Eric Le Lann & Jannick Top - Le Lann Top

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 56:35
Size: 129,8 MB
Art: Front

(4:15)  1. Middle access
(5:16)  2. Today
(6:34)  3. Spirit
(5:27)  4. It's so blue
(6:06)  5. Soul
(6:30)  6. Babylone
(7:08)  7. Back time trip
(5:18)  8. Mysterious city
(9:56)  9. The silent track

First of all a surprise, let's face it: this meeting between the capital trumpet player, native Breton and the master bassist, Marseille by birth, has something to surprise illico, no? ... especially as, if we played at the blind, why not (the famous blindfold test that is practiced between friends to get trapped), it's well Miles Davis (as defined by Laurent Cugny in his book Electric Miles: 1968 - 1975 , editions Birdland 1993), which would come out winner from the first title ... and more with Spirit (well, in the spirit of?) ... well, lost, it's him Eric Le Lann, with well-stocked jazz, faithful partner of Martial Solal (their Portrait in black and white and the different formations of the pianist) ... and Jannick Top, Christian Vander's accomplice in Magma, then accompanist and musical director of various variety stars. "Monsters" so that the press service compares to air and fire ! .... if you want. The two leaders have called on musicians such as guitarist and singer Lionel Louéké (heard with Herbie Hancock) and talented young drummer Damien Schmitt (plus some good guests) to perform original compositions co-signed. Scientific meeting of contrasting atmospheres, alternation of acoustic and electric music, diversity of colors (dark for the last two titles), an indisputable cohesion. All in all, a disc bursting with a beautiful energy ( Middle class ) or groovy at will ( It's so blue ) during which the trumpet player excels in the transmission of highs and other high-pitched and where the guitarist expresses the extent of his Early talent, supported by an irreproachable bassist and drummer as well as guests at their height. http://www.culturejazz.fr/spip.php?article405

Personnel:  Eric Le Lann (trumpet), Jannick Top (bass), Damien Schmitt (drums, percussion), Lionel Louéké (guitar, voice), Guests: Jean-Marie Ecay (guitar on 1 and 6), Olivier Hutman (keyboards out of 6), Fabien Colella (keyboards, computing), Bruno Ribera (sax, flute on 1 and 5), Christophe Nègre and Thomas Faure (sax on 1 and 5)

Le Lann Top

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Ebba Forsberg - True Love

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 49:58
Size: 114,9 MB
Art: Front

( 2:53)  1. Walk Alone
( 3:25)  2. That's How Much I Love You
( 4:00)  3. Addict
( 4:23)  4. Walking On Water
( 4:06)  5. This Pain
( 4:15)  6. Sometimes
( 3:15)  7. Evil I Know
( 4:13)  8. Red
( 5:39)  9. Daybreak
(13:45) 10. Deep Down

A singer, songwriter, and actress from Sweden, Ebba Forsberg's musical inspirations include some of the most iconic North American singer/songwriters to emerge in the '60s and '70s. Mixing acoustic reflection and the grittier side of adult contemporary, she released her solo debut, Been There, in 1997. Subsequent albums included tributes to Bob Dylan (2007's Dylan på Svenska), Tom Waits (2015's Om Jag Lämnar Dig), and Leonard Cohen (2009's Ta Min Vals and 2017's Take My Waltz). As an actress, she appeared in two Scandinavian TV series in the early 2000s. She has also written music for films, including 2005's Mun Mot Mun and 2011's Happy End. Born Ebba Maria Knigge Forsberg in Stockholm, Sweden in 1964, Forsberg and her family moved to Tortola in the British Virgin Islands when she was five years old. Her older sister Kajsa Ribbing returned to Sweden after a year, but Forsberg stayed in Tortola until she was 12, when the family relocated to South Africa. Over the next eight years, Forsberg took in South African culture, including its jazz and pop music, and taught herself how to play the piano and sing. As a young adult, she returned to Sweden, where she worked as a supporting musician and vocalist for several popular Swedish acts, including Eldkvarn, Ulf Lundell, the Nomads, and from 1993 to 1995, Traste Lindéns Kvintett. Eventually, Forsberg reunited with her sister and, with Forsberg writing the music and Ribbing writing the lyrics, the two collaborated on songs that formed the core of her solo debut. A demo tape led to a deal with Maverick Records, which released the Mats Asplen-produced Been There in 1997. It was reissued by Warner Bros. the following year. Forsberg followed it up with True Love in 2001, the same year she made her television acting debut in the series Anderssons Älskarinna (Andersson's Mistress), playing the title role. She returned to screens in the 2003 thriller series Talismanen. Forsberg then collaborated with Tobias Hylander on music for the 2005 film Mun Mot Mun before issuing her third solo album, 2006's Ebba Forsberg. An intimate English-language set, it charted at number 26 in Sweden. Her next album was a collaborative one with singer/songwriter Mikael Wiehe; Dylan på Svenska (Dylan in Swedish) saw release in 2007. Two years later, she followed it with Ta Min Vals: Ebba Forsberg Sjunger Leonard Cohen. The Dylan album reached number 22 on Sweden's albums chart, and the Cohen album marked her debut in the Top Ten. In 2011, Forsberg provided the score for the crime drama Happy End and released Falling Folding Flipping Feeling, an album of original songs. It also charted, reaching number 18. She climbed to number 12 with 2015's Om Jag Lämnar Dig: Ebba Forsberg Sjunger Tom Waits, ten Swedish-language covers of Waits' songs. In 2017, Take My Waltz revisited Leonard Cohen's music, this time in English. ~ Marcy Donelson https://itunes.apple.com/be/album/true-love/373620969

True Love

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Ryan Kisor - One Finger Snap: Incredible Ryan

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 50:07
Size: 117,4 MB
Art: Front

(5:01)  1. Horror Show
(5:51)  2. Blues For Warm
(7:10)  3. Tin Tin Deo
(5:06)  4. One Finger Snap
(6:13)  5. My Idial
(8:32)  6. Buffalo
(5:23)  7. Milestone
(6:47)  8. A Walk In The Park

One of the youngest of the so-called Young Lions, Ryan Kisor first gained attention when he won the Thelonious Monk Institute of Jazz's first trumpet competition in 1990 at age 17. He had earlier studied trumpet with his father, played with a local band when he was ten, and started studying classical music two years later. Kisor discovered jazz at 14 and developed quickly, playing both jazz and classical music locally. In the summer of 1988, he was inspired at a jazz camp by Clark Terry. After winning the Monk contest, he was signed by Columbia, coming out with a couple of interesting if slightly premature CDs as a leader. Since that time, Ryan Kisor (whose originality has developed gradually) has freelanced around New York, most notably with the Mingus Big Band and the Lincoln Center Jazz Orchestra. ~ Scott Yanow https://itunes.apple.com/us/album/one-finger-snap-incredible-ryan/486992244

Personnel:  Ryan Kisor (Trumpet);  Peter Zak (Piano);  John Webber (Bass);  Joe Strasser (Drums)

One Finger Snap: Incredible Ryan

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David Sanborn - Voyeur

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 29:47
Size: 69,3 MB
Art: Front

(4:37)  1. Let's Just Say Goodbye
(5:11)  2. It's You
(5:41)  3. Wake Me When It's Over
(3:41)  4. One in a Million
(3:14)  5. Run for Cover
(5:47)  6. All I Need Is You
(1:34)  7. Just for You

This 1980 recording is an excellent example of David Sanborn's music. The highly influential altoist is joined by familiar studio veterans (including guitarist Hiram Bullock and drummer Steve Gadd) with bassist/composer Marcus Miller being a key figure in creating the funky rhythms and colorful backgrounds. Miller, who shared the writing chores with Sanborn, not only contributed his powerful bass, but backed the altoist during a duet version of "Just for You" on piano. Easily recommended to fans of R&B-ish jazz. ~ Scott Yanow https://www.allmusic.com/album/voyeur-mw0000188718

Personnel:  David Sanborn – alto saxophone, saxello;  Marcus Miller – bass, Moog bass, guitar, Fender Rhodes, Prophet Synthesizer, piano, bells;  Hiram Bullock – electric guitar, percussion;  Steve Gadd – drums;  Lenny Castro, Ralph MacDonald – percussion;  Buzzy Feiten – electric and acoustic guitar;  Buddy Williams – drums;  Tom Scott – flute, tenor saxophone;  Michael Colina – OBX & Prophet synthesizers;  Ray Bardani - gong;  Valerie Simpson, Patti Austin, Kacey Cisyk, Lani Groves - backing vocals;  Lani Groves, Diva Gray, Gordon Grody, Hamish Stuart - backing vocals.

Voyeur

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David Hazeltine, George Mraz, Billy Drummond - Manhattan

Styles: Piano Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 64:53
Size: 152,0 MB
Art: Front

(7:53)  1. In Your Own Sweet Way
(7:15)  2. Imagination
(6:40)  3. Out Of This World
(5:16)  4. Theme For Ernie
(6:36)  5. Cinema Paradiso
(6:20)  6. Alone Together
(6:39)  7. Detour Ahead
(6:18)  8. Don't Walk Away
(6:11)  9. So In Love
(5:43) 10. Everything I Love

Familiarity is a plus on this 2005 studio session by pianist David Hazeltine with bassist George Mraz and drummer Billy Drummond. Drawing most of their program from familiar standards and popular jazz compositions, the three musicians make each of them sound fresh with their brilliant interplay.  The influence of Bill Evans is apparent in Hazeltine's approach to Dave Brubeck's "In Your Own Sweet Way, with Mraz's intricate bass line and Drummond's finesse on the brushes fueling the pianist's solo, though he leaves plenty of room in the spotlight for his partners. The opening rhythm of "Alone Together suggests that "A Night in Tunisia is about to get underway, though with the leader's entrance, they detour into a breezy, swinging performance. Cole Porter's "So in Love is taken at a medium waltz meter, showcasing Mraz extensively. Hazeltine penned the lovely ballad "Don't Walk Away, arranged as an easygoing samba. The intimate sound of this well-engineered Super Audio hybrid CD helps one to hear the nuances of the session. This rewarding release is best appreciated in a quiet room with one's full attention. ~ Ken Dryden https://www.allaboutjazz.com/manhattan-david-hazeltine-chesky-records-review-by-ken-dryden.php

Personnel: David Hazeltine: piano; George Mraz: bass; Billy Drummond: drums.

Manhattan

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Stephanie Nakasian - Lullaby in Rhythm: In Tribute to June Christy

Styles: Vocal 
Year: 2004
File: MP3@320K/s
Time: 72:51
Size: 167,4 MB
Art: Front

(3:44)  1. Come To The Party / I'll Take Romance
(4:54)  2. Interlude
(3:49)  3. Lullaby In Rhythm
(4:26)  4. Lost In A Summer Night
(4:09)  5. Gone For The Day
(5:32)  6. The Night We Called It A Day
(3:24)  7. It's A Pity To Say Goodnight
(6:41)  8. Midnight Sun
(2:34)  9. Kissin' Bug
(3:49) 10. Pete Kelly's Blues
(3:12) 11. This Time The Dream's On Me
(4:31) 12. Lonely Woman
(4:32) 13. I Told You I Love You Now Get Out
(4:18) 14. Who Cares About April
(5:40) 15. Baby, Baby All The Time
(4:35) 16. Something Cool
(2:54) 17. I Want To Be Happy

Stephanie Nakasian has long been a well-respected singer, but one who has not been given half the recognition that she deserves. However, this CD is quite definitive, a tribute to June Christy. Nakasian had been a major hit at a West Coast jazz convention/festival a few years earlier, singing songs associated with Christy and sometimes sounding remarkably close to her. The 17 selections on this CD include such June Christy classics as "Lullaby in Rhythm," "Gone for the Day," "Midnight Sun," "Lonely Woman," "I Want to Be Happy," and of course her trademark "Something Cool." Assisted by the Stan Getz-inspired tenor of Harry Allen, trombonist John Jensen, and either Hod O'Brien or Larry Eanet on piano, Stephanie Nakasian lets her own personality into the music while sounding eerily like Christy in spots. The arrangements are as inspired as the singing, making this set a classic of its kind. ~ Scott Yanow https://www.allmusic.com/album/lullaby-in-rhythm-mw0000229635

Personnel:  Stephanie Nakasian - vocals;  Harry Allen - tenor saxophone;  Hod O'Brien - piano;  Steve Gilmore - bass;  John Jensen - trombone;  Larry Eanet - piano;  Chuck Riggs - drums

Lullaby in Rhythm

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Tom Tallitsch - Ride

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 57:41
Size: 136,1 MB
Art: Front

(4:58)  1. Ride
(3:19)  2. Life On Mars
(3:57)  3. Rubbernecker
(4:35)  4. Rain
(5:33)  5. The Giving Tree
(3:45)  6. Ten Years Gone
(6:16)  7. El Luchador
(7:19)  8. The Myth
(6:08)  9. Knuckle Dragger
(5:35) 10. The Path
(6:09) 11. Turtle

Tenor saxophonist Tom Tallitsch has been on a roll lately. He’s been writing some of the most memorable tunes in jazz over the last couple of years. His latest album, Ride, is streaming at Spotify; tomorrow night, Feb 20 he’s at the Garage (99 7th Ave. South, 1 to Christopher St/Sheridan Square). for happy hour starting at 6 PM, leading a quartet with Jordan Piper on piano, Ariel De La Portilla on bass and Paul Wells on drums. Then next month, on March 27 at 8 PM Tallitsch leads a monstrously good sextet including Mike DiRubbo, David Gibson, Brian Charette, Peter Brendler and Mark Ferber at Victor Baker Guitars, 38-01 23rd Ave, Astoria (N/Q to Ditmars) for a live youtube broadcast. The band on the album is just as good. Art Hirahara is one of the most instantly recognizable pianists in jazz right now, drawing on styles as diverse as the neoromantics, Asian folk and funk. Bassist Peter Brendler continues to build a resume of some of the best recording dates and groups in New York in recent years. Trombonist Michael Dease is another in-demand guy, with nuance to match raw power; drummer Rudy Royston has finally been getting long-deserved critical props, and pushes this date along with characteristic wit and thrill-ride intensity. The album’s title track kicks it off, a brisk, edgy Frank Foster-esque shuffle with some tumbling around from the rhythm section, an expansively uneasy Tallitsch solo echoed by Hirahara followed by a machinegunning Royston Rumble. Rubbernecker, a caffeinated highway theme with subtle tempo shifts, moves up to a spiral staircase sprint from Hirahara. Rain, a plaintive pastoral jazz waltz, is anchored by Hirahara’s sober gospel chords and Royston’s stern cymbals. The Giving Tree, another brisk shuffle, works a vampy, nebulously funk-influenced tune a lot of 70s and 80s fusion bands were shooting for something like this but couldn’t stay within themselves enough to pull it off. The Myth, a rippling, lickety-split piano-fueled shuffle, is sort of a more uneasy, modal take on a similar theme. El Luchador, a wry, tongue-in-cheek Mexican cha-cha, gets some surprisingly pensive rapidfiring sax that Dease follows with a hair-trigger response once he’s finally given the chance.  Dease fuels the droll Knuckle Dragger with an infusion of wide-eyed cat-ate-the-canary blues. The somewhat ironically titled The Path is the album’s most challenging, labyrinthine track, but Royston keeps it on the rails. The album winds up with Turtle and its kinetically romping mashup of latin-inflected drive and moody modalities. There are also two stunningly successful rock instrumentals here. The band does Life On Mars as straight-up, no-BS art-rock anthem Tallitsch’s wistful timbre nails the bittersweetness of the Bowie original. Led Zep’s Ten Years Gone rises with majestic twin horn harmonies from Tallitsch and Dease while the rhythm is totally straight-up, it’s closer to jazz than the Bowie cover. https://newyorkmusicdaily.wordpress.com/tag/tom-tallitsch-ride/

Personnel:  Tom Tallitsch - tenor sax;  Michael Dease - trombone;  Art Hirahara - piano;  Peter Brendler - bass;  Rudy Royston - drums

Ride

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Brandon Wright - Journeyman

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 61:09
Size: 140,2 MB
Art: Front

(4:49)  1. Shapeshifter
(6:32)  2. Better Man
(5:59)  3. Walk Of Shame
(3:43)  4. Illusions Of Light
(5:57)  5. Big Bully
(6:08)  6. Choices
(6:29)  7. Search For Truth
(8:19)  8. Wonderwall
(8:03)  9. The Nearness Of You
(5:05) 10. He'll Make Me Happy

Beware of album titles that seem to damn with faint praise. Although saxophonist Brandon Wright takes inspiration for the title of his second album from the words of novelist Cormac McCarthy, Journeyman is a term that usually conjures up an image of a reliable, hard-working, solid but uninspiring type of person. All admirable qualities, of course, but hardly earth shattering or applicable to the playing talent of the New York based musician. It's clear from Wright's opening phrase on "Shapeshifter" that he's much, much, more than a reliable worker. Wright's playing is strong, fluid and melodic from the start. His long, flowing tenor lines are a pleasure to hear. His debut, Boiling Point (Posi-Tone, 2010), featured trumpeter Alex Sipiagin alongside Wright. On Journeyman, Wright is out front on his own, but he shoulders the extra sonic responsibility with verve and confidence. "Shapeshifter" establishes not only Wright's chops, but also the strength of the rhythm section. Donald Edwards' driving percussion gives the entire quartet an energy and dynamism. Boris Kozlov's bass stays low in the mix but matches Edwards' swing and power. Pianist David Kikoski who also appears on Boiling Point combines stabbing, rich, left-hand chords with intricate single note runs. Wright's original compositions are engaging. His description of "Walk Of Shame" as a "funky blues" sums it up neatly: straightforward, immediate and fun. "Illusions Of Light" shows that he can also write a soulful ballad and deliver an equally soulful saxophone part while the more aggressive hard bop of "Big Bully" finds Wright and Kikoski producing excellent up-tempo solos underpinned by Koslov and Edwards' rock solid, driving rhythm. Boiling Point featured Wright's take on the Stone Temple Pilots' rock classic "Interstate Love Song." On Journeyman, he follows with interpretations of two other rock tunes. Oasis' Brit Pop standard, "Wonderwall," gets a swinging, straight-ahead treatment though the original song leant so much on the vocal that an instrumental version lacks a clear focus despite Wright's tense, upper-register solo. Pearl Jam's "Better Man," written by Eddie Vedder, proves to be a more inspired choice. Wright takes the original's slightly bitter tone and replaces it with a more regretful mood, established by Kikoski's piano as well as his own tenor saxophone. A lack of familiarity with McCarthy's romanticized image might just make some fans wonder whether this album is worth exploring. That would be a mistake. Wright is an imaginative and hard-blowing saxophonist and a creative composer. This Journeyman inspires, and more. ~ Bruce Lindsay https://www.allaboutjazz.com/journeyman-brandon-wright-posi-tone-records-review-by-bruce-lindsay.php

Personnel:  Brandon Wright: tenor saxophone;  David Kikoski: piano;  Boris Kozlov: bass;  Donald Edwards: drums.

Journeyman

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Ken Fowser - Don't Look Down

Styles: Saxophone Jazz 
Year: 2018
File: MP3@320K/s
Time: 53:11
Size: 122,4 MB
Art: Front

(4:15)  1. Maker's Marc
(5:20)  2. Coming Up Shorter
(4:41)  3. You're Better Than That
(5:25)  4. Fall Back
(3:38)  5. Don't Look Down
(4:59)  6. Divided State
(5:15)  7. I'll Take It From Here
(5:06)  8. Queens
(5:54)  9. Top To Bottom
(3:53) 10. Inversions
(4:40) 11. From Six To Midnight

Ken Fowser arrived in New York City in 2005 after being raised in the rhythmic legacy of arrived in New York City in 2005 after being raised in the rhythmic legacy of the Philly sound. Playing with a deep harmonic sensibility, often sidestepping traditional harmony, Fowser has since created a sound that bears the pure physicality of the Philadelphia tradition refined by his experience in Gotham. His sound conjures audible images of George Coleman, as much as Philly legends Benny Golson and Jimmy Heath. His creative drive inspired by these pure jazz legacies has been in plain view in sessions at Small's and Smoke in Manhattan for the past decade.  On a national scale, many jazz fans know Fowser through his recordings in partnership with brilliant vibraphonist Ben Gillece that began with the post bop session Full View (Posi-Tone, 2009). He has released a well received solo effort as well, Standing Tall (Posi-Tone, 2016). On his latest Posi-Tone release, Don't Look Down, Fowser takes us for a hard/post bop journey through 11 originals, leading a quintet of top tier New York players including up and coming trumpeter, Joshua Bruneau. The opening piece, "Maker's Marc," personifies the session, and in large, the entire Posi-Tone mission. The label is committed to music that lives on the edge of the hard bop/post bop frontier, upheld by superb musicianship and creative composition. There is a consistency to the brand, sometimes maddenly so. However, the overwhelming majority of the time, the music supports the philosophy and the result has been a catalog of top notch recordings worthy of the attention of the elite jazz audience.  "Fall Back" is just a full-on hard bop romp, driven by the exquisite work of drummer Joe Strasser. His connection and interaction with bassist Paul Gill is evident from start to finish. Veteran pianist Rick Germanson creates the harmonic foundation of this piece, and the entire session, with elegance and ease. Trumpeter Bruneau always seems to be on the brink of something, leaving the audience a bit on the edge of their seats. His evolution over the next few years will be something to watch on the national scene.  The title track eases things down a bit, and perhaps best displays the working chemistry of this quintet. Fowser strays a bit from the common center in his solo, in a dulcet tonality. The melody line and associated harmony is rich and full of color, a trait that is reflected in all 11 compositions. There is a vivid sensibility that is engaging and leads to a pure, melodic approach to improvisation.  

Fowser cites the great American poet, and beat generation icon, Lawrence Ferlinghetti, in the liner notes with his quote, "Think Long Thoughts in Short Sentences." There is a real correlation between Ferlinghetti's poetic vision and that of the art of improvisation. On Don't Look Down, Fowser offers the poetry of sound, the prose of the art of jazz. 

~ Paul Rauch https://www.allaboutjazz.com/dont-look-down-ken-fowser-posi-tone-records-review-by-paul-rauch.php

Personnel: Ken Fowler: tenor saxophone; Josh Bruneau: trumpet; Rick Germanson: piano; Paul Gill: bass; Joe Strasser: drums.

Don't Look Down

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Lionel Hampton All Star Band - At Newport '78

Styles: Vibraphone Jazz
Year: 1978
File: MP3@320K/s
Time: 37:21
Size: 86,9 MB
Art: Front

( 4:51)  1. Stompin' At The Savoy
( 4:49)  2. On The Sunny Side Of The Street
(10:05)  3. Hamp's The Champ
( 7:18)  4. Carnegie Hall Blues
(10:16)  5. Flying Home

Good / It sounds as a masterpiece symbolizing the swing era, a luxury board that recorded the concerts in '78 in New York, high in the Lionel • Hampton All Star B band! https://www.jetsetrecords.net/lionel-hampton-lionel-hampton-all-star-band-at-newport-78/i/162512626001/

Personnel:  Conductor, Vibraphone – Lionel Hampton;  Alto Saxophone – Charles McPherson;  Alto Saxophone, Clarinet, Flute – Earle Warren;  Baritone Saxophone – Pepper Adams;  Bass – Chubby Jackson;  Clarinet – Bob Wilber;  Drums – Panama Francis;  Guitar – Billy Mackel;  Piano – Ray Bryant; Tenor Saxophone – Arnett Cobb, Paul Moen;  Trombone – Benny Powell, Eddie Bert, John Gordon;  Trumpet – Doc Cheatham;  Trumpet, Flugelhorn – Cat Anderson, Jimmy Maxwell, Joe Newman

At Newport '78

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Malia - Black Orchid

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 55:11
Size: 130,6 MB
Art: Front

(2:37)  1. My baby just cares for you
(4:51)  2. Don't explain
(5:03)  3. Baltimore
(2:57)  4. Feeling good
(5:48)  5. Four woman
(3:23)  6. I love you Porgy
(3:14)  7. If you go away
(4:07)  8. I put a spell on you
(4:06)  9. Keeper of the flame
(3:09) 10. He ain't comin' home no more
(2:14) 11. Marriage is for old folks
(7:16) 12. Wild in the wind
(3:21) 13. That's all I want from you
(2:58) 14. I'm going back home

When Malawian vocalist Malia first broke through in the mid-aughts, it was with the dense, production-heavy albums Yellow Daffodils and Young Bones. Overflowing with pop-soul sass, they were filled with both slick originals like “Mr. Candy” and “Richer Than Bill Gates” and inventive covers, including a freeform, funkified “Solitude.” All of which is a far cry from the stark, and stunning, Black Orchid, a fine, sensitive tribute to Nina Simone. Where once Malia was intent on echoing Beyoncé, she now seems to be channeling Billie Holiday or Shirley Horn, her supple voiced slightly scorched, her once fervid delivery affectingly slowed and shadowed. Malia has clearly studied Simone assiduously. Her readings of “Baltimore,” “Wild Is the Wind,” “Feeling Good” and the seismic “Four Women,” though more tenderly presented, are largely honorific mirrors of the originals. But, backed throughout by an understatedly enriching rhythm section-a French trio comprising pianist, organist and vibraphonist Alexandre Saada, bassist and guitarist Jean-Daniel Botta and drummer Laurent Sériés-she mostly steers clear of mimicry, particularly on a slow, erogenous “My Baby Just Cares for Me,” a seductive “I Put a Spell on You” and a “Don’t Explain” that delicately captures the concessive lyric in a way that suggests Peggy Lee at her most meditative. ~ Christopher Loudon https://jazztimes.com/reviews/vox/malia-black-orchid/

Black Orchid

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Zoot Sims - Cookin'!

Styles: Saxophone Jazz 
Year: 2005
File: MP3@320K/s
Time: 39:40
Size: 91,1 MB
Art: Front

(6:45)  1. Stompin' At The Savoy
(6:13)  2. Love For Sale
(7:02)  3. Somebody Loves Me
(8:13)  4. Gone With The Wind
(7:40)  5. Autumn Leaves
(3:45)  6. Desperation

One of the greatest Zoot Sims albums of the 60s  a very smoking live set, recorded in the UK with a hip British rhythm section! Zoot's blowing in front of the Stan Tracy trio a group led by pianist Tracy, with a style that was every bit as swinging as it was modern and fresh. The style makes for a very different approach than some of Sims' American albums of the time a bit more edgey, with tracks that cut into the groove in unusual ways. Ronnie Scott and Jimmy Deuchar join the group for one track "Desperation" and other titles include "Love For Sale", "Autumn Leaves", "Somebody Loves Me", and "Gone With The Wind". (Japanese pressing on 180 gram vinyl, with obi and insert.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/493009/Zoot-Sims:Cookin%27

Personnel: Tenor Saxophone – Ronnie Scott, Zoot Sims;   Bass – Kenny Napper;  Drums – Jackie Dougan;  Piano – Stan Tracy;  Trumpet – Jimmy Deuchar 

Cookin'!

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Billy Larkin & The Delegates - Dr. Feelgood

Styles: Jazz, Swing 
Year: 1968
File: MP3@320K/s
Time: 38:05
Size: 88,9 MB
Art: Front

(3:17)  1. On Broadway
(2:53)  2. (Sitting On) The Dock Of The Bay
(2:22)  3. Baby I Love You
(4:16)  4. Way Cross Town
(2:37)  5. Chain Of Fools
(3:03)  6. This Is Worth Fighting For
(3:16)  7. Spooky
(3:03)  8. Gone Over You
(2:51)  9. Hear & Now
(3:40) 10. Ode To Billy Joe
(3:30) 11. Dr. Feelgood
(3:12) 12. I Got A Woman

Billy Larkin plays soul jazz instrumentals with The Delgates, and the group's joined by singer Ralph Black on a number of cuts. Black's style is ok, but the group's strong point is still their funky jazzy material. This LP sports a few originals – like "Way Cross Town" and "Hear & Now" – plus covers like "Ode To Billy Joe", "Spooky", and "This Is Worth Fighting For".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/16319/Billy-Larkin-The-Delegates:Dr-Feelgood

Personnel:  Billy Larkin, organ;  Ralph Black, vocal;  Wilton Felder, bass;  Dan Mason, tenor sax, baritone sax;  Delmus Larkin, piano;  Willie Torrance, guitar;  James Daniels, guitar;  Donald Weaver, drums;  Kenneth Johnson, drums

Dr. Feelgood

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Lars Danielsson & Paolo Fresu - Summerwind

Styles: Post Bop, Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 49:22
Size: 113,6 MB
Art: Front

(3:58)  1. Autumn Leaves
(2:54)  2. Saluto dardamente
(3:20)  3. Le matin
(2:56)  4. Stilla Storm
(4:04)  5. Jag lyfter ögat mot himmelen
(3:53)  6. Un Vestido Y Un Amor
(1:48)  7. Drexciya
(3:55)  8. Dardusó
(3:00)  9. Stanna Tid
(4:25) 10. Sleep Safe And Warm
(3:40) 11. April In Dardegna
(2:50) 12. Amigos
(3:06) 13. Wachet auf, ruft uns die Stimme
(2:53) 14. Dardodentro
(2:34) 15. De la solitude mesurée

ACT Music brings together a pair of virtuosos in Lars Danielsson and Paolo Fresu, for the duo outing Summerwind. Both are well-known for their melodic and expressive playing as well as an innate gift for spontaneity. Recorded in the Swedish seaport city of Gothenburg, in early 2018, the album incorporates elements of folk, classical and jazz music in a relaxed setting.  Bassist and cellist Lars Danielsson has been a staple of the ACT label for more than ten years and across ten albums. Among his partners on those collections are Tigran Hamasyan, Magnus Ostrom, Arve Henriksen, Mathias Eick, Bugge Wesseltoft, and Nils Petter Molvaer. The Swedish composer and producer came onto the scene with New Hands (Dragon Records, 1986), in his namesake quartet, featuring Dave Liebman, Bobo Stenson and Jon Christensen. Over almost twenty years that group has provided Danielsson with a platform from which he has expanded his work to symphony orchestra and big band formats. Trumpeter Paolo Fresu first came to the attention of audiences in the US with Carla Bley on The Lost Chords Find Paolo Fresu (ECM/Watt, 2007) though he had been leading his own quintet in Italy since his 1985 leader debut Ostinato (Splasc(h)). The Sardinia native graduated from the Conservatory of Cagliari in 1984, and went on to teach at the Siena Jazz National Seminars, and the jazz university in Terni. He is the director of Nuoro Jazz Seminars in Nuoro, Italy. Most of the fifteen compact tracks are original compositions eleven from Danielsson and/or Fresu, including the real-time improvisation "Dardusó." Swedish composer Oskar Lindberg, Krzysztof Komeda and Johann Sebastian Bach provide the eclectic assortment of cover material. Opening with "Autumn Leaves" the duo establishes a pattern of patiently developing some profoundly melodic tunes. Four tracks in, Danielsson's "Stilla Storm" breaks loose with a more upbeat and animated wrap-up. The Oskar Lindberg contribution "Jag lyfter ögat mot himmelen" maintains that more buoyant atmosphere which then takes a decidedly different tone with Fresu's noir-ish, but all-to-brief "Drexciya." The trumpeter takes a thoughtful approach to Komeda's "Sleep Safe And Warm," a piece that came to be identified with Tomasz Stanko. Danielsson's arrangement of Bach's "Wachet auf, ruft uns die Stimme" gives the piece a nice updating without losing the original texture.  Despite the duo formation, Danielsson and Fresu often manage to evoke a sweeping sound; full and resounding even in its most fleeting narrations. There is an overall laidback nature that saturates Summerwind but through the tranquility a subtle heat keeps things energized. The spartan album is a showcase for the first-class talents of Danielsson and Fresu. ~ Karl Ackermann https://www.allaboutjazz.com/summerwind-lars-danielsson-act-music-review-by-karl-ackermann.php

Personnel: Lars Danielsson: bass, cello; Paolo Fresu: trumpet, flugelhorn.

Summerwind

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Lee Konitz & Frank Wunsch - Insight

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 41:47
Size: 96,0 MB
Art: Front

(7:01)  1. Thingin'
(4:06)  2. Three of Four
(1:24)  3. Insight
(4:07)  4. Frankly Speaking
(3:02)  5. Fortune Part I & II
(4:43)  6. It's You
(6:31)  7. Echoes d'Eric Satie
(4:43)  8. I Love You
(6:06)  9. Starlight Variation

It’s probably stated any time his name comes up in discussion, but it bears repeating: Alto saxophonist Lee Konitz always seem to play a new song, even if the album lists a well-worn standard or one of his own oft-recorded compositions. “Lover Man,” on his ECM release Live at Birdland, proved this a few months ago, as Konitz was not in the same city as the theme. Now, the only thing better than a new take on “Thingin'” is an unaccompanied version of his “All the Things You Are” expansion. It offers a private journey into the man’s mind and is one of three solo pieces that open this disc. These nine tracks come from two albums that Konitz recorded with German pianist Frank Wunsch, Into It – Solos and Duos and Frank-Lee Speaking, both originally released on West Wind in the early ’90s. The matchup presents Konitz in a setting more akin to a chamber group than the ensembles in which he’s often found. The rich natural echo of the brief solo “Three of Four” sets the tone for the six duet tracks, and it plays up the strength of Konitz’s rich tone. The intro of “Starlight Variation” plays up the command he has throughout his horn’s range. Wunsch brings a delicate quality to his interaction with the saxophonist, pushing him into an even more classical mood on “Echoes D’Eric Satie” or giving him the chance to switch mid-song to soprano during “Frankly Speaking.” Wunsch brings a delicate quality to his interaction with the saxophonist, pushing him toward a classical aesthetic on “Echoes D’Eric Satie” or giving him the chance to switch to soprano midway through “Frankly Speaking.”~ Mike Shanley https://jazztimes.com/reviews/albums/lee-konitz-frank-wunsch-insight/

Personnel: Lee Konitz - alto saxophone, soprano saxophone, composer; Frank Wunsch - piano, composer; Cole Porter - composer

Insight

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Banu Gibson - By Myself

Styles: Vocal
Year: 2017
Time: 58:06
Size: 54,0 MB
Art: Front

(4:24)  1. By Myself
(4:33)  2. Meet Me Where They Play the Blues
(5:08)  3. Ill Wind
(4:59)  4. The Moon Got In My Eyes
(3:47)  5. Waiting for the Train to Come In
(3:26)  6. You Let Me Down
(4:12)  7. Until The Real Thing Comes Along
(4:01)  8. They Say
(4:56)  9. Stop the Moon, Stop the Sun (My Man's Gone)
(3:24) 10. My Buddy
(3:53) 11. Never in a Million Years
(3:43) 12. Oh! Look At Me Now
(1:53) 13. Dayton, Ohio
(3:52) 14. Our Love Rools On
(1:48) 15. Life is Just a Bowl of Cherries

Banu Gibson continues to demonstrate her love of standards from the ’30s and ’40s on her latest release, By Myself, on her own Swing Out label. The vocalist uses minimal backing with guitarist Larry Scala, bassist Ed Wise and saxophonist/clarinetist Rex Gregory making up the drumless combo. Later, pianist Tom McDermott steps in for a couple duos with Gibson, including Randy Newman’s “Dayton, Ohio 1903.” It stands as the most recently composed song on the disc though its flavor and sentiments reflect days long ago. The tunes, written by a number of composers, come out of the American songbook and have been sung and recorded by legends such as Ella Fitzgerald (“Ill Wind”), Frank Sinatra (“The Moon Got in My Eyes”), Billie Holiday (“You Let Me Down”) and others. The selections chosen by Gibson, who interprets them in her signature good-natured style, aren’t necessarily those oft-performed tunes well-known to general audiences. Following several ballads, the more uptempo “Never in a Million Years” provides a foot-tapping rhythm with the help of Scala’s guitar and Wise’s walking bass. The mood continues on “Oh! Look at Me Now” with Gregory moving from clarinet to sax. Banu’s many longtime fans will be thrilled and satisfied reminiscing on listening to By Myself. ~ Geraldine Wyckoff http://www.offbeat.com/music/banu-gibson-swing/
 

Personnel:  Banu Gibson – vocals;  Larry Scala – guitar;  Ed Wise – bass;  Rex Gregory – tenor sax, clarinet;  Tom McDermott – piano

By Myself

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Sonny Rollins - The Standard Sonny Rollins

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 56:15
Size: 166,6 MB
Art: Front

( 2:59)  1. Autumn Nocturne
( 3:17)  2. Night and day
( 3:26)  3. Love Letters
( 5:58)  4. My one and Only Love
( 2:13)  5. Three Little Words
( 4:06)  6. Trav'lin' Light
( 1:36)  7. I'll be Seeing you
( 4:11)  8. My Ship
( 4:18)  9. It Could Happen to you
( 2:47) 10. Long ago (and far Away)
( 5:17) 11. Winter Wonderland
( 3:16) 12. When you Wish Upon a Star
(12:44) 13. Trav'lin'  Light

I tend to think of Sonny Rollins in terms of his tenures with the various labels he has recorded for over the past almost 50 years. In the '50s it was Prestige, Blue Note, Riverside, and Contemporary. The saxophonist would then drop off the scene in the early '60s, followed by a brief stay with RCA Victor that was followed up with three albums for Impulse and then his lengthy and often disappointing stay with Milestone. Clearly, the RCA period was one of the finest of his career, yet is has also proven to be the one most difficult to collect thanks to RCA's hodge-podge approach to reissues (remember those Bluebird compilations with the ugly drawings on the covers from the '80s?). Of course, if you're a Rollins nut then you'll have all the RCA recordings as collected on a recent boxed set. On the other hand, the task of collecting the individual albums has gotten easier with a new Classic Edition version of The Standard Sonny Rollins. While The Bridge has got to be the quintessential accomplishment of the period, this collection of standards is worthy of praise too. The cast assembled is sure to sound familiar- Herbie Hancock, Bob Cranshaw, Mickey Roker, and Jim Hall. 

Each standard is given a brief performance that basically gives us a solid dose of Rollins waxing rhapsodic, sometimes backed by just bass and drums, with guitar and piano added sparingly. Exceptions are two takes (one long and one short) of "Trav'lin' Light" with Hancock, Hall, bassists Teddy Smith and David Izenson, and drummer Stu Martin. Izenson's bowed work makes each one of the performances unique and beautiful. Three additional performances from the same sessions that made up the original vinyl release are added, putting all this music under one roof for the first time on CD. It all adds up to a mighty package that contains small, but ample doses of undiluted Rollins. Enjoy! 

~ C.Andrew Hovan https://www.allaboutjazz.com/the-standard-sonny-rollins-sonny-rollins-rca-victor-review-by-c-andrew-hovan.php

Personnel:  Sonny Rollins, tenor saxophone; Herbie Hancock, piano; Bob Cranshaw, Teddi Smith, David Izenson, bass; Jim Hall, guitar; Stu Martin, Mickey Roker, drums

The Standard Sonny Rollins

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Eddie Gomez - Street Smart

Styles: Jazz, Post Bop
Year: 1989
File: MP3@320K/s
Time: 43:54
Size: 109,4 MB
Art: Front

(4:21)  1. Street Smart
(5:43)  2. Lorenzo (For Lorenzo Homar)
(3:55)  3. I' Caramba
(4:30)  4. It Was You All Along
(4:52)  5. Blues Period
(4:52)  6. Bella Horizonte
(5:06)  7. Carmen's Song
(4:58)  8. Double Entendre
(5:34)  9. Besame Mucho

This outing by bassist Eddie Gomez does not come close to living up to its potential. The strong cast does include several top-notch improvisers (including the reeds of Dick Oatts, trumpeter Randy Brecker, pianist Kenny Werner and organist Jack McDuff) and the music is often jazzy but there are absolutely no chances taken. The album sounds preplanned, second-by-second. A "contemporary" jazz item with Oatts playing the part of a low budget Michael Brecker is followed by an easy listening original, a salsa performance, a heartfelt ballad and a straightahead but uneventful blues. A couple of meaningless funk numbers alternate with a pair of forgettable ballads; all of the music clocks in between 3:52 and 5:38. The lack of spontaneity and excitement makes this a disappointing and passable item. ~ Scott Yanow https://www.allmusic.com/album/street-smart-mw0000203476

Street Smart

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Bebo Best & The Super Lounge Orchestra - Swingin' Bossa

Styles: Jazz, Big Band
Year: 2018
File: MP3@320K/s
Time: 56:57
Size: 132,1 MB
Art: Front

(3:31)  1. Honolulu 71
(3:52)  2. The Swingin' Bossa
(3:51)  3. Chirillo Badabim
(3:57)  4. One Note Samba (Koko Chanel Remix)
(3:45)  5. Cha Cha Gege
(4:00)  6. Agua de Beber (Magnetic4 Remix)
(3:52)  7. Jazz Samba Promenade
(4:31)  8. Angurie Bossa
(4:21)  9. Minha Alma Canta
(3:52) 10. Walkin' on Sunshine
(3:59) 11. Cocktail Loopa
(3:50) 12. A Jazzy Latin Night
(4:36) 13. Sun by the Pool
(4:53) 14. Calypso & Soda

"Bebo Best & The Super Lounge Orchestra is one of the 5 best Nujazz/Lounge artists in Europe, maybe in the world! “(Maxim Illion / Club des Belugas - Germany)
 
“...modern jazz, lounge, grooves and elegant music, it just sounds perfect for my fashion shows “(Davide Bozzato Director, Choreographer and Director of Miss World, Italy)

“Bebo one of the Best Jazz and Lounge Producers to come out of Italy this Century !! “ (Peter Wanders - Manager of Craig Charles and The Fantasy Funk Band - London - Uk)

Swingin' Bossa

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Ryan Kisor Quartet - Battle Cry

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 63:47
Size: 146,3 MB
Art: Front

( 9:25)  1. Battle Cry
( 9:23)  2. It Happens
(10:00)  3. Falling In Love With Love
(10:45)  4. I'm Old Fashioned
( 6:40)  5. Birdlike
( 7:47)  6. Sweet Pumpkin
( 9:44)  7. If Ever I Would Leave You

This blowing session is one of Ryan Kisor's strongest recordings. The 24-year-old trumpeter is in prime form during two basic standards (his "It Happens" is based on the chords of "It Could Happen to You") and five standards, including Ronnell Bright's underrated "Sweet Pumpkin," Freddie Hubbard's "Birdlike" and a lengthy rendition of "I'm Old Fashioned." Kisor is joined by the underrated organist Sam Yahel, guitarist Peter Bernstein and drummer Brian Blade on the high-quality hard bop set. Recommended. 

Scott Yanow https://www.allmusic.com/album/battle-cry-mw0000037389

Personnel: Trumpet – Ryan Kisor;  Drums – Brian Blade;  Guitar – Peter Bernstein;  Organ [Hammond B-3] – Sam Yahel

Battle Cry

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