Monday, October 8, 2018

Charlie Rouse & Seldon Powell - We Paid Our Dues!

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 40:10
Size: 92,9 MB
Art: Front

(7:52)  1. Two For One
(5:53)  2. When Sunny Gets Blue
(7:18)  3. For Lester
(5:48)  4. Quarter Moon
(6:07)  5. Bowl Of Soul
(7:09)  6. I Should Care

Possessor of a distinctive tone and a fluid bop-oriented style, Charlie Rouse was in Thelonious Monk's Quartet for over a decade (1959-1970) and, although somewhat taken for granted, was an important ingredient in Monk's music. Rouse was always a modern player and he worked with Billy Eckstine's orchestra (1944) and the first Dizzy Gillespie big band (1945), making his recording debut with Tadd Dameron in 1947. Rouse popped up in a lot of important groups including Duke Ellington's Orchestra (1949-1950), Count Basie's octet (1950), on sessions with Clifford Brown in 1953, and with Oscar Pettiford's sextet (1955). He co-led the Jazz Modes with Julius Watkins (1956-1959), and then joined Monk for a decade of extensive touring and recordings. In the 1970s he recorded a few albums as a leader, and in 1979 he became a member of Sphere. Charlie Rouse's unique sound began to finally get some recognition during the 1980s. He participated on Carmen McRae's classic Carmen Sings Monk album and his last recording was at a Monk tribute concert. ~ Scott Yanow https://www.allmusic.com/artist/charlie-rouse-mn0000176387/biography

A veteran tenor saxophonist and flutist, Seldon Powell adjusted and honed his style over the years, being flexible enough to play anything from swing to hard bop and in between. He wasn't the greatest soloist, most ambitious composer, or most spectacular arranger; he was simply a good, consistent player who survived many changes and trends to remain active from the late '40s until the '90s. Powell was classically trained in New York, then worked briefly with Tab Smith in 1949 before joining Lucky Millinder and recording with him in 1950. Powell was in the military in 1950 and 1951, then became a studio musician in New York. He worked and recorded with Louis Bellson, Neal Hefti, Friedrich Gulda, Johnny Richards, and Billy Ver Planck in the mid- and late '50s. Powell also played with Sy Oliver and Erskine Hawkins, and studied at Juilliard. He traveled to Europe with Benny Goodman's band in 1958, and worked briefly with Woody Herman. Powell was a staff player for ABC television in the '60s, and also played and recorded with Buddy Rich, Bellson, Clark Terry, and Ahmed Abdul-Malik. 

He did a number of soul-jazz and pop dates in the late '60s and early '70s, among them a session with Groove Holmes and big-band dates backing Gato Barbieri and Dizzy Gillespie. Powell was principal soloist in Gerry Mulligan's 16-piece band at the JVC Jazz Festival in New York in 1987. He recorded as a leader for Roost and Epic. ~ Ron Wynn https://www.allmusic.com/artist/seldon-powell-mn0000005234/biography

Personnel: 
The Charlie Rouse Quartet : Charlie Rouse - Tenor Saxophone;  Gildo Mahones - Piano;  Reggie Workman - Bass;  Arthur Taylor - Drums

The Seldon Powell Quartet : Seldon Powell - Tenor Saxophone, Flute;  Lloyd Mayers - Piano;  Peck Morrison - Bass;  Denzil Best - Drums

We Paid Our Dues!

Woong San - Temptation

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 57:05
Size: 131,2 MB
Art: Front

(4:49)  1. Use Me
(3:50)  2. The Look Of Love
(5:33)  3. Get Up, Stand Up
(4:10)  4. Light My Fire
(3:46)  5. You Hurt Me
(4:04)  6. Black Magic Woman
(6:59)  7. Papa Was A Rolling Stone
(5:19)  8. Night Away
(4:42)  9. Between The Sheets
(4:35) 10. Loving You Was Like A Party
(4:52) 11. Temptation
(4:22) 12. Someday

Woong San, the poetical voice that combines glossiness and smoky and the best vocalist who fascinates the audience with a unique soft aura. He grew up with a scholar's father and has a unique career to enter the temple from the age of 17. The legal name given during the training, "Woong San (Yuyama)", one day during hard training, I realize that myself is singing "songs" unconsciously. After that, I go down the mountain where there is a temple and start walking the way to the singer. Although the genre chosen at that time was ROCK, the record of Billy Holiday which was handed over from her friend to her who learns music curiously curiously regardless of the genre greatly changes her fate. That was the encounter of fate with JAZZ. From there, actively participate in live performances, performances, music productions, gradually earn fans. In 2004, the 1st album "Introducing Woong San" (Korean version is EMI label "Love Letters") was released simultaneously in Japan and Korea, established a firm position as "Korea's best Jazz singer", and also gained attention in Japan . When the 2nd album "Call Me" (Korean version is "The Blues") was released in Japan in 2005, fans who wish to be healed by her voice rapidly increased. In Korea I challenged the genre called Blues which no one tried, so this album was able to make a pronounation of "Blues Album" pronoun. In addition, during this period, it was a hot reaction of two albums released in both Japan and South Korea, it became the first A list artist as a Korean, and it is also the time when the place of LIVE jumped rapidly in both Japan and Korea.  In 2007, 7 of 13 songs announced 3rd album "Yesterday" (Korean version) of original (lyrics and composition) production. Record sales supporting the popularity beyond Jazz's frame, received "Korean Popular Music Awards Ceremony Jazz & Crossover Best Sound Award", "Korean Popular Music Awards Ceremony Jazz & Crossover Best Song (yesterday)".  

After that, in July 2008 I performed a nationwide tour. Participate in "Jazz Super Express Project Band" together with popular Japanese musician, TOKU, Kosuke Onuma, perform performances in Japan and other countries including Blue Note and Billboard Live, the possibilities spread more and make the tour a great success . In December 2008, "Feel Like Making Love" (Korean version is "Fall in Love") was announced in Japan and Korea from Pony Canyon as the first major Japanese debut album. 

He steadily increased the number of fans and became a major label transfer that can be said to have won evaluation in Japan. December 2009 "Close Your Eyes" released. Swing journal selection ?gold disc? It is chosen as the 43rd phase of the eighth period. Started activities in Japan since 1998, over 500 performances and tours nationwide four times a year, what she has sought worldwide. It is "human intact freedom". I want you to touch music that is full of her strong feelings and affection. Translate by Google http://woongsan.ponycanyon.co.jp/&prev=search

Temptation

Rahsaan Roland Kirk - Kirkatron

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1977
File: MP3@320K/s
Time: 47:06
Size: 112,9 MB
Art: Front

(3:37)  1. Serenade To A Cuckoo
(5:29)  2. This Masquerade
(3:27)  3. Sugar
(0:26)  4. Los Angeles Negro Chorus
(6:42)  5. Steppin' Into Beauty
(3:36)  6. Christmas Song
(2:18)  7. Bagpipe Medley
(0:23)  8. Mary Mcleod Bethune
(4:10)  9. Bright Moments
(4:10) 10. Lyriconon
(4:58) 11. Night In Tunisia
(7:44) 12. J. Griff's Blues

Shortly after Rahsaan Roland Kirk finished his first album for Warner Brothers, he suffered a major stroke that put him out of action and greatly shortened his life. His second LP for the label was actually comprised of leftovers from the earlier session plus three songs taken from an appearance at the Montreux Jazz Festival; the latter has been reissued on CD in a sampler but the other selections (which include "Serenade to a Cuckoo," his cover of "This Masquerade," "Sugar," "The Christmas Song" and "Bright Moments") remain out of print. This LP (which finds him mostly sticking to tenor), Kirk's next-to-last album, has enough highlights to make it worth searching for. ~ Scott Yanow https://www.allmusic.com/album/kirkatron-mw0000869726

Personnel:   Rahsaan Roland Kirk - tenor saxophone, manzello, stritch, clarinet, flute

Kirkatron

Eddie Palmieri - Arete

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 51:38
Size: 119,4 MB
Art: Front

(6:44)  1. Don't Stop The Train
(5:08)  2. Definitely In
(9:14)  3. Sisters
(4:00)  4. Crew
(7:53)  5. Waltz For My Grandchildren
(5:57)  6. Caribbean Mood
(5:48)  7. Oblique
(6:52)  8. Sixes In Motion

Pianist/composer Eddie Palmieri has long been a giant of Afro-Cuban (or Latin) jazz. While some recordings in this idiom lean too far in one direction not enough jazz improvising, or in other cases, a percussion section that sounds as if it were added on as an afterthought Palmieri has struck a perfect balance. In trumpeter Brian Lynch, trombonist Conrad Herwig and altoist Donald Harrison, he has three strong soloists who match well with the trio of percussionists. In addition to Palmieri, bassist John Benitez and drummer Adam Cruz (the latter is on just four of the eight Palmieri originals) are flexible enough to play both swing and Latin. A strong plus to this date are the compositions/arrangements of Palmieri, which pay close attention to varying moods, instrumental colors and grooves. Consistently complex and unpredictable, the music is still always quite accessible and enjoyable, thanks to the percussionists. ~ Scott Yanow https://www.allmusic.com/album/arete-mw0000177365
 
Personnel:  Eddie Palmieri - piano;  Richie Flores - congas; Jose "Cochi" Claussell - timbales, percussion;  John Benitez - bass;  Adam Cruz - drums;  Paoli Mejias - bongo

Arete

Jeb Patton - Tenthish, Live In New York

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 55:54
Size: 130,6 MB
Art: Front

(5:19)  1. Zec
(4:52)  2. Tenthish
(6:03)  3. Third Movement
(6:13)  4. This Can't Be Love
(3:45)  5. Reflections In D
(5:55)  6. Sophisticated Lady
(6:04)  7. Johnny Come Lately
(5:29)  8. I'll Never Stop Loving You
(8:55)  9. Royal Garden Blues / Kelly Blue
(3:15) 10. Overtime

Recorded at New York's Mezzrow, in the heart of Greenwich Village, the Jeb Patton Trio delights with clever arrangement of jazz classics and some lesser known gems from the likes of Thad Jones and Phineas Newborn Jr. Tenthish was recorded in front of an audience of 35 invited guests and the trio including bassist David Wong and drummer Rodney Green are clearly enjoying the proceedings. ~ Editorial Reviews https://www.amazon.com/Tenthish-Live-New-York-Patton/dp/B07FNR8TH8

Personnel: Jeb Patton on piano; David Wong on bass, Rodney Green on drums

Tenthish, Live In New York

Sunday, October 7, 2018

Harry Allen & Rossano Sportiello - Conversations

Styles: Saxophone And Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 63:03
Size: 144,9 MB
Art: Front

(5:53)  1. Like Someone In Love
(4:33)  2. Imagination
(5:07)  3. It Could Happen To You
(5:23)  4. But Beautiful
(6:37)  5. Personality
(4:37)  6. I Wish You Needed Me
(7:02)  7. Pennies From Heaven
(6:28)  8. Moonlight Becomes You
(5:27)  9. If Love Ain't There
(4:25) 10. Oh! You Crazy Moon
(4:41) 11. Swinging On A Star
(2:45) 12. What's New?

"Conversations" is a duo recording by tenor saxophonist Harry Allen and pianist Rossano Sportiello featuring the music of famed lyricist Johnny Burke (most noted for his long-time collaboration with Jimmy Van Heusen). Titled "Conversations" because of the intimate nature of the music… a conversation between two musicians who strive for beauty in the music. Features the great jazz standards "What's New?", "It Could Happen To You", "But Beautiful", "Moonlight Becomes You", "Like Someone In Love", "Swinging On A Star" plus many more. Harry Allen has recorded over 40 CDs as a leader and frequently tours the United States, Europe and Asia performing at the world's best jazz festivals and jazz clubs. Rossano Sportiello has recorded prolifically and is in demand as both a leader and a sideman, touring the globe constantly, headlining at jazz festivals, concerts and jazz clubs. What the critics say: This aptly named album demonstrates the magic that results when two outstanding and simpatico jazz players engage in musical dialogue.  Allen and Sportiello have been playing together frequently, mostly in a quartet format for about two years, and the empathy that has developed between them is immediately evident to anyone who hears this disc.  Both are among the best current players on their instruments, and the pairing of the two a match made in musical Heaven. ~ Joe Lang https://store.cdbaby.com/cd/harryallenrossanosportie

Personnel:  Tenor Saxophone  - Harry Allen; Piano – Rossano Sportiello

Conversations

Francesca Tandoi - Wind Dance

Styles: Vocal And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 60:15
Size: 139,4 MB
Art: Front

(5:59)  1. I Could Write a Book
(5:27)  2. Magic Three
(3:34)  3. This Can´t Be Love
(6:40)  4. Clair De Lune
(4:58)  5. Thou Swell
(6:07)  6. Where Do You Start
(4:38)  7. Just You, Just Me
(4:03)  8. I'll Be Seeing You
(5:26)  9. Wind Dance
(7:22) 10. I'm Gonna Laugh You Right Out Of My Life
(5:56) 11. Fried Pies

The 31-year-old Francesca Tandoi has been busy since 2014 with an advance in the jazz world. The originally Italian musician has released two albums on the Japanese jazz label Atelier Sawano and in the country of the rising sun alone 10,000 copies were sold. For jazz concepts no numbers to be ashamed of. Wind Dance is the new CD and it has all the ingredients to make the success grow. To begin with, Tandoi shows impressive piano skills. Her fingers seem to be loose, so smoothly she flies over her keyboard in the swinging tracks. It is striking that, in addition to her virtuosity, she still has a fairly soft massaging touch. That comes into its own in the quiet songs in which romance and melancholy breathe. That atmosphere gets an extra dimension when Tandoi is also blessed with a beautiful singing voice full of warmth and sensuality. Secretly it is a bit of a shame that she sings in only four of the eleven songs. And that is the only comment on Wind Dance. A delightful record on which Tandoi is accompanied by none other than bassist Frans van Geest and drummer Frits Landesbergen. Translate by Google http://www.sergejulien.nl/albumrecensie-francesca-tandoi-trio-wind-dance/
Personnel:  Francesca Tandoi: piano & vocal ;  Frans van Geest: bass;  Frits Landesbergen: drums

Wind Dance

Christian Scott - Christian Scott Collection

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 75:44
Size: 173,7 MB
Art: Front

( 5:46)  1. The Uprising
( 5:19)  2. Rewind That
( 5:29)  3. The Eraser
( 6:25)  4. When Marissa Stands Her Ground
( 5:48)  5. Cease Fire
( 6:53)  6. Jenacide (The Inevitable Rise and Fall of the Bloodless Revolution)
( 6:29)  7. Say It
( 4:45)  8. Spy Boy/Flag Boy
( 6:39)  9. Like That
( 3:33) 10. The Red Rooster
( 7:07) 11. The American't
(11:26) 12. Litany Against Fear

Forward-thinking jazz trumpeter Christian Scott has built a career balancing both jazz tradition and commercial expectation with a sound that touches upon modal jazz, contemporary R&B, experimental hip-hop, and ruminative art-rock. The 2014 Scott anthology, Christian Scott Collection, compiles tracks off his various Concord albums including 2006's Rewind That, 2007's Anthem, 2010's Yesterday You Said Tomorrow, 2011's Ninety Miles, and 2012's Christian a Tunde Adjuah. While Scott's overall approach to making jazz is an eclectic cross-genre one, his sound has remained largely cohesive. Working with a regular crew of sidemen, including guitarist Matthew Stevens, keyboardist Lawrence Fields, bassist Kristopher Keith Funn, and drummer Jamire Williams, among others, Scott quickly developed a group concept for his wide-ranging compositions. While his warm, harmonically adventurous trumpet playing brings to mind the influence of such titans as Miles Davis and Freddie Hubbard, his overall sound is anything but straight-ahead and traditional. Songs like arid "Eraser" and the languid, dramatic "American't," while certainly registering as instrumental, improvisational music, have as much in common with the ruminative, experimental post-rock of bands like Radiohead and Tortoise as they do with any instrumental jazz. Even when Scott delves deep into sultry, laid-back soul-jazz as he does on the half-lidded slow jam, "Like That," it ends up sounding less like a vintage '70s CTI recording (although that does come to mind) and more like a contemporary Christian Scott recording. Ultimately, with Christian Scott Collection, it's evident just how well Scott's highly cross-pollinated jazz holds together from album to album. ~ Matt Collar https://www.allmusic.com/album/christian-scott-collection-mw0002766077

Personnel:  Christian Scott – Trumpet;  Walter Smith III – Saxophone;  Matthew Stevens – Guitar;  Lugues Curtis – Electric Bass;  Milton Fletcher, Jr. – Piano

Christian Scott Collection

Till Bronner - Blue Eyed Soul

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 57:11
Size: 131,3 MB
Art: Front

(0:29)  1. Intro
(3:01)  2. Track One
(4:40)  3. Diavolo
(3:59)  4. Blue Eyed Soul
(5:06)  5. No Fusion Generation
(5:22)  6. 42Nd & 6Th
(5:06)  7. Tub Of Love
(5:03)  8. Just The Way You Are
(6:04)  9. Love Somebody
(0:36) 10. Trash (Interlude)
(3:28) 11. Jazz Musician
(4:54) 12. Oscar Said (Feat. David Friedmann)
(0:50) 13. Reverand Henry (Interlude)
(6:52) 14. Dim The Lights (Feat. Mark Murphy)
(1:32) 15. Banizm (Outro)

It may be jazzed again! After an avowed DJ culture has rehabilitated jazz as an important source of inspiration, one may again come out as a jazz listener, without being pushed into the corner of the intellectual head person. Jazz export hit Till Brönner also knows how to play a song. He transports his conception of jazz into a wide variety of genres. A collaboration with Hildegard Knef ("But Beautiful It Was Yet") must be as much as the Veriphoping kölschen Carnival (My Secret Love). With " Blue Eyed Soul " he enters once again unexpected terrain, or, "Till Brönner is always good for a surprise," as half Petgroove tried to make me the slice tasty. I must confess, the last releases of the native Vierseners did not convince me. Neither old UFA hits (German songs) nor shallow smooth jazz (Love) lured me out from behind my central heating system. And now that!  After a short introduction, I find myself in the midst of an ultracool grooving song that turns into a rap through Till's trumpet playing, without any verbiage. I like that when an album with the first title convinces me! "I would call it a good chill-out music, you do not have to buy stress!" Till says. I fully share his attitude and add a triple strong BUY. The mix of R'n'B , Hip Hop, Soul , Blues and Jazz works right away and definitely belongs to the best, which reached my insatiable ears from this unspectacular mix of styles in recent years. Not only Till would "hang it up herself if I had a party", everyone else who can do something with Tab Two , Erykah Badu and the Cafe del Mar samplers will love Blue Eyed Soul . "'Blue Eyed Soul' is originally the term black people in America use a little pejorative when making white soul music, by the way, by the way, George Michael is also considered a representative of 'Blue Eyed Soul', which in my view speaks for a certain respect. Till explains the title choice of the new album. At the same time he has to face the nagging questions of the jazz police, who once put a lot of hope in the apostates: "Is that still jazz or just enjoyable mood music? Is service pop or a daring cosmetic operation on the makeshift improvised music?" ironically asks the open minded jazzthing magazine on behalf of Wynton Marsalis, the police chief. What Till finds at least as casual words as he conjures just such sounds from his trumpet: "I'm just now on things that would drive a pure jazzman the anger in the face". Me too! ~ Kai Kopp ..Translate by google https://www.laut.de/Till-Broenner/Alben/Blue-Eyed-Soul-2233

Blue Eyed Soul

Scott Hamilton - Meets The Piano Players

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 65:28
Size: 150,8 MB
Art: Front

(7:06)  1. On The Street Where You Live
(6:33)  2. Casbah
(7:03)  3. O Grande Amor
(7:06)  4. Searchin´
(4:35)  5. Georgia On My Mind
(7:13)  6. Deep Night
(8:17)  7. Nica´s Dream
(6:58)  8. Lotus Blossom
(5:53)  9. Though Swell
(4:39) 10. Luitpold Parker

When Scott Hamilton appeared in the mid-'70s fully formed with an appealing swing style on tenor (mixing Zoot Sims and Ben Webster), he caused a minor sensation few other young players during the fusion era were exploring pre-bop jazz at his high level. He began playing when he was 16 and developed quickly, moving to New York in 1976. Hamilton played with Benny Goodman in the late '70s, but he has mostly performed as a leader, sometimes sharing the spotlight with Warren Vaché, Ruby Braff, Rosemary Clooney, the Concord Jazz All-Stars, or George Wein's Newport Jazz Festival All-Stars. Other than a few sessions for Famous Door and Progressive, Hamilton has recorded a prolific string of dates for many labels often more than two a year that are notable for their consistency and solid swing. Highlights of his 21st century dates include 2010's Live at Nefertiti with the Scandinavian Five and 'Round Midnight in duo with pianist Harry Allen in 2012. In 2014, Fremeaux & Associes released Scott Hamilton Plays with the Dany Doriz Caveau de la Huchette Orchestra one of five albums issued under his name that year. Scott Hamilton Plays Jule Styne was issued in 2015, which also netted a handful of dates. La Rosita, with Dena DeRose, Ignasi González, and Jo Krause, marked his debut for Discmedi in 2016 it was the third year in a row in which he issued five albums. 2017 was right on pace, with three albums by mid-year including Things We Did Last Summer w/Champian Fulton, Ballads for Audiophiles, and his second date for Discmedi, Shadow of Your Smile. ~ Scott Yanow https://itunes.apple.com/ca/album/meets-the-piano-players/1370739416

Personnel:  Scott Hamilton(saxophone);  Thilo Wagner(piano -1,9);  Claus Raible(piano -2,6);  Tizian Jost(piano -3,7);  Bernhard Pichl(piano -4,8);  Joe Kienmann(piano -5,10);  Rudi Engel(bass);  Michael Keul(drums)

Meets The Piano Players

Saturday, October 6, 2018

Clark Terry - Summit Jazz Orchestra: The Knight's Golden Trumpet

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 59:09
Size: 138,9 MB
Art: Front

( 6:25)  1. Walkin Tiptoe
(18:03)  2. Clark (Autumn Leaves - When I Fall In Love - Spaceman)
( 6:12)  3. Two Sides
( 6:17)  4. I Want A Little Girl
( 7:17)  5. Sophisticated Lady
( 8:00)  6. Miles Mode
( 3:24)  7. Just Friends
( 3:28)  8. Mumbles

In April 2000 the not yet five year old Summit Jazz Orchestra, which makes its home in Regensburg, Germany, welcomed 79 year-old jazz legend Clark Terry for a twelve-day tour and recording session that music director/bass trombonist Christian Sommerer describes as “a lifetime experience for every single musician” in the SJO, whose members come from all over the country and whose ages range from 21 to 30. If the tour was anything like the album, audiences must have been blown away by Terry and the orchestra. Although in poor health and suffering from diabetes, Clark is in magnificent form throughout, playing with the energy and enthusiasm of someone many years his junior. Clearly, he was inspired by the SJO, which returns the compliment with spirited blowing of its own. The album’s centerpiece is the eighteen-minute medley “Clark,” which comprises the standards “Autumn Leaves” and “When I Fall in Love” and Terry’s composition “Spaceman.” Clark plays trumpet and flugelhorn (alternating one-handed fours on “Spaceman”), and there are bracing solos by baritone saxophonist Jürgen Zimmermann, guitarist Hanno Busch and tenor saxophonist Hugo Siegmeth. Clark solos as well on Bert Joris’ “Walkin’ Tiptoe,” Ellington’s “Sophisticated Lady” (noted here as “Lady Sophie”) and the standard “Just Friends,“ plays and sings on one of his popular specialty numbers, “I Want a Little Girl,” wraps up the session with his classic “Mum-bles” routine (even more hilarious in faux German!) and takes a breather on only two numbers, Eric Veldkamp’s “Two Sides” and John Coltrane’s “Miles’ Mode.” The SJO, whose members earned their stripes in Peter Herbolzheimer’s superb National German Youth Jazz Orchestra (BuJazzO) and various other regional youth jazz ensembles, is close-cropped unit with remarkable rhythmic power and a number of top-drawer soloists. Besides those already noted, they include altos Ulrich Wangenheim (“Two Sides”) and Markus Lihocky (“Miles’ Mode,” “Mumbles”), pianist Michael Wollny (“Walkin’ Tiptoe,” “Miles’ Mode”), trumpeter Sven Klammer (“Walkin’ Tiptoe”) and trombonist Martin Ostermeier (“Two Sides”). Together with the incomparable and seemingly ageless Clark Terry, they have produced an album of consistently exhilarating big band jazz. 
~ Jack Bowers https://www.allaboutjazz.com/clark-the-summit-jazz-orchestra-edition-collage-review-by-jack-bowers.php

Summit Jazz Orchestra

Buddy Terry - Pure Dynamite

Styles: Saxophone And Flute Jazz
Year: 1972
File: MP3@320K/s
Time: 45:41
Size: 104,7 MB
Art: Front

(10:11)  1. Quiet Afternoon
(10:49)  2. Paranoia
(17:32)  3. Baba Hengates
( 7:07)  4. Miscegenation

Edlin "Buddy" Terry (born January 30, 1941) is an American jazz musician and alto/tenor sax player. He was born in Newark, New Jersey. In the 1960s and 1970s Terry made albums for Prestige Records and Mainstream Records. He played with the group Swingadelic from 2000 to 2010. https://en.wikipedia.org/wiki/Buddy_Terry

Personnel:  Buddy Terry - tenor saxophone, soprano saxophone, flute;  Woody Shaw - trumpet;  Eddie Henderson - trumpet, flugelhorn;  Kenny Barron - piano;  Joanne Brackeen - piano, electric piano;  Stanley Clarke, Mchezaji - bass;  Billy Hart, Lenny White - drums;  Airto Moreira - percussion;  Mtumé - African percussion

Pure Dynamite

Bobby Previte & The New Bump - Set the Alarm for Monday

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 48:39
Size: 123,8 MB
Art: Front

(4:28)  1. Set the Alarm for Monday
(5:39)  2. I'd Advise You Not To Miss Your Train
(4:32)  3. She Has Information
(3:43)  4. Where You Followed
(4:29)  5. I'm on to Her
(6:06)  6. There Was Something In My Drink
(5:44)  7. You're In Over Your Head
(5:08)  8. Drive South, Along the Canyon
(8:46)  9. Wake Up Andrea, We're Pulling In

A seminal figure in the Downtown New York scene, drummer and composer Bobby Previte resurrected his Bump the Renaissance ensemble for the cinematic Set The Alarm For Monday. Previte's venerable acoustic group has featured a rotating roster of talent over the years, including Ray Anderson, Curtis Fowlkes, Wayne Horvitz, Lenny Picket, Steve Swallow and Tom Varner. Ellery Eskelin (tenor saxophone), Bill Ware (vibes) and Brad Jones (bass) form the current incarnation, with special guests Steven Bernstein (trumpet) and Jim Pugliese (percussion). Conceived as a long form suite, the album opens gradually, working through progressions in mood episodically. Narrative song titles like "She Has Information" and "There Was Something In My Drink," suggest an evocative film-noir atmosphere that unravels like chapters from a pulp novel; each tune is another act in the continuing saga. An aura of suspenseful mystery permeates the session, which unfolds with foreboding drama, intermittently punctuated by rousing anthems. Book-ended by enigmatic tone poems, the core of the record features simmering ostinatos and driving vamps that conjure scenes of shadowy rendezvous at secret after- hours clubs and frenzied chases down seedy back alleys. Driving these pieces, Previte unfurls a multitude of Latinized polyrhythms, with tasteful syncopated accents provided by Jim Pugliese. Bill Ware and Brad Jones, longstanding members of the Jazz Passengers, have ample experience in this milieu. Jones' intricate winding bass lines offer a sinewy foundation for Ware's kaleidoscopic vibes, which stage effervescent tableaus for Ellery Eskelin and Steven Bernstein to explore. A singular stylist, Eskelin's wooly timbre and taut phrases mesh soundly with Bernstein's highly expressive pre-swing aesthetic, which resounds with smears, growls and buzzing mutes. Together they trade sinuous cadences and soaring intervals, uncoiling circuitous refrains and plangent cries. As fellow veterans of the fertile Downtown scene, the sextet delivers these stylish urban panoramas with convincing flair, effortlessly shifting from brooding atmospherics to sultry Latin grooves. Previte's most rewarding acoustic album in years, Set The Alarm For Monday effectively captures the mythic soul of Gotham after dark. ~ Troy Collins https://www.allaboutjazz.com/set-the-alarm-for-monday-bobby-previte-palmetto-records-review-by-troy-collins.php

Personnel: Bobby Previte: drums; Ellery Eskelin: tenor saxophone; Steven Bernstein: trumpet; Bill Ware: vibraphone; Brad Jones: bass; Jim Pugliese: percussion.

Set the Alarm for Monday

David S. Ware Trio - Passage to Music

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 69:28
Size: 159,4 MB
Art: Front

( 5:50)  1. An Ancient Formula
( 7:35)  2. Ancient Visitors
(10:51)  3. Passage to Music
(10:52)  4. African Secrets
(13:24)  5. The Elders Path
( 9:06)  6. Phonetic Hymn
(11:47)  7. Mystery

A fiery avant-garde tenor saxophonist, David Ware had recorded two early sets for Hat Hut and Palm during 1977-78; a decade later he had his third opportunity to lead a record session. Joined by bassist William Parker and drummer Marc Edwards, Ware performs five of his free jazz originals, mostly on tenor but also playing one song apiece on saxello and stritch. 

Not for the weak-of-heart, David Ware's searching improvisations reward repeated listenings by open-eared listeners. ~ Scott Yanow https://www.allmusic.com/album/passage-to-music-mw0000256959

Personnel:   David S. Ware - tenor saxophone, producer, saxello, stritch;  William Parker - bass;  Marc Edwards - drums

Passage to Music

Rebekka Bakken - Things You Leave Behind

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 41:51
Size: 98,1 MB
Art: Front

(3:53)  1. Closer
(3:27)  2. Black Shades
(4:05)  3. Things You Leave Behind
(3:34)  4. Time After Time
(4:01)  5. Yankee Days
(4:08)  6. Shelter
(4:13)  7. True North
(2:55)  8. Charlie
(4:37)  9. Sound of Us
(3:54) 10. Hotel St. Pauli
(2:56) 11. Dance for You

Nordic folk-jazz chanteuse Rebekka Bakken was the most successful exponent of a new generation of Scandinavian jazz singers that also included Silje Nergaard, Sidsel Endresen, and Solveig Slettahjell. Born in Oslo in 1970, Bakken studied violin and piano as a child, and in 1995 relocated to New York City to pursue a professional music career. There she paired with Austrian-born guitarist Wolfgang Muthspiel, and together they toured the local nightclub circuit as a duo. In time Bakken also befriended German pianist Julia Hülsmann, with whom she recorded the 2003 album Scattering Poems, a collection of jazz performances inspired by the poems of e.e. cummings. Upon completing the project Bakken returned to Europe, settling in Vienna and signing a solo deal with the Universum label. Her debut LP, The Art of How to Fall, followed by year's end, and in 2005 she resurfaced with her commercial breakthrough, Is That You? I Keep My Cool followed a year later. ~ Jason Ankeny https://itunes.apple.com/ca/album/things-you-leave-behind/1416650722

Things You Leave Behind

Friday, October 5, 2018

Andrew Hill - Pax

Styles: Piano Jazz
Year: 1965
File: MP3@320K/s
Time: 49:53
Size: 116,0 MB
Art: Front

(10:42)  1. Eris
( 7:13)  2. Pax
(10:10)  3. Calliope
( 7:18)  4. Euterpe
( 4:01)  5. Erato
( 3:42)  6. Roots 'N' Herbs
( 6:45)  7. Euterpe (alternate take)

Pax is one of those seminal Andrew Hill albums that sat locked in Blue Note's vaults for a decade before the first five cuts here were finally released as part of a double-LP package in 1975 entitled One for One. The final pair, recorded at the same time, didn't see the light of day until they appeared on the limited-edition Mosaic Select Blue Note recordings a decade after that. The personnel on this disc is a dream band: Hill with Joe Henderson, Freddie Hubbard, Richard Davis, and Joe Chambers. All of the these players but Hubbard had played with Hill before, and the telepathy is simply synchronistic. The opening cut, "Eris," is a sprawling blues clocking in at nearly 11 minutes. Full of Hill's knotty harmonics, and truly fiery playing by Hill and Hubbard, it's one of Hill's finest moments on record from the mid-'60s. "Calliope" is an off-kilter, medium tempo swing jam. There is a sense of time being stretched here that is simply uncanny. Of the two final tracks, being heard here by the general populace for the first time -- though this too is a limited edition in the Connoisseur Series (so the label can make you buy it again later in some other form) -- one was recorded sans horns. "Roots 'N' Herbs," (not Wayne Shorter's ) and the Afro-Cuban percussion and hypnotic bassline make it a curious midtempo ballad even as its meter shifts and floats and then becomes free before it enters the more conventional rock & roll backbeat rhythm pattern that Hill picks up on and stretches to the breaking point before it exhausts itself. The final cut is an interesting alternate of "Euterpe," which is not al that different from the first. In all, however, this is a semi-rough and wonderfully rowdy Hill date that deserves serious aural exploration. ~ Thom Jurek https://www.allmusic.com/album/pax-mw0000555348

Personnel:  Andrew Hill - piano;  Freddie Hubbard - cornet (tracks 1-4 & 7);  Joe Henderson - tenor saxophone (tracks 1-4 & 7);  Richard Davis - bass;  Joe Chambers - drums

Pax

Stephanie Nakasian, Harry Allen & Hod O'Brien - I Love You

Styles: Vocal And Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 59:39
Size: 137,5 MB
Art: Front

(2:51)  1. The Gypsy In My Soul
(3:16)  2. I Don't Mind
(4:22)  3. I Love You
(5:12)  4. Serenade In Blue
(3:30)  5. All the Things You Are
(5:07)  6. Blue Moon
(5:49)  7. So Many Stars
(4:45)  8. The Days of Wine and Roses
(3:56)  9. Someone to Watch Over Me
(4:28) 10. The Breeze and I
(3:43) 11. I'm In the Mood for Love
(6:18) 12. But Beautiful
(3:03) 13. I Can't Believe You're In Love With Me
(3:13) 14. You Must Believe In Spring

Jazz Vocalist Stephanie Nakasian has an active history over the past several decades, working with vocal jazz legend Jon Hendricks and Family in the mid-1980s. Around that time, I first saw Nakasian when she appeared with Phil Woods. Nowadays, Nakasian resides in Charlottesville, Virginia, where she has been recording and, with her pianist/partner, Hod O'Brien, has a daughter who sings and records under the name Veronica Swift. I Love You was released in Japan in 2006 and, unlike Thrush Hour (V.S.O.P. Records, 2007), allows her to present a group of songs from The Great American Songbook without having to reinterpret them in the guise of other jazz vocalists. I Love You finds Nakasian with an effective small combo featuring O'Brien along with saxophonist Harry Allen; bassist Neal Miner and drummer Jimmy Wormworth, interpreting fourteen tunes that occasionally extend into the latter part of the twentieth century, but largely reflect the earlier Golden Age of American popular music. Of the newer material, Nakasian offers effective takes on Alan and Marilyn Bergman's "You Must Believe In Spring, the Bergmans/Dori Caymmi/Nelson Matta tune "So Many Stars," and the popular Mercer/Mancini classic, "Days of Wine and Roses." "I Don't Mind," by Billy Strayhorn and Duke Ellington, is a good example of an obscure but very listenable tune for jazz enthusiasts. ~ Michael P.Gladstone https://www.allaboutjazz.com/i-love-you-stephanie-nakasian-spice-of-life-review-by-michael-p-gladstone.php

Personnel: Stephanie Nakasian: vocals; Harry Allen: tenor sax; Hod O'Brien: piano; Neal Miner: bass; Jimmy Wormworth: drums

I Love You

Brian Bromberg - Wood

Styles: Jazz, Post Bop
Year: 2002
File: MP3@320K/s
Time: 52:21
Size: 119,9 MB
Art: Front

(6:15)  1. The Saga of Harrison Crabfeathers
(7:18)  2. Dolphin Dance
(5:21)  3. Come Together
(4:01)  4. Goodbye (For My Father)
(4:53)  5. Speak Low
(3:26)  6. Freedom Jazz Dance
(5:27)  7. I Love You
(3:35)  8. Straight No Chaser
(5:24)  9. All Blues
(4:32) 10. The Days of Wine and Roses
(2:04) 11. Star Spangled Banner

Wood is Brian Bromberg's debut for the A440 Music Group, and it is a very strong example of his extraordinary straight-ahead jazz skills as presented in three exciting formats. In addition to the six tracks he performs in a trio setting with drummer David Bromberg and pianist Randy Waldman, Brian Bromberg duets with Waldman on the inimitable "Days of Wine and Roses" and the beautiful tribute "Goodbye (For My Father)," which was previously released on You Know That Feeling. Two amazing solo performances "Come Together" and "Star Spangled Banner"  add further credence to Bromberg's technical and creative virtuosity as one of the premier jazz bassists of his generation. This set is also remarkable because Brian Bromberg is playing the same upright acoustic bass a 300-year-old Matteo Guersam, crafted in Milan in the 18th century  that he used for his professional debut with saxophone legend Stan Getz. Despite its age, the wood (hence the title) emanates rich, mellow sounds that perfectly complement such jazz gems as Miles Davis' "All Blues," Herbie Hancock's "Dolphin Dance," and Thelonious Monk's "Straight No Chaser." Bromberg's tapping method on "Come Together" provides clear and convincing evidence of his mastery of this technique, while his awesome pizzicato chops are burnin' on "Speak Low." Wood is a radical departure from Bromberg's world-renowned smooth jazz releases New Day, Magic Rain, BASSically Speaking, and You Know That Feeling but nevertheless showcases the exceptional bass techniques that garnered him critical acclaim as one of the 100 best bassists of the 20th century. A definite must have. ~Paula Edelstein  https://www.allmusic.com/album/wood-mw0000659096

Personnel:  Brian Bromberg - acoustic bass;  David Bromberg - drums;  Randy Waldman - piano.

Wood

Kenny Wheeler - Kayak

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 56:18
Size: 129,2 MB
Art: Front

( 7:21)  1. 5 4 6
(11:03)  2. Gentle Piece - Old Ballad
( 9:16)  3. Kayak
( 6:09)  4. Sea Horse
( 6:01)  5. Sea Lady
(10:29)  6. C Man
( 5:55)  7. C.C. Signor!

Jazz trumpeter and flügelhornist Kenny Wheeler was one of the most advanced voices on his instrument. Blessed with a full, lovely tone and an astounding range, Wheeler sounded equally at home in fiery free jazz explorations or softer, more lyrical post-bop meditations. Wheeler was born in 1930 in Toronto, Ontario, and began playing trumpet at age 12. After studying at Toronto's Royal Conservatory, he moved to London in 1952, where he gigged with swing and dance bands. He appeared with John Dankworth's orchestra at the 1959 Newport Festival and remained with that group until 1965. In 1966, Wheeler discovered free jazz, and, fascinated, joined John Stevens' Spontaneous Music Ensemble for the next four years. In addition, he played jazz-rock fusion with the Mike Gibbs Orchestra from 1969-1975, and joined Tony Oxley's sextet (along with free jazz giants like Derek Bailey and Evan Parker) from 1969-1972. Through the latter, Wheeler was invited to join German pianist Alexander von Schlippenbach's groundbreaking free jazz big band the Globe Unity Orchestra in 1970, an association Wheeler maintained for years to come. During the first half of the '70s, Wheeler played with Anthony Braxton, which became his primary focus. In 1975, he signed with the ECM label and recorded the well-received Gnu High, which established him as a solo artist of note; the following year, he left Braxton and joined the trio Azimuth. Wheeler turned out a series of excellent ECM albums, including 1977's Deer Wan and 1983's Double, Double You (that year, Wheeler also began a four-year run with the Dave Holland Quintet). Several more generally fine outings followed in the '90s, including the ECM dates Music for Large and Small Ensembles and The Widow in the Window (both recorded in 1990), plus other recordings for Justin Time and Soul Note later in the decade. During the 2000s and 2010s, he recorded several dates for CAM Jazz, including 2008's Other People with the Hugo Wolf String Quartet and 2011's One of Many with Steve Swallow. Wheeler died on September 18, 2014 after a brief illness. His final studio session, the Manfred Eicher-produced Songs for Quintet, was released in 2015 on what would have been Wheeler's 85th birthday. ~ Steve Huey https://www.allmusic.com/artist/kenny-wheeler-mn0000767652/biography

Personnel:  Kenny Wheeler: trumpet and flugelhorn;  John Rook: french horn;  Stan Sulzmann: soprano and tenor saxophones, flute;  Julian Argüelles: soprano and tenor saxophones;  Dave Horler: trombone;  Chris Pyne: trombone;  Dave Stewart: bass trombone and tuba;  John Taylor: piano;  John Horler: piano;  Chris Laurence: bass;  Peter Erskine: drums

Kayak

Rod Stewart - Still the Same... Great Rock Classics of Our Time

Styles: Vocal, Soul
Year: 2006
File: MP3@320K/s
Time: 46:40
Size: 113,1 MB
Art: Front

(3:12)  1. Have You Ever Seen the Rain
(3:48)  2. Fooled Around and Fell in Love
(4:29)  3. I'll Stand by You
(3:38)  4. Still the Same
(3:33)  5. It's a Heartache
(3:07)  6. Day After Day
(4:18)  7. Missing You
(3:36)  8. Father and Son
(3:44)  9. The Best of My Love
(3:36) 10. If Not for You
(3:47) 11. Love Hurts
(3:06) 12. Everything I Own
(2:42) 13. Crazy Love

Early on in his career Rod Stewart established himself as one of rock's great interpretive vocalists, which made the flatness of his Great American Songbook series a bit puzzling. If any classic rock veteran of the '60s should have been able to offer new spins on old standards, it should have been Rod the Mod, who was turning Elvis' "All Shook Up" inside out on Jeff Beck's Truth and turned the Rolling Stones' defiant "Street Fighting Man" into a folk-rock lament, all before "Maggie May" turned Rod into a star. But none of the Great American Songbook volumes strayed from the tried and true, which may have been part of the reason they were big hits after all, familiar songs are always warmly received when they're performed in a familiar fashion but they were filled with undistinguished performances that bordered on laziness. It was possible to make excuses for his performances, chief among them that Stewart was simply not rooted in this material, so he simply chose the easiest route out of the song, but it didn't change the fact that all three records were deadly dull, even if they were enormous successes one and all. It's hard to give up that success, particularly for a veteran who was so desperate for a hit a few years back, he foolishly attempted the clunky modern R&B album Human, so it's not surprising that when he moved on from the Great American Songbook, he chose a related project: Great Rock Classics of Our Time, which is the subtitle of 2006's Still the Same, his first new record since GAS, and one that shares the aesthetic of that respectful and commercial trawl through the past. Still the Same finds Rod singing 13 songs that more or less could be called rock standards, every one of them hits since Stewart himself was a hitmaker, most of them dating from the '70s, when he was a superstar (roughly ten, if you count "Love Hurts" as a hit for Nazareth, which in this context you should). 

Not a bad idea at all, at least on paper, since this would seem to return Rod to his strengths: singing rock & roll and pop, influenced by soul and a little bit of country and folk. This theory has a bit of a problem, however. It's made under the assumption that it would be the Rod of the '70s singing songs from the '70s instead of the Rod of the new millennium singing songs of the '70s and the latter, of course, is what is featured on Still the Same. That means instead of Rod the Interpreter you get Rod the Karaoke Star, singing over arrangements that aren't merely familiar, but nearly exact replicas of the original hits. This isn't far removed from The Great American Songbook, which never offered a surprise, but those at least had the excellent work of Richard Perry, who was faithful without being slavish. Here, almost without exception, the arrangements deliberately recall the original hits, right down to grace notes and throwaway fills. This doesn't necessarily make for a lousy record, since Rod does indeed sound more comfortable fronting a rock band than he did singing with a big band, but Stewart makes no attempt to stamp these tunes with his own personality. Nowhere is that truer than on "It's a Heartache." Bonnie Tyler's delivery on the original was a downright homage to Rod, so close to his raspy phrasing that it was (and is) often mistaken for Rod himself. So what does he do on his version? He copies it, right down to the inflections. It's not bad; it's just pointless, because Tyler's original sounds more like classic Rod than Rod's does here. And while that sentiment may hold true for only "It's a Heartache," the rest of the album follows suit. The title Still the Same is all too true: these are the same versions of the same old songs you know and love, only they're now sleepily sung by Stewart. It's not the worst album he's done, and it's an improvement over The Great American Songbook if only because it plays to his strengths, but it aspires to be nothing more than pleasant and it achieves nothing so much as being just that. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/still-the-same-great-rock-classics-of-our-time-mw0000557398

Still the Same... Great Rock Classics of Our Time