Rufus Reid & Akira Tana - Looking Forward

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 58:11
Size: 133,5 MB
Art: Front

(5:21)  1. Billy
(6:41)  2. Gold Minor
(5:32)  3. The Duke
(8:33)  4. Skyline
(7:03)  5. Falling in Love
(5:32)  6. Bell
(2:51)  7. The Third Eye
(5:32)  8. Reminiscing
(5:48)  9. Love Dreams
(5:14) 10. Looking Forward

A prolific bassist who's seemingly always in the recording studio, Rufus Reid's name appears on countless hard bop, bebop, swing, and even some pop sessions. His restrained yet emphatic and pungent tone, time, harmonic sensibility, and discernible, if understated, swing are welcome on any session. Trumpet was Reid's first love, but he switched to bass while in the Air Force. He played with Buddy Montgomery in Sacramento, CA, then studied music in Seattle and Chicago in the late '60s and early '70s. Reid worked in Chicago with Sonny Stitt, James Moody, Milt Jackson, Curtis Fuller, and Dizzy Gillespie, and recorded with Kenny Dorham, Dexter Gordon, Lee Konitz, and Howard McGhee in 1970. He toured internationally several times with the Bobby Hutcherson-Harold Land quintet, Freddie Hubbard, Nancy Wilson, Eddie Harris, and Gordon through the '70s. Reid moved to New York in 1976, playing and recording with a quartet co-led by Thad Jones and Mel Lewis, and taught at William Patterson College in Wayne, NJ, starting in 1979. He recorded with Konitz, Ricky Ford, Jack DeJohnette's Special Edition with Kenny Burrell, with a quintet co-led by Frank Wess and Art Farmer, and in duos with Kenny Burrell and Harold Danko in the '80s. Reid also did sessions with Art Farmer and Jimmy Heath. He has co-led a group with drummer Akira Tana since the late '80s that is called TanaReid. As a leader, Rufus Reid has cut sets for Theresa, Sunnyside, and Concord. ~ Ron Wynn https://www.allmusic.com/artist/rufus-reid-mn0000358813/biography

Born 14 March 1952, San Jose, California, USA. A self-taught drummer, Tana played semi-professionally while still at college. He attended Harvard University where he gained a degree in East Asian Studies/Sociology. He then studied at the New England Conservatory of Music, also taking private tuition from percussionists with the Boston Symphony and Boston Pops Orchestras and from jazz drummer Alan Dawson. During his studies he had the opportunity of working with Helen Humes, Milt Jackson, Sonny Rollins, George Russell, Sonny Stitt and other leading jazz musicians. He also played with the Boston Symphony Orchestra and several of the classical music ensembles at the New England Conservatory. In the early 80s he continued to accompany major artists such as Al Cohn, Art Farmer, Benny Golson, Jim Hall, Jimmy Rowles, Zoot Sims and Cedar Walton. He also performed with artists outside the jazz world, including Charles Aznavour and Lena Horne. Tana recorded extensively during these years and in addition to albums with some of the foregoing also appeared with Ran Blake, Chris Connor, Carl Fontana, Jimmy Heath, Tete Montoliu, Spike Robinson, Warne Marsh and many others.

In the early 90s Tana worked with James Moody, Dizzy Gillespie, Frank Wess, Ray Bryant and J.J. Johnson. With Rufus Reid he formed the band TanaReid and, with Reid and pianist Kei Akagi, the Asian American Jazz Trio. A technically accomplished drummer, Tana’s wide range is hinted at by the musicians with whom he has worked. Comfortably at home accompanying singers and instrumental ballads, Tana is equally in his element playing hard bop. 

In the bands he co-leads with Reid he generates an excitingly propulsive rhythmic drive. In addition to playing, Tana has also produced and co-produced several albums including those by TanaReid, the Asian American Jazz trio and Project G-7. He regularly conducts workshops and clinics at colleges and universities, including Berklee College Of Music, and is an adjunct professor at two colleges. https://www.allmusic.com/artist/akira-tana-mn0000610187/biography             

Personnel:  Rufus Reid - Bass;  Akira Tana - Drums;  Mark Turner - Tenor Saxophone;  John Stetch - Piano;  Tom Harrell - Trumpet;  Craig Bailey - Alto Saxophone.

Looking Forward

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Duke Ellington - Sophisticated Lady (Duke's Greatest Hits)

Styles: Jazz, Swing
Year: 1992
File: MP3@320K/s
Time: 50:15
Size: 115,7 MB
Art: Front

(3:44)  1. Sophisticated Lady
(3:10)  2. Harlem Speaks
(3:20)  3. In a Sentimental Mood
(3:01)  4. Merry-Go-Round
(3:04)  5. Echoes of Harlem
(2:45)  6. Caravan
(2:44)  7. Diminuendo in Blue
(3:10)  8. Crescendo in Blue
(3:06)  9. I Let a Song Go Out of My Heart
(3:00) 10. Prelude to a Kiss
(2:58) 11. Solitude
(3:18) 12. Concerto for Cootie (Do Nothing Till You Hear from Me)
(3:19) 13. Don't Get Around Much Anymore
(3:14) 14. Cotton Tail
(3:19) 15. I Got It Bad and That Ain't Good
(2:55) 16. Take the 'A' Train

"Sophisticated Lady" is a jazz standard, composed as an instrumental in 1932 by Duke Ellington.  Additional credit is given to publisher Irving Mills whose words were added to the song by Mitchell Parish. The words met with approval from Ellington, who described them as "wonderful but not entirely fitted to my original conception". That original conception was inspired by three of Ellington's grade school teachers. "They taught all winter and toured Europe in the summer. To me that spelled sophistication". Duke Ellington and His Orchestra introduced "Sophisticated Lady" in 1933 with an instrumental recording of the song that featured solos by Toby Hardwick on alto sax, Barney Bigard on clarinet, Lawrence Brown on trombone and Ellington on piano. The recording entered the charts on 27 May 1933, and stayed there for sixteen weeks, rising to number three. Ellington’s early vocalist Adelaide Hall recorded two versions of "Sophisticated Lady". In 1944 on the Decca label (Decca F. 8467) and in the soundtrack of the 1989/90 movie documentary celebrating her life entitled Sophisticated Lady. Miss Hall recorded with Ellington on several occasions in 1927, 1932 and 1933. Another version of Adelaide Hall singing "Sophisticated Lady" can be found on footage from British TV in the 1987 Terry Wogan Show. Arild Andresen, piano with guitar and bass recorded it in Oslo on March 11, 1955, as the first melody of the medley "Klaver-Cocktail Nr. 3" and "With a Song in My Heart" and "Flamingo" (His Master's Voice A.L. 3514). https://en.wikipedia.org/wiki/Sophisticated_Lady

Sophisticated Lady (Duke's Greatest Hits)

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Tom Scott - Blow It Out

Styles: Saxophone And Trumpet Jazz
Year: 1977
File: MP3@320K/s
Time: 41:20
Size: 95,3 MB
Art: Front

(3:36)  1. Gotcha
(4:27)  2. Smoothin'on Down
(4:39)  3. Dream Lady
(4:50)  4. I Wanna Be
(7:41)  5. Shadows
(5:04)  6. You've Got the Feel'n
(5:28)  7. Down to Your Soul
(5:32)  8. It's So Beautiful to Be

Blow It Out was among Tom Scott's best selling albums of the 1970s, but it was also among his weakest of the decade. The spontaneity and grit that defined his work with the L.A. Express is sorely missing on the album, a session plagued by excessive producing and arranging, bland material and appalling lack of improvisation. Scott's sax is consistently smothered by cliched, Bob James-ish arrangements. Fans of '70s cop shows may want to hear "Gotcha (Theme from 'Starsky & Hutch')," but on the whole, Scott's pop and R&B melodies are as schlocky as they are forgettable. Making a rare and unsuccessful attempt to sing on the R&B/pop number "Down to Your Soul" which sounds like fifth-rate Steely Dan Scott unveils a voice that's thin at best. Unquestionably, an L.A. Express date like Tom Cat would be a much better investment. ~ Alex Henderson https://www.allmusic.com/album/blow-it-out-mw0000204516   

Personnel:  Tom Scott - Saxes, Trumpet, Horns, Lyricon, Woodwinds, Vocals, Main Performer, Producer; Hank Cicalo - Recorder, Mixing, Engineer;  Chuck Rainey - Bass;  Gary King - Bass;  Eric Gale - Guitar;  John Tropea - Guitar;  Dennis Budimir - Guitar;  Ray Parker - Guitar;  Steve Gadd - Drums;  Rick Marotta - Drums, Drum Overdubs;  Chris Parker - Drums;  Dick "Slyde" Hyde - Bass Trumpet;  Chuck Findley - Trumpet;  Richard Tee - Piano, Clavinet, Organ, Fender Rhodes;  Kenny Ascher - Clavinet;  Hugh McCracken - Guitar;  Ralph MacDonald - Percussion, Cow Bell, Congas, Tambourine

Blow It Out

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Holly Cole - Holly

Styles: Vocal 
Year: 2018
File: MP3@320K/s
Time: 39:56
Size: 118,1 MB
Art: Front

(3:00)  1. I'm Beginning to See the Light
(3:32)  2. Your Mind Is on Vacation
(2:55)  3. The Goldwyn Follies: I Was Doing All Right
(3:41)  4. And the Angels Sing: It Could Happen to You
(3:13)  5. Ain't That a Kick in the Head?
(4:17)  6. Teach Me Tonight
(2:46)  7. We've Got a World That Swings
(3:40)  8. Shall we Dance: They can't take that away from me
(4:24)  9. Everybody Loves Somebody
(3:21) 10. Pal Joey: I Could Write a Book
(5:03) 11. Golden Apple: Lazy Afternoon

   Canadian vocalist Holly Cole isn't an artist who falls into any one category. Her smoky voice is sultry, yet she's ironically humorous and candid while reshaping traditional standards and pop classics. Jazz is her bedrock, but not exclusively. Cole was a New Year's baby born in Halifax, Nova Scotia in 1963. She was surrounded by music from an early age her parents were both classical musicians. As a kid, she immersed herself in pop music and classic rock & roll. Everyone in her family played piano; Cole mastered the instrument, and in 1981, she took up professional singing lessons. Her older brother was talented as well. When Cole was 16, her brother took off for the prestigious Berklee College of Music in Boston. Cole joined her brother and his pals for an eight-week stint one summer. This break would ultimately lead Cole to her musical calling. Cole's brother had fallen in love with post-war jazz by the time his younger sister started tagging along. She was immediately taken by the intimacy and beauty of Sarah Vaughan, Anita O'Day, Billie Holiday, and Betty Carter. Jazz comprised an art that was both compelling and rich with deep emotion for Cole. She had found her base.

In 1983, Cole left Halifax for Toronto in search of a musical start. She gigged in and around the Queen Street music scene. Within two years, she formed the Holly Cole Trio with bassist David Piltch and pianist Aaron Davis. They spent the next year crafting a warm, minimalist jazz style. Eventually, she and her band became a mainstay on the Toronto jazz circuit, impressing labels from all over. Alert Music's Tom Berry was taken by the trio's sharp presentation and offered the Holly Cole Trio a deal in 1989. Christmas Blues EP appeared that fall. Their debut, Girl Talk, was released in 1990 and the Holly Cole Trio were nearly stars in Canada. Two years later, they landed a contract with Blue Note's Manhattan imprint and issued the sensual Blame It on My Youth. It went on to sell 200,000 copies worldwide while also earning high praise in Japan. Nearly 500 copies were sold a day! The Holly Cole Trio was experimenting with pop elements by the time they recorded their 1993 effort Don't Smoke in Bed. This particular record was more tangible and glossy compared to Cole's earlier work, allowing her to become one of Canada's musical darlings. The trio's rendition of Johnny Nash's "I Can See Clearly Now" became a crossover hit and highlighted the group's changing direction. It was a great time for the trio.

The edgy and unpredictable Temptation appeared in 1995. Cole's choice to cover classics by gravelly crooner Tom Waits was ambitious. The formula worked for her, and she reworked material by Joni Mitchell, Mary Margaret O'Hara, and the Beatles for Dark Dear Heart (1997). The Holly Cole Trio then went by Cole's solo moniker; Piltch and Davis remained with her, and Romantically Helpless followed in fall 2000. She released another holiday-themed album, Baby, It's Cold Outside, in 2001, but returned to her eclectic style with Shade in 2003 and Holly Cole in 2007. In August of 2011, Cole re-formed her original trio lineup with Davis on piano and bassist Piltch, with the addition of John Johnson (horns), Rob Piltch (guitars), and Davide DiRenzo (drums) for the recording of a live DVD/CD package. Steal the Night: Live at the Glenn Gould Studio was released in February of 2012. This set was a precursor to a studio collection of 20th and 21st century covers, entitled Night, in July. The latter recording featured an all-star band including bassist Piltch, lap steel guitarist Greg Leisz, and percussionist Cyro Baptista. Cole followed this with an all-new studio recording, Night, in October of 2012. Early in 2018, she returned with Holly, her first album in six years. ~ MacKenzie Wilson https://itunes.apple.com/ca/album/holly/1332221080

Holly

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Howe Gelb, Lonna Kelly - Further Standards

Bitrate: MP3@320K/s
Time: 52:42
Size: 120.7 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[2:38] 1. Presumptuous
[3:42] 2. All You Need To Know
[2:43] 3. Clear (Recycled)
[3:47] 4. Irresponsible Lovers (Recycled)
[2:30] 5. Impossible Thing (Recycled)
[2:55] 6. Relevant (Recycled)
[2:54] 7. Sweet Confusion
[3:01] 8. Clear
[2:17] 9. May You Never Fall In Love
[2:55] 10. Irresponsible Lovers
[3:46] 11. A Book You've Read Before
[3:16] 12. Ownin' It
[5:16] 13. Terribly So
[3:38] 14. Not The End Of The World
[4:17] 15. Gypse Candle
[3:01] 16. Severe Season (Recycled)

The always interesting Howe Gelb does exactly what he wants and in recent years that has seen the man behind desert psych-rockers Giant Sand work with Spanish musicians, write albums of piano music and on his last outing Future Standards explore the idea of new original material which are in the vein of piano jazz classics. Future Standards was interesting enough (not to Giant Sand fans, or even those who enjoyed the Spanish music) but in our review we noted Gelb's lyrics were complex, often wry and sometimes just too overwhelming. The sun “adjourns” on Clear for example. Irving Berlin would never have written that. This sequel of sorts comes under a misleading title because there are only a couple of new :standards” here but oddly this works so much better than its predecessor. That's because about halfway through after Sweet Confusion there is applause from the small live audience – it was recorded in London – and you are immediately located at some slightly threadbare nightclub off the Strip, probably called Al's Twilight Cocktail Lounge.

It's around midnight when pianist-singer Gelb, occasional singer Kelly and the group (drums, bass, guitar) make their way through their set. Gelb sometimes sounds dusty and worn down but invigorated by the ghosts of old tunes like All of Me, Call Me Irresponsible, On the Street Where You Live and so on, and his excellent band. So those Future Standards songs now seem to come in a context which they deserve. Gelb has written some excellent piano ballads of worn-out love and emotions drained (May You Never Fall in Love, the beautifully sentimental Ownin' It with Kelly, Terribly So . .. all of which were on the earlier album). So this is an odd one because if you bought into Future Standards this – albeit in a live setting – covers mostly the same ground. If you missed that earlier one start here with Sweet Confusion at the midpoint and imagine yourself in smoky Al's cocktail bar, just another of the patrons who've come in from the pokie machines in the other room, attracted here by the dusty-voiced singer and the low lighting. And it will all make sense. ~Graham Reid

Further Standards mc
Further Standards zippy

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Jonathan Kreisberg - New For Now

Bitrate: MP3@320K/s
Time: 56:09
Size: 128.6 MB
Styles: Guitar jazz
Year: 2005
Art: Front

[8:18] 1. Gone With The Wind
[5:41] 2. New For Now
[7:42] 3. Stardust
[5:45] 4. Peru
[6:37] 5. Five Bucks A Bungalow
[9:02] 6. From The Ashes
[5:30] 7. Ask Me Now
[7:31] 8. All Or Nothing At All

Jonathan Kreisberg (G); Gary Versace (Hammond B3 Organ); Mark Ferber (D). Recorded October 13, 2004 in Brooklyn, NY, USA by Max Bolleman.

Jonathan Kreisberg's second outing for Criss Cross features the versatile guitarist's working organ trio with Gary Versace at the Hammond B3 and Mark Ferber on drums. The forward looking group demonstrates its considerable knowledge of the jazz tradition while subtly stretching melody, harmony, rhythm and texture to push the music into the future.

The date delivers fresh, inspired interpretations of three Great American Songbook classics along with Thelonious Monk's Ask Me Now and four impressive originals, that demonstrate the leader's prowess as a composer of intelligent songs that swing in a new direction

New For Now mc
New For Now zippy

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Gisele MacKenzie - Don't Let The Stars Get In Your Eyes: 50 Favorites

Bitrate: MP3@320K/s
Time: 114:26
Size: 262.0 MB
Styles: Pop/Jazz vocals
Year: 2014
Art: Front

[2:20] 1. Don't Let The Stars Get In Your Eyes
[2:28] 2. Hard To Get
[2:08] 3. Le Fiacre
[2:48] 4. Adios
[2:39] 5. The Lady Is A Tramp
[1:36] 6. How D'ya Like Your Eggs In The Morning
[2:05] 7. Change Partners
[2:23] 8. Learning The Blues
[1:47] 9. Love Is Just Around The Corner
[1:28] 10. The Loveliest Night Of The Year
[2:44] 11. My Favourite Song
[2:06] 12. My Old Flame
[1:29] 13. Bella Bimba
[2:36] 14. What'll I Do
[2:07] 15. Misty
[1:59] 16. Shine On Harvest Moon
[3:11] 17. Embrasse
[2:00] 18. Lipstick, Powder 'n' Paint
[2:04] 19. Getting To Know You
[2:57] 20. A Lovers' Waltz
[2:13] 21. Jolie Jacqueline
[2:27] 22. Please
[2:21] 23. Let's Take The Long Way Home
[2:42] 24. How Blue The Night
[3:07] 25. Till I Waltz Again With You
[2:28] 26. Love Makes The World Go 'round
[2:55] 27. My Greatest Love
[1:45] 28. Charlie Is My Darlin'
[1:59] 29. Water Can't Quench The Fire Of Love
[2:13] 30. Souvenir De Mon Roman
[1:45] 31. Smile
[1:59] 32. The Second Time Around
[2:07] 33. Lollipop's And Roses
[2:06] 34. Seven Lonely Days
[2:32] 35. On Rosary Hill
[1:32] 36. Button Up Your Overcoat
[2:27] 37. Sweetheart
[2:41] 38. The Toorie On His Bonnet
[1:51] 39. You're Nobody Till Somebody Loves You
[2:27] 40. Vaya Con Dios
[2:41] 41. A Walkin' Tune
[1:57] 42. Love Is A Many Splendoured Thing
[2:02] 43. My Buick, My Love And I
[2:09] 44. You Make Me Feel So Young
[2:00] 45. Zing ! Went The Strings Of My Heart
[3:02] 46. Could It Be You
[2:56] 47. Fairyland
[1:59] 48. From This Moment
[2:10] 49. Gigi
[2:34] 50. J'attendrai

Born Gisele Lafleche in Winnipeg, Canada, Gisele MacKenzie was known for her pop/rock hits "Hard to Get" and "Pepper-Hot Baby." She was a regular vocalist on Your Hit Parade from 1953-57. Her musical and acting career took her from recording studios, to radio stations, to television and to the stage. Gisele Lafleche learned to play the violin and piano as she was growing up in Winnipeg. Along with her singing ability, learning to play instruments made her more marketable. When she married, she adopted her husband's last name, making her Gisele MacKenzie. She received her first professional job playing in the Bob Shuttleworth Band; Shuttleworth later became MacKenzie's manager.

Her musical career took off in the late 1940s when she got her own radio show on the Canadian Broadcast Channel. It was not until 1955 that she recorded "Hard to Get" and "Pepper-Hot Baby," both minor hits. Her first four albums -- Gisele MacKenzie, Mam'selle Gisele, Christmas With Gisele and Gisele -- were released on the Vik label, a division of RCA Records. Hard to Get: The Best of Gisele MacKenzie is an anthology devoted to the songs she recorded while at RCA. Also on the RCA label is a series of children's albums she produced for the Cricket Playhour. In 1957, Gisele MacKenzie began her own television program on NBC, which lasted only one season. Her television career had started in 1950 when she made an appearance on The Jack Benny Program, shortly after appearing as a regular vocalist on Your Hit Parade. It was not until 1963 that she reappeared on ABC's The Sid Caesar Show. singing a song each week and sometimes playing Sid Caesar's fourth wife. In the early '60s, MacKenzie released three albums -- Gisele MacKenzie At the Empire Room of the Waldorf Astoria, Gisele MacKenzie Sings Lullaby and Goodnight, and Losers' Lullabies -- and later toured the United States. She sang in nightclubs and performed the lead vocals in such musicals as The King and I, South Pacific, Hello Dolly and The Unsinkable Molly Brown.

Gisele MacKenzie made a television "comeback" in the 1980s when she made guest appearances on MacGyver and Murder She Wrote. She never lost her interest in singing while pursuing an acting career and in 1996 wrote an anthem to the city of Los Angeles called "My City, L.A.," which proved quite popular in the city. MacKenzie was diagnosed with cancer a few years later and finally succumbed early in September of 2003. ~ Kim Summers

Don't Let The Stars Get In Your Eyes: 50 Favorites mc
Don't Let The Stars Get In Your Eyes: 50 Favorites zippy

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The Art Pepper Quartet - S/T

Bitrate: MP3@320K/s
Time: 45:02
Size: 103.1 MB
Styles: Saxophone jazz
Year: 1994/2017
Art: Front

[5:48] 1. Art's Opus
[5:28] 2. I Surrender Dear
[3:33] 3. Diane
[5:02] 4. Pepper Pot
[4:00] 5. Bésame Mucho
[3:58] 6. Blues At Twilight
[1:59] 7. Val's Pal
[2:26] 8. Pepper Pot (Alternate)
[4:09] 9. Blues At Twilight (Alternate)
[2:28] 10. Val's Pal (Take 1)
[3:03] 11. Val's Pal (Take 2 Incomplete Take 3 False Start Take 4)
[3:02] 12. Val's Pal (Take 5 Take 6 Incomplete)

Art Pepper: alto saxophone; Russ Freeman: piano; Ben Tucker: bass; Gary Frommer: drums.

Omnivore Records has struck up a dandy relationship with Laurie Pepper and the Art Pepper Estate, resulting in an impressive discography, that when coupled with Laurie Pepper's own Widow's Taste Records, has provided fans many hours of previously unreleased music. First released by the label was the 2015 Neon Art Series: Volume 1, Volume 2, and Volume 3. These recordings were first released as neon-colored vinyl long players in 2012, taking advantage of the renewed interest in analogue vinyl and then as these compact discs.

Next, the label, through its magic, acquired the rights to re-release Pepper's recordings he had made as an ostensible "sideman" on Atlas Records. These sides were first released as Art Pepper: The Hollywood All-Stars Sessions (Galaxy Music Group, 2001). Omnivore bests this release with better re-mastering and previously unissued tracks on Art Pepper: Presents "West Coast Sessions!" Volume 1: Sonny Stitt, Art Pepper: Presents "West Coast Sessions!" Volume 2: Pete Jolly, Art Pepper: Presents "West Coast Sessions!" Volume 3: Lee Konitz, and Art Pepper: Presents "West Coast Sessions!" Volume 4: Bill Watrous all released in 2017.

Between West Coast Sessions!" Volumes 2 and 3, Omnivore sneaks in Pepper's lone Tampa Records' release The Art Pepper Quartet. Released in 1957, these sides were recorded November 26, 1956, when Pepper was tacitly associated with Contemporary records. Tampa Records was a small label run by Robert Scherman, who also recorded Marty Paich, Shorty Rogers, and Gerald Wiggins. The recording of what would eventually become The Art Pepper Quartet occurred between the sessions that would become the Russell Garcia Orchestra's Russell Garcia, Warne Marsh, Marty Paich, Billy Ussleton, John Towner, Med Flory -A Notable Exhibition By West Coast Jazz Artists -Modern Jazz Gallery (Kapp) and Art Pepper's ...The Way It Was (Contemporary). The year 1956 was a banner year for Pepper, containing recording sessions that would lead to The Route (Pacific Jazz, with Chet Baker), The Return of Art Pepper (Pacific Jazz), Early Art (Blue Note), and Modern Art (Blue Note).

The original LP featured seven selections, all Pepper originals, save for a boppish take on "I Surrender Dear" and suitably humid, south-of-the-border rendering of "Besame Mucho." Pepper fronted a trio lead by his frequent collaborator, pianist Russ Freeman, with whom Pepper had an obvious simpatico. The trio was rounded out by bassist Ben Tucker and drummer Gary Frommer. For Pepper's compositions, the saxophonist amply demonstrated his command of the blues on "Blues at Twilight" and bebop on the released and alternate takes of "Val's Pal." Pepper's playing had that Martini-cold tone of his early period and he never sounded better. Laurie Pepper, in her exceptional liner notes, describes the music on this recording, thusly:

"It's the physical embodiment of a precious moment, miraculously caught, when everything was perfect, all the circumstances: the band and music, the recording situation, but most importantly, Art's mental state. In my life with him, I think I've heard the music for Art's every mood, but never this one where he so simply soars, he sings. He is, in that moment, so uncharacteristically uncomplicated and so confident, more confident than he would be ever again."

In this respect, I believe that, in the Pepper oeuvre, The Art Pepper Quartet bests his more famous Meets The Rhythm Section (Contemporary, 1957). The latter possesses too much mythical baggage to reflect an unadorned, relaxed Art Pepper. As Laurie Pepper concluded, "He recorded other albums during this short span, but those were more demanding, had more sidemen, more arrangements. This one must have felt so effortless..." Pepper always did excel in a quartet format.

One final note on the liner notes. Laurie Pepper has developed into a writer whose narrative can be as effortlessly read as her late husband's playing on this recording. She is every bit as much a part of this American story of rise, fall, and redemption as the musician himself. Her contribution must me acknowledged. ~C. Michael Bailey

The Art Pepper Quartet mc
The Art Pepper Quartet zippy

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Betty Carter - Whatever Happened To Love

Bitrate: MP3@320K/s
Time: 52:32
Size: 120.3 MB
Styles: Jazz vocals
Year: 1982/2004
Art: Front

[10:24] 1. What A Little Moonlight Can Do
[ 6:10] 2. Cocktails For Two
[ 2:23] 3. Social Call
[ 5:12] 4. Goodbye
[ 4:19] 5. With No Words
[ 6:19] 6. New Blues (You Purrrrrr)
[ 4:40] 7. I Cry Alone
[ 7:15] 8. Abre La Puerta
[ 5:47] 9. Everytime We Say Goodbye

A live date recorded at the Bottom Line in New York City, Whatever Happened to Love? features Betty Carter with her trio of the time backed by a 15-piece orchestra (mostly strings) conducted by David Amram. It's an enjoyable set, though not up to the ecstatic heights Ms. Carter often achieved in the '60s and early '70s. The pieces chosen are generally slow and even torchy, with the exception of her classic "With No Words" and, especially when the strings are present, there's a bit too much plushness and too little bite. But when it's only the trio, her unique voice is given a good opportunity to shine, and she digs into the material with obvious relish. Her ability to bend saccharine tunes like Bacharach's "I Cry Alone" or "Cocktails for Two" to her own creative ends is always a joy and on good display here. Overall, not an absolutely essential Carter release, but one that could well turn the heads of listeners either unfamiliar with her or those who have previously shied away. ~Brian Olewnick

Whatever Happened To Love mc
Whatever Happened To Love zippy

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Joe Williams - The Best Of Joe Williams (Remastered)

Bitrate: MP3@320K/s
Time: 30:27
Size: 69.7 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[3:33] 1. A Man Ain't Supposed To Cry
[2:50] 2. Five O'clock In The Morning
[3:06] 3. Lyin' Woman
[2:47] 4. The Real Thing
[2:38] 5. One Is A Lonesome Number
[3:49] 6. I Was Telling Her About You
[2:56] 7. I Laugh To Keep From Crying
[2:46] 8. Until I Met You (Corner Pocket)
[2:57] 9. I Only Want To Love You
[3:01] 10. I'll Never Smile Again

Joe Williams was the last great big-band singer, a smooth baritone who graced the rejuvenated Count Basie Orchestra during the 1950s and captivated audiences well into the '90s. Born in Georgia, he moved to Chicago with his grandmother at the age of three. Reunited with his mother, she taught him to play the piano and took him to the symphony. Though tuberculosis slowed him down as a teenager, Williams began performing at social events and formed his own gospel vocal quartet, the Jubilee Boys.

By the end of the '30s he had made the transition to the Chicago club scene, and appeared with orchestras led by Jimmie Noone and Les Hite during the late '30s. He sang with Coleman Hawkins and Lionel Hampton during the early '40s, and toured with Andy Kirk & His Clouds of Joy during the mid-'40s (making his first recording with that band). Still, lingering illness kept him sidelined from active touring, and he worked as a theater doorman and door-to-door cosmetics salesman before his first minor hit for Checker, 1952's "Every Day I Have the Blues."

Finally, at the age of 35, he got his big break when in 1954 he was hired as the male vocalist for Count Basie's Orchestra. He soon helped audiences forget the absence of Basie's long-time vocalist, Jimmy Rushing. Indeed, he did more than just pull his own weight during the '50s; he became a major star in his own right and helped revive the lagging fortunes of the Basie band. His first (and best) LP, Count Basie Swings, Joe Williams Sings, appeared in 1955, containing definitive versions of "Every Day I Have the Blues" (already his signature song) and "Alright, Okay, You Win." "Every Day" hit number two on the R&B charts, and sparked another LP -- 1957's The Greatest! Count Basie Swings/Joe Williams Sings Standards -- spotlighting Williams' command of the traditional pop repertory. Even while performing and touring the world with Basie during the late '50s, Williams made his solo-billed debut LP for Regent in 1956, and followed it with a trio of albums for Roulette.

Despite an inevitable parting from Basie in 1961, Williams stayed close to the fold, working in a small group led by Basieite Harry "Sweets" Edison, then formed his own quartet in 1962. For his RCA debut, 1963's Jump for Joy, the lineup included jazz greats Thad Jones, Clark Terry, Snooky Young, Kenny Burrell, Oliver Nelson, Urbie Green, and Phil Woods. He recorded two more albums during the year -- At Newport '63 and Me and the Blues -- and hit another peak in 1966 with an LP for Blue Note, Presenting Joe Williams and the Thad Jones-Mel Lewis Orchestra. Though he toured consistently during the '70s, his recordings fell off until a pair of mid-'80s LPs for Delos, Nothin' But the Blues and I Just Wanna Sing. After the former won a Grammy Award for Best Jazz Vocal Performance, he landed a recurring role on the popular television series The Cosby Show and signed a contract for Verve.

Live appearances at Vine St. resulted in material for his first two Verve albums, Every Night: Live at Vine St. and Ballad and Blues Master. Still in extraordinarily fine voice, Williams recorded two more albums for Verve and toured constantly during the '90s. He appeared again with Count Basie's Orchestra (led by Frank Foster), released several albums through Telarc, and remained one of the most talented jazz vocalists in the world right up until his death in 1999. ~ John Bush

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Rufus Reid - The Gait Keeper

Styles: Jazz, Post Bop
Year: 2003
File: MP3@320K/s
Time: 65:24
Size: 149,9 MB
Art: Front

( 8:30)  1. The Meddler
( 6:10)  2. Ode to Ray
(10:08)  3. Whims of the Bluebird
( 7:51)  4. Falling in Love
(10:49)  5. The Gait Keeper
( 7:08)  6. You Make Me Smile
( 6:40)  7. Celestial Dance
( 8:04)  8. Seven Minds

For over 20 years, bassist Rufus Reid has deftly balanced the roles of educator and performer. In the process, he has become one of the top post bop session players in the world and been the "gatekeeper" for a notable flow of new talent, guiding such leading young bassists as Duncan Hopkins, Rick McLaughlin, Nicki Parrott and Doug Weiss. Recently Reid attended the acclaimed Jazz Composer's Workshop, where he further explored his compositional talents. Featuring a selection of these newly composed works within the context of his handpicked intergenerational group, The Gait Keeper opens a new passage into Reid's evolving musical persona. Always the master mentor, Reid has made certain that a tight quintet is on hand to interpret his original compositions. The soulful "You Make Me Smile" features Rich Perry's full tenor tone and the tasteful trumpet vibrato of Reid student Fred Hendrix. It previously appeared on Reid's 1984 offering Seven Minds , whose title cut is also reprised here with a classical arco intro that pays homage to its composer, bassist/cellist Sam Jones. John Stetch's piano stands out on both "Ode to Ray," a tribute to Reid's own mentor, bassist Ray Brown, and the capricious "Whims of the Bluebird." His piano solos offer a clear, but ever inventive direction, and his playing effectively converses with both saxophone and trumpet to create a discourse between rhythm and melody. The complex title piece has drummer Montez Coleman at the helm as the ensemble jointly navigates through its distinct compositional divisions. With a highly tuned knowledge of his instrument, Reid accesses its full range, never neglecting the upper octaves as he perfectly complements Perry and Hendrix. His solo on "The Meddler" allows the bass to reach its full potential with an intricate melodic line rooted within the greater rhythmic contour. Reid assures that everyone is in step on the suitably titled Gait Keeper. ~ Elliott Simon https://www.allaboutjazz.com/the-gait-keeper-rufus-reid-sunnyside-records-review-by-elliott-simon.php

Personnel: Rufus Reid - Bass; Rich Perry - Tenor Sax; Montez Coleman - Drums; Fred Hendrix - Trumpet; John Stetch - Piano.

The Gait Keeper

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Sade - Diamond Life

Styles: Vocal
Year: 1984
File: MP3@320K/s
Time: 44:58
Size: 103,2 MB
Art: Front

(5:02)  1. Smooth Operator
(3:58)  2. Your Love Is King
(5:58)  3. Hang On To Your Love
(4:37)  4. Frankie's First Affair
(3:27)  5. When Am I Going To Make A Living
(6:21)  6. Cherry Pie
(5:20)  7. Sally
(4:41)  8. I Will Be Your Friend
(5:29)  9. Why Can't We Live Together

Former model Sade made an immediate and huge impact with her 1984 debut album, Diamond Life. Her sound and approach were deliberately icy, her delivery and voice aloof, deadpan, and cold, and yet she became an instant sensation through such songs as "Smooth Operator" and "Your Love Is King," where the slick production and quasi-jazz backing seemed to register with audiences thinking they were hearing a jazz vocalist. ~ Ron Wynn https://www.allmusic.com/album/diamond-life-mw0000191707

Diamond Life

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Jimmy Rowles, Stan Getz - The Peacocks

Styles: Piano And Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 58:45
Size: 138,2 MB
Art: Front

(4:07)  1. I'll Never Be the Same
(5:53)  2. Lester Left Town
(5:51)  3. Body and Soul
(4:57)  4. What Am I Here For?
(5:39)  5. Serenade to Sweden
(5:43)  6. The Chess Players
(5:42)  7. The Peacocks
(4:26)  8. My Buddy
(3:35)  9. The Hour of Parting
(2:54) 10. Rose Marie
(4:23) 11. This is All I Ask
(4:01) 12. Skylark
(1:34) 13. Mosaic/Would You Like to Take a Walk

Though Stan Getz is credited as the leader of The Peacocks, and his immediately identifiable tenor saxophone is well represented, this session is actually headed by pianist and vocalist Jimmy Rowles, with Getz as producer. It is essentially a series of laid-back duets between Rowles and Getz, or a small amount of quartet recordings complemented by bassist Buster Williams and drummer Elvin Jones. The range of emotion and dynamics presented offers a unique listening experience for anyone not particularly familiar with the veteran Los Angeles based Rowles, supported by a variety of players who fully understand his muse. Not without his own innate sense of style, rhythm, and energy, Rowles is the centerpiece in a stack of standards, music of Duke Ellington, modern jazz compositions, and one original. He has a dry vocal style cum Mose Allison or even Tony Bennett, most evident on "I'll Never Be the Same" or the reserved but heartfelt blues ballad/waltz "My Buddy." Without singing, Rowles and Getz sail through the stride flavored Ellington evergreen "What Am I Here For?" and the elegant "Serenade in Sweden," while the title track is the haute cuisine piece, a Rowles original that languishes in pensive, dark and midnight slow liquid colors. Of the ensemble pieces, Wayne Shorter's "Lester Left Town" brims with fermented bubbles, as Getz glides through the melody with a restrained Jones and perky piano from Rowles. A song of slow lingering and reflection on the passing of youth, "This Is All I Ask" is an old man's refrain, fondly remembering bygone glory with a request for one final chance. The stand-out track, completely set apart from the rest, is "The Chess Players," a devilish genius word play set to Wayne Shorter's instrumental melody by Jon Hendricks, featuring the lyricist, family members, wife Judith and daughter Michelle, and Getz's wife Beverly. It's a killer song, rousingly upbeat and wild, as the chorale threatens they're "coming to get you," "you better believe it," and they "must have your love." Rowles does a modified free solo piano adaptation of "Body & Soul," and an interesting medley of Cedar Walton's modal "Mosaic" affixed to a short snippet of "Would You Like to Take a Walk?" as an appropriate coda for this program. With few Jimmy Rowles recordings in the world, this has to rank as his best, clearly the most entertaining, and a project Getz was ever proud to bring to the jazz world. It is definitive, deserving of the Columbia Jazz Masterpieces tag, and a must-have item in your modern jazz collection. ~ Michael G.Nastos https://www.allmusic.com/album/the-peacocks-mw0000110344

Personnel:  Stan Getz - tenor saxophone;  Jimmy Rowles - piano, vocals;  Buster Williams - bass;  Elvin Jones - drums;  Beverly Getz, Jon Hendricks , Judy Hendricks, Michele Hendrick - vocals

The Peacocks

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Chris Isaak - First Comes The Night

Styles: Vocal, Rock 
Year: 2015
File: MP3@320K/s
Time: 41:43
Size: 101,4 MB
Art: Front

(4:17)  1. First Comes The Night
(5:18)  2. Please Don't Call
(3:33)  3. Perfect Lover
(2:54)  4. Down In Flames
(3:57)  5. Reverie
(3:00)  6. Baby What You Want Me To Do
(3:22)  7. Kiss Me Like A Stranger
(4:32)  8. Dry Your Eyes
(2:33)  9. Don't Break My Heart
(2:40) 10. Running Down The Road
(2:53) 11. Insects
(2:37) 12. The Way Things Really Are

Vintage-inspired singer/songwriter Chris Isaak has periodically attempted to update his '50s and '60s-influenced sound. Albums like 2002's Always Got Tonight and 2009's Mr. Lucky found the California native incorporating funk grooves, modern rock guitars, and the occasional synthesizer. Despite these moves toward contemporizing his pompadour-accented approach however, Isaak's best work, even on those albums, is always on the tracks where he embraces his old-school aesthetics and delivers melodic, twangy songs in his signature goosebump-inducing croon. This is the approach Isaak takes on his 13th studio album, 2015's First Comes the Night. Technically, the album is Isaak's first collection of all original music since Mr. Lucky, but stylistically, this record has more in common with his 2011 tribute to Sun Records, Beyond the Sun. As with that album, First Comes the Night has a vintage rock & roll vibe with songs that will play just as well to longtime Isaak fans as to listeners who only know him from his 1990 hit "Wicked Game." Recorded in Nashville, the album was produced by Paul Worley (Dixie Chicks, Lady Antebellum, Martina McBride), Dave Cobb (Jason Isbell, Sturgill Simpson, Shooter Jennings), and longtime Isaak associate Mark Needham. Despite its Nashville origin, First Comes the Night is not entirely a country album, though Isaak does touch on that sound here. Cuts like the yearning, piano-driven "The Way Things Really Are" and the bopping, darkly humorous "Down in Flames" sound like long lost Bob Luman hits. Primarily, however, the songs on this record are '50s and '60s-style pop tunes driven by Isaak's smoky vocal and devil-eyed lyrics. The title track is one of the most archetypical Isaak-sounding tracks he's recorded in years, recalling a mix of the Traveling Wilburys and the Righteous Brothers. Similarly, "Perfect Lover," with its rollicking rhythm and mariachi-esque horn section, finds Isaak paying tribute once again to Roy Orbison and Willie Nelson. There are also some surprises on First Comes the Night, including the Gypsy jazz-style "Baby What You Want Me to Do" and the circusy "Don't Break My Heart," which brings to mind the kitschy soundtrack to an Elvis movie. While First Comes the Night doesn't break any new stylistic ground for Isaak, it also doesn't hurt his reputation, and deftly reinforces his image as a glamorous, charming torchbearer for traditional pop songcraft. ~ Matt Collar https://www.allmusic.com/album/first-comes-the-night-mw0002881751

Personnel: Chris Isaak (vocals, guitar); Kenney Dale Johnson (vocals, drums); Rowland Salley (vocals); Hershel Yatovitz (guitar); Karen Winkelmann, Julia Tanner, Wei Tsun Chang, Elizabeth Lamb, Anthony LaMarchina, Mary Kathryn Van Osdale, David Davidson , Monisa Angell, David Angell (strings); Scott Plunkett (piano, organ, keyboards); Rafael Padilla (percussion); Shane McConnell, Paul Martin , Norah Lee Allen, Fiona Culley, Mark Ivey, Michelle Branch, Paul Worley, Wes Hightower, Bergen White, Jamie Martin (background vocals).

First Comes The Night

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Azar Lawrence - Elementals

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 63:14
Size: 146,5 MB
Art: Front

(7:44)  1. La Bossa
(8:08)  2. Eye Of The Needle
(5:34)  3. Elementals
(8:06)  4. Brazilian Girls
(4:56)  5. Solar Winds
(6:14)  6. Koko
(6:20)  7. African Chant
(6:45)  8. Sing To The World
(7:46)  9. It's Easy To Remember
(1:37) 10. Karma Sutra

It will come as no surprise to fans of Lawrence that his life's work is to bridge the gap between his listeners and the Elementals. For over four decades he has unstintingly explored music as a healing force, and the mystical connections between past and future, myth and fact, the physical world and that which is beyond. Lawrence hopes that in a holistic sense, Elementals encourages a spiritual awakening. “All of this music is healing music; that's our whole concept is to heal and uplift,” he explains. “If it's delivered and received on the right level, it will raise our own vibrations and bring us in touch with those higher spirits that respond when the music is pure with love and joy.”

Personnel:  Azar Lawrence, soprano & tenor saxophones;  Benito Gonzales, keyboards, Jeff Littleton, bass;  Marvin “Smitty” Smith, drums;  Munyungo Jackson, percussion

Elementals

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Various - Generation Django

Bitrate: MP3@320K/s
Time: 104:40
Size: 239.6 MB
Styles: Gypsy jazz, Swing
Year: 2009
Art: Front

[4:17] 1. Biréli Lagrène - More
[2:58] 2. Biréli Lagrène - Daphne
[2:48] 3. Amati Schmitt - Gipsy Swing
[4:08] 4. Rocky Gresset - Time On My Hands
[2:31] 5. Dorado Schmitt - Bleu Citron
[3:31] 6. Biréli Lagrène - La Mer
[2:04] 7. Rocky Gresset - Ferber Swing
[4:52] 8. Biréli Lagrène - Place Du Tertre
[4:20] 9. Luis Salinas - Nubes
[3:47] 10. Rocky Gresset - Blue Skies
[2:55] 11. Biréli Lagrène - Les Yeux Noirs
[3:46] 12. Valérie Duchâteau - Danse Norvegienne
[9:18] 13. Biréli Lagrène - Minor Swing
[3:00] 14. Django Reinhardt - Blues Clair
[3:19] 15. Dorado Schmitt - My Blue Heaven
[3:10] 16. Gautier Laurent - Them There Eyes
[2:24] 17. Adrien Moignard - Dinette
[2:44] 18. Marcel Loeffler - Montagne Sainte Geneviève
[5:00] 19. Rocky Gresset - Tears
[3:17] 20. David Reinhardt - Nuits De Saint Germain Des Prés
[4:36] 21. Babik Reinhardt - Incertitudes
[2:16] 22. Sanseverino - La Cigale Et La Fourmi
[4:16] 23. Biréli Lagrène - Envie De Toi
[4:10] 24. Biréli Lagrène - Zurezat
[4:56] 25. Jean-Yves Dubanton - Frédo
[3:44] 26. Caravan Palace -Jolie Coquine
[6:22] 27. Stéphane Grappelli - Blues For Django And Stéphane

Larry Coryell's "Blues for Django and Stephane" (from a 1992 concert, featuring guitarists Philip Catherine and Marc Fossett, plus bass virtuoso Niels-Henning Ørsted Pedersen), plus a mesmerizing guitar trio rendition of "Tears" (with Rocky Gresset, Adrien Moignard, and Sylvain Luc) are here, off-setting some of the more contemporary arrangements, which aren't as interesting. Guitarist David Reinhardt's setting of Django's "Nuits de Saint Germain Des Pres" combines a more poppish/contemporary sound with Brazilian rhythm, organ, and flute, though it is innocuous. Babik Reinhardt's original "Incertitudes" is more like a cheesy smooth jazz track, with his effective electric guitar backed by mundane keyboards and an instantly forgettable pop rhythm. Worst of all, though, is Caravan Palace's "Jolie Coquine," which attempts to blend Andrews Sisters-style vocals with gypsy rhythm, then adds contemporary percussion that makes it sound like a modern dance club number, and a forgettable, overproduced effort. The liner notes are rather brief, when they could have been used to explain the selection process and background of some of the lesser-known artists. Many of the songs have previously been released elsewhere, though it is not made clear if anything was recorded specifically for this anthology. In total, a generally good, though inconsistent salute, to Django Reinhardt's lasting influence on jazz. ~Ken Dryden

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Michael Musillami - Archives

Bitrate: MP3@320K/s
Time: 42:52
Size: 98.1 MB
Styles: Guitar jazz, Avant Garde jazz
Year: 2000
Art: Front

[5:29] 1. Archives
[8:24] 2. Bejing
[8:41] 3. The Young Child
[3:28] 4. Emmet Spencer
[8:10] 5. I Still Do It For The Music
[7:47] 6. Ry-Bop
[0:50] 7. Mohawk Mountian

Credited with “producing some of today’s finest music within a developing group format,” by AllAboutJazz-New York, guitarist/composer Michael Musillami is considered one of the most vital figures on today’s jazz scene. He has earned critical acclaim for both his work as founder/executive producer at Playscape and his increasingly recognized abilities as a musician and bandleader. Drawing on 20 years of professional experience, his working ensembles (his trio, quartet and octet) feature his unique approach to the guitar, a constant desire to continually evolve and create new music, and a close-knit group of respected veteran musicians he has collaborated with for the last several years.

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Spike Robinson, Derek Nash - Young Lions Old Tigers

Bitrate: MP3@320K/s
Time: 62:18
Size: 142.6 MB
Styles: Saxophone jazz
Year: 2007
Art: Front

[4:33] 1. Rustic Hop
[8:54] 2. I Was Lost In Her Love
[5:16] 3. Water Jug
[7:09] 4. Ballad Medley: Smoke Gets In Your Eyes/I'm Through With Love/Gets Blue
[4:13] 5. P. Town
[6:55] 6. A Witty One
[4:20] 7. I've Still Got My Health
[5:40] 8. Dirty Butt Blues
[4:58] 9. Chasin' The Bird
[6:39] 10. In A Sentimental Mood
[3:35] 11. Young Lions-Old Tigers

Derek Nash join forces with US star, the late Spike Robinson, in a classic all swinging two sax front line band. Like Zoot and Al or Ronnie and Tubby, they are the perfect foil for each other, blending the beauty of Getz with the passion of Cannonball. "Add the hippest young rhythm section in town and, as the Young Lion roars, the Old Tiger still burns bright" ~Campbell Burnap. THE LINE UP Spike Robinson Tenor /Alto Sax Derek Nash Baritone/Alto/Tenor/Soprano Sax & Percussion Pete Cater Drums Nick Weldon Piano Rob Rickenberg Double Bass. "...handsome tone, amazingly agile technique, and flowing, uncliched phrasing." ~David Frankllin, Cadence Magazine

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Gabriela Diaz - A Case Of Joni

Bitrate: MP3@320K/s
Time: 39:54
Size: 91.3 MB
Styles: Folk/Jazz vocals
Year: 2018
Art: Front

[3:42] 1. The Dry Cleaner From Des Moines
[2:44] 2. Court And Spark
[5:51] 3. River
[2:50] 4. The Fiddle And The Drum
[5:10] 5. Blue Motel Room
[3:02] 6. Twisted
[2:44] 7. Carey
[4:21] 8. A Case Of You
[2:21] 9. Big Yellow Taxi
[4:35] 10. Both Sides Now
[2:28] 11. You Turn Me On, I'm A Radio

Gabriela Díaz Voces; Hernán Jacinto Piano y teclados; Oscar Giunta Batería; Miguel Tallarita Trompeta; Nico Rainone Contrabajo; Jorge Armani Guitarras.

This album compiles a small collection of the most beautiful songs from Joni Mitchell's repertoire. Gabriela Díaz, exquisite jazz singer, carefully selects a variety of songs from the different periods of Joni's discography, albums, which are today Jewels of contemporary music: from Hejira to Blue, from Mingus to Court and Spark, from For the roses to clouds, etc. A new opportunity to listen to these songs by one of the most important artists of the 20th century, the Canadian composer and artist Joni Mitchell. Very rarely versioned, can be heard in these renewed versions as an original point of view of the work of this very personal artist, but also as a respectful tribute. (Translated from Spanish.)

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Kurt Rosenwinkel & OJM - Our Secret World

Bitrate: MP3@320K/s
Time: 65:58
Size: 151.0 MB
Styles: Guitar jazz, Big band
Year: 2010
Art: Front

[ 6:32] 1. Our Secret World
[ 9:15] 2. The Cloister
[ 8:45] 3. Zhivago
[11:33] 4. Dream Of The Old
[ 6:37] 5. Turns
[10:08] 6. Use Of Light
[13:04] 7. Path Of The Heart

Kurt Rosenwinkel: guitar; João Mortágua: alto saxophone (1, 5, 7), soprano saxophone (5, 7); João Pedro Brandão: alto saxophone (1, 3-6), clarinet (1, 3), soprano saxophone (2), flute (4, 5, 7); Mário Santos: tenor saxophone (1-6), clarinet (2-4); José Pedro Coelho: tenor saxophone, flute (1); Rui Teixeira: baritone saxophone (1-3, 5), bass clarinet (3, 4, 6, 7); Nick Marchione: trumpet; Erick Poirrier: trumpet;Susana Santos Silva: trumpet (1, 3-6), flugelhorn (2, 7); Rogério Ribeiro: trumpet (1, 2, 6, 7); Michaël Joussein: trombone; Álvaro Pinto: trombone; Daniel Dias: trombone; Gonçalo Dias: trombone; Abe Rábade: piano (1-5) Demian Cabaud: double-bass (1-7); Marcos Cavaleiro: drums (1-7); Carlos Azevedo: arranger (1, 3-5), conductor (1, 3-5), piano (6, 7); José Luis Rego: alto saxophone (2), soprano saxophone (3, 6), clarinet (7); Pedro Guedes: arranger (6), conductor (2, 6, 7); Ohad Talmor: arranger (2, 7); José Silva: trumpet (3-5); Nuno Pinto: clarinet (4).

With the creative possibilities offered by its expanded palette, it's no surprise that so many artists who traditionally work in the context of more pliant, small ensembles turn to larger settings at least once in their career. For those already predisposed to greater compositional complexity, the intrinsic challenges are many; but so, too, are the ultimate rewards. It's no surprise, then, that Kurt Rosenwinkel—perhaps his generation's most influential guitarist, spawning almost as many imitators as Pat Metheny (himself, an early influence on Rosenwinkel)—has been collaborating with big bands in Europe for the last several years. What is surprising, however, is that Rosenwinkel has waited until 2010 to release an album featuring big band arrangements of some of his best writing. With a result as fine as Our Secret World, however, it's unlikely that many of the guitarist's large fan base would argue it's been anything but well worth the wait.

Following the slight sidestep of Rosenwinkel's Reflections (Wommusic, 2009)—a simmering album of mostly jazz standards, recorded with an empathetic trio that demonstrated just how much the guitarist's interpretive skills have grown since his early, similarly cover-heavy live album, East Coast Love Affair (Fresh Sound New Talent, 1997)—Rosenwinkel returns to a set of entirely original compositions. There's nothing actually new to be found, however, as the guitarist delves back to the lengthy, episodic "Dream of the Old," first heard on The Enemies of Energy (Verve, 2000) and forward to the equally colorful but more inherently effervescent "The Cloister," from Deep Song (Verve, 2005), an all-star session that also featured pianist Brad Mehldau and saxophonist Joshua Redman.

This time, however, Rosenwinkel eschews star-power for the built-in chemistry of Orquestra Jazz de Matosinhos (OJM), a near-15 year-old Portuguese ensemble that approached the guitarist with the idea of collaborating in 2007. That all but one chart ("Dream of the Old") was scored by OJM's Carlos Azevedo, Pedro Guedes or guest arranger Ohad Talmor without the guitarist's involvement, speaks to their surprisingly deep understanding of some of his most difficult compositions, and to the entire 16-piece ensemble's ability to traverse music that, at times, hints harmonically at Joe Zawinul and the orchestral expansiveness of Vince Mendoza, but ultimately sounds like nothing but Rosenwinkel.

Simply stunning throughout the disc, Rosenwinkel solos with particularly breathtaking vertical and horizontal movement on "The Cloister," while turning more lyrical on the balladic "Use of Light," one of three tunes culled from The Next Step (Verve, 2000), still considered by most to be a particular watershed in a discography that's nothing but high points. Rosenwinkel's ethereal mélange of heavily overdriven and harmonized guitar with his falsetto voice—blended so seamlessly as to create a singular whole—has never sounded so distinctive, despite an increasing number of guitarists constantly trying to copy his unique approach to sound, melody and harmony. A staple of Rosenwinkel's live performances for many years, "Turns" makes its first appearance on record here, its complex combination of rich timbres, knotty counterpoint and effortless, Afro-centric polyrhythms vividly contextualizing and recontextualizing Rosenwinkel's solo—a near-relentless push-and-pull of ascending and cascading linearity.

As much as Our Secret World represents some of his finest playing to date—eclipsing, even, his seemingly unmatchable invention on the double- disc The Remedy: Live at the Village Vanguard (Wommusic, 2008)—it's as much a reflection of Rosenwinkel's remarkable acumen as a writer, with an emergent compositional voice as early as The Enemies of Energy, only his third album as a leader, and the first to focus exclusively on original material. Amidst seven stunning arrangements, Azevedo's powerful rework of the groove-driven title track—originally on Rosenwinkel's "electronica" album, Heartcore (Verve, 2003)—turns it into something more organic, encouraging a solo from Rosenwinkel that, the first of the disc, sets the bar so high that it's hard to believe he actually manages to match and raise it even further throughout the rest of the 66-minute set.

With the brighter sonics of a brass and horn section, it's often easy for a big band album to hit visceral highs out of reach of smaller ensemble discs. But the excitement of Our Secret World—coupled with beauty that often reveals itself at the most unexpected moments—has nothing to do with the obvious, and everything to do with the perfect combination of compellingly unique source material; arrangers who dig, with perfect instinct and careful consideration, into the spirit and essence of the music to turn out charts of even greater complexity and depth; and a clearly talented ensemble, capable of navigating the scores with ease and an equally ideal mix of power and understatement. As undeniably fine as OJM is, however, it's hard to deny the real star of Our Secret World: Rosenwinkel. He is at the top of a game on the ascendancy with each successive album, and his gradually growing repertoire speaks of tremendous import and a continually evolving concept of sound, harmony and improvisation that's as personal, inimitable and, indeed, secret a world as it is inspirational and appealing to the guitarist's growing legion of fans—and aspiring musicians who continue searching for points of entry. ~John Kelman

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