Don Ellis - Soaring

Bitrate: MP3@320K/s
Time: 42:24
Size: 97.1 MB
Styles: Bop, Trumpet jazz, Big band
Year: 1973/2014
Art: Front

[4:26] 1. Whiplash
[6:42] 2. Sladka Pitka
[5:54] 3. The Devil Made Me Write This Piece
[3:18] 4. Go Back Home
[6:44] 5. Invincible
[3:03] 6. Image Of Maria
[6:41] 7. Sidonie
[5:33] 8. Nicole

Bass – Dave McDaniel; Bass Trombone – Ken Sawhill; Cello [Electric] – Pat Kudzia; Clarinet, Flute, Oboe, Soprano Saxophone, Baritone Saxophone – Gary Herbig; Clarinet, Flute, Tenor Saxophone – Sam Falzone; Congas – Lee Pastora; Drums – Ralph Humphrey; Flute, Alto Flute, Piccolo Flute, Alto Saxophone, Soprano Saxophone – Fred Selden; Flute, Piccolo Flute, Alto Saxophone, Soprano Saxophone, Tenor Saxophone – Vince Denham; French Horn – Sidney Muldrow; Guitar, Other [Bag] – Jay Graydon; Organ, Piano, Electric Piano [Fender Rhodes], Clavinet – Milcho Leviev; Percussion, Drums – Ron Dunn; Trombone – Mike Jamieson; Trumpet, Drums, Flugelhorn, Trumpet [Electric Trumpet] – Don Ellis; Trumpet, Flugelhorn – Bruce Mackay, Gil Rathel, Jack Caudill; Tuba – Doug Bixby;Viola [Electric] – Renita Koven; Violin [Electric] – Earle Corry, Joel Quivey.

The last album by Don Ellis' big band before the trumpeter suffered a heart attack that would ultimately cut short both his career and his life, this underrated set finds Ellis' orchestra consisting of seven brass (including tuba), four strong woodwind players, a string quartet, and an enlarged six-piece rhythm section that includes guitarist Jay Graydon and keyboardist Milcho Leviev. A special highlight is "Invincible" which is an outstanding feature for altoist Vince Denham; whatever happened to him? Ellis composed four of the eight originals including one titled "The Devil Made Me Write This Piece!" This out-of-print Lp is well worth searching for.

Soaring mc
Soaring zippy

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Newropean Quartet, Danilo Memoli Trio, Steve Grossman - Time On My Hands

Bitrate: MP3@320K/s
Time: 66:29
Size: 152.2 MB
Styles: Traditional jazz combo
Year: 2010
Art: Front

[5:22] 1. Time On My Hands
[5:32] 2. Too Marvellous For Words
[7:29] 3. Autumn In New York
[6:08] 4. Tenderly
[7:16] 5. Change Partners
[5:16] 6. Laura
[7:00] 7. But Not For Me
[5:35] 8. Serenade In Blue
[6:45] 9. Manhattan
[6:11] 10. You Go To My Head
[3:51] 11. September In The Rain

Luciano Cavalieri, executive producer of this cd, contacted me one night - after listening to a Newropean Quartet performance - and asked me to record an album based on a series of standards which he particularly loved, letting me have complete freedom on the choice of the musicians involved (which almost entirely reflects the Newropean, but with Mauro Beggio on drums and with Steve Grossman - on three tunes - instead of Ralph Reichert, co-leader of the NQ; the bassist is Stefano Senni).

Luciano - a great jazz fan and connoisseur, with a collection of records and videos that many would envy... not only in Italy - came up with a list of eleven tunes that simply represent an organic overview of the beautiful american songbook, most of which are part of the repertoire of all the major interpreters in the history of jazz. After some personal re-harmonization and a few simple arrangements, our rendition of these wonderful tunes produced the results now in your hands.

Time On My Hands mc
Time On My Hands zippy

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George Barnes - Guitar Galaxies

Bitrate: MP3@320K/s
Time: 28:12
Size: 64.6 MB
Styles: Guitar jazz, Easy Listening
Year: 1962/2011
Art: Front

[2:18] 1. Tequila
[2:05] 2. Mamá Inés
[2:34] 3. La Paloma
[2:11] 4. When Yuba Plays The Rumba On The Tuba
[2:14] 5. Linda Mujer
[2:07] 6. Bim Bam Boom
[2:39] 7. Ana
[2:52] 8. Orchids In The Moonlight
[2:19] 9. Cumana
[2:28] 10. Lady In Red
[1:58] 11. Cuban Pete
[2:20] 12. Adios

American swing jazz guitarist, born July 17, 1921 - South Chicago Heights, Illinois, USA - died September 5, 1977 - Concord, California, USA. He started his professional career at the age of 12, when he received his musicians' union card, and toured throughout the Midwest. By the time he was 14, he was accompanying blues vocalists such as Big Bill Broonzy and Blind John Davis. On March 1, 1938, he recorded "Sweetheart Land" and "It's a Lowdown Dirty Shame" with Broonzy, the first commercial recordings of an electric guitar. Later in 1938, he was hired as a staff musician for the NBC orchestra, and became a featured performer on the radio shows National Barn Dance and Plantation Party.

Barnes' style took shape before the development of bebop, and he remained a swing stylist throughout his career. His lines were usually short, very melodic, bluesy and "inside" (i.e. diatonic) as compared to the chromaticism and long lines of bop era guitarists. His improvisations often employed call and response phrases, and his tone was clearer, cleaner and brighter than many other jazz guitarists (such as Joe Pass or Jim Hall) and reflected his "happy" approach to music.

Guitar Galaxies

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Jackie Gleason - Champagne, Candlelight And Kisses

Bitrate: MP3@320K/s
Time: 33:39
Size: 77.0 MB
Styles: Easy Listening
Year: 1963/2012
Art: Front

[3:43] 1. Theme From Bus Stop
[2:13] 2. Undecided
[2:49] 3. I Double Dare You
[3:17] 4. A Pretty Girl Is Like A Melody
[1:46] 5. A Little Love, A Little Kiss
[2:08] 6. All By Myself
[2:30] 7. Keepin' Out Of Mischief Now
[3:31] 8. It's Been A Long, Long Time
[2:31] 9. That's A Plenty
[3:53] 10. Everything Happens To Me
[2:37] 11. Just You, Just Me
[2:34] 12. Fascinating Rhythm

Not only was he one of the finest comedians America has ever produced, Jackie Gleason applied his prodigious talents to music as well. With a strong jazz roots background (leaning to mesmerized idolatry when dealing with good trumpet players), Gleason developed a chart-topping series of mood music albums in the '50s, citing his reason for their existence: "Every time I ever watched Clark Gable do a love scene in the movies, I'd hear this really pretty music, real romantic, come up behind him and help set the mood. So I'm figuring that if Clark Gable needs that kinda help, then a guy in Canarsie has gotta be dyin' for somethin' like this!" Gleason began making films in the '40s, but he rose to stardom in the early '50s, thanks to the late '40s/early '50s television series The Life of Riley and Cavalcade of Stars. His television stardom led to a contract with Capitol Records, who released his first album, Music for Lovers Only, in 1953. As a musician, Gleason favored lush, dramatically orchestrated instrumentals, patterned after the mood music of Paul Weston. Gleason wasn't a trained musician, but he was responsible for the musical direction of his records; when he did write a piece, he would dictate to someone who could read and write music.

Music for Lovers Only was a surprise hit, selling over 500,000 copies. Every subsequent Gleason album was a major hit, reaching the Top Ten and selling a large number of copies. Gleason continued to release albums into the '60s, but his popularity dipped dramatically after 1957. After that year, he no longer was able to make it into the Top 15, even though his records continued to appear in the lower regions of the charts. Gleason's records have continued to be popular cult items and they have come to be regarded as definitive mood music albums. ~ Cub Koda & Stephen Thomas Erlewine

Champagne, Candlelight And Kisses mc
Champagne, Candlelight And Kisses zippy

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Philip Catherine, Martin Wind - New Folks

Bitrate: MP3@320K/s
Time: 56:30
Size: 129.4 MB
Styles: Guitar jazz
Year: 2014
Art: Front

[5:49] 1. Old Folks
[4:18] 2. Fried Bananas
[3:51] 3. Hello George (For G. Shearing)
[3:51] 4. Blues In The Closet
[4:12] 5. How Deep Is The Ocean
[2:51] 6. Jenny Wren
[6:05] 7. Song For D
[4:36] 8. Sublime
[2:38] 9. Pivoine
[5:34] 10. L'eternel Desir
[4:59] 11. Standing At The Window Waving Goodbye
[2:47] 12. Toscane
[4:54] 13. Winter Moon

Philip Catherine - the South German Newspaper in Munich just recently wrote that he “plays things that cannot be heard by any other guitarist in the world today”. His partner on the bass, Martin Wind, is one of only a few Germans who made it in New York. Both are aesthetes that love melodic jazz with Swing roots. Without any haste or superficial virtuosity, but instead with complete mutual trust they find the ideal tone, the right timbre for each note, lining up sound and space perfectly. A meeting of generations marked by harmony and respect.

The Belgian guitarist Philip Catherine is a European jazz legend. The now 71-year-old Catherine started playing professionally when he was only 17 and toured with artists such as Lou Bennett, Dexter Gordon, Jean-Luc Ponty, Chet Baker (with whom he recorded 6 albums), Tom Harrell and many others. In 1978 he received the “Artist of the year” award by the German Phono-Academy, and Charles Mingus gave him the nickname “Young Django”. This is also a result of his impeccable time feel, which allows him to sound relaxed and loose even while playing the most breathtaking up-tempo passages. But it is not mainly his technique and dexterity that sets him apart; furthermore what made him so unique is his acoustic guitar sound, as well as an improvisational style, which is based not on other guitarists, but on some of the great horn players in jazz.

New Folks mc
New Folks zippy

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Cal Tjader - Tjader Plays Tjazz

Bitrate: MP3@320K/s
Time: 34:29
Size: 79.0 MB
Styles: Vibraphone jazz
Year: 1955/2006
Art: Front

[4:01] 1. Moten Swing
[2:32] 2. I've Never Been In Love Before
[5:05] 3. There Will Never Be Another You
[3:03] 4. How About You
[3:17] 5. Jeepers Creepers
[3:57] 6. A Minor Goof
[2:47] 7. My One And Only Love
[3:17] 8. Imagination
[2:57] 9. I'll Know
[3:29] 10. Brew's Blues

Bass – Al McKibbon; Drums – Bobby White, Cal Tjader; Guitar – Eddie Duran; Piano – Sonny Clark; Tenor Saxophone – Brew Moore; Trombone – Bob Collins; Vibraphone – Cal Tjader.

In a change of pace, for this recording vibraphonist Cal Tjader recorded cool-toned bop without a Latin rhythm section. Half of the ten songs (mostly jazz standards) feature Tjader switching to drums (his original instrument) in a quartet also including the obscure trombonist Bob Collins, guitarist Eddie Duran and bassist Al McKibbon. Tjader is back on vibes for the quintet selections with tenor saxophonist Brew Moore, pianist Sonny Clark, bassist Eugene Wright and drummer Bobby White. He sounds right at home in both formats and the swinging quintet numbers in particular are a good reason to search for this valuable album. ~Scott Yanow

Tjader Plays Tjazz mc
Tjader Plays Tjazz zippy

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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

The Cat Walk (Remastered) mc
The Cat Walk (Remastered) zippy

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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

Choro Do Norte mc
Choro Do Norte zippy

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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.'

52nd Street mc
52nd Street zippy

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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.”

Children Of The Light mc
Children Of The Light zippy

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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

Look mc
Look zippy

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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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