rock & roll in the eye, never forgetting their basic R&B orientation. Within a few years, a sub-category developed, seen through paisley glasses. The material became more philosophical, the increasing intellectual depth not surprisingly accompanied by the audience stampeding in the opposite direction. This might make sense, though; while 1965's The Winter of My Discontent is a masterpiece, 1968's Gemini Changes is laughably pretentious. By the early '70s she was anxious to get into films, the music business pushing away any and all veteran talent. Later in the decade she launched the mature period of her career, though, once again recording as more of a jazz-flavored artist for Muse, a label which in itself indicates a disinterest in pop culture. The label was loyal to her, regularly recording her through the following decade. This material was reissued in the late '90s by the 32 Jazz label, whose honcho, Joel Dorn, also presided over the reissue of her Reprise sides. If a special sort of bittersweet feeling pervades her later performances, perhaps it has something to do with this return to her jazz singing roots. Her father had been a performer of folk and popular music on voice and guitar, and she had begun singing in nightclubs such as Basin Street in New York City when she was in her mid-twenties.

Only a few years earlier, she had been immersed in classical studies at the Metropolitan School of Music. Basin Street may have been in the same city, but it must have seemed like a completely different musical world. The formal training undoubtedly filled in aspects of her musical walk where some of her peers might have had to limp. For this reason alone, some listeners find her efforts the most swinging of the '60s generation of pop singers. It meant much critical acclaim during her career, if not great commercial success. At many stages, King seems to have been making other plans. For the 1960 Encyclopedia of Jazz by Leonard Feather, she lists this ambition: "To become a dramatic actress." ~ Eugene Chadbourne https://www.allmusic.com/artist/morgana-king-mn0000501436/biography

Personnel:  Vocals – Bill Mays , Morgana King;  Bass – Steve La Spina;  Drums – Adam Nussbau;  Flute, Clarinet, Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Ted Nash;  Keyboards – Bill Mays

Simply Eloquent

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Monty Alexander - Perception

Styles: Piano Jazz 
Year: 1974
File: MP3@320K/s
Time: 43:20
Size: 99,9 MB
Art: Front

(7:17)  1. Concerto d'Aranjuez
(6:46)  2. Ben
(5:00)  3. Battle Hymn Of The Republic
(5:28)  4. Carnival In Jamaica
(6:59)  5. For All We Know
(3:29)  6. Rude Old Man
(8:18)  7. Shaft

Jamaican-born pianist Monty Alexander is a sophisticated, prolific performer with an urbane, swinging style informed by the bop tradition, as well as the reggae and Caribbean folk he grew up with. Born in Kingston, Jamaica in 1944, Alexander first started playing piano around age four and took classical lessons from age six. By his teens, however, he had discovered jazz and was already performing in nightclubs. Although his early career found him covering pop and rock hits of the day, it was his love of jazz-oriented artists like Oscar Peterson, Duke Ellington, Frank Sinatra, and Nat King Cole that brought him the most inspiration.  In 1961, he moved with his family to Miami, Florida to better pursue his musical ambitions. It was there that Alexander met restaurateur and Frank Sinatra associate Jilly Rizzo, who eventually hired him as the house pianist at his New York nightclub, Jilly's. For the next several years, Alexander lived in New York and worked at Jilly's, where had the opportunity to befriend and perform with a bevy of stars including Sinatra, Ray Brown, Milt Jackson, and others. Buoyed by this success, in 1964 he traveled to Los Angeles, where he recorded several well-received albums for the Pacific Jazz label, including Alexander the Great and Spunky. A handful of additional efforts followed, including 1967's Zing! on RCA and 1969's This Is Monty Alexander on Verve. In 1969 he also appeared on vibraphonist Milt Jackson's That's the Way It Is.

In the 1970s, Alexander built a long-lasting relationship with Germany's MPS (Musik Produktion Schwarzwald) label and released a steady stream of albums, including 1971's Here Comes the Sun, 1974's Perception!, and 1977's Cobilimbo with longtime friend and collaborator Ernest Ranglin. These albums found Alexander pushing his sound in new directions and often combining jazz with elements of the Caribbean musical traditions of his youth. During this period he formed working relationships with bassist John Clayton and drummer Jeff Hamilton. As a trio, they debuted to much acclaim on 1976's Live! Montreux Alexander, and would continue to work together in various configurations over the next several decades. The pianist also continued to record with Milt Jackson, and made appearances on albums by Quincy Jones, Dizzy Gillespie, Phyllis Hyman, and others. The '80s were also a fruitful period for Alexander, who continued to combine his love of straight-ahead jazz and Caribbean music with the release of such albums as 1983's The Duke Ellington Songbook, 1985's The River, and 1986's Li'l Darlin'. He also reunited with Clayton and Hamilton on 1983's Reunion in Europe and paired with bassist Ray Brown for several dates, including 1985's Full Steam Ahead and 1987's The Red Hot Ray Brown Trio. More albums followed, including 1994's Live at Maybeck and 1995's reggae-inflected Yard Movement. He rounded out the decade with 1997's Frank Sinatra-inspired Echoes of Jilly's and 1999's Stir It Up: The Music of Bob Marley. In 2000, Alexander's artistic achievements were recognized by the Jamaican government with his designation as a worldwide music ambassador and as Commander in the Order of Distinction for outstanding services to Jamaica. That same year, he collaborated with reggae giants Sly Dunbar and Robbie Shakespeare on Monty Meets Sly & Robbie, followed in 2001 by Caribbean Duet with pianist Michel Sardaby. He then paired again with Ray Brown and guitarist Herb Ellis for 2002's Triple Scoop and 2003's Straight Ahead. Two tribute sessions followed with 2008's The Good Life: Monty Alexander Plays the Songs of Tony Bennett and 2009's Calypso Blues: The Songs of Nat King Cole. Alexander then highlighted his fusion of reggae, ska, R&B, and jazz on 2011's Harlem-Kingston Express and 2014's Harlem-Kingston Express, Vol. 2: River Rolls On, both recorded at Dizzy's Club Coca-Cola at Lincoln Center. ~ Matt Collar https://www.allmusic.com/artist/monty-alexander-mn0000589256/biography

Personnel:  Piano – Monty Alexander;  Bass – Eugene Wright;  Drums – Bobby Durham.

Perception

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Matthew Shipp Quartet - Not Bound

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 57:45
Size: 133,0 MB
Art: Front

(10:14)  1. Soul Secrets
(11:26)  2. Is
(11:34)  3. Not Bound
(16:13)  4. Totality
( 8:18)  5. This Coda

On Not Bound, pianist extraordinaire Matthew Shipp and his top-drawer rhythm section of Michael Bisio on bass and Whit Dickey on drums is joined by multi-instrumentalist Steve Carter in an exceptional tour de force of spontaneous music within a compositional framework. Each of the five tracks offers unique and exciting lyricism. "Soul Secrets" begins with a cool piano and flute intro that leads to a rumble. Bisio is quite active on the bass, even under the unhurried opening pace. Carter's flute and Shipp's piano play off each other while Bisio busily works over his instrument. Suddenly the music jets forward. Dickey rotates across the drum set while Shipp provides syncopated accents beneath Carter's flowing melodies. "Is" starts with Bisio's walking bass and Dickey's march-like accompaniment and then migrates into the theme. Carter's trumpet paves the way with long notes that are embellished by Shipp's flourishes. The title cut, "Not Bound" begins with Carter's peaceful and soulful abstract sax solo. Then the music builds to a peak. Dickey's brush work provides contrast with Bisio's base finger-wheeling. Shipp's flicks and flacks generate rhythmic impulses. The compositions jagged edges are emphasized by Dickey's explosive kicks.

Dickey launches the longest track of the album, "Totality," with a polyrhythmic drum solo that incorporates silent gaps between the drumming. Carter offers an arc of legato lyricism on both tenor and soprano sax. Shipp responds to Carter's lines there's a back and forth between the two musicians. The group stretches out over Bisio's challenging up and down full throttle bass ruminations. Then, ever so subtly, the song migrates into an abstract bluesy swing. Bisio walks the bass line below it all and Shipp and Dickey slap a common refrain. At the 9:34 mark, Carter holds a legato note and Shipp echoes it on the piano. Then Bisio takes over with his free form bass rumbling up and down the instrument's neck. The song concludes with strong group improvisation that roars like the waterfalls at Iguazu. The album concludes with "This Coda." Shipp and Carter, this time on clarinet, open with a bluesy dreamy motif. About halfway through the track, Bisio and Dickey join in. The music begins to soar, gliding through mountain gorges and slipping past peaks. Shipp's playing echoes McCoy Tyner's rumbling style. One can only hope that this is just the beginning for this quartet. All four gifted musicians provide exhilarating music. They listen carefully to each other and follow or lead as necessary. And the music? Dense. Complex. Lyrical. Harmonic. Challenging but never dominating. Over the years, Matthew Shipp has remained true to his vision. No compromises. Just top-notch compositions that feature strong improvisational expeditions. Not Bound is an exemplary example. ~ Don Phipps https://www.allaboutjazz.com/not-bound-matthew-shipp-for-tune-review-by-don-phipps.php

Personnel: Matthew Shipp: piano; Daniel Carter: flute, trumpet, tenor & soprano saxophones, clarinet; Michael Bisio: double bass; Whit Dickey: drums.

Not Bound

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Scott Hamilton Trio - Live @ Pyatt Hall

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 73:56
Size: 170,4 MB
Art: Front

( 6:06)  1. Tangerine
( 8:14)  2. Estate
( 9:33)  3. Three Little Words
( 4:40)  4. Darn That Dream
( 7:30)  5. You Do Something To Me
( 7:54)  6. Black Orpheus
( 3:36)  7. Just As Though You Were Here
( 8:48)  8. Old Fashioned Love
(10:43)  9. Torna A Surriento
( 6:46) 10. Nel Blu Dipinto di Blue

Even though the Swing Era vanished long ago into the mists of time, likely never to return, it continues to have its champions, especially on the tenor saxophone: masters such as Harry Allen, Ken Peplowski, Grant Stewart, Cory Weeds (who owns the Cellar Live label and produced this splendid album) and last but by no means least, the smooth-as-velvet and always-unflappable Scott Hamilton whose trio was recorded in July 2017 at Pyatt Hall in Vancouver, B.C., during that city's annual International Jazz Festival.  Although Hamilton, who has a sharp and felicitous phrase for every occasion, is the nominal leader, the other members of the trio are no less eloquent and indispensable. Pianist Rossano Sportiello is a steadfast accompanist and always engaging soloist, while bassist J.J.Shakur is so rhythmically strong and sure that one scarcely notices the absence of a drummer. In fact, Hamilton and Sportiello, who had recorded previously as a duo, agreed beforehand that the only bassist they would welcome to make it a trio was Shakur. Good choice.

Shakur is showcased admirably on Luiz Bonfa's seductive "Black Orpheus" (Manha de Carnaval), Sportiello on the seldom-heard Eddie Delange charmer, "Just as Though You Were Here." Elsewhere it's trio all the way on the standards "Tangerine," "Three Little Words," "Darn That Dream" and "You Do Something to Me," James P. Johnson's bluesy "Old Fashioned Love" and a trio of sunlit themes from Italy: "Estate," "Torna a Surriento" (Come Back to Sorrento) and "Nel Blu di Pinto di Blu" (a.k.a. Volare). Through them all, the trio is as snug and inseparable as those axiomatic peas in a pod. The word "sunlit" is especially true of "Nel Blu," ushered in by Sportiello's breezy piano and underscored by Hamilton's expressive tenor. Sportiello's solo is radiant, as is the case in every scenario, starting with the well-known (and well- chosen) "Tangerine," as lovely and pleasing an opener as anyone could wish for. In fact, the trio's choice of material is superior from start to finish, making a summary of highlights redundant, as every number is worthy of that endorsement. Shortcomings? To state the case as clearly as possible, there are none. In other words, a blue-chip concert performance that sets the bar high for every trio with a similar point of view. ~ Jack Bowers https://www.allaboutjazz.com/live-at-pyatt-hall-scott-hamilton-cellar-live-review-by-jack-bowers.php

Personnel: Scott Hamilton: tenor saxophone; Rossano Sportiello: piano; J.J. Shakur: bass.

Live @ Pyatt Hall

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Chick Corea & Steve Gadd - Chinese Butterfly

Styles: Piano Jazz, Hard Bop
Year: 2018
File: MP3@320K/s
Time: 95:30
Size: 220,4 MB
Art: Front

( 9:23)  1. Chick's Chums
( 6:39)  2. Serenity
( 6:44)  3. Like I Was Sayin'
( 8:51)  4. A Spanish Song
(11:50)  5. Chinese Butterfly
(17:29)  6. Return To Forever (feat. Philip Bailey)
(18:13)  7. Wake-Up Call
(16:17)  8. Gadd-zooks

Pianist Chick Corea and drummer Steve Gadd purposefully rekindle their '70s fusion roots on 2017's double-disc Chinese Butterfly. Although they are longtime associates, with Gadd touring often with Corea and appearing on albums like 1976's My Spanish Heart, they've never totally collaborated on an album before. On Chinese Butterfly, Corea joins Gadd's working ensemble for a set of newly penned originals that make the most of their long-held mutual admiration. Joining them are their equally adept bandmates, saxophonist/flutist Steve Wilson, guitarist/vocalist Lionel Loueke, bassist Carlitos Del Puerto, and percussionist Luisito Quintero. Together, they have crafted an album that draws upon the expansive, keyboard-heavy sound of Corea's '70s fusion work, while also weaving in various Latin and African traditions. In some ways, the album brings to mind Corea's 1978 album Friends, which also featured Gadd in a similarly loose and lively atmosphere. Tracks like the opening "Chick's Chums" and slinky "Like I Was Sayin'" are funky, bop-inflected jams that could easily have been culled from a vintage Return to Forever album. Similarly, the languid, Brazilian-accented "Serenity" is a lyrical, gorgeously rendered number that fits nicely into Corea's long-standing love of world rhythms. 

Those rhythms are further explored on the album's second disc, which features an epic reading of the classic "Return to Forever" theme featuring guest vocals by Philip Bailey. Elsewhere, Loueke grounds the Afro-bossa-influenced "Wake-Up Call" with his hushed vocals that give way to the band's lively group interplay. With both Corea and Gadd in their seventies at the time of recording, it's refreshing to hear them sound so inventive and willing to explore new songs, even as they look back on their over 50-year partnership. Ultimately, it's that vibrant, in-the-moment reciprocity that makes Chinese Butterfly such a compelling listen. 

~ Matt Collar https://www.allmusic.com/album/chinese-butterfly-mw0003112342

Chinese Butterfly

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Marion Brown - Sweet Earth Flying

Styles: Saxophone Jazz
Year: 1974
File: MP3@320K/s
Time: 39:02
Size: 89,9 MB
Art: Front

(3:41)  1. Sweet Earth Flying, Part 1
(5:58)  2. Sweet Earth Flying, Part 3
(5:58)  3. Sweet Earth Flying, Part 4
(4:58)  4. Sweet Earth Flying, Part 5
(7:17)  5. Eleven Light City, Part One
(2:11)  6. Eleven Light City, Part Two
(5:52)  7. Eleven Light City, Part Three
(3:05)  8. Eleven Light City, Part Four

The second installment of his "Georgia" trilogy, Sweet Earth Flying is arguably Marion Brown's finest work and certainly one of the underappreciated treasures of '70s jazz. Again, the words and ideas of poet Jean Toomer underlie Brown's conception (hence the album's title), though this time (unlike the appearance of Karintha on Geechee Recollections) none of Toomer's actually poetry is utilized. Instead, he calls into service the remarkable keyboard paring of Muhal Richard Abrams and Paul Bley, an inspiration that pays off in spades. The two pianists alternate acoustic and electric keyboards, bringing a slight tinge of the propulsiveness of Miles Davis' late-'60s bands, but with a grace, soul, and sense of freedom rarely achieved by Corea and Jarrett. In fact, Abrams' feature on Part Five of the title suite is one of the single most beautiful and cogent statements he ever created. Brown's sound on both soprano and alto has a unique quality; he tends to sound tentative and innocently hesitant when first entering, only to gather strength as he goes, reaching utter conviction along the way. Special mention must be made of vocalist Bill Hasson. He's featured on only one piece, but his deep voiced recitation in a language of his own construction (drawing from West Africa, Brazil, the Caribbean, and North American down-home English) is a very special treat indeed. Very highly recommended to open-eared jazz fans of all tastes. ~ Brian Olewnick https://www.allmusic.com/album/sweet-earth-flying-mw0000892491

Personnel:  Marion Brown — alto saxophone, soprano saxophone;  Muhal Richard Abrams , Paul Bley — piano, electric piano, organ;  James Jefferson — bass, electric bass;  Steve McCall — drums, percussion;  Bill Hasson — percussion, narration.

Sweet Earth Flying

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Marcus Koch - Maldives

Styles: Jazz, Smooth Jazz
Year: 2012
File: MP3@320K/s
Time: 32:52
Size: 75,4 MB
Art: Front

(6:30)  1. Maldives
(6:31)  2. Fires
(7:51)  3. Clocks
(6:30)  4. In The Flow
(5:30)  5. Get The Party Started

Marcus grew up in a musical family and got early piano lessons. As a teenager, he developed a strong interest in the composition , as well as the production of their own music. During this time he learned other instruments including guitar , drums and accordion . After graduation in 1998, he began studying music and mathematics, which he finished in 2004 successfully. As a result, he worked as a producer in many recording studios , including artists such as Martin Solveig , Shaun Baker and John Davies . The M & M's remix of "Rocking Music" for Martin Solveig made it to # 9 on the Media Control Charts . The collaboration with Shaun Baker and John Davies also showed various chart placements. In 2011, Marcus signed exclusive to the label Plusquam Records and released his debut album "Behind the Rhodes" whose single "Smooth" reached the 13th place of the German chillout charts. The titles of this album are today on many successful and international compilations represented. In 2012 Marcus released his second album "Last Summer", as well as the EPs "Maldives", "One by One" and "Symphony". In 2013 the label Amaro - Music took over his entire music catalog. His third album "Chillmodes" and the piano LP "Time" were released in December 2013. Under the pseudonym "Symphonicum" in the same year his first classic work with the name "Awakening" appeared. In 2016, Marcus was nominated for the "Schallwelle Award", a German prize for electronic music, in the New Discovery category. https://de.wikipedia.org/wiki/Marcus_Koch_(Musiker)

Maldives

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Bill Meyers - All Things In Time

Bitrate: MP3@320K/s
Time: 48:59
Size: 112.1 MB
Styles: Jazz/Funk/Pop
Year: 1996
Art: Front

[5:10] 1. High Tide (Feat. Larry Carlton, Lenny Castro & Vinnie Colaiuta)
[4:07] 2. Valdez In The Country (Feat. Sonny Emory & Munyungo Jackson)
[5:28] 3. All Things In Time (Feat. Paul Jackson Jr. & Munyungo Jackson)
[5:12] 4. Lite 'em Up (Feat. Curt Bisquera, Chris Severin, Luis Conte & Tom Scott)
[4:36] 5. Sky (Feat. Earth, Wind & Fire, Sonny Emory & Munyungo Jackson)
[5:44] 6. Changing Times (Feat. Barbara Weathers & Lenny Castro)
[6:04] 7. Marrakesh
[3:18] 8. I've Got The Feelin' (Feat. Chris Severin & Brandon Fields)
[6:45] 9. Across The Water (Feat. Dianne Reeves, Will Wheaton & Brandon Fields)
[2:30] 10. The Heart Remembers

This CD, hard as it is to obtain, is an INCREDIBLE MIX of Jazz. R&B, Pop and Fusion. It features several of the members of Earth, Wind & Fire (Meyers took over the arranging chores from legend Charles Stepney in the late '80's). He infuses World Beat and Brazillian melodies and writes in a very unique but only semi-commercial vein. This is very accessable music, much of it very rhythm/groove oriented. His vocals are pleasant and conveys the mood of the title track (with a tasty groove rhythm). "Valdez In The Country", Donny hathaway's killer hit, is redone here in a uptempo slamming way with finely tuned synth horns and George Duke-style keyboards. "All Across The Water" features Dianne reeves on vocals and has an Afro-centric rhythm feel. It just BREAKS DOWN midway into a SMOKIN Funk romp that you cannot help be pump th evolume on! There is even an update on James Brown's "I Got The Feelin'". But it's the WAY Bill Meyers arranges these tracks that makes this a standout Jazz/Funk/Pop blend that I, for one, certainly enjoyed and cannot stop playing. Thjis album IS a bit hard to categorize, I suppose. I agree that "IMAGES" is Meyer's orchestral tour de force, and is closer to an Alan Silvestri movie soundtrack album (which is STILL good). It IS beautifully done-also impossible to find. But ALL THINGS IN TIME is a fantastic update to Meyer's sound and style. Contemporary Jazz lovers (like me) will find it simply astonishing and beautifully executed. For the curious, to get an idea of Meyer's song style, listen to "RUNNIN" (from E,W&F's "All In All" album). THAT track, is essential Meyers at his Contempo best! ~Contemporary Media Intrispectives

All Things In Time mc
All Things In Time zippy

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Judy Collins - Forever Green

Bitrate: MP3@320K/s
Time: 53:04
Size: 121.5 MB
Styles: Folk, Pop, Jazz
Year: 2015
Art: Front

[4:08] 1. Send In The Clowns
[5:03] 2. Don't Cry For Me Argentina
[4:45] 3. Plaisir D'amour
[3:38] 4. Bewitched, Bothered And Bewildered
[3:18] 5. My Heart Stood Still
[3:08] 6. Embraceable You
[3:41] 7. How Are Things In Glocca Morra
[2:59] 8. Younger Than Springtime
[3:42] 9. They Say It's Wonderful
[4:37] 10. I Can't Get Started
[2:51] 11. Till There Was You
[2:25] 12. I've Grown Accustomed To His Face
[4:28] 13. My Funny Valentine
[4:16] 14. Let It Be

Singer Judy Collins was, along with Joan Baez, one of the two major interpretive singers to emerge from the folk revival of the late '50s and early '60s. Like Baez, she began singing traditional folk songs, then moved on to popularize the work of contemporary singer/songwriters, even writing her own songs occasionally. Unlike Baez, she used her classical music training to evolve into being a singer of art songs and show tunes, sometimes employing semi-classical arrangements. In a career that began at the end of the 1950s and was still going strong more than 50 years later, she consistently performed 50-80 concerts a year, and she recorded extensively, her commercial success reaching its apex from the late '60s to the mid-'70s, as six of her albums from the period achieved gold or platinum sales. Although she was primarily an albums artist, she also enjoyed a few hit singles, notably her Top Ten, Grammy-winning cover of Joni Mitchell's "Both Sides Now," which helped establish Mitchell as a songwriter; an a cappella version of the hymn "Amazing Grace"; and the show tune "Send in the Clowns," which led to a Song of the Year Grammy for its composer, Stephen Sondheim.

Forever Green mc
Forever Green zippy

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Jack Miller - Fire Dancer

Bitrate: MP3@320K/s
Time: 57:09
Size: 130.8 MB
Styles: World fusion
Year: 2018
Art: Front

[3:43] 1. Fire Dancer
[4:43] 2. Freeman
[5:39] 3. Passion
[4:39] 4. Erotic Wav
[4:28] 5. Awakening
[6:02] 6. Hipville
[4:28] 7. Jungle Jazz)
[5:46] 8. Mandangoes
[4:27] 9. Napali Run
[4:55] 10. Cubana Rolana
[4:12] 11. Sao Paulo Dreamin'
[4:03] 12. Marimba Serenade

Fire Dancer mc
Fire Dancer zippy

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Ken Stubbs - Ballads

Bitrate: MP3@320K/s
Time: 64:12
Size: 147.0 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[7:07] 1. You Are Too Beautiful
[6:21] 2. You Don't Know What Love Is
[4:24] 3. Over The Rainbow
[7:30] 4. But Beautiful
[3:28] 5. Prelude
[5:16] 6. Skylark
[7:30] 7. That's All
[7:40] 8. Someone To Watch Over Me
[7:37] 9. I Got It Bad And That Ain't Good
[7:13] 10. I Thought About You

Alto saxophonist Ken Stubbs combines his light, dry alto saxophone timbre with minimal accompaniment on a session for romantics. Working with guitar trio on two tracks, piano on two and the piano trio elsewhere, Stubbs weaves slowly in and around familiar standards. They’re lovely songs that recall lyrics and stories. Appropriately, Stubbs adapts his vocal-like phrasing to interpret each melody comfortably. It’s an album for sitting back, pouring yourself something useful and listening; while daydreaming about better days.

Representing an entire century of jazz, Ballads celebrates the warmth contained in song. Stubbs’ view of “swing” is conservative and subdued. His arrangements allow for adventurous improvising without any overt hint of passion. Rather, the session pulls from a world where cooler heads prevail. The warmth in Stubbs’ style is intended to be appreciated on a personal level. Rather than shout I LOVE YOU from the rooftops, the saxophonist prefers to whisper it in your ear. While his accompaniment appears musically uneven, Stubbs says it beautifully through his horn. ~Jim Santella

Ballads mc
Ballads zippy

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Jeremy Davenport - Maybe In A Dream

Styles: Vocal And Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 56:57
Size: 133,8 MB
Art: Front

(5:07)  1. A Beautiful Friendship
(5:29)  2. I Thought About You
(4:51)  3. Maybe In A Dream
(5:41)  4. Let's Leave
(4:29)  5. Moonglow
(5:50)  6. What Ever Happened?
(5:37)  7. P.S. I Love You
(5:02)  8. Spirit Of St. Louis
(3:49)  9. You Are The One For Me
(6:14) 10. A Second Chance
(4:43) 11. They Didn't Believe Me

Jeremy Davenport has good credentials. Like Harry Connick, Jr., with whom he has been compared, he studied with Ellis Marsalis in New Orleans after receiving classical training in St. Louis, and also studied with Wynton Marsalis. Maybe in a Dream is made up of standards and his own compositions; there's also a short visit by Diana Krall as she joins Davenport on his "Let's Leave." Davenport has a pleasant enough voice which is much more effective on the standards, since his compositions do not compare well with the more familiar material on this disc. His originals can best be described as cute, without much substance and not likely destined to be covered by many other performers. Given the lightness of Davenport's voice, it is hard to discern any real feeling in his phrasing and interpretations. Everything is done with the same boyish charm, but there seems to be little effort to put his own imprimatur on the standards that is, to make the song his own for the four or five minutes he controls the music. Of the five pieces written by Davenport, "What Ever Happened" is the most entertaining. The lyrics are clever and the tune offers an opportunity for the members of the group to stretch out. Davenport's trumpet, on which he uses a mute most of the time, is understated and reticent, much like Chet Baker's. The one song where Davenport shines is "Moonglow," linking jazz trumpet with a vocal. He gets excellent support here, and throughout, from Glenn Patscha on piano, who has worked with Davenport on previous recording sessions. "P.S. I Love You" is notable for the fine solo by eminent bassman Peter Washington. Gregory Hutchinson provides solid tempo support for the sessions with some good cymbal work. When the mood calls for it, this album can be turned to for some pleasant, low-density listening. A nice added attraction is that the lyrics to all the tunes are reprinted in the liner notes. ~ Dave Nathan https://www.allmusic.com/album/maybe-in-a-dream-mw0000600204

Personnel: Jeremy Davenport (vocals, trumpet); Diana Krall (vocals); Glenn Patscha (piano); Peter Washington (bass); Gregory Hutchinson (drums).

Maybe In A Dream

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Marlene VerPlanck - What Are We Going To Do With All This Moonlight

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 67:32
Size: 155,8 MB
Art: Front

(4:08)  1. Nobody Else But Me
(3:53)  2. The Real Thing
(4:44)  3. Close Enough For Love
(4:36)  4. Beautiful Friendship
(3:38)  5. Star Eyes
(5:23)  6. Detour Ahead
(2:47)  7. Embraceable You
(3:30)  8. Sing Me To Sleep
(4:56)  9. Wonder Why
(5:21) 10. Sweet And Slow
(3:13) 11. My Future Just Began
(2:47) 12. When In Rome
(3:29) 13. I Never Had A Chance
(3:30) 14. Nobody, But Nobody
(2:29) 15. I've Got Your Number
(4:45) 16. I'm Sticking With You, Baby
(4:13) 17. What Are We Going To Do With All This Moonlig

Recorded at two separate sessions in Paris, this album reveals why Marlene Ver Planck continues to occupy a place in the upper echelon of contemporary interpreters of the Great American Songbook. Many of the tunes are from the movies and Broadway musicals. The subtitle for the album, "Saxomania-Reeds and Rhythm," recognizes the contribution made by the excellent group of French reedmen and the rhythm section, which affords consistently first-rate accompaniment for Ver Planck throughout the session. For a pleasant diversion from the usual, the album features not just standards, but songs that are not heard all that frequently. Despite Ver Planck's valiant efforts, it becomes clear very quickly why one doesn't hear some of these ditties very often: They simply are not very good. On the other hand, there are some real gems that Ver Planck has brought to light. The Harry Warren/Al Dubin track "Sweet and Slow," from the 1935 film Broadway Gondolier, is done in a syncopated style which makes the music interesting, even though the lyrics are a bit simplistic. There's some great ensemble work on this tune and it accommodates to Ver Planck's scatting style quite nicely. The Gerry Mulligan Mel Torme-penned "The Real Thing," a truly beautiful tune, gets a gorgeous rendering from Ver Planck, with plenty of help from the sax section and Stanley Laferrier's piano. "This Is the End of a Beautiful Friendship" is a vehicle for each member of the band to solo. Claude Tissendier's clarinet and Claude Braud's tenor especially stand out. Marlene's talented husband, J. "Billy" Ver Planck composed several tunes for this session; "Nobody, But Nobody" is the best of these, with a nice fox trot arrangement that may well encourage listeners to get up and dance. Braud's tenor gets some solo space on this tune. "Star Eyes" is kicked off with a fast-paced sax ensemble, slowing down to a manageable beat for Ver Planck's vocal. This is one of the highlights of the set. All in all, whether familiar standards or not, all of the 17 tunes on the play list are done with style and grace, and mostly in a sprightly, uptempo beat. Even "Embraceable You," usually played slowly and soulfully, gets a rare uptempo reading from Ver Planck and the group. As expected, Ver Planck's diction, phrasing, and handling of the lyrics are impeccable. What Are We Going to Do With All This Moonlight is another in a long run of Ver Planck classic vocal albums and is a fun-filled, toe-tapping collection. Recommended. ~ Dave Nathan https://www.allmusic.com/album/what-are-we-going-to-do-with-all-this-moonlight-mw0000725400

R.I.P.

Born: November 11, 1933, Newark, New Jersey, United States
Died: January 14, 2018

What Are We Going To Do With All This Moonlight

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Mike Di Lorenzo - Urbanized

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 57:17
Size: 131,9 MB
Art: Front

(3:51)  1. City Vibe
(5:38)  2. Loosey Goose
(4:39)  3. Urbanized
(6:36)  4. Severance
(4:40)  5. Too High
(3:51)  6. West 47th
(3:40)  7. My Time
(6:02)  8. Groovemaster
(4:04)  9. Motified
(6:15) 10. Northern Samba
(4:23) 11. After Midnight
(3:33) 12. Curb Appeal

NY-based keyboard player, composer and production specialist Mike Di Lorenzo provides his own brand of New York chill featuring a fresh blend of contemporary jazz with Hip-Hop, Latin and R&B elements. "Joe Sample, George Duke, Down To The Bone, and Michael Brecker aficionados will be well-served with this assortment of urban instrumental arrangements which highlight Mikes various influences and versatile writing, playing and production style."

11 original fresh, funky, instrumental compositions and an outstanding remake of Stevie Wonders "Too High" make up this very musically hip and groove-oriented CD. By incorporating contemporary rhythms and textures with the musicianship of some of New Yorks finest, Mike is able to incorporate his varied experiences and wide range of musical influences into an impressive and tasteful debut. "The idea behind the CD is to connect with the rhythms and grooves that are happening today and hopefully provide an interesting blend where melody and harmonic creativity can be incorporated with popular rhythm formats."

~ Editorial Reviews https://www.amazon.com/Urbanized-Mike-Lorenzo/dp/B0007UZLZM    

The Players: Mike Di Lorenzo ~ piano, keyboards, Rhodes and programming, Vinnie Cutro ~ trumpet, Bob Malach ~ tenor saxophone, Frank Valdes ~ percussion, Willy Dalton ~ nylon string guitar, Karl Latham ~ drums 

Urbanized

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Bruce Forman - River Journey

Styles: Guitar Jazz
Year: 1981
File: MP3@320K/s
Time: 39:23
Size: 110,7 MB
Art: Front

(5:16)  1. River Journey
(7:58)  2. A Simple Waltz
(6:16)  3. Two Bits
(4:04)  4. St. Thomas
(3:31)  5. Chances
(4:58)  6. I Just Got Back In Town
(7:17)  7. Nature Boy

An upbeat album from the early '80s by guitarist Bruce Forman, playing with a group that includes torrid alto saxophonist Richie Cole. His fluid, bluesy solos on fast, mid-tempo, and slow numbers injects some spark into the date, and also makes Forman extend himself. 

~ Ron Wynn https://www.allmusic.com/album/river-journey-mw0000865857

Personnel:  Guitar, Leader – Bruce Forman;  Alto Saxophone – Richie Cole;  Bass – Bob Magnusson, Rich Girard;  Drums – Scott Morris;  Keyboards – Frank Martin; Piano – Russell Ferrante

River Journey

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O.V. Wright - We're Still Together

Styles: Vocal
Year: 1979
File: MP3@320K/s
Time: 37:29
Size: 86,4 MB
Art: Front

(3:46)  1. We're Still Together
(4:12)  2. I Found Peace
(3:41)  3. It's Cold Without Your Love
(3:28)  4. Baby Baby Baby
(3:22)  5. I'm Gonna Stay
(5:12)  6. The Hurt Is On
(4:45)  7. Today I Sing The Blues
(4:30)  8. Mirror Of My Soul
(4:28)  9. Sacrifice

Released at the peak of disco fever in 1979, We're Still Together is a product of its era. Willie Mitchell's production is slick and overpowering, with dense string arrangements and vocal choruses that flatten everything around them. Although the material, including a cover of Aretha Franklin's "Baby Baby Baby," is strong and Wright is in fine voice throughout, it's tough to consider We're Still Together anything more than an ambitious failure. ~ Jason Ankeny https://www.allmusic.com/album/were-still-together-mw0001059778

We're Still Together

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