Happy New Year!

Cheers to a new year! May this New Year bring you immense joy and luck! Wishing you beautiful moments, treasured memories, and all the blessings a heart can know. Happy New Year!

Jim Galloway - Echoes of Swing

Styles: Saxophone Jazz 
Year: 2004
File: MP3@320K/s
Time: 68:08
Size: 157,2 MB
Art: Front

(5:30)  1. Sometimes I'm Happy
(6:44)  2. Jeepers Creepers
(7:57)  3. Cheek to Cheek
(5:55)  4. Just Squeeze Me
(8:18)  5. Christopher Columbus
(7:28)  6. Blue Turning Grey Over You
(6:04)  7. Sugar
(6:53)  8. In My Solitude
(6:01)  9. I Ain't Gonna Give Nobody None of My Jelly Roll
(7:13) 10. Runnin' Wild

There has been much discussion recently at the Kentonia (fans of Stan Kenton) web site about swing what it is (and isn’t), how one can identify and/or define it, does it mean the same thing to different people, and so on. May I suggest that those who’ve not yet gotten their hands around the topic pick up a copy of this delightful session by Canadian-bred saxophonist Jim Galloway’s six-member group, Echoes of Swing, which does precisely that from pillar to post, stem to stern and all stops in between. Galloway, who was only a little tad when the Swing Era was in bloom, learned about it by playing alongside such swing masters as Buck Clayton, Yank Lawson, Buddy Tate and the irrepressible Jay McShann. The ensemble he leads here is an outgrowth of The Metro Stompers, co-led by Galloway and journalist/drummer Paul Rimstead, which has performed for many years (since 1974, actually) on Caribbean cruises sponsored by Brotherton’s Travel. This album, the group’s first recording on dry land, was taped last year for an appreciative audience at the Montreal Bistro nightclub in Toronto. A group photo in the booklet shows five grey  to white haired gentlemen and one (bassist Dave Field) whose hair hasn’t yet turned to silver. Clearly, these chaps have been around the block a time or two and it shows. They approach each of these venerable themes as if it were brand new and being performed for the first time. The result is a concert that is deceptively laid back and mellow yet swings at every tempo, reminiscent of the similarly swing-based albums that appear regularly on the Arbors and Nagel-Heyer labels. 

After opening with three well-known standards, the group turns to music by Ellington (“Just Squeeze Me,” “In My Solitude”), Fats Waller (“Blue Turning Grey Over You”) and a trio of Swing Era favorites, “Christopher Columbus,” “Sugar” and “Runnin’ Wild.” The other tune, “I Ain’t Gonna Give Nobody None of My Jelly Roll,” is the only one the ensemble plays at every gig, as it was a special favorite of the late Jack Britton who founded Brotherton’s Travel and suggested to Rimstead that he host a Jazz group on the Caribbean cruises that Brotherton’s was sponsoring on the Holland America line. While all of the soloists are first class (trombonist Bower is featured all the way on “Solitude”), Galloway is positively awesome on soprano or baritone (“Jeepers Creepers,” “Christopher Columbus”), displaying an elegance on the former that reminds one of such Swing Era (alto) giants as Benny Carter, Johnny Hodges or Marshall Royal (with traces of another of the great ones, best known as a tenor saxophonist, Zoot Sims). The vocalist on “Sugar” and “Jelly Roll” isn’t identified, so I assume that’s Galloway too. A thoroughly pleasurable concert session that does what it sets out to do, and that is swing. ~ Jack Bowers https://www.allaboutjazz.com/echoes-of-swing-jim-galloway-cornerstone-review-by-jack-bowers.php

Personnel: Jim Galloway, soprano, baritone sax; Dave Johnston, trumpet; Laurie Bower, trombone; Ian Bargh, piano; Dave Field, bass; Don Vickery, drums.

Echoes of Swing

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Lovisa Ståhl - #1

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 40:27
Size: 93,5 MB
Art: Front

(4:04)  1. If You Never Love
(4:06)  2. Mr. Right
(5:04)  3. Thousand Miles
(3:40)  4. Ruby Red
(2:33)  5. River
(4:59)  6. I Prefer a Broken Heart
(5:34)  7. Undress Me
(2:55)  8. Live a Little
(3:20)  9. Believe in Me
(4:07) 10. Feel It for Real

When I was younger, around 14, I listened to Yngwie Malmsteen. One of my favorite songs was a cover of ABBA's "gimme, gimme, gimme". This one was sung by a guy with an amazing voice. Much later, when I was about 26, the singer contacted me. His name is Mark Boals and he liked my music. We became good friends and he invited me over to Los Angeles to record my songs. So I went over and we recorded all my songs. We had hard working, but very fun weeks. A lot of coffie drinking and I actually started an addiction for brussels sprouts there, and still loves it. Well, I can't say my music is so much rock'n roll, so I skip the drugs and go country/folk vs brussels sprouts. I'm very happy about my choice. A little time was on Venice beach, a quick visit to Mulholland drive, Rodeo Drive, Beverly Hills and Hollywood. A lot of time in the studio. The result of my time in the States is what you can see here. My own little L.A. story! My songs were written before my arrival to L.A. (One was written there, but it's going to be on my next album). If we'd sit down and talk I could explain every thought in every sentence, but instead I let you have the songs to interpret to your own life! Every life has a nice story, some stories make songs! https://store.cdbaby.com/cd/lovisastahl

#1

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Eddie Daniels - The Five Seasons

Styles: Clarinet Jazz
Year: 1995
File: MP3@320K/s
Time: 65:55
Size: 154,1 MB
Art: Front

(4:02)  1. Spring I
(6:55)  2. Spring II
(4:26)  3. Spring III
(8:16)  4. Summer I
(2:41)  5. Summer II
(4:05)  6. Summer III
(8:14)  7. Autumn I
(2:43)  8. Autumn II
(5:23)  9. Autumn III
(4:40) 10. Winter I
(2:10) 11. Winter II
(6:19) 12. Winter III
(5:54) 13. The Fifth Season

This is an interesting jazz version of Vivaldi's The Four Seasons. The great clarinetist Eddie Daniels performs with the Los Angeles Chamber Orchestra (whose personnel and instrumentation is unidentified) plus pianist Alan Broadbent, bassist Dave Carpenter, and drummer Peter Erskine. The arrangements by Jorge Calandrelli put each of the seasons in three movements, alternating between straight classical interpretations and jazz improvising off of the melodies. 

Calandrelli also contributed a closing "The Fifth Season." Daniels plays brilliantly throughout, but the music comes across as a bit trivial, alternating between two very different idioms and rarely trying to mix them together. Better to get Eddie Daniels' Breakthrough album (which is a better third stream effort) instead. ~ Scott Yanow https://www.allmusic.com/album/the-five-seasons-mw0000184664

Eddie Daniels (Clarinet); Bernard Rubenstein (Conductor); Alan Broadbent (Piano); Dave Carpenter (Bass); Peter Erskine (drums); Los Angeles Chamber Orchestra.

The Five Seasons

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Irvin Mayfield - How Passion Falls

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 62:08
Size: 143,6 MB
Art: Front

( 8:33)  1. The Illusion
( 6:49)  2. Adam & Eve
( 6:46)  3. The Obsession
( 6:18)  4. Othello & Desdemona
( 8:29)  5. The Denial
( 2:57)  6. Romeo & Juliet
( 4:35)  7. The Affair
( 7:27)  8. David & Bathsheba
(10:11)  9. The Reality

How Passion Falls is Mayfield's second CD on Basin Street Records and it can hold its own with all the mainstream jazz that has been released in recent memory. The album contains ten original compositions (one track is "hidden" at the end) and deals with love and romance (what else, with a title like How Passion Falls). One of the most interesting things about this album is the song sequence. It could be called a jazz-opera because the tracks are ordered in a sort of acts and scenes format. It is a take, if you will, on the boy meets girl theme (with Biblical and Shakespearean overtones). The titles, in order, are: "The Illusion," "Adam & Eve," "The Obsession," "Othello & Desdemona," "The Affair," "The Denial," "Romeo & Juliet," "David & Bathsheba," and "The Reality." While not every love story features the betrayal of "The Affair" and "David & Bathsheba," let's give Mayfield some leeway. This CD does a wonderful job of displaying the talents and musicianship of its players. The interaction of bassist Edwin Livingston, drummer Jaz Sawyer and pianist Richard Johnson together with Mayfield's trumpet is mesmerizing. The interaction of the quartet with percussionist Bill Summers and saxophonist Aaron Fletcher on "Adam & Eve" is Latin-tinged blues-jazz at its finest. Delfeayo Marsalis (who also produced the album) plays on trombone on "The Denial." Other guests include Ellis Marsalis (no, he's not another brother; yes, he's Wynton, Branford and Delfeayo's father) on piano on "Romeo & Juliet," and saxophonist Donald Harrison, who is featured on "David & Bathsheba." The best track is "The Denial" with its call/response musical movement and its funk bass. This track really catches a groove and grabs the listener. The entire album has the feel and mysticism that could only be created in New Orleans by New Orleans musicians. Every selection finds a blues-soaked jazz/funk groove that is driven by African rhythms and Latin undertones. Only in New Orleans could this musical gumbo of styles be meshed into one cohesive broth. The CD also has enhanced CD-ROM capabilities which feature Wynton Marsalis in a video commentary and extensive liner notes. This is one well crafted album and lavishly produced package. It's a winner  through and through.~ Mike Perciaccante https://www.allaboutjazz.com/how-passion-falls-irvin-mayfield-basin-street-records-review-by-mike-perciaccante.php

Personnel: Ellis Marsalis - Piano; Bill Summers - Bata; Donald Harrison - Sax (Alto); Richard Johnson - Piano; Delfeayo Marsalis - Trombone; Edwin Livingston - Bass; Irvin Mayfield - Trumpet; Aaron Fletcher - Sax (Alto); Sax (Soprano) ; Jaz Sawyer - Drums 

How Passion Falls

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Fred Hersch Trio - 97 @ The Village Vanguard

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 58:19
Size: 134,3 MB
Art: Front

( 9:50)  1. Easy to Love
(10:06)  2. My Funny Valentine
( 6:00)  3. Three Little Words
( 5:46)  4. Evanessence
( 7:36)  5. Andrew John
( 5:48)  6. I Wish I Knew
( 5:44)  7. Swamp Thang
( 7:28)  8. You Don't Know What Love Is

Pianist Fred Hersch paid some dues at the Village Vanguard, sitting in as a sideman there from 1979 on, playing with the bands of saxophonist Joe Henderson, trumpeter Art Farmer, alto sax man Lee Konitz, and bassist Ron Carter. But he waited until 1997 to make his debut as a leader. That debut was captured on tape, and surfaces now, years later, with the Fred Hersch Trio '97's @ The Village Vanguard. Hersch's subsequent history as a leader at the Village Vanguard also runs deep, with Live At The Vanguard (Palmetto, 2003), Alive At The Vanguard (Palmetto, 2003), Sunday Night at The Vanguard (Palmetto, 2016) and a solo set, Alone At The Vanguard (Palmetto, 2011). All of these are exceptional piano jazz recordings. @ The Village Vanguard reveals how his trio artistry sounded back in the beginning. Joined by bassist Drew Gress and Tom Rainey fine sidemen and leaders themselves this is the only outing that catches this early-career Hersch trio playing live, with a set that includes the group's takes on the standards ("Easy To Love," "My Funny Valentine," "You Don't Know What Love Is") and a batch of Hersch originals, including the sparkling and spritely "Evanessence," a nod to pianist Bill Evans, to whom Hersch, early on, was often compared. Hersch's artistry like that of Evan's (like that of most seasoned and dynamic artists) has taken on a remarkable depth and focus of vision over the years. And like Evans, it started at a stunningly high level with this particular trio, featured also on a pair of Chesky Records recordings, Dancing In The Dark (1993) and Plays (1994). Hersch has always been a particularly nuanced and versatile pianist capable of propulsive drive interspersed with breathtaking delicacy and pure, time-stopping beauty documented at the very beginning of his trio recording work, with @ The Village Vanguard. ~ Dan McClenaghan https://www.allaboutjazz.com/fred-hersch-trio-97-at-the-village-vanguard-fred-hersch-palmetto-records-review-by-dan-mcclenaghan.php

Personnel: Fred Hersch: piano; Drew Gress: bass; Tom Rainey: drums.

97 @ The Village Vanguard (Live)

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Sophie Milman - iTunes Live from Montreal

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 25:56
Size: 60,1 MB
Art: Front

(3:46)  1. Do It Again
(4:52)  2. Moonlight
(4:43)  3. Tenderly
(3:34)  4. Watch What Happens
(5:13)  5. No More Blues
(3:46)  6. Santa Baby

Jazz vocalist Sophie Milman is a sophisticated and torchy singer with a bent toward American popular songbook standards. Born in Russia of Jewish heritage, Milman spent much of her childhood in Israel, where her parents moved after the fall of the Berlin Wall. In the early '90s, Milman's family emigrated once again to Toronto, Canada. Having sung from a young age, the then teenage Milman was already familiar with such iconic vocalists as Ella Fitzgerald, Mahalia Jackson, Stevie Wonder, and others. In 2004, a chance performance at "Real Divas" night a local Toronto jazz series brought Milman to the attention of producer Bill King, who then secured a few showcase performances for the burgeoning star. Subsequently, Milman signed a recording contract with Linus Entertainment and released her self-titled debut album. Make Someone Happy followed on JVC in 2007. ~ Matt Collar https://www.allmusic.com/artist/sophie-milman-mn0000864677/biography

iTunes Live from Montreal

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Bobby Enriquez - Live! In Tokyo

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 70:51
Size: 164,3 MB
Art: Front

(6:07)  1. Killer Joe
(2:56)  2. Airegin
(5:35)  3. After Hours
(6:13)  4. Meditation
(7:15)  5. Misty
(4:15)  6. Groovin' High
(3:28)  7. Ain't Misbehavin' / Honeysuckle Rose
(3:41)  8. Holiday For Strings
(1:52)  9. Donna Lee
(5:40) 10. Bluesette
(4:24) 11. Confirmation
(4:31) 12. Del Sasser
(6:18) 13. Could It Be Magic
(4:22) 14. Softly, As In A Morning Sunrise
(4:06) 15. Scrapple From The Apple

The first of two sets taken from Bobby Enriquez's Japanese tour of 1982 features the powerful pianist in a trio with bassist Isoo Fukui and drummer Shinji Mori. Enriquez often seems unable to control himself musically, really ripping into the nine selections. 

He takes "Airegin" and "Donna Lee" at ridiculously fast tempos, doubletimes "Misty," jams Jobim's "Meditation" as a bop tune, and rips into "Holiday for Strings." Spectacular playing, not for the faint-hearted. ~ Scott Yanow https://www.allmusic.com/album/live%21-in-tokyo-mw000031507

Personnel: Piano – Bobby Enriquez;  Bass – Isso Fukui; Drums, Percussion – Shinji Mori

Live! In Tokyo

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The Los Angeles Jazz Ensemble - Jazz By The Sea

Styles: Contemporary Jazz
Year: 2017
File: MP3@320K/s
Time: 58:09
Size: 135,7 MB
Art: Front

(3:56)  1. Memories Of You
(2:56)  2. Tenderly
(2:31)  3. Just You, Just Me
(2:22)  4. Body & Soul
(3:37)  5. Moonglow
(2:37)  6. Three Little Words
(2:20)  7. Green Dolphin Street
(2:42)  8. Lullaby of Birdland
(3:01)  9. After You've Gone
(2:01) 10. Southern Fried
(4:22) 11. More Than You Know
(2:05) 12. A Foggy Day
(2:32) 13. They Can't Take That Away From Me
(2:41) 14. What's New
(4:00) 15. If I Had You
(2:43) 16. Misty
(2:57) 17. I'll Remember April
(2:43) 18. These Foolish Things
(3:15) 19. Poor Butterfly
(2:40) 20. Flying Home

Jazz By The Sea

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Christian McBride - Christian McBride’s New Jawn

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 57:49
Size: 133,8 MB
Art: Front

(2:49)  1. Walkin' Funny
(9:55)  2. Ke-Kelli Sketch
(5:34)  3. Ballad of Ernie Washington
(5:00)  4. The Middle Man
(7:44)  5. Pier One Import
(5:35)  6. Kush
(7:21)  7. Seek The Source
(5:19)  8. John Day
(8:30)  9. Sightseeing

Christian McBride was looking for a new musical challenge. So he decided to form a band that would play without the use of chords. The bassist explains, "Every major group I've been a part of for the last ten years, whether it's been with Pat Metheny or Chick Corea, or my own projects, there's been nothing but chords. So, I wanted to see what happens if I just pull the chords out altogether."  The result is Christian McBride's New Jawn. The name derives from the black Philadelphian slang term jawn meaning "thing," as in "do your thing." The band comprises McBride, trumpeter Josh Evans, saxophonist Marcus Strickland, and drummer Nasheet Waits. McBride says he chose the name New Jawn because the band's members "had grit under their fingernails" and he wanted a name that wasn't "buttoned up" like Quartet. The band's only (golden) rule: no chords. McBride's other recent bands have included: Inside Straight, featuring alto/soprano saxophonist Steve Wilson; a trio featuring the phenomenal young pianist Christian Sands; an 18-piece big band; and the experimental group A Christian McBride Situation with pianist Patrice Rushen, saxophonist Ron Blake and vocalist Alyson Williams. No doubt about it, McBride's almost as hard-working as was the the late James Brown. 

He has also played as a sideman on around 300 albums and is artistic director of the Newport Jazz Festival, having succeeded founder George Wein in that role in 2016. The New Jawn kick off with McBride's "Walkin' Funny," the staggering rhythm and stuttering of the horns implying a drunken, unsteady gait. Next up: "Ke-Kelli Sketch," a portrait of drummer Nasheet Waits' wife that Waits describes as "an aural Picasso." McBride is to the fore with Waits right up there with him, then Evans and Strickland take over and it all becomes a tad formless, perhaps a flaw of the no chords approach (or maybe they just wanted it that way). "The Ballad of Ernie Washington" is named for the pseudonym Thelonious Monk used when his cabaret card was revoked in the mid-1950s. The number is so respectful Monk might not have approved but it's one of the standout tracks, along with "The Middleman" and "Pier One Import."  The proceedings conclude with Wayne Shorter's fast-paced "Sightseeing." Strickland plays an interesting, freewheeling solo with McBride working hard in behind him. Evans takes over, then leaves McBride to get on with it, which he does in his usual no-frills, muscular but intelligent fashion. ~ Chris Mosey https://www.allaboutjazz.com/christian-mcbrides-new-jawn-christian-mcbride-mack-avenue-records-review-by-chris-mosey.php

Personnel: Christian McBride: bass;  Marcus Strickland: saxophone;  Josh Evans: trumpet;  Nasheet Waits: drums.

Christian McBride’s New Jawn

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Dave Liebman - In A Mellow Tone

Styles: Saxophone And Flute Jazz
Year: 2004
File: MP3@320K/s
Time: 53:10
Size: 122,9 MB
Art: Front

(4:34)  1. In A Mellow Tone
(6:09)  2. Child At Play
(6:40)  3. Chance Of Rain
(3:52)  4. The Sun King
(6:49)  5. Chant
(3:13)  6. My Heart Will Go On
(7:19)  7. Romulan Ale
(2:46)  8. Wow
(3:54)  9. Change Up
(7:49) 10. Vamp To Life

Don't let the title of Dave Liebman's latest disc, In a Mellow Tone, fool you. While the ambience is generally more relaxed than his usual fare, this is no easy-going collection of standards; instead what we have is an album that, for all its mellifluous aspirations, has a subtle intensity, and a certain feeling that all is not what it seems. Leading off with a radically reharmonized version of the Ellington classic, "In a Mellow Tone," Liebman sets the tone for the whole album. While the recognizable theme is there, the underlying feel is one of brooding darkness. With bassist Tony Marino and drummer Jamey Haddad eschewing the more expected ambling lope, instead lightly implying a certain sense of peril, Liebman's arrangement may be accessible, but it is hardly easy listening. Liebman's playing is less aggressive than usual, but his expressionist leanings remain intact. Guitarist Vic Juris continues to surprise and enlighten. With a style that sits, for the most part, somewhere between the melodious sound of Pat Metheny and the more oblique lyricism of John Abercrombie, he demonstrates a musical breadth of which few guitarists are capable. From the impressionistic self-penned "Chance of Rain," which is so visual one can see the clouds rolling in and hear the distant thunder, to Liebman's "The Sun King," originally written in the '70s when he was playing with Indian percussionist Badal Roy, Juris demonstrates a knowledge of everything from post bop harmonies to Indian raga form. 

Liebman even manages to take the soporific melodrama of James Horner's "My Heart Will Go On," from the Titanic movie soundtrack, and turn it into a rubato tone poem that is poignant and pensive. "Change Up" is a free piece that features rich interplay between Liebman's soprano saxophone and Marino's bowed bass, before leading into a classical guitar solo by Juris that continues to demonstrate his broad stylistic abilities. Sadly this is the final recording of the current version of Liebman's group that began in '91, following the dissolution of his more outgoing post-Coltrane band, Quest. Liebman states in the liner notes that a long-standing band "both artistically and from the listener's standpoint is consistently at a higher level than in temporary formations." With the effortless way in which the quartet navigates the material on In a Mellow Tone, Liebman's assumption is clearly supported. What will come next is anybody's guess, but In a Mellow Tone is a fitting swan song for a group; easy on the ears without losing its sense of adventure, and the culmination of a lot of obviously joyful hours spent playing together. ~ John Kelman https://www.allaboutjazz.com/in-a-mellow-tone-dave-liebman-zoho-music-review-by-john-kelman.php

Personnel: Dave Liebman (soprano and tenor saxophones, wooden flute), Vic Juris (acoustic and electric guitar, guitar synthesizer), Tony Marino (acoustic and stik bass), Jamey Haddad (drums, percussion)

In A Mellow Tone

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Nicole Herzog, Stewy Von Wattenwyl Group - I Loves You Billie

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 55:55
Size: 129,1 MB
Art: Front

(5:17)  1. Summertime
(4:57)  2. Lover Man
(4:57)  3. It Ain't Necessarily So
(5:58)  4. Night and Day
(5:37)  5. Domino
(6:17)  6. Give Him the Ooh-La-La
(4:27)  7. I Loves You Porgy
(4:39)  8. Nice Work If You Can Get It
(5:04)  9. God Bless the Child
(5:30) 10. Love for Sale
(3:09) 11. Send in the Clowns

Nicole Herzog, daugther of a Congolese mother and a Swiss father. At the age of 4 Nicole started taking lessons in classical ballet, and until her 16th birthday she pursued her dream of becoming a professional dancer. Singing and playing the piano had been just two more hobbies for a long years. Her passion for solo singing sparked when she participated in a musical organized by her high school. She kept singing in regional pop, soul, R'n'B and funk bands. Because of a rising interest in Jazz, she applied for the International Jazzfestival Generations 2004, where she participated in workshops held by Adrian Mears, Ira Coleman, Lewis Nash, Dick Oatts and others. At Generations 2004 Nicole was awarded a place in the fellowship band, with which she toured in Germany (Jazzclub Unterfahrt München) and Switzerland under supervision of Roman Schwaller and Adrian Mears. Subsequently Nicole devoted herself to her studies in International Relations, which she concluded with a bachelor at the University of Geneva. The studies did not keep her from making music. In Adrian Mears she found a composer, arranger and musician who was able to write challenging and varied compositions and arrangements suiting Nicole's voice. The result of this collaboration can be be found on the CD "Time Will Tell – Nicole Herzog Septet feat. Adrian Mears", which was published under the TCB Montreux Jazz Label in September 2008. Nicole completed her Master in European Studies from the University of Basel in December 2011. In 2012 Nicole founded together with the Bernese pianist Stewy von Wattenwyl the "Nicole Herzog & Stewy von Wattenwyl Group" and published an album “INTIMACY" (Brambus Records Label). This collaboration was a big succes. Together, Nicole and Stewy, won the Radio Swiss  Jazz Award 2014. In autumn 2015 Nicole and Stewy recorded their second album together, "I LOVES YOU BILLIE", which was published mid-march 2016. In mai 2016 Nicole got the opportunity to make a recording with the legendary US-tenorsaxophonist Don Menza. The album "THAT'S LIFE" (Label Musiques Suisses) is going to be released in autumn 2016. Nicole lives with her little family in Copenhagen and regularly performs in Switzerland, South Germany, Austria, France and China. https://www.nicoleherzog.com/en/portrait/

I Loves You Billie

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Chet Baker - I Remeber You

Styles: Trumpet Jazz
Year: 1985
File: MP3@320K/s
Time: 60:23
Size: 138,9 MB
Art: Front

(14:40)  1. But Not For Me
(11:57)  2. Broken Wing
(10:14)  3. Nardis
(12:36)  4. You Go To My Head
(10:54)  5. Just Friends

Recorded live at the Cafe Montmartre in Copenhagen in 1985, this is the second in a series of posthumously released Chet Baker concerts on Enja Records. Performing with a quartet, Baker nails another electrifying concert appearance. With the set's lengthy opening tune "But Not For Me," Baker establishes the musical tone for the rest of the evening an amazing blend of solid rhythm against Baker's free sense of space and lyricism. Baker sings in his trademark style of scattered, whispery phrases and he even plays some piano in a single-note style that reflects his approach to trumpeting. His mature trumpet work is clear, emotionally charged, natural, and personal, and his lines are often unpredictable. The set also includes a haunting and strangely sad "You Go To My Head," which features Baker's hushed, seductive vocals. This recording was never intended for commercial release, so the sound quality is not perfect and there is some audience noise, but it never gets in the way of enjoying this wonderful evening of Chet Baker at the top of his form. https://www.allmusic.com/album/i-remember-you-the-legacy-vol-2-mw0000592803

Personnel:  Jesper Lundgaard (double bass), Aage Tanggaard (drums), Doug Raney (guitar), Chet Baker (trumpet), Chet Baker (piano)

I Remeber You

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Jeff Hamilton - Down & Under

Styles: Vocal And Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 31:03
Size: 72,3 MB
Art: Front

(3:39)  1. My Proposal
(2:59)  2. Brianna's Song
(3:31)  3. Diamonds
(2:18)  4. Loser
(1:50)  5. Ninjas & Pirates
(3:44)  6. Lashes
(3:04)  7. Down & Under
(3:15)  8. Jaxson's Song
(3:41)  9. Angel
(2:58) 10. Salvation Train

A reliable and versatile drummer who sounds equally at home with a big band or combo, Jeff Hamilton has a strong reputation in the jazz world. He attended Indiana University, in 1974 was with the Tommy Dorsey ghost band, played briefly with Lionel Hampton, and then spent two years as a member of Monty Alexander's Trio (1975-1977). Hamilton was with Woody Herman's Orchestra (1977-1978), became a member of the L.A. Four (with whom he made six records), and started recording regularly as a sideman for Concord. As a leader, he made his debut with 1982's Indiana on Concord, featuring tenorman Bob Cooper and altoist Lanny Morgan, pianist Biff Hannon, bassist John Clayton, and guest vocalist Mark Murphy. Between 1983 and 1987, he performed with Ella Fitzgerald, the Count Basie Orchestra, Rosemary Clooney, and Monty Alexander. In the '90s, Hamilton toured the world with Oscar Peterson and the Ray Brown trio, gigged with the Clayton Brothers' quartet, and was a co-leader (with John and Jeff Clayton) of the Clayton-Hamilton Orchestra. Jeff Hamilton has also occasionally led his own trio, recording for Lake Street and Mons, delivering such albums as 1994's It's Hamilton Time!, and 1997's Dynavibes. More solo outings followed including 2002's Hand's On, 2004's The Best Things Happen, and 2009's Symbiosis, with pianist Tamir Hendelman and bassist Christoph Luty. Also during this period, he remained a busy session player, racking up credits with such luminaries as Diana Krall, Michael Bublé, and Barbra Streisand, among others. In 2012, he returned to his solo trio work with Red Sparkle, which once again featured pianist Hendelman and bassist Luty. The following year, he joined pianist Paul Kuhn and longtime associate drummer Jeff Clayton for The L.A. Session. In 2017, Hamilton augmented his trio with tenor saxophonist Cory Weeds for the urbane Dreamsville. ~ Scott Yanow https://www.allmusic.com/artist/jeff-hamilton-mn0000186892/biography

Personnel:  Jeff Hamilton - Lead Vocals, Electric Guitar, Acoustic Guitar; Mitchell Maldonado - Drums, Bass, Keys, Vocals; Stephanie Maldonado - Vocals; Josh Anderson - Banjo

Down & Under

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Chano Dominguez, Javier Colina - Chano & Colina

Styles: Piano Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 72:16
Size: 165,8 MB
Art: Front

( 5:18)  1. Luces de la fragua
( 5:57)  2. You the Night and the Music
(11:20)  3. Habanera de la Habanera
( 8:22)  4. My One and Only Love
( 5:49)  5. Para Chick
( 9:08)  6. We Will Meet Again
( 5:45)  7. You Must Believe In Spring
( 6:47)  8. Canción de Amor
( 8:39)  9. Ziryab
( 5:06) 10. Serpent's Tooth

Chano Domínguez is from Cádiz, Spain, the birthplace (according to legend) of flamenco. His discography is mostly on Spanish labels. He released two records on Blue Note in 2010 and 2012 (Piano Ibérico and Flamenco Sketches), but they are atypical and already rarities. Over the Rainbow came out last year on Sunnyside; now there’s Chano & Colina too. For those new to Domínguez, the two Sunnyside titles are where to start, and they will be revelations. His unique piano language organically fuses two sensibilities: the rhythms and harmonies of flamenco and the improvisatory spirit of jazz. The first Sunnyside album was a solo concert. Chano & Colina, also recorded live in Spain, adds bassist Javier Colina. “Ziryab,” by Paco de Lucía, is unleashed excitement, an ornate spontaneous jazz design overtaken by the climactic flourishes of flamenco. Even more striking are the North American standards. “You and the Night and the Music” has been waiting 80 years for Domínguez to inject all those extra flamenco beats into its straight 4/4. A song about being “filled with flaming desire” has never been set on fire like this. Domínguez’s rhythmic sophistication and intensity do amazing things to ballads. “My One and Only Love” becomes a spring-loaded flamenco waltz, an assertive new concept of tenderness. It’s initially surprising that he chooses two songs associated with Bill Evans, but on them he proves that he’s more than a master of metrical manipulation; he generates energy in the service of lyricism. “We Will Meet Again” has a new lift, which makes it more, not less, poignant. (Its emotion is deepened by one of Colina’s many dramatic solos.) “You Must Believe in Spring” is transformed by the creative force that sets it into throbbing motion. Michel Legrand’s fragile avowal of faith has rarely sounded so sensual. https://jazztimes.com/reviews/albums/javier-colina-chano-dominguez-chano-colina/

Personnel:  Javier Colina (bass); Chano Dominguez (piano)

Chano & Colina

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Jack Jezzro - Bossa Nova Romance: One Hour Of Romantic Bossa Nova Music

Styles: Brazilian Jazz 
Year: 2013
File: MP3@320K/s
Time: 60:26
Size: 140,0 MB
Art: Front

(4:26)  1. Wave - feat. Jack Jezzro
(4:59)  2. Corcovado - Instrumental Version
(3:40)  3. Blue Bossa - feat. Leif Shires
(3:43)  4. Once I Loved (O Amor En Paz)
(4:13)  5. The Girl From Ipanema
(5:01)  6. Miranda
(3:58)  7. How Insensitive - feat. Denis Solee
(5:43)  8. Paqueta, Isle Of Love
(3:46)  9. Senza Fine
(4:26) 10. Moonlight In Brazil
(4:57) 11. Dindi
(3:54) 12. And I Love Her
(3:32) 13. Nature Boy - What A Wonderful World Album Version
(4:01) 14. You And The Night And The Music - feat. Jack Jezzro

Bossa Nova Romance is a fine sampling of the artists on the Green Hill Records roster. These 14 tracks include cover versions of "The Girl from Ipanema," "You and the Night and the Music," "Nature Boy," "And I Love Her," "Corcovado," and "Blue Bossa." Recommended to listeners who enjoy mellow background music at a budget price. ~ Al Campbell https://www.allmusic.com/album/bossa-nova-romance-mw0002472199

Bossa Nova Romance: One Hour Of Romantic Bossa Nova Music

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Allegra Levy - Cities Between Us

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 63:42
Size: 147,6 MB
Art: Front

(6:38)  1. Cherry Blossom Song
(5:13)  2. Lullaby of the Orient
(5:24)  3. I Shouldn't Tell You
(4:12)  4. Misery Makes the Music
(5:07)  5. Yesterdays
(5:14)  6. Dear Friend
(5:28)  7. Sleepwalk with Me (In Sek Tong Tsui)
(4:37)  8. Soy Califa
(8:40)  9. Leaving Today
(6:18) 10. Down Sunday
(6:45) 11. Cities Between Us

He continues to move in the wake of tradition including Peggy Lee and Chris Connor the young New York singer and author, a graduate of the New England Conservatory. After the debut of 2014 (Lonely City, SteepleChase) in this second album Allegra changes its organic and expressive climate. The new partners include Kirk Knuffke at the cornet, Jay Anderson on the double bass and Billy Drummond on drums, while the general atmosphere is no longer intimist and melancholic but rhythmically relaxed and full of groove. In this regard Neil Tesser, who wrote the cover notes, notes that the subtitle of the album could be The Lighter Side of Allegra Levy. All the vocal talents expressed in the debut are confirmed: elegant timbral flare, interpretations that alternate lightness and emotional intensity, highlighting flexibility of register, colloquial warmth and good interpretative taste. In the debut album, Allegra also distinguished herself for her talent, which we find here. All songs are his except "Yesterdays" the famous theme of Jerome Kern and another couple of standards, which the singer has provided texts. After a "Cherry Blossom" with a captivating thirties arrangement, they follow the lullaby ballad "Lullaby of the Orient" by Duke Jordan, the first of two arrangements by John McNeil and still "I Should not Tell You" where the intense emerge Stephen Riley's websterian tenor sax and the spirited Knuffke.

Everything flows to the end with a good balance between the vocal and the instrumental dimensions, with interventions always sought after and attentive to melodic values. Translate by Google ~ Angelo Leonardi https://www.allaboutjazz.com/cities-between-us-allegra-levy-steeplechase-records-review-by-angelo-leonardi.php

Personnel: Allegra Levy: vocals; Kirk Knuffke: cornet; Stephen Riley: tenor saxophone; Carmen Staaf: piano; Jay Anderson: bass; Billy Drummond: drums.

Cities Between Us

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Ray Conniff - I Write The Songs

Styles: Vocal
Year: 1976
File: MP3@320K/s
Time: 32:55
Size: 76,8 MB
Art: Front

(2:51)  1. Begin The Beguine
(3:20)  2. My Little Town
(5:45)  3. The Hustle/I Only Have Eyes For You
(4:17)  4. Lyin' Eyes
(3:47)  5. Lara's Theme From "Doctor Zhivago"
(2:48)  6. The Way I Want To Touch You
(3:37)  7. Paloma Blanca - Single Version
(2:42)  8. Our Day Will Come
(3:44)  9. I Write The Songs

The kitsch enthusiast or novelty seeker will get a kick out of Ray Conniff's 1976 album I Write the Songs. Known primarily for orchestral versions of contemporary pop songs, his recordings during the late 1960s and early 1970s by himself and as Ray Conniff and the Singers included many straightforward recordings of current pop hits. 

This collection, sans singers, includes songs by Cole Porter, the Eagles, Captain & Tennille, Four Seasons, Barry Manilow, and an awesome medley of the Soul City Symphony's "The Hustle" and "I Only Have Eyes for You"! This fun easy listening album has great track listing. A cheerful artifact of the early 1970s. If you are going to revisit the Ray Conniff catalog, vinyl LP or 8-track is highly recommended. ~ GT Griffith https://www.allmusic.com/album/i-write-the-songs-mw0001018265

I Write The Songs

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Tadd Dameron - The Compositions Of Tadd Dameron

Styles: Bop, Post Bop, Hard Bop, Cool Jazz 
Year: 2011
File: MP3@320K/s
Time: 42:15
Size: 98,0 MB
Art: Front

(4:09)  1. Fontainebleau
(3:10)  2. The Dream Is You
(6:30)  3. If You Could See Me Now
(7:42)  4. Good Bait
(5:13)  5. Smooth As The Wind
(4:43)  6. Our Delight
(4:09)  7. Hot House
(6:36)  8. Lady Bird

The definitive arranger/composer of the bop era, Tadd Dameron wrote such standards as "Good Bait," "Our Delight," "Hot House," "Lady Bird," and "If You Could See Me Now." Not only did he write melody lines, but full arrangements, and he was an influential force from the mid-'40s on even though he never financially prospered. Dameron started out in the swing era touring with the Zack Whyte and Blanche Calloway bands, he wrote for Vido Musso in New York and most importantly, contributed arrangements for Harlan Leonard's Kansas City Orchestra, some of which were recorded. Soon Dameron was writing charts for such bands as Jimmie Lunceford, Count Basie, Billy Eckstine, and Dizzy Gillespie (1945-1947) in addition to Sarah Vaughan. Dameron was always very modest about his own piano playing but he did gig with Babs Gonzales' Three Bips & a Bop in 1947 and led a sextet featuring Fats Navarro (and later Miles Davis) at the Royal Roost during 1948-1949. Dameron co-led a group with Davis at the 1949 Paris Jazz Festival, stayed in Europe for a few months (writing for Ted Heath), and then returned to New York. He wrote for Artie Shaw's last orchestra that year, played and arranged R&B for Bull Moose Jackson (1951-1952) and in 1953 led a nonet featuring Clifford Brown and Philly Joe Jones. Drug problems, however, started to get in the way of his music. After recording a couple of albums (including 1958's Mating Call with John Coltrane) he spent much of 1959-1961 in jail. After he was released, Dameron wrote for Sonny Stitt, Blue Mitchell, Milt Jackson, Benny Goodman and his last record but was less active in the years before his death from cancer. Tadd Dameron's classic Blue Note recordings of 1947-48, his 1949 Capitol sides and Prestige/Riverside sets of 1953, 1956, 1958, and 1962 are all currently in print on CD. ~ Scott Yanow https://www.allmusic.com/artist/tadd-dameron-mn0000016759/biography

Personnel:  Arranged By, Conductor [Orchestra] – Tadd Dameron; Vibraphone [Soloist] – Milt Jackson; Bass – Larry Gales, Sam Jones, Buddy Clark; Drums – Ben Riley, Jimmy Cobb, Mel Lewis; Piano – Junior Mance, Bobby Timmons, Bill Evans, Jimmy Rowles; Tenor Saxophone – Eddie "Lockjaw" Davis, Johnny Griffin; Trumpet [Soloist] – Blue Mitchell, Jack Sheldon; Vibraphone – Dave Pike: Bass Clarinet – Herbie Mann; Bass Clarinet – Herbie Mann;

The Compositions Of Tadd Dameron

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Dusko Goykovich - RE:BOP

Styles: Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 70:02
Size: 161,2 MB
Art: Front

( 9:29)  1. My Secret Love
(11:26)  2. Bei Dir war es immer so schön
( 8:51)  3. It's You or No One
( 7:16)  4. Not so Long Ago
( 9:13)  5. Back Beat Blues
( 9:00)  6. Autumn Leaves
( 8:15)  7. Rebop
( 6:28)  8. Misty

This is not a “late work” but rather a captivating proof of maturity, looking back at a career of six and a half decades. These recordings were made at Jazzclub Birdland in the beautiful Renaissance city of Neuburg on September 15th and 16th, 2017. A place that Dusko Goykovich has been connected with through his long friendship with Manfred Rehm. https://www.jazzmessengers.com/en/79172/dusko-goykovich/re-bop

Personnel:  Dusko Goykovich, trumpet, flugelhorn; Jesse Davis, alto saxophone; Edgardo 'Dado' Moroni, piano; Mads Vinding, bass, Alvin Queen, drums

RE:BOP

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