Mark Wingfield - Sleeper Street

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 61:47
Size: 142,7 MB
Art: Front

(8:30)  1. Sleeper Street
(8:25)  2. Eight Shades Of Green
(0:59)  3. Boston Skyline
(7:42)  4. Parallax
(1:10)  5. Journey North, Part 1
(7:44)  6. Tetralogical
(1:29)  7. Hush Hush
(5:12)  8. In The House
(6:37)  9. Meiko
(1:12) 10. Journey North, Part 2
(4:29) 11. The Drawn Conclusion
(8:14) 12. Crypto Realist

Celebrated British guitarist and composer Wingfield eschews traditional amps and effects in favor of two Roland VG-88 Guitar Systems and a GR-33 Guitar Synthesizer. Celebrated British guitarist and composer Wingfield eschews traditional amps and effects in favor of two Roland VG-88 Guitar Systems and a GR-33 Guitar Synthesizer. Joined by fellow virtuosos Iain Ballamy (sax), Jeremy Stacy (drums), Robert Mitchell (keyboards), and Yaron Stavi (bass), this latest release continues Wingfield’s forward-thinking exploration of smart, swinging, and highly melodic globally informed jazz. Dark Energy Music. https://www.guitarplayer.com/miscellaneous/mark-wingfield-sleeper-street

Personnel:  Mark Wingfield - guitar, Iain Ballamy - sax, Jeremy Stacey - drums, Robert Mitchell- keyboards, Yaron Stavi - bass.

Sleeper Street

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Melvin Rhyne - The Legend

Bitrate: MP3@320K/s
Time: 61:45
Size: 141.4 MB
Styles: Bop, B3 Organ jazz
Year: 1992
Art: Front

[ 6:47] 1. Licks A-Plenty
[ 9:46] 2. Serenata
[ 5:54] 3. Stompin' At The Savoy
[ 5:34] 4. The Trick Bag
[ 8:30] 5. Old Folks
[ 6:52] 6. Next Time You See Me
[ 5:38] 7. Groovin' High
[12:42] 8. Blues For Wes

Peter Bernstein - Guitar; Don Braden - Tenor sax; Brian Lynch - Trumpet; Melvin Rhyne - Organ; Kenny Washington - Drums.

Other than an obscure date for Jazzland in 1960, this CD was organist Melvin Rhyne's debut as a leader. Famous for his association with Wes Montgomery but in obscurity ever since in Milwaukee, Rhyne gradually emerged during the late '80s and was found to still be in prime form. Joined by guitarist Peter Bernstein and drummer Kenny Washington, Rhyne had the rare opportunity of being the center of attention on this set, which includes a variety of standards (such as "Groovin' High," "Old Folks" and "Stompin' at the Savoy") plus Eddie "Lockjaw" Davis' "Licks A-Plenty" and Montgomery's "The Trick Bag." The easily recommended CD concludes with a lengthy "Blues for Wes," which finds trumpeter Brian Lynch and tenor saxophonist Don Braden making the group a quintet. ~Scott Yanow

The Legend mc
The Legend zippy

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Morris McCraven - Jazz In June

Bitrate: MP3@320K/s
Time: 85:35
Size: 195.9 MB
Styles: Soul-jazz, Saxophone jazz
Year: 2016
Art: Front

[7:16] 1. Chitlins' Con Carne
[7:07] 2. The Days Of Wine And Roses
[7:58] 3. Mister Magic
[8:53] 4. Meditation
[7:56] 5. Put It Where You Want
[7:29] 6. I Like To Live The Love
[5:26] 7. What You Won't Do For Love
[3:41] 8. I've Been Loving You Too Long
[7:21] 9. Undecided
[8:05] 10. Valdez In The Country
[6:54] 11. Chicago Song
[7:26] 12. Love And Happiness

Morris McCraven – Saxophone; Dennis Borycki – Keyboard; Don Juntunen – Guitar; Steve Short – Drums; Dave Copenhaver – Bass; Harold Jones – Vocals. “Jazz in June-LIVE” recorded live in Norman Oklahoma.

Born in Memphis, Tennessee, Morris is a graduate of Langston University with Music Education and Elementary Education degrees. Morris moved to Oklahoma City in 1963. Over the years he has performed with Preacher Smith, Leon the Demon, The Freedom Riders, The Fantastics, The Soul Messengers, Leon Nelson 4 Hits and a Miss, Hart and Soul, and Bottom Line Transaction. He participated in the International Blues Contest in Memphis winning the competition with Smilin Vic and the Soul Monkeys Band and toured the Caribbean playing on the Blues Cruise. In 2001 he was again at the International Blues COntest with Shortt Dogg.

After many years of playing and recording with others as a sideman, 2009 marks his debut recording as a leader. Released on Lunacy Records, the CD is comprised of several standards and soul/jazz classics and is his definitive statement of 50 years of tenor saxophone playing.

Jazz In June mc
Jazz In June zippy

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Denise Donatelli - What Lies Within

Bitrate: MP3@320K/s
Time: 58:19
Size: 133.5 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[3:17] 1. My Shining Hour
[5:15] 2. Sails (Velas Icadas)
[6:29] 3. Crystal Silence
[4:41] 4. I Love It When You Dance That Way
[6:17] 5. We'll Be Together Again
[7:24] 6. Like An Old Song
[3:51] 7. Beloved (Daahoud)
[5:22] 8. Four Walls
[4:25] 9. Be Cool
[4:53] 10. Make This City Ours Tonight
[6:19] 11. This Lament

Denise Donatelli: vocals; Bob Sheppard: soprano saxophone (3), alto saxophone (2,4), tenor saxophone (1,6,7), flute and alto flute (3); Carl Saunders: trumpet (4,9), flugelhorn (4); Geoffry Keezer: piano, marimba (6), vibraphone (9), percussion( 4,6); Carlos Del Rosario: organ (8), Viennese gong (6); Peter Sprague: guitar (1,2,4,7,8,10); Hamilton Price: bass (1-10); Marvin "Smitty" Smith: drums (1-10); Alex Acuna: percussion (2,8); Giovanna Clayton: cello (8).

It is refreshing indeed to hear a lovely voice fronting a superb cast of musicians, and then combining to forge one exceptional recording, which is what Los Angeles-based singer Denise Donatelli has done in What Lies Within. As she voices the lyrics of Harold Arlen's "My Shining Hour"—the opening tune in a selection of eleven uncommon standards—the words "this will be my shining hour," should refer to the magical performance on an album that may well be her finest hour of studio work yet. Not content to be seen as just another "chick singer" among the plethora of female jazz vocalists releasing albums these days, Donatelli distinguishes this recording by the assemblage of musical talent, and the guidance from pianist/producer Geoffrey Keezer who also produced the album. The singer is backed up by some of the best West Coast musicians performing in L.A. such as saxophone great Bob Sheppard, trumpeter Carl Saunders, percussionist Alex Acuna and guitarist Peter Sprague to name a few.

Suffice to say, What Lies Within is one splendid recording of elegant light jazz vocals from Denise Donatelli; a jazz singer who belongs in the upper echelon of modern jazz vocalist. Her performance, along with the accompaniment from an ensemble of first-call players makes this a first-rate recording. ~Edward Blanco

What Lies Within mc
What Lies Within zippy

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Paulo Morello - Sambop

Bitrate: MP3@320K/s
Time: 51:07
Size: 117.0 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[5:38] 1. I'm Just A Lucky So-And-So
[4:10] 2. Sambop
[5:52] 3. Donna Orlandina
[3:15] 4. A Nosso Amigo Esmé
[3:25] 5. Vatapá
[5:21] 6. Migalhas De Amor
[3:12] 7. 7 X 1
[6:52] 8. Indeciso
[3:37] 9. You'd Be So Nice To Come Home To
[4:48] 10. Chuva
[4:52] 11. One For LC

"Sambop by Paulo Morello's Brazilian Quartet is the absolute real deal! It's burning and swinging from the very first note with some beautiful soulful ballads, too - to break up the 'burn' ... you'll love this! I've toured with Paulo a lot the past few years with the B3 Organ trio 'Hammond Eggs' which is more in Bebop/Funk mode, so this is yet another side of Paulo's music … he sure has a lot of bases covered … didn’t realize he has a Brazilian heart!“ ~ Randy Brecker

Guitarist Paulo Morello and his three equally talented co-musicians merge jazzy bop and the variety of rhythms, forms and moods of Brazilian music into something new and beautiful. Paulo Morello has put together an exquisite band for 'Sambop', Lula Galvão (born 1962), is the star guest from Brazil on the acoustic guitar and one of the masters of his profession, who has played with Caetano Veloso, Rosa Passos, Ivan Lins and Guinga.

The rhythmic drive is provided by Eduardo "Dudu" Penz on electric bass and Mauro Martins on drums - two Brazilians living in Switzerland, for Paulo Morello "the best Brazilian rhythm section in all of Europe".

Sambop mc
Sambop zippy

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Marc Copland, John Abercrombie - Speak To Me

Bitrate: MP3@320K/s
Time: 58:26
Size: 133.8 MB
Styles: Piano-Guitar jazz
Year: 2011
Art: Front

[6:06] 1. Left Behind
[6:25] 2. Speak To Me
[4:17] 3. Seven
[8:02] 4. If I Should Lose You
[2:45] 5. Blues Connotation
[6:25] 6. So Long
[9:53] 7. Falling Again
[4:59] 8. Talking Blues
[9:31] 9. Witchcraft

Plenty of artists explore that most naked of musical couplings, the duo, but few have mined its intimate potential the way pianist Marc Copland has. Since 2003, the light-of-touch, impressionistically lithe pianist has put out no less than six duo records amongst the more than 15 albums he's released on half a dozen labels—though since 2007, with the exception of a couple reissues, he's remained steadfastly aligned with Germany's increasingly prestigious Pirouet label.

Speak to Me isn't Marc Copland's first recording with guitarist John Abercrombie; that dates back to Second Look (Savoy, 1996). Copland regrouped that quartet and, after 2008's Another Place, became Contact with the addition of saxophonist Dave Liebman, also documented on 2010's Five on One. But Speak to Me is their first recording alone together, and joins other fine Copland-guitar duo outings, including Double Play (Steeplechase, 2001), with the criminally overlooked Vic Juris, and the out-of-print Songs Without End (Jazz City Spirit, 1994), teamed with Ralph Towner.

Abercrombie is, perhaps, Copland's ideal foil. Like the pianist, Abercrombie's distinctive voice has less to do with signature lines or textures, and more to do with touch, an overall approach to harmony, and an ability to thread unmistakable lyricism, regardless of context. More intrinsically amorphous, it's Abercrombie's ability to approach every song—every take—with a fresh perspective that makes him such an ideal partner. "Talking Blues" is one of three Copland originals here, and continues the pianist's exploration of the blues form, but with ambiguous harmonies that make its allegiance to a jazz cornerstone less direct. Abercrombie's overdriven tone could overwhelm in others' hands, but never consumes the song's ethereal ambience, even during his own solo, while subtly driving Copland's into more energetic territory. Still, Abercrombie's near-power chord support never tightens the loose weave he's fashioning with Copland—one so delicate that it seems as though it could fall apart at any moment—but, of course, it never does.

As delicately left-of-center as Speak to Me is, there's never any dilution of the underlying tradition. During a lengthy closing look at Cy Coleman's "Witchcraft"—a song Abercrombie first explored with bassist Don Thompson on the 1995 Justin Time album of the same name—the duo starts by orbiting around each other, freely exploring the song's centrist form before finally settling into it. Transcending mere adherence, Abercrombie demonstrates his own allegiance to the tradition by quoting Howard Arlen and E.Y. Harburg's "If I Only Had a Brain," from The Wizard of Oz (1939), accompanying Copland with a perfect combination of swing and off-kilter voicings. Copland's firm sense of swing is equally definitive though, like Abercrombie, the real magic is his ability to twist things ever-so-slightly on their side.

Equitably split between three Copland, three Abercrombie originals, and three standards—including a quirky miniature look at Ornette Coleman's "Blues Connotation"—Copland and Abercrombie prove, once again, the importance of putting the music first. Perhaps referring to each other, their hour-long musical dialog, it's just as likely Speak to Me refers to these nine songs, calling out to Copland and Abercrombie, and providing them a perfect context for this sublime, subtle and soft-spoken recording. ~John Kelman

Speak To Me mc
Speak To Me zippy

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Freddy Cole - My Mood Is You

Bitrate: MP3@320K/s
Time: 52:02
Size: 119.1 MB
Styles: Vocal jazz
Year: 2018
Art: Front

[5:43] 1. My Mood Is You
[4:52] 2. Temptation
[5:37] 3. Almost In Love
[5:42] 4. I’ll Always Leave The Door A Little Open
[6:19] 5. First Began
[4:32] 6. They Didn’t Believe Me
[6:29] 7. My Heart Tells Me
[5:10] 8. The Lonely One
[4:16] 9. Love Like This Can’t Last
[3:18] 10. Marie

Freddy Cole, vocals; John di Martino, piano; Joel Frahm, soprano & tenor saxophones; Randy Napoleon, guitar; Elias Bailey, bass; Quentin Baxter, drums.

Very few artists stay at the top of their game for their entire career. However, Freddy Cole’s velvet unhurried singing style remains every bit as cool and hip as it was when his first record was released in 1964. Pianist John di Martino, bassist Elias Bailey, guitarist Randy Napoleon and drummer Quentin Baxter, are trusted associates of Cole who respond to his inimitable sense of swing with now intuitive assurance. Guest saxophonist Joel Frahm displays a sympathetic style that puts him in league with such earlier illustrious Cole saxophone allies as Houston Person and David “Fathead” Newman. Time has been kind to Freddy Cole, who is currently singing with the vitality and zest of a man half his age. His seasoned voice is as affecting as ever, his understanding of a song's expressive anatomy never more incisive. His unimpeachable artistry, rather than longevity, is what positions him as today's vocal jazz master.

My Mood Is You mc
My Mood Is You zippy

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Dave Liebman - Looking For the Light: A Tribute to Chet Baker

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 50:21
Size: 122,3 MB
Art: Front

(5:45)  1. Up Chet's Alley
(9:16)  2. Beautiful Black Eyes
(3:57)  3. Looking For the Light
(5:17)  4. Margarine
(5:02)  5. The Famous Jacques
(6:23)  6. Nightbird
(5:01)  7. You Can't Go Home Again
(5:41)  8. This One's For Chet
(3:55)  9. Sippin' At Bells

Saxophonist and educator David Liebman is a forward-thinking artist whose advanced improvisational style and association with trumpeter Miles Davis in the '70s combined to make him one of the most influential and successful jazz musicians of his generation. Heavily influenced by John Coltrane, Liebman has moved from tenor saxophone to soprano and flute throughout his career and more often than not played in a progressive, post-bop style that touched on fusion and avant-garde jazz. Born in Brooklyn in 1946, Liebman studied classical piano and saxophone before focusing on jazz a move he attributes to seeing Coltrane perform live in New York on multiple occasions. He continued his private jazz studies with such artists as Joe Allard, Lennie Tristano, and Charles Lloyd while earning a degree in American History from New York University. After graduating, he focused solely on a career in music and quickly became an active leader in the vibrant late '60s "loft" scene in New York City. After a year with the early fusion ensemble Ten Wheel Drive, Liebman was asked to join former-Coltrane drummer Elvin Jones' band, and ultimately appeared on several of Jones' albums in the '70s. This brought him to the attention of trumpeter Miles Davis, who hired him from 1970 to 1974. During this period, Liebman toured and recorded with Davis, appearing on such albums as 1972's classic On the Corner as well as 1974's Dark Magus and Get Up with It. Liebman eventually left Davis' band and began working on his own music in various ensembles including the Open Sky Trio with pianist Bob Moses, Lookout Farm with pianist Richie Beirach and guitarist John Abercrombie, and his own David Liebman Quintet, featuring guitarist John Scofield and Japanese trumpeter Terumasa Hino. This was a fertile, exploratory period for Liebman that resulted in a handful of stellar albums, including 1974's Drum Ode (ECM), 1975's Lookout Farm (ECM), 1977's Forgotten Fantasies (Timeless), 1978's Omerta (Storyville), and 1979's Doin' It Again (Timeless). In the early '80s, Liebman formed the cooperative ensemble Quest with pianist Richie Beirach, drummer Billy Hart, and bassist George Mraz, and later bassist Ron McClure. Beginning with group's self-titled 1981 debut for Palo Alto, Quest has continued to release albums throughout Liebman's career. Also during the '80s, Liebman recorded regularly, appearing on myriad albums including Elvin Jones' 1982 album Earth Jones (Palo Alto), 1983's Things We Did Last Summer with trumpeter John McNeil (Steeplechase), 1985's Double Edge with pianist Beirach (Storyville), as well as his own albums including 1985's The Loneliness of the Long Distance Runner (CMP), 1987's Homage to John Coltrane (OWL/EMI), 1988's Trio + One (OWL/EMI), and 1989's The Blessing of Old Long Sound (Newsound). 

It was also during the late '80s that Liebman began splitting his time between playing and teaching jazz. An early clinician at the Jamey Aebersold camps during the '70s, Liebman met such jazz educators as David Baker, Jerry Hearle, Jerry Coker, and other early proponents of formal jazz studies. These experiences, as well as seeing firsthand the interest and need for jazz instruction worldwide while on tours in Europe, spurred Liebman to found the International Association of Schools of Jazz (IASJ) in 1989. Along with releasing such highly regarded albums as 1990's The Tree, 1994's Songs for My Daughter, and 1998's John Coltrane's Meditations, Liebman continued to work with the IASJ to promote jazz and mentor students. For his work, Liebman received several awards in the field of jazz education including being named a National Endowment for the Arts Jazz Master for 2011.While retaining a strong focus on jazz education, Liebman remains a vital, creative force on the jazz scene and performs and records regularly. In 2010, he released the big-band album Live: As Always and appeared as a featured guest on The Bickel-Marks Group with David Liebman. He then paired with pianist Lewis Porter and guitarist Marc Ribot for 2012's Surreality on Enja. Several more well-received dates followed, including his 2014 big-band effort, A Tribute to Wayne Shorter, 2015's Sketches of Aranjuez, and the 2016 duo album, Balladscapes, with pianist Richie Beirach. In 2017, Liebman collaborated with fellow saxophonist Joe Lovano on the tribute album Compassion: The Music of John Coltrane. ~ Matt Collar https://www.allmusic.com/artist/david-liebman-mn0000175407/biography               

Looking For the Light: A Tribute to Chet Baker

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Deanna Storey - Sometimes I'm Happy

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 56:05
Size: 128,6 MB
Art: Front

(4:46)  1. Sometimes I'm Happy
(4:28)  2. On The Street Where You Live
(4:32)  3. I Thought About You
(5:32)  4. I'm Glad There Is You
(5:39)  5. You Don't Know What Love Is
(4:58)  6. When Sunny Gets Blue
(4:05)  7. Too Close For Comfort
(3:24)  8. Where Are You
(4:49)  9. Angel Eyes
(4:26) 10. Can't Get Out Of This Mood
(5:06) 11. Sometimes I'm Happy (Take Two)
(4:13) 12. Love Me Or Leave Me

Generally one can get a feel for how adaptable a jazz singer can be by just tracking where she or he has appeared. Deanna Storey migrated to NYC from Seattle (in recent years, it's usually been the opposite direction). In any event, she has appeared at such Big Apple cabaret rooms as Don't Tell Mama's, The Algonquin and Danny's Skylight Room, all tried and true cabaret venues. Lately she has been appearing at locations which tend to lean more toward jazz than the more stylized cabaret format. . This her latest album takes the second route, delivering on a set of classic jazz standards loaded with jazz statements. The passion and heat of torch had been "You Don't Know What Love Is". Strong and unequivocal statements have also been added by the modern sounding alto of Andrew Speight. His long solo on this cut is one of the album's high spots. Storey also uses her significant swinging and scat skills on "Sometimes I'm Happy". (The other version of this tune on the CD is given a Samba kick.) Being an equal opportunity employer, Storey gives plenty of room for the rhythm section to stretch out, especially the bass opening by Michael Zisman, and the piano of Matthew Clark throughout. The level of enjoyment one experiences in hearing a CD, especially a vocal, is closely related to one's expectations . If you're looking for Fitzgerald or Abbey Lincoln every time out, then the return on the listening investment can be small. But if sights are lowered slightly, then there is a rich lode of music waiting out there to be appreciated. This is the case with Storey. No Billie Holiday, but very good in her own way. With an instinctive sense of phrasing, pitch and rhythm, whether it be an upbeat or ballad, she gives each tune its full due with a very rewarding result. Recommended. ~ Dave Nathan https://www.allaboutjazz.com/sometimes-im-happy-deanna-storey-im-so-pretty-review-by-dave-nathan.php

Sometimes I'm Happy

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Pete Escovedo - Flying South

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 54:45
Size: 128,5 MB
Art: Front

(1:37)  1. Flying South (intro)
(6:33)  2. Flying South
(5:42)  3. All This Love
(3:35)  4. Cabo Frio
(5:34)  5. Tiemblas
(3:38)  6. Flying Easy
(7:24)  7. Still Life
(4:56)  8. Esta Noche
(4:52)  9. Como Rien
(5:08) 10. Leyte
(1:17) 11. Canto Para Chango
(4:25) 12. El Alma De Carnival

An active force in Latin jazz since the '60s, Pete Escovedo is well-known in the San Francisco Bay area; not only as a seasoned percussionist and bandleader, but as the musical and spiritual head of the Familia Escovedo. His brother is fellow musician Coke Escovedo, and his children and relatives include percussionist/vocalist Sheila E., producer/bandleader/percussionist Peter Michael Escovedo, and Texas-based singer/songwriter Alejandro Escovedo. Flying South, a 1996 release, continues Escovedo's exploration of the musical region where Latin jazz, salsa, and pop meet. Featuring contributions from George Duke, Andy Narrell, and Najee, highlights include the title track, "Tiemblas," and a Cal Tjader composition, "Leyte." For fans of Koinania, Alex Acuna & the Unknowns, and pop/jazz/Latin crossover, this disc is a worthwhile buy. ~ Gregg Juke https://www.allmusic.com/album/flying-south-mw0000180346

Personnel: Pete Escovedo (vocals, drums, congas, bongos, guiro, timbales, percussion, bells); John Santos (vocals, shekere, percussion); Lalah Hathaway, Nikita Germaine, Pastiche (vocals); Ray Obiedo (guitar, piano); David Yamasaki (guitar); Melecio Magdaluyo (flute, saxophone, tenor saxophone); Najee (flute, soprano saxophone); Norbert Satchel, Norbert Stachel (flute); Gerald Albright (alto saxophone, tenor saxophone); Robbie Kwock, Robbie Kowck, Louis Fasman (trumpet, flugelhorn); Wayne Wallace (trombone, keyboards); Dave Gregoric, Jeff Cressman, Marty Wehner (trombone); George Duke, Murray Low (piano, keyboards); David Matthews , Rebeca Mauleón (piano); Sheila E., Sheila Escovedo (drums, congas, shekere, percussion); Francisco Aguabella (drums, percussion); Paul van Wageningen (drums); Juan Escovedo (congas, bongos, percussion); Juanita Escovedo (guiro, percussion); Andy Narell (steel drum, steel pan); Brittney Escovedo, Mom Escovedo, Pops Escovedo (percussion).

Flying South

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Denny Zeitlin - Wishing On The Moon

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 65:24
Size: 152,9 MB
Art: Front

(11:09)  1. All Of You
(10:12)  2. Wishing On the Moon
( 5:54)  3. As Long As There's Music
( 3:47)  4. Slickrock - Dawn, Gathering
( 4:04)  5. Slickrock - On the Trail
( 5:08)  6. Slickrock - Recovery
( 3:35)  7. Slickrock - On the Trail Again
( 6:55)  8. Put Your Little Foot Right Out
( 6:46)  9. There and Back
( 1:35) 10. Bass Prelude to Signs & Wonders
( 6:12) 11. Signs & Wonders

Pianist Denny Zeitlin never fails to make us smile and on an album like this, recorded many years after he first brought a new brightness to the world of jazz piano, we're still amazed at how he can unlock so many special moments with effortless ease! Zeitlin's always completely himself, but also never overstating his identity just casually sliding into these note structures that are as appealing and optimistic as they are fresh modernism, but from the brighter side of the sun aided by the work of Buster Williams on bass and Matt Wilson on drums. Titles include the originals "There & Back", "Signs & Wonders", "Wishing On The Moon", and "Slickrock" plus "All Of You" and "Put Your Little Foot Right Out".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/881969/Denny-Zeitlin:Wishing-On-The-Moon

Wishing On The Moon

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Major Holley - Excuse Me Ludwig

Bitrate: MP3@320K/s
Time: 59:36
Size: 136.4 MB
Styles: Bop, Swing
Year: 1977/2007
Art: Front

[4:16] 1. Excuse Me Ludwig
[4:39] 2. Blue Skies
[4:37] 3. Salty Mama Cassoulet
[3:09] 4. Lush Life
[4:23] 5. Lamb Stew For Slam
[5:51] 6. How High The Moon
[3:23] 7. Raincheck
[4:50] 8. Willow Weep For Me
[7:00] 9. Like Someone In Love
[3:54] 10. Excuse Me Ludwig
[6:43] 11. This Is The End Of A Beautiful Friendship
[6:45] 12. Stolen Sweets

Major Holley was best known for using the Slam Stewart trademark of singing along with his bowed bass solos, although he sang in unison while Stewart vocalized an octave above his bass. Otherwise, Major Holley (known as "Mule") was a fine supportive bassist. He originally played violin and tuba, but switched to bass while playing in Navy bands. He played with Dexter Gordon, Charlie Parker, and Ella Fitzgerald in the mid- to late '40s, and in 1950 did a series of duet recordings (never reissued) with Oscar Peterson. After a period working for the BBC in England, he toured with Woody Herman (1958), played with the Al Cohn-Zoot Sims quintet (1959-1960), and worked in the studios, in addition to appearing on some jazz recordings and having a stint with Duke Ellington (1964). Major Holley taught at Berklee (1967-1970), freelanced in New York, and recorded with everyone from Roy Eldridge and the Lee Konitz Nonet, to Quincy Jones; he even met up on two records with Slam Stewart. ~ Scott Yanow

Excuse Me Ludwig mc
Excuse Me Ludwig zippy

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Earth Jazz Agents - Plan A

Bitrate: MP3@320K/s
Time: 59:22
Size: 135.9 MB
Styles: Jazz-funk
Year: 2006
Art: Front

[5:16] 1. Pamela
[5:46] 2. Raindrops Keep Falling On My Head
[7:54] 3. All That Pain
[6:12] 4. Blues For Hiroshi
[6:32] 5. Tom Tom
[6:05] 6. Paradise Lost
[6:57] 7. 74th & Columbus
[7:59] 8. Speak Low
[6:37] 9. King Jaffe Jufer

Vincent Herring, as, ts; Anthony Wonsey, p, keys; Richie Goods, b; Joris Dudli, dm; Special guest Jeremy Pelt, tp, flgh.

We call ourselves a "Real Band", a spirited unit that has been touring intensly for the past 7 years and still doing so. We've been developing an original, contemporary sound that bridges tradition with our times. This band is invigorating, dynamic and energetic. Our fan base is growing and attracts new young listeners and satifies the long- established jazz fan.

Plan A mc
Plan A zippy

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Marshall Keys - Times Aligned

Bitrate: MP3@320K/s
Time: 60:44
Size: 139.0 MB
Styles: Saxophone jazz
Year: 2010
Art: Front

[6:44] 1. Times Aligned
[6:32] 2. Fifty-5
[5:48] 3. Night Vision
[4:22] 4. La Marsa
[5:22] 5. The Body That Loves You
[7:50] 6. Open Canvas
[6:19] 7. Suspended
[6:02] 8. Usmiou
[8:02] 9. Anywhere You Say
[3:41] 10. Almond Eyes

"Marshall Keys' dulcet tones and earthy compositions conjure the spirits of jazzmen past and future. From mainstream to contemporary, from bebop to hip hop, he plays the saxophone with a sense of grace and emotion that is wholly without cliché." ~Mike Sager, Esquire

His debut CD “Times Aligned” is a beautiful recording featuring performances by bassists Scott Ambush and David Dyson, keyboard magicians Federico Pena and Raymond Angry, drummer Dennis Chambers, guitarist Vinny Valentino, percussionists Gilad and Alfredo Mojica as well as cameos from Tom Schuman, Alex “Pope” Norris and Marshall’s wife Eva Hambach, who is also responsible for the CD design and web site graphic content. The result is a project that looks as good as it sounds.

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Rita Coolidge - Safe In The Arms Of Time

Bitrate: MP3@320K/s
Time: 51:09
Size: 117.1 MB
Styles: Pop-rock vocals
Year: 2018
Art: Front

[4:19] 1. Satisfied
[4:12] 2. Doing Fine Without You
[3:45] 3. Walking On Water
[4:26] 4. Spirit World
[4:26] 5. The Things We Carry
[5:23] 6. Naked All Night
[4:27] 7. Van Gogh
[3:37] 8. Rainbow
[4:23] 9. Over You
[4:02] 10. We Are Blood
[4:33] 11. You Can Fall In Love
[3:30] 12. Please Grow Old With Me

In many ways, Safe in the Arms of Time is both a reflection and a continuation of Coolidge’s remarkable history, one that took flight during the heyday of the ‘70s L.A. music scene when she sang backup on Stephen Stills’ “Love the One You’re With” and Eric Clapton’s “After Midnight.” (And astute music fans are well aware of how she contributed the classic – and uncredited – piano coda to Derek & the Dominoes’ “Layla.”) “The idea was making an album that had the same appeal of my early records – to make a roots record about my own roots,” Coolidge says.

And so it was only fitting that Coolidge and producer Ross Hogarth, along with an all-star lineup of top musicians – guitarist Dave Grissom, bassist Bob Glaub, keyboardist John “J.T.” Thomas, and drummer Brian MacLeod – assembled at L.A.’s Sunset Sound, the famed recording studio where she recorded her first solo albums on A&M Records 30 years ago. “Going back to Sunset Sound was taking a journey into the past – there was a memory down every hallway,” Coolidge says. Along with nostalgia, there was a hopeful eye toward the future, beautifully rendered on “You Can Fall in Love,” which Coolidge wrote with former Tom Petty drummer Stan Lynch and Joe Hutto. The track explores reconnecting with an old flame, and it embodies one of the album’s paramount themes: It’s never too late. “People need to have an awakening that you can fall in love at any age and it will feel right, like you’re 15,” Coolidge says. “I really wanted to have that message come across on the record.”

Coolidge wrote two of the album’s standout cuts – the sparky blues number “Naked All Night” and the smooth-soul gem “Walking on Water” – with Grammy-winning blues star Keb’ Mo’ and singer-songwriter Jill Colucci in Nashville. Trading vocals with Keb’ Mo’ on “Walking on Water” was a thrill for Coolidge, who enthuses, “I literally have every Keb’ Mo’ CD. I’ve been a fan for decades.”

Safe in the Arms of Time also gave Coolidge the chance to reunite with one of her real-life past flames, one who has remained a cherished friend, Graham Nash. Nash and drumming legend Russ Kunkel had offered Coolidge their smoky blues rocker “Doing Fine Without You” two years before she began recording. “I said to them, ‘I don’t know when I’m doing a record. Can I put this on hold?” When she and Hogarth started the project, it would be one of the first songs they picked. The “Delta Lady” (as she was named by her fellow Mad Dogs & Englishmen tour member Leon Russell) has captivated fans during her astonishing 50-year career, selling millions of copies of signature hits such as “We’re All Alone,” “The Way You Do the Things You Do,” “All Time High”, and “(Your Love Has Lifted Me) Higher and Higher.” Her eight-year relationship with former husband Kris Kristofferson yielded three top-selling albums (including the No. 1 hit Full Moon) and multiple Grammy Awards.

Safe in the Arms of Time marks the first new music Coolidge has recorded since the tragic death in 2015 of her beloved sister, Priscilla, a recording artist and member of Walela, the Native American trio she and Coolidge founded with Priscilla’s daughter, Laura Satterfield. The recording of the album also coincided with Coolidge’s relocation from Southern California to a new life in Tallahassee, where in the 1960s, as an art major at Florida State University, she discovered her true calling as a musician – and never looked back.

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Earl Bostic - Masters Of The Last Century: Best Of Earl Bostic

Bitrate: MP3@320K/s
Time: 89:13
Size: 204.2 MB
Styles: Saxophone jazz, R&B-Jazz
Year: 2013
Art: Front

[2:27] 1. Bostic's Boogie Blues
[2:48] 2. Memories
[3:13] 3. Hurricane Blues
[2:51] 4. Velvet Sunset
[3:08] 5. Shady Side Of The Street
[2:44] 6. Jumpin' Jack
[2:37] 7. Moonglow
[2:49] 8. Night And Day
[2:28] 9. The Very Thought Of You
[6:45] 10. Oh, Lady Be Good
[2:41] 11. Indiana
[2:41] 12. Sleep
[2:46] 13. For All We Know
[3:17] 14. The Man I Love
[2:35] 15. Linger Awhile
[3:01] 16. Smoke Gets In Your Eyes
[2:37] 17. Embraceable You
[2:39] 18. Harlem Nocturne
[2:36] 19. Temptation
[3:15] 20. Sleep
[2:46] 21. Cherokee
[2:54] 22. I'm Getting Sentimental Over You
[3:16] 23. All On
[2:35] 24. Serenade To Beauty
[2:18] 25. Harlem Nocturne
[2:45] 26. My Special Dream
[2:51] 27. The Moon Is Low
[2:48] 28. I Can't Give You Anything But Love
[2:43] 29. Earl Blows A Fuse
[4:06] 30. East Of The Sun

Alto saxophonist Earl Bostic was a technical master of his instrument, yet remained somewhat underappreciated by jazz fans due to the string of simple, popular R&B/jump blues hits he recorded during his heyday in the '50s. Born Eugene Earl Bostic in Tulsa, OK, on April 25, 1913, Bostic played around the Midwest during the early '30s, studied at Xavier University, and toured with several bands before moving to New York in 1938. There he played for Don Redman, Edgar Hayes, and Lionel Hampton, making his record debut with the latter in 1939. In the early '40s, he worked as an arranger and session musician, and began leading his own regular large group in 1945. Cutting back to a septet the next year, Bostic began recording regularly, scoring his first big hit with 1948's "Temptation." He soon signed with the King label, the home of most of his biggest jukebox hits, which usually featured a driving, heavy, R&B-ish beat and an alto sound that could be smooth and romantic or aggressive and bluesy.

In 1951, Bostic landed a number one R&B hit with "Flamingo," plus another Top Ten in "Sleep." Subsequent hits included "You Go to My Head" and "Cherokee." Bostic's bands became important training grounds for up-and-coming jazzmen like John Coltrane, Blue Mitchell, Stanley Turrentine, Benny Golson, Jaki Byard, and others. Unfortunately, Bostic suffered a heart attack in the late '50s, which kept him away from music for two years. He returned to performing in 1959, but didn't record quite as extensively; when he did record in the '60s, his sessions were more soul-jazz than the proto-R&B of old. On October 28, 1965, Bostic suffered a fatal heart attack while playing a hotel in Rochester, NY. ~bio by Steve Huey

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John Hicks - Hicks Time

Bitrate: MP3@320K/s
Time: 59:24
Size: 136.0 MB
Styles: Bop, Piano jazz
Year: 1998
Art: Front

[ 2:58] 1. Naomi's Love Song
[ 6:14] 2. Peanut Butter
[ 4:26] 3. Hick's Time
[ 7:55] 4. April Eyes
[ 4:10] 5. Redd's Blues
[ 4:52] 6. Reminds Me
[ 5:26] 7. Jest A Little
[ 5:23] 8. Two Heart Beats
[11:27] 9. Steadfast
[ 6:29] 10. After The Morning

Encompassing everything from rhythmic fire to filigree delicacy, and with a sense of dynamics that fully exploits the orchestral quality of the instrument, John Hicks is a consummate piano master. On Hicks Time, a brilliant solo excursion, Hicks exhibits all of his highly respected talents as both player and composer on eight originals and two Oliver Lake pieces.

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Malia - Ripples

Bitrate: MP3@320K/s
Time: 44:05
Size: 100.9 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[3:13] 1. Unfastened
[2:31] 2. Maddy
[3:25] 3. Little Darling
[2:38] 4. After The Love
[4:02] 5. Echoes Of Dreams
[4:00] 6. Little Bee
[2:42] 7. Little Sparrow
[4:56] 8. Mary Mary
[3:53] 9. My Love
[4:51] 10. Unfolding
[3:51] 11. Man In Your Eyes
[3:57] 12. I Miss You

A gifted vocalist whose instrument is both strong and sensual, British jazz singer Malia was born into a family of mixed African and English heritage in the small East African country of Malawi, which borders Mozambique, Tanzania, and Zambia. Malia had limited exposure to music growing up -- her neighborhood could only pull in two radio stations (one in the native language of Chewa, the other in English), and her father's record collection was dominated by the Beatles. That changed when political unrest forced her family to flee Malawi and relocate to London when Malia was 14 years old. Malia took great interest in the rich musical landscape that surrounded her, immersing herself in the dance-oriented new wave sounds dominating the English music scene. The music of Sarah Vaughan and Billie Holiday soon came into her life and transformed her worldview, as she was introduced to influential black artists for the first time.

Malia soon set her sights on a career in music. After finishing school, Malia took work as a waitress while she organized a band to accompany her, singing ballads and jazz standards in bars and clubs around London. She experienced a breakthrough during a visit to New York City; at a New York café she heard a pop-jazz track sung in French by vocalist Liane Foly that had been produced by Berklee School of Music graduate Andre Manoukian. Malia was entranced by the enticing mix of pop and jazz sensibilities, and she contacted Manoukian to solicit his help. The pair admired each other's musical ideas and potential, and they set to work on Malia's debut album, Yellow Daffodils, released in 2002. Though the release featured English lyrics, Malia gained enormous recognition in France and Germany. Her subsequent releases, Echoes of Dreams (2004) and Young Bones (2007), found favor among jazz fans across Europe thanks to Malia's unique smoky vocal timbre and sensitive interpretations.

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Pat Kelley - Overtones For 2 Guitars

Bitrate: MP3@320K/s
Time: 60:46
Size: 139.1 MB
Styles: Guitar jazz
Year: 2014
Art: Front

[7:05] 1. Stompin' At The Savoy (Feat. Bruce Forman)
[5:20] 2. Full House (Feat. Anthony Wilson)
[5:03] 3. Impulsive Blues (Feat. John Stowell)
[7:33] 4. Body And Soul (Feat. John Pisano)
[5:51] 5. If I Were A Bell (Feat. John Storie)
[7:22] 6. Corcovado (Feat. Frank Potenza)
[7:28] 7. Nobody Else But Me (Feat. Peter Bernstein)
[5:35] 8. How Deep Is The Ocean (Feat. Howard Alden)
[6:02] 9. Emily (Feat. Larry Koonse)
[3:21] 10. Minor Inconvenience

In his wide-ranging career, Pat Kelley has appeared on more than 2,000 sessions as a studio guitarist, he has often performed with his friend George Benson, and he has been on many smooth and pop sets. However one should never underrate his talents as a jazz soloist.

On Overtones 4 Two Guitars, Kelley performs one duet apiece with guitarists Bruce Forman, Anthony Wilson, John Stowell, John Pisano, John Storie, Frank Potenza, Peter Bernstein, Howard Alden and Larry Koonse. The music is comprised of straight ahead renditions of standards (plus an original blues) including such numbers as “Stompin’ At The Savoy,” “Body And Soul,” “Nobody Else But Me” and “How Deep Is The Ocean.” Even with all of the different guitarists involved, there is a strong unity and consistency to the set with each performance swinging, featuring some friendly competition and lots of good vibes and interplay.

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Chris Parker - Moving Forward Now

Bitrate: MP3@320K/s
Time: 74:37
Size: 170.8 MB
Styles: Bop, Contemporary jazz
Year: 2017
Art: Front

[7:32] 1. Battle Hymn Of The Republic
[7:16] 2. Adagio Sostenuto
[4:53] 3. Moving Forward Now
[5:47] 4. Beatrice
[7:20] 5. Trippin-A-Let
[5:35] 6. Don't Think Twice It's All Right
[8:11] 7. Positive Energy
[6:29] 8. Autumn Leaves
[8:26] 9. It's No Secret
[2:22] 10. Discovery
[4:03] 11. The Process
[3:33] 12. Arrival
[3:05] 13. Enjoy The Process

“Battle Hymn of the Republic” might not seem like an obvious choice for the opening track on a jazz musician’s first album as a leader, but for drummer Chris Parker, a percussive call-to-arms translated into a swinging groove is highly appropriate. Parker’s indomitable spirit, his omnivorous capacity to play numerous instruments and to operate in a wide variety of jazz contexts, is represented here by his eclectic choice of repertoire and a turn on tenor sax for his lovely, Coltranesque ballad “Positive Energy” (a fitting title from this exuberant young artist). He also shows off his arranging chops on tunes ranging from Bob Dylan’s “Don’t Think Twice, It’s All Right” (featuring singer Rachel Caswell) and Sam Rivers’ jazz standard “Beatrice” to the aforementioned “Battle Hymn” and Rachmaninoff’s “Adagio Sostenuto.” In addition, there’s an ambitious four-part suite, “Then and Now,” the punchy funk of the title track, and the hip, laid back, infectiously-catchy “It’s No Secret,” that give evidence of a compelling compositional gift. This debut outing is no one-man band, however; Parker has enlisted some of the best jazz musicians in the Midwest, including bassist Jeremy Allen, saxophonists Jamey Aebersold (showcased on “It’s No Secret”) and Rob Dixon (who powers the evolutionary surge of “Then And Now Suite”), pianist Luke Gillespie, clarinetist Frank Glover, trumpeter Pat Harbison, and guitarist Dave Stryker (check out his tour de force solo on “Trippin-A-Let")—testament to the respect that he’s already earned from his older colleagues. Moving Forward Now leaves me excited to hear where Chris Parker will be going next; wherever it is, he’s well on his way. ~David Brent Johnson

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