Jeff Hackworth - The Heart of the Matter

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 60:43
Size: 144,6 MB
Art: Front

(6:51)  1. Big Bad Boogaloo
(5:44)  2. Fool That I Am
(5:53)  3. That Old Black Magic
(6:34)  4. 3rd Avenue Blues
(8:13)  5. September Song
(6:00)  6. Sweet Tea
(7:09)  7. The Heart of the Matter
(7:15)  8. Mr. Gentle and Mr. Cool
(6:59)  9. Tres Palabras

Veteran tenor saxophonist Jeff Hackworth doesn't fool around much on his most recent musical project and gets right to The Heart of The Matter, unveiling his seventh album as leader and follow up to his previous critically-acclaimed Soul To Go! (Big Bridge Music, 2014). Employing a muscular approach to the saxophone, Hackworth's tenor voice is pronounced here leaving little doubt that one is in for a bit of tenor madness from one of the finest reed men around. Containing four originals and fresh new treatments of five well-known standards, the music is contemporary straight ahead with a touch of soul, blues, burners and ballads all in one nice musical package that goes right to the heart.  A mainstay of New York's vibrant jazz scene, Hackworth naturally selects a group of top notch New York City sidemen to accompany him on this album but eschews the standard bass and the piano instruments in lieu of the organ and guitar for a distinctive rhythm section. Featured here are drummer Vince Ector with guitarist Ed Cherry and organist Kyle Koehler rounding out the cast of this non-standard, different, stylish and very formidable quartet. Ector's rolling drum solo intro on Hackworth's original chart "Big Bad Boogaloo" gets the music going on the steamy side with a lively up tempo burner that showcases the more than appreciable chops of the leader. Floyd Hunt's 1947 composition "Fool That I Am," is the first ballad performed here with Hackworth doing a marvelous job on one soulful tenor solo after another with one of the finest version of the standard recorded to date. The magic continues on the following Arlen/Mercer classic "That Old Black Magic," featuring all of the bandmates on separate solos in one fine swinging rendition of the standard. The original "September Song" is somewhat special for Hackworth as he states "I like to tell a story when I improvise and this song...sets the stage..." and so this one certainly does, telling a tale of great music. 

The saxophonist pays homage to "The Sugar Man" or "Mr. T" as he was better known, the late great Stanley Turrentine would have been more than pleased with Hackworth's "Sweat Tea" and the bluesy title track, both tunes displaying superb examples of tenor voicings Mr. T would have identified with. The set begins to close on an often overlooked composition by the great Duke Ellington with Hackworth and crew delivering a superb rendition of "Mr. Gentle and Mr. Cool," then finalizing the album on a delicate embrace of the gorgeous "Tres Palabras."  Tenorist Jeff Hackworth makes it quite clear that The Heart of the Matter, is providing good music, and on that account, Hackworth and crew craft another delicious statement worth repeated spins and more serious attention, well done! ~ Edward Blanco https://www.allaboutjazz.com/the-heart-of-the-matter-jeff-hackworth-big-bridge-music-review-by-edward-blanco.php

Personnel:  Jeff Hackworth: tenor saxophone;  Ed Cherry: guitar;  Kyle Koehler: organ;  Vince Ector: drums.

The Heart of the Matter

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Lou Rawls - When You Hear Lou, You've Heard It All

Styles: Vocal
Year: 1977
File: MP3@320K/s
Time: 38:12
Size: 89,7 MB
Art: Front

(4:05)  1. Lady Love
(3:30)  2. I Wish It Were Yesterday
(3:56)  3. One Life To Live
(3:11)  4. Dollar Green
(3:50)  5. Trade Winds
(4:23)  6. There Will Be Love
(3:27)  7. Unforgettable
(3:16)  8. That Would Do It For Me
(4:35)  9. I Coulda, Woulda, Shoulda
(3:56) 10. Not The Staying Kind

A smooth, often delightful album that kept Lou Rawls squarely in the love/romantic/mellow circle that he'd been scoring in throughout the late '70s. Gamble and Huff were really trimming the productions and keeping things laid-back and casual, while Rawls' emphatic, smoky vocals carried the day. They weren't getting huge pop hits, but were on the R&B charts steadily, and the album just missed the pop Top 40. ~ Ron Wynn https://www.allmusic.com/album/when-you-hear-lou-youve-heard-it-all-mw0000653080

Personnel:  Lou Rawls – Vocals;  Barbara Ingram, Carla Benton, Yvette Benson – Backing vocals;  Charles Collins – Drums;  Michael "Sugarbear" Foreman – Bass;  Dennis Harris, Roland Chambers – Guitar;  Edward Green, Leon Huff – Keyboards;  Davis Cruse – Congas, bongos;  Don Renaldo – Strings, horns

When You Hear Lou, You've Heard It All

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Antonio Adolfo & Orquestra Atlantica - Encontros

Styles: Piano Jazz, Big Band
Year: 2018
File: MP3@320K/s
Time: 53:01
Size: 122,6 MB
Art: Front

(5:19)  1. Partido Samba-Funk
(4:29)  2. Pentatonica
(4:33)  3. Atlantica
(4:21)  4. Luizao
(4:29)  5. Milestones
(6:42)  6. Saudade
(4:51)  7. Capoeira Yá
(6:12)  8. Africa Bahia Brasil
(5:03)  9. Delicada Jazz Waltz
(6:58) 10. Sa Marina

After forty years of gigging around the world with a who's who of jazz instrumentalists and singers, the celebrated Brazilian pianist/composer Antonio Adolfo has realized his life-long dream of writing for and recording with a world-class big band and what a band it is: the remarkable Orquestra Atlantica from Adolfo's home country, formed in 2012 and molded since then into a superior ensemble fully capable of carrying out his every wish and desire. On Encontros, the Orquestra adeptly performs nine of Adolfo's sunny compositions and one jazz standard, Miles Davis' "Milestones," neatly arranged by Atlantica trumpeter Jesse Sadoc (seven tracks) and saxophonist Marcelo Martins (three). As one would expect, the music on offer is expressly Brazilian in tone and temper which places an enormous exclamation mark on the winning side of the ledger. On top of which, Adolfo's themes ranging from samba, Frevo and capoeira to waltz, ballad and Afro-Brazilian are invariably agreeable and charming. Impressive as each one is, however, Adolfo saves the best for last: a big-band arrangement of his biggest hit, "Sa Marina," written in 1967 and released globally as "Pretty World" with lyrics by Alan and Marilyn Bergman. The new version embodies handsome solos by Adolfo and tenor saxophonist Martins, crisp exchanges between baritone Levi Chaves and trombonist Aldivas Ayres, and more exemplary work by the cleanly recorded ensemble.  The opener, "Partido Samba-Funk," is explicitly designed for dancing as well as listening. Adolfo's nimble piano is front and center alongside alto Danilo Sinna and trumpeter Sadoc. 

The ensemble is on top of its game, as it is on "Atlantica," a medium-tempo ballad named for the band and featuring Martins and guitarist Leo Amuedo, and "Luizao," a lively samba that salutes the late bassist Luizao Maia. The forceful solo is by valve trombonist Serginho Trombone (yes, that really is his name). Bop meets Frevo on the impulsive "Milestones," wherein tight ensemble work by the horns enwraps lustrous solos by Adolfo and accordionist Marcos Nimrichter.  The mood darkens on "Saudade," whose fluid rhythms underscore earnest statements by Adolfo's piano and Sadoc's flugelhorn, then lightens again on "Capoeira Ya," which turns the spotlight on an unusual Brazilian dance that is combined with martial art as well as on ace guitarist Nelson Faria. Adolfo teams with alto Sinna to enhearten "Africa Bahia Brazil," which celebrates the African influence in Brazilian culture and precedes the gentle "Delicada Jazz Waltz," whose lyrical solos are neatly designed by Adolfo and Nimrichter. "Sa Marina" rings down the curtain on a consistently bright and pleasing album that was a long time coming but well worth the wait. ~ Jack Bowers https://www.allaboutjazz.com/encontros-orquestra-atlantica-antonio-adolfo-aam-music-review-by-jack-bowers.php

Personnel: Antonio Adolfo: piano;  Nelson Faria, Claudio Jorge, Leo Amuedo: guitars;  Jorge Helder: bass;  Rafael Barata: drums;  Dada Costa: percussion;  Danilo Sinna: alto saxophone and flute;  Marcelo Martins: tenor saxophone and flute;  Marcos Nimrichter: accordion;  Ze Renato: vocals.

Encontros

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Fay Claassen - Dutch Songbook

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 65:59
Size: 152,2 MB
Art: Front

( 7:36)  1. Find That Screw
( 6:53)  2. Aan De Amsterdamse Grachten
(10:38)  3. Reach for the Rose
( 8:35)  4. Is Dit Alles
( 5:47)  5. Zonder Jou
( 5:21)  6. Opzij, Opzij, Opzij
( 7:42)  7. Dat Mistige Rooie Beest
( 7:21)  8. Five Up High
( 6:03)  9. Keep Me in Your Dreams

This album is a live recording of vocalist Fay Claassen and the WDR Big Band conducted by Torsten Maass with its fantastic soloists at the "Jazz-Schmiede" Düsseldorf on November 28th, 2015. In November 2015, Fay was asked by the management of the WDR Big Band to put together a programme with music from the Netherlands. Fay had carte blanche to choose all the music and have it arranged for her and the WDR Big Band. The music is a selection of Fay's favourite songs by Dutch composers such as Herman van Veen, Benjamin Herman and Cor Bakker. https://www.propermusic.com/product-details/Dutch-Songbook-256818

Dutch Songbook

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Marlene VerPlanck - I Think Of You With Every Breath I Take

Size: 96,5 MB
Time: 41:15
File: MP3 @ 320K/s
Released: 1983/1993
Styles: Jazz Vocals
Art: Front

01. (I Think Of You) With Every Breath I Take (3:20)
02. Accent On Youth (4:37)
03. Snuggle On Your Shoulder (Cuddle In Your Arms) (3:52)
04. Some Other Time (4:21)
05. If I Love Again (3:36)
06. We Could Make Such Beautiful Music (3:05)
07. Deep In A Dream (6:01)
08. Two Cigarettes In The Dark (5:08)
09. Without A Word Of Warning (3:24)
10. You Leave Me Breathless (3:47)

This 1983 CD is a straight reissue of Marlene Ver Planck's first album, a Savoy set that has since been reissued on CD by Denon in their Savoy series. With assistance from trumpeter Joe Wilder, flutist Herbie Mann, pianist Hank Jones, bassist Wendell Marshall and drummer Kenny Clarke, Ver Planck (who had a very impressive voice from the start) brings sincere emotion and a light swing to her renditions of ten ballads from the 1932-44 period. ~by Scott Yanow

I Think Of You With Every Breath I Take

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Jacqueline Tabor - The Lady In The Gown

Size: 120,0 MB
Time: 50:48
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. On Green Dolphin Street (4:05)
02. I Can't Give You Anything But Love (2:23)
03. Autumn Leaves (3:02)
04. Misty (4:20)
05. Lady In The Gown (2:56)
06. Caravan (1:36)
07. Tight (3:06)
08. When Lights Are Low (3:46)
09. Dindi (3:30)
10. I Fall In Love Too Easily (2:32)
11. That's All (2:46)
12. Mood Indigo (4:53)
13. It Could Happen To You (4:16)
14. Never Make A Move Too Soon (2:34)
15. Crazy He Calls Me (4:56)

The Lady in the Gown is the third solo outing from Seattle-based cabaret vocalist Jacqueline Tabor. Whether fans like their music with a cup of blues or a few scoops of adult pop, Tabor’s vocalese is palatable for them all. She shows the smoothness of Sarah Vaughan, the spontaneity of Joss Stone, and a catchy rhythmic timing that personalizes her sound. Instinctively, she moves her voice in ways that makes it distinguishable.

Joined by drummer Max Holmberg, bass player Greg Feingold, and guitarist Cole Schuster, Tabor offers a comfy respite with the familiar gusto of jazz vocalist Nancy Wilson, shrouded in a moonlight ambience. “Misty,” most of all, showcases this combination. Kicking the tempo up a couple of notches, the recording moves into the title track. An original number, the tune has all the pumping grooves and finesse of R&B-infused jazz. Tabor’s spontaneity thrives under these conditions.

Her rendition of Duke Ellington’s “Caravan” is flavored with exotic tribal beats and a spiritual voicing in her register that’s inviting. Imbued with a joyful swinging tone, Tabor sings every track like each was made for her. From the sparse bongo beats of “When Lights Are Low” to the smoky blues atmospherics of “Never Make a Move Too Soon,” Tabor tailors her voice to the mood.

Tabor’s vocal expressions give the tracks depth and meaning – a talent that consistently makes her able to penetrate audiences. Proving she is more than an artist who covers other writers’ works, Tabor shows a passion and reverence for the music she records that touches the listener.

Her understanding of blues music and its origins comes from studying such subjects at Southern University of Baton Rouge in Louisiana. She honed her talent and confidence by performing in clubs throughout the North Pacific of the U.S. Influenced and impacted by a number of jazz singers before her, Tabor developed a presence, able to influence other vocalists and make an impact on the direction that cabaret jazz is presently taking. For a newcomer to radio listeners, Tabor is a well-versed artist. ~Susan Francesny

The Lady In The Gown

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Steve Oliver - Illuminate

Size: 118,8 MB
Time: 50:54
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Full Tilt (4:00)
02. The Game Is On (3:52)
03. Illuminate (6:01)
04. Visions Of Light (5:40)
05. Vamonos (4:23)
06. Circles (5:12)
07. Raise Up (4:54)
08. Hidden Sun (5:43)
09. Soul Deep (5:16)
10. City Of Lightning (4:03)
11. Illuminate (Reprise) (Solo Guitar) (1:45)

Following in the tradition of his earlier albums POSITIVE ENERGY and RADIANT, Steve Oliver dubs his latest album ILLUMINATE, shining a spotlight on his trademark of vibrant, guitar melodies and sunny wordless vocalese couched in uplifting musical atmospheres. Though the uptempo, road trip ready gems drive the journey, his first set of original contemporary jazz instrumentals in six years includes several intimate ballads that bring a soulful depth to the party. Both live and in the studio, Steve showcases his one-man band mastery by generating his own guitar, bass and keyboard vibes through his unique “sound design.” ILLUMINATE is highlighted with a few top-flight friends including Jimmy Haslip, Joel Taylor and Nelson Rangell. ~Sandy Shore

Illuminate

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Steve Watson, Ian Bracchitta, Rick Dilling & Wendy Jones - Reflections

Size: 166,8 MB
Time: 71:49
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Jazz Vocals
Art: Front

01. Broadway (4:57)
02. S'Wonderful (7:52)
03. Unchain My Heart (5:53)
04. The Boy Next Door (5:31)
05. It Could Happen To You (5:48)
06. Reflections (5:48)
07. The Red Blouse (6:40)
08. Tenderly (8:14)
09. Bright Size Life (3:54)
10. Pure Imagination (3:21)
11. All Too Soon (4:01)
12. Wabash III (6:31)
13. Only You (3:13)

Steve Watson graduated from Newberry College with a BA in 1974 and The University of Miami (Coral Gables) with a MM in 1977.
Steve has performed all over the world. He was a member of The University of Miami Concert Jazz Band that toured Switzerland, Cyprus, Syria, Jordan, Egypt, and Tunisia. From 1978 through1984 Steve was a member of The Bruce Hornsby Band. After moving to Los Angeles, he became a studio guitarist for television, movies and records. His credits include Hill Street Blues, Magnum PI, The A-Team, Hunter, Hardcastle and McCormick, Riptide, Murder She Wrote, LA Law, Big Business, Simon and Simon, Quantum Leap, The Young Riders, Sonny Spoon, The Greatest American Hero, Young Guns, Trains, Planes and Autos, Sixteen Candles, Rhinestone, Dragnet, Dr. Detroit, River Rats, Into the Night and The Dolly Parton variety television show. He has also recorded commercials for Coors, Budweiser, 7-11, Acura, Honda and Toyota. Steve was an adjunct professor at The University of Southern California from 1981-1990 and lecturer at The University of Miami from 1977-1978.

Steve currently lives with his wife, Susan, of 30 years in Greenville, SC. His 26 year old daughter, Mary Neill, is a graduate of The University of South Carolina and is a nurse in Charlotte NC. and married to Colin Irvine. His 32 year old daughter, Anna, is a graduate of The University of Georgia and is an attorney in Richmond, VA. She is married to Robert Clarke Hunter and they have two children Perrin Elizabeth Hunter, and Olivia Crawford Hunter .

Steve is , Director of Jazz Studies at The Fine Arts Center, an art magnet high school in Greenville, and is an adjunct professor at Furman University.

Steve released “Watson’s Riddle” in 2011 on Palmetto Records (Sony) with Paul Riddle and Chuck Leavell. He wrote all of the material for this project. It was in the top 15 in the contemporary jazz charts for 2011 and 2012.

Steve released his self-produced solo project entitled “Heat It Up” in February 2015. It contains ten tracks of original instrumental contemporary jazz. The single "Mary Anna" was co-produced by smooth jazz veteran and University of Southern California professor Richard Smith. The CD reached #12 on the SmoothJazz.com Indie chart.

Steve released his new CD "Playtime" with the first single "Playtime" featuring Chuck Loeb on May 2nd 2016. Chuck produced this track. Jeff Lorber produced and contributed the track "Stones Throw" on the CD. The other tracks were produced by Steve with production help on "Pear Bear" from Greg Alewine and Hazen Bannister.It reached #18 on the Billboard Smooth Jazz Chart on July 11th.
As of 2-7-2017 "Pear Bear" was # 6 on the smoothjazz.com Top 50 Chart and #29 on the Billboard Smooth Jazz Chart.

In August of 2018 Steve released his first straight ahead jazz CD "Reflections" with Ian Bracchitta on bass, Rick Dilling on drums and Wendy Jones on vocals.

Reflections

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Kat Gang - Come Closer

Size: 112,7 MB
Time: 48:15
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. This Can't Be Love (2:46)
02. The Very Thought Of You (5:27)
03. Darn That Dream (4:27)
04. Sentimental Journey (3:04)
05. Come Closer (4:55)
06. The Sweet Life (2:35)
07. How Insensitive (4:49)
08. I'm Glad There Is You (5:33)
09. Sometimes I'm Happy (2:29)
10. People Will Say We're In Love (2:56)
11. Say It (4:10)
12. Bella Tristeza (4:59)

Kat has a soul steeped in jazz. Born in Boston, she began her music theory training as a teenager at Berklee and then fell in love with the energy of New York City and went on to gain her BFA from NYU. She escaped the Bush administration by seeking asylum in the UK and studying music at the Royal Academy in London. Kat lived and worked singing jazz all over England for seven years. She has performed twice at the GRAMMY Awards with the National Academy of Recording Arts and Sciences, traded fours with Bobby McFerrin at the Blue Note Jazz Festival, and currently is back in New York with a residency at the Plaza Hotel with her quartet. Kat continues to explore the depth of jazz fusion and improvisation with her versatile, extraordinary ear and voice.

Her entire life, Kat has been soul-searching and exploring the world with her ear tuned to music in the air. She has traveled and worked widely – Asia, Africa, the Pacific, Europe, North America and the Atlantic – and continues to seek influences and audiences abroad.

As an actress, Kat is compelling and authentic, visually engaging and emotionally sensitive. With the professional conservatory training received at Tisch’s unique network of studios, she brings depth to characters from Sondheim to Chekov to Rogers and Hart. Kat has a profound understanding of theatrical studies ranging from avant-garde to Broadway; from classical texts to modern American drama.
Kat’s voice, a four octave instrument, comes from a place deep within that touches love, loneliness, longing, and wonder. Revealing the superb vocal finesse and agility for which she is known, Kat can sound vulnerable, omnipotent, saucy, or madly in love. Listen for the intensity in her whispers, the power behind her belts, and her playfulness with words and melodies. Fall in love with her incomparable voice, her vivacious spirit, and her exceptional music.

Come Closer

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Aimee Allen - Wings Uncaged

Size: 129,4 MB
Time: 55:39
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Skylark (5:37)
02. Shooting Star (5:27)
03. Invitation (5:15)
04. In My Web (5:36)
05. Democracy How (Harmony And Dissonance) (5:51)
06. Touch The Sun (5:20)
07. Fotografia (5:42)
08. Night Owl (4:21)
09. Save Your Love For Me (4:41)
10. Autumn Leaves Les Feuilles Mortes (4:12)
11. Midnight Sun (3:32)

Personnel:
Aimée Allen - vocals
François Moutin - bass
Billy Test - piano
Kush Abadey - drums

Aimée Allen’s latest release, Wings Uncaged, is a musical statement of transcendence. With a set of striking originals featuring winged creatures, negotiating the possibilities and limitations of the natural world, the music is a metaphor for surviving perilous conditions in creative ways.

It is no accident that a profound meditation on the current state of democracy, entitled Democracy How (Harmony and Dissonance) is also included. Interspersed with unexpected reworkings of standards as well, Wings Uncaged proclaims that in love, as in life and in nature, we can rise above and transform our circumstances.

Wings Uncaged

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Greg Osby - Inner Circle

Styles: Saxophone Jazz 
Year: 2002
File: MP3@320K/s
Time: 45:59
Size: 105,4 MB
Art: Front

(4:58)  1. Entruption
(4:07)  2. Stride Logic
(4:14)  3. Diary of the Same Dream
(4:09)  4. Equalatogram
(6:36)  5. All Neon Like
(4:45)  6. Fragmatic Decoding
(4:41)  7. The Inner Circle Principle
(6:16)  8. Sons of the Confidential
(6:08)  9. Self-Portrait in Three Colors

Jazz fans searching for a quintessential forward-thinking artist should look no further than the musical musings of Mr. Greg Osby. He's an artist who will not be satisfied with the status quo. Distinguished as an alto saxophone stylist, his voice is unique and easily recognizable among the masses. His recordings of the past few years have all been modern exercises in jazz music that are entertaining, cerebral, and illuminating. As any successful visionary, he has surrounded himself with like-minded individuals who continue to push the envelope of jazz; such as piano extraordinaire Jason Moran and vibraphonist Stefon Harris. His previous recording Symbols of Light (A Solution), which implemented a string quartet into his eclectic mix, was one of 2001's top jazz picks.  Inner Circle continues on the same high level that Osby has been operating at throughout his career. His music is progressively expanding into new boundaries on the ubiquitous jazz theme. It swings, grooves and moves with a distinctive style. The recording features Osby originals with covers by Euro-Pop sensation Bjork and famous bassist Charles Mingus. The title Inner Circle could easily refer to one of the tightest set of young musicians paving the jazz path today. The musicians have been featured on recordings by Jason Moran and Stefon Harris. Bassist Taurus Mateen and drummer Eric Harland comprise one of the most dynamic and talented rhythm sections on the scene today. Osby and Moran have formed a unique and wonderful symbiosis over the past few years that allows for freedom and expression with wide possibilities. Stefon Harris' vibe work just keeps getting better. All the compositons are creative with odd patterns and complex arrangements that never leave the listener too far, and will also encourage a deeper appreciation for the art form. The many highlights include the circuitous and hypnotic "Fragment Decoding" and the brilliant "Inner Circle Principle" with its memorable solos expressed by each musician. With Osby at the helm, one can only anticipate the next move in his forward progression. ~ Mark F.Turner https://www.allaboutjazz.com/inner-circle-greg-osby-blue-note-records-review-by-mark-f-turner.php

Personnel: Greg Osby: Alto Saxophone; Jason Moran: Piano; Stefon Harris: Vibraphone; Tarus Mateen: Bass; Eric Harland: Drums

Inner Circle

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Bryn Roberts - Ludlow

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 53:25
Size: 122,6 MB
Art: Front

(8:30)  1. Ludlow
(5:48)  2. Indie
(4:33)  3. Fleure
(8:55)  4. Corrigan
(7:55)  5. Reruns
(7:12)  6. Eau De Vie
(4:34)  7. Dancing In The Dark
(5:55)  8. Hagamos Un Trato

Ludlow is a showcase for the considerable gifts of the young Canadian pianist and composer Bryn Roberts. It's a sparkling, varied CD that gets better with each listen. The music is characterized by strong compositional frameworks and flowing improvisation. Pianist Roberts composed all the material on Ludlow except the standard "Dancing In The Dark." His compositions have lengthier expositions than the standards played by earlier generations of jazz musicians. The title tune, for example, is an attractive line, long and flowing, with lyrical chord changes and stop-and-start rhythms that support sinuous improvisations, particularly by the fine young saxophonist Seamus Blake. In fact, it is Blake whose consistent excellence is responsible for the success of this album. His every solo is meticulously constructed, juggling complex ideas effortlessly, played with a warm, clear tone and a rolling swing. The fact that Blake eschews the electronic effects he has used elsewhere only serves to highlight his sound. Roberts, too, is a gifted improviser who isn't afraid to take chances, while his technical command and relaxed swing contribute to the long, lyrical lines that are characteristic of both his improvising and his compositions. Besides the variations in form, Roberts' compositions use other devices characteristic of today's new mainstream. He is fond of odd time signatures, for example. "Indie" sports a 7/4 funk beat, and "Corrigan" is a 7/4 bossa nova. And everybody's at home in good old 4/4, as the up-tempo cooker "Hagamos Un Trato" proves. Kudos also to the excellent rhythm section. Bassist Drew Gress plays with empathy, using imaginative note choices and placements. His lively walking on "Hagamos Un Trato" is also welcome. Mark Ferber is a marvelous young drummer who is most notable for his brilliant use of cymbal shadings and his righteous swing. ~ AAJ Staff https://www.allaboutjazz.com/ludlow-bryn-roberts-fresh-sound-new-talent-review-by-aaj-staff.php

Personnel: Bryn Roberts, piano; Seamus Blake, tenor sax; Drew Gress, bass; Mark Ferber, drums.

Ludlow

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Philip Clouts Quartet - Umoya

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 51:25
Size: 118,7 MB
Art: Front

(5:38)  1. Lila
(7:35)  2. Dreamy Driving
(7:07)  3. Walking in Starlight
(6:49)  4. Meandering
(5:17)  5. Taranto
(6:44)  6. Umoya
(6:11)  7. Amor
(6:02)  8. Direction South

The Philip Clouts Quartet's Umoya, a follow-up to The Hour Of Pearl, (Point Records, 2013) is named for the Zulu word for Life Force. It's a positive title for an album filled with positive sounds. Bass guitarist Alex Keen remains from those The Hour Of Pearl sessions. He's joined by saxophonist Samuel Eagles and drummer Dave Ingamells. Pianist and composer Clouts was born in Cape Town, South Africa and moved to the UK as a young child. African music remains a major influence in his writing and playing, as the eight original tunes on Umoya ably demonstrate, but he's open to a much wider range of influences which all go some way to informing these tunes. It's Keen and Ingamells who make the first statement -opening "Lila" with a simple, repetitive, but irresistible groove (the tune takes inspiration from North African Sufi music). The groove stays in place as Eagles (on soprano) and Clouts trade solos, ensuring that dancers will have no trouble keeping their moves together even as the soloists take their own flowing, melodic, paths. The centrality of the groove is a key element of Clouts' music the nature of the groove may vary, but not its importance. On "Walking In Starlight" it's a reggae-influenced bass and drum rhythm that forms the foundation for Eagles' snaky soprano lines and Clouts' electric piano. "Umoya" shares this reggae rhythm: so, too, does "Direction South" although on this tune reggae takes turns with a gentle shuffle beat. "Meandering" has an unsurprisingly relaxed rhythm: one of the album's most overtly jazz influenced tunes it serves to illustrate Eagles' talent on tenor. Whether the inspiration comes from South Africa, Jamaica, his adopted rural English home or the homelands of jazz, Clouts' compositions are strong and likeable. The quartet's playing is similarly engaging, a feeling of optimism pervading the tunes with a life force of its own. ~ Bruce Lindsay https://www.allaboutjazz.com/umoya-philip-clouts-odradek-records-review-by-bruce-lindsay.php

Personnel: Philip Clouts: piano, electric piano (3); Samuel Eagles: soprano saxophone, tenor saxophone; Alex Keen: bass guitar; Dave Ingamells: drums.

Umoya

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David Benoit & Gregg Bissonette, Brian Bromberg - Great Composers Of Jazz

Styles: Piano Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 51:54
Size: 120,4 MB
Art: Front

(5:13)  1. Brother Go To Mothers
(4:00)  2. Cute
(6:01)  3. Django
(4:11)  4. Blue Rondo a La Turk
(4:40)  5. Some Other Time
(4:57)  6. Cakewalk
(6:02)  7. Stardust
(4:05)  8. Straight No Chaser
(5:14)  9. I Loves You Porgy
(7:27) 10. Waltz For Debby

The newly formed Vertical Jazz Records debuts with an attractive, six-CD series of straightahead trio, quartet and quintet recordings showcasing top West Coast jazz artists, many of whom had never recorded together before. Because these musicians have leaned toward pop-jazz or pursued unidentified studio work, they may surprise you with their stunning straightahead remakes of standards. These sessions, recorded under direction of executive producer/president Suzanne Severini last spring at Ocean Way Recording Studios in Hollywood, prove the label is off to a strong start. In their scintillating 10-tune tribute to the piano trio tradition of Bill Evans, The Great Composers of Jazz, pianist David Benoit, bassist Bromberg and drummer Bissonette deliver polished versions of warhorse standards. Highlights include a rousing take on Dave Brubeck’s “Blue Rondo La Turk,” a lovely reading of the Modern Jazz Quartet classic, “Django” and a sweeping version of Evans’ most famous composition, “Waltz for Debbie.” Bromberg’s 280-year-old bass adds sonorously to the session, especially when he plays the head on “Straight, No Chaser.” Included are provocative remakes of Oscar Peterson’s “Cakewalk,” Hoagy Carmichael’s “Stardust,” Neal Hefti’s “Cute” and more. ~ Nancy Ann Lee https://jazztimes.com/reviews/albums/david-benoitgreg-bissonettebrian-bromberg-the-great-composers-of-jazz/

Personnel:  David Benoit (Piano); Brian Bromberg (Bass); Gregg Bissonette (Drums).

Great Composers Of Jazz

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Herbie Mann - Eastern European Roots

Styles: Flute Jazz
Year: 2002
File: MP3@320K/s
Time: 64:12
Size: 148,7 MB
Art: Front

( 1:24)  1. Ayla
( 7:02)  2. Gypsy Jazz
( 6:08)  3. Gelem Gelem
( 8:09)  4. Balalaika Love Song
( 4:05)  5. A Dance At The Rise Of The Moon
(10:31)  6. Jelek
( 5:12)  7. Bucavina
( 5:59)  8. Passing Through
( 1:40)  9. Foreign Village
( 7:40) 10. Magyar Dreams
( 6:19) 11. Sera

The legendary flutist has traversed a lot of unique musical terrain in his lifetime, from Brazilian and Latin to Japanese, jazz, and soul. Yet until now he never explored the deeper roots of his heritage, which his liner notes explain are Eastern European and Jewish. He says that some previous attempts to convey the essence of those beginnings have resulted in dark and heavy "suffering" pieces, but here he finds the joys amidst the pain. He mixes six originals with many traditional songs. "Gypsy Jazz" explores a little mysticism with its steady marching drumbeat, some Middle Eastern percussion elements, and an explosive improvisational conversation between his lively flute and Gil Goldstein's accordion. "Balalaika Love Song" is equally mystical, with the distant mandolin of Geoff Mann echoing a darker flute and acoustic guitar meditation. Geoff Mann composed the lively jig-like "A Dance at the Rise of the Moon," which celebrates life rather than focusing on some of the darker elements of life for the Jews of that region. Essentially, it's a collection of mood swings reflecting various elements that can apply to all cultures. For years, his legacy has been doing that for every culture but his own, and now the journey comes beautifully full circle. ~ Jonathan Widran https://www.allmusic.com/album/eastern-european-roots-mw0000660508
 

Personnel:   Herbie Mann - alto flute, c flute, flute;   Bruce Dunlap - guitar;   Alexander Fedoriouk - cimbalom;   Gil Goldstein - accordion;  Geoff Mann - drums, percussion, mandolin;  Paul Socolow - bass

Eastern European Roots

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Ralph Towner - City of Eyes

Styles: Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 47:29
Size: 163,1 MB
Art: Front

(4:15)  1. Jamaica Stopover
(6:51)  2. Cascades
(6:14)  3. Les Douzilles
(4:14)  4. City of Eyes
(2:36)  5. Sipping the past
(4:26)  6. Far Cry
(3:24)  7. Janet
(5:06)  8. Sustained Release
(4:43)  9. Tundra
(5:36) 10. Blue Gown

Ralph Towner breaks out in more ways than one on City of Eyes. Despite his band Oregon's lagging creative slump and his own obsession with a synthesizer he is only beginning to learn how to "play," Towner cuts some new grooves on this set with an all-star cast. New to Towner's musical universe is drummer/percussionist Jerry Granelli and brass auteur Markus Stockhausen. Even Paul McCandless who has spent the better part of the '80s making new age albums doesn't muck things up this time out. The opener, "Jamaica Stopover," is Towner's freshest solo guitar piece in ages. It's slippery, has a groove, and is actually rooted in both the blues and gypsy swing. The first ensemble piece, "Cascades," sounds a little florid at the outset, but Granelli's percussive ambience is a cure for the rococo melody (it again reeks of Offramp-period Pat Metheny-ism). Towner kicks it into classical gear on "Les Douzilles," before moving into a hot improv duet with Gary Peacock, who believe it plays his bass like a guitarist. The fretwork by Towner and the pizzicato by Peacock are among the most intricate, complex, and purely "musical" duets in recent history between the two instruments. This is where Towner shines, when challenged by a musician equal to, or greater than, his own abilities. The entire ensemble plays together on only three selections, the aforementioned "Cascades," the title track, and "Tundra." On the title track the music shifts modally from one series of chamber jazz timbres to another; mood and tempo relentless move throughout the piece's first five minutes, giving a feeling as if it is a free improv piece one moment and something strictly composed for rhythm and meter the next. Harmonically, Towner pianistically creates intervals that offer shades and colors of ambient-like texture. He extends the musical reach of Peacock's bass role by making it of primary importance to the work's lyrical line and its role in the "free" sections. On "Tundra," the focus is on Towner as musical interloper, connecting each player's lines with his riveting 12-string work. The melody comes from minor, augmented chords. Granelli stays in the pocket, painting over the guitar with bells and chimes, but the others engage Towner separately. Stockhausen's contribution is especially noteworthy, as he punctuates each short guitar line with a long, beautiful phrase that is an extended tonality from that of the guitar. In essence, City of Eyes shows Ralph Towner as a musical explorer again, a composer and instrumentalist who can persuasively create aural travelogues through time, space, and terrain. ~ Thom Jurek https://www.allmusic.com/album/city-of-eyes-mw0000200227

Personnel:  Ralph Towner — twelve-string guitar, classical guitar, piano, synthesizer;  Markus Stockhausen — trumpet, piccolo trumpet, fluegelhorn;  Paul McCandless — oboe, English horn;  Gary Peacock — bass;  Jerry Granelli — drums, electronic drums

City of Eyes

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Roland Hanna - Duke Ellington Piano Solos

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 46:31
Size: 107,0 MB
Art: Front

(5:12)  1. In My Solitude
(4:49)  2. Something to Live For
(3:44)  3. In a Sentimental Mood
(2:48)  4. Portrait of Bert Williams
(5:19)  5. Warm Valley
(2:02)  6. Isfahan
(4:41)  7. Single Petal of a Rose
(7:04)  8. I Got It Bad and That Ain't Good
(4:08)  9. Reflections in D
(2:30) 10. Come Sunday
(4:10) 11. Caravan

For lovers of solo jazz piano, this Roland Hanna disc offers one of the most consistently enjoyable 46 minutes of music to be heard. Over the ten Ellington selections here (with the addition of Billy Strayhorn's "Isfahan"), Hanna finely works the subtle phrasing and singing tone he once plied in Mingus' band and perfected on many solo outings during the '70s and '80s. An appropriately introspective version of "In My Solitude" opens the program, setting the tone for this intimate and, at times, meditative consideration of some Ellington's finest pieces. Other ballad highlights include a hushed and melancholic "In a Sentimental Mood," as well as delicate and spacious readings of "Single Petal of a Rose" and "Isfahan." Hanna enlivens the mood a bit on choice, medium-tempo renditions of "Portrait of Bert Williams" and the Ellington/Strayhorn collaboration "Something to Live For," demonstrating his easygoing, stride-piano technique in the process. In somewhat stark contrast to the rest of the set, Hanna also includes an engagingly abstract rendition of "I Got It Bad and That Ain't Good," rendering the familiar, blues-tinged theme almost unrecognizable. Hanna ends the set in upbeat fashion with a bravura performance of "Caravan." Bolstered by excellent sound, this top-notch set is a must for Hanna enthusiasts and highly recommended to all fans of straight-ahead jazz. ~ Stephen Cook https://www.allmusic.com/album/duke-ellington-piano-solos-mw0000262780

Duke Ellington Piano Solos

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Les McCann - Les McCann Ltd. In San Francisco

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 61:45
Size: 144,4 MB
Art: Front

(4:09)  1. Oh, Them Golden Gates
(8:31)  2. Red Sails In The Sunset
(7:05)  3. Big Jim
(5:01)  4. I Am In Love
(6:22)  5. Jeepers Creepers
(6:20)  6. Gone On And Get That Church
(1:26)  7. We'll See Yaw'll After While, Ya Heah
(6:17)  8. Frankie And Johnnie
(7:50)  9. Medley: But Beautiful/It Could Happen To You
(4:26) 10. Taking A Chance On Love
(4:14) 11. Love Letters

Les McCann Ltd. in San Francisco: Recorded Live at the Jazz Workshop was recorded in December of 1960 and released in 1961 on the Pacific Jazz label. Backing his piano were bassist Herbie Flowers and drummer Ron Jefferson. The original LP of this date featured seven selections only about half of the entire gig. This Fresh Sound reissue contains four more tracks, bringing the total to 11. The LP included four McCann compositions, and while the additional tracks are all standards, they do include a very fine arrangement of "Frankie and Johnnie" and a medley of Johnny Burke and Jimmy Van Heusen's "But Beautiful" and "It Could Happen to You," as well as "Taking a Chance on Love" and "Love Letters." What's remarkable about these last four standards is just how seamlessly McCann and company weave them into their early hard bop cum soul-jazz style, with blues, gospel, and pop all brought out in equal measure. The performance is wonderful. That said, given that this is a Fresh Sound release, don't expect a pristine remastering job. ~ Thom Jurek https://www.allmusic.com/album/les-mccann-ltd-in-san-francisco-recorded-live-at-the-jazz-workshop-complete-recordings-mw0002325957

Personnel:  Les McCann - piano;  Herbie Lewis - bass;  Ron Jefferson - drums

Les McCann Ltd. In San Francisco

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Randy Weston - The Spirits of Our Ancestors Disc 1 And Disc 2

Album: The Spirits of Our Ancestors  Disc 1

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 44:21
Size: 101,8 MB
Art: Front

( 3:21)  1. African Village Bedford-Stuyvesant 1
(10:48)  2. The Healers
(17:16)  3. African Cookbook
( 6:43)  4. La Elaha-Ella Allah/Morad Allah
( 6:12)  5. The Call

Pianist Randy Weston and arranger Melba Liston had a musical reunion on this special double-CD, their first joint project since 1973's Tanjah. Liston's charts for the pianist's ten originals perfectly fit Weston's adventurous style and the twelve-piece group (which includes three percussionists) is filled with highly individual voices including the tenors of Billy Harper and Dewey Redman. With trumpeter Dizzy Gillespie and tenor-saxophonist Pharoah Sanders making guest appearances and Randy Weston heard at the peak of his powers, this is a highly recommended set. ~ Scott Yanow https://www.allmusic.com/album/the-spirits-of-our-ancestors-mw0000276414

Personnel:  Randy Weston - piano (not on 4);  Idrees Sulieman - trumpet (on 2,3,5,6,7,9);  Dizzy Gillespie - trumpet (on 9);  Benny Powell - trombone (on 2,3,5,6,7,9);  Talib Kibwe - flute, alt sax (on 2,5,6,7,9);  Billy Harper - tenor sax (on 2,3,5,6,7,9);  Dewey Redman - tenor sax (on 2,3,5,6,7,9);  Pharoah Sanders - tenor sax, gaita (on 3 >8);  Alex Blake - bass (on 2,3,5,6,7,8,9);  Jamil Nasser - bass (on 2,3,4,5,6,8,9);  Idris Muhammad - drums (on 2,3,5,6,7,8,9);  Azzedin Weston - percussion (on 2,3,4,6,9);  Big Black - percussion (on 3,5,6,7,8,9);  Yassir Chadly - percussion, karkaba, vocal (on 4 >8)

The Spirits of Our Ancestors  Disc 1

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Album: The Spirits of Our Ancestors  Disc 2

File: MP3@320K/s

Time: 62:11

Size: 142,6 MB

( 8:30)  1. African Village Bedford-Stuyvesant 2

(16:28)  2. The Seventh Queen

(12:01)  3. Blue Moses

(19:54)  4. African Sunrise

( 5:16)  5. A Prayer for Us All

R.I.P.

Born:  April 6, 1926

Died:  September 1, 2018

The Spirits of Our Ancestors  Disc 2

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Will Boulware - A Night in Tunisia

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 51:59
Size: 119,3 MB
Art: Front

(3:32)  1. A Night in Tunisia
(6:08)  2. The Breeze and I
(6:45)  3. Yesterdays
(3:42)  4. Cleopatra's Dream
(4:07)  5. If I were a Bell
(5:22)  6. Easy
(6:35)  7. What'd I say
(5:59)  8. Pensive
(5:56)  9. The Fruit
(3:49) 10. Build UP

Will Boulware was born in Bardstown, Kentucky. His father played the guitar and sang cowboy songs and his mother still sings very well. The Boulware family moved to Charlotte, North Carolina then Atlanta, Georgia where Will started playing the piano at age five. At age 10, Will bought a set of drums and formed his first group “Wee Willy & The Winks” in which he played drums doing surf music until 13 when he traded in the drums for his first electric keyboard and started to listen to Jimmy Smith and his father’s Erroll Garner and Dave Brubeck records. When he was fourteen, he was already in an R&B group performing. He also played the organ in a trio he formed and started performing his own compositions. By 1972, his songs were recorded by B.B. King. In 1973, he went to New York where he mainly worked doing recording sessions in commercial field. In the 80’s, Will lived in California doing some solo piano gigs and working with guitarists such as Scott Henderson, Phil Upchurch and Ron Eschete. By 1990, Will moved back to NYC where he started working with the late Phyllis Hyman and still doing some session work before starting in 1993, a 10-year organ stint with saxophonist Maceo Parker and touring with The Blues Brothers (1998), John Scofield (1999) and Carla Bley (2000). He also performed on Rodney Jones recordings and others. http://willboulware.com/bio/

Personnel:    Will Boulware, piano;  Harvey Mason, drums;  Lonnie Plaxico, acoustic bass;  Richard Bona, electric bass

A Night in Tunisia

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