Antonio Carlos Jobim - Wave: the Antonio Carlos Jobim Songbook

Styles: Vocal, Brazilian Jazz
Year: 1962
File: MP3@320K/s
Time: 63:32
Size: 146,2 MB
Art: Front

(2:52)  1. Wave
(5:50)  2. So Danço Samba (Jazz Samba)
(3:14)  3. Happy Madness
(3:12)  4. Chovendo Na Roseira
(5:53)  5. Desafinado
(2:48)  6. A Felicidade
(4:46)  7. O Grande Amor
(4:03)  8. Insensatez
(4:48)  9. Amor Em Paz (Once I Loved)
(4:16) 10. Corcovado (Quiet Nights of Quiet Stars)
(5:20) 11. Triste
(2:31) 12. The Boy from Ipanema
(5:18) 13. Samba de Uma Nota Só (One Note Samba)
(5:26) 14. Vivo Sonhando
(3:08) 15. Wave

The sequel to the popular The Girl from Ipanema anthology basically reshuffles the deck, duplicating nine of the earlier CD's songs and adding six new ones, using mostly the same performers with a few additions. The new wrinkle is that the artists perform different tunes, a game that one imagines could be continued indefinitely on future issues. Among the highlights: Ella Fitzgerald has a marvelous time bouncing to the rhythms of "So Danço Samba," Wes Montgomery  the consummate musician scores again with a lovely "Amor Em Paz," and Oscar Peterson is a surreal speed demon on "Triste." Lowlight: Sarah Vaughan's awkwardly mannered "The Boy from Ipanema." Again, there is plenty of Stan Getz along with his tenor sax successor in matters Jobim, Joe Henderson plus Astrud and João Gilberto, Dizzy Gillespie, Toots Thielemans, Charlie Byrd, Herbie Hancock, Chick Corea, Pat Metheny, and Jobim himself. As a jazz buff's introduction to Jobim, either Songbook will do, but Verve's The Man from Ipanema triple album is the best, most comprehensively idiomatic choice overall. ~ Richard S.Ginell https://www.allmusic.com/album/wave-the-antonio-carlos-jobim-songbook-mw0000648316     

Personnel includes: Antonio Carlos Jobim (vocals, piano, guitar); Cesar Camargo Mariano (piano, electric piano); Joao Gilberto (vocals, guitar); Ella Fitzgerald, Sarah Vaughan, Elis Regina, Astrud Gilberto (vocals); Stan Getz, Joe Henderson (tenor saxophone); Dizzy Gillespie, Donald Byrd (trumpet); Romeo Penque (flute, piccolo, clarinet, oboe, English horn); Danny Bank (flute, alto flute); Phil Woods (clarinet); Toots Thielemans (harmonica); Chick Corea, Herbie Hancock, Oscar Peterson, Lalo Schifrin, Eliane Elias (piano); Pat Metheny, Wes Montgomery, Charlie Byrd, Oscar Castro-Neves (guitar); Ron Carter, George Duvivier, Sam Jones (bass); Grady Tate, Paulo Braga (drums); Candido Camero (conga); Milton Banana (percussion); Gil Evan's Orchestra, Frank Foster's Orchestra.

Wave: the Antonio Carlos Jobim Songbook

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Viktor Lazlo - She

Styles: Vocal, Jazz Pop 
Year: 1985
File: MP3@320K/s
Time: 37:19
Size: 85,5 MB
Art: Front

(1:38)  1. She
(5:15)  2. Sweet, Soft N'lazy
(4:04)  3. Ain't Gonna Come
(4:30)  4. Canoe Rose
(2:47)  5. Put The Blame On Mame
(4:19)  6. I Don't Wanna Love Again
(3:48)  7. Pleurer Des Rivieres
(3:38)  8. Last Call For An Angel
(3:43)  9. Backdoor Man
(3:31) 10. Loser

A stylish and sensual singer, Sonia Dronier became Viktor Lazlo when Belgian producer Francis Depryck discovered her and put together a package inspired by strong sexuality and black-and-white film. Born in Lorient, France, Dronier spent her college years studying and modeling in Brussels, Belgium. After she spent some time singing backup vocals in Depryck's band Lou & the Hollywood Bananas, the producer rounded up a set of nostalgic and noir-flavored songs and renamed her after a character in the Humphrey Bogart classic Casablanca. The stylish full-length She began her career in 1985 with a mix of songs sung in French, English, and Spanish. A French-language cover of Julie London's "Cry Me a River" ("Pleurer des Rivières") became a big hit across Europe a year later. In 1987 she hosted the televised broadcast of the Eurovision contest, which was held in Belgium that year. That same year she had another Euro hit with "Breathless," a duet with American singer James Ingram. After a move back to France in 1989 she released a series of successful albums before the ambitious Verso appeared in 1996 with funk and dub influences and a guest appearance from the classic reggae rhythm section of Sly & Robbie. Critical response to the album was so overwhelmingly positive that Dronier claimed interviews promoting the release had focused on her music instead of her clothes for the first time in her career. ~ David Jeffries https://itunes.apple.com/us/album/she/358461037

She

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Wayne Shorter - The Soothsayer

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 50:07
Size: 115,0 MB
Art: Front

(7:16)  1. Lost
(4:51)  2. Angola
(6:42)  3. Angola (alternate take)
(8:23)  4. The Big Push
(9:40)  5. The Soothsayer
(5:36)  6. Lady Day
(7:37)  7. Valse Triste

A good month for tenor saxophone connoisseurs, April 2008, with a second Rudy Van Gelder re-master released alongside Ike Quebec's signature Blue & Sentimental (Blue Note, 2008). The Soothsayer may be comparably less of a benchmark in Wayne Shorter's discography, and remains to some extent overshadowed by its close contemporary Speak No Evil (Blue Note, 1964), but it's a solid and enduring album despite 15 years between the recording session and the original LP release. Things were happening big time for Shorter in early 1965, when The Soothsayer was recorded. After five years with drummer and band leader Art Blakey as musician, composer and, finally, musical director, the saxophonist had recently joined trumpeter Miles Davis' second great quintet. With Davis, Shorter would record six studio albums over the next three years the first, E.S.P. (Columbia, 1965) was recorded two months before The Soothsayer plus a further four under his own name. There was an embarrassment of Shorter riches around, and The Soothsayer was initially shelved to make way for the release of the more structurally adventurous The All Seeing Eye (Blue Note, 1965). When Shorter left Davis and joined Weather Report, The Soothsayer, temporarily, was overtaken by events. It was finally released in 1980. The album finds Shorter in the company of two Davis quintet colleagues bassist Ron Carter and drummer Tony Williams together with pianist McCoy Tyner, then a member of saxophonist John Coltrane's classic quartet, trumpeter Freddie Hubbard and the relatively unsung alto saxophonist James Spaulding. Hubbard and Carter had been retained from Speak No Evil; Tyner had been featured on the earlier Shorter albums Night Dreamer (Blue Note, 1964) and Ju Ju (Blue Note, 1964). Spaulding and Williams were new recruits. Shorter's virile playing aside, the album is worthwhile for the presence of drum prodigy Williams (Shorter's regular drummers of the time were Elvin Jones and Joe Chambers) who turns in an inventive solo on "Angola" and for the strength of Shorter's writing. The triple meter, medium groove "Lost," the opener, is quintessential Shorter of the period. Eight years before the release of The Soothsayer it was featured on Weather Report's Live In Tokyo (Columbia, 1972). "Angola," which follows, sounds like it could have been written earlier, for Blakey's band. The haunting "Lady Day" is a ballad tribute to singer Billie Holiday. Of interest too is Shorter's re-arrangement of Finnish composer Jean Sibelius' pretty "Valse Triste" on Speak No Evil, Shorter had credited Sibelius as a key inspiration for that album's "Dance Cadaverous." The word "deconstruction" may not have been common jazz parlance in 1965, but deconstruct is exactly what Shorter does here, sensitively and engagingly. ~ Chris May https://www.allaboutjazz.com/the-soothsayer-wayne-shorter-blue-note-records-review-by-chris-may.php

Personnel: Wayne Shorter: tenor saxophone; James Spaulding: alto saxophone; Freddie Hubbard: trumpet; McCoy Tyner: piano; Ron Carter: bass; Tony Williams: drums.

The Soothsayer

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Joey DeFrancesco - The Champ: Round 2

Styles: Jazz, Hard Bop
Year: 1998
File: MP3@320K/s
Time: 68:18
Size: 156,7 MB
Art: Front

(8:37)  1. The Champ
(5:37)  2. Back at the Chicken Shack
(5:04)  3. Bayou
(6:44)  4. I'm an Old Cowhand
(5:53)  5. The Sermon
(7:56)  6. The Boss
(6:56)  7. Oh No, Babe
(4:38)  8. Hackensack
(8:19)  9. Greensleeves
(8:29) 10. The Champ (The Rematch)

The Champ: Round 2 is the second volume of Joey DeFrancesco's tribute to mentor and Hammond B3 groove master Jimmy Smith. While 1999's The Champ was an entertaining and honorable tribute, Round 2 produces only patchy rewards even with the swinging camaraderie provided by guitarist Paul Bollenback and drummer Byron Landham. Compared to the first volume in which the initial freshness of the idea was more palatable, Round 2 suffers from slight stagnation (two versions of "The Champ" on this disc!) for the same reason. Following the late-'90s studio releases of The Champ, Goodfellas, and the live set Incredible, three discs that rely mainly on standards and jazz classics, this disc is ultimately disappointing, finding DeFrancesco repeating challenges we have already heard him acheive. ~ Al Campbell https://www.allmusic.com/album/the-champ-round-2-mw0000620309

Personnel: Joey DeFrancesco (Hammond B-3 Organ); Paul Bollenback (guitar); Byron Landham (drums).

The Champ: Round 2

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Hank Mobley - Quintet

Bitrate: MP3@320K/s
Time: 56:51
Size: 130.1 MB
Styles: Saxophone jazz
Year: 1957/2008
Art: Front

[6:45] 1. Funk In Deep Freeze
[7:38] 2. Wham And They're Off
[6:36] 3. Fin De L'affaire
[6:37] 4. Startin' From Scratch
[7:14] 5. Stella-Wise
[7:28] 6. Base On Balls
[6:54] 7. Funk In Deep Freeze
[7:35] 8. Wham And They're Off

In his musical life, there always seemed to be two Hank Mobleys. He spent most of his career as a sideman, uplifting the music of Max Roach, Dizzy Gillespie, Art Blakey, Horace Silver, Miles Davis, Slide Hampton and Cedar Walton. But on records, his most significant work was as a leader for Blue Note. Mobley's round tone, flexibility and ability to write catchy melodies made him a popular figure for 15 years.

On Quintet, he is at the head of a group featuring musicians from both the Blakey and Silver bands including the two leaders. Mobley, who contributed all six compositions, is very much in control, performing the thoughtful and melodic yet stirring brand of hard bop that he most loved. Funk In Deep Freeze is the most famous of the songs but all are well worth reviving and enjoying.

Mobley and Art Farmer work off each other in subtle yet fiery fashion (they often seemed to think alike) and the Silver-Blakey reunion is a joyous occasion. Overall, the Hank Mobley Quintet sounds so tight and telepathic that it is almost like they played together four sets a night at Birdland rather than actually being a superb one-time get-together.

Quintet mc
Quintet zippy

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Joanie Sommers, Laurindo Almeida - Softly, The Brazilian Sound

Bitrate: MP3@320K/s
Time: 37:14
Size: 85.3 MB
Styles: Bossa Nova, Easy Listening
Year: 1964/1997
Art: Front

[2:58] 1. Meditation
[3:16] 2. Dear Heart
[3:06] 3. Watching The World Go By
[2:49] 4. Quiet Nights (Corcovado)
[2:43] 5. Once
[3:21] 6. Softly, As I Leave You
[2:21] 7. I Could Have Danced All Night
[2:57] 8. I'll Remember April
[3:31] 9. You Can't Go Home Again
[3:23] 10. Carnival
[3:55] 11. Old Guitaron
[2:49] 12. That's All

Joanie had a great 'teen' hit in the early sixties called "Johnny Get Angry". But it was only a bit later when she released an album of Bossa Nova numbers that blew me away. Still a teen ager, I had landed a job with a local FM station and put Joanie's Bossa Nova on the air immediately. It was like a breath of fresh air. Her unique voice caressed subtle Bossa rhythms like a cool sea breeze. She handled rhythms and phrasing as subtly as Getz --lilting, gently swinging, precise. Listening to her ablbums are still like sipping Pina Coladas, barefoot on a sunset beach. Rio never had a better ambassador. The good news is: this sound is as fresh as ever. Timeless! This collection features some of the same songs that I remember from that sixites release --Quiet Nights and Meditation, specifically. But every song she touches, she makes hers. Joanie is definitely among the great vocalists. ~Len Hart

Softly, the Brazilian Sound

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Dan Siegel - Origins

Bitrate: MP3@320K/s
Time: 46:24
Size: 106.2 MB
Styles: Piano jazz
Year: 2018
Art: Front

[4:57] 1. Rite Of Passage
[3:41] 2. When One Door Closes
[4:45] 3. After All
[3:47] 4. Lost And Found
[5:10] 5. Arabesque
[4:54] 6. Moon And Stars
[5:10] 7. Strange Sky
[4:49] 8. Under The Sun
[5:02] 9. Crossing
[4:04] 10. Origins

According to his official biography keyboardist Dan Siegel has already released twenty solo albums. With Origins he has just launched his newest project. Anew a collaboration with bassist Brian Bromberg. Beside Dan and Brian are performing Allen Hinds (electric guitar), Ramon Stagnaro (acoustic guitar), Craig Fundyga (vibraphone), Rogerio Jardim (voice), Vinnie Colaiuta (drums) and Lenny Castro (percussion). All compositions and arrangements are by Dan.

Dan Siegel remains true to his well-established style, which moves in the melodious contemporary jazz without fashionable bonds and technical bells and whistles. His tried and tested team helps him realize his sonic dreams giving the listeners beautiful musical hours for a long time. ~Hans-Bernd Hulsmann

Origins mc
Origins zippy

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Kathy Kosins - All In A Dream's Work...

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 45:29
Size: 104,4 MB
Art: Front

(3:52)  1. I Can't Change You
(4:21)  2. Man Of My Dreams
(4:49)  3. Down To My Last Dream
(5:15)  4. Four
(3:28)  5. Lucky Guy
(4:27)  6. Nightfall
(4:33)  7. Goodbye To Nothing
(3:42)  8. Happy
(5:46)  9. Time Changes Everything
(5:13) 10. Your Smile

The subtitle that Schoolkids gave Kathy Kosins' debut album, All in a Dream's Work, was A Collection of New Standards a lofty, exaggerated subtitle, to be sure. When you're putting out a collection of mostly new, previously unrecorded material by an unknown singer, calling the songs "new standards" is incredibly presumptuous and amounts to excessive hype. But while All in a Dream's Work isn't full of songs that became well-known standards, it's a decent, if unremarkable, debut that ranges from Blue Note-ish hard bop to R&B/pop-influenced quiet storm offerings. The only song on the album that can honestly be called a standard is "Four," which was credited to Miles Davis but is said to have been written by Eddie "Cleanhead" Vinson most of the other tunes were co-written by Kosins. While "Man of My Dreams" exemplifies her quiet storm side, "I Can't Change You" and "Lucky Guy" are the type of hard-swinging bop items you would have expected to hear on a Blue Note session in the late 1950s or early '60s. 

If you took away Kosins' expressive vocals and let the songs be heard as instrumentals, it would be easy to picture them on an old Art Blakey, Hank Mobley, or Horace Silver date. This CD demonstrated that while Kosins couldn't be considered a composer of standards in 1995, she was a competent artist who was worth keeping an eye on. ~ Alex Henderson https://www.allmusic.com/album/all-in-a-dreams-work-mw0000175878    

Personnel: Kathy Kosins (vocals); Paul Shapiro (soprano saxophone); Walt Symanski, Walt Szymanski, Walter White (trumpet, flugelhorn); Bobby Routch (French horn); Jeff Franzel (piano); Warren Odze, Damon Duewhite, Steve Wolf, Pete Siers (drums).

All In A Dream's Work...

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Karel Boehlee Trio - Love Dance

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 66:15
Size: 151,9 MB
Art: Front

(6:34)  1. Love Dance
(8:16)  2. The Shadow Of Your Smile
(4:56)  3. The Change Of Charly
(5:53)  4. Calling You
(6:35)  5. The Goodbye Look
(6:46)  6. Search For Peace
(5:41)  7. Rocket Love
(5:12)  8. Old Friends
(5:37)  9. Dance Cadaverous
(4:09) 10. Meditation From 'Thais'
(6:29) 11. Dance Of The Lonely Butterfly

Karel Boehlee (April 23, 1960), a pianist and composer. From his youngest years Boehlee was a revelation in the Dutch jazz scene. From his birthplace he started from his 16th to play with various bands and jazz artists. His first records were an immediate success, especially in Japan. And since 1989 he was invited with his European Jazz Trio for several performances in Japan. Over the years, Boehlee emerged himself as one of the greatest pianists in the Netherlands which resulted in performances with the very greatest international jazz musicians. He has been playing for over twenty years as a pianist with such as Toots Thielemans and Philip Catherine. He also plays regularly with our national jazz greats like Toon Roos, Fay Claasen and Trijntje Oosterhuis. He is also in demand as a session musician with pop artists like Gino Vanelli and many others. His recognizable piano playing and compositions are also increasingly being asked in Japan, Korea where Boehlee increasingly performs as a solo artist. Besides his career as a pianist Karel Boehlee is also main piano teacher at the Conservatory van Amsterdam. https://karelboehleepiano.wordpress.com/bio/

Love Dance

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Horace Silver - Safari (1952-1954)

Styles: Bop, Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 67:54
Size: 158,1 MB
Art: Front

(2:49)  1. Safari
(2:55)  2. Thou Swell
(2:49)  3. Yeah
(3:48)  4. Horacescope (Horoscope)
(2:50)  5. Prelude To A Kiss
(3:11)  6. Ecaroh
(3:02)  7. Quicksilver
(2:49)  8. Knowledge Box
(3:28)  9. Opus De Funk
(3:01) 10. Day In, Day Out
(3:43) 11. How About You
(3:55) 12. I Remember You
(2:37) 13. Silverware
(3:05) 14. Buhaina
(6:45) 15. Doodlin'
(7:28) 16. Creepin' In
(5:22) 17. Room 608
(4:08) 18. Stop Time

Silver's music was a major force in modern jazz on at least four counts. He was the first important pioneer of the style known as hard bop, which combined elements of rhythm-and-blues and gospel music with jazz, influencing pianists such as Bobby Timmons, Les McCann, and Ramsey Lewis. Second, the instrumentation of his quintet (trumpet, tenor saxophone, piano, double bass, and drums) served as a model for small jazz groups from the mid-1950s until the late 1960s. Further, Silver's ensembles provided an important training ground for young players, many of whom (such as Donald Byrd, Art Farmer, Blue Mitchell, Woody Shaw, Benny Golson, and Joe Henderson) later led similar groups of their own. Finally, Silver refined the art of composing and arranging for his chosen instrumentation to a level of craftsmanship as yet unsurpassed in jazz. He is a prolific composer, and one of very few jazz musicians to record almost exclusively original material; his work consistently combines simplicity and profundity in a rhythmically infectious style, which, despite its sophistication, sounds completely natural. Several of his compositions have become jazz standards, including The Preacher, Doodliti, Opus de Funk, Seflor Blues, Nica's Dream, Sister Sadie, and Song for my Father. From the mid-1960s Silver has written lyrics as well as music for a series of three quintet recordings, The United States of Mind, and recorded a number of albums featuring the quintet with ensembles of brass, woodwind, percussion, voices, and strings. His quintet continued to tour regularly in the 1980s, performing a wide range of material from his impressive and influential library of original works. ~ Editorial Reviews https://www.amazon.com/Safari-1952-1954-Horace-Silver/dp/B0000060SB

Safari (1952-1954)

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Silkie - You've Got to Hide Your Love Away

Styles: Vocal, Pop/Rock
Year: 1965
File: MP3@256K/s
Time: 47:41
Size: 91,1 MB
Art: Front

(2:15)  1. You've Got to Hide Your Love Away
(3:59)  2. Times They Are A-Changin'
(4:22)  3. Mr.Tambourine Man
(3:05)  4. Close the Door Gently
(3:53)  5. Dylan's Dream
(2:47)  6. Girl of the North Country
(2:59)  7. Blowin' in the Wind (1965)
(2:04)  8. Blood Red River
(3:13)  9. Love Minus Zero-No Limit
(3:08) 10. It Ain't Me Babe
(2:21) 11. Tomorrow Is a Long Time
(3:01) 12. City Winds
(2:37) 13. Leave Me to Cry
(2:28) 14. Keys to My Soul
(2:56) 15. Born to Be With You
(2:27) 16. I'm So Sorry

?The Silkie's sole album was unobjectionable but bland mid-1960s harmony pop-folk, similar to Peter, Paul & Mary and the Seekers, but lacking as strong a repertoire and as much vocal power as Peter, Paul & Mary (and to a lesser degree the Seekers). No less than eight of the twelve songs were covers of early Bob Dylan songs, none of them particularly creative. The two group originals were also in the anodyne pop-folk mold, making their hit Beatles cover itself no match for the John Lennon-sung original the highlight of the LP.

The CD reissue on One Way strengthens the record considerably with the addition of all four songs (three of them group originals) from their two 1966 singles. While similar to the material on the album, there's a little more grit and pop sensibility to the melodies and arrangements, although in the virtual absence of percussion, it doesn't quite cross into full-fledged folk-rock. ~ Richie Unterberger https://www.allmusic.com/album/youve-got-to-hide-your-love-away-mw0000079541     

Personnel: Ivor Aylesbury, Mike Ramsden (vocals, guitar); Sylvia Tatler (vocals); Kevin Cunningham (double bass).

You've Got to Hide Your Love Away

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Vinnie Colaiuta, Robben Ford, Jimmy Haslip - Jing Chi

Bitrate: MP3@320K/s
Time: 67:10
Size: 153.8 MB
Styles: Fusion
Year: 2002
Art: Front

[8:04] 1. The Hong Kong Incident
[5:23] 2. Stan Key
[9:47] 3. Tengoku
[4:58] 4. Crazy House
[6:14] 5. Going Nowhere
[6:14] 6. Go Figure
[8:44] 7. Man In The Ring
[5:28] 8. In My Dream
[7:51] 9. Train Song
[4:22] 10. Aurora

Colaiuta: drums, programming; Robben Ford, guitars, vocals (5); Haslip: bass, keyboards, vocals (8); Brian Auger: organ (7); Dan Morris: tabla (5); Steve Tavaglione: EWI wind synthesizer, programming, keyboards.

Another Tone Center supergroup strikes gold. Ex-Zappa drummer Colaiuta joins Yellowjackets bassist Haslip and blues-jazz guitar god Ford for a pretty damned satisfactory fusion foray. The big ears and fleet fingers required to pull off music like this are present in spades, and Ford's pedigree revives the blues feeling that's been so often absent in jazz-rock outings.

This is actually a fairly relaxed set compared to some of the barn-burners Tone Center has released of late. The impression is that of three friends who decided to sit down and jam on a hot August night, aware of their chops but more interested in a tempered musical conversation. For the most part the strategy works well, keeping Jing Chi from falling into the usual trap of "sound and fury signifying nothing" that tends to plague fusion albums. Like many jazz combos, this bunch seems most at home with the blues, evidenced by Ford's rapturous wailing on tracks like "Crazy House."

There are some nice diversions here, particularly Ford's crystalline acoustic playing on a tense "Train Song" and his head-smashing metallicity on the opening of Colaiuta's "Aurora." Haslip takes a heavily synthesized vocal on the ethereal "In My Dream," a big change of pace. Colaiuta reminds us that he's a master of all kinds of grooves, his polyrhythms setting up obstacle courses for the strings to playfully navigate. Jazz-rock pioneer Brian Auger adds some hot organ to the cool drive of "Man in the Ring," and his interaction with Haslip at solo time is priceless. Steve Tavaglione's EWI synth and programming are present here and there for atmospheric support, buoyant but unobtrusive. This disc is yet another triumph for Tone Center and the great fusion revival. ~Todd S. Jenkins

Jing Chi mc
Jing Chi zippy

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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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