Bobby Previte's Latin For Travellers - My Man in Sydney

Styles: Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 52:12
Size: 134,4 MB
Art: Front

( 9:09)  1. Albuquerque Bar Band
(12:16)  2. My Man in Sydney
( 8:10)  3. London Duty Free
( 5:33)  4. Bear Right at Burma
( 8:52)  5. Deep Dish Chicago
( 8:08)  6. Love Cry New York

Drummer Bobby Previte's Latin for Travelers quartet burns up the track on this compilation of live dates done at the Basement Club in Sydney, Australia. Their endless summer, rockish sound is tempered by jazz improvisation and taken to lofty heights by the raw power of the participants, including double-plus keyboardist Jamie Saft, electric guitarist Marc Ducret, and electric bass guitarist Jerome Harris. All six of these extended jams are composed by Previte, where the identity and sound of the band are quickly established in the hip 6/8 funk with organ from Saft and "Telstar"-type guitar via Ducret on "Albuquerque Bar Band." Floating guitar and bass hand off to Previte's drum solo, free rock running into an R&B shuffle, with a grooving bridge during the title cut. Twangy and galloping introductory guitars by both Harris and Ducret develop into more driven organ-fired funk as "London Duty Free" shows a bundle of intensity and purpose, while an indirect ethnocentric core lurks under distinct African tom-tom beats in the process of "Bear Right at Burma." The coolest track is the urgent, hip swing of the neo-boppish head-nodding "Deep Dish Chicago," using a thin but not flimsy, bluesy guitar melody with insistent two-note organ incursions whose combined themes cement this total out-and-out jam. The closer starts as a choogling, very long drum solo in repeated rhythms, bordering on tedium, before Saft's Fender Rhodes improv breaks Previte out into rockish, raucous swing. A one-note guitar riff, another drum solo, and a small bass insert leads back to Saft's pungent organ for one final swoop. This is the first of two volumes planned from these performances, and where these set excerpts are plenty potent, subsequent issues may or may not be better, but one would expect consistency between this and the next CD. Thing is, this band has a sound all its own, best heard live and well documented on this surface-scratching effort. ~ Michael G.Nastos https://www.allmusic.com/album/my-man-in-sydney-mw0000030995

Personnel:  Bobby Previte :: drums, voice;  Marc Ducret :: electric guitar; Jerome Harris :: electric guitar, electric bass, voice;  Jamie Saft :: organ, fender rhodes electric piano, mini moog

My Man in Sydney

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Gil Evans - Out of the Cool

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 37:29
Size: 89,1 MB
Art: Front

(15:38)  1. La Nevada
( 5:15)  2. Where Flamingos Fly
( 4:13)  3. Bilbao Song
( 8:04)  4. Stratusphunk
( 4:17)  5. Sunken Treasure

Out of the Cool, released in 1960, was the first recording Gil Evans issued after three straight albums with Miles Davis Sketches of Spain being the final one before this. Evans had learned much from Davis about improvisation, instinct, and space (the trumpeter learned plenty, too, especially about color, texture, and dynamic tension). Evans orchestrates less here, instead concentrating on the rhythm section built around Elvin Jones, Charlie Persip, bassist Ron Carter, and guitarist Ray Crawford. The maestro in the piano chair also assembled a crack horn section for this date, with Ray Beckinstein, Budd Johnson, and Eddie Caine on saxophones, trombonists Jimmy Knepper, Keg Johnson, and bass trombonist Tony Studd, with Johnny Coles and Phil Sunkel on trumpet, Bill Barber on tuba, and Bob Tricarico on flute, bassoon, and piccolo. The music here is of a wondrous variety, bookended by two stellar Evans compositions in "La Nevada," and "Sunken Treasure." The middle of the record is filled out by the lovely standard "Where Flamingos Fly," Kurt Weill-Bertolt Brecht's "Bilbao Song," and George Russell's classic "Stratusphunk." The sonics are alternately warm, breezy, and nocturnal, especially on the 15-plus-minute opener which captures the laid-back West Coast cool jazz feel juxtaposed by the percolating, even bubbling hot rhythmic pulse of the tough streets of Las Vegas. The horns are held back for long periods in the mix and the drums pop right up front, Crawford's solo drenched in funky blues is smoking. When the trombones re-enter, they are slow and moaning, and the piccolo digs in for an in the pocket, pulsing break. Whoa.

Things are brought back to the lyrical impressionism Evans is most well known for at the beginning of "Where Flamingos Fly." Following a four-note theme on guitar, flute, tuba, and trombone, it comes out dramatic and blue, but utterly spacious and warm. The melancholy feels like the tune "Summertime" in the trombone melody, but shifts toward something less impressionistic and more expressionist entirely by the use of gentle dissonance by the second verse as the horns begin to ratchet things up just a bit, allowing Persip and Jones to play in the middle on a variety of percussion instruments before the tune takes on a New Orleans feel, and indeed traces much of orchestral jazz history over the course of its five minutes without breaking a sweat. "Stratusphunk" is the most angular tune here, but Evans and company lend such an element of swing to the tune that its edges are barely experienced by the listener. For all his seriousness, there was a great deal of warmth and humor in Evans' approach to arranging. His use of the bassoon as a sound effects instrument at the beginning is one such moment emerging right out of the bass trombone. At first, the walking bassline played by Carter feels at odds with the lithe and limber horn lines which begin to assert themselves in full finger popping swing etiquette, but Carter seamlessly blends in. Again, Crawford's guitar solo in the midst of all that brass is the voice of song itself, but it's funky before Johnny Coles' fine trumpet solo ushers in an entirely new chart for the brass. The final cut, "Sunken Treasure," is a moody piece of noir that keeps its pulse inside the role of bass trombone and tuba. Percussion here, with maracas, is more of a coloration device, and the blues emerge from the trumpets and from Carter. It's an odd way to close a record, but its deep-night feel is something that may echo the "cool" yet looks toward something deeper and hotter which is exactly what followed later with Into the Hot. This set is not only brilliant, it's fun. ~ Thom Jurek https://www.allmusic.com/album/out-of-the-cool-mw0000649500

Gil Evans Orchestra: Gil Evans (arranger, conductor, piano); Budd Johnson (soprano & tenor saxophones); Eddie Caine, Ray Beckenstein (alto saxophone, flute, piccolo); Johnny Coles, Phil Sunkel (trumpet); Keg Johnson, Jimmy Knepper (trombone); Tony Studd (bass trombone); Bill Barber (tuba); Bob Tricarico (flute, piccolo, bassoon); Ray Crawford (guitar); Ron Carter (bass); Charlie Persip, Elvin Jones (drums, percussion).

Out of the Cool

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Ligia Piro - Baby!

Bitrate: MP3@320K/s
Time: 46:46
Size: 107.1 MB
Styles: Latin jazz vocals
Year: 2006
Art: Front

[2:24] 1. Love Me Or Leave Me
[4:26] 2. You Don´t Know What Love Is
[4:41] 3. Pra Machucar Meu Coracao
[2:47] 4. Call Me Irresponsible
[6:03] 5. P. S. I Love You
[3:05] 6. About A Girl
[5:06] 7. Round Midnight
[4:10] 8. At Last
[6:26] 9. Put Your Head On My Shoulder
[3:45] 10. The Man I Love
[3:48] 11. Samba De Orly

Ligia Piro was born in Buenos Aires, Argentina. She studied at the national music conservatory López Buchardo. As an actress, she trained at the theater school of Agustín Alezzo. She worked in different plays and musicals such as "Vino de Ciruela" (directed by Rubén Pires) "Nine" (directed by David Leveaux), "Gotán" and "The Romance of Romeo and Juliet" (directed by Manuel Gonzáles Gil) among others, those that earned her the nominations for the ACE award in 1996, -revelation- for Gotán and in 2003, -better actress- for Vino de Plum.

Avocado to jazz and bossa nova in its beginnings, Piro today is considered one of the best artists of popular music and the voices of Argentina. Under her own label GatoPop, she edits his albums "LP", "Baby!" And "Trece canciones de amor", also released in Japan and the album "Strange Fruit", recorded with Juan Cruz de Urquiza and orchestra. With a presentation in 2010/11, the show "As Passing Years" at the Maipo theater, gives rise to a new live album that goes to the bateas together with its first Latin American music label "Las Flores Buenas".

Ligia Piro, Konex 2005 merit award, has an immense versatility when it comes to tackling different genres and continues her artistic career with her performances in the great theaters of Buenos Aires, Argentina and abroad. (Translated from Spanish.)

Baby! mc
Baby! zippy

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Teddy Wilson - Nice Work If You Can Get It

Bitrate: MP3@320K/s
Time: 54:41
Size: 125.2 MB
Styles: Piano jazz
Year: 1998/2009
Art: Front

[4:13] 1. Saint Louis Blues
[2:37] 2. Three Little Words
[4:04] 3. I've Got The World On A String
[3:03] 4. Don't Be That Way
[4:23] 5. You Go To My Head
[2:34] 6. My Heart Stood Still
[4:29] 7. Where Or When
[3:51] 8. Basin Street Blues
[3:32] 9. I've Got My Love To Keep Me Warm
[3:45] 10. Flyin' Home
[2:37] 11. Nice Work If You Can Get It
[3:12] 12. Body And Soul
[2:30] 13. If I Had You
[2:16] 14. On The Sunny Side Of The Street
[3:09] 15. Avalon
[4:17] 16. After You're Gone

This compilation is a bit frustrating for Teddy Wilson fans. The first ten tracks are a straight reissue of the Black & Blue LP Three Little Words, which has been reissued by the original label with four bonus tracks. It is an unusual session, recorded in an open air studio with bassist Milt Hinton and drummer Oliver Jackson, though the material represents standards that Wilson had played countless times by this point in his career. A breezy "Don't Be That Way" and a romp through "Flyin' Home" are obvious highlights, though every track is a winner. The last six tracks are listed as being from a 1982 Washington, D.C. concert in a quartet led by Benny Goodman, though the clarinet's discography doesn't list such a performance. In any case, it is a somewhat noisy concert with the audience in the immediate proximity of the outdoor stage, suggesting a venue like Ravinia. The recording quality is amateurish, with Goodman very clear, but Wilson sounding a bit distant and muddy. Some unidentified horns join at the conclusion of "If I Had You" and are also heard in "Avalaon." The performances are enjoyable, though hardly among the best work available of Goodman, so this compilation falls short of being essential. ~Ken Dryden

Nice Work If You Can Get It mc
Nice Work If You Can Get It zippy

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The Quiet Band - Lullabies & Dreams

Bitrate: MP3@320K/s
Time: 47:43
Size: 109.3 MB
Styles: Vocal jazz, Easy Listening
Year: 2014
Art: Front

[4:35] 1. Corcavado
[4:09] 2. When You Wish Upon A Star
[4:33] 3. Sleeping Bee
[2:44] 4. Hushabye Mountain
[3:47] 5. It's Only A Paper Moon
[4:29] 6. Moonlight In Vermont
[4:21] 7. Wave
[4:06] 8. Lullabies & Dreams
[4:56] 9. Stardust
[3:48] 10. Alice In Wonderland
[3:18] 11. I See The Moon
[2:53] 12. White Christmas

“I wanted to make a jazz album that could lull my baby girl to sleep.” That was the inspiration for band-leader Dom Sales when making the album Lullabies & Dreams. Featuring the sublime voice of Jennie-Marie Hammond Lullabies & Dreams is a collection of jazz standards and lullabies dedicated to the night and quiet times. Lullabies and Dreams marks a slight change of direction to the usual contemporary jazz that Jellymould releases. This is unapologetically mainstream and features some of the finest session players in the country.

Dom became a father for the first time last year. “After trawling the internet for music to play to my daughter to help her to sleep I couldn’t find any jazz that wasn’t the ghastly pre-programmed, computer-made commercial material. I wanted something with integrity, with great playing and a soothing vocal.” That soothing vocal comes from new vocalist Jennie Marie Hammond. Her beautiful naïve quality, reminiscent of Astrud Gilberto’s style flows effortlessly over the top of a rhythm section comprising Sean Miller – piano, Richard Hammond – bass and Dom on drums. Mark Chandler is a trumpet player of distinct pedigree. His sublime flugel playing on this album showcases a musician of extreme taste along with tenor saxophonist Mike Hope whose sensitive playing is featured on a number of tracks. The band is completed by Tim Gunnell on vibraphone and Stuart Worthy on percussion.

Lullabies & Dreams is a thoughtful collection of songs carefully arranged by Sean Miller and the band. The album features one original, the title track by Dom and his lyricist father Patrick. The band recorded the album in two days, all in the same room playing acoustically and it’s not all sleep inducing – the band could not help themselves – there are some fine swinging moments! This is an album to relax to, to be enjoyed with a glass of your favourite drink of choice in the quietest of surrounding.

Lullabies & Dreams mc
Lullabies & Dreams zippy

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Wynton Marsalis Septet - United We Swing: Best of The Jazz at Lincoln Center Galas

Bitrate: MP3@320K/s
Time: 70:27
Size: 161.3 MB
Styles: Standards, Straight ahead jazz
Year: 2018
Art: Front

[4:14] 1. The Last Time
[4:29] 2. It Takes A Lot To Laugh
[3:47] 3. I'm Gonna Move To The Outskirts Of Town
[3:01] 4. I'm Not Rough
[3:12] 5. Creole Love Call
[4:18] 6. Milk Cow Blues
[2:42] 7. I'm Gonna Find Another You
[3:44] 8. My Baby Don't Tolerate
[6:44] 9. The Worst Thing
[4:06] 10. Please Baby Don't
[3:28] 11. Mean Old Man
[7:35] 12. Are You Gonna Go My Way
[4:21] 13. Fool's Paradise
[4:04] 14. Empty Bed Blues
[5:33] 15. I Wish I Knew How It Would Feel To Be Free
[5:03] 16. What Have You Done

Recorded between 2003 and 2007, United We Swing: Best of the Jazz at Lincoln Center Galas finds an unparalleled array of music talent that collectively boasts 94 Grammy Awards joining Jazz at Lincoln Center Managing and Artistic Director Wynton Marsalis (a nine-time Grammy Award winner himself) and some of the world’s top jazz musicians to perform blues-inflected versions of iconic American repertoire.

Those one-night-only, live performances have never been released before. They include Lenny Kravitz performing Marsalis’s hypnotizing, New Orleans-inflected arrangement of Kravitz’s own song, “Are You Gonna Go My Way”; Susan Tedeschi and Derek Trucks uniting for a stirring, infectious take on Civil Rights anthem “I Wish I Knew How It Would Feel to Be Free”; Bob Dylan adding harmonica licks to a deeply felt, in-the-pocket rendition of “It Takes a Lot to Laugh, It Takes a Train to Cry”; and Ray Charles taking the stage for one of his final performances to play “I’m Gonna Move to the Outskirts of Town.” Together these artists raise their voices to highlight jazz’s importance to America’s cultural heritage and to remind us that, even in divided times, music can unite us all. All proceeds from the album will go toward Jazz at Lincoln Center’s education programs, which introduce thousands of children to jazz each year.

United We Swing mc
United We Swing zippy

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Dave Koz & Friends - Summer Horns

Bitrate: MP3@320K/s
Time: 55:11
Size: 126.3 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[4:03] 1. Always There
[5:37] 2. Got To Get You Into My Life
[5:06] 3. Rise
[4:37] 4. So Very Hard To Go
[4:26] 5. Hot Fun In The Summertime
[4:10] 6. Take 5
[4:46] 7. 25 Or 6 To 4
[4:44] 8. Reasons
[4:14] 9. I Got You (I Feel Good)
[3:44] 10. You Haven’t Done Nothin’
[5:43] 11. God Bless The Child
[3:56] 12. Summer Horns

Nine-time GRAMMY® nominee Dave Koz remembers a time when the summers lasted forever, and the most popular rock, R&B, soul and funk bands of the day were propelled by high-octane, richly arranged horn sections. Indeed, from the late 1960s through the ‘70s, bands like Sly & the Family Stone, Tower of Power, Earth Wind & Fire, Chicago, Blood Sweat & Tears and other brassy juggernauts of the era ruled the airwaves and opened his young ears to the saxophone’s limitless possibilities as a solo instrument as well as a collaborative voice with the trumpet and trombone.

Four decades later, Koz has assembled three of his most talented and trusted colleagues – Gerald Albright, Richard Elliot and Mindi Abair – to revisit this golden age with new arrangements of classic songs from this period in the history of popular music. Dave Koz and Friends Summer Horns, produced by Paul Brown (Al Jarreau, George Benson, June Tabor, Boney James), is a collaborative effort that throws the spotlight on four high-profile saxophonists, and augments the team with several other equally talented musicians and vocalists. Summer Horns, released on June 11, 2013 on Concord Records, turns up the heat just in time for the summer tour season.

Summer Horns mc
Summer Horns zippy

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Tito Puente - Jazz

Bitrate: MP3@320K/s
Time: 39:20
Size: 90.1 MB
Styles: Afro-Cuban jazz
Year: 2009
Art: Front

[2:49] 1. Cochise
[2:37] 2. One Note Samba
[2:43] 3. 110th St And 5th Avenue
[3:09] 4. Picadillo
[5:23] 5. The Big Four
[3:51] 6. Timbales Solo
[3:25] 7. Autumn Leaves
[2:30] 8. Mambo Inn
[3:10] 9. A Noro Morales
[3:25] 10. Carnival In Harlem
[1:55] 11. Jumpin' With Symphony Sid
[4:19] 12. Ritual Fire Dance

"No one in the world has done more for Afro-Cuban music than Tito Puente.” This is what Mario Bauzá - creator of Afro-Cuban jazz and legendary musical director of Machito's Afro-Cubans, stated when talking about Puente. Born to Puerto Rican parents in NYC's Harlem Hospital on April 20, 1921, Ernest Anthony Puente Jr. (not Ernesto or Antonio, as has been incorrectly stated by many) was a towering figure who revolutionized the role of percussion and jazz arranging techniques in Afro-Cuban music. A product of his environment, Puente, who passed away in NYC on May 31, 2001, grew up in the East side enclave of Manhattan known as East Harlem, the Spanish Harlem or El Barrio. It was here that he grew up listening to the sounds of big band jazz (drummer Gene Krupa was his hero), Cuban and Puerto Rican music, and emulating movie stars such as James Cagney and Fred Astaire. At the time, East Harlem (Pleasant Avenue, 1st, 2nd , 3rd , Lexington, Madison, Park, and 5th Avenue's between 96th and 125th streets) was a thriving neighborhood populated by Italians, Jews, Germans, Cubans and a growing Puerto Rican community - all of them living side by side. "Little Ernie" or Ernestito, as he became known by his boyhood friends, absorbed everything this colorful environment had to offer. He took drum lessons with an African-American show drummer named Mr. Williams, piano lessons with Victoria Hernández (Rafael's sister), as well as dance lessons. All this would serve him well in his quest to become a virtuoso multi-instrumentalist (timbales, drums, piano, vibes, marimba, alto sax, and clarinet), arranger, composer and bandleader. His first recording experience was in 1939 with the Machito Afro-Cubans and Johnny Rodríguez's Stork Club Orchestra. After serving with honors in the U.S. Navy during WW II on the escort carrier Santee CVC 29 as a gunner’s mate and musician (he was the bugler and played alto saxophone and piano in the ship's big band), he would return to NYC and quickly establish himself as a bandleader. His first hit was the 1949 mambo, “Abaniquito,” featuring Vicentico Valdés on lead vocals, Mario Bauzá on trumpet and Graciela (Machito’s sister) on background vocals. A subsequent signing to the powerful RCA label yielded classic albums that demonstrated Puente's unique ability to compose and arrange jazz oriented Afro-Cuban music and established his renowned virtuosity on the timbales, vibes and marimba. His later years with Tico and Fania would yield much more dance-oriented music. But this compilation demonstrates that Puente could produce jazz-oriented music featuring both him and his musicians as world class soloists. Hard driving instrumental mambos like “Picadillo” and “A Noro Morales” feature him on marimba and vibes. His sensitivity and romanticism on the instrument is demonstrated on the classic jazz standard “Autumn Leaves.” Puente was a master of other styles as well. Just listen to the swing of Trinidadian calypso on “Carnaval en Harlem” and Brazilian bossa nova on “One Note Samba.” The power, swing and mastery of jazz harmony that he loved to employ in writing for his big band is demonstrated in full force on “Mambo Inn,” “110th St. & 5th Ave.,” “Jumpin' with Symphony Syd” and “Ritual Fire Dance.” But it is his virtuosity on the timbales that he is best known for, as demonstrated on “The Big Four,” where he is joined by Mongo Santamaría, Carlos "Patato" Valdés and Willie Bobo. There is also the “Timbales Solo,” where he takes an incredible improvisation with just the accompaniment of a cowbell. By its very nature, jazz is an art form that demonstrates the virtuosity of musicians as soloists. Enjoy it right here as Tito plays jazz. ~Bobby Sanabria

Jazz mc
Jazz zippy

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Geoff Keezer, Steve Nelson & Neil Swainson - Trio

Styles: Piano And Vibraphone Jazz
Year: 1993
File: MP3@320K/s
Time: 69:41
Size: 160,5 MB
Art: Front

(13:43)  1. Relaxin' At Camarillo
(10:35)  2. There Are Many Angels In Florence
(11:57)  3. On The Lam
( 5:55)  4. Solo Piano Medley
(13:24)  5. Epistrophy
(14:04)  6. Eternal Triangle

The music on this live CD is boppish but fresh, showcasing an exciting trio comprised of pianist Geoff Keezer, vibraphonist Steve Nelson, and bassist Neil Swainson. The drumless group swings lightly but with excitement on such numbers as "Relaxin' at Camarillo," "Eternal Triangle," and "Epistrophy," each of which is over 13 minutes long. In addition to an original apiece from Nelson and Swainson, Keezer takes a medley of "Darn That Dream" and "Sophisticated Lady" as his solo piano feature. Easily recommended. ~ Scott Yanow https://www.allmusic.com/album/trio-mw0000411039

Personnel: Geoff Keezer (piano); Steve Nelson (vibraphone); Neil Swainson (bass).

Trio

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Marie Bergman - But Beatiful

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 46:58
Size: 109,0 MB
Art: Front

(5:04)  1. You Don`t Know What Love Is
(3:49)  2. Invitation
(3:29)  3. All Of Me
(5:53)  4. Imagination
(3:41)  5. Like Someone In Love
(4:19)  6. Naima
(4:58)  7. Funny
(5:05)  8. Someone To Watch Over Me
(7:54)  9. But Beatiful
(2:41) 10. I Fall In Love Too Easily

I was born in Alberta then Shortly after, our family of five soon moved to Santa Clara, California. It was not until my early teens that we moved back to the Canadian prairies where we spent a number of years in southern Alberta. My travelling experiences brought me close with nature spending much of my time outdoors. One of the first paintings my parents bought back in 67 was “The Grand Tetons” by Robert Wood. I do believe that this painting was the start of a seed waiting to grow. While working as a live in care aide in Saskatoon SK. around 2004 I began to take my self up on painting. It is a chance for me to do what I have always wanted in life to be in touch with my creative side and explore the land that I walk on. (It was art and music I had taken in school).

In 2010 I began to study other artists, such as, Film Producer George Gallo,  Stephen Quiller, and Richard Schmid”s Alla Prima II , Katie Swatland’s book Companion, and  John F. Carlson, and many others to numerous to mention I  take their knowledge with me, and try to apply it in my own way. Painting is learned by doing as George Gallo, and many other artists say. The outdoors is something I have always loved, and the adventures of plein air painting is right my ally. I plan ahead so that my work will be thought of as a story a poetry of the land where I take the viewer in. In the future I can create a book or memoir. As a member of  the Federation of Canadian artist of Vancouver and the Okanagan. I have been busy entering shows , (though in 2017 I took a break from the shows ) and this has given me the time to think about where I want to go with it.  https://mariebergmanart.com/bio/.

But Beatiful

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Red Garland - Can't See for Lookin'

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 35:07
Size: 80,5 MB
Art: Front

(9:28)  1. I Can't See for Lookin'
(6:56)  2. Soon
(8:56)  3. Blackout
(9:45)  4. Castle Rock

Pianist Red Garland recorded many sets in the late 1950s and early '60s, often (as in this case) with bassist Paul Chambers and drummer Art Taylor. Despite the slight length of this LP (under 35 minutes), this is a particularly strong showcase of Garland's talents. His block chords are distinctive, as is his use of space, and the music always swings. The trio sounds in top form on "I Can't See for Looking," George Gershwin's "Soon," "Blackout," and a driving version of the classic blues "Castle Rock." Recommended.

~ Scott Yanow https://www.allmusic.com/album/cant-see-for-lookin-mw0000089212       

Personnel: Red Garland (piano); Paul Chambers (bass); Arthur Taylor (drums).

Can't See for Lookin'

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Lynne Arriale Trio - A Long Road Home

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 55:53
Size: 128,3 MB
Art: Front

(6:59)  1. Bye-Ya
(3:30)  2. Will o' the Wisp
(4:40)  3. A Night in Tunisia
(8:17)  4. Wouldn't It Be Loverly?
(5:48)  5. Letters from Mike O'Brien
(6:51)  6. Con Alma
(7:50)  7. I Wished on the Moon
(4:41)  8. The Dove
(7:12)  9. A Long Road Home

During the second half of the 1990s, pianist Lynne Arriale grew as an individual stylist from album to album. Although she is fine on the medium-tempo pieces of this CD, a trio outing with bassist John Patitucci and drummer Steve Davis, it is her work on the ballads (including her own "Will O' the Wisp" and the folky "The Dove") that is most impressive. 

Her impressionistic playing is full of creative subtleties, and the brilliant bassist Patitucci seems to consistently inspire her. Even the standards (such as a re-harmonized "A Night in Tunisia" and a floating "Wouldn't It Be Loverly") sound fresh and new. At this point in time, this was the pianist's strongest set to date; easily recommended.~ Scott Yanow https://www.allmusic.com/album/long-road-home-mw0000033019    

Personnel: Lynne Arriale (piano); John Patitucci (bass); Steve Davis (drums).

A Long Road Home

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Richie Cole - Profile

Bitrate: MP3@320K/s
Time: 52:40
Size: 120.6 MB
Styles: Bop, Saxophone jazz
Year: 1993
Art: Front

[3:37] 1. Presidential Sax
[6:02] 2. Paulo
[4:05] 3. Street Of Dreams
[4:15] 4. One For Monterey
[3:30] 5. Sarah
[5:08] 6. Volare
[6:23] 7. We Belong Together
[3:53] 8. Festival De Samba
[5:01] 9. A Foreign Affair
[5:54] 10. Little Darlin'
[4:47] 11. Park & Ride

Profile was Cole's first recording in four years, and it found the altoist's sound and style virtually unchanged from the earlier days. Joined by a superior rhythm section that includes pianist Dick Hindman and guitarist Henry Johnson, Cole is in top form on diverse material ranging from his original "Presidential Sax" and the lyrical "Street of Dreams" to three Carroll Coates originals and the pop tune "Volare." It's a particularly uplifting bop session. ~Scott Yanow

Profile mc
Profile zippy

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Robin McKelle - Melodic Canvas

Bitrate: MP3@320K/s
Time: 51:38
Size: 118.2 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[3:23] 1. Do You Believe
[5:52] 2. Lyla
[5:26] 3. Come To Me
[5:12] 4. Your're No Good
[5:36] 5. Swing Low, Sweet Chariot
[5:27] 6. Simple Man
[4:23] 7. The Sun Died
[6:11] 8. Yes We Can Can
[5:36] 9. It Won't End Up
[4:28] 10. Il Est Mort Le Soleil

When thinking about making this record I was finding that I was really drawn to the idea of an acoustic sound. Using an instrumentation that would allow me to use more of the subtitles in my voice. I thought the idea of using percussion would give the music and earthy and warm vibe. And it would be totally different from anything I had done in the past.

A few other things happened around the time I started writing for the album. First, I had just come off a tour with Danilo Perez and Jazz 100. I was totally inspired by making music with Danilo and the band. (Chris Potter on Sax, Avishai Cohen on Trumpet, Ben Street on Bass, Adam Cruz on drums and Roman Diaz on Percussion). I also found that I was missing singing jazz. In a way, Melodic Canvas is like coming back to jazz. I’m a songwriter, singing jazz soul songs. I love that I’m able to use different timbres in the songs depending on what it calls for. It’s intimate and I love the idea that if you close your eyes, maybe you can visualize us playing the music in your living room. It’s not trying to be anything it’s not. It’s just the music that we played at that moment.

Last but not least, Trump had been elected and it seemed the world was crumbling to the ground… so I had a lot to write about.

Melodic Canvas mc
Melodic Canvas zippy

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Shelly Manne - 2-3-4

Bitrate: MP3@320K/s
Time: 41:27
Size: 94.9 MB
Styles: Contemporary jazz
Year: 1962/1994
Art: Front

[7:31] 1. Take The A Train
[5:32] 2. Slowly
[3:26] 3. Cherokee
[6:31] 4. Avalon
[6:00] 5. Me And Some Drums
[5:59] 6. Sicks Of Us
[6:24] 7. Lean On Me

A great duo, trio, and quartet session that exemplifies why jazz is such a wonderful art form. Master jazz drummer Shelly Manne is renowned for his west-coast jazz exploits and his famous club, "Shelly's Manne Hole", which was used for many famous live recordings by some great artists. On this recording he put together a great group which includes the legendary and highly influential tenor sax man Coleman Hawkins, who is in sensational form. Also included are master pianist Hank Jones and in-demand bassist George Duvivier. Special guest is the talented, starcrossed vibist Eddie Costa on two songs.

The performances on this CD are so uniform that all can be considered 'the best of the best'. An important point here is that Manne's drums are recorded more forward than usual which puts him in the center of the action. And he takes full advantage, showing why he is one of jazz' great and truly musical drummers. Duke Ellington's signature "Take The A Train" is delivered as an unusual ballad with each member getting lots of 'face-time'. Hank Jones' block chords are magnificent and Hawkins is superb. Some have long suspected that Billy Strayhorn wrote "A Train" originally as a ballad and this performance shows that approach is certainly feasible, plus it surges into 4/4 swing in the mid-section. The ballad "Slowly" is as romantic as it is swinging with Hawkins, breathy and fleet, and with Jones in a marvelous solo. Shelly's opening salvo with brushes on "Cherokee" has been reverberating in my mind for years and Hawk is wonderful. Eddie Costa makes two telling appearances on vibes and piano. If you didn't have an appreciation of Shelly Manne, this performance should help cement his place in your pantheon of great jazz drummers. In all, a great jazz CD that many may have missed. My Highest Recommendation. ~RBSProds

2-3-4 mc
2-3-4 zippy

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Olivier Holland, Joscho Stephan - Gypsy Meets Groove

Bitrate: MP3@320K/s
Time: 52:07
Size: 119.3 MB
Styles: Gypsy jazz/Funk/Soul
Year: 2014
Art: Front

[4:13] 1. Out Of Nowhere
[6:33] 2. Song For Eore
[6:40] 3. All Blues
[3:54] 4. Smile
[4:35] 5. Don't Look Any Further
[4:53] 6. La Vie En Rose
[6:04] 7. Somewhere Over The Rainbow
[5:20] 8. Chameleon
[5:12] 9. Yardbird Suite
[4:38] 10. Bye Bye Blackbird

Bassist, composer and arranger Olivier Holland has again joined forces with Joscho Stephan to produce an album that pushes stylistic boundaries. Gypsy meets Groove skilfully combines Gypsy Jazz with elements from groove-based music such as Funk, Soul or Reggae. Here is more than just playing jazz tunes with a different feel. On GMG, modern arranging techniques have been skilfully employed to blend different musical elements into an innovative work-of art. Gypsy meets Groove marks a mile-stone with regard to stylistic development. A ‘must’ for both Gypsy Jazz- and more groove-hungry listeners.

Gypsy Meets Groove mc
Gypsy Meets Groove zippy

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Junior Mance Trio - Happy Time

Bitrate: MP3@320K/s
Time: 42:58
Size: 98.4 MB
Styles: Bop, Piano jazz
Year: 1999/2015
Art: Front

[6:15] 1. Happy Time
[5:18] 2. Jitterbug Waltz
[5:25] 3. Out South
[5:47] 4. For Dancers Only
[4:40] 5. Tin Tin Deo
[4:36] 6. Taggie's Tune
[5:33] 7. Azure-Te
[5:20] 8. The Simple Waltz

Bass – Ron Carter; Drums – Mickey Roker; Piano – Junior Mance. Recorded at Plaza Sound Studios, New York City; June 20, 1962.

Pianist Junior Mance was in excellent company on this inspired 1962 session with bassist Ron Carter and drummer Mickey Roker. Its unfortunate this trio only recorded together on this one date as their unity propels the blues, gospel, and bebop ideas Mance consistently feeds them. The program is highlighted by three Mance originals "Out South," "Taggie's Tune," and the torrid joy of the opening theme "Happy Time," along with versions of "Jitterbug Waltz," "Tin Tin Deo," and Mance at his soulful bluesy best on Clark Terry's "The Simple Waltz." ~Al Campbell

Happy Time mc
Happy Time zippy

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Isabelle Georges & Rene Urtreger - Something To Live For

Styles: Vocal And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 51:40
Size: 118,5 MB
Art: Front

(4:51)  1. In A Sentimental Mood
(2:39)  2. They Can't Take That Away From Me
(3:04)  3. I Won't Dance
(5:55)  4. My Funny Valentine
(3:55)  5. Do Nothing Till You Hear From Me
(4:32)  6. Love For Sale
(5:51)  7. Over The Rainbow
(2:57)  8. The Best Thing For You Is Me
(3:44)  9. Bewitched, Bothered And Bewildered
(3:00) 10. Just One Of Those Things
(4:00) 11. I Got It Bad
(5:48) 12. Someone To Watch Over Me
(1:16) 13. How About You

"It's little saying that their musical harmony was more than perfect." Unquestionably, Isabelle knows the song and thus dares to venture into a sometimes complex repertoire (the 3 three compositions of Duke Ellington) or in known territory (the Broadway operettas signed by the greatest composers of the genre). Alternately malicious or serious, always of a good accuracy in all the registers for a soprano voice, she shows there qualities of jazz singer (her versions of Love For Sale , Over the Rainbow and I Got It Bad ). René, who accompanied in his time a few singers of varieties and not least, found in his partner the opportunity to present a new many facets of his talent. ~ Jacques Chesnel  http://www.isabellegeorges.com/fr/something-to-live-for-isabelle-georges

Personnel:  Isabelle Georges (Vocal);  Rene Urtreger (Piano).

Something To Live For

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Wynton Kelly Trio & Wes Montgomery - Smokin’ In Seattle: Live At The Penthouse

Styles: Piano And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 54:06
Size: 125,7 MB
Art: Front

(8:19)  1. There Is No Greater Love
(6:32)  2. Not A Tear
(4:32)  3. Jingles
(4:51)  4. What's New?
(2:47)  5. Blues In F
(8:39)  6. Sir John
(5:56)  7. If You Could See Me Now
(4:02)  8. West Coast Blues
(6:15)  9. O Morro Nao Tem Vez
(2:09) 10. Oleo

In his superb contribution to Bloomsbury Press' 33 & 1/3 series, Bitches Brew (2015), George Grella notes (emphasis mine):

"No style of art can remain static: irrelevance is just as much a risk as the inevitable decadence that comes from a style developing to its last measure. But fans, including critics, of particular movements of artists, tend to want what they love to stay the same, the regression is not to the mean but to an Edenic past that never actually existed."  Written with the present in mind, Grella's point is easily transmuted to any particular era one likes from any vantage point in the future. I favor acoustic, small group jazz made between 1945 and 1965, a predilection that continues 50 years later. The beauty of appreciation is that it can occur vertically and horizontally. Vertically, we can experience and appreciate the evolution of an art form from its genesis until the now. Anywhere along the way up we can stop and view the horizontal: everything occurring, on all sides, at a single point in time. This appreciation does not interfere with the vertical experience but does add to its breadth.

It is in this horizontal appreciation of jazz that previously unheard, archival performances are so important. They add depth to the perspective.  Such is the case with Wes Montgomery's Smokin' in Seattle: Live at the Penthouse (1966), with the Wynton Kelly Trio. In the mid-1960s, before rock music completely took over, Montgomery was considered something special. From our present vantage point looking back, Montgomery's Smokin' at the Half Note (Verve, 1965), also with Kelly's trio, is considered one of the finest live jazz recordings of any period. It would be only natural to want to experience more of this type of music from the period. This particular trio was also the rhythm section for Miles Davis' band between 1959 and 1963, with pianist Kelly, bassist Paul Chambers and drummer Jimmy Cobb. The significance of this rhythm section is that they were on-hand during the fertile, transformative period between Davis' two great quintets, anchoring the recording of Davis' greatest achievement, Kind of Blue (Columbia, 1959).

I always thought that the primary simpatico in this band existed between Kelly and Montgomery, but that is hardly fair considering the stature of all involved. But there was an emphatic connection between Kelly and Montgomery that tangibly adds to the music made here. Kelly was an old- school pianist, not unlike Red Garland; they both had great facility with block chords. Also, like Garland, Kelly possessed a great command of the blues and this permeated all of his playing. Montgomery shared these same abilities. Both had an economic ability reflected in their carefully considered solos. It is nice to have more examples of this musical cooperation in Smokin' in Seattle. This Resonance release features ten selections: four from the trio alone; and the remaining six with Montgomery. Kelly was a crack balladeer. He leads the trio through period-perfect performances of "There is No Greater Love" and "If You Could See Me Now." On the latter, his playing approaches the orchestral, full of warmth and triumph in the introduction and grace and majesty in the interior. Effortlessly, Kelly could harmonize without becoming abstract in his technical playing. That said, when it came to the blues roots the pianist shared with Montgomery, the two provide a masterclass of "thinking outside the box" on the guitarist's "Blues in F" and "West Coast Blues."

His Resonance release features ten selections: four from the trio alone; and the remaining six with Montgomery. Kelly was a crack balladeer. He leads the trio through period-perfect performances of "There is No Greater Love" and "If You Could See Me Now." On the latter, his playing approaches the orchestral, full of warmth and triumph in the introduction and grace and majesty in the interior. Effortlessly, Kelly could harmonize without becoming abstract in his technical playing. That said, when it came to the blues roots the pianist shared with Montgomery, the two provide a masterclass of "thinking outside the box" on the guitarist's "Blues in F" and "West Coast Blues." "Blues in F" is a bouncing jump blues dominated by Montgomery's single-string soloing; Montgomery's famous octave style is also displayed generously. At a brief 2:44, the song is faded out, ostensibly due to radio time constraints. "West Coast Blues" is a loping chorded blues that illustrates Kelly's interplay with Montgomery, readily following the guitarist's muscular lines in the head and then providing a propulsive push behind the guitarist's solo. ~ C.Michael Bailey https://www.allaboutjazz.com/smokin-in-seattle-live-at-the-penthouse-1966-by-c-michael-bailey.php

Personnel: Wes Montgomery: guitar; Wynton Kelly: piano; Ron McClure: bass; Jimmy Cobb: drums.

Smokin’ In Seattle: Live At The Penthouse

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Jim Snidero & Jeremy Pelt - Jubilation! Celebrating Cannonball Adderley

Styles: Saxophone And Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 53:21
Size: 130,0 MB
Art: Front

(5:38)  1. Party Time
(7:02)  2. Del Sasser
(6:40)  3. Wabash
(7:12)  4. Saudade
(7:11)  5. Stars Fell On Alabama
(7:50)  6. Sack O' Woe
(5:41)  7. Ball's 90th
(6:05)  8. Work Song

Cannonball Adderley is considered to be one of the all-time greatest jazz musicians; one whose playing projected depth and command. But, he also possessed the rare ability to connect and uplift the listener, shouting out "joy" in every phrase. For his 90th birthday, "Jubilation!" celebrates the genius of Cannonball Adderley. Beloved veterans Jim Snidero (Downbeat critics' poll) and Jeremy Pelt create a formidable front line while David Hazeltine, Nat Reeves and Billy Drummond form an incomparable rhythm section. It's an all-star lineup celebrating a true jazz giant.http://www.smokejazz.com/index.php/event-detail?eID=956

Personnel:  Jim Snidero [alto saxophone]   Jeremy Pelt [trumpet]   David Hazeltine [piano]   Nat Reeves [bass]   Al Foster [special guest, drums]

Jubilation! Celebrating Cannonball Adderley

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