Donald Harrison - The Burners

Bitrate: MP3@320K/s
Time: 113:09
Size: 259.0 MB
Styles: New Orleans jazz, Saxophone jazz
Year: 2009
Art: Front

[5:18] 1. Playa Haters
[4:17] 2. Oleo
[5:43] 3. Keep The Faith
[5:54] 4. One Of A Kind
[7:59] 5. Double Trouble
[4:41] 6. Free Style
[6:04] 7. Get Your Swerve
[6:43] 8. So What
[8:01] 9. Well You Needn't
[7:03] 10. Free To Be
[8:46] 11. The Survivor
[9:05] 12. The Hook Up
[7:39] 13. Nouveau Swing
[6:58] 14. Mr. PC
[6:00] 15. Drum Line
[8:46] 16. I'm The Big Chief Of Congo Square
[4:02] 17. Two Of A Kind

Donald Harrison - alto sax; Christian Scott - trumpet; Mulgrew Miller - piano; Eric Reed - piano; Ron Carter - bass; Billy Cobham - drums.

Donald Harrison is being called one of the most important musicians of the new millennium by CBS Sunday Morning. The boundary leaping New Orleans alto saxophonist’s distinctive broad toned sound is immediately recognizable as his own, regardless of the environment in which it is being heard, be it bebop, hardbop, swing, New Orleans R & B or funk. Harrison has managed to forge his variegated influences and extensive experience into a uniquely personal style. Through talent and perseverance, Harrison has developed into one of the most significant artist to emerge in the last twenty years! The question with Harrison is not what he can do, but is there anything he can’t do? So far he has mastered and influenced everything he has touched.

The son of late great Big Chief Donald Harrison, Sr. began working with Roy Haynes at age 19 and Jack McDuff at age 20. He joined Art Blakey's Jazz Messengers at age 21. A few years later, he co-led a band with Terence Blanchard that had an enormous impact on the development of the "neo-conservative" movement.

The Burners mc
The Burners zippy

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Manu Katché - Live In Concert

Bitrate: MP3@320K/s
Time: 65:57
Size: 151.0 MB
Styles: Contemporary jazz
Year: 2014
Art: Front

[6:16] 1. Pieces Of Emotion
[5:13] 2. Shine And Blue
[7:45] 3. Song For Her
[2:48] 4. Loving You
[9:45] 5. Clubbing
[5:17] 6. Springtime Dancing
[6:54] 7. Walking By Your Side
[7:56] 8. Beats And Bounce
[4:56] 9. Drum Solo
[9:03] 10. Snapshot

Manu Katché / drums; Luca Aquino / trumpet; Tore Brunborg / sax; Jim Watson / piano & Hammond organ. Recorded live at the New Morning, Paris, 16.06.2014.

June. Monday night. Inside the New Morning, the atmosphere is special: the faithful are here — all connoisseurs — and you can feel it. As soon as Manu Katché launches into his concert — with the snap of a snare, a rumble on the toms — you can sense this is going to be some journey and he's not holding back. His bass-drum thuds with authority, punctuated by flashing cymbals, and his sticks fly into the air before they drop softly: right from the start, they express the elegant dynamics which have come to characterize his style. They're his signature now. Beneath his beige cap, a broad grin lights up his immense desire to play. There's something in the air: an exceptional moment is coming. The quartet present on stage played some 130 concerts last year, which gives it impressive cohesion; the sound is superbly solid, sweeping all.

Live In Concert mc
Live In Concert zippy

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Sarah Vaughan - Sassy Swings Again

Bitrate: MP3@320K/s
Time: 31:03
Size: 71.1 MB
Styles: Jazz vocals
Year: 1967/2006
Art: Front

[1:48] 1. Sweet Georgia Brown
[2:40] 2. Take The A Train
[4:06] 3. I Left My Heart In San Francisco
[3:08] 4. S'posin
[4:22] 5. Everyday I Have The Blues
[2:19] 6. I Want To Be Happy
[2:21] 7. All Alone
[4:26] 8. The Sweetest Sounds
[3:34] 9. On The Other Side Of The Tracks
[2:17] 10. I Had A Ball

Vaughan ended her longstanding and career-defining tenure at Mercury with this fine set from 1967. Entering her autumnal prime, Vaughan effortlessly ignites such chestnuts as "Take the 'A' Train" (one of the best interpretations of the Billy Strayhorn classic), "I Want to Be Happy," and "Sweet Georgia Brown." She also dips into some rarely heard gems like Richard Rodgers' "The Sweetest Sounds" and Cy Coleman's "On the Other Side of the Tracks." Uncharacteristically, Vaughan also digs into the B.B. King favorite "Everyday I Have the Blues," which, while impressively delivered, demonstrates why her forte was not the dirty lowdown side of the musical coin. Vaughan, however, does shine on a blues-tinged version of Irving Berlin's swinger "All Alone," showing she certainly could convey a dusky mood in the right setting. As usual, Vaughan rides in style throughout, compliments of some fine arrangements by Thad Jones, J.J. Johnson, Manny Albam, and a young Bob James. And with the likes of Clark Terry, Joe Newman, Freddie Hubbard, Kai Winding, Phil Woods, and Benny Golson sitting in, the backing band here is equally impressive. An often overlooked but essential session from that most divine of jazz chanteuses. ~Stephen Cook

Sassy Swings Again mc
Sassy Swings Again zippy

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Cuban Jazz Train - Como Suena

Bitrate: MP3@320K/s
Time: 48:22
Size: 110.7 MB
Styles: Afro-Cuban jazz
Year: 2018
Art: Front

[3:45] 1. A Mi Aire
[3:33] 2. Sincopatres
[3:47] 3. Como Suena
[6:29] 4. Manteca
[5:15] 5. Why Am I Here
[4:23] 6. School Memories
[4:34] 7. Ill Tell You
[7:01] 8. Blue South
[5:45] 9. Descarga
[3:45] 10. Danza Naniga

Calixto Oviedo: production, drums, congas, güiro, timbales and chekere (1, 3, 6, 8, 9 & 10); Yosmel Montejo: production and bass; Joel Nuñez: saxophone (1 – 6 & 9); Christian Moraga: congas (2, 4, 6 & 7); Nathaniel Molina: piano (2 – 5, 9 & 10); Alex Rivas: piano (1, 6 – 8); Lily Hernandez: vocals (10); Rachel López: flute (1); Yosiel Pérez: trumpet (3); Richard Velzen: trombone (8).

This is exactly how you would expect Afro-Cuban music to sound in this day and age; romantic but without an ounce of sentimentality, which, sadly, is the road that many Latin American artists go down. Either that or they try and reinvent the idiom, both of which seem to dilute the tradition to the extent that it turns into something not remotely like what it was intended to sound like. There is, however, nothing wrong with making the music danceable, but when the musicians (and I shall not name names) get too cute.

Cuban Jazz Train - Como Suena featuring Calixto Oviedo Cuban Jazz Train, as the short note suggests, attempts to redefine the relationship between the Afro-Cuban idiom and its doppelgänger – Jazz. Both come from the same root, and both are born of African polyrhythm. One is Spanish-inflected and the other is blues-inflected. And when you combine the two you get almost the same result. So in the hypothesis of Cuban Jazz Train, the musics are contiguous. While this may be so, the clave of Afro-Cuban music makes it distinct from the altered fifths of Jazz. And yet it can be – magically – combined to make both musics stronger. Even the AACM found this to be so when Art “Turk” Burton melded his congas with Henry Threadgill and the other musicians of that forward-thinking group of musicians.

The rhythm of the cha-cha-cha, the guaguancó and the danzón is ever present in this record which swings in clave and vice-versa. One has only to imbibe the music of “Manteca” to feel this uniqueness, this rhythmic crossover and bask in the ingenuity of this production that is shared between the men who make it happen, primarily Calixto Oviedo and Yosmel Montejo. This is an intelligent re-imagining of a song which brilliant rhythms were invented by the great Chano Pozo and realised by the ingenuity of Dizzy Gillespie. However this version by the Cuban Jazz Train, although leaning heavily on the original infuses it with funky rhythms.

That, of course, is not the only reason for the album. The repertoire is smartly laid out so that the energy of the record winds up like a coiled spring when the first beats are sounded and continues until the penultimate “Descarga,” that proverbial Cuban Jam that made its first appearance under the watchful eye of Cachao. Here these young musicians, mentored by the experienced Calixto Oviedo turn out the music of their lives. And what spectacular music it is. I would be remiss if I did not also mention that the ballad with Lily Hernández on vocals is played and sung with balletic grace; a perfect song to temper the heat of the rest of the music of this beautiful record.

Como Suena mc
Como Suena zippy

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Jimmy Smith - Organ Grinder Swing

Bitrate: MP3@320K/s
Time: 35:49
Size: 82.0 MB
Styles: Bop, Soul-jazz
Year: 1965/2012
Art: Front

[2:17] 1. Organ Grinder's Swing
[8:59] 2. Oh No, Babe
[5:19] 3. Blues For J
[8:50] 4. Greensleeves
[3:20] 5. I'll Close My Eyes
[7:01] 6. Satin Doll

Most of organist Jimmy Smith's recordings for Verve during the mid- to late '60s were with big bands, making this trio outing with guitarist Kenny Burrell and drummer Grady Tate a special treat. This outing is a throwback to Smith's Blue Note sets (which had concluded two years earlier) and gives the organist the opportunity to stretch out on three blues and three standards. This release shows that, even with all of his commercial success during the period, Smith was always a masterful jazz player.

Organ Grinder Swing

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Joe Farrell - Moon Germs

Styles: Saxophone Jazz
Year: 1973
File: MP3@320K/s
Time: 37:33
Size: 87,8 MB
Art: Front

(11:47)  1. Great Gorge
( 7:26)  2. Moon Germs
( 8:31)  3. Time's Lie
( 9:47)  4. Bass Folk Song

Moon Germs is one of the few true jazz albums put out by CTI, a label whose artists gravitated towards the commercial possibilities of soul jazz, primarily to put food on the table. It’s a jaw dropper, one of the truly classic albums from the era. 

Farrell, known primarily for his work with Elvin Jones in the sixties and Chick Corea in the early seventies, has wisely recruited three up and comers from the new fusion scene for a session that proves every bit as intriguing as the truly bizarre cover.~David Rickert  https://www.allaboutjazz.com/moon-germs-joe-farrell-cti-records-review-by-david-rickert.php

Personnel: Joe Farrell-soprano sax, flute; Herbie Hancock-keyboards; Stanley Clarke-bass; Jack DeJohnette-drums.

Moon Germs

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Monica Ramey - Make Someone Happy

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 46:27
Size: 107,4 MB
Art: Front

(3:33)  1. Hey John
(4:38)  2. Dream Dancing
(4:03)  3. Passion Flower
(2:53)  4. You Hit The Spot
(4:44)  5. I Didn't Know What Time It Was
(4:29)  6. Tenderly
(2:50)  7. Even In Paris
(2:59)  8. Give Him The Ooh-La-La
(3:40)  9. When The Sun Comes Out
(4:22) 10. Goodbye Is All That's Left To Say
(3:48) 11. You're The Top
(4:23) 12. Make Someone Happy

“I first heard Monica Ramey sing several years ago in a vocal class at The Nashville Jazz Workshop. I pulled her aside to encourage her to take her talent seriously. I soon realized that Monica didn’t really need to hear that from me. She was already well focused on building the skills she’d need as a student of standards and jazz music.  Monica has become quite a serious singer and fine interpreter of the Great American Songbook. I’m sure you’ll agree upon hearing her debut release, Make Someone Happy.” -Jim Ferguson, Bassist/Vocalist

"Midwest native Monica Ramey's intellect, sophistication, honesty are on full display on her debut CD, "Make Someone Happy." Ramey's voice floats on top of the music provided by some of Nashville's best including the Lori Mechem Trio, Denis Solee, Roy Agee, George Tidwell, James Hollihan and special guest Beegie Adair.

"Make Someone Happy" is sexy, smart, fresh and full of swing. Listening to this CD makes me happy, one listen and you'll be happy too." -Maxx Myrick, Myrick Media

"The American Songbook is truly the gift that keeps on giving, constantly reinventing itself with each new generation. It does my heart - and my ears! - so much good to hear Monica Ramey pick up the torch and run with it. Her theatrical roots combine with her obvious deep affection for the classic popular song to give us a freshly unique take on the material she's chosen for her debut. It's sassy, swinging and totally enjoyable. Looking forward to Volume II!"-Jeff Steinberg, Musician/Arranger/Composer

"Make Someone Happy" is like a meal that someone cooked for you with lots of love. You can taste the love."-Heather Brand, Photographer

"Let me say about Monica Ramey...
I have watched and listened to this woman grow by leaps and bounds over the last 4 years. She is now the consummate professional... talented, creative, energetic & commited. Anyone fortunate enough to hear this lovingly crafted album, her first solo effort, is in for a treat. You will be, as I was, totally enamoured by her charms. It is a pleasure and an honor to be a part of it. Way to go, Monica!" -Denis Solee, Musician/Arranger/Educator

This refreshing, highly-anticipated album features Monica Ramey's "Dream Team" including Lori Mechem, Roger Spencer, Chris Brown, Denis Solee, George Tidwell, Roy Agee, James Hollihan and special guest, Beegie Adair. https://store.cdbaby.com/cd/monicaramey

Make Someone Happy

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Ivo Perelman - Book Of Sound

Styles: Saxophone Jazz 
Year: 2014
File: MP3@320K/s
Time: 52:23
Size: 124,4 MB
Art: Front

( 7:22)  1. Damnant Quod Non Intelligunt
( 4:51)  2. Candor Dat Viribus Alas
( 8:30)  3. De Gustibus Non Est Disputandum
( 9:36)  4. Adsummum
( 8:24)  5. Adde Parvum Parvo Magnus Acervus Erit
(13:37)  6. Veritas Vos Liberabit

Brazilian tenor saxophonist Ivo Perelman is a remarkably productive recording artist known for combining simple Brazilian folk themes with the techniques of free jazz. While he plays well in the heavily distorted, abstract-expressionist vein first tapped in the '60s by the Albert Ayler, he also fits nicely alongside his similarly inclined contemporaries like Elliott Levin and Ken Simon. Born in Sao Paulo in 1961, Perelman played classical guitar, cello, clarinet, trombone, and piano while growing up. At the age of 19 he adopted the tenor saxophone as his primary instrument. After arriving in the U.S., he attended the Berklee School of Music in Boston for a semester before dropping out (Perelman is purportedly a mostly self-taught player). Perelman's travels took him to Los Angeles in 1986, where he studied privately and performed. His first album, Ivo from 1989, featured an all-star cast that included drummer Peter Erskine, bassist John Patitucci, percussionist Airto, and vocalist Flora Purim, among others. Also around this time, Perelman relocated to New York. During the '90s, he founded his own Ibeji label, releasing albums like Soccer Land and Tapeba Songs. Ever explorative, in 1997 Perelman combined Jewish music and avant-garde jazz, making En Adir: Traditional Jewish Songs for the Music & Arts label. Quite prolific, Perelman recorded often with players of the avant-garde; he's made albums with the bassist Dominic Duval, pianist Borah Bergman, drummers Rashied Ali and Jay Rosen, and pianists Marilyn Crispell and Matthew Shipp, to name just a few. In the 2000s, Perelman continued his busy recording schedule, pairing most often with pianist Shipp, as well as adventurous collaborators like violinist Mat Maneri, guitarist Joe Morris, drummer Gerald Cleaver, and others. Many of these efforts were issued via Leo Records including such albums as 2011's The Hour of the Star, 2012's Clairvoyant, 2014's Book of Sound, and 2016's Blue. Also in 2016, Perelman released six volumes of a series on Leo called The Art of the Improv Trio. A similar series detailing his partnership with Shipp, the seven-volume The Art of Perelman-Shipp, appeared in 2017. ~ Chris Kelsey https://itunes.apple.com/us/album/book-of-sound/1080202636

Personnel: Ivo Perelman: tenor saxophone; Matthew Shipp: piano; William Parker: bass.

Book Of Sound

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Richard Elliot - In The Zone

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 46:06
Size: 106,6 MB
Art: Front

(5:19)  1. Island Style
(4:17)  2. Boom Town
(4:11)  3. Metropolis
(5:02)  4. Inner City Blues (Makes Me Wanna Holler)
(4:22)  5. The Lower Road
(4:36)  6. Bring It!
(4:18)  7. Just A Taste
(4:35)  8. In The Zone
(4:24)  9. Panamera
(4:58) 10. Golden Triangle

Richard Elliot's In the Zone picks up where 2009's Rock Steady left off. Where that album paid tribute to the saxophonist's R&B heroes, In the Zone, which marks Elliot's 25th anniversary as a recording artist, offers a thank-you to the influences of his predecessors in the smooth jazz genre: namely Grover Washington Jr., David Sanborn, and Bob James. Co-produced with Jeff Lorber, with horn charts and horns by David Mann, Elliot composed eight of the ten tracks on the set, co-wrote one with Lorber (who appears on keyboards and guitar), and offers a fine cover of Marvin Gaye's "Inner City Blues (Makes Me Wanna Holler)" as a nod to Washington's stellar version in the early '70s. Things kick off breezily enough with "Island Style"; its Caribbean groove recalls Creed Taylor's production of Washington's Kudu Records output. That said, the phrasing is pure Elliot. "Boom Town," the single, is funkier, and features fine guitar work by Dwight Sills and Lorber. Elliot's sense of time when soloing is deadly. The melody is as infectious and celebratory as it is sexy. "Metropolis" almost cops a "Mister Magic" vibe when it commences, but it's more songlike than vamp-oriented. 

It's possessed of a delightful lyricism. "The Lower Road" is almost a country melody played contemporary jazz style. It too is comprised of a gorgeous melody played on and around by Elliot with fine guitar work by Michael Thompson and Lorber  this is a clear nod to James and his gift for elegant melodies. "Bring It!" is deeply funky and inspired by R&B, and its emotive blowing recalls Sanborn. While "Just a Taste" is simply pleasant and lithe, it contrasts sharply with the title track, a hard, funky strutter with excellent guitar interplay and additional layers of horns by Mann. "Panamera" is slick dancefloor glide but the rhythmic palette shifts in interesting ways. The set closes with the graceful lyricism of "Golden Triangle," another songlike piece that reflects Elliot's love of compact harmonies. Lil' John Roberts is exceptional on the drum kit, using brushes to provide unexpected breaks as Thompson and Tony Maiden exchange open, nearly jangly guitar interplay. In the Zone is a fine companion to Rock Steady, but perhaps even more to Metro Blue. Ultimately, it proves beyond doubt that there is plenty of life and possibility in the contemporary jazz genre. ~ Thom Jurek https://www.allmusic.com/album/in-the-zone-mw0002211124

Personnel:  Richard Elliot (Saxophone); Jeff Lorber (Keyboards, Guitar); David Mann (Horns); Stan Fromin (Synthesizer); Michael Thompson, Tony Maiden, Dwight Sills (Guitar); Alex Al, Nate Phillips (Bass); Tony Moore, Lil' John Roberts (Drums); Lenny Castro (Percussion); Bobby Colombo (Shaker).

In The Zone

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Major Holley - Mule

Bitrate: MP3@320K/s
Time: 53:36
Size: 122.7 MB
Styles: Bebop, Swing
Year: 1974/1995
Art: Front

[4:04] 1. Mack The Knife
[4:37] 2. There Will Never Be Another You
[6:18] 3. Realm Of Love
[4:55] 4. Wig, Thig, Bad An Major Too
[3:45] 5. Miss Mule
[5:36] 6. Angel Eyes
[5:53] 7. Recado Bossa Nova
[3:22] 8. Elum
[4:42] 9. No Place Like Home
[2:48] 10. Just A Closer Walk With Thee
[4:34] 11. There Will Never Be Another You (Alt.Take)
[2:55] 12. Elum (Alt.Take)

Holley got his nickname from Navy service with Clark Terry's band, whose instruments he used to carry. Terry said he looked like a pack mule and the name stuck.

Holley began playing the violin at age 7 and then studied tuba, cello and piano. His first professional date was in 1946 in San Diego, where he performed in an ensemble led by saxophonists Wardell Gray and Dexter Gordon. He moved to New York after getting out of the service. He went on to perform with a long list of music figures, including Charlie Parker, Art Tatum, the Kenny Burrell Trio, Oscar Peterson, Rose Murphy, Zoot Sims and Al Cohn. He was considered a protege of Leroy (Slam) Stewart and, like Stewart, used to sing as he played bass solos.

Mule mc
Mule zippy

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Chuck Leavell, The Frankfurt Radio Big Band - Chuck Gets Big

Bitrate: MP3@320K/s
Time: 72:54
Size: 166.9 MB
Styles: Rock, Big band, R&B
Year: 2018
Art: Front

[4:46] 1. Route 66
[6:14] 2. King Grand
[4:48] 3. Losing Hand
[4:25] 4. Honky Tonk Woman
[6:37] 5. Living In A Dream
[8:18] 6. Blue Rose
[5:05] 7. Southbound
[3:45] 8. Tumbling Dice
[5:48] 9. Ashley
[5:39] 10. Statesboro Blues
[5:11] 11. Georgia On My Mind
[8:20] 12. Compared To What
[3:53] 13. Tomato Jam

Chuck Leavell, keyboardist and musical director for the Rolling Stones, has released a new album, “Chuck Gets Big“. “In 2011, I had the pleasure of doing a concert with the Frankfurt Radio Big Band, a 17-piece brass orchestra of some of the finest musicians in Germany. Three talented arrangers created charts for some twelve songs I had chosen from my works with the Allman Brothers Band; Sea Level and the Rolling Stones, as well as my own compositions. “Chuck Gets Big” is the result of this experience, and is my latest release on BMG records.”

Backed by the Frankfurt Radio Big Band, Chuck takes us on a musical journey through his 40+ year career as one of rock’s top keyboard players. He covers his lifelong idol Ray Charles with “Losing Hand” and “Georgia on My Mind”. Chuck also reaches back into his beginnings with the Allman Brothers Band playing “Southbound” and “Statesboro Blues” and then moves on to his jazz/rock fusion band “Sea Level” with “King Grand” and “Living in a Dream”. Of course Chuck couldn’t leave Mick, Keith, Ron, and Charlie behind and includes Rolling Stones’ rockers ‘Tumbling Dice” and “Honky Tonk Woman”. He rounds out the album with a few originals of his own and throws in two rhythm and blues classics “Route 66” and “Compared to What”. There aren’t many artists who can perform rock, rhythm, and blues backed by a big band and retain the song’s spirit. But true to Chuck’s rock legacy he does exactly that. This is not a big band album. It’s a rock, rhythm, and blues album. Keep rockin!

Chuck Gets Big mc
Chuck Gets Big zippy

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Julian Vaughn - Bona Fide

Bitrate: MP3@320K/s
Time: 47:05
Size: 107.8 MB
Styles: Smooth jazz
Year: 2017
Art: Front

[4:03] 1. Bona Fide
[4:03] 2. Going Out
[3:55] 3. If I Could
[4:44] 4. 18th & Vine
[4:11] 5. Joy
[3:48] 6. All I Do Is Think Of You
[4:14] 7. Breeze
[3:59] 8. Remember The Time
[4:13] 9. You're The One
[4:55] 10. Reflection
[4:56] 11. I Wanna Love You

A dynamic lead bass player from Kansas City, bassist Julian Vaughn is rapidly becoming a major player in the contemporary jazz genre. Vaughn has made a name for himself as bassist in the smooth jazz genre which is dominated by saxophone players. Although the bass is often associated with funk, Vaughn likes to play with more of a finesse style as well as some funk.

Vaughn grew up in the church where his grandfather pastored until turning over the reins to Vaughn’s father. Like other kids at the church, he began his music career playing the drums, but says, “Trying to play the drums at church was like ten football players going after a fumble. Everyone wanted to play.” Years went by and the fight over the drums got old. At 15 Vaughn decided to try a different instrument. He picked up a bass guitar that another man in his church was playing and immediately fell in love. This was truly love at first sight. Vaughn taught himself how to play and soon realized he had the ability to play by ear. He soon discovered how to play songs and special techniques. When Vaughn was 19 his grandfather bought him a 6-string bass guitar. It was black with gold trim. He discovered the art of bass soloing and knew at that point it was more than just a hobby but was his life’s passion. “My friends use to get on me because I would stop playing the bass line and start soloing,” he remembers.

“Bona Fide” will be Vaughn’s 4th album and is expected to be some of his best work to date. Vaughn takes pride in being able to write and produce most of his music. “I want to be known as a great writer and producer just as much as I am an artist”. Vaughn wants to continue to redefine the lead bassist role in the smooth jazz genre.

Bona Fide mc
Bona Fide zippy

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Lilananda Jazz Quintet, Le Quatour Varese - Bossa 2.0

Bitrate: MP3@320K/s
Time: 57:11
Size: 130.9 MB
Styles: Bossa Nova
Year: 2018
Art: Front

[4:56] 1. Flor De Lis
[8:17] 2. Dindi
[3:08] 3. Por Toda Minha Vida
[6:50] 4. Canção Do Sal
[7:40] 5. The Island
[6:57] 6. Incompatibilidade De Gênios
[6:12] 7. Eu Te Amo
[5:17] 8. Ao Mestre
[7:49] 9. Corcovado

Chant: Claire Vaillant; Trompette: Pierre Drevet; Guitare: Francis Larue; Basse: Etienne Kermarc; Batterie: Fabien Rodriguez.

Lilananda Jazz quintet continues its journey, after the release of its album and some beautiful concerts during the year 2016 and presents its new project Bossa2.0, an innovative reinterpretation of the Bossa Nova with modern arrangements for jazz Quintet and a string Quartet. The Lilananda Jazz Quintet under the leadership of the brilliant arranger Pierre Drevet reboost the software of this magnificent repertoire with an essential plugin, the magic presence of a string quartet. Jobim, Joao Bosco, Ivan Lins, Milton Nascimento, Chico Buarque all icons of a unique music served by a new setting that keeps the heart warm and pure bossa but offers a new listening session sublimated, modern and original.

From this incredible poetry hidden both in the richness and the quality of the texts written by great authors as much as in the subtlety of the melodies and the harmonies, entangled together like a whole is born bossa Nova always served by great vocalists. here by Claire Vaillant's soft and deep voice, fluid and easy, fresh and spontaneous. New extensions, the timbres mingle, the voice is used there like a second copper, there to double the guitar. The trumpet, the bugle, the mutes add and develop the sound palette. The use of drums with percussion, brings a wilder sound and the guitar with its saturated or glittering effects allows in a global sound to give a strong personality to each piece of the repertoire. (Translated from French.)

Bossa 2.0 mc
Bossa 2.0 zippy

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Mark O'Connor - On The Rampage

Bitrate: MP3@320K/s
Time: 48:05
Size: 110.1 MB
Styles: Progressive bluegrass
Year: 1980/2016
Art: Front

[5:53] 1. Opus 1 Come Ride With Me
[4:55] 2. Opus 2 Mark's Ark
[4:18] 3. Opus 3 Midnight Interlude
[3:04] 4. Opus 4 On The Rampage
[5:07] 5. Opus 8 Ease With The Breeze
[5:42] 6. Opus 10 Rampology
[4:15] 7. Opus 7 The Dark Rain
[4:02] 8. Opus 5 Soft Gyrations
[3:45] 9. Opus 9 Tubular Explosions
[7:00] 10. Opus 6 Disco Fiddle Rampsody

Mark O'Connor was all of 17 years of age when he made On the Rampage in 1979 for Rounder, yet he was already a seasoned player attracting a lot of attention in the world of bluegrass. Overdubbing himself on violins and guitars, O'Connor shares no fewer that ten originals, which not only show a surprising maturity but demonstrate that he's a major player in stretching the supposed boundaries of bluegrass. Mark is unaccompanied for the haunting "Midnight Interlude," which consists solely of his multiply overdubbed instruments. It doesn't hurt to have veterans like mandolinist Sam Bush on hand, while both David Grisman and Tony Rice are added for the mellow "Ease With the Breeze." ~Ken Dryden

On The Rampage mc
On The Rampage zippy

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Gene Bertoncini, Frank Vignola - Meeting Of The Grooves

Bitrate: MP3@320K/s
Time: 53:04
Size: 121.5 MB
Styles: Bop, Guitar jazz
Year: 2002
Art: Front

[5:01] 1. It Had To Be You
[5:21] 2. If I Had You
[7:00] 3. Jitterbug Waltz
[5:24] 4. Moonlight In Vermont
[4:02] 5. Darn That Dream
[6:47] 6. Jobim Medley
[4:40] 7. These Foolish Things
[4:59] 8. Out Of Nowhere
[5:56] 9. Flying Colors Alone Together
[3:49] 10. But Not For Me/Girl Crazy/Embraceable You

This duo meeting of guitarists Gene Bertoncini and Frank Vignola pairs musicians separated by a generation in age, but that's all. Both men have proven themselves as strong soloists in group settings and each of them has made rewarding solo CDs, but they are also very much up to the task of the necessary give and take of guitar duets. They make the most of timeless melodies from the Great American Songbook, including "If I Had You," "Moonlight in Vermont," and "Out of Nowhere." Their vigorous workout of Fats Waller's "The Jitterbug Waltz" and an enticing medley of bossa nova favorites by Antonio Carlos Jobim also prove to be stimulating. It's a shame there isn't also a video of this studio session, which would be of considerable interest to jazz guitarists and fans. Highly recommended. ~Ken Dryden

Meeting Of The Grooves mc
Meeting Of The Grooves zippy

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Adrian Cunningham - Jazz Speak

Styles: Saxophone, Clarinet And Flute Jazz
Year: 2017
File: MP3@320K/s
Time: 61:14
Size: 141,0 MB
Art: Front

(5:32)  1. The Source
(5:44)  2. Let«s Fall In Love
(6:24)  3. Mood Indigo
(5:57)  4. Getting Down Uptown
(5:48)  5. Rachel's Dance
(3:31)  6. Appalachia
(6:34)  7. Petite Fleur
(5:23)  8. Jazz Speak
(6:10)  9. Autumn Moon Over the Calm Lake
(4:15) 10. Tempus Fugit
(5:52) 11. Janelle

Australian jazz musician Adrian Cunningham fronts a prestigious quartet that includes pianist Ted Rosenthal, bassist John Clayton and drummer Jeff Hamilton. Cunningham is now based in New York City when not touring internationally. Patrons who attended the New Year’s Eve concert by Pensacola Symphony got to hear him when he played with trombonist Wycliffe Gordon’s group. This CD is a mix of familiar tunes plus some lesser known ones as well as some by Cunningham himself. The artist is equally facile with clarinet, tenor saxophone and flute. As stated, familiar tunes include Arlen and Koehler’s Let’s Fall in Love; Ellington and Bigard’s Mood Indigo, Sidney Bechet’s Petite Fleur along with Bud Powell’s Tempus Fugit. There are five Cunningham originals which are also exciting. One unusual tune, unfamiliar to me, was Lu Wencheng’s Autumn Moon Over the Calm Lake. This is Chinese composer, Wencheng’s most famous tune. Purists would not put it in the jazz category, but most would agree it is a relaxed, typical Chinese melody and quite lovely. 

Thanks to Arbors records for their help in presenting Mr. Cunningham to the wider jazz audience. As readers of The Syncopated Times jazz monthly already know, Adrian has a monthly column about jazz and his peripatetic activity. ~ Norman Vickers  https://jazzpensacola.com/cd-review-jazz-speak-adrian-cunningham/

Personnel:  Adrian Cunningham - tenor sax, clarinet, flute; Ted Rosenthal - piano; John Clayton - bass; Jeff Hamilton - drums

Jazz Speak

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Karin Krog - Folkways

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 48:42
Size: 112,8 MB
Art: Front

(3:36)  1. Waly Waly (The Water Is Wide)
(1:32)  2. Ola Ola Min Eigen Unge
(2:59)  3. Nissespill Og Fans Polka
(4:27)  4. Malfrid Min Frue
(1:51)  5. Arve Brakars halling (versjon 2)
(3:28)  6. Lokk
(1:05)  7. Pathway
(2:46)  8. Fingubben
(2:13)  9. Melodi
(2:07) 10. Brudedans
(2:18) 11. Purka
(1:49) 12. Gjestebudet
(2:45) 13. Vakker er du
(2:36) 14. Soldaten og jenta
(1:52) 15. Huldrevise
(2:48) 16. Halling medley / Arve Brakar
(1:45) 17. Bansull
(5:33) 18. Raga Variations
(1:03) 19. Pathway

Jazz singer Karin Krog may have made stormy improv recordings with a young Jan Garbarek in the late 60s, but this is almost entirely a folk album, devoted to the traditional Norwegian music collected by her violinist great-grandfather, Anders Heyerdahl. As such, it perhaps refines the notion of a niche-market venture more tightly than usual, but folk devotees and jazz admirers of Krog's graceful handling of the malleability of tone will warm to this highly personal set  which features her partner and collaborator John Surman as a second voice on various reed instruments. 

Krog's deceptive simplicity guides an expressive account of The Water Is Wide as an opener, but almost all the rest of the material is sung in Norwegian some of it jiggily fiddle-driven and Celtic-sounding, some of it like stately lullabies or gospel songs, such as Krog's solo exposition Arve Brakar. Norwegian contemporary composer Arne Nordheim contributed Raga Variations, a tapestry of wordless vocal sighs, Surman's wraith-like soprano sax and subtle electronics a set of sonic surprises the album could perhaps have used a little more of, but it's beautifully executed. ~ John Fordham https://www.theguardian.com/music/2011/mar/03/karin-krog-folkways-review

Folkways

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Andrew Hill - Grass Roots

Styles: Piano Jazz
Year: 1968
File: MP3@320K/s
Time: 69:07
Size: 160,7 MB
Art: Front

(5:41)  1. Grass Roots
(4:45)  2. Venture Inward
(6:19)  3. Mira
(8:22)  4. Soul Special
(7:45)  5. Bayou Red
(9:12)  6. MC (bonus track)
(4:36)  7. Venture Inward (first version) (bonus track)
(8:52)  8. Soul Special (first version) (bonus track)
(5:58)  9. Bayou Red (first version) (bonus track)
(7:33) 10. Love Nocturne (bonus track)

This reissue contains not only Hill’s original LP, but also a previously unreleased session from four months prior. On this earlier session, an entirely different lineup plays three of the tunes from Grass Roots, along with two numbers from deep within the vault  "MC," a tribal 12/8 blues, and "Love Nocturne," an angular quasi-ballad. Thanks to the juxtaposition of the two sessions, we are afforded a rare treat: a chance to listen closely to the stylistic contrasts between Lee Morgan and Woody Shaw, Booker Ervin and Frank Mitchell, Ron Carter and Reggie Workman, and Freddie Waits and Idris Muhammad. (Guitarist Jimmy Ponder also appears on three of the five new tracks.) We also get to hear what these different lineups bring out in Hill, both as a pianist and a composer. On the whole, Grass Roots is "inside" compared to Hill’s more representative Blue Note masterpiece, Point of Departure. "Venture Inward" and "Bayou Red" are the most advanced pieces, while the calypso "Mira" and the boogaloo "Soul Special" traverse more familiar Blue Note terrain. The title track, with its deliberately square melody, is an excellent sample of Hill’s fractured, fragmented style. The alternate takes and new tracks are less energetic, although Woody Shaw sounds more in his element than does Lee Morgan. And whereas Booker Ervin cooks a variegated stew containing traces of Trane, Dexter, and Johnny Griffin, Frank Mitchell sounds almost like a carbon copy of Wayne Shorter. Ponder’s tasty licks are in the style of early Pat Martino. ~ David Adler https://www.allaboutjazz.com/grass-roots-andrew-hill-blue-note-records-review-by-david-adler.php?width=1920

Personnel, 1-5: Lee Morgan, trumpet; Booker Ervin, tenor saxophone; Andrew Hill, piano; Ron Carter, bass; Freddie Waits, drums

Personnel, 6-10: Woody Shaw, trumpet; Frank Mitchell, tenor saxophone; Andrew Hill, piano; Jimmy Ponder, guitar; Reggie Workman, bass; Idris Muhammad, drums

Grass Roots

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The Lou Levy Trio - Jazz in Hollywood

Styles: Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 23:58
Size: 55,6 MB
Art: Front

(2:18)  1. The Gentleman is a Dope
(2:40)  2. Serenade in Blue
(3:03)  3. Woody'n You
(3:33)  4. Without You
(3:36)  5. All the Things You Are
(2:26)  6. Tiny's Other Blues
(2:54)  7. Like Someone in Love
(3:24)  8. Bloo Denim

A superior bop-based pianist who has worked with a countless number of top jazz artists, Lou Levy started on piano when he was 12. He played with Georgie Auld (1947), Sarah Vaughan, Chubby Jackson (1947-1948), Boyd Raeburn, Woody Herman's Second Herd (1949-1950), Tommy Dorsey (1950), Auld again, and Flip Phillips. Levy was outside of music for a few years (1952-1954) and then gained a strong reputation as a fine accompanist to singers, working with Peggy Lee (on and off during 1955-1973), Ella Fitzgerald (1957-1962), June Christy, Anita O'Day, and Pinky Winters. Levy also played with Shorty Rogers, Stan Getz, Terry Gibbs, Benny Goodman, Supersax, and most of the major West Coast players. Lou Levy has recorded as a leader for Nocturne (1954), RCA, Jubilee, Philips, Interplay (1977), and Verve. He passed away in late January 2001.~ Scott Yanow https://www.allmusic.com/artist/lou-levy-mn0000213320/biography

Personnel:  Lou Levy Piano;  Harry Babasin Bass;  Larry Bunker Drums

Jazz in Hollywood

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Chuck Berry - Berry Is On Top

Styles: Vocal And Guitar 
Year: 1959
File: MP3@320K/s
Time: 30:00
Size: 69,1 MB
Art: Front

(2:19)  1. Almost Grown
(2:46)  2. Carol
(2:19)  3. Maybelline
(2:19)  4. Sweet Little Rock & Roller
(1:49)  5. Anthony Boy
(2:39)  6. Johnny B. Goode
(2:40)  7. Little Queenie
(2:45)  8. Jo Jo Gun
(2:22)  9. Roll Over Beethoven
(2:39) 10. Around And Around
(1:55) 11. Hey Pedro
(3:23) 12. Blues For Hawaiians

If you had to sweat all of Chuck Berry's early albums on Chess (and some, but not all, of his subsequent greatest-hits packages), this would be the one to own. The song lineup is exemplary, cobbling together classics like "Maybellene," "Carol," "Sweet Little Rock & Roller," "Little Queenie," "Roll Over Beethoven," "Around and Around," "Johnny B. Goode," and "Almost Grown." With the addition of the Latin-flavored "Hey Pedro," the steel guitar workout "Blues for Hawaiians," "Anthony Boy," and "Jo Jo Gunne," this serves as almost a mini-greatest-hits package in and of itself. While this may be merely a collection of singles and album ballast (as were most rock & roll LPs of the 1950s and early '60s), it ends up being the most perfectly realized of Chuck Berry's career. ~ Cub Koda https://www.allmusic.com/album/chuck-berry-is-on-top-mw0000198378

Personnel:  Chuck Berry – vocals, guitars;  Bo Diddley – electric guitar;  Johnnie Johnson, Lafayette Leake – piano;  Willie Dixon – double bass;  George Smith – bass;  Fred Below, Ebbie Hardy, Jaspar Thomas – drums;  Jerome Green – maracas;  The Moonglows – backing vocals

Berry Is On Top

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