Wednesday, July 18, 2018

The Howard Roberts Quartet - Whatever's Fair

Bitrate: MP3@320K/s
Time: 28:02
Size: 64.2 MB
Styles: Easy Listening, Guitar jazz
Year: 1966/2014
Art: Front

[2:33] 1. The Shadow Of Your Smile
[2:34] 2. Sweet September
[2:33] 3. Pussy Cat
[2:25] 4. Whatever's Fair
[2:01] 5. This Is The Life
[2:36] 6. On A Clear Day You Can See Forever
[2:33] 7. I'll Only Miss Her When I Think Of Her
[2:40] 8. Manha De Carnaval
[2:57] 9. Michelle
[2:38] 10. A Taste Of Honey
[2:27] 11. Bye Bye Blues

Bass Guitar – Chuck Berghofer; Drums – Earl Palmer; Guitar – Bill Pitman, Howard Roberts; Organ – Henry Cain; Percussion – Jill Roberts.

We're still in the wild '60s when Howard Roberts was on a roll producing some very fine pop-oriented guitar jazz as was the fad these days, a fact easily witnessed by this magnificent Capitol LP. Forget rock 'n roll for a moment, this is expertly crafted Daiquiris-by-the-pool music by the top session men.

Whatever's Fair mc
Whatever's Fair zippy

Alex Gomez - Calle Doce

Bitrate: MP3@320K/s
Time: 58:58
Size: 135.0 MB
Styles: Fusion
Year: 2009
Art: Front

[10:24] 1. Holograma
[ 8:06] 2. Ladyjazz
[ 3:58] 3. Q' Fusion
[ 9:45] 4. Tumbando
[ 4:22] 5. Andando Smooth
[ 4:56] 6. Adrenalina
[ 8:17] 7. Funkation
[ 3:19] 8. Teen Town
[ 5:48] 9. Como De Que Rock

Alejandro Gomez was born in Guadalajara Jalisco México december 20th 1980. At the age of 6, Alex discovered an irresistible attraction towards the drum set and music in general under his biggest influence his father Jose Gomez (professional musician). At the age of 13 he enrolled in the Conservatory of music of Guadalajara (U.D.G) and participated in several master classes with many great musicians, Alvaro Lopez Jr, Gregg Bissonette, Antonio Sanchez, Giovanni Figueroa, Dave Weckl and many others. At the age of 15 he began his professional career as a Studio musician working with several local bands with such stylings as pop, funk, Rock , Jazz, Fusion and many others Latin styles such as Salsa, Merenge, Jazz Latino, Timba and Brazilian Music. His introduction to the big city at age 19 was in the expromusic festival 2000 with his jazz Quartet McKanne. At that time they where one of the youngest and most recognize Jazz bands in Guadalajara. Since then, he has been offered work as a professional musician in Mexico City. Working with several artists as a studio Musician and touring in many countries with many Mexican artists such as Lucero, Angelica Vale, Nicola Di vari, Jose Jose, Emmanuel, Gloria Trevi, Mijares, Ana Sirre, Gilberto Gless, Paty Manterola, Pablo Montero, Belinda, Amaury Gutierrez, Ha Ash, Francisco Cespedes, Ana Barbara, Yuri, Tommy Torres, Alejandra Guzman, SPECIAL EVENT SHOW LIVE WITH ALEJANDRO SANZ MEXICO CITY AUDITORIO NACIONAL. nowdays he’s playing with, RICARDO MONATNER, Alex also has performed in important Mexican Tv shows like: MTV latin awards, Superball, Otro Rollo, No Manches, La Parodia, Permitame Tantito, Animal Nocturno, and many others. He is currently playing on the mexican jazz scene, recently was invited to play with Tom Coster (Jazz Master, Santana, Vital Information, etc.) He has conducted clinics and master classes in Mexico & latin America. Alex is sponsored by PEARL DRUMS, EVANS drum heads, ZILDJIAN cymbals. With "Calle Donce" Alex launches his solo career.

Calle Doce mc
Calle Doce zippy

Marian McPartland - Paper Moon

Bitrate: MP3@320K/s
Time: 32:29
Size: 74.4 MB
Styles: Piano jazz
Year: 2009
Art: Front

[2:24] 1. Limehouse Blues
[2:45] 2. It's Only A Paper Moon
[3:01] 3. Moonlight In Vermont (Previously Unreleased Version)
[2:28] 4. Love For Sale (Previously Unreleased Version)
[3:05] 5. All My Life
[5:46] 6. Love You Madly
[2:58] 7. Lullaby Of Birdland
[3:43] 8. Four Brothers (Previously Unreleased Version)
[3:07] 9. Aunt Hagar's Blues (Previously Unreleased Version)
[3:07] 10. Foggy Day

For more than 40 years, Marian McPartland hosted Piano Jazz, an NPR program pairing conversation and duet performances that reached an audience of millions, connecting with jazz fans and the curious alike. She interviewed practically every major jazz musician of the post-WWII era.

McPartland's soft English accent wasn't the only thing that made her a good radio personality. She was an accomplished jazz pianist herself, which was readily evident on her program.

Paper Moon mc
Paper Moon zippy

Christos Rafalides' Manhattan Vibes - Blue November

Bitrate: MP3@320K/s
Time: 66:07
Size: 151.4 MB
Styles: Vibraphone jazz
Year: 2013
Art: Front

[ 6:06] 1. 718
[ 6:43] 2. Blue November
[ 8:24] 3. Sorayia
[ 6:07] 4. Red And Black
[ 5:43] 5. Love Is A Many Splendored Thing
[ 6:26] 6. Days Of Silence
[10:42] 7. Unrequited
[ 5:55] 8. Smile
[ 5:34] 9. Samba Wa
[ 4:23] 10. Whisper Magic

Christos Rafalides: vibraphone, marimba; Sergio Salvatore: piano; Mike Pope: bass; Vince Cherico: drums, percussion.

Manhattan Vibes is a spot-on double entendre, referencing the vibraphone focal point that is Christos Rafalides and the hustle and bustle of the world's busiest city, which manifests itself in the group's music. Rafalides, who hails from Kozani, Greece and adopted New York as his new home, waited more than a decade to make a follow-up to the band's self titled debut, but it was worth the wait.

The personnel line-up on Blue November is completely different from its predecessor, but equally potent. The reconfigured Manhattan Vibes is a piano trio- plus- vibraphone/ marimba grouping that explores the ins-and-outs of pan-Latin jazz. A strong Chick Corea influence comes through in the music, whether fused with a tropical sound, à la vibraphonist Dave Samuels ("718"), or dosed with a hint of Mediterranean lust and a touch of Middle Eastern dust ("Sorayia"). Elsewhere, the band gets its slow groove on ("Blue November"), turns an old chestnut on its head with a Latin rewrite in nine ("Love Is A Many Splendored Thing"), delivers mellow jewels that unfold into something more ("Days Of Silence"), and visits Brazil with a bouncy affair ("Samba Wa"). Rafalides closes out the program with a solo vibraphone performance that puts all of his many gifts on display ("Whisper Magic").

The influence of Rafalides' mentor and occasional duet partner—vibraphonist Joe Locke—isn't lost on this music, but it's simply one ingredient in the complex recipe that is Manhattan Vibes. Pianist Sergio Salvatore, another mano-a-mano duo companion of Rafalides, syncs up wonderfully with the vibraphonist, matching his charisma and Latin-infused charm pound-for-pound. Drummer Vince Cherico can drive the music when necessary, but he also displays a sensitive touch that doesn't overpower. Bassist Mike Pope, who also works with Locke, is superb at every turn, whether soloing or holding down the fort. ~Dan Bilawsky

Blue November mc
Blue November zippy

Ruby Braff, Ellis Larkins - 2 X 2

Bitrate: MP3@320K/s
Time: 50:06
Size: 114.7 MB
Styles: Mainstream jazz
Year: 1955/2006
Art: Front

[5:31] 1. My Funny Valentine
[3:12] 2. Mountain Greenery
[4:53] 3. Where Or When
[4:16] 4. Didn't Know What Time It Was
[4:12] 5. Blue Moon
[3:26] 6. I Could Write A Book
[3:50] 7. Thou Swell
[3:25] 8. My Romance
[3:34] 9. You Took Advantage Of Me
[4:52] 10. Little Girl Blue
[4:02] 11. I Married An Angel
[4:47] 12. The Girl Friend

Piano – Ellis Larkins; Trumpet – Ruby Braff.

In 1955, trumpeter Ruby Braff recorded two duet albums with the sensitive pianist Ellis Larkins and both projects were very well-received. This CD reissue brings back the second session in which they perform a dozen songs written by Rodgers & Hart. The passionate Braff and Larkins (a masterful accompanist) work quite well together. Although the emphasis is on ballads, there are a few hotter pieces that find Braff pushing Larkins a bit. Highlights include "Mountain Greenery," "Blue Moon," "My Romance," and "You Took Advantage of Me." ~Scott Yanow

2 X 2

Sonny Stitt - Autumn In New York

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 47:14
Size: 109,7 MB
Art: Front

( 3:51)  1. Stardust
( 4:16)  2. Cherokee
( 4:45)  3. Autumn In New York
( 3:36)  4. The Gypsy
( 5:21)  5. Loverman
(10:53)  6. Matter Horns
( 7:01)  7. Hello
( 7:29)  8. Night Work

Autumn in New York combines together four selections from a quintet session featuring altoist Sonny Stitt, trumpeter Howard McGhee, pianist Walter Bishop, bassist Tommy Potter, and drummer Kenny Clarke (three boppish blues and a Stitt feature on "Lover Man") with four selections showcasing Stitt with unknown accompaniment from a 1962 date at Birdland. The saxophonist recorded so many sessions that it is not necessary to acquire them all to get a good sampling of his playing, particularly since his style was virtually unchanged after the mid-'50s. ~ Scott Yanow https://www.allmusic.com/album/autumn-in-new-york-mw0000315962

Personnel:  Alto Saxophone – Sonny Stitt;   Bass – Tommy Potter;  Drums – Kenny Clarke;   Piano – Walter Bishop;  Trumpet – Howard McGhee

Autumn In New York

Manhattan Jazz Quintet - I Got Rhythm

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 58:52
Size: 135,2 MB
Art: Front

(4:43)  1. I Got Rhythm
(9:07)  2. Def Groove
(5:29)  3. Stuff Like That
(8:38)  4. Mr.Magic
(4:24)  5. Donna Lee
(7:16)  6. Why Wouldn't I?
(6:43)  7. Breezin'
(5:43)  8. Harbor Hotel
(6:49)  9. Feel Like Makin' Love

The Manhattan Jazz Quintet are an unusual group in that they very rarely perform as a unit in the United States (much less Manhattan) but have been a major hit in Japan, both for their recordings and occasional tours. Originally comprised of leader/pianist David Matthews, trumpeter Lew Soloff, tenor saxophonist George Young, bassist Eddie Gomez, and drummer Steve Gadd, the band (which emphasizes straight-ahead hard bop swinging) first came together in 1983 at the suggestion of the King label and the top Japanese jazz magazine Swing Journal. To everyone's surprise, its first recording (simply called Manhattan Jazz Quintet) became such a big seller that it was awarded Swing Journal's annual 1984 Gold Disk Award as the number one album in Japan. Several years later the group broke up when Gomez and Gadd needed more time to pursue their individual projects and all of the quintet members later became quite successful in their own careers but this edition of the MJQ recorded reunions in 1990 (which found John Scofield guesting on a few selections) and in 1993. Victor Lewis replaced Gadd that year, and subsequently Young was replaced by Andy Snitzer and Gomez by Charnett Moffett. The Manhattan Jazz Quintet recorded primarily for King in Japan (those dates were mostly made available in the U.S. by Projazz) during the 1980s, although they cut some later recordings among the comparative very few that actually took place in Manhattan! for the Sweet Basil label. During the new millennium the Manhattan Jazz Quintet have recorded regularly for Video Arts. ~ Scott Yanow https://itunes.apple.com/us/album/i-got-rhythm/687452860

I Got Rhythm

Chuck Brown - Breathe

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 53:21
Size: 122,9 MB
Art: Front

(2:43)  1. Give Us a Smile, Alicia
(2:47)  2. Remind Me to Breathe
(2:04)  3. Waltz Flowers
(4:17)  4. Some Things Are Better Left Unsaid
(3:35)  5. Sentimental
(4:43)  6. She's Grown Up Sad
(2:28)  7. Return to Pamplona
(3:30)  8. Paint My Life
(3:51)  9. I Am Me
(4:52) 10. Letter to Molly
(2:13) 11. Plays Well With Others
(1:57) 12. Lights Across the Water
(3:48) 13. The World's Biggest Fool
(2:12) 14. Cleansing Rain
(2:42) 15. The Touch
(2:54) 16. Benediction
(2:36) 17. You Never Know

Chuck Brown wrote his first song at the age of 12 while working to earn his Music merit badge in Boy Scouts. He has continued writing, branching out to multiple genres since that time (singer/songwriter, instrumental, praise and worship, new country and songs for kids grades K-4). His first album, "Unadorned" (1997) received significant airplay on New Age and Smooth Jazz radio. "Breathe" (2000) improved on this success. Brown also served as Executive producer and chief songwriter on The Grace Project's album, "The Big Love" (1998). His latest project is an album for kids (listed as Chuck Brown & The Chuckleberries). More info is available at his personal website: ChuckBrown.com ~ Editorial Reviews https://www.amazon.com/Breathe-Chuck-Brown/dp/B00004HYQG

"It's a wonderful album." ~ David Shear, WSIA - Staten Island, NY

"With so much piano music around, can anyone truly be considered a pioneer?...incredibly beautiful and spiritually uplifting. ~ PJ Birosik, The Monthly Aspectarian

"heals like vitamin E on a forgotten cut. Call it new age if you like, but it's good stuff" ~ Ben Ohmart, @N-Zone Magazine

"the soundtrack to the fantasy world of pure peace and relaxation...a luxurious album of instrumental heaven." ~ Daina Kazmaier - Music Dish

...expressively organic...grounded in reality with strong acoustic sounds...hints of jazz and classical...quietly unassuming... ~ Adam Garratt - Columbus Alive

...fans looking for something more accessible than... ...George Winston, yet with more depth than many...will find a lot to enjoy... ~ Bill Binkelman - Wind & Wire

...hits a nice laid back adult groove on his new, mostly solo, piano set...nice find for adult listeners on the prowl... ~ Chris Spector - Midwest Record Recap

Breathe

Konstantin Klashtorni - Groove Jazz N Chill #6

Styles: Saxophone Jazz, Smooth Jazz
Year: 2018
File: MP3@320K/s
Time: 55:37
Size: 127,7 MB
Art: Front

(3:51)  1. Dearest
(4:37)  2. Love at Midnight
(5:30)  3. Inspiration
(4:38)  4. Serendipity
(4:44)  5. A New Day
(4:12)  6. Four Miles
(4:35)  7. Eyes Like Sapphire
(4:39)  8. It's Only You
(5:03)  9. All the Way
(4:50) 10. An Evening's Tale
(4:13) 11. Above the Moon
(4:41) 12. Still Waters

The mastermind of Kool&Klean series, producer and contemporary saxophonist Konstantin Klashtorni keeps producing smooth tracks for Chillaxing Jazz KolleKtion. His newest album is a special blend of chill out, electro jazz, relaxing grooves and sweet melodies,  relaxing and soothing to your heart and mind. https://store.cdbaby.com/cd/chillaxingjazzkollektion6

Groove Jazz N Chill #6

Tuesday, July 17, 2018

Buddy Collette Big Band - In Concert

Bitrate: MP3@320K/s
Time: 55:48
Size: 127.7 MB
Styles: Big band
Year: 2000
Art: Front

[ 7:13] 1. Magali
[ 7:04] 2. Andre
[ 3:08] 3. Mr. And Mrs. Goodbye
[ 4:25] 4. Blues Number Four
[11:55] 5. Jazz By The Bay
[ 7:59] 6. Blues In Torrance
[ 7:00] 7. Point Fermin From Friendships Suite
[ 7:01] 8. Buddy Boo

Bass – Richard Simon; Cello – Fred Katz; Drums – Chico Hamilton, Leon Ndugu Chancler; Guitar – Al Viola; Piano – Gerald Wiggins; Trombone – Britt Woodman, Garnett Brown, George Bohanon, Les Benedict, Maurice Spears; Trumpet – Al Aarons, Anne King (2), Nolan Shaheed, Ronald Barrows; Woodwind – Ann Patterson, Buddy Collette, Ernie Fields, Jackie Kelson, John Stephens, Louis Taylor Jr., Steven Carr. Recorded at the Lincoln Theatre, Washington D.C.

A fluent multi-instrumentalist, and the composer of everything from TV jingles to chamber music to jam-session staples, Buddy Collette has tended to be a victim of his own versatility. But The Buddy Collette Big Band in Concert, which captures a 1996 performance in Washington, D.C., is probably his best calling card to date. For one thing, it demonstrates that the 75-year-old leader remains in fine form on the tenor sax, clarinet, and (especially) flute--check out his nuanced reading of "Blues in Torrance," and the way his ebullient solo keeps bumping up against the tune's descending harmonies. What's more, the disk showcases Collette's compositional gifts. He's concocted some rousing vehicles for his 19-piece band, and the bright, brassy arrangements on "Andre" and "Blues Number Four" suggest late-period Basie, alternating catchy riffing with piquant solo voices. Among the latter, Garnett Brown delivers some attractively gutbucket trombone, while saxophonist Louis Taylor comes out swinging on "Magali." There's also a guest appearance by the leader's old comrade-in-arms Chico Hamilton, who drives the ensemble through a heated version of "Buddy Boo." But despite his aversion to hogging the spotlight, this is clearly Collette's show--and it's about time, isn't it? ~James Marcus

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Tommy Emmanuel - Accomplice One

Bitrate: MP3@320K/s
Time: 63:52
Size: 146.2 MB
Styles: Assorted guitar styles
Year: 2018
Art: Front

[3:27] 1. Deep River Blues (With Jason Isbell)
[3:21] 2. Song And Dance Man (With Ricky Skaggs)
[2:34] 3. Saturday Night Shuffle (With Jorma Kaukonen, Patbergeson)
[2:52] 4. Wheelin' & Dealin' (With J.D. Simo, Charlie Cushman)
[4:12] 5. C-Jam Blues (With David Grisman, Bryan Sutton)
[4:50] 6. (Sittin' On) The Dock Of The Bay (With J.D. Simo)
[5:19] 7. Borderline 9with Amanda Shines)
[2:51] 8. You Don't Want To Get You One Of Those (With Mark Knopfler)
[5:00] 9. Keepin' It Reel (With Clive Carroll)
[4:25] 10. Looking Forward To The Past (With Rodney Crowell)
[4:04] 11. Purple Haze (With Jerry Douglas)
[3:13] 12. Rachel's Lullaby (With Jake Shimabukuro)
[3:26] 13. Djangology (With Frank Vignola, Vinny Raaniolo)
[5:30] 14. Watson Blues (With David Grisman, Bryan Sutton)
[5:13] 15. Tittle Tattle (With Jack Pearson)
[3:26] 16. The Duke's Message (With Suzy Bogguss)

Accomplice One is a testament to Tommy’s musical diversity, the range of expression that stretches from authentic country-blues to face-melting rock shredding, by way of tender and devastating pure song playing. The songs are a mix of new takes on indelible classics and brand new originals from Tommy and his collaborators. The artists who stepped forward to join Tommy in the studio are an impressive list of some of today’s most respected performers, from across the musical spectrum.

"Confession time – I’m not usually a fan of multiple collaborator type albums. Too often they strike me as a marketing wheeze in which the guest artists add little to the equation. Fair play to acoustic guitar man Tommy Emmanuel though, on Accomplice One he’s taken advantage of guests toting a variety of instruments to explore a wide range of musical styles.

What this means though, is that your response to the material is liable to be very much a matter of personal taste. So for my part the jet-propelled bluegrassy picking on “Wheelin & Dealin’”, featuring banjo from Charlie Cushman and electric guitar from JD Simo, is a winner. Likewise the rattling Celtic folk of “Keepin’ It Reel”, with Clive Carroll. On a different note, the Americana ballad-styled reading of Madonna’s “Borderline”, colored by Amanda Shires’ fiddle and vocals, takes on an aching quality. And in another vein entirely, “Purple Haze” is a launchpad for a rousingly steely instrumental adventure with Jerry Douglas on Dobro.

On the other hand, the duet of “Song And Dance Man” with Ricky Scaggs, and “Looking Forward To The Past” with Rodney Crowell, are country songs with the kind of cloyingly maudlin lyrics that do the genre no favors, though at least the latter musters some chugging energy. Meanwhile if you like gypsy jazz then “Djangology” and a hornless version of Duke Ellington’s “C-Jam Blues”, may well float your boat. But they leave me cold, as does the sleepy duet with Mark Knopfler on “You Don’t Want To Get You One Of Those,” whose lyric about a beat-up automobile appears to be a shoddy metaphor for a woman past her best.

The balance of the 16 tracks are satisfying enough to differing degrees, including an affectionate cover of “(Sittin’ On) The Dock Of The Bay” with Simo on vocals, and a rendition of “Watson’s Blues” that puts me pleasantly in mind of Samantha Fish’s take on “Jim Lee Blues Part 1”. And the musicianship is top notch throughout of course, so if you’re an acoustic roots aficionado, Accomplice One is probably right up your street. But to a wider audience it’s likely to be a pick’n’mix affair." ~Iain Cameron

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Chantae Cann - Sol Empowered

Bitrate: MP3@320K/s
Time: 52:28
Size: 120.1 MB
Styles: Jazz/Funk/Soul
Year: 2017
Art: Front

[5:15] 1. U Gotta Love Ya
[7:30] 2. The Light
[3:36] 3. Happy Song
[1:30] 4. Happy Song Interlude
[4:57] 5. The Love Above
[2:28] 6. Sol Glo
[6:00] 7. Fruition
[4:08] 8. Craters
[4:03] 9. Hey Whatcha Say
[3:40] 10. The Sound
[4:26] 11. Reason To Live
[4:50] 12. Irise

Bass – Brian Cockerham (tracks: 1 to 5, 7 to 9); Drums – Big Ed Clark (tracks: 1 to 5, 7 to 9); Electric Piano [Rhodes] – Justin C Gilbert (tracks: 1, 3, 4, 7, 8); Piano – Justin C Gilbert (tracks: 7, 8, 10, 11); Vocals – Chantae Cann.

"I sing because I LOVE to. I sing because God has entrusted me with a gift purposed to CHANGE the WORLD one melody at a time. I sing to HELP. I sing to HEAL. I sing to COMFORT. I sing to LIBERATE. I sing to APPRECIATE. I sing to MOTIVATE. I sing to RELEASE. I sing to EXPRESS. I sing because honestly it's what I was MADE to do!" ;-)

Sol Empowered mc
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Yallopin' Hounds - Ghetto Swing Extreme

Bitrate: MP3@320K/s
Time: 63:59
Size: 146.5 MB
Styles: Retro Swing
Year: 2000
Art: Front

[ 5:10] 1. Hot Dog
[ 5:02] 2. Nobody Knows
[ 4:07] 3. Oops My Bad!
[ 6:01] 4. Daddy Make It Feel Good
[ 4:26] 5. Song For The Romantically Unrequited
[ 4:56] 6. We
[ 5:16] 7. You Ain't Shit
[ 6:04] 8. Where Have You Been
[ 8:11] 9. Ghetto Swing
[ 3:59] 10. Flat Foot Floogie
[10:03] 11. King Of The Mall
[ 0:38] 12. Musicology Criminology

Longtime Toasters fans were disgruntled in 1999 when trumpeter Brian Sledge aka Lord Sledge left the group to devote full-time attention to his side band the Yallopin' Hounds. While dubbed swing revival, the Hounds' music leans closer to Jazz Messengers' style of late-'50s hard bop than mainstream acts like the Cherry Poppin' Daddies and Big Bad Voodoo Daddy. The album contains 12 songs, 11 of which were written by alto player Joey Cavaseno. Most of the arrangements showcase Sledge's extremely wide range, but Cavaseno and tenor saxophonist Herman X are given a chance to take full advantage of their solos. On vocals Sledge is less than adequate when he tries to push his range. Part of the reason for this is the group's other vocalist, Queen Esther. Her raw jazz singing abilities prove that Sledge, while a great trumpet player, is a bit of an amateur on vocals. Still, this album should have a rather wide appeal, from fans of Sledge to jazz aficionado's who will no doubt take extreme pleasure from the group's stellar songwriting. ~Curtis Zimmermann

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Neil Larsen - Forlana

Bitrate: MP3@320K/s
Time: 53:38
Size: 122.8 MB
Styles: Contemporary jazz, R&B
Year: 2015
Art: Front

[5:46] 1. Flying By
[5:04] 2. Brother Joe
[6:15] 3. Mere Larue
[4:46] 4. Winter Glow
[5:37] 5. Islamorada
[4:57] 6. Forlana
[5:55] 7. Satellite Beach
[3:55] 8. City Blue
[5:51] 9. At The Sunset Royale
[5:29] 10. Pastoral

All Instruments Played by Neil Larsen. Neil’s first album in 8 years, ‘Forlana’ contains 10 new songs that feature him playing organ and piano, as well as trumpet, saxophone, oboe, trombone and a variety of other instruments. Touching on R&B, jazz & world music, this is a unique project, destined to be a cornerstone in Neil’s discography.

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Stan Kenton - Artistry Jumps

Bitrate: MP3@320K/s
Time: 42:49
Size: 98.0 MB
Styles: Big band
Year: 2017
Art: Front

[2:35] 1. Artistry Jumps
[2:36] 2. Balboa Bash
[2:15] 3. Harlem Folk Dance
[2:41] 4. Tampico
[3:51] 5. End Of The World
[2:51] 6. Around The Town
[2:33] 7. Shoo Fly Pie And Apple Pan Dowdy
[4:28] 8. Capitol Punishment
[2:25] 9. Are You Livin' Old Man
[2:01] 10. Lover
[2:59] 11. Taboo
[3:04] 12. I 've Been Down In Texas
[2:53] 13. Painted Rhythm
[3:19] 14. Two Moose In A Caboose
[2:13] 15. Everybody Swing

Stan Kenton’s life might best be described as one long battle: to win over public acceptance in his struggle to elevate “popular” music by combining elements of jazz and classical sounds in to a new, artistic style of American music. “You’ve got to believe in something to achieve whatever goal you’re shooting for. My own ideas may be wrong, but I’m going to stick with them until they break me,” declared Kenton in 1943. At the same time, and from the opposite perspective, several classical composers like Stravinsky and Villa-Lobos, were incorporating elements of jazz into their music. “Artistry in Rhythm” was Kenton’s most radical example to date of his innovative conceptions to effect a combination of the two styles. When Kenton opened at the Rendezvous Ballroom in Balboa Beach, CA, for the summer season in 1941, he lacked the essential feature of an identifying song. Every band needed its own instantly recognizable signature tune, so rather than chose an already-known melody, Stan set to and composed a 45-second original piece which he called simply “Theme.”By July 1943, Kenton had expanded the work into the fully developed, semi-symphonic orchestration that he called “Production on Theme.” But when it was recorded at the band’s first Capitol session on November 19, 1943, Capitol executives balked at the highbrow title, and persuaded Kenton it was better named after the orchestra’s slogan—“Artistry in Rhythm.” “And, of course,” commented Stan, “It’s stuck ever since.”

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Horace Silver - You Gotta Take A Little Love

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 39:11
Size: 92,3 MB
Art: Front

(5:24)  1. You Gotta Take A Little Love
(4:37)  2. The Risin' Sun
(6:42)  3. It's Time
(4:14)  4. Lovely's Daughter
(4:30)  5. Down And Out
(7:26)  6. The Belly Dancer
(6:14)  7. Brain Wave

One of the final Horace Silver Quintet Blue Note albums, this somewhat forgotten LP, dedicated to "the Brotherhood of Men," is an instrumental set that introduced six new compositions by the pianist/leader (none of which caught on as standards) along with Bennie Maupin's "Lovely's Daughter." Maupin (on tenor and flute), trumpeter Randy Brecker, bassist John Williams, and drummer Billy Cobham comprise Silver's excellent late-'60s hard bop group. [In 2007 Blue Note reissued You Gotta Take a Little Love in a remastered Rudy Van Gelder edition.] ~ Scott Yanow https://www.allmusic.com/album/you-gotta-take-a-little-love-mw0000559874

Personnel:  Horace Silver - piano;  Randy Brecker - trumpet, flugelhorn;  Bennie Maupin - tenor saxophone, flute;  John Williams - bass;  Billy Cobham - drums

You Gotta Take A Little Love

Della Reese - Della On Stage

Styles: Vocal
Year: 1962
File: MP3@320K/s
Time: 42:08
Size: 97,8 MB
Art: Front

(2:21)  1. Comes Once In a Lifetime
(3:12)  2. Bye Bye Blackbird
(4:27)  3. Misty
(5:05)  4. Medley: The Lamp Is Low / After the Lights Go Down Low / Fly Me to the Moon
(4:57)  5. You Came a Long Way from St. Louis
(5:35)  6. His Eye Is On the Sparrow
(4:15)  7. Mad About Him, Sad About Him, How Can I Be Glad Without Him Bues
(3:05)  8. Ol' Man River
(4:25)  9. If Ever I Would Leave You
(4:40) 10. Someday (You'll Want Me to Want You)

Renowned as both a television star and a top-flight interpreter of jazz, blues, R&B, gospel, and straight-ahead pop music, Della Reese's many talents ensured a long, varied, and legendary show biz career. In addition to being nominated for both an Emmy and a Grammy and receiving a star on the Hollywood Walk of Fame, Reese was also an ordained minister in the Universal Foundation for Better Living, an association of churches she helped found in the early '80s. Born Deloreese Patricia Early on July 6, 1931, the young Reese began singing in the Baptist church choir in her hometown of Detroit at age six. In 1945, having developed quite rapidly, she caught the ear of legendary gospel queen Mahalia Jackson, who invited Reese to join her touring choir; Reese did so for the next five summers. Upon entering Wayne State University to study psychology, Reese formed a women's gospel group, the Meditation Singers, but her college career was cut short by the death of her mother and her father's serious illness. Reese worked odd jobs to help support the rest of her family; she also continued to perform with the Meditation Singers and various other gospel groups. Encouraged by her pastor, Reese began singing in nightclubs in hopes of getting a singing career off the ground; recently married to a factory worker named Vermont Adolphus Bon Taliaferro, her name was too long to fit on marquees, and she eventually arrived at her performing alias by splitting up her first name. After impressing a New York agent, who promptly signed her, Reese moved to New York and joined the Erskine Hawkins Orchestra in 1953. A year later, she had a recording contract with Jubilee, for whom she scored hits like "And That Reminds Me," a 1957 million-seller. 

Switching to RCA Victor, Reese landed her biggest hit in 1959 with "Don't You Know?," a song adapted from Puccini's La Bohème; this cemented her career, leading not only to plentiful appearances on variety shows, but successful nightclub tours of the country and eventually nine years of performances in Las Vegas, as well as recording contracts with a variety of labels over the next few decades. Building on her previous variety show experience, Reese made a small bit of television history in 1969 when she became the first woman to guest-host The Tonight Show with Johnny Carson. Later that year, she became the first black woman to host her own variety show, the syndicated Della, which ran until 1970. Following its cancellation, Reese returned to her nightclub tours, often putting in guest appearances on television shows like The Mod Squad, Sanford and Son, and Chico and the Man; after three prior failed marriages, Reese also found a lasting relationship with producer Franklin Lett, whom she married in 1978. On October 3, 1980, while taping a song for The Tonight Show, Reese suffered a brain aneurysm that nearly proved fatal; however, thanks to a successful operation, she was able to make a full recovery. She kept up her singing career and appeared on television shows like Designing Women, L.A. Law, and Picket Fences, as well as the Eddie Murphy films Harlem Nights and The Distinguished Gentleman. Reese also starred in the Redd Foxx sitcom The Royal Family from 1991-1992, and garnered what was undoubtedly her highest level of recognition in the inspirational drama series Touched by an Angel, a quite popular program that ran for nine years, between 1994 and 2003, on the CBS network. After Touched by an Angel finished its run, Reese continued to act intermittently on television through to 2014. She died at her home in Encino, California in November 2017 at the age of 86. ~ Steve Huey https://www.allmusic.com/artist/della-reese-mn0000196544/biography

Della On Stage

Richard Elliot - Ricochet

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 43:45
Size: 100,8 MB
Art: Front

(5:19)  1. Corner Pocket
(4:00)  2. Ricochet
(4:20)  3. Rendezvous
(4:19)  4. Sweet Memories
(3:58)  5. So Good
(4:13)  6. Seven Sacred Pools
(4:14)  7. Slam
(4:34)  8. You Make Me Feel Brand New
(4:25)  9. Sake For Two
(4:18) 10. Sly

It is unfortunate that a musician with such "funky" credentials as saxophonist Richard Elliot  he played for Tower of Power, for cryin' out loud keeps churning out the same overly programmed, drum-machine-heavy, melodically "lite" Cheez Whiz. The guy has the chops to deliver a lot better than what he comes up with on Ricochet arrangements are laid down with a kind of presumptuous "soulfullness," as if Elliot is "really gonna dig in to something here." Instead, listeners get predictable melodies played over stiff rhythm tracks that underline the general lack of funk on Ricochet. 

Granted, if you are a big fan of instrumental pop or smooth jazz, you'll probably enjoy Elliot's adequate if uninspired cover of the Stylistics' hit "You Make Me Feel Brand New," and a few of the original tunes on the album are pleasant enough as musical wallpaper, but there is little here that can be recommended to anyone but the most die-hard pop-jazz fanatics. ~ Matt Collar https://www.allmusic.com/album/ricochet-mw0000022533

Personnel: Richard Elliot - tenor saxophone;  Lenny Castro - percussion;  Luis Conte - percussion;  Lee Thornburg - trumpet;  Nick Lane - trombone;  Tony Maiden - guitar;  Rex Rideout - keyboards, programming;  Ronnie Garrett - bass;  Ron Reinhardt - keyboards

Ricochet

Joe Farrell - Canned Funk

Styles: Saxophone And Flute Jazz
Year: 1975
File: MP3@320K/s
Time: 34:04
Size: 78,6 MB
Art: Front

(7:21)  1. Canned Funk
(9:53)  2. Animal
(9:05)  3. Suite Martinique
(7:45)  4. Spoken Silence

Joe Farrell's final of six CTI dates has fairly lengthy versions of four of his originals. Farrell, who adds baritone to his usual trio of instruments (tenor, soprano and flute), once again welcomes guitarist Joe Beck as his co-star, along with bassist Herb Bushler, drummer Jim Madison and percussionist Ray Mantilla. The music is melodic, sometimes funky, and enjoyable if not essential, but all of Joe Farrell's CTI sets are worth acquiring. ~ Scott Yanow https://www.allmusic.com/album/canned-funk-mw0000904447

Personnel:  Joe Farrell – tenor saxophone, soprano saxophone, baritone saxophone, flute;  Herb Bushler – bass;  Joe Beck – guitar;  Jim Madison – drums;  Ray Mantilla – conga, percussion.

Canned Funk

Ivo Perelman - Introspection

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 79:20
Size: 187,3 MB
Art: Front

( 5:38)  1. Introspection
( 9:50)  2. Karmic Forces
( 8:40)  3. Divine Awareness
( 8:18)  4. Extended Consciousness
(14:56)  5. Spiritual Destiny
( 4:27)  6. Self-Forgiveness
( 5:56)  7. All Power Emanates From One Source
(10:44)  8. Angel of Forgetfulness
(10:47)  9. Faith

In no uncertain terms: the Brazilian Ivo Perelman with this remarkable recording confirms himself as one of the most important tenor saxophonists of the free-of-today scene. Perelman has favored the trio formula, a training that allows him to act with the necessary freedom of expression and with which he recorded his latest work Black on White for the Portuguese Clean Feed. On Introspection instead we find him at the helm of a quartet that includes the violinist Rosie Hertlein. It is a group of musicians, however, with 'variable geometry', for example "Divine Awareness" is a duo between Dominic Duval's leader and powerful double bass, while other songs develop into a trio, without drums or without contrabass ( "All Power Emanates from One Force"). The magnetism of a series of songs constructed with extreme concentration and a deep sense of the construction of the sentence, however, also lies in this alternation of formulas. Perelman and the violinist do not disdain magmatic moments, as in "Karmic Forces", balding the ghosts of a free historian who is always around the corner and never denied. But the whole album takes place on other coordinates, escaping the temptation to offer a music in which the expressiveness of the gesture prevails over any formal preoccupation. There is a precise way to structure palpitating and intense atmospheres for a path that exploits dilated spaces without rhetoric or pretentiousness, simply necessary in order to allow to express everything possible. The solos are developed along arcs of tension that intertwine with the rhythm in a coherent whole, without flaws or moments in search of a common thread. A free structured therefore, and yet participates in the shady, dark, spontaneous contents in their long unraveling, witness of a mainly interior artistic growth, without which so much balance and spirituality of intent would end up slipping without escape in the daily routine. Perelman chose not only music but also abstract painting as a means of expression. The paintings inside the booklet are, like the music, the testimony of an artist in continuous growth.~  AAJ ITALY STAFF https://www.allaboutjazz.com/introspection-ivo-perelman-leo-records-review-by-aaji-staff.php

Personnel: Ivo Perelman (tenor saxophone); Rosie Hertlein (violin); Dominic Duval (double bass); Newman Baker (drums)

Introspection