Red Garland - Equinox

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 40:43
Size: 93,5 MB
Art: Front

(7:37)  1. It's All Right With Me
(5:24)  2. Hobo Joe
(7:07)  3. Equinox
(3:59)  4. Cute
(3:10)  5. Nature Boy
(6:28)  6. On A Clear Day (You Can See Fo
(6:56)  7. You Are Too Beautiful

William “Red” Garland (pianist) was born on May 13, 1923 in Dallas, Texas and passed away on April 23, 1984 in Dallas, Texas at the age of 60. Garland’s family was not particularly musical, and his father worked as an elevator technician. Garland’s first instruments were the clarinet and the alto saxophone. He studied with saxophonist Buster “Prof” Smith, who had been an early mentor of alto saxophonist Charlie Parker in Kansas City. He joined the United States Army in 1941 and began to learn the piano while stationed in Fort Huachuca, Arizona. At this time, he was also an amateur boxer. He fought the legendary Sugar Ray Robinson, but he lost the bout.

After being discharged from the military in 1944, Garland played locally around Texas until 1946 when he was chosen to join trumpeter Oran “Hot Lips” Page’s band. Garland toured with Page that same year, ending the tour with the band in New York. Garland decided to stay in New York and soon found work there and also in Philadelphia. While in New York, Garland was recommended to singer Billy Eckstine, who hired him for several weeks. In 1947, Garland began a long stint as the house pianist at the Down Beat club in Philadelphia, where he backed Charlie Parker and Fats Navarro among others, and played with drummer Charlie Rice in the house band. Garland also recorded that year with Eddie “Lockjaw” Davis, appearing on the song Ravin’ At The Heaven. By the early 1950s Garland’s stature as a pianist grew to the point that he found regular work with saxophonists Coleman Hawkins and Lester Young, and led his own trio. Garland was still playing with Young when Miles Davis approached him to record for his Prestige album, The Musings of Miles, on June 7, 1955 at Rudy Van Gelder’s studio. More...http://redgarland.jazzgiants.net/biography/

Personnel:  Red Garland  piano;  Richard Davis  bass;  Roy Haynes drums

Equinox

---

Bob Stewart - Connections: Mind the Gap

Styles: Jazz, Post Bop, Tuba
Year: 2014
File: MP3@320K/s
Time: 63:42
Size: 148,0 MB
Art: Front

(0:56)  1. Red
(5:02)  2. Simone
(1:40)  3. Aqua
(7:18)  4. Bush Baby
(5:16)  5. Fishin' Blues
(2:52)  6. The Poet
(7:49)  7. Odessa
(3:56)  8. Libertango
(2:03)  9. Purple
(3:03) 10. Monk's Mood
(5:39) 11. Nothing to Say
(2:55) 12. Makina
(7:06) 13. Hand by Hand
(7:01) 14. Jump Monk
(1:00) 15. Red 2

Master tuba player and educator Bob Stewart recognizes how fortunate he has been to be affiliated with musical legends and peers who have displayed generosity in allowing him to present his unique conception of tuba playing to receptive audiences. His new recording Connections Mind The Gap is at once a tribute to those artists representing various styles with whom Stewart was able to ply and develop his trade and it is also a forum to suggest and increase the repertoire for aspiring tuba players. Connections Mind The Gap is a varied collection of pieces that range from a five movement piece entitled In Color that Stewart commissioned from young composer Jessie Montgomery to pieces written by or performed by talented musicians the tuba player has played with over his forty year career. Though the compositions span classical, blues and jazz, the common denominator and uniting element is the tuba. Stewart hardly needs an introduction. His career has been one of seeking challenges and passing on knowledge. His tuba has been featured on recordings from the jazz mastery of musicians like Gil Evans, Charles Mingus and Lester Bowie to the rock and blues inflections of Taj Mahal and Elvis Costello. Stewart has also been an active educator for just as long and has recently become a faculty member at the Juilliard School in New York City.

Stewart has been leading his own ensemble First Line Band since 1989. The current iteration of the group includes longtime member/guitarist Jerome Harris and the highly regarded drummer Matt Wilson, both of whose intuitive styles are perfect foils for Stewart s playing. Stewart also includes his son, the fantastic violinist Curtis Stewart, in the ensemble. Keeping with the original brass led formation of the First Line Band, Stewart adds trumpeter Randall Haywood and trombonist Nick Finzer for a number of tracks. In addition to the First Line Band, Stewart introduces the PUBLIQuartet, a string quartet (of which his son is a founding member), which accompanies Stewart on a five-part composition entitled In Color composed by former member, violinist Jessie Montgomery. The piece was commissioned by Stewart and was written with his abilities as the focus: Montgomery and Stewart held multiple listening sessions where she studied Stewart s extended harmonics and other techniques that she would incorporate into her compositions. This makes these tone poems about Stewart as much as they are about Montgomery. On the recording, the classical and jazz materials enable each other. There are aural elements that tie the performances together, most importantly the tuba. There are intentional elemental and spatial gaps, however. Obviously, there are stylistic leaps from jazz to classical to blues but there are also spaces between tracks that signal stylistic departures, thus the title. ~ Editorial Reviews https://www.amazon.com/Connections-Mind-Gap-Bob-Stewart/dp/B00KVF59CI

Personnel:  Tuba – Bob Stewart;  Cello – Amanda Goekin (tracks: 1, 3, 6, 9, 12);  Drums – Matt Wilson;  Guitar – Jerome Harris;  Trombone – Nick Finzer (tracks: 13, 14);  Trumpet – Randall Haywood (tracks: 13, 14); Viola – Nick Revel (tracks: 1, 3, 6, 9, 12);  Violin – Curtis Stewart, Jannina Norpoth (tracks: 1, 3, 6, 9, 12)

Connections: Mind the Gap

---

Steve Forbert - Flying at Night

Styles: Guitar, Folk
Year: 2016
File: MP3@320K/s
Time: 33:30
Size: 78,0 MB
Art: Front

(2:16)  1. Flying at Night
(3:15)  2. Belle of Baltimore
(3:03)  3. Dream Song
(1:51)  4. An Hour or So
(2:27)  5. Dear Angel
(3:39)  6. Never Trust a Man Who Doesn't Drink
(2:34)  7. Listen to the Mockingbird
(3:25)  8. Out in the World
(3:40)  9. What If Her Love Should Fail?
(4:01) 10. Quiet Day
(3:16) 11. Surf's Out (Instrumental)

On October 14 singer/songwriter Steve Forbert is releasing a joyride of a new album. Flying at Night, recorded as a collaboration with his longtime friend, multi-instrumentalist Anthony Crawford, is a pleasure from beginning to end.“My booking agent in England asked me if I could possibly come up with a release to precede this year’s Fall UK tour,” says Forbert. “I completed nine unfinished songs that span several decades a couple from way back before I left Mississippi, one about my post-rehab life in a culture of alcohol advertisements, one about a rare hour of downtime I had while on tour in 1988 with Edie Brickell and the New Bohemians.” Flying at Night will be a UK-only release distributed by Shellshock. “Anthony Crawford and I have worked together off and on since he guested on my album The American in Me (Geffen Records, 1992),” says Forbert. “As producer of Flying at Night, he ran free with the tunes, adding whatever he wanted from his home studio toy box lead guitar, bass, drums, fiddle, and mandolin.” Crawford, a recording artist in his own right, has toured with Neil Young, Steve Winwood,and Dwight Yoakam.

Steve Forbert traveled to New York City from Mississippi in 1976 and played guitar for spare change in Grand Central Station. He vaulted to international prominence with the folk-pop hit, “Romeo’s Tune,” during a time when the singer-songwriter era had all but ended and Talking Heads, Blondie, and other New Wave and punk acts were moving into the public consciousness. Still, critics raved about Forbert’s poetic lyrics and engaging melodies, and the crowds at CBGB’s in New York accepted him alongside hose acts. “I’ve never been interested in changing what I do to fit emerging trends,” Forbert observes. “Looking back on it, I was helping to keep a particular tradition alive at a time when it wasn’t in the spotlight”a tradition that has since seen a thriving resurgence as the Americana genre. Forbert has amassed a catalog of well-crafted, unforgettable songs on such albums as Streets of This Town, The American in Me, Mission of the Crossroad Palms, and Just Like There’s Nothin’ to It. 

His tribute to Jimmie Rodgers, Any Old Time, was nominated for a Grammy Award in 2004. He was inducted into the Mississippi Musicians Hall of Fame in 2010. “Flying at Night makes for a great companion piece to the autobiography I’ve been working on for two years.” The book, called Big City Cat, covers Forbert’s entire career with a colorful look at his midseventies experiences playing both folk and New Wave clubs in Greenwich Village. Big City Cat will be published this fall by pfp Publishing in Boston. http://www.steveforbert.com/news/flying_at_night.html

Flying at Night

---

Nina Simone - Broadway, Blues, Ballads

Bitrate: MP3@320K/s
Time: 36:42
Size: 84.0 MB
Styles: Standards, Vocal jazz
Year: 1964/2006
Art: Front

[2:43] 1. Don't Let Me Be Misunderstood
[3:03] 2. Night Song
[2:15] 3. The Laziest Gal In Town
[2:41] 4. Something Wonderful
[2:50] 5. Don't Take All Night
[4:16] 6. Nobody
[2:55] 7. I Am Blessed
[2:32] 8. Of This I'm Sure
[2:34] 9. See-Line Woman
[2:58] 10. Our Love (Will See Us Through)
[2:01] 11. How Can I
[3:04] 12. The Last Rose Of Summer
[2:43] 13. A Monster

There's a lot more Broadway and a lot more ballads than blues on this, which ranks as one of Simone's weaker mid-'60s albums. Almost half the record features Broadway tunes on the order of Cole Porter and Rodgers & Hammerstein; most of the rest was composed by Bennie Benjamin, author of her first-rate "Don't Let Me Be Misunderstood," which the Animals covered for a hit shortly afterwards (and which leads off this record). The other Benjamin tunes are modified uptown soul with string arrangements and backup vocals in the vein of "Don't Let Me Be Misunderstood," but aren't in the same league, although "How Can I?" is an engaging cha-cha. Besides "Don't Let Me Be Misunderstood," the album is most notable for the great "SeeLine Woman," a percolating call-and-response number that ranks as one of her best tracks. ~Richie Unterberger

Broadway, Blues, Ballads mc
Broadway, Blues, Ballads zippy

---

Larry Carlton, SWR Big Band - Lights On

Bitrate: MP3@320K/s
Time: 68:17
Size: 156.3 MB
Styles: Big band, Guitar jazz
Year: 2017
Art: Front

[5:07] 1. Mellow Out
[5:24] 2. Milestones
[8:03] 3. Kid Charlemagne
[8:04] 4. Fnnn
[6:53] 5. Too Young To Go Steady
[7:31] 6. My Favorite Things
[7:01] 7. Room 335
[6:38] 8. Friday Nights Shuffle
[8:41] 9. The Wells Gone Dry
[4:49] 10. Black Friday

Legendary guitarist Larry Carlton & the SWR Big Band team up for a new production! Combining his roots in blues and jazz with a crossover pop rock sensibility, Carlton's unmistakable sound is marked by his signature warm tone, bright melodies and soulful guitar solos. Four time Grammy winner, Titan of Tone award recipient and legendary guitar great, Larry Carlton is one of the most influential, prolific and original guitarists in the industry. Carlton established himself from his first recording, A Little Help From My Friends. His studio credits include musicians and groups like Steely Dan, Joni Mitchell, Michael Jackson, Sammy Davis Jr., Herb Alpert, Quincy Jones, Bobby Bland, Dolly Parton, Linda Ronstadt and literally dozens of others. He went on to perform with the Crusaders and then with the multi platinum jazz super group Fourplay. With 30 albums to his credit and having performed on over 100 albums that have gone Gold or Platinum, Larry Carlton has set a standard for artistry that spans three decades.

For the past 60 years the 17 members of the SWR Big Band have thrilled audiences throughout Europe with a hugely varied repertoire and consistently excellent quality of music. It is indisputable that they are one of the best big bands in the world. Since 2002, they have received four Grammy nominations, which is credited to the outstanding soloists of the band, the extraordinary interplay of the musicians and great arrangements of new and classic songs alike. Their success that is also supported by the collaborations with international jazz and world music greats like Pat Metheny, Roy Hargrove, Roberta Gambarini, Sammy Nestico, and Paula Morelenbaum.

Lights On mc
Lights On zippy

---

Brassens Le Cubain - Brassens Le Cubain Vol. 1

Bitrate: MP3@320K/s
Time: 73:17
Size: 167.8 MB
Styles: Cuban rhythms
Year: 2016
Art: Front

[4:15] 1. Brave Margot
[4:30] 2. Le Petit Cheval Blanc
[4:36] 3. Saturne
[4:01] 4. Dans L'eau De La Claire Fontaine
[4:45] 5. Les Amoureux Des Bancs Publics
[4:46] 6. La Chasse Aux ¨papillons
[4:45] 7. Sauf Le Respect Que Je Vous Dois
[4:58] 8. Les Copains D'abort
[4:39] 9. La Princesse Et Le Croque-Note
[6:51] 10. Les Passantes
[4:30] 11. Auprès De Mon Arbre
[3:55] 12. Le Fossoyeur
[2:36] 13. Pauvre Martin
[5:07] 14. Chanson Pour L'auvergnat
[3:13] 15. Le Temps Ne Fait Rien à L'affaire
[5:43] 16. Grand Père

BRASSENS LE CUBAIN, A Collective Of Musicians From The "TEMPO FORTE" Group, Has One Day Asked This Simple Question: "... And If Georges Brassens Was Born In Cuba ...? Imagine An Instant Instead Of Contemplating The Mediterranean From His Dear City Of Sete, Georges Brassens Has Written His Songs Facing The Ocean, Sitting On The Wall Of "Malecon" In Havana ... Under The Caribbean Sun ... If he had rocked his texts to the sounds of the countless rhythms of Cuban music, what would have become "the buddies first," "the princess and the croque-notes", "the passer-bys" ... certainly some boleros, Cha-Cha-Cha, Mambos ... Through Original Arrangements, Always In Respect Of The Text And Wealth Of Cuban Music, BRASSENS THE CUBAN Proposes An Answer To This Enigmatic Question And Invites You To Discover This Alchemy. (Translated from French.)

Brassens Le Cubain Vol. 1 mc
Brassens Le Cubain Vol. 1 zippy

---

Oliver Nelson - Taking Care Of Business

Bitrate: MP3@320K/s
Time: 42:37
Size: 97.6 MB
Styles: Bop, Saxophone jazz
Year: 1960/2013
Art: Front

[9:54] 1. Trane Whistle
[6:57] 2. Doxy
[5:30] 3. In Time
[6:16] 4. Lou's Good Dues
[7:32] 5. All The Way
[6:26] 6. Groove

Bass – George Tucker; Drums – Roy Haynes; Organ – Johnny "Hammond" Smith; Tenor Saxophone, Alto Saxophone – Oliver Nelson; Vibraphone – Lem Winchester.

Oliver Nelson would gain his greatest fame later in his short life as an arranger/ composer, but this superior session puts the emphasis on his distinctive tenor and alto playing. In a slightly unusual group (with vibraphonist Lem Winchester, organist Johnny "Hammond" Smith, bassist George Tucker, and drummer Roy Haynes), Nelson improvises a variety of well-constructed but spontaneous solos; his unaccompanied spots on "All the Way" and his hard-charging playing on the medium-tempo blues "Groove" are two of the many highpoints. Nelson remains a vastly underrated saxophonist and all six performances (four of them his originals) are excellent. ~Scott Yanow

Taking Care Of Business mc
Taking Care Of Business zippy

---

Josefine Cronholm & Ibis - Hotel Paradise

Bitrate: MP3@320K/s
Time: 44:47
Size: 102.5 MB
Styles: Contemporary jazz
Year: 2003/2012
Art: Front

[4:10] 1. I Hold My Breath
[5:51] 2. Do You Remember
[5:34] 3. Shadow
[4:36] 4. Aeroplane
[4:16] 5. True Colors
[5:58] 6. Wings
[4:28] 7. Silent Moon
[3:55] 8. Memory Of A Lover
[5:55] 9. Another Day In Paradise

Some singers become famous overnight with a hit song. Others have to fight a long and hard battle for recognition - that may never come. And then there are singers who, without being pushy, work on music that interests them or which they are invited to join, and they are instantly noticed, they are talked about on the grapevine, one musician tells another, and audiences spread the word about the indisputable talent. Long before their record debuts, such singers as Cæcilie Norby and Randi Laubek were known among musicians, and the same goes for singer Josefine Cronholm.

Josefine was born on 13 May 1971 in Domsten, Sweden, and in 1995 she was admitted to the Rhythmic Music Conservatory in Copenhagen. And soon this versatile super talent was in great demand. She has since been heard with Fredrik Lundin, Frans Bak, Django Bates, the Danish Radio Jazz Orchestra, Marilyn Mazur, New Jungle Orchestra, and numerous others. Josefine Cronholm’s voice has a large range, she has brilliant technique and a wonderful audacity in terms of music. She has a rare gift for capturing an audience the very moment she enters the scene, and with her intense, unaffected stage presence she is the quintessence of a “natural” woman.

But for long Josefine Cronholm was a secret - to her fellow-countrymen in Sweden. Actually she was not hiding, she had just chosen to live in Denmark, where she is probably the most sought-after singer at the moment. Through her remarkable recordings with Frans Bak (“Natsange”), with String Swing (“Red Shoes” - the one with the marvellous cover by Arnoldi), and her first recording with her own band, Ibis (“Wild Garden”), her cd sales have been steadily increasing, and she has had lots of outstanding reviews in Denmark and in such countries as Germany and France, where e.g. the leading French jazz magazine Jazzman gave both “Red Shoes” and “Wild Garden” its highest praise, the term “Choc”.

In Denmark String Swing won a Danish Grammy Award, and Josefine herself has been awarded the prestigious Palæ Bar Prize, and now they have also spotted her in Sweden. And to such a degree that she has been given one of the highest distinctions available to a Swedish jazz artist: She was chosen as “Jazz in Sweden Artist” 2003, which inter alia led to a long tour in Sweden and to this cd recording.

Josefine Cronholm and Ibis say thank you with this beautiful and evocative cd, “Hotel Paradise”. Not a jazz recording as such - rather a record with a lot of jazz feeling in Josefine’s poetic and astonishing musical universe. When asked about her music, Josefine says that she “creates simple music; songs that are not built on a lot of complicated chords, but which grow from a core of equal parts of air and tones”. That’s how Josefine Cronholm and Ibis conjure up seductive moods and lovely melodies on “Hotel Paradise” and create room for reflection and a broad spectrum of feelings, contemplation, warmth and humour. A beautiful record.

Hotel Paradise mc
Hotel Paradise zippy

---

Red Norvo - Jivin' The Jeep

Bitrate: MP3@320K/s
Time: 63:06
Size: 144.5 MB
Styles: Swing, Vibraphone jazz
Year: 1994/2009
Art: Front

[3:02] 1. It All Begins And Ends With You
[3:14] 2. A Porter's Love Song To A Chambermaid
[2:52] 3. I Know That You Know
[3:16] 4. Picture Me Without You
[3:06] 5. It Can Happen To You
[2:53] 6. Now That Summer Has Gone
[2:58] 7. It's Love I'm After
[3:05] 8. Peter Piper
[3:18] 9. When Is A Kiss Not A Kiss
[2:59] 10. A Thousand Dreams Of You
[3:05] 11. Smoke Dreams
[2:44] 12. Slumming On Park Avenue
[2:55] 13. I've Got My Love To Keep Me Warm
[3:15] 14. Remember
[2:44] 15. Liza
[2:56] 16. I Would Do Anything For You
[3:05] 17. Jivin' The Jeep
[2:56] 18. Everyone's Wrong But Me
[2:26] 19. Posin'
[3:15] 20. The Morning After
[2:51] 21. Do You Ever Thing Of Me

All of the music on this Hep LP (except for the final two of the 16 performances) has since been reissued in the Hep CD Dance of the Octopus which also includes the xylophonist's earlier recordings. However, this LP is perfectly done, tracing Norvo's career in complete fashion during a seven-month period in 1936. He leads an octet that also includes trumpeter Stew Pletcher, Herbie Haymer on tenor and the mellophone of Eddie Sauter (who provided all of the arrangements). The final two numbers were Norvo's first recordings at the head of a big band. Not every selection is essential (particularly not the two vocals by the voice of Betty Boop, Mae Questal) but in general, these chamber swing performances are quite unique and memorable. ~Scott Yanow

Jivin' The Jeep mc
Jivin' The Jeep zippy

---

Conrad Herwig - Unseen Universe

Styles: Trombone Jazz
Year: 1999
File: MP3@320K/s
Time: 68:17
Size: 159,5 MB
Art: Front

(6:34)  1. The Tesseract
(8:30)  2. From Another Dimension
(8:38)  3. Unseen Universe
(9:17)  4. Triangle
(8:12)  5. All Is One
(5:19)  6. Rebirth
(6:18)  7. Circumstantially Evident
(7:39)  8. The Magic Door
(7:46)  9. Three Degrees Of Freedom

Conrad Herwig's dazzling trombone chops and intelligent compositions make Unseen Universe, his third Criss Cross release, a stirring success. His sextet can maneuver around tight corners and yet attack with the force of a band twice its size. With Alex Sipiagin on trumpet, Seamus Blake on tenor and soprano sax, David Kikoski on piano, James Genus on bass, and Jeff "Tain" Watts on drums, Herwig can be sure of the group's ability to bring lushly orchestrated charts to life and improvise with sterling clarity and brilliance. Conceptually, with the title track and also with pieces called "The Tesseract," "From Another Dimension," "Triangle," and "The Magic Door," Herwig seems preoccupied with geometry and some of its metaphysical implications. Even as he draws heavily on the '60s Blue Note sound as established by figures like Joe Henderson and Herbie Hancock, Herwig stretches the limits of modern mainstream jazz with this all-original set. ~ David R.Adler https://www.allmusic.com/album/unseen-universe-mw0000105512

Conrad Herwig Sextet: Conrad Herwig (trombone); Seamus Blake (tenor saxophone); Alexander Sipiagin (trumpet); David Kikoski (piano); James Genus (bass); Jeff "Tain" Watts (drums).

Unseen Universe

---

Chris McNulty - Dance Delicioso

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 65:25
Size: 158,6 MB
Art: Front

(6:57)  1. Primitive
(5:53)  2. Next Day
(4:51)  3. He Moved Through The Fair
(6:06)  4. All Of You
(8:44)  5. Meaning Of the Blues
(5:47)  6. Dance Delicioso
(3:27)  7. Last Farewell
(5:58)  8. Roamin'
(6:47)  9. Star Eyes
(7:35) 10. Only The Silence
(3:15) 11. Last Farewell - Reprise

On her fifth CD release, Dance Delicioso, Australian-born vocalist Chris McNulty sings a couple of classics, Cole Porter's "All of You" and the tried and true "Star Eyes", givng each tune a distinctive turn. The familiar melodies are surrounded here by McNulty's well-crafted original tunes, Annie Lennox's "Primitive," Bobby Troup's "Meaning of the Blues," and the haunting traditional Irish song "He Moved Through the Fair." You often hear the words "sultry" and "sensuous" used to describe the voices of lady singers, but McNulty doesn't strike me that way. Hers is a richly feminine sound, with a dash of sauce on "All of You," a jaunty, melody-stretching romp that has an innovative feel to it. McNulty sounds sad in a recovery mode from love lost, perhaps on Bobby Troup's "Meaning of the Blues," a take on the tune that contains a bunch of exquisite moments, like Sonny Barbato's sweet accordion work, with a gorgeous little solo in front of the whisper of Paul Bollenback's accoustic guitar. On "Star Eyes," McNulty goes with a more horn-like delivery, reminiscent of Ella Fitzgerald as she pushes melody around inside a bouncy arrangement. The set, produced by McNulty and guitarist Paul Bollenback, has a high polish. Those exquisite moments I mentioned in "Meaning of the Blues" applies to every song here, with some surprises. The traditonal Irish tune "He Moved Through the Fair" is done with a dark yet airy style that features Erik Friedlander's deep-toned cello sound. The McNulty-penned title tune tells a handful of life-affirming stories, with some lush background harmonies, and listen to her voice as it rises from womanly to girlish as she when she tells a young girl's tale. A beautiful, original, polished effort. ~ Dan McClenaghan https://www.allaboutjazz.com/dance-delicioso-chris-mcnulty-elefant-dreams-records-review-by-dan-mcclenaghan.php

Personnel: Chris McNulty: voice; Paul Bolenback: guitars; Gary Bartz: alto saxophone; Mulgrew Miller, John DiMartino: piano; Sonny Barbato: accordion; Erik Friedlander: cello; Ugommo Okegwo: bass; Billy hart-drums; Cafe da Silva: percussion; Joel Frahm: saxophones; Dave DiPietro: soprano saxophone; Gary Thomas: tenor saxophone.

Dance Delicioso

---

Houston Person - Rain or Shine

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 56:43
Size: 130,2 MB
Art: Front

(6:25)  1. Come Rain or Come Shine
(7:07)  2. 132nd and Madison
(7:02)  3. Everything Must Change
(6:20)  4. Learnin' the Blues
(5:31)  5. I Wonder Where Our Love Has Gone
(7:16)  6. Soupbone
(5:12)  7. Never Let Me Go
(5:45)  8. Our Day Will Come
(6:01)  9. Danny Boy

Tenor saxophonist Houston Person, now in his eightieth decade, has made no concessions to Father Time, choosing instead to use his many years in the jazz trenches to forge a style all his own, bathed in blues and soul but never turning a deaf ear to the allure of a seductive and tasteful melody. Each of these components is clear as the midday sun on Rain or Shine, a well designed studio session on which Person shares the front line with the like-minded cornetist Warren Vache. There can be no doubting a leader's self-confidence when he not only opens his own gig with an even-tempered ballad ("Come Rain or Come Shine") but entrusts the tune's lone solo to his fellow horn man. That is exactly what Person does, unlimbering his keen improvisational chops on the next track, "132nd and Madison," and pretty much taking the reins from there on. That's not meant to imply that Vache doesn't have his moments he fashions engaging solos whenever called upon, as do guitarist Rodney Jones and pianist Lafayette Harris who with bassist Matthew Parrish and drummer Vincent Ector comprise the ensemble's deft and responsive rhythm section.

Besides the songs already mentioned, the bill of fare embodies a mixture of soul, funk, R&B and ballads, with the blues never more than a glance away, before closing with an eloquent reading of the Irish folk classic, "Danny Boy" (by Person and Harris). Jones wrote the funky "Soupbone," which precedes the ballad "Never Let Me Go" and "Our Day Will Come" (set to a bossa beat) and follows "Everything Must Change," "I Wonder Where Our Love Has Gone" and the Frank Sinatra favorite, "Learnin' the Blues" (which swings as hard and as freely as Ol' Blue Eyes' original to amplify snappy solos by Person, Vache, Jones, Harris and Parrish). Rain or Shine was recorded in June 2017, one month before the passing of producer Joe Fields who founded the Muse and Xanadu labels, among others, before co-founding HighNote and Savant Records with his son Barney in 1996. If this was the last recording that Fields produced, he did indeed end his lengthy career on a decisive HighNote. ~ Jack Bowers https://www.allaboutjazz.com/rain-or-shine-houston-person-highnote-records-review-by-jack-bowers.php

Personnel: Houston Person: tenor saxophone; Warren Vache: cornet (1, 2, 4, 6, 8); Lafayette Harris: piano; Rodney Jones: guitar (1-6, 8, 9); Matthew Parrish: bass; Vincent Ector: drums.

Rain or Shine

---

Dave Liebman & Phil Markowitz - Manhattan Dialogues

Styles: Saxophone And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 69:15
Size: 170,3 MB
Art: Front

( 7:02)  1. Teacher of Our Child
( 1:53)  2. 7 Intro
( 6:02)  3. 7
( 7:36)  4. Philippe Under the Green Bridge
( 6:58)  5. Sno' Peas
( 8:50)  6. Jung
( 4:34)  7. Off By One
(10:25)  8. Mahoning
( 8:56)  9. The Night Has 1000 Eyes
( 6:55) 10. 'Round Midnight

Most musicians are fortunate enough to find one musical partner where such shared simpatico exists that they can evolve in perfect tandem exploring a variety of contexts with the kind of comfort level that ensures complete trust and an unfettered imagination that makes no pursuit beyond reach. To find more than one is rare indeed. Saxophonist Dave Liebman and pianist Richie Beirach's 20-year-plus relationship, well-documented on last year's Mosaic Select 12 box of archival live recordings, saw them approach everything from the early fusion-meets-world music of Lookout Farm to the open-ended freedom of Quest and more intimate duets. But when the two parted companies in the early '90s, it became Liebman's good fortune to cement a host of vital new partnerships, including guitarist Vic Juris, percussionist Jamey Haddad, bassist Tony Marino and pianist/keyboardist Phil Markowitz. Liebman's post-Beirach quintet became the core of projects ranging from detailed exploration of the music of John Coltrane inarguably Liebman's biggest influence to its own diverse range of original composition.

Markowitz may have left the quintet in the late '90s, but he continues to be pianist of choice for Liebman, heard most recently on last year's Saxophone Summit featuring Joe Lovano and Michael Brecker, and now on Manhattan Dialogues, a series of duets recorded at the Manhattan School of Music, where both teach on a regular basis. With a personal and deeply-shared musical language, this set of eight originals and two radically-reharmonized standards is arguably the most vivid document of Liebman and Markowitz's remarkable chemistry to date.For the most part pensive and darkly-hued, the common ground that Liebman and Markowitz share may be on the cerebral side, but Liebman's ever-present expressionist tendencies give even the most heady chromaticism of his own "Teacher of Our Child," "Philippe Under the Green Bridge" and "Jung" a visceral edge. And while neither Liebman's or Markowitz's material swings in any kind of traditional way, leaning more towards a kind of abstract rhythmic pulse, there is an inherently insistent groove on Markowitz's more up-tempo "Off By One" and "Sno' Peas" the latter a tune that was first recorded by Bill Evans and harmonica legend Toots Thielemans, although in a far more conventional context than this significantly outré reading.

Throughout, Liebman and Markowitz are so in each others' pockets as to consistently blur the line between form and freedom. In fact, by the time the duo reaches the standards "The Night Has 1000 Eyes" and "'Round Midnight" at the end of the program, the overall complexion has been so well-established as to largely obfuscate the more recognizable characteristics of these well-known tunes. And yet, while many of the set's compositions are born from intellectual premises with challenging foundations, the 70-minute program remains completely compelling. More provocative than evocative, Manhattan Dialogues demonstrates the power and subtlety of improvisation in the hands of two artists who combine common musical goals with an uncommon ability to find the most direct if not necessarily the easiest paths to get to them. ~ John Kelman https://www.allaboutjazz.com/manhattan-dialogues-dave-liebman-zoho-music-review-by-john-kelman.php?width=1536

Personnel: Dave Liebman, soprano and tenor saxophone; Phil Markowitz, piano

Manhattan Dialogues

---

Joscho Stephan Trio Meets Matthias Strucken - Gypsy Vibes

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 46:22
Size: 108,4 MB
Art: Front

(3:01)  1. It Don't Mean A Thing
(4:11)  2. Things Are Getting Better
(3:44)  3. Linea Blanca
(5:30)  4. Seul Ce Soir
(4:01)  5. Four Brothers
(3:31)  6. Swingende Liebeserklärung
(5:25)  7. Night And Day
(3:10)  8. Brazen Waltz
(3:39)  9. Bags Groove
(4:26) 10. September Song
(3:21) 11. Three Little Words
(2:18) 12. Django

The Collaboration between Joscho Stephan (guitar) and Matthias Strucken (vibes) is influenced by the Master of "Gypsy Swing", Django Reinhardt, and the legendary Member of the Modern Jazz Quartett, the Vibraphone Icon Milt Jackson. Is it possible to combine their styles? The answer is John Lewis Composition “Django”, a Hommage to Django by the Modern Jazz Quartet in the late 50s. “Gypsy Vibes” contains Reinhardt´s and Jackson´s favourites, but also original material by Joscho and Matthias. http://www.joschoshop.com/Joscho-Stephan-Matthias-Strucken-Gypsy-Vibes-2016/en

Personnel:  Joscho Stephan - solo guitar;  Matthias Strucken - vibes;  Günter Stephan - rhythm guitar;  Volker Kamp - double bass

Gypsy Vibes

---

Otis Redding - Stax Classics

Bitrate: MP3@320K/s
Time: 32:27
Size: 74.3 MB
Styles: Soul
Year: 2017
Art: Front

[2:42] 1. (Sittin' On) The Dock Of The Bay
[2:30] 2. These Arms Of Mine
[3:18] 3. Try A Little Tenderness
[2:53] 4. I've Been Loving You Too Long
[2:45] 5. Mr. Pitiful
[2:07] 6. Respect
[2:40] 7. Fa-Fa-Fa-Fa-Fa (Sad Song)
[2:22] 8. Pain In My Heart
[3:27] 9. Just One More Day
[2:21] 10. That's How Strong My Love Is
[2:34] 11. Security
[2:42] 12. Satisfaction

Presenting the music of Otis Redding, who arrived anonymously at 926 E. McLemore Avenue in Memphis– as a chauffeur for another artist – in 1962, and would go on to become an R&B supernova, with a body of work that helped transform Stax from a small record label to a musical institution. Starting with “These Arms of Mine,” which floored Stax owner Jim Stewart when Redding humbly asked to audition on that fateful day, through a host of bona fide soul classics from “Mr Pitiful,” “That’s How Strong My Love Is,” “I’ve Been Loving You Too Long (To Stop Now),” “Security, “Try A Little Tenderness,” and of course the self-penned “Respect,” later immortalized by Aretha Franklin, all included on this collection. The life and career of The Big O tragically ended with a 1967 plane crash, but his legacy was cemented with the posthumous single release, “(Sittin’ On) The Dock Of The Bay,” a chart topper on both the R&B and pop listings, and a lasting reminder of the true genius of The King Of Soul .

Stax Classics mc
Stax Classics zippy

---

Dan Gailey Jazz Orchestra - What Did You Dream?

Bitrate: MP3@320K/s
Time: 51:20
Size: 117.5 MB
Styles: Big band
Year: 2010
Art: Front

[ 7:38] 1. Audacity
[ 9:26] 2. Point No Point
[ 6:06] 3. Early Light
[ 6:47] 4. In A Big Way
[11:58] 5. What Did You Dream
[ 9:23] 6. 11th Hour (For Michael Brecker)

Best known to the jazz world as the composer/arranger of challenging charts played by top ensembles around the globe and the 20-year director of the award-winning jazz program at the University of Kansas, Gailey's writing has been formally recognized by awards such as the IAJE's 1996 Gil Evans Fellowship. In this, his long overdue debut album, the Dan Gailey Jazz Orchestra gives body and soul to an inspired program of originals whose art and craft call to mind the exotic colors of Ellington, the throbbing pulse of Basie, the open-ended modernism of Gil Evans and the adventurous reframing of the big band tradition by Maria Schneider.

What Did You Dream? mc
What Did You Dream? zippy

---

Louise Isackson - Feels Right

Bitrate: MP3@320K/s
Time: 33:09
Size: 75.9 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[3:24] 1. Exactly Like You
[4:50] 2. Ooh Child
[6:26] 3. Something So Right
[3:56] 4. Street Life
[4:03] 5. Summertime
[3:37] 6. Who Can I Turn To
[3:27] 7. Who's Crying Now
[3:23] 8. Wind Cries Mary

Louise Isackson is an Australian Jazz vocalist, musician and fine artist based in Queensland. On her debut recording she presents a selection of timeless compositions. Produced by Raymond Silva, a highly acclaimed former Atlantic Records producer who has worked with Bette Midler, Aretha Franklin, Charles Mingus, Stanley Clarke, Roy Buchanan and Peter Gabriel. This album is a selection of timeless compositions, with a sound that is clearly Jazz influenced.

Feels Right mc
Feels Right zippy

---

Al Di Meola - Opus

Bitrate: MP3@320K/s
Time: 57:51
Size: 132.4 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[ 7:54] 1. Milonga Noctiva
[ 5:20] 2. Broken Heart
[10:00] 3. Ava's Dream Sequence Lullaby
[ 5:39] 4. Cerreto Sannita
[ 5:02] 5. Notorious
[ 3:19] 6. Frozen In Time
[ 3:59] 7. Escapado
[ 1:38] 8. Pomp
[ 4:17] 9. Left Unsaid
[ 5:41] 10. Insieme
[ 4:57] 11. Rebels

Al Di Meola is unquestionably one of the great guitar innovators of his generation. His formidable technique and fluency in a number of styles has placed his name indelibly in the history of jazz and improvised music. However capable he may be at the guitar, it would be a mistake to place his music in the category of garish guitar based exoticism. Di Meola has a compositional maturity that combines his advanced knowledge with a traditional harmonic palette.

The album begins with cascading acoustic guitar arpeggios. Textures swell underneath as string lines flow in and out, accentuating melodic lines. A conversation takes place between the guitars which is a reflection of the performers humanity. Mainly peaceful, the guitarists occasionally raise their voices as things get heated. Di Meola demonstrates his dexterity during the composition but the emphasis remains on the sharing of dialogue rather than any vulgar displays of virtuosic shouting. Built upon an infectious 6/8 groove, Di Meola contrasts the movement in the main riff of Broken Heart with long notes on the electric guitar. The music is like an ocean... seemingly calm while an abundance of activity is taking place below the surface. The beauty within Ava's Dream Sequence Lullaby comes from its connection to traditional harmony, the spaciousness of the instrumentation and the melodic improvised lines. When the music resolves unexpectedly to a major chord, it is a heartwarming experience. The music climaxes with a change of rhythmic feel where gentle percussion work, along with the lack of a bass instrument, produces a delicate lightness. You could almost consume the music with one deep breath.

Di Meola talks about a Led Zeppelin influence creeping in to Notorious. There are no thundering Bonham beats or deliciously chaotic pentatonic guitar runs. The inspiration comes in the form of Led Zep’s combination of funk grooves, blues tinged harmony and Eastern scalic investigations. It becomes complicated, and unnecessary, to separate Di Meola’s improvisations from the composed melodies. Lines are constructed, which you think are spontaneous, then suddenly they sync up with another instrument. All credit to the compositional detail on the album.

Escapado has a danceable rhythm which is a strong contrast with much of the music heard thus far. The descending chromatic line that underpins the harmony brings a sense of explosive expectation which releases as the drums switch to a half time feel. A cut of the wires before the strain becomes too much to bear. Rhani Krija duets with Di Meola on Pomp. The string sounds are in such subtle synchronicity with the guitar that it must be assumed they are being trigged by the instrument. It is compositional detail like this that gives the album its depth. Sophisticated and complex lines weave and dance like two intellectuals trying to outwit one another on Insieme. When chords appear they are played with flamenco-like gusto. The introduction of bass brings a textural change and gives weight to aspects of the discussion.

The album closes with the fluid electric guitar lines which Di Meola was so celebrated for while playing with Return To Forever. Beginning as a hard driving jazz rock powerhouse, an unexpected turn is taken into a Cuban piano montuno. This links in with a bass riff which wouldn’t sound out of place on a heavy metal album.

Di Meola presents us with one final, understated music lesson. The point of which is that music from across the world is inextricably linked. Of course each genre has its intricacies and its unique elements but perhaps a blind dedication to these traditions prevents a great deal of exciting and innovative music from being created. Di Meola is in no danger of falling in to that trap. ~John Marley

Opus 

---

Billy Eckstine - Greatest Hits

Bitrate: MP3@320K/s
Time: 48:08
Size: 110.2 MB
Styles: Vocal, Easy Listening
Year: 2011
Art: Front

[2:55] 1. I Apologise
[2:59] 2. Love Me Or Leave Me
[6:19] 3. St. Louis Blues, Pt. 1 & 2
[3:08] 4. Here Comes The Blues
[2:43] 5. Life Is Just A Bowl Of Cherries
[3:42] 6. Tenderly
[2:37] 7. Taking A Chance On Love
[3:14] 8. Everything I Have Is Yours
[5:22] 9. How High The Moon
[3:17] 10. Laura
[3:07] 11. You're Driving Me Crazy
[3:09] 12. No One But You
[2:41] 13. I Left My Hat In Haiti
[2:47] 14. As Long As I Live

Billy Eckstine's smooth baritone and distinctive vibrato broke down barriers throughout the 1940s, first as leader of the original bop big band, then as the first romantic black male in popular music. An influence looming large in the cultural development of soul and R&B singers from Sam Cooke to Prince, Eckstine was able to play it straight on his pop hits "Prisoner of Love," "My Foolish Heart" and "I Apologize." Born in Pittsburgh but raised in Washington, D.C., Eckstine began singing at the age of seven and entered many amateur talent shows. He had also planned on a football career, though after breaking his collar bone, he made music his focus. After working his way west to Chicago during the late '30s, Eckstine was hired by Earl Hines to join his Grand Terrace Orchestra in 1939. Though white bands of the era featured males singing straight-ahead romantic ballads, black bands were forced to stick to novelty or blues vocal numbers until the advent of Eckstine and Herb Jeffries (from Duke Ellington's Orchestra). ~John Bush

Greatest Hits mc
Greatest Hits zippy

---

The MJQ Celebration - S/T

Bitrate: MP3@320K/s
Time: 66:26
Size: 152.1 MB
Styles: Bop, Cool
Year: 2014
Art: Front

[3:45] 1. The Golden Striker
[6:25] 2. Bluesology
[4:11] 3. Milano
[5:24] 4. The Stopper (Feat. Dave O'Higgins)
[7:11] 5. Aurian Wood
[3:49] 6. Concorde
[4:53] 7. No Moe (Feat. Dave O'Higgins)
[6:50] 8. Django
[3:52] 9. Angel Eyes
[2:01] 10. La Ronde
[4:36] 11. Scoops (Feat. Dave O'Higgins)
[6:12] 12. Promises (Feat. Dave O'Higgins)
[7:08] 13. Bag's Groove

Jim Hart, vibraphone; Barry Green, piano; Steve Brown, drums; Matt Ridley, bass. With special guest Dave O’Higgins, tenor saxophone.

The ‘MJQ Celebration’ was a well known and celebrated ensemble of UK musicians, active from 2009-2016. Formed by pianist and composer Michael Garrick MBE, the band celebrated one of the most famous and influential jazz ensembles of all time, the ‘Modern Jazz Quartet’.

After enjoying a number of exceptionally well received concerts with Garrick at the helm, the group survived Garrick’s untimely death in 2011 by recruiting the fine young pianist Barry Green. In this format, the group toured the UK and played sell out shows at prestigious venues such as the Purcell Room and Ronnie Scott’s.

In 2013, the band cut their eponymous album. Stellar favourites such as ‘Django’, ‘The Golden Striker’, ‘Bag’s Groove’ and ‘Concorde’ were given enthralling new renditions, whilst staying true to the original intentions of their composers John Lewis and Milt Jackson.

The group also paid homage to their founder Michael Garrick, by including two of his original compositions, hand-picked by his bass player of choice, Matt Ridley. Teaming up for the session with stalwart UK saxophonist Dave O’Higgins, the ensemble also doff their cap to the collaboration between Sonny Rollins and the MJQ, featuring a rip-roaring version of ‘The Stopper’, as well as the more moderate (but no less compelling) ‘No Moe’ and ‘Scoops’.

Released in April 2014, the album gained universal praise from critics and audiences alike. Cut entirely live in one day, with no fixes or overdubs, the album bears a freshness and excitement that not only champions the original MJQ, but also serves as an example of world-class jazz coming from the UK.

The MJQ Celebration mc
The MJQ Celebration zippy

---