Dave Tull - Texting And Driving

Size: 174,8 MB
Time: 75:00
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. The Texting Song (Feat. Randy Waldman) (3:49)
02. Henrietta (5:01)
03. The Moment (Feat. Inga Swearingen & George Stone) (4:44)
04. Please Tell Me Your Name (Feat. Wayne Bergeron, Doug Webb & Andy Martin) (7:19)
05. I'm Forever In A Fog (Feat. Randy Porter) (6:34)
06. I Will Sing To You (Feat. Larry Koonse) (5:29)
07. The Stoplight At The End Of The Street (Feat. Randy Porter) (5:37)
08. Tell Me That I'm Wrong (3:40)
09. Watch Your Kid (Feat. Randy Porter) (6:39)
10. The Date (Feat. Cheryl Bentyne) (5:15)
11. Clapping On One And Three (Feat. Doug Webb) (5:09)
12. This Summer Night (Feat. Randy Porter) (4:43)
13. You Remind Me (Feat. Kevin Axt) (4:02)
14. I'm So Confused (Feat. Les Benedict) (3:50)
15. Fly By The Seat Of My Pants (3:00)

Wallflower. The word has zero application to describe jazz drummer, vocalist and composer/arranger/producer, Dave Tull. He's more like a Venus Fly-Trap of talent, devouring all those activities and offering a keen eye for life's surrealities. He demos all on his second CD, texting and driving. It might just be what's needed for a long, endless drive from, say, St. Louis to Gallup, New Mexico.

Tull's drum credits are formidable—with Barbra Streisand (whose legendary pickiness imprimaturs Tull's chops), performing with Chuck Mangione, et al. With texting and driving Tull offers 15 (that's a plenty!) solid, swinging selections—all engaging originals—in which he vocalizes, vocaleses, and, with an elite cadre of L.A.'s best (Cheryl Bentyne, Wayne Bergeron, Doug Webb, George Stone, et al), does all that splendidly.

The title-related tune, "The Texting Song" launches the upbeat session with Tull backed by a cooking big band. And, while s(w)inging, he weaves fine lyric, hipster vocalese, and scat. "Henrietta" is a lilting woodwind-backed boy-meets-girl-with-unique-sobriquet thing. Lush strings embrace Tull's fine romancing, a la Jackie Cain and Roy Kral) with Inga Swearingen on the ballad "The Moment." "Please Tell Me Your Name" Latins away with some tasty Lou Rawls vocal embellishments on the swing section. He gets funky on the side-winding "The Stoplight at the End of the Street," too.

Vocally, Tull is more jazzer than pure crooner—think Dave Frishberg, or, perhaps Scatman supreme, Giacomo Gates. He's got solid pipes that invite. His vocal dexterity and word-work is hand-glove with the material throughout. You can't help but really like this Cat. He puts his own tasty seasoning on his recipes of "I'm Forever in a Fog," as well as on the Antonio Carlos Jobim-esque "I Will Sing to You" and on the ballad, "Tell Me that I'm Wrong").

As a composer/lyricist, Tull homers with smarts, wry humor, and pungency throughout the session, on tunes like the faux admonishment, "Please Watch Your Kid," the tasty contrapuntal duet with Bentyne on "The Date," the soul-slick "Clapping on One and Three," and the boss bossa complete with neat Tull set work, "You Remind Me." "I'm So Confused," a flashback ballad with a tasty Les Benedict bone ride that could "reflect" an Astaire classic and the carefree stroll, "Fly By the Seat of My Pants" close the session.

texting and driving is a marvelous panorama of Tull's and his pals' talents. Go for a ride and enjoy "Tull's Merry Pranks"—but, you take the wheel; he's rather involved with his fine texting and driving. ~By Nicholas F. Mondello

Personnel: Dave Tull: drums, vocals; Randy Porter: piano; Randy Waldman: piano (1); Larry Koonse: guitar (1,4,6,15); Kevin Axt: basses; Wayne Bergeron: trumpet (1,4,7,14); Dog Webb: saxes (1,4,7,11,14,15), clarinet (8); Cheryl Bentyne: vocal (10); George Stone: piano, flugelhorn (3), trumpet (9); Les Benedict: trombone (14); Inga Swearingen: vocals (3); Peter Olstad: trumpet (1,4,); Mike Guiterrez: trumpet (1,4); Dave Becker: flute, clarinets (2), saxes (9); Andy MArtin: trombone (1,4,7); Bill Hulting: percussion (6,13); Brynn Albanese: violin (3); Peter Jandula-Clark: viola (3); Ken Hustad: cello (3).

Texting And Driving

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Jimmy Heath - Triple Threat

Bitrate: MP3@320K/s
Time: 37:21
Size: 85.5 MB
Styles: Bop, Saxophone jazz
Year: 1962/2000
Art: Front

[6:09] 1. Gemini
[5:14] 2. Bruh Slim
[7:07] 3. Goodbye
[5:03] 4. Dew And Mud
[3:42] 5. Make Someone Happy
[4:21] 6. The More I See You
[5:42] 7. Prospecting

Bass – Percy Heath; Drums – Albert Heath; French Horn – Julius Watkins; Piano – Cedar Walton; Saxophone [Tenor] – Jimmy Heath; Trumpet – Freddie Hubbard.

Jimmy Heath has long been at least a triple threat as a musician (tenor, flute and soprano), arranger and composer. On this 1998 CD reissue, Heath sticks to tenor, performing "Make Someone Happy" and "The More I See You' while joined by pianist Cedar Walton and his two brothers, bassist Percy Heath and drummer Albert "Tootie" Heath. The other five numbers consist of four of his originals (best-known is "Gemini") plus a reworking of the ballad "Goodbye." For these selections, the quartet is augmented by young trumpeter Freddie Hubbard (who takes a few fiery solos) and Julius Watkins on French horn. The arrangements of Heath uplift the straightahead music and make each selection seem a bit special. ~Scott Yanow

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Mary Black - Mary Black Sings Jimmy MacCarthy

Bitrate: MP3@320K/s
Time: 44:46
Size: 102.5 MB
Styles: Vocal jazz
Year: 2017
Art: Front

[3:55] 1. No Frontiers
[4:12] 2. Adam At The Window
[5:03] 3. There Is No Night
[3:30] 4. Love's Last Chance
[3:59] 5. Bright Blue Rose
[3:47] 6. What We Came Here For
[3:45] 7. Wonderchild
[4:26] 8. Katie
[4:55] 9. Mystic Lipstick
[3:57] 10. Another Day
[3:10] 11. As I Leave Behind Neidín

For the last quarter-century, singer Mary Black has been a dominant presence in Irish music, both at home and abroad. She has shared stages, tv shows and recording studios with some of the most revered performers of her time. She has also played a frontline role in bringing Irish music, past and present, to an increasingly appreciative and ever-growing global audience. The San Francisco Chronicle has described her as "One of the best interpretative singers around".

At a time when less adventurous performers preferred to stick exclusively to the well-worn ballads from Ireland’s rich music heritage and the more obvious hits from contemporary writers, Mary explored the best work available from new composers and mined the rich seams they offered. That commitment to fresh material, combined with her unique interpretations of the songs she chooses, saw her release numerous albums that achieved platinum sales status and spawned countless hits. Indeed, one of Mary’s albums - No Frontiers - spent more than a year in the Irish Top 30!

To the acclaim and awards Mary has received over the years from both the public and the critics must also be added the esteem she has generated from her fellow artists. Indeed, many of them have recorded and performed live with her, including Emmylou Harris, Mary Chapin Carpenter, Joan Baez and Van Morrison, not to mention a host of Irish traditional musicians and singers. Along the way she has also recorded and performed with her siblings in The Black Family and with her highly successful sister Frances.

Coming from an intensely musical family, with her mother a fine singer and her father an entertaining fiddle player, Mary first came to the music public’s attention in the late ‘70s as a member of the group General Humbert with whom she recorded and toured. In 1983 she teamed up with guitarist/producer Declan Sinnott (later to become Christy Moore’s musical sidekick) and released her eponymously-named debut solo album. It reached No. 4 in the Irish Charts and is ranked among the best Irish albums of the early 1980's. It won her the Irish Independent Arts Award for Music, the first in a staggering sequence of awards that continue to come her way.

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Krzysztof Urbanski - Urbanski

Bitrate: MP3@320K/s
Time: 55:29
Size: 127.0 MB
Styles: Classical, Symphony Orchestra
Year: 2010
Art: Front

[ 7:23] 1. Szarmancki Lawirant
[10:12] 2. Giant Steps
[ 6:23] 3. Touch Her Soft Lips And Part
[10:59] 4. Your History
[ 7:11] 5. You Must Dance To My Music
[ 4:00] 6. When Frank Dances Funk
[ 9:17] 7. B.H. Blues

Krzysztof Urbański is music director of the Indianapolis Symphony Orchestra, main conductor and artistic leader of the Trondheim Symfoniorkester as well as the first guest conductor of the Tokyo Symphony Orchestra. During the 2015 / 2016 season he was the first guest conductor of NDR Sinfoniorchester – the symphonic orchestra of North German Radio. He looks more like a teen idol than a grizzled maestro and his interpretations are suffused with a youthful freshness and frankness – Tagesspiegel wrote in January 2013 about a performance of Lutosławski – His left hand’s gesture targeting the orchestra is obvious: ‘Ladies and Gentleman – let’s rock!’ Musicians eagerly picked up the gauntlet: rarely do they play with such a spontaneity, precision and virtuosity as they did performing the breakneck Lutosławski concert – it was a storm which left no space for signs of musical lassitude or sluggishness.

In 2007 he graduated from the Conducting Faculty of the Fryderyk Chopin University of Music in Warsaw under Professor Antoni Wit. He honed his skills in masterclasses with Kurt Masur. He has only taken part in two conducting contests - he placed second and received an award for Most Outstanding Artistic Personality at the 4th Witold Lutosławski International Review of Young Conductors in Białystok, Poland, and won the International Conducting Contest in Prague in 2007 (part of Prague Spring Festival / Pražské Jaro Festival).

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Sammy Davis Jr - I've Gotta Be Me: The Best Of Sammy Davis Jr

Bitrate: MP3@320K/s
Time: 42:40
Size: 97.7 MB
Styles: Vocal
Year: 2005
Art: Front

[3:45] 1. Lush Life
[3:45] 2. A Stranger In Town
[3:24] 3. What Kind Of Fool Am I
[2:12] 4. Once In A Lifetime
[2:23] 5. Someone Nice Like You
[3:04] 6. As Long As She Needs Me
[2:58] 7. Who Can I Turn To (When Nobody Needs Me)
[2:16] 8. Here's That Rainy Day (With Laurindo Almeida)
[3:05] 9. I Want To Be With You
[2:41] 10. Night Song
[2:53] 11. The Shelter Of Your Arms
[2:57] 12. I've Gotta Be Me
[2:14] 13. Yes I Can
[2:21] 14. Gonna Build A Mountain
[2:34] 15. If I Ruled The World

I've Gotta Be Me: The Best of Sammy Davis, Jr. on Reprise is a thorough 15-track retrospective of Davis' '60s recordings for Reprise, featuring the bulk of his hit singles -- including "What Kind of Fool Am I," "As Long as She Needs Me," "The Shelter of Your Arms," and "I've Gotta Be Me" -- plus album tracks that illustrate Davis' depth as a singer. The album is assembled as an argument for Davis' skills as a vocalist and entertainer, shunning many of his lighter numbers for show tunes and interpretations of '60s professional songwriters. The gambit works, since I've Gotta Be Me not only showcases Davis' immense vocal talent, but also the variety of his '60s recordings. Though these sometimes exhibit a glossy Vegas sheen, they are more varied and intriguing than his later work, while they demonstrate a versatility that his earlier Decca work only hinted at. In short, I've Gotta Be Me captures much of the essence of Sammy Davis, Jr. ~Stephen Thomas Erlewine

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The Mastersounds - Introducing The Mastersounds: Water's Edge

Bitrate: MP3@320K/s
Time: 57:45
Size: 132.2 MB
Styles: Contemporary jazz
Year: 2011
Art: Front

[3:51] 1. Un Poco Loco
[3:40] 2. Wes' Tune
[4:56] 3. Lover
[4:53] 4. Dexter Deck
[3:53] 5. If I Should Lose You
[5:34] 6. That Old Devil Moon
[4:42] 7. The Queen And I
[5:23] 8. Spring Is Here
[3:32] 9. Water's Edge
[3:06] 10. Drum Tune
[6:30] 11. Bela By Barlight
[7:39] 12. Caravan

Buddy Montgomery (vib), Richie Crabtree (p), Monk Montgomery (Fender electric bass), Benny Barth (d).

With almost the same instrumentation as the Modern Jazz Quartet, The Mastersounds burst on the late-50s scene when the MJQ was already established as the pre-eminent small group in jazz. But they were no imitators. Where the MJQ was all seriousness and sophisticated classical borrowings, the Mastersounds set out to get feet tapping, aided by the distinctive sound of Monk Montgomerys Fender bass. It worked. After securing a three-month booking at a club in Seattle during January 1957, the group went to play at San Franciscos Jazz Showcase, where producer Dick Bock discovered them. They were on their way, becoming the most successful quartet since the MJQs advent. Popular (and once voted best new small combo in Down Beats critics poll) they disbanded in 1961. This CD presents their debut recordings, redolent of the time when they first caught the moment.

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Russell Gunn - Smokin Gunn

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 56:49
Size: 130,6 MB
Art: Front

( 3:43)  1. (From the Freedom Suite) The Paris Masses Begin / the San Domingo Masse
( 4:24)  2. Amnesia
( 5:01)  3. El's Kitchen
( 7:49)  4. Groid
( 5:26)  5. Yvette
( 8:59)  6. Memory of Waterford
( 8:12)  7. The Beeach
( 2:51)  8. Delfeayo's Dilemma
(10:21)  9. Crescent

Following 1999's hip-hop/jazz foray Ethnomusicology, Vol. 1, trumpeter Russell Gunn returns to straight-ahead jazz on Smokin Gunn, where he's joined by altoist Bruce Williams, pianist Marc Cary, bassist Eric Revis, and drummer Terreon Gully. Compositionally, there's a distinct flavor of early Wynton Marsalis in Gunn's originals. One hears the influence of the elder trumpeter in the bashing, blistering tempo of "Groid," the modal changes of "Amnesia," and "The Beeach," and the odd phrase lengths of "El's Kitchen." Gunn even pays direct tribute to Marsalis with a brief trio rendition of "Delfeayo's Dilemma," a track off of Black Codes (From the Underground). The presence of Eric Revis, Branford Marsalis's bassist of choice at the time of this recording, makes the Marsalis connection even stronger. Gunn opens and closes the album with bold strokes, beginning with excerpts from his "Freedom Suite" (not to be confused with Sonny Rollins's) and ending with the Coltrane masterpiece "Crescent." (It's particularly refreshing to hear a trumpeter tackle something so closely identified with a tenor player.) But Smokin Gunn, despite its many highlights, falls short of being a major individual statement. That said, it's a very good way to encounter the hard-edged and inventive piano playing of Marc Cary. And anything with Terreon Gully at the drums is bound to swing like crazy. ~ David R.Adler https://www.allmusic.com/album/smokingunn-mw0000066429

Personnel: Russell Gunn (trumpet); Bruce Williams (alto saxophone); Marc Cary (piano); Eric Revis (bass); Terreon Gully (drums).

Smokin Gunn

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Jane McDonald - Hold the Covers Back

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 49:02
Size: 114,0 MB
Art: Front

(3:18)  1. One Step at a Time
(3:22)  2. I'll Not Be Beaten
(4:23)  3. I See It in Your Eyes (feat. Tony Hadley)
(4:21)  4. I'll Be There
(3:26)  5. Let the Light in
(3:10)  6. One More Day
(4:56)  7. The Singer of Your Song
(3:41)  8. Step Outside Your Door
(3:39)  9. The Hand That Leads Me
(4:06) 10. Hold the Covers Back
(5:38) 11. Winner
(4:57) 12. When I Look at You

One of the U.K.'s first successful reality TV recording artists, cabaret singer Jane McDonald became an overnight sensation after appearing in BBC docu-soap The Cruise. Born in Wakefield in 1963, McDonald started her singing career performing at various workingmen's clubs across the North of England, employing her father as her roadie. After working as an entertainer on several cruise ships, she retired from the business for nine months until a call from her agent persuaded her to take up one final job, a residency on The Galaxy. Coincidentally, the BBC was filming a fly-on-the-wall documentary about the day-to-day running of the cruise liner and asked McDonald if she would like to appear. Thanks to her down to earth nature and Northern sense of humor, she became the show's biggest star, and following its huge ratings success, she was signed to Focus Records. In 1998, her self-titled debut album reached number one in the U.K. charts, where it stayed for three weeks; she performed a sold-out show at the London Palladium, and her televised marriage to Henrik Brixen attracted 14 million viewers. In 2000, she returned with second album Inspiration (number six) and became a TV presenter for the BBC, fronting both The National Lottery and Star for a Night, a talent show which helped launch Joss Stone. A year later, her third album, Love at the Movies, reached number 24 and she appeared in the West End production of Romeo and Juliet: The Musical. In 2005, she released her fourth album, You Belong to Me (number 21) and became a regular panelist on ITV chat show Loose Women. In 2008, following an appearance on a program revisiting the stars of The Cruise, her fifth studio album, Jane, saw her return to the Top Ten for the first time in eight years and she embarked on a sold-out theater tour across the U.K. In 2014, she released the album Singer of Your Song, and the same year embarked on a tour in support of the album. Two years later the singer launched the Making Memories tour, and the popularity of the performance extended the show's run into 2017. That same year, McDonald released her seventh album. Hold the Covers Back featured original material, and a guest spot from Spandau Ballet's Tony Hadley. ~ Jon O'Brien https://itunes.apple.com/gb/album/hold-the-covers-back/1299033996

Hold the Covers Back

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Mike Richmond - Dance For Andy

Styles: Jazz, Post Bop
Year: 1989
File: MP3@320K/s
Time: 74:01
Size: 169,9 MB
Art: Front

( 8:44)  1. Conflictions
( 6:53)  2. Invitation
( 8:44)  3. Emily
(10:14)  4. Dance For Andy
( 8:28)  5. I Remember Clifford
( 8:58)  6. Gospel
( 5:18)  7. Witchi-Tai-To
( 7:08)  8. Blues For Spock
( 9:30)  9. You And The Night And The Music

“ This is an excellent example of CD’s advantage over LP. The playing time is almost 1 1/4 hours and the sound is superb DDD; the music is all of a very high quality…I’ve played this CD a good many times since receiving it, and its appeal has in no way diminished. Could be one for my Top Ten of 1991.” (Mike Shera, Jazz Journal International )

Personnel:  Mike Richmond - bass;  Larry Schneider - tenor & soprano sax;  Jim McNeely - piano;  Keith Copeland - drums

Dance For Andy

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Elmo Hope - Informal Jazz

Styles: Piano Jazz
Year: 1956
File: MP3@320K/s
Time: 38:43
Size: 88,8 MB
Art: Front

(11:13)  1. Weeja
( 8:41)  2. Polka Dots and Moonbeams
( 9:05)  3. On It
( 9:43)  4. Avalon

The Prestige label turned out records like this at the rate they roast ducks in Chinatown, and there are plenty of happy souls who can't get enough of either. If this particular session hasn't assumed the legend of a jazz classic, it's because, on the whole, some little spark seems to be missing. If this element could be defined easily, and put into words quickly and efficiently, then record producers and musicians would know exactly how to create the perfect jam session record. The people involved in this record know much more about such a science then the average musician and record producer. These are musicians very far down the road from being average, all of this underscoring the difficulty of creating a spontaneous recording session at which moments of improvisational genius are expected to pop up. While the album's title is another example of how cleverly labels such as this can describe what they are selling, there are really many aspects of these proceedings that are hardly informal at all. Describing these in the order in the importance, the obvious place to start is the drum and bass team of Philly Joe Jones and Paul Chambers. The playing of these gentlemen here is worth the price of the record alone, even if the copy is secured from a tightwad used-record store owner somewhere in the Ozarks who only opens the doors of his establishment for gold credit card owners. This is hardly the kind of rhythm section playing heard at a jam session, except possibly in heaven. Elmo Hope mans the piano bench at the helm of this dream team, and while the liner notes call him the "nominal leader" for the blowing date, he earns actual leader status by accomplishing two things. First, his solo spots are the best part of the record, especially the part of "Weeja" where even Jones drops back, eventually adding some strange filigree. At this point the rhythm section seems to be making a statement about having gone through the rigmarole of backing all the previous horn solos in an exercise that is supposed to produce great moments of jazz, but maybe didn't. They play as if in relief, as if happy it is up to them for a change. What happens is truly memorable, but it sounds more like professional musicians who have worked together many times hitting a genius moment, not a jam session.

Second, Hope provides original material that helps give the record its personality. It is typical to pass off the tunes at sessions such as this as just simple contrivances to launch soloists, but again it is a stretch to imagine an "informal" recording session where even material as complicated as this is played. Both of the standards have arrangements that would leave jazz students, and some of their teachers, tying their shoes on the bridge. Hope's "Weeja" has a simple fanfare of a theme, sure, but it is arranged within a nifty series of short blowing spots. This is where the merry listener gets the treat of hearing Donald Byrd, Hank Mobley, and John Coltrane introduce themselves instrumentally, the latter tenor giant making a great ride of the bridge. Everything is tight, together, and without a hitch. Squeaking mouthpieces from Mobley and Coltrane are the only casual aspects. 

These tenor titans are promoted as being involved in reviving the instrumental battle popularized by Gene Ammons and others here, but a real duel would require some kind of interaction between the participants. Mobley and Coltrane really don't seem to be paying much attention to each other, pursuing their own agendas. Mobley has the whisk broom and the fluff brush, enjoying an effortlessly fluid tone with a sound a bit like Warne Marsh at times. Coltrane continually blasts ringing melodic variations on various hard bop licks, each of them worthy of being chiseled into marble. The trumpeter's acrobatics are familiar, pole-vaulting through the changes, running the 440 through the bridge, then a standing broad jump in the trades with Jones. Can anyone else play like Byrd? It hasn't happened yet. The overall best performance is probably "Polka Dots and Moonbeams" since it is the one slow tune of the bunch, it gets the most special treatment. Shorn of nothing but moments of sheer brilliance, a shorter and better version of this album would feature only the piano solos and the parts where everyone trades fours with the drummer. ~ Eugene Chadbourne https://www.allmusic.com/album/informal-jazz-mw0000907736

Personnel:  Elmo Hope — piano;  Donald Byrd — trumpet;  John Coltrane, Hank Mobley — tenor saxophone;  Paul Chambers — bass;  Philly Joe Jones — drums

Informal Jazz

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Romero Lubambo - Só - Brazilian Essence

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 57:08
Size: 131,3 MB
Art: Front

(4:18)  1. Aquarela Do Brasil
(3:36)  2. Brigas Nunca Mais
(4:20)  3. Paquito in Bremen
(4:05)  4. Pedra Bonita
(4:01)  5. Voce E Eli
(4:56)  6. Song For Kaya
(3:03)  7. Luisa
(3:43)  8. Coisa Mais Linda
(5:56)  9. Insensatez
(5:39) 10. Samambaia
(5:13) 11. By The Stream
(4:01) 12. A Felicidade
(4:12) 13. Laura

Since his arrival in the States from Rio nearly three decades ago, Romero Lubambo has served as a sideman and session hand to the likes of Dianne Reeves, Luciana Souza and numerous others; as a leader in the studio; and as a member of Trio da Paz. But he’s always shined brightest as an unaccompanied solo guitarist. Só: Brazilian Essence is that and nothing more-Lubambo alone, taking it back home-and it sure is delicious. Lubambo’s virtuosity is absolute; his command of his instrument is total, his execution flawless. But what makes him so engaging is that, although he could simply exploit his skillfulness and be done with it, he’s most decidedly not about that. Unearthing the essence of a melody-understanding the song’s intent and using that as his jump-off point-is his first order of business, and only after he’s comfortable in a song’s skin does he begin to develop and embellish. On the opener, Ary Barroso’s “Aquarela do Brasil,” Lubambo dives in boldly, establishing his approach with elaborate filigrees that tease at flamenco with their dramatic, classically informed flourishes. Meshing his own leads throughout with perfect rhythmic counterpoint, he tosses theatrical flares into the air, calms it all down deftly, and then shoots more fireworks. It’s a tool he employs often on Só, but it’s one that never gets old. Of Lubambo’s three self-penned tunes (and one dually composed piece), the peaceful, soothing “Song for Kaya” is a highlight, and his nimble touch on the Raksin-Mercer standard “Laura” exposes the song’s intrinsic tenderness. Jobim is represented with a pair, including the oft-interpreted and always welcomed “Insensatez,” given a straightforward, unadorned treatment that downplays its bossa rhythm in order to more openly reveal the heartbreak of the melody.~ Jeff Tamarkin https://jazztimes.com/reviews/albums/romero-lubambo-so-brazilian-essence/

Personnel:  Guitar – Romero Lubambo;  Vocals – Romero Lubambo (tracks: 8)           

Só - Brazilian Essence

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Lee Morgan - The Cooker

Bitrate: MP3@320K/s
Time: 46:26
Size: 106.3 MB
Styles: Bop, Trumpet jazz
Year: 1957/2006
Art: Front

[9:19] 1. A Night In Tunisia
[7:02] 2. Heavy Dipper
[7:15] 3. Just One Of Those Things
[6:46] 4. Lover Man
[8:11] 5. New-Ma
[7:51] 6. Just One Of Those Things

Baritone Saxophone – Pepper Adams; Bass – Paul Chambers (3); Drums – Philly Joe Jones; Piano – Bobby Timmons; Trumpet – Lee Morgan. Originally recorded on September 29, 1957 at the Van Gelder Studio, Englewood Cliffs, New Jersey. All transfers from analog to digital were made at 24-bit resolution.

Although Lee Morgan had already made a handful of albums at the age of 19, The Cooker (1957) represents his throwing down the gauntlet as successor to Clifford Brown's vacated throne. It's close to being a pure bebop session, suggestive of a date like For Musicians Only (Verve, 1956), on which Gillespie, Stitt and Getz set some sort of record for NPS (notes per second). At the same time, the precocious trumpeter, already brimming with confidence, is not about to get reckless: he pulls a punch or two, most notably on the opening "Night in Tunisia."

Bebop was a musical language about comparisons, and Morgan was keenly aware of his predecessors. Charlie Parker's incredible four-bar break at the end of the sixteen-bar tag of Gillespie's signature piece on the 1947 Carnegie Hall concert (Diz 'N Bird at Carnegie Hall, Blue Note, 1997) had come to represent the gold standard of jazz improvisation, which Morgan had only begun to approach on his solo performances of the tune with the Gillespie big band (Dizzy Gillespie at Newport, Verve, 1957). And though Clifford Brown's version is equal parts inspired invention and stunning virtuosity (Art Blakey, A Night at Birdland, Vol. 1, Blue Note, 1954), the naked four-bar break is given to Lou Donaldson's alto saxophone, with arguably embarrassing results.

Morgan slyly eludes trouble yet takes the listener by surprise when he omits all but the tag's challenging four bars, which he then "wastes" by simply having bass and drums mark time. The listener's letdown is quickly offset, however, by a blistering trumpet solo starting on the first beat of the main chorus, demonstrating why the rising star chose such a deliberative tempo: almost the entirety of his two-chorus solo is played in double time. As dazzling as his execution is, Morgan has one more deception up his sleeve. On both the earlier Gillespie recording and a later Art Blakey date (A Night in Tunisia, Blue Note, 1960), the trumpeter makes sure he gets his piece said on the A7 altered chord of the tune's cadenza: on this occasion, he takes a complete pass!

The characteristically showy side of Morgan is in evidence on his "Heavy Dipper," an infectious, medium-tempo swinger. Anticipating trademark mannerisms—clipped notes, upward slurs, half-valving, triple-tonguing—his solo is still as flowing as it is playful. The tempo of "Just One of Those Things" breaks the sound barrier while exposing one of the still-maturing musician's weaknesses: if a turn of phrase sounds good once, certainly playing it a few more times can't be a bad idea. Unfortunately, the effect of these ramped-up, "treadmill" moments can get uncomfortably close to "Carnival of Venice" showpiece territory. The alternate take of the tune proves more musically substantive, though the ballad number—the bebopper's requisite "Lover Man"—does little to advance the newcomer's cause.

Pepper Adams is an unrelenting juggernaut on the date, pushing the leader to rise to each challenge. Bobby Timmons, Paul Chambers and Philly Joe Jones supply all of the heat required for this cooking session, otherwise judiciously staying clear of the head chef, who serves up cuisine likely to impress even the fastidious gourmet. ~Samuel Chell

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Kate Ceberano - So Much Beauty

Bitrate: MP3@320K/s
Time: 49:37
Size: 113.6 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[3:51] 1. Suddenly I See
[4:48] 2. Live To Tell
[4:00] 3. She Will Be Loved
[4:28] 4. Avalon
[3:02] 5. So Much Beauty
[4:31] 6. I'll Stand By You
[4:47] 7. Chasing Cars
[4:12] 8. Stars And Satellites
[3:34] 9. Play Me
[3:36] 10. Never Say Never
[4:39] 11. Babylon
[4:04] 12. Bridge Over Troubled Water

After a massive rise to stardom, a mild decline in recognition, and a comeback fueled by semi-celebrity television contests, songstress Kate Ceberano began mixing covers heavily into her releases, starting with 19 Days in New York, moving through Nine Lime Avenue, and culminating with So Much Beauty, a set of covers of modern tracks. The songs themselves are generally good picks, encapsulating the mid- to late 2000s. However, Ceberano treats the songs with a bit too much simplicity, never adding herself to the songs as much as casually laying down the necessary tracks to complete them. She's got a nice voice, but the pieces come out flatly. The Pretenders' "I'll Stand by You" is taken in its Carrie Underwood format and then casually left on the figurative pavement. Maroon 5's "She Will Be Loved" is treated tepidly -- a very slight Brazilian beat is added into the mix, but Ceberano's vocals remove nearly all signs of emotion. Even KT Tunstall's "Suddenly I See" is made somehow less threatening, less exciting. There is a brief bright note on the album -- just as it closes, unfortunately. A rendition of "Bridge Over Troubled Water" is done in tandem with a nice slack key backing, and Ceberano's actual abilities briefly come out and make for an interesting sound. If only that had come earlier in the album. ~Adam Greenberg

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Tom Green Septet - Skyline

Bitrate: MP3@320K/s
Time: 65:06
Size: 149.0 MB
Styles: Trombone jazz
Year: 2015
Art: Front

[ 6:14] 1. Sticks And Stones
[12:56] 2. Equilibrium
[ 8:40] 3. Arctic Sun
[ 7:45] 4. Peace Of Mind
[ 5:34] 5. Mirage
[ 6:10] 6. Skylark
[11:36] 7. Winter Halo
[ 6:08] 8. Diy

Tom Green: trombone; Matthew Herd: soprano saxophone, alto saxophone; Sam Miles: tenor saxophone; James Davison: trumpet, flugelhorn; Sam James: piano; Misha Mullov-Abbado: double bass; Scott Chapman: drums.

Skyline is the debut release from the Tom Green Septet, a young band from the UK led by trombonist and composer Tom Green. A graduate of the Royal Academy Of Music and winner of the 2013 Dankworth Prize for jazz composition, Green wrote all of the tunes on Skyline with the exception of Hoagy Carmichael's "Skylark."

The eight tunes range from the upbeat "DIY," influenced by New Orleans second lines, to the quickfire, skittish "Sticks And Stones" and the cool, sophisticated "Mirage"—evidence of Green's wide range of influences and his talent for putting them together in a myriad of combinations. Green offers plenty of space for solos and his bandmates take up his offer with alacrity. He puts his own stamp on the solos, too. "Mirage" probably shows his playing to best advantage, the relatively spacious accompaniment enabling him to play with subtlety and to reveal a rich tone that conveys emotion as well as demonstrating his technical command. "Winter Halo" also features a fine trombone solo. It's a tune that readily evokes the beauty of a crisp winter's day, with Matthew Herd's soprano darting and fluttering like a happy robin and the pairing of Misha Mullov-Abbado's bass and Sam James's piano capturing the sparkle of the sun on the morning frost. "Equilibrium" hands the spotlight to the saxophonists, Herd and tenorist Sam Miles, both of whom deliver energetic and inventive solos. The tune shifts from its slinky, swaying, first half to a slower and more dramatic closing section—a free-blowing, aggressive, mid-section disrupts the melodic flow but is over pretty quickly. "Arctic Sun" builds more consistently, from its calm beginning towards a swinging conclusion. The ensemble playing is particularly fine, a mellow horn section sound flowing over the assertive rhythm section.

Although the Tom Green Septet owes much to its leader—compositions, arrangements, organisation and some strong solos—it comes over as much more than a bunch of hired hands. This group of seven players has the genuine feel of an ensemble: each musician matters as an individual, a personality whose particular approach to his instrument is integral to Green's compositions and to the success of Skyline. ~Bruce Lindsay

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The SWR Big Band - Kings Of Swing, Op. 1 & Opus 2

Album: Kings Of Swing, Op. 1
Bitrate: MP3@320K/s
Time: 45:25
Size: 104.0 MB
Styles: Big band
Year: 2013
Art: Front

[3:05] 1. Opus No. 1
[3:03] 2. Why Don't You Do Right
[2:50] 3. Marie
[3:22] 4. Gentlemen Prefer Blondes/Diamonds Are A Girl's Best Friend
[2:48] 5. At Last
[3:36] 6. Stealin' Apples
[2:48] 7. A-Tisket, A-Tasket
[3:24] 8. And The Angels Sing
[4:24] 9. Isfahan
[3:31] 10. Tale Of Tsar Saltan, Op. 57 Flight Of The Bumble-Bee (Arr. M. Nightingale)
[2:18] 11. Trumpet Blues And Cantabile
[2:13] 12. Almost Like Being In Love
[2:58] 13. Swing That Music
[4:59] 14. What A Wonderful World

This collaboration with the SWR Big Band hänssler CLASSIC / SWRmusic proves once again the highest professional level of this Stuttgart ensemble. Featuring skillful arrangements of popular evergreens from the “Kings of Swing,” this release includes “Diamonds Are A Girl’s Best Friend” and “What A Wonderful World.”

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Album: Kings Of Swing, Op. 2
Bitrate: MP3@320K/s
Time: 49:39
Size: 113.7 MB
Styles: Big band
Year: 2016
Art: Front

[4:29] 1. On The Sunny Side Of The Street
[2:22] 2. Bugle Call Rag
[3:42] 3. Satin Doll
[2:46] 4. Witchcraft
[3:05] 5. Honeysuckle Rose
[2:40] 6. Stardust
[3:02] 7. Love Me Or Leave Me
[2:39] 8. Down For Double
[4:42] 9. Poinciana
[2:52] 10. Struttin' With Some Barbecue
[3:32] 11. Cute
[4:04] 12. One O'clock Jump
[2:59] 13. I'm Gonna Sit Right Down And Write Myself A Letter
[3:49] 14. Star Spangled Rhythm That Old Black Magic
[2:49] 15. Blues In The Night

More than just a collection of delightful tunes, the track list of Kings of Swing Opus 2 takes us on a journey through the golden age of swing. After the positive reception of Kings of Swing Opus 1, the SWR Big Band presents a new list of classics, including Satin Doll, Love Me or Leave Me, One O’Clock Jump, and many more. Under the direction of Pierre Paquette, the SWR Big Band is one of the most acclaimed big bands in Germany. Vocalist Fola Dada is featured on this album, and is widely recognized as one of the most versatile vocalists of our time.

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Ahmad Jamal - Tranquility

Bitrate: MP3@320K/s
Time: 38:25
Size: 88.0 MB
Styles: Bop, Piano jazz
Year: 1968/1977
Art: Front

[2:25] 1. I Say A Little Prayer
[2:50] 2. The Look Of Love
[4:17] 3. When I Look In Your Eyes
[2:29] 4. Illusions Opticas
[2:42] 5. Nothing Ever Changes My Love For You
[3:43] 6. Emily
[8:52] 7. Tranquility
[4:44] 8. Free Again
[6:18] 9. Manhattan Reflections

Bass – Jamil Sulieman; Drums – Frank Gant; Piano – Ahmad Jamal.

This hard-to-find recording is of value if only to hear Jamal's interpretation of two Burt Bacharach-Hal David gems from the '60s, "I Say a Little Prayer" and "The Look of Love." Since the early '50s, Jamal has managed to generate commercial appeal within the piano trio format by crafting memorable arrangements without resorting to clichés. (Jamal's trio concept paved the way for the success of Ramsey Lewis, the Three Sounds, and others.) He treats the entire trio -- not just the piano -- as his instrument and has mastered the use of space and dynamic variation in shaping his distinctive group sound. Jamal has a keen sense of formal structure; his concise renderings of standards and pop tunes always offer a fresh take on the familiar by deconstructing and reconstructing melodic, harmonic, and rhythmic themes. This collection is no exception. Check out the bass ostinato which frames Mercer & Mandel's "Emily," or the superimposed rhythms of "Nothing Ever Changes My Love for You." Jamal, himself a major innovator in modern jazz (his significant influence on Miles Davis has been widely noted) is able to continually find inspiration in the developments of other jazz artists. Listen to the modal vamps on his original compositions "Manhattan Reflections" and "Tranquility," inspired by McCoy Tyner's work. Or the reference to Herbie Hancock's Maiden Voyage in "When I Look in Your Eyes." Though he remains open to new trends in jazz, Jamal's music always retains its essential uniqueness. While not to be ranked amongst his greatest works, Tranquility is a very fine recording and any opportunity to hear this master should not be missed. Along with bassist Jamil Nasser and drummer Frank Gant, Ahmad Jamal makes beautiful and accessible trio music conceived with great depth and clarity. ~Lee Bloom

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Red Garland - High Pressure

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 44:08
Size: 101,2 MB
Art: Front

(13:49)  1. Soft Winds
( 8:35)  2. Solitude
( 6:54)  3. Undecided
( 6:00)  4. What Is There to Say?
( 8:48)  5. Two Bass Hit

The distinctive pianist Red Garland, tenor saxophonist John Coltrane (then 31 and already breaking away from the pack), and trumpeter Donald Byrd, along with the supportive bassist George Joyner and drummer Art Taylor, perform five jazz standards on this CD reissue. Highlights include "Soft Winds," "Undecided," and an explosive version of "Two Bass Hit" that foreshadowed the rendition that Trane would record with Miles Davis and Cannonball Adderley the following year. High-quality hard bop from some true "Young Lions." ~ Scott Yanow https://www.allmusic.com/album/high-pressure-mw0000653494   

Red Garland Quintet: Red Garland (piano); John Coltrane (tenor saxophone); Donald Byrd (trumpet); George Joyner (bass); Arthur Taylor (drums).

High Pressure

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Steve Kuhn - Countdown

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 55:39
Size: 127,8 MB
Art: Front

(3:53)  1. Countdown
(5:13)  2. Chalet
(3:31)  3. Last Year's Waltz
(6:30)  4. Wrong Together
(7:11)  5. Four
(4:56)  6. Why Did I Choose You?
(6:50)  7. When Lights Are Low
(4:35)  8. She's Funny That Way
(9:36)  9. Speak Low
(3:20) 10. Tomorrow's Son

Experiencing a sort of re-discovery as of late, pianist Steve Kuhn has finally made a path to wider visibility. Of course, Kuhn has largely spent most of his career on the fringes. He was John Coltrane's first pianist before McCoy Tyner came along. His own recordings over the years have featured a style that is singularly his own, not too avant-garde but certainly not cocktail lounge piano either. His wonderful series of recordings for ECM during the late '70s and early '80s were largely overlooked upon issue and now are sadly unavailable. But getting back to that path, Kuhn has recently put out his second piano trio date for the Reservoir label and like its predecessor, Dedication, it's chock full of complexity and substance, yet also very inviting and accessible. The title track that gives the album its name is of course the John Coltrane chops buster and it finds Kuhn in an incendiary mood, yet one senses that it's all done without even breaking a sweat. The same could be said of the pianist's version of "Four", which unfolds in chorus after chorus of brilliant logic. Most apparent on the several ballad performances where the harmonic sophistication tips a hat to Bill Evans, Kuhn also puts on display that marvelous bell-like tone of his, caught beautifully on tape by master engineer Rudy Van Gelder. In addition to the cuts already mentioned you'll find a few more standards and three choice Kuhn compositions, including the minor gem "Last Year's Waltz." Much should be said too in regards to Kuhn's associates here. They are actually a working group and the empathy they share is apparent. A great deal of the success of this and the previous Reservoir set is due to the complexity of communication that goes on between Kuhn and bassist David Finck and drummer Billy Drummond. For those familiar with Drummond's more aggressive style as heard on many a Criss Cross Jazz side you'll be in for a treat when you hear how his already musical drumming is tailored perfectly to fit Kuhn's various moods. Drummond's is an art based on the various colors and textures available from the drum kit and he's so perfectly meshed with Kuhn that at times it's downright uncanny. As part of Reservoir's distinguished New York Piano series, Countdown is a step forward for Kuhn and a valuable addition to this independent's small but substantial catalog. ~ C.Andrew Hovan https://www.allaboutjazz.com/countdown-steve-kuhn-reservoir-music-review-by-c-andrew-hovan.php

Personnel: Steve Kuhn, piano; David Finck, bass; Billy Drummond, drums

Countdown

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Don Braden - Brighter Days

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 60:18
Size: 138,3 MB
Art: Front

(6:12)  1. She's On Her Way (Dedicated To
(5:58)  2. I Hear A Rhapsody
(7:44)  3. Sweet T (Dedicated To Stanley
(7:34)  4. Invitation
(3:36)  5. Underground Groove
(5:27)  6. Not Yet (Dedicated To Grover W
(7:00)  7. My Favorite Things
(6:07)  8. Montclair
(4:11)  9. Prelude To A Kiss
(6:28) 10. Brighter Days

Don Braden has long been a top-notch hard bop tenor saxophonist. For this quartet date with pianist Xavier Davis, bassist Dwayne Burno, and drummer Cecil Brooks III, the arrangements by Braden and the choice of songs greatly uplift the program. There are many high points, including the opening ballad "She's on Her Way," tributes to Stanley Turrentine ("Sweet T") and Grover Washington Jr. ("Not Yet"), a driving "Invitation," a duet with drummer Brooks ("Underground Groove"), and the swinging Cecil Brooks original "Montclair." Everything works! This is one of Don Braden's finest recordings so far, a well-conceived and very successful project. ~ Scott Yanow https://www.allmusic.com/album/brighter-days-mw0000006448

Personnel :  Don Braden (tenor saxophone); Xavier Davis (piano); Dwayne Burno (bass); Cecil Brooks III (drums).

Brighter Days

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Kurt Elling - The Questions

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 65:13
Size: 149,9 MB
Art: Front

(8:05)  1. A Hard Rain's A-Gonna Fall
(3:46)  2. A Happy Thought
(6:12)  3. American Tune
(4:10)  4. Washing Of The Water
(6:18)  5. A Secret In Three Views
(6:54)  6. Lonely Town
(9:04)  7. Endless Lawns
(6:07)  8. I Have Dreamed
(6:24)  9. The Enchantress
(8:11) 10. Skylark

How does one grapple with existence and its juxtaposition against the present state of affairs? That's the question that hangs heaviest over The Questions. While vocalist Kurt Elling didn't come into this production with a theme in mind, he discovered a through line in the act of wrestling with difficulties and dreams in this age of marked unreason and unrest. With these ten songs he explores that topic to the fullest, coloring the music with his signature blend of authority and understanding.

 A mixture of tones inquiring and knowing sets this meditation on humanity and our times in motion with "A Hard Rain's A-Gonna Fall." Bob Dylan's difficult truths by way of Elling's passionate delivery immediately become the cynosure of ears and minds, though co-producer Branford Marsalis's soprano solo and drummer Jeff "Tain" Watts' pelting finish certainly garner attention. What follows an examining and affirming smile at life in pianist Stu Mindeman's musical setting of poet Franz Wright's " A Happy Thought," a gorgeous treatment of "American Tune" that recasts the Paul Simon classic as a treatise on immigration wrapped in hope's light and trapped in fear's web, and a hymn-like interpretation of Peter Gabriel's "Washing Of The Water" that's as emotive as anything in Elling's discography greatly furthers the image of the artist playing with the powers of enlightenment and doubt.  Through the remainder of the album, Elling paints with the various shades of perception, poetry, and philosophy that he knows so well. The bluesy resonance of "A Secret In Three Views" belies the deep thinking behind his Rumi-inspired lyrics to Jaco Pastorius' "Three Views Of A Secret," "Lonely Town" utilizes lighthearted sounds to frame the topic of solitude, "Endless Lawns" uses pianist-composer Carla Bley's "Lawns" as the musical basis for an arc that includes turmoil and release, and "I Have Dreamed" speaks to a yearning for love to bloom. Then the album closes with "The Enchantress," a work nodding toward matriarchal figures both Marsalis' and Elling's and taking directional cues from poet Wallace Stevens' "The Idea Of Order At Key West," and a toned-down "Skylark," bringing the title of this album into lyrical consideration in a subdued light. The core band members and notable guests all make the weight of their contributions felt along the way here, but Elling manages to carry the weight of the world in his voice. He may not have the answer to all of the questions, but he certainly makes you think about them. ~ Dan Bilawsky https://www.allaboutjazz.com/the-questions-kurt-elling-okeh-review-by-dan-bilawsky.php

Personnel: Kurt Elling: vocals; Stu Mindeman: piano, Hammond B-3 organ; Joey Calderazzo: piano (4, 6, 9); John McLean: acoustic guitar, electric guitar; Clark Sommers: bass; Branford Marsalis: saxophones; Marquis Hill: trumpet, flugelhorn; Jeff "Tain" Watts: drums.

Thank You my Friend!

The Questions

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