Joanne Tatham - The Rings Of Saturn

Bitrate: MP3@320K/s
Time: 47:06
Size: 107.8 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[3:42] 1. Love Me Or Leave Me
[5:19] 2. Summer In New York
[4:05] 3. Catch Me If You Can
[4:04] 4. Poetry Man
[5:02] 5. The Rings Of Saturn
[4:31] 6. Can We Still Be Friends
[5:39] 7. If You Never Come To Me
[4:45] 8. Anyone Can Whistle
[3:51] 9. Nice To Be Around
[2:12] 10. Jazz 'n' Samba
[3:53] 11. It Could Happen To You

Clear-voiced Joanne Tatham teams up with some of LA’s finest in Max Haymer/p, Lyman Medeiros/b, Larry Koonse-Marcel Camargo/, Bob Sheppard/sax, Brian Swartz/tp, Kevin Winard/perc and Dan Schnelle/dr on a mix of jazz standards and creative newer pieces. She’s warm and peppy with guitar and percussion on the bouncy “Jazz ‘n’ Samba” and is rich with Shepperd’s tenor on “It Could Happen to You.” Some clever ideas come about as she takes on Michael Frank’s “Summer in New York” with Koonse and goes intimate with Haymer on Phoebe Snow’s “Poetry Man.” Best of all is her going urgent on Mark Winkler’s hip “Catch Me If You Can” and gets cozy on Sondheim’s “Anyone Can Whistle.” Eager to please.

A cozy duo is created as Kate Voss sings and plays melodica and bells to Jason Goessl’s guitar and chimes. They are accompanied by Adrian Van Batenburg-Sam Esecson/dr-perc, sounding like vintage Les Paul and Mary Ford on swinging pieces like “Anytime” and “S’Wonderful” while Goessl gives hints of Dick Dale on the 60s groover “Bang Bang.” Voss and melodica bring a gypsy atmosphere to “Caravan” abd us cgukdkuje on “Bye Bye Blues” while sauntering on ”Perhaps” and cozy as a kitten during “When You’re Smiling.” Winning ways!

Pianist/vocalist Pauline Frechette creates a moody parlor atmosphere with a mix of cellos and violins along with bass, tenor sax and guest Stanley Clarke on this intimate collection. Her voice is fragile an ddelicate, getting eerie on “Come Away With Me” and deeply melancholic on “Follow Your Heart.” Clarke’s solo adds to a bohemian “Love in the Afternoon” while her instrumentals include a reflective Stewart Cole’s trumpet on a second “Follow My Heart” while her own piano serves well on “Song for Michael.” Long moon shadows. ~George W. Harris

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The Two O'Clock Jazz Band - A Salute To Benny Carter

Bitrate: MP3@320K/s
Time: 60:38
Size: 138.8 MB
Styles: Jazz
Year: 1999
Art: Front

[3:51] 1. Vine Street Rumble
[4:36] 2. Katy Do
[5:06] 3. Miss Missouri
[2:29] 4. Rompin' At The Reno
[2:39] 5. Sunset Glow
[3:46] 6. The Wiggle Walk
[3:19] 7. Meetin' Time
[3:28] 8. Paseo Promenade
[3:57] 9. Blue Five Jive
[2:36] 10. Jackson County Jubilee
[4:04] 11. To You
[5:43] 12. Silk Stockings All Of You All Of You
[4:25] 13. Who Me
[3:08] 14. The Bachelor This Could Be The Start Of Something Big
[3:10] 15. I Need's To Be Bee'd With You
[4:14] 16. Air Mail Special

After more than half a century, the tradition of excellence continues at the University of North Texas in Denton with this splendid new release by the school’s Two O’Clock Jazz Band (the various UNT ensembles are named after their daily rehearsal times). While the famed One O’Clock Band is the best known and most widely recorded of the several UNT ensembles, the Two O’Clock Band proves on this earnest salute to celebrated composer / saxophonist / trumpeter / bandleader Benny Carter that it’s much less than an hour removed from its more frequently acclaimed running–mate. Here’s what Benny himself wrote after hearing the album: “I was pleased by the performance by the UNT Two O’Clock Lab Band of Kansas City Suite. The musicians played each piece as though it were written for them. I was personally gratified by the enthusiasm shown by the members of the Two O’Clock in the performance of my compositions and arrangements. The entire achievement was totally professional and my hat goes off to [transcriber] Vaughn Roberts, the soloists and especially to [director] Jim Riggs.” The first ten selections on the disc (which together comprise the aforementioned Kansas City Suite) were written by Carter (and transcribed by the ’98 band’s Jazz trumpeter, Roberts); the others are by Thad Jones (“To You,” which was dedicated to Carter), Cole Porter (“All of You”), Frank Foster (‘Who Me?”), Steve Allen (“This Could Be the Start of Something”), Quincy Jones (“I Needs to be Bee’d with You”) and Benny Goodman / Jimmy Mundy / Charlie Christian (“Air Mail Special,” arranged by Al Cohn). It’s clear from the outset that the Two O’Clock Band is resolutely tuned to Carter’s wavelength, as these are colorful portrayals of his buoyantly swinging Kansas City–style compositions, and those who appreciate big–band Jazz in general, and the Swing Era in particular, should derive great pleasure from hearing them again. Also worth hearing and admiring are Jones’s ardent ballad, Porter’s elegant standard, the seductive swingers by Foster and Jones, and the flag–waving twosome, “Air Mail Special” and “This Could be the Start of Something.” The ensemble is sharp and perceptive, the soloists bold and assertive. A well–played and consistently stylish session from end to end. ~Jack Bowers

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Leo Wright - Suddenly The Blues

Bitrate: MP3@320K/s
Time: 34:06
Size: 78.1 MB
Styles: Bop, Saxophone jazz
Year: 1962/2006
Art: Front

[2:36] 1. A Felicidad (Happiness)
[2:44] 2. Greensleeves
[4:10] 3. Gensel's Message
[2:54] 4. The Wiggler
[4:42] 5. Tali
[3:07] 6. Dionysos
[4:24] 7. Sassy Lady
[4:22] 8. Willow Weep For Me
[5:04] 9. Suddenly The Blues

Leo Wright (saxophone), Kenny Burrell (guitar), Ron Carter (bass), Rudy Collins (drums),

Leo Nash Wright was born on December 14, 1933 in Wichita Falls, Texas. He took up the saxophone in the early 1940s under the tutelage of his father Mel, who taught him, “Don’t forget what came before.” He was influenced early on by blues greats Louis Jordan and fellow Texan Eddie “Cleanhead” Vinson. As Wright told one reporter, “People in the South know the blues.” His first alto idol, however, was Johnny Hodges whom Wright called the “father of the alto saxophone.” It was also inevitable that a young altoist in the fifties would fall under the spell of Charlie Parker. “Whatever Bird was doing, in all his music,” Wright said of his predecessor, “he retained the idea of the blues.” Wright could never have imagined that just a few years out of college he would play Bird’s former role as the foil to Dizzy Gillespie.

Drafted into the army in 1956, Wright began what would eventually be a long relationship with Europe. While stationed in Stuttgart, Germany, he played in a variety of bands that included Eddie Harris, Cedar Walton, Don Ellis, and Houston Person—young musicians, like Wright, ready to break onto the American jazz scene when they returned.

After a brief stint with Charles Mingus, which included an appearance at the 1959 Newport Festival, Wright joined company with Dizzy Gillespie, in whose band he would play for the next three years. Whatever he might have learned in college, Wright attended finishing school during his three years with Diz. “Dizzy is a giant,” Wright said at the time. “And when you’re working with the giants, you’ve got to improve. . . . You’ve got to learn discipline, get down to business. I’m still in school.” It was at the University of Dizzy that Wright’s playing gained its full range. The expanding world musical consciousness of his leader and their globe spanning travels added to Wright’s bop and blues vocabulary the musical idioms of Latin America, the Near East, and Africa.

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Jairo - Jazziro

Bitrate: MP3@320K/s
Time: 54:05
Size: 123.8 MB
Styles: Chanson, Smooth jazz
Year: 2018
Art: Front

[4:53] 1. Le Métèque
[5:04] 2. Nada
[6:10] 3. Avec Le Temps
[4:40] 4. Qui
[4:26] 5. Les Paradis Perdus
[4:50] 6. Alfonsina Y El Mar
[3:21] 7. La Foule (Amor De Mis Amores)
[3:50] 8. Que Reste-T-Il De Nos Amours
[3:35] 9. Et Maintenant
[5:10] 10. Balderrama
[2:54] 11. Elisa
[5:07] 12. Ne Me Quitte Pas

Contrabass – Carlos “El Tero” Buschini; Guitar – Leonardo Sanchez; Percussion – Minino Garay; Piano – Baptiste Trotignon; Vocals – Jairo.

Almost three years ago, we wondered what was happening to JAIRO. Well, it's in an intimate setting, both jazz and powerfully rooted in his land in Argentina, that JAIRO legendary singer revealed in Paris in the 70s, will make his comeback. "Jazziro" will take back the biggest French songs, reorchestrées by the musicians Minino GARAY on the percussions, Baptiste TROTIGNON on the piano, Carlos "El tero" BUSCHINI on the bass, and Leonardo SANCHEZ on the guitar. From "What's left of our love?" from Charles TRÉNET (recently taken over by Julien DORÉ) to "And now" by Gilbert BÉCAUD, via "Elisa" by Serge GAINSBOURG, "Do not leave me" by Jacques BREL, "Lost paradises" by CHRISTOPHE (recently taken by CHRISTINE AND THE QUEENS), "With the time" by Léo FERRÉ, "Le métèque" by Georges MOUSTAKI or "La foule" by Edith PIAF - here in its Spanish version "Amor de mis amores" (popularized by PACO in 1988) . "Do not forget to share it with all your friends, by email, on social networks, such as streams to flood the internet with this wonderful news of the return to France of a legendary singer with an album both unexpected and wonderful to all points of view "can you read on his official Facebook page. "See you soon to hear it, listen to it loop on your sonos, in your digital portable players, and share a jazz evening with all your loved ones, thank you for your loyalty".

Remember in 1980 "Gardens of Heaven", it was him. Mario GONZALEZ, of his patronymic (in Aramaic, the inspired faithful), Argentine singer born on June 16, 1949, decides at the end of the 70s (during the military dictatorship in Argentina) to try his luck in Europe. Direction Spain first, then France. After a few 45 laps signed at RCA, from 1977 to 1980, it is finally the consecration that year with the French adaptation of a hit of the German group Goombay Dance Band, which will rank No. 1 in the Rhine for nine weeks in 1979. "Sun Of Jamaica" becomes "The Gardens of Heaven", and offers JAIRO, in the spring of 1980, its biggest success - with over a million and a half copies sold over the summer period. (Translated from French.)

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Paul Whiteman & His Orchestra - The Complete Capitol Recordings

Bitrate: MP3@320K/s
Time: 66:19
Size: 151.8 MB
Styles: Classic big bsnd
Year: 1995
Art: Front

[ 3:17] 1. I Found A New Baby
[ 3:20] 2. Serenade In Blue
[ 3:18] 3. The General Jumped At Dawn
[ 3:09] 4. I've Got A Gal In Kalamazoo
[ 3:14] 5. Trav'lin' Light
[ 2:56] 6. The Old Music Master
[ 3:17] 7. I'm Old Fashioned
[ 3:17] 8. You Were Never Lovelier
[ 3:22] 9. San
[ 3:03] 10. Wang Wang Blues
[18:13] 11. An American In Paris
[15:49] 12. Rhapsody In Blue

These Capital recordings are the last that Whiteman made with his own orchestra. They are a cross section of themes ranging from the swingy and dazzling, "I found a new baby," featuring the finger-busting keyboard work of the brilliant, Earl Wild; through a plaintive, whispy vocalization of "Trav'lin' Light" by the great Billie Holiday; to heavy, dull and uninspired orchestral interpretations of "American in Paris," and "Rhapsody in blue." By this time, "Rhapsody" has lost most traces of the score that was to be performed by a "jazz orchestra" and one senses that Whiteman was just going through the motions and conducting this piece out of contractual obligation to Capitol rather than engaging in a continuing dialogue with American popular music forms.

The dance orchestral recordings on this CD are played by superior musicians who provided peak performances of well-orchestrated compositions - Whiteman never settled for second-best work at any time in his long career - and these recordings reflect his continuing drive for excellence. However, there are no musical statements in these recordings which had not already been made before. Glenn Miller, the Dorseys, Benny Goodman, Count Basie, Duke Ellington, etc., were now at the forefront of the big band age and these recordings do not provide the same level of "excitement" as that of the new leaders.

Although I believe that Whiteman represented the highest form of popular music from 1920-1930, these Capitol recordings only indicate how the trailblazer of one decade can devolve to being a derivative follower of the next. ~Steven Phillips

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Bob Mintzer - Source

Styles: Clarinet, Saxophone  Jazz
Year: 1982
File: MP3@320K/s
Time: 38:02
Size: 88,0 MB
Art: Front

(4:19)  1. Late Night With You
(5:55)  2. Don't Lock The Door
(4:23)  3. The Source
(5:12)  4. I Don't Know
(7:09)  5. Mr. Fone Bone
(4:12)  6. Centering
(6:50)  7. Spiral

Source is Bob Mintzer's second album as a leader. Recorded in 1982 for the Cheetah label, it was previously released only in Japan. Source was recorded with an alternating larger ensemble that includes in various places keyboardists Don Grolnick and Mark Gray, guitarist Hugh McCracken, bassists Jaco Pastorius (with whom Mintzer had tenured on the Word of Mouth big band LP), and Will Lee, drummers Peter Erskine and Brian Brake, and horn players Lew Soloff, Randy Brecker, and Alan Rubin, among others. In many ways this foreshadows the work that Mintzer would do with the Yellowjackets eight years later. It's sheeny studio jazz-funk and contemporary knotty big band work. This set contains a number of vocal performances by Carter Cathcart, on the soulful opener "Late Night with You," and the now dated funk of the title cut it's the vocoders, the compressed saxophone sound and particularly, the flat drums. This isn't a stellar date by any stretch of the imagination, but hearing Pastorius on the title cut redeems it somewhat. There is also the Afro-Latin groove on "I Don't Know" which has teeth and a killer arrangement, but the production is a little sterile. "Mr. Fone Bone" fares far better with Pastorius and a melody that could have been written by him and performed by Weather Report. Grolnick's B-3 underneath all those horns is particularly wonderful. Mintzer begins a solo only to interrupt it with a knotty horn arrangement that changes the color of the tune while it cooks on the strength of the rhythm section. It's the album's best moment. "Centering" is a small group ballad with a lovely solo from Mintzer on tenor. The final cut, "Spiral," begins almost classically with the winds and horns playing delicately before opening into a funky jazz romp, again with Pastorius' bass leading the charge. But the tune doesn't stay there; it's nuanced, with an assortment of textures and dynamics that make it one of the great exercises of restraint in Mintzer's career. It's a fine finish. Musically, there is a lot to enjoy here, and if the '80s over-production doesn't get in your way as a listener, it's easy to recommend this. ~ Thom Jurek  https://www.allmusic.com/album/source-mw0000575700  

Personnel: Bob Mintzer (vocals, piccolo, clarinet, bass clarinet, tenor saxophone, drums, background vocals); Bob Mintzer; Randy Brecker (horns); Don Grolnick (keyboards); Will Lee (electric bass); Frank Malabe, Manolo Badrena, Frank Malabé (percussion); Corey Davidson (programming); Carter Cathcarte (background vocals); Hugh McCracken, Bill Washer (guitar); Carl Poole (flute); Tom "Bones" Malone, Alan Raph (trombone); Alan Rubin, Lew Soloff (horns); Mark Gray (keyboards); Tom Barney (electric bass); Peter Erskine, Brian Brake (drums); Chuggy Carter (percussion); Lillias White (background vocals).

Source

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Barbara Casini & Renato Sellani - Gershwin & More

Styles: Vocal And Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 54:27
Size: 124,9 MB
Art: Front

(5:10)  1. The Man I Love
(3:36)  2. But Not For Me
(5:48)  3. Lover Man
(3:59)  4. Our Love Is Here To Stay
(4:14)  5. All Of Me
(4:41)  6. The Nearness Of You
(4:47)  7. A Foggy Day
(2:51)  8. Soon
(4:14)  9. You Go To My Head
(4:58) 10. You Don't Know What Love Is
(4:15) 11. They Can't Take Away From Me
(5:48) 12. Summertime

Barbara Casini (born 1954 in Florence) is an Italian vocalist and guitar player. Studying piano from her youth, she was exposed to Bossa Nova at the age of 15, which had a marked influence on her musical life. After graduating in psychology from the University of Padova, she moved on to become an important voice for Brazilian music and jazz in particular in Italy and beyond after first performing in 1979. She has since recorded and performed with Lee Konitz, Phil Woods, Leo Walls, Francisco Petreni, Stefano Bollani, Enrico Rava, amongst others and with her own group, Outro Lado. https://en.wikipedia.org/wiki/Barbara_Casini

Gershwin & More

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Jerry Bergonzi - Tenor Talk

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 52:44
Size: 121,5 MB
Art: Front

(6:49)  1. Who Cares?
(8:02)  2. Hank
(9:14)  3. Girl Idlig
(7:11)  4. Soul Mission
(6:04)  5. Splurge
(8:30)  6. Wippin' And Waulpin'
(6:51)  7. Left of Memory

Talking about the tenor. Talking about the giants. Talking about Coleman Hawkins, Lester Young, John Coltrane, Joe Henderson, Hank Mobley, Sonny Rollins and Pharoah Sanders. Talking about the people who blew the night into day and the day into night. They were swinging, singing, shouting always searching deeper into the music.To play the tenor is to carry the load of tradition, and nobody carries this load more gracefully than Jerry Bergonzi who, like George Garzone, belongs to the category of the unsung giants of our time. However, fame or fortune does not seem to bother Bergonzi; since his shift to the label Savant, the saxophonist is in a period where he is arguably making the best music of his life.The latest proof of Bergonzi's improvisational genius is Tenor Talk. Backed brilliantly by Dave Santoro (bass), Andrea Michelutti (drums) and Renato Chico (piano), he settles into a program of six originals and a standard. Gershwin's "Who Cares?" heats things up from the start. Bergonzi caresses the tune with warm velvety tones, occasionally throwing in some raspy breaks, while the rest of the group keep a solid sense of swing that goes straight into the feet. After establishing the link with the tradition of the standards, the group breaks new ground with six originals by the leader. Highlights include the smoky tribute to Hank Mobley, "Hank," where Mobley's glowing sense of the blues is conveyed truthfully. "Splurge" finds Santoro introducing a sophisticated groove reminiscent of Joe Henderson's "Inner Urge," and Chico takes some inspirational flights, inspired by Bergonzi's free flowing lines. Bergonzi's melodic compositions are the perfect vehicle for the group's interaction. Together they master all moods, from relaxed swinging and soft ballads to heated workouts. There is a wonderful sense of ease which, of course, is not easy at all. One previous reservation about Bergonzi's playing was that it felt too intellectual. He could play so much that he almost played too much. Now, the awe-inspiring inventiveness is grounded in a bodily sense of groove that combines the head and the heart into a kind of storytelling, encompassing the great tradition of the tenor. Bergonzi is truly at a stage in his career where he doesn't need to prove anything at all. It is sufficient, to quote the title, to let the tenor do the talking. ~ Jakob Baekgaard https://www.allaboutjazz.com/tenor-talk-jerry-bergonzi-savant-records-review-by-jakob-baekgaard.php

Personnel: Jerry Bergonzi: tenor saxophone; Renato Chico: piano; Dave Santoro: bass; Andrea Michelutti: drums.

Tenor Talk

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Billy Taylor Quartet - Where've You Been

Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 40:51
Size: 95,6 MB
Art: Front

(6:07)  1. Where've You Been?
(5:28)  2. Night Coming Tenderly
(3:18)  3. Ray's Tune
(7:03)  4. Antoinette
(4:31)  5. I'm In Love With You
(5:43)  6. All ALone
(5:07)  7. I Think Of You
(3:31)  8. Capricious

This Concord release is most notable for featuring the obscure but talented violinist Joe Kennedy, who spent the bulk of his career teaching music in the Richmond, VA area. Teamed with pianist Billy Taylor, bassist Victor Gaskin and drummer Keith Copeland, Kennedy is the lead voice on many of the eight straightahead Taylor originals and he plays at the peak of his powers; it is a real pity that he did not record more during his career. ~ Scott Yanow https://www.allmusic.com/album/whereve-you-been-mw0000648206

Personnel:  Billy Taylor - piano;  Joe Kennedy - violin;  Victor Gaskin - bass;  Keith Copeland-drums

Where've You Been

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Vincent Ingala - Personal Touch

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 39:33
Size: 90,7 MB
Art: Front

(3:44)  1. Personal Touch
(3:54)  2. My Kind of Day
(4:01)  3. Love Zone
(4:09)  4. Dream Girl
(4:38)  5. I Think I'm Falling In Love (With You)
(3:39)  6. If You Were Here Tonight
(3:38)  7. Feng Sway
(3:53)  8. Can't Stop The Rain From Falling
(3:48)  9. Snap Crackle Pop
(4:04) 10. Not Meant to Be

With eight of his own compositions, plus two top-notch reinventions, ‘Personal Touch’ from writer, producer and multi instrumentalist Vincent Ingala is the breath of fresh air that long time smooth jazz fans have been craving. Indeed it is arguably Vincent’s most complete album to date and affirms the meteoric progress he has made since 2011 when his debut recording ‘North End Soul’ first hit the streets. It was a collection that marked him out as one to watch and, since then, Smooth Jazz Therapy has watched his development with delighted interest.  ‘Personal Touch’ is Vincent’s fifth solo CD and right from the opening bars of the extremely edgy title cut there is little doubt he has lost none of his ability to effortlessly deliver a succession of joyously radio ready tunes. Much the same can be said of the rhyme drenched ‘Feng Sway’ for which Vincent’s work on guitar and keys is exemplary and later, when he eases down the tempo, the dazzling ‘Dream Girl’ gives him a platform to shine on both sax and keys in a way that is entirely mesmerizing. The mood stays decidedly romantic for the exceptionally easy grooving ‘I Think I’m Falling In Love (With You)’ (complete with stunning keyboard solo) while elsewhere Vincent affords a silky smooth makeover to the Alexander O’Neil blockbuster ‘If You Were Here Tonight’. Even better is his reworking of the title song from Billy Ocean’s 1986 release ‘Love Zone’ that already seems destined to make it into my list of the top ten cover versions for 2018.  However it is with his own compositions that Ingala repeatedly hits smooth jazz gold and a case in point is the big ballsy and totally infectious ‘Snap Crackle Pop’ that might just have the power to rejuvenate even the most tired of dancing feet.  In terms of personal favorites ‘My Kind Of Day’ is the sort of classic smooth jazz track for which Ingala has become famous and although ‘Cant Stop The Rain From Falling’ has a moody mid tempo vibe to die for it is when he again slows things down for the mellow guitar driven (and distinctly Russ Freeman sounding) ‘Not Meant To Be’ that magic really begins to happen.http://smoothjazztherapy.typepad.com/my_weblog/2018/04/vincent-ingala-personal-touch.html

Personal Touch

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Art Blakey & The Jazz Messengers - Not Yet

Bitrate: MP3@320K/s
Time: 53:33
Size: 122.6 MB
Styles: Bop
Year: 1988/1993
Art: Front

[9:41] 1. Kenji's Mood
[7:25] 2. For Heaven's Sake
[6:48] 3. Not Yet
[3:49] 4. I'll Never Be The Same
[9:29] 5. Uranus
[9:22] 6. Falling In Love With Love
[6:58] 7. Kelo

Bass – Peter Washington; Drums – Art Blakey; Piano – Benny Green; Tenor Saxophone – Javon Jackson; Trombone – Robin Eubanks; Trumpet – Philip Harper. Recorded March 19, 1988 at Barigozzi Studio, Milano.

The 1988 edition of The Jazz Messengers, which drummer Art Blakey had been leading for 33 years, showed a great deal of promise. Comprised of trumpeter Philip Harper (soon to form The Harper Brothers), trombonist Robin Eubanks, the tenor of Javon Jackson, pianist Benny Green and bassist Peter Washington, this band (whose average age without counting Blakey was around 25) performs one original apiece by Green and Jackson along with five older songs on this enjoyable release. The music may not have contained too many surprises or been startlingly new, but the results are quite pleasing. ~Scott Yanow

Not Yet mc
Not Yet zippy

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David Byrne - Rei Momo

Bitrate: MP3@320K/s
Time: 63:36
Size: 145.6 MB
Styles: Alternative pop-rock
Year: 1989
Art: Front

[5:43] 1. Independence Day
[5:23] 2. Make Believe Mambo
[4:54] 3. The Call Of The Wild
[4:12] 4. Dirty Old Town
[3:51] 5. The Rose Tattoo
[3:45] 6. Loco De Amor
[3:00] 7. The Dream Police
[4:58] 8. Don't Want To Be Part Of Your World
[4:30] 9. Marching Through The Wilderness
[4:34] 10. Good And Evil
[3:37] 11. Lie To Me
[3:40] 12. Office Cowboy
[4:06] 13. Women Vs. Men
[4:04] 14. Carnival Eyes
[3:13] 15. I Know Sometimes A Man Is Wrong

On his first full-fledged solo album, Byrne indulges his fascination with Latin and South American musical styles, employing a variety of native musicians but mixing up the sounds to suit his own distinctly non-purist vision and singing over the tracks the same kind of witty, oddball lyrics found on Talking Heads albums. (When released, the cassette version contained three more tracks than the LP.) ~William Ruhlmann

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Electrocutango - Felino

Bitrate: MP3@320K/s
Time: 54:12
Size: 124.1 MB
Styles: Electric tango, Latin
Year: 2009
Art: Front

[4:04] 1. Felino
[3:57] 2. Victoriosa
[5:23] 3. Rivadavia
[2:48] 4. Electroqtango
[1:19] 5. 12 Tango
[5:40] 6. Regina
[4:23] 7. El Llorón
[6:22] 8. Renacere
[2:14] 9. Misterienzo
[3:45] 10. Sin Piel
[2:42] 11. Astorlokefu
[4:04] 12. A Fuego Violento
[2:43] 13. Retrolonga
[4:42] 14. Mi Viejo Dolor

Electrocutango is considered on of the most dynamic, innovative and original expressions of the new electro-tango movement. The sound is identified as tango with an update rather than electronica with exotic seasoning. The music has a distinct identity based on tanguero musicianship and with an original approach to fusions with anything from Puerto Rico, Brazil, RnB, DnB, jazz or contemporary music. Its even a hit in Buenos Aires even though its from Norway …!

Behind Electrocutango is the norwegian pianist and composer/arranger Sverre Indris Joner. He early began to play and compose music with emphasis on the latin genres. He writes for ballet, theatre, orchestra, film and has arranged numerous tangos and other latin genres for symphony orchestra performing as a soloist. He is also founder of the quartet Tango For 3 that is renowned for its interpretation of a wide range of titles from ABBA, James Bond, Grieg & Brahms to Salgan and Triolo.

Unlike traditional tango the improvisation is a central element in Electrocutango´s music. And different from most electronic tangos Electrocutango is basicly tanguero fusioned with all the rest – not the other way around… And when a lot of fun and unexpected fusions are thrown on top that makes it a real ball! And not surprisingly – the tango-dancers takes the challenge! The album Felino is already considered a classic within the electronic tango genre.

Felino mc
Felino zippy

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Marco Bittelli - Andrea

Bitrate: MP3@320K/s
Time: 36:37
Size: 83.9 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[6:13] 1. An Afternoon With Charles
[4:03] 2. Notte Cubana
[6:30] 3. A Waltz For Weiser
[2:35] 4. Che Rumba
[4:33] 5. Andrea
[5:16] 6. Into The Night
[4:31] 7. On The Wrong Side Of Town
[2:53] 8. Jibacoa

The Italian jazz guitarist and composer, Marco Bittelli has a long-standing interest in Latin Jazz music, first touched on with his first CD, Libera, twenty years ago. Andrea expands on that affinity and on the guitarist's interest in Cuban and Brasilian music. The result is this original mix of slow- to up-tempo pieces, limpid original songs that are filled with romanticism and lyricism. The rhythms, typical of Latin music, are combined with melodies rooted in the Italian's melodic tradition. The CD presents three Bossa Novas at different tempos, including Andrea, the title track. To this, Bittelli has added an Habanera, Notte Cubana (A Cuban Night), and a Samba, Che Rumba, arranged by Italian guitarist and composer Davide Brillante. These songs are perfectly continuous with the traditional material. A Waltz for Weiser is written in the tradition of Jazz waltzes, while On the wrong side of Town is a fast Latin Jazz tune with dissonant harmonies. Jibacoa is a song for Piano and Cello, inspired by the music of Cuban composer Ignacio Cervantes, composed with Davide Brillante. The music is enhanced by a series of excellent musicians and guests. Gregory Yasinitsky on Tenor and Alto Sax, Ann Yasinitsky on Flute, Brian Ploeger on Trumpet and Flugelhorn, Brian Ward on Piano, David Snider on Double Bass, David Jarvis on Drums and Percussions. Vincenzo De Franco (Cello) and Dimitri Sillato (Piano) adds their own touch on Jibacoa. Vern Sielert adds its Jazz voice on Trumpet on An afternoon with Charles. Andrea is true to its Latin and Italian inspired origins, while creating its own original moods.

Andrea mc
Andrea zippy

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Charles Cochran, Bill Mays - Charles Cochran Meets Bill Mays

Bitrate: MP3@320K/s
Time: 52:15
Size: 119.6 MB
Styles: Vocal jazz
Year: 2000
Art: Front

[3:43] 1. Wonder Why
[3:59] 2. Oh! But I Do!
[4:30] 3. I Thought About You
[2:26] 4. Miss Johnson Phoned Again Today
[4:33] 5. For You, For Me, For Evermore
[4:05] 6. Ev'rything I Love
[3:24] 7. This Is New
[3:10] 8. After You
[5:37] 9. That Old Feeling
[5:10] 10. My Old Flame
[3:43] 11. Dream Dancing
[3:16] 12. I Wish I Knew
[4:31] 13. Do You Miss New York

Album brings the long overdue return of a singer/pianist who, from the late 1950s through the mid-'80s, delighted saloon audiences with his easy-going voice, his eye for quality songs, and his total lack of pretense. Here, he's joined by fellow pianist/vocalist Bill Mays, plus bassist Phil Flanagan on a selection of jazz & pop standards.

Charles Cochran Meets Bill Mays mc
Charles Cochran Meets Bill Mays zippy

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Milt Jackson - Night Mist

Styles: Vibraphone Jazz
Year: 1980
File: MP3@320K/s
Time: 47:06
Size: 110,9 MB
Art: Front

(5:36)  1. Blues In My Heart
(5:45)  2. Double B
(5:26)  3. Blues For Clyde
(7:13)  4. A Matter Of Adjustment
(9:17)  5. Night Mist Blues
(7:53)  6. Other Bag Blues
(5:53)  7. D.B. Blues

Most of vibraphonist Milt Jackson's recordings as a leader have been at the head of a quartet or quintet. This spirited set has a variety of "near blues" material being interpreted by an all-star septet featuring such unique voices as trumpeter Harry "Sweets" Edison, the tenor of Eddie "Lockjaw" Davis and altoist Eddie "Cleanhead" Vinson in addition to Jackson, pianist Art Hillery, bassist Ray Brown and drummer Larance Marable. There are plenty of magical moments created on this set by these classic jazzmen. ~ Scott Yanow https://www.allmusic.com/album/night-mist-mw0000192023   

Personnel: Milt Jackson (vibraphone); Eddie "Cleanhead" Vinson (alto saxophone); Eddie "Lockjaw" Davis (tenor saxophone); Harry "Sweets" Edison (trumpet); Art Hillery (piano); Ray Brown (bass); Larance Marable (drums)

Night Mist

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Patti Drew - I've Been Here All The Time

Styles: Vocal
Year: 1969
File: MP3@320K/s
Time: 28:49
Size: 73,3 MB
Art: Front

(2:43)  1. I've Been Here All the Time
(2:39)  2. Fever
(2:26)  3. Just Can't Forget About You
(2:51)  4. A Guy Like You
(3:09)  5. Welcome Back
(2:25)  6. Hard to Handle
(2:27)  7. Save the Last Dance for Me
(2:34)  8. I, Who Have Nothing
(2:39)  9. Midnight Confession
(2:43) 10. The Love That a Woman Should Give to a Man
(2:08) 11. What the World Needs Now

Tall, striking Patti Drew's sensuous alto is always a pleasure to listen to even when the material and arrangements are lacking. This LP consists of two minor hits, "I've Been Here All the Time" and "Hard to Handle"; the many remakes include "Fever," "Save the Last Dance For Me," "I Who Have Nothing," "Midnight Confessions," and "What the World Needs Now Is Love." Manager/producer Peter Wright was obviously priming the Evanston, IL, native for the lucrative Vegas/Reno/Tahoe casino clubs, as the album lacks an edge and disappointed her fan base. ~ Andrew Hamilton https://www.allmusic.com/album/ive-been-here-all-the-time-mw0000888954

I've Been Here All The Time

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Ornette Coleman - Change Of The Century

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 41:35
Size: 95,3 MB
Art: Front

(6:39)  1. Ramblin'
(6:24)  2. Free
(6:59)  3. The Face Of The Bass
(5:16)  4. Forerunner
(5:31)  5. Bird Food
(6:02)  6. Una Muy Bonita
(4:41)  7. Change Of The Century

Change Of The Century was an audacious album title, to say the least. On his second Atlantic release and second with his most like-minded ensemble (trumpeter Don Cherry, bassist Charlie Haden and drummer Billy Higgins) alto saxophonist Ornette Coleman pushed the freedom principal farther. At the same time, he looked backward too for inspiration. Having eliminated the piano on his Contemporary release, Tomorrow Is The Question! (1959), Coleman opened up wide improvisational opportunities. On that recording, he and his "freedom principle" remained partially inhibited by the presence of traditionalist bassist Percy Heath and drummer Shelly Manne, who resisted coloring outside of the lines as Coleman was attempting to do. But that was not so on The Shape Of Jazz To Come (Atlantic, 1959) and Change Of The Century. While the rhythm section continued to provide enough cohesive swing to propel matters, Coleman and Cherry stretched the melodic boundaries without the previous harmonic anchors. Change of the Century is compelling in its embrace of contrasts. "Ramblin'" is funky organic, almost early rock and roll. Haden plucks and strums his way through a fractured 12-bar format that never fully resolves itself into the comfort of the anticipated. Coleman's solo over Haden's support is bar-walking rhythm and blues, lowdown and dirty, smelling of beer and Lucky Strikes. Cherry plays his famous pocket trumpet, sounding closer to Lee Morgan than anyone else, squeezing out hard bop lines like sparks from a metal lathe. Haden solos using the figures he has supported the whole piece with. His intonation is middle-of-the-note, relaxed and slightly wooden. "Ramblin'" retains an erstwhile harmonic structure, albeit only barely. The head of "Free" is an odd premonition for composer/saxophonist Oliver Nelson's "Hoedown" from The Blues and the Abstract Truth (Impulse!, 1961), passing through an ascending and descending blues figure. Haden is rock solid throughout, even when the solo-going gets ragged and frayed. Higgins' accents are as potent as pepper, shoring up the edges of chaos on the briskly-timed piece. "The Face Of Bass" gives prominence to Haden while at the same time sounding strangely traditional for an album entitled Change of the Century. But it is a facade. Coleman encourages a careful abandon in the piece's overall structure and arrangement. Cherry pops on his solo, sometimes sounding like Freddie Hubbard, sometimes, Art Farmer.

"Forerunner" pretends that it is bebop, with a serpentine head and a deft drum break by Higgins. Coleman's solo is inspired, quenched in gospel and the blues. His tonal expanse is as big as his native Texas, informed by the many great tenor saxophone players from that state. Cherry emerges assertive, playing with swagger and attitude. So well constructed and delivered is his solo that it is easy to forget that a move toward a freer musical system is in the works. Haden remains stalwart in time-keeping, shepherding everything between the rhythmic ditches. The same can be said for the Charlie Parker-inspired "Bird Food," which is surveyed at a fast clip over a complex note pattern.  "Una Muy Bonita" is only passing Latin, with pianist Thelonious Monk phrasing and side- winding playing. Haden sets up a familiar clave beat with strummed chords. Coleman stages the piece to more insinuate a Latin vibe than to actually play one. After a lengthy introduction, Cherry solos muted, allowing himself a broad swath over which to play. The disc's closer, the title tune, was the most fully-realized "free jazz" at that point from Coleman. It is a wild phantasm of notes that are to "free jazz" what trumpeter Dizzy Gillespie's "Bebop" was for that virtuosic genre. It is a clarion call played on impulse. Yes, finally things are really beginning to come apart at the seams, properly foreshadowing Free Jazz: A Group Improvisation (Atlantic, 1961). Coleman has fully gained his traction and is now read. ~C.Michael Bailey https://www.allaboutjazz.com/ornette-coleman-change-of-the-century-ornette-coleman-by-c-michael-bailey.php

Personnel: Ornette Coleman: alto saxophone; Don Cherry: pocket trumpet; Charlie Haden: bass; Billy Higgins: drums.

Change Of The Century

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Billy Taylor Trio - Sleeping Bee

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 42:43
Size: 98,5 MB
Art: Front

(4:46)  1. La Petite Mambo
(5:37)  2. Theodora
(4:19)  3. Pharaphrase
(5:12)  4. Bye Y'All
(3:27)  5. Don't Go Down South
(5:33)  6. Brother Where Are You
(8:23)  7. There Will Never Be Another You
(5:23)  8. Sleeping Bee

Billy Taylor and his 1969 trio (which includes bassist Ben Tucker and drummer Grady Tate) perform four of Taylor's originals, Errol Garner's "La Petite Mambo," Oscar Brown, Jr.'s "Brother Where Are You" and two standards on this MPS set which was last available as a Pausa LP. The enjoyable music swings and fits perfectly into the jazz mainstream of the era. ~ Scott Yanow https://www.allmusic.com/album/a-sleeping-bee-mw0000875940

Personnel:  Billy Taylor - piano;  Ben Tucker - bass;  Grady Tate - drums

Sleeping Bee

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Peggy Lee - Echo Painting

Styles: Jazz, Post Bop 
Year: 2018
File: MP3@320K/s
Time: 50:41
Size: 117,3 MB
Art: Front

(5:22)  1. Incantation
(4:27)  2. Out On a Limb
(3:45)  3. A Strange Visit
(3:44)  4. Nice Collection
(5:10)  5. Snappy
(5:23)  6. Painting Echoes
(2:11)  7. Foreground
(1:51)  8. The Hidden Piece
(6:02)  9. Hymn
(2:41) 10. WB Intro
(3:30) 11. Weather Building
(1:42) 12. End Piece
(4:45) 13. The Unfaithful Servant

The Echo Painting project was conceived with the help of Rainbow Robert of Coastal Jazz and Blues in Vancouver. Our intent was to create a new large ensemble including some of the most active and interesting improvisors on the Vancouver scene today. It was a great gift to find ourselves in a situation in which this group, comprised of some of the older 'veterans' and some younger 'emerging' players, all highly accomplished artists and leaders of their own projects, could spend a number of days together over a period of several months. During this time we workshopped material, improvised together and finally performed a full set of music at the Vancouver International Jazz Festival 2016. http://www.peggylee.net/echo-painting.html

Peggy Lee, cello;  Meredith Bates, violin;  Brad Turner, trumpet;  Jon Bentley, tenor and soprano sax;  John Paton, tenor sax;  Rod Murray, trombone;  Cole Schmidt, guitar;  Bradshaw Pack, pedal steel guitar;  James Meger, electric bass;  Dylan van der Schyff, drums

Echo Painting

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