Lina Nyberg Meets Anders Persson & Yasuhito Mori - A Song Book

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 57:07
Size: 131,9 MB
Art: Front

(3:52)  1. Prologue
(4:38)  2. Them There Eyes
(5:41)  3. Autumn In New York
(3:21)  4. Very Early
(4:25)  5. Yesterdays
(4:15)  6. The Way You Look Tonight
(4:48)  7. You've Changed
(5:04)  8. Why Was I Born
(4:16)  9. Dindi
(5:08) 10. Ordinary Day
(3:46) 11. All The Things You Are
(4:23) 12. I'm Old Fashioned
(3:24) 13. Let's Begin

In the fall of 2017 the final majestic part of Lina Nybergs astonishing album trilogy about humanity, the world and music itself is to be released  “Terrestrial” (Hoob records). Lina has composed and arranged music for symphony orchestra (and her band) on commission from the NorrlandsOperan Symphony Orchestra in Umeå. The piece will have it’s first live performance at Umeå Jazz Festival in October 2017. Lina Nyberg is one of Sweden’s most creative and innovative jazz singers. For about 20 years she has been attracting consistent and widespread attention, starting with the debut in 1993 with the duo CD “Close” together with late pianist Esbjörn Svensson until now, about to release her 17th album. Since 2013 Lina has been working on this trilogy of albums, composing new music about our planet and the elements for different kinds of settings, exploring the art of instrumentation. In 2014 part one was released  “Sirenades” (music for big band and jazz quintet) and 2016 part 2 “Aerials” (music for string quartet and jazz quintet). Lina Nyberg was born in Stockholm, Sweden in 1970 and raised in an artistic home. She discovered jazz at age 14 and at 18 years of age Lina began singing with Swedish senior jazz stars such as Bernt Rosengren, Nisse Sandström, Fredrik Norén Band, and others. In 1990 Lina built her own first constellation “Lina Nyberg Kvintett” consisting of Per “Texas” Johansson, Esbjörn Svensson, Dan Berglund and Mikel Ulfberg. After gratuating from the Royal College of Music in Stockholm as a Master of Fine Arts in 1993 she released her first CD- Close (Prophone records). 

A duo recording with late pianist Esbjörn Svensson. An instant success and Swedish jazz classic. This was also the beginning of a very fruitful cooperation with the brilliant producer and owner of Prophone records, late Erland Boëthius. Lina and her quintet received the prestigious Swedish Grammis award for her CD “when the smile shines through” in 1995. “OPEN” released in 1998 and recorded with bassist Palle Danielsson and pianist Anders Persson, among others, was nominated for a Swedish Grammis and received raving reviews. Over the years Lina Nyberg has collaborated with various jazz musicians such as John Taylor, Marilyn Crispell, Palle Danielsson and Rigmor Gustafsson. She has toured in Scandinavia, parts of Europe, Vietnam, Canada and Brazil. A couple of times Lina also has toured Japan with Yasuhito Moris Scandinavian Connection. The Brazilian connection is also very strong to Lina and she has produced two cds dedicated to Brazil and its vast musical landscape, Brasilien (Prophone) 2003 with world famous bassplayer Anders Jormin and Brasil Big Bom 2007 (Caprice records) with big band and the great Swedish saxophonist Magnus Lindgren. Lina Nyberg is one of Sweden’s most creative and innovative jazz singers. For more than 15 years she has been attracting consistent and widespread attention, mostly in Scandinavia, but also in other parts of the world. As a solo artist and producer she has released 17 CDs. Her main constellation right now is Lina Nyberg Band featuring an all-star band: Cecilia Persson, piano, David Stackenäs, guitar, Josef Kallerdahl, bass and Peter Danemo, drums.

In March 2011 Lina Nyberg was awarded the prestigious Jazzmusician of the Year-prize by the Swedish Radio and in October 2011 she was the Guest of Honour at the Umeå International Jazz Festival. 2014 she released the first part of her planned triology with new music about the world the elements and the music itself.  “The Sirenades” a project including composing music for Norrbotten Big Band on commission and her own quintet. The Cd got a wonderful reception from the press. In 2014 she was awarded the prestigeous “Lars Gullin Award” and also the Bert Levin award. Lina was nominated as the Jazz composer of the year by the Swedish Radio Jazzkatten jury. In March 2016 part two of the triology was released: “Aerials” . This time Lina sings of avians, pilots, winds and astronauts. The record includes commissioned work for string quartet as well as poetic and expressive interpretations of jazz standards as ”Fly me to the moon” and ”Bye bye Blackbird” with her regular band. The CD recieved raving reviews from major newspapers and jazzmagazines in Scandinavia at its release and was also given great attention in national TV and radio. In April 2016 Swedish national television is broadcasting an one hour program with Lina Nyberg recorded at her 25th anniversary as an artist at Jazzclub Fasching in Stockholm. In November 2016 she recieved the grand Jazz Prize from The Royal Swedish Academy of Music. In the fall of 2017 the final majestic part of the trilogy was released – “Terrestrial” (Hoob records). Lina has composed and arranged music for symphony orchestra (and her band) on commission from the NorrlandsOperan Symphony Orchestra in Umeå. The piece will have it’s first live performance at Umeå Jazz Festival October 26 2017. https://www.linanyberg.se/biography-2

A Song Book

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Shirley Scott - Something

Styles: Piano Jazz, Post Bop
Year: 1970
File: MP3@320K/s
Time: 28:20
Size: 66,1 MB
Art: Front

(3:52)  1. Games People Play
(3:46)  2. Because
(2:57)  3. Can I Change My Mind
(3:04)  4. Someday We'll Be Together
(3:28)  5. Something
(2:42)  6. I Want You Back
(4:18)  7. Messie Bessie
(4:10)  8. Brand New Me

Shirley Scott began playing piano and trumpet in her native Philadelphia. By the mid 1950s, she was playing piano in the city's thriving club scene - often with the very young John Coltrane. A club owner needed her to fill in on organ one night and the young Shirley took to it immediately, crafting a swinging, signature sound unlike anyone else almost from the get go. On a swing through town, Basie tenor man Eddie “Lockjaw” Davis (1922-86) heard Scott and asked her to join his band. They recorded prolifically together as co-leaders and released a hugely popular series of “Cookbook” records for Prestige during the late 1950s. Shirley launched her solo career in 1958, recording 23 albums for Prestige (1958-64), 10 for Impulse (1963-68), three for Atlantic (1968-70), three for Cadet (1971-73), one in 1974 for Strata East, two for Muse (1989-91) and three for Candid (1991-92). She was married to the late, great tenor sax player Stanley Turrentine (1961-71) and the two made some of their finest music - together - for the Blue Note, Prestige, Impulse and Atlantic labels. Her playing consistently possessed one of the most graceful and lyrical touches applied to the bulky B-3. But it was her deeply-felt understanding of the blues and gospel that made her playing most remarkable. Shirley Scott resided in Philadelphia up until her death in early 2002. She occasionally performed locally (on piano, mostly) and was musical director of Bill Cosby's short-lived 1992 show You Bet Your Life. She successfully won a multi-million dollar lawsuit against a diet-drug company in 2000 and had not performed in public for about five years before her untimely death in early 2002. https://musicians.allaboutjazz.com/shirleyscott

Personnel: Organ, Piano, Synthesizer [Ondioline] – Shirley Scott; Congas [Conga Drums] – Ralph MacDonald; Drums – Jimmy Johnson; Electric Bass – Charles Rainey; Electric Guitar – Billy Butler, Eric Gale

Something

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Blue Stars Of France - Lullaby Of Birdland And Other Famous Hits

Styles: Vocal
Year: 1955
File: MP3@320K/s
Time: 31:01
Size: 72,1 MB
Art: Front

(2:52)  1. Lullaby Of Birdland
(2:44)  2. Tout Bas (Speak Low)
(2:37)  3. Gina
(2:13)  4. Plus Je T'Embrasse (Heart Of My Heart)
(2:44)  5. Toute Ma Joie (That's My Girl)
(2:15)  6. Les Lavandieres Du Portugal (The Portuguese Washerwomen)
(2:16)  7. Mister L'Amour (Mister Sandman)
(2:35)  8. En 1920 (In 1920)
(2:49)  9. Embrasse Moi Bien (Hold Me Close)
(3:06) 10. Lettre A Virginie (Letter To Virginia)
(2:38) 11. La Danse Du Baiser (The Kissing Dance)
(2:10) 12. Mambo Italiano

Leading off with their mid-'50s hit "Lullaby of Birdland," this presents an accomplished and buoyant, albeit somewhat sterile, selection of a dozen songs by this jazz vocal octet. Singing entirely in French on this collection, the group offers playful, lightweight material with intricate arrangements (mostly by Blossom Dearie, who was also a member) careful to balance male and female parts and high and low voices. Although this is 1950s jazz, it's definitely the poppier side of that form, though a hint of Latin influence comes into the picture with "Mambo Italiano." There's some swing to the music, but it's a polite type, of the sort that presents a wide and wholesome grin. The tracks will remind some listeners of the 1960s records of the Swingle Singers (who had considerable popular success in Europe), which is no coincidence, as the Blue Stars of France evolved into that group. ~ Richie Unterberger https://www.allmusic.com/album/lullaby-of-birdland-mw0000720807

Personnel: Alto Vocals – Blossom Dearie

Lullaby Of Birdland And Other Famous Hits

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Ahmad Jamal - Ballades

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 41:53
Size: 96,5 MB
Art: Front

(4:55)  1. Marseille
(6:00)  2. Because I Love You
(3:24)  3. I Should Care
(4:28)  4. Poinciana
(2:15)  5. Land of Dreams
(4:52)  6. What's New
(3:04)  7. So Rare
(3:29)  8. Whisperings
(5:00)  9. Spring is Here / Your Story
(4:21) 10. Emily

At 89, Ahmad Jamal remains a master of space, time, openness and poetics. Never one to add too much, yet always one to mine a song for all its rich natural flavors, Jamal is an artist whose work speaks with a direct and engaging sweep. His early trio classics became a model of sorts, inspiring Miles Davis and many others, and his latter day, percussion-laced combo dates carry elegance and some swagger in their DNA. Now, showing us that he still has a surprise or two left up his sleeve, Jamal leaves the comforts of those formats behind, going (mostly) solo for Ballades. Seven of the ten tracks constituting this album find Jamal all by his lonesome. His calling cards vamping moorings, dancing lines, intelligent restraint, mastery over time, orchestral visions, a Midas touch all play a part in the production. Originals like "Because I Love You," with the in-and-out left hand ostinatos lighting the way, and "Whisperings," with both seductive and scampering charms, mark Jamal as a man wholly comfortable in his skin. So too does "Poinciana," a reflection of past glories in the present tense. A hit for the pianist some 60 years ago, buoyed back then by Vernell Fournier's famous drum beat and Israel Crosby's supportive bass, he recasts it here as more of a reverie and cascading glimpse at romance.  Beauty and artistic certitude abound in other solo spaces a patient trip through "Land Of Dreams" that lives up to its name, an "Emily" with curious asides and malleable time but Jamal also saves some self-possessed playing for the three duo encounters with his longtime bassist, James Cammack. Reprising "Marseille" with Cammack and using it as the opener proves logical and appropriate, as all of this music was recorded at the same sessions that yielded Jamal's 2017 release of the same name. "So Rare" is just that, a jaunty find highlighting seemingly telepathic exchanges and pure trust. And the gossamer graces and dewy resonance of Rodgers & Hart's "Spring Is Here" melded with Bill Evans' "Your Story" makes for a pleasing shift in shine. It's tempting to suggest that Jamal's playing ages like fine wine, but that might insult the flavorful bouquet that's already been there for decades. Better to simply say that he remains a treasure capable of stirring passions without force or forced ambitions. ~ Dan Bilawsky https://www.allaboutjazz.com/ballades-ahmad-jamal-jazzbook-records-review-by-dan-bilawsky.php

Personnel: Ahmad Jamal: piano; James Cammack: bass (1, 7, 9).

Ballades

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Paul Desmond Quartet - Paul Desmond Quartet Featuring Don Elliott

Styles: Saxophone And Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 41:15
Size: 95,8 MB
Art: Front

(6:34)  1. Jazzabelle
(3:06)  2. A Watchman's Carroll
(5:18)  3. Everything Happens to Me
(4:10)  4. Let's Get Away from It All
(4:45)  5. Look for the Silver Lining
(6:06)  6. Sacre Blues
(5:44)  7. You Go to My Head
(5:29)  8. Line for Lyons

One of Paul Desmond's earliest sessions as a leader and a gem of a set that sounds quite different than his later work! The group's a quartet with no piano and features Don Elliott on trumpet, Norman Bates (Joe from the Brubeck group) on bass, and Joe Chevrolet (aka Joe Doge, also from Brubeck) on drums all swinging in an airy mode that's kind of a cross between Desmond's work with the Brubeck group, and some of Gerry Mulligan's early 50s recordings. Titles include "A Watchman's Carroll", "Jazzabelle", "Look For The Silver Lining", "Sacre Blues", and "Line For Lyons".  © 1996-2019, Dusty Groove, Inc.(OJC pressing.) https://www.dustygroove.com/item/48234

Personnel: Alto Saxophone – Paul Desmond; Trumpet – Don Elliott; Bass – Norman Bates ; Drums – Joe Dodge

Paul Desmond Quartet Featuring Don Elliott

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Dutch Swing College Band - The Single Collection Vol I (1948-1955)

Styles: Jazz, Swing 
Year: 1950
File: MP3@320K/s
Time: 54:50
Size: 127,1 MB
Art: Front

(2:57)  1. Strange Peach
(2:59)  2. Apex Blues
(3:05)  3. Panama
(2:51)  4. Jazz Me Blues
(3:07)  5. At The Jazzband Ball
(2:57)  6. Margie
(3:12)  7. Fidgety Feet
(3:07)  8. Royal Garden Blues
(3:09)  9. That's A Plenty
(3:11) 10. Tin Roof Blues
(2:59) 11. High Society
(3:15) 12. Stealin' The Blues
(2:44) 13. Black Bottom Stomp
(2:47) 14. Everything's Wrong, Ain't Nothing Right
(3:10) 15. Annie Street Rock
(3:01) 16. Nody Knows You When You're Down And Out
(2:50) 17. Snake Rag
(3:13) 18. Out Of The Gallion

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.  Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. 

The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957. An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson. The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. ~ Craig Harris https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

The Single Collection Vol I (1948-1955)

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Christian McBride - Sci-Fi

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 71:45
Size: 165,8 MB
Art: Front

(6:49)  1. Aja
(6:20)  2. Uhuru's Moment Returned
(7:59)  3. Xerxes
(7:30)  4. Lullaby For A Ladybug
(6:52)  5. Science Fiction
(6:43)  6. Walking On The Moon
(7:13)  7. Havona
(6:11)  8. I Guess I'll Have To Forget
(6:44)  9. Butterfly Dreams
(8:05) 10. Via Mwandishi
(1:14) 11. The Sci-Fi Outro

Undeniably a great technician and one of the best jazz bassists of his generation, Christian McBride is so much in demand that he might safely be considered a Paul Chambers for the new millennium. But like many talented men who find themselves viable artists in the role of sidemen, McBride has been inconsistent in his efforts as the person in charge. Sci-Fi, his fourth set for Verve as a leader, is still meandering in spots but has a creative edge to it that finds McBride earning points in the resourcefulness category.The most captivating moments here come with McBride's reworking of such pop tunes as Steely Dan's "Aja" and Sting's "Walking on the Moon," the former taking pieces of the original form for its light swing and the latter possessing a brooding and languorous quality complete with James Carter's moody bass clarinet. A salute to bass masters Jaco Pastorius and Stanley Clarke makes for more highlights, with Pastorius" "Havona" turning into a heady romp, while Clarke's beautiful waltz "Butterfly Dreams" comes on with an impressive bit of bowed work from McBride.Mixing electric and acoustic elements, guitarist David Gilmore figures prominently into the mix. The other special guests are far less integral to the success of the whole, yet Hancock tears it up on "Xerxes." McBride's own writing is not as strong as his arranging, yet the overall mood hangs together and the presentation is somewhat in the vein of a modern update on early '70s fusion (the track "Via Mwandishi" should give the astute reader a signpost in the general direction). So even though the theme may lead a bit on the side of kitsch, Sci-Fi packs a visceral punch that's worth a listen. ~ C.Andrew Hovan https://www.allaboutjazz.com/sci-fi-christian-mcbride-verve-music-group-review-by-c-andrew-hovan.php

Personnel: Christian McBride- electric and acoustic bass; keyboards; Ron Blake- tenor and soprano saxophone; James Carter- bass clarinet (tracks 6 & 10 only); Shedrick Mitchell- piano and Fender Rhodes; Herbie Hancock- piano (track 3 & 4 only); Dianne Reeves- vocals (track 4 only); Toots Thielemans- harmonica (track 8 only); David Gilmore- guitars (tracks 1,5,6,and 10); Rodney Green- drums

Sci-Fi

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George Duke - Night After Night

Styles: Vocal, Clarinet Jazz
Year: 1989
File: MP3@320K/s
Time: 60:24
Size: 139,4 MB
Art: Front

(4:53)  1. Miss Wiggle
(5:16)  2. Children of the Night
(4:39)  3. Love Ballad
(3:45)  4. Guilty
(4:11)  5. Same Ole Love
(5:02)  6. Say Hello
(5:30)  7. Only One in My Life
(1:11)  8. Brazillian Coffee
(5:09)  9. This Lovin'
(4:28) 10. Mystery Eyes
(3:52) 11. 560 SL
(6:50) 12. Fuzzion
(5:33) 13. Rise Up

Having been a top notch producer for such hot R&B acts as Stephanie Mills, Deniece Williams, and Jeffrey Osborne throughout the '80s, it comes as no surprise that Duke would deliver such a powerhouse of dance funk instrumentals towards the end of that decade. Being so pop oriented, however, what comes as a pleasant surprise is just how much room is left for Duke to display his sense of improvisation on the many keyboards he uses here. On both midtempo numbers like "Rise Up" and "You Are The Only One In My Life," and upbeat funkfests such as the anthem-like "Children of the Night," Duke textures his outstanding hooks with a little imagination. 

Particularly exciting is his ample use of trumpet and sax, as well as many guest vocals by such luminaries as Osborne, Phil Perry, and James Ingram. Duke's finest moments are his gorgeous covers of LTD's mid-'70s hit "Love Ballad," and Anita Baker's "Same Ole Love," which features some of the finest acoustic piano work of his career. ~ Jonathan Widran https://www.allmusic.com/album/night-after-night-mw0000652633

Personnel: George Duke - producer, lead vocals, vocals, backing vocals, synthesizer, Synclavier, mini moog, Clavinet, bass, soloist, composer; Paul Jackson, Jr. - guitar;  "Ready" Freddie Washington - bass; John Robinson - drums;  Larry Williams - tenor saxophone;  Bill Reichenbach - trombone; Gary Grant - trumpet;  Jerry Hey - trumpet; Alexandra Brown - vocals; Carl Carwell - vocals; Howard Hewett - vocals; James Ingram - vocals;  Jeffrey Osborne - vocals;  Joey Diggs - vocals

Night After Night

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Jenny And The Mexicats - Fiesta Ancestral

Styles: Flamenco, Jazz 
Year: 2019
File: MP3@320K/s
Time: 28:23
Size: 67,5 MB
Art: Front

(2:35)  1. Sonido de Tu Voz
(3:20)  2. La Oportunidad
(3:00)  3. Bailando Con las Farolas
(2:49)  4. Ancestral
(2:54)  5. La Cumbia del Vino
(2:57)  6. Thinkers And Misfits
(2:29)  7. Día de los Inocentes
(2:39)  8. Correr
(3:00)  9. El Telón
(2:34) 10. Si una Vez

Jenny and the Mexicats is a fusion of nationalities and personalities, a band that has a very particular history more than anything accidental. The band had its beginnings in Madrid as Pachucos and the princess , in June 2008. It all started when Icho (double bass) invites Jenny to live in Madrid. Jenny, 20, had arrived at the right place. Icho called the best guitarist he knew, Pantera a guitarist with a very versatile flamenco technique, Icho and he had played together for many years in a rockabilly and punk group in his hometown in Mexico.Pantera proposed to a colleague who played the drawer instead of drums, and so came David , an extraordinary Spanish drawer, with whom he had already shared the stage in the world of flamenco. This is how the little adventure of an English girl who emigrates to Spain in search of new sounds is born, and gives rise to Jenny and the Mexicats.

They recorded their first album 'JENNY AND THE MEXICATS' in the summer of 2011 in Madrid and moved to Mexico City in 2012. With this production they managed to obtain a Gold record. This record material contains a mix of songs in Spanish and English, classics of his material like Heaven Knows and Starting Something , in addition to three successes in Spanish: Green Beyond, I'm Going to Go and Flor, with which they managed to bring the name of the band to everyone's mouth. In 2014 they released their second album 'OME' and the first single Lips was part of the soundtrack of the movie “Love of my Loves” directed by Manolo Caro. The album has new songs with all the Mexicat spirit and mixes great rhythms, lots of energy and moments of sensitivity. In Frenético Ritmo and Boulevard the Mexican influences are noticed, there is even a song full of energy dedicated to the dogs of the band Sasha and Esteban. David's voice takes on more prominence in songs like, It Hurts when Walking, Lips and Boulevard. The last song of the album 'Back to Basics' demonstrates the simplest and most emotional way to compose Jenny, she alone with her guitar. It should be noted that all the art of the disc was designed by Pantera. A musical combination that mixes rhythms of jazz, rockabilly, folk, flamenco, reggae, are Veracruz, country and cumbia. What gives Jenny and the Mexicats a unique, virtually inimitable personality. Translate by Google https://www.jennyandmexicats.com/#about

Fiesta Ancestral

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Steve Khan - The Green Field

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 77:21
Size: 178,2 MB
Art: Front

( 9:22)  1. El Vinon
( 8:09)  2. Congeniality
( 7:31)  3. Riot
( 7:46)  4. Fist in Glove
( 7:21)  5. Cosecha Lo Que Has Sembrado
( 7:58)  6. Sanctuary/Nefertiti
( 5:25)  7. Eronel
( 5:38)  8. You Stepped out of a Dream
(18:07)  9. The Green Field (El Prado Verde)

Nine years have passed since guitarist Steve Khan last released an album as a leader. But he hasn't been inactive, touring with artists like Terri Lyne Carrington and Greg Osby and co-leading the Caribbean Jazz Project. However, it's been far too long since he's released an album putting his immediately recognizable style front and centre. Khan may not have the cachet of peers like Pat Metheny and John Scofield, but from the first notes of the recording, it's clear that this is nobody but Steve Khan. His distinctive, at times almost pianistic approach makes his less prominent position mysterious. Hopefully The Green Field, his most fully realized record to date, will reach the greater audience he so richly deserves. Khan reunites with bassist John Patitucci and drummer Jack DeJohnette, who last played together on Got My Mental (Evidence, 1996). While the trio has only worked together during rehearsals and recording sessions for these two releases, these musicians share a remarkable chemistry. Nowhere is this more evident than on the free bop of the eighteen-minute title track. Also featuring percussionist/vocalist Manolo Badrena, a key collaborator who was instrumental in Khan's Eyewitness group, "The Green Field" may be the freest piece that Khan has ever recorded. Though clear motifs strategically emerge, it's as much about texture as thematic development, which is all the more remarkable during the moments when the quartet magically coalesces, before heading off into greater uncharted territories.  

The title track's liberated free play may feel new to Khan's fans, but rest assured, his strong sense of groove is also in full force. The modal "El Viñón opens with a vamp featuring Khan's unique voicings and DeJohnette playing all around the time, but ultimately resolves into a middle section where Patitucci and DeJohnette swing amiably behind Khan's relaxed, behind- the-beat linearity. The guitarist leans to carefully constructed lines that selflessly serve the music, but every now and then he lets loose with lightening speed, just to let you know the chops are there when needed. His ability to seamlessly intersperse strong melodies and vivid chordal phrases has become a defining characteristic, and he's never done it better. The same can be said for Khan's writing. "Fist in Glove is a blues so radically altered harmonically as to be nearly unrecognizable, while "Cosecha lo que Has Sembrado, with guest percussionists Ralph Irizarry and Robert Quintero, viscerally mines the Afro-Cuban territory that's been part of Khan's musical continuum for years. Equally remarkable is Khan's reinvention of material by Thelonious Monk, Herbie Hancock, Ornette Coleman and Wayne Shorter. Cleverly integrating Shorter's "Sanctuary and "Nefertiti into a seamless whole, Khan demonstrates an uncanny ability to distinctly interpret well-known material. If it wasn't so familiar, you'd think he'd written it himself. Maybe Khan's avoidance of musical grandstanding explains why he's never achieved the popularity of his peers. But The Green Field is mature and imaginative, showcasing him at the top of his game. ~ John Kelman https://www.allaboutjazz.com/the-green-field-steve-khan-tone-center-review-by-john-kelman.php

Personnel: Steve Khan: guitar; John Patitucci: acoustic bass; Jack DeJohnette: drums; Manolo Badrena; percussion, voice; Ralph Irizarry: timbales (3,5,6,8); Roberto Quintero: congas, percussion (3,5,6,8).

The Green Field

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Avishai Cohen Trio - Gently Disturbed

Styles: Jazz, Post Bop
Year: 2008
File: MP3@320K/s
Time: 56:47
Size: 130,8 MB
Art: Front

(2:50)  1. Seattle
(5:10)  2. Chutzpan
(5:25)  3. Lo Baiom Velo Balyla
(6:30)  4. Pinzin Kinzin
(3:53)  5. Puncha Puncha
(5:16)  6. Eleven Wives
(3:48)  7. Gentle Disturbed
(6:16)  8. The Ever Evolving Etude
(5:33)  9. Variations In G Minor
(5:42) 10. Umray
(6:20) 11. Structure in Motion

With this release on his own Razdaz Recordz, Avishai Cohen firmly entrenches himself as a frontrunning innovator in the piano trio medium. The Israeli bassist is joined by Mark Guiliana on drums and countryman Shai Maestro on piano the latter a change in personnel from Continuo (Razdaz, 2006) and Live At The Blue Note (Razdaz, 2007). "Seattle" represents a slightly ponderous start, with a lyrical bass solo from Cohen over meandering chordal piano vamps, but it is not more than a gentle prelude to what is coming up. The next track, "Chutzpan," gives a fuller insight into the incredible locked synchronisation that exists between these three musicians. Shifting between angular, cascading motifs and jumping, jittery movements with consummate ease, the trio is well-drilled yet instinctive in its manner of interaction. "The Ever Evolving Etude" is an outstanding track, a perfect example of Cohen's minutely accurate compositional style. Based around a couple of piano riffs and building in degrees, it works up to a frenzy of intricately subdivided phrasing with manically precise off-pulse syncopations. It's a wall of sound that doesn't stand still. Similar traits are present on tunes such as "Pinzin Kinzin," "Eleven Wives," and the dense album closer "Structure in Emotion," but they are all different enough to make the CD unpredictable. 

A few slower items add further spice to the mix: "Variations in G Minor," "Puncha Puncha," and the title track, "Gently Disturbed," are more relaxed but no less crafty. It's all perfectly executed and Cohen's compositional identity has become distinctively recognisable particularly in piano voicing and the rhythmic intensity he draws from his group. In Maestro and Guiliana he has found ideal poetic partners.  The disc's title is reflective of the music many of Cohen's ideas are challenging, but not inaccessible. Listeners can almost obliviously float through the advanced concepts without getting hung up, in the same way the musicians do. So, while it can take several listenings to fully understand what's going on, that effort should not be a deterrent to enjoying this release. ~ Frederick Bernas https://www.allaboutjazz.com/gently-disturbed-avishai-cohen-razdaz-recordz-review-by-frederick-bernas.php

Personnel: Avishai Cohen: bass; Mark Guiliana: drums; Shai Maestro: piano.

Gently Disturbed

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Larry Coryell - Inner Urge

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 55:01
Size: 127,5 MB
Art: Front

(5:31)  1. Compulsion
(5:45)  2. Abra Cadabra
(5:25)  3. Inner Urge
(4:48)  4. Tonk
(8:01)  5. Dolphin Dance
(6:48)  6. Allegra's Ballerina Song
(5:50)  7. In a Sentimental Mood
(3:59)  8. Turkish Coffee
(8:51)  9. Terrain

Without a second thought, jazz listeners acknowledge Larry Coryell’s prowess on the guitar. But ask one of those listeners to name one recent Larry Coryell performance they have attended or one tune he has recorded within the past decade, and you may get a blank stare. That’s because Larry Coryell unlike, for example, John Scofield or Pat Metheny loses his persona in his music. According to the demands of the music, Coryell transforms his technique and his musical concept for the total fulfillment of a tune’s spirit. Depending on the circumstances, Coryell may be playing flamenco, classical, fusion, blues, rock or jazz guitar. Now, one can’t describe Coryell as modest, but he certainly is dedicated. Having devoted his life to the muse and to the music, Coryell, intensely private, seems to have sacrificed high personal recognition for the opportunity to investigate the guitar in its infinitude of possibilities. The possibilities that Inner Urge offers are those, in large part, of bebop. Consistent in his presentation, Coryell remains out front on each tune as a relaxed, unpretentious and brilliant presence. Don’t believe for a second his claim in the liner notes that “it was a matter of showing up...and staying out of the way.” Rather, Coryell leads the way among a group of equally proficient musicians. Producer and trumpeter Don Sickler suggested the cohesive idea for Inner Urge. Even though the album is appropriately named after a challenging Joe Henderson number, the first and last tunes framing the repertoire were composed by the often neglected tenor saxophonist Harold Land. It seems that Sickler, to his great credit, is pulling together all of Land’s compositions into a single reference. Having been inspired especially by Wes Montgomery, Coryell makes no bones about alluding directly to Montgomery’s unmistakable octaved style and effortless swing on Land’s “Terrain.” 

However, Coryell personalizes his own “Turkish Coffee,” the notes ringing through with crystalline assuredness, due in no small part of Rudy Van Gelder’s sound engineering genius as he employs two amplifiers to document the richness of the guitar. While “Turkish Coffee” hints at Coryell’s wide-ranging flexibility beyond bop tunes, “Allegra’s Ballerina Song,” written in tribute to his daughter, opens Coryell’s heart through his preferred medium of communication music. The slower tunes give evidence, not just of Coryell’s mastery, but of the instrument’s gorgeousness. His note choices on “Dolphin Dance,” not to mention its overall rippling texture, extend the mellowness of the song beyond piano, as established forever by Herbie Hancock. “Dolphin Dance” is one tune that doesn’t seem to be appropriate when led by a horn. “In A Sentimental Mood” exists on the album, it seems, purely for its lyrical strength, which Coryell underplays, sometimes by subtly dampening the strings for a sly percussive commentary. In addition, one may notice that the instruments are so well tuned and that Coryell and Hicks are so intuitive that when Coryell plays a phrase and Hicks repeats it, the differences of the instruments’ timbral characteristics melt away. The third in Coryell’s HighNote “trilogy,” Inner Urge presents a locked-in group for the joyful exploration of jazz, which drives the inner urge of them all. ~ AAJ Staff https://www.allaboutjazz.com/inner-urge-larry-coryell-review-by-aaj-staff.php

Personnel: Larry Coryell, guitar; Don Sickler, trumpet; John Hicks, piano; Santi Debriano, bass; Yoron Israel, drums

Inner Urge

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Musica Nuda - My Favorite Tunes

Styles: Vocal, Post Bop
Year: 2019
File: MP3@320K/s
Time: 79:48
Size: 184,8 MB
Art: Front

(3:40)  1. Come Together
(4:55)  2. Fever
(3:18)  3. Roxanne
(3:50)  4. I Will Survive
(2:43)  5. Couleur café
(3:20)  6. Quando
(2:38)  7. Non andare via
(2:51)  8. La voce del silenzio
(3:22)  9. Vado giù
(4:06) 10. La canzone dei vecchi amanti
(2:54) 11. Like a Virgin
(2:29) 12. Guarda che luna
(3:46) 13. Libera
(2:45) 14. Il cammello e il dromedario
(3:10) 15. Bach Aire
(2:32) 16. Pazzo il mondo !?
(2:34) 17. Angeli
(2:50) 18. Una notte disperata
(3:58) 19. Le due corde vocali
(2:24) 20. Amarilli
(2:38) 21. Dindiandi
(3:13) 22. Io sono metà
(3:48) 23. Si viaggiare
(1:37) 24. Nessuno
(4:15) 25. Lei colorerà

Sometimes things happen for no coincidence. This is the story of MUSICA NUDA, the unconventional duo born from the accidental meeting of Petra Magoni and Ferruccio Spinetti. In 2003 the pair cross paths for the first time: Petra sings and Ferruccio plays double bass in Aviontravel (he played with them from 1990 to 2006). In that period Petra Magoni plans a mini tour in some of her Tuscany small clubs, with a frien playing guitar for her. But the day of their first concert together, he gets sick. Petra, instead of cancelling the date, asks Ferruccio if he feels like covering for him and he promptly accepts. The concert is such a success that in the span of few weeks the two members of this “Voice’n’bass” combo put up a full repertoire, made of the songs they love the most, and in half a day they record their first album: “MUSICA NUDA”, in a studio close to Pisa. MUSICA NUDA spontaneously becomes the name of their project and of the band itself. The chemical between them is perfectly clear, but neither Petra and Ferruccio themselves would have ever imagined to reach so important goals in such a little time: hundreds of concerts in Italy and abroad, prestigious awards (Targa Tenco 2006, best tour for Mei in Faenza, Les quatre clés de Télérama in France), recognition from fans and medias, tv appearances and radio plays on all main italian and foreign FM stations. 

It all comes from constant work and commitment from Petra, Ferruccio and all those who believed in this project over the years, but mostly thanks to an original, both cultured and popular, simple yet articulated behind the project MUSICA NUDA. A bit of jazz, a bit of songwriting, some elements of rock, some punk and the occasional classic vibe. When “music” is “naked” there are no boundaries, the peculiar sound of Petra and Ferruccio flows into every single track and brings them all back to a new life, proving that they are a really eclectic combo. MUSICA NUDA is a brave project, independent, free, almost a modern version of canto con accompagnamento di basso continuo, in uso nel Rinascimento, and it’s also the art of trace music back to its core and find in its inside the ultimate meaning of any track, classical, jazz, pop or soul. And there’s something else to tell: Musica Nuda is the art of enjoying the silence in music, a basic and often underrated aspect of it, that leads to the true emotion and underline the value or a lyric, a story, the meaning of every single song, no matter if it’s dramatic, funny, energetic, romantic, sarcastic. In MUSICA NUDA we have two different yet perfectly complementary artists like Petra Magoni and Ferruccio Spinetti, that face each others musically with complicity and sense of humor that stand for themselves. A voice (Petra’s) that performs great emotions, a double bass (Ferruccio’s) that becomes orchestra. With easyness, humbleness, commitment, devotion and deep love for past, present and future music, for the music that’s been forgotten and has to be re-discovered (it’s the case of the successful “Il cammello e il dromedario” by Virgilio Savona). http://www.musicanuda.com/bio-3/

Personnel: Petra Magoni (voce) e Ferruccio Spinetti (contrabbasso)

My Favorite Tunes

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One For All - Return of the Lineup

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2009
File: MP3@320K/s
Time: 54:32
Size: 125,7 MB
Art: Front

(7:15)  1. Jackpipe
(6:38)  2. But Not For Me
(6:04)  3. Silver and Cedar
(6:37)  4. Treatise For Reedus
(6:02)  5. Dear Ruth
(7:22)  6. Forty-Four
(8:07)  7. Road to Marostica
(6:24)  8. Blues For JW

One for All is a band of New York-based veterans who've played with one another in various combinations, as well as making a number of CDs together under this name with little change in personnel, and of whom all but one are founding members. Featuring tenor saxophonist Eric Alexander, trombonist Steve Davis, and trumpeter Jim Rotondi in the front line, plus a rhythm section with pianist David Hazeltine, bassist John Webber, and drummer Joe Farnsworth. While each of them (save Webber) works and records often as an individual bandleader, there is an incredible blend of inspired solos, fresh compositions, and arrangements, along with a spirit of cooperation where no egos get in the way of great music. 

Hazeltine's peppy "Treatise for Reedus" is an uptempo salute to the talented drummer, who died suddenly at the premature age of only 49 a few days prior to this recording session. Alexander's Latin-flavored "Road to Marostica" features tight ensemble work and invigorating solos, while he was also responsible for the updated treatment of George Gershwin's "But Not for Me." This is a rewarding date by a sextet that is always ready to give their all. ~ Ken Dryden https://www.allmusic.com/album/return-of-the-lineup-mw0000814360

Personnel: Piano – David Hazeltine; Tenor Saxophone – Eric Alexander; Trombone – Steve Davis ; Trumpet, Flugelhorn – Jim Rotondi; Bass – John Webber; Drums – Joe Farnsworth

Return of the Lineup

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Jerry Bergonzi - Napoli Connection

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 62:27
Size: 144,3 MB
Art: Front

(9:07)  1. Love for Sale - Version 1
(7:56)  2. Grand Trine
(5:07)  3. Napoli Connection
(6:25)  4. Neptunian Verse
(8:08)  5. Conclusive Evidence
(5:38)  6. Estate
(4:59)  7. Don't Look Now
(5:54)  8. Jab
(9:08)  9. Love for Sale - Version 2

Tenor saxophonist, Jerry Bergonzi, is an internationally recognized jazz performer, composer, author and educator. His music is renowned for its innovation, mastery, and integrity. Relentless drive, inner fire, total command, awesome technique, elastic lyricism, rich resonance, world-class, a musical visionary, are among the rave reviews credited to his sound. Bergonzi's music has been applauded throughout the world at festivals, concert halls, and jazz venues and his dedication to jazz music has been well documented by an extensive discography.Born in Boston, Massachusetts, Bergonzi became interested in music early on. He started playing clarinet when he was eight years old listening to Duke Ellington, Count Basie, and Lester Young. His uncle, who was a jazz musician and lived upstairs, used to write out solos for him to play. At twelve years old he got his first saxophone, an old Conn alto, and a year later when a friend introduced him to Miles, Coltrane, and Sonny Rollins, there was no turning back! At thirteen, Jerry was already playing gigs with a band called The Stardusters. During his high school years he switched to tenor, and in addition to weekly sessions with Berklee College students, Jerry also played in John LaPorta's youth band. He recalls, “It was a great experience, I learned so much, John would tell you like it was. He'd let you know what your shortcomings were, he would stop the band to tell you! “Bergonzi attended Lowell University but left after one year because he was continually being thrown out of the practice rooms for playing jazz. “If I had heard me practicing in one of those cubicles I might have thrown myself out!” he adds. He and fellow student, Charlie Banacos, used to begin their day in the practice rooms at 6:00 am. After a year at Berklee College, he returned to Lowell for financial reasons and graduated in 1971. He then played bass in local bands behind singers, strippers, and comedians, saving up enough money to move to New York City in 1972.During 1972 and 1978 Bergonzi lived in New York City and experienced what he considers his real college education. There, where he had a third floor loft and friend and bass player, Rick Kilburn, lived on the first floor, was the scene of many sessions. “Often, there was one drummer, one bass player, and five saxophone players!” Bergonzi remembers. “Sometimes I was the drummer, each guy would tell a friend, everyone was hungry to play and it was great experience.” Joe Lovano, Steve Slagle, Billy Drewes, Paul Moen, Pat LaBarbera, Dave Liebman, John Scofield. Mike Brecker, Bob Berg, Tom Harrell, Steve Grossman, and Victor Lewis were a few of the many players who came to play.

During this time, Bergonzi gained worldwide recognition while performing with, Two Generations of Brubeck. The group, with Dave Brubeck and his kids, Darius, Chris, and Danny, also featuring Perry Robinson on clarinet and Mad Cat Ruth on harmonica, toured extensively from 1973 through 1975. Carnegie Hall, the Sydney Opera House, London's Royal Festival Hall and Alexander's Palace, Lincoln Center, and the Hollywood Bowl were among the many stages their music was applauded, as well as, at the JVC Newport, New York Kool, North Sea, Monterey, and Nice jazz festivals, to name a few. Returning to Boston at the end of 1977, Bergonzi was gigging five nights a week at the many local venues including Michael's Pub, 1369 Jazz Club, Pooh's Pub, Ryles, and the Sunflower. “It was exactly what I needed at that point,” says Bergonzi, “making a statement on a tune in front of an audience is a lot different than playing a jam session”. It was during this period that the innovative group, Con Brio, formed. Including bassist Bruce Gertz, drummers Bob Kaufman and Jeff Williams, pianist Eric Gunnison, and guitarists Mike Stern and Mick Goodrick, the group has played on throughout the years in various incarnations. At that time they recorded six records for their own independent label called Not Fat Records. These recordings featured Bergonzi's talent as a composer. Today he has almost one hundred tunes recorded and registered with ASCAP, his most recent compositions are available in a book and play-along published by Jamey Aebersold and five of his tunes can be found in the pages of Chuck Sher's All-Jazz Real Books. During these years, Bergonzi also played with the dynamic trio called, Gonz, including Gertz and Bob Gullotti on drums. Gonz sometimes became Gargonz when they added the talents of another Boston based saxophonist, George Garzone, as well as, bassist John Lockwood of The Fringe. While in the midst of the Boston jazz scene, Jerry received a call from Dave Brubeck asking if he'd again like to join his group in a quartet setting. From 1979 until 1981, Jerry toured the world with the Dave Brubeck Quartet. On the road for about 200 days a year, the group recorded Back Home, Tritonis, and Paper Moon for Concord Records between stops. Bergonzi also began his career as an educator in the early 80's. He established his private practice teaching all instruments how to improvise and during those years developed the systems described in his series entitled Inside Improvisation. In this six volume series published by Advance Music, Bergonzi offers a tangible pathway to inside the creative imagination by getting inside the harmony, inside the changes. Today, he is a world renowned educator, a full time professor at New England Conservatory, Bergonzi travels throughout the United States and Europe as a clinician and performer. Some of the many places he has taught include; master classes at Berklee College of Music, North Texas State University, Eastman College, the Paris Conservatory, the Manheim Jazz School, Taller de Musicos in Madrid, S.A.C.A.E. in Adelaide, Australia , and jazz conservatories in Pitea and Haperanda, Sweden, and Oulunkyla, Finland, to name a few.

The mid to late 80's brought some changes to Bergonzi's career as work in Boston slowed while work abroad became more plentiful. So too, did the recording industry begin to change. Bergonzi's acclaimed quartet release for Blue Note Records, called Standard Gonz, was among the first of his extensive discography. He later again recorded for Blue Note with pianist Joey Calderazzo on, To Know One and In The Door. While keeping his ties with the many musicians of the Boston and New York jazz scenes, Bergonzi also developed associations abroad yielding many musical collaborations. The Italian label, Red Records, was Bergonzi's greatest supporter. “Red Records was the first label that really believed in my music.” says Jerry. They released four CD's with Bergonzi as the leader, including, Lineage, a live recording featuring Mulgrew Miller, Dave Santoro, and Adam Nussbaum. Jerry later played with the Red Record all-stars including Kenny Barron, and Bobby Watson, as well as on a number of other Red releases with Salvatore Tranchini, Fred Hersch, and Alex Riel. He has also performed and recorded with the George Gruntz Big Band, the Gil Evans Orchestra (Miles Davis in Montreaux), and 12 Jazz Visits in Copenhagan for Stunt Records. The Riel Deal, on Stunt, featured drummer Alex Riel, Kenny Werner and Jesper Lundgaard, and was awarded a Grammy in Denmark for best jazz recording in 1997. An association with Daniel Humair and the late J.F.Jenny Clark yielded a number of recordings for the French, Label Bleu. One of which was Bergonzi's CD, Global Summit, it featured Tiger Okoshi, Joachim Kuhn, Daniel Humair and Dave Santoro. 

This was the product of one of three National Endowments awarded Bergonzi. Another project with pianist Kuhn won the accolade Best Jazz Album in France 1992. Among the many other artists that Bergonzi has performed and recorded with are; John Abercrombie, Nando Michelin, Antonio Farao, Bill Evans (with the National Jazz Ensemble), Joe D'Orio, Eddie Gomez, Miroslaz Vitous, George Mraz, Billy Hart, Andy Laverne, Steve Swallow, Hal Galper, Roy Haynes, Charlie Mariano, Bob Cranshaw, Ray Drummond, Billy Drummond, Danny Richmond, Danny Gottlieb, Dave Holland, Jack DeJonette, Paul Desmond, Bennie Wallace, Gerry Mulligan, Hal Crook, Herb Pomeroy, Mike Manieri, Mark Johnson, Michel Portal, Marcel Solal, Pat Martino, Franco Ambrosetti, and many more. The Double-Time Records label has released most of Bergonzi's recent work. Just Within, Lost in the Shuffle, Wiggy, and A Different Look, were recorded by Bergonzi's burning organ trio, with Dan Wall and Adam Nussbaum. Also on Double-Time, The Dave Santoro Standard recordings feature Bergonzi's swinging tenor along with drummer Tom Melito and pianists Bruce Barth and Renato Chicco. As a band leader, Bergonzi has performed worldwide at the Red Sea, San Remo, Moomba, and North Sea Jazz festivals, to name a few. He has appeared at the World Saxophone Congress in Montreal, Canada and Valencia, Spain with fellow saxophonist Philippe Geiss. Bergonzi's performance at the Subway in Cologne has been featured on the German TV series, Round Midnight. His quartet performs at Duc de Lombarde in Paris, the Fasching in Stockholm, the Jazz House in Copenhagan, and the Bird's Eye in Basel, and many others. Today, Bergonzi makes his home in Boston area with his wife and two children. He continues to teach and perform worldwide. He endorses Selmer Saxophones, Rico Reeds and Zildjian Cymbals. https://musicians.allaboutjazz.com/jerrybergonzi

Personnel: Tenor Saxophone – Jerry Bergonzi;  Bass – Tony Ronga; Drums, Producer – Salvatore Tranchini; Piano – Valerio Silvestro.

Napoli Connection

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Tete Montoliu - Catalonian Fire

Styles: Piano Jazz 
Year: 1991
File: MP3@320K/s
Time: 57:25
Size: 132,0 MB
Art: Front

( 7:37)  1. Sweet Georgia Fame
( 7:35)  2. A nightingale sang in Berkeley Square
( 8:54)  3. Blues for Perla
(10:22)  4. Falling in love with love
( 8:08)  5. Old folks
( 4:52)  6. Au privave
( 9:52)  7. Body and soul

Tete Montoliu spent most of his career recording for various European-based record labels, with some of his best work appearing on Steeplechase, such as this trio session with bassist Niels Pedersen and drummer Tootie Heath. Montoliu chose his rhythm section well, because both of these musicians respond well to an aggressive pianist like their leader, providing both strong support and lively interplay. The program is dominated by standards, including a rather abstract take of "A Nightingale Sang in Berkeley Square" and an extended workout of "Falling in Love With Love" with a Latin rhythm. "Old Folks" starts with an unusual solo introduction that is both eerie and playful; Pedersen's countermelody is sparse and effective. Montoliu's sole original, "Blues for Perla," also stands out. The date concludes with a freewheeling exploration of Charlie Parker's "Au Privave," with the leader occasionally leaning toward an avant-garde sound in places. Recommended. ~ Ken Dryden https://www.allmusic.com/album/catalonian-fire-mw0000233581

Personnel: Piano – Tete Montoliu; Bass – Niels-Henning Ørsted Pedersen; Drums – Albert Heath

Catalonian Fire

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Bent Fabric - Alley Cat

Styles: Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 27:14
Size: 63,3 MB
Art: Front

(2:22)  1. Alley Cat
(2:10)  2. Across the Alley from the Alamo
(3:02)  3. You Made Me Love You
(1:54)  4. Trudie
(1:34)  5. Markin' Time
(2:25)  6. In the Arms of Love
(2:13)  7. Delilah
(1:55)  8. Catsanova Walk
(2:19)  9. Symphony
(2:21) 10. Early Morning in Copenhagen
(2:04) 11. Comme Ci, Cmme Ca
(2:49) 12. Baby Won't You Please Come Home

Alley Cat is the debut album by Danish pianist Bent Fabric. The album features the Grammy Award-winning single "Alley Cat", and was a charting album in 1962-63. The title song is used as a recurring gag on the short-lived 1990 TV show Get a Life. The cover was designed by Haig Adishian, and was a Billboard Album Cover of the Week in October 1962. https://en.wikipedia.org/wiki/Alley_Cat_(album)

Alley Cat

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Trijntje Oosterhuis - Dit Is Voor Mij

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 63:57
Size: 147,6 MB
Art: Front

(3:46)  1. Dit Is Voor Mij
(4:32)  2. Mijn Hart
(4:36)  3. Ik Kan Het Niet Alleen
(4:43)  4. Wat Je Doet Met Mij
(3:49)  5. Klaar
(4:16)  6. Blijf
(5:37)  7. Als Ik Je Laat Gaan
(4:12)  8. Nooit Voorbij
(3:57)  9. Liefde Voor Mij
(6:08) 10. Maël
(3:24) 11. Ik Hou Van Jou
(3:52) 12. Ik Ga Mee
(5:07) 13. Nu Even Niet
(5:51) 14. Jij En Ik (feat. Candy Dulfer)

Amsterdam, 1994. In the club circuit a band still unknown at that time. A brother and sister, and a handful of befriended musicians. The music they make: catchy pop songs. So that was us, says Trijntje about the start time of Total Touch, which is also the start of her career. Trijntje grows up in a musical family. Her mother is a violinist, her father a pastor and a poet. As a little girl she is already singing between her sliding doors at her grandmother's house and is writing a song to the sound of The Sound of Music for her father's birthday. Singing is second nature to her. There has never been another plan either, since she is very small she knows no better than she wants to become a singer. Together with her brother Tjeerd, she founded Total Touch in the early nineties. In 1994 she toured the world with Candy Dulfer, two years later the first single from her band, Touch Me There, was picked up by the radio. Her real breakthrough comes after Trijntje opens the Amsterdam ArenA with the hymn De Zee and surprises the whole of the Netherlands with her vocal qualities. Not much later, the second single from Total Touch, Somebody Else's Lover, a big hit. The first album will be one of the most successful debut albums in Dutch pop history. In the years that followed, Trijntje emerged as one of the most versatile artists in the Netherlands. She just as easily sings a pop song with Total Touch, as a Dutch-language duet with Marco Borsato, soul songs from Stevie Wonder, but also jazz standards. From 2001 she continued as a solo artist and worked with Toots Thielemans, Herbie Hancock, Al Jarreau, Lionel Richie, John Ewbank, Carel Kraayenhof, Janine Jansen, Candy Dulfer, Anouk and for many years she was one of the Ladies of Soul of Ladies . Together with the Metropole Orchestra she recorded two albums with the repertoire of master composer Burt Bacharach, who even provided new song material for this, and performed with him at the North Sea Jazz festival. In 2019, Trijntje celebrates her 25 years in the business. In addition to a sold-out anniversary concert in Ziggo Dome and a club tour in the fall, her new Dutch-language album will also be released. The album is produced by Jett Rebel. On this album she collaborates with Alain Clark, Diggy Dex, Vieze Fur of the Youth of Today, Glen Faria and Linde Schöne. A combination of old hands in the profession and young, new talent. Making this album was a special process for Trijntje. She works with musicians who partly come from another generation, but share a certain kinship: they share the same musical roots and have a great love for music. The album 'This Is For Me' is straight from her heart and shows who she is and where she is now.Translate By Google  https://www.trijntje.nl/

Dit Is Voor Mij

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The Terry Gibbs & Buddy DeFranco Quintet - Jazz at Dukes Place: Live in New Orleans

Styles: Vibraphone And Clarinet Jazz
Year: 2016
File: MP3@320K/s
Time: 54:23
Size: 125,7 MB
Art: Front

( 8:31)  1. Yesterdays
(10:27)  2. Austin Mood
( 3:36)  3. Body and Soul
( 3:56)  4. Blues for Brodie
( 9:34)  5. Love for Sale
( 7:33)  6. We’ll Be Together Again
( 6:48)  7. Samba Wazoo
( 3:54)  8. Air Mail Special

Shot atop the Monteleone Hotel in New Orleans French Quarter in the early 1980's for the national television series "Live in New Orleans". Terry Gibbs & Buddy DeFranco teamed up and were joined by Lou Levy on piano, Bob Maize on bass and Ray Mosca on drums, to perform before a live audience in what was then known as Dukes Place. https://vimeo.com/ondemand/terrygibbsbuddydefranco/159264006

Jazz at Dukes Place: Live in New Orleans

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Barney Wilen - Barney Wilen, Jazz Stars

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 79:35
Size: 183,5 MB
Art: Front

(6:54)  1. The Way You Look Tonight
(4:24)  2. Blue Monk
(5:38)  3. We See
(3:51)  4. Radio Taxi Melody
(4:26)  5. Nature Boy
(6:59)  6. Prelude in Blue
(5:11)  7. My Melancholy Baby
(4:13)  8. Mysterioso
(4:20)  9. Vamp
(4:28) 10. Night in Tunisia
(5:15) 11. Hackensack
(3:15) 12. Life Is One Long Struggle
(4:24) 13. Blue n' Boogie
(5:34) 14. Think of One
(6:49) 15. Let's Call This
(3:48) 16. Minor Swing

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~ Chris Kelsey https://www.allmusic.com/artist/barney-wilen-mn0000117853/biography

Barney Wilen, Jazz Stars

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