Teddy Edwards - Ladies Man

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 54:20
Size: 124,8 MB
Art: Front

(5:37)  1. Jeannine
(5:17)  2. Rosetta
(6:06)  3. Ruby
(4:21)  4. Candy
(5:47)  5. Saskia
(4:03)  6. Diane
(5:25)  7. Donna Lee
(6:08)  8. Marie
(6:22)  9. Laura
(5:08) 10. Rosalie

For this project, veteran tenor saxophonist Teddy Edwards performs ten songs named after women's names, including his own "Saskia." Despite the potentially gimmicky nature of the repertoire, the music is conventional hard bop, played with spirit by Edwards, pianist Ronnie Mathews, bassist Chip Jackson, drummer Chip White, and (on four of the ten numbers) trumpeter Eddie Allen. Due to the fine solos of Edwards, Mathews, and Allen and the close attention paid to tempo and mood variations between songs, this is an excellent outing, well worth exploring by straight-ahead jazz collectors.~ Scott Yanow https://www.allmusic.com/album/ladies-man-mw0000006175

Personnel:  Teddy Edwards – tenor saxophone;  Eddie Allen – trumpet;  Ronnie Mathews – piano;  Chip Jackson – bass;  Chip White – drums

Ladies Man

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Jack DeJohnette, John Patitucci & Danilo Perez - Music We Are

Styles: Avant-Garde Jazz 
Year: 2009
File: MP3@320K/s
Time: 62:34
Size: 144,1 MB
Art: Front

(5:31)  1. Tango African
(7:12)  2. Earth Prayer
(5:36)  3. Seventh D, 1st Movement
(4:37)  4. Seventh D, 2nd Movement
(3:53)  5. Soulful Ballad
(5:02)  6. Earth Speaks
(6:22)  7. Cobilla
(5:03)  8. Panama Viejo
(5:45)  9. White
(9:37) 10. Ode To MJQ
(3:50) 11. Michael

Since the inception of his Golden Beams Productions imprint, Jack DeJohnette has been busy releasing music ranging from the meditational Music in the Key of Ohm (Golden Beams, 2005) and world music-inflected Music from the Hearts of the Masters (Golden Beams, 2005) to the more decidedly improvisational The Elephant Sleeps But Still Remembers (Golden Beams, 2006). A freedom of spirit infuses all his releases, but it's been over a decade since the veteran drummer has released an album as a leader that fits squarely into the jazz category. Still, even more decidedly jazz-centric albums like the open-ended Oneness (ECM, 1997) and career-defining Special Edition (ECM, 1980) are far from predictable. Music We Are may appear, on the surface, to be yet another in a long line of piano trio records released every year not that there's anything wrong with that but in the hands of DeJohnette, pianist Danilo Pérez and bassist John Patitucci, the music not only transcends the expectations of the format, but stretches the boundaries of music, plain and simple. A combination of appealing writing, spare and dark-hued free-play, and an unmistakable sense of fun imbue Music We Are three qualities made even clearer on the 20-minute "making of" DVD that's included with the CD. The three have intersected on various projects over the years: DeJohnette played on Perez's 1992, eponymous Novus debut as a leader; DeJohnette and Patitucci have been Steve Khan's partners of choice dating from the guitarist's Got My Mental (Evidence, 1996) through to the outstanding Borrowed Time (Tone Center, 2007); and, of course, Perez and Patitucci have been one-half of saxophonist Wayne Shorter's empathic quartet since the turn of the century, heard on albums including the startlingly simpatico Beyond the Sound Barrier (Verve, 2005). The same chemistry that the various permutations have brought to other projects is only magnified when the three are brought together in the same room, at the same time. DeJohnette has recorded "Seventh D" before, but here it's divided into two movements that amplify the sheer abandon this trio is capable of, especially "2nd Movement," which is oblique and slightly aggressive, but functions at a deeply focused level of interaction. "Tango African" is, on the other hand, more approachable. DeJohnette and Patitucci overdub the melody, on melodica and electric bass respectively, over their loose but rock-solid foundation of drums and acoustic bass, gradually moving into a groove-laden trade-off between the two. Both demonstrate the considerable stylistic territory that Music We Are covers, without feeling overly considered. Eclectic and esoteric, it's an album that celebrates the cross-pollination of music from the earth's four corners while revering the jazz tradition that permits music to be made on such fertile ground, with abstract classicism, tinges of Gamelan and folkloric innocence intersecting and driving the music to unexpected and joyous places.  A combination of original music and one relatively obscure Latin cover, Music We Are brings three friends together for a recording that, hopefully, signifies the beginning of a longer-term partnership.~ John Kelman https://www.allaboutjazz.com/music-we-are-jack-dejohnette-golden-beams-review-by-john-kelman.php

Personnel: Jack DeJohnette: drums, melodica; John Patitucci: acoustic and electric bass; Danilo Perez: piano, keyboards.

Music We Are

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Inger Marie Gundersen - Feels Like Home

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 50:27
Size: 117,4 MB
Art: Front

(5:29)  1. Feels Like Home
(4:48)  2. (Sittin'on) The Dock of the Bay
(3:35)  3. Long as I Can See the Light
(5:32)  4. When October Goes
(3:40)  5. Given Time
(4:11)  6. If This Was
(4:39)  7. I Know These Hills
(4:26)  8. Try to Find Me
(3:47)  9. When All is Said and Done
(5:35) 10. Med Ogon Kansliga For Gront
(4:40) 11. Wichita Lineman (Bonus Track)

Inger Marie Gundersen has released her 5th recording, entitled “Feels Like Home.” She made her bandleading and recording debut relatively late in life in 2004 with “Make This Moment,” which immediately rose to the top of the more jazz-oriented vocal charts. This was especially true in Asia, where the albums sold by the thousands in Japan, Korea, Hong Kong, Taiwan, Singapore and Indonesia. “By Myself” followed in 2006, “My Heart Would Have a Reason” in 2009, “For You” in 2011, and over the years, Inger Marie has also been “discovered” in Europe and the United States, where many of her songs are popular on streaming services’ playlists. Inger Marie has her own voice - dark, warm, heartfelt, and engaging - and she has always had a great sense for choosing exactly the right material, oftentimes well-known pop or rock songs, which she transforms into her own in her unique, hot, jazzy universe. In this universe, Inger Marie has always surrounded herself with the very best musicians, so the sound never gets oversimplified or lacks in depth. There’s time for reflection on “Feels Like Home,” and at a relaxed tempo we are pulled into Inger Marie’s wonderful world of versions of famous songs such as the Creedence Clearwater Revival hit, “Long as I Can See the Light,” Abba’s “When All Is Said and Done,” Otis Redding’s “Sittin’ On The Dock of the Bay,” and many more, after which listeners are treated to the beautiful Swedish song “Med ögon känsliga för grönt” (With Eyes Sensitive to Green) by Barbor Hörberg and Nils Hansén. Inger Marie’s personal and loving interpretations form images that, together with the musical arrangements, create alluring landscape paintings in the minds of the listener. Life isn’t always easy, but it feels good as long as you can see the light. Inger Marie Gundersen was born in the small town of Arendal, on the southern coast of Norway, on February 13th, 1957. She grew up as an only child with her parents, close to nature and in a peaceful environment. Her fascination and joy for music began in early childhood, with her father playing guitar and singing, filling their home with songs nearly every day. When she was young, Inger Marie studied at the University of Agder, receiving a Bachelor’s Degree in Health and Social Work. Ultimately, she always knew she really was a singer, and was on a musician’s path. Inger Marie waited for many years before she ventured out upon a solo career. She had ample experience though, from years of activities in the musical industry.

Feels Like Home

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Buck Clayton - The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

Styles: Trumpet Jazz
Year: 1974
File: MP3@320K/s
Time: 77:31
Size: 177,6 MB
Art: Front

(25:25)  1. Christopher Columbus
( 9:21)  2. Don't Be That Way
( 8:30)  3. Undecided
( 8:05)  4. Rock-A-Bye Basie
(10:28)  5. Jumpin' At The Woodside
( 6:26)  6. Blue & Sentimental
( 9:12)  7. Broadway

An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark, and Clayton provided several charts for Basie's orchestra and many other groups. Clayton began his career in California, where he organized a big band that had a residency in China in 1934. When he returned, Clayton led a group and played with other local bands. During a 1936 visit to Kansas City, he was invited to join Basie's orchestra as a replacement for Hot Lips Page. Clayton was also featured on sessions with Lester Young, Teddy Wilson, and Holiday in the late '30s. He remained in the Basie band until 1943, when he left for army service. After leaving the army, Clayton did arrangements for Basie, Benny Goodman, and Harry James before forming a sextet in the late '40s. He toured Europe with this group in 1949 and 1950. Clayton continued heading a combo during the '50s, and worked with Joe Bushkin, Tony Parenti, and Jimmy Rushing, among others. He organized a series of outstanding recordings for Columbia in the mid-'50s under the title Jam Session (compiled and reissued by Mosaic in 1993). There were sessions with Rushing, Ruby Braff, and Nat Pierce. Clayton led a combo with Coleman Hawkins and J.J. Johnson at the 1956 Newport Jazz Festival, then reunited with Goodman in 1957 at the Waldorf Astoria. There was another European tour, this time with Mezz Mezzrow. He appeared in the 1956 film The Benny Goodman Story and played the 1958 Brussels World Fair with Sidney Bechet. Clayton later made another European visit with a Newport Jazz Festival tour. He joined Eddie Condon's band in 1959, a year after appearing in the film Jazz on a Summer's Day. Clayton toured Japan and Australia with Condon's group in 1964, and continued to revisit Europe throughout the '60s, often with Humphrey Lyttelton's band, while playing festivals across the country. But lip and health problems virtually ended his playing career in the late '60s. After a period outside of music, Clayton once again became active in music, this time as a non-playing arranger, touring Africa as part of a State Department series in 1977. He provided arrangements and compositions for a 1974 Lyttleton and Buddy Tate album, and did more jam session albums for Chiaroscuro in 1974 and 1975. He also became an educator, teaching at Hunter College in the early '80s. Clayton led a group of Basie sidemen on a European tour in 1983, then headed his own big band in 1987 that played almost exclusively his compositions and arrangements. That same year Clayton's extensive autobiography Buck Clayton's Jazz World, with Nancy Miller-Elliot, was published.~ Ron Wynn https://www.allmusic.com/artist/buck-clayton-mn0000634674/biography

Personnel: Trumpet, Liner Notes – Buck Clayton;   Alto Saxophone – Lem Davis;  Baritone Saxophone – Charlie Fowlkes;  Bass – Milt Hinton, Walter Page;  Clarinet – Woody Herman, Drums – Jo Jones;  Guitar – Freddie Green, Steve Jordan;  Piano – Al Washlon, Billy Kyle, Jimmy Jones, Charles Thompson;  Tenor Saxophone – Al Cohn, Buddy Tate, Coleman Hawkins, Julian Dash;  Trombone – Bennie Green, Dick Harris, Henderson Chambers, Trummy Young, Urbie Green;  Trumpet – Joe Newman, Joe Thomas, Ruby Braff 

The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

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Sandra Dudley And Lori Mechem - All Of My Life

Styles: Vocal And Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 67:32
Size: 155,0 MB
Art: Front

(4:51)  1. Love Like Ours
(5:54)  2. Kisses
(5:58)  3. What Are You Doing The Rest Of Your Life?
(4:46)  4. Summer Me, Winter Me
(5:04)  5. Moonlight
(5:05)  6. I Have The Feeling I've Been Here Before
(5:01)  7. Mozart In The Dark
(4:06)  8. What Matters Most
(4:12)  9. The Summer Knows
(4:26) 10. Like A Lover
(3:40) 11. Being Without You
(4:36) 12. How Do You Keep The Music Playing?
(4:45) 13. Alone In The World
(5:03) 14. You Must Believe In Spring

“Among the great pleasures and rewards of songwriting is hearing one’s songs performed with the respect and love that Sandra and Lori brought to this CD!  Some of these songs have never been recorded and some have many recordings, but all are sung and played here with such freshness and keen jazz sensibility.  Thank you both, Lori and Sandra”! ~ Love, Alan & Marilyn

“This is a lovely vocal album, with Dudley singing with pristine clarity and feeling, accompanied only by the tasteful piano of Mechem. Dudley has strong area ties a native of Buffalo, she studied at Fredonia then at the Eastman School of Music, where she cites her teachers, Jan DeGaetani (for vocal chops) and Bill Dobbins (for jazz history and understanding). All of My Life spotlights the songs of Alan and Marilyn Bergman, including “You Must Believe in Spring,” “What Are You Doing the Rest of Your Life,” and a dozen others. Dudley’s version of “What Are You Doing …” comes near to being definitive. Singer and pianist have a potent chemistry, bringing these classic pop standards to vivid and highly musical life.” ~  Jack Garner – Critics Playlist, Democrat and Chronicle 

“What happens when a remarkable singer and a fabulous pianist take on the catalog of a wonderful husband and wife team of lyricists, writing with a variety of top notch composers?  Just what you might imagine; a gorgeous recording, full of smiles, tears and some really breath-taking music.  Don’t miss this”! ~ Beegie Adair- Green Hill Music Artist, Composer and Educator

“Imagine you have before you a small box.  You open it and discover 14 exquisite little gems, each with its own sparkle and personality.  That is the sensation I experienced when listening to Sandra and Lori’s ” All Of My Life” collection.  It is certainly ranks among the finest renditions of the Bergman catalog ever recorded.  I’ll surely listen to this CD over, and over, and over again”. ~ Jeffery Steinberg- Arranger, Composer and Pianist

“These are the things you hope for when you hear a new CD. The music touches your heart and warms your soul. It has the power to make you smile, cry, think and feel. It reminds you that the power or music isn’t related to its volume or the number of musicians involved, rather the ability of those involved to bring the music to life”. ~ George Tidwell- Arranger, Composer and Trumpeter

“It’s long been said in Nashville that “it all begins with a song”.  That has not stopped thousands of records being produced each year with musical smoke and mirrors, technical sleight of hand, and layers of other creative veneer applied to hide the fact that the main ingredient could be missing.  Good songs sometimes need that additional TLC, but great songs need only to be played.  ALL OF MY LIFE, by Lori Mechem and Sandra Dudley is not just a tribute to the writing of Alan and Marilyn Bergman;  it’s a tribute to the way memorable records have always been made: Great performances of great songs.  It will take a lot longer to finish listening to these recordings than it took to make them.  And there’s nothing missing”~ Green Daniel  Nashville Producer and Arranger

“The Mechem and Dudley duo–the perfect wine for Bergman connoisseurs.  The magic sparks between these two musicians make every phrase alluring and unforgettable!  Lori and Sandra are simply world class jazz masters!  They are the perfect medium for the passionate, profound, and penetrating lyrics of the celebrated, award-winning songwriter couple, Alan and Marilyn Bergman.  This is a definitive collection” ~ Ron Browning- Nashville Vocal Coach to the Stars http://www.lorimechemmusic.com/downloads/all-of-my-life-album/

Personnel: Sandra Dudley - Vocal; Lori Mechem - piano

All Of My Life

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David Newman - Bigger & Better

Styles: Saxophone And Flute Jazz 
Year: 1968
File: MP3@320K/s
Time: 31:50
Size: 75,0 MB
Art: Front

(4:04)  1. Yesterday
(5:46)  2. And I Love Her
(5:56)  3. The Thirteenth Floor
(3:46)  4. Ain't That Good News
(5:35)  5. A Change Is Gonna Come
(6:41)  6. For Sylvia

As a teenager, David Newman played professionally around Dallas and Fort Worth with Charlie Parker's mentor, Buster Smith, and also with Ornette Coleman in a band led by tenor saxophonist Red Connors. In the early '50s, Newman worked locally with such R&B musicians as Lowell Fulson and T-Bone Walker. In 1952, Newman formed his longest-lasting and most important musical association with Ray Charles, who had played piano in Fulson's group. Newman stayed with Charles' band from 1954-1964, while concurrently recording as a leader and a sideman with, among others, his hometown associate, tenor saxophonist James Clay. Upon leaving Charles, Newman stayed in Dallas for two years. He then moved to New York, where he recorded under King Curtis and Eddie Harris; he also played many commercial and soul dates. Newman returned to Charles for a brief time in 1970-1971; from 1972-1974 he played with Red Garland and Herbie Mann. Newman parlayed the renown he gained from his experience with Charles into a fairly successful recording career. In the '60s and '70s, he recorded a series of heavily orchestrated, pop-oriented sides for Atlantic and in the '80s he led the occasional hard bop session, but Newman's métier was as an ace accompanist. Throughout his career, he recorded with a variety of non-jazz artists; Newman's brawny, arrogant tenor sound graced the albums of Aretha Franklin, Dr. John, and many others. It is, in fact, Newman's terse, earthy improvisations with Charles that remain his most characteristic work. Newman began a productive relationship with HighNote Records at the close of the 1990s, releasing an impressive series of albums, including Chillin' (1999), Keep the Spirits Singing (2001), Davey Blue (2001), The Gift (2003), Song for the New Man (2004), I Remember Brother Ray (a moving tribute to Ray Charles released in 2005), Cityscape (2006), and Life (2007). Diamondhead followed in 2008. Newman passed on January 20, 2009, from pancreatic cancer. ~ Chris Kelsey https://itunes.apple.com/us/album/bigger-better/70268480

Personnel:  David Newman - tenor saxophone, alto saxophone, flute;  Melvin Lastie (tracks 1-5), Joe Newman (tracks 1 & 2), Jimmy Owens (tracks 3-5) - trumpet;  Benny Powell - trombone (tracks 1-5);  Seldon Powell - tenor saxophone (tracks 1-5);  Henry Haywood (tracks 1 & 2), Jerome Richardson (tracks 3-5) - baritone saxophone;  George Stubbs - piano (track 6);  Billy Butler (tracks 1, 2 & 6), Eric Gale (tracks 3-6) - guitar;  Richard Davis - bass (tracks 1-5);  Chuck Rainey - electric bass;  Bernard Purdie - drums;  Winston Collymore, Leo Cruczek, Richard Elias, Emanuel Green, Leo Kahn, Gene Orloff, Matthew Raimondi - violin (tracks 1-3, 5 7 6);  Alfred Brown, Selwart Clarke - viola (tracks 1-3, 5 & 6);  Kermit Moore - cello (tracks 1-3, 5 & 6).

Bigger & Better

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Ben Sidran - Live At The Celebrity Lounge

Styles: Vocal And Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 52:44
Size: 123,1 MB
Art: Front

(4:34)  1. Sentimental Journey
(4:50)  2. Turn To The Music
(0:25)  3. Chat
(4:37)  4. I Wanna Be A Bebopper
(6:16)  5. House Of Blue Lights
(5:03)  6. Look Here
(5:35)  7. Avinu Malchenu
(1:27)  8. Chat 2
(3:31)  9. Gege's Mouth Drums
(4:55) 10. Gege's Groove
(6:29) 11. Old Folks
(4:57) 12. Blues For The Celebrity Lounge

Pianist, singer/songwriter, producer, author, and host Ben Sidran is a literate performer known for his engaging, jazz-influenced sound and laid-back, conversational style. Essentially a pianist/vocalist with a storytelling approach in the tradition of Mose Allison, Sidran grew from a supporting player with rocker Steve Miller to a solo performer, and to an award-winning radio and TV host. Along the way, he has produced albums for such luminaries as Allison, Van Morrison, Michael Franks, Rickie Lee Jones, and others. He has also hosted shows for National Public Radio and VH1. Born in Chicago in 1943, Sidran grew up in Racine, Wisconsin. In the early '60s, he played with Steve Miller and Boz Scaggs in a band called the Ardells at the University of Wisconsin. After Miller moved to San Francisco and secured a recording contract, he called on old friend Sidran to join him in the Steve Miller Band following the departure of original keyboardist Jim Peterman. Sidran contributed on the keys and as songwriter on several Miller albums beginning with Brave New World in 1969, co-writing the classic "Space Cowboy" and three other tunes on that LP. 

He also authored "Steve Miller's Midnight Tango" on Number 5 and collaborated with Miller on several other tunes through the years. He also produced his friend's underappreciated Recall the Beginning...A Journey from Eden in 1972. Sidran received a Ph.D. in philosophy/musicology, writing his doctoral thesis on African-American culture and music in the United States. The thesis was published to positive critical response in 1971 as Black Talk. Since 1972, he has released a number of solo albums in a cool, easy swinging style similar to Allison, including 1976's Free in America, 1977's The Doctor Is In, and 1978's A Little Kiss in the Night. While his early albums relied on acoustic instruments and lyrical references to his musical heroes, his later releases used electronic instruments and tasty synthesizers for an interesting sound best presented on albums like 1985's On the Cool Side and 1988's Too Hot to Touch. Through the years, Sidran and Miller have remained close friends, popping up from time to time on one another's recordings or live performances. In 1988, Sidran co-produced one of Miller's most interesting latter-day recordings, Born 2B Blue, a collection of jazz standards dressed up in the same cool, low-key arrangements Sidran employs on his own albums. Also during the '80s, Sidran began expanding his profile by hosting shows for National Public Radio, including the Jazz Alive series, for which he earned a Peabody Award. During the '90s, Sidran released a number of albums on his own Go Jazz label, including 1994's Life's a Lesson, 1996's Mr. P's Shuffle, and 1999's The Concert for García Lorca. He also appeared on television, hosting the Ace Award-winning New Visions program on VH1. Also during this period, he collaborated with Van Morrison and Georgie Fame on the tribute album Tell Me Something: The Songs of Mose Allison. He then formed the Nardis label with his son, and delivered such efforts as 2004's Nick's Bump, 2006's Live à Fip, 2009's Dylan Different, and 2013's Don't Cry for No Hipster. In 2017 Sidran returned with Picture Him Happy, a philosophical production centered on the myth of Sisyphus and featuring backing from guitarist Will Bernard, bassist Will Lee, saxophonist John Ellis, and others. ~ Jim Newsom https://itunes.apple.com/ca/album/live-at-the-celebrity-lounge/1047027456

Ben Sidran (Piano, Vocals); Phil Woods (Saxophone); Phil Upchurch (Guitar); Mike Mainieri (Vibraphone); Richard Davis (Bass); Leo Sidran (Drums); Gege Telesforo (Vocals); Lynette Margulies (Vocals).

Live At The Celebrity Lounge

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Jean-Luc Ponty - The Atlantic Years

Styles: Violin Jazz
Year: 2018
File: MP3@320K/s
Time: 83:32
Size: 196,9 MB
Art: Front

(0:47)  1. Overture
(3:59)  2. The Trans-Love Express
(2:22)  3. Imaginary Voyage, Pt. 1
(4:42)  4. Cosmic Messenger
(5:38)  5. Stay with Me
(7:18)  6. Modern Times Blues
(3:35)  7. The Struggle of the Turtle to the Sea, Part I
(3:34)  8. The Struggle of the Turtle to the Sea, Part II
(6:03)  9. The Struggle of the Turtle to the Sea, Part III
(4:06) 10. Once a Blue Planet
(4:04) 11. In the Kingdom of Peace
(4:54) 12. Mirage
(3:58) 13. Jig
(5:07) 14. The Gardens of Babylon
(5:23) 15. Elephants In Love
(2:23) 16. Enigmatic Ocean, Part l
(3:35) 17. Enigmatic Ocean, Part II
(3:45) 18. Enigmatic Ocean, Part III
(2:26) 19. Enigmatic Ocean, Part lV
(5:44) 20. Egocentric Molecules

One thing we learned Tuesday night: Enigmatic Ocean (Atlantic, 1977), violinist Jean Luc Ponty’s fourth album for Atlantic Records, is his favorite. And why not? It made it to number one on the jazz charts in 1977. Plus, it’s pretty good. The Jean Luc Ponty Band brought their Atlantic Years tour through Boulder last Tuesday, recreating the music from what is most likely Ponty’s most popular period. From 1975 through 1985, Ponty released a dozen albums on the Atlantic label and the current tour digs into over half of them to one degree or another. Enigmatic Ocean was by far the best represented with the band performing nearly the entire album during the course of the evening. In fact, only one cut, “Nostalgic Lady,” was omitted. The program also drew from Imaginary Voyage, (Atlantic, 1976), Fables (Atlantic, 1985), Mystical Adventures (Atlantic, 1982), Civilized Evil, (Atlantic, 1980), A Taste for Passion (Atlantic, 1979) and Cosmic Messenger (Atlantic, 1978). The beginning of Ponty’s Atlantic years saw him coming off a stint with the Mahavishnu Orchestra and his association with Frank Zappa, including a significant role on Zappa’s Overnite Sensation (Discreet, 1973). It was the hey-day of jazz fusion with the likes of Return to Forever and its constituent parts along with others such as Weather Report, Larry Coryell and Billy Cobham enjoying commercial and artistic success. All the jazz fusion elements came into play Tuesday night; the tight, fast playing, the impossible licks played in unison by two, three or even four band members, the quirky and ever morphing time signatures, the raging solos. That’s not to say the entire evening was a pyromaniac’s delight, Ponty definitely has a sensitive side and it showed with some acoustic numbers such as "Once a Blue Planet” from Civilized Evil and some electric ballads like “The Gardens of Babylon” from Imaginary Voyage.

Ponty has never been a purist, mixing, as he has, elements from many different musical styles over the years. That same attitude cropped up Tuesday night with a selection from one of his albums for Columbia records (which is where he went after the Atlantic years ended). The band played “Tender Memories” from Storytelling (Columbia, 1989). The main reason for the deviation from the Atlantic years was because Storytelling featured the exact same band Ponty is playing with on this tour. Most of the band members had played with Ponty before that album including on some of the later Atlantic albums, just not all at once. Drummer Rayford Griffin probably appeared on more albums from the era in question than the others. It’s no wonder Ponty likes to have him around. He easily lays down the kind of hyperactive percussion necessary to play this music right. Guitarist Jamie Glaser is another long-time Ponty associate appearing off and on during the Atlantic years and after. Ponty has always recruited one or more flame-throwing guitarists such as Daryl Stuermer and the late Allan Holdsworth and Glaser is a brother of the same flame. Bassist Baron Browne made his appearance later, but still contributed to several Ponty albums. Like Griffin, Browne is no mere time-keeper in the rhythm section, but instead provides continual counterpoint from the low end. The newest member of the group, keyboard player Wally Minto, didn’t show up until 1989. His playing, both as an accompanist and as a soloist was always tasteful, creative and virtuosic. Ponty, at 74, remains in fine form. After all these years, he still takes delight in performing this music. He smiled throughout the show, especially when he and one or two other band members nailed an intricate passage with more speed and grace than a cheetah on the hunt. His playing remains fluid and his solos endlessly imaginative. The last time Ponty was in Boulder (May 24, 2016), he was with the Anderson Ponty Band. The personnel of that band and the current one is identical except for the absence of vocalist Jon Anderson, veteran of the classic rock band Yes. The program for these shows was completely different except ABP performed “Infinite Mirage,” a reworking of “Mirage” with lyrics added by Anderson, and portions of “Enigmatic Ocean.” It’s plain the years haven’t slowed Ponty’s bow or dampened his enthusiasm for playing this highly technical, energetic and fun music. http://www.kuvo.org/post/review-jean-luc-ponty-band-atlantic-years-tour#stream/0

The Atlantic Years

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Al Hirt - Al Hirt Now!

Styles: Trumpet Jazz
Year: 1968
File: MP3@320K/s
Time: 32:46
Size: 80,2 MB
Art: Front

(3:07)  1. Scarborough Fair / Canticle
(3:20)  2. American Boys
(3:28)  3. Les Bicylettes de Belsize
(2:45)  4. For Once In My Life
(2:49)  5. Wichita Lineman
(2:35)  6. Zorba Theme (Life Is)
(3:20)  7. From Both Sides Now
(2:48)  8. The Straight Life
(3:19)  9. Abraham, Martin And John
(2:25) 10. I Love How You Love Me
(2:45) 11. Promises, Promises

A virtuoso on the trumpet, Al Hirt was often "overqualified" for the Dixieland and pop music that he performed. He studied classical trumpet at the Cincinnati Conservatory (1940-1943) and was influenced by the playing of Harry James. He freelanced in swing bands (including both Tommy and Jimmy Dorsey, and Ray McKinley) before returning to New Orleans in the late '40s and becoming involved in the Dixieland movement. He teamed up with clarinetist Pete Fountain on an occasional basis from 1955 on, and became famous by the end of the decade. An outstanding technician with a wide range, along with a propensity for playing far too many notes, Hirt had some instrumental pop hits in the 1960s. He also recorded swing and country music, but mostly stuck to Dixieland in his live performances. He remained a household name throughout his career, although one often feels that he could have done so much more with his talent. Hirt's early Audiofidelity recordings (1958-1960) and collaborations with Fountain are the most rewarding of his long career; he died at his home in New Orleans on April 27, 1999. ~ Scott Yanow https://itunes.apple.com/us/artist/al-hirt/28488

Al Hirt Now!

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Beverley Staunton - Everything Changes

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 41:29
Size: 96,4 MB
Art: Front

(3:47)  1. Mr. Sunshine
(3:25)  2. Lay It Down
(3:54)  3. World Goes On
(4:03)  4. Right Where You Left Me
(3:20)  5. All About You
(4:32)  6. Never Even Had The Chance
(3:31)  7. Same Girl
(3:29)  8. Didn't I
(3:54)  9. Everything Changes
(4:12) 10. The Story Of My Life
(3:17) 11. Bye Bye Baby

Beverley Staunton is one of the music industry’s most versatile and sought out vocalists. From radio to television, the big screen to small screen and everything in between, Beverley’s style is truly unique, mesmerizing and real. Whether she’s singing vocals on recordings with: Bette Midler, Michael Buble, Julio Iglesias, Jessica Simpson, Barry Manilow, Jackie Evancho or taking the lead on various children’s CD’s for Disney Records, it’s easy to hear Beverley’s range, power and perfection. Not just limited to the studio, Beverley’s unassuming soulful style has elevated such artists as: Kelly Clarkson, Lionel Ritchie, Nelly Furtado, Martina McBride, Dionne Warwick, and James Taylor.?Originally from Montreal, Canada, Beverley’s magnetic performances started at an early age, where she essentially grew up on stage and television. By the time she was a young adult she had become one of Canada’s top live and session singers.?Television audiences were treated to Beverley’s musical talents on such shows as: The Tonight Show, David Letterman, Good Morning America, Canada AM, Regis & Kelly, Top of the Pops, Extra, Grease:You’re The One That I Want and America’s Got Talent. You can also hear Beverley’s remarkable voice on animated shows like “The Emperor’s New School” (ABC), “Kimpossible” (Disney), Seth Green’s “Robot Chicken” (Cartoon Network), Phineas & Ferb (Disney) and movies such as Norbit (Dreamworks) and Blades of Glory (Dreamworks). Now residing in Los Angeles, Beverley has quickly found her place among the city’s top vocalists. You can tune in to ABC’s Emmy nominated “Dancing With The Stars” where she lends her vocal abilities every single night singing everything from Pop, Jazz and Classical, not only in English, but also in French, Spanish and Portuguese. Beverley’s latest solo effort “Everything Changes” is a Country/Pop album which showcases her beautiful tone and power and is full of well crafted and catchy songs! If you like Carrie Underwood, Rascal Flatts and Martina McBride, you’ll love this record! https://store.cdbaby.com/cd/beverleystaunton

Everything Changes

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Illinois Jacquet - The Soul Explosion

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 36:41
Size: 85,5 MB
Art: Front

(9:19)  1. The Soul Explosion
(7:35)  2. After Hours
(3:09)  3. St. Louis Blues
(8:54)  4. I'm A Fool To Want You
(3:33)  5. The Eighteenth Hole
(4:09)  6. Still King

The great tenor Illinois Jacquet is joined by a ten-piece group that includes trumpeter Joe Newman and Milt Buckner on piano and organ for this 1969 Prestige studio session which has been reissued on CD by the OJC series.

Jacquet is in prime form, particularly on "The Soul Explosion" (which benefits from a Jimmy Mundy arrangement), a definitive "After Hours" and a previously unissued version of "Still King." This blues-based set is full of soul but often swings quite hard with the focus on Jacquet's exciting tenor throughout.~Scott Yanow https://www.allmusic.com/album/the-soul-explosion-mw0000276486

Personnel:  Illinois Jacquet – tenor saxophone;  Russell Jacquet, Joe Newman, Ernie Royal – trumpet;  Matthew Gee – trombone;  Frank Foster – tenor saxophone;  Cecil Payne – baritone saxophone;  Milt Buckner – organ, piano, arranger;  Wally Richardson – guitar;  Al Lucas – bass, electric bass;  Al Foster – drums;  Jimmy Mundy – arranger.

The Soul Explosion

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Eddie Fisher - Hot Lunch

Styles: Guitar, Jazz Funk 
Year: 1977
File: MP3@320K/s
Time: 37:44
Size: 86,7 MB
Art: Front

(3:03)  1. Brain-Strain
(2:43)  2. Good Old Days
(4:40)  3. Music Makes Me Feel Good
(4:39)  4. It's That Music
(3:43)  5. Energy
(3:44)  6. Gimme, Lend Me, Loan Me (Let Me Have)
(3:08)  7. Thump and Bump
(4:09)  8. The Sunrise
(3:58)  9. Get Down with the Feeling
(3:54) 10. Cosmic Blues

The late Arkansas born, Memphis raised guitarist Eddie Fisher left a legacy in the jazz, soul, blues, and funk fields touring with such luminaries as Albert King and Solomon Burke before settling in St. Louis where he became a fixture at the legendary Blue Note club. Presented here is an album Eddie recorded for Sylvia Robinson’s Stang label, originally released in 1977. “Hot Lunch” is pure funk with a heavy Sly Stone influence, with Eddie’s guitar and voice at the forefront. Finally available in the digital domain, this vintage analog recording has been newly remastered.~ Editorial Reviews https://www.amazon.com/Lunch-Digitally-Remastered-Eddie-Fisher/dp/B00PLYTLQE

Hot Lunch

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Brian Simpson - Something About You

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 46:44
Size: 107,6 MB
Art: Front

(5:14)  1. Something About You
(3:43)  2. Morning Samba
(4:03)  3. Mojave
(4:46)  4. Chemistry
(5:23)  5. Blue Horizon
(4:17)  6. At First Sight
(5:16)  7. Irresistible
(4:46)  8. Gotta Get To You
(4:26)  9. Speechless
(4:45) 10. The Rainbow

“Over the years I continue to appreciate how music can inspire people through good and bad times, and I never take for granted the opportunity I have to play a small part in someone’s life,” confides chart-topping keyboardist, composer, prolific studio musician and producer Brian Simpson. A master at crafting unforgettable melodies and timeless anthems, Simpson’s soulful approach to the music has made him first call for many musicians across numerous genres. Brian Simpson’s Midas touch has been called upon by everyone from Janet Jackson, Teena Marie and George Duke, to Stanley Clarke, Boney James and Dave Koz. Simpson’s newest masterpiece and eighth recording as a leader, Something About You, is the perfect amalgamation of influences that are close to the pianist’s heart: Jazz, R&B, Funk, Soul. His eloquent touch, sophisticated harmonic sensibility and bluesy overtones bless each of the album’s ten originals. The pianist enlists help from a seasoned group of musicians including programmer and co-producer Steve Oliver and keyboardist Oliver Wendell, who also helped to co-produced the CD.

 The trio was joined by bassists Alex Al and Andre Berry, guitarists Darrell Crooks and Yarone Levy, percussionist Ramon Yslas and trumpeter Ron King. Brian Simpson’s eighth recording as a leader find the consummate pianist churning out in the pocket grooves and dancing melodies that he has long been revered for but also pushing his sonic limits to new heights. There are many qualities that make Brian Simpson’s music distinctive but one of the most powerful elements is his ability to compose unbelievably beautiful and striking melodies. This gift has landed him on top of the charts numerous times. “I have figured out that there is no simple way to write a good song,”  he explains “You have to take time crafting every element. I will often write one melody for a song then try to come up with something completely different, then let a day go by before listening again in order to get an objective opinion on which one to use. I often make changes at the last minute, so it’s a process of refinement that isn’t over until it’s over!” Something About You opens with the jubilant and funky title track which shines a spotlight on Simpson’s effervescent and soaring piano lines juxtaposed to the bouncy and bottom heavy bass lines of Alex Al and rhythmic fancy of  Ramon Yslas. The sweet and dreamy “Morning Samba,” the album’s first single and the mystical “Blue Horizon,” both possess an intoxicating EDM vibe. “I wanted this project to sound modern, which I hoped to accomplish through electronic music elements,” says Simpson. “This should catch your ear upon first listen. What I hoped would be unique is combining those elements with the organically funky bass and guitar that has become a distinction of my music.” https://thejazzworld.com/brian-simpson-new-album-release-something-about-you/

Something About You

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Slide Hampton - Explosion! The Sound Of Slide Hampton

Styles: Trombone Jazz
Year: 1962
File: MP3@320K/s
Time: 29:51
Size: 71,8 MB
Art: Front

(2:26)  1. Revival
(2:23)  2. Maria
(3:59)  3. Delilah
(2:33)  4. Begin The Beguine
(3:01)  5. Your Cheatin' Heart
(3:33)  6. Spanish Flier
(2:58)  7. Bye Bye Love
(3:29)  8. Love Letters
(5:26)  9. Slide's Blues

The explosion in the title is definitely well-placed as trombonist Slide Hampton makes his group groove with a tremendous amount of power here all horns focused strongly on the rhythms, which themselves are wonderfully soulful! As with some of Hampton's best from the time, there's some really fresh young players on the set some obscure musicians, mixed with future heavyweights Joe Farrell and Ronnie Cuber on reeds plus piano from the great Horace Parlan! The tunes have a tight focus that really shows off Hampton's arranging skills and titles include "Spanish Flyer", "Bye Bye Love", "Slide's Blues", and "Begin The Beguine". (White label promo. Cover has some wear.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/33449/Slide-Hampton:Explosion-The-Sound-Of-Slide-Hampton

Personnel:  Slide Hampton - trombone, arranger;  Johnny Bello, Chet Ferretti, Jerry Tyree - trumpet;  Benny Jacobs-El - trombone;  Joe Farrell - tenor saxophone;  Jay Cameron, (1, 3, 5, 7, 8) Ronnie Cuber (2, 4, 6 & 9) - baritone saxophone;  Walter Davis, Jr., (1, 3, 5, 7, 8) Horace Parlan (2, 4, 6 & 9) - piano;  Bob Cranshaw - bass;  Vinnie Ruggiero - drums;  Willie Bobo - congas (2, 4, 6 & 9)

Explosion! The Sound Of Slide Hampton

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Della Reese - On strings of Blue

Styles: Vocal
Year: 1967
File: MP3@320K/s
Time: 39:10
Size: 90,4 MB
Art: Front

(2:39)  1. On The South Side Of Chicago
(3:29)  2. I Had To Know My Way Around
(3:36)  3. Mean To Me
(5:14)  4. Something Cool
(3:04)  5. I Heard You Cried Last Night
(2:45)  6. Walking By The River
(3:28)  7. I Don't Know Enough About You
(3:01)  8. A House Is Not A Home
(2:41)  9. Do I Worry
(2:37) 10. The Show Must Go On
(2:54) 11. Some Of My Best Friends Are The Blues
(3:35) 12. I'm Coming Home, Los Angeles

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

On strings of Blue

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Flip Phillips - Claw: Live At The Floating Jazz Festival

Styles: Saxophone Jazz 
Year: 1986
File: MP3@320K/s
Time: 75:16
Size: 173,1 MB
Art: Front

(14:54)  1. Topsy
(13:48)  2. Loose Walk
(14:19)  3. Sm-o-o-o-th One, A
(10:06)  4. Flying Home
(11:27)  5. Claw, The
( 1:28)  6. Closing Comments
( 9:11)  7. Jazzspeak

Veteran tenor Flip Phillips is heard leading a jam session during what was dubbed the 1986 Floating Jazz Festival since the music took place on the S.S. Norway somewhere in the Caribbean Sea. Phillips and his fellow tenors Buddy Tate, Al Cohn and Scott Hamilton (along with pianst John Bunch, guitarist Chris Flory, bassist Major Holley and drummer Chuck Riggs) clearly had a good time stretching out on the five pieces (which all sport fairly basic chord changes); fluegelhornist Clark Terry dropped by and joins in on three of the pieces. Unfortunately the liner notes do not tell who solos when but veteran collectors should be able to tell the tenors apart. 

The only minus to this CD is a surprisingly boring monologue by Phillips (one of Chiaroscuro's few unsuccessful "Jazzspeaks") at the conclusion of this disc. However his nine minutes of talking is preceded by 64 minutes of hot jamming, making this CD easily recommended to fans of Jazz at the Philharmonic and straightahead jazz.~ Scott Yanow https://www.allmusic.com/album/the-claw-live-at-the-floating-jazz-festival-mw0000614349

Personnel:  Flip Phillips, Buddy Tate, Al Korn, Scott Hamilton (ts);  Clark Terry (tp) John Bunch (p) Chris Flory (g);  Major Horley (b) Chuck Riggs (ds)

Claw-Live At The Floating Jazz Festival

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Herbie Mann - Surprises

Styles: Flute Jazz
Year: 1976
File: MP3@320K/s
Time: 38:57
Size: 89,6 MB
Art: Front

(4:41)  1. Draw Your Breaks
(6:07)  2. Cajun Moon
(4:46)  3. Creepin
(4:31)  4. Easter Rising
(3:50)  5. Asa Branca
(2:29)  6. The Sound of Windwood
(4:11)  7. Cricket Dance
(5:15)  8. The Butterfly in A Stone Garde
(3:05)  9. Anata

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~ Scott Yanow https://itunes.apple.com/qa/album/surprises/78974994

Surprises

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Houston Person & Ron Carter - Remember Love

Styles: Saxophone Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 52:47
Size: 122,9 MB
Art: Front

(6:57)  1. Love Is Here to Stay
(4:37)  2. My One and Only Love
(6:10)  3. Why Not
(5:01)  4. Day Dream
(6:23)  5. Gentle Rain
(4:28)  6. The Way You Look Tonight
(5:43)  7. You Are My Sunshine
(5:32)  8. Blues for D.P
(4:47)  9. Easy to Remember
(3:03) 10. Without a Song

Tenorist Houston Person and bassist Ron Carters started their 60s careers in very different parts of the jazz spectrum but over the years, they've found a way to work together wonderfully in a mode that's created some especially great duo albums like this! There's few folks who could get so much out of just the mix of bass and tenor saxophone – especially without going into any sort of avant or free jazz modes – and the pairing of Person and Carter hardly makes us miss piano, drums, or any other instrumentation as their sense of rhythm and expression is fully formed throughout. 

As you might guess from the title, most tunes are ballads and titles include "Without A Song", "Easy To Remember", "Love Is Here To Stay", "Day Dream", "Gentle Rain", "The Way You Look Tonight", and "Blues For DP".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/890371/Houston-Person-Ron-Carter:Remember-Love

Personnel:  Houston Person - tenor saxophone;  Ron Carter - bass

Remember Love

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Franco Ambrosetti - Gin and Pentatonic

Styles: Fluegelhorn, Trumpet Jazz
Year: 1985
File: MP3@320K/s
Time: 68:19
Size: 156,8 MB
Art: Front

(10:44)  1. Miss, Your Quelque Chose
( 4:22)  2. More Wings for Wheelers
( 8:10)  3. Yes or No
(13:16)  4. Gin and Pentatonic
( 6:17)  5. Autumn Leaves
(10:54)  6. Ode to a Princess
(14:35)  7. Atisiul

Franco Ambrosetti has had dual careers as a very successful businessman, and as a fine trumpeter and flügelhornist inspired by Freddie Hubbard and Miles Davis. His father Flavio Ambrosetti was an excellent saxophonist. Franco had piano lessons for eight years but is self-taught on trumpet, which he did not take up until he was 17. In 1972, he was one of the founders of the George Gruntz Concert Jazz Band, and through the years he has recorded quite a few worthy hard bop-ish albums for Enja in addition to leading his own groups. ~ Scott Yanow https://itunes.apple.com/nz/album/gin-pentatonic-feat-michael-brecker-kenny-kirkland/1360388464

Personnel:  Franco Ambrostetti, Fluegelhorn, trumpet;  Michael Brecker, tenor sax;  John Clark, french horn;  Kenny Kirkland, piano;  Buster Williams, bass;  Daniel Humair, drums;  Lew Soloff, trumpet;  Michael Mossman, trumpet;  Steve Coleman, alt sax;  Alex Brofsky, french horn;   Howard Johnson, tuba, bariton sax, piano

Gin and Pentatonic

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Ithamara Koorax - Autumn In New York

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 71:09
Size: 163,1 MB
Art: Front

(6:55)  1. I Fall In Love Too Easily
(6:28)  2. Walking Down The Street
(9:01)  3. Autumn In New York
(7:14)  4. You Were Born To Be Mine
(6:24)  5. She Was Too Good To Me
(8:08)  6. How Insensitive
(4:33)  7. Unisphere
(8:17)  8. You Don't Know What Love Is
(6:39)  9. Goodbye
(7:27) 10. You Were Born To Be Mine

Ithamara Koorax has a beautiful voice and a wide range. She often emphasizes long tones on this set, picking the best note for the right moment and holding it. The music alternates between heartfelt slow ballads and a more medium-tempo pace, with Koorax's haunting voice usually in the forefront. The trio is excellent, pianist Jurgen Friedrich has many short solos, and the repertoire is strong. This Japanese release has an alternate version of Jobim's "You Were Born to Be Mine" at the set's conclusion. Highlights include a slow "I Fall in Love Too Easily," the happy "Walking Down the Street," Dave Brubeck's "Unisphere," and a coolly emotional "Goodbye." Ithamara Koorax deserves to be much better known, for she has a sound of her own. ~Scott Yanow https://www.allmusic.com/album/autumn-in-new-york-mw0001374909

Autumn In New York

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