Charles McPherson Quartet - Love Walked In

Styles: Saxophone Jazz 
Year: 2016
File: MP3@320K/s
Time: 52:01
Size: 120,1 MB
Art: Front

(5:43)  1. Love Walked In
(5:00)  2. The Song Is You
(4:44)  3. I´ll Take Romance
(5:24)  4. Nature Boy
(6:23)  5. Someone to Watch over Me
(4:13)  6. Bud Like
(7:32)  7. Embraceable You
(5:34)  8. Lover
(7:23)  9. Dancing in the Dark

Charles McPherson returns to the forefront of the jazz scene with Love Walked In, an album where the wisdom of this veteran and essential saxophonist is evident. Accompanied by a luxurious group of musicians that includes Bruce Barth on piano, Jeremy Brown on bass and Stephen Keogh on drums, McPherson offers a repertoire consisting mostly of jazz classics. 

This he does from his own vision, with all the weight that can be contributed to music by someone who comprises part of great jazz history and has been featured in some of its most remarkable pages. http://www.quadrantcorner.com/en/product/love-walked-in/

Personnel: Charles McPherson, Alto Sax; Bruce Barth, Piano; Jeremy Brown, Bass; Stephen Keogh, Drums

Love Walked In

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Houston Person - I'm Just a Lucky So and So

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 55:33
Size: 128,0 MB
Art: Front

(8:08)  1. Willow Weep for Me
(4:56)  2. Wonder Why
(5:48)  3. I Guess I'll Hang My Tears out to Dry
(6:58)  4. I'm Just a Lucky So and So
(6:04)  5. Who Can I Turn To
(3:31)  6. Day by Day
(4:55)  7. Alone with Just My Dreams
(4:54)  8. Song for a Rainbow
(5:02)  9. I Want to Talk About You
(5:12) 10. Next Time You See Me

Houston Person is definitely a lucky so and so blessed with a fantastic tone on the tenor sax, which he's kept strong through decades of recording at a level that makes this record every bit of a gem as some of Houston's classics from years back! The album's done in a very classic style, too Houston's tenor out front, in a combo with Lafayette Harris on piano, Matthew Parris on bass, and Kenny Washington on drums augmented by the trumpet of Eddie Allen and guitar of Rodney Jones on nearly every one of the album's selections, both great players who round out the soulful spirit of the record in a great way. All the tunes are standards mostly ballads, but handled with that subtle swing that Houston can always bring to material like this tracks that include "Wonder Why", "Willow Weep For Me", "Song For A Rainbow", "Alone With Just My Dreams", "I Want To Talk About You", "I'm Just A Lucky So & So", and "Next Time You See Me".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/924551/Houston-Person:I%27m-Just-A-Lucky-So-So

Personnel: Houston Person, tenor saxophone; Eddie Allen, trumpet;  Lafayette Harris, piano; Rodney Jones, guitar;  Matthew Parrish, bass;  Kenny Washington, drums

I'm Just a Lucky So and So

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Gretje Angell, Dori Amarilio - Gretje Angell

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 19:04
Size: 44,6 MB
Art: Front

(2:27)  1. I Love Being Here With You
(3:32)  2. Love You Madly
(2:44)  3. Deep in a Dream
(3:51)  4. Pennies from Heaven
(2:41)  5. If I Were a Bell
(3:47)  6. One Note Samba

Gretje, an Akron, OH native and the daughter of jazz drummer Tommy Voorhees, began her music adventure at the age of 5, performing with regional choirs. Interested in the Contrabasso at 8, she joined the school orchestra and jazz band. She continued to study both voice and bass through highschool, with an emphsis on classical voice. Upon entering Mount Union College, with a Vocal Performance Scholarship, she took opera as her major. However, being raised and surrounded by jazz musicians, Gretje returned to her roots when she moved to California, studying jazz and performing with some of LA's finest musicians. Gretje, whose main infulences are Anita O'Day, Chet Baker, Ella Fitzgerald, and Carmen McRae, has quickly become a favourite in the jazz clubs, here, in Los Angeles. She can currently be heard performing with guitarist/music producer, Dori Amarilio, who is producing her much-anticipated upcoming debut album. In 2013, she joined the Los Angeles Metropolitan Opera Company, and has had the great pleasure of performing Oscar in Un Ballo in Maschera, Tebaldo in Don Carlo, and the Voice of the High Priestess in Aida, Pamina in The Magic Flute and Ilia in Idomeneo.Whether she's performing jazz or using her beautiful lyric coloratura soprano voice in an opera, Gretje brings energy and light to each performance she gives. “Gretje Angell's voice is like honey on velvet” ~ Sunny Wilkinson https://musicians.allaboutjazz.com/gretjeangell

Gretje Angell

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Ben Paterson - That Old Feeling

Styles: Vocal and Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 53:28
Size: 124,8 MB
Art: Front

(5:42)  1. I'm Old Fashioned
(4:44)  2. You And The Night And The Music
(5:34)  3. Make You Feel My Love
(5:24)  4. Some Of These Days
(4:52)  5. My Ship
(4:16)  6. When I Grow Too Old To Dream
(4:17)  7. Isn't She Lovely
(5:25)  8. Say A Small Prayer
(4:53)  9. The Best Thing For You (Would Be Me)
(3:47) 10. Somewhere Over The Rainbow
(4:31) 11. Hard Times

Pianist/vocalist Ben Paterson continues the tradition of bouncy, infectious swing established by the drummerless trios of Nat 'King' Cole and Oscar Peterson, drawing upon his musical experiences in both Chicago and New York to deliver a soulful and engaging recording. Joined by longtime Benny Goodman guitarist Chris Flory and powerhouse bassist George Delancey, Ben's trio mixes sophisticated improvisation with heavy doses of the blues, ranging from well known Jazz standards to more recent popular songs. ~ Editorial Reviews https://www.amazon.com/That-Old-Feeling-Ben-Paterson/dp/B077Y9BPRZ

Personnel: Ben Paterson - Piano & Vocals; Chris Flory - Guitar; George DeLancey - Bass

That Old Feeling

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Ted And Dick Nash - The Brothers Nash

Styles: Saxophone And Trombone Jazz
Year: 2000
File: MP3@320K/s
Time: 30:18
Size: 70,8 MB
Art: Front

(2:47)  1. I Remember You
(2:38)  2. We'll Be Together Again
(2:54)  3. Juntos
(2:26)  4. Prelude To A Kiss
(2:39)  5. Bad And The Beautiful
(2:01)  6. I Could Write A Book
(2:09)  7. Back In Your Own Backyard
(2:27)  8. For Heaven's Sake
(2:34)  9. Cuban Verandah
(2:25) 10. The Nearness Of You
(3:05) 11. Night Soliloquoy
(2:08) 12. You Are Too Beautiful

Features Ted Nash on a variety of saxes, and Dick on trombone plus a group with Tony Rizzi on guitar, Jimmy Rowles on piano, Harry Babasin on bass, and Roy Harte on drums. Tracks are mostly familiar numbers, but inventively arranged by Frank Comstock and others and Ted really increases his range of reed work here, blowing on tenor, alto, and soprano sax plus flute, alto flute, piccolo, clarinet, and bass clarinet! Titles include "Juntos", "We'll Be Together Again", "I Remember You", "Cuban Veranda", "You Are Too Beautiful", "For Heaven's Sake", and "The Nearness Of You. ©1996-2019, Dusty Groove Inc .https://www.dustygroove.com

Personnel: Alto Saxophone, Tenor Saxophone, Soprano Saxophone, Baritone Saxophone, Flute, Alto Flute, Piccolo Flute, Clarinet, Bass Clarinet – Ted Nash ; Trombone – Dick Nash; Bass – Harry Babasin; Drums – Roy Harte; Guitar – Tony Rizzi; Piano – Jimmy Rowles

The Brothers Nash

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Lighthouse All Stars - The Lighthouse All Stars Plus Ten: Jazz Rolls Royce

Styles: West Coast Jazz
Year: 2015
File: MP3@320K/s
Time: 44:53
Size: 103,8 MB
Art: Front

(8:33)  1. Strike up the Band
(4:36)  2. Prelude to the Queen
(7:38)  3. The Clown's Dance
(5:39)  4. Coop Salutes the "Co-Op"
(8:47)  5. Bruinville, My Bruinville
(9:38)  6. Mambo Del Quado

“Jazz Rolls Royce” features classic West Coast big band jazz from the stars that were the house band at The Lighthouse, the famed Los Angeles jazz venue that served as a breeding ground for jazz greats in the late 1950’s. 

Featured West Coast jazz luminaries include Howard Rumsey (bass); Bob Cooper (tenor saxophone); Frank Rosolino (trombone); Stu Williamson (trumpet); Victor Feldman (piano, vibraphone), Stan Levy (drums); Pete Candoli (trumpet); Al Porcino (trumpet); Ed Leddy (trumpet); George Worth (trumpet); Milt Bernhart (trombone); Red Callender (tuba); Hoyt Bohannon (trombone); Marshall Cram (bass trombone) and Larry Bunker (tympani, vibraphone). Originally released in 1958, this rare audiophile recording has been newly remastered. ~ Editorial Reviews https://www.amazon.com/Jazz-Rolls-Royce-Digitally-Remastered/dp/B00PLYTI62

The Lighthouse All Stars Plus Ten: Jazz Rolls Royce

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Alan Barnes - Songs for Unsung Heroes

Styles: Clarinet, Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 73:33
Size: 171,3 MB
Art: Front

(7:21)  1. Blue Note
(5:25)  2. Throwing out the Vinyl Blues
(3:39)  3. Waltz for Sonny
(6:59)  4. Slim's Chicken
(6:28)  5. The Ballad of Miles Davis
(4:33)  6. The Motorway Jump
(5:04)  7. The Power of Prez
(7:52)  8. Love Song for a Slob
(4:59)  9. The Rhythm Method
(5:37) 10. Rhyme Time
(5:03) 11. Dinner Jazz
(4:28) 12. Swallows on the Water
(6:00) 13. Everybody's Got to Be Somewhere

This is the UK sax and clarinet virtuoso Alan Barnes, with lyricist and playwright Alan Plater, on a collection of songs accompanied by a hellraising British octet fronted by singer Liz Fletcher. Plater is a witty writer, and the songs (one of which castigates the elevator-music vapidities of smooth-jazz) are diverting enough. But it's hard not to feel that this fine band left to itself might not have made a more evocatively ambiguous job of conjuring up memories of Lester Young, Sonny Criss etc. Barnes is scaldingly brilliant, trumpeter Bruce Adams unleashes some mind-boggling Maynard Fergusonisms, and the whole ensemble rockets along. Liz Fletcher is a little demure, but those who enjoy a straightahead jazz/cabaret vibe with some fierce playing will get plenty out of it. ~ John Fordham https://www.theguardian.com/music/2004/aug/13/jazz.shopping2

Personnel:  Alan Barnes - baritone, bass clarinet; Liz Fletcher - piano; Bruce Adams - trumpet, flugelhorn; Stan Sulzmann tenor alto, flute; Robert Fowler - tenor clarinet; Mark Nightingale - trombone; Brian Dee - piano; Simon Thorpe - acoustic bass, guitar; Clark Tracey - drums, percussion

Songs for Unsung Heroes

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Florence Joelle - Life Is Beautiful

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 33:11
Size: 76,6 MB
Art: Front

(3:20)  1. Angel's Child
(3:05)  2. Si Tu Savais
(4:00)  3. Life Is Beautiful
(3:16)  4. Sleepy Eyes
(2:54)  5. Chez Moi
(3:16)  6. One Step Forward
(3:22)  7. Two and Two Don't Make Five
(3:05)  8. Here Comes the Lady
(4:17)  9. Johnny Tu N'es Pas Un Ange
(2:31) 10. Wake Up Swinging

The Paris-born, London-based singer, songwriter and harmonica player returns with her third offering, 'Life Is Beautiful'. Recorded straight to tape on analogue equipment and mixed in mono at Gizzard Recording Studios, the album exudes warmth and authenticity. 'Life is beautiful, baby. If you let it'. That's what Jimmy Scott, the legendary jazz singer, used to tell her. She wrote those words down and for years she kept them in her purse to remind herself. After he died in 2014 she wrote this song for him. 'Life is Beautiful', in fact, is her most jazz-focused album to date. But though many of these ten new songs sound like classics, seven of them are Joelle originals. ~ Editorial Reviews https://www.amazon.com/Life-Beautiful-If-You-Let/dp/B01GKJN6M8

Life Is Beautiful

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Herbie Hancock - Sunlight

Styles:  Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 39:20
Size: 90,8 MB
Art:

(8:55)  1. I Thought It Was You
(8:24)  2. Come Running to Me
(7:10)  3. Sunlight
(6:18)  4. No Means Yes
(8:32)  5. Good Question

After Man-Child, alas, Herbie Hancock's American jazz-funk records in the 1970s grew gradually more commercial, less stimulating, and crucially, less truly funky with each release, even as his equipment rack grew larger. Just take a look at the staggering collection of keyboards on the back cover of the Sunlight LP all sought-after collectors' items now yet Hancock makes so little use of their possibilities here. For much of the album, he seems most interested in establishing a new career as an electronic vocalist. "I Thought It Was You," "Come Running to Me," and the title track introduce the ghostly, gauzy sound of Herbie's singing voice as heard through a vocoder; there's even an electronic Herbie scat choir. Stevie Wonder, he's not. There are still occasional splashes of Hancock harmonic color on the keyboards, but he also relies upon superfluous, self-arranged brass riffs and string backgrounds. The backup bands shift from track to track, from combinations of Headhunters alumni that offer soft-focused facsimiles of the old funk drive to a surprisingly strait-jacketed pairing of Tony Williams and Jaco Pastorius on the eccentric "Good Question." ~ Richard S.Ginell https://www.allmusic.com/album/sunlight-mw0000473390

Personnel:  Herbie Hancock – keyboards, synthesizers, lead and background vocals (through vocoder) (1–3), string, brass and woodwind arrangements; Patrick Gleeson – additional synthesizers (5); Bennie Maupin – soprano saxophone solo (3); Wah Wah Watson, Ray Parker, Jr. – guitar (1, 3); Byron Miller (1), Paul Jackson (2–4), Jaco Pastorius (5) – electric bass; Leon "Ndugu" Chancler (1), James Levi (2, 3), Harvey Mason, Sr. (4), Tony Williams (5) – drums; Raul Rekow (exc. 3), Bill Summers (exc. 1) – percussion; Baba Duru – tabla (2); Bobby Shew, Maurice Spears, Robert O'Bryant, Garnett Brown – brass (exc. 4); Ernest J. Watts, Fred Jackson, Jr., Jack Nimitz, David Willard Riddles – woodwind (2, 5); Terry Adams, Roy Malan, Nathan Rubin, Linda Wood, Emily VanValkenburgh – strings (2)

Sunlight

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Harold Danko - Stable Mates

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 74:00
Size: 170,3 MB
Art: Front

(8:20)  1. Con Alma
(6:37)  2. Quietude
(8:46)  3. Windows
(8:06)  4. Gingerbread Boy
(9:41)  5. Dolphin Dance
(4:08)  6. Solar
(6:08)  7. Seven Steps to Heaven
(7:32)  8. Nostalgia in Times Square
(6:21)  9. Line for Lyons
(8:17) 10. Stablemates

It’s a shame that we see so little press for those few working bands currently in existence. It’s bad enough that money and schedules make it difficult to keep any kind of firm line-up in place for very long, making such business enterprises almost unviable these days. Little beyond their developing catalog of SteepleChase sides seems to suggest that the Harold Danko Quintet will be taking the world by storm any time soon, yet the group happens to be of the first rank when it comes to the kind of sympathetic and empathetic ensembles that were almost the norm back in the ‘50s and ‘60s. Together for most of the ‘90s, the Danko Quartet’s fifth set for SteepleChase, Stable Mates, gathers a selection of the type of tunes many developing jazz artists have used to cut their teeth on over the years. The Miles Davis connection is a strong one too, with “Solar” and “Seven Steps to Heaven” on tap, as well as classics from former Davis sidemen Chick Corea, Herbie Hancock, Victor Feldman, and Jimmy Heath. The sign of a group certain in its abilities and identity, there’s a sense of relaxed confidence that permeates. As a result, the previously mentioned “Seven Steps to Heaven,” which in lesser hands can merely be a lessen in pure speed, bounces at a medium tempo with the support of bassist Scott Colley’s well-placed “steps”. Saxophonist Rich Perry distinguishes himself once again with a liquid tone and seamless technique, the perfect match to Danko’s refined lyricism. Stable mates, band mates, whatever the terminology, the Harold Danko Quartet proves again that it’s all in the chemistry. ~ C.Andrew Hovan https://www.allaboutjazz.com/stable-mates-harold-danko-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Harold Danko- piano, Rich Perry- tenor saxophone, Scott Colley- bass, Jeff Hirshfield- drums

Stable Mates

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Christian McBride - A Family Affair

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 65:58
Size: 152,7 MB
Art: Front

(6:59)  1. I'm Coming Home
(4:40)  2. A Dream Of You
(6:42)  3. Family Affair
(6:59)  4. Theme From Our Fairy Tale
(5:42)  5. ... Or So You Thought
(6:42)  6. Summer Soft
(6:17)  7. Brown Funk (For Ray)
(9:29)  8. Open Sesame
(7:32)  9. Wayne's World
(4:51) 10. I'll Write A Song For You

At 26, bassist Christian McBride qualifies for the "young lion" tag. His visibility has been enhanced by appearances on Robert Altman's film Kansas City, Clint Eastwood's Eastwood After Hours, Diana Krall's Love Scenes, the compilation Upstairs at Melrose Place, John Pizzarelli's Dear Mr. Cole, and Joshua Redman's MoodSwing. Moreover, his experience with Randy Weston, Freddie Hubbard, T.S. Monk, Chick Corea, McCoy Tyner, and organist Jimmy Smith has demonstrated McBride's mainstream roots to the jazz-listening public. The bassist wrote half the selections on this album, including the lyrics to "A Dream of You" and "...Or So You Thought." Most tracks feature the quartet of tenor saxophonist Tim Warfield, pianist Charles Craig, bassist McBride, and drummer Gregory Hutchinson. Like the music at a family get-together, McBride splits the session between R&B "fun music" and his straight-ahead acoustic ensemble. The leader begins Stevie Wonder's "Summer Soft" with the bowed acoustic bass but soon switches to the electric model and offers the pop tune with back beat and quiet repetition. Sly Stone's "Family Affair" places the acoustic quartet in the spotlight as the ensemble marches deliberately and takes turns at the solo mic. The toe-tapping music swings deliciously and is presented in a variety of different formats. Earth, Wind & Fire's "I'll Write a Song for You" is performed by the duo of Russell Malone on acoustic guitar and McBride on bowed bass. Together, they offer a lovely ballad with attention paid to the lyrical nature of the tune. Kool and the Gang's "Open Sesame" is performed as an arrangement that allows the dramatic intensity to leap out. Hutchinson and Craig, particularly, stretch out freely. McBride's composition "Wayne's World" follows with more drama. Together, these two tracks achieve what the leader intended when he put this session together: he's combined daring straight-ahead ideas with enjoyable and familiar R&B. ~ Jim Santella https://www.allaboutjazz.com/a-family-affair-christian-mcbride-verve-music-group-review-by-jim-santella.php

Personnel: Christian McBride: acoustic bass, electric bass; Charles Craig: piano, electric piano, synth; Tim Warfield: tenor saxophone; Gregory Hutchinson: drums; Russell Malone: acoustic guitar, electric guitar; Munyungo Jackson: percussion; Vintage Keys: synths; Will Downing, Vesta: vocals.

A Family Affair

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Mariachi Brass, Chet Baker - Hats Off

Styles: West Coast Jazz, Trumpet Jazz
Year: 1966/2013
File: MP3@320K/s
Time: 29:34
Size: 68,6 MB
Art: Front

(1:57)  1. Happiness Is
(2:32)  2. Sure Gonna Miss Her
(2:44)  3. Bang Bang (My Baby Shot Me Down)
(2:47)  4. The Phoenix Love Theme (Senza Fine)
(2:56)  5. These Boots Are Made for Walkin'
(2:06)  6. On the Street Where You Live
(2:34)  7. Armen's Theme
(2:22)  8. Spanish Harlem
(1:57)  9. Chiquita Banana
(2:16) 10. When the Day Is All Done (Foyo)
(2:40) 11. You Baby
(2:39) 12. It's Too Late

A short detour in the 60s career of Chet Baker one that we sure like a heck of a lot! This side is one of a couple that were recorded as an answer to the big success of Herb Alpert & The Tijuana Brass with Chet's trumpet was backed by jaunty, brassy arrangements penned by Jack Nitzsche, and George Tipton. And while it might be easy to dismiss the tunes as copycat sound-a-likes, they're really not  as Nitszche brings in a much fuller groove to most of the numbers than Herb Alpert ever did more of a sunny LA pop feel that has the whole group really gliding along on bold waves of sound all topped off by Baker's horn sounding stronger and more confident here than on many of his other recordings of the 60s! Some numbers have a Latin undercurrent while others lean towards mainstream pop a style that's bolder than A&M's approach to Tijuana and one that explodes with some youthful LA energies! 12 tracks in all, including "Happiness Is", "Bang Bang (My Baby Shot Me Down)", "The Phoenix Love Theme (Senza Fine)", "On The Street Where You Live", 'Armen's Theme", "You Baby" and "It's Too Late".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/471711/Mariachi-Brass-with-Chet-Baker:Hats-Off

Personnel:  Chet Baker - flugelhorn; The Mariachi Brass; Jack Nitzsche (tracks 5, 9 & 11), George Tipton (tracks 1-4, 6-8, 10 & 12) - arranger, conductor

Hats Off

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Miryam Latrece - Una Necesidad

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 29:31
Size: 68,3 MB
Art: Front

(3:05)  1. Lo Que Pienses de Mi.mp3
(1:24)  2. Soaba.mp3
(3:18)  3. Dónde Estás
(5:00)  4. Quiero Verte
(3:35)  5. En el Lago
(4:22)  6. Madre No Llores
(3:30)  7. Una Necesidad
(3:11)  8. No Lo Sabe
(4:55)  9. Cada Día
(1:35) 10. Outro (Madre No Llores)

Born in Madrid in 1991, the singer-composer began showing her passion for music & dance at a very early age, and especially her vocal talent. She received training in classic Spanish dance and spent hours dedicated to vocal studies on a self-teaching basis, learning repertoires of different styles; although her  true vocation she found in black music. on a self-teaching basis. At the age of seventeen she joined the popular underground band Akatupower, where she began developing her career as a vocalist. During the following five years the band released two discs, achieving several awards and performing at known music festivals. Towards the end of the year 2013, Miryam felt the “need” to take a step to further her career, and left the band to start one as a solo artist. Since then she hasn’t stopped to work on that level, topping the bill on programmes at the main clubs in Madrid (Bogui Jazz, Cafe´ Berli´n, Cafe´ Central & Clamores) and also at some festivals (Yecla & Aranjazz). She released her first album at the beginning of 2016, titled Una necesidad, co-produced with ‘Estudio Uno’. 

In addition, she collaborated with other groups, such as Gospel Factory, Michael Olivera Group and accompanied other artists as a backing singer. Her second disc, Quiero cantarte, is a journey along different cultures and musical influences, created from the love & admiration of the work by Lole & Manuel, Serrat, Djavan and Camaro´n, among others. The accompanying musicians on the disc were pianist Marco Mezquida, contrabassist Pablo Marti´n Caminero and drummer & producer Michael Olivera. http://www.canariasjazz.com/en/portfolio/miryam-latrece-cuarteto/
 

Personnel: Miryam LaTrece: Voice; Michael Olivera: Drums; Daniel García Diego: Piano; Pablo Martín Caminero: CBass

Una Necesidad

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Hossam Ramzy and Pablo Carcamo: Latin American Hits for Bellydance

Styles: Jazz Fusion, Latin
Year: 2000
File: MP3@320K/s
Time: 43:34
Size: 101,2 MB
Art: Front

(4:51)  1. Cachita
(4:10)  2. Palo Palito
(4:19)  3. Guantanamera
(4:23)  4. El Porompompero
(5:00)  5. Cielito Lindo
(3:30)  6. La Malagueña
(3:01)  7. Besame Mucho
(3:50)  8. La Cucaracha
(3:46)  9. La Bamba
(6:38) 10. Arabia Azteca

This fusion between Arabia and Latin America is as old as history itself. The Arabs & the Moors occupied Spain and Portugal for over 700 years. Adding influences from their music that filtered down to the newly discovered lands of the true Americas where we now have the Salsa, Samba and Afro-Cuban styles coming back to us in a new fresh way. 

Hossam Ramzy & Pablo Carcamo, two of the world’s top known exponenets of musical fusion bring you this collaboration of Egyptian and Latin American Hits for Belly Dance…. http://www.hossamramzy.com/product/latin-american-hits-for-belly-dance-_-hossam-ramzy-pablo-carcamo/

Hossam Ramzy and Pablo Carcamo: Latin American Hits for Bellydance

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Ethan Iverson - Live At Smalls

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 65:52
Size: 152,4 MB
Art: Front

( 7:39)  1. Night and Day
( 3:59)  2. Chronology
( 5:07)  3. Theme From "Mr. Bean"
( 8:01)  4. The Look of Love
( 7:20)  5. Have You Met Miss Jones?
(10:43)  6. In Love in Vain
( 8:26)  7. How High the Moon
( 8:32)  8. You've Changed
( 6:01)  9. Blues Coda

Pianist Ethan Iverson and tenor saxophonist Bill McHenry focus on quirky readings of standards in this co-led band, which they've unofficially named "Sub-Standard." The quartet is completed by bassist Reid Anderson and drummer Jeff Williams, both of whom supply a kind of perpetually off-kilter rhythmic feel underneath the two adventurous soloists. The music's in tempo, but not quite Anderson rarely walks a bassline, for instance, instead reacting to the entire band in unpredictable ways. Loosely speaking, on records this style has been Iverson's calling card more than McHenry's, although the tenorist has no problem fitting right in. Recorded live at Smalls in New York, the album boasts a good, intimate sound. The band begins with a loopy Latin treatment of "Night and Day," and proceeds to offer similarly off-the-wall readings of "Have You Met Miss Jones" and "How High the Moon," making a point of deforming these played to death vehicles. In a more rueful mood, they render the lesser-known standard "In Love In Vain" and the ballad "You've Changed." McHenry's entrance on the latter is so exquisitely high and soft that it could be mistaken for a flute. The more unusual repertoire choices are Howard Goodal's "Theme from 'Mr. Bean,'" which oddly enough sounds like something Bill McHenry would write, and Burt Bacharach's "The Look of Love," played with a satisfying faithfulness to the written melody. Closing the set is McHenry's "Blues Coda," which, along with Ornette Coleman's "Chronology," represents the most modern portion of the set, at least in authorial terms. But Iverson and McHenry do all they can to make everything even the moldiest standard sound modern, in their distinctive sense of the term. ~ David R. Adler https://www.allmusic.com/album/live-at-smalls-mw0000114938

Personnel: Piano – Ethan Iverson; Double Bass – Reid Anderson; Drums – Jeff Williams; Tenor Saxophone – Bill McHenry

Live At Smalls

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Freddie Slack - Freddie Slack & His Orchestra

Styles: Jazz, Big Band
Year: 2006
File: MP3@320K/s
Time: 54:35
Size: 127,1 MB
Art: Front

(4:07)  1. Introduction / Riffette
(4:09)  2. Don't Ever Change
(3:33)  3. Slightly Barbaric
(2:43)  4. Furlough Fling
(4:39)  5. Harlem Debutant
(3:50)  6. Dubonnet
(4:19)  7. Loose Wig
(3:43)  8. A Small Batch Of Nod
(4:14)  9. Come Jump With Me
(4:00) 10. Sweet Sorrow
(5:23) 11. Body And Soul
(3:01) 12. I've Heard That Song Before
(3:11) 13. Southpaw Serenade
(2:31) 14. Brazil
(1:06) 15. Strange Cargo

Originally a drummer, he switched to piano soon after moving to Chicago in 1927. Slack worked early on with Johnny Tobin. After moving to Los Angeles in 1931, he appeared with bands led by Henry Halstead, Earl Burtnett, Archie Rosate, and Lennie Hayton. Slack gained some recognition for his playing with Ben Pollack (1934-1936) and Jimmy Dorsey (1936-1939). As a key piano soloist with Will Bradley & His Orchestra during 1939-1941, Slack was well showcased on the famous recording of "Beat Me Daddy, Eight to the Bar" that helped launch the boogie-woogie fad. Slack was a key voice on many other Bradley recordings in the same vein; he also played quite effectively on some Big Joe Turner records. In 1942 Slack formed his own orchestra, which soon scored with the very successful "Cow Cow Boogie" and "Strange Cargo." Initially featuring singer Ella Mae Morse, for a short time Freddie Slack & His Orchestra were one of the more popular swing big bands, appearing in several films and recording for Capitol during 1942-1947. Freddie Slack was based in California in the 1950s and '60s, but he faded from the spotlight at the end of the 1940s, recording a final small-group album for EmArcy in 1955. ~ Scott Yanow https://www.allmusic.com/artist/freddie-slack-mn0000183083/biography

Freddie Slack & His Orchestra

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Mark Turner - In This World

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 60:26
Size: 139,7 MB
Art: Front

(7:33)  1. Mesa
(7:18)  2. Lennie Groove
(8:02)  3. You Know I Care
(6:48)  4. The Long Road
(6:45)  5. Barcelona
(7:56)  6. In This World
(5:02)  7. Days of Wine and Roses
(4:45)  8. Bo Brussels
(6:13)  9. She Said, She Said

A horde of promising young sax players has emerged in the 1990s, but only a few players have begun to find their voices. Mark Turner is one young saxman whose Muse has kept pace with his talent. The 33-year-old tenor saxophonist leads a band of clever young musicians on this thoughtful release, his second for Warner Brothers. Turner has developed a unique style inspired by John Coltrane's modal flights and Warne Marsh's unpredictable chordal experiments. This time Turner delivers six originals and three covers, and each track is energized by the incredibly powerful presence of Brad Mehldau on piano. In This World offers complicated music, a point that's reinforced by Mehdlau's pedantic liner notes. Take the pianist's description of the opening track, entitled "Mesa:" "Opting for mediant relationships instead of dominant-tonic, and casting a mixolydian blur on the dominant seventh chord with the added fourth, he (Turner) conjures a world of half-lights and shadows, filled with achy, suffused longing." Translation: "Mesa" is an ethereal piece that evokes a desert. Complex as these songs are, there is also something inherently tranquil about them. Unlike the majority of young reed players, Turner is not so intent on dazzling us with technique. He's smart enough to be subtle, and his vision takes in the total ensemble. Most of his solos sound like conversations rather than monologues, and most are played at the high end of the tenor sax register. Like Coltrane, Turner started out on alto before he switched to tenor. The young saxman has a very warm tone and an almost spiritual feel for his instrument, qualities that have earned him great respect among his peers. It's telling that Joshua Redman played on his debut ( Mark Turner ) released earlier this year, and that the great James Moody teamed with him on the excellent Warner Jams, Volume Two in 1997. 

Now he's landed Mehldau, the hottest young pianist in jazz. Perhaps owing to the time the two spent together in the TanaReid band, the rapport between Mehldau and Turner seems almost telepathic. They snake their way through this Trane-like terrain with inspired synergy. Dexterous support is provided by Larry Grenadier on bass and New Orleans native Brian Blade on drums. The latter is an intense musician who contributes ambience as well as rhythms. Drummer Jorge Rossy also plays on two cuts, while inventive guitarist Kurt Rosenwinkel appears on three. Besides "Mesa," highlights among the nine tracks include "You Know I Care," a beautiful ballad written by Duke Pearson; "Days of Wine and Roses," which is given a fast-paced treatment; "The Long Road," a multi-hued piece and one of three cuts that feature Mehldau on electric piano; and "Bo Brussels," a wild free-form improvisation. "Lennie Groove" is derived from Lennie Tristano's "Lennie's Pennies," and it showcases some incredibly complex interplay between Turner and Mehldau and intriguing solos by each. My favorite track is "Barcelona," a Turner original that swings in noble fashion. The title track includes a gorgeous serpentine duet between Turner and Rosenwinkel. A cover of the Beatles' "He Said, She Said" even has a Ringo-like back beat. Mark Turner stands with James Carter, Joshua Redman and Chris Potter as one of the most talented  and focused  post-bop saxophonists to emerge in the 1990s. While casual jazz fans might find In This World a difficult listen, anybody who's into Coltrane, Tristano, or Marsh should really dig it. ~ Ed Kopp https://www.allaboutjazz.com/in-this-world-mark-turner-warner-bros-review-by-ed-kopp.php

Personnel:  Mark Turner – tenor saxophone; Brad Mehldau – piano, electric piano; Kurt Rosenwinkel – guitar; Larry Grenadier – bass; Brian Blade – drums; Jorge Rossy – drums

In This World

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Wendy Luck - Stand Up

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 39:18
Size: 90,5 MB
Art: Front

(3:42)  1. Stand Up
(3:37)  2. What's Freedom For
(3:24)  3. My God Is Love
(3:39)  4. You Cheer for Me
(3:40)  5. My House
(4:35)  6. Mercy More
(4:26)  7. You'll Be There
(4:44)  8. I Love You
(3:18)  9. Amazing Grace
(4:07) 10. Ave Maria

It was another very gray, dreary, not yet spring morning as I headed out the door decked with my headset in place. I was headed for the subway, beginning to familiarize myself with the song, Stand Up, in preparation for my upcoming recording session. I got on the C train, and on this day, the “C” stood for crowded. I locked eyes with an old man sitting on the train leaning on his cane. In my earbuds only, I heard the lyrics urging, “Stand up ... Stand up.” Suddenly the man stood up and said, “I am going to stand up. You sit.” I sat down and looked up and into the eyes of a weary pregnant woman in her last weeks. The lyrics again danced in my earbuds ... “Stand up ... Stand up.” This time I stood up and waved her into my seat. She sat, and pretty soon a number of passengers started smiling, laughing, and standing up, offering their seats to others on the subway car. As the train pulled into my stop at Times Square, a few of us got off, smiling like old friends. We had connected by standing up together. On that initially dreary morning, the music, as soundtrack to my life, seemed to magically transform me and somehow those around me, with a sparkling inspiration to stand up for ourselves and for others, and to have some fun in the process. It happened in New York City, so it can happen anywhere. Thank you for the opportunity to share my music with you. This album of songs is about “standing up” while connecting with the joy, passion and love that resides within each of us. The title song, Stand Up, offers a universal message and for me, a unique deeper personal meaning. May the music speak to you, bless you, lift you, and encourage you to stand up to the beautiful truth of who you really are. Peace and blessings, Wendy https://store.cdbaby.com/cd/wendyluck2

Stand Up

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John Hicks, Frank Morgan - Twogether

Styles: Piano And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 57:22
Size: 132,0 MB
Art: Front

(8:22)  1. Parisian Thoroughfare
(8:23)  2. Night in Tunisia
(8:39)  3. My One and Only Love
(8:04)  4. Is That So?
(8:58)  5. Round Midnight
(8:00)  6. N.Y. Theme
(6:53)  7. Passion Flower

The passing of pianist John Hicks and altoist Frank Morgan within a year of each other was a sad blow to the High Note roster and the jazz community writ large. Both men had enjoyed a late career renaissance via the label and Morgan, in particular, experienced an artistic renewal through a series of critically-acclaimed recordings capped by a three-volume document of a stand at The Jazz Standard. This set is something of a posthumous swan song for each player, coupling pieces from a duo performance at the Jazz Bakery in Los Angeles, November of 2005 with selections from a solo Hicks recital roughly a year later. Pun-saddled titled aside, the program delivers tradition-savvy post-bop plied by experts of the form. The tracks unfold in an ear-pleasing sandwich sequence with solo cuts bracketing a pair of duo pieces on either side of the program. Hicks’ solo investigations, starting with a rollicking rococo investigation of Bud Powell’s “Parisian Thoroughfare”, accord him the freedom to range through themes and variations at an easygoing pace with plenty of space for loquacious elaboration. All of the pieces save the closing solo rendering of “Passion Flower” ring in near the eight-minute mark and that last still clocks generously just shy of seven. Sound on both dates is intimate and faithful in the capture of twosome’s toothsome conversations. Compared with the introspective cast of Hicks’ solo ventures, the numbers with Morgan convey an even greater degree of urgency and complexity. “A Night in Tunisia” gives Hicks’ left hand a strenuous work out in the construction of romping chords, Morgan slipping and sliding through elisions on the familiar theme in aerated tone that approaches Paul Desmond territory. Hicks follows his partner’s extended statement with a delightful stride-inflected foray stamped with staggered switchbacks and a dizzying rhythmic pliability that primes the audience for the altoist’s lissome return and a handful more melodic permutations. The choice of “’Round Midnight” would appear to pull the partnership even further into the realm of jazz orthodoxy, but instead they effectively underscore why it remains a perennial favorite for improvisers the world over through an elegant cerulean deconstruction. By contrast, Kenny Dorham’s bop-structured “N.Y. Theme” trades strictly in fun fisticuffs between the partners, Hicks’ hands building decorous layered chords as Morgan lets fly his inner-Bird with unabashed brio. The music of Hicks and Morgan is now a regrettably finite commodity, but their shared artistic import remains undiminished in this delightful meeting between justly-venerated musical souls. https://news.allaboutjazz.com/john-hicks-and-frank-morgan-twogether-high-note.php?width=1920

Personnel: John Hicks – piano; Frank Morgan – alto sax (tracks 2, 3, 5, 6)

Twogether

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Larry Coryell - The Dragon Gate

Styles: Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 43:23
Size: 101,2 MB
Art: Front

(3:42)  1. The Dragon Gate
(3:00)  2. Giant Steps
(3:43)  3. Sunset On Soweto
(4:11)  4. West Coast Blues
(4:38)  5. Molly's Lament
(4:41)  6. Back Bay Blues
(3:45)  7. And She Loved Him
(7:21)  8. Bottleneck Blackout
(3:24)  9. Things Ain't What They Used To Be
(4:52) 10. Snow Prince

This is a strong jazz-oriented date that features Larry Coryell exclusively on acoustic guitar, playing two standard blues unaccompanied, using one or two overdubs on six other tracks and performing a pair of duets with fellow guitarist Stefan Grossman. The music covers a bit of ground from a superior version of "Giant Steps" and tributes to Wes Montgomery and Duke Ellington to some introspective originals, one of which hints at Bob Dylan. The original LP issue also includes a 16-page pamphlet with transcriptions (for guitar) of each of the melodies except "Giant Steps." Recommended, especially to guitarists and those who primarily associate Larry Coryell with fusion. ~ Scott Yanow https://www.allmusic.com/album/dragon-gate-mw0000654926

The Dragon Gate

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