Gerald Clayton - Tributary Tales

Bitrate: MP3@320K/s
Time: 63:34
Size: 145.5 MB
Styles: Piano jazz
Year: 2017
Art: Front

[5:53] 1. Unforeseen
[6:08] 2. Patience Patients
[1:07] 3. Search For
[4:13] 4. A Light
[0:34] 5. Reach For
[6:39] 6. Envisionings
[1:05] 7. Reflect On
[3:06] 8. Lovers Reverie
[5:48] 9. Wakeful
[7:42] 10. Soul Stomp
[6:55] 11. Are We
[1:26] 12. Engage In
[7:04] 13. Squinted
[5:46] 14. Dimensions Interwoven

Tributary Tales is an apt title for the most accomplished and adventurous album yet from pianist Gerald Clayton, a scion of SoCal jazz royalty. The music is forever moving, riding streams of intriguing, pleasing sounds — ambling grooves, burrowing piano solos and colorful and often unpredictable multi-saxophone lines. All are tributaries of a highly personal music that’s clearly drawn from jazz tradition but headed in new, unexpected directions. It’s brainy, yes, but heavy on emotional content, too.

“Soul Stomp” exemplifies this collection of original compositions, all written and arranged by Clayton. The track opens with a playful piano figure and oozing organ. Then a modified R&B groove kicks in under a swaying melody provided by saxophonists Logan Richardson on alto and Ben Wendel on tenor. Clayton’s searching piano improvisation follows, as do sections featuring alternating sax solos, Joe Sanders’ bowed-bass figures, large-ensemble swells and a return to the theme. Tumbling, hyperactive percussion underscores the elongated, twisting sax lines of “Unforeseen,” the album’s opener, while “A Light” thrives on dizzying bebop sax figures fueled by Justin Brown’s groove-digging urban trap-kit propulsion. The silky, large-ensemble textures of “Lovers Reverie” provide a bed for the expressive spoken-word incantations of Aja Monet and Carl Hancock Rux; the two reprise their roles on the pensive closer, “Dimensions: Interwoven.”

Dayna Stephens’ baritone sax adds a chunky bottom to the slippery themes and solos of “Wakeful,” and Sachal Vasandani’s wordless vocals lend an exotic aura to the multi-hued “Squinted.” For extra measure, Clayton offers several short, improvised pieces. All are integral to an album-length journey that feels like a natural segue from 2013’s Life Forum, if worlds away from 2009’s Two-Shade, Clayton’s debut (a trio recording with Brown and Sanders). Tributary Tales presents a fresh chapter in a brilliant career.

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Flip Phillips - Your Place Or Mine

Bitrate: MP3@320K/s
Time: 44:16
Size: 101.3 MB
Styles: Saxophone jazz
Year: 1963/2017
Art: Front

[4:28] 1. Come Rain Or Come Shine
[3:37] 2. Ja Da
[3:26] 3. Just Say I Lover Her
[3:57] 4. It's The Talk Of The Town
[2:36] 5. Summertime
[3:09] 6. Nuages
[1:42] 7. Scatterbrain
[4:54] 8. Chloe
[4:30] 9. Moonlight In Vermont
[2:48] 10. Jazz Me Blues
[3:20] 11. Stars Fell On Alabama
[2:55] 12. With Someone New
[2:49] 13. Gone With The Wind

In 1954, tenor saxophonist Flip Phillips moved to Florida, where aside from occasional tours, he has been content to play locally in semi-retirement ever since. During the 1955-74 period, Phillips only recorded one record as a leader (for Sue in 1963, later reissued by Onyx), so the discovery of a duet tape (also from 1963) with guitarist Dell Staton helped to partly fill a gap. This mid-1970s LP finds Phillips in excellent form playing a variety of his favorite standards. A virtual unknown due to his decision to stick close to Florida, Staton sounds fine in support. Although the recording quality is not quite state-of-the-art, the superior playing by Flip on such songs as "Ja Da," "Nuages," "Jazz Me Blues" and "Gone With the Wind" (plus his "With Someone New") makes this an LP to look for. ~Scott Yanow

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Paquito D'Rivera - Sons Do Brasil

Bitrate: MP3@320K/s
Time: 53:44
Size: 123.0 MB
Styles: Latin jazz
Year: 2008
Art: Front

[ 8:41] 1. To Brenda With Love
[ 9:06] 2. Blues For Astor
[ 6:14] 3. Sons Do Brasil
[ 9:08] 4. Yelele Candombe
[ 9:59] 5. I Remember Dizzy
[10:34] 6. Who's Smoking

Paquito D'Rivera (alto sax, clarinet), Diego Sassetti (piano), Perico Sambeat (sax, flute), Bob Sands (tenor sax, flute), Mario Rossy (bass), Jordy Rossy (drums), José Salguiro (percussion).

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "Whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable."

D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years.

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Guy Mitchell - The Very Best Of Guy Mitchell

Bitrate: MP3@320K/s
Time: 68:42
Size: 157.3 MB
Styles: Oldies, Pop, Country
Year: 2016
Art: Front

[2:26] 1. Singing The Blues
[2:37] 2. Heartaches By The Number
[2:45] 3. My Heart Cries For You
[2:48] 4. My Truly, Truly Fair
[2:55] 5. Pittsburgh, Pennsylvania
[2:48] 6. You're Just In Love
[3:06] 7. She Wears Red Feathers
[2:48] 8. Look At That Girl
[2:27] 9. Cloud Lucky Seven
[2:09] 10. Knee Deep In The Blues
[2:12] 11. Rock-A-Billy
[2:46] 12. The Roving Kind
[3:04] 13. The House Of Singing Bamboo
[3:14] 14. Sparrow In The Treetop
[2:45] 15. Unless
[2:24] 16. Belle, Belle, My Liberty Belle
[3:30] 17. A Beggar In Love
[2:42] 18. There's Always Room At Our House
[2:41] 19. Chicka Boom
[2:55] 20. Sweetheart Of Yesterday
[2:56] 21. The Place Where I Worship
[2:27] 22. Sippin' Soda
[2:39] 23. The Cuff Of My Shirt
[2:33] 24. Pretty Little Black Eyed Susie
[2:52] 25. Cause I Love You, That's A Why

Albert Cernick, 22 February 1927, Detroit, Michigan, USA, d. 1 July 1999, Las Vegas, Nevada, USA. Mitchell was an enormously popular singer in the USA and especially the UK, particularly during the 50s, with a straightforward style, rich voice and affable personality. Although his birthplace is often given as Yugoslavia, his parents’ homeland, Mitchell confirmed in a 1988 UK interview that he was born in Detroit, and was brought up there until the family moved to Colorado, and then to Los Angeles, California, when he was 11 years old. In Los Angeles, he successfully auditioned for Warner Brothers Records and, for the next few years, was groomed for a possible movie career as a child star, in addition to singing on the Hollywood radio station KFWB. The possibility of the world having another Mickey Rooney was averted when the family moved again, this time to San Francisco. Mitchell became an apprentice saddle-maker, and worked on ranches and in rodeos in the San Joaquin Valley, and also sang on cowboy singer Dude Martin’s radio show. His affection for country music stayed with him for the remainder of his career. After a spell in the US Navy, Mitchell joined pianist Carmen Cavallaro, and made his first records with the band, including ‘I Go In When The Moon Comes Out’ and ‘Ah, But It Happens’. He then spent some time in New York, making demonstration records, and also won first place on the Arthur Godfrey Talent Show. In 1949, he recorded a few tracks for King Records, which were subsequently reissued on Sincerely Yours when Mitchell became successful.

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Donny McCaslin - Seen From Above

Bitrate: MP3@320K/s
Time: 58:30
Size: 133.9 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[6:34] 1. Manresa
[6:52] 2. Seen From Above
[5:09] 3. Second Line Sally
[5:38] 4. These Were Palaces
[6:48] 5. Mick Gee
[5:54] 6. Strange Pilgrim
[7:43] 7. Going To The Territory
[6:44] 8. Frontiers
[7:03] 9. September Song

When tenor saxophonist Donny McCaslin hits his stride, he can hold his own with the best of them. On his first recording for the “Arabesque Recordings” label, titled Seen From Above, and second as a leader, the saxophonist incorporates some of the hard nosed voicings and complex time signatures also exhibited in the fine band, “Lan Xang”. - An outfit, that features the blazing dual sax attack of McCaslin and saxophonist David Binney.

Along with drummer Jim Black, bassist Scott Colley and guitarist Ben Monder, McCaslin struts his broad, weighty tone amid scathing lines and cunning improvisation atop solid funk-rock beats on the album’s opener, “Manresa” and throughout most of these upbeat tracks. Here, the band deviates from a traditional ho-hum style of interplay, marked by shifty time signatures, ominous yet altogether innocent themes and searing ensemble work, enhanced by the potent and ever so creative rhythmic developments of Black and Colley.

Monder and McCaslin implement rapid fire, odd-metered unison choruses on the turbo charged composition, “Mick Gee” as the band creates loads of impact via tense themes and beefy lines. With “Going To The Territory”, the saxophonist is ablaze as he reworks the melody while displaying a husky tone to coincide with his shrewd utilization of various registers and altogether expressionistic approach, while Monder counters with electrified aplomb. Overall, McCaslin delivers the knockout blow in prominent fashion! Recommended. ~Glenn Astarita

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McCoy Tyner - Sahara

Styles: Piano Jazz
Year: 1972
File: MP3@320K/s
Time: 47:57
Size: 110,8 MB
Art: Front

( 9:00)  1. Ebony Queen
( 4:48)  2. A Prayer for My Family
( 5:19)  3. Valley of Life
( 5:21)  4. Rebirth
(23:27)  5. Sahara

After the death of John Coltrane, his longtime pianist McCoy Tyner was in something of a musical quandary. Keeping up with his mentor through the incredible explorations of the early '60s, he seemed to have some difficulty navigating the even further out territories explored in the two or three years before Coltrane's death in 1967. His subsequent albums as a leader were solid, enjoyable efforts but seemed oddly retrograde, as though he needed time to settle back and re-digest the information handed down to him. With Sahara, Tyner found the precise perfect "middle ground" on which to stand, more structured than late Coltrane, but exploding with a ferocity and freedom of sound that made it simply one of the greatest jazz recordings of the decade. None of the other members of his quartet ever sounded so inspired, so liberated as they do here. Sonny Fortune threatens to tear the roof off the joint on more than one occasion, Calvin Hill is more than rock-solid on bass, his roots arcing deeply into the earth, and as for Alphonse Mouzon, well, no one familiar with his later vapid meanderings in fusion would begin to recognize him here, so incendiary is his playing. And Tyner develops so much pure energy, channeled with such pinpoint precision, that one worries about the physical stability of any piano under such an assault. From the extraordinarily intense "Ebony Queen" through the ruminative solo "A Prayer for My Family, the equally intense "Rebirth," and the concluding, side-long title track, there's not a misstep to be heard. "Sahara," over the course of its 23 minutes, covers vast ground, echoing the majesty and misery of the geographical area with percussion and flute interludes to some of Tyner's very best playing on record. Even something that could have resulted in a mere exercise in exotica, his koto performance on "Valley of Life," exudes both charm and commitment to the form. Tyner would go on to create several fine albums in the mid-'70s, but never again would he scale quite these heights. Sahara is an astonishingly good record and belongs in every jazz fan's collection. ~ Brian Olewnick https://www.allmusic.com/album/sahara-mw0000566101

Personnel: McCoy Tyner (piano, koto, flute, percussion); Sonny Fortune (soprano & alto saxophones, flute); Alphonse Mouzon (trumpet, reeds, drums, percussion); Calvin Hill (reeds, bass, percussion).

Sahara

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Fats Navarro - Our Delight

Styles: Trumpet Jazz
Year: 1948
File: MP3@320K/s
Time: 48:31
Size: 111,2 MB
Art: Front

(5:49)  1. Good Bait
(3:08)  2. Lady Be Good
(3:41)  3. Anthropology
(4:03)  4. The Squirrel
(4:32)  5. Tadd Walk
(5:16)  6. Dameronia
(4:04)  7. Our Delight
(5:59)  8. Bebop
(4:57)  9. Good Bait (No.2)
(4:08) 10. Symphonette
(2:49) 11. The Squirrel (No.2)

"Our Delight" is a 1947 jazz standard, composed by Tadd Dameron. It is considered one of his best compositions along with "Good Bait", "Hot House", "If You Could See Me Now", and "Lady Bird". A moderately fast bebop song, it featured the trumpeter Fats Navarro, who is said to "exhibit mastery of the difficult chord progression". One author said, "'Our Delight' is a genuine song, a bubbly, jaggedly ascending theme that sticks in one's mind, enriched by harmonic interplay between a flaming trumpet section led by Dizzy, creamy moaning reeds and crooning trombones. The written accompaniments to the solos-in particular the leader's two statements-are full of inventiveness, creating call-and-response patterns and counter-melodies. What is boppish here is the off-center, syncopated melody, as well as the shifting, internal voicings of the chords, especially at the very end. These voicings, along with a love of tuneful melodies that one walks out of a jazz club humming, were Tadd's main legacy to such composers and arrangers as Benny Golson, Gigi Gryce, and Jimmy Heath."Rolling Stone describes it as a "bop gem".  Bill Evans recorded his version of it for his debut album New Jazz Conceptions in 1956. https://en.wikipedia.org/wiki/Our_Delight

Personnel:  Trumpet – Fats Navarro;  Alto Saxophone – Rudy Williams;  Bass – Curly Russell;  Drums – Kenny Clarke;  Piano – Tadd Dameron;  Tenor Saxophone – Allen Eager;  Vibraphone – Milt Jackson

Our Delight

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Romero Lubambo - Rio De Janeiro Underground

Styles: Guitar Jazz, World
Year: 2003
File: MP3@320K/s
Time: 68:33
Size: 157,6 MB
Art: Front

(5:52)  1. She Walks This Earth
(6:43)  2. Easy Going
(5:53)  3. Rio De Janeiro Underground
(5:52)  4. For Donato
(5:35)  5. Aparecida
(4:38)  6. Cornfield
(6:47)  7. Dipper Mouth
(6:35)  8. Estrela Guia
(4:37)  9. Sweeping The Chimney
(5:00) 10. Leblon
(5:43) 11. Avenida Central
(5:13) 12. Nira

RIO DE JANEIRO UNDERGROUND is a combination of several influences that I was exposed to, having been brought up in that incredible city. From bossa nova, to funk, to second line, to Brazilian country music, to jazz, and to street samba. All these types of music touched me greatly; not necessarily played on the radio, but in backyards, jam sessions and on the streets of Rio. For this project, I chose musicians that are masters of many different types of music to bring back to me the feelings I had making music in Rio. It was a joy for me to work with them. To have Herbie Mann and Ivan Lins as special guests is a dream come true. 

~ Editorial Reviews https://www.amazon.com/Rio-Janeiro-Underground-Romero-Lubambo/dp/B0000AOV3L

Personnel : Romero Lubambo (acoustic guitar, guitar); Ivan Lins (vocals); Herbie Mann (alto flute, flute); Cesar Camargo Mariano, Dario Eskenazi (piano, Fender Rhodes electric piano); Sergio Brandao, Paul Socolow (bass); Ricky Sebastian, Mark Walker (drums); Cyro Baptista (percussion).

Rio De Janeiro Underground

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Syd Lawrence Orchestra - Plays The Music Of Glenn Miller

Styles: Jazz, Big Band 
Year: 1990
File: MP3@320K/s
Time: 77:12
Size: 177,1 MB
Art: Front

(4:01)  1. Moonlight Serenade
(3:05)  2. Little Brown Jug
(3:21)  3. String Of Pearls
(4:27)  4. At Last
(4:16)  5. I've Got A Gal In Kalamazoo
(3:41)  6. American Patrol
(3:35)  7. Perfidia
(2:36)  8. Slumber Song
(2:12)  9. Anchors Away
(2:55) 10. Elmer's Tune
(4:02) 11. St.Louis Blues
(3:35) 12. In The Mood
(3:33) 13. Story Of A Stary Night
(3:51) 14. I Dreamt I Dwelt In Harlem
(3:29) 15. Falling Leaves
(2:52) 16. Pennsylvania 6-5000
(2:43) 17. Caribbean Clipper
(4:25) 18. Tuxedo Junction
(3:43) 19. Stardust
(3:45) 20. Chattanooga Choo Choo
(3:42) 21. Frenesi
(3:14) 22. Adios

Vocalion proudly presents the first ever CD reissue of The Syd Lawrence Orchestra's fabulous 1970s album '... Plays the Music of Glenn Miller in super stereo'. Led by trumpeter Syd Lawrence, his orchestra enjoyed huge commercial success in the late 1960s and throughout the '70s, and, next to the Ted Heath Orchestra, was one of the greatest big bands ever to have come from Britain. Listening to this superb album will qualify that point. Syd and his men, aided and abetted on a few numbers by vocalists Kevin Kent and the Skylarks, swing their through a selection of legendary bandleader Glenn Miller's greatest hits, Titles include perennial favourites such as Moonlight Serenade, Little Brown Jug, Pennsylvania 6-5000, Tuxedo Junction, American Patrol, String of Pearls, In the Mood, I've Got a Gal in Kalamazoo and many more. All of which makes this a must-have release for big band aficionados and popular music-lovers alike. Remastered from the original analogue stereo tapes. https://www.amazon.co.uk/Lawrence-Orchestra-Plays-Miller-stereo/dp/B0035FQ4CU

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Don Shirley Trio - S/T

Bitrate: MP3@320K/s
Time: 52:59
Size: 121.3 MB
Styles: Piano jazz
Year: 2011
Art: Front

[4:51] 1. Water Boy
[2:50] 2. Where's My Bess
[3:25] 3. In A Moorish Market Place
[9:57] 4. The Man I Love
[5:08] 5. This Nearly Was Mine
[4:19] 6. Blue Skies
[3:29] 7. Adieu Madraz
[7:46] 8. Tribute To Billie Holiday
[3:56] 9. By Myself/I Know Where I'm Going
[3:05] 10. Freedom/I'm On My Way
[4:08] 11. When Your Lover Has Gone

Donald Walbridge Shirley (January 29, 1927 – April 6, 2013) was an American jazz pianist and composer. Shirley's piano skills were recognized at an early age and he began his career as a composer and virtuoso performer at a young age. Shirley's music is hard to categorize. As an arranger-composer he treated each piece of music as a new composition, not just an arrangement. Shirley played standards in a non-standard way. He was a virtuoso performer, playing everything from show tunes, to ballads, to his personal arrangements of Negro spirituals, to jazz, and always with the overtone of a classically trained musician who has utmost respect for the music he is playing.

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Jerin-Lei - In The Dark

Bitrate: MP3@320K/s
Time: 64:30
Size: 147.7 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[4:56] 1. In The Dark
[4:04] 2. Money (Version 2)
[4:14] 3. Obvious
[4:21] 4. Pieces Of The People We Love
[4:52] 5. Mad About The Boy
[4:12] 6. Whisper To Me
[4:54] 7. Lose My Way
[4:08] 8. Once Bitten
[4:42] 9. The In Crowd
[4:37] 10. Tricks, Lies & Alibis
[3:51] 11. Don't Call Me Baby
[4:18] 12. Sticks & Stones
[5:36] 13. Money
[5:39] 14. It's Not Over

Jerin-lei is a beautiful young singer on her way to the top. Her debut album 'In the Dark' (produced by London based RPW) . She is gaining interest in the US - Gogirl.net and Listeningloft.com voted her number one album of the week. 'Smoothjazz' picked her album as Hot Pick of the week. London's Peter Clayton says ' ...the next aussie star, Olivia Newton John with fire. ' USA's SmoothJazz’, Stewart Coxhead verdict When God was giving out special talents in Australia he must have stopped at least twice in front of Jerin-Lei! Not only is she exquisitely beautiful but she also has the voice of an angel… mature, smoky vocals with just a nod towards Eartha Kitt. IN THE DARK is a thrilling mixture of original tunes and covers... brilliant debut for this Australian newcomer who I’m sure is going to be around for many years to come.

Jerin-lei was born in Wollongong. A beautiful beach city on the east coast of Australia. At 6 her family relocated to the remote mining town of Nhulunbuy. A tropical paradise with crocs and stingers that add excitement to the daily adventures. Jerin was discovered in London on a break from her University degree in Performing Arts. 2 years of hard work has produced this truly remarkable album, thanks to her Producer Peter Clayton and his crew of hugely renowned music men of the industry. A scary situation, a little mining town girl from Australia, working with London’s legend Derek Nash and Pete Adams but as Jerin-lei says meeting and chatting with Mandawuy Yunupingu from Yothu Yindi prepared her for big stars being nice blokes.

Jerin-lei left Nhulunbuy in 1997, after spending 6 years of her life in Nhulunbuy. She developed her great love of performing in Gove, participating in all the town’s many extra-curricular activities of jazz ballet, tap and drama. Australia's legendary Hey Hey its Saturday's Red Faces visited Nhulunbuy where Jerin was third place winner at the age of 8 with her sparkling rendition of the Doris Day classic, Perhaps Perhaps, Perhaps.

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Ronan Keating Sr - Cheap Trick & West End Girls

Bitrate: MP3@320K/s
Time: 33:04
Size: 75.7 MB
Styles: Pop rock
Year: 2017
Art: Front

[3:01] 1. Take On Me
[2:57] 2. West End Girls
[3:03] 3. Just The Way You Are
[2:24] 4. Blue Monday
[3:12] 5. Tears For Fears
[2:26] 6. Copacobana
[3:09] 7. Stravinsky In The Year 2525
[2:54] 8. Down Under
[1:23] 9. The Little Drummer Girl
[3:10] 10. I Wanna Know What Love Is
[2:33] 11. Green Day
[2:47] 12. Cheap Trick

The boyz, the brainchild of music manager Louis Walsh, found their zone early, working mostly with re-treads of Seventies pop tunes. Their first release, a cover of the Detroit Spinners' Working My Way Back To You, peaked at number three on the Irish charts. The follow-up, a re-make of the Osmonds' Love Me For A Reason, topped out at number two. Fast-forward five years and the outfit's track record remains golden. Led by Ronan born on March 3, 1977, their first 14 singles broke the top three in the United Kingdom, propelling album sales in excess of 12 million and paving the way for such crossover success stories as B*Witched and The Corrs, as well as the wildly successful Westlife, a second-generation Boyzone, conceived and managed by Ronan (although he later said it was a marketing ploy) and Louis Walsh.

At the tender age of 21, Ronan married Irish model Yvonne Connelly at a secluded ceremony on the Caribbean island of Nevis in April of 1998. He is, however, an old soul. "I joined Boyzone when I was 16, and I've travelled around the world three or four times, meeting loads of different people. I feel like I've done what a lot of other people don't do until they're 30 or 40 years old. The next step for me was to marry the woman I love and who I wanted to spend the rest of my life with." A son, Jack, was born on March 15, 1999, and a daughter, named Marie in memory of the singer's late mother, who died of breast cancer, followed two years later. Their second daughter, Ali, was born in September 2005. Ronan, the youngest of four, has said that he hopes to amass an entire brood while they're both still young.

While his first child was still in nappies, Ronan was preparing to pull a Geri Halliwell and leave the boys behind. He tested the solo waters with When You Say Nothing At All, the soundtrack of Notting Hill, and when the song hit number one in the UK, Ronan set about recording his self-titled debut album. The first single, Life Is A Rollercoaster, broke sales records and propelled the album to a number one debut in July 2000. His second offering, Destination, went double platinum and hit the number one spot too, his third, Turn It On, featured a duet with US country music star LeAnn Rimes, and was followed by a greatest hits compilation in 2004.

His fourth studio album Bring You Home was released in 2006 – the year that Take That staged a spectacular comeback to the charts. Their success again paved the way for Ronan and the boys, who themselves decided to reunite in 2007. In November they played a medley of their hits on annual show Children In Need, and not long after announced a 29-date UK tour kicking off in May 2008. "We've been talking about getting back together for some time now. I can't wait to be back on the road and all the guys feel the same," said the star.

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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

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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

Swingsation mc
Swingsation zippy

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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.

We Three Strings mc
We Three Strings zippy

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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

Live Work & Play mc
Live Work & Play zippy

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