Paquito D'Rivera Quintet, Sabine Meyer, Trio Clarone - JaZZ-ClaZZ

Bitrate: MP3@320K/s
Time: 72:36
Size: 166.2 MB
Styles: Clarinet jazz
Year: 2016
Art: Front

[ 7:05] 1. Vals Venezolano
[ 5:44] 2. Oblivion
[12:42] 3. Suite Piazollana
[ 4:56] 4. Borat In Syracuse
[ 3:57] 5. Afro
[ 3:57] 6. Dizzyness
[ 4:39] 7. Chiquita Blues
[ 4:13] 8. Paquito
[ 7:06] 9. Fiddle Dreams
[ 3:43] 10. Toque De Clave
[ 1:58] 11. Contradanza
[ 5:56] 12. La Cachila
[ 1:56] 13. Los Tres Golpes
[ 4:38] 14. Brasilierino

Bass Clarinet – Reiner Wehle; Clarinet – Paquito D'Rivera, Sabine Meyer, Wolfgang Meyer; Drums – Ernesto Simpson; Piano – Adonis González, Alex Brown.

D'Rivera, a Cuban alto saxophonist, clarinetist and soprano saxophonist, recorded Jazz - Clazz in Germany with special guests Trio Clarone with Sabine Meyer (clarinet), Reiner Wehle, Wolfgang Meyer Jazz Clazz . In the August 2009 publication of "Stereoplay" Magazine, the June European release of "Jazz - clazz" CD received the "Die Audiophile" award Jazz Clazz . In December 2009, the album received two GRAMMY nominations for "Best Instrumental Composition" and " Best Classical Crossover Album" Also in December of 09, Paquito D'Rivera was voted by DownBeat Magazine Reader's Poll as the Best Clarinetist for the third year in a row! Jazz Clazz by Paquito D'Rivera / Sabine Meyer was released Jun 08, 2010 on the Stormy Monday label.

"This is one of the coolest and cleanest jazz recordings I've recently heard. This is my idea of what New York-Latin jazz should be all about. The thoughtful inclusion of the classical group Trio Clarone should not lead one to think that this is some sort of cheese-headed jazz classical fusion or crossover back and forth nonsense, because it's not. Trio Clarone is sublimely integrated into the whole, though never asked to extend themselves very far outside of their classical comfort zone, and for the most part are simply participants within the greater whole of things. All involved seemingly bought into and brought their very best to the project, the players as well as the producers and engineers. The play is superb from front to back and top to bottom. All of this a testament to the enthusiasm, leadership and musicianship of Senor Paquito. There is also a very nice diversity of instrumentation from track to track including the appearance of bandoneonist Hector del Curto on several tracks and some tragically hip moments of bowed (jazz) bass from Pablo Aslan; there are duets, trios, quartets, a quintet, sextets and septets; and there is also an attractive thematic feel to the whole of things. This is a wonderfully entertaining, expertly performed, and well engineered recording. A real treat!" ~jksp

Jazz-Clazz

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David Hazeltine - Perambulation

Bitrate: MP3@320K/s
Time: 58:38
Size: 134.2 MB
Styles: Piano jazz
Year: 2006
Art: Front

[7:17] 1. Perambulation
[5:51] 2. This Is For Seamus
[5:33] 3. Wonder Why
[7:51] 4. Old Folks
[5:56] 5. Love For Sale
[6:43] 6. Blues For David
[7:46] 7. Lush Life
[4:37] 8. P.S.We Love You
[7:00] 9. Angel Eyes

David Hazeltine (P); Peter Washington (B); Joe Farnsworth (D). Recorded May 28, 2005 in Brooklyn, NY, USA by Max Bolleman.

On Perambulation, his sixth date as a leader for Criss Cross, David Hazeltine reconvenes the trio from the critically acclaimed 2004 release, Close To You. Utilizing incisive skills as a composer, arranger, and pianist, Hazeltine plays three originals, Buddy Montgomery's Blues For David, and five standards, including a provocative treatment of Cole Porter's Love For Sale. Bassist Peter Washington and drummer Joe Farnsworth surpass the role of accompanists and make indispensable contributions to this exceptional recording.

Perambulation mc
Perambulation zippy

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Gary Bartz - Bartz

Bitrate: MP3@320K/s
Time: 39:15
Size: 89.9 MB
Styles: Crossover jazz
Year: 1980/2016
Art: Front

[4:09] 1. Need Your Love
[4:27] 2. Keep Goin' On
[4:56] 3. Love Prelude After The Love Has Gone
[4:57] 4. Rockin' All Night
[4:50] 5. Music
[5:40] 6. One-Eyed Jack
[5:24] 7. After Glow
[4:49] 8. (Give It Your Best), Shot!

After 1978's occasionally gorgeous Love Song and often sluggish Love Affair, saxophonist Gary Bartz linked with frequent session associates and production duo James Mtume and Reggie Lucas. Mtume/Lucas had transitioned away from soul-jazz to straight soul/R&B, with Roberta Flack, Phyllis Hyman, and Stephanie Mills as some earlier beneficiaries. Add Howard King (drums), Hubert Eaves III (keyboards), Tawatha Agee (vocals) -- this is an Mtume-the-group album in all but name. Carrying much more rhythmic oomph than either 1978 Bartz date, the album's clear-cut highlight is "Keep Goin' On" (a Tawatha showcase), but "Need Your Love" and "Music" (where you can hear Eaves revving up for "D" Train) are also bound to move those who love all other late-'70s/'80s Mtume and Mtume/Lucas-produced albums. ~Andy Kellman

Bartz mc
Bartz zippy

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Miguel De Armas Quartet - What's To Come

Bitrate: MP3@320K/s
Time: 47:23
Size: 108.5 MB
Styles: Latin jazz
Year: 2017
Art: Front

[5:56] 1. Yasmina (Feat. Roberto Riverón, Alexis Baró & Carlos Medrano)
[4:40] 2. A Song For My Little Son (Feat. Elmer Ferrer)
[4:05] 3. La Dama Y El Perro
[5:23] 4. His Bass And Him (Feat. Mathieu Sénéchal & Galen Weston)
[2:55] 5. Pam Pim Pam Pum
[3:24] 6. Illusion
[4:45] 7. What's To Come (Feat. Jane Bunnett)
[5:51] 8. Rumba On Kent St. (Feat. Alexandre Laborde)
[5:37] 9. Tango Asunción (Feat. Alexandre Laborde)
[4:45] 10. Freddie's Drink

Miguel de Armas: piano and keyboards; Michel Medrano: drums and percussion; Marc Decho: bass (solo – 2 – 4), (5, 7, 9); Arien Villegas: congas (5); Guests: Alexis Baró: trumpet and flugelhorn (1); Roberto Riverón: contrabass (1); Carlitos Medrano: congas and percussion (1, 3, 5, 8 10); Elmer Ferrer: electric guitar (2); Mathieu Sénéchal: bass (4, 8, 10); Galen Weston: electric guitar (4); Jane Bunnett: soprano saxophone (7).

The pianist Miguel de Armas is blessed with a magnificent tumbao and he uses it to great effect on What’s to Come. But if you thought that he is sticking within his comfort zone on this recording, then you would be dead wrong because clearly not afraid to step out, to invent – very organically, it must be said – outside the Afro-Caribbean idiom and yet stay true to his roots in a refreshing, forward-thinking manner. His use of electronic instruments – especially the synthesizer – is rather effective and while he may not be the first to add splashes of vivid colour and stretch the sonic palette of his music, he certainly makes every sound from the instrument work very well for him and his music, especially when the drama of musical narratives unfold as piano and keyboards collide to produce a refreshing wave of harmonics.

Miguel de Armas is a sincere and persuasive musician. His pianism is suffused with a panoply of colours and his touch is at the soft end of the spectrum, although it has a subtle and percussive touch and always conveys his music so luminously. The music doesn’t often raise its voice much and even when it does, the narratives are skillfully crafted to maintain a certain expressive decorum. An attractive feature of Miguel de Armas’ music is that he alters harmonies and structural elements with impressive control, heading in directions that surprise and captivate the ear. The danzón “La Dama y el Perro”, “Rumba on Kent St.” and “Tango Asunción” are fine examples of such restraint. The use of bátà on “Freddie’s Drink” adds much to the rollicking rhythm of the piece.

In those and all the other works on this album, Miguel de Armas performs with consummate artistry, blending superior control and tonal lucidity with a cohesive sense of line and motion. The pianist’s music could hardly be better served than by his brilliantly schooled quartet as well as by a constellation of stars who have joined in to celebrate this music: and these include Jane Bunnett on soprano saxophone, the fiercely brilliant bassist, Roberto Riverón, guitarists Elmer Ferrer and Galen Weston, superb accordionist Alexandre Laborde and the fiery trumpeter Alexis Baró. All of the musicians engage in a skillful and rigorous manipulation of the material in the most listenable light possible, while also making it more vibrant than ever. ~Raul da Gama

What's To Come mc
What's To Come zippy

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Terry Gibbs, Buddy DeFranco - Chicago Fire

Bitrate: MP3@320K/s
Time: 61:50
Size: 141.6 MB
Styles: Bop, Vibraphone jazz
Year: 1987/1997
Art: Front

[5:31] 1. Rockin In Rhythm
[6:40] 2. Please Send Me Someone To Love
[7:13] 3. Sister Sadie
[3:13] 4. This Is Always
[4:20] 5. Cherokee
[6:44] 6. Giant Steps
[6:31] 7. Bopstacle Course
[6:58] 8. Jitterbug Waltz
[6:16] 9. Stella By Starlight
[8:20] 10. 52nd Street Theme

Bass – Todd Coolman; Clarinet – Buddy DeFranco; Drums – Gerry Gibbs; Piano – John Campbell; Vibraphone – Terry Gibbs. Recorded live direct-to-digital two track at Joe Segal's JAZZ SHOWCASE in the Blackstone Hotel, Chicago on July 24 - 26, 1987.

This was the second meeting on record by vibraphonist Terry Gibbs and clarinetist Buddy DeFranco (an obscure set for Palo Alto from 1981 was the first), and it officially launched the quintet which would record several additional sets. With the powerful pianist John Campbell, bassist Todd Coolman and Terry's son Gerry Gibbs on drums, the two veterans play heated versions of such tunes as "Rockin' In Rhythm," "Cherokee," "Giant Steps" and "52nd Street Theme." Gibbs and DeFranco always inspire each other, making all of their recordings of strong interest to bop fans. ~Scott Yanow

Chicago Fire mc
Chicago Fire zippy

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Walt Dickerson - This Is Walt Dickerson!

Styles: Vibraphone Jazz
Year: 1961
File: MP3@320K/s
Time: 38:14
Size: 89,1 MB
Art: Front

(6:34)  1. Time
(5:09)  2. Elizabeth
(7:03)  3. The Cry
(6:09)  4. Death And Taxes
(6:17)  5. Evelyn
(7:01)  6. Infinite You

Walt Dickerson never got quite the credit he deserved for pioneering a modernist approach to the vibes during the early '60s, aligning himself with the emerging "new thing" scene and expanding the instrument's vocabulary beyond Milt Jackson's blues and bop influences. Dickerson's groundbreaking sessions for Prestige all predated the rise of Bobby Hutcherson as the hot new "out" vibes player at Blue Note, and while Hutcherson was a bit freer early on, Dickerson's work still sounded adventurous and forward-looking. This Is Walt Dickerson!, his opening salvo, is every bit the statement of purpose the exclamatory title suggests. Each of the six selections is a Dickerson original, and he proves to be a marvelously evocative composer. Witness the cool, film-noir ambience of the mildly dissonant opener, "Time"; the haunting atmospherics of "Elizabeth," a tribute to his wife; the way the repeated riff of "Death and Taxes" imparts the sense of drudgery and inevitability suggested by the title; or the way Dickerson and pianist Austin Crowe keep twisting the rhythmic emphasis and cadences over the repetitive beat of "The Cry." Dickerson's harmonically advanced playing is just as distinctive, too. He keeps the use of vibrato to a bare minimum, so much so that it's almost a shock when he lets some shimmering chords ring out on "Infinite You"; moreover, his use of rubber mallets instead of the customary felt-tipped augments his soft, controlled tone. In addition to Crowe, Dickerson is backed by bassist Bob Lewis and future Cecil Taylor drummer Andrew Cyrille. A striking debut, This Is Walt Dickerson! sets the stage for continued excellence, but also proves that Dickerson's talent was already fully formed.~ Steve Huey https://www.allmusic.com/album/this-is-walt-dickerson%21-mw0000105645

Personnel: Walt Dickerson (vibraphone); Austin Crowe (piano); Andrew Cyrille (drums).

This Is Walt Dickerson!

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James Morrison & Patti Austin - Ella And Louis

Styles: Vocal And Trumpet Jazz
Year: 2017
File: MP3@320K/s
Time: 86:06
Size: 198,7 MB
Art: Front

(4:31)  1. Hello, Dolly!
(6:11)  2. (Up A) Lazy River
(3:28)  3. Too Close For Comfort
(5:21)  4. Let’s Do It
(4:46)  5. (If You Can’t Sing It) You’ll Have To Swing It (Mr Paganini)

(5:30)  6. Our Love Is Here To Stay
(2:56)  7. A Tisket, A Tasket
(2:26)  8. Satin Doll
(3:54)  9. Lullaby Of Birdland
(4:29) 10. Basin Street Blues
(5:08) 11. Miss Otis Regrets
(2:58) 12. Hard-Hearted Hannah (The Vamp of Savannah)
(4:30) 13. Honeysuckle Rose
(3:25) 14. I’ve Got The World On A String
(6:41) 15. Struttin’ With Some BBQ
(4:50) 16. But Not For Me
(3:48) 17. Mack The Knife
(4:58) 18. How High The Moon
(6:07) 19. Get Happy

James Morrison is a man indebted to jazz’s past and committed to preserving its future. Next month the 54-year-old trumpet virtuoso will team up with American singer Patti Austin in a tribute to jazz giants Ella Fitzgerald and Louis Armstrong.The concert will put Morrison and Austin together with the WASO Big Band Horns. Morrison said it was hearing Armstrong play Basin Street Blues as a seven-year-old that set him on his way. “Hearing him was what made me want to be a jazz musician,” Morrison said. “The feel of that music I said ‘That’s that I want to do’.” The concert with Austin marks 100 years since the birth of acclaimed singer Ella Fitzgerald. “We’re doing this tribute to Ella and Louis, two of the greats, but Patti is one of the greats herself,” Morrison said.

“She’s a Grammy Award-winning artist.” Once a wunderkind of Australian jazz, Morrison is now bridging generations. His two sons, bassist Harry (19) and guitarist William (21), are part of his touring band. “Playing with younger musicians is a great tradition in jazz,” he said. https://www.communitynews.com.au/eastern-reporter/lifestyle/james-morrison-celebrates-ella-and-louis-with-patti-austin-and-waso/

Ella And Louis

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Dan Siegel - The Hot Shot

Styles: Piano Jazz
Year: 1980
File: MP3@320K/s
Time: 34:02
Size: 78,1 MB
Art: Front

(3:03)  1. The Hot Shot
(4:01)  2. Sweet Talk
(3:54)  3. A Gentleman's Retreat
(3:25)  4. Once Upon A Time
(3:56)  5. The Twisted
(4:09)  6. The Wild West
(4:11)  7. Wallflower
(4:00)  8. Full Moon
(3:20)  9. Oblivion

Smooth jazz keyboardist Dan Siegel has been helping to shape the genre since his recording debut in 1980. Born in Seattle and raised in Eugene, OR, Siegel started taking piano lessons at age eight and was fronting a rock band at 12. After attending the Berklee College of Music in Boston, he received a degree in composition from the University of Oregon and began recording his own works. Soon thereafter, well-known independent jazz label Inner City Records signed the young keyboardist, releasing 1980's Nite Ride, which featured guitarist Lee Ritenour. Siegel's second album for Inner City, 1981's The Hot Spot, was more successful and spent ten weeks in the Top Ten of Billboard's jazz chart. In 1983, he moved to Los Angeles to pursue film and television work, as well as a more active recording career. Spending half of the decade composing TV and film scores as well as releasing several albums of varying interest, he signed with Epic in 1986 and began moving away from the ailing jazz fusion scene and into the adult contemporary jazz sound that he had been toying with all along. Highlights of this era include 1994's worldbeat-influenced Hemispheres and the urban-flavored Clairvoyance, released in 1998. 

Siegel spent the 1990s recording for a variety of labels, working with some of the bigger names in smooth jazz (Boney James, Larry Carlton, John Patitucci), and leading the hard bop combo Birds of a Feather. In 2000, Legacy Recordings released a greatest hits compilation called Along the Way: The Best of Dan Siegel.~ Zac Johnson https://www.allmusic.com/artist/dan-siegel-mn0000566054/biography   

The Hot Shot

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Georgie Auld & His Orchestra - In The Middle

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 59:53
Size: 139,8 MB
Art: Front

(2:58)  1. You're Blase (vocal Sarah Vaughan)
(2:55)  2. A Hundred Years From Today (vocal Sarah Vaughan)
(3:11)  3. In The Middle
(3:16)  4. Stormy Weather (vocal Lynn Stevens)
(2:54)  5. I'll Never Be The Same
(3:07)  6. Stompin' At The Savoy
(2:47)  7. It Had To Be You (vocal Lynn Stevens)
(2:59)  8. I Don't Know Why (vocal Georgie Auld)
(2:58)  9. Air Mail Special
(3:15) 10. Here Comes Heaven Again (vocal Lynn Stevens)
(2:39) 11. Come To Baby Do (vocal Lynn Stevens)
(2:50) 12. Daily Double
(2:59) 13. You Haven't Changed At All (vocal Lynn Stevens)
(2:44) 14. Route 66 (vocal Georgie Auld)
(2:55) 15. Blue Moon
(3:17) 16. Time On My Hands (vocal Lynn Stevens)
(3:01) 17. Sweetheart Of All My Dreams (vocal Patti Powers)
(2:55) 18. Canyon Passage
(3:13) 19. Just A Sittin' & A Rockin' (vocal Lynn Stevens)
(2:50) 20. Georgie Porgie

Georgie Auld had a long and varied career, changing his tenor sound gradually with the times and adapting to many different musical situations. He moved from Canada to the U.S. in the late '20s and, although originally an altoist, he switched to tenor after hearing Coleman Hawkins. While with Bunny Berigan during 1937-1938, Auld sounded like a dead ringer for Charlie Barnet. After spending a year with Artie Shaw in 1939 (including leading the band briefly after Shaw ran away to Mexico), Auld sounded much closer to Lester Young when he joined Benny Goodman. With B.G., Auld was a major asset, jamming with a version of Goodman's Sextet that also included Cootie Williams and Charlie Christian. He was back with Shaw in 1942, and then led his own big band (1943-1946), an excellent transitional unit between swing and bop that at various times included such young modernists as Dizzy Gillespie, Erroll Garner, and Freddie Webster; Sarah Vaughan also guested on a couple of his recordings. After the band's breakup, Auld led some smaller groups that tended to be bop-oriented. He was with Count Basie's octet in 1950 and then freelanced for the remainder of his career, maintaining a lower profile but traveling frequently overseas and not losing his enthusiasm for jazz. Some may remember that, in 1977, he had a small acting role as a bandleader and played Robert De Niro's tenor solos in the otherwise forgettable Liza Minelli movie New York, New York. https://itunes.apple.com/us/artist/georgie-auld-and-his-orchestra/56727532

In The Middle

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Till Brönner - At The End Of The Day

Styles: Vocal And Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 49:27
Size: 113,6 MB
Art: Front

(3:39)  1. And I Love Her
(4:22)  2. After You've Gone
(3:35)  3. Human
(2:36)  4. I'm Through With Love
(3:26)  5. Summer Breeze
(3:16)  6. We Said It All
(3:07)  7. Your Life
(3:40)  8. I'm Only Human
(4:37)  9. Space Oddity
(5:03) 10. If I Saw You Tomorrow
(3:07) 11. I Wanna Be Around
(3:56) 12. Everybody's Got To Learn Sometime
(4:57) 13. Air

At the End of the Day is an album of light jazz covers of rock songs, which turned out to be a fun idea on the surface, but with little depth beneath. To Till Brönner's credit, he tried to push the envelope quite a bit at the track selection stage if the Beatles are an expected selection, and Bowie more or less so too, the Killers are a potentially exciting choice, and the addition of sexy goth metal kings Type O Negative who contribute "Summer Breeze"sounds like a one-way ticket to postmodern joy land. The thing is, however, all the picks really lend themselves well to pop-jazz renditions with all the required attributes sentimental crooning (competent, but appropriately tame), midtempo rhythms, background strings, and sweet, lulling melodies. Brönner throws in some trumpet, of course that's his thing but this only boosts the '80s ballad vibe of the record. At the End of the Day would be a welcome soundtrack for a trip to a nice restaurant a godsend if you're on a date but musically, it's not nearly as challenging as the track list would lead you to believe.

Chances are, those unaware of the album being a set of covers would never realize that, taking it simply for nice background music as cohesive as Muzak is supposed to be, and with little in the way of oddities, space or otherwise. It's still a great record in its own weight class soft, laconic, unobtrusive, and pleasant, possibly even beautiful. But it fails to escape the ultimate pitfall of cover albums the music is nice, but you still get the urge to listen to the originals if you recognize any. ~ Alexey Eremenko https://www.allmusic.com/album/at-the-end-of-the-day-mw0002078934    

Personnel:  Vocals, Flugelhorn – Till Brönner;  Bass – Timothy Lefebvre;   Drums – Martijn Vink;  Guitar – Frank Kuruc, Henrik Menzel;  Keyboards – Andreas Herbig, Arne Schumann;  Organ – Larry Goldings;  Piano – Roberto Di Gioia.

At The End Of The Day

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Pete Candoli - Blues, When Your Lover Has Gone (Remastered)

Bitrate: MP3@320K/s
Time: 43:25
Size: 99.4 MB
Styles: Bop, Trumpet jazz
Year: 1963/1986
Art: Front

[3:42] 1. When Your Lover Has Gone
[3:08] 2. Blues In The Night
[4:02] 3. Frankie And Johnny
[4:50] 4. Lonesome Lover Blues
[3:21] 5. Careless Love
[3:37] 6. Cry Me A River
[4:33] 7. Feelin' Mean And Lowdown
[3:40] 8. Misty
[2:58] 9. Lost Lover Blues
[4:39] 10. Willow Weep For Me
[4:49] 11. Empty Mattress Blues

Bass – Red Mitchell; Drums – Alvin Stoller; Guitar – Al Hendrickson; Piano – Jimmy Rowles; Saxophone – Ted Nash; Trombone – Milt Bernhart; Trumpet – Pete Candoli. Recorded at United Studios in Hollywood, 1961.

Considering his long career, trumpeter Pete Candoli has led relatively few sessions. He did cut four albums from 1959-1961, but has only headed one set since then. This out-of-print but worthy LP features Candoli with fellow L.A.-based studio players (trombonist Milt Bernhart, tenor saxophonist Ted Nash, pianist Jimmy Rowles, guitarist Al Hendrickson, bassist Red Mitchell, and drummer Shelly Manne). Although ostensibly a program of blues, half of the songs are merely bluesy rather than actual blues. Candoli sounds fine and is heard in prime form throughout the relaxed set. ~Scott Yanow

Blues, When Your Lover Has Gone (Remastered) mc
Blues, When Your Lover Has Gone (Remastered) zippy

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Hot Club De Suede - Live

Bitrate: MP3@320K/s
Time: 47:59
Size: 109.9 MB
Styles: Gypsy jazz
Year: 2003
Art: Front

[3:18] 1. Minor Swing
[8:03] 2. Manoir De Mes Reves
[3:24] 3. Oh, Lady Be Good
[3:08] 4. Limehouse Blues
[4:31] 5. Djangology
[3:35] 6. It Don't Mean A Thing
[6:23] 7. September Song
[3:28] 8. I Can't Give You Anything But Love
[3:57] 9. Blues Claire
[4:23] 10. Honeysuckle Rose
[3:45] 11. Sweet Georgia Brown

Andreas Öberg, Guitar; Jimmy Rosenberg, Guitar; Martin Sjöstedt, Bass.

This album is a rarity – a souvenir from Jimmy’s tour in Sweden in December 2002, when things went wrong. Andreas Öberg was the new guitar talent that year, and had invited Jimmy for some gigs in Sweden, before we had scheduled a studio recording in Norway the subsequent week (the amazing Django’s Tiger album). It was arranged for a live recording with Jimmy and Andreas in order to promote their future tours, like Hot Club de Norvège had done in Norway for ten years already. The expectations were mile high, but it turned out that Jimmy, once again, was on a space trip of his own. Rhythm guitar player Per Frydenlund was on his way to Max Brandt’s Café at Torshälla, when he got a phone call that the concert was cancelled, Jimmy was simply too far out. However, Jimmy insisted upon playing, and this is how it sounded – Jimmy on a bad day. Nevertheless, there are glimpses of greatness in this album, and guitar players will no doubt find new Jimmy licks, not to mention an impressive snapshot of the marvellous Andreas Öberg as a young man, on his way to the stars, but not there quite yet. One and a half years later Jimmy collapsed on stage, and without him the guitar World will never be the same again. So forget all the imperfections in this rare recording, and think for a moment about how fragile the existence in fact is, and how lucky we are that sometimes a great artist like Jimmy Rosenberg is born, and amaze us – for a while – with visions from places beyond our everyday life. ~Jon Larsen

Live mc
Live zippy

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Helen Humes - Songs I Like To Sing!

Bitrate: MP3@320K/s
Time: 38:40
Size: 88.5 MB
Styles: Vocal jazz/blues
Year: 1960/2011
Art: Front

[3:21] 1. If I Could Be With You (One Hour Tonight)
[2:56] 2. Don't Worry 'bout Me
[3:25] 3. Mean To Me
[3:51] 4. Every Now And Then
[2:57] 5. I Want A Roof Over My Head
[2:43] 6. St Louis Blues
[3:09] 7. You're Driving Me Crazy
[3:22] 8. My Old Flame
[4:07] 9. Million Dollar Secret
[2:58] 10. Love Me Or Leave Me
[3:06] 11. Imagination
[2:40] 12. Please Don't Talk About Me When I'm Gone

One of the high points of Helen Humes' career, this Contemporary set (reissued on CD) features superior songs, superb backup, and very suitable and swinging arrangements by Marty Paich. Humes' versions of "If I Could Be With You," "You're Driving Me Crazy," and "Million Dollar Secret," in particular, are definitive. On four songs, she is backed by tenor great Ben Webster, a rhythm section, and a string quartet; the other numbers find her joined by a 14-piece band that includes Webster and Teddy Edwards on tenors along with altoist Art Pepper. This classic release is essential and shows just how appealing a singer Helen Humes could be. ~Scott Yanow

Songs I Like To Sing mc
Songs I Like To Sing zippy

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Duende Libre - S/T

Bitrate: MP3@320K/s
Time: 67:32
Size: 154.6 MB
Styles: World music, Fusion
Year: 2017
Art: Front

[6:13] 1. Rio Pescadores
[5:51] 2. Forgotten Well
[5:42] 3. Michel
[6:59] 4. Funkination
[4:39] 5. Razzle Dazzle
[8:00] 6. Sevilla
[5:43] 7. Moon Waltz
[4:20] 8. For The Rekkerd
[4:42] 9. Salif
[8:37] 10. Still
[6:41] 11. Sinister Minister

Alex Chadsey: piano, keyboards; Farko Dosumov: electric bass, voice; Jeff “Bongo” Busch: drums, percussion, Chava Mirel: voice.

As world music proliferates into the mainstream, there are countless musicians attempting to capture its exotic rhythms and enticing melodies, some succeed, others falter. Taking their name from a Federico Garcia Lorca lecture on artistic inspiration and creation, Duende Libre's self-titled release manages to incorporate some of the essence of world music in what they term as global jazz fusion. The group's leader, composer and pianist is Alex Chadsey, accompanied by bassist Farko Dosumov, and drummer Jeff Busch. Moving to Seattle in search of stimulus and challenges, Chadsey fell into the Latin musical circuit and began to hone his playing and composing skills, eventually forming Duende Libre.

The repertoire covers a colorful palette of influences as the Veracruz inspired "Rio Pescadores," which has a Caribbean connotation accented by the mid-section piano montuno. Vocalist Chava Mirel adds her swaying chanting to "Forgotten Well," that has a touch of flamenco coplas in its mysterious cadence. Named after the famous city in Spain, "Sevilla" draws from classical as well as folkoric sources, Chadsey and Dosumov cleverly weaving these two threads into fine soloing. "Michel," and "Razzle Dazzle," catches Chadsey switching to electric piano for an urbane sound, which goes full funk mode in "Funkination."

As with any calculated arrangement, it's on the tempered ballads as "Moon Walk," that one can appreciate the approach to refinement and technique. Written in honor of African music legend Salif Keita, the relaxing "Salif," continues the laid back ambiance. They travel to the edge of Jamaican dancehall on "Still," which exhibits a strong shade of Santana in its assertive organ lines, and wrap it up with "Sinister Minister," an upbeat carnival revelry defined by sharp cowbell accents from drummer Busch, and aggressive bass lines.

Duende Libre is an exciting debut record that displays a multi-faceted band willing to take chances and allow the music to take them where it will. What sets them apart from studio session players, is that they perform with a zest that comes from their cross-cultural associations. World music is street music, and it's that element that sparks life into this release. ~James Nadal

Duende Libre mc
Duende Libre zippy

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Ben Webster, Harry Edison - Essential Sextet Jazz Masters

Bitrate: MP3@320K/s
Time: 144:11
Size: 330.1 MB
Styles: Bop
Year: 2009
Art: Front

[3:06] 1. Alone Together
[8:41] 2. Sunrise Blues
[3:30] 3. Gee Baby, Ain't I Good To You
[6:51] 4. Just A Mood
[3:26] 5. Makin' Whoopee
[3:55] 6. Moonlight In Vermont
[3:36] 7. Willow Weep For Me
[5:53] 8. Blues For The Blues
[4:50] 9. Willow Weep For Me
[6:51] 10. You're Getting To Be A Habit With Me
[3:21] 11. Louise
[3:21] 12. Love Is Here To Stay
[3:26] 13. Bidin' My Time
[7:14] 14. Walkin' With Sweets
[3:35] 15. Hollering At The Watkins
[9:29] 16. Blues For Bill Basie
[7:01] 17. The Night Is Blue
[5:59] 18. Used To Be Basie
[5:06] 19. Opus 711
[2:31] 20. Moon Song
[3:44] 21. How Deep Is The Ocean
[3:31] 22. K.M.Blues
[7:21] 23. Easy On The Eyes
[7:36] 24. Blues For Piney Brown
[8:13] 25. Studio Call
[4:48] 26. Blues For The Blues
[7:01] 27. Taste On The Place

Ben Webster (ts), Harry Edison (tp), Jimmy Rowles (p), Barney Kessel (g), Joe Mondragon (b), Alvin Stoller (d).

You are getting the fruits of collaborations between Sweets and Ben Webster during 1956-57, including tracks from albums led by both Red Norvo and Woody Herman. This compilation is identical in content to a 2-CD set titled Complete Sextet Studio Sessions. The key difference is the tracks in this compilation are scattered and interleaved, whereas the tracks on the CD version are grouped by source albums and sessions.

The CD set is sequenced that way and the listening experience is enhanced (in my opinion) when you hear the tracks from each session in that order. On the other hand, this MP3 version has almost the same sound quality as the CD set for a fraction of the cost. Either way, if you are a Ben Webster or Sweets Edison fan you win. ~Mike Tarrani

Essential Sextet Jazz Masters 

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Bobby Selvaggio - Unspoken Dialogue

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 66:54
Size: 153,2 MB
Art: Front

(7:22)  1. Forgotten Man
(7:18)  2. Follow The Leader
(6:39)  3. Like Tears In Rain
(8:46)  4. Jungle Animals
(8:25)  5. None Left Behind
(8:19)  6. Alone Together
(7:21)  7. Spy Movie
(5:17)  8. On The Outside Looking Out
(7:21)  9. Today's A New Day

Listening to Unspoken Dialogue by saxophonist Bobby Selvaggio raises the old debate of composer versus improviser. Of the nine tracks found here, eight were penned by Selvaggio, plus "Alone Together by Arthur Schwartz. Is he a player or a writer? Perhaps arranger is his strongest suit.

Selvaggio's compositions are keen to animate his fellow musicians on this recording, especially the adroit humor that is Kenny Werner's piano and the exuberant trumpet/flugelhorn of Paul Tynan. This ensemble recalls the early Wynton/Branford Marsalis or Bobby Watson bands. That is, the 21st century offspring of Art Blakey's Jazz Messengers. Like fellow musician Joe Lovano, Selvaggio is both Cleveland-born and a second generation jazz musician. He has been a member of Lovano's 52nd Street Nonet, the Cleveland Jazz Orchestra, and the Village Vanguard Orchestra. This is his fourth release as a leader.  That influence is best found in the composition "Jungle Animals. The Selvaggio/Tynan two-horn attack opens into a cheeky and changing path of a melody. Selvaggio shares the track with soloing partners Tynan and Werner. Werner maintains the architecture for Selvaggio to muscle his solo alongside Tynan's very snappy trumpet. This post-bop is both clever and intellectual without sounding dry or academic. Likewise the animated "Spy Movie is a combination muted Miles meets Ennio Morricone at cartoon time, full of funky runs down back alleys.

Selvaggio writes music to gain the most from this specific configuration of players, whether it is a song in full flight like the rambunctious "On The Outside Looking In or the more intimate "Follow The Leader. The latter, taken at a slower pace, never lacks for intensity. He sits in on a nice duo piece, "Like Tears In Rain, where Werner opens with the interior piano strings. Selvaggio's soprano wraps Werner's chamber piano playing with a warmth that is quite difficult to coax out of a the straight horn. Is Selvaggio a better player, composer, or arranger? The answer to all three is yes, as this is a near-perfect recording.~ Mark Corroto https://www.allaboutjazz.com/unspoken-dialogue-bobby-selvaggio-playscape-recordings-review-by-mark-corroto.php

Personnel: Bobby Selvaggio: alto and soprano sax; Kenny Werner: piano; Paul Tynan: trumpet, flugelhorn; Ben Street: bass; Matt Perko: drums; Jamey Haddad: drums and cahon.

Unspoken Dialogue

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Gloria Estefan - Into The Light

Styles: Vocal 
Year: 1991
File: MP3@320K/s
Time: 68:38
Size: 158,8 MB
Art: Front

(4:03)  1. Coming Out Of The Dark
(4:23)  2. Seal Our Fate
(4:01)  3. What Goes Around
(4:39)  4. Nayib's Song (I Am Here For You)
(4:34)  5. Remember Me With Love
(4:46)  6. Heart With Your Name On It
(3:43)  7. Sex In The 90's
(4:29)  8. Close My Eyes
(4:15)  9. Language Of Love
(3:52) 10. Light Of Love
(4:14) 11. Can't Forget You
(4:37) 12. Live For Loving You
(3:29) 13. Mama Yo Can't Go
(4:09) 14. Desde La Oscuridad (Coming Out Of The Dark - Spanish Version)
(4:18) 15. Don't Wanna Lose You (Portuguese Version)
(4:59) 16. Words Get In The Way [Live]

In early 1990, when she was one of the biggest pop stars in the world, Gloria Estefan suffered a broken vertebrae when her tour bus was struck in an accident, and her miraculous recovery from that near tragedy greatly informed her successive album, Into the Light. Though often noted as a "comeback" album, that descriptor is misleading. Yes, Into the Light is a comeback -- a comeback from her accident, that is. It's not a comeback in the sense that her previous album, Cuts Both Ways, had been a failure or even a disappointment. No, Estefan hadn't fallen off, so to speak, with that album. Quite the opposite. It was a monster hit, breaking into the Top Ten and scoring a couple of high-charting ballads: "Don't Wanna Lose You" and "Here We Are." 

It also marked a drastic shift away from the unabashed dance-pop of her Miami Sound Machine output toward a more respectable adult contemporary appeal. This shift affected not only her image but also her audience as a result, and that shift is even more apparent on Into the Light. In fact, the shift seems complete, as this is full-fledged adult contemporary album with serious themes and toned-down production. It sounds pleasant while playing, for sure, smoothly gliding from one song to the next, highlighted by a pair of memorable singles: the hit ballad "Coming Out of the Dark" and the cooing singalong "Live for Loving You." But there's not much else here that's all that exciting. In fact, Into the Light is so streamlined and safe that it seems plain and even bland, if not outright boring. Sure, Estefan's work with Miami Sound Machine had been silly and adolescent at times, but it was fun and lively, too. For every cheeseball song like "Surrender" or "Love Toy," you would get a pop gem like "1-2-3" or "Betcha Say That," not to mention the token slow-dance ballads and get-on-your-feet jams. But to lament the end of Miami Sound Machine is beside the point, for Estefan would move on after Into the Light to make occasionally exciting albums like Mi Tierra. The thing is, from this point forward in her career, Estefan's best work would almost always be Latin in nature. Yet for those listeners not interested in the sticky-sweet dance-pop of Miami Sound Machine or the Latin confetti of her latter-day highlights, there are albums like Cuts Both Ways and Into the Light, albums that aim for widespread adult contemporary appeal. And as far as those such albums go, they don't get much more inspired than this "comeback" album, which admittedly was wonderfully triumphant upon its 1991 holiday season release, when it soared to number five on the Billboard 200 chart, driven largely by its chart-topping lead single, "Coming Out of the Dark."~ Jason Birchmeier https://www.allmusic.com/album/into-the-light-mw0000313994              

Into The Light

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Mike Lipskin with Willie 'The Lion' Smith - California Here I Come

Styles: Piano Jazz 
Year: 1971
File: MP3@320K/s
Time: 39:32
Size: 90,6 MB
Art: Front

(4:52)  1. California Here I Come
(4:20)  2. Mule Walk
(2:41)  3. Stan And Mike's Blues
(3:40)  4. Echo Of Spring
(3:25)  5. Carolina Shout
(3:55)  6. I'm Comin' Virginia
(6:39)  7. Sheik Of Araby
(3:07)  8. Thou Swell
(2:39)  9. Snowy Mornin' Blues
(4:12) 10. Old Fashioned Love

Willie "The Lion" Smith was a legend among the Harlem stride pianists, on this long unavailable LP he shares a few pointers with protégé Mike Lipskin. The title track is at first dominated by their conversation over the music, but their romping duo rendition simulates what an old-fashioned cutting contest might have sounded like. Their duets of "Carolina Shout" and "The Sheik of Araby" are equally enjoyable. Both pianists are represented on solo tracks and Lipskin fronts a quartet with underrated clarinetist Stan Monteiro, the odd choice of electric bassist Chuck Rainey, and the surprising inclusion of drummer Elvin Jones, who plays a duo on brushes with Lipskin on "Snowy Mornin' Blues." Overdue for appearance on CD, but unlikely with the death of producer Bob Thiele in 1995.~ Ken Dryden https://www.allmusic.com/album/california-here-i-come-mw0000852933    

Personnel:  Piano – Mike Lipskin, Willie "The Lion" Smith;  Bass – Chuck Rainey;  Clarinet – Stan Monteiro;  Drums – Elvin Jones

California Here I Come

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Georgie Auld - Swingin' In The Land Of Hi-Fi

Styles: Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 68:18
Size: 158,6 MB
Art: Front

(4:17)  1. In The Land Of Hi-Fi
(2:27)  2. For You
(2:24)  3. Until The Real Thing Come Along
(3:12)  4. Tippin' In
(2:27)  5. Sunday Kind Of Love
(3:56)  6. I May Be Wrong
(3:07)  7. Swingin' In Moore Park
(2:49)  8. If I Loved You
(2:37)  9. Dinah
(2:49) 10. They Can't Take That Away From Me
(3:00) 11. My Blue Heaven
(3:00) 12. Love Is Just Around The Corner
(2:55) 13. (Back Home Again In) Indiana
(2:29) 14. Blue Lou
(2:47) 15. Too Marvelous For Words
(2:47) 16. Sweet Sue
(2:29) 17. Laura
(2:14) 18. I Get A Kick Out Of You
(2:54) 19. Rosetta
(2:31) 20. Sweet Lorraine
(2:27) 21. Old Rockin' Chair
(2:33) 22. Got A Date With An Angel
(3:06) 23. Prisoner's Song
(2:51) 24. Frankie And Johnny

Georgie Auld was an accomplished saxophonist, who cut his musical teeth with Bunny Berigan's band in 1937 then moving on to The Artie Shaw Orchestra in 1939, he also served with Jan Savitt & The Benny Goodman sextet. Musicians in the Georgie Auld orchestra & on this disc include Maynard Ferguson, Skeets Herfurt, Frank Rosolino, Si Zentner & Barney Kessel to name a few. When 'In The Land Of Hi-Fi' was originally issued which makes up the first half of this disc, it was described as a jazz classic.~ Editorial Reviews https://www.amazon.com/Swingin-Hi-Fi-ORIGINAL-RECORDINGS-REMASTERED/dp/B000FEBVXQ 

Personnel:  Georgie Auld - tenor saxophone, bandleader;  Maynard Ferguson, Conrad Gozzo, Mannie Klein, Ray Linn - trumpet;  Tommy Pederson, Frank Rosolino, Si Zentner - trombone;  Skeets Herfurt, Willie Schwartz - alto saxophone;  Ted Nash, Babe Russin - tenor saxophone;  Chuck Gentry - baritone saxophone;  Arnold Ross - piano;  Al Hendrickson, Barney Kessel - guitar;  Joe Mondragon, Joe Comfort - bass;  Alvin Stoller, Irv Kottler - drums.

Swingin' In The Land Of Hi-Fi

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Take 6 - Iconic

Styles: Vocal, R&B 
Year: 2018
File: MP3@320K/s
Time: 41:28
Size: 95,1 MB
Art: Front

(4:13)  1. Back In Love Again
(4:04)  2. Can't Stop The Feeling
(4:14)  3. Change The World
(4:17)  4. Sailing
(3:10)  5. Don't Know Why
(3:56)  6. Got To Get You Into My Life
(4:25)  7. All This Love
(4:29)  8. Could It Be I'm Falling In Love
(3:59)  9. Roof Garden
(4:37) 10. Nothing But The Blood

Veteran genre-blurring vocal group Take 6 earns its first No. 1 on any Billboard chart, as the act’s new album, Iconic, debuts atop the Contemporary Jazz Albums chart (dated May 12). The album sold a little more than 1,000 copies in the week ending May 3, according to Nielsen Music. The new album features Take 6’s reworks of such familiar songs as Justin Timberlake’s “Can’t Stop the Feeling!,” Christopher Cross’ “Sailing,” Eric Clapton's "Change the World" and Norah Jones’ “Don’t Know Why.” Iconic is Take 6’s sixth top 10 on the Contemporary Jazz Albums tally. 

The group has also logged top 10s on Top Gospel Albums, along with top 40 efforts on Top R&B/Hip-Hop Albums and the Holiday Albums chart. https://www.billboard.com/articles/columns/chart-beat/8455707/take-6-iconic-jazz-albums-chart

Iconic

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