Till Bronner - Love

Bitrate: MP3@320K/s
Time: 52:17
Size: 119.7 MB
Styles: Vocal jazz, Trumpet jazz
Year: 1999
Art: Front

[6:44] 1. Where Do You Start
[5:32] 2. What Stays
[6:41] 3. Our Game
[9:23] 4. Brazil
[3:30] 5. Ich Hab' Noch Einen Koffer In Berlin
[5:45] 6. We Fly Around The World
[5:17] 7. I Fall In Love Too Easily
[6:00] 8. Here's That Rainy Day
[3:21] 9. Time Will Tell

Bass – Tim Lefebvre; Drums – Wolfgang Haffner; Guitar – Chuck Loeb; Percussion – David Charles; Piano, Keyboards – Frank Chastenier; Trumpet, Flugelhorn, Vocals – Till Brönner; Vocals – Carmen Cuesta.

A young traditionalist from Germany, Till Brunner owes a big debt to Chet Baker. On his Verve debut, Love, the trumpeter plays it cool, muted, and lyrical, reducing songs to their melodic essence. He also sings on two ballads (including our featured track, "We Fly Around the World"), and, like Baker, he approaches them in a straightforward fashion that charmingly emphasizes the limitations of his voice. He even plays one of Baker's mainstays, "I Fall in Love too Easily." Bronner is joined by a mix of German and American sidemen: guitarist Chuck Loeb, pianist and keyboardist Frank Chastenier, bassist Tim Lefebvre, drummer Wolfgang Haffner, percussionist David Charles, and vocalist Carmen Cuesta. ~Jazziz Magazine

Love mc
Love zippy

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Lionel Hampton - Swingsation

Bitrate: MP3@320K/s
Time: 55:12
Size: 126.4 MB
Styles: Big band, Vibraphone jazz
Year: 1998
Art: Front

[3:08] 1. Flying Home
[3:02] 2. Royal Family
[3:17] 3. In The Bag
[3:03] 4. Loose Wig
[3:05] 5. Flying Home No. 2
[3:20] 6. Hamp's Boogie Woogie
[3:08] 7. Million Dollar Smile
[2:26] 8. Ribs And Hot Sauce
[3:17] 9. Blow Top Blues
[3:19] 10. Hey! Ba-Ba-Re-Bop
[5:53] 11. Rockin' In Rhythm (Parts 1 & 2)
[5:59] 12. Airmail Special (Parts 1 & 2)
[3:08] 13. Cobb's Idea
[2:38] 14. Hamp's Got A Duke
[3:17] 15. Midnight Sun
[3:04] 16. Red Top

Since Hampton's big band started in the late '20s and endured for decades beyond, this collection cannot be comprehensive. But in the mid-'30s to late '40s, they were in their prime and a force to be reckoned with. So this slice of history is a decent introduction for those not familiar with the drummer and vibists' mix of unflappable swing, layered charts and friendly jive. Of course you get two obligatory versions of "Flying Home," classics "Air Mail Special," "Blow Top Blues," and "Red Top," goof tunes like "Hey Ba-Ba-Re-Bop!," the ultimate heart stopper "Midnight Sun," and lesser known but potent jam numbers "Cobb's Idea" and "Hamp's Got a Duke." It's a good start toward learning about one of the more important musical and sociological icons of America. ~Michael G. Nastos

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Anat Cohen - Notes From the Village

Styles: Clarinet And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 60:25
Size: 138,7 MB
Art: Front

(9:08)  1. Washington Square Park
(6:26)  2. Until You're In Love Again
(8:21)  3. Siboney
(9:12)  4. After The Rain
(7:07)  5. J Blues
(5:42)  6. Lullaby For the Naive Ones
(5:20)  7. A Change is Gonna Come
(9:04)  8. Jitterbug Waltz

Anat Cohen, an Israeli-born multi-reedist who favors clarinet, is rapidly emerging from the jazz 'underground.' Notes from the Village (an allusion to Dostoevsky's novella?), her fourth release as a leader, is sure to enhance her growing reputation. Ably abetted by Jason Lindner (keyboards), Omer Avital (bass) and Daniel Freedman (drums), with strong support by Gilad Hekselman (guitar), Cohen covers a lot of musical ground on Notes, from graceful tone poetry to raw-boned 'world-bop.' Playing the soprano and bass clarinets and the soprano and tenor saxophones with equal facility, her sound is light and unforced, ranging from subtle pastels to bold primary colors. Tracks like "Washington Square Park" and "Until You're in Love Again" (both originals) and Ernesto Lecuona's "Siboney" display the former quality, while workouts such as "J Blues," "Lullaby for the Naïve Ones" (also originals) and Fats Waller's "Jitterbug Waltz" flaunt Cohen's considerable technique and quicksilver imagination. The band members, frequent collaborators on various outings, exude well-oiled synergism. Lindner is particularly strong—as a creative and empathetic accompanist whose paripatetic style links intimately with Cohen's, and as an arranger, writing rhythmically vibrant charts for three tracks. ~ Tom Greenland https://www.allaboutjazz.com/anat-cohen-notes-from-the-village-and-suelos-by-tom-greenland.php

Personnel: Anat Cohen: clarinet, bass clarinet, tenor sax, soprano sax; Jason Lindner: piano, Fender Rhodes, Prophet 08 Keyboard; Omer Avital: bass; Daniel Freedman: drums, percussion; Gilad Hekselman: guitar.

Notes From the Village

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McCoy Tyner Trio - Inception

Styles: Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 32:42
Size: 77,7 MB
Art: Front

(4:25)  1. Inception
(6:17)  2. There Is No Greater Love
(4:22)  3. Blues For Gwen
(4:38)  4. Sunset
(6:36)  5. Effendi
(6:21)  6. Speak Low

Though two tracks from October 1960 were previously issued under McCoy Tyner's name, they were outtakes from John Coltrane dates where the saxophonist sat out. Inception marks the pianist's first proper release as bandleader, with the sessions for Impulse! taking place at Rudy Van Gelder's studio on January 10 and 11, 1962. Of the set's six tracks, four are Tyner compositions, with "Effendi" becoming something of a modern jazz standard and embraced, most notably, by pianist Ahmad Jamal. A trio setting with bassist Art Davis and drummer Elvin Jones, Inception is a strong debut, though not necessarily indicative of the monster player Tyner would become. His fleet-fingered, lyrical right hand is in full force but the thundering left hand, which would become something of his trademark, is not really evident here, partly due to the material, which is a bit more subdued when compared to the raucous repertoire that busied Tyner in his regular job at the time: manning the piano bench for Coltrane. That said, ballads and slower blues, like many of those on Inception, have remained an important part of Tyner's songbook throughout his career. The program does pick up intensity as it progresses, with "Effendi" and the pianist's album-closing take on Kurt Weil and Ogden Nash's "Speak Low" highlighting Jones' percolating drum work, Tyner's dexterity and the symbiosis shared between them. Inception remains important as a jazz giant's debut and an iconic example of 1960s piano jazz. ~ Lawrence Peryer https://www.allaboutjazz.com/inception-mccoy-tyner-impulse-review-by-lawrence-peryer.php

Personnel: McCoy Tyner: piano; Elvin Jones: drums; Art Davis: bass.

Inception

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William Bell - Coming Back For More

Styles: Vocal, Soul
Year: 1977
File: MP3@320K/s
Time: 40:31
Size: 93,2 MB
Art: Front

(3:24)  1. Tryin' To Love Two
(6:14)  2. If Sex Was All We Had
(3:03)  3. Relax
(4:59)  4. You Don't Miss Your Water
(3:04)  5. Malnutrition
(3:11)  6. Coming Back For More
(6:00)  7. Just Another Way To Feel
(3:16)  8. I Absotively, Posolutely Love You
(3:47)  9. I Wake Up Cryin'
(3:28) 10. You've Really Got A Hold On Me

Despite the appropriate title, Comin' Back for More is not merely a comeback album for William Bell; it is arguably the artistic and commercial peak of his entire career. During the 1960s, Bell was perhaps best-known as a songwriter, although his recorded tenure at Stax yielded several minor R&B hits, most notably the Top Ten "I Forgot to Be Your Lover," which later became a slightly retitled pop hit for Billy Idol. After switching to Mercury in the mid-'70s, Bell seemed to re-emerge out of nowhere with Comin' Back for More. The single "Tryin' to Love Two" became his only R&B chart-topper as well as his lone Top Ten pop success. Although 1970s R&B was overflowing with odes to infidelity (i.e., Billy Paul's "Me and Mrs. Jones"), "Tryin' to Love Two" was one of the few promiscuous songs to address the consequences beyond getting caught and ending up alone. Besides the additional strain on his time and finances, Bell reveals the psychological cost of fooling around when he bemoans: "It started out had lots of fun/But now it's got me on the run/This jumping in and out of bed/Keeps messing with my head." Shifting seamlessly from ominous bass and staccato guitar to the sweet sounds of muted horns and female background vocals, "Tryin' to Love Two" is a perfect marriage of music and lyrics. "Relax" is nearly as good, combining an irresistible rhythm (patterned after Archie Bell & the Drells' "Tighten Up") with a loving supplication designed to ease the mind of his virginal sweetheart. Bell's emotional sincerity transforms the potentially smarmy seduction into a reassuringly romantic entreaty. More evidence of Bell's artistic maturity surfaces on the spiritually profound update of his 1962 single "You Don't Miss Your Water," which features the inspirational saxophone of Eli Fountain. The somber resignation of "Just Another Way to Feel" also benefits greatly from Fountain's extended soloing, and all of the musicians assembled by Bell and co-producer/arranger Paul Mitchell contribute uniformly excellent performances throughout the album. If the serviceable remake of Smokey Robinson's "You've Really Got a Hold on Me" seems like an anticlimactic finale, it's probably due to the high quality of the preceding originals. It's not easy to upstage a legendary songwriter like Robinson, yet Bell accomplishes that unlikely feat in welcome fashion on Comin' Back for More. ~ Vince Ripol https://www.allmusic.com/album/comin-back-for-more-mw0000176041

Personnel:  Producer – Paul Mitchell, William Bell; Bass – Eddie Watkins;  Drums – Quentin Dennard;  Guitar – Eddie Willis, Emmett Smith, Leroy Emmanuel;  Horns – Glenn Barbour, James Brown , James Hardy Patterson, Leo La Branche;  Keyboards – Mose Davis, Paul F. Mitchell;  Percussion – Barbara Huby;  Piano – Rudy Robinson;  Saxophone – Eli Fountain;  Synthesizer, Strings – Ted Stovall.

Coming Back For More

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Abigoba Quintet - Scattered Legacy

Styles: Jazz Soul
Year: 2014
File: MP3@320K/s
Time: 43:56
Size: 101,3 MB
Art: Front

(6:17)  1. Stand
(5:43)  2. Scattered Legacy
(6:05)  3. Stairway to Heaven
(4:55)  4. I.E.A.S
(3:36)  5. Even If I Try
(7:49)  6. Sparkling Song
(3:30)  7. Nightmare Before Christmas
(5:57)  8. Yosemite Falls

It was at the initiative of pianist / keyboardist Jean-Luc Briançon that the formation was born. The latter having been trained at the Musicians Institute in Los Angeles , was soon attracted by the jazz sounds, which he showed by participating and winning with his formation of the time: The St Graal Project, the Musicians Institute Contest of 1992 in the category of instrumental fusion. Following this first experience the musician was given the opportunity to record his first album Out of America . The desire to create a second album when he returned to settle in France was present without having a real desire to form a group. It was finally the 2001 Jazz à Vienne festival which spotted the project and offered to present it on stage. From then on, Abigoba became a full-fledged urban jazz band recognized throughout the Auvergne - Rhône-Alpes region and beyond. The orchestrated themes intermingle with improvisations, particularly in a universe largely influenced by Miles Davis , Herbie Hancock or Josef Zawinul . This combination of retro influences and contemporary creativity gives a particularity to this original concept [ ref. desired] . Based on the notion of encounters and a mix of different musical trends, the band's practice is to invite musicians from diverse backgrounds while retaining its main influence: jazz.  His evolution was soon marked by a gradual transition from jazz fusion ( Chick Corea Elektric Band, Spyro Gyra ) to acid jazz (Groove collective, Ronny Jordan ), before moving towards electro jazz and nu jazz ( Erik Truffaz , St Germain ). These collaborations increase its capacity of adaptation and evolution Since its beginnings in 2000.

During this great period, the different groups came together to give birth to a number of albums by participating in the project. In fact, it was in 2000, even before the training was formalized, that their first Strange World album was released in Vieux-Lyon at the premises of the production Nuage 7, also created by Jean-Luc Briançon. Among the participants, China Moses , Erik Truffaz , Hawa, Amanda Zamolo ( Morcheeba Singer, Dive Deep & Tour album), or more recently DJ Shazz and Ordœuvre (Matmon jazz), have brought and left a clearly identifiable stylistic imprint [ ref . desired] that this concerns albums or live Over time, some artists leave the training when others make their arrival. Since 2013 , the project's promoter and his new team has revamped the musical colors of Abigoba. Represented by a quintet initially instrumental end, today the leader is accompanied by Franck Boutin-Albrand acoustic and electronic percussion, Raphael Minfray on trumpet , Yann Van Eijk on drums and Terence Vincent on low. It is also the voice of two new guests, one being that of Sabine Matomswe Kouli, Lyon diva of Gospel and the second being that of Avril McGourty, Irish pop singer.  It is during the year 2014 and from this new state of mind that the album Scattered Legacy is elaborated. 

The first intention is to offer a content almost entirely recorded live to give a more alive side. Always drawing inspiration from the world of electric jazz , the album also shows its evolution by accentuating a pop side already used in other productions as with a revival of Led Zeppelin's Stairway to Heaven. Translate by Google https://translate.google.com.br/translate?hl=en&sl=fr&u=https://fr.wikipedia.org/wiki/Abigoba&prev=search

Scattered Legacy

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Richard Carr, Howard Alden, Milt Hinton - We Three Strings

Bitrate: MP3@320K/s
Time: 65:12
Size: 149.3 MB
Styles: Contemporary jazz
Year: 1991
Art: Front

[4:10] 1. Blue Room
[5:30] 2. Dancing On The Ceiling
[4:46] 3. Do Nothing 'til You Hear From Me
[5:04] 4. Indian Summer
[4:42] 5. Long Ago And Far Away
[5:15] 6. The Folks Who Live Up On The Hill
[6:11] 7. Vol Vistu Gaily Star
[5:23] 8. When Lights Are Low
[6:02] 9. Careless Love
[6:12] 10. Zootcase
[5:16] 11. More Than You Know
[6:37] 12. All Too Soon

About Richard Carr: Violin. Modern violinist with style and direction that are swing influenced, rather than in hard bop or free vein. He has recorded mostly in duos or trios, and done four dates for small independents. His best was with the Pizzarellis in 1984, a session that shows influence of Joe Venuti and Stephane Grappelli. ~ Ron Wynn

About Howard Alden: "He may be the best of his generation," writes Owen Cordle in JazzTimes. George Kanzler of the Newark Star Ledger proclaims that he is "the most impressive and creative member of a new generation of jazz guitarists." And Chip Deffaa of the New York Post observes that he is "...one of the very finest young guitarists working today." It seems that the only thing regarding Howard Alden on which the critics have debate is whether the remarkable jazz guitarist is one of the best or simply the best.

Born in Newport Beach, California, in 1958, Howard began playing at age ten, inspired by recordings of Armstrong, Basie and Goodman, as well as those by guitarists Barney Kessel, Charlie Christian, Django Reinhardt and George Van Eps. Soon he was working professionally around Los Angeles playing in groups ranging from traditional to mainstream to modern jazz. In 1979, Alden went east, for a summer in Atlantic City with Red Norvo, and continued to perform with him frequently for several years.

About Milt Hinton: Milt “The Judge” Hinton was regarded as the Dean of jazz bass players. He was born in Vicksburg, Mississippi in 1910, and at the age of eleven moved to Chicago with his family. He began his musical education by taking private violin lessons, but while attending Chicago's Wendell Phillips High School and playing in a band sponsored by the Chicago Defender newspaper, he learned to play bass horn, tuba, cello, and eventually the bass violin. Like many aspiring Southside musicians of his generation, he was influenced by the legendary educator, Major N. Clark Smith. During the late 1920s and early 30s, Milt worked as a freelance musician in Chicago and performed with legendary jazz artists including Freddie Keppard, Zutty Singleton, Jabbo Smith, Erskine Tate, and Art Tatum. His first steady job was with a band led by Tiny Parham, followed by a stint with violinist Eddie South’s Orchestra. Milt’s earliest recording come from this era.

Milt has played with virtually every jazz and popular artist from Ellington, Coltrane and the Marsalis Brothers to Streisand, Midler and McCartney. In the late 80s Chiaroscuro Records released Old Man Time , a double cd featuring Milt along with many life-long friends from the music world. Laughin' at Life, was released by Columbia Records in 1995 and Chiaroscuro recently released The Judge at His Best, a selection of his recordings on that label over three decades, and the Bassment Tapes, which features Milt performing with groups he assembled.

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Caroline Davis Quartet - Live Work & Play

Bitrate: MP3@320K/s
Time: 54:48
Size: 125.5 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[8:23] 1. Kowtow
[5:19] 2. Passive Cloud
[5:03] 3. Blood Count
[5:58] 4. Dionysus
[2:02] 5. Old Rims
[2:22] 6. Shiny Rims
[4:46] 7. Real Rims, For Kalvin
[6:04] 8. Craftsmanship And Emptiness, For Rumi
[7:29] 9. The Academic Freedom Suite, Part 1
[7:17] 10. Cheryl

Caroline Davis: alto saxophone; Mike Allemana: guitar; Matt Ferguson: bass; Jeremy Cunningham: drums.

It's easy to become jaded in an ocean of music where many recordings sound so much alike. But every now and then something piques even great curiosity, as is the case with Live Work and Play , the captivating debut by saxophonist/composer Caroline Davis. Her abilities as a musician and leader signal not just another new voice, but one that is acutely focused, reminiscent of another striking female Chicagoan, saxophonist Matana Roberts.

The factors that have shaped Davis come out of seminal experiences: she was born in Singapore to European parents, and was raised in Atlanta, Georgia, where she grew up listening to gospel and R&B. It could be her academic achievements—degrees in Psychology and a Ph.D in Music—the late night jam sessions at the New Apartment Lounge with esteemed saxophonist Von Freeman, or finding inspiration from guitarist Bobby Broom's trio at Chicago's Pete Miller's Steakhouse.

In the end, it's not only Davis's soulfully fluent playing that resonates, but also her tightly knit quartet, which works through cerebral originals like the swinging opener "Kowtow" and the groove-aesthetic of "Passive Cloud," as well as the bright re-envisioning of Billy Strayhorn's "Blood Count." In each case, these consummate musicians— longtime Von Freeman guitarist Mike Allemana and the equally potent rhythmic core of bassist Matt Ferguson and drummer Jeremy Cunningham—deliver inventiveness and vigor.

Whether working through the melody changes in "Dionysus," tinted by Allemana's undulating tremolo and echo effect colors; getting some soulful blues swagger in the "Real Rims, For Kalvin" (part 3 of Davis's "Rims" mini-suite); or swinging true on Charlie Parker's "Cheryl," the quartet is inspired and articulates the striking art of jazz. Allemana's contribution is noteworthy; he's the perfect foil for Davis' expressive horn and delivers some killing solos, as do the other band members. His "Academic Freedom Suite, Part 1" is one of the album's many bright spots—a slow- tempered theme which ignites into a firestorm showing his copacetic chops and some of Davis's most fervent playing. Live Work and Play is totally fresh debut and highlights Davis as a gifted and empathetic player who warrants a closer look. ~Mark Turner

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Victoria Rummler - Take Two

Bitrate: MP3@320K/s
Time: 45:54
Size: 105.1 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[0:19] 1. 20th Century Fox Theme
[3:35] 2. Love Is Here To Stay
[3:00] 3. Theme From Le Balloon Rouge
[3:08] 4. The Pink Panther Theme
[5:59] 5. Smile
[4:01] 6. Frankly
[3:01] 7. Ascenseur Pour L'echefaud
[1:00] 8. C'est Le Vent Betty
[4:10] 9. I Wanna Be Loved By You
[3:19] 10. Casablanca
[3:43] 11. La Chanson D'helene
[3:02] 12. Theme From Le Balloon Rouge
[2:18] 13. Cantine Theme (From Star Wars)
[5:11] 14. Chanson De Delphine

Born near Detroit, USA, Vicki has been a Euro-convert for almost twenty years. Her musical experience began with a fascination for the piano at age six which led to many years of lessons, competitions, accompaniment and a profound appreciation that is still very much alive today.

She began singing in children’s groups and a church choir that toured Mexico and Central America. Studying clarinet, dance, and theater in the USA, she took off for Germany after completing her Bachelor of Arts degree in music at Williams College in 1988. She worked with a performance art group in Munich and went on to Paris in 1993, where she discovered her passion for vocal jazz, honing her craft with Michele Hendricks, Laurence Saltiel and Roger Letson. In 2004, she was invited to record with cutting-edge electro a cappella group Les Grandes Gueules on their second album “Vocal Extreme.”

Since deciding to concentrate on her solo career, Vicki’s musical personality has evolved by leaps and bounds. Her first solo album, "Twinkle," was released in 2004 to rave reviews on both sides of the Atlantic. Her sophomore album "Am I Am" from 2011, takes her music one step further, with more personal lyrics and arrangements that reflect all her musical influences throughout the years, from blues to African and bossa nova. In 2017 has released his last entry, "Take Two" on the Spanish label Blue Moon Records, is an hommage to her film music favorites.

Vicki's live performances are ebullient and virtuosic, and her rapport with the audience is playful yet genuine. Perhaps as a result of this strong connection with her listeners, Victoria Rummler's master classes and "creative singing" workshops are also highly in demand.

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Keith Jarrett - Yesterdays

Bitrate: MP3@320K/s
Time: 75:23
Size: 172.6 MB
Styles: Piano jazz
Year: 2009
Art: Front

[ 8:12] 1. Strollin'
[10:12] 2. You Took Advantage Of Me
[ 8:55] 3. Yesterdays
[ 6:10] 4. Shaw 'nuff
[ 7:55] 5. You've Changed
[ 9:01] 6. Scrapple From The Apple
[ 8:18] 7. Sleepin' Bee
[ 8:32] 8. Smoke Gets In Your Eyes
[ 8:04] 9. Stella By Starlight

Keith Jarrett: piano; Gary Peacock: double-bass; Jack DeJohnette: drums.

2001 was clearly a banner year for pianist Keith Jarrett and his quarter century-old Standards Trio. Two shows recorded a week apart, have already been released— The Out-of-Towners (ECM, 2004) and the stellar My Foolish Heart (ECM, 2007), where the trio expanded its encyclopedic approach to the standards repertoire to include some serious stride and ragtime chops. Recorded three months earlier, Yesterdays represents yet another high water mark. No matter how well-heeled some of the material is, there's always a unique charm brought to each release in the trio's growing discography. Jarrett, bassist Gary Peacock, and drummer Jack DeJohnette continue to find new ways to respect the material, all the while keeping it fresh—infused with rarified nuance and an ever-present sound of surprise. The relevance of a good song never fades, as long as there are players who can find new ways to explore its full depth and breadth.

The trio's ability to reinvent its repertoire is clearest on Rodgers & Hart's "You Took Advantage of Me," if only because it also appeared on My Foolish Heart—the first time Jarrett has released the same song back-to- back. Eschewing the stride intro from My Foolish Heart for a more harmonically and rhythmically sophisticated opening, it's equally bright, but there's more implication this time around. Jarrett's solo builds inexorably, all the while retaining the deep melodicism that can be heard in the pianist's "singing," as he channels his ideas into sharp reality.

Elsewhere, Jarrett's delivers a solo on Dizzy Gillespie and Charlie Parker's high octane "Shaw'nuff" that starts at a speed train's pace and builds to a conclusion of double-handed unison virtuosity that's thoroughly breathtaking, yet remains acutely centered on thematic construction. Equally thrilling is the series of trade-offs between Jarrett and DeJohnette near the end of the tune, the pair finely attuned, transcending respective motivation for a fundamental and overarching confluence of control and abandon.

As vivid as the up-tempo tunes are, the ballads possess their own compelling vitality, with Jarrett's delicate touch bringing particular sensitivity to the tender "You've Changed," which also features Peacock's most impressive solo of the disc. With a trio this finely honed, it's almost pointless to single out one player who stands above the rest, but while the attention is often inherently focused on Jarrett, in many ways the star of Yesterdays is Peacock. He stretches out perhaps a bit more than usual, delivering another strong solo on the trio's ambling look at Charlie Parker's enduring "Scrapple from the Apple."

With the players often relaxed and functioning without any preconception or expectation, sound checks before a performance can sometimes yield some real magic. A relaxed but subtly profound and meaningful take of "Stella By Starlight," recorded at the sound check to a show a week earlier, is the perfect closer to Yesterdays. This trio may be 25 years old, but Jarrett, Peacock, and DeJohnette are showing absolutely no signs of losing their edge or relevance. ~John Kelman

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Cozy Cole - Swinging Drums

Bitrate: MP3@320K/s
Time: 56:21
Size: 129.0 MB
Styles: Swing, Bebop
Year: 2016
Art: Front

[2:31] 1. Comes The Don
[2:39] 2. Take It On Back
[3:01] 3. I Don't Stand A Ghost Of A Chance
[2:46] 4. Willow Weep For Me
[2:47] 5. Smiles
[3:11] 6. Now's The Time
[2:53] 7. Why Regret
[2:43] 8. Look Here
[2:36] 9. Through For The Night
[2:41] 10. Lover Come Back To Me
[2:42] 11. Stompin' At The Savoy
[2:42] 12. All Of Me
[3:11] 13. Dat's Love
[3:04] 14. Night Wind
[2:48] 15. Memories Of You
[2:31] 16. Beat
[2:40] 17. Strictly Drums
[3:09] 18. Hallelujah
[2:48] 19. They Didn't Believe Me
[2:51] 20. When Day Is Done

He was born William Randolph Cole in East Orange, New Jersey in 1909. Cozy had studied music from childhood and his career spanned the entire history of jazz with debut records made with Jelly Roll Morton between 1927-1930 continuing to play until the week of his death. Primarily known as a swing drummer, Cozy Cole worked with some of the best big bands including Benny Carter, Stuff Smith, Cab Calloway, Benny Goodman, Louis Armstrong, Jack Teagarden, Earl Hines, Jelly Roll Morton, Teddy Wilson, Bunny Berigan, Bud Freeman, Lionel Hampton, and Coleman Hawkins.

Between 1938 and 1942 Cozy was featured with the dynamic Cab Calloway band, on three drum pieces which may be the earliest drum feature recordings. They were Paradiddle, Ratamacue, and Crescendo In Drums. Cole was featured in two Broadway musicals, Carmen Jones (1954) and Seven Lively Arts (1946). He was also the first black musician to work as a CBS Studio staffman. His drumming bridged the swing to bebop gap when he recorded with Charlie Parker and Dizzy Gillespie between 1945-1946. In fact, in a 1960 issue of Down Beat, Don DeMicheal noted that Cozy’s “major addition to the jazz drummer’s frame of reference was a technical one: hand and foot independence. He was one of the first—if not the first—to develop and master this coordination, which is such a necessity for today’s drummer.” ~Scott Fish

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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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