Jools Holland - The Golden Age Of Song

Bitrate: MP3@320K/s
Time: 58:16
Size: 133.4 MB
Styles: Jazz/Pop/Rock vocals
Year: 2012
Art: Front

[3:15] 1. Something's Got A Hold On Me (With Paloma Faith)
[3:40] 2. Ac-Cent-Tchu-Ate The Positive
[2:36] 3. Lovin' Machine
[4:17] 4. Bei Mir Bist Du Schön (With Joss Stone)
[3:01] 5. Get Here (With Jessie J.)
[3:53] 6. A Place In The Sun (With James Morrison)
[4:07] 7. Don't Go To Strangers (With Amy Winehouse, Paul Weller)
[3:34] 8. And That Ain't Good (With Mick Hucknall)
[3:37] 9. My Baby Just Cares For Me (With Florence Welch)
[3:13] 10. Mad About The Boy (With Caro Emerald)
[3:35] 11. I'll Sail My Ship Alone (With Tom Jones)
[2:56] 12. Reet Petite (With Cee Lo Green)
[3:11] 13. Sweet Country Love Song (With Gregory Porter)
[3:09] 14. September In The Rain (With Paul Weller)
[2:54] 15. The Lady Is A Tramp (With Lily Rose Cooper)
[3:30] 16. Get Away Jordan (With Ruby Turner)
[3:41] 17. When You're Smiling The Whole World Smiles With You

2012 release from the musician and entertainment personality. It's true to say that Jools Holland has become a national treasure, and The Golden Age Of Song is the perfect way to celebrate not only Jools' on-going musical odyssey but also an amazing 20 years of Later. The album features a who's who of contemporary artists, with everyone from Cee Lo Green and James Morrison to Paloma Faith and Lily Rose Cooper (nee Allen). The songs are instantly recognisable and have become staples of any discerning music lover from the last 50 years. Tracks include Nina Simone's 'My Baby Just Cares For Me' as performed by Florence Welch, as well as Lily Rose Cooper's take on The Lady Is A Tramp, and Get Here originally by Oleta Adam as sung by Jessie J. The tracks are a combination of brand new exclusive tracks recorded specifically for this album, along with a smattering of re-mixed tracks from Jools' New Year's Eve favourite, 'The Hootenanny'.

The Golden Age Of Song mc
The Golden Age Of Song zippy

---

Dizzy Gillespie & His Orchestra - Gillespiana

Styles: Trumpet Jazz 
Year: 1960
File: MP3@320K/s
Time: 78:13
Size: 180,3 MB
Art: Front

( 5:56)  1. Prelude
(11:20)  2. Blues
( 4:42)  3. Panamericana
( 7:35)  4. Africana
(12:03)  5. Toccata
( 5:02)  6. Prelude (live quintet version)
(10:55)  7. Blues (live quintet version)
( 6:56)  8. Africana (live quintet version)
(13:40)  9. Toccata (live quintet version)

This CD combines two complete and related LPs. When Lalo Schifrin joined the Dizzy Gillespie Quintet in 1960, he was encouraged by Gillespie to write an extended work for him. "Gillespiana" was the result, an impressive five-movement suite that showcased the trumpeter's talents with a large orchestra. The latter half of this CD was recorded at Carnegie Hall the same day that "Gillespiana" was debuted live, but those five pieces are more conventional, highlighted by remakes of "Manteca" and "A Night in Tunisia" (the latter as the more involved "Tunisian Fantasy"). Only an overly silly version of "Ool-Ya-Koo" with Joe Carroll detracts from this otherwise superb release.~ Scott Yanow https://www.allmusic.com/album/gillespiana-carnegie-hall-concert-mw0000103159

Personnel: Dizzy Gillespie (trumpet); Leo Wright (flute, alto saxophone); Clark Terry, Ernie Royal, Joe Wilder, John Frosk (trumpet); Al Richman, Gunther Schuller , Jimmy Buffington, Julius Watkins (French horn); Frank Rehak, Urbie Green, Britt Woodman (trombone); Paul Faulise (bass trombone); Don Butterfield (tuba); Lalo Schifrin (piano); Chuck Lampkin (drums); Candido Camero (congas); Jack Del Rio (bongos); Willie Rodriguez (timbales).

Gillespiana

---

Anna Nygren - In A Sentimental Mood

Styles: Vocal Jazz 
Year: 2007
File: MP3@320K/s
Time: 58:25
Size: 141,2 MB
Art: Front

(3:10)  1. For Sentimental Reasons
(4:18)  2. A Night In Tunisia
(3:32)  3. Crazy
(6:16)  4. Round Midnight
(4:42)  5. I Wanna Be With You
(4:21)  6. Do Nothing Till You Hear From Me
(4:23)  7. Caravan
(3:19)  8. Who Is Painting The Rainbow
(3:36)  9. Just Wanna Say Im Sorry
(5:07) 10. In A Sentimental Mood
(3:48) 11. How Insensitive
(2:39) 12. I Wanna Be Loved By You
(5:56) 13. My One And Only Love
(3:12) 14. Ack Varmeland Du Skona

After studies at the Royal Collage of Music in Stockholm 1989-­1993 where she majored in classical piano, Anna Nygren has been freelancing as a pianist, singer and composer throughout genres such as classical, pop and jazz. Since 1994 she regularly performs at the fashionable Grand Hôtel in Stockholm. She has toured with great Swedish artists such as Roger Pontare and Cajsa­Stina Åkerström. Between 1997­-2005 Anna was one of the editorial staff members for Swedish Televisions most popular music entertainment show ”Så ska det låta”. She has written music for artists and her songs has appeared in movies and has been played at Swedish radio. Anna has produced, composed and arranged two albums: “In a Sentimental Mood” 2007 and ”My Songs” 2009. Outside Sweden, Anna has been playing at jazz clubs in Paris and Hong Kong. She has also appeared at Beijing Jazz Festival 2007, Dubai International Jazz Festival 2008, and Nanning Folksong and Arts Festival in China 2009.

In A Sentimental Mood

---

Chris Byars Octet - Night Owls

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 59:39
Size: 139,3 MB
Art: Front

(5:07)  1. All or Nothing at All
(4:54)  2. Inevitable
(5:15)  3. Gnid
(4:30)  4. Manhattan Valley
(6:41)  5. In Da Funhouse
(5:14)  6. Blue Gardenia
(4:45)  7. Night Owls
(3:12)  8. Way You Look Tonight
(4:04)  9. Nancy
(4:53) 10. Conception
(5:39) 11. Village Beauty
(5:21) 12. Let's Kiss and Make Up

What a delightful octet Chris Byars has put together in New York. Its straight-ahead design means that everyone has an influential voice for every performance, soloing frequently. Each artist is a standout soloist as well as a contributor for the group's cohesive voice. Band arrangements can make the difference between a so-so rehearsal band and a memorable unit. Byars' octet benefits both from superb arranging and excellent soloing. Along with voicing that introduces creative harmony and a seamless drive, the octet's positive attitude emits intuitive sparks. Trombonist John Mosca delivers melodic spears that sail linearly through the night, while pianist Sacha Perry pursues Monk-like twists and turns. Baritone saxophonist Mark Lopeman saunters gracefully with a forceful bottom punch, while trumpeter Richie Vitale soars high on a mellow cloud. "Blue Gardenia" features piano in a warm recollection of jazz's harmonic invention. The arrangement holds several pleasant surprises. "All or Nothing at All" features Byars' tenor in a spirited, passionately driving solo section. His fluid approach and boundless energy prove inspiring. "Night Owls" features bassist Neal Miner and saxophonist Lopeman in a thrilling romp that sums up the band's straight-ahead character through new compositions. This piece and four others come from the pens of band members. "The Way You Look Tonight" drives at blazing speed with brief solo stretches from everyone. It's quite a treat. The program brings timeless mainstream jazz to the forum, with fresh ideas to season the recipe just right.~ Jim Santella https://www.allaboutjazz.com/night-owls-chris-byars-smalls-records-review-by-jim-santella.php


Personnel: Chris Byars: tenor saxophone, flute, clarinet; Gary Pribek: alto saxophone, flute; Mark Lopeman: baritone saxophone; John Mosca: trombone; Richie Vitale: trumpet, flugelhorn; Sacha Perry: piano; Neal Miner: bass; Andy Watson: drums.

Night Owls

---

Ronnie Scott & The Band - Live at Ronnie Scott's

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 47:21
Size: 108,6 MB
Art: Front

( 4:37)  1. Recorda me (Remember me)
( 6:49)  2. King Pete
( 7:22)  3. Second Question
( 6:30)  4. Marmasita
( 6:19)  5. Too late, Too late
( 5:10)  6. Lord of the Reedy River
(10:32)  7. Macumba

Ronnie Scott is something of a jazz legend here in the UK, though ironically, his iconic status has little to do with his musicianship, and more to do with the fact that he was an affable entrepreneur with a penchant for memorable one-liners who ran a famous andï very hip London jazz club. The great thing about this reissue is that it reminds us what a talented tenor saxophonist he was. Recorded live in 1968 at Scott’s eponymous club, this CD features an effervescent big band comprising Brit jazz luminaries (but then young lions) Kenny Wheeler, John Surman, Tony Oxley and Gordon Beck. The arrangements, some of which were supplied by US sax man Joe Henderson, who was in Britain in late ’68, are superb, with more swing than a Sugar Ray left hook. Kenny Wheeler’s Second Question, a stupendous organ-led workout, is one of the main highlights along with sinewy Latin grooves such as Marmasita and Ricorda Me. The original album, deleted years ago and now coveted by collectors, is bolstered with four bonus cuts, among them tunes by Hank Mobley, Antonio Carlos Jobim and a tasty Scott original, May Day. Stuart Nicholson’s detailed sleevenotes feature interviews with some of the musicians. Excellent! http://recordcollectormag.com/reviews/live-at-ronnie-scotts

Personnel:  Tenor Saxophone – Ronnie Scott;   Alto Saxophone, Flute – Ray Warleigh;  Baritone Saxophone, Soprano Saxophone – John Surman;  Bass – Ron Mathewson;  Drums – Kenny Clare, Tony Oxley;  Piano, Organ – Gordon Beck;  Trombone – Chris Pyne;  Trumpet, Flugelhorn – Kenny Wheeler

Live at Ronnie Scott's

---

Bert Kaempfert - Red Roses For A Blue Lady

Styles: Jazz, Big Band
Year: 1964
File: MP3@320K/s
Time: 30:01
Size: 71,9 MB
Art: Front

(2:13)  1. Treat For Trumpets
(2:24)  2. Goodnight Sweet Dreams
(2:05)  3. Love
(3:11)  4. Blue Midnight
(2:54)  5. Love Comes But Once
(2:06)  6. Cotton Candy
(2:21)  7. Red Roses For A Blue Lady
(2:59)  8. Lonely Nightingale
(2:57)  9. Almost There
(1:52) 10. Java
(2:20) 11. Free As A Bird
(2:34) 12. Three O'Clock In The Morning

"Red Roses for a Blue Lady" is a 1948 popular song by Sid Tepper and Roy C. Bennett (alias Roy Brodsky). It has been recorded by a number of performers. The best-selling recording was made by Vaughn Monroe and His Orchestra Vocalists: Vaughn Monroe and The Moon Men on December 15, 1948. It was released by RCA Victor Records as catalog number 20-3319 (in United States) and by EMI on the His Master's Voice label as catalogue numbers BD 1247, HN 3014, HQ 3071, IM 13425 and GY 478. It first reached the Billboard magazine charts on January 14, 1949 and lasted 19 weeks on the chart, peaking at #4. Another recording was made by Guy Lombardo and his Royal Canadians on December 22, 1948. It was released by Decca Records as catalog number 24549. The record first reached the Billboard magazine charts on February 4, 1949 and lasted 13 weeks on the chart, peaking at #10. The song was revived in 1965 by vocalists Vic Dana and Wayne Newton and instrumentalist Bert Kaempfert; Dana's version was the most successful, peaking at #10 on the pop chart and #2 on the Easy Listening chart.  Kaempfert's peaked at #11 on the same chart. Wayne Newton's version reached #23. All were listed on Billboard's Easy listening (later Adult Contemporary) survey. Andy Williams released a version in 1965 as the B-side to his hit song "...and Roses and Roses". Harry James recorded a version in 1965 on his album Harry James Plays Green Onions & Other Great Hits (Dot DLP 3634 and DLP 25634). Bruno Balz has written German lyrics. The German title is "Ich sende dir Rosen". The Cornel Trio recorded it in Berlin on October 15, 1952. The song was released by Electrola as catalog number EG 7848. https://en.wikipedia.org/wiki/Red_Roses_for_a_Blue_Lady

Red Roses For A Blue Lady

---

Jean-Yves Thibaudet - Reflections On Duke

Bitrate: MP3@320K/s
Time: 66:12
Size: 151.5 MB
Styles: Contemporary jazz
Year: 1999
Art: Front

[2:32] 1. Jubilee Stomp
[5:12] 2. In A Sentimental Mood
[2:42] 3. I Got It Bad And That Ain't Good
[3:04] 4. Prelude To A Kiss
[5:51] 5. Sophisticated Lady
[2:50] 6. The Clothed Woman
[5:36] 7. Day Dream
[3:24] 8. Tonk
[9:07] 9. Beggar's Holiday Suite
[6:29] 10. Lush Life
[5:20] 11. Fantasy
[4:48] 12. Come Sunday
[3:41] 13. The Queen's Suite
[5:28] 14. Solitude

Jean-Yves Thibaudet is a whiz with Ravel and Debussy--his albums of those composers' piano works have received endless praise. This disc of Duke Ellington arrangements is in some respects a follow-up to the Ravel and Debussy discs, and in other respects a sequel to his recording of another jazz giant, Bill Evans. Thibaudet's Ellington inhabits a soundworld that is sometimes languid and dreamy, as in "Prelude to a Kiss," and other times driving and seemingly unstoppable as in the opening track, "Jubilee Stomp."

All of this is worlds away from Ellington's own performances, and not only because everything here is for piano solo. Rather than setting out to recreate Ellington's sound, the arrangers commissioned by Decca for this disc first familiarized themselves with Thibaudet's musical strengths and then created arrangements of Ellington tunes that capitalized on them. As a result, Ellington is drawn nearer to Debussy and Ravel and Liszt than we might have thought possible. The results are magical: the classic tunes are as comfortable in their new surroundings as with Duke and the Ellington Orchestra. And for an extra treat, two tracks--"Tonk" and "Fantasy on Caravan"--are virtuoso two-piano arrangements in which Thibaudet takes both parts.

Reflections On Duke mc
Reflections On Duke zippy

---

Thara Memory - Juke Music

Bitrate: MP3@320K/s
Time: 63:42
Size: 145.8 MB
Styles: West Coast jazz
Year: 1992/2010
Art: Front

[5:25] 1. Return Of The Minstrel Man
[8:32] 2. Song Of Marion
[6:51] 3. Black Spaniard
[7:23] 4. Spring Spirit
[7:20] 5. Stompin' At The Hobbit
[5:08] 6. All In Love Is Fair
[5:19] 7. Juke Music
[9:13] 8. Shaba
[8:29] 9. Blues For Warren

"I would like to urge one and all to give a special listen to this special music of Thara Memory, a dedicated and wonderful musician. There is something very special here. Listen and enjoy." ~ Doc Severinsen

Thara Memory grew up in Georgia. His dad was a baseball player in the Negro Leagues, and Thara swings a pretty mean bat himself. While still a teenager, he played trumpet in James Brown's band. He's been living in Portland, Oregon since the late '70s and has built up a strong and loyal following. The world was owed a record by Thara, and here it is.

Juke Music mc
Juke Music zippy

---

Chris Byars - Jazz Pictures At An Exhibition Of Himalayan Art

Bitrate: MP3@320K/s
Time: 66:51
Size: 153.0 MB
Styles: Saxophone jazz
Year: 2008
Art: Front

[ 7:39] 1. The Better To See You
[11:05] 2. Tonpa Shenrab
[ 5:29] 3. Blues Under The Boddhi Tree
[ 9:21] 4. Buddha Shakyamuni
[ 7:01] 5. Arhat
[ 8:39] 6. Chakrasamvara
[ 5:55] 7. Rahula
[ 4:42] 8. Just Ask
[ 6:54] 9. Whispered Tradition

The musicians might be based in New York and this recording was made in 2007 rather than 1952, but the results sound a lot like West Coast jazz of the 1950s. Saxophonist Chris Byars has made a local name for himself in New York by specializing in reviving jazz from the '50s, leading tributes at Small's to the music of Lucky Thompson, Gigi Gryce, and Jimmy Cleveland. Jazz Pictures at an Exhibition of Himalayan Art has an exotic title and the song titles are unusual. Each piece is tied to a specific painting at the Rubin Museum of Art in New York. Most of the selections feature Byars' pianoless quartet, with the leader and trombonist John Mosca engaging in spirited interplay while bassist Ari Roland and drummer Stefan Schatz keep their support swinging. That music is in the spirit of the Gerry Mulligan-Bob Brookmeyer Quartet, despite all of the selections being originals by Byars. However a few numbers add James Byars on oboe and English horn, recalling some of the Third Stream "experiments" of the '50s, including pieces that do not utilize the rhythm section at all and are as close to classical music as to bop. All in all, this is an intriguing set that builds on styles and ideas of the past, some of which were discarded a half-century ago. ~Scott Yanow

Jazz Pictures At An Exhibition Of Himalayan Art mc
Jazz Pictures At An Exhibition Of Himalayan Art zippy

---

Pete Alderton - Something Smooth

Bitrate: MP3@320K/s
Time: 45:19
Size: 103.8 MB
Styles: Blues
Year: 2016
Art: Front

[4:13] 1. Something Smooth
[3:57] 2. Revelation Blues
[3:33] 3. So Cool
[4:21] 4. Malted Milk
[3:25] 5. Man On The Run
[3:11] 6. Never
[4:18] 7. Making Hay
[3:04] 8. Down To The River
[2:32] 9. Love Blues
[4:48] 10. I Hope That I Don't Fall In Love With You
[3:27] 11. Trouble
[4:25] 12. Redemption Song

With his new album, 'Something Smooth', Peter Alderton continues telling the story of his life with masterfully arranged songs. The singer, guitarist and songwriter shows once again that he is one of the best and most versatile blues performers of his generation.

Something Smooth mc
Something Smooth zippy

---

Herbie Harper - Jazz In Hollywood

Bitrate: MP3@320K/s
Time: 48:23
Size: 110.8 MB
Styles: Trombone jazz
Year: 1954/1997
Art: Front

[5:10] 1. Jeepers Deepers
[2:52] 2. Dinah
[2:12] 3. Five Brothers
[2:57] 4. Herbstone
[3:00] 5. Summertime
[4:14] 6. Jive At Five
[2:31] 7. Patty
[3:36] 8. The New York City Ghost
[2:53] 9. Julie Is Her Name
[3:12] 10. Sanguine
[3:13] 11. Now Playing
[2:56] 12. 6 4 Mambo
[3:29] 13. Bananera
[2:24] 14. Indian Summer
[3:37] 15. The Happy Clown

Baritone Saxophone – Bob Gordon; Bass – Harry Babasin; Drums – Roy Harte; Guitar – Al Hendrickson; Piano – Jimmy Rowles, Marty Paich; Tenor Saxophone, Baritone Saxophone – Bud Shank; Trombone – Herbie Harper.

Although somewhat forgotten today, Herbie Harper was one of jazz's top trombonists of the 1950s. Even with the time he spent doing studio work, Harper was closely involved in the West Coast jazz movement in Los Angeles. This CD, whose music is also available as part of Fresh Sound's three-CD Complete Nocturne Recordings Vol. 1, has Harper's two Nocturne dates, including the earliest session cut by the label. Harper is heard on a delightfully swinging set with baritonist Bob Gordon, pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte, and on two other sessions with Babasin, Harte and sometimes Bud Shank (on tenor and baritone rather than alto and flute), guitarist Al Hendrickson and/or pianist Marty Paich. The music includes cool renditions of swing-era songs, a few newer originals, and some offbeat material. Recommended. ~Scott Yanow

Jazz In Hollywood mc
Jazz In Hollywood zippy

---

Buena Vista Social Club - Buena Vista Social Club At Carnegie Hall

Bitrate: MP3@320K/s
Time: 88:12
Size: 201.9 MB
Styles: Afro-Cuban jazz
Year: 2008
Art: Front

[ 4:45] 1. Chan Chan
[ 4:59] 2. De Camino A La Vereda
[ 8:00] 3. El Cuarto De Tula
[ 2:44] 4. La Engañadora
[ 5:59] 5. Buena Vista Social Club
[ 4:24] 6. Dos Gardenias
[ 3:47] 7. Quizás, Quizás
[ 4:05] 8. Veinte Años
[ 3:23] 9. Orgullecida
[ 3:33] 10. ¿y Tú Qué Has Hecho
[ 2:33] 11. Siboney
[ 5:29] 12. Mandinga
[ 5:50] 13. Almendra
[ 5:38] 14. El Carretero
[ 7:00] 15. Candela
[ 5:23] 16. Silencio
[10:33] 17. Chanchullo

The landmark Buena Vista Social Club concert at Carnegie Hall-July 1, 1998-was both the start of a remarkable story and the culmination of a dream. This one-time-only event elevated veteran Cuban performers like Ibrahim Ferrer, Ruben Gonzalez, Compay Segundo and Omara Portuondo to long-overdue status as international stars, and it transformed the BVSC's already critically acclaimed album into a commercial juggernaut. Since then, the Grammy-winning Buena Vista Social Club, recorded at Havana's Egrem Studio by guitarist Ry Cooder, has sold over eight million copies, making it the best-selling world music album ever, and the 'Buena Vista Social Club Presents' imprimatur has come to represent an unwavering mark of quality. The evening also became the dramatic heart of German filmmaker Wim Wenders' popular, Oscar-nominated documentary, also called Buena Vista Social Club. No one who saw it could be unmoved by the sight of an elderly performer like Ferrer taking in the skyscraper vistas of New York City or being overwhelmed by rapturous applause after he sang. This live set, then, is the crucial link to everything that happened before or after the Buena Vista Social Club as a group of musicians and as a brand; it's the album fans have eagerly awaited for a decade.

'With the bittersweet delicacy of a classic bolero,' said The New York Times in a review of the concert, 'the Buena Vista Social Club simultaneously celebrated the vitality and virtuosity of its musicians and mourned the era they embody.' The cultural significance of BVSC's performance was matched by its political momentousness; this concert offered a rare opportunity for these master Cuban musicians, coming together for the first time as a single ensemble, to freely play their classic songs for an American audience. This two-CD set preserves an important, but sadly evanescent, moment when borders and bureaucracies miraculously disappeared in the name of art. As singer Portuondo, who would subsequently embark on her own successful American tour, recalled, 'I felt triumphant seeing how we all worked together as a group, seeing how the music reached the audience...We felt so elated to be able to share our music. All of us had known each other for many years and played together many times, but it was a unique and unrepeatable occasion that our culture and our roots could reach the public through such a beautiful concert with all of us there together on the stage.'

To build awareness and anticipation for the live set, Nonesuch released a digital single of 'Chan Chan,' the concert's opening number and arguably the BVSC's signature song, on July 1, the 10th anniversary of the concert date. The two-disc package also includes candid, often quite moving, first-person reminiscences from many of the surviving participants about the days-and hours-leading up to the concert and the once-in-a-lifetime experience of the evening itself. As album producer and fellow performer Cooder puts it, 'Listening to the tapes of the concert for the first time in ten years, I'm struck by what an amazing musical event it was. You'll never hear it again, people of this caliber working together. They were dramatic personalities and they're nearly all gone. There's nobody left like that anymore.'

Buena Vista Social Club At Carnegie Hall mc
Buena Vista Social Club At Carnegie Hall zippy

---

Colette Magny - Blues

Bitrate: MP3@320K/s
Time: 39:31
Size: 90.5 MB
Styles: Jazz-blues vocals
Year: 1999
Art: Front

[2:32] 1. Etude Révolutionnaire Op.10 N°2
[3:32] 2. Strange Fruit
[4:30] 3. You Got To My Head
[3:35] 4. My Heart Belongs To Daddy
[4:42] 5. The Meeting (The Black Panther Party National Anthem)
[4:00] 6. My Man Titine
[4:46] 7. The House Of The Rising Sun
[4:47] 8. All Of Me
[2:58] 9. Young Woman's Blues
[1:58] 10. Melocoton
[2:06] 11. Prison Op.83 N°1

Colette Magny was a French singer/songwriter with a propensity for protest songs whose musical style was informed by blues, jazz, folk, poetry, and spoken word. Born on October 31, 1926, in Paris, France, she made her recording debut in 1963 with the single "Melocoton" on CBS. The single, the closest she would ever come to a mainstream breakthrough hit, was subsequently compiled on her full-length solo album debut, Les Tuileries (1964). Her final release on CBS, Les Tuileries is comprised of musical adaptations of works by writers Victor Hugo, António Jacinto, Arthur Rimbaud, Rainer Maria Rilke, Antonio Machado, and Louis Aragon, plus a couple American traditionals and a few originals. Magny returned two years later with "Avec" Poème (1966), an experimental full-length effort informed by musique concrète on which André Almuro is credited for the music. After this experimental effort on the short-lived label Disques Mouloudji, Magny began her long association with the label Le Chant du Monde, beginning with the album Colette Magny (1967), sometimes referred to by its album-opening song, "Vietnam 67." Subsequent albums on Le Chant du Monde include Magny 68 (1969), Feu et Rythme (1970), Répression (1973), Transit (1975), Chili un Peuple Crève... (1976), Visage -- Village (1977), Je Veux Chaanter (1979), Thanakan (1981), Cahier d'une Tortue (1981), and Chansons Pour Titine (1983). In later years, Magny self-released the album Kevork (1989) on the label Colette Magny Promotion, and some of her Le Chant du Monde output was reissued in the early '90s. Her death on June 12, 1997, in Villefranche-de-Rouergue, Aveyron, France, sparked another round of reissues including Melocoton (1997), which compiled the highlights of her CBS output, and Blues (1999), which is essentially a repackaged version of her final Le Chant du Monde album, Chansons Pour Titine. ~bio by Jason Birchmeier

Blues mc
Blues zippy

---

Martin Schulte - Time Remembered

Bitrate: MP3@320K/s
Time: 52:14
Size: 119.6 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[6:11] 1. Time Remembered
[4:54] 2. All Or Nothing At All
[5:15] 3. Where We Belong
[4:34] 4. 26-2
[5:43] 5. Darn That Dream
[5:40] 6. This Way
[6:40] 7. Junk In The Trunk
[7:49] 8. I'll Be Seeing You
[5:24] 9. I Fall In Love Too Easily

Schulte got classical piano lessons at the age of six. At the age of thirteen, he received electric guitar lessons from Mirko van Stiphaut at the Lower Rhine Music and Art School in the city of Duisburg. In 1997 and 1999 he was awarded the first prize in the competition Jugend jazzt. From 2000 he studied jazz guitar at the University of Music and Dance Cologne with Werner Neumann and Frank Haunschild. From 2009 to 2010, the DAAD scholarship holder attended Queens College, City University of New York, where he took instrumental lessons with Ben Monder and Paul Bollenback, and composition lessons with Mike Holober and Darcy James Argue. In 2013 he completed a master's degree in composition / arrangement with Jürgen Friedrich at the University of Music and Performing Arts in Mannheim.

Since then he worked u. a. with Antonio Hart, Claudio Puntin, Claudius Valk, Duo Doyna, Frank Möbus, Frederik Köster, John Ruocco, Magnus Mehl, Matthias Akeo Nowak, Mirek Pyschny, Nils Wogram, Oliver Lutz, Pablo Held, Peter Ehwald, Peter Gall, Steffen Schorn, the Stefan Schultze Large Ensemble, the Cologne Contemporary Jazz Orchestra and the Duisburg Symphony Orchestra. Schulte played at the Leverkusen jazz days, the Ibiza Jazz Festival a. v. a. and was heard in several radio productions such as WDR, Deutschlandfunk or BR.

Since 2012 Schulte is a lecturer for jazz guitar and ensemble at the Saar Music Academy. (Translated from German.)

Time Remembered mc
Time Remembered zippy

---

Fred Wesley & The New JBs - Let It Flow: Fred Wesley's Tribute To James Brown

Bitrate: MP3@320K/s
Time: 40:11
Size: 92.0 MB
Styles: Funk/Soul/Jazz
Year: 2009
Art: Front

[5:05] 1. Funk For Your Ass
[2:29] 2. Out Of Sight (Feat. Djizzle)
[4:53] 3. I Got The Feelin'
[4:21] 4. Hippity Hobbit
[3:19] 5. Crazy
[4:52] 6. Livin' In America (Feat. Icandi)
[4:31] 7. I'm Gonna Getcha
[3:53] 8. Sex Machine
[3:49] 9. Psycho Path (Feat. Mr. Hardgroove & Chuck D)
[2:54] 10. Let It Flow (Feat. Bobby Byrd)

As the longtime musical director for soul legend James Brown's renowned backing unit the J.B.'s, trombonist Fred Wesley was the world's most famous sideman, orchestrating the sinuous grooves and contributing the bold, surgically precise solos that defined the language of funk. Born July 4, 1943, in Columbus, Georgia, Wesley was raised in Mobile, Alabama. At age three, he studied classical piano under his grandmother, a music teacher, but much preferred the big-band music played by his father, Fred Wesley, Sr., who also chaired the music department at Mobile Central High School. Wesley, Jr. remained with the piano until middle school, first adopting the trumpet before moving to the trombone. He made his professional debut at age 12 in a big band led by his school's music teacher, E.B. Coleman, and soon was sitting in with local R&B acts as well. While studying music at Alabama State University, Wesley briefly tenured with the Ike & Tina Turner Revue as well as Hank Ballard & the Midnighters before serving in the U.S. Army, playing with the 55th Army Band and graduating from the Armed Forces School of Music. After returning from military duty in 1967, Wesley formed his own project, the Mastersound, fusing R&B with hard bop. The group splintered within a year, however, and when he received a phone call from J.B.'s trumpeter Waymon Reed, who told him Brown was seeking a new trombonist, Wesley accepted the offer.

Brown's infamously dictatorial approach wore greatly on Wesley, and the two men clashed often. After appearing on landmark singles including "Say It Loud (I'm Black and I'm Proud)," "Licking Stick," and "Mother Popcorn," the trombonist even quit the J.B.'s in late 1969, briefly gigging with Sam & the Goodtimers before returning to Brown's camp in early 1971 and assuming the role of musical director and arranger. Wesley's contributions to classic funk outings including Black Caesar, Slaughter's Big Rip-Off, and The Payback cannot be overstated: alongside bandmates including Maceo Parker and Bootsy Collins, he spearheaded Brown's groundbreaking transformation from soul to funk, establishing the template for the R&B of a new decade. "I completed [Brown's] creations, I followed his blueprints," Wesley later said. "He would give me horn things to write, but sometimes maybe it would be incoherent musically and I would have to straighten it out, so to speak. When it came out of my brain, it would be a lot of James Brown's ideas and my organization." Wesley even wrote a handful of Brown hits including "Doin' It to Death" and "Papa Don't Take No Mess," and headlined several J.B.'s records including the classic Damn Right I Am Somebody and Breakin' Bread. But creative and financial differences again forced him to part ways with Brown in 1975, this time for good.

Let It Flow: Fred Wesley's Tribute To James Brown mc
Let It Flow: Fred Wesley's Tribute To James Brown zippy

---

Eddie Henderson Quartet - Echoes

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 76:00
Size: 175,0 MB
Art: Front

(12:01)  1. On Green Dolphin Street
(12:47)  2. Dubai
(11:20)  3. Oasis
(10:12)  4. Lost
( 9:30)  5. Sand Storm
( 5:57)  6. Tender You
(14:10)  7. Dolphin Dance

Eddie Henderson was one of the few trumpeters who was strongly influenced by Miles Davis' work of his early fusion period. He grew up in San Francisco, studied trumpet at the San Francisco Conservatory of Music, but was trained to be a doctor when he permanently chose music. Henderson worked with John Handy, Tyrone Washington, and Joe Henderson, in addition to his own group. He gained some recognition for his work with the Herbie Hancock Sextet (1970-1973), although his own records (which utilized electronics) tended to be commercial. After Hancock broke up his group, Henderson worked with Art Blakey and Mike Nock, recorded with Charles Earland, and later, in the 1970s, led a rock-oriented group. In the '90s, he returned to playing acoustic hard bop (touring with Billy Harper in 1991) while also working as a psychiatrist.~ Scott Yanow https://www.allmusic.com/artist/eddie-henderson-mn0000169948/biography    

Personnel: Eddie Henderson - trumpet;  Gilles Naturel - double bass;  Laurent De Wilde - piano;  Simon Goubert - drums

Echoes

---

Deborah Lippmann - Vinyl

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 47:46
Size: 111,4 MB
Art: Front

(3:46)  1. Satisfaction
(4:40)  2. You Give Love A Bad Name
(4:51)  3. Wicked Game
(3:41)  4. Money
(4:43)  5. Message In A Bottle
(3:48)  6. Need You Tonight / Lowdown
(3:19)  7. Fade To Black
(4:34)  8. Make Me Love You
(3:28)  9. This Must Be Love
(3:00) 10. This One's On Me
(3:26) 11. Beautifully Obvious
(4:24) 12. Get Together

"This combo of classic and modern is what Lippman is all about, and with the release of "Vinyl," she's poised to join the girl group that includes such singers as Norah Jones, Dianne Reeves and Diana Krall. Message in a bottle indeed."~ Lisa Robinson, Vanity Fair https://www.amazon.com/Vinyl-Deborah-Lippmann/dp/B000NJWTO8

Vinyl

---

Lee Ritenour - Friendship

Styles: Guitar Jazz 
Year: 1978
File: MP3@320K/s
Time: 38:56
Size: 89,3 MB
Art: Front

(6:18)  1. Sea Dance
(6:46)  2. Crystal Morning
(7:03)  3. Samurai Night Fever
(6:23)  4. Life Is The Song We Sing
(6:03)  5. Woody Creek
(6:21)  6. It's A Natural Thing

The third of three Lee Ritenour sets originally cut for Japanese JVC and in 1991 reissued domestically on CD matches the studio guitarist with what could be called the "Crossover All-Stars": Ernie Watts (on tenor and soprano), both Dave and Don Grusin on keyboards, electric bassist Abraham Laboriel, drummer Steve Gadd and percussionist Steve Forman. They perform pleasant but somewhat forgettable originals by Rit, Watts and both Grusins, the kind of lightly funky background music that one would expect from expert studio players.~ Scott Yanow https://www.allmusic.com/album/friendship-mw0000093718

Personnel: Lee Ritenour (electric & acoustic guitars), Ernie Watts (soprano & tenor saxophones), Don Grusin (electric piano), Dave Grusin (electric & acoustic pianos), Abraham Laboriel (electric bass), Steve Gadd (drums), Steve Forman (percussion). 

Friendship

---

Peter O'Mara - Mirage

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 63:44
Size: 146,9 MB
Art: Front

(6:47)  1. Wang Thang
(5:28)  2. Dark
(7:31)  3. All The Things You Are
(6:57)  4. Mirage
(5:23)  5. For Frank
(6:00)  6. Just One Of Those Things
(6:29)  7. Nowhere Man
(5:27)  8. Another Avenue
(5:39)  9. Countdown
(7:59) 10. Terminal Departure

Born in Sydney, Australia in 1957. Early Studies at Academy of the Guitar under George Golla, Sydney Conservatorium as well as jazz clinics under Aebersold, Dave Liebman, Randy Brecker, John Scofield & Hal Galper. Professional work around Australia 1976-81. Prizewinner for Jazz Composition 1980 & 1982, awarded by the NSW Jazz Action Society. First record album "Peter O´Mara" released 1980, receiving widespread critical acclaim. Awarded the "Don Banks Memorial Fellowship" for overseas study. 1981 studies in New York under Liebman, Scofield, Roland Hanna, Jimmy Raney & Attila Zoller. Moved to Munich, Germany in late 1981 and has since worked with many musicians on the European Jazz scene including... Kenny Wheeler, Jon Christensen, Joe Nay, Maria Joao, Uli Beckerhoff, John Marshall,John Taylor, Anders Jormin, Adelhard Roidinger, Randy Brecker, Rainer Brüninghaus, David Friedman, Peter Herbolzheimer, Charlie Mariano, Benny Bailey, Robben Ford, Mike Nock, Albert Manglesdorf, Ack van Rooyen, Herman Breuer, Johnny Griffin.. 1982-90 "Sundial" trio with US bassist Wayne Darling & drummer Billy Elgart, which recorded 3 albums (South German Radio Record of the Week 1987) as well as three tours & CD with Kenny Wheeler as guest. Festival appearances in Cologne, Munich, Vienna, Aachen, Zurich as well as numerous European tours. 1989 CD release on ENJA Records "Avenue U", featuring Joe Lovano, Dave Holland, Adam Nussbaum & Roberto Di Gioia. The French Jazz Magazine called it " a thoroughly passionate recording" and Peter " a glorious player, truly a discovery!" He joined Klaus Doldinger´s "Passport" in 1990 and has toured Europe a number of times with this group, as well as South Africa in 1995. Their 1991 release "Blues Roots" featured Texas Blues singer/guitarist Johnny Copeland The group performed at the Montreux Jazz Festival in 1993 & 1995. In Jan 1991 Peter toured Australia with pianist Mike Nock as well as recording the CD "Kuranda", released in Europe on ITM. This tour was followed up again in 1993. From 1991 on Munich-based quartet "Cross Rhythms" performing at many festivals, clubs & radio recordings. CD released in 1994 on Jazz-4-Ever Records. Widespread critical acclaim for this group. 1992 CD "Stairway" on ENJA records, featuring Russell Ferrante, Anthony Jackson, Tony Lakatos, Alex Acuna & Tom Brechtlein, recorded in Los Angeles at Chick Corea´s Mad Hatter Studio. 3 week European promotion tour with this group.

1995 CD "Symmetry" on GLM Records, featuring Bob Mintzer, Marc Johnson & young German drummer Falk Willis. Tour in March/April with this group to promote the CD. European festival tour with own quartet, performing at Northsea,Munich, Düsseldorf & Wiesen, Austria. , European tour & CD with "Passport". A brief return to Australia end of the year brought him together with Adam Armstrong (bass) & Andrew Gander (drums). This trio was acclaimed by Peter Jordan (SMH) as "scintillating" and O´Mara "one of our less well-known success stories...startling!" 1996-97 formation of quartet with fellow Australian trombonist Adrian Mears (A-STRAIN), a trio with acclaimed bassist Henning Sieverts & Guido May (FIRST FLUSH) as well as various freelance work around Europe. "Passport" Jubilee Tour around Europe in May-July to promote new CD. Passport CD "Move" recorded October 1997. Late 1997 Quintet with Johannes Enders (sax) as well as a new band project PETER O´MARA BAND, which recorded CD now released. This group made it to the finals of the HENNESSY JAZZ SEARCH, 3 groups chosen from 500 entries (German National Jazz Competition for Professional Groups) winning a DM 5,000 prize. January 1999 joined UNITED JAZZ & ROCK ENSEMBLE, contributed 2 arrangements for the legendary group´s new CD. Performed at the Melbourne International Jazz Festival. Continuing work throughout Europe with Passport and own groups. Workshop with Norma Winstone & John Taylor. European Tour in November with United..(Albert Manglesdorf, Ian Carr, Barbera Thompson, John Hiseman, Ack van Rooyen) Munich Jazz Orchestra tour December featuring KennyWheeler. 2000...continuing work with Passport & own Quintet "Spheres" CD. Workshops in Trier, Bielefeld & Erlangen. "Passport Live" CD released. Concerts in Düsseldorf, Expo 2000 Hannover..

2001 ...continued work with Passport - Montreaux Jazz Festival, Monte Carlo, WDR Bigband, Guest teacher for the "Bujazzo" (German National Youth Bigband) Munich Jazzfest, Workshops in Erlangen, Bielefeld, Trier. Australian tour with own group "Spheres" in November, sponsored by the German Music Council. 2002...Passport continues averaging 5 concerts per month throughout Europe. Workshops in Erlangen, Luzerne, Bielefeld, Dresden,Trier. German tour with the "Skoda Jazz Ensemble". Wangaratta Jazz Festival Australia in November. In December "Peter O´Mara Trio" tour and CD recording featuring drummer Adam Nussbaum and bassist Henning Sieverts. 2003...New CD "Passport to Brasil" and tour of Brasil in February/March. Workshops in Erlangen, Basel, Mannheim, Trier, Bielefeld. CD release "Mirage" featuring Sieverts & Nussbaum on Pirouet Records. Concert tour "Peter O´Mara and Friends" in Germany and Austria. Awarded "Star of the Week" by the Munich "Abendzeitung". German tour with the "Skoda Jazz Ensemble". 2004 to date: continued activities with own ensemble as well as Passport. Guest teacher for the German National Youth Bigband "Bujazzo". Workshops in Erlangen, Trier, Bielefeld, Udine, Jazz Schule Zürich. German tour with the "Skoda Jazz Ensemble". Teaching activities include, among many workshops throughout Europe, a professorship for Jazz Guitar at the Bruckner University in Linz as well as the University of Music & performing Arts in Munich. He is also author of four highly acclaimed books published by internationally renowned Jazz publishers Advance Music. http://australianjazzrealbook.com/artists/peter-omara/

Mirage

---

Jimmy Giuffre, Paul Bley, Steve Swallow - Fly Away Little Bird

Bitrate: MP3@320K/s
Time: 76:29
Size: 175.1 MB
Styles: Post bop, Modern Creative
Year: 1992/2003
Art: Front

[ 6:35] 1. Fly Away Little Bird
[ 3:39] 2. Fits
[ 4:49] 3. I Can't Get Started
[ 5:38] 4. Qualude
[ 6:38] 5. Possibilities
[ 6:20] 6. Tumbleweed
[ 6:30] 7. All The Things You Are
[ 3:14] 8. Starts
[ 4:34] 9. Goodbye
[ 0:27] 10. Just Dropped By
[ 5:13] 11. Lover Man
[ 4:51] 12. Postlude
[ 6:26] 13. Sweet And Lovely
[11:26] 14. Bats In The Belfry

Jimmy Giuffre, soprano sax, clarinet, voice; Paul Bley, piano; Steve Swallow, electric bass.

Recorded a year before this trio's final record in ’93, Fly Away Little Bird delivers a more grounded, earthy performance than Conversations With a Goose. Here, Jimmy Giuffre, Paul Bley, and Steve Swallow explore their blues roots, particularly Giuffre. And, in addition to their trademark spontaneous inventions, they lovingly render five standards and a surprisingly strong composition by Juanita Odjenar Giuffre, Mrs. Jimmy. This was their third album for Owl after a 27-year hiatus.

Giuffre’s credited with the title track, a wistful group piece with Jimmy on clarinet. The three musicians easily revolve in and out of their solos and supporting roles. “Fits” gives Swallow a solo run that carries a vaguely Spanish flavor with classical counterpoint. All three give a heartfelt reading to Vernon Duke’s “Can’t Get Started.” After Jimmy’s mournful turn, Swallow bends his notes bluesy, and Bley takes a theatrical interlude. Bley goes solo on “Qualude,” working a walking bass line through some minor harmonies. The modal inventions that follow are pure Bley, some deceptively simple ideas the build into a complex off-kilter blues. Juanita Giuffre’s “Possibilities” starts with a rubbery throbbing Swallow and Giuffre making short statements on soprano. Bley plays the progression in a clipped style, before blowing it apart. Giuffre goes on one of his amazing solo excursions on “Tumbleweed,” a clarinet workout that includes extended techniques, vocals sounding like Italian operetta, and sweet bluesy musing.

Kern and Hammerstein’s “All the Things You Are” gets a stiff intro from Bley and Giuffre, then Swallow enters in hyper-swing mode, and everyone gets on his bus. Bley manages to tweak his chords enough to keep it from being a totally straight interpretation. “Starts” continues Swallow’s solo exploration, this time less jaunty, less Spanish, but no less contrapuntal. The Gordon Jenkins composition, “Goodbye,” originally showed up on the trio’s second album for Verve, Thesis in 1961. Giuffre’s clarinet sings the sad song, with Swallow and Bley finishing his and each other’s phrases. Swallow’s unique bass approach creates a call and response role with the clarinet. The long group improv “Bats in the Belfry” begins with a few lines from Giuffre on soprano that echo back from Bley and Swallow, and the variations commence. After various changes, Giuffre switches to clarinet, and in one sequence Bley sounds as if he’s playing prepared piano. ~Rex Butters

Fly Away Little Bird mc
Fly Away Little Bird zippy

---