Dana Marcine - To The Horizon

Size: 168,0 MB
Time: 72:25
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. So Fabulous (3:29)
02. Driving To The Horizon (4:56)
03. Small Peace (3:33)
04. Someone Else (5:12)
05. Los Cabos (5:21)
06. Sparkling Threads (4:18)
07. Sweet Livin' (4:45)
08. Phone At Home (6:06)
09. Satellites (6:55)
10. A Dream Of You (5:07)
11. Say.. (5:31)
12. Cry (6:12)
13. While Waiting Here (5:10)
14. All Because Of You (5:44)

Dana Marcine is a singer and songwriter of jazz music. She is also the bandleader of Jazz It Up and the Dana Marcine Quartet.

From her beginnings in Brooklyn, NY, music has always been central to Dana’s life. Born to a musical family, Dana was constantly surrounded by the sounds of opera, classical, and popular songs, eventually earning an MS in music. She has always loved singing for family, friends and audiences in the US and Europe.

In addition to performing well known standards from the Great American Songbook, Dana composes, music and lyrics, her own acclaimed originals. A previous recording of standard and originals, So Unexpected, received outstanding reviews, recognition and airplay.

A vocalist of great versatility, Dana has performed in madrigal and a cappella ensembles, enjoyed many roles with regional and off-Broadway theater companies, graced the opera stage, and sung the national anthem on ESPN. A chance meeting and friendship with jazz great Paul Bley introduced her to the genre of jazz music. Since then, being creative in jazz is where her focus is.

Throughout this journey, Dana has had the pleasure of collaborating with respected names in jazz, and has also performed at many wonderful venues. Recently, since making Austin, TX her home, she has become an active member of the Austin jazz scene, working with many outstanding musicians including Jeff Hellmer, Mitch Watkins, and John Fremgen, among many others. In “The Live Music Capital of the World”, she has performed at a long list of great venues, including The Brass House, The Elephant Room, the Four Seasons, Austin Bergstrom Airport, and other fine clubs. Her quartet has provided music at several fundraising events for St. David’s Hospital, Zach Theater, and Austin Opera.

A recent career highlight for Dana was an incredible opportunity to experience the music and culture of Portugal. Dana was chosen by the Center for Music Connections to represent American jazz music in comparison and contrast to Portuguese fado music. A series of concerts throughout Lisbon featured the collaboration between acclaimed fado artists, Fernanda Paulo and Mucio Sa, and American jazz artists, Dana Marcine and Renato Diz. The tour concluded with a music event in Washington, DC at the Portuguese Ambassador’s residence. It was attended by a multitude of ambassadors to the US from many other countries.

To The Horizon

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Kenny Garrett - Black Hope

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 65:54
Size: 154,3 MB
Art: Front

( 6:08)  1. Tacit Dance
( 4:09)  2. Spanish Go-round
(10:04)  3. Computer G
( 7:39)  4. Van Goghs Left Ear
( 3:53)  5. Black Hope
( 7:01)  6. Jackie And The Bean Stalk
( 4:46)  7. Run Run Shaw
( 5:24)  8. 2 Step
( 4:53)  9. Bone Bob
( 4:42) 10. Books And Toys
( 5:34) 11. Bye Bye Blackbird
( 1:35) 12. Last Sax

Alto saxophonist Kenny Garrett hasn't been as heavily publicized as his fellow young lions, but he can play with as much authority, conviction, and sheer energy as anyone. Only some uneven material keeps his '92 album from being exceptional, and even on the weak songs, Garrett's playing forces you to pay attention. ~ Ron Wynn https://www.allmusic.com/album/black-hope-mw0000082568

Personnel:  Kenny Garrett: alto saxophone, soprano saxophone;  Joe Henderson: tenor saxophone;  Kenny Kirkland: piano, synthesizer;  Donald Brown: synthesizer;  Charnett Moffett: bass;  Brian Blade, Ricky Wellman: drums;  Don Alias: percussion

Black Hope

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Viktoria Tolstoy - Meet Me at the Movies

Styles: Vocal 
Year: 2017
File: MP3@320K/s
Time: 48:44
Size: 112,0 MB
Art: Front

(5:44)  1. Calling You
(5:31)  2. As Time Goes By
(3:56)  3. En Man (Marlowe's Theme)
(4:29)  4. Out Here on My Own
(3:56)  5. Why Should I Care
(3:14)  6. The Book of Love
(4:33)  7. Love Song for a Vampire
(3:48)  8. Kiss from a Rose
(4:49)  9. Angel
(5:30) 10. New World
(3:10) 11. Smile

The box office is not really in sight when Viktoria Tolstoy starts to sing. But everything is different on this CD. But this time, the Swede has selected film scores of well-known strips and dipped heavily into the jazz pot. The result is newly dressed and yetunadulterated classics. Sometimes it takes 20-30 bars, until one becomes aware: "Of course, that's it ..." Because often outweighs listening first, Exact-listening, sound pearl capturing. Tolstoy abducts, seduces and strokes gently, smiles mischievously and makes you listen with every tone where you otherwise stick to the picture on the big screen. Sure, it's the old songs and yet they sound so different from the movies - pearly, smoky, groovy. Modern and new. Together with Mattias Svensson (bass), Rasmus Kihlberg (drums) and Krister Jonsson (guitar), Tolstoy brings back a hundred-fold reproduced sound. A thousand-fold musical throats and ancient classics become crystal clear and subtly nuanced jazz. "As time goes by", "Dancer in the Dark", "Kiss from a rose" - Tolstoy presents it soft and smooth in one place, rough and handy on another. Glanzlichter puts in several songs Nils Landgren with his red trombone, who is also the producer of the CD. He cleans even the smallest song passages musically bright, makes it flash brightly and gives the film titles radiant sound accessories. In addition, Tolstoy has brought the Finnish pianist Iiro Rantala as a guest. He succeeds on the piano a leap in time: With a light finger, he drives out the kitsch from the well-known wise men, transforms the dusty into modern-jazzy. Melancholic gets intensity, soft feeling ends in sounds with verve and modernity. And Tolstoy shows together with their musicians: full orchestra and Hollywood bombast are not necessary for the classics. The small, almost sparse cast brings to light Tolstoy's clear voice and lively, jazzy interpretation, setting the musicians in particular passages great scene and convinces with a fine sound universe. Very nicely done! I think the cinemas in this country should once again arrange film music evenings. Viktoria Tolstoy and her musicians would be the right choice for a matinee. Until a cinema owner dares, the CD offers a 48-minute cinema experience of a special kind. ~ Sabine Meinert https://www.aboutjazz.de/2017/01/viktoria-tolstoy-meet-me-at-the-movies.html

Personnel:  Viktoria Tolstoy / vocals;  Krister Jonsson / guitars;  Mattias Svensson / electric & acoustic bass;  Rasmus Kihlberg / drums;  Iiro Rantala / piano;  Nils Landgren / trombone & vocals

Meet Me at the Movies

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Don Byas - Ballads For Swingers

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 42:17
Size: 98,6 MB
Art: Front

(8:51)  1. Yesterdays
(7:01)  2. All The Things You Are
(8:21)  3. Lady Bird
(8:21)  4. Lover Man
(9:42)  5. I'll Remeber April

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~ Scott Yanow https://www.allmusic.com/artist/don-byas-mn0000172350/biography

Personnel:  Don Byas (tenor saxophone); Bengt Axen (Piano);  Niels-Henning Frsted Pedersen (bass) ;  Axel Riel (drums)

Ballads For Swingers

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Trilok Gurtu - Broken Rhythms

Styles: Folk, World, Fusion
Year: 2004
File: MP3@320K/s
Time: 44:28
Size: 120,5 MB
Art: Front

(4:44)  1. Broken Rhythms
(5:03)  2. Kabir
(5:40)  3. Nine Horses
(4:09)  4. Beyond
(5:44)  5. Sohum
(6:14)  6. Vignola
(5:28)  7. Dubash Lane
(7:23)  8. The Way To Banganga

The musical traditions of the eastern and western worlds are bridged through the improvisations of Bombay, India-born percussionist/vocalist Trilok Gurtu. Gurtu's mastery of post-bop jazz has not gone unnoticed. Downbeat magazine named him "best percussionist" in three critic and popularity polls and proclaimed, "musically, the world is his stage". Jazz magazine, Straight No Chaser took a similar view, writing, "this music has a transcendental quality and removes any obstacles that lie between western and eastern improvised music." Gurtu's eclectic approach has enabled him to collaborate with some of the world's greatest musicians. A member of trumpeter Don Cherry's band from 1976 to 1978, Gurtu has worked with such influential musicians as jazz guitarists Philip Catherine, John McLaughlin, Ralph Towner, Pat Metheny and Larry Coryell, rock guitarist David Gilmore, saxophonists Jan Garbarek and Bill Evans, percussionist Nana Vasconcelos, jazz keyboardist Josef Zawinul and classical pianists Katia and Marielle Labeque. Gurtu was a member of acoustic jazz fusion group, Oregon, from 1984 to 1988. A native of Bombay, India, Gurtu hails from a musical family. His grandfather was a well known sitar player and his mother, Shobha Gurtu, was an influential singer of Indian classical music. Studying to play the tablas from the age of six, Gurtu attracted international attention in the mid-1970s when he performed with Charlie Mariano and John Tchicai. In 1977, he accompanied vocalist Asha Bhosle during her New York concerts. After touring and recording with Don Cherry for two years, Gurtu emigrated to Hambug, Germany in 1978. Shortly afterwards, he toured with Belgian guitarist Philip Catherine and recorded an album, End Of August, with Catherine and Mariano. In the summer of 1993, Gurtu toured Europe in a duo with Josef Zawinul and recorded an album, Crazy Saints, with Zawinul and Pat Metheny. Gurtu continues to teach drum clinics and perform at classical events with modern dancer Carolyn Carlson. In the summer of 1998, he toured with Andy Summers and Larry Coryell. The year 2000 saw the release of African Fantasy. Beat of Love followed the next spring. ~ Craig Harris https://itunes.apple.com/fr/album/broken-rhythms/212797408?l=en

Broken Rhythms

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Karin Hammar Fab 4 - Circles

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 52:55
Size: 121,4 MB
Art: Front

(6:13)  1. Circles
(5:08)  2. Mammakech
(6:14)  3. Bossa for Ella
(8:15)  4. Choose Your Own Issues/ Hildegunn
(5:40)  5. Praia de Buzios
(5:55)  6. New O
(6:12)  7. Four Women
(5:14)  8. Habbit Rabbit
(4:01)  9. Uphill

Two years after the release of her latest album the widely critically acclaimed Imprints Karin Hammar now releases her new album Circles. Like last time, Hammar works with her group Karin Hammar Fab 4 to help her shape 8 new compositions and an interpretation of Nina Simones Four Women into her own musical landscape. The new compositions draw inspiration from such diverse encounters and places: Brazil, Morrocco, her daughter Ella, fellow musician Hildegunn Öiseth, to name a few. The title track was written in a small compartment backstage at Malmö Arena in Sweden prior to a show with Swedish pop star Orup. The Karin Hammar Fab 4 line up includes some of Swedens finest jazz players: Niklas Fernqvist on bass, Fredrik Rundqvist on drums and new member, guitarist, Andreas Hourdakis who brings a new form, shape, and level to the groups sound. 

Karin Hammar is widely seen as one of Swedens foremost trombone players, with four studio albums as a solo artist and numerous collaborations under her belt since debuting in the nineties. Shes been given numerous awards in Sweden, including a prize from the Alice Babs foundation. ~ Editorial Reviews https://www.amazon.com/Karin-Hammar-fab-4-Circles/dp/B07FDTF4F2

Personnel:  Karin Hammar - Trombone,  Anreas Hourdakis - Guitar,  Niklas Fernqvist - Bass,  Fredrik Rundqvist - Drums.

Circles

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Benny Goodman - Smooth Operator

Styles: Clarinet Jazz 
Year: 2005
File: MP3@320K/s
Time: 46:13
Size: 135,0 MB
Art: Front

(2:36)  1. Let's Dance
(3:18)  2. Flying Home
(2:55)  3. Good Enough To Keep
(3:19)  4. A Smo-o-oth One
(3:05)  5. Sacrecrow
(2:55)  6. Clarinet A La King
(2:58)  7. Jersey Bounce
(2:38)  8. Mission To Moscow
(2:59)  9. Body And Soul
(3:39) 10. After You've Gone
(2:59) 11. Liza
(3:08) 12. King Porter Stomp
(3:17) 13. Down South
(3:11) 14. South Of The Border (Down Mexico Way)
(3:09) 15. Wrappin' It Up

Benny Goodman was the first celebrated bandleader of the Swing Era, dubbed "The King of Swing," his popular emergence marking the beginning of the era. He was an accomplished clarinetist whose distinctive playing gave an identity both to his big band and to the smaller units he led simultaneously. The most popular figure of the first few years of the Swing Era, he continued to perform until his death 50 years later. Goodman was the son of Russian immigrants David Goodman, a tailor, and Dora Rezinsky Goodman. He first began taking clarinet lessons at ten at a synagogue, after which he joined the band at Hull House, a settlement home. He made his professional debut at 12 and dropped out of high school at 14 to become a musician. At 16, in August 1925, he joined the Ben Pollack band, with which he made his first released band recordings in December 1926. His first recordings under his own name were made in January 1928. At 20, in September 1929, he left Pollack to settle in New York and work as a freelance musician, working at recording sessions, radio dates, and in the pit bands of Broadway musicals. He also made recordings under his own name with pickup bands, first reaching the charts with "He's Not Worth Your Tears" (vocal by Scrappy Lambert) on Melotone Records in January 1931. He signed to Columbia Records in the fall of 1934 and reached the Top Ten in early 1934 with "Ain't Cha Glad?" (vocal by Jack Teagarden), "Riffin' the Scotch" (vocal by Billie Holiday), and "Ol' Pappy" (vocal by Mildred Bailey), and in the spring with "I Ain't Lazy, I'm Just Dreamin'" (vocal by Jack Teagarden). These record successes and an offer to perform at Billy Rose's Music Hall inspired Goodman to organize a permanent performing orchestra, which gave its first performance on June 1, 1934. His instrumental recording of "Moon Glow" hit number one in July, and he scored two more Top Ten hits in the fall with the instrumentals "Take My Word" and "Bugle Call Rag." After a four-and-a-half-month stay at the Music Hall, he was signed for the Saturday night Let's Dance program on NBC radio, playing the last hour of the three-hour show. During the six months he spent on the show, he scored another six Top Ten hits on Columbia, then switched to RCA Victor, for which he recorded five more Top Ten hits by the end of the year. After leaving Let's Dance, Goodman undertook a national tour in the summer of 1935. It was not particularly successful until he reached the West Coast, where his segment of Let's Dance had been heard three hours earlier than on the East Coast. His performance at the Palomar Ballroom near Los Angeles on August 21, 1935, was a spectacular success, remembered as the date on which the Swing Era began. He moved on to a six-month residency at the Congress Hotel in Chicago, beginning in November. He scored 15 Top Ten hits in 1936, including the chart-toppers "It's Been So Long," "Goody-Goody," "The Glory of Love," "These Foolish Things Remind Me of You," and "You Turned the Tables on Me" (all vocals by Helen Ward). He became the host of the radio series The Camel Caravan, which ran until the end of 1939, and in October 1936, the orchestra made its film debut in The Big Broadcast of 1937. The same month, Goodman began a residency at the Pennsylvania Hotel in New York. 

Goodman's next number one hit, in February 1937, featured Ella Fitzgerald on vocals and was the band's first hit with new trumpeter Harry James. It was also the first of six Top Ten hits during the year, including the chart-topping "This Year's Kisses" (vocal by Margaret McCrae). In December, the band appeared in another film, Hollywood Hotel. The peak of Goodman's renown in the 1930s came on January 16, 1938, when he performed a concert at Carnegie Hall, but he went on to score 14 Top Ten hits during the year, among them the number ones "Don't Be That Way" (an instrumental) and "I Let a Song Go out of My Heart" (vocal by Martha Tilton), as well as the thrilling instrumental "Sing, Sing, Sing (With a Swing)," which later was inducted into the Grammy Hall of Fame. By 1939, Goodman had lost such major instrumentalists as Gene Krupa and Harry James, who left to found their own bands, and he faced significant competition from newly emerged bandleaders such as Artie Shaw and Glenn Miller. But he still managed to score eight Top Ten hits during the year, including the chart-topper "And the Angels Sing" (vocal by Martha Tilton), another inductee to the Grammy Hall of Fame. He returned to Columbia Records in the fall. In November, he appeared in the Broadway musical Swingin' the Dream, leading a sextet. The show was short-lived, but it provided him with the song "Darn That Dream" (vocal by Mildred Bailey), which hit number one for him in March 1940. It was the first of only three Top Ten hits he scored in 1940, his progress slowed by illness; in July he disbanded temporarily and underwent surgery for a slipped disk, not reorganizing until October. He scored two Top Ten hits in 1941, one of which was the chart-topper "There'll Be Some Changes Made" (vocal by Louise Tobin), and he returned to radio with his own show. Among his three Top Ten hits in 1942 were the number ones "Somebody Else Is Taking My Place" (vocal by Peggy Lee) and the instrumental "Jersey Bounce." He also appeared in the film Syncopation, released in May. American entry into World War II and the onset of the recording ban called by the American Federation of Musicians in August 1942 made things difficult for all performers. Goodman managed to score a couple of Top Ten hits, including the number one "Taking a Chance on Love" (vocal by Helen Forrest), in 1943, drawn from material recorded before the start of the ban. 

And he used his free time to work in films, appearing in three during the year: The Powers Girl (January), Stage Door Canteen (July), and The Gang's All Here (December). Goodman disbanded in March 1944. He appeared in the film Sweet and Low-Down in September and played with a quintet in the Broadway revue Seven Lively Arts, which opened December 7 and ran 182 performances. Meanwhile, the musicians union strike was settled, freeing him to go back into the recording studio. In April 1945, his compilation album Hot Jazz reached the Top Ten on the newly instituted album charts. He reorganized his big band and scored three Top Ten hits during the year, among them "Gotta Be This or That" (vocal by Benny Goodman), which just missed hitting number one. "Symphony" (vocal by Liza Morrow) also came close to hitting number one in early 1946, and Benny Goodman Sextet Session did hit number one on the album charts in May 1946. Goodman hosted a radio series with Victor Borge in 1946-1947, and he continued to record, switching to Capitol Records. He appeared in the film A Song Is Born in October 1948 and meanwhile experimented with bebop in his big band. But in December 1949, he disbanded, though he continued to organize groups on a temporary basis for tours and recording sessions. If popular music had largely passed Goodman by as of 1950, his audience was not tired of listening to his vintage music. He discovered a recording that had been made of his 1938 Carnegie Hall concert and Columbia Records released it on LP in November 1950 as Carnegie Hall Jazz Concert, Vol. 1 & 2. It spent a year in the charts, becoming the best-selling jazz album ever up to that time, and was later inducted into the Grammy Hall of Fame. A follow-up album of airchecks, Benny Goodman 1937-1938: Jazz Concert No. 2, hit number one in December 1952. The rise of the high fidelity 12" LP led Goodman to re-record his hits for the Capitol album B.G. in Hi-Fi, which reached the Top Ten in March 1955. A year later, he had another Top Ten album of re-recordings with the soundtrack album for his film biography, The Benny Goodman Story, in which he was portrayed by Steve Allen but dubbed in his own playing. After a tour of the Far East in 1956-1957, Goodman increasingly performed overseas. His 1962 tour of the U.S.S.R. resulted in the chart album Benny Goodman in Moscow. In 1963, RCA Victor staged a studio reunion of the Benny Goodman Quartet of the 1930s, featuring Goodman, Gene Krupa, Teddy Wilson, and Lionel Hampton. 

The result was the 1964 chart album Together Again! Goodman recorded less frequently in his later years, though he reached the charts in 1971 with Benny Goodman Today, recorded live in Stockholm. His last album to be released before his death from a heart attack at 77 was Let's Dance, a television soundtrack, which earned a Grammy nomination for Best Jazz Instrumental Performance, Big Band. Goodman's lengthy career and his popular success especially in the 1930s and '40s has resulted in an enormous catalog. His major recordings are on Columbia and RCA Victor, but Music Masters has put out a series of archival discs from his personal collection, and many small labels have issued airchecks. The recordings continue to demonstrate Goodman's remarkable talents as an instrumentalist and as a bandleader. ~ William Ruhlmann https://www.allmusic.com/artist/benny-goodman-mn0000163133/biography

Smooth Operator

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Billy Larkin & The Delegates - Hole In The Wall

Styles: Jazz, Post Bop
Year: 1965
File: MP3@320K/s
Time: 30:45
Size: 73,3 MB
Art: Front

(2:39)  1. Hole In The Wall
(2:32)  2. Little Mama
(2:09)  3. Soul Beat
(2:07)  4. And I Love Her
(2:32)  5. A Taste Of Honey
(2:45)  6. The "In" Crowd
(2:25)  7. Hot Sauce
(2:19)  8. In The Midnight Hour
(3:39)  9. Blue Satin
(2:45) 10. Close Your Eyes
(2:26) 11. Hot Toddy
(2:20) 12. Agent Double-O-Soul

One of Billy Larkin's early tight little records, with his excellent organ combo The Delegates, and their trademark hard guitar and keyboard sound. Lots of nice groovers, including "Hot Sauce", "Hot Toddy", "Soul Beat", "Little Mama", and their version of the title cut, which was one of those minor 60s hits which were hotly disputed as to who had the original recording! (White label stereo pressing. 

Cover has some wear with moisture stains & a split top seam.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/8971/Billy-Larkin-The-Delegates:Hole-In-The-Wall

Personnel:  Billy Larkin, organ;  James Daniels or Hank Swarn, guitar;  Jessie Kilpatrick or Mel Brown, drums;  Ernest Nabetoo, conga

Hole In The Wall

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Jeff Cascaro - Mother And Brother

Styles: Vocal, Soul
Year: 2008
File: MP3@320K/s
Time: 51:25
Size: 118,1 MB
Art: Front

(4:19)  1. I feel fine
(3:37)  2. The sun is shining for our love
(4:12)  3. Anyway
(5:22)  4. Love is in the air
(4:34)  5. The lady's not amused
(3:59)  6. Little flower
(3:56)  7. Follow you, follow me
(3:31)  8. Try
(5:55)  9. When she sings to me
(4:43) 10. Help the poor
(5:50) 11. Ella
(1:23) 12. Final

With his second album „Mother and Brother“, Bochum-born singer Jeff Cascaro makes his reputation as one of Germany’s major voices in soul music with a pop attitude permanent. His first album „Soul of a Singer“ (2006) created this very special mood blending catchy songs made from pop, soul, jazz and blues elements. The new album immerges into that refreshingly different, individual, and outrageously entertaining cocktail. Jeff Cascaro the voice… and the mood. Mother and Brother is also close to the singer’s soul. It tells us the story of his love for music, for life itself (‚Ella‘ or ‚I Feel Fine‘), it opens chapters of his path of life, his loves and suffering (‚When She Sings To Me‘ or ‚The Sun Is Shining For Our Love‘), or they discreetly ask for a dance (‚Love Is In The Air‘). Cascaro follows the ways classic soul singers like Stevie Wonder, Bill Withers, and Wilson Pickett were travelling before. But Cascaro knows that each traditions need fresh interpretations: „Of course I follow a thread, but in none of the pieces you’ll find a second verse that sounds like the first. There are always slightly different notes, a different melody.“ http://jeffcascaro.de/albums/mother-and-brother/

Personnel:  Jeff Cascaro (voc, flh);  Bruno Müller (git);  Ulf Kleiner (key);  Christian von Kaphengst (b);  Flo Dauner (dr) on track 2,3,7,8;  Peter Lübke (dr) on track 1,4,5,6,9,10,11;  Roland Peil (perc)

Mother And Brother

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Wayne Jones - Saturday Street

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 46:52
Size: 119,2 MB
Art: Front

(5:33)  1. Strictly Dan
(4:22)  2. Saturday Street
(4:43)  3. Back In Five
(4:42)  4. Slow & Mellow
(4:46)  5. Sneaky Pete
(4:10)  6. MK3
(4:44)  7. Time Traveler
(3:46)  8. Latin Tyme
(5:20)  9. Hiraeth
(4:42) 10. I'm In the Mood (Feat. Cheryl Beattie)

It is paved with spiky, spine-tingling bass lines, the Saturday Street that Australian jazz artist Wayne Jones walks on. Saturday Street, Jones' latest album, is a glistening summer soundtrack that bathes in the pulsating energy of city life, from sun-drenched strolling to a midnight slow jam at a club. On the title track Jones' bass feels like a living entity; it throbs with vigor and swagger while jumpy piano adds further electricity. The forcefulness of Jones' bass playing is easily the most recognizable aspect of his style. On “Slow & Mellow," Jones is downright funky on what is essentially a romantic ballad; his bass literally leaps out of the speakers. According to Jones, the two-fisted punch of his bass is rooted in his original desire to become a drummer. “I used to have a passion for playing drums in my early teens," Jones recalled. “I started playing bass around 1969 after an industrial accident left me unable to hold a drumstick properly. I turned professional in 1976. It's funny how fate works. I much prefer bass as I now have both rhythm and melody to enjoy. I guess I used the passion I had for the drums and applied it to the bass." Jones displays extraordinary command of the bass in Saturday Street, and it may cause one to assume that he received formal training with the instrument; however, that was not the case. “Like many of my generation I was self-taught," Jones revealed. “I learned from records. I would listened to a few bars, lift the arm off the turntable, copy the phrases, and then put it back in roughly the same spot for the next bit. Eventually I had to teach myself modes, scales, and arpeggios. I'm sure glad I did as these are the tools I use to draw from when I play."~ Lauren Rogers https://news.allaboutjazz.com/australian-jazz-artist-wayne-jones-walks-on-saturday-street-with-spine-tingling-bass-lines.php

Saturday Street

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Annekei & Something Borrowed

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 45:23
Size: 104,3 MB
Art: Front

(4:23)  1. In Your Eyes
(5:33)  2. Something so Right
(4:37)  3. Toxic
(3:40)  4. Burn
(3:36)  5. Next Lifetime
(3:35)  6. Sweet Love
(4:45)  7. Magic
(5:59)  8. A Case of You
(4:57)  9. Lover for Life
(4:14) 10. The Book of Love

Annekei alias Anne Kraglund has returned to his birthplace Aarhus after a 10-year career in the United States and Japan. Along with a trio of experienced local musicians, she has resorted to interpreting her favorite songs a process that was so successful that last year the band recorded an album. This album is presented at the concert, in addition to hearing new interpretations of songs written by Joni Mitchell, Peter Gabriel, Paul Simon and many others, one can also enjoy a glass of wine to celebrate the release.  The band is currently working on their second album, and tastings from this work can also be heard at the concert. Translate by Google https://jazzfest.dk/artist.php?id=3056&l=

Something Borrowed

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Karin Hammar Quartet- Everyday Magic

Size: 142,9 MB
Time: 61:45
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz
Art: Front

01. Everyday Magic (5:31)
02. Jumping The Gun (8:51)
03. Chris-Crossed (6:45)
04. Only Time Will Tell (6:53)
05. Holy Pony (5:48)
06. Fragments (5:19)
07. Haunted (6:30)
08. Signature (7:34)
09. Pyssling (5:20)
10. Out Of Reach (3:10)

Perrsonnel:
Trombone – Karin Hammar
Double Bass – Tony Overwater
Drums – Anders Kjellberg
Piano – Jonas Östholm


Sophisticated jazz played with virtuosity and at times with hypnotic beats and bass lines. The trombone player Karin Hammar herself convinces with a lush, often lyrical sound. Well arranged, tight and with strong melodies, all songs are written by Karin Hammar, who has developed to one of Sweden´s best trombone players, always with constant variation in her playing.
Karin Hammar's strength is her fluent, singingly melodic playing. It becomes wonderfully elegiac in a kind of controlled melancholy. Her music is light and melodic, with shimmering harmonies and softly driven rhythm. Latin moods mixing with a proud jazzy tone. This is definitely music for everyone who is curious of jazz in a new unique style.

Everyday Magic

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Champian Fulton - The Stylings Of Champian

Size: 194,2 MB
Time: 83:01
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Day By Day (7:19)
02. Lollipops And Roses (3:54)
03. I Only Have Eyes For You (5:34)
04. Blues Etude (6:33)
05. I Didn't Know What Time It Was (7:31)
06. Rodeo (6:17)
07. Darn That Dream (7:40)
08. Too Marvelous For Words (6:23)
09. Body And Soul (3:13)

CD 2:
01. Isn't It A Lovely Day (7:59)
02. You'd Be So Nice To Come Home To (5:09)
03. Martha's Prize (5:19)
04. Lonesome And Sorry (3:20)
05. All The Things You Are (6:42)

Champian’s 10th album, “The Stylings of Champian”, is a fabulous two disc set featuring 85+ minutes of non-stop swinging Jazz. Joined by her working New York Quartet - Hide Tanaka on bass, Fukushi Tainaka on drums, and Stephen Fulton on flugelhorn - “The Stylings of Champian” highlights compositions by Champian’s piano heroes: “Blues Etude” by Oscar Peterson and “Martha’s Prize” by Cedar Walton, in addition to a beautiful arrangement by legendary Jazz bassist Buster Williams on the Rogers and Hart standard “I Didn’t Know What Time It Was.” Named Female Jazz Vocalist of the year by Hot House Jazz Magazine, Champian’s vocal artistry is most apparent on “Body and Soul”, a duet performance with solo bass and voice. With this release, Champian has assured her place in the Jazz firmament.

The Stylings Of Champian

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The Brian Auger Piano Trio - Full Circle: Live At Bogie's

Size: 132,2 MB
Time: 57:12
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. A Night In Tunisia (Live) (5:11)
02. Creepin' (Live) (5:55)
03. For Dancers Only (Live) (4:17)
04. Little Sunflower (Live) (7:14)
05. It Ain't Necessarily So (Live) (6:26)
06. Chelsea Bridge (Live) (5:17)
07. All Blues (Live) (7:13)
08. There Is No Greater Love (Live) (3:51)
09. Victor's Delight (Live) (5:32)
10. Pools (Live) (6:12)

Considering he was a self taught pianist, Brian Auger's progress into the heart of the British modern jazz scene of the late 1950's and early 60's was particularly impressive. He gained invaluable experience the hard way, paying his dues at The Cottage Club, and the original Ronnie Scotts on Gerrard Street, working with renowned saxophonists Tommy Whittle, Dick Morrisey and Jimmy Skidmore - and sessions in smoky East End pubs with his friend, arguably Britain's greatest jazz saxophonist Tubby Hayes.

The inclusion of several of his rare, early 60's piano trio tracks on both volumes of 'Back To The Beginning - The Brian Auger Anthology' brought long overdue attention to Brian's early jazz career, which many were simply unaware of prior to their release. The enthusiastic reaction to those tracks stuck in Brian's mind, and later, fate intervened, as he himself explains; A couple of years later, Ken Greene, the Music Director of Bogie's, called and told me that he was starting a project, to whit, a week at Bogie's with a different jazz piano trio each night

This somewhat impromptu show was recorded, and these three tracks are taken from the resulting, forthcoming album 'Full Circle - The Brian Auger Piano Trio - Live At Bogie's' - surprisingly the very first piano trio album of Brian's long and award winning career.

Full Circle: Live At Bogie's

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Les McCann - A Time Les Christmas

Size: 79,5 MB
Time: 33:56
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Soul, Xmas
Art: Front

01. Merry Christmas Baby (4:15)
02. Let It Snow (2:57)
03. I'll Be Home For Christmas (3:09)
04. Baby It's Cold Outside (4:28)
05. The Christmas Song (4:05)
06. This Christmas (3:11)
07. Have Yourself A Merry Little Christmas (3:31)
08. The Gift (4:08)
09. My Christmas Heart (3:12)
10. Away In A Manger (0:54)

Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic.

McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra.

McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records. ~by Scott Yanow

A Time Les Christmas

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The Cooltrane Quartet - Cocktails & Dreams

Size: 86,7 MB
Time: 37:19
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals, Cool Jazz
Art: Front

01. Back To Life (3:27)
02. Ain't Nobody (Loves Me Better) (4:08)
03. Groove Is In The Heart (3:54)
04. I Want It That Way (3:51)
05. White Flag (3:25)
06. Maybe I Lost You (3:11)
07. Your Song (4:15)
08. Supergirl (3:55)
09. Uptown Girl (2:53)
10. The Only Exception (4:15)

The Cooltrane Quartet is the creative band of successful series such as "Jazz and 80´s", "Jazz and ´90s" as well as "Vintage Café" and also the band chosen by Karen Souza to accompany her on her tours.

In this new album they bring us a fine, subtle show full of sensuality and glamor where the most remarkable pages of pop culture are tinged with the subtlety of jazz, in the voice of the beautiful Lila Frascara.

Cocktails & Dreams

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Bill Coleman - Jazz in Paris: From Boogie to Funk

Styles: Trumpet Jazz 
Year: 1960
File: MP3@320K/s
Time: 47:12
Size: 110,2 MB
Art: Front

(11:35)  1. From Boogie to Funk, Part 1 - The Blues
( 4:32)  2. From Boogie to Funk, Part 2 - The Boogie
( 9:40)  3. Bill, Budd and Butter
( 6:29)  4. Afromotive in Blue
( 5:09)  5. Colemanology
( 9:44)  6. Have Blues, Will Play 'em

From Boogie to Funk finds the somewhat undercelebrated swing trumpeter Bill Coleman at a late period in his career, nailing down this set of blues in Paris with a fine group in 1960. The set begins wonderfully with an extended journey through a 16-minute two-part piece entitled "From Boogie to Funk," with the first part subtitled "The Blues" and the second titled "The Boogie." The subtitles prove fitting as Coleman indeed picks up the pace a bit for the second part, and from there the album never really slows down much. It's this swinging feel that propels the later pieces "Bill, Budd and Butter," "Afromotive in Blue," "Colemanonlogy," and "Have Blues, Will Play 'Em" which were all composed by Coleman, as were the two parts of "From Boogie to Funk." Overall, this set never hits a lull and proves delightful throughout, making one wish Coleman would have recorded a few more sessions such as this while in Paris. Joining him here are Budd Johnson (tenor sax), Les Spann (guitar), Patti Bown (piano), Quentin Jackson (trombone), Buddy Catlett (bass), and Joe Harris (drums). ~ Jason Birchmeier https://www.allmusic.com/album/from-boogie-to-funk-mw0000225352

Personnel:  Bill Coleman - trumpet, composer;  Quentin Jackson - trombone;  Budd Johnson - tenor saxophone;  Patti Bown - piano;  Les Spann - guitar;  Buddy Catlett - bass;  Joe Harris - drums

Jazz in Paris: From Boogie to Funk

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Bobbie Gentry - Patchwork

Styles: Vocal 
Year: 1971
File: MP3@320K/s
Time: 47:11
Size: 116,2 MB
Art: Front

(4:21)  1. Benjamin
(2:43)  2. Marigolds And Tangerines
(2:40)  3. Billy The Kid
(3:48)  4. Beverly
(4:42)  5. Miss Clara / Azusa Sue
(3:34)  6. But I Can't Get Back
(6:14)  7. Jeremiah
(4:05)  8. Belinda
(3:57)  9. Mean Stepmama Blues
(2:54) 10. Your Number One Fan
(4:07) 11. Somebody Like Me
(4:00) 12. Lookin' In

While Patchwork is not Bobbie Gentry at the peak of her powers, it's nonetheless mysterious that this would be her last album, although a few singles did follow in the 1970s. For the singer/songwriter obviously seemed to have much left to give, composing or co-composing all dozen tracks as well as producing the record herself. Like many another long-playing record in the late '60s and early '70s, it's given a quasi-concept aura via the device of half-minute "interludes" that link seven of the tracks. There doesn't seem to be a definite thematic concept at work here, however, other than quite a few of the songs being character sketches not that this was anything new for Gentry. It's not among her more rootsy records, however, and is arguably too slick and heavy on the orchestration from the production end. Sometimes it sounds kind of like Nancy Sinatra might have had that star begun writing material under the influence of her producer, Lee Hazlewood. Sometimes it sounds a little closer to the kind of jaunty, slyly tongue-in-cheek observational style of singer/songwriters like Harry Nilsson or Randy Newman than it does to Bobbie Gentry. 

At its most middle of the road, it seems like there might be some Jimmy Webb worming its way into her approach as well; "Somebody Like Me" even sounds a bit like the Fifth Dimension. None of these songs really rank among her very best (or certainly her earthiest), and it's more something to be enjoyed by committed fans than recommended as the first or second stop for someone who wants more than a best-of collection. Still, some of the charms particular to Gentry her husky voice, and her fusion of country, folk, and pop remain in force, the most serious and intimate portraits ("Beverly," "Belinda," "Lookin' In," and "Marigolds and Tangerines") being the most impressive. ~ Richie Unterberger https://www.allmusic.com/album/patchwork-mw0000957407

Patchwork

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Jakob Bro - Bay Of Rainbows

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 47:11
Size: 110,2 MB
Art: Front

( 8:42)  1. Mild
( 8:35)  2. Red Hook
( 5:16)  3. Copenhagen
( 8:29)  4. Dug
( 4:51)  5. Evening Song
(11:17)  6. Mild  (Var.)

Danish guitarist Jakob Bro returns with another album made by his working trio with double bassist Thomas Morgan and drummer Joey Baron, previously heard on Streams (ECM, 2016). Recorded live at Jazz Standard in New York in July, 2017, it is also Bro's first live recording for the label. The repertoire mainly documents Bro originals that the trio has been playing for years, most of them predating his ECM albums as leader. Opener "Mild" was first recorded on Bro/Knak (Loveland Records, 2012). Bro begins it with gentle fingerstyle rubato playing, appropriate for the title. Bass and drums enter gradually, and the arrangement builds to looped guitar halfway through. It may be mild, but it crackles with creative energy, and the sound of a band with experience and chemistry. "Red Hook" was titled "Red Hook Railroad" when Bro recorded it on Pearl River (Loveland Records, 2007). One of his earliest compositions, it is named for the Red Hook section of Brooklyn where he shared an apartment during his time in New York. Baron's melodic tom-toms open the tune, and he takes an active role in the free for all of the climax. "Copenhagen" is reprised from Gefion (ECM, 2015), Bro's ECM debut as a leader, with Morgan and drummer Jon Christensen. It features a beautiful unaccompanied bass solo which ends the performance. "Dug" (the only track with no prior recording history) continues with bass (and drums). Bro goes for a big reverberant sound, with energetic overdriven guitar taking the energy level up to maximum. "Evening Song" comes from Balladeering (Loveland Records, 2009), perhaps the best known of his pre-ECM recordings. "Mild (var.)" is a very different version of the opening tune, demonstrating the open approach taken by the trio. If anything it is even more rubato and slower building, and Morgan's bass takes a more prominent role. Bay of Rainbows is a fine addition to Bro's already extensive discography. His ECM albums have featured a classic production sound, everything taking place in a large, reverberant virtual space. It is satisfying to hear this music played in a club, coming to life in front of an audience and a potent demonstration of this trio's experienced, inspired music-making. ~ Mark Sullivan https://www.allaboutjazz.com/bay-of-rainbows-jakob-bro-ecm-records-review-by-mark-sullivan.php

Personnel: Jakob Bro: guitar; Thomas Morgan: double bass; Joey Baron: drums.

Bay Of Rainbows

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Jazmin Ghent - The Story of Jaz

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 38:44
Size: 90,7 MB
Art: Front

(4:47)  1. Funk Junk (feat. James P Lloyd)
(4:21)  2. Heat (feat. Phillippe Saisse & Kim Scott)
(3:24)  3. Amends (feat. Jeff Lorber)
(4:15)  4. Work Wit' It
(4:01)  5. Love Is
(4:52)  6. Real World
(4:05)  7. Self Love
(3:16)  8. (You Make Me Feel Like) A Natural Woman
(5:38)  9. Great Is Thy Faithfulness

“Heat” features Jazmin Ghent’s bright, rich and soulful tone. She is joined by special guests, Smooth Jazz flutist, Kim Scott and Grammy Nominated multi-instrumentalist, Philippe Saisse. “Heat” will leave listeners feeling uplifted and regenerated. It has a rhythmic beat and jazz styling that sets your body and your feet in motion. https://store.cdbaby.com/cd/jazminghent8

The Story of Jaz

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