Margeaux Lampley - Rain

Styles: Vocal 
Year: 2012
File: MP3@320K/s
Time: 48:25
Size: 111,9 MB
Art: Front

(3:40)  1. Wastin' my time
(3:22)  2. Is it a crime?
(5:10)  3. La chanson des vieux amants
(4:41)  4. Blues
(3:09)  5. Don't let me down
(4:34)  6. Be like the wind
(3:41)  7. Devil may care
(3:45)  8. Shades of blue
(4:21)  9. Waiting in silence
(3:43) 10. My romance
(3:49) 11. Where we belong
(4:24) 12. Rainy day

Born in New York, Margeaux Lampley grew up in California, raised on gospel, jazz and soul music. After receiving a law degree from Columbia University in New York, she left the US and an international career in law to live the artist’s life in Paris, studying music with an emphasis on jazz at the CIM music school and the Studio des Variétés. Very quickly, she was invited to collaborate as a singer- songwriter for various French groups including the Marathonians (“Come on girl, come on boy”, signed by Warner and used for a worldwide Peugeot publicity campaign), Marc Collin (Nouvelle Vague, Les Pétroleuses producer) and Funkaroma before forming the the group Sodex and releasing two popular club singles. Her song “Move Me”, was featured on compilations in France and throughout various parts of the world, as well as on the soundtrack of the film “De battre mon coeur s’est arrêté”. Margeaux Lampley gravitated towards Jazz naturally. With her warm, intimate style, Margeaux is a regular on the Paris jazz scene, Sunset-Sunside Jazz Club, Petit Journal Montparnasse, and European festivals such as Enghien-les-bains Jazz Festival and is making a name for herself throughout France and Europe. She is accompanied by talented musicians such as pianists Olivier Hutman and Manuel Rocheman, double bass players Blaise Chevallier and Michel Rosciglione, drummers Thierry Chauvet and Olivier Robin, saxophonist David Sauzay and guitarist Olivier Louvel. In 2008, she proposed a first jazz album Love for Sale, which revisits the great jazz standards. For her new album Rain, Margeaux delivers 9 original compositions and 3 covers, oscillating between jazz, pop, soul and latin music. Pianist Olivier Hutman takes charge of the musical direction, the arrangements and the production of the album. With this second opus, Margeaux Lampley invites us on a cultural voyage. https://musicians.allaboutjazz.com/margeauxlampley

Rain

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Azar Lawrence - Shadow Dancing

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 38:04
Size: 88,3 MB
Art: Front

(3:58)  1. Magic in the night
(5:47)  2. Shadow dancing
(2:54)  3. Inside stuff
(7:58)  4. One more time
(3:49)  5. Your love is keeping me alive
(5:17)  6. Keep it hot
(5:19)  7. Singapore nights
(3:02)  8. Interlude

Azar Lawrence led a very musical childhood and began playing drums at the age of five and moved onto violin and piano under the direction of his mother Ima Lawrence. Ima, a gifted musician and teacher from whom Azar received his acute flair for all things music has shaped many successful musicians. Azar began playing with the USC JR Orchestra at the age of five. He played violin until the age of 8. He performed vocals accompanied by his mother during elementary school where she taught sixth grade and music.  At age eleven he began hearing a different musical voice.He was an accomplished pianist, violinist and vocalist in his own right at the time. He thought it was time to learn viola. But something happened. Lonnie a long time friend of Mr. Lawrence, and of the family, who often brought his flute when he visited, came by for a swim, and brought his alto sax. Azar was not poolside but he had to see who was playing that cool sound. His father his biggest supporter and fan who had bought all of Azar’s instruments purchased him an alto sax, and Azar began taking instruction from Mr. Schumaker once a week. In high school Azar played with the Dorsey High Jazz Band, and played a jazz workshop with Herbert Baker, “one of the greatest pianist that ever lived and I feel blessed to have been in his presence.”Azar played everyday with Herbert Baker until a tragic car accident took his teacher and mentor’s life, Azar’s senior year in high school. “That event made me reach deeper and I knew I had to carry on what I had learned.”

Drummer, Reggie Golson, introduced Azar to “the music”, and that’s when he began to get into the creation. Nightly he went to Reggie’s house. Reggie had a room full of records, and he would play them all, over time. Coltrane, Miles, Monk, Shorter. “Reggie prepared me. “After high school at the age of 19, Azar played with Candy Finch, Larry Gales, and Woody Shaw at a regular gig at a club on 54th St. in Los Angeles.Soon he would perform with Ike & Tina Turner, Watts 103rd St. band, and War. He then joined Elvin Jones for two years and after leaving Elvin, he joined McCoy Tyner’s group for five years and then back to Elvin for a year, and in the meantime recorded with Roberta Flack.“Miles Davis used to come and hear me when I played with McCoy Tyner in New York, as well as when I was with Elvin.” Miles approached Azar about joining his group, and he wasn’t ready to commit cause he wasn’t “feeling it.” Azar’s first performance with Miles was in DC and then they performed in New York at Carnegie Hall where Dark Magus was recorded. Azar Lawrence’s history has been impressive since the age of five, throughout his musical sojourn he’s played sax alongside names like Woody Shaw, Horace Tapscott, Ron Carter, McCoy Tyner, Elvin Jones, Henry Butler and Buddy Collette. Azar has been a force since he graduated from high school, releasing three albums of his own before the age of twenty-five, Bridge Into the New Age, People Moving People, and Summer Solstice. During the eighties he wrote and performed for Earth Wind & Fire, on one of their highly acclaimed releases Powerlight. He collaborated with Earth Wind & Fire’s leader Maurice White.

Azar is known to bring jazz to popular music he can be heard on the late Frank Zappa’s music to Busta Rhymes.There has been much speculation that Azar disappeared off the jazz scene, quite the contrary, although he wasn’t in the limelight, his credits are numerous one being the highly acclaimed, Grammy award winning album, Marvin Gaye’s, Hear My Dear. “After my biggest supporter passed, it was as if I passed with him.” Azar’s biggest fan and supporter was Azel Lawrence, his father. He would travel to gigs, he went to see Azar in Detroit when he was playing with McCoy and also to the Houston Astrodome. He needed to feel it like the first time when Lonnie played poolside at the house where he grew up. In the eighties and nineties, Azar began searching for a sound of his own, and began to write songs even more seriously than when preparing for his first three projects while recording for Fantasy records. He began working with Chuck Jackson who is known in part for his role as producer for all of Natalie Coles hit recordings. They co wrote twenty songs all of which were placed on projects such as Stanley Turentine’s, Coming Home. He formed a band, called Chameleon which recorded for Electra Records. Patrice Banks, Chocolate, of Grande Central Station was a member of that team.

Currently, Azar is in residence at The World Stage, also known as the house of Billy Higgins who he recorded and performed many times with the great until his death. He is a member of The World Stage Pan Afrikan Peoples Arkestra, which was under the direction of the great Horace Tapscott until his death in the late nineties. Being successful at such a young age has can have draw backs. His musical career was meteoric to say the least. Azar had performed on six continents before the age of 21. “You could say my life was fast and furious I had forgotten what I was taught, by my great teachers, my mother being the first, and she’s still teaching me in her 90’s.” “Music is your voice, keep it pure and share your gift not for the fame or fortune, but for the creator, as it was given to you by him at no cost. 

If you should make a living from your gift then that’s just gravy.” “If hadn’t run out of it, (manna) I would have died.” Playing for his mind, body and soul, and for self. https://musicians.allaboutjazz.com/azarlawrence 

Shadow Dancing

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Al Casey - A Man For All Sessions

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 75:43
Size: 176,6 MB
Art: Front

(1:25)  1. Ramrod
(2:42)  2. Caravan
(1:54)  3. If I Told You (Wouldn't Know It All By...)
(2:29)  4. Juice
(1:54)  5. Guitar Man
(1:54)  6. Willa Mae
(2:00)  7. Tuff
(2:16)  8. No Title (#1)
(3:32)  9. Blues (#1)
(2:02) 10. Give'n Up
(2:24) 11. (Got The) Teen-Age Blues
(2:27) 12. Forty Miles Of Bad Road
(1:39) 13. The Stinger
(3:28) 14. Tenderly
(3:46) 15. Laura
(3:26) 16. Green Dolphin Street
(2:14) 17. Cookin'
(2:24) 18. Jivin' Around
(2:09) 19. Doin' It
(2:07) 20. Surfin' Hootenanny (Stereo)
(2:02) 21. Guitars, Guitars, Guitars (Stereo)
(2:22) 22. Nola
(2:41) 23. Waltz Mignon
(2:15) 24. Cat Daddy
(2:43) 25. The Fool
(2:15) 26. It's Nothing To Me
(1:37) 27. Doggonit
(2:15) 28. Snake Eyed Mama
(2:24) 29. Endless Sleep
(2:02) 30. Long Johns Flgpole Rock
(1:57) 31. The Big Tragedy
(2:43) 32. Swinging Sheperd Blues

After a career that spans almost fifty years, Bear Family compiles Al Casey's best known tracks under his own name, as well as the cream of his studio work in this jam-packed 32 track compilation. It features his famous guitar riffs on classic rock 'n roll staples like The Fool, Endless Sleep, plus his beach favorite, Surfin' Hootenanny. 

In addition, you'll hear Al's original versions of Ramrod & his unreleased demo of Forty Miles Of Bad Road, made famous by Duane Eddy. Package also contains a 28-page booklet. 

~ Editorial Reviews https://www.amazon.com/Man-All-Sessions-Al-Casey/dp/B00005BGY8  

Personnel: Corky Casey (vocals, guitar, bass guitar); Don Cole, Jody Reynolds, Sanford Clark (vocals, guitar); Jimmy Spellman, Lee Hazlewood, Loy Clingman (vocals); Richard Edward Wilson (guitar, piano); Connie Conway (guitar, drums); Donnie Owens, Duane Eddy, Eddie Cochran (guitar); Jim Horn (flute); Ronnie Luplow (saxophone, baritone saxophone); Brad Bauder (saxophone); Larry Knechtel (piano); Buddy Wheeler (bass guitar); Todd Chuba, Ray Martinez , James M Man for All Sessions songs. "Jimmy" Troxel, Dolph Dial Payer, Jimmy Troxell (drums).

A Man For All Sessions

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Down To The Bone - Future Boogie

Styles: Big Band
Year: 2009
File: MP3@320K/s
Time: 66:58
Size: 155,9 MB
Art: Front

(7:42)  1. Future Boogie
(7:52)  2. Should've Been You
(6:57)  3. Spiderlegs
(7:36)  4. Good To Me
(6:30)  5. Get On It
(5:52)  6. The Brighter Side
(5:40)  7. Gotcha!
(5:46)  8. In The Pocket
(5:01)  9. Smash And Grab
(7:58) 10. We've Always Got The Music

The problem with Down to the Bone's Future Boogie is this: what the band is doing in the present, they've done better in the past. Two years ago, Down to the Bone (DTTB) celebrated their first decade of bringing the funk with a terrific studio album, Supercharged (Narada/2007), and a well-assembled compilation, The Best of Down to the Bone (Narada/2007). The two releases provided an excellent introduction to where this British band had been and a road map to where they might be going. Future Boogie is the sound of this funk/jazz ensemble idling in place. There's a non descript feel to the album's cover art and song titles, but lackluster packaging isn't the real dilemma. What is, is how the album comes off as the less interesting little cousin to Supercharged. Two of the guest artists from that album vocalist Hilary Mwelwa of Hil Street Sou l, and vibraphonist Roy Ayers return, but the material provided by Stuart Wade and Ian Cambell isn't as strong this time around. DTTB was previously a band with a strong rhythm section augmented by a horn section, which gave it the latitude to perform songs where the horns were prominent, alternating with others featuring no horns at all. This time every track is dominated by blaring brass, and the horn arrangements by Wade and Tim Smart shift the emphasis away from the rhythm section. This imbalance of power within the band leaves DTTB sounding, for stretches, like Tower of Power having an off night.

There's no such thing as a DTTB album without something worthwhile to recommend, and when they're given space to shine, bassist Julian Crampton, guitarist Tony Remy and drummer Phil Nelson rise to the occasion, particularly on the title track, "Should've Been You," featuring Mwelwa's sassy singing, and "The Brighter Side," where keyboardist Neil Angilley's piano solo briefly breaks through before the horn section loudly barges in bleating, squealing and honking. It isn't until the final track, "We've Always Got the Music," that the horns back off somewhat and give Angilley, Remy, Crampton and Nelson some room to groove. By then it's too late; nothing more than an enticing teaser of what DTTB can do when both sides of the band play well together. It's hard to put a finger on why Future Boogie doesn't impress in the way Supercharged did. It could be there's too much similarity in many of the tracks. Perhaps it's the lack of particularly compelling material. Whatever the case, what's new here isn't all that interesting and what's interesting isn't all that new. Whatever category you want to put DTTB in soul and funk, R&B, acid jazz, or something entirely separate it does what it does very well. Unfortunately, this pleasant, but routing effort isn't the bold step forward the band might have planned. ~ Jeff Winbush https://www.allaboutjazz.com/future-boogie-down-to-the-bone-shanachie-records-review-by-jeff-winbush.php

Personnel: Neil Angilley: piano, Rhodes, Hammond organ, clavinet, keyboards; Tony Remy: guitar; Julian Crampton: bass; Phil Nelson: drums; Richard Sadler: percussion; James Knight: alto saxophone; Tim Smart: trombone; Pablo Mendelssohn: trumpet (1, 3-6, 8-10); Andy Gray: trumpet (2, 7), additional trumpet (8); Hilary Mwelwa (Hil St. Soul): vocals (2, 6); Roy Ayers: vibes, vocals (4); Neil Burditt: synth (8).

Future Boogie

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Di Anne Price - Blue Artistry

Bitrate: MP3@320K/s
Time: 44:24
Size: 101.6 MB
Styles: Jazz/Blues vocals and piano
Year: 2009
Art: Front

[4:17] 1. Why Don't You Do Right
[4:43] 2. Makin' Whoopee
[5:12] 3. A Good Man Is Hard To Find
[4:53] 4. Never Make Your Move Too Soon
[4:28] 5. Someone Else Is Steppin' In
[3:47] 6. That's All Right
[2:59] 7. Fishing In The Sea Of Matrimony
[3:31] 8. Right Side Of The Wrong Bed
[4:45] 9. Wild Women Don't Have The Blues
[5:44] 10. The Soul Of A Man

Di Anne gets to the heart and meaning of a song that appeals to everyone. “When I play this music, sing these songs, I'm saying ‘share this story with me. I want real drums, real bass, and I want it to be my voice that people hear, not something created in a studio.”

Di Anne’s approach to music is shared with "Her Boyfriends" - drummer Tom Lonardo, saxophonist Jim Spake, and bassist Tim Goodwin. "Playing with them makes my back tingle. It's like making love," Di Anne says. "When we play, we're telling a story, and no matter where I start, they go with me." ~John Taylor/Blues On Stage

Blue Artistry mc
Blue Artistry zippy

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Eliane Elias - Music From Man Of La Mancha

Size: 123,4 MB
Time: 53:29
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front & Back

01. What Does He Want Of Me (6:43)
02. To Each His Dulcinea (5:42)
03. Man Of La Mancha (I, Don Quixote) (7:40)
04. A Little Gossip (4:31)
05. It’s All The Same (7:16)
06. The Impossible Dream (5:48)
07. I'm Only Thinking Of Him (5:04)
08. Dulcinea (5:34)
09. The Barber’s Song (5:07)

Music From Man of La Mancha is a 1964 musical with a book by Dale Wasserman, lyrics by Joe Darion, and music by Mitch Leigh. It is adapted from Wasserman's non-musical 1959 teleplay I, Don Quixote, which was in turn inspired by Miguel de Cervantes and his 17th-century masterpiece Don Quixote.

The original 1965 Broadway production ran for 2,328 performances and won five Tony Awards, including Best Musical. The musical has been revived four times on Broadway, becoming one of the most enduring works of musical theatre. The principal song, "The Impossible Dream", became a standard.

Eliane previously recorded these tracks at the request of the original composer, Mitch Leigh, Guest artists are talented and GRAMMY Award-winning jazz artists Marc Johnson (bass), Satoshi Takeshi (drums), Manolo Badrena (percussion), Eddie Gomez (bass), Jack DeJohnette (drums).

Music From Man Of La Mancha

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Quadro Nuevo - Tango

Bitrate: MP3@320K/s
Time: 73:24
Size: 168.0 MB
Styles: Tango
Year: 2015
Art: Front

[4:11] 1. Por Una Cabeza
[6:47] 2. Garcias Tango
[1:38] 3. Canción De Ausencia
[5:08] 4. La Cumparsita
[3:03] 5. Buscándote
[5:26] 6. Buenos Aires Taxi Drive
[2:52] 7. Casa De Los Sueños
[4:55] 8. El Día Que Me Quieras
[4:58] 9. Taquito Militar
[6:38] 10. El Titiritero
[3:38] 11. Gallo Ciego
[6:46] 12. Vuelvo Al Sur
[5:33] 13. Fuga Y Misterio
[9:17] 14. Como La Vida Cambia
[2:27] 15. El Cielo

Mulo Francel: Saxophone, Klarinetten; D.D. Lowka: Kontrabass, Perkussion ; Andreas Hinterseher: Akkordeon, Vibrandoneon, Bandoneon; Evelyn Huber: Harfe, Salterio; Chris Gall: Piano.

Tango has always been part of our repertoire: like 16 years ago we created our own version of the tango classic Volver by Carlos Gardel. It was a nice arrangement with guitar, accordion and contrabass trying to imitate a tango orchestra, while a sax filled in Gardel’s vocals. But the result was not really Argentinean tango, it sounded European, with a touch of Flamenco, a little Italianitá and inspired by the jazz of the 60s that we all worshipped. Anyway, it sounded like us and not like Argentina.

On our website it said: “Quadro Nuevo is the European answer to the Argentinean tango!” But then we chose to really put ourselves to the test. This was in January 2014, midsummer in the Argentinean capital and 40 degrees in the shade. We moved into an old mansion in the Boedo district. Everyone had warned us that this metropolis, with its 13 million inhabitants, had its dangers. But we only met friendly, helpful and fascinating people; many of them! Our hotel El Cielo was situated in the buzzing Avenida Independencia, with a bakery just around the corner where we had breakfast every day. The building featured a small ballroom with high, stucco ceilings, a battered parquet floor and squeaking ventilators. There we practiced everyday in the searing midday heat. At night we swarmed out, plunging deep into the tango scene. We jammed with local musicians, played in the legendary tango club Los Laureles that opened its door 120 years ago, met famous tangueros and poets and waxed lyrical until dawn, drunk on full-bodied wine and tango, the lifeblood of Buenos Aires. It was there that we were infected with tango – for this album! Not every song originated in Buenos Aires. Some we had written before. Others came to life after our return, inspired by our experiences in Argentina. We also brought home some treasures, like Gallo Ciego, which the guitarists Felipe and Hugo played when they visited us in our ballroom. Not every note may be born in Buenos Aires but in every note you will find Buenos Aires – the city, the people, their stories, their passion.

Tango 

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Kenny Burrell, Jimmy Raney - 2 Guitars

Bitrate: MP3@320K/s
Time: 49:14
Size: 112.7 MB
Styles: Bop, Guitar jazz
Year: 1957/1992
Art: Front

[ 8:49] 1. Blue Duke
[ 4:04] 2. Dead Heat
[ 5:11] 3. Pivot
[ 4:47] 4. I'll Close My Eyes
[ 9:27] 5. Little Melonae
[12:21] 6. This Way
[ 4:31] 7. Out Of Nowhere

Alto Saxophone – Jackie Mclean; Bass – Doug Watkins; Drums – Arthur Taylor; Guitar – Jimmy Raney, Kenny Burrell; Piano – Mal Waldron; Trumpet – Donald Byrd. Recorded in 1957.

For this 1957 studio session, the two distinctive but complementary guitarists Kenny Burrell and Jimmy Raney are teamed up in a septet with trumpeter Donald Byrd, altoist Jackie McLean, pianist Mal Waldron, bassist Doug Watkins, and drummer Art Taylor. The full group gets to stretch out on one original each by Watkins and McLean ("Little Melonae") and three from Waldron, while the two standards ("Close Your Eyes" and "Out of Nowhere") are individual features for Burrell and Raney. This is a well-rounded set that may not contain any real surprises, but will be enjoyed by collectors of hard bop. ~Scott Yanow

2 Guitars mc
2 Guitars zippy

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Leslie Uggams - So In Love!

Bitrate: MP3@320K/s
Time: 38:03
Size: 87.1 MB
Styles: Jazz vocals
Year: 1963/2015
Art: Front

[3:13] 1. Glad To Be Unhappy
[3:28] 2. Serenade In Blue
[3:18] 3. April In Paris
[3:37] 4. Smoke Gets In Your Eyes
[4:05] 5. Tenderly
[3:41] 6. Alone Together
[3:22] 7. Spring Will Be A Little Late This Year
[3:35] 8. Once Upon A Time
[3:13] 9. Someone To Watch Over Me
[3:18] 10. Love Walked In
[3:07] 11. So In Love

A singer and actress perhaps best known for her work in the landmark television miniseries Roots, Leslie Uggams was born May 25, 1943, in New York City. The product of a showbiz family -- her father sang with the Hall Johnson Choir and her mother was a chorus dancer -- she began her own career while still a child, making her TV debut at the age of six on the series Beulah. A year later, Uggams began performing regularly at the famed Apollo Theater in Harlem, opening for such legends as Louis Armstrong, Ella Fitzgerald, and Dinah Washington; she subsequently attended the Professional Children's School of New York, and frequently guested on television variety programs including The Milton Berle Show, The Arthur Godfrey Show, and Your Show of Shows. At the age of 12, Uggams retired from performing; her absence from the spotlight was relatively brief, however, and three years later she appeared as a vocalist on the TV quiz show Name That Tune.

While a student at Juilliard, Uggams was tapped to join the cast of Sing Along with Mitch, becoming the first female singer and the first African-American talent to join the Mitch Miller-hosted variety program; in 1962, she also made her on-screen film debut with a cameo in Two Weeks in Another Town, and after signing to Columbia scored a hit single with "Morgan." She spent the next several years alternating nightclub dates with stage performances, also appearing in the theatrical production The Boyfriend. In 1968, Uggams was chosen to replace Lena Horne in the lead role in the Broadway musical Hallelujah, Baby!; the performance earned her a Tony Award and culminated her rise to stardom. In 1970, she was named the host of her own CBS variety series, the first black female since Hazel Scott a decade earlier to be given such an opportunity; however, The Leslie Uggams Show proved short-lived, one in a long list of sacrifices to the ratings juggernaut known as Bonanza.

The early '70s marked a decline in Uggams' fortunes; outside of an appearance in the all-star 1972 film Skyjacked, she enjoyed little of the same success of recent years, and a move from Columbia to Atlantic did little to resuscitate her singing career. In 1977, however, she returned to television in the slavery saga Roots, with her superb performance as Kizzy earning an Emmy nomination; two years later, Uggams earned more kudos for her work in another miniseries, Backstairs at the White House, and in 1983 won an Emmy as co-host of the short-lived NBC series Fantasy. Later in the decade, Uggams returned to Broadway, starring in the musicals Blues in the Night and Jerry's Girls. In 1987, she toured with Peter Nero and Mel Tormé in The Great Gershwin Concert, and in 1988 starred in the Lincoln Center production of Anything Goes. After touring during the early '90s in Stringbean, a musical based on the career of Ethel Waters, in 1996 Uggams joined the cast of the hit daytime soap opera All My Children. ~bio by Jason Ankeny

So In Love! mc
So In Love! zippy

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GLM Allstars - The Sonnenhausen Sessions

Bitrate: MP3@320K/s
Time: 79:24
Size: 181.8 MB
Styles: Jazz, World Music
Year: 2014
Art: Front

[5:07] 1. (Cornelius Claudio Kreusch) Remember Paco
[4:00] 2. (Sven Faller) Pixinguinha
[3:37] 3. (Stefanie Boltz) Sunrise
[6:32] 4. (Mulo Francel) El Condor Pasa
[3:44] 5. (Tom Wörndl) L´étranger
[5:20] 6. (Stefanie Boltz) Time Stood Still
[4:14] 7. (Wolfgang Lohmeier) Caravan Trip Sul Laika
[3:18] 8. (Andreas Hinterseher) Michèle's Valse
[6:04] 9. (Martina Eisenreich) Fantaisie 2014
[2:36] 10. (Cornelius Claudio Kreusch) Funkey Monkey
[4:54] 11. (Martina Eisenreich) Das Große Fest
[3:07] 12. (Didi Lowka) Buenos Aires Taxi Drive
[5:18] 13. (Mulo Francel) Südlichere Tage
[7:05] 14. (Cornelius Claudio Kreusch) From East To West
[5:17] 15. (Alexander Kilian) La Sopa Y La Cuchara
[3:36] 16. (Didi Lowka) Nachthimmel
[3:55] 17. (tefanie Boltz) Up And Down
[1:30] 18. (Mulo Francel) Serenade über Sonnenhausen

Stefanie Boltz vocals; Max Bloching bass; Michl Bloching (bass-)clarinet, tenor-saxophone, accordeon; Martina Eisenreich violin, viola; Sven Faller bass; Mulo Francel tenor-saxophone; Stephan Glaubitz bass; Andreas Hinetrseher accordeon; Evelyn Huber harp; Sonja Huber vibraphone; Martin Kälberer piano; Alexander Kilian flamenco guitar; Hannah Köpf vocals; Cornelius Claudio Kreusch piano; Johannes Tonio Kreusch concert guitar; Wolfgang Lohmeier kalimba, mill tone, talking drum, udu, small percussion; Ecco DiLorenzo vocals; D.D. Lowka bass; Christoph Müller guitar; Jan Pascal flamenco guitar; Tom Wörndl guitar; Georg Schweisfurth alphorn; Reinhard Greiner trumpet.

Mulo Francel, Martina Eisenreich, Wolfgang Lohmeier and Stefanie Boltz are the inventors of this original session. What better way to celebrate 25 years of GLM than with an anniversary CD? So it came that various artists from the GLM roaster got together to compose new original tracks, that were recorded in numerous, diverse formats. Originally, it was planned to record 12 songs with a vintage analogue 24 track tape machine, which was provided by sound engineer Wolfgang Lohmeier, however the final track list contained 18 songs. The musical influences are widely spread from World Music to Jazz, musical idols of the artists, the beauty of nature and life itself. Sometimes in a big constellation, sometimes in a duet, instrumental or with vocals, all of the compositions have a few things in common: They were created with the emotion and feel of the location, everybody was highly motivated and curious to explore the collaboration with the colleagues of the label.

The music of the album shows a connection and openness of the musicians. You can feel that GLM is more than just a label, it feels as if it is one big family, which can be experienced through the booklet and video recordings of the event. Ideas, conversations, collective lunches, exchange of emotions and especially good music were at the heart of this five-day adventure. The result: A CD of highest musical talent, incredible tension and variety and exceptional passion from all the participants.

The Sonnenhausen Sessions mc
The Sonnenhausen Sessions zippy

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Art Tatum - The Best Of The Pablo Group Masterpieces (Remastered)

Bitrate: MP3@320K/s
Time: 69:57
Size: 160.1 MB
Styles: Piano jazz
Year: 2003/2006
Art: Front

[5:03] 1. Perdido
[7:07] 2. Memories Of You
[3:34] 3. You Took Advantage Of Me
[7:12] 4. All The Things You Are
[5:22] 5. Body And Soul
[6:13] 6. Under A Blanket Of Blue
[4:11] 7. The Moon Is Low
[7:11] 8. Just One Of Those Things
[3:49] 9. Street Of Dreams
[7:11] 10. Somebody Loves Me
[7:14] 11. My Ideal
[5:45] 12. Deep Night

Alto Saxophone – Benny Carter (tracks: 6, 9); Bass – John Simmons (tracks: 3, 7), Red Callender (tracks: 2, 4, 8, 11, 12); Drums – Alvin Stoller (tracks: 3, 7), Bill Douglass (2) (tracks: 2, 4, 11, 12), Buddy Rich (tracks: 1, 5, 10), Jo Jones (tracks: 8), Louis Bellson (tracks: 6, 9); Guitar – Barney Kessel (tracks: 10); Piano – Art Tatum; Tenor Saxophone – Ben Webster (tracks: 4, 11); Trumpet – Harry "Sweets" Edison (tracks: 10), Roy Eldridge (tracks: 3, 7); Vibraphone [Vibes] – Lionel Hampton (tracks: 1, 5, 10).

A rich and rewarding core sample, selected from one of Norman Granz's deepest gold mines. The full set of Tatum ensemble master takes was released on eight vinyl records in 1975, appearing with alternate takes as a box of seven compact discs in 1990. Since then, each separate session has been issued on a single, affordable CD. With the release of this best-of, the only remaining untried reissue format stratagem could almost be conducted according to the laws of chance. If someone were to divide up the existing 59 master takes (saving the alternate takes for a "Best of the Tatum Alternates" compilation), the entire body of work could be issued as a numbered best-of series, the titles carefully shuffled at random. But each volume would possibly still omit something that could be considered essential. This is the insoluble problem with anything calling itself a best-of. Fortunately, the Tatum group recordings produced by Norman Granz during the years 1954, 1955, and 1956 actually deserve the word "masterpieces." While Tatum himself is honored as one of the very most gifted and influential of all jazz musicians, without exception every musician who participated in these sessions was adept, inspired, and, in many cases, masterful. (There are those who would suggest that the Art Tatum/Ben Webster date could stand by itself as the best of the group masterpieces.) Here, for once, is a package worthy of its title. A bit of the best of some of the very best jazz ever recorded. ~arwulf arwulf

The Best Of The Pablo Group Masterpieces (Remastered) mc
The Best Of The Pablo Group Masterpieces (Remastered) zippy

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Nicholas Payton - Nick@Night

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 71:42
Size: 167,4 MB
Art: Front

(5:46)  1. Beyond The Stars
(5:31)  2. Captain Crunch (Meets The Cereal Killer)
(8:39)  3. Faith > For Faith Evans
(4:34)  4. Pleasant Dreams
(0:55)  5. Interlude #1 (Turn Up The Funk)
(6:14)  6. Nick@Night
(5:24)  7. Somnia
(1:10)  8. Interlude #2 (Turn Out The Burn Out)
(6:51)  9. Prince Of The Night
(8:28) 10. Blacker Black's Revenge
(5:58) 11. Little Angel > For Christopher
(4:52) 12. Exquisite Tenderness
(7:13) 13. Sun Goddess

A working band Joy! It's uncommon today for major label to record their artist with his working band. But, surprisingly, Verve has done just that. Payton's quintet is a heavy swinging bop-oriented ensemble. This recording, like Miles' second great quintet, is more about band than it is about star. Individually its members have released records under their own names, but all are essentially this quintet. Of special note are Tim Warfield's Gentle Warrior and Adonis Rose's Song For Donise both on Criss Cross Records. Payton, a twenty-something trumpeter, makes this his fourth release as leader, but he is a veteran of the Lincoln City Jazz Orchestra, has won a Grammy Award for his duo with Doc Cheatham, and has toured extensively with Elvin Jones. Payton will be considered as the generation of trumpeter born of the Wynton Marsalis revolution. But coming from a musical New Orleans family, his father is bassist Walter Payton and mother a classical pianist, Payton was walking towards this destiny, perhaps Wynton merely opened some doors.The strong effort put forth by all involved both playing and composing makes this quintet candidate for best acoustic working outfit today. 

~ Mark Corroto https://www.allaboutjazz.com/nick-at-night-nicholas-payton-verve-music-group-review-by-mark-corroto.php

Personnel: Nicholas Payton: trumpet, flugelhorn; Tim Warfield: tenor and soprano saxophones; Anthony Wonsey: piano, harpsichord, celeste; Reuben Rogers: bass; Adonis Rose:drums.

Nick@Night

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Fredrika Stahl - A Fraction Of You

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 46:28
Size: 106,9 MB
Art: Front

(3:29)  1. Please Let Me In
(4:33)  2. Destiny
(3:34)  3. A Fraction Of You
(3:40)  4. Game Over
(3:34)  5. Try Again
(3:35)  6. Ou Veux-Tu Aller ?
(3:46)  7. What About ...
(3:22)  8. Seems So Simple
(4:32)  9. A Little Kiss
(5:03) 10. The Picture Of You
(3:42) 11. Les Jeux Sont Faits
(3:33) 12. Where Are You Going ?

Swedish-born jazz and pop vocalist Fredrika Stahl's career got going when she met producer Geef, which led to a meeting with pianist Tom McClung, who then formed a band around her and helped land her a major-label deal with the French arm of BMG, Vogue Records. Born in Stockholm on October 24, 1984, Stahl spent the majority of her preteen years in France, before returning to Sweden to finish schooling. Upon her graduation, Stahl found her way back to France, and met the people who would help make her a well-known name. Her debut album, A Fraction of You, was unveiled in the summer of 2006, and she followed the release with a number of performances, sharing stages with such artists as Erick Poirier, Ichiro Onoe, and Manuel Marches. Stahl released her second album, Tributaries, in 2008 on the Jive label. ~ Chris True https://itunes.apple.com/fr/album/a-fraction-of-you/164165555?l=en

A Fraction Of You

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Conrad Herwig - The Latin Side Of Wayne Shorter

Styles: Trombone Jazz
Year: 2007
File: MP3@320K/s
Time: 71:47
Size: 167,4 MB
Art: Front

( 6:56)  1. Ping Pong
( 8:52)  2. Tom Thumb
( 8:44)  3. El Gaucho
( 8:16)  4. Night Dreamer
( 8:02)  5. This Is For Albert
( 8:18)  6. Adam's Apple
(11:24)  7. Masqualero
(11:11)  8. Footprints

Luis Perdomo is the regular pianist in Conrad Herwig's septet. He delivers a sterling, elegant solo on "Ping Pong," the opening cut on The Latin Side of Wayne Shorter, recorded live at the Blue Note in New York. He anchors the first five songs with such skill that at the end of "This Is for Albert," Herwig singles him out for the audience's applause. Unfortunately, it's to say goodbye. When salsa legend Eddie Palmieri takes over on piano, the concert is sent into orbit. Perdomo never stood a chance.  "Adam's Apple" may not be Shorter's greatest composition, but Palmieri makes a convincing case with syncopated montuno vamps that drive drummer Robby Ameen's funky backbeat and inspire baritone saxophonist Ronnie Cuber's sly comments and robust soloing. Palmieri taps into "Masquelero"'s heart of darkness and Herwig's tone on trombone is elusive and introverted, before trumpeter Brian Lynch takes a note-bending solo that slides itself into the piano's rhythms like mortar. Herwig and Lynch's simpatico playing is the highlight of "Footprints," each of them winding similarly smooth and uncluttered solos around Pedro Martinez' congas. This is the third installment in Herwig's Latin Side series (following interpretations of Coltrane and Miles) and features silky virtuosic musicianship applied to intricate, intelligent, original compositions. Shorter's tunes are well-known and highly regarded as being flexible enough to suit a variety of instrumental lineups. Since he's gathered his own multi-horn groups in the past, the sound of these arrangements doesn't stray too far from his initial conceptions. But if you know a person who thinks jazz is difficult to get, lacks melody, or you can't dance to it, this is a CD that will change their mind. ~ Jeff Stockton https://www.allaboutjazz.com/the-latin-side-of-wayne-shorter-conrad-herwig-half-note-records-review-by-jeff-stockton.php

Personnel: Conrad Herwig: trombone; Brian Lynch: trumpet; Ronnie Cuber: baritone sax; Eddie Palmieri, Luis Perdomo: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Pedro Martinez: congas.

The Latin Side Of Wayne Shorter

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Jesper Thilo - Jazz A la Carte

Styles: Saxophone And Clarinet Jazz
Year: 2006
File: MP3@320K/s
Time: 63:13
Size: 145,2 MB
Art: Front

(7:25)  1. Birks' Works
(5:34)  2. Over The Rainbow
(6:02)  3. Stella By Starlight
(8:15)  4. Like Someone In Love
(6:59)  5. Georgia On My Mind
(8:58)  6. Autumn Leaves
(5:42)  7. Willow Weep For Me
(8:33)  8. The Way You Look Tonight
(5:40)  9. A Child Is Born

One of the top European straight-ahead jazz musicians from 1970 onward, Danish reedman Jesper Thilo has appeared on many records with American artists in addition to recording with his fellow countrymen. His tenor sound is reminiscent of Zoot Sims. Thilo, who has also occasionally played alto and clarinet, first recorded as a leader for Storyville in 1973, and in the 1980s and 1990s on Storyville his sidemen at various times included Hank Jones, Kenny Drew, Clark Terry, Roland Hanna, and Harry "Sweets" Edison. Thilo also appeared on Miles Davis' Aura (with compositions and arrangements by fellow Dane Palle Mikkelborg), released by Columbia in 1989. After the turn of the millennium Thilo has continued recording for a variety of labels, including several releases on Stunt Records: Remembering Those That Were (2009), On Clarinet (2010), and Scott Hamilton Meets Jesper Thilo (2011). ~ Scott Yanow https://itunes.apple.com/au/album/jazz-la-carte-feat-olivier-antunes-bo-stief-frands/609960780

Personnel:  Jesper Thilo (Tenor Sax on 1, 2, 5 & 8, SopranoSax on 4 & 7, Clarinet on 3, 6 & 9);  Olivier Antunes (Piano);  Bo Stief (Bass);  Frands Rifbjerg (Drums)

Jazz A la Carte

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Joe Lovano & Dave Douglas Sound Prints - Scandal

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 66:36
Size: 154,2 MB
Art: Front

(5:34)  1. Dream State
(5:06)  2. Full Sun
(6:03)  3. Fee Fi Fo Fum
(6:57)  4. Ups and Downs
(6:50)  5. The Corner Tavern
(5:51)  6. Scandal
(9:05)  7. Juju
(6:18)  8. Mission Creep
(8:06)  9. Full Moon
(2:26) 10. High Noon
(4:16) 11. Libra

Scandal marks the first time that trumpeter Dave Douglas and saxophonist Joe Lovano have recorded a full studio album of material together, revealing a passionately adventurous band for whom no territory is off-limits. As on their live debut recording, Sound Prints features pianist Lawrence Fields, bassist Linda May Han Oh, and drummer Joey Baron. The super group heads off into swinging, heartfelt and sophisticated new territory inspired by saxophonist giant Wayne Shorter. 

Two of Shorter's pieces receive special treatment. A truly fantastic and original group playing new originals and music by Shorter. ~ Editorial Reviews https://www.amazon.com/Scandal-Lovano-Douglas-Sound-Prints/dp/B079JGMNMG              

Personnel:  Joe Lovano (tenor & G mezzo soprano saxophones), Dave Douglas (trumpet), Lawrence Fields (piano), Linda May Han Oh (bass) and Joey Baron (drums).

Scandal

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Red Garland Quintet, John Coltrane - Dig It!

Bitrate: MP3@320K/s
Time: 33:35
Size: 76.9 MB
Styles: Bop, Piano jazz
Year: 1962/2012
Art: Front

[ 9:22] 1. Billie's Bounce
[ 3:25] 2. Crazy Rhythm
[ 4:40] 3. CTA
[16:05] 4. Lazy Mae

Bass – George Joyner; Drums – Arthur Taylor; Piano – Red Garland; Tenor Saxophone – John Coltrane; Trumpet – Donald Byrd. "CTA" recorded March 22, 1957; "Billie's Bounce," "Lazy Mae" recorded December 13, 1957; "Crazy Rhythm" recorded February 2, 1958.

Taken from "scraps" or "leftovers" of three different sessions, Dig It! presents distinct sides of Red Garland's straight-ahead jazz persona that manifests in trio, quartet, and quintet formats. One track was issued as led by drummer Art Taylor (Taylor's Wailers), ostensibly John Coltrane in Garland's quartet apart from their association with Miles Davis, and two separate recordings have trumpeter Donald Byrd added to comprise a five-piece combo. Memphis bassist George Joyner (aka Jamil Nasser) is on three cuts, with Taylor present throughout. Though the total time is shy of 34 minutes, this recording represents all of these musicians in transition from their sideman associations to the leadership roles they were in the process of wresting hold of. What have always been Garland's strong suits -- high-class discourse and fleet and fluid bebop -- are heartily dished out with no trace of arrogance. On the swing-era standard "Crazy Rhythm," the Garland trio with bassist Paul Chambers and Taylor plays a concise, hard-charging version with no wasted motion and the two-fisted chord progressions of the pianist. Coltrane's feature during Jimmy Heath's hard bop icon "C.T.A." is a bit tentative, as he plays only eighth notes in a reserved fashion. But the quintet take of "Billie's Bounce" has Trane rippin' it up in a fervor that doubles the note volume, animated and fast, while also expressing a soulful side. Byrd is fairly inconsequential, only soloing on this and the 16-minute vintage blues "Lazy Mae." It's Garland who takes liberties on this slow, languorous, sleepy-time jam, where he evokes the classic sounds of Teddy Wilson, Earl "Fatha" Hines, and especially the elegant Erroll Garner for a full eight minutes, also quoting the pop tune "Send for Me" and the rambling staircase triplet midsection of "After Hours" before Coltrane and Byrd settle into their own bluesy solos. Because of the lack of extra material or alternate takes, one might buy this just for the good music, but also the Rudy Van Gelder remastering factor that allows you to hear these genius musicians cleaner and brighter. ~Michael G. Nastos

Dig It! mc
Dig It! zippy

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Bob Baldwin - Betcha By Golly Wow: The Songs Of Thom Bell

Bitrate: MP3@320K/s
Time: 51:52
Size: 118.8 MB
Styles: Soul, Crossover jazz
Year: 2012
Art: Front

[5:18] 1. Didn't I (Blow Your Mind This Time) (Feat. Russ Freeman)
[5:43] 2. The Rubberband Man (Feat. Paul Brown & Ragan Whiteside)
[5:06] 3. La La Means I Love You (Feat. Vivian Green)
[5:02] 4. Gonna Be Sweeter
[5:10] 5. Break Up To Make Up (Feat. Will Downing)
[4:49] 6. You're As Right As Rain (Feat. Paul Taylor)
[4:44] 7. I'll Be Around (Feat. Marion Meadows)
[3:02] 8. Bell & Creed
[6:42] 9. Betcha By Golly Wow (Feat. Toni Redd)
[6:13] 10. People Make The World Go Round (Feat. Marion Meadows)

Grammy nominee and a bona fide hero of New Urban Jazz, keyboardist and arranger Bob Baldwin makes his debut on Peak/eOne with an all-killer, no-filler collection of classic tunes penned by Philadelphia soul immortal Thom Bell. This set hits the sweet spot from the first track and doesn t miss for a single minute of the entire program.

An all-star cast puts the project over the top, a real whos who of contemporary jazz and smooth R&B.It includes: WILL DOWNING, VIVIAN GREEN, GERALD ALBRIGHT, MARION MEADOWS, PAUL TAYLOR, RUSS FREEMAN (of THE RIPPINGTONS), PAUL BROWN. To top it all off, the legend himself, Thom Bell, has written a brand new song especially for this tribute, Gonna Be Much Sweeter. And Bob Baldwin proves one more time that it doesn t get any sweeter than his brand of soul and jazz.

Betcha By Golly Wow: The Songs Of Thom Bell mc
Betcha By Golly Wow: The Songs Of Thom Bell zippy

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Various - Dinner In Andalucia

Bitrate: MP3@320K/s
Time: 42:47
Size: 97.9 MB
Styles: World music, Easy Listening
Year: 2007
Art: Front

[3:50] 1. Bethree - Luisa
[3:36] 2. Robert Wolf - Madonna Negra
[5:20] 3. Quadro Nuevo - Our Spanish Love Song
[6:49] 4. Helmut Kagerer - Pintoso Querido Luis
[4:15] 5. Florian Poser - Spain
[3:19] 6. Quadrumana - Trenzinho Do Capira
[4:53] 7. Quadro Nuevo - El Pano Moruno
[4:04] 8. Quadro Nuevo - Flor De La Noche
[6:37] 9. Quadrumana - Farruca

Dinner In Andalucia mc
Dinner In Andalucia zippy

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Sherry Williams - You Must Believe In Spring

Bitrate: MP3@320K/s
Time: 50:33
Size: 115.8 MB
Styles: Vocal, Easy Listening
Year: 2003
Art: Front

[3:52] 1. The Last Day
[4:22] 2. On A Clear Day
[5:08] 3. You Must Believe In Spring
[4:00] 4. My Light Will Always Be There
[4:13] 5. In My Highest Place
[3:27] 6. Everything
[3:05] 7. I Believe In Love
[6:02] 8. On My Way To You
[2:31] 9. Blue Skies
[4:23] 10. Everything Must Change
[4:44] 11. Happiness
[4:41] 12. New World Coming

Sherry Williams' release, "You Must Believe In Spring", is a collection of popular songs that have thought provoking, profound lyrics which Williams uses to conjure up images that are illuminating and uplifting. The Bergman tune "On My Way to You" is a hauntingly beautiful self portrait. The timeless "You Must Believe In Spring" tells us that all things are possible. Brenda Russell's amazing "The Last Day" asks us to remember what it's like to live "in the moment like when we were young"... and to examine our inner beliefs. Sherry also turns the standard "Blue Skies" into a happy jazzy samba and briskly swings "On A Clear Day".

When you listen to Sherry on "You Must believe in Spring" you realize immediately that Sherry Williams is a consummate singer - the real thing. "The sound of her voice reminds one of a muted coronet" said colleague Mary Stallings. She is also more engaged in the meaning of a song than many artists will allow themselves to be. This is who she really is - open and accessible. This is a powerful and moving CD. When you listen to "You Must Believe In Spring", you will definitely feel a breath of fresh air.

You Must Believe In Spring mc
You Must Believe In Spring zippy

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