Barbara Lea, Keith Ingham - Fine and Dandy

Styles: Vocal And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 67:16
Size: 155,8 MB
Art: Front

(4:32) 1. Mah Lindy Lou
(3:42) 2. When in Rome
(4:27) 3. Fine and Dandy
(2:30) 4. I Dream Too Much
(4:59) 5. Killing Time / One Second Thought
(3:12) 6. Blue Again
(3:20) 7. Come to Baby, Do
(3:48) 8. How High the Moon
(3:09) 9. Walking by the River
(3:02) 10. Pettin' and Pokin'
(2:43) 11. Love Is a Simple Thing
(3:27) 12. My Silent Love
(2:39) 13. I'd Rather Call You Baby
(4:22) 14. The Morning After
(3:36) 15. Just a Little Lovin'
(3:48) 16. Lost in a Fog
(2:53) 17. How Little We Know
(4:01) 18. Lullaby of the Leaves
(2:57) 19. Pick Yourself Up

Vocalist Barbara Lea thought that women songwriters (both composers and lyricists) have never gotten sufficient exposure for their overall contributions, so she decided to devote an entire CD to works by women songwriters. Accompanied by the talented pianist Keith Ingham, Lea explores songs from several decades, both familiar and obscure. Lea has been singing for decades, yet has been unjustly overlooked. Yet her pitch is still right on the money over five decades after her debut. Lily Strickland composed "Mah Lindy Lou," a now overlooked gem from the 1920s, as Lea sings it with a simple elegance, backed by Ingham's quietly striding piano. One of the best known songs heard on this disc is Kay Swift's hit "Fine and Dandy," taken at a leisurely tempo by Lea, who also restores the frequently omitted verse.

Bernice Petkere's "Lullaby of the Leaves" has long been popular with instrumentalists, though singers tend to overlook it; Lea savors ever word of Joe Young's lyrics. Ella Fitzgerald is probably the best known performer of hundreds of vocalists and instrumentalist to record "How High the Moon," but Lea comfortably makes it her own, once again restoring the omitted verse before delivering a warm rendition at a relaxed tempo. The playfulness of pianist Una Mae Carlisle's "Walking by the River" suggests the influence of Fats Waller. But the most hilarious track is Lora Lee's lively "Pettin' and Pokin'," a wild romp about a noisy couple. Every track is of interest and it would make sense for Barbara Lea and Keith Ingham to record a similar songbook representing similar songwriters whose work is not represented on this excellent CD.~Ken Dryden https://www.allmusic.com/album/release/fine-and-dandy-mr0001606371

Personnel: Vocals – Barbara Lea; Piano – Keith Ingham

Fine and Dandy

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Louis Armstrong - Disney Songs The Satchmo Way

Styles: Trumpet, Vocal
Year: 1968
File: MP3@320K/s
Time: 31:33
Size: 74,0 MB
Art: Front

(2:22) 1. Zip-A-Dee-Doo-Dah
(2:47) 2. Ten Feet Off The Ground - From "The One and Only Genuine Original Family Band"
(2:37) 3. Heigh-Ho (The Dwarf's Marching Song)
(1:56) 4. Whistle While You Work
(6:41) 5. Chim Chim Cher-ee
(2:08) 6. Bibbidi-Bobbidi-Boo
(2:53) 7. 'Bout Time
(3:15) 8. The Ballad of Davy Crocket
(2:26) 9. The Bare Necessities
(4:25) 10. When You Wish Upon A Star

This delightful set features Louis Armstrong in 1968 (not 1966 as it states in the liners) performing ten tunes associated with Disney films. One may not expect much from such songs as "Zip-A-Dee-Doo-Dah," "Whistle While You Work," and "The Ballad of Davy Crockett," but Armstrong's joyful vocals and occasional emotional trumpet really uplift the material. His rendition of "When You Wish Upon a Star" is touching, and few of the songs (including "The Bare Necessities" and "Heigh-Ho") have never sounded livelier and more fun.~ Scott Yanow https://www.allmusic.com/album/disney-songs-the-satchmo-way-mw0000196552

Personnel: Louis Armstrong – trumpet, vocals

Disney Songs The Satchmo Way

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Eddie Daniels - Night Kisses: A Tribute To Ivan Lins

Styles: Clarinet, Flute, Tenor Sax
Year: 2020
File: MP3@320K/s
Time: 71:40
Size: 166,2 MB
Art: Front

(6:40) 1. A Voz Do Povo
(4:26) 2. Pano de Fundo
(5:09) 3. Mãos de Afeto
(4:24) 4. D'Aquilo Que Eu Sei
(6:01) 5. Velas Içadas
(4:47) 6. Dinorah, Dinorah
(5:02) 7. Cantor Da Noite
(6:38) 8. Quadras De Roda: O Passarinho Cantou
(4:23) 9. Amor
(6:03) 10. Lembra
(5:46) 11. Depois dos Temporais
(7:21) 12. A Noite
(4:53) 13. Ivante

Ever since the first wave of Jobim and Gilberto mania broke, the world has gratefully bathed in the inexhaustible flow of melody that emanates from Brazil. Ivan Lins is one of the Brazilian composers to have made a deep impression on the jazz world, along with Milton Nascimento, Edu Lobo, Dori Caymmi and Egberto Gismonti, (to whom Daniels recorded a tribute in 2018). Mark Murphy devoted an entire album (1986’s Night Mood) to the songs of Lins, and it’s easy to see why the Brazilian’s often melancholy compositions appealed to Murphy. The songs here are all from a relatively short but turbulent period 1977 to 1983 during which Brazil chafed under a brutal American-backed military dictatorship.

As the title suggests, this new album is a labour of love headed up by veteran clarinettist, flautist and saxophonist Eddie Daniels, whose pure, liquid tone cascades through every track. It should be said that lovers of cutting edge jazz are not the target audience for Night Kisses: there’s no dissonance, no tension it’s all melody, sweetened yet further by the Harlem Quartet string ensemble, who not only provide a soothing pad for Daniels and the rhythm section, but also sometimes offer a pseudo-classical introduction to the arrangements, as on A Noite. Piano duties are shared between Josh Nelson, Kuno Schmid, Dave Grusin and Bob James, each of whom has also arranged at least two of the tunes. Kevin Axt is the bass player, and Mauricio Zottarelli is on drums.

Personal favourites here include the opener A Voz Do Povo (The People’s Voice), which alternates between bossa and swing, and features great soloing from Daniels on flute and Nelson on piano. Of course, in any collection there will be absences: surprisingly there’s no sign here of Love Dance or Começar de Novo better known as The Island and it would have been nice to hear a Daniels version of Antes Que Seja Tarde (Before We Lose Tomorrow). But we do get Velas Içadas (Hoisted Sails) and Lembra. Curiously, the comprehensive and detailed sleeve notes, written by Daniels, Lins and label boss George Klabin, make much of Vitor Martins’ lyrics to the original compositions, and the danger he and Lins faced in writing songs which were seen at the time as subversive. “We used to have censors following us all the time and cutting our lyrics,” writes Lins. The two were forced to use a lot of metaphor to avoid expressing themselves too openly. “One trick was, write more lyric than you need because the censor needed to cut something. If they cut, they were happy.” The booklet even devotes many pages to the English translations of Martins’ lyrics. But although the songs were written to be sung, the album itself is entirely instrumental, and combined with its super-smooth arrangements, it’s all a little too rich and sugary, and rather lacking in the emotional punch that the human voice can provide.~Peter Jones https://londonjazznews.com/2020/10/22/eddie-daniels-night-kisses-a-tribute-to-ivan-lins/

Personnel: Eddie Daniels, clarinet, flute, tenor saxophone; Kuno Schmid, Bob James (10, 13), Dave Grusin (3, 11, 13), Josh Nelson (1, 8, 12), keyboards; Harlem Quartet, strings; Kevin Axt, bass; Mauricio Zottarelli, drums.

Night Kisses: A Tribute To Ivan Lins

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Ahmad Jamal - A Quiet Time

Styles: Piano
Year: 2009
File: MP3@320K/s
Time: 66:34
Size: 153,5 MB
Art: Front

(4:56) 1. Paris After Dark
(4:02) 2. The Love Is Lost
(7:45) 3. Flight to Russia
(6:02) 4. Poetry
(8:20) 5. Hi Fly
(5:15) 6. My Inspiration
(6:26) 7. After JALC (Jazz at Lincoln Center)
(6:33) 8. A Quiet Time
(7:23) 9. Tranquility
(4:29) 10. The Blooming Flower
(5:18) 11. I Hear a Rhapsody

Pianist Ahmad Jamal continues his career-long winning streak with A Quiet Time. The album expands on a stream of superb, post-mid 1990s releases made with largely the same working band: the Verve label's three-part The Essence series (1996-98), followed by Dreyfus' In Search of Momentum (2003), After Fajr (2005) and the excellent It's Magic (2008), among others. Jamal has achieved living legend status by constantly evolving and refining his sound throughout these albums, going well beyond the influential work that established his unique piano artistry and innovative trio conception back in the 1950s.

Jamal's longtime bandmates, bassist James Cammack and percussionist Manolo Badrena, remain in the mix on A Quiet Time. The drum throne previously held by an intimidating list of stars beginning with Vernel Fournier and, most recently, Idris Muhammad is newly filled by Kenny Washington - Vocals. Despite not sounding as immediately distinctive as his predecessors, Washington is a highly skilled expert with deep swing and a driving yet subtle style.

The album features nine original Jamal songs, mostly composed since 2000, as well as versions of the standard "I Hear a Rhapsody" and fellow piano giant Randy Weston's classic "Hi-Fly." Opening with the brisk stroll of "Paris After Dark," Jamal's instantly familiar warmth emanates from the stereo, the tune's smooth groove intercut with rubato passages in a tightly controlled but loosely interpreted orchestration. "The Love Is Lost" is a waltz spotlighting Badrena's nature-influenced, coloristic playing; understated brushwork from Washington and the sinewy tones of Cammack's bass lift the song to an ultimate definition of swing.

"Flight to Russia" is full of bluesy twists, energized pursuits and escapades into strange territory, all while remaining focused in its many transitions. Washington's presence is light yet funky throughout, and the track is punctuated by Jamal's signature use of space. An exclamation point of an ending is tempered by Manolo's bell ringing out hauntingly. "Poetry" begins as an otherworldly reverie; impressionistic, but sharp and quick-witted. Sparkling metallic percussion from Badrena captures the ear, cushioned by Washington's slippery cymbal rolls as Jamal plays some sensual blues. The band dives and spirals around a tonal center, and the ending tag always a speciality of Jamal's bands could be considered straight-up avant-garde. Silence, alternating with Jamal's distant rumbling bass notes, is pierced by the ghostly groans of Badrena's scraped metal.

It's a total thrill to hear the collision of two masterminds on "Hi Fly," with Jamal's interpretation of the well-known Weston theme giving a voice to the pianists' common roots and mutual respect. A New Orleans vibe is well-represented (as expected from Jamal), with a second-line vamp supporting the distinctive phrasing of the melody. Washington takes a killer solo, heightened by the comping of Cammack's heavy bass line and Jamal's twinkling, fractured patterns.

A trio of tunes keeps things on the mellow side. The delicate, bossa-flavored "My Inspiration" matches the title track's mood. "A Quite Time" has the kind of funky, slow-burning pocket that hip-hop heads like Dilla and Madlib would surely appreciate, with a double-time midsection and Badrena's jungle bird calls adding Latin flair. "The Blooming Flower" is likewise a lush tone portrait, built on a powerful bass line, Washington's mallets, and Jamal's elegant musings.

Things heat up on "After JALC," which sways with a hard-walking bass and ride cymbal feel in 4/4 that locks infectiously with a surging 6/8 shaker pattern. The form transitions to a solo Jamal section, where the pianist utilizes classical-derived techniques to get baroque and rapturous. The suite-like, multiple movements of the meditative piece suggest the long-form strategies of the Jazz at Lincoln Center Orchestra, with whom Jamal collaborated in a September 2008 concert in New York.

"Tranquility" is not necessarily a match for its title; instead, it cooks at a dynamic, medium sizzle spiced with African-infused rhythms. Revised from its original appearance on Jamal's 1968 Impulse! album of the same name, this track finds the band pulsating as one breathing organism, and concludes in a beautiful, lingering fade-out. The album closes as "I Hear a Rhapsody" is performed in a piano-bass duet. Jamal and Cammack are telepathic soulmates on this chestnut, that was originally a 1941 chart-topper for bandleader Jimmy Dorsey, and was first performed by Jamal himself on Rhapsody (Cadet, 1966).

The pianist's consistency for over 60 years track for track, album after album displays a remarkable individuality and integrity. As he continues his artistic progression on A Quiet Time, an engaging listen for all of its 66-plus minutes, Jamal proves again that his mastery is supreme.~Greg Camphire https://www.allaboutjazz.com/ahmad-jamal-a-quiet-time-by-greg-camphire.php

Personnel: Ahmad Jamal: piano; James Cammack: bass; Manolo Badrena: percussion; Kenny Washington: drums

A Quiet Time

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Brian Evans - Brian Evans Vol. 1 To Vol. 5

Size: 175,3+145,5+159,4+98,6+78,1 MB
Time: 76:05+62:59+69:07+42:43+33:51
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals, Big Band
Label: Brian Evans Music/BMI
Art: Front

CD 1:
01. Maui Moon (4:07)
02. I'm A Traveler (4:17)
03. Don't Worry, Be Happy (3:21)
04. She Drives Me Crazy (4:29)
05. The Lady In Red (4:32)
06. Creature (4:26)
07. Planet Blue (3:29)
08. Oh, Look At Me Now! (2:41)
09. At Fenway (2:29)
10. Fast Car, Nascar (3:05)
11. Jump (3:33)
12. Livin' La Vida Loca (3:54)
13. Cause I Love You (3:24)
14. What Kind Of Fool Am I (4:19)
15. Funny Familiar Forgotten Feelings (3:36)
16. Why Should I Cry Over You (2:14)
17. So Damn Beautiful (4:25)
18. Bum (4:08)
19. Blue Bayou (3:49)
20. Rocketman (5:34)

CD 2:
01. There You Are (2:25)
02. Baby Can I Hold You Tonight (3:18)
03. Experiences (3:03)
04. Smile (3:23)
05. I Believe (3:48)
06. The Love We Had (3:35)
07. Rainbow (4:19)
08. Family Doesn't Know Me (4:19)
09. Learnin' The Blues (3:06)
10. Momma Was Dad To Me (2:46)
11. Here You Come Again (3:18)
12. It Had To Be You (2:39)
13. Danke Schoen (2:00)
14. I'm Gonna Sit Right Down And Write Myself A Letter (4:05)
15. I Won't Dance (3:07)
16. Heaven's In The World (Feat. Bonnie Bramlett) (2:39)
17. Singing In The Rain (2:56)
18. Witchcraft (2:46)
19. The Last Waltz (2:56)
20. I've Got The World On A String (2:23)

CD 3:
01. I Could Have Danced All Night (Live) (2:25)
02. Where Or When (Live) (3:08)
03. Summerwind (Live) (3:35)
04. Why Should I Cry Over You (Live) (2:25)
05. Same Old Saturday Night (Live) (2:49)
06. Beyond The Sea (Live) (3:20)
07. Maybe This Time (Live) (4:33)
08. Angel Eyes (Live) (4:00)
09. Nice & Easy (Live) (3:49)
10. Lady Is A Tramp (Live) (2:38)
11. What A Wonderful World (Live) (4:57)
12. Mack The Knife (Live) (4:26)
13. Blue Velvet (Live) (4:44)
14. I Left My Heart In San Francisco (Live) (3:46)
15. All The Way (Live) (3:02)
16. Smile (Live) (3:27)
17. New York, New York (Live) (3:54)
18. My Way (Live) (8:01)

CD 4:
01. Everything Happens To Me (Feat. William Shatner) (5:48)
02. Mack The Knife (3:16)
03. Under My Skin (4:23)
04. Nice & Easy (4:23)
05. You (3:13)
06. That's Life (4:25)
07. I've Got The World On A String (2:41)
08. All The Way (2:59)
09. Maybe This Time (3:10)
10. New York, New York (3:19)
11. What Kind Of Fool Am I (Feat. William Shatner) (2:01)
12. The Lady Is A Tramp (Feat. William Shatner) (2:58)

CD 5:
01. Maui Moon (Live) (4:13)
02. Here You Come Again (Live) (3:17)
03. New York, New York (Live) (3:29)
04. Withcraft (Live) (2:55)
05. I Love Paris (Live) (1:33)
06. That's Life (Live) (4:00)
07. I'm A Traveler (Live) (3:46)
08. My Way (Live) (4:44)
09. The Lady Is A Tramp (Live) (3:09)
10. Star Spangle Banner (Live) (2:41)

Self-professed crooner Brian Evans has worn a lot of hats during his entertainment career, from author to actor, singer, and composer, with a little bit of con-man hustle thrown in. Evans grew up in Haverhill, Massachusetts, and early on he was introduced to big-band music, and was particularly fascinated by crooners like Frank Sinatra. He moved to Los Angeles in 1986 to pursue a career in the entertainment business, landing roles as an actor in commercials, in television series (Beverly Hills 90210 and Full House among them), and in New Line Cinema's Book of Love. As an author, he wrote an autobiography, Dreamer, in 1994, and was one of the writers and creators of the comic book series Horrorscope. As a singer, he has released several albums, mostly in Canada. In June of 1991 he was convicted of felony theft for impersonating radio personality Casey Kasem and charging nearly $3,000 to a Los Angeles travel agency in Kasem's name. Sentenced to six months probation, he violated that probation by leaving the state of California to sing the national anthem at an East Coast baseball game, a gambit that landed him in prison for a year. Upon release, he resumed his entertainment career. In 2004, he did an attention-grabbing left turn and ran a failed bid for the United States Senate in Hawaii as a politician. His major-label debut, My Turn, produced by Narada Michael Walden, appeared in 2013. ~by Steve Leggett

Brian Evans Vol.1, 2, 3
Brian Evans Vol.4, 5

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Alex Pangman - Alex Pangman's Hot Three

Size: 111 MB
Time: 16:37
File: FLAC
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Sweethearts On Parade (2:50)
02. It's The Talk Of The Town (3:11)
03. Sweet Lotus Blossom (2:46)
04. Blues My Naughty Sweetie Gives To Me (2:37)
05. You've Got The Right Key But The Wrong Keyhole (2:46)
06. Little White Lies (2:25)

Personnel:
Alex Pangman – Voix
Matt Rhody – Violon
Tom Saunders – Saxophone basse
Nahum Zdybel – Guitare

Dans l’esprit des pionniers du jazz, Alex a enregistré son nouvel album Alex Pangman’s Hot Three, directement sur une acétate 78 rpm sur une table portative Presto. Contrairement à la plupart des enregistrements contemporains, il n’y a pas de post-production ou d’ajouts d’effets possibles avec ce procédé, pas de correction d’erreurs non plus. Aucun artifice. Que du vrai et du direct.

"Nous avons expérimenté ce qu’auraient vécu les pionniers de l’enregistrement, sans casque et avec des instruments placés pour un son optimal, autour d’un seul microphone. Les tempos et les arrangements devaient être adaptés à un maximum de 3 minutes 15 secondes pour s’adapter à la stricte largeur du disque de 10 pouces. "raconte Alex." Et pas de tapotements autorisés, parce que les vibrations font sauter l’aiguille et gâchent une prise."

Alex Pangman's Hot Three

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Gramercy Six - Great Swinging Sounds

Styles: Jazz, swing
Year: 2018
File: MP3@320K/s
Time: 31:29
Size: 73,5 MB
Art: Front

(2:50) 1. Special Delivery
(2:47) 2. Cross Your Heart
(2:18) 3. Mullholland Drive
(3:16) 4. Keepin' Myself For You
(1:59) 5. Frenesi
(2:19) 6. Steppin' Out
(3:19) 7. Summit Ridge Drive
(2:55) 8. My Blue Heaven
(2:57) 9. Pyramid
(2:07) 10. Board Meeting
(3:01) 11. Smoke Gets In Your Eyes
(1:36) 12. Launching Pad

A cool jazz swing driven by largely by the harpsichord! Take Al Hendrickson on guitar, Nick Fatool on drums, the bass of Jud DeNaut, the tremendous talents of Ray Sherman on harpsichord, Shorty Sherock on trumpet, and Eddie Rosa on clarinet and the result is Great Swinging Sounds! Like nothing you’ve ever heard and perfect for your cocktail party. An early ’59 stereo marvel! https://sundazed.com/gramercy-six-great-swinging-sounds.aspx

Personnel: Bass – Jud Denaut; Clarinet – Eddie Rosa; Drums – Nick Fatool; Guitar – Al Hendrickson; Harpsichord – Ray Sherman; Trumpet – Shorty Sherock

Great Swinging Sounds

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Franco Ambrosetti Band - Lost Within You

Styles: Trumpet Jazz, Post Bop
File: MP3@320K/s
Time: 72:48
Size: 167,3 MB
Art: Front

(10:36) 1. Peace
( 7:12) 2. I'm Gonna Laugh You Right Outta My Life
( 6:52) 3. Silli in the Sky
( 7:35) 4. Love Like Ours
( 6:56) 5. Dreams of a Butterfly
(11:25) 6. Body and Soul
( 7:19) 7. People Time
( 7:42) 8. Flamenco Sketches
( 7:07) 9. You Taught My Heart to Sing

Lost Within You is a masterpiece of smoldering passion and beauty ignited by the exquisite trumpet and flugelhorn melodies of Franco Ambrosetti. Ambrosetti assembled an enviable ensemble: bassist Scott Colley and drummer Jack DeJohnette in the rhythm section, plus guitarist John Scofield, and Renee Rosnes and Uri Caine switching turns as pianist. But the star of Lost Within You is Ambrosetti's haunting, delicate and graceful sound, revealed in one masterful ballad after another. "Miles Davis was one of the great inspirations for that," Ambrosetti recalls. "From listening to Miles play ballads, I started to understand and I was able to go inside the ballad and play these long notes that he was playing. Miles showed me how you stretch the notes out like you're really singing or crying, and I think I can express my feelings better that way."

DeJohnette sketches an abstract introductory framework on piano to the opening "Peace," from which Ambrosetti's trumpet rises up like shimmering heat to meet and complete. When the rest of the ensemble settles in, the mood shifts from beautiful to transcendent jazz music. Solo drums curiously open the classic "Body and Soul," but bass and piano quickly settle down into a slow-rolling tempo and a mood that's both ballad and blue although DeJohnette insists on busting up the middle section with harder and sharper beats. Caine builds up funky blue offbeats and phrases and then crosses them together to build more complex melodies and harmonies in his solo. But Caine is only the second-best soloist here. Ambrosetti's sound thoroughly ghosts Davis' moody brooding: part smoldering anger, part aching sadness, part bitter loneliness, and part peaceful resignation. That's a lot to pack into a sound, but Ambrosetti does it.

Rosnes jumps in on "Flamenco Sketches," a landmark of Davis' work with pianist Bill Evans, and her melancholic deep touch is perfect for this mood and for highlighting Scofield's guitar alongside the Spanish tinges of this tune. Rosnes' thoughtful fire also polishes the middle piano trio section into a warm glow. McCoy Tyner's "You Taught My Heart to Sing" closes Lost Within You. A love song and the word "sing" are entirely appropriate to end a set of music like this. Rosnes, Scofield and Ambrosetti all stretch out in solos like housecats settling down for a nap, with Scofield's guitar drifting in and out of the blues and the leader's horn so softly but clearly articulating each note that it almost sounds like whispered speech.
~CHRIS M.SLAWECKI https://www.allaboutjazz.com/lost-within-you-franco-ambrosetti-unit-records3619

Personnel: Franco Ambrosetti: trumpet; John Scofield: guitar; Renee Rosnes: piano; Uri Caine: piano; Scott Colley: bass; Jack DeJohnette: drums; The Franco Ambrosetti Band: band/orchestra.

Lost Within You

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The Ronnie Scott's Club Quintet - The Sound of Soho

Styles: Straight-ahead/Mainstream
Year: 2016
File: MP3@320K/s
Time: 60:17
Size: 138,8 MB
Art: Front

( 7:07) 1. Stop the World, I Want to Get Off / Through the Night Roared the Overland Express
( 6:30) 2. A Pint of Bitter
( 6:32) 3. Yeah!
( 4:53) 4. Chelsea Bridge
( 6:32) 5. Alfie's Theme
( 4:55) 6. Half a Sawbuck
( 5:33) 7. Someday My Prince Will Come
( 3:06) 8. Exodus
(15:05) 9. Sister Sadie

'The Sound of Soho' was recorded live at Ronnie Scott's Jazz Club by The Ronnie Scott's Club Quintet. On this album the band pay tribute to some of the greats in the hard bop and soul jazz era. These legends of the music all performed at Ronnie Scott's and include Horace Silver, Sonny Rollins, Billy Strayhorn and Tubby Hayes. The Ronnie Scott's Club Quintet features James Pearson on piano, Alex Garnett on saxophone, Sam Burgess on bass, Freddie Gavita on trumpet and Chris Higginbottom on drums. The final track of the album also includes Brandon Allen on saxophone. This performances was recorded, mixed and mastered by Miles Ashton. https://www.propermusic.com/rsr002-the-sound-of-soho.html

Personel: Alto Saxophone, Tenor Saxophone – Alex Garnett; Bass – Sam Burgess; Drums – Chris Higginbottom; Piano, Producer – James Pearson; Trumpet – Freddie Gavita

The Sound of Soho

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The Swedish Swing Quartet - Stompin' and Flying

Styles: Jazz, Swing
File: MP3@320K/s
Time: 65:03
Size: 150,8 MB
Art: Front

(6:17) 1. Stompin' at the Savoy
(5:59) 2. Get Happy
(4:25) 3. If I Had You
(3:26) 4. Lover
(5:58) 5. It Could Happen to You
(5:01) 6. Old Folks
(5:34) 7. Limehouse Blues
(6:28) 8. It's the Talk of the Town
(6:10) 9. Lady Be Good
(4:41) 10. The Lady's in Love with You
(5:07) 11. Sweet Sue
(5:51) 12. Flying Home

In 1935 Benny Goodman put together the famous trio with Teddy Wilson at the piano and Gene Krupa on the drums. The first recordings resulted in an immense success. The concept of letting the left hand of the pianist work together with the bassdrum, in the absense of a bassplayer, and Goodmans joyful ease created an airy sound that brought fourth the elegant technique of the musicians and an ecceptional swingexperience. In 1936 vibraphonist Lionel Hampton was added to the group. This quartet became the model for the popular Swedish group that Ove Lind and Lars Erstrand put together. Ulf Johansson Werre overtook the pianostool from Bengt Hallberg and later Bjorn Sjodin inherited the drummer position from Ronnie Gardiner.

After the decease of Ove Lind Antti Sarpila joined the group. Now, after the decease of Lars Erstrand the group continues as the original, chambermusical trio with which Goodman set style in 1935. SWEDISH SWING SOCIETY (SSS) cares and develops this inheritance in a way that has given response among audiences and critics over the world. ”World class” is often mentioned when referring to the appearances of the group, for example at Carnegie Hall in New York at a celebration of the ational Day of Sweden.

”The interplay between Ulf, Antti and Bjorn is brilliant.It sounds so easy and natural when these musicians make their elegant and swinging versions that it puts You in a great mood.”http://www.bjorntjanst.com/SwedishSwingSociety.html

Personnel: Ove Lind (clarinet;) Lars Erstrand (vib); Ulf Johansson (p, vo; ) Bjorn Sjodin (ds)

Stompin' and Flying

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Claudia Rezende - Copacabana

Bitrate: MP3@320K/s
Time: 60:33
Size: 138.6 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[3:38] 1. Gotta Be Somebody
[3:50] 2. Take Me Breath Away
[4:12] 3. Copacabana
[3:19] 4. This Old Heart Of Mine
[3:16] 5. I Dreamed A Dream
[3:13] 6. A Moment Like This
[3:21] 7. Never Gonna Give You Up
[3:40] 8. This Love
[4:53] 9. Because You Loved Me
[4:13] 10. Come Back To Me
[4:09] 11. Goody Goody
[4:03] 12. Freedom
[3:20] 13. Got To Be Real
[4:12] 14. Haven't Met You Yet
[3:47] 15. Kiss From A Rose
[3:20] 16. I Love Your Smile

Copacabana

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Dina Blade - My Romance

Size: 128,0 MB
Time: 54:09
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz Vocals
Art: Front

01. It Might As Well Be Spring (3:08)
02. My Romance (3:52)
03. Weaver Of Dreams (4:28)
04. Imagination (5:10)
05. Love (3:03)
06. That's For Me (2:59)
07. Miami Beach Rhumba (3:12)
08. Emily (2:47)
09. Rhode Island Is Famous For You (3:02)
10. New Coat Of Paint (3:09)
11. Just In Time (4:17)
12. Indian Summer (2:58)
13. Give Me The Simple Life (2:57)
14. You And The Night And The Music (3:57)
15. I Don't Worry 'bout A Thing (2:09)
16. But Beautiful (2:54)

Personnel:
Dina Blade – vocals; Hans Brehmer – piano; Larry Holloway – acoustic bass; Ken French – drums; Scott Kettron – congas & percussion; Jim Knodle – muted trumpet; Craig Flory – tenor saxophone (track 15)

This cd was selected as one of the Best Nortwest Jazz cds of 2006 by DJ Jim Wilke of NPR-KPLU's Jazz Northwest and Jazz After Hours. No wonder.
On this recording, straight ahead and swinging jazz vocalist Dina Blade sets a joyful mood backed by a rhythm section of piano, bass, drums, congas. With the addition of trumpet and tenor sax, the romp through a plethora of gems from the Great American Songbook is playfully creative. Dina Blade's voice is in terrific form, especially on standards like "Just in Time" which finds her in her element. The perfectly swinging musical sense that is her trademark intensifies as she becomes uplifted and really "digs in" after hearing the astoundingly virtuosic bass solo of Larry Holloway. The rafters are raised! There are many different grooves to be enjoyed here, and those who delight in latin rhythms will find satisfaction in several cuts, including the sassy "Miami Beach Rhumba" and the searing, up tempo "Love", where Dina's vocal soars above the unusual accompaniment of congas, bass and trumpet. A real stand out is the Rodgers and Hart's classic "My Romance", also the title track, which easily flows from slow waltz to hard swing and back again, highlighting Dina's sensuous vibrato. In contrast is the obscure but compelling "New Coat of Paint", with its hip, angular trumpet lines that provide a hypnotic, surreal backdrop for Tom Wait's saucy lyric. Guest artist tenor saxophonist Craig Flory treats listeners to a few amazing choruses on the shuffle blues "I Don't Worry Bout a Thing" by Mose Allison. The lovely jazz waltz "Emily", with it's rarely heard lyric is sure to please, along with the haunting ballad "But Beautiful", performed as a sparse but very effective bass and voice duet. Pianist and arranger Hans Brehmer contributed "vocalese" (additional lyrics) to two songs, adding humor to "Give Me the Simple Life" and intrigue to "Weaver of Dreams". The diversity of material presents something for everyone, and showcases the versatility of this vocalist who is passionate about finding well-crafted songs and bringing forth their best qualities. Above all, Dina Blade is a refreshingly natural singer with a great sense of time and swing: assets that continue to make her an audience favorite.

My Romance

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Gil Evans Orchestra - Jazz Standards With Evans

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 37:01
Size: 85,4 MB
Art: Front

(7:54) 1. Django
(3:58) 2. Ballad of the Sad Young Man
(4:42) 3. Chant of the Weed
(6:38) 4. Straight No Chaser
(6:39) 5. Theme
(4:22) 6. Davenport Blues
(2:45) 7. Joy Spring

A superb jazz arranger and bandleader, Gil Evans rivaled Ellington and Mingus in his ability to provide imaginative frameworks for individual voices within a large orchestra. He wrote elaborate, intricate arrangements that didn't weaken or threaten his band's spontaneity. His most renowned work came in the late '50s, when Miles Davis signed with Columbia and brought Evans into the studio with a large ensemble. The resultant albums Miles Ahead (1957), Porgy and Bess (1958), Sketches of Spain (1959) became milestones in the careers of both men. Evans was hardly a purist; he began using electronics in his bands in the '70s and scandalized some by recording Jimi Hendrix material. His style got looser in later years, with more space and less precision, but certainly his music remained compelling. Evans' harmonic language, compositional and arranging skill were immense, and he was responsible for many masterpieces through either his arrangements, compositions, or conducting.

A self-taught musician, Evans led his own group in California during the mid and late '30s. He remained its arrranger after Skinnay Ennis became bandleader, until he joined Claude Thornhill's orchestra in 1941 as an arranger. His arrangements of classical bebop compositions helped shape and make Thornhill's orchestra a topflight band. He stayed until 1948, except for a stretch in the service during the mid-'40s. Evans first worked with Miles Davis in the late '40s and early '50s, creating the same magic, but with a smaller combo. He also wrote songs for Peggy Lee, Tony Bennett, and Benny Goodman, while conducting albums for Astrud Gilberto and Kenny Burrell.~Ron Wynn https://www.allmusic.com/artist/gil-evans-mn0000551815/biography

Jazz Standards With Evans

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The Heath Brothers - Brotherly Love

Styles: Jazz, Hard Bop
Year: 1982
File: MP3@320K/s
Time: 37:18
Size: 86,0 MB
Art: Front

(7:10) 1. A Sound For Sore Ears
(5:49) 2. Autumn In New York
(6:40) 3. No End
(6:53) 4. Life In The City
(6:08) 5. Homes
(4:36) 6. Rejoice

By their sixth album, the Heath Brothers (consisting of Jimmy on tenor and soprano, Percy Heath on bass, keyboardist Stanley Cowell, guitarist Tony Purrone and drummer Akira Tana) were sticking to their basic hard bop format, with an occasional poppish tune tossed in to give the group variety and possible commercial potential. This excellent set finds the band performing Kenny Dorham's "No End," "Autumn In New York," Percy's "Rejoice," and three originals by Jimmy. With eight years of constant playing, the Heath Brothers had developed into a solid working group with a sound of its own; Jimmy Heath's writing and solos gave the band its own personality. This Antilles set, which has been reissued on CD, is an excellent example of their playing.~ Scott Yanow https://www.allmusic.com/album/brotherly-love-mw0000651137

Personnel: Bass – Percy Heath; Drums – Akira Tana; Guitar – Tony Purrone; Keyboards – Stanley Cowell; Saxophone – Jimmy Heath

Brotherly Love

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Christian Scott - Yesterday You Said Tomorrow

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 68:26
Size: 157,0 MB
Art: Front

(7:08)  1. K.K.P.D.
(5:30)  2. The Eraser
(7:55)  3. After All
(6:16)  4. Isadora
(8:40)  5. Angola, LA & the 13th Amendment
(5:48)  6. The Last Broken Heart
(6:50)  7. Jenacide
(7:08)  8. American't
(9:42)  9. An Unending Repentance
(3:25) 10. The Roe Effect

Trumpeter Christian Scott started raising expectations in 2006, with Rewind That (Concord), and hit the spot again in 2007 and 2008. Those earlier promises of greatness are clinched by Yesterday You Said Tomorrow. Scott's fourth Concord album is a gym-ripped amalgam of edgy jazz, hip hop and rock rhythms, off-kilter ostinatos, intimate rhapsodies and full-on passions, all welded together by the New Orleans-born player's alternately caressing and searing horn, and by his most tightly focused band to date. Scott's very modern approach to jazz gains added weight from the album's close embrace of the stylists of the mid- to late-1960s. References to trumpeter Miles Davis' second quintet, saxophonist John Coltrane's classic quartet and bassist Charles Mingus' contemporaneous bands abound. As though to emphasise the provenance, the album was co-produced by the veteran Blue Note engineer, Rudy Van Gelder, in whose studio it was recorded. Other 1960s resonances can be heard: the electric acid blues of Jimi Hendrix (guitarist Matthew Stevens is also adept in fluid, Pat Metheny-like lyricism), and, though Yesterday You Said Tomorrow is an instrumental album, the protest movement led by singers such as Bob Dylan and Curtis Mayfield. "I wanted to create a musical backdrop," says Scott in the publicity material accompanying review copies, "that referenced everything I liked about the music of the 1960s."  Fast forward 40 years, and it's what Scott has done with the backdrop that matters. The track titles give a clue. "K.K.P.D.," the ramped-up tune which kick starts the album, has a title which stands for Klu Klux Police Department, and refers to what Scott calls the "phenomenally dark and evil" attitude of the local police toward the African-American citizens of New Orleans. "Angola, LA & The 13th Amendment," its episodic ebb and flow steered by Scott's by turns melancholy and incandescent trumpet, equates aspects of the prison system with slavery. "The American't" targets the same depressingly enduring racism referenced by "James Crow, Jr. Esq." on Live At Newport (Concord, 2008). "Jenacide" needs no explanation. The mood endures, other than on the emollient "The Eraser" (written by Radiohead's Thom Yorke and the only non-original on the album), and two gorgeous ballads, "Isadora," from Live At Newport, and "The Last Broken Heart." Still only 26, Scott has decades of further development to look forward to. Meanwhile, this is his first landmark album, and one to make you feel good about the future of jazz. ~ Chris May https://www.allaboutjazz.com/yesterday-you-said-tomorrow-christian-scott-concord-records-review-by-chris-may.php

Personnel: Christian Scott: trumpet; Matthew Stevens: guitar; Milton Fletcher Jr.; piano; Kristopher Keith Funn: bass; Jamire Williams: drums.

Yesterday You Said Tomorrow

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Kyle Asche Organ Trio - Blues For Mel

Bitrate: MP3@320K/s
Time: 63:22
Size: 145.1 MB
Styles: Guitar jazz
Year: 2009
Art: Front

[5:56] 1. Blues For Mel
[5:57] 2. Gentle Rain
[3:50] 3. Snapshot
[5:26] 4. I Thought About You
[5:07] 5. Nite Vidual
[7:04] 6. Killer Ray
[5:58] 7. Watch What Happens
[5:37] 8. Swedish Schnapps
[5:51] 9. Too Late Now
[5:09] 10. Forget New York
[3:21] 11. Who Can I Turn To
[4:01] 12. Killer Ray (Bonus Radio Edit)

Kyle Asche: guitar; Melvin Rhyne: organ; George Fludas: drums and percussion.

Chicago-based guitarist Kyle Asche opens his sophomore release, Blues for Mel, with the set's title tune, a tribute to Melvin Rhyne, the organist who most famously played with guitarist Wes Montgomery on four stellar Riverside releases in the late fifties and early sixties. The tune is a cool Montgomery-ish ride, drenched in the organ trio tradition. Asche's licks are clean and concise. The drummer, George Fludas, accents the trio sound with finesse and subtle flourishes, a polished energy, and the organist injects an assured, sometimes percussive bounce to the sound, much in the Montgomery Trio mode. No surprise there, because the guy on the organ is the very man who accompanied Montgomery on those legendary Riverside dates, Melvin Rhyne himself. ~Dan McClenaghan

Blues For Mel

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Jean Frye Sidwell - Here Comes the Sun - Vocal Chill

Styles: Vocal
File: MP3@320K/s
Time: 40:46
Size: 96,4 MB
Art: Front

(2:33) 1. Here Comes the Sun
(2:45) 2. Blackbird
(4:00) 3. You've Got a Friend
(3:42) 4. If It's Magic
(3:28) 5. What the World Needs Now Is Love
(3:30) 6. House at Pooh Corner
(3:20) 7. My Favorite Things
(3:22) 8. Let It Be
(3:07) 9. A Love Song
(3:15) 10. Close to You
(3:29) 11. Sweet Baby James
(4:11) 12. The Circle Game

With her rich contralto voice and smooth, soulful phrasing, Jean is truly a jazz singer's jazz singer. The consummate performer, she beams with honesty and passion, delivering silky nuance and vocal shadings that captivate even the most sophisticated music lovers.

Jean’s dramatic vocal expression renders new shape and meaning to some of our most beloved classic jazz treasures, be it Gershwin, Ellington, or Jobim. Jean is a Southern California native and received music, voice, and dance training in Los Angeles. Her professional singing career has spanned 30 years and culminated in the recording of six self-produced CDs.

Jean is co-creator and co-owner of Pacific Coast Music, an independent record label. Thanks to the overwhelming success of her CDs, Jean is recognized today as an international recording artist. https://pacificcoastmusic.com/jazz-musicians/

Here Comes the Sun - Vocal Chill

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Kool & The Gang - Best Of Kool & The Gang

Bitrate: MP3@320K/s
Time: 40:30
Size: 92.7 MB
Styles: Pop/Funk/R&B
Year: 2000
Art: Front

[3:38] 1. Celebration
[3:02] 2. Jungle Boogie
[3:27] 3. Ladies Night
[3:58] 4. Joanna
[3:31] 5. Get Down On It
[3:26] 6. Hollywood Swinging
[3:57] 7. Cherish
[3:47] 8. Fresh
[3:45] 9. Too Hot
[4:01] 10. Take My Heart (You Can Have It If You Want It)
[3:53] 11. Big Fun

This CD is un-funking believable. This Greatest Hits encompasses not only some of the best known tracks by funkmasters Kool and The Gang, but some of the most essential songs of the seventies and eighties in general. The group leaves no level of good R&B behind. The smash "Jungle Boogie" contains awesome horn arrangements. Pop flavoring with an R&B feel makes "Celebration" one of the biggest party jams of all time. The light love songs like "Cherish" and "Joanna" are very effective and romantic. A totally new side to the funksters but that hot R&B sound continues on the rest of the tracks like "Get Down On It" and the discoey "Ladies Night". Kool and The Gang is one of the all time best funk bands around on this CD shows the diversity of the group to change to funk to pop light and modern R&B ("Fresh"). The group is very inspirational to many artists in modern urban music with a sound that is infectious and clever. The CD is really "Big Fun". ~Vincent M. Mastronardi

Best Of Kool & The Gang

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Aaron Goldberg - At the Edge of the World

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 46:03
Size: 106,1 MB
Art: Front

(5:47)  1. Poinciana
(4:50)  2. Luaty
(5:20)  3. Isn't This My Sound Around Me
(8:22)  4. When You Are Near
(5:25)  5. Effendi
(4:26)  6. En La Orilla Del Mundo
(5:34)  7. Black Orpheus (Manhã De Carnaval)
(6:15)  8. Tokyo Dream

In a departure from his longstanding trio with Reuben Rogers and Eric Harland, virtuoso New York jazz pianist Aaron Goldberg ventures into new territory, luring idiosyncratic drummer/percussionist Leon Parker back from self-imposed obscurity in France. Together with bassist Matt Penman, Goldberg and Parker lead off with the Ahmad Jamal signature piece “Poinciana” and immediately make it their own, not least of all through Parker’s unique “embodirhythm” practice (percussion played literally on one’s body). 

Through selective use of body rhythm, vocal percussion, and a scaled-down drum set, Parker activates sonic and rhythmic possibilities that Goldberg seizes upon, whether they’re playing classics by McCoy Tyner (“Effendi”) and Bobby Hutcherson (“When You Are Near,” “Isn’t This My Sound Around Me”), Cuban and Brazilian gems, or sparkling originals by Goldberg himself (“Luaty,” “Tokyo Dream”). ~ Editor's Note https://itunes.apple.com/us/album/at-the-edge-of-the-world/1437570153

Personnel:  Piano – Aaron Goldberg;   Bass – Matt Penman;  Drums, Vocal Percussion – Leon Parker 

At the Edge of the World

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Kyle Asche Organ Trio - Five Down Blues

Styles: Guitar Jazz
File: MP3@320K/s
Time: 54:08
Size: 124,7 MB
Art: Front

(7:02) 1. Five Down Blues
(6:45) 2. Dorothy
(7:30) 3. Pretty Eyes
(5:28) 4. Delirium
(7:57) 5. Light, Life, Love
(5:44) 6. Never Let Me Go
(7:04) 7. Dirty Fingers
(6:34) 8. Dig Deep

It has been well documented that the Covid-19 pandemic has played havoc with the careers of the participants in the arts. The members of the Kyle Asche Organ Trio have also felt its sting. But fortunately they have a musical snapshot of the final time they made music together in March 2020, which forms the basis of this release entitled Five Down Blues. In this live eight track session, guitarist Asche along with Pete Benson on Hammond Organ and drummer George Fludas demonstrate what it means to be a "working"jazz trio.

The compositions used in this outing, in addition to a few originals and several standards, include two numbers from the pen of organist Melvin Rhyne, who was best known for his time with guitarist Wes Montgomery. The trio opens with the title track, "Five Down Blues," which has a slinky funky groove lead by Asche's fleet fingered guitar riffs. As Benson picks up the theme, he shows the expansive sound he develops on the instrument, while Fludas is musically expressive on the drum breaks. Up next is the first of the Rhyne tunes, "Dorothy," followed somewhat later by "Life, Light, Love." The first has a Latin flavour built on an ascending chord structure with an interesting balance of tempo and time. The latter is a lovely ballad in which Benson gives full measure with long drawn out notes and sly warmth. Asche works his way up and down the fretboard with a strong linear framework.

A couple of jazz icons have also contributed compositions to the recording. Pianist Horace Silver's " Pretty Eyes" and tenor saxophonist Harold Land's "Delirium," each offer a different style and tempo. On the former, there is a Latin vibe that drives a sensational melody with lyrical phrasing. Asche's guitar spins a sonic path that conveys a sense of forward motion. The latter number is an up tempo flow of single notes on which both Asche and Benson devise their improvisations, giving depth to the composition.

The closing track, an original from Asche called " Dig Deep" is an appropriate bookend to this outing. It has a melody that is filled with intimacy and rhythmic imagery that seems to impart a sense of collegiality among the members of the group. It is a fitting reminder of the attributes that sustain performing musicians. ~ Pierre Giroux https://www.allaboutjazz.com/five-down-blues-kyle-asche-organ-trio-cellar-records

Personnel: Kyle Asche: guitar; Pete Benson: organ, Hammond B3; George Fludas: drums.

Five Down Blues

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