Pete Escovedo - E Music

Styles: Latin Jazz
Year: 2000
File: MP3@320K/s
Time: 49:41
Size: 114,5 MB
Art: Front

(4:29)  1. Mis Amigos
(5:07)  2. Si Te Contara
(5:46)  3. La Samba
(4:05)  4. Praise And Worship
(5:41)  5. Te Vas
(5:08)  6. Ah Bailar Cha Cha Cha
(5:45)  7. Setembro
(4:36)  8. E Street Mambo
(5:32)  9. Miles Away
(3:28) 10. Escolandia

A “tipico” album of smooth jazz and Salsa, Pete Escovedo’s 5th Concord release is reminiscent of Tito Puente’s popular appeal. Mambo, guajira, cha cha cha, bolero and samba provide the listener a romantic evening with gentle, flowing motion. Escovedo’s heartfelt vocals, sensitive guest instrumentalists and his family’s rhythmic, percussive accompaniments drive the session. Son Peter Michael, daughters Sheila & Zina, and wife Juanita help balance the latest family project. Since the early 1950s, family has influenced Escovedo’s professional music choices. His brothers played guitar, sang, and shared a professional interest in Latin percussion. Pete and his brother, Thomas “Coke” Escovedo, performed with Carlos Santana for quite some time before forming their own 14-piece jazz-influenced band, Azteca. Singing with a light, expressive tenor voice and entertaining with timbales & congas, Escovedo evokes romantic scenes through song. Soloists Justo Almario, Ray Vega, Ramon Flores, Art Velasco, Francisco Torres, George Duke and Joe Rotundi lend creative energy and passion. The fiery, Afro-Cuban “Escolandia” lends a traditional touch. And just in time for Mardi Gras, Almario’s soprano sax feature on “La Samba” seems to ooze the sun’s warmth amid a chorus of lovely wordless vocals. It’s a love fest for Valentine’s Day, appropriately caressed by such familiar phrases as “Bueno, mi famlia” and “Yo te quiero mucho.” ~ Jim Santella https://www.allaboutjazz.com/e-music-pete-escovedo-concord-music-group-review-by-jim-santella.php

Personnel: Pete Escovedo- timbales, lead vocals, bongos, congas, cowbell, percussion; Sheila E.- vocals, drums, percussion, congas, guiro, bell; Peter Michael Escovedo- drums, vocals, congas, percussion; Juanita Escovedo- guiro, percussion; Zina Escovedo- vocals, percussion; Joe Rotundi, George Duke- piano; Renato Neto- keyboards; Oskar Cartaya- electric bass; Mike Shapiro- drums; Ray Obiedo- guitar; Justo Almario- flute, soprano saxophone, tenor saxophone; Ramon Flores, Daniel Fernero, Harry Kim- trumpet; Ray Vega- trumpet, flugelhorn; Arturo Velasco, Francisco Torres- trombone; Mirley

E Music

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Tito Puente - Dancemania'99: Live at Birdland

Styles: Latin Jazz
Year: 1998
File: MP3@320K/s
Time: 75:03
Size: 173,3 MB
Art: Front

( 1:11)  1. Lullaby of Birdland
( 8:34)  2. Mambo Inn
( 8:34)  3. Cayuco
( 6:40)  4. Complicacion
( 7:45)  5. Mambo En Blues
( 8:31)  6. Babarabatiri
(10:48)  7. Donde Vas
( 6:54)  8. Flauta Y Timbal
( 7:54)  9. Mas Rajo
( 8:06) 10. Cua Cua

Although it doesn't rank with Tito Puente's best live records, Dancemania '99: Live at Birdland is still a dynamic listen. The bandleader runs through his best and most popular mambos, and even if the music isn't among his richest, it's still thoroughly entertaining and worth the time of any of Puente's aficionados. ~ Terry Jenkins https://www.allmusic.com/album/dancemania-99-live-at-birdland-mw0000041364

Personnel:   Percussion, Chorus – Tito Puente;  Bass – Carlos Henriquez, Ruben Rodriguez; Bongos – John Rodriguez; Chorus – Joe King ; Congas – Jose Madera; Flute – Dave Valentin; Piano, Chorus – Sonny Bravo; Saxophone [Alto] – Bobby Porcelli, Peter Yellin; Saxophone [Baritone] – Mitchell Frohman ; Saxophone [Tenor] – Mario Rivera ; Trombone – Juan Pablo Torres, Kevin D. Bryan, Lewis Kahn, Reynaldo Jorge; Trumpet – Hector Colon, John Walsh, Raymond Vega, Thomas Lopez; Vocals – Frankie Morales

Dancemania'99: Live at Birdland

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Eddy Howard - The Best of Eddy Howard: The Mercury Years

Styles: Easy Listening
Year: 1996
File: MP3@320K/s
Time: 69:00
Size: 160,7 MB
Art: Front

(3:04)  1. To Each His Own
(2:39)  2. The Rickety Rickshaw Man
(3:11)  3. (I Love You) for Sentimental Reasons
(2:57)  4. The Girl that I Marry
(2:56)  5. My Adobe Hacienda
(3:00)  6. Heartaches
(3:02)  7. I Wonder, I Wonder, I Wonder
(3:10)  8. Ragtime Cowboy Joe
(2:31)  9. Kate (Have I Come Too Early Too Late)
(2:45) 10. Now Is The Hour
(2:52) 11. On A Slow Boat To China
(2:38) 12. Room Full of Roses
(2:55) 13. Maybe It's Because
(2:47) 14. To Think You've Chosen Me
(2:48) 15. Sin (It's No Sin)
(2:57) 16. Be Anything (But Be Mine)
(2:42) 17. Auf Wiedersehn Sweetheart
(2:37) 18. A Penny A Kiss
(2:35) 19. Mademoiselle
(2:19) 20. Gomen Nasai (Forgive Me)
(2:08) 21. Till We Two Are One
(2:41) 22. Melancholy Me
(2:51) 23. The Anniversary Waltz
(2:10) 24. Happy Birthday
(2:36) 25. Careless

The Best of the Mercury Years contains 25 of Eddy Howard's biggest hits and best-known songs, including "Room Full of Roses" and "Sin (It's No Sin)." All of the material on this single-disc compilation was culled from Howard's Mercury and Majestic recordings, and it offers a good introduction to the bandleader's mainstream, dance-oriented traditional pop. ~ Rodney Batdorf https://www.allmusic.com/album/the-best-of-eddy-howard-the-mercury-years-mw0000649011

The Best of Eddy Howard: The Mercury Years

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Bill Allred's Classic Jazz Band - 2 the Max

Styles: Trombone Jazz
Year: 2004
File: MP3@320K/s
Time: 71:49
Size: 167,2 MB
Art: Front

(3:22)  1. Matty's Royal Garden Blues
(3:41)  2. Song of India
(3:12)  3. Jumpin' at the Woodside
(3:37)  4. New Orleans
(3:32)  5. April in Paris
(4:50)  6. Blue Skies
(4:17)  7. Late Date
(5:21)  8. Makin' Whoopee
(5:27)  9. The Mooch
(6:18) 10. Skyliner
(4:14) 11. You Took Advantage of Me
(4:22) 12. Singin' the Blues
(2:58) 13. The Kid From Burbank (Redbank)
(4:34) 14. I Cover the Waterfront
(3:56) 15. Davenport Blues
(5:05) 16. The Battle Hymn of the Republic
(2:55) 17. America the Beautiful

A solid Dixieland trombonist who is a fixture at classic jazz festivals, Bill Allred started playing in bands while in high school. He worked locally with the Dixie Lads, the Davenport Jazz Band, and the Reedy Creek Jazz Band. In 1971, he settled in Florida and has often played at Disney World. Allred, who toured with Wild Bill Davison, has recorded as a leader for several small labels (including Fat Cat's Jazz, World Jazz, and in 1995 for Nagel-Heyer), and his son, John Allred (who plays in a similar style and sometimes teams up with his father), had a quartet date for Arbors in 1993. ~ Scott Yanow https://www.allmusic.com/artist/bill-allred-mn0000067864

2 the Max

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Carla Helmbrecht - One For My Baby

Styles: Vocal 
Year: 1994
File: MP3@320K/s
Time: 61:14
Size: 141,7 MB
Art: Front

(5:57)  1. It Never Entered My Mind
(4:36)  2. Mood Indigo
(3:30)  3. Dream A Little Dream Of Me
(5:48)  4. Love For Sale
(6:23)  5. One For My Baby
(4:56)  6. Where Do You Start?
(2:52)  7. Just In Time
(8:10)  8. Spring Can Really Hang You Up The Most
(4:29)  9. Moonlight In Vermont
(4:50) 10. Song To A Seagull
(5:06) 11. Sweet Angel
(4:32) 12. Fly Me To The Moon

Carla Helmbrecht, a new name, starts off her set quite successfully with one of the saddest ballads ever written, Rodgers And Hart's "It Never Entered My Mind." After pulling that one off, the highly appealing singer gradually lightens up the mood with "Mood Indigo" and "Dream a Little Dream of Me" before successfully plunging into "Love for Sale," a song with Cole Porter lyrics that still sounds modern and a touch scary today. Helmbrecht does not improvise all that much and her scatting is mostly worked out in advance but her expressive powers are quite high and she is at her best on ballads. Her octet includes pianist Frank Mantooth, Kim Richmond on alto and clarinet, trumpeter Clay Jenkins and trombonist Chris Seiter; they all get opportunites to solo. Helmbrecht closes down her memorable program with a funky version of "Moonlight in Vermont" and a salsified "Fly Me to the Moon." ~ Scott Yanow https://www.allmusic.com/album/one-for-my-baby-mw0000648236

Personnel:  Vocals – Carla Helmbrecht; Alto Saxophone – Kim Richmond; Clarinet – Kim Richmond; Drums – Steve Meador; Flugelhorn – Clay Jenkins; Piano – Frank Mantooth; Trombone – Chris Seiter; Trumpet – Clay Jenkins

One For My Baby

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Rachel Z - I Will Possess Your Heart

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 63:57
Size: 147,0 MB
Art: Front

(5:14)  1. There Is a Light That Never Goes Out
(6:18)  2. Angry Chair
(5:57)  3. Lost!
(5:36)  4. Prelude to a Kiss
(7:56)  5. In Your Room
(7:03)  6. I Will Possess Your Heart
(6:51)  7. Heart of Gold
(5:47)  8. Det Tar Tid
(6:28)  9. Sour Girl
(6:43) 10. When You Were Young

Over the latter half of the '90s, pianist/keyboardist Rachel Z blossomed into one of the top female performers in contemporary mainstream jazz. Because of her work in fusion and jazz-pop, she hasn't always enjoyed universally high critical regard, but it's clear that commercial accessibility doesn't constitute the full breadth of her ambition. Plus, the more she came into her own as a solo artist, the more committed she became to spotlighting and collaborating with other female jazz players. Rachel Z was born Rachel Nicolazzo in Manhattan; her mother was an opera singer, and so Rachel began voice training at the mere age of two, adding classical piano lessons at seven. At 15, she began playing in a Steely Dan cover band, and discovered jazz when she heard Miles Davis' Miles Smiles while attending a summer program at Boston's Berklee School of Music. Upon returning to Manhattan, she formed her own quintet, Nardis; she later graduated from the New England Conservatory of Music, where she studied with Joanne Brackeen, and gigged with several prominent artists in the Boston area, including George Garzone, Miroslav Vitous, and Bob Moses. She returned to Manhattan once again in 1988, first touring with Conservatory classmate Najee and then joining the fusion group Steps Ahead. Drawn to fusion because that was where the gigs were, Nicolazzo also played with Al DiMeola (Kiss My Axe), Larry Coryell, Special EFX, and Angela Bofill during this period, and also collaborated with Najee on 1990's big-selling smooth jazz hit Tokyo Blue, co-writing the title track and playing on the supporting tour. It was Steps Ahead leader/vibraphonist Mike Mainieri who suggested Nicolazzo change her name to Rachel Z, which was simply easier to spell. In 1993, a year after she debuted with Steps Ahead on Yin-Yang, Mainieri produced Rachel Z's first album as a leader, Trust the Universe. Released on Columbia, it displayed the influence of Herbie Hancock and Chick Corea, and also spawned a smooth jazz radio hit in "Nardis." In 1994, she began collaborating heavily with saxophone legend Wayne Shorter on his Verve debut and comeback effort, High Life, orchestrating his compositions (mostly on synth) and adding her own synthesizer and piano work. Released in 1995, the results were a commercial and (for the most part) critical success, winning a Grammy for Best Contemporary Jazz Album. 

After serving as musical director on the supporting tour, Z officially left Steps Ahead and signed with Mainieri's NYC label as a solo artist. Her label debut, A Room of One's Own, was a series of compositions dedicated to the female artists (in all fields) who'd inspired her. Appropriately, her backing group which featured, among others, her regular trio of the time in bassist Tracy Wormworth and drummer Cindy Blackman was heavily weighted toward female musicians. Released in 1996, the accessible acoustic jazz of A Room of One's Own was generally well-reviewed. For her next project, Z signed with GRP and cut a hip-hop-flavored smooth jazz outing dubbed Love Is the Power, which was informed by her recent divorce and released in 1998. The following year, she participated in the fusion supergroup Vertú with former Return to Forever rhythm section Stanley Clarke and Lenny White, and subsequently returned to acoustic jazz with her next album for Tone Center. On the Milkyway Express: A Tribute to the Music of Wayne Shorter featured her young new trio of bassist Miriam Sullivan and drummer Allison Miller, with whom she'd been playing for several years and now made her primary group. Additionally, she and Sullivan began playing together in a rock-oriented outfit called Peacebox. Although her own career was going quite well, an invitation from Peter Gabriel to perform on his 20 city U.S. tour in 2002 was too much to resist. She found herself going on the road at the same time her newest solo album, Moon at the Window, was arriving in stores. A disc of Joni Mitchell covers and interpretations, the album was very personal to Rachel, but the chance to work with Gabriel was one of the few reasons she would purposefully not tour behind her own record. ~ Steve Huey https://www.allmusic.com/artist/rachel-z-mn0000380614/biography

Personnel:  Rachel Z (piano); Maeve Royce (bass); Omar Hakim (drums); Marcus Gilmore (drums)

I Will Possess Your Heart

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Tony Martin - The Best of Tony Martin: The Mercury Years

Styles: Vocal, Easy Listening 
Year: 1996
File: MP3@320K/s
Time: 76:51
Size: 178,3 MB
Art: Front

(3:09)  1. To Each His Own
(3:11)  2. I Don't Know Why
(3:04)  3. A Gal In Calico
(3:03)  4. Dreamland Rendezuous
(3:16)  5. I'll See You In My Dreams
(3:04)  6. Without You
(3:10)  7. And Then It's Heaven
(3:15)  8. Guilty
(3:04)  9. Rumors Are Flying
(2:45) 10. As You Desire Me
(2:49) 11. I Never Loved Anyone
(3:12) 12. I Miss That Feeling
(3:07) 13. Sonata
(3:08) 14. If I Love Again
(3:06) 15. Years And Years Ago
(2:51) 16. I Kiss Your Hand, Madame
(3:13) 17. Stardust
(3:07) 18. Dreams Are A Dime A Dozen
(2:59) 19. Make Believe
(3:12) 20. All The Things You Are
(3:07) 21. Would You Believe Me
(2:28) 22. That Old Black Magic
(3:03) 23. Body & Soul
(3:07) 24. Tea For Two
(3:10) 25. As Time Goes By

The Best of the Mercury Years is a 25-track collection of Tony Martin's recordings for Mercury. The compilation contains every track Martin recorded for Mercury, including his hit "To Each His Own," making it the definitive retrospective of his tenure at the label. Even though the collection is complete and lovingly produced, it's concentration on one particular portion of his career makes The Best of the Mercury Years an adequete, but not perfect, introduction. ~ Thomas Erlewine https://www.allmusic.com/album/the-best-of-tony-martin-the-mercury-years-mw0000649014

The Best of Tony Martin: The Mercury Years

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Harold Danko, Kirk Knuffke - Play Date

Styles: Piano And Cornet Jazz 
Year: 2019
File: MP3@320K/s
Time: 64:02
Size: 148,2 MB
Art: Front

(4:58)  1. Flight to Denmark (Take 1)
(2:26)  2. Openepo
(8:17)  3. Misty Thursday
(2:36)  4. Marmot's Muse
(4:43)  5. Stonewall Blues
(4:22)  6. Chance and Choice
(3:54)  7. Flight to Denmark (Take 2)
(2:40)  8. Lanota
(4:38)  9. Wut'less
(2:30) 10. Keko
(6:35) 11. Undecided Lady
(3:47) 12. No Score
(6:26) 13. Layout Blues
(2:55) 14. The Aleators
(3:09) 15. Flight to Denmark (Take 3)

A really beautiful little record one that continues the best recent Steeplechase modes of both of the musicians the tribute recordings of pianist Harold Danko, and the use of the cornet of Kirk Knuffke in very intimate, special sorts of settings! The tribute in this case is Duke Jordan whose music comprises half of the set, and is then balanced by co-creations by Danko and Knuffke the sorts of tunes that are perfect for the meeting of these two very distinct instrumentalists, especially Kirk whose way of phrasing the cornet really seems to bring out all these different sides and shapes that we're not sure we've ever heard in Harold's music before. The set features three very distinct takes on "Fight To Denmark", plus "Openepo", "Marmot's Muse", "Misty Thursday", "Wutless", "The Aleators", "Layout Blues", "Keko", and "Undecided Lady".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/914985

Personnel:  Piano – Harold Danko;  Cornet – Kirk Knuffke

Play Date

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Pepper Adams, Donald Byrd - Motor City Scene

Styles: Saxophone And Trumpet Jazz
Year: 1961/2013
File: MP3@320K/s
Time: 42:46
Size: 98,4 MB
Art: Front

(10:12)  1. Stardust
(10:42)  2. Philson
( 8:03)  3. Trio
( 8:34)  4. Libeccio
( 5:12)  5. Bitty Ditty

A reissue of a session originally released in 1961, Motor City Scene is an excellent example of the wealth of talent in the Detroit area during the 40s, 50s, and 60s. Co-led by trumpeter Donald Byrd and baritone saxophonist Pepper Adams, the cast includes a veritable who’s who of jazzmen on their respective instruments: pianist Tommy Flanagan, guitarist Kenny Burrell, bassist Paul Chambers, and the drums of Louis Hayes. The opening cut, Hoagy Carmichael’s ballad “Star Dust,” is music to get lost in. With Adams and Burrell laying out, we’re treated to Byrd’s majestic tone, reverence for the song’s melody, and exquisite sense of drama. Not to be outdone, Flanagan makes a lovely statement of his own before Byrd enters for a second solo and takes the tune out. Adams shines on his own composition “Philson,” when he begins lazily and then develops lines with his customary bite and precision. Chambers’ rock solid walking bass and Hayes’ crackling snare drum accents ignite an up-tempo version of Errol Garner’s “Trio,” in which Burrell takes three striking choruses of single note lines. The highlight of the session is another Adams’ tune, “Libeccio.” The alternating Latin and straight jazz sections seem to bring out the best in all of the soloists who are clearly inspired by Hayes’ fills. The session ends with “Bitty Ditty,” a memorable composition by another Detroit area jazzman, Thad Jones, which features some of Flanagan’s best playing on the date. The five cuts and (by today’s standards) short playing time of Motor City Scene left me wanting more.~ David A.Orthmann https://www.allaboutjazz.com/motor-city-scene-donald-byrd-rhino-records-review-by-david-a-orthmann.php?width=1920

Personnel: Trumpet – Donald Byrd; Saxophone – Pepper Adams; Drums – "Hey" Lewis;  Bass – Paul Chambers ; Guitar – Kenny Burrell; Piano – Tommy Flanagan

Motor City Scene

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James Williams, Emil Viklický - Together

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 44:11
Size: 102,5 MB
Art: Front

(5:58)  1. For My Nephews
(4:13)  2. One For J. W.
(6:29)  3. Blue In Dark-Green
(4:23)  4. You'D Be So Nice To Come Home To
(7:52)  5. Double Play
(4:44)  6. Softly, As In A Morning Sunrise
(5:53)  7. 1977 A. D.
(4:37)  8. Rhythm-a-Ning

This is one of the more unusual records in the sizable discography of James Williams; it is a 1981 duo piano session with Czech pianist Emil Viklicky, issued by the Supraphon label in Czechoslovakia. Viklicky became familiar with Williams' work during a visit to the U.S. in 1978 and later studied at Berklee, though after Williams had already left the faculty to work as a member of Art Blakey's Jazz Messengers. By the time of their 1981 meeting in the studio in Prague, each musician brought compelling originals to the session, as well as seeking to find new ground in time-tested standards and classic jazz compositions. Williams' intriguing jazz waltz "For My Nephews" proves to be a strong opener. Viklicky's driving bop tribute "One for J.W." also works extremely well. 

Cole Porter's "You'd Be So Nice to Come Home To" is tackled at a brisk tempo with a bossa nova undercurrent. The pianists devour Thelonious Monk's "Rhythm-A-Ning" with a playful interpretation. Whether or not this excellent record is still available in the Czech Republic, it is unlikely to be easy to find elsewhere.~ Ken Dryden https://www.allmusic.com/album/together-mw0000992579

Personnel:  Piano – Emil Viklicky, James Williams

Together

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Jon Gordon - Evolution

Styles: Saxophone Jazz
Year: 2009
Time: 63:48
Size: 103,2 MB
Art: Front

( 1:31)  1. Prelude (Grace)
( 9:16)  2. Evolution
( 7:56)  3. Shane
( 9:23)  4. Currents
(10:02)  5. Bloom
( 6:21)  6. One for Liam
( 2:55)  7. Contemplation
( 7:40)  8. Veil
( 8:40)  9. Individuation

Evolution, from saxophonist and composer, Jon Gordon, is a fine record. It sparkles with mature ideas, unbridled creativity, and soul-searching profundity. There is also polished musicianship throughout. This is where the special quality of the music of this record lies that it is not just built on an ediface of ideas suggested by its title, but on the superb development and delivery of these through an extravagantly aural suite. To that extent this work is not unlike some others including the John Hollenbeck Large Ensemble Eternal Interlude (Sunnyside Records, 2009) or even George Russell much earlier, African Game (Blue Note, 1986), albeit on a relatively smaller scale. Essentially, though, like those other landmark recordings, this one too is a kind of "Book of Ways." Its composer and musicians posit that the only constant in life is change. Although almost completely composed throughout, the music, is largely played in an idiom best suited deliver such a message jazz. As it progresses the music spins interminably and even elastically turning over harmonically several times before it concludes in an explosive crescendo. That instruments, specifically the three sets of strings, usually associated with chamber music are added on some tracks in no way interferes with the inherent swing of the performance. The start of the record is spiritual:

"Prelude" is subtitled "Grace." This short overture is somber, sways gently, proferring balance for "Evolution," which follows immediately. The strings continue to provide occasional accents to this piece, central to the whole record. The music undulates with contrapuntal, inward looking sections. Gordon's alto saxophone solo emerges about 2m 48s into the piece, from behind a bleating bass clarinet, moaning trombone, and ponderous strings. Navigating peaks and troughs in expressive harmonics about 2 minutes later in a stark fading note, Gordon hands over to pianist, Sean Wayland who makes sparkling runs and arpeggios, developing the evolution until the ensemble returns toward the end, to leave the piece somewhat hanging on a minor chord, with good reason. "Currents," "Bloom," "Contemplation," and "Veil" are all thematically and sonically connected individual works. It is still all about change, and the score continues to be somber, stiriring and yet radiant. A certain kinetic energy emboldens the music throughout. Though evenly expressed the ensemble does leave ample room for a "breakout" of sorts. "Currents" features a splendid trombone solo by Alan Ferber The trombonist is critical to the composition, but sadly, he does not solo more than just twice. His instrument is the most human speechlike of all and despite Kristin Berardi's fine vocals would have added exponentially to the music.  "Shane" and "One for Liam" (brilliant solos including those by pianist Bill Charlap) are portraits of Gordon's children, a step in the evolution of "self" and thus key to this suite. This culmination is majestically expressed in "Individuation," from its superb bass clarinet intro and trombone counterpoint to the dramatic conclusion of this work. ~ Raul D'Gama Rose https://www.allaboutjazz.com/evolution-jon-gordon-artist-share-review-by-raul-dgama-rose.php

Personnel: Jon Gordon: alto saxophone, soprano saxophones, piano (1); John Ellis: tenor saxophone (2, 4, 5, 8, 9); Doug Yates: bass clarinet (2, 4, 5, 8, 9); Dave Smith: trumpet (2, 4, 5, 8, 9); Alan Ferber: trombone (2, 4, 5, 8, 9); Sara Coswell: violin (1, 2, 7); Andie Springer: violin (1, 2, 7); Jody Redhage: cello (1, 2, 7); Nate Radley: guitar (2, 4, 5, 8, 9); Sean Wayland: piano (2, 4, 5, 8, 9); Matt Chohesy: bass (2, 4, 5, 8, 9); Mark Ferber: drums (2, 4, 5, 8, 9); Rogerio Boccato: percussion (2, 4, 5, 8, 9); Kristin Berardi: vocals (4, 5); Bill Charlap: piano (3, 6).

Evolution

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Jim Snidero - Waves of Calm

Styles: Saxophone Jazz 
Year: 2019
File: MP3@320K/s
Time: 49:39
Size: 114,0 MB
Art: Front

(3:29)  1. Waves of Calm
(8:54)  2. Truth
(6:13)  3. Old Folks
(6:55)  4. Visions
(5:23)  5. I Fall in Love Too Easily
(6:33)  6. Dad Song
(6:28)  7. If I Had You
(5:40)  8. Estuary

Saxophonist Jim Snidero turns his adept post-bop skills inward on the introspective, if still engaging 2019 session Waves of Calm. The album, which comes on the heels of several exuberant projects including 2016's Miles Davis-influenced MD66, and 2018's Jubilation! Celebrating Cannonball Adderley, is in part a response to his father's battle with Parkinson's Disease  a struggle that ended with his passing shortly after the album was finished. While by no means a ballads album, though there are several here including a gorgeously moving rendition of "Old Folks," Waves of Calm is a work of far-eyed rumination that leaves plenty of room for searching, harmonically creative improvisation. Joining Snidero once again is his Jubilation! bandmate trumpeter Jeremy Pelt, as well as pianist Orrin Evans, bassist Nat Reeves, and drummer Jonathan Barber. Together they play with a warmth and style that is the epitome of post-bop sophistication. In some ways, the album is a balanced mix of the influences Snidero has been investigating since the early 2010s. Both "Visions," which features Evans on Fender Rhodes, and the angular "Truth" evoke Miles Davis' late-'60s modalism. Similarly, "Dad Song" is dusky Latin groover that brings to mind the classic hard bop recordings of Horace Silver. Equally evocative is the languid title track, which pulls the listener along as if floating on a boat in a soft evening breeze. As the title implies, Waves of Calm is the sound of Snidero taking a deep, tension-relieving breath before jumping back into the flow of life. ~ Matt Collar https://www.allmusic.com/album/waves-of-calm-mw0003253530

Personnel: Jim Snidero, alto saxophone; Jeremy Pelt, trumpet (2, 4, 6, 8); Orrin Evans, piano, Fender Rhodes; Nat Reeves, bass; Jonathan Barber, drums.

Waves of Calm

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Ramsey Lewis Trio - What's New

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 39:09
Size: 90,2 MB
Art: Front

(4:47)  1. What's New
(3:09)  2. Carmen
(4:06)  3. Old Devil Moon
(4:38)  4. Delilah
(3:27)  5. I'll Remember April
(3:58)  6. Bei Mir Bist Du Schon
(6:34)  7. Folk Ballad
(3:12)  8. C.C. Rider
(5:15)  9. But Not for Me

Lewis earned his first gold record, as well as a Grammy award for Best Jazz Performance, for their swinging version of Dobie Gray’s hit “The In Crowd.” He returned to the pop charts in 1966 with versions of “Hang On Sloopy” and “Wade In The Water.” Throughout the years, Lewis’ trio has undergone membership changes, all the while staying true to Lewis’ high musical standards. After Young and Holt left Lewis’ trio to form their own group, the pianist hired a new rhythm section with Cleveland Eaton on bass and Maurice White on drums. When White left the band to form Earth, Wind & Fire, Morris Jennings signed on as the trio’s new percussionist. White returned to produce Lewis’ 1974 smash album entitled Sun Goddess, in which Lewis first experimented with electronic keyboards and featured Earth, Wind & Fire on the album. In 1983, Lewis returned to the studio with Young and Holt for the album Reunion. Throughout his illustrious career, Lewis who is a NEA Jazz Master, has also joined forces with countless other artists to create new and innovative music. In 1984, he collaborated with Nancy Wilson on The Two of Us, in 1988he recorded with London’s Philharmonic Orchestra for the album A Classic Encounter, and in 1989 Lewis and Dr. Billy Taylor cut a set of piano duets in We Meet Again. In 1995, Lewis launched the side project Urban Knights, in which he collaborated with a handful of successful crossover jazz stars, including Grover Washington, Jr., Earl Klugh, and Dave Koz. In 1997, Lewis added disc jockey to his resume, hosting a popular show on Chicago’s WNUA-FM that ran until 2009. 

A new show was syndicated in 2006 under the name Legends of Jazz with Ramsey Lewis and was broadcast on jazz radio stations across the country. In 2006,a well-received 13-episode Legends of Jazz television series hosted by Lewis was broadcast by PBS on public TV nationwide and featured live performances by a variety of jazz artists including Larry Gray, Lonnie Smith, Joey Defrancesco, Dave Brubeck, Chick Corea, Kurt Elling, Benny Golson, Pat Metheny and Tony Bennett. Lately, Ramsey has been touring with Philip Bailey (Earth, Wind & Fire), John Pizzarelli and Ann Hampton Callaway. After having played for years in an acoustic trio, Lewis returned to his electric roots. The three time Grammy winner released a new CD Taking Another Look Deluxe Edition, featuring a new electric quintet with Henry Johnson on guitar, Michael Logan on keys, Joshua Ramos on bass and Charles Heath on drums. On the CD, Lewis rekindles his 1974 career-defining album Sun Goddess through a collection of re-recorded tracks from the original disc perfectly balanced with five new tunes. “Jungle Strut” had all the attitude of its 1974 original and Lewis made magic on the Fender Rhodes in “Tambura.” 

And rather than re-recording the title track “Sun Goddess”, Lewis beautifully re-edited the original studio recording featuring Earth, Wind and Fire. Lewis and his Electric Band breathed new life into classic covers, such as the high octane rendition of Stevie Wonder’s “Living For The City” for which Ramsey shot a great video and the tender interpretation of the timeless “Betcha By Golly Wow.” The CD also featured three bonus tracks. The legendary Dr. John served up some Cajun style funk with his rendition of “Jungle Strut”. Then up and comers and jazz fusion funksters Kung Fu turned in a mesmerizing version of “Tambura.” Finally, TAUK delivered an amazing take on “Sharing Her Journey” that clearly established them as a band to watch. "I've recorded maybe 70-80 albums, and this album is definitely among the top five" said Lewis. Showing no signs of slowing down, Ramsey is currently working on a new record which he will begin recording in August with his long time band known as the Urban Knights.  An all-star jazz, R&B and funk band which features Grammy nominated guitarist Henry Johnson, drummer Charles Heath, bassist Joshua Ramos and keyboardist Tim Gant. https://www.ramseylewis.com/biography

What's New

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Anna Wilson - Just for You

Styles: Vocal 
Year: 2007
File: MP3@320K/s
Time: 44:58
Size: 104,6 MB
Art: Front

(3:44)  1. Take Good Care of My Heart
(2:48)  2. Near You
(2:32)  3. Dark Moon
(2:40)  4. Blue Forever
(4:19)  5. Keeper of Your Flame
(2:40)  6. My Happiness
(2:32)  7. It's a Lovely World
(2:42)  8. Our Love Is Gone
(3:36)  9. Storms Never Last
(3:33) 10. I See Him Everywhere
(3:04) 11. I'll Get Over You
(3:17) 12. Upside of Down
(2:17) 13. Sunshine of My World
(3:02) 14. If He Just Helps Me Get Over You
(2:05) 15. Down in Dallas

Every so often, a new talent emerges with undeniable passion and universal appeal. Born in 1986 into a musical West Auckland family, Anna grew up surrounded by country music. She often cites her grandfather as a formative influence on her own musical development. From an early age, Anna began entering (and winning ) local talent contests’ and as a teenager became a member of the West Auckland Country Music Club where, influenced by the likes of Shania Twain and Leann Rimes, Anna soon established herself with her own unique singing style. As a student at Lynfield College, Anna studied drama as well as singing. After leaving school, several acting opportunities started coming Anna’s way, including a leading role in the movie Kids World and smaller roles on local television dramas such as Shortland Street. With striking good looks and star-quality presence Anna proved herself equally at ease, whether in front of the camera or entertaining a live audience. On her debut album “Just For You”, Anna Wilson retraces her roots to country music she grew up with, as well as embracing some new songs written especially for her. Anna is a featured guest artist at the ‘Night Of The Proms’ series of concerts with the Auckland Symphony Orchestra in June, and also at the Country Entertainers Awards ceremony at the Founders Theatre in Hamilton during August. https://www.mightyape.co.nz/product/just-for-you-cd/1542797

Just for You

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Eric Person - Reflections

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 77:29
Size: 178,5 MB
Art: Front

(7:19)  1. Perfection
(6:39)  2. Mr.More Or Less
(6:11)  3. Friends Again
(4:50)  4. When Morning Comes
(9:15)  5. Implications
(4:38)  6. Extra Pressure
(4:09)  7. Reach!
(6:13)  8. Ancient Sun
(8:29)  9. K.T.
(8:00) 10. The Ringleader
(7:47) 11. Etc.
(3:54) 12. Next Love

Although it is not obvious from the outside of this CD, Reflections mostly contains previously released selections drawn from three of altoist Eric Person's Soul Note albums and two from the Distinction label. Person picked the numbers himself and feels that these performances are among the finest of his career. Based on their creativity, intensity, and brilliant playing, Person is correct. He is heard on both alto and soprano, mostly with several different piano-bass-drums rhythm sections. Flutist Jim Finn is on two selections, guitarist Cary DeNigris is on four, and the pianist is usually John Esposito. The post-bop playing is full of fire, high musicianship, and inventive ideas. Uplifting Reflections from being merely a "best of" set is the inclusion of three selections ("K.T.," "The Ringleader," and "Etc.") from a previously unreleased live performance in 1998. The live performances (pity that they are not extensive enough to fill up an entire CD by themselves) feature Person with trumpeter Dave Douglas in a particularly exciting quintet, rounding out a very impressive package. This CD is easily recommended to listeners not already owning Eric Person's Soul Note and Distinction recordings. ~ Scott Yanow https://www.allmusic.com/album/reflections-mw0001896342

Personnel: Eric Person — saxophones; John Esposito — piano; Dave Holland — bass; Dave Douglas — trumpet; Kenny Davis — bass;  Peter O’Brien — drums

Reflections

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Yoko Miwa Trio - Live at Scullers Jazz Club

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 76:55
Size: 176,7 MB
Art: Front

(11:07)  1. This Could Be the Start of Something
(12:03)  2. Wheel of Life
(11:23)  3. Mr. B.G.
( 5:06)  4. Seasons of Wither
( 8:00)  5. Who Loves the Sun
( 9:36)  6. Silent Promise
(10:25)  7. Mox Nix
( 9:13)  8. A Festa

Is live always better? Does the no second takes, out-on-a-limb aspect of playing in front of a live audience, and feeding off its energy result in the best recordings? It seems to work that way for Boston-based pianist Yoko Miwa on Live At Scullers Jazz Club, a mix of tunes from The Great American Songbook and the world of rock, shuffled in with her own outstanding compositions. An original pressing of a hundred copies of the show done as a memento for the audience members this particular night garnered such a positive response that Miwa decided to have the music remixed and mastered for a general release. Miwa displays an impressive stylistic range. Opening with a rousing take of Steve Allen's "This Could Be the Start of Something," the pianist and her trio mix a bouncy elegance with a full-bore forward momentum. Miwa treats the melody with reverence, riding a inexorable rhythmic wave supplied by bassist Greg Loughman and drummer Scott Goulding. Virtuosic but unrelentingly accessible, the pianist stretches out, taking eleven minutes to explore this Great American Songbook gem with glorious grace.  Miwa, in the manner of fellow pianist Brad Mehldau, is no jazz snob. She doesn't limit herself to the standards. She covers Steven Tyler's (of Aerosmith) dark toned "Seasons of Wither," giving the tune sparkle, and turns in a pensively beautiful rendition of Lou Reed's Velvet Underground song, "Who Loves the Sun?," featuring the trio at its most interactive. Miwa adds three of her own top-notch compositions to the mix. "The Wheel of Life" rises and falls to mirror the vicissitudes, struggles, joys and sorrows of human existence. "Mr. B. G." is a nod to pianist Benny Green and, through Green, his mentor Oscar Peterson, with an ebullient groove and Miwa's exquisitely succinct touch. Trumpeter Art Farmer's "Mox Nix" shows off Miwa's ability to get deep into the blues and play with a muscular left hand percussion married to a lightning fast right hand, before ending with vocalist Milton Nascimento's "A Festa." It's a saucy closer, with the trio immersing itself in a gorgeous Brazilian groove to wrap up a stunningly spontaneous live set, Miwa's best recording to date. ~ Dan McClenaghan https://www.allaboutjazz.com/live-at-scullers-jazz-club-yoko-miwa-self-produced-review-by-dan-mcclenaghan.php

Personnel: Yoko Miwa: piano; Greg Loughman: bass; Scott goulding: drums.

Live at Scullers Jazz Club

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Charles Gayle Quartet - Always Born (feat. John Tchicai)

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 56:51
Size: 131,1 MB
Art: Front

( 9:48)  1. Always Born
(11:52)  2. Needs
(12:58)  3. Solid Clouds
( 5:22)  4. Coming Together
( 6:17)  5. Rainbow's Praise
(10:31)  6. Then Offer All

"Charles Gayle is carving out a free jazz that is muscular, impassioned, clearly structured, and wonderfully volatile." 

~ Jon Pareles, New York Times https://silkheart.bandcamp.com/album/always-born

Personnel: Tenor Saxophone, Composed By, Producer - Charles Gayle;  Tenor Saxophone, Soprano Saxophone - John Tchicai; Bass - Sirone; Drums - Reggie Nicholson

Always Born (feat. John Tchicai)

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Dan Reynolds - Nowhere Home

Styles: Vocal, Piano
Year: 2008
File: MP3@320K/s
Time: 41:09
Size: 96,2 MB
Art: Front

(3:02)  1. German Park
(3:15)  2. Diane
(3:39)  3. Paper
(3:36)  4. October Moon
(3:35)  5. Nowhere Home
(4:01)  6. Left My Heart
(3:11)  7. Third Most Special
(4:31)  8. Why Do I Let You
(3:25)  9. Maize And Blues
(4:45) 10. The Birthday Wish
(4:04) 11. So Much More Living

As a kid, Dan used to ride his bike to the used record shop and buy up old folk-rock records from the 25-cent bin Beatles, Simon & Garfunkel, Lightfoot, Croce… He taught himself to play guitar along with every song. He fell in love with that music, and eventually met talented local musicians who helped him learn even more songs, guitar and harmony. Local artists like Jill Jack and Billy Brandt introduced him to a wide array of new (and old) music as well as highly-respected musicians like Nolan Mendenhall and David Mosher. In the years that followed, David and Dan became good friends, and Dan sought David's help in becoming a better musician and songwriter. It wasn't easy for Dan to find his own voice. His early songwriting attempts lacked direction and emotion, and most of the songs ended up on the cutting room floor. But late one night, while going through the most emotionally intense time of his life, Dan stopped by David's house with a stack of crumpled papers and hand-scrawled notes stuffed into his guitar case. One by one, he played through the four or five songs that had practically written themselves in the preceding days and weeks, while David listened. For the first time, Dan's voice came through loud and clear. He had finally found the motivation and intensity he needed, and they started recording that night. Dan continued writing and, before he was done, several more songs had taken shape. His first original album, "Nowhere Home", was born. In addition to producing Dan's first album, David Mosher contributed his immense instrumental and vocal talents to the project. He is featured on mandolin, banjo, dobro, fiddle, bass and backing vocals. Nolan Mendenhall provides his signature bass tracks on several songs as well. Their collaboration helped each of Dan's songs come to life - even before those songs were ever heard by an audience. Dan works as a writer and editor, performing live music around his hometown of Ann Arbor, Michigan whenever opportunities arise. You'll also find him working in the backwoods of his northern Michigan camp, and taking on odd jobs for neighbors and friends to help make ends meet. https://store.cdbaby.com/cd/reynoldsdan

Nowhere Home

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Dave Stryker - The Chaser

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 62:54
Size: 145,1 MB
Art: Front

(7:06)  1. The Great Divide
(7:15)  2. Brighter Days
(7:32)  3. I Wish You Love
(7:03)  4. Close To You
(5:52)  5. The Chaser
(7:08)  6. Katmandu
(7:12)  7. Mode J.W. (For James Williams)
(6:41)  8. I Didn't Know What Time It Was
(7:03)  9. Our Miss Brooks

This chapter in guitarist Dave Stryker's musical book, which already includes some 25 titles as a leader or co-leader in settings ranging from trios and quartets to his Blue to the Bone band, Trio Mundo and the exciting Stryker/Slagle Band, is a neoclassic organ trio outing providing ample opportunity for his agile playing with its warm, resonant tone. He's accompanied by organist Jared Gold, whose sound exhibits the influences of Larry Young's harmonic chording and Jimmy Smith's virile attack, along with drummer Tony Reedus, whose percussive embellishments and integral, exhilarating work help to create this group's fat sound. Stryker's musical interests and ability are such that each project affords listeners an often unique and exciting listening experience. The guitarist worked in the bands of organist Brother Jack McDuff and, later, tenor saxophonist Stanley Turrentine between the mid-'80s and mid-'90s, honing his chops in the presence of the masters. He also developed that most revered of musical traits a distinctive sound on his instrument. His style embraces influences of Delta blues, Wes Montgomery and Pat Martino while being individualistic, mature and showing an eagerness to evolve. 

The Chaser is anything but predictable, featuring five Stryker originals including a couple straight-ahead burners the title track as well as "The Great Divide," which has a stunning change in tempo from Stryker's fiery exploration of the melody to a smoldering walk as Gold begins his solo. "Brighter Days" is an effervescent swinger, "Katmandu" a bluesy samba; "Mode J.W.," a remembrance of late pianist James Williams, boils with intensity and passion. There's a fine, up-tempo waltz treatment of "I Wish You Love," the arrangement in contrast to a more sedate, if equally delicious, reading of this tune on Grant Green's Street of Dreams album from the '60s. "Close to You" is done as a delicately crafted ballad, while the standard "I Didn't Know What Time It Was" is captivating in its use of shifting meters. The album closes in a soulful visit with Harold Vick's good and greasy line "Our Miss Brooks," which surely had Stryker thinking of his time with McDuff. It's in the bag. If you're not already hip to Stryker, The Chaser is a grand introduction to his superior playing and should whet your appetite for other elements in his discography. If you're already a fan, the album should speak for itself. 

~ Rick Erben https://www.allaboutjazz.com/the-chaser-dave-stryker-mel-bay-records-review-by-rick-erben.php

Personnel: Dave Stryker: guitar; Jared Gold: organ; Tony Reedus: drums.

The Chaser

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Weather Report - 8:30

Styles: Jazz Fusion
Year: 1979
File: MP3@320K/s
Time: 71:35
Size: 166,5 MB
Art: Front

(9:47)  1. Black Market
(6:04)  2. Teen Town
(8:01)  3. A Remark You Made
(4:45)  4. Slang
(2:52)  5. In A Silent Way
(6:58)  6. Birdland
(3:33)  7. Thanks For The Memory
(9:28)  8. Badia/Boogie Woogie Waltz
(2:36)  9. 8:30
(8:34) 10. Brown Street
(3:16) 11. The Orphan
(5:35) 12. Sightseeing

Weather Report is generally regarded as the greatest jazz fusion band of all time, with the biggest jazz hit ("Birdland") from the best jazz fusion album (1977's Heavy Weather). But the group's studio mastery sometimes overshadows the fact that it was also a live juggernaut so don't overlook the outstanding live and studio album from 1979, 8:30. This was a rare quartet version of Weather Report, with co-leaders in keyboardist Joe Zawinul and saxophonist Wayne Shorter. The bassist was the inimitable Jaco Pastorius, the drummer a young Peter Erskine. Pastorius is otherworldly on early gems like "Black Market," the breakneck "Teen Town," and his solo showcase, "Slang" (in which he quotes Jimi Hendrix's "Third Stone from the Sun"). Shorter is most involved on the CD's slower pieces like "A Remark You Made," "In a Silent Way," and his own solo piece, "Thanks for the Memory"; Zawinul and Erskine shine on the swinging version of "Birdland" and roller coaster ride of the "Badia/Boogie Woogie Waltz" medley. 

Four studio tracks (composing what was side four of the original album version) close 8:30 with a flourish and some surprises. Pastorius duets on drums with Zawinul on the brief title track, then plays double drums with Erskine (as Erich Zawinul plays percussion) on the playful "Brown Street." Zawinul then throws a curve with "The Orphan," dueting with Shorter as ten members of the West Los Angeles Christian Academy Children's Choir chant harmonies. The saxophonist gets in the last word, though, with his burning composition "Sightseeing" on which he plays unison lines with Zawinul over Pastorius' rare walking bassline and Erskine's most aggressive drumming. A future jazz standard ending one of this band's standard-setting CDs. ~ Bill Meredith https://www.allmusic.com/album/830-mw0000198916

Personnel: Joe Zawinul – keyboards, bass synthesizer, vocoder, percussion; Wayne Shorter – tenor saxophone, soprano saxophone; Jaco Pastorius – fretless bass guitar, percussion, drums on "8:30" & "Brown Street"; Peter Erskine – drums; Erich Zawinul – percussion on "Brown Street"; The West Los Angeles Christian Academy Children's Choir – vocals on "The Orphan"

8:30

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