Jared Gold - Reemergence

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 51:19
Size: 118,0 MB
Art: Front

(5:53)  1. Reemergence
(5:27)  2. It Ain't Necessarily So
(5:59)  3. Looking for Another Pure Love
(4:59)  4. She's Leaving Home
(5:30)  5. One for John A
(6:25)  6. How Long Has This Been Going On
(5:07)  7. Blues Connotation
(4:37)  8. Sweet Spirit
(7:19)  9. Nomad

The title of organist Jared Gold's newest release seems to suggest that he is returning to the fold after being away for a time. In actuality, he has been a mainstay on the New York scene for some time now and can boast eight previous albums as a leader dating back to 2008's Solids and Stripes. More likely is that the title alludes to the fact that Gold's discography appears exclusively on the Posi-Tone label, an imprimatur known for short, radio-friendly tracks that don't always allow for much development. So indeed, Reemergence seems like a fresh start for Gold as it permits him a better opportunity to fully display his wares. From the moment trumpeter Jeremy Pelt's clarion call ushers in the title track, it's clear that Gold and company are headed down an open path boasting all kinds of surprises along the way. Gold's bass lines are full and supportive, and drummer Billy Hart brings his own share of creative notions. Hart's solo here is a lesson in musicality, not to mention the wide stereo spread provided by engineer Chris Sulit. The waltz tempo of "It Ain't Necessarily So" keeps the pots on with guitarist and producer Dave Stryker stretching out for the first solo spot. Gold's own statement is a model of his imaginative improvisational vigor. As things start to simmer, he includes a quote of "Little B's Poem" and then goes on to smash chords and furl out 16th notes runs before literally pulling out all the stops at the tune's conclusion. 

Think a combination of the foundational bass lines of Richard "Groove" Holmes mixed with the intricate runs of Larry Young and you get an idea of Gold's modus operandi. Two pop numbers of note, Stevie Wonder's' "Looking for Another Pure Love" and The Beatles' "She's Leaving Home," get updated treatments, much like the type of thing Stryker himself has been doing lately for his own 8-Track projects. Both versions offer proof of the substance and fodder available in some of the great pop tunes of our time.  A warhorse that has been done too many times to expect any kind of welcome, "How Long Has This Been Going On," manages to rise above the usual in an airy bossa nova version by Gold and company. The polar opposite in terms of intensity, Ornette's clever "Blues Connotation" is ripe for exploration as Gold spins a dark tale filled with brilliant uses of shading and rhythm. Stryker offers up an equally stunning solo followed by Hart's matchless riffing and cymbal splashing. From start to finish, it is perfectly clear that Gold has found the perfect forum for showing off all the sides of his resourceful personality. He certainly couldn't have picked a better crew of like-minded musicians to aid him in his task or a better producer. Here's hoping the alliance with Strikezone continues; it fits Gold to a tee. ~ C.Andrew Hovan https://www.allaboutjazz.com/reemergence-jared-gold-strikezone-records-review-by-c-andrew-hovan.php

Personnel: Jared Gold: organ; Dave Stryker: guitar; Billy Hart: drums; Jeremy Pelt: trumpet (tracks 1, 3, 5).

Reemergence

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Don Shirley - Bewitched

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 38:15
Size: 88,1 MB
Art: Front

(2:38)  1. Bewitched
(8:17)  2. Love for Sale
(2:15)  3. And This is My Beloved
(7:04)  4. Medley from 'New Faces'
(4:28)  5. September Song
(4:59)  6. Blue Moon
(3:21)  7. My Funny Valentine
(5:08)  8. Dancing on the Ceiling

Pianist, composer, and arranger Don Shirley was born in Pensacola, Florida, on January 29, 1927. He began playing piano at age two, and seven years later had developed his skills so rapidly, he was studying theory at the prestigious Leningrad Conservatory of Music. Shirley made his concert debut with the Boston Pops in 1945, while the following year, the London Philharmonic Orchestra performed one of his first major compositions. In the ensuing years between 1954 and 1968, Shirley performed as a soloist and as a member of several symphonies, including the Boston Pops, Detroit Symphony, Chicago Symphony, and the National Symphony Orchestra of Washington. Shirley also composed several organ symphonies, a piano concerto, two string quartets, and numerous pieces for piano. His musical language also encompassed tastefully mastered combinations of standards, show tunes, ballads, spirituals, and jazz performed with his own trio. Incredibly, Shirley also found time between performing and recording to obtain a PhD of Music, Psychology, and Liturgical Arts. Throughout the '50s and '60s, he released numerous albums on the Cadence label. In 1999, Collectables began reissuing several of those albums as two-for-one sets. Shirley died of heart disease on April 6, 2013. ~ Al Campbell https://www.allmusic.com/artist/don-shirley-mn0000160561/biography

Bewitched

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Jessica Elbert - A Moment in Jazz

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 15:58
Size: 37,0 MB
Art: Front

(4:20)  1. The Touch of Your Lips
(3:27)  2. The Gentleman Is a Dope
(3:17)  3. I Like You You're Nice
(4:53)  4. All or Nothing At All

The first words out of Jessica Elbert's mouth weren't spoken, they were sung. Raised in a family of singers, Jessica got her start in church and school choirs. Jessica was fourteen when she began formal classical vocal training with Joan Kaplon in Gaithersburg, Maryland, and has since studied with a variety of notable vocal teachers, including Lisa Campbell Albert in St. Louis, Missouri, Judy Niemack in Naperville, Illinois, and Ellen Shade and Phil Hall in New York City. During her college years, Jessica was the recipient of numerous vocal awards, including 'Best Soloist' by the International Championship of Collegiate A Cappella (ICCA) in 2001 and other nods from Contemporary A Cappella Recording Awards (CARA) as a runner up for the 'Best Mixed Collegiate Song' for one of her solo works, and was also included on the Best of Collegiate A Cappella (BOCA) in 2002 for another of her solo works. Since graduating from Washington University in St. Louis in 2002, Jessica has lived in New York City, pursuing her singing career. After exploring a number of musical genres during her early years in New York, a chance series of events led her to study with Peter Eldridge and Jay Clayton, both noted Jazz Musicians and teachers. Jessica has focused on the study and performance of Jazz ever since, regularly performing in the New York metropolitan area, and along the East Coast. Jessica released her debut album "Anlage" in late 2006. "Anlage" is an exciting collection of songs with accompaniment by such notables as tenor saxophonist Joel Frahm, and is a blend of popular standards (I Remember You, Midnight Sun) and Brazilian classics (Dindi, A Little Tear), all that showcase Jessica's remarkable talent and stunning ability so early into her career. https://www.smallslive.com/artists/568-jessica-elbert/

A Moment in Jazz

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Scott Colley - Seven

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 47:21
Size: 109,8 MB
Art: Front

(5:50)  1. Fragment
(6:54)  2. Tangled Reality
(6:07)  3. Low Down
(4:10)  4. Don't Rise
(4:53)  5. Few Words
(6:52)  6. Bridge of Dawn
(4:50)  7. The Return
(5:06)  8. Legacy
(2:35)  9. Three Visitors

Multi-Grammy nominated Scott Colley, “one of the leading bassists of our post-bop era, and a composer- bandleader ofquietly serious resolve,” has composed incredible new works for his recently formed band, Current, which features trumpeter Jonathan Finlayson, drummer Nate Smith, and pianist Kevin Hays. ArtistShare is proud to submit Scott’s stunning new recording, Seven, for nomination consideration in the 60th Grammy Awards. The writing and performance is unparalleled, combining beautiful melodicism with exhilarating rhythmic structures. The band navigates sometimes surprising territory, including Kevin Hays’ vocal performance on “Don’t Rise.”~ Brian Camelio https://news.allaboutjazz.com/artistshare-is-proud-to-submit-scott-colleys-seven-for-nomination-consideration-in-the-60th-grammy-awards.php

Personnel:  Acoustic Bass, Composed By, Arranged By, Photography By [Cover] – Scott Colley; Drums – Nate Smith; Piano, Vocals – Kevin Hays; Trumpet – Jonathan Finlayson

Seven

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Jack Reilly - Blue Sean Green

Styles: Piano Jazz
Year: 1974
File: MP3@320K/s
Time: 43:03
Size: 99,3 MB
Art: Front

(5:21)  1. Halloween
(6:19)  2. Waltz For Fall
(7:27)  3. Unichrom
(4:57)  4. 526, AKA(Resurrection)
(5:48)  5. Allegretto
(3:08)  6. La-No-Tib
(6:38)  7. Blue Sean Green
(3:22)  8. Floral Space

Jack Reilly Trio (Blue-Sean-Green) Unichrom Ltd. Jack Reilly is an interesting study in contrasts, Bill Evans is omnipresent in his playing, but there is a classical edge that gives him a unique style [with] musical depth. Jack Six on Bass and Drummer Joe Cocuzzo provide the ideal accompaniment. Ever the spear carriers, they do not overplay but perform superbly in support. 'Halloween' This tune is a treat with tricky machinations by Reilly. Delicious humor with a hint of darkness dancing just below the surface. Jack Reilly gleefully explores the 88's. Spirited playing by all. 'Waltz For Fall' Shades of Bill Evans with the leader's personal touch. '526' There is a musical story here played with much feeling, highlighted by a jazzy finish. 'Blue-Sean-Green' Some blues and some quirkily swinging piano with a mention of Monk in an early phrase. Hip stuff. 'Floral Space' A truly romantic theme with a touch of sadness. Beautifully executed by all. ~ AAJ Staff https://www.allaboutjazz.com/jack-reilly-trio-jack-reilly-unichrom-review-by-aaj-staff.php

Personnel: Jack Reilly, Piano, Jack Six, Bass, Joe Cocuzzo, Drums.

Blue Sean Green

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Bireli Lagrene - Storyteller

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 61:34
Size: 141,4 MB
Art: Front

(5:18)  1. One Take
(6:27)  2. Estate
(5:43)  3. Wave
(5:43)  4. Stella by Starlight
(4:47)  5. Freedom Jazz Dance
(4:43)  6. Sunny
(8:50)  7. My One and Lonely Love
(5:56)  8. There Is No Greater Love
(3:43)  9. More
(4:58) 10. On Green Dolphin Street
(1:21) 11. Life in the Folds
(3:59) 12. Storyteller

Ever since he stunned listeners at age 13 with jaw-dropping guitar technique and mastery of the jazz manouche idiom eternally associated with Django Reinhardt, France’s Biréli Lagrène has grown continually more beastly on the instrument. His musicality, however his deep appreciation for songs and the people he plays them with guides his decisions more than chops alone. On Storyteller, with bassist Larry Grenadier and percussionist Mino Cinélu, he begins with the purest, most beautiful acoustic tone but then stretches it sonically with software to create radical sustain and added color. Chords linger and wave like aurora borealis. Organic elements of his playing harmonics, slides, bends, fall-offs, scrapes, vibrato become enhanced and almost surreal. Yet the intimacy of his touch is never lost or covered over. One could call it acoustic fusion, a blending of two paramount interests of Lagrène’s over the decades. Playing mainly well-trodden standards, he devours them like a lion, exposing every harmonic nuance and rhythmic possibility. But with the title track, he closes on a tantalizingly futuristic note. https://itunes.apple.com/us/album/storyteller-feat-larry-grenadier-mino-cin%C3%A9lu/1438005730

Personnel: Biréli Lagrène (g); Larry Grenadier (b); Mino Cinelu (per)

Storyteller

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Dave Brubeck - The Riddle

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 39:20
Size: 90,7 MB
Art: Front

(5:25)  1. Hey, Ho, Anybody Home?
(4:17)  2. The Twig
(5:44)  3. Blue Ground
(2:39)  4. Offshoot
(7:37)  5. Swingin' 'Round
(6:00)  6. Quiet Mood
(3:58)  7. The Riddle
(3:36)  8. Yet We Shall Be Merry

Clarinetist Bill Smith, a member of Dave Brubeck's octet in the late '40s and a future soloist with Brubeck's Quartet starting in the '80s, recorded three albums with the pianist in the interim. The Riddle finds him temporarily taking altoist Paul Desmond's place with the Quartet and contributing all eight compositions which utilize folkish melodies that are related to the English song "Heigh, Ho, Nodbody Home." Although not too essential, this little-known set gives Dave Brubeck a chance to play some unusual material. ~ Scott Yanow https://www.allmusic.com/album/the-riddle-mw0000868195

Personnel:  Dave Brubeck - (piano); Bill Smith (clarinet); Joe Morello (drums); Eugene Wright (bass)

The Riddle

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Aimee Petra - Diva or Darling

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 14:46
Size: 34,4 MB
Art: Front

(2:50)  1. Just One of Those Things
(3:27)  2. Embraceable You
(2:21)  3. It's A Good Day
(2:48)  4. Poor Wandering One
(3:18)  5. The Laughing Song

Direct from the opera and musical theater world, Aimee Petra brings you the re-release of her 2006 EP, “Diva or Darling!” Her brilliant four octave range and engaging presence will put a smile on your face, spring in your step, and song in your heart! Join Aimee as she takes you on a tour of her favorite American Songbook Classics and Operetta. Often compared with Kristin Chenoweth, Aimee is a unique blend of musical styles. The richness and color of her voice lead her in many directions as evidenced by her extensive career in opera, classical, musical theater, sacred/gospel and now jazz genres. An exceptional talent, Aimee Petra boasts a 4-octave range of dynamic color and presence. Rooted in musical theatre and later classically trained, Aimee has performed and recorded music of varying styles. After many years singing opera, classical and musical theatre throughout the United States, she decided to switch gears in 2008 and explore the world of jazz. Her debut jazz album, “Too Much Fun”, was released late summer 2008 to national & international acclaim. In 2010, Aimee released 3 new jazz singles. Two of the songs, “Beatitude in Blue” and “Duet of Solos” were featured on the All About Jazz website daily download days after they were released. She currently is collaborating with several new songwriters and has started writing her own music. Aimee enjoys performing throughout the upper Midwest in a variety of venues, from intimate wine bars to music festivals to concert halls, private parties and corporate events. Her sparkling vocals and warm stage presence delight audiences of all ages! 

Classically, she has sung operatic roles with Bay View Music Festival (Michigan), Opera in the Ozarks (Arkansas), Dorian Opera (Iowa), Opera Kansas, Gilbert & Sullivan Very Light Opera Company (Minnesota) and others. Aimée is the 2003 winner of the Marcella Kochanska Sembrich Vocal Competition and worked with Joan Dornemann at Portland Opera's IVAI program in 2000. Highlights of her musical theatre career include principal roles of Widow Douglas/Lead Soprano in “Big River” with Lake City Theatre Company, Mary Wilson in “Sgt. Pepper's: The Drunkard” and Ingenue in “On Broadway” for Lake Pepin Players. She has also performed leading roles with Phipps Center for the Arts and the Minnesota Fringe Festival. Her passion for concert work has led to an active recital career performing programs such as “An Evening of Italian Song” and “Classically Minnesota”, and soloing with orchestral/choral groups singing Bach's “Magnificat” and Orff's “Carmina Burana”. In addition, she has frequently sung the National Anthem at opening ceremonies for national conventions around the country. Aimée has enjoyed performing and recording the music of several living composers including Libby Larsen, Stephen Paulus, and David Evan Thomas. She has also sung sacred music throughout her career and is a soloist throughout the Twin Cities area for weddings, funerals, holidays and Sunday Worship. https://store.cdbaby.com/cd/aimeepetra2

Diva or Darling

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Beaver Harris 360° Music Experience - Live at Nyon

Styles: Jazz, Post Bop
Year: 1981
File: MP3@320K/s
Time: 49:14
Size: 113,1 MB
Art: Front

(18:10)  1. Don't I
( 7:11)  2. Charlette
( 6:03)  3. Ismay My Brother
(17:49)  4. High Noon

The 360 Degree Music Experience was an American band that performed both traditional and experimental jazz. Active during the 1970s and '80s, the group was initially co-led by drummer Beaver Harris and the pianist Dave Burrell. After Burrell left the group, pianist Don Pullen replaced him. Several other notable musicians were members of the band at one time or another, including Hamiet Bluiett, Cameron Brown, Ron Carter, Ricky Ford, Jimmy Garrison, Grachan Moncur III, Titos Sompa, and Buster Williams among others. The group released two albums for BMG: From Ragtime to No Time and A Well Kept Secret. https://en.wikipedia.org/wiki/The_360_Degree_Music_Experience

Personnel:  Beaver Harris - Drums;  Ken McIntyre - Reeds;  Granchan Moncur - Trombone;  Ron Burton - Piano;  Cameron Brown - Bass

Live at Nyon

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David Murray Octet - Ming

Styles: Saxophone, Clarinet Jazz
Year: 1980
File: MP3@320K/s
Time: 39:30
Size: 90,6 MB
Art: Front

( 8:55)  1. The Fast Life
(10:39)  2. The Hill
( 4:28)  3. Ming
( 8:51)  4. Jasvan
( 6:36)  5. Dewey's Circle

His octet was always the perfect setting for tenor saxophonist David Murray, large enough to generate power but not as out of control as many of his big-band performances. Murray contributed all five originals (including "Ming" and "Dewey's Circle") and arrangements, and is in superior form on both tenor and bass clarinet. The "backup crew" is also quite notable: altoist Henry Threadgill, trumpeter Olu Dara, cornetist Butch Morris, trombonist George Lewis, pianist Anthony Davis, bassist Wilbur Morris, and drummer Steve McCall. 

These avant-garde performances (reissued on CD) are often rhythmic enough to reach a slightly larger audience than usual, and the individuality shown by each of these major players is quite impressive. Recommended. ~ Scott Yanow https://www.allmusic.com/album/ming-mw0000188486

Personnel:   David Murray - tenor saxophone, bass clarinet, producer, mixing; Henry Threadgill - alto saxophone;  Wilber Morris - bass; Lawrence "Butch" Morris - cornet; Steve McCall - percussion; Anthony Davis - piano;  George Lewis - trombone;  Olu Dara - trumpet

Ming

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Art Farmer - Early Art

Styles: Trumpet Jazz
Year: 1961
File: MP3@320K/s
Time: 41:48
Size: 96,4 MB
Art: Front

(5:02)  1. Soft Shoe
(3:57)  2. Confab In Tempo
(5:01)  3. I'll Take Romance
(4:06)  4. Wisteria
(4:09)  5. Autumn Nocturne
(3:50)  6. I've Never Been In Love Before
(3:56)  7. I'll Walk Alone
(4:08)  8. Gone With The Wind
(3:59)  9. Alone Together
(3:36) 10. Pre Amp

Two of trumpeter Art Farmer's earlier sessions as a leader are reissued on this CD in the OJC series. Farmer teams up with an all-star quintet (which includes tenor-saxophonist Sonny Rollins, pianist Horace Silver, bassist Percy Heath and drummer Kenny Clarke) for four songs and dominates a quartet (with pianist Wynton Kelly, bassist Addison Farmer and drummer Herbie Lovelle) on six other tunes. Farmer's sound is lyrical even on the uptempo pieces and he is heard throughout in his early prime. Highlights include "Soft Shoe," "I'll Take Romance," "Autumn Nocturne" and an uptempo "Gone with the Wind." One should note that the programming differs from what is listed, with "Soft Shoe" (which should have been the opener) actually appearing fifth and the songs listed as appearing second through fifth moving up to first through fourth. Despite that flaw, the music is quite enjoyable and a must for 1950s bop collectors. ~ Scott Yanow https://www.allmusic.com/album/early-art-mw0000183670

Personnel:  Art Farmer – trumpet; Sonny Rollins - tenor saxophone (tracks 1-2, 5); Horace Silver (tracks 1-3, 5), Wynton Kelly (tracks 4, 6-10) - piano; Percy Heath (tracks 1-3, 5), Addison Farmer (tracks 4, 6-10) – bass; Kenny Clarke (tracks 1-3, 5), Herbie Lovelle (tracks 4, 6-10) – drums

Early Art

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Marty Grosz and Destiny's Tots - Sings of Love and Other Matters

Styles: Vocal And Guitar Jazz
Year: 1991
File: MP3@320K/s
Time: 60:36
Size: 141,8 MB
Art: Front

( 3:00)  1. With Plenty of Money and You
( 3:07)  2. How Can You Face Me?
( 3:41)  3. Lonesome Me
( 3:30)  4. Mean Old Bed Bug Blues
( 4:50)  5. All My Life
( 3:28)  6. I'm in the Market for You
( 3:16)  7. The Panic Is On
( 3:33)  8. I Wish I Were Twins
( 3:52)  9. A Porter's Love Song to a Chambermaid
( 3:37) 10. My Very Good Friend the Milkman
( 3:36) 11. Breakin' the Ice
( 4:10) 12. Until the Real Thing Comes Along
( 3:04) 13. I'm Building up to an Awful Letdown
( 3:24) 14. You've Been Taking Lessons in Love
(10:21) 15. The English Blues

Marty Grosz, a Fats Waller-inspired vocalist, a masterful chordal acoustic guitarist and a frequently hilarious comedian, is well showcased on this Jazzology CD reissue of a set originally cut for the Statiras label. Featured with his Destiny's Tots (a group not dissimilar to his Orphan Newsboys), Grosz sings such bright numbers as "With Plenty of Money and You," "I'm In the Market for You," "I Wish I Were Twins," "My Very Good Friend the Milkman," "I'm Building Up to an Awful Letdown," and "You've Been Taking Lessons In Love." Hot solos are provided by Dick Meldonian (on tenor, alto and baritone), Dan Barrett (doubling on trombone and cornet), pianist Keith Ingham and bassist Phil Flanigan. Highly recommended to classic jazz fans. ~ Scott Yanow https://www.allmusic.com/album/sings-of-love-other-matters-mw0000411161

Personnel:  Acoustic Guitar, Vocals – Marty Grosz; Piano – Keith Ingham; Tenor Saxophone, Soprano Saxophone, Alto Saxophone – Dick Meldonian; Acoustic Bass [String] – Phil Flanigan;  Trombone, Cornet – Dan Barrett 

Sings of Love and Other Matters

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Ada Montellanico - Il Sole Di Un Attimo

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 56:21
Size: 129,8 MB
Art: Front

(6:00)  1. Ti sognerò comunque
(5:46)  2. L'alba di un incontro
(6:51)  3. Suono di mare
(4:43)  4. Romance
(5:39)  5. E'
(7:02)  6. Mi guardi intorno
(6:31)  7. Il sole di un attimo
(8:02)  8. Luoghi sommersi
(5:42)  9. The encounter

Support it the lightness of being, one might say, listening to Il sole di un momento, the new work of the singer and composer Ada Montellanico, here surrounded by a group of first-rate stars of Italian and international jazz. Lightness of the texts, words that flirt with the feelings, words never invasive or absolute but discreet suggestions to free the thought to the wave of the emotions. How not to be lulled by phrases such as "... I'll dream you anyway, because the rain that wets us does not become snow .." or "... I take a moment lost in time, sounds that weave new words ..."? Lightness of music, softness of the sound mixes embellished by Paul McCandless's oboe and enriched with arcane meanings from the ancient basset horn played by Antonio Amanti, without forgetting the sophisticated Stefano Cantini saxophones and the acoustic brush strokes of Bebo Ferra's guitar. Words, song and music do not travel on parallel tracks, nor do they act like vain primadors in search of the tear-jerking agent or the ovation solo. Just as some organisms can not do without one another in order to survive, words and music live in a form of real osmosis in which each one drinks at the source of the other, drawing renewed energy and stimulating ideas. Pieranunzi is a master in the art of accompaniment and knows very well that the lyrics of Ada Montellanico can not simply be accompanied. The perfect diction, the rich timbre of the singer's chiaroscuro, the discreetly minimalist texts ask to be metabolized and brought to the surface through a constantly moving pianism, which abandons the call of a calligraphic melancholy to favor a volitive, intriguing, sometimes free approach and adventurous. Poetic. ~ AAJ Italy Staff https://www.allaboutjazz.com/il-sole-di-un-attimo-enrico-pieranunzi-egea-records-review-by-aaji-staff.php

Personnel: Ada Montellanico (voice); Enrico Pieranunzi (plan); Paul McCandless (soprano saxophone, oboe); Stefano Cantini (soprano sax, tenor saxophone); Bebo Ferra (guitar); Pietro Ciancaglini (bass); Walter Paoli (drums); Antonio Amanti (basset horn).

Il Sole Di Un Attimo

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Stanley Clarke - Modern Man

Styles: Piano, Guitar Jazz, Post Bop
Year: 1978
File: MP3@320K/s
Time: 38:46
Size: 90,5 MB
Art: Front

(4:21)  1. Opening (Statement)
(4:30)  2. He Lives On (Story About the Last Journey of a Warrior)
(4:32)  3. More Hot Fun
(3:20)  4. Slow Dance
(0:21)  5. Interlude: A Serious Occasion
(3:20)  6. Got to Find My Own Place
(4:09)  7. Dayride
(1:25)  8. Interlude: It's What She Didn't Say
(3:32)  9. Modern Man
(1:25) 10. Interlude: A Relaxed Occasion
(5:09) 11. Rock 'N' Roll Jelly
(2:36) 12. Closing (Statement)

Modern Man is the fifth album by jazz fusion bassist Stanley Clarke. "Dayride" from the Return to Forever album No Mystery (1975) was re-recorded for this album. Also included was "More Hot Fun", a sequel to "Hot Fun" from the previous album School Days. https://en.wikipedia.org/wiki/Modern_Man_(album)

Personnel:  Stanley Clarke – double bass, bass guitar, piccolo bass, piano, guitar, vocals; Mike Garson – keyboards; Jeff Beck – guitar on "Rock 'n Roll Jelly"; Raymond Gomez – guitar; Jeff Porcaro – drums; Gerry Brown – drums, percussion

Modern Man

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Charles Bellonzi - Charles Bellonzi 5tet: Lolobô

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 62:02
Size: 143,0 MB
Art: Front

(5:24)  1. Allo Doc
(7:21)  2. Lolobo
(3:54)  3. Autocatariz
(7:46)  4. Only for You
(5:19)  5. Jazz for Friends
(4:59)  6. La jav's bleu's
(7:10)  7. No Name
(3:52)  8. La Guiga Nova
(3:35)  9. Alby Memory
(8:27) 10. Quinte Major
(4:12) 11. X Press

Charles Bellonzi was born in Nice in 1941. He was attracted by music at a very young age, at the age of seven. His uncle played helicon in the municipal band "La Renaissance". He noticed very quickly that he was talented and had a great sense of rhythm. Charles learned the drums from 7 to 13 years old, and then the accordion. He played both with the "Renaissance". His friends introduced him to jazz in 1958. Translate by Google http://www.guitaresetbatteries.com/charles-bellonzi/

Personnel:  Drums – Charles Bellonzi; Guitar – Christophe Limousin; Tenor Saxophone, Soprano Saxophone – Nicolas Scheid; Trumpet, Bugle – Pascal Gachet; Contrabass – Guillaume Souriau.

Charles Bellonzi 5tet: Lolobô

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Johnny Richards & His Orchestra - Something Else Again

Styles: Jazz, Big Band
Year: 2000
File: MP3@320K/s
Time: 41:36
Size: 95,9 MB
Art: Front

(6:07)  1. Waltz, Anyone?
(2:01)  2. For All We Know
(8:37)  3. Dimples
(5:14)  4. Band Aide
(6:32)  5. Turn Aboot
(4:13)  6. Burrito Borracho
(2:57)  7. Long Ago And Far Away
(5:51)  8. Aijalon

Johnny Richards was one of the more progressive-minded arrangers of the 1950s and '60s, turning out big, heavily orchestrated scores with a sometimes unabashed use of dissonance and a good feel for Latin rhythms. His music has been called "provocatively colorful," though in the case of his notoriously portentous "Prologue" for the ego-tripping Stan Kenton, simply the word "provocative" says it all. Richards grew up in Schenectady, NY, learning piano, violin, banjo, and trumpet; his mother was a concert pianist who had studied with Paderewski. He started writing film scores, first in London in 1932-1933, and then in Hollywood for the remainder of the decade, as Victor Young's assistant at Paramount while studying composition with Arnold Schoenberg. From 1940 to 1945, he led a big band and then returned to Los Angeles to arrange for Charlie Barnet and Boyd Raeburn. He also arranged a string album for Dizzy Gillespie in 1950, along with recording dates with Sarah Vaughan, Helen Merrill, and Sonny Stitt. His most famous association was with Kenton, with whom he started arranging in 1952; Kenton's album Cuban Fire! is an outstandingly flamboyant example of Richards' work. Richards continued to lead his own orchestras in 1956-1960 and 1964-1965, recording for Capitol, Coral, Roulette, and Bethlehem, and co-wrote one of Frank Sinatra's signature songs, "Young at Heart." ~ Richard S.Ginell https://www.allmusic.com/artist/johnny-richards-mn0000242438/biography

Something Else Again

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Carmen Bradford - Home With You

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 53:44
Size: 124,5 MB
Art: Front

(3:28)  1. You Can Depend on Me
(5:31)  2. My Shining Hour
(4:25)  3. Home With You
(3:02)  4. Take the "A" Train
(3:05)  5. Five Guys Named Moe, Act I: I Know What I've Got
(4:16)  6. The Boys From Syracuse: This Can't Be Love
(2:51)  7. Be the One
(4:29)  8. Singing in the Rain
(4:35)  9. Street of Dreams
(3:59) 10. Sweet Georgia Brown
(4:29) 11. My Ideal
(3:57) 12. How Sweet It Is
(5:29) 13. Wonder Why

Nine years ago, marvelous Carmen Bradford knocked me sideways with her soaring With Respect, and, in 1997 she made it a one-two punch with the equally sublime Finally Yours, which suggested her as an obvious heir to the Sarah-Ella throne. Then, apart from the odd guest spot here and there, nothing (or at least nowhere near enough). Now, after seven too-quiet years, Bradford is back with the multi-shaded Home With You (Azica), still sounding like a million bucks as she traverses a standards-heavy assortment of 13 tracks in the graceful company of pianist Shelly Berg. From the sweetly contemplative “My Shining Hour” and the gorgeously plaintive “My Ideal” to a peppy reading of the Marvin Gaye anthem “How Sweet It Is” (a terrific showcase for Berg’s elegant artistry) and a blistering ride aboard Ellington’s “A” train, Bradford remains a force to be reckoned with-a virtual tornado of talent and imagination. Most satisfying of all is the gentle title track, with music by Berg and lyrics by the wonderful Lorraine Feather, which is as warm and comforting as cocoa. ~ Christopher Loudon https://jazztimes.com/reviews/vox/carmen-bradford-home-with-you/

Home With You

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Beaver Harris 360 Degree Experience - Safe

Styles: Jazz, Post Bop
Year: 1979
File: MP3@320K/s
Time: 36:53
Size: 84,5 MB
Art: Front

(12:06)  1. Boogie On Dawn
( 6:09)  2. J.C. Moses
( 6:05)  3. I Wish I Knew
( 6:27)  4. Don't I
( 6:04)  5. Loving Living

The 360 Degree Music Experience was an American band that performed both traditional and experimental jazz. Active during the 1970s and '80s, the group was initially co-led by drummer Beaver Harris and the pianist Dave Burrell. After Burrell left the group, pianist Don Pullen replaced him. Several other notable musicians were members of the band at one time or another, including Hamiet Bluiett, Cameron Brown, Ron Carter, Ricky Ford, Jimmy Garrison, Grachan Moncur III, Titos Sompa, and Buster Williams among others. The group released two albums for BMG: From Ragtime to No Time and A Well Kept Secret. https://en.wikipedia.org/wiki/The_360_Degree_Music_Experience

Personnel:  Drums – Beaver Harris; Bass – Cameron Brown; Bass Clarinet – Ken McIntyre; Bassoon – Ken McIntyre; Flute – Ken McIntyre; Oboe – Ken McIntyre; Piano – Ron Burton; Trombone – Grachan Moncur III

Safe

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Mike Nock - Ondas

Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 51:14
Size: 117,6 MB
Art: Front

(15:58)  1. Forgotten Love
( 9:11)  2. Ondas
(11:35)  3. Visionary
( 7:59)  4. Land Of The Long White Cloud
( 6:28)  5. Doors

At the time of this recording, New Zealand's Mike Nock was one of the great, unsung pianists in European stlyed jazz. His elegant phrasing and wildly inventive melodicism fly in the face of all notions that claim improvisation must be outside Western musical parameters and structures. On Ondas, Nock has assembled a rhythm section that, while never having played together before shared the ability to create the bedrock, however flexible, for the artist's crystalline compositions and solos. Eddie Gomez was a wise choice for this session because of his experience with Bill Evans, who is an obvious influence on Nock's own composing -- as is Keith Jarrett. His pizzicato flourishes and shifting timbres on "Forgotten Love" and "Visionary," while retaining an elemental sense of meter, are remarkable. Christensen is the greatest of all the drummers in the ECM stable. His style is one of paucity and sparse riffs, but his cymbal "dancing" is a trademark favorite of pianists and saxophonists everywhere. He has the ability to open up time, creating a window for improvisers to stretch each note, each interval, each mode, for all it's worth, suspending notions of time and space for the listener. Evidence is on the title track and "Land of the Long White Clouds." For his part, Nock is a magician of lyrical invention. His compositional architecture is created of minor modes and subtle textures. His chords are small enough to be their own rhythm section and large enough to fit all the notes in between them and the next octave in combinatory gestures of shimmering beauty. He does all of this in a manner in which tension and its resolution are in constant flux, never out of balance with one another. His solo on "Forgotten Love," that is based upon Gomez', is a case in point: towering ivy clusters of notes flex over darkened minor chords, up and through the middle and then upper registers of the instrument before inviting Gomez back in. In all, this is a glorious recording by a crack batch of musicians. It is also a stellar example of what Manfred Eicher's label and production offer to the world. ~ Thom Jurek https://www.allmusic.com/album/ondas-mw0000193926

Personnel:  Mike Nock - piano, percussion; Eddie Gómez - bass; Jon Christensen - drums

Ondas

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Stephen Riley, Peter Zak - Deuce

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 66:23
Size: 153,2 MB
Art: Front

(7:49)  1. Please
(7:01)  2. Lover Man
(5:50)  3. Everything Happens to Me
(1:30)  4. Interlude, Pt. 1
(6:44)  5. Tetragon
(0:48)  6. Interlude, Pt. 2
(6:06)  7. Who?
(6:28)  8. Shala
(6:16)  9. Pannonica
(1:46) 10. Interlude, Pt. 3
(7:29) 11. Exactly Like You
(8:30) 12. Without a Song

Deuce is an apt appellation for tenorist Stephen Riley’s latest Steeplechase affair in league with pianist Peter Zak. It’s his tenth as a leader for the label, joining another half dozen titles as a sideman or co-conspirator. In the game of tennis, it signifies a tie score and is therefore an apposite summation of the concordant relationship Riley’s forged with Zak in recent years. A prolific purveyor for Steeplechase in his own right, Zak logged two sessions as a member of Riley’s quartet before Haunted Heart, the duo date that predates this one. Riley and Zak are exemplary of a time-tested trend at the Danish imprint. Once signed, artists tend to stay. Riley’s early efforts relied on an intriguing absence of piano, allowing his fluid and floating style freedom from strict chordal tethering while retaining the supple support of bass and drums. Conscripting Zak ran counter to that template, but was auspicious given the pianist’s penchant for spare accompaniment and close listening. This project tilts that script a bit by giving Zak greater prominence, most commonly in a series of mid-piece detours where Riley beneficently drops out. Zak revels in the room relegated, spinning lovely melodic variations that match Riley in both intellect and imagination and enliven even the more conventional pieces with a sense of sly, on the fly derring-do.The program reflects Riley’s usual preference for ancient standards intermixed with occasionally more modern fare. In the case of the latter there’s stirring rendering of Joe Henderson’s “Tetragon” that finds him folding in convincing facsimiles of the composer’s wry tonal tractability. 

Monk’s “Pannonica” also receives a reading with Zak playing relative straight man to Riley’s verdant voicing of the platonically-minded theme. Breaking with previous projects, Riley also threads in a trio of “Interludes”, fleeting improvisations formed from cyclic chord progressions that serve as interstitial palate cleansers. Zak’s “Shala” is the other original, a lush ballad that aligns with the aural pastels and watercolors of the rest of the set.“Everything Happens to Me” stands out amongst the standards with Riley’s signature bifurcated rasp ranging through the theme sans Zak at the outset. The pianist’s entry is suitably reserved and uncluttered as the pair glides across a string of variations that convey a cottony cast of comfort without losing sight of the gentle and genial fatalism at the tune’s core. The icing of this particularly well-concocted confection comes in the close as Riley dials up the texture quotient through his reed and spirals into silence with a cadenza ripe in striated tonal richness. Riley and Zak may be working along the comparative edges when it comes to commercial recognition and remuneration, but their partnership is every bit as deserving of close consideration alongside the classic tandem associations in jazz. ~ Derek Taylor

Personnel:  Stephen Riley - tenor saxophone; Peter Zak - piano

Deuce

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