Ernest McCarty Jr. & Theresa Davis - I Remember Love

Size: 130,5 MB
Time: 55:57
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Good Old Time (3:38)
02. Dance With Me (5:45)
03. Love Wont Make Me Cry (8:41)
04. Let's Just Dance (4:24)
05. Back In The Day (4:13)
06. Baby, Baby (3:56)
07. I Remember Love (4:50)
08. No More (4:50)
09. Winter's Here (4:36)
10. Love Me Today (4:02)
11. Love Is Coming Easier (3:32)
12. Let's Get Married (3:25)

This is the second album for BluJazz pairing superb vocalist Theresa Davis with composer, guitarist, and keyboardist Ernest McCarty Jr. The first, “A Reunion Tribute to Erroll Garner” was done for McCarty’s mentor, with whom he played as a bassist for five years. Davis sings with such clarity and extraordinary high register range, that McCarty Jr. was determined to write songs especially for her smooth, emotive, ethereal voice. Thus, this project. The well-respected Davis is known as “Tee” to those in business. We’ll have more about each later but let’s first get to the music.

The accompanying musicians, besides McCarty Jr., are: Thomas Wendt – drums, Rich Strong -drums and percussion, Paul Thompson – bass, Paul Consentino – alto sax, tenor sax, clarinet; Tony Campbell – alto sax, soprano sax; and Chuck Austin – trumpet and flugelhorn.

As you listen, you may think this is an album of standards, but they are all romantic tunes composed by McCarty Jr. in the ballad, lyrical style that allows for terrific solos, especially from each of the horns. For example “Love Won’t Make Me Cry” is a showcase for the melodic Chuck Austin Both Consentino’s tenor and Campbell’s alto grace “Dance With Me.” Consentino’s rich tenor colors “Back in the Day” and “No More” while the up-tempo “Baby, Baby” features nice percussion from Wendt and contributions from all three horns. Consentino’s clarinet imbues “Love Is Coming Easier.” As strong as this supporting cast is, they realize that Davis has the main instrument; her voice soars majestically in every tune. Listen to the sheer beauty of her vocal on “Winter’s Here.” There just aren’t many vocalists capable of hitting those notes. The title track is, of course. a ballad as Davis begins accompanied by McCarty Jr.’s piano with the other band members providing subtle ensemble support.

Ernest McCarty Jr. is a mainstream composer and has served as musical director for Gloria Gaynor, Odetta, Neil Harrison, and has written 10 musicals and many songs. His score for the “Martin Luther King Suite” won NBC-TV an Emmy. He has recorded with Sonny Stitt, Dakota Staton, Eddie Harris, Oscar Brown Jr., and several others.

Theresa Davis is a former member of the Stax recording group the Emotions. Her work with that label, as well as her last album, “Love Take a Walk” show her diversity of styles, enabling her to also do commercial jingles and vocals for film. She has done considerable work outside of jazz, touring internationally with Otis Clay, Ramsey Lewis, Percy Sledge, and Dennis Edwards (Temptations). She’s also toured with the famous gospel group Sue Conway and The Victory singers. Currently she is performing with the West Coast group Tour de 4Force.

These are beautiful songs that McCarty Jr. wrote for Davis to sing. And, wow! She sings them so purely. Rarely will you hear a such a pristine voice. ~Jim Hynes

I Remember Love

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Freddie Hubbard - Life Flight

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 41:47
Size: 97,1 MB
Art: Front

( 8:10)  1. Battlescar Galorica
(11:17)  2. A Saint's Homecoming Song
( 9:11)  3. The Melting Pot
(13:08)  4. Life Flight

This CD captures the great trumpeter Freddie Hubbard at the age of 48 just before he began to decline. Hubbard is heard in excellent shape on two selections apiece with two separate bands. One group, a sextet with tenor-saxophonist Stanley Turrentine and guitarist George Benson, recalls the trumpeter's glory days on CTI although the material ("Battlescar Galorica" and "A Saint's Homecoming Song") was of recent vintage. The other band, a quintet with tenor-saxophonist Ralph Moore, looks back toward his earlier Blue Note and Atlantic days; they perform two Hubbard originals ("The Melting Pot" and "Life Flight"). Overall this set (from an era when the veteran trumpeter was being overshadowed by Wynton Marsalis) gives listeners one of the last opportunities to hear Freddie Hubbard in peak form. ~ Scott Yanow https://www.allmusic.com/album/life-flight-mw0000649572

Personnel:  Trumpet – Freddie Hubbard;  Bass – Rufus Reid;  Drums – Carl Allen;  Drums, Tambourine – Idris Muhammad;  Electric Bass – Wayne Braithwaite;  Electric Piano, Synthesizer – Larry Willis;  Guitar – George Benson;  Piano – Larry Willis;  Tenor Saxophone – Ralph Moore, Stanley Turrentine 

Life Flight    

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Jimmy Smith - Root Down - Live !

Styles: Jazz, Post Bop
Year: 1972
File: MP3@320K/s
Time: 41:51
Size: 96,2 MB
Art: Front

(7:09)  1. Sagg Shootin' His Arrow
(5:56)  2. For Everyone Under The Sun
(7:47)  3. After Hours
(7:44)  4. Root Down (And Get It)
(6:30)  5. Let's Stay Together
(6:42)  6. Slow Down Sagg

Toward the end of his stint with Blue Note, Jimmy Smith's albums became predictable. Moving to Verve in the mid-'60s helped matters considerably, since he started playing with new musicians (most notably nice duets with Wes Montgomery) and new settings, but he never really got loose, as he did on select early Blue Note sessions. Part of the problem was that Smith's soul-jazz was organic and laid-back, relaxed and funky instead of down and dirty. For latter-day listeners, aware of his reputation as the godfather of modern soul-jazz organ (and certainly aware of the Beastie Boys' name drop), that may mean that Smith's actual albums all seem a bit tame and restrained, classy, not funky. That's true of the bulk of Smith's catalog, with the notable exception of Root Down. Not coincidentally, the title track is the song the Beasties sampled on their 1994 song of the same name, since this is one of the only sessions that Smith cut where his playing his raw, vital, and earthy. Recorded live in Los Angeles in February 1972, the album captures a performance Smith gave with a relatively young supporting band who were clearly influenced by modern funk and rock. They push Smith to playing low-down grooves that truly cook: "Sagg Shootin' His Arrow" and "Root Down (And Get It)" are among the hottest tracks he ever cut, especially in the restored full-length versions showcased on the 2000 Verve By Request reissue. There are times where the pace slows, but the tension never sags, and the result is one of the finest, most exciting records in Smith's catalog. If you think you know everything about Jimmy Smith, this is the album for you. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/root-down-mw0000609570

Personnel:  Jimmy Smith - Hammond B3 organ;  Paul Humphrey - drums;  Wilton Felder - bass guitar;  Buck Clarke - congas, percussion;  Arthur Adams - guitar;  Steve Williams - harmonica

Root Down - Live !

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Ketil Bjørnstad - The Shadow

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 55:14
Size: 127,0 MB
Art: Front

(5:55)  1. Sweetest Love
(4:52)  2. A Lecture Upon the Shadow
(6:46)  3. The Shadow
(4:10)  4. The Good-morrow
(4:30)  5. Go, and Catch a Falling Star
(4:03)  6. The Dream
(4:02)  7. The Token
(3:23)  8. The Paradox
(4:54)  9. His Picture
(4:53) 10. Love's Exchange
(4:55) 11. The Silence
(2:47) 12. Hymn

A classically trained jazz pianist with a bent toward avant-garde improvised music, Ketil Bjørnstad is a well-known musician and writer in Europe. With his cerebral, atmospheric style that belies a palpable inner passion and an inclination toward genre-crossing compositions, Bjørnstad helped develop and popularize the "European jazz" aesthetic. He is also a writer and poet and has published over 30 works beginning with his 1972 poetry collection Alone. Born in Oslo, Norway, Bjørnstad studied classical piano in London and Paris before making his debut in 1969 at age 16 with the Oslo Philharmonic Orchestra playing Béla Bartók's third piano concerto. Surrounded by the vibrant arts scene in Oslo during the '70s, Bjørnstad became interested in jazz and developing his own style of music. Citing an array of influences from Bach and Ravel to Thelonious Monk and Miles Davis, Bjørnstad began working in an improvised idiom. In 1973, he released his debut album Åpning featuring what would become a core group of longtime associates in drummer Jon Christensen, guitarist Terje Rypdal, and bassist Arild Andersen. The album would be the first of several outings Bjørnstad would record for Phillips. Over the years, Bjørnstad's particular mix of jazz, classical, folk, and rock music would become highly influential in the development of what became known as "European jazz." Although he has become well-associated with the premier European jazz label ECM, he did not record for the label until later in his career with 1993's Water Stories, 1994's The Sea, 1997's The River, and 1998's The Sea II. In 2000, Bjørnstad released the duo album Epigraphs with cellist David Darling on ECM. That same year, he composed the millennium oratorio "Himmel Rand," featuring the texts of the poet Stein Mehren. In 2002, he released the cinematic soundscape album Before the Light on Universal. In 2004, Bjørnstad released the rock-oriented Seafarer's Song featuring his ensemble with vocalist Kristin Asbjornsen. Four years later, he returned to ECM for the concert album Live in Leipzig with guitarist Rypdal. In 2008, Bjørnstad once again worked with drummer Christensen as well as tenor saxophonist Tore Brunborg for the ECM release Remembrance. In 2011, Bjørnstad delivered the duo album Night Song with cellist Svante Henryson on ECM. The pianist, who is also a published poet, novelist, and essayist, has stated that the Italian filmmaker Michelangelo Antonioni was one of his greatest influences; to that end, he composed a series of works meant to act as "a soundtrack to an inner film." Recording with bassist Arild Andersen percussionist Marilyn Mazur, cellist Anja Lechner, Eivind Aarset on guitar and electronics, and saxophonist Andy Sheppard, Bjørnstad released the live suite La Notte in the late spring of 2013. 

2014 proved prolific for the composer and pianist. His first release of the year, appearing in March, was a 2012 recording entitled Sunrise: A Cantata on Texts by Edward Munch, performed by the pianist, his quartet, vocal soloist Kari Bremnes, and the Oslo Chamber Choir under the direction of conductor Egil Fossum. The musical work was set to surviving written texts by the famous painter. In October of that year, ECM also released the 2012 premier performance of Bjørnstad's A Passion for John Donne, a work based on the poet's life, commissioned by the Oslo International Church Festival, and performed live with the pianist's group the Oslo Chamber Choir under the direction of Hakon Daniel Nystedt. Interestingly, it featured the saxophonist Hakon Kornstad in a dual role, not only playing his horn but as a vocal soloist. ~ Matt Collar & Thom Jurek https://itunes.apple.com/us/album/the-shadow/297170891

Personnel:  Ketil Bjørnstad - piano;  Randi Stene - vocals;  Lars Anders Tomter - viola;  Frode Alnæs - guitar;  Arild Andersen - bass;  Jon Christensen - drums

The Shadow

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John Scofield - Combo 66

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 60:34
Size: 139,8 MB
Art: Front

(7:32)  1. Can’t Dance
(7:21)  2. Combo Theme
(5:32)  3. Icons At The Fair
(7:59)  4. Willa Jean
(5:39)  5. Uncle Southern
(6:08)  6. Dang Swing
(8:52)  7. New Waltzo
(5:04)  8. I’m Sleeping In
(6:23)  9. King Of Belgium

John Scofield is one of today’s most versatile guitarists, accumulating accolades and prestigious awards in contemporary jazz, jam band, and popular music. Heck, he’s even made an excellent gospel album. For Combo 66, coinciding with his 66th birthday on September 28 he enlists the support of long-time drummer Bill Stewart, bassist Vincente Archer and pianist/organist Gerald Clayton. Together, in typical Scofield fashion, they imbue jazz with elements from other genres imaginatively and unpredictably. Scofield is on a creative roll, having won two Grammys for 2016’s Country for Old Men and last year’s stellar effort Hudson with good friends Jack DeJohnette, Larry Grenadier, and John Medeski. As you probably know, he often collaborates with Gov’ Mule and with Medeski, Martin, and Wood too. He’ll unexpectedly appear on albums from Americana artists too, such as his guest appearance on multi-instrumentalist Phil Madeira’s Providence. The well-liked and respected Scofield gets and accepts lots of invitations. These are all Scofield originals. He credits the album title to both his birthday and as he says, “And 66 is the coolest jazz number you can get because if you hit 66 you’re doing ok. Remember all the great records from the 60s? Brasil 66. “Route 66.” It hit me that it would be poetic to use that title.” One part groove, one part melody, one part improvisation, the interaction amongst the musicians defies the fact that this is the first time this unit has recorded together. Drummer Bill Stewart is the anchor, having been with Scofield since 1992’s What We Do. Upright bassist Vincente Archer is a regular in Robert Glasper’s Trio while the keyboardist Clayton is the son of bassist John Clayton of the Clayton-Hamilton Jazz Orchestra. Scofield indicates that is often difficult to match piano and guitar because both instruments are percussive in nature. He admires Clayton for his ability to marry a contemporary approach with the old school touch and feel of Tommy Flanagan or Hank Jones. 

The opener “Can’t Dance” is a swinging tune, titled by the witty Scofield because “I can’t dance.” “Combo Theme” bears a Henry Mancini kind of soundtrack melody offset by Scofield’s solo which is by turns melodic and dissonant. His “Icons at the Fair” brings in recognizable sounds. It’s purposely reminiscent of Herbie Hancock’s arrangement of Simon and Garfunkel’s “Scarborough Fair” on The New Standard, on which Scofield played. His chord structures and progressions for this tune nod to Hancock and Miles. As he moves into “Willa Jean,” “Uncle Southern” and “Dang Swing” you’ll hear touches of country and blues before “New Waltzo” brings in some blaring rock, especially in the power chords, as Clayton provides a swirling B3 in support. Then, to calm it down, we get the rare Scofield ballad, “I’m Sleepin’ In,” titled, as are most by John’s wife, Susan. This, and the bonus track “Ringing Out” (if you’re lucky enough to get digitally) is the epitome of Clayton’s delicate touch on piano as he softly plays behind Scofield’s lead on the former while soloing on the latter. The closer, “King of Belgium” is dedicated to the iconic jazz harmonica wizard Toots Thielemans, also known to have a great sense of humor, reflected in Scofield’s witty guitar lines.  This is a light, fun, completely accessible outing that will leave you smiling. It fits beautifully with Scofield’s self-described approach that goes like this, “I am so deadly serious about jazz, but the fact of the matter is jazz only works if you are relaxed and don’t give a shit. If you try too hard it doesn’t work. Humor really helps me get to a better place with music.”  Scofield’s place is one that we can enjoy too. https://glidemagazine.com/214022/john-scofield-returns-with-imaginative-bold-combo-66-album-review/

Personnel: John Scofield (guitar); Gerald Clayton (piano,/organ); Vicente Archer (bass); Bill Stewart (drums).

Combo 66

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Charles Aznavour - Charles Aznavour And The Clayton-Hamilton Jazz Orchestra

Styles: Vocal, Swing
Year: 2009
File: MP3@320K/s
Time: 56:31
Size: 129,8 MB
Art: Front

(4:18)  1. Viens Fais-Moi Rêver
(4:27)  2. Fier De Nous
(3:47)  3. Comme Ils Disent
(3:42)  4. Des Amis Des Deux Côtés
(4:51)  5. A Ma Fille
(3:28)  6. Le Jazz Est Revenu
(4:10)  7. I've Discovered That I Love You
(3:27)  8. Il Faut Savoir
(3:44)  9. The Jam
(4:35) 10. Je N'oublierai Jamais
(5:22) 11. La Bohème
(4:39) 12. De Moins En Moins
(2:57) 13. Voilà Que Ça Recommence
(2:57) 14. The Times We've Known

Released a year after his successful duets double album, French icon Charles Aznavour's 2009 follow-up is another collaborative effort, this time with Los Angeles-based Clayton-Hamilton Jazz Orchestra. Featuring duets with jazz vocalists Rachelle Ferrell and Dianne Reeves, it includes 14 big-band interpretations of both his classic standards ("La Boheme," "Comme Ils Disent"), and several less familiar tracks ("Je N'ouiblerai Jamais," "Des Amis Des Deux Cotes"). ~ Jon O'Brien https://www.allmusic.com/album/charles-aznavour-the-clayton-hamilton-jazz-orchestra-mw0001345699

R.I.P.
Born: May 22, 1924
Died:  Out 01, 2018

Charles Aznavour And The Clayton-Hamilton Jazz Orchestra

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Ron Carter - Cocktails at the Cotton Club

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 57:10
Size: 131,1 MB
Art: Front

( 6:24)  1. Satin Doll
( 9:37)  2. Mr. Bow-Tie
(11:22)  3. My Funny Valentine
( 9:39)  4. Wave
( 0:39)  5. Announcement by Ron Carter
(10:58)  6. Soft Winds
( 8:28)  7. Samba de Orfeu

The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets. His bowed solos are almost as impressive as those done with his fingers. Carter has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a Duke Ellington in his mix of musical and extra-musical interests. Carter's nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world. He's almost exclusively an acoustic player; he did play electric for a short time in the late '60s and early '70s, but he didn't used it for many, many years. Carter began playing cello at ten. But when his family moved from Ferndale, Michigan to Detroit, Carter ran into problems with racial stereotypes regarding the cello and switched to bass. He played in the Eastman School's Philharmonic Orchestra, and gained his degree in 1959. He moved to New York and played in Chico Hamilton's quintet with Eric Dolphy, while also enrolling at the Manhattan School of Music. Carter earned his Master's degree in 1961. After Hamilton returned to the West Coast in 1960, Carter stayed in New York and played with Dolphy and Don Ellis, cutting his first records with them. He worked with Randy Weston and Thelonious Monk, while playing and recording with Jaki Byard in the early '60s. Carter also toured and recorded with Bobby Timmons' trio, and played with Cannonball Adderley. 

He joined Art Farmer's group for a short time in 1963 before he was tapped to become a member of Miles Davis' band. Carter remained with Davis until 1968, appearing on every crucial mid-'60s recording and teaming with Herbie Hancock and Tony Williams to craft a new, freer rhythm section sound. The high-profile job led to the reputation that's seen Carter become possibly the most recorded bassist in jazz history. He's been heard on an unprecedented number of recordings; some sources claim 500, others have estimated it to be as many as 1,000. The list of people he's played with is simply too great to be accurately and completely cited. Carter's been a member of New York Jazz Sextet and New York Jazz Quartet, V.S.O.P. Tour, and Milestone Jazzstars, and was in one of the groups featured in the film Round Midnight in 1986. He's led his own bands at various intervals since 1972, using a second bassist to keep time and establish harmony so he's free to provide solos. Carter even invented his own instrument, a piccolo bass. He's contributed many arrangements and compositions to both his groups and other bands, and made duo recordings with either Cedar Walton or Jim Hall. He's recorded for Embryo/Atlantic, CTI, Milestone, Timeless, EmArcy, Galaxy, Elektra, and Concord, and eventually landed at Blue Note for LPs including 1997's The Bass and I, 1998's So What, and 1999's Orfeu. At the dawn of the new millennium, Carter remained an active, in-demand artist, releasing a steady stream of albums and keeping a busy live schedule. When Skies Are Grey surfaced in early 2001, followed in 2002 by Stardust, Carter's tribute to the late bassist Oscar Pettiford. That same year, he joined saxophonist Houston Person for the duo's third album of standards, Dialogues. In 2006, another tribute album was released, Dear Miles, dedicated to Miles Davis, also on Blue Note. Several more small group solo albums followed including 2007's Japan-only It's the Time and 2008's Jazz and Bossa. In 2011, Carter delivered his first effort with big-band music, Ron Carter's Great Big Band featuring arrangements by conductor Robert M. Freedman and a bevy of name players including pianist Mulgrew Miller and drummer Lewis Nash. He then joined drummer Gerry Gibbs for two albums with 2013's Thrasher Dream Trio and 2014's We're Back. Also in 2014, Carter was backed by the WDR Big Band on My Personal Songbook. In 2016, the bassist once again paired with saxophonist Person for the duo album Chemistry. ~ Ron Wynn https://www.allmusic.com/artist/ron-carter-mn0000275832/biography

Personnel:  Ron Carter - bass;  Donald Vega - piano;  Russell Malone - guitar

Cocktails at the Cotton Club

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Joey DeFrancesco - All Of Me

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 44:36
Size: 102,5 MB
Art: Front

(4:20)  1. Blues For J.
(4:31)  2. Close To You
(6:00)  3. Carbon Copy
(7:03)  4. All Of Me
(4:06)  5. 30th Street Station
(6:16)  6. One For C.C.
(5:59)  7. L.G. Blues
(6:17)  8. Petala

Organist Joey DeFrancesco's debut as a leader would be impressive even if he had not been 17 at the time! DeFrancesco, whose sound has always been strongly influenced by Jimmy Smith (sounding like an exact duplicate on "All of Me"), is backed by an eight-piece horn section on two songs and a 16-piece string section on three others but more important to the music is the playing of guitarist Lou Volpe, drummer Buddy Williams and the electric bass of Alex Blake. Houston Person's tenor is also a strong asset on two of the eight numbers in a program that ranges from swing to more modern funk. A strong start to a colorful career. ~ Scott Yanow https://www.allmusic.com/album/all-of-me-mw0000204330

All Of Me

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Peter Ecklund - Strings Attached

Styles: Cornet Jazz 
Year: 1996
File: MP3@320K/s
Time: 64:43
Size: 150,2 MB
Art: Front

(3:31)  1. Try A Little Tenderness
(4:03)  2. Waltz For Another Time
(2:56)  3. I'll Be A Friend With Pleasure
(3:50)  4. Excessively Happy Time
(6:20)  5. Twelve Country Miles
(3:27)  6. All-Purpose Cowboy Melody
(3:01)  7. Lucky Day (This Is My)
(4:11)  8. Waltz Of The Secret Agents
(3:26)  9. Wedding Of The Painted Doll
(3:21) 10. Jubilee
(5:06) 11. Get Out Of My Way
(3:41) 12. Triumphal March Of The Society Bandleaders
(4:30) 13. Too Marvelous For Words
(5:23) 14. Untitled
(4:05) 15. Puttin' On The Ritz
(3:44) 16. Carnevale

Although this is technically a set featuring cornetist Peter Ecklund with strings, there is actually no real string section. The "strings" include (on various tracks) guitarists Frank Vignola, Chris Flory, Molly Mason, and Marty Grosz, bassists Greg Cohen and Murray Wall, violinist Jay Ungar, banjoist Cynthia Sayer, and Kenny Kosek on mandolin, plus Scott Robinson on various reeds, Lenny Pickett on clarinet and tenor sarrusophone (!), and drummer Richard Crooks. Ecklund contributed nine originals to the 16-song set, which also includes "Try a Little Tenderness," "I'll Be a Friend With Pleasure," and "Jubilee." The fresh material, constantly changing instrumentation, and Ecklund's consistently excellent playing make this CD easily recommended. ~ Scott Yanow https://www.allmusic.com/album/strings-attached-mw0000083775

Personnel:  Peter Ecklund - cornet;  Scott Robinson - reeds;  Lenny Pickett - clarinet, tenor sarrusophone;  Frank Vignola, Chris Flory, Molly Mason, Marty Grosz-guitar;  Cynthia Sayer - banjo;  Kenny Kosek - mandolin;  Jay Ungar - violin;  Greg Cohen, Murray Wall - bass;  Richard Crooks - drums

Strings Attached

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Carme Canela & Joan Monné - Ballads

Styles: Vocal And Piano Jazz

Year: 2018

File: MP3@320K/s

Time: 47:32

Size: 111,2 MB

Art: Front

(3:17)  1. You've Changed

(4:31)  2. Embraceable You

(4:42)  3. You Wan't Forget Me

(4:53)  4. I Loves You Porgy

(5:01)  5. Left Alone

(3:15)  6. Every Time We Say Goodbye

(4:01)  7. The Thrill is Gone

(4:32)  8. The Man I Love

(3:34)  9. Get out of Town

(5:18) 10. Still We Dream (Ugly Beauty)

(4:23) 11. Goodbye

"It has been awhile that we have wanted to record in this minimalistic format, a duet; simple but complex at the same time. We wanted to do it by interpreting ballads, which is one of the things we most enjoy. We have chosen compositions that move us, both because of their musical beauty as well as, in most cases, their profound lyrics. And we have prepared them for you, in our own way, without much arrangement, almost raw. This is how we like to express ourselves, using melodies and harmonies that are true jewels. It’s like preparing a dish with good ingredients in an essential way, without sauces or sophisticated cookeries, so as to appreciate the true taste of the organic material. We hope you enjoy listening to this music as much as we did cooking it."~ Carme Canela https://www.freshsoundrecords.com/carme-canela-joan-monne/6717-ballads-digipack.html

Personnel: Carme Canela (vocals), Joan Monné (piano).

Ballads

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Freddie Hubbard & Woody Shaw - Double Take

Styles: Trumpet Jazz
Year: 1985
File: MP3@320K/s
Time: 44:00
Size: 101,4 MB
Art: Front

(4:27)  1. Sandu
(4:54)  2. Boperation
(6:21)  3. Lament For Booker
(6:26)  4. Hub-Tones
(8:07)  5. Desert Moonlight
(5:28)  6. Just A Ballad For Woody
(8:15)  7. Lotus Blossom

Other than their joint appearance as sidemen on Benny Golson's Time Speaks in 1983, Freddie Hubbard and Woody Shaw had never recorded together before Double Take. At this point in their evolution, Hubbard still gets the edge (his range is wider and he cannot be surpassed technically). Although Shaw tended to play more harmonically sophisticated lines and is remarkably inventive, they are both trumpet masters. 

Their meeting on Double Take was more of a collaboration than a trumpet battle; in fact, the brass giants only trade off briefly on "Lotus Blossom." ~ Scott Yanow https://www.allmusic.com/album/double-take-mw0000192018

Personnel:  Freddie Hubbard: trumpet, flugelhorn;  Woody Shaw: trumpet;  Kenny Garrett: alto saxophone, flute;  Mulgrew Miller: piano;  Cecil McBee: bass;  Carl Allen: drums

Double Take

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Al Cohn, Scott Hamilton, Buddy Tate - Tour De Force

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 70:17
Size: 162,2 MB
Art: Front

( 8:57)  1. Blues Up and Down
( 7:31)  2. Tickle Toe
(10:29)  3. Soft Winds
( 5:04)  4. Stella by Starlight
( 7:50)  5. Broadway
( 7:41)  6. Do Nothin' Till You Hear from Me
( 7:38)  7. Jumpin' at the Woodside
( 8:12)  8. Bernie's Tune
( 6:51)  9. Rifftide

Al Cohn gets top billing on this CD (formerly a double-LP) but that was because among the three tenors his name comes first alphabetically. This is a jam session set featuring the tenors of Cohn, Scott Hamilton and Buddy Tate. They battle it out to a draw, mostly jamming on fairly basic material such as "Blues Up and Down," "Tickle Toe," "Soft Winds," "Broadway" and "Jumpin' at the Woodside." With guitarist Cal Collins, pianist Dave McKenna, bassist Bob Maize and drummer Jake Hanna offering swinging support, this is a set easily recommended to fans of Jazz at the Philharmonic and mainstream jazz. ~ Scott Yanow https://www.allmusic.com/album/tour-de-force-mw0000315236

Personnel: Al Cohn - tenor saxophone; Scott Hamilton - tenor saxophone; Buddy Tate - tenor saxophone; Cal Collins - guitar; Jake Hanna - drums; Bob Maize - bass; Dave McKenna - piano

Tour De Force

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Joe Craven - Camptown

Styles: Latin Jazz, World Fusion 
Year: 1996
File: MP3@320K/s
Time: 55:31
Size: 127,7 MB
Art: Front

(4:58)  1. Soldiers Of Joy
(3:33)  2. Uke Pick Waltz
(3:38)  3. Camptown
(4:49)  4. Rites Of Man
(3:38)  5. Hot Turkey
(3:26)  6. Shake In The Barley
(5:57)  7. Star Of The County Down
(3:29)  8. Liberte
(3:47)  9. The New Iberians
(6:08) 10. Combole
(3:34) 11. The Fez Of Abu
(4:02) 12. Old Joe's Delhi
(4:25) 13. Bonaparte

Versatility is the dominating word to describe this disc. Multi-instrumentalist hardly begins to describe Joe Craven. Perhaps he is best known for his performances with Jerry Garcia, David Grisman and his band Psychograss. On this CD he steps dramatically to the forefront. He plays upwards of 30 instruments; predominately known for his mandolin and fiddle playing, he strides to the center on a number of other stringed instruments such as the banjolin and ukulele, while providing most of the percussion on a astounding variety of instruments. The number of instruments played well is complemented by the plethora of styles he plays in. This is music that encircles the world; all aboard for Australia, India, Japan, Ireland and South Africa to name five of the stops on this journey of 14 songs in as many musical styles. All are done with an exhilarating love for the music which shines through. Why did I give it eight and not nine stars if I love it this much? It sometimes shifts styles just a bit too abruptly for my mind. I would prefer to make the journey in two or three discs. But that is personal. This is a journey not to be missed on any account. ~ Bob Gottlieb https://www.allmusic.com/album/camptown-mw0000184596

Camptown

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Bobby Caldwell - Where Is Love

Styles: Vocal And Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 45:35
Size: 104,5 MB
Art: Front

(4:08)  1. Where Is Love
(3:48)  2. Once Upon A Time
(4:50)  3. One Love
(3:26)  4. Don't Worry 'Bout Me
(4:50)  5. Love Lite
(3:55)  6. Shape I'm In
(4:06)  7. Carrie Ann (You'll Never Know)
(3:43)  8. Never Take A Chance
(4:07)  9. Trying Times
(4:54) 10. Rina
(3:42) 11. I Get a Kick Out of You

Bobby Caldwell has been a favorite among fans of sophisticated R&B and contemporary jazz since 1978, the year the singer, songwriter, and guitarist hit the Top Ten of Billboard's Hot 100 and R&B charts with "What You Won't Do for Love." Originally from Manhattan and later raised in Miami, Caldwell was exposed to a wide variety of musical influences by his parents, hosts of the television variety show Suppertime. Only a few years after he started studying piano and guitar, he opted to enter the music industry, but it wasn't until the following decade that he signed to the T.K.-distributed Clouds label and broke through with What You Won't Do for Love, his first of several albums. Although Caldwell had a strong following in the U.S., built through continual touring and nine wide-ranging studio albums issued during the '80s and '90s, he also became a superstar in Japan. Throughout the 2000s, he recorded frequently, continued to perform his deep catalog, and starred as Frank Sinatra in the Las Vegas show The Rat Pack Is Back. Several additional albums followed during the 2010s, including sets of standards and big-band numbers, as well as Cool Uncle, a stylistic diversion with admiring producer Jack Splash. ~ Jason Ankeny & Andy Kellman https://itunes.apple.com/us/album/where-is-love/1140210948

Where Is Love

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Joe Farrell - Farrell's Inferno

Styles: Saxophone And Flute Jazz
Year: 1980
File: MP3@320K/s
Time: 44:01
Size: 101,2 MB
Art: Front

(5:47)  1. Let's Go Dancing
(6:08)  2. Autumn Leaves
(5:58)  3. Dreams
(5:38)  4. Whip It Up
(7:17)  5. Invitation
(6:46)  6. Flamingo
(6:24)  7. Moon Germs

Joe Farrell's CTI albums of 1970-1976, which combined together his hard bop style with some pop and fusion elements, made him briefly popular among listeners not familiar with his earlier work. Farrell began playing clarinet when he was 11 and, after graduating from the University of Illinois in 1959, he moved to New York where he worked with the Maynard Ferguson Big Band (1960-1961) and Slide Hampton (1962), and recorded with Charles Mingus, Dizzy Reece, and a notable series with Jaki Byard (1965). A member of both the Thad Jones/Mel Lewis Orchestra (1966-1969) and Elvin Jones' combo (1967-1970), Farrell's distinctive sound on tenor and general versatility were assets. A member of the original version of Return to Forever (1971-1972), Farrell was fairly prosperous during the 1970s when his solo CTI records sold well, but a drug problem gradually caught up with him. After performing with Mingus Dynasty in the late '70s and recording with Louis Hayes in 1983, he moved to Los Angeles where he scuffled during his last couple of years. Farrell died from bone cancer in 1986 at age 48. In addition to CTI, Farrell recorded as a leader for Warner Bros., Xanadu, Contemporary, RealTime, Timeless, and (with Airto and Flora Purim) Reference. ~ Scott Yanow https://www.allmusic.com/artist/joe-farrell-mn0000125160/biography

Personnel:  Joe Farrell (Tenor sax, soprano sax, flute); Victor Feldman (Piano); John Guerin (Drums); Bob Magnusson (Bass).

Farrell's Inferno

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Danny Moss, Roy Williams Quintet - Steamers!

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 75:09
Size: 173,0 MB
Art: Front

(6:17)  1. Just In Time
(7:39)  2. It's Allright With Me
(5:40)  3. Them There Eyes
(4:57)  4. Too Late Now
(4:36)  5. It's A Wonderful World
(5:58)  6. Li'l Darlin'
(5:24)  7. You're My Everything
(3:46)  8. Isn't It Romantic
(6:48)  9. There Is No Greater Love
(4:38) 10. Mood Indigo
(6:06) 11. Hiya
(8:15) 12. Blues To Be There
(4:58) 13. I've Found A New Baby

Britisher Danny Moss and long time side kick, Roy Williams, with their group carry on in the tradition of small group swing recalling those great combos led by John Kirby, Charlie Shavers, Benny Carter, Buck Clayton and many, many others. The Moss/Williams quintet takes us on a stroll through 13 tunes, all but two of them oft-heard standards. The other two tracks, Johnny Hodges' "Hiya" and Duke Ellington's "Blues to Be". The Ellington tune is from his and Billy Strayhorn's "Newport Suite" which they prepared for the 1958 edition of that festival. Moss, until he retired, was a mainstay of the British jazz scene since the 1950's and has performed with many US jazzers when they visited that part of the world. His approach to the tenor sax has been influenced by the likes of Coleman Hawkins, Zoot Sims and Al Cohn. The co-leader of the Quintet, trombonist, Roy Williams, is also a jazz veteran starting his professional career in 1960, and over the years has developed a reputation as an unsurpassed sight reader. His trombone recalls the great ones, Carl Fontana, Frank Rosolino and Lawrence Brown. The other members of the quintet, John Pearce on piano, Len Skeat on bass and Charly Antolini on drums have the task of backing Moss and Williams, which they do with fervor and skill. There's nothing earth shattering on this disk, nor do I suspect was there any intention that there should be. 

The album features comfortable and versatile playing in slow, medium and up tempos for the ensemble work and for Moss' and Williams' solos. Pearce and Skeat are given the opportunity to showcase their wares on a pleasant medium tempo "You're My Everything". "Isn't It Romantic" features Williams playing trombone in the style of Frank Rosolino. Danny Moss' tenor turns sultry and the Williams trombone assumes a languid tone on a very slowly navigated "L'il Darlin'". "Just in Time"," I've Found a New Baby" and "There Is No Greater Love" are given a spirited, but not frantic, reading. Moss and Williams combine for a moving version of "Mood Indigo". They kick off the tune together and then each takes an extended solo with some knowledgeable and sophisticated improvisions on the theme of this lovely tune. Steamers! is an album you'll pull out after a hard day at the office, on the freeway or when entertaining in an intimate setting. This one is recommended. ~ Dave Nathan https://www.allaboutjazz.com/steamers-danny-moss-review-by-dave-nathan.php

Personnel: Danny Moss - Tenor Saxophone; Roy Williams - Trombone; John Pearce - Piano; Len Skeat - Bass; Charly Antolini - Drums

Steamers!

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Ketil Bjornstad - New Life

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:08
Size: 138,0 MB
Art: Front

( 6:12)  1. Blue Man
( 3:51)  2. The Night
( 3:53)  3. Song for the Sun
( 3:39)  4. By the Fjord
( 3:48)  5. Ophelia's Arrival
( 4:35)  6. The Token
( 4:22)  7. Sara
( 6:48)  8. Late Summer
( 3:06)  9. Turning Around
( 4:56) 10. Days in Paris
(10:55) 11. When Sleep Brings Us Apart
( 3:56) 12. New Life

A classically trained jazz pianist with a bent toward avant-garde improvised music, Ketil Bjørnstad is a well-known musician and writer in Europe. With his cerebral, atmospheric style that belies a palpable inner passion and an inclination toward genre-crossing compositions, Bjørnstad helped develop and popularize the "European jazz" aesthetic. He is also a writer and poet and has published over 30 works beginning with his 1972 poetry collection Alone. Born in Oslo, Norway, Bjørnstad studied classical piano in London and Paris before making his debut in 1969 at age 16 with the Oslo Philharmonic Orchestra playing Béla Bartók's third piano concerto. Surrounded by the vibrant arts scene in Oslo during the '70s, Bjørnstad became interested in jazz and developing his own style of music. Citing an array of influences from Bach and Ravel to Thelonious Monk and Miles Davis, Bjørnstad began working in an improvised idiom. In 1973, he released his debut album Åpning featuring what would become a core group of longtime associates in drummer Jon Christensen, guitarist Terje Rypdal, and bassist Arild Andersen. The album would be the first of several outings Bjørnstad would record for Phillips. Over the years, Bjørnstad's particular mix of jazz, classical, folk, and rock music would become highly influential in the development of what became known as "European jazz." Although he has become well-associated with the premier European jazz label ECM, he did not record for the label until later in his career with 1993's Water Stories, 1994's The Sea, 1997's The River, and 1998's The Sea II. 

In 2000, Bjørnstad released the duo album Epigraphs with cellist David Darling on ECM. That same year, he composed the millennium oratorio "Himmel Rand," featuring the texts of the poet Stein Mehren. In 2002, he released the cinematic soundscape album Before the Light on Universal. In 2004, Bjørnstad released the rock-oriented Seafarer's Song featuring his ensemble with vocalist Kristin Asbjornsen. Four years later, he returned to ECM for the concert album Live in Leipzig with guitarist Rypdal. In 2008, Bjørnstad once again worked with drummer Christensen as well as tenor saxophonist Tore Brunborg for the ECM release Remembrance. In 2011, Bjørnstad delivered the duo album Night Song with cellist Svante Henryson on ECM. The pianist, who is also a published poet, novelist, and essayist, has stated that the Italian filmmaker Michelangelo Antonioni was one of his greatest influences; to that end, he composed a series of works meant to act as "a soundtrack to an inner film." Recording with bassist Arild Andersen percussionist Marilyn Mazur, cellist Anja Lechner, Eivind Aarset on guitar and electronics, and saxophonist Andy Sheppard, Bjørnstad released the live suite La Notte in the late spring of 2013. 2014 proved prolific for the composer and pianist. His first release of the year, appearing in March, was a 2012 recording entitled Sunrise: A Cantata on Texts by Edward Munch, performed by the pianist, his quartet, vocal soloist Kari Bremnes, and the Oslo Chamber Choir under the direction of conductor Egil Fossum. The musical work was set to surviving written texts by the famous painter. In October of that year, ECM also released the 2012 premier performance of Bjørnstad's A Passion for John Donne, a work based on the poet's life, commissioned by the Oslo International Church Festival, and performed live with the pianist's group the Oslo Chamber Choir under the direction of Hakon Daniel Nystedt. Interestingly, it featured the saxophonist Hakon Kornstad in a dual role, not only playing his horn but as a vocal soloist. ~ Matt Collar & Thom Jurek https://itunes.apple.com/ie/album/new-life/1207167576

New Life

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Jack Lee - Pray

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 70:54
Size: 163,1 MB
Art: Front

(6:02)  1. Seoulman
(5:50)  2. Pray
(5:15)  3. Happy
(5:39)  4. First Snow
(5:48)  5. Love 2 Love
(5:07)  6. Pangyo Blues
(4:58)  7. Unity Village
(5:11)  8. Transformation
(5:34)  9. La Antigua
(4:46) 10. 6-8 Logic
(5:25) 11. Aqui O
(5:52) 12. Close to Home
(5:21) 13. Tikal Walk

A shadowy but important figure in American power pop and the earliest days of punk, Jack Lee was a member of the Nerves, a wildly influential trio that also included Peter Case (later of the Plimsouls) and Paul Collins (who went on to front the Beat). Lee also wrote the group's best-known tune, "Hanging on the Telephone," which went on to be a hit for Blondie and became a pop perennial covered by many artists. Jack Lee was born in Alaska on March 25, 1952. In the early '70s, Lee left home and traveled to San Francisco, California in hopes of making a career out of music. Initially, Lee had trouble getting gigs, and he busked for change along Fisherman's Wharf. There he met fellow street musician Peter Case, who was also an aspiring singer and songwriter. Lee and Case liked each other's songs, and soon they teamed up with New Jersey exile Paul Collins, another tunesmith looking to form an upbeat rock band. In 1974, they started playing out as the Nerves, with Lee on guitar, Case on bass, and Collins on drums. In 1976, the Nerves relocated to Los Angeles, and self-released a four-song EP that featured two songs from Lee, "Hanging on the Telephone" and "Give Me Some Time." The group set out to spread the word with a nationwide tour they booked themselves, and when they came home to Los Angeles they started booking independent shows for themselves and other L.A. bands. While the Nerves' sound was lean but hooky pop with a British Invasion influence, they admired the spunk and D.I.Y. attitude of the burgeoning punk scene in Los Angeles; dubbing their practice space the Hollywood Punk Palace, they began hosting shows with bands such as the Weirdos, the Screamers, the Zeros, and the Dils. The Nerves were building momentum, but came to an abrupt halt in 1977 when Lee quit the band; Case and Collins briefly continued as the Breakaways, but by year's end that band had also broken up.  Initially, Lee laid low and was barely visible on the music scene, but in 1978, just as his phone and electricity were about to be shut off for nonpayment, he was contacted by Deborah Harry, asking if he would mind if Blondie recorded a version of "Hanging on the Telephone" for their third album.

Lee gave them his blessing, and Blondie's cover of "Hanging on the Telephone" rose to number five on the U.K. singles charts, and hit the Top 20 in Ireland, Belgium, and the Netherlands. The song was included on Blondie's 1978 album Parallel Lines, which went on to sell over a million copies in the United States alone. Later on, Def Leppard and L7 would also cover the song, and Cat Power cut a version for a television commercial. "Hanging on the Telephone" proved to be a lucrative copyright for Lee, and in 1979, Suzi Quatro recorded another of his tunes, "You Are My Love," for the album Suzi … and Other Four Letter Words. And in 1983, Paul Young cut Lee's "Come Back and Stay" for his debut album, No Parlez; the single became a major international hit, going Top Ten in ten countries, while two other songs by Lee, "Sex" and "Oh Women," were also featured on the album.  Lee was doing quite well as a songwriter, but that didn't translate into a successful recording career. Lee released his first album, Jack Lee's Greatest Hits, Vol. One, in 1981, through his own Maiden America label. Sales were modest, and it was 1985 before Lee issued his self-titled sophomore effort, which appeared on the French label Lolita Records. That same year, Lee left for London, where he would spend two years working with other artists before he came back to Los Angeles. After spending some time working in the film industry, Lee seemed to drop out of show business, though in the 21st century he played a handful of shows with a band called the Jack Lee Inferno, and said he was recording a new album. That LP has yet to appear, but in 2016, Lee's two out-of-print albums from the '80s were reissued by Alive Naturalsound Records (which released a Nerves anthology, One Way Ticket, in 2008) in a collection titled Bigger Than Life. https://itunes.apple.com/us/album/pray/1179519878

Personnel: Jack Lee (Electric and Acoustic guitars, Guitar Synth, keyboards); Charles Blenzig (Piano and keyboards); Hogyu Hwang (Acoustic Bass); Harvey Mason (Drums); Annekei, Nathan East (Vocals);  Melvin Lee Davis (Bass);  Norihito Sumitomo (Keyboards, Sax);  Lewis Pragasam,  Billy Kilson (Drums).

Pray

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Tia Brazda - Daydream

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 26:43
Size: 62,5 MB
Art: Front

(3:29)  1. Right on Time
(2:48)  2. Moondust Baby
(3:16)  3. Daydream
(3:40)  4. Un amour boheme
(4:22)  5. Perfect Distraction
(3:20)  6. Irreplaceable
(2:50)  7. Livin' Easy
(2:54)  8. Brand New Day

Tia Brazda's jazz-pop gems and retro style have established her as a sparkling presence on the jazz scene at home and abroad, paying homage to the golden era while adding a modern twist. Having honed her cutting-edge sound in the clubs of Toronto, she burst onto the scene in 2012, hitting #1 on the iTunes Canada Jazz Chart as well as receiving play on BBC Radio 6, CBC Radio, Jazz FM 91.1 in Toronto and college radio stations across Canada. This debut brought her to Paris and Amsterdam as well as cities around the UK in support, in addition to performing at major festivals at home across Canada.  In 2015 Tia followed up with her debut full-length album 'Bandshell', which also debuted at #1 on the iTunes Jazz Chart and #3 on the Nielsen Soundscan Chart in Canada. It was also ranked the #5 best Canadian jazz release of 2015 by Jazz FM 91 in Toronto. The album also hit #24 on the CMJ national radio chart in the U.S. after being added to over 35 stations nationwide. In support of 'Bandshell', Tia toured Canada, the U.S. and Spain in 2015 and 2016, performing at such major festivals such as the Festival International de Jazz de Montreal (main stage), Xerox Rochester International Jazz Festival (front cover of festival program), TD Toronto International Jazz Festival, Jazz Sudbury Festival, All-Canadian Jazz Festival and Iboga Summer Festival (Spain). In 2016 she also released an electro-swing collection of remixes titled 'Bandshell Remixed', featuring prominent DJs from around the globe, including Wolfgang Lohr and Sound Nomaden. Tracks from this release continue to be featured on BBC6 Radio in the UK and Rai Radio 1 in Italy and the album made the Best of 2016 list by the Craig Charles Funk and Soul Show on BBC6 Radio in the UK. In 2017 Tia performed at the Montreux Jazz Festival as well as the San Jose Jazz Summer Fest (rated "Best of the Fest") as part of her European and North American touring. In September 2018, Tia releases her new all original album, 'Daydream', which finds her irresistible voice cradled in a rich and varied atmosphere of strings, horns, and backing vocals, in service of her positive outlook on various states of romance. She moves effortlessly from the bossa nova of the title track, to the pure jazz balladry of “Irreplaceable,” to the tango-infused French chanson of “Un amour bohème”  with the songs sounding as strong as if they’ve been around forever. Brazda strides confidently on a brave new musical path as well, with her most pop-oriented recordings to date: among them, the soulful “Right On Time,” the big, brassy chorus (and synthesizer solo!) of “Moondust Baby,” and the optimistic, can’t-miss, enthusiasm of the pure-pop “Brand New Day” a song that would sound entirely at home as Michael Bublé’s next single. The album also features a who’s who of Juno-nominated players including Larnell Lewis of Snarky Puppy on drums, Shirantha Beddage on saxophone, William Sperandei on trumpet, Adrean Farrugia on piano, William Carn on trombone and Marc Rogers on bass. The funky track “Livin’ Easy” also features a songwriting collaboration and genre-bending piano solo by Marc Pelli of Billboard #1 group, MAGIC!, whose song “Rude” continues to be a global phenomenon. http://www.tiabrazda.com/about.html

Daydream

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Marlene VerPlanck - Marlene VerPlanck Sings Alec Wilder

Size: 141,0 MB
Time: 59:37
File: MP3 @ 320K/s
Released: 1986
Styles: Jazz Vocals
Art: Front & Back

01. Where Is The One (3:19)
02. Crazy In The Heart (4:07)
03. Love Among The Young (3:09)
04. I'm Alone Again (4:03)
05. Please Stay With Me (2:51)
06. The Lady Sings The Blues (2:41)
07. I Like It Here (2:03)
08. Lovers And Losers (2:05)
09. Remember, My Child (1:54)
10. Give Me Time (3:20)
11. That's My Guy (1:49)
12. (So You've Had A) Change Of Heart (4:44)
13. I Wish I Had The Blues Again (3:39)
14. No One Ever Told Me (1:51)
15. I'll Be Around (2:32)
16. Blackberry Winter (3:37)
17. The Wrong Blues (4:28)
18. I Like It Here (And This Is Where I'll Stay) (2:44)
19. Be A Child (2:19)
20. Where Is The One (2:10)

He's been called "the Quincy Jones of Gospel," and besides being one of the best-selling instrumentalists in Christian music, keyboard player Ben Tankard has justified his tag, producing many stellar gospel projects as well as serving as an executive vice-president at Tribute Records, for which he has recorded extensively. Born in Florida to a minister father and a missionary mother, he began playing drums in church at the age of three. He later graduated to tuba and was offered several music scholarships to college, though he eventually accepted a basketball scholarship instead.

Tankard endured a rough period of depression and homelessness when a knee injury prevented him from turning professional (though he was drafted by the NBA). A visit to a revival service put him on the right track, and almost overnight, he became a very talented keyboard/organ player. Tankard began his witness in song with 1990's Keynote Speaker, recorded for Tribute. He continued recording and soon moved into production and arranging as well, calling on his reserves of early musical training to provide impeccable jobs for Yolanda Adams, the Alabama State Mass Choir, and Michael Bruce. His albums were often light jazz works, offering soothing, reflective gospel instrumentals that were similar to mainstream efforts from George Benson and Kenny G. In addition to his numerous solo albums, Tankard has earned a plethora of Gold and Platinum records via his production work, collaborating with a host of Grammy-winning artists including Take 6, Fred Hammond, Kelly Price, John P. Kee, Shirley Murdock, Twinkie Clark, and Gerald Albright. ~by John Bush

Marlene VerPlanck Sings Alec Wilder

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