Lou Blackburn - The Complete Imperial Sessions

Bitrate: MP3@320K/s
Time: 80:07
Size: 183.4 MB
Styles: Bop, Trombone jazz
Year: 2006
Art: Front

[4:38] 1. New Frontier
[5:29] 2. Perception
[3:05] 3. I Cover The Waterfront
[5:07] 4. 17 Richmond Park
[3:29] 5. Harlem Bossa Nova
[3:11] 6. Luze Blues
[2:56] 7. The Clan
[4:26] 8. Scorpio
[3:45] 9. Jazz-A-Nova
[2:52] 10. Stella By Starlight
[5:53] 11. Manha De Carnaval
[4:43] 12. Jean-Bleu
[4:44] 13. Blues For Eurydice
[3:17] 14. Secret Love
[4:09] 15. Two-Note Samba
[3:49] 16. Grand Prix
[4:52] 17. Song Of Delilah
[4:43] 18. Dear Old Stockholm
[4:52] 19. Ode To Taras

Trombonist Lou Blackburn's contributions to jazz have been long overlooked, but Complete Imperial Sessions, a collection of his two jazz albums for Imperial, include the full contents of Jazz Frontier and Two Note Samba, plus a previously unissued track, and shows the potential of his early-'60s West Coast quintet, even though they worked infrequently. Trumpeter Freddie Hill is a capable foil for the leader, while Blackburn's fluid chops on his instrument invite an obvious comparison to J.J. Johnson. The potent rhythm section includes pianist Horace Tapscott, bassist John Duke, and drummer Leroy Henderson. Most of the disc is devoted to Blackburn's originals, sticking to bop and hard bop vehicles during the initial sessions (highlighted by his driving piece "New Frontier") and including an exotic take of the oldie "Song of Delilah," a breezy original waltz called "Blues for Eurydice" and strong charts of bossa nova hits on the latter sessions. The musicianship throughout these dates is exemplary and it is a shame that the short-lived quintet didn't achieve greater recognition. Even bop fans who are not at all familiar with Lou Blackburn will enjoy this collection of his early work as a leader. The reissue producer is also to be commended for squeezing over 80 minutes of music onto a single disc, rather than omitting a track or reissuing the compilation as a more expensive, two-disc set. ~Ken Dryden

The Complete Imperial Sessions

---

Brian Lynch - Madera Latino: A Latin Jazz Interpretation On The Music Of Woody Shaw

Bitrate: MP3@320K/s
Time: 109:29
Size: 250.6 MB
Styles: Latin jazz
Year: 2016
Art: Front

[10:24] 1. Zoltan (Feat. Dave Douglas, Etienne Charles & Diego Urcola)
[ 7:32] 2. Sweet Love Of Mine (Feat. Michael Rodriguez)
[11:17] 3. Time Is Right (Feat. Sean Jones & Philip Dizack)
[ 8:28] 4. Just A Ballad For Woody
[ 8:34] 5. In A Capricornian Way (Feat. Dave Douglas)
[ 9:09] 6. Blues For Woody And Khalid (Feat. Sean Jones & Philip Dizack)
[ 9:06] 7. Tomorrow's Destiny (Feat. Sean Jones)
[ 9:58] 8. Joshua C. (Feat. Michael Rodriguez & Josh Evans)
[ 8:28] 9. On The New Ark (Feat. Dave Douglas & Etienne Charles)
[11:11] 10. Song Of Songs (Feat. Michael Rodriguez & Josh Evans)
[15:18] 11. Madera Latino Suite (Feat. Etienne Charles & Diego Urcola)

Brian Lynch trumpet; Sean Jones trumpet (#3,6,7); Dave Douglas trumpet (#1,5,9); Michael Rodriguez trumpet (#2,4,8,10); Etienne Charles trumpet (#1,9 11); Diego Urcola trumpet (#1,11); Josh Evans trumpet (#4, 8, 10); Philip Dizack trumpet (#3, 6);Bryan Davis trumpet (#11); Zaccai Curtis piano; Luques Curtis bass; Obed Calvaire drums (#2,3,5,6,7,8,10); Pedrito Martinez timbales (#1,5,9,11), congas (#3,6,7); Little Johnny Rivero congas (#1,2,4,5,8-11), percussion (#11); Anthony Carrilo bongo, campana (#1,5,9,11). Recorded August 2012 at Systems Two, Brooklyn NY.

Four years in the making, Grammy© Award winning trumpeter Brian Lynch’s “Madera Latino” (Latin Wood) project, exploring the music of jazz innovator and master trumpeter Woody Shaw in a Latin Jazz format, is out on Hollistic MusicWorks! The music of the late, great Woody Shaw (1944-1989) - an innovative and highly individual musical lexicon, expressed through both his chosen instrument of trumpet and his equally distinguished compositions - set a standard of excellence and modernity for Black American Music that has not been surpassed in the 50 years since he first came onto the jazz scene. Madera Latino is an exploration of this giant’s music as viewed through the lens of authentic Afro-Caribbean rhythm and framed by the loving treatment of his compositions in virtuosic Latin Jazz style by Grammy© Award winning trumpeter Brian Lynch. It is also a heartfelt tribute to the genius of Woody by a all star lineup of today’s top trumpeters: Lynch, Sean Jones, Dave Douglas, Diego Urcola, Michael Rodriguez, Etienne Charles, Josh Evans, and Philip Dizack.

In trumpet combinations from duo to quartet, these eminent horns explore Shaw classics including In A Capricornian Way, Tomorrow’s Destiny, Zoltan, Song Of Songs, Sweet Love Of Mine, and more, along with two original pieces - one a extended suite - written by Lynch in salute to the profound influence Woody has had on him as a player and composer. The band for Madera Latino fulfills the promise of Lynch’s audacious concept with élan, precision, and joyous creativity. Percussionists Pedrito Martinez and Little Johnny Rivero, along with bassist Luques Curtis, were integral to the success of Lynch’s 2006 CD Simpático, a Grammy@ Award winner in the Latin Jazz category. Add drummer Obed Calvaire, percussionist Anthony Carrillo, and pianist Zaccai Curtis, and a mighty rhythm section emerges to spur and challenge the trumpeters to their utmost efforts in praise of Shaw.

"The combination of Woody’s music and the Afro-Caribbean clave concept was always a natural to me”, states Lynch. “I'm very happy, after many years of thinking about this idea, to finally be able to actualize this tribute to my musical hero, Woody Shaw, in the distinguished company of these amazing trumpeters and my musical family.”

"I am very proud of what Brian has done with this project, and particularly of the depth of sincerity and the meticulousness with which he has treated the re-interpretation of Woody Shaw's original works within the Afro-Latino idiom. My respect and gratitude go out to the musicians on this recording for keeping the spirit of this music - and of one of its last great innovators - alive and strong in the 21st century.” ~Woody Louis Armstrong Shaw, III

Madera Latino: A Latin Jazz Interpretation On The Music Of Woody Shaw mc
Madera Latino: A Latin Jazz Interpretation On The Music Of Woody Shaw zippy

---

Indra Rios-Moore - Carry My Heart

Bitrate: MP3@320K/s
Time: 51:21
Size: 117.6 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[3:12] 1. Carry My Heart
[3:51] 2. Keep On Pushing
[3:40] 3. I Can See Clearly Now
[3:46] 4. Any Major Dude Will Tell You
[3:56] 5. Give It Your Best
[4:10] 6. Be Mine
[5:48] 7. Don’t Say Goodnight (It’s Time For Love)
[3:37] 8. Love Walked In
[3:53] 9. Come Sunday
[3:44] 10. What You Won’t Do For Love
[2:35] 11. I Loved You
[4:35] 12. Trouble
[4:30] 13. Man In The Long Black Coat

Indra Rios-Moore "Carry My Heart"New York-born singer Indra Rios-Moore, now living in Barcelona, releases her new album “Carry My Heart” on Verve. It comes right after her pretty successful (at least in Europe) “Heartland” album. One of the most sympathetic features of the album is the fact that Indra wanted to record an optimistic record because there was (and is) simply too much whining going on. Not that most of the current matters aren’t disheartening, but it feels good to be warmed and eased by Indra’s warm and caressing voice on covers such as “I Can See Clearly Now” or Curtis Mayfield’s “Keep On Pushin'”. Still, you can file this one under “protest” albums, too because during the writing process, a certain Drumpf took over the White House. But in a recent interview with her, she just won’t let such a mess bring her down and she gladly took her role as an artist and performer seriously and cries out against it. And the warmth and beauty of her personality is ardently echoed on the eleven tracks of the disc. ~http://ginalovesjazz.com

Carry My Heart mc
Carry My Heart zippy

---

Kid Thomas - The Dance Hall Years

Bitrate: MP3@320K/s
Time: 53:24
Size: 122.3 MB
Styles: New Orleans jazz
Year: 1994/2013
Art: Front

[3:16] 1. Anytime
[5:09] 2. BB Blues
[4:40] 3. Are You Ready
[3:58] 4. Sugar Blues
[4:15] 5. Shake Rattle & Roll
[3:30] 6. Kid Thomas' Tune
[4:24] 7. I'm All Alone
[2:15] 8. On The Bayou
[4:04] 9. In The Evening
[4:53] 10. Bells Of St. Mary
[4:39] 11. Blueberry Hill
[5:11] 12. Joe Butler's Blues
[3:05] 13. Je Vous Aime

Kid Thomas (tp); Ruben Roddy (as); Louis Nelson (tb); Joe James (p); Burke Stevenson (sb); Sammy Penn (dms) Warren Craig (vo%); Emanuel Paul (ts); Sing Miller (p, vo*); Joseph Butler (sb, vo#) replace Roddy, James and Stevenson.

One of the more controversial of the New Orleans revivalist players of the 1960s, Kid Thomas Valentine was hailed by some partisans as one of the great interpreters of "the real jazz" while others could not get beyond his erratic intonation and his occasionally out-of-tune solos. The feeling was there but the technique tended to be uncertain. However, allowances could be made for his advanced age, since Kid Thomas was still playing when he was 91! Valentine (who was often simply known as Kid Thomas) began playing at the age of ten and when he was 14 he joined the Pickwick Brass Band; his professional career would last 77 years. He worked locally until 1922 when he moved to New Orleans, freelancing in a variety of brass and dancehall bands (including his own Algiers Stompers, which he formed in 1926) throughout the next few decades. Valentine first appeared on records in 1951 and he was a regular at Preservation Hall starting in 1961, often playing with George Lewis.

The Dance Hall Years mc
The Dance Hall Years zippy

---

Gipsy Kings - Luna De Fuego

Bitrate: MP3@320K/s
Time: 37:31
Size: 85.9 MB
Styles: Flamenco, World fusion
Year: 1983/2013
Art: Front

[4:56] 1. Amor D'un Dia
[3:32] 2. Luna De Fuego
[2:50] 3. Calaverada
[3:04] 4. Galaxia
[4:28] 5. Ruptura
[4:06] 6. Gipsyrock
[4:55] 7. Viento Del Arena
[3:34] 8. Princessa
[2:44] 9. Olvidado
[3:17] 10. Ciento

The Gipsy Kings had major crossover success with their splendid and innovative third album, which used drums, bass, percussion, and synthesizer to beef up the sound. This French import is their first album from 1983, and it is a much more traditional affair, with only acoustic guitars, voices, and hand claps. It shows that artistically the sound did not need to be beefed up; the music is still wonderful. How can an array of seven guitars and full-throated passion not be wonderful? Commercially, the additions to their sound helped break The Gipsy Kings through to a larger audience, but now that their name is known, it should be possible for more people to go back and appreciate this album. It is in no way crude or unpolished, and the artistry and playing are of an equally high quality. ~Rhythm Newsletter

Luna De Fuego mc
Luna De Fuego zippy

---

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

---