Jimmy Giuffre Quartet - Skylines

Styles: Cool Jazz
Year: 2013
File: MP3@320K/s
Time: 77:56
Size: 179,2 MB
Art: Front

(6:59)  1. Two For Timbuctu
(7:56)  2. The Boy Next Door
(7:56)  3. My Funny Valentine
(6:30)  4. What's New
(9:29)  5. The Quiet Time
(8:27)  6. The Crab
(9:22)  7. Wee See
(6:33)  8. My Funny Valentine - Short Version
(5:27)  9. Two For Timbuctu - Short Version
(9:14) 10. Mack The Knife

Reedman and composer Jimmy Giuffre was born in Dallas, TX. He started his musical education at age 9 learning the clarinet and within few years he was proficient enough to give solo clarinet recitals at local functions. After high school he attended North Texas State University receiving a B. A. in music. During his college years he played in local bands. Soon after graduation he enlisted in the Army and was a member of the official Army band. After discharge he became a professional arranger for several big bands including Boyd Raeburn's, Buddy Rich's, Jimmy Dorsey’s and most famously in Woody Herman’s where he also played tenor sax. During his tenure with Woody Herman’s big band he composed the classic “Four Brothers” in 1947. In the early 1950s Jimmy Giuffre moved to LA and studied for a while at UCLA and played with the bands of Shorty Rogers and Howard Rumsey. He also added baritone sax to his repertoire. He was introduced by one of his colleagues to music teacher, poet and composer Dr. Wesley La Violette. From the later he learned the concept of classical counterpoint; a linear style of composing that freed one of chord structures. From 1954-1958, Jimmy Giuffre recorded several classic albums for Capital and Atlantic including the 1956 landmark record Clarinet. His, unusual for the time, groups were drummerless/pianoless trios initially with Jim Hall on guitar, and Ralph Pena on bass and then with Jim Hall and valve trombonist Bob Brookmeyer, creating an unusual lineup for its time. The first incarnation of the trio appeared participated on KABC “Stars of Jazz” tv show where he met his future wife. In the late 50s his trio changed format and he replaced the guitar with Paul Bley's piano and the valve trombone with Steve Swallow’s bass. From this trio comes the 1962 classic Free Fall. This album also marked a transition in his musical style from what he had called “blues-based folk jazz” to a new free jazz. His trio changed personnel again in the mid 1960s with Don Friedman at the piano and Barry Phillips on bass.

Late 60s brought another innovation to Jimmy Giuffre's music: the introduction of drums with the percussionist Randy Kay. His clarinet, bass drum trio recorded a few albums of the introspective and free jazz music he had started composing. In the 1970s he moved to the east coast and taught at New York University, Rutgers, the New School of Social Research and the New England Conservatory. In order to supplement his income he also composed music for theatre, dance companies, films and TV commercials and also acted as a hand model in some of the commercials. In the 1980s Giuffre started exploring a more electric sound by adding to his clarinet and Kay’s drums electric bass and electronics. The quartet recorded a few albums for Soul Note that have gone out of print. In 1988 he recorded a series of reed duets with his student Andre Jaume called Momentum. This CD is currently available on Hat Hut. In the 1990s there was a resurgence of interest in the Free Form music that led to a reunion of the Paul Bley, Steve Swallow and Jimmy Giuffre trio and a European tour. Parkinson Disease started taking a toll on his health so in the early 2000's he retired from teaching and touring and settled in rural Massachusetts. He passed awa on April 24, 2008. https://musicians.allaboutjazz.com/jimmygiuffre

Skylines

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Jimmy Cobb - Remembering U

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 64:15
Size: 148,7 MB
Art: Front

(6:06)  1. Eleanor
(3:36)  2. Pistachio
(6:18)  3. Man in the Mirror
(4:56)  4. Remembering U
(4:42)  5. JC's AC
(4:39)  6. Composition 101
(6:48)  7. I Just Can't Stop Loving You
(4:10)  8. Willow Weep for Me
(4:48)  9. W.K.
(6:23) 10. Cedar's Rainbow
(5:51) 11. I Don't Wanna Be Kissed (By Anyone but You)
(5:53) 12. Cobb's Belle

Legendary Drummer Jimmy Cobb Still Swinging After All These Years! Remembering U features a guest appearance by the late trumpeter Roy Hargrove and is the final session by legendary engineer Rudy Van Gelder. A consummate accompanist, unerring timekeeper, outstanding soloist and dynamic leader in his own right, revered drummer Jimmy Cobb showcases his inimitable touch on ballads and his irrepressibly swinging ride cymbal pulse on Remembering U. Accompanied by his working trio of Japanese pianist Tadataka Unno and Italian bassist Paolo Benedettini, Cobb's latest stands as a tribute to those people who have been a part of his long journey in jazz and are no longer with us. Special guests include tenor saxophonist Javon Jackson and the late trumpeter Roy Hargrove in one of his last studio sessions. The recording also marks the final session of legendary engineer Rudy Van Gelder, who presided over classic sessions for the Blue Note, Prestige and Impulse! labels. (Cobb remembers playing on a Van Gelder session in the mid 1950s when the fledgling engineer was operating out of his parents home in Hackensack, New Jersey.)

On Remembering U, 2009 NEA Jazz Masters Award winner Cobb proves beyond a shadow of a doubt that, at age 90, he is indeed still swinging after all these years. Cobb's expansive list of recording credits over seven decades reads like a Who's Who in Jazz. Among the countless sessions he participated in since the mid '50s are such landmark recordings as Miles Davis' Kind of Blue, Sketches of Spain, Porgy & Bess and Sorcerer, John Coltrane's Giant Steps and Coltrane Jazz, Wes Montgomery's Full House, Boss Guitar and Smokin' at the Half Note as well as potent sessions with Freddie Hubbard, Stan Getz, Bobby Timmons, Cannonball Adderley, Sarah Vaughan, Sonny Stitt and a string of acclaimed trio recordings with pianist Wynton Kelly and bassist Paul Chambers. On Remembering U, his 12th as a leader and first for his own Jimmy Cobb World label, Cobb and his versatile crew display remarkable chemistry on 12 tracks. https://news.allaboutjazz.com/jimmy-cobb-historic-release-featuring-roy-hargrove-remembering-u-final-session-by-rudy-van-gelder

Remembering U

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The Dutch Swing College Band - Singles Collection Volume III (1953-1955)

Styles: Swing, Dixieland
Year: 1990
File: MP3@320K/s
Time: 49:12
Size: 113,1 MB
Art: Front

(2:58)  1. Frog-I-More Rag
(2:26)  2. Doctor Jazz
(2:53)  3. Careless Love Blues
(2:48)  4. Way Down Yonder In New Orleans
(2:54)  5. I've Found A New Baby
(2:59)  6. Room Rent Blues
(3:00)  7. Muskrat Ramble
(2:54)  8. Tears
(3:25)  9. Alexander's Ragtime Band
(3:15) 10. Black And Blue
(2:43) 11. Dippermouth Blues
(2:52) 12. When The Saints Go Marching In
(2:50) 13. When The Saints Go Marching In
(2:48) 14. Bill Bailey Won't You Please Come Home
(2:42) 15. Trouble In Mind
(2:42) 16. La Java
(3:02) 17. Mon Homme

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. https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Singles Collection Volume III  (1953-1955)

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Jeff Goldblum & The Mildred Snitzer Orchestra - I Shouldn’t Be Telling You This

Styles: Vocal, Cabaret
Year: 2019
File: MP3@320K/s
Time: 41:40
Size: 97,2 MB
Art: Front

(4:06)  1. Let's Face The Music And Dance (with Sharon Van Etten)
(4:31)  2. The Sidewinder / The Beat Goes On (with Inara George)
(4:42)  3. Driftin'
(3:55)  4. The Thrill Is Gone / Django (with Miley Cyrus)
(3:46)  5. The Kicker
(3:23)  6. Don’t Worry ‘Bout Me (with Fiona Apple)
(2:51)  7. The Cat
(4:09)  8. Four On Six / Broken English (with Anna Calvi)
(1:44)  9. If I Knew Then (with Gina Saputo)
(4:42) 10. Make Someone Happy (with Gregory Porter)
(3:45) 11. Little Man You've Had A Busy Day

A year after issuing his debut album, The Capitol Studios Sessions, Jeff Goldblum returns to the piano and his band the Mildred Snitzer Orchestra with 2019's I Shouldn't Be Telling You This. The acclaimed actor brings a level of street cred to his musical endeavors that many celebrity-turned-musicians lack. A longtime jazz pianist, Goldblum actually started out playing gigs years before he embarked on his Hollywood career and has continued to moonlight as a pianist, regularly playing shows around Los Angeles and New York. While he displays a knack for straight-ahead jazz sophistication, it doesn't hurt that he surrounds himself with a bevy of top-notch pros, including Hammond B-3 specialist Joe Bagg who carries a lion's share of the Mildred Snitzer Orchestra's sound throughout the album. Also contributing are bassist Alex Frank, guitarist John Stone, drummer Kenny Elliott, and saxophonists James King and Scott Gilman. Together, they play a brightly attenuated brand of '60s-influenced jazz that brings to mind the groovy hard bop of Horace Silver crossed with the urbane soulfulness of Ramsey Lewis. As on The Capitol Studios Sessions, here Goldblum also features a handful of guest performers, including indie singer/songwriter Sharon Van Etten, who acquits herself nicely on a dusky version of "Let's Face the Music and Dance." Similarly, Fiona Apple evokes Shirley Bassey's feline swagger on "Don't Worry 'Bout Me." 

One of Goldblum's more interesting choices on the album is to create unexpected mash-ups, as with his wryly swinging combination of Lee Morgan's "The Sidewinder" and Sonny Bono's "The Beat Goes On" featuring singer Inara George. Also surprisingly effective is his arrangement of Wes Montgomery's "Four on Six" weaved together with Marianne Faithfull's "Broken English" and helmed with Weimar cabaret swagger by singer Anna Calvi. Somewhat less effective is Miley Cyrus' rendition of Ray Henderson and Lew Brown's standard "The Thrill Is Gone" paired with John Lewis' "Django," which while proving Cyrus has more vocal chops than she's often given credit for, trades the song's yearning subtlety for a Broadway-level theatricality that feels forced. Nonetheless, Goldblum's skill at showcasing other performers is clearly a part of his charm, and here it extends beyond pop artists as he brings on San Diego trumpeter Gilbert Castellanos for several tasty solos, spotlights L.A. jazz chanteuse Gina Saputo on an impressive vocalese version of "If I Knew Then," and communes with Grammy-winning vocalist Gregory Porter over a warm reading of "Make Someone Happy." While Goldblum's smiling charisma is the main selling point to I Shouldn't Be Telling You This, he often takes a backseat, even waiting until the very last song to spotlight his own lyrical vocal skills on the intimately rendered "Little Man, You've Had a Busy Day." It's an admirable choice given the high level of talent displayed by his guests and the Mildred Snitzer Orchestra. That said, Goldblum sounds good, and his fans probably wouldn't mind hearing more of him and less of his friends. ~ Matt Collar https://www.allmusic.com/album/i-shouldnt-be-telling-you-this-mw0003301480

I Shouldn’t Be Telling You This

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Letta Mbulu - The Essential

Styles: Vocal, African Traditions
Year: 2017
File: MP3@320K/s
Time: 74:24
Size: 172,5 MB
Art: Front

(6:08)  1. Namalizo (Live)
(4:56)  2. Hareje (Live)
(4:56)  3. Culani Nami
(5:20)  4. Not Yet Uhuru
(5:49)  5. Unity
(2:43)  6. Everybody Sing Along (Live)
(5:04)  7. Music Is A Rainbow
(4:02)  8. Help Me Somebody
(3:52)  9. Maru A Pula (Live)
(6:45) 10. There's Music In The Air (Live)
(4:54) 11. Khuluma
(6:13) 12. Carry On
(4:33) 13. Nobody Loves Me, Like You
(9:03) 14. Kukuchi

With her performance at the Unity Festival Apartheid in 1991, Letta Mbulu returned triumphantly to her homeland of South Africa. Having been exiled, due to Apartheid, for more than a quarter century, Mbulu had gone from a teenager in the groundbreaking South African musical production King Kong of 1960 to one of the most influential singers to ever come out South Africa. In addition to recording such South African hits as "I Need Your Love," "Buza," and "Everybody Sing Along," Mbulu added her soulful vocals to recordings and/or concerts with late jazz saxophonist Cannonball Adderly, Michael Jackson, and Harry Belafonte. Mbulu, whose screen credits include, A Warm December and The Color Purple, performed the opening title track and most of the African music for the historical 1970s miniseries Roots, part one and part two. According to Quincy Jones who produced her collaboration with Michael Jackson, "Liberian Girl," and co-produced The Colour Purple, "Mbulu is the roots lady, projecting a sophistication and warmth which stirs hope for attaining pure love, beauty, and unity in the world." During her lengthy exile, Mbulu remained committed to the music of her birth land. She helped to form South African Artists United (SAAU) in 1986, basing the group on the Union of South African Artists that grew from the African Jazz and Variety for whom she made her early debut. Mbulu's husband, Caiphus Semenya, who she met while touring with King Kong, plays an essential role in her music. ~ Craig Harris https://www.allmusic.com/artist/letta-mbulu-mn0000215321

The Essential

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Randy Brecker & Ada Rovatti - Brecker Plays Rovatti - Sacred Bond

Styles: Trumpet and Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 74:01
Size: 170,6 MB
Art: Front

( 7:20)  1. Sacred Bond
( 8:39)  2. Helping Hands
( 8:36)  3. Reverence
(10:32)  4. The Baggae
( 5:20)  5. The Queen of Bibelot
( 8:31)  6. Britches Blue
( 5:25)  7. Brainwashed
( 5:42)  8. Mirror
( 7:04)  9. The Other Side of the Coin
( 6:47) 10. Quietly Me

Jackie and Roy Krall, Louis Prima and Keely Smith, Marian and Jimmy McParland all musically fruitful jazz marriages. The progression continues with Sacred Bond from trumpeter, Randy Brecker and saxophonist spouse Ada Rovatti. In some of the aforementioned cases, specifically Jackie and Roy, the duo are stylistically tied at the hip. Here, the respective styles of Brecker and Rovatti merge spectacularly two stellar musicians who happen to be an item. The result? A superb performance. Rovatti, a technically outstanding and creative saxophonist, delivers ten originals which are robust platforms on which she, Randy and the band can stretch out. The selections cover a diverse range of grooves from the plaintive title opener to the dramatically soulful "Reverence" (a respectful salute to Aretha Franklin), "Baggage," a varied-tempo textural statement (which thematically vaguely echoes Horace Silver's"Strollin'"), a soprano sax stated "Britches Blue,"a highlight that tips hat to the Prince of Darkness, the straight-ahead swinger, "The Queen of Bibelot," and a cuica-infused Latin-flavored take, "The Other Side of the Coin." The triple-metered, dynamic "Quietly Me" deals the "seal."  The most compelling component of this album is the combination of the Rovatti-Brecker improvisational styles. Rovatti, a modernist, favors longer, dynamically-enhanced ribbons that cover the range and timbre of her axes. No lick player, she grabs the thematic substance of the composition at hand and lets fly a Niagara of creativity. The Grammy-winning Brecker is on top of his game throughout. He is pari passu with his frontline partner and follows suit with exciting lines offering frequent hints of his Philly bebop roots. The ensemble is as good as it gets. Pianist David Kikoski (who offers a 3rd-degree solo on "The Queen of Bibelot") and ace rhythm mates shine bright across the date. No gimmickry here, just a connected team and its crew offering superb music. Sacred Bond invites, enthralls and is indeed a marriage well-played. ~NICHOLAS F. MONDELLO https://www.allaboutjazz.com/brecker-plays-rovatti-sacred-bond-randy-brecker-piloo-records-and-productions-llc

Personnel: Randy Brecker: trumpet; Ada Rovatti: saxophone; David Kikoski: piano; Alex Claffy: bass; Rodney Holmes: drums; Jim Beard: organ; Café’ Da Silva: percussion; Adam Rogers: guitar; Stella Brecker: vocals.

Brecker Plays Rovatti - Sacred Bond

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The Modern Jazz Quartet - Longing for the Continent (Request)

Styles: Cool, Third Stream, Bop
Year: 1985/2005
File: MP3@320K/s
Time: 39:17
Size: 90,5 MB
Scans: Front

(4:42)  1. Animal Dance
(4:45)  2. Django
(2:51)  3. England's Carol
(2:15)  4. Bluesology
(5:09)  5. Bag's Groove
(6:18)  6. Sketch 3
(7:31)  7. Ambiquite
(5:42)  8. Midsommer

The Modern Jazz Quartet is well documented on a number of outstanding labels, though there is only sketchy information about the background of this particular CD. Recorded in 1958 in Europe, probably from one or more radio broadcasts, the group is in top form, though the sound is at times a bit overmodulated. In addition to favorites like John Lewis' "Django," and Milt Jackson's "Bluesology" and "Bags' Groove," there are less frequently performed gems like "Animal Dance." Jackson's bluesy vibes are featured extensively, though Lewis' elegant piano is also a treat. The quartet is joined by the le Jazz Groupe de Paris on two tracks ("Sketch 3" and "Ambiquette"), primarily adding a bit of background color with reeds and brass with occasional solos, though no mention is made of the guests anywhere within the CD booklet or tray card. This budget CD, most recently available through Laserlight, falls short of being essential, though Modern Jazz Quartet fans will enjoy it.

Personnel:

Bass – Percy Heath
Drums – Connie Kay
Piano – John Lewis (2)
Vibraphone – Milt Jackson

Longing for the Continent

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Davina & The Vagabonds - Sugar Drops

Styles: New Orleans Jazz
Year: 2019
File: MP3@320K/s
Time: 37:11
Size: 87,0 MB
Art: Front

(3:03)  1. Bone Collection
(3:49)  2. I Can't Believe I Let You Go
(3:27)  3. Devil Horns
(3:39)  4. Little Miss Moonshine
(4:03)  5. Sugar Drops
(4:06)  6. Another Lonely Day
(3:52)  7. No Matter Where We Are
(4:07)  8. Mr. Big Talker
(3:31)  9. Magic Kisses
(3:29) 10. Deep End

2019 release. Sugar Drops is the first album on Red House Records from Davina and the Vagabonds and marks the first time singer/songwriter/pianist Davina Sowers entered a proper studio to record an album. The Minneapolis-based artist holed up in Nashville's Compass Sound Studio with producer (and Compass Records co-founder) Garry West, along with her trumpeter, string arranger and husband, Zack Lozier, and a rotating cast of powerhouse players including Todd Phillips (David Grisman, Robbie Fulks) on bass, Doug Lancio (Patty Griffin, John Hiatt, Tom Jones) on guitar and Reese Wynans (Stevie Ray Vaughan, Joe Bonamassa) on Hammond B3. Sugar Drops is distillation of bluesy barroom baritone and bravado, graveyard jazz grooves, and noir-ish confessional lyricism backed by boisterous piano, guitar, and strings. Eclectic, engaging and instilled with a deep respect and knowledge for the Great American Songbook. https://www.amazon.com/Sugar-Drops-DAVINA-VAGABONDS/dp/B07SBCK59B

Sugar Drops

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Carrie Wicks - Reverie

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 54:09
Size: 125,8 MB
Art: Front

(3:36)  1. A Love for Just Part
(4:44)  2. Paginas En Blanco
(3:51)  3. Wide Open
(5:07)  4. Shadow Play
(5:08)  5. Some Other Spring
(5:34)  6. Spider Rain
(4:00)  7. Elephant in the Room
(3:44)  8. Remember
(5:48)  9. Safe in This World
(4:07) 10. Late June
(3:51) 11. A Secret Place
(4:33) 12. Meet Me at No Special Place

Seattle-based vocalist Carrie Wicks is back with her fourth effort on the Origin label, and while there are many similarities stylistically with her previous efforts, Reverie more draws from the original compositions of Wicks and her partners Ken Nottingham and Nick Allison.  One of the commonalities between the recordings is Wicks' insight into putting together a top shelf unit on her behalf. Even more so, including pianist Bill Anschell in the mix is a particularly astute move, considering Anschell's stellar reputation with vocalists earned from his time as pianist/musical director for Nneena Freelon. The band rounds out with trailblazing bassist Jeff Johnson, uber talented drummer D’Vonne Lewis, and perhaps the perfect foil for Wick's dark narrative vocal style, saxophonist Brent Jensen.  "Wide Open" encapsulates the vibe of the album, with Wicks swaying through a melodic drift in her signature dark, poetic, conversational delivery. As with all of the lyrical content, the storyline is personal, observational, and an essential part of the listening experience. "Spider Rain" begins with Lewis' mood setting opening, unfolding into Wicks' introspective presence.

As is true throughout the album, the harmonic framework provided by the aforementioned cast is exquisite. The reflective vibe of the record continues with "Paginas en Blanco," musing on stories never told in both English and Spanish. Jensen and Anschell offer brief solos, both rich in melodic lyricism. "Safe in the World" typifies the compositional approach for the ten originals included staying well within Wicks' strengths as a vocalist while stressing an open ended melody allowing free verse expressionism, with less emphasis on dynamic range. There is a real cafe style vibe, that feels like late night in a hipster setting. Reverie requires the listener to connect with the poetry of the narrative, or the experience is lost. The exquisite playing of the band, both in support and in soloing, is what allows the listener to connect the dots verse to verse. The qualities that are original and unique in Wick's vocal style are as well what tends to draw the listener away into a circular continuum. While the writing is smart, and intimately soul reflective, the vibe of the record seldom strays from that allure. The album lacks a fuller spectrum of musical and emotional colors that would create a broader audience experience. While this gathering of superb west coast musicians provides a formidable foundation for this collection of poetically nuanced tunes, they are seldom given the opportunity to stretch out and fully display their collective talents as they often do in Wicks' live performances. Wicks' music exposes her literary roots, and abilities as a storyteller. Reverie was created in that spirit.~Paul Rauch https://www.allaboutjazz.com/reverie-carrie-wicks-oa2-records

Personnel: Carrie Wicks: vocals; Bill Anschell: piano; Jeff Johnson: bass; D'Vonne Lewis: drums; Brent Jensen: soprano & alto saxophones.

Reverie

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Joel Paterson - Let It Be Guitar! Joel Paterson Plays the Beatles

Styles: Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 43:29
Size: 101,4 MB
Art: Front

(2:11)  1. All My Loving
(1:53)  2. From Me to You
(2:35)  3. And I Love Her
(2:39)  4. This Boy
(2:23)  5. If I Fell
(2:56)  6. Michelle
(2:54)  7. Girl
(2:49)  8. Things We Said Today
(3:12)  9. Honey Pie
(2:47) 10. I Don't Want to Spoil the Party
(2:43) 11. No Reply
(3:45) 12. Can't Buy Me Love
(4:17) 13. Drive My Car
(2:53) 14. Because
(3:02) 15. Something
(0:23) 16. Her Majesty

As a follow up to his well-revered holiday album Hi-Fi Christmas Guitar, Joel Paterson will release a collection of vintage instrumental, guitar-centric covers of songs from the Beatles' catalog, entitled Let It Be Guitar! Joel Paterson Plays The Beatles. The album - out on September 20th - features the guitarist's signature blend of vintage jazz, exotica, blues, rockabilly, western swing and country, and uses classic Beatles songs as a sonic template for the mid-century musical journey. The album's pre-order link is live on both Joel Paterson's and Bloodshot Records' sites. In addition to the announcement, a sneak-peak stream of the song "Michelle" was launched today via the label's site. Let It Be Guitar! Showcases fresh new arrangements of these familiar tunes, employing a wide variety of musical styles and guitar sounds, paying tribute to Paterson's biggest influences including Les Paul, Chet Atkins, Jorgen Ingmann, James Burton, Buddy Emmons, Ernest Ranglin and many more. Of the inspiration for the album, Paterson says, "This is the guitar record I've always wanted to make. 

I love the Beatles and their artistry and attention to detail in the recording studio-and I love all-things-guitar. So, I had a great time diving into these amazing songs, coming up with my own arrangements, and at the same time paying tribute to some of my favorite guitarists and vintage recording techniques of yesteryear." The album's liner notes were written by singer/songwriter and fellow vintage appreciator J.D. McPherson and give further explanation of the project, "Each of Joel's interpretations of these songs are concise, genre-bending, stylish tone poems, mixing both Joel's and the Beatles' own century-spanning inspirations into one zesty musical stew. Contained within certain tracks, you may even find nods to OTHER instrumentalists who have delved into the Beatles' body of work... It's almost the meta-sonic equivalent of a Liverpudlian Rube Goldberg drawing." Recorded in Chicago at Reliable Recorders and at Paterson's home studio, Let It Be Guitar! #features Joel on guitar, pedal steel, and lap steel; Beau Sample (Devil in a Woodpile, The Modern Sounds, The Fat Babies) on bass; Alex Hall (The Flat Five, The Western Elstons, The Fat Babies) on drums; and Chris Foreman on Hammond B3 organ. One of the busiest musicians on the roots music scene today, Paterson can be heard playing with The Modern Sounds, The Joel Paterson Organ Trio featuring Chris Foreman, Devil in a Woodpile, The Western Elstons, and many other Chicago-based projects. ~ Editorial Reviews https://www.amazon.com/Guitar-Joel-Paterson-Plays-Beatles/dp/B07WHMQ9CX

Let It Be Guitar! Joel Paterson Plays the Beatles

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Althea Rene - Flawsome

Styles: Flute Jazz 
Year: 2019
File: MP3@320K/s
Time: 37:10
Size: 86,6 MB
Art: Front

(4:30)  1. Inner Circle
(4:10)  2. Rock with You
(3:47)  3. Passion
(4:02)  4. Barbara Mae
(3:46)  5. Jump to It
(3:53)  6. Flawsome
(4:22)  7. We Are One
(3:58)  8. Let Me Love You
(5:19)  9. Life on Mars

Flutist Althea René hails originally from the heart of Detroit, Michigan. She started her exploration of music at the fledgling age of four.  Her formal studies included classical music while attending Howard University in Washington D.C. as most musicians do, her continued exploration of music led her to gain  further inspiration from the accomplishments of Yusef Lateef, Ian Anderson, and her father (one of Motown’s original Funk Brothers) Dezie McCullers. Her endeavors have not always been that of music.  For more than 10 years she was employed as a Wayne County Deputy Sheriff (Detroit, Michigan). Music was always in her soul and proudly, she is a full-time performing/recording artist. René’s discography includes nine vivacious albums that have brought forth chart sightings on the Billboard Chart and the Smooth Jazz Chart. In fact, René made history by becoming the first flute player in the history of the Billboard Chart to reach the number one spot.  René is also an entrepreneur launching her first book in June 2018 entitled “Becoming Chocolate Barbie a guide for professional women in the music business.”  Her latest album Flawsome continues her solid discography of soulful stylings.  The album features Demetrius Nabors: keyboards; Robert Skinner: bass; Gary Johnson, Andrew Freeman and Jas Miller: guitar; Nate Winn, Eric Valentine: drums; Chris “Big Dog” Davis, Lew Laing: drum programming, keyboard bass, keyboards, rhythm arrangements; Euge Groove, Jeanette Harris: sax; Andrew Dorsett: keyboard and programming and Dwight Adams: trumpet.

“Rock with You” is René at her best. Set to a rich groove that allows René to push and pull the Michael Jackson melody with finesse and style. René’s flute tone is round, and she has a slight vibrato to the majority of her long notes. The arrangement does justice to the original, with some harmonic and orchestrative surprises. René’s solo is centered around the melody and she never tries to over complicate things. Rene is all about the feel of each phrase.  The relaxed nature of the playing is perfect for Rene’s style of musical expression and also shows the versatility of Jackson’s appeal and musical works. David Bowie’s “Life On Mars” is given the a funky treatment.  Trumpeter Dwight Adams adds a warm tone and muted trumpet sounds. Rene’s arrangement is excellent as the tune has nice feel changes and different instrumental colors. This a tremendous solo by Rene. The solo has energy, harmonics, humming while playing, growls and trills. This is feel good music, both here and on Mars! Althea René has certainly put together a worthy listen, though she touts Flawsome as having imperfections, its is those human elements that make the album that more accessible for its human beauties. Make no mistake this is as close to human perfection as one would desire, the performances are top-shelf and René sounds better than ever. ~Ferrel Aubre https://thejazzword.com/2019/07/althea-rene-flawsome/

Flawsome

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Simone Kopmajer - My Favorite Songs Disc 1, Disc 2

Album: My Favorite Songs Disc 1

Styles: Vocal

Year: 2019

File: MP3@320K/s

Time: 51:18

Size: 118,5 MB

Art: Front

(4:07)  1. Didn't You Say

(4:30)  2. Come Fly with Me

(4:29)  3. I've Never Been in Love Before

(3:39)  4. How Do You Keep the Music Playing

(3:26)  5. You Don't Call Me

(4:15)  6. Mighty Tender Love

(4:40)  7. Exactly Like You

(3:27)  8. I Dream of You

(4:38)  9. Shoes

(4:20) 10. The Morning Sun

(3:37) 11. Jeepers Creepers

(6:06) 12. Time

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Album: My Favorite Songs Disc 2

Time: 62:49

Size: 145,0 MB

(3:22)  1. Nothing's Gonna Change My Love for You

(4:25)  2. Can't Take My Eyes off You

(5:19)  3. Just the Way You Are

(3:35)  4. How Sweet It Is

(4:13)  5. Blue Bayou

(4:35)  6. The Best in You

(6:05)  7. Wichita Lineman

(3:20)  8. That's Why You Go Away

(5:00)  9. Kiss

(4:40) 10. What's Going On

(5:04) 11. Have You Ever Seen the Rain

(2:58) 12. Whatever Happens (Reprise)

(5:36) 13. Lately

(4:33) 14. Rolling in the Deep

''My Favorite Songs'' is Simone Kopmajer´s first "Best Of" album, a collection of songs from her last 12 recordings. The Double-LP features artists such as George Mraz, Victor Lewis, Jamaaladeen Tacuma, Houston Person and many more on a 32-song set that presents songs from ''The Great American Songbook'', originals and exquisite covers of songs made popular by Frank Sinatra, Ray Orbison and Bill Withers. She has soul and a particular charismatic tone in her voice that gives each song that special something. Born in Austria, Simone Kopmajer already achieved at a young age what many musicians, bands and ensembles dream of - the launch of a successful international career. In the United States, Japan and Southeast Asia, the singer is a household name for lovers of demanding and refined jazz music. She fills large concert halls, performs as the headliner of major international festivals and has sold thousands of CDs worldwide."~ Editorial Reviews https://www.amazon.com/My-Favorite-Songs-SIMONE-KOPMAJER/dp/B07YMF29CS

My Favorite Songs

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Lindsey Camara - Speak Low

Styles: Brazilian Jazz
Year: 2019
File: MP3@320K/s
Time: 55:23
Size: 127,9 MB
Art: Front

(2:52)  1. My Favorite Things
(3:45)  2. Corcovado
(4:24)  3. Autumn Leaves
(3:46)  4. Piel Canela
(4:39)  5. At Last
(4:04)  6. Manhã De Carnaval
(3:48)  7. Speak Low
(3:28)  8. Chega De Saudade
(3:08)  9. Dream a Little Dream
(3:45) 10. Jura
(3:38) 11. Roxanne
(4:58) 12. Under My Skin
(3:36) 13. Smile
(5:26) 14. Dindi

With her roots in Jazz and Brazilian music, the same can be said for Lindsey Câmara’s new debut album Speak Low, which features a well-produced collection of standards with an original Latin-infused/Bossa Nova sound. The album is already generating buzz with its impressive tracklist that promises to take you on an emotional and musical journey into the heart and soul. Musical guests include Michael Massaro, Frank Fogetti, Bob Miski, and other surprise talents… The songs on "Speak Low" were composed by some of the finest Jazz and Bossa Nova writers and performers in music history. To quote Joey Santiago, “I have to say, I have an affinity for Bossa Nova. It’s very warm-sounding to me lush and simple. I like that.” https://store.cdbaby.com/cd/lindseycamara

Speak Low

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Joyce Cooling - Living Out Loud

Styles: Vocal And Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 23:16
Size: 54,6 MB
Art: Front

(3:38)  1. It's So Amazing
(4:17)  2. Marina's Dream
(6:11)  3. Living Out Loud
(4:44)  4. Got To Find My Own Way
(4:24)  5. Carry On

Living Out Loud is the first Joyce Cooling album in 10 years. Exquisitely produced by Jay Wagner, this original 5-song EP is Cooling, Wagner, and friends at their best. San Francisco-based guitarist, singer, songwriter, Joyce Cooling, has recorded seven previous albums - five charting albums on Billboard; two #1 radio singles; six top 10 singles; and thirteen charting singles in all. Cooling received the "Gibson Best Jazz Guitarist of the Year" Award and "Best New Talent" in the Jazziz Reader’s Poll.  With a nod to where they’ve been, coupled with a full-on embrace of the now, Living Out Loud is an innovative twist on their signature sound. Joyce’s musicianship shines with a unique, soulful energy and the entire album makes a passionate statement. From the uplifting 1st single, “It’s So Amazing,” to the sultry, “Marina’s Dream,” Living Out Loud takes the listener on a colorful, compelling journey. 

The exciting title track boasts superb playing from Joyce and the band, and the R&B-tinged “Got To Find My Own Way” is downright crazy funky. The EP ends with “Carry On,” a gorgeous vocal ballad with a whole lot of heart. The trip is rich and powerful and one worth taking.https://joycecooling.bandcamp.com/album/living-out-loud

Personnel: Joyce Cooling - guitars & vocals; Jay Wagner - keyboards; Danny Montgomery - drums track 1; Billy Johnson - drums track 3; David Garibaldi - drums track 4; Celso Alberti - drums track 5; Bill Ortiz - trumpet & flugelhorn; Peter Michael Escovedo - percussion; Roberto Quintana - additional percussion track 1; Mixes by Jay Wagner and Ray Obiedo; Mastered by Brian Gardner. 

Living Out Loud

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Thisbe Vos - Sophistication

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 42:40
Size: 97,9 MB
Art: Front

(4:30)  1. House of Make Believe
(2:48)  2. The Frim Fram Sauce
(4:07)  3. After You've Gone
(2:58)  4. They Can't Take That Away From Me
(5:27)  5. My Favorite Things
(2:39)  6. When I Come To You
(3:08)  7. Baby Won't You Please Come Home
(2:39)  8. Sophistication
(4:49)  9. A Foggy Day (In London Town)
(2:02) 10. Pordenone
(4:45) 11. I Am All Right
(2:43) 12. Our Love Is Here To Stay

Original jazz in a traditional style is what defines jazz singer/songwriter Thisbe Vos.  Born in The Netherlands, the Dutch singer began her musical adventure as a teenager, when she joined the UK's No 1 Swing Band The Jives Aces for several tours of Europe and North America. Visiting over 30 cities in 20+ countries before the age of 21, it was during those tours that she decided to start writing original songs in the styles of the 1930s, 40s and 50s. Looking to record a classic yet contemporary-sounding album featuring a mix of jazz standards and her own jazz originals, she set out for Los Angeles in 2008 in search of musicians who would complement her vocals on this project in both fast and slow- swinging tempos. She found a musical mentor in veteran bassist Henry Franklin, who provided her first introductions into the Los Angeles jazz scene. Six years later, she has released two albums on her personal record label, Prime Productions, and has built a respectable following of jazz lovers worldwide.

Her sophomore album “Under Your Spell”, released in 2013, received airplay on over 230 jazz radio stations in the US and Canada, and spent over 15 weeks on top of the US Cable TV Jazz Chart. It was also licensed for commercial use in restaurants and hotels in the US and abroad. In August 2014, she was one of 20 finalists selected out of 2500 bands as part of an artist competition organized by WeDemand.com, a website that allows fans to ”demand“ concerts by their favorite artists in their city. She placed second. In the same month, she was nominated by the International Music & Entertainment Association as Jazz Artist of the Year, and her original jazz song “Shanghai Blues“ was nominated as Jazz Song of the Year. At the awards ceremony in October 2014, her song “Shanghai Blues“ won Jazz Song of the YearIn October 2014, she crowdfunded a Christmas album which was released to fans in December of that year, and will be officially released in November 2015. Thisbe states that her inspiration comes from classic jazz singers, among whom most importantly Ella Fitzgerald, and from her extensive travels. As a songwriter, she is influenced by the Gershwin brothers, Cole Porter and Irving Berlin. Through her writing of jazz originals, she hopes to make a meaningful contribution to the future repertoire of the vocal jazz genre. She makes live appearances in the greater Los Angeles area, including at the Cicada Club in downtown and the Lighthouse Café in Hermosa Beach, and she can be found performing every Saturday at the Marriott hotel in Woodland Hills. https://musicians.allaboutjazz.com/thisbevos

Sophistication

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Bria Skonberg - Nothing Never Happens

Styles: Vocal And Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 41:30
Size: 96,0 MB
Art: Front

(5:25)  1. Blackout
(6:11)  2. So Is the Day
(4:37)  3. Blackbird Fantasy
(4:08)  4. Square One
(4:42)  5. Villain Vanguard
(4:40)  6. Bang Bang
(4:37)  7. What Now
(7:07)  8. I Want to Break Free

In what can only be considered a wide, darker turn from her five previous recordings which swayed and swung in more traditional, pre-bop, jazz settings, award-winning trumpeter-vocalist-composer Bria Skonberg takes us through the dark night of her heart and the national soul on the fraught, yet impossible-not-to-listen-to Nothing Never Happens. Swamped as we all are by the twenty-four-hour news cycle which brings the apocalypse to our very doorsteps, and the myriad emotions that all too often empower us or paralyze us, Skonberg urges grittily, soulfully, with a shadowy, mid-career-Lucinda-Williams swagger and growling horn to "get off the grid" in the insistent opening track, "Blackout." Pulled and pulsed by bassist Devin Starks and drummer Darrian drums, the track opens into light and plunges again into the shadows, with Skonberg's warm, edgy vocal leading the way. Now on the verge of utter frustration, Skonberg revisits the lighter tinged "So Is The Day," the title track from her 2012 release on Random Act Records, with a slow-burning, shattering vocal vengeance which rips your heart out while pianist Mathis Picard and guests Jon Cowherd on Hammond B3 and Doug Wamble on guitar clear the field with a rock and roll force for the lady to take one last plunging solo.

The utterly unique and unexpected "Blackbird Fantasy" crash melds Duke Ellington and his long time trumpeter Bubber Miley (whose influence is heard all over Skonberg's own distinctive instrumental voicing) 1927 composition "Black and Tan Fantasy" with Paul McCartney's perennial "Blackbird" for a performance which would be a highlight on any other recording, if not for the two tracks that preceded it. Just as Duke brought his many players to the fore, Skonberg does the same, taking the tune into bandstand territory with Picard, Cowherd and Douglas swinging away while she solos à la Miley. The wishful and ruminative "Square One" breaks the tension with dreamy guitar, and a lyric which includes "Day is over/Work is done/Hear the echoed praises sung/Still hanging on that bottom rung/Here I am at square one." But wait, there is more. Fully aware she has your attention and is in full control, the jazz-rocking instrumental "Villain Vanguard" features alto saxophonist Patrick Bartley Jr blowing in breakneck tandem with Skonberg. In her current frame of mind, "Bang Bang" originally a breezy, Sonny Bono-written solo hit single for Cher in 1966 becomes a tangle of male/female relationships and the dire violence which all too often results in bloodshed and politicians offering thoughts and prayers. The concluding track, Queen's playful "I Want to Break Free" from 1984, (known far and wide for its then genre/gender-smashing cross-dressing music video) offers up a full gleam of hope as the band power grooves throughout the track's exuberant seven minutes. Skonberg has been on track to break through in a big way for over a decade now and Nothing Never Happens is deservedly her moment. ~ Mike Jurkovic https://www.allaboutjazz.com/nothing-never-happens-bria-skonberg-self-produced

Personnel:  Bria Skonberg: trumpet, vocals; Mathis Picard: piano; Devin Starks: bass; Darrian Douglas: drums; Doug Wamble: guitar; Jon Cowherd: Hammond B3; Patrick Bartley: saxophone (3, 5, 8).

Nothing Never Happens

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George Colligan - The Endless Mysteries

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 69:40
Size: 160,9 MB
Art: Front

(7:48)  1. Waiting for Solitude
(6:50)  2. Song for the Tarahumera
(8:25)  3. Her Majesty
(9:08)  4. Liam's Lament
(7:32)  5. It's Hard Work!
(3:14)  6. Thoughts of Ana
(3:34)  7. Outrage
(7:57)  8. The Endless Mysteries
(6:28)  9. When the Moon Is in the Sky
(8:38) 10. If the Mountain Was Smooth, You Couldn't Climb It

Not all piano trios are democracies-all too often, the bassist and drummer play second-fiddle roles. That’s not the case with The Endless Mysteries, released last fall. Although the pianist and nominal leader, George Colligan, wrote all 10 tracks on this, his 24th album as leader, The Endless Mysteries reflects an equal partnership between himself, bassist Larry Grenadier and the drummer, the irrepressible Jack DeJohnette. This even split of responsibilities isn’t exactly a surprise, as DeJohnette (whose touring band includes Colligan) has put in three decades as part of Keith Jarrett’s trio while Grenadier is a longstanding member of Brad Mehldau’s. With Colligan, though, even more than with their other employers, the rhythm section is intent on forging directions. 

This is evident on the title track, a gentle ballad that finds Colligan laying out the theme and then, in no time, handing the reins over to DeJohnette and then to Grenadier. The bassist’s richly melodic solo early on gives Colligan a gentle nudge: He leaves the chordal pattern he’s been restating since the beginning and, for the remainder of the piece, continues to investigate new routes that the composition might follow. On the sprightly “Her Majesty,” DeJohnette’s frisky bossa-nova rhythm fragments into something wholly disordered midway through, cueing an explosive Grenadier solo and, eventually, a chattering flurry from Colligan that brings it to a decisive finish. “Outrage” is outright chaos, a three-and-a-half-minute free-for-all, while “Song for the Tarahumera” is a swingfest. 

It’s not all teamwork though. “Thoughts of Ana,” inspired by the Newtown shootings whose victims included Ana Márquez-Greene, the daughter of jazz saxophonist Jimmy Greene, is the recording’s most moving statement: Colligan alone, solemn and ruminative. It’s a reminder, perhaps, that amid the daily noise sometimes we need to slow down, take a moment to reflect and simply speak to ourselves. Inspirational and exhilarating all-around. ~  By Jeff Tamarkin https://jazztimes.com/reviews/albums/george-colligan-the-endless-mysteries/

Personnel: Piano, Melodica, Composed By, Producer – George Colligan; Acoustic Bass – Larry Grenadier; Drums – Jack DeJohnette

The Endless Mysteries

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Mette Juul - Change

Styles: Vocal And Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 48:49
Size: 112,5 MB
Art: Front

(3:21)  1. Beautiful Love
(3:09)  2. At Home (There Is A Song)
(3:24)  3. Get Out Of Town
(3:27)  4. It Might Be Time To Say Goodbye
(4:49)  5. Double Rainbow
(2:48)  6. Just Friends
(2:35)  7. I'm Moving On
(3:03)  8. Dindi
(3:30)  9. Young Song
(4:18) 10. Without A Song
(3:27) 11. Northern Woods
(5:18) 12. The Peacocks (A Timeless Place)
(5:35) 13. Evening Song

Change is an inevitable part of life and music. The very essence of being a jazz musician involves catching a musical moment that never comes back again, but occasionally, a record shows up that is both a document of change and the sum of a lifetime. With Change, Danish jazz singer, guitarist and songwriter, Mette Juul, has released such an album. Since her debut, Coming in from the Dark (Cowbell Music, 2010), Juul has played with the very best musicians on the Danish jazz scene, including drummers Alex Riel and Morten Lund and pianists Nikolaj Hess and Heine Hansen, but she has also collaborated closely with trendsetting trumpeter Ambrose Akinmusire and the distinguished Swedish bassist Lars Danielsson. Danielsson also shows up on Change in the role of bassist and co-producer, but instrumentally, the bass plays a minor, if important part, as does the autumnal touch of pianist Heine Hansen. Instead, the album centres around the intimate sound of nylon and steel string guitar with Juul getting first class assistance from Ulf Wakenius, Per Møllehøj and Gilad Hekselman. Hekselman already showed his symbiotic understanding of the sparse pairing between vocal and acoustic guitar on Lilly's album Tenderly (Gateway Music, 2017) and once again his playing shimmers on Juul's own "Northern Woods" and Antonio Carlos Jobim's "Dindi." There is also another song on the album by Jobim, "Double Rainbow." The wonder is how Juul makes the familiar music fresh and fleshes out all the colors of the musical rainbow, bringing out the breathing poetry of Jobim's diction and the striking lyrical images of Gene Lees' lyrics.

Juul is not only a lucid interpreter of songs, she also knows how to put them together. Coming in from the Dark included one of Frank Sinatra's signature songs, "In the Wee Small Hours of the Morning," and like Sinatra, she masters the art of the concept album. Every song on the album reflects processes of change from day to night, loving to leaving and youth to adulthood. However, while the songs reflect change inherently, they also represent it in dialog with each other and previous albums. Thus, "Double Rainbow" has previously been covered on Juul's There Is a Song (Universal, 2015) and the title track is renamed "At Home," a song dedicated to Juul's childhood home and her mother where the physical room of the home and emotional space of a song melts together: "I remember the place / where I heard my mother sing and felt at home / this was her favorite place to be free / song to song, smile to smile / my mother's song lives with me." The connection between a place and an emotional state is also highlighted in Juul's "Northern Woods," where the forest provides a natural space of musical reflection that goes beyond the bustle of urban modernity: "Hear how a whisper of trees / sing melodies of a time long gone / music that will never change / voices that won't forget your name." The way Juul naturally moves from trees to melodies in the soft transition of a rhyme subtly underlines the point that words, nature and music can become one, just as a voice can become a horn. Chet Baker could play his trumpet like the whisper of a voice, but on the opening track, "Beautiful Love," Juul sings with a voice like a horn.

Thematically, the songs also enlighten each other. If "Young Song" says that "true love is not for lazy lovers / who seek oblivion and ecstasy," the song "It Might Be Time to Say Goodbye" tells the story of someone who is seduced by the constant romantic craving of sensory oblivion and ecstasy: "There are things I long to try / life I must explore alone." As a consequence, a true love might be lost as the lyric realizes in the end: "This might be the dumbest thing I'll ever do / might never find someone / sweet as you." The song is a highlight among a string of uniformly great songs penned by Juul that don't need to blush in the company of Jobim and Cole Porter, whose many-sided emotional depth is uncovered in "Get Out of Town." In the end, the album suggests that change can come in many ways. Through it all, music remains the prism "Where you can listen to the things your heart is saying," as it says in the cover of Jimmy Rowles and Norma Winstone's "The Peacocks (A Timeless Place)." Indeed, this album is an affair of the heart, but it is also a musical space for contemplation and solace. Everything comes together here, even the art inside the cover by acclaimed Danish painter Michael Kvium underlines the ambiguous beauty of change and captures several shades of the seasons. 

It is a strong argument for getting the physical edition of the album that also includes lyrics in the booklet. It is an important point that music is never finished, and Mette Juul is certainly on the path to new discoveries and stories with an EP of other songs from the sessions already scheduled for release. Right now, Change is nothing short of a major musical accomplishment from Juul that hopefully will expand her circle of listeners. ~ Jakob Baekgaard https://www.allaboutjazz.com/change-mette-juul-universal-music-group-review-by-jakob-baekgaard.php

Personnel: Mette Juul: vocals, guitar; Ulf Wakenius: guitar; Lars Danielsson: bass, cello, cymbals, guitar; Heine Hansen: piano, Rhodes, celeste, harmonica; Gilad Hekselman: guitar; Per Møllehøj: guitar

Change

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Keith Jarrett - Facing You

Styles: Piano Jazz, Post Bop
Year: 1972
File: MP3@320K/s
Time: 47:10
Size: 108,4 MB
Art: Front

(10:05)  1. In Front
( 5:55)  2. Ritooria
( 8:29)  3. Lalene
( 7:17)  4. My Lady, My Child
( 3:30)  5. Landscape For Future Earth
( 5:01)  6. Starbright
( 3:51)  7. Vapallia
( 3:00)  8. Semblence

Facing You is one of the most important recordings in contemporary jazz for several reasons, aside from being beautifully conceived and executed by pianist Keith Jarrett. It is a hallmark recording of solo piano in any discipline, a signature piece in the early ECM label discography, a distinct departure from mainstream jazz, a breakthrough for Jarrett, and a studio prelude for his most famous solo project to follow, The Köln Concert. Often meditative, richly melodic, inventive, and introspective beyond compare, Jarrett expresses his soul in tailored tones that set standards for not only this kind of jazz, but music that would serve him and his fans in good stead onward. In this program of all originals, which sound spontaneously improvised with certain pretexts and motifs as springboards, the rhapsodic "Ritooria," 4/4 love/spirit song "Lalene," and song for family and life "My Lady; My Child" firmly establish Jarrett's heartfelt and thoughtful approach. "Vapallia" cements the thematic, seemingly effortless, lighter but never tame aesthetic. "Starbright" is an easy-paced two-step tune signifying fully Jarrett's personalized stance. 

Straddling a more jagged, angular, and free edge, the pianist evokes the influence of Paul Bley during "Semblence" (sic). But it is the opening selection, an extended ten-minute opus titled "In Front," that truly showcases Jarrett at his playful best a timeless, modal, direct, and bright delight. A remarkable effort that reveals more and more with each listen, this recording has stood the test of time, and is unquestionably a Top Three recording in Keith Jarrett's long and storied career. ~ Michael G.Nastos https://www.allmusic.com/album/facing-you-mw0000192031

Facing You

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Don Lusher Big Band - The Very Best Of The Don Lusher Big Band

Styles: Jazz, Big Band
Year: 2000
File: MP3@320K/s
Time: 52:54
Size: 122,6 MB
Art: Front

(3:36)  1. Peanut Vendor
(3:16)  2. Take The A Train
(3:09)  3. Opus 1
(2:35)  4. I Get A Kick Out Of You
(3:14)  5. Pennsylvania 65000
(3:17)  6. That's Right
(2:17)  7. D.L. Blues
(2:47)  8. Don't Get Around Anymore
(4:33)  9. Love For Sale
(3:20) 10. Carnival
(3:07) 11. Woodchoppers Ball
(2:52) 12. Tea For Two Cha Cha
(3:17) 13. Pinetops Boogie Woogie
(3:09) 14. Mission To Moscow
(4:05) 15. Shiny Stockings
(4:11) 16. One O'Clock Jump

Lusher grew up in a musical family, his grandfather, father and mother playing and singing in Salvation Army bands. Lusher learned to play trombone and pursued his musical interests at school. At the age of 18, he went into the army but contrived to keep up his playing by joining Salvation Army bands in any town he happened to be near. A visit to a camp he was at by Geraldo And His Orchestra, in whose trombone section was Ted Heath, convinced Lusher that once the war was over that was how he would make his career. In 1947, he left the army, bought a second-hand trombone, and joined a band led by an army friend in Tenby, Wales. He then joined Joe Daniels And His Hot Shots, but only a few weeks later the band folded. Lusher’s next professional engagement was with Lou Preager at London’s leading dancehall, the Hammersmith Palais. He then worked in a band led by Maurice Winnick at Ciro’s Club, following this with important and career-moulding engagements with th e Squadr onaires and the Ted Heath band, with which he visited the USA.

By the 60s Lusher was one of the UK’s best-known trombonists, touring extensively with prominent artists, such as Frank Sinatra. Subsequently, Lusher led big bands for special television and radio appearances and for limited concert work, activities which continued into the early 90s. He also established a reputation as an educator, working in this capacity in the USA, Japan and Australia as well as in the UK. Despite his international fame, Lusher never lost contact with his musical origins and regularly performed and recorded with brass bands.

An outstanding technician, Lusher’s flowing, precisely articulated playing style remained an object lesson to fellow trombonists in all areas of music. Throughout the 90s, he led the Ted Heath tribute band for numerous popular reunion concerts. In 2003, Lusher was awarded the OBE for Services To The Music Industry.

The Very Best Of The Don Lusher Big Band

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