The Mike Nock Underground - Between Or Beyond

Styles: Piano Jazz
Year: 1971/2015
File: MP3@320K/s
Time: 38:47
Size: 89,9 MB
Art: Front

(5:12)  1. Between Or Beyond
(5:28)  2. The Squire
(3:22)  3. Hobgoblin
(4:51)  4. Outfall
(6:48)  5. Denim Dance
(4:58)  6. Lady Love
(4:00)  7. Wax Planet
(4:04)  8. Space Bugaloo

The Fourth Way (with keyboardist Mike Nock, violinist Michael White and drummer Eddie Marshall) was an early fusion quartet that released three fine albums between 1969-71, none of which has been reissued on CD. Between Or Beyond was an album released in 1970 by the German MPS label and credited to the Mike Nock Underground, basically the Fourth Way minus White. Given its time and place (recorded in Germany in June of 1970), sonically, it's very much of its time. But it's a corker of an album that is the equal to any of the Fourth Way discs as well as a lot of other better-known electric jazz experiments of the time. McClure plays electric bass and it's mixed to the foreground so it functions as much as a frontline instrument as in the rhythm section. While some of this disc dwells in the area of adventurous acoustic piano trio jazz ("Hobgoblin" and McClure's "Denim Dance"), most of it is electric piano based jazz/rock. Nock sounds like he's having a lot of fun making his piano do a lot of things the old acoustic couldn't do. A point of reference might be Canterbury bands' forays into jazz improv. Nock's disc is a good demonstration that before it devolved into formulaic demonstrations of soulless technique, some highly enjoyable recordings were released under the fusion banner. Good to see this one back in print, although it may be hard to come by since it's a Japanese reissue. ~ Robert Iannapollo https://www.allaboutjazz.com/ron-mcclure-wonderland-always-and-between-or-beyond-by-robert-iannapollo.php

Personnel: Mike Nock - piano, electric piano;  Ron McClure - bass; Eddie Marshall - drums.

Between Or Beyond

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Bryan Ferry - Bitter-Sweet

Styles: Vocal, New Orleans Jazz Revival 
Year: 2018
File: MP3@320K/s
Time: 42:52
Size: 99,5 MB
Art: Front

(2:54)  1. Alphaville
(3:42)  2. Reason or Rhyme
(2:30)  3. Sign of the Times
(3:57)  4. New Town
(2:49)  5. Limbo
(3:57)  6. Bitter-Sweet
(2:47)  7. Dance Away
(3:06)  8. Zamba
(3:01)  9. Sea Breezes
(3:11) 10. While My Heart Is Still Beating
(2:26) 11. Bitters End
(3:47) 12. Chance Meeting
(4:40) 13. Boys and Girls

Building upon 2012's The Jazz Age, and his acting turn as a cabaret singer in the 1930s Netflix drama Babylon Berlin, Bryan Ferry returns to his love of urbane classic jazz with 2018's Bitter-Sweet. Recorded with longtime collaborator/pianist Colin Good, Bitter-Sweet finds the Roxy Music frontman once again embracing the vintage 1920s and '30s big-band swing he first explored on 1999's As Time Goes By, and which he and Good brought to fruition with The Jazz Age. However, whereas The Jazz Age featured instrumental reworkings of many of Ferry's best-loved songs, Bitter-Sweet features Ferry singing jazz versions of both Roxy Music songs and songs from his solo career. Featured on the album are the six songs the singer contributed to the Babylon Berlin soundtrack, including "Alphaville," "Reason or Rhyme," "Bitter-Sweet," "Dance Away," "Chance Meeting," and "Bitters End." As arranged by Good and Ferry, these are all wry and romantic productions that evoke the smoky ambiance of Babylon Berlin's Weimar Republic-era setting. Elsewhere, Ferry transforms the new wave sophistication of "While My Heart Is Still Beating" off 1982's Avalon into a slinky, half-lidded crawl, and similarly mutates the pop exotica of his 1985 title track "Boys and Girls" into a slow-burn flamenco fever dream. Particularly compelling is Ferry and his orchestra's snappy rendition of "Sign of the Times" off 1978's The Bride Stripped Bare, in which the original track's driving guitar lines are transposed to a puckered trumpet lead. This is haunting jazz sprinkled with the golden dust of Ferry's glittery rock past. ~ Matt Collar https://www.allmusic.com/album/bitter-sweet-mw0003219669

Bitter-Sweet

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Rich Perry Quartet - Left Alone

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 61:28
Size: 141,5 MB
Art: Front

(10:32)  1. Infant Eyes
( 8:15)  2. Tripping
( 7:11)  3. Left Alone
( 5:35)  4. When Will the Blues Leave
( 8:28)  5. Long Ago and Far Away
( 7:32)  6. Bemsha Swing
( 6:58)  7. My One and Only Love
( 6:54)  8. Big Foot

A fine young veteran tenor player, Rich Perry went on the road in 1975 with the Glenn Miller ghost band. In 1976, he moved to New York and joined the Thad Jones/Mel Lewis orchestra. He went on to play with a wide variety of top players including Chet Baker, Machito, Bob Moses, Jack McDuff, Billy Hart, Eddie Gomez, Tom Harrell, the Mel Lewis big band, and Harold Danko. Rich Perry first recorded as a leader in 1993 for SteepleChase. ~ Scott Yanow https://www.allmusic.com/artist/rich-perry-mn0000288248/biography

Personnel: Rich Perry - tenor saxophone; Frank Kimbrough - piano; Jay Anderson - bass; Billy Drummond - drums

Left Alone

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Janet Seidel - Little Jazz Bird

Styles: Vocal Jazz
Year: 1994
File: MP3@320K/s
Time: 61:23
Size: 142,2 MB
Art: Front

(2:28)  1. September In The Rain
(3:12)  2. 42nd Street
(4:00)  3. Embraceable You
(4:22)  4. Skylark
(4:32)  5. Willow Weep For Me
(3:18)  6. Slow Hot Wind
(5:10)  7. My Ship
(4:07)  8. Cheek To Cheek
(2:33)  9. Them There Eyes
(3:33) 10. Like Someone In Love
(4:59) 11. Lush Life
(3:18) 12. I'm Old Fashioned
(3:47) 13. Sooner Or Later
(3:01) 14. That Black Magic
(3:42) 15. In The Wee Small Hours
(2:22) 16. Come Back To Me
(2:52) 17. Little Jazz Bird

Born in Australia's bush country, Janet Seidel emerged as one of that country's leading cabaret and jazz vocalists. She appeared frequently at Australia's top jazz and hotel venues beginning in the early '80s, often working with bassist brother David Seidel. Janet Seidel also performed at jazz festivals in the U.S., working with such jazz notables as Harry Allen, Dan Barrett, Dave McKenna, and Michael Moore. Her first venture into cabaret came in 2000 when she put together and starred in Doris and Me, a tribute to Doris Day's singing career. Often working with saxophone player Tom Baker and with her brother, she has made numerous albums for the LaBrava label. Her double album The Way You Wear Your Hat was named vocal album of the year by Australia's national newspaper and was a finalist for the prestigious ARIA award. Her The Art of Lounge, Vol. 2 was similarly a finalist for that award for the AIRA Jazz Album of the Year.  Seidel did not have great range, but she used the tools she possessed with great skill and effectiveness. With her intimate style, great feel for the lyrics of songs she sings, Seidel was one of those vocalists who was as much a story teller as a singer. The way she handled the music came off as a fortuitous blend of Blossom Dearie and Doris Day with an occasional nod to Julie London, although she was somewhat jazzier than the latter two. Like Jeri Southern, Shirley Horn, and Diana Krall, she often doubled at the piano.  From the turn of the millennium through the decade of the 2000s, Seidel recorded prolifically, releasing such albums as Love Letters (2000), Doris & Me (2001), Don't Smoke in Bed (2002), Comme Çi, Comme Ça and The Art of Lounge, Vol. 3 (both 2003), Dear Blossom and Hooray for Christmas (both 2004), Moon of Manakoora and Delovely (both 2005), and We Get Requests and Charade: Henry Mancini Songbook (both 2007). In addition, her Live in Taipei DVD was released in 2011. 

Janet Seidel died from ovarian cancer in Sydney in August 2017; she was 62 years old. The numerous recordings she made evince an exquisite, gentle, and agile voice that honored each tune she sang, from classic standards to pop songs and novelties. ~ Dave Nathan https://www.allmusic.com/artist/janet-seidel-mn0000420852/biography

Little Jazz Bird

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Harry James - The Complete Harry James In Hi-Fi Disc 1 And Disc 2

Album: The Complete Harry James In Hi-Fi Disc 1

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 67:48
Size: 157,6 MB
Art: Front

(3:11)  1. Cherry
(3:09)  2. Jalousie
(3:09)  3. Sleepy Lagoon
(3:31)  4. You Made Me Love You
(2:41)  5. Trumpet Blues
(2:56)  6. I've Heard That Song Before
(3:07)  7. I'm Beginning To See The Light
(3:07)  8. It's Been A Long Long Time
(3:20)  9. I Cried For You
(3:12) 10. My Silent Love
(3:40) 11. Velvet Moon
(5:04) 12. James Session
(3:11) 13. Music Makers
(1:38) 14. Ciribiribin
(3:00) 15. Two O'clock Jump
(2:44) 16. The Mole
(3:15) 17. Carnival
(4:00) 18. Autumn Serenade
(5:35) 19. Street Scene
(4:09) 20. September Song

The Complete Harry James In Hi-Fi  Disc 1

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Album: The Complete Harry James In Hi-Fi Disc 2

Time: 71:34

Size: 166,5 MB

(3:58)  1. Blue Again

(3:01)  2. Melancholy Rhapsody

(2:55)  3. These Foolish Things

(2:24)  4. Somebody Loves Me

(1:55)  5. Sleepy Time Gal

(2:59)  6. Don'che 'Go Way Mad

(3:12)  7. Crazy Rhythm

(3:12)  8. Strictly Instrumental

(3:17)  9. April In Paris

(3:04) 10. Walkin' Home

(3:48) 11. Smog bound

(2:21) 12. In A Sentimental Mood

(3:25) 13. Blues For A Count

(2:27) 14. Countin'

(4:21) 15. What Am I Here For?

(3:54) 16. Kinda Like The Blues

(3:41) 17. Cotton Pickin'

(2:55) 18. Blues For Harry's Sake

(4:29) 19. Blues For Lovers Only

(3:09) 20. Bee Gee

(3:53) 21. Barn 12

(3:04) 22. Ring For Porter

Three complete albums plus bonus tracks on a superb 2-CD collection. Made during the first years of the LP era, the Harry James albums Harry James in Hi-Fi and More Harry James in Hi-Fi comprised some of the greatest hits of the James orchestra - a unit that by that time had been working unceasingly with few changes since 1939. Among the instrumental figures present on both of the 1955-1956 albums were trombonist Juan Tizol (who had made a name for himself as part of the Duke Ellington orchestra) and saxophonist Willie Smith. By the time the LPs were made, both had been playing more than a decade with Harry James. Tizol entered the band in May 1944, while Smith joined a few months later, in November 1944. Both albums were best sellers when first issued, and are presented here in their entirety with the addition of four performances that were taken from the "More Harry James in Hi-Fi" sessions but originally issued on compilation albums. https://www.freshsoundrecords.com/harry-james-albums/5276-the-complete-harry-james-in-hi-fi-2-cd-set.htm

Personnel:  Harry James, Conrad Gozzo (tp), Ray Sims, Juan Tizol, Dick Nash (tb), Willie Smith (as), Corky Corcoran (ts), Larry Kinnamon (p), Allan Reuss (g), Bob Stone (b), Buddy Rich (d), Helen Forrest (vcl)

The Complete Harry James In Hi-Fi Disc 2

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Michel Petrucciani, Steve Gadd, Anthony Jackson - Trio in Tokyo

Styles: Piano Jazz, Post Bop 
Year: 1997
File: MP3@320K/s
Time: 62:01
Size: 143,3 MB
Art: Front

( 4:39)  1. Training
( 5:19)  2. September Second
( 9:18)  3. Home
( 7:30)  4. Little Peace in C for U
( 9:07)  5. Love Letter
( 7:48)  6. Cantabile
(10:49)  7. Colors
( 7:29)  8. So What

Recorded in 1997, this CD features the late Michel Petrucciani on piano, drummer extraordinaire Steve Gadd and bassist Anthony Jackson in a performance from the Blue Note in Tokyo. One listen to Trio In Tokyo and it is apparent that this is Petrucciani's group. The diminutive pianist leads while Gadd and Jackson provide a killer rhythm section. Petrucciani, who passed away in January 1999 was a truly gifted player who could bring listeners to tears with his inventive strokes (an example would be the tune "Home"). He was also a player who could swing and be extremely inventive. 

This is evidenced by the wonderful "A Little Piece In C for U." Trio In Tokyo also lets the listener hear studio stalwarts Gadd and Jackson in a live setting. Often thought of as "studio technicians," these two veteran jazzmen really shine on this recording. Don't miss this one. It's a rare gem that can never be replicated! ~ Mike  Perciaccante https://www.allaboutjazz.com/trio-in-tokyo-michel-petrucciani-dreyfus-records-review-by-mike-perciaccante.php

Personnel: Michel Petrucciani - Piano; Steve Gadd - Drums; Anthony Jackson - Bass

Trio in Tokyo

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Wynton Kelly - Comin' in the Back Door

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 27:47
Size: 65,1 MB
Art: Front

(2:37)  1. If That's the Way You Want It
(2:23)  2. Comin' in the Back Door
(2:09)  3. Don't Wait Too Long
(2:42)  4. Nocturne
(2:06)  5. The Bitter End
(2:11)  6. Theme from Burke's Law
(3:11)  7. Quiet Village
(3:00)  8. Caesar and Cleopatra Theme
(2:29)  9. Signing Off
(2:38) 10. Little Tracy
(2:18) 11. To Kill a Mockingbird

A superb accompanist loved by Miles Davis and Cannonball Adderley, Wynton Kelly was also a distinctive soloist who decades later would be a strong influence on Benny Green. He grew up in Brooklyn and early on played in R&B bands led by Eddie "Cleanhead" Vinson, Hal Singer, and Eddie "Lockjaw" Davis. Kelly, who recorded 14 titles for Blue Note in a trio (1951), worked with Dinah Washington, Dizzy Gillespie, and Lester Young during 1951-1952. After serving in the military, he made a strong impression with Washington (1955-1957), Charles Mingus (1956-1957), and the Dizzy Gillespie big band (1957), but he would be most famous for his stint with Miles Davis (1959-1963), recording such albums with Miles as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio. The group actually sounded at its best backing Wes Montgomery. Before his early death, Kelly recorded as a leader for Blue Note, Riverside, Vee-Jay, Verve, and Milestone. ~ Scott Yanow https://www.allmusic.com/artist/wynton-kelly-mn0000684253/biography

Personnel: Wynton Kelly - Piano; Arranged By, Conductor – Claus Ogerman;  Bass Guitar – Paul Chambers ; Drums – Jimmy Cobb; Guitar – Kenny Burrell

Comin' in the Back Door

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Marc Copland, Tim Hagans - Between The Lines

Styles: Piano And Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 63:13
Size: 145,7 MB
Art: Front

(5:54)  1. Nefertiti
(9:26)  2. Passing giants
(5:07)  3. Three in one
(8:07)  4. I loves you Porgy
(6:28)  5. When will the blues leave
(7:46)  6. Estaté
(7:32)  7. On Green Dolphin Street
(7:00)  8. Rainy night house
(5:47)  9. Canteloup Island

Piano/trumpet duets are somewhat rare in jazz history, particularly in more modern areas of jazz. The pianist has to function as the complete rhythm section while the trumpeter has to have enough variety in sound, ideas, and moods to hold one's attention. Pianist Marc Copland and trumpeter Tim Hagans succeed in all of these areas during their stimulating set. The music they perform is often lyrical and searching, although their versions of Thad Jones' "Three in One" and Ornette Coleman's "When Will the Blues Leave" are also swinging. There is nowhere to hide during duets, but Copland (who often plays dense chords) and Hagans make every note count. This project rewards repeated listenings. ~ Scott Yanow https://www.allmusic.com/album/between-the-lines-mw0001190180

Personnel:  Marc Copland - piano; Tim Hagans - trumpet

Between The Lines

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Lita Roza - Have You Heard

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 27:46
Size: 64,2 MB
Art: Front

(2:44)  1. Have You Heard
(2:59)  2. That Old Black Magic
(3:25)  3. Don't Get Around Much Anymore
(1:56)  4. It's a Boy
(2:52)  5. Volare Nel Blu Dipinto Blu
(2:13)  6. Stranger Things Have Happened
(2:37)  7. Blacksmith Blues
(3:27)  8. Guilty
(3:13)  9. I Surrender Dear
(2:16) 10. How Much Is That Doggie in the Window

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

Have You Heard

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Andy LaVerne - Know More

Styles: Piano Jazz 
Year: 2000
File: MP3@320K/s
Time: 66:33
Size: 153,1 MB
Art: Front

(7:53)  1. Fire wire
(6:21)  2. Think tank
(9:03)  3. Sudden wealth syndrome
(7:09)  4. Where and when
(6:22)  5. Wiggle room
(7:32)  6. Waltz king
(5:00)  7. Know more
(8:54)  8. Wholistic
(8:14)  9. Happenstance

Andy LaVerne's long relationship with Steeplechase has produced many memorable dates, and this trio session of original works, with bassist Jay Anderson and drummer Billy Hart, is no exception. The lively, constantly shifting opener "Fire Wire" is actually based on the chord changes to "Stella by Starlight," but one has to play close attention. "Where or When" is a bittersweet ballad (which has no relation to the standard "Where or When"), while "Wholistic" seems to have its roots as a blues, but the wild improvisation that is built upon its base is pure magic. 

"Sudden Wealth Syndrome," although a funny title, is a driving post-bop piece with dark overtones and a catchy hook. While it is unlikely that any of LaVerne's tunes may catch on well enough to become jazz standards, they will stand up to repeated listening over the decades very nicely indeed. ~ Ken Dryden https://www.allmusic.com/album/know-more-mw0001180896

Personnel:  Piano, Composed By – Andy LaVerne;  Bass – Jay Anderson; Drums – Billy Hart

Know More

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Stanley Cowell - Setup

Styles: Piano Jazz 
Year: 1994
File: MP3@320K/s
Time: 60:03
Size: 138,5 MB
Art: Front

(11:04)  1. Departure
( 7:14)  2. Setup
( 6:31)  3. Varions
( 7:14)  4. Bright Passion
( 9:21)  5. Bip Bip Bam
(10:06)  6. Sendai Sendoff
( 8:29)  7. Carnegie Six

While standards have played a major role on many of Stanley Cowell's albums, the acoustic pianist sticks to his own compositions on Setup. That fact alone makes this 1993 session especially noteworthy, for Cowell is a gifted, if underrated, composer. Cowell's talents as a composer are illustrated by memorable post-bop or hard bop pieces that range from the haunting "Bright Passion" and the mysterious title song to the Thelonious Monk-influenced "Varions." Thankfully, he has some hard-swinging allies to help him bring the material to life, including trumpeter Eddie Henderson, tenor saxman Rick Margitza, trombonist Dick Griffin, bassist Peter Washington, and drummer Billy Hart. Cowell was 52 when he recorded Setup, and his supporters continued to hope that eventually, he would become a bigger name in the jazz world. ~ Alex Henderson https://www.allmusic.com/album/setup-mw0000239899

Personnel:  Stanley Cowell - piano; Eddie Henderson - trumpet; Dick Griffin - trombone; Rick Margitza - tenor saxophone; Peter Washington - bass; Billy Hart - drums

Setup

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Benny Golson, Freddie Hubbard - Benny Golson With Freddie Hubbard

Styles: Saxophone And Trumpet Jazz

Year: 1987
File: MP3@320K/s
Time: 67:05
Size: 153,8 MB
Art: Front

( 9:10)  1. Stardust
( 9:22)  2. Double Bass
( 4:42)  3. Gypsy Jingle Jangle
(12:14)  4. Povo
( 7:30)  5. Love is a Many Splendored Thing
(10:17)  6. Sad To Say
(13:47)  7. Far Away

Benny Golson is a talented composer/arranger whose tenor playing has continued to evolve with time. After attending Howard University (1947-1950) he worked in Philadelphia with Bull Moose Jackson's R&B band (1951) at a time when it included one of his writing influences, Tadd Dameron on piano. Golson played with Dameron for a period in 1953, followed by stints with Lionel Hampton (1953-1954), and Johnny Hodges and Earl Bostic (1954-1956). He came to prominence while with Dizzy Gillespie's globetrotting big band (1956-1958), as much for his writing as for his tenor playing (the latter was most influenced by Don Byas and Lucky Thompson). Golson wrote such standards as "I Remember Clifford" (for the late Clifford Brown), "Killer Joe," "Stablemates," "Whisper Not," "Along Came Betty," and "Blues March" during 1956-1960. His stay with Art Blakey's Jazz Messengers (1958-1959) was significant, and during 1959-1962 he co-led the Jazztet with Art Farmer. From that point on Golson gradually drifted away from jazz and concentrated more on working in the studios and with orchestras including spending a couple of years in Europe (1964-1966). When Golson returned to active playing in 1977, his tone had hardened and sounded much closer to Archie Shepp than to Don Byas. Other than an unfortunate commercial effort for Columbia in 1977, Golson has recorded consistently rewarding albums (many for Japanese labels) since that time including a reunion with Art Farmer and Curtis Fuller in a new Jazztet. Through the years he has recorded as a leader for Contemporary, Riverside, United Artists, New Jazz, Argo, Mercury, and Dreyfus among others. Returning once again to the spirit of the original Jazztet, Golson released New Time, New 'Tet on Concord Records in 2009. ~ Scott Yanow https://www.allmusic.com/artist/benny-golson-mn0000135391/biography

One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early '70s was immediately distinctive and the pacesetter in jazz. However, a string of blatantly commercial albums later in the decade damaged his reputation and, just when Hubbard, in the early '90s (with the deaths of Dizzy Gillespie and Miles Davis), seemed perfectly suited for the role of veteran master, his chops started causing him serious troubles. Born and raised in Indianapolis, Hubbard played early on with Wes and Monk Montgomery. He moved to New York in 1958, roomed with Eric Dolphy (with whom he recorded in 1960), and was in the groups of Philly Joe Jones (1958-1959), Sonny Rollins, Slide Hampton, and J.J. Johnson, before touring Europe with Quincy Jones (1960-1961). He recorded with John Coltrane, participated in Ornette Coleman's Free Jazz (1960), was on Oliver Nelson's classic Blues and the Abstract Truth album (highlighted by "Stolen Moments"), and started recording as a leader for Blue Note that same year. Hubbard gained fame playing with Art Blakey's Jazz Messengers (1961-1964) next to Wayne Shorter and Curtis Fuller. He recorded Ascension with Coltrane (1965), Out to Lunch (1964) with Eric Dolphy, and Maiden Voyage with Herbie Hancock, and, after a period with Max Roach (1965-1966), he led his own quintet, which at the time usually featured altoist James Spaulding. A blazing trumpeter with a beautiful tone on flügelhorn, Hubbard fared well in freer settings but was always essentially a hard bop stylist. In 1970, Freddie Hubbard recorded two of his finest albums (Red Clay and Straight Life) for CTI. 

The follow-up, First Light (1971), was actually his most popular date, featuring Don Sebesky arrangements. But after the glory of the CTI years (during which producer Creed Taylor did an expert job of balancing the artistic with the accessible), Hubbard made the mistake of signing with Columbia and recording one dud after another; Windjammer (1976) and Splash (a slightly later effort for Fantasy) are low points. However, in 1977, he toured with Herbie Hancock's acoustic V.S.O.P. Quintet and, in the 1980s, on recordings for Pablo, Blue Note, and Atlantic, he showed that he could reach his former heights (even if much of the jazz world had given up on him). But by the late '80s, Hubbard's "personal problems" and increasing unreliability (not showing up for gigs) started to really hurt him, and a few years later his once mighty technique started to seriously falter. In late 2008, Hubbard suffered a heart attack that left him hospitalized until his death at age 70 on December 29 of that year.Freddie Hubbard's fans can still certainly enjoy his many recordings for Blue Note, Impulse, Atlantic, CTI, Pablo, and his first Music Masters sets. ~ Scott Yanow https://www.allmusic.com/artist/freddie-hubbard-mn0000798326/biography

Personnel:  Tenor Saxophone – Benny Golson; Trumpet – Freddie Hubbard; Bass – Ron Carter; Drums – Smitty; Piano – Mulgrew Miller

Benny Golson With Freddie Hubbard

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Melissa Errico - Lullabies & Wildflowers

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 45:52
Size: 106,2 MB
Art: Front

(2:56)  1. Mockingbird
(3:04)  2. Hushabye
(3:14)  3. Since You Asked
(3:42)  4. The Wind Says Shhh
(3:30)  5. Gentle Child
(4:18)  6. Someone To Watch Over Me
(3:27)  7. Gartan Mother's Lullaby
(3:33)  8. Rockabye Baby
(3:12)  9. Wildflowers
(3:25) 10. A Child Is Born
(4:18) 11. Tiny Sparrow
(4:00) 12. Goodnight
(3:07) 13. Walking Happy

For what was intended to be her second solo album following the 2003 collection Blue Like That, Broadway star Melissa Errico reportedly teamed with composer Michel Legrand (having earned a Tony Award nomination for her performance in his 2002 musical Amour) and producer Phil Ramone in 2005. But that disc apparently was put aside, perhaps due to the singer's pregnancy; she gave birth to a daughter in 2006. The experience influenced her to take a new tack in assembling a sophomore effort, and instead she returns to solo recording with Lullabies and Wildflowers, a thematic album of songs about mothers and children. Since the children's music genre is such a well-established one, it should be stated at the outset that this is not an album of songs intended to amuse children, although, as the word "lullabies" in the title suggests, it may be useful in putting them to sleep; the arrangements, dominated by piano and acoustic guitar are calm, and should be calming. That said, Errico is mostly concerned about reflecting on a mother's (especially a new mother's) perspective on her child. At times, she tries to re-contextualize the songs she chooses to support that perspective. In terms of this album, for example, the listener is expected to suppose that the Gershwins' "Someone to Watch Over Me" is actually being sung by a child in search of a parent, which is not what Ira Gershwin had in mind, and Errico edits Judy Collins' "Since You Asked" slightly to give the impression it is being sung by a mother to a child. Such revisionism isn't entirely successful, but Errico sings the songs so feelingly that neither Gershwin nor Collins would be likely to mind. The choice of a Collins' song points up one of the singer's chief vocal influences. 

An even stronger one, accentuated by the jazz/folk/pop arrangements provided by producer Rob Mathes, is another Melissa, Melissa Manchester. At times (such as in "A Child Is Born"), Errico sounds so much like the young Manchester of albums like Bright Eyes that even Manchester fans might be fooled. Again, though, it's hard to complain about the similarity, which is largely a matter of timbre. Errico makes her debut as a songwriter with an excellent contribution, "Gentle Child," and as usual gives a nod to her brother Mike Errico, covering his "The Wind Says Shhh." The real end of the album comes with its penultimate track, the Beatles' "Goodnight," but then, after a pause, there's a playful coda, as what sounds like a scratchy old 78 begins to play at a low volume, and Errico goes into a light version of the old show tune "Walking Happy." It puts a pleasant capper on a lovely album, giving a mother something to tiptoe out of the room to after her child has been lulled to sleep. ~ William Rulhmann https://www.allmusic.com/album/lullabies-wildflowers-mw0000784779

Lullabies & Wildflowers

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Jon Larsen, Pascal De Loutchek - The Russian Guitars

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 51:43
Size: 120,2 MB
Art: Front

(2:20)  1. Moltchanie
(3:25)  2. Pouro Rom
(2:16)  3. Chlepsydre
(4:11)  4. Le Fenêtre de Moscou
(3:53)  5. L'Accordeon
(2:47)  6. Yukon
(2:48)  7. Pascal
(4:10)  8. Olga
(4:03)  9. Jimmy The Kid
(3:32) 10. First Song
(1:59) 11. Dream A Lot
(3:36) 12. Guitaresque
(2:50) 13. Out Of The Blue
(3:32) 14. Quiet Evening
(3:05) 15. Parapluie A Moscou
(3:08) 16. Beltz

Jon Larsen (born 7 January 1959) is a gypsy jazz guitarist, record producer, painter, and amateur scientific researcher. He is the founder of the group Hot Club de Norvège. In 2007 he received the Buddy Award for his lifelong contribution to jazz. When he was in his early teens, he learned rock and soul songs on an acoustic steel-string guitar. Through friends, he learned about blues, jazz, flamenco, and classical guitar. After he heard "Tears" by Django Reinhardt on the radio, he decided that this is how he wanted his guitar to sound. At seventeen he formed a string trio and had his first professional job.  In the 1970s, Larsen worked mainly as a painter. He started the Hot Club de Norvege in 1980 with guitarists Per Frydenlund and bassist Svein Aarbostad. They had a hit record when they performed with pop singer Lillebjørn Nilsen. Larsen started the label Zonic Entertainment to record musicians who have been influenced by Frank Zappa. He has worked with Chet Baker, Philip Catherine, Stéphane Grappelli, Warne Marsh, Biréli Lagrène, Babik Reinhardt and Jimmy Rosenberg. He has produced more than 450 jazz records for the label he founded, Hot Club Records. He has led a group of musicians who played with Zappa, including Arthur Barrow, Jimmy Carl Black, Bruce Fowler, Bunk Gardner, Tommy Mars, and Don Preston. They recorded the album Strange News from Mars. Symphonic Django was released in 2008 by Storm Films, which also produced a documentary about Larsen and guitar virtuoso Jimmy Rosenberg titled Jon & Jimmy. In 2012, the documentary won the Dutch Edison Award.  After eight years of research, his book on cosmic dust in urban environments  In Search of Stardust: Amazing Micro-Meteorites and Their Terrestrial Imposters  was published in 2017. https://en.wikipedia.org/wiki/Jon_Larsen

The Russian Guitars

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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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