Bob Reynolds - Guitar Band

Bitrate: MP3@320K/s
Time: 70:56
Size: 162.4 MB
Styles: Saxophone jazz
Year: 2017
Art: Front

[ 6:39] 1. Unlucky
[10:24] 2. Blues For Charlie
[15:52] 3. Crush
[12:13] 4. Mulholland
[12:39] 5. Down South
[13:06] 6. Can't Wait For Perfect

Bob Reynolds — tenor saxophone; Nir Felder — electric guitar; Mark Lettieri — electric guitar; Kaveh Rastegar — electric bass guitar; Robert “Sput” Searight — drums. Recorded live at The Blue Whale, Los Angeles, CA, on January 21, 2016.

This record happened by accident.

I had a night booked at The Blue Whale—a killer jazz club in Los Angeles—but hadn’t yet selected a band. While touring with Snarky Puppy, I got talking with Mark and Sput about NAMM (a music convention held each January, south of Los Angeles). They were both going to be in town for it so I asked them to join me at the Whale. Then I asked Kaveh (bassist in Kneebody, among other bands). We'd performed together recently and I was looking for an excuse to play again. Then I found out Nir (who I'd been playing with for awhile) was going to be in town from New York. Perfect! This was my chance to experiment with a two-guitar band.

Ever since playing in John Mayer’s band, I’d wanted to lead a guitar-based group. John had three guitarists (including himself) in his touring band. This meant a lush cushion of guitar-y goodness enveloped every solo I played. Imagine the best mattress and pillow combination you’ve ever experienced. It feels like that. But of course, it’s not just the guitar. It’s the player.

Excited by the idea of this group, I decided to borrow a page from the Snarky Puppy playbook and film it. There was one catch: we had no time to rehearse, and barely a sound check. I’d played with each of these guys in different scenarios, but never as a unit. So we set up in a circle, surrounded by an audience and five cameras, and played these tunes together for the first time. No pressure! I thought we might get two or three good videos out of it. We got more. Alex Chaloff and his team captured not only gorgeous video but stunning audio. When I heard the result I realized this needed to be its own album. So here it is. Live. Raw. Filled with an energy that comes only from tight-rope walking in front of an audience. My younger self would hear only the “mistakes.” My current-age-self hears the magic. I hope you hear it, too. ~Bob Reynolds

Guitar Band mc
Guitar Band zippy

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Justin Hayward - Classic Blue

Bitrate: MP3@320K/s
Time: 57:29
Size: 131.6 MB
Styles: Vocal
Year: 1989
Art: Front

[3:18] 1. The Tracks Of My Tears
[7:11] 2. Macarthur Park
[2:26] 3. Blackbird
[4:48] 4. Vincent
[3:28] 5. God Only Knows
[3:49] 6. Bright Eyes
[4:23] 7. A Whiter Shade Of Pale
[4:14] 8. Scarborough Fair
[3:18] 9. Railway Hotel
[3:24] 10. Man Of The World
[5:10] 11. Forever Autumn
[4:16] 12. As Long As The Moon Can Shine
[7:39] 13. Stairway To Heaven

Here is where Justin's vocal talents are on showcase. No strong guitar or exceptional tune crafting present. He nails Simon & Garfunkel, Beatles, and Led Zep tunes adroitly and with ease. These renditions with MacArthur Park and other lesser known tunes shine through the talent and ability Justin has. A great, great piece of work for anyone looking to see someone who easily stands toe-to-toe with Sinatra, Bennett and others! ~Bill Chaffin

Classic Blue mc
Classic Blue zippy

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Cool Jazz Trio - Take 8

Bitrate: MP3@320K/s
Time: 39:58
Size: 91.5 MB
Styles: Contemporary jazz
Year: 2012
Art: Front

[6:09] 1. Beautiful Love
[3:24] 2. Emily
[4:59] 3. I Should Care
[5:20] 4. For Heaven's Sake
[6:06] 5. I'm Old Fashioned
[3:14] 6. Here's That Rainy Day
[4:45] 7. You'd Be So Nice To Come Home To
[5:58] 8. Prelude To A Kiss

Claudio Chiara (sax alto); Moreno D'Onofrio (chitarra); Luciano Milanese (contrabbasso).

COOL JAZZ TRIO A band named after one the most important and fertile period of jazz, with an appropriate repertorie, marks a specific aesthetic direction. It means above all belief, since the beginning, in a world maybe forgotten but rich in truth and beauty, emotions and poetry. “Cool” here means intimate, fresh and colloquial, rather than an aseptic recall to typical atmospheres such as Lennie Tristano’s o Gil Evan’s and Miles Davis’ ones. Unfortunately, these are qualities musicians shows less and less, not only in Italy.

Well, these three musicians gcing each other their han turn all this features into their own artistic belief all along. certainly not for revival cultural acquiescence but to obey to an intrinsic philosophy, an urgency which can be expressed just this way.

Take 8 mc
Take 8 zippy

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Bill Meyers - The Color Of Truth

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 40:32
Size: 94,1 MB
Art: Front

(4:10)  1. Style
(4:26)  2. Color of the Truth
(5:23)  3. I'm Still Standing
(2:33)  4. Sounds of Rhythm
(4:28)  5. Perfect Crime
(3:23)  6. Fanfare
(4:29)  7. Just Say the Word
(4:12)  8. Say What You Mean
(4:34)  9. Halfway There
(2:50) 10. From a Distance

For a label purporting to be a contemporary jazz outfit, it's curious that Agenda's first two releases were pop/vocal albums (the first was David Lasley's fine Soldiers on the Moon). Perhaps keyboardist/arranger Meyers, who can sing but not exceptionally well (à la David Foster), should've focused on instrumentals since the perky "Fanfare" and the pretty, new age closing piece "From a Distance" are the most likable tunes here. As a pop tunesmith, Meyers is on the average side, much more provocative lyrically than memorable musically, and his voice is no match for his keyboard expertise. Still, the album does have its moments. "Just Say the Word" is a potential soft rock hit and "The Sounds of Rhythm" shows some imagination. Meyers also has some good backing players on hand, most notably Brandon Fields, Mike Landau, Jeff Porcaro, Vinnie Colaiuta, and onetime Styx guitarist Glen Burtnik. Meyers, who has played with and arranged for Earth, Wind & Fire and Madonna, seems to fancy himself a pop artist, but this platter makes it clear that he should be satisfied being a great musician. ~ Jonatham Widran https://www.allmusic.com/album/color-of-the-truth-mw0000316081

Personnel: Bill Meyers (piano, keyboards, synthesizer).

The Color Of Truth

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Ben Wendel - What We Bring

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 46:29
Size: 120,3 MB
Art: Front

(6:08)  1. Amian
(4:31)  2. Fall
(5:17)  3. Spring
(4:55)  4. Doubt
(6:23)  5. Song Song
(6:43)  6. Soli
(5:50)  7. Austin
(6:39)  8. Solar

Ben Wendel can be considered the kind face of the Kneebody -band high-voltage adrenaline which is a founding member-feature that highlights mainly in his work as a leader. This is also the case of thisWhat We Bringalbum in which he makes use of the talent of Gerald Clayton , pianist who embodies the large group of musicians anchored to the straight ahead tradition and committed to refreshing it with the ferments of contemporaneity. What We Bring says Wendel in the cover notes is a work dedicated to teachers of the past and current musicians who have influenced not only musically. But we do not find in it any trace of nostalgia or commemorative rhetoric only a good dose of affection and a strong personality. As it happens in the initial "Amian." The references to the coltraniana "Naima" suggest nothing of the incipit, then the song stands out for other shores, on the wings of one of the leader full of pathos and essential, sweet without fuss, the original mood recreated to perfection but pulsating own life. And so, song after song, Wendel offers his personal perspective of jazz that has been and of jazz that will be, without clamor or revolutions, with the brilliance and good taste that distinguish it, as highlighted by the "Solar," perfect davisiana conclusion for a class album.~ Vicenzo Roggero https://www.allaboutjazz.com/what-we-bring-ben-wendel-motema-music-review-by-vincenzo-roggero.php

Personnel: Ben Wendel: sax (tenor), bassoon; Gerald Clayton: piano; Joe Sanders: double bass; Henry Cole: battery; Nate Wood: percussion.

What We Bring

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Dion - Kickin Child: The Lost Album 1965

Styles: Vocal, R&B

Year: 2017

File: MP3@320K/s

Time: 44:00

Size: 103,0 MB

Art: Front

(3:02)  1. Kickin' Child

(2:42)  2. Now

(2:10)  3. My Love

(2:54)  4. I Can't Help But Wonder Where I'm Bound

(3:15)  5. Wake Up Baby

(2:46)  6. Time in My Heart for You

(2:48)  7. Tomorrow Won't Bring the Rain

(2:40)  8. Baby, I'm in the Mood for You

(2:54)  9. Two Ton Feather

(2:57) 10. Knowing I Won't Go Back There

(3:29) 11. Farewell

(3:33) 12. All I Want to Do Is Live Life

(2:25) 13. You Move Me Babe

(3:34) 14. It's All Over Now, Baby Blue

(2:43) 15. So Much Younger

As much of a pleasure it is to hear Dion DiMucci's voice throughout Kickin' Child and it is a great pleasure indeed even if you never traversed the path from "Runaround Sue" to "Abraham Martin & John" there's no denying the all too obvious sources of the music. Even the cover photo hearkens to Bob Dylan's Freewheelin' (Columbia, 1963) career phase, wherein he first experimented with the accompaniment of an electric band. And the transparently imitative nature of the recordings should hardly come as a surprise, since this record, subtitled The Lost Album 1965 , is part of a continuum including previous archive releases Bronx in Blue (SPV, 2006) and Bronx Blues: The Columbia Recordings 1962-1965 (Legacy, 1991). The overseer of all but three cuts here, Tom Wilson is the same producer who, without the knowledge of the artist, overdubbed electric guitars and a rhythm section on the otherwise acoustic arrangement of Simon and Garfunkel's "The Sounds of Silence," thus turning it into a hit comparable to other folk-rock pinnacles of the times, including The Byrds' "Mr. Tambourine Man," followups to which "Now" resembles more than a little too readily. There are even more obvious precedents outside DiMucci's early oeuvre. For instance, his self-conscious vocal phrasing on "Kickin' Child," is an overt emulation of Bob Dylan in his transition from the socially-conscious folk troubadour to the freewheeling visionary that wrote "Mr Tambourine Man." "My Love" sounds like DiMucci was trying a re-write of "Love Minus Zero No Limit" and if he wasn't trying to telegraph his sources on the final track, "So Much Younger," he wouldn't have preceded that tune with Dylan's own "It's All Over Now Baby Blue," and thus drawn so direct a line to the latter's "My Back Pages." Dion cannot conjure the same gleeful abandon as the author on "Baby I'm In the Mood For You" and he strains for the off-kilter, humorous of "Subterranean Homesick Blues:" with "Two Ton Feather:" abstraction is not DiMucci's strong point. Nor is he inspiring the musicians accompanying him here. This ever-so-careful reading of Tom Paxton's "I Can't Help but Wonder Where I'm Bound" suits the by-the-numbers compositional style: it's played in as rote a fashion as it's written. Meanwhile, the DiMucci original "Knowing I Won't Go Back There" is somewhat spirited in the accompaniment from the Wanderers-guitarist Johnny Fabio, bassist Pete Fasciglia and drummer Carlo Mastrangelo-but studio savant Al Kooper appears with this complement of players to further replicate the sound of The Byrds of the time with "Now" (and the absence of twelve-string guitar doesn't camouflage the intent or the end result).

It should be noted too that Wilson is the man who shepherded Bob Dylan through many of his studio sessions during this era, so it should come as even less surprise-Dion reportedly having been introduced to the blues by The Bard's other mentor, Columbia Records' John Hammond-that so much of the work here is purely derivative of Dylan, even apart from the direct covers of "Farewell," among others. The imitative transparency that permeates Kickin' Child is that of a musician, usually a fledgling artist in the process of cutting his/her teeth on roots as a means to discover a distinctive personal voice. Dion DiMucci's had already established such a singular voice by this time, based on his tremendous commercial success in the late fifties and early Sixties and it is to his credit that, apparently introduced to the blues by Columbia Records executive John Hammond, he was earnestly moved to pursue a different artistic direction. In his thorough liner notes Scott Kempner suggests, perhaps unintentionally, that the intent of this collaboration wasn't purely artistic, but an equally mercenary means to revive a career. And yet, apart from those cuts, if it were not for preconceptions based on DiMucci's previously established image, this work might well have been better received at the time, even if it sounds ever so calculated now: therein, no doubt, lies the reason that it was never released under the Columbia Records aegis and now comes out on the niche/specialty label Norton. All that said, any musiclover who dotes on this particular style from the mid-Sixties is bound to relish Kickin' Child -The Lost Album 1965 , simultaneously savoring Dion's fulsome, effortless singing as a major component of that pleasurable sensation. ~ Doug Collette https://www.allaboutjazz.com/kickin-child-the-lost-album-1965-dion-dimucci-norton-records-review-by-doug-collette.php

Personnel: Dion DiMucci: guitar, vocals; Johnny Falbo: guitar; Pete Fasciglia: bass; Al Kooper: keyboards; Carlo Mastrangelo: drums.

Kickin Child: Lost Columbia Album 1965

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The Nashville All-Stars - After The Riot At Newport

Styles:Jazz, Big Band
Year: 1960
File: MP3@320K/s
Time: 42:35
Size: 99,7 MB
Art: Front

(11:10)  1. Relaxin'
( 3:18)  2. Nashville To Newport
( 6:14)  3. Opus De Funk
( 4:36)  4. 's Wonderful
( 4:39)  5. 'round Midnight
( 3:37)  6. Frankie And Johnny
( 8:57)  7. Riot-Chorus

The Nashville All-Stars is a group of Nashville sessionmen, including pianist Floyd Cramer, saxophonist Boots Randolph, Gary Burton, Hank Garland, and Chet Atkins. Their debut, After the Riot in Newport, is a surprisingly jazzy effort, highllighted by some excellent leads by Atkins, yet it is a bit too down-home for jazzbos, and a bit too polished for country fans. Nevertheless, fans of pure musicianship will find plenty to treasure on the album. ~ Thom Owens https://www.allmusic.com/album/after-the-riot-at-newport-mw0000654918

Personnel: Chet Atkins, Hank Garland (guitar); Brenton Banks (violin, piano); Boots Randolph (alto saxophone, tenor saxophone); Floyd Cramer (piano); Gary Burton (vibraphone); Buddy Harman (drums).

After The Riot At Newport

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Laila Biali - Laila Biali

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 56:08
Size: 129,4 MB
Art: Front

(3:14)  1. Got to Love
(5:17)  2. We Go
(5:06)  3. Satellite
(4:42)  4. Yellow
(5:25)  5. Refugee
(4:35)  6. Dolores Angel
(4:54)  7. Queen of Hearts
(4:22)  8. Serenbe
(4:45)  9. Code Breaking
(3:37) 10. I Think It's Going to Rain Today
(5:21) 11. Wind
(4:45) 12. Let's Dance

The raven-haired musician has won awards (SOCAN Composer of the Year and Keyboardist of the Year at Canada’s National Jazz Awards) and played the world’s most prestigious venues (North Sea Jazz Festival, Tokyo’s Cotton Club, Carnegie Hall). She’s toured with GRAMMY award winners (Chris Botti, Paula Cole, Suzanne Vega) and recorded with an international icon (Sting). In short: She’s established herself as one of Canadian jazz’s brightest young stars. And now, almost two decades into a successful career, she’s ready for a change. “It’s been a long time coming,” Laila says of her upcoming self-titled album. “I’ve been playing music professionally for years but this album feels, in a way, like a new beginning.” Led by the funky single, “Got to Love,” LAILA BIALI is the culmination of everything the acclaimed singer-songwriter has achieved thus far. “Writing this album, I felt like a kid in a candy store, wanting to try everything,” Laila explains. “It took some time for me to find my voice as a songwriter, and I didn’t want to pigeonhole myself into any one particular genre.”

The end result is an eclectic-but-focused album that Laila describes as “fully representative.” “There are elements of improvisation, so the jazz is there,” she says. “There’s also an edgier songwriting persona that I think has always been there but took some time to hone in on.” Catchy, sophisticated, and unlike anything currently on the radio, it’s pop music, but not the kind that can be neatly tagged by an algorithm. Melodies take thrilling left turns and pre-choruses give way to instrumental interludes. One minute Biali is soaring over a bluesy storm of handclaps and hard-charging keyboard riffs (“Got to Love”), the next she is pouring out her soul on an impassioned, slow-burning plea for empathy (“Refugee.”) It’s pop music, but the experimental, distinctly human variety popularized by Regina Spektor, Rachael Yamagata, and Sara Bareilles. Balancing the competing impulses was a challenge, but the final outcome was worth it. “I’m more excited about this record than any other project of mine to date,” Laila declares. Fans should be too. http://lailabiali.com/bio/

Laila Biali

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Zoot Sims, Henri Renaud - Zoot Sims Avec Henri Renaud Et Son Orchestre

Bitrate: MP3@320K/s
Time: 33:56
Size: 77.7 MB
Styles: Bop, Swing
Year: 1956/2002
Art: Front

[5:02] 1. Captain Jetter
[7:22] 2. Nuzzolese Blues
[4:18] 3. Everything I Love
[3:21] 4. Evening In Paris
[5:35] 5. On The Alamo
[3:23] 6. My Old Flame
[4:53] 7. Little Jon Special

Bass – Benoit Quersin; Drums – Charles Saudrais; Piano – Henri Renaud; Tenor Saxophone – Zoot Sims; Trumpet – Jon Eardley. Recorded in Paris, 15th & 16th March 1956.

Splendid japanese reissue of ultra rare french only jazz 10" LP from 1956 featuring Jon Eardley.

Zoot Sims Avec Henri Renaud Et Son Orchestre mc
Zoot Sims Avec Henri Renaud Et Son Orchestre zippy

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Bruce Barth Quartet - Where Eagles Fly

Bitrate: MP3@320K/s
Time: 58:16
Size: 133.4 MB
Styles: Post bop, Piano jazz
Year: 1999
Art: Front

[ 5:59] 1. Identity Crisis
[ 6:33] 2. San Francisco Holiday
[ 5:13] 3. Secret Name
[ 5:23] 4. Autum Leaves
[12:00] 5. Where Eagles Fly
[ 3:59] 6. For Mercedes
[ 7:19] 7. Transparency
[ 7:25] 8. 3 More Minors
[ 4:21] 9. You've Changed

Bass – Pat O'Leary; Drums – Adam Cruz; Piano – Bruce Barth; Soprano Saxophone – Sam Newsome. Recorded November 9,1998 At Moraleda Studios,Barcelona.

Bruce Barth, born September 7, 1958 in Pasadena, California, is a jazz pianist. He has played the piano since the age of five. Barth's career had included major work with ensembles, as well as solo work. He has recorded on the Enja, Fresh Sound, and MAXJAZZ labels.

Where Eagles Fly mc
Where Eagles Fly zippy

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Tom Harrell - Upswing

Bitrate: MP3@320K/s

Time: 71:02

Size: 162.6 MB

Styles: Bop, Trumpet jazz

Year: 1994

Art: Front

[ 8:57] 1. Upswing

[ 7:02] 2. Angela

[10:26] 3. Train Shuffle

[10:23] 4. Emergence

[ 7:34] 5. Time's Mirror

[ 6:36] 6. Blues Connotation

[10:55] 7. Procession

[ 9:04] 8. Tune-A-Tune

Alto Saxophone – Phil Woods; Bass – Peter Washington; Drums – Bill Goodwin; Piano – Danilo Perez; Tenor Saxophone – Joe Lovano; Trumpet, Flugelhorn, Composed By – Tom Harrell. Recorded June 11-12, 1993, in Queens NY.

An all-star frontline of Tom Harrell, Joe Lovano, and Phil Woods head this impressive sextet record on the Chesky label. The writing on Upswing is inspired throughout, as is generally the case on Harrell's albums. The addition of a third horn allows Harrell to create colors in his arrangements that weren't possible with the two-horn format of many of his previous recordings. The playing on the Upswing is uniformly exceptional. Harrell sticks to flugelhorn for most of the date, often favoring it in situations that would instinctively call for trumpet, and sounds marvelously lyrical throughout. Tenorist Joe Lovano also plays strongly, contributing a wonderfully aggressive and energetic solo on Harrell's "Train Shuffle." Fans of altoist Phil Woods will be delighted by his performance here, as he sounds in fine voice, bringing his idiosyncratic pitch bends and witty in-jokes to the session. Pianist Danilo Perez accompanies enthusiastically, raising the intensity of all those involved. Upswing should be considered an essential purchase for those interested in exploring the Harrell discography. ~Dan Cross

Upswing 

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Helen O'Connell - The Uncollected

Bitrate: MP3@320K/s
Time: 27:28
Size: 62.9 MB
Styles: Vocal jazz, Standards
Year: 1992/2014
Art: Front

[1:47] 1. Stay As Sweet As You Are
[2:02] 2. The Nearness Of You
[1:57] 3. Pocketful Of Dreams
[1:57] 4. Deep In A Dream
[2:04] 5. Imagination
[1:35] 6. I Could Have Danced All Night
[2:13] 7. I'm Getting Sentimental Over You
[2:02] 8. Can't We Talk It Over
[1:38] 9. My Future Just Passed
[1:52] 10. Tennessee Fish Fry
[2:30] 11. Once In A While
[2:45] 12. I See Your Face Before Me
[1:24] 13. Zip-A-Dee-Doo-Dah
[1:36] 14. Thanks For The Memory

Helen O'Connell, who had a fairly long career, will always be best remembered for her squeals on "Green Eyes" and her work with Jimmy Dorsey. She originally left her native Toledo with Jimmy Richards' nine-piece group, gigging and touring for a year and a half. O'Connell appeared on a regular radio show in St. Louis until she agreed to tour with Larry Funk's band (which was billed as "Band of a Thousand Melodies"). After the outfit started working in New York, she was discovered and quickly signed up by Jimmy Dorsey in 1938. O'Connell soon had a hit rendition of "All of Me," which was followed by popular recordings of "Embraceable You," "Brazil," "Jim." and "When the Sun Comes Out" (which she introduced). However, it was in December 1940, when she started sharing recordings with ballad singer Bob Eberly, that O'Connell for a time became a household name. Eberly generally took a slow chorus, Jimmy Dorsey would have a brief instrumental interlude, and then O'Connell would finish up the record with a swinging chorus. This combination worked very well on hit versions of "Amapola," "Yours," "Green Eyes" and "Tangerine." After appearing in the 1943 movie I Dood It with Dorsey (singing "Star Eyes"), O'Connell retired to get married; she would eventually have four daughters. In 1950 she began a successful solo career, making occasional records, appearing regularly on television (she spent a period as co-host of The Today Show), toured as part of Four Girls Four (which also included Kay Starr, Rosemary Clooney and Rose Marie) and made guest appearances with the Jimmy Dorsey ghost band, singing in an unchanged style. Although her voice was limited, she made her deficiencies into assets and carved out her own place in musical history. Helen O'Connell was active up until shortly before her death from cancer. ~bio by Scott Yanow

The Uncollected mc
The Uncollected zippy

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Chris Soto - Guitar Expressions Vol. 1

Bitrate: MP3@320K/s
Time: 62:36
Size: 143.3 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[6:22] 1. On The Boardwalk
[6:22] 2. Highway 1
[5:02] 3. Urban Express
[5:26] 4. Dreaming Of U
[6:28] 5. City Lights
[6:32] 6. Moonlight
[6:32] 7. Metropolitan
[6:43] 8. Night Moods
[6:06] 9. Night Lounge
[6:59] 10. On The Town

Chris Soto has created a diverse collection of original tunes that are rich with great emotion and amazing tone. His compositions are relaxed and inviting, true reflections of Chris' songwriting and well honed performance career. The full extent of his gift is that Chris composed all tunes, playing all instruments, and mixing the album project himself. Recorded at 128kHz, three times the normal sampling rate, the net result is a lush and warm sonic collection of incredibly fresh, deep emotion. Ultimately, the real reward is just listening to the musical tapestry that Chris deftly weaves, which includes a piano based track on the final cut. If you have enjoyed great fusion artists like Al DiMeola, George Benson, and Wes Montgomery then you will feel right at home with Chris Soto's Guitar Expressions. ~Mark Nemier

Guitar Expressions Vol. 1 mc
Guitar Expressions Vol. 1 zippy

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Mark Lewis - Of Hip Do I Sing

Bitrate: MP3@320K/s
Time: 72:44
Size: 166.5 MB
Styles: Modern creative jazz, Saxophone jazz
Year: 2010
Art: Front

[5:13] 1. Softly, As In A Morning Sunrise
[9:25] 2. Nature Boy
[3:50] 3. Sunlight Shines In
[5:37] 4. Going Away
[4:20] 5. Of Hip Do I Sing
[8:57] 6. Reverence
[3:51] 7. Nobody Knows The Trouble I've Seen
[2:50] 8. Love Doesn't Lie
[5:10] 9. Common Denominator
[5:22] 10. I Remember You
[6:19] 11. Song For Mom
[5:20] 12. The Ermitage
[2:01] 13. Haiku
[4:21] 14. What James Said

Mark Lewis is master of the alto sax, baritone sax, flute and piano; author of approximately 1,700 compositions; and has recorded and produced more than twenty albums on various labels. A well-traveled saxophonist and flutist, he’s been a part of jazz scenes from Seattle and San Francisco to Rotterdam and Paris. Rotterdam, the Netherlands was Mark's home base for many years. He toured and played in the better clubs throughout Europe, and taught jazz theory and improvised music classes in several music conservatories. Mark lived and performed for several years in San Francisco and Victoria, BC as well. Jazz musicians Mark has performed and recorded with include pianists George Cables, Willem Kühne, Mark Levine, Overton Berry and Ted Gioia; drummers Victor Lewis, Candy Finch, Frans van Grinsven and Eddie Moore; bassists James Long, Hein van de Geyn, David Friesen, Larry Grenadier and Chuck Metcalf; saxophonists Noah Howard and Art Foxall; trumpet player Randy Brecker; and vibraphonists Bobby Hutcherson and Lodewijk Bouwens. Mark often subbed for Stan Getz and John Handy during his time in San Francisco.

Of Hip Do I Sing mc
Of Hip Do I Sing zippy

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Ray Parker Jr. - After Dark

Styles: Vocal
Year: 1987
File: MP3@320K/s
Time: 43:07
Size: 99,0 MB
Art: Front

(4:15)  1. Don't Think That Man Should Sleep Alone
(4:40)  2. Over You (feat. Natalie Cole)
(4:10)  3. Lovin' You
(4:48)  4. You Shoulda Kept A Spare
(3:30)  5. The Past
(4:31)  6. You Make My Nature Dance
(4:52)  7. Perfect Lovers
(4:03)  8. After Midnite
(3:45)  9. I Love Your Daughter
(4:29) 10. After Dark

This was the closest Ray Parker Jr. ever came to doing adult soul. His debut for Geffen included the song "I Don't Think That Man Should Sleep Alone." This was his last big hit, and despite the title, said some serious things about male/female intimacy and relationships. Parker's voice sounded more somber, introspective, and varied than on anything before or since. ~ Ron Wynn https://www.allmusic.com/album/after-dark-mw0000197005               

Personnel:  Ray Parker, Jr. – all instruments, arrangements (1, 3, 4, 6-10);  Paul Jackson, Jr. – guitar;  Cornelius Mims, Nathan East, Neil Stubenhaus – bass;  Jeff Porcaro, Ollie E. Brown, Carlos Vega – drums;  J. Wayne Lindsey, Robbie Buchanan, Eric Daniels, Sylvester Rivers, Greg Phillinganes, Burt Bacharach – keyboards;  Larry Williams – synthesizer;  Kevin Toney – acoustic piano;  Gerald Albright – saxophone solo (2);  Dave Boroff – saxophone solo (4).
 

Background Vocalists:  Ray Parker, Jr., Kamaya Koepke, Karyn White, Arnell Carmichael, Keith Harrison, Candice Ghant, Kashif (also BGV arrangement on track 5), Julia Waters, Maxine Waters, Yogi Horton, Cornelius Mims, Monty Seward, Lynne Fiddmont, Philip Bailey, Greg Phillinganes, Anita Sherman.

After Dark

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Caterina Valente - A Briglio Sciolta

Styles: Vocal
Year: 1989
File: MP3@320K/s
Time: 59:39
Size: 136,8 MB
Art: Front

(5:08)  1. E la chiamano estate
(3:13)  2. Corcovado
(2:25)  3. Forse
(4:59)  4. Maybe This Summer
(4:47)  5. Sempre, Sempre, Sempre
(6:00)  6. Une guitare au clair de lune
(4:06)  7. Meditacao
(5:43)  8. Amerovole
(2:38)  9. Samba de Uma Nota Só
(6:13) 10. Il Tuo Amore
(3:42) 11. Baciami per domani
(3:21) 12. Melancolia
(4:32) 13. Se Tu Sapessi
(2:44) 14. Arrivederci

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://itunes.apple.com/ca/album/valente-caterina-briglio-sciolta/id392675601

A Briglio Sciolta

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Dan Siegel - Indigo

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 47:31
Size: 109,7 MB
Art: Front

(5:12)  1. To Be Continued
(5:29)  2. By Chance
(4:16)  3. Indigo
(3:51)  4. Beyond
(4:44)  5. Far And Away
(5:00)  6. If Ever
(4:30)  7. Spur Of The Moment
(4:33)  8. First Light
(4:48)  9. Consider This
(5:04) 10. Endless

Pianist and composer Dan Siegel is an adventurer. After his breakout smooth jazz hits in the 1980s he successfully experimented with genres ranging from new age to film and TV scores and back. Indigo, his 20th album and first in half a decade features ten new compositions which have been painstakingly arranged and performed by a crack cast of players that includes bassist and co-producer Brian Bromberg, saxophonist Bob Sheppard, guitarist Allen Hinds (and Mike Miller on two tracks), Yellowjackets' drummer Will Kennedy, vibist Craig Fundyga, and percussionist Lenny Castro on percussion. Two different brass sections alternate on five cuts. Immediately striking is Indigo's sound. Tracked live in Bromberg's home studio, it is warm, immediate, and full. These are some of Siegel's most imaginative tunes to date: contemporary jazz played in straight-ahead fashion. They are boundary-less, ecompassing elements from several popular genres in a jazz context. Opener "To Be Continued" contains elements of contemporary classical crossover, pop, and even Siegel's film music the brass section utilizes euphonium, French horn, and flügelhorns. But there is a palpable, syncopated groove in the pianist's harmonically inventive solo. The title cut begins with resonator and electric guitars in a blues groove, as Siegel's piano evokes a Ray Charles-like R&B, but as it unfolds with bright brass and a country-funk backbeat, the tune moves in several directions simultaneously and could only be encompassed by jazz. The guitar in "Beyond" actually evokes a pedal steel, but the interplay between piano, upright bass, and acoustic guitars is elegant, graceful, and emotionally deep. 

"If Ever" contains a lithe Latin tinge and a rich, expansive brass chart; its melody is impeccably crafted and contains excellent solos by Siegel and Sheppard on soprano. The R&B flavor in "Spur of the Moment" is offset by intricate counterpoint and lyric exchanges, the soloists atop the brassy, funky groove. "Consider This" is smoother and sweeter; it's soulful and cosmopolitan with Siegel adding a B-3 in support of his piano; Castro's percussion adds a Caribbean flavor. Closer "Endless" is positively euphoric, it's one of the finest moments here, due in no small part to Bromberg's knockout, fleet-fingered, woody pizzicato solo. Indigo is holistic and seamless in its articulation of contemporary jazz an extension in popular music and jazz's Big Tent tradition. More than this, though, it is a glorious, personal, panoramic statement from an artist who, after 35 years, is at the height of his creative powers. ~ Thom Jurek https://www.allmusic.com/album/indigo-mw0002820191

Personnel:  Piano, Keyboards, Composed By, Arranged By, Executive Producer – Dan Siegel;  Bass – Brian Bromberg;  Drums – Will Kennedy;  Flugelhorn – Stan Martin;  Guitar – Allen Hinds, Mike Miller;  Horn – Stephanie O'Keefe;  Percussion – Lenny Castro;  Saxophone – Bob Sheppard;  Tenor Saxophone – Steve Torok ; Trumpet, Valve Trombone – Lee Thornburg;  Vibraphone – Craig Fundyga

Indigo

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Ben Wendel - Frame

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 61:21
Size: 141,5 MB
Art: Front

(5:38)  1. Chorale
(7:25)  2. Clayland
(7:06)  3. Con Alma
(5:05)  4. Backbou
(5:56)  5. Jean and Renata
(8:09)  6. Blocks
(8:20)  7. Frame
(8:08)  8. Leaving
(5:29)  9. Julia

There is a beautiful and mysterious quality to multi-instrumentalist Ben Wendel's Frame. It is as if the hot breath from one of his horns has blown some ancient film away to reveal an iridescent object that begins to oscillate and spin, changing colors and hues, mesmerizing as it spins and swings with uncharacteristic swagger. All this seems both real and unreal as Wendel's singular, hypnotic voice unfurls. The saxophonist inhabits a sound as close to singing through the reed as is humanly possible. In so doing, he has perfected vocalizing in the manner of Nat "King" Cole combined with Ben Webster. Such is the velvet and whispering nature of Wendel's tone and texture. Of course, the colors that emerge from the bell of his horn are another matter. These come from a soulful palette that includes such a myriad of hues that they are difficult to count. His musical canvas is so filled with a riot of colors that a musical carnival ensues. Wendel is also a composer of considerable invention and ingenuity. This album is not called Frame for nothing. For here, the idiom of jazz forms the outer perimeter of the music. The material in the frame is an ever changing painting a moveable feast for the ear, heart and soul. Wendel paints with fey colors; his music has the effect of fluttering gently like a diaphanous water color work that is wet and dripping as it morphs from one legato passage to another. Thus the work here appears to form a suite of songs all with beginnings and middles and ends that are tantalizing and drive into the center of the heart. The music of "Chorale," for instance, is like a shimmering dart aimed at that sweet spot in the soul where every ache is unforgettable. 

Nothing describes that feeling better than Wendel's extraordinarily touching re-imagining of Dizzy Gillespie's classic missive, "Con Alma." The saxophonist/bassoonist is a fine writer of passionate portraits. Two of his finest are "Jean and Renata" and "Julia." The former paints a playful picture of two characters. Their differences are highlighted by Wendel's inner counterpoint, the two musical lines entwined like a DNA molecule that pirouettes magically to describe the two ladies in question. "Julia" is much more circumspect, as if the composer is portraying someone whom he has a deepening respect for. His melodic line here is more somber and upward-looking. The musicians on Frame have a marvelous sympathy for, and understanding of, the overall concept of the album. Thus, they play well within themselves while supporting the thesis that the music must swirl and swoop within the framework of an idiom that is constantly changing. In so doing, they create music that is as elastic as jazz will ever be. ~ Raul D'Gama Rose https://www.allaboutjazz.com/frame-ben-wendel-sunnyside-records-review-by-raul-dgama-rose.php

Personnel: Ben Wendel: saxophones, bassoon, melodica; Gerald Clayton: piano (1-3); Tigran Hamasyan: piano (4,6,7); Nir Felder: guitar; Adam Benjamin: piano (1,4,6,7), Fender Rhodes (8,9); Ben Street: bass; Nate Wood: drums.

Frame

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Wayne Escoffery - Vortex

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 60:03
Size: 138,8 MB
Art: Front

(5:00)  1. Vortex
(2:06)  2. Judgement
(8:04)  3. Acceptance
(8:29)  4. February
(9:16)  5. The Devil's Den
(8:17)  6. Tears for Carolyn
(7:12)  7. To the Ends of the Earth
(5:53)  8. In His Eyes
(5:44)  9. Baku

On this recording, jazz saxophonist Wayne Escoffery presents this great quartet on a number of original pieces, a standard and an original piece by the ensemble's brilliant drummer, Ralph Peterson, who Escoffery has worked alongside since Escoffery's arrival in New York in 2000. The rest of the band is equally pedigreed. Pianist David Kikoski has been a regular collaborator in the Mingus Big Band and with Eddie Henderson, and bassist Ugonna Okegwo has been driving the rhythm section of Tom Harrell's ensemble for the entirety of Escoffery's tenure. Escoffery's quartet is augmented by the percussion of Jaquelene Acevedo on a number of pieces.

Personnel:  Wayne Escoffery - tenor saxophone;  David Kikoski - piano;  Ugonna Okegwo - bass;  Ralph Peterson, Jr. - drums;  Jeremy Pelt - trumpet;  Kush Abadey - drums;  Jacquelene Acevedo - percussion

Vortex

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Duke Jordan - As Time Goes By

Bitrate: MP3@320K/s
Time: 58:34
Size: 134.1 MB
Styles: Bop, Piano jazz
Year: 1989/1994
Art: Front

[6:47] 1. In A Mellotone
[3:07] 2. Lady Dingbat
[6:34] 3. A Foggy Day In London Town
[3:35] 4. Answer Me
[4:41] 5. Layout Blues
[3:37] 6. Glad I Met Pat
[2:58] 7. W'utless
[5:06] 8. As Time Goes By
[2:41] 9. Jordanish
[6:47] 10. Drawers
[5:32] 11. Lush Life Smoke Gets In Your Eyes
[3:56] 12. When You're Smiling
[3:07] 13. Mellow Mood

Bass – Jesper Lundgaard; Drums – Billy Hart; Piano – Duke Jordan. Recorded July 29, 1985.

A most agreeable set that is both eminently listenable and very enterprising. …Jordan was always a fleetly swinging but subtle pianist whose all-round musicianship has never got the recognition it merits. This fine trio deserves to sell well and spared his name further afield . ~Richard Palmer

As Time Goes By mc
As Time Goes By zippy

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