Glenn Miller Orchestra - Glenn Miller Time-1965

Styles:  Jazz, Big Band
Year: 1965
File: MP3@320K/s
Time: 34:27
Size: 79,8 MB
Art: Front

(2:47)  1. Call Me Irresponsible
(2:48)  2. Chattanooga Choo Choo
(3:00)  3. Blue Velvet
(3:02)  4. Elmer's Tune
(3:03)  5. Serenade In Blue
(2:30)  6. Hello, Dolly!
(2:27)  7. The Girl From Ipanema
(2:41)  8. At Last
(2:28)  9. More
(3:01) 10. Moonlight Cocktail
(2:54) 11. Pennsylvania 6-5000
(3:41) 12. Canadian Sunset

From more than four decades on, Glenn Miller Time 1965 may seem an unlikely recording project. The year 1965, after all, marked a continuation of the British Invasion in rock & roll music, with the volume and the attitude stepped up several notches amid the success of the Rolling Stones et al., and it was also the year of the folk-rock explosion and dozens of other pop culture phenomena that seem a long way from anything to do with Glenn Miller who had been gone just a couple of weeks past 20 years at the time of these recording sessions. But the mid-'60s also saw a less widely publicized yet incontestable '40s nostalgia boom among audience members over 40 (remember how popular blockbuster war movies were then, not to mention World War II television series such as Combat?). What's more, at the time, the officially sanctioned Glenn Miller Orchestra under Ray McKinley was one of the most heavily booked performing outfits in the world, and as luck had it, trumpet legend Bobby Hackett who had played with the Miller band before World War II was signed to Epic at the time, just as the Miller Orchestra got a contract with the label. Hackett is the featured soloist here, his trumpet replacing the vocals on numbers from Miller's repertory, all arranged as were the contemporary 1960s numbers such as "Hello, Dolly!," "More," and "Blue Velvet" in the authentic Miller style by band alumnus George Williams. The sound is excellent and the band revels in the stereo profile and high-fidelity recording. Williams and company successfully picture where and how Miller might well have handled numbers such as "The Girl from Ipanema," as well as how standards from their repertory like "Chattanooga Choo Choo" and "Pennsylvania 6-5000" could have sounded under Miller's leadership some 20 years later. Glenn Miller Time 1965 was reissued in 2001 on CD paired with the orchestra's follow-up, Great Songs of the 60's. ~ Bruce Eder https://www.allmusic.com/album/glenn-miller-time-1965-mw0000860586

Glenn Miller Time-1965

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Brandon Wright - Boiling Point

Styles: Saxophone Jazz 
Year: 2010
File: MP3@320K/s
Time: 55:18
Size: 134,7 MB
Art: Front

(6:40)  1. Free Man
(5:37)  2. Drift
(7:59)  3. Odd Man Out
(5:58)  4. Boiling Point
(8:00)  5. Here's That Rainy Day
(9:15)  6. Castaway
(5:12)  7. Interstate Love Song
(6:31)  8. You're My Everything

The word tenor, in Latin, refers to "a continuous holding to a course," and tenor saxophonist Brandon Wright does just that on Boiling Point. Whether Wright is engaging in a musical boxing match with trumpeter Alex Sipiagin or crooning over pianist David Kikoski on an established ballad, he always seems to maintain a consistent musical presence that transcends tempo, feel and style. Perhaps it's his tone, which is big but not too brash and attractive, yet far from smooth, that ties it altogether. Regardless of what it is, Wright makes it work across these eight tracks.  Of course, some of the credit must also go to the rest of the band. Bassist Hans Glawischnig is the rock at the center of it all, making sure that everything lines up and is held together in just the right way. Drummer Matt Wilson, one of the most creative and enjoyable forces on the jazz scene today, has the rare ability to be fully interactive, while also maintaining his role as a key rhythmic element that locks in the time for the rest of the band. Kikoski occasionally shows a fondness for McCoy Tyner's piano playing in his own sound, but he isn't nearly as percussive as Tyner often was on his classic recordings. He also happens to have tremendous range as an artist and an incredible touch on the piano. Sipiagin is the perfect frontline partner for Wright and he finds a good balance between bold and controlled. He creates some musical fireworks on Wright originals like "Odd Man Out" and "Castaway" but he can also turn it down a few notches for gentler material. While the aforementioned "Castaway" and the title track demonstrate Wright's ability to write and play in a more aggressive manner, he works equally well in a more relaxed setting. His "Drift" sounds like it could have been an outtake from Herbie Hancock's Maiden Voyage (Blue Note, 1965) and his performance on "Here's That Rainy Day" is soothing and refined. His tone takes on a velvet-like quality here as he gently glides over Kikoski's piano. While his playing often heats up the material on this album, it's Brandon Wright's ability to go from cool to hot and everything in between that proves to be his greatest strength on Boiling Point. ~ Dan Bilawsky https://www.allaboutjazz.com/boiling-point-brandon-wright-posi-tone-records-review-by-dan-bilawsky.php

Personnel:  Brandon Wright: tenor saxophone;  Alex Sipiagin: trumpet;  David Kikoski: piano;  Hans Glawischnig: bass;  Matt Wilson: drums.

Boiling Point

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Billy Larkin & The Delegates - Ain't That A Groove!

Styles: Jazz, Pòst Bop
Year: 1966
File: MP3@320K/s
Time: 36:06
Size: 84,3 MB
Art: Front

(2:30)  1. Don't Mess With Bill
(2:24)  2. Playboy Theme
(2:21)  3. Tarantula
(3:56)  4. Soul Sister
(2:49)  5. Goin' Out Of My Head
(3:27)  6. Willow Weep For Me
(2:43)  7. Ain't That A Groove
(3:33)  8. G'won Train
(5:41)  9. Where Did The Blues Go
(4:29) 10. Puget Sound
(2:07) 11. Ain't Gonna Move

One of the greatest records ever cut by organist Billy Larkin  lean, mean batch of soul jazz instrumentals, recorded with the Delegates combo, featuring tenor work by a young Fats Theus! The tracks are short tight jazz dancers with a mixture of stepping grooves and some more full on rhythmic modes  and titles include "Tarantula", "Soul Sister", "Playboy Theme", "Puget Sound", "Gwon Train", "Ain't That A Groove", "Ain't Gonna Move", and "Goin Out Of My Head"! One of his great ones and darn hard to find! (Black label World Pacific pressing with deep groove. Cover has some marker & minor seam splitting.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/8772/Billy-Larkin-The-Delegates:Ain%27t-That-A-Groove

Personnel:  Billy Larkin - organ;  James “Fats” Theus - tenor sax;  Jimmy Daniels - guitar;  Jessie Kilpatrick - drums

Ain't That A Groove!

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Eric Dolphy - Muses

Styles: Clarinet, Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 37:22
Size: 86,1 MB
Art: Front

(12:07)  1. Alone Together
( 8:48)  2. Muses
( 8:27)  3. Iron Man
( 3:39)  4. Love Me
( 4:18)  5. Mandrake

Undelivered collection of waiting Douglas session. Anyway, attention is the duo with Richard Davis by bus clarinet , which is another take of the world first debut title drama "Muses" and "Alone Together" by world clarinet . (In addition, I imagined another take of "Iron Man" "Love Me" " Mandrake " and I imagined it actually, as you can imagine, the sound quality is not good).  First of all, from "Alone Together" at the beginning. The basic composition is the same as this take, but Dollfie is an unexpected development that plays the theme melody quite clearly from the beginning, it is totally scary or loose, after all the original is not enemy. Expected "Muses" has a gloomy mood that is hard to say, and it is certain that it is one song different from the composition of Dolphy 's compositions. However, I still feel that it is incomplete. I guess that it was for that reason that it was not included in the original (and it will also float completely from other songs). However, I think that the significance of the existence of this performance became clear. If you lived long, you probably had become an ECM musician. I could not think of anything like that at all. https://translate.google.com.br/translate?hl=en&sl=ja&u=http://outwardbound.hatenablog.com/entry/2013/11/28/010918&prev=search

Personnel:   Eric Dolphy - bass clarinet, alto saxophone, composer;  Woody Shaw - trumpet;  Bobby Hutcherson - vibraphone;  Richard Davis - double bass;  Eddie Khan - double bass.

Muses

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Diane Hoffman - Do I Love You

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 58:56
Size: 138,0 MB
Art: Front

(3:26)  1. Do I Love You
(4:19)  2. Crazy in the Heart
(5:13)  3. Something in Your Smile
(5:16)  4. Small Day Tomorrow
(4:27)  5. Devil May Care
(2:56)  6. I Like You You're Nice
(3:47)  7. Can't Get out of This Mood
(4:27)  8. You Are out of My Life
(3:39)  9. I'm Gonna Go Fishin'
(4:44) 10. Mad About the Boy
(5:32) 11. Love Dance
(4:18) 12. When You're in Love
(2:57) 13. Kindly
(3:48) 14. I Like It Here

Vocalist and visual artist Diane Hoffman will release her third album entitled Do I Love You on October 9, 2018. On the recording, Hoffman once again chose to feature drummer/percussionist Ulysses Owens, Jr. with whom she previously worked and, who for this project, produced and assembled a formidable ensemble that includes Billy Test, piano; Jacob Kelberman , guitar; Yasushi Nakamura, bass; Yoshi Waki, bass; Daniel Dickinson, tenor saxophone; Vitaly Golavnev, trumpet; Erich Miller, trombone; and Joseph Doubleday, vibraphone. Hoffman, a formally trained visual artist, has had her work exhibited extensively throughout North America and has maintained an equal balance between her painting and music. As a vocalist, she has studied with notable entertainers such as Anita Darian, Bernard Fisher and Barbara Maier Gustern, and has performed across the eastern United States in a range of music venues, performing arts centers, cruises, and festivals, in addition to having appeared on radio and television. On her newest project, Hoffman chose to cover numerous standards including “Do I Love You,” “I’m Gonna Go Fishin’,” “Crazy In The Heart,” and “Small Day Tomorrow,” among others, which are brought to life by her rich vocals paired with the hard-swinging ensemble led by Owens. She also selected several less known songs written by the late actress and vocalist Anita Darian as a result of their connection. The pieces offer a nice compliment to the classic repertoire and hold a special meaning to her; the songs include “You Are Out Of My Life,” “When You’re In Love,” and “Kindly.” Do I Love You was inspired by a commitment to share aspects of Hoffman’s personal life. In preparation, the singer tirelessly searched catalogs of songs to select lyrics that deeply touched her. She felt strongly that it was important that listeners share a personal connection to the story painted through the lyrics, and that the words chosen needed to be entirely authentic for both her and her audience. Hoffman states “If I am able to give truth to the handling of the lyrics, then my mission as a singer is successful.” She adds “To give love, to be in love, and to hold onto love is to spread wings that fly and lift your feet right off the ground. This CD takes on the ecstasy of love, the secrets of private love, and the loss of great love.” Hoffman is dedicating Do I Love You to her first grandchild whose eyes are just opening to the love that surrounds her. The album was recorded at Big Orange Sheep Studios in Brooklyn, NY (March 28-29, 2018) and Mixed & Mastered by Dave Darlington at Bass Hit Studios (May 30-31 and June 28, 2018). It will be available on all major music platforms on October 9, 2018. ~ Are Group https://news.allaboutjazz.com/performance-and-visual-artist-diane-hoffman-to-release-third-album-do-i-love-you-produced-by-ulysses-owens-jr-featuring-a-dynamic-ensemble.php

Do I Love You

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Don Byron & Aruan Ortiz - Random Dances And (A)tonalities

Size: 128,2 MB
Time: 55:31
File: MP3 @ 320K/s
Released: 2018
Styles: Contemporary Jazz
Art: Front

01. Tete's Blues (6:37)
02. Black And Tan Fantasy (5:38)
03. Musica Callada Book 1, V. ([M.M.] Crochet = 54) (6:53)
04. Joe Btfsplk (5:45)
05. Numbers (6:04)
06. Dolphy's Dance (4:11)
07. Violin Partita No. 1 In B Minor, Bwv 1002 Ii. Double (2:43)
08. Delphian Nuptials (4:35)
09. Arabesques Of A Geometrical Rose (Spring) (7:11)
10. Impressions On A Golden Theme (5:55)

Ortiz, who grew up in Santiago, Cuba, and has lived in the U. S. since 2002, is among the most creative pianists on jazz’s landscape. As a boy he was performing Cuban popular music. His studies broadened to include jazz, first in Europe, finally New York, where he now lives.
In Byron, Ortiz has found an unparalleled clarinetist, whose classical training and exquisite technique anchor a career spanning an unusually broad range of music that nevertheless reflects a focused line of musical inquiry. Byron was born in The Bronx, into a musical family of Antiguan descent. Some of his work has involved highly refined repertory ensembles devoted to early jazz, gospel or klezmer music. Other works assert unfettered new musical routes owing to no one style.
"Random Dances and (A)tonalities" reveals the imaginative leaps of two free-thinking minds. In both, we feel an implied swing, gentle yet with conviction, and shared values of erudition and compassion. We sense a clearly documented moment between two masterly musicians. ~by Larry Blumenfeld

Random Dances And (A)tonalities

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Josefine Cronholm - Ember

Size: 116,3 MB
Time: 50:09
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Folk Vocals
Art: Front

01. Sing (5:54)
02. From My Window (4:23)
03. Rain (5:35)
04. Horses (5:08)
05. Blackbird (5:09)
06. The Surrender (4:14)
07. On Your Wing (5:50)
08. The Wind Blows (9:30)
09. Love Song (4:19)

“The album’s title EMBER tells us about its content: the glow of life. It’s a tribute to life with all that it contains. Man, in his search for meaning and way through pain and chaos, zest for life and happiness. It has been 7 years since my last release. On the new album, the songs and texts are at the center of an acoustic universe, where the melody and the text work together with simplicity and warmth. In our attempt to capture the glow, we continue to burn ourselves, but it should not make us abandon the belief in what makes us living people.“ - Josefine Cronholm

Growing up with the nature close and as an audience she knew in a very early age that she wanted to sing and dance so by the age of 16 she moved to the city and started highscool where she studied theater, music and dance. Here she experienced the magic of the stage.

Her childhood and youth gave her a strong foundation in swedish folk and jazz.

During her time at the Rythmic Music Conservatory in Copenhagen she started to work with the British piano player Django Bates and recorded the acclaimed "Quiet Nights" (1998).

At the same period she founded her group IBIS and recorded two albums: "Wild Garden" in 2001 and "Hotel Paradise" in 2003. That year she also received the prize Swedish Jazz artist of the year 2003.

Her third soloalbum "Songs of the Falling Feather" was released 2010. In this production Josefine Cronholm wanted to leave the found and improvised and focus on the design and production. To obtain this she drew in the magnificent musician Henrik Lindstrand for support on the production.

ACT Music released this critically acclaimed record. She received The (Danish) Art Council Award for the album due to it extraordinary artistic qualities.

She began her work with Marilyn Mazur in 2001 as a member in Percussion Paradise and later in Cronholm/Mazur/Jonsson Trio and the quartet Celestial Circle with

John Taylor and Anders Jormin. Cd was released at ECM 2011. She is also a member in Mazurs eleven women orchestra "Shamania".

In 2013 a new Trio ARC is made with Paolo Russo and Thommy Andersson and the album is called "Archipelago".

Josefine Cronholm has also worked with artists like; New Jungle Orchestra, Kirk Knuffke, Kenny Werner, Ida Bach Jensen, Richard Galliano, Lelo Nika, Steen Rasmussen, Lotte Anker,

Frans Bak, Jacob Karlzon, Jacob Fisher, and many others.

Josefine Cronholm was born in the south of Sweden in 1971.

Since 1995 she is based in Copenhagen where she lives with her family.

Ember

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Jazz At Lincoln Center Orchestra With Wynton Marsalis - Una Noche Con Ruben Blades

Size: 223,8 MB
Time: 96:37
File: MP3 @ 320K/s
Released: 2018
Styles: Latin Jazz, Vocals
Art: Front

01. Carlos Henriquez Introduction ( 0:38)
02. Ban Ban Quere ( 6:28)
03. Too Close For Comfort ( 5:58)
04. El Cantante ( 8:42)
05. I Can't Give You Anything But Love ( 6:41)
06. Apoyate En Mi Alma ( 5:51)
07. Pedro Navaja ( 8:10)
08. Begin The Beguine ( 7:39)
09. Sin Tu Carino ( 7:48)
10. Ruben's Medley Ligia Elena - El Numero 6 - Juan Pachanga (12:03)
11. Patria (Encore) ( 6:55)
12. Don't Like Goodbyes (Bonus Track) ( 6:44)
13. Fever (Bonus Track) ( 5:52)
14. They Can't Take That Away From Me (Bonus Track) ( 7:03)

Late in 2014, the Jazz at Lincoln Center Orchestra with Wynton Marsalis welcomed a very special guest to their Manhattan stage: nine-time GRAMMY winning singer, songwriter, actor, and activist Rubén Blades. For one very special night music-directed by the JLCO s bassist and emerging master in the Latin jazz idiom (DownBeat) Carlos Henriquez the worlds of salsa and swing collided. Backed by one of the world s leading big bands, Blades took the audience on a tour through his greatest hits. In their write-up of the show, the New York Times said "Mr. Henriquez s arrangements delivered consistently... Radically beautiful. Now, Una Noche con Rubén Blades captures this historic concert in CD and digital formats. The album finds the Maestro singing some of his own beloved compositions, including Pedro Navaja, Patria, and El Cantante, as well as swinging through standards like Too Close for Comfort and Begin the Beguine, all while backed by the Downbeat Reader s Poll Big Band of the Year (2013, 14. & 15). Pick up this kaleidoscopic, momentous collaboration between two of our most soulful musicians.

Una Noche Con Ruben Blades 

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The Glenn Miller Orchestra - Great Songs Of The 60's

Size: 73,1 MB
Time: 31:18
File: MP3 @ 320K/s
Released: 1965/2014
Styles: Jazz, Easy Listening
Art: Front

01. Red Roses For A Blue Lady (2:42)
02. People (2:36)
03. Everybody Loves Somebody (2:36)
04. Wives And Lovers (2:08)
05. Love Me With All Your Heart (2:57)
06. Downtown (2:19)
07. Mr. Lonely (2:30)
08. If Loved You (2:56)
09. Dominique (2:19)
10. Dear Heart (2:42)
11. Washington Square (2:39)
12. There! I've Said It Again (2:45)

This album is somewhat less successful than its predecessor, Glenn Miller Time -- 1965; that album featured Bobby Hackett on the trumpet solos and straddled the 1940s and the 1960s, dividing its repertory evenly between both decades with arrangements by George Williams that did the same, recalling the authentic Miller sound but retooling it slightly to take advantage of stereo and high-fidelity recording. And it was an instrumental album. Great Songs of the 60's, however, makes extensive use of the vocal group the Moonlight Serenaders, who push the recordings firmly in the direction of a sweet band sound at the expense of much of this orchestra's ability to swing. Moreover, the presence of numbers such as "Downtown" -- a song that Sinatra also stumbled over in the course of trying to record at around the same time -- and second-rate pop material such as "Everybody Loves Somebody" doesn't help matters any. "Wives and Lovers" shows what this band could do, in terms of making convincing '60s-based swing music, and the detour into Dixieland for "Washington Square" isn't bad, even if it isn't what one was really buying a record like this to hear, so there are bright spots, but they stand out a little less prominently here than those of the orchestra's earlier album. One also wishes that there were credits on this album, so listeners would know who plays the beautifully understated guitar on "Love Me with All Your Heart." Great Songs of the 60's was reissued in 2001 on CD paired with Glenn Miller Time -- 1965. ~by Bruce Eder

Great Songs Of The 60's

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Janet Seidel - You Are There

Size: 128,9 MB
Time: 55:37
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Younger Than Springtime (3:03)
02. I Wish You Love (5:58)
03. Darn That Dream (6:23)
04. What Are You Doing The Rest Of Your Life (2:52)
05. The Very Thought Of You (5:13)
06. Days Of Wine And Roses (3:26)
07. It Might As Well Be Spring (5:07)
08. I Hadn't Anyone Till You (5:01)
09. Tennessee Waltz (2:45)
10. I Got It Bad (And That Ain't Good) (5:37)
11. Night And Day (8:13)
12. You Are There (1:53)

Born in Australia's bush country, Janet Seidel emerged as one of that country's leading cabaret and jazz vocalists. She appeared frequently at Australia's top jazz and hotel venues beginning in the early '80s, often working with bassist brother David Seidel. Janet Seidel also performed at jazz festivals in the U.S., working with such jazz notables as Harry Allen, Dan Barrett, Dave McKenna, and Michael Moore. Her first venture into cabaret came in 2000 when she put together and starred in Doris and Me, a tribute to Doris Day's singing career. Often working with saxophone player Tom Baker and with her brother, she has made numerous albums for the LaBrava label. Her double album The Way You Wear Your Hat was named vocal album of the year by Australia's national newspaper and was a finalist for the prestigious ARIA award. Her The Art of Lounge, Vol. 2 was similarly a finalist for that award for the AIRA Jazz Album of the Year.

Seidel did not have great range, but she used the tools she possessed with great skill and effectiveness. With her intimate style, great feel for the lyrics of songs she sings, Seidel was one of those vocalists who was as much a story teller as a singer. The way she handled the music came off as a fortuitous blend of Blossom Dearie and Doris Day with an occasional nod to Julie London, although she was somewhat jazzier than the latter two. Like Jeri Southern, Shirley Horn, and Diana Krall, she often doubled at the piano.

From the turn of the millennium through the decade of the 2000s, Seidel recorded prolifically, releasing such albums as Love Letters (2000), Doris & Me (2001), Don't Smoke in Bed (2002), Comme Çi, Comme Ça and The Art of Lounge, Vol. 3 (both 2003), Dear Blossom and Hooray for Christmas (both 2004), Moon of Manakoora and Delovely (both 2005), and We Get Requests and Charade: Henry Mancini Songbook (both 2007). In addition, her Live in Taipei DVD was released in 2011. Janet Seidel died from ovarian cancer in Sydney in August 2017; she was 62 years old. The numerous recordings she made evince an exquisite, gentle, and agile voice that honored each tune she sang, from classic standards to pop songs and novelties. ~by Dave Nathan

You Are There

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The Sazerac Swingers - Put The Jazz Back In Jazz

Size: 173,6 MB
Time: 74:49
File: MP3 @ 320K/s
Released: 2018
Styles: New Orleans Jazz, Swing
Art: Front

01. We Put The Jazz Back In Jazz ( 4:50)
02. Gene's Po-Boys Part One ( 1:47)
03. The Sazerac Song ( 5:32)
04. How Does She Keep What's In It In It ( 1:48)
05. Brown Eyed Devil ( 5:18)
06. New Orleans Till I Die ( 3:09)
07. If There's A Jazz Club In Heaven ( 3:20)
08. What Did I Do Last Night ( 5:44)
09. The Cask Of Amontillado ( 5:24)
10. Gene's Po-Boys Part Two ( 1:01)
11. Fuck You! This Is Jazz! ( 5:50)
12. Nighthawks (Hasta Que Nos Corren De Este Bar) ( 3:26)
13. A Jazz Musician's Life ( 3:46)
14. The Count Of Rietberg ( 2:28)
15. My Neighbor's Cat ( 2:09)
16. Gum-Bo-Bah ( 4:17)
17. Gene's Po-Boys Part Three ( 0:56)
18. The Night Before The Storm (13:55)

Within no time, THE SAZERAC SWINGERS from Germany have established themselves as one of the leading European bands who play contemporary modern New Orleans Jazz the way it is really played in its birthplace today. Named after the City of New Orleans’ official drink, the Sazerac, established in 1804, the band just turns every show into an unforgettable party.

In 2013, THE SAZERAC SWINGERS released their debut album “Three Guys Named Louis” on Schubert Records. Overwhelming reviews in several European music magazines proved that it was worthwhile producing an album that only featured songs that had been popularized by the three great Louis’; that’s Armstrong, Jordan, and Prima.

In January 2015, THE SAZERAC SWINGERS, released their second album, entitled “It’s Never too Late for a Happy Childhood.” The album contains a number of original compositions, some of them co-written and co-performed by Fredy Omar, the “Latin King of New Orleans,” who also contributed a new version of his signature song “La Vampirita,” from the HBO series “Treme.” There are further outstanding guest appearances by African trumpet giant Terrence Ngassa, Austrian Swing pianist Frank Johnny Schütten, New Orleans multi-instrumentalist Ralph Gipson, and violin virtuoso Resul Barini.

In the last two years, the “Sazeracs” have toured Western Europe and the USA. They supported Dutch saxophone queen Candy Dulfer, and regularly perform with African star trumpeter Terrence Ngassa and New Orleans legend Kermit Ruffins. Headlining renowned German Jazz festivals such as Jazzfest Gronau, “VS Swingt,” and the “Hamburg Jazztrain,” they joined the company of artists like Ron Carter, Till Brönner, and Avishai Cohen on the billboards. In October of 2014 and November 2015, THE SAZERAC SWINGERS played two extended European tours featuring New Orleans rising star and two-time Grammy Award nominee Glen David Andrews on vocals and trombone.

Put The Jazz Back In Jazz

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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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