Vladimir Shafranov Trio - Whisper Not

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 66:45
Size: 153,2 MB
Art: Front

(7:14)  1. You And The Night And The Music
(6:21)  2. Hply Land
(7:10)  3. I Remember Clifford
(4:43)  4. Whisper Not
(8:48)  5. Moon And Sand
(9:21)  6. Hush-A-Bye
(6:41)  7. Day Dream/Star-Crossed Lovers
(3:18)  8. Oblivion
(4:58)  9. If You Could See Me Now
(8:06) 10. A Beautiful Friendship

Born December 31 1948 in Leningrad,Russia.  Vladimir Shafranov was educated in Leningrad Conservatory on violin and piano. Already as a teenager he began playing jazz at the local scene,much to dismay of his teachers. He emigrated to Israel in 1973 and then to Finland in 1974. While in Finland he was one of the most in demand pianist especially accompanying visiting Americans. Greatly encouraged by many of them to move to New York he did so in 1983 and was very active in Manhattan Jazz Scene playing at clubs such as Bradley's, Blue Note, Village Vanguard,Village Gate among others. He was a duo partner w. bassists like Ron Carter,Red Mitchell,George Mraz and Buster Williams, led trios with Ron Carter-Al Foster, Rufus Reid-Victor Lewis, George Mraz-Albert "Tootie" Heath to name but a few. He also played with many top soloists such as Freddie Hubbard, Dizzy Gillespie,Art Farmer, Clifford Jordan,George Coleman, Pepper Adams and accompanied singers such as Carmen McRae,Ernestine Anderson, Etta Jones and Jimmy Scott.Since 1998 he and his family settled on Åland Islands and has become one of best-selling jazz pianists in Japan having released 11 CD's and DVD. His latest release is "I'll Close My Eyes"(20010) featuring Jesper Lundgaard on bass. https://www.last.fm/music/Vladimir+Shafranov/+wiki

Personnel:  Vladimir Shafranov - piano;  Peter Washington - bass;  Victor Lewis - drums.

Whisper Not

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Michael Franks - The Music In My Head

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 52:47
Size: 123,4 MB
Art: Front

(6:04)  1. As Long As We're Both Together
(4:35)  2. Suddenly Sci-Fi
(5:05)  3. The Idea Of A Tree
(4:23)  4. Bluebird Blue
(6:14)  5. To Spend The Day With You
(4:21)  6. Bebop Headshop
(5:52)  7. Where You Hid The Truth
(4:57)  8. The Music In My Head
(5:43)  9. Candleglow
(5:28) 10. Waterfall

A giant of Quiet Storm music since years before that label was coined, Michael Franks is still quietly going about his business. The Music In My Head (June 8 2018, Shanachie Entertainment) is his eighteenth long player over forty-five years, coming a leisurely seven years after his last one. Franks really doesn’t need to make new music apart from just the personal enjoyment of doing it; old farts like myself would be forever content to cue up Art of Tea on the turntable and come see him perform strictly fan favorites and hits from the 70’s and 80’s. But while he might record at the same languid pace that much of his music inspires in others, he’s never quit creating new music and new sides. That inner flame still burns and that smoky, breathy voice is exactly the same as it’s always been. A spiritual heir to the late Mose Allison but with less blues and more Brazil (though Sonny Terry and Brownie McGhee once did record a few of his songs), Franks is part of a dying breed of singers who can still convincingly make the case for jazz as popular music, and do it with thoughtful, grown-up songs from his own pen. In going back to read my 2011 review of Time Together, at least ninety percent of what’s said about that last release could aptly describe The Music In My Head. That goes right down to Franks’ use of five different producers, with Gil Goldstein, Scott Petito and Jimmy Haslip responsible for all but two of the ten tracks. Such a strategy could be perilous and result in an uneven product but thankfully, every one of these producers were very much attuned to that classic Michael Franks sound and showed great respect for it. 

Even with his usual collection of star musicians and producers involved in this project, there is no question who is the mastermind. His songs reach out to listeners on a personal level and like Time Together, the clean and uncluttered way they’re arranged and recorded only makes it easier to feel that direct connection. In keeping with his Brazil fascination, several of these songs are played with soft, bossa nova rhythms, like “Suddenly Sci-Fi.” That song has such a silky texture, you might not even notice it’s all acoustic save for David’s Spinozza’s tasty-as-frick guitar, the perfect accompaniment to Franks’ cooing out his signature impishly clever lines (“It seemed to say in Phillip K. Dick-tation/It’s now a sci-fi nation”). Spinozza, who first appeared on a Franks album way back in 1980(!), traces Franks’ scatting on the sly number “The Idea Of A Tree” and further makes his mark on three other tracks. “To Spend The Day With You” is another breezy bossa nova groove and this time it’s showcase for pianist Rachel Z. Franks’ tender ballad “Bluebird Blue” is one of the best testimonies that this is the same guys who wooed fans back in the day with classic ballads like “Lady Wants to Know” and “Tiger In The Rain,” as Goldstein gives the song the same light production touch that Tommy LiPuma did for Franks’ recordings some four decades earlier. Memories of Franks’ jazz awakening during his time in college come to swinging life on the all-acoustic “Bebop Headshop.”“The Music In My Head” is also autobiographical, a song about how the sounds of nature serve as his muse. The title track has the most contemporary vibe of this grouping of songs, with a sophisticated bridge and Franks effortlessly trading phrases with Bob Mintzer’s sax. The tender, sensual “Candleglow” is notable for a melodic exchange between Haslip and saxophonist Gary Meek, and “Waterfall” takes the album to a willowy landing with a big assist from Goldstein’s balletic piano.Lastly, there’s the song that appears first. “As Long As We’re Both Together” (stream above) is the only one with Chuck Loeb’s involvement: he produced, arranged and played guitar and keys on it. But Loeb was a very sick man at the time he left behind the polished backing track that featured for a final time some very graceful guitar that he was known for. Soon afterwards, cancer had claimed his life. In the end, that great loss didn’t dissuade Michael Franks from presenting the world the music in his head. The Music In My Head continues his forty-five year tradition of delivering comfort music with intellect, wit and grace. http://somethingelsereviews.com/2018/06/04/michael-franks-the-music-in-my-head-2018/

The Music In My Head

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Booker Ervin - Exultation

Styles: Saxophone Jazz
Year: 1963
File: MP3@320K/s
Time: 42:01
Size: 98,0 MB
Art: Front

(7:18)  1. Mooche Mooche
(6:19)  2. Black And Blue
(8:32)  3. Tune In
(2:29)  4. Just In Time (short take)
(4:55)  5. Just In Time (long take)
(2:38)  6. No Man's Land (short take)
(5:39)  7. No Man's Land (long take)
(4:08)  8. Mour

Booker Ervin's debut for Prestige (which has been reissued on CD with two shorter alternate takes added) matches the intense tenor with altoist Frank Strozier, pianist Horace Parlan, bassist Butch Warren and drummer Walter Perkins for some bop-based music that is actually quite adventurous. Highlights include "Mour" (based on "Four"), "Black and Blue" and Ervin's "Mooche Mooche." Ervin and Strozier made a mutually inspiring team; pity that this was their only recording together. ~ Scott Yanow https://www.allmusic.com/album/exultation%21-mw0000644704

Personnel:  Booker Ervin - tenor saxophone;  Frank Strozier - alto saxophone;  Horace Parlan - piano;  Butch Warren - bass;  Walter Perkins - drums

Exultation

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Gabriela Anders - Eclectica

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 42:58
Size: 102,3 MB
Art: Front

(4:22)  1. Together Again
(3:37)  2. Pearls And Gold
(4:15)  3. Naufragio
(4:37)  4. What My Dreams Are Made Of
(4:32)  5. Fading Light
(5:30)  6. I Wait
(3:34)  7. Socamerengue
(4:08)  8. Like U Do
(4:46)  9. Far Away
(3:31) 10. Love So Right

Influenced by Brazilian pop and the music of her native Argentina, Gabriela Anders spent much time in America soaking up jazz and R&B sensibilities, all of which inform her singing. The daughter of a jazz saxophone player, Anders studied classical guitar while a child but moved to piano study at a Buenos Aires conservatory. She spent much time in New York as well, soaking up the music of tenor specialists John Coltrane, Stan Getz and Dexter Gordon. She also studied with Don Sebesky and began singing with Grover Washington, Jr. and Tito Puente while going to college. A brief time in Japan resulted in her first album, 1996's Fantasia (recorded as Beleza), though she had returned to New York by 1997. After sending a demo tape into Warner Jazz, Anders signed a contract and released Wanting in August 1998. 

~ John Bush https://www.allmusic.com/artist/gabriela-anders-mn0000155617/biography

Eclectica

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Eddie Harris - Freedom Jazz Dance

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 53:48
Size: 123,5 MB
Art: Front

(5:30)  1. Freedom Jazz Dance
(6:25)  2. Georgia on My Mind
(9:06)  3. Little Sunflower
(7:53)  4. Stars Fell on Alabama
(7:48)  5. Lisa Marie
(7:54)  6. Joshua Fit the Battle of Jericho
(9:10)  7. For All We Know

Eddie Harris' final "authorized" studio date, like most in the last decade-and-a-half of his life, is a conservative acoustic blowing session, trying one last time to capture the minds and hearts of bop-minded purists. Frankly, he never sounded better on tenor than he does here, his tone luminous, the freak high notes perfectly integrated into his uniquely swinging style, his ballad phrasing infused with an even more poignant singing quality. He had a crack backup piano trio in tow, anchored by his old cohort Billy Hart on drums (who sounds freer than ever), with the emerging Jacky Terrasson on piano and George Mraz on bass. Yet the CD's mainstream idiom is cautious in the extreme "Joshua Fit the Battle of Jericho" à la Trane is about as adventurous as this quartet gets (and Harris was into that style when it was current) and the only Harris original is the title tune, albeit superbly done. As a document of Eddie Harris in full bloom as a hard bopper, Freedom Jazz Dance is marvelous, but reveals only one side of this bewilderingly multi-faceted, innovative musician and as such, it is an incomplete memorial. [A Japanese version adds a bonus track.] ~ Richard S.Ginell https://www.allmusic.com/album/freedom-jazz-dance-mw0000090767  

Personnel: Tenor Saxophone – Eddie Harris;  Bass – George Mraz;  Drums – Billy Hart;  Piano – Jacky Terrasson

Freedom Jazz Dance

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Dave McMurray - I Know About Love

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 66:10
Size: 151,9 MB
Art: Front

(5:38)  1. Time #4
(2:57)  2. I Luv You Like Jazz
(5:05)  3. First Night In Africa
(4:27)  4. Precious Memories
(4:04)  5. I'm Coming Up
(4:39)  6. Love Calls
(4:06)  7. Waba Doo Bop
(4:04)  8. One Night In Paris
(4:30)  9. I Know About Love
(4:04) 10. Radio Days
(4:05) 11. Inherit The Wind
(4:58) 12. Beautiful You
(4:34) 13. Naked
(4:18) 14. Break It Down
(1:39) 15. Ma's Song
(2:53) 16. I Luv You Like Jazz / Rollin

Whether as sideman for the likes of Bob James or contributor to albums such as Dylan’s ‘Under The Red Sky’ or the Rolling Stones ‘Voodoo Lounge’ fusion player Dave McMurray can always be relied upon to deliver the goods. This Detroit-based saxophonist made his solo debut in 1995 with ‘The Dave McMurray Show’ and since then has gone on to release four more CDs with the latest being the excellent ‘I Know About Love’. McMurray makes an early statement of intent with the opening track, ‘Time’ which, after a moody intro, evolves into a swaggering streetwise slice of edgy contemporary jazz. Predictably McMurray’s jazzy playing is outstanding and although he retains a similar groove for the aptly named ‘Waba Doo Bop’ much of what this fabulous collection is all about can be typified by two contrasting versions of the intensely foot tapping ‘I Love You Like Jazz’. The initial take has something of an hypnotic urban undertone which in the later rendition gives way to a ballsy rap by Paradime that is right on the money.  When McMurray takes a melodic diversion for the smoky ‘First Night In Africa’, he is still able to inject an urgency that is added to in no small measure by Marcus Miller on bass while the fusion filled ‘I’m Coming Up’ is notable on many counts and not least for fantastic keys from the great George Duke. This jazzy funk fest is wonderful and in delightful contrast to the deliciously relaxed ‘Precious Memories’ which proves to be a first rate slice of mellifluous contemporary jazz. By and large ‘I Know All About Love’ revolves around McMurray’s own excellent compositions but along side thirteen of his own tunes are the sensational ‘Love Calls’ from R & B star KEM (who also features on vocals) and a fine cover of the Wilton Felder composition ‘Inherit The Wind’ which was a massive hit in 1979 for Bobby Womack. The Womack like vocals of Sweet Pea Ackinson (with whom McMurray first collaborated back as 1982) are tremendously faithful to the original while when McMurray gets back to his own songs the reflective title cut is anchored by the distinctly soulful vocals of Herschell Boone who also shares writing credits. McMurray switches to flute for the expansive ‘Naked’ where Al Turner on bass also contributes and as ‘I Know About Love’ glides to a tranquil end the outcome is the mellow yet jazz drenched ‘My Ma’s Song’. Elsewhere ‘Beautiful You’ is another top-notch example of easy grooving urban jazz whilst the mellifluous ‘One Night In Paris’ is embellished by the vocals of TIYI Adjovi and more superb flute from McMurray. This track is right up there with the album’s best and in the good company of both the hugely inviting ‘Radio Days’ (which finds McMurray re-uniting with old pal Bob James) and the wonderfully intense ‘Break It Down’ where vocalist Jessica Wager Cowan vies for the spotlight with more of McMurray’s great playing.‘I Know About Love’ is out now and comes highly recommended. http://smoothjazztherapy.typepad.com/my_weblog/2012/02/dave-mcmurray-i-know-about-love.html

I Know About Love

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Lucky Thompson - Accent on Tenor Sax

Styles: Saxophone Jazz
Year: 1954
File: MP3@320K/s
Time: 58:00
Size: 132,9 MB
Art: Front

( 6:25)  1. Tune For Tex
( 6:24)  2. Where Or When
( 8:05)  3. Mr. E-Z
(13:13)  4. Kamman's A'Comin'
( 7:33)  5. Ever So Easy
( 3:20)  6. Salute To Charlie Parker
( 4:18)  7. Mood Indigo
( 5:02)  8. Easy To Love
( 3:35)  9. Prelude To A Mood

Born in Columbia, SC, on June 16, 1924, tenor saxophonist Lucky Thompson bridged the gap between the physical dynamism of swing and the cerebral intricacies of bebop, emerging as one of his instrument's foremost practitioners and a stylist par excellence. Eli Thompson's lifelong nickname the byproduct of a jersey, given him by his father, with the word "lucky" stitched across the chest -- would prove bitterly inappropriate: when he was five, his mother died, and the remainder of his childhood, spent largely in Detroit, was devoted to helping raise his younger siblings. Thompson loved music, but without hope of acquiring an instrument of his own, he ran errands to earn enough money to purchase an instructional book on the saxophone, complete with fingering chart. He then carved imitation lines and keys into a broom handle, teaching himself to read music years before he ever played an actual sax. According to legend, Thompson finally received his own saxophone by accident a delivery company mistakenly dropped one off at his home along with some furniture, and after graduating high school and working briefly as a barber, he signed on with Erskine Hawkins' 'Bama State Collegians, touring with the group until 1943, when he joined Lionel Hampton and settled in New York City. Soon after his arrival in the Big Apple, Thompson was tapped to replace Ben Webster during his regular gig at the 52nd Street club the Three Deuces Webster, Coleman Hawkins, Lester Young, and Art Tatum were all in attendance at Thompson's debut gig, and while he deemed the performance a disaster (a notorious perfectionist, he was rarely if ever pleased with his work), he nevertheless quickly earned the respect of his peers and became a club fixture. 

After a stint with bassist Slam Stewart, Thompson again toured with Hampton before joining singer Billy Eckstine's short-lived big band that included Charlie Parker, Dizzy Gillespie, and Art Blakey in other words, the crucible of bebop. But although he played on some of the earliest and most influential bop dates, Thompson never fit squarely within the movement's paradigm his playing boasted an elegance and formal power all his own, with an emotional depth rare among the tenor greats of his generation. He joined the Count Basie Orchestra in late 1944, exiting the following year while in Los Angeles and remaining there until 1946, in the interim playing on and arranging a series of dates for the Exclusive label. Thompson returned to the road when Gillespie hired him to replace Parker in their epochal combo he also played on Parker's landmark March 28, 1946, session for Dial, and that same year was a member of the Charles Mingus and Buddy Collette-led Stars of Swing which, sadly, never recorded. More...Jason Ankeny https://www.allmusic.com/artist/lucky-thompson-mn0000302799/biography             

Personnel: Lucky Thompson (tenor sax), Jimmy Hamilton (clarinet), Billy Taylor (piano), Sidney Gross (guitar on #1-3), Oscar Pettiford (bass), Osie Johnson (drums).

Accent on Tenor Sax

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Nellie McKay - Obligatory Villagers

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 31:38
Size: 73,5 MB
Art: Front

(2:10)  1. Mother Of Pearl
(3:20)  2. Oversure
(2:59)  3. Gin Rummy
(0:23)  4. Livin
(3:27)  5. Identity Theft
(3:21)  6. Galleon
(4:18)  7. Politan
(5:40)  8. Testify
(5:56)  9. Zombie

The irony inherent in Obligatory Villagers, the shortest of Nellie McKay's first three albums, is that it's her most difficult to understand, comprehend, or even take in. This despite the fact that, unlike her first two albums, these nine songs don't sprawl stylistically. Except for a light pop opener granted, that opener is a mocking satire of conservatives called "Mother of Pearl" with an opening line ("Feminists don't have a sense of humor") that deftly counterbalances McKay's later call for a dance break the album is Broadway all the way. With McKay's voice and piano, plus heavyweight help from jazz horns including David Liebman, Phil Woods, and Bob Dorough (the latter a singing horn), the album charges by with lightning speed. Her nimble Broadway orchestrations step and kick so quickly that it's nearly impossible to decode McKay's lyrics until after several listens even keeping up with the lyric book is difficult. (On his features, Dorough plays it up perfectly, a bemused and befuddled onlooker to the madness.) The fact that Obligatory Villagers does eventually coalesce into a unified and pleasurable listening experience is primarily a testament to Nellie McKay's sizable skills in arrangement and orchestration; writing original charts to provide the meat, then quoting from show tune tradition where she needs to lighten the mood, she makes the entire album a treat, an entertaining experience that listeners will want to sit through over and over until they figure out all of the points large and small she's making in these songs. If only there were a Broadway musical companion for Obligatory Villagers that listeners could actually sit through, either to visually unite the songs or merely to watch while they listened, Obligatory Villagers would be an amazing soundtrack. ~ John Bush https://www.allmusic.com/album/obligatory-villagers-mw0000750785

Obligatory Villagers

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Peter Beets Trio - First Date

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 51:40
Size: 119,1 MB
Art: Front

(6:11)  1. Blues for the Date
(6:12)  2. Tricotism
(5:11)  3. Bebop
(6:37)  4. Con Alma
(8:12)  5. It has Happened
(6:38)  6. Degage
(5:53)  7. Groovin' High
(6:44)  8. First Song

Peter Beets has shared the stage with jazz greats like Chick Corea, Wynton Marsalis, Dee Dee Bridgewater, George Coleman, Johnny Griffin, Chris Potter and John Clayton. He recorded with Jeff Hamilton and Curtis Fuller and in 2001 his recording "New York Trio" was released, which brought him international acclaim. Peter Beets was born on the 12th of June, 1971 in the Hague. From birth he was surrounded by music: classical from his mother who is a music pedagogue, and jazz from his father who is a gynaecologist with a great love of Oscar Peterson and Art Blakey. This musical family, which includes two older brothers, Marius and Alexander, moved in 1972 to Groenlo, where Peter received his first piano lessons at the age of six. Although originally both parents did not associate the word "musician" with the word "career", music is definitely in the family's blood. Both Marius (1966) and Alexander (1968) become professionals on string bass and tenor saxophone, respectively. After college, Peter studied from 1989 at the Royal Conservatory in The Hague. He combined his music studies with law school, but the jazz virus matured and he decided to concentrate exclusively on music. From 1985 the brothers performed together as “The Beets Brothers”. In 1988 Peter won the prestigious Pall Mall Swing Award and a year later the Princess Christina Award. After this point, Peter's career began to rise rapidly. In 1990 the first recording of The Beets Brothers appeared, followed by two more, School is Closed Now (1993) and Brotherwise (1995). In 1996, Peter recorded a remarkable trio album called “First Date”, with drummer Jeff Hamilton, the driving force behind Monty Alexander and Oscar Peterson. Peter became a much wanted pianist both inside and outside the Netherlands, and accompanied, among others, Deborah Brown, Dee Daniels and Holland's "First Lady of Jazz", Rita Reys. In 1998 he finished his conservatory studies, and won the Parisian Prix Martial Solal. He also became the regular pianist of “The Jazz Orchestra of the Concertgebouw”. With trombone and jazz legend Curtis Fuller, Peter made a live recording in 1999 and won in that same year yet another prize, the Concours de Solistes de Jazz in Monaco.

More recordings follow: in 2000 “Powerhouse”, in 2001 “All Or Nothing At All” In 2001 he recorded the CD “New York Trio”, with the rhythm tandem Rodney Whitaker and Willie Jones III, the first CD of Peter Beets recorded on the Criss Cross label. After the sequel,  “New York Trio Page Two” recorded with the world-famous Larry Grenadier on bas he made a third CD for the label Criss Cross. This time with Reginald Veal on bass and drummer Herlin Riley, known from the group around Wynton Marsalis. In October 2007 his most recent CD appears on the renowned label. This time he chooses to perform without drums, but with the strength of piano, guitar and bass. The CD, called “New Groove”, is recorded in New York featuring Joe Cohn (guitar) and Reuben Rogers (bass). A few songs are recorded with a dutch cast, Martijn van Iterson (guitar) and Ruud Jacobs (bass). Peter has had very successful tours with his trio in several countries in Europe such as Germany, Switzerland, Finland and Poland as well as in Japan and the US. He played at the famous Birdland Club in New York as a “special guest” for one week.

Personnel:  Peter Beets - piano;  Marius Beets - bass;  Jeff Hamilton - drums

First Date

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Vladimir Shafranov & Harry Allen - Dear Old Stockholm

Styles: Piano And Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 72:48
Size: 167,8 MB
Art: Front

(3:31)  1. Dear Old Stockholm -1
(3:41)  2. Dear Old Stockholm -2
(4:55)  3. Besame Mucho
(5:01)  4. Just One More Chance
(5:16)  5. Beautiful Love
(6:04)  6. So in Love
(5:20)  7. Cry Me a River
(5:25)  8. If You Never Come to Me
(3:41)  9. Left Alone
(8:58) 10. Moon and Sand
(5:36) 11. Close Enough for Love
(3:55) 12. Just in Time
(3:48) 13. You Must Believe in Spring
(3:13) 14. Round Midnight
(4:17) 15. What a Wonderful World

Russian-born jazz pianist Vladimir Shafranov and American tenor sax player Harry Allen meet for a Nordic encounter in Stockholm.

Born December 31 1948 in Leningrad,Russia.  Vladimir Shafranov was educated in Leningrad Conservatory on violin and piano. Already as a teenager he began playing jazz at the local scene,much to dismay of his teachers. He emigrated to Israel in 1973 and then to Finland in 1974. While in Finland he was one of the most in demand pianist especially accompanying visiting Americans. Greatly encouraged by many of them to move to New York he did so in 1983 and was very active in Manhattan Jazz Scene playing at clubs such as Bradley's, Blue Note, Village Vanguard,Village Gate among others. He was a duo partner w. bassists like Ron Carter,Red Mitchell,George Mraz and Buster Williams, led trios with Ron Carter-Al Foster, Rufus Reid-Victor Lewis, George Mraz-Albert "Tootie" Heath to name but a few. He also played with many top soloists such as Freddie Hubbard, Dizzy Gillespie,Art Farmer, Clifford Jordan,George Coleman, Pepper Adams and accompanied singers such as Carmen McRae,Ernestine Anderson, Etta Jones and Jimmy Scott.Since 1998 he and his family settled on Åland Islands and has become one of best-selling jazz pianists in Japan having released 11 CD's and DVD. His latest release is "I'll Close My Eyes"(20010) featuring Jesper Lundgaard on bass. https://www.last.fm/music/Vladimir+Shafranov/+wiki

Personnel:  Vladimir Shafranov - piano;  Harry Allen - tenor sax;  Hans Backenroth - bass;  Bengt Stark - drums.

Dear Old Stockholm

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Thomas Quasthoff - Nice 'N' Easy

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 58:57
Size: 135,7 MB
Art: Front

(3:36)  1. Nice 'N' Easy
(6:26)  2. Body and Soul
(5:42)  3. But Not for Me
(3:56)  4. Moonglow
(4:51)  5. Cry Me a River
(6:36)  6. Some Enchanted Evening
(6:08)  7. I Remember You
(3:30)  8. I've Got the World on a String
(3:47)  9. Stardust
(4:25) 10. Willow Weep for Me
(4:13) 11. Too Close for Comfort
(5:42) 12. Imagine

One of the most admired Lieder and concert singers of his generation, Bass-Baritone Thomas Quasthoff returns to the studio with his first solo album since 2010. Thomas Quasthoff is approaching standards such as Nice and Easy or Cry Me A River with new arrangements by Jörg Achim Keller. The results: exciting new versions of familiar jazz-classics. This release finds the singer partnering again with German trumpeter Till Brönner - featuring a solo and his Trio Partners Frank Chastenier, Dieter Ilg and Wolfgang Haffner as well as the unique NDR Bigband - The Hamburg Radio Jazz Orchestra. ~ Editorial Reviews https://www.amazon.com/Nice-N-Easy-Thomas-Quasthoff/dp/B079VQ4T7P   

Personnel: Vocals – Thomas Quasthoff;  Bass – Dieter Ilg;  Conductor [NDR Bigband] – Frank Engel, Jörg Achim Keller;  Drums – Jörg Achim Keller, Wolfgang Haffner;  Trumpet, Flugelhorn – Till Brönner;  Piano – Frank Chastenier

Nice 'N' Easy

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Zoot Sims, Bucky Pizzarelli - Nirvana

Styles: Saxophone Jazz
Year: 1974
File: MP3@320K/s
Time: 41:20
Size: 96,1 MB
Art: Front

(4:16)  1. Summerset
(4:00)  2. Honeysuckle Rose
(3:20)  3. A Summer Thing
(3:38)  4. Somebody Loves Me
(2:54)  5. Gee Baby, Ain't I Good To You
(4:19)  6. Nirvana
(4:05)  7. Indiana
(4:08)  8. Memories Of You
(4:39)  9. Come Rain Or Come Shine
(3:25) 10. Up A Lazy River
(2:30) 11. Send In The Clowns

Nirvana is an album by American jazz saxophonist Zoot Sims and guitarist Bucky Pizzarelli with special guest Buddy Rich recorded in 1974 and released on the Groove Merchant label. https://en.wikipedia.or /wiki/Nirvana_(Zoot_Sims_and_Bucky_Pizzarelli_album)

Personnel:  Zoot Sims – tenor saxophone, vocals on track 5;  Bucky Pizzarelli – guitar;  Milt Hinton – bass;  Buddy Rich – drums (tracks 1–4 & 6–11), vocals on track 5;  Stan Kay – drums (track 5)

Nirvana

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Dick Hyman - Plays Variations On Richard Rogers

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 73:55
Size: 170,2 MB
Art: Front

(2:56)  1. Some Enchanted Evening
(2:35)  2. Bali Ha'i
(4:44)  3. This Nearly Was Mine
(3:41)  4. Happy Talk
(4:28)  5. Dites-Mo
(3:55)  6. A Wonderful Guy
(5:27)  7. Getting To Know You
(4:48)  8. March Of The Siamese Children
(4:24)  9. Oh, What A Beautiful Morning
(2:57) 10. Many A New Day
(4:40) 11. The Surrey With The Fringe On Top
(2:23) 12. People Will Say We're In Love
(5:31) 13. It Might As Well Be Spring
(2:53) 14. My Favorite Things
(4:45) 15. The Gentleman Is A Dope
(4:41) 16. If I Loved You
(8:59) 17. Soliloquy

There are two CDs of solo-piano interpretations here; one devoted to songs by Rodgers and Hart, one to songs by Rodgers and Hammerstein. Jazz listeners born after World War II will know these pieces from the ’20s, ’30s and ’40s only in their modern versions: Miles Davis’ or Chet Baker’s “My Funny Valentine,” Bill Evans’ “Spring Is Here,” John Coltrane’s “My Favorite Things.” These “variations” by Dick Hyman (who turned 80 in March), which occur in a style contemporaneous with the dates when these songs were composed, will sound quaint to modern ears. The challenge is to not be thrown off-stride by the distancing conventions and elaborate formalities of Hyman’s approach. It contains so many stylistic elements (Harlem stride, Teddy Wilson, Erroll Garner, even ragtime) from a world now out of reach. Hyman is an encyclopedic virtuoso of jazz-piano history. Many of these 35 pieces have been in his repertoire for 60 years, and he has not stopped thinking about them. You can spend hours in this set and keep finding further details: the quote from “Giant Steps” in “Have You Met Miss Jones”; the variety of modulations and counter-lines and accompaniments through which he filters “My Funny Valentine” for over seven minutes; the fresh harmonic context and interpretive embellishments for “If I Loved You,” which give it a bright new energy and yet retain what Hyman correctly calls its “gravity.” Given the source material, the odds are good that you will find your favorite song here, addressed with vast pianistic comprehensiveness and erudite “variation” and unimpeachable patrician taste and a dignity now forgotten. These are presumably new recordings (no dates are given). While the music is timeless, unfortunately the pallid, airless sound is dated. ~ Thomas Conrad https://jazztimes.com/reviews/eighty-eights/dick-hyman-plays-variations-on-richard-rodgers/

Plays Variations On Richard Rogers

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Kelly Willis & Bruce Robison - Our Year

Styles: Vocal And Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 31:32
Size: 73,2 MB
Art: Front

(3:36)  1. Departing Louisiana
(2:50)  2. Motor City Man
(3:22)  3. Carousel
(2:56)  4. Lonely for You
(2:51)  5. A Hangin On
(3:33)  6. Shake Yourself Loose
(3:45)  7. Harper Valley PTA
(3:10)  8. Anywhere But Here
(3:03)  9. I'll Go To My Grave Loving You
(2:22) 10. This Will Be Our Year

As the adage goes, "if it ain't broke, don't fix it." Husband-and-wife team Bruce Robison and Kelly Willis follow up 2013's successful duet album Cheater's Game with Our Year. Once more enlisting Brad Jones as producer, this collection of originals and covers goes right to the heart of what made Cheater's Game special: the pairing of these voices in a decidedly Texas take on traditional country music. Their approach is as timeless as the pairing of Gram Parsons and Emmylou Harris. Robison's and Willis' songs stack up with the legendary tunes they've cut here. On Walter Hyatt's rambling four/four country rocker "Motor City Man," Willis' lead vocal digs deep into the swinging groove with Robison picking up the slack in harmony as Robison's bluesy harmonica fills the tags. The deep roots reading of Tom T. Hall's "Harper Valley P.T.A." made a honky tonk classic by Jeannie C. Riley finds Willis' lead vocal earthier, less sassy, and more authoritative, underscored by Robison's more plaintive support. Additionally, Willis is backed by acoustic instrumentation mandolins, dobro, acoustic guitars, and upright bass. The duet approach on Don Reid's "I'll Go to My Grave Loving You" builds to a skittering strut on the verse led by Robison as Willis digs in for more dimension underneath: fiddle, pedal steel, brushed drums, and acoustic guitars frame the pair. Robyn Ludwick, Robison's younger sister and a hell of a songwriter, penned set-opener "Departing Louisiana." Robison's lead vocal captures the sense of desperation and long-suffering in the lyric as Willis highlights the longing in her harmony, accompanied by dobro, mandolin, and a harmonium. Willis' and Paul Kennerley's "Lonely for You" is bursting with barroom swagger and country blues. Robison's and Darden Smith's "Carousel," and "Anywhere But Here" with Monte Warden, are ballads in the lineage traditions of Lefty Frizzell and Robert Earle Keen, respectively. The closer "This Will Be Our Year," by Chris White, highlights everything that makes these two voices resonate: both are understated; able to make emotional depth come forth without acrobatics or added drama. Their individual and shared timbres highlight the subtle graces and truths in the best country songs. And while both are strong singers individually, as a duet, they are a powerhouse. Get this one. ~ Thom Jurek https://www.allmusic.com/album/our-year-mw0002656629

Our Year

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Jay McShann - Airmail Special

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 54:31
Size: 125,3 MB
Art: Front

(4:48)  1. Airmail Special
(6:46)  2. Drop Me Off In Harlem
(3:37)  3. Blue And Sentimental
(4:39)  4. Swingin' The Blues
(7:05)  5. Rose Room
(6:01)  6. The Lucky Old Sun
(4:44)  7. Blue Lou
(4:33)  8. Tenderly
(7:28)  9. Jumpin' The Blues
(4:46) 10. Rockin' In Rhythm

Pianist Jay McShann, bassist Neil Swainson and drummer Terry Clarke swing up a storm throughout this joyful set. They interpret eight standards, mostly from the 1930s, including "Airmail Special," "Drop Me Off In Harlem," "Blue Lou" and McShann's famous "Jumpin' the Blues." Although few real surprises occur, these renditions are enthusiastic and swinging, and thus very enjoyable. ~ Scott Yanow https://www.allmusic.com/album/airmail-special-mw0000653408

Personnel:  Jay McShann - piano;  Neil Swainson - bass;  Terry Clarke - drums.

Airmail Special

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Barney Kessel - Just Friends

Styles: Guitar Jazz
Year: 1973
File: MP3@320K/s
Time: 37:13
Size: 86,5 MB
Art: Front

(7:48)  1. Just Friends
(3:42)  2. Bewitched
(5:38)  3. Going Thru Some Changes
(5:37)  4. Old Devil Moon
(6:09)  5. Days Of Wine & Roses
(3:30)  6. "Samba" From Black Orpheus
(4:47)  7. True Blues

This Sonet recording features guitarist Barney Kessel, bassist Sture Nordin and drummer Pelle Hulten at a live club date in Stockholm. The music is essentially bebop plus a few bossas. Fortunately, Kessel (the main voice throughout) varies the moods and the tempos, so the set (which includes "Just Friends," ahis original "Going Thru Some Changes" and "Days of Wine & Roses," among others) holds on to one's interest. ~ Scott Yanow https://www.allmusic.com/album/just-friends-mw0000901123  

Personnel:  Barney Kessel - Guitar; Sturen Nordin - Bass; Pelle Hulten - Drums.

Just Friends

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Woody Shaw - For Sure!

Bitrate: MP3@320K/s
Time: 48:33
Size: 111.1 MB
Styles: Bop, Trumpet jazz
Year: 1980/2012
Art: Front

[5:41] 1. We'll Be Together Again
[5:21] 2. OPEC
[4:24] 3. Time Is Right
[5:27] 4. Ginseng People
[4:48] 5. Why
[7:08] 6. Joshua C
[8:26] 7. Isabel The Liberator
[7:13] 8. Teotihuacan

Bass – Stafford James; Drums – Victor Lewis; Piano – Larry Willis; Trumpet, Flugelhorn – Woody Shaw.

One of five Woody Shaw albums on Columbia, this fine set finds the trumpeter's regular quartet (with pianist Larry Willis, bassist Stafford James, and drummer Victor Lewis) augmented by several horn players (Carter Jefferson on tenor and soprano, trombonists Curtis Fuller and Steve Turre, altoist Gary Bartz, and flutist James Spaulding), the percussion of Naná Vasconcelos, and, on two tracks, up to six strings. In addition, Judi Singh adds eerie vocals to "Time Is Right" and "Why?" Six separate sessions were needed to complete the LP, and the personnel varies on each track. There are originals performed by Shaw, Singh, Willis, and Lewis, but it is the trumpeter's feature on "We'll Be Together Again" with the strings that ends up being most memorable. ~Scott Yanow

For Sure! mc
For Sure! zippy

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Peter Erskine, Richard Torres - From Kenton To Now

Bitrate: MP3@320K/s
Time: 63:40
Size: 145.8 MB
Styles: Progressive jazz
Year: 1995
Art: Front

[6:45] 1. L.A. Stomp
[8:09] 2. Blues For All
[7:37] 3. Happy Day
[7:18] 4. Artistry In Rhythm
[5:56] 5. I Love You (Sweetheart Of All My Dreams
[6:16] 6. Modern Drummer Blues
[7:27] 7. Intermission Riff
[5:24] 8. The Park
[3:55] 9. Richard's Blues
[4:48] 10. Constance

Bass – Dave Carpenter; Drums – Peter Erskine; Piano – Alan Pasqua; Tenor Saxophone – Richard Torres.

Drummer Erskine, tenor saxophonist Torres, and pianist Alan Pasqua crossed paths in the Stan Kenton band of 1972. (Pasqua was subbing for an ailing Kenton.) This reunion, with Dave Carpenter on bass, is a highly charged blowing session. Torres is hot throughout the date, with a robust sound, soulful inflections, a straight ahead sense of rhythm, and pliant, supple lines. Pasqua, who performed with Tony Williams’ New Lifetime in the early ’70s, demonstrates a climactic style of solo-building. Carpenter is perfectly at home in this strong company.

Erskine’s crisp articulation, commanding sense of time, and clean fills and solos put a synergistic touch on the performances. Torres’ “Blues for All,” a take-off on Miles Davis’ “All Blues,” contains his best solo-shades of the late Shelly Manne tap-dancing over a march beat. Torres composed six originals for the date. There are also tunes associated with Kenton: the late bandleader’s “Artistry in Rhythm” and Ray Wetzel’s “Intermission Riff.” ~Owen Cordie

From Kenton To Now mc
From Kenton To Now zippy

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Lauren Henderson - Ármame

Bitrate: MP3@320K/s
Time: 64:33
Size: 147.8 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[5:04] 1. The Great City
[4:43] 2. To Wisdom The Prize
[3:34] 3. Love Is A Losing Game
[5:09] 4. Let Me Love You
[4:26] 5. Tanto Amor
[5:29] 6. The Old Country
[3:08] 7. Inside A Silent Tear
[5:07] 8. El Ritmo
[4:54] 9. Better Days
[6:16] 10. Ármame
[4:51] 11. Open Your Eyes
[6:53] 12. We're Still Friends
[4:54] 13. Todo Tiene Su Final

On her lovely and coolly sensual new recording, Ármame, vocalist Lauren Henderson delivers an eclectic set of jazz, Latin jazz, and other styles in a program reflecting her African-American and Caribbean heritage and her omnivorous musical tastes. Produced by veteran broadcaster and Sirius/XM jazz host Mark Ruffin, the CD was released March 30 on her new label, Brontosaurus Records.

The album’s title translates as “Arm Me” (as from a broken heart), and the subtitle “Songs of Love and Loss” provides insight into Henderson’s repertoire choices. In addition to premiering three new originals, the vocalist adds to her already impressive credentials as a deft interpreter of others’ songs with heartfelt arrangements of “Love Is a Losing Game” by Amy Winehouse, Blossom Dearie’s heartbreaking classic “Inside a Silent Tear,” and Donny Hathaway’s “We’re Still Friends.” The two songs on which Terri Lyne Carrington sings backup vocals—“To Wisdom the Prize,” by Larry Willis, and “Better Days,” a nod to Chaka Khan, who’s a favorite singer of Henderson’s—are a particular highlight. “There’s this special, natural thing about how our voices go together,” Henderson says of working with Carrington.

One of Henderson’s major influences, Shirley Horn, is represented by two mid-tempo selections from that master of restraint’s songbook: Curtis Lewis’s “The Great City,” a onetime Nancy Wilson vehicle Henderson personalized with Spanish lyrics, and Bart Howard’s “Let Me Love You,” which was also recorded by Johnny Hartman. “I’ve always loved Shirley Horn’s delivery,” says Henderson. “There are a lot of layers to her singing.”

Ármame is anchored by the great young pianist Sullivan Fortner, a friend and colleague since Lauren first arrived in New York. “Not all pianists are as good playing with singers as they are working as solo artists,” she says. “He is.” Bassist Eric Wheeler and drummer Joe Saylor of The Late Show with Stephen Colbert round out the rhythm section; the CD also features a strong set of soloists in alto saxophonist Godwin Louis, trumpeter Josh Evans, and guitarist Nick Tannura, plus percussionist Nanny Assis.

Lauren Henderson was born on November 5, 1986 in Marblehead, Massachusetts, a town outside of Salem. Her father, of African-American and Caribbean ancestry, and her mother, the daughter of immigrants from Panama and Montserrat, are lovers of jazz and Latin music and exposed their daughter to these and other genres when she was growing up. ~Terri Hinte

Ármame mc
Ármame zippy

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Metropolitan Jazz Affair - Bird Of Spring

Bitrate: MP3@320K/s
Time: 66:26
Size: 152.1 MB
Styles: Fusion, Swing
Year: 2007
Art: Front

[5:28] 1. Bird Of Spring
[4:25] 2. Drifting (R'n'b Mix)
[1:38] 3. Day Dreaming (Interlude)
[4:44] 4. Escapism
[5:50] 5. Find A Way
[5:21] 6. Fourmi Rouge
[4:21] 7. Everybody Knows
[4:25] 8. Roaming
[5:10] 9. Sigh Of Dawn
[4:02] 10. Swagger
[5:06] 11. Turned To Clay
[4:25] 12. You Can Dig
[4:57] 13. Drifting (Swing Mix)
[6:29] 14. Minus 46

Double Bass, Bass, Percussion, Organ [Hammond] – Bruno Hovart; Horns, Trumpet, Trombone, Flugelhorn – Stéphane Ronget; Piano [Fender Rhodes], Piano [Wurlitzer], Piano – Benjamin Dévigne; Vocals – Eric Duperray.

Bruno “Vishnu” Hovart (this man has at least four arms!), the main brain behind the groove of MJA, notorious cyber funkateer (known for the deep house, hip hop, and soul productions of Patchworks, Mr President, The Dynamics...), and the astonishing Mr Day (AKA Eric Duperray), channelling his angelic voice and soulful phrases tuned to his Green (Grant Green, for Blue Note) guitar style, remain together more than ever in complicity.

Bird of Spring, this new album hatched by the worldwide respected German label Infracom!, shows that MJA is more than a strong duet, it is a mythical quartet. Four aces… and three years of additional maturity!
From the tune “Bird of Spring” all the way to the thirteenth track of this 2006 session, one finds within this magical framework the astounding Ronget and Devigne, two sharpshooters of the new jazz generation who breathe much inspiration. ~Robert Lapassade

Bird Of Spring mc
Bird Of Spring zippy

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