Wycliffe Gordon - The Search

Styles: Trombone Jazz
Year: 2000
File: MP3@320K/s
Time: 65:22
Size: 150,2 MB
Art: Front

(6:37)  1. Cheeky
(5:52)  2. What Is This Thing Called Love
(3:25)  3. He Looked Beyond My Fault (Danny Boy)
(5:29)  4. Frantic Flight
(7:16)  5. The Search (Part I and II)
(5:42)  6. Touch It Lightly
(4:31)  7. Georgia on My Mind
(2:49)  8. Sweet Georgia Brown
(5:14)  9. Blues for Deac'n Cone
(5:43) 10. Sign Me Up
(5:05) 11. Stardust
(5:22) 12. Ba-Lue Bolivar Ba-Lues
(2:12) 13. Rhythm-A-Ning

Nagel Heyer knows a good thing when it sees or rather, hears it. It has brought trombonist Wycliffe Gordon to the studio or captured him at live performances several times during the year, either, as here, as a leader or as a sideman with other Nagel Heyer jazz artists. Judging from the play list expand Gordon's recorded output. Consequently, the CD's agenda includes not only some classic standards, but modern music by Thelonious Monk, a couple of blues things and five originals by Gordon. Gordon and his colleagues clearly enjoy the diverse list they have been asked to perform. There's musical testifyin' on the traditional Sign Me Up where Gordon displays his agility on the Tuba. Then comes the dripping corn pone, chicken gravy Southern blues on "Blues for Deac'n Cone" with the piano of Eric Reed and the bass trombone of Roger Floreska getting important air time. We also hear Gordon on the didgeridoo. So what's a didgeridoo? This long, straight instrument has been used for many years in the playing of traditional aboriginal music. It's a big thing in Australia to the point of being the subject of several of its own web sites. It is the main instrument on Gordon's "The Search" and variously sounds like a mouth organ, drum, a tightly strung fiddle and some others I can't quite place. But it is unique and when used in combination with other instruments like Winard Harper's drum, it is important to the statement Gordon wants to make through this composition.  Other to note include a beautiful haunting rendition of "Stardust" by Gordon and Reed with their contrasting styles giving some new life to this classic tune and a swinging Gordon composed "Cheeky". Confident in his expertise as a trombonist, Gordon is not averse to inviting other significant players of that instrument to join him on this CD. All these trombones recall those J. J. Johnson/Kai Winding Octet recordings from the 1960's. The trombone choir approach is used effectively on "Danny Boy". This is a top flight album of excellent music skillfully arranged and played with imagination and verve. Highly recommended. ~ Dave Nathan https://www.allaboutjazz.com/the-search-wycliffe-gordon-review-by-dave-nathan.php?width=1536

Personnel: Wycliffe Gordon : trombone, tuba, didgeridoo; Marcus Printup: trumpet; Ron Westray: trombone; Delfeayo Marsalis: trombone; Jen Krupa: trombone; Dave Gibson: trombone; Roger Floreska : bass trombone; Victor Goines: tenor saxophone; Walter Blanding, Jr.: tenor saxophone; Ted Nash: alto saxophone, flute; Eric Reed: piano; Rodney Whitaker: bass; Winard Harper: drums, percussion; Herlin Riley: drums, percussion.

The Search

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Kenny Drew - Moonlit Desert

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 38:27
Size: 88,1 MB
Art: Front

(5:46)  1.Moonlit Desert
(4:35)  2 Solveig's Song
(4:15)  3 Kay-Dee
(4:41)  4 Stardust
(4:03)  5 Roselil
(4:24)  6 Prelude To A Kiss
(6:11)  7 Blues Wail
(4:29)  8 Star Crossed Lovers

Kenny Drew is joined by bassist Niels Pedersen and drummer Ed Thigpen, along with members of the Royal Danish Chamber Orchestra on this 1982 recording made originally for the Japanese label Baystate. Drew's playing is surprising laid-back and someone introspective for the most part. His arrangement of classical composer Edvard Grieg's "Solveig's Song" is masterful, with the addition of strings and a solo flute. Ernie Wilkins, who wrote the arrangements for the remaining tracks, also composed the boisterous "Kay-Dee," which adds a brass section to augment the trio. Alto flute plays a prominent role in the scoring of the standard "Stardust," showcasing Drew's ability to interpret ballads. Pedersen's prominent bass is a key component of the string-laden scoring of "Prelude to a Kiss," while another piece from the Duke Ellington songbook, "The Star-Crossed Lovers," is at first nearly overcome by overly sweet strings, but Pedersen's marvelous solo helps overcome this liability. While this CD may not appeal to fans of Drew's typical trio recordings in a hard bop setting, those with open minds will enjoy it.~ Ken Dryden https://www.allmusic.com/album/moonlit-desert-mw0000346012 

Personnel:  Kenny Drew  piano;  Niels-Henning Ørsted Pedersen  bass;  Ed Thigpen  drums;  Ernie Wilkins  conductor, arranger

Moonlit Desert

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Slam Stewart - Fish Scales

Styles: Jazz, Post Bop 
Year: 2005
File: MP3@320K/s
Time: 62:05
Size: 142,9 MB
Art: Front

(3:27)  1. I Want To Be Happy
(5:34)  2. The One I Love Belongs To Somebody Else
(3:34)  3. Fish Scales
(5:12)  4. At Sundown
(5:35)  5. Memories Of You
(3:53)  6. Bye Bye Blackbird
(4:59)  7. Undecided
(4:49)  8. Sleep
(3:01)  9. Runnin' Wild
(4:47) 10. St.James Infirmary
(4:26) 11. I'm Just Wild About Harry
(3:36) 12. Fish Scales (Take 1)
(5:07) 13. Undecided (Take 1)
(3:57) 14. Bye Bye Blackbird (Take 1)

The late bassist Slam Stewart had relatively few opportunities to record as a leader, and most of them took place in the last 15 years of his life. Noted for playing bass while simultaneously scat singing an octave above it, he is, of course, the primary soloist on nearly every track of Fish Scales. This CD compiles portions of three studio dates which originally appeared on two Black & Blue LPs, adding a pair of previously unreleased tracks. Most the music comes from a quartet date with pianist Johnny Guarnieri, guitarist Jimmy Shirley, and drummer Jackie Williams, all of whom acquit themselves during their brief solos. Unfortunately, the tempos for many of the songs are rather turgid compared to other versions recorded elsewhere by Stewart, whether as a leader or sideman. A turbocharged duet with drummer Jo Jones, "Foolin' Around" eventually adds pianist Gene Rodgers to its swinging conclusion, while "Indiana" pales in comparison to Stewart's famous 1945 Town Hall performance with tenor saxophonist Don Byas. A rather subdued but extended "Willow Weep for Me" features Al Casey's bluesy guitar along with Wild Bill Davis (on piano rather than his customary organ) and drummer Joe Marshall; this track feels more like a warm-up to a session or something that would have normally been rejected by most producers. Overall, this is an enjoyable but hardly essential CD for fans of Slam Stewart. ~ Ken Dryden https://www.allmusic.com/album/fish-scales-mw0000267708

Personnel includes: Slam Stewart (bass), Jo Jones (drums) Johnny Guarnieri, Wild Bill Davis, Al Casey.

Fish Scales

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Grace Kelly - Go Time Brooklyn

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 33:27
Size: 76,7 MB
Art: Front

(5:46)  1. It Don't Mean a Thing
(5:08)  2. Count on Me
(6:14)  3. Trying to Figure It Out
(6:07)  4. Green Chimneys (SaxDrum Duet)
(4:53)  5. By the Grave
(5:16)  6. Billie Jean

Not to be confused with the famous Philadelphia-born actress who became Princess Grace of Monaco and died in 1982, the Grace Kelly profiled in this bio is a straight-ahead jazz saxophonist/singer who had several albums in her catalog before she was 17. The precocious New England native has made the alto sax her primarily instrument, but she also plays the tenor and soprano saxes and Kelly can play clarinet, flute, acoustic piano, and drums, as well. At times, Kelly will put down her saxophone and sing, although she is an instrumentalist first and foremost. Kelly has included original compositions in her repertoire along with jazz and Tin Pan Alley standards, but unlike a lot of straight-ahead jazz artists, she does not shy away from rock or R&B songs. Kelly has recorded her share of Beatles classics, and she has also provided jazz interpretations of Bill Withers' "Ain't No Sunshine" and Stevie Wonder's "Signed, Sealed, Delivered, I'm Yours." Charlie Parker, Jackie McLean, Phil Woods, Sonny Stitt, and Cannonball Adderley are among the saxophonist/singer's prominent influences on alto, whereas on tenor and soprano, one hears elements of Wayne Shorter, John Coltrane, and Stan Getz in her playing. In fact, Kelly has been quoted as saying that hearing Getz (who her mother listened to frequently at home) was the thing that inspired her to take up the sax when she was a child. https://itunes.apple.com/us/album/go-time-brooklyn/1384252597

Go Time Brooklyn

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Fred Wesley, Leonard Corradi, Tony Match - Generations

Bitrate: MP3@320K/s
Time: 57:21
Size: 131.3 MB
Styles: Soul/Jazz/Funk
Year: 2015
Art: Front

[2:45] 1. Eight Counts For Rita
[7:29] 2. Road Songs
[6:11] 3. The Old Man
[5:32] 4. Back At The Chicken Shack
[5:45] 5. Slide Man
[5:27] 6. Midnight Special
[5:44] 7. The Sidewinder
[5:43] 8. Got My Mojo Working
[7:15] 9. House Party
[5:24] 10. Caravan

Drums – Tony Match; Organ [Hammond B3] – Leonardo Corradi; Trombone, Vocals – Fred Wesley. Live performance recorded during June 2014.

It was supposed to be a one night affair. A French promoter had assembled international top musicians to pay homage to the late great organist Jimmy Smith. In one combination the elder statesman of the Funk trombone Fred Wesley met two young musicians who could be his son and grandson: British drummer Tony Match and the new Hammond star Leonardo Corradi from Italy. The chemistry was just right and the three of them decided to keep on performing as a unit. After several succesful tours which took them throughout Europe they finally release a live-CD and with Generations they have found a very fitting band name. The repertoir features besides tunes from Jimmy Smith classics from the Blue Note mid -sixties era by the likes of Lee Morgan. Fred Wesley´s most famous tune House Party finds a jazy new setting. Relaxed, spirited and extremely groovy and if you want to test your friends: most likely they will think is is a very good live recording from the sixties.

Generations

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Tony Bennett - Viva Duets

Bitrate: MP3@320K/s
Time: 48:52
Size: 111.9 MB
Styles: Vocal
Year: 2012
Art: Front

[3:36] 1. The Best Is Yet To Come (with Chayanne)
[4:02] 2. The Way You Look Tonight (with Thalia)
[2:01] 3. Steppin' Out With My Baby (with Christina Aguilera)
[3:06] 4. For Once In My Life (with Marc Anthony)
[2:42] 5. Are You Havin' Any Fun (with Dani Martin)
[4:34] 6. Blue Velvet (with Maria Gadu)
[3:20] 7. The Good Life (with Franco de Vita)
[3:00] 8. I Wanna Be Around (with Ricardo Arjona)
[3:51] 9. Who Can I Turn To (with Gloria Estefan)
[2:38] 10. Don't Get Around Much Anymore (with Michael Bose)
[4:00] 11. The Very Thought Of You (with Ana Carolina)
[2:16] 12. Just In Time (with Juan Luis Guerra)
[3:15] 13. Cold, Cold Heart (with Vicenteco)
[2:37] 14. Rags To Riches (with Romeo Santos)
[3:47] 15. Return To Me (Regresa A Mí) (with Vicente Fernandez)

VIVA DUETS is the third duets-themed project from 17-time Grammy winner Tony Bennett, following the platinum selling and critically praised DUETS and DUETS II CDs. Featuring many top names in the Latin recording industry, VIVA DUETS finds Bennett performing his greatest hits with a celebrated roster of artists including Marc Anthony, Christina Aguilera, Ricardo Arjona, Chayanne, Franco De Vita, Gloria Estefan, Vicente Fernández, Juan Luis Guerra, Dani Martín, Romeo Santos, Thalía and Vicentico. A truly international endeavor, VIVA DUETS, features performances in English and Spanish, with artists representing nine countries and three continents.

Tony Bennett is known for recording duets live and VIVA DUETS was no exception, with sessions recorded in Ft. Lauderdale, New York, and in the case of famed Mexican performer Vicente Fernández, on his 400 acre ranch in Guadalajara. All of the tracks are from Bennett’s extensive hit catalog, with the exception of the duet with Vicente Fernández, which features an English/Spanish version of the song, "Return To Me," originally recorded by Dean Martin. VIVA DUETS presents Bennett's classic songs with an international flavor that will generate widespread appeal for this unique multi-lingual presentation. Working with this unprecedented list of Latin artist, many of whom he met for the first time in the recording studio, Bennett commented, “Each of these artists were so warm and welcoming that there was an instant rapport. Latin music has always been about melody and harmony and a lot of soul, so there was a very close artistic connection with each duet guest. I am absolutely thrilled about the record.”

Viva Duets mc
Viva Duets zippy

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The Bill Holman-Mel Lewis Quintet - Jive For Five

Bitrate: MP3@320K/s
Time: 43:00
Size: 98.4 MB
Styles: Bop, Saxophone jazz
Year: 1959/1985
Art: Front

[7:47] 1. Out Of This World
[6:55] 2. Mah Lindy Lou
[6:24] 3. Liza
[6:28] 4. The Beat Generation
[6:44] 5. 502 Blues Theme
[8:39] 6. Jive For Five

Bass – Wilford Middlebrook; Drums – Mel Lewis; Piano – Jimmy Rowles; Tenor Saxophone – Bill Holman; Trumpet – Lee Katzman.

For a brief time, tenor saxophonist Bill Holman and drummer Mel Lewis led a hard-swinging quintet based in Los Angeles. Trumpeter Lee Katzman, pianist Jimmy Rowles and bassist Wilford Middlebrook complete the group, a band that benefits greatly from the arrangements of Holman. Rowles contributed "502 Blues Theme," Holman brought in two songs, and the unit also performs the obscure "Mah Lindy Lou" and two originals. This album (originally on the Andex label) serves as proof that not all jazz recordings from Los Angeles in the 1950s are quiet and cool. ~Scott Yanow

Jive For Five mc
Jive For Five zippy

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Dick Katz - In High Profile

Bitrate: MP3@320K/s
Time: 38:35
Size: 88.3 MB
Styles: Bop, Swing
Year: 1984/2016
Art: Front

[4:08] 1. Laverne Walk
[4:43] 2. Crazy She Calls Me
[4:49] 3. A Few Bars For Basie
[4:26] 4. But Not For Me
[5:56] 5. Cousin Mar
[4:48] 6. Friday The 13th
[5:16] 7. Lament
[4:25] 8. No Matter What

Bass – Marc Johnson; Drums – Al Harewood; Flute, Tenor Saxophone – Frank Wess; Piano – Dick Katz; Trombone – Jimmy Knepper.

Through the years, pianist Dick Katz through played an important role behind the scenes on many recording dates, including notable sets by Helen Merrill and Lee Konitz. He has led relatively few sessions of his own, making this quintet outing with Frank Wess (mostly on flute but taking "A Few Bars for Basie" on tenor), trombonist Jimmy Knepper, bassist Marc Johnson and drummer Al Harewood a special occasion. Actually, the horns sit out on four of the eight selections, which are more spontaneous trio features, while the full band tracks sport Katz's colorful arrangements. Highlights of the now out-of-print set include Oscar Pettiford's "Laverne Walk," "Crazy She Calls Me," John Coltrane's "Cousin Mary," and Thelonious Monk's "Friday the 13th." ~Scott Yanow

In High Profile mc
In High Profile zippy

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Sonia Cat-Berro Quintet - Keep In Touch

Bitrate: MP3@320K/s
Time: 56:53
Size: 130.2 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[6:05] 1. Doodle-Ee-Oo The Song
[6:52] 2. Follow Me If You Can
[5:37] 3. Journey Through Life
[3:41] 4. Let Yourself Go / Puttin On The Ritz
[6:45] 5. Inside
[4:41] 6. Forget About It
[5:31] 7. So Clear
[5:03] 8. Everything Happens To Me
[5:28] 9. Meandering Way
[7:04] 10. Angel Glow

Sonia Cat-Berro is a jazz singer. With that we say the meaning of the swing. The intimate closeness of the sentence and the rhythm. Also says his approach of the sensual. But even if we had said it, we would not have said everything. It should be added that while Sonia-Cat Berro has assimilated what she owes to those who preceded her, she is also a singer of jazz rooted in her time, who looks and listens right in front of her modern jazz that is practiced in today's clubs and with which she creates her own aesthetic. And Sonia Cat-Berro is certainly part of this generation of jazz that will seek his inspiration as much at Joshua Redman than at the Pink Floyd or the heroes of English pop. You just had to sing that jazz. ". ~Jean-Marc Gélin, Jazz News.

Raised to the music and jazz of Monk, Mingus, and Ella Fitzgerald at the bottle with the perfect disco of a music lover father, and after a childhood punctuated by piano lessons, dance, theater and choir, Sonia Cat -Berro joins studies in literature and history at the Sorbonne. Studies that she abandons in full partiels to return to the CIM, the oldest jazz schools in Paris and join the passion that animates and nourishes it really: jazz.

She meets the future fine flower of Parisian jazz, studies singing, piano, harmony and develops musical qualities recognized today by her peers, who see in her more than a singer we accompany: a true musician. The intimacy with the vocal work, the research on the instrument which is the body, gave birth to a flawless musicality and an elegant, solid vocality without ever forcing, mixture of naturalness, authenticity and sophistication where the Mannerism has no place: a true sound, a phrasing, a stage energy that make it unlike any other. (Translated from French.)

Keep In Touch mc
Keep In Touch zippy

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Stuff Smith (With Svend Asmussen & Paul Olsen) - Hot Violins

Bitrate: MP3@320K/s
Time: 58:21
Size: 133.6 MB
Styles: Violin jazz
Year: 1967/1991
Art: Front

[6:04] 1. C-Jam Blues
[8:57] 2. Caravan
[5:40] 3. Timme's Blues
[4:19] 4. Oh, Lady Be Good
[6:09] 5. Hello Copenhagen
[5:42] 6. Swingin' Softly
[5:56] 7. One O'clock Jump
[6:15] 8. How High The Moon
[4:55] 9. Swingin' Bach
[4:19] 10. Stand By Blues

Violinist Stuff Smith is heard on this CD during three different dates from his later years when he lived in Copenhagen. Best are four hard-swinging collaborations with fellow violinist Svend Asmussen, including a charming version of "Lady Be Good" that has both of the fiddlers singing. In addition, Smith performs two of his originals in 1967 with the Kenny Drew Trio (seven months before his death) and matches up with violinist Poul Olsen (who sounds a bit like Stuff) on four numbers, including a riff-filled "One O'Clock Jump." An excellent and well-recorded release by the exciting swing violinist Stuff Smith. ~Scott Yanow

Hot Violins mc
Hot Violins zippy

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Jerry Bergonzi - By Any Other Name

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 65:42
Size: 150,9 MB
Art: Front

( 7:22)  1. PG 2013
( 6:00)  2. Of A Feather
( 8:14)  3. First Lady
( 6:42)  4. Sprung
( 9:42)  5. Deek
( 8:15)  6. Wilbur
( 8:12)  7. A Granny Winner
(11:13)  8. 114 W. 28th Street

Jerry Bergonzi has been in a groove in the studio, turning out a succession of first-rate albums for Savant that have solidified his status as one of America’s premier living tenor saxophonists. He still isn’t well known beyond the East Coast, where his duties at New England Conservatory keep him most of the year. But even if this collection of originals explicitly based on jazz classics fails to give him the commercial boost of higher-profile concept albums, it casts intriguing light on his post-Coltrane sensibility. In addition to relying on staples such as “Giant Steps,” “I’ll Remember April” and “Bye Bye Blackbird,” By Any Other Name distinguishes itself from its predecessors through Bergonzi’s rewarding frontline pairing with trumpeter Phil Grenadier and the leader’s overdubbing himself on piano on all eight tracks. (On his 2010 album, Three for All, he overdubbed himself on soprano saxophone.) The horns impart a close-knit bop-school chemistry reminiscent of Sonny Rollins and Clifford Brown, while Bergonzi’s keyboard comping adds color and texture without getting in the way of his tumbling phrases and closed-in intensity on tenor.mThe inspiration Bergonzi the composer finds in the classic tunes is mirrored by the inspiration Bergonzi the saxophonist finds in the sounds of past tenor greats ranging from Joe Henderson (on the more soulful settings) to Stan Getz (on the liquid melodies). With the support of bassist Will Slater and Armenian drummer Karen Kocharyan (a tandem that has also backed another Boston tenor legend, George Garzone), Bergonzi and the boldly expressive Grenadier provide textbook improvising. “Sprung,” based on “Joy Spring,” is a particular delight, adding a hard-edged potency to the Clifford Brown favorite without losing its melodic appeal.~ Lloyd Sachs https://jazztimes.com/reviews/albums/jerry-bergonzi-by-any-other-name/

Personnel: Jerry Bergonzi (tenor saxophone, piano); Phil Grenadier (trumpet); Karen Kocharyan (drums).

By Any Other Name

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John Hicks - Friends Old and New

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 51:11
Size: 117,5 MB
Art: Front

(7:54)  1. Hicks Tone
(5:56)  2. I Want to Talk About You
(5:00)  3. Bop Scotch
(6:32)  4. True Blue
(6:43)  5. It Don't Mean a Thing
(7:29)  6. Nutty
(6:25)  7. Makin' Whoopee
(5:08)  8. Rosetta

'92 session with pianist John Hicks playing in various combo settings with some excellent musical associates. Bassist Ron Carter, tenor saxophone dynamo Joshua Redman, trumpeter Clark Terry, trombonist Al Grey, and drummer/vocalist Grady Tate are among the friends who join Hicks for some powerhouse numbers.~ Ron Wynn https://www.allmusic.com/album/friends-old-and-new-mw0000611938  

Personnel:  John Hicks – piano;  Greg Gisbert – trumpet;  Clark Terry – trumpet;  Al Grey – trombone;  Joshua Redman – tenor sax;   Ron Carter – bass;  Grady Tate – drums

Friends Old and New

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Major Holley - Major Step

Styles: Jazz, Post Bop
Year: 1992
File: MP3@320K/s
Time: 61:52
Size: 142,9 MB
Art: Front

( 5:49)  1. Major Step
( 7:38)  2. Yes Indeed
( 7:54)  3. Red Dressed Baby
( 4:42)  4. Blues for Alice
( 5:50)  5. What Am I Here For
( 6:30)  6. The Fuzz
( 7:18)  7. Old Folks
( 6:03)  8. Lester Leaps In
(10:04)  9. Buzzy

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 https://itunes.apple.com/us/album/major-step/292157145

Personnel:  Major Holley  double bass;  Rein de Graaff  piano;  Joe Van Enkhuizen tenor saxophone;  Han Bennink  drums.

Major Step

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Lynne Arriale Trio - Give Us These Days

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 50:31
Size: 117,0 MB
Art: Front

(6:18)  1. Woodstock
(6:24)  2. Appassionata
(5:46)  3. Finding Home
(5:12)  4. Give Us These Days
(5:17)  5. Slightly off Center
(5:20)  6. Another Sky
(6:01)  7. Let It Be
(5:02)  8. Over and Out
(5:06)  9. Take It with Me

Whether as a soloist or leader of the ensembles Lynne Arriale’s artistry and influence are profound, have elevated her stature as composer, arranger and performer to a renown shared by few other jazz musicians. Jazz, especially as played by a small ensemble such as the Lynne Arriale Trio, breaks with the tradition to speak with one voice and grants the musicians an opportunity for individual creativity and spontaneous interaction. Therefore, it may be more accurate to characterize jazz performance as a musical conversation among the players shared with an audience. Jazz, the most democratic music, charges each musician with an obligation to accompany and support the others, but it also grants each one a number of occasions to lead the band with a solo. Group interaction as practiced by this trio is a fine blend of virtuoso playing, individual assertiveness, selflessness, cooperation and a shared commitment to fashion an ensemble sound greater than the sum of its parts. “Give Us These Days” is ambitious in its conception and its unbridled sense of wonder. Evolved from the creative genius that foretold her reputation as an extraordinary piano poet and composer, the six original tunes and three arrangements on this CD chart a new course for the trio. It leads, ever so gently, to the chambers of the heart, there to reflect upon the precious and ephemeral nature of existence. What emerges is the theme of this record, brilliantly illuminated by the title track: Given the unpredictability and impermanence of life, savor each moment. Her playing on these pieces is powerful; informed by rigorous classical training, prodigious technique, and seemingly boundless creativity. There is more; a quiet morality nurtured by her unflagging devotion to this music, unfettered by ego, and lifted by a palpable sense of spiritual equanimity. Lynne’s fellow presenters are both from the Netherlands; double bassist and co-producer, Jasper Somsen and drummer Jasper van Hulten. Jasper Somsen known for his signature sound, feel and lyricism. Jasper van Hulten brings propulsive energy to the group, focused by his sensitivity to the subtleties and conventions of trio drumming. The last word in this remarkable musical discourse is given over to Kathleen Brennan and Tom Waits’ Take It With Me, a delicate and winsome farewell lovingly sung by vocalist Kate McGarry. The masterful duet by Kate and Lynne perfectly conveys the song’s message of humility and gratitude; a most fitting end to this memorable production, and to life itself.

Give Us These Days

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Rufus & Chaka Khan - Live: Stompin' At The Savoy

Bitrate: MP3@320K/s
Time: 77:08
Size: 176.6 MB
Styles: Funk, R&B, Soul
Year: 1983
Art: Front

[5:36] 1. You Got The Love
[4:25] 2. Once You Get Started
[3:37] 3. Dance Wit Me
[3:28] 4. Sweet Thing
[3:39] 5. Tell Me Something Good
[5:41] 6. You're Welcome, Stop On By
[4:31] 7. Pack'd My Bags
[4:06] 8. I'm A Woman
[3:39] 9. At Midnight
[4:14] 10. Don't Go To Strangers
[3:29] 11. Ain't That Peculiar
[5:50] 12. Stay
[4:24] 13. What Cha' Gonna Do For Me
[6:50] 14. Do You Love What You Feel
[4:41] 15. Ain't Nobody
[4:10] 16. One Million Kisses
[4:39] 17. Try A Little Understanding

Alto Saxophone, Flute – Larry Williams; Arranged By [Horns], Trumpet – Jerry Hey; Backing Vocals – Julia Tillman*, Lee Maiden, Stephanie Spruill; Bass – Bobby Watson; Drums – John Robinson (2); Guitar, Vocals – Tony Maiden; Keyboards – David "Hawk" Wolinski, Kevin Murphy (2); Percussion – Paulinho Da Costa (tracks: 2-5 to 2-8); Percussion [Live Recordings] – Lenny Castro (tracks: 1-1 to 2-4); Piano – Joe Sample (tracks: 2-8); Rhythm Guitar [Live Recordings] – David Williams (4) (tracks: 1-1 to 2-4); Synthesizer [Additional] – James Newton Howard (tracks: 2-5 to 2-8); Synthesizer [Bass] – Greg Phillinganes (tracks: 2-7); Tambourine [Live Recordings] – Stephanie Spruill (tracks: 1-1 to 2-4); Tenor Saxophone, Flute – Gary Herbig; Tenor Saxophone, Flute, Soloist [All Sax Solos] – Ernie Watts; Vocals – Chaka Khan.

Rufus' 1983 double LP, Stompin' at the Savoy (Live) was an ambitious, eccentric, and occasionally patchy affair that grew out of a series of live shows the group staged during 1982. With Chaka Khan at least temporarily back in the fold, the band stunned packed audiences with an energetic set of old favorites and new material, even as a second Khan reunion album, Camouflage, foundered. The idea for this set, and what ultimately became the group's last album, grew out of those live shows. Recorded over three nights in January at the fabled New York venue, Stompin' At the Savoy (Live) packs three sides with live performance, leaving the fourth, a studio mini-set of all new material, the odd man out at the end. Those three live sides not only capture the effervescent spirit that infused the band whenever Khan added her phenomenal soul vocals to the funk-rock aggregate, but also wowed fans with passionate revamps of some of Rufus' brightest moments -- both "Tell Me Something Good" and "What Cha' Gonna Do for Me" are powerhouse numbers, while "Dance Wit Me" and "Sweet Thing" follow behind. It's only when we come to the studio side that the effort unravels. With a handful of songs that are essentially throwaways, it's just the lone gem, "Ain't Nobody," that salvages the moment. Completely fresh, and shunting the latter day band from lukewarm to white hot, "Ain't Nobody" scored the band their 5th R&B #1 when it debuted at the top of the charts in July 1983. And although Rufus disbanded not long after, both Stompin' at the Savoy (Live) and "Ain't Nobody" ensured that the band would exit the scene on a note as high, if not higher, than they entered it. ~Amy Hanson

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Jeff Uban - Shift In Times

Bitrate: MP3@320K/s
Time: 68:56
Size: 157.8 MB
Styles: Trumpet jazz
Year: 2008
Art: Front

[5:29] 1. Dig
[6:47] 2. Shift In Times
[6:58] 3. Clever Trever
[7:18] 4. Last Goodbye
[5:15] 5. Have You Met Miss Jones
[4:49] 6. Keepin' It Real
[5:23] 7. My Love, My Pain
[4:59] 8. Monk-Eying Around
[6:59] 9. Right Place, Wrong Time
[7:19] 10. Everything I Love
[5:36] 11. This, That, N' More
[1:59] 12. Here's That Rainy Day

Jeff Uban - Trumpet; Eric Bernhardt - Tenor Sax; Clint Dadian - Guitar; Eric Gunnison - Piano; Ken Walker - Bass; Mike Marlier - Drums.

Life is uncertain, unstable, always changing. Sometimes you have to know when to hold on and when to let go. Sometimes you are not ready for what is to come and other times you are waiting for something to happen. From the good to the bad, one thing is for sure...you have to shift with those times. This album is just that. My heart, soul, and life through the heartbreaks, passions, and joys. This is my... Shift In times.

This album is dedicated to those who have invested part of themselves into my journey to accomplish my dreams and to those who are listening that are in the process of a Shift In Times in their own life. May this music breathe down into your soul so that you become wiser and stronger from the things of the past and experience more passion, love, and joy for the things to come.... As for today.... Let's have a good time swingin'.

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Patti Drew - The Best Of Patti Drew: Workin' On A Groovy Thing

Bitrate: MP3@320K/s
Time: 70:54
Size: 162.3 MB
Styles: R&B, Pop
Year: 2007
Art: Front

[2:31] 1. Tell Him
[2:38] 2. Stop And Listen
[2:29] 3. I Can't Shake It Loose
[2:55] 4. Where Is Daddy
[3:12] 5. My Lover's Prayer
[2:16] 6. Suffer
[2:43] 7. Keep On Movin'
[2:30] 8. There'll Never Be Another
[3:09] 9. Workin' On A Groovy Thing
[5:45] 10. Beggar For The Blues
[2:41] 11. Fever
[2:25] 12. Hard To Handle
[2:27] 13. Just Can't Forget About You
[2:43] 14. I've Been Here All The Time
[2:41] 15. Midnight Confessions
[2:54] 16. A Guy Like You
[2:45] 17. The Love That A Woman Should Give To A Man
[2:28] 18. He's The One
[2:41] 19. Which One Should I Choose
[2:31] 20. Wild Is Love
[3:38] 21. Hundreds And Thousands Of Guys
[3:15] 22. It's Just A Dream
[2:00] 23. It's My Time
[3:11] 24. I've Known
[2:13] 25. Tell Him

2007 compilation from the R&B/Pop vocalist who scored solo hits in the late '60s with 'Tell Him' and 'Workin' On A Groovy Thing' (later a big hit for the 5th Dimension). 25 tracks including the two aforementioned cuts plus 'Stop And Listen', 'Where Is Daddy', 'My Lover's Prayer' and more

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Gerald Wilson Orchestra - On Stage

Bitrate: MP3@320K/s
Time: 38:42
Size: 88.6 MB
Styles: Big band
Year: 1965/2018
Art: Front

[3:10] 1. Los Moros De Espana
[2:59] 2. Who Can I Turn To
[4:24] 3. Ricardo
[2:35] 4. Musette
[5:50] 5. In The Limelight
[7:25] 6. Lighthouse Blues
[4:01] 7. El Viti
[3:43] 8. Lately
[4:30] 9. Perdido

Arranger Gerald Wilson led one of the finest big bands of the 1960s. This out of print LP features the L.A. orchestra in top form although, since it is a studio album, its title is inaccurate. Trumpeter Bobby Bryant, tenors Teddy Edwards and Harold Land, altoist Anthony Ortega, guitarist Joe Pass, and (on five of the nine cuts) the organ of Jack Wilson are the dominant solo voices but it is the charts that give this orchestra its own personality. Highlights include "Who Can I Turn To," "Lighthouse Blues," and "Perdido." ~Scott Yanow

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Marta Sanchez Quintet - Partenika

Bitrate: MP3@320K/s
Time: 51:52
Size: 118.7 MB
Styles: Piano jazz
Year: 2015
Art: Front

[3:32] 1. Opening
[7:57] 2. Patella Dislocation
[8:48] 3. Partenika
[7:44] 4. Balada Del Momento
[4:52] 5. Yayyy
[8:03] 6. Andy
[6:48] 7. Small Game
[4:04] 8. El Paso De Los Años

Jerome Sabbagh: tenor saxophone; Roman Filiu: alto saxophone; Marta Sanchez: piano; Sam Anning: bass; Jason Burger: drums.

A marriage of moody yet calming piano seesaws, cymbal swells, and arco bass serves as the entry portal into pianist Marta Sanchez's Partenika. The feelings that come over the mind and body while taking in those overlaid ingredients during the opening of "Opening" must be like what Dorothy felt when she awoke in Oz or what Alice must have experienced when she went down the rabbit hole: in other words, it's like waking up to a whole new and wondrous world.

The spellbinding experience that unfolds at the dawn of "Opening" is but one of many on Partenika. The second number on the program—"Patella Dislocation"—offers another. After a rhythmically pointed and disjointed start, Sanchez and company enter an ethereal realm mid-track, only to be drawn back out as the rhythm section reforms around Jerome Sabbagh's saxophone. Then there's the title track, a piece influenced by Greek street music, with a probing introductory solo from bassist Sam Anning and the spotlight firmly placed on Sabbagh and alto saxophonist Roman Filiu; "Balada Del Momento," a harmonically sophisticated ballad-of-a-sort that's haunted and hazy and colored with maroon hues; and, a hair further down the line, "Andy," another ballad that alternately offers resolute thoughts and fragile feelings.

Sanchez clearly has no problem letting things go adrift, demonstrated repeatedly as she paints wide canvases with complex colors and emotions. But listeners shouldn't be fooled into thinking that this is shadowy music without shape. Sanchez and her musical companions also show determination and rhythmic focus in much of their work. Sabbagh draws the perfect picture of strength meeting elegance during "Andy," Sanchez shows her Spanish roots during her glee-fueled solo on the spry and invigorating "Yayyyyy," and drummer Jason Burger provides some hip groove work that outlines the curvy road on the album-ending "El Paso De Los Anos."

Partenika is an extremely enjoyable record that never goes to extremes. The more driven material never pushes too hard and the ballads are never mired in the depths of melancholy. Marta Sanchez always manages to strike a fine balance in her work, whether delivering a solid state song or something a bit more shapeless in nature, and in the center of it all is her striking and seductive piano work. ~Dan Bilawsky

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Stuart Weber - The Fifth Row

Bitrate: MP3@320K/s
Time: 34:37
Size: 79.3 MB
Styles: Classical contemporary
Year: 2009
Art: Front

[3:01] 1. Bouree Alla Polacca
[3:18] 2. Humoreske
[3:07] 3. Sacagawea
[3:41] 4. Passacaille
[2:44] 5. Texas Girl At The Funeral Of Her Father
[6:29] 6. Tango On Spanish Creek
[2:47] 7. Evening At The Village
[2:35] 8. Jefferson Waltz
[1:44] 9. Darkness
[2:58] 10. Walk Away
[2:09] 11. America The Beautiful

Many old theaters I have played in across the country share a remarkably common story - they have been saved from the wrecking ball by a few volunteers dedicated to preservation, and to bringing live entertainment back to their community. As compelling a story as that is, my fascination in these historic theaters was to discover what unique qualities they may offer as a recording space. My interest in producing another studio recording was all but gone when this theater recording project came to mind. I learned long ago that focusing on the sound coming off the guitar is not as important as listening to the room in which the guitar is being played. We may perform from stage, but our ears have to be in the house. The Fifth Row, to be precise. Each theater has its own unique sound quality, an acoustic fingerprint that, with careful microphone placement, can itself be captured and preserved.

Each selection on this album was recorded in a different historic theater throughout the Rocky Mountain Northwest. The theaters represented on this CD are in various states of revival. Some have undergone exquisite restoration, while others are searching for the financial means to pay for the expensive renovations. Their architectural styles vary as well, from 17th century European, to Art Deco; from Egyptian, to Swiss Chalet. Some are grand, some are humble, and all have a story to tell.

I limited my geographic scope to a five state area in the Rocky Mountain region. Here, the explosive growth of the late 19th century and early 20th century saw a crop of opera houses spring up to cater to the interests of citizens far removed from the cultural amenities of the Eastern states. In the “boom” half of the familiar cycle, these gems were the real gold mines. Unfortunately most of these original houses are gone, many to fire, others to neglect and hard times. A second surge of theater construction in the 1920’s was in direct response to the burgeoning movie craze. These palaces were often intended for multi use, able to accommodate the talkies, but also equipped with deep stages and towering flies to hoist sets for plays and musicals that traveled through town.

Another factor in my choosing the theaters of the Northern Rockies was purely logistical. I live in Montana, and the location recordings required a considerable amount of equipment, which meant driving. The long distances between these theaters gave me plenty of time to reflect. I was crossing the same ground that Vaudeville acts of 125 years ago traveled as they made the mining town circuit. The similarities don’t go much beyond that, however, since I am speeding down a modern highway in my air-conditioned Jeep, listening to a mix in surround sound. Yet there is a connection. My art is my work.

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