Miryam Latrece - Quiero Cantarte

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 55:23
Size: 127,5 MB
Art: Front

(3:32)  1. Chega de saudade
(4:52)  2. Drume Negrita
(6:11)  3. Mediterráneo
(4:07)  4. Oh vida
(4:35)  5. Maça
(5:28)  6. Todo es de color
(4:30)  7. Meditaçao
(4:43)  8. Tramontana
(4:24)  9. Jogral
(3:44) 10. Yo vengo a ofrecer mi corazón
(5:02) 11. Like Someone in Love
(4:09) 12. La Leyenda del tiempo

want to sing to you is Miryam Latrece's second job . This young singer and songwriter from Madrid began to take her first steps in music from an early age. At seventeen he already belonged to a band called Akatupower, with which he would record two albums and participate in various music festivals. From 2013 he began his solo career, with performances in the most emblematic places of the Jazz scene in Madrid. And in 2016 he would publish his first solo work, Una Necessity .I want to sing to you is Miryam Latrece's new album , in which he performs versions of artists such as Tom Jobim , Djavan , Chet Baker or Joan Manuel Serrrat, among others. An album recorded with a trio of great musicians such as drummer and producer Michael Olivera, pianist Marco Mezquida and bassist Pablo Martín Caminero. As proof of the quality that this work treasures, nothing better than watching the video clip of Chega de Saudade , the theme that opens it.  The second album by young Madrid singer Miryam Latrece is the protagonist of this edition. We also review recent releases by Jéssica Pina, Vladimir Cetkar, Marc Jordan, The Rippingtons and Rahsaan Patterson. In the memory block we recover the two most international sound discs of Argentine guitarist Luis Salinas. https://www.cloud-jazz.com/miryam-latrece-quiero-cantarte

Quiero Cantarte

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Dear friends and followers,

I'll be away for a few days from tomorrow until mid-week next week.  As I won't be able to post, I ask you to also avoid requesting for re-ups until I come back, when things will go back to normal!
Take good care of yourself. See you soon! 

Roy Hargrove Quintet - The Vibe

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 61:12
Size: 141,7 MB
Art: Front

(6:32)  1. The Vibe
(7:02)  2. Caryisms
(5:02)  3. Where Were You?
(6:33)  4. Alter Ego
(5:07)  5. The Thang
(4:53)  6. Pinocchio
(6:03)  7. Milestones
(5:43)  8. Things We Did Last Summer
(6:27)  9. Blues For Booty Green's
(7:45) 10. Runnin' Out Of Time

The last of trumpeter Roy Hargrove's recordings to feature his longtime altoist Antonio Hart also includes pianist Marc Cary, bassist Rodney Whitaker, drummer Gregory Hutchinson and guest spots for the tenors of Branford Marsalis and David "Fathead" Newman, plus trombonist Frank Lacy and organist Jack McDuff. Hargrove (still just 22) was already on his way to being one of the better hard bop-based trumpeters in jazz, as he shows on group originals, James Williams' "Alter Ego," Wayne Shorter's "Pinocchio," "Milestones," and "The Things We Did Last Summer." A fine example of Hargrove's rapidly emerging style. ~ Scott Yanow https://www.allmusic.com/album/the-vibe-mw0000071800

Personnel: Trumpet – Roy Hargrove; Alto Saxophone – Antonio Maurice Hart; Bass – Rodney Thomas Whitaker; Drums – Gregory Hutchinson; Organ [B3] – 'Cap'n' Jack McDuff; Piano – Marc Anthony Cary; Producer – Larry Clothier; Tenor Saxophone – Branford Marsalis, David "Fathead" Newman; Trombone – Ku-Umba Frank Lacy

The Vibe

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Carla Cook - Dem Bones

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 60:30
Size: 139,3 MB
Art: Front

(4:53)  1. The More I See You
(6:42)  2. Like a Lover
(4:12)  3. Oh Gee
(6:55)  4. Dem Bones
(4:50)  5. Just a Sittin' and a Rockin'
(4:35)  6. Ode to Billie Joe
(5:44)  7. Someone to Light up My Life
(7:17)  8. For the Elders
(6:42)  9. Come, Ye Disconsolate
(5:00) 10. Better Than Anything
(3:37) 11. A Lover's Lullaby

The title of Carla Cook's latest album refers to the trombone choir she's enlisted to blend with her silky smooth voice. Her natural ability makes this one work. Whether she's scat singing, crooning soft ballads, or spinning acrobatic vocalese, Cook is always on pitch and quite in control. Her expressiveness is what makes her performances special. Cook, who grew up in Detroit, has made the connection between jazz and similar art forms. She made her decision to become a jazz singer while still in the 8th grade. On Fred Wesley's "For the Elders," Cook fills the role of fourth chair trombone. Her wordless vocals match the trombone trio that well. With ballads such as "Like a Lover" and "Someone to Light Up My Life," she's at the top of her form. But it's snappy scat singing that reveals itself as Cook's greatest strength. Near the finish of "Better than Anything," for example, she moves into a trumpet-like scat vocal that says it all better than words can. Carla Cook's eclectic program choices reflect her varied background. A degree in Speech Communication and formal training in voice, bass and piano must surely have helped hone her natural skills. Like most singers, exposure to many music forms has made her comfortable with it all. Finding "Ode to Billie Joe" and "Come, Ye Disconsolate" on her jazz album may come as a surprise, but it fits well. Cyrus Chestnut, James Genus and Billy Kilson provide a superb team spirit. More than just a superb follow-up to her It's All About Love debut, Dem Bones reminds us of power that jazz has in its capacity for creating bridges to most other art forms. ~ Jim Santella https://www.allaboutjazz.com/dem-bones-carla-cook-maxjazz-review-by-jim-santella.php

Personnel: Carla Cook: Vocals; Cyrus Chestnut: Keyboards; James Genus: Bass; Fred Wesley, Craig Harris, Tyrone Jefferson: Trombone; Jeffery Haynes: Percussion.

Dem Bones

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Randy Brecker - 34th N Lex

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 56:57
Size: 131,4 MB
Art: Front

(6:29)  1. 34th N Lex
(4:21)  2. Streeange
(5:37)  3. Shanghigh
(3:36)  4. All 4 Love
(3:59)  5. Let It Go
(7:42)  6. Foregone Conclusion
(5:11)  7. Hula Dula
(5:33)  8. The Fisherman
(5:01)  9. Give It Up
(4:36) 10. Tokyo Freddie
(4:48) 11. The Castle Rocks

Randy Brecker's last release ( Hangin' in the City ) was one strange puppy, a handful of serviceable tunes wound tightly around the convoluted perversion of "Randroid," the trumpeter's streetwise cabbie alter-ego. Brecker wisely got back to the groove this time around, leaving this disc's few vocals to more capable hands. The result is a highly entertaining album showcasing his strong suits of trumpet playing and composition, yet still maintaining a 21st century sensibility. The ensembles range from quartet to octet in size, all sounding much more than their sum thanks to Brecker's arranging skills. His trumpet and flugelhorn are the centerpieces most of the time, with outstanding contributions from brother Michael, bassist Chris Minh Doky, Ronnie Cuber, David Sanborn, Fred Wesley and other compadres. The leader must be one of the hippest white guys in the business, having nailed various aspects of black popular music down pat. Hip-hop beats color "All 4 Love" without sounding generic; a muted Brecker recalls Miles around the time of Star People, while J Phoenix's layered vocals bring a more fashionable vibe. Makeeba Mooncycle paints vocal accents and scattered words onto the canvas of "Streeange," giving the impression, if nothing else, of a mere phone call in the background. Less stereotypical urban sounds are also explored. The intro to "Foregone Conclusion" briefly recalls "Somewhere Out There" but blessedly moves into more appealing territory. "Tokyo Freddie" is a breakneck slice of neo-bop; "The Fisherman" leans close to Weather Report; heavy percussion and George Whitty's electric piano contribute to the intense urgency of "Hula Dula." These rank among Brecker's best compositions and will hopefully stay in his repertoire for some time. Low points: the rather uninteresting "Give It Up," which would fare better were it not imbedded among so many stronger compositions, and the general sense of sameness among the many minor keys and dark moods. High marks to Adam Rogers' cookin' guitar on "Shanghigh," Ronnie Cuber on the title track, and the whole bloody band for negotiating the difficult rhythms of "Let It Go." One of Brecker's best releases in a career full of hills and valleys; bravo for a successful evaluation of the state of jazz today. ~ Todd S.Jenkins https://www.allaboutjazz.com/34th-n-lex-randy-brecker-esc-records-review-by-todd-s-jenkins.php?width=1920

Personnel: Randy Brecker: Trumpet & flugelhorn (6). Michael Brecker: Tenor Sax (1-3,5-11). David Sanborn: Alto sax (1,5,7,8). Ronnie Cuber: Baritone sax (1,5,7). Ada Roviatti: Tenor sax (11). Trombone: Fred Wesley (3,5,9,10) & Michael Davis. Guitar: Adam Rogers (1-3,5-9) & Chris Taylor (2). Bass: Chris Minh Doky (1,3,6,7,10). Bass, keyboards, guitar and percussion programming: Gary Haasse (2,4,9). Drums, keyboards, bass & percussion programming: George Whitty (1-3,5-8,10,11). Drums: Clarence Penn (3,6,10). Drum Programming: Zach Danziger (2,4,9). Voice: Makeeba Mooncycle (2). Vocals: J. Phoenix (4).

34th N Lex

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Thelonious Monk Septet - Monk's Music

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 48:06
Size: 112,2 MB
Art: Front

( 0:52)  1. Abide With Me
(11:22)  2. Well You Needn't
( 5:24)  3. Ruby, My Dear
( 5:06)  4. Off Minor - Take 5
( 5:13)  5. Off Minor - Bonus Track
(10:44)  6. Epistrophy
( 4:36)  7. Crepuscule With Nellie - Take 6 / Mono
( 4:45)  8. Crepuscule With Nellie - Bonus Track

Many albums in the Original Jazz Classics reissue series include alternate takes or tracks recorded for, but ultimately not included on, the original vinyl LP. The label's 2011 Remasters edition of pianist Thelonious Monk's Monk's Music (Riverside, 1957) is no exception but is something of a first, in that "Blues For Tomorrow," the 13:33 minute bonus track, does not include a single note from the leader. The track was recorded on June 25, 1957, in the closing minutes of an otherwise unproductive session. Monk, unusually, arrived on time, but was distracted with worry about his wife, Nellie, who was in hospital. Drummer Art Blakey arrived an hour late and then had to assemble and mic up his kit. The band had difficulty following Monk's directions, leading Monk to exclaim to tenor saxophonists Coleman Hawkins and John Coltrane, "You're the great Coleman Hawkins, right? You're the guy who invented the tenor saxophone, right? Your'e the great John Coltrane, right? Well, the music is in the horn. Between the two of you, you should be able to find it." Eventually, towards the due end of the session, Monk threw in the towel and went home. Producer Orrin Keepnews, desperate to salvage some releasable music from the date, asked the remaining sextet to record a blues, which was quickly put together by alto saxophonist Gigi Gryce. "Blues For Tomorrow" was not included on the original Monk's Music, and was first released on a Riverside various artists compilation. (The alternate takes of "Off Minor" and "Crepuscule With Nellie" have long been included on reissues of Monk's Music). Happily, a second session on June 26 went resoundingly well, producing the other eight tracks which make up the Remasters disc which also includes, in the 00:55 minute opener, "Abide With Me," a second Monkless item, this one arranged by Monk for the horns only, as a curtain-raiser to the album proper. Monk's horns-rich arrangements, and the quality of the soloists to hand, has made Monk's Music a well-loved and important part of Monk's canon. Compositionally, however, it marked time. Putting aside its immediate predecessor, Thelonious Himself (Riverside, 1957), on which the mostly unaccompanied Monk focused on standards, it followed Brilliant Corners (Riverside, 1956), on which Monk led a quintet/septet on mostly freshly composed material. Most of the tunes on Monk's Music would have been familiar to the assembled musicians, who were thrown on June 25 by new and tricky arrangements and, very likely, by Monk's distracted mood.  Joe Tarantino's 24-bit remaster does Monk's Music proud, and it is appropriate to have "Blues For Tomorrow" on the same disc even if there's no Monk. ~ Chris May https://www.allaboutjazz.com/monks-music-thelonious-monk-original-jazz-classics-remasters-review-by-chris-may.php

Personnel: Thelonious Monk: piano (2-8); Ray Copeland: trumpet (1, 2, 4-9); Gigi Gryce: alto saxophone (1, 2, 4-9); John Coltrane: tenor saxophone (1, 2, 4-9); Coleman Hawkins: tenor saxophone; Wilbur Ware: bass (2-9); Art Blakey: drums (2-9).

Monk's Music

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Eddie Chamblee - Doodlin'

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 32:47
Size: 76,4 MB
Art: Front

(4:25)  1. Doodlin'
(1:54)  2. Back Street
(4:36)  3. Stardust
(4:02)  4. Robbin's Nest
(2:22)  5. Solitude
(2:17)  6. Long Gone
(2:23)  7. Strollin' Sax
(3:26)  8. Lester Leaps Again
(2:41)  9. Swing A Little Taste
(4:36) 10. Village Square

He was born in Atlanta, Georgia, and grew up in Chicago where he began learning the saxophone at the age of 12. After leaving Wendell Phillips High School, he studied law at Chicago State University, playing in clubs in the evenings and at weekends. He played in US Army bands between 1941 and 1946. After leaving the army, he joined Miracle Records. He played on Sonny Thompson's hit record "Long Gone" in 1948, and on its follow-up, "Late Freight", credited to the Sonny Thompson Quintet featuring Eddie Chamblee. Both records reached no. 1 on the national Billboard R&B chart.[3] Two follow-up records, "Blue Dreams" and "Back Street", also made the R&B chart in 1949. From 1947, he led his own band in Chicago clubs, as well as continuing to record with Thompson and on other sessions in Chicago, including The Four Blazes' no. 1 R&B hit "Mary Jo" in 1952. In 1954 he joined Lionel Hampton's band for two years, touring in Europe, before returning to lead his own group in Chicago. He accompanied both Amos Milburn and Lowell Fulson on some of their recordings, and then worked as accompanist to Dinah Washington on many of her successful recordings in the late 1950s and early 1960s. 

The two performed vocal duets in a style similar to that later adopted by Washington with Brook Benton, and were briefly married; he was her fifth husband. Chamblee also recorded for the Mercury and EmArcy labels, and with his own group in the early 1960s for the Roulette and Prestige labels. In the 1970s he rejoined Hampton for tours of Europe, where he also played with Milt Buckner, and he recorded for the French Black & Blue label. He also performed with the Count Basie Orchestra in 1982, and from the 1980s until his death with the Harlem Blues and Jazz Band, as well as in clubs in New York City. He died in New York in 1999 at the age of 79. https://en.wikipedia.org/wiki/Eddie_Chamblee

Personnel: Saxophone – Charles Davis , Eddie Chamblee; Bass – Robert Wilson; Drums – James Slaughter; Piano – Jack Wilson; Trombone – Julian Priester; Trumpet – Flip Ricard

Doodlin'

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Joy Bryan - Vocal & Jazz Essentials

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 72:42
Size: 170,3 MB
Art: Front

(2:29)  1. You're My Everything
(3:40)  2. East of the Sun
(2:07)  3. I Could Write a Book
(4:07)  4. Old Devil Moon
(3:46)  5. When It's Sleepy Time Down South
(2:59)  6. My Romance
(3:30)  7. Almost Like Being in Love
(1:47)  8. My Shining Hour
(4:57)  9. Make the Man Love Me
(3:32) 10. These Foolish Things
(3:10) 11. Swinging On a Star
(2:59) 12. I Was Doin' All Right
(3:37) 13. Aren't You Glad You're You?
(4:03) 14. It Never Entered My Mind
(3:13) 15. 'Round Midnight
(3:06) 16. Down the Old Ox Road
(3:56) 17. My Funny Valentine
(2:34) 18. What Is There to Say?
(2:38) 19. My Heart Stood Still
(3:55) 20. When the World Was Young
(3:11) 21. Mississippi Mud
(3:15) 22. Everything's Coming Up Roses

Pre-rock pop, ballads and standards vocalist who cut albums in late '50s, early 60s on West Coast. She was not hugely successful, nor attained widespread notoriety, but her 1961 release with Wynton Kelly and Leroy Vinnegar was good effort. ~ Ron Wynn https://www.allmusic.com/artist/joy-bryan-mn0001193072

Vocal & Jazz Essentials

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Greg Osby - The Invisible Hand

Styles: Saxophone And Clarinet Jazz
Year: 2000
File: MP3@320K/s
Time: 65:20
Size: 150,6 MB
Art: Front

(8:02)  1. Ashes
(5:10)  2. Who Needs Forever
(5:40)  3. The Watcher
(7:40)  4. Jitterbug Waltz
(7:39)  5. Sanctus
(4:32)  6. Indiana
(8:44)  7. Nature Boy
(6:00)  8. Tough Love
(7:29)  9. With Son
(4:22) 10. The Watcher 2

Greg Osby has come a long way from his beginnings in St. Louis playing funk and R&B. His sound crossed our radar screens after moving to Brooklyn and joining forces with Steve Coleman in the mid-‘80s to form M-BASE, an urban-beat driven jazz. Osby had a very calculated, sometimes emotionless sound. It was if he was working equations in his head as he played. Where his older recordings suffered from a staid studio approach, his recent effort, Banned In New York, a live “bootleg” recording, displays Osby as an emotional quick-witted band leader. His last disc, Friendly Fire, a co-led affair with Joe Lovano proved Osby deserves to be considered as one of the top musicians working today. The Invisible Hand is further proof that Osby treads comfortably between the past and, importantly, the future of jazz. Joining him are Gary Thomas and Teri Lynn Carrington from his early Brooklyn days and two of the professor emeriti of jazz, Jim Hall and Andrew Hill. Hall is a guitarist that favors a subtle touch; a peculiar feature for someone so associated with cutting edge jazz. He has recorded classic albums with Sonny Rollins, Lee Konitz, and Paul Desmond. Lately, his Telarc dates have featured his third stream thinking. Andrew Hill’s Blue Note dates of the sixties were cerebral efforts, not quite post-bop and not really free jazz affairs. Early in Osby’s career he was a sideman for the late-‘80s Blue Note comeback of Hill. Likewise, he has recorded on two recent Hall dates. The Invisible Hand trades mathematics for emotion. The slow to mid-tempos presented are fertile grounds for group interplay and interpretation. For instance, they take on Fats Waller’s “Jitterbug Waltz,” a tune forever associated with Eric Dolphy. Rather than compete with our collective memories, Osby deconstructs the composition choosing bug parts over the whole, reworking it as an intellectual exercise. Osby’s deference to his esteemed colleagues shows. A stately and exquisite affair. 

~ Mark Corroto https://www.allaboutjazz.com/the-invisible-hand-greg-osby-blue-note-records-review-by-mark-corroto.php  

Personnel: Alto Saxophone, Clarinet, Producer, Liner Notes – Greg Osby; Bass – Scott Colley; Drums – Terri Lyne Carrington; Flute, Flute [Alto], Tenor Saxophone – Gary Thomas; Guitar – Jim Hall; Piano – Andrew Hill

The Invisible Hand

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The Fat Babies - 18th & Racine

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 50:56
Size: 118,3 MB
Art: Front

(3:12)  1. Liza
(3:35)  2. Till Times Get Better
(4:32)  3. The Stampede
(2:48)  4. Mable's Dream
(4:20)  5. Nobody's Sweetheart
(3:28)  6. I Can't Dance (I Got Ants in My Pants)
(4:55)  7. 18th & Racine
(2:40)  8. King Kong Stomp
(2:44)  9. El Rado Scuffle
(2:23) 10. Oh Baby
(3:36) 11. Stardust
(2:45) 12. I'll Fly to Hawaii
(3:21) 13. Oh Me! Oh My!
(3:13) 14. The Chant
(3:18) 15. Blueberry Rhyme

Early jazz stylists The Fat Babies' second album 18th & Racine is bolder than their first in their choice of material and their delivery of the songs included. Encouraged by the successful execution of their debut Chicago Hot (Delmark 2012) the band presents 14 lesser-known gems and an original composition by their cornetist Andy Schumm. The relative obscurity of these delightful pieces and the deftness by which the dust of history is polished off them exposes their raw emotion and makes for a very intriguing listening experience. Vocalist/multi-instrumentalist Charlie Gaines' whimsical "I Can't Dance (I Got Ants in My Pants)," first popularized by pioneering trumpeter Valaida Snow, features group vocals over drummer Alex Hall's clear, resonating beats and pianist Paul Asaro's bright, stride solo. Pianist Joseph Robichaux's "King Kong Stomp," which in its original incarnation in 1933 was one of the first recordings to introduce the vibraphone, opens with a primal, thumping rhythm that Hall and leader/bassist Beau Sample lay down. Reedman John Otto Richardson agile, elastic saxophone and Schumm's burnished horn contrast nicely with trombonist Dave Bock's bluesy growl. Banjoist Jake Sanders shines in a brief, crisp and innovative improvisation on composer Owen Murphy's "Oh Baby." Schumm plays the romantic and deceptively simple melody with a lilting tone and sophisticated flair. Shumm's own original, the title track, invokes the ambience of suave nightspots like the legendary Cotton Club. Schumm blows his horn with unbridled passion while Sample and Bock's exchanges add a dark and nocturnesque streak. Bock's trombone moans and roars over the syncopated rhythms with an urbane swagger. Pianist/composer Mel Stitzel's (of New Orleans Rhythm Kings fame) "Chant" epitomizes the exuberant camaraderie of this energetic ensemble. The various members engage in thrilling musical exchanges as they take their turns in the spotlight. This highly enjoyable and engaging disc closes with a nod to yet another pianist, this time Harlem giant James P. Johnson. Asaro plays Johnson's mellow "Blueberry Rhyme" with agility and elegance with only the backing of Hall's brushes. With 18th & Racine the "trad jazz combo" The Fat Babies have honed and perfected their skills not only as musicians but also as true revivalists. They have resurrected, with their unique approach, unjustly forgotten tunes and together the nostalgic aura of a bygone era. 

~ Hrayr Attarian https://www.allaboutjazz.com/18th-and-racine-the-fat-babies-delmark-records-review-by-hrayr-attarian.php

Personnel: Beau Sample: bass; Andy Schumm: cornet and alto saxophone; John Otto: clarinet and alto saxophone; Dave Bock: trombone; Jake Sanders: banjo; Paul Asaro: piano; Alex Hall: drums.

18th & Racine

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Chuck Hedges - Just Jammin'

Styles: Clarinet Jazz
Year: 2002
File: MP3@320K/s
Time: 75:37
Size: 174,9 MB
Art: Front

(8:52)  1. Broadway
(5:38)  2. Do You Know What It Means To Miss New Orleans
(7:00)  3. Sugar
(9:51)  4. I Don't Stand A Ghost Of A Chance With You
(6:33)  5. I Let A Song Go Out Of My Heart
(7:54)  6. Do Nothin' Til You Hear From Me
(6:59)  7. Lullaby In Rhythm
(3:19)  8. In My Solitude
(8:11)  9. The Man I Love
(6:11) 10. Midnight Sun
(5:03) 11. Samba Dese Days

Chuck Hedges would agree that he is a nut who didn’t fall far from the tree. Chicago born and bred, the talented clarinetist settled in Milwaukee, Wisconsin, after touring with Wild Bill Davison, and he still commutes to the Windy City for a regular gig at Andy’s. But he also appreciates jamming with his Wisconsin neighbors, and for some time he has wanted to record with them. (Some of Hedges’ Milwaukee neighbors are commuters, such as Bucky Buchwalter, who returned to music after retiring from 40 years as an executive with Marshall Field in Chicago; and Dave Sullivan, who drives in from Sheboygan.) Arbors Records has provided him that chance. The result is a gentle album of “swinging chamber jazz, possibly what the pioneering Benny Goodman sextet might sound like today, if BG, Lionel Hampton, Teddy Wilson, et al., were still alive and playing,” as Mike Drew, jazz critic and writer for the Milwaukee Journal Sentinel, opines in the liner notes. Well, I’m not sure I would’ve gone that far, but you’ve got the idea. From their assurance, musicianship, blend, and joie de vivre, these are obviously serious jazzmen who enjoy their music-making enormously and want to share it. To be sure, the music is relaxed and easy to share; as I’m listening in my office, my wife walks past the door, stops, and then comes in just to sit and listen for a spell. This CD provides more than 75 minutes of mellow music on only eleven tunes, so the musicians have plenty of room to stretch out a bit. Ellington’s “Solitude” runs a little more than three minutes, but all the others range between five and ten minutes in length. The longest is also the slowest and moodiest: Victor Young and Ned Washington’s “Ghost of a Chance,” with a delightful guitar quote from “It Might as Well Be Spring,” and tasty solos all around. If you like quotes, listen to Sullivan’s guitar solos: on “I Let a Song Go Out of My Heart,” for David Rose’s “Holiday for Strings”; right at the beginning on “Do Nothin’ Till You Hear from Me,” for Stephen Foster’s “I Dream of Jeanie with the Light Brown Hair”; and on “Samba Dese Days,” for Youmans and Caesar’s “Tea for Two.” The two most up-tempo tunes are left for near the end: “The Man I Love” and “Samba Dese Days,” Sophie Tucker’s old theme song, with a lilting Latin arrangement of “Midnight Sun” sandwiched in between. Any lingering doubts I might have harbored about the technical and musical abilities of these six musicians have been neatly dispelled, long before the last echoes die out. ~ J.Robert Bragonier https://www.allaboutjazz.com/just-jammin-chuck-hedges-arbors-records-review-by-j-robert-bragonier.php

Personnel: Chuck Hedges (clarinet), Henry (Bucky) Buckwalter (vibes), Dave Sullivan (guitar), Gary Meisner (piano), Mike Britz (bass), and Andy LoDuca (drums)

Just Jammin'

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Thelma Gracen - Night And Day

Styles: Vocal
Year: 1955
File: MP3@320K/s
Time: 38:03
Size: 88,5 MB
Art: Front

(2:54)  1. I'll Remember April
(3:03)  2. Night And Day
(4:20)  3. I'll Never Be The Same
(2:35)  4. Tea For Two
(3:43)  5. I'll Get By
(2:38)  6. Out Of Nowhere
(4:01)  7. Solitude
(1:47)  8. Just You, Just Me
(4:15)  9. I'm Yours
(2:47) 10. People Will Say We're In Love
(3:51) 11. More Than You Know
(2:03) 12. Let There Be Love

Thelma Gracen began singing at the age of 15 and in the following years she appeared on the swing bands of Shep Fields (first recordings)  and Jimmy Dorsey . In 1947 she sang in the Gay Claridge Orchestra  ("Juke Box Serenade");  In 1955, she was in Los Angeles by Maynard Ferguson discovered  and was vocalist for Freddie Slack ( "Cow Cow Boogie" ( EmArcy Records ), u. A. With Shorty Sherock , Herbie Harper , Justin Gordon , Al Hendrickson , Morty Corb , Jack Sparrow). In November 1955, she recorded her only self-titled album for Wing with a studio band of West Coast jazz musicians ( Quen Anderson , Georgie Auld , Lou Levy , Barney Kessel , Joe Comfort, and Sid Bulkin ) (ReAssue on EmArCy).  She then interpreted standards such as " I'll Get By ", " I'll Remember April ", " More Than You Know ", " Out of Nowhere ", " Solitude " and " Tea for Two ". Translate By Google https://de.wikipedia.org/wiki/Thelma_Gracen

Night And Day

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Doug Webb - Midnight

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 73:39
Size: 169,7 MB
Art: Front

(5:24)  1. Try A Little Tenderness
(6:16)  2. I'll Be Around
(6:16)  3. Fly Me To The Moon
(6:25)  4. You Go To My Head
(3:53)  5. The Boy Next Door
(8:56)  6. Crazy She Calls Me
(6:20)  7. Quasimodo
(8:47)  8. Emily
(4:02)  9. You Do Something To Me - bonus track
(8:05) 10. Ask Me Now - bonus track
(3:52) 11. There's A Small Hotel - bonus track
(5:17) 12. Trouble Is A Man - bonus track

Saxophonist Doug Webb leads a superb quartet on Midnight, creating a late-night atmosphere with a hint of nostalgia on a range of classic tunes. Webb's career stretches back for 30 years and includes work with some of the finest jazz musicians, including Bud Shanks, Horace Silver and Freddie Hubbard, as well as leading rock and pop acts including Rod Stewart. Midnight sees Webb joined by an equally talented rhythm section; the result is a true ensemble performance with every musician given the opportunity to stretch out and put their own individual stamp on the recording. Bassist Stanley Clarke and drummer Gerry Gibbs hold down the rhythmic center of the music with an inventive enthusiasm. Clarke, in particular, seems to relish his role in the traditional acoustic lineup, playing with verve. Their command of the rhythm is total, providing space and opportunity for the pianists to take on more of a lead role as well as delivering some exceptional solos. The tunes may be familiar, but the quartet makes each one sound fresh, even when playing them in what might be termed the "standard" fashion. Alec Wilder's "I'll Be Around" finds Webb playing in a style reminiscent of fellow tenor saxophonist Scott Hamilton, the solos by Webb and pianist Larry Goldings are rich and warm. By contrast, "Try a Little Tenderness," usually performed as a ballad by artists such as Otis Redding, is delivered in a swinging, up-tempo, style with a terrific tenor solo from Webb. 

Clarke's solos on "Crazy She Calls Me" and Charlie Parker's "Quasimodo" are positive, precise and affecting album highlights. He also takes the spotlight on Bart Howard's "Fly Me to the Moon." The arrangement is rather bland to that point, but Clarke's performance is an object lesson in how to play a bass solo to complement the mood of a tune. Goldings' bell-like piano chords on the closing bars of the tune are an inspired and delightful ending. "You Go To My Head" is a piano and saxophone duet, with pianist Joe Bagg playing on this tune, in a more angular and percussive contrast to Goldings elsewhere on the disc, and works exceptionally well in underpinning Webb. The third of the album's pianists, the young Sri Lankan Mahesh Balasooriya, joins the band for "The Boy Next Door," and brings yet another distinctive style to the group. Closer to Bagg's technique than Goldings, his chordal playing is economical and unselfish, and gives Gibbs the chance to create some inventive drum patterns. Webb puts his own musical identity on this album with confidence. His tone is welcoming, whether he's playing soprano, alto or tenor, and his solos are wonderfully melodic every note counts, with no need to overpower the music with unnecessary displays of complex runs or techniques. Production is exceptionally good, and the trademark Posi-Tone packaging adds to the rather nostalgic feel of the music. Midnight is a triumph of thoughtful yet romantic late night jazz. ~ Bruce Lindsay https://www.allaboutjazz.com/midnight-doug-webb-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Doug Webb: saxophones; Larry Goldings: piano (2, 3, 6-8); Stanley Clarke: bass; Gerry Gibbs: drums; Joe Bagg: piano (1, 4); Mahesh Balasooriya: piano (5).

Midnight

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Jean-Luc Ponty - King Kong

Styles: Violin Jazz
Year: 1993
File: MP3@320K/s
Time: 44:00
Size: 101,4 MB
Art: Front

( 4:55)  1. King Kong
( 4:03)  2. Idiot Bastard Son
( 5:36)  3. Twenty Small Cigars
( 7:17)  4. How Would You Like To Have A Head Like That
(19:25)  5. Music For Electric Violin And Low Budget Orchestra
( 2:42)  6. America Drinks And Goes Home

Not just an album of interpretations, King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa was an active collaboration; Frank Zappa arranged all of the selections, played guitar on one, and contributed a new, nearly 20-minute orchestral composition for the occasion. Made in the wake of Ponty's appearance on Zappa's jazz-rock masterpiece Hot Rats, these 1969 recordings were significant developments in both musicians' careers. In terms of jazz-rock fusion, Zappa was one of the few musicians from the rock side of the equation who captured the complexity not just the feel of jazz, and this project was an indicator of his growing credibility as a composer. For Ponty's part, King Kong marked the first time he had recorded as a leader in a fusion-oriented milieu (though Zappa's brand of experimentalism didn't really foreshadow Ponty's own subsequent work). Of the repertoire, three of the six pieces had previously been recorded by the Mothers of Invention, and "Twenty Small Cigars" soon would be. Ponty writes a Zappa-esque theme on his lone original "How Would You Like to Have a Head Like That," where Zappa contributes a nasty guitar solo. The centerpiece, though, is obviously "Music for Electric Violin and Low Budget Orchestra," a new multi-sectioned composition that draws as much from modern classical music as jazz or rock. It's a showcase for Zappa's love of blurring genres and Ponty's versatility in handling everything from lovely, simple melodies to creepy dissonance, standard jazz improvisation to avant-garde, nearly free group passages. In the end, Zappa's personality comes through a little more clearly (his compositional style pretty much ensures it), but King Kong firmly established Ponty as a risk-taker and a strikingly original new voice for jazz violin. ~ Steve Huey https://www.allmusic.com/album/king-kong-jean-luc-ponty-plays-the-music-of-frank-zappa-mw0000099048

Personnel:  Jean-Luc Ponty – electric violin, baritone violectra; Frank Zappa – guitar; George Duke – piano, electric piano; Ernie Watts – alto and tenor sax;  Ian Underwood – tenor sax;  Buell Neidlinger – bass; Wilton Felder – Fender bass; Gene Estes – vibraphone, percussion;  John Guerin – drums;  Art Tripp – drums; Donald Christlieb – bassoon; Gene Cipriano – oboe, English horn; Vincent DeRosa – French horn, descant; Arthur Maebe – French horn, tuben; Jonathan Meyer – flute; Harold Bemko – cello; Milton Thomas – viola.

King Kong

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Walter Davis Jr - If I Get Lucky

Styles: Piano Jazz

Year: 2000

File: MP3@320K/s

Time: 61:15

Size: 142,4 MB

Art: Front

(3:04)  1. Santa Claus

(3:19)  2. Jacksonville, Pt. 1

(3:38)  3. Jacksonville, Pt. 2

(3:13)  4. Big Jack Engine Blues

(3:43)  5. You Don't Know Right From Wrong

(3:26)  6. Smoky Mountain

(2:38)  7. Call Your Name

(2:35)  8. Just Want To Think

(3:09)  9. Cotton Club Blues

(2:52) 10. Good Time Woman

(2:55) 11. If I Get Lucky

(3:15) 12. Death Of Bessie Smith

(2:53) 13. Wrapped Up In Bad Luck

(2:54) 14. Cozy Corner Blues

(2:56) 15. Save It All For Me

(2:47) 16. Can't See Your Face

(2:41) 17. Just Thinking

(3:01) 18. Please Don't Mistreat Me

(2:59) 19. Why Should I Be Blue?

(3:09) 20. Just Want To Talk Awhile

(March 1, 1911 or 1912 – October 22, 1963) was an African-American blues singer, pianist, and songwriter who was one of the most prolific blues recording artists from the early 1930s to the early 1950s. Davis had a rich singing voice that was as expressive as the best of the Delta blues vocalists. His best-known recording, a version of the train blues standard "Sunnyland Blues", released in 1931, is more notable for the warmth and poignancy of his singing than for his piano playing. His best-known songs included "Come Back Baby", "Ashes in My Whiskey" and "Blue Blues".[ Davis was sometimes billed as "Hooker Joe". He was unrelated to the jazz pianist Walter Davis, Jr. Davis was born on a farm in Grenada, Mississippi. He ran away from home at about 13 years of age, landing in St. Louis, Missouri. He started singing with pianist Roosevelt Sykes and guitarist Henry Townsend. Davis made his first recordings, including the successful "M&O Blues", in 1930, as a singer accompanied by Sykes on piano.[7] A self-taught pianist, Davis increasingly accompanied himself as he became more proficient. His piano playing was described by blues historian Gérard Herzhaft as "primitive but expressive, with an irregular rhythm." Influenced by Leroy Carr, and with a "mournful vocal tone" and a "reflective style and superior lyrics", Davis recorded prolifically for Victor and Bluebird, making over 150 recordings between 1930 and 1952. Many featured Townsend and/or Big Joe Williams on guitar. Described as "one of the finest and most original of all blues singers and pianists", Davis had a varied repertoire, including melancholy songs (such as "Tears Came Rollin' Down", written by Townsend), humorous songs, and songs laced with double entendres (such as "Think You Need a Shot"). According to Townsend, Davis "played some of the saddest songs that was ever heard about".  Townsend denied claims that Davis played club dates in the South and the lower Midwest with Townsend and Big Joe Williams, saying that Davis "didn't do no entertaining, not to my knowledge, none whatsoever. ... Walter was very, very bashful when it came to public entertainment. ... I've never known him to be booked on no job, not even no house party." Townsend also stated that Davis's name was used falsely on club bookings by other musicians in the 1930s. In 1940, Davis had a hit with his recording of "Come Back Baby", a song later recorded by Lowell Fulson, Ray Charles, and many others.[11] Once he was well established as a popular recording artist, he performed regularly in hotels in St. Louis, sometimes with Townsend. In 1952, Davis had a stroke, which effectively ended his recording career. His style of music was already becoming unfashionable.[8] He worked for the rest of his life as a desk clerk in a hotel and as a part-time preacher. He died in St. Louis in 1963, aged about 52,nd was buried in Greenwood Cemetery, in Hillsdale, Missouri. https://en.wikipedia.org/wiki/Walter_Davis_(blues)

If I Get Lucky

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Joe Magnarelli, Perico Sambeat - Pórtico

Styles: Trumpet Jazz
Year: 2017
File: MP3@320K/s
Time: 56:05
Size: 129,3 MB
Art: Front

(7:02)  1. Brooklyn
(6:04)  2. Pórtico
(8:14)  3. Little Bandit
(6:31)  4. Compersion
(6:31)  5. Inner Beauty Outer Struggle
(6:44)  6. Transición
(7:03)  7. Mag's Groove
(7:52)  8. We'll Be Together Again

"Joe Magnarelli has been on our radar screen for some time. This is his 4th CD release weve covered since 2011. Beginning with his with strings CD in 2011, and following up with a live Smalls session in 2013 (with the late pianist Mulgrew Miller), Joe then signed with Posi-Tone for last years Lookin Up smoking release." "Top to bottom, Magnarellis Three on Two CD release is a slam dunk issue highlighted by Joe making all the right moves on the jazz court..." http://www.joemagnarelli.com/

In 1980 he began playing sax self-taught. He moved to Barcelona in 1982, where he ended his flute classical studies. At the same time he started attending Taller de Mùsics, where he studied harmony and arrangements with Zé Eduardo. In 1991 he moved to New York, where he attended New School. There he had the chance to play with great musicians such as Lee Konitz, Jimmy Cobb, Joe Chambers, etc. He also worked professionally with Steve Lacy, Daniel Humair, Fred Hersch, Bob Moses, Louis Bellson, Michael Brecker, Bob Mintzer, Maria Schneider, Pat Metheny, Kenny Wheeler, etc. He has been tecahing in some of the most important jazz schools in Spain: Taller de Músics, Musikene, ESMUC, etc, and has been doing workshops all around the world. He has played in festivals and jazz clubs all around the world. Nowadays he combines teaching in Berklee College of Music Valencia Campus with his activity as a jazz performer and Big Band conductor. https://musicians.allaboutjazz.com/pericosambeat

Personnel:  Joe Magnarelli (tp), Perico Sambeat (as), Fabio Miano (p), Ignasi González (b), Andrea Michelutti (d)

Pórtico

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Florence Joelle - Kiss of Fire

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 32:41
Size: 76,1 MB
Art: Front

(3:40)  1. Hell Be Damned and Look Out (You May Only Live Once)
(2:36)  2. Stardust Merchant
(3:06)  3. When I Get Low I Get High
(3:48)  4. I'll Come Running
(2:50)  5. Gypsy Boy
(3:47)  6. True to Myself
(3:20)  7. Watermelon Gin
(3:03)  8. Unchain My Heart
(2:56)  9. Never Thought I'd See the Day
(3:31) 10. The Look In His Eyes

Florence Joelle and her most worthy henchmen (Huck Whitney, Chris Campion, Arthur Lager) released their debut album, Florence Joelle’s Kiss Of Fire on Zoltan Records on July 10th. Their sound is an exciting smorgasbord of vintage rock ‘n’ roll, jazz and blues all sprinkled with a healthy swish of French style and Tarantinoesque panache. This triumphant debut manages to combine a wonderful blend of unique covers (‘When I Get Low I Get High’ and ‘Unchain My Heart’) with some startling original songs, which flow together seamlessly to make this an album to be taken very seriously. 

If you are in the UK keep an eye out for Florence playing live, and in the meantime here is a track from the album, When I Get Low I Get High’ to whet your appetite. http://www.thevinyldistrict.com/uk/2011/07/midweek-music-florence-joelles-kiss-of-fire/

Kiss of Fire

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Craig Chaquico - Acoustic Planet

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 50:37
Size: 117,0 MB
Art: Front

(6:53)  1. Native Tongue (New At Two)
(5:12)  2. Winterflame
(5:21)  3. Find Your Way Back
(6:59)  4. Gathering Of The Tribes
(4:37)  5. The Grey Wolf Hunts Again
(3:24)  6. Anejo De Cabo
(6:56)  7. Just One World
(3:32)  8. Center Of Courage
(7:38)  9. Acoustic Planet

Acoustic Planet is the second solo album by American guitarist, producer, and composer Craig Chaquico. It was released a year after his first solo album, the critically acclaimed Acoustic Highway. Acoustic Planet received a Grammy nomination in 1994 for Best New Age Album. When Chaquico left Starship in 1990, he began looking for a new musical direction, opting for a solo career as a jazz and New Age instrumentalist to showcase his acoustic music.  Acoustic Planet is his second album of this solo direction. The album was recorded at Chaquico's Lunatunes Studio in Mill Valley, California, mixed at Auravision Studios in Ojai, California, and mastered at Quad Tech Studios in Los Angeles . Acoustic Planet debuted at the top of the Billboard New Age chart on November 12, 1994 and received a Grammy nomination for Best New Age Album the same year. https://en.wikipedia.org/wiki/Acoustic_Planet

Acoustic Planet

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Guy Lafitte - Happy ! (Paris, France 1977) [The Definitive Black & Blue Sessions]

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 66:50
Size: 154,4 MB
Art: Front

(5:25)  1. Put On A Happy Face (take 1)
(6:32)  2. My Foolish Heart
(6:29)  3. Make Someone Happy
(4:29)  4. Get Happy
(7:07)  5. Happy Go Lucky Local
(5:13)  6. Sometimes I'm Happy
(7:43)  7. Happiness Is A Thing Called Joe
(6:16)  8. Put On A Happy Face
(6:00)  9. My Foolish Heart (take 1)
(4:25) 10. Sometimes I'm Happy (take 1)
(7:06) 11. Happiness Is A Thing Called Joe (take 2)

A fine swing tenorman whose main inspiration was always Coleman Hawkins, Guy Lafitte appeared in many mainstream settings through the years. LaFitte started out paying clarinet including with swing-oriented gypsy bands. After switching to tenor in 1947 and moving to Paris, he worked with Big Bill Broonzy (1950), Mezz Mezzrow (1951), Bill Coleman (off and on starting in 1952), Dicky Wells and Buck Clayton. Through the years, Lafitte has frequently led his own mainstream combos and was also often utilized by veteran American players who were visiting France including Lionel Hampton (1956), Duke Ellington (for the 1961 film Paris Blues), Milt Buckner, Wallace Davenport, Arnett Cobb and Wild Bill Davis. As a leader, Guy Lafitte led many sessions during the 1954-93 period (particularly 1954-64) including for CFD, Duc-Thomson, Pathe, French Columbia, VSM, French RCA, Vega, Black & Blue and CTPL. ~ Scott Yanow https://www.allmusic.com/artist/guy-lafitte-mn0000652078

Happy ! (Paris, France 1977) [The Definitive Black & Blue Sessions]

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Rare Silk - American Eyes

Styles: Vocal
Year: 1985
File: MP3@320K/s
Time: 42:07
Size: 97,2 MB
Art: Front

(4:58)  1. Oops!
(5:42)  2. Watch What Happens
(2:25)  3. 'Round Midnight
(8:10)  4. Hello
(5:10)  5. American Eyes
(5:24)  6. Storm
(4:40)  7. Up From The Skies
(5:34)  8. Burn It!

For a short time, Rare Silk looked as if it was going to be a significant jazz vocal group. Rare Silk, which consisted of Gaile Gillaspie, Marylynn Gillaspie, Todd Buffa and Marguerite Juenemann (replaced by Barbara Reeves), started out as a swing-oriented group in the vein of The Pied Pipers and (even with the inclusion of a male member) The Andrews Sisters. They appeared with Benny Goodman at the 1980 Playboy Jazz Festival. During the next few years, the ensemble modernized their style to include both bop and funkier material, recording for Polydor (1982) and Palo Alto (1985-86); most notable were their versions of "New York Afternoon," "Red Clay" and "Spain." However, Rare Silk never really did catch on and they eventually broke up. ~ Editorial Reviews https://www.amazon.com/American-Eyes-Rare-Silk/dp/B000NB9SJK

Personnel:  Barbara Reeves, Todd Buffa, Gaile Gillaspie, Marylynn Gillaspie - vocal;    Michael Berry - drums;  Eric Gunnison - keyboards; Kip Kuepper - bass; Arlene Taylor - violin

American Eyes

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