Thursday, June 14, 2018

Benny Carter - Jazz Giant (Remastered)

Bitrate: MP3@320K/s
Time: 39:09
Size: 89.6 MB
Styles: Bop, Swing, Saxophone jazz
Year: 1957/1987
Art: Front

[7:50] 1. Old Fashioned Love
[5:48] 2. I'm Coming Virginia
[6:00] 3. A Walkin' Thing
[4:58] 4. Blue Lou
[3:40] 5. Ain't She Sweet
[6:13] 6. How Can You Lose
[4:38] 7. Blues My Naughty Sweetie Gives To Me

Alto Saxophone – Benny Carter (tracks: 1, 3 to 7); Bass – Leroy Vinnegar; Drums – Shelly Manne; Guitar – Barney Kessel; Piano – André Previn (tracks: 1, 4 to 7), Jimmy Rowles (tracks: 2, 3); Tenor Saxophone – Ben Webster (tracks: 1 to 4, 6); Trombone – Frank Rosolino (tracks: 1 to 4, 6); Trumpet – Benny Carter (tracks: 2, 6). Recorded at Contemporary's Studio in Los Angeles; June 11 (#1, 4), July 22 (#2, 3), October 7, 1957 (#6) and April 21, 1958 (#5, 7).

Benny Carter was one of the top-admired original major alto saxophonists and perhaps one of the top world class jazz ensemble leaders up until the late-1950’s, where he was undoubtfully, as the title of this album suggests, a “Jazz Giant”, but this time this landmark project sounds even better in it’s own digitally-remastered complete format. Released in 1958 to critical success, Jazz Giant presents an all star session where it gradually showcase a lyrical and original form of fresh music that is unpretentious: bright, relaxed and buoyant placed along with a full dash of of infectious swing as each musician on the album get a chance to show off there worthy solos while Carter played with characteristic lyricism, technical faculty and a bounty of sounds on alto and- and on two tracks- flawlessly on trumpet, his first love. The track set proceed with exclusive style on other memorable reinditions of classic standards including Old-Fashioned Love, Blue Lou, A Walkin’ Thing, How Could You Lose?, Ain’t She Sweet, for whom Carter and the all-stars performs quintessential style and exquisite integrity. The last two tracks even comes to life in a fortuitous manner where Carter had been set out on the session, but became ill towards the last minute, and with noted jazz guitarist Barney Kessel taking over the musicians had decided to use some of there congenial informal playing where included some of the finest work recorded in the saxophone section. Remastered in its proud complete edition, what made Jazz Giant a time-honoured success can be owed to the band members who gratefully participated where they consisted of Kessel on the guitar, tenor saxophonist Ben Webster, both Andre Previn or Jimmy Knowles at the piano, session trombonist Frank Roselino and Shelly Manne at the drums, who help made this one of Carter’s finest and most beloved masterpieces. ~RH

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Phil Dwyer, Alan Jones, Rodney Whitaker - Let Me Tell You About My Day

Bitrate: MP3@320K/s
Time: 69:50
Size: 159.9 MB
Styles: Saxophone jazz
Year: 2005
Art: Front

[6:07] 1. Afternoon In Paris
[4:54] 2. Narcolypso
[4:59] 3. The Black Beer
[5:57] 4. Refuge
[7:58] 5. I Can't Believe That Your're In Love With Me
[7:33] 6. Two White Heads
[6:29] 7. Thangs
[6:53] 8. Camp Whitaker
[5:06] 9. Airegin
[4:59] 10. Winter Moon
[4:22] 11. For Garrison
[4:28] 12. Let Me Tell You About My Day

Canadian saxophonist Phil Dwyer and American drummer Alan Jones join forces with veteran bassist Rodney Whitaker to uncork a series of warm and powerful readings of originals and standards on this album, which was nominated for thie 2006 JUNO awards (the Canadian Grammys).

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Cory Jamison - Kenton's Cool School

Bitrate: MP3@320K/s
Time: 52:51
Size: 121.0 MB
Styles: Cabaret, Vocal jazz
Year: 2008
Art: Front

[2:43] 1. It's A Most Unusual Day
[2:26] 2. Shoo Fly Pie
[3:24] 3. That's All
[2:28] 4. The Lady In Red
[3:10] 5. I Told Ya I Love Ya (Now Get Out)
[4:54] 6. The Night We Called It A Day
[2:38] 7. Ridin' High
[2:49] 8. When Sunny Gets Blue
[4:47] 9. Senor Blues
[4:08] 10. Something Cool
[3:48] 11. A Stranger Called The Blues
[2:09] 12. On The First Warm Day
[3:53] 13. Hallelujah! I Love Him So!
[3:02] 14. All About Ronnie
[2:30] 15. Chiquita From Chi-Wah-Wah
[3:55] 16. My Shining Hour

Nationally recognized singer, Cory Jamison, is one of the leading cabaret/jazz artists in America. She celebrates the best of American Song-old and new. Her unique interpretations of the popular songbook have captivated audiences coast to coast in venues ranging from New York’s Town Hall in the east, to Davenport’s Piano Bar and The Chicago Jazz Festival in the midwest, and to The Rrazz Room and The Cinegrill in the west. According to The Chicago Tribune, “Here is a triple-threat performer whose obvious musicianship, interpretive savvy, and lovely lyric instrument cannot help but disarm an audience.”

Jamison emerged on the national scene with her critically acclaimed centennial tribute to the composer Hoagy Carmichael and her debut CD “Here’s to Hoagy” which became the top selling CD of 2000 on the LML Music label.
Here's to Hoagy by Cory Jamison (Oct 9, 2001). The Chicago Tribune’s annual CD review ranked it 4th out of the year’s Top Ten Jazz Releases claiming, “If the centennial of Hoagy Carmichael is going to inspire just one new recording, then this release deserves to be it.”

Kenton's Cool School Her 2nd CD, “Kenton’s Cool School” was released in 2008 on her own label, CJam Records. This diverse collection celebrates the musical legacies of the three jazz singers, June Christy, Chris Connor, and Anita O’Day, and in adding her own distinct interpretation to each tune, Jamison brings their artistry to a new generation. Jersey Jazz writes, “Something Cool,” a title that nicely describes what Jamison has achieved with this album…a joy to hear.”

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Talking Heads - Remain In Light (Deluxe Version)

Bitrate: MP3@320K/s
Time: 58:34
Size: 134.1 MB
Styles: Rock, New Wave
Year: 1980/2006
Art: Front

[5:46] 1. Born Under Punches (The Heat Goes On)
[4:46] 2. Crosseyed And Painless
[6:27] 3. The Great Curve
[4:18] 4. Once In A Lifetime
[4:33] 5. Houses In Motion
[3:24] 6. Seen And Not Seen
[4:40] 7. Listening Wind
[6:02] 8. The Overload
[5:16] 9. Fela's Riff
[4:46] 10. Unison
[4:24] 11. Double Groove
[4:06] 12. Right Start

'Remain in Light' is arguably the Talking Heads' best album ever. Steeped in primitive, African rhthyms, but sent with the trajectory of advanced technology, the album harnesses a mesmerizing and formidable set of sounds and images. It is easily Talking Heads' most avant garde work of their whole career. Think of tribal music generated from a computer, and you get 'Remain in Light'.

What used to be known as side one has mainly more progressive songs, and the second half is more subdued, but all of it is brilliant. There's "Born Under Punches," where David Byrne warbles, "I'm a tumbler...I'm a government man." Like many songs before it, he takes the everyman through the cross-hairs of everyday, struggling existence. "Cross-eyed and Painless" is pedestrian, but contains some riveting funk, and "The Great Curve" is hypnotic with the most dancey song from the album. "Houses in Motion" takes the funk where "Cross-eyed.." left off, but, understandably, given the title, takes a slower groove. (I've often wondered if the song is about the homeless.) Anyway, nuances give way to thoughtful songs like "Seen and Not Seen" and "Listening Wind". The finale is truly magnificent. Perhaps a song about calamity as big as Armageddon, "The Overload" is a chilling song that envelops the listener with its ominous development.

Still, a classic after all these years, 'Remain in Light' sounds just as innovative and modern as it did upon its release. Having a troubadour song, "Once in a Lifetime," complete with synthesizers that simulate flowing water, has kept them on the radio for a number of years with the most moving, and yet, "normal" song from the whole album. ~Rocky Raccoon

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Juan Carlos Caceres - Gotan Swing

Bitrate: MP3@320K/s
Time: 39:53
Size: 91.3 MB
Styles: Tango
Year: 2013
Art: Front

[3:51] 1. Bailando En El Alvear
[2:14] 2. Isidoro C
[2:35] 3. Independencia Rag
[3:42] 4. Volve Con Tu Mama
[2:23] 5. Paseando Por Santa Fe
[2:52] 6. Tango Reo
[3:48] 7. Esa Locura
[3:46] 8. Adios
[3:48] 9. Habanera Elegante
[2:40] 10. Harold Philips
[3:52] 11. Milonga Trucha
[4:16] 12. Murga Triste

Juan Carlos Caceres: Piano, Trombon, Kazoo, Voz; Frederic Truet: Flauta, Clarinete, Saxo; Didier Schmitz: Banjo Guitarra, Contrabajo; Guillermo Venturino: Cajon, Bombo,Washboard, Congas.

Those who enjoy authenticity, passion and passionate inspiration are in for a treat. Cáceres is unique and returns like a whirlwind, opening the spectrum of his music as much as the urgency of his pulse demands. Cáceres returns more personal than ever, pure present and all roots.

Tango, milonga, candombe and murga - the styles of the Rio de la Plata - are added, among a sea of ​​influences, swing, dixieland and charleston, which is not surprising knowing that Cáceres was a trombonist of jazz in the existentialist Buenos Aires. In "Gotan Swingl" there is no bandoneon, the most characteristic instrument of tango, instead he has used clarinet, trombone, piano, flute, tenor sax, banjo, guitar, double bass, cajón and bass drum among others, to lay the foundations of the songs . Notorious sensitivity for the new Argentine music, for the tango and its succulent derivatives, for the fusion of the old and the modern. (Translated from Spanish.)

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Fredrika Stahl - Sweep Me Away

Bitrate: MP3@320K/s
Time: 50:02
Size: 114.6 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[0:48] 1. Intro
[3:48] 2. Sweep Me Away
[3:18] 3. Fast Moving Train
[3:42] 4. Rocket Trip To Mars
[3:56] 5. Altered Lens
[4:01] 6. M.O.S.W
[3:15] 7. A Drop In The Sea
[3:12] 8. She & I
[3:15] 9. Fling On Boy
[3:32] 10. What If
[2:54] 11. In My Head
[4:04] 12. Fading Away
[3:47] 13. Song Of July
[3:07] 14. So High
[3:17] 15. Commercial Spot

Swedish-born jazz and pop vocalist Fredrika Stahl's career got going when she met producer Geef, which led to a meeting with pianist Tom McClung, who then formed a band around her and helped land her a major-label deal with the French arm of BMG, Vogue Records. Born in Stockholm on October 24, 1984, Stahl spent the majority of her preteen years in France, before returning to Sweden to finish schooling. Upon her graduation, Stahl found her way back to France, and met the people who would help make her a well-known name. Her debut album, A Fraction of You, was unveiled in the summer of 2006, and she followed the release with a number of performances, sharing stages with such artists as Erick Poirier, Ichiro Onoe, and Manuel Marches. Stahl released her second album, Tributaries, in 2008 on the Jive label. ~Chris True

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Don Byrd, Gigi Gryce - Jazz Lab

Bitrate: MP3@320K/s
Time: 41:29
Size: 95.0 MB
Styles: Bop
Year: 1957/2011
Art: Front

[3:39] 1. Speculation
[8:17] 2. Over The Rainbow
[5:28] 3. Nica's Tempo
[4:59] 4. Blue Concept
[6:59] 5. Little Niles
[7:13] 6. San Souci
[4:52] 7. I Remember Clifford

Alto Saxophone – Gigi Gryce; Baritone Saxophone – Sahib Shibab; Bass – Wendell Marshall; Drums – Art Taylor; Horn – Julius Watkins; Piano – Tommy Flanagan, Wade Legge; Trombone – Benny Powell, Jimmy Cleveland; Trumpet – Don Byrd; Tuba – Don Butterfield.

Alto saxophonist arranger Gigi Gryce and trumpeter Donald Byrd's innovative, but unfortunately short lived Jazz Lab Quintet recorded several sides during 1957, seven of which were released on this excellent Columbia album a handful of other titles were collectively made for Riverside, Verve, and RCA. The nucleus band of Gryce, Byrd, pianist Tommy Flanagan a spot also filled by Wade Legge and Hank Jones, bassis and drummer Art Taylor are augmented on four cuts here by trombonists Benny Powell and Jimmy Cleveland, French horn player Julius Watkins, baritone saxophonist Sahib Shihab, and tuba player Don Butterfield. The expanded ensemble turn in fleetly swinging renditions of Horace Silver's "Speculation" and Gryce's "Nica's Tempo" while varying the mood a bit with a ballad reading of Benny Golson's "I Remember Clifford" and a Far East-tinged waltz take on Randy Weston's "Little Niles" shades of Miles Davis' Birth of the Cool group are heard in the complex, yet featherweight arrangements by Gryce. The quintet tracks include Gryce's "Sans Souci" and a provocative version of "Over the Rainbow." With some of the best arrangements heard in jazz and excellent solos by Gryce, Byrd, and Flanagan, Jazz Lab makes for an excellent introduction to the hard bop catalog.

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Spyro Gyra - Good To Go-Go

Styles: Fusion, Smooth Jazz 
Year: 2007
File: MP3@320K/s
Time: 69:02
Size: 163,1 MB
Art: Front

(5:48)  1. Simple Pleasures
(5:20)  2. Get Busy
(4:15)  3. Jam Up
(5:40)  4. The Left Bank
(5:02)  5. Funkyard Dog
(6:45)  6. Along For The Ride
(6:23)  7. Island Time
(4:45)  8. Wassup!
(5:01)  9. Easy Street
(6:34) 10. A Winter Tale
(6:41) 11. Good To Go-Go
(6:42) 12. Newroses

Thirty-one years and 27 albums in (not including compilations), urban contemporary jazz unit Spyro Gyra are playing with the funky inspiration and clever melodic and rhythmic invention that have made them synonymous with the genre, but that they haven't displayed on their own recordings for some time. This is not to say the quintet have ever been completely off their game. They know what they do, and do it extremely well they can make smooth and groove-oriented records all day long but the sheer edge and shifty, even knotty melodic ideas on "Good to Go-Go" feel adventurous in contrast to the records they've made since the beginning of the decade where they've fused smooth jazz to some Caribbean, Spanish, and other kinds of world music as well as written and recorded with pop vocalists. The adventure here is in the groove itself. First there is the opener, "Simple Pleasures," (composed by saxophonist Jay Beckenstein) with its bassline-driven funky core, followed by "Get Busy" written by keyboardist Tom Schuman. It is really busy but keeps its flow, melodically and rhythmically, never losing the central beat though its dynamics change radically and its lyric core on the heads is full of complex changes. "Jam Up" features the steel pans of Andy Narrell and drummer Bonny B.'s backdrop (and irritating dancehall) vocals, but cooks with a reggae-propelled foreground, ending up in Spanish flamenco territory in the melodies. "The Left Bank," (Beckenstein) and "Good to Go-Go" (by bassist Scott Ambush) are down and dirty and full of compelling harmonic smoke if not all-out fire. The former is a funk tune with a slippery backbeat and beautiful counterpoint, and the latter pushes with killer B-3 playing by Shuman, slapping bass by Ambush and Bonny B.'s popping rimshots playing nearly against the melody. The blues groove in the latter tune (especially with Beckenstein's and Julio Fernandez's swinging, sting-happy six-string break, which gets touched off by Ambush loping both into his bass solo) kicks the whole thing up into a rhythm and groove burner. "Island Time," is a carnival tune with solid jazz chops, and once again Narrell's steel pans get a beautiful workout inside a nearly ecstatic lyric keyboard and saxophone head. Of course the rhythmic assistance by Marc Quiñones doesn't hurt texturally either. "Newroses," by Beckenstein and Fernandez, takes the album out on an even more complex set of changes than it strutted in with. It's got gorgeous, almost pastoral sections that come in just after the most complex and twist-and-turn headlines bring in a melody that breaks from a relatively simple groove and then unwinds into something other. According to taste of course, but Good to Go-Go is the most satisfying release that Spyro Gyra have released on Heads Up, and is a recording that brings that jazz back in a big way into the "urban contemporary" and "smooth" subgenres. ~ Thom Jurek https://www.allmusic.com/album/good-to-go-go-mw0000779284

Personnel:  Jay Beckenstein – saxophone;  Tom Schuman – keyboards;  Scott Ambush – bass guitar;  Julio Fernandez – guitar;  Bonny B – drums.

Good To Go-Go

Gabriela Anders - Wanting

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 56:51
Size: 131,8 MB
Art: Front

(4:17)  1. Fire Of Love
(4:24)  2. The Girl From Ipanema
(4:39)  3. Wanting
(5:00)  4. Forever
(4:44)  5. You Know What It's Like
(5:41)  6. Seven Days
(6:03)  7. Just An Hour
(5:07)  8. Fantasia
(4:12)  9. I'll Be Loving You
(3:48) 10. Love Is So Unkind
(5:11) 11. Feels So Good
(3:39) 12. Brasileira

Gabriela Anders got her big break singing a duet with soft jazz giant Michael Franks, and like that new age patriarch, Anders wraps laid-back vocals around even more tranquil rhythms. It's all very calming and proficient and breezy. And also bland as hell. Like her mentor, Anders has a hard time injecting any soul into her work. Wanting, her debut album, mixes bits of her Argentine heritage with late-'70s California jazz; so, Brazilian music coasts along with soft and hazy saxophone fills and tapping percussion leads. It all can be very pretty the opening "Fire of Love" represents Anders at her most relaxed and relaxing but boring if you're expecting tempo shifts or even minor vocal inflections. Anders merely settles for a place next to the band to drift along. 

Yet, no one seems to be going anywhere or really caring about their passivity. ~ Michael Gallucci https://www.allmusic.com/album/wanting-mw0000041583  

Wanting

Jonathan Kreisberg - Nine Stories Wide

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 55:20
Size: 127,8 MB
Art: Front

(7:17)  1. Summertime
(5:32)  2. Just in Time
(6:43)  3. Dana
(7:57)  4. My Ideal
(5:48)  5. Juju
(7:29)  6. That Reminds Me
(4:37)  7. Fever Vision
(4:30)  8. Michelle
(5:22)  9. Relaxing at Camarillo

Jonathan Kreisberg is an exciting young guitarist whose two latest releases will go a long way toward affirming his prominent place in the jazz landscape.Nine Stories Wide is a multi-layered program of old and new classics blended with originals. "Summertime" opens with a forbidding bass line by Larry Grenadier over Kreisberg's small intro over the theme. It's clear from this song that Kreisberg is a master of space: how to give it to his band mates and how to fill it effectively without wasting it. Drummer Bill Stewart lays down some fine licks and Grenadier adds a fine plucked solo. "Just In Time" is a burner that opens with a quicksilver statement, the trio plays the theme, then Kreisberg builds a challenging solo over Grenadier's power walking and Stewart's ride cymbal-driven comping. Kreisberg's original "Dana" is a bossa nova groove, with crisp single-note phrasing leading to spitfire harmonic runs. "My Ideal" is delivered with warmth and reverence. The trio handles Wayne Shorter's "Juju" with gusto, with Stewart recalling Elvin Jones' thrashing on the drums and Kreisberg inventing clever chord play over the classic melody. The other classics the group plays, "Michelle" and "Relaxing At Camarillo," are both arranged to Kreisberg's specs, that is, with carefully planned spacing so that the melodies are recognizable but stretched suitably enough so that the trio can weave its magic without constraint. ~ Terrel Kent Holmes https://www.allaboutjazz.com/jonathan-kreisberg-nine-stories-wide-and-unearth-by-terrell-kent-holmes.php

Personnel: Jonathan Kriesberg: guitar; Larry Grenadier: bass; Bill Stewart: drums.

Nine Stories Wide

Buddy Rich - The Solos

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 66:47
Size: 161,5 MB
Art: Front

( 8:09)  1. Solo 1 (Live from Toronto, Canada, 1977)
( 8:20)  2. Solo 2 (Live from Germany, 1977)
( 9:28)  3. Solo 3 (Live from Disneyland, California, 1977)
( 4:58)  4. Solo 4 (Live from Sacramento, CA, 1977)
(10:58)  5. Solo 5 (Live from Germany, 1977)
( 7:24)  6. Solo 6 (Live from Binghamton, NY, 1976)
( 4:48)  7. Solo 7 (Live from Orlando, FL, 1976)
( 4:34)  8. Solo 8 (Live from Montreal, Canada, 1976)
( 8:03)  9. Solo 9 (Live from Boston Globe JazzFest, 1976)

An unusual album for sure, but one that should hold special interest for Buddy Rich fanatics, the 2014 compilation The Solos, features live recordings made of Rich during various concert dates in the 1970s. Rather than include complete tracks, however, The Solos showcases only Rich's solo improvisations. Perhaps not the best album for background listening or casual enjoyment, The Solos will certainly appeal to fans and music students fascinated by Rich's frenetic, virtuosic swing drumming style.

The Solos

Club des Belugas & Thomas Siffling - Ragbag

Styles: Soul, Nu Jazz 
Year: 2018
File: MP3@320K/s
Time: 56:58
Size: 194,0 MB
Art: Front

(5:27)  1. This Is What You Want
(3:55)  2. Ragbag
(4:23)  3. Tequila
(4:42)  4. Beyond The Window
(4:17)  5. Jumping The Shark
(4:21)  6. Kinda Small Talk
(4:32)  7. Some Of That Jazz
(3:33)  8. Boogaloo Bebop
(5:00)  9. Sofa Clubbing
(3:48) 10. Flyby
(3:49) 11. Upper Valley
(5:23) 12. We Owe You One
(3:43) 13. Lil Fizz

Club des Belugas is one of the leading lounge & nujazz projects in Germany, perhaps in Europe. They combine Contemporary European Lounge & Nujazz Styles with Brazilian Beats and American Black Soul of the fifties, sixties and seventies, using their unique creativity and intensity. Main members are Maxim Illion & Kitty the Bill, with such exquisite guests as the Californian Jazz Lady Brenda Boykin, trumpeter Reiner Winterschladen (Nighthawks), Swedish singer anna.luca, London based Jazz singer Iain Mackenzie, Anne Schnell from Jojo Effect, Dean Bowman from New York and trumpet player Thomas Siffling. Club des Belugas started their career in 2002 with their first album "Caviar at 3 a.m." In 2003 they released their 2nd album "Minority Tunes", which included the German Club Charts no.1 hits "hiphip chinchin" and "Gadda Rio". In 2006 Club des Belugas enriched the world of music with a real masterpiece called "apricoo soul". The 12" vinyl "Wildcats gotta move" reached German Club Charts #3 and stayed in the Top Ten for 8 weeks (march & april 2006). The Album included Club des Belugas' Remix of Dean Martin's "Mambo Italiano" and was the first worldwide legal remix of any Dean Martin track, authorized by Capitol/EMI and the Dean Martin Family themselves . Club des Belugas tracks have been licensed for compilations more than 220 times. They have also been licensed for advertisements and TV commercials from companies like: Mercedes-Benz, BMW, Lexus (Toyota), Ford Mondeo, Smart, KIA motors, Campari, Martini, Strenesse, The German National Soccerteam, Kaufhof, Burlington, Unilever, Telekom Germany, Telekom South Korea, IGEDO… The album "Apricoo Soul" was chosen for "Best CD of the year 2006". In 2008 CdB released SWOP (wordplay from Swing and Pop) which again won "Best CD of the year 2008" from www.shirokko.de. This time the stress is more on jazz, less on electronics with use of interesting samples, and featuring vocalists Dean Bowman, Iain Mackenzie, Anna Luca, and Brenda Boykin. https://www.last.fm/music/Club+Des+Belugas/+wiki

Ragbag

Wednesday, June 13, 2018

Stefon Harris - Evolution

Styles: Vibraphone Jazz
Year: 2004
File: MP3@320K/s
Time: 67:18
Size: 154,8 MB
Art: Front

(5:54)  1. Nothing Personal
(6:20)  2. For Him, for Her
(6:21)  3. Until
(7:47)  4. Red-Bone Netti-Bone
(5:48)  5. A Touch of Grace
(7:17)  6. Summertime
(7:28)  7. Blackout
(6:07)  8. The Lost Ones
(6:36)  9. King Tut's Strut
(5:15) 10. Message to Mankind
(2:19) 11. Montara

It takes no time at all to get into Evolution , Stefon Harris’ fifth album for Blue Note, the young vibraphonist’s fourth as leader and his first with his new band. Immediately the music breaks into a sprint. And its appeal is equally as instantaneous. There is no acclimation period, no finger-drumming developmental warm-up, no amusing 30-second intro track. So it’s funny that this disc should bear the title Evolution , by all Darwinian or Lamarckian accounts an excruciatingly slow transformative process. But this, it seems, is the point Harris wants to make. Jazz music even his own has been swimming in the ooze of heady theory and generic territory-staking long enough. It’s high time an observable change took place. Blackout, Harris’ fresh line-up (named thus because they are “about blacking out the narrow views surrounding and constricting the definition of jazz”), is notably well suited to such a task. Don Grolnick’s “Nothing Personal” is transformed into a fleet-footed groove featuring Marc Cary’s soulful keyboard licks, which are at times reminiscent of Baby Face Willette. Harris contributes a radiant vibe line to match that of saxophonist Casey Benjamin. Darryl Hall raps out a tight, thumping funk on his acoustic bass. The energy is clearly that of classic hard bop, but the sound is utterly contemporary. The Gershwin standard “Summertime” is hazy, soporific, a bit like what you might expect from an electro-lounge DJ. In strictly jazz terms, it’s closer in execution to Charlie Parker’s lolling renditions than Trane’s skittish version of the same from My Favorite Things. Elsewhere we come to a lullaby cover of Sting’s “Until” a quiet declaration that everything from the popular to the esoteric is fair game in this evolutionary quest. 

Original compositions include the jaunty, freewheeling title track and “King Tut’s Strut,” something like a ride aboard an ancient Egyptian starship. Particularly striking is the exotic sway of “For Him, For Her,” during which Harris sounds out a slow-burning marimba romance atop the undulating rhythmic structure provided by drummer Terreon Gully and percussionist Pedro Martinez. Listeners may agree that Evolution is what Harris’ sprawling, overly ambitious The Grand Unification Theory (2003) was trying to be; or perhaps should have been. It’s more than just an issue of titular semantics. Evolution amalgamates a number of widely varying genres and performance styles, yet it sounds so seamless, cohesive and well, unified as to be cut from the same bolt of musical cloth. Using an instrumentation that is by no means unusual, it brings together the most distinctive and valuable characteristics found in the whole of jazz and beyond. This was precisely what its predecessor lacked. And if natural selection has its way, this disc will be one worth keeping for posterity. ~ Eric J. Iannelli https://www.allaboutjazz.com/evolution-stefon-harris-blue-note-records-review-by-eric-j-iannelli.php

Personnel: Stefon Harris: vibraphone, marimba; Casey Benjamin: alto saxophone (1, 2, 3-7, 9); Marc Cary: Fender Rhodes and keyboards (1, 2, 4-9); Darryl Hall: acoustic bass; Terreon Gully: drums; Anne Drummond: flute and alto flute, Xavier Davis: piano and Fender Rhodes (3, 10); Pedro Martinez: percussion, vocals (9).

Evolution

Patti LuPone - Far Away Places

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 61:07
Size: 141,2 MB
Art: Front

(2:52)  1. Gypsy In My Soul
(3:00)  2. Night Life
(0:57)  3. Back Then...
(4:54)  4. Bilbao Song
(4:11)  5. Far Away Places
(3:24)  6. Black Market
(5:29)  7. Come To The Supermarket In Old Peking
(1:28)  8. I Have Sicilian Blood
(3:21)  9. I Wanna Be Around
(0:50) 10. Ah The Sea Is Blue
(2:38) 11. I Cover The Waterfront
(4:19) 12. Pirate Jenny
(3:25) 13. By The Sea
(0:50) 14. I Do All Kinds Of Accents...Just Like Meryl
(2:34) 15. I Regret Everything
(3:07) 16. Hymn To Love
(4:33) 17. Travelin' Light
(0:53) 18. Give My Regards To Broadway
(3:53) 19. Nights On Broadway
(4:20) 20. September Song

[Patti] embodies decades of show business history. And her brilliant show, conceived and directed by her longtime collaborator, Scott Wittman, deserves many lives, perhaps even a Broadway run in an expanded edition. It certifies Ms. LuPone's place in the lineage of quirky international chanteuses like Lotte Lenya, Marlene Dietrich and Edith Piaf, who, like Ms. LuPone, conquered show business with forceful, outsize personalities while playing by their own musical rules. ~ New York Times

Every now and again there comes an experience that you immediately know you will always remember. That happened for me at Patti LuPone's cabaret evening 'Far Away Places,' christening the snazzy new nightclub 54 Below, which occupies the basement of Studio 54. LuPone levitated the audience of Broadway insiders in the intimate room, compellingly designed by John Lee Beatty in the style of a 1920s speakeasy, as effortlessly as she might flash one of her sly smiles. It was, simply, magic. ~ Backstage https://www.amazon.com/Far-Away-Places-Live-BELOW/dp/B009OYOVLW

Far Away Places

Booker Ervin - Cookin'

Styles: Saxophone Jazz 
Year: 1960
File: MP3@320K/s
Time: 43:22
Size: 101,7 MB
Art: Front

(7:32)  1. Dee Da Do
(5:18)  2. Mr. Wiggles
(7:25)  3. You Don't Know What Love Is
(6:13)  4. Down In The Dumps
(9:52)  5. Well, Well
(7:00)  6. Autumn Leaves

A very distinctive tenor with a hard, passionate tone and an emotional style that was still tied to chordal improvisation, Booker Ervin was a true original. He was originally a trombonist, but taught himself tenor while in the Air Force (1950-1953). After studying music in Boston for two years, he made his recording debut with Ernie Fields' R&B band (1956). Ervin gained fame while playing with Charles Mingus (off and on during 1956-1962), holding his own with the volatile bassist and Eric Dolphy. He also led his own quartet, worked with Randy Weston on a few occasions in the '60s, and spent much of 1964-1966 in Europe before dying much too young from kidney disease. Ervin, who is on several notable Charles Mingus records, made dates of his own for Bethlehem, Savoy, and Candid during 1960-1961, along with later sets for Pacific Jazz and Blue Note. His nine Prestige sessions of 1963-1966 (including The Freedom Book, The Song Book, The Blues Book, and The Space Book) are among the high points of his career. https://itunes.apple.com/us/album/cookin/3907000

Personnel:  Booker Ervin - tenor saxophone;  Richard Williams - trumpet;  Horace Parlan - piano;  George Tucker - bass;  Dannie Richmond - drums.

Cookin'

Chuck Deardorf - Transparence

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 66:50
Size: 154,1 MB
Art: Front

(5:43)  1. Collage
(7:20)  2. Alone Together
(7:55)  3. Dear Prudence
(6:24)  4. Bruzette
(5:56)  5. Moon and Sand
(6:17)  6. De Mansinho
(3:45)  7. Sweet Lorraine
(7:45)  8. Zingaro
(6:18)  9. Creatinine
(9:22) 10. The Peacocks

An excellent outing to showcase the Northwest sound in jazz, Transparence features an outstanding ensemble of players from the region. Plus, the arrangements highlight the ability of the bass, in Chuck Deardorf's hands, to fit a variety of styles, all with the laid-back yet structured approach that is at the heart of Seattle's sound. Deardorf moves between a series of basses over the course of the album, each fitting a different sonic element. He uses a fairly standard bass for much of the proceedings, adapting it to bebop ideas or to modern jazz wanderings with equal ease. He switches to a fretless bass for a surprisingly sitar-like sound in a cover of "Dear Prudence." For a Brazilian piece, he moves to a Jaco Pastorius-like approach on an acoustic guitar-bass (essentially a massive guitar rather than a double bass), a difficult instrument to adapt to strong melodies. Surrounded by excellent players from around the Seattle scene, Deardorf manages to bring the bass to the forefront of the proceedings, but in a casual way it's never forced upon the listener, but he does enough interesting work with it that it catches the ear naturally. In other ensembles, Deardorf provides an excellent, stable bassline. Leading his own group, Deardorf brings an amazing touch and sensitivity to the sounds he can create, and puts that sensitivity to use in an excellent showcase of style and structure working together. ~ Adam Greenberg https://www.allmusic.com/album/transparence-mw0002112047    

Transparence

Dan Siegel - Colors Of The Land Autumn Leaves

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 48:39
Size: 114,0 MB
Art: Front

(3:50)  1. Amber Waves
(3:45)  2. A Winding Lane
(3:26)  3. In The Stillness
(5:26)  4. Dancing In The Moonlight
(3:43)  5. Silver And Gold
(4:37)  6. Secret Path
(3:02)  7. First Snow
(3:53)  8. Each Passing Day
(3:36)  9. Falling Leaves
(4:17) 10. Yesterday's Memories
(3:59) 11. Elegy
(5:00) 12. As The Sun Sets

For the discerning adult looking for a moment of rest and relaxation, Autumn Leaves is the third in a series of new age/instrumental music inspired by nature. The album contains all original compositions by pianist Dan Siegel and features Charlie Bisharat (violin), Allen Hinds (guitar), and Mark Hollingsworth (flutes). Perfect for a fall afternoon! ~ Editorial Reviews https://www.amazon.com/Autumn-Leaves-Colors-Land/dp/B000AE8FV2

Personnel:  Dan Siegel (keyboards, programming);  Allen Hinds (guitar); Charlie Bisharat (violin); Mark Hollingsworth (flute, soprano saxophone).

Colors Of The Land Autumn Leaves

Tuesday, June 12, 2018

Mal Waldron - Mal, Dance and Soul

Styles: Piano Jazz 
Year: 1989
File: MP3@320K/s
Time: 71:55
Size: 164,9 MB
Art: Front

(9:34)  1. Dancing on the Flames
(7:59)  2. A Bow to the Classics
(8:11)  3. Little One
(7:52)  4. From a Little Acorns
(8:58)  5. Soul Mates
(6:49)  6. Blood and Guts
(8:56)  7. Solar
(7:35)  8. Blue Monk
(6:00)  9. Golden Golson

A pianist with a brooding, rhythmic, introverted style, Mal Waldron's playing has long been flexible enough to fit into both hard bop and freer settings. Influenced by Thelonious Monk's use of space, Waldron has had his own distinctive chord voicings nearly from the start. Early on, Waldron played jazz on alto and classical music on piano, but he switched permanently to jazz piano while at Queens College. He freelanced around New York in the early '50s with Ike Quebec (for whom he made his recording debut), Big Nick Nicholas, and a variety of R&B-ish groups. Waldron frequently worked with Charles Mingus from 1954-1956 and was Billie Holiday's regular accompanist during her last two years (1957-1959). Often hired by Prestige to supervise recording sessions, Waldron contributed many originals (including "Soul Eyes," which became a standard) and basic arrangements that prevented spontaneous dates from becoming overly loose jam sessions. After Holiday's death, he mostly led his own groups, although he was part of the Eric Dolphy-Booker Little Quintet that was recorded extensively at the Five Spot in 1961, and also worked with Abbey Lincoln for a time during the era. He wrote three film scores (The Cool World, Three Bedrooms in Manhattan, and Sweet Love Bitter) before moving permanently to Europe in 1965, settling in Munich in 1967. Waldron, who has occasionally returned to the U.S. for visits, has long been a major force in the European jazz world. His album Free at Last was the first released by ECM, and his Black Glory was the fourth Enja album. Waldron, who frequently teamed up with Steve Lacy (often as a duet), kept quite busy up through the '90s, featuring a style that evolved but was certainly traceable to his earliest record dates. 

Among the many labels that have documented his music have been Prestige, New Jazz, Bethlehem, Impulse, Musica, Affinity, ECM, Futura, Nippon Phonogram, Enja, Freedom, Black Lion, Horo, Teichiku, Hat Art, Palo Alto, Eastwind, Baybridge, Paddle Wheel, Muse, Free Lance, Soul Note, Plainisphere, and Timeless. In September of 2002, Waldron was diagnosed with cancer. Remaining optimistic, he continued to tour until he passed away on December 2 in Brussels, Belgium at the age of76. ~Scott Yanow
https://www.allmusic.com/artist/mal-waldron-mn0000665824/biography                              

Personnel:  Mal Waldron - piano;  Jim Pepper - tenor saxophone;  Ed Schuller - bass;  John Betsch - drums

Mal, Dance and Soul

Eileen Farrell - Sings Rodgers & Hart

Styles: Vocal
Year: 1989
File: MP3@320K/s
Time: 42:07
Size: 97,0 MB
Art: Front

(2:34)  1. I Could Write a Book
(2:10)  2. I Wish I Were in Love Again
(3:13)  3. Wait Till You See Him
(3:08)  4. I Didn't Know What Time It Was
(2:01)  5. Love Me Tonight
(3:14)  6. Nobody's Heart
(5:28)  7. It Never Entered My Mind
(2:40)  8. Mountain Greenery
(2:29)  9. Sing for Your Supper
(2:52) 10. Can't You Do a Friend a Favor
(3:01) 11. Lover
(2:50) 12. My Heart Stood Still
(3:39) 13. Little Girl Blue
(2:41) 14. You're Nearer

Eileen Farrell won acclaim and fame as an opera singer. She proved an effective, sometimes impressive standards and pre-rock performer, although she wasn't a jazz singer in any sense. This is a 14-song package from 1989 with arrangments by Louis McGlobon. The backing band includes fine trumpet and flugelhorn solos from Joe Wilder and an unusual instrumental bonus with the inclusion of vibist Jim Stack on some cuts. ~ Ron Wynn https://www.allmusic.com/album/eileen-farrell-sings-rodgers-hart-mw0000202465    

Personnel: Eileen Farrell - vocals;  Joe Wilder - trumpet, flugelhorn;  Jim Brock - percussion;  Loonis McGlohon - piano;  Bill Stowe - drums;  Doug Henry - flute, saxophone;  Greg Hyslop - guitar;  Jim Stack - vibraphone;  Terry Peoples - bass

Sings Rodgers & Hart

Elvin Jones - In Europe

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 63:28
Size: 145,4 MB
Art: Front

(17:40)  1. Ray
(32:45)  2. Doll of the Bride
(13:02)  3. Island Birdie

Recorded live at a jazz festival in Germany, In Europe represents a typical Jazz Machine live performance, three selections from the group's regular repertoire where the musicians get plenty of room to stretch out, fueled by Jones' propulsive polyrhythms. "Ray-El," written by Elvin's brother Thad Jones, is a medium tempo blues number featuring a fine flute solo by Sonny Fortune. The traditional Japanese folk song "Doll of the Bride" is a 32 minute tour-de-force beginning with Fortune's flute and a long Jones drum solo using mallets, then moving into a Latin-ish vamp with excellent solos from Fortune on tenor sax and Willie Pickens on piano. "Island Birdie," written by McCoy Tyner, is a happy calypso reminiscent of "St. Thomas" with a nice turn on soprano sax by Ravi Coltrane, the son of Elvin's former employer John Coltrane, and bassist Chip Jackson. This was Jones' return to recording after a seven year hiatus. ~ Greg Turner https://www.allmusic.com/album/in-europe-mw0000678298

Personnel:  Elvin Jones - drums;  Sonny Fortune - tenor saxophone, flute;  Ravi Coltrane - tenor saxophone, soprano saxophone;  Willie Pickens - piano;  Chip Jackson - bass

In Europe