Steve Tyrell - A Song For You

Bitrate: MP3@320K/s
Time: 44:15
Size: 101.3 MB
Styles: Vocal
Year: 2018
Art: Front

[3:52] 1. Someone Like You
[4:43] 2. Come Rain Or Come Shine
[4:18] 3. Try A Little Tenderness
[4:18] 4. A Song For You
[3:31] 5. Sunday Kind Of Love
[4:13] 6. When I Fall In Love (Feat. Judith Hill)
[4:07] 7. Come Live With Me
[3:46] 8. You Are So Beautiful (Feat. Judith Hill)
[4:05] 9. To Be Loved
[3:02] 10. The Good Life
[4:16] 11. Always On My Mind

A Song For You furthers Tyrell's vision of bridging songwriting from the rock era with that of the standards era, placing at its core the fundamental immortality of great songwriting. It draws a through-line from modern classics, such as Van Morrison's "Someone Like You," to the timeless romanticism of Victor Young and Edward Heyman's "When I Fall In Love." Also featured on the record is the final work of Tyrell's friend and collaborator, the legendary Paul Buckmaster-one of the foremost arrangers and concertmasters of the rock era. "A Song For You" was the very last song Buckmaster worked on in his storied Grammy Award-winning career.

"Most of the songs I've sung are standards, ripped from the pages of the Great American Songbook. This album has quite a few of those, and I'm thrilled to return to that era again," says Tyrell. "These are timeless tunes, and their lyrics tear at your heartstrings. Some are upbeat, some are ballads, but the common thread is that they are all about love-whether you're hoping for it, reveling in it, or just giving it your best shot!"

A Song For You mc
A Song For You zippy

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Wes Montgomery - Plays The Hits

Bitrate: MP3@320K/s
Time: 26:01
Size: 59.6 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[2:11] 1. Goin' Out Of My Head
[3:20] 2. Tequila
[3:06] 3. California Dreaming
[2:18] 4. Windy
[2:53] 5. When A Man Loves A Woman
[4:48] 6. What The World Needs Now Is Love
[3:56] 7. Sunny
[3:25] 8. Yesterday

The Great Songs/Great Performances series by Verve is a new attempt to get prospective buyers interested in its vast jazz catalog, introducing them to large-scale hits by artists who appeared either on its label proper or on one of its licensees'. In the case of guitarist Wes Montgomery, Plays the Hits, it only takes eight tracks and just over 26 minutes. Montgomery is respected by jazz aficionados for his brilliant technique and soulfulness; many regard his '50s recordings for Riverside as his finest. The record-buying public didn’t see it that way. These tracks, all produced by Creed Taylor, are his versions of the rock, pop, and soul hits of the era, and each one landed as a charting single. Featured here are his own jazzy bossa recording of “Goin’ Out of My Head” (which echoed virtually all the vocal versions of the tune at the time); his signature takes on “California Dreamin’” (that literally defined soul-jazz as Verve interpreted it); the Association’s “Windy”; Bobby Hebb's “Sunny,” the Percy Sledge vehicle “When a Man Loves a Woman,” and the Beatles’ “Yesterday,” among others. Montgomery’s touch was light, breezy, full of groove -- if not swing -- and orchestrated by a team of pros. His voice ion the guitar was the sound of singing itself. All these cuts are heavily orchestrated but contain more soul than schmaltz, and the arrangements are terrific (the latter two cuts mentioned above were charted out by Don Sebesky). Any serious fan of Montgomery has this stuff many times over, but for the uninitiated, or those seeking some good-time, summery guitar grooves, the music can’t be beat -- especially at this price. ~Thom Jurek

Plays The Hits mc
Plays The Hits zippy

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Ethel Ennis - The Great American Songbook

Size: 157,5 MB
Time: 67:35
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Taking A Chance On Love (2:47)
02. Blue Prelude (3:02)
03. I've Got You Under My Skin (2:59)
04. You'd Better Go Now (3:45)
05. How About Me (3:36)
06. Love For Sale (3:29)
07. Then I'll Be Tired Of You (2:48)
08. My Foolish Heart (3:07)
09. I Still Get A Thrill (2:36)
10. For All We Know (2:15)
11. Happiness Is A Thing Called Joe (4:56)
12. The Song Is Ended (2:26)
13. There's No Fool Like An Old Fool (2:50)
14. I Cried For You (5:13)
15. Ev'ry Time We Say Goodbye (2:44)
16. Serenade In Blue (3:07)
17. Deed I Do (Benny Goodman & His Orchestra) (2:45)
18. A Fine Romance (Benny Goodman & His Orchestra) (2:14)
19. I Gotta Right To Sing The Blues - I Hadn't Anyone Till You - I've Got You Under My Skin (Benny Goodman & His Orchestra) (4:49)
20. There's No Fool Like An Old Fool (Benny Goodman & His Orchestra) (3:28)
21. The Song Is Ended (Benny Goodman & His Orchestra) (2:29)

Ethel Ennis first won national recognition for her recording “Lullaby for Losers” in 1955. In 1958, she was selected by Benny Goodman as the female vocalist for his all-star band. Later, she was chosen as a featured singer on the Arthur Godfrey Show. After performing at the 1964 Newport Jazz Festival with Billy Taylor, Cozy Cole, and Slam Stewart, she appeared with Duke Ellington and his Orchestra on television's “Bell Telephone Hour.” She followed those amazing achievements by wowing them at the Monterey Jazz Festival in duets with Joe Williams. She returned to her hometown to perform in concerts with the Count Basie Band and the Baltimore Symphony Orchestra. During that same period, she shared the bill with Cab Calloway at Harlem's Apollo Theater and played supper clubs and concert halls all over the country.

The Great American Songbook

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Carlos Do Carmo - Carlos Do Carmo & Bernardo Sassetti

Size: 111,5 MB
Time: 48:19
File: MP3 @ 320K/s
Released: 2010
Styles: Chanson, Contemporary Jazz, Fado, Folk
Art: Front

01. Retrato (3:24)
02. Cantigas Do Maio (4:45)
03. Lisboa Que Amanhece (6:02)
04. Gracias A La Vida (4:40)
05. Porto Sentido (6:02)
06. O Sol (5:23)
07. Foi Por Ela (4:17)
08. Avec Le Temps (4:58)
09. Quand On N'a Que L'amour (4:50)
10. Talvez Por Acaso (3:53)

Personnel:
Carlos Do Carmo: Vocals
Bernardo Sassetti: Piano

It's not an album of fado? It's not a jazz album? It's a fusion between the musical personalities of Carlos do Carmo and Bernardo Sassetti. A single line between the classic repertoire of Portuguese music and the timeless themes of the international repertoire.

This is an album with no secrets, at least as far as Carlos Do Carmo's voice (which comes up pure, without trapezoids, with no processing) is concerned. But it was a challenge because he was in danger of some monotony. And if this challenge is overcome with distinction and class, it is due to Bernardo Sassetti's superb and powerful performance: the pianist never puts himself above the voice, knows how to give him space and dynamic breathing and then at the moments when he assumes greater harmonic strength is brilliant, exemplary.

Then both musicians give themselves to the neighbor by welcoming him in return. Sassetti embraces a popular sense, while being exuberant and Carlos Do Carmo receives from the pianist a new adventure, which embraces as a young man, maintaining all its sophistication. It is a dialogue, which becomes touching, of mutual admiration this album, and also of admiration to the great authors of Portuguese music - these versions seem to me more passionate, those of Jacques Brel, "Quand On N'a Que L'Amour ", Léo Ferré," Avec Le Temps "and Violeta Parra," Gracias La Vida ", are emotionally more distant, but perhaps this is also a response of a lover of Portuguese music. A work that evokes a revival of Portuguese music in a erudite sense, maintaining the most important sensitivity of all: the proximity to the public. (From Portuguese)

Carlos Do Carmo & Bernardo Sassetti

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Barry Greene - Resurgence

Size: 119,5 MB
Time: 51:07
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. A Minor Issue (6:55)
02. Resurgence (5:02)
03. In Her Room (6:07)
04. Periphery (7:29)
05. A Sweet Memory (3:42)
06. Jivin' And Connivin' (4:27)
07. The Allure (5:32)
08. Rolling Up Hill (7:12)
09. Not Even Friends (4:35)

When I think about a guitarist being the “complete package,” I am referring to virtuosos like Barry Greene and his new, all-originals CD Resurgence. Barry is a highly respected jazz educator, internationally acclaimed and revered for his blistering technique and soulful versatility. Now his compositions will highlight his trifecta of talent. The record is full of twists and turns: bebop rawness and virtuosity in Resurgence; bluesy and soulful passion of In Her Room; contemporary edge of Periphery; and sensitive harmonically sophisticated fingerstyle of A Sweet Memory’. His sound is precise and articulate, constantly flowing and dynamic. His sidemen Kevin Bales piano/keyboard, Jason Stewart bass and Jaminson Ross on drums are locked in, creating a tasteful and intricate platform to highlight Barry’s sound and style. Barry’s Resurgence is thoughtful and flawlessly executed and will stand the test of time as an example of what it means to dedicate a lifetime to both the love of jazz and the pursuit of guitar mastery..

Resurgence

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Wendy Jo Bradshaw - For My Dad

Size: 100,5 MB
Time: 31:40
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals, Big Band
Art: Front

01. I've Got You Under My Skin (3:19)
02. The More I See You (2:22)
03. Fly Me To The Moon (3:00)
04. Our Love Is Here To Stay (2:56)
05. Stormy Weather (2:58)
06. Autumn Leaves (2:31)
07. Don't Get Around Much Anymore (2:00)
08. Paper Moon (2:01)
09. I'll Be Seeing You (2:51)
10. Sunny Side Of The Street (2:17)
11. Traveling (Magic Forest Treasure) (5:19)

Wendy Jo Bradshaw is a Nammy (Native American Music Award) Nominated, singer-songwriter, recording artist and author whose throwback sound and sultry, smooth voice takes you on a journey through timeless Jazz & Big Band classics. Her featured Jazz albums For My Dad – Wendy Jo Bradshaw, and Evening Interlude, were both produced by Wendy Jo Bradshaw, and arranged by Lex de Azevedo on piano. Wendy also introduces her original song TRAVELING, which was written and arranged by Wendy. Wendy’s Jazz albums feature unique arrangements of the warm, smoky, jazz style standards from the 30’s, 40’s, and 50’s.

Wendy is also an accomplished songwriter and has written and recorded many finely crafted World/Native American songs. Her compositions feature haunting melodies, vocals, and lyrics that she hopes promote peace, harmony, and healing while expressing her love of the Earth and of The People. In her recordings Wendy is accompanied by several well- known American Indian musicians and singers.

Wendy’s warm and upbeat connection with her audience is infectious. Her voice not only sweetly presses upon the senses and pulls a listener towards serenity. Wendy’s has a beautiful and generous heart which is clearly recognized in her music. Her talent is a gift that offers inspiration, hope, and love to the listener.

For My Dad

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Brian Culbertson - Colors Of Love

Size: 146,5 MB
Time: 63:03
File: MP3 @ 320K/s
Released: 2018
Styles: Smooth Jazz, R&B, Funk
Art: Front

01. Colors Of Love (5:23)
02. I Want You (3:54)
03. Love Transcended (4:56)
04. Don't Go (5:28)
05. You're Magic (4:23)
06. Through The Years (3:41)
07. In A Dream (5:53)
08. Let's Chill (5:49)
09. Desire (4:35)
10. Michelle's Theme (4:03)
11. In Your Embrace (4:02)
12. The Look (6:36)
13. All My Heart (4:13)

Brian Culbertson is an award-winning multi-instrumentalist, songwriter and producer known for his distinct brand of genre-crossing contemporary jazz, R&B and funk. Mining the urban sounds of musically-rich Chicago, he began his musical studies on piano at age eight and quickly picked up several other instruments by the time he was twelve, including drums, trombone, bass and euphonium. Inspired by the iconic R&B-jazz- pop artists of the 1970s like Earth, Wind & Fire, Tower of Power, Chicago, David Sanborn and others, Culbertson started composing original music for his seventh grade piano recital and hasn’t stopped since, amassing 30 Billboard No. 1 singles (and counting!) and a deep catalogue of 18 albums, most of which have topped the Billboard contemporary jazz charts.

Having worked and performed with countless industry all-stars such as Michael McDonald, Chris Botti, Ledisi, Barry Manilow, Herb Alpert, Natalie Cole, Maurice White (EWF), Chuck Brown and Bootsy Collins just to name a few, Culbertson has won numerous awards and accolades along with nominations from the NAACP Image Awards and Soul Train Awards. In 2012, he founded the Napa Valley Jazz Getaway, a flourishing wine, music and lifestyle experience for which he also serves as artistic director. With love, romance and his recent twentieth wedding anniversary serving as his inspiration, Culbertson crafted thirteen new songs that will be released as “Colors of Love” on Valentine’s Day. The seduction begins with the first single, the amorous title track, which is a sensual R&B groove illuminated by lyrical acoustic piano melodies typical of the collection’s contents. A nearly three-month- long U.S. concert tour will bring “Colors of Love” to life in a vivid theatrical production, incorporating video elements in a major way.

Regardless of his success and numerous accomplishments, fans can rest assured that Culbertson always brings his very best – and brings the very best out of others – in all of his broad-ranging musical and creative endeavors.

Colors Of Love

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Denise King - Sings The Dance

Size: 144,6 MB
Time: 61:48
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Pop, Rock
Art: Front

01. Bad Girls (3:50)
02. Get Down Tonight (3:24)
03. You Are The First (4:04)
04. (Simply) The Best (5:40)
05. I Will Survive (3:41)
06. Hot Stuff (3:46)
07. Give Me The Night (2:39)
08. Car Wash (4:05)
09. Lady Marmalade (4:41)
10. I Can't Take My Eyes Off You (3:20)
11. Good Times (4:07)
12. Got To Be Real (3:42)
13. Sunny (3:49)
14. What A Feeling (3:15)
15. I Can See Clearly Now (2:43)
16. Lovely Day (4:52)

Denise King sings 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. Denise King has sung in clubs and concert halls in Philadelphia, New York, Paris, Italy, Turkey, Brazil, UK, Africa, Germany, Austria and Japan during the past 20 years. Her career began late and she has proclaimed herself a torch bearer. During her career she has performed with many renown Jazz musicians such as Archie Shepp, Chris McBride, Massimo Farao, Tony Match, Peter Giron, Chris Culpo Lex Humphries, Sid Simmons, Arthur Harper, Sam Dockery, Wayne Dockery, Jerry Weldon, Cecil McBee, Curtis Lundy, Steve WIlliams to name a few. She has recorded six CD’s which continue to delight her many fans. In 2009 with Cristal Records No Tricks was released and very well received. In 2011 she was nominated Best Jazz Vocals in France by Academie Du jazz. Her second release with Cristal Records Give Me The High sign was released in 2012 to great reviews. She is currently on tour throughout Europe.

Denise King was born and raised in West Philadelphia and is the third of five children. She was always an artistic person, focusing at a very young age on visual arts, fashion design and dance. Born with a passion for anything artistic, she danced and sang in high school. At thirteen she was introduced to Jazz by an uncle, Herbert Tatum, who had an extensive collection of Jazz LP’s and a cousin Cynthia who had a love of Nina Simone. Her “studies” involved hours of listening to the Jazz greats, both vocalists and instrumentalists. Denise borrowed phrasing styles from Sarah Vaughan, Ella Fitzgerald, Nat “King” Cole and Frank Sinatra. She gained an appreciation for lyrics from Lil Jimmy Scott, Nancy Wilson, Carmen McCrae and Nina Simone. Listening as intensely to Jazz as she did R&B or music of her era she had no idea that her listening sessions were preparing her for a career in music.

She was “discovered” by a friend who heard her singing outside of her home and introduced her to the world of Jazz performance. The early gigs were difficult in that she was painfully stage shy. But with the help of Sam Reed, sax man and leader of the legendary Uptown Theater Orchestra she overcame her stage fright. Her early performance experiences involved sharing the stage with many legends, Butch Ballard, Arthur Harper, Sam Dougherty, Cecil Payne, Jymie Merritt, Bootsie Barnes, Lex Humphries and many, many more.10

A singer, who cares about the song, Ms King said: “I’m a sucker for the lyrics and not interested in vocal gymnastics. I want to hear the story the writer has to tell.” And for this, those who share King”s love of Gershwin and Porter, can only be thankful. She 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 idol, Sarah Vaughan.

Sings The Dance

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Slim Gaillard, Babs Gonzales - Shuckin' & Jivin'

Bitrate: MP3@320K/s
Time: 56:30
Size: 129.4 MB
Styles: R&B/Jazz/Blues
Year: 1975/1997
Art: Front

[3:02] 1. Vout Orenee
[2:29] 2. Please Wait For Me
[2:51] 3. Sighing Boogie
[2:52] 4. Queen's Boogie
[2:51] 5. Voot Boogie
[2:48] 6. Nightmare Boogie
[2:43] 7. Slim Gaillard's Boogie
[2:40] 8. Harlem Hunch
[2:44] 9. Tutti Frutti
[3:01] 10. Travelin' Blues
[2:45] 11. Sightseeing Boogie
[2:41] 12. Central Avenue Boogie
[2:52] 13. Boogie
[2:40] 14. Slim's Cement Boogie
[2:11] 15. Still Wailin'
[2:26] 16. Shuckin' And Jivin'
[2:57] 17. House Rent Party
[2:57] 18. She's Just Right For Me
[3:19] 19. Be Bop Santa Claus
[3:31] 20. Watch Them Resolutions

This set brings together the work of two artists who delighted in turning language into humorous jive-talk. Gaillard's 14 tracks are all from the mid-'40s and feature three different ensembles: his 10-piece orchestra, a trio under his name, and another trio dubbed the Boogiereeners. His seemingly off-the-cuff riffing belies a dazzling set of skills. Wordplay and invented phrases roll through everything with infectious exuberance. Gaillard was not only an excellent singer, but also an inventive pianist and guitarist. The six numbers that close the set offer a fine contrast in vocalizing as Babs Gonzales carves out his own corner of the scat-singing world. He worked in the '50s, and was a contemporary of Lambert, Hendricks & Ross. However, where they created lyrics to popular instrumental jazz numbers, Gonzales created his own songs, which drew heavily from the pre-beatnik era of jazz talk. ~AMG

Shuckin' & Jivin' mc
Shuckin' & Jivin' zippy

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Stew Cutler - Insignia

Bitrate: MP3@320K/s
Time: 63:19
Size: 144.9 MB
Styles: Guitar jazz
Year: 2001
Art: Front

[ 7:35] 1. Whisper
[ 2:34] 2. QT
[ 5:30] 3. Lovely Mary
[ 6:51] 4. Left Behind
[ 4:13] 5. East River Delta
[ 4:46] 6. Saudades On 8th Avenue
[ 4:35] 7. Coles Mountain
[ 8:13] 8. Elizabeth
[ 4:58] 9. Left Alone
[13:59] 10. Insignia

Stew Cutler's electric guitar sound borrows from very few discernible sources, and as such is difficult to pigeonhole. There's a leanness to his style that is not enhanced or processed by electronics, though he occasionally does leap out with elements extracted from pedals or effects. Using a spare trio of electric bass guitar and drums, Cutler is just barely on the cutting edge of modern mainstream, contemporary, and even fusion jazz, but hints at it rather than pronounce its glory. On this program of all original music, Cutler plays pleasant swing jazz on "Whisper," utilizes a bluesy slide guitar on "East River Delta," trims a spare modal but intricate line in alternating bars of seven and five during "Saudades on 8th Avenue," and uses loops and effects in an insular self-examination during "Left Alone." "Left Behind" is dissimilar, using a steel-edged rock sound, with beats courtesy of drummer Garry Bruer, that reflects the British fusion of Allan Holdsworth, while a fun and funky "Elizabeth" playfully hops around courtesy of bassist Booker King and "Q.T." is perhaps the most innovative track, with a swirling repeat melody as a prelude to a tick-tock chorus and another bluesy refrain. While Cutler does have moments of languidness, sluggishness, or sentimentality, the music is generally hopeful. The 14-minute title track discourses from slow funk to more upbeat moments, letting the guitarist cut loose a bit. While not yet a distinctive voice, Cutler is quite literate, enjoyable, and witty in an internal manner. His music requires close listening to hear the flowers blooming in very rich soil. ~Michael G. Nastos

Insignia mc
Insignia zippy

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The Kim Richmond Concert Jazz Orchestra - Artistry: A Tribute To Stan Kenton

Bitrate: MP3@320K/s
Time: 73:04
Size: 167.3 MB
Styles: Big band
Year: 2013
Art: Front

[ 4:26] 1. Artistry In Rhythm
[ 7:59] 2. Horizon Under
[15:21] 3. Anchor Of Hope
[ 5:48] 4. Intermission Riff
[ 4:56] 5. Seascape
[ 6:21] 6. Invitation
[ 5:32] 7. Over The Rainbow
[ 6:47] 8. The Peanut Vendor
[ 4:30] 9. Virna
[ 4:10] 10. Willow Weep For Me
[ 4:43] 11. Zippidy Altered
[ 2:25] 12. Poetry

This ‘tribute’ to Stan Kenton and his musical mission impresses and holds true to what Kenton was all about. Besides new originals and a few new arrangements of standards, there are three adventurous new treatments of Kenton titles… a fitting tribute indeed from this jazz “orchestra”. Recorded at Capital Studios – in the same studio – on the exact same date (Nov. 1) that Kenton did his first recording session in 1940, the energy captured is incredible!

The critically acclaimed KIM RICHMOND CONCERT JAZZ ORCHESTRA was formed to provide a workshop for major concert works that include elements of both large ensemble jazz with free-swinging improvisation and symphonic colors and textures. This is truly a large jazz (orchestra) ensemble with expanded instrumentation contributing to the symphonic nature of the group… by definition, an authentic large jazz ensemble – the real deal!

“…The twenty-four piece Kim Richmond Concert Jazz Orchestra boasts a full roster of instrumentation, including double reeds and French horns, for a sound that is somewhat rare in the professional jazz world – Lush and multi-layered – a full range of color and emotion. The word “symphonic” comes to mind with so many deftly-woven textures underlying the free-swinging improvisations…” ~Allaboutjazz.com

Artistry: A Tribute To Stan Kenton mc
Artistry: A Tribute To Stan Kenton zippy

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Marjorie Barnes, Equinox - Brighter Shores

Bitrate: MP3@320K/s
Time: 66:48
Size: 152.9 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[4:26] 1. Let's Dance
[6:38] 2. Brighter Shores
[8:23] 3. Come What May
[7:24] 4. Throw It Away
[5:21] 5. Lady Be Good
[7:12] 6. Little Girl Blue
[5:25] 7. E.V.'s Berlin Bounce
[6:08] 8. I'm Glad There's You
[5:33] 9. Round And Round
[5:48] 10. Where Or When
[4:25] 11. Here's To Life

Marjorie Barnes is one of the world’s great jazz singers and performers. She is possessed with serious vocal chops, a confident and dramatic stage presence, and an ability to deliver a lyric in the manner of the great musical storytellers. She also manages to couple an authenticity and wisdom earned through five decades in the music business with an infectiously youthful and playful spirit. Equinox is a firmly rooted and musically diverse quintet of highly seasoned jazz musicians based in the Netherlands. Led by American guitarist, composer, arranger, and lyricist Dan Nicholas, the band also features Simon Rigter on tenor saxophone, Bob Wijnen on piano, Steve Zwanink on bass, and Marcel Serierse on drums.

The meeting between Marjorie Barnes and Equinox is of a true collaborative spirit. Marjorie’s singular vocal gifts shine brightly over the band’s unique sound and her sharp musical instincts and daring fit hand in glove with the band’s adventurous musical interplay. Marjorie Barnes and Equinox’s music is a seamless blend of original works penned by Dan Nicholas set alongside jazz classics, more contemporary pieces, and favorites from the great American songbook. With Equinox behind her every step of the way, Marjorie brings powerful emotional and personal depth to songs that speak of love, loss, hope, celebration, and the blues.

Brighter Shores mc
Brighter Shores zippy

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Ray Vanderby Hammond Combo - Orange Not Blue

Bitrate: MP3@320K/s
Time: 31:28
Size: 72.0 MB
Styles: Organ jazz
Year: 2009
Art: Front

[4:33] 1. Troubleshooter
[4:22] 2. Near Midnight
[6:20] 3. Where The Wind Blows
[2:59] 4. Gotta Get Up
[4:28] 5. Hospitalityman
[4:35] 6. Senior Citizen's Samba
[4:07] 7. Orange Not Blue

Ray Vanderby was born in Sittard Holland in 1953 and is a self taught jazz musician on the Hammond organ; he can’t read music, has not done any formal jazz studies and plays by ear. He began playing in 1964 at age 12 and was the youngest semi-professional organist in Australia. Ray became a qualified piano tuner/technician and at age 20, was the in house session keyboard sideman for EMI 301 Studios Sydney. He worked with some of Australia’s top performers and in 1991 won first prize in the W.R.O.C./BMG Australia wide songwriting competition out of 2,500 entries. Ray has performed at the Cronulla, Newcastle Jazz Festivals as well as the Thredbo, Goulburn and Bluestone Blues Festivals. Over the years he has released original recordings in various genres, “Orange Not Blue” is his first jazz album, consisting entirely of Ray’s original compositions.

Ray Campbell veteran bassist cut his teeth on the early Sydney scene in the 1960’s and 70’s playing in the house band at the Latin Quarter with Stewie Speers, Jimmy Sloggett and Ricky May. He toured New Zealand in the 1972 production of "Hair" with Marcia Hines and Reg Livermore and was in the resident band for the hit New Zealand show "The Happen Inn". Gerry Ramage started playing trombone at school in 1966, then did the Jazz Studies program at the Sydney Conservatorium of Music under Howie Smith, Bill Motzing, Don Burrows and Dick Montz. He joined the ABC in 1975 and has played in most ABC orchestras throughout Australia. Gerry has worked with Johnny Dankworth, Cleo Lane, Shirley Bassey, Pavarotti, the Ed Wilson, Warren Daly, Ralph Pyl Big Bands and the James Morrison’s Big Bad Band.

Chris Ronan is the youngest member of the Ray Vanderby Combo and began playing sax at age 14 in 2006. He played with the Orange High School and Orange Regional Conservatorium stage bands. Chris was a member of the 2008 Beijing Olympic Orchestra and toured China with that ensemble playing for diplomats and performing on the Great Wall of China and in Tiananmen Square. Rob “Rocky” Rochelli is probably the Central West's most versatile drummer and percussionist. He has played with various bands over many years covering the styles of jazz, funk, latin, folk, country and rock. Rob has worked extensively in theatre both as a musician and Music Director; his influences are many and include the soul, latin, Afro Cuban genres as well as drummers Dave Mattacks and Dave Weckl.

Orange Not Blue mc
Orange Not Blue zippy

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Freddie Redd Trio, Hampton Hawes Quartet - Piano East Piano West

Bitrate: MP3@320K/s
Time: 41:59
Size: 96.1 MB
Styles: Bop, Piano jazz
Year: 1956/1991
Art: Front

[2:44] 1. Terrible T
[2:47] 2. Fanfare
[2:59] 3. Just Squeeze Me (But Don't Tease Me)
[2:58] 4. I'll Remember April
[2:59] 5. Hamp's Paws
[1:57] 6. Move
[2:35] 7. Once In A While
[2:39] 8. Buzzy
[4:16] 9. Debut
[5:47] 10. The Things We Did Last Summer
[5:20] 11. Lady J Blues
[4:53] 12. Ready Freddie

This CD reissue has two unrelated early sessions from pianists Hampton Hawes and Freddie Redd. Hawes, heard in a quartet with vibraphonist Larry Bunker, bassist Clarence Jones and drummer Larence Marable, already ranked as one of the top bop-based pianists in 1952. He performs eight straight-ahead numbers (five bop standards and three originals like "Hamp's Paws"), including a two-minute version of "Move" that lives up to its name. Redd, who recorded much less during his longer career, stretches out a bit more on four numbers (including three originals) in a trio with bassist John Ore and drummer Ron Jefferson. Excellent music, easily recommended to bop collectors. ~Scott Yanow

Piano East Piano West 

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Walt Weiskopf - Day In Night Out

Styles: Saxophone And Flute Jazz
Year: 2008
File: MP3@320K/s
Time: 59:42
Size: 139,2 MB
Art: Front

(4:42)  1. Day In Night Out
(5:54)  2. West Side Waltz
(5:27)  3. City Of Sin
(6:42)  4. Blue In Two
(5:36)  5. Walk In The Woods
(6:03)  6. Off Yellow
(6:00)  7. Lean And Green
(7:17)  8. Heather On The Hill
(6:01)  9. Solid Citizen
(5:57) 10. I Got It Bad And That Ain't Good

Most of us find that there are certain musicians who speak to us through their music in a profound way that makes for a special connection. These are the artists who find a prominent space in our collections because we continuously seek out all of their current musical endeavors. For this reviewer, saxophonist Walt Weiskopf has always been a musician to watch. Not to take anything away from other jazz saxophonists, but Weiskopf's musical persona is the complete package. He has an identifiable sound, chops aplenty, great ideas, and a strong emotional base that is often absent in other technically gifted players. Beginning with 1993's Simplicity, Weiskopf has led a strapping and diverse series of albums for Criss Cross that rank among the finest the label has to offer. Additionally, his name has been getting out there more frequently these days as he continues to perform with rock icon Steely Dan.

His first large ensemble work since Siren (Criss Cross, 2000), Day In Night Out brings back a few familiar faces from his previous nonet records, but ultimately opts for a smaller unit composed of some new friends. As usual, the emphasis here is on Weiskopf's own unique compositions and a few sagacious reworkings of select standards. The title track opens up the program with one of Walt's signature licks, namely a tightly voiced serpentine melody with the saxophone choir speaking and breathing as one. Harmonized backing lines soon follow and the whole thing ends up sounding much larger than the sum of these few parts. Weiskopf has a wonderful knack for working in three quarter time and "West Side Waltz" is just the latest example of his prowess. It's also a great place to hear the palette of colors he uses in creating his canvas which, in this case, finds the humming of flutes figuring prominently in the mix.

Rich textures and hues mark the slower numbers such as "City of Sin" and "Off Yellow," where Weiskopf gives as much prominence to the ensemble structures as he does to the solos. It's interesting to note that in the liners, the saxophonist comments on the influence of Don Sebesky and the CTI albums of the '70s. He comments on the iconic arranger's skill of achieving a large sound with a small number of musicians and that's exactly what Weiskopft attains in his work here, as heard in the cacophony he generates on the opening gambit of "Lean and Green." Equally intriguing are the horn accents that punctuate a splendid reading of "Heather on the Hill," yet another standard to get the red carpet treatment arranging wise from Weiskopf.

As a leader, Weiskopf is more than generous with sharing the solo space. Prominent in the mix are Andy Fusco, a firebrand with a sound that nods towards James Spaulding, and Gary Smulyan, heir apparent to the burly style of the late, great Pepper Adams. Filling some big shoes is drummer Kendrick Scott, since Weiskopf usually prefers the company of modern powerhouse Billy Drummond. What Scott may lack in visceral punch, he more than makes up for in a swinging beat and crisp sound that shades his accompaniment to the needs of the arrangement. Weiskopf himself is so fluent that he is able to execute anything and his tone retains its weight regardless of range. A thoroughly accomplished work from start to finish, Day In Night Out can be appreciated for its technical virtuosity, bur remains surprisingly accessible. It not only sets a benchmark for jazz that functions within the tradition, but speaks with individuality and emotional attachment. Need one ask for anything more? ~ C.Andrew Hovan https://www.allaboutjazz.com/day-in-night-out-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf: tenor sax and flute; Andy Fusco: alto sax, flute, clarinet; Gary Smulyan: baritone sax; Michael Leonhart: trumpet; John Mosca: trombone; Peter Zak: piano; Doug Weiss: bass; Kendrick Scott: drums.

Day In Night Out

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Mast - Thelonious Sphere Monk

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 67:12
Size: 154,7 MB
Art: Front

(1:48)  1. Misterioso (Reprise)
(4:50)  2. Evidence (feat. Jonah Levine Collective, Dan Rosenboom, Gavin Templeton)
(3:44)  3. Bemsha Swing
(5:17)  4. Ask Me Now (feat. Brian Marsella)
(4:59)  5. Well You Needn’t (feat. Chris Speed)
(4:05)  6. Epistrophy (feat. Dan Rosenboom, Gavin Templeton)
(5:38)  7. ‘Round Midnight (feat. Brian M
(4:21)  8. Blue Monk (feat. Jason Fratice
(1:29)  9. Oska T
(5:06) 10. Nutty (feat. Makaya McCraven,
(4:23) 11. Straight No Chaser (feat. Bria
(3:16) 12. Friday the 13th
(3:50) 13. Let’s Cool One (feat. Makaya M
(4:24) 14. Pannonica
(5:47) 15. Trinkle Tinkle
(4:10) 16. Misterioso

Jazz anniversaries are always a bit underwhelming. They come and go, their significance trumpeted in earnest Facebook posts. At the end of the day though, the artists we honor remain underappreciated by casual music listeners. The 100th anniversary of Thelonious Monk's birth date last October is a case in point. His contribution to American culture and to jazz culture globally is on par with that of the 20th century's great artists. To describe him as a giant is to state the obvious. But it's hard to imagine that Oct. 17, 2017 saw any meaningful uptick in Monk sales. Harder still to find signs of a sustained boost in interest. Still, he is among our heroes. And when a group of musicians gather to record a tribute as wide ranging and tightly performed as this new one, we can take some solace in the fact that our man remains as influential as ever. Behind Tim Conley's (a.k.a. MAST) leadership, Thelonious Sphere Monk offers up aggressively modern interpretations of Monk's music. Major works like "Epistrophy," "'Round Midnight" and "Straight No Chaser" are here. So too are compositions you may be less familiar with.

"Epistrophy" signals the band's willingness to push Monk fans beyond their comfort zone. Its first 30 seconds is a cross between a drum and bass track and a broken Space Invaders game. But like a lot of the album, MAST's horn section jumps in quickly and brings us right back to what we love about Monk. The forcefulness, the intricacy, the way Monk challenged us is captured faithfully again and again on these 16 new recordings.  "Oska T" features a cracking beat that would sound right at home on a downtempo electronic track. Paired with both a piano and brass band presentation of the tune, the mix is infectious. That's followed by the great "Nutty," which opens with one of the album's several recordings of Monk speaking: "I like to reach everybody," he says. "The public plus the musicians. That's a standard I set for my songs something that will get to the people's ear, plus no criticism from the musicians." These documentary-style additions are fun and add to the disc's modern feel. The track itself features an electric piano performance by Conley (an inarguably gutsy call). He keeps the piece grounded while Daniel Rosenboom's trumpet leads a brass section worthy of the great man himself. Conley began his career as a guitarist. His delivery on "Pannonica" is as good a measure of his talent as any on the album. What makes this tribute work is that he's surrounded by equally strong players, all of whom appear to revere Thelonious Sphere Monk. ~ Kevin Press https://www.allaboutjazz.com/thelonious-sphere-monk-tim-conley-world-galaxy-records-review-by-kevin-press.php

Personnel: Tim Conley: guitar, bass, keyboards, synthesizers, drum programming, production; Chris Speed: tenor saxophone (track 5); Dan Rosenboom: trumpet (tracks 2, 3, 6, 9, 10, 13); Gavin Templeton: alto saxophone, baritone saxophone (tracks 2, 3, 6, 9, 10, 13); Jonah Levine: trombone (tracks 2, 3, 6, 9, 10, 13); Jason Fraticelli: upright bass (track 8); Brian Marsella: piano (tracks 4, 7, 11); Makaya McCraven: drums (tracks 10, 13); Anwar Marshall: drums (track 2).

Thelonious Sphere Monk

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Kathy Kosins - Uncovered Soul

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 54:37
Size: 127,2 MB
Art: Front

(4:28)  1. Don't Get Me Started
(4:23)  2. Voodoo
(3:54)  3. Uncovered Soul
(4:41)  4. Ms. Martha
(4:13)  5. The Downtown Lights
(5:12)  6. A to B
(3:59)  7. Dreamin' / Dreamin's Gonna Pull Me Through
(4:55)  8. If Love Could Talk
(5:17)  9. Can We Pretend
(5:59) 10. Any Day Now
(3:50) 11. Could You Be Me
(3:40) 12. Seria Voce Como Eu

In “Uncovered Soul” Kosins (ASCAP awarded composer & lyricist) teams up with Kamau Kenyatta, the stellar long time producer of Gregory Porter, she will re-unite with her soulful and groove skills. A contrast to her previously released and highly acclaimed album, To the Ladies Of Cool“, "Uncovered Soul" follows in the footsteps of Kamau Kenyatta’s three Grammy nominated, Gregory Porter projects. The Grammy nominated CD “Water,” the Grammy nominated single, “Real Good Hands,” from the CD “Be Good” and the Grammy Award winning CD “Liquid Spirit.” “Uncovered Soul” is based on a sonic worldview shaped by the interpersonal and musical landscape of Detroit in the late 60s and 70s. 

“Uncovered Soul” however, is not merely an urban reality: It is also the common thread that binds the relevancy of the words and music of Curtis Mayfield, Gene McDaniels, Bill Withers,The Neville Brothers, Amos Lee and Burt Bacharach to the present. Three original compositions were added to “Uncovered Soul” to provide a contemporary point of view. http://www.kathykosins.com/

Uncovered Soul

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Brother Jack McDuff - Down Home Style

Bitrate: MP3@320K/s
Time: 38:54
Size: 89.1 MB
Styles: Jazz, Funk, Soul
Year: 1969/2004
Art: Front

[4:46] 1. The Vibrator
[5:06] 2. Down Home Style
[4:16] 3. Memphis In June
[3:34] 4. Theme From Electric Surfboard
[3:45] 5. It's All A Joke
[4:08] 6. Butter (For Yo' Popcorn)
[5:14] 7. Groovin' (On A Sunday Afternoon)
[8:02] 8. As She Walked Away

Jay Arnold (ts), Brother Jack McDuff (org), Charlie Freeman (g), Sammy Greason (d), recorded in Memphis, TN, June 10, 1969.

A set of gritty electric funk and soulful blues, Down Home Style is an excellent showcase for Brother Jack McDuff's gripping, funky style. Inspired more by the tight grooves of Stax Records than bebop, Down Home Style features McDuff leading a small group through a number of R&B grooves, ranging from the stuttering "The Vibrator" and dirty funk of "Butter (For Yo Popcorn)" to the slow blues of "Memphis in June." Occasionally, the group is augmented by a punchy horn section, but the record is designed as a showcase for McDuff's wild, intoxicating Hammond organ, and he runs with it, demonstrating every one of his tricks. ~Stephen Thomas Erlewine

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Roby Perissin & The Latin Jazz Ensemble - Latino Jazz Club

Bitrate: MP3@320K/s
Time: 56:11
Size: 128.6 MB
Styles: Latin jazz, Bolero
Year: 2014
Art: Front

[6:26] 1. Ceora
[5:14] 2. Obsesion
[4:11] 3. Someday My Prince Will Come
[5:52] 4. Tres Palabras (Without You)
[4:51] 5. This Is Always
[5:11] 6. Recado Bossa Nova
[6:40] 7. Linda Chicana
[5:19] 8. My Foolish Heart
[6:40] 9. Claudia
[5:43] 10. Beautiful Love

This is the third CD with Latin Jazz Ensemble, another project that I am proud of. I am very pleased and amazed at having been able to continue the series and to have received the appreciation for the previous CD’s from many listeners around the world. Latin Jazz Ensemble is not simply a band but by now a small community of musicians, professionals, friends that have helped me over the years. First to create, then to keep together, this long lasting project with live gigs all over Italy and abroad in different forms, from duo to sextet. I had the pleasure of involving fine musicians from the Milan scene for these CD recordings and for live gigs, happy to contribute to this project with professionalism and enthusiasm. It might be, they tell me, because of my contagious enthusiasm, passion and energy (that some call “positive folly”) that I put into everything in life and even more into music, my lifetime passion, and in the last few years, my profession. This time I imagined and envision the listener, even the non-jazz aficionado, sipping a good drink with friends, in an imaginary “Latino Jazz Club” accompanied by these beautiful tunes, selected among the many I love and that encompass my music taste, in a few of them also played Latin-American Percussions, another one of my original long time passions.

Tunes like “Obsesion”, “Tres Palabras”, “Claudia” are part of Cuban love song history, “Ceora” (one of the most beautiful songs ever written, to my opinion), “Recado Bossa Nova” and our version of “My foolish heart” are definitely into the bossa nova stream, “Linda Chicana” and “This is Always” are my personal latin jazz homage to Cal Tjader, RIP, who had performed these tunes and has been described as “the man who revolutionized Latin Jazz”. One of my favourite artists ever. “Someday my prince will come” (an exception from the latin mood of the CD) and the closing song of the CD “Beautiful Love” bring positive thoughts and express my undisputed love for life that I have inside of me.

I must again thank my long time “partners in crime” Angelo Bifezzi, Diego Ruvidotti and Paolo Traino, the “core” of Latin Jazz Ensemble, great musicians and friends with whom we worked together for several years. As in the previous CD’s, new friends joined the “Latin Jazz Ensemble” family; I have the honor to have on this CD some more great musicians, both exquisite people: one is Adalberto Ferrari, one of the most complete and refined players I ran into ever, a real “maestro” of one of my favorite instruments, the clarinet. The second is a master of a relatively seldom used instrument in Jazz, but very interesting in the latin atmosphere, the accordion, another fantastic player, Nadio Marenco. With both of these players we added new beautiful sounds to Latin Jazz Ensemble. Last, but not least, I wanted to have for a second time as a guest in the CD, Gino Carravieri, an experienced, versatile drummer, great professional and by now also a friend with whom I have fun playing in “latin” contexts.

Have a drink, relax and unwind into my “Latino Jazz Club”; I hope to have achieved one more time what I wanted: simple Jazz and Latin music, well performed, intense, honest, joyful and peaceful at the same time, a bit like the person I feel I am. Love and Music. ~Roby Perissin

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Mary Lou Williams - Mary Lou Williams Plays In London

Bitrate: MP3@320K/s
Time: 69:21
Size: 158.8 MB
Styles: Piano jazz
Year: 2016
Art: Front

[2:59] 1. Titoros
[2:58] 2. They Can't Take That Away From Me
[4:32] 3. Round About Midnight
[2:51] 4. Perdido
[2:56] 5. Kool Bongo
[3:13] 6. For You
[3:46] 7. Don't Blame Me
[3:03] 8. Lady Bird
[3:13] 9. Titoros (Alternate Take)
[3:19] 10. They Can't Take That Away From Me (Alternate Take)
[2:48] 11. Round About Midnight (Alternate Take)
[2:30] 12. Azure-Té
[3:07] 13. Flying Home
[2:55] 14. Nickels
[3:57] 15. Yesterdays (Alternate Take)
[2:59] 16. The Man I Love
[2:35] 17. Twilight
[2:32] 18. Just One Of Those Things
[3:42] 19. Why
[3:43] 20. Yesterdays
[2:45] 21. The Man I Love (Alternate Take)
[2:47] 22. Just One Of Those Things (Alternate Take)

Bass – Ken Napper (tracks: 1 to 11), Lennie Bush (tracks: 12 to 22); Bongos – Tony Scott; Drums – Allan Ganley (tracks: 1 to 11), Tony Kinsey (tracks: 12 to 22); Piano – Mary Lou Williams. Recorded in London in 1953 and 1954.

This 22-track reissue compiles the great pianist's two Vogue albums cut in 1953 and 1954, and includes the alternate takes from each. All of this music has been available before, but it is noteworthy that this set marks the first time these recordings have appeared together with their original sequencing.

While touring Europe in the early '50s, Mary Lou Williams made two separate recording trips to London. Each time she was paired with a different rhythm section. The common player on both dates was Tony Scott, who played bongos, thus appending both trios. The songs include standards, Latin tunes, and a few originals. For the most part, these sides were designed to offer a well-rounded portrait of an established American artist to record buyers on the other side of the pond. They accomplish that and more.

On the 1953 session she is accompanied by bassist Ken Napper and drummer Allan Ganley, as well as Scott. The highlights of the program include the hard-grooving swing-to-bop read of "Perdido" and two quite different takes of "Titoros" -- both of the latter make good use of Scott's bongos, which is not always the case here. Williams' "Kool Bongo" underscores these. The alternate take of "They Can’t Take That Away from Me" is done as a cha-cha but the original standard version is stronger. Williams' canny meld of harmony, rhythm, and the use of empty space on Monk's "'Round Midnight" offers elegance without drawing from the wonderful strangeness of its melody. The second date features a considerably lesser known -- but no less intuitive -- rhythm section comprised of lesser-known drummer Tony Kinsey and bassist Lennie Bush. It commences with a sprightly version of "Azure Te," which makes fine jazz use of the bongos, followed by a bluesed-out read of Lionel Hampton's and Benny Goodman's "Flying Home." This entire session feels far more relaxed. Williams' "Nickles" is a fingerpopping number that dances between bebop and swing. Her classy cha-cha tune "Twilight" offers interesting chord embellishments before it transforms into a blues. The alternate takes of standards "Yesterdays" and "The Man I Love" are in different keys than the ones originally issued, and it's arguable as to which are superior. A true highlight from the latter session is the reading of Cole Porter's "Just One of Those Things." The rhythm section plays it at double time while Williams complements and counters their collective energy adding grace, verve, and humor to every line. While this package is obviously designed for collectors who have everything else, it also serves as a fine introduction to Williams' iconic pianism. ~Thom Jurek

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