Dave Liebman - Joy: The Music Of John Coltrane

Bitrate: MP3@320K/s
Time: 49:55
Size: 114.3 MB
Styles: Contemporary jazz
Year: 1993
Art: Front

[ 6:13] 1. After The Rain
[ 4:39] 2. Untitled Original
[ 4:44] 3. Alabama
[10:32] 4. India
[ 9:12] 5. Naima
[14:33] 6. Selflessness

Acoustic Bass, Electric Bass – Jim Roller (tracks: 2, 4 to 6); Alto Saxophone – Bill Schnepper (tracks: 2, 4 to 6), Mike Fansler (tracks: 2, 4 to 6); Baritone Saxophone – Jim Wingo (tracks: 2, 4 to 6); Bass – Pete Spaar (tracks: 2 to 4, 6); Bass Clarinet – Bill Schnepper (tracks: 1), Jed Hackett (2) (tracks: 1), Jim Wingo (tracks: 1), Kenny Flester (tracks: 1), Mike Fansler (tracks: 1); Drums – Howard Curtis (tracks: 3), Mike Nichols (5) (tracks: 2, 4 to 6); Flute – Carrie Scattergood (tracks: 1), Christine Fry (tracks: 1), Dawn Rhinehart (tracks: 1), Elisabeth L. Boivin (tracks: 1), Grace P. Manuel (tracks: 1), Jen Kuk (tracks: 1), Jennifer McQueen (tracks: 1), Kerry O'Connor (tracks: 1), Kristi Blalock (tracks: 1), Mandy Harris (tracks: 1), Margaret Ross (3) (tracks: 1), Mary Kay Adams (tracks: 1), Melinda Gryder (tracks: 1), Miranda Hopkins (tracks: 1), Susan L. Walker (tracks: 1), Tracie Vies (tracks: 1); Flute [Indian], Synthesizer – David Liebman (tracks: 4); Flute [Mayan] – Gunnar Mossblad (tracks: 4); Orchestra – James Madison University Jazz Ensemble (tracks: 2, 4, 5, 6); Percussion – Mike Nichols (5) (tracks: 1), R.J. Gregor (tracks: 1, 2, 4 to 6); Piano – Butch Taylor (tracks: 2 to 6), Gunnar Mossblad (tracks: 1); Piano, Synthesizer – Michael Souders (tracks: 2, 4 to 6); Soprano Saxophone – David Liebman; Tenor Saxophone – Gunnar Mossblad (tracks: 3), Jed Hackett (2) (tracks: 2, 4 to 6), Kenny Flester (tracks: 2, 4 to 6); Trombone – Kim Zitlau (tracks: 2, 4 to 6), Michael Mosley (2) (tracks: 2, 4 to 6), Tom McKenzie (tracks: 2, 4 to 6); Trombone [Bass] – Steve Coonly (tracks: 2, 4 to 6); Trumpet – Brian Garland (tracks: 2, 4 to 6), Christopher Breault (tracks: 2, 4 to 6), Donna Ott (tracks: 2, 4 to 6), Gregory Oaks (tracks: 2, 4 to 6), John D'Earth (tracks: 3, 4), Kevin Lewis (5) (tracks: 2, 4 to 6). Recorded at James Madison University's "Studio A", Harrisonburg, Va. on 19th-20th March, 1992.

David Liebman has recorded several tributes to John Coltrane through the years (even though he really doesn't sound like him) and his Candid CD is one of his most rewarding. Utilizing a strong college orchestra, some guests and (on "After the Rain") the 17 flutes and five bass clarinets of the JMU Flute Choir, Liebman performs six of Coltrane's top compositions from the 1961-66 period. He sticks to soprano except for some Indian flute on "India" and pays tribute to Coltrane's creative spirit rather than just imitating his solos. "Alabama" and "Naima" are passionate ballads, "India" sounds exotic and the medley of "Joy" and "Selflessness" are free and intense. There are strong individual moments from pianist Butch Taylor and trumpeter John D'Earth although Liebman is the main soloist throughout. He tackles Coltrane's music on its own terms and the results are fresh and often quite exciting. ~Scott Yanow

Joy: The Music Of John Coltrane mc
Joy: The Music Of John Coltrane zippy

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Cannonball Adderley - Discoveries

Bitrate: MP3@320K/s
Time: 35:31
Size: 81.3 MB
Styles: Bop, Soul-jazz
Year: 2010
Art: Front

[5:44] 1. With Apologies To Oscar (Take 1)
[5:44] 2. Bohemia After Dark (Take 1)
[4:06] 3. Chasm (Take 3)
[3:13] 4. Late Entry (Take 4)
[5:00] 5. A Little Taste (Take 1)
[5:18] 6. Caribbean Cutie (Take 1)
[0:39] 7. Spontaneous Combustion (Take 4)
[5:43] 8. With Apologies To Oscar (Take 2)

Alto Saxophone – Cannonball Adderley; Cornet – Nat Adderley; Double Bass – Paul Chambers; Drums – Kenny Clarke; Piano – Hank Jones, Horace Silver; Tenor Saxophone – Jerome Richardson; Trumpet – Donald Byrd.

The lineup on this mid-'50s Cannonball Adderley date is like some kind of hard bop dream team: the alto sax legend is teamed up with brother Nat on cornet, Donald Byrd on trumpet, Jerome Richardson on tenor sax and a rhythm section consisting of drummer Kenny Clarke and bassist Paul Chambers; Horace Silver handles most of the piano chores, while Hank Jones sits in on two tracks. Adderley plays beautifully throughout; note especially the rhythmic tension he sets up as he plays straight eighths over the melody on "With Apologies to Oscar." Horace Silver is at the top of his form as well, and seems to be having fun throwing around veiled Monk references. The trumpet/cornet solo on "Bohemia After Dark," however, sounds tired and hesitant. Unfortunately, the sound quality of this disc varies (sometimes within a single track) more than it should for a recording of this vintage, and the disc's 35-minute length is another annoyance. But the weight of great performances by Adderley, Silver and the infallible Clarke/Chambers axis, combined with the disc's attractive price, make it a solid value. Highly recommended. ~Rick Anderson

Discoveries mc
Discoveries zippy

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Erik Truffaz - Face-À-Face Disc 1 And Disc 2

Album: Face-À-Face  Disc 1

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 75:46
Size: 174,0 MB
Art: Front

(8:48)  1. Saloua
(5:42)  2. Gedech
(1:11)  3. Presentation
(4:51)  4. Dubophone
(2:50)  5. Ghost Drummer (Intro)
(6:47)  6. Ghost Drummer
(6:26)  7. Whispering
(2:25)  8. Parlofone
(6:41)  9. Magrouni
(5:37) 10. Ines
(5:34) 11. Le Reve D'Eline
(6:01) 12. Yabous
(3:33) 13. Outlaw
(6:07) 14. Big Wheel
(3:03) 15. Jadwell

Face-À-Face

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Album: Face-À-Face  Disc 2

Time: 73:55

Size: 169,6 MB

( 8:23)  1. Sweet Mercy

( 9:21)  2. King B.

( 0:43)  3. Presentation

( 5:01)  4. Wilfried

( 9:23)  5. Bending New Corners

( 1:57)  6. The Walk Of The Giant Turtle (Intro)

( 6:29)  7. The Walk Of The Giant Turtle

(10:25)  8. Arroyo

( 8:16)  9. Flamingos

( 9:35) 10. Belle De Nuit

( 4:17) 11. Betty

French trumpeter Erik Truffaz, one of the hardest working artists in jazz, seems to be endlessly on tour with his two groups. The only place his stylistically hybridized music has yet to make significant inroads is the US which is a shame because Truffaz is a fine player from the electric Miles camp and a largely innovative conceptualist as well. Face-à-Face, his first live release, includes one disc with his piano-based quartet and the other with his guitar-centric Ladyland. It demonstrates just how different studio material can be in performance, where the energy and expansive possibilities are greater. The Ladyland disc also proves it's possible to breathe new life into less-than-stellar material. Mantis (Blue Note, 2002) was a near-perfect blend of fusion-based writing with a distinctive Middle Eastern vibe. Saloua (Blue Note, 2005) unfortunately took the concept too far, emphasizing rapper Nya and Tunisian singer Mounir Troudi's voices over playing by Truffaz and Manu Codjia a guitarist who compellingly mixes quirky Frisellisms, Holdsworthian legato phrasing and the occasional metal edge. Live, the balance is returned. And that's a good thing, considering the lion's share of this material is taken from Saloua. Ladyland covers considerable territory. "Ines revolves around a hypnotic pedal tone, Troudi's plaintive singing in direct contrast with Truffaz's soft-timbred approach also evident on the gentle "La Reve D'Eline, featuring a duet spot for Truffaz and Codjia. "Yabous is more insistent, combining vocals by Troudi and Nya over power chords by Codjia and a visceral dance groove from bassist Michel Benita and drummer Philippe Pipon Garcia. "Magrouni is a pedal-to-the-metal rocker whose muscular theme doubled by Truffaz and Codjia provides one of the disc's most memorable moments.  Truffaz's quartet has been around longer, evolving considerably. It's morphed from an all-acoustic mainstream group in 1997 to a more aggressively rock-informed unit in recent years, influenced by but less dense and angular than Miles' late-'60s and early-'70s work. These days Patrick Muller is often found feeding his Rhodes through a distortion box, with more powerful rhythms coming from bassist Marcello Giuliani and drummer Marc Erbetta.  Live, the quartet occasionally augmented by Nya is the more adventurous of the two groups. The thundering "King B extends to nearly twice the studio take's length. Truffaz uncharacteristically reaches for the upper register of his horn while retaining his thick and appealing tone. As raw as Ladyland can be and as promising a young player as Codjia certainly is Truffaz's quartet is the more successful of the two, taking more collective risk with the material, even though it's equally form-based. "Bending New Corners, with Giuliani's popping bass and Muller's juxtaposition of abstraction and blues-based lines, is more open-ended than anything Ladyland does.  While the quartet disc wins out over Ladyland's because it takes greater chances, Face-à-Face in its entirety provides a terrific introduction to listeners who are unfamiliar with Truffaz and confirmation that, as good as his records have been, he's clearly at his best on the concert stage.~ John Kelman https://www.allaboutjazz.com/face-a-face-erik-truffaz-blue-note-records-review-by-john-kelman.php

Personnel:  Erik Truffaz : trompette, electronics;  Marc Erbetta : batterie, percussions, chant;  Mounir Troudi: bendir, chant;  Nya : chant;  Manu Codjia : electronics, guitare;  Michel Benita : basse, sampler;  Marcello Giuliani : basse;  Patrick Muller : piano, piano électrique, Fender Rhodes;  Philippe Garcia : sampler, batterie

Face-À-Face

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Julia Rich - I'll Take Romance

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 45:02
Size: 104,2 MB
Art: Front

(2:12)  1. I'll Take Romance
(3:51)  2. Lullaby Of Birdland
(6:12)  3. More Than You Know
(4:17)  4. Two Afternoons In December
(3:45)  5. Shiny Stockings
(4:16)  6. And I Love Him
(2:51)  7. It's All Right With Me
(5:25)  8. Stars Fell on Alabama
(3:01)  9. Deep Purple
(3:12) 10. Falling In Love With Love
(3:15) 11. In The Wee Small Hours Of The Morning
(2:41) 12. Blue Moon

Julia Rich is the featured vocalist and road manager for the current tribute Glenn Miller Orchestra. For her first album, I'll Take Romance, Rich has opted for an unadventurous, but solid play list of eleven standards and one original, which she delivers in her own sweet way. Rich's big band experience comes into play on this disc. In addition to excellent phrasing, her sense of timing is faultless as she interacts with her instrumentalists in ensemble and individually. "More Than You Know" is introduced with the verse with Rich sequing into the chorus behind the caressing of Bob Mater's cymbals. Tenor man Ricky Woodard comes in with his deep, mellow tenor maneuvering in and around Rich's plaintive of this Billy Rose/Edward Eliscu classic. Woodard's big horn plays a major role throughout this disk as he blows at least one chorus on almost every cut. One of his more interesting solos comes on "Stars Fell on Alabama" where he does some catchy note bending. Rich's own "Two Afternoons in December" is done in 3/4 time and provides one more opportunity for Rich to work intimately with a member of the ensemble. This time it's George Tidwell and his mellow, soft-toned flugelhorn of. A very up beat "It's all Right with Me" highlights Gary Weaver's piano and the ubiquitous Woodard tenor as they this chestnut out for a fast gallop. Weaver shares piano duties with Bob Migliore whose skills are put on display with an unusual arrangement of "Deep Purple" which also spotlights the Latin percussion of Ron Gannaway, the bass of Jim Ferguson and Tidwell's muted trumpet. Ferguson worked with the legendary guitarist Lenny Breau in the 1980's. Migliore also does a regretful sounding piano as he duos with Rich on a melancholy "In the Wee Small Hours of the Morning". But things end on a bright note with an upbeat version of "Blue Moon."We are not dealing with a breakthrough album here. Nonetheless, for about 45 minutes the listener is treated to laid back, pleasing and entertaining jazz music presented by a good straight ahead vocalist backed by some very talented instrumentalists. Julia Rich's I'll Take Romance is recommended.~ Dave Nathan https://www.allaboutjazz.com/ill-take-romance-julia-rich-cardinal-records-review-by-dave-nathan.php

Personnel: Julia Rich - Vocals; Gary Weaver, Tony Migliore - Piano; Jim Ferguson - Bass; Bob Mater - Drums/ Percussion; Ron Gannaway - Percussion; George Tidwell - Trumpet/ Flugelhorn; Ricky Woodard - Tenor Sax

I'll Take Romance

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Keith Jarrett - Expectations

Styles: Piano Jazz 
Year: 1972
File: MP3@320K/s
Time: 77:50
Size: 179,6 MB
Art: Front

( 0:51)  1. Vision
( 8:14)  2. Common Mama
( 6:55)  3. The Magician In You
( 5:25)  4. Roussillon
( 4:29)  5. Expectations
( 9:33)  6. Take Me Back
( 5:06)  7. The Circular Letter (For J.K.)
(17:21)  8. Nomads
( 4:28)  9. Sundance
( 9:51) 10. Bring Back The Time When (If)
( 5:33) 11. There Is A Road (God's River)

This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax. Jarrett again turns his early rampant eclecticism loose  from earthy gospel-tinged soul-jazz to the freewheeling atonal avant-garde yet this time he does it with an exuberance and expansiveness that puts his previous solo work in the shade. "Common Mama," a spicy Latin workout with brass punctuations, "Take Me Back," driving soul jazz with streaks of electric jazz-rock, and the lengthy, nearly free "Nomads" are the most invigorating tracks.~ Richard S. Ginell https://www.allmusic.com/album/expectations-mw0000691522

Personnel:   Keith Jarrett: piano, organ, soprano saxophone, tambourine, percussion, arrangements;  Dewey Redman: tenor saxophone, percussion;  Sam Brown: guitar;  Charlie Haden: bass;  Paul Motian: drums;  Airto Moreira: percussion.

Expectations

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Mark O'Connor - The New Nashville Cats

Styles: Violin Jazz
Year: 1991
File: MP3@320K/s
Time: 64:34
Size: 151,0 MB
Art: Front

(2:42)  1. Bowtie
(5:26)  2. Restless
(6:13)  3. Nashville Shuffle Boogie
(5:04)  4. Pick It Apart
(3:38)  5. Traveller's Ridge
(3:58)  6. Granny White Special
(2:46)  7. Cat In The Bag
(2:42)  8. The Ballad Of Sally Anne
(4:55)  9. Swang
(3:05) 10. Dance Of The Ol' Swamp Rat
(4:09) 11. A Bowl Of Bula
(2:21) 12. Limerock
(5:14) 13. Sweet Suzanne
(5:44) 14. Orange Blossom Special
(6:31) 15. Now It Belongs To You

With an incredible lineup of Nashville's very best musicians, this package covers a wide range of musical territory, from bluegrass to the blues, with plenty of stellar pickin'. Ironically, this mostly instrumental album won a vocal Grammy when Vince Gill, Ricky Skaggs, and Steve Wariner teamed with Mark O'Connor on "Restless."~ Tom Roland https://www.allmusic.com/album/the-new-nashville-cats-mw0000263977

The New Nashville Cats

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William Parker - Scrapbook

Styles: Jazz, Post Bop
Year: 2003
File: MP3@320K/s
Time: 40:42
Size: 93,5 MB
Art: Front

( 8:04)  1. Scrapbook
(11:35)  2. Sunday Morning Church
( 5:02)  3. Singing Spirits
( 5:08)  4. Dust on a White Shirt
( 7:26)  5. Urban
( 3:23)  6. Holiday for Flowers

William Parker's Violin Trio band is one of the more surprising and delightful bands to come out of New York's modern free jazz scene. Parker and his truly singular tone and ingenious modes of attack, violinist Billy Bang, and drummer Hamid Drake conjure the notion of song as it processes itself not only through the simulation and presentation of improvisation but also through the process of memory allegorical, perceptual, cultural, and personal and they turn it back in itself in creating something brand new from the various shards that lay upon the pavement in the dark, highlighted only by an errant street lamp. The possibilities for music like this lyric, harmonic, and tonal is one of the great surprises this trio brings with them. The six selections here are not "compositions" in the formalist sense but are in fact songs. They are "tunes," with rhythmic, harmonic, and melodic bodies that are flexible and transparent enough to allow for each player to move about freely, carry with him something from the body of each piece, and wind it around the other two in a free manner without being held to the concept of breaking down barriers because they are artificial anyway. Bang's minor key solo on "Sunday Morning Church" against Parker's rhythmic, hypnotic bassline recalls a singer mournfully chronicling regret and then affirmation. 

The funky blues at the heart of "Singing Spirits," with Parker popping his bass under Bang's elongated line, and Drake's tom tom work that presents the appearance of shuffle while dancing all around it are stunning in their assuredness of musical purpose. When Bang takes it outside, Parker doesn't race to catch him but flows through a series of changes with ever more stress put upon tension as Drake dances him through. The final cut, "Holiday for Flowers," is a shimmering exercise in the dynamics of balladry and its various seams, where a free for all could develop at any time. Bang lies close to the melody and Parker goes walking, and walking through the blues, swing, soul, and always back to the original blues, those of New Orleans in 1929 and Kansas City in 1931. This is a restrained and lovely album that possesses real firepower in places, but it's almost never necessary because the level of communication runs so deep between these players that everything feels light as a breeze, poignant as a memory, and as fresh as a wound.~ Thom Jurek https://www.allmusic.com/album/scrapbook-mw0000033292

Personnel:  William Parker - bass;  Billy Bang - violin;  Hamid Drake - drums

Scrapbook

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Christopher McBride - Quatuor De Force

Bitrate: MP3@320K/s
Time: 48:26
Size: 110.9 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[7:15] 1. Restless Thoughts
[6:15] 2. Epiphany
[4:13] 3. Four
[1:57] 4. What's In A Name
[4:38] 5. The Wrath Of Kneecoal
[4:42] 6. Real Thang
[5:58] 7. I Fall In Love Too Easily
[0:38] 8. Timterlude
[6:15] 9. Tim
[6:31] 10. The Journey

Superb Alto Saxophonist Christopher McBride has been slowly but steadily turning heads with his ubiquitous work as an invaluable sideman since the mid-aughts. Now Christopher is gaining respect amongst fans, critics and his peers as one of the most versatile musicians in the world. His 2012 debut album Quatuor de Force certainly establishes his ability to front a group and write his own soulful, melodically indelible tunes. Applauded for his ability to play in all musical situations, McBride has the ability to unleash a fiery attack and serrated tone, but on his recent album he explores a more measured, mellow sound heavily influenced by contemporary R&B—with a strong shot of Cannonball Adderley’s post-bop sensuality–but his improvising is very rigorous and cogent.

Starting his professional career in Chicago in 2007, Christopher has been in high demand as a musician and clinician, performing and teaching primarily in New York, Illinois, Missouri and various states throughout the country. Christopher has shared his musical gift with audiences across the globe, performing in China, England, France, Haiti, Ireland, Italy, Portugal, Scotland, Spain and Switzerland. In addition, since moving to New York in 2013 his group The Whole Proof has played venues all over New York such as Smalls Jazz Club, Smoke Jazz Club, Ginny's Supper Club & Fat Cat. Throughout his career, Christopher has played with musical greats including Billy Preston, Antonio Hart, John Clayton, Jimmy Heath, Bobby Broom, Percy Gray, Roy Hargrove, Talib Kweli, Lupe Fiasco, Guy Sebastian, Solange, Alice Smith, Brandon Flowers, Jennifer Hudson, 88 Keys, Milton Mustafa, Winard Harper, and the Marquis Hill Blacktet. He now currently resides in Brooklyn, New York.

Quatuor De Force mc
Quatuor De Force zippy

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Caetano Veloso, Moreno Veloso, Zeca Veloso, Tom Veloso - Ofertorio (Ao Vivo)

Bitrate: MP3@320K/s
Time: 88:24
Size: 202.4 MB
Styles: Latin jazz, Brazilian rhythms
Year: 2018
Art: Front

[2:39] 1. Caetano Veloso - Alegria, Alegria
[4:09] 2. Caetano Veloso - O Seu Amor
[2:59] 3. Caetano Veloso - Boas Vindas
[3:42] 4. Zeca Veloso - Todo Homem
[2:15] 5. Caetano Veloso - Genipapo Absoluto
[4:31] 6. Caetano Veloso - Um Passo À Frente
[3:10] 7. Caetano Veloso - Clarão
[3:28] 8. Moreno Veloso - De Tentar Voltar
[2:06] 9. Caetano Veloso - A Tua Presença Morena
[2:58] 10. Caetano Veloso - Trem Das Cores
[2:57] 11. Moreno Veloso - Um Só Lugar
[2:35] 12. Caetano Veloso - Alexandrino
[3:45] 13. Caetano Veloso - Oração Ao Tempo
[1:44] 14. Caetano Veloso - Alguém Cantando
[1:55] 15. Caetano Veloso - Ofertório
[3:20] 16. Caetano Veloso - Reconvexo
[3:22] 17. Caetano Veloso - Você Me Deu
[2:56] 18. Caetano Veloso - O Leãozinho
[3:31] 19. Caetano Veloso - Gente
[2:28] 20. Caetano Veloso - Ninguém Viu
[2:58] 21. Caetano Veloso - Ela E Eu
[3:51] 22. Caetano Veloso - Não Me Arrependo
[2:31] 23. Caetano Veloso - Um Canto De Afoxé Para O Bloco Do Ilê
[3:24] 24. Caetano Veloso - Força Estranha
[3:41] 25. Caetano Veloso - How Beautiful Could A Being Be
[3:47] 26. Caetano Veloso - Canto Do Povo De Um Lugar Um Tom
[4:54] 27. Caetano Veloso - Deusa Do Amor
[2:33] 28. Caetano Veloso - Tá Escrito

Caetano Veloso and his sons, Moreno, Zeca and Tom Veloso release the album "Ofertório". "Ofertório" was recorded in São Paulo during the tour of Caetano and his children. The CD album features great hits from Caetano Veloso's career as "A corner of afoxé for Ilê's block" and "Strange Force" and unpublished songs like "Every Man" composed by Zeca Veloso. Caetano Veloso is one of the biggest names in Brazilian popular music and together with his children Moreno, Zeca and Tom make a family show, very exciting dedicated to the mothers. "Offertory", album name, is a song that Caetano Velosos wrote to his mother. (Translated from Portuguese.)

Ofertorio (Ao Vivo) mc
Ofertorio (Ao Vivo) zippy

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Tommy Shepard, Richard Wess - Shepard's Flock, Music She Digs The Most

Bitrate: MP3@320K/s
Time: 76:11
Size: 174.4 MB
Styles: Swing, Big band
Year: 1957/2018
Art: Front

[2:37] 1. The Touch Of Your Lips
[3:13] 2. Walk With Me
[3:26] 3. Darn That Dream
[2:34] 4. Stop! Look And Run!
[3:39] 5. Prelude To A Kiss
[2:39] 6. Lullaby Of The Leaves
[2:09] 7. What Is There To Say
[2:34] 8. See How You Are
[2:52] 9. Take Care
[3:01] 10. I'll Be Back For More
[2:36] 11. Misty
[2:26] 12. Here I Am In Love Again
[4:14] 13. Autumn
[4:00] 14. I Didn't Know What Time It Was
[2:32] 15. Hey Now!
[4:00] 16. I Got It Bad!
[2:11] 17. Why Shouldn't I
[4:14] 18. Somewhere
[2:53] 19. Give Me The Simple Life
[3:40] 20. Cabin In The Sky
[2:15] 21. You'd Be So Nice To Come Home To
[4:22] 22. Lover Man
[3:25] 23. Honest Abe
[4:28] 24. Blues For Someone

Tracks #1-12, from the album “Shepard’s Flock” (Coral CRL 57110). Tommy Shepard, leader & trombone; Nick Travis, trumpet; Hal McKusick, alto sax & clarinet; Sam Marowitz, alto sax; Al Cohn, tenor sax & bass clarinet; Charlie O’Kane, baritone sax; Barry Galbraith, guitar; Nat Pierce, piano; Milt Hinton, bass; Osie Johnson, drums. Arrangements: Manny Albam, Al Cohn (#1 & 4), Nat Pierce (#9 & 12). Recorded in New York, October 1, 2 & 3, 1956.

Tracks #13-24, from the album “Music She Digs the Most...” (MGM E-3491). Nick Travis, trumpet; Frank Rehak, trombone; Jerry Sanfino, alto sax & flute; Al Cohn, tenor sax; Johnny Smith (#13,18,23,24), Mundell Lowe (#15,16,17,22) or Tony Mottola (#14,19,20,21), guitar; Richard Wess, leader, piano & arranger; Milt Hinton or Aaron Bell (#13,18,23,24), bass; Osie Johnson, drums. Recorded in New York City, January 1957

When the dust from the collapse of the Swing Era settled, there were few big bands left that had survived. Yet, because they loved the swinging drive of a full-on jazz orchestra, a series of adventurous and unsung bandleaders optimistically organized some fine, but short-lived big and medium-sized orchestras that were packed with jazz and studio musicians, holding the flag of Swing high.

The band on Shepard’s Flock is—almost—an All-Star band. It was the debut album of trombonist Tommy Shepard, and the leader, naturally, is heavily featured on trombone, playing with the soft, velvety sound of Tommy Dorsey, his main influence. The memories of Dorsey’s band frequently illuminate the scene, as the musicians load through familiar material and some originals. The arrangements, which stress tight harmonic writing, are all by Manny Albam and Nat Pierce, except Darn That Dream and Stop! Look and Run! which were worked out by Al Cohn, and they all keep in a rolling, relaxed groove.
She Digs the Most is a well-organized series of sessions arranged and conducted by pianist Richard Wess. Wess has Cabin in the Sky all to himself, and he comes off as a flowing and sensitive player. Cohn, always blowing with taste and his handsome tone; Travis sounds great throughout, particularly on Lover Man, a moving and declarative solo vehicle for his horn. Rehak managed to express himself effectively, and Richard Wess’ writing on the heads is neat and spare, and helps the group achieve a nice big band feel

Shepard's Flock, Music She Digs The Most mc
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Eliane Elias, Bob Brookmeyer, The Danish Radio Jazz Orchestra - Impulsive!

Bitrate: MP3@320K/s
Time: 55:05
Size: 126.1 MB
Styles: Piano jazz
Year: 1997
Art: Front

[ 7:28] 1. Just Kiddin'
[ 8:42] 2. So In Love
[ 9:09] 3. Moments
[11:48] 4. The Time Is Now
[ 7:53] 5. One Side Of You
[10:02] 6. Impulsive!

The curious blend of pianist Eliane Elias with conductor and arranger Bob Brookmeyer leading the Danish Radio Jazz Orchestra makes for a surprising mix. Brookmeyer, long established as one of the top jazz writers and a phenomenal valve trombonist to boot, was not familiar with the recordings of the Brazilian keyboardist, but he was clearly up to the challenge of scoring her music. Brookmeyer gives "Just Kiddin'" a big and bold post-bop treatment, with an underlying funky rhythm and a bit of electronics thrown in for fun. Elias and Brookmeyer share the solo spotlight in the breezy setting of her ballad "So in Love." Far more low-key is "Moments," with sparse piano lines backed by Brookmeyer's rich scoring for the brass and a fine solo by flugelhornist Henrik Bolberg Pedersen. The exotic, high-energy setting of "The Time Is Now" is a more modern bossa nova, showcasing Elias and Brookmeyer, along with bassist Thomas Ovesen and drummer Jonas Johansen. "One Side of You" is a haunting ballad made more so by Brookmeyer's brilliant arrangement. This session may throw a bit of a curve to longtime fans of either Eliane Elias or Bob Brookmeyer, but this successful CD is very much an ear opener. ~Ken Dryden

Impulsive! mc
Impulsive! zippy

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Sam Yahel - Trio

Bitrate: MP3@320K/s
Time: 54:50
Size: 125.5 MB
Styles: B3 Organ jazz
Year: 1998
Art: Front

[7:45] 1. Blues For Bulgaria
[5:55] 2. Never Will I Marry
[7:26] 3. The Gambit
[7:17] 4. A Nightingale Sang In Berkeley Square
[7:40] 5. Isn't This My Music Around Me
[6:17] 6. Gravy Waltz
[7:15] 7. Short Returns
[5:12] 8. And Then Some

Sam Yahel - organ, Peter Bernstein - guitar, Brian Blade - drums.

Following in the wake of the renewed interest in the funky sounds of the Hammond B-3 which was largely initiated by youngster Joey DeFransesco, there have been more and more organists willing to throw their hats in the ring. Arguably, the finest two recently have proven to be Larry Goldings and Sam Yahel. And while DeFransesco has never made it a secret that his main influence has always been Jimmy Smith (check out his new disc, The Champ, which is an outright tribute to the master), Goldings and Yahel specialize more in the harmonically-advanced and cooler approach preferred by such '60s kingpins as Larry Young and "Big" John Patton.

As an apropos addition to Criss Cross Jazz's fine collection of organ dates led by luminary Melvin Rhyne and a few Peter Bernstein sets with Larry Goldings, The Sam Yahel Trio bears the signs of the several years that the orgainst led sessions with guitarist Bernstein at Smalls in New York's Greenwich Village. Then the trio did a Criss Cross side with trumpeter Ryan Kisor (Battle Cry) and it must have been evident to producer Gerry Teekens that the organist was ready for his own maiden voyage.

The trio heard here is one well-oiled machine that benefits greatly from Bernstein's Grant Green-inspired single note runs and Brian Blade's earthy drumming. In fact, those only familiar with the drummer's past work with Josh Redman and recent stint with Joni Mitchell will be surprised by his chameleon- like take on the standard organ trio format. Bernstein's own "Blues for Bulgaria" opens up the proceedings with a laid back feel that sets the tenor for the entire date. In other words, you won't find chunky, funky displays of chops nor will you hear the blues played ad nauseam or hear the customary "ice rink" vibrato set loose on a string of ballads. This music is about group interplay and contemporary structures and harmonies. The instrumentation hasn't dictated the material or approach, instead Yahel and company use their chosen format to explore a rich tapestry of modern sounds. In the end, it all adds up to a highly- appealing mix that never fails to please. ~C. Andrew Hovan

Trio mc
Trio zippy

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Ben Markley Big Band - Clockwise: The Music Of Cedar Walton

Bitrate: MP3@320K/s
Time: 75:34
Size: 173.0 MB
Styles: Piano jazz
Year: 2017
Art: Front

[ 5:53] 1. Cedar's Blues
[ 7:30] 2. Clockwise
[ 7:35] 3. Fiesta Espanol
[ 9:27] 4. Hindsight
[ 6:40] 5. I'll Let You Know
[ 7:31] 6. I'm Not So Sure
[10:01] 7. Holy Land
[ 6:06] 8. Bolivia
[ 5:53] 9. Martha's Prize
[ 8:55] 10. Black

Cedar Walton, whose long and illustrious career ended with his passing in August 2013, was not only one of his era's most celebrated jazz pianists but a musician whose impressive talents as a composer were often beclouded by his remarkable success as a performer. One of those whose admiration for Walton the composer is as earnest as it is for Walton the pianist is Ben Markley, himself a pianist and director of Jazz Studies at the University of Wyoming. To give voice to that esteem, Markley assembled a big band and entrusted the whole of its debut recording to Walton's singular compositions, several of which have become jazz standards.

Even though disparate in style and substance, Walton's themes have one thing in common: they swing heartily from a blues-based axis that serves as a durable foundation for his harmonic and rhythmic forays. Markley takes that to heart, and his arrangements echo Walton's infallible penchant for swinging in any and all contexts. Markley's ensemble, comprised of fellow UW faculty and a troupe of the Denver area's leading sidemen, is with him every step of the way, bringing Walton's compositions vividly to life in a format whose expansive boundaries lend them fresh gravity and allure.

Leaving nothing to chance, Markley has added a "wild card" to the deck in the person of guest trumpeter Terell Stafford whose burnished ad-libs enliven "Cedar's Blues," "Hindsight," "Holy Land" and "Black," while Markley's radiant piano shines brightly on "Fiesta Espanol," "Hindsight," "I'll Let You Know," "Bolivia" and "Martha's Prize." Other soloists of note are trumpeters Greg Gisbert and John Lake, alto Wil Swindler, tenors Peter Sommer and Serafin Sanchez, trombonist Paul McKee, guitarist Steve Kovalcheck and bassist Ken Walker. The rhythm section, anchored by drummer Chris Smith, is hard-working and intensely focused.

As for Walton's themes, they are invariably resourceful and engaging, from the loose-limbed "Cedar's Blues" to the formidable "Black," on which Stafford, Sommer and Gisbert torch the landscape. Stafford and Swindler are superb on "Cedar's Blues," as are Walker, Lake and Kovalcheck on the title song, and Markley, McKee and Gisbert on the rhythmically enchanting "Fiesta Espanol." That's only a foretaste of what's to come, as Markley and the ensemble transform Walton's music into a luxurious feast for the ears. One of the year's more captivating and persuasive big-band albums. ~Jack Bowers

Clockwise: The Music Of Cedar Walton mc
Clockwise: The Music Of Cedar Walton zippy

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Sadao Watanabe Sextet - Bossa Nova '67

Bitrate: MP3@320K/s
Time: 34:43
Size: 79.5 MB
Styles: Saxophone jazz, Bossa Nova
Year: 2007/2013
Art: Front

[2:34] 1. The Girl From Ipanema
[2:44] 2. Meditation
[3:20] 3. Black Orpheus
[2:54] 4. O Grande Amour
[2:12] 5. Bonita
[3:58] 6. Dindi
[2:20] 7. Mas Que Nada
[3:04] 8. The Shadow Of Your Smile
[2:15] 9. Fly Me To The Moon
[2:47] 10. A Man And A Woman
[3:31] 11. So Danco Samba
[2:59] 12. She's A Carioca

Sadao Watanabe is not only Japan's best known alto/soprano saxophonist and flutist, he has also made a name for himself in American jazz scene. In 1962, he came to the USofA to study music at Berklee School of Music in Boston. In 1995, he received an Honorary Degree from the same college for his notable contributions to music. He has been recording since 1961 as a leader and a prolific sideman along with talented musicians such as Hank Jones, George Benson, Dave Grusin, Lee Ritenour, Chick Corea, Ron Carter, Hubert Laws, Christian McBride, Romero Lubambo, Cyrus Chestnut and many others.

"Bossa Nova '67" by Sadao Watanabe Sextet is like a canvas painted artistically in colorful hues of blue as in "Meditation," red as in "Fly Me To The Moon," pink as in "A Man And A Woman," black as in "Black Orpheus" and purple as in "The Shadow of Your Smile." They are relaxing, smooth, lovely Bossa Nova music. The musicianship is unflawed. The sonic is super! There's no reason to whine about it. The all-Japanese skilled musicians who are responsible for the beauty of this recording are Sadao Watanabe (sax/flute), Masabumi Kikuchi (piano), Sadanori Nakamure (guitar), Isao Suzuki (bass), Masahiko Togashi (drums), and a String Section to complete the line-up.

Greatly influenced by Charlie Parker's style, Mr. Watanabe's most remarkable recordings have been featured in these compilation CDs: Most Romantic Jazz in the Universe and More of Most Romantic Jazz Music in Universe with some of the greatest jazzers like Kenny Burrell, Sonny Stitt, Marian McPartland, Toots Thielemans, Bobby Hutcherson, Cannonball Adderley, Eliane Elias, Houston Person and others. ~Rebecca 'rhapsodyinblue'.

Bossa Nova '67 mc
Bossa Nova '67 zippy

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Don Latarski - D'trio

Bitrate: MP3@320K/s
Time: 42:53
Size: 98.2 MB
Styles: Guitar jazz
Year: 2016
Art: Front

[5:35] 1. Pepperoo
[7:40] 2. Clakker's Revenge
[5:08] 3. Alpinista Azul
[4:50] 4. More Than Memories
[5:22] 5. Feral Logic
[5:05] 6. Up In The Air
[4:46] 7. Palavras Perdidas
[4:24] 8. Funkity

This trio has been performing for close to 20 yrs. and we've always had a magical rapport on the band stand. The music is original, instrumental and highly interactive. We go for creativity and surprise when we perform and the intent and goal is to explore and have a good time along the way. The new cd, D'Trio, is a collection of newer tunes that have strong melodic and rhythmic elements. This is not traditional or swing style jazz, but it does borrow from the jazz tradition harmonically. Most of the tunes on this disc are funk style, but there are two ballads and two bossa influenced songs. All of the music was written by Latarski.

D'trio mc
D'trio zippy

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Lou Donaldson - Hot Dog

Bitrate: MP3@320K/s
Time: 39:08
Size: 89.6 MB
Styles: Soul/Jazz/Funk
Year: 1969/2015
Art: Front

[ 6:43] 1. Who's Making Love
[ 7:52] 2. Turtle Walk
[ 4:53] 3. Bonnie
[10:41] 4. Hot Dog
[ 8:57] 5. It's Your Thing

Alto Saxophone – Lou Donaldson; Drums – Leo Morris; Guitar – Melvin Sparks; Organ – Charles Earland; Trumpet – Ed Williams. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 25, 1969.

The soul-jazz format provides a most satisfying canvas for Donaldson’s distinctive soaring, blues-inflected runs. Eagle-eyed readers will note in the pictures Lou has an effects box strapped to his chest – so he can add reverb or whatever on the fly to his electronic alto. 1969. Electronic instruments were beginning to take hold.

Earland eschews JS fireworks for rhythmic propulsion, with only occasional assaults on the upper register. When he stretches out, long ascending and descending arpeggios which wouldn’t be out of place in any late ’60s prog-rock band, Jon Lord, Keith Emerson or Rick Wakeman, music of its time. Melvyn Sparks neat linear guitar runs serve up a Grant Green tribute act, perfect in context. Together, the ensemble delivers a cracking ten minute floor filler, or, on specialist orthopaedic advice, sit out for a finger-poppin’ session on the sofa. ~https://londonjazzcollector.wordpress.com

Hot Dog mc
Hot Dog zippy

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Phil Woods - Floresta Canto

Styles: Clarinet, Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 47:10
Size: 110,1 MB
Art: Front

(4:57)  1. Canto De Ossanha (Let Go)
(4:01)  2. Let Me
(4:23)  3. O Morro
(8:57)  4. Chaldean Prayer
(3:57)  5. Sails
(4:25)  6. Roses
(4:17)  7. Without You
(5:08)  8. Portrait Of Julia
(4:16)  9. Jesse
(2:44) 10. Menino Das Laranjas

At first glance, this LP by Phil Woods might appear to be a rather easily dismissed commercial affair, but just eyeballing a record jacket can be deceiving. Woods' conception of a large orchestra performing bossa novas was realized through his collaboration with Chris Gunning and his orchestra during a trip to England in 1976; what is surprising is that this recording, sometimes with strings and backing vocals, was done completely without any overdubs. Gunning and Woods both contributed arrangements and orchestrations. Another treat is hearing Woods on soprano sax, an instrument he has used sporadically on recordings, on both the opening track, "Canto de Ossanha (Let Go)," and Gunning's "Chaldean Prayer." Woods is also in top form on his main instrument, alto sax, which he plays on most of the rest of the tracks. Keyboardist Gordon Beck (who had previously worked with Phil Woods & His European Rhythm Machine), trumpeter Kenny Wheeler, and saxophonist Tony Coe are among the most notable names in the musicians present. Although both the strings and the backing vocals grow tiresome over time, the effort put into the production of this LP is still rather impressive. Not a likely candidate for reissue, but this long out of print record should still be relatively easy to find.~ Ken Dryden https://www.allmusic.com/album/floresta-canto-mw0000885153

Personnel:  Phil Woods - Arranger, Clarinet, Composer, Orchestration, Sax (Alto), Sax (Soprano);  Chris Gunning - Arranger, Conductor, Orchestration;  Gordon Beck - Keyboards;  Alf Bigden - Drums;  Tony Carr - Marimba, Timbales;  Tony Coe - Sax (Tenor), Saxophone;  Bob Efford - Sax (Baritone), Saxophone;  Tony Fisher - Trumpet;  Louis Jardim - Percussion;  Robin Jones - Percussion;  Chris Karan - Chimes, Clavichord, Drums;  Dave Markee - Bass, Bass (Electric);  Nat Peck - Trombone;  Chris Pyne - Trombone;  Jack Rothstein - Concert Master, Violin;  Darryl Runswick - Bass, Bass (Electric);  Stan Sulzmann - Saxophone;  Tony Uter - Congas, Percussion;  Kenny Wheeler - Trumpet;  Roy Wilox - Flute.

Floresta Canto

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Gene Bertoncini - Body and Soul

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 42:55
Size: 98,5 MB
Art: Front

(4:24)  1. The Shadow of Your Smile
(3:26)  2. My Funny Valentine
(4:15)  3. How Are Things in Glocca Morra
(4:20)  4. Body and Soul
(2:20)  5. Edelweiss
(3:31)  6. 'Round Midnight
(3:03)  7. Stardust
(2:03)  8. But Beautiful
(3:17)  9. I Remember You
(4:16) 10. Greensleeves
(2:54) 11. Cavatina
(3:17) 12. Sophisitcated Lady
(1:42) 13. Snowfall

There aren't a great many exponents of nylon-string acoustic jazz guitar, but Gene Bertoncini, one of the true masters, belongs near the top of the list. On this exquisite solo album, the veteran guitarist is recorded via a technology called Direct Stream Digital. Without going into cumbersome details, what this means is unparalleled sound quality, giving a glass-like sheen to Bertoncini's musical thoughts. It must be said, however, that Bertoncini would sound great recorded in far less ideal circumstances. His arrangements combine the unlimited possibilities of jazz reharmonization with the rigors of legit classical guitar technique, resulting in highly individual reworkings of great standards. The title track becomes a landscape of dark clusters and dissonance, while in parts of "My Funny Valentine" and "Greensleeves," the melody occurs in the low register, framed by high-register chords and patterns  not something you're likely to hear from even the best electric jazz guitarist. Bertoncini even makes lesser showtunes like "Edelweiss" and "How Are Things in Glocca Morra" sound like mini-symphonies.~ David R.Adler https://www.allmusic.com/album/body-and-soul-mw0000007411

Body and Soul

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Gilson Peranzzetta - Tributo a Oscar Peterson

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 49:40
Size: 114,1 MB
Art: Front

(3:11)  1. Somewhere
(2:58)  2. I Feel Pretty
(7:06)  3. Garota de Ipanema
(3:27)  4. The Days of Wine and Roses
(6:51)  5. Con Alma
(5:38)  6. Tico Tico no Fuba
(5:24)  7. Easy to Love
(3:43)  8. It's All Right with Me
(4:33)  9. I've Got You Under My Skin
(2:43) 10. It's De-Lovely
(4:00) 11. Just One of Those Things

One of the most requested contemporary arrangers and pianists of MPB, Gilson Peranzzetta has had classical training since he was a child, also being heavily influenced by jazz and Brazilian instrumental music. As a composer, he has had his songs recorded by Djavan, Edu Lobo, Leny Andrade, Sarah Vaughan, George Benson, Dianne Schurr, Quincy Jones, Toots Thielemans, Shirley Horn, and other artists. He has been touring extensively through the U.S., Europe, and Japan. His classical compositions include the suites "Miragem" (for piano and orchestra) and "Metamorfose" (for piano and string quartet). In the '60s, Peranzzetta was a member of the group Samba Jazz, also playing with Taiguara. He toured Europe with the group Central do Brasil, and became Ivan Lins' arranger and pianist for several years. His longtime affinity for guitarist Sebastião Tapajós yielded the most interesting album in duo with him, Afinidades. ~ Alvaro Neder https://itunes.apple.com/us/album/tributo-a-oscar-peterson/1367546609

Tributo a Oscar Peterson

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Jill Barber - Metaphora

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 29:16
Size: 69,8 MB
Art: Front

(2:43)  1. The Woman
(3:07)  2. Girl's Gotta Do
(2:47)  3. I Hooked Your Heart
(2:39)  4. Bigger Than You
(3:47)  5. Mercy
(3:04)  6. Clumsy Heart
(3:45)  7. Cage Without a Key
(3:16)  8. Love Is
(4:04)  9. Hold On

A bold entre into the world of contemporary pop music, resulting in a Jill Barber we've never heard before. Metaphora showcases her power and vulnerability as both an artist and a woman. Evolving over the course of many albums from folk to jazz, R & B and pop, Jill's success is defined not by genre, but by her undeniable songwriting chops and distinctive voice. Metaphora is a continuation of Barber's musical story that confidently tackles everything from issues of empowerment, sexual politics, the complications of love, and depression. It's introspective and personal. It's also a dance party. Mutual friendships and living on the same street led Jill to sit down with Ryan Guldemond, the enigmatic lead singer of Mother Mother, for inspiration and creativity. Ryan's commitment to Jill and unwavering enthusiasm garnered co-writing credits on four of the nine songs on Metaphora, including the instantly catchy lead single, Girl's Gotta Do, a hook-filled and very timely call to arms that aims to challenge the patriarchal status quo, as we usher in a new era of equality says Barber. Writing with Ryan was a big departure for me, and very exciting. He's extremely creative and not afraid to push my creative boundaries recalls Barber. The sessions became part songwriting and part therapy because I was writing about things that felt pretty raw; politics, sexism, being a mother. I started to realize that this was going to be a very different kind of album for me. I had more that I needed to say and Ryan helped bring that out with his uncanny knack for melody and song structure.~ Editorial Reviews https://www.amazon.com/Metaphora-Jill-Barber/dp/B07BZC5K9D

Metaphora

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