Gerald Albright - Slam Dunk

Styles: Saxophone Jazz 
Year: 2014
File: MP3@320K/s
Time: 48:49
Size: 113,9 MB
Art: Front

(4:39)  1. Slam Dunk
(5:33)  2. True Colors
(5:16)  3. Because Of You
(5:43)  4. It's A Man's, Man's, Man's World
(4:17)  5. The Duke
(1:30)  6. Sparkle In Your Eyes - Interlude
(4:13)  7. Sparkle In Your Eyes
(4:46)  8. Where Did We Go Wrong?
(3:04)  9. Fiesta Interlude
(4:38) 10. Split Decision
(0:39) 11. The Gospel - Interlude
(4:27) 12. The Gospel

On his latest disc, Gerald Albright offers a high-energy contemporary jazz set that puts the veteran saxophonist’s dizzying array of talents amply on display. Not only does the album showcase Albright’s formidable skills on alto, soprano, tenor and baritone sax, it also demonstrates his facility on flute, bass and vocals, as well as his talents as a composer, producer and arranger. Stylistically, Albright stays on familiar terrain, not venturing far from his trademark R&B-flavored sound, but the tunes on the album are so likable, and so energetic, that they draw you in and keep you interested. The title track, which opens the disc, sets the tone. An ebullient urban-jazz number, it features punchy horns, a muscular alto sax lead and some very funky bass from Albright. The saxophonist played in Phil Collins’ 1998 Big Band project, and on Slam Dunk he tips his hat to his former bandleader by covering “True Colors,” a hit for both Collins and Cyndi Lauper. Both pop stars recorded the song as a ballad, but Albright’s version-which features background vocals by the saxophonist and his daughter Selina-picks up the tempo a bit, pairing a peppy alto lead with a midtempo groove. Albright delivers a slow-burning take on James Brown’s “It’s a Man’s Man’s Man’s World,” the intimate, sultry open gradually escalating into a big, full production with Albright serving as his own horn section. Two tracks on the album memorialize people close to Albright. The saxophonist celebrates his old friend George Duke, who passed away last year, with the gently grooving “The Duke,” and pays heartfelt tribute to his late mother-in-law with the sweet, appropriately titled closer, “The Gospel.” ~ Lucy Tauss https://jazztimes.com/reviews/albums/gerald-albright-slam-dunk/

Recorded in Denver, Colorado and Wallingford, Connecticut (hometown of co-producer/co-writer/keyboardist Chris "Big Dog" Davis), Albright is also supported on this CD by drummer Jerohn Garnett, guitarist Rick Watford, and his daughter, Selina Albright, on vocals.

Slam Dunk

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Lee Morgan - Live At The Lighthouse Disc1, Disc2, Disc3

Album: Live At The Lighthouse Disc 1

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 63:16
Size: 145,4 MB
Art: Front

( 2:00)  1. Introduction By Lee Morgan
(15:16)  2. The Bee Hive
(22:42)  3. Absolutions
(11:22)  4. Peyote
(11:53)  5. Speedball

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Album: Live At The Lighthouse Disc 2

Time: 64:44

Size: 148,7 MB

(17:50)  1. Nommo

(18:58)  2. Neophilia

(13:01)  3. Something Like This

(14:54)  4. I Remember Britt

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Album: Live At The Lighthouse Disc 3

Time: 55:44

Size: 128,1 MB

(13:47)  1. Aon

(16:06)  2. Yunjanna

(12:10)  3. 416 East 10th Street

(13:39)  4. The Sidewinder - Live

This double LP, which was trumpeter Lee Morgan's next-to-last recording, contains four lengthy side-long explorations by the trumpeter's regular quintet of the period (with Bennie Maupin on tenor, flute and bass clarinet, pianist Harold Mabern, bassist Jymie Merritt and drummer Mickey Roker). The music is very modal-oriented and probably disappointed many of Morgan's longtime fans but he had gotten tired of playing the same hard bop-styled music that he had excelled at during the past decade and was searching for newer sounds. The influence of the avant-garde and early fusion is also felt in spots but the trumpeter's sound was still very much intact and he takes some fiery solos that still sound lively decades later. ~ Editorial Reviews https://www.amazon.com/Live-at-Lighthouse-Lee-Morgan/dp/B000005H1P

Players Include: Lee Morgan (trumpet); Bennie Maupin (flute, tenor saxophone); Harold Mabern (piano); Jymie Merritt (bass); Mickey Roker (drums); Jack DeJohnette (drums)

Live At The Lighthouse Disc 1, Disc 2, Disc 3

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Les Blue Stars - Pardon My English, Henri Salvador Plays The Blues

Styles: Vocal, Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 57:32
Size: 132,5 MB
Art: Front

(2:58)  1. Jumpin' At The Woodside
(2:35)  2. C'est La Vie
(3:10)  3. Broadway At Basin Street
(2:34)  4. Grapevine
(2:23)  5. I'll Remember April
(2:27)  6. A Smooth One
(2:38)  7. All Of A Sudden My Heart Sings
(2:42)  8. Small Talk
(2:57)  9. I'm Lost Without You Tonight
(2:00) 10. Move
(2:35) 11. Did You Close Your Eyes (When We Kissed)
(2:30) 12. Bernie's Tune
(2:46) 13. Don't Be That Way
(3:43) 14. Please Be Kind
(2:52) 15. Stardust
(2:25) 16. Promises And Lies
(7:02) 17. Salvador Plays The Blues
(3:27) 18. Don't Blame Me
(3:38) 19. Stompin' At The Savoy

In 2002, Universal Music released Pardon My English/Plays the Blues, which combined a four-song 1956 EP and the 1957 LP Pardon My English by French jazz vocal group Les Blue Stars, as well as a three-song 1956 session by French jazz guitarist and vocalist Henri Salvador on one compact disc. ~ Tim Sendra https://www.allmusic.com/album/pardon-my-english-plays-the-blues-mw0000234381

Personnel: Double Bass – Pierre Michelot (tracks: 17 to 19); Drums – Jean-Baptiste "Mac Kac" Reilles (tracks: 17 to 19); Guitar, Vocals – Henri Salvador (tracks: 17 to 19); Vocals – Blossom Dearie (tracks: 1 to 4), Christian Chevalier* (tracks: 1 to 4), Christiane Legrand (tracks: 1 to 4), Claudine Barge (tracks: 5 to 16), Fats Sadi (tracks: 1 to 4), Henri Tallourd (tracks: 5 to 16), Jeannine De Waleyne (tracks: 1 to 4), Jean Liesse (tracks: 5 to 16), Jean Mercadier (tracks: 1 to 16), Mimi Perrin (tracks: 5 to 16), Nadine Young (tracks: 1 to 16), Roger Guérin (tracks: 1 to 4)

Pardon My English / Henri Salvador Plays The Blues

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Lisa Bell - Back Seat

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 51:37
Size: 119,2 MB
Art: Front

(4:19)  1. Back Seat
(3:56)  2. I Can't Stand the Rain
(3:56)  3. The Road is Always Longer
(4:46)  4. Take Me to the Other Side
(4:24)  5. I Don't Know What You Want from Me
(4:13)  6. Always Chasing Darkness
(4:02)  7. What Went Wrong
(4:23)  8. My Love
(4:34)  9. India
(4:15) 10. Get in the Flow
(4:01) 11. Inspiration
(4:42) 12. Meet Me in the Space Between

Everything began in an off-the-grid cabin in the Colorado backwoods, where Bell wrote the bulk of Back Seat's 12 songs. The title track "Back Seat," which doubles as the album's only co-written tune (penned alongside fellow Coloradan Andy Ard), kicks things off with sultry vocals and the story of a career in motion, while "The Road is Always Longer" mixes blasts of brass with a subtle salute to blues-rock icons like Bonnie Raitt. Elsewhere, Bell gets atmospheric with the lushly layered "India,” gives herself a pep talk during "Get in the Flow," and rides a punchy, keyboard-heavy groove with "What Went Wrong," all before bringing Back Seat to a soothing stop with the chill, mid-tempo "Meet Me in the Space Between." Sharing the spotlight with electric piano, organ, electric guitar, saxophone, and even ukulele. With production by Evan Reeves  a fellow resident of Boulder, Colorado Back Seat is her most focused album to date, with songs that show the full range of her abilities. https://store.cdbaby.com/cd/lisabell14

Back Seat

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McCoy Tyner, Bobby Hutcherson - Manhattan Moods

Styles: Piano, Vibraphone Jazz
Year: 1994
File: MP3@320K/s
Time: 57:48
Size: 133,7 MB
Art: Front

(8:40)  1. Manhattan Moods
(7:57)  2. Blue Monk
(6:50)  3. Dearly Beloved
(3:58)  4. I Love You Porgy
(6:54)  5. Isn't This My Sound Around Me?
(6:00)  6. Soul Eyes
(4:49)  7. Travelin' Blues
(5:53)  8. Rosie
(6:42)  9. For Heaven's Sake

The pairing of pianist McCoy Tyner and vibraphonist Bobby Hutcherson had them teamed up with firebrands of modern jazz in the '60s, but some 20 years later they made this recording in duet performance with their minds focused on the mellow side. That's not to say their progressive ideas are completely harnessed, but this recording is something lovers of dinner music or late-night romantic trysts will equally appreciate. They play a mix of standards and originals with the genius inventiveness and spontaneous interplay you would expect, while also elongating beautiful melodies that will warm any cold or bitterly emotional situation. Where Tyner's single-minded witty and improvisational extrapolations are always a part of his musical persona, Hutcherson varies the sonic imprint, playing the noble wooden marimba on several tracks, lending a more earthy, organic feeling. 

There's magic in the air, or at the very least a common ground of shared values that makes this combination of two great musicians turn everything golden. A take on Thelonious Monk's "Blue Monk" is a shining example of how to make a well-worn standard all your own, as the pianist imbues a pure Kansas City blues flavor into the tune, and Hutcherson's marimba leads it carefully into new, woodsy territory. Mal Waldron's "Soul Eyes" is interpreted as faithfully and profoundly as the original, but with new voicings sans a rhythm section, taking the adoring melody into deeper fathoms. Tyner's signature chord accents during "Dearly Beloved" echo the splendid title as tacked onto Hutcherson's shimmering vibes, while the pianist's penchant for modal foundations is clearly exuded on his partner's relaxed marimba-coded original "Isn't This My Sound Around Me?" and the definitive, dependable Tyner staple "Travelin' Blues." "Manhattan Moods," penned by the pianist, is solemn as can be, considering that it is dedicated to the rat race borough of New York City, while Hutcherson's other composition on the date, "Rosie," is as pleasant a waltz as you will hear short of what Randy Weston might do. These groundbreaking musicians are not rotating the Earth or signaling any new directions with this effort. They are completely in touch with their own hearts and souls, as well as those of humankind in general, on this exquisite and gorgeously crafted set of pure unadulterated jazz. ~ Michael G.Nastos https://www.allmusic.com/album/manhattan-moods-mw0000118821

Personnel: McCoy Tyner: piano; Bobby Hutcherson: vibes, marimba

Manhattan Moods

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Pamela Joy - I Thought About You

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 38:48
Size: 89,3 MB
Art: Front

(3:43)  1. Just Squeeze Me
(2:58)  2. You're Looking At Me
(3:59)  3. Beautiful Love
(3:24)  4. It Might As Well Be Spring
(2:31)  5. Evening
(3:22)  6. I've Grown Accustomed To His Face
(3:00)  7. You'd Be So Nice To Come Home To
(2:33)  8. I'm An Errand Girl For Rhythm
(3:31)  9. Close Your Eyes
(3:32) 10. Whisper Not
(4:04) 11. I Thought About You
(2:06) 12. Devil May Care

It is undeniable that some voices were simply made for jazz, and Pamela Joy has one of those voices. Like some of the genre’s most beloved and beguiling singers, she combines a velvety sound with a gift for understatement. It’s that pleasing combination a warm, intimate sound and cool, unpretentious style - that has won Pamela fans among a notoriously hard to please group: jazz musicians. They praise her hip approach to timing, her intimate way with lyrics, and her innate ability to swing with the best of them. A longtime San Francisco resident, Pamela Joy made her public singing debut in the San Francisco Cabaret Competition. Though new to the stage, she charmed the crowd and the judges, advancing through two rounds into the finals. Formal jazz studies followed, primarily at The Jazzschool in Berkeley, where she took classes and workshops from the likes of Kurt Elling, Tierney Sutton, Mimi Fox, Sheila Jordan and Wesla Whitfield. Any emerging vocalist is bound to draw comparisons to other singers. Pamela inevitably brings to mind the old-school vocalists. She sings with a graceful simplicity reminiscent of Astrud Gilberto, Chet Baker, or even Blossom Dearie. Her honeyed sound recalls the sensuousness of Peggy Lee or Julie London. Stylistically, she has much in common with June Christy and Anita O’Day. Pamela has performed at some of the Bay Area’s premier music venues, including The Plush Room, the Herbst Theatre, Jazz at Pearl’s and The Jazzschool. Her CD I Thought About You, dubbed “a very fine debut album” by KCSM’s Jesse “Chuy” Varela, was recently repackaged for release in Japan by Vivid Sound, and two of the CD’s tracks were picked up for a new High Note compilation called Late Afternoon Jazz Voices. https://musicians.allaboutjazz.com/pamelajoy

I Thought About You

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Paul Desmond - Glad To Be Unhappy

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 56:25
Size: 130,0 MB
Art: Front

(5:44)  1. Glad to Be Unhappy
(7:17)  2. Poor Butterfly
(6:23)  3. Stranger In Town
(4:25)  4. A Taste of Honey
(5:23)  5. Any Other Time
(4:41)  6. Hi-Lili, Hi-Lo
(6:18)  7. Angel Eyes
(6:15)  8. By the River Sainte Marie
(4:30)  9. All Across The City
(5:26) 10. All Through The Night

Even though Desmond was kidding when he described himself as the world's slowest alto player, this record bears out the kernel of truth within the jest. Here, Desmond set out to make a record of love songs and torch ballads, so the tempos are very slow to medium, the mood is of wistful relaxation, and the spaces between the notes grow longer. At first glance, Desmond may seem only peripherally involved with the music-making, keeping emotion at a cool, intellectual arms' length, yet his exceptionally pure tone and ruminative moods wear very well over the long haul. Again, Jim Hall is his commiserator and partner, and the guitarist gets practically as much space to unwind as the headliner; the solo on "Angel Eyes" is an encyclopedia of magnificent chording and single-string eloquence. Gene Wright returns on bass, spelled by Gene Cherico on "Poor Butterfly," and Connie Kay's brush-dominated drum work is pushed even further into the background. A lovely recording, though not the best album in the Desmond/Hall collaboration. ~ Richard S.Ginell https://www.allmusic.com/album/glad-to-be-unhappy-mw000045501

Personnel:  Paul Desmond - alto saxophone; Jim Hall - guitar; Gene Cherico, Eugene Wright  - bass; Connie Kay - drums

Glad To Be Unhappy

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Brian Culbertson - Secrets

Styles: Piano Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 45:01
Size: 104,1 MB
Art: Front

(4:12)  1. So Good
(4:29)  2. On My Mind
(4:02)  3. Backstreet
(3:53)  4. Straight to the Heart
(5:04)  5. Secrets
(4:35)  6. You'll Never Find
(4:47)  7. One More Day
(6:00)  8. You're the One
(7:55)  9. At the Backroom

One of smooth jazz's brightest young keyboardists seems to be caught in the same marketing trap as his contemporaries aiming to please radio programmers first, and waiting till very late in the running order of the disc to challenge himself and listeners who have many other new and similarly likeable keyboard releases to choose from. When he finally blows his lid on Secrets and goes for broke, it's a joyous affair, as the eight-minute closing track "At the Backroom" finds Brian Culbertson jamming hardcore blues/funk and bouncing off the inspirations of older cats like Jeff Golub (guitar) and Ricky Peterson (wicked on the Hammond B-3). The tune sounds like an outtake from Golub's more adventurous solo efforts. Surprises abound Culbertson seems to close the piece, then after a short bit of silence, comes back playing smokin' trombone, giving the whole affair an authentic New Orleans club flavor. On the eight previous tracks, Culbertson once again shows a mastery of cool groovin', easygoing melodies, and some tight ensemble action and yet beyond the bouncy opening cut "So Good" and the Paul Brown-produced soul-inflected "Backstreet," he's just cruising in the middle of the road with pals like Gerald Albright and Dwight Sills. As a balladeer, oddly he has never matched the compelling emotion of the home recorded "Beautiful Liar" from his 1994 debut. That song had an urgency, just as "At the Backroom" does. Much of Culbertson's middle ground between those peaks has found him a bit too complacent. ~ Jonathan Widran https://www.allmusic.com/album/secrets-mw0000595468

Personnel: Brian Culbertson - piano, keyboards & drum programming; Steve Cole - tenor saxophone; Dwight Sills - guitar; Richard Patterson - bass; Lenny Castro - percussion; Nanette Frank - lead & background vocals; Teresa Davis & Dianne Madison - background vocals

Secrets

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Ola Onabule - Point Less

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 82:46
Size: 190,7 MB
Art: Front

(5:19)  1. Throwaway Notion
(5:22)  2. The Old Story
(5:31)  3. Point Less
(5:31)  4. And Yet
(5:21)  5. Exit Wound
(5:58)  6. What the Heck
(6:02)  7. Ballad of the Star Crossed
(5:15)  8. I Knew Your Father
(5:37)  9. Suru Lere
(5:21) 10. Tender Heart
(5:01) 11. Conceive It
(5:55) 12. So They Say
(4:49) 13. Pas Famille
(5:42) 14. You Can't Depend on Love
(5:53) 15. Dignity

British-Nigerian singer/songwriter Ola Onabule has a rich baritone voice and a commanding presence. He's a soul singer above all, but also draws on pop, world music and jazz. Despite its title, opener "Throwaway Notion" is a catchy tune with a Pan-African groove, and very dark lyrics about the current race to the bottom in politics all around the world. Guitarist John Parricelli contributes memorable lead and solo guitar. "The Old Story" has a slinky Latin feel. But "Exit Wound" uses a recurring samba rhythm (voice and instruments) to great effect, producing one of the most memorable tracks. The words challenge "hackneyed 'silver lining' songs," with a chorus that begins "don't send me all your thoughts and prayers."  "What The Heck" goes into soul/funk territory, recalling some of Stevie Wonder's music. "Suru Lere" (named for a place that returnee African-Americans settled in Lagos) is a bossa nova, with fine saxophone obligato and solo from Duncan Eagles. It calls for making a stand where you live, rather than hoping for a return to a mythical place. "So They Say" is marked by an especially soaring vocal melody, as well as guitarist John Parricelli's contribution. Inspired by Rudyard Kipling's poem "We and They," it begins "So they say, is a thing they say, when they say things they should not say." Harmonica player Berthold Matschat makes a great addition to the group sound on the final two tracks. Closer "You Can't Depend On Love" also shows off the singer's scat singing skills. Onabulé is the whole package: a powerful, expressive singer and a striking songwriter, with incisive things to say about contemporary society. But always in a poetic way: he is no mere polemicist. His stylistic influences are broad African, Latin, jazz, funk, soul and pop and they combine in a completely natural fusion. There is considerable rhythmic variety in these tunes, ably handled by the entire cast of supporting musicians. ~ Mark Sullivan https://www.allaboutjazz.com/point-less-ola-onabule-rugged-ram-records-review-by-mark-sullivan.php

Personnel: Ola Onabulé: vocals; John Parricelli: guitar; Guillermo Hill: guitar; Al Cherry: guitar; Femi Temowo: guitar; John Crawford: piano; Ross Stanley: piano; Pete Adams: piano; Jack Pollitt: drums; Chris Nickolls: drums; Phil Mulford: bass; Will Fry: percussion; Duncan Eagles: saxophone; Berthold Matschat: harmonica; George Hazelrigg: Hammond organ.

Point Less

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Bob Mintzer - Bop Boy

Styles: Saxophone And Clarinet Jazz 
Year: 2017
File: MP3@320K/s
Time: 64:08
Size: 148,6 MB
Art: Front

(7:48)  1. Blue Bossa
(5:34)  2. Bop Boy
(5:41)  3. Embraceable You
(5:04)  4. Francisca
(7:18)  5. Invitation
(6:14)  6. Re-Re
(4:48)  7. Runferyerlife
(8:13)  8. Speak Low
(5:21)  9. St. James Infirmary
(8:03) 10. Why Did I Choose You

Recorded over two days in 2002, Bop Boy was previously only available in Japan on the Cheetah label. Thanks to Explore and their excellent catalog of diverse jazz and classical recordings, it is now available in the United States as well. Unlike Bob Mintzer's '80s offerings on Cheetah (Source and Papa Lips), the band used on this session is a quartet made up of star talent: bassist Eddie Gómez, the elegant pianist Steve Kuhn, and drummer Steve Gadd. On first glance it might appear that Gadd is out of place among these more subtle members of the rhythm section. Being a consummate professional as a studio musician, Gadd is an excellent jazz drummer adding grace, subtlety and tension to a very sophisticated rhythm section. Mintzer a generation younger than Gómez, and Kuhn leads this band through killer arrangements of a fine batch of standards and a trio of top-flight originals. Beginning with Kenny Dorham's and Wynton Kelly's "Blue Bossa," the swing quotient is high here. Kuhn is at his most muscular on this hard bop gem, pushing his minors and thirds right into the rim shots by Gadd. Mintzer's solo is full of deep blues feeling and economy. Mintzer wrote the title track; it is what it claims to be: bebop pure and simple. Beginning with a galloping pace set by Gómez, Gadd's ride cymbal provides fuel and Kuhn plays selectively angular chords, moving right into Mintzer's stating the head and solo. 

Kuhn's playing around the beat as the tune goes on reveals excellent counterpoint to what's being laid down by the tenor player. The tenderness with which an edgy player like Mintzer approaches "Embraceable You" is remarkable, and here Kuhn's utterly moving pianism is at its best. This is followed by a lovely soft samba called "Francisca" written by Toninho Horta. "Invitation" brings the harder edge of bluesy, post-bop into the area, and the interplay between Gómez and Gadd is nearly symbiotic. Two Mintzer originals follow, and the stroll of "Re-Re" is contrasted in a mirror with the knotty twist and turn sprint of "Runferyerlife." The reading of "St. James Infirmary" brings the tune back to the kind of mournful blues ballad it began is. Mintzer's tone on the bass clarinet is startling. He goes underneath the melody for his phrasing and fills as Kuhn offers a constant, slowly evolving wash of minor chord voicings underneath him. The ballad "Why Did I Choose You" is a perfect way to send things off as it puts on shining display the intuitive interaction between Kuhn a sublime melodist through his wide array of textured chord shapes and his sense of space and economy with the right hand in his solo. Gómez is wonderful here, flowing into the body of the tune, allowing for Gadd to lay out and enter at will. Mintzer's solo is an emotive one, but never undercuts or overwhelms the tune. Bop Boy is one of the most satisfying dates in his long career as a leader, a composer, and as an arranger. ~ Thom Jurek https://www.allmusic.com/album/bop-boy-mw0000544277

Personnel: Tenor Saxophone, Bass Clarinet – Bob Mintzer; Bass – Eddie Gomez; Drums – Steve Gadd; Piano – Steve Kuhn

Bop Boy

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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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