Flip Philipp, Renato Chicco - Face to Face

Styles: Vibraphone Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 53:37
Size: 124,4 MB
Art: Front

(5:40)  1. Black Narcissus
(4:06)  2. 'Til Then
(5:40)  3. Freedom Jazz Dance
(7:09)  4. Isfahan
(4:18)  5. 502 Blues
(5:27)  6. Empty Pockets
(6:01)  7. Around J.C.
(4:18)  8. Little B´s Poem
(6:04)  9. Lou
(4:51) 10. The Loop

The Hammond organ and the vibraphone are arguably the two warmest and most viscerally satisfying instruments ever played in a Jazz context (or any context, for that matter). It is disappointing, but perhaps not so surprising, that so little documentation exists of the two playing together. Most famous perhaps are guitarist Grant Green’s 1964 Blue Note recording Street of Dreams, featuring Bobby Hutcherson and Larry Young (with Elvin Jones) and organist John Patton’s Let ’Em Roll (1965), also on Blue Note and featuring Bobby Hutcherson (along with Grant Green and Otis “Candy” Finch). Other such recorded collaborations include: Lionel Hampton & Milt Buckner, Gary Burton & Larry Goldings, Joe Locke & Barbara Dennerlein, Steve Nelson & Mike LeDonne, Vid Jamnik & Rob Bargad (if I may...), Warren Wolf & Jake Sherman (with saxophonist Mike Tucker), Stefon Harris & Jared Gold (with guitarist Dave Stryker) and at least two fine projectsfeaturing Bobby Hutcherson & Joey DeFrancesco.  The great organist Eddie Louiss has recorded in duo with piano (Michel Petrucciani) and with accordion (Richard Galliano), but the duo of Hammond and vibes (at least to my knowledge), has never been recorded  until now. This elegant CD presents two highly accomplished individuals musically at the top of their game. Renato Chicco has played with some of the world’s greatest Jazz artists, including Jon Hendricks, Clark Terry and Jerry Bergonzi. Flip Philipp is principal percussionist with the Vienna Symphony and has shared the stage with such Jazz greats as Joe Zawinul, Idris Muhammad and Walt Weiskopf. Both are also highly valued and respected teachers of music.

The Hammond and the vibes actually emit very similar tonal ranges, textures, and tamburs. While the mechanics of each instrument are completely different, at the heart of both lie devices if not of similar function, then at least of similar shape and concept: the rotating tonewheels that create the actual sound of the Hammond, and the rotating discs controlling the vibrato speed of the vibraphone. Both can also be played dry (without vibrato and just to be clear, the Hammond’s vibrato is not controlled by the tonewheels, but by various independent vibrato settings). But these related attributes make a successful duo performance an even greater challenge. As with piano and guitar the two are chordal instruments with both accompaniment and solo capabilities. The tendency could easily be to overplay and crowd the music. But in this case, you have two extremely mature, sensitive and highly creative musicians whose collective wealth of musical knowledge and experience is succesfully and delightfully brought to life here, within this unique and demanding setting. ~ Rob Bargad https://store.cdbaby.com/cd/flipphilipp13

Personnel:  Flip Philipp: vibraphone; Renato Chicco: Hammond organ

Face to Face

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Reuben Wilson - Bad Stuff!

Styles: Jazz, Post Bop 
Year: 1972
File: MP3@320K/s
Time: 71:03
Size: 164,3 MB
Art: Front

(4:47)  1. Inner City Blues
(5:31)  2. Creampuff
(6:10)  3. Sugar
(6:26)  4. I'll Take You There
(6:12)  5. The Sweet Life
(4:15)  6. Never Can Say Goodbye
(5:19)  7. The Cisco Kid
(3:57)  8. The Last Tango in Paris
(4:55)  9. Superfly
(4:06) 10. We've Only Just Begun
(7:18) 11. Snaps
(6:47) 12. Groove Grease
(5:15) 13. The Look of Love

This Unidisc label two-fer compiles both of Reuben Wilson's sessions for the Groove Merchant label. The first, 1972's The Sweet Life, follows a series of sugary soul-jazz dates for Blue Note. The title notwithstanding, the session is his darkest and hardest-edged to date, complete with a physicality missing from previous efforts. Credit tenor saxophonist Ramon Morris, trumpeter Bill Hardman, guitarist Lloyd Davis, bassist Mickey Bass, and drummer Thomas Derrick, whose skin-tight grooves sand away the polished contours of Wilson's organ solos to reveal their diamond-sharp corners. The material, while predictable (i.e., standbys like "Inner City Blues" and "Never Can Say Goodbye"), is nevertheless well suited to the set's righteous funk sound. The 1974 follow-up, The Cisco Kid, pairs Wilson with a murderer's-row support unit including guitarist Melvin Sparks, trombonist Garnett Brown, bassist Bob Cranshaw, drummer Mickey Roker, and percussionist Ray Armando. Given the talent involved, it's regrettable that the album adheres to such a pedestrian formula, reimagining the same pop and soul covers as virtually every other jazz-funk session issued at the time. Besides the title cut, a reworking of War's Latin soul monster, the material includes readings of "Superfly," "The Look of Love," and "We've Only Just Begun" the energy and intensity nevertheless ratchet up several notches for the Wilson originals "Snaps" and "Groove Grease," elevating the entire endeavor in the process. ~ Jason Ankeny https://www.allmusic.com/album/bad-stuff-mw0001019718

Personnel:  Organ – Reuben Wilson; Bass [Fender] – Bob Cranshaw;  Congas – Ray Armando;  Drums – Mickey Roker; Guitar – Melvin Sparks; Trombone – Garnett Brown

Bad Stuff!

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Ivo Perelman - Reverie

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 54:07
Size: 124,4 MB
Art: Front

(10:15)  1. Transcendence
( 3:56)  2. Contemplation
(13:38)  3. Pensiveness
( 5:18)  4. Pursuance
(14:21)  5. Placidity
( 6:37)  6. Reverie

The release of Reverie marks 25 years of recording for Ivo Perelman and more than 50 albums under his own name, since his first, Ivo, in 1989.  He has released 17 of these since 2011, which is astonishing.  Many other musicians might have succumbed to the temptation to release a retrospective album and the title of this one might have led our thoughts in that direction, but this Reverie is of a very different kind and in a way that dissimilarity is down to pianist Karl Berger.  The saxophonist has in recent years been recording in his inimical, totally free style with pianist Matthew Shipp, who explores intense, impenetrable patterns and churning, spinning tempos.  Berger is quite different and makes this album an unusual venture for Perelman, as it is markedly disparate to all that he has done before. Karl Berger, too, is an avidly experimental musician, but the divergence is in the spaces left in his playing and Perelman has responded to that.  Both performers are reacting one to the other, both act in response to what they perceive aurally.  The result is calmer, more lucid even, the same extreme fervour expressed more subtly, more elusively.  Although Berger's own music often sounds like that of an old-hand, avant-garde musician of the classical calling (Heidelberg Conservatoire and University) he was in fact partnered with Ornette Coleman in establishing the Creative Music Studio in 1972 (Woodstock, N.Y.) and has played with Carla Bley, Marion Brown, Don Cherry, Lee Konitz, John McLaughlin, Roswell Rudd and Sam Rivers.  Karl is 79. So, no back-tracking, Ivo Perelman is still moving forward and at speed.  I am convinced that he will never repeat himself, never be lacking the incipient data that starts a new chain of thought that leads to the next step.  His musical future lies in the future and whatever that may be, the anticipation in itself will be precious. ~ Ken Cheetham http://www.jazzviews.net/ivo-perelman--karl-berger---reverie.html

Personnel:   Tenor Saxophone [Tenor Sax] – Ivo Perelman;  Piano – Karl Berger

Reverie

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Jeri Southern - When Your Heart's On Fire

Styles: Vocal
Year: 1956
File: MP3@320K/s
Time: 38:54
Size: 91,1 MB
Art: Front

(3:51)  1. Smoke Gets In Your Eyes
(2:49)  2. Can I Forget You?
(3:51)  3. Little Girl Blue
(3:28)  4. I Remember You
(3:45)  5. He Was Too Good To Me
(2:22)  6. You're Driving Me Crazy
(2:40)  7. You Make Me Feel So Young
(3:52)  8. Someone To Watch Over Me
(2:32)  9. Autumn In New York
(3:56) 10. My Ship
(3:33) 11. No More
(2:10) 12. Let Me Love You

It isn't the collection of suicidal torch songs indicated by the title, but Jeri Southern's When Your Heart's on Fire is by no means an exuberant, swinging LP. While backing strings move at glacier speed, Southern is similarly slow and thoughtful, seeming to weigh her words and thus transform "Someone to Watch Over Me" and "Autumn in New York" from standards into soliloquies. She reaches an obvious low point on "He Was Too Good to Me," but springs right back with "You're Driving Me Crazy," complete with a suitably noisy, raucous (and dated) arrangement. "You Make Me Feel So Young" and "I Remember You" are yet more tender ballads, just barely shifting the balance from world-weary to simply wise. Released as the back-end of a 1996 two-fer, When Your Heart's on Fire has also been reissued (as well as remastered) in Japan. ~ John Bush https://www.allmusic.com/album/when-your-hearts-on-fire-mw0000520723

When Your Heart's On Fire

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Brian Blade - Brian Blade Fellowship

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 61:59
Size: 142,7 MB
Art: Front

( 9:31)  1. Red River Revel
( 7:26)  2. The Undertow
(11:06)  3. Folklore
( 4:21)  4. In Spite Of Everything
( 7:46)  5. Lifeline
( 9:11)  6. Mojave
( 4:34)  7. If You See Lurah
( 8:00)  8. Loving Without Asking

Brian Blade Fellowship is an impressive debut as a leader for Brian Blade, one of the best young jazz drummers of the '90s. Producer Daniel Lanois doesn't follow jazz conventions, letting Blade run wild and blend genres, as on "Folklore," where the adventurous, searching jazz meets pygmy chants. All across the album, there is the sigh of a steel guitar, which adds an unusual, exotic texture to a debut that is uniquely daring and richly rewarding. ~ Leo Stanley https://www.allmusic.com/album/brian-blade-fellowship-mw0000037563

Personnel:  Brian Blade – drums; Melvin Butler – soprano and tenor saxophones; Jon Cowherd – piano, Wurlitzer; Dave Easley – pedal steel guitar; Daniel Lanois – mando guitar; Jeff Parker - acoustic guitar; Christopher Thomas – acoustic bass; Myron Walden – alto saxophone; Kurt Rosenwinkel – electric Guitar

Brian Blade Fellowship

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Lonnie Plaxico - Emergence

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 63:33
Size: 147,9 MB
Art: Front

(0:31)  1. The Mahayana (Great Vehicle) - Interlude
(4:58)  2. Transformation
(4:05)  3. Delusion
(4:12)  4. Emergence
(1:00)  5. Paramita (To Arrive at the Other Side) - Interlude
(7:34)  6. Libertarian
(3:51)  7. Changing Line
(5:37)  8. Emancipation
(7:34)  9. Red Light District
(2:29) 10. Sokoni (From the Sea) - Interlude
(5:39) 11. Equilibrium
(1:02) 12. 2 Bass - Interlude
(4:44) 13. Inner Voice
(2:39) 14. Kalomo (The Unexpeced) - Interlude
(6:30) 15. Matrix
(1:00) 16. Oji (The Gift Bearer) - Interlude

Emergence begins with a bang but then goes gradually downhill. Plaxico alternates between acoustic and electric bass, and mightily tries to reconcile the jazz and funk elements of his vision. Although most tracks feature driving rhythms, incredibly intricate horn writing, and compelling solos, the album grows numbingly repetitive as it proceeds. On the jazz side, "Transformation" begins the record with riveting post-bop fire, while "Libertarian" and "Red Light District" provide new perspectives on the standards "Dear Old Stockholm" and "Love for Sale," respectively. On the funk side, "Delusion" and "Emancipation" stand out, recalling the dissonant colors heard on Sam Rivers' acclaimed 1999 album Inspiration. But Plaxico seems to run low on ideas by the time he gets to "Equilibrium," "Inner Voice," and Chick Corea's "Matrix." Six brief interludes featuring bass and/or percussion are interspersed throughout the program, yielding mixed results the most effective being "Paramita (to arrive at the other side)." Monster players abound, including the wonderful Don Braden on saxophones, Ralph Alessi on trumpet, and Jason Moran on piano. Emergence is also distinguished by several lesser known but highly capable musicians: Larry Lunetta on trumpet, Tim Hegarty on sax, Eric Lewis on piano and organ, Lionel Cordew on drums, and Jeffrey Haynes on percussion. Haynes produced the interludes, and noted vocalist Cassandra Wilson, for whom Plaxico has served as musical director, produced the main tracks. ~ David R.Adler https://www.allmusic.com/album/emergence-mw0000055907

Personnel:  Lonnie Plaxico (acoustic guitar, electric guitar, bass guitar); Tim Hegarty (saxophone, tenor saxophone); Don Braden (soprano saxophone, tenor saxophone); Ralph Alessi, Larry Lunetta (trumpet); Eric Lewis (piano, electric piano, organ); Jason Moran (piano); Lionel Cordew (drums, percussion); Jeff Haynes (percussion)

Emergence

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Cecilia Sanchietti - Circle Time

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 50:55
Size: 117,5 MB
Art: Front

(1:01)  1. Intro the Groove
(5:11)  2. Dance for G
(6:23)  3. Et-No
(5:20)  4. Witchi Tai To
(6:05)  5. Fotogramma
(4:13)  6. Circle Time
(7:19)  7. Cecilia e i misteri dell'armonia
(6:27)  8. Dance of the Elephants
(2:52)  9. Rosa
(5:59) 10. Stolen Sleep

Humanity in odd time signature, as well as saying music and society. When this combination is apart, it reveals the universal unease of our planet perpetually hanging in the balance. This is a superb artistic intuition, because it has a project underneath and, even more important, it is expression of a genuine sensitivity and humanity: the freedom in jazz improvisation creates a center of attention for social connections and welcomes different identities. It makes use of a storytelling device, by hinting to a tribal jazz, which is actually virtuous, transgressive and therefore civilized strongly contemporary, it goes beyond its origins, when music was expression of pain and oppression. The theme is circular as the time of the history, and the time is here developed by the rhythm, which allows all musicians to perform solos in a circular way, showing the perfect match with the name of this artistic project, which mixes colors, moments and atmospheres in an harmonic and universal language, such as music is (and always should be). “Circle Time” is permeated of an anthropological jazz, that dreams of a new and culturally diverse humanism which, through the music, is here ideally integrated. http://www.ijm.it/albums/display/493

Personnel:  Cecilia Sanchietti: drums; Davide Grottelli: saxophones; Gaia Possenti: piano; Stefano Napoli: double bass; Special guest: David Boato: trumpet and flugelhon

Circle Time

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Oscar Pettiford - The Manhattan Jazz Septette

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 71:13
Size: 167,7 MB
Art: Front

(2:46)  1. King Porter Stomp
(2:59)  2. Never Never Land
(2:51)  3. Like Listen
(2:54)  4. Since When
(2:25)  5. Love of My Live
(2:34)  6. Rapid Transit
(3:23)  7. Flute Cocktail
(3:41)  8. At Bat for K.C.
(3:15)  9. Do You Know What It Means to Miss new orleans ?
(3:10) 10. My Shining Hour
(3:17) 11. Thou Svelt
(2:13) 12. There'll Never Be Another You
(2:47) 13. Bull Market
(3:12) 14. Portrait of Jennie
(2:32) 15. Judy's Jaunt
(2:51) 16. Nina Never Knew
(3:15) 17. Walking Down
(3:13) 18. Gal in Calico
(2:59) 19. I Like to Recognise the Tune
(3:10) 20. Any Place I Hang My Hat
(2:51) 21. Love Is for the Very Young
(2:54) 22. Holiday
(3:14) 23. Ya' Gotta Have Rhythm
(2:37) 24. What Am I Here For

An impressive album presented here for the first time on CD, which combines great soloists with sophisticated arrangements by Manny Albam. As a bonus, we present another complete album, Guitar and the Wind, including many of the same musicians as our primary recording (Urbie Green, Eddie Costa, Osie Johnson and Barry Galbraith, who was the leader), and bearing a similar musical concept. This album was recorded exactly two years after the Manhattan Jazz Septette session and also includes brilliant saxophonist Bobby Jaspar and bassist Milt Hinton instead of Pettiford. 24 tracks total. Lonehill Jazz. 2006. ~ Editorial Reviews https://www.amazon.com/Manhattan-Jazz-Septette-Oscar-Pettiford/dp/B000HIVPK4

Personnel: Oscar Pettiford (b), Urbie Green (tb), Hal McKusick (as), Herbie Mann (fl, ts), Eddie Costa (p, vib), Barry Galbraith (g), Osie Johnson (d), Manny Albam (arr).

The Manhattan Jazz Septette

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Andrea Lindsay - La Belle Étoile

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 40:51
Size: 94,8 MB
Art: Front

(3:16)  1. Les yeux de Marie
(3:30)  2. Printemps noir
(2:51)  3. Bonne année
(4:04)  4. Le dernier des cosmonautes
(3:07)  5. La belle étoile
(3:26)  6. Porque te vas
(3:11)  7. Une série d'accidents
(3:42)  8. Près de toi
(1:44)  9. Drôle de chanson
(3:21) 10. Insensatez
(8:33) 11. Demain, dès l'aube

Andrea Lindsay is from Guelph, Ontario. Anglophone by birth, it is during a stay in France at the age of 18 that she discovers the French and falls literally in love. At first, Andréa meets Éric Graveline, a musician who becomes his accomplice and with whom she composes and produces, with the help of the most simple means, her first French-language album entitled La belle étoile. The Belle Étoile was launched in May 2006. This is the revelation for Andrea with this first French-language solo album. It is at this moment that she discovers her style, her path, the praise and recognition that accompanies the job well done. What do we think of the first time we see Andrea Lindsay: First, it looks a bit like Michelle Phillips, the blonde group "The Mamas & the Papas", the same ethereal and slender body; then, as soon as she sings, her little English accent captivates you from the first notes. In addition to being a technically sound singer with a background in classical singing, the lyrics of her songs are original and the compositions fantastic. You will fall under the musical charm of its alluring pop. Hard to resist. Translate by Google https://palmaresadisq.ca/fr/artiste/andrea-lindsay/album/la-belle-etoile/

La belle étoile

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Bill Cunliffe - Playground Swing

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 48:48
Size: 113,1 MB
Art: Front

(3:00)  1. A-Tisket, A-Tasket
(3:00)  2. The Wheels On the Bus
(3:22)  3. Meet the Flintstones
(3:19)  4. Chim Chim Chir-Ee
(4:09)  5. Over the Rainbow
(2:05)  6. Supercalifragilisticexpialidocious
(4:02)  7. This Old Man
(2:24)  8. Lullaby
(3:32)  9. Old McDonald / Mulberry Bush / Skip to My Lou / Farmer in the Dell / Three Blind Mice
(3:19) 10. Whistle While You Work
(2:55) 11. Frere Jacques
(3:16) 12. I've Been Working On the Railroad
(3:19) 13. It's a Small World
(2:55) 14. Twinkle, Twinkle, Little Star
(4:04) 15. Happy

These tunes take me back to Mrs. Doyle’s kindergarten class at Shawsheen Elementary School in Andover, Mass. I first heard “Over the Rainbow” in “The Wizard of Oz,” which aired once a year on the NBC-TV affiliate in Boston. “Meet the Flintstones” we all knew, of course, from the television show. Come to think of it, most of the songs I learned as a kid were from TV. The first movie I ever saw in a theater was “Mary Poppins” in 1964, and I was thrilled by the tunes in that wonderful Sherman Brothers score. Later that year, at the World’s Fair in New York, my dad and I took the “It's a Small World” ride and were serenaded by animatronic Disney figures singing that earworm of a song (also written by the Shermans). The other tunes are things we sang in school. I would sometimes accompany the children’s choirs at the piano, which I began learning at 8. I would say that every tune on this recording I knew by heart and played on the piano before I was 10! I had the chance to do a children’s album for the Yamaha Disklavier series which are MIDI products a few years ago, and I’m glad I had the foresight to ask my friend , co prodocer and engineer Dave Kreisberg to record it at the pianos in the David Abell store in Los Angeles. Abell, who sold me my Yamaha C7 a number of years ago, was a wonderful man. He represented to me the ideal piano retailer: warm, elegant, artistically and charitably inclined, yet always able to make good use of a sales opportunity. The track Happy was an afterthought on my part. In 2014, I arranged this tune for the Cal State Fullerton Jazz Orchestra, and thought it would be fun to recreate it in a more electronic vein, getting my old friends, drummer/producer Curt Bisquera and vocalist Daniela Spagnolo in on the action. I dedicate this project to my brother John (Frere Jacques!), 1959-1985. Miss him every day. I hope you enjoy this project as much as I had fun doing it. ~ Bill Cunliffe September 2015 https://store.cdbaby.com/cd/billcunliffe2

Playground Swing

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Claude Tissendier Tentet - Hampton Vibrations

Styles: Saxophone, Clarinet Jazz
Year: 2002
File: MP3@320K/s
Time: 61:54
Size: 143,5 MB
Art: Front

(4:50)  1. Till Tom Special
(4:12)  2. Jivin' The vibes
(3:55)  3. One sweet Letter from you
(4:39)  4. I'm in the Mood for Swing
(3:28)  5. Shoe Shiner's Drag
(3:32)  6. Four or Five Times
(4:53)  7. Star Dust
(4:25)  8. Memories of Hamp
(5:00)  9. Anytime at All
(4:24) 10. Air Mail Special
(3:39) 11. Midnight Sun
(4:03) 12. The Mood that I'm in
(4:39) 13. Tiss Boogie
(6:10) 14. Flying Home

Born France. While studying classical clarinet and alto saxophone at Toulouse Conservatory, Tissendier began playing jazz. His interests followed a chronological path, starting with New Orleans music, passing through the mainstream into bop. In 1977 he joined the big band led by Claude Bolling and also worked with Gerard Badini and others. In the early 80s he taught at the Paris School of Jazz and in 1983 formed a sextet especially to recreate the music of John Kirby. In demand for club and festival dates, the band won many awards for both live performances and records. In 1987 Tissendier formed Saxomania, a seven-piece band featuring two alto saxophones, two tenors and three rhythm. Once again he won honours and gained invaluable experience and exposure accompanying visiting American jazzmen including Benny Carter, Buddy Tate, Jimmy Witherspoon and Spike Robinson, with some of whom he also recorded. Tissendier’s alto playing is striking for its intensity and driving swing and the high musical standards displayed by the Saxomania band ably demonstrate that his is a major talent. https://www.allmusic.com/artist/claude-tissendier-quintet-mn0000391438/biography

Hampton Vibrations

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Ivo Perelman - Tenorhood

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 46:51
Size: 107,7 MB
Art: Front

( 7:50)  1. For Mobley
( 9:04)  2. For Webster
( 5:29)  3. For Coltrane
( 3:31)  4. Tenorhood
( 8:06)  5. For Ayler
(12:48)  6. For Rollins

For this meditation session, we ask you not to think about the legends of the tenor saxophone. Just listen to the interplay between Ivo Perelman and drummer Whit Dickey. Press play, and ignore the track titles dedicated to Hank Mobley, Ben Webster, John Coltrane, Albert Ayler, and Sonny Rollins  Why? Because, the saxophonist did just that when he created Tenorhood, a totally improvised collection of pieces the pair recorded in 2014. The Brazilian-born, New York resident has released music on a scale not seen since David Murray's campaigns of the 1990s, producing more than 20 albums in the last four years. Dickey has been a part of five of the sessions. As with all his later work, this music is improvised. A switch is flipped and the magic happens. With Tenorhood, he created these titles after playback  Perelman hearing the gestures and fragments of his tenor saxophone heroes within his own creations.

The pleasure here is finding those gestures in this music. The easiest to recognize is "For Ayler," a sound Perelman has conjured from his earliest days. Listen again to Soccer Land (Ibeji, 1994) and Albert Ayler's spirit is ever present in the wail and yowl of the master. Then there's "For Coltrane," and certainly no modern player has escaped feeling the weight of John Coltrane's music in life. Perelman and Dickey exercise the music of Intersteller Space (Impulse!, 1967), Dickey is a dynamo here, but more importantly, he is as much an accompanist to Perelman as pianist Matthew Shipp. He can color his sound, support, or challenge the saxophonist. He is even given all of the title track to solo with mallets and cymbals. There is spirit here, and life. The beauty of Ben Webster and the swing of Hank Mobley, both laid out in only barely recognizable signals. The pair end with Sonny Rollins. Perelman works that upper altissimo register that both he and Rollins are famous four. If you listen to Tenorhood with the openness of a meditator's mind, you are certain to hear all the spirits that inhabit the person that is Ivo Perelman. ~ Mark Corroto https://www.allaboutjazz.com/tenorhood-ivo-perelman-whit-dickey-leo-records-review-by-mark-corroto.php

Personnel: Ivo Perelman: tenor saxophone; Whit Dickey: drums.

Tenorhood

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Ann-Margret - Bachelors' Paradise

Styles: Vocal
Year: 1963
File: MP3@320K/s
Time: 34:31
Size: 80,3 MB
Art: Front

(2:33)  1. Bachelor In Paradise
(2:47)  2. I Wanna Be Loved
(2:30)  3. Something to Remember
(2:09)  4. Paradise
(2:56)  5. Lovin' Spree
(3:02)  6. You Took Advantage of Me
(2:26)  7. Let Me Entertain You - From the Warner Brothers Movie "Gypsy"
(2:45)  8. Never on Sunday - (From the Jules Dassins Motion Picture "Never on Sunday")
(2:36)  9. Romance in the Dark
(2:59) 10. Call Me Darling
(3:14) 11. Hold Me
(4:29) 12. Mr. Wonderful - From "Mr. Wonderful"

On April 9, 1962, 20-year-old Ann-Margret earned a standing ovation for her performance of the Oscar-nominated title song to the Bob Hope comedy Bachelor in Paradise at the annual Academy Awards ceremony, another stepping stone on her way to stardom. Perhaps because it was still promoting her as a pop/rock singer, RCA Victor Records, her record label, which was just releasing its second Ann-Margret LP, On the Way Up, took a while to retool her image as more of a middle-of-the-road traditional pop singer, and it wasn't until her fourth album, released the year following the Oscar show, that a recording intended to capitalize on the "Bachelor in Paradise" triumph appeared. The Ann-Margret of Bachelors' Paradise was very different from the one who had hit the Top 20 with the bluesy "I Just Don't Understand" less than two years earlier. This was no distaff Elvis Presley, with Chet Atkins behind the glass and the Jordanaires on background vocals; this was a nightclub chanteuse working with an orchestra and performing a bunch of pop standards written by the likes of Rodgers & Hart ("You Took Advantage of Me" from the 1928 musical Present Arms) and Styne and Sondheim ("Let Me Entertain You" from the 1959 musical Gypsy and its just-released film version). The point of consistency between the younger Ann-Margret and the mature 21-year-old who made Bachelors' Paradise was her kittenish sexuality, which was even more accentuated by this lush ballad approach. One of the LP's songs was "Lovin' Spree," a 1954 hit for Eartha Kitt, and Ann-Margret displayed Kitt's strong influence, though without the older singer's predatory bite. This new direction might have led to recording success if Ann-Margret had pursued it; instead, she continued to focus on movies, in particular her latest vehicle, the film adaptation of Bye Bye Birdie. ~ William Ruhlmann https://www.allmusic.com/album/bachelors-paradise-mw0000468962

Bachelors'Paradise

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Rick Margitza - Hands Of Time

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 50:39
Size: 116,7 MB
Art: Front

(7:31)  1. Hands Of Time
(5:47)  2. Hip Bop
(6:54)  3. Embraceable You
(7:06)  4. How Things Are At Home
(8:33)  5. Forty Five Pound Hound
(6:56)  6. At Long Last
(7:49)  7. Cultural Elite

For this modern straight-ahead set, Rick Margitza (heard on both tenor and soprano) performs six of his challenging originals plus "Embraceable You." The latter, whose melody is given some altered notes that do not help and make things sound sour, is a low point. However, Margitza sounds much stronger on his originals, particularly the boogaloo "Hip Bop," the medium-tempo blues "Forty Five Pound Hound," and the joyful "At Long Last." His rhythm section is excellent (bassist George Mraz is particularly responsive to the saxophonist's playing), and Margitza sounds in prime form, showing individuality on both of his horns. ~ Scott Yanow https://www.allmusic.com/album/hands-of-time-mw0000645101

Personnel: Saxophone – Rick Margitza;  Double Bass – George Mraz; Drums – Al Foster; Piano – Kevin Hays

Hands Of Time

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Dave Frishberg - Do You Miss New York? Live at Jazz at Lincoln Center

Styles: Vocal, Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 58:04
Size: 137,4 MB
Art: Front

(3:57)  1. Quality Time
(3:07)  2. I Was Ready
(1:00)  3. Jaws, Introduction
(2:35)  4. Jaws
(0:16)  5. Do You Miss New York' Introduction
(3:56)  6. Do You Miss New York'
(1:46)  7. Oklahoma Toad, Introduction
(3:57)  8. Oklahoma Toad
(2:47)  9. Little Did I Dream
(6:32) 10. Swinging The Classics Medley
(4:15) 11. The Hopi Way
(0:10) 12. The Difficult Season, Introduction
(3:56) 13. The Difficult Season
(3:26) 14. Zanzibar
(1:39) 15. Eastwood Lane, Introduction
(3:53) 16. Eastwood Lane
(0:39) 17. Eastwood Lane, Parody
(3:18) 18. My Country Used To Be
(3:00) 19. I Want To Be A Sideman
(0:35) 20. Heart's Desire, Introduction
(3:08) 21. Heart's Desire

With his fun, freewheeling approach to puns and sophisticated word play, Dave Frishberg never seems to take himself too seriously. There may be tender moments in his songs, as with "Little Did I Dream," but the punchline is never far behind. Do You Miss New York? is a lovely set performed before an appreciative audience at the Lincoln Center in 2002. There are stylish cuts, like "Quality Time," that turn tired clichés inside out and upside down, and more traditionally minded pieces, like "I Was Ready," are about falling in love. Frishberg shows his endless imagination on oddities like "Jaws," an unlikely theme song for the movie of the same name, and "Oklahoma Toad," a Western-styled jazz song about a toad and a bug. Frishberg accompanies himself with piano and even shows he's a sensitive player on the six-minute "Swinging the Classics." Since these songs were recorded in December, he also offers his version of a holiday song with "The Difficult Season," a song that aptly captures the melancholy mood that descends on many at that time of year. Fans of Frishberg's innovative lyrics will be happy to have a new live disc, while Do You Miss New York? will also work as a fine intro to those unfamiliar with his smart and deft lyrical constructions. ~ Ronnie D.Lankford Jr. https://www.allmusic.com/album/do-you-miss-new-york-live-at-jazz-at-lincoln-center-mw0000041437

Personnel: Dave Frishberg - Piano,Vocals, Producer

Do You Miss New York? Live at Jazz at Lincoln Center

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Tim Warfield - Jazzland

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 68:48
Size: 158,7 MB
Art: Front

( 6:00)  1. Lenny's Lens
( 6:24)  2. Theme for Malcolm
( 6:13)  3. Sleeping Dancer, Sleep On
(10:36)  4. Ode to Billie Joe
( 6:42)  5. He Knows How Much I Can Bear
(10:52)  6. Tenderly
( 6:31)  7. Shake It for Me
( 8:23)  8. Wade in the Water
( 7:04)  9. Hipty Hop

You'll know you're in Jazzland from the very first note of this excellent set from saxophonist Tim Warfield as the music has this wonderfully-wrapped sound that comes from his work on tenor and soprano sax, the trumpet of Terrell Stafford, and the Hammond of Pat Bianchi! The three musicians in the frontline all have this key contemporary vibe so that they're not just working through older shades of soul jazz, and instead use the setting to really open up some great colors and moods all with a quality that's as warmly soulful as Warfield's other records, and which definitely lives up to Stafford's legacy too! 

The group also features Byron Landham on drums and Daniel Sadownick on percussion and titles include "Shake It For Me", "Hippity Hop", "Lenny's Lens", "Theme For Malcolm", "Sleeping Dancer Sleep On", and "Ode To Billie Joe".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/877589/Tim-Warfield:Jazzland

Personnel:  Tim Warfield - tenor saxophone, soprano saxophone, composer; Terell Stafford - trumpet, flugelhorn;  Pat Bianchi - Hammond organ; Byron Landham - drums

Jazzland

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Andrew Hill Trio - Shades

Styles: Piano Jazz 
Year: 1987
File: MP3@320K/s
Time: 43:49
Size: 101,4 MB
Art: Front

( 4:42)  1. Monk's Glimpse
( 6:36)  2. Tripping
( 5:33)  3. Chilly Mac
( 5:37)  4. Ball Square
( 7:35)  5. Domani
(13:44)  6. La Verne

Pianist Andrew Hill's first recording as a leader in six years was particularly notable for co-starring (and challenging) the underrated tenor Clifford Jordan. The quartet set (with bassist Rufus Reid and drummer Ben Riley) has six of Hill's typically challenging and complex inside/outside originals, a perfect outlet for Jordan and the pianist to interact. Stimulating and unusual music that is difficult to classify as anything but "modern jazz." ~ Scott Yanow https://www.allmusic.com/album/shades-mw0000193340

Personnel: Andrew Hill - piano; Clifford Jordan - tenor saxophone (tracks 1, 3, 5 & 6); Rufus Reid - bass; Ben Riley - drums

Shades

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Adrienne West - The View

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 63:01
Size: 145,1 MB
Art: Front

(4:19)  1. I'm Alright Now
(6:50)  2. Make Me Rainbows
(3:41)  3. It Could Happen To You
(5:15)  4. Here's That Rainy Day
(4:31)  5. That's All
(7:10)  6. Inside A Silent Tear
(7:23)  7. Broadway
(4:17)  8. The View
(4:50)  9. What Is This Thing Called Love
(8:15) 10. Darn That Dream
(6:24) 11. Deep In The Night

Adrienne West, was born in Brooklyn, NY, and at age 9 began studing classical voice and piano. During her teenage years, she felt the need to combine some of the jazz variations she had loved listening to on records with her classical background. As a member of the Alvin Queen Sextet, Adrienne travelled widely throughout Africa performing both in concerts and directing masterclass workshops in voice. Adrienne has performed with some of the world’s most prominent musicians including: Johnny Griffin, Buddy Tate, Scott Hamilton, Al Cohn, Clark Terry, Harry “Sweets” Edison, Billy Cobham and Leonardo Amuedo to name just a few. She has also performed and recorded with the WDR Radio Big Band Koln, the Hessischer Rundfunk Big Band Frankfurt, the NDR Radio Big Band Hamburg, among others. After five years of appearing on Broadway and in European and World touring companies of the Tony Award winning “Ain’t Misbehavin'”, Adrienne decided to make Amsterdam her home where she lives with her husband. She completed a two year European musical theatre tour entitled “George Gershwin: The Musical Gala” as a featured soloist. She also performed the role of Bessie Smith in “Mahalia” (a musical theatre tribute to Mahalia Jackson). She was a member for many years of the “Four Ladies Of Swing”, a concert jazz program. In October 2000, she was invited to perform at the first “Davidoff International Vocal Jazz Festival” in Cape Town, South Africa. Adrienne presently lives in Amsterdam the Netherlands with her husband American born David Cameron, singer/actor and choreographer/director in musical theater. https://www.dottimerecords.com/artists/adrienne-west/

The View

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Cindy Blackman - Music For The New Millenium Disc 1 And Disc 2

Album: Music For The New Millenium Disc 1

Styles: Jazz, Post Bop 
Year: 2004
File: MP3@320K/s
Time: 48:16
Size: 111,7 MB
Art: Front

(4:25)  1. Abracadabra
(5:26)  2. Seven
(4:52)  3. Insight (Past Wisdom)
(6:27)  4. Letter to Theo
(8:29)  5. Black Town (For Harlem)
(2:50)  6. Insight (Right Now)
(6:36)  7. For Wayne (Shorter That Is)
(4:12)  8. The Infinite (For My Grandmother)
(4:55)  9. The ONE (for God)

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Album: Music For The New Millenium Disc 2

Time: 44:55

Size: 104,1 MB

(4:27)  1. Sam Pei

(2:00)  2. The Drums and Me

(7:57)  3. Stars in Eyes

(2:32)  4. Insight (From My Father)

(8:44)  5. Theme To Ginger's Rise

(4:45)  6. All I Want

(5:47)  7. Insight (From My Mother)

(7:23)  8. Insight (The Future)

(1:16)  9. I Come To The Garden Alone (As played by Martha Blackman-Higby)

Drummer Cindy Blackman's solo output has been sporadic since touring and recording with retro-rocker Lenny Kravitz for the past fifteen years. Recorded in 2005 with her regular working quartet, Music For The New Millennium is a double disc collection of inspired post-bop that heralds her return as a session leader. A persuasive reminder of her technical prowess, it reveals a stylistic allegiance to past masters while keeping an eye to the future. Blackman is heavily influenced by the enigmatic writing of saxophonist Wayne Shorter, which fueled Miles Davis' classic second quintet. Like Davis, she shares an affinity for Shorter's dark, impressionistic streak. Embodying the key instrumental elements of Davis' classic electro-acoustic line-up, keyboardist Carlton Holmes plays percolating Fender Rhodes and tastefully subtle synth alongside stalwart bassist George Mitchell. Tenor saxophonist J.D. Allen delivers soulful phrases with a leisurely cadence and dark timbre, reminiscent of Shorter's esoteric approach. Propelling harmonically sophisticated melodic patterns worthy of Art Blakey and Max Roach with a kinetic momentum equal to Tony Williams' legendary fusillades, Blackman launches an endless salvo of tuneful volleys. Like her forefathers, she keeps rhythm, tempo, dynamics and color in constant flux, never merely playing straight time. The album encapsulates a wide variety of moods, from the dreamily understated "Stars In Eyes" and "Sam Pei" to the simmering boil of the brooding "Black Town." Five assorted variations of "Insight" are scattered across the two discs, serving as recurrent thematic motifs, veering from the brisk, hard-boppish "(From My Father)" to the unassuming, meditative "(From My Mother)." The thunderous "Abracadabra," offers a dynamic, incisive performance, updating a roiling M-Base styled groove with a shadowy Milesian chiaroscuro. "Seven" delves further into metrically intricate rhythms, shifting through fractured tempos with a funky, cubist sensibility Transcending typical notions of accompaniment, "All I Want", finds Blackman furiously modulating rhythmic combinations on the theme while Holmes unfurls waves of shimmering Fender Rhodes arpeggios over an ominous synth-bass ostinato. The brief, punchy "The Drums and Me" is Blackman's only unaccompanied solo feature; she magnanimously offers the final word to Holmes, who closes the album with a touching solo piano rendition of the hymn "Come To The Garden Alone."  welcome return to her jazz roots, Music For The New Millennium is a powerful and passionate effort from one of the finest drummers on the scene. It's good to have her back. ~ Troy Collins https://www.allaboutjazz.com/music-for-the-new-millennium-cindy-blackman-sacred-sound-records-review-by-troy-collins.php

Personnel: Cindy Blackman: drums; J.D. Allen: tenor saxophone; Carlton Holmes: Fender Rhodes, synthesizers; George Mitchell: bass.

Music For The New Millenium Disc 1, Disc 2

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Lou Rawls - Black and Blue,Tobacco Road (Digital Remastered)

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 76:43
Size: 176,6 MB
Art: Front

(1:52)  1. Roll 'Em Pete
(3:35)  2. I'd Rather Drink Muddy Water
(4:22)  3. How Long, How Long Blues
(2:32)  4. Every Day, I Have The Blues
(4:42)  5. St. James Infirmary
(3:30)  6. (What Did I Do To Be So) Black And Blue
(3:07)  7. Gloomy Sunday
(2:12)  8. Kansas City
(2:53)  9. Goin' To Chicago Blues
(3:52) 10. Trouble In Mind
(3:11) 11. World Of Trouble
(3:02) 12. Six Cold Feet Of Ground
(3:28) 13. Strange Fruit
(4:01) 14. Tobacco Road
(2:10) 15. Cotton Fields (The Cotton Song)
(1:57) 16. Rockin' Chair
(3:02) 17. Stormy Weather (Keeps Rainin' All The Time)
(3:50) 18. Old Man River
(3:30) 19. Blues For A Four String Guitar
(2:28) 20. St. Louis Blues
(3:19) 21. Georgia On My Mind
(3:20) 22. Sentimental Journey
(3:34) 23. Summertime
(3:05) 24. When It's Sleepy Time Down South

Black and Blue and Tobacco Road were Lou Rawls' third and fourth records for Capitol cut in 1962 and 1963, respectively. The powers that be at the label made the decision to send Rawls into the studio with a swinging big band under the direction of Onzy Matthews and featuring some real heavyweights like saxophonists Curtis Amy, Teddy Edwards, and Sonny Criss; organist Groove Holmes; and bassist Curtis Counce. The choice didn't pan out commercially, but artistically it is a triumph. The band is perfect, the arrangements are tight and interesting, and Rawls sounds completely in his element as he belts out jazz standards like "Summertime" and "Gloomy Sunday." Most of the records are devoted to blues standards like "Trouble in Mind," "Stormy Weather," "St. James Infirmary," and "I'd Rather Drink Muddy Water," and while on paper they may look like the same old songs everyone does, Rawls brings them to life and even sets a few ablaze with his rich, rough, and powerful vocals. The best moment is his sparse and exhilarating version of "Tobacco Road," a tune that has come to be associated with him, mostly due to his live version cut a couple of years later on Lou Rawls Live! This version is a touch less exciting but just as impressive, and it is a treat to hear. In fact, both albums are a treat. Rawls may just be starting his long career, but he sounds fully formed, relaxed, and at home with the big band behind him. It makes for some of the most enjoyable Lou Rawls you'll hear, and fans of Rawls and great jazz and blues vocals should rejoice that Capitol has finally made the records available on CD. ~ Tim Sendra https://www.allmusic.com/album/black-and-blue-tobacco-road-mw0000442588

Personnel:  Lou Rawls, vocal, accompanied by: Bud Brisbois, Bob Rolfe, James Dalton Smith, Freddie Hill (tp); Horace Tapscott, Lou Blackburn, Dick "Slyde" Hyde, Ron Smith (tb); Joe Maini (as) Curtis Amy (sop,ts) Clifford Solomon (ts); Clifford Scott, Jay Migliori (ts,fl) Sidney Miller (bar); Onzy Matthews (p,arr,ldr) Richard "Groove" Holmes (org) ; Gene Edwards (g) Leroy Johnson (d)

Black and Blue,Tobacco Road

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