Steve Davis - The Jaunt

Styles: Trombone Jazz
Year: 1996
File: MP3@320K/s
Time: 69:09
Size: 160,6 MB
Art: Front

(7:30)  1. Blues For Ant-Man
(7:33)  2. Angel Eyes
(7:19)  3. Nobody Knows The Trouble I've Seen
(7:45)  4. The Jaunt
(8:53)  5. J Mac's Dream
(7:27)  6. I Didn't Know What Time It Was
(7:27)  7. Little Dreams
(5:28)  8. 26-2
(9:43)  9. The King Is The Man Who Can

Trombonist Steve Davis, who was 28 at the time of this recording, makes his debut as a leader on The Jaunt. A veteran of both Art Blakey & the Jazz Messengers and Jackie McLean's sextet, Davis has a hard bop style reminiscent of Curtis Fuller and J.J. Johnson. He swings throughout this excellent quintet/sextet session, which also features tenor saxophonist Eric Alexander, pianist Bruce Barth, bassist Ugonna Okegwo, drummer Eric McPherson, and (on three of the nine numbers) altoist Mike DiRubbo. Davis and Alexander in particular work together quite well, performing four originals by the leader (including the title cut), Curtis Fuller's "Little Dreams," John Coltrane's "26-2," "Angel Eyes," "Nobody Knows the Trouble I've Seen," and "I Didn't Know What Time It Was." The music is often very much in the Jazz Messengers' vein and the hard boppish solos are quite creative and generally colorful. An excellent debut for Steve Davis. ~ Scott Yanow https://www.allmusic.com/album/the-jaunt-mw0000648368 

Steve Davis Quintet: Steve Davis (trombone); Eric Alexander (tenor saxophone); Bruce Barth (piano); Ugonna Okegwo (bass); Eric McPherson (drums).

The Jaunt

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Romero Lubambo - Brazilian Routes

Styles: Guitar Jazz, World 
Year: 2002
File: MP3@320K/s
Time: 40:24
Size: 92,7 MB
Art: Front

(5:47)  1. Love for Sale
(6:49)  2. Pamela Elaine
(4:26)  3. Route 66
(6:32)  4. O Que é Amar
(6:30)  5. Sally's Tomato
(5:31)  6. Correnteza
(4:47)  7. Luisa

Guitarist Romero Lubambo lays down a smooth set of Brazilian jazz working here in a setting that includes a bit of Fender Rhodes, bass, drums, and percussion plus guest vocals by Pamela Driggs on one track, and a solo by Mauro Senise on another. The production's pretty slick, but there's an easy and relaxed feel to the set that's quite nice a strong counterpoint to the production, and which gives the CD a jazzy edge that you wouldn't expect. Titles include "O Que E Amar", "Sally's Tomato", "Correnteza", "Luisa", and "Love For Sale". (Out of print.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/858835/Romero-Lubambo:Brazilian-Routes

Brazilian Routes

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Syd Lawrence Orchestra - Big Band Spectacular

Styles: Jazz, Big Band
Year: 2016
File: MP3@320K/s
Time: 29:16
Size: 69,1 MB
Art: Front

(3:50)  1. Sing Sing Sing
(3:42)  2. Moonlight Serenade
(3:10)  3. Begin the Beguine
(3:59)  4. American Patrol
(3:38)  5. In the Mood
(3:14)  6. String of Pearls
(4:03)  7. Little Brown Jug
(3:38)  8. Anvil Chorus

The UK's leading big band, The Syd Lawrence Orchestra, were chosen by producer Mike Valentine for his exploration into the sound differences between direct cut vinyl and a multi-track analogue tape recording and mix done of exactly the same event. The album had to be recorded live so he had to choose a selection of music which would be of the perfect length. Valentine chose a recording studio which not only had a superb sounding space, but also an engineer versed in the black art of cutting live vinyl. Ultimately, he chose Air Studios with engineers Jake Jackson and John Webber. The Syd Lawrence Orchestra led by Chris Dean perform music consisting of eight pieces from the big band era, the creations of Glen Miller, Artie Shaw, and Benny Goodman played live at Air Studios. That recording is now available on CD - enjoy! ~ Editorial Reviews https://www.amazon.com/Big-Band-Spectacular-Lawrence-Orchestra/dp/B01JCUQIA4

Big Band Spectacular

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Sade - The Magic Of Sade

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 77:44
Size: 179,3 MB
Art: Front

(4:48)  1. King Of Sorrow
(7:20)  2. No Ordinary Love
(4:55)  3. Smooth Operator
(6:00)  4. Hang On To Your Love
(4:17)  5. Love Is Stronger Than Pride
(4:02)  6. Paradise
(4:34)  7. By Your Side
(3:58)  8. Your Love Is King
(5:50)  9. Kiss Of Life
(5:32) 10. Cherish The Day
(3:53) 11. It's Only Love That Gets You Through
(5:08) 12. Feel No Pain
(4:37) 13. The Sweetest Taboo
(5:51) 14. Haunt Me
(4:34) 15. Pearls
(2:18) 16. The Sweetest Gift

When singer Sade and her band of the same name were establishing themselves, their record company, Epic, made a point of printing "Pronounced Shar-day" on the record labels of their releases. Soon enough, the music had no problem with the correct pronunciation. With the breakthrough Billboard Hot 100 Top Ten single "Smooth Operator" propelling the debut Sade album, Diamond Life, to the same spot on the Billboard 200 chart in 1985, the band fast came to epitomize soulful, adult-oriented, sophisti-pop. Though only five more studio albums would follow in the next 25 years, the band's following abated only slightly, and each release was treated like a long-awaited public return of a mysterious yet beloved diva. Born Helen Folasade Adu in Ibadan, Nigeria, about 50 miles from Lagos, Sade was the daughter of an African father and an English mother. After her mother returned to England, Adu grew up on the North End of London. Developing a good singing voice in her teens, Adu worked part-time jobs in and outside of the music business. She listened to Ray Charles, Nina Simone, Al Green, Aretha Franklin, and Billie Holiday, and studied fashion design at St. Martin's School of Art in London while also doing some modeling on the side. Around 1980, she started singing harmony with a Latin funk group called Arriva. One of the more popular numbers that the group performed was an Adu original co-written with bandmember Ray St. John, "Smooth Operator." The following year, she joined the eight-piece funk band Pride as a background singer. Pride's opening acts often featured members of the band in different combinations. Pride and their off-shoots performed often around London and stirred up record company interest. Initially, the labels wanted to sign only Sade technically a trio featuring Adu, Stuart Matthewman, and Paul Denman while the whole of Pride wanted a deal. 

The members of Pride not involved in the Sade trio eventually told Adu, Matthewman, and Denman to go ahead and sign a deal. Adding keyboardist Andrew Hale, Sade signed to the U.K. division of Epic Records.  The band's debut album, Diamond Life (with overall production by Robin Millar), went Top Ten in the U.K. in late 1984. January 1985 saw the album released on CBS' Portrait label, and by spring, it had gone platinum on the strength of the Top Ten singles "Smooth Operator" and "Hang On to Your Love." The second album, Promise (1985), featured "Never as Good as the First Time" and "The Sweetest Taboo," the latter of which stayed on the U.S. Hot 100 for six months. Sade was so popular that some radio stations reinstated the '70s practice of playing album tracks, adding "Is It a Crime" and "Tar Baby" to their playlists. In 1986, Sade won a Grammy for Best New Artist. Sade's third album was 1988's Stronger Than Pride, and featured their first number one single on the U.S. R&B chart, "Paradise," as well as "Nothing Can Come Between Us" and "Keep Looking." The fourth Sade album didn't appear for four years: 1992's Love Deluxe continued the unbroken streak of multi-platinum Sade albums, spinning off the hits "No Ordinary Love," "Feel No Pain," and "Pearls." Matthewman, Denman, and Hale went on to other projects, including the low-key Sweetback, which released a self-titled album in 1996. Matthewman also played a major role in the development of Maxwell's career, providing instrumentation and production work for the R&B singer's first two albums. Sade eventually reconvened to issue Lovers Rock in 2000. The lead single "By Your Side" was a moderate hit, peaking at number 18 on the adult contemporary chart; the following summer, Sade embarked on their first tour in more than a decade and sold out many dates across America. In early 2002, they celebrated the tour's success by releasing a live album and DVD, Lovers Live. They resurfaced in late 2009 with "Soldier of Love," the lead single for the album of the same title, released the following year. In the U.S., Soldier of Love debuted at the top of the Billboard 200 chart and sold over 500,000 copies during its first week. Another live set, Bring Me Home, followed in 2012. ~ Ed Hogan https://www.allmusic.com/artist/sade-mn0000279337/biography

The Magic Of Sade

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Jim Snidero - Blue Afternoon

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 58:32
Size: 135,3 MB
Art: Front

(7:57)  1. Enforcement
(9:57)  2. Forethought
(8:49)  3. The Trifle
(7:40)  4. Soul Eyes
(8:07)  5. Blue Afternoon
(8:19)  6. Infant Eyes
(7:42)  7. Toro

Saxophonist Jim Snidero is an adroit jazz improviser, composer, and educator with a bent toward acoustic post-bop. An author of several books on jazz improvisation, Snidero is an in-demand clinician who has taught at the Jazz and Contemporary Music Program at the New School University, Indiana University, and Princeton. Born in Redwood City, California in 1958, Snidero actually grew up in Prince George's County, Maryland where he first began playing saxophone at age ten. However, it wasn't until junior high that he became interested in jazz. While playing in his school concert and jazz ensembles, Snidero also fell under the influence of hard bop saxophonist Phil Woods, with whom he was able to study. After high school, Snidero enrolled in the University of North Texas music program. During his summer vacations, Snidero spent time in New York studying with saxophonist David Liebman, and after graduating in 1981, he moved to the city. By 1982, he was touring the country with organist Jack McDuff, with whom he also recorded three albums. From there, he found work with such established outfits as the Mingus Big Band and the Toshiko Akiyoshi Jazz Orchestra, of which he was a member from 1983 to 2003. Snidero has also performed with a bevy of names including David Murray, Frank Wess, Mel Lewis, Jim Rotondi, Maria Schneider, and many others.  As a solo artist, Snidero made his debut with On Time in 1984. Recorded at Rudy Van Gelder's studio, the album included fellow Akiyoshi bandmate and trumpeter Brian Lynch, pianist Kenny Kirkland, bassist George Mraz, and drummer Billy Hart. From there, he delivered several more albums for the Criss Cross and Red labels, including 1987's Mixed Bag and 1989's Time Out.  The '90s were also a fertile period for Snidero, who began branching out creatively, playing with legendary singer Frank Sinatra from 1990 to 1995, and authoring several jazz pedagogy books. During this period, he continued to release a steady stream of hard bop-influenced albums including 1990's Storm Rising, 1991's Urban Tales with trumpeter Tom Harrell, and 1997's Standards + Plus, his first largely standards-oriented recording. 

He rounded out the decade with a tribute to saxophonist Joe Henderson with 1999's The Music of Joe Henderson on the Double-Time label. At the turn of the millennium, Snidero began refocusing his work on his own original compositions with albums like 2002's orchestral Strings, featuring pianist Renee Rosnes, and 2004's Close Up, with saxophonist Eric Alexander. Beginning with 2007's Tippin', Snidero developed a fruitful relationship with Savant Records, returning with albums like 2009's Crossfire and 2011's Interface, both of which featured guitarist Paul Bollenback. Subsequent Savant albums, like 2013's Stream of Consciousness and 2015's Main Street, also found Snidero continuing to push himself creatively, collaborating on new material with bassist Linda Oh and drummer Rudy Royston. In 2016, Snidero released MD66, which found him drawing inspiration from Miles Davis' second great quintet of the '60s, backed by a stellar ensemble featuring Royston, trumpeter Alex Sipiagin, pianist Andy Laverne, and bassist Ugonna Okegwo. ~ Matt Collar https://www.allmusic.com/artist/jim-snidero-mn0000349095/biography

Personnel: Jim Snidero (alto saxophone); Brian Lynch (trumpet); Mike LeDonne, Benny Green (piano); Kenny Washington, Marvin "Smitty" Smith (drums).

Blue Afternoon

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Chris Isaak - Speak Of The Devil

Styles: Vocal, Rock
Year: 1998
File: MP3@320K/s
Time: 44:56
Size: 103,9 MB
Art: Front

(3:34)  1. Please
(3:08)  2. Flying
(3:01)  3. Walk Slow
(3:45)  4. Breaking Apart
(3:12)  5. This Time
(3:30)  6. Speak Of The Devil
(2:49)  7. Like The Way She Moves
(2:42)  8. Wanderin'
(3:11)  9. Don't Get So Down On Yourself
(2:43) 10. Black Flowers
(2:36) 11. I'm Not Sleepy
(2:09) 12. 7 Lonely Nights
(4:44) 13. Talkin' 'bout A Home
(3:45) 14. Super Magic 2000

?Speak of the Devil explores the same moody terrain as Chris Isaak's previous records, though the songs are fleshed out with more contemporary touches. The leadoff track, "Please," is unusually hard-hitting, with its acoustic/electric/soft/crash structure, Mellotron, and soundbite lyrics. "I'm Not Sleepy" is a roots rock rave-up (wherein Isaak lyrically quotes Lennon's "Oh Yoko": "In the middle of the night I cry your name"); the title cut is an eerie celebration of love lost and found; "Talkin' 'Bout a Home" is the album's tour de force. Yet, some of the loungy vocal touches in "Flying" and the final instrumental track, "Super Magic 2000," would be right at home on an indie rock record. And of course there's plenty of that thing Isaak does best: quintessential love's-gone-wrong-'n'-let's-make-it-right songs, as on the loping, country-tinged "This Time" and the teary "Walk Slow."~ Denise Sullivan https://www.allmusic.com/album/speak-of-the-devil-mw0000597765 

Personnel: Vocals, Guitar – Chris Isaak

Speak Of The Devil

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Brad Mehldau - After Bach

Styles: Piano, Classical
Year: 2018
File: MP3@320K/s
Time: 69:22
Size: 164,1 MB
Art: Front

( 5:25)  1. Before Bach Benediction
( 1:21)  2. The Well-Tempered Clavier Book I, BWV 848 Prelude No. 3 in C# Major
( 8:21)  3. After Bach Rondo
( 2:36)  4. The Well-Tempered Clavier Book II, BWV 870 Prelude No. 1 in C Major
( 3:46)  5. After Bach Pastorale
( 2:16)  6. The Well-Tempered Clavier Book I, BWV 855 Prelude No. 10 in E Minor
( 5:05)  7. After Bach Flux
( 6:10)  8. The Well-Tempered Clavier Book I, BWV 857 Prelude and Fugue No. 12 in F Minor
( 7:49)  9. After Bach Dream
( 3:04) 10. The Well-Tempered Clavier Book II, BWV 885 Fugue No. 16 in G Minor
(12:19) 11. After Bach Ostinato
(11:06) 12. Prayer for Healing

It seems that classical composer J.S. Bach has provided a surge of inspiration for some recent releases by artists on the Nonesuch label, starting with the Bach Trios led by an unusual yet explosive combination of musicians such as cellist Yo-Yo Ma, mandolinist Chris Thile, and bassist Edgar Meyer. Now we have another Bach-inspired release, this one by the highly acclaimed pianist Brad Mehldau, with works consisting of selection of the composer's compositions, along with several originals inspired by Bach's music. Mehldau is one of the most distinctive and influential jazz pianists today. He is renowned for stretching the forms and boundaries of jazz music through his ambitious and exploratory projects and bands. Over the course of almost three decades, he has charted his own course through this challenging area of arts. One of the most recognizable features of Mehldau's oeuvre is the unusual sources of inspiration and interpretation combined with his compositional prowess. He is one of those vanguard musicians who freely use every source available, be it classic jazz, European classical music or indie and alternative rock as inspiration for his art. The dust of history often makes people forget that most of the greatest composers in classical music were also superb improvisers. These days when the aspect of improvisation is mentioned in relation to classical music it is easy to assume that a mistake has been made. Jazz or folk music are probably the first things that come to mind when people mention improvising. But great composers such as Mozart, Beethoven, List or Bach were renowned for their improvisations skills that they displayed in performances of classical music in the pre 20th centuries. Composing "on the spot" was considered a standard in classical music that was highly entertaining and well-respected as a precious skill. Bach amazed audiences with his improvisational keyboard skills. Classical music and jazz have always had a long and interesting relationship, so it is no wonder why there are so many "jazzed up" versions of works by classical composers, Bach included.

But Mehldau's work After Bach is not a "jazzed-up" approach to Bach's music. It's a straightforward interpretation of a selection of his compositions and improvisations on aspects of his works. Co-commissioned in 2015 by Carnegie Hall, Wigmore Hall and organizations in Canada, Switzerland, and Ireland, After Bach consists of performances of four preludes and one fugue from J.S. Bach's Well-Tempered Clavier, each followed by an "After Bach" interpretation by Mehldau. By his own admission, during his formative years classical music ran parallel to jazz and pop music. Indeed, it is difficult to find any top level jazz musician today who hasn't been enchanted by Bach's oeuvre. Even though many jazz pianists can play classical music well, the real question has always been whether their performances can stand shoulder to shoulder with those of world-class classical pianists. In the case of these performances with Brad Mehldau, the answer is undoubtedly yes. Regardless whether it's jazz or classical or his own composition, it seems that Mehldau pursues a mission to explore the place where beauty and sorrow meet. He immerses himself deep into these works and yet manages to convey his incredible personal pianistic magnetism. On After Bach , the enormous breadth of Mehldau's talent stands revealed. His passagework has a distinct feeling, and as a result he gives the music an improvisatory atmosphere. Regarding the interpretation of Bach's compositions, Mehldau's perceptive keyboard workmanship attests to a natural affinity for this composer's idiom, as numerous details bear out. He is a sensitive performer with a profound sense for nuances and shading, but his virtuosity brings the music across with considerable inner excitement. The program opens with the prologue "Before Bach: Benediction." His touch is sublime throughout this work and he weights carefully every phrase which in turn imbues the music with various subtle details that aren't often heard at piano recitals.

The "After Bach" works are characterized by lyrical, expressive playing which takes Bach's ideas and leads them in entirely new directions. He seizes on an aspect of the original Bach compositions and then he builds something astonishing that quickly leaves Bach's approach behind. In the piece titled "Rondo," he takes the 6 note pattern of Bach's prelude and he infuses a totally different tone to it by removing one note. The set closes with the majestic and evocative "Prayer for Healing" which has a sense of a poetic design that oddly evokes Claude Debussy's impressionistic tones. Even though it stands out compared to what preceded it, the meditative character makes it a perfect ending. There are very informative liner notes by Timo Andres who provides a detailed analysis and background on Mehldau's playing and the chances he is taking, serving as an illumination of the overall complexity and brilliance of the whole endeavor. Brad Mehldau is a giant of contemporary jazz piano whose musical language has always been difficult to define due to his healthy lack of respect for musical boundaries. This music, which is well suited to his refined artistry, reveals another aspect to his sonic persona that hasn't surfaced fully until now. With it, Mehldau celebrates Bach on his own terms on this consistently intriguing album. ~ Nenad Georgievski https://www.allaboutjazz.com/after-bach-brad-mehldau-nonesuch-records-review-by-nenad-georgievski.php

Personnel: Brad Mehldau: piano.

After Bach

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David Grisman, Frank Vignola - Frank 'n' Dawg

Bitrate: MP3@320K/s
Time: 47:47
Size: 109.4 MB
Styles: Jazz guitar/mandolin
Year: 2010
Art: Front

[2:53] 1. Till There Was You
[4:11] 2. Hello Young Lovers
[3:02] 3. Wouldn't It Be Loverly
[3:59] 4. Stardust
[3:42] 5. April Showers
[3:50] 6. Margie
[3:22] 7. Where Or When
[4:09] 8. Flamingo
[3:04] 9. As Time Goes By
[2:52] 10. We Kiss In The Shadow
[3:11] 11. For All We Know
[3:55] 12. Georgia
[3:10] 13. These Foolish Things
[2:19] 14. Someday My Prince Will Come

This CD is odd but rather wonderful. It's ONLY Frank Vignola and David Grisman--no back up band. They are playing wonderful songs. What is both odd and wonderful is that they trade off solos on every song, but their solos are almost entirely playing the melody of the songs. No flights of fancy. Just beautiful melodies with wonderful clarity and tone. I was studying with Grisman a couple weeks ago at the Mandolin Symposium. He is certainly capable of playing solos that have only a little bit to do with the melody, and he is capable of wild flights of notes. Same with Vignola. But here the melody is their master. It's refreshing and a delight. If you love these songs, you'll probably love this CD. If you primarily want to study these guys at their most complicated, look elsewhere. I love this. It was nice of them to put the melody first. ~Bill Pen

Frank Vignola and David Grisman have been friends and musical cohorts for years, and the time had come for them to collaborate on a special collection of acoustic duet performances of some of their favorite melodies from the Great American Songbook. Remarkably, these 14 tunes were all chosen, arranged and recorded (live to 2-track analog) in one day. Frank'n'Dawg are both great admirers of melody and wanted that to be the focus of this project - without sacrificing either spontaneity or groove. These finely-crafted melodies are once again reborn as mandolin-guitar duets, both timeless and timely.

Frank 'n' Dawg mc
Frank 'n' Dawg zippy

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Delvon Lamarr Organ Trio - Close But No Cigar

Bitrate: MP3@320K/s
Time: 40:31
Size: 92.8 MB
Styles: Organ Jazz/Blues
Year: 2018
Art: Front

[4:51] 1. Concussion
[4:15] 2. Little Booker T
[4:08] 3. Ain't It Funky Now
[3:27] 4. Close But No Cigar
[4:32] 5. Memphis
[3:18] 6. Al Greenery
[4:06] 7. Can I Change My Mind
[4:09] 8. Between The Mayo And The Mustard
[3:23] 9. Raymond Brings The Greens
[4:16] 10. Walk On By

From the heart & soul of Seattle, Wa comes DLO3 (aka Delvon Lamarr Organ Trio). A unique 60's & 70's vintage soul trio with the soulful sounds of the Hammond B3 organ mixed with super tasty Guitar Lines & good old school pocket drumming. The group consist of three masters of their crafts and certainly does not disappoint. Seattle born Organist Delvon Lamarr has been a staple in the Seattle music scene for almost two decades. This self taught multi instrumentalist has a true vintage super soulful style that pulls any listeners to his dimension. Also hailing from Seattle is guitarist Jimmy James. His vintage sound & style is filled with such high energy that anyone who crosses his path of pure musical genius is nothing short of amazed. And all the way from Jersey, laying down the grooves is master drummer David McGraw. Also know as "The man with the deep pockets". He has been an essential part of the Seattle music scene and has quickly established himself as one of the funkiest drummers around.

Between these truly amazing artist, DLO3 rocks the house everywhere they go. Leaving the audience in ahhh and craving more.

Close But No Cigar mc
Close But No Cigar zippy

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Novecento - All The Best

Bitrate: MP3@320K/s
Time: 80:15
Size: 183.7 MB
Styles: Pop vocals
Year: 2015
Art: Front

[4:26] 1. Anytime
[3:32] 2. Surround Me
[4:39] 3. A New Day
[5:54] 4. Artic
[3:17] 5. For A Moment
[4:09] 6. Endless Night
[5:22] 7. It's Time To Go
[4:29] 8. The Night (Version 2014)
[4:31] 9. Cry
[4:25] 10. Anytime (Instrumental Version)
[4:02] 11. Brodway
[4:37] 12. Vision
[4:32] 13. Tell Me Something
[4:27] 14. Let Me Breathe
[5:08] 15. Now That You've Gone
[4:05] 16. I Want You More
[4:21] 17. Movin' On
[4:10] 18. Excessive Love

Novecento is an Italian band founded by Pino Nicolosi, Lino Nicolosi, Rossana Nicolosi, and Dora Carofiglio in 1984. Their music has gone through a variety of genres, such as Italo disco (early work), synthpop, soft rock, pop rock, jazz, and funk. The band was active in the 1980s and the 1990s and became popular with the song "Cry" in 2008.

Novecento's debut single, "Movin' On", sold more than 100,000 copies in 1984. The band went on to win the "Revelation of the Year" award during the national television event Azzurro 1984. They were signed to Italian Five Records and Baby Records, with international distribution via WEA, Warner Music, and ZTT. After recording seven albums, Novecento disbanded in 1997. They briefly reunited in 2002 and again in 2008, when they scored significant success with the single "Cry"

All The Best mc
All The Best zippy

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Alain Mallet - Mutt Slang

Bitrate: MP3@320K/s
Time: 69:46
Size: 159.7 MB
Styles: World fusion
Year: 2017
Art: Front

[10:41] 1. Till I Dance (In Your Arms Again)
[ 8:45] 2. Blessed Be The Empty Soul
[ 6:18] 3. Road Signs
[ 1:51] 4. Alone
[ 2:04] 5. The Long Walk Home (Salif Prelude)
[ 8:14] 6. Salif
[ 5:56] 7. Adama
[ 8:51] 8. Spring
[ 5:04] 9. Elis
[ 1:11] 10. Batukada
[ 8:09] 11. This Is When I Think About You
[ 2:37] 12. Cradle

Alain Mallet's Mutt Slang is what you get when diverse and distant musical cultures mesh into one unique language. Born from an experimental group started by master percussionist Jamey Haddad (Paul Simon, Dave Liebman, Simon Shaheen) and pianist Alain Mallet (Phil Woods, Paquito D'Rivera, Paul Simon, Jonatha Brooke) this 13 piece ensemble features musicians that will shape the music of tomorrow. Layth Sidiq on violin, Daniel Rotem on Saxophone (Larry Klein), Abe Rounds on drums (Mishell N'dege Ocello), Peter Slavov (Joe Lovano) Tali Rubinstein, and many others. The music flows through a maze of diverse traditions to culminate in a sound that is sure to take you on a marvelous journey.

Mutt Slang mc
Mutt Slang zippy

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The Joe Ascione Trio - Post No Bills

Bitrate: MP3@320K/s
Time: 59:58
Size: 137.3 MB
Styles: Contemporary jazz
Year: 2007
Art: Front

[5:01] 1. My Shining Hour
[2:51] 2. Well, You Needn't
[5:34] 3. Bouncin' With Bud
[4:52] 4. Pent Up House
[7:01] 5. Chelsea Bridge
[5:41] 6. Get Happy
[4:44] 7. Moment's Notice
[5:18] 8. All Blues
[7:17] 9. Nobody Else But Me
[8:24] 10. All My Tomorrows
[3:12] 11. Eternal Triangle

Joe Ascione plays the drums in the aggressive, take-no-prisoners mode of Buddy Rich, which is no surprise since he once worked as Rich’s roadie. In addition to his powerhouse chops, Ascione displays excellent instincts as a leader on his debut release on the Arbors label. While his drumming is busy and LOUD, he is a supportive player who does not step on his bandmates’ toes. The album features trio, quartet, and quintet versions of mostly familiar modern jazz standards—some perhaps a bit too familiar, though the group does interesting things with them. Ascione’s superb trio includes Dave LaLama on piano and Tim Givens on bass, with guests Ron Affif on guitar and Jerry Weldon on tenor sax. And Ascione wisely gives each of these fine musicians plenty of room to shine.

LaLama shows off his improvisational dexterity and inventiveness on the opening number, the Johnny Mercer-Harold Arlen gem “My Shining Hour.” The pianist ends the piece with some of this decidedly straight-ahead album’s furthest out playing, before an unfortunate fadeout. Bassist Givens plays the head on “Get Happy,” with Ascione drumming forcefully behind him and taking some impressive solos. Weldon’s smooth, full bodied tenor is featured to nice effect on Bud Powell’s “Bouncin’ With Bud” and Sonny Stitt’s “Eternal Triangle.” Guitarist Affif steps out front on a high-precision sprint through Sonny Rollins’ “Pent Up House,” as well as on a relaxed take on Sammy Cahn’s “All My Tomorrows.”

While Ascione is at his best on the full-speed-ahead numbers that call for him to play hard and fast, he can also handle tunes where a light touch is needed, as on Billy Strayhorn’s “Chelsea Bridge” or the Hammerstein-Kern classic “Nobody Else But Me.” The quintet take on Coltrane’s “Moment’s Notice” provides for some fine ensemble playing by all. The trio tackles Miles Davis’ “All Blues” at a quicker than usual tempo, with LaLama pushing hard and Givens’ offering a memorable bowed solo. Throughout the proceedings, Ascione’s drumming is imaginative and unrelenting. A rewarding album from a drummer sure to heard from again. ~Joel Roberts

Post No Bills mc
Post No Bills zippy

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Mitzi Gaynor - Mitzi (Special Edition)

Bitrate: MP3@320K/s
Time: 36:51
Size: 84.4 MB
Styles: Vocal
Year: 2010
Art: Front

[2:23] 1. Do What You Do
[1:57] 2. I Won't Dance
[2:26] 3. The Nearness Of You
[2:03] 4. Cheek To Cheek
[2:25] 5. Nobody Else But Me
[1:46] 6. Rain
[1:35] 7. The Thrill Is Gone
[2:39] 8. That Old Feeling
[2:38] 9. I Only Have Eyes For You
[2:34] 10. Lazy
[1:25] 11. Do It Again
[2:46] 12. When Your Lover Has Gone
[3:10] 13. I'm In Love With A Wonderful Guy (Bonus Track)
[1:40] 14. Honey Bun (Bonus Track)
[3:41] 15. Anything Goes (Bonus Track)
[1:37] 16. A Cockeyed Optimist (Bonus Track)

A popular '50s and '60s singer, actress, and dancer, Mitzi Gaynor was recognized for not only her singing and dancing abilities but also her bright-eyed personality and chirpy charm. She brought zest and vivacity to all the Broadway shows and films she starred in. Known for her dancing techniques, she starred with such singing and dancing greats as Bing Crosby in Anything Goes, Frank Sinatra in The Joker Is Wild, and Gene Kelly in Les Girls. Her career has spanned all media, including films, television specials, and Broadway, and she continues to sing and dance on the nightclub circuit.

Born Franceska Mitzi Marlene de Charney von Gerber in Chicago on September 4, 1930, Mitzi Gaynor is said to be of Hungarian ancestry. Her mother was a ballerina and greatly influenced Mitzi to pursue dancing at the age of four. At the tender age of 12, she became a member of the corps de ballet of the Los Angeles Civic Light Opera. After performing in many plays and musicals she finally made her professional acting debut in 1950 when she starred in the film My Blue Heaven. She also signed with the Fox studio in 1950, making numerous musicals such as Bloodhounds of Broadway, Down Among the Sheltering Ponds, and Take Care of My Little Girl. However, many of these films were unsuccessful, and the Fox studio dropped Mitzi in 1954.

After a temporary setback in the acting profession, Mitzi Gaynor met talent agent Jack Bean and married him in 1954. With a talent agent for a husband, her performing career took off once again. She began starring again on Broadway in such hits as There's No Business Like Show Business, The Birds and the Bees, and Anything Goes. Those successes on Broadway and performing with many great leading men led producer Joshua Logan to choose Mitzi to star in his screen version of South Pacific in 1958. She performed in her last film, For Love or Money, in 1963. During the '60s and '70s, Mitzi Gaynor performed in several successful musical television specials. Although her career was a roller coaster ride of films and television specials, her boisterous personality exists in the success of several Broadway musicals. Her nightclub performances and singing debuts remain a large part of her career. ~ Kim Summers

Mitzi (Special Edition) mc
Mitzi (Special Edition) zippy

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Rich Perry - Gone

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 65:28
Size: 150,5 MB
Art: Front

(11:32)  1. Gone With the Wind
( 8:10)  2. Theme for Ernie
( 8:20)  3. Don't Blame Me
(12:16)  4. Emily
( 7:50)  5. You Say You Care
( 8:40)  6. Estate
( 8:37)  7. Nancy With the Laughin' Face

Like many American jazz musicians, Rich Perry has found abundant opportunities to record for the Danish label Steeplechase. The tenor saxophonist and alum of the Thad Jones/Mel Lewis Orchestra (among many other bands) is heard leading a quartet full of regular collaborators consisting of pianist Harold Danko (with whom Perry also often appears on the pianist's own Steeplechase CDs), bassist Jay Anderson, and drummer Jeff Hirschfield. The session is dominated by familiar standards, though Perry chooses atypical paths in their explorations of them. "Gone with the Wind" is frequently subjected to rather breezy treatments, while the tenor saxophonist prefers to simmer the music in an extended post-bop workout. His approach to "Don't Blame Me" has a strolling undercurrent backing his whimsical tenor. The lovely "Emily" is another extended workout, though it never loses its lyricism, highlighted by Danko's lush solo. The spacious setting of the ballad "You Say You Care" conveys the sense of melancholy perfectly, as does their haunting rendition of the bittersweet bossa nova "Estate." The music throughout the date comes across so effortlessly that it wouldn't be surprising to learn that the musicians completed everything in one or two takes and left the studio early. ~ Ken Dryden https://www.allmusic.com/album/gone-mw0000832907 

Personnel: Rich Perry (tenor saxophone); Harold Danko (piano); Jeff Hirshfield (drums).

Gone

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Inger Marie Gundersen - Make This Moment

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 50:10
Size: 115,2 MB
Art: Front

(3:38)  1. Let It Be Me
(3:16)  2. Make This Moment
(5:58)  3. Blame It On My Youth
(4:47)  4. Will You Still Love Me Tomorrow
(5:02)  5. But Beautiful
(4:21)  6. Melancholy Blue
(6:03)  7. Fool On The Hill / Nature Boy
(4:18)  8. Song For You Far Away
(5:14)  9. Always On My Mind
(3:11) 10. Just A Song Before I Go
(4:15) 11. Sebastians Waltz

During some downtime from watching American Idol on the eight nights it seems to be on each week, I was able to listen to Make This Moment by vocalist Inger Marie Gundersen. The album is a nice reminder that vocal performances do not always have to be unbridled exhibitions of melismatic acrobatics. Indeed the hallmark of the album is an admirable restraint, and even austerity in the vocals and instrumentation. Make This Moment features a unique mix of new songs, standards, and classic pop/rock offerings. "Let It Be Me, popularized by the Everly Brothers, doesn't necessarily lend itself to extended improvisation, but it does give Gundersen the chance to caress the lovely melody with her smoky voice. She also offers a tender version of the perennial "Always On My Mind. Gundersen's band offers sympathetic, yet unobtrusive support. A medley of "Fool on the Hill and "Nature Boy features a sensitive saxophone solo by Øivind G. Stømer, who is the son of Gundersen. However, for the most part, the performances remain lean and free of any showy solos. The focus is on the songs. Make This Moment is an encouraging debut solo recording by a promising talent. Gundersen and her band treat their material with the utmost respect and delicacy. The album is a refreshingly tasteful affair. ~ Stephen Latessa https://www.allaboutjazz.com/make-this-moment-inger-marie-gundersen-kultur-and-spetakkel-review-by-stephen-latessa.php

Personnel: Inger Marie Gundersen-vocals; Oscar Jansen-piano; Ole Kristian Kvamme-bass; Geir Age Johnsen-drums; Kristoffer Hansen-arrangement and piano on track 9;

Make This Moment

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Jimmy Rowles - Our Delight

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 65:50
Size: 150,9 MB
Art: Front

(6:27)  1. You're Driving Me Crazy
(5:48)  2. That Face
(6:24)  3. You Say You Care
(9:41)  4. Our Delight
(8:38)  5. America the Beautiful & Moon of Manakoora
(4:06)  6. Morning Star
(7:55)  7. That Old Feeling
(3:42)  8. Lulu's Back in Town
(6:19)  9. Crisis
(5:26) 10. Love Letters
(1:18) 11. Chess Players

Recorded in 1968 but not released for the initial time until this 1997 CD, this set of live but private recordings features pianist Jimmy Rowles with either Max Bennett or Chuck Berghofer on bass and Nick Martinis or Larry Bunker on drums. The very spontaneous and relaxed music finds Rowles often quoting other songs and playing a wide repertoire. The music ranges from "You're Driving Me Crazy" and "Our Delight" to "America the Beautiful," "Moon of Manakoora" and "Lulu's Back in Town," plus songs by Freddie Hubbard and Wayne Shorter. Although not essential, the set does feature Rowles during an era (1961-1969) when he did not lead a single studio session. ~ Scott Yanow https://www.allmusic.com/album/our-delight-mw0000595467

Personnel: Jimmy Rowles (piano); Nick Martinis, Larry Bunker (drums).

Our Delight

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Arne Domnérus Sextet - In Concert w. B Hallberg & Rolf Ericson

Styles: Saxophone And Clarinet Jazz
Year: 1978
File: MP3@320K/s
Time: 53:41
Size: 123,0 MB
Art: Front

(5:13)  1. Things Ain't What They Used To Be
(8:16)  2. The Jeep Is Jumpin'
(5:58)  3. In A Mellow Tone
(4:24)  4. Isfahan
(5:42)  5. Walz-A-Nova
(4:38)  6. Visa Från Utanmyra
(5:37)  7. You've Changed
(8:16)  8. Well, You Needn't
(5:31)  9. Stoney Lonesome

Any jazz record that starts out with a bluesed-out bass solo by Georg Reidel as this one does and nonchalantly slips into Duke Ellington's "Things ain't What They Used to Be" has got my vote. This vault recording of Arne Domnérus' Stockholm sextet is primarily Ellingtonian in flavor, but its raw immediacy and rich color palette make it more than just a neo-trad set. For one, the way Reidel is used is positively original, opening several tunes solo, establishing a rootsy blues feel, and then bringing in the band, piano first (Hallberg). It's Hallberg who shines on Ellington's "Isfahan," with Hallberg taking the melodic line and fusing it to an inverted harmonic pattern in counterpoint. He stretches his chords, making for the resonance of numerous pitches. When the band enters on the last half, it's in staggered harmony, flutes first, then saxes playing an easy swing blues throughout. Another strange arrangement is Monk's "Well You Needn't" being commenced by a trumpet, with the alto and tenor playing a half measure behind in a striated harmony. The piano is used only for color, strangely enough, and Domnérus' solo carries the thing shimmying and sweating into "You've Changed." The cover on this set looks as square as all get out, but the music inside is a savvy, hip, and down in the groove. ~ Thom Jurek https://www.allmusic.com/album/arne-domn%C3%A9rus-sextet-with-bengt-hallberg-rolf-ericson-mw0000968777

Personnel:  Alto Saxophone, Clarinet – Arne Domnérus;  Bass – Georg Riedel;  Drums – Egil Johansen;  Guitar – Rune Gustafsson;  Piano – Bengt Hallberg;  Tenor Saxophone, Flute – Claes Rosendahl;  Trumpet – Rolf Ericson        

In Concert w. B Hallberg & Rolf Ericson

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Andre Previn, Joe Pass, Ray Brown - After Hours

Bitrate: MP3@320K/s
Time: 63:20
Size: 145.0 MB
Styles: Bop, Piano jazz
Year: 1989/2005
Art: Front

[6:01] 1. There'll Never Be Another You
[4:50] 2. I Only Have Eyes For You
[6:09] 3. What Am I Here For
[6:57] 4. Limehouse Blues
[5:41] 5. All The Things You Are
[5:39] 6. Honeysuckle Rose
[6:07] 7. I Got It Bad And That Ain't Good
[6:09] 8. Smoke Gets In Your Eyes
[4:09] 9. Cotton Tail
[5:56] 10. Laura
[5:37] 11. One For Bunz

Although André Previn had not recorded a regular jazz album in 27 years at this point in time (discounting a pair of Itzhak Perlman sessions featuring Previn's compositions), the great majority of the performances on this trio set with guitarist Joe Pass and bassist Ray Brown are first takes. Previn took time off from his busy schedule in the classical music world to return briefly to jazz, his first love. The results are often magical. Previn, Pass and Brown play together as if they had been touring as a group for years. The pianist is generous with solo space and Pass' solos are sometimes exhilarating. For Previn, it is as if the previous three decades did not occur for he plays in a style little changed from 1960, displaying an Oscar Peterson influence mixed in with touches of Lennie Tristano and Bill Evans' chording, performing ten standards and his own "One for Bunz." Highly recommended. ~Scott Yanow

After Hours mc
After Hours zippy

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Anna Karina - Je Suis Une Aventuriere

Bitrate: MP3@320K/s
Time: 31:19
Size: 71.7 MB
Styles: Jazz-pop vocals
Year: 2018
Art: Front

[2:45] 1. Pour Dire Je T'aime
[4:00] 2. Not The End Of The World
[2:55] 3. Sous Le Soleil Exactement
[3:17] 4. Le Messie Sera Féminin
[3:50] 5. Jimmy
[3:19] 6. Je Suis Une Sentementale-Maquette
[2:55] 7. Mon Amant Perdu (Maquette) [version Alternative]
[4:15] 8. Feel Lost
[3:22] 9. Big Heat
[0:36] 10. Outro

The best titles of the icon of the new wave, signed Gainsbourg, Katerine, Bassiak, Godard ... included Under the sun exactly more unpublished including 2 duets with Howe Gelb. Anna Karina has always sung. Often in movies. Since "A woman is a woman" in 1960 where she sings "The song of Angela" written by Jean-Luc Godard and composed by Michel Legrand, Anna Karina sang Bassiak (Rezvani) always for Godard and especially Serge Gainsbourg who conceived for her her only musical comedy "Anna" in 1967. New Wave icon, the actress of Danish origin offers a compilation of movie songs some of which are edited here for the first time (extracts from the films "Last song" of Dennis Berry and "Haut, Bas, Fragile" by Jacques Rivette) as well as titles from his album written by Philippe Katerine). As a bonus, several original songs complete this retrospective including two duets recorded in 2017 with Howe Gelb, a leading artist on the American rock scene. "I am an adventuress" throws with her sparkling blue eyes the one who has spent her life playing, singing and dancing under the starry eyes of George Cukor, Tony Richardson, Luchino Visconti, Rainer Werner Fassbinder, Raoul Ruiz or Jonathan Demme and who must his stage name to Coco Chanel. (Translated from French.)

Je Suis Une Aventuriere mc
Je Suis Une Aventuriere zippy

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Romero Lubambo - Setembro

Bitrate: MP3@320K/s
Time: 53:52
Size: 123.3 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[5:44] 1. Influencia Do Jazz
[3:29] 2. Darn That Dream
[5:04] 3. Meditation
[3:44] 4. Joanna Francesa
[6:11] 5. Muriqui
[4:15] 6. Setembro
[3:16] 7. All The Things You Are
[5:12] 8. Nira
[4:08] 9. Lukinha
[4:35] 10. Love Letters
[5:26] 11. The Days Of Wine And Roses
[2:43] 12. Eu Preciso Aprender

It can be argued that the country that has most influenced the development of jazz, apart from the United States, has been Brazil. The sound of 1950s jazz, especially that of the cool school (best represented by the music of Miles Davis), had a huge influence on the evolution of bossa nova, which, once exported to the States, became a sensation and cemented itself to the lexicon of modern jazz. This opened the door for other Brazilian styles and artists to become recognizable to music fans worldwide.

Brazilian guitarist and composer Romero Lubambo grew up in Rio de Janeiro in a household filled with song. This was where his devotion to music began. Between playing various instruments and singing with his family, classical guitar studies and his exposure to music of all sorts via the radio, Lubambo became increasingly devoted to developing his own skill as guitarist and interpreter of music that he loved, namely Brazilian, classical and jazz. Naturally, the best setting to hear Lubambo s incredibly varied and highly personal guitar style has been solo. In early 2014, he delivered the wonderful Só Brazilian Essence, where he explored exclusively Brazilian compositions on solo acoustic guitar. On his new recording, Setembro A Brazilian Under The Jazz Influence, Lubambo splits his focus between Brazilian and jazz music and between acoustic and electric jazz guitar.

Lubambo has long been known for his work with artists like Dianne Reeves, Diana Krall and Luciana Souza, and with his collaborative group Trio Da Paz. His musical vocabulary has been lauded for years, especially in blending jazz and Brazilian popular musical forms. Setembro brings his influences full circle, as he performs jazz standards, tunes from legendary Brazilian composers, and his own compositions. The recording begins with a hypnotic rendition of Carlos Lyra s Influência Do Jazz on acoustic guitar, which is followed by a deftly played electric version of the Van Heusen classic Darn That Dream. Jobim and Mendonça s Meditação follows with Romero on warm electric. Chico Buarque s Joana Francesa is a meditative masterpiece on acoustic guitar, while Lubambo s own Muriqui is a great example of advances in the Brazilian guitar tradition by one of its best adepts. The Ivan Lins and Gilson Peranzzetta classic Setembro is stripped down into a beautiful minimalist ballad. The Kern/Hammerstein jewel All The Things You Are is danceably percussive on acoustic and the guitarist s Nira slows down the proceeding with an ambient ballad on electric. Lukinha is another original that has a perfect balance between resonant restraint and dexterous pyrotechnics. Victor Young s Love Letters is gorgeously played on electric, as is the Mancini/Mercer gem Days of Wine and Roses. The recording concludes with Marcos and Paulo Valle s Preciso Aprender a Ser Só, a charming and slightly offbeat acoustic ballad.

Romero Lubambo s Setembro A Brazilian Under The Jazz Influence is a fabulous aural portrait of a musician that bridges the divide between jazz and Brazilian popular music. His fantastic ability to entrance a listener on whatever style and guitar that he chooses is on full and dynamic display.

Setembro mc
Setembro zippy

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