Joe Locke, David Hazeltine Quartet - Mutual Admiration Society

Styles: Vibes And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 59:48
Size: 137,7 MB
Art: Front

(9:09)  1. K-Man's Crew
(7:41)  2. I Say A Little Prayer
(5:24)  3. Can We Talk?
(9:05)  4. The Haze Factor
(6:46)  5. Tears In Her Heart
(8:12)  6. Spring Will Be A Little Late This Year
(6:48)  7. Diamonds Remain
(6:38)  8. For All We Know

This is a sparkling, deeply grooved session by four seasoned pros whose musical temperaments are perfectly harmonized. While Locke and Hazeltine, both 40, have known each other for more than a decade, Mutual Admiration Society marks their first collaborative effort in a recording studio, one in which the reciprocal esteem is evident from start to finish. Locke and Hazeltine are so harmoniously well matched that one sometimes wonders if they mightn’t be able to read each other’s thoughts. Also on the same wavelength are Essiet and Drummond whose unflagging support is an indispensable part of the album’s success. There’s no doubt, however, about who the leaders are Locke wrote three of the album’s eight selections, Hazeltine two others, and together they take most of the solos. Completing the program are the standards “Spring Will Be a Little Late” and “For All We Know” and the Burt Bacharach/Hal David pop hit, “I Say a Little Prayer” (taken at a slower tempo than we’d ever heard before). On the other hand, “For All We Know,” ordinarily a ballad, is played in an up-tempo Latin groove, which evens the score. Whatever the pace or mood, Locke and Hazeltine are clearly on their game, spinning many an engaging post–bop phrase while sounding nothing at all like that celebrated archetype of piano/vibes quartets, the MJQ. While Locke could perhaps pass for Milt Jackson, Hazeltine’s pianisms are far too warm blooded and percussive ever to be mistaken for the ultra composed John Lewis. After a relatively placid start, the session moves into high gear with Hazeltine’s “Can We Talk?” (I’d have led with that one) and continues apace with Locke’s “Haze Factor” and Hazeltine’s lovely ballad “Tears in Her Heart.” Frank Loesser’s “Spring Will Be a Little Late,” taken for a pleasant medium tempo stroll, is a highlight with tasteful solos by the co–leaders, another by Essiet and the usual superb backing from bass and drums. Locke’s “Diamonds Remain,” dedicated to the late Don Grolnick, is next, and the foursome caps its pleasantly swinging date with “For All We Know.” And for all we know, those who hear it may wish to add their names to the Locke/Hazeltine mutual admiration society. ~ Jack Bowers https://www.allaboutjazz.com/mutual-admiration-society-joe-locke-sharp-nine-records-review-by-jack-bowers.php

Personnel: Joe Locke, vibes; David Hazeltine, piano; Essiet Essiet, bass; Billy Drummond, drums

Mutual Admiration Society

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Hank Crawford - Indigo Blue

Styles: Saxophone, Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 34:55
Size: 81,3 MB
Art: Front

(6:26)  1. All Alone And Blue
(5:31)  2. The Very Thought Of You
(5:22)  3. Things Ain't What They Used To Be
(6:08)  4. Funny
(6:31)  5. Indigo Blue
(4:55)  6. Just For A Thrill

Hank Crawford's Indigo Blue was released in August of 1983, less than a year after his excellent comeback set, Midnight Ramble, and proves that his renewed sense of creativity was no fluke. Here he teams once more with Dr. John on piano and organ and drummer Bernard Purdie. Melvin Sparks took over the guitar chair from Calvin Newborn, and Wilber Bascombe, Jr. holds down the rhythm section on bass. In addition, a horn section that includes David "Fathead" Newman, Danny Moore, Howard Johnson, and Martin Banks, arranged by Crawford, follows the same recipe as Midnight Ramble. The performances here are solid, truly impressive. Crawford plays sweet and slow as well as honking mean in getting at the root source of straight-ahead jazz and soul-jazz: the blues. And speaking of blues, the opener, "All Alone and Blue," is a barrelhouse of nasty guitar and organ work with Crawford's alto walking the bar while playing a mean solo. It's quite a changeup to open a set with but the only other thing you could do is close with it. This is followed by a gorgeous reading of Ray Noble's "The Very Thought of You," all slow, deep, and refined with only Crawford's alto allowed to bring in the edges. But there are more surprises as Crawford and band tackle Willie Nelson's "Funny" and reveal both the blues and jazz roots in the tune. 

The swing between Dr. John and Sparks in the title track is truly canny, and Crawford's response in blowing shows it. This one is in the cut, and the groove is everywhere. The bittersweet ballad "Just for a Thrill" ends the set, with some of the sweetest and most lyrical piano and alto playing either man had done on a record until that time. Indigo Blue is a winner; it's hungry and elegant, sophisticated and swaggering. It's a trademark recording by Hank Crawford. ~ Thom Jurek https://www.allmusic.com/album/indigo-blue-mw0000187873

Personnel: Hank Crawford - alto saxophone, electric piano, arranger, conductor; Dr. John - piano, organ; Melvin Sparks - guitar; Wilbur Bascomb - bass;  Bernard Purdie - drums;  David "Fathead" Newman - tenor saxophone;  Howard Johnson - baritone saxophone; Martin Banks - trumpet; Danny Moore - trumpet.

Indigo Blue

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Walt Weiskopf Quartet - Recorded Live April 8, 2008 - Koger Hall, University of South Carolina

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 69:49
Size: 161,0 MB
Art: Front

( 6:50)  1. Man of Many Colors
(10:49)  2. Little Minor Love Song
( 9:27)  3. Dizzy Spells / Jay-Walking
( 7:52)  4. Blues in the Day
( 8:47)  5. Scottish Folk Song
( 7:52)  6. Blame It On My Youth
( 8:41)  7. Love for Sale
( 9:29)  8. Breakdown

Walt Weiskopf led a quartet with pianist Renee Rosnes, bassist Paul Gill, and drummer Tony Reedus in the spring of 2008 at the University of South Carolina. Although the musicians knew the live concert documented here was being recorded, the recording was initially intended for archival needs rather than as a commercial release. Around the time that the tenor saxophonist realized how good the performances were from the concert, Reedus collapsed and died from an embolism upon his return from a European tour in November 2008. The quartet members are at their very best throughout this concert, as they bring life to Weiskopf's compositions with their brilliant improvising and on the money accompaniment. There are two standards, an expressive "Blame It on My Youth," featuring Weiskopf's powerful solo, and a lighthearted, breezy "Love for Sale." Aside from the traditional "Scottish Folk Song" (introduced by the leader with Gill playing arco), played at a loping, nostalgic tempo, the remaining tracks are primarily Weiskopf's compositions. One exception is Rosnes' brilliant "Dizzy Spells" (a delicious reworking of the late trumpeter's "Con Alma"), which is combined in a medley with an extended workout of Weiskopf's "Jay-Walking." Other highlights include the tricky, constantly shifting "Blues in the Day" and the turbulent post-bop vehicle "Breakdown." Highly recommended. ~ Ken Dryden https://www.allmusic.com/album/recorded-live-april-8-2008-koger-hall-university-of-south-carolina-mw0002120267

Personnel:  Tenor Saxophone – Walt Weiskopf; Piano – Renee Rosnes;  Bass – Paul Gill; Drums – Tony Reedus

Recorded Live April 8, 2008 - Koger Hall, University of South Carolina

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Eric Alexander - Alexander the Great

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 55:48
Size: 128,4 MB
Art: Front

(7:30)  1. Burner's Waltz
(6:02)  2. Let's Stay Together
(6:29)  3. God Bless The Child
(8:11)  4. Explosion
(5:24)  5. Through The Fire
(8:13)  6. Soft Winds
(5:56)  7. Born to Be Blue
(8:01)  8. Carrot Cake

Among the numerous projects in which Eric Alexander was involved during the nineteen- nineties (including a dozen records under his own name and approximately three times as many as a sideman) was his ongoing involvement in the soul-jazz band of the late Charles Earland. Alexander’s stint with “The Mighty Burner” was his first major gig after placing second to Joshua Redman in the Thelonious Monk competition for tenor saxophonists in 1991. For this disc recorded in 1997, Earland assumed the role of producer as well as playing the Hammond B3 organ. In contrast to Alexander’s regular, straight-ahead fare as a leader for a number of record labels, Alexander the Great pretty much sticks to the formula of Earland’s popular recordings for Muse and HighNote, with an emphasis on funk and soul grooves. The material includes a couple of crowd-pleasing pop tunes (“Let’s Stay Together” and “Through the Fire”), some standards (“God Bless the Child,” “Soft Winds,” and “Born To Be Blue,”), and originals by Alexander and guitarist Peter Bernstein. Trumpeter James Rotondi’s (another veteran of Earland’s bands) crackling, bop-oriented solos are among the disc’s highlights, especially on Alexander’s “Burner’s Waltz.” Bernstein contributes turns filled with bluesy inflections. Drummer Joe Farnsworth wisely doesn’t try to compete with the hum and rumble of Earland’s organ; instead, he keeps good time and spurs everyone on with precise accents and fills. Although Alexander plays well throughout the entire disc, it is during his composition, appropriately titled “Explosion,” that he proves why he’s one of the finest young tenor players in jazz. He tears through the changes of the up-tempo tune for several choruses with great intensity and a seemingly endless supply of ideas. I dare say that Sonny Stitt (a formative influence) and George Coleman (a mentor) would be proud of him. ~ David A. Orthmann https://www.allaboutjazz.com/alexander-the-great-eric-alexander-review-by-david-a-orthmann.php

Personnel:  Eric Alexander – tenor saxophone; James Rotondi – trumpet; Charles Earland – Hammond B3 organ; Peter Bernstein – guitar; Joe Farnsworth – drums

Alexander the Great

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Melissa Errico - What About Today? Live at 54 Below

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 109:30
Size: 254,4 MB
Art: Front

(2:37)  1. “Why are actors so nuts?” (Live)
(3:31)  2. What About Today? (Live)
(6:15)  3. “Do you like this hair flip?” (Live)
(5:39)  4. The Summer Knows (Live)
(3:31)  5. “Those were seals...” (Live)
(2:39)  6. The April Fools (Live)
(6:18)  7. “Let's stay at the movies a little longer...” (Live)
(6:09)  8. His Eyes, Her Eyes (Live)
(3:08)  9. “How ‘bout we do a little Broadway?” (Live)
(5:25) 10. It’s an Art (Live)
(3:55) 11. “One perfect storm of a song...” (Live)
(5:08) 12. Meadowlark (Live)
(5:31) 13. “Where does that leave us?” (Live)
(4:12) 14. Getting Married Today (Live)
(6:02) 15. “Time to regroup...” (Live)
(5:04) 16. No More (Live)
(2:55) 17. “It doesn’t get better than this...” (Live)
(4:00) 18. Small World (Live)
(5:25) 19. Show Me (Live)
(4:30) 20. The Heart Is Slow to Learn (Live)
(2:27) 21. “I got the idea to write this...” (Live)
(1:50) 22. “I am really bananas about Eydie Gormé...” (Live)
(2:40) 23. What Did I Have That I Don’t Have? (Live)
(4:42) 24. Last Dance (Live)
(2:37) 25. “I’m like Cher in Moonstruck!” (Live)
(3:07) 26. How Are Things in Glocca Morra? (Live)

Recorded at the popular New York cabaret and restaurant venue 54 Below, What About Today is a mix of Broadway classics, film tracks and more contemporary songs as well as one of Melissa Errico’s own compositions. A slightly breathless start to the album, maybe through excitement and audience banter, it opens with What About Today by David Shire, but it’s by the third track The April Fools from the motion picture of the same name, that Errico really hits her stride. Possibly best known for her leading lady roles on and off Broadway, one of her earliest was back in 1993 was that of Eliza Doolittle in My Fair Lady, and fans will relish the opportunity to have a recording of the fiery and forceful Show Me. In contrast is the beautiful Gentle Child, which Errico wrote for her first daughter Victoria, a soft and sensitive lullaby. There are three tracks from composer Stephen Sondheim, including Getting Married Today from the musical Company, previously described as “one of Sondheim’s toughest songs” but Errico captures the crazed humour of a bride having a mental breakdown on her wedding day, perfectly. This is balanced by the reflective yet stirring, No More from Into the Woods (cut from the movie version), and the flirtatious Small World from Gypsy. There are two songs by Stephen Schwartz, who Errico calls “The King of Broadway”; the comedic and lyrically witty It’s An Art from the little known 1978 musical Working and Meadowlark from The Bakers Wife. This is Errico’s fifth album, and it features a diverse range of material, including 11 previously unrecorded tracks, however, this recording doesn’t do her justice. A large amount of dialogue is also included, which frustratingly interrupts the flow of the album somewhat. This isn’t to say that the narrative isn’t interesting, and to the producers’ credit, is tracked giving the listener the option to skip on repeat listening, but with 15 songs out of 27 tracks, gives a sense as to the quantity. While audience banter may be good in the live show, it doesn’t translate as well to the recording and as a result, the album feels busy, and a difficult listen, despite Errico’s phenomenal vocals. That said, there is also a sense of fun that comes across with this recording, and it undoubtedly captures the cabaret atmosphere on the evening. Throughout the album, Errico herself is scintillating and her impressive range is evident, with a welcome infusion of soft jazz at times. https://www.thereviewshub.com/cd-review-melissa-errico-what-about-today-live-at-54-below/

What About Today? Live at 54 Below

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Cedar Walton - Composer

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 61:10
Size: 140,2 MB
Art: Front

(6:15)  1. Martha's Prize
(7:24)  2. The Vision
(5:51)  3. Happiness
(7:14)  4. Minor Controversy
(8:21)  5. Hindsight
(7:41)  6. Underground Memoirs
(6:16)  7. Theme for Jobim
(6:12)  8. Groove Passage
(5:54)  9. Ground Work

For Cedar Walton's debut on the Astor Place label, the widely respected veteran pianist contributed all nine selections. Although his "Bolivia" is a jazz standard, Walton is not normally thought of as a major composer. However, quite a few of his new pieces could possibly become standards in the future if jazz improvisers explore this disc. Of the more memorable originals, "Martha's Prize" has a light cheerful melody; "The Vision" gives Ralph Moore an opportunity to show just how distinctive he can sound on soprano; "Happiness" is a joyful hard bop tune a little reminiscent of "Little Rock Getaway" with a bridge added; "Underground Memoirs" (which has a particularly strong Walton solo) is a haunting ballad, and "Theme for Jobim" swings with a strong bossa beat. The all-star lineup (trumpeter Roy Hargrove, altoist Vincent Herring, Ralph Moore on tenor and soprano, bassist Christian McBride, and drummer Vic Lewis) plays up to their potential with Hargrove sometimes recalling Freddie Hubbard, and Moore and Herring getting in their spots and the ensemble as a whole sometimes resembling the Jazz Messengers. Due to the voicings, there are times when one would swear that a trombone was present. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/composer-mw0000647511

Personnel:  Cedar Walton - piano; Roy Hargrove - trumpet; Ralph Moore - soprano saxophone, tenor saxophone; Vincent Herring - alto saxophone; Christian McBride - bass; Victor Lewis - drums

Composer

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John Surman - Saltash Bells

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 58:58
Size: 135,6 MB
Art: Front

( 6:32)  1. Whistman's Wood
( 3:13)  2. Glass Flower
( 7:32)  3. On Staddon Heights
( 3:36)  4. Triadichorum
( 8:18)  5. Winter Elegy
( 2:17)  6. Ælfwin
(10:40)  7. Saltash Bells
( 3:27)  8. Dark Reflections
( 2:41)  9. The Crooked Inn
(10:37) 10. Sailing Westwards

There's no denying the "the sound of surprise" of group recordings; working solo, however, provides its own possibilities, despite meaning different things to different people. Pianist Keith Jarrett views it as a means for pulling form from the ether: one man, one piano, in real time. Multi-instrumentalist Stephan Micus, on the other hand, considers it a blank slate where it's one man but a multitude of instruments layered one upon the other, through multi-tracking, over the course of days, months...even years. Reed player John Surman has been creating one-man orchestral works since Westering Home (Island, 1972), but it's been his subsequent 33-year tenure with ECM where he's created a larger body of work that has included an additional half dozen solo recordings, beginning with his label debut, 1979's Upon Reflection. Saltash Bells is Surman's first solo recording since 1995's A Biography of the Rev. Absalom Dawe, though he's been far from inactive, releasing the quartet-based Brewster's Rooster (2009) and Rain on the Window (2008) a sublime duo set with organist Howard Moody recorded at Ultern Kirke in Oslo, where Surman now resides with wife/singer Karin Krog in addition to two non-ECM recordings: Cuneiforms's marvelous archival find, Flashpoint: NDR Jazz Workshop April '69 (2011), and the large-ensemble The Rainbow Band Sessions (Losen, 2011). 

Credits for Surman's previous one-man efforts cited them taking place during the course of a month; Saltash Bells, in contrast, was recorded over just two days in 2009 and one more in 2011. Surman adds tenor saxophone, and alto and contrabass clarinets to his core arsenal of soprano and baritone saxophones, bass clarinet and synthesizers...even harmonica, for the first time, on the epic "Sailing Westwards," gently layered so seamlessly with his synth patterns as to feel like a unified voice. Loops, synthesizer sequences and multi-tracked horns suggest preconception, but in Surman's sphere these remain a means of using improvisation to create further improvisational contexts, whether it's building foundations or soaring over them, as he does towards the end of "Sailing Westwards," his soprano responding to the various layers that combine to shape this hypnotic closer of cinematic proportions. Saltash Bells is not all layered constructs, however. The pensive "Glass Flower" features Surman a capella on bass clarinet, while baritone saxophone is the sole voice on "Ælfwin." Elsewhere, "Triachordum" is a trio baritone piece, Surman's improvisational voice adding the shifting vertical harmony to two horns separated by fifths throughout, even as he fashions melodies in the moment over the course of nearly four minutes. Surman's soprano saxophone on "Dark Reflections" seems to be on a course that orbits around a series of shifting lines more buried in the mix, while baritone and soprano saxophones evoke both lyricism and unrelenting pulse on "The Crooked Inn." Saltash Bells is an intended reference to Surman's birthplace in Tavistock, a scenic location on the River Tavy, which runs through West Devon to the English Channel. Sounds of church bells and seagulls echoing over the landscape are but two touchstones that imbue the charmingly pastoral Saltash Bells, an album that confirms you can take the man out of the place but you can't take the place out of the man. ~ John Kelman https://www.allaboutjazz.com/saltash-bells-john-surman-ecm-records-review-by-john-kelman.php

Personnel: John Surman: soprano, tenor and baritone saxophones, alto, bass and contrabass clarinets, harmonica, synthesizer.

Saltash Bells

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Bernard Peiffer - Bernie's Tune

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 43:10
Size: 99,9 MB
Art: Front

(6:14)  1. Lover Come Back to Me
(3:37)  2. You Took Advantage of Me
(2:33)  3. Rhumblues
(3:38)  4. S Wonderful
(5:18)  5. Black Moon
(4:19)  6. Ah-Leu-Cha
(6:32)  7. Blues on the Wing
(3:15)  8. Bernie's Tune
(3:19)  9. Lullaby of the Leaves
(4:21) 10. Blues for Slobs

A rare American session by French pianist Bernard Peiffer one of the stronger stars of the Paris scene of the 50s, working here with US players that include Ed Thigpen, Joe Puma, and Oscar Pettiford. Tracks are short and playful, in keeping with Peiffer's style and titles include "Bernie's Tune", "Lover Come Back To Me", "Rhumblues", "Black Moon", "Ah Leu Cha", and "S Wonderful".© 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/730076?filterfield=veryrecent&sort_order=date_added

Personnel:  Piano – Bernard Peiffer; Bass – Chuck Andrus, Oscar Pettiford; Drums – Edmund Thigpen; Guitar – Joe Puma

Bernie's Tune

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Rich Perry, George Mraz, Billy Hart - Doxy

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 61:02
Size: 140,4 MB
Art: Front

( 7:41)  1. Think of One
( 8:47)  2. Blue in Green
( 6:20)  3. The Wind and the Rain in Your Hair
( 6:46)  4. Your Lady
( 9:25)  5. You and the Night and the Music
(12:03)  6. How Deep Is the Ocean
( 9:57)  7. Doxy

You better have something to say if you’re a saxophonist and you intend to present yourself as a solo voice with just the backing of bass and drums. In the history of the music very few have carried this off successfully, one exception being Sonny Rollins. In recent times, Joe Lovano and Branford Marsalis have given it a try and Rich Perry made the trio scene in 1994 with his SteepleChase set Beautiful Love. Taking another stab at this modest grouping, Doxy pits this tenor man with master bassist George Mraz and drummer extraordinaire Billy Hart. If you’re not familiar with Rich Perry, then you’ve been missing out on a real talent who has spent the past decade working incognito with pianist Harold Danko’s quartet and recording for SteepleChase. The set of standards chosen for inclusion here are nothing out of the ordinary, yet they really only function as a starting point for the trio’s musical explorations anyway. Perry embraces the horn with a rich and full-bodied approach that keeps things engaging over the course of this hour set. He’s got some serious chops but chooses to go for the heart. Maybe that’s why he continues to be a shining star of the SteepleChase roster and Doxy gets the stamp of excellence without any reservations. ~ C.Andrew Hovan https://www.allaboutjazz.com/doxy-rich-perry-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Rich Perry - tenor saxophone; George Mraz - bass; Billy Hart - drums

Doxy

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Soesja Citroen - Collected Songs

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 65:25
Size: 151,3 MB
Art: Front

(4:52)  1. My Town and Me
(2:53)  2. The Samba Calls
(5:41)  3. Love In Vain
(4:54)  4. You'll Take Care of Me
(3:37)  5. Good Old Jazz
(5:20)  6. Song for Ma
(3:11)  7. Just Another Man
(3:18)  8. Wise Women Know
(5:12)  9. Give Love One More Chance
(4:58) 10. Place of Silence
(4:13) 11. Tell Me No Fortunes
(4:05) 12. Don't Cry Baby
(4:38) 13. Sweet Companions
(4:14) 14. Sun In the Morning
(4:13) 15. Lonely Street

This height is mainly shaped by the extremely personal way in which she exercises her profession. Would it be that she ever worked as a psychologist, that she dares to be so exposed? There are of course more female singers, also in the Netherlands, who give their personal findings in the field of love and of life to publicity. But none does that like Soesja Citroen. In her thirty year career it took until 1998, before the singer dared to release an album, with those personal findings expressed in music and text. That was the album 'Song For Ma'. Meanwhile there are three: 'Soesja Sings Citroen' and 'Do not Cry Baby' have been added. They are bestsellers, because Soesja Citroen's repertoire on the stage consists mainly of pieces from these three albums. That is why it seemed to the singer a good idea to make a compilation of those songs. They now form the content of these 'Collected Songs' and are a great occasion for those who do not yet know Soesja Citroen, to get to know her. Again: the singer goes deep, gives her inner life full price in words and thereby she also succeeds in giving her music even more depth. Because what to think of this, words from her mother, that Soesja Citroen remembers, after her father left the family: 'Do not cry baby, I can not give you much hope. Daddy's gone now, so we must learn how to cope '. Or this, a nicer declaration of love after a heavy disappointment, is hardly there: "The joy and the laughter we seem to have lost, we can find once again, if we try. So give love one more chance '.  Soesja Citroen creates ballads that can be classed as classic without reservation. She gives the initiative herself, other singers, both on national and international level, can and should further develop this status. Translate By Google http://www.jazzenzo.nl/?e=670

Personnel:  Soesja Citroen: vocals;  Berend van den Berg: piano;  Joep Lumey: bass;  Joost Kesselaar: drums

Collected Songs

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Eddie Gomez - Power Play

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 43:31
Size: 100,1 MB
Art: Front

(5:39)  1. Power Play
(3:53)  2. Loco Motive
(5:15)  3. Spanish Flower
(5:04)  4. Mel
(5:46)  5. Amethyst
(5:02)  6. Mr. Go
(3:50)  7. Very Early
(3:58)  8. W. 110th St.
(4:59)  9. Forever

Eddie Gomez (born October 4, 1944) is a jazz bassist. He was born in Santurce, Puerto Rico; he emigrated with his family at a young age to the United States and grew up in New York. He started on double bass in the New York City school system at the age of eleven and at age thirteen went to the New York City High School of Music and Art. He went on to study with Fred Zimmerman. He played in the Marshall Brown-led Newport Festival Youth Band from 1959 to 1961, and was later educated at Juilliard.His impressive resumé includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Bill Evans, Gerry Mulligan, Benny Goodman, Buck Clayton, Marian McPartland, Paul Bley, Wayne Shorter, Jeremy Steig, Herbie Hancock, Tony Williams, Chick Corea and Carli Muñoz. Time Magazine lauded: “Eddie Gómez has the world on his strings”. Eddie Gómez would spend a total of eleven years with Bill Evans Trio which included performances throughout the United States, Europe, and the Orient, as well as dozens of recordings. Two of the Trio's recordings won Grammy awards. In addition, he was a member of the Manhattan Jazz Quintet.His career mainly consists of working as an accompanist, a position suited for his quick reflexes and flexibility.In addition to working as a studio musician for many famous jazz musicians, he has recorded as a leader for Columbia Records, Projazz and Stretch. Most of his recent recordings as a leader, are co-led by jazz pianist Mark Kramer. https://musicians.allaboutjazz.com/eddiegomez

Personnel:  Bass – Eddie Gomez; Drums – Steve Gadd,, Al Foster; Keyboards – LeeAnn Ledgerwood; Tenor Saxophone – Michael Brecker; Flute; Michael Cochrane - Soprano Saxophone – Dick Oatts; Flute – Jeremy Steig

Power Play

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Nick Finzer - No Arrival

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 58:28
Size: 134,8 MB
Art: Front

(4:32)  1. Rinse And Repeat
(5:48)  2. Never Enough
(4:28)  3. Maria
(4:57)  4. Tomorrow Next Year
(5:40)  5. Soon
(5:10)  6. No Arrival
(5:36)  7. Pyramid
(7:34)  8. Only This, Only Now
(7:39)  9. The Greatest Romance Ever Sold
(6:59) 10. A Flower Is A Lovesome Thing

To say a musician has arrived is to create the ultimate paradox. For in that notion is the suggestion of reaching the upper echelon in the art form, but also an indication of the end of a journey and the start of stagnation. With the true seeker and master musician, there is no arrival; there's merely the act of moving forward, and trombonist Nick Finzer is keenly aware of that. While he's certainly come into his own over the past several years, Finzer isn't one to adopt such an idea as arrival. He's all about growth mindset, and that's why he continues to impress and evolve. On his first date for Posi-Tone, Finzer fronts a sextet of his peers on a program that showcases his chops, taste, pen, and panoramic outlook. He never repeats himself, yet everything seems to be of apiece. The opening coupling perfectly makes that point. "Rinse And Repeat" is all optimism, as Finzer creates a musical depiction of day by day life as the ultimate mulligan. Then, with "Never Enough," he subscribes to realism and reflection, addressing mortality with pensive purity. Both songs stand brilliantly on their own, but each also proves complementary to the other. As the album continues, Finzer adds more quality originals. But of greater note, he also finds a way to honor his influences without taking a step backward. With a personalized take on Leonard Bernstein's "Maria" he addresses the grip that West Side Story had on his heart strings from an early age, through a waltzing take on George Gershwin's "Soon" he honors trombone icon Curtis Fuller, on Duke Ellington's "Pyramid" he rides and glides atop a double-time bass line while shining light on his bandmates and this under-heralded gem, and in "The Greatest Romance Ever Sold" he tips his hat to the composer and the artist who's work introduced him to the song Prince and Maceo Parker, respectively. Then the curtain comes down down with an inflection-rich take on Billy Strayhorn's "A Flower Is A Lovesome Thing" that's as much about the man behind the music as it is about Ellingtonian trombone forebearers and mute masters like "Tricky Sam" Nanton. While Finzer most certainly deserves a good deal of praise for this one, it would be hard to understate the importance of the contributions from the rest of his crew. Lucas Pino's tenor saxophone and bass clarinet are stylishly indispensable, Victor Gould's piano glistens while getting to the heart of an idea, Alex Wintz's articulate guitar threads its way into all the right spaces, Dave Baron's bass bolsters this band from below, and Jimmy Macbride juices up the grooves, be they swinging or suggestive of other ideals. On No Arrival, man and band work off the same page. That sense of unity is but one of the many virtues of this date. ~ Dan Bilawsky https://www.allaboutjazz.com/no-arrival-nick-finzer-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Nick Finzer: trombone; Lucas Pino: tenor saxophone, bass clarinet; Victor Gould: piano; Alex Wintz: guitar; Dave Baron: bass; Jimmy Macbride: drums.

No Arrival

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Allan Holdsworth - Velvet Darkness

Styles: Guitar Jazz
Year: 1976
File: MP3@320K/s
Time: 30:03
Size: 69,6 MB
Art: Front

(5:23)  1. Good Clean Filth
(2:46)  2. Floppy Hat
(4:21)  3. Wish
(3:06)  4. Kinder
(4:43)  5. Velvet Darkness
(3:10)  6. Karzie Key
(1:37)  7. Last May
(4:54)  8. Gattox

This debut solo release by Allan Holdsworth has an "in the raw," coarsely presented, jam-session quality complete with warts and all, as well as real gems of jazz fusion shining through. A first hearing of this release in its vinyl version might provoke laughter at how really bad it sounds compared to Holdsworth's other releases as well as his playing with other groups. As it turns out, Holdsworth himself abhors this release (considering it "a real terrible disaster"), and has taken legal action and had it removed from production for several reasons. The original label used rehearsal tapes to compile it, deeming it unnecessary to finance real sessions. During the recording session, Holdsworth had to hurry through each song and apparently never obtained the masters to go over before release. In essence, the original release was nothing more than a taped rehearsal, packaged by CTI as an album without Holdsworth's permission. This recording has been bootlegged by label after label, none of the musicians involved ever saw any royalties, and no legal paperwork exists. (The recording's known labels and release/re-release dates include CTI Records [1976], King Records [1976], Epic Associated Records [CD, 1990], King Records [Japanese-only CD, 1994], and CTI Records [Japanese-only CD, 1997]. Velvet Darkness was also released in 1997 on an unknown label in Japan as a bootleg CD; an original copy of the vinyl LP album had been transferred to the CD.) This 1990 release with alternate takes (just more pieces dredged up from the jam-session practice tapes) is indeed an interesting snapshot of young stellar musicians doing their thing in a laid-back but energetic fusion-funk-rock groove. It is for all the above reasons that this is indeed a completist/collectors item nowadays. Included are the now very rare recordings of Holdsworth playing acoustic guitar and violin, which he does very well. The alternate take of "Gattox" is a special treat, featuring Holdsworth soloing with an intensity and emotive power that echoes all the best dynamics jazz fusion could offer in the '70s. Obtaining this release second-hand is probably the only and most proper way to find it now. ~ John W.Patterson https://www.allmusic.com/album/velvet-darkness-mw0000204270

Personnel: Electric Guitar, Acoustic Guitar, Violin, Written-By – Allan Holdsworth;  Bass – Alphonse Johnson;  Drums – Narada Michael Walden;  Piano – Alan Pasqua

Velvet Darkness

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Johnny Griffin - The Kerry Dancers and Other Swinging Folk (Remastered)

Styles: Saxophone Jazz
Year: 1962 /2018
File: MP3@320K/s
Time: 39:02
Size: 90,9 MB
Art: Front

(4:45)  1. The Kerry Dancers
(6:15)  2. Black Is the Color of My True Love's Hair
(4:38)  3. Green Grow the Rushes
(4:56)  4. The Londonderry Air
(4:42)  5. 25 1/2 Daze
(5:11)  6. Oh, Now I See
(4:55)  7. Hush-A-Bye
(3:34)  8. Ballad for Monsieur

Many straight-ahead bop musicians would never consider recording traditional folk songs from the British Isles, but that's exactly what Johnny Griffin does on The Kerry Dancers and Other Swinging Folk and this Orrin Keepnews-produced album just happens to be one of his best releases of the 1960s. Joined by pianist Barry Harris, bassist Ron Carter, and drummer Ben Riley, the big-toned Chicago tenor man turns his attention to four traditional folk melodies: "The Londonderry Air" (also known as "Danny Boy"), "Green Grow the Rushes" (a Scottish favorite), "The Kerry Dancers" (an Irish piece), and "Black Is the Color of My True Love's Hair" all of which work perfectly well in an acoustic jazz setting. Not everything on this album (which was recorded in late 1961 and early 1962) is a folk song from the British Isles; the other half of the album ranges from Griffin's moody "Oh, Now I See" to the John Coltrane-influenced "25 1/2 Daze." On Riverside's original LP version of this album, Griffin's bop interpretations of folk songs were confined to side one while the other material was placed on side two. But when Fantasy reissued this album on CD in 2001 on its Original Jazz Classics imprint, there was no interruption between the folk and non-folk material you no longer had to get up and turn the record over. And that's just as well, because Griffin brings a jazz mentality to everything on the album; he is as hard-swinging and improvisatory on "The Londonderry Air" as he is on "25 1/2 Daze" and "Oh, Now I See." The Kerry Dancers and Other Swinging Folk is among the many Griffin releases that the Chicagoan can be proud of. ~ Alex Henderson https://www.allmusic.com/album/the-kerry-dancers-and-other-swinging-folk-mw0000016413

Personnel:  Johnny Griffin — tenor saxophone; Barry Harris - piano; Ron Carter - bass; Ben Riley - drums

The Kerry Dancers and Other Swinging Folk (Remastered)

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Bernard Peiffer - Peiffer Interpreys

Styles: Piano Jazz
Year: 1960/2011
File: MP3@320K/s
Time: 32:03
Size: 74,6 MB
Art: Front

(3:32)  1. Come Along With Me
(4:37)  2. It's All Right With Me
(2:27)  3. Just One Of Those Things
(4:31)  4. You Do Something To Me
(5:32)  5. Let's Do It
(4:45)  6. I Love Paris
(2:25)  7. Montmartre
(4:11)  8. C'est Magnifique

Born 23 October 1922, Epinal, France, d. 7 September 1976, Philadelphia, Pennsylvania, USA. Following intensive training as a classical pianist, Peiffer began playing jazz in distinguished company. While still a young man he played with Django Reinhardt, Hubert Rostaing and other European jazzmen and also with visiting Americans such as Rex Stewart, Don Byas and Sidney Bechet. By the end of the 40s he had become very well known in his native land, leading small groups and also working alone. Persuaded to visit the USA, he moved there in the mid-50s and thereafter commuted between the USA and Europe. An exceptionally accomplished technician, Peiffer’s solo playing was rich and sometimes florid. He was forward-thinking in his style, despite the swing era resonances of his early associations. He also composed much of his repertoire. His son Stephan Jean-Bernard assembled an album of old home recordings that was released in 2006 under the title Formidable...! https://www.allmusic.com/artist/bernard-peiffer-mn0000760255/biography

Peiffer Interpreys

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Neville Dickie - Strut Miss Lizzie

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 77:44
Size: 181,5 MB
Art: Front

(3:54)  1. Strut Miss Lizzie
(4:59)  2. Two-Time Dan
(3:08)  3. Harlem Hotcha
(3:45)  4. All Muddled Up
(3:43)  5. Satanic Blues
(3:46)  6. It's Right Here for You (If You Don't Get It - Tain't No Fault O' Mine)
(4:08)  7. Cuddle Up Blues
(3:34)  8. Red Hot Mama
(3:42)  9. I've Got a Cross-Eyed Papa (But He Looks Straight to Me)
(3:22) 10. Candy Lips (I'm Stuck on You)
(3:27) 11. Dancin' Dan
(4:09) 12. Whisper Sweet
(3:30) 13. Gypsy Blues
(3:37) 14. Loose Feet
(3:59) 15. Cry Baby Blues
(2:46) 16. At the Jazz Band Ball
(2:44) 17. Home Again Blues
(3:22) 18. Weary Blues
(3:52) 19. Nobody Knows What a Red-Headed Mama Can Do
(4:01) 20. Virgina Blues
(4:07) 21. I Lost My Heart in Dixieland

Neville Dickie (born 1 January 1937 in Durham) is an English boogie-woogie and stride piano player. He has performed all over Europe and North America. After serving in the RAF, Dickie left Durham and moved to London, where he began playing piano for small wages in various pubs. It was only after Doreen Davies, who was head of BBC Radio 2, noticed him at a BBC audition that he took a notable stride in his musical career. He has played on hundreds of BBC Radio broadcasts. Dickie has produced scores of records and can be heard on hundreds of jazz recordings, as well as several recordings with the French pianist, Louis Mazetier. Dickie had a Top 40 UK hit single in 1969 with "Robin's Return" on the Major Minor Records label (MM 644). It reached number 33 on the UK Singles Chart. His album Back to Boogie (1975) has sold over 100,000 copies. Dickie formed a band called the Rhythmakers in 1985 and continues to perform with that group and with his trio. He appears regularly at festivals in the United States. https://en.wikipedia.org/wiki/Neville_Dickie

Strut Miss Lizzie

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Christine Tassan et les Imposteures - Django Belles

Styles: Vocal And Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 45:05
Size: 105,8 MB
Art: Front

(3:51)  1. La soirée du hockey / Hiver maudit
(4:05)  2. Mon pays
(3:44)  3. Fleurs de grésil
(4:50)  4. Oggi nevica (Reel Béatrice)
(3:41)  5. Tout l'monde a la grippe
(3:47)  6. Il est né le divin enfant / Joseph Joseph
(4:55)  7. L'hiver, Largo / Marie-Noël
(3:52)  8. Mele Kalikimaka
(4:01)  9. Marche de Casse-Noisette
(5:51) 10. Les neiges de Finlande / En tombant gentiment
(2:22) 11. Medley de Noël

It has been ten years since Christine Tassan et les Imposteures started tending their craft in the gypsy jazz milieu and performing standards, and there is no doubt that they are definitely here to stay. Pioneers in a domain usually reserved for men and precursors of the gypsy wave that swept across Québec, this all-woman quartet continues to reinvent this timeless music while integrating new ideas and influences with an originality and flair we have become familiar with. From standards to original compositions, the Imposteures’ musical arrangements innovate, rejuvenate and leave room for unbridled creativity from four talented and accomplished young women. Since their inception in 2003 the group has solidified their reputation. With more than 400 concerts in various venues and festivals, including numerous appearances in major events and tours across Canada and France, they have cultivated the adoration and loyalty of an ever growing fan base. We have had the chance to see them at the Montreal International Jazz Festival, at the Lévis Jazz Festival, at the Guitar Festival in Rouyn-Noranda, at the April in Paris Vancouver festival and in St-Pierre-et-Miquelon. On two occasions, their show has been taped and broadcasted by CBC Radio as part of the Concerts on demand, in Montreal and Saskatoon. 

Over the years, the band has shared the stage with illustrious gypsy swing musicians, including John Jorgenson, Tchavolo Schmit, Angelo Debarre, Rodolphe Raffalli and David Reindhart. In June 2014, they had the great pleasure to be invited at the Django Reinhardt Festival of Samois-sur-Seine (France), one of the most prestigious gypsy jazz festivals since it takes place in the town where the great manouche guitarist lived his last years. In front of more than 2000 enthusiastic people, they stood out with their “finesse” and “joie de vivre” as the very first women and furthermore Québécois gypsy jazz band to perform on this famous stage ! Their first two albums, De bon matin (2007) and Pas manouche, c’est louche (2010), achieved rapid critical acclaim. Only a few weeks after it was released, De bon matin went to the top of Radio-Canada’s Coup de Coeur hit list and reached number one on the Radio Couleur Jazz top 4. In turn, Pas manouche, c’est louche was nominated for Best Jazz Album Creation at the ADISQ awards, alongside other great artists such as Jordan Officer, Julie Lamontagne and Christine Jensen. On stage, we bear witness to four musicians who have mastered their talents. They improvise with ease, interpret their repertoire with dynamism, and blend their voices together in refined harmonies. 

But it’s their communicative energy and the personal bond between them that hits home the most. Christine Tassan et les Imposteures, are first and foremost four friends who have harnessed their energies and their voices to give rise to, year after year, the fruit of their creativity. Their third album, released in October 2012, follows in the same lively spirit. Like its two predecessors, it weaves together a clever mix of original compositions and standards, songs and instrumental pieces. The album brims with a ripe confidence that clearly reveals the evolution of the group. C’est l’heure de l’apéro marks the beginning of a new chapter for Christine Tassan et les Imposteures, who are once again touring Québec, Canada and the world to showcase their new sparkling and savory show. http://www.christinetassanetlesimposteures.com/en/the-band/

Personnel:  Christine Tassan: lead guitar, rhythm guitar, vocal; Martine Gaumond: violin, podorhythm, back vocal; Lise-Anne Ross: rhythm guitar, back vocal; Blanche Baillargeon: double bass, back vocal; Karine Gordon: trombone; Justine Verreault-Fortin: trumpet

Django Belles

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Roy Eldridge - Swngin' on the Town

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 36:10
Size: 84,8 MB
Art: Front

(2:43)  1. Bossa Nova
(2:23)  2. The Way You Look Tonight
(2:25)  3. Sweet Sue, Just You
(2:23)  4. I've Got a Crush on You
(2:59)  5. When I Grow Too Old to Dream
(2:39)  6. Dreamy
(4:13)  7. Honeysuckle Rose
(3:27)  8. All the Things You Are
(3:46)  9. Easy Living
(3:16) 10. But Not for Me
(3:05) 11. Song of the Islands
(2:46) 12. Misty

Recorded in June 1960, Swingin' on the Town was a bit of a retro affair at the time, since swing was no longer popular dance music, nor the cutting edge of jazz. Still, Eldridge was one of the best swing trumpeters of any era, and his music continued to deepen over the years; there was no reason for him not to play swing standards if he could still make them sound fresh. Throughout Swingin' on the Town, he does make it sound fresh. It helps that he's supported by bassist Benny Moten, pianist Ronnie Ball and drummer Eddie Locke, who keep things lively, but Eldridge is the focus here, and his performances are supple, swinging and charming. He doesn't do anything out of the ordinary, but he delivers the expected with grace. Not a major album in his catalog, but certainly an enjoyable one. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/swingin-on-the-town-mw0000244272

Personnel:  Roy Eldridge - trumpet; Ronnie Ball - piano; Benny Moten - bass; Eddie Locke - drums

Swngin' on the Town

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Ilonka - Holding On

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 26:23
Size: 61,4 MB
Art: Front

(3:09)  1. Holding On
(3:13)  2. His Love
(3:16)  3. Bigger Than Words Can Say
(3:17)  4. Good Day
(3:58)  5. Free to Live
(4:21)  6. My Second Chance
(5:06)  7. Safe

Growing up in South Africa, Ilonka journey led her to the U.S. to devote her life and voice to ministry. ilonka encourages women with the love of Jesus Christ by reminding them that their stories matter. Ilonka has performed worldwide as well as collaborating and performing on projects with Michael W. Smith, Rebecca St. James, Paul Coleman and Phil Keaggy, just to name a few. She has also served as a member of the Worship Team at Christ Community Church in Franklin, Tennessee for the past 7 years; has five albums: Fly, Holding On, Jesus Joy of Life, Ever & Ever, Classic Christmas, and her latest single Wash.  Ilonka is a member of The American Association of Christian Counselors and graduated in 2013 from Light Universities Biblical Counseling Degree Program. In 2012 she and her husband Bill opened a free Counseling Center in the Franklin area for women, serving those whom are often overlooked and under-resourced. For the past several years ilonka has worked with organizations such as World Vision, Women At Risk, Int. (WAR), Crisis Aid International and Bethany Christian Services as an artist and speaker. ilonka has also publicly shared the power and love of Jesus Christ on multiple Christian Television Programs with her testimony and music. https://store.cdbaby.com/artist/Ilonka1

Holding On

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Michel Legrand - Paris Was Made for Lovers

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 35:16
Size: 82,1 MB
Art: Front

(3:37)  1. The Windmills of the Mind
(2:44)  2. The Summer of '42
(2:51) 3. I Still See You (Theme From "The Go Between")
(2:15)  4. Sea and Sky
(0:51)  5. Concerto for Cabs
(1:29)  6. The Street Where They Lived
(1:36)  7. Where Love Begins
(2:49)  8. In Love in Normandy
(2:30)  9. A Place in Paris
(2:38) 10. Old Lovers Never Die
(2:25) 11. On the Road (From the Film "The Lady in the Car")
(1:12) 12. Do You Come Here Often
(2:16) 13. They Simply Fade Away
(1:34) 14. Where Love Ends
(1:46) 15. Pavanne for People
(2:36) 16. Paris Was Made for Lovers

This Michel Legrand release contains his original soundtrack for the 1970 movie Paris Was Made for Lovers and updated versions of two of his best known celluloid themes, "Windmills of Your Mind" and "Summer of '42." These new takes on already well-tread material are pleasant at best, while the original soundtrack material is quite good. Particularly impressive are the vocal numbers "Paris Was Made for Lovers" (Legrand in decent vocal form), "A Place in Paris" (Matt Monro sounding like Tony Bennett), and "Sand and Sea" (Dusty Springfield at her best). There are some fine instrumentals, too, like the dramatic themes "Where Love Begins" and "Where Love Ends" and the Ravel-esque ballads "In Love in Normandy" and "They Simply Fade Away" (the latter two are based on the "Sand and Sea" melody). To break up the soundtrack's predominately melancholy mood, Legrand includes some respectable Dixieland jazz ("Concerto for Cabs") and bit of circus music ("Do You Come Here Often?"). Like '60s-era soundtracks by Mancini and Bacharach, Paris Was Made for Lovers succeeds with a winning mix of strong melodies, provocative arrangements, and a variety of styles; and even though it doesn't match the quality of top Legrand releases like The Thomas Crown Affair, it still is worth seeking out. ~ Stephen Cook https://www.allmusic.com/album/paris-was-made-for-lovers-mw0000239004

R.I.P.
Born: February 24, 1932, Bécon les Bruyères, France
Died: January 26, 2019, Paris, France

Paris Was Made for Lovers

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