Clifford Brown - Clifford Brown Big Band in Paris

Styles: Trumpet Jazz
Year: 1953
File: MP3@320K/s
Time: 48:13
Size: 110,5 MB
Art: Front

(6:06)  1. Brown Skins (take 1)
(6:09)  2. Brown Skins (take 2)
(7:06)  3. Keeping Up with Jonesy (take 1)
(6:29)  4. Keeping Up with Jonesy (take 2)
(3:12)  5. Bum's Rush
(7:52)  6. Chez Moi
(5:20)  7. All Weird (take 1)
(1:58)  8. All Weird (take 2)
(3:56)  9. No Start, No End

Although Lionel Hampton forbid his sidemen from recording during their trip to France in 1953, many of the musicians fortunately ignored his orders; the band broke up soon anyway. Trumpeter Clifford Brown is heard on this LP mostly with a big band actually put together by Gigi Gryce. A few of these tracks are excerpts but the two takes of "Brownskins" and "Keeping up with Jonesy" are fairly long as is a nearly eight-minute "Chez Moi." The music is not essential but Brownie did not live long enough to record anything less than excellent. ~ Scott Yanow https://www.allmusic.com/album/clifford-brown-big-band-in-paris-mw0000199986

Personnel:  Trumpet – Art Farmer, Clifford Brown, Quincy Jones, Walter Williams;  Alto Saxophone – Anthony Ortega, Gigi Gryce;  Baritone Saxophone – William Boucaya;  Bass – Pierre Michelot;  Drums – Jean-Louis Viale;  Piano – Henri Renaud;  Tenor Saxophone – Andre Dabonneville, Clifford Solomon;  Trombone – Al Hayes, Benny Vasseur, Jimmy Cleveland

Clifford Brown Big Band in Paris

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Paulette Dozier - In Walked You

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 50:45
Size: 117,2 MB
Art: Front

(3:51)  1. The Days of Wine and Rosaes
(3:50)  2. Autumn Leaves
(5:39)  3. Just the Way You Are
(4:14)  4. In Walked You
(4:11)  5. Loving You
(3:23)  6. Together Yet Alone
(4:55)  7. How Am I Suppose to Live Without You
(4:10)  8. Sunny
(3:55)  9. Proud Mary
(4:16) 10. Let's Fall in Love
(3:35) 11. With You
(4:41) 12. Summer Breeze

A successful voiceover performer, model, and professional actress, with a commanding presence onstage, Paulette Dozier is also an exciting vocalist with a sultry appeal. In Walked You, her third full-length solo disc, reveals the tender side of the singer in a wonderfully charming album that combines standards from Great American Songbook with pop classic and original tunes from the vocalist and longtime collaborator and friend, pianist Mike Levine. Dozier's smooth and sensual delivery seems to be a defining characteristic, distinguishing her from the plethora of female vocalists that dot the jazz landscape these days. Her approach to "The Days of Wine and Roses," "Autumn Leaves" and Billy Joel's "Just the Way You Are," shine new light to oft-recorded masterpieces, painted with new colors and feel. Her knack for scatting and the impressive musical support from Levine, electric violinist Nicole Yarling and bassist extraordinaire Jamie Ousley, among others, provide a stylish, light and pleasurable listening experience. Bobby Hebb's pop classic "Sunny" gets a fresh new treatment from Dozier, with amid-tempo romp aided by solid solo work from flautist Domenica Fossati, and the vocalist adding more sultry scatting for an interesting twist. John Fogerty's Creedence Clearwater Revival classic, "Proud Mary," is a rock tune rarely found in jazz circles and yet, here, the singer leaves her softer side behind and comes out swinging with the help of drummer Sammy Levine, and alto saxophonist Jesse Jones Jr. providing the fiery edge. Harold Arlen's immortal "Let's Fall In Love" is one of the sweetest numbers of the set, with Dozier demonstrating her power and vocal range in a superb performance. The original "With You" and Seals and Crofts' "Summer Breeze" close out a truly breezy performance from one of the most unheralded jazz vocalists around. Whether displaying a mastery of beautiful ballads or churning out a swinging song with a measure of sizzle, Dozier crafts a splendidly enchanting musical statement on In Walked You, the kind of jazz vocals album that bears sampling often. ~ Edward Blanco https://www.allaboutjazz.com/in-walked-you-paulette-dozier-d-enterprises-inc-review-by-edward-blanco.php

Personnel: Paulette Dozier: vocals; Mike Levine: piano; Sammy Levine: drums; Jamie Ousley: bass; Nicole Yarling: electric violin (1); Richard Bravo: percussion (1, 2, 5, 8, 9); John Lovell: shekere (1),flugelhorn (10); Domenica Fossati: flute (5, 8); Ira Sullivan: flugelhorn (6); Jesse Jones Jr.: alto saxophone (9); Alex Berti: bass (11); Dan Warner: guitar (11).

In Walked You

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Dave Valentin - Come Fly with Me

Styles: Flute Jazz
Year: 2006
File: MP3@320K/s
Time: 48:35
Size: 112,7 MB
Art: Front

(5:48)  1. Come Fly with Me
(4:53)  2. Twinkle Toes
(4:31)  3. Enciendido
(5:45)  4. Mind Games
(5:52)  5. If You Could See Me Now
(5:51)  6. Easy Street
(5:55)  7. Tu Pañuelo
(5:46)  8. House of the Sun
(4:10)  9. Song for My Brothers

Flutist Dave Valentin is a New Yorker who has capitalized upon a plethora of easy-to-take Latin-lite albums over the years, largely for the GRP label. The emphasis that Valentin lent those GRP albums was fusion-ish, with the perfectly syncopated sounds of smooth Latin jazz and R&B. Of the seventeen albums Valentin has recorded since 1980, only a handful have fallen outside of this categorization. The flutist also led dates on the more authentic Latin RMM label and one date on Concord Records. It is no coincidence that some of his best reviews have come from his two most recent dates for the mainstream HighNote label. There is no direct clue in the material chosen for Come Fly With Me; several tunes are originals from long-time Valentin pianist/arranger Bill O'Connell, along with two standards. Due to the specific personnel on this date, the true nature of the music is of a higher order. Some of the best Latino players are present, including percussionists Milton Cardona and Richie Flores, along with popular trombonist Papo Vazquez. Drummer Robbie Ameen and tenor saxophonist Chris Barretto (Ray's son) appear on the Tadd Dameron ballad "If You Could See Me Now." In a typical setting, the title tune, long associated with Frank Sinatra, features Dave Valentin's lilting, almost pop/jazz flute. In a nutshell, this is an Afro-Cuban gig, not a commercial or funk groove-type album. ~ Michael P.Gladstone https://www.allaboutjazz.com/come-fly-with-me-dave-valentin-highnote-records-review-by-michael-p-gladstone.php

Personnel: Dave Valentin: flute; Chris Barretto: tenor sax (5); Papa Vazquez: trombone; Bill O'Connell: piano; Liquez Cutris: acoustic bass; Robby Ameen: drums; Milton Cardona, Richie Flores: percussion.

Come Fly with Me

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Calvin Keys - Calvinesque'

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 55:39
Size: 136,9 MB
Art: Front

(8:07)  1. Witchcraft
(8:50)  2. Windows
(5:18)  3. Isotope
(2:11)  4. Marela
(6:17)  5. Cindy
(9:33)  6. What's go'in on
(8:02)  7. Lush Life
(7:18)  8. Dolphin Dance

Jazz guitarist Calvin Keys is a legend among soul-jazz fans for his appearances as a session musician and his small catalog of releases under his own name. Known for his lean, muscular single-string solo style, Keys was born in 1943 in Omaha, Nebraska. His first musical influence was his father Otis, a well-known drummer on the city's music scene. He passed the music bug on to Calvin, who picked up the guitar early. Keys eventually landed his first notable gig as a member of Eddie "Cleanhead" Vinson's band when he was 17. He first hit the road with sax player Little Walkin' Willie during his that same year, before moving on to Kansas City. There his first gigs were with Preston Love (of the Count Basie Orchestra) and later the Frank Edwards Organ Trio. After woodshedding with Edwards, he landed a spot in organist Jimmy Smith's road trio. After leaving Smith, Keys worked the rest of the 1960s with Jimmy McGriff, Jack McDuff, and Richard "Groove" Holmes. Keys moved to Los Angeles in 1970. In 1971, he signed to Gene Page's fledgling Black Jazz label and cut his debut album, the now legendary Shawn-Neeq. He gigged on his own before auditioning for the Ray Charles Orchestra. Keys' unique phrasing and his ability to balance sophisticated jazz harmonics with tough R&B and soul grooves were showcased nightly in the Charles band. In 1973, Black Jazz released Keys' second offering, Proceed with Caution. He toured briefly before being snapped up by Ahmad Jamal. Keys spent the next seven years with the pianist, recording six albums and touring the globe. By 1975, Keys had relocated to the San Francisco Bay Area, where he became and remains an avid participant in its jazz community. He worked in live settings and recording sessions with John Handy, Bobby Hutcherson, Eddie Marshall, Leon Williams, Bob Braye, Ed Kelly, Eddie Duran, Bruce Forman, Junius Simmons, and Eddie Moore. In 1976, he played on Doug and Jean Carn's Ovation album Higher Ground. The 1980s proved similarly fruitful; Keys was an in-demand studio and live sideman, with credits including appearances with Tony Bennett, Pharoah Sanders, and Sonny Stitt. Keys began recording another solo album in 1984. In 1985, Olive Branch Records released tracks from these sessions as the album entitled Full Court Press; it was followed a year later by Maria's First.

Keys continued playing sessions and performing with touring acts in the Bay Area and the occasional Los Angeles gig. In 1991 he was part of the band that recorded film composer James Newton Howard's original score for the film Dying Young. Working with his own trio, Keys released Standard Keys on Lifeforce Records in 1992; his session and live work continued at a relentless pace, which eventually took its toll. Some of his work included reuniting with Jamal for the pianist's 1994 album Night Song for Motown's MoJazz imprint, and a tour of Europe that resulted in Jamal's Live in Paris 1996. An Evening with Calvin Keys, taken from a radio broadcast, was released that same year. He was sidelined in 1997 by heart surgery, undergoing a quadruple bypass. Undaunted, he released the widely acclaimed Detours into Unconscious Rhythms on Wide Hive Records. The large cast included organist Chester Thompson (Ray Charles, Santana) and upright bassist Kenneth Nash (from Jamal's band). After the album's release, Keys toured regionally in the U.S. and in Europe before returning to the Bay Area, where he performed with organists Big John Patton and Dr. Lonnie Smith, and Taj Mahal. In 2005 Keys recorded Calvinesque for Silverado. The album hit number 30 on the jazz charts. His second Wide Hive release, Vertical Clearance, was issued in 2006. It reunited Keys with Doug Carn, and included Phil Ranelin, Sonny Fortune, Roger Glenn, and Babatunde in its lineup. In 2007 Keys released Hand-Made Portrait on Silverado, and received a tribute from fellow Midwesterner and fan Pat Metheny, who composed and included the tune "Calvin’s Keys" on his album Day Trip. Keys appeared on Ranelin's Living a New Day for Wide Hive and on organist Gloria Coleman's Sweet Missy for Doodlin in 2009. In 2012 Tompkins Square Records re-released Shaw-Neeq exclusively on 180-gram vinyl. Keys supported it by touring with a band, performing the album in its entirety. ~ Thom Jurek https://itunes.apple.com/mu/album/calvinesque/219705641

Personnel:  Guitar, Executive Producer – Calvin Keys;  Bass – Tim Hauff;  Drums – Mark Lignell;  Piano – Jeff Chimenti

Calvinesque'

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Tower Of Power - Soul Side Of Town

Styles: Funk, Soul
Year: 2018
File: MP3@320K/s
Time: 59:15
Size: 136,9 MB
Art: Front

(0:55)  1. East Bay! All Day!
(5:28)  2. Hangin' With My Baby
(4:37)  3. Do You Like That?
(6:40)  4. On The Soul Side Of Town
(3:53)  5. Do It With Soul
(4:40)  6. Love Must Be Patient And Kind
(5:28)  7. Butter Fried
(4:48)  8. Selah
(4:22)  9. Let It Go
(4:25) 10. Stop
(4:11) 11. When Love Takes Control
(3:33) 12. After Hours
(4:54) 13. Can't Stop Thinking About You
(1:16) 14. East Bay! Oakland Style!

A renowned horn-driven outfit, Tower of Power emerged in the late '60s playing a dynamic blend of R&B, soul, funk, and AM pop. Along with similarly inclined groups like Chicago and Blood, Sweat & Tears, Tower of Power helped push the sound of brass-infused music into the rock era. Led by Detroit-born tenor saxophonist Emilio Castillo, the Oakland, California-based group scored hits like "You're Still a Young Man" and "What Is Hip?" throughout the '70s. They also became one of the most sought-after backing ensembles in pop, playing on recordings by Elton John, Santana, Bonnie Raitt, Aerosmith, Josh Groban, and more. While their lineup has changed over the years, Castillo remains a constant and continues to guide the ensemble live and in the studio. Although born in Detroit, Castillo opted to pursue his musical dreams in Oakland, California. It was in Oakland that Castillo put together a group called the Motowns, which, as their name suggested, specialized in '60s-era soul. In 1967, Castillo teamed up with baritone sax player Stephen "Doc" Kupka, and soon the Motowns were transformed into Tower of Power. (One of the first tunes the duo penned together was "You're Still a Young Man," which would eventually go on to be one of Tower of Power's signature compositions.) The group played regularly in the Bay Area throughout the late '60s, as their lineup often swelled up to ten members, including such other mainstays as Greg Adams on trumpet and vocals, Lenny Pickett on sax, and Rocco Prestia on bass. By 1970, the funk outfit had inked a recording contract with Bill Graham's San Francisco Records, resulting in the group's debut the same year, East Bay Grease, which failed to make an impression on the charts as Tower of Power were still trying to find their own sound.

But it soon came together for the group, as 1972's Bump City would touch off a string of classic hit albums, including 1973's self-titled release (which introduced vocalist Lenny Williams and included another of the group's most enduring tunes, "What Is Hip?"), 1974's Back to Oakland, and 1975's Urban Renewal and In the Slot. While Tower of Power remained a must-see live act, as disco became the new trend in R&B the group's original funk-laden style fell out of favor, and disco-oriented albums like 1978's We Came to Play and 1979's Back on the Streets didn't please critics or fans, and the band would go nine years without releasing an album. Despite it all, Tower of Power in particular their horn section remained a much in-demand backing group for some of pop/rock's biggest names, including Elton John, Santana, Bonnie Raitt, Huey Lewis, Little Feat, David Sanborn, Michelle Shocked, Paula Abdul, Aaron Neville, Aerosmith, Public Image Ltd., and many others. In 1988, Tower of Power returned to the studio for the album Power, and in 1991 they signed with Epic Records, where they released five albums by the end of the decade. Into the new millennium, Tower of Power kept up their reputation as a strong live band, maintaining a steady touring schedule, and in 2009 they launched their own TOP Records label with The Great American Soulbook, in which they covered a dozen soul and R&B classics in the trademark Tower of Power style. In 2007, Tower of Power celebrated their fourth decade together with a special concert at San Francisco's Fillmore Auditorium, and a year later the show was issued in a special CD/DVD package, simply titled 40th Anniversary. In 2013, Tower of Power took a look back with the release of Hipper Than Hip: Yesterday, Today & Tomorrow, which documented a live radio broadcast from 1974. The bandmembers also announced they would be touring in 2013 and 2014 with two other iconic acts from Northern California, Journey and the Steve Miller Band. In 2018, they celebrated their 50th anniversary with the Joe Vannelli-produced studio album Soul Side of Town on Mack Avenue Records. 

~ Greg Prato & Steve Leggett https://itunes.apple.com/us/album/soul-side-of-town/1372978636

Soul Side Of Town

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Donald Byrd - The Cat Walk (Remastered)

Bitrate: MP3@320K/s
Time: 40:24
Size: 92.5 MB
Styles: Bop, Trumpet jazz
Year: 1962/2007
Art: Front

[7:18] 1. Say You're Mine
[7:00] 2. Duke's Mixture
[5:34] 3. Each Time I Think Of You
[6:41] 4. The Cat Walk
[6:17] 5. Cute
[7:31] 6. Hello Bright Sunflower

Trumpeter Donald Byrd and baritone saxophonist Pepper Adams worked together on several recordings between 1958 and 1961, and The Cat Walk (released on LP in 1962) is among the best. A quintet setting, with pianist Duke Pearson (another longtime Byrd collaborator), bassist Laymon Jackson, and a lively Philly Joe Jones on drums joining the front line of Byrd and Adams, the sessions for The Cat Walk benefited from the writing and arrangement skills of Pearson, who contributes three compositions here, the impressive opener "Say You're Mine," "Duke's Mixture," and "Hello Bright Sunflower," which borrows its melodic structure from the opening bars of "Lullaby of Broadway" and features Byrd using a muted trumpet. Byrd contributed the title track, which attempts to capture the coiled, taut, but somehow still relaxed and assured gait of a tomcat, thanks in no small part to Jones' inspired drumming which hits the mark with stops and turns and smooth run-outs that are indeed very feline in nature. Byrd's playing throughout is typically sleek and lyrical, and Adams' sturdy, husky baritone sound is the perfect counterbalance, making The Cat Walk an essential Byrd purchase. ~Steve Leggett

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Tom McDermott - Choro Do Norte

Bitrate: MP3@320K/s
Time: 59:00
Size: 135.1 MB
Styles: Piano & Clarinet jazz
Year: 2005
Art: Front

[5:12] 1. Casa Denise
[3:37] 2. Atrapado
[5:04] 3. Santa Teresa
[2:43] 4. Choro For Tom
[3:29] 5. Sweetheart Of Mine
[5:20] 6. Swipesy Cakewalk
[3:29] 7. Lizinha
[5:29] 8. Heliotrope Bouquet
[3:09] 9. Choro #1
[5:23] 10. Estatico
[2:48] 11. Realidade É Saudade
[5:39] 12. The Chrysanthemum
[3:35] 13. Driving With Jacob
[3:57] 14. Bamboula

Tom McDermott – Piano; Evan Christopher – Clarinet; Rick Trolsen – Trumpet.

Tom McDermott and his frequent partner Evan Christopher are two of the most creative and forward looking jazz musicians in New Orleans. To call Evan Christopher a world class jazz clarinetist is an understatement. He virtually defines the class, although there are a few players in New Orleans who just might want to challenge that viewpoint! McDermott is a superlative traditional pianist, but he prefers to focus his creative energies on composition.

It is some 20 years now since the well traveled Mr. McDermott first started hearing, then playing, and then creating Brazilian choros. The choro is generally defined as a combination of African, Native Indian and Portuguese music, just one of several types that come to us from Brazil. The samba and bossa nova are two related but different genres. All of them have something of a jazz feel. What makes the choro unique though, is that it goes back as far as the 1870s, but is still evolving today. Early choros have been compared to American ragtime. Some of the pieces on this CD emphasize that relationship, including three Scott Joplin rags.

What makes this CD different, and you’ll know it from the very first cut onward, is the Brazilian rhythm section; three young musicians playing respectively a tambourine related percussion instrument known as the pandeiro, a bandolim, which is the Portuguese version of a mandolin, and a seven string guitar, which has become increasingly popular with guitarists in general and especially with modern jazzmen. The Brazilian musicians are not the only additions to this CD that make the sounds so different. There is also Rick Trolsen on trombone, and, for one cut each, Ray Moore on flute, and Matt Perrine on tuba. ~Steve Steinberg

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Jazz Juice - 52nd Street

Bitrate: MP3@320K/s
Time: 65:29
Size: 149.9 MB
Styles: Latin jazz, Electronica
Year: 2006
Art: Front

[3:27] 1. Too Horny
[6:18] 2. Atravessar
[4:51] 3. Jody's Grind
[5:19] 4. Montuno Uno
[4:50] 5. Baiana
[4:59] 6. Canto De Ossanha
[4:25] 7. 52nd Street (Minor Blues)
[4:48] 8. Sound Of The Summer
[4:42] 9. Bugablue (Dub Mix)
[7:08] 10. Love For Sale
[5:20] 11. Los Chicos
[4:40] 12. Hotpants Breakdown
[4:37] 13. Borboletta

The Jazz Juice story, much like the musical hotpot contained within, is one that has been brewing and boiling for many years. UK born DJ Graham B moved to Amsterdam in the late 1980's and has played an influencial role on the Dutch dance scene. As member of the legendary Soho Connection party organisation he was one of the pioneers of the early house movement and was later dubbed 'Godfather of Jazzdance' by the dutch press in recognition of his hugely successful Club 802 Jazzbops held at Amsterdams famous Paradiso. He has also collaborated with many talented musicians on various live music projects including the development and production of the New Cool Collective, the early stages of Project 2000 and recently with a new band called Electro Coco picking up a prestigious Edison Award for their CD Coco Do Mundo.

JazzJuice is his latest collaboration with Electro Coco production partner Alain Eskinasi. Another veteran of the scene, Alain's experience in the music business is extensive, with 40 CD projects under his belt. He spent seven years in the States during the nineties working as a staff-producer for Virgin Records and collaborating with many musicians from bands such as Yes and Steely Dan. His work received 2 Grammy nominations and one Grammy Award on a production with ex Jefferson Airship guitarist Craig Chequico.

Together they've taken a fresh look at mixing the art of DJ'ing with live musicianship and have come up with an exciting new style. The result is a superbly refreshing sound that connects old school with future jazz. During a live Jazz Juice session guest artists can compliment many of the strong clear themes and crucially with the removal of many of the original solos are given the space and freedom for much improvisation. This leads to a spontaneous fully integrated and exciting sound that adds a brand new dimension to a conventional DJ set, literally bringing the material to life on stage and never ceases to keep the dance floor kicking.

Featuring the hit singles 'Bugablue', 'Montuno Uno' and 'Sound Of The Summer', 52nd Street is a fresh twist on the Blue Note sound laid down so many years ago: updating the style and vibe of the masters for a new generation of Jazz fans.'

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Danilo Perez, John Patitucci, Brian Blade - Children Of The Light

Bitrate: MP3@320K/s
Time: 55:45
Size: 127.6 MB
Styles: Piano trio jazz
Year: 2015
Art: Front

[6:54] 1. Children Of The Light
[4:33] 2. Sunburn And Mosquito
[4:59] 3. Moonlight On Congo Square
[4:26] 4. Lumen
[3:21] 5. Within Everything
[3:38] 6. Milky Way
[9:47] 7. Light Echo Dolores
[4:30] 8. Ballad For A Noble Man (In Memory Of Doug Sommer)
[5:29] 9. Looking For Light
[2:38] 10. Luz Del Alma
[5:23] 11. African Wave

Danilo Pérez, John Patitucci and Brian Blade have been three quarters of the extraordinary Wayne Shorter Quartet for more than a decade. Since, they’ve also continued their individual careers as leaders of their own projects and groups. Now, on Children of the Light, they step forward as a trio for the first time with an imagination and fearlessness in their approach that defies the roles and ways of a trio in both obvious and subtle ways.

“We can ‘comprovise’ (spontaneous composition) with dense harmonic and melodic forms, but we can also explore the beauty of a simple harmony,” says Pérez. “And you can see the care each one of us put into the songs we brought in.”

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Ralph Alessi & This Against That - Look

Bitrate: MP3@320K/s
Time: 58:44
Size: 134.5 MB
Styles: Trumpet jazz, Modern Creative
Year: 2012
Art: Front

[4:52] 1. Near Cry
[5:11] 2. It's Just A Toy
[5:14] 3. At The Seams
[6:05] 4. Hands
[3:07] 5. The Tooth Fairy And Pistol Pete
[4:56] 6. Lap Nap
[5:34] 7. Brown Hat
[3:34] 8. Look
[3:59] 9. Words, Actions
[4:44] 10. Platform Velvet
[7:18] 11. Old Beady Eyes
[4:03] 12. Sir

Ralph Alessi: trumpet, flugelhorn; Andy Milne: piano; Drew Gress: bass; Mark Ferber: drums; Ravi Coltrane: tenor saxophone (2,8,10,11).

Like the angelic blast of Gabriel's horn, trumpeter Ralph Alessi plays his mortal trumpet with exhilaration and sublime finesse. A popular session player, he has heightened recordings like Scott Colley's Archtiect of the Silent Moment (CamJazz, 2007) and Simone Guiducci's Dancin' Roots (Felmay, 2005). Alessi's own recordings as a leader—including Vice & Virtue (RKM, 2003) and This Against That/Vice & Virtue (RKM, 2002) —are obscure gems of eclectic music; but Look is an outstanding work of intellect and fire, showing what a progressive trumpeter sounds like without gimmicks or effects. A man, his horn, and a band—complete in its creative element.

Alessi's quartet of leading players includes the unsung, talented pianist Andy Milne and the superb rhythm section of bassist Drew Gress and drummer Mark Ferber; plus, on four tracks, a special guest: saxophonist Ravi Coltrane. The group is excellent at executing Alessi's eclectic and original pieces and making them enjoyable and seductively challenging. The leader's strength as a trumpeter is obvious, but another attribute that surfaces is his ability as a composer, which includes a gift for tying disparate threads of jazz, avant-garde, and classical persuasions into a vibrant work of contemporary music. Some tunes are ostensibly simplistic yet harmonically complex, like "Near Cry, where Alessi solos hotly over a tricky vamp. Other times there's a repeating phrase, as on "At the Seams, where Gress and Ferber not only sustain the effervescence but also contribute their own voices. ~Mark F. Turner

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Leo Richardson Quartet - The Chase

Styles: Saxophone Jazz  

Year: 2017

File: MP3@320K/s 

Time: 54:14 

Size: 129,2 MB 

Art: Front

( 5:33)  1. Blues For Joe

( 5:19)  2. Demon E

( 6:30)  3. The Curve

( 5:37)  4. The Chase

( 7:24)  5. Elisha's Song

( 7:33)  6. Mambo

( 6:14)  7. Silver Lining

(10:01)  8. Mr. Skid

An alumnus of London's Trinity College of Music, tenor saxophonist Leo Richardson, who incidentally is the son of bassist Jim Richardson (formerly of the jazz rock band If), graduated from the College with a first class honours degree in Jazz Performance. Whilst studying at Trinity he was tutored by some world class players including Jean Toussaint, Julian Siegel, Martin Speake, Mark Lockheart and Mick Foster. Since leaving Trinity he has become an in-demand saxophonist on the London Jazz scene. He's performed with the likes of Jamie Cullum, Gregory Porter, Ronnie Scott's Jazz Orchestra, Clare Teal, Dick Pearce, Norma Winstone and Jim Mullen to name just a few. What is extraordinary about Richardson's debut album The Chase is how familiar all the tracks sound. Whilst these hard bop numbers are all Richardson compositions they instantly evoke a period of 1950s-60s jazz, typified by such luminaries as Art Blakey, Hank Mobley and Dexter Gordon. The fiery head to "Blues for Joe," a tribute to Joe Henderson, leads into a blistering solo by Richardson, whereas "Demon E," with Quentin Collins soloing expansively on trumpet, evinces a strong evocation of Art Blakey and the Jazz Messengers, indeed all that's missing is the drummer's trademark press rolls. "The Curve," again with Collins, evokes memories of the irresistible recordings of Lee Morgan and Collins's final contribution on the album is the ebullient title track and here Richardson plays with magnificent intensity and speed, the piece being rounded-off by a lightning fast drum solo from Ed Richardson. There's a change of pace with the stately ballad "Elisha's Song" and again the mood changes with the modal "Mambo." There's a return to lively hard bop with "Silver Lining," dedicated to the late Horace Silver and featuring some arresting piano from Rick Simpson. The standout track saved for last, and the longest at 10 minutes, is the Impulse! era Coltrane-esque "Mr Skid" featuring guest Alan Skidmore, one of Britain's finest saxophonists. Here the two tenors, playing in harmony, bounce notes off each other, a configuration reminiscent of the great twin tenors of the 1960s, the Jazz Couriers featuring Ronnie Scott and Tubby Hayes. There are appropriately coruscating solos from both saxophonists and the whole piece culminates in a powerful crescendo of saxophones. Kudos goes to Richardson who has succeeded in writing original tunes that channel the Blue Note songbook but, amazingly, they do so without a trace of plagiarism. All the selections sound new and fresh as does this remarkable saxophonist's playing. ~ Roger Farbey https://www.allaboutjazz.com/the-chase-leo-richardson-ubuntu-music-review-by-roger-farbey.php

Personnel: Leo Richardson: tenor saxophone; Rick Simpson: piano; Mark Lewandowski: bass; Ed Richardson: drums; Plus: Quentin Collins: trumpet (2,3,4); Alan Skidmore: tenor saxophone (8).

 

The Chase

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Eileen Farrell - Sings Torch Songs

Styles: Vocal 

Year: 1990

File: MP3@320K/s 

Time: 57:11 

Size: 131,5 MB 

Art: Front

(6:43)  1. Stormy Weather

(3:23)  2. When Your Lover Has Gone

(4:48)  3. 'Round Midnight

(3:23)  4. The End of a Love Affair

(5:26)  5. Guess I'll Hang My Tears Out to Dry

(4:49)  6. Something Cool

(5:08)  7. I Get Along without You Very Well

(6:04)  8. Spring Can Really Hang You Up the Most

(5:00)  9. Black Coffee

(4:31) 10. Don't Explain

(3:15) 11. Get Out of Town

(4:35) 12. This Time the Dream's on Me

Singer whose style and approach have jazz connections, but whose sound is more in a show business, pre-rock pop vein than an improvising mode. 

She has recorded albums of standards in '90s for Reference label. ~ Ron Wynn https://itunes.apple.com/us/album/eileen-farrell-sings-torch-songs/995325617

Sings Torch Songs

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The Buddy Rich Big Band - Mercy, Mercy

Styles: Jazz, Bop, Big Band 

Year: 1968

File: MP3@320K/s 

Time: 61:52 

Size: 144,5 MB 

Art: Front

( 5:35)  1. Mercy, Mercy, Mercy

( 4:06)  2. Preach And Teach

(12:50)  3. Channel 1 Suite

( 3:22)  4. Big Mama Cass

( 6:18)  5. Goodbye Yesterday

( 5:50)  6. Acid Truth

( 3:49)  7. Alfie

( 3:39)  8. Ode To Billie Joe

( 5:21)  9. Chavala

( 5:47) 10. Mr. Lucky

( 5:11) 11. Chelsea Bridge

This CD reissue brings back the finest all-round recording by Buddy Rich's big band. The original version of "Channel 1 Suite" is a classic and contains tenor saxophonist Don Menza's most memorable solo, plus a couple of brilliant improvisations from the explosive drummer/leader. Another highlight is an inventive Phil Wilson arrangement of "Mercy, Mercy, Mercy," and even "Alfie" (a melodic feature for altoist Art Pepper) and "Ode to Billie Joe" come across well. In addition to the original LP program, three selections were released for the first time on this CD. 

"Chelsea Bridge" is particularly significant, for it showcases Pepper, who was making a brief (and unsuccessful) comeback seven years before he finally returned to the scene. This spirited and often-exciting set is a real gem and is essential. ~ Scott Yanow https://www.allmusic.com/album/mercy-mercy-mw0000619226     

Personnel:  Buddy Rich - drums;  Walter Namuth - guitar;  William Prince - trumpet;  Al Porcino - trumpet;  Kenneth Faul - trumpet;  David Culp - trumpet; Jim Trimble - trombone;  Richard Stepton - trombone;  Peter Graves - bass trombone;  Don Menza - tenor saxophone, arranger;  Art Pepper - alto saxophone;  Charles Owen -salto saxophone, arranger;  Pat LaBarbera - tenor saxophone;  John Laws - baritone saxophone;  Joe Azarellopiano;  Gary Walters - bass, string bass.

 

Mercy, Mercy

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Leon Bridges - Coming Home

Styles: Vocal, Soul 

Year: 2016

File: MP3@320K/s 

Time: 34:07 

Size: 78,6 MB 

Art: Front

(3:26)  1. Coming Home

(2:20)  2. Better Man

(3:26)  3. Brown Skin Girl

(3:03)  4. Smooth Sailin'

(3:37)  5. Shine

(4:03)  6. Lisa Sawyer

(2:56)  7. Flowers

(3:00)  8. Pull Away

(4:12)  9. Twistin' & Groovin'

(4:00) 10. River

Leon Bridges is the 'out of almost nowhere' story that only comes along once in a while. Awareness of Leon Bidges and his unique craft continues to grow authentically and consistently.  It was only last summer that Leon was singing open mics in his hometown Fort Worth, TX. One of those open mics was attended by Austin Jenkins and Josh Block of the notable indie band White Denim who were absolutely floored by Leon's voice, songs, and creative vision. They soon after set-up shop in a makeshift studio and recorded the album's opener "Coming Home" completely live to tape. This first take is exactly what you hear opening the album. The remaining 9 songs followed in a burst of creativity and inspiration. Leon was the breakout artist of 2015's SXSW, and performed to capacity crowds at A-level events including Heartbreaker at Willie Nelson's ranch, the Gorilla-vs-Bear HypeHotel showcase, Spotify House and Saint David's Church. His soulful, movement based performances and adept backing band garnered strong reviews from a variety of top-level media including the New York Times, Billboard and Grantland amongst many others. ~ Editorial Reviews https://www.amazon.com/Coming-Home-Leon-Bridges/dp/B00VVZUPIU    

 

Coming Home

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Stefano Bollani - Que Bom

Styles: Piano Jazz 

Year: 2018

File: MP3@320K/s 

Time: 72:07 

Size: 166,1 MB 

Art: Front

(5:15)  1. Sbucata da una nuvola

(3:46)  2. Galapagos

(5:02)  3. Certe giornate al mare

(3:33)  4. La nebbia a Napoli

(5:02)  5. Habarossa

(5:42)  6. Uomini e polli

(3:29)  7. Ho perduto il mio pappagallino

(4:40)  8. Criatura dourada

(3:20)  9. Michelangelo Antonioni

(3:58) 10. Accettare tutto

(6:31) 11. Ravaskia

(4:28) 12. Olha a Brita

(4:57) 13. Il gabbiano ischitano

(4:16) 14. Aleijadinho lê o Codex Seraphinianus aquì

(3:45) 15. Nação

(4:16) 16. Que Bom

Italian piano genius Stefano Bollani's new Brazilian album QUE BOM building on the success of his successful album CARIOCA (2008), which sold over 70'000 copies. Que Bom primarily consists of Bollani's own original tunes and distinctive melodies strongly influenced and informed by Brazilian music culture, which Bollani has always cherished since the very beginning of his rich, multifaceted crackerjack music making and dexterous playing.  In QUE BOM - a genuine hymn to life marked by sparkling liveliness and (contagious) joy Bollani is joined by the same outstanding rhythm section as in CARIOCA - Jorge Helder (db), Jurim Moreira (dr) and Armando Marçal (perc) - plus Thiago da Serrinha (perc), but here, in QUE BOM, also by the grand guest stars Caetano Veloso, João Bosco, Jaques Morelenbaum and Hamilton de Holanda. The CD packaging, an elegant and exquisite 6-side DigiSleeve with an 8-page booklet (concept & supervision of the art work by Italian actress and artist Valentina Cenni) contains the lyrics of the songs with Caetano Veloso and João Bosco, photos of the merry Rio recording session by Vinícius Giffoni and extraordinary pictures from Codex Seraphinianus by Italian artist and designer Luigi Serafini. QUE BOM, entirely produced by Bollani, is the first album to be released worldwide by his own newly created label ALOBAR. ~ Editorial Reviews https://www.amazon.com/Que-Bom-Stefano-Bollani/dp/B07BSXX4GT               

 

Que Bom

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Archie Shepp, Michel Marre - Passion

Bitrate: MP3@320K/s
Time: 52:11
Size: 119.5 MB
Styles: Saxophone jazz
Year: 1986/2016
Art: Front

[12:07] 1. Passion
[ 5:06] 2. Prelude To A Kiss
[ 5:19] 3. We'll Be Together Again
[ 5:11] 4. For Heaven's Sake
[ 8:48] 5. You're My Thrill
[ 9:09] 6. Little Folks
[ 6:27] 7. Never Thought

In mid 80s one of free jazz cult figures American tenor Archie Shepp returns to his early r'n'b roots again and again. Usually combined with vocals and bluesy hard-bop numbers, Shepp's albums from that period are often a mixed bag, but for followers contain lot of interesting moments. One of better known albums of such kind is his "Down Home New York", recorded in States and released on renown Italian Soul Note label in 1984. "You're My Thrill" (reissued later on CD as "Passion" with two bonus tracks) was recorded in France and released on tiny domestic Vent Du Sud label. Both vinyl and CD (reissued in 1990) versions are real obscurities. From very first album sounds it becomes obvious that Shepp (or label) obviously tries to re-vitalize "Down Home NY.."'s successful formula. At the very same way, "You're My Thrill" opens with 10+ minute long catchy r'n'b number of the same way (actually, it is same song as "Down Home.."'s opener, just titled here as "Passion" and completed with slightly different lyrics).

Then (strictly according to previous album formula again) we have series of hard hard bop ballads with a few freer reeds solos and some of vocals.In contrast to Soul Note release where Shepp plays with team of renown Americans (incl. Kenny Werner on piano and Saheb Sarbib on bass among others), on "You're My Thrill" we hear mostly domestic European band. Weirdest collaborator is German keyboardist Siegfred Kessler using solely analog synths with extremely non-jazzy plasticky effervescent sound. Supporting band's leader trumpeter/tuba player Michel Marre demonstrates few solos, not on the level of Shepp's better collaborators' though. CD version's two bonuses are more lively compositions, contain more inspired (and a bit freer) playing but can hardly save all album. Obscure and hardly attractive for casual listener, this album still contains its two or three attractive moments for Shepp's fan or collector.

Passion mc
Passion zippy

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Venissa Santi - Big Stuff

Bitrate: MP3@320K/s
Time: 53:01
Size: 121.4 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[5:11] 1. Sunny Side Of The Street
[4:11] 2. Big Stuff
[5:25] 3. What's New
[3:58] 4. My Man
[4:04] 5. Strange Fruit
[3:37] 6. Stormy Weather
[5:29] 7. You're My Thrill
[3:08] 8. Travelin' Light
[3:45] 9. Involved Again
[4:55] 10. That Old Devil Called Love
[3:45] 11. I Cover The Water Front Monks Dream-
[5:28] 12. You Better Go Now

Venissa Santí: Vocalist​​; ​François Zayas: Drums, Percussion; Tim Thompson: Trumpet; Chris Aschman: Trumpet, and Flugelhorn; John Stenger: Piano; Jason Fraticelli: Bass​; Cuco Castellanos: Congas; Madison Rast: Bass; Paul Klinefelter: Contrabass; Jon Thompson: Clarinet; Jef Lee Johnson: Guitar.

Born in NY, trained in jazz in Philadelphia, and schooled in sacred/secular music in her ancestral homeland of Cuba, vocalist Venissa Santí traveled a long road to develop her signature musical style. She is a 2008 PEW Fellow, signed to Sunnyside Records. Venissa’s artistry stems from the necessity to express the many influences that have nourished her spirit as a Cuban American. She was born in Ithaca, New York and hails from a line of Cuban artists intellectuals, but it was her grandfather, Jacobo Ros Capablanca, a Cuban composer who instilled in her a life-long passion for music.

As a child she grew up listening to the sounds of Ravel, Celia Cruz and Michael Jackson as well as theatrical productions and jazz. After completing high school, she moved to Philadelphia, where she enrolled at the University of the Arts, connected with her Cuban roots (via her grandfather’s compositions) and majored in Jazz Vocal Performance.

Big Stuff mc
Big Stuff zippy

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The Real Thing - New Wrapping

Bitrate: MP3@320K/s
Time: 40:50
Size: 93.5 MB
Styles: Soul-jazz
Year: 2003
Art: Front

[5:31] 1. No Bones About It
[3:23] 2. Schmell
[4:27] 3. Summer Blue
[5:53] 4. La Garota
[5:05] 5. Wrap It Up
[4:02] 6. On The Bus
[4:46] 7. The Black Pearl
[3:37] 8. Swedish Compliments
[4:00] 9. Maybe Paris

The Real Thing was a Soul Jazz Band from Oslo, Norway, founded in 1992 when Sigurd Køhn and Palle Wagnberg formed the forerunner, The B3 Blues Band with Vidar Busk and Hamlet Pedersen. They changed the name when Staffan William-Olsson and Fredrik Carl Stormer joined the band. Størmer was replaced by Torstein Ellingsen in 1995, and Ellingsen again by Børre Dalhaug in 1998. Due to the sudden death of the band's saxophonist Sigurd Køhn in December 2004 The Real Thing was hibernating until a reunion in 2010.

The quartet released eight albums, their debut in 1992 with the album The Real Thing and later both live and studio recordings. They for the most play original music, combining influences from American Blue Note jazz (represented by people such as like Jimmy Smith, George Benson and Wes Montgomery) and elements from modern popular music. The result is a mixture of genres including swing, blues, soul, Latin, funk and rock.

New Wrapping mc
New Wrapping zippy

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Nina Simone - Let It Be Me

Bitrate: MP3@320K/s
Time: 52:27
Size: 120.1 MB
Styles: Jazz vocals
Year: 1987
Art: Front

[3:01] 1. My Baby Just Cares For Me
[3:17] 2. Sugar In My Bowl
[6:00] 3. Fodder On My Wings
[3:54] 4. Be My Husband
[3:37] 5. Just Like A Woman
[3:19] 6. Balm In Gilead
[4:30] 7. Stars
[2:54] 8. If You Pray Right (Heaven Belongs To You)
[7:15] 9. If You Knew Let It Be Me
[4:51] 10. Four Women
[5:02] 11. Mississippi Goddam
[4:40] 12. Baltimore

Drums – Cornell McFadden; Guitar, Bass [Electric] – Arthur Adams; Vocals, Piano – Nina Simone. Recorded live at Vine St.

Nina Simone's live performances have a power and an intimacy all their own, and those qualities stand out in this 1987 recording from Vine Street. It's a stunning form of cabaret singing, dramatic without melodrama, and with roots that reach to Billie Holiday's surprising success with "Strange Fruit." Simone can add profundity to a usually carefree song like "My Baby Just Cares for Me," and the range of the performance broadens with the startling "Be My Husband," a simple pattern reduced to the naked force of a field holler, and the stark hymn "Balm in Gilead." Carefully chosen songs from Randy Newman, Bob Dylan, and Janis Ian achieve new dimensions in Simone's treatments. Her own deeply felt "Four Women" and "Mississippi Goddam" are potent and enduring protests. There's some effectively spare accompaniment from guitar, bass, and drums, but Simone's piano is the essential instrumental voice, from slow barrelhouse to Bach. ~Stuart Broomer

Let It Be Me mc
Let It Be Me zippy

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John Swanson - If We Only Knew

Bitrate: MP3@320K/s
Time: 45:27
Size: 104.0 MB
Styles: Vocal jazz
Year: 2014
Art: Front

[4:15] 1. Easier Said Than Done
[3:13] 2. Just Around The Corner
[3:56] 3. Nobody Home
[3:40] 4. If We Only Knew
[5:04] 5. Chasin' Jeanie Around
[3:51] 6. Good To Go
[4:00] 7. I Just Stopped By To Say Hello
[3:11] 8. Sycamore Drive
[3:17] 9. Have I Got A Deal For You
[3:28] 10. Feelin' Hit
[3:44] 11. Ivory Tower Man
[3:42] 12. Takin' My Time

Smooth with full 30+ piece big band setting the tone for male crooner vocals. Nostalgic sound that might be heard in the 40’s, 50’s, or 60’s.

"I like songs with characters, places, foods, drinks. Tangible subject matter makes the best stories. The world around you is the lyrics. You just have to come up with a melody. You cannot hide from yourself in songwriting - you're in there at every turn. It demands honesty. Sometimes I'll write a song about some "other" people. You know, from a cool, detached observer point of view...then I'll go back and listen and think "Swanee, who you kidding? That's just you in that song. As important as creating original music is to me, playing the standards is just as important. That's one of the things I love so much about jazz and blues. There is no such thing as "cover music". Playing standards is not just accepted in jazz; it's required. It's required to be able to speak the language and to help define your own style.

I would list the great New Orleans bluesman Lonnie Johnson as my all-time fav. He was an innovative guitarist, a captivating singer, a brilliant songwriter, an A-list side-man, and a one-of-a-kind soloist. LJ was one of the most complete musicians ever. He pretty much exemplifies everything I would ever hope to be as a musician. Unless you happen to be Bob Dylan or Louis Armstrong you ain't gonna change the world with a musical instrument; but you can change YOUR world with one." ~"Swanee"

If We Only Knew mc
If We Only Knew zippy

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