Jimmy Scott - Falling in Love Is Wonderful

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 38:37
Size: 90,3 MB
Art: Front

(4:04)  1. They Say It's Wonderful
(4:02)  2. I Wish I Didn't Love You So
(3:27)  3. There Is No Greater Love
(3:23)  4. If I Should Lose You
(4:50)  5. Why Try to Change Me Now
(3:54)  6. I'm Getting Sentimental Over You
(3:29)  7. Someone to Watch Over Me
(3:36)  8. How Deep Is the Ocean
(4:22)  9. I Didn't Know What Time It Was
(3:25) 10. Sunday, Monday or Always

The Eighteenth Century saw the zenith of a subset of opera singers known collectively as the castrati. These singers, eunuchs relieved of their primary sexual characteristics between the ages of 7 and 10 years, had voices full, with high range and perfect timbre. Technically, the normal male voice deepens during puberty under the pressure of increasing secretion of the male sex hormone testosterone, or more probably its biological byproduct dihydrotestosterone. The male vocal cords increase 70% in length during this time, where the female vocal cords increase by only 34%. Testosterone initially produces swelling of the vocal cords, followed by a permanent thickening due to the accumulation of collagen. These changes contribute further to the lowering of vocal pitch. Removal of testosterone causes absence of male-type growth of the larynx or voice box. In the only recorded autopsy of a castrato, the size of the larynx was conspicuously small, with vocal cords the length of a female high soprano. However, in a castrato overall body growth continues unhindered, resulting in a voice very different from that of the prepubescent boy. While the pitch may have been similar to that of a female, the timbre of the voice was different. A leading Eighteenth Century opera critic Charles de Brosses described the castrato sound as being "as clear and penetrating as that of choirboys but a great deal louder with something dry and sour about it yet brilliant, light, full of impact." What does this have to do with Jazz Vocalist Jimmy Scott? Mr. Scott was born with a familial condition commonly known as Kallman’s Syndrome. This is a heredity condition that not only affects Mr. Scott but also his brother and several maternal uncles. In this condition, the cells of the hypothalamus gland responsible for making and secreting the hormones necessary to stimulate the release of the sex related hormones testosterone in the male or estrogen in the female, fail to develop. 

This results in the afflicted never fully developing to sexual maturity. In essence, those who have Kallman’s Syndrome are natural castrati. The result in Mr. Scott’s case is his perfect, beautiful voice. Pristine, crystalline, faultless are all adjectives that fairly describe this unique voice. Born in Cleveland, OH in 1925, Jimmy Scott received musical training for an early age and was invited to sing with Lionel Hampton’s band in the late 1940s. He recorded several well-received sides for Savoy in the 1950s. In 1962, when he thought his contract was completed, Mr. Scott went to Ray Charles’ Tangerine label and recorded the famous Falling In Love Is Wonderful. Shortly before the album’s release, Scott’s previous label sued Tangerine claiming that Scott remained under contract to Savoy. It would be 40 years before Falling In Love Is Wonderful would again be legally heard. Rhino Record’s specialty label Rhino Hand Made has recently released Falling In Love Is Wonderful to a welcoming jazz public. The recording sports the arrangements of Marty Paich and Gerald Wilson and the piano playing of Ray Charles. It is a collection of love songs ballads so sincerely emoted in such a perfect voice that one would think the songs were written for Jimmy Scott. "There Is No Greater Love," "I’m Getting Sentimental Over You," and "Someone To Watch Over Me" are all rendered with careful affection and respect. This is a voice and music of another time. Densely romantic and heartbreakingly open, Jimmy Scott and his exquisite voice should be declared a national treasure. In 1992, interest in Mr. Scott began to pique with the Sire release of All the Way. Since then, Mr. Scott has continued to record critically acclaimed discs, his most recent being 2002’s But Beautiful (Milestone MCD-9321-2). His voice sports the maturity of his 77 years and the sweetness of his life. ~ C.Michael Bailey https://www.allaboutjazz.com/falling-in-love-is-wonderful-jimmy-scott-tangerine-review-by-c-michael-bailey.php

Personnel: Jimmy Scott: vocals.

Falling in Love Is Wonderful

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Lee Ritenour - Banded Together

Styles: Guitar Jazz
Year: 1984
File: MP3@320K/s
Time: 42:53
Size: 99,5 MB
Art: Front

(4:25)  1. Operator (Thief On The Line)
(4:07)  2. Other Love
(4:23)  3. Sunset Drivers
(4:41)  4. Mandela
(3:42)  5. Amaretto
(4:15)  6. Rit Variations II
(3:50)  7. Be Good To Me
(4:21)  8. I'm Not Responsible
(4:26)  9. Shadow Dancing
(4:38) 10. Heavenly Bodies

Lee Ritenour goes techno/pop/rock on an album originally released on the pop Elektra label and as such is not recommended to jazz fans with a low tolerance for the stuff. Here Captain Fingers extends his reach to play keyboards and programmed electronic drums on a few tracks, along with very competent rock guitar to little effect, for the material is just not very interesting. Indeed, in a telling move, two songs from the previous record, On the Line, are actually recycled here ("Rit Variations II," " Heavenly Bodies"); the former comes off a little better in machine-driven, techno-pop manner. Ernie Watts' protean sax talents are wasted, Eric Tagg and John Massaro's high-pitched pop voices are hard to tell apart without a scorecard, and the largely electronic backing never meets a real groove that it can find. And no hits result anyway. ~ Richard S.Ginell https://www.allmusic.com/album/banded-together-mw0000120801

Personnel: Lee Ritenour - producer, executive producer, engineering, music, lyrics, arrangements, electric guitar, acoustic guitar, 12 string acoustic guitar, 12 string electric guitar, guitar synthesizer, bass synthesizer, drum machine, drum programming, synthesizer, Synclavier; Greg Mathieson - producer, music, lyrics, arrangements, bass synthesizer, moog bass taurus, drum programming, keyboards, synthesizer, solo, prophet-5;  Jerry Hey, Gary Grant,  Larry Williams, Gary Herbig - horns

Banded Together

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Randy Brecker - Into The Sun

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 58:45
Size: 135,6 MB
Art: Front

(6:23)  1. Village Dawn
(5:46)  2. Just Between Us
(4:46)  3. The Sleaze Factor
(6:53)  4. Into The Sun
(7:26)  5. After Love
(6:40)  6. Gray Area
(5:18)  7. Tijuca
(3:54)  8. Buds
(7:17)  9. Four Worlds
(4:17) 10. The Hottest Man In Town

It’s Randy, it’s David Sanborn (one track), it’s Brazil. Randy Brecker does the fusion thing, this time fusing his expressive trumpet with comfortable Brazilian rhythms and voices. It’s Astrud Gilberto meets the late Miles in a happy mood, of course. This CD cooks along pleasantly, so tightly executed that it’s surprising to hear Brecker say, "I chose musicians with whom I had never played, and barely knew. Moreover, the musicians themselves had never played together and barely knew each other." The introductions went this way: Randy, of course, on trumpet and flugelhorn; Gil Goldstein on keyboards and accordion; Adam Rogers on electric and acoustic guitars; Bakithi Kumalo on bass; Jonathan Joseph on drums; Café on percussion; and Maúcha Adnét on gossamer-wing vocals. Sanborn chimes in on "The Sleaze Factor," and six others add color but never assume center stage: Dave Bargeron (trombone); David Taylor (bass trombone and tuba); Lawrence Feldman (bass flute); Keith Underwood (alto and bass flutes); Bob Mintzer (bass clarinet); and Richard Sussman (synthesizer programming). Sussman had a lot to do, spreading atmosphere all over this disc. But the synthesizers are never so obtrusive that they detract from Brecker’s consistently strong trumpet or Goldstein’s able keyboards. Everything cooks on "The Sleaze Factor" and "Into the Sun." "After Love" is pleasant, "Gray Area" catchy. "Tijuca" starts in a synthesizer soup, but clears by the time Brecker arrives for another capable turn. 

In sum, everything is slick, slick, slick, and if you like that sort of thing, this is a good, danceable example. For a real twist, the CD ends up with a wildly touching tape of Randy’s father singing to him in 1945 when he was two weeks old. It’s a slice of a different world that cuts through all the slickness (including the funk appended to it) and sticks in your mind more than just about anything else on this album. After this too-brief vignette Randy has attached a vocal in which a man complains about a woman’s having left him. "I was treated like a clown," goes the refrain in part. It’s hard to resist responding, "Well, maybe it’s the generic arrangements."Sure, Randy Brecker can play. But except for his dad’s appearance, this is just another record. If you like this, try late Miles and Getz/Gilberto. ~ Robert Spencer https://www.allaboutjazz.com/into-the-sun-randy-brecker-concord-music-group-review-by-robert-spencer.php

Personnel:  Trumpet, Flugelhorn – Randy Brecker; Vocals – Maucha Adnet;  Alto Flute, Bass Flute – Keith Underwood; Bass – Bakithi Kumalo; Bass Clarinet – Bob Mintzer; Bass Flute – Lawrence Feldman; Bass Trombone, Tuba – David Taylor; Drums – Jonathan Joseph;  Electric Guitar, Acoustic Guitar – Adam Rogers ; Keyboards, Accordion – Gil Goldstein; Percussion – Café; Saxophone – David Sanborn (tracks: on "The Sleaze Factor"); Synthesizer Programming – Richard Sussman; Trombone – Dave Bargeron

Into The Sun

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Annie Gallup - Little five points

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 38:26
Size: 89,9 MB
Art: Front

(3:21)  1. Lester William Polsfuss, 1915 - 2009
(3:42)  2. The story of my life
(3:05)  3. Girl in the ruins
(4:16)  4. Adam's ribs
(4:53)  5. Careless lover
(4:46)  6. Poets
(3:10)  7. 1000 miles away
(2:52)  8. Speed of light
(2:33)  9. Movies
(2:50) 10. Vanity fair
(2:53) 11. All my old lovers

Produced by Annie Gallup & Peter Gallway. Gallup delivers an intense, intimate set of ruminations ranging from the life story of Les Paul  Lester William Polsfuss, 1915-2009 to the intoxication and impermanence of arts scenes (Poets) to the sexual politics in the origins of Adam's Ribs. AG: vocals, lapsteel, resophonic & Gibson Blueshawk guitars, ukulele; Peter Gallway: Fender telecaster, bass, keyboards. https://www.amazon.com/Little-Five-Points-Annie-Gallup/dp/B007DIQAQK
 

Review
Filled with deft metaphors and riveting images sifted from love's ashes... so smooth you'd hardly know it's poetry. ~ NY Daily News

Even her most straightforward lyrics possess a fantastic, almost subliminal quality that brings to mind the magic-realist fiction of Gabriel Garcia Marquez. ~ Acoustic Guitar

Little five points

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Barry Harris - Barry Harris Trio With Al Cohn

Styles: Piano And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 78:35
Size: 182,4 MB
Art: Front

(5:03)  1. America The Beautiful
(8:33)  2. Night And Day
(8:33)  3. My Shining Hour
(5:11)  4. Bright
(6:17)  5. Skylark
(5:53)  6. Woody'n You
(6:09)  7. Comin' Home
(6:09)  8. You're My Everything
(9:47)  9. Lover
(5:03) 10. Play It Now
(6:17) 11. Georgia On My Mind
(5:40) 12. It's Sand, Man!

Originally issued in the Xanadu label, these studio quartet sessions showcase the collaborations between two of the most exciting figures of their instruments: tenor sax giant Al Cohn & piano master Barry Harris, who are joined here by two incarnations of the pianist's regular trio. https://www.freshsoundrecords.com/al-cohn-albums/5221-barry-harris-trio-with-al-cohn-2-lp-on-1-cd.html

Personnel: Al Cohn (ts), Barry Harris (p), Sam Jones, Larry Ridley (b), Leroy Williams, Alan Dawson (d)

Barry Harris Trio With Al Cohn

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Brian Dickinson - Fishs Eddy

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 54:15
Size: 125,2 MB
Art: Front

(9:15)  1. I Loves You Porgy
(7:18)  2. Falling
(6:00)  3. Fishs Eddy
(6:04)  4. Delaware Daze
(7:44)  5. Never Let Me Go
(6:09)  6. Limbo
(5:49)  7. Gateway
(5:53)  8. Rising

A sublime trio recording from pianist/composer Brian Dickinson, this music also features impeccable bass playing by jazz legend George Mraz, and sensitive drumming from Ethan Ardelli. It opens with a haunting rendition of the Gershwins' "I Loves You Porgy" and continues with six inspired originals as well as the beautiful ballad, "Never Let Me Go". All in all, it is a wonderful album capturing an inspired performance by three master musicians. This recording was produced in Toronto, Canada in April of 2013. https://store.cdbaby.com/cd/briandickinson4

Personnel: Brian Dickinson - piano;  George Mraz - bass; Ethan Ardelli - drums.

Fishs Eddy

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Black Swan Classic Jazz Band - Feel the Spirit

Styles: Jazz: Dixieland
Year: 2007
File: MP3@320K/s
Time: 73:36
Size: 171,3 MB
Art: Front

(4:17)  1. Battle Hymn of the Republic
(4:17)  2. Swing Low, Sweet Chariot
(1:43)  3. Clarinet Intermezzo: Peace Like a River
(4:37)  4. Amazing Grace
(4:15)  5. Life is Like a Mountain Railway
(4:32)  6. Old Rugged Cross
(5:10)  7. Xian Medley: Will the Circle be Unbroken & This Little Light of
(1:33)  8. Piano & Drum Intermezzo: Ezekiel Saw the Wheel
(5:58)  9. His Eye is on the Sparrow
(4:15) 10. Operator
(1:33) 11. Trumpet Intermezzo: Ave Maria
(3:50) 12. I Shall Not be Moved
(2:41) 13. Gonna Build a Mountain
(3:16) 14. Old Adam
(4:30) 15. Just a Closer Walk with Thee
(4:47) 16. I'll Fly Away
(1:26) 17. Trombone Intermezzo: How Great Thou Art
(3:46) 18. Ev'ry Time I Feel the Spirit
(2:00) 19. Tuba Intermezzo: Go Down, Moses!
(5:01) 20. Church Rockin' Medley: Standin' in the Need of Prayer, Old Time

A Black Swan gospel performance is a celebration! A celebration of the infectious spirit of religious music. A celebration of the variety of positive and optimistic systems of faith from around the world. A celebration of what unites us in our humanity. A celebration of the connection between audience and performer. A celebration that we are alive and kicking for a shot at another day. A celebration that all the musicians made it out of bed on time, usually, for the 9 a.m. down beat. Not too serious a manner of celebration that might bring Snoopy to mind. Featured on this recording is Black Swan's extraordinary vocalist, Marilyn Keller. Audiences worldwide appreciate her honest and heartfelt vocals. She sings in a variety of genres, but it is safe to say that Marilyn's roots are in spiritual music and there she is most at home. In concert, Marilyn tells of listening as a toddler to her father's gospel quartet singing selections such as "Operator" and "Amazing Grace" in the living room of her home. The music of these formative years is with us forever and greatly influences who we are. Marilyn's featured vocals leave no doubt as to where she comes from and who she is. Alan Phillips joins Marilyn on several selections, singing lead or harmony. His heritage of listening to and performing various folk styles similarly shines through. "Church Rockin' Medley,” "Xian Medley," "Life is Like a Mountain Railway" and "Swing Low, Sweet Chariot" also benefit from the collaboration of our guest vocal ensemble. MaryEtta, Sandra, Letha, Eugene and Amber were delightful to work with and an enriching addition to the production. The Black Swan instrumentalists play a supporting role here. Our job is to provide arrangements, musical interplay and the foundation from which soloists and the congregation can sing at their uninhibited best. Plenty of jazz to go around, but definitely a focus on vocals. An exception are the intermezzi, which feature Steve, John, Ron, Ernie, Kit and Lew, singly or in pairs, and provide a chance for each to step forward and present a personal, musical statement in his unique style. We invite you to "Feel the Spirit" as well, and celebrate with Black Swan. https://store.cdbaby.com/cd/bscjb3

Feel the Spirit

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Terell Stafford - Time To Let Go

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 53:01
Size: 122,6 MB
Art: Front

(4:43)  1. Time To Let Go
(6:16)  2. Was It Meant To Be?
(5:57)  3. Polka Dots And Moonbeams
(7:17)  4. Qui Qui
(8:09)  5. On The Trail
(4:33)  6. Why?
(6:27)  7. Soon
(5:49)  8. Send In The Clowns
(3:45)  9. Just A Closer Walk With Thee

This scintillating set is appropriately titled Time To Let Go and truly reflects the trumpeter's musical state of mind. Firmly established as a contemporary jazz master, Terell Stafford is now getting the critical acclaim his talent deserves. Unlike many of his peers, he is nothing short of seasoned. He spent five years touring with Bobby Watson's scintillating post-bop quintet, which included pianist Ed Simon, drummer Victor Lewis and saxophonists Steve Wilson and Tim Warfield who join Terell here, together with vibraphonist Steve Nelson. ~ Editorial Reviews https://www.amazon.com/Time-Let-Go-Terell-Stafford/dp/B000NVLA9Q

Personnel:  Trumpet, Flugelhorn – Terell Stafford; Alto Saxophone, Soprano Saxophone – Steve Wilson ; Bass – Michael Bowie; Drums – Victor Lewis; Percussion – Victor See Yuen; Piano – Edward Simon; Tenor Saxophone – Tim Warfield; Vibraphone – Steve Nelson 

Time To Let Go

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Emanuele Cisi - Homage To Sonny Rollins

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 70:35
Size: 162,5 MB
Art: Front

(10:01)  1. Why Don't I
( 9:37)  2. Kids Know
( 7:00)  3. Strode Rode
( 5:11)  4. Wynton
(10:14)  5. Duke Of Iron
( 7:42)  6. Without A Song
(12:59)  7. No More
( 7:48)  8. Airegin

A little over 40 years old, Emanuele Cisi is one of the most appreciated musicians of the new European scene. Hc engraved six CDs in his name and tens as co-leader or sideman, in various European countries for Italian and foreign labels (including Blue Note , Universal ); has played in concerts and radio and television recordings in Europe, the United States, China, Oceania., collaborating with some of the most important musicians on the world scene such as Clark Terry , Jimmy Cobb , Billy Cobham , Nat Adderley , Aldo Romano , Daniel Humair , Enrico Rava Paolo Fresu , Sting and many others. A few years ago his activity in France was intense, where he had already recorded a record in his name and where he put his sound at the service of Aldo Romano 's new project, " Because of Bechet ". 1985 - 1990:  Training and start of concert activity. I started studying sax at sixteen by taking some private lessons, and then continuing as a self-taught. After two years he leaves the contralto for the tenor and the soprano. It also follows some seminars with important Italian musicians and, in 1986 , with Michael Brecker . At nineteen he began his professional career playing with various musicians from the Turin area and, at twenty-one, he was called to be part of the reconstituted historical group " Area ", his first important engagement with which he was able to stand out on a national level by participating in tours, festivals, radio and television programs and the recording of a record...More.. http://www.jazzitalia.net/Artisti/emanuelecisi.asp

Personnel:  Emanuele Cisi -Tenor sax; Sandro Gibellini - Guitar; Dario Deidda - Bass; Luigi Bonafede - Drums

Homage To Sonny Rollins

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Bridge Quartet - Day

Styles: Jazz, Bop
Year: 2008
File: MP3@320K/s
Time: 60:06
Size: 138,8 MB
Art: Front

( 7:38)  1. Wouldn't It Be Loverly
(10:26)  2. Exidence
( 6:35)  3. Angel Street
( 6:37)  4. Where Or When
( 5:48)  5. Strode Rode
( 7:51)  6. Italian Sorrow
( 8:30)  7. Milestones
( 6:39)  8. Three for Three

The Portland, Oregon-based Bridge Quartet is a group of hard-swinging musical daredevils who play with ultra-modern sensibilities. The ensemble consists of drummer Alan Jones, pianist Darrell Grant, bassist Tom Wakeling and Canadian saxophonist Phil Dwyer. Their debut release, Day, contains fresh takes on well-worn standards like "Wouldn't It Be Loverly," "Where or When" and "Milestones," along with enticing original material. With an emphasis on group interaction, each of the disc's eight tracks bubbles over with an abundance of dynamic intensity. Jones' lengthy "Exidence" is an enticing exploration of rhythmic and harmonic complexity. Dwyer displays confident lyricism, patiently awaiting a torrent of emotional outpouring for the tune's ending. Other highlights include a rather pensive reading of Rodgers and Hart's "Where or When," featuring meandering solo turns by Dwyer and Grant, and a burning take on Sonny Rollins' "Strode Rode," displaying the individual prowess of the entire band. Jones' bombastic maneuvers are nothing short of sensational. For all of the fire and invention heard in Dwyer and Grant, it is Jones' prodding and poking that brings out the best in each soloist. The level of musicianship among these four stalwarts is obvious. What's more impressive, however, is the sensitive, open-ended camaraderie within the band that elevates the music to an insightful level of jazz expression. ~ John Barron https://www.allaboutjazz.com/day-origin-records-review-by-john-barron.php

Personnel: Alan Jones: drums; Darrell Grant: piano; Tom Wakeling: bass; Phil Dwyer: saxophone.

Day

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Budapest Jazz Orchestra - The City of Bridges

Styles: Jazz, Big Band
Year: 2016
File: MP3@320K/s
Time: 51:45
Size: 118,7 MB
Art: Front

(7:27)  1. RP
(6:48)  2. Tigram
(7:09)  3. Chain
(7:18)  4. White Strings
(7:11)  5. Birdy Green
(6:50)  6. Aftrer the Last Tram
(8:59)  7. The Red Is Ready

Budapest Jazz Orchestra is one of Hungary's most popular big bands . He has been performing world-class swing music for years and almost every genre of jazz . Every member of the band is a jazz musician that allows them to play in any style. In 2015, the audience selected Jazzma.hu as the band's big band of the year. Founded in 1998, the Budapest Jazz Orchestra was a major breakthrough in Hungarian jazz, as it was the first professional big band in Hungary to sound America's 1920s. During the dynamic development of the orchestra, through the major musical stations of the genre, it has become a world-renowned representative of contemporary music. 

The proof of BJO's work over the past 18 years, during which time a number of concerts, domestic and international accolades and foreign performers have colored the band's palette. BJO's ars poetica: to cultivate contemporary jazz and big band music, to keep in touch with the roots of the genre and to make its values public, and to pass on its professional experience to the young generation of musicians. The Budapest Jazz Orchestra considers the aim and task of the Budapest Jazz Orchestra to be the domestic and international interpretation of improvisational and contemporary genres. https://translate.google.com.br/translate?hl=en&sl=hu&u=https://hu.wikipedia.org/wiki/Budapest_Jazz_Orchestra&prev=search

The band follows the traditional 17-member big band lineup: saxophone - Gábor Kollmann, Árpád Dennert, Ákos Csejtei, Zoltán Zana, György Varga; trombone - Ferenc Schreck, Gábor Skerlecz, Ákos Frolov, Viktor Daniel Nagy; trumpet - Péter interpreting, Ferenc Magyar, Áron Koós-Hutás, Balázs Pecze; piano - Attila Juhász; guitar - Miklós Birta; bass - Viktor Hárs; drums - Dániel Serei.

The City of Bridges

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Rick Braun - Full Stride

Styles: Trumpet And Flugelhorn Jazz
Year: 1998
File: MP3@320K/s
Time: 49:28
Size: 114,4 MB
Art: Front

(4:47)  1. A Very Good Thing
(4:20)  2. Nightfall
(4:47)  3. Hollywood & Vine
(4:45)  4. One Love
(4:55)  5. Moonshot
(5:12)  6. China Bath
(4:28)  7. Magic Moment
(5:18)  8. Soul On Soul
(6:18)  9. South Of Midnight
(4:34) 10. Aqua Funk

A positive, tongue-in-cheek attitude infuses the trumpeter's Full Stride with a certain balmy optimism that contrasts with the dark moods of most of 1997's Body and Soul and recalls the deeply grooving, party time atmosphere on his breakthrough Beat Street (1995). His relaxed, fun-seeking attitude is apparent from the start, with the catchy light funk of "A Very Good Thing" recalling the restless spirit of Beat Street's "Marty's Party"; he floats a percussive melody, complete with irresistible pop hooks, over his own tropical vibe harmony (on synth) and Dave Palmer's alternating deep drum groove and insistent high-hat. More Herb Alpert than Miles. Likewise, he teams with keyboardist Brian Culbertson and former Rufus guitarist Tony Maiden (who backs Braun's flügelhorn with an hypnotic clicking wah-wah effect throughout) to reflect the fast-paced street life of "Hollywood and Vine." On "One Love," he combines his muted trumpet with Culbertson's acoustic piano as a harmonic backdrop to a dreamy, swaying flügelhorn melody; the effect is a cool tension beneath a soaring spirit. "China Bath" plays like background music at an Asian massage parlor. Chuck Kentis finds a synth tone that approximates an Oriental stringed instrument, which he touches gracefully behind a gentle conversation by Braun and Peter White's acoustic guitar, all while a bubbly, trip-hop percussion groove rolls in the background. Then there is Moon Calhoun's croaking synth bass backing Braun's give and take with the echoing electric guitar of Bruce Conte. Following the lead of Chet Baker, Braun even doubles his own gentle vocal scat with the horn on "Magic Moment."~ Jonathan Widran https://www.allmusic.com/album/full-stride-mw0000600639

Personnel: Flugelhorn – Rick Braun,  Bass – Cliff Hugo, John Menzano;  Double Bass [Upright Bass] – Cliff Hugo, Jack Daro; Drums – Dave Palmer, Michael White; Electric Piano – Mitchell Forman; Guitar – Bruce Conte, Carl Verheyen, Jeff Golub, Nils, Tony Maiden); Guitar [Nylon String] – Peter White;  Keyboards – Brian Culbertson, Chuck Kentis, David Garfield, Rick Braun; Keyboards [Additional] – Boney James;  Piano – Curtis Brengle, Mitchell Forman; Soprano Saxophone, Tenor Saxophone – Doug Norwine; Synthesizer [Bass] – Brian Culbertson; Trombone – Nick Lane; Trumpet – Lee Thornburg, Rick Braun;  Vocals – Maysa Leak, Rick Braun

Full Stride

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Christie Winn & The Lowdowns - Closer to Home

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 62:59
Size: 145,4 MB
Art: Front

(4:06)  1. Here Comes Misery
(4:02)  2. The Profound Song
(4:40)  3. Belle of the Ball
(5:05)  4. Sweetest Surprise
(5:50)  5. Words Move Too Slow
(4:45)  6. Floating Away
(4:46)  7. Will to Fall
(2:55)  8. Bliss
(4:26)  9. Inner City Blues
(4:18) 10. Wish
(3:55) 11. Tiny Tune
(6:33) 12. Lazy Sunday
(3:38) 13. Sou Seu Sabia
(3:55) 14. Por Favor

"Golden Voiced", The San Francisco Chronicle

"With an awareness of the sensual nature of each note, Winn encapsulates feeling, essence and being all in one breath", NE In Tune Magazine

"As songwriters, Winn and Bissinger have a great feeling for the inner connection between lyrics and melody". Gabriel Fehrenbach, Suddeutsche Zeitung

Following up their debut CD "Further Away From Here" this album showcases an expanded band including Christie Winn - vocals, piano, wurlitzer and melodica, Steve Bissinger - guitar and lap steel, Joe Cohen - alto sax, Joel Behrman - trombone, Joseph Hérbert - cello, Geoff Brennan, David Ewell and Daniel Fabricant - acoustic bass and Jim Bove and Eric Garland - drums. Featuring twelve new original compositions by Winn and Bissinger as well as covers by Marvin Gaye and Caetano Veloso "Closer To Home" steers The Lowdowns in some new directions, exploring latin, pop and jazz ballads while not completely leaving behind the amercana/jazz fusion of their first CD. https://store.cdbaby.com/cd/lowdowns2

Closer to Home

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Tom Harrell - First Impressions

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 63:31
Size: 146,2 MB
Art: Front

( 5:07)  1. Sainte
( 8:14)  2. Voices
(11:49)  3. Perspectives
( 7:28)  4. Beau soir
( 5:57)  5. Rêverie
(11:29)  6. Passepied
( 6:26)  7. Sarabande
( 6:58)  8. Musique du café

Tom Harrell is in a classical mood on his genre-blending First Impressions. This isn’t new for the brilliant trumpeter-composer. The six-part suite The Adventures of a Quixotic Character, off Harrell’s 2014 album Trip, had a classical feel to it, and this new album’s liner notes, by Robert Baird, trace Harrell’s blending of classical music and jazz in his earlier work. But the emphasis of that fusion is heightened on First Impressions, and the jazz/classical recipe is seasoned with tastes of other styles as well. The eight tracks here include Harrell arrangements of four pieces by Debussy (“Beau Soir,” “Reverie,” “Passepied,” “Sarabande”), two by Ravel (“Sainte,” “Voices”) and two new compositions of his own, “Perspectives” and “Musique du Cafe.” They’re performed by his crack working quintet with Wayne Escoffery on soprano and tenors saxophones, Danny Grissett on piano, Ugonna Okegwo on bass and Johnathan Blake on drums, augmented by flute, guitar, violin and cello. Latin influences-bossa, baião, hints of tango and flamenco-insinuate themselves here and there amid all the classical impressionism, as does a touch of hip-hop rhythm beneath the leader’s solo on “Sainte.” The quintet’s straight-ahead prowess is deployed too-Blake’s transitional solo on “Perspectives” and Grissett’s and Escoffery’s deft turns atop the Okegwo-fueled “Reverie” are among the other highlights. Harrell, of course, blows as beautifully as ever. More significant, the 69-year-old master makes clear that it isn’t just millennials who are currently embracing an eclectic approach to jazz composition. “I think all forms of music, even popular music, are close to jazz and classical music,” Harrell declares in Baird’s album notes. “There’s been a revolution in musical composition. Composers are utilizing pop elements, which would have been unheard of a short time ago, but now it’s really accepted.” ~ Bill Beuttler https://jazztimes.com/reviews/albums/tom-harrell-first-impressions-debussy-and-ravel-project/

Personnel:  Tom Harrell, trumpet & flugelhorn; Wayne Escoffery, soprano & tenor saxophone; Charles Pillow, flute & bass flute; Danny Grissett, piano; Rale Micic, guitar; Meg Okura, violin; Rubin Kodheli, cello; Ugonna Okegwo, bass; Johnathan Blake, drums

First Impressions

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Mike LeDonne, Eric Alexander - Smokin' out Loud

Styles: Post Bop, Straight-Ahead Jazz
Year: 2004
File: MP3@320K/s
Time: 63:17
Size: 145,6 MB
Art: Front

(7:56)  1. One for Don
(6:46)  2. Delilah
(6:48)  3. After the Love Has Gone
(4:58)  4. You'll See
(5:44)  5. Superstar
(7:23)  6. Silverdust
(9:12)  7. French Spice
(7:02)  8. They Long to Be Close to You
(7:26)  9. Pisces Soul

Alexander and Farnsworth are both back along with guitarist Peter Bernstein on Mike LeDonne's soul stirring Smokin' Out Loud, the keyboardist's debut disc leading the organ group that he performs regularly with at Smoke. LeDonne's two-fisted sure-footed mastery of the Hammond B3 tradition is evident from the beginning of his burning "One For Don , a dedication to the unheralded organ great Don Patterson. An imaginative arrangement puts a backbeat behind the Brown-Roach classic "Delilah , Alexander nodding in the direction of Stanley Turrentine. The hip rendering of Earth Wind and Fire's "After The Love Has Gone has the soul song swinging lightly. LeDonne pays further tribute to the lineage of jazz organ with an articulate reading of the late Jimmy Smith's "You'll See. Part of the popularity of '60s organ groups stemmed from their interpretation of pop hits and the band does a great job here with the chartbuster "Superstar . LeDonne's "Silverdust is a bluesy dedication to Horace Silver that makes reference to the Jazz Messenger staple "Moanin' . "French Spice , a hip Donald Byrd tune that is part of the band's Smoke repertoire, is recorded here for the first time since its debut on the trumpeter's Free Form Blue Note album. Burt Bacharach's Carpenters hit "Close To You is given a smoking treatment in the style of Charles Earland. The date comes full circle back to Don Patterson to close with "Pisces Soul , a hot Howard McGhee original from the organist's Boppin' and Burnin' record. ~ Russ Musto https://www.allaboutjazz.com/eric-alexander-and-mike-ledonne-dead-center-and-smokin-out-loud-by-russ-musto.php

Mike LeDonne Organ (Hammond) Eric Alexander Sax (Tenor) Peter Bernstein Guitar Joe Farnsworth Drums

Smokin' out Loud

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Steve Davis - Gettin' It Done

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 57:13
Size: 132,6 MB
Art: Front

(6:58)  1. Village Blues
(5:12)  2. Gettin' It Done
(6:24)  3. Steppin' Easy
(6:39)  4. Sunny
(6:49)  5. Alike
(8:35)  6. The Beacon
(8:15)  7. Longview
(8:17)  8. Wishes

Trombonist Steve Davis has never had a problem getting things done. He instantly joined the slide-wielding elite when he graduated from the Hartt School's Jackie McLean Institute in 1989 and joined up with drummer Art Blakey's Jazz Messengers. That gig jump-started his career and he's never looked back. Stints with McLean and pianist Chick Corea followed, helping to raise his profile within the jazz community, and a steady stream of sideman work, leader offerings and dates with the collective super band known as One for All, along with teaching responsibilities at his alma mater, continue to keep him in constant motion. While it's exhausting just trying to keep up with Davis' work and accomplishments, he doesn't seem to have trouble taking it all in stride. Davis gets the job done every time he picks up his horn and this date is no exception. For the appropriately titled Gettin' It Done, he put together a horns-plus-rhythm group that swings like mad and churns out solo after exciting solo. Davis focuses on his own compositions on this date, but includes a pair of covers that come from vastly different sources. Saxophonist John Coltrane's infrequently played "Village Blues" kicks things off and gets the solo juices flowing. Drummer Billy Williams has a little bit of Elvin Jones in his swing feel on this one, and pianist Larry Willis has a vague hint of McCoy Tyner in him, but nobody apes the original recording. Bobby Hebb's covered-to-death "Sunny," which pops up mid-album, still pleases after all these years and the band sounds like it's having a blast with it. The other six tunes put Davis the composer on equal footing with Davis the performer. "Gettin It Done'" is a thrilling burner, while "Steppin' Easy" is a carefree number that lives up to its name, "Alike" is a pleasant ballad that puts Davis' warm and focused tone on display, and "The Beacon" is a funky journey that proves to be an album highlight. In this age of lengthy albums, it's rare that an artist leaves you wanting more, but Davis does just that. Gettin' It Done is another sterling date from one of today's treasured figures of trombone. ~ Dan Bilawsky https://www.allaboutjazz.com/gettin-it-done-steve-davis-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Steve Davis: trombone; Josh Bruneau: trumpet, flugelhorn; Mike DiRubbo: alto saxophone; Larry Willis: piano; Nat Reeves: bass; Billy Williams: drums.

Gettin' It Done

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Thad Jones - Three And One

Styles: Cornet Jazz
Year: 1987
File: MP3@320K/s
Time: 58:53
Size: 135,7 MB
Art: Front

( 5:28)  1. Instant blues disinstant
( 8:03)  2. My one and only love
( 8:13)  3. But not for me
( 5:40)  4. Night mist blues
( 6:41)  5. My romance
( 8:58)  6. Three and one
(10:20)  7. But not for me
( 5:26)  8. Instant blues disinstant

Thad Jones was 61 at the time of this recording and had made a full-fledged recovery after some health problems, although he was only two years away from his death. He is showcased on cornet throughout the quartet date with pianist Ole Hansen, bassist Jesper Lundgaard and drummer Ed Thigpen, and is heard in very good form. Jones plays two of his originals, Ahmad Jamal's "Night Mist Blues," "My Romance," "My One and Only Love" and "But Not for Me." This date is reminiscent in ways of Jones' Debut session from 29 years earlier, which also found him taking harmonically sophisticated solos in a quartet. Recommended. ~ Scott Yanow https://www.allmusic.com/album/three-and-one-mw0000647320

Personnel:  Cornet – Thad Jones; Bass – Jesper Lundgaard; Drums – Ed Thigpen; Piano – Ole Kock Hansen

Three And One

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Matthew Shipp - By the Law of Music

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:47
Size: 140,6 MB
Art: Front

(0:17)  1. Signal
(2:51)  2. By The Law of Music
(6:58)  3. Implicit
(5:00)  4. Fair Play
(6:45)  5. Grid
(3:05)  6. Whole Movement
(7:56)  7. Game of Control
(4:21)  8. Point to Point
(3:28)  9. P X
(5:36) 10. Grid
(5:05) 11. Coo
(4:31) 12. X Z U
(4:53) 13. Solitude

This is a reissue of the original 1996 Hat Art recording. Yet, pianist Matthew Shipp has gone on to release umpteenth solo outings besides his intermittent performances with bassist William Parker and violinist Mat Maneri. Other than the trio’s rather abstract rendition of Duke Ellington’s “Solitude,” Shipp composed the remaining twelve pieces. They venture into what has now become familiar territory where the band delves into microtonal patterns, and shifting tonalities. The trio also implements various odd-metered time signatures amid a matrix-like platform. The album title might serve as an antithesis to the musicians’ musical output. As they seemingly defy the laws of music via sequences of counterbalancing motifs, and free form improv interspersed with John Cage-like concepts. On “Fair Play,” Parker establishes a fervent pace due to his steady, walking bass lines as Shipp and Maneri render interweaving statements that develop into subsequent mini-motifs. Otherwise, the respective musicians have made signifcant advances since the onset of this release. Recommended. ~ Glenn Astarita https://www.allaboutjazz.com/by-the-law-of-music-matthew-shipp-hat-hut-records-review-by-glenn-astarita.php?width=1920

Personnel: Matthew Shipp: piano;  William Parker: bass;   Mat Maneri : violin.

By the Law of Music

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Marty Grosz - Hooray For Bix!

Styles: Vocal And Guitar Jazz 
Year: 2000
File: MP3@320K/s
Time: 45:00
Size: 104,5 MB
Art: Front

(2:42)  1. Changes
(4:15)  2. Cryin' All Day
(3:12)  3. Lonely Melody
(4:07)  4. I'm Gonna Meet My Sweetie Now
(3:46)  5. Sorry
(3:05)  6. My Pet
(3:46)  7. The Love Nest
(4:00)  8. Clementine
(4:19)  9. Oh, Miss Hannah
(3:39) 10. Wa-Da-Da (Everybody's Doin' It Now)
(4:24) 11. For No Reason At All In 'C'
(3:38) 12. Because My Baby Don't Mean Maybe Now

A native of Germany, guitarist and vocalist Marty Grosz's especial personality has been part of the traditional jazz scene since the early '50s. Growing up in New York and later moving to Chicago, Grosz has played over the years with renown musicians such as Dick Wellstood, Art Hodes, Jabbo Smith, and the group Soprano Summit. Still active today, Grosz's Hooray For Bix! was originally cut for Riverside in 1957 and it not only pays homage to its namesake, '20s and '30s cornet wizard Bix Beiderbecke, but also serves as a watermark of the '50s revivalist movement. Like one of his inspirations, Eddie Condon, Grosz works out on a guitar of the four-string variety and his main function here is of a rhythmic thrust, with two fine vocals thrown in to boot. In deference to Beiderbecke's horn of choice, co- leader Carl Halen opts for the use of a cornet, an instrument seldom used these days in jazz. The rest of the band is filled out with instruments representative of your normal Dixieland-type ensemble, and while none of the men have any major name recognition, they all play with skill and fervor. Frank Chace's robust baritone sax work is particularly lovely, as is his breathy clarinet stylings, which are very much akin to that of Pee Wee Russell. A shrewd decision on the parts of Grosz and Halen was to go for material that was a bit left-of-center from the obvious, so don't expect to hear "Singin' the Blues" or "In a Mist." In fact, the only Beiderbecke original turns out to be "For No Reason At All." That's all just fine though, because this set proves to be a bit more poetic than similar sessions of this ilk. Even those with a bit of apprehension towards music of this genre will find something to like here, as solo space for all is copious and collective improvisation is kept at a minimum. As an added bonus, Dave Jones' beautiful early stereo manifests each instrument with clarity and warmth. ~ C.Andrew Hovan https://www.allaboutjazz.com/hooray-for-bix-marty-grosz-fantasy-jazz-review-by-c-andrew-hovan.php

Personnel: Marty Grosz- guitar and vocals; Carl Halen- cornet, Turk Santos- second cornet (tracks 6 & 12 only), guitar (track 9 only); Harry Budd- trombone; Frank Chace- clarinet & baritone sax, Bob Skiver- clarinet & tenor sax; Tut Soper- piano, Chuck Neilson- bass, Pepper Boggs- drums

Hooray For Bix!

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Joe Morris, William Parker, Gerald Cleaver - Altitude

Styles: Guitar, Post Bop
Year: 2012
File: MP3@320K/s
Time: 72:27
Size: 166,0 MB
Art: Front

(26:22)  1. Exosphere
(25:22)  2. Thermosphere
(12:04)  3. Troposphere
( 8:39)  4. Mesosphere

Guitarist Joe Morris is on a roll. Hardly a month goes by without a new release featuring the Boston-based musician. Of course, he doubled his chances by adding acoustic bass to his armory alongside his six-stringed axe. It's the latter he wields on this trio date featuring bassist William Parker and drummer Gerald Cleaver, captured at New York City's Stone in June, 2011. Strangely, given their long acquaintance, this is the first time this particular combination has recorded, though each knows the others well from other collaborations. Cleaver and Parker form two-thirds of improvising collective Farmers By Nature, while Parker featured alongside Morris in the Eloping With The Sun (Aum Fidelity, 2003) triumvirate, and the guitarist and drummer both number among Jean Carla Rodea's Azares. What that familiarity ensures is that there is none of the "getting to know you" tentativeness that afflicts some first-time dates. All three leap straight in, spinning yarns. Inspired by the lengthy expositions of Coltrane and Cecil Taylor (although sounding nothing like either) the threesome maintains an urgent pace throughout the first extended piece (50-plus minutes, demarcated into the first two tracks, comprising the opening set in full). In a relatively straightforward execution, the adventure stems from the ceaseless search, as the trio obsessively wrings all the possibilities inherent from a single mood via a steadily blossoming stream of consciousness. As Morris says in the liners: "we kept it simple and let it unfold naturally, listening for the discovery of melody, always comfortable on that tremendous platform of rhythm." And that's how it sounds. While no one is likely to go away humming a refrain from this disc, a certain lower case lyricism permeates the atmosphere, especially the guitarist's genial single line rivulets and Parker's tonally sympathetic counterpoint. Their unity of purpose is such that even when the music opens out for a drum solo towards the end of "Exosphere," the dynamic doesn't change and the energy level barely dips. For the second set, excerpted here in the final two cuts, Parker switches from bass to sintir a Moroccan three-stringed lute. That decision engenders a different feel, with Parker's dusty grooves evoking Africa's vast open plains and timeless emotions. Cleaver avoids the obvious foot-tapping response, preferring instead a clattering pulse resembling fragments of several diverse tempos simultaneously. Subtle accents and changes of emphasis color the flow to maintain interest with Morris at his most assertive on "Mesosphere" pressing his points with a determined vigor. To sum up: three friends with nothing to prove bring home the bacon on a hot night in NYC. ~ John Sharpe https://www.allaboutjazz.com/altitude-joe-morris-aum-fidelity-review-by-john-sharpe.php

Personnel: Joe Morris: guitar; William Parker: bass, sintir; Gerald Cleaver: drums.

Altitude

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