Nick Finzer - Hear & Now

Bitrate: MP3@320K/s
Time: 57:07
Size: 130.8 MB
Styles: Trombone jazz
Year: 2017
Art: Front

[4:49] 1. We The People
[6:07] 2. The Silent One
[4:50] 3. Single Petal Of A Rose
[8:55] 4. Again And Again
[6:30] 5. Race To The Bottom
[8:04] 6. New Beginnings
[7:31] 7. Lullaby For An Old Friend
[5:01] 8. Dance Of Persistence
[5:15] 9. Love Wins

Nick Finzer: trombone; Lucas Pino: tenor sax, bass clarinet; Alex Wintz: guitar; Glenn Zaleski: piano; Dave Baron: drums; Jimmy MacBride: drums.

New York-based trombonist Nick Finzer has benefited from mentorships under trombone masters Wycliffe Gordon and Steve Turre; but his third CD release, Hear And Now also brings the original trombones master, J.J. Johnson to mind. One of Johnson's last CDs, the minor masterpiece, Heroes (Verve Records, 1995), featured a sextet configuration with an enormously-talented pianist, Renee Rosnes, in the mix. Hear & Now is a sextet outing with an up-and-coming, unlimited potential talent, Glenn Zaleski, sitting in front of the eighty-eights. Both the albums are filled with cerebral-yet-always engaging tunes, all of them very artfully arranged—Johnson was a master at that craft. It seems that Nick Finzer is developing on a b-line in that direction.

On a nine tune set, featuring eight Finzer originals, along with Duke Ellington's "Single Petal Of A Rose," everything from the opener—the propulsive barn burner, "We the People," through to the dreamily gorgeous closer "Love Wins"—comes wrapped in often delicate, always intricate arrangements, featuring snappy interplay and back and forth harmonics between Zaleski's piano and Alex Wintz' guitar; with intimate conversations between the leader's muscular notes and Lucas Pino's searing tenor sax and his mellifluously beautiful bass clarinet work; all of this anchored by the solid yet-flexible bass/drums team of, respectively, Dave Baron and Jimmy Macbride.

The sextet broods in dark tones on "The Silent One." The music is, in part, Finzer's reaction to America's social framework, to events transpiring here and now. This tune changes directions and tempos; Pino's saxophone lets loose and anguished cry; Baron and MacBride churn up a disconcerting turbulence, before Finzer and Pino harmonize into a soothing—or perhaps slightly exhausted by the whole affair (the framework, not the music)—conclusion. The group's take on Ellington's "The Single Petal of a Rose," from the under recognized "The Queen's Suite," is a idiosyncratic examination of one of Duke's most beautiful tunes, with Zaleski displaying a light, floating touch on the piano, and Finzer and Pino (on bass clarinet here) sounding as if they'd fit into Ellington's orchestra, from any era. Finzer has crafted a complex showcase for his vision throughout the set, with music that goes moves from the timelessness of Ellington into more modern territory as it lays down an unsettled feeling with "Again And Again," into the frenetic, wired tight "Race To the Bottom." As for Finzer, it sounds as if he may be on track toward a race to the top, as much as an arranger/composer/conceptualist as he is a trombonist.

Hear & Now mc
Hear & Now zippy

---

Joni James - The Broadway Hits

Bitrate: MP3@320K/s
Time: 48:28
Size: 111.0 MB
Styles: Vocal, Easy Listening
Year: 2012
Art: Front

[4:23] 1. Hey There!
[3:31] 2. Till There Was You
[3:36] 3. I've Grown Accustomed To His Face
[4:21] 4. Bali Ha'i
[3:29] 5. Isn't It Romantic
[4:47] 6. If I Loved You
[4:31] 7. Mr. Wonderful
[3:55] 8. Baubles, Bangles And Beads
[4:29] 9. Bewitched
[3:18] 10. Hello Young Lovers
[4:22] 11. Smoke Gets In Your Eyes
[3:41] 12. The Party's Over

Pop songstress Joni James was born Giovanna Carmella Babbo in Chicago on September 22, 1930. After studying drama and ballet throughout her adolescence, she joined a local dance troupe on a tour of Canada upon graduating high school, later working as a chorus girl at the Windy City's Edgewater Beach Hotel. A fill-in gig at an Indiana roadhouse convinced James to pursue a career as a singer, and while appearing in a TV commercial she was spotted by executives at MGM, signing to the label in 1952. Her single "Why Don't You Believe Me" sold over a million copies, topping the U.S. charts for six weeks and falling just shy of the Top Ten in Britain.

An overnight sensation, James enjoyed an incredible run of hits over the next year, among them the double-sided "Have You Heard"/"Wishing Ring," "Purple Shades," Hank Williams' "Your Cheatin' Heart," "Is It Any Wonder," "Almost Always," "My Love, My Love," "You're Fooling Someone," "Nina-Non (A Christmas Lullaby)," and "You're My Everything." By 1954, however, James' early success seemed to dissipate entirely, and after returning to the Top Ten twice the following year with "How Important Can It Be?" and "You Are My Love" she never reached to the upper rungs of the charts again, although she continued cracking the Top 100 for the remainder of the decade. In 1964, she retired from music to tend to her ailing husband, musical director Anthony Acquaviva, and spent the next three decades essentially removed from the public eye; finally, during the mid-'90s she returned to touring while also supervising the re-release of her classic MGM recordings. ~ Jason Ankeny

The Broadway Hits

---

Frank Wess - The Flute Mastery Of Frank Wess

Bitrate: MP3@320K/s
Time: 58:48
Size: 134.6 MB
Styles: Flute jazz
Year: 1981/2013
Art: Front

[6:16] 1. Lover Come Back To Me
[5:59] 2. Spring Is Here
[5:04] 3. Riled Up
[6:25] 4. There Is No Greater Love
[5:15] 5. Nada Mas
[5:36] 6. Battle Royal
[6:38] 7. Lover Come Back To Me (Alt Take 1)
[5:47] 8. Spring Is Here (Alt Take 1)
[6:48] 9. There Is No Greater Love (Alt Take 3)
[4:53] 10. Nada Mas (Alt Take 1)

This excellent 1981 date from Frank Wess is, as its title suggests, the first -- and only -- all-flute session from the man who brought the instrument to prominence as a soloist in creative mainstream jazz during the 1950s. Wess -- also a fine saxophonist -- has a list of credits including the Billy Eckstine Orchestra in the late '40s and Count Basie's legendary 1950s band with Frank Foster. He won the Down Beat critic's poll for flute for six consecutive years between 1959 and 1964. The Flute Mastery of Frank Wess was produced by Gus Statiras, and the session's other personnel include bassist George Mraz, pianist Tommy Flanagan, and drummer Ben Riley. The original six-track program includes lovely readings of the standards "Lover Come Back to Me," "Spring Is Here," and "There Is No Greater Love," Duke Ellington's "Battle Royal," and two excellent Wess originals in "Nada Mas" and "Riled Up." In addition are bonus cuts that feature alternate takes of the standards as well as "Nada Mas." ~Thom Jurek

The Flute Mastery Of Frank Wess mc
The Flute Mastery Of Frank Wess zippy

---

Cy Touff & Richie Kamuca - Primitive Cats

Styles: Trumpet And Saxophone Jazz 
Year: 1956
File: MP3@320K/s
Time: 51:34
Size: 118,7 MB
Art: Front

(5:41)  1. Primitive Cats
(5:27)  2. It's Sand, Man
(5:27)  3. Prez-Ence
(3:53)  4. Half Past Jumping Time
(7:01)  5. A Smooth One
(7:53)  6. Keenster Parade
(4:58)  7. TNT
(4:25)  8. What Am I Here For
(4:13)  9. Groovin' Wailin'
(2:32) 10. A Smooth One

When these recordings were made, Cy Touff had been sitting in the Woody Herman trombone section for almost two years. His ungainly looking instrument seldom has been heard in the Jazz field. It sounds much like a valve trombone, but seems to be more flexible and more personal than the bone. Richie Kamuca, who co-featured with Cy on these sessions, was also a member of the Herman Herd. Both men have Lester Youngs spirit in their playing. They typify the mainstream school of Jazz. The groups on this CD achieve a compulsive swing and joy that is practically guaranteed to make you pat a hole in the floor with your foot. The quintet sides are marked by lengthier solos from Cy and Richie, and presented them with an auspicious bow as recorded leaders. Johnny Mandel and Ernie Wilkins charts provide ample chance for the octet to get a walking, pulsing, Basie-ish beat going behind all the soloists. https://www.freshsoundrecords.com/cy-touff-richie-kamuca-albums/4582-primitive-cats.html

Personnel:  Cy Touff (bass trumpet), Richie Kamuca (tenor sax), Matt Utal (alto sax, baritone sax), Pete Jolly (piano), Leroy Vinnegar (bass), and Chuck Flores (drums).

Primitive Cats

---

Roy Ayers - Virgo Vibes

Styles: Vibraphone Jazz
Year: 1967
File: MP3@320K/s
Time: 53:28
Size: 122,7 MB
Art: Front

( 7:35)  1. The Ringer
( 5:21)  2. Ayerloom
( 6:56)  3. In the limelight
(12:49)  4. Virgo vibes
( 7:49)  5. Glow flower
( 5:09)  6. Mine Royd
( 7:45)  7. Number Seven

Long before he switched to playing disco and pop music, Roy Ayers was considered a promising young jazz vibraphonist. This LP, his second as a leader, was one of his finest. On four of the five selections (obscurities and pieces by group members), Ayers teams up with trumpeter Charles Tolliver, tenor saxophonist Joe Henderson, bassist Reggie Workman, drummer Bruno Carr, and the mysterious pianist Ronnie Clark (Herbie Hancock under a disguised name). On "Glow Flower," Ayers and Tolliver are joined by Harold Land on tenor, pianist Jack Wilson, bassist Buster Williams, and drummer Donald Bailey. The music is primarily advanced hard bop with some freer moments on Tolliver's "The Ringer." This underrated music is long overdue to be reissued on CD and displays Roy Ayers' long before he was known as an R&B artist. ~ Scott Yanow https://www.allmusic.com/album/virgo-vibes-mw0000739066  

Personnel: Roy Ayers (vibraphone); Joe Henderson (tenor saxophone); Charles Tolliver (trumpet); Ronald Clark (piano).

Virgo Vibes

---

Fredrik Kronkvist - Afro-Cuban Supreme

Styles: Saxophone, Flute And Clarinet Jazz
Year: 2017
File: MP3@320K/s
Time: 77:57
Size: 179,7 MB
Art: Front

(2:32)  1. Intro - Tierra Africana part 1
(5:31)  2. A Love Supreme - Acknowledgement
(5:48)  3. A Night in Tunisia
(7:10)  4. Caravan
(1:29)  5. Interlude No.1
(4:22)  6. Afro Blue
(5:40)  7. Satellite
(6:36)  8. Manteca
(0:51)  9. Interlude No.2
(5:14) 10. Naima
(0:32) 11. Interlude No.3
(4:59) 12. Gillespiana
(4:26) 13. Be-Bop
(1:55) 14. Tierra Africana part II
(5:30) 15. On Green Dolphin Street
(0:42) 16. Interlude No.4
(4:40) 17. Yemaya
(1:33) 18. Interlude No.5
(6:12) 19. Eternal Light
(2:03) 20. Outro - Acknowledgement

Alto saxophone star Fredrik Kronkvist delivers his eclectic mix of Afro-Cuban rhythms and Coltrane inspired jazz and in an adventurous and colorful musical experience. New views on Latin-Jazz gives us an explosive rhythm fiesta that touches both body and soul. Inspired by Dizzy Gillespie’s idea of bringing together people, music and rhythms from different continents and countries, the award-winning and Swedish Grammy nominated alto saxophonist Fredrik Kronkvist has created a diverse mix of Afro-Cuban rhythms and Coltrane-influenced jazz with his new group Afro-Cuban Supreme. On the occasion of Dizzy’s 100-year anniversary in 2017 Fredrik Kronkvist releases the album Afro-Cuban Supreme with superstars Jason Marsalis(USA) on drums, conga virtuoso Eliel Lazo(CUB) and Miriam Aïda(MAR/SWE) on vocals. The music ranges from legendary songs like A Night in Tunisia, Afro Blue and Manteca in eventful arrangements to exciting original compositions with contemporary approaches to timeless Latin Jazz. https://fredrikkronkvist.wordpress.com/music-2/afro-cuban-supreme/

Personnel:  Fredrik Kronkvist – saxophones, flutes and bass clarinet;  Miriam Aïda – vocals;  Martin Sjöstedt – piano;  Johnny Åman – bass;  Eliel Lazo – congas;  Jason Marsalis – drums

Afro-Cuban Supreme

---

Oliver Nelson, Eric Dolphy - Straight Ahead

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 37:11
Size: 85,7 MB
Art: Front

(5:48)  1. Images
(7:18)  2. Six And Four
(5:04)  3. Mama Lou
(9:57)  4. Ralph's New Blues
(5:36)  5. Straight Ahead
(3:27)  6. 111-44

Contrast is everything. Think of food for example: A big salty hunk of mature cheese is nicely offset by a couple of sweet grapes. Gastronomes would never dream of eating a rich foie-gras without the accompaniment of the honeyed sweetness of a glass of Sauternes. The same is true with music; a whole album of fast-paced music quickly becomes draining. Likewise, an hour of chilled-out dub can send you to sleep. The saxophonist and composer Oliver Nelson was obviously acutely aware of this when choosing his musical sparring partners. Nelson's decision to share the frontline on three albums with the multi-instrumentalist Eric Dolphy is often described as brave. I believe that Nelson knew exactly what he was doing. Dolphy, a hero of the avant-garde, has a style so diametrically opposed to Oliver Nelson’s that the two just can’t help but complement each other. This synergy is beautifully demonstrated on the 1961 recording Straight Ahead. Both soloists play a number of instruments, with Nelson on alto/tenor saxophone and clarinet and Dolphy on bass clarinet, alto saxophone and flute. Oliver Nelson was a jazz composer par excellence, and this album does not disappoint. It contains a number of memorable themes, such as “Six and Four,” “Mama Lou” and “Straight Ahead.” Best of all: the soloing. The high-speed elasticity of Dolphy’s runs contrast perfectly with the pure, soaring tone of Nelson. The two horn players spark each other and generate music of genuine intensity. It is worth noting that Oliver Nelson and Eric Dolphy played together on a number of other albums, the highlight of which must be the classic chamber-jazz of The Blues and the Abstract Truth. Pass the grapes.....~ Keiran Smalley https://www.allaboutjazz.com/straight-ahead-oliver-nelson-fantasy-jazz-review-by-keiran-smalley.php

Personnel: Oliver Nelson: alto saxophone, tenor saxophone, clarinet; Eric Dolphy: alto saxophone, bass clarinet, flute; Richard Wyands: piano; George Duvivier: bass; Roy Haynes: drums

Straight Ahead

---

Jack Sheldon - Jack Sheldon & His All Stars

Bitrate: MP3@320K/s
Time: 35:03
Size: 80.3 MB
Styles: West Coast jazz
Year: 1976/2001
Art: Front

[3:04] 1. Green Dolphin Street
[4:42] 2. I'm Also A Person
[3:30] 3. I Had The Craziest Dream
[3:43] 4. Arrivederci
[2:56] 5. Brown Cow
[3:21] 6. Anyhow
[3:24] 7. Julie Is Her Name
[3:44] 8. Aplomb
[2:56] 9. Sunset Eyes
[3:38] 10. J.S

Alto Saxophone – Art Pepper, Herb Geller, Lennie Niehaus; Piano – Paul Moer; Baritone Saxophone – Billy Root; Bass – Buddy Clark; Drums – Mel Lewis; French Horn – Vince De Rosa; Piano – Pete Jolly; Tenor Saxophone – Harold Land; Trumpet – Chet Baker, Conte Candoli, Jack Sheldon; Tuba – Red Callender; Valve Trombone – Stu Williamson.

Although the liner notes to this album state that these two sessions were Jack Sheldon's first as a leader, he actually led two full sets for Jazz West during 1954 and 1956, plus three titles for Pacific Jazz in '55. However, this was the initial album to gain wide recognition and helped to introduce the L.A.-based trumpeter's talents to the East Coast. Five selections feature Sheldon with a ten-piece band arranged by Lennie Niehaus and some have spots for valve trombonist Stu Williamson, pianist Pete Jolly and baritonist Billy Root. The later session features the writing of Paul Moer and such fine soloists as trumpeter Chet Baker (in a rare sideman outing for another trumpeter), altoists Art Pepper and Herb Geller, tenorman Harold Land and valve trombonist Williamson. High-quality and consistently swinging West Coast jazz. ~Scott Yanow

Jack Sheldon & His All Stars mc
Jack Sheldon & His All Stars zippy

---

Dick Cary's Tuesday Night Friends - Catching Up

Bitrate: MP3@320K/s
Time: 69:26
Size: 158.9 MB
Styles: Swing, Bop, Big band
Year: 1999
Art: Front

[5:06] 1. Catching Up
[3:48] 2. Oofy
[3:35] 3. September Etude
[3:55] 4. The Albatross
[6:14] 5. Late Sunday
[3:18] 6. Gramercy Park
[4:07] 7. Shim-Me-Sha Wobble Shim-Me-Sha-Wabble
[2:31] 8. Black And Blue
[4:31] 9. Between Prone And Supine
[5:34] 10. December Song
[4:52] 11. Rialto
[3:54] 12. Sea Of Cortez
[2:39] 13. B-E-T-T-Y O'-H-A-R-A
[4:44] 14. Recado
[3:45] 15. White April
[6:43] 16. Sgt. Pee Wee

Alto Saxophone – Dick Hamilton; Baritone Saxophone – Betty O'Hara, Fred Cooper, Randy Aldcroft, Tommy Newsome; Bass – Herb Mickman; Clarinet – Abe Most, John Bambridge, Tommy Newsome; Drums – Jerry White; Euphonium – Betty O'Hara; Guitar – Dave Koonse; Leader – Dick Hamilton; Piano – Dick Hamilton; Soprano Saxophone – Tommy Newsome; Tenor Saxophone – John Bambridge, Terry Harrington; Trombone – Betty O'Hara, Ernie Tack; Trumpet – Dick Hamilton, Jack Trott.

Dick Cary’s friends are keeping alive his astonishing output of undated, unclassifiable compositions and arrangements. Cary’s most visible musical roles were as pianist, trumpeter, mellophonist and alto horn operator in bands playing Dixieland. The term Dixieland rankled him but he was stuck with it because of his associations. In the early 1940s Cary was house pianist at Nick’s traditional jazz emporium in Greenwich Village. His highlights as a player came with Louis Armstrong’s original All-Stars and in a productive association with Bobby Hackett in the 1950s. Throughout his career he also worked as an arranger, for Benny Goodman, Jimmy Dorsey, Glen Gray, Hackett and his own bands, among others.

For his last couple of decades Cary, who died in 1994, held sessions once a week at his house which were populated by Los Angeles studio musicians eager to play his intriguing, unconventional charts. This album has some of those friends playing 16 of his pieces. The music is full of rich textures, unexpected rhythmic displacements, written lines that sound improvised, pungent 20th century classical harmonies, exuberance, wryness, subtlety and nothing that sounds like Dixieland. Most of the pieces are Cary’s, but when he tackled a standard like “Black and Blue” he transformed it. Cary’s arrangements inspire fine solos from the ensemblists, especially clarinetist Abe Most, tenor saxophonist Tommy Newsom and the late trombonist Betty O’Hara. Newsom, a focused and consistently interesting soloist, radiates the spirit of Al Cohn and Zoot Sims. Dick Hamilton, who leads the group, is impressive on piano, trumpet and the alto horn he inherited from Cary. ~Doug Ramsey

Catching Up mc
Catching Up zippy

---

Isabelle Georges - Une Etoile Et Moi ...à Judy Garland

Bitrate: MP3@320K/s
Time: 37:06
Size: 84.9 MB
Styles: Jazz vocals
Year: 2002
Art: Front

[3:18] 1. I Don't Care
[2:38] 2. Make Someone Happy
[3:02] 3. The Trolley Song
[3:56] 4. Gotta Have Me Go With You
[2:28] 5. By Myself
[5:27] 6. You Made Me Love You Medley
[3:06] 7. Embraceable You
[2:20] 8. How About You
[4:54] 9. Over The Rainbow
[2:12] 10. By Myself, Pt. 2
[3:40] 11. La Voix De Mes Rêves

"Those who loved Isabelle Georges’ tribute show to Judy Garland will appreciate hearing all the songs on this CD. For those who missed it, it’s an ideal opportunity to discover Judy Garland’s universe and Isabelle Georges’ talent. Now muffled and sensual, now jazzy and rhythmical, all these songs are to be enjoyed with great pleasure. If on stage there is only the piano, on the CD nine musicians accompany Isabelle Georges. The musical direction is impeccable, and Mathieu Gonet’s arrangements are brilliant!" ~Thierry Quinson

Une Etoile Et Moi ...à Judy Garland mc
Une Etoile Et Moi ...à Judy Garland zippy

---

Jimmy Bruno - Like That

Bitrate: MP3@320K/s
Time: 60:50
Size: 139.3 MB
Styles: Guitar jazz
Year: 1996
Art: Front

[4:40] 1. E.V
[5:05] 2. Raezer's Edge
[5:43] 3. Waltz For Nancy
[6:13] 4. There Is No Greater Love
[4:26] 5. The Iguana's Uncle
[5:24] 6. Pat's House
[6:17] 7. Night Dreamer
[6:26] 8. The Way You Look Tonight
[4:49] 9. Like That
[3:28] 10. Stars Fell On Alabama
[8:15] 11. Unit Seven

Acoustic Bass, Electric Bass – Craig Thomas; Drums – Steve Holloway; Guitar – Jimmy Bruno; Organ – Joey DeFrancesco; Trumpet – Joey DeFrancesco. Recorded August 30, 1995 - August 31, 1995.

An aptly titled album if there ever was one, "Like That" is a tour de force in hard bop jazz, featuring the talents of guitarist Jimmy Bruno, who can burn and still balance his chops with very tasteful licks, and tone things down when it's the right time to do it. Joining him on this 1996 album is organist Joey Defrancesco, as hot on the B-3 as anybody who ever played one. Plus, he excels at trumpet and plays it on a couple of cuts. The year of this release is important to me, because just a scant two years prior Defrancesco partnered with the late legendary Danny Gatton on the last studio album Danny would make before tragically committing suicide in October of 1994. "Relentless" was and is a modern jazz masterpiece, an absolute must have for any jazz and jazz guitar fan reading this review.

So while Joey is the guest on this album, he is given equal time, and the whole ensemble just cooks. There can never be a replacement for Danny Gatton, but Jimmy Bruno is a superb player who stays pretty close to his jazz roots, whereas Gatton was famous or infamous if you're a guitarist who knows when your musical ass has been thoroughly kicked, for being a living encyclopedia of American music, and played whatever style he felt like better than anybody else. But this isn't a Gatton review. Bruno has made his mark and that is one of superb dexterity, beautiful tone, and most importantly, a very strong melodic sense that makes his solos integral to the music, not just icing on a cake that is no good without it. Asking Defrancesco to team up with him is a great idea. I want to point out that amazon.com has for some weird reason itemized a couple of tracks that say "featuring Joey Defrancesco", which is wrong, as Joey plays on the entire album.

"There Is No Greater Love" features Joey on trumpet that is as good as anything Miles Davis ever did. One or two songs are so furiously paced you'd think your player may spontaneously combust. Wes Montgomery fans, and I'm a huge fan, will be interested to see there is a version here of the standard "Unit 7" to close the album. Bruno and Defrancesco turn in a great performance, and Bruno makes sure to throw a few Montgomery trademark octave sweeps. While I will always consider the version of "Unit 7" on Montgomery's legendary live album "Live At The Half Note" untouchable, the song is certainly not treated poorly here. "Like That" is a great album, and after purchasing this and the Bruno/Joe Beck album "Polarity", I'll be checking out more of his CD's. ~Scott Hedegard

Like That mc
Like That zippy

---

Monaco Swing Ensemble, Diknu Schneeberger - Marais

Bitrate: MP3@320K/s
Time: 58:47
Size: 134.6 MB
Styles: Swing, Gypsy jazz
Year: 2017
Art: Front

[6:22] 1. Mocca Swing
[2:48] 2. Place De Brouckère
[6:22] 3. Miserlou
[3:43] 4. Mittelalter
[4:03] 5. Swing Gitan
[5:39] 6. Cry Me A River
[2:52] 7. Monaco Franze
[4:54] 8. Swing 39
[3:54] 9. Nuit De St. Germain De Prés
[3:27] 10. Lulu Swing
[6:44] 11. Bei Dir War Es Immer So Schön
[7:54] 12. Miserlou

In January 2016 we recorded our debut album "Marais". As the main soloist we were able to win our longtime friend, Diknu Schneeberger, who continues to accompany us on as many concerts as possible. You can hear standards from the Gypsy Jazz Canon (Swing Gitan, Swing 39, It was always so beautiful with you), traditional folk songs (Miserlou) and an original composition by Diknu Schneeberger (Middle Ages). Even Mulo Francel from Quadro Nuevo can be heard on a piece that he has specially arranged for us (Mocca Swing) and for which we made a video. Thanks to Tom Peschel and Erdem Enging for the recording and Sebastian Vogel for the cover artwork.

Marais mc
Marais zippy

---

The John Bunch Quintet - John's Other Bunch

Bitrate: MP3@320K/s
Time: 66:35
Size: 152.5 MB
Styles: Piano jazz
Year: 2002
Art: Front

[5:18] 1. (I Would Do) Anything For You (Take 2)
[6:10] 2. I'll Take New York
[3:41] 3. Lotus Blossom
[5:10] 4. The Man I Love
[4:23] 5. Seventh Avenue Scene (Take 2)
[5:08] 6. My Baby Just Cares For Me
[4:34] 7. Ellington '66 (Take 4)
[4:27] 8. This Can't Be Love
[3:16] 9. Sunday Night
[5:14] 10. (I Would Do) Anything For You (Take 1)
[2:56] 11. Why Shouldn't I (Take 1)
[4:10] 12. Ellington '66 (Take 1)
[4:34] 13. Seventh Avenue Scene (Take 1)
[2:59] 14. Why Shouldn't I (Take 2)
[4:30] 15. Ellington '66 (Take 2)

Bass – Michael Moore; Piano, Leader, Arranged By – John Bunch; Tenor Saxophone – Scott Hamilton; Trumpet – Warren Vaché.

This disc is most notable in that veteran swing pianist John Bunch welcomes two up-and-coming players to his quintet: tenor saxophonist Scott Hamilton and trumpeter Warren Vache. Both Hamilton and Vache had recently been discovered and they are full of fire, inspiring the trio of Bunch, bassist Michael Moore, and drummer Connie Kay. Another plus is the repertoire which matches standards (including heated versions of "I Would Do Anything for You" and "This Can't Be Love") with obscurities (Bunch's "I'll Take New York," "Seventh Avenue Scene," and "Ellington '66"). Hamilton and Vache would soon be recording regularly for Concord, so it is a treat hearing them at the beginning of their productive careers, interacting with the Teddy Wilson-inspired piano of John Bunch. ~Scott Yanow

John's Other Bunch mc
John's Other Bunch zippy

---

Azar Lawrence - Summer Solstice

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 40:31
Size: 93,6 MB
Art: Front

(7:52)  1. From The Point Of Love
(6:39)  2. Novo Ano
(6:52)  3. From The Point Of Light
(9:24)  4. Summer Solstice
(9:42)  5. Highway

Azar Lawrence (born November 3, 1952) is an American jazz saxophonist, known for his contributions as sideman to McCoy Tyner, Miles Davis, Freddie Hubbard, and Woody Shaw. Lawrence was the tenor saxophonist Tyner used following John Coltrane's death.Lawrence released Summer Solstice on Prestige Records in 1975, produced by Orrin Keepnews. It featured Raul de Souza, Gerald Hayes, Amaury Tristão, Dom Salvador, Ron Carter, Guilherme Franco on the songs "Novo Ano" and "Highway" which were composed by Amaury Tristão, and Lawrence, Souza, Albert Dailey, Carter and Billy Hart on all other selections.Bridge Into The New Age featured Jean Carn, Woody Shaw, Ray Straughter, Woody Murray, Clint Houston, Billy Hart, Guillerme Franco, Julian Priester, Hadley Caliman, Black Arthur, Joe Bonner, John Heard, Leon "Ndugu" Chancler, Mtume and Kenneth Nash. People Moving featured Patrice Rushen, Jerry Peters, Michael Stanton, John Rowin, Lee Ritenour, Paul Jackson, Jr., Harvey Mason, Ernest Straughter. Musician and screenwriter Herbert Baker taught music and mentored Lawrence, who recalled Baker as "one of the greatest pianists who ever lived." https://en.wikipedia.org/wiki/Azar_Lawrence

Personnel:  Azar Lawrence - saxophone;  Raul de Souza - trombone;  Albert Dailey - piano;  Ron Carter - bass;  Billy Hart drums.

Summer Solstice

---

Sherry Williams - A Taste Of Sherry

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 73:07
Size: 167,9 MB
Art: Front

(4:08)  1. A Foggy Day
(7:18)  2. Summertime
(6:27)  3. Round Midnight
(5:57)  4. All of You
(3:20)  5. Do Nothin' Til You Hear From Me
(5:13)  6. When He Makes Music
(5:19)  7. 'Tis Better to Have Loved and Lost
(6:39)  8. You'd Be So Nice to Come Home To
(7:19)  9. Weren't You the One
(4:52) 10. Without You
(6:01) 11. Lush Life
(7:38) 12. Let's Fall in Love
(2:50) 13. There Will Never Be Another You

You're about to hear a lady in the tradition of the best we've ever had...Lady Day, Sarah and Ella. Sherry Williams is the incomparable present-day combination of those ladies. But Sherry offers so much of herself! In a perfect mix of standard items like "Let's Fall In Love", "Foggy Day" and "Summertime", Sherry introduces "'Tis Better to Have Loved and Lost", and Weren't You the One?" 

And yet, the important things are her sensitive interpretations and her soulful delivery of all the music and all the words! And...She's backed by the superb, tasteful arranger-pianist, John Rodby, bassist Harvey Newmark, and drummers Harold Mason and Mark Stevens. They are one with Ms. Williams and what a treat that is! Sherry makes familiar pieces her own. "Round Midnight" and "Lush Life" stripped of the extraneous, performed with only Al Viola's guitar, and the above mentioned standards...They all belong to Sherry Williams. And that's what makes this very touching collection so memorable. Give her your listening space, and the lady will fill it with her magic. ~ Jack Segal https://store.cdbaby.com/cd/sherryw

A Taste Of Sherry

---

Gianni Basso - Gianni Basso and His Sax & Rhythm Sextet

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 51:27
Size: 118,2 MB
Art: Front

(7:44)  1. Chet's Chum
(7:21)  2. Crazy Rhythm
(5:10)  3. Warm Melody
(6:08)  4. Holiday in Davos
(5:55)  5. The Next Day
(5:16)  6. Winnie's Component
(8:46)  7. Bells Blues
(5:03)  8. Bob's Buddy

Gianni Basso was one of the lights who began shining on the European jazz scene following the end of World War II. He began as a clarinetist and first played professionally in Germany and Belgium in the late '40s with the Raoul Falsan Big Band. By the beginning of the next decade, he was established as a commercial "GB" or "general business" player in Milan, but one with a steady presence at jazz events, including some of the early Italian attempts at post-fascist festivals. From about 1954, a collaboration with trumpeter and composer Oscar Valdambrini began that resembled the relationship between Duke Ellington and Billy Strayhorn, minus the former man's household-name status. Basso studied music in the busy northern city of Turin, where Valdambrini was a homeboy. It was more than just two Italian lads growing up with a fascination for American jazz this was a case of a tenor saxophone and trumpet finding each other. This led to all manner of musical possibilities, most notably the easy-to-maneuver-and-feed small combo (not that feeding anyone in Italy is a problem, ever).The partners' group was without a doubt the most popular jazz band in Italy in the '50s, accompanying many touring stars such as Billie Holiday, Lionel Hampton, Gerry Mulligan, Slide Hampton, and Chet Baker. The engaging style of tenor saxophonist Stan Getz was the primary goal Basso set for himself in terms of having a main man on the saxophone. His many subsequent recordings provide documentation of how he discovered Sonny Rollins and developed his own style from these sources to the point where the Verve label signed him and a top-notch singer such as Sarah Vaughan wanted a Basso baste as sauce on her 1984 serving entitled Mystery of Man. In the late '70s he founded the band Saxes Machine and subsequently fronted the Gianni Basso Big Band. In his senior years he settled into the comfort of the Rome studio scene, still playing in clubs and enjoying his growing historical stature on the European jazz scene. Even free jazz fans like him now. ~ Eugene Chadbourne https://www.allmusic.com/artist/gianni-basso-mn0000948077  

Gianni Basso and His Sax & Rhythm Sextet

---

Ivo Perelman - Soul

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 56:16
Size: 129,1 MB
Art: Front

(5:47)  1. Metaphysical
(8:03)  2. Crossing
(7:03)  3. Eyound
(4:59)  4. Fragments
(4:34)  5. Belvedere
(5:03)  6. Landscape
(8:06)  7. Soul
(5:51)  8. Joy
(6:46)  9. The Unknown

One might approach this album as though it were an extension of the Perelman/Shipp duo recording, Corpo, made one week earlier.  It would not be appropriate to think that there is an historical jazz relationship at play here between Body (Corpo) and Soul there is no audible reference in the music to this possibility and it would hardly be appropriate to musicians who do not use ‘written’ notes.  What is true is that the addition to the duo of Bisio and Dickey rounds out their music with the addition of shades and tints and grain. There are distinctly different moods and swings through the music, but these are not intentionally drawn.  They are discovered or brought into being as the music develops, rather than being ‘borrowed’ from a composer’s sheet music and this produces a tranquil air in which these four musicians are heard to be entirely contented with each other and within themselves, even when in perpetual commotion. ‘Joy’ (Track 8) is particularly redolent of this, the saxophone being steered by the bass through the drummer’s ricochets and towards the doggedness of the piano, relentlessly pursuing the horn’s accompaniment.  In full improvisational mode, the quartet settles into poised extemporisation in which bass and drum effortlessly balance the comings and goings of the piano and saxophone. The improv is luxurious and it seems as though any individual in the band can take the place of another, such are their articulations.  They ‘read’ each other non-stop. http://www.jazzviews.net/ivo-perelman---soul.html

Personnel:  Ivo Perelman, tenor saxophone; Matthew Shipp, piano; Michael Bisio, bass; Whit Dickey, drums.

Soul

---

Nicholas Payton - Gumbo Nouveau

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 57:00
Size: 134,9 MB
Art: Front

(5:58)  1. Whoopin' Blues
(6:24)  2. When The Saints Go Marching In
(4:10)  3. Wild Man Blues
(6:31)  4. After You've Gone
(6:53)  5. Way Down Yonder In New Orleans
(4:01)  6. Down In Honky Tonk Town
(5:32)  7. I Gotta Right To Sing The Blues
(6:02)  8. Li'l Liza Jane
(3:34)  9. Weather Bird
(7:51) 10. St. James Infirmary

Only 22 at the time of this CD, Nicholas Payton had already quickly developed into a major trumpeter. Possessing a fat tone that is sometimes reminiscent of Freddie Hubbard, by the mid-'90s Payton had become New Orleans' latest significant contribution to jazz. On his second Verve release, Payton interprets and modernizes ten songs associated with his hometown and/or Louis Armstrong. Fortunately, Payton generally retains the flavor and joy of the original versions, even while he transforms much of the music into hard bop. To cite a few examples, "Whoopin' Blues" has parade rhythms, send-offs worthy of Lionel Hampton, and boppish solos, "Way Down Yonder in New Orleans" is taken as a slow and lightly swinging ballad, and "I Gotta Right to Sing the Blues" is turned into a jazz waltz. "Li'l Liza Jane" becomes a largely unrecognizable hard bop romp and this version of "When the Saints Go Marching In" is a bit melancholy, but "Wild Man Blues" is a real tour de force for the trumpeter and the duet between Payton and pianist Anthony Wonsey on "Weather Bird" has the leader liberally quoting from Louis Armstrong's classic version. Throughout the date, Payton is the lead voice, pianist Wonsey is the main supporting player, and there are occasional solos from altoist Jesse Davis and tenor saxophonist Tim Warfield. New Orleans jazz purists may not care for all of the updating, but the overall results are fresh and quite likable. Recommended. ~ Scott Yanow https://www.allmusic.com/album/gumbo-nouveau-mw0000183253

Personnel: Nicholas Payton (trumpet); Jesse Davis (alto saxophone); Tim Warfield (tenor saxophone); Anthony Wonsey (piano); Reuben Rogers (bass); Adonis Rose (drums).                 

Gumbo Nouveau

---

McCoy Tyner - Jazz Roots

Bitrate: MP3@320K/s
Time: 58:16
Size: 133.4 MB
Styles: Piano jazz
Year: 2000
Art: Front

[2:51] 1. A Night In Tunisia
[3:34] 2. Pannonica
[4:18] 3. My Foolish Heart
[4:23] 4. Don't Get Around Much Anymore
[3:59] 5. Blues For Fatha
[4:04] 6. Sweet And Lovely
[3:33] 7. Lullaby Of Birdland
[5:36] 8. You Taught My Heart To Sing
[5:49] 9. Happy Days
[4:55] 10. Rio
[4:48] 11. Summertime
[3:36] 12. St. Louis Blues
[3:38] 13. Ain't Misbehavin'
[3:05] 14. Misty

The powerful pianist McCoy Tyner forged his sound as a member of John Coltrane's classic 1960s quartet, then expanded his musical horizons for the next four decades with his own ensembles, from trios to string orchestras. He's only recorded solo-piano projects sparingly, making this session all the more valuable. Tyner pays tribute to several keyboard legends and contemporaries, from Earl Hines to Bud Powell. Tyner stays true to Duke Ellington and Thelonious Monk on "Don't Get Around Much Anymore" and "Pannonica," and evokes the down-home magic of George Gershwin's "Summertime." Tyner's own compositions, the Latinesque "Rio" and the gospel-born "Happy Days," are dedicated to Chick Corea and Keith Jarrett, respectively. Tyner's unique keyboard concept makes this recording a tribute to his own talents as well. ~Eugene Holley Jr.

Jazz Roots mc
Jazz Roots zippy

---

Adam Nussbaum - The Lead Belly Project

Bitrate: MP3@320K/s
Time: 43:50
Size: 100.4 MB
Styles: Jazz/Blues
Year: 2018
Art: Front

[5:46] 1. Old Riley
[2:13] 2. Green Corn
[3:37] 3. Black Girl (Where Did You Sleep Last Night)
[5:07] 4. Bottle Up And Go
[5:26] 5. Black Betty
[1:51] 6. Grey Goose
[4:22] 7. Bring Me A Little Water, Sylvie
[2:33] 8. You Can't Loose Me Cholly
[2:54] 9. Insight, Enlight
[5:10] 10. Sure Would Baby
[4:47] 11. Goodnight Irene

Adam Nussbaum - drums; Ohad Talmor - saxophone; Steve Cardenas - guitar; Nate Radley - guitar. Released February 23, 2018.

From jazz and soul to rock and country, the blues are the bedrock and a uniting feature for much of the popular music originating in the United Sates. The simple and repetitive structures are easy to grasp and perform, making the blues extremely approachable. Under the command of brilliant writers like the legendary Lead Belly, the blues maintains a unique place between high art and common expression.

The discovery of the music of Lead Belly was transformative for young Adam Nussbaum. The only child of artistic parents in Norwalk, Connecticut, Nussbaum was exposed to many recordings, from classical to folk to jazz and blues. It was the image of Huddie Ledbetter on the original Folkways 10-inch record covers that fascinated the five year old. The celebrated blues and folk musician’s music seared itself into his ears, as it does in young listeners, informing the future drummer’s musical approach for years to come, most explicitly on his new recording, The Lead Belly Project.

Nussbaum studied classical piano for five years, but it wasn’t until he was twelve that he focused on drums. He played in local bands before moving to New York to study at the Davis Center at City College. Most of Nussbaum’s education was earned by sitting in with other musicians and it wasn’t long before he caught the attention of the City’s most notable players, including Dave Liebman and John Scofield. His professional career began as he left school to go on tour with Scofield. He has remained a first call drummer over the past 30 years, playing alongside legends like John Abercrombie, Gil Evans, James Moody, Stan Getz, and many others.

The Lead Belly Project mc
The Lead Belly Project zippy

---