Andrea Lindsay - Entre Le Jazz Et La Java

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 43:37
Size: 101,3 MB
Art: Front

(2:25)  1. Le jazz et la java
(3:19)  2. Plus je t'embrasse
(3:10)  3. Le poinçonneur des lilas
(4:11)  4. Les choses inutiles
(3:28)  5. L'étang
(2:49)  6. Les cinémas bars
(1:59)  7. Café blues
(3:09)  8. Boom Goes My Heart
(4:26)  9. C'est magnifique
(2:50) 10. La java des bombes atomiques
(3:24) 11. J'ferme pas juste
(2:55) 12. Tout doucement
(5:25) 13. Dance Me to the End of Love

In love with French, which she discovers at the age of 18, Ontario singer-songwriter Andrea Lindsay delivers her seductive and personal pop with her elegant voice. But for her third opus Between jazz and java , directed by Jordan Officer, she performs on stage with three talented jazz musicians, she offers her favorite songs of the French jazz repertoire, those of Gainsbourg, Nougaro, Lelièvre and many others, in addition to some rearranged pieces of his own repertoire. And the result is irresistible!Translated by Google

https://www.pauline-julien.com/evenement/201/Andrea_Lindsay_Entre_le_jazz_et_la_java/?perf_id=236

Entre Le Jazz Et La Java

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Hubert Laws - Morning Star (CTI Records 40th Anniversary Edition)

Styles: Flute Jazz
Year: 1973
File: MP3@320K/s
Time: 35:39
Size: 81,9 MB
Art: Front

(7:55)  1. Morning Star
(4:51)  2. Let Her Go
(4:34)  3. Where Is The Love
(4:59)  4. No More
(7:18)  5. Amazing Grace
(6:01)  6. What Do You Think Of This World Now?

Morning Star - Hubert Laws: Recorded in late 1972 between Hubert Laws’ well-known CTI classic The Rite of Spring and the 1973 CTI performance recording Carnegie Hall, Morning Star may be one of the least known of flautist Hubert Laws’ recordings and among his very best. It’s hard to imagine a more perfect setting for the flautist, surrounded as he is by Bob James (electric piano), Ron Carter (bass), Billy Cobham (drums) and Don Sebesky’s sumptuously employed arrangements for horns and strings. Laws alternates between several flutes (flute, alto flute, bass flute, piccolo and an uncredited electric flute) and shares solo duties with Bob James, who is simply magnificent here. Sebesky’s suberbly lovely work here ranks among some of the very best he ever did for CTI. Laws covers a typical program of third-stream jazz (Rodgers Grant’s title track), spirituals (“Amazing Grace”), pop covers (Roberta Flack & Donny Hathaway’s hit “Where Is The Love,” co-written by this album’s percussionist, Ralph MacDonald) and interesting originals (“Let Her Go,” “No More” and “What Do You Think of This World Now?”). Surprisingly, Morning Star has never been issued on CD before, making this particular release substantially significant due to its very first appearance of availability in nearly four decades. Plus, it makes for excellent listening as well.

Personnel:  Flute, Alto Flute, Piccolo Flute – Hubert Laws; Bass – Ron Carter; Bassoon – Jack Knitzer; Cello – Charles McCracken, George Koutzen, Lucien Schmit; Drums – Billy Cobham; Electric Piano – Bob James;Flute, Alto Flute, Clarinet – Phil Bodner; Flute, Alto Flute, Piccolo Flute, English Horn – Romeo Penque; French Horn – Jim Buffington; Guitar – John Tropea; Harp – Gloria Agostini; Percussion – David Friedman, Ralph MacDonald; Trombone – Garnett Brown; Trumpet, Flugelhorn – Alan Rubin, Marvin Stamm; Vibraphone – David Friedman; Violin – David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harry Cykman, Harry Lookofsky, Irving Spice, Max Ellen, Paul Gershman; Vocals – Eloise Laws, Lani Groves, Tasha Thomas

Morning Star (CTI Records 40th Anniversary Edition)

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Tubby Hayes - Night and Day

Styles: Saxophone, Vibraphone And Flute Jazz
Year: 2013
File: MP3@320K/s
Time: 72:30
Size: 166,8 MB
Art: Front

(13:24)  1. Half a Sawbuck
( 8:22)  2. Spring Can Really Hang You up the Most
(18:05)  3. The Simple Waltz
(14:06)  4. I'm Old Fashioned
(18:31)  5. Night and Day

There are relatively few Tubby Hayes CD's currently available, making this collection of live performances from Ronnie Scott's club in London quite valuable. Hayes was a versatile bop-based performer who during the period covered by the set was showing a bit of the influence of Johnny Griffin and Rahsaan Roland Kirk. Tubby is heard mostly on tenor but doubles on flute during Clark Terry's "The Simple Waltz" and sticks to vibes on "Spring Can Really Hang You Up The Most." 

The five lengthy performances (all but one are over 13 minutes long) also include some strong playing by Jimmy Deuchar (who is heard on trumpet and mellophonium on one song apiece) and pianists Terry Shannon and Mike Pyne. Reasonably well recorded for club appearances of the mid-1960's, this CD (whose music was initially released in 1996) is easily recommended to straightahead jazz collectors. ~ Scott Yanow https://www.allmusic.com/album/night-and-day-mw0000082078

Personnel:  Tenor Saxophone, Vibraphone, Flute– Tubby Hayes; Bass – Freddy Logan, Jeff Clyne; Drums – Allan Ganley, Benny Goodman , Phil Seamen; Mellophone – Jimmy Deuchar; Piano – Terry Shannon; Trumpet – Jimmy Deuchar 

Night and Day

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Barry White - Put Me In Your Mix

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 73:08
Size: 169,0 MB
Art: Front

( 4:44)  1. Let's Get Busy
( 6:09)  2. Love Is Good With You
( 5:48)  3. For Real Chill
( 6:24)  4. Break It Down With You
( 5:45)  5. Volare
( 7:38)  6. Put Me In Your Mix
( 5:21)  7. Who You Giving Your Love To
( 7:09)  8. Love Will Find Us
( 5:54)  9. We're Gonna Have It All
(10:07) 10. Dark And Lovely (You Over There)
( 8:03) 11. Sho You Right - Remix

Put Me in Your Mix is a 1991 album by R&B singer Barry White. Regarded as a return to form, with exemplary slow jams, it was the second album of his comeback phase and contained the smash title track. The album also contained production akin to contemporary R&B, featuring electronic instrumentation and, particularly, the presence of a Linn Drum combined with White’s traditional symphonic arrangements. Glodean White sang back-up vocals, and Isaac Hayes sang duet on “Dark and Lovely (You over There).” The album reached number 98 on the Billboard Hot 100 and number 8 on the Billboard top R&B albums chart. https://en.wikipedia.org/wiki/Put_Me_in_Your_Mix

Put Me In Your Mix

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Bob Mintzer Quartet - Quality Time

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 59:50
Size: 138,2 MB
Art: Front

(6:25)  1. Quality Time
(5:30)  2. Overlap
(7:05)  3. Few Good Notes
(5:55)  4. Emit A1
(6:10)  5. All Is Quiet
(4:45)  6. Bop Boy
(5:36)  7. Groovetown
(6:04)  8. Gather the Spirit
(7:19)  9. Bossa
(4:56) 10. Family

As “quality time” is wholly subjective, others may find time spent with saxophonist Bob Mintzer’s quartet(s) far more pleasurable than I. On the one hand, Mintzer is a first rate player, consistently resourceful and well respected by his fellow musicians; on the other, he seldom manages to induce even the slightest response from my emotional nerve center even though I’ve appreciated some of his big band endeavors such as Latin from Manhattan, Art of the Big Band and Big Band Trane. Hard to explain? Sure it is. All the notes are enfolded properly in place, and the music flows as evenly as it should, but a key ingredient seems to be missing call it personality, charisma or whatever. The upshot is that Mintzer dances nimbly around these ears without ever fashioning a secure impression. Not his fault, of course, but mine. He is, after all, merely delivering the message; it falls on my shoulders to receive and decipher it, something I’ve never been wholly able to accomplish. Would that it were otherwise, but it’s not. As for the music on Quality Time, Mintzer’s new release on TVT, it’s largely straight ahead and well mannered. Mintzer penned eight of the charts, co wrote “Emit al” (on which he plays tenor, bass clarinet and EWI) with Ferrante, Haslip and Kennedy, and rounds out the program with a traditional hymn, “Gather the Spirit.” Rhythmically, Mintzer alternates between the rock shuffle cadences so often employed by his longtime colleagues, the Yellowjackets, and more sophisticated backdrops, as on “A Few Good Notes,” on which he plays soprano; the ballad “All Is Quiet,” the fast moving “Bop Boy” and the bluesy “Groovetown.” There are two rhythm sections (with Ferrante, Haslip and Kennedy sitting in on “Emit al” and “Family”), and each might best be described as workmanlike but amorphous aside from a couple of respectable solos by Markowitz and Ferrante, this is Mintzer’s date, and they are there to lend support, which they do. Quality Time is a commendable session, well planned and carried out. I regret that it didn’t push any of my buttons. ~ Jack Bowers https://www.allaboutjazz.com/quality-time-bob-mintzer-tvt-review-by-jack-bowers.php?width=1920

Personnel: Bob Mintzer, tenor, soprano saxophones; Phil Markowitz, piano; Jay Anderson, bass; Peter Erskine, drums, except tracks 4 & 10

Quality Time

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Eileen Farrell - Sings Johnny Mercer

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 47:41
Size: 109,8 MB
Art: Front

(2:24)  1. Too Marvelous for Words
(4:30)  2. Skylark
(2:42)  3. I'm Shadowing You
(3:22)  4. Moon River
(3:00)  5. I Remember You
(3:47)  6. Laura
(4:10)  7. You Grow Sweeter as the Years Go By
(3:16)  8. I'm Old Fashioned
(4:55)  9. I Thought About You
(3:22) 10. Weekend of a Private Secretary
(3:58) 11. Day In, Day Out
(4:50) 12. Early Autumn
(3:17) 13. Autumn Leaves

Another in a series of works with noted operatic singer Eileen Farrell turning to works by pre-rock composers. Her renditions of Johnny Mercer songs were delivered peerlessly, although she didn't always provide the emotional shadings and textures others brought to the lyrics. The 1991 album again featured arrangements by Loonis McGlohon, as well as Manny Albam on four tunes, and a slightly altered instrumental lineup. ~ Ron Wynn https://www.allmusic.com/album/eileen-farrell-sings-johnny-mercer-mw0000074649

Personnel:  Eileen Farrell - vocals; Loonis McGlohon - piano; Doug Burns - acoustic bass; Bill Stowe - drums; Jim Pugh - trombone; Joe Negri - guitar; Phil Thompson - flute, alto saxophone; Doug Henry - tenor saxophone, bass clarinet; Jon Thornton - trumpet

Sings Johnny Mercer

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Dave Frishberg - By Himself

Styles: Vocal And Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 58:56
Size: 136,9 MB
Art: Front

(2:57)  1. I Want To Be A Sideman
(4:07)  2. Ain't She Sweet
(4:15)  3. Last Night When We Were Young
(2:59)  4. You Took Advantage Of Me
(4:18)  5. Saratoga Hunch
(4:26)  6. Groovin' High
(5:40)  7. It Shouldn't Happen To A Dream
(2:21)  8. Can't Take You Anywhere
(5:40)  9. My Swan Song
(8:11) 10. Kansas City Medley: How Long, How Long Blues / I Want A Little Girl / Jumpin' The Blues / Gee Baby, Ain't I Good To You' / Confessin' The Blues / Sometimes I Am Happy
(3:29) 11. I Could Care Less
(3:18) 12. Jump For Joy
(3:36) 13. The Trouble With Me Is You
(3:33) 14. I'll Never Smile Again

Somewhat like Nat King Cole, whose “unforgettable” vocal stylings made him wealthy and famous but changed him from a Jazz pianist to a popular entertainer, Dave Frishberg’s virtuosity as a pianist has been overshadowed by other concerns, namely his well known talents as a singer / songwriter whose hip lyrics always leave one smiling knowingly and nodding his / her head in appreciation. So a couple of decades have passed since Frishberg, once best known as the house pianist at New York’s Half Note cafe, where he accompanied many of Jazz’s brightest stars in the ’60s and early ’70s, last recorded an album that showcases his piano playing. Ten of the fourteen selections on By Himself feature Frishberg’s solo piano; the others (“I Want to Be a Sideman,” “Saratoga Hunch,” “Can’t Take You Nowhere,” “I Could Care Less”) are vocals with lyrics, of course, by Frishberg (“Care Less” was co authored with kindred spirit Bob Dorough). Make no mistake, Frishberg is a gifted pianist, but he’s fortunate to have those other talents to fall back on. What I mean is, when he’s writing and singing he’s unmistakably Dave Frishberg; when he’s playing he could be any one of hundreds, if not thousands, of similarly well endowed keyboard artists. There’s nothing in his competent but otherwise unremarkable approach to the piano that screams “Frishberg” and makes him stand out in an already overcrowded arena. For that reason, good as his playing is, it’s the vocals that leave the strongest impression on By Himself. Frishberg is undoubtedly sharp enough to realize that, which may be why he hasn’t recorded a “piano” album in so many years and why he chose to include some of his inimitable songs with words on this one. As a change of pace for Frishberg fans, this is creditable; as an album of solo piano it’s no better or worse than many others that are crammed into the Jazz bins at record stores across the country. ~ Jack Bowers https://www.allaboutjazz.com/by-himself-dave-frishberg-arbors-records-review-by-jack-bowers.php

Personnel: Dave Frishberg, piano, vocals.

By Himself

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Ferit Odman - Dameronia With Strings

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 42:17
Size: 97,6 MB
Art: Front

(4:28)  1. On a Misty Night
(6:57)  2. If You Could See Me Now
(3:50)  3. Just Plain Talkin'
(4:40)  4. Smooth as the Wind
(6:46)  5. Look, Stop & Listen
(5:26)  6. You're a Joy
(5:01)  7. Our Delight
(5:04)  8. Soultrane

In his latest album Dameronia With Strings, Ferit Odman pays tribute to the great Tadd Dameron. He treats listeners to a smorgasbord of Dameron jazz a sparkling kind that soothes the soul but pumps the heart. Accompanied by an outstanding group of musicians, namely trumpeter Terell Stafford, composer and guitarist David O'Rourke, pianist Danny Grissett, bassist Peter Washington, and a string sextet, the Turkish jazz drummer made Dameron relevant to young jazz artists today. In "Just Plain Talkin,'" Odman reinvents Dameron's blues into bold jazz with a duet of bass and drums midway through and a sleek percussion solo towards the end. An upbeat piano adds more vigor to the already dynamic jazz tunes of the song. "Just Plain Talkin'" is the kind of music that tells a story from its opening rhythms to the end. It intrigues listeners, making them ever so in tuned with every beat, note, and strum. 

"Smooth as the Wind" is a magical masterpiece with an underlying sensuous drum roll. Another classic from Dameron, this composition recalls old Hollywood glamour. Odman's well-timed ripples flow smoothly with the trumpet's enticing tune. It starts off slow, but then gradually becomes upbeat before pulling back once again. It ends with a buoyant crescendo that will leave you in awe as if you've just seen an ochre sunset with multiple tones blending seamlessly. Odman shows off his jazz-drumming prowess in his reimagining of Dameron's "Look, Stop & Listen." The percussion leads the way in this song with the 33-year-old drummer exhibiting pure beat brilliance. The way it merged with the piano was extraordinary. Dameron has had a special spot for drummers and this composition was created to highlight the talent of jazz drummer Philly Joe Jones. In the same way, this song showcases Odman's skillful coordination and impeccable rhythm as he hits the perfect percussion at the right time without a beat going off or out of sync. The title "Look, Stop & Listen" encapsulates the entire experience as it mesmerizes the listener and makes everything seem to stop, as it demands undivided attention. Hurried but not harried, the upbeat tempo will awaken the senses with a unique jazz music that vibrates with a mix of feathery and ferocious beat. Odman is a master of subtlety and grandeur. His gentle drumming resonates despite the presence of other instruments and his loud beats harmonize with the same intensity. This all-instrumental jazz album will captivate listeners the same way Dameron enchanted his followers. Besides, who needs words when every note and beat speaks to you in ways you never thought possible. ~ Jim Olin https://www.allaboutjazz.com/dameronia-with-strings-ferit-odman-review-by-jim-olin.php

Personnel: Ferit Odman: percussion, drums; Terell Stafford: trumpet; David O’Rourke: guitar; Danny Grisett: piano; Peter Washington: bass.

Dameronia With Strings

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Lonnie Plaxico - Rhythm & Soul

Styles: Jazz, Post Bop
Year: 2003
File: MP3@224K/s
Time: 59:22
Size: 95,6 MB
Art: Front

(5:14)  1. Rhythm & Soul
(6:24)  2. Kyeko
(5:36)  3. The Time
(6:20)  4. Slow Dance
(5:36)  5. Always Crazy
(5:41)  6. Don't Explain
(3:06)  7. Soul Eye's
(5:43)  8. Dark Side
(5:32)  9. I'll Wait And Pray
(5:37) 10. Weather Report
(4:29) 11. 'Tis So Sweet

Lonnie Plaxico is a tremendous bassist and session man. His eighth album as a leader spotlights his brilliance in several areas, from gently, yet substantially backing vocalists to working both alone and with large combos. Plaxico uses Mal Waldron’s “Soul Eyes” as a set piece to demonstrate his impressive solo bass facility, delivering a stunning melodic embellishment, then a dazzling improvisation working off it. On “‘Tis So Sweet,” a traditional gospel tune, he smoothly glides underneath vocalist Aneilia Lomax and pianist Arene Lomax, punctuating and extending their leads while turning the song into a majestic concluding work. The disc’s small-group pieces tend to be either intimate ballads, such as the poignant cover of “Don’t Explain” or “I’ll Wait and Pray,” where the unison interaction between Plaxico, pianist/organist George Colligan and drummer Billy Kilson is augmented by careful, intense playing from either trumpeter Jeremy Pelt or tenor/soprano saxophonist Marcus Strickland. The edgier, looser pieces feature bigger units, mainly sextets, on “The Time,” “Weather Report” and “Slow Dance,” but most notably the first-rate octet number “Always Crazy.” Rather than simply churning out another hard blowing piece, Plaxico reserves solos for Pelt and Strickland, getting fiery, expressive and disciplined statements from them, and strong complementary efforts from everyone else. Though the sextet tunes, particularly “Weather Report,” are crisply played, they’re not quite as explosive or memorable as “Always Crazy,” which stands as the best number on a very good record. https://jazztimes.com/reviews/albums/lonnie-plaxico-rhythm-and-soul/

Personnel:  Double Bass, Electric Bass – Lonnie Plaxico; Drums – Billy Kilson; Piano – Arene Lomax; Piano, Organ – George Colligan; Tenor Saxophone – Wayne Escoffery; Tenor Saxophone, Soprano Saxophone – Marcus Strickland; Trumpet – Alex Sipiagin, Jeremy Pelt; Vocals – Aneilia Lomax (tracks: 11)

Rhythm & Soul

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Bill Charlap - Stardust: The Music Of Hoagy Carmichael

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 67:56
Size: 156,3 MB
Art: Front

(3:11)  1. Jubilee
(6:38)  2. I Get Along Without You Very Well
(7:19)  3. Rockin' Chair
(5:00)  4. I Walk With Music
(6:35)  5. Two Sleepy People
(7:27)  6. The Nearness Of You
(6:46)  7. One Morning In May
(5:54)  8. Blue Orchids
(5:41)  9. Georgia On My Mind
(9:24) 10. Stardust
(3:56) 11. Skylark

Although he had made a few records previously, by the time that pianist Bill Charlap cut All Through the Night in 1997, it was obvious that the connection established with trio mates Peter and Kenny Washington was a special one, capable of great finesse and intuitiveness. People in the upstairs offices at Blue Note also must have known a good thing when they heard it because it wasn’t long before Charlap was inking his first major label deal. Written in the Stars would be his initial Blue Note offering, and there was much to recommend, however Stardust strikes a sophisticated pose that ups the ante even further. The American Popular Song has always been Charlap’s fodder (no surprise there considering that his father composed for the Broadway stage), however there’s a new concept at play with Stardust in that the entire program consists of Hoagy Carmichael originals. “The Nearness of You,” “Georgia On My Mind,” “Skylark,” and the title track are the most widely known items, balanced very astutely by some equally beguiling, if lesser known, chestnuts. ”I Get Along Without You Very Well” is a masterpiece of invention and surely one of the greatest lines that Carmichael ever penned and guest Tony Bennett’s rendition is fine enough, even if the vocalist’s pipes are not quite what they used to be. 

Shirley Horn’s husky whisper envelops “Stardust” and again nothing much all that revelatory occurs. It’s with the instrumental numbers that things really begin to coalesce. Frank Wess gets that breathy swagger going and things start to swing as “Rockin’ Chair” reaches for that ‘adult tempo’ (as Kenny Washington calls it) that puts a smile on one’s face. Jim Hall’s appearance on “Two Sleepy People” helps to paint additional hues on an already panchromatic view of another obscure gem. Really only “Jubilee” and “I Walk With Music” get above a slow ballad tempo, but it’s that opportunity to luxuriate in the wide open spaces that helps Charlap get his point across in a way that’s deeply satisfying. Classy and accessible, Stardust is piano trio jazz that’s right up there with as good as it gets. ~ C.Andrew Hovan https://www.allaboutjazz.com/stardust-bill-charlap-blue-note-records-review-by-c-andrew-hovan__10339.php

Personnel: Bill Charlap (piano), Peter Washington (bass), Kenny Washington (drums)

Stardust: The Music Of Hoagy Carmichael

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Diana Trask - Memories Are Made of This

Styles: Vocal Jazz
Year: 2016
File: MP3@320K/s
Time: 40:48
Size: 94,6 MB
Art: Front

(2:24)  1. Memories Are Made of This
(2:50)  2. Unforgettable
(2:15)  3. Alley Cat
(2:16)  4. Que Sera Sera
(3:00)  5. Heather on the Hill
(2:11)  6. Half as Much
(2:16)  7. All or Nothing at All
(2:43)  8. Auf Wiedersehen
(1:44)  9. Green Eyes
(3:08) 10. Blues in the Night
(3:06) 11. Hello Young Lovers
(2:21) 12. To the End of the Earth
(2:36) 13. Days of Wine and Roses
(2:29) 14. Those Lazy Hazy Crazy Days of Summer
(3:23) 15. Goodnight Irene
(1:59) 16. Comes Love

Australian singer Diana Trask was a popular performer in the U.S. during the '60s and '70s. She was born in Warburton, a small logging town near Melbourne, to a musically talented family. She first gained attention in Australia at age 16 after winning a nationwide talent contest, and began playing on television. Later, she was a part of a pop group which opened for such American stars as Sammy Davis, Jr., who liked her music and suggested she come to the U.S. In 1959, Trask did, but didn't find much success until she spent a week guesting on Don McNeil's Breakfast Club, which led to a contract with Columbia and a regular spot on the TV show Sing Along with Mitch. Both of her initial albums were pop-oriented. After marrying in the early '60s, Trask returned to Australia, but by 1966, she and her family were living in New York, where she continued trying to further her pop career. After visiting the CMA DJ Convention in Nashville, she decided to focus on country music instead. She debuted on the country charts in 1968 with the low-ranked "Lock, Stock and Teardrops," but later that year she reached the Top 60 with "Hold What You've Got." In 1969, Trask released her debut album, Miss Country Soul, and toured with Hank Williams, Jr. Although she continued to have modest hits, her popularity didn't soar until 1972, when she had a Top 30 hit with "We've Got to Work It Out Between Us." In 1973, she made the Top 20 twice with "Say When" and "It's a Man's World (If You Had a Man Like Mine)." The following year, she had a Top 15 crossover hit with "Lean on Me." She returned to Australia during the mid-'70s and earned a few gold records there. Trask returned to the U.S. in 1981 to record a pair of singles, but then retired for the remainder of the decade. During the '90s she again resumed performing. ~ Sandra Brennan https://www.allmusic.com/artist/diana-trask-mn0000820857

Memories Are Made of This

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Rick Margitza - Work It

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 59:04
Size: 135,9 MB
Art: Front

(9:09)  1. Steppin' out
(7:53)  2. Work it
(9:47)  3. My foolish heart
(7:07)  4. Your lady
(8:02)  5. It could happen to you
(9:08)  6. Last season/Widows walk
(7:55)  7. A sour mystery of bird

One of the "young lions," Rick Margitza is an excellent tenor saxophonist most inspired by Wayne Shorter, Michael Brecker, and John Coltrane. He started on the violin when he was four (his grandfather was a cellist and his father a violinist with the Detroit Symphony), studied classical piano for a bit, and also played oboe before switching to tenor in high school. 

He attended Wayne State University, Berklee, the University of Miami, and finally Loyola University in New Orleans, where he lived and played for four years. Margitza toured with Maynard Ferguson and also Flora Purim and Airto before moving to New York in 1988. He spent part of 1988 in Miles Davis' group and then cut three sets as a leader for Blue Note during 1989-1991. His 1994 outing for Challenge found Margitza showing increasing individuality. ~ Scott Yanow https://www.allmusic.com/artist/rick-margitza-mn0000855174/biography

Personnel:  Rick Margitza (Tenor sax); George Mraz (Bass); James Williams (Piano); Billy Hart (Drums).

Work It

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Hank Mobley - A Caddy For Daddy

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 39:53
Size: 91,9 MB
Art: Front

(9:24)  1. A Caddy For Daddy
(9:45)  2. The Morning After
(7:13)  3. Venus Di Mildew
(7:15)  4. Ace Deuce Trey
(6:14)  5. Third Time Around

Hank Mobley was a perfect artist for Blue Note in the 1960s. A distinctive but not dominant soloist, Mobley was also a very talented writer whose compositions avoided the predictable yet could often be quite melodic and soulful; his tricky originals consistently inspired the young all-stars in Blue Note's stable. For this CD, which is a straight reissue of a 1965 session, Mobley is joined by trumpeter Lee Morgan, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins (a typically remarkable Blue Note lineup) for the infectious title cut, three other lesser-known but superior originals, plus Wayne Shorter's "Venus Di Mildew." Recommended. ~ Scott Yanow https://www.allmusic.com/album/a-caddy-for-daddy-mw0000690250

Personnel:  Hank Mobley — tenor saxophone; Curtis Fuller — trombone; Lee Morgan — trumpet; McCoy Tyner — piano; Bob Cranshaw — bass; Billy Higgins — drums

A Caddy For Daddy

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Big John Patton - Understanding

Styles: Jazz, Post Bop
Year: 1968
File: MP3@320K/s
Time: 39:13
Size: 90,4 MB
Art: Front

(5:36)  1. Ding Dong
(9:12)  2. Congo Chant
(4:40)  3. Alfie's Theme
(6:12)  4. Soul Man
(6:56)  5. Understanding
(6:34)  6. Chitlins Con Carne

Organist John Patton is featured on this set in a stripped-down trio with Harold Alexander (on tenor and flute) and drummer Hugh Walker. 

Patton's one-chord funky vamps are fine in small doses, but the endless repetitions on these rather simplistic originals may drive alert listeners batty after awhile. ~ Scott Yanow  https://www.allmusic.com/album/understanding-mw0000627978

Personnel:  Organ – John Patton; Drums – Hugh Walker; Tenor Saxophone, Flute – Harold Alexander

Understanding

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Dave Goldberg - Jazz Standard

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 68:48
Size: 158,9 MB
Art: Front

(11:27)  1. Miles' Mode
( 8:30)  2. Peri's Scope
( 8:28)  3. Body and Soul
( 8:22)  4. Serenity
( 5:34)  5. Lonely Woman
( 5:04)  6. Nefertiti
( 7:11)  7. Witch Hunt
( 8:06)  8. Two Distinguished Lovers
( 6:02)  9. Take the a Train

This is a group of South Florida- based musicians in their twenties. The leader, saxophonist Goldberg, displays a strong and assured tone and a maturity of style, rooted in swinging mainstream modern jazz coming out of the Miles mode. The piano-less group also features Duane Allen on guitar, who supplies rhythmic backing, as well as some sharp solos. Undergraduates Dan Feiszli and John Arcan are on bass and drums. The group does a decent job plowing through some jazz standards, including searching values on a coupling of “Lonely Woman” and “Nefertiti” with eastern sounding bent guitar notes and soprano sax, and more standard renditions ranging from Wayne Shorter to “Take the ‘A’ Train”. https://jazztimes.com/archives/david-goldberg-quartet-jazz-standard/

Jazz Standard

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Belinda Underwood - Underwood Uncurling

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 54:57
Size: 126,8 MB
Art: Front

(4:44)  1. Born To Be Blue
(5:00)  2. Uncurling
(6:34)  3. Trees
(3:00)  4. Later Baby
(4:04)  5. How Deep Is The Ocean
(4:17)  6. World Peace Blues
(4:07)  7. Say My Name
(4:04)  8. You're Everything
(5:19)  9. You Don't Know What Love Is
(4:38) 10. Unspoken Thought
(5:36) 11. Invitation
(3:28) 12. There Will Never Be Another You

Portland, Oregon-based vocalist/bassist Belinda Underwood opens her debut with Mel Torme's "Born To Be Blue," employing a vocal style that seems a curious mixture of coy guilelessness and sultry sensuality. Not bad for someone who started as an instrumentalist bass, violin, baritone ukulele, piano, harp and then started singing late in the game because she couldn't make her bass play the sounds she was thinking, forcing her resort to her voice. Underwood Uncurling features six of Underwood's own compositions, the highlight perhaps the title tune, which has a very Joni Mitchell vibe. She also tackles a couple of familiar standards Irving Berlin's "How Deep Is The Ocean," featuring some marvelous phrasing in front of a vibrant arrangement; and "You Don't Know What Love Is," a loving nod to Billie Holiday infused with Underwood's own style.  Underwood is a talented lady. The mix of standards and originals here, played with understated but tasteful accompaniment, makes for an engaging listen in the singer/songwriter category leaning toward jazz on the standards and looking in the pop/songstress direction (Joni Mitchell style) on her originals. "Invitation" (B.F. Kaper/P.F. Webster), featuring a backdrop of gently bubbling percussion, makes me think she'd sound wonderful with that touch of hush that creeps into her voice at times on a bossa nova set. ~ Dan McClenaghan https://www.allaboutjazz.com/underwood-uncurling-belinda-underwood-cosmik-muse-rekords-review-by-dan-mcclenaghan.php

Personnel: Belinda Underwood--voice, bass, baritone ukulele;John Gross--tenor saxophone; Clay Giberson--piano; Phil Baker--bass; Martin Zarzar--drums and percussion; Dan Balmer--guitar; David Friesen--Hamage bass; Airto Moreira--drums and percussion; Chad Wagner--piano; Jason Levis--drums

Underwood Uncurling

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Dave Frishberg - Let's Eat Home

Styles: Vocal, Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 46:42
Size: 107,6 MB
Art: Front

(2:47)  1. Brenda Starr
(3:04)  2. Let's Eat Home
(6:40)  3. Al Cohn Medley
(3:04)  4. Matty
(4:30)  5. The Mooche
(3:22)  6. I Was Ready
(2:55)  7. Strange Music
(8:43)  8. Billy Strayhorn Medley
(4:41)  9. A Ship Without a Sail
(2:58) 10. Lookin' Good
(3:53) 11. The Underdog

This CD is most significant for having the original versions of Dave Frishberg's "Let's Eat Home," "I Was Ready" and "Lookin' Good." The pianist, who also takes several instrumentals (Al Cohn and Billy Strayhorn medleys, plus "The Mooche"), is assisted by valve trombonist Rob McConnell, trumpeter Snooky Young, bassist Jim Hughart and drummer Jeff Hamilton on most selections. Although not quite essential, this is an enjoyable outing by the pianist/singer/lyricist and ranks in his top five recordings. 

~ Scott Yanow https://www.allmusic.com/album/lets-eat-home-mw0000207408

Personnel: Piano, Lead Vocals – Dave Frishberg;  Acoustic Bass – Jim Hughart; Drums – Jeff Hamilton; Trumpet – Snooky Young; Valve Trombone – Rob McConnell

Let's Eat Home

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Dick Sisto, Kenny Werner - Engaging Compassion: A Musical Meditation

Styles: Vibraphone And Piano 
Year: 2013
File: MP3@320K/s
Time: 41:39
Size: 96,8 MB
Art: Front

(5:55)  1. Save Tibet
(5:30)  2. Compensation
(4:50)  3. Endless
(6:17)  4. Shivaya
(5:11)  5. What We Have
(9:19)  6. Guru
(4:34)  7. Remembering the Rain

Dick Sisto has embraced Tibetan Buddhism as part of his life’s spiritual journey for more than four decades, and so was a natural to essentially be the Dalai Lama’s opening act when His Holiness appeared at the KFC Yum! Center on May 19.The Dalai Lama’s talk was also titled “Engaging Compassion,” and the jazz that vibraphonist Sisto and pianist Kenny Werner recorded that day reflects a sense of empathy, joy and hope. A wistful quality seeps into a few songs, but “Engaging Compassion” doesn’t dwell on what’s been lost but on, as one song is titled, “What We Have. Sisto, who has graced clubs and concert stages in Louisville for many years, trades songs with Werner, and the duo’s chemistry is palpable. 

Sisto brings out a talking drum for brief appearances, giving some songs an exotic flourish, but the record is largely a straight-ahead conversation between two old friends with a mutual interest in beautiful music and a better world. Proceeds from sales of “Engaging Compassion” will benefit Louisville’s Drepung Gomang Institute Tibetan Buddhist Center and Tibetan Refuge. ~  Jeffrey Lee Puckett, The Courier-Journal https://www.courier-journal.com/story/entertainment/music/2013/09/25/album-review-dick-sisto-and-kenny-werner-engaging-compassion-a-musical-meditation/2867727/

Engaging Compassion: A Musical Meditation

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Charlie Hunter, Leon Parker - Duo

Styles: Guitar Jazz, Post Bop 
Year: 1999
File: MP3@320K/s
Time: 44:28
Size: 102,6 MB
Art: Front

(4:51)  1. Mean Streak
(4:54)  2. Belief
(5:41)  3. Do That Then
(3:53)  4. You Don't Know What Love Is
(3:17)  5. Recess
(3:04)  6. Don't Talk (Put Your Head On My Shoulder)
(3:05)  7. The Last Time
(5:26)  8. Dark Corner
(6:31)  9. The Spin Seekers
(3:42) 10. Calypso For Grandpa

Guitarist Charlie Hunter and percussionist Leon Parker have more going for them than two hands apiece. Hunter can produce several lines simultaneously and evoke organ, bass and guitar, while Parker runs the gamut of textures from his set. Hunter’s composition "The Last Time," for example, finds Parker with one hand on the drums and another with pulsating shaker, while his partner combines a bass line with melody via his 8-string guitar. Just about everyone has wanted to play guitar at one time or other, and Hunter brings that kind of daydream closer to the heart, if not reality. Six of the tracks on Duo are the guitarist’s compositions, one is Parker’s contribution, and several are old favorites. Background information about Charlie Hunter may be found at http://www.charliehunter.com . An informative article about Leon Parker may be found at http://www.metroactive.com/papers/cruz/10.24.96/parker-9643.html .The duo’s performance offers a variety of rhythmic patterns, both familiar and on the edge. "Mean Streak" provides a gala Afro-Cuban storm, while "The Spin Seekers" drives to a New Orleans shuffle. Hunter’s dedication "Calypso for Grandpa" swirls happily like a "St. Thomas" cousin. There is blues in the picture as well. "Do That Then" is a clear example of the kind of guitar blues that appeals to fans of any age. Deep 1950s fuzz guitar with amp vibrato pours forth with standards "You Don’t Know What Love is" and "Put Your Head on my Shoulder." The walking bass and ride cymbal of Hunter’s "Dark Corner" is guaranteed to introduce more GenXers to the many facets of jazz. ~ Jim Santella https://www.allaboutjazz.com/duo-charlie-hunter-blue-note-records-review-by-jim-santella.php

Personnel: Guitar [8-String], Producer – Charlie Hunter; Drums, Percussion – Leon Parker

Duo

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Donald Byrd - Street Lady

Styles: Trumpet Jazz
Year: 1973
File: MP3@320K/s
Time: 42:38
Size: 98,5 MB
Art: Front

(7:47)  1. Lansana's Priestess
(6:25)  2. Miss Kane
(6:12)  3. Sister Love
(5:40)  4. Street Lady
(9:42)  5. Witch Hunt
(6:51)  6. Woman Of The World

Not so much a fusion album as an attempt at mainstream soul and R&B, Street Lady plays like the soundtrack to a forgotten blaxploitation film. Producer/arranger/composer Larry Mizell conceived Street Lady as a concept album to a spirited, independent prostitute, and while the hooker with a heart of gold concept is a little trite, the music uncannily evokes an urban landscape circa the early '70s. Borrowing heavily from Curtis Mayfield, Isaac Hayes, and Sly Stone, Donald Byrd and Mizell have created an album that is overflowing with wah-wah guitars, stuttering electric pianos, percolating percussion, soaring flutes, and charmingly anemic, tuneless vocals. It's certainly not jazz, or even fusion, but it isn't really funk or R&B, either the rhythms aren't elastic enough, and all of the six songs are simply jazzy vamps without clear hooks. But the appeal of Street Lady is how its polished neo-funk and pseudo-fusion sound uncannily like a jive movie or television soundtrack from the early '70s you can picture the Street Lady, decked out in polyester, cruising the streets surrounded by pimps with wide-brimmed hats and platform shoes. And while that may not be ideal for jazz purists, it's perfect for kitsch and funk fanatics. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/street-lady-mw0000089538

Personnel:  Donald Byrd - trumpet; Roger Glenn - flute; Jerry Peters - piano, electric piano; Fonce Mizell - clavinet, trumpet, vocals; Fred Perren - synthesizer, vocals; David T. Walker - guitar; Chuck Rainey - electric bass; Harvey Mason - drums; King Errisson - congas and bongos; Stephanie Spruill - percussion; Larry Mizell - vocals, arranger, conductor

Street Lady

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