Lita Roza - Listening in the After-Hours

Styles: Vocal
Year: 1956
File: MP3@320K/s
Time: 26:46
Size: 62,3 MB
Art: Front

(2:59)  1. That Old Black Magic
(3:27)  2. Guilty
(4:13)  3. Don't Worry 'Bout Me
(2:05)  4. You'd Be So Nice To Come Home To
(3:09)  5. Too Marvellous For Words
(3:34)  6. I Don't Want To Walk Without You
(2:40)  7. The Nearness Of You
(4:37)  8. You'll Never Know

Lita Roza was born Lilian Patricia Lita Roza on March 14, 1926 in Liverpool to Elizabeth Anne and Francis Vincent Roza, a Spanish marine engineer and part-time pianist at a local nightclub. The eldest of seven children, she auditioned as a dancer at the age of 12 in a pantomime to help support the family, eventually working up to performing with the comedian Ted Ray and actress Noel Gordon in the show Black Velvet. Because life was becoming too dangerous in London during the blitz of 1940, her family wanted her back in Liverpool. She turned to singing on her return and managed to get a job as a resident singer in a Merseyside club called The New Yorker. Shortly afterwards, she signed to become a singer with the Harry Roy Orchestra, one of Britain's leading wartime big bands, although when Roy was booked to tour the Middle East, the young Lita Roza was not allowed to join them, being only 17 years old. At just 18, she retired from show business, marrying James Shepherd Holland, one of the Canadian servicemen who was stationed in the U.K.; they moved to Miami. The marriage did not last, however, and after the war she returned to Britain, finding work with another top bandleader of the time, Ted Heath, alongside Dickie Valentine and Denis Lotis. As many of her contemporaries, she combined working with a big band with a career as a solo singer, and in 1953, she recorded a version of Patti Page's "How Much Is That Doggie in the Window," which topped the charts in April for one week, easily beating off the challenge of the Page version, and only the eighth number one song in the then recently introduced British charts. Despite its success, Roza hated the song and would never perform it in public. She left the Ted Heath band and married Ron Hughes, a trumpet player. She was voted Top Girl Singer of 1951-1952 in the Melody Maker dance band polls and won the Top Female Singer category in New Musical Express from 1951-1955 consecutively. 

Another couple of minor solo hits followed, "Hey There" and "Jimmy Unknown," but despite releasing a total of 55 singles and four albums on Decca Presenting Lita Roza, Listening in the After-Hours, Love Is the Answer, and Between the Devil and the Deep Blue Sea her record sales were halted by the arrival of rock & roll and in the mid-'50s she concentrated on television work (including her own show Lita Roza Sings and several appearances with Ted Heath and on the new TV pop show Six Five Special, the only pop show on TV in the mid-'50s) and working in cabarets around the world including in Australia, New Zealand, and the Flamingo Hotel in Las Vegas.  She was asked to join a series of Ted Heath reunion concerts in 1982 along with Denis Lotis and Don Lusher and most of the original musicians from the band. In 2001, Roza was honored as the first artist with a bronze disc placed on the Wall of Fame in Matthew Street, opposite the Cavern Club, which featured all the acts from Liverpool who had achieved a number one to date including everyone from Frankie Vaughan, Michael Holiday, and the Beatles to Sonia, Mel C, and Atomic Kitten. Throughout the late '90s and into the 21st century, Universal Music, which owns the rights to Roza's Decca recordings, released several compilations of her songs as well as her final album, Between the Devil and the Deep Blue Sea, and Ted Heath Singles 1951-1953. She gave her final performance on Radio Merseyside in November 2002. Lita Roza died at her home in London on August 14, 2008; she was 82 years old. ~ Sharon Mawer https://www.allmusic.com/artist/lita-roza-mn0000496575/biography

Personnel:  Lead Vocals – Lita Roza; Alto Saxophone – Joe Harriott; Bass – Eric Dawson; Drums – Tony Kinsey; Vibraphone, Piano – Bill Le Sage

Listening in the After-Hours

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Dave Brubeck - A Dave Brubeck Christmas

Styles: Piano, Christmas
Year: 1996
File: MP3@320K/s
Time: 55:34
Size: 130,6 MB
Art: Front

(3:20)  1. "Homecoming" Jingle Bells
(3:38)  2. Santa Claus Is Coming To Town
(2:53)  3. Joy To The World
(5:03)  4. Away In A Manger
(4:19)  5. Winter Wonderland
(5:34)  6. O Little Town Of Bethlehem
(3:27)  7. What Child Is This? (Greensleeves)
(3:32)  8. To Us Is Given
(3:35)  9. O Tannenbaum
(4:53) 10. Silent Night
(3:59) 11. Cantos para Pedir las Posadas
(3:48) 12. Run, Run, Run To Bethlehem
(2:59) 13. "Farewell" Jingle Bells
(4:28) 14. The Christmas Song

Dave Brubeck covers a host of favorite carols on this solo outing. His chime-like "Joy to the World" and striding "Winter Wonderland" are treasures. His festive opening version of "Jingle Bells" contrasts with the weary version signaling the end of an evening's festivities; anyone who has ever worked a holiday party will relate to it. 

His originals include the delightful "Run, Run, Run to Bethlehem" and the meditative "To Us Is Given." This is a Christmas CD worth repeated hearings. ~ Ken Dryden https://www.allmusic.com/album/a-dave-brubeck-christmas-mw0000613892

Personnel:  Dave Brubeck – piano

A Dave Brubeck Christmas

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Louie Bellson - Salute Disc 1 And Disc 2

Album: Salute Disc 1

Styles: Jazz, Post Bop

Year: 1994

File: MP3@320K/s

Time: 62:24

Size: 143,8 MB

Art: Front

( 9:17)  1. Blowin' The Blues Away

( 8:44)  2. Counting Down

(12:04)  3. And Friends

( 6:02)  4. Satin Doll

( 8:15)  5. For Diz

( 7:44)  6. When You Wish Upon A Star

(10:16)  7. Tiny Capers

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Album: Salute Disc 2

 

Time: 61:07

Size: 140,9 MB

(28:19)  1. Salute / Drum Boogie / Bouncin' With Buddy / Jumpin' At The Woodside / Liza / Medley

( 8:49)  2. Jazzspeak: Remembering Six Of The Greatest

( 7:19)  3. Contributions Of The Great Inovators

( 2:28)  4. Those Deserving Greater Recognition

( 7:26)  5. Goodman, Dorsey, James, Ellington, Basie

( 3:25)  6. The Selections And Concepts On This CD

( 3:18)  7. Passing It On / Then And Now

This two-CD set has its interesting moments. Drummer Louie Bellson and his quintet (which also includes trumpeter Bobby Shew, George Young on tenor, pianist Willie Pickens and bassist Keter Betts) perform seven selections including Horace Silver's "Blowin' the Blues Away," George Young's "For Diz" and "When You Wish Upon a Star." The second CD has a 27-minute medley that pays tribute to drummers Gene Krupa, Buddy Rich, Art Blakey, Jo Jones, Shelly Manne and Chick Webb. In addition there is a nearly 34-minute "Jazzspeak" in which Bellson talks about the drummers, the many bandleaders that he has worked with and a variety of miscellaneous music-related subjects. Although interesting, much of it is probably not worth hearing twice. ~ Scott Yanow https://www.allmusic.com/album/salute-mw0000648072

Personnel: Drums – Louie Bellson;  Bass – Keter Betts; Piano – Willie Pickens; Tenor Saxophone – George Young ; Trumpet, Flugelhorn – Bobby Shew

Salute Disc 1, Disc 2

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Eddie Daniels - Heart of Brazil: A Tribute to Egberto Gismonti

Styles: Clarinet And Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 77:09
Size: 177,6 MB
Art: Front

(5:08)  1. Loro (Parrot)
(5:51)  2. Baiao Malandro (Badass Baiao)
(6:07)  3. Agua e Vinho (Water and Wine)
(5:11)  4. Ciranda (Folk Dance)
(4:23)  5. Folia (Revelry)
(5:52)  6. Maracatu (Sacred Rhythm)
(5:59)  7. Adagio
(5:45)  8. Tango Nova (New Tango)
(6:02)  9. Choro
(4:40) 10. Tango
(7:36) 11. Cigana (Gypsy Woman)
(7:44) 12. Trem Noturno (Night Train)
(6:45) 13. Auto-Retrato (Self-Portrait)

When Resonance Records' George Klabin pitched Eddie Daniels on this project saluting Egberto Gismonti, the legendary reedist was enthused yet somewhat trepidatious. Gismonti's music a sui generis form of fantasia that proves evocative in its blending of Brazilian forms, a jazz harmonist's argot, and European classical languages is no easy nut to crack or translate. But Daniels, of course, is no slouch. A doyen of the clarinet and an expert at navigating tricky divides like the potentially deadly jazz-classical fault line, he proved more than up to the task. Heart Of Brazil finds Daniels primarily interpreting music that Gismonti produced in the '70s and early '80s. The settings, put together by the likes of ace arrangers Ted Nash, Kuno Schmid, and Josh Nelson, are ravishing; the core quartet Daniels, Nelson on piano, Kevin Axt on bass, and Mauricio Zottarelli on drums sets the music aloft; and the strings of the Harlem Quartet prove absolutely integral, weaving in, out, around, and through these spellbinding songs. Once merely a hypothetical dream project for Klabin, his aspirations have been realized and, perhaps, exceeded. Opening on "Lôro (Parrot)," a song penned in honor of Hermeto Pascoal, Daniels' clarinet genially bounds around in concert with Nelson's keys while outwardly projecting unbridled virtuosity and warmth. Then the strings introduce "Baião Malandro (Badass Baião)," a number bolstered by Axt's lively bass. It offers Daniels and Nelson some room to open up, all the while nodding to the titular form painted with a variegated scheme.  "Água e Vinho (Water and Wine)" marks the first appearance of Daniels' tenor, emulating the male voice in this most hauntingly beautiful of scenarios. 

He holds onto that horn for "Ciranda (Folk Dance)," playing on passion over dawning rubato, but he returns to his clarinet when things heat up on the wildly expansive "Folia (Revelry)." That showpiece par excellence a bold and audacious bricolage with a genius arrangement from Nelson proves to be a real standout on an album full of them.  As the program progresses, so too does the feasibility of each song offering a world unto itself. "Maracatú (Sacred Rhythm)" draws on its eponymous Afro-Brazilian form and rhythm(s) while offering a melodious high ground and teetering motifs; "Adágio" is impressionism set free on a starlit walkway, influenced by Ravel and unabashedly romantic in its embrace of strings; "Chôro" coasts in with the gentlest of introductions before adopting its namesake style in its breeziest state; and "Cigana (Gypsy Woman)" paints a beautifully pensive picture of the roaming Romany. Every gift from Gismonti proves completely distinctive in nature, and each of these arrangements and performances illuminates the core qualities of his compositions.  

As per usual with Resonance, the packaging has its place in the story and comes to also represent the seriousness of intentions behind the project. With an introduction from Klabin, detailed program notes from the esteemed James Gavin, and a translated interview Gavin held with Gismonti in early 2018, the liners amplify the brilliance of this album and the need it fills. ~ Dan Bilawsky https://www.allaboutjazz.com/heart-of-brazil-eddie-daniels-resonance-records-review-by-dan-bilawsky.php

Personnel: Eddie Daniels: clarinet, tenor saxophone; Josh Nelson: piano; Kevin Axt: bass; Mauricio Zottarelli: drums; Harlem Quartet: Ilmar Gavilan violin; Melissa White: violin; Jamey Amador: viola; Felix Umansky: cello.

Heart of Brazil: A Tribute to Egberto Gismonti

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Donny McCaslin - In Pursuit

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 61:32
Size: 141,2 MB
Art: Front

( 4:13)  1. A Brief Tale
( 6:35)  2. Descarga
(10:00)  3. Madonna
( 8:10)  4. Sea Of Expectancy
( 5:11)  5. In Pursuit
( 4:34)  6. Village Natural
( 3:15)  7. Send Me A Postcard
( 7:47)  8. Fast Brazil
(11:42)  9. Festival In 3 Parts

In the follow-up to his critically acclaimed Soar (Sunnyside, 2006), saxophonist Donny McCaslin continues to evolve his interest in blending advanced jazz harmony and improvisation with world music in general, and the rhythms of Latin and South America in particular. But while Soar's core quintet expanded to a nine-piece at times, here it remains intact, with the addition of producer/altoist David Binney creating a consistent sextet that forges an even stronger group identity. It's also an album composed entirely by McCaslin. All but the opening "A Brief Tale was funded, in part, by Chamber Music America's New Works: Creation and Presentation Program, creating an even stronger musical narrative. All these essentials a funded compositional opportunity, fixed personnel and the chance to evolve previously introduced interests make In Pursuit an even better record, with outstanding performances by everyone involved. "A Brief Tale begins as a tenor/drums/percussion trio, but just past the half-way mark Ben Monder enters with an Afro-tinged guitar pattern that quickly leads to the rest of the group in the pool, with McCaslin's overdubbed tenor creating a rich and compelling sonority that's a definitive characteristic of the entire record. On "Descarga, bassist Scott Colley solos in tandem with percussionist Pernell Saturnino and drummer Antonio Sanchez, before leading into a gentle yet undeniable groove that drives McCaslin and Binney's contrapuntal theme, a blend of saxophones and flutes that's as appealing as it is challenging. McCaslin's tone is robust no matter where he is in the tenor's range and, while he's a passionate soloist, he's driven by internal motivic ideas that create a focused story with every solo. 

While the majority of the highly accessible In Pursuit is about fluid ideas combined with muscular weight, there are times when the sextet goes to unexpected places. The title track begins with an idiosyncratic tenor/alto unison theme, but dissolves into a middle section of greater freedom where it's hard to know who Monder, with his harshly overdriven tone or McCaslin, exploring the entire range of his instrument is in pursuit of whom. That this cadre of New York musicians, including everyone here and others like Chris Potter, Adam Rogers and Alex Sipiagin, are creating a larger discography that has a marked aesthetic still distinguishable by the leaders of individual projects is remarkable and with rare precedent. McCaslin and Binney have been working together since the days of their cooperative 1990s group Lan Xang, and when they play in unison here it truly feels like a single voice. Binney is becoming an increasingly in-demand producer also co-producing Colley's superb Architect of the Silent Moment (CamJazz, 2007) and is developing a distinctive voice in that capacity. Still, while his earmarks are all over In Pursuit, it remains undeniably McCaslin's record, evidence of rapidly growing compositional and playing skills that are positioning him as one of his generation's most important tenorists. ~ John Kelman https://www.allaboutjazz.com/in-pursuit-donny-mccaslin-sunnyside-records-review-by-john-kelman.php

Personnel: Donny McCaslin: tenor saxophone, flute, alto flute; David Binney: alto saxophone; Ben Monder: guitars; Scott Colley: bass; Antonio Sanchez: drums; Pernell Saturnino: percussion.

In Pursuit

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Yvonne Walter - I Wish I Knew (Yvonne Walter Sings the Coltrane Ballads)

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 53:43
Size: 123,6 MB
Art: Front

(4:35)  1. Say It - Over and Over Again
(5:51)  2. You Don't Know What Love Is
(4:00)  3. Too Young to Go Steady
(4:22)  4. All or Nothing At All
(5:42)  5. I Wish I Knew
(4:28)  6. What's New
(4:40)  7. Nancy - With the Laughlin Face
(5:06)  8. Lushlife
(4:36)  9. It's Easy to Remember
(3:32) 10. Autumn Serenade
(3:27) 11. My One and Only Love
(3:18) 12. Naima

After singing jazz standards for more than two decades as Yvonne de Kok, she changed her artist name into Yvonne Walter (her mother’s name) and started to record her own compositions. On stage she merges jazz standards with her own songs and with today’s composers like Ivan Lins, Johnny Mandel and works of the hands of talented friends. Yvonne Walter was born in Eindhoven, a town in the southern part of the Netherlands. She started studying piano at the age of seven and in her teens, she performed as a singer in high school bands. At that time she started to compose songs. Yvonne lives in Antwerp, Belgium. Yvonne likes to work with different accompanists to keep the real jazz spirit high. Although she will not avoid arrangements, which are necessary for a larger band, she prefers the challenge of a fresh rendition in duo, trio or quartet in which her only demands are tempo, rhythm and key. http://yvonnewalter.com/about/

I Wish I Knew (Yvonne Walter Sings the Coltrane Ballads)

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Jane Ira Bloom - Mighty Lights

Styles: Saxophone Jazz
Year: 1983
File: MP3@320K/s
Time: 39:27
Size: 90,7 MB
Art: Front

(7:03)  1. 2--5--1
(7:10)  2. Lost in the Stars
(5:48)  3. I Got Rhythm but No Melody
(6:15)  4. The Man with Glasses
(7:05)  5. Change Up
(6:06)  6. Mighty Lights

This was, in a way, soprano saxophonist Jane Ira Bloom's debut, in that it was the first of her albums to be put out by a label she did not herself own her first two records were self-produced. Even at such an early stage in her development one can hear the attention to craft that would always characterize her work, though her skills at this point were not what they would later become. Bloom's control over the horn was occasionally dubious, but she evidenced an attractive tone and a coherent (if a bit immature and self-conscious) manner of phrasing. Her tunes were already quite sophisticated and distinctive, pointing to the even more ambitious composer into which she evolved. On the other hand, her band for this album will probably not be excelled for the rest of her career. Charlie Haden and Ed Blackwell are pretty heavy company for such a callow young musician to be keeping, and pianist Fred Hersch is certainly no slouch. Obviously, the rhythm section's work raises this music to a higher plane than it would have reached had not Bloom the wherewithal to engage the services of these gentlemen. ~ Chris Kelsey https://www.allmusic.com/album/mighty-lights-mw0000267377

Personnel: Jane Ira Bloom - soprano saxophone; Fred Hersch - piano;  Charlie Haden - bass; Ed Blackwell - drums

Mighty Lights

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Michael Kanan - The Gentleman is a Dope

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 48:42
Size: 113,9 MB
Art: Front

(4:45)  1. Tautology
(6:05)  2. Adorée
(5:31)  3. Ghost of Yesterday
(6:04)  4. Unbelievable
(4:22)  5. The Gentleman is a Dope
(4:51)  6. I Don't Know Where to Turn
(4:52)  7. The Blues at Roslyn's Court
(6:59)  8. Red on Maroon
(5:09)  9. Thelonious

Michael Kanan hails from Boston, Massachusetts where he first began to play the piano at age 7. He started improvising at the keyboard early on, and by age 10 he was listening to jazz. His first instructor was pianist Harvey Diamond, a student of jazz innovator Lennie Tristano. During his years at Boston College, Michael had the opportunity to perform with several jazz greats including Tal Farlow, Lee Konitz, Al Cohn, and Alan Dawson. After graduating college and doing some freelance work around Boston, he moved to New York in 1991 to study with another Tristano student, the pianist Sal Mosca. He established himself in New York, playing and recording with Kurt Rosenwinkel, Mark Turner, and Jorge Rossy, among others. He also developed a growing reputation as a vocal accompanist. In 1996, he joined the band of legendary singer Jimmy Scott, touring the US, Europe, and Japan and recording 4 CDs. In 2001, Michael became the accompanist and arranger for one of today's most celebrated vocalists, Jane Monheit. With Ms. Monheit's group, he has toured all over the world, recorded several CDs and DVDs, and made many TV appearances, including The David Letterman Show and The Conan O'Brien Show. When not on the road with the Monheit band, Michael performs and records with his own groups. He has made two trio recordings for Barcelona's Fresh Sound New Talent label: "Convergence" and "The Gentleman Is A Dope", both featuring bassist Ben Street and drummer Tim Pleasant. He has also recorded a duet with his longtime collaborator, alto saxophonist Nat Su, entitled "Dreams And Reflections". He can be heard around New York with his trio featuring guitarist Greg Ruggiero and bassist Neal Miner. Today, Michael lives in Brooklyn, and is a student of classical piano teacher Sophia Rosoff. http://www.michaelkanan.com/bio.htm

Personnel: Piano – Michael Kanan; Bass – Ben Street; Drums – Tim Pleasant

The Gentleman is a Dope

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Kevin Eubanks - Face To Face

Styles: Guitar Jazz
Year: 1986
File: MP3@320K/s
Time: 41:43
Size: 95,9 MB
Art: Front

(5:25)  1. Face To Face
(5:06)  2. That's What Friends Are For
(5:37)  3. Essence
(4:55)  4. Silent Waltz
(4:45)  5. Moments Aren't Moments
(5:31)  6. Wave
(3:23)  7. Relaxin' At Camarillo
(3:50)  8. Ebony Sunrise
(3:08)  9. Trick Bag

Kevin Eubanks' first album with a string section is a triumph of good taste, both in the guitarist's gently swinging work and in GRP chief Dave Grusin's unobtrusive, intelligent, unsentimental string charts. Grusin's gorgeously recorded strings seem to seep into the texture, filling the spaces with just enough mortar. 

The backings alternate between an electric group with Marcus Miller on bass and Grusin applying the Yamaha DX7 electric piano sound and often just Ron Carter on acoustic bass (plus the strings, of course). The treatment of Antonio Carlos Jobim's "Wave" is a beaut, with a lot of rapid acoustic guitar figurework in mid-track. Even unreconstructed beboppers will enjoy the fluid duo-only exchange between Carter's 4/4 bass and Eubanks' electric guitar on Wes Montgomery's "The Trick Bag" and Bird's "Relaxin' at Camarillo," the latter of which Eubanks immodestly calls attention to in his liner notes. But he's entitled; it is impressive. ~ Richard S. Ginell https://www.allmusic.com/album/face-to-face-mw0000187982

Personnel:  Kevin Eubanks - Acoustic Guitar, Electric Guitar; Marcus Miller - Electric Bass; Ron Carter - Double Bass; Dave Grusin - Keyboards; Buddy Williams - Drums; Ralph McDonald, Crusher Bennett, Paulinho Braga - Percussion

Face To Face

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Joe Magnarelli - Lookin' Up!

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 55:38
Size: 127,8 MB
Art: Front

(4:55)  1. 44
(4:58)  2. Third Set
(5:33)  3. Inner Beauty
(5:58)  4. You Go To My Head
(6:41)  5. Blue Key
(6:23)  6. Easy Transition
(5:24)  7. Suddenly It's Spring
(2:57)  8. Mile's Mode
(6:51)  9. Darn That Dream
(5:54) 10. In Walked Lila

Trumpeter Joe Magnarelli has been a jazz scene stalwart for 30 years. Based in New York since 1986 he's worked with a broad range of musicians including Lionel Hampton, Jimmy Cobb and Michael Feinstein and has released a series of albums as leader. Lookin' Up! is his first recording for the Posi-Tone label and it proves to be a fine addition to that label's roster of top-flight straight-ahead jazz. Lookin' Up! is a quintet outing, with trombonist and fellow Posi-Tone artist Steve Davis sharing the front line with Magnarelli. The album has a full, rich, sound courtesy of producer Marc Free and engineer Nick O'Toole. It showcases the five musicians as a group and the result is powerfully seductive. Magnarelli and Davis form a strong front line punchy and tough on Magnarelli's "44" and John Handy's "In Walked Lila"; swinging on "You Go To My Head" and "Suddenly It's Spring." 

The rhythm section pianist Anthony Wonsey, bassist Mike Karn and drummer Jason Brown provides the expert support that ensures the lead players shine as brightly as they can. Brown is the driving force, Karn's cool and reliable, Wonsey is a master of comping. Even without Magnarelli or Davis the three men hold the attention, establishing a groove or a mood with ease on their brief but cool intro to the leader's "Blue Key" for example, or during Karn's energetic solo on "Suddenly It's Spring." Magnarelli takes on the leader's role with aplomb. His playing is consistently superb. On his own "Inner Beauty" he's controlled yet romantic, characteristics that also define Wonsey's solo: on John Coltrane's "Miles' Mode" his muted trumpet flies over Karn and Brown's rhythmic foundation, the whole tune full of exuberant joy. Jimmy Van Heusen's "Darn That Dream" starts as a trumpet/piano duet then adds bass and drums from start to finish it's a graceful and lyrical reading of the old standard. Lookin' Up! closes with a fiery rendition of "In Walked Lila" which gives each musician a chance to loosen up and let rip. Five masterful talents, ten great tunes, that's Lookin' Up!. ~ Bruce Lindsay https://www.allaboutjazz.com/lookin-up-joe-magnarelli-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Joe Magnarelli: trumpet, flugelhorn; Steve Davis: trombone; Anthony Wonsey: piano; Mike Karn: bass; Jason Brown: drums.

Lookin' Up!

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Ian Mcdougall - Songs and Arias

Styles: Trombone Jazz
Year: 1997
File: MP3@320K/s
Time: 96:29
Size: 224,2 MB
Art: Front

( 3:20)  1. Where or When
( 3:07)  2. A Sleepin' Bee
( 2:41)  3. The Best Thing For You
( 6:38)  4. Bess, You Is My Woman Now
( 4:15)  5. My Man's Gone Now
( 4:09)  6. I Loves You Porgy
( 3:06)  7. My Heart Stood Still
( 8:16)  8. If I Loved You
( 3:15)  9. All the Things You Are
( 3:02) 10. They Say It's Wonderful
( 3:42) 11. I Love You
(10:18) 12. Che Gelida Manina
( 3:55) 13. La Danza
( 4:24) 14. Au Fond
( 3:24) 15. Ach So Fromm
( 3:14) 16. Toreador Song
( 3:19) 17. Intermezzo
( 3:19) 18. Nessun Dorma
( 6:12) 19. Una Furtiva Lagrima
( 5:18) 20. The Maja and the Nightingale
( 2:18) 21. Donna Non Vidi Mai
( 2:36) 22. When the Air Sings of Summer
( 2:32) 23. E Luce Van Le Stelle

Like his fellow countryman and trombonist Alain Trudell, the remarkably talented Canadian Ian McDougall (not to be confused with Canadian trombonist Rob McConnell, with whom McDougall has performed) offers an unusual double CD; the first is a jazz duo, where the trombonist is backed only by longtime colleague pianist Ron Johnston for a delightfully impressive display of his gorgeous sound. Mining tunes with luscious melodies such as Richard Rogers' "Where or When" and Irving Berlin's "They Say It's Wonderful," McDougall takes his time in showing his inimitable ability to emphasize the wonderfully mellifluous aspects of the tunes. While the jazz content is subordinated to the melodies, there is still enough improvisation by McDougall to show what he can do without losing the essential natures of the songs. The second CD is a complete change of pace, with McDougall backed by classical pianist Robert Holliston for 12 operatic themes performed by McDougall with the same attention to detail and beauty as the jazz numbers. Whether it is Puccini's "Nessun Dorma," Rossini's "La Danza," or Bizet's "Toreador," it is all in good taste with perfect intonation and beautiful sound. ~ Steve Loewy https://www.allmusic.com/album/songs-arias-mw0001141710

Songs and Arias

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David Newman - The Weapon

Styles: Saxophone And Flute Jazz
Year: 1972
File: MP3@320K/s
Time: 32:43
Size: 76,2 MB
Art: Front

(5:29)  1. Missy
(4:22)  2. Seems Like I Gotta Do Wrong
(7:00)  3. You Can't Always Get What You Want
(3:50)  4. Yes We Can Can
(4:00)  5. Happy Times
(4:36)  6. Drown In My Own Tears
(3:23)  7. Freedom For The Stallion

David "Fathead" Newman was never a jazz purist. The big-toned saxman held jazz and R&B in equally high regard, and he was as comfortable playing hard bop and soul-jazz as he was backing Aretha Franklin or Ray Charles. Newman recorded more than his share of commercial projects in the 1970s; one of the more memorable ones was 1973's The Weapon, which was produced by Joel Dorn and finds the Texan on tenor and alto sax as well as flute. 

Far from a bop album, this instrumental soul-jazz LP isn't for jazz purists. But from a soul-jazz perspective, The Weapon is generally enjoyable. Unfortunately, Dorn tends to overproduce, and Newman would have been better off without all the excessive string arrangements that William Eaton burdens him with. But even so, Newman really lets loose on the funky "Missy" and gets in some meaty, memorable solos on "Drown in My Own Tears," the Rolling Stones' "You Can't Always Get What You Want," and the Pointer Sisters' "Yes We Can Can." Despite its flaws and imperfections, The Weapon is recommended to those who like their jazz laced with a lot of R&B. ~ Alex Henderson https://www.allmusic.com/album/the-weapon-mw0001881821

Personnel:  David Newman - tenor saxophone, alto saxophone, flute; Mac Rebennack - piano, organ; Richard Tee - organ; Cornell Dupree, David Spinozza - guitar; Chuck Rainey - electric bass; Charles Collins, Jimmy Johnson, Bernard Purdie - drums; Ernie Royal (tracks 5 & 6), Joe Wilder (tracks 5 & 6), Wilmer Wise (track 3) - trumpet; Daniel Orlock - cornet (track 3); Robert Moore - trombone (track 3); Paul Ingraham - French horn (track 3); Jonathan Dorn - tuba (track 3); Frank Wess - alto saxophone (tracks 5 & 6); Seldon Powell - tenor saxophone (tracks 5 & 6); The Sweet Inspirations: Jeanette Brown, Judy Clay, Myrna Smith, Sylvia Shemwell - backing vocals (tracks 2-4 & 7)

The Weapon

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Keith Brown - This Side Of Heaven

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 50:32
Size: 139,0 MB
Art: Front

(4:34)  1. Wind In The Fire
(4:26)  2. Unto Us
(4:10)  3. Religiously
(3:36)  4. Psalm 100
(4:40)  5. This Side Of Heaven
(3:53)  6. Reason Enough
(4:48)  7. What Kind Of Man
(4:51)  8. If There Ever Was Love
(5:10)  9. Prodigal Heart
(4:53) 10. The Beauty Of Love
(0:27) 11. Keith Talks
(4:59) 12. (You Gotta Put Love First) To Make Love Last

This is different an 11-song CD with tracks numbered 1-10, then 12. The elusive No 11 goes like this: "Hi! My name is Keith Brown and I just want to take this time to thank you for buying my album when I know there are so many great albums out there...". Profuse gratitude perhaps, but it shouldn't be treated too cynically  it's not a disguised apology for a second rate product! With this, his first release, Keith Brown has set out his stall quite convincingly as a would-be Michael (...W Smith, English or even Bolton perhaps) with a varied selection of classy synth pop and MOR ballads. More than just a vocalist, Keith has writing credits on every track, also handling the keyboards and drum programming (Jerry McPherson of Amy Grant fame plays guitar), and co-producing the album with Dez Dickerson. His best vocal performances are on the ballads, while his writing talent comes to the fore in the Caribbean-influenced "Psalm 100" and in the up tempo Christmas song "Unto Us" (are you interested Cliff?). Though possibly lacking in instant "grab you by the throat" appeal, This Side Of Heaven' is nonetheless a promising debut from someone with a lot to offer. Reviewed by Peter Dilley

This Side Of Heaven

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Rosa Passos - Amanhã Vai Ser Verão

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 55:23
Size: 128,0 MB
Art: Front

(3:52)  1. Alma de Bolero
(6:51)  2. Partilha
(4:52)  3. Desilusión
(5:10)  4. Aquário
(4:54)  5. Essas Tardes Assim
(4:51)  6. Quebra-mar
(5:26)  7. Banquete
(5:05)  8. Inocente Blues
(3:11)  9. Amanhã Vai Ser Verão
(3:26) 10. Edredon de Seda
(1:43) 11. Bésame Poco
(3:56) 12. Tarde Demais
(2:01) 13. Passarinho

Rosa Passos is one of the few singers currently in Brazil dedicated to a genuine evolution of Brazilian music, devoid of fashionable trend and commercialism. She has established herself firmly in the country's artistic scenery, acknowledged by many such as João Gilberto, Maria Schneider, Clare Fisher, Paquito d'Rivera, Johnny Alf, Nana Caymmi (who recorded two of her compositions), and even the number one enemy of bossa nova, the fundamental music researcher J.R. Tinhorão, even if she hasn't had her deserved media exposure. Her dad was very affectionate about music, and he had all his six children started on some instrument. Her perfect pitch capabilities helped her to approach successfully the piano at age three. At 11, she listened to João Gilberto's Orfeu do Carnaval, which changed radically her life. She abandoned the piano studies and decided to be a singer. She began to listen to Gilberto compulsively, and learned the violão through his playing in the records. Her other influences were Ella Fitzgerald, Nina Simone, Etta James, Billie Holiday, Dinah Washington, Shirley Horn (who has declared to be her fan), Cole Porter, and George Gershwin, but her main influences remained Dorival Caymmi and João Gilberto. 

In 1968 Passos performed in the TV Tupi from Salvador show Poder Jovem. In 1969 she began to participate in music festivals. In 1972, she inscribed her song "Mutilados" in the Globo Network's Festival Universitário, under pseudonym, and got the first place. As she couldn't find any interest in the media for her delicate, swinging, truthful production free from abusive commercial appeal, she continued to play and compose at home, attending college in the meantime. In 1978, already living in Brasília, where she has settled permanently, she recorded her debut album, Recriação, with her compositions in partnership with the poet Fernando de Oliveira. Eight years later she recorded Amorosa, an explicit tribute to her idol João Gilberto' Amoroso. In 1994 she recorded Curare, with hits by Tom Jobim ("Fotografia," "Dindi," "A Felicidade," "Só Danço Samba," "O Nosso Amor"), Johnny Alf ("Ilusão à Toa"), Carlos Lyra/Vinicius de Moraes ("Coisa Mais Linda"), Ary Barroso, Djavan, and other important composers. In 1996 she recorded Pano pra Manga, for Velas, bringing mostly her own compositions, along with some classic hits by Jobim, Chico Buarque, and Ary Barroso. For label Lumiar, she recorded an album dedicated to Ary Barroso, in the label series Letra e Música. In the next year, she recorded, again for Lumiar, Rosa Passos Canta Antonio Carlos Jobim: 40 Anos de Bossa Nova with 14 Jobim classics. In 1999 she was accompanied by top-class jazz performer Paquito d'Rivera on a European jazz circuit. In 2000 she released Morada do Samba (Lumiar), resuming her writing work. The album brought eight of her compositions, together with "Beiral" (Djavan), "Lá Vem a Baiana" (Dorival Caymmi), "Calmaria" (Walmir Palma), "Saudade da Bahia" (Dorival Caymmi), and "Retiro" (Paulinho da Viola). For the year 2000, she booked a tour through ten European countries, one presentation at the U.S. Hollywood Bowl, and a tour through Japan. Never resting, Passos continued to make records into the new millennium, including 2003's Entre Amigos/Among Friends with bassist Ron Carter, a 2004 re-release of her pivotal Amorosa on Sony Classical, 2006's Rosa on Telarc and 2008's Romance, also on Telarc. ~ Alvaro Neder https://www.allmusic.com/artist/rosa-passos-mn0000582043/biography

Amanhã Vai Ser Verão

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Christian McBride, Nicholas Payton, Mark Whitfield - Fingerpainting: The Music of Herbie Hancock

Styles: Trumpet And Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 66:35
Size: 153,5 MB
Art: Front

(5:56)  1. Fingerpainting
(4:28)  2. Driftin'
(5:03)  3. Chameleon
(4:43)  4. Tell Me a Bedtime Story
(3:35)  5. The Eye of the Hurricane
(5:33)  6. The Kiss
(6:33)  7. Speak Like a Child
(4:42)  8. The Sorcerer
(3:53)  9. Dolphin Dance
(4:08) 10. Chan's Song
(4:00) 11. One Finger Snap
(3:54) 12. Sly
(5:56) 13. Oliloqui Valley
(4:03) 14. Jane's Theme

This is a rather unusual tribute to Herbie Hancock on a couple different levels. There is no piano on the date, so obviously no one is heard trying to sound like Hancock; the intimate all-star trio (bassist Christian McBride, trumpeter Nicholas Payton and guitarist Mark Whitfield) avoids such typical Hancock hits as "Watermelon Man" and "Maiden Voyage," and several of the songs are real obscurities. The 14 Hancock compositions date from 1962-79, with one tune from 1985, so they do not cover his later output. Among the lesser-known tunes are the title track (first played by V.S.O.P.), "Sly" (from the Headhunters LP), and two melodies taken from the 1965 soundtrack of Blow-Up. Several of the songs (most notably "Driftin'") deserve to be revived more widely. Payton, whose versatility has in the past allowed him to emulate both Louis Armstrong and Freddie Hubbard with equal skill, here generally plays like himself, a Young Lion with a warm tone and an inventive style. Whitfield holds the group together, whether playing straight-ahead or adding a bit of funk to "Chameleon" and "Sly." McBride shows throughout why he is rightfully considered a young giant. Due to the many unfamiliar themes and offbeat instrumentation (which includes a duet apiece featuring each of the three possible combinations), this is a CD that takes a few listens to fully appreciate, but it is worth the effort. An underrated gem. ~ Scott Yanow https://www.allmusic.com/album/fingerpainting-the-music-of-herbie-hancock-mw0000027443

Personnel:  Acoustic Guitar – Mark Whitfield (tracks: 7, 14); Bass – Christian McBride (tracks: 1 to 5, 7 to 14); Electric Guitar – Mark Whitfield (tracks: 1 to 6, 8, 10 to 13); Flugelhorn – Nicholas Payton (tracks: 7, 10, 14); Trumpet – Nicholas Payton (tracks: 1 to 3, 5, 6, 8, 9, 11 to 13)

Fingerpainting: The Music of Herbie Hancock

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Typhanie Monique and Neal Alger - In This Room

Styles: Vocal And Guitar Jazz
Year: 2007
File: MP3@320K/s
Time: 49:22
Size: 113,8 MB
Art: Front

(5:01)  1. Caravan
(5:11)  2. Never Can Say Goodbye
(4:11)  3. Soul Tread
(5:03)  4. Nothingness
(4:37)  5. This Feeling
(5:20)  6. Beautiful Love
(3:48)  7. If You Love Somebody Set Them Free
(6:35)  8. Black Coffee
(4:53)  9. Smile
(4:38) 10. Wonderful

An estimable follow-up to 2005’s Intrinsic, this second pairing of Chicago-based singer Typhanie Monique and guitarist Neal Alger delivers, like its predecessor, both the expected and the unexpected. Expected, and delivered: solid soul-jazz vocals from Monique that suggest both Sarah Vaughan and Minnie Riperton, top-drawer acoustic and electric licks from the dazzlingly imaginative Alger, and achingly heartfelt readings of such wide-ranging ballads as Victor Young’s “Beautiful Love,” Sting’s “If You Love Somebody Set Them Free” and Annie Lennox’s “Wonderful,” coaxed along at a soulful mid-tempo. Unexpected, but utterly engaging: an electrified, scat-lined “Caravan” that soars into outer space, a supple bossa treatment of “Never Can Say Goodbye” that rescues the Gloria Gaynor anthem from its disco trappings while recalling the tender original from the Jackson Five, and a winking “Black Coffee” that, for the first time in my experience, toys with the narrator’s over-caffeinated state. Rounding out this cunning assemblage are three originals. Two-the yearning, angular “Soul Tread” (sort of a more youthful variation on “Spring Can Really Hang You Up the Most”) and the emotionally ponderous “This Feeling”-are terrific. The third, “Smile” (not to be confused with the Charlie Chaplin chestnut, and the only one of the three written by Monique without Alger), with its arresting swings between bouncy ebullience and hungry longing, is arguably even better. ~ Christopher Loudon https://jazztimes.com/reviews/vox/typhanie-monique-neal-alger-in-this-room/

In This Room

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Carol Sudhalter - The Octave Tunes

Styles: Flute And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 68:38
Size: 158,4 MB
Art: Front

(5:04)  1. Flamingo
(4:23)  2. Pancake Blues
(6:08)  3. You Go To My Head
(6:08)  4. Alice In Wonderland
(6:31)  5. Nature Boy
(4:46)  6. Quisiera Ser
(5:43)  7. Daydream
(1:57)  8. Cheeseburger Blue
(4:48)  9. Somewhere Over The Rainbow
(4:38) 10. It' Only A Paper Moon
(6:29) 11. Crazy He Calls Me
(4:02) 12. Let It Snow! Let It Snow! Let It Snow!
(7:55) 13. The Christmas Song

The title of this album, according to leader/woodwind specialist Carol Sudhalter, refers to the fact that each of its thirteen tunes begins on the interval of an octave. Ten of The Octave Tunes' songs are standards, including a pair of holiday favorites, "Let It Snow! Let It Snow!" and "The Christmas Song." Of the three originals, two were written by Sudhalter's guests, organist Vito Di Modugno ("Pancake Blues") and precocious teen-age pianist Carlo Barile ("Cheeseburger Blue"), who accompanies Sudhalter on four charming duets, three showcasing her dancing flute, the other ("Over the Rainbow") her gravelly baritone sax. Sudhalter raises the baritone again on "Cheeseburger Blue," plays tenor on "Pancake Blues," "Crazy He Calls Me" and "The Christmas Song," and sits out on two numbers "You Go to My Head" (vocal by Marti Mabin} and Duke Ellington's "Daydream" (solo organ by Modugno). Mabin is the vocalist on "Crazy He Calls Me" and "The Christmas Song," Elena Camerin on the saucy samba "Quisiera Ser" (color added by trumpeter Charlie Franklin and percussionist Bobby Viteri). Sudhalter's flute is front and center again on "Nature Boy," "Quisiera Ser" and "It's Only a Paper Moon." Everything is well-played, and the album atones in variety for what it may lack in resourcefulness. Sudhalter is proficient on every axe, and the supporting cast is admirable, especially Barile and Modugno, who are among several Italians in the crew (the album was released on Rome's Alfa Music label). Those who haven't heard Sudhalter are sure to be pleasantly surprised, and may be inspired to seek out her splendid big-band album, Last Train to Astoria (Self Produced, 2002). ~ Jack Bowers https://www.allaboutjazz.com/the-octave-tunes-carol-sudhalter-alfamusic-review-by-jack-bowers.php

Personnel: Carol Sudhalter: leader, flute (1, 4-6, 10, 12), tenor sax (2, 11, 13), baritone sax (3, 8, 9); Charlie Franklin: trumpet (6); Carlo Barile: piano (1, 3, 4, 6, 8, 9, 12); Joe Vincent Tranchina: piano (5, 10); Antonio Cervellino: bass (1, 3-6, 8, 10); Roberto Pistolesi: drums (3, 8); Kaori Yamada: drums (2, 10, 11); Marti Mabin: vocals (3, 11, 13); Elena Camerin: vocals (6); Vito Di Modugno: Hammond organ (2, 7, 11, 13).

The Octave Tunes

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48th St. Collective - Music Links

Styles: Vocal, Post Bop 
Year: 2018
File: MP3@320K/s
Time: 30:12
Size: 69,8 MB
Art: Front

(3:05)  1. Sure Know Something
(3:18)  2. Porcelain
(3:06)  3. Say Say Say - Acoustic Mix
(3:43)  4. Love is Love
(2:42)  5. Shine on You Crazy Diamond
(2:45)  6. Cry to Me
(3:56)  7. Wild Things
(4:29)  8. Torn
(3:03)  9. With or Without You - Album Mix

Music Links

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Lisa Hilton - Oasis

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 48:00
Size: 110,8 MB
Art: Front

(3:36)  1. Twists of Fate
(4:54)  2. Adventure Lands
(4:59)  3. Oasis
(4:06)  4. Watercolor World
(2:48)  5. Fascinating Rhythm
(4:08)  6. Vapors & Shadows
(3:11)  7. Just for Fun
(4:43)  8. Sunshine States
(4:21)  9. Lazy Daisy
(4:31) 10. Sunday Morning
(6:38) 11. Warm Summer Night

“‘Oasis’ is freedom and lyrical art. It overflows with Hilton’s somersaulting narrative, lyricism in every note, turning and churning in on itself  expressed with thought, clarity, and the fusion of movement and texture. Hilton slips in a whirlwind of feeling in “Watercolor World,” as a painter would to her canvas  in splashes and spurts, behind your back. The composition unravels in ever-shifting threads, which she seems to brush and stroke back into a semblance of orderly life. Her aerial lifts bank up against contrasting, darker chords for that subtle textural context she’s known for.”~ Festival Peak

“Because of her serene manner, glorious stylings and superb leadership skills, this award winner has gained the respect of an array of living legends, and she has worked alongside MANY. It all translates into extraordinary music that is compared to jazz and classical icons. Lisa Hilton is RARE.” ~  Hybrid Jazz

“Reliably exceptional  that is how I would describe Lisa Hilton. … Her composing and performance could be described as existing between impressionism and expressionism, but the one thing all her performances have is a heartbeat. Swinging-ly grounded in the beat she establishes is where Hilton’s charm shines the brightest.” ~ C. Michael Bailey/All About Jazz https://lisahiltonmusic.com/oasis/

Personnel:  Lisa Hilton - piano, Lucques Curtis - bass, Mark Whitfield Jr. - drums

Oasis

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Kirk Knuffke & Mike Pride - The Exterminating Angel

Styles: Cornet Jazz
Year: 2012
File: MP3@320K/s
Time: 68:53
Size: 158,9 MB
Art: Front

( 9:55)  1. Appeasing the Geezer
( 2:09)  2. Goldie
(10:03)  3. Moritz
(12:10)  4. Exterminating Angel
(11:25)  5. Benstein
(23:09)  6. SUPERDIXON

Though he may have since betrayed this quote, King Crimson guitarist Adrian Belew once declared that he didn't need to deviate from the guitar's standard tuning because he hadn't "yet explored everything it has to offer" (this was the mid '90s when guitarist chic demanded a drop of all strings into obscure tunings). While he does color his tone with all manner of effect-stretching, there is something admirable about the embrace of an instrument's idiosyncrasy in the potential sea of technical and musical abyss. Cornetist Kirk Knuffke and drummer Mike Pride demonstrate a conservative approach to orchestration, meaning they aren't hooked up to amps, or playing underwater, or manipulating anything with feedback, or using special gadgets to coax sounds. And, you know, there are only two people to carry out a complete musical experience. They're confident and trust in the honest power of working through the history of duo jazz music; if you think about that mythology (Monk and Coltrane, Ali and Coltrane) there is a lot to live up to. However, Knuffke and Pride are effective  not flashy storytellers, and with their ability to pull you in with calmness and space, they don't require the pyrotechnics often employed as competition with the masters. Though the duo does get busy and work up modest storms, meditative qualities are what you'll take away from The Exterminating Angel. Knuffke opens "Appeasing the Geezer" with a gentle (maybe gentler) purr like Miles Davis' "Sanctuary", almost sighing out his chiaroscuro melody where dots of pauses are imagined and fill in the blanks; really, the whole album nests in a (and this always sounds stupid) "what isn't being played" aesthetic where Knuffke and Pride play just the right amount of music to spur your imagination into hearing "that's where the bass player would be, a pianist would comp the chords here" etc. 

Pride joins with an equally soft series of wooden taps and drum rolls that emulate a Morse code message (it reads "here I come, let's rally a bit"). There are bits of bowed cymbal, jingling objects on drum heads and out-of-breath, top-of-your-range squeals peppered throughout (i.e. "Goldie", "The Exterminating Angel"), but the music largely floats on time: swing, hard bop and more free rhythms / polyrhythms, with Knuffke and Pride either uniting or refueling while the other stretches out to explore. This template continues with both men playing in the moment (Knuffke mentions in the liner notes that this is his first fully improvised record), showing why their agile, chameleon and balancing approach to style and each other has collectively fit with such disparate characters as Mary Halvorson, John Zorn, Butch Morris, Talibam!, Nels Cline, Nate Wooley, Anthony Braxton and William Parker. On the 23-minute showcase finale, "SUPERDIXON", the two play off one another, both appearing to be engaged in extended, personal solos that bisect without tangle periodically; Knuffke works his lean, composed ascension of pan-harmonic movement while Pride bounces between genres hinged on his ever-present internal pulse (that also keeps the listener toe tapping). At sixteen minutes, the drummer reaches the end of his bag of tricks and opens a new one filled with snatches of Latin-infused triplets, languid Rock, almost-ceremonial Native American traipses and occasional chimes and Chinese gong; near twenty minutes, and the twosome begins to fade out with Pride delicately striking deep tom tones as Knuffke literally seems to walk behind the microphones. It inspires a visual experience where you can picture machines slowly power-down to sleep after a 70-minute voyage. Per Knuffke, the original formula for the album involved a bass player, but "no one we wanted was available". Who knows how that would have shaped this album, but I can't imagine adding or subtracting from this successful test of musical economy. http://www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=1584

Personnel:  Kirk Knuffke - cornet; Mike Pride - drums, percussion

The Exterminating Angel

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