Jake Fryer, Bud Shank Quintet - In Good Company

Bitrate: MP3@320K/s
Time: 63:58
Size: 146.4 MB
Styles: Bop, Saxophone jazz
Year: 2011
Art: Front

[7:41] 1. Caravan
[7:28] 2. Bopping With Bud
[9:34] 3. Agnieszka
[4:33] 4. Tip Top And Tickety Boo
[5:56] 5. Breaking Loose
[6:21] 6. The Time Lord
[7:32] 7. Almost Like Being In Love
[5:10] 8. In Good Company
[9:39] 9. Speak Low

Jake Fryer: alto saxophone; Bud Shank: alto saxophone; Mike Wofford: piano; Bob Magnussson: bass; Joe LaBarbera: drums.

On April 2, 2009 the world lost another giant of jazz when alto saxophonist great Bud Shank died peacefully in his Tucson, Arizona home. But the master chose not to pass away with a whimper but, rather, with a bang, blowing his last notes the day before at Studio West in San Diego. Shank was one of Jake Fryer's greatest influences on the alto saxophone. Fryer, a British composer and alto saxophonist, had dreamed of pairing up with Shank for a magical recording, leading to In Good Company. The two alto saxophonists, along with Shank's west coast rhythm section of pianist Mike Wofford, bassist Bob Magnusson and drummer Joe La Barbera, combined for an electrifying session.

While Shank and his stellar rhythm section play a major part on this recording Shank takes the alto lead an all tracks it is Fryer who contributes most of the original material. Another important aspect of this album is the fact that all of the music was recorded on the first take, as if it were done at a live gig. With a Magnusson tease on the opening Juan Tizoll/Duke Ellington standard, "Caravan," the 82 year-old Shank, in obvious ill health, blows tight, high-pitched notes in contrast to Fryer, who follows with a more mellow-toned alto solo of his own. This seems to be the duo's template throughout the recording.

Fryer's "Bopping With Bud," penned as a tribute to the altoist, permits both saxophonists to trade salvos on a perky, bop-ish tune. Wofford steps up to the plate, setting up the players for some individual playing time on the spacious ballad "Agnieszka," while "Tip Top And Tickety Boo," as well as "Breaking Loose," have a racier, hard bop texture. La Barbera takes center stage on "The Time Lord," a piece specifically written for him, and the band tones down on a lovely rendition of the Lerner/Lowe classic, "Almost Like Being In Love." The title piece features all band mates claiming a portion of the number, in recognition of the obvious good company they found themselves in on this recording.

The session culminates with a creative, nine minutes-plus version of Kurt Weill's oft-performed "Speak Low," where both Shank and Fryer let it all hang out in what turns out to be Shank's last piece of recorded music. Fryer will, undoubtedly, go on to record more good music in the future, but probably no album will be as memorable to the altoist as the magnificent blowing session he shared with a legend on In Good Company, an inspirational session of sizzling jazz. ~Edward Blanco

In Good Company 

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Cleo Laine, John Williams - Let The Music Take You

Bitrate: MP3@320K/s
Time: 46:09
Size: 105.7 MB
Styles: Jazz-pop guitar & vocals
Year: 1983/2004
Art: Front

[3:49] 1. Baby Don't You Cry No More
[3:28] 2. Imagine
[3:34] 3. One
[3:41] 4. Colours Of My Life (From Barnum)
[3:49] 5. I Never Went Away
[3:35] 6. Let The Music Take You
[3:46] 7. The First Time I Ever Saw Your Face
[4:36] 8. Dreams Of Castilla
[2:57] 9. Without Words (Portrait)
[3:58] 10. It's Not Easy To Say I Love You
[4:13] 11. So Quiet The Night
[4:37] 12. So Many Stars

Rod Argent Keyboards; Kenny Clare Drums; Alec Dankworth Bass; John Mole Bass; John Dankworth Sax & Clarinet; Tristan Fry Percussion; Morris Pert Percussion; Tony Hymas Piano.

John Christopher Williams was born in Melbourne, Australia on 24th April 1941. His father, Leonard Williams, had emigrated to Australia from London in the late 1930s, where he met his wife, Malaan, through a common love of jazz music and political activism. Len was a respected jazz guitarist whose interests had slowly turned towards the classical repertoire, and when John was four years old, he received his first guitar from his father, although John insists that proper tuition did not start for another two or three years. Because of his new-found love for classical technique, Len refused to allow John to dabble in more free-form styles of playing, a fact often regretted by the virtuoso in later life.

Born in a London suburb, Cleo Laine showed early singing talent, which was nurtured by her Jamaican father and English mother who sent her to singing and dancing lessons. It was not, however, until she reached her mid-twenties that she applied herself seriously to singing. She auditioned successfully for a band led by musician John Dankworth, under whose banner she performed until 1958, in which year the two were married.

Then began an illustrious career as a singer and actress. In 1958 she played the lead in a new play at London's famous Royal Court Theatre, home of the new wave of playwrights of the 'fifties - Pinter, Osborne and the like. This led to other stage performances such as the musical "Valmouth" in 1959, the play "A Time to Laugh" (with Robert Morley and Ruth Gordon) in 1962, and eventually to her show stopping Julie in the Wendy Toye production of "Showboat" at the Adelphi Theatre in London in 1971.

During this period she had two spectacular recording successes. "You'll Answer to Me" reached the British Top Ten at the precise time that Cleo was 'prima donna' in the 1961 Edinburgh Festival production of the Kurt Weill opera/ballet "The Seven Deadly Sins". In 1964 her "Shakespeare and All that Jazz" album received widespread critical acclaim, and to this day remains an important milestone in her identification with the more unusual aspects of a singer's repertoire.

Let The Music Take You mc
Let The Music Take You zippy

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Martin Wind - Tender Waves

Bitrate: MP3@320K/s
Time: 60:23
Size: 138.2 MB
Styles: Piano jazz, Contemporary jazz
Year: 2007
Art: Front

[ 6:19] 1. There's A Boat That's Leaving Shortly For New York
[ 6:25] 2. Quietly
[ 7:28] 3. Marc's Moments
[ 7:22] 4. You're My Everything
[ 2:53] 5. Tender Waves
[10:17] 6. Make A New Start
[ 6:12] 7. Coraçao Vagabundo
[ 7:48] 8. You And The Night And The Music
[ 5:35] 9. Too Far From You

The influence of Bill Evans is quite strong on Tender Waves, which is Martin Wind's second album as a leader and was recorded in Holland in 1994. This Dutch release finds the acoustic bassist forming a piano trio with drummer Keith Copeland and the lyrical, melodic pianist Bill Mays, who brings his appreciation of Evans to Wind's thoughtful compositions as well as introspective versions of George Gershwin's "There's A Boat That's Leaving Shortly for New York" (one of the Gershwin classics that hasn't been overdone by jazz musicians in recent years) and Caetano Veloso's Brazilian classic "Coracao Vagabundo." But while Evans is among Mays' strongest influences, Mays is nonetheless his own man. Mays is an admirer of Evans, but not a clone-and ultimately, it is Mays' own lyricism, not the ghost of Bill Evans, that proves valuable to Wind on this memorable CD. ~Alex Henderson

Tender Waves mc
Tender Waves zippy

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Billy Butterfield - Soft Strut

Styles: Trumpet Jazz 
Year: 2004
File: MP3@320K/s
Time: 36:20
Size: 83,8 MB
Art: Front

(6:23)  1. Ti-Pi-Tin
(3:16)  2. Soft Strut
(2:13)  3. Says My Heart
(6:15)  4. I've Got The World On String
(5:49)  5. I'm An Old Cowhand
(3:29)  6. All Right, Be That Way
(2:47)  7. I Would Do Anything For You
(3:11)  8. He's A Devil In Own Home Town
(2:53)  9. Somewhere Along The Way

A versatile pre-bop trumpeter with a beautiful tone, Billy Butterfield could play pretty ballads and heated Dixieland with equal skill. After early experience in the mid-'30s with the bands of Austin Wylie and Andy Anderson, Butterfield became famous while playing with Bob Crosby's Orchestra (1937-1940), taking the main solo on the original version of "What's New," and making numerous records with both the big band and the Bobcats. In 1940, he was with Artie Shaw, participating in the famed Gramercy Five sessions and taking a classic solo on Shaw's rendition of "Star Dust"; in addition, Butterfield can be seen and heard playing "Concerto for Clarinet" with Shaw in the film Second Chorus. After stints with Benny Goodman (1941) and Les Brown, Butterfield spent time in the military, and then led a lyrical (but commercially unsuccessful) big band (1945-1947). He worked mostly in the studios during the 1950s and '60s, occasionally emerging for Dixieland dates with Eddie Condon, and was a key member of the World's Greatest Jazz Band (1968-1972). In later years, he continued popping up in Dixieland settings both for records and concerts. ~ Scott Yanow https://itunes.apple.com/us/album/soft-strut/396023346

Personnel:  Billy Butterfield (trumpet); Hal McKusick (alto saxophone); Lou McGarity (trombone); Milt Hinton (bass).

Soft Strut

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Deborah Lippmann - Nightingale

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 65:34
Size: 151,9 MB
Art: Front

(4:10)  1. Too Darn Hot
(5:26)  2. Since I Fell For You
(4:38)  3. The Rainy Season
(5:31)  4. Dancing With Antonio
(4:47)  5. I Hope You Dance
(6:44)  6. A Nightingale Sang In Berkeley
(3:18)  7. Haven't We Met
(5:27)  8. How I Love The Rain
(2:49)  9. You Are There
(3:32) 10. Best Of Friends
(4:09) 11. I Dreamed You
(4:54) 12. Evil Ways
(4:23) 13. Somebody's Praying Me Through
(5:41) 14. I Hope You Dance

Deborah Lippmanns story is sprinkled with a lot of famous names theres a quote from Cher on the back cover of her debut CD, nightingale ("Deborah Lippmann is a special voice with music in her soul," it says), and the long list of people that Deborah thanks in the CDs liner notes include Mariah Carey, Mary J. Blige, Kelly Ripa, Martha Stewart, and Sarah Jessica Parker. But its the famous name Renee Zellweger that plays a considerable role in Deborahs decision to take some time out from her very successful career as a celebrity manicurist and the Founder/CEO of the nail product line, lippmann collection in order to focus on her career as a vocalist. "I was talking to Renee about lippmann collection one day and how it was growing," Deborah remembers. "Renee said Isnt it amazing how far out of our way we will go not to do what were meant to be doing? That gave me chills and then it inspired me." After all, for all of Deborahs tremendous success as a manicurist and entrepreneur, its singing thats her passion. Nail care was always her day gig. True she landed at the absolute top of her field, but she chose that field to allow her to support her dream of singing.

With the release of nightingale, Deborahs come one step closer to fulfilling her dream. In listening to the CD, a stunning collection of 13 songs, it becomes immediately clear that Deborahs talents extend beyond her exquisite vocals shes a powerful stylist and interpreter, conveying potent emotions. That she delivers such emotional resonance isnt surprising, though: communication is at the core of Deborahs craft. "I was very sensitive as a child and I started singing when I was quite young." Deborah says. "At first I was probably just parroting, but singing ultimately became a way for me to express myself." Deborahs father died when she was young; music became her primary emotional outlet. "Ive always worn my heart on my sleeve, and after my father died I got very closely in touch with my feelings." Nightingale opens with the Cole Porter classic, "Too Darn Hot." a natural choice for Deborah, who grew up in the desert heat of Scottsdale, Arizona. "Each song on the disc has a special meaning for me," Deborah says. 

"Each song touches me in a significant way. I believe that most of us share universal themes in our lives, so I have to believe that these songs affect other people in the same ways they affect me." The CDs highlights include "Evil Ways," which features the acclaimed dancer Savion Glover, whose spectacular tap dancing is recorded as a percussive instrument, the beautiful "Best of Friends" and the lovely "A Nightingale Sang in Berkeley Square."~ Editorial Reviews https://www.amazon.com/Nightingale-Deborah-Lippmann/dp/B0002Q7WOY

Nightingale

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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
Jam For Your Bread zippy

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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.

Radio Free Honduras mc
Radio Free Honduras zippy

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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.

Greatest Hits mc
Greatest Hits zippy

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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.

Tropical Breeze (Feat. Cassandra Wilson) mc
Tropical Breeze (Feat. Cassandra Wilson) zippy

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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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