John Patitucci - Now

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 70:23
Size: 161,5 MB
Art: Front

(9:10)  1. Now
(8:55)  2. Grace
(6:16)  3. Out Of The Mouths Of Babes
(6:03)  4. Hope
(9:29)  5. Labor Day
(8:59)  6. Espresso
(7:39)  7. Forgotten But Not Gone
(5:26)  8. Search For Peace
(4:30)  9. Giant Steps
(3:51) 10. Miya

Bassist Patitucci's third release for Concord Jazz is essentially a quartet date with tenors Chris Potter (five tracks) and Michael Brecker (two) augmenting the rhythm section. The horns take a break on the last three tracks, McCoy Tyner's "Search for Peace" (a trio), Trane's "Giant Steps" (Patitucci, Stewart) and Patitucci alone on his own composition, "Miya." Patitucci, a proud parent, dedicated the album to his then two-month-old daughter, Sachi Grace, as several of the titles would indicate "Grace," "Out of the Mouths of Babes," "Labor Day," for example. Patitucci is a fine player; I wish his talents as a composer were more congenial. Of the tunes on Now, all but "Peace" and "Giant Steps" are his, and none leaves much of an impression. And so it is up to the improvisers, chiefly Potter, Brecker and Scofield, to carry the day (with Patitucci contributing the occasional chorus as well, especially on the last three selections). Brecker meanders through the slow-paced "Hope" without much purpose, and fares only marginally better on the opaque "Labor Day." Potter also appears to be going through the motions; we've heard him play with far more passion and resolve on other occasions - although the music isn't exactly fashioned to let him roam free. Scofield is a taste we've yet to acquire, and sharp as Patitucci is, a bass solo is still a bass solo. The quartet tracks sound excessively busy, and it's actually a relief when Patitucci pares things down for the last three numbers, on which he plays a Yamaha 6-string electric bass, which doesn't sound too far removed from the guitar. That's a good thing, as Patitucci must delineate the melody on "Giant Steps" (a tune that fairly begs for a horn) and the classical-sounding "Miya" (where overdubbing turns him into a duo). Some may find this largely subdued and elliptical session a pure delight; others (such as we) shall place it gently on a shelf and leave it there. ~ Jack Bowers https://www.allaboutjazz.com/now-john-patitucci-concord-music-group-review-by-jack-bowers.php

Personnel: John Patitucci, bass; Michael Brecker, Chris Potter, tenor saxophones; John Scofield, guitar; Bill Stewart, drums.

Now

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Jimmy McGriff - Main Squeeze

Bitrate: MP3@320K/s
Time: 38:56
Size: 89.1 MB
Styles: Soul-jazz
Year: 1974/2005
Art: Front

[4:21] 1. The Worm Turns
[3:09] 2. The Sermon
[5:06] 3. The Blues Train To Georgia
[7:39] 4. Misty
[3:47] 5. The Main Squeeze
[4:52] 6. GMI
[5:30] 7. These Foolish Things Remind Me Of You
[4:29] 8. Stella By Starlight

Drums – Eddie Gladden; Guitar – Jimmy Ponder; Organ, Keyboards – Jimmy McGriff; Saxophone [Alto] – Connie Lester.

Like so many Jimmy McGriff albums, Main Squeeze percolates but never quite boils over. It's a collection of short, sharp and oh-so-sincere funk workouts performed with both style and skill, the album simply plays its cards too close to the vest, controlling the groove but never giving in to it. Paired with guitarist Jimmy Ponder and altoist Connie Lester, McGriff moves effortlessly from originals ("The Worm Turns") to standards ("Stella by Starlight") to soul-jazz signifiers (Jimmy Smith's "The Sermon"), vamping and wailing but never letting go -- the tracks are more short stories than epic poems, tightly controlled and frustratingly limited in both style and scope. ~Jason Ankeny

Main Squeeze mc
Main Squeeze zippy

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Dinah Washington - Dinah Washington's Finest Hour

Bitrate: MP3@320K/s
Time: 64:12
Size: 147.0 MB
Styles: Jazz vocals
Year: 2000
Art: Front

[ 2:51] 1. Evil Gal Blues
[ 3:22] 2. Blow Top Blues
[ 2:55] 3. West Side Baby
[ 3:10] 4. Long John Blues
[ 2:55] 5. Baby Get Lost
[ 2:51] 6. Trouble In Mind
[ 3:18] 7. Cold Cold Heart
[ 2:23] 8. T.V. Is The Thing This Year
[11:52] 9. I'll Remember April
[ 2:48] 10. Teach Me Tonight
[ 2:58] 11. I Just Couldn't Stand It No More
[ 4:24] 12. I Could Write A Book
[ 5:16] 13. Blue Gardenia
[ 2:26] 14. What A Diff'rence A Day Made
[ 2:41] 15. Unforgettable
[ 2:42] 16. Baby (You've Got What It Takes)
[ 2:25] 17. This Bitter Earth
[ 2:46] 18. Mad About The Boy

From the late 1940s until her death in 1963, Dinah Washington was a dominant presence among the women who sang R&B, with an unequalled emotional power and a voice that mingled highs and lows, rough and smooth, like raw silk. While she often sang R&B, though, her mastery of the idiom drew on her ability to sing all its constituent parts and musical relations--blues, jazz, and pop. This hourlong survey of her Mercury recordings covers all the bases that she touched in her career. Beginning with a 1947 session with backing from Lionel Hampton, Washington's Finest Hour extends to the pop sessions that brought her greater successes more than a decade later, both alone and with fellow singer Brook Benton. Washington the blues singer is equally effective on the bawdy "Long John Blues" and the traditional lament "Trouble in Mind," while her jazz-rooted mastery of standards is apparent on such songs as "I'll Remember April" and the profound "Blue Gardenia." She could even cover a country song like Hank Williams's "Cold, Cold Heart" or the light pop of "Teach Me Tonight" and make it convincingly her own, while her version of "Unforgettable" can stand comparison with Nat "King" Cole's. This is a terrific introduction to one of the essential singers, whatever genre claims her. ~Stuart Broomer

Dinah Washington's Finest Hour mc
Dinah Washington's Finest Hour zippy

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Ira B. Liss Big Band Jazz Machine - Tasty Tunes

Bitrate: MP3@320K/s
Time: 66:14
Size: 151.6 MB
Styles: Big band
Year: 2018
Art: Front

[6:06] 1. You Don't Know What Love Is
[5:39] 2. Early Autumn
[3:28] 3. I Didn't Know What Time It Was
[8:19] 4. When The Lady Dances
[4:53] 5. Oleo
[6:31] 6. Nature Boy
[9:15] 7. Manhattan Burn
[2:57] 8. Over The Rainbow
[5:52] 9. Mountain Dance
[4:30] 10. Ya Turn Me On Baby
[8:41] 11. Recon

The Ira B. Liss Big Band Jazz Machine is a 39 year fixture in the Southern California jazz scene. Based in San Diego, the 18 piece big band, focuses on a creative repertoire of eclectic compositions by Bob Mintzer, Dean Brown, Mike Crotty, Tom Kubis, Daniel Freiberg, Carl Murr, Drew Zaremba, Alan Baylock and Mike Abene. The album features guest solo appearances by Yellowjackets Grammy winning saxophonist and composer Bob Mintzer on his previously unrecorded big band composition "When The Lady Dances"; Alto saxophonist, Eric Marienthal on a great arrangement by Tom Kubis of "Early Autumn"; The beautiful Alto flute of Holly Hofmann on a stirring ECM style rendition of "Nature Boy" and Dean Brown, former Brecker Brothers guitarist on his original composition entitled "Recon". The stratospheric Alan Baylock rendition of "Over The Rainbow" featuring Randy Aviles and Peter Green is most definitely worth a listen as well...Mountain Dance, the Dave Grusin hit of the 1990's arranged by the late Peter Herbolzheimer is the premier recording of it in the US. Tasty Tunes, which is the 5th release by the BBJM and certainly not the last....is indeed a musical treat!!

Tasty Tunes mc
Tasty Tunes zippy

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Les Paul, Mary Ford - Bye Bye Blues!

Bitrate: MP3@320K/s
Time: 29:39
Size: 67.9 MB
Styles: Traditional pop, Jazz guitar
Year: 1952/1982
Art: Front

[3:05] 1. Wabash Blues
[2:03] 2. Bye Bye Blues
[2:14] 3. Blues Stay Away From Me
[2:31] 4. Deep In The Blues
[3:06] 5. It's A Lonesome Old Town
[2:43] 6. Walkin' And Whistlin' Blues
[2:36] 7. St. Louis Blues
[1:44] 8. Mammy's Boogie
[2:34] 9. Frankie And Johnny
[2:26] 10. Don't Cry Baby
[1:35] 11. Jazz Me Blues
[2:56] 12. Smoke Rings

By 1952, Les Paul was already thinking in terms of album concepts; hence this often-soulful collection of genuine blues, or songs with blues in their titles. As a result, the tempos are mostly relaxed, with Paul giving himself ample opportunity to bend notes to his heart's content and exercise his jazz instincts more than he usually does on his Capitol records. The exceptions to the down-and-out feeling are, ironically, the upbeat hit title track, which professes to blow the blues away, and the spectacular "Mammy's Boogie," a single-line boogie blues transformed by echo into an electronic shooting gallery. The 12-inch version added older tracks like "Jazz Me Blues" and "Walkin' and Whistlin' Blues," which fit the concept, and "It's a Lonesome Old Town" and "Smoke Rings," which are a stretch. ~Richard S. Ginnell

Bye Bye Blues! mc
Bye Bye Blues! zippy

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Luigi Trussardi - Introspection

Bitrate: MP3@320K/s
Time: 43:21
Size: 99.2 MB
Styles: Bop
Year: 2000
Art: Front

[4:15] 1. Introspection
[3:49] 2. Hallucinations
[5:38] 3. Opus The Funk
[2:32] 4. Crepuscule With Nelly
[3:25] 5. Wee See
[3:46] 6. Oblivion
[5:03] 7. Salute To The Band Box
[3:55] 8. So Sorry Please
[2:37] 9. Ruby My Dear
[5:06] 10. Shaw'nuff
[3:09] 11. My Ship

David Sauzay (ts), Gaël Horellou (as), Laurent Courthaliac (p), Luigi Trussardi (b, piccolo bass), François Ricard (d).

Bassist Luigi Trussardi is one of these bassists. Europeans who have accompanied a whole world, including the biggest, American or European, in the world of clubs, standards and swing that remains at the heart of jazz practice. It is this experience, covering a few decades, that he brings to this new CD, dedicated to the compositions of Monk, Bud Powell and other boppers. This is how it helps to convey the great tradition of bebop to its young partners and the public.

To the remark of François Lacharme in the booklet - "While everything, in music, seems today to take the place of event, it is necessary to venture the path of the bebop "- one could answer that it is nevertheless a way that many borrow, even nowadays. But precisely, it is not necessarily the audacity we seek - here we admire the authenticity of this bebop, starting with the repertoire, of irreproachable taste, and continuing with the sound of the rhythm section, very "vintage." A repertoire music, but that did not take a wrinkle.

The instrumentation varies throughout the CD. Tenor David Sauzay is honored on four compositions, joined by the hot Gaël Horellou alto sax for two tracks, including a furious "Shawnuff". The trio Courthaliac / Trussardi / Ricard stands out on "Wee See" by Monk, "Hallucinations" by Bud Powell (who will be recognized as the "Budo" of the famous "Birth of the Cool" sessions by Miles Davis), and " Salute to the Band Box "by Gigi Gryce. Finally Trussardi, following the example of Ron Carter, plays the bow a bass piccolo, somewhere between the cello and the bass, on "Crepuscule With Nellie" and the superb "My Ship" by Kurt Weill, that we do not hear often enough Despite the solid work of the group on the other pieces, it's these two, where the themes are played simply, without solo, that I prefer. (Translated from French.)

Introspection mc
Introspection zippy

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Herb Geller - Herb Geller Plays

Bitrate: MP3@320K/s
Time: 44:45
Size: 102.4 MB
Styles: Bop, Saxophone jazz
Year: 1955/1997
Art: Front

[2:58] 1. Love Is Like A Turtle
[5:47] 2. Sweet Vinegar
[2:55] 3. Sleigh Ride
[2:52] 4. Silver Rain
[6:51] 5. Alone Together
[2:53] 6. Happy Go Lucky
[3:22] 7. Days I Never Knew
[3:29] 8. Domestic Harmony
[3:22] 9. Breaking Through The Sound Barrier
[2:44] 10. Kahagon
[3:21] 11. You Stepped Out Of A Dream
[4:05] 12. A Room With A View

Other than four titles from a year before, this LP contains altoist Herb Geller's first recordings as a leader. Cut during a period when Herb was based in Los Angeles and regularly working with his wife, the talented but short-lived pianist Lorraine Geller, the music also has either Curtis Counce or Leroy Vinnegar on bass and Lawrence Marable or Eldridge Freeman on drums. Herb Geller was already in his early prime and contributed six originals. The band also performs one of Lorraine's tunes, plus five standards, all in swinging and boppish style. This LP (which has not been reissued lately) is well worth searching for. ~Scott Yanow

Herb Geller Plays mc
Herb Geller Plays zippy

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Gary Peacock Trio - Now This

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 57:54
Size: 133,0 MB
Art: Front

(6:41)  1. Gaia
(5:02)  2. Shadows
(5:44)  3. This
(4:34)  4. And Now
(6:16)  5. Esprit de Muse
(5:17)  6. Moor
(5:48)  7. Noh Blues
(4:44)  8. Christa
(4:56)  9. Vignette
(3:59) 10. Gloria's Step
(4:47) 11. Requiem

Some of bassist Gary Peacock's earliest musical associations speak to a career that has been nurtured by unusually well-rounded experiences. Subbing for Ron Carter in gigs with Miles Davis, playing with the Bill Evans Trio and pianist Paul Bley and a stay with saxophonist Albert Ayler provided Peacock with foundations that ran the gamut from main-stream balladry, to conceptually modern jazz to the most unrestricted free jazz. All of which led up to the three-decades long relationship with Keith Jarrett and drummer Jack DeJohnette for which he is best known and where his finely developed skills lend themselves to that highly innovative group. With a very different trio, Now This is often darkly lyrical with a quiet dignity. Drummer Joey Baron who often draws comparisons to Paul Motian has never sounded more like the late drummer with a masterfully subtle touch. Pianist Marc Copland has worked with Peacock in various settings for three decades and is a master of harmonics. His work with guitarist John Abercrombie, saxophonist Greg Osby and bassist Drew Gress have earned high praise while Copland has remained puzzlingly under-recognized as one of the finest pianists and composers on the scene.

"Gaia" and "Shadows" the first to pieces on Now This are brooding and unhurried but are followed by "This" where a bit more dissonance is propelled by Baron's refined but forceful playing. Copland pushes that avant-garde essence as he guides the trio through "And Now," "Esprit de muse" and "Moor" the latter two being faster-paced and more complex numbers. Copland's fascinating composition, "Noh Blues," only hints at blues while providing a perfect backdrop for solos and interesting group interchanges. Throughout the pieces Peacock explores the full range of the bass pushing and pulling the music with him through unexpected turns. There is not a wasted note to be found on Now This where the compositions some re-worked, others, new strongly suggest a portentous air. Peacock, Copland and Baron expertly develop the pieces in that light so that, despite the overriding thoughtfulness, it is never certain in which direction the journey is moving. Now This is an thought-provoking collection rendered by brilliant performers.

Personnel: Marc Copland: piano; Gary Peacock: double bass; Joey Baron: drums.

Now This

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Nina Hagen - Like An Angel

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 77:14
Size: 179,3 MB
Art: Front

(3:37)  1. Die Rattenkonigin
(4:32)  2. Love Will Survive (Die Liebe Siegt Immer)
(3:18)  3. Like An Angel Passing Through My Room

(2:32)  4. Love Is All
(3:15)  5. Romeo & Juliaaah
(4:45)  6. Immer Lauter
(3:49)  7. Gimmi Your Love
(5:21)  8. Der Traum Ist Aus
(4:46)  9. Manner
(4:05) 10. You Get What You Deserve
(1:48) 11. Sally's Lied
(2:42) 12. Die Ballade Von Der Sexuellen Horigkeit
(3:35) 13. Alabama Song
(3:33) 14. Ich Hasse Santa Claus
(4:23) 15. La Veuve Moir
(3:33) 16. Schon Ist Die Welt
(3:50) 17. Kriminaltango
(3:57) 18. Kinky Melody
(4:42) 19. Seemann
(5:02) 20. The Aria

Born in East Germany, Nina Hagen had already gained a reputation as a flamboyant rock singer by the time she emigrated to the West in 1976, where she formed a band, signed to CBS Germany, and released the debut album Nina Hagen Band in 1978. It was followed in 1980 by Unbehagen. Hagen's first U.S. release, Nina Hagen Band EP (1980), was a four-song EP consisting of songs drawn from her two German releases. She moved to New York and made her first English-language LP, Nunsexmonkrock, in 1982. That and its follow-up, the Giorgio Moroder-produced Fearless (1983), charted briefly, and "New York New York" was a Top Ten dance club hit. But Hagen left CBS after Nina Hagen in Ekstacy (1985). In 1988, she celebrated her marriage with the EP Punk Wedding, released in Canada, and in 1989 she returned to the German market with Nina Hagen. In 2010, Hagen released Personal Jesus, which featured 13 faith-based tracks that dutifully blend rock, blues, soul, and gospel into a sound that’s distinctly hers. ~ William Ruhlmann https://www.allmusic.com/artist/nina-hagen-mn0000414016/biography

Like An Angel

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Greg Osby - St. Louis Shoes

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 52:25
Size: 120,2 MB
Art: Front

(5:59)  1. East St. Louis Toodle-oo
(6:00)  2. Shaw Nuff
(6:50)  3. Light Blue
(5:33)  4. Whirlwind Soldier
(5:03)  5. Summertime
(5:55)  6. Milton on Ebony
(6:37)  7. The Single Petal of a Rose
(2:29)  8. Bernie's Tune
(7:56)  9. St. Louis Blues

It takes time to assess St. Louis Shoes. In fact, to wax intellectual about the process, it requires the exegetical approach usually reserved for vast, inter-textual novels like Dr. Faustus or Gravity's Rainbow. Each encounter reveals ever new intrigues, insights, and moments of grace. And just like with Faust, you?d better go back to the source material.
Each of the nine tracks on St. Louis Shoes is based on another composer's work. Through these, Greg Osby gifts the listener with a treatise on sax styles, displaying a range of tone moving from Hawkins to Young, Parker to Hodges, and finally, to his own unmistakable diamond-hard, angular voice. However, Osby has not produced a tribute album. Everything resonates with his own style, and nothing can be set aside as simply another take. This is jazz inter-textuality and it sounds great. St. Louis Shoes opens with a direct reference to Osby?s birthplace, St. Louis Toodle-oo. This bold reconfiguration of Ellington's seminal work begins slowly, the opening retaining much of the original material. However, it quickly builds on the latent threat implicit in Ellington's rhythms, thickening to enhance the sinister quality, so that in the end it feels as if you have traveled into the depths of St. Louis, and into a musical vision completely Osby's own.

Initially, Osby's performance of the next track, Shaw Nuff, sounds like what Parker might have laid down had contemporary recording quality been what it is today, and the LP already in existence. However, this is not straight emulation or resurrection. With Payton as antagonist, Osby bends and twists the original, extending it into a six minute wild ride. Conversely, Light Blue comes in at just about half the size of Monk's original. As always, Monk?s idiosyncratic yet sophisticated structure provides fertile territory for improvisers willing to delve into the material. Osby next turns to Whirlwind Soldier, written by contemporary vocalist, composer, and former co-member of Osby's M-Base project, Cassandra Wilson. By including a contemporary piece, Osby indicates that this project is not about reclaiming the past through homage. It's about improvisation and innovation, something that can be accomplished when working off of the latest as well as the oldest material. Osby ends his album by returning to one of jazz's oldest works, St. Louis Blues. Originally written by W.C. Handy and first recorded in 1920, St. Louis Blues was popularized by Louis Armstrong in 1930. Osby's takes this wealth of history into account, proceeding at a slow tempo to accentuate the piece?s blues mood. Referenced are Armstrong's succinct note placements, Gillespie?s faster, more dynamic lines, as well as the Latin-influenced rhythmic deviations of Gillespie's big band arrangement. Green keeps the piece moving with a frenetic but soft rhythm, while O'Neal's piano work stands out here as particularly adept.  It takes time to assess Osby's St. Louis Shoes. Time to listen, to think, to sift through old albums and memories, then to listen all over again. There is a wealth of material here. Listen and see what emerges for you. ~ Franz A. Matzner https://www.allaboutjazz.com/st-louis-shoes-greg-osby-blue-note-records-review-by-franz-a-matzner.php width=1536
 

Personnel: Greg Osby - alto saxophone; Nicholas Payton - trumpet, fluglehorn

St. Louis Shoes

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Hank Marvin - Without a Word

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 49:27
Size: 114,0 MB
Art: Front

(3:42)  1. Don't Get Around Much Anymore
(3:44)  2. Michelle
(2:42)  3. Alfie
(3:33)  4. Theme From 'Poirot'
(3:19)  5. Are You Lonesome Tonight
(3:09)  6. Russian Doll
(4:04)  7. Peter Gunn/Baby Elephant Walk
(3:00)  8. Moon River
(2:52)  9. Doctor Who Theme
(2:56) 10. What A Wonderful World
(3:36) 11. Cry Me A River
(3:44) 12. The Fool On The Hill
(3:52) 13. America
(5:07) 14. Will You Still Love Me Tomorrow

The master of the twanging electric guitar returns. We were all set to meet the man and talk guitars, this record and everything else, but his trip over from Australia for promo was cancelled, as we understand it for family reasons. No matter, we can bide our time for a meet and in the meantime listen to this fresh album, produced by Hank and with some input from his son Ben. Recording was undertaken at Nivram Studios in Perth. The titles confirm no real theme or overall mood to the record as they are frankly and almost bizarrely all over the place hence it is best to assume that this is a collection of numbers that Hank felt like recording. After all and all this time Marvin has nothing to prove. His fans will always be eager to hear his skills put yet again to good use. We know of his penchant for gypsy jazz but on this current set it’s exploring the melodies that seems to prevail…. Don’t Get Around Much Any More is of course the Ellington standard, a tune favoured by many including Paul McCartney. Cool piano and brush drumming staggers start the tune and that liquid single-note guitar starts to chime, the tiniest hint of delay. Makes me think for some reason of Sunday lunchtimes and Two-Way Family Favourites on the radio. A very slight fuzztone can be heard. The piano solo has a George Shearing shine to it, unhurried. Beautiful stuff…

A corny accordion brings in Michelle, a straightforward reading of the Lennon & McCartney standard from Rubber Soul. The guitar tone is vintage Shadows to these ears. The delicacy of the melody is kept intact and a cute acoustic interlude works well. The Bacharach composition Alfie was brilliantly sung by the late Cilla Black of course and it is hard to hear the tune without thinking of the great Michael Caine deadpanning his way through the original film. The strings here are very close to the original Abbey Road arrangement. A genius composer whose intriguing chordal runs stay fresh and touching. Theme From Poirot benefits from a guitar treatment, it’s lot less Charlie Chaplin and this fairly lively approach gets the composition moving along with deft fingerwork and excellent drumming Ben Vanderval. Plus ominous but uncluttered descending bass runs by Roy Martinez. Things get jazzy @ 2:13 as Hank goes into blues mode, vamping Hammond et al. A winner, this one and fades away too early for me! Are You Lonesome Tonight has rolling acoustic guitar and Marvin twanging softy away on the Elvis favourite. Shame he didn’t do Let’s Play House.

Russian Doll is a father & son original taken at a brisk pace and somehow evoking Donovan in its changes. Would make a good film theme, opening credits for a thriller maybe. A nod to Henry Mancini now and the spiky Peter Gunn/Baby Elephant Walk, rocking away quite rhythmically, the electric guitar taking the sleazy lead lines and handling the stops with a funk swagger but suddenly we are into a legato guitar take on Baby, stepping back to Peter Gunn. It’s clever, but I would never have paired these two tunes. BTW do check out Gary Hoey’s version of Peter Gunn! Moon River is also Mancini but plus Johnny Mercer and here Marvin uses his lagoonside crooning style over gentle acoustic guitar backing. I had to play this once at a wedding and used a Schaller volume pedal and a slide… The Doctor Who Theme cruises in on oscillating synths before the drums punch the backbone in and the guitar wobbles on its way. To be honest it sounds a bit odd and a wilder approach would have added a lot. This was once a spooky and exciting tv series and not the overcomplicated pc garbage successive naff producers have dragged it to. What A Wonderful World along with We Have All The Time In The World have truly timeless melodies and would have made a fine medley. Here Marvin takes the former for a walk with some subtle vibrato bar work here and there. The backing is almost reggae.  Cry Me A River is the song you associate with Julie London as opposed to Mr Timberlake. As a composition it aches with menace and the electric piano is terrific. The tune sounds surprising on guitar, a wah pedal would have made it even better. The lighter bridge is well played then returns to the darker mood. Definitely my choice of number on this set. It’s close to Larry Carlton after a couple of minutes.

The Fool On The Hill is another haunting song. The tempo is quite jaunty, here. Resulting in a pretty and uplifting take on the number which is a highlight on this album, for sure. If only he would try my favourite Beatles composition, Rai ! America is the Bernstein torcher, sounding mellow at the start of this effort. Then things get much better and that early Shadows touch jumps out at you. Will You Love Me Tomorrow is a song I had to work out not long ago to back a female vocalist. The chords are lovely and the cadence quite warming. Goffin and King wrote few clinkers. This version has a brisk backing letting the single-note melody float along. The instruments used by Marvin on these cuts include Hank’s Signature Fender Stratocaster, a Dan Electro Baritone and a Hahl Gypsy acoustic six-string. Hank can make them all talk..and they do. Take My Word.~ Pete Sargeant http://justlistentothis.co.uk/reviews/hank-marvin-without-word/

Personnel: Hank Marvin (acoustic guitar); Kevin Reeves (guitar); Roy Martinez (bass guitar); Ben Vanderwal (drums, percussion); Paul Rossiter (programming).

Without a Word

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Marilyn Crispell - Santuerio

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 68:49
Size: 161,9 MB
Art: Front

( 6:10)  1. Entrances of Light
(10:32)  2. Air - Fire
( 2:57)  3. Water
( 5:01)  4. Burning Air - Wood
(13:24)  5. Santuerio
( 9:32)  6. Repercussions of Light
(13:44)  7. Red Shift
( 7:25)  8. Repercussions of Air I & II

For this recording, pianist Marilyn Crispell both debuted a new quartet and embarked on a somewhat different path from her previous outings and, certainly, from her long tenure with Anthony Braxton. Pulling in violinist Mark Feldman and cellist Hank Roberts (along with longtime compadre Gerry Hemingway), her music, here essentially an eight-part suite, took on a more elegiac, overtly spiritual tone. The pieces are draped around the loosest of thematic materials, the musicians instead using the wisps of ideas to gently launch into introspective investigations, occasionally coalescing into brief, more frenzied bouts, but generally remaining in a pensive state. The title track begins with a long, intricate percussion solo from Hemingway before falling into a choppy, awkward series of overlapping written lines where Crispell's angular attack (by this point far beyond the early Cecil Taylor comparisons) is set against Feldman's pining cries. Little by little, the piece works up quite a head of steam, the disjunctive rhythms beginning to mesh quite intriguingly toward the end. "Repercussions of Light," a duo between a superbly romantic Feldman and Hemingway's soft backing, is arguably the highlight of the disc, a fine composition that straddles the boundary between the ethereal and the earthy. Crispell takes off on the next track, "Red Shift," leading the quartet through the disc's most intense playing, creating a swirling cauldron of activity. Santuerio closes in the same ghostly manner as it had begun, with quivering violin over hushed, delicate piano. Overall, it's an impressive achievement, showing a new side of this fascinating musician. ~ Brian Olewnick https://www.allmusic.com/album/santuerio-mw0000066453 

Personnel:  Piano, Producer, Composed By – Marilyn Crispel;  Cello – Hank Roberts;  Drums – Gerry Hemingwayl;  Violin – Mark Feldman

Santuerio

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Dara Tucker - Dara Tucker Live

Size: 100,2 MB
Time: 39:38
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. Intro (Live) (0:24)
02. On The Sunny Side Of The Street (Feat. Mason Embry) (Live) (2:38)
03. The Shadow Of Your Smile (Live) (2:39)
04. The Days Of Wine And Roses (Feat. Mason Embry) (Live) (2:17)
05. The Way I Am (Feat. Greg Bryant) (Live) (2:58)
06. I Can't Give You Anything But Love (Feat. Josh Hunt) (Live) (2:13)
07. Annie's Song (Feat. James Dasilva) (Live) (2:54)
08. I See Your Face Before Me (Feat. Greg Bryant) (Live) (4:37)
09. Until The Real Thing Comes Along (Live) (4:26)
10. Almost Like Being In Love (Feat. Mason Embry) (Live) (2:35)
11. Just In Time (Feat. James Dasilva & Mason Embry) (Live) (3:30)
12. But Beautiful (Live) (2:49)
13. Walk With Me (Live) (5:32)

Dara Tucker is an American jazz singer and composer. Tucker has released four studio albums; "All Right Now" (2009), "Soul Said Yes" (2011) "The Sun Season" (2014) and "Oklahoma Rain" (2017), as well as a limited-release, live performance album, "Dara Tucker Live" in 2013. Dara was named, "Jazz Vocalist of the Year" at the 2016 and 2017 Nashville Industry Music Awards. In 2017, the second single from "Oklahoma Rain, "Radio," was named, "Song of the Year" at Nashville Industry Music Awards, and "Oklahoma Rain" won "Jazz Album of the Year." Tucker has performed internationally with her jazz ensemble since 2009. Dara was featured on the Tavis Smiley Show in 2015, and opened for Gregory Porter in 2016. She won the silver medal in the "American Traditions Vocal Competition" in 2017.[3] She has shared the stage with jazz musicians such as organist Dr. Lonnie Smith,[4] 7-string guitarist Charlie Hunter, and pianist Johnny O'Neal at The Blue Note in New York City, The San Jose Jazz Festival, Smoke Jazz and Supper Club in NYC, Sculler's in Boston, MA, The Oklahoma Jazz Hall of Fame, and Snug Harbor in New Orleans, LA. In November 2016, she shared the stage with Vince Gill and the Time Jumpers. She has recorded with guitarist Peter Bernstein, guitarist Charlie Hunter, pianist Helen Sung, trombonist Alan Ferber, saxophonist John Ellis and drummer Donald Edwards.

Dara Tucker Live

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Chris Connor - The Complete Atlantic Singles 1956-1960 (Remastered)

Size: 141,4 MB
Time: 60:23
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. Go 'Way From My Window (2:50)
02. Past The Age Of Innocence (2:35)
03. My Heart Is So Full Of You (2:17)
04. I Miss You So (2:21)
05. Time Out For Tears (2:39)
06. Trust In Me (2:14)
07. Mixed Emotions (2:48)
08. I Love You, Yes I Do (2:36)
09. Under Paris Skies (2:38)
10. Moon Ride (2:45)
11. Circus (2:00)
12. Flying Home (2:34)
13. Hallelujah, I Love Him So (2:24)
14. I Won't Cry Anymore (2:23)
15. Señor Blues (2:54)
16. Misty (2:50)
17. Invitation (2:38)
18. I Sold My Heart To The Junkman (2:05)
19. Heard A Bluebird (2:17)
20. Fortune Cookies (2:13)
21. That's My Desire (1:59)
22. I Only Want Some (2:47)
23. 'S Wonderful (2:31)
24. Love Walked In (2:55)

Chris Connor (1927-2009) developed her jazz style while singing with Stan Kenton in 1953. The way she put it, Singing with Kenton was the most exciting thing that happened to me. And, believe me, it trained my ear. After leaving Kenton, she began building her reputation as a single working intimate, jazz-clubs on the Eastern circuit. But she had never thought herself a jazz singer and made this clear when she first began singing for Bethlehem later that year: I don t know why I began singing jazz, instead of commercial things. But I always sang off the melody when I was a kid, so I guess that s it. I don t really want to stick to only one kind of singing. The only reason I m in this business is because I like to sing. I m not happy doing anything else.
Her fleeting doubts gradually disappeared as she became more secure in her own rhythmic conception, and after signing for Atlantic in 1956, she became one of the label s best sellers, selling 500,000 LPs during her five-year tenure, and thousands of jazz and pop singles; all of the latter are included here. Her near-vibratoless singing style and distinctive charm, as warm on ballads as it is coolly relaxed on uptempos, and her innate jazz phrasing emerging at unguarded moments triumph over more commercial approach of some of the tunes.

The Complete Atlantic Singles 1956-1960

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Vic Juris - Eye Contact

Size: 157,3 MB
Time: 67:40
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. United (4:05)
02. Ruby (7:46)
03. I Fall In Love Too Easily (7:02)
04. We See (7:21)
05. Sim (5:01)
06. Pinocchio (4:16)
07. Sweet And Lovely (6:49)
08. Domo's Delight (3:44)
09. Time Remembered (7:36)
10. Eye Contact (7:29)
11. To Love And Be Loved (6:27)

Vic Juris has added another guitar trio masterpiece here on his ever-growing body of recorded works. He is joined by bassist Jay Anderson and drummer Adam Nussbaum.

Since his SteepleChase debut album 'Night Tripper' of 1994, guitarist Vic Juris has been presenting unique musical universe of unassuming virtuosity and versatility, of which John Kelman of AllAboutJazz once pertinently described as "fresh, in-the-moment and connected to the broadest possible tradition."

"Vic Plays Victor Young is a sensitive melodically exploratory album of standards and rarely covered airs, as should be expected from a seasoned ensemble with a compatible repertoire." ~Howard Mandel

Personnel: Vic Juris (guitar), Jay Anderson (bass), Adam Nussbaum (drums).

Eye Contact

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Sandra Kaye - Here's To Life

Size: 99,5 MB
Time: 33:48
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Where Or When (2:27)
02. Fly Me To The Moon (2:57)
03. Never Let Me Go (3:54)
04. Dream (2:15)
05. Moon River (3:31)
06. Autumn Leaves (3:00)
07. As Long As He Needs Me (3:34)
08. Smile (4:33)
09. I Wish You Love (3:04)
10. Heres To Life (4:29)

Once or twice in every decade there comes a singer, so distinctive yet influenced by the rich vocal heritage of decades past. Just as Billie Holiday, Sarah Vaughan, Dinah Washington and Ester Phillips so touched our lives through their incomparable gift of song, so here and now comes another: Sandra Kaye.
Upon hearing Sandra Kaye "fashion" the songs that she sings (for indeed, that is what she does), one cannot help but wonder how it all began. Who is this young lady with a voice and soul for music and lyric that is beyond her years?
Just as all artistic expression is a gift from God, and often appears even before the artist herself become aware of it, Sandra's singing ability was evident to her family and friends long before she herself believed she was a singer. Always gracious, and at times so amazed at what, for her, was so easy, Sandra did not begin her singing career with the idea of making it her life's pursuit.
Sandra Kaye was born in Dallas, Texas the only daughter of a minister. She grew up singing gospel music and was often featured in church socials as a young girl with various choirs and girl groups. however, Sandra started her professional career by winning an amateur contest at the West End Cabaret Dallas in 1986, since then she has established herself as the consummate artist. She attributes her success to many hours of practice, hard work, countless gigs and frequent visits to open mic nights all over America.
Sandra Kaye's experience as a jazz vocalist has given her the ambidexterity to sing with orchestras, and ensembles of all sizes. Her first experience of big band was with the Shelley Carrol Big Band, since then Sandra has been featured with the Curtis Bradshaw's First Reunion Orchestra, The Dallas Jazz Orchestra, The Galen Jeter Orchestra and the Vecho Vecencio Group.

Here's To Life

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David Linx - 7000 Miles

Size: 107,1 MB
Time: 45:47
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Poses (5:23)
02. From One Family To Another (3:22)
03. 7000 Miles (6:05)
04. America (5:32)
05. A Fool To Never Know (4:55)
06. Sitting On The Dock Of The Bay (4:45)
07. Night And Day (3:15)
08. Distortions (2:32)
09. The Promise Of You (4:53)
10. Out On A Limb (5:02)

Personnel:
David Linx, chant
André Ceccarelli, drums
Pierre-Alain Goualch, piano
Diego Imbert, double bass

David Linx (1965) is a Belgian singer of jazz and chansons, composer and lyricist. He studied percussion and worked as a drummer with the American jazz singer Mark Murphy, which motivated him to take up singing himself.
In 1996, together with a group of musicians, including Pierre Van Dormael and Slide Hampton, he made a recording with the American writer and activist James Baldwin, who recites poetry on this album.

With pianist Diederik Wissels David Linx recorded various duo albums over the years. Additionally, he recorded with among others Toots Thielemans, the quartet of guitarist Tam De Villiers, the quartet of pianist Ivan Paduart and the Brussels Jazz Orchestra.

David is also active as a singer of the French chanson. He recorded an album with chansons and collaborated with the singer Maurane. Addtionally, he composes music for film and dance theatre. In 2005, he was awarded the Prix Bobby Jaspar by the Académie du Jazz in Paris.

David Linx has been a jazz voice teacher at the Royal Conservatory in Brussels since 1993 and is a regular guest teacher at the Conservatorium van Amsterdam.

7000 Miles

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Betty Lee - Live At Cafe Liberal

Size: 163,5 MB
Time: 70:08
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Sunrise (3:45)
02. Detstvi (3:14)
03. Blue Skies (4:03)
04. Volny (3:52)
05. Swing Me (3:59)
06. Cheek To Cheek (4:45)
07. Past (3:25)
08. Lemon Tree (4:36)
09. Pristi (3:42)
10. It Must Be Something Psychological (2:34)
11. Sambo Carlo (4:06)
12. Vanek (5:52)
13. Whatever Lola Wants (4:22)
14. Sen (3:51)
15. Island Blues (5:08)
16. Fronta Na Rozdil (3:23)
17. Hmm Hmm (5:22)

Betty Lee (Alžbeta Pažoutová) has been interested in music since her childhood. After studies at Prague Conservatory (acting, singing and dancing) she visited New York. During a few months of listening to New York jazz and meeting great musicians, Betty Lee also recorded her debut CD "I Wish You Love".

Currently Betty lives in Prague. She sang with Cosmic People band and Betty Lee Quartet. Now she has author's jazz/pop band - Betty Lee Song Project / BLSP. And Electronic, modern project Atomic Gigolo, also original songs.

Live At Cafe Liberal

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Carolin Fortenbacher & Lutz Krajenski Trio - Fortenbacher Singt Streisand

Size: 178,7 MB
Time: 76:41
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Starting Here, Starting Now (Live) ( 3:01)
02. It Had To Be You (Live) ( 5:29)
03. Somewhere (Live) ( 5:38)
04. Evergreen (Live) ( 3:45)
05. The Way We Were (Live) ( 3:42)
06. What Kind Of Fool (Live) ( 5:52)
07. Don't Rain On My Parade (Live) ( 3:13)
08. Woman In Love (Live) ( 4:27)
09. Happy Days Are Here Again (Live) ( 3:43)
10. Pavane - Avinu Malkeinu - Papa, Can You Hear Me (Live) (13:45)
11. Not While I'm Around (Live) ( 3:47)
12. Second Hand Rose (Live) ( 5:51)
13. People (Live) ( 3:46)
14. Send In The Clowns (Live) ( 5:18)
15. Guilty (Live) ( 5:26)

Carolin Fortenbacher (born 26 June 1963 in Hamburg) is a German Musical actress and singer. She has had a leading role for five years in the musical Mamma Mia! in Hamburg.

Fortenbacher's different musical styles include soul, jazz, pop and rock, and also opera. Audiences know her both for her musical roles and for classical parts. In the Hamburg performance of The Magic Flute she played the Queen of the Night. Musical commitments followed such as Rosalina in West Side Story, Lucy in the musical Charlie Brown, Audrey in the Little Shop of Horrors or Anne in La Cage aux Folles. She took part in the Rock Opera Jimmy Dean in the Theater Casa Nova in Essen. She took on the roles of Mabel and Kate in the musical The Pirates of Penzance.

In September 1994 she played Aldonza in Der Mann von La Mancha, and she received the Image Award Germany.

She won the Publikumspreis des Theater des Westens, Berlin. There she had a commitment in Zustände wie im alten Rom.

In Oberhausen she played the role of the spider in the musical Tabaluga & Lilli. From November 2002 until September 2007 Fortenbacher played the leading role of Donna in the musical Mamma Mia! in the Operettenhaus Hamburg.

For this she was selected by the readers of the Bildzeitung as second place in the Top Women of Hamburg 2005, behind Hannelore Schmidt.

Fortenbacher Singt Streisand

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Various - The Miles Davis Sidemen

Bitrate: MP3@320K/s
Time: 91:22
Size: 209.2 MB
Styles:
Year: 2013
Art: Front

[ 5:24] 1. Herbie Hancock - Cantaloupe Island
[ 7:48] 2. Sonny Rollins - Doxy
[ 5:46] 3. Herbie Hancock - Aung San Suu Kyi
[ 4:16] 4. John Coltrane - In A Sentimental Mood
[ 4:38] 5. Bill Evans - Everything Happens To Me
[ 6:41] 6. Paul Chambers - Dear Old Stockholm
[ 6:55] 7. Keith Jarrett - Bop-Be
[ 6:35] 8. John Scofield - A Go Go
[14:15] 9. Chick Corea - Spain
[ 6:48] 10. Jack Dejohnette - Indigo Dreamscapes
[ 4:59] 11. Tony Williams - Vashkar
[ 5:10] 12. The Cannonball Adderley Quintet - Mercy, Mercy, Mercy
[ 3:39] 13. Stan Getz - Anything Goes
[ 4:07] 14. Kai Winding - Speak Low
[ 4:13] 15. Gil Evans - Moon And Sand

Miles Davis is widely regarded as one of the most important musicians of the 20th century, being at the cutting edge of bebop, hardbop and fusion, just to name a few of the jazz movements he helped shape. Along the way, he influenced generations of musicians, including many sidemen who would enjoy influential and successful careers of their own.

The Miles Davis Sidemen mc
The Miles Davis Sidemen zippy

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