Didier Lockwood - Storyboard

Styles: Violin, Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 54:31
Size: 126,4 MB
Art: Front

(7:35)  1. Thought Of A First Spring Day
(4:40)  2. Back To Big Apple
(5:45)  3. En Quittant Kidonk
(7:42)  4. Mathilde
(4:51)  5. Tableau D'une Exposition
(6:59)  6. 'Serie B'
(3:58)  7. Storyboard
(4:52)  8. Irremediablement
(8:06)  9. Spirits Of The Forest

This is a diverse CD that rewards repeated listening. Violinist Didier Lockwood's most rewarding recording in several years also features Joey DeFrancesco on organ and trumpet, bassist James Genus and guest Steve Wilson (doubling on alto and soprano) on the first three numbers. The biggest revelation of the set is that Lockwood takes a credible alto solo on "Serie B." Performing his originals along with a few obscurities, the violinist shows a great deal of versatility, sometimes distorting his tone to get a rockish sound and other times swinging hard. The music (well worth checking out) is fresh and contains its share of surprises.~ Scott Yanow https://www.allmusic.com/album/storyboard-mw0000619396

Personnel:  Didier Lockwood - violin, alto saxophone;   Steve Gadd - drums;   Joey DeFrancesco - organ, trumpet;  James Genus - bass;  Steve Wilson - soprano saxophone, alto saxophone;  Denis Benarrosch - percussion.

Storyboard

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Allan Harris - The Genius Of Eddie Jefferson

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 40:56
Size: 94,3 MB
Art: Front

(3:59)  1. So What
(4:09)  2. Sister Sadie
(3:31)  3. Dexter Digs In
(3:53)  4. Billy's Bounce
(4:30)  5. Body And Soul
(4:18)  6. Jeannine
(3:29)  7. Filthy McNasty
(3:51)  8. Lester's Trip To The Moon
(3:54)  9. Memphis
(5:17) 10. Waltz For A Rainy Bebop Evening

In an accompanying press release, Allan Harris compares his deep dive into Eddie Jefferson’s groundbreaking oeuvre to “taking a master class at MIT.” No question that navigating the tricky, rapid-fire, street-smart wordplay of vocalese an art form Jefferson is widely credited with creating and of which he remains the undisputed champ, even 39 years after his untimely death is a daunting endeavor. But although he’s best known for his buttery tributes to Nat “King” Cole and Billy Eckstine, Harris ranks among the most dexterous singers around, and he proves fully up to the challenge. Indeed, it’s intriguing to hear these 10 gems mostly vocalese, plus such covers as “Memphis” and Duke Pearson’s “Jeannine” rechanneled from Jefferson’s vocal grit to Harris’ rich baritone. Befitting so notable a project, Harris has enlisted top-drawer support: tenor saxophonist Ralph Moore, pianist Eric Reed, bassist George DeLancey, drummer Willie Jones III and, most significant, alto saxophonist Richie Cole, who worked closely with Jefferson in his later years, including on the night he was shot and killed after a Detroit gig in 1979. The beauty of so many Jefferson creations is that they’re not only based on jazz standards but also reworked to lyrically celebrate jazz masters and jazz lore. “So What” recalls Miles and Coltrane’s famous mid-performance co-exit, while “Body and Soul” venerates Coleman Hawkins. Prez, Bird, Dex and Horace Silver are all genuflected to. Aptly, Harris closes with Cole’s “Waltz for a Rainy Bebop Evening,” a whirling salute to the jazz life and its giants. ~ Christopher Loudon https://jazztimes.com/reviews/vox/allan-harris-eddie-jefferson/

The Genius Of Eddie Jefferson

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Arnett Cobb with the Red Garland Trio - Sizzling & Blue And Sentimental

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 72:39
Size: 168,2 MB
Art: Front

(5:08)  1. Sweet Georgia Brown
(5:24)  2. Black Velvet
(7:46)  3. Blue Sermon
(6:05)  4. Georgia On My Mind
(7:37)  5. Sizzlin'
(6:58)  6. The Way You Look Tonight
(7:13)  7. Willow Weep For Me
(4:49)  8. Hurry Home
(5:10)  9. P.S. I Love You
(5:23) 10. Blue And Sentimental
(4:49) 11. Darn That Dream
(2:52) 12. Why Try To Change Me Now
(3:18) 13. Your Wonderful Love

This CD reissue combines together tenor saxophonist Arnett Cobb's two LPs, Sizzlin' and Ballads by Cobb. The former session has a good mixture of stomps and ballads with highlights including "Black Velvet," "Georgia on My Mind," and "The Way You Look Tonight." The latter date (originally cut for the Moodsville label) is all slow ballads and, despite the warmth in Cobb's tone, a certain sameness pervades the performances. Pianist Red Garland and drummer J.C. Heard are on both sessions with either George Tucker or George Duvivier on bass. Good music but not quite essential.~ Scott Yanow https://www.allmusic.com/album/blue-and-sentimental-mw0000096767

Personnel:  Arnett Cobb (ts), Red Garland (p), George Tucker, George Duvivier (b), J.C. Heard (d)

Sizzling & Blue And Sentimental

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The Great Jazz Trio - N.Y. Sophisticate (A Tribute To Duke Ellington)

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 39:25
Size: 91,3 MB
Art: Front

(4:53)  1. In A Sentimental Mood
(4:47)  2. C Jam Blues
(4:31)  3. Mood Indigo
(4:15)  4. Satin Doll
(3:30)  5. Lush Life
(4:56)  6. Sophisticated Lady
(3:40)  7. Take The 'A' Train
(4:46)  8. I Got It Bad (And That Ain?t Good).mp3
(4:08)  9. Caravan
(4:42) 10. Solitude

Hank Jones is one of the most gifted jazz pianists of the second half of the 20th century, and this salute to Duke Ellington is only slightly blemished by the sometimes overbearing string arrangements by Masahiko Satoh. His trio, with bassist Eddie Gomez and drummer Jimmy Cobb, sticks to familiar selections from the vast Ellington songbook, with Jones occasionally switching to a Fender Rhodes electric piano or celeste. Happily the strings are omitted from cookers such as "C Jam Blues" and "Take the 'A' Train." Worth searching for.~ Ken Dryden https://www.allmusic.com/album/ny-sophisticate-a-tribute-to-duke-ellington-mw0000191921

Personnel:  Bass – Eddie Gomez;  Drums – Jimmy Cobb;  Piano – Hank Jones

N.Y. Sophisticate (A Tribute To Duke Ellington)

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Phineas Newborn - Back Home

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 39:40
Size: 91,2 MB
Art: Front

(3:49)  1. Sugar Ray  (Newborn)
(6:08)  2. Ill Wind
(5:11)  3. Watch What Happens
(4:14)  4. No Moon At All
(4:25)  5. Back Home  (Newborn)
(5:27)  6. On Green Dolphin Street
(4:54)  7. Pamela  (Newborn)
(5:28)  8. Love For Sale

On one of Phineas Newborn's final recordings (although he would live until 1989), the brilliant but i'll pianist is reunited with the rhythm team that he had recorded with in 1969: bassist Ray Brown and drummer Elvin Jones. Actually, despite his health problems, Newborn was always superlative on records, and his playing on five straight-ahead standards (including "No Moon at All" and "Love for Sale") and three of his originals is excellent.~ Scott Yanow https://www.allmusic.com/album/back-home-mw0000674737

Personnel:  Phineas Newborn Jr. – piano;  Ray Brown – bass;  Elvin Jones – drums

Back Home

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Marty Elkins - Fat Daddy

Styles:  Vocal
Year: 2018
File: MP3@320K/s
Time: 55:23
Size: 127,3 MB
Art: Front

(3:56)  1. You Turned The Tables On Me
(2:40)  2. On Revival Day
(3:44)  3. How Can You Face Me
(3:39)  4. That's All There Is To That
(3:14)  5. It's Too Hot For Words
(3:29)  6. Cow Cow Boogie
(4:22)  7. I Cover The Waterfront
(3:07)  8. It's A Pity To Say Goodnight
(5:57)  9. My Old Flame
(3:48) 10. Fat Daddy
(4:36) 11. I Can't Face The Music
(3:38) 12. Sugar
(5:07) 13. These Foolish Things
(3:59) 14. Trav'lin' All Alone

Marty Elkins was born in Jersey City, New Jersey.  As a child she listened mostly to the soul stations in New York, and the late night R&B shows like Jocko’s Rocket Ship.  She left there for college in Boston, and while in college was given a copy of Ella Fitzgerald and Ellis Larkins.  She was also exposed to Charlie Parker, Al Cohn and Zoot Sims, and Louis Jordan, but the life changing day was when she found a copy of Billie Holiday’s “Lady in Satin” in a local Woolworth bin in Cambridge, Massachusetts. Literally holing up in her room with this recording, and a Bessie Smith record she acquired, she became devoted to jazz and began listening to it exclusively.  She had the good fortune to meet musicians in that area who played jazz such as Herb Pomeroy, Ray Santisi, Jimmy Mosher, and Dave McKenna among others.  Dave McKenna had a steady gig at the Copley Plaza, and he encouraged her to sing with him there.  She landed a gig singing with a vocal trio in Bo Winiker’s band, floating around the Boston harbor singing Andrew Sisters songs. Marty keeps you believing... Her voice has a glowing roundness, she hit notes without strain and she swings...~ Zan Stewart, Downbeat Magazine ...More http://www.martyelkins.com/bio/

Fat Daddy

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Harold Land - Choma (Burn)

Styles: Saxophone And Flute Jazz
Year: 1971
File: MP3@320K/s
Time: 36:39
Size: 90,8 MB
Art: Front

( 9:56)  1. Choma (Burn)
( 5:52)  2. Our Home
(10:03)  3. Black Caucus
(10:47)  4. Up and Down

Solid early '70s date with tenor saxophonist Harold Land, his then-musical partner Bobby Hutcherson (vibes) and a cast that includes Land's son Harold C.. on keyboards. Land is a bluesy, steady soloist whose rich sound makes a fine contrast to the fluid, energetic solos by Hutcherson.~ Ron Wynn https://www.allmusic.com/album/choma-burn-mw0000867097

Personnel:  Harold Land - tenor saxophone, flute;  Bobby Hutcherson - vibraphone, marimba;  Bill Henderson - piano, electric piano;  Harold Land, Jr. - piano;  Reggie Johnson - bass;  Ndugu Chancler, Woodrow 'Sonship' Theus - drums

Choma (Burn)

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Dodo Greene - In My Hour Of Need

Styles: Vocal
Year: 1962
File: MP3@320K/s
Time: 59:12
Size: 136,2 MB
Art: Front

(4:55)  1. My Hour of Need
(4:46)  2. Trouble In Mind
(3:03)  3. You Are My Sunshine
(4:03)  4. I'll Never Stop Loving You
(3:47)  5. I Won't Cry Anymore
(4:15)  6. Lonesome Road
(3:29)  7. Let There Be Love
(3:32)  8. There Must Be A Way
(4:07)  9. Down By The Riverside
(4:08) 10. Little Things Mean a Lot
(2:47) 11. You Don't Know Me
(3:06) 12. Not One Tear
(3:40) 13. I Hear
(3:35) 14. Time After Time
(3:13) 15. Everybody's Happy But Me
(2:38) 16. Jazz In My Soul

Greene's mixture of R&B and soulful blues in a voice very reminiscent of late-period Dinah Washington is much more pop and blues-oriented than the music on any other Blue Note release from the period. What other Blue Note album has a full program of soul ballads clocking in between three to five minutes apiece? 

Although Dodo Greene (who had recorded one slightly earlier record for Time) was apparently signed to an exclusive contract, her only other Blue Note session (six of its nine numbers conclude this CD) had never been previously released. In reality, the main reason to acquire the relaxed set is for the warm tenor of Ike Quebec (who is perfect in this setting) and the occasional guitar of Grant Green. A true obscurity.~ Scott Yanow https://www.allmusic.com/album/my-hour-of-need-mw0000077692

In My Hour Of Need

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Lorraine Klaasen - Africa Calling

Styles: Vocal, World
Year: 2008
File: MP3@320K/s
Time: 53:20
Size: 134,9 MB
Art: Front

(4:35)  1. Jabulani
(4:19)  2. Ziyaduma
(5:54)  3. La Reine
(4:15)  4. Spring In Every Season
(4:59)  5. Imbizo
(3:52)  6. Malayisha
(5:47)  7. Africa Calling
(5:07)  8. Ngiyabonga
(4:42)  9. Mina Nawe
(5:00) 10. Ntyilo Ntyilo
(4:45) 11. In My Dream

Lorraine Klaasen is certainly one of the best, if not deepest-rooted South African song stylists to come down the pike since the legendary Miriam Makeba. With the passing of Makeba, Klaasen carries the torch for both the aforementioned icon, and also for her famous mother, Thandie Klaasen. Helping is guitarist Mongezi Chris Ntaka (formerly with Lucky Dube) and bassist Bakithi Kumalo (with Dube and on Paul Simon's Graceland album) adding pure authenticity to the proceedings. While the music is in the Afro-pop realm, it touches on sotho funk, kwela, zulu, and xhosa aspects of village life while adding dance beats and feelings of triumph, with Klaasen singing in either African or English lyrics. There's the electricity of "Ziyaduma," with a pure beat reflecting the duality of representing thunder and the fact that it's all happening in the moment, while the modern modal popping rhythms infused in "Imbizo" bridge the gap between modern and traditional. Klaasen herself is effervescent, a driven vocalist who minces very few lyric lines with sentimentality, although she does offer occasional tender moments. She's driven to deliver the message for the most part, chanting with the group vocalists during the mixed and separate polyrhythms of "La Reine/The Queen," dancing in retro-disco fashion on "Spring in Every Season," or offering the celebratory wedding song "Jabulani" not Abdullah Ibrahim's composition of the same name. Africa Calling is a joy to hear from start to finish, a fully realized project, universally understandable, good for any party, ready to steal your heart and soul with a running start. ~ Michael G.Nastos https://www.allmusic.com/album/africa-calling-mw0001961864

Africa Calling

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Cory Weeds Little Big Band - Explosion

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 60:24
Size: 138,8 MB
Art: Front

(6:04)  1. Minor Mishap
(6:01)  2. Soon
(8:05)  3. East Of The Village
(6:08)  4. Park Avenue Petit
(6:55)  5. My Girl Is Just Enough Woman F
(7:23)  6. Canadian Sunset
(6:03)  7. K.D.'s Motion
(7:03)  8. Please Send Me Someone To Love
(6:38)  9. Ready & Able

Renaissance Man Cory Weeds has the Midas Touch. Since attaining Vancouver-local escape velocity with his Cellar Jazz Club and then his record label with the same imprint, the musical entrepreneur has parlayed his notice worldwide with excellent recordings of himself and other noted artists. Weeds' Cellar Jazz focus is what would be defined as an "Arbors Jazz for Hard Bop." He is very much the keeper of the flame of the last great jazz genre-period to grab the "mainstream" designation. Weeds' previous recording, Let's Groove: The Music of Earth Wind & Fire (Cellar Live, 2017) was a well-received small combo consideration of the music of the fabled R&B band, featuring inventive arrangements and spirited, potent playing by all. On Explosion, Weeds follows the muse that created Eddie "Lockjaw" Davis' Trane Whistle (Prestige, 1960) and Gene Ammons' Late Hour Special (Prestige, 1962) to put together his "little big band" that sports eleven plays as opposed to the customary 15-18 that constitute a proper big band. Exploration of little big bands is nothing new if one considers Miles Davis' nonet recordings that resulted in The Birth of the Cool (Capitol Records, 1998). Another example is Art Pepper's Art Pepper + Eleven: Modern Jazz Classics (Contemporary, 1959). In all of these cases, the little big bands were made to sound larger through informed arrangements. Weeds employs the talents of conductor Jill Townsend and Bill Coon on Explosion and the results are more than acceptable. The nine selections contained herein are divided almost equally between the two arrangers, with Coon having the advantage. Coons' arrangements give his contributions a light-as-a-feather swing, one that smacks of perpetuum mobile in a global sound and rhythm with sound facile as a constant breeze. His treatment of Tommy Flanagan's "Minor Mishap" allows the soloists much room and a comfortable place to walk through. Coon's arrangement of Hank Mobley's "East of the Village" provides the piece with an urban, slightly Latin flavor that softens the hard bop edges. Weeds solos with ease, ideas coming easily. 

Coon addresses another hard bop gem in Kenny Dorham's "K.D.S Motion" highlighting the under-recognized talent of the trumpeter as a composer. Coon makes this blues a bright swing tune that is wide awake in the daylight. Townsend, for her part, provides a sepia-toned "Canadian Sunset" allowing Weeds to give a nod to his inspiration. "Gene Ammons." Time shifts are seamless as baritone saxophonist "Gary Smulyan" spins his deep web of chocolate tone. Townsend gives Percy Mayfield's "Please Send Me Someone to Love" a lush '40s foundation providing Weeds the environment to present perhaps his best solo on the recording. All of the playing on this recording is top notch, hopefully making it impossible for the leader to not make a follow-up to this fine recital.~ C.Michael Bailey https://www.allaboutjazz.com/explosion-cory-weeds-cellar-live-review-by-c-michael-bailey.php

Personnel: Cory Weeds: tenor saxophone; PJ Perry: alto saxophone; Steve Kaldestad: tenor saxophone; Gary Smulyan: baritone saxophone; Rod Murray: trombone; Steve Davis: trombone; Joe Magnarelli: Trumpet; Chris Davis: trumpet; Chris Gestrin: piano; Paul Rushka: bass; Jessie Cahill: drums; Jill Townsend: conductor.

Explosion

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Rick Braun - Yours Truly

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 41:24
Size: 95,2 MB
Art: Front

(3:30)  1. Shining Star
(4:41)  2. Holdin' Back The Years
(4:36)  3. Love's Theme
(4:59)  4. All Around The World
(4:05)  5. Walk On The Wild Side
(5:10)  6. Daughters
(4:37)  7. Groove Is In The Heart
(4:48)  8. Kiss Of Life
(4:53)  9. What Are You Doing The Rest Of Your Life?

With Yours Truly Rick Braun broadens his audience appeal with smooth "jazzpects" of such pop and R&B covers as "Shining Star," "Holdin' Back the Years," "Love's Theme," "All Around the World," and "Daughters," among others. His muted trumpeting on Earth, Wind & Fire's mega-hit "Shining Star" opens the program and sets the cool, laid-back tone of the set. This cool, laid-back feeling has put Braun in the ring with the best of the world's greatest trumpeters. On "Holdin' Back the Years," his modern traditional approach gives listeners a sense of deep and undulating relaxation. His fluid-like state of inner joy surfaces in such appealing riffs that you simply forget you're listening to a CD. On "Love's Theme" the addition of Braun's trumpet voice to Craig Sharmat's skillful orchestral arrangement induces a state of complete harmony. "All Around the World" is an inspired odyssey. Rick Braun uses a melodic search for the woman in this man's warm stream of memories. Throughout the song, Braun gently pours a relaxed torrent of notes into a groove-infused synthesis of guitars, bass, and percussion offered by Ross Bolton, David Dyson, and Lenny Castro. "Daughters," which features Jeff Golub, is absolutely beautiful and renders a sensation of tranquility. "Groove Is in the Heart" offers an up-tempo, funky change of pace and creativity. Braun's playing is definitely sexy, supple, and energetic. He is especially romantic on this rendition of "What Are You Doing for the Rest of Your Life?" David Benoit's beautiful piano and string arrangements tug at your heart and make this song the perfect mood-setter for falling in love and popping the magic question to someone special. Craig Sharmat's "heartbeat" effect really adds a subtle difference to this gorgeous ballad. Although this particular recording excludes original compositions by Braun and the ultra-fiery blowing heard on his Grammy-winning duet recording with Boney James titled Shake It Up, fear not. This is classic Rick Braun in a mellow, melodic mood, transporting listeners with the rich tones of his muted trumpet voice through the musical landscape of his life. Highly recommended. ~ Paula Edelstein https://www.allmusic.com/album/yours-truly-mw0000349616

Personnel:  Rick Braun - trumpet, flugelhorn;  David Benoit - piano;  Lenny Castro, Jeff Golub, Steve Kujala - flute;  Mitchel Forman - keyboards;  Bud Harner - percussion;  Stan Sargeant - bass

Yours Truly

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Camille Thurman - Origins

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 62:09
Size: 143,5 MB
Art: Front

(8:23)  1. Forward Motion
(3:40)  2. A Change of Mind
(5:56)  3. Indigo Moments
(6:06)  4. Origins
(4:46)  5. The Dreamweaverer
(1:30)  6. Anna's Joy
(4:01)  7. In Duetime
(5:46)  8. Kindred Minds
(1:10)  9. Felix's Groove
(5:54) 10. Jitterbug Waltz
(7:01) 11. Pursuit wth a Purpose
(4:58) 12. Please be Kind
(2:53) 13. Revisiting the Past

Camille Thurman may have started as a vocalist, but on her Hot Tone debut, Origins, the flexes her breath, blowing through every instrument that transmits wind. Thurman rides the wave created by bassist/vocalist Mimi Jones, creator of Hot Tone Records with the release of her Balance (2014). A third artist makes a trio in this flood of music in drummer/percussionist Shirazette Tinnin who released her recording Humility at the same time. These three women have much to do with one another and each other's recordings. For Thurman's part, both her vocals and flute and reeds playing become ubiquitous. But it is on her own Origins that Thurman spreads a wide smile, revealing a broad and deep stylistic palette that goes a long way in blurring those said stylistic lines. Thurman reveals herself gradually on Origins. First off is a spikey hard bop original, "Forward Motion" featuring her big tenor sound (tipping a hat to Dexter Gordon and Sonny Stitt). Performed in as a tenor trio, "Forward Motion" is a lengthy rumination of the place of each instrument in the trio, both temporally and stylistically. Half regimented, Half free jazz and half 21st century bop, the piece sets the tone of the recording. Thurman loosens the laces after this definitive statement, producing a more contemporary and homogenous sound that sets up a jazz suite of sorts that directly signals a new and more integrated sound, one shared with Thurman by Jones and her Balance. "A Change of Mind" is a vocal feature where Thurman displays her sturdy, soul-infused voice singing mock vocalese over her own composition. Her tenor saxophone is colored more by Ben Webster by way of Michael Brecker, with a vermouth trace of John Coltrane. Thurman is at once serious and playful, weaving well calculated scat among her lyrics. This title cut is a complex bit of sleight-of-hand directed by pianist Luis Perdomo to a double time 4/4 solo section that is as much trad mainstream as it is 21st Century. Thurman covers and arranges Fats Waller's "Jitterbug Waltz," making it an off time relative of Sonny Rollins' "St. Thomas." Origins is finely produced and engineered to provides as shiny and sleek a sound as possible without sounding over-produced, a danger ubiquitous in modern recording. The presence of drummer Shirazette Tinnin adds a complicated organicness to the recording, one maintained and promoted by bassist Corcoran Holt and drummer Rudy Royston. This musical collaboration begins to redefine what "organicness" means in jazz, showing a drift or evolution toward the more refined and precise. This is jazz taking up where post-bop left off and heading in a melodic and probing direction. ~ C.Michael Bailey https://www.allaboutjazz.com/origins-camille-thurman-hot-tone-music-review-by-c-michael-bailey.php

Personnel: Camille Thurman: saxophones, flutes, vocals; Enoch Smith, Jr.: piano; Luis Perdomo: piano, Corcoran Holt: bass; Rudy Royston: drums; Shirazette Tinnin: drums and cajon; Brandee Younger: harp.

Origins

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Chuchito Valdes, Jr. - Encantado

Styles: Latin Jazz, Afro Cuban Jazz
Year: 2001
File: MP3@320K/s
Time: 54:47
Size: 125,8 MB
Art: Front

(6:46)  1. Homenaje Bebo
(8:13)  2. Bolero en Chicago
(5:54)  3. Andariego
(5:40)  4. Son Cha Cha Cha
(9:20)  5. Guaguanco/Montuno
(3:13)  6. Impressions of 'Take the A Train'
(6:05)  7. Giant Steps
(2:33)  8. Danza de los Gigantes
(6:59)  9. Tres Lindas Cubanas

Cuba-born pianist/composer Jesus "Chuchito" Valdes Jr. signifies the third generation of family pianists (his grandfather is Bebo Valdes and his father is Chucho Valdes). With this solo effort, Chuchito's classical training shines forth in radiant fashion amid his Afro-Cuban influences and extensive jazz vernacular. This multi-faceted production features Australia-born saxophonist Laskar Reese among a strong supporting cast of Latin jazz veterans. Here, Valdes Jr. demonstrates his often awe-inspiring technical faculties, as the band pursues traditional, hybrid Afro-Cuban/jazz-based arrangements. Yet, the pianist tosses a bit of convention to the wayside, thanks to his keenly enacted improvisational spin on Duke Ellington's "Take the 'A' Train," aptly titled "Impressions of 'Take the A Train.'" The band furthers this notion on John Coltrane's "Giant Steps," where tenor saxophonist Laskar Reese solos atop the rhythm section's upfront pulse and odd-metered backbeats. Moreover, Valdes Jr. is most effective at reworking melodies and themes into briskly swinging motifs, augmented by lightning-fast arpeggios and rhythmically inclined block chords. Recommended. ~ Glenn Astarita https://www.allmusic.com/album/encantado-mw0000220142

Encantado

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Geof Bradfield Quintet - Our Roots

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 61:17
Size: 140,8 MB
Art: Front

(6:40)  1. Adam in the Garden
(6:39)  2. Clinton Hill
(3:42)  3. Yellow Gal
(3:10)  4. Black Girl
(4:16)  5. Meshell
(6:27)  6. Before This Time Another Year
(0:18)  7. Lead Belly
(6:57)  8. Dick's Holler
(7:02)  9. Mbira Song
(4:35) 10. Dark Was the Night, Cold Was the Ground
(7:09) 11. Motherless Children
(4:15) 12. Take This Hammer

Discussing "roots" in the context of jazz, a good starting point is the Mississippi delta, down in New Orleans, where the music of trumpeters King Oliver and Louis Armstrong grew strong. And then there's the rich earth of the delta in north western Mississippi, up near Clarksdale, where the blues grew and blossomed. The roots from both these areas were, of course, transplanted from Africa. Chicago-based saxophonist Geof Bradfield follows up his marvelous Melba! (Origin Records, 2013) with Our Roots, drawing his inspiration from saxophonist Clifford Jordan's These Are My Roots: the Music of Lead Belly (Atlantic Records, 1965), a celebration of the music of blues man Huddie Ledbetter, taking the raw folk and blues stylings and turning it into a very legitimate and inspiring jazz outing. It was Geof Bradfield's self-imposed job, with his Our Roots, to bring a new perspective to an album he had long loved. 

On Melba!, an examination of the sounds from trombonist arranger Melba Liston, pianist Randy Weston's arranger of choice for a good chunk of his career, Bradfield used a three horn front line with two chording instruments, piano and guitar, to explore the African-tinted textures of Liston's artistry. With Our Roots, he leaves the chords out, going with the three horns, bass and drums, a line-up that loosens things up and offers a purity and simplicity that fits Lead Belly's music well.  This isn't a note for note or song for song copy of Jordan's album. That 1965 outing was all Lead Belly. For Our Roots the saxophonist includes four of the Lead Belly tunes from the Clifford Jordan disc, throws in three of his originals in the spirit of Ledbetter's folk/blues, adds a couple of Texas blues man Willie Dixon's songs, and just for the hell of it (and they fit so well), a couple of Georgia Sea Island ring shouts. This is music that says America. Spirited horn work, a killer bass drum team. There are times this sounds like a Randy Weston set, pared down to its essentials. Some of Melba Liston may have soaked into Bradfield's DNA. And the sax man at times has the fierce rawness of Dewey Redman or Pharoah Sanders, two of the tenorists who contributed so brilliantly to Weston's Melba Liston-arranged masterpiece, Spirits of Our Ancestors (Antilles Records, 1992). These are proud sounds, sometimes raucous and rubbery, spiritual, occasionally brash, and consistently brimming with joy.~ Dan McClenaghan https://www.allaboutjazz.com/our-roots-geof-bradfield-origin-records-review-by-dan-mcclenaghan.php

Personnel: Geof Bradfield: tenor saxophone; Marquis Hill: trumpet; Joel Adams: trombone; Clark Sommers: bass; Dana Hall: drums.

Our Roots

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Swing Out Sister - Almost Persuaded

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 50:44
Size: 117,0 MB
Art: Front

(4:05)  1. Don't Give the Game Away
(4:21)  2. Happier Than Sunshine
(3:48)  3. Almost Persuaded
(3:43)  4. Which Wrong Is Right?
(3:08)  5. All In A Heartbeat (late night version)
(4:38)  6. Until Tomorrow Forgets
(3:48)  7. I Wish I Knew
(3:40)  8. Everybody's Here
(4:41)  9. All In A Heartbeat
(3:37) 10. Something Deep In Your Heart
(2:25) 11. Be My Valentine
(3:43) 12. Something Deep (reprise)
(4:06) 13. Never Let Me Go
(0:54) 14. Never Let Me Go (Lullaby)

Swing Out Sister is back with a self-assured swagger to their signature cinematic jazz sound. Dipping in and out of their influences from hip hop and neo soul to Blue Note and Motown with underlying scores that touch on blaxploitation and half remembered French films, Corinne Drewery and Andrew Connell show how their songwriting versatility has developed over the three decades since they hit the charts with Breakout. 

Their 10th studio album has been three years in the making, and arrives ten years since their last studio album was released. Corinne and Andy describe the making of Almost Persuaded, for the first time written and recorded in public, as they shared every step of the writing process with their online Pledge Music followers with regular films and updates. ~ Editorial Reviews https://www.amazon.com/Almost-Persuaded-Swing-Out-Sister/dp/B07BFBT3G9

Almost Persuaded

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Eddie 'Lockjaw' Davis With Paul Gonsalves - Love Calls

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 35:53
Size: 84,7 MB
Art: Front

(2:09)  1. Love Is Here To Stay
(2:55)  2. When Sunny Gets Blue
(3:06)  3. If I Ruled The World
(2:23)  4. Time After Time
(5:11)  5. Just Friends
(2:35)  6. Don't Blame Me
(2:10)  7. I Should Care
(5:00)  8. The Man With The Horn
(4:06)  9. We'll Be Together Again
(3:14) 10. A Weaver Of Dreams
(2:59) 11. If I Should Lose You

Love Calls is an album by saxophonist Eddie "Lockjaw" Davis with Paul Gonsalves recorded in 1968 for the RCA Victor label. Think of "Lockjaw" Davis and ten to one you think of Count Basie. Think of Paul Gonsalves and same thing, you think of Duke Ellington. The top tenors, in other words, of the top big bands; musicians from the top league where the competition is toughest. Yet there is no battle here, no contest, no vying to outdo the other in terms of velocity. If you know these two men only by hearsay, you may have reservations about them as balladeers. They both have reputations for derring-do of a different kind. Davis has never hesitated to do battle with the most frenetic performers, with those who would stick at nothing to win, and lost - to him. And Gonsalves was the hero of one of the great nights in jazz history, when he blew twenty-seven romping, stomping choruses on Duke Ellington's Dimuendo and Crescendo In Blue at Newport 1956. It is easy for jazzmen to become typed, so that the public demands the repeated display of just one particular facet of his talent. This has happened to the two men showcased in this album, where the other side of their musical personalities is brought into focus. Although they have both developed highly individual styles, their original sources of inspiration were masters of the ballad Ben Webster in Davis' case, Coleman Hawkins in that of Gonsalves.  

Their different approaches to the ballad make this recording consistently interesting and surprising. Both are soulful, both are rhapsodical. But Davis plays with clear, confident articulation, a buzz in his tone, and a bite in his phraseology. Generally he is the more driving and passionate of the two. The Gonsalves style is, on the other hand, sinuous, insinuating and less direct. His imaginative lyricism is more tender and often melancholy, his tone well-produced and finely rounded. The breathy sub-tone, which Gonsalves uses so well, adds a curiously confidential and intimate dimension. It is like the musical equivalent of a whispered aside or a delicate suggestion. But both men alternate very adroitly between the discreet and the bold. Their mutual understanding is, in fact, positively uncanny at times, for they had never previously recorded together, and preparation before the sessions was minimal. In the studio their long term professionalism stood them in good stead, as did that of their accompanists, whose taste and sensitivity contribute so much to the recording's appeal. Never obtrusive, they remain in close, listening support, Hanna and Barksdale being quick to prolong or emphasize the thoughts of the two soloists.

Personnel:  Eddie "Lockjaw" Davis, tenor sax;  Paul Gonsalves, tenor sax;  Roland Hanna, piano;  Ben Tucker, bass;  Grady Tate, drums;  Everett Barksdale, guitar

Love Calls

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Carmen Souza - Creology

Styles: Vocal, Piano And Guitar
Year: 2017
File: MP3@320K/s
Time: 43:32
Size: 100,6 MB
Art: Front

(4:50)  1. Ligria
(3:03)  2. Senhorinha
(3:07)  3. Upa Neguinho
(3:44)  4. Pretty Eyes
(3:28)  5. Mon di Deus
(3:39)  6. Xinxiroti
(3:17)  7. Tud Tem 1 Razão
(2:50)  8. London Light
(3:44)  9. Kem Ka Tem Cabeca
(4:24) 10. Homem Musica
(4:18) 11. Escuta Moçambique
(3:03) 12. Creology

The world tour of Carmen Souza , associated with the release of her eighth album, Creology, also hit Italy on five dates between April and May . The Portuguese singer of Cape Verdean origins confirms the association with his mentor and producer, the double bass player Theo Pascal, and with the percussionist Elias Kacomanolis. In some songs we add the very young son of Pascal, Zoe.The route is particularly rich in suggestions. Equipped with a very personal pronunciation and a unique interpretative ability, Carmen Souza highlights her chromatic qualities passing from baritonal glissando to falsetto excursions (up to harmonic singing) but she does not remain a prisoner of her prodigious technique. The repertoire (mostly original: his lyrics and music by Pascal) continues to orbit in that boundary land that combines jazz, traditional Brazilian and Caribbean music and African influences but each time it is fresh and engaging. More than in other records, Creology's path unfolds in a sincere and coherent manner, bringing more attention to tradition than to moments of self-celebration or to fusions of pop flavor (the only, vaguely acid jazz is "London Light"). The interpretations of the Souza highlight greater balance but continue to strike for the eccentricity of the diction, the evocativeness of the sounds, the expressive tension and the variety of solutions: his is among the most intense voices in the contemporary scene, beyond genres and labels. Its partners provide it with a colorful, highly effective and appropriate rhythmic fabric. The three non-original songs are "Upa Neguinho," tribute to Brazil by Edu Lobo, "Pretty Eyes" and "Homem Musica" of the Portuguese / Mozambican Orlanda Guilande. Translate by Google ~ Angelo Leonardi https://www.allaboutjazz.com/creology-review-by-angelo-leonardi.php

Personnel: Carmen Souza: voice, piano, guitar; Theo Pascal: bass, percussions, voice; Elias Kacomanolis: drums, percussions, voice; guest: Zoe Pascal: drums, percussions.

Creology

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David Binney - Bastion Of Sanity

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 77:11
Size: 176,9 MB
Art: Front

( 8:02)  1. Lester Left Town
(11:00)  2. Try
( 5:11)  3. Plan
( 9:42)  4. Bastion Of Sanity
( 4:45)  5. Last Minute
( 6:34)  6. Heaven
(12:21)  7. Gesturecalm
( 9:13)  8. Right Before
(10:18)  9. PF

Kicking things off with Wayne Shorter's "Lester Left Town," Bastion of Sanity might seem a decidedly mainstream affair. And, with a cover of Duke Ellington's "Heaven" halfway through the 77-minute set, that intuition might be right. With his quartet of 20-somethings pianist Jacob Sacks, bassist Thomas Morgan and drummer Dan Weiss, augmented for this recording by long-time collaborator Chris Potter on tenor saxophone alto saxophonist David Binney has been concentrating on honing a looser, more freely improvised group sound at his weekly Tuesday night sessions at the 55 Bar in New York's Greenwich Village for over a year-and-a-half. But while there is more than a passing nod to the traditional on Bastion of Sanity , the recording also fits comfortably within a growing body of work that includes '01's South and last year's Welcome to Life , two recordings that feature a more established roster, including Potter, guitarist Adam Rogers, drummer Brian Blade, bassist Scott Colley and keyboardists Uri Caine and Craig Taborn, alternatively. Binney's own compositions, which make up the balance of this new set, have always leaned towards complex form and irregular metres that, while providing space for soloing, focus more on improvisation within a predefined structure. While idiosyncratic arrangements still abound on Bastion of Sanity , this is an altogether looser blowing affair, with Binney's young crew offering proof that there is an important new wave of young players emerging on the New York scene. "Try" may fit most closely with Binney's writing on Welcome to Life in its longer form and episodic nature. Still, Binney and Potter both get the opportunity for more expansive soloing. 

The more inward-looking "Plan," on the other hand, is a through-composed ballad that has its precedence in Wayne Shorter's "Nefertiti," with the horns repeating the theme while the rhythm section, in particular Weiss who demonstrates his depth of versatility here, as he did on guitarist Rez Abassi's recent Snake Charmer provides the improvisational impetus. The title track, even with its elliptical theme stated in unison by Binney and Potter a characteristic of much of Binney's writing opens up even further. With the stronger emphasis on swing that is arguably the foundation of this set, differentiating it from his other recordings, Binney demonstrates a rich vocabulary, echoing the darker tone of early influences including Gary Bartz and Bennie Maupin. More audacious than usual during his solo, Binney is supported only by Morgan, who, at 22, is already a remarkably mature player maintaining forward motion while, at the same time, being intuitively responsive and Weiss, whose light cymbal work is redolent of DeJohnette's early ECM work. On "Gesturecalm" Sacks mirrors the progressive approach of Andrew Hill while remaining firmly planted in the mainstream. Different than his other recordings, while at the same time completely in character, Bastion of Sanity finds Binney in a more open-ended context which he'll hopefully continue to explore alongside the more structured intricacies of his other work. ~ John Kelman https://www.allaboutjazz.com/bastion-of-sanity-david-binney-criss-cross-review-by-john-kelman.php

Personnel: David Binney: alto saxophone; Chris Potter: tenor saxophone; Jacob Sacks: piano; Thomas Morgan: bass; Dan Weiss: drums.

Bastion Of Sanity

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Art Van Damme - So Nice!

Styles: Accordian Jazz
Year: 1979
File: MP3@320K/s
Time: 38:00
Size: 87,6 MB
Art: Front

(2:46)  1. Perdido
(3:14)  2. Poka dots and moonbeams
(2:27)  3. Mountain greenery
(3:29)  4. We've only just begun
(2:55)  5. So nice (Summer Samba)
(4:11)  6. So what's new
(3:22)  7. On a clear day (You can see forever)
(3:47)  8. How insensitive
(2:35)  9. Work song
(4:01) 10. Moonlight in Vermont
(2:03) 11. A man and a woman
(3:05) 12. Quiet nights of quiet stars

Jazz accordion-master, Van Damme plays much more than cool/accordion mush. In fact, he was an innovator during 60s post-bop. He is an unsung hero.~ Michael G.Nastos https://www.allmusic.com/artist/art-van-damme-mn0000601311/biography

Personnel:  Art van Damme - accordion;  Siegfried Schwab - guitar;  Heribert Thusek - vibes;  Eberhard Weber - bass;  Charly Antolini - drums

So Nice!

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Chuck Brown - Unadorned

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 44:05
Size: 101,2 MB
Art: Front

(3:15)  1. Judgment Day
(2:30)  2. Slave to Your Love
(2:19)  3. Feeling's Gone Away
(3:08)  4. If I Could Show You
(2:55)  5. Just to Do What You Said
(2:50)  6. Creed/Lead On
(3:20)  7. What Must They Do?
(1:28)  8. The Value of Life
(3:21)  9. Grace
(2:40) 10. Stone Heart
(1:34) 11. Kigali: Tears for the Children
(2:35) 12. The Empty Swing
(2:08) 13. Pete and Repeat
(3:10) 14. Drawing Down Dark
(2:07) 15. Nightfall in Pamplona
(2:27) 16. Say The Word
(2:13) 17. Who Do You Think Will Answer?

Melodic, relaxing solo piano music. Chuck Brown began writing songs at the age of 13. His first composition, Judgment Day, is included on this album. He has gone on to write over 200 songs, both instrumental and songs with lyrics, and has released several albums in the solo piano, children's music and Christian pop music genres. "Unadorned" was his first commercial release, recorded in 1997. The location of the recording was Tejas Studios (Franklin, TN), located in a barn on the estate of Amy Grant and Gary Chapman. The album was recorded in a single 14-hour day. While he has gone on to record several albums since, a number of people still point to this simple, uncluttered solo piano collection as their favorite.~ Editorial Reviews https://www.amazon.com/Unadorned-Chuck-Brown/dp/B00CICEZI6

Chuck Brown began writing songs at the age of 13. His first composition, Judgment Day, is included on this album. He has gone on to write over 200 songs, both instrumental and songs with lyrics, and has released several albums in the solo piano, children's music and Christian pop music genres."Unadorned" was his first commercial release, recorded in 1997. The location of the recording was Tejas Studios (Franklin, TN), located in a barn on the estate of Amy Grant and Gary Chapman. The album was recorded in a single 14-hour day. While he has gone on to record several albums since, a number of people still point to this simple, unclutter solo piano collection as their favorite. https://store.cdbaby.com/cd/chuckbrown5

Unadorned

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