Michael Dease - Reaching Out

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 54:56
Size: 126,2 MB
Art:

(5:03)  1. Something In Common
(3:55)  2. Live And Let Die
(5:56)  3. Morning Shade
(4:57)  4. Tipping Point
(4:17)  5. More Than Words
(4:18)  6. Double Luminosity
(4:43)  7. The Takeover
(5:48)  8. Ballad
(6:11)  9. The Chameleon Eye
(4:15) 10. Blackfoot
(5:28) 11. Water Runs Dry

Somebody has to be the keeper of the flame, right? In jazz, an art form that has only recently passed the century mark, that responsibility has seemed to diminish in importance. It's not that music schools aren't churning out graduates versed in the traditional repertory, and post-modern players aren't constantly pushing the envelope of possibilities. It's just that we need more musicians like Michael Dease who, to quote Art Blakey, play jazz that "washes away the dust of everyday life." With Reaching Out, his fifth for Posi-Tone Records (a label whose mission is to throw accelerant on that flame) he doubles down on the joy of music making. He seems to always find kindred souls who share in his vision, as shown in previous recordings with the veterans Renee Rosnes, Lewis Nash, Steve Wilson, Christian McBride, and Rodney Whitaker. Here, he recruits two giants of the saxophone Ralph Bowen and Walt Weiskopf to interact with some younger talent players that have the makings of true believers.

What we mean by that is Dease prioritizes the happiness in his jazz. Take the opener, Cedar Walton's "Something In Common," or Steve Turre's "Blackfoot." Both are pieces that are overflowing with a joyful swing. The latter composition, modeled after "Cherokee," is delivered at an auctioneer's hyperspeed with Bowen and Dease chasing drummer Zach Adleman's turbocharged tempo. There is a return to the hipness factor in this music. Dease's original, "The Chameleon Eye," grabs memories of Lee Morgan's funkiness and injects some Herbie Hancock-like rhythm-intensive lines. The composition features the young and talented vibraphonist Behn Gillece (check out his Walk Of Fire (2017)). What makes Dease stand out is his love of melody and ability to craft arrangements to accentuate such. Perfect examples are the three cover tunes, Babyface's "Water Runs Dry," Paul and Linda McCartney's "Live And Let Die," and the 1990s hair metal band Extreme's "More Than Words." McCartney's title track to the James Bond movie of the same name is given all of the dramatic effect of the original, from it's most gentle beginnings to the soulful dramatics and swinging interludes. All of the covers here could, with lesser arrangements, become schmaltzy or sentimental. But like the masters, Coltrane's take on "My Favorite Things" or Miles' "Surrey With the Fringe On Top," Dease champions familiar music and makes it new again. ~ Mark Corroto https://www.allaboutjazz.com/reaching-out-michael-dease-posi-tone-records-review-by-mark-corroto.php

Personnel: Michael Dease: trombone; Ralph Bowen: tenor saxophone; Walt Weiskopf; tenor saxophone, alto saxophone; Behn Gillece: vibraphone; Luther Allison: piano; Peter Brendler: bass; Zach Adleman: drums.

Reaching Out

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Ray Parker Jr. - The Heritage Collection

Styles: Vocal And Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 41:20
Size: 94,9 MB
Art: Front

(4:38)  1. Jack And Jill
(3:24)  2. You Can't Change That
(4:07)  3. A Woman Needs Love
(4:00)  4. Ghostbusters
(4:06)  5. I Still Can't Get Over Loving
(4:17)  6. Jamie
(4:31)  7. For Those Who Like To Groove
(4:05)  8. The Other Woman
(3:55)  9. Two Places At The Same Time
(4:13) 10. Bad Boy

A brief collection of Ray Parker's bubblegum soul hits including the "Ghostbusters" monster from the movie of the same name. Every selection sounds as if it was tailored for 12- year-olds. His only attempts at being hard "Jamie," "For Those Who Like to Groove," and "Bad Boy"never quite get there. Still, the charm in lightweights like "You Can't Change That," "Jack and Jill," and "A Woman Needs Love (Just Like You Do)" is contagious. Someone should compile a CD of Ray's pre-Ray Parker, Jr. and Raydio recordings; he expressed himself more soulfully as a teenager fronting local Detroit groups like the Vows who waxed "When a Boy Loves a Girl."~ Andrew Hamilton https://www.allmusic.com/album/the-heritage-collection-mw0000052908

The Heritage Collection

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The New Wolverine Jazz Orchestra - Roll On Mississippi, Roll On

Size: 150,1 MB
Time: 64:02
File: MP3 @ 320K/s
Released: 1998
Styles: Jazz, Swing, Ragtime
Art: Front

01. Jazz Battle (2:35)
02. Keepin' Myself For You (3:25)
03. Roll On, Mississippi, Roll On (3:28)
04. Waste No Tears (2:19)
05. The Chant (2:06)
06. Blue River (4:06)
07. I'm Gonna Meet My Sweetie Now (2:51)
08. The Mooche (4:05)
09. There Ain't No Sweet Man Worth The Salt Of My Tears (3:37)
10. Sensation (2:22)
11. Japanese Sandman (3:11)
12. In A Mist (3:52)
13. Ol' Man River (3:08)
14. Candlelights (4:48)
15. Bessie Couldn't Help It (4:01)
16. Deep Harlem (3:27)
17. Susie (Of The Islands) (2:22)
18. Sweet Patootie (4:27)
19. Miss Annabelle Lee (3:42)

Inspired and influenced by jazz legend Bix Beiderbecke, this Sydney, Australia-based group has built a loyal U.S. following in recent years with well-received appearances at the Davenport, Iowa (birthplace of Bix) festival and other Midwestern gatherings. They tackle a number of songs associated with Bix, either because he recorded them or because he certainly would have played them given his extensive dance band career in the 1920s.

Roll On Mississippi, Roll On

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Peggy Lee - World Broadcast Recordings 1955

Size: 131,6+138,1 MB
Time: 55:31+58:25
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

CD 1:
01. That Old Black Magic (2:08)
02. My Romance (2:25)
03. Between The Devil And The Deep Blue Sea (2:13)
04. Love Me Or Leave Me (2:06)
05. 'deed I Do (2:03)
06. Autumn In New York (2:26)
07. Just One Of Those Things (2:14)
08. Let's Call It A Day (2:32)
09. Let There Be Love (2:06)
10. Come Rain Or Come Shine (2:25)
11. I May Be Wrong But I Think You're Wonderful (1:48)
12. I Feel A Song Comin' On (1:31)
13. You're Mine, You (2:30)
14. I Gotta Right To Sing The Blues (2:14)
15. Try A Little Tenderness (2:23)
16. Too Marvelous For Words (1:28)
17. I Get A Kick Out Of You (2:25)
18. What Is This Thing Called Love (2:16)
19. It's A Good Day (2:09)
20. I've Got It Bad And That Ain't Good (2:53)
21. Ac-Cent-Tchu-Ate The Positive (2:15)
22. Sans Souci (2:44)
23. Them There Eyes (1:46)
24. From This Moment On (2:14)
25. You (2:06)

CD 2:
01. The Surrey With The Fringe On Top (2:12)
02. My Ideal (2:20)
03. Oh What A Beautiful Morning (2:52)
04. You Do Something To Me (1:36)
05. I Never Knew (3:01)
06. What Can I Say After I Say Im Sorry (2:00)
07. What's New (2:07)
08. Almost Like Being In Love (1:55)
09. Fools Rush In (Where Angels Fear To Tread) (2:19)
10. Mean To Me (3:13)
11. My Future Just Passed (3:28)
12. People Will Say We're In Love (1:30)
13. It Ain't Necessarily So (3:19)
14. We Kiss In A Shadow (2:57)
15. Me (2:04)
16. Don't Worry 'bout Me (2:14)
17. Button Up Your Overcoat (1:58)
18. Somebody Loves Me (3:15)
19. Mountain Greenery (1:59)
20. Speak Low (3:23)
21. The Best Things In Life Are Free (1:37)
22. Hard Hearted Hannah (1:49)
23. Bye Bye Blackbird (3:01)
24. Taking A Chance On Love (2:03)

This 2-CD set is the first complete set of Peggy Lee's World transcription recordings. Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era on this opportinity with Pete Candoli on the trumpet, Stella Castellucci with harp, Gene DiNovi on piano, Bill Pitman with his guitar, Jack Costanzo on the bongos, Bob Whitlock with his bass, Larry Bunker on drums.

World Broadcast Recordings 1955 CD 1
World Broadcast Recordings 1955 CD 2

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Lilly - Tenderly (Feat. Gilad Hekselman)

Size: 99,7 MB
Time: 38:08
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Tenderly (4:15)
02. You Go To My Head (5:45)
03. Skylark (5:28)
04. First Song (3:43)
05. Voice From The Mountain (3:48)
06. Hvem Kan Sejle - Whistling Away The Dark (6:09)
07. You’re Everything (4:09)
08. Day Dream (4:48)

It all starts with a song. Two people and song. Gilad and Lilly. Guitarist and singer. One visiting Denmark as an artist in residence and the other living there. One among the foremost exponents of modern jazz guitar and the other an acclaimed vocalist and singer/songwriter, but still a secret outside her country.

Here they are on the album Tenderly. The result of a day's work in the studio with songs that are the work of a lifetime. Timeless songs. Duke Ellington's "Day Dream" and standards like "You Go to My Head" and "Skylark," but also more recent classics like the folk-icon Nick Drake's poetic "Voice from the Mountain."

Lilly, whose full name is Lilly-Ann Hertzman, and Gilad Hekselman sing these songs tenderly. Hekselman creates a lush tapestry of tones, a gentle architecture that supports the songs without holding them down to the ground. Along with Lilly, they fly into the sky and sunset. Tender songs. Songs of loving and living. A setup so simple and yet so complex. Phrasings filled with an understanding of space and pause. Guitar lines and vocal chords. Guitar chords and vocal lines. A symbiosis, a deep conversation, not chitter-chatter. Poetry sung tenderly. ~by Jakob Baekgaard

Personnel: Lilly: vocal; Gilad Hekselman: guitar.

Tenderly

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Hank Jones, Shelly Manne & Mads Vinding - In Copenhagen: Live At Jazzhus Slukefter 1983

Size: 142,1 MB
Time: 61:17
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Just Friends (6:58)
02. Au Privave (7:40)
03. Alone Together (9:47)
04. Stablemates (4:43)
05. It Could Happen To You (5:34)
06. Scrapple From The Apple (4:56)
07. Budo (7:01)
08. Tangerine (6:08)
09. What's New (8:24)

Born in 1918 in Vicksburg, Mississippi, Jones moved with his family to the Detroit area while still a child, and studied piano early, listening carefully to Art Tatum, Teddy Wilson, Earl Hines, and Fats Waller. He began playing in the midwest at age 13, and worked in territory bands. Jones met Lucky Thompson in one of these groups, and Thompson invited him to New York in 1944 to work with Hot Lips Page at the Onyx Club. Jones worked for a while with John Kirby, Howard McGhee, Coleman Hawkins, Andy Kirk, and Billy Eckstine, then began touring in 1947. He worked with Jazz at the Philharmonic, then accompanied Ella Fitzgerald from 1948 to 1953. Jones also cut many sessions for Norman Granz's labels in the late '40s and early '50s, many with Charlie Parker. He worked and recorded in the '50s with Artie Shaw, Benny Goodman, Lester Young, Milt Jackson, and Cannonball Adderley before joining CBS' staff in 1959. He worked on such programs as The Ed Sullivan Show and stayed with CBS until they disbanded the staff in 1976. He recorded several sessions with Savoy in the mid- and late '50s, playing with Donald Byrd, Herbie Mann, Wendell Marshall, and Kenny Clarke, among others. He also recorded solo and quartet dates for Epic. His quartet with Osie Johnson, Barry Galbraith, and Milt Hinton became one of New York's busiest during the early '60s, sometimes doing three dates a day. They cut albums for Capitol and ABC in 1958, though Galbraith missed the ABC sessions. Jones continued recording at Capitol, Argo, and Impulse in the early '60s, at times working with his brother Elvin. He made a host of recordings in the '70s. There were solo dates for Trio and Galaxy, and trio sessions for Interface and Concord, among others in the '70s. There were duo dates with Flanagan for Verve and Galaxy in the late '70s. Jones served as pianist and conductor for the Broadway musical Ain't Misbehavin in the late '70s. He also played in the Great Jazz Trio, originally with Ron Carter and Tony Williams. (Buster Williams replaced Carter on the trio's first recording date.) Jones continued with the trio into the '80s, though Eddie Gomez and Al Foster later became his mates, and Jimmy Cobb replaced Foster in 1982. The trio also backed Art Farmer, Benny Golson, and Nancy Wilson. Jones was the resident pianist at the Cafe Ziegfeld in the early '80s, and toured Japan with George Duvivier and Sonny Stitt. He kept his recording blitz going into the digital era. In 1989, he was named a National Endowment for the Arts Jazz Master. In 2004, he was awarded as an ASCAP Jazz Living Legend; five years later, he received a National Medal of Arts; and in 2009, Jones earned a Lifetime Achievement award at the Grammys. One year later, he died in the Bronx while in hospice, just a few weeks after returning from performance dates in Japan. ~ Ron Wynn

In Copenhagen

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Debbie Cunningham - A Million Kisses

Size: 100,0 MB
Time: 36:08
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. A Million Kisses (4:45)
02. Next Thing You Know (3:30)
03. Do You Love Me (3:16)
04. Will You Dance (2:32)
05. Kiss And Make Up (2:50)
06. Day Like This (2:32)
07. Do What Lovers Do (2:48)
08. Anniversary Song (3:31)
09. Here We Are (2:25)
10. Stay In Love (3:23)
11. A Million Kisses (Acoustic) (4:31)

This album is a collection of songs I wrote over the time of 5 years. A time when I saw many of my friends struggling in their marriages mid-life & getting divorced which made me incredibly sad. As a child of divorce, I have always been passionate about making love last in my marriage and investing in our relationship. But I totally get the struggle. Relationships are challenging but so worth the investment of time and commitment! I penned these songs to encourage couples in their journey of staying in love. I think marriage is so much like dancing…by the time you learn the steps, the music changes and there is another dance to learn, all while trying not to step on your partner’s toes.
It is fun but it does require practice to get better! However, when you finally get to the point where the 2 of you are gliding across the floor and moving at the right pace and in the same direction, it can be the most exhilarating experience you have ever known. This is the kind of love that is filled with a Million Kisses over a lifetime. That is exactly what I wish for you…... ~Debbie Cunningham

Personnel:
Lead Vocals & BGVs - Debbie Cunningham,
Keyboards- Barry Sames (tracks 3,4,5,6,7,8) & Jim Michie (tracks 1,2,10)
Bass: Upright & Electric- Matt McKenzie (tracks 1,2,6,7,8,10),
Upright - Todd Parks (tracks 3,4,5,9)
Drums: Dave Dunseath (tracks 1,2,10) & Josh Hunt (Tracks 3,4,5,6,7,8,9)
Auxiliary Percussion & Conga: Dave Dunseath (tracks 4, 10)
Guitar: Acoustic/Classical/Electric - Rex Schnelle (Tracks 1,2,4,10,11)
Midi Strings : Derek Cunningham (tracks 3,8,10)
Cello: Paul Nelson (track 8)

A Million Kisses

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Mike Harvey's Hot Club - Mike Harvey's Hot Club

Size: 116,0 MB
Time: 49:20
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Gipsy Jazz
Art: Front

01. Giorgio By Moroder (5:01)
02. Djaphunkta (3:50)
03. 50 Ways To Leave Your Lover (3:23)
04. Black And Tan Fantasy (4:09)
05. I Like To Ride My Bike (4:17)
06. Birdland (7:20)
07. Si Tu Vois Ma Mère (3:53)
08. Nuages (4:15)
09. Tico-Tico No Fuba (3:25)
10. October (2:01)
11. Blue Skies (3:59)
12. Life On Mars (3:40)

Personnel:
Mike Harvey: Violin
Mark Weliky: Guitar
Nathan Lambertson: Bass

Mike Harvey’s Hot Club employs the acoustic string instrumentation inspired by the legendary Quintette de Hot Club du France of the 1930s, and moves it into today’s context, drawing repertoire and a playing style not only from the classic gypsy jazz sound, but from many places, both past and present. While a show strictly depicting only the Django Reinhardt/ Stephane Grappelli hot swing repertoire is something very much in this group’s bag, they choose to push it forward with original compositions and arrangements of more modern tunes, while sprinkling the classic repertoire into their set, to pay homage, stay grounded, and keep happy those patrons who came out to see a Django band!

Mike Harvey’s Hot Club performs all of this with the virtuosity and expressiveness of seasoned jazz musicians who work full-time on the New Orleans scene. From wine bars to society functions to concert halls, their sound is always right at home.

Mike Harvey’s Hot Club is the progressive evolution of the sound Mike, Mark and Nathan developed previously with The Courtyard Kings, the now retired band that Mike led from 2005-2017. The Courtyard Kings released two albums, performed at the 2012 New Orleans Jazz and Heritage Festival, and did over 200 gigs per year at their peak. They held down Thursday nights at Bacchanal Wine from 2009-2017 until Mike decided to move forward under a new name, with changes in musical direction. Mike Harvey’s Hot Club currently occupies Thursday nights at Bacchanal Wine, along with other performances in New Orleans and beyond.

Mike Harvey's Hot Club

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Dawn Clement - Tandem

Size: 99,8 MB
Time: 36:38
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Blues For Wayne (3:43)
02. Ablution (2:39)
03. In The Wee Small Hours Of The Morning (3:23)
04. Sugar Cliff (8:00)
05. Memory (4:24)
06. Improvisation #3 (1:51)
07. Bemsha Swing (3:43)
08. My Ideal (4:54)
09. Stay Awake (3:57)

It only takes one listen to Tandem to understand that pianist-vocalist Dawn Clement is a people person with a penchant for trying different things. That openness to various individuals and action points shows itself to be the heart of this collection of duo performances.

Despite being a prominent presence on the Seattle scene, working with high profile leaders like soprano saxophonist Jane Ira Bloom, and having a handful of highly praised albums under her own name, Clement remains a sorely under-recognized artist. Her ability to inhabit many different head spaces, along with the high degree of comfort exhibited while residing in all of them, puts her in a class all her own. Whether playing "in" or "out," tackling a basic blues or exploring wending and winding changes, singing a standard or spinning out a captivating wordless line, she always manages to put her indelible stamp on what she creates.

For this all-too-brief date, Clement called on a few of her closest musical friends and colleagues to join her for some bidirectional banter on a track or two apiece. Some numbers play loose and free while others come across as polished works of art. And each resembles no other. Clement's "Blues For Wayne," with trombonist Julian Priester, opens on fractured lines with pauses before settling into a downhome direction; a trip through Lennie Tristano's "Ablution," tapping into the angular logic and contrapuntal ideals associated with its composer, finds Clement and saxophonist Mark Taylor gleefully crossing lines and finishing each other's thoughts; Thelonious Monk's "Bemsha Swing," with drummer Matt Wilson bringing his serious groove quotient to the party, is playful in its strutting temperament; and Clement's vocal work on standard "My Ideal," with bassist Michael Glynn supporting and soloing in solid fashion, speaks both to her commitment to the art of interpretation and her willingness to stretch. Looking beyond jazz of many stripes, Clement also makes a fine showing in the singer-songwriter realm while sharing space with vocalist/co-producer Johnaye Kendrick on the memorable "Memory."

Nine of the album's ten tracks prove to be about give and take or two-way talk, but Clement does find time to go it alone for one number—"In The Wee Small Hours Of The Morning," with a brighter-than-usual outlook. Rather than wrestle with the song's sorrows in darkness with a drink in hand, Clement looks toward the coming sunrise. It's just one more example of how she manages to find her own way in even the most well-trodden of spots. While there's less than forty minutes worth of music on this one, all of them are worth savoring. Don't lament what's missing. Enjoy what's here. ~Dan Bilawsky

Personnel: Dawn Clement: piano, vocals; Julian Priester: trombone (1, 7); Johnaye Kendrick: vocals (2, 6), harmonium (2); Mark Taylor: alto saxophone (3, 5); Matt Wilson: drums (8, 10); Michael Glynn: bass (9).

Tandem

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Caterina Valente - The Jazz Singer

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 67:24
Size: 155,3 MB
Art: Front

(3:09)  1. After You've Gone
(2:24)  2. I Ain't Gonna Tell You
(2:33)  3. They Can't Take That Away from Me
(2:16)  4. Pennies from Heaven
(2:59)  5. Is You Is or Is You Ain't My Baby
(3:22)  6. Good Morning Blues
(3:39)  7. I Only Saw Him Once
(3:37)  8. Just You, Just Me
(9:42)  9. Festival Jump
(3:32) 10. Jazz Invention
(3:04) 11. Aquarela do Brasil
(2:58) 12. El Negro Zumbon (Anna)
(3:22) 13. El Cumbanchero
(3:18) 14. Granada
(3:15) 15. Cuba bei Nacht
(4:35) 16. Ouverture zu einem verlorenen Traum
(6:40) 17. I'll Remember April
(2:50) 18. Bonus: All the Things You Are (Without Caterina Valente)

Caterina Valente (b. January 14, 1931, Paris, France) was born into an Italian circus family. Her mother was a clown and her father was an accordion player; as a child she worked in the circus as well. She performed in Europe as a singer for several years, but her career as an internationally known vocalist began in 1953 when she joined Kurt Edelhagen's band in Germany. She was soon signed to Polydor and made her recording debut for the label the same year. Her first big hits came soon after that. Two songs written by Cuban composer Ernesto Lecuona charted in Europe and eventually England and the U.S. "Malagueña" was her first big hit, followed by "Andalucia," which, when re-released in an English version as "The Breeze and I," became a Top Ten hit in both the U.K. and the U.S. By this time, Valente had become a truly multilingual artist, performing her cabaret act and issuing recordings in six languages: French, German, Italian, English, Spanish, and Swedish. During the '50s and '60s she notched hits in the charts of many countries, including Italy ("Till," "Personalita," "Nessuno al Mondo"), Germany ("Ganza Paris Träumt von der Liebe," "Wo Meine Sonne Scheint," "Steig in das Traumboot der Liebe"), and France ("Bimbombey," "39 Fievere," "Saitôn-Jamais"). Her version of "La Golondrina" appeared on one of the first charity albums, 1963's All Star Festival. The proceeds from that album went to aid refugees. In the mid-'70s, Valente married her musical director, British jazz pianist Roy Budd, although the marriage was short-lived. She continued recording into the mid-'80s, issuing Caterina 86, a recording made with the Count Basie Orchestra. ~ Stacia Proefrock  https://www.allmusic.com/artist/caterina-valente-mn0000166279/biography

The Jazz Singer

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Bruce Forman - Coast To Coast

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 38:26
Size: 90,2 MB
Art: Front

(6:11)  1. Lover Man
(3:28)  2. Slow Boat To China
(6:23)  3. Her Name
(3:53)  4. Chasin' The Blues
(6:00)  5. Common Touch
(5:09)  6. D.S. Al Detroit
(7:19)  7. Senor Seven

Held in high esteem throughout the international jazz scene, Bruce's experiences range from stints with Richie Cole to playing with Freddie Hubbard, Joe Henderson, Ray Brown and legions of other jazz greats. Known for his swinging bebop style phrasing and inventive harmonization's his ability earned him a participation on the music of the Clint Eastwood film 'Million Dollar Baby'. 

Stand out tracks are Slow Boat to China recorded in the Choice New York Studio and Senor Seven, made in San Francisco. ~ Editorial Reviews https://www.amazon.com/Coast-Bruce-Forman/dp/B006I01JQU

Personnel:  Bruce Forman  (guitar);  Dick Hindman (piano);  Peter Barshay &  Rich Gerard  (bass);  Scott Morris (drums);  Frank Martin (keyboard);  Kent Cohea (flute) .

Coast To Coast

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Dan Siegel - Another Time, Another Place

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 32:00
Size: 73,5 MB
Art: Front

(4:35)  1. The Picnic
(4:51)  2. Celestial Body
(4:06)  3. Another Time, Another Place
(2:42)  4. Dark Star
(4:28)  5. Where Are You Now
(3:12)  6. New Jungle
(4:11)  7. A Sentimental Memory
(3:51)  8. Little Creek

Dan Siegel (born in Seattle, Washington) is a pianist, composer, and record producer. His earlier music has been described as new age, while his more recent work has been called contemporary jazz. Siegel was born in Seattle, Washington and raised in Eugene, Oregon. When he was eight, he began piano lessons, and at 12 he was performing professionally in a rock band. He went to the Berklee College of Music in Boston, then the University of Oregon. After college, he started recording his own compositions. He signed with the jazz record label Inner City Records and recorded his first album, Nite Ride (1980). His second album, 

The Hot Spot (1982), reached the top ten of the jazz chart in Billboard magazine. He moved to Los Angeles and composed music for movies and television. In 1986 he signed with Epic Records and released a series of smooth jazz albums. http://www.wikiwand.com/en/Dan_Siegel_(musician)

Another Time, Another Place

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Till Brönner & Dieter Ilg - Nightfall

Styles: Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 50:07
Size: 118,6 MB
Art: Front

(4:40)  1. A Thousand Kisses Deep
(4:51)  2. The Fifth of Beethoven
(3:19)  3. Nightfall
(5:46)  4. Nobody Else But Me
(6:10)  5. Air
(3:23)  6. Scream & Shout
(2:56)  7. Wetterstein
(3:23)  8. Eleanor Rigby
(3:35)  9. Peng! Peng!
(5:11) 10. Body & Soul
(6:49) 11. Ach, bleib mit Deiner Gnade

Some musical constellations are so obvious that the question arises why they hadn’t become reality long ago. And when they finally do see the light of day, they appear so familiar to us as if we’d known them for ages. One of these constellations is the duo formed by the trumpeter Till Brönner and the bass player Dieter Ilg. They are, in the full sense, soul-mates, no matter how threadbare the term might sound. They often seek to do the very same thing on their antithetical instruments, even if they express it in quite different ways. As a result, they fit each other to a tee. This osmosis is now plain to hear on their joint début album, Nightfall. The choice of pieces is sufficient proof that the musicians did not want to pin themselves down to a fixed classification or pigeonhole. If jazz was ever an expression of individual liberty, then this independence is manifest here, devoid of myths, in their approach to the material and their spontaneous treatment of it. Anything can be done if you only want to do it, and Brönner and Ilg certainly do. Songs by Leonard Cohen, the Beatles and Britney Spears, pieces by Jerome Kern, Johnny Green and Ornette Coleman, compositions by Johann Sebastian Bach and Melchior Vulpius, even a few creations of their own: the range of intentions and influences on display is almost unparalleled. In each song the two men find inventive new angles and perspectives. There aren’t any solos in the classical jazz sense. As in any good conversation that unfolds naturally, the lines of argument fall now on one side, now on the other. The flow of thoughts is completely free. It’s pressed here into a narrow riverbed only to expand a moment later into a broad delta. Nightfall is many things at once. It’s a début album and, at the same time, the fruit of a long and intensive collaboration between two great storytellers. It’s at once a consummation, a stocktaking and a promise for the future. It’s a resolute dismissal of entrenched prejudices and a passionate affirmation of the freedom and miracle of jazz. The organic blend of willful abandon and understatement celebrated on this album is anything but run-of-the-mill. Not least of all, the album is a refreshing counterfoil in the age of perfectionism. It projects the cathartic discovery that no matter how much one has achieved in life, it’s always worth starting from scratch, over and over again. And if proof is needed, here it is! 

Nightfall

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John Campbell - Workin' Out

Bitrate: MP3@320K/s
Time: 62:08
Size: 142.3 MB
Styles: Piano jazz
Year: 2001
Art: Front

[ 7:20] 1. Four In One
[10:08] 2. Sky Dive
[ 8:29] 3. Duke Ellington's Sound Of Love
[ 3:30] 4. Steps
[ 7:17] 5. Maiden Voyage
[ 6:56] 6. Wonderful
[ 4:34] 7. Fall
[ 8:52] 8. Sea Journey
[ 4:59] 9. I Waited For You

A powerful pianist who often gets overlooked, John Campbell is heard in top form throughout this trio set. Teamed with bassist Jay Anderson and drummer Billy Drummond, Campbell makes such tunes as Thelonious Monk's "Four In One," Freddie Hubbard's "Sky Dive," Wayne Shorter's "Fall" and Chick Corea's "Sea Journey" sound simple. This consistently enjoyable and often hard-swinging set serves as a perfect introduction for listeners who are not familiar with the brilliant playing of John Campbell. ~Scott Yanow

Workin' Out mc
Workin' Out zippy

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Denise King, Massimo Farao Trio - La Vie En Rose

Bitrate: MP3@320K/s
Time: 54:09
Size: 124.0 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[5:47] 1. Save Your Love For Me
[4:35] 2. The Shadow Of Your Smile
[6:11] 3. Skylark
[5:08] 4. La Vie En Rose
[6:27] 5. Estate
[5:29] 6. The Very Thought Of You
[5:16] 7. My Romance
[3:23] 8. Let's Do It
[4:51] 9. I've Got A Crush On You
[5:15] 10. Do It Again
[1:42] 11. Where Or When

Denise King, vocals; Massimo Farao', piano; Aldo Zunino, bass; Steve Williams, drums.

Denise King is a singer whose naturally beautiful voice, vibrato and phrasing please musicians as well as fans. Listening to her warm tone, impeccable phrasing, and the absolute control she has of her voice is mesmerizing. Whether she’s singing a Billie Holiday, Ella Fitzgerald or Sarah Vaughan standard, or an Aretha Franklin cover, she puts her heart and soul into every note. Denise has mastered the art of making a song her own no matter what the genre.

In the past 25 years, Ms King has sung at almost all of the top venues in Philadelphia, several in New York, Paris, Turkey, Brazil, Africa, Germany and Japan. She is a self-proclaimed torch bearer, a keeper of the flame holding the preservation and presentation of the traditional style of jazz singing close to her heart. No gimmicks, no pyrotechnics, just an intense focus on the melody and the lyrical content.

With a voice described as velvet smooth, warm and steeped in sophistication, she captivates you and holds you with every note. In this age of auto-tune, quick fixes and artistic gimickery, her love of people, performance style, and energy have ensured her a spot in the jazz community for a long time.

"Denise King sings pop and jazz standards with touches of the blues, soul and even gospel in a voice steeped in a sophisticated, swinging, sometimes soulful, satin style much like one of her idols, Sarah Vaughan." ~ All About Jazz

La Vie En Rose mc
La Vie En Rose zippy

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Sonny Stitt - Just In Case You Forgot How Bad He Really Was

Bitrate: MP3@320K/s
Time: 65:12
Size: 149.3 MB
Styles: Saxophone jazz
Year: 2009
Art: Front

[ 5:25] 1. Dig Dr. Woody
[ 7:09] 2. Star Eyes
[ 3:13] 3. Everything Happens To Me
[ 5:44] 4. The Night Has A Thousand Eyes
[12:11] 5. Ballad Medley: How Deep Is The Ocean, Smoke Gets In Your Eyes, My Foolish Heart, Over The Rainbow, Serenade In Blue
[ 3:50] 6. Solo Excerpt
[11:44] 7. Lover Man
[ 4:08] 8. Laura
[10:14] 9. Wee
[ 1:31] 10. Outro

Recorded at the Keystone Korner in San Francisco less than a year before saxophonist Sonny Stitt suffered a fatal heart attack, this 65-minute session includes saxophonists Richie Cole and John Handy, pianist Cedar Walton, bassist Herbie Lewis, drummer Billy Higgins, and vibraphonist Bobby Hutcherson. The jam session, billed as a "bebop alto summit," was recorded before an enthusiastic club audience over a two night period and produced by Dr. Herb Wong, but never released. With about half the session spotlighting the leader on both alto and tenor, and with impeccable sound recording, the comfortable session is a welcome surprise, and presents Sonny Stitt in fine performing form.

Jazz critic Dr. Herb Wong produced the 1981 session and provides the liner notes. The opening track, "Dig Dr. Woody," is Stitt's tribute to the dentist who had recently reconstructed the saxophonist's front teeth with a fixed bridge; that dentist was Dr. Woody Wong, brother of Dr. Herb Wong. On "Dig Dr. Woody" and "The Night Has A Thousand Eyes," Stitt works out on tenor accompanied by the veteran rhythm section, and evokes moods ranging from loose and comfortable to quasi-dramatic. Similarly, Stitt sits in the solo spotlight for the ballads "Everything Happens To Me" and "Laura," this time on alto. The saxophonist offers a firm lyrical approach to the ballad, maintaining spirit throughout and seeming to enjoy the opportunity to express.

This "bebop alto summit" approach allows room for solo choruses from each of the member of the ensemble as well as ample three-saxophone interplay. "Star Eyes," "Wee," and "Lover Man" provide space for the alternating soloists. On alto, Stitt, Cole, and Handy exhibit slightly different timbres, in much the same way that singers possess distinctive voices. For "Lover Man," Stitt opens and closes the number, turning it over to Handy, Hutcherson, Walton, and Cole in that order. Each has a lot to say, and again on "Wee" this order of soloing is preserved, except for Walton's piano solo and Higgins' extended drum solo. The medley of ballads affords an opportunity for Stitt, Cole, Hutcherson, Walton, and Handy to accept the feature for a song each. The individual solo work, the ensemble interaction, and their effect on the enthusiastic audience make this a memorable session. Highly Recommended. ~Jim Santella

Just In Case You Forgot How Bad He Really Was mc
Just In Case You Forgot How Bad He Really Was zippy

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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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