Nellie McKay - Home Sweet Mobile Home

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 51:25
Size: 121,5 MB
Art: Front

(4:31)  1. Bruise On The Sky
(2:13)  2. Adios
(4:18)  3. Caribbean Time
(3:10)  4. Please
(4:59)  5. Beneath The Underdog
(3:53)  6. Dispossessed
(3:53)  7. The Portal
(3:39)  8. Bodega!
(4:32)  9. Coosada Blues
(4:38) 10. No Equality
(3:50) 11. Absolute Elsewhere
(4:32) 12. Unknown Reggae
(3:10) 13. Bluebird

Nellie McKay's first album of new material in three years returns her to the stylistically scattershot, lyrically ingenious nature of Obligatory Villagers. As she admits herself ("I have no idea how this album happened"), McKay is working on instinct, which helps preserve not only her many idiosyncrasies but also the charming and witty nature of her songwriting. She did gain guidance from two elder sources, one being her mother Robin Pappas (a co-producer) and the other David Byrne, who recruited McKay to appear on his Imelda Marcos concept album Here Lies Love and then returned the favor by making compilations and recommending people for Home Sweet Mobile Home. Byrne's help is intriguing, since the album has all the sounds of the post-millennial global village: reggae rhythms and vocal inflections for several tracks (including "Caribbean Time"), a New Yorker's version of Latin-ized tradition for "¡Bodega!," and, as before, plenty of the good-time, slightly New Orleans-influenced jazz she's floated in the past. The album also has slightly more guitar than any since her debut. Guitars were expected on her first record, since it was produced by Geoff Emerick, but here McKay and her group appear to be attempting an adult-alternative pop crossover of some type. Lyrically, she continues the incisive satire and parody heard on her earlier material. (The first line on Obligatory Villagers was "Feminists don't have a sense of humor," while Home Sweet Mobile Home begins with "The New York Times invents the news.") While her mood inevitably varies from track to track, McKay, more often than before, sounds as though circa-2000s malaise has infected her songwriting; the opener, "Bruise on the Sky," is especially dark (its chorus ends "What I hoped would be my rainbow, was just a bruise on the sky"). "Beneath the Underdog" and "No Equality" are equally dispirited, nearly fatalistic, despite the latter's airing as an organ-led soul jam. ~ John Bush https://www.allmusic.com/album/home-sweet-mobile-home-mw0002024100

Personnel: Nellie McKay: vocals, piano, organ, marimba, ukulele, saxophone, clarinet, cello, percussion, synthesizer; Ben Bynum: drums; Danny Cahn: trumpet; Tim Carbone: violin; Lucien Ceran: saxophone; Rick Chamberlain: trombone; Jim Daniels: tuba; Glenn Drewes: trumpet; Bob Glaub: bass; Paul Hoderbaum: saxophone; Brian Jobson: bass; Wayne Jobson: guitar; Reggie McBride: bass; Joslyn "Speckles" McKenzie: drums; Willie Murillo: trumpet, backup vocals; Barry O'Hare: keyboard; Cary Park: guitar; Lance Rauh: saxophone; David Raven: drums; Spencer Reed: guitar; Paul Rostock: bass; Mark Visher: saxophones, clarinet, backup vocals; Paul Wells: drums.

Home Sweet Mobile Home

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Dave Valentin - Primitive Passions

Styles: Flute Jazz
Year: 1996
File: MP3@320K/s
Time: 52:46
Size: 125,3 MB
Art: Front

(4:22)  1. San Juan
(4:37)  2. Sanba For Denise
(5:33)  3. Morning Light
(7:10)  4. Primitive Passions
(7:01)  5. Someone To Watch Over Me
(4:36)  6. The Old Man (El Viejo)
(3:49)  7. Enchantment
(6:44)  8. Equinox
(3:59)  9. Wasabi
(4:50) 10. Keep On And On

?Dave Valentin, who recorded over 15 albums for GRP, combined together the influence of pop, R&B, and Brazilian music with Latin jazz to create a slick and accessible form of crossover jazz. At age nine, Valentin enjoyed playing bongos and congas. He gigged at Latin clubs in New York from age 12 and it was not until he was 18 that he seriously started studying flute. Valentin's teacher, Hubert Laws, suggested that he not double on saxophone because of his attractive sound on the flute. In 1977, he made his recording debut with Ricardo Marrero's group, and he was also on a Noel Pointer album. Discovered by Dave Grusin and Larry Rosen, Valentin was the first artist signed to GRP and he was a popular attraction for years to follow. After the mid-2000s, Valentin was signed to Highnote Records, releasing World on a String in 2005, Come Fly with Me in 2006, and Pure Imagination in 2011. Valentin suffered a debilitating stroke in 2012 and a second stroke three years later; he died in 2017 at the age of 64. ~ Scott Yanow https://www.allmusic.com/artist/dave-valentin-mn0000625994/biography  

Personnel: Dave Valentin - flute;  Milton Cardona - trumpet, percussion;  Robby Ameen - drums, percussion;  Lincoln Goines - electric & acoustic basses;  Robbie Ameen - drums, percussion

Primitive Passions

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Michal Urbaniak - Serenade For The City

Styles: Violin Jazz
Year: 1980
File: MP3@320K/s
Time: 37:54
Size: 87,5 MB
Art: Front

(4:17)  1. Circular Road
(4:41)  2. Nanava
(5:02)  3. Sometimes
(4:49)  4. Serenade For The City
(4:28)  5. Samba Miko
(4:43)  6. Fall
(4:54)  7. Joy
(4:58)  8. Vanessa

Once Poland's most promising import in the jazz-rock 1970s, Michal Urbaniak's chief value in retrospect was as a fellow traveler of Jean-Luc Ponty, a fluid advocate of the electric violin, the lower-pitched Violectra, and the Lyricon (the first popular, if now largely under-utilized wind synthesizer). Like many Eastern European jazzmen, he would incorporate elements of Polish folk music into his jazz pursuits, and his other heroes range from the inevitable Miles Davis to Polish classicist Witold Lutoslawski. His electric violin was often filtered with a gauze of electronic modifying devices, and on occasion, he could come up with an attractively memorable composition like "Satin Lady." Urbaniak began playing the violin at age six, followed by studies on the soprano and then tenor saxophones. His interests in jazz developed chronologically from Dixieland to swing to bop as he grew up, and he studied at the Academy of Music in Warsaw while working in various Polish jazz bands and playing classical violin. In 1965, he formed his own band in Scandinavia with singer Urszula Dudziak (later his wife), returning to Poland in 1969 to found Constellation, which included pianist Adam Makowicz. Having won a scholarship to the Berklee College of Music upon being voted Best Soloist at the 1971 Montreux Jazz Festival, Urbaniak made the U.S. his home in 1973. He soon formed a popular jazz-rock group called Fusion, recording for Columbia and Arista in a Mahavishnu Orchestra/Ponty fashion, with Dudziak adding darting, slippery scat vocals. This group lasted until 1977, and Urbaniak's profile would never be as high again, although he performed with Larry Coryell in 1982-1983, led the new electric group Urbanator in the 1990s, and has performed and recorded in other styles ranging from bop to free jazz into the 21st century. ~ Richard S.Ginell https://www.allmusic.com/artist/michal-urbaniak-mn0000889276/biography               

Personnel:  Michal Urbaniak : electric violin, lyricon;  Urszula Dudziak : vocals;  Kenny Kirkland : keyboards;  Barry Eastwood : keyboards;  Doc Powell : guitar;  Marcus Miller : bass guitar;  Yogi Horton : drums;  Rick Galloway : percussion

Serenade For The City

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The Deardor, Peterson Group - Portal

Styles: Guitar Jazz, Post Bop
Year: 2004
File: MP3@320K/s
Time: 66:31
Size: 153,1 MB
Art: Front

( 6:46)  1. Portal
( 6:25)  2. Rhythm Tune
( 5:26)  3. Crazy Heart
( 1:46)  4. Mr Schmeil
( 8:12)  5. That's the Deal
( 6:58)  6. Blues for Dave
(11:10)  7. Invitation
( 6:01)  8. Song for Lee
( 5:59)  9. The Last Minute
( 7:45) 10. Ana Maria

With an urbane, beautifully harmonic, clean-edged sound, Portal seems an updated brand of West Coast cool, by way of the Northwest (Seattle) this time around, like a mix of Chico Hamilton's chamber bands, the fluid guitar work of Wes Montgomery, and that dry, cool approach of Paul Desmond's sax work stirred up in one groove-oriented band. Dave Peterson's guitar combined with George Cables' piano kick the harmonic mix up a notch or three on a set that depends more on the group sound than it does out-in-front soloing. "Rhythm Tune" showcases drummer John Bishop's complex and engaging percussion work; and I must admit it took a couple of spins of the disc to appreciate his stuff. He rides with the flow and doesn't call attention to himself, with a busy style that weaves all manner of textures behind the soundscape. The more I listen to other Origin discs on which he plays ( Brent Jensen/Rob Walker Quintet with New Stories ), the more apparent the importance his contribution to the group sound becomes. With the exception of "Mr. Schmeil," a two minute bass solo by Deardorf, and the closer, Wayne Shorter's "Ana Maria," the tunes are all Dave Peterson originals, full of sharp gleaming edges and shining facets and neat grooves, catchy, stick-in-the-head melodies, and a very accessible sound that reveals deeper complexities on multiple listens. It's a great group sound that rewards separate spins just to listen to each member's individual contribution. ~ Dan McClenaghan https://www.allaboutjazz.com/portal-chuck-deardorf-review-by-dan-mcclenaghan.php

Personnel: Dave Peterson--guitar; Chuck Deardorf--bass; Hans Teuber--saxophones; George Cables--piano and electric piano; John bishop--drums; Michael Spiro--percussion

Portal

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Chick Corea - The Trio Live From The Country Club

Bitrate: MP3@320K/s
Time: 63:45
Size: 146.0 MB
Styles: Piano jazz
Year: 1996/2016
Art: Front

[ 6:28] 1. The Loop
[ 6:58] 2. Hackensack
[13:04] 3. So In Love
[ 9:45] 4. Piano Solo
[ 5:26] 5. Piano & Bass Duet
[ 5:07] 6. Dammit
[ 3:32] 7. Slippery When Wet
[ 7:17] 8. Waltse
[ 6:04] 9. On Green Dolphin Street

Bass – Miroslav Vitous; Drums – Roy Haynes; Piano – Chick Corea. Recorded live at the Country Club, Reseda, CA, 1982.

Chick Corea has been one of the most significant jazzmen since the '60s. Not content at any time to rest on his laurels, he has been involved in quite a few important musical projects, and his musical curiosity has never dimmed. A masterful pianist who, along with Herbie Hancock and Keith Jarrett, was one of the top stylists to emerge after Bill Evans and McCoy Tyner, Corea is also one of the few electric keyboardists to be quite individual and recognizable on synthesizers. In addition, he has composed several jazz standards, including "Spain," "La Fiesta," and "Windows."

The Trio Live From The Country Club mc
The Trio Live From The Country Club zippy

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Andrew Beals - Gravy Train

Bitrate: MP3@320K/s
Time: 63:49
Size: 146.1 MB
Styles: Saxophone jazz
Year: 2008
Art: Front

[8:23] 1. Tippin' Point
[6:00] 2. Allegra
[6:18] 3. Yamazaki
[6:47] 4. Velvet Figurine
[6:37] 5. The Night We Called It A Day
[6:26] 6. Encantada
[6:39] 7. The Gravy Train
[4:03] 8. Countdown
[6:07] 9. Ann's Lament
[6:23] 10. Nature Boy

Andrew Beals: alto saxophone, soprano saxophone, bass clarinet, flute; Mike McGuirk: bass; Keith Saunders: piano; Neal Smith: drums.

Playing a set of tunes composed primarily of originals, Beals has chosen to break out of the B3-based mold, and along with producer and drummer Neal Smith, to construct a band that showcases his spirit. Here, Beals' saxophone is in the context of a killer quartet that provides a forum for him to stretch out and revel in new found freedom. Pianist Keith Saunders and bassist Mike McGuirk round out this fine foursome. A New York City staple for the last 20-plus years, and a leader in his own right of the intensely swinging NY HardBop Quintet, Saunders is Beals' soul mate on this journey. With creds including study with Horace Silver, Saunders is most capable of adding short shots of deliciously funky juice or joining Beals for hard bopping flights of fancy. Their communion is one of many factors that sets The Gravy Train apart from the scores of releases that are bleak exhibitions of hollow technique.

While Beals and Saunders combine to form this music's soul and psyche, its heart lies in the rhythm section. Smith is well known for his new brand of textural modern swing as well as a production style that allows for a broad open sound. He joins with McGuirk, a great young musician from the world renowned North Texas State jazz program. A winner of the prestigious International Society of Bassists jazz competition, McGuirk is a much in demand NYC bassist who straddles jazz genres. He has performed and recorded with musicians as varied as saxophonist David Liebman and guitarist John Abercrombie.

Gravy Train mc
Gravy Train zippy

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Abdiel Flores - El Cuida De Mi

Bitrate: MP3@320K/s
Time: 48:09
Size: 110.2 MB
Styles: Latin jazz, Saxophone jazz
Year: 2011
Art: Front

[8:28] 1. A Solas Al Huerto
[6:07] 2. El Cuidara De Mi
[5:11] 3. Yo Me Rindo A El
[4:11] 4. Cara A Cara
[6:04] 5. Grande Es Tu Fidelidad
[7:31] 6. Damos Honor A Ti
[6:02] 7. Vision Pastoral
[4:31] 8. Somewhere, Over The Rainbow

Puerto Rican saxophonist Abdiel Flores is premiering his first soloist production titled “El cuida de mí”. The album is a compilation of traditional hymns with musical arrangements based on jazz rhythms and harmonies with Latin influences. This new release involves the collaboration of a select group of local and international veteran jazz players. Among them, the bassist Ramón Vázquez, pianist Yan Carlos Artime, guitarist Isaac Lausell, bassist Elías Santos, and drummer Leobadis González.

Abdiel Flores was part of the first generation of students of Jazz and Afro-Caribbean Music Program of the Puerto Rico Conservatory of Music. At that time, he had the opportunity of studying and playing with great teachers like Eddie Gómez, David Sánchez, Marco Pignataro, Luis “Perico” Ortiz, Ricardo Pons, and Luis Marín, among others. In the meantime, the young artist was part of the Berklee workshops in Puerto Rico, where he received the Outstanding Musician Award for some of his interpretations, and a grant to study in the prestigious Berklee College of Music in Boston.

El Cuida De Mi mc
El Cuida De Mi zippy

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Lars Erstrand Quartet With Friends - Beautiful Friendship: The Second Set

Size: 160,2 MB
Time: 69:07
File: MP3 @ 320K/s
Released: 1992
Styles: Jazz
Art: Front

01. Lady, Be Good! Oh, Lady, Be Good! (Feat. Ken Peplowski) ( 8:02)
02. Oh, Kay! Someone To Watch Over Me (Feat. Frank Vignola) ( 5:02)
03. Funny Face - 'S Wonderful! ( 3:43)
04. The Goldwyn Follies Love Is Here To Stay (Feat. Frank Vignola) ( 5:14)
05. Lady, Be Good! The Man I Love (Feat. Ken Peplowski) (10:02)
06. Tiger Rag (Feat. Ken Peplowski) ( 8:15)
07. You'll Never Get Rich Dream Dancing ( 6:49)
08. Between The Devil And The Deep Blue Sea (12:35)
09. Things Ain't What They Used To Be ( 9:21)

Friends:
Ken Peplowski: clarinet/tenor saxophone
Frank Vignola: guitar

Recorded and directly mixed live at the restaurant "Leif at the Corner" in Uppsala, Sweden. 1992.

Lars Erstrand (27 September 1936 – 11 March 2009) was a Swedish vibraphonist. Being rooted in the golden Swing era, Erstrand's playing is much influenced by the style of Lionel Hampton. During the 1960s Erstrand met clarinetist Ove Lind, with whom he enjoyed a forty-year collaboration.

Erstrand played with Benny Goodman in Paris 1972, who also joined Erstrand when playing at Michael's Pub in New York on several occasions. He was one of the musicians responsible for Jazz at the Pawnshop in 1977. In 1991 the Swedish vibraphonist recorded an album Two Generations together with Lionel Hampton.

Other musicians Erstrand has played with include Alice Babs, Svend Asmussen, Arne Domnérus, Bob Wilber, Scott Hamilton, the Swedish Swing Society and Antti Sarpila. Many contemporary musicians have worked with Erstrand when visiting Sweden, such as clarinetist and tenor saxophonist Ken Peplowski and guitarist Frank Vignola.

Beautiful Friendship: The Second Set

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Amy Cervini - No One Ever Tells You

Size: 114,9 MB
Time: 49:41
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front & Back

01. I Don't Know (5:07)
02. God Will (3:21)
03. No One Ever Tells You (6:37)
04. The Surrey With The Fringe On Top (6:44)
05. Please Be Kind (3:48)
06. A Good Man Is Hard To Find (5:15)
07. You Know Who! (5:23)
08. Bye-Bye Country Boy (5:35)
09. One For My Baby (And One More For The Road) (4:00)
10. Hit The Road Jack (3:46)

Personnel:
Amy Cervini – Vocals
Jesse Lewis – Guitar
Michael Cabe – Piano
Jared Schonig – Drums
Gary Versace – Hammond B3 Organ

Hailed by Time Out New York for “tearing down boundaries between old and new jazz styles, rock, pop, country and more,” Toronto-born, New York-based vocalist Amy Cervini follows up her 2014 Anzic release Jazz Country with the gritty, blues-oriented No One Ever Tells You.

Joined by her brilliant longtime cohorts Jesse Lewis (guitar), Michael Cabe (piano), Matt Aronoff(bass), Jared Schonig (drums) and special guest organist Gary Versace (on four cuts), Cervini puts her stamp on songs “that have resonated with me as a mother, as a partner, and as a woman,” she writes in her album notes. “They are songs about love, struggle, and empowerment.”

There’s a decisively biting, almost rock-inflected sensibility coursing through No One Ever Tells You. Cervini projects a fine, assertive voice, limber and free in her phrasing, ranging widely in her sources: the group interprets songs by everyone from Lyle Lovett to Rodgers & Hammerstein, playfully yet with a serious expressive intent.

No One Ever Tells You

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Curtis Haywood - Summer Breeze

Size: 91,2 MB
Time: 38:50
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Smooth Jazz
Art: Front

01. Summer Breeze (4:07)
02. Promise Me (4:13)
03. You Are Everything (4:56)
04. Touch Me (4:13)
05. Midnight Hour (4:01)
06. Let It Go (3:38)
07. Lullaby (3:30)
08. Long Goodbye (3:47)
09. Wherever The Chips Fall (3:24)
10. Flyy In The Skyy (2:59)

Just in time, Curtis Haywood brings you a smooth rendition of Summer Breeze and a new collection of studio recordings. Outside the studio, Curtis continues to build a career of International jazz festivals, sharing the stage with such artists as Pieces of a Dream and Smooth jazz Pioneer Chieli Minucci of Special-FX. A child prodigy, Curtis Haywood moved from trumpet to saxophone at an early age. He studied at New York's High School for the Performing Arts and Boston's Berklee College. He went on to perform with New York jazz fusion group Joshua for several years before completing his self-titled debut in 2007, which went on to receive critical acclaim and steady airplay.

Summer Breeze

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Beverley Beirne - Jazz Just Wants To Have Fun

Size: 104,5 MB
Time: 44:33
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Come On Feel The Noise (3:26)
02. Prince Charming (2:39)
03. Bette Davis Eyes (4:09)
04. Ghost Town (3:26)
05. Deeply Dippy (3:10)
06. When Smokey Sings (6:57)
07. Cruel Summer (3:02)
08. Pop Muzik (4:48)
09. Too Shy (2:35)
10. Hot In The City (2:55)
11. Waiting For A Man Like You (4:53)
12. Girls Just Want To Have Fun (2:27)

Beverley Beirne is an experienced and respected voice on the UK jazz scene. She is a self-confessed lover of experimentation and has always been drawn to reinterpreting songs from other genres. Jazz Just Wants To Have Fun is the culmination of her interests and abilities, with its confident reimagining of cult classics. The record rollicks, lilts and swings 12 pop songs into jazz territory. The choices may appear daring at first sight, with tracks ranging from Cindy Lauper to Adam & The Ants, but Beverly’s intelligent composition and bravado carries these songs effortlessly. Jazz Just Wants To Have Fun has been co-composed by Sam Watts and features bassist Flo Moore, percussionist Ben Brown, saxophonist and flautist Rob Hughes with guitarists Romero Lubambo and Dean Brown. This energetic group gives the album real depth and sophistication.

This album may be fun-centric but it takes its work seriously, with ingenious instrumentation and composition. Each track brings obvious inventiveness and thoughtfulness. The opening track, Come on Feel the Noize, bridges the gap between pop and jazz beautifully, with classic jazz techniques giving the well-known lyrics a new depth of meaning. Similarly, Beverley’s version of Bette Davis Eyes is an example of this album’s potential. Bette Davis Eyes includes an exceptional saxophone solo by Rob Hughes, restructuring the song and adding new textural layers. Bassist Flo Moore shines throughout Jazz Just Wants To Have Fun, her driving rhythms and tight pizzicato giving these pop tunes integrity in their new found genre. Too Shy is another ambitious composition, with Beverly effortlessly mastering the fast paced tempo. The effect of these interpretations on the song’s lyrics is worth noting. The change of tempo and tone sheds a different light to well-known but often skimmed over lyrics. For example, in Deeply Dippy, as Beverly sings, ‘deeply mad, mad for the fun we had’, this phrase is given a refreshed sensuality and soul which was never there in the original by Right Said Fred.

Beverley Beirne’s honeyed voice appears powerful and impeccably crafted throughout Jazz Just Wants To Have Fun. Her skilful use of scat, such as in Ghost Town, complements the compositions well. Hers is a classic jazz voice, richest in her lower range. Her stylistic capabilities are well flaunted through the record. While her technical abilities are evident, it is her manner which gives Beirne’s voice real strength in this record – she sings with passion and vitality.

Each track on Jazz Just Wants To Have Fun is impeccably mastered, fresh and bursting with energy. Pop Muzik with its swinging melody, scat and excellent saxophone solos, is a highlight on the record. The paraphrased title track, Girls Just Want To Have Fun, does the original justice – bringing real groove to this sing-along classic. The album holds together well as a whole, telling the story of this musically diverse decade in history. High-quality production and an exceptionally talented band make Jazz Just Wants To Have Fun a great listen.

Beverley’s zeal is obvious in this new project. She set out to create something original and fun, goals obviously accomplished in Jazz Just Wants To Have Fun. The perfect balance of boisterous and restrained, this record hits the ground running. Whether you’re an '80s pop tragic, a jazz die-hard or a bit of both, this record is unmissable. ~Brianna McClean

Jazz Just Wants To Have Fun

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Chris Beck - The Journey

Size: 126,6 MB
Time: 54:20
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Mahjong (5:10)
02. Ode To Mother Young (5:33)
03. Teona (6:37)
04. Byrdlike (3:40)
05. Hodge-Podge (2:54)
06. Yeshua (His Love) (7:30)
07. Quintessence (5:45)
08. Waiting For Aiden (6:41)
09. Tears In Heaven (4:38)
10. My Inner Circle (5:47)

With the upcoming release of his debut album, The Journey, Chris Beck is making a name for himself on the New York scene as a hard-swinging, powerhouse drummer and composer. Beck’s refreshing and soulful vision as an artist is on full display, as is his unique ability to pay homage to the classic straight-ahead style of jazz while infusing elements of his African roots and Gospel upbringing.

Born into a musical family, Chris Beck, a native of Philadelphia, PA, has been exposed to music from a young age. Initially starting on the trombone, he quickly moved to the drums where he felt a natural fit. Continuing in the music legacies of his grandfather, the late Elder Charles Beck, and his father, gospel producer Tony Beck, and encouraged by his high school music teacher, Beck eventually pursued a music career at Temple University, where he earned a Bachelor of Music. Before completing his degree, he recorded two records with Temple University ensembles: Mean What You Say and Room 323, the title track of which is his original composition; later, in an All About Jazz article, it was compared to a Thelonious Monk tune.

After graduating in 2004, Beck became the “first call” drummer on the Philly jazz scene, working with the legendary Robert “Bootsie” Barnes, Sid Simmons, Larry Mckenna, and the late Stanley Wilson, Terell Stafford, and Tim Warfield, Jr. It was while playing with these amazing musicians that Beck solidified his dedication to preserving the rich history of straight-ahead jazz while still infusing his own unique sound.

In 2006, Beck moved to New York City in order to establish himself on the jazz scene. After settling in New York, Beck began studying with the highly esteemed master drum teacher, Michael Carvin. In 2010, Beck graduated with a Master’s in Music from Rutgers University’s Mason Gross School of the Arts, where he also studied with Victor Lewis.

Chris Beck currently performs with talented musicians such as Cyrus Chestnut, Oliver Lake, and Grammy nominated Rufus Reid. He has also been blessed to share the stage with renowned musicians such as McCoy Tyner, legendary Motown recording artist Martha Reeves and the Vandellas, James “Blood” Ulmer, The Mingus Big Band, David Murray, Billy Harper, Curtis Fuller, James Spaulding, Harold Mabern, Charles Fambrough, Mulgrew Miller, Wynton Marsalis, Terell Stafford, Tim Warfield Jr., Nicholas Payton, Roy Hargrove, Wycliffe Gordon, Orrin Evans, Bruce Barth, Nicole Henry, Jennifer Holiday, Macy Gray, Mark Whitfield, Derrick Hodge, Ralph Bowen, Joanna Pascale, Joe Locke, Duane Eubanks, Eric Lewis, and many others around the world.

The Journey

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Sarah Eyden & Denis King - Love Is In The Room

Size: 101,7 MB
Time: 43:24
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Here And Now (2:25)
02. The Joke's On Me (2:36)
03. By The Way (2:57)
04. That's The Crazy Part (3:14)
05. Who Would Have Dreamed (3:19)
06. Something You Learn To Live With (2:58)
07. Love Is In The Room (3:25)
08. I'm Nobody's April Fool (2:25)
09. How About (3:17)
10. Never Feel The Same Again (3:26)
11. The World Was Changed This Morning (3:43)
12. The Lady's Still Around (3:08)
13. Two Of A Kind (3:04)
14. Love Is In The Room (French Version) (3:19)

Denis King & Sarah Eyden have come together to create a brand new project ‘Love Is In The Room’. It is a collection of original songs taken from an archive of material written by Denis from his bottom drawer and the world of Television and Theatre.

Denis King:
Denis’ musical career began aged 6 as a banjolele-playing singer at children’s matinees and at 13, with his two older brothers, he had formed one of the most successful pop groups of the 50s and 60s, THE KING BROTHERS – Britain’s first ever Boy Band and the youngest Variety act ever to play the London Palladium.

His career has encompassed every aspect of show business - singing, performing, producing and composing and the artists he has worked alongside read like a who’s who of British and American stage and screen: Tony Bennett, Nina Simone, Howard Keel, Sammy Cahn, Albert Finney, Dame Edna Everage, Maureen Lipman, Elaine Stritch, Julia McKenzie, Dudley Moore, Jimi Hendrix, Ronnie Corbett, Frank Sinatra, Judy Garland - many of whom feature in his popular memoir Key Changes.

He studied orchestration at the Guildhall School of Music in London, got his break in television writing the theme for THE ADVENTURES OF BLACK BEAUTY, (Ivor Novello Award) and to date has composed the music for over 200 television series.

He has collaborated with theatre legends – Alan Ayckbourn among them – to co-write over 25 stage musicals including PRIVATES ON PARADE (Ivor Novello Award for Best Musical), WORZEL GUMMIDGE, A SAINT SHE AIN’T and the musical version of STEPPING OUT, all for the West End.

Of working with Sarah Eyden he says: “I am so enjoying collaborating with the fantastic Sarah Eyden. Her instinctive musicality coupled with her amazing vocal range makes working together even more a joy. And she swings! (In the nicest possible way.) Can it be better for a composer?”

Sarah Eyden:
Sarah is a well-known concert and recording artist who has sung on over 200 Hollywood movie soundtracks including LORD OF THE RINGS, SHREK II and most recently JURASSIC WORLD which is set to be this summer’s Blockbuster! As a former member of the internationally renowned a cappella group THE SWINGLE SINGERS, she performed at Carnegie Hall, New York, La Scala, Milan and countless halls and theatres worldwide with some of the world’s greatest Orchestras and Conductors.

She has performed music by Steve Reich, John Adams and Luciano Berio at some of the world’s most prestigious venues including The Barbican, Queen Elizabeth Hall, The Royal Festival Hall and The Royal Albert Hall, Theatre du Chatelet, Paris, The Lincoln Centre, The Brooklyn Opera House, New York and Carnegie Hall.
Of working with Denis King she says: “I am thrilled to be working with the composer Denis King. He is steeped in the world of jazz and theatre, and has a knack of creating such wonderful timeless melodies that would work in any setting. And the fact he is a singer and understands how it feels to sing them, makes the whole process so relaxing and enjoyable. We have had a great time working out new ways to present his work and he generously gave me huge amounts of input. He’s also one of the funniest men I know!”

Love Is In The Room

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Joe Farrell, Paul Horn - Jazz Cafe Presents

Bitrate: MP3@320K/s
Time: 41:10
Size: 94.3 MB
Styles: Bop
Year: 2008/2017
Art: Front

[ 9:34] 1. Imprompture, Samba De Orfeu
[ 3:54] 2. Nature Boy
[ 6:27] 3. Work Song
[ 8:48] 4. Here's That Rainy Day
[12:26] 5. Billie's Bounce

Joe Farrell's CTI albums of 1970-1976, which combined together his hard bop style with some pop and fusion elements, made him briefly popular among listeners not familiar with his earlier work. Farrell began playing clarinet when he was 11 and, after graduating from the University of Illinois in 1959, he moved to New York where he worked with the Maynard Ferguson Big Band (1960-1961) and Slide Hampton (1962), and recorded with Charles Mingus, Dizzy Reece, and a notable series with Jaki Byard (1965). A member of both the Thad Jones/Mel Lewis Orchestra (1966-1969) and Elvin Jones' combo (1967-1970), Farrell's distinctive sound on tenor and general versatility were assets. A member of the original version of Return to Forever (1971-1972), Farrell was fairly prosperous during the 1970s when his solo CTI records sold well, but a drug problem gradually caught up with him. After performing with Mingus Dynasty in the late '70s and recording with Louis Hayes in 1983, he moved to Los Angeles where he scuffled during his last couple of years. Farrell died from bone cancer in 1986 at age 48. In addition to CTI, Farrell recorded as a leader for Warner Bros., Xanadu, Contemporary, RealTime, Timeless, and (with Airto and Flora Purim) Reference. ~ Scott Yanow

Jazz Cafe Presents mc
Jazz Cafe Presents zippy

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Morgana King - Miss Morgana King

Bitrate: MP3@320K/s
Time: 33:49
Size: 77.4 MB
Styles: Jazz vocals, Easy listening
Year: 1965/2018
Art: Front

[2:43] 1. Try To Remember
[3:45] 2. All Blues
[2:58] 3. Cuore Di Mama
[3:20] 4. Sometimes I Feel Like A Motherless Child
[2:40] 5. Bluesette
[4:37] 6. I'll Follow You
[3:46] 7. Meditation
[3:35] 8. Easy Living
[3:18] 9. Who Can I Turn To
[3:02] 10. The Night Has A Thousand Eyes

Bass – Milt Hinton, Richard Davis; Drums – Mel Lewis; Guitar – Gene Bertoncini; Harp – Gloria Agostini; Percussion – George Bevens, Phil Kraus; Piano, Celesta – Benny Aronov.

Morgana King recorded two vocal masterpieces on Mainstream Records in the mid-sixties, first being well known vocal tour de force classic "A Taste Of Honey", next came equally magnificent "Miss Morgana King", arranged to perfection by the late arranging master Torrie Zito, doing the ultimate with a huge studio orchestra surrounding the glorious vocalizations of Morgana King, legendary "singer's singer" known by true connoisseurs of great singers as one of the all time greatest! Why this vocal treasure has gone unreleased for decades is a mystery, every great performance of each classic standard is definitive, never has "Try To Remember" been sung with such depth and exquisite vocal beauty, Miles Davis "All Blues" becomes a stunning jazz anthem that defies description. Would be great to have this timeless masterpiece be given proper release on Compact Disc, for now anyone who wants enjoy the finest in the world of sublime musical sounds, start downloading and enjoy the most unique singer on the planet in her finest hour...Bravo Morgana King! ~Bradley Briggs

Miss Morgana King

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Wolfgang Maiwald Trio - Two Faces

Bitrate: MP3@320K/s
Time: 61:53
Size: 141.7 MB
Styles: Piano jazz
Year: 2010
Art: Front

[5:22] 1. The Riddle
[4:42] 2. Two Faces
[6:38] 3. Midnight Lounge
[5:23] 4. Doorways
[6:13] 5. Chan's Song
[6:20] 6. Conduction
[6:55] 7. A Call From The Zoo
[5:16] 8. I Fall In Love Too Easily
[7:53] 9. Secrets Of The Bridge
[7:05] 10. Summer Night

Wolfgang Maiwal - piano, compositions; Guus Bakker - double bass; Joost Kesselaar - drums.

Two Faces illustrates the two worlds of a pianist whose roots lie in the rock and pop music of the seventies and eighties, and who later became inspired by pianists like Chick Corea, Herbie Hancock and Keith Jarrett. Wolfgang Maiwald, a cum laude conservatory graduate in piano jazz studies, offers on this cd his vision on music of these two worlds. Two Faces is an album that is not inundated with ‘show-off’ pianistic virtuosity. Rather, Wolfgang Maiwald gives all the space necessary to allow his fellow musicians to contribute and add color to his compositions. Technical brilliance occurs only where it is a natural process in improvisation. Two Faces is jazz music with nuance, currently, a rare find. The seven melodies of composer Maiwald, roam from pop to jazz. From the most pop influenced The Riddle, to the purest jazz influenced Conduction. Midnight Lounge, a very relaxed and groovy tune, shines in its subdued playing and gentle crescendo. The beautiful interpretations of the jazz classic I Fall In Love Too Easily and Herbie Hancock’s Chan’s Song demonstrate Maiwald’s ability to put his own stamp on a jazz standard.

In Summary: a lovely, honest jazz album of three musicians who’s musical and rhythmic freedom and space complement each other perfectly. Melodically, rhythmically, and harmonically fine music: recommended for the connoisseur and lover of the Jazz piano trio genre.

Two Faces mc
Two Faces zippy

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Bob Florence - Another Side

Bitrate: MP3@320K/s
Time: 53:48
Size: 123.2 MB
Styles: Piano jazz
Year: 2001
Art: Front

[2:01] 1. Take The A Train
[3:37] 2. All The Things You Are
[4:11] 3. Groupies
[4:00] 4. Chelsea Bridge
[3:48] 5. How Deep Is The Ocean
[5:55] 6. My Friend, John
[5:21] 7. You Must Believe In Spring
[5:23] 8. Enchanting Screen Ladies
[5:04] 9. Sentiments
[6:15] 10. Some Waltzes
[8:08] 11. Saying Goodbye

Bob Florence, piano. Recorded on Oct 18 and Nov 1, 2000 at David L. Abell Fine Pianos, Studio "A".

As a follow–up to his Grammy Award–winning big–band album, Serendipity 18, Bob Florence has chosen to record a solo piano album, and one’s response to it will depend largely on his / her musical preferences. This is no whim; it’s something Florence has wanted to do for a long time. He’s been studying and playing piano since he was four years old and gave his first classical recital at age seven. Florence’s big–band compositions and arrangements always lean heavily on the piano for inspiration, and in most cases the piano is his. He has been leading big bands for more than forty years, and made a spectacular recording debut with Name Band 1959, following that with the first of his fourteen Grammy–nominated efforts, Here and Now. And now here he is, alone at the piano again, showing the marvelous technique and flawless perception that have served him so well for so many years. The music is lovely and tasteful but mellow to a fault. Florence has decelerated every number, even Billy Strayhorn’s normally hurried “‘A’ Train,” to a crawl, lowering the heat but never the warmth. While Florence’s love for the music is apparent in every note he plays, this is definitely an album for those who like their music soft and dreamy. Florence has chosen some beautiful melodies, and brings out the best in each of them, from Jerome Kern’s “All the Things You Are” to Irving Berlin’s “How Deep Is the Ocean,” Strayhorn’s “Chelsea Bridge” and Michel Legrand’s “You Must Believe in Spring.” Seventeen of the twenty–two songs are grouped into half a dozen medleys including one dedicated to “My Friend John [Mandel]” (“Theme from M*A*S*H,” “The Shining Sea,” “You Are There”). The others include Enchanting Screen Ladies (“Laura,” “Stella by Starlight,” “Emily”), Sentiments (“I’m Getting Sentimental Over You,” “Sentimental Journey”), Groupies, Some Waltzes and Saying Goodbye, the last of which closes with an unhurried reading of “Auld Lang Syne.” As we suggested, long on beauty but short on fireworks. If you appreciate a well–played ballad, you’ll take great pleasure in hearing Another Side of Bob Florence. ~Jack Bowers

Another Side

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Hank Crawford, Calvin Newborne - Centerpiece

Bitrate: MP3@320K/s
Time: 38:56
Size: 89.1 MB
Styles: Bop, Soul-jazz
Year: 1980/2007
Art: Front

[5:11] 1. Centerpiece
[9:36] 2. Gee Baby Ain’t I Good To You
[3:55] 3. Breezin’
[5:40] 4. I Had A Dream
[7:23] 5. I Can’t Stand It
[7:08] 6. Frame For The Blues

Bass [Electric] – Charles "Flip" Greene; Drums – Billy Kaye; Electric Piano [Rhodes], Saxophone [Alto] – Hank Crawford; Guitar [Electric] – Calvin Newborne; Percussion – Errol "Crusher" Bennett; Saxophone [Baritone] – Howard Johnson; Saxophone [Tenor] – Alex Foster; Trombone – Janice Robinson; Trumpet – Joseph J. Shepley, Michael Lawrence; Vibraphone – Warren Chiasson.

This little-known Hank Crawford LP was a transitional record between his long associations with Kudu and Milestone. More straightahead than his Kudu dates, the program is highlighted by the Harry "Sweets" Edison blues "Centerpiece," "Gee Baby Ain't I Good to You" and Slide Hampton's "Frame for the Blues." In addition to Crawford (who splits his time between his soulful alto and a Fender Rhodes electric piano), guitarist Calvin Newborne (the brother of pianist Phineas) has plenty of solo space. Crawford provided the arrangements for a five-piece horn section and the results are soulful and pleasing. ~Scott Yanow

Centerpiece mc
Centerpiece zippy

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Patti LuPone - The Lady With The Torch

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 48:29
Size: 111,6 MB
Art: Front

(2:32)  1. The Man I Love
(2:37)  2. Guess I'll Hang My Tears Out To Dry
(4:08)  3. Something Cool
(3:29)  4. A Cottage For Sale
(4:02)  5. I'll Wind
(3:15)  6. I Wanna Be Around
(4:08)  7. The Other Woman
(4:00)  8. Do It Again
(3:26)  9. Early Autumn
(4:03) 10. I'm Through With Love
(3:18) 11. So In Love
(2:30) 12. My Buddy
(4:08) 13. Body And Soul
(2:47) 14. Don't Like Goodbyes

Musical theater star Patti LuPone rarely releases solo albums, and when she does, they often serve as the audio equivalents of the nightclub acts she assembles for the periods when she isn't appearing in a musical. The Lady with the Torch is one of those musical souvenirs, based on a concert she developed with Scott Wittman gathering together a series of torch songs drawn from the Great American Songbook of Harold Arlen, George and Ira Gershwin, Johnny Mercer, Cole Porter, Jule Styne and Sammy Cahn, and others. Frank Sinatra perfected this sort of concept album in the 1950s with such LPs as Only the Lonely, and LuPone follows the formula well in a distaff manner, giving voice to female characters who long for idealized love, cry over love lost, vow revenge, or decide to quit the whole sorry mess. Jonathan Tunick provides punchy, supportive orchestrations for a small jazz band, and LuPone sings with her usual fervor. The victimization and self-pity in many of the lyrics don't actually suit her, however; she is at her best getting her own back, notably in "I Wanna Be Around," and she deliberately throws in a few songs that don't exactly fit the mold, such as the sexy "Do It Again" and "So in Love." Still, it's easy to imagine her putting this set across effectively in a concert hall or nightclub. ~ William Ruhlmann https://www.allmusic.com/album/the-lady-with-the-torch-mw0000762228

The Lady With The Torch

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Eric Reed - Musicale

Styles: Piano Jazz 
Year: 1996
File: MP3@320K/s
Time: 65:10
Size: 149,7 MB
Art: Front

( 7:29)  1. Black, as in Buhaina
( 4:27)  2. Longhair's Rumba
( 5:59)  3. Cosa Nostra (Our Thing)
( 5:20)  4. Frog's Legs
( 1:13)  5. Scandal I
( 4:14)  6. Pete and Repeat
( 3:38)  7. A Love Divine
( 3:44)  8. Baby Sis
( 1:06)  9. Scandal II
( 7:17) 10. Shug
( 4:06) 11. Upper Wess Side
( 1:56) 12. Scandal III
( 3:07) 13. No Sadness, No Pain
(11:28) 14. Blues to Come

It is easy to be fooled initially by pianist Eric Reed's latest recording. He starts off the set with an effective tribute to Art Blakey and sometimes takes solos that are influenced by McCoy Tyner's chord voicings, but the music on a whole is actually fresh and fairly original, rather than just a copy of the Blue Note years. Except for the final two numbers (pieces by James Leary and Wessell Anderson), all of the music was composed by Reed, and these range from somber ballads and solid swing to the upbeat church feel of "Baby Sis" (which has a heated wah-wah solo from guest trombonist Wycliffe Gordon). Half of the selections are trio numbers for Reed with bassist Ben Wolfe and drummer Gregory Hutchinson, while the remainder of the set has a two-horn quintet (except for altoist Wessell Anderson's ballad feature on "Upper Wess Side"). Anderson and trumpeter Nicholas Payton (who sounds more like Freddie Hubbard every day) make for a potent team, particularly when they solo together on "Pete and Repete." Although the three "Scandal" pieces, which are brief fragments of the same number, are a bit frivolous and certainly inconclusive, the remainder of the program serves as a strong example of modern mainstream jazz. Eric Reed continues to grow as an improviser and composer with each recording. ~ Scott Yanow https://www.allmusic.com/album/musicale-mw0000612195

Personnel: Piano – Eric Reed; Bass – Ben Wolfe, Ron Carter;  Drums – Gregory Hutchinson, Karriem Riggins;  Saxophone [Alto] – Wessell Anderson;  Trombone – Wycliffe Gordon;  Trumpet – Nicholas Payton        

Musicale

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