Eddie Henderson - Heritage

Styles: Trumpet Jazz
Year: 1976
File: MP3@320K/s
Time: 38:44
Size: 90,3 MB
Art: Front

(4:52)  1. Inside You
(3:44)  2. Acuphuncture
(5:19)  3. Time and Space
(4:12)  4. Nostalgia
(6:08)  5. Kudu
(7:33)  6. Dr. Mganga
(6:55)  7. Dark Shadows

For 1973's dynamite Realization and Inside Out, trumpeter Eddie Henderson reassembled most of the legendary Herbie Hancock sextet he'd been part of. In 1975 after leaving Capricorn for Blue Note, he kept elements of that group together for Sunburst, his label debut, with some major changes: George Duke played keyboards in place of Hancock; bassist Paul Jackson was replaced by Alphonso Johnson, and drummer Mike Clarke with Billy Hart. It resulted in a funkier experimental outing that tightened up the tunes a bit, but left plenty of blowing room for himself, reedman Bennie Maupin, and trombonist Julian Priester. The set sold well commercially, but many jazz critics derided it because of its perceived "commercial" overtones. Released in 1976, Heritage was greeted with even more ambivalence, but has since come to be regarded with Sunburst as one of the great recordings of Henderson's career by an entirely new generation who hold funky rhythms and electronics in high esteem. Henderson brought back Priester, and Jackson and Clarke returned to the rhythm section (Hart played on the album's final cut, "Dark Shadow"). Filling out the band were a young Patrice Rushenon keyboards, saxophonist, flutist, and clarinetist Hadley Caliman in place of Maupin, and percussionist James Mtume from the Miles Davis group. Henderson emulates the spacier edges of Davis' electric period in his own playing. Long lines of few notes are accompanied by hypnotic basslines and multi-layered polyrhythmic percussion on "Time and Space." On "Acuphuncture," Rushen's wah-wah keyboards, Jackson's driven bassline, and Clarke's rimshots and breakbeats introduce a lilting pair of lines from Caliman's flute and Henderson's trumpet, but within a minute, the tune cracks open into a driving, hard funk jam with Henderson laying down some short, choppy post-bop lines on his horn. Things become even darker and funkier on "Kudu," where Jackson's bassline is at the top of the mix. 

It's furious as it pops against Mtume's roiling congas in direct assaultive counterpoint to Clarke's kit work. Rushen creates fat, choppy chords and vamps for Henderson, Priester, and Caliman to solo over. It's tighter than Miles' electric material, but less spacy. Priester's trombone feels like a futuristic version of one on the front line in the J.B.'s. "Mganga" has a less pronounced set of lyric imagery, and offers the best explanation for some punters' trouble with the set: the abstraction (and absence) of a true front line sense of lyric in favor of angular, articulate countermelodies played by individual horns that move toward the rhythms almost in opposition, rather than play above them. The beautiful Star Trek futurism of the brass over Rushen's crazy solo also rocks. Caliman's bass clarinet tone is all but indistinguishable from Maupin's on "Dark Shadow" except for its economy. (He plays a continuous seven-note vamp through the entire tune.) The loopy, mournful wah-wah trumpet overdubs are a contrapuntal melody to that, but the drums begin to shake loose during Priester's future blues solo. The cut explodes at about the four-minute mark via Henderson's solo before deconstructing all but the vamps toward its close. Heritage is a wonderful set, and should be revisited by anyone who either missed or was put off by it initially. For the new generation of jazz and funk heads, this one is right up your alley these are some dark, freaky, and delicious grooves that bear further investigation. Heritagewas re-released on CD in 2008 as part of the Blue Note Rare Groove Series.~ Thom Jurek https://www.allmusic.com/album/heritage-mw0000791530

Personnel: Eddie Henderson (trumpet, flugelhorn, horns); Julian Priester (alto, tenor, tamboura, trombone, alto trombone, tenor trombone, bass trombone); Hadley Caliman (flute, clarinet, bass clarinet, soprano saxophone); Patrice Rushen (clarinet, electric piano, Clavinet, clavichord, synthesizer); James Mtume (piano, congas, percussion); Paul Jackson (electric bass); Mike Clarke , Woody Theus, Mike Clark , Billy Hart (drums).

Heritage

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The 3 sounds - Moods

Styles: Soul Jazz, Post Bop
Year: 1960
File: MP3@320K/s
Time: 42:13
Size: 99,0 MB
Art: Front

(6:37)  1. Love for Sale
(8:54)  2. Things Ain't What They Used To Be
(5:36)  3. On Green Dolphin Street
(4:55)  4. Loose Walk
(4:50)  5. Li'l Darlin'
(2:29)  6. I'm Beginning To See The Light
(4:27)  7. Tammy's Breeze
(4:21)  8. Sandu

The Three Sounds open their signature sound a bit on the romantic Moods. They retain the same light touch that made their early albums so enjoyable, but they add more textures to the mix. Light Latin rhythms permeate Moods, from the inventive reworking of Cole Porter's "Love for Sale" to Harris' original "Tammy's Breeze." Like its predecessor, Feelin' Good, this record has a bluesy, soulful streak to its personality, as evidenced by the mellow take on "On Green Dolphin Street," the hep swing of "Loose Walk," and the infectious cover of Ellington's "I'm Beginning to See the Light." Occasionally, the Three Sounds play it a little too cool while the slow, relaxed "Things Ain't What They Used to Be" manages to be engaging, "Li'l Darlin'" slows down to a crawl  but on the whole, Moods is an endearing collection of appealing mainstream jazz.~ Stephen Thomas Erlewine https://www.allmusic.com/album/moods-mw0000473161

Personnel:  Gene Harris - piano;  Andrew Simpkins - bass;  Bill Dowdy - drums

Moods

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Jessy J - Live at Yoshi's - 10 Year Anniversary Special

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 60:06
Size: 137,9 MB
Art: Front

(4:01)  1. The Tango Boy
(6:01)  2. Agua De Beber
(4:59)  3. All I Want
(3:42)  4. La Luna Feliz
(6:34)  5. Sin Ti - Without You
(5:17)  6. Mas Que Nada
(5:55)  7. Tequila Moon
(4:15)  8. Tropical Rain
(4:41)  9. Rainbow Gold
(5:18) 10. Hot Sauce
(5:07) 11. Despacito
(4:09) 12. All I Want (Studio Version)

With the release of her upcoming new album “Live at Yoshi’s 10 Year Anniversary Special,” Jessy J celebrates a remarkable decade since she brought her sizzling beats, dynamic Latin and samba rhythms with sensual melodies to contemporary jazz via her #1 hit debut album Tequila Moon. This new CD will be recorded live at Yoshi’s Jazz Club in Oakland, Ca. on January 28, 2018. Tickets are $28 (standard) and $49 (premier seating with meet and greet) and can be purchased at www.yoshis.com. The recording of this CD is a festive celebration of the 10-year anniversary of “Tequila Moon,” which propelled a remarkable career for the saxophonist. Recording the Yoshi’s Jazz Club event with her powerhouse band will capture the essence of Jessy J, which fans know is most readily heard when she commands a live performance. Performing with Jessy will be longtime band members, drummer Iajhi Hampden and bassist Frank Abraham. Keyboardist/pianist Jay Rowe and guitarist Michael Angel will round out her group at the Yoshi’s concert. “I’m excited to commemorate this experience with my fans, as they will have the opportunity to be heard and seen in the live CD and video taping of this exclusive show,” said Jessy.

Following in the tradition of other jazz greats including Dee Dee Bridgewater, Pat Martino, Joe Pass and Arturo Sandoval who have released albums recorded at the historic Oakland venue, the charismatic saxophonist will harness the excitement and spontaneity of her live performances. The set list will include her classic hits like “Tequila Moon,” “Tropical Rain” and “Hot Sauce,” along with several songs fresh to her eclectic repertoire. “I felt like a live album would be the perfect way to mark the 10th anniversary of ‘Tequila Moon,’ because I love performing live and it presents a completely different experience than my studio albums, with exciting interactions with the audience and the spirited ensemble action with my band,” said Jessy, whose previous releases include“True Love” (2009), “Hot Sauce” (2011), “Second Chances” (2013), “My One and Only One” (2015) and “California Christmas” (2016).  The album release will be supported by several concert appearances in the United States and will be sold online at various retailers. Find out more about Jessy’s Pledge Music Campaign and tour information at JessyJ.com. https://thejazzworld.com/jessy-j-live-yoshis-10-year-anniversary-special-cd/

Live at Yoshi's 10 Year Anniversary Special

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Red Mitchell - Jam For Your Bread

Bitrate: MP3@320K/s
Time: 40:31
Size: 92.8 MB
Styles: Bop, West Coast jazz
Year: 1956/2015
Art: Front

[4:37] 1. Duff
[5:09] 2. Ornithology
[3:23] 3. Section Blues
[5:05] 4. You Go To My Head
[4:50] 5. Where Or When
[4:14] 6. Jam For Your Bread
[4:24] 7. East Coast Outpost
[4:01] 8. I'll Never Be The Same
[4:45] 9. Will You Still Be Mine

Red Mitchell (b) Conte Candoli (tp) Joe Maini (as, ts) Hampton Hawes (p) Chuck Thompson (d) recorded Los Angeles, CA, September 27, 1955.

Mitchell took up the bass while serving in the armed forces, a career path followed by many would-be jazz musicians during their military service, though the bass must have been particularly cumbersome on the battlefield. A regular feature of the Fifties West Coast scene, Red worked with Gerry Mulligan among others. He helped establish the potential of bass as a “solo” instrument, and escape the rhythm section. Like many boppers in the late 60s, as jazz fell out of fashion, Mitchell moved to Europe, living in Sweden, where he remained until the late Seventies, and continued to play for many decades later moving between the US and Europe.

Fine West Coast artists Hampton Hawes piano and Conte Candoli trumpet help put an extra sparkle into these pieces.

Jam For Your Bread mc
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Radio Free Honduras - S/T

Bitrate: MP3@320K/s
Time: 47:27
Size: 108.7 MB
Styles: Latin folk-rock
Year: 2014
Art: Front

[4:27] 1. Vengan Vengan
[3:35] 2. Solo Sin Tu Amor (Feat. Howard Levy)
[3:32] 3. Morena (Feat. Steve Eisen)
[4:16] 4. Lamento Campesino
[4:18] 5. Te Esperare
[4:01] 6. Gaviota
[3:26] 7. Te Necesito (Feat. Paulinho Garcia)
[4:11] 8. Picale Picale (Feat. Howard Levy)
[3:42] 9. Otra Cerveza
[3:32] 10. Forever And Ever (Feat. Birds Of Chicago)
[3:21] 11. Carino Mio
[5:00] 12. Cancion De Amor

Radio Free Honduras is a latin folk rock band fronted by Honduran guitar virtuoso/singer/songwriter Charlie Baran.

Charlie Baran has lived a life of music. Before moving the the United States he was a founding member of the legendary Honduran musical group Banda Blanca, who’s song “Sopa de Caracol” became the #1 Billboard Top Latin Songs hit in 1992. Now a maintenance man at a Catholic grade school by day, Charlie has kept his musical flame glowing largely through acoustic solo performances around Chicago for the past ten years. Charlie Baran is a true virtuoso. No one sees him perform without recognizing the presence of a true master – an heir to a rich tradition of Honduran music, as well as a guitar slinging showman and a gifted songwriter whose skill transcends all genres. But throughout most of his career he has existed in the shadows – until the formation of Radio Free Honduras.

Radio Free Honduras is a diverse collective of Chicago musicians, all united under one goal – supporting the artistry of Charlie Baran and bringing this tremendous talent into the spotlight where it belongs. Founded by Dan Abu-Absi, longtime guitarist for JT and the Clouds and Birds of Chicago, Radio Free Honduras plays mostly Baran originals, but their live shows often feature a wide variety of reimagined cover songs. This band provides Charlie with the wide musical pallet his talent (and songs) deserve. Abu-Absi has gathered a large, revolving collective of some of Chicago’s most talented musicians; lively percussion, eclectic instrumentation, and rich harmonies all provide the backdrop, allowing Charlie to do what he does best – stunning guitar work, tapping into what seems a limitless supply of energy and enthusiasm for music. Charlie Baran has lived a long and storied musical life – but very few are familiar with his side of the story. Radio Free Honduras has made it their mission to change that.

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Tom Petty & The Heartbreakers - Greatest Hits

Bitrate: MP3@320K/s
Time: 65:17
Size: 149.5 MB
Styles: Heartland rock
Year: 1993/2010
Art: Front

[3:29] 1. American Girl
[2:40] 2. Breakdown
[3:02] 3. Listen To Her Heart
[2:21] 4. I Need To Know
[3:22] 5. Refugee
[2:42] 6. Don't Do Me Like That
[3:39] 7. Even The Losers
[4:22] 8. Here Comes My Girl
[3:56] 9. The Waiting
[3:35] 10. You Got Lucky
[5:02] 11. Don't Come Around Here No More
[2:54] 12. I Won't Back Down
[4:23] 13. Runnin' Down A Dream
[4:14] 14. Free Fallin'
[4:00] 15. Learning To Fly
[3:41] 16. Into The Great Wide Open
[4:30] 17. Mary Jane's Last Dance
[3:16] 18. Something In The Air

2008 reissue of Tom Petty & the Heartbreakers Greatest Hits, originally released in 1993, has gone on to be the best selling collection in the band's four decades and counting career. Over seven times platinum, this collection now has been remastered, updated, and improved.

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Jasmine - Tropical Breeze (Feat. Cassandra Wilson)

Bitrate: MP3@320K/s
Time: 34:36
Size: 79.2 MB
Styles: Contemporary jazz
Year: 2010
Art: Front

[3:23] 1. O Pepita Daughter To Be
[4:00] 2. Jasmine
[4:25] 3. Pretty Black One
[3:17] 4. Everything I Do With You
[4:59] 5. Malaguena
[3:30] 6. Dream Dancer
[2:50] 7. Dream Street
[3:49] 8. Rose Tower
[4:19] 9. Tropical Breeze

When Tropical Breeze was recorded in 1980 by the Brazilian group Jasmine, the music world had yet to hear of Cassandra Wilson. 24 at the time, the singer was still six years away from her first album as a leader and her second appearance on records (with altoist Steve Coleman) was five years in the future. Born in Jackson, Mississippi, Cassandra Wilson had had seven years of classical piano lessons, learned guitar, and played clarinet in her high school’s concert and marching bands. But it was as a singer that she began working professionally in the mid-1970s, gaining experience in a variety of situations in the South during the five years before she recorded with Jasmine.

Even many of the most devoted Cassandra Wilson fans have probably not heard her debut although virtually every jazz listener now knows who she is. Wilson recorded with Jasmine during a year when she lived in New Orleans, a period when she also worked with Ellis Marsalis and Earl Turbinton. In 1982 she moved to East Orange, New Jersey and began singing in New York including with Dave Holland. An important early turning point was when she met up with Steve Coleman, who at the time was involved in creating new music with a co-op called the M-Base Collective.

The music of M-Base tended to feature crowded ensembles, unpredictable funk rhythms, and very adventurous solos. As the only singer in the collective, Cassandra Wilson had to carve out her own role and somehow she succeeded at not being buried in the ensembles. She also did well singing with Henry Threadgill in the group New Air.

But Cassandra Wilson was too strong a musical personality, and had too many fresh ideas, for her to remain a side person forever. In 1986 she recorded her debut as a leader, Point of View. While that and its follow-up Days Aweigh were outgrowths of her associations with M-Base, 1988’s Blue Skies found her for the first time interpreting standards. Her singing, while strongly influenced by Betty Carter, hinted at her future directions.

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Freddie Redd - Freddie Redd & His International Jazz Connection

Bitrate: MP3@320K/s
Time: 74:17
Size: 170.0 MB
Styles: Piano jazz
Year: 1998
Art: Front

[ 9:34] 1. Speak Of The Blues
[ 7:42] 2. Don't Lose The Blues
[10:16] 3. Waltzin' In
[ 8:40] 4. Emily Reno
[ 8:22] 5. Let's Split
[ 7:46] 6. That Dancin' Man
[ 9:49] 7. I'm Gonna Be Happy
[12:04] 8. And Time Marches On

Freddie Redd is a world class jazz composer and pianist. Since his emergence as composer of the score for Jack Gelber's harrowingly exact play, The Connection, winner of three off-broadway awards, Freddie Redd has finally been gaining some of the recognition that has eluded him for much of his playing career. Freddie was born in New York, May 29th, 1928. His inspiration to play began while serving in the Armed Forces. By 1953, Freddie had joined Cootie Williams and spent a stimulating year traveling mostly through the South. Back in New York, Freddie started working with vibist Joe Roland and began to be heard quite often at Birdland's informal Monday night sessions. In 1954, Freddie was with Art Blakey. Shortly after, he was touring Sweden with Rolf Ericson and also was part of Charlie Mingus's Jazz workshop in 1956. Freddie has been at the Living Theatre on Sixth Avenue ever since. Freddie Redd was right in the middle of the NYC bop scene and was privy to the likes of Bird,Bud Powell, Dizzy and Monk.

"In the summer of 1956, I toured Sweden as a member of an all-star, Swedish-American jazz group that included jazz vocalist Ernestine Anderson. In July of 1991, I was invited to the Pori Jazz Festival, and while there I becoame aware that Sweden was just an overnight ferry ride away. My wife and I went to Stockholm, and I met the artists with whom I wanted to work. Thus the International Jazz Connection was born. Each and every take is a first take. What you will hear is just half of what we recorded that day. It was simply amazing how these artists - Krister Andersson, Maffy Falay, Tobjorn Hultkranz, and Gilbert Matthews, Bernt Rosengren, Bengt Stark, and Andres Ulberg - came together and created magic." ~FR

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The Kansas Smitty's House Band - Kansas Smitty's

Bitrate: MP3@320K/s
Time: 38:15
Size: 87.6 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[3:06] 1. Get A Move On
[2:20] 2. Warm Embrace
[3:30] 3. The Call
[2:34] 4. Eight Ball Rag
[5:58] 5. Gravy Train
[3:53] 6. The Black Paddy
[2:32] 7. Monty
[4:34] 8. What Would You Do
[3:47] 9. Backyard Bbq Blues
[5:57] 10. You're Fantastic

Pete Horsfall: trumpet, vocals; Giacomo Smith: alto saxophone, clarinet; Ruben Fox: tenor saxophone; Theon Cross: tuba, trombone; Dave Archer: guitar; Joe Webb: piano; Ferg Ireland: bass; Pedro Segundo: drums; Leonie Evans: vocals (8); Mussinghi Brian Edwards: tenor saxophone (8).

Kansas Smitty's is the debut album from the eight-piece Kansas Smitty's House Band, a London-based octet with an open approach to the integration of many jazz styles. The result is a refreshingly original debut album filled with some of the catchiest and most engaging music around. House bands have a long history, playing regular but badly-paid gigs in dives and other dodgy establishments at the beck and call of dubious owners. Kansas Smitty's House Band follows that tradition but only to a degree—the residency is at Kansas Smitty's in the east of London, the (far from) dubious owners are the band and the establishment's speciality drink is the julep in a variety of forms.

The band name might suggest a harking back to the early swing of speakeasies and joints, but Kansas Smitty's is a band that's inspired and influenced by a host of different genres from across the history of jazz—notably swing, blues and Kansas City (unsurprisingly), but also more contemporary styles. It doesn't just trawl through the jazz back catalog for its material however: every track on this album is an original number written by the band's members, saxophonist Giacomo Smith claiming the lion's share of the credits.

Kansas Smitty's was recorded in one take, direct to tape on analog equipment—an approach that's finding increasing favor among young bands. Such an approach to recording seems to reflect and capture the band's spontaneity and in-the-moment musical interactions—all of which lead to an exciting and enjoyable first appearance for Kansas Smitty's House Band. ~Bruce Lindsay

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Tubby Hayes with Clark Terry - New York Sessions

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 74:39
Size: 172,0 MB
Art: Front

(4:39)  1. You For Me
(7:03)  2. Pint Of Bitter
(8:56)  3. Airegin
(7:33)  4. Opus Ocean
(7:36)  5. Soon
(9:14)  6. Doxie
(8:05)  7. Soho Soul
(9:00)  8. The Simple Waltz
(7:16)  9. Half A Sawbuck
(5:13) 10. You're My Everything

One of England's top jazz musicians of the 1950s and '60s, Tubby Hayes was a fine hard bop stylist on tenor and occasionally vibes and flute. A professional at 15, Hayes played with Kenny Baker and in the big bands of Ambrose, Vic Lewis, and Jack Parnell during 1951-1955. He led his own group after that, and started doubling on vibes in 1956. Hayes co-led the Jazz Couriers with Ronnie Scott (1957-1959), and appeared in the U.S. a few times during 1961-1965. He headed his own big band in London, sat in with Duke Ellington's Orchestra in 1964, and was featured at many European festivals. Heart trouble forced him out of action during 1969-1971, and caused his premature death. Tubby Hayes led sessions for Tempo (1955-1959), London, Jazzland (1959), Fontana, Epic (a 1961 date with Clark Terry and Horace Parlan), Smash (a 1962 album which matched him with James Moody and Roland Kirk), 77, Spotlite, and Mole. ~ Scott Yanow https://www.allmusic.com/artist/tubby-hayes-mn0000842398/biography

Possessor of the happiest sound in jazz, flügelhornist Clark Terry always played music that was exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, Terry gained fame for his "Mumbles" vocals (which started as a satire of the less intelligible ancient blues singers) and was also an enthusiastic educator. He gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flügelhorn in the mid-'50s, had many features with Ellington (including "Perdido"), and started leading his own record dates during that era. He visited Europe with Harold Arlen's unsuccessful Free & Easy show of 1959-1960 as part of Quincy Jones' Orchestra, and then joined the staff of NBC where he was a regular member of the Tonight Show Orchestra. He recorded regularly in the '60s, including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer. Throughout the '70s, '80s, and '90s, Terry remained a major force, recording and performing in a wide variety of settings, including as the head of his short-lived big band in the mid-'70s, with all-star groups for Pablo, and as a guest artist who provided happiness in every note he played. Terry died on February 21, 2015, at age 94, after an extended battle with diabetes. ~ Scott Yanow https://www.allmusic.com/artist/clark-terry-mn0000133832/biography

Personnel: Tenor Saxophone – Tubby Hayes;  Trumpet – Clark Terry; Bass – George Duvivier;  Drums –Dave Bailey;  Piano – Horace Parlan;  Vibraphone – Eddie Costa 

New York Sessions

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Lee Ritenour - Captain Fingers

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 41:05
Size: 94,7 MB
Art: Front

(7:10)  1. Captain Fingers
(7:04)  2. Dolphin Dreams
(5:10)  3. Fly By Night
(5:10)  4. Margarita
(4:33)  5. Isn't She Lovely
(5:10)  6. Space Glide
(6:47)  7. Sun Song

Lee Ritenour was born January 11, 1952 in Los Angeles, California. He played his first session when he was 16 with The Mamas & The Papas. Nicknamed "Captain Fingers," he (along with Larry Carlton) was a sought-after session guitarist by the mid-70s. He is noted for playing his red Gibson ES-335 and his Gibson L5 guitars. One of his most notable influences is the pioneering jazz guitarist Wes Montgomery. In 1976, he released his first solo album, First Course. This was followed up by his famous fusion work Captain Fingers in 1976. Since First Course he has released over 30 albums - the 30th being Rit's House in 2002. One of his most notable works is his 1981 pop album Rit (featuring vocalist Eric Tagg), which contained the chart hits "Is It You," and "Mr. Briefcase." In the 90s, he was one of the founding members of smooth jazz group "Fourplay".

Throughout his career, Lee has not been afraid to experiment with different styles of music, often incorporating elements of funk, pop, rock, blues and Brazilian music with Jazz (much to the dislike of many critics). In the early 1980s, Lee was given his own Ibanez signature model guitar, the LR-10. The LR-10 was produced from 1981 to 1987. It can be heard exclusively on Rit. Currently, Lee plays the Gibsons that he first played in the 1970s (the ES-335 & L5), and now also plays his signature Lee Ritenour Model archtop guitar made by Gibson.

Personnel:  Lee Ritenour electric guitar, classical guitar, guitar synthesizer, associate producer, writer;  Dave Grusin keyboards, string arrangements, conductor, writer;  Dawilli Gongakeyboards;  Ian Underwood keyboards;  Patrice Rushen keyboards;  David Foster keyboards;  Dennis Budimir guitar;  Jay Graydon guitar;  Mitch Holder guitar, writer;  Ray Parker Jr. guitar;  Anthony Jackson bass;  Alphonso Johnson bass;  Bill Dickinson bass;  Charles Meeks bass;  Mike Porcaro bass;  Harvey Mason drums, percussion Jeff Porcaro drums;  Steve Forman percussion;  Victor Feldman congas;  Ernie Watts saxophone;  Bill Champlin vocals.

Captain Fingers

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Herb Ellis - Thank You, Charlie Christian

Styles: Guitar Jazz
Year: 1960
File: MP3@320K/s
Time: 37:17
Size: 100,5 MB
Art: Front

(3:20)  1. Pickley Wickly
(2:55)  2. I told You I Loved You, Now Get You
(4:43)  3. Code One
(4:20)  4. Karin
(2:54)  5. Cherry Kijafa
(7:40)  6. Thank You, Charlie Christian
(2:50)  7. Alexander's Ragtime Band
(2:56)  8. Lemon Twist
(3:38)  9. Everything's Pat
(1:58) 10. Workin' with the Truth

Thank You Charlie Christian pays homage to the legendary jazz guitarist in a manner most appropriate to an innovator of his stature rather than merely imitate that which is inimitable, Herb Ellis channels the imagination and expressiveness of his hero to create a lean, mean sound far more forward-thinking than nostalgic. 

Like Christian, Ellis favors feeling over flash and economy over excess paired here with pianist Frank Strazzari, bassist Chuck Berghofer, cellist Harry Babasin and drummer Kenny Hume, he creates a series of compact and determinedly contemporary bop snapshots in vivid Technicolor, not the black-and-white of a bygone era. A beautiful and heartfelt record that draws from the past but refuses to live in it.~ Jason Ankeny https://www.allmusic.com/album/thank-you-charlie-christian-mw0000346676

Personnel: Guitar – Herb Ellis;  Bass – Chuck Berghofer;  Cello – Harry Babasin;  Drums – Kenny Hume;  Piano – Frank Strazzeri

Thank You, Charlie Christian

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Jeff Williams - Outlier

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 52:51
Size: 121,2 MB
Art: Front

( 7:35)  1. Outlier
( 5:34)  2. The Interloper
( 6:40)  3. Dream Visitor
( 6:54)  4. Meeting a Stranger
(10:10)  5. New and Old
(10:15)  6. Hermeto
( 5:40)  7. Oddity

Drummer Jeff Williams is an American expatriate now residing in London, England. Following his formal drumming studies commencing in 1968 at Berklee College of Music, Williams became a seasoned veteran of the U.S. jazz scene, accompanying some of the biggest names in the business including Stan Getz, Joe Lovano, Dave Liebman, Richie Beirach, Cedar Walton, Lee Konitz, Bill Evans, John Scofield, and Miroslav Vitous. Outlier is his third album for Whirlwind and he's assembled a great line-up of British jazz musicians for this date. The opening title track maintains a plaintive trance-like modal mood throughout with deft interjections from Phil Robson on guitar, Kit Downes on piano and Josh Arcoleo on tenor saxophone. "The Interloper" is quirkier with a definite Monkish feel and appropriate block piano chords with occasional swirls of sound all underpinning Arcoleo's tenor, followed by solos from Downes and Sam Lasserson on bass. But then the mood changes with a comparatively heavier "Dream Visitor," Phil Robson's guitar work is very much to the fore here, most especially when treated with electronic effects, whilst drums and piano provide a powerful backdrop before the theme is taken over by the tenor. Almost at once the tempo slows dramatically whilst still maintaining the heavy feel with a repeated vamp on guitar and electric bass before returning to the original opening riff.

"Meeting A Stranger" is a relaxed ballad with leader Jeff Williams sensitively encouraging the momentum. Kit Downes and Phil Robson turn in fine solos here too. Downes introduces the breezy, medium tempo "New And Old" with solos from Lasserson, Downes and Arcoleo. "Hermeto," the longest track on the album, is Williams' paean to one of his heroes, Hermeto Pascoal. Whilst not imitating Pascoal's compositional style, it possesses its own unique attractiveness, particularly in its opening themes stated alternately by guitar and tenor. The closer, "Oddity" opening with a brief drum foray, is a breezy fast-paced number featuring some vibrant solos from the entire group. This is a very good album which benefits from Williams' imaginative compositions and the ensemble's excellent musicianship. It's also a grower, so play frequently for a lasting effect.~ Roger Farbey https://www.allaboutjazz.com/outlier-jeff-williams-whirlwind-recordings-ltd-review-by-roger-farbey.php

Personnel: Jeff Williams: drums, percussion, Fender rhodes; Josh Arcoleo: tenor saxophone; Phil Robson: guitar; Kit Downes: piano and Fender Rhodes; Sam Lasserson: double & electric basses.

Outlier

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Charlie Parker - Big Band

Bitrate: MP3@320K/s
Time: 67:12
Size: 153.9 MB
Styles: Bop, Saxophone jazz
Year: 1953/1999
Art: Front

[3:34] 1. Temptation
[3:28] 2. Autumn In New York
[3:09] 3. Lover
[2:59] 4. Stella By Starlight
[3:16] 5. Dancing In The Dark (With Studio Chatter)
[2:49] 6. Night And Day
[3:10] 7. I Can't Get Started
[2:36] 8. What Is This Thing Called Love
[2:33] 9. Almost Like Being In Love
[3:09] 10. Laura
[3:28] 11. In The Still Of The Night
[3:38] 12. Old Folks
[2:38] 13. If I Love Again
[3:53] 14. In The Still Of The Night
[3:32] 15. In The Still Of The Night
[3:36] 16. In The Still Of The Night
[4:11] 17. Old Folks
[3:37] 18. Old Folks
[3:41] 19. Old Folks
[1:26] 20. In The Still Of The Night
[0:45] 21. In The Still Of The Night
[0:46] 22. Old Folks
[0:39] 23. Old Folks
[0:29] 24. Old Folks

A reissue of the original 1952 Clef recording session, this is one of the few instances in Charlie Parker's later career where he played with something other than a small bebop group. Under contract at the time to Clef's Norman Granz, Parker was encouraged by the label to make recordings that took him out of his familiar settings and put him in with string arrangements, Latin rhythms, and larger band formats. This recording is the result of one of these experiments. Though Joe Lipman's arrangements are stellar, the musicians assembled for the sessions are an odd mix of pop-oriented big-band players and improvisers. The album also suffers from the pop orientation of the songs themselves: solos are kept short, and songs limited to a three-minute length that was both radio-friendly and compatible with the 78-rpm format. But when Parker does solo, it is just as magical as any of his earlier recordings. The songs also have a sweet smoothness to them that makes them eminently enjoyable. This record is not perfect, but it still musters up moments of brilliance. The reissue is even more fascinating than the original, containing 10 bonus tracks which are alternative takes of the top singles on the album. ~Stacia Proefrock

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Bill Sharpe - Famous People Live

Bitrate: MP3@320K/s
Time: 62:18
Size: 142.6 MB
Styles: Cool jazz
Year: 2018
Art: Front

[ 4:24] 1. Silhouettes
[ 5:20] 2. Washed Away
[ 5:41] 3. Brazilian Dawn
[ 4:34] 4. Streetwalkin
[ 4:04] 5. Fools In A World Of Fire
[ 3:37] 6. Peace/Bill Blues
[ 4:11] 7. The Shuffle
[ 1:24] 8. Bill Gary Annoucement
[ 7:25] 9. Change Your Mind
[ 4:09] 10. Famous People
[ 4:41] 11. Catching A Train
[12:44] 12. Night Birds

Bill Sharpe - Keyboards; Andy Gangadeen - Drums; Nick Cohen - Bass; Mitch Dalton - Guitar; Derek Nash - Saxes; Jackie Rawe - Vocals (Lead Vocal on ‘Fools in a World of Fire’ and ‘Streetwalkin’); Tessa Niles - Vocals (Lead Vocal on ‘Famous People’);
Gina Foster - Vocals (Lead Vocal on ‘Change Your Mind’).

Shakatak's Bill Sharpe released Famous People in 1985, this is a new live recording and features a couple of Shakatak's songs, including the hit single 'Change Your Mind'. Includes a special announcement by Gary Numan.

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Gypsy Swing Allstars - Les Nouveaux Bohemiens

Bitrate: MP3@320K/s
Time: 28:45
Size: 65.8 MB
Styles: Gypsy jazz, Swing
Year: 2015
Art: Front

[2:18] 1. Rive Gauche
[2:45] 2. St Ouen
[3:00] 3. Quais De La Seine
[2:41] 4. Quartier Latin
[2:40] 5. Les Bateaux Mouches
[2:38] 6. Cafe De Paris
[3:51] 7. Aux Champs Elysees
[2:23] 8. La Bastille
[3:46] 9. Tango Parisien
[2:37] 10. Mr L'inspecteur

Ten tracks of original Hot club de France Gypsy jazz that combine the feel of swing, the energy of rock, and the improvisation of jazz with string elements akin to bluegrass and a virtuosity like that of classical music. A loving tribute to the Quintette du Hot Club de France, the legendary group that popularized Gypsy swing (sometimes called Gypsy jazz), Les Nouveaux Bohemiens was brought to life by longtime Gypsy swing enthusiasts Josquin des Pres and Marti Amado.

Composer, arranger, and producer Marti Amado has created music for LEGOLAND's Pirate Shores Attraction, The Odyssey TV network, The Muppets V-Chip, Warner Brothers Films, Universal Music Publishing, Entertainment Tonight, Chevrolet, Ford, Sears, Qualcomm, and more. She has worked with international artists including Jewel, Kenny Rogers, Rita Coolidge, and Michael Bolton. - John Jorgenson is a virtuoso multi-instrumentalist well known for his guitar work with the Desert Rose Band and The Hellecasters. Winner of the Academy of Country Music's Guitarist of the Year Award for three consecutive years, Jorgenson has recorded or toured with Elton John, The Byrds, Bob Dylan, Bob Seger, Willie Nelson, Johnny Cash, Emmylou Harris, Hank Williams Jr., Barbra Streisand, and more. - Charlie Bisharat is a Grammy-winning violinist who has extensively toured and / or recorded with numerous artists. Bisharat's work can be heard on more than 200 recordings, and scores of soundtracks.

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Esther Phillips - Esther Phillips Sings

Bitrate: MP3@320K/s
Time: 30:54
Size: 70.8 MB
Styles: R&B, Vocal jazz
Year: 1966/2005
Art: Front

[3:01] 1. It's All Right With Me
[2:03] 2. The Shadow Of Your Smile
[3:33] 3. Crazy He Calls Me
[2:40] 4. He Touched Me
[2:06] 5. A Taste Of Honey
[2:01] 6. Let There Be Love
[2:33] 7. You Can't Go Home Again
[2:14] 8. Just Say Goodbye
[2:44] 9. I Could Have Told You So
[3:06] 10. Every Time We Say Goodbye
[2:43] 11. As Tears Go By
[2:03] 12. The Party's Over

Though it lacked a big hit (like 1965's And I Love Him!), Esther Phillips Sings featured a better set of songs and better charts for her to sing in front of. With the opener "It's All Right With Me" leading the way, Oliver Nelson's seven arrangements bring out the best in Phillips, giving her plenty of space with light instrumentation but filling any available gaps with his strong, brassy orchestra. "A Taste of Honey" and "Just Say Goodbye" are also very successful, leaving the big-band era for a groovier period of swinging traditional pop. There are a few clunkers, mostly the fault of Ray Ellis' overly commercial arrangements on "The Shadow of Your Smile" and "You Can't Go Home Again," but everywhere else Esther Phillips bridges the world of R&B and jazzy pop with finesse and an easy charm. ~John Bush

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Will Bernard - Just Like Downtown

Bitrate: MP3@320K/s
Time: 44:48
Size: 102.6 MB
Styles: Guitar jazz
Year: 2013
Art: Front

[4:48] 1. Dime Store Thriller
[5:33] 2. Go West
[5:14] 3. Sweet Spot
[4:41] 4. Dancing Days
[5:18] 5. Little Hand
[5:19] 6. Safety In Numbers
[6:18] 7. Bali Hai
[5:11] 8. Route 46
[2:22] 9. P.M. Gone

Will Bernard: guitar; John Ellis: tenor saxophone, bass clarinet; Brian Charette: organ; Rudy Royston: drums.

Guitarist Will Bernard has been connected to a number of singular groups and individuals, from the Monk-to-funk outfit known as T.J. Kirk to New Orleans drumming giant Stanton Moore to multi-instrumentalist Peter Apfelbaum's boundary-pushing Hieroglyphics Ensemble, but a common denominator exists in his strongest work with each one: Bernard's best is always rooted in the groove. He has a no-fuss way of establishing and/or inhabiting the rhythmic currents of a song and he puts that skill to good use, once again, on Just Like Downtown.

This quartet date finds Bernard fronting a highly capable—and flexible—foursome. Together, they tackle original soul jazz ("Dime Store Thriller"), Led Zeppelin ("Dancing Days") and Richard Rodgers ("Bali Hai"). Some pieces are brisk and driving ("Sweet Spot") and others like to linger for a while ("Little Hand"), as Bernard and company simply let the music float on by. Most of these musical offerings get to the point right away, but a sense of mystery is occasionally in the air as things coalesce ("Bali Hai") or blow slowly in the Frisell-ian breeze ("P.M. Gone").

Bernard's buddies deserve a good deal of credit for bringing his music to life. They sound good when working from the same playbook as the leader ("Dime Store Thriller"), but they sound great when one person's contributions are thrown into sharp relief; John Ellis' swaggering bass clarinet riff, for example, enlivens the jaunty "Go West," and drummer Rudy Royston delivers a tornado of a performance on the choppy "Safety In Numbers," which also features a beast-of-a-solo from Bernard. Organist Brian Charette—the fourth piece of the puzzle—is the one most responsible for adding color to the project. He brings all manner of sound—both earthy and alien—into the picture. Just Like Downtown possesses an immediately likeable, unforced quality. The music simply flows when Will Bernard and company get going. ~Dan Bilawsky

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Michal Urbaniak Jazz Trio - My One And Only Love

Bitrate: MP3@320K/s
Time: 72:29
Size: 165.9 MB
Styles: Fusion
Year: 1981/1996
Art: Front

[10:17] 1. My One And Only Love
[ 9:22] 2. Bells
[10:17] 3. Folky Mazurka
[ 8:47] 4. Apology
[ 7:35] 5. More Michal Moore
[ 9:25] 6. Manha De Carnival
[ 8:34] 7. Summertime
[ 8:10] 8. Just A Little Waltz

Once Poland's most promising import in the jazz-rock 1970s, Michal Urbaniak's chief value in retrospect was as a fellow traveler of Jean-Luc Ponty, a fluid advocate of the electric violin, the lower-pitched Violectra, and the Lyricon (the first popular, if now largely under-utilized wind synthesizer). Like many Eastern European jazzmen, he would incorporate elements of Polish folk music into his jazz pursuits, and his other heroes range from the inevitable Miles Davis to Polish classicist Witold Lutoslawski. His electric violin was often filtered with a gauze of electronic modifying devices, and on occasion, he could come up with an attractively memorable composition like "Satin Lady."

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Tubby Hayes & Ronnie Scott - The Couriers of Jazz!

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 42:38
Size: 98,0 MB
Art: Front

(5:30)  1. Mirage
(7:55)  2. After Tea
(3:49)  3. Stop the World, I Want to Get Off!
(4:04)  4. In Salah
(4:11)  5. Star Eyes
(4:40)  6. The Monk
(6:21)  7. My Funny Valentine
(6:04)  8. Day In - Day Out

Tenor saxophonist Ronnie Scott looms among the towering figures of Britain's postwar jazz scene, exerting equal influence as a performer and as the owner of the world-famous club bearing his name. He was born Ronald Schatt in the east end of London on January 28, 1927 his father, dance band saxophonist Jock Scott, separated from his mother shortly after his birth. After first purchasing a cornet from a local junk shop, Scott then moved to the soprano saxophone, finally settling on the tenor sax during his teens; at a local youth club he began performing with aspiring drummer Tony Crombie, and soon began playing the occasional professional gig. After backing bandleader Carlo Krahmer, Scott toured with trumpeter Johnny Claes in 1945, joining the hugely popular Ted Heath Big Band the following year; however, changing economics made the big bands increasingly unfeasible, and as the nascent bebop sound developing across the Atlantic began making its way to the U.K., he and Crombie traveled to New York City to explore the source firsthand. Scott would regularly return to New York after signing on to play alongside alto saxophonist Johnny Dankworth on the transatlantic ocean liner the Queen Mary. Despite his travels Scott remained a linchpin of the growing London bop scene, and in late 1948 he co-founded Club Eleven, the first U.K. club devoted to modern jazz. During this time he developed the lyrical but harmonically complex style that would remain the hallmark of his career, first backing drummer Jack Parnell before finally forming his own band in 1953. The nine-piece group made its public debut in conjunction with a London appearance by Norman Granz's Jazz at the Philharmonic touring revue working from arrangements by trumpeter Jimmy Deuchar, the Scott band's debut proved a landmark moment in the history of British jazz, in many respects heralding the true starting point of the postwar era. Not all of Scott's instincts were sound in 1955, he briefly assembled a full-size big band, to disastrous creative and commercial results but when he officially dissolved the group in 1956, he was a household name throughout Britain. In 1957 he co-founded the Jazz Couriers with fellow tenor saxophonist Tubby Hayes, scaling to even greater heights of fame. The Jazz Couriers amicably split in 1959.     

Around this time Scott began to again entertain the notion of a London-based jazz club in the tradition of the landmarks dotting New York's 52nd Street along with Pete King, a longtime collaborator who'd recently retired from active performing, he borrowed the money necessary to lease the building at 39 Gerrard Street and on October 31, 1959 opened Ronnie Scott's Club for business. Scott himself co-headlined the opening night along with Hayes and Parnell sales were promising, but the venue only began reaching true critical mass in 1961 when it hosted its first American act, Scott favorite Zoot Sims. In the months to follow, Ronnie Scott's was the setting of performances by a who's who of American tenor icons including Dexter Gordon, Roland Kirk, Stan Getz, Sonny Stitt, Ben Webster, and Sonny Rollins. In late 1965 the club moved to its present location on Frith Street, where before the end of the decade it would host everyone from Ella Fitzgerald to Albert Ayler, becoming the epicenter of London's jazz community. Although the club consumed much of his time, Scott continued touring with a quartet featuring pianist Stan Tracey during the late 1960s, he also spearheaded an eight-piece group with whom he created the most idiosyncratic and experimental music of his career. At the time of Scott's death on December 23, 1996, his namesake club was perhaps the most famous jazz venue in all of Europe.~ Jason Ankeny https://www.allmusic.com/artist/ronnie-scott-mn0000332807/biography                           

Personnel:  Tubby Hayes & Ronnie Scott (tenor sax), Terry Shannon (piano), Jeff Clyne (bass), and Bill Eyden (drums).

The Couriers of Jazz!

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