Monday, June 10, 2019

Don Grusin - Piano In Venice

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 56:04
Size: 129,9 MB
Art: Front

(4:37)  1. Rose & Main
(5:18)  2. Washington Way
(4:34)  3. Abbot Kinney Blvd
(4:58)  4. Pacific Av
(3:56)  5. Electric Av
(3:05)  6. California Ct
(3:53)  7. Amoroso Pl
(3:01)  8. Lincoln Blvd
(4:35)  9. Ozone Ct
(6:18) 10. Speedway
(2:50) 11. San Juan Av
(4:13) 12. Venice Blvd
(4:40) 13. Oakwood Av

I moved to Venice in August 2007 to compose and record a piano album using the many loops and samples that I’ve collected over the past few years as my accompanying rhythm track partner. The electronica you’ll hear are grooves from every musical genre, guitar licks, voices, dancers, people clapping and singing, birds, animals, traditional percussion instruments from everywhere in the world. One of my favorite samples is the Paolo Soleri bell which was the doorbell of my recording studio-livingroom in the little house I rented on Crestmoore Place near the French Market. You’ll hear the Soleri bell on tk 11, san juan av.  My inspiration for melodies, moods, grooves came from throughout that beautiful ocean community... the beach, the carnival boardwalk atmosphere, the best air in LA, the hang with the people in local bars and restaurants and coffee shops, the neighborhood birds, dogs and cats, and in particular the contrasting personalities of the local streets for which I named the tracks. If you click on each of the titles you can read the inspiration for the music and the grooves. https://music.dongrusin.com/album/piano-in-venice

Personnel: Don Grusin (piano, keyboards & programming)

Piano In Venice

Jimmy Smith - Softly As A Summer Breeze: The Incredible Jimmy Smith

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 49:58
Size: 115,5 MB
Art: Front

(5:30)  1. These Foolish Things
(6:00)  2. Hackensack
(6:18)  3. It Could Happen To You
(8:23)  4. Sometimes I'm Happy
(6:32)  5. Someone To Watch Over Me
(4:49)  6. Ode To Philly Joe
(3:26)  7. Willow Weep For Me
(2:41)  8. Ain't No Use
(3:28)  9. Angel Eyes
(2:48) 10. Ain't That Love

An oddity and supporting cast player in the Jimmy Smith canon, Softly As A Summer Breeze is nonetheless a welcome addition to Blue Note's Rudy Van Gelder remasters programme, bringing together three distinct sessions with partially overlapping personnel. All the evidence suggests the first four tracks were originally recorded for a Kenny Burrell album which was never released, and the next two for a Jimmy Smith set which likewise didn't materialise. The final four tracks, featuring vocalist Bill Henderson, were originally released on a pair of jukebox-targeted 45 rpm singles and were included as bonus tracks on the album's first CD issue ten years ago. Tracks 1-6 were recorded in February 1958, the day after Burrell had contributed to the sessions for Smith's House Party and The Sermon. They stayed on the shelf until 1965, either because they didn't include one of Smith's trademark soul-jazz shouters or, as seems more likely, because they were simply overtaken by new material recorded by the prolific organist and guitarist. All the signs are of a compilation of Burrell and Smith sessions that were paired up for joint release as a late afterthought. Burrell states the themes and takes most of the opening solos on "These Foolish Things," "Hackensack," "It Could Happen To You" and "Sometimes I'm Happy." The first two tunes ride at a furious gallop, with Burrell and Smith each taking rapid-fire, long-line, mainly single-note, bop-based solos. Smith gets a shade more raucous and funky on "Sometimes I'm Happy," but the rest of time he plays close to the top lines and remains relatively well behaved. (As does Philly Joe Jones, who, apart from trading fours on "Hackensack," stays in a crisp accompanying role.) Though he made his mainstream reputation with sweating, shouting soul-jazz and screaming big band set pieces, it's sometimes forgotten that Smith started out a performer of standards, albeit phattened ones. His 1956 Blue Note debuts A New Sound... A New Star, Vols 1-3 did indeed include the monumental funktifications of Horace Silver's "The Preacher" and Dizzy Gillespie's "The Champ," but most of the material consisted of standards and showtunes. Smith liked to soup them up, sometimes to the point of florid three-ring-circus cheesiness, but he relished pretty tunes and his naif performances of them, on those debut albums and this one from a couple of years later, are as irresistible as they are flamboyant. The least successful tracks are the last four, featuring vocalist Bill Henderson and averaging three minutes in length. The spotlight is naturally enough on Henderson, whose routine and anonymous readings haven't travelled well. But hey, you can always hit the search button. The rest of the music is busting. ~ Chris May https://www.allaboutjazz.com/softly-as-a-summer-breeze-jimmy-smith-blue-note-records-review-by-chris-may.php

Personnel: Jimmy Smith: organ; Kenny Burrell (1-4), Eddie McFadden (5,6), Ray Crawford (7-10): guitar; Philly Joe Jones (1-4), Donald Bailey (5-10): drums; Bill Henderson (7-10): vocals.

Softly As A Summer Breeze

Lauren White - Life in the Modern World

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 48:41
Size: 115,9 MB
Art: Front

(4:21)  1. Life in the Modern World
(3:54)  2. Till I Get It Right
(4:54)  3. Signing Off
(4:51)  4. How Little We Know
(4:03)  5. Monk's New Tune
(5:48)  6. Coffee
(4:38)  7. Midnight Sun
(4:21)  8. Ellington's Sound of Love
(4:07)  9. Slowdown
(4:34) 10. In a New York Minute
(4:12) 11. American Tune


Los Angeles-based vocalist Lauren White teams with the superb vocalist and in-demand producer Mark Winkler for her third album, the eclectic storytelling Life in the Modern World, a collection of rarely covered standards from classic writers and interpretations of tunes from more contemporary ones. These tunes span almost 80 years of music. Her track list consists of tunes from Lionel Hampton, Ella Fitzgerald and Hoagy Carmichael to the modern writers Winkler, Kathryn Bostic and Ron Boustead. White delivers these in her warm smoky voice with clear articulation and elegance. White has found success as a singer but doesn’t have to quit her “day job” as producer of the hit HBO show Homeland either. She’s fortunate to be able to do both. Her TV role has her traveling between both coasts and that too is fortuitous, as she’s able to play in clubs and tap some of the best musicians from both New York and Los Angeles, arguably our two biggest jazz cities. You’ve likely seen some of these musicians grace several albums Kevin Axt and David Finck on bass, Marvin “Smitty” Smith and Chris Wabich on drums, Kevin Winard on drums and percussion, Grant Geissman on guitar, Alex Budman on horns, Francisco Torres on trombone, Tatum Greenblatt and Michael Stever on trumpet along with her collaborative partners Winkler on vocals and pianist Quinn Johnson. Johnson was the music director/pianist for Steve Tyrell for 16 years and has a staggering pedigree that includes Tom Scott, Flora Purim, Rod Stewart, Diana Ross, and Rita Coolidge. Johnson also arranged and accompanied White on her Experiment release, Winkler, who has been on these pages several times, has 16 CDs as a leader and has had over 250 of his songs performed or recorded by other artists. Winkler also produced White’s most recent project, Out of the Past, Jazz & Noir. White opens with the title track, a rarely heard song originally performed by the Crusaders, followed by the swinging “’Til I Get It Right,” co-written by Winkler and performed with him as a duet. “Signing Off” is a little known Ella Fitzgerald tune that dates to 1961, where Ella wrote the lyrics. A better known standard comes from Hoagy Carmichael and Johnny Mercer in “How Little We Know,” written for the 1944 film To Have and Have Not, where Johnson has some fun with the arrangement, adding a cha-cha element. 

Another oft-covered tune is “Midnight Sun” from Lionel Hampton and Johnny Mercer. Eli Brueggemann, musical director of Saturday Night Live, provides a funky arrangement that has White’s vocal gliding smoothly over percolating rhythms.“Coffee’ is an LA inspired tune written by fellow vocalist Ron Boustead and Ken Kresge while “Slow Down” owes to Kathyrn Bostic, who is a composer, singer, and songwriter known for her work on film, TV, and live theater. This featues a lively three horn arrangement. Others include Michael Frank’s “Monk’s New Tune,” also with three horns and Charles Mingus’s “Ellington’s Sound of Love,” where White is backed by a piano trio. “In a New York Minute” is another bold, brassy tune with Winkler and White doing background vocals in addition to White’s lead. Rather incredibly, Johnson had never heard White’s choice for the closer, Paul Simon’s “American Tune.” So, perhaps advantageously, he brought a fresh perspective to the arrangement, which features Geismann’s guitar and Winard’s percussion. They slow down the tempo, showcasing the nuances in White’s emotive, warm delivery.  As with previous efforts from the three main collaborators, White, Winkler and Johnson, this is as elegant as vocal jazz gets. White brings maturity, sass, style and a natural effervescent charm that proves irresistible. ~ Jim Hynes https://www.makingascene.org/lauren-white-life-in-the-modern-world/

Personnel:  Chris Wabich - drums, Kevin Winard - drums & percussion, Grant Geissman - guitar, Alex Budman - horns, Francisco Torres - trombone, Tatum Greenblatt and Michael Stever – trumpet, Quinn Johnson – piano, Mark Winkler - producer/vocalist/lyricist.

Life in the Modern World

Sunday, June 9, 2019

Aaron Goldberg - Turning Point

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 54:47
Size: 126,4 MB
Art: Front

(6:01)  1. Fantasy in D
(7:37)  2. Turning Point
(6:23)  3. Turkish Moonrise
(6:13)  4. Jackson's Actions
(7:39)  5. The Shadow of Your Smile
(6:12)  6. Con Alma
(6:14)  7. Head Trip
(8:24)  8. Mom's Tune

A beautifully recorded session that really percolates. This is essentially a quartet date (Goldberg, Turner, Rogers, Harland) with Josh Redman sitting in for Turner on “The Shadow of Your Smile,” Cook adding wordless vocals on “Fantasy in D” and “Mom’s Tune,” and Kalé making it a quintet on “Jackson’s Actions.” There’s one trio track, Dizzy Gillespie’s luminous “Con Alma,” and Goldberg moves to Fender Rhodes on “Jackson’s Actions” and “Mom’s Tune.” Goldberg, a protégé of Betty Carter who turns 25 this month, plays with remarkable maturity and insight for one so relatively young. For comparison’s sake only, he reminds me of Benny Green, whereas Turner brings to mind Joe Henderson. One has the feeling when listening to Goldberg that while the building blocks are firmly in place, he’s flying by the seat of his pants, and it’s that sense of spontaneity and surprise which frames the core of Jazz, after all  that makes what he has to say so consistently absorbing. He’s a capable writer too, and that’s a good thing, as five of the selections on Turning Point are his including the lovely ballad “Turkish Moonrise,” the quirky “Head Trip” and easygoing “Mom’s Tune.” Johnny Mandel wrote “Shadow of Your Smile,” Cedar Walton the picturesque “Fantasy in D.” Rogers and Harland were new names to me, but they’re a solid yet unassuming duo, and based on this performance we should be hearing much more from them. Redman’s name, on the other hand, is well known in Jazz circles, his reputation is widening, and it says something for Goldberg’s talent that he’s now a member of Redman’s working quartet. But a more convincing snapshot of that blossoming talent is embodied within this album, which marks an impressive debut for an up and coming young Jazz artist. ~ Jack Bowers https://www.allaboutjazz.com/turning-point-aaron-goldberg-j-curve-records-review-by-jack-bowers.php

Personnel: Aaron Goldberg: piano, Fender Rhodes electric piano (4, 8); Mark Turner: tenor saxophone; Joshua Redman: tenor saxophone (7); Reuben Rogers: acoustic bass; Eric Harland: drums; Carla Cook: vocals (1, 8); Karsh Kale: tablas (4).

Turning Point

Dave Holland Quintet - Points Of View

Styles: Jazz, Post Bop 
Year: 1998
File: MP3@320K/s
Time: 71:01
Size: 163,3 MB
Art: Front

( 9:18)  1. The Balance
(10:54)  2. Mr. B.
( 8:48)  3. Bedouin Trail
( 8:23)  4. Metamorphos
(10:12)  5. Ario
( 9:40)  6. Herbaceous
( 6:53)  7. The Benevolent One
( 6:49)  8. Serenade

The eight compositions which make up Points of View are so varied that this in itself becomes a hallmark of Dave Holland's style here. Consistency instead comes from the interaction of the players, whom Holland's arrangements give ensemble roles during each other's solos; from the unusual instrumentation, used both for frank exoticism ("Bedouin Trail", "Serenade") and to leaven more traditional compositions with surprise. The soloists are imaginative, and swinging on those tunes where swing is part of the picture. Holland and Kilson power the ensemble, Holland with his rich tone, Kilson with clarity and a fine percussionist's melodic sense, both with impeccable time."The balance" seemingly begins with the sound of a bass tuning, as if for a live date, with the other players joining in with an improvised ensemble worthy of Mingus. The tune turns into a characteristic opener, but with a difference: swift and exciting, to be sure, but with a tricky time signature and a restlessness about settling on a major or minor mode."Mr. B" is like one of those great 1950's hard bop tunes seen through a post-modern prism, Holland playing a walking bass line throughout."Bedouin trail," beginning with Eubanks high on the trombone, almost a French horn sound, moves into a medium tempo clave groove. The virtues of Holland's group stand out in this sensous tune, which seems almost to suspend time."Metamorphosis" alternates rapidly between swing and funk, terms that don't do justice either to the edgy composition or the impassioned improvisations.The rhythm section opens "Ario" with an ostinato feel, moving eventually into a Latin groove. As usual on this recording, the horn parts belie the small group size. Likewise the vibes' fills provide a bigger than usual sound in the percussive/chordal instrument's role: richer than a piano, fuller than a guitar. The track shifts between the mellowness of a medium-tempo ballad and a series of climaxes."Herbaceous" has a samba-then-swing feel, opened up by spontaneity and virtuosity of the ensemble, making for a tumultuous ride. "The benevolent one" begins out of tempo as a duet between Nelson's ringing vibes and Holland's bowed bass, before turning into a ballad, with Kilson's brushes shimmering like aspen leaves. The rhythm section is nearly equal in the foreground during the solos, giving the tune a chamber-music intimacy "Serenade" concludes the recording with a taste of Latin folk-music, the marimba trilling a simple melody over the initially unchanging harmony implied by Holland's repetitive bass figure. This track's optimistic serenity, played only by the rhythm section, creates yet another musical world among the several in this unusual and brilliantly realized production. ~ Larry Koenigsberg https://www.allaboutjazz.com/points-of-view-dave-holland-ecm-records-review-by-larry-koenigsberg.php

Personnel: Dave Holland, bass; Robin Eubanks, trombone; Steve Wilson, soprano and alto saxophone; Steve Nelson, vibraphone and marimba; Billy Kilson, drums

Points Of View

Ralph Towner - Lost And Found

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 57:52
Size: 134,6 MB
Art: Front

(2:36)  1. Harbinger
(3:00)  2. Trill Ride
(6:19)  3. Elan Vital
(5:12)  4. Summer's End
(3:15)  5. Col Legno
(2:16)  6. Soft Landing
(4:56)  7. Flying Cows
(4:04)  8. Mon Enfant
(5:15)  9. A Breath Away
(1:27) 10. Scrimshaw
(3:24) 11. Midnight Blue ... Red Shift
(4:37) 12. Moonless
(3:44) 13. Sco Cone
(3:06) 14. Tattler
(4:34) 15. Taxi's Waiting

This 1995 date shows guitarist and composer Ralph Towner in estimable form. For a guy who's released literally dozens of records under his own name and with his band Oregon and played on dozens more, he still seems to have plenty to say with only two guitars in his arsenal (well, there was the period where he used a Prophet Five synthesizer with Oregon, but we won't go into that here). Using familiar (Marc Johnson and Jon Christensen) and new (Denny Goodhew) faces, Towner goes searching for that elusive muse he has been pursuing for over 30 years: the root of what makes complex harmonic and melodic improvisation possible. His relentlessness is in fine shape here. Using the horns and Johnson's large dynamic range for texture and shading, he, with Christensen in tow, can go ferreting through intervallic forests of prismatic chromaticism and changeling modal systems to place notions of "song" firmly within the context of spontaneous composition. Nowhere is this more evident than on the striking "Élan Vital." Towner opens the track and Goodhew follows him playing soprano. There are three melodic exchanges, each more far-reaching than the last, before Towner goes off with Christensen trading fours and slipping through chorded wreaths and trills of augmented sevenths and ninths. There is a space at midpoint where Johnson, for the sake of adding color to the melodic abstraction, begins by playing chords and then others based on those, singly, then doubly, until the bass sings! There are 15 tunes on Lost and Found, most of them Towner's compositions, but two by Johnson -- "Col Legno" and "Sco Cone" deserve special note. On the first, his bowing of this wrinkled, out of time immemorial melody, and his restraint to keep the timbres in the piece from mixing too much, are stunning. On the second, a solo work, his subtle lyricism is in dramatic contrast to his funkiness and staccato playing. It was gracious of Towner to include them. This is a guitar player's recording, but it is obvious that Towner writes for ensembles equally well, and he has clearly written the vast majority of this recording for this particular ensemble. It's seamless from start to finish; it moves and is far less ponderous than some of his earlier outings; it's a winner for sure. ~ Thom Jurek https://www.allmusic.com/album/lost-and-found-mw0000181545

Personnel: Ralph Towner - Classical Guitar, 12 String Guitar; Denney Goodhew - Saxophones; Marc Johnson - Double-Bass; Jon Christensen - Drums

Lost And Found

Saturday, June 8, 2019

Jimmy Greene - Brand New World

Styles: Saxophone And Flute Jazz 
Year: 1999
File: MP3@320K/s
Time: 62:15
Size: 143,2 MB
Art: Front

(4:01)  1. Humpty Dumpty
(6:13)  2. Brand New World
(6:54)  3. Arise!
(8:29)  4. Renée
(6:39)  5. Mr. McLean
(6:48)  6. Never Let Me Go
(7:29)  7. Godsend
(8:10)  8. Dream, Little Boy, Dream
(7:29)  9. Darn That Dream

You may have caught some late night jazz at Small’s in New York’s Greenwich Village a few years ago and heard tenor saxophonist Jimmy Greene. You wondered who is this guy? Maybe you picked up the Live At Birdland disc last year to check out the new talent. Again Greene was front and center. I first heard rumor of the wonderkin, then was thrilled by him on trumpeter Darren Barrett’s First One Up (J Curve). The pair reminded me of early Wynton and Branford Marsalis band, which of course reminds us of the classic hard bop bands of Miles, Blakey, and Lee Morgan. Also released late last year was the surprisingly fresh Horace Silver disc Jazz Has A Sense Of Humor (Verve) where both Silver and Greene thrilled old time fans of the pianist. Greene, at the ripe age of 24 makes his debut as leader. His background and tutelage under Professor Jackie McLean since age 15 spawns more of that great Jackie Mac sound. In a solid first outing as leader, Greene surrounds himself with graduates of McLean’s bands Eric McPherson (drums) and Steve Davis (trombone) and his musical soulmate Darren Barrett (trumpet). The band opens with Chick Corea’s “Humpty Dumpty,” a burning bop classic, and besides two standards, all the compositions are Greene originals. For a debut, I cannot criticize his choice to follow a bop medium. After all, it was the most revolutionary movement in the short history of the genre. His concession to a “modern” sound was the limited inclusion of an electric Rhodes Synthesizer on “Arise!,” a throwback to the seventies sound of Freddie Hubbard and Joe Henderson. Greene handles a flute and Soprano saxophone with deft touch. I am anxious to follow this young and promising career. ~ Mark Corroto https://www.allaboutjazz.com/brand-new-world-jimmy-greene-rca-victor-review-by-mark-corroto.php

Personnel:  Tenor Saxophone, Flute, Soprano Saxophone – Jimmy Greene; Drums – Eric McPherson; Electric Bass, Acoustic Bass – Dwayne Burno; Percussion – Kahlil Kwame Bell; Piano, Synthesizer – Aaron Goldberg ; Trombone – Steve Davis ; Trumpet, Flugelhorn – Darren Barrett

Brand New World

Peggy Lee - Miss Peggy Lee Sings The Songs Of Cy Coleman

Styles: Vocal
Year: 1979
File: MP3@320K/s
Time: 33:48
Size: 79,0 MB
Art: Front

(1:55)  1. Hey! Look Me Over
(3:21)  2. The Best Is Yet To Come
(1:59)  3. I've Got Your Number
(2:52)  4. (I'm) In Love Again
(2:30)  5. Pass Me By
(2:37)  6. That's My Style
(2:08)  7. A Doodlin' Song
(2:02)  8. When In Rome (I Do As The Romans Do)
(2:26)  9. Then Was Then (And Now Is Now)
(2:08) 10. Big Spender
(2:48) 11. I'm Gonna Laugh You Right Out Of My Life
(2:19) 12. That's What It Takes
(2:12) 13. You Fascinate Me So
(2:25) 14. Personal Property - Live At The Copacabana / 1968

In 1979, seven years after Peggy’s longtime affiliation with Capitol Records ended, the label released a ten-song compilation of songs by Broadway composer Cy Coleman (1929-2004) that she recorded in the early and mid-1960s, all previously released on albums and, in some cases, singles. The year that Miss Peggy Lee Sings the Songs of Cy Coleman was released Coleman had two successful musicals running on Broadway, I Love My Wife and On the Twentieth Century. The previous decade he had scored hits with the musicals Wildcat (including the song “Hey! Look Me Over,” recorded by Peggy and included here), Little Me (featuring “I’ve Got Your Number,” included here), and Sweet Charity (featuring “Big Spender,” included here). Later in his career he would enjoy further success with such musicals as Barnum, City of Angels and The Will Rogers Follies. Notably among the overwhelmingly male Broadway songwriters of the 20th century, Coleman collaborated on successful musicals with female lyricists, among them Betty Comden, Dorothy Fields and Carolyn Leigh. In the mid-1960s he also wrote some songs with lyricist Peggy Lee, including “That’s My Style” and “(I’m) in Love Again,” both included in this compilation. The latter song, first recorded for Peggy’s 1964 Capitol album of the same name, has since been recorded by such distinguished singers as Tony Bennett, Blossom Dearie and Dianne Reeves. A third Coleman-Lee song included, “Then Was Then (and Now Is Now),” served as the title of a 1965 album for Peggy and was also recorded by Tony Bennett and Jack Jones. Peggy felt a special fondness for her song collaborations with Coleman and re-recorded both “(I’m) In Love Again” and “Then Was Then (and Now Is Now”) on her last full album recording in 1992. Coleman, a longtime friend, accompanied Lee to Louis Armstrong’s 1971 funeral, where she sang “The Lord’s Prayer;” he served as a creative consultant for Peggy’s short-lived 1983 autobiographical musical Peg, whose score included the Coleman-Fields hit “Big Spender;” and he spoke of his longtime friendship with Lee at her memorial service in February 2002. https://www.peggylee.com/peggy-lee-cy-coleman/

Miss Peggy Lee Sings The Songs Of Cy Coleman

Dr. John - Dr. John's Gumbo

Styles: New Orleans R&B 
Year: 1972
File: MP3@320K/s
Time: 39:49
Size: 93,2 MB
Art: Front

(4:08)  1. Iko Iko
(3:14)  2. Blow Wind Blow
(3:26)  3. Big Chief
(2:45)  4. Somebody Changed the Lock
(3:14)  5. Mess Around
(3:55)  6. Let the Good Times Roll
(4:32)  7. Junko Partner
(3:29)  8. Stack-A-Lee
(2:09)  9. Tipitina
(2:32) 10. Those Lonely Lonely Nights
(3:20) 11. Huey "Piano" Smith Medley
(3:00) 12. Little Liza Jane

Dr. John's Gumbo bridged the gap between post-hippie rock and early rock & roll, blues, and R&B, offering a selection of classic New Orleans R&B, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/dr-johns-gumbo-mw0000202957

Personnel: Dr. John – guitar, piano, cornet, vocals; Lee Allen – tenor saxophone; Ronnie Barron – organ, piano, backing vocals; Harold Battiste – clarinet, saxophone, horn arrangements; Morris Bechamin – saxophone, backing vocals; Jimmy Calhoun – bass; Sidney George – harmonica, saxophone; Shirley Goodman, Tammy Lann, Robbie Montgomery, Jessica Smith – backing vocals; Ken Klimak – guitar; Dave Lastie – saxophone; Melvin Lastie – trumpet, cornet; John Ewing – trombone; Alvin Robinson – guitar, backing vocals; Fred Staehle – drums, percussion; Richard Washington – percussion

R.I.P.
Died: June 6, 2019
Born: November 20, 1941, New Orleans, Louisiana, United States

Dr. John's Gumbo

John Patitucci - Mistura Fina

Styles: Jazz Fusion, Post Bop 
Year: 1995
File: MP3@320K/s
Time: 61:00
Size: 141,0 MB
Art: Front

(5:34)  1. Mistura Fina
(3:59)  2. Bate Balaio (Rockson Do Pandeiro)
(4:33)  3. Puccini
(5:43)  4. Samba Novo
(4:05)  5. The Four Loves
(6:47)  6. Assim Nao Da
(5:54)  7. Joys And Sorrows
(4:03)  8. Agua Mae Agua (Water Mother Water)
(5:42)  9. Soul Song
(3:05) 10. Varadero
(4:19) 11. Long Story
(5:07) 12. Barra Da Tijuca (Tijuca Bay)
(2:01) 13. Samba School

John Patitucci, a brilliant bassist best known for his fusion playing with Chick Corea's Elektric Band, leans strongly in the direction of Brazilian pop music on this CD. Most of the selections have vocals, and although Patitucci takes a lot of excellent acoustic bass solos (and there are occasional solo spots for keyboardist John Beasley and saxophonist Steve Tavaglione), this CD is more in the world music than fusion vein. 

The vocalists include Joao Bosco, Dori Caymmi, Kleber Jorge, Ivan Lins, Cathy Brandolino and Kevyn Lettau. ~ Scott Yanow https://www.allmusic.com/album/mistura-fina-mw0000123551

Personnel:  Electric Bass [J.P. Yamaha Six String Bass], Vocals – John Patitucci; Drums, Percussion [Additional] – Michael Shapiro; Percussion – Alex Acuña; Piano, Synthesizer – John Beasley; Tenor Saxophone – Steve Tavaglione; Vocals – Bill Cantos, Cathy Brandolino, Kevyn Lettau, Kleber Jorge, Lou Pardini, Scott Mayo

Mistura Fina

Jonathan Butler - Grace and Mercy

Styles: Vocal, Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 46:05
Size: 107,7 MB
Art: Front

(3:48)  1. You're All That I Need
(4:20)  2. Who Is Like The Lord
(4:10)  3. Give It Up To God
(3:29)  4. Grace and Mercy
(3:24)  5. I Stand On Your Word
(4:23)  6. Don't Walk Away
(3:59)  7. Lay My Head On You
(3:27)  8. Trials
(4:52)  9. I Know He Cares
(5:37) 10. Moments of Worship
(4:32) 11. Acoustic Reprise

A life well lived is often the best foundation for compelling art and there’s no denying Jonathan Butler has been blessed with a fascinating life. A South African native whose expansive musical gift has earned accolades in the R&B, contemporary jazz and gospel fields, Butler’s new release Grace and Mercy is filled with the soulful sounds and insightful lyrics fans have come to expect from the veteran performer. A key word in Butler’s life is balance and after years of touring the globe, he’s learned just how important time away from the spotlight can be. “These days I try to do a little bit of living in between. I balance my life,” he shares. “I’ve got to spend time living, and through living you come up with stories to talk about and songs to write. These songs are personal experiences. People always assume that because you’re a recording artist and you travel the world that you don’t have problems and you don’t have disappointments in your life, which is not true. We all do. This album truthfully and honestly lets people know that the songs that I’m writing are the things that I’m going through in this season. I’m hoping those songs will effect people in a positive and wonderful way.” On Grace and Mercy Butler delivers a collection of songs that serve as a soothing musical balm in today’s troubled times. “This album really speaks about optimism, faith, belief and hope, especially in the light of what everybody has been experiencing in the last two or three years,” he says. “There’s been a lot of people losing their homes, their jobs, enduring the challenges that life brings. I’m hoping this album will bring hope to people. Songs like ‘Give it Up To God,’ ‘I Stand On Your Word,’ and ‘Who is Like the Lord’ were written from experiences that I’ve had to go through myself.” The lead single, “I Stand On Your Word,” is a soaring ballad that reminds us of the power of God’s promises. “I love that song,” Butler says. “I hope that it hits home to a lot of people.” God’s word became real to Butler when he was just a teenager. At 19 years old, Butler’s life forever changed when he became a Christian. “It was love that drew me to Christ,” he smiles, “the love of someone who cared enough to talk to me about Jesus and take me in when I was basically a broken young man in South Africa. It was my late brother-in-law, my wife’s brother, who led me to Christ. He was that person in my life that actually took the time to talk to me about Jesus, and it didn’t take me long to give my heart to Christ because of that.” In the past few years, his faith has sustained Butler during some difficult times. He lost his beloved mother and a very close friend in addition to helping his wife battle cancer. It’s been tumultuous time that saw the gifted musician leaning ever closer to God and pouring his experiences into his music. Grace and Mercy showcases Butler’s gift for taking potent lyrical messages and enveloping them in memorable melodies. “Give it up to God” is a soul-stirring slow jam that spotlights Butler’s warm, distinctive voice. “Simplicity always wins for me,” Butler says of the song. “There is such power in a simplistic lyric. You really reach people when you say simply, ‘Give it up to God.’ We all go through those every day trials. We read the Proverbs and Psalms and most of the time we forget that the Bible says, ‘Trust in the Lord with your heart and lean not on your own understanding.’ Every day we have to give it up to God, EVERY day.”

Among Butler’s favorite tracks are “I Know He Cares.” “I love, love, love, love ‘He Cares!’ I wrote ‘He Cares’ and it spoke to me,” Butler says. “I started with the music and then started writing these lyrics down. We all need to know that God really cares for us. The Bible says, “We are the sheep of his pasture” and he absolutely does care for us. That song really speaks to me a lot.” “Moments of Worship” is another highlight on Butler’s new project. “I actually recorded ‘Moments Of Worship’ in Spain years ago,” he says. “I was at a friend’s house and he had a studio and an engineer. I sat in front of a piano and started singing my favorite worship songs and I just decided to do that on this album. At the end of all the music, it comes back to worship, which I think is beautiful.” Lyrically Grace and Mercy delivers the kind of Biblically grounded, emotionally uplifting songs Butler has become known for, yet musically he says fans might be caught slightly off guard. “It’s going to surprise people a little bit coming from me because I think it’s much more of an edgier gospel record,” he says of the project, which was recorded at his home studio. “It’s more urban. Overall I feel it’s much more of a raw type of record. I didn’t grow up in church, but I’m a born again Christian. For the last 30 years I’ve been saved so I write from that place. I draw a lot from different elements and experiences and also my culture from South Africa, so I think it’s a little bit different.” Born in Cape Town, Butler was the youngest of 12 children. He discovered a gift for music early in life and began singing and playing guitar at age seven. As a child, he traveled all over South Africa performing with a troupe of 100 children, getting a first hand look at the country’s disturbing dichotomy devastating poverty and extreme affluence that existed under Apartheid. Butler signed his first record deal as a teen and became the first black artist played on white South African stations. “That was 1974 and it was a song titled ‘Please Stay,’” Butler recalls of the historic tune, which won a Sarie Award, the South African equivalent of a Grammy. “Back then I was with an independent label called CCP Productions.” Though Butler lived in England for 17 years and currently makes his home in Encino, CA, his youth in South Africa continually colors his artistry. “All those memories and all those experiences are what makes a woman or a man a stronger person,” he says. 

“It influences how they live their lives and their appreciation for life and freedom. That’s what shapes you and gives you that sensitivity of heart. Anyone who grew up in South Africa, or even in the 60’s in America, has a deeper appreciation for life and for freedom. It shapes their lives completely. I feel like all of the stuff that we grew up with in South Africa has made me a better person.” Butler has toured the world with such acclaimed artists as Kirk Whalum, Dave Koz and Ruby Turner. He’s earned Grammy nominations and rave reviews in the jazz and R&B fields, but his gospel albums hold a special place in his heart. “It was always a desire that I had,” he says of recording gospel music, “but I never really wanted to do it just for the sake of it. I needed to know that God would release me to do it because it’s a ministry. It changes people’s lives and I wanted to be sure that the Lord would release me to it. I prayed about it for a long time. I waited and then when I got the confirmation, God began giving me these songs. I wrote ‘Falling In Love With Jesus’ and that opened the door for me to walk seamlessly into my ministry.” Music, ministry, faith and family are all woven joyfully together for Jonathan Butler. His daughter, Jodie, tours with him, sings background vocals on Grace and Mercy, and is an integral part of his ministry. “She is actually working on her own project right now,” the proud father says. “I’m going to be making time to help develop her record. She’s a great writer and she’s working on new songs.” Butler has a lot to smile about these days. His wife of 30 years survived her battle with cancer, and they enjoy spending time doting on their little granddaughter. “With this record I’m really addressing where the Butler family has been and what we have gone through in 2010 and 2011,” he says. “My inspiration is definitely my family. They support me. They love me and they encourage me. I’m very, very excited about this record. I can’t wait for people to and connect with it because I believe that God has a lot in store for me and I’m heeding the call and obeying God.” ~ DL Media https://news.allaboutjazz.com/jonathan-butler-releases-new-album-grace-and-mercy.php

Personnel: Producer, Arranged By, Guitar, Vocals – Jonathan Butler; Lyrics By – Jonathan Butler (tracks: 1 to 9, 11), Kurt Lykes (tracks: 1 to 6, 8); Backing Vocals – Jodie Butler (tracks: 1 to 5, 7 to 9), Kurt Lykes (tracks: 1 to 5, 7 to 9); Bass – Dan Lutz (tracks: 1 to 3, 5, 8, 9); Drums – Gordon Campbell  (tracks: 5, 8, 9); Keyboards – Kevin Teasley (tracks: 1, 5, 6, 8), Tracey Carter (tracks: 7); Piano, Organ – Kevin Teasley (tracks: 5)

Grace and Mercy

Friday, June 7, 2019

Eric Dolphy - The Essential Eric Dolphy

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:01
Size: 145,1 MB
Art: Front

(7:57)  1. G.W.
(5:11)  2. Les - Rudy Van Gelder Remaster
(6:40)  3. The Meetin'
(5:00)  4. Feathers
(2:43)  5. Eclipse
(8:42)  6. Ode To Charlie Parker
(8:01)  7. Mrs. Parker Of K.C. (Bird's Mother)
(9:53)  8. Ralph's New Blues
(8:50)  9. Status Seeking

This is strictly for the budget-conscious. It does have some valuable material, but no anthology can accurately assess Dolphy's importance. 
~ Ron Wynn https://www.allmusic.com/album/the-essential-eric-dolphy-mw0000198039

Personnel:  Alto Saxophone – Eric Dolphy; Bass – George Tucker; Drums – Roy Haynes; Piano – Jaki Byard; Trumpet – Freddie Hubbard

The Essential Eric Dolphy

Pauline London - Under The Rainbow

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 49:28
Size: 114,4 MB
Art: Front

(4:10)  1. In Black & White
(3:37)  2. Colors
(4:07)  3. Walkin On The Sand
(3:57)  4. I Still Miss You
(4:11)  5. Amor Para Sonhar
(4:31)  6. The Shadow Of Your Smile
(3:18)  7. Meu Amor Meu Coracao
(3:14)  8. Breakout
(3:14)  9. Moment Of Magic
(3:50) 10. Peace Is The Only Way
(3:28) 11. Change Partners
(3:56) 12. So I
(3:48) 13. Senza Fine

After the important international appraisal which resulted from her first album “Quiet Skies” (2004) Pauline is back with a new cd which tastes like Jazz, Nu-Jazz, Latin-Jazz with hints of authorial pop. Whereas the mentioned first album had an electronic-jazz stamp to it, “Under the Rainbow” represents an evolution towards more acoustic and orchestral sounds. The title of this works calls to one’s mind the famous standard, finding continuity between the important traditional Northern American music and her own personal stroke in composing and interpretation. Staying “under” the rainbow is a way of being in present times, here and now, enjoying the inspirations and creativity this multi-coloured spectrum can offer to us. Thanks to the rainbow we can find once more shades of light after a darker hour, we may regain life blood. This work hence represents continuity with the “musical colours” of “Quiet Skies”, but makes them turn out more maturely and homogeneously. A refined combination of acoustic and digital instruments are the central thread of this album. The whole of it is cleverly constructed by the arrangements here more essential and there cunningly architected  inspired by great Italian maestri Morricone, Trovaioli, Piccioni. This parcours is characterized by Pauline’s voice, which moves with adaptability from samba / bossa-nova inspirated atmospheres, towards more introspective and rarefied moments, passing by pop rock accents and sounds. The album’s thirteen songs unwind offering us original compositions, interpretation of a few standards and pop covers. Amongst unpublished pieces one catches sight of I still miss you with a latin-jazz taste, nostalgic tone, and its constant pitch modulating crescendo.Colors, bright and solar, towards an absorbing and dynamic up-tempo, recalls through composition and lyrics the feeling beheld by the album’s title, the rainbow inside and outside ourselves.”Amor para sonhar” owns the vivid mood of samba with bilingual portuguese and english lyrics. In Black and White represents a more introspective moment marked by an electro-swing style.”Walking on the sand” retro beat. “Meu amor meu curacao” is pure soft samba with a singing chorus to it. So I is an episode with a pushful rock impulse to it, recalling the tradition of Northern American songwriters. 

Peace (is the only way) this song also has a poppy essence to it, but with deep contents. It claims peace, as mentioned in the title, to be the only way. Moment of magic- soft rocking acoustic pace of rythm and strings. Pauline offers a tribute to authors and artists which are part of her background by choosing four “classical” songs each of their own kind. The famous The Shadow of your smile with orchestral interventions in Ennio Morricone’s style, Change Partner a piece in Brasilian style made famous by Sinatra, enriched here by the polyphonic arrangement of 4 guitars. Breakout, a song written by the “Swing Out Sister” which comes from the Anglosaxon 80s pop panorama, is revisited in a latin-samba key which keeps your feet moving. Senza Fine, an emblematic title, both for its last position in the track list, recalling a kind of ciclicity, continuity between an end and a new beginning, and for its celebrity in Italian traditional music. This three quarters is redone as a sophisticated nu-jazz standard Pauline London, singer, songwriter and composer, started performing live at the beginning of the 90s in numerous Italian and European jazz-clubs and festivals. Her versatility brings her to mix efficaciously different styles and sounds. She moves with ease amongst classic and modern standard jazz, proposes pop songs rearranged according to jazz style, and finally composes her original tracks which mix jazz, nu-jazz, latin-jazz, pop and rock suggestions together. Her influences cross from Latin American music through great jazz singers like Sarah Vaughan, Dinah Washington, Mel Tormé, Dianne Reeves, to reach refined and elegant pop such as that of artists like Sade, Seal, Noa, and nu-bossa tendencies similar to Bebel Gilberto. She is also a vocal improviser who reaps from traditional scat singing enriching it with phrasings which come from ethnic, rock and pop music. Her constant research and curiosity on different aspects of vocality also brings her to study extra-European musical systems (particularly, singing in Nothern India and Karnataka singing) as well as Italian popular music. Her first solo album is produced by Funky Juice Records in 2004. The “Quiet Skies” cd meets great appraisal at an international level and is licensed to Sony Columbia Japan. In 2008 she’s a guest at Nu Note Lounge Fest in Moscow. Pauline has worked with many different artists as songwriter and performer. In 2002 her voice features in Barrio Jazz Gang’s “Spectrum” CD, released in different European and extra- European countries among which Australia and Japan. In 2004 she is a guest vocalist on “My favorite Beats” album by Dynamic Four.In 2009 her voice features on some of the tracks of Barrio Jazz Gang’s new album “vol. 2” as well as her lyrics. https://www.funkyjuice.com/en/products/pauline-london-under-the-rainbow/

Under The Rainbow

Azar Lawrence Quartet - Speak The Word

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 47:38
Size: 109,9 MB
Art: Front

(6:30)  1. Revelations
(7:29)  2. L.A. Bosa
(6:17)  3. Luxury
(4:03)  4. You Make Me Feel Brand New
(5:49)  5. Speak The Word
(6:26)  6. Aisha
(6:07)  7. Vestida de Solea (Dressed In Solitude)
(4:54)  8. Vestida de Solea (Dressed In Solitude) Pt. 2

The comeback recording of Azar Lawrence in 2008, after many years away from the recording studio, bears mixed results. Playing the soprano saxophone in the main and a little tenor, Lawrence and his West Coast quartet play some of the vibrant modal jazz in which he staked his claim in the McCoy Tyner ensemble of the 1970s, remaining as a premier post-John Coltrane performer. There are commercial concessions and a Latin element that should not be totally unexpected for those who remember his previous efforts 30 years prior, making the recording as a whole uneven and in a way inconsistent. While his personal sound is fairly enjoyable, pushing the limits of his horn only slightly, it sounds as if Lawrence is again searching for his perfect muse. On "Revelations" there's no real melody line, just pure feeling in a modal, loping 3/4 time signature, while "L.A. Bosa" (spelled incorrectly?) has a Brazilian element sidled with a simple singsong style. "Speak the Word" is the signature piece for Lawrence and his ensemble, as modality is mixed with hard bop and a Middle Eastern flair. Pianist Nate Morgan, a veteran of modern California-based jazz and commercial funk (remember him in Rufus with Chaka Khan?) stands out as an inventive and lyrical player based in Tyner's precepts, but also steeped in the lore of Thelonious Monk and mentor Horace Tapscott. 

He plays the prettiest during Tyner's "Aisha," buoying the fluid tenor sax of Lawrence on a 6/8 to 4/4 ballad for the ages. Veering into the slow pop arena, "You Make Me Feel Brand New" and the less obvious "Luxury" seem like unnecessary filler. Then there's the two-part "Vestida de Solea," replete with handclaps, acoustic guitar, and Spanish vocals from Cristobal Osorio in a flamenco stew of rich proportions that suggests a possible new direction for Lawrence but not fully realized here. It seems Lawrence is only scratching the surface with this hasty pudding of a recording, but there's so much potential to be realized, and should be in any follow-up project. ~ Michael G.Nastos https://www.allmusic.com/album/speak-the-word-mw0000809749

Personnel: Azar Lawrence: tenor and soprano saxophones; Nate Morgan: piano; Trevor Ware: bass; Fritz Wise: drums.

Speak The Word

Harold Land - Eastward Ho: Harold Land in New York

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 38:22
Size: 88,3 MB
Art: Front

( 6:00)  1. So in Love
( 5:46)  2. Triple Trouble
( 7:02)  3. Slowly
( 7:08)  4. On a Little Street in Singapore
(12:25)  5. Okay Blues

Tenor saxophonist Harold Land and trumpeter Kenny Dorham make for a potent front line on this CD reissue, a superior hard bop set. With an obscure and quietly boppish rhythm section (pianist Amos Trice, bassist Clarence Jones, and drummer Joe Peters) giving suitable backup, Land and Dorham stretch out on five selections, most notably Cole Porter's "So in Love," "On a Little Street in Singapore," and Land's "O.K. Blues," which was dedicated to producer Orrin Keepnews. A fine effort that serves as a strong example of Harold Land's early work. ~ Scott Yanow https://www.allmusic.com/album/eastward-ho%21-harold-land-in-new-york-mw0000691038

Personnel: Tenor Saxophone – Harold Land;  Bass – Clarence Jones;  Drums – Joe Peters; Piano – Amos Trice; Trumpet – Kenny Dorham

Eastward Ho: Harold Land in New York

Thursday, June 6, 2019

Roy Hargrove - Nothing Serious

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 44:54
Size: 103,6 MB
Art: Front

(3:52)  1. Nothing Serious
(5:27)  2. A Day In Vienna
(5:25)  3. Trust
(4:59)  4. Camaraderie
(5:31)  5. Devil Eyes
(5:52)  6. The Gift
(6:52)  7. Salima's Dance
(6:53)  8. Invitation

Despite the nonchalance of its title, Nothing Serious may be Roy Hargrove's best disc yet. The first working band outing by the genre-leaping trumpeter since 1993's Of Kindred Souls features a cohesive quintet with alto saxophonist Justin Robinson, pianist Ronnie Mathews, bassist Dwayne Burno and drummer Willie Jones III, augmented on three selections by special guest trombonist Slide Hampton. The opening title track, composed by Venezuelan guitarist Leo Quintero, is a melodious Latin jazz tour de force with powerful solos by the always lyrical Hargrove, along with Robinson (employing a thick, convincing Dolphyesque tone) and the veteran Mathews, whose mastery of the Afro-Cuban idiom pushes the music to its highest level, particularly during his montuno section, where the horns riff and Jones thrashes with inspired abandon. Hampton joins the band for his "A Day In Vienna first recorded with Dexter Gordon a straight-ahead cooker with a harmonic richness reminiscent of Horace Silver. Hargrove's "Trust is an evocative ballad constructed of long legato lines and warm harmonies, with stirring solos by Burno, Robinson (flute) and the composer (flugelhorn). "Camaraderie, a second Hargrove original, opens ominously with a dissonant free-form introduction featuring a trumpet-saxophone dialogue over drums, before resolving into a hot boppish blowing section. Burno's "Devil Eyes, a genuinely innovative, daring reharmonization of the standard chord changes to "Angel Eyes framed with a vamp that recalls the introduction to Stevie Wonder's "Too High, inspires exciting solos by Robinson, Hargrove and Jones. "The Gift is an attractive line by Hargrove which abounds with beauty and drama, eliciting passionate playing from each of the group's members. Mathews' potent "Salima's Dance, first recorded by the pianist back in the late '70s, is more than worthy of revival. Hargrove lets loose on this modal composition with his most incendiary solo of the date, followed by Robinson, Hampton and the composer, each one equally electrifying. A series of exchanges with Jones and a collective improvisation by the horns drive the music to a compelling climax. A swinging sextet version of "Invitation closes this satisfying session, which may not seem very "serious" compared to today's many staid and sober recordings seeking the status of classical music. But it is certainly significant in its earnest documentation of a great set of joyous jazz. ~ Russ Musto https://www.allaboutjazz.com/nothing-serious-roy-hargrove-verve-music-group-review-by-russ-musto.php

Personnel: Roy Hargrove: trumpet, flugelhorn; Justin Robinson: alto saxophone, flute; Slide Hampton: trombone; Ronnie Matthews: piano; Dwayne Burno: bass; Willie Jones III: drums.

Nothing Serious

Jimmy Greene - Gifts And Givers

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 63:44
Size: 146,9 MB
Art: Front

( 9:26)  1. Mr. McClean
( 7:37)  2. Greene Blues
( 8:49)  3. Forever
(10:10)  4. Magnolia Triangle
( 8:07)  5. 26-2
(10:18)  6. Blue Bossa/Boudreaux
( 9:14)  7. Eternal Triangle

It's probably time to cast aside labels like "up-and-coming" and "rising star" when describing Jimmy Greene. As Gifts and Givers makes clear, the Connecticut-born tenor saxophonist has definitely arrived. An inventive, technically-advanced mainstreamer, Greene made his mark in the bands of Horace Silver, Tom Harrell and Harry Connick Jr., as well as with younger studs like Jason Lindner and Avishai Cohen. On his fifth effort as a leader, he's paired with another young tenor titan, Marcus Strickland. The two saxophonists prove themselves a like-minded and well-matched pair as they lead an explosive rhythm section the superb drummer Eric Harland, bassist Reuben Rogers, guitarist Mike Moreno and promising young pianist Danny Grissett (now he is a "rising star") through a set of compelling originals and nicely varied standards, including John Coltrane's harmonically complex "26-2," New Orleans legend James Black's intricate "Magnolia Triangle" and Kenny Dorham's "Blue Bossa" (with Greene doubling on soprano sax). While they mostly steer away from the sort of twin-tenor battle popularized by Sonny Stitt and Gene Ammons, Greene and Strickland do get into some high-octane, old school jamming, notably on Stitt's bebop chestnut, "Eternal Triangle." 

The opening "Mr. McLean" is a rousing tribute to Greene's mentor, the great alto saxophonist Jackie McLean, with the two tenors expertly capturing McLean's intensity and unique inside-outside sensibility. All in all, it's an impressive outing that should help solidify Greene's reputation as one of the better tenor saxophonists of his generation. 
~ Joel Roberts https://www.allaboutjazz.com/gifts-and-givers-jimmy-greene-criss-cross-review-by-joel-roberts.php

Personnel: Jimmy Greene: tenor and soprano saxophones; Marcus Strickland: tenor saxophone; Mike Moreno: guitar; Danny Grissett: piano; Reuben Rogers: bass; Eric Harland: drums.

Gifts And Givers

Nicholas Payton - Textures

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 43:59
Size: 102,1 MB
Art: Front

(4:55)  1. Smooth
(5:09)  2. Sticky
(4:14)  3. Silky
(6:33)  4. Fuzzy
(5:16)  5. Hard
(4:04)  6. Wet
(3:56)  7. Rough
(2:56)  8. Greasy
(6:52)  9. Soft

All great art has a rhythm. Movement. A Pulse. Painting, Music, Dance, Martial Arts, Architecture, Sports. They all have, at their core, a rhythmic undertow. The strokes of a paint brush have a rhythm. They create patterns, lines, curves, shapes, forms, and ultimately a rhythmic flow. They create movement. Their movement create a feeling. Colors also create a rhythm. They make your eyes move from one component to another. They allow your mind to travel. To think. Ultimately a story is told. A feeling is created. A visual beat penetrates one’s mind and soul.What happens when master artist Nicholas Payton is a part of the artistic process of painter Anastasia Pelias? Textures is born. As Nicholas told me, “They are off the cuff tracks done in real time with an artist who paints.”  Nicholas takes the strokes of Anastasia’s brush and mirrors them with a beat. The visual beat becomes an aural beat. A pulse. A movement. The colors become harmonies. The strokes become rhythmic shifts. The two become synonymous with each other. As a listener, you find your own meaning. Every time you listen, a new layer of the story is unveiled. You start to get lost in the music. Have you ever just sat and watched the ocean? At first you see the sand, beach, and waves. Then, as your mind drifts, you start to see beyond the ocean.  You think about the depth of the ocean and its beauty. As the waves crash, one also begins to think of the past, present and future. No wave crashes the same place, or way, twice, yet each is perfect. Each has been here before, but returns in a whole new way.  It is brought to shore as it should.

It flows perfectly, yet is never quite predictable. Each wave has its own direction, and its own identity. Textures does the same. You look out into the horizon and see where the sky meets the water. You begin to reflect on the beauty in the world. This is Textures. Movement of a rhythmic undertow (ocean/waves), with harmony and colors on top (the sky and world). Textures is a master work of art. Created by a master artist. In this case Nicholas Payton uses an instrument he has yet to use on record. As he told me “I set up my keyboard and laptop and Anastasia has a blank canvas and we create a new work in real time.” Nicholas’ instrument here may appear to be a keyboard and laptop at first. But ultimately, his instrument is his mind and soul. Textures flows with perfect clarity, yet takes direction in ways one would not expect. The harmonies take shape in only the way Nicholas’ mind can.  The three basic elements of the mind intellect, feeling, and will are displayed as Nicholas searches from within, and let’s the music pour out of his body, and into our ears.  But once it hits our ears, we too, need to let it penetrate our hearts and soul, so that we can find ourselves. We can create our own work of art in our own mind. Textures exudes compassion. It is radiating with boundless light and compassion. It makes you reflect within to find peace and love. Begin to let the music enter your body. It is music to relax and think to, music to reflect on, and music to dance to. Textures, like an any great art, is drenched with rhythm. It has movement. A Pulse. Listen, as I did, over and over again. Find new meaning each time you listen. Find your own rhythm. https://nicholaspayton.wordpress.com/2016/06/26/textures/

Textures

Lee Konitz - Pride

Styles: Saxophone Jazz 
Year: 2000
File: MP3@320K/s
Time: 67:34
Size: 155,5 MB
Art: Front

( 4:49)  1. Monkian' around
( 6:58)  2. Triste
( 7:04)  3. Come rain or come shine
(13:39)  4. Stellar
( 8:13)  5. Gundula
(11:54)  6. Once I had a secret love
( 8:04)  7. Lover man
( 6:50)  8. Zingaro

Throughout his career, altoist Lee Konitz has always had his ears open and been a musically curious improviser. His brand of relaxed freedom, tied to chordal improvisation but much freer than the usual beboppers, and his cool and distinctive sound have made him a jazz giant for decades. For this set, Konitz is teamed with three musicians (pianist/organist George Colligan, bassist Doug Weiss, and drummer Darren Beckett) with whom he had never played before. However, the combination work well on five standards and three Konitz songs. 

The music always swings, the rhythm section is supportive, and Konitz is as inventive as always. This is also one of the few sessions in which the altoist (on a few cuts) is backed by organ. ~ Scott Yanow https://www.allmusic.com/album/pride-mw0000966063

Personnel: Lee Konitz – alto saxophone; George Colligan – piano, organ; Doug Weiss – bass; Darren Beckett – drums

Pride

Sylvia Vrethammar & Her Killer-Band - On Invitation Only

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 57:16
Size: 131,9 MB
Art: Front

( 2:15)  1. Just One of Those Things
( 3:52)  2. Só Danço Samba
( 3:50)  3. Moonlight
(13:09)  4. The World Is Calling
( 3:11)  5. Samba for Vinicius (Samba Pra Vinicius)
( 4:57)  6. Champagne, Champagne
( 4:37)  7. That's the Way of the World
( 4:33)  8. There Will Never Be Another You
( 3:35)  9. Eu Sei Que Vou Te Amar
( 3:11) 10. Immer die Boys
( 5:36) 11. The Girl from Ipanema (Garôta De Ipanema)
( 4:25) 12. The Samba in Me

Sylvia Vrethammar ( Uddevalla , 22 of August of 1945 ) is a Swedish singer . In 1974, its original English version of the mega-hit Y Viva España reached the top of the English charts, selling more than 1 million copies and remaining for 39 consecutive weeks on the charts, leading to an entry in the Guinness Book of Records . In 1985, he recorded the album Rio de Janeiro Blue in Brazil, rewriting some songs by Brazilian artists, among them, Luiz Gonzaga's The Chero Da Carolina , Que Bonito É , by Luís Bandeira and Antes Que Seja Tarde , by Ivan Lins. https://pt.wikipedia.org/wiki/Sylvia_Vrethammar

On Invitation Only