Jeremy Pelt - Jeremy Pelt The Artist

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 45:39
Size: 104,7 MB
Art: Front

(6:53)  1. The Rodin Suite, Pt. 1: L'appel Aux Armes
(1:59)  2. The Rodin Suite, Pt. 2: Dignity And Despair (Burghers Of Calais)
(5:59)  3. The Rodin Suite, Pt. 3: I Sol Tace (Gates Of Hell)
(2:33) 4. The Rodin Suite, Pt. 4: Camille Claudel (L'eternel Printemps)
(4:46)  5. The Rodin Suite, Pt. 5: Epilogue
(3:41)  6. Ceramic
(6:54)  7. Feito
(5:57)  8. Watercolors
(6:53)  9. As Of Now

Showcasing a five-part suite based on the work of French sculptor Auguste Rodin, Jeremy Pelt's 2019 album, The Artist, finds the trumpeter translating his love of the visual arts into a set of deeply textured compositions that touch upon harmonically rich modalism, driving post-bop, and lyrical balladry. Beginning with the hypnotic "The Rodin Suite, Pt. 1: L'Appel aux armes," which translates fittingly as "the call to arms," The Artist evokes the '70s jazz of artists like Woody Shaw and Bobby Hutcherson. It's a sound Pelt has long embraced, at least as far back 2013's fusion-influenced Water and Earth, and one that he has increasingly made his own. Which is to say, while The Artist brings to mind the vibes, keyboard, and groove-oriented aesthetics of '70s jazz, it never sounds like pastiche, and remains a nuanced palette for Pelt to draw from. Adding rich colors to this palette are Pelt's bandmates: pianist Victor Gould, bassist Vicente Archer, guitarist Alex Wintz, marimba player Chien Chien Lu, and percussionist Ismel Wignall. 

Together they play with a deft sense of group interplay that's as much the focus as Pelt's own improvisatory prowess and balmy tone. In fact, Pelt bows out of "The Rodin Suite, Pt. 2: Dignity and Despair (Burghers of Calais)" altogether, allowing Gould to lead the ensemble with his gem-tone keyboard warmth. "The Rodin Suite, Pt. 3: I sol tace (Gates of Hell)" is perhaps the most fusion-sounding track as the trumpeter paints the song's intro with thick wah-wah and echo pedal-dipped lines against a backdrop of woody marimba and conga, before settling into an arid, slow-burn noir groove. Similarly evocative is "The Rodin Suite, Pt. 4: Camille Claudel (L'Éternel printemps)," whose sparkling chimes, fuzzy marimba, and drawn-out dual guitar and trumpet melody conjure the image of sculptor Camille Claudel (Rodin's muse and partner), framing her tragic story in a haze of sadness and midday languor. Elsewhere, Pelt continues to pull inspiration from the visual arts, offering up the buoyant Latin rhythms of "Ceramic," the propulsive swing of "Feito," and the exuberant harmonic spirals of "Watercolors." With The Artist, Pelt has crafted an album that engages your attention and captivates your imagination much in the same way Rodin's famed sculptures continue to fascinate audiences. ~ Matt Collar https://www.allmusic.com/album/the-artist-mw0003243463

Personnel: Jeremy Pelt, trumpet; Victor Gould, piano; Vicente Archer, bass; Allan Menard, drums; Alex Wintz, guitar; Chien Chien Lu, vibraphone and marimba; and Frank Locrasto, Fender-Rhodes. 

Jeremy Pelt The Artist

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Steve Kuhn, Steve Swallow - Two by 2

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 58:00
Size: 133,6 MB
Art: Front

(4:01)  1. Gentle Thoughts
(3:51)  2. Two By Two
(5:56)  3. Remember
(4:33)  4. Wrong Together
(5:33)  5. Eidertown
(5:47)  6. Lullaby
(6:30)  7. Ladies In Mercedes
(6:32)  8. Deep Tango
(6:39)  9. Poem For # 15
(2:57) 10. Mr.Calypso Kuhn
(5:35) 11. Emmanuel

Few musicians possess anything like the lyrical capacity of Steve Kuhn and Steve Swallow, whether as composers or performers and this album of duets recorded in 1995 achieves an ideal of empathy. With the compositions roughly divided between the two, there's as much emphasis on the construction of durable melodic material as spontaneous interaction. Kuhn's opening "Gentle Thoughts" immediately achieves a limpid beauty, a vaguely Oriental theme that suggests light shimmering on water, while his "Two by Two" manages to reanimate traditional blues lines with sheer good spirits and just the lightest touch of ironic bluster. A triptych of Swallow compositions follows, with Kuhn buoyantly exuberant on "Remember," before the composer supplies the most guitar-like of electric bass solos, providing a slightly dissonant counterfoil to Kuhn's ebullience. Some of the best bop composers Tadd Dameron, Herbie Nichols seem to underpin "Wrong Together," a somber theme with a sprightly undercurrent that testifies to Swallow's ability to construct compound moods with subtle harmonic suggestion. 

There's more of the same in his familiar "Eiderdown," a fine performance of a genuinely memorable tune. Kuhn's "Lullaby" returns the two to the quiescent grace of the opening with Swallow achieving a glassy, resonant sound. There's a kind of Latin melodrama to Swallow's "Ladies in Mercedes," Kuhn's bright, soaring lines and Swallow's resilient underpinnings summarizing the duo's strength an ability to develop complex harmonic dialogue with grace and wit. Latin elements are even more pronounced in Kuhn's passionate "Deep Tango" and the brisk frolic of his "Mr. Calypso Kuhn." Kuhn's spoken-word performance of his "Poem for #15" recalls Swallow's deft settings of poems by Robert Creeley and focuses the recording's emotional intensity, suggesting how often this is music about something. In all, it's a superior performance by two masters of micro-ensemble intimacy. ~ Stuart Broomer https://www.allaboutjazz.com/two-by-2-steve-kuhn-sunnyside-records-review-by-stuart-broomer.php

Personnel: Steve Kuhn: piano; Steve Swallow: electric bass.

Two by 2

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Ellis Larkins Trio - Manhattan At Midnight

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 79:08
Size: 182,5 MB
Art: Front

(18:33)  1. Manhattan At Midnight
(19:42)  2. Penthouse Suite
( 3:03)  3. Am I Blue
( 2:58)  4. Blue Prelude
( 2:56)  5. Blue And Sentimental
( 3:02)  6. Blue Moon
( 3:09)  7. Blue Again
( 2:49)  8. A Blues Serenade
( 3:49)  9. Interlude #1
( 4:17) 10. At Loose Ends
( 4:26) 11. Ode To Marie
( 3:17) 12. Interlude #2
( 3:18) 13. Time
( 3:47) 14. Four Bar Intro With Tag

One of the most subtle, lyrical and intriguing of all jazz pianists, Ellis Larkins was considered the perfect accompanist. He recorded classic duets with Ella Fitzgerald and Ruby Braff, and fortunately led occasional sessions of his own. Two complete albums from the 1950s, Manhattan at Midnight and Blue and Sentimental, are reissued in full on this single CD. The former is particularly intriguing for it consists of two lengthy medleys that originally filled the two sides of an LP. The "Manhattan at Midnight Suite" has eight songs that musically hint at stories of New York nightlife in the 1950s while "Penthouse Suite" is perfect music for the cocktail hour. Larkins, guitarist Art Ryerson, and bassist Beverly Peer play as one, going smoothly and seamlessly from one song to another. The relaxed ambiance continues even when the performances are briefly uptempo. The Blue and Sentimental album continues the same mood during a dozen concise numbers. The first six are performed by a quartet with guitarist Skeeter Best with each song having "blue" in its title. The remainder of the project consists of duets with bassist Joe Benjamin on six fascinating Larkins originals. Although the music on this CD is perfect for backgrounds, turn up the volume and listen closely. There is a great deal of subtle creativity to discover. ~ Scott Yanow https://www.allmusic.com/album/manhattan-at-midnight-mw0000472774

Personnel:  Piano – Ellis Larkins; Bass – Beverly Peer; Guitar – Art Ryerson.

Manhattan At Midnight

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Arturo O'Farrill & Jazz At Lincoln Center's Afro-Latin Jazz Orchestra - Una Noche Inolvidable

Styles: Latin Jazz, Big Band
Year: 2005
File: MP3@320K/s
Time: 59:57
Size: 138,4 MB
Art: Front

(3:16)  1. Havana Special
(6:43)  2. Buscando La Melodía
(3:19)  3. Somos Novios
(3:23)  4. Estoy Commo Nunca
(5:59)  5. Volver A Los 17
(3:20)  6. Encantado De La Vida
(9:56)  7. Enseñame Tu & Piensalo Bien
(2:47)  8. Pianarabatibiri
(6:30)  9. Corazón Rebeldé
(3:43) 10. La Ley Del Guaguanco
(2:42) 11. Mi Amor Fugaz
(3:04) 12. Don Fulano
(5:07) 13. Avisale A Mi Contrario

It's never easy to replace a legend, especially when the legend happens also to be one's father. But Arturo O'Farrill, who doesn't want for courage or self-reliance, has seized the reins once held by his illustrious parent, the late Chico O'Farrill, and ridden the thoroughbred Afro-Latin Jazz Orchestra into the winner's circle in the first-ever live recording from Jazz at Lincoln Center's state-of-the-art Frederick P. Rose Hall, an occasion that was truly Una Noche Inolvidable (an unforgettable night). Commenting on the marvelous acoustics in Rose Hall, O'Farrill writes, "...all the musicians were smiling that night. And listening to this album, believe it or not, you can almost hear them smiling which is enchanting, as the most pleasurable Latin music is always presented with a smile. The concert was billed as "A Celebration of the Great Latin Jazz Vocalists, and the ALJO set the stage for two of the contemporary music scene's most celebrated soneros, Herman Olivera and Claudia Acuña. Olivera is showcased on seven of the album's thirteen tracks, Acuña on three, and there is one charming duet, "Encantado de la Vida. The ensemble opens with the buoyant "Havana Special and also goes it alone on pianist O'Farrill's fast-paced feature, "Pianarabatibiri. As this was essentially the singers' night to shine, there are few other solos. Alto Bobby Porcelli is heard briefly on "Buscando la Melodia, trombonist Luis Bonilla on "Volver a los 17, O'Farrill on "Corazon Rebeldé. Aside from that, the spotlight rests squarely on Olivera and Acuña, neither of whom needs much help to captivate an audience. Even so, they are given unwavering support throughout by the ALJO, which has been scrupulously assembled by O'Farrill from among the New York City area's most accomplished musicians, including a handful who were members of his father's Afro-Cuban Jazz Orchestra. Rose Hall lives up to its promise, as does the ALJO and its inimitable guests, Herman Olivera and Claudia Acuña, who together make this an unforgettable night for anyone who appreciates the bold and breathtaking panorama of Latin jazz. Jack Bowers https://www.allaboutjazz.com/una-noche-inolvidable-afro-latin-jazz-orchestra-palmetto-records-review-by-jack-bowers.php

Personnel:  Producer – Arturo O'Farrill; Bass – Ruben Rodriguez; Drums – Vince Cherico; Percussion – Joseph Gonzalez, Milton Cardona; Reeds – Bobby Porcelli, Erica vonKleist , Ivan Renta, Mario Rivera, Pablo Calogero; Trombone – Douglas Purviance, Luis Bonilla, Noah Bless, Reynaldo Jorge; Trumpet – Joseph Magnarelli, John Walsh, Michael Philip Mossman, Michael Rodriguez; Vocals – Claudia Acuña, Herman Olivera

Una Noche Inolvidable

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Ellis Larkins - A Smooth One [The Definitive Black & Blue Sessions]

Styles: Piano Jazz
Year: 1977
File: MP3@320K/s
Time: 51:19
Size: 118,9 MB
Art: Front

(9:08)  1. Rose Room
(7:31)  2. Saint Louis Blues
(4:18)  3. Blues In My Heart
(7:25)  4. A Smooth One
(3:45)  5. C.E.B.
(7:44)  6. Between The Devil And The Deep Blue Sea
(6:13)  7. I Want A Little Girl
(5:12)  8. Day Dream

Famed as a subtle accompanist who played harmonically complex chords in a lightly swinging style, pianist Ellis Larkins did not have any opportunities to record a full album as a leader after 1959 until this effort for the French Black & Blue label; it was last available domestically as a Classic Jazz LP. With fine support from bassist George Duvivier and drummer J.C. Heard, Larkins performs five swing-era standards, plus his own "C.E.B." The increasingly rare session gives listeners a good example of Ellis Larkins' tasteful playing. ~ Scott Yanow https://www.allmusic.com/album/a-smooth-one-mw0000690076

A Smooth One [The Definitive Black & Blue Sessions]

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Dave Liebman, John Stowell - Petite Fleur: The Music of Sidney Bechet

Styles: Saxophone, Flute And Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 59:40
Size: 138,4 MB
Art: Front

(2:35)  1. Petite Fleur
(5:10)  2. Daniel
(5:25)  3. When the Sun Sets Down South
(5:48)  4. Premier Bal
(4:11)  5. What a Dream
(3:55)  6. Petite Fleur (John Solo)
(5:58)  7. Passport
(5:51)  8. Creole Blues
(5:20)  9. Nous Deux
(6:00) 10. Si Tu Vois Ma Mere
(6:47) 11. Summertime
(2:35) 12. Petite Fleur (Dave Solo)

Saxophonist Dave Liebman leans "outside" for the most part. He came to a measure of fame in the bands of Miles Davis, during one of the influential trumpeter's decidedly outside periods the 1970s, when Liebman participated in Davis' On The Corner (Columbia Records, 1972), Dark Magus (CBS-Sony, 1975), and Get Up With It (Columbia, 1977). Post-Davis, the always prolific and adventurous Liebman offered up scores of recordings under his own name. Moving to the new millennium, these include Turnaround: The Music of Ornette Coleman (Jazzwerkstatt, 2009), Lieb Plays The Blues a La Trane (Daybreak, 2010), and Lineage: Rock and Pop Classics Revisited (Whaling City sounds, 2013). Petite Fleur: The Music of Sidney Bechet, features a teaming of Liebman with guitarist John Stowell, a reunion of sorts the duo released a terrific set in 2013: Blue Rose (Origin Records), that showcased the duo's adeptness jazz standards and The Great American Songbook. Petite Fleur is the pair's intimate and unfailingly gorgeous exploration of the music of soprano saxophone pioneer Sidney Bechet, the man who brought the "straight horn" into legitimacy as a jazz vehicle. The New Orleans-born Bechet began his recording career in the early 1920's, well before the advent of alto saxophonist Charlie Parker and the bebop revolution. That era before Parker before the complex harmonizations of bop isn't revisited as much as late 1950s thought late 1960s hard bop, mid-twentieth century cool jazz, or Miles Davis mid-sixties modal approach. Petit Feur says that's a shame. The tune that gives this disc it's title is one of Bechet's most famous offerings is visited three times once as a solo by Lowell; once as a solo by Liebman (on piano); and once as a duo. Direct and beautiful sounds. 

A major shaper of the New Orleans tradition, Becht usually played in ensembles that included more horns a trumpet, a trombone to go along with his soprano saxophone. If Bechet had the melody, the other guys either laid a foundation behind him or they snaked counter melodies around his main theme. This was jazz from New Orleans exuberant and bursting with life. Liebman and Stowell take his tunes and reveal their essence, and make them gentle, often understated ruminations. Bechet wrote straightforward, singable melodies that are accentuated in the one horn, one guitar renderings. As for tone on the soprano sax Bechet's was big. It has been described as emotional and reckless, intense and passionate. Liebman doesn't go that way here though he is more than capable. He instead rolls with a surprising (for him and Bechet) gentleness and deftness for the intricacies of the melodies. His tone here is more often than not clean, pure and sweet. Stowell an adept modern player with a fine discography on Origin Records lays back in a pre-bop mode himself, with shimmering rhythms and sustain and elastic single note forays. And sometimes he brings a Django Reinhardt mode into the picture. Liebman and Stowell's Petite Fleur uncovers a different side of Bechet's seminal, now-traditional sound, one that's been glowing under the shining surface all this time. ~ Dan McClenaghan https://www.allaboutjazz.com/petite-fleur-the-music-of-sidney-bechet-dave-liebman-origin-records-review-by-dan-mcclenaghan.php

Personnel: Dave Liebman: soprano saxophone, wood flute, piano; John Stowell: guitar, nylon-string guitar, fretless baritone guitar.

Petite Fleur: The Music of Sidney Bechet

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Kai Winding - More! Theme From Mondo Cane

Styles: Trombone Jazz
Year: 2019
File: MP3@320K/s
Time: 28:53
Size: 67,6 MB
Art: Front

(2:01)  1. More
(2:21)  2. Hero
(1:38)  3. Gravy Waltz
(1:52)  4. China Nights
(2:24)  5. Surf Bird
(2:23)  6. Pipeline
(2:28)  7. Sukiyaki
(3:54)  8. Soul Surfin'
(2:54)  9. Tube Wail
(2:09) 10. Spinner
(2:26) 11. Hearse Ride
(2:16) 12. Comin' Home Baby

A strict surf album this is not, despite the packaging and a few titles. More is really the classic, best-selling album launching Kai Winding's mod sound. Actually, it is Claus Ogerman and Winding's sound, helped out in no small part by Kenny Burrell on guitar. Except when obviously imitating standard surf guitar, Burrell provides texture, specifically the "water sound" popularized by Vinnie Bell. Within this warm bath, as it were, the piercing electronic ondioline shimmers icily. The rhythm is basic "big beat" rock, and melody never really has a chance to escape blues figures, which is just as well. "Soul Surfin'" (also the reissue title of the album) is the longest track at 3:50, and with the others at around the two minute mark, the whole thing splashes by like a breaker. But just as a quick dip in the Pacific elicits an appetite, More leaves you hungry for, well, Mondo Cane #2. ~ Tony Wilds https://www.allmusic.com/album/more%21%21%21-the-theme-from-mondo-cane-mw0001882462

More!

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Marty Ehrlich - Just Before the Dawn

Styles: Clarinet, Saxophone And Flute Jazz
Year: 1995
File: MP3@320K/s
Time: 60:07
Size: 139,4 MB
Art: Front

(2:32)  1. Spirit of JAH
(6:46)  2. Thickets
(8:00)  3. Mudpie Anthem
(6:12)  4. Dance No. 1
(8:27)  5. Flight
(7:16)  6. The Folksinger
(7:04)  7. Side by Side
(7:16)  8. Underground/Overground
(6:32)  9. Eliahu

The second Darkwoods Ensemble recording for multi-woodwind instrumentalist and composer Ehrlich is a true winner, and a progressive jazz icon for the '90s. To paraphrase Ehrlich's own description of his music "Sounds startle the air" birds call across as if the light won't come... these sounds will find a center or the center will change... metal hued breath across strings... birds in the darkness, waiting for no one... open the door, wake these sounds, just before the dawn." Ehrlich is assisted in this quest by French horn player Vincent Chancey, bassist Mark Helias, cellist Erik Friedlander, and percussionist Don Alias. 

At their most free and uninhibited, the group digs in on "Side By Side" with Ehrlich's clarinet setting off some unison lines and a cello-bass-conga groove bridge, or there's the scatter shot improv, prompted by serious bass clarinet and goofy French horn, with terpsichorean tuneful unison during "Dance #1." Elephantine clarion calls from Chancey with other animals chattering on a freely associated "Underground/Overground" is a prelude for swooping bird sounds via the strings and quite soulful unison horns in this segmented piece. Also highly developed is the risky "Flight" starting as a whack waltz, going to multi-faceted lighthouse beam spotted melodies, and an intense, free bridge that suddenly stops, making way for introspective, collective meditations. 

As complexly written is "Thickets," with haunting cello, ethnic percussion, minimalist, repeated clarinet and NYC urgent traffic motifs. A more mournful bass/cello/alto sax informs "Mudpie Anthem" with additional chamber-like counterpoint. The most tuneful asides are the wood flute/percussion Afro-Cuban groove of "Spirit Of J.A.H." (for Julius Hemphill), the heavy bass/bass clarinet ostinato of "Eliahu," and the lilting, beautiful, tuneful flute/plucked cello/shaker percussion beaut "The Folksinger." This music needs to be heard by all who love a good joust from improvising musicians who fully understand shadings, nuance, power and glory. Highly recommended, and a high point in Ehrlich's substantial discography. ~ Michael G.Nastos https://www.allmusic.com/album/just-before-the-dawn-mw0000181959

Personnel:   Marty Ehrlich - clarinet, bass clarinet, alto saxophone, flute; Vincent Chancey - French horn; Erik Friedlander - cello; Mark Helias - bass; Don Alias - percussion

Just Before the Dawn

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Jan Daley - His Light

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 49:09
Size: 113,9 MB
Art: Front

(3:28)  1. His Light
(4:49)  2. Can't Give You Any Answers
(2:59)  3. Great Is Thy Faithfulness
(4:00)  4. Even If There Weren't A Forever
(4:06)  5. Aubrey Ja'Nien
(4:37)  6. Sweep Your Love Thru Me
(3:33)  7. You Changed My Life
(4:12)  8. Blessed Assurance
(3:39)  9. All of Me
(4:32) 10. One Beam of Light
(2:26) 11. Touch Me
(3:48) 12. Find Me the Mason
(1:20) 13. His Light Reprise
(1:32) 14. He Overcomes

This is a fresh and beautiful album of songs written by our greatest inspirational writers and some of Miss Daley s best originals. It brings out Miss Daley s amazing range and quality and insight into the heart of the subject, with uplifting and lush arrangements. The CD is the combined efforts of three gifted and talented producers. John Thompson Craig Stull, and Greg Edmunson. The CD is dramatic and yet with many of the songs being guitar based, give it a acustic feeling. If you are looking for something that brings an emotional tug, listen to Aubrey Ja Nien. If you are a Gospel fan, Miss Daley has written, Sweep Your Love Thru Me. For those of you traditionalist, she has put her own twist on Great Is Thy Faithfulness and Blessed Assurance, but the song that might stay in your mind, give you a lift, and keep you humming through the day is the title song, His Light , which Miss Daley wrote. They have used the best musicians to surround Miss Daley s spectacular voice and has something for everyone. This is a CD worth buying for you and your friends. 

If you've never heard Jan Daley's voice, start downloading or run to the nearest store. She hits the high notes with urgency and has this wonderful angelic quality in both upper and lower register. That being said, her songwriting grabs you in your heart and soul. She has a story to tell about her faith and writes about it in beautiful ballads and catchy up-tempo songs. Being a cancer survivor herself, check out her miracle song, "Aubrey Ja'Nien." I like that she included traditional standards, but what she does with them makes you think they were written just for her. This CD is not to be missed!" 

~ Christian Life Magazine

Miss Daley is one of my favorite gospel singers. She sends chills up your spine. Everything I've ever heard her sing moves me and confirms my own faith. Her own songs have always touched me, because I feel she writes them from experience and most times I think she must have known my own struggles. Everything that comes from her is about falling short & climbing that mountain, again, with God's help. I'm so glad she has released "His Light." Just one more CD I can listen to on the way to work. ~ Orange County, Bill Zaun - Editorial Reviews https://www.amazon.com/His-Light-Jan-Daley/dp/B0034L0D8G

His Light

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Don Cherry - Eternal Now

Styles: Avant-Garde Jazz
Year: 1974
File: MP3@320K/s
Time: 37:57
Size: 87,5 MB
Art: Front

(8:32)  1. Gamla Stan - The Old Town by Night
(7:53)  2. Love Train
(3:49)  3. Bass Figure for Ballatune (Two pianos and three piano players)
(9:44)  4. Moving Pictures for the Ear
(7:59)  5. Tibet

I'm (almost) discovering this record with you. I've bought it 2 weeks ago at the flea market, and I'm still under the impression. Everybodies knows Don Cherry for his collaborations with the early free jazz activists Ornette Colmenan and Albert Ayler in the 50's, but if you liked my psychedelic Vox Populi! post, and terrestrials tunes such as Raksha Mancham, O Yuki Conjugate or Vasilisk you should enjoyed this LP (side B = wah! wah ! wah!). http://artoflosing.canalblog.com/archives/2010/06/25/18423651.html

Personnel:  Don Cherry - trumpet, piano, harmonium, vocals, h'suan, daster, gong;  Bengt Berger - piano, Tibetan bells, African finger piano, mridangam, cymbal;  Christer Bothén - piano, dousso n'koni, Tibetan bells;  Bernt Rosengren - tárogató;  Agneta Ernström - Tibetan bells, dousso kynia

Eternal Now

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Tony Martin - Dream A Little Dream

Styles: Vocal, Easy Listening
Year: 2012
File: MP3@320K/s
Time: 32:14
Size: 74,4 MB
Art: Front

(3:35)  1. Now I Lay Me Down To Dream
(2:56)  2. When Your Lover Has Gone
(2:33)  3. Learn To Croon
(3:00)  4. You Came Along
(2:33)  5. I Guess I'll Have To Change My Plan
(3:04)  6. Soon
(2:40)  7. Soft Lights And Sweet Music
(3:35)  8. Among My Souvenirs
(2:04)  9. My Baby Just Cares For Me
(3:29) 10. My Silent Love
(2:40) 11. I'll See You In My Dreams

A popular crooner of the 1940s and '50s, Tony Martin's deliberate delivery and romantic ballads were more in keeping with vintage movie musicals than the currents that would shape the pop music of the last half of the 20th century. Taking his inspiration from singers like Russ Columbo, he had already been in some Hollywood musicals by the time he made his first hit record in 1938, "Now It Can Be Told" (with the Ray Noble Orchestra). Drafted into the Navy during World War II, rumors that he'd bribed his way into an officer's commission made work tougher to find after his discharge from the armed forces. 

A brief but fairly successful stint on Mercury in 1946-1947 helped get things going again, after which he moved to RCA and enjoyed many pop hits over the next decade. He also got a lot of work in radio and television, and performed with considerable success on the cabaret circuit with his wife, dancer/actress Cyd Charisse.~ Richie Unterberger https://www.allmusic.com/artist/tony-martin-mn0000012140/biography

 

Dream A Little Drea

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Alan Broadbent Trio - New York Notes

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 62:19
Size: 143,7 MB
Art: Front

(8:44)  1. Clifford Notes
(8:18)  2. Minority
(7:10)  3. I Fall in Love Too Easily
(8:32)  4. Continuity
(5:09)  5. Crazeology
(5:40)  6. On a Misty Night
(6:28)  7. Waltz Prelude
(4:38)  8. 317 East 32nd Street
(7:37)  9. Fine and Dandy

I began paying attention to pianist-arranger Alan Broadbent in 1973, when Woody Herman's Giant Steps came out. It was my senior year in high school, and the wife of the band's drummer, Ed Soph, was one of my teachers. I wasn't much of a student during high school until my last year, when I began acing everything. I have no idea what motivated the turnaround. Perhaps the editorship of the high school newspaper straightened me out. Or maybe it was the new batch of young teachers who were less foreboding than the older ones. Whatever the reason, I loved the Herman album and Alan's arrangements of A Child Is Born and Bebop and Roses. But it was his piano accompaniment on two albums by singer Irene Kral (Where Is Love? and Gentle Rain) in 1974 and 1977, respectively, that won my heart. Alan's way with a piano is still so darn beautiful. His approach has often been compared with the inhaling-exhaling style of Bill Evans, but in truth, Alan is about taste, sensitivity and swing. On his new album, New York Notes (Savant), Alan is backed by his long-time bassist Harvie S and drummer Billy Mintz. Alan has chosen songs with plenty of mood and attitude. There's Gigi Gryce's Minority, Little Benny Harris's Crazeology, Tad Dameron's On a Misty Night and Lennie Tristano's 317 East 32nd Street. 

There are two American songbook classics I Fall in Love Too Easily and Fine and Dandy but both have become part of the jazz vocabulary. Miles Davis recorded the former twice (in 1963 and 1965) and Chet Baker sang and played it. Fine and Dandy has been recorded by many jazz artists since the late 1940s, including Bud Powell and Sonny Stitt. And then there are Alan's gorgeous originals: Clifford Notes, Continuity and Waltz Prelude. Interestingly, On a Misty Night is taken a few ticks slower than most versions of the song, giving it a lusher coloration. Tristano's 317 East 32nd Street also is special. The Out of Nowhere cousin seems to move backward and forward at the same time and becomes a colorful workout for Alan, who spins it gracefully in the air as if making a pizza. If there's a common thread running through all of these songs, it's their sophisticated, breathless quality. It's magical to hear Alan burrow deep inside each one and then marvel at how he works his way back out. An album that shows off Alan's enormous dexterity while giving the beautiful melodies all the attention they deserve. Best of all, it's an album on which Alan dances differently with each song. Here's Fine and Dandy. Alan knew he had to advance the song's story and not play it straight. It's fascinating to hear how he turns the song inside out in the front half...~ Jazzwax By Marc Myers https://news.allaboutjazz.com/alan-broadbent-new-york-notes.php

Personnel: Piano – Alan Broadbent; Bass – Harvie S; Drums – Billy Mintz

New York Notes

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Jon Gordon - Jon Gordon Quartet

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 76:53
Size: 177,5 MB
Art: Front

( 5:48)  1. One For Charles
( 7:30)  2. The Trust Of A Child
( 6:23)  3. Evidence
( 6:04)  4. Time Trap
( 6:25)  5. What's New
( 6:53)  6. Land Of Ephysus
( 7:18)  7. My Shining Hour
(10:07)  8. Earth Song
( 5:36)  9. Pass It On, Jon
(14:46) 10. Jazzspeak

Jon Gordon's U.S. debut as a leader is an impressive start. Clearly one to watch on his main instrument, alto sax, he kicks things off with an uptempo, somewhat exotic original, "One for Charles." He also has a nice sound on the soprano on his engaging ballad "The Trust of a Child." The strong supporting cast was a functioning quartet at the time of the recording: pianist Kevin Hays, bassist Scott Colley and drummer Bill Stewart. Gordon was also clearly inspired by his former teacher, Phil Woods, who is present on several tracks, including an original dedicated to the younger man, "Pass It On, Jon." ~ Ken Dryden https://www.allmusic.com/album/the-jon-gordon-quartet-mw0000932334

Personnel:  Alto Saxophone, Soprano Saxophone – Jon Gordon;  Alto Saxophone – Phil Woods; Bass – Scott Colley; Drums – Bill Stewart; Piano – Kevin Hays

Jon Gordon Quartet

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Kay Starr, Erroll Garner - Singin' Kay Starr, Swingin' Erroll Garner

Styles: Vocal And Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 26:45
Size: 62,9 MB
Art: Front

(1:52)  1. Ain't Misbehavin'
(3:04)  2. Good for Nothing Joe
(5:41)  3. Lover
(2:59)  4. Just You, Just Me
(1:49)  5. Them There Eyes
(6:06)  6. Blue Lou
(2:29)  7. Tenderly
(2:41)  8. Little Girl

A solid jazz singer whose early recordings tended to be forgotten after her ascendancy into the commercial sphere during the mid '50s, Kay Starr was among the first pop singers to capitalize on the "rock fad" with her 1955 novelty "Rock and Roll Waltz." Her biggest hit came with the era-defining "Wheel of Fortune," a prime slice of '50s adult pop with a suitably brassy reading. Born in Oklahoma, she moved to Dallas at a young age and made her debut on radio while still in school. A brief stay with Glenn Miller & His Orchestra precipitated her working with groups led by Bob Crosby, Joe Venuti, and finally Charlie Barnet. She recorded a few numbers with Barnet that earned her a solo contract with Capitol.  By 1948, Starr made her Your Hit Parade breakthrough with "You Were Only Foolin' (While I Was Falling in Love)." Subsequent hits like "Hoop-Dee-Doo," "Oh, Babe!," and "I'll Never Be Free" (the latter with Tennessee Ernie Ford) framed her in an emerging vein of the popular market that also looked back to traditional country and folk. In 1952, "Wheel of Fortune" became her biggest hit and one of the signature songs of the '50s pop sound. She struggled to reach a similar chart peak for several years afterwards, though "Comes A-Long A-Love" topped the British charts. With her move to RCA in 1955, the comical "Rock and Roll Waltz" spent several weeks at number one. It was her last major hit, followed by just one additional Top Ten entry, 1957's "My Heart Reminds Me." By the 1960s, she had begun to concentrate more on performing (especially in Las Vegas) than recording, despite moving back to Capitol in 1961. She subsequently played several oldies packages, including the 3 Girls 3 tour with Helen O'Connell and Margaret Whiting. Kay Starr died at her home in Los Angeles in November 2016; she was 94 years old. ~ John Bush https://www.allmusic.com/artist/kay-starr-mn0000857203/biography

Singin' Kay Starr, Swingin' Erroll Garner

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Les McCann Ltd. - "On Time"

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 51:25
Size: 119,0 MB
Art: Front

(4:17)  1. On Time
(4:50)  2. Yours Is My Heart Alone
(5:39)  3. This for Doug
(5:14)  4. Fondue
(3:04)  5. Bernie's Tune
(4:37)  6. Maichen
(5:02)  7. It Could Happen to You
(5:00)  8. You're Driving Me Crazy
(3:04)  9. So What
(3:32) 10. Direct South
(4:31) 11. Drifftin' Blues
(2:31) 12. Midnight Special

Les McCann's On Time was the eighth album of this talented and popular jazz pianists leader career. Always a consummately swinging and distinctively soulful communicator, he displays the full extent of his honest preaching, warmth and creativity in a range embracing the impressionistic on the introduction to On Time, and an expansive chordal approach on It Could Happen to You. In the pieces here, including four excellent originals by the groups members, he is engagingly melodic over the opening of Fondue, a fine vehicle for improvisation, while Jeffersons This for Doug is a lovely piece; and Maichen, by bassist Leroy Vinnegar, has a pretty, infectious melody, warmly embraced by McCann and the featured guest, Joe Pass, whose lucid solos are among the highlights of the album, particularly his theme statement on Yours Is My Heart Alone. Ron Jefferson and Vinnegar are ideal accompanists. 

The last three tracks feature the veteran blues singer and guitarist Bumble Bee Slim (a.k.a. Amos Easton), one of the best loved bluesmen during the 30s. Accompanied by the Les McCann Ltd., these were part of an album titled Back in Town!, recorded by Slim in 1962, after a long period out of the studios, and they make a nice addition to this collection. https://www.freshsoundrecords.com/les-mccann-albums/5821-les-mccann-ltd-on-time-bonus-tracks.html

Personnel:  Les McCann (p), Joe Pass (g), Leroy Vinnegar (b), Ron Jefferson (d), Bumble Bee Slim (added vcl).

"On Time"

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Jimmy McGriff - The Worm

Styles: Jazz, Post Bop
Year: 1968
File: MP3@320K/s
Time: 37:56
Size: 88,2 MB
Art: Front

(3:20)  1. The Worm
(5:56)  2. Keep Loose
(6:52)  3. Heavy Weight
(3:16)  4. Think
(5:13)  5. Lock It Up
(4:31)  6. Girl Talk
(4:59)  7. Blue Juice
(3:46)  8. Take The "A" Train

Jimmy McGriff's B-3 sound was always rooted in blues and gospel, and his soloing could be very smooth and polished. But every once in a while, he had to break out of his own soul box and tear it up on a session. The Worm, issued on Solid State Records in 1968, is the very first place he did. This is the first true, all-out funky burner from McGriff, and it sounds very different from most of the other titles on his shelf. Having a band like this helps: trumpeter Blue Mitchell, tenor saxophonist Fats Theus (with Bob Ashton on baritone and Danny Turner on alto), alternating drummers Mel Lewis and Grady Tate, bassist Bob Bushnell, and guitarist Thornel Schwartz were all in their prime in 1968. The title track, written by McGriff, Theus, and producer Sonny Lester, sets the tone for the whole platter. The saxophone section lays in the cut and is prodded on in a driving, funked-up, hard soul groove by the expanded rhythm section (a B-3 album with a bassist wasn't unheard of, but it wasn't standard procedure either). Solos by both McGriff and Mitchell are choppy and punchy in the extreme. The trumpeter is amazing here, offering a small taste of the sound he displayed on 1969's Collision in Black. 

But check out the next two tunes, both McGriff originals that push the LP into the red zone and keep it there. "Keep Loose" takes the organist head-to-head against Schwartz's electric six-string, and forces a showdown. McGriff is like an out-of-control soul singer (James Brown in a concert setting comes to mind), incessantly forcing his band to play faster, greasier, and choppier on chorus after chorus. He ups the intensity level until there is nowhere to go but over the ledge. He takes them there on "Heavyweight," the very next number, a swinging boppish blues. The horns actually keep the track grounded as McGriff gets terse, dense, and finally unhinged: he's more adventurous in this solo than he had been before, then he double- and even triple-times the entire band! He brings Bushnell's bass up the ever-narrowing stairs of the riff until they become a single player, all groove, grit, and grease. McGriff's cover of Aretha Franklin's "Think" keeps the exuberance level high. As the horns move right into the Memphis soul vamp, McGriff again plays the part of a vocalist: charging up and down the melody on his keyboards, popping in slippery side chords and harmonic flourishes. Tate's drums swing freely yet forcefully, and bass and guitar lines are simply nasty. The readings of Kenny Burrell's "Lock It Up" and Billy Strayhorn's "Take the 'A' Train" are the closest things to "straight" jazz here, though they're full of razored edges and hard angles. The reading of Neal Hefti's "Girl Talk" features the horns strolling leisurely on the melody and vamp, but McGriff goes into overdrive again and his solo hits the stratosphere. The Worm is a monster album through and through. Not only is it a revelatory example of McGriff on the wild, it marks one of the first places where the new funky urban soul met jazz and blues and evolved into jazz-funk. ~ Thom Jurek https://www.allmusic.com/album/the-worm-mw0000659896

Personnel:  Organ – Jimmy McGriff; Alto Saxophone – Danny Turner; Baritone Saxophone – Robert Ashton; Bass [Fender] – Bob Bushnell; Drums – Grady Tate, Mel Lewis; Guitar – Thornel Schwartz; Tenor Saxophone – Fats Theus; Trumpet – Blue Mitchell

The Worm

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Warren Vaché - Songs Our Fathers Taught Us

Styles: Cornet Jazz
Year: 2019
File: MP3@320K/s
Time: 58:08
Size: 133,9 MB
Art: Front

(3:42)  1. My Melancholy Baby
(3:52)  2. Key Largo
(3:56)  3. Love Locked Out
(5:26)  4. I Love You
(5:11)  5. Warm Valley
(4:56)  6. I'll Be Around
(3:40)  7. Birk's Works
(5:08)  8. Felicidade
(4:11)  9. The More I See You
(5:45) 10. Deep Night
(4:16) 11. Blue Room
(4:45) 12. There I No Music (For Me)
(3:15) 13. (I'd Like To Get You On A) Slow Boat To China

Anyone who is familiar with the artistry of WARREN VACHÉ knows that he epitomizes the tasteful side of the jazz spectrum. You also know that Vaché knows a lot of songs, good ones. Vaché, here on cornet, is joined by guitarist Jacob Fischer, bassist Neal Miner and drummer Steve Williams for Songs Our Fathers Taught Us (Arbors 19464). The program comprises 13 selections mixing the familiar, ''My Melancholy Baby,'' ''I'll Be Around,'' ''The More I See You'' and ''Blue Room;'' good songs that are too often overlooked, ''Key Largo,'' ''Love Locked Out'' and Cole Porter's ''I Love You;'' a couple of jazz tunes, ''Warm Valley'' and Birk's Works;'' and relative obscurities like ''Deep Night'' and a true rarity, ''There Is No Music (For Me)'' by Harry Warren and Ira Gershwin. I am not sure which songs were suggested by which participant, but the program proves to be a winner. Vaché plays with his usual eloquence and Fischer matches him on guitar, while Miner and Williams provide just the kind of support that they deserve. It is evident that the fathers of these cats imbued their offspring with a love for music for the ages. 

~ Joseph Lang 

Let's all pause for just a moment a contemplate what it would be like to live in a home in which your dad taught you to play jazz standards. In this case, what cornetist Warren Vaché remembers are the 78-rpm shellac recordings that his dad had saved up lunch money to buy when he was a schoolboy, and which he played on the family's record player every Saturday morning as Vaché was growing up. ''Melancholy Baby,'' ''Slow Boat to China,'' ''Blue Room,'' like that. Vaché plays these tunes in a soft and gentle way, even on the up-tempo numbers; there's fire in his energy and tone, but cool restraint in his arrangements and phrasing. He's accompanied by acoustic guitarist Jacob Fischer, bassist Neal Miner, and drummer Steve Williams-though the drums lay out for long stretches on this album, contributing to the overall feeling of relaxed warmth. Very, very nice. ~ Rick Anderson Editorial Reviews https://www.amazon.com/Songs-Our-Fathers-Taught-Us/dp/B07NHP5S6B

Personnel:  Warren Vache - cornet, Jacob Fischer - guitar, Neal Miner - bass, Steve Williams - drums

Songs Our Fathers Taught Us

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João Gilberto - By Your Side

Styles: Bossa Nova, Latin Jazz
Year: 2018
File: MP3@320K/s
Time: 73:40
Size: 171,8 MB
Art: Front

(2:26)  1. Insensatez
(1:57)  2. é Luxo Só
(2:02)  3. Chega De Saudade
(3:23)  4. One Note Samba
(2:32)  5. O Barquinho
(2:23)  6. Maria Ninguém
(2:23)  7. O Amor Em Paz
(1:58)  8. Desafinado
(2:37)  9. Manhã De Carnaval
(2:06) 10. Brigas Nunca Mais
(2:17) 11. Hó Bá Lá Lá
(2:00) 12. Morena Boca De Ouro
(2:25) 13. O Nosso Amor
(1:21) 14. Lobo Bobo
(2:22) 15. Samba De Minha Terra
(1:35) 16. Aos Pés Da Cruz
(2:00) 17. O Pato
(1:47) 18. Saudade Fez Um Samba
(1:58) 19. Corcovado
(1:39) 20. Samba De Uma Nota Só
(2:17) 21. Saudade Da Bahia
(1:54) 22. Amor Certinho
(2:53) 23. A Felicidade
(1:49) 24. Só Em Teus Braços
(1:45) 25. Se é Tarde Me Perdoa
(1:47) 26. Meditação
(2:51) 27. Coisa Mais Linda
(2:32) 28. Vocé E Eu
(2:14) 29. Este Seu Olhar
(1:51) 30. Discussão
(1:17) 31. Bim Bom
(2:06) 32. Rosa Morena
(1:38) 33. Um Abraço No Bonfá
(1:28) 34. Doralice
(1:53) 35. A Primeira Vez

When talking about bossa nova, perhaps the signature pop music sound of Brazil, frequently the first name to come to one's lips is that of Antonio Carlos Jobim. With songs like "The Girl From Ipanema" and "Desafindo," Jobim pretty much set the standard for the creation of the bossa nova in the mid-'50s. However, as is often the case, others come along and take the genre in a new direction, reinventing through radical reinterpretation, be it lyrically, rhythmically, or in live performance, making the music theirs. And if Jobim gets credit for laying the foundation of bossa nova, then the genre was brilliantly reimagined (and, arguably, defined) by the singer/songwriter and guitarist João Gilberto. In his native country he is called O Mito (The Legend), a deserving nickname, for since he began recording in late '50s Gilberto, with his signature soft, near-whispering croon, set a standard few have equaled.  Born in 1931 in Juazeiro in the northeastern state of Brazil known as Bahia, Gilberto seemed obsessed with music almost from the moment he emerged from the womb. His grandfather bought him his first guitar at age 14 (much to the dismay of João's father). Within a year, the result of near constant practicing, he was the leader of a band made up of school friends. During this time Gilberto was absorbing the rhythmic subtlety of the Brazilian pop songs of the day, while also taking in the rich sounds of swing jazz (Duke Ellington and Tommy Dorsey), as well as the light opera singing of Jeanette MacDonald. At 18, Gilberto gave up on his small town life and headed to Bahia's largest city, Salvador, to get a foothold in the music industry performing on live radio shows. Although he was given the opportunity to sing, instant stardom was not in the offing, but his brief appearances on the radio brought him to the attention of Antonio Maria, who wanted Gilberto to become the lead singer for the popular radio band Garotos da Lua (Boys From the Moon) and move to Rio de Janeiro.  Gilberto stayed in the band only a year. 

He was fired after the rest of the group could take no more of his lackadaisical attitude. Gilberto was frequently late for rehearsals and performances, and in a move reminiscent of American pop star Sly Stone, would occasionally not show up at all. After his dismissal from the group Gilberto lived a seminomadic life. For years he had no fixed address, drifting from friend to friend and acquaintance to acquaintance, living off their kindness and rarely if ever contributing to the household expenses. Evidently Gilberto was such charming company that his emotional carelessness and fiscal apathy were never an issue that or he had extremely patient and generous friends. It was during this underachieving bohemian period that Gilberto kept an extremely low profile. Instead of using his time with Garotos da Luna as a springboard for other recording and performing possibilities, he became apathetic, constantly smoking large quantities of marijuana, playing the odd club gig, and refusing work he considered beneath him (this included gigs at clubs where people talked during the performance). Although gifted with considerable talent as a singer and guitar player, it seemed as though Gilberto would fail to attain the success and notoriety he deserved if only due to apathy that verged on lethargy. After nearly a decade of aimlessness Gilberto joined forces with singer Luis Telles, who encouraged Gilberto to leave Rio for a semibucolic life in the city of Pôrto Alegre. Telles, who functioned as a combination public relations guru and sugar daddy, made sure the demanding Gilberto wanted for nothing and would concentrate on his music. It turned out to be a successful, if expensive strategy. Within a few months Gilberto (who at this point had given up his prodigious marijuana consumption and was now partaking in nothing stronger than fruit juice) was the toast of Pôrto Alegre, the musician everyone wanted to see. It was also during this extended apprenticeship that Gilberto perfected his unique vocal style and guitar playing. So breathy and nasally it is almost defies description, in many ways he uses all the things one is taught not to do as a singer and has made them into an instantly recognizable style. Not even established crooners such as Bing Crosby and Perry Como sang more quietly or with less vibrato. 

This, along with his rhythmically idiosyncratic approach to playing the guitar  an intensely syncopated plucking of the strings that flowed with his singing  made for some exhilarating music, and by the time of his first record, Chega de Saudade (1959), Gilberto became widely known as the man who made bossa nova what it is.  True to form, however, Gilberto took the road less traveled, and after the success of his debut record and the two follow-up releases, he left Brazil to settle in the United States, where he lived until 1980. During this period he recorded some amazing records, working with saxophonist Stan Getz and recording music by older Brazilian songwriters such as Dorival Caymmi and Ary Barroso. 

He returned to Brazil in the early '80s and since then has worked with virtually every big name in Brazilian pop, including Gilberto Gil, Caetano Veloso, Maria Bethania, Gal Costa, and Chico Buarque. He never saw record sales like the aforementioned performers, but all of them regard him as a profound influence on their work. True to his image as enigmatic and eccentric, Gilberto lives a semireclusive lifestyle secure in the knowledge that, decades ago, he changed the course of Brazilian culture by making the bossa nova his music, as well as the music of Brazil. ~ John Dougan https://www.allmusic.com/artist/jo%C3%A3o-gilberto-mn0000785283/biography

R.I.P.
Born: June 10, 1931 - Juazeiro, Bahia, Brazil.
Died:  July 6, 2019 - Rio de Janeiro, Brazil.

By Your Side

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Maruja Muci - Tiempos Modernos

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 46:39
Size: 108,1 MB
Art: Front

(4:33)  1. Primavera
(5:27)  2. Mantra
(5:32)  3. Algún Lugar
(4:48)  4. Tiempos Modernos
(4:34)  5. Promiscua Soledad
(5:03)  6. Pensamiento Libre
(4:50)  7. Besos
(4:05)  8. Adiós
(3:09)  9. Canción de Cuna
(4:34) 10. The Final Countdown

On her third self-released disc, Venezuelan singer Maruja Muci concentrates on a songwriting side (her two previous CDs were largely cover sets) that reveals strong Brazilian influences, starting with "Primavera," a modern bossa with electronic elements reminiscent of the kind often favored by Brazil's Bebel Gilberto. Muci, however, makes the sound her own with her strong delivery and sparse instrumentation that enriches her voice instead of covering it with excess. She nods to her country's musical influences on "Mantra," an effects-laden track that features superior percussion work from Alberto Vergara and Diego Alvarez Munoz. A notable moment comes with "Algun Lugar," a gently romantic ballad that revolves around Adrian Holtz's acoustic guitar and Muci's double-tracked vocals. "Promiscua Soledad" is the most pop-inflected tune, which opens with the sound of a train, followed by electronic drums and Muci's soft rap vocals. Other tracks include "Pensiamento Libre," a tune that blends rock tendencies with Middle Eastern beats, and the Flamenco-tinged "Besos." Tiempos Modernos closes with its sole English-language track, a cover of Europa's "The Final Countdown." Muci's down-tempo, sexy treatment could easily have appeared in a late 1970s James Bond film; consciously or not, the arrangement borrows from songs like Shirley Basseys "Moonraker" and Gladys Knight's "License To Kill." Muci as of 2010, yet to perform in the U.S. sounds incredibly comfortable. The eclectic blend of traditional rhythms, jazz and pop are highly enjoyable, and Tiempos Modernos just might be the disc that breaks her into the international market. ~ Ernest Barteldes https://www.allaboutjazz.com/tiempos-modernos-self-produced-review-by-ernest-barteldes.php

Personnel: Maruja Muci: vocals, arrangements;  Carlos Camarasa:guitar;  Adam Ross: guitar,arrangements;  Kurt Uenala: bass, arrangements;  Alberto Vergara, William Troconis; percussion;  Adrian Holtz: drum programming;  Diego Alvarez Munoz: cajon, percussion.

Tiempos Modernos

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Dave Valentin - Land of the Third Eye

Styles: Jazz Funk
Year: 1980
File: MP3@320K/s
Time: 44:21
Size: 102,5 MB
Art: Front

(4:38)  1. Sidra's Dream
(5:44)  2. Astro-March
(5:04)  3. Open Your Eyes
(4:26)  4. Fantasy
(6:56)  5. Land of the Third Eye
(6:27)  6. The Tellers
(6:56)  7. Pana Fuerte (Strong Friendship)
(4:05)  8. Sidra's Dream - Single Version

A fantastic funky album from flute man Dave Valentin done right after his time on the New York Latin underground, including some work with Ricardo Marrerro and in that lean, sharp sound of the early years of the GRP label! The vibe here is more CTI than the smoother later sound of the imprint and the arrangements have plenty of space for Dave's flute to soar out in Bobbi Humphrey-like solos amidst larger charts from Dave Grusin, Dennis Ball, and Valentin himself. Grusin also plays a fair bit of keyboards on the record, Marcus Miller plays bass, and one track features sweet guest vocals from Luther Vandross and Patti Austin. Titles include "Open Your Eyes", "Fantasy", "Astro March", "Land Of The Third Eye", and "Sidra's Dream". CD features a bonus 7" mix of "Sidra's Dream".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/863731/Dave-Valentin:Land-Of-The-Third-Eye-with-bonus-track

Personnel:  Arranged By – Dave Grusin, Dave Valentin, Dennis Bell, Michael Viñas; Bass – Lincoln Goines, Marcus Miller; Chorus – Jeff Norell, Luther Vandross, Patti Austin; Congas – Rafael de Jesus, Roger Squitero; Drums – Buddy Williams, Tito Marrero; Guitar – Jeff Mironov, Michael Viñas; Piano – Dave Grusin, Jorge Dalto, Oscar Hernandez

Land of the Third Eye

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