Rob McConnell & Big Band Brass - Live With The Boss

Styles: Trombone Jazz
Year: 2001
File: MP3@320K/s
Time: 72:05
Size: 166,5 MB
Art: Front

( 8:23)  1. Who Asked
( 9:11)  2. T.o Two
(10:03)  3. The Waltz I Blew for You
( 6:40)  4. Days Gone By
( 7:08)  5. Hey!
( 9:17)  6. Winter in Winnipeg
( 7:23)  7. Love of My Life
( 7:25)  8. 4b.c
( 6:30)  9. Even Canadians Get the Blues

Have you ever been to a concert where the band was blowin’ up a storm but the cavernously richocheting acoustics were enough to drive you crazy? If so, you’ll readily identify with this album, a marvelous collaboration between Rob McConnell and the Toulouse based Big Band Brass that cooks from the word go but is repeatedly sabotaged (a suitably French word) by its disconcerting (no pun intended) concert–hall ambiance. As a longtime admirer of McConnell’s, and with his peerless Canadian ensemble, the Boss Brass, no longer operative at least for the present, if not permanently I looked forward eagerly to hearing his album with the BBB, recorded a year ago this month, a copy of which I obtained courtesy of the band’s splendid lead trumpeter, Tony Amouroux. Tony enclosed a note in which he explained that the BBB is but one year old and apologized in advance for any weaknesses. He needn’t have. The ensemble itself is consistently impressive, as are McConnell’s stylish charts and his always eloquent locutions on valve trombone. But either Odyssud Blagnac, where (I presume) the recording was made, is an acoustic swamp or the engineers in charge were, shall we say, less than adroit (to use another apposite French description). The resulting sabotage, even though inadvertent, is no less harmful than any deliberate assault. That’s a pity, as the Big Band Brass definitely rises to the occasion, further enhancing McConnell’s already lavish charts while unleashing a phalanx of admirable soloists who, unlike the ensemble as a whole, are in most cases reasonably well recorded. Tenor Laurent Audinos is the most frequently heard (on five numbers), with other persuasive statements interposed by trumpeters Jacques Adamo and Dominique Rieux, pianist Philippe Léogé, soprano David Pautric and guitarist Pierre Téodori. 

The generously timed disc accommodates half a dozen of Rob’s compositions and one each by Roger Kellaway (“Love of My Life”) and Boss Brass alumni Don Thompson (“Days Gone By”) and Rick Wilkins (“Who Asked,” his snappy answer to the age old question “What Is This Thing Called Love”). McConnell solos on four selections (“T.O. Two,” “Hey!,” “4 B.C.” and “Even Canadians Get the Blues”), showing that any lip problems alluded to in recent years have vanished and he remains in his mid 60s one of the undisputed masters of the digitally operated ’bone. It’s difficult to wholly endorse an album like this, in which nearly aspect is first–class but whose lone exception less than adequate sound can be quite unsettling to some ears. Having listened several times, I must say that I’ve been able to brush aside the sonic drawbacks and focus on the album’s more desirable qualities, which are readily uncovered and as easily appreciated. With that caveat, a conclusive thumbs–up for the BBB and “boss,” an able bodied team that never fails to deliver the goods. ~ Jack Bowers https://www.allaboutjazz.com/live-with-the-boss-the-big-band-brass-black-and-blue-records-review-by-jack-bowers.php

Personnel: Rob McConnell, valve trombone, composer, arranger; Tony Amouroux, Dominique Rieux, Jacques Adamo, Eric Duroc, Michel Lassalle, trumpet; Michel Chalot, Pierre Condon, Bruno Hervat, trombone; Patrice Caussidery, bass trombone; Christophe Mouly, alto sax, flute; Laurent Velluz, alto sax, clarinet; Laurent Audinos, tenor, soprano sax; David Pautric, tenor, soprano, sax, flute; David Cayrou, baritone sax, clarinet, bass clarinet; Guillaume Amiel, Fabien Mouly, French horn.

Live With The Boss

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Danny Barker - The Fabulous Banjo Of Danny Barker (Digitally Remastered)

Styles: New Orleans Jazz
Year: 2010
File: MP3@320K/s
Time: 47:06
Size: 109,3 MB
Art: Front

(4:18)  1. Bye Bye Blackbird
(3:34)  2. Lazy River
(4:45)  3. Sweet Sue
(4:34)  4. Bill Bailey
(4:35)  5. Careless Love Blues
(3:01)  6. The World Is Waiting For The Sunrise
(4:01)  7. Tiger Rag
(5:21)  8. Tishomingo Blues
(3:45)  9. Chinatown, My Chinatown
(5:03) 10. Charleston
(4:04) 11. Royal Garden Blues

One of the greatest traditional jazz players of the 20th Century, banjoist and guitarist Danny Barker is synonymous with New Orleans jazz. He was a rhythm guitarist for some of the best bands of the 1930's, including Cab Calloway, Lucky Millinder and Benny Carter. He wrote "Don't You Feel My Leg" for his wife Blue Lu Barker and also had a hit with "Save the Bones for Henry Jones" (recorded by Nat King Cole). By 1947, Barker was fully involved in the Dixieland revival, and returned to the banjo. He returned to New Orleans in 1965 and was active in keeping New Orleans jazz alive up until his death in 1994. It is said that he appeared on over 1,000 recordings in his career. Presented here is his classic 1958 audiophile recording, "The Fabulous Banjo Of Danny Barker," featuring traditional jazz veterans Joe Muranyi on clarinet, Don Frye on piano, Wellman Braud on bass and Walter Johnson on drums. All selections newly remastered. ~ Editorial Reviews https://www.amazon.com/Fabulous-Banjo-Barker-Digitally-Remastered/dp/B003VRZTOQ

Personnel:  Banjo – Danny Barker; Bass – Wellman Braud; Clarinet, Producer, Sleeve Notes – Joseph Muranyi ; Drums – Walter Johnson; Piano – Don Frye

The Fabulous Banjo Of Danny Barker (Digitally Remastered)

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Dick Sisto - Earth Tones

Styles: Vibraphone Jazz 
Year: 2016
File: MP3@320K/s
Time: 50:09
Size: 116,4 MB
Art: Front

(4:15)  1. For the Little Ones
(6:22)  2. Zebra Dreams
(4:37)  3. Blue Planet
(5:44)  4. Conversation with Bill
(7:38)  5. No Time Like Now
(5:01)  6. Only Child
(6:08)  7. Retroactive
(5:04)  8. Silver Cloud
(5:17)  9. Free Bird

While Earth Tones is the first album credited to the Dick Sisto/Steve Allee Quartet, it's not this foursome's first rodeo. This group has been at it as a working band for quite a while now, and it previously released Spirit of Life (Jazzen, 2013)a date under Sisto's name that concentrates on the work of John Coltrane, Duke Ellington, and Billy Strayhorn. This follow-up focuses on originals, as all but one of the nine tracks come from Sisto or Allee, and it's a friendly date that lives up to its title's promise by focusing on warm and rich colors in a variety of settings. Everything here falls under the straight-ahead category, but not everything falls into the same stylistic bag. There are relaxed swingers, balladic sounds, cheery escapades, Latin-to-swing vehicles, and more. Sisto's vibraphone and Allee's piano serve as the primary voices throughout, but the cooperative nature of this combo is evident in the interactions of the quartet and in the way solo space is doled out. The conversation is never forced and everybody gets to shine. This album sets sail with some lyricism and cool-blooded swing in the form of Sisto's "For The Little Ones," and it docks with his angular, bop-influenced "Free Bird." There's no shortage of inspired sounds in those tracks and in the journey that takes place in between them. This quartet courts the sounds of Brazil on Allee's "Zebra Dreams," shifts rhythmic gears on Sisto's "No Time Like Now," and downshifts Bill Evans' "Only Child" into a dreamier-than-normal realm. All the while these four manage to stress a collective belief in the art of direct communication. Those looking for high-level soloing will find it bassist Jeremy Allen's stand on "Retroactive," drummer Jason Tiemann's trading on "Silver Cloud," any number of strong showings from the co-leaders but individual heroics are only part of the package. The songs and the frank approach with which they're presented are just as important as any solo statements on the easy-to-enjoy Earth Tones. ~ Dan Bilawsky https://www.allaboutjazz.com/earth-tones-dick-sisto-self-produced-review-by-dan-bilawsky.php

Personnel: Dick Sisto: vibraphone; Steve Allee: piano; Jeremy Allen: acoustic bass; Jason Tiemann: drums.

Earth Tones

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Mel Tormé, Cleo Laine - Nothing Without You

Styles: Vocal
Year: 1992
File: MP3@320K/s
Time: 55:22
Size: 128,3 MB
Art: Front

(3:01)  1. I'm Nothing Without You (You're Nothing Without Me)
(3:47)  2. I Thought About You
(5:05)  3. Where Or When
(3:07)  4. I Wish I Were In Love Again
(5:05)  5. Girl Talk
(4:40)  6. After You've Gone
(4:15)  7. Brazil / Baia
(2:49)  8. Birdsong
(4:01)  9. Isn't It A Pity
(3:30) 10. Love You Madly
(4:30) 11. Angel Eyes
(4:48) 12. Two Tune Medley
(3:42) 13. I Don't Think I'll Fall In Love Today
(2:55) 14. Ev'ry Time We Say Goodbye

Mel Tormé is in typically fine form on this Concord set; the problem is his musical partner Cleo Laine. Although often classified as a jazz singer, Laine, who has a tremendous range and a lovely voice, seems incapable of improvising. Backed by a 12-piece group led by Laine's husband John Dankworth, the duo perform a variety of mostly superior standards, but nothing unexpected happens except for a somewhat disastrous "Two Tune Medley." On the latter, Tormé and Laine sing 20 songs, generally two at a time, in less than five minutes; it is quite annoying. Otherwise, Tormé, who seems to have enjoyed the date, is weighed down and restricted by Cleo Laine's nonswinging style. Skip this one. ~ Scott Yanow https://www.allmusic.com/album/nothing-without-you-mw0000613826

Personnel: Mel Tormé - vocals;  Cleo Laine - vocals;  John Colianni - piano; Larry Koonse - guitar; Guy Barker - flugelhorn, trumpet; John Dankworth - clarinet, conductor, alto saxophone, soprano saxophone; Ray Loeckle - bass clarinet, flute, tenor saxophone; Ray Swinfield - clarinet, alto saxophone;  Jamie Talbot - clarinet, bass clarinet, baritone saxophone; Chris Hammer Smith - trombone; John Leitham - bass; Donny Osborne - drums

Nothing Without You

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Arnett Cobb - Alive: Live in New Orleans

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 55:23
Size: 127,6 MB
Art: Front

(6:57)  1. Bag's Groove
(6:22)  2. I Got Rhythm
(5:40)  3. Jitterbug Walts
(6:01)  4. Nearness of You
(9:35)  5. Satin Doll
(7:44)  6. Slow Blues
(6:26)  7. Smooth Sailing
(6:35)  8. Take the a Train

Arnett Cobb was an American jazz tenor saxophonist known as the "Wild Man of the Tenor Sax" because of his uninhibited stomping style.Born in Houston, at the age of 15, he traveled with Louisiana bandleader Frank Davis along with Wild Bill Davis up to 1936; then with Milt Larkiin's band that included Illinois Jacquet, before nally joining up with Lionel Hampton's band in 1942. He wrote the words and music for the jazz standard "Smooth Sailing" for Ella Fitzgerald's album Lullabies of Birdland in 1951, which is also featured on this show. Health issues and a car crash, slowed him down during the 60's and 70's but we convinced him in 1980 to come to New Orleans and perform for this production. Shot at Snug Harbor on Frenchmen Street in New Orleans, Arnett is at his best backed up by Ellis Marsalis on piano, Chris Severin on bass and Johnny Vidacovich on drums. We believe this was his last performance for television before his passing at age 70 in 1989. https://store.cdbaby.com/cd/arnettcobb1

Alive: Live in New Orleans

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Kirk Lightsey Trio - From Kirk To Nat

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 54:36
Size: 125,7 MB
Art: Front

(6:10)  1. You And The Night And The Music
(7:40)  2. Sweet Lorraine
(4:44)  3. Never let me go
(5:34)  4. Bop Kick
(8:03)  5. Sophisticated lady
(6:22)  6. The Best is yet to come
(4:30)  7. Close enough for love
(5:55)  8. Little Old Lady
(5:35)  9. Kirk's blues

One of the main reasons why this tribute to the Nat King Cole Trio by Kirk Lightsey is a success is that Lightsey (who is from a much later bop-influenced generation) sounds nothing like Cole. Featured in a trio with guitarist Kevin Eubanks and bassist Rufus Reid, Lightsey performs a set of music reminiscent of Cole but several of the songs (including his original "Kirk's Blues," "Never Let Me Go" and "Close Enough for Love") were never actually recorded by Cole; Lightsey takes surprisingly effective vocals on the latter two songs. ~ Scott Yanow https://www.allmusic.com/album/from-kirk-to-nat-mw0000678415

Personnel:  Kirk Lightsey - piano; Kevin Eubanks - guitar; Rufus Reid - bass

From Kirk To Nat

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Jay McShann - McShann's Piano

Styles: Piano Jazz
Year: 1966
Time: 35:07
Size: 55,7 MB
Art: Front

(4:29)  1. Vine Street Boogie
(3:03)  2. The Staggers
(2:28)  3. Yardbird Waltz
(3:41)  4. My Chile
(2:18)  5. Confessin' the Blues
(2:59)  6. Moten Swing
(4:17)  7. The Man from Muskogee
(2:37)  8. Blues For an Old Cat
(3:08)  9. I Ain't Mad at You
(2:39) 10. Doo Wah Doo
(3:23) 11. Dexter Blues

Jay McShann's first recording in a decade (and first official full-length LP) is a fine showcase for the pianist, who takes vocals on three of the 11 selections. McShann is accompanied by guitarist Chuck Norris, electric bassist Ralph Hamilton and either Paul Gunther or Jesse Price on drums. The material is mostly blues-oriented (including "Vine Street Boogie," "Confessin' The Blues" and "Dexter Blues"), although there are a few departures, including "Yardbird Waltz," "Moten Swing" and "The Man from Muskogee." Throughout, McShann's blend of swing, stride, boogie and blues is quite appealing, making one wish that this worthy LP was reissued on CD. ~ Scott Yanow https://www.allmusic.com/album/mcshanns-piano-mw0000904784

Personnel: Jay McShann - piano, vocals; Chuck Norris – electric guitar; Ralph Hamilton – electric bass; Paul Gunther, Jesse Price – drums

McShann's Piano

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Eric Alexander Quartet - Lazy Afternoon: Gentle Ballads IV

Styles: Saxophone Jazz

Year: 2015

File: MP3@320K/s

Time: 70:46

Size: 163,0 MB

Art: Front

(7:45)  1. Feelin' Good

(6:26)  2. Lazy Afternoon

(6:49)  3. When Love Was New

(7:17)  4. Slow Hot Wind

(7:07)  5. My Funny Valentine

(7:38)  6. Goodbye

(7:13)  7. When We Were One

(7:13)  8. The Good Life

(6:39)  9. Angel Eyes

(6:36) 10. Blue Gardenia

Eric Alexander has had many opportunities to record as a leader for several different labels, though producer Tetsuo Hara, owner of the Japanese label Venus, has become a huge fan, recording him almost any time he travels to New York City. This 2008 session finds the tenor saxophonist with several musicians with whom he is very familiar, including pianist Mike LeDonne, bassist John Webber, and drummer Joe Farnsworth (the latter two who play with Alexander in the co-op band One for All). There's no mistaking the influence of John Coltrane in the loping opener, "Feelin' Good," where Alexander projects a huge tone on his instrument and LeDonne works in a few runs and chords suggestive of McCoy Tyner. The dreamy, free introduction to "My Funny Valentine" segues into a lush, sensitive performance. Alexander is at his emotional peak with his powerful interpretation of the ballad "Goodbye." The late-night feeling is prominent in the quartet's bluesy treatment of "Angel Eyes." This is another superb outing by Eric Alexander. ~ Ken Dryden https://www.allmusic.com/album/lazy-afternoon-gentle-ballads-vol-4-mw0001975014

Personnel:  Tenor Saxophone – Eric Alexander;  Bass – John Webber;  Drums – Joe Farnsworth; Piano – Mike LeDonne

Lazy Afternoon - Gentle Ballads IV

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Karin Krog, Morten G. Larsen - In a Rag Bag

Styles: Vocal And Piano Jazz 
Year: 2012
File: MP3@320K/s
Time: 56:24
Size: 228,8 MB
Art: Front

(3:17)  1. Old Piano Roll
(3:02)  2. Euphonic Sounds
(2:58)  3. Way Down Yonder in New Orleans
(7:27)  4. In the Dark / In a Mist
(3:14)  5. I'm Comin' Virginia
(3:59)  6. Dear Bix
(3:28)  7. Going Home
(4:29)  8. Olympia Rag - Norsk Rag no. 5
(4:19)  9. Spanish Steps
(3:42) 10. Feeling too Good Today Blues
(5:12) 11. Ain't Misbehavin' / I`ve Got a Feeling I`m Falling
(3:51) 12. Wild Cat Blues
(4:32) 13. Blue Turning Grey Over You
(2:49) 14. The Joint is Jumpin`

Singer Karin Krog and pianist Morten Gunnar Larsen are two of Norway's most acclaimed jazz musicians with international reputations; Karin most famously for her work with John Surman and their albums on ECM, and Morten for his exuberance as a practitioner of ragtime piano with a modern twist. Inspired by the pioneers of early jazz piano, Morten is a disciple and acknowledge authority on the work of legendary ragtime pianist and lyricist, Eubie Blake. 'In a Rag Bag' features a programme of ragtime compositions ranging from early composers such as Scott Joplin, Bix Beiderbecke and Fats Waller, through to contemporary composers as Leiber & Stoller and Dave Frishberg. Also included is a surprise composition from John Surman that references the style of Eubie Blake. ~ Editorial Reviews https://www.amazon.com/Karin-Krog-Morten-Gunnar-Larsen/dp/B009UUKOAM

Personnel: Karin Krog (vocals), Morton Gunnar Larsen (piano)

In a Rag Bag

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Bunny Berigan & His Orchestra - I Can't Get Started

Styles: Trumpet, Swing, Big Band
Year: 2001
File: MP3@320K/s
Time: 49:12
Size: 115,0 MB
Art: Front

(4:48)  1. I Can't Get Started
(3:20)  2. Trees
(3:25)  3. Jelly Roll Blues
(2:48)  4. 'Deed I Do
(2:46)  5. High Society
(3:24)  6. Black Bottom
(3:07)  7. Russian Lullaby
(4:12)  8. The Prisoner's Song
(3:34)  9. Caravan
(2:27) 10. Swanee River
(3:17) 11. Never Felt Better, Never Had Less
(2:34) 12. (Shango, Shango, Shangoree) Rockin' Rollers Jubilee
(2:52) 13. Frankie And Johnny
(2:55) 14. 'Cause My Baby Says It's So
(3:35) 15. The Wearin' Of The Green

Considered one of the architects of the big band sound, trumpeter Bunny Berigan played an important part in the Goodman, Dorsey, Whiteman and Miller big bands (some of Berigan's trumpet solos were so popular that Tommy Dorsey had the solos written and orchestrated for the entire brass section). This album, from the vaults of RCA, contains Berigan's biggest solo hit I Can't Get Started, plus Caravan, The Wearin' Of The Green and Black Bottom. ~ Editorial Reviews https://www.amazon.com/Cant-Get-Started-Bunny-Berigan/dp/B00005NVZ4

I Can't Get Started

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Rob McConnell Tentet - Thank You, Ted

Styles: Trombone Jazz
Year: 2002
File: MP3@320K/s
Time: 60:52
Size: 140,3 MB
Art: Front

( 9:42)  1. If I Were A Bell
(11:33)  2. Like Someone In Love
( 5:10)  3. Everything Happens To Me
( 6:51)  4. The Outlaw
( 4:30)  5. I'll Never Stop Loving You
( 8:22)  6. Constantly
( 3:40)  7. The Folks Who Live On The Hill
( 6:29)  8. Somewhere In The Night
( 4:31)  9. For All We Know

One can rest assured that whenever Rob McConnell enters a recording studio he’ll be accompanied by a group of the finest jazz musicians Canada has to offer and that the charts he brings with him will flash and gleam like the Aurora Borealis. No exception here, as Rob and his Tentet pay their warm respects to Ted O’Reilly, the amiable host of Toronto’s premier Jazz radio program, “The Jazz Scene,” for twenty-seven years before his retirement last April. Having written and recorded (with the Boss Brass) two of O’Reilly’s theme songs, “T.O.” and “T.O.2,” McConnell the composer takes a holiday here, choosing instead to adapt seven pages from the Great American Songbook to complement Horace Silver’s “The Outlaw” and Vic Dickenson’s “Constantly.” But all the arrangements are his, and as usual, each one is a paragon of graceful lyicism and dynamic group interplay. The Tentet, a pared-down version of the Boss Brass, is so good it makes it harder for one to mourn the loss of the larger ensemble. Of course, most of these gentlemen played with the Brass before McConnell was forced to disband the orchestra, so what we have is a sort of “Boss Brass Lite,” which may have less calories but is every ounce as satisfying as its meatier cousin. The rhythm section, of course, is an indispensable ingredient in any successful recipe, and the Tentet is well-seasoned by the superlative trio of pianist Dave Restivo, bassist Steve Wallace and drummer Terry Clarke, whose zesty cooking gives the ensemble a broad comfort zone in which to collaborate and improvise. McConnell holds the tempos in check, preferring slow to moderate, with only “The Outlaw,” “Constantly” and Frank Loesser’s “If I Were a Bell” exceeding the speed limit, but everyone seems thoroughly at ease within that leisurely framework and there are moments of great charm and beauty in every chart. There are marvelous solos too, with Rob’s expressive valve trombone showcased on “Everything Happens to Me” and (with Terry Promane’s slide trombone) Billy May’s “Somewhere in the Night” (which some may recall as the theme from a ’50s television show, The Naked City ), flugel master Guido Basso passionate on “I’ll Never Stop Loving You,” alto saxophonist P.J. Perry eloquent on “For All We Know,” dueling tenors Mike Murley and Alex Dean loose and swinging on “The Outlaw.” Dean, Wallace and Basso light the scoring lamp on “If I Were a Bell,” Murley, Promane and Restivo on “Like Someone in Love,” McConnell, Wallace and Perry on “Constantly.” A second triumphant album for the irrepressible Tentet, which is doing everything in its power to fill the enormous void created by the unfortunate departure of the Boss Brass. ~ Jack Bowers https://www.allaboutjazz.com/thank-you-ted-review-by-jack-bowers.php?width=1920

Personnel: Rob McConnell, leader, arranger, valve trombone; Steve McDade, trumpet; Guido Basso, flugelhorn; P.J. Perry, alto sax; Alex Dean, Mike Murley, tenor sax; Terry Promane, trombone; Dave Restivo, piano; Steve Wallace, bass; Terry Clarke, drums.

Thank You, Ted

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Erik Truffaz Quartet - Doni Doni

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 47:06
Size: 109,5 MB
Art: Front

(1:24)  1. Comptine
(5:17)  2. Kudu
(4:21)  3. Djiki'n
(6:08)  4. Pacheco
(5:05)  5. Szerelem
(6:12)  6. Fat City
(4:00)  7. Doni Doni - Part 1
(6:58)  8. Doni Doni - Part 2
(3:35)  9. Seydou
(4:00) 10. Le complément du Verbe

This Swiss-born French trumpeter has been successfully blurring the boundaries between the worlds of jazz, hip-hop, drum-and-bass and world music for over twenty years now and after a long and fruitful association with the legendary Blue Note label finds himself on Parlophone, the EMI imprint that brought the world the Beatles, of course, and which now as a result of EMI's being sold finds itself part of the Warner Music group. As well as being a talented and imaginative horn man with a distinctive signature sound, Truffaz's undoubted forte is being able to balance artistic consistency with a sense of musical adventure and this new album his twentieth in twenty-two years is proof of that. Combining mournful, elegiac horn lines with irresistible grooves and atmospheric soundscapes, it bears the unmistakable and quintessential sonic stamp of Erik Truffaz at the same time, though, it breaks new and exciting ground, especially in relation to trumpeter's inspired collaborations with  Malian singer, Rokia Traore, whose magnetic presence and elegant, soulful vocals grace four tracks. The best song that she features on (though they're all good) is the mesmerizing 'Djiki'n,' which possesses a gently undulating African groove. 

As satisfying as that performance undoubtedly is, it's eclipsed by the moody instrumental, 'Kudu,' where Truffaz's majestic horn rides a thrilling Fender Rhodes-driven backbeat that's anchored by Marcello Giuliani's trance-like bass line. Other highlights include the ruminative urban tone poem, 'Fat City,'  the mellower, blues-infused 'Pacheco' which boasts a infectious hook, and the plaintive lyrical ballad, 'Szerelem.' In addition to Traore's presence, French rapper, Oxmo Puccino, contributes his oleaginous tones to 'Le Complement Du Verbe,' rounding off what is unequivocally one of Erik Truffaz's best albums yet. The trumpeter is due to appear at Ronnie Scott's jazz club in London on Monday 21st and Tuesday 22nd March 2016 where he'll be featuring tracks from this album. http://www.soulandjazzandfunk.com/reviews/3962-erik-truffaz-quartet-doni-doni-parlophone.html

Personnel:  Trumpet – Erik Truffaz; Bass, Banjo – Marcello Giuliani; Drums, Percussion, Electronics – Arthur Hnatek; Piano, Electric Piano, Organ [Hammond] – Benoît Corboz; Vocals – Oxmo Puccino , Rokia Traoré

Doni Doni

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Cannonball Adderley Quartet - Cannonball Takes Charge

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 52:53
Size: 122,1 MB
Art: Front

(5:32)  1. If This Isn't Love
(5:34)  2. I Guess I'll Hang My Tears Out To Dry
(4:16)  3. Serenata
(3:39)  4. I've Told Ev'ry Little Star
(7:03)  5. Barefoot Sunday Blues
(5:10)  6. Poor Butterfly
(6:55)  7. I Remember You
(7:48)  8. Barefoot Sunday Blues - Alternate Take
(6:52)  9. I Remember You - Alternate Take

The recording of Cannonball Takes Charge was sandwiched in between two events that would help earn Cannonball Adderley a permanent place in jazz lore. Just the day before the album’s first session, he participated in the completion of Miles Davis’s seminal Kind of Blue. Five months after Cannonball Takes Charge was finished, he had Riverside producer Orrin Keepnews record his newly formed quintet at the Jazz Workshop in San Francisco which helped launch his career as one of the leading proponents of “soul jazz.” But what about the album made in between these two momentous occasions? Cannonball Takes Charge ’s concept was a common one: the altoist is the lone horn in a quartet performing a program made up primarily of standards. The results are anything but routine though, and show that 1959 was a very good year for Cannonball Adderley.  The opening tune, “If This Isn’t Love,” kicks off the proceedings on an ebullient note with Adderley playing an infectious solo that can brighten even the gloomiest day. Things reach a more melancholic note only on “I Guess I’ll Hang My Tears Out To Dry” which features a fine ballad performance by the alto saxophonist. “Barefoot Sunday Blues,” the lone original composition, points to the gospel and soul-inflected jazz that would become Adderley’s calling card. The final selection, “I Remember You,” produces his finest performance on the album. Adderley is able to coax a five-chorus improvisation out of the standard’s changes that is always interesting and full of romantic lyricism. On the piano bench is Wynton Kelly who plays with the utmost of taste throughout. He makes his best impression when he dips in to a more earthy vibe on his last solo chorus of “Barefoot Sunday Blues” and in his work on “Poor Butterfly.” Joining Adderley and Kelly are Paul Chambers and Jimmy Cobb on four tracks, and Percy and Albert Heath on the rest. As an added bonus, this 2002 CD reissue adds alternate takes of “Barefoot Sunday Blues” and “I Remember You” that are well worth listening to. Adderley would rarely revisit the territory he covered in Cannonball Takes Charge in the years to come. His subsequent work on Riverside increasingly began to follow a formula: albums recorded live with the altoist’s working band. In 1961 though, Adderley would record another quartet album, Know What I Mean? , in which he managed to surpass the lofty heights achieved on Cannonball Takes Charge. ~ Robert Gilbert https://www.allaboutjazz.com/cannonball-takes-charge-julian-cannonball-adderley-capitol-records-review-by-robert-gilbert.php

Personnel: Cannonball Adderley - alto saxophone; Wynton Kelly - piano; Paul Chambers, Percy Heath - bass; Jimmy Cobb, Albert Heath - drums

Cannonball Takes Charge

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Chick Corea, Origin - Live At The Blue Note

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 65:26
Size: 150,5 MB
Art: Front

( 1:30)  1. Say It Again - Pt. 1
( 1:28)  2. Say It Again - Pt. 2
(17:32)  3. Double Image
(10:53)  4. Dreamless
(11:26)  5. Molecules
( 9:00)  6. Soul Mates
(13:34)  7. It Could Happen To You

One thing that must be said about Chick Corea: musically, the man does not stand still. Whether one is going in his direction is another issue altogether. Chick's newest group, Origin, was recorded during a week-long gig in December '97 at New York's celebrated Birdland nightspot. It's a tight sextet with an exuberant front line - saxophonists Bob Sheppard and Steve Wilson, trombonist Steve Davis - capably supported by Corea, bassist Cohen and drummer Cruz. The band opens the set with a three-part suite, the concise "Say It Again," parts 1 and 2, and the blustery "Double Image," whose 17:32 running time provides abundant solo space for everyone. All were written by Corea, as were the next three numbers "Dreamless," "Molecules" and "Soul Mates" (the briefest of the trio at 9:00). Origin closes the set with an extended version of the standard "It Could Happen to You," on which Corea's Tatum-esque introductory statement paves the way for some zestful straight-ahead blowing by the band (I'd have welcomed more of that) and frisky solos by Chick, Sheppard (tenor), trombonist Davis and Wilson (alto). Corea lays out behind half of Wilson's chorus while Cohen's sonorous bass keeps time and Cruz deftly works the rims with sticks. Bass and drums have their say too (with Corea and Cruz trading eights) before the ensemble returns to enclose the package in style. 

An observation you can take to the bank is that Corea is a first-rate post-bop pianist (ask almost anyone); why I've seldom warmed to his muse remains a mystery, even to me. While I admire his proven technical prowess and writing skills, and must admit that he can swing hard whenever he chooses to, he simply doesn't reach me on an emotional level - a shortcoming that I know is mine, not his. This recording is a splendid example of what I am trying to point out. The melodies aren't unattractive, everyone plays well, and yet none of what is produced (with the possible exception of "It Could Happen to You") touches a responsive chord. Why? I don't know. Either it does or it doesn't, I suppose. Look, this is an ambitious session by a widely acclaimed pianist and his well-assembled working group. Although it doesn't happen to grab me, you may find yourself enraptured by its charms. Go for it. ~ Jack Bowers https://www.allaboutjazz.com/live-at-the-blue-note-chick-corea-concord-music-group-review-by-jack-bowers.php?width=1920

Personnel: Chick Corea – piano; Avishai Cohen – double bass; Adam Cruz – drums; Bob Sheppard – flute, bass clarinet, baritone saxophone, soprano saxophone, tenor saxophone; Steve Wilson - flute, clarinet, alto and soprano saxophone; Steve Davis - trombone

Live At The Blue Note

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Claire Martin - Bumpin' - Celebrating Wes Montgomery

Styles: Vocal Jazz
Year: 2019
File: MP3@320K/s
Time: 52:41
Size: 121,2 MB
Art: Front

(4:36)  1. Road Song
(4:21)  2. Polka Dots and Moonbeams
(4:23)  3. Willow Weep for Me
(5:30)  4. 'Round Midnight
(6:07)  5. If You Could See Me Now
(4:29)  6. Going out of My Head
(4:58)  7. I Could Get Used to This (Bumpin')
(4:08)  8. West Coast Blues
(5:07)  9. Back in the Room (Bock to Bock)
(4:57) 10. Born to Be Blue
(3:58) 11. The End of a Love Affair

Two award-winning jazz musicians from the UK, singer Claire Martin and guitarist Jim Mullen, celebrate the music of perhaps the most iconic guitarist in jazz history, Wes Montgomery, to mark the 50th anniversary of his death. 

The concert will feature classic Montgomery compositions such as Full House, Road Song and Bumpin’ plus well-known songs from his repertoire including Willow Weep for Me, If You Could See Me Now and Goin’ Out of My Head. http://ystadjazz.se/event/claire-martin-feat-jim-mullen-celebrating-the-music-of-wes-montgomery/?lang=en

Personnel:  Claire Martin (UK) – vocals; Jim Mullen (UK) – guitar; Magnus Hjorth – piano; Thomas Ovesen (DK) – bass; Kristian Leth (DK) – drums

Bumpin' - Celebrating Wes Montgomery

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Donald Byrd & Booker Little - The Third World

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 33:11
Size: 76,5 MB
Art: Front

(3:49)  1. Chasing the Bird
(3:47)  2. Prophecy
(6:11)  3. Ping Pong Beer
(2:23)  4. Construction
(4:42)  5. Quiet Temple
(2:51)  6. November Afternoon
(4:20)  7. Call to Arms
(5:03)  8. Wee Tina

There is more and less than meets the eye with this hard bop collection from 1960: less Booker Little and more performers than are listed on the CD. A little research corroborates what the ear suspects: the eight tracks come from three sessions, only one of which has trumpeters Little and Donald Byrd together (three tracks). The other sessions feature, respectively, Little and trombonist Curtis Fuller (two tracks) and Byrd and baritone saxophonist Pepper Adams (three tracks). Adams is one of a half-dozen performers not credited on the CD. To further confuse matters, both the session with Little and Byrd and the one with Little and Fuller have uncredited additional trumpeters Marcus Belgrave and Don Ellis, respectively. Suffice to say, sorting out who plays the trumpet solos is not easy. It seems, though, that Little solos only on one, possibly two, numbers. Originally, these tracks came out on a Warwick LP called Soul of Jazz Percussion. This explains the additional percussion parts some integrated more effectively than others on each of the tracks. Overall, the Byrd/Adams tracks are the most consistent. "November Afternoon" from the Little/Fuller set and "Chasing the Bird" and "Wee Tina" from the Little/Byrd set are also okay. Even so, factor in a couple of poorly handled fadeout endings along with some mixing and editing gaffes and there is not enough here to rate a recommendation, except, perhaps, to the ardent Booker Little completist. ~ Jim Todd https://www.allmusic.com/album/the-third-world-mw0000603542

Personnel: Donald Byrd, Booker Little - trumpet; Bill Evans, Mal Waldron - piano; Pepper Adams - baritone saxophone; Marcus Belgrave, Don Ellis - trumpet; Curtis Fuller - trombone; Paul Chambers, Adison Farmer - bass; Armando Peraza - congas; Willie Rodriguez, Earl Zindars - perc. Philly Joe Jones Ed Shaughnessy - drums.

Third World

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Sandy Cressman - Homenagem Brasileira

Styles: Vocal

Year: 1998
File: MP3@320K/s
Time: 56:58
Size: 131,8 MB
Art: Front

(2:51)  1. Vale O Escrito
(5:00)  2. Viola Violar
(4:39)  3. Porque Somos Iguais
(5:18)  4. Coração Sem Saida (Spring)
(5:11)  5. Tem Boi Na Linha
(4:23)  6. Felicidade
(3:57)  7. Amor Até O Fim
(4:27)  8. Café Com Pão (Jodel)
(8:38)  9. Ivan Lins Medley
(6:40) 10. Branca/Mudança Dos Ventos
(5:48) 11. Brasil de Hoje

On this disc, a woman pays homage to part of the wealth of music originating in South America. The title of Sandy Cressman's disc itself means "Homage to Brazil. Nine different musicians back the San Francisco vocalist, formerly of Pastiche, on the disc. A variety of Brazilian jazz artists are treated here, including a samba by Filo, a medley of Ivan Lins material showcasing the expressive, emotional qualities of Cressman's voice, and a hip, contemporary jazz groove on "Amor Ate O Fim" (Gilberto Gil). Portuguese lyrics are provided. Also in this collection of ten treatments (and one percussive original) lead by Brazilian keyboardist Marcos Silva (Flora Purim, Airto) is a delicate version of "Felicidade" (Carlos Jobim) with guest guitarist Carlinhos Oliveira. ~ Tom Schulte https://www.allmusic.com/album/homenagem-brasileira-mw0000047643

Homenagem Brasileira

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Darren Barrett - The Attack of Wren - Wrenaissance, Vol. 1

Styles: Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 66:29
Size: 153,5 MB
Art: Front

(5:18)  1. Wren's Theme #1
(4:36)  2. Until I See You
(5:02)  3. Come on Let's Go
(6:33)  4. Time Alone with You
(5:28)  5. Portland & Hanover Vibration
(4:40)  6. The Way I Like to Do It
(6:13)  7. Drop It Don't Stop It
(5:50)  8. Forever with You
(5:46)  9. Ina It
(6:24) 10. Stay Focused
(5:14) 11. On This Special Day
(5:19) 12. Wren Plus Mywren

For anyone who listened to Darren Barrett's first two albums, Attack of Wren will come as a surprise, if not a shock. This isn't a bad thing. Barrett cut both First One Up and Deelings in the hard bop/post-bop mode, sometimes resembling the old Blue Note sound. On Attack of Wren, he abruptly switches directions, embracing a contemporary sound with an experimental edge. Citing Donald Byrd as his mentor, Barrett wanted to combine new technology  like an electronic valve instrument with studio techniques -- and play most of the instruments himself. The opener, "Wren's Theme #1," gives a sample of what one can expect on the remainder of the album. There's a thick rhythm section with an extra-heavy bass part and horns, in unison and solo, laid overtop. A voice calls out "wren" from time to time, adding one more element to this funky and intriguing mix. The "funky" strain runs through several of these songs ("Come on Let's Go," "The Way I Like to Do It,") reminding one of late-'60s to- early-'70s fusion. The horn work, however, by Barrett, tenor Walter Smith, and alto Joseph Omicil, has a more contemporary edge. The odd voice work, occasionally run through a processor or synthesizer, also emphasizes 2004 as opposed to 1974. While Barrett's old fans will probably be taken aback by this adventurous recording, it would be too bad if they passed it by. Attack of Wren shows how much fun a recording can be when an artist kicks back and cuts loose. ~ Ronnie D.Lankford, Jr. https://www.allmusic.com/album/attack-of-wren-wrenaissance-vol-1-mw0000152656

Personnel:  Darren Barrett (trumpet), Walter Smith (saxophone), Myron Walden (alto saxophone), Jospeh Omicil (alto saxophone), Tony Barrett (electric guitar), Wesley Wirth (electric bass), Collin Barrett (electric bass), Jeremiah Landess (electric bass), Darren Barrett (electronics)

The Attack of Wren - Wrenaissance, Vol. 1

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Ralph Sutton, Kenny Davern - Ralph Sutton & Kenny Davern

Styles: Piano, Clarinet Jazz
Year: 1980
File: MP3@320K/s
Time: 66:43
Size: 156,2 MB
Art: Front

(3:15)  1. That's A-Plenty
(4:45)  2. Old Fashioned Love
(4:24)  3. Jazz Me Blues
(4:14)  4. Am I Blue
(6:16)  5. St. Louis Blues
(4:44)  6. Black And Blue
(2:33)  7. Take Me To The Land Of Jazz
(5:52)  8. All By Myself
(5:09)  9. My Honey's Lovin' Arms
(1:55) 10. 'Taint Nobody's Business
(5:48) 11. My Daddy Rocks Me
(4:53) 12. I Would Do Most Anything For You
(4:30) 13. Sweet Lorraine
(4:43) 14. Memphis Blues
(3:35) 15. A Porter's Love Song To A Chambermaid

This CD reissue combines two full LPs originally recorded for the Chaz Jazz label, with pianist Ralph Sutton and clarinetist Kenny Davern joined by Gus Johnson on drums. Traditional jazz fans will delight in Sutton's powerful brand of stride piano (the bass is never missed), yet he is also a very effective accompanist who can play a soft ballad with the best of them. Davern's always lyrical clarinet explores a wider range than most trad jazz players. Things get underway at a fast clip with "That's A-Plenty," followed by a dreamy take of James P. Johsnon's "Old Fashioned Love." Each man has an individual vocal feature as well: Davern's approach to "Take Me to the Land of Jazz" is almost conversational, while Sutton adds an enthusiastic humorous vocal á la Fats Waller to his upbeat solo feature of "'Tain't Nobody's Bizness If I Do," and Johnson's voice is surprisingly similar to Doc Cheatham's in a warm rendition of "Sweet Lorraine." Marty Grosz's hilarious liner notes have been retained, and an amusing new cartoon cover has been added by George Booth, making this CD a desirable purchase even if you already own the two long unavailable LPs that first showcased this music. ~ Ken Dryden https://www.allmusic.com/album/ralph-sutton-kenny-davern-complete-mw0000599345

Ralph Sutton & Kenny Davern

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Avi Rothbard - Going Somewhere

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 52:25
Size: 120,9 MB
Art: Front

(5:18)  1. The Place
(8:25)  2. JT's Blues
(7:36)  3. Just One of Those Things
(5:37)  4. Unstabe
(6:09)  5. Wives and Lovers
(4:29)  6. 26-2
(7:42)  7. A Flower Is a Lonesome Thing
(7:05)  8. Going Somewhere

New York City-based Avi Rothbard exhibits the influence of Grant Green throughout Going Somewhere (MidLantic), an organ-trio project. Drummer Joe Strasser and organist Jared Gold capably provide support while Rothbard tests his mettle with a mix of standards and originals. “Just One of Those Things,” taken at a brisk tempo, just doesn’t convince as an organ-trio number, despite Gold’s efforts to keep things moving with kinetic bass pedal work. Rothbard sometimes gets in some nice lines, but his overly staccato phrasing and relatively thin tone take their toll after a while, something that’s especially telling on “Wives and Lovers,” a tune once played by Green. Rothbard’s own material fares a bit better, primarily due to the underlying bluesiness of “The Place” and “JT’s Blues,” during which he generates a variety of soulful moments. Overall, Going Somewhere doesn’t seem to have quite reached its destination, but it eventually could with a little more time and refinement. ~ Jim Fergunson https://jazztimes.com/departments/guitartistry/avi-rothbard-going-somewhere/

Going Somewhere

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