Lluís Coloma, Carl Sonny Leyland - Telling Our Stories

Bitrate: MP3@320K/s
Time: 63:19
Size: 145.0 MB
Styles: Blues-jazz piano, Boogie woogie
Year: 2018
Art: Front

[3:10] 1. Boogie Boogie Gallop
[4:34] 2. Swipesy Cakewalk
[5:28] 3. Rolling Tumbleweeds
[4:24] 4. Detour Through Melancholia
[4:43] 5. Destroying The Boogie
[5:05] 6. Trembling Blues
[5:41] 7. Avalon
[4:54] 8. After Glowers
[3:03] 9. Good Gravy Rag
[5:37] 10. Hindustan
[3:39] 11. It's A Brand New Boogie
[5:27] 12. Swanee River Boogie
[3:14] 13. Your Cheating Heart
[4:13] 14. Sun's Gonna Shine On Pretty Redwing Someday

Lluís Coloma (p), Carl Sonny Leyland (p & vcl).

Lluís Coloma and Carl Sonny Leyland first met nearly 20 years ago at the Boogie Woogie Festival in LaRoquebrou, France. After that initial meeting, their paths crossed on numerous occasions and a mutual admiration and close friendship developed.

Now, they have the opportunity to present this collection of duet recordings. Considered to be two of the most original and creative pianists in the blues and boogie genre, Carl Sonny & Lluís know the tradition intimately, but are not afraid to introduce new elements which they incorporate in a truly organic and natural way. While these two players and composers each have their own very defined and personal sounds, they join together seamlessly here for a musical conversation filled with creativity, spontaneity, and virtuosity.

Carl Sonny Leyland & Lluís Coloma present in these recordings an innovative mix of tradition and modernity that will transport the listener to unexpected places full of magic and complexity.

Telling Our Stories mc
Telling Our Stories zippy

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Bud Shank, Lou Levy - Jazz in Hollywood

Styles: Saxophone, Flute and Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 48:09
Size: 111,0 MB
Art: Front

(5:38)  1. Casa de Luz
(3:23)  2. Lotus Bud
(3:24)  3. Left Bank
(3:17)  4. Shank's Pranks
(4:13)  5. Jasmine
(4:16)  6. Just a Few
(2:17)  7. The Gentleman Is a Dope
(2:41)  8. Serenade in Blue
(3:03)  9. Woody'n You
(3:32) 10. Tres Palabras (Without You)
(3:36) 11. All the Things You Are
(2:26) 12. Tiny's Other Blues
(2:53) 13. Like Someone in Love
(3:23) 14. Bloo Denim

The two sessions included on this 1998 CD (both are also available as part of Fresh Sound's three-CD Complete Nocturne Recordings Vol. One) are unrelated. The first six selections feature one of the best of all the collaborations between altoist Bud Shank (doubling on alto flute) and trumpeter Shorty Rogers, in a quintet with pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte. The musicians play six of Rogers' originals, including "Casa De Luz" and the debut of "Lotus Bud." The second half of the CD is actually a trio set led by pianist Lou Levy and also including Babasin and drummer Larry Bunker. Levy is quite boppish and heard throughout in top form. Well worth picking up by collectors of 1950s straight-ahead jazz.~ Scott Yanow https://www.allmusic.com/album/jazz-in-hollywood-mw0000037062

Personnel:  Alto Saxophone, Flute – Bud Shank (tracks: 1 to 6);  Piano – Jimmy Rowles (tracks: 1 to 6), Lou Levy (tracks: 7 to 14);  Bass – Harry Babasin;  Drums – Larry Bunker (tracks: 7 to 14), Roy Harte (tracks: 1 to 6);  Flugelhorn – Shorty Rogers (tracks: 1 to 6)

Jazz in Hollywood

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Karin Krog, John Surman - Cloud Line Blue

Styles: Vocal 
Year: 1979
File: MP3@320K/s
Time: 41:15
Size: 103,6 MB
Art: Front

(4:27)  1. Alone Song
(6:53)  2. New Spring
(6:29)  3. Eyeless In Movement
(7:27)  4. Jonathan
(4:09)  5. Empty Streets
(8:51)  6. Cloud Line Blue
(2:55)  7. Edge Piece

An adventurous singer who is quite versatile, Karin Krog is able to sing anything from standards to fairly free improvisations. She made her recording debut in 1964, appeared at many jazz festivals in Europe in the mid-'60s, and in 1967, came to the U.S., performing and recording with the Don Ellis Orchestra and Clare Fischer's trio. A world traveler based in Europe, Krog has recorded fairly steadily through the years, using such sidemen as Kenny Drew, Niels-Henning Orsted Pedersen, Jan Garbarek, Ted Curson, Dexter Gordon, Palle Mikkelborg, Steve Kuhn, Steve Swallow, Archie Shepp, Bengt Hallberg, and John Surman; she has made records for Philips, Sonet, Polydor, and other European labels. ~ Scott Yanow https://itunes.apple.com/us/album/cloud-line-blue/297152847

Cloud Line Blue

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Gilson Peranzzetta - Virtuoso

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 61:05
Size: 140,1 MB
Art: Front

(3:27)  1. Pressão alta
(3:26)  2. Caminho de Ituverava
(3:52)  3. Dois na Rede
(5:47)  4. Uma Parte de Nós
(6:06)  5. Lado a Lado
(3:54)  6. Céu de Itaúna
(4:44)  7. Cheia de Luz
(6:24)  8. Pontes
(3:33)  9. Cantos da Vida
(4:16) 10. Quermesse
(4:25) 11. Ao Longe
(4:34) 12. Fator RH
(6:31) 13. Sorrir

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://www.allmusic.com/artist/gilson-peranzzetta-mn0000658880/biography

Virtuoso

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Rossano Sportiello - Pastel, Solo Piano

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 63:28
Size: 146,9 MB
Art: Front

(4:06)  1. All Through The Night
(7:29)  2. Arietta op. 21
(4:57)  3. Dancing In The Dark
(4:23)  4. Doctor Gradus ad Parnassum
(3:54)  5. Hymn
(4:18)  6. Waltz from "Masquerade"
(5:58)  7. Nobody Else But Me
(3:44)  8. Pastel
(3:37)  9. That's My Kick
(7:24) 10. A Time For Love
(3:59) 11. Dedicated to George Shearing
(3:57) 12. Voglia 'e Turna
(5:36) 13. When I Fall In Love

Those familiar with my previous reviews of pianist Rossano Sportiello’s CDs already know that I’m among the converted. He’s a classically trained Italian pianist who transitioned to jazz. And, he’s a master of both styles and his classical skills frequently come to the fore along with some great stride piano. He is now an American citizen, married and lives in New York when not touring. We were lucky to have him for a Pensacola JazzFest a couple of years ago. The current solo piano is no exception. There is more than an hour of delightful music here. There are a couple of classical/jazz “marriages” when he plays Grieg’s Arietta and it melds with Jimmy Van Heusen’s Like Someone in Love. Another is a medley of Debussy’s Doctor Gradus ad Parnassum with Strayhorn’s Lush Life. There are some lesser known tunes such as Red Callender’s Pastel, hence the name of this CD; and, Errol Garner’s That’s My Kick. And, there are a couple of Sportiello originals. Sportiello has a number of tunes on YouTube. One of my favorites is a CD made in Korea with drummer Chuck Redd and a Korean bassist. Below is embedded a video of his solo performance at an Arbors Jazz Party. The end piece is Chopin’s “Revolutionary Etude” a complex piece I’ve worked on for many years but never got to performance level. He plays it straight and then puts in a stride bass. If you look carefully, I’m the baldheaded guy who stands to clap at the finale. The Chopin in Jazz CD is still available; ships from Korea. https://jazzpensacola.com/cd-review-pastel-rossano-sportiello/

Pastel, Solo Piano

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Horace Parlan Trio - Like Someone In Love

Bitrate: MP3@320K/s
Time: 41:50
Size: 95.8 MB
Styles: Bop, Piano jazz
Year: 1983/1995
Art: Front

[5:02] 1. U.M.M.G
[5:48] 2. Ballade
[4:27] 3. Scandia Skies
[5:27] 4. Little Esther
[8:45] 5. Like Someone In Love
[6:25] 6. The Duke Ellington Sound Of Love
[5:52] 7. Blues In The Closet

Bass – Jesper Lundgaard; Drums – Dannie Richmond; Piano – Horace Parlan. Recorded 16th. March 1983.

Trio setting best portrays Horace Parlan’s unique method of piano playing with the strong left-hand technique which he developed to supplement his partially paralysed right hand. Here with bassist Lundgaard who is on his way to the stardom as Niels-Henning Ørsted Pedersen has archived and an old colleague from the Mingus band Richmond, Parlan displays

Like Someone In Love mc
Like Someone In Love zippy

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Bob DeVos - DeVos' Groove Guitar

Bitrate: MP3@320K/s
Time: 61:32
Size: 140.9 MB
Styles: Guitar jazz
Year: 2003
Art: Front

[5:13] 1. Tom Thumb
[7:07] 2. The Look Of Love
[7:04] 3. Driftin'
[6:18] 4. Prayin' For Your Return
[8:38] 5. The End Of A Love Affair
[7:00] 6. Cantaloupe Island
[8:28] 7. Round Midnight
[4:59] 8. Coming Home Baby
[6:42] 9. Come Rain Or Come Shine

A versatile jazz guitarist, Bob Devos knows how to compliment the Hammond B3. He has played alongside such organ masters as Charles Earland, Richard "Groove" Holmes and Jimmy McGriff. Devos is a dynamic jazzman delivering first rate guitar and organ driven energy on his Blues Leaf debut, Devos' Groove Guitar!

DeVos' Groove Guitar mc
DeVos' Groove Guitar zippy

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Nina Simone - What Happened, Miss Simone? Her Story, Her Voice.

Bitrate: MP3@320K/s
Time: 57:37
Size: 132.7 MB
Styles: Jazz/blues vocals
Year: 2016
Art: Full

[ 2:32] 1. I Loves You, Porgy
[ 2:45] 2. Don't Let Me Be Misunderstood
[ 2:36] 3. I Put A Spell On You
[ 3:29] 4. Strange Fruit
[10:19] 5. Sinnerman
[ 4:52] 6. Mississippi Goddam
[ 2:34] 7. Little Girl Blue
[ 5:26] 8. Don't Smoke In Bed
[ 3:03] 9. My Baby Just Cares For Me
[ 4:15] 10. Lilac Wine
[ 3:25] 11. Black Is The Color Of My True Love's Hair
[ 3:04] 12. Night Song
[ 2:39] 13. Nobody Knows You When You're Down And Out
[ 2:56] 14. Feeling Good
[ 3:35] 15. Ne Me Quitte Pas

Classically trained pianist, dive-bar chanteuse, black power icon and legendary recording artist, Nina Simone lived a life of brutal honesty, musical genius and tortured melancholy. In this epic documentary, director Liz Garbus interweaves never-before-heard recordings and rare archival footage together with Nina's most memorable songs, to create an unforgettable portrait of one of the least understood, yet most beloved, artists of our time.

WHAT HAPPENED, MISS SIMONE? is a Netflix original, using recently unearthed audiotapes, recorded over the course of three decades, of Nina telling her life story to various interviewers and would-be biographers. From over 100 hours of these recordings, the film weaves together Nina's narrative, told largely in her own words. Rare concert footage and archival interviews, along with diaries, letters, interviews with Nina's daughter, Lisa Simone Kelly, friends and collaborators, along with other exclusive materials, make this the most authentic, personal and unflinching telling of the extraordinary life of one of the 20th century's greatest recording artists.

Thank you SD friend.
What Happened, Miss Simone? Her Story, Her Voice. mc
What Happened, Miss Simone? Her Story, Her Voice. zippy

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Jelly Rolls Sweet Band - S/T

Bitrate: MP3@320K/s
Time: 40:39
Size: 93.1 MB
Styles: Retro swing
Year: 2018
Art: Front

[3:15] 1. Crazy Rhythm
[4:02] 2. I Can't Believe You're In Love With Me
[2:50] 3. Eeny Meeny Miney Moe
[3:18] 4. Walkin' My Baby Back Home
[3:29] 5. When I Take My Sugar
[3:43] 6. Do You Know What It Means
[3:00] 7. Kee-Mo Ky-Mo
[3:56] 8. Palm Springs Jump
[3:41] 9. It's Only A Paper Moon
[2:26] 10. I'm Shooting High
[3:17] 11. You're The Cream In My Coffee
[3:37] 12. Hey! Stop Kissing My Sister

Rachel Floricourt - Voix + Washboard; Pierlo Chamielec - Piano + Trombone; Fred Clavel - Contrebasse; Gilles Yvanez - Guitare + Banjo; Eric Thiercy - Trompette; Maximiliano Zecchin - Saxophone.

Jelly Rolls Sweet Band is the Montpellier group of swing music. The sound of the beginning of the last century to the delight of lindy-hop dancers. Jelly Rolls Sweet Band is above all a human adventure guided by a common passion for music played in New Orleans at the beginning of the 20th century.

On this first album, we went in search of the source of what we like in this music. Nat King Cole and Fats Waller already in their time were inspired by these melodies to add their imprint. Good music is like good wine, it does not lose a drop of its flavor with the years, and this album will try to keep modestly and respectfully the essence for each of its 12 titles. (Translated from French.)

Jelly Rolls Sweet Band mc
Jelly Rolls Sweet Band zippy

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Nancy Ames - As Time Goes By

Bitrate: MP3@320K/s
Time: 30:27
Size: 69.7 MB
Styles: Folk-pop, Easy Listening
Year: 1966
Art: Front

[3:22] 1. As Time Goes By
[3:19] 2. Once In A While
[2:56] 3. Speak Low
[3:11] 4. Again
[3:02] 5. You've Changed
[3:11] 6. You'll Never Know
[2:55] 7. How Deep Is The Ocean
[2:16] 8. Now Is The Hour
[2:21] 9. He Wore The Green Beret
[3:49] 10. For All We Know

She was born in Washington, D.C., the granddaughter of Ricardo Joaquín Alfaro (1882–1971), who served as President of Panama from 1931-32. The daughter of a physician, she grew up in Washington. She attended Holton Arms College and Bennett College, both of them for girls. By 1964 she was married to Romanian hypnotist Triaian Boyer. By 1968, they had divorced. After the divorce, she married Jay Riviere, a golf course designer. They had one child, a daughter, Nancy, but ultimately divorced. Ames has resided in Houston, Texas since 1972. She and her third husband Danny Ward are the co-founders of Ward and Ames Special Events.

A folk singer with a partially Latin repertoire, she was signed to Liberty Records; her first album was entitled Cu Cu Rru Cu Cu La Paloma. She broke the top 100 twice in 1966; "He Wore the Green Beret," her answer song to Staff Sgt. Barry Sadler's "Ballad of the Green Berets," hit number 89, and later in the year "Cry Softly" also placed in the charts. She had a TV show which aired on KPRC-TV Channel 2 (the Houston area NBC affiliate) from 1972-77. She is listed as the co-writer of the theme song to The Smothers Brothers Comedy Hour with Mason Williams per Williams' own 1969 LP entitled Music by Mason Williams. Ames and Williams also co-wrote "Cinderella Rockefella," an international pop hit in 1968.

As Time Goes By mc
As Time Goes By zippy

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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.

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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

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