Buddy Terry - Lean on Him

Styles: Saxophone And Flute Jazz
Year: 1972
File: MP3@320K/s
Time: 43:18
Size: 99,4 MB
Art: Front

( 5:55)  1. Lean on Me (Lean on Him)
( 5:39)  2. Holy, Holy, Holy
( 3:13)  3. Climbing Higher Mountains
( 4:52)  4. Amazing Grace
(10:17)  5. Inner Peace
( 5:45)  6. Precious Lord, Take My Hand
( 7:34)  7. Love Offering

One of the fullest albums we've ever heard from saxophonist Buddy Terry a set that has him blowing along with a set of soulful larger backings sometimes with a bit of gospel overtones as well! The lineup on the album's pretty darn hip players who include Larry Willis on electric piano, Jay Berliner on guitar, Ernie Hayes on organ, Wilbur Bascomb on Fender bass, Bernard Purdie on drums, and Lawrence Killian on percussion plus added vocals from a group that includes Dee Dee Bridgewater, Alphonse Mouzon, and Peaches Wilson! Buddy arranges and conducts and while his tenor and soprano get some space in the arrangements, the overall sound is more focused on the full spirit of the group. Titles include "Lean On Me (Lean On Him)", "Love Offering", "Inner Peace", "Amazing Grace", "Precious Lord, Take My Hand", "Holy Holy Holy", and "Climbing Higher Mountains".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/850259/Buddy-Terry:Lean-On-Him

Personnel:  Buddy Terry - tenor saxophone, soprano saxophone, flute, arranger;  Eddie Henderson - trumpet, flugelhorn;  Jay Berliner - electric guitar;  Larry Willis - piano, electric piano;  Ernie Hayes - organ;  Wilbur Bascomb - electric bass;  Bernard Purdie - drums;  Lawrence Killian - percussion;  Alphonse Mouzon, Dee Dee Bridgewater - vocals

Lean on Him

---

Orrin Evans and the Captain Black Big Band - Presence

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 77:13
Size: 177,5 MB
Art: Front

( 9:29)  1. The Scythe
( 8:27)  2. Question
(10:37)  3. Onward
( 3:15)  4. When It Comes
(10:03)  5. Flip the Script
(11:53)  6. Trams
(13:07)  7. Answer
( 8:58)  8. Presence
( 1:19)  9. When It Comes (alternate take)

You have to wonder how many outlets a restless creative like hard bopping pianist Orrin Evans needs to fully express himself. Twenty-five or so albums into a legacy that finds him as the newest member of The Bad Plus after years of riffing and ripping it up with The Mingus Big Band, experimenting with soul/jazz Luv Park; solo successes Faith In Action, (Posi-Tone, 2010); The Evolution of Oneself (Smoke Session, 2014) and various collaborations, Evans still has a talent bursting with ideas that he channels through the explosively celebratory Captain Jack Big Band. Named after his father's favorite pipe tobacco, even a scaled down Captain Black on Presence brings to the bandstand a veritable village of Evans' Philadelphia family. And they all shine bright. Caleb Wheeler Curtis and Todd Bashoreshare alto sax duties. John Raymond,Bryan Davis, and Josh Lawrence bring the trumpets. David Gibson, Brent White, and Stafford Hunter man the trombones. Hard honking, streetwise Troy Roberts blows a fierce and fiery tenor sax. Holding down the fort for all these guys to fly are bassist Madison Rastand the double drumming threat of Anwar Marshall and Jason Brown. Recorded hot and live at Philly's South Jazz Kitchen and Chris' Jazz Cafe, this taut ensemble repeatedly gives the audience its money worth, breaking from the gate with the boisterous and bouncing "The Scythe." Evans brings his love of McCoy Tyner to the effervescent foreground, while Roberts shakes the rafters. A swirling dervish of a track, it is only the beginning. 

Fired up, the audience excitement is palpable as Roberts vigorously solos centerstage intro-ing the rousing post bop "Question" a brassy feast wherein each player readily picks up the other's challenge, pushing the music forward. Trumpeter Raymond's "Onward" is a thrilling ten minutes, shifting seamlessly from an almost anthemic conversation between Evans and Rast to trombones and trumpets signaling a sea-change of time and meter. Evans' "Flip The Script" is a swinging juggernaut, a mighty, Charles Mingus-like blast of reeds and rhythm. Roberts and Curtis are particularly locked in and exuberant as the pianist dodges in between in all, like a boxer trying to land the finishing punch on an ever moving opponent. "Trams" a Roberts' original, is all languid vitality, a bluesy, juke joint highlight. The title track is a raw performance and quite possibly the nearest thing on Presence that one could term traditional. ~ Mike Jurkovic https://www.allaboutjazz.com/presence-orrin-evans-smoke-sessions-records-review-by-mike-jurkovic.php

Personnel:  Orrin Evans: piano;  Caleb Curtis: alto saxophone;  Todd Bashore: alto saxophone;  John Raymond: trumpet;  Bryan Davis: trumpet;  Josh Lawrence: trumpets;  David Gibson: trombone;  Brent White; trombone; Stafford Hunter: trombones; Troy Roberts: tenor saxophone;  Madison Rast: bass; Anwar Marshall: drums; Jason Brown: drums.

Presence

---

Ray Bryant - Cry Me River

Size: 92,8 MB
Time: 40:07
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Cry Me A River (3:47)
02. In A Mellow Tone (4:18)
03. Pawn Ticket (2:44)
04. Off Shore (3:52)
05. You're My Thrill (4:17)
06. Night In Tunisia (2:36)
07. Cubano Chant (3:02)
08. Goodbye (3:52)
09. Philadelphia Bound (2:32)
10. The Breeze And I (3:24)
11. It's A Pity To Say Goodnight (2:21)
12. Well You Needn't (3:18)

Although he could always play bop, Ray Bryant's playing combined together older elements (including blues, boogie-woogie, gospel, and even stride) into a distinctive, soulful, and swinging style; no one played "After Hours" quite like him. The younger brother of bassist Tommy Bryant and the uncle of Kevin and Robin Eubanks (his sister is their mother), Bryant started his career playing with Tiny Grimes in the late '40s. He became the house pianist at The Blue Note in Philadelphia in 1953, where he backed classic jazz greats (including Charlie Parker, Miles Davis, and Lester Young) and made important contacts. He accompanied Carmen McRae (1956-1957), recorded with Coleman Hawkins and Roy Eldridge at the 1957 Newport Jazz Festival (taking a brilliant solo on an exciting version of "I Can't Believe That You're in Love with Me"), and played with Jo Jones' trio (1958). Bryant settled in New York in 1959; played with Sonny Rollins, Charlie Shavers, and Curtis Fuller; and soon had his own trio. He had a few funky commercial hits (including "Little Susie" and "Cubano Chant") that kept him working for decades. Bryant recorded often throughout his career (most notably for Epic, Prestige, Columbia, Sue, Cadet, Atlantic, Pablo, and Emarcy), and even his dates on electric piano in the '70s are generally rewarding. However, Bryant was heard at his best when playing the blues on unaccompanied acoustic piano. After a lengthy illness, Ray Bryant died in Queens, New York on June 2, 2011; he was 79 years old. ~by Scott Yanow

Cry Me River

---

Steffi Denk - Accentuate The Positive

Size: 140,4 MB
Time: 60:21
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Route 66 (3:15)
02. Accentuate The Positive (4:24)
03. Livin' On A Prayer (3:28)
04. Meglio Stasera (3:25)
05. I've Got You Under My Skin (5:26)
06. All About That Bass (4:18)
07. Caught A Touch Of Your Love (3:31)
08. Shiny Stockings (3:45)
09. Water Under Bridges (3:56)
10. Line For Lyons (4:11)
11. Black Hole Sun (4:43)
12. When Your Life Was Low (6:05)
13. Deedles' Blues (3:22)
14. Puttin' On The Ritz (2:43)
15. For You, For Me, For Evermore (3:43)

On this musical journey to the Jazz, Swing and Bossa Nova roots of this formation, you'll be greeted by well-known classics from the American songbook's upbeat arrangements of contemporary hits such as "Livin'On A Prayer" by Jon Bon Jovi, "Black Hole Sun" by Chris Cornell and Meghan Trainor's "All About That Bass". Of course, ballads must not be missing. Steffi Denk interprets Gregory Porter's "Water Under Bridges", Joe Sample's "When Your Life Was Low" and Cole Porter's "I've Got Under My Skin" (here as Bossa Nova) heartbreaking! Another musical surprise is the bonus track "For You, For Me, For Evermore", which was recorded live in August 2017 at the Palazzo Festival in the Thon-Dittmer-Palais in Regensburg. In the style of jazz legend Ella Fitzgerald, Steffi Denk interpreted this George Gershwin classic extremely sensitively. She and her Flexible Friends were accompanied by jazz guitar, string pad and the "Flexible Friends" string quartet.

Accentuate The Positive

---

Sam Rucker - Redemption

Size: 109,2 MB
Time: 46:51
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Smooth Jazz
Art: Front

01. Down On The Inside (Intro) (0:54)
02. Down On The Inside (4:31)
03. True Love (6:59)
04. Overcomer (4:11)
05. Nothing's Too Hard (4:05)
06. Redemption (4:07)
07. Forever Forgiven (4:25)
08. Follow Me (4:52)
09. I Am With You (4:51)
10. Throwback (3:44)
11. Please Child (4:07)

When I last offered a review of Sam Rucker, the illustrious saxman who has that special mesmerizing style we all look for in our sax players to help them stand out in a sea of saxophonists, I said then that here was a huge prospective headliner and that his sophomore album Tell You Something was loaded from beginning to end with killer tracks. Well, here again, the suave saxman offers his third album Redemption with his own form of greased lightning and charm just as effective as before, if not more.

Providing a pure, unadulterated collection of original pleasantries that are simply inundated with magnetic melodies, hooks, and sweet, stirring vocals (offered by Joselyn Best, Wanda Jay, and J. Regina Blackwell), Rucker has shown musical consistency, if nothing else. He’s truly nailed the groove, the stride, and the swag needed to rise on the radar of anyone who’s anyone in this c-jazz business.

As noted in the last release, this one charms throughout — from the lead, sexy track “Down On The Inside” featuring the alluring vocals of Ms. Jay to the head-boppin’ “True Love” to the equally infectious “Overcomer” to “Nothing’s Too Hard” with its confident sway reminiscent of the Euge Groove style (Euge was very instrumental – pardon the pun – in the making of Rucker’s last album, having mixed and mastered the project in his Groove House) to the sultry mid-tempo title track to the gleamingly beautiful and inspirational “Forever Forgiven,” again featuring the vocals of Ms. Jay, to the riveting, soulfully sweet “Follow Me,” and other gems.

The Williamsburg, VA, Rucker is obviously a spiritual man whose faith and inspiration shines through in his top-tier compositions. He suffered a pair of tragedies that could have completely turned another man’s world on its head – the sudden deaths of two of the two guitarists featured on this album, his nephew Justin Taylor and John Calisto, within three days of each other. Needless to say, TSJR’s sincere condolences go out the families and friends of both of those fine musicians, including Rucker. I’m sure that Rucker’s faith has kept him strong and focused.

This album is chock full of c-jazz goodness and laced with the faith and spirituality that Rucker has kept near and dear to his heart and very being. Grab this one and let its pure satisfaction wash over you. AA++ effort. – Ronald Jackson

Redemption

---

SWR Big Band - Live At Elbphilharmonie Hamburg (Feat. Fola Dada)

Size: 135,2 MB
Time: 57:45
File: MP3 @ 320K/s
Released: 2018
Styles: Big Band, Jazz Vocals
Art: Front & Back

01. Sing, Sing, Sing (5:32)
02. A-Tisket, A-Tasket (2:50)
03. (If You Can't Sing It) You'll Have To Swing It (Mr. Paganini) (4:31)
04. Please Don't Talk About Me When I'm Gone (3:43)
05. Almost Like Being In Love (2:04)
06. I'm Getting Sentimental Over You (3:58)
07. Opus No. 1 (2:44)
08. On The Sunny Side Of The Street (4:33)
09. Stardust (2:57)
10. Somebody Loves Me (2:33)
11. Why Don't You Do Right (3:31)
12. Poinciana (4:45)
13. Honeysuckle Rose (3:00)
14. One O'clock Jump (4:38)
15. What A Wonderful World (6:20)

Seventeen musicians- one sound. And a very convincing sound, at that. The SWR Big Band has so far been nominated four times for a Grammy. Also it received in 2015 a Jazz Award in Gold from the German music industry. They also enjoyed a great honor in 2011, when they were the first German band ever suggested for the “Premio da Musica Brasileira,” Brazil’s most important music award. In the face of so much fame, it seems almost modest to say that the SWR Big Band is one of the best big bands in the world. Jazz, fusion or world music, the repertoire is large. As is the list of recent guests and collaborators. On this release, the ensemble presents a live recording of a compilation of big band standards, recorded at the famous Elbphilharmonie Hamburg.

Live At Elbphilharmonie Hamburg

---

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

---

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    

---

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 !

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---