Archie Shepp - The Cry Of My People

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 42:56
Size: 99,3 MB
Art: Front

(4:39)  1. Rest Enough (Song To Mother)
(6:29)  2. A Prayer
(2:56)  3. All God's Children Got A Home In The Universe
(5:28)  4. The Lady
(5:43)  5. The Cry Of My People
(0:35)  6. African Drum Suite, Pt. 1
(7:32)  7. African Drum Suite, Pt. 2
(9:30)  8. Come Sunday

Archie Shepp is an artist whose work, while not always successful, nevertheless remains compelling and worth a listen. The Cry of My People is not his best effort, but one can respect his maverick approach to jazz scholarship that resists classification and challenges the notion of what can be defined as jazz. This album comes from a period in the early seventies where Shepp was absorbing all manner of black music from gospel to blues to Ellington into his compositions. The result is an recording that is consistently interesting, although a bit schizophrenic. Employing a very large ensemble that includes a choir and string section along with an expanded jazz group, Shepp stubbornly refuses to mix his influences, yet he obviously views them all as part of a vast continuum of musical expression. Listeners may be bewildered by the opening “Rest Enough,” a straightforward gospel tune, and equally puzzled by the segue into “A Prayer,” a brooding instrumental composed by Cal Massey, who arranged the album and died shortly after completing his work. After another gospel tune comes “The Lady,” a bleak tune with a suitably resigned vocal by Joe Lee Wilson. The first half of the record veers from the exuberance of the gospel music to the haunting beauty of a more mainstream jazz sound, yet Shepp remains the guiding force with his stinging, restless attack on both tenor and soprano sax, a dizzying squall of powerful notes. Further resisting categorization, the second side embraces the dissonant chanting and ominous drone of African music on the title track and the “African Drum Suite.” Although challenging, this side teeters between being repetitive and jarring, yet it's redeemed at the end by a lovely treatment of Ellington’s “Come Sunday,” featuring a great vocal by Wilson and fiery, passionate soloing by Shepp, showing why he was so highly regarded by artists such as Coltrane. Those who peg Shepp as a member of the avant-garde may be surprised by how accessible The Cry of My People is, regardless of whether or not they can embrace the adventurous nature or social consciousness of his work. Clearly his approach isn’t for everyone. Shepp fans, of course, will be delighted to see this one back in print. ~ David Rickert https://www.allaboutjazz.com/the-cry-of-my-people-archie-shepp-impulse-review-by-david-rickert.php

Personnel: Archie Shepp - tenor and soprano saxophone; Harold Mabern, Dave Burrell - piano; Charles McGhee - trumpet; Charles Greenlee, Charles Stephens - trombone;  Cornell Dupree - guitar;  Ron Carter - electric bass; Jimmy Garrison - bass; Bernard Purdie - drums;  Beaver Harris - drums;  Nene DeFense, Terry Quaye - congas, percussion, tambourine; Guilherme Franco - berimbau, Brazilian percussion;  Peggie Blue, Joe Lee Wilson - lead vocals; Andre Franklin, Mildred Lane, Mary Stephens, Barbara White, Judith White - backing vocals; John Blake, Gayle Dixon, Leroy Jenkins, Lois Siessinger, Noel DeCosta, Jerry Little - violin;  Patricia Dixon, Esther Mellon - cello

The Cry Of My People

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Anita Harris - My Heart Belongs to Jazz

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 57:43
Size: 133,8 MB
Art: Front

(4:13)  1. My Heart Belongs to Daddy
(3:01)  2. There's a Lull in My Life
(3:04)  3. They All Laughed
(4:56)  4. Over the Rainbow
(3:58)  5. Just in Time
(3:48)  6. Small Fry
(3:57)  7. The More I See You
(4:46)  8. Star Dust
(2:39)  9. I Got Rhythm
(4:57) 10. Tea for Two
(4:31) 11. Dream Dancing
(2:16) 12. You Must Believe in Spring
(3:17) 13. Just You Just Me
(2:27) 14. Glad to Be Unhappy
(2:38) 15. Jeepers Creepers
(3:07) 16. Lovers After All

"Anita sang...accompanied by her father, Kim, on piano, so hauntingly that listeners were moved to tears. Kim is the perfect piano accompanist. He has a gift of sympathetic rapport with the singer's dynamics that make accompanying such a challenging and satisfying art." Neville Turner, Jazzline http://newmarketmusic.com/album/Anita-Harris-%252d-My-Heart-Belongs-To-Jazz.html

My Heart Belongs to Jazz

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Bobby Watson - Appointment In Milano

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 43:12
Size: 100,4 MB
Art: Front

(10:00)  1. Appointment In Milano
( 8:01)  2. Ballando (dancing)
( 3:31)  3. If Bird Could See Me Now
( 6:26)  4. Watson's Blues
( 8:03)  5. (i'm) Always Missing You
( 7:10)  6. Funcalypso

During 1983-86 altoist Bobby Watson recorded fairly regularly for the Italian Red label. On this album he is joined by an obscure but talented Italian rhythm section (pianist Piero Bassini, bassist Attilio Zanchi and drummer Giampiero Prina) called the Open Form Trio. Actually the highpoint of the date is Watson's unaccompanied solo on "If Bird Could See Me Now." Other memorable selections on the well-rounded set include "Watson's Blues," the ballad "Always Missing You" and the spirited "Funcalypso." Bobby Watson (who doubles on this album on soprano) at that point in time was combining advanced hard bop with some influences from the avant-garde, carving out his own style. Recommended. ~ Scott Yanow https://www.allmusic.com/album/appointment-in-milano-mw0000088997

Personnel:  Alto Saxophone – Bobby Watson;  Bass – Attilio Zanchi; Drums – Giampiero Prina ; Piano – Piero Bassini

Appointment In Milano

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Roy Haynes - We Three

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 39:18
Size: 90,6 MB
Art: Front

( 4:21)  1. Reflection
( 6:23)  2. Sugar Ray
( 8:51)  3. Solitaire
(11:18)  4. After Hours
( 4:21)  5. Sneakin' Around
( 4:01)  6. Our Delight

We Three, recorded in a single session on November 14, 1958, was the first American studio date as a bandleader for the diminutive and legendary jazz drummer Roy Haynes, although with pianist Phineas Newborn on board (along with bassist Paul Chambers), it really is a set dominated by Newborn, whose busy, two-handed technique here works in tandem balance with Haynes' cool refinement. Newborn was all about amazing and dazzling piano runs that on some dates created simply too much flash and clutter to allow pieces to flow and breathe properly, but Haynes has always been about grace and flow throughout his career (if a drummer's style can said to be elegant, Haynes fits the bill), and here he rubs off on Newborn, who exercises just enough restraint to keep him in the proper orbit, resulting in a fine album. Highlights include the easy, pure swing of the opener, a version of Ray Bryant's "Reflection," a wonderful and bluesy rendition of Avery Parrish's "After Hours" (which finds Newborn in perfect balance between explosive ornamentation and smooth functionality), and a jaunty, fun spin through Newborn's own "Sugar Ray," a tribute to boxer Sugar Ray Robinson. This trio had a brief recording career together, but as this solid set shows, they made the best of it. ~ Steve Leggett https://www.allmusic.com/album/we-three-mw0000372505

Personnel: Roy Haynes - drums; Phineas Newborn Jr. - piano; Paul Chambers - bass

We Three

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Freddie Roach - Good Move

Styles: Jazz, Post Bop
Year: 1963
File: MP3@320K/s
Time: 43:06
Size: 99,6 MB
Art: Front

(5:02)  1. It Ain't Necessarily So
(5:21)  2. When Malindy Sings
(4:31)  3. Pastel
(6:31)  4. Wine, Wine, Wine
(6:20)  5. On Our Way Up
(4:58)  6. T'Ain't What You Do (It's The Way You Do It)
(4:59)  7. Lots Of Lovely Love
(5:20)  8. I.Q. Blues

Laid-back and loosely swinging, Good Move captures organist Freddie Roach near the peak of his form. Roach never leans too heavily on his instrument, preferring a calmer, tasteful attack, yet he is never boring because he has a strong sense of groove. He keeps things moving on slower numbers like Erroll Garner's "Pastel" and Gershwin's "It Ain't Necessarily So," but the true highlights are on originals like "Wine, Wine, Wine" and "On Our Way Up," where the bluesy structures and fluid rhythms give Roach a chance to stretch out. Throughout the record, he is capably supported by guitarist Eddie Wright and drummer Clarence Johnston, as well as trumpeter Blue Mitchell and tenor saxophonist Hank Mobley, who both contribute fine solos. ~ Stephen Tomas Erlewine https://www.allmusic.com/album/good-move%21-mw0000063281

Personnel: Organ – Freddie Roach; Drums – Clarence Johnston; Guitar – Eddie Wright; Tenor Saxophone – Hank Mobley; Trumpet – Blue Mitchell

Good Move

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Dave Liebman - Return Of The Tenor - Standards

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 71:18
Size: 164,7 MB
Art: Front

(10:19)  1. All The Things You Are
( 8:31)  2. Bye Bye Blackbird
( 7:04)  3. Loverman
( 9:56)  4. Secret Love
( 6:23)  5. There Will Never Be Another You
( 7:25)  6. Yesterdays
( 8:21)  7. No Greater Love
( 8:48)  8. Summertime
( 4:27)  9. All Of Me

Throughout much of the '80s and '90s, Dave Liebman focused exclusively on soprano saxophone. On this 1996 date he proclaims the Return of the Tenor, taking up the larger horn once again for an inspired set of well-known standards. (One can read about Liebman's creative reasons for doing so in his self-penned liner notes.) Flanked by the members of his working band pianist Phil Markowitz, guitarist Vic Juris, bassist Tony Marino, and drummer Jamey Haddad Liebman chooses not to rearrange or reharmonize the tunes in any fundamental way. In his own words, this is a "blowing session," but players like these have a way of making a blowing session sound like a lot more. What Liebman is really doing, however, is publicly working out his issues on the tenor saxophone, and using familiar melodies and forms to do so. The varied ensemble formats duo, trio, quartet, quintet help to sustain the listener's interest. ~ David R.Adler https://www.allmusic.com/album/return-of-the-tenor-standards-mw0000183203

Personnel: Dave Liebman - tenor saxophone; Vic Juris - guitar; Phil Markowitz - piano;  Tony Marino - acoustic bass;  Jamey Haddad - drums, percussion

Return Of The Tenor - Standards

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Don Elliott - The Voice Of Marty Bell, The Quartet Of Don Elliot

Styles: Vibraphone And Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 37:59
Size: 88,5 MB
Art: Front

(2:34)  1. I Didn't Know What Time It Was
(3:03)  2. I Thought About You
(3:48)  3. Moonlight In Vermont
(3:16)  4. The Girl Next Door
(3:27)  5. According To Moyle
(2:57)  6. S'Posin'
(2:03)  7. This Can't Be Love
(2:58)  8. The Love Of My Life
(4:58)  9. I Found A New Baby
(3:26) 10. You Go To My Head
(3:12) 11. September Song
(2:11) 12. Me And You

An extremely popular player in the '50s, Don Elliott was a fine soloist in the swing mode. He first studied piano and accordion, then played baritone horn and mellophone in his high school band. He switched to trumpet while playing in local dance bands, and as a teen worked with fellow teen Bill Evans. Elliott studied harmony at the Institute of Musical Art in New York in the mid-'40s, then played trumpet in an army band. Following that, he studied arranging and vibes at the University of Miami in 1947. When he returned to New York, Elliott played with George Shearing, Teddy Wilson, and Benny Goodman. He later performed and recorded with Terry Gibbs and Buddy Rich before forming his own band. Elliott took "miscellaneous instrument" honors in Down Beat five straight years in the late '50s. During the '60s and '70s, he did Broadway shows and composed film scores and songs for radio and television commercials. He returned to jazz in 1975, serving as a guest soloist with the New York Jazz Repertory Company at Carnegie Hall. ~ Ron Wynn https://www.allmusic.com/artist/don-elliott-mn0000150073/biography

Personnel: Vibraphone, Trumpet – Don Elliott, Bass – Vinnie Burke; Bongos – Don Elliott , Drums – Jim Campbell, Piano – Bob Corwin; Vocals – Marty Bell

The Voice Of Marty Bell, The Quartet Of Don Elliot

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Earl Hines - An Evening With Earl Hines Disc 1 And Disc 2

Album: An Evening With Earl Hines Disc 1

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 74:38
Size: 173,1 MB
Art: Front

(6:46)  1. Perdido
(6:56)  2. Boogie Woogie On The St. Louis Blues
(4:21)  3. I Got It Bad And That Ain't Good
(7:08)  4. All Of Me
(5:25)  5. Things Ain't What They Used To Be
(4:34)  6. Lil Darlin'
(4:36)  7. James Street Blues
(6:19)  8. Prelude To A Kiss / Prisoner Of Love
(4:22)  9. My Ship
(6:07) 10. La Rosita
(4:56) 11. Here's That Rainy Day / Polka Dots And Moonbeams
(5:25) 12. Lester Leaps In
(4:36) 13. Who'
(2:59) 14. Closing

Album: An Evening With Earl Hines Disc 2

Time: 75:46
Size: 175,2 MB

( 6:52)  1. I Ain't Got Nobody
(10:17)  2. Marie
( 5:04)  3. Dinkler Boogie
( 4:27)  4. I Wish You Love
( 5:42)  5. Second Balcony Jump
( 4:11)  6. Shiny Stockings
(10:43)  7. Showboat Medley
( 6:23)  8. Watermelon Man
( 6:17)  9. Time On My Hands
( 8:14) 10. Memories Of You
( 7:33) 11. Street Of Dreams / It's A Pity To Say Goodnight

This double LP is valuable as documentation of Earl Hines and his band on a typical gig in 1973. Marva Josie has a few vocals and Tiny Grimes contributes some guitar solos but the leader/pianist is easily the main star, romping on such tunes as "Perdido," "Boogie Woogie on the St. Louis Blues" and "Lester Leaps In." 

Swinging (if not essential) music. ~ Scott Yanow https://www.allmusic.com/album/an-evening-with-earl-hines-mw0000027404

Personnel: Piano – Earl Hines; Bass – Hank Young; Drums – Bert Dahlander; Guitar – Tiny Grimes; Lead Vocals – Earl Hines.

An Evening With Earl Hines Disc 1 And Disc 2

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George Cables - You Don't Know Me, Vol. 2

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 62:24
Size: 144,0 MB
Art: Front

(4:37)  1. Here's One
(5:08)  2. Go Down Moses
(4:42)  3. Going Home
(3:46)  4. Smoke Gets in Your Eyes
(7:44)  5. Señorita De Aranjuez
(7:20)  6. Looking for the Light
(5:28)  7. Waltz for Debby
(4:22)  8. Stella by Starlight
(6:20)  9. Morning Song
(5:20) 10. Ana Marie
(7:33) 11. The Way We Were

Equally skilled as a leader or as a sideman, George Cables helped to define modern mainstream jazz piano of the 1980s and '90s. When he was 18 and at Mannes College, he formed the Jazz Samaritans with Steve Grossman and Billy Cobham. Cables gained recognition during his stints with Art Blakey's Jazz Messengers, Sonny Rollins (both in 1969), Joe Henderson (1969-1971), and Freddie Hubbard (1971-1976). He was with Dexter Gordon (1976-1978) during the tenor's successful return to the United States, and became known as Art Pepper's favorite pianist (1979-1982). In addition to his occasional work with Bebop and Beyond (starting in 1984), Cables appeared in a countless number of situations through the years, and has recorded frequently as a leader, most notably for Contemporary (including the 1979 classic Cables Vision), Concord, and SteepleChase. ~ Scott Yanow https://www.allmusic.com/artist/george-cables-mn0000634700/biography

Personnel:  George Cables - Piano

You Don't Know Me, Vol. 2

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Katrine Madsen - Live at Montmartre

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 75:38
Size: 174,2 MB
Art: Front

(7:18)  1. Traveler
(6:03)  2. Magic Night
(5:44)  3. Falling Through Rivers of Rain
(6:32)  4. Song for Bill
(7:10)  5. Autumn Nocturne
(7:05)  6. Through the Night
(7:08)  7. Lighted up by Stars
(8:17)  8. Morning Star
(6:12)  9. She Dance
(4:46) 10. August Roses
(9:18) 11. In a Sentimental Mood

Katrine Madsen is ready to release her 9th album a live album recorded in the summer of 2018 at Copenhagens Jazzhus Montmartre. The album sees Madsen once again join forces with Henrik Gunde Pedersen (Piano), Jesper Bodilsen (Acoustic Bass), Jonas Johansen (Drums), as well as Jacob Christoffersen (Piano) and consists of a series of her own compositions as well as a few standards. Katrine Madsen studied at the Royal Danish Academy of Music and has worked in Copenhagen on albums with numerous well-known jazz artists from around the globe. In 2002 she founded the Katrine Madsen Sextet. Her previous albums have all been well-received, and her live performances have taken her across Europe. ~ Editorial Reviews https://www.amazon.com/Katrine-Madsen-Traveler-Jazzhus-Montmartre/dp/B07MDXVY9T

Live at Montmartre

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Sean Jones - Roots

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 73:41
Size: 169,7 MB
Art: Front

(1:34)  1. Children's Hymn
(7:12)  2. Roots
(6:46)  3. Divine Inspiration
(7:03)  4. God's Gift
(7:05)  5. Come Sunday
(8:03)  6. Lift Every Voice
(1:43)  7. Offering Time
(5:11)  8. Conversations
(5:19)  9. El Soul
(5:03) 10. Puddin' Time
(8:00) 11. What We Have
(5:35) 12. John 3:16
(5:01) 13. I Need Thee

With his inspired quintet, trumpeter Sean Jones goes back to his roots on this album, interpreting original music and the standard repertoire, focusing on gospel. His gorgeous trumpet tone and down-home technique are the centerpiece of the album, as they were on his previous two releases. Jones likes to express himself from a traditional point of view, offering vocal-like phrases that meld seamlessly with one another. With alto saxophonist Tia Fuller providing cohesive harmony, the trumpeter emerges as a powerful melodic force. For much of the album, Jones works with his quintet, which also includes pianist Orrin Evans, bassist Luques Curtis and drummer Obed Calvaire. His quartet interpretations of "Come Sunday and "Lift Every Voice provide warm reflections, while his duet with pianist Eddie Howard on "I Need Thee soaks up centuries of emotional spirit. Earlier, Jones' solo interpretation of "Children's Hymn opens the album with a solemn embrace that runs through the session as a guiding theme and provides comfortable solace. At times, he veers from the prayerful medium and allows spurts of meaningful celebration, as on his original "Offering Time and Evans' "Conversations, which comes loaded with rich, satisfying flugelhorn vibrations. Jones "speaks" through his horn to communicate with his audience, adding a tender touch and plenty of expression. He's open-horned for much of the session and more effective on the brighter trumpet celebrations. At the top of his game, Jones lifts tradition into the arms of all believers through a program that explores jazz's gospel roots. ~ Jim Santella https://www.allaboutjazz.com/roots-sean-jones-mack-avenue-records-review-by-jim-santella.php

Personnel: Sean Jones: trumpet, flugelhorn; Tia Fuller: alto saxophone, flute, soprano saxophone; Orrin Evans: piano, electric piano, keyboard; Eddie Howard: organ, piano; Luques Curtis: acoustic bass; Obed Calvaire, Jerome Jennings: drums.

Roots

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Bill O'Connell, The Latin Jazz All-Stars - Imagine

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 59:27
Size: 137,1 MB
Art: Front

(5:45)  1. Optimism
(6:43)  2. Stepping Stones
(7:46)  3. Imagine
(6:48)  4. Shaman's Dance
(6:57)  5. Missing Mr. Berrios
(6:23)  6. Jigsaw
(6:38)  7. 25 Years
(5:20)  8. Willow Weep for Me
(7:03)  9. Whitecaps

It's curious that Bill O’Connell’s 11th album as a leader is titled after the revered John Lennon anthem covered within, because it’s atypical of most of his work. O’Connell’s stock-in-trade is bop-tempered Afro-Cuban rhythm, and few traces of such surface during the elegant float through the song. But what the pianist and his sextet do with “Imagine” instead is more valuable than giving it a stock clave coating. About midway through the nearly nine-minute rumination, following saxophonist Steve Slagle and trombonist Conrad Herwig’s subtle, repeated restating of the theme, O’Connell carries it away, his impeccably phrased solo leaving Lennon far behind. By the time Slagle returns to wrap it, the reimagining of “Imagine” is unrecognizable, becoming this sextet’s own, and a highlight of the set. O’Connell’s original compositions are handled with similar spirit and inventiveness. The ballad “Missing Mr. Berrios,” a wistful tribute to the late drummer and percussionist Steve Berrios, again leaves it up to the hornmen to provide shape, O’Connell only detouring from the simple chord pattern that’s been providing the foundation briefly enough to let us know he’s there. Of the uptempo numbers, both “Stepping Stones” and especially the closing “Whitecaps” afford the brawny rhythm team of bassist Luques Curtis, drummer Richie Barshay and percussionist Richie Flores (the last two returnees from O’Connell’s previous effort) ample opportunity to flex. That latter tune is closer to what we’ve come to expect from Bill O’Connell, but by the time we’ve gotten to it, he’s made it clear that perhaps what we should really expect from him is only the unexpected. ~ By Jeff Tamarkin https://jazztimes.com/reviews/albums/bill-oconnell-and-the-latin-jazz-allstars-imagine/

Personnel: Bill O'Connell (Piano); Luques Curtis (Bass); Richie Barshay (Drums); Richie Flores (Percussion); Steve Slagle (Soprano Saxophone, Alto Saxophone); Conrad Herwig (Trombone).

Imagine

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Gene Ammons - Gene Ammons Swinging the Jugg

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 32:18
Size: 74,8 MB
Art: Front

(4:17)  1. Swinging the Jugg
(5:44)  2. Round Midnight
(5:23)  3. Look of Love
(5:42)  4. Lover Man
(4:34)  5. Just the Blues
(6:35)  6. Confessing the Blues

Gene Ammons, who had a huge and immediately recognizable tone on tenor, was a very flexible player who could play bebop with the best (always battling his friend Sonny Stitt to a tie) yet was an influence on the R&B world. Some of his ballad renditions became hits and, despite two unfortunate interruptions in his career, Ammons remained a popular attraction for 25 years. Son of the great boogie-woogie pianist Albert Ammons, Gene Ammons (who was nicknamed "Jug") left Chicago at age 18 to work with King Kolax's band. He originally came to fame as a key soloist with Billy Eckstine's orchestra during 1944-1947, trading off with Dexter Gordon on the famous Eckstine record Blowing the Blues Away. 

Other than a notable stint with Woody Herman's Third Herd in 1949 and an attempt at co-leading a two tenor group in the early '50s with Sonny Stitt, Ammons worked as a single throughout his career, recording frequently (most notably for Prestige) in settings ranging from quartets and organ combos to all-star jam sessions. Drug problems kept him in prison during much of 1958-1960 and, due to a particularly stiff sentence, 1962-1969. When Ammons returned to the scene in 1969, he opened up his style a bit, including some of the emotional cries of the avant-garde while utilizing funky rhythm sections, but he was still able to battle Sonny Stitt on his own terms. Ironically the last song that he ever recorded (just a short time before he was diagnosed with terminal cancer) was "Goodbye."~ Scott Yanow https://www.allmusic.com/artist/gene-ammons-mn0000160198/biography
 

Personnel: Tenor Saxophone – Gene Ammons; Drums  – Bob Guthrie; Guitar  – George Freeman; Organ  – Bob Pierce

Gene Ammons Swinging the Jugg

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Joe Newman - Soft Swingin' Jazz

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 74:25
Size: 173,8 MB
Art: Front

(3:18)  1. Makin' Whoppee
(2:38)  2. Three Little Words
(4:29)  3. Scotty
(2:37)  4. There's A Small Hotel
(3:19)  5. I Let A Song Go Out Of My Heart
(3:39)  6. Moonglow
(3:01)  7. Organ Grinder's Swing
(3:35)  8. Rosetta
(3:07)  9. Too Marvellous For Words
(2:59) 10. The Farmer's Daughter
(3:56) 11. Save Your Love For Me
(3:08) 12. The Happy Cats
(2:53) 13. Cocktails For Two
(3:40) 14. Later For The Happenings
(4:04) 15. Buttercup
(4:26) 16. Robbin's Nest
(2:18) 17. They Can't Take That Away From Me
(3:47) 18. Feather's Nest
(3:01) 19. Mean To Me
(3:34) 20. Between The Devil And The Deep Blue Sea
(3:19) 21. Joe's Tune
(3:31) 22. I Never Knew

The title says it all. Soft Swinging Jazz pairs Joe Newman with organist Shirley Scott, bassist Eddie Jones, and Charlie Persip for a mellow, lovely session unique within the trumpeter's catalog. For starters, Newman assumes vocal duties on a handful of cuts, proving himself a fine crooner. Moreover, the spacious, nuanced arrangements afford him the room to summon some of his most intimate but impassioned solos. Not to mention that Scott's an uncommonly sympathetic collaborator, shaping and underlining the melodies to create rolling, contoured grooves with the texture of velvet. The album was reissued in 2007 on the Lonehill label alongside the subsequent The Happy Cats. 

~ Jason Ankeny https://www.allmusic.com/album/soft-swinging-jazz-mw0000350883

Personnel:  Joe Newman - trumpet, vocals; Shirley Scott - organ; Eddie Jones - bass; Charlie Persip - drums; Ernie Wilkins - piano

Soft Swingin' Jazz

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Cyrille Aimee - Move On: A Sondheim Adventure

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 49:47
Size: 116,0 MB
Art: Front

(2:00)  1. When I Get Famous (Intro)
(3:39)  2. Take Me to the World
(2:52)  3. Love, I Hear
(2:52)  4. Loving You
(3:05)  5. Marry Me a Little
(4:14)  6. Being Alive
(2:41)  7. So Many People
(4:08)  8. Not While I'm Around
(1:58)  9. They Ask Why I Believe in You
(5:27) 10. No One is Alone
(2:37) 11. Un Baiser d’Adieu (One More Kiss)
(5:08) 12. I Remember
(5:22) 13. Move On
(3:38) 14. With so Little to Be Sure Of

Cyrille Aimée's latest album may come as a shock to fans of the French vocalist. Gone is the light, bubbly approach that has been her hallmark. Aimée is now a "musical interpreter," no less, and is devoting a whole album to the late works of American composer Stephen Sondheim. Except for Adrien Moignard's acoustic guitar on "So Many People," she has discarded her marvelous manouche backing band, depriving her of the interplay that made her recent stint at New York's Poisson Rouge so enjoyable. She is now accompanied by American studio musicians and highly professional though they may be the chaleur and charm of her work is gone. Whether these songs deserve her devotion is also debatable. Sondheim is fast approaching his 90th birthday. We're a world away from West Side Story, first staged on Broadway in 1957, and from A Little Night Music and its hit "Send In The Clowns" from 1973. Sondheim's recent work is frankly stodgy, with an over emphasis on words and not enough attention paid to the music. "No One Is Alone" makes a philosophical point rather than entertains. "Marry Me A Little" is plain outdated. "So Many People" hints at the writer's confusion as an octogenarian in the modern world. Aimée copes pretty well. Occasional bursts of scat singing show she can still do jazz, and perhaps indicate nervousness concerning her change of direction. Her affection for these Sondheim songs seems genuine. Underneath her frothy French persona, Aimée is a tough cookie who will undoubtedly weather the storm should the rest of the world not share her enthusiasm. ~ Chris Mosey https://www.allaboutjazz.com/move-on-a-sondheim-adventure-cyrille-aimee-mack-avenue-records-review-by-chris-mosey.php

Personnel: Cyrille Aimée: vocals; Assaf Gleizner, Thomas Enhco: keyboards; Jeremy Bruyere: bass; Yoann Serra: drums; Abraham Mansfaroll: percussion; Rubin Kodhelj: cello; Adrien Moignard, Ralph Lavita, Diego Figueredo, Sebastien Giniaux: guitar; Rubin Kodhelj: guitar and cello; Warren Walker, Bill Todd: tenor saxophone; Maxime Berton: soprano saxophone; Patricia Bartley: alto saxophone; Wayne Tucker: trumpet; Mathias Levy, Fung Chern Hwej, Gregor Huebner: violin; Julie Goodale: viola.

Move On: A Sondheim Adventure

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Bill Evans - Starfish & The Moon

Styles: Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 54:26
Size: 126,0 MB
Art: Front

(5:45)  1. Something in the Rose
(5:27)  2. Starfish and the Moon
(5:31)  3. Little Slow Poke
(5:35)  4. I'll Miss You
(5:12)  5. Whiskey Talk
(3:37)  6. The Last Goodbye
(5:03)  7. Red Dog
(6:42)  8. It's Only History
(6:16)  9. BIg Blue Hat
(5:14) 10. Shady Lady

After providing an abundance of hard-edged, aggressive jazz-funk and jazz-rap on Live and Escape, Bill Evans surprised his followers by being so relaxed on Starfish and the Moon. This excellent, highly melodic CD was hailed as "Bill Evans' acoustic album," which was misleading because Starfish has its share of keyboards and synthesizers as well as electric bass and electric guitar. But it is accurate to say that the rap-free Starfish uses more acoustic instruments and less amplification than one had come to expect from the soprano and tenor saxophonist, who favors subtlety on such introspective, lyrical jazz pop as "The Last Goodbye," "Something In the Rose" and "I'll Miss You." Even when he gets into a funk-minded groove on "Whiskey Talk" and "Shady Lady," Evans is moody and evocative rather than intense. Though the Chicago native had often played lyrically in the past, he was never as consistently restrained as he is on Starfish, a curve ball that was the last thing one would have expected to follow Escape. ~ Alex Henderson https://www.allmusic.com/album/starfish-and-the-moon-mw0000595911

Personnel:  Saxophone – Bill Evans ; Acoustic Guitar, Electric Guitar – Adam Rogers , Jon Herington; Bass [Acoustic] – James Genus; Drums – Vinnie Colaiuta; Keyboards [Additional] – Henry Hey; Piano, Organ [Hammond], Synthesizer – Jim Beard; Vocals – Caroline Leonhart, David Blamires

Starfish & The Moon

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Anita Harris - Somebody's In My Orchard

Styles: Vocal 
Year: 1966
File: MP3@320K/s
Time: 35:55
Size: 82,9 MB
Art: Front

(3:27)  1. Somebody's In My Orchard
(2:46)  2. Watermelon Man
(2:49)  3. Cherry Ripe
(3:02)  4. Don't Sit Under The Apple Tree
(2:50)  5. Inch Worm
(3:48)  6. Butterfly With Coloured Wings
(4:06)  7. Taste Of Honey
(3:47)  8. Lullaby Of The Leaves
(2:27)  9. Oranges And Lemons
(1:43) 10. Honeysuckle Rose
(2:29) 11. Adam's Apple
(2:34) 12. Green Leaves Of Summer

Anita Harris is known as an all-round entertainer, singing, acting, and dancing all part of her repertoire. Sharing musical arranger Kenny Clayton with Petula Clark, her clear vocal quality invited comparisons with Clark and other top female singers from the mid- to late '50s. She was born on June 3, 1942, in Midsomer Norton, Somerset, and began her show business career as soon as she had left school, traveling to Las Vegas to train in choreographed skating. Her first professional engagement, however, was a singer with the easy listening vocal ensemble the Cliff Adams Singers, who enjoyed an extended run on BBC radio with the program Sing Something Simple, a selection of mainly MOR ballads and show tunes that ran from 1959 through to the death of its creator, Cliff Adams, in 2001. She made her debut on record backed by the John Barry Seven, but the single, a double A-side of "I Haven't Got You" and "Mr One And Only," was not a success. Moving into acting, she became famous for very cheeky performances in two of the Carry On films, particularly Carry on Doctor and Follow That Camel, both from 1967. This was her peak year for chart activity too as her friend Dusty Springfield provided her with a hit single written by her brother Tom, "Just Loving You," which peaked at number six. Two further singles were released, both cover versions of the songs "Anniversary Waltz" and "Dream a Little Dream of Me." Her one and only visit to the album charts was with the album also called Just Loving You, which hit number 29 early in 1968. In the 1970s, she appeared on various television programs, including The Morecambe & Wise Show, and she also co-hosted the David Nixon Magic Show and was still appearing as herself on programs up to 2001, notably Boom Boom: The Best of the Original Basil Brush Show, French & Saunders, and Bob Monkhouse: A BAFTA Tribute. ~ Sharon Mawer https://www.allmusic.com/artist/anita-harris-mn0000574671/biography
 

 Thank You Flyingfinger!

Somebody's In My Orchard

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Jimmy Greene - Flowers: Beautiful Life, Vol. 2

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 63:38
Size: 146,8 MB
Art: Front

(3:50)  1. Big Guy
(6:26)  2. Stanky Leg
(4:20)  3. Flowers
(7:17)  4. Second Breakfast
(4:19)  5. Fun Circuits
(6:38)  6. Stink Thumb
(5:17)  7. Someday
(7:52)  8. December
(5:30)  9. Amantes
(5:59) 10. Something About You
(6:04) 11. Thirty-Two

In 2012, saxophonist Jimmy Greene lost his six-year-old daughter Ana Grace Marquez-Greene when she was murdered alongside 20 of her schoolmates during the shooting at Sandy Hook Elementary School in Newtown, Connecticut. Poignantly, he paid tribute to Ana on his soulful 2014 album Beautiful Life. For 2017's buoyant follow-up, Flowers: Beautiful Life, Vol. 2, Greene continues to draw inspiration from his daughter's short life, this time exploring her love of dance. Joining Greene here is a stellar lineup featuring pianist Renee Rosnes, bassists John Patitucci and Ben Williams, drummers Otis Brown III and Jeff "Tain" Watts, guitarist Mike Moreno, percussionist Rogerio Boccato, and guest vocalists Jean Baylor and Sheena Rattai. If the first Beautiful Life found Greene in an understandably grief-stricken and deeply poetic state of mind, Flowers reveals a man who will never fully let go of his pain, but who is much more connected to the memory of his daughter's vitality and love of life than the tragedy of her death. This vitality is reflected in the animated grooves and lively melodies Greene brings to Flowers. There's also an experimental vibe here, with Greene bending his largely acoustic post-bop sound a bit more heavily toward fusion, as on the knotty groover "Fun Circuits." Similarly, "Stink Thumb," with its spacy Rhodes keyboard, brings to mind the '70s jazz of Herbie Hancock's Mwandishi band. Even the far-eyed, soprano saxophone feature "Something About You" explodes mid-song into a choppy, angular improvisation. Still, there is a bittersweet tinge to the proceedings reflected in the languid, Latin flow of "Amantes" and the yearning vocal ballad "Someday." Remarkably, on Flowers: Beautiful Life, Vol. 2, Greene remains a productive, positive-minded artist whose music, and memory, have only deepened in their harmonic, rhythmic, and spiritual grace. ~ Matt Collar https://www.allmusic.com/album/flowers-beautiful-life-vol-2-mw0003019114

Personnel:  Jimmy Greene (soprano, alto, tenor and baritone saxes);  Jean Baylor & Sheena Rattai (vocals);  Rogerio Boccato (percussion);  Otis Brown III & Jeff `Tain` Watts (drums & percussion);  Kevin Hays & Renee Rosnes (piano and Rhodes electric piano);  Mike Moreno (guitar);  John Pattitucci & Ben Williams (bass).

Flowers: Beautiful Life, Vol. 2

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Stephen Riley - Inside Out

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 68:17
Size: 157,4 MB
Art: Front

(5:43)  1. All Alone
(7:01)  2. Bluesette
(7:20)  3. Barbados
(8:42)  4. Say It Isn't So
(7:59)  5. Bemsha Swing
(7:53)  6. Ju Ju
(5:34)  7. There's a Small Hotel
(6:46)  8. Infant Eyes
(5:38)  9. Chelsea Bridge
(5:35) 10. Inside Out

Stephen Riley (Tenor Saxophonist) Stephen Riley was born in Greenville North Carolina on November 19th, 1975. Growing up his mother Rhonda Riley was a music teacher (classical voice & piano). At age 4 she started Stephen and his older Brother Jonathan on Violin, both studying the Suzuki method. At age 10 Stephen began playing Alto Saxophone and became very interested in Jazz. He began listening and absorbing the sounds of Miles Davis, John Coltrane, Charlie Parker, Sonny Rollins, Lester Young, etc..... By the time he reached high school, he was accepted into a school of the arts in Florida (where his mother was on faculty). During this time he made the transition to tenor saxophone. By the time he was 17 years old, he was a winner of the Stan Getz/Clifford Brown fellowship award. Bassist "Rufus Reid" was one of the judges for this competition and invited Stephen to come to William Patterson University, in Wayne New Jersey (Where Rufus was head of the Jazz Department). After a year at William Patterson univ, He moved to New York city, where he was quickly noticed by many highly esteemed Jazz Artists.... http://www.durhamjazzworkshop.org/stephen-riley.html

Personnel: Tenor Saxophone, Soprano Saxophone, Alto Clarinet – Stephen Riley;  Bass – Neal Caine; Drums – Gregory Hutchinson

Inside Out

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Pat Metheny Group - We Live Here

Styles: Guitar Jazz 
Year: 1995
File: MP3@320K/s
Time: 67:04
Size: 154,8 MB
Art: Front

( 7:38)  1. Here to Stay
( 7:52)  2. And Then I Knew
( 5:29)  3. The Girls Next Door
(12:14)  4. To the End of the World
( 4:13)  5. We Live Here
( 8:45)  6. Episode D'Azur
( 7:03)  7. Something to Remind You
( 7:35)  8. Red Sky
( 6:11)  9. Stranger in Town

Returning to the dual-vocal septet line-up of Still Life (Talking) (released in 1987; reissued this year by Nonesuch) with percussionist Luis Conte replacing Armando Marçal, We Live Here's use of programmed rhythm loops and easy-on-the-ears grooves could be considered a concerted commercial attempt by Metheny to expand his already substantial audience. But it also represented its own kind of risk.  Metheny Group fans are typically drawn to the strong sense of melody that's defined the majority of Metheny's writing alone and with constant collaborator and Metheny Group keyboardist since inception, Lyle Mays. But the opening one-two-three punch of "Here to Stay," "And Then I Knew" and "The Girls Next Door," threatens, at least on the surface, to cross the fine line that Metheny and Mays sometimes straddle between music of depth and substance and mere ear candy.  Many longtime Metheny fans feared that he'd gone too far. But while the album's production values are as close to pop as anything Metheny has ever done, the strength and commitment of the playing elevates the music beyond simple confection. And while much of the music lacks, for example, the tricky time signatures that are oftentimes part of the Metheny/Mays writing approach, there's far more here than immediately meets the ear. The majority of the songs on the album reflect an interest in soul and R&B that, given Metheny's already broad purview, should come as no surprise. But while the soft ballad "Something To Remind You" bears the ear-marks of groups like Earth Wind & Fire with its clear verse- chorus form, it's still undeniably filtered through Metheny and Mays' own musical sensibilities. 

The verse is longer than most pop tunes would allow, and while it certainly sounds effortless, its changes are anything but. Similarly, the more insistent and up-tempo "Red Sky" possesses a singable chorus featuring the lyricless vocals of David Blamires and Mark Ledford (who, sadly, passed away in 2004). But the changes of its equally lengthy verse would again challenge most players. Just because something sounds this easy doesn't mean it is easy and, in some ways, We Live Here could be considered the Pat Metheny Group's most subversive record. Despite the album's glossy veneer, there are tracks that despite groove being an essential component are anything but smooth. The tribal rhythm of the title track is a logical expansion of ideas first explored on "Barcarole," the opening track on Offramp (ECM, 1981). "Episode D'Azur," sporting a knottier theme as well as shifting bar lines that are more in character, doesn't exactly swing but it comes closer to what Metheny Group naysayers consider to be "real" jazz, despite Mays' layering of string washes and signature synthesizer tone. And the album closer, "Stranger in Town," is a more pedal-to-the-metal burner than anything else found on the record, featuring some of Metheny's most lithe playing especially during the brief middle section that's more-or-less an interactive trio spot for Metheny, drummer Paul Wertico and Conte. One of the biggest criticisms of the Pat Metheny Group is that, as it has evolved over the past three decades, it's become less and less about the risk that many feel to be a defining characteristic in jazz. And it's true that there's a significant distance between albums like We Live Here and Metheny's collaboration with free jazz legend Ornette Coleman on Song X (released 1985; reissued by Nonesuch in 2005). But the finely-detailed, through-composed approach of the Pat Metheny Group on We Live Here and earlier records has been at least partially responsible for a paradigm shift allowing jazz artists to explore more complex ideas while, at the same time, remaining completely accessible not to mention incorporating contemporary production values in ways that need not be inherently paradoxical or antithetical to the spirit of jazz. And while We Live Here was met with a certain amount of surprise and disappointment on original release, even from longtime Metheny Group fans, it's weathered the test of time extremely well. Taken in context of the group's overall body of work, it is ultimately another signpost along its long and varied journey. ~ John Kelman https://www.allaboutjazz.com/pat-metheny-group-reissues-we-live-here-and-quartet-by-john-kelman.php

Personnel: Pat Metheny: guitars, guitar synth; Lyle Mays: piano, keyboards; Steve Rodby: acoustic & electric bass; Paul Wertico: drums; Luis Conte: percussion; David Blamires: vocals; Mark Ledford: vocals, whistling, flugelhorn.

We Live Here

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