Richard 'Groove' Holmes - Get Up & Get It!

Styles: Jazz, Post Bop
Year: 1967
File: MP3@320K/s
Time: 40:01
Size: 92,1 MB
Art: Front

(5:40) 1. Get Up And Get It
(5:08) 2. Lee-Ann
(9:21) 3. Body And Soul
(5:23) 4. Broadway
(8:02) 5. Groove's Blues Groove
(6:25) 6. Pennies From Heaven

The organ trio format is so ensconced in the minds of soul-jazz fans that hearing this album, which puts Richard "Groove" Holmes' funky Hammond B3 in the context of a larger group, sounds odd and over-produced at first. Putting Holmes' bottom-heavy instrument against a guitar-bass-drums trio and then adding Teddy Edwards' tenor saxophone on top to take most of the melody lines sounds on paper like it should be a thick, muddy mess, but thankfully, Holmes' sidemen are up to the task at hand and steer clear of over-playing. The great Paul Chambers, one of the best bassists of the post-bop generation, mostly leaves the bottom to Holmes' left hand, leaving himself free to add intriguing little accents and filigrees to the rhythm, and guitarist Pat Martino wisely avoids the temptation to do much more than comp unobtrusively and take the occasional brief solo. Billy Higgins, of course, is one of the great drummers of his time and plays solidly throughout. The original "Groove's Blue Groove" is a particular highlight, but the entire album is worthy.~Steward Mason https://www.allmusic.com/album/get-up-and-get-it%21-mw0000893219

Personnel: Organ – Richard "Groove" Holmes, Bass – Paul Chambers (3), Drums – Billy Higgins, Guitar – Pat Martino; Tenor Saxophone – Teddy Edwards

Get Up & Get It!

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Bill Coleman - The Complete Philips Recordings (disc 1), (Disc 2)

Album: The Complete Philips Recordings (disc 1)
Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 69:11
Size: 163,2 MB
Art: Front

(2:36) 1. Jumpin' At The Pleyel
(3:07) 2. Si Jolie
(2:55) 3. The Blues Jumped Up And Got Me
(2:59) 4. I'm Coming Virginia
(3:22) 5. Come On A My House
(3:09) 6. Tenderly
(3:53) 7. Knucklehead
(5:23) 8. Baby Won't You Please Come Home
(5:48) 9. One O'Clock Jump
(3:34) 10. Perdido
(3:02) 11. When The Saints Go Marching In
(5:01) 12. Ghost Of A Chance
(5:39) 13. Basin' Street Blues
(3:15) 14. Lover Man
(2:02) 15. Summertime
(2:16) 16. Jumpin' With Symphony Sid
(1:58) 17. Trombone Blues
(5:20) 18. St. James Infirmary
(3:42) 19. Sheik Of Araby

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Album: The Complete Philips Recordings (disc 2)
Time: 77:53
Size: 183,1 MB

(4:31) 1. Red Top
(4:45) 2. Royal Garden Blues
(5:39) 3. Solitude
(3:31) 4. Tea For Two
(2:11) 5. Chinatown
(5:31) 6. Drum Face
(3:45) 7. Muskrat Ramble
(4:09) 8. Black And Blue
(5:16) 9. Idaho
(4:34) 10. Out Of Nowhere
(3:34) 11. Indiana
(9:05) 12. Saint Louis Blues
(2:37) 13. Jumpin' At The Pleyel
(3:13) 14. Si Jolie
(2:51) 15. The Blues Jumped Up And Got Me
(2:51) 16. The Blues Jumped Up And Got Me
(3:20) 17. Come On A My House
(3:17) 18. Come On A My House
(3:05) 19. Tenderly

Trumpeter Bill Coleman (1904-81) played in a host of orchestras (led by Benny Carter, Teddy Wilson, Luis Russell and Don Redman) in the 1930s, with the same vibrato and finesse as his contemporary, Buck Clayton, but not quite the same bravura and vocabulary. To make an analogy using trumpeters from another jazz era, Coleman is to Clayton as Kenny Dorham is to Clifford Brown. Coleman would eventually settle in France, where these recordings were made and recently reissued, and where he would co-found the Marciac Jazz Festival. A geographical serendipity allowed him to entitle his memoirs De Paris (Kentucky) à Paris (France). The Complete Philips Recordings centers around a somewhat rowdy (on and off-stage) October 1952 concert at the Salle Pleyel in Paris, an apparently totemic event for budding French jazz fans of the era. (At least that's the sense conveyed by veteran critic Michel Boujut's dewy-eyed review of this disc in Jazz Magazine.)

In addition to its sentimental value to listeners of a certain generation, however, the concert recording is of real musical interest as well. It's easy to joyfully submit to the crazy juxtaposition of styles in the set list. 1920s chestnuts are played with rollicking gusto, only to be followed by loping 1930s swing numbers, not to mention urbane 1950s vocal R&B. Similarly, the musicians are a temporal and stylistic grab bag. Drummer Zutty Singleton, having wandered out of the Mezz Mezzrow band, pounds raucously through "When the Saints Go Marching In, "Idaho" and "Drum Face," sounding like a voice speaking to us directly from the New Orleans of another century (which, of course, he is). Trombonist Dicky Wells' playing does nothing to dispel the impression that he was, as he himself admitted, "half-high and half-frozen" during his European sojourn. This condition does not prevent credible, big-hearted solos on "Saints" and "Black and Blue." Saxophonist Guy Lafitte is consistently good, offering easygoing solos in the Ben Webster manner. Randy Downes is a bop pianist Singleton is alleged to have approved his membership in a cannabis-induced haze, only to judge him too modern once the smoke had cleared with a nice feature on "Out of Nowhere." He deftly negotiates the swing numbers, even if Singleton is entirely uninterested in meeting him halfway. Coleman weaves in and out of this vaguely chaotic mise en scène, playing his lovely solos ("St James Infirmary," "Red Top," "Royal Garden Blues"), singing blues affably, joking with the audience in good French with an upbeat but cool composure to which a Zen monk could aspire. The two-CD package is complemented by six 1951 studio numbers. These septet tracks, with a far more coherent band and fine arrangements by trombonist Bill Tamper, present Coleman as a quite serious and forward-looking bandleader.~ Jeff Dayton Johnson https://www.allaboutjazz.com/the-complete-philips-recordings-bill-coleman-universal-music-france-review-by-jeff-dayton-johnson.php

Personnel: Bill Coleman: trumpet, vocal; Bill Tamper: trombone; Jay Cameron: alto saxophone; William Boucaya: baritone saxophone; Art Simmons: piano; Jean-Pierre Sasson: guitar; Guy de Fatto: bass; Gérard "Dave"

The Complete Philips Recordings (disc 1) (disc 2)

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Ernie Watts & Chick Corea - 4Tune

Styles: Saxophone And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 66:52
Size: 153,6 MB
Art: Front

(9:27) 1. Swing Dentz Swing
(5:57) 2. My One And Only Love
(2:52) 3. Boom Bap
(7:00) 4. Miyako
(7:19) 5. Night And Day
(6:53) 6. Invitation
(6:39) 7. Blues For John C
(7:38) 8. Bud Powell
(3:57) 9. Sifu
(2:31) 10. Andy Meets Chick
(6:35) 11. Oleo

Originally released on the RealTime label as a double LP, this CD (which contains 11 of the 14 selections) is quite notable for containing some brilliant playing by Ernie Watts (during a period when his own recordings were very commercial). Chick Corea (sticking to acoustic piano) is also in excellent form as are bassist Andy Simpkins and drummer John Dentz (who was the actual leader). Although a few of the shorter numbers have their free moments, the highpoints are "My One and Only Love," "Night and Day," "Invitation," "Blues for John C.," "Bud Powell" and "Oleo," intense straightahead explorations that allow Watts and Corea opportunities to stretch out. ~Scott Yanow https://www.allmusic.com/album/release/four-tune-mr0000093637

Personnel: Tenor Saxophone, Alto Saxophone – Ernie Watts; Piano – Chick Corea; Acoustic Bass – Andrew Simpkins; Drums – John Dentz

4Tune

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Toni Tennille - More Than You Know

Styles: Vocal
Year: 1984
File: MP3@320K/s
Time: 37:00
Size: 85,1 MB
Art: Front

(3:48) 1. More Than You Know
(3:07) 2. Do It Again
(4:01) 3. I Got It Bad (And That Ain't Good)
(3:23) 4. Can't Help Lovin' Dat Man
(4:48) 5. Our Love Is Here To Stay
(3:43) 6. Let's Do It (Let's Fall In Love)
(3:40) 7. But Not For Me
(4:36) 8. Day Dream
(2:04) 9. Guess Who I Saw Today
(3:45) 10. Do Nothin' Till You Hear From Me

With her husband, Daryl Dragon, pop singer Toni Tennille made up the popular '70s duo the Captain & Tennille. Tennille was the vocalist for the group, while Dragon played the keyboard and other instruments. She is known for her pop, rock, jazz and orchestral music and has sold more than a million records with popular hits like "Do That to Me One More Time" and "The Way I Want to Touch You." Toni Tennille was born into a musical family in Montgomery, Alabama. Her father, Frank Tennille, sang and recorded under the pseudonym Clark Randall. He was with Ben Pollack's band and was still performing with the band when Bob Crosby took over. Toni Tennille attended Auburn University in Alabama, paying her way by singing popular tunes of the '30s and '40s. In 1975, she married Daryl Dragon. The two combined their musical talents to produce the Captain & Tennille. During the partnership, the duo earned an impressive five gold albums, six gold singles, two platinum albums and one platinum single. In 1976, the two entered the television scene with their own show on ABC, Captain & Tennille Variety Show, and appeared on several other ABC specials. Captain & Tennille's Greatest Hits, released in 1977, included the duo's 1975 Grammy Award-winning Song of the Year "Love Will Keep Us Together." In 1980, she hosted the syndicated Toni Tennille Variety Talk Show.

Two of Tennille's hit albums, All of Me and More Than You Know, were produced herself and then fine-tuned by the Count Basie Orchestra's musical arranger Sammy Nestico. In 1984, when the couple moved to nevada, Tennille began to work once again on renditions of songs from the '30s and '40s. She is known in the United States and Canada as a frequent symphony guest artists, with eight to ten appearances a year. In 1992, she broadened her career to include the stage, starring in the Los Angeles production of Stardust. She received rave reviews in all the trade magazines for her musical performance. The Captain & Tennille made a 20th anniversary album in 1995, featuring some of the group's hit singles and jazz ballads from the last twenty years. The album, Captain & Tennille 20 Years of Romance, also marked the couple's 20th wedding anniversary. Studying classical piano for ten years has allowed Toni Tennille to broaden her career to include songwriting. Through her participation in the Captain & Tennille, her orchestra tours across the United States and Canada, her jazz and pop albums and her television appearances, Toni Tennille has become known as a complete singer and entertainer. Nevada Governor Bob Miller named Tennille an Ambassador for the Arts for her numerous contributions. Kim Summers https://www.allmusic.com/artist/toni-tennille-mn0000936232/biography

More Than You Know

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Johnny Griffin - Change Of Pace

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 39:13
Size: 90,5 MB
Art: Front

(3:43) 1. Soft And Furry
(3:29) 2. In The Still Of The Night
(4:20) 3. The Last Of The Fat Pants
(4:25) 4. Same To You
(4:01) 5. Connie's Bounce
(3:56) 6. Situation
(5:27) 7. Nocturne
(5:02) 8. Why Not?
(4:46) 9. As We All Know

When Griffin wanted to record with a group comprised of Watkins, bassists Bill Lee and Larry Gales and drummer Ben Riley, his producer wondered where the idea had come from. Perhaps the Pettiford groups discussed above influenced the tenorman’s thinking, but the two-bass format is even trickier than the bass-cello combination-not that you would know it from this great 1961 record. Usually Lee plays arco to Gales’ pizzicato but sometimes they both bow or pick simultaneously, albeit in well-defined situations. Griffin also contributed some very unique original writing. I have always thought of Griffin as a fire-breathing soloist, but with Change of Pace he revealed a talent for arranging that few might suspect, and the band sounds like they’re having a blast.~ Duker Baker https://jazztimes.com/archives/johnny-griffin-change-of-pace/

Personnel: Tenor Saxophone – Johnny Griffin; Bass – Bill Lee (2), Larry Gales; Drums – Ben Riley; French Horn – Julius Watkins

Change Of Pace

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Katie Melua - Album No. 8

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 37:16
Size: 85,6 MB
Art: Front

(3:07) 1. A Love Like That
(4:27) 2. English Manner
(3:36) 3. Leaving the Mountain
(3:35) 4. Joy
(4:55) 5. Voices in the Night
(3:20) 6. Maybe I Dreamt It
(3:46) 7. Heading Home
(3:25) 8. Your Longing Is Gone
(3:26) 9. Airtime
(3:36) 10. Remind Me to Forget

A beautifully orchestrated album that perfect complements Katie Melua’s unique heartfelt vocals. Album No. 8 was born from a period of exploration and self-discovery, going back to basics and enjoying the creation of something new. Melua’s study of short fiction, musical and literary inspirations provided the spark for the creation of the lyrics. From opener A Love Like That to the closing notes of Remind Me To Forget, the album sparkles the senses delicately and calmly. In between, Voices In The Night slips into a gentle jazz groove with Melua’s voice gliding over the top. The themes hint on personal experiences of love and loss. Lines such as, “I think we’ve given love too much airtime” questions the prevalence of blatant love songs all around us. Melua has a more subtle approach and focuses on experiences and how each one enables us to grow. Uniquely, most of the vocals were recorded during the last studio session as a back-up. Producer Leo Abrahams knew Katie had something more in her and she managed to give “one of the most extraordinary performances I’ve witnessed in the studio”. Altogether the album is indeed a joy to listen to. https://narcmagazine.com/album-review-katie-melua-album-no-8/

Album No. 8

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Bill Coleman - Really I Do

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 67:35
Size: 155,5 MB
Art: Front

(5:22) 1. Tinto Time
(4:12) 2. Hello Babe
(4:35) 3. Crazy Rhythm
(4:59) 4. You've Changed
(5:06) 5. On The Trail
(2:53) 6. Montreux Jump
(4:04) 7. Really I Do
(4:43) 8. I've Got My Love To Keep Me Warm
(5:58) 9. She's Funny That Way
(5:35) 10. Tinto Time (Take 1)
(4:33) 11. Hello Babe (Take 1)
(5:12) 12. I've Got My Love To Keep Me Warm (Take 1)
(6:18) 13. On The Trail (Take 2)
(3:59) 14. Really I Do (Take 2)

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935. While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981.~ Scott Yanow https://www.allmusic.com/artist/bill-coleman-mn0000068537/biography

Featuring: Bill Coleman (trumpet), Guy Lafitte (saxophone), Panama Francis (drums), Bill Pemberton (bass), Red Richards (piano)

Really I Do

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Harriet Tubman - Ascension

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 51:51
Size: 119,3 MB
Art: Front

(8:09) 1. Ascension
(2:33) 2. Ritual Rubbin
(5:15) 3. Down Shift-Sscension
(6:58) 4. Night Master-Ascension
(7:00) 5. Ascension
(3:43) 6. Stellar Attraction
(3:42) 7. Probe
(4:03) 8. Sidereal Flux
(4:06) 9. Plasmaroid
(6:16) 10. Widely Known

The raison d'être for the band, Harriet Tubman, is an almost aching musical yearning for a complete freedom. It is a freedom from genre and certainly on Ascension, complete freedom from style as well as style. This what the 20th Century Spanish poet and playwright, Federico Garcia-Lorca described as the heart of duende, a holistic alternative to style and mere virtuosity, seeking an elevated level of delving into the depths of the soul so that the music dilates the mind's eye, in order to render its intensity almost unendurable. In fact, virtually unbeknownst to the artists guitarist Brandon Ross, bassist Melvin Gibbs and drummer JT Lewis, also including the opposing trio of trumpeter Ron Miles, and turntablists, DJ Singe and DJ Logic all the elements of melody, harmony and rhythm melt away to create a completely spiritual corkscrew of notes, voices and accents. The resultant music pulsates, pirouettes and punches its way into the mind's ear, aided by the very magic of its spirituality. The magic is also in the opposing forces of each trio. The original Harriet Tubman of Gibbs, Ross and Lewis is a molten mix of malleable and ductile material that screams out of the metallic elasticity of Ross' strings, the throb and double stops of Gibbs's bass and the churning of Lewis's drums. The trio of Miles, Singe and Logic is an almost glacial, ghostly reflection of the music itself a parallel reality that mirrors the heat of Tubman with the cool of a contrapuntal vibe. The powerful mix of the concerto unfolds most tellingly in "Down Shift/Ascension" and in "Night Master/Ascension." Soloists seem to do battle with the ensemble, but creating diametrically opposed characters in the music. In the former sequence, the screaming glissandos of the turntablists burn through the seemingly chaotic ensemble playing behind them. In the latter, Miles is aglow in the bronzed heat of what is set as his musical backdrop, by the rest of the players. Much is being made of Harriet Tubman's channeling the spirit of John Coltrane's 1965 Ascension (Impulse!), as well as Ornette Coleman's Free Jazz (Atlantic, 1960), recorded five years earlier (coincidentally also played by a double trio). But there is another consideration to be made here: both the inspirational artists reached for beyond the realm of acceptable norms of the music of the day, in their day. Harriet Tubman does much the same as its members break the mold of 21st Century music as well. In doing so, the collective improvisation of its musical constituents succeeds in creating an exciting new musical canvas featuring molten textures, dripping with an expanded palette of colors as the music of Ascension sails into the stellar regions of mind and universe.~Raul D'Gama Rose https://www.allaboutjazz.com/ascension-harriet-tubman-sunnyside-records-review-by-raul-dgama-rose.php

Personnel: Brandon Ross: guitar; Melvin Gibbs: bass; JT Lewis: drums; Ron Miles: trumpet; DJ Logic: turntables; DJ Singe: turntables.

Ascension

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John Lewis & Helen Merrill - Django

Styles: Piano, Vocal
Year: 1976
File: MP3@320K/s
Time: 41:05
Size: 94,3 MB
Art: Front

(5:14) 1. Django
(4:19) 2. I Didn't Know What Time It Was
(5:05) 3. Angel Eyes
(3:35) 4. Close Your Eyes
(2:53) 5. Alone Together
(4:53) 6. Yesterdays
(4:35) 7. The Singer
(5:15) 8. How Long Has This Been Going On?
(5:12) 9. Mad About the Boy

A wonderfully moody album from singer Helen Merrill recorded with backing by pianist John Lewis, in an overall feel that's got some of the styles that Lewis forged with the Modern Jazz Quartet! The tunes are familiar ones, mostly, but arranged in a style that's got wonderfully sad and somber touches really bringing out the best of the dark qualities in Merrill's vocals. Backing is by a quartet with Lewis, Richard Davis, Hubert Laws, and Connie Kay and titles include "Close Your Eyes", "I Didn't Know What Time It Was", "The Singer", "Yesterdays", "How Long Has This Been Going On", "Mad About The Boy", and "Django". © 1996-2020, Dusty Groove, Inc. https://www.dustygroove.com/item/468846/Helen-Merrill-John-Lewis:Helen-Merrill-John-Lewis-aka-Django

Personnel: Piano – John Lewis (2); Vocals – Helen Merrill; Bass – Richard Davis (2); Drums – Connie Kay; Flute – Hubert Laws

Django

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Pia Zadora - Let's Dance tonight

Styles: Vocal
Year: 1984
File: MP3@320K/s
Time: 40:06
Size: 92,6 MB
Art: Front

(6:08) 1. When the Rain begins to fall
(4:05) 2. Little bit of Heaven
(3:06) 3. Real Love
(6:40) 4. Follow my Heartbeat
(4:49) 5. Let's dance Tonight
(3:26) 6. Clapping Song
(3:38) 7. Substitute
(3:19) 8. You bring out the Lover in me
(4:52) 9. Rock it out

Pia Zadora (born May 4, 1954) is an American actress and singer. After working as a child actress on Broadway, in regional theater, and in the film Santa Claus Conquers the Martians (1964), she came to national attention in 1981 when, following her starring role in the highly criticized Butterfly, she won a Golden Globe Award as New Star of the Year.Though Zadora had drawn critics' hostility as an actress, she attained success in Europe as a singer, and had several hit singles throughout the world. In 1984, she received a nomination for a Grammy Award for Best Female Rock Vocal Performance for the song "Rock It Out". Her cover of the Shirley Ellis hit "The Clapping Song", which was recorded for the film score of The Lonely Lady, reached the U.S. Top 40 in 1983, and she had a hit duet with Jermaine Jackson titled "When the Rain Begins to Fall" in 1984 from the movie Voyage of the Rock Aliens. A minor hit in the United States, the song reached No. 1 in some European countries. It was another prominent native of Hoboken, Frank Sinatra, who, taking Zadora under his wing in the middle 1980s, encouraged her to record albums consisting primarily of standards. She released Pia & Phil, an album of standards with the London Philharmonic Orchestra in 1985, and recorded a follow-up album titled I Am What I Am shortly after.

In 1988, she worked with producers Jimmy Jam and Terry Lewis on an album entitled When the Lights Go Out. The single "Dance Out of My Head" did not chart despite the top producers and club remixes by Shep Pettibone and Ben Liebrand. The album was released only in Europe. In 1989 she recorded the album Pia Z with producer Narada Michael Walden; this also did not chart. The single "Heartbeat of Love" included club remixes by Robert Civillés and David Cole of C + C Music Factory. A further album of standards entitled Pia Today! was recorded; this received a limited promotional release. Later in 1994, Zadora played a small role in Naked Gun 331/3: The Final Insult, in the final act in a comedy sketch as she sang at the Oscars. In this segment, she performed the Steve Allen-penned "This Could Be the Start of Something Big" during a parody of an Academy Awards musical number. A compilation, The Platinum Collection, was released at this approximate time and sold via "infomercials" in the US. It included repackaged versions of Pia & Phil, I Am What I Am, and Pia Today! Another CD of standards, Only for Romantics, was also recorded, but as May 2012 came to a close, it was scarce and only promotional copies were available. https://www.last.fm/music/Pia+Zadora/+wiki

Let's Dance tonight

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Amedeo Ariano, Luca Bulgarelli & Francesca Tandoi - Triplets

Styles: Contemporary Jazz
Year: 2018
File: MP3@320K/s
Time: 41:01
Size: 95,4 MB
Art: Front

(4:43) 1. FSR
(4:33) 2. The Sheik of Araby
(5:04) 3. You Don't Know Me
(4:03) 4. I Didn't Know What Time It Was
(6:00) 5. I Thought About You
(5:36) 6. Body and Soul
(4:46) 7. Bulgariantandoj
(6:13) 8. When Sunny Gets Blue

Percfest presents Triplets, a pulsating and swinging trio led by one of the top drummers of the moment, Amedeo Ariano. In the trio, in addition to the eclectic and highly sought-after double bass player Luca Bulgarelli, the virtuoso pianist and refined singer Francesca Tandoi stands out. Considered by the public and critics among the best Italian drummers, Amedeo Ariano, thanks to his musical versatility, boasts collaborations with international jazz players, including George Coleman, Johnny Griffin and Benny Golson and Italian Pop artists such as the pianist singer-songwriter Sergio Cammariere, with which Lucio Dalla and Renzo Arbore have been collaborating for 20 years. Amedeo Ariano has chosen the trio formula for this recording work, making use of two acclaimed talents of the contemporary jazz scene: Luca Bulgarelli on double bass and Francesca Tandoi on piano and voice. The result is an engaging and sparkling trio that combines the experience of Ariano and Bulgarelli, who have been playing together for over twenty years, with the young talent of Tandoi, a Roman pianist, but Dutch by adoption, who despite her young age boasts a career as a jazz veteran alongside the jazz elite. The understanding and musical enjoyment are one of the predominant characteristics of Triplets and the interplay is palpable from the first song. Triplets is a musical journey that starts from tradition to arrive at more modern languages, with a fun spirit and the desire to convey many emotions, both sweet and sometimes bitter, just like in life, but always "swinging" and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, The understanding and musical enjoyment are one of the predominant characteristics of Triplets and the interplay is palpable from the first song. Triplets is a musical journey that starts from tradition to arrive at more modern languages, with a fun spirit and the desire to convey many emotions, both sweet and sometimes bitter, just like in life, but always "swinging" and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, The understanding and musical enjoyment are one of the predominant characteristics of Triplets and the interplay is palpable from the first song. Triplets is a musical journey that starts from tradition to arrive at more modern languages, with a fun spirit and the desire to convey many emotions, both sweet and sometimes bitter, just like in life, but always "swinging" and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, but always “swinging” and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, but always “swinging” and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, it will be available digitally from 13 June and from 11 July in all music stores, in various countries, such as the UK, USA, Australia and Taiwan.Translate By Google http://www.percfest.it/triplets/

Personnel: Piano – Francesca Tandoi; Double Bass – Luca Bulgarelli; Drums – Amedeo Ariano; Vocals – Francesca Tandoi (tracks: 3,8)

Triplets

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John Scofield - Bar Talk

Styles: Guitar Jazz
Year: 1980
File: MP3@320K/s
Time: 39:18
Size: 90,3 MB
Art: Front

(7:03) 1. Beckon Call
(6:11) 2. New Strings Attached
(6:49) 3. Never
(6:36) 4. How to Marry a Millionaire
(6:56) 5. Fat Dancer
(5:40) 6. Nature Calls

1980's Bar Talk features a young John Scofield already showing the virtuosity on guitar that subsequently made him a giant in his field. Scofield who honed his chops with artists like Miles Davis, Gerry Mulligan, Pat Metheny, Chick Corea, Chet Baker, and Charles Mingus displays his talents here as both a player and composer. Scofield is joined in the venture by Steve Swallow on bass and Adam Nussbaum on drums a perfectly balanced trio. The Connecticut-born Scofield, who studied jazz at the renowned Berklee School of Music in Boston, spent much of his professional life gigging in Europe. This recording was made by the trio during one of its European tours. The album was well received at the time of its printing in 1980. Its influence has grown, becoming a jazz guitar classic, often listed as a favorite recording by professional critics, other musicians, and fans alike. Most of the songs are penned by Scofield himself. Steve Swallow contributed one tune, the elegiac "Never." The songs are long enough to allow the music to develop, with each musician taking his turn in the jazz conversation. "Fat Woman," "New Strings Attached," and "How to Marry a Millionaire" give the listener a good sampling of the capabilities of these musicians as they morph through a range of moods and colors. The set ends with "Nature Calls," a nod to the double-entendre titles for which Scofield is known. The musician likes to joke around and have fun, but make no mistake, John Scofield is serious about his music.~ Rose of Sharon Witmer https://www.allmusic.com/album/bar-talk-mw0000880104

Personnel: John Scofield - electric guitar; Steve Swallow - bass; Adam Nussbaum - drums

Bar Talk

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Sant Andreu Jazz Band/Joan Chamorro - Jazzing 7

Styles: Jazz, Big Band
Year: 2017
File: MP3@320K/s
Time: 78:42
Size: 183,1 MB
Art: Front

(4:14) 1. Almost Like Being in Love
(3:41) 2. Sunset Glow
(2:54) 3. Bli Blip
(6:36) 4. Recado Bossa Nova
(5:28) 5. I’d be There
(3:14) 6. O Barquinho
(3:31) 7. Unchain My Heart
(5:48) 8. Triste
(3:46) 9. Louisiana Fairy Tale
(7:39) 10. Quasimodo
(5:50) 11. Social Call
(6:11) 12. Ruby My Dear
(6:27) 13. Laura
(3:08) 14. After You’ve Gone
(6:12) 15. Just a Closer Walk With Thee
(3:57) 16. Since You've Been Gone

«The learning of music is infinite… I always think that we can do things better, without ceasing to enjoy what we do.
When you work with such young musicians it is very important what you teach, yet it’s even more important what you can convey and how you do it, because this will be what makes them want to do music on their own, in an intense, passionate and exciting way.» ~ Joan Chamorro https://santandreujazzband.bandcamp.com/album/jazzing-7

Personnel: Luigi Grasso, Enrique Oliver, Ignasi Terraza, Josep Traver, Esteve Pi, Toni Belenguer, Eva Fernández and Magali Datzira

Jazzing 7

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Patrick Deltenre, Ivan Paduart - Hand in Hand

Styles: Guitar and Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 55:48
Size: 128,0 MB
Art: Front

(4:59) 1. Menorca
(6:26) 2. Aperoses
(7:08) 3. Pigeons
(5:00) 4. Hand in Hand
(6:59) 5. La Grazia
(4:42) 6. Lianes
v (4:36) 7. Draisiennes
(5:02) 8. Fringale Matinale
(5:53) 9. Mignardises
(4:59) 10. Ravioli's Blues

Hand in Hand is the latest release from Belgium based duo Ivan Paduart and Patrick Deltenre. According to the press release that accompanied this album, the album title Hand in Hand “…contains two meanings. Firstly, of course, it reflects the artists’ collaboration as a duo; two creative individuals pursuing a musical goal together. Secondly, it is the combination of two harmonic instruments; their sounds are interwoven in such a way that individuality is maintained, while at the same time, a genuine dialogue is created rather than simple musical duplication.” On first listening, I would have to agree with this statement and to continue the analogy I would go so far as saying that these musicians fit together like a “hand in glove”......More... https://jazzineurope.mfmmedia.nl/2018/12/cd-review-ivan-paduart-and-patrick-deltenre-hand-in-hand/

Personnel: Ivan Paduart, Piano | Patrick Deltenre, Guitar

Hand in Hand

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Enrico Rava - The Pilgrim And The Stars

Styles: Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 39:45
Size: 91,5 MB
Art: Front

(9:45) 1. The Pilgrim And The Stars
(1:48) 2. Parks
(9:20) 3. Bella
(5:15) 4. Pesce Naufrago
(1:55) 5. Surprise Hotel
(4:49) 6. By The Sea
(6:50) 7. Blancasnow

In celebration of its fortieth anniversary, ECM has initiated a program called Touchstones in which forty albums recorded from 1971-1993 have been reissued. The program has been designed both to allow collectors to fill in missing releases and to introduce new listeners to a wide range of the music that has defined the "ECM sound." Many of those chosen have been out of print or not readily available in the United States, including trumpeter Enrico Rava's debut album The Pilgrim And The Stars, which has never been available as a CD in the United States. As fascinating as jazz can be by the seemingly endless creation of the new and heretofore unheard, a reissue of a currently hard-to-acquire album allows for the old(er) to be experienced as new. While Western classical music measures its history in centuries, jazz does so in decades. The Pilgrim And The Stars, recorded in 1975, is from ECM's first decade of existence, and presents early performances of guitarist John Abercrombie, bassist Palle Danielsson, and drummer John Christensen, the latter two of whom were members of pianist Keith Jarrett's "European Quartet"see Belonging (ECM, 1974). The music itself sounds remarkably fresh today, which is just an indication that good music is timeless and rises above any stylistic constraints of its era. The compositions, all by Rava (with Graciela Rava added for "By The Sea") vary widely, allowing for an attractive pacing and flow. Overall, there is a strong feeling of each individual performer's freedom intersecting, reacting with, and responding to the group sound of the moment, always, colored, however, by the free romanticism of Rava's trumpet.

Although the album is obviously Rava's through his compositions and trumpet playing, Abercrombie very nearly steals the record with his intense, flying, and completely unpredictable solos, as well as his lush and well-placed, sharp accompaniment. While all of the tracks have something to offer, the title track and "Bella," besides being the longest, are standouts. Constructed similarly, their opening, rubato sections offer beauty and grace, before the band takes off in the middle, extended sections. It is here that Abercrombie, particularly in "Bella," shines, practically searing the speakers and eliciting a "woo," presumably from Rava. Danielsson and Christensen, as the rhythm section, are easily taken for granted since their playing is so highly attuned both to each other and to the rest of the band, pushing and pulling the music along. The Pilgrim And The Stars is a most welcome reissue regardless of perspective, being very alive, vibrant, and simply great music jazz at its best.~ Budd Kopman https://www.allaboutjazz.com/the-pilgrim-and-the-stars-enrico-rava-ecm-records-review-by-budd-kopman.php

Personnel: Enrico Rava: trumpet; John Abercrombie: guitar; Palle Danielsson: bass; Jon Christensen: drums.

John Abercrombie & Don Thompson - Witchcraft

Styles: Guitar, Post Bop
Year: 1991
File: MP3@320K/s
Time: 60:04
Size: 138,9 MB
Art: Front

(5:59) 1. Everything I Love
(5:33) 2. Sometime Ago
(6:04) 3. Witchcraft
(8:50) 4. My Foolish Heart
(6:12) 5. Fall Colours
(5:56) 6. I'm Getting Sentimental Over You
(5:41) 7. Peace
(7:01) 8. You'd Be So Nice To Come Home To
(8:43) 9. You Don't Know What Love Is

For followers who bemoan guitarist John Abercrombie's tendency to record rather adventurous albums with an often electronically treated tone, Witchcraft will be a delight. On this duo recording with bassist Don Thompson (who also plays piano on three tracks), the guitarists' sound is untreated, and the repertoire is standards. The two play well together, and there are some lovely moments on the record. The title track finds Abercrombie using the differing tonal qualities of his guitar's open strings to give the melody a unique interpretation. The sole original on the record, "Fall Colours" (credited to both writers, although the Canadian spelling may reveal the true author), is based on the standard "Autumn Leaves." Abercrombie sounds fine here, if at times pretty rather than substantial. He prefers to play in long single-note lines, rather than taking the more chordal approach many guitarists attempt in such a stripped-down setting. Thompson is a highly interactive bass player with enviable technique, allowing him to play melodic, fluid solos throughout. There seem to be several sound problems on Witchcraft; the recording level is very low, and a rattling sound often accompanies the musicians' louder notes, which grows to be quite distracting on repeated listenings.~ Dan Cross https://www.allmusic.com/album/release/witchcraft-mr0000352205

Personnel: John Abercrombie - guitar; Don Thompson; double bass, piano

Witchcraft

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Pia Zadora - Only For Romantics

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 44:05
Size: 101,3 MB
Art: Front

(4:24) 1. But Beautiful
(3:42) 2. The Man I Love
(4:47) 3. When Your Lover Has Gone
(3:12) 4. I Should Care
(2:53) 5. The More I See You
(4:39) 6. Stormy Weather
(4:10) 7. The Very Thought Of You
(3:45) 8. April Showers
(3:38) 9. These Foolish Things
(5:25) 10. The End Of A Love Affair - How About Me
(3:25) 11. Our Love Is Here To Stay

Often derided by critics in the early '80s for her starring roles in bad movies, Pia Zadora found more respect as a singer. A former child actress, Zadora became a favorite target for film reviewers who argued that her acting career was the result of being married to multimillionaire Meshulam Riklis. (Her Golden Globe award in 1982 was even investigated.) Although Zadora didn't release her first LP, Pia, until 1982, her first recording actually appeared nearly two decades earlier. In 1964, a prepubescent Zadora sang "Hooray for Santa Claus" on the soundtrack to Santa Claus Conquers the Martians. Later, in 1983, "The Clapping Song" from Pia hit number 36 on the Billboard charts. Much of Zadora's best adult music work involved covering big band and pop standards. After Zadora toured with crooner Frank Sinatra in the early '80s, he began to heavily influence the material she was performing. For 1985's Pia & Phil, she was even backed by the London Philharmonic Orchestra. Zadora collaborated with Jermaine Jackson for a modern sound; moreover, in 1988, R&B hitmakers Jimmy Jam & Terry Lewis produced her album When the Lights Go Out, but it was only distributed in the U.K. When the Lights Go Out was followed by Pia Z. in 1989, which marked Zadora's return to the U.S. market.~ Michael Sutton https://www.allmusic.com/artist/pia-zadora-mn0000846557/biography

Only For Romantics

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Jimmy Witherspoon with Brother Jack McDuff - The Blue is Now

Styles: Jazz Blues
Year: 1967
File: MP3@320K/s
Time: 33:08
Size: 76,6 MB
Art: Front
(3:53) 1. Sweet Slumber
(2:48) 2. I'm Gonna Move to the Outskirts of Town
(4:23) 3. Past Forty Blues
(2:25) 4. S.K. Blues
(3:03) 5. Late One Evening
(3:31) 6. Part Time Woman
(2:17) 7. Good Rocking Tonight
(5:20) 8. I Won't Tell a Soul
(3:13) 9. My Baby's Quit Me
(2:11) 10. My Money's Long This Morning, Baby

Jimmy Witherspoon recorded a series of excellent albums for Verve in the late '60s. Unfortunately, these have not received the attention they deserve, and are frequently relegated in Witherspoon's huge catalog. The Blues Is Now is arguably the finest of these recordings, and Witherspoon's voice is in top form and hugely expressive. Like all of the artist's albums of the decade, it's not the most consistent of listening experiences, but that's of little interest when songs and performances are as good as "My Baby's Quit Me" and Witherspoon's own "Late One Evening." A light-night blues classic, this is Witherspoon at his most relaxed and assured and is a joy to listen to.~ Thomas Ward https://www.allmusic.com/album/the-blues-is-now-mw0000312591

Personnel: Jimmy Witherspoon — Vocals; Jack McDuff — Organ; Danny Turner — Flute, Sax (Alto), Sax (Tenor); Leo Johnson — Flute, Sax (Tenor); Melvin Sparks — Guitar; Jymie Merritt — Bass; Ray Appleton — Drums

The Blue is Now

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Sant Andreu Jazz Band & Joan Chamorro - Jazzing 8 Vol. 1

Styles: Jazz, Big Band
Year: 2018
File: MP3@320K/s
Time: 71:14
Size: 166,2 MB
Art: Front

(6:36) 1. The Elder
(4:06) 2. What's New
(3:40) 3. Lousiana Fairy Talev
(2:28) 4. Mike's Peak
(5:09) 5. Doralice
(1:56) 6. Blues in Hoss' Flat
(5:37) 7. Big Dipper
(4:26) 8. Baby, You've Got What It Takes
(5:00) 9. Souvenir
(5:30) 10. Bebop
(3:38) 11. A Kiss to Build a Dream
(2:38) 12. Jubilee Stomp
(5:15) 13. Our Love is Here to Stay
(3:12) 14. This Could Be the Star of Somethin
(4:14) 15. Just You, Just Me
(7:42) 16. Count Bubba

Jazzing 8, vol. 1 is the first of 3 volumes: This new work, although it includes many vocal themes, also contains so many instrumental themes in which the increasingly numerous soloists of the orchestra have their opportunity to share their creativity, their ability to generate their own discourse, in a continuous evolution. https://jazztojazz.com/en/product/jazzing-8-vol-1/

Jazzing 8 Vol. 1

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Dee Dee Lavell - Sanctified

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 44:47
Size: 103,6 MB
Art: Front

(1:01) 1. Hallelujah
(3:45) 2. Precious Lord Take My Hand
(4:30) 3. Bless the Lord
(3:49) 4. Near to the Heart of God
(5:43) 5. Turn Your Eyes Upon Jesus
(4:11) 6. He Will Wash You White as Snow
(4:07) 7. His Eye Is on the Sparrow
(5:57) 8. Right Here, Right Now
(7:27) 9. Jesus Loves Me / Oh How He Loves You and Me
(4:12) 10. Amazing Grace

SOUL, PASSION, CHARISMA & FIRE are words used to describe the voice of Dee Lavell. A well seasoned performer with over 20 yrs experience on stage as well as in the studio. Dee returned to Australia in 2010 from living in Los Angeles for 8 yrs, and is hitting the Australian music scene once again. Originally from Sydney, Dee was a member of the soul/funk group THE HONEYBEES along with Belle Hendrik and Tina Harrod. She was also a part time member of MOTHER JIVE with the fabulous, Liza Ohlback and Chiara Browne. Dee also headed up her own band, TOTALLY FUNKED UP with Calvin Welch & Eric Johns Rasmussen. In Los Angeles, Dee worked with former members of India Arie, Nika Costa, Barry White, Macy Gray, Stevie Wonder, and even former Motown producers, Frank Wilson, Clay Drayton and Laythan Armor. Dee released this gospel album in 1995, entitled Sanctified. The Lavell family has a legacy of music, including niece Joanna Lavell and nephew Greg Lavell who are both making names for themselves in the Melbourne music scene. https://www.ihearmusic.com/77/dee-lavell/sanctified/

Sanctified

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