Mike LeDonne - Then & Now

Bitrate: MP3@320K/s
Time: 66:20
Size: 151.8 MB
Styles: Piano jazz
Year: 1999
Art: Front

[6:19] 1. Then And Now
[6:49] 2. The Sorcerer
[9:19] 3. Trane Song
[7:16] 4. Schism
[7:00] 5. Round Midnight
[4:41] 6. Seeds
[9:43] 7. Continuum
[8:35] 8. Insight
[6:34] 9. Little Millies Hat

Pianist Mike LeDonne expands to a quintet and features mostly original material on his second Double-Time release. The players represent the cream of New York's neo-bop rat pack: tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, bassist Peter Washington, and drummer Joe Farnsworth. LeDonne's compositions generally draw upon sounds from decades past. "Trane Song," for instance, is loosely based on Coltrane's "Crescent"; "Insight" is strongly reminiscent of "Seven Steps to Heaven"; "Seeds" and the title track feature the kind of charging, hard bop frontline that Freddie Hubbard used to favor on his '60s Blue Note albums. Interestingly, LeDonne's most original move is his mid-tempo 6/4 arrangement of Herbie Hancock's "Sorceror," a tune usually played in a blistering four. More straightforward but equally virtuosic is LeDonne's trio rendition of "'Round Midnight." ~David R. Adler

Then & Now mc
Then & Now zippy

---

Legends & Lions - Swingin'

Bitrate: MP3@320K/s
Time: 57:29
Size: 131.6 MB
Styles: Mainstream jazz
Year: 2006
Art: Front

[6:14] 1. Mighty Burner
[5:53] 2. Blues For Hamp
[5:48] 3. I Am Old Fashioned
[4:28] 4. Comment Allez-Vous
[3:40] 5. Seven Steps To Heaven
[6:06] 6. Nancy Jo
[5:39] 7. Blues For Matt B
[7:55] 8. Old Man Jazz
[6:21] 9. Centerpiece
[5:19] 10. The Masquerade Is Over

Legends & Lions: Swingin' is one of a pair of specially priced compilations simultaneously released by Mack Avenue at a special price to showcase their artists. Unlike typical collections, this CD combines previously issued tracks and music from future projects along with one unissued track that evidently will not appear elsewhere. The selections range from the tasty uptempo blues "Mighty Burner," which showcases trumpeter Rashawn Ross extensively before tenor saxophonist and leader Ron Blake makes his entrance; to vocalist Ilona Knopfler's sensual "Comment Allez-Vous" backed by a fine big band; to a bluesy down-home gospel-flavored treatment of "Centerpiece" that features Kenny Burrell, James Moody, Teddy Edwards, Cedar Walton, and Oscar Brashear. The unissued track, a brisk take of "I'm Old Fashioned" featuring alto saxophonist Bud Shank with pianist Mike Wofford, bassist Bob Magnusson, and drummer Joe La Barbera, may have been set aside due to a few reed squeaks in the opening minute. This excellent sampler showcases a label that is not focused exclusively either on veteran artists or rising stars, but one that simply seeks to record valuable jazz. ~Ken Dryden

Swingin' mc
Swingin' zippy

---

Mose Allison - The Collection (2-Disc Set)

This two disc set collects several of Mose Allison’s key tracks from the 1950s, with the first disc, which includes the pianist’s classic versions of “Parchman Farm” and “Young Man’s Blues,” functioning as a sort of “greatest hits” while the second disc features his debut LP Back Country Suite from 1957, which was issued by Prestige Records, along with his first record for Columbia Records, 1959’s The Transfiguration of Hiram Brown. It makes for a great introduction to a one-of-a-kind artist. ~Steve Leggett

Album: The Collection (Disc 1)
Bitrate: MP3@320K/s
Time: 51:18
Size: 117.4 MB
Styles: Jazz-blues, Bop, Piano & vocal jazz
Year: 2010
Art: Front

[2:36] 1. The Seventh Son
[1:40] 2. Eyesight To The Blind
[3:09] 3. Do Nothin’ ‘till You Hear From Me
[3:30] 4. Lost Mind
[2:47] 5. I’ve Got A Right To Cry
[3:13] 6. Baby, Let Me Hold Your Hand
[3:16] 7. Parchman Farm
[2:28] 8. If You Live
[2:46] 9. Don’t Get Around Much Anymore
[2:59] 10. One Room Country Shack
[2:30] 11. I Hadn’t Anyone ‘till You
[1:23] 12. Young Man’s Blues
[2:25] 13. That’s Alright
[2:32] 14. Baby Please Don’t Go
[1:53] 15. ‘deed I Do
[2:21] 16. I Love The Life I Life, I Live The Life I Love
[3:29] 17. Fool’s Paradise
[2:12] 18. You’re A Sweetheart
[2:10] 19. Mad With You
[1:50] 20. I Ain’t Got Nobody

The Collection (Disc 1) mc
The Collection (Disc 1) zippy

---

Album: The Collection (Disc 2)
Bitrate: MP3@320K/s
Time: 75:59
Size: 174.0 MB
Styles: Jazz-blues, Bop, Piano & vocal jazz
Year: 2010
Art: Front

[2:08] 1. New Ground
[1:50] 2. Train
[1:47] 3. Warm Night
[1:28] 4. Blues
[1:24] 5. Saturday
[2:15] 6. Scamper
[1:38] 7. January
[2:03] 8. Promised Land
[1:23] 9. Spring Song
[1:38] 10. Highway 49
[3:00] 11. Blueberry Hill
[3:46] 12. You Won’t Let Me Go
[3:53] 13. I Thought About You
[3:45] 14. In Salah
[4:08] 15. Somebody Else Is Taking My Place
[3:24] 16. Yardbird Suite
[4:37] 17. Creek Bank
[3:16] 18. Dirt Road
[2:28] 19. City Home
[1:38] 20. Cuttin' Out
[3:21] 21. Gotham Day
[4:26] 22. Gotham Night
[1:07] 23. Echo
[4:07] 24. The River
[0:46] 25. Finale
[3:46] 26. Crepuscular Air
[3:18] 27. A Pretty Girl Is Like A Melody
[3:24] 28. Am I Blue

The Collection (Disc 2) mc
The Collection (Disc 2) zippy

---

Maceo Parker - Dial Maceo

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 54:48
Size: 126,7 MB
Art: Front

(0:23)  1. Dial MACEO
(5:10)  2. Rabbits In The Pea Patch
(3:23)  3. My Baby Loves You
(4:02)  4. I've Got Work To Do
(5:38)  5. The Greatest Romance Ever Sold
(4:59)  6. Black Widow
(2:55)  7. Coin Toss
(4:30)  8. Simply Tooley
(4:40)  9. Latin Like
(5:30) 10. The Closer I Get To You
(4:05) 11. My Love
(9:28) 12. Home Boy

Undoubtedly one of the best known sax players in the history of funk, predominantly through his work with James Brown ("Play, Maceo!"), Maceo Parker has had a spotty recorded solo career. His eighth album as a band leader finds the horn honker expanding his palette by aiming his instrument at smooth jazz and rap, while inviting fans Ani DiFranco, James Taylor (?!), and Prince to add superstar spice to his soul stew. Although it's refreshing that these folks wanted to lend a hand, none of their contributions help define the album, and, in Prince's case, even waters it down. Certainly Parker doesn't need any assistance as smoking versions of the Isley Brothers' "Work to Do," the album's opening stuttering funk salvo of the self-composed "Rabbits in the Pea Patch," and "Coin Toss" (DiFranco's track) makes clear. The talented Parker, who is only slightly less adept at the flute and piano, rips into scorching solos equally as energetic as anything he did with Brown or George Clinton. Unfortunately, a shift to easy-listening fusion with treackly covers of Robert Flack's "The Closer I Get to You" and especially Paul McCartney's icky "My Love" move him into slick, supper club territory as the disc closes. His horn still sparkles, but without the deep R&B party sounds to work with, the latter part of the album sinks into formula. On the other end of the spectrum is "Black Widow," featuring Parker's son Corey rapping over a slow, sparse backing as dad plays flute in an attempt to push his musical envelope, which never quite gels. Nor does an almost unrecognizable James Taylor singing vocal harmony on "My Baby Loves You," a joyously upbeat track. By trying to touch too many bases, Maceo Parker only dilutes his most stunning attribute the tough, groove machine fury of his sax. That makes this another good, but not great, release from a legendary artist whose flame remains white hot, but whose albums never quite catch fire.~ Hal Horowitz https://www.allmusic.com/album/dial-maceo-mw0000058958

Personnel: Maceo Parker (vocals, alto saxophone, flute, piano); Prince (vocals, various instruments); Ani DiFranco (vocals, guitar); James Taylor, Corey Parker, "Sweet" Charles Sherrell (vocals); Vincent Henry (tenor saxophone); Ron Tooley (trumpet, flugelhorn); Bennie Cowan (trumpet); Greg Boyer (trombone); Sheryl Crow (harmonica, background vocals); Will Boulware (Hammond organ, synthesizer); Bruno Speight (guitar); Rodney "Skeet" Curtis (bass); Jamal Thomas, Michael Bland (drums); Kevin Hupp (percussion); Diann Sorrell, Audrey Martells, Corey Parker, Charles Sherell (background vocals).

Dial Maceo

---

Deborah Cox - The Morning After

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 54:22
Size: 125,2 MB
Art: Front

(5:01)  1. Up & Down (In & Out)
(4:06)  2. 2 Good 2 Be True
(3:48)  3. Play Your Part
(3:31)  4. Like I Did
(5:08)  5. Hurt So Much
(3:42)  6. Just A Dance
(4:24)  7. The Morning After
(3:38)  8. Givin' It Up
(4:26)  9. Up & Down (feat, Jadakiss)
(3:57) 10. Oh My Gosh
(4:26) 11. Starting With You
(4:03) 12. Mr. Lonely (Hex, Mac Mix)
(4:06) 13. Absolutely Not (Chanel Mix)

On her third album THE MORNING AFTER, Deborah Cox continues the upward spiral of a career that once again lands mentor Clive Davis another notch in an already impressive history of talent. Cox's devotion to Davis went so far as to have her leave Arista Records and follow him over to J Records, his latest endeavor. As for the Toronto native, her skills continue to impress and earned her the chance to once again work with a number of renowned producers including Jimmy Jam & Terry Lewis, Jermaine Dupri and Rodney Jerkins.  Blessed with a voice that makes her sound like a fusion of Gladys Knight and Whitney Houston, Cox's impressive range is a big reason why she's been touted as one of pop music's brighter lights. When she isn't busy working the club side of the coin with tracks like "Mr. Lonely (Hex/Mac Mix)" and "Absolutely Not (Chanel Mix)," the petite diva is easing into slow jams like "Play Your Part" and the title cut along with the groove-laden "2 Good 2 Be True." Hip-hop fans will reel in the Kurupt duet "Just A Dance" and the Allstar Remix of "Up & Down" featuring Jadakiss. https://www.allmusic.com/album/the-morning-after-mw0000224881

The Morning After

---

Rodney Jones - Dreams And Stories

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 55:24
Size: 127,8 MB
Art: Front

(4:44)  1. Star Eyes
(4:36)  2. Leana's Song
(3:42)  3. Happy Blue
(4:52)  4. The Song Is You
(5:38)  5. Blue Days, Blue Dreams
(3:12)  6. Five For The Duck
(4:08)  7. While We Dream
(5:46)  8. Summertime
(5:57)  9. Serena
(5:34) 10. No Time For The Blues
(3:10) 11. Blues When You Need Them
(3:58) 12. Road Song

This excellent set, which features guitarist Rodney Jones on his melodic originals, blues, ballads, and a few standards, sounds as if it were recorded in 2005 except for one fact. Pianist Kenny Kirkland, who passed away prematurely in 1998, is in the quartet. Surprisingly no date is included in the liner notes, so the 1985 date given for the previously unreleased set is just an educated guess, since it is mentioned that bassist Marc Johnson was new in town at the time of the recording. It is a joy to hear some "new" Kirkland solos but the contributions of Jones, Johnson, and drummer Jeff "Tain" Watts (who is very subtle throughout) should not be overlooked either. Jones' songs are excellent, with "Blue Days, Blue Dreams" and "While We Dream" in particular being rewarding ballads that should be covered by others. Recommended.~ Scott Yanow https://www.allmusic.com/album/dreams-and-stories-mw0000349061

Personnel: Rodney Jones (guitar); Marc Johnson (bass instrument); Kenny Kirkland (piano); Jeff "Tain" Watts (drums).

Dreams And Stories

---

Kevin Eubanks - Turning Point

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 50:51
Size: 116,8 MB
Art: Front

(5:21)  1. Turning Point (Part I)
(4:44)  2. Aftermath (Part II)
(4:49)  3. Initiation (Part III)
(7:04)  4. New World Order
(5:07)  5. Colors of One
(5:46)  6. Spiral Ways
(6:42)  7. Freedom Child
(6:29)  8. On My Way to Paradise
(4:46)  9. Lingering Destiny

Turning Point is a highly appropriate title for this album. After recording his share of commercial fluff for GRP, Kevin Eubanks switched to Blue Note with this heartfelt CD and strived for excellence instead of going out of his way to avoid it. Creativity, personal improvising, and spontaneity are main ingredients of the album, which unites the talented electric and acoustic guitarist with bass explorer Dave Holland and drummer Marvin "Smitty" Smith, among others. Like so much intellectual jazz, Point requires several listenings in order to be fully appreciated.~ Alex Henderson https://www.allmusic.com/album/turning-point-mw0000612760

Personnel: Kevin Eubanks (guitar); Marlon Jordan (trumpet); Kent Jordan (flute); Dave Holland, Charnett Moffett (bass); Marvin "Smitty" Smith, Mark Mondesir (drums).

Turning Point

---

Joe Pass & Tommy Gumina - Love Walked in

Styles: Guitar Jazz
Year: 1992
File: MP3@320K/s
Time: 56:34
Size: 140,1 MB
Art: Front

(5:52)  1. What Kind of Fool Am I
(4:37)  2. Love Walked in
(5:17)  3. Stella by Starlight
(4:52)  4. I Will Wait for You
(4:58)  5. Samba De Orfeu
(5:59)  6. Memories of You
(4:17)  7. Be My Love
(2:21)  8. How High the Moon
(3:47)  9. Manha De Carnaval
(5:07) 10. Ellen's Tune
(1:43) 11. Joe's Blues
(3:21) 12. Here's that Rainy Day
(4:17) 13. Tangerine

Joe Pass did the near-impossible. He was able to play up-tempo versions of bop tunes such as "Cherokee" and "How High the Moon" unaccompanied on the guitar. Unlike Stanley Jordan, Pass used conventional (but superb) technique, and his Virtuoso series on Pablo still sounds remarkable decades later.  Joe Pass had a false start in his career. He played in a few swing bands (including Tony Pastor's) before graduating from high school, and was with Charlie Barnet for a time in 1947. But after serving in the military, Pass became a drug addict, serving time in prison and essentially wasting a decade. He emerged in 1962 with a record cut at Synanon, made a bit of a stir with his For Djangoset, recorded several other albums for Pacific Jazz and World Pacific, and performed with Gerald Wilson, Les McCann, George Shearing, and Benny Goodman(1973). However, in general Pass maintained a low profile in Los Angeles until he was signed by Norman Granzto his Pablo label. 1973's Virtuoso made him a star and he recorded very prolifically for Pablo, unaccompanied, with small groups, on duo albums with Ella Fitzgerald, and with such masters as Count Basie, Duke Ellington, Oscar Peterson, Milt Jackson, and Dizzy Gillespie. Pass remained very active up until his death from cancer. ~ Scott Yanow https://www.allmusic.com/artist/joe-pass-mn0000209773/biography

Thomas Joseph "Tommy" Gumina (May 20, 1931 in Milwaukee October 28, 2013) was an American jazz accordionist and musical instrument builder. Gumina began playing accordion at age eleven, and took lessons on the instrument in Chicago throughout the second half of the 1940s. He began working with Harry James on television in 1952 as an accompanist for popular tunes, and in 1955 Gumina began working on his own, both solo and with an ensemble. He recorded with Buddy DeFranco and Willie Smith in the 1960s, and began experimenting with modifying an electric accordion, whose amplified sound resembled that of an electronic organ.[2] He was occasionally active as a performer in the 1970s (e.g., with Art Pepper in 1974), but increasingly concentrated on his amplifier manufacturing business, Polytone Musical Instruments, which was based in North Hollywood, California. He and Joe Pass co-founded Polytone Records in 1987. https://en.wikipedia.org/wiki/Tommy_Gumina

Personnel:  Joe Pass (g) Tommy Gumina (phys) Frank De Vito (dr)

Love Walked in

---

Milt Jackson - Anthology

Bitrate: MP3@320K/s
Time: 66:29
Size: 152.2 MB
Styles: Vibraphone jazz
Year: 2014
Art: Front

[3:02] 1. Bags' Groove
[7:28] 2. Work Song
[7:32] 3. On Green Dolphin Street
[3:00] 4. Jazz Bossa Nova
[5:07] 5. Enchanted Lady
[5:11] 6. Now Hear My Meaning
[2:26] 7. A Beautiful Romance
[2:55] 8. All The Things You Are
[4:45] 9. Big George
[2:47] 10. Clay's Blues
[2:57] 11. Don't Get Around Much Anymore
[4:35] 12. I Love You
[3:43] 13. Gingerbread Boy
[5:09] 14. Flying Saucer
[5:44] 15. Heartstrings

Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.

Anthology mc
Anthology zippy

---

Donavan / Muradian Quintet - Pacifico

Bitrate: MP3@320K/s
Time: 63:02
Size: 144.3 MB
Styles: Bop, Contemporary jazz
Year: 2004
Art: Front

[5:09] 1. Progress Hornsby
[5:53] 2. Ze Bonita Blues
[5:06] 3. Hocus Pocus
[6:42] 4. Pacifico
[7:28] 5. Thelonious Mike
[5:07] 6. Nairobi A Go-Go
[7:02] 7. Blue Waltz
[4:41] 8. Forget About It
[3:41] 9. Spruce Street
[5:13] 10. Neds Bag
[6:56] 11. Faiith And Fortune

Jeff Donavan: drums ; Larry Muradian: bass; Curtis Brengle: piano; Chuck Manning: tenor and soprano sax; Kye Palmer: trumpet and flugelhorn.

Another title for Pacifico could be The Lost EmArcy Sessions. The music on this disc—all original charts save one—comes straight out of the Brown/Roach hard bop stylebook with some additional nods to the Blue Note roster of the late ’50s and early ’60s; and it greets this reviewer’s (self-confessedly conservative) ears, bruised by the proliferation of so much avant noisemaking, as pure delight.

The Donavan/Muradian Quintet, or DMQ, an outfit formerly and somewhat confusingly known as The Nairobi Trio (the name derives from the mechanical primate band featured on The Ernie Kovacs Show of the 1950s), is the brainchild of drummer Jeff Donovan and bassist Larry Muradian. The two Californians have played together for 25 years throughout the Pasadena area and beyond. In 1998 they issued an album of standards penned by jazz greats—Coltrane, Cannonball, Wayne Shorter, et al.—under the apt title Straight Ahead. Pacifico is clearly the work of these same two co-leaders, but it comes in the wake of a name change, a new line-up, and a decision to feature original material.

Saxophonist Chuck Manning and trumpeter Kye Palmer leap into “Progress Hornsby,” the first track, with a bright and smooth Land/Brown head. Donavan rolls out an intro and then maintains a steady, quickstep, swinging pace; Muradian is content to keep to the shadows, climbing and descending. Following a repeat of the head, pianist Curtis Brengle enters with flourishes and strides, paving the way for Palmer to crescendo and subside. Manning slips in and builds to a point when he takes his sax on several spiralling flights. Then Palmer resumes and the group rapidly solos in reverse order, punctuated by Donavan’s fills. If the description of “Progress Hornsby” sounds like a feverish announcer narrating a neck-and-neck horse race, that’s because it is.

Donavan and Muradian demonstrate their telepathic teamwork well into the next track, a slinky, laid back number entitled “Ze Bonita Blues.” They take only about thirty seconds to alternate bowed bass and drums, but it’s enough to show the sixth sense they’ve developed toward each other. There is some impressive soloing all around. It’s the kind of playing where the listener expects to hear applause after each solo—that, say, or an enthusiastic “Yeah!” or an emphatic “Mmm-hmm!” after a particularly intense or nimble passage.

Lee Morgan’s “Hocus Pocus” gets a solid treatment, if not a bit too reverential. For the most part, however, the five performers here prefer to stand on the shoulders of their influences, not in their shadows. During his second solo on the Morgan chart, Palmer can’t resist quoting some of Clifford Brown’s sprightly phrasing from “Joy Spring.” On the title track, Manning gives a sly, Coltrane-like solo on the soprano sax without slipping into sycophancy. “Nairobi A Go-Go” is the lighthearted union of surf rock and a Freddie Hubbard project.

Pacifico doesn’t just earn high marks, it reinforces the standard by which the mainstream hard bop of today should be judged. Excellent, endlessly gratifying stuff. ~Eric J. Ianelli

Pacifico mc
Pacifico zippy

---

Various - Restoration: Reimagining The Songs Of Elton John & Bernie Taupin

Bitrate: MP3@320K/s
Time: 57:10
Size: 130.9 MB
Styles: Country-pop
Year: 2018
Art: Front

[4:44] 1. Little Big Town - Rocket Man
[5:00] 2. Maren Morris - Mona Lisas And Mad Hatters
[5:23] 3. Don Henley - Sacrifice
[3:51] 4. Brothers Osborne - Take Me To The Pilot
[4:36] 5. Miranda Lambert - My Father's Gun
[4:28] 6. Chris Stapleton - I Want Love
[5:13] 7. Lee Ann Womack - Honky Cat
[3:31] 8. Kacey Musgraves - Roy Rogers
[4:13] 9. Rhonda Vincent - Please
[3:33] 10. Miley Cyrus - The Bitch Is Back
[4:10] 11. Dierks Bentley - Sad Songs (Say So Much)
[5:00] 12. Rosanne Cash - This Train Don't Stop There Anymore
[3:22] 13. Willie Nelson - Border Song

One of two albums released as a celebration of the 50+ years of collaboration between Elton John and Bernie Taupin, Restoration: Reimagining the Songs of Elton John and Bernie Taupin is the brainchild of the lyricist, who wanted to pay tribute to the Americana that's informed his imagery ever since the beginning of his career. Taupin designed the artwork and recruited artists, leaning heavily on newer artists who are on the vanguard of the mainstream, but also finding plenty of space for veterans who have been around for as long as Elton, if not longer. There's a divide in aesthetics between the younger and older artists -- the former embrace the freedom of reinterpretation, the latter settle into their roots -- but they're largely complementary, revealing how enduring and malleable the John/Taupin catalog is. Maren Morris and Kacey Musgraves grab attention with their blissed-out, soulful readings of "Mona Lisas and Mad Hatters" and "Roy Rogers," but Brothers Osborne's funky "Take Me to the Pilot" and Miranda Lambert's mournful "My Father's Gun" are equally bracing. Dierks Bentley finds a sly Stonesy rhythm lurking in "Sad Songs (Say So Much), while Lee Ann Womack turns "Honky Cat" into a simmering soul workout and Little Big Town gives "Rocket Man" an arrangement worthy of Pentatonix. If Miley Cyrus leans too hard on Shania Twain-isms for "The Bitch Is Back," she's overshadowed by delicate work form Willie Nelson, Don Henley & Vince Gill, Rosanne Cash & Emmylou Harris, and Rhonda Vincent & Dolly Parton, who all show that hushed voices can be more compelling than bluster. But that also just points out how lean and sharp Restoration is: The artists take risks, and they -- and the songbook -- come out sounding the better for it. ~Stephen Thomas Erlewine

Restoration: Reimagining The Songs Of Elton John & Bernie Taupin mc
Restoration: Reimagining The Songs Of Elton John & Bernie Taupin zippy

---

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 

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---