Danny Gatton's Redneck Jazz Explosion - Recorded Live December 31, 1978

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 54:18
Size: 131,0 MB
Art: Front

(6:30)  1. Opus De Funk
(9:23)  2. Song of India
(2:22)  3. Raisin' The Dickens
(9:49)  4. Killer Joe
(5:57)  5. Rock Candy
(6:14)  6. Land Of Make Believe - Tequila
(7:31)  7. Little Darlin'
(4:18)  8. Comin' Home, Baby
(2:10)  9. Famous Blue Raincoat - Nutcracker (sound check)

Few recordings can match the immediacy, the exhilaration, and the untamed virtuosity heard on this disc. Danny Gatton was a relatively unknown guitar master comfortable with myriad styles when he first hooked up with steel guitar force Buddy Emmons in 1977. Emmons, like Gatton a musical omnivore, had for two decades been one of Nashville's premier musicians, and when the two joined forces for the first time, the synergy was amazing and the compatibility was magical. After a few occasional gigs throughout 1978, the pair finally toured as the Redneck Jazz Explosion, a group that melded the jazz sensibility with country, blues, bluegrass, rock, and more, thereby moving beyond any simple categorization. 

This remarkable set comes from a New Year's Eve 1978 show in Gatton's native D.C., and it finds two incredibly talented men playing in an uninhibited but focused fashion. In terms of sheer technical prowess, Gatton and Emmons had few peers on their respective instruments, but what sets this collaboration apart is how speed and agility balances so nicely with feeling and creativity. The short-lived Explosion stands as one of the great instrumental ensembles, a lightning-in-a-bottle partnership that thankfully is documented on this essential recording. ~ Marc Greilsamer https://www.amazon.com/Redneck-Jazz-Explosion-Recorded-December/dp/B000001XR0

Personnel:  Guitar – Danny Gatton;  Bass – Steve Wolf;  Drums – Scott Taylor;  Pedal Steel Guitar – Buddy Emmons

Recorded Live December 31, 1978

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Eric Wyatt - Borough of Kings

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 56:32
Size: 130,2 MB
Art: Front

( 5:58)  1. The Peoples Champ
( 7:12)  2. One for Hakim
( 7:25)  3. Borough of Kings
( 4:15)  4. Can He Come Out
( 8:10)  5. Ancient Chinese Secrets
(10:19)  6. Quest
( 6:35)  7. Countdown
( 6:35)  8. What Would I Do Without You

The borough of Kings (County) a.k.a. Brooklyn, NY has been saxophonist Eric Wyatt's home base from birth. It was there that he was exposed to jazz, met some of the legends of the music, and began to forge his own voice on saxophone. Here, on his fifth album to date, he delivers an intense brew that speaks volumes about what he's learned during his time in Brooklyn. Wyatt is a no holds barred player with an edge to his work. Thankfully, he found some simpatico quartet mates that are willing and able to match his energy level on this outing. Pianist Benito Gonzalez delivers strong-hammered support, intriguing right hand lines tempered by a firm left hand, and spiky suggestions, playing the post-modern McCoy Tyner role to Wyatt's John Coltrane. Drummer Shinnosuke Takahashi pummels his drums and pushes the band on most occasions, but he's able to adjust to climates that call for a little more restraint without much of a problem. Bassist Ameen Saleem, the final piece of the puzzle, serves as the connective tissue of the band. He bounds along beneath it all, playing around and playing off of Gonzalez and Takahashi. There are a few places where he almost gets muscled out of the aural picture by his heavy-hitting band mates, but it's usually not an issue. Six of the eight tracks on Borough Of Kings are Wyatt originals, with Gonzalez's "Quest" and a slamming-turned-settled take on Coltrane's "Countdown" filling out the program. Wyatt's writing, no surprise, can occasionally fall into the "Coltrane-ish" category note the dark-lined, bluesy "One For Hakim" and the spiritual introduction to the up-tempo title track but he has other tricks up his sleeve. "The Peoples Champ" is a focused and fiery number that balances darkness and light; "Can He Come Out," which features trumpeter Duane Eubanks and has Kyle Poole taking over the drum chair, is pure funky fun; and everybody has a ball on the straightforward-and-swinging "What Would I Do Without You," which brings trombonist Clifton Anderson into the picture. The aforementioned guests help to add another dimension to the music, but this remains Wyatt's show. His stentorian saxophone navigates the ship through some exciting twists and turns, making Borough Of Kings a high-energy thrill ride from start to finish. 

~ Dan Bilawsky https://www.allaboutjazz.com/borough-of-kings-eric-wyatt-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Eric Wyatt: saxophones, flute; Benito Gonzalez: piano; Ameen Saleem: bass; Shinnosuke Takahashi: drums; Duane Eubanks: trumpet (4); Kyle Poole: drums (4); Duane Eubanks: trumpet (4); Clifton Anderson: trombone (8).

Borough of Kings

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Rebecca Hardiman - My Father's Business

Styles: Vocal 
Year: 2009
File: MP3@320K/s
Time: 40:10
Size: 93,0 MB
Art: Front

(3:45)  1. Oh Boy, What Joy
(3:54)  2. Lack, You Have to Get Back
(5:18)  3. With the Words of My Mouth
(4:09)  4. What a Great Salvation
(4:10)  5. My Father's Business
(3:49)  6. Your Yoke Is Easy
(6:57)  7. It's In Him / Psalm 116
(3:41)  8. The Joy and the Strength of the Lord
(4:23)  9. I'll Only Believe

Rebecca started her professional career with the Boston based vocal jazz group The Ritz, performing at the 1987 Montreal Jazz Festival as well as jazz clubs throughout the country.  While with The Ritz, she recorded a CD entitled The Ritz for Denon Columbia Records. Rebecca moved to Portland Oregon in 1990 and started the vocal jazz group Euphoria, performing throughout the Northwest for over a decade, most notably opening for Mel Torme’ in 1993 at the Hult Center in Eugene Oregon.  In 2013 she embarked on a solo career and quickly became a favorite vocalist with jazz musicians. 

Rebecca’s style is often compared to Ella Fitzgerald, June Christy, and Doris Day.  Rebecca is also a co-founder of the annual Aurora Colony Vineyards Jazz Festival, and has helped develop several jazz venues in the Willamette Valley area in her home state of Oregon.  She performs throughout the Northwest, as well as jazz clubs and various venues in New England, Hawaii, and California. 

Her CD’s include: The Ritz (1987), My Father’s Business (2009) I’ll Remember April (2013), Easy Living (2015), The Merriest (2016), Honoring Ella:A 100th Birthday Tribute (2017). http://www.rebeccahardiman.com/bio/

My Father's Business

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Horacio Fumero & Albert Bover - Caminhos Cruzados

Styles: Post Bop, Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 56:28
Size: 129,9 MB
Art: Front

(3:40)  1. Chimango
(4:43)  2. Fall
(5:09)  3. Monk's dream
(8:10)  4. El corazón al sur
(5:43)  5. Raynald's doubt
(8:19)  6. Virgo
(6:49)  7. The meaning of the blues
(6:43)  8. Caminhos cruzados
(7:08)  9. Carancho

Born in Cañada Rosquín, province of Santa Fe, Argentina, in 1949, he studied at the Manuel De Falla Conservatory in Buenos Aires and at the Conservatoire Superieur de Musique in Geneva, Switzerland. In 1973 he traveled to Europe with Gato Barbieri to participate in the Montreux Jazz Festival and make several tours of the main European Jazz Festivals (Warsaw, Rome, Paris, Stockholm, Madrid, Zagreb, Copenhagen). Residing in Geneva, he continued his studies and collaborated with La Orquestre a 'Cordes de Lausanne and with various jazz groups in Switzerland. In 1980 he settled in Barcelona. Since 1981 he was part of the stable trio of Tete Montoliu with whom he worked continuously until his death in 1997. With the trio, or as a freelance also, he worked with, among others, Freddie Hubbard, Johnny Griffin, Horace Parlan, Danilo Perez, Joe Newman, Harry "sweets" Edison, Philip Catherine, Geoge Cables, Idris Muhammad, Bobby Hutcherson, Cedar Walton, Sal Nistico, Jerome Richardson, Oliver Jones, Woody Shaw, Benny Golson, James Moody, etc. He has performed as a soloist with the Orquestra de Cambra of the Teatre Lliure of Barcelona, the Symphony Orchestra of Granada, the ONE (National Orchestra of Spain), the Chamber Orchestra "Andrés Segovia" of Madrid; also with Lalo Schiffrin and the OCB (Barcelona Symphony Orchestra). In the field of Flamenco he has worked with artists such as Chano Dominguez, Martirio, Chicuelo, Mayte Martin, Ginesa Ortega, with Miguel Poveda he recorded the CD "Coplas del querer", awarded as Best Spanish Song Album at the Music Awards 2010 and with the newly released DÚO with Pedro Javier González (guitar). He works regularly with the majority of soloists living in our country: Lluis Vidal, Albert Bover, David Xirgu, Gorka Benitez, Jorge Pardo, Jose Reinoso, Antonio Serrano, Manel Camp, Jordi Bonell, Raynald Colom, etc.  While with musicians from Argentina he usually collaborates with Rodolfo Mederos, Pablo Mainetti, Adrián Iaies, Susana Rinaldi, Horacio Ferrer, Luis Salinas, Liliana Herrero, etc. Since 1999 he has been called by the SGAE to act in the editions of the Concierto Homage to Tete Montoliu. He has received different recognitions such as the prizes for his professional career in the newspaper El Mundo (Madrid), La Bilbaína, Rojales (Murcia) and MiraJazz (Miranda de Ebro); Jazz between friends (TVE) 1989; Enderroc Magazine (Barcelona) Best Jazz Artist 2006; Grammy nomination with Adrián Iaies, Association of Jazz Music of Catalonia and the JazzTerrasMan 2013 of Terrassa. Horacio Fumero lives in Barcelona, is a professor at the Escola Superior de Música de Catalunya (ESMUC) and the Superior Conservatory of the Liceu de BCN. http://horaciofumero.com/web/?page_id=8

Personnel:  Albert Bover (piano), Horacio Fumero (bass)

Caminhos cruzados

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Roy Brooks & the Artistic Truth - Black Survival

Styles: Jazz, Post Bop
Year: 1973
File: MP3@320K/s
Time: 29:13
Size: 67,1 MB
Art: Front

( 5:04)  1. Black Survival
( 4:09)  2. Black Survival - Here and Now
( 7:30)  3. Sahel
(10:15)  4. Relief
( 2:15)  5. Black Survival - Prologue

"Roy Brooks and the Artistic Truth's Black Survival album is a true holy-grail for deep and spritual jazz collectors around the world. Black Survival is reissued here, digitally remastered and cased in bespoke original artwork exact reproduction on hardboard Japanese-style box case CD. This album was originally independently released to raise funds to combat the ongoing drought in the Sahel region of Africa (an area covering parts of Senegal, Mali, Burkina Faso, Nigeria, Chad, Darfur, Sudan and Ethiopia). In his long and distinguished career, the legendary Detroit-born drummer Brooks played with everyone from Yusef Lateef, Pharoah Sanders, Max Roach, Charles Mingus. From 1959-64 he was in the Horace Silver Quintet performing on classic Blue Note albums such as Song For My Father. During his lifetime Brooks released precious few solo albums. His debut, Beat, was released in 1963 on Motown's then new off-shoot jazz label Jazz Workshop. His connection with his hometown label dated back to his time working with The Four Tops. In 1972, Brooks formed the Artistic Truth. Black Survival, the Sahel Concert at the Town Hall was originally released on the small independent Im-Hotep Records in Harlem in 1974 (which also released Brook's earlier Ethnic Expressions). After many years on the New York jazz scene, Brooks returned to Detroit in 1975, where he continued to perform with the Artistic Truth as well as forming the collective Musicians United to Save Indigenous Culture (MUSIC) along with Strata founder Kenny Cox and members of the Tribe collective, Wendell Harrison and Harold McKinney."

Personnel:  Bass – Reggie Workman;  Congas – Lawrence Williams;  Drums – Roy Brooks;  Oboe – John Stubberfield;  Piano – Joe Bonner;  Saxophone – Sonny Fortune;  Trumpet – Cecil Bridgewater;  Vocals – Dee Dee Bridgewater, JorDora Marshall

Black Survival

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William Ash - Moonlight And Stars

Styles: Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 70:33
Size: 163,2 MB
Art: Front

(5:07)  1. Willie's Tempo
(6:45)  2. Moonlight And Stars
(6:43)  3. Soon
(5:14)  4. Caravan
(6:24)  5. Never Let Me Go
(6:09)  6. Joanne
(8:36)  7. Blues For Paul
(4:34)  8. Small Crawl
(6:45)  9. Jump Start
(4:23) 10. Parker's Waltz
(5:22) 11. Song For Mitch
(4:27) 12. Ella

William Ash has been playing guitar most of his young life. He began learning the instrument at the age of nine, and by the time he was twelve he was working hard at mastering Wes Montgomery's style. During his high school years William studied with Barry Harris and Rodney Jones, and won the Young Talent Search of the National Association of Jazz Educators (NAJE), as well as the McDonald's Combo Contest. This led to him performing as a soloist with a big band at the Oakland Jazz Festival at the request of Buddy Montgomery, brother of the late Wes. William has continued to work as a sideman with a host of jazz legends, including Jack McDuff, Cecil Payne, Roy Hargrove, and Larry Goldings. On his own instrument, William acknowledges Wes Montgomery as a major influence, and William has been selected several times to appear in tributes to Montgomery. William's style emerges from his experiences playing with the great bop masters, as well as from playing in hard-driving organ combos with the likes of John Patton and Bobby Forrester, and you can clearly hear how he combines twisting bop melodies with deep groove. William Ash astounds on guitar, performing in a hard-swinging trio setting. William deploys his craft sincerely, and without guile, always drawing on his deep jazz roots. "a soulfully mellow sound with a driving dynamic approach" ~ All About Jazz

Personnel: Acoustic Bass – Paul Gil; Acoustic Guitar – William Ash; Drums – Jimmy Madison , Mark Taylor

Moonlight And Stars

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Harold Mabern Trio - Lookin' on the Bright Side

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 50:57
Size: 116,8 MB
Art: Front

(5:35)  1. Look on the Bright Side
(5:22)  2. Moment's Notice
(8:01)  3. Big Time Cooper
(6:10)  4. Au Privave
(5:09)  5. Love Is a Many Splendored Thing
(9:21)  6. It's a Lonesome Old Town
(6:54)  7. Too Late Fall Back Baby
(4:23)  8. Our Waltz

Harold Mabern was nearing his 57th birthday around the time of the two 1993 studio sessions that provided the music for this Japanese release; he's clearly in a mood to celebrate, as the CD begins with a driving hard bop original, "Look on the Bright Side," powered by his aggressive risk-taking playing and fueled by a lower key solo by young bassist Christian McBride and a series of powerful drum breaks by seasoned veteran Jack DeJohnette. Although Mabern's arrangement of John Coltrane's "Moment's Notice" is enjoyable, it is because the rhythm simulates a jaunty stroll while the leader unleashes some pyrotechnics. Likewise, Charlie Parker's "Au Privave" is never rushed, but executed with finesse. The musicians have fun disguising the introduction to "Love Is a Many Splendored Thing," a piece that can turn saccharine in the wrong hands, but their lively interplay in a brisk setting makes it work. 

"It's a Lonesome Old Town," a piece long forgotten by most players, has a thunderous introduction, but Mabern reverts to its melancholy nature in the subdued body of the piece, though he can't resist tossing in a little of his lightening runs and heavy tremolos. He also plays two originals, including his gospel-flavored "Too Late Fall Back Baby" and the strutting "Big Time Cooper," named for a diminutive (five-foot four-inches) pianist Mabern admired years earlier in Chicago. Highly recommended for hard bop fans. ~ Ken Dryden https://www.allmusic.com/album/lookin-on-the-bright-side-mw0000215122

Personnel:   Harold Mabern - piano, composer;  Christian McBride - bass;  Jack DeJohnette - drums

Lookin' on the Bright Side

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Rebecca Hardiman - Four - Single

Styles: Vocal Jazz
Year: 2016
File: MP3@320K/s
Time: 3:29
Size: 8,2 MB
Art: Front

(3:29)  1. Four

Rebecca started her professional career with the Boston based vocal jazz group The Ritz, performing at the 1987 Montreal Jazz Festival as well as jazz clubs throughout the country.  While with The Ritz, she recorded a CD entitled The Ritz for Denon Columbia Records. Rebecca moved to Portland Oregon in 1990 and started the vocal jazz group Euphoria, performing throughout the Northwest for over a decade, most notably opening for Mel Torme’ in 1993 at the Hult Center in Eugene Oregon.  In 2013 she embarked on a solo career and quickly became a favorite vocalist with jazz musicians. Rebecca’s style is often compared to Ella Fitzgerald, June Christy, and Doris Day.  Rebecca is also a co-founder of the annual Aurora Colony Vineyards Jazz Festival, and has helped develop several jazz venues in the Willamette Valley area in her home state of Oregon.  She performs throughout the Northwest, as well as jazz clubs and various venues in New England, Hawaii, and California. http://rebeccahardiman.com/bio/

Four - Single

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Jacqui Hicks with the John Critchinson Trio - A Child Is Born

Styles: Vocal And Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 58:39
Size: 135,3 MB
Art: Front

(4:09)  1. All Or Nothing At All
(4:51)  2. She's Leaving Home
(4:54)  3. Monday Monday
(4:25)  4. I Only Have Eyes For You
(4:20)  5. Autumn Nocturne
(4:19)  6. Wonderful Tonight
(3:56)  7. It Ain't Necessarily So
(3:57)  8. Crazy
(4:30)  9. Bewitched, Bothered & Bewildered
(2:58) 10. A Child Is Born
(5:40) 11. The Nearness Of You
(6:07) 12. The Frim Fram Sauce
(4:26) 13. For All We Know

Great vocal jazz album from Jacqui Hicks, alongside pianist John Critchinson and special guests trumpeter Martin Shaw and saxophonist Bobby Wellins. Vocalist Jacqui Hicks and pianist John Critchinson have been working together for some 10 years in quartet and duet formats and they share the same quest for quality of music and song arrangements. In 2002, Jacqui joined John's trio of Dave Green and Tristan Mailliot and have been working world wide ever since.

Personnel: Jacqui Hicks (vocals), John Critchinson (piano), Dave Green (double bass), Tristan Mailliot (drums) with guests: Martin Shaw (trumpet & flugelhorn), Bobby Wellins (tenor saxophone)

A Child Is Born

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Richard "Groove" Holmes - Welcome Home

Styles: Jazz, Post Bop
Year: 1969
File: MP3@320K/s
Time: 34:16
Size: 80,7 MB
Art: Front

(7:20)  1. Groovin' Time
(5:09)  2. Oklahoma Toad
(4:56)  3. Upward Bound
(5:26)  4. The Madison Time
(2:44)  5. The Odd Couple
(2:48)  6. I'm In The Mood For Love
(3:24)  7. 98.6 - Lazy Day
(2:24)  8. Sunday Mornin'

Groovy set of soul jazz organ tracks that has Groove playing with a large-ish group that includes George Freeman, Tom Scott, Anthony Ortega, Wilton Felder, and Paul Humphrey. The set's not totally hard and funky, but it's got a nice soulful swinging groove, with a tight LA 60s sound to it. Includes a nice version of "Madison Time", plus "Groovin Time", "Oklahoma Toad", "Upward Bound", and "The Odd Couple". (Cover has unglued seams and a torn corner in the front panel.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/17477/Richard-Groove-Holmes:Welcome-Home

Personnel:  Richard "Groove" Holmes - organ;  Chuck Findley - trumpet;  Anthony Ortega, Tom Scott - alto saxophone;  Teddy Edwards - tenor saxophone;  Wilton Felder - baritone saxophone, electric bass;  Joe Sample - piano;  George Freeman, Michael Anthony - guitar;  Paul Humphrey - drums

Welcome Home

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John Handy - Hard Work & Carnival

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 78:36
Size: 181,0 MB
Art: Front

(6:59)  1. Hard Work
(5:40)  2. Blues For Louis Jordan
(7:11)  3. Young Enough To Dream
(3:47)  4. Love For Brother Jack
(4:38)  5. Didn't I Tell You
(4:44)  6. Afro Wiggle
(3:23)  7. You Don't Know
(3:29)  8. Carnival
(6:09)  9. Alvina
(5:59) 10. Watch Your Money Go
(5:16) 11. I Will Leave You
(8:16) 12. Love's Rejoycing
(4:08) 13. Make Her Mine
(2:46) 14. All The Things You Are
(6:06) 15. Christina's Little Song

Originally released separately on Impulse, this two-fer combines saxophonist John Handy's 1976 release Hard Work and Carnival, which came out the following year. These dates find Handy branching out from modern jazz and combining lite jazz with smooth R&B. "Hard Work" became a radio hit and the remaining tracks all original Handy compositions will appeal to fans of smooth jazz. Carnival is a bit more festive. The title cut has traces of the traditional melody associated with Sonny Rollins "Don't Stop the Carnival," but like the previous set, Carnival is mainly smooth jazz with synthesizers. The only cover version recorded for these dates is “All the Things You Are,” a duet with Reginald Burke on acoustic piano and Handy on alto. This two-fer offers very pleasant background music, but those expecting to hear Handy in a post-bop setting should skip this one. The music has been remastered and, while there are no bonus tracks or new liner notes, Impulse had the good taste to restore the original packaging: front and back cover art and liner notes. ~ Al Campbell https://www.allmusic.com/album/hard-work-carnival-mw0002250364

Personnel:  Alto Saxophone, Tenor Saxophone, Vocals, Backing Vocals, Percussion – John Handy;  Bass – James Jamerson, Sr. (tracks: 12), Ruddy Coleman (tracks: 8 to 11), Vince Jefferson (tracks: 13, 15);  Congas – Paulinho Da Costa (tracks: 13, 15), Tom Nichols (4) (tracks: 9 to 11);  Drums – Harold Jones (tracks: 13, 15), James Gadson (tracks: 1 to 7, 8, 10, 12), John Handy IV (tracks: 9, 11);  Electric Bass – Chuck Rainey (tracks: 1 to 7);  Guitar – Larry Carlton (tracks: 12), Lee Ritenour (tracks: 8), Mike Hoffmann (tracks: 1 to 7, 9 to 11);  Keyboards – George Spencer (tracks: 10), Hotep Cecil Barnard (tracks: 1 to 7); Keyboards, Synthesizer [ARP] – Lee Ritenour (tracks: 13, 15);  Percussion, Backing Vocals – Esmond Edwards;  Percussion, Congas – Eddie "Bongo" Brown (tracks: 1 to 7);  Piano, Keyboards, Synthesizer [ARP] – Reginald "Sonny" Burke;  Tabla – Zakir Hussain (tracks: 1 to 7)

Hard Work & Carnival

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Danny Gatton, Bobby Watson, Roy Hargrove And More... - New York Stories Vol 1

Styles: Guitar, Saxophone And Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 53:34
Size: 123,2 MB
Art: Front

(3:51)  1. Dolly's Ditty
(7:01)  2. Wheel Within A Wheel
(3:29)  3. Ice Maidens
(6:32)  4. Out A Day
(5:34)  5. Mike The Cat
(8:26)  6. The Move
(5:11)  7. A Clear Thought
(5:30)  8. 5/4
(7:56)  9. One For Lenny

This interesting outing by an all-star group (guitarist Danny Gatton, altoist Bobby Watson, trumpeter Roy Hargrove, Joshua Redman on tenor, pianist Franck Amsallem, bassist Charles Fambrough and drummer Yuron Israel) is most notable for featuring the brilliant Gatton in a jazz setting. Together the septet, performs nine originals by group members and Gatton and Watson emerge as the main solo stars. Despite its somewhat generic name, this advanced hard bop date is quite memorable. ~ Scott Yanow https://www.allmusic.com/album/new-york-stories-mw0000083242

Personnel:  Danny Gatton (guitar),Bobby Watson (alto saxophone), Joshua Redman (saxophone), Roy Hargrove (trumpet), Franck Amsallem (keyboards),  Charles Fambrough (bass), Yoron Israel (drums)

New York Stories; Vol 1

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Herbie Hancock, Michael Brecker, Roy Hargrove - Directions In Music: Live At Massey Hall

Styles: Piano, Saxophone And Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 78:27
Size: 183,1 MB
Art: Front

( 8:51)  1. The Sorcerer
( 6:34)  2. The Poet
(12:52)  3. So What / Impressions
( 8:17)  4. Misstery
( 7:30)  5. Naima
(10:27)  6. Transition
( 8:41)  7. My Ship
(15:11)  8. D Trane

True jazz enthusiasts are often purist by nature. So most of them tend to entertain remakes and tribute documents with a certain amount of trepidation. But enthusiasts and purists alike need not be concerned about the Hancock/Brecker/Hargrove document, Directions in Music: Celebrating Miles Davis and John Coltrane ' Live at Massey Hall. From the downbeat of the opening tune, "The Sorcerer," Herbie Hancock reminds us why he was and is one of the most sought after pianist in the genre. His deftness, technique and mastery of the instrument and the music holds this group together with the same quality that earned him attention while a sideman for Miles Davis in the '60s. He masterfully connects together this group's form, and its opening sets the tone for the whole recording. Whereas some don't consider Michael Brecker to be at the forefront of the classic jazz idiom, his presence on this record is no aberration. He definitely shines in a solo rendition of Coltrane's "Naima." He proves, that his study of the master tenor man's style has influenced his greatly. His own contribution to the project entitled, "D-Train," is a fifteen-minute epilogue. It meanders through different time signatures while holding steady to its defining rhythm. Herbie Hancock does some of his best work on the recording in the improv section. The young lion in the project is Roy Hargrove. The ever-emerging Grammy award-winning trumpeter continues the line of great players that spun the likes of Miles Davis. From is his first solo on "The Sorcerer," where he begins his playing away from the microphone and hits you with an unyielding fury of notes and sound, he entrances the listener. Hargrove's compositional contribution, "The Poet," is an obvious attempt, and by his own admission, to make use of space in the music  which happens to be a Miles Davis trademark. And like Davis, he seems to be searching for something in the music. His playing exemplifies his growth both as composer and soloist. This record also works very well as a live recording. The instant audience feedback lends energy to shaping the music. This is where Herbie Hancock's genius is most apparent in holding together the music. Drummer Brian Blades and bassist John Patitucci round out the rhythm section and fit in quite nicely. This ensemble did an excellent job of remembering, taking their influences and making the music their own. ~ Michael L.Nelson https://www.allaboutjazz.com/directions-in-music-roy-hargrove-verve-music-group-review-by-michael-l-nelson.php

Personnel: Herbie Hancock: piano; Michael Brecker: tenor saxophone; Roy Hargrove: trumpet, flugelhorn (2, 7); John Patitucci: bass; Brian Blades: drums.

Directions In Music: Live At Massey Hall

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Izaline Calister - Speransa

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 51:10
Size: 117,5 MB
Art: Front

(3:28)  1. Mi Pais
(4:02)  2. Gym
(3:25)  3. Pueblo Lanta
(3:32)  4. Kalor
(3:49)  5. Porfin
(3:30)  6. Awa
(4:07)  7. La la la
(4:40)  8. Speransa
(3:26)  9. Juny
(3:52) 10. Forsa
(4:05) 11. Amigu
(4:09) 12. Preteksto
(4:59) 13. Kadena enkantá

Dutch-Curacaoan singer/songwriter Izaline Calister issued her first full-length release, Sono di un Muhe, in 2000. In 2002 Mariposa was released on Easy C Productions, followed by Krioyo in 2004 and Kanta Hélele two years later. Both discs were issued on the Network label. The release of her fifth album, Speransa, found Calister reaching number 93 on the Dutch album charts in 2009. Two years later Di Fiesta was issued on the Brigadoon label. ~ Al Campbell https://itunes.apple.com/us/album/speransa/316698431

Personnel:  Izaline Calister - lead vocals, backing vocals; Randy Cordilia - vocals; Giovanca Ostiana - backing vocals; Neco Novellas - backing vocals; Tamara Nivillac - backing vocals; Praful - backing vocals; Bart Dewin - backing vocals; Ruud Breuls - flügelhorn; Ed Verhoeff - acoustic and electric guitars; Marc Bischoff - grand piano; Yerman Aponte - electric bass; Pernell Saturnino - percussion; Roël Calister - drums, percussion

Speransa

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Charlie Haden and Hank Jones - Come Sunday

Styles: Piano Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 42:28
Size: 104,7 MB
Art: Front

(4:25)  1. Take My Hand Precious Lord
(2:29)  2. God Rest Ye Merry Gentlemen
(2:58)  3. Down By The Riverside
(4:11)  4. Going Home
(2:08)  5. Blessed Assurance
(2:58)  6. It Came Upon The Midnight Clear
(2:53)  7. Bringing In The Sheaves
(1:56)  8. Deep River
(2:59)  9. Give Me That Old Time Religion
(2:29) 10. Sweet Hour Of Prayer
(3:56) 11. The Old Rugged Cross
(3:08) 12. Were You There When They Crucified My Lord
(2:16) 13. Nearer My God To Thee
(3:36) 14. Come Sunday

Come Sunday continues the dialog between two jazz masters bassist Charlie Haden and pianist Hank Jones that began with 1995's Steal Away (Verve). The topic of discussion concerns hymns, spirituals, and beloved tunes which are, without a doubt, personal and familiar to both musicians. Jones (the elder sibling of jazz luminaries Elvin Jones and Thad Jones) was the son of a devout Baptist deacon while Haden grew up performing in his family's radio show, which included country and American folk music. Though conversational in tone, the date's significance is understated more than just two renowned musicians playing together. Recorded shortly before his death in 2010, it is one of Jones' final recordings, and serves as a reminder of his lyrical touch, accompanied here by Haden's empathy and resonance.  Any indications of Jones health were nonexistent. At 91, his melodicism and technical abilities continue to astound, whether swinging gracefully on "Down by the Riverside" or gently on "Bringing In The Sheaves," as Haden's workmanship guides with unassuming assurance. The two seemed to be enjoying themselves immensely, keeping the tunes pretty much intact but also illuminating their inner qualities, as the swanky cadence of "Give Me That Old Time Religion" silently echoes the song's sentiment, "It's good enough for me."  There are moments, such as the duo's powerful exchange in "Were You There When They Crucified My Lord?" and the serenity in "Nearer My God To Thee," that speak of the musicians' delicate and self-effacing approach. At first, the two seasonal songs "God Rest Ye Merry, Gentlemen" and "It Came Upon A Midnight Clear" seem totally out of place, but ultimately fit perfectly within the context of this time-weathered set. 

While the covers are taken primarily from sacred compositions, the tunes transcend both religious and secular boundaries and can be appreciated on many levels. From the duo's unobtrusive interpretations to the way in which the Jones and Haden communicate, the melodies contain a quiet magic whose crowning jewel is found in the beloved title track, written by the great Duke Ellington. It is an apropos sentiment to this moving release. ~ Mark F. Turner https://www.allaboutjazz.com/come-sunday-charlie-haden-emarcy-review-by-mark-f-turner.php

Personnel: Charlie Haden: bass; Hank Jones: piano.

Come Sunday

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Joe Williams - Feel the Spirit

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 54:21
Size: 125,0 MB
Art: Front

(5:43)  1. In the Beginning/My Lord
(5:11)  2. Feel the Spirit
(4:49)  3. Go Down Moses/Wade in the Water
(3:47)  4. Great Camp Meeting
(5:12)  5. Were You There?
(4:18)  6. Walk with Me
(4:16)  7. I Couldn't Hear Nobody Pray
(3:56)  8. In My Heart
(3:11)  9. Little David
(5:13) 10. His Eye Is on the Sparrow
(4:25) 11. Pass It On
(3:32) 12. The Lord's Prayer
(0:41) 13. Doxology

Joe Williams had been wanting to record an album of spirituals since 1957 and this is it. The veteran singer gives a blues feeling and swing to the traditional pieces which range from the rollicking title cut to "Go Down Moses," "I Couldn't Hear Nobody Pray" and "The Lord's Prayer." He is assisted by Marlena Shaw (a particularly effective partner on three of the numbers) and a five-piece chorus on four other songs. The backing usually features Patrice Rushen getting organ sounds out of her synthesizer. Despite the one-message content, the music has more variety than one might expect and Joe Williams acquits himself very well on this sincere and heartfelt effort. ~ Scott Yanow https://www.allmusic.com/album/feel-the-spirit-mw0000174115

Personnel: Joe Williams - vocals;  Marlena Shaw - vocals; Patrice Rushen - synthesizer; Jerry Peters - piano; Phil Upchurch - guitar; Abraham Laboriel - bass; Harvey Mason - drums

Feel the Spirit

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Roy Brooks - The Free Slave

Styles: Jazz, Post Bop
Year: 1970
File: MP3@320K/s
Time: 46:05
Size: 106,0 MB
Art: Front

(12:15)  1. The Free Slave
(10:55)  2. Understanding
( 9:08)  3. Will Pan's Walk
(13:45)  4. Five for Max

Originally released on the Muse label, this album is of vital importance not only because it is one of Brooks' few dates as leader, but also because it introduced much of the jazz world to trumpeter Woody Shaw, tenor saxophonist George Coleman, pianist Hugh Lawson, and bassist Cecil McBee. Recorded at the Left Bank Jazz Society in Baltimore, MD, Brooks and company reflect the music of the day, from straight post-bop and soul-jazz to ultra-modern sounds and unique percussion musings. There are four lengthy selections three written by Brooks, one by McBee. The set starts with the title track, which features soaring horn lines and a steady feel-good boogaloo fueled by ostinato piano and bass. Coleman's smooth tenor and Shaw's pungent trumpet contrast each other to good effect on this number. "Understanding" features a head where lead trumpet meets harmonious tenor. Shaw's trumpet solo intensifies Brooks' lovelight beat, and the piece ends in ticktock mode with counterpointed horns and delirious gong ringing. "Will Pan's Walk" has the seeds of a classic, with McBee's heavy ostinato contrasting Lawson's delicate shadings. On the finale, "Five for Max," Brooks cops many of Max Roach's signature trappings and adds a few of his own, including using a breath-a-tone device that allows him to heighten or lower the pitch of his drums by exhaling or inhaling through a pair of plastic tubes. Brooks can drive 'em completely wild and does on this exciting piece of modal modern jazz. Of course, Coleman, Shaw, Lawson, and McBee are nothing less than world-class. This is a band for the ages. ~ Michael G.Nastos https://www.allmusic.com/album/the-free-slave-mw0000037801

Personnel:  Roy Brooks - drums;  Woody Shaw - trumpet;  George Coleman - tenor saxophone;  Hugh Lawson - piano;  Cecil McBee - bass

The Free Slave

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Eric Le Lann - Le Lann, A.Foster, David Kikoski And Douglas Weiss

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 51:53
Size: 119,6 MB
Art: Front

(7:17)  1. Yesterdays
(7:37)  2. Ayam
(6:18)  3. C'est la nuit Lola
(5:30)  4. Le Bleu d'Hortense
(7:14)  5. You don't know what love is
(5:19)  6. Today I fell in love
(5:18)  7. Herve in Black and Blue
(7:17)  8. Ayam (alt)

Trumpeter Eric Le Lann must be a late bloomer according to the studio photographs included on this recording. His personal sound also reflects that he is a developing jazz musician, featuring a diffuse sound that occasionally drifts off into sunset horizons. With minor-key flourishes and fading-light tonalities, Le Lann is definitely a work in progress as he sails through calm waters on this mix of standards and originals whose focus is dimly lit, smoky, and elusive to a small degree. Certainly Le Lann has hired a top-notch band to back his hazy sound, with the always extraordinary pianist David Kikoski, veteran drummer Al Foster, and solid pro bassist Douglas Weiss. Perhaps the sound of this brassman takes getting used to as he sounds like nobody else, but that in fact might be his ace in the hole. His rounded, softer edges may sound somewhat enigmatic, but to others strike an appealing chord far removed from the modern edgy or more heartily swinging vintage horn players. His warmth is easily heard on the well-worn "Yesterdays" and the light bossa treatment of "You Don't Know What Love Is," where his legato-based stream of sounds comes through clearly. His originals sport French titles like the somber funereal dirge "C'est la Nuit Lola" and the bopper "La Bleu d'Hortense," while "Hervé in Black and Blue" reflects the style of Dizzy Gillespie and the composition flavor of Benny Golson and "Today I Fell in Love" is a light funk strut with Kikoski on Fender Rhodes electric piano for contemporary contrast. There are two versions of "Ayam," both paced in easy swing where Le Lann's unanchored, wandering mood is laid down gently. The strength of the backing trio bolsters the trumpeter immeasurably in his favor in an overall credible effort, not essential or spectacular, but fateful via a pleasant mood. ~ Michael G. Nastos https://www.allmusic.com/album/le-lann-kikoski-foster-weiss-mw0000831555

Personnel:  Eric Le Lann - trumpet;  Al Foster - drums;  David Kikosky - piano;  Douglas Weiss - acoustic bass

Le Lann Foster Kikoski Weiss

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Don Byron - Love, Peace, And Soul

Styles: Clarinet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 73:51
Size: 169,7 MB
Art: Front

( 6:08)  1. Highway To Heaven
( 6:24)  2. When I've Sung My Last Song
( 7:54)  3. It's My Desire
( 4:49)  4. Sham Time
( 5:19)  5. Consideration
(10:09)  6. Take My Hand, Precious Lord
( 3:54)  7. Beams Of Heaven
( 6:22)  8. Hide Me In Thy Bosom
( 5:30)  9. Himmm
( 7:11) 10. I've Got To Live The Life I Sing About In My Song
( 4:34) 11. Didn't It Rain
( 5:31) 12. When I've Done My Best

Don Byron's catalog reveals him to be a musical chameleon and master conceptualist. The range of music he's had fun melding with jazz Raymond Scott's, Mickey Katz's classical arias and lieder, Blaxploitation funk and more is expansive. It should come as no surprise then, that Love, Peace and Soul is an album of (mostly) classic gospel tunes, primarily written by Thomas A. Dorsey. It was Dorsey who kept the blues and ring-shout lineages inherent in gospel as it evolved, and revolutionized the music in the process. The other inspiration here is master guitarist and vocalist Sister Rosetta Tharpe. While she played primarily sacred music drenched in jazz and blues, she moved effortlessly between it and secular tunes. Byron's New Gospel Quintet are D.K. Dyson on vocals, pianist Xavier Davis, bassist Brad Jones, and drummer Pheeroan akLaff, with guest appearances by guitarists Brandon Ross and Vernon Reid, trumpeter Ralph Alessi, vocalist Dean Bowman, and baritone saxophonist J.D. Parran. Byron’s clarinet and akLaff's tom-toms introduce "Highway to Heaven," adding the spirit of Sidney Bechet's and Louis Armstrong's New Orleans jazz to Dorsey's blues before Dyson cuts loose on the vocals; Jones' funky bassline makes the entire thing pop. The spirit of improvisation on this set is alive and well too, as evidenced by "When I've Sung My Last Song," the very next cut. Byron's clarinet and Dyson's vocal play on and around the melody before the band enters, and while Dyson moves more toward the straighter end of the lyric, akLaff creates a slippery sense of time and establishes a jazz groove, and Davis' piano solo solidifies it. Given the feel of the album's first three sacred numbers, the juxtaposition of Eddie Harris' funky party anthem "Sham Time" feels right at home. Even the more reverential numbers, such as Dorsey's "Take My Hand Precious Lord" (introduced by a beautiful duet between Byron's saxophone and Dyson's vocal) carry blues into melodic jazz improvisation. Charles Tindley's "Beam of Heaven" is drenched in early blues, from Jones' bumping bassline, Byron's swooping clarinet, akLaff's shuffling kit, and Ross' acoustic slide guitar. Dyson's vocal is simply sublime. In Dorsey's “I’ve Got to Live the Life I Sing About," the hard blues in Tharpe's example underscore the message in the lyric. Love, Peace and Soul is another successful Byron experiment, but it's more than that. While its grooves are not a vision of gospel music since Dorsey, the music points to possibilities for the future that, like Dorsey's and Tharpe's examples, never lose sight of the blues. ~ Thom Jurek https://www.allmusic.com/album/love-peace-and-soul-mw0002289389

Personnel: Don Byron: clarinets and saxophones; DK Dyson: voice, choirs; Xavier Davis: piano, choirs; Brad Jones: acoustic and electric bass, choirs; Pheeroan Aklaff: battery. Guests: Brandon Ross: electric and acoustic guitar; Vernon Reid: electric guitar; Dean Bowman: solo voice; Ralph Alessi: trumpet; JD Parran baritone sax.

Love, Peace, And Soul

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Lisa Hilton - The New York Sessions

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 45:33
Size: 104,9 MB
Art: Front

(3:11)  1. Both Sides Now
(3:19)  2. Over And Over Again
(3:24)  3. Just Want To Be With You
(3:46)  4. A Bit Of Soul
(5:33)  5. Emily
(4:03)  6. Seduction
(4:10)  7. The Last Time
(3:30)  8. Where Are You Now
(3:33)  9. Listen To Your Heart
(3:17) 10. Epistrophy
(3:23) 11. Mystery
(4:20) 12. Both Sides Now Alt Tk

The New York Sessions is the ninth release by pianist Lisa Hilton, whose last name lovingly adorns the bath towels in the suitcases of itinerant musicians around the world. A self-produced and largely self-motivated musician from the rougher section of Malibu, Hilton's avowed influences and illustrious associations promise great things but the world is a harsh place, and sometimes promises are broken. Hilton is surrounded by a mighty supporting cast, but even a cursory listen reveals that their skills are conspicuously surplus to requirements. How any pianist could assemble a rhythm section that boasts Christian McBride and Lewis Nash, without even the slightest forward momentum, is completely beyond the grasp of this jaded but earnest critic. The musicians are not at fault, since Hilton's compositions and musicianship are uniformly uninspiring, repetitive, and just plain inept. Two takes of "Both Sides Now" showcase Hilton's thrilling execution of major scale runs in the key of C. The aptly titled "Over and Over Again" proves to be a futile, redundant and pedestrian effort all key elements of her compositional and improvisational abilities. "Just Want to Be With You" once again features Hilton's uncanny mastery of the major scale, as the listener is blissfully swept above the clouds and then unceremoniously dropped into a dumpster, despondent and disappointed. From the pantheon of great American music, Hilton has chosen Ray Charles' "A Bit of Soul," (a very little bit of soul, indeed), and manages to transform a pot full of hot gumbo into cold porridge in the span of three minutes and forty-six seconds. "Emily" isn't as bad, despite a few clams and harmonic bypasses, but the real horror here is Monk's "Epistrophy," which finds the pianist in a battle with Monk's trademark, harmonically rich arpeggios. Here's a hint; the arpeggios win the battle, but the hapless listener ultimately loses the war. Now and then, independently produced recordings reveal great work deserving wider recognition, and this disc is certainly not among them. Conventional musical discourse is impossible to apply to works by musicians with ample means and poor skills. Lisa Hilton's acknowledged influences should include the patron saints of self-publishing; Johann Gutenberg, Thomas Paine and, of course, William Randolph Hearst. Their historic efforts have given Hilton the mechanism, the freedom, and the wherewithal to forge a career in the 21st century. Self-identified jazz musicians such as Hilton, whose delusions of street credibility, questionable claims of technical skill, and erroneous assertions of artistic merit somehow consistently lack supporting evidence in their work. So here goes: The New York Sessions is great fodder for the aspiring dilettante, a must for background music at the next gala luncheon, and an ideal coaster for your next cocktail party. Sadly, the only swing to be found on this disc is in the motion of the pendulum, as it ambivalently traverses the arc between philanthropy and misanthropy. In the immortal words of Humphrey Bogart, at the very least, "We'll always have Paris."~ Ken Kase https://www.allaboutjazz.com/the-new-york-sessions-lisa-hilton-self-produced-review-by-ken-kase.php

Personnel: Lisa Hilton: piano; Christian McBride: bass; Lewis Nash: drums; Jeremy Pelt: trumpet and flugelhorn; Steve Wilson: sax.

The New York Sessions

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