Vikki Carr - The Best Of The Liberty Years

Styles: Vocal
Year: 1989
File: MP3@320K/s
Time: 49:42
Size: 117,4 MB
Art: Front

(2:51)  1. It Must Be Him
(3:31)  2. Goin' Out Of My Head
(2:57)  3. Surrey With The Fringe On Top
(3:24)  4. Meditation (Bosanova)
(2:39)  5. You Don't Have To Say You Love Me
(3:12)  6. Can't Take My Eyes Off You
(4:40)  7. With Pen In Hand
(3:15)  8. Cuando Calienta El Sol
(2:32)  9. I Will Wait For You
(2:52) 10. Until It's Time For You To Go
(3:21) 11. The Glory Of Love
(3:29) 12. Carnival (A Day In The Life Of A Fool)
(2:34) 13. The Lesson
(2:32) 14. When In Rome
(2:56) 15. There I Go
(2:49) 16. For Once In My Life

After singing in various school functions, local groups, and Pepe Callahan's Mexican-Irish band, Carr began her professional musical career in earnest in the early '60s. Her solo debut was in Reno, supported by the Chuck Leonard Quartet, which led to a record contract with Liberty. While not gathering much attention in the U.S., her first single ("He's a Rebel") was a hit in Australia and led to numerous television appearances, and a spell as a regular on The Ray Anthony Show. In the late '60s, Carr scored three Top 40 hits, including the number three "It Must Be Him." Her American sales dwindled in the beginning of the '70s. With the release of her 1980 album, Vikki Carr y el Amor, Carr gained enormous success in the Latin music world. In 1991, Carr won a Best Latin Pop Album Grammy for her Cosas del Amor. Reta Manda y Provoca followed in 1998, and the next year saw the release of Memories Memorias. ~ Stephen Thomas Erlewine  https://www.allmusic.com/artist/vikki-carr-mn0000806991/biography   

The Best Of The Liberty Years

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Donny McCaslin Trio - Recommended Tools

Styles: Saxophone Jazz 
Year: 2009
File: MP3@320K/s
Time: 65:20
Size: 150,7 MB
Art: Front

(7:53)  1. Recommended Tools
(9:14)  2. Eventual
(6:37)  3. Late Night Gospel
(4:09)  4. Excursion
(5:18)  5. Isfahan
(5:39)  6. The Champion
(6:27)  7. Margins Of Solitude
(6:48)  8. 3 Signs
(6:27)  9. 2nd Hour Revisited
(6:44) 10. Fast Brazil

The venerable trio tradition has long been viewed as a proving ground for the talents of upcoming tenor saxophonists. Thrust into the spotlight with minimal accompaniment, the stripped-down setting provides microscopic attention to an improviser's melodic ingenuity, harmonic subtlety and sense of rhythm; free of harmonic restraints, there is no room for error. His seventh release as a leader, Recommended Tools is tenor saxophonist Donny McCaslin's first trio session, and his first recording for part-time employer, trumpeter Dave Douglas' Greenleaf Music. According to Douglas, "I asked Donny McCaslin to write and record the Great American Tenor Trio record, half jokingly. Well, he delivered, with a stunning set of music." On par with some of the best albums made in this format, this date offers ample proof of McCaslin's improvisational mettle. His skills honed in collaboration with some of the most creative minds in the mainstream arena, McCaslin has proven himself to be a fearless inside/outside player, able to drift between stylistic realms with ease. Indicative of his talents, Gary Burton, Ken Schaphorst, Maria Schneider and Douglas have all employed McCaslin in their ensembles. Bassist Hans Glawischnig and drummer Johnathan Blake form McCaslin's elastic rhythm section. A kindred spirit, Glawischnig's previous album, Panorama (Sunnyside, 2008) revealed a blend of intricate post bop and Latin traditions reminiscent of McCaslin's In Pursuit (Sunnyside, 2007). The bassist's stalwart phrasing and robust tone provide the trio with an unwavering bottom end. A relatively new face on the scene, Blake's playing is sure to turn heads especially his melodic solos on "Eventual" and "Fast Brazil." The spirited blues of the title track and the intensifying drama of "Eventual" set the stage for stunning feats of virtuosity from the leader as McCaslin uncoils spiraling sheets of sound. Glawischnig and Blake balance careful listening with nimble interplay, parrying the leader's circuitous salvos and setting up dynamic countermeasures that keep the structures in continuous flux. A peerless virtuoso, McCaslin's fluid cadences avoid stock phrases to extrapolate emotionally charged variations from his distinctive melodies and unorthodox chord changes. His unaccompanied solo cadenza on "The Champion" is a testament to his creative prowess that displays a remarkable technique driven by a singular harmonic and thematic sensibility. A thrilling session, the set brims with labyrinthine improvisations and turbulent interaction, such as the angular high-wire theatrics of "Excursion" and the rousing momentum of "2nd Hour Revisited," yet McCaslin and company also understand the value of restraint. "Late Night Gospel" revels in soulful Americana and "Margins of Solitude" offers edgy introspection, while a gorgeous rendition of Billy Strayhorn's sublime "Isfahan" unfolds with exotic lyricism. A brilliant take on the hallowed tenor trio tradition, Recommended Tools is not only a high water mark for McCaslin, but one of the most beguiling records of the year. ~ Troy Collins https://www.allaboutjazz.com/recommended-tools-donny-mccaslin-greenleaf-music-review-by-troy-collins.php

Personnel: Donny McCaslin: tenor saxophone; Hans Glawischnig: double bass; Johnathan Blake: drums.

Recommended Tools

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Steve Slagle - Rio Highlife

Styles: Saxophone Jazz 
Year: 1985
File: MP3@320K/s
Time: 40:24
Size: 92,8 MB
Art: Front

(6:57)  1. Highlife
(4:41)  2. Saidas E Bandeiras(Exits and flags)
(6:20)  3. Santa Monica
(7:40)  4. General
(7:59)  5. Cor de Rosa(Rose coloerd)
(6:44)  6. Beira Do Mar(Next to The Sea)

Born 18 September 1951, Los Angeles, California, USA. Starting out playing saxophones while still very young, Slagle moved to the opposite side of the country where he studied at the Berklee College Of Music. Subsequently, and through the 70s, he worked with artists as diverse as Stevie Wonder, John Scofield and Machito. In the early years of the next decade he was with Woody Herman’s band, playing tenor saxophone, and also worked with Lionel Hampton, playing alto, and Charlie Haden, Carla Bley, Steve Kuhn, and Mingus Dynasty. At the end of the 80s he was musical director for the Ray Barretto Band. His first album as a leader was released in 1983, and during the 80s he often worked with a quartet featuring Jaco Pastorius (bass), Mike Stern (guitar) and Adam Nussbaum (drums). In the following decade Slagle recorded several sessions for SteepleChase Records, with musicians including Tim Hagans and Ryan Kisor (trumpets), Kenny Drew Jnr. (piano), Cameron Brown (bass), and Gene Jackson (drums). Slagle also co-leads a group with Dave Stryker (guitar), and works as lead altoist and chief arranger with the Mingus Big Band. A brilliant stylist, who also plays soprano saxophone and clarinet, Slagle’s work indicates his abiding interest on the transitional music that followed hard bop into free jazz, although he is at his considerable best when he underpins these latter-day forms with the essence of the blues. His striking technical mastery of his instruments is always evident but it is never used for its own sake. Although adept on all the instruments in his arsenal, Slagle is perhaps must interesting on alto, where his sinuous solo lines create a musical atmosphere that is both demanding and compelling in its intensity. https://www.allmusic.com/artist/steve-slagle-mn0000033922/biography               

Personnel:  Steve Slagle  alto saxophone, soprano saxophone;  Nico Assumpção bass;  Luiz Avellar keyboards;  Carlos “Bala” Gomes drums;  Ricardo Silveira guitar

Rio Highlife

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Russell Gunn - Ethnomusicology Vol 1

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 55:35
Size: 128,9 MB
Art: Front

(4:25)  1. 74 Miles Away - Intro
(7:55)  2. Shiva
(7:52)  3. Sybil's Blues
(0:24)  4. Dj Apollo Interlude
(6:41)  5. Woody 1 : On The New Ark
(7:06)  6. The Blackwidow Blues
(6:02)  7. Doll
(6:44)  8. Folkz
(1:04)  9. Andre Heyward Interlude
(7:17) 10. Mr Hurt

Few attempts at a jazz and hip hop union have ever been successful or satisfying. Maybe it's one school's inability to understand the other or the problematic potential of getting two such different audiences in the same room. But, somehow, the maverick 28-year-old trumpeter Russell Gunn has made it work with Ethnomusicology, one of the finest and most original jazz documents to come along in some time. On this, his first Atlantic set, Gunn departs distinctively from his previous Muse and High Note releases, coupling his protean roar with hard-funk rhythms, electric instrumentation and even DJ Apollo's turntables. Most startling of all, though, is how traditional and timeless it all sounds: like jazz modes and bop phrasing filtered through r & b rhythms and hip hop stylization (mercifully not the reverse, which ruins any good attempt). But consider that Gunn's résumé includes contributions to both Wynton Marsalis's opera Blood on The Fields and the funk of brother Branford's diametrically opposed Buckshot LeFonque. And while he's held court (and his own) with legends like James Moody and Jimmy Heath, Gunn grew up idolizing L.L. Cool J and has gone on to record hits with Maxwell and Lou Reed. So nothing about Ethnomusicology should surprise. Still, it does. It's thoroughly invigorating and inviting. Consistently, throughout, Gunn explores the jazz tradition with insight and reverence and through his masterful delivery comes up with something that has plenty of street credibility too.

Appropriately, Gunn introduces his concept with Joe Zawinul's "74 Miles Away" (originally performed by Cannonball Adderley, who, with Woody Shaw, seems to steer Gunn's jazz approach here). Replete with a P-Funk-style helium sermonette ("all that's required is an open mind and two ears"), "74 Miles Away" is especially notable for a delicious taste of the trumpeter's ever elegant phrasing. It is Gunn's gift for melody which is often most memorable as the beats rescind or disappear altogether, as on the lovely and hit-worthy ballad "Doll," a feature for Gunn's flugelhorn and Special EFX-man Chieli Minucci's guitar.

But it is the muscular rhythms and aggressive funk that most dominate Ethnomusicology. Sample the relentless ostinatos of the modal "Folkz" or the Indian drone of "Shiva," both fine features for the commanding horns of Gregory Tardy, Bruce Williams and Andre Heyward. Gunn's conceptions reach sonic perfection in no small measure to the awesome powers of his like-minded rhythm section: James Hurt on piano, Rodney Jordan on bass and, most especially, the diversely imaginative drummer Woody Williams. They are especially noteworthy on the disc's best tracks: the razor-sharp Cannonball funk of "Sybil's Blues" (featuring a brief chat on the blues from, of all people, Wynton Marsalis!), the surprisingly straight-forward yet danceable (!) cover of Woody Shaw's "Woody 1: On The New Ark" (from Shaw's neglected 1979 masterwork, Woody III ) and Branford Marsalis's "The Blackwidow Blues," beautiful bop that would make Art Blakey proud (even as it samples Jeru the Damaja's "Da Bichez"!). Having just noticed all the exclamations used above, it's worth noting that Ethnomusicology is brimming with such arresting punctuation. Gunn may have been intending dancefloor fluff or, more likely, an electric redux on straight-ahead jazz. But he's crafted something more substantial that might actually serve to bridge the gap between the old and the new as we transition into jazz's second century. Ethnomusicology is quite an achievement. ~ Douglas Payne https://www.allaboutjazz.com/ethnomusicology-volume-1-russell-gunn-atlantic-jazz-review-by-douglas-payne.php

Players: Russell Gunn: trumpet, flugelhorn, organ bass, Vox, Human Beatbox, tambourine; Gregory Tardy: tenor sax, flute, bass clarinet; Bruce Williams: alto sax, e flat clarinet, cowbell; Andre Heyward: trombone; Chieli Minucci: guitar; James Hurt: piano, Fender Rhodes, organ; Rodney Jordan: bass; Woody Williams: drums; Khalil Kwame Bell: percussion; DJ Apollo: turntables.

Ethnomusicology  Vol 1

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Pedro Moutinho - O Fado Em Nos

Size: 90,2 MB
Time: 38:32
File: MP3 @ 320K/s
Released: 2016
Styles: Traditional Fado, World
Art: Front

01. Meu Amor Sem Direcçao (4:05)
02. Fado Da Contradiçao (2:14)
03. So Um Beijo (2:59)
04. Um Carnaval (2:35)
05. Leva-me Contigo (3:16)
06. Se Eu Te Pudesse Dizer (2:26)
07. Veio A Saudade (3:36)
08. Ao Deus Dara (4:21)
09. Sem Querer (2:22)
10. O Fado Em Nos (2:27)
11. Mas Falta Escrever Na Lua (2:25)
12. Apenas Uma Historia (2:16)
13. Se Me Dao A Solidao (3:23)

It is said that “birds of a feather flock together”, and it is understandable this popular phrase would be applied to Pedro Moutinho. After all, this remarkable singer comes from what is probably the first family of contemporary Portuguese Fado. His brothers are Camané, the singer whose impeccable career has become the standard by which all others are judged; and Hélder Moutinho, singer, lyricist, producer, one of the most versatile and admired of all current Fado singers.

By now, however, Pedro Moutinho has enough of a career of his own that it is unfair to compare him to his brothers. Three studio albums into his career and with one Amália Award under his belt, Pedro has already proved he is blazing his own path, his own way.

Of course, there are points in common. The passion for Fado, the national melancholy song that Pedro has been singing since he was 11; the perfectionism, the rigorous presence, giving constantly all of himself in each show or recording. But Pedro has his own sensibility, and his voice and intensity have carved a specific, and well-deserved, niche for him in the current panorama of Fado.

His first album, “Primeiro Fado”, was released ten years ago, in 2003, and each new release has brought him higher and farther than the previous. The second album, 2006's “Encontro”, marked his encounter with the perfect producer to help him shape his path: Carlos Manuel Proença, one of the most acclaimed accompanists of modern Fado. The third album, in 2009, was “Um Copo de Sol”, his most successful to date, both with the public and the critics. In 2011 he released “Lisboa Mora Aqui”, a compilation of material from the three albums with a few new songs tantalizingly sugesting what would come next.

What has come next is his fourth studio album, released this July in Portugal, and his Parlophone Music debut. “O Amor Não Pode Esperar” was again produced by Carlos Manuel Proença and shows a singer gaining in confidence and determination.

As in previous albums, the new record shows his respect for the heritage of Fado: he has asked contemporary lyricists such as Aldina Duarte, Manuela de Freitas or Tiago Torres da Silva to write new words for the traditional Fado melodies that are the history and memory of the genre. But Pedro is also introducing his own tangents to the genre, by recording either new material or cover versions usually not connected to Fado.

Acclaimed folk singer-songwriter Amélia Muge has contributed two new songs, one of them the single “Rua da Esperança”. And the choice of covers goes from the singer-songwriter stylings of Portuguese veteran Fausto Bordalo Dias' “Eu Tenho um Fraquinho por Ti” to Brazilian Marcos Valle's “Preciso Aprender a Ser Só”, a 1960s bossa nova classic recorded previously by Elis Regina among many others.

And yet, the end result is unmistakably Fado, unmistakably Portuguese, unmistakably Pedro Moutinho. Thanks to that remarkable voice that is no longer confused with any of his brothers. Pedro is no longer just another Moutinho sibling, but Pedro Moutinho, one of the great contemporary Fado singers. “O Amor Não Pode Esperar” is his best record... yet. The sky is the limit.

O Fado Em Nos

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Claudia Carvalho - Velho Continente (Feat. Piero Delle Monache Quartet)

Size: 102,3 MB
Time: 43:33
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Confesso (3:06)
02. Filhos Da Terra (3:46)
03. Acredito (4:13)
04. Velho Continente (4:42)
05. Por Um Beijo (4:13)
06. Como Um Rio (3:08)
07. Luiz (4:26)
08. Dancin' Lovely (4:05)
09. Caminhos (5:54)
10. Ser Livre (3:11)
11. Te Amo (2:46)

Nasceu na cidade de Guarulhos, São Paulo, em uma família de migrantes nordestinos; o pai era cantor de Samba de Raiz e a Mãe criou todos os filhos, embalados ao som de muitas músicas do folclore do norte e nordeste do país.

Desde muito jovem conviveu com diferentes estilos musicais como baião, reisado, frevo, ciranda, bumba meu boi, xote, xaxado etc. Aprendeu a tocar violão com professores particulares; começou a compor aos 14 anos, participando de vários festivais , a dissonância dos acordes e de sua voz é característica marcante de seu estilo musical.

Viveu no Paraguai quatorze anos, atuando por vários anos no circuito musical de Assunção, cantando músicas próprias e cover de Bossa Nova, Samba, e Música Latino-americana, com exibições em diferentes teatros e locais do Paraguai e Argentina. Paralelo a carreira musical, trabalhou na área social, atuando em várias ONGs para projetos de organizações como OIT, UNICEF, União Europeia.

No ano de 2006 voltou ao Brasil e retomou a composição de musicas, participando de vários projetos musicais com antigos parceiros artisticos,atuando concomitantemente como professora de espanhol.

No ano de 2014 foi fundamental o encontro com um jazzista italiano, Piero Delle Monache, um dos melhores saxofonistas do jazz italiano e seu quarteto formado por musicos com uma grande paixão pela música brasileira.

Em 2015 na Itália, junto com o quarteto de Piero Delle Monache finalizou a gravação do disco “Velho Continente”e realizou varios concertos e participações na Itália, individualmente e junto com o “Piero Delle Monache Jazz Quartet”. Na Jamaica no ano de 2015 e no início de 2016 realizou concertos em Kingston no Redbones Blues Club.

Velho Continente

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Jack Jezzro - Best Of Jack Jezzro: Jazz Guitar Performances

Size: 128,5 MB
Time: 55:15
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Guitar Jazz
Art: Front

01. I Got It Bad And That Ain't Good (4:04)
02. Overjoyed (Feat. The Mason Embry Trio) (4:13)
03. I Got Rhythm (Feat. The Beegie Adair Trio) (3:41)
04. I've Got You Under My Skin (Feat. Lori Mechem & The Jeff Steinberg Orchestra) (4:28)
05. Sweet Lorraine (4:07)
06. That Old Black Magic (Feat. The Jeff Steinberg Jazz Ensemble) (3:49)
07. All My Loving (Feat. The Mason Embry Trio) (3:33)
08. They All Laughed (Feat. Denis Solee, The Beegie Adair Trio & The Chris McDonald Orchestra) (3:19)
09. Black Orpheus (Feat. The Mason Embry Trio) (4:37)
10. Autumn Leaves (3:25)
11. It Ain't Necessarily So (Feat. Pat Coil & The Chris McDonald Orchestra) (4:35)
12. Tangerine (Feat. The Mason Embry Trio) (3:02)
13. The Lady Is A Tramp (Feat. Denis Solee, Lori Mechem & The Jeff Steinberg Orchestra) (3:51)
14. The Sound Of Silence (Feat. The Mason Embry Trio) (4:24)

Jack Jezzro is a musician and producer who has enjoyed a long and successful career as a studio musician, accompanying a wide variety of major artists on their recordings, as well as crafting his own albums in which he shows off his talent and versatility as a guitarist.

Jezzro was born in Rivesville, West Virginia on December 2, 1957. He had a keen interest in music from an early age, starting to play the piano when he was just three. He taught himself to play guitar from listening to records by Chet Atkins, and in his teens, he learned to break down the individual parts from songs he loved by Simon & Garfunkel, James Taylor, and the Doobie Brothers. After high school, Jezzro studied at West Virginia University; their music school didn't have a program for the guitar, but Jezzro could also play the bass, and his skills on the instrument led to him to a membership in the Charleston Symphony Orchestra while still attending WVU. Jezzro went on to attend the Eastman School of Music in Rochester, New York, where he was mentored by noted bassist James VanDemark. Just as he did at WVU, Jezzro soon joined the local symphony, the Rochester Philharmonic Orchestra, as a bassist, while also honing his chops as a jazz guitarist. In 1981, he relocated to Nashville, Tennessee, where he became the bassist with the Nashville Symphony Orchestra, a position he held for ten years. In the mid-'80s, he made his way into the prestigious world of session work when he became part of the Nashville String Machine, a string section for hire that regularly appeared on recordings by some of the major stars of country and pop music, from Garth Brooks and Faith Hill to Bruce Springsteen and Matchbox 20. In 1988, Jezzro stepped out as a solo artist with the release of his first album as a headliner, Step on It, which was released in Japan by Pony Canyon Records. (A revised edition of the disc was released in the United States as A Day's Journey.) Over the next 30 years, Jezzro would release a steady stream of jazz, country, pop, Latin, and inspirational albums (most through the Green Hill label) that focused on his tasteful but expert guitar work and his interplay with other musicians. Jezzro also continued to work steadily as a session player and a producer, overseeing his own sessions as well as those of other Green Hill artists. His work as an artist and producer has earned him one Grammy nomination and seven Dove Award nominations to date. The prolific bassist has played on or produced over 300 albums, and in 2017 alone, he produced By Request: Most Requested Songs for jazz pianist Beegie Adair, released his own album Sinatra on Guitar, and brought out a sequel to his 2010 album Christmas Jazz titled Christmas Jazz 2. ~by Mark Deming

Best Of Jack Jezzro

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Birch Pereira & The Gin Joints - Western Soul

Size: 100,1 MB
Time: 38:24
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, R&B, Soul, Rock
Art: Front

01. How Long (Until I See The Sun Again (3:53)
02. As Long As I Live (3:09)
03. St. James Infirmary (4:00)
04. A Love I Can't Explain (2:19)
05. Could It Be Something Else (4:46)
06. The Carioca (4:29)
07. The One You Think You See (3:36)
08. I Don't Like I Did Before (2:43)
09. Ain't That A Shame (2:36)
10. Lulu's Back In Town (2:35)
11. If You Ever Change Your Mind (Please Let Me Know) (4:12)

Born out of a love of the early years of swing, americana and rock 'n 'roll, Birch Pereira & the Gin Joints is a band whose sound transports you to the time of speakeasies, honky-tonks and roadhouses. With upright bassist and vocalist Birch Pereira at its center, the band features skilled and versatile musicians who share the love of the American song traditions and a desire to offer a fresh angle on them.

The band's debut album, Dream Man, was released independently and received the Earshot Jazz Golden Ear Award for "Northwest Jazz Recording of the Year" in 2016. Anticipation is already building for their second album "Western Soul," due out on March 9th which features western-tinged jazz and soul originals along with reinterpretations of old blues, swing and early rock'n'roll. Fans, critics and deejays have delighted in Birch Pereira's "old soul," tenor voice, the group's new, stripped-down arrangements of musical gems from the past and Pereira's ever growing repertoire of original, yet period-evoking material. Frank Gutch Jr, of No Depression described the new album thusly: "I love this album. I love the sound of it. I love the feel of it. I love the idea of it."

The band has continued to spread their music throughout the Northwest and spent time gigging in the roots and jazz scenes of New York City and New Orleans. Birch Pereira has also been nominated for 2017 Vocalist of the Year in the Earshot Jazz Golden Ear awards. The Gin Joints perform with a variety of personnel and instruments, which allows the group to play venues as diverse as sit down dinner theaters to clubs, festivals and dances. Featured members of the Gin Joints includes Jason Goessl on guitar, Adrian Van Batenburg on drums, Steve Tressler on saxophone/clarinet and Ray Larsen on trumpet, in addition to guest vocalists Jimmie Herrod and Kate Voss. Over time the band has featured an ever-growing group of superb musicians based out of Seattle, New Orleans and New York City.

Western Soul

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Patrick Yandall - 10 South Riverside

Size: 133,3 MB
Time: 57:22
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Smooth Jazz
Art: Front

01. Mister Bean (3:59)
02. Kona Boy (3:51)
03. Breezin' (4:19)
04. Sunrise In Monroe (4:16)
05. Free Flight (4:13)
06. Thumbs Up (4:00)
07. 10 South Riverside (4:02)
08. Memory Lane (4:14)
09. Momma T (4:14)
10. It's Always Been You (3:45)
11. Thunder Road (4:40)
12. Hermosa (3:39)
13. Albany Park (3:56)
14. Jump Back James (4:08)

One of the most prolific, talented, and –in my opinion – somewhat unheralded guitarists in this jazz/smooth jazz genre is long-time artist Patrick Yandall. His smooth, textured sound and delivery have been recognized and appreciated enough for him to be featured in any all-star lineup of contemporary jazz artists anywhere. Yet, that distinction is not often bestowed upon him, despite having now cranked out 21 quality-filled albums and having received Grammy consideration in the “Contemporary Instrumental” category for his previous two releases. His music was once regularly featured on the former Weather Channel, as well.

Here with 10 South Riverside, yet another gem (this cat can crank them out with blinding speed – meaning his library of unreleased material must be massive), the cool, unassuming masterfully skilled guitarist offers 14 more tracks, 13 originals and a magnificent cover of George Benson’s “Breezin’.” It’s all as colorful and charismatic as anything he’s ever produced. Personally, I feel that, as an indie artist, his longstanding productivity, creativity, and awesome style speak volumes and should serve as solid inspiration for all indie artists with bonafide skill and conviction that perseverance certainly has its merits.

10 South Riverside even has a great nod to the late Chuck Loeb called “Free Flight,” a powerful piece that would certainly make Chuck proud. Other notable tracks include the slick and silky mid-tempo “Thumbs Up,” its melody singing a carefree and happy song; the lead track “Mister Bean,” a poppin’ up-tempo tune that intentionally takes on a Blackbyrds-like feel; the soft, swaying “Sunset in Monroe” – a reference to a Michigan city; and the snappy title track, among many others – including a funky, soulful, mid-tempo nod to King James Brown with “Jump Back James” as his finale. Simply 24-carat stuff.

Yandall makes no compromises on any of his releases in terms of quality, and his level of commitment to his love of this music is firmly unquestionable. If you’ve not yet treated yourself to this guitar master’s musical prowess, you’re truly cheating yourself. This release is as good a place to start familiarizing yourself as any. – Ronald Jackson

10 South Riverside

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Diane Marino - Soul Serenade: The Gloria Lynne Project

Size: 147,5 MB
Time: 63:24
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Somewhere In The Night (4:35)
02. Nothing Ever Changes My Love For You (5:00)
03. Soul Serenade (4:33)
04. For You (3:30)
05. Blue Gardenia (5:06)
06. The Jazz In You (5:31)
07. Happy Shoes (4:33)
08. Sweet Pumpkin (3:49)
09. Out Of This World (4:05)
10. Speaking Of Happiness (3:52)
11. That's No Joke (4:08)
12. He Needs Me (4:56)
13. Let's Take An Old Fashioned Walk (3:27)
14. Serenade In Blue (6:13)

Singer Diane Marino seeks to pay homage to a friend on “Soul Serenade – – the Gloria Lynne Project.” The performer moves away from the piano to allow herself to concentrate on the singing duties on the album. With the relatively large ensemble of musicians Marino has put together, classic songs come to life. From the sounds of things, it has worked out well for Marino to have focused on singing. “Soul Serenade” is a collection of 14 songs that find Marino and her ensemble playing with a buoyant vibe and energy. Two standout tracks from the release are “Somewhere in the Night” and “An Old-Fashioned Walk.”

The songs on the album were taught to Marino by Gloria Lynne. All 14 songs had been unknown to Marino prior to Lynne’s performances. Marino includes them all on the recording. But one listen to the recording shows that Marino has done all the homework to make her dreams for the album come true.

With an arranger, a solid ensemble that consists of two basses, two violins, cello, bassoon and multiple guitars, trumpet, and trombone, and an array of saxophones, Marino puts her own spin on things.

Gloria Lynne’s life and musical career are worth celebrating. Born just days before the Great Depression, Lynne’s recording and performing career spanned almost a lifetime. From 1958 to 2007, Lynne made an impact on the worlds of jazz and r&b. She earned accolades from jazz and r&b organizations. She passed away in 2013 at age 83. ~By Dodie Miller-Gould

Soul Serenade

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Agnes Gosling - Caçador

Size: 121,8 MB
Time: 52:40
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals, Brazilian Jazz, Electronic
Art: Front

01. But I Love You (5:24)
02. Cachoeira De Mim (4:39)
03. Caçador (6:07)
04. Bianca (5:26)
05. Coming Back Home (3:49)
06. Life On Mars (3:41)
07. Ela (6:19)
08. Smoke And Mirrors (5:31)
09. The Monotony Of Drama Part II (4:03)
10. O Trem Azul (4:56)
11. The Monotony Of Drama Part I (2:39)

Caçador is the new album by singer Agnes Gosling, who made her debut with Cais, an Edison-nominated CD dedicated to the Brazilian songs of Milton Nascimento and Elis Regina. On Caçador, Gosling explores new avenues. The album is made up from a mixture of Brazilian popular music, jazz, pop and electronic music and contains almost exclusively original compositions full of suspense, harmonically braver and more mysterious.

In close collaboration with studio magician Vincent Helbers and the renowned drummer Richard Spaven, these arrangements rouse emotions with an acute expression of the enchantment, rapture and despair of love. As in real life, there is light and shadow. Gosling has matured as a composer and arranger and is not afraid to show her vulnerability. The track “Aber ich liebe dich” (But I love you) shows deep feeling, something we all experience, but only few can immediately express that way. Elsewhere she and her band refine standards like “Bianca” (Egberto Gismonti) and “Trem Azul” (Lô Borges), the latter with Richard Spaven’s inimitable drumming and Vincent Helbers on synths modulating Bob James. Finest and demanding guitar, harmony singing, hard rhythms, orchestral passages – this album has it all. Expect a fascinating mix of contrasts, a Portisheadesque bridge between the acoustic and the electronic spheres.

Caçador

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Kenny Drew - Lite Flite

Bitrate: MP3@320K/s
Time: 51:07
Size: 117.0 MB
Styles: Bop, Piano jazz
Year: 1977/1992
Art: Front

[5:08] 1. Yesterdays
[6:49] 2. Only You
[8:15] 3. Precious Lady
[6:21] 4. All Your Words
[8:00] 5. Bossa Mood
[8:13] 6. Lite Flite
[8:18] 7. Precious Lady (Alternative Take)

Bass – George Mraz; Drums – Jimmy Cobb; Flugelhorn, Cornet – Thad Jones; Piano – Kenny Drew; Tenor Saxophone – Bob Berg. Recorded February 6, 1977 at CI Recording Studios N.Y.C.

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. ~ Scott Yanow

Lite Flite mc
Lite Flite zippy

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Caribbean Jazz Project - The Gathering

Bitrate: MP3@320K/s
Time: 50:24
Size: 115.4 MB
Styles: Latin jazz, World Fusion
Year: 2002
Art: Front

[5:19] 1. Rendezvous
[7:25] 2. Stolen Moments
[4:52] 3. See You In A Minute
[5:53] 4. The Gathering
[7:36] 5. Bemsha Swing
[4:49] 6. Libertad
[5:34] 7. El Guarachero Intrigozo (The Scheming Party Animal)
[5:48] 8. The Path
[3:04] 9. Masacoteando (In The Grove)

Alto Saxophone – Paquito D'Rivera; Bass – Ruben Rodriguez; Congas – Richie Flores (tracks: 1 to 5, 7, 9), Roberto Quintero (tracks: 6); Drums, Timbales – Dafnis Prieto; Flute – Dave Valentin; Percussion – Roberto Quintero (tracks: 1, 4, 5, 7, 8); Piano – Dario Eskenazi; Vibraphone [Vibes], Marimba, Producer, Liner Notes – Dave Samuels. Recorded at Beartracks - Suffern, NY.

The Gathering is the Caribbean Jazz Project's third release; principals Dave Samuels and Dave Valentin are joined by Paquito D'Rivera, once a regular with the group, on the lively opener, "Rendezvous," as well as a Latin reworking of Monk's "Bemsha Swing." Oliver Nelson's classic "Stolen Moments" comes in for a moody 7/4 treatment. Pianist Dario Eskanazi, bassist Ruben Rodriguez, and percussionists Dafnis Prieto, Richie Flores, and Robert Quintero provide strong backing for the front-and-center solo exchanges of Samuels and Valentin. The band is consistently melodic and accessible, not just on romantic themes like "Libertad" and "The Path" but also on more adventurous fare like Prieto's "El Guarachero Intrigozo (The Scheming Party Animal)" and the big finish, "Masacoteando (In the Groove). ~David R. Adler

The Gathering

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Sarah Vaughan - Sarah Sings Soulfully

Bitrate: MP3@320K/s
Time: 44:15
Size: 101.3 MB
Styles: Jazz vocals
Year: 1963/1992
Art: Front

[3:10] 1. A Taste Of Honey
[3:19] 2. What Kind Of Fool Am I
[4:06] 3. Guess I'll Hang My Tears Out To Dry
[4:20] 4. Sermonette
[4:56] 5. In Love In Vain
[2:19] 6. Gravy Waltz
[3:04] 7. The Good Life
[3:10] 8. Moanin'
[3:37] 9. 'round Midnight
[3:27] 10. Easy Street
[3:07] 11. Baby Won't You Please Come Home
[5:35] 12. Midnight Sun

Sarah Vaughan's final Roulette session before going back to Mercury was one of her best. Some of the tunes (such as "A Taste of Honey," "What Kind of Fool Am I" and "The Good Life") do not look all that promising, but Vaughan was near the peak of her powers during this era. Plus her renditions of "I Guess I'll Hang My Tears Out to Dry," "Sermonette," "Gravy Waltz," "Moanin'," "'Round Midnight" and "Midnight Sun" are classics. Assisted by a sextet arranged by Gerald Wilson and including organist Ernie Freeman, trumpeter Carmell Jones, and the tenor of Teddy Edwards, Vaughan is brilliant throughout this highly enjoyable LP. ~Scott Yanow

Sarah Sings Soulfully mc
Sarah Sings Soulfully zippy

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Fred Hersch, Jay Clayton - Beautiful Love (Remastered)

Bitrate: MP3@320K/s
Time: 61:45
Size: 141.4 MB
Styles: Vocal jazz, Piano jazz
Year: 1995/2017
Art: Front

[5:35] 1. Beautiful Love
[7:27] 2. You Don't Know What Love Is
[6:26] 3. My Heart Stood Still
[7:36] 4. So In Love
[5:19] 5. Day By Day
[6:11] 6. Wild Is The Wind
[4:33] 7. Everthing I Love
[7:22] 8. Footprints
[6:11] 9. Blame It On My Youth
[5:01] 10. I Love You

Jay Clayton - vocals; Fred Hersch - piano.

Jay Clayton has been a leader in applying avant-garde, creative modern techniques to the art of jazz vocal. She has been successful in this commendable objective ever since her first album as a solist in 1980, where a 25-year-old Jane Ira Bloom was a major partner. Although working with a play list of classic standards, except for Wayne Shorter's jazz standard "Footprints," Clayton has by no means set aside her modern jazz vocal leanings. Joined by Fred Hersch a pianist with like perspectives, they work in tandem to present this familiar music in an offbeat non-familiar way. This is not to say that lovely melody lines are lost among cacophonies of grunts, groans, and other extra terrestrial events. The lyrical lines are there, but the tempo, the phrasing, the emphasis has been rearranged so the light of these tunes is refracted through a prism rather than through a window of ordinary glass. Full fledged avant-garde comes, as one would expect, on Shorter's "Footprints," where Clayton engages in wordless vocalizing reminiscent of the vocal part in Hector Villa-Lobas "Bachianas Brasileiras No. 5," with Hersch doing a marvelous job replacing the cellos as the voice accompaniment. This is seven minutes of remarkable virtuosity. "Regular" standards, such as "Blame It on My Youth," are treated with respect as Clayton plays little games with the melody line and chordal structure and inserts wordless vocalizing here and there. "Beautiful Love" is introduced slowly by Clayton a cappella before moving into a medium lilting tempo. Not much here ever gets beyond that pace. This album is thoughtful and is for those who want to hear the full measure of a song, with nothing skipped, casually dismissed, or unknowingly overlooked. Highly recommended. ~Dave Nathan

Beautiful Love                

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Dick Sudhalter & His Friends - With Pleasure

Bitrate: MP3@320K/s
Time: 63:46
Size: 146.0 MB
Styles: Jazz/Blues
Year: 2015
Art: Front

[2:38] 1. From Monday On
[3:48] 2. Blue River
[2:57] 3. Jamboree Jones
[3:34] 4. Home
[3:36] 5. Lost
[4:42] 6. If I Were A Rich Man
[4:16] 7. Waiting At The End Of The Road
[3:01] 8. I'm Shooting High
[2:53] 9. I'll Be A Friend With Pleasure
[3:06] 10. Lyin' To Myself
[2:37] 11. Boneyard Shuffle
[2:54] 12. Come Easy, Go Easy, Love
[3:39] 13. By The Fireside
[3:03] 14. Mountain Greenery
[5:02] 15. Let Me Daydream
[4:40] 16. Farewell Blues
[4:21] 17. (When It's) Sleepy Time Down South
[2:49] 18. Madame Dynamite

Dick Sudhalter, c, t, fluegelhorn & dir; Dan Barrett, tb; Bob Reitmeier, cl, as & ts (Or) Joe Muranyi, cl; Dan Levinson, cl & ts; Dave Frishberg, p, v; Howard Alden, g & bj (or) James Chirillo, g; Putter Smith, sb & tuba (or) Bill Crow, sb; Dick Berk, d; Daryl Sherman, v.

Dick Sudhalter has had an unusual dual career as a superior trad-oriented cornetist and as a jazz journalist. The crowning achievement of his latter career was the co-authorship (with Philip Evans and William Dean-Myatt) of the superb Bix Beiderbecke biography Bix: Man and Legend. Less known is that Sudhalter has long been a fine improviser himself. He grew up in Boston and played in England in the 1960s (organizing the New Paul Whiteman Orchestra). Since returning to the U.S., Sudhalter has freelanced on the classic jazz scene, played with the New York Jazz Repertory Company and the Classic Jazz Quartet, and recorded for several labels including Audiophile and Challenge. ~Scott Yanow

With Pleasure mc
With Pleasure zippy

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Linda Eder - By Myself: The Songs of Judy Garland

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 44:36
Size: 102,7 MB
Art: Front

(4:06)  1. By Myself
(3:33)  2. Almost Like Being In Love
(4:06)  3. Me And My Shadow
(2:58)  4. I'D Like To Hate Myself In The Morning
(4:35)  5. It Never Was You
(3:00)  6. Zing! Went The Strings Of My Heart
(5:22)  7. The Boy Next Door
(4:52)  8. The Rainbow's End
(4:33)  9. Do It Again
(2:53) 10. Rock-A-Bye Your Baby With A Dixie Melody
(4:33) 11. I'm Always Chasing Rainbows

If imitation is the best form of flattery then the legendary Judy Garland has a lot to smile about from wherever she is watching. Broadway's Linda Eder has been wowing crowds since her big break in 1990 with The Broadway production of Jekyll & Hyde which showcased what is now being called "The Voice". Having broken all the records in 1988's Star Search, this Brainerd, Minn. born gal is not intimated by a musical challenge. While Ms. Eder did have the luxury of having a Broadway composer, Frank Wildhorn, write beautiful tunes for his now ex-wife, Eder has proven through the years that she is a vocal force to be recognized as one of the great solo voices regardless of whose music she sings. Eder's aim in this new venture was not to "mimic the Garland style, which she adores, but rather to capture the strengths, the frailties, the heartfelt meaning of Judy's voice". She does so respectfully, graciously and wonderfully! With amazing power and the sweetest clarity Eder delivers 11 of Judy Garland's glorious songs via her new CD, some well known and others obviously beloved to both Eder and perhaps Garland. "It was all through osmosis," notes Linda. "I closely studied many of Judy's films and recordings. Judy's highs and lows were extreme and by following her so closely one felt as if you knew her. She was my first big musical influence and I consider it an honor to pay tribute to her".

The CD kicks off dramatically with the title song "By Myself". "I have been though a lot in the last few years, which has added layers to my life," admits Linda. This no doubt fuels the great emotion one can see and hear in her voice as she pierces her audiences heart with certain songs. Bringing the best of the best onboard to record with the London Symphony Orchestra on most tracks Eder painstakingly chose every song, every note over several months to create what she has called " classic Judy and also classic Linda in a swingin' dialog between singer and orchestra". It's an established fact that Linda Eder is one heck of a belter. Still, I feel this doesn't need to be proven as often as she does on this CD. I found myself turning the volume down more than a few times.  I also notice a pronounced vibrato that often underscores her voice that was not entirely to my liking. However, from Lerner & Lowe's "Almost Like Being In Love" to a most impressive version of "Rock-A-Bye Your Baby with a Dixie Melody," Eder has found the depth of Garland's persona and made it her own. Not every song and CD track fully accomplished this formidable task. "Me and My Shadow" seems to have an unusual mix of song and orchestra that creates an uneven tempo to an otherwise beautifully executed song. Also in the medley of "Stormy Weather" and "Man That Got Away" again the orchestration seems to drag more than I care for. One additional song not sung by Judy or written for her was included by songwriter Jack Murphy who has a long collaboration with Linda's musical career. "The Rainbows End" attempts to become the torch song of the 40's capturing the meaning of Garland's life as a singer and a singer's world in general. It simply doesn't fulfill its mission.

 Linda offers an incredibly seductive "Do It Again" which is wonderfully arranged. "It's All for You" is a song not chosen to be included in this CD collection and absolutely should be as it is lyrically simple and charming. "The Trolley Song" is a fun song and playfully well done. During the 'By Myself Concert' Linda includes two of her most popular songs "Vienna" written by Frank Wildhorn and the always rousing "Don't Rain On My Parade", which usually brings down the first act with a roar. Few people sing this as well as Barbra and Linda. My personal favorite medley was a combination of a brief intro of "Chasing Rainbows and a prayer-like "Over The Rainbow" with a gentle piano arrangement that stills the crowds and warms the heart. One can see, hear and feel the joy, the fun and the passion that has gone into this Garland project as it's obviously a labor of love for Linda Eder who has done an admirable job in re-creating a legend's legacy while making it her own very beautifully. https://www.broadwayworld.com/article/Linda-Eder-By-Myself-The-Songs-of-Judy-Garland-20051012

Personnel: Linda Eder (vocals); Carmine Lauri (violin); Aaron Heick, Dave Mann , David Andrew Mann, Aaron Heicke (alto saxophone); David Richenberg (baritone saxophone); Tony Kadleck, Bob Millikan (trumpet); George Flynn (bass trombone); David Finck (bass instrument); Mark McLean (drums); Lawrence Feldman (tenor saxophone); Jeremy Pelt, Randy Brecker, Barry Danielian, Glenn Drewes, Donald Downs (trumpet); Dan Levine , John Fedchock (trombone); Lee Musiker, Jeremy Roberts (piano); Clint DeGanon (drums)

By Myself: The Songs of Judy Garland

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McCoy Tyner - Tender Moments

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 38:11
Size: 89,0 MB
Art: Front

(5:42)  1. Mode To John
(6:54)  2. Man From Tanganyika
(6:07)  3. The High Priest
(7:39)  4. Utopia
(6:05)  5. All My Yesterdays
(5:40)  6. Lee Plus Three

Now 66 years old, McCoy Tyner has made countless albums and become an elder statesman of jazz. He is certainly best known as the pianist in the transformational John Coltrane Quartet of the '60s, but it was with Blue Note recordings like this one from 1967, recently reissued in remastered form, that he revealed his personality as a composer, arranger, and soloist. Tender Moments was one of Tyner's first major explorations of the world of colors and textures available through arrrangements for large ensemble. He gathered together some of his musical friends (some of whom had recorded for Blue Note already) and created settings for them which showcased their ensemble and solo prowess, as well as his own burgeoning skills as a colorist and architect. Tenor saxophonist Bennie Maupin and flautist James Spaulding offer some of their finest solo work, adding rich dimensions to Tyner's themes, particularly on "Man from Tanganyika and "The High Priest. And Lee Morgan a fellow Philadelphian is his ever-soulful and assured self, particularly on his blues feature "Lee Plus Three, where it's just Morgan with piano, bass, and drums.

From the beginning, we are in the presence of someone concerned with texture. The low brass beautifully complements the lighter statement of "Mode to John, Tyner's tribute to his old boss. On the jaunty and rhythmic "Man from Tanganyika, the flute and piano tandem on the theme and then the brass players' coloration gives the tune its clear shape. Tyner's tribute to Monk is quite original he has created a Monkish theme and some intriguing horn lines and fills, without for a second sacrificing the sound that we know as his own. As in all his solo passages, Tyner manages to be subtle, engaging, and yet the same player who so drove the Coltrane band. The album's high point is the album's tenderest moment: the gorgeous "All My Yesterdays. It's a true ballad with an exquisitely slow tempo all the way through and low brass that is all about color. Tyner's solo is uncharacteristically gentle. Tender Moments is all about architecture and scene painting, and as such it stands as a key marker in the recorded career path of one of the music's most individual artists. ~ Donald Elfman https://www.allaboutjazz.com/tender-moments-mccoy-tyner-blue-note-records-review-by-donald-elfman.php

Personnel: Lee Morgan, trumpet; Julian Priester, trombone; James Spaulding, alto saxophone, flute; Bennie Maupin, tenor saxophone; Bob Northern, French horn; Howard Johnson, tuba; McCoy Tyner, piano; Herbie Lewis, bass; Joe Chambers, drums.

Tender Moments

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Terry Gibbs & His Dream Band - Swing Is Here

Bitrate: MP3@320K/s
Time: 34:30
Size: 79.0 MB
Styles: Bop, Vibraphone jazz
Year: 1960/2009
Art: Front

[2:33] 1. The Song Is You
[3:10] 2. It Might As Well Be Swing
[3:05] 3. Dancing In The Dark
[2:44] 4. Moonglow
[5:03] 5. Bright Eyes
[3:04] 6. The Fat Man
[2:57] 7. My Reverie
[3:42] 8. Softly As In A Morning Sunrise
[5:22] 9. Evil Eyes
[2:44] 10. Back Bay Shuffle

Alto Saxophone – Charlie Kennedy; Alto Saxophone [Lead] – Joe Maini; Baritone Saxophone – Jack Schwartz; Bass – Buddy Clark; Drums – Mel Lewis; Piano – Lou Levy; Tenor Saxophone – Bill Perkins, Med Flory; Trombone – Bob Edmondson, Frank Rosolino, Bobby Pring, Tommy Sheppard; Trumpet – Conte Candoli, John Audino, Ray Triscari, Stu Williamson; Trumpet [Lead] – Al Porcino; Vibraphone – Terry Gibbs. Recorded in Los Angeles, CA, February 23-24, 1960.

The title Swing Is Here would have been more appropriate for the 1930s instead of 1960 when this album was originally issued, and the big-band era had long since waned. Yet vibraphonist Terry Gibbs kept the home fires burning out in California with this exceptional orchestra of cool jazz giants playing a stack of standards and modern compositions by Bill Holman or Gibbs, and one look back with an Artie Shaw number. What is most interesting about these arrangements is that they are always different in emphasizing the fleet, dampened sound of Gibbs in contrast, apart from, or in tandem with the woodwinds and brass instruments. They also never get in each other's way, making for some delightful tonic music-making that reflects both the dance tradition and more modernized precepts of big-band music. Reflecting the style of the Count Basie band with a big helping of Woody Herman or Stan Kenton, the band leaps into "The Song Is You" as Gibbs plays the first melody line, then the band takes over, while the opposite ploy is utilized during "Dancing in the Dark." Holman's originals "Bright Eyes" and "Evil Eyes" are different from the rest and each other, the former a lively bop chart with jumping counterpoint saxes and brass, the latter led out by pianist Lou Levy and the horns, with Gibbs holding up the rear guard of the band. A 12-bar blues, "The Fat Man" has, over time, become a favorite Gibbs composition covered repeatedly by his bands, and here is the original recording. "It Might as Well Be Swing" is a cleverly modified title from the standard "It Might as Well Be Spring" but is closer to Duke Ellington's "Satin Doll" in its elegant, sophisticated imagery. Claude Debussy's "My Reverie," on the other hand, dismisses its composers early morning visage for a classic jazz sound that is truly the epitome signature style Gibbs portrays. The Artie Shaw tribute to Boston "Back Bay Shuffle" has drummer Mel Lewis codifying and extending Gene Krupa's bompity bomp rhythmic dance remarks in a danceable yet enlivened manner. There are some extraordinary musicians in the band, such as trumpeter and ostensible leader Al Porcino, "second" trumpeters Conte Candoli and Stu Williamson, trombonist Frank Rosolino (listed third on the depth chart), lead alto saxophonist Joe Maini, and Bill Perkins, and Med Flory on tenor saxes. Gibbs plays a lot on this album, a testament to his tenacity as a unique voice on his instrument, and a good example of how this well-defined music refused to die even though it fell out of favor due to sheer economics. Clocking in at under 35 minutes with no alternate takes or extra tracks, and out of print for decades prior to this CD reissue, it's a short, sweet item recommended at a bargain price. ~Michael G. Nastos

Swing Is Here mc
Swing Is Here zippy

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Various - Stringin' The Blues: A Tribute To Eddie Lang

Bitrate: MP3@320K/s
Time: 78:29
Size: 179.7 MB
Styles: Guitar jazz
Year: 2003/2018
Art: Front

[ 9:07] 1. Bucky Pizzarelli - Sweet Georgia Brown
[ 6:16] 2. Howard Alden - These Foolish Things
[ 4:28] 3. Frank Vignola - The Sheik Of Araby
[ 5:13] 4. Frank Vignola - Fascinating Rhythm
[ 2:31] 5. Howard Alden - Medley: I'm Forever Blowing Bubbles/E Is For Emmet
[ 1:41] 6. Howard Alden - I'll Never Be The Same
[ 2:31] 7. Marty Grosz - Peg Leg Shuffle
[ 3:02] 8. Marty Grosz - From Monday On
[11:24] 9. Bucky Pizzarelli - Medley:Tangerine/It Must Be True/Please/A Blues Serenade/April Kisses
[ 6:55] 10. Bucky Pizzarelli - Broadway
[ 3:17] 11. Al Viola - Polka Dots And Moonbeams
[ 3:03] 12. Lino Patruno - Some Of These Days
[ 3:25] 13. Lino Patruno - Sweet Sue
[ 2:51] 14. Andy Stein - Wild Cat
[ 3:32] 15. Lino Patruno - Danzon
[ 9:05] 16. Howard Alden - Limehouse Blues

Bass – Frank Tate (2), Guido Giacomini; Drums – Joe Ascione; Guitar – Al Viola, Bucky Pizzarelli, Frank Vignola, Howard Alden, Lino Patruno, Marty Grosz, Michele Ariodante; Piano – Mark Shane (2); Violin – Andy Stein; Vocals, Whistling – Clive Riche. Recorded Live At New Orleans Jazz Ascona (Switzerland), July 4th, 2002.

This 16 track CD is a "guitar summit" featuring some of the top guitarists on the contemporary scene including Bucky Pizzarelli, Frank Vignola, Howard Alden, Al Viola, Marty Grosz and others. It was recorded live in 2002 at the Ascona Jazz Festival in Switzerland on beautiful Lake Maggiore. The guitarists are backed by Andy Stein, Mark Shane, Frank Tate, Joe Ascione, Clive Riche and others.

Stringin' The Blues: A Tribute To Eddie Lang mc
Stringin' The Blues: A Tribute To Eddie Lang zippy

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