John Pizzarelli - With A Song In My Heart

Styles: Vocal And Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 43:25
Size: 101,4 MB
Art: Front

(3:53) 1. With A Song In My Heart
(2:27) 2. This Can't Be Love
(4:36) 3. I Like To Recognize The Tune
(4:13) 4. It's Easy To Remember
(2:59) 5. Johnny One Note
(4:12) 6. Nobody's Heart
(4:25) 7. Happy Talk
(2:47) 8. Mountain Greenery
(3:40) 9. I Have Dreamed
(2:34) 10. The Lady Is A Tramp
(4:36) 11. She Was Too Good To Me
(2:59) 12. You've Got To Be Carefully Taught

John Pizzarelli salutes composer Richard Rodgers with this songbook including a dozen of his works. The vocalist/guitarist is accompanied by his trio, with Larry Fuller replacing Ray Kennedy, bassist Martin Pizzarelli, and drummer Tony Tedesco. Pizzarelli adds a personal touch to "I Like to Recognize the Tune" by altering Lorenz Hart's lyrics a bit, while also scatting up a storm in unison with his guitar. Bucky Pizzarelli is an added guest and soloist for "It's Easy to Remember," an intimate duet with the vocalist playing rhythm. Cesar Camargo Mariano takes over at the piano for the breezy bossa nova setting of "Happy Talk." Arranger Don Sebesky wrote the charts for the six tracks and a quartet of brass and reeds, highlighted by the snappy scoring of "The Lady Is a Tramp," recalling Pizzarelli's previous Telarc salute to Frank Sinatra (Dear Mr. Sinatra, in which he trades fours scatting with each of the horns). This release is a little short in the CD era, clocking in at just over 43 minutes, but there's never a dull moment.~ Ken Dryden https://www.allmusic.com/album/with-a-song-in-my-heart-mw0000793387

Personnel: John Pizzarelli – guitar, vocals; Larry Fuller – piano; Martin Pizzarelli – bass; Tony Tedesco – drums; John Mosca – trombone, baritone horn; Andy Fusco – alto saxophone, tenor saxophone, bass clarinet; Kenny Berger – baritone saxophone, bass clarinet; Tony Kadlech – trumpet, flugelhorn

Special guests: Bucky Pizzarelli – guitar (track 4); Cesar Camargo Mariano – piano (track 7); Don Sebesky – Swing Seven Arrangements

With A Song In My Heart

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Adam Rogers - Art Of The Invisible

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 61:03
Size: 140,0 MB
Art: Front

(6:31)  1. Long Ago (And Far Away)
(7:53)  2. Absalom
(6:41)  3. Bobo
(5:30)  4. The Aleph
(6:31)  5. The Invisible
(6:54)  6. Cathedral
(7:54)  7. Book Of Sand
(6:27)  8. In Broad Daylight
(6:37)  9. The Unvanquished

What's the best way to find out who's the best guitarist in New York? Simple-ask a few apple-based guitarists (or any other instrumentalists, for that matter). I've conducted an informal poll and the answer I've gotten more often than not is the leader here, who I've counted among the world's finest plectrists for almost a decade now. 2002 is shaping up to be nothing less than the "Year of Adam Rogers," with a hefty role taken in fantastic new releases by Scott Colley and Alex Sipiagin and notable appearances on Chris Potter's Traveling Mercies , The Mingus Big band's Tonight at Noon and a fairly well-received debut by Miss Norah Jones. Now, finally, Criss Cross Jazz gives us the long deserved and long overdue debut by quite simply, one of the world's finest guitarists- ever.

Adam's been developing his incredible gifts in a variety of genres throughout his career, and clearly finds fascination and inspiration in all musical places; from fusion to pop to mainstream to ethnic to avant-garde. This record finds him at his essence-swinging, mainstream, contemporary, small group, post-bop guitar nirvana. Guitar lovers-stop right now and buy this one before anything else this year because Adam's put himself right at the head of New York's, and therefore the world's, elite cadre of incredible players pushing the instrument's future forward. Highlights? The entirety of the outing swings incredibly hard or waxes gorgeously soft, with one standard and eight originals from Adam's mighty pen. Seems as though Mr. Rogers has known all along that composition, not merely prodigious technique on the instrument, is at the core of consequence on the musical map. That said, his skills as a pure player are absolutely mind-boggling, with long lines and phraseology extending the lineage of Martino, Montgomery and Benson, extruding a tone from a Gibson ES-335 so phat and warm it could be coming from a jazz box three times the width. One of the instrument's great compers as well, he relinquishes that role for the most part here to the refined and harmonically astute pianist Eduardo Simon. What a quartet he's assembled- Michael Brecker Band mates Clarence Penn, who stirs and swings the date hard and is full of surprises on the kit, and Scott Colley, a complete player with velvety tone on acoustic bass, round out the band.

Compositionally, it's full of layers. Listen to "Cathedral" for heart rendering piano and crystalline single note work emphasizing Rogers' mastery of linear phraseology, especially his uncanny ability to speed up and slow down the tempo of any given line and return to the phrase at precisely the right nanosecond. On "Book of Sand" he brings authentic classical technique to the fore while "Broad Daylight" and "Bobo" take Martino's and Montgomery's way with a minor blues to the next level, indeed. I had the pleasure of sitting stage side for Michael Brecker's Boston run last year. After that incredible string of performances, I remember leaving the club thinking Adam had nudged the bar delimiting the role of the small-group guitarist in a pianoless quartet up just a little further than it had been prior to that day. With Art of the Invisible, he's accomplished nothing less than raising the bar for all of mainstream jazz guitardom. ~ Phil DiPietro https://www.allaboutjazz.com/art-of-the-invisible-adam-rogers-criss-cross-review-by-phil-dipietro.php

Personnel: Adam Rogers- guitar, Scott Colley-bass, Edward Simon-piano, Clarence Penn-drums

Art Of The Invisible

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John Hicks - East Side Blues

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 53:43
Size: 123,3 MB
Art: Front

(7:10)  1. East Side Blues
(6:03)  2. Yemenja
(7:18)  3. Never Let Me Go
(6:43)  4. Out of Somewhere
(7:15)  5. Mow's Move
(8:01)  6. Is That So?
(4:32)  7. Somedity
(6:38)  8. A Beautiful Friendship

East Side Blues is an album by pianist John Hicks's Trio recorded in Japan in 1988 and released on the Japanese DIW label. https://en.wikipedia.org/wiki/East_Side_Blues

Personnel:  John Hicks - piano; Curtis Lundy - bass; Victor Lewis - drums

East Side Blues

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Charlie Ventura With Mary Ann Mccall - Another Evening With Charlie Ventura And Mary Ann Mccall

Styles: Vocal, Hard Bop
Year: 1954
File: MP3@320K/s
Time: 40:09
Size: 93,4 MB
Art: Front

(3:43) 1. Soft Touch
(4:07) 2. We'll Be Together Again (Voc)
(3:30) 3. There'll Be Some Changes Made (Voc)
(2:48) 4. The Breeze And I
(3:16) 5. Charlie's Venture
(3:06) 6. Swingin' On A Star
(7:36) 7. It Don't Mean A Thing
(2:49) 8. Deep Purple
(3:14) 9. Jersey Bounce
(2:28) 10. Lover
(3:28) 11. Yesterdays

Tenor man Charlie Ventura was was a prominent fixture on the jazz scene during his era. Born Charles Venturo he was one of thirteen children from a musical family who went on to become a jazz legend, and was named “Number One Tenor Saxophonist” by Down Beat Magazine in 1945. In the summer of 1942, Charlie got a call at his day job at the Philadelphia Navy yard to join Gene Krupa's band. Unwilling to relinquish the security of a paycheck, he turned them down. Then came the second phone call and before long, Charlie was on the road with the band becoming a featured soloist, along with trumpet star, Roy Eldridge and singer Anita O'Day. Throughout the forties, fifties and sixties, Charlie Ventura and Gene Krupa made music history together as America's leading jazz greats. Ventura was one of the first jazz musicians to make the transition from swing to be-bop. In 1946, he formed his own “Bop for the People” band, playing a commercially-oriented form of be-bop. Continuing to play with The Gene Krupa Trio, he cut “Dark Eyes,” which led to over a dozen released albums, including “Charlie Ventura With Special Guest Charlie Parker”(1949) “Bop For The People”(1949-53) and “Charlie Ventura And His Orchestra.”(1954-55) Many fans will remember the succession of great jazz groups, fronted by Charlie, that appeared at The Open House nightclub he owned in Lindenwold, New Jersey. Playing Las Vegas with Jackie Gleason, and Atlantic City, New York and Philadelphia, Charlie Ventura was the consummate jazzman. “Jazz is maturing and maturity carries responsibilities. I feel that I'm supposed to make people laugh, make them cry, make them day dream and give them some excitement,” Charlie explained. His lifetime of musical achievement ended in January, 1992, but his legacy to the world of jazz lives on. https://www.allaboutjazz.com/musicians/charlie-ventura

Personnel: Vocals – Mary Ann McCall; Saxophone – Charlie Ventura; Bass – Bob Carter; Drums – Sonny Igoe; Piano – Dave McKenna

Another Evening With Charlie Ventura And Mary Ann Mccall

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Charlie Ventura With Mary Ann Mccall - An Evening With Charlie Ventura And Mary Ann Mccall

Styles: Vocal, Hard Bop
Year: 1954
File: MP3@320K/s
Time: 27:22
Size: 63,8 MB
Art: Front

(5:14) 1. Charlie's Parley
(2:58) 2. Careless (Voc)
(5:42) 3. Get Happy
(3:13) 4. Sam And Don
(3:23) 5. Detour Ahead (Voc)
(3:53) 6. Basin Street Blues
(2:57) 7. Please Be Kind (Voc)

Mary Ann McCall was a fine singer who started out singing middle-of-the-road pop, yet grew as a well-respected jazz singer during her episodic career. She began as a singer and dancer with Buddy Morrow's Orchestra in her native Philadelphia and was with Tommy Dorsey briefly in 1938. McCall had her first stint with Woody Herman in 1939 and she was Charlie Barnet's vocalist during a period of time (1939-40) when his band was attracting attention. McCall then dropped out of music, but when she returned it was for a high-profile position with Woody Herman's First Herd in 1946 and Second Herd from 1947-50. McCall was married to Al Cohn for a time, had a solo career and sang with Charlie Ventura from 1954-55. She gradually faded away from the scene, singing in Detroit from 1958-60 and then moving to Los Angeles where she was active on a part-time basis. McCall re-emerged to sing and record with Jake Hanna in1976 and Nat Pierce in 1978, still sounding close to prime form. As a leader, McCall recorded four songs for Columbia in 1947, six for Discovery in 1948, four for Roost in 1950; she recorded albums for Regent in 1956, Jubilee in 1958 and Coral in 1959. ~ Scott Yanow https://www.allmusic.com/artist/mary-ann-mccall-mn0000370718/biography

An Evening With Charlie Ventura And Mary Ann Mccall

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Johnny "Hammond" Smith - Legends Of Acid Jazz: Soul Flowers

Styles: Hard Bop, soul Jazz
Year: 1999
File: MP3@320K/s
Time: 69:21
Size: 162,1 MB
Art: Front

(3:23) 1. Theme From N.Y.P.D.
(5:00) 2. Dirty Apple
(3:20) 3. Days Of Wine And Roses (Instrumental)
(3:16) 4. Ode To Billy Joe
(3:11) 5. You'll Never Walk Alone
(3:05) 6. Alfie
(2:56) 7. Tara's Theme (My Own True Love)
(3:25) 8. Here's That Rainy Day
(5:27) 9. I Got A Woman
(3:01) 10. Dirty Grape
(8:09) 11. Animal Farm
(3:07) 12. Black Strap Molasses
(3:29) 13. She's Gone Again
(5:43) 14. Hi Heel Sneakers
(3:30) 15. To Sir With Love
(3:42) 16. Love Is A Hurtin' Thing
(5:30) 17. Please Send Me Someone To Love

Prestige's second volume of Johnny "Hammond" Smith's recordings in their Legends of Acid Jazz series contains two full original albums: 1967's Soul Flowers and its 1968 follow-up, Dirty Grape. Both sessions were recorded within four months of each other with the same sextet, featuring guitarist Wally Richardson, tenor saxophonists Houston Person and Earl Edwards, bassist Jimmy Lewis, drummer John Harris, and Richard Landrum on conga. On both records, he basically tackles modern pop songs that were hits on the pop and R&B charts and songs from movies and TV. This could have been predictable, lightly swinging jazz-pop, like so many soul-jazz records of its ilk in the late '60s, but what makes both sessions so enjoyable is that the band is lively, gritty, and clearly having fun with this material. Of the two, Soul Flowers is a little more satisfying, but both are highly enjoyable and they make for a great two-fer one that's the equal of Smith's first edition of Legends of Acid Jazz.~ Stephen Thomas Erlewine https://www.allmusic.com/album/legends-of-acid-jazz-vol-2-mw0000050217

Personnel: Organ – Johnny "Hammond" Smith; Congas – Richard Landrum; Drums – John Harris; Electric Bass [Fender] – Jimmy Lewis; Guitar – Wally Richardson; Tenor Saxophone – Earl Edwards, Houston Person

Legends Of Acid Jazz: Soul Flowers

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Mose Allison - The Word From Mose

Bitrate: MP3@320K/s
Time: 29:55
Size: 68.5 MB
Styles: Bop, Jazz-blues
Year: 1964/1998
Art: Front

[2:23] 1. Fool Killer
[2:59] 2. One Of These Days
[2:11] 3. Look Here
[2:50] 4. Days Like This
[2:12] 5. Your Red Wagon
[1:53] 6. I'm The Wild Man
[2:58] 7. Rollin' Stone
[3:01] 8. New Parchman
[2:44] 9. Don't Forget To Smile
[2:30] 10. I'm Not Talking
[4:09] 11. Lost Mind

This iconoclastic performer has sometimes been described as a country blues player, perhaps leading to images of a blind man standing on a corner playing a guitar with a bottleneck slide. In reality, Mose Allison is from a much more cosmopolitan tradition, and the country blues adage comes from attempts to describe the sound he gets playing light, swinging jazz with a distinctly rural, Southern influence. This album, from one of many he recorded for Atlantic, actually contains examples of him taking material from the real country blues heritage and reworking it into his own style, to brilliant effect. His "New Parchman Farm" is a fantastic piece, as he changes what was once a stark, depressing prison blues into something else again. Perhaps this version would be more suited to white-collar criminals such as the Watergate mob, basking in upper-class prisons complete with tennis courts. At any rate, this is a performance that only the most hardened individual would be able to listen to without a smile cracking their face. Like most of Allison's releases, this one suffers from a handful of tracks that although not quite throwaway, surely lack the substance of the best songs here. ~Eugene Chadbourne

The Word From Mose

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Teodross Avery - The Diva's Choice

Styles: Saxophone Jazz

Year: 2009

File: MP3@320K/s

Time: 61:51

Size: 142,0 MB

Art: Front

(7:06)  1. Tryin' To Find The Light

(6:24)  2. The Dreamer (Vivo Sonhando)

(5:00)  3. Type Of Girl (Feat. Leela James)

(7:40)  4. Love With Respect (Instrumental)

(5:20)  5. She Doesn't See

(0:09)  6. Interlude: In Portuguese

(4:13)  7. Journey To Paradise

(6:16)  8. Never Let You Go

(6:25)  9. Adult Music (Feat. Roy Ayers)

(5:33) 10. A New Beginning

(7:41) 11. Love With Respect (Feat. Shannone Holt)

Teodross Avery is a saxophonist to watch, as evidenced by many of today’s biggest names in music relying on his wide musical reach. While growing up in Oakland and Vacaville, California, his parents exposed him to a broad range of music including traditional African music, Soul, Rock, and Jazz. At ten, his father started him with classical guitar lessons. Jolted by the sound of John Coltrane’s ‘Giant Steps,’ he switched to the saxophone. As a testament to his young promise, the great Wynton Marsalis purchased a saxophone for him. He eventually won a full music scholarship at 17 to attend the prestigious Berklee College of Music in Boston. While at Berklee, renowned A&R exec, Carl Griffin of GRP/Impulse Records, heard of Avery’s new cutting edge sound and signed him at 19, stating, “I was so thoroughly impressed with his lyricism and writing talent”. In 1994, Avery launched his first album “In Other Words”, which was welcomed by critical acclaim, including a rave review in USA Today, which praised its “mature sense of composition, swing, and improvisation.” After tackling New York City, Avery landed a performing role in the successful film Love Jones in 1995. He then launched his second album, “My Generation”, under the GRP/Impulse label, in 1996. He has also performed and/or recorded with the likes of Amy Winehouse, The Roots, Leela James, Dee Dee Bridgewater, Shakira, Joss Stone, Roy Hargrove, Roy Ayers, Pat Monahan (lead singer of Train), Mos Def, Lauryn Hill, Matchbox Twenty, Talib Kweli, and Betty Carter. Avery holds a Masters degree in Music from the Steinhardt School of Education at New York University, and is the recipient of multiple awards, including The Sony Innovator Award (1992), The NFAA’s Clifford Brown/Stan Getz Fellowship (1992), and The NAACP ACT-SO Award (1991). https://www.cdbaby.com/cd/Teodrossavery

The Diva's Choice

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Jesse Van Ruller - Spirits High

Styles: Guitar Jazz
File: MP3@320K/s
Time: 49:36
Size: 214,1 MB
Art: Front

(5:56) 1. Tideline
(4:40) 2. Bye, Bye, Big City, Bye
(3:34) 3. Drops
(3:54) 4. Sonder
(5:40) 5. Spirits High
(5:34) 6. First Steps, Born Again
(5:13) 7. Apollo
(5:06) 8. Robin
(2:33) 9. First Steps (reprise)
(4:24) 10. Fantail
(2:55) 11. Into Silence

Van Ruller was born in Amsterdam on 21 January 1972. He started playing the guitar at the age of seven. "He continued his studies at Miami University, Ohio (MM 1995), and in 1995 won the Thelonious Monk International Jazz Guitar Competition in Washington, DC." Van Ruller recorded two quintet albums for Bluemusic: European Quintet in 1996 and Herbs, Fruits, Balms and Spices two years later. He went on to record three albums for Criss Cross Jazz. These were Here and There and Circles in 2002, and Views in 2005. The guitarist composed almost all of the pieces played on the last two. https://en.wikipedia.org/wiki/Jesse_van_Ruller

Personnel: Alto Saxophone – Maarten Hogenhuis; Electric Guitar – Jesse Van Ruller

Spirits High

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Joyce - Timeless

Bitrate: MP3@320K/s
Time: 40:42
Size: 93.2 MB
Styles: Latin jazz
Year: 2012
Art: Front

[3:31] 1. Everything
[5:09] 2. Sometimes When We Touch
[4:47] 3. One Moment In Time
[3:24] 4. Time After Time
[4:10] 5. If We Hold On Together
[4:24] 6. Love Of A Lifetime
[4:06] 7. For The First Time
[4:07] 8. Time After Time
[3:46] 9. So Nice (Summer Samba)
[3:13] 10. All The Time

James Moody - Flute 'n the Blues

Styles: Saxophone And Flute Jazz
File: MP3@320K/s
Time: 36:00
Size: 88,3 MB
Art: Front

(4:11) 1. Flute 'n the Blues
(2:34) 2. Birdland Story
(2:46) 3. It Could Happen to You
(2:46) 4. I Cover the Waterfront
(4:26) 5. Body and Soul
(3:24) 6. Breaking the Blues
(3:25) 7. Parker's Mood
(3:56) 8. Easy Living
(3:46) 9. Boo's Tune
(4:41) 10. Richard's Blues

This fairly rare Lp (which has fortunately been reissued on a Chess CD along with Last Train To Overbrook) features James Moody's septet of 1956, a fine bop-based unit that also includes trumpeter Johnny Coles and pianist Jimmy Boyd. Moody, who had just begun to play flute, is heard on that instrument along with tenor and alto; an added plus are Eddie Jefferson's three vocals (including his alternate lyrics for "Parker's Mood"). The basic material (mostly standards and blues) are given spirited and swinging treatment by the underrated group.~ Scott Yanow https://www.allmusic.com/album/flute-n-the-blues-mw0000313322

Personnel: James Moody - tenor saxophone, alto saxophone, flute; Johnny Coles - trumpet; William Shepherd - trombone ; Pee Wee Moore - baritone saxophone; Jimmy Boyd - piano, peck horn; John Latham - bass; Clarence Johnston - drums; Eddie Jefferson - vocals

Flute 'n the Blues

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Swedish Swing Society - Live At Regina

Styles: Swing
Year: 2011
File: MP3@320K/s
Time: 63:34
Size: 147,0 MB
Art: Front

(5:25) 1. Rosetta
(4:49) 2. Softly as in a Morning Sunrise
(6:09) 3. Poor Butterfly
(5:04) 4. Sweet Georgia Brown
(2:57) 5. I'll See You in My Dreams: I'll see you in my dreams
(5:05) 6. If I Had You
(4:11) 7. Chinatown, My Chinatown
(4:45) 8. Between the Devil and the Deep Blue Sea
(5:18) 9. I'm Confessin' (That I Love You)
(4:11) 10. Alexander's Ragtime Band
(5:09) 11. Lady, Be Good: Oh! Lady Be Good
(5:18) 12. Smiles: Time on My Hands
(5:06) 13. What a Little Moonlight Can Do

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 National 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".

Translated By Google http://www.bjorntjanst.com/SwedishSwingSociety.html

Personnel: Antti Sarpila, clarinet; Ulf Johansson Werre, piano; Lars Erstrand, vibraphone; Björn Sjödin, drums

Live At Regina

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Chuck Mangione - Main Squeeze

Styles: Crossover Jazz, Easy listening
Year: 1976
File: MP3@320K/s
Time: 34:32
Size: 80,0 MB
Art: Front

(8:04)  1. (The Day After) Our First Night Together
(8:01)  2. If You Know Me Any Longer Than Tomorrow
(4:46)  3. Love The Feelin'
(4:33)  4. I Get Crazy (When Your Eyes Touch Mine)
(3:36)  5. Doin' Everything With You
(5:28)  6. Main Squeeze

More and more a creature of the studio, Mangione employs a coterie of '70s New York session players on an album that wears its make-out-music intentions right on its velvet sleeve. All of the titles reflect some aspect of a love affair; the playing is intricate but highly controlled and not terribly exciting. Oddly enough, Chuck effectively attaches a wah-wah pedal to his flugelhorn on a few tracks shades of Miles Davis' "jungle band" period and he gets off his best non-electronically modulated solo on "If You Know Me Any Longer Than Tomorrow." There are orchestrations, but the arrangements are just decorations, not an integral part of the material. But then, after all of the warm, fuzzy stuff has run its course for five tracks, the last cut "Main Squeeze" acts as an ecstatic release, a fine, funky jam session where all seem to be thoroughly enjoying themselves. ~ Richard S.Ginell https://www.allmusic.com/album/main-squeeze-mw0000651826

Personnel: Chuck Mangione - Flugelhorn, Fender Rhodes; Tony Levin - Bass; Rubens Bassini - Percussion; Steve Gadd - Drums, Percussion; Ralph MacDonald - Percussion; Don Grolnick - Acoustic Piano, Fender Rhodes; Richard Tee - Organ; John Tropea - Electric & Acoustic Guitars; Bob Mann - Electric & Acoustic Guitars; Gene Orloff - Concertmaster; Bob Carlisle, Fred Griffen, Jimmy Buffington, John Clarke - French Horns; Bill Watrous, David Taylor, Tom Malone, Wayne Andre - Trombones; Alan Rubin, Jeff Tkazyik, Jon Faddis, Lew Soloff - Trumpets

Main Squeeze

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John Hicks Trio - Moanin' - Portrait of Art Blakey

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 44:43
Size: 113,7 MB
Art: Front

(7:25)  1. No Problem
(7:05)  2. Whisper Not
(8:14)  3. Nica's Dream
(7:18)  4. Moanin'
(7:13)  5. Blues March
(7:26)  6. A Night In Tunisia

A longtime fixture of the New York City jazz landscape, pianist John Hicks was an artist of uncommon versatility, moving effortlessly from pop standards to the avant-garde while retaining the dense physicality and intense energy that were the hallmarks of his approach. Born December 12, 1941, in Atlanta, Hicks was still an infant when his preacher father relocated the family to Los Angeles. He spent the better part of his teen years in St. Louis, and counted among his classmates there the young Lester Bowie. Hicks' mother was his first piano teacher, and after a stint at Lincoln University in Missouri he attended the Berklee School of Music and the Juilliard School; he later cited influences spanning from Fats Waller to Thelonious Monk to Methodist church hymns, and his catholic listening tastes were instrumental in shaping his far-ranging skills as a player. After touring in support of bluesman Albert King and hard bop tenor saxophonist Johnny Griffin, Hicks backed singer Della Reese during a 1963 New York club residency, and the city remained his home for the rest of his life. In the wake of stints with Kenny Dorham and Joe Henderson, Hicks joined Art Blakey's Jazz Messengers in 1964, collaborating alongside the likes of trumpeters Lee Morgan and Freddie Hubbard. Two years later, he signed on with singer Betty Carter, like Blakey a keen judge of emerging talent. Upon exiting Carter's band in 1968, Hicks spent the remainder of the decade with Woody Herman and entered the decade to follow as a first-call sideman. He also moonlighted as an educator, and during the early '70s taught jazz and improvisation at Southern Illinois University.

After backing Carter on her 1976 date Now It's My Turn, Hicks returned to her backing group full-time. The exposure vaulted him to new renown, and in 1979 he finally led his own studio effort, After the Morning. With 1981's Some Other Time, cut with bassist Walter Booker and drummer Idris Muhammad, Hicks also emerged as a gifted composer, writing his best-known effort, "Naima's Love Song," in honor of his young daughter. He recorded prolifically in the years to follow, concentrating on solo and small ensemble work including stints as member of the Power Trio and the Keystone Trio. He also served as the regular pianist with the Mingus Dynasty Band and for a time led his own big band. Hicks enjoyed his greatest commercial success with a series of tribute LPs celebrating the music of his mentors and influences, highlighted by 1998's Something to Live For (a collection of Billy Strayhorn compositions), 2000's Impressions of Mary Lou (Williams, of course), and 2003's Fatha's Day (honoring Earl Hines). Hicks' longest and most rewarding collaboration was his partnership with flutist Elise Wood, which launched in 1983 and after several studio sessions and tours culminated in marriage in 2001, around the time of the release of their duo recording Beautiful Friendship. Hicks died suddenly on May 10, 2006. Just three days earlier, he delivered his final performance at Harlem's St. Mark's United Methodist Church, where his father served as a minister prior to his own death. Hicks was 64 years old. ~ Jason Ankeny http://www.allmusic.com/artist/john-hicks-mn0000224920/biography

Personnel:  Piano – John Hicks;  Bass – Marcus McLaurine;  Drums – Victor Lewis

Moanin' - Portrait of Art Blakey

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Suzanne Pittson - Resolution: A Remembrance of John Coltrane

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 59:44
Size: 139,2 MB
Art: Front

(6:06) 1. Liberia
(6:09) 2. My One and Only Love
(1:09) 3. Prelude to Resolution
(7:19) 4. Resolution
(0:58) 5. Introduction to Pursuance
(6:17) 6. Pursuance
(2:59) 7. Remembrance
(8:25) 8. The Night Has A Thousand Eyes
(6:54) 9. I Wish I Knew
(7:09) 10. African Skies
(6:14) 11. You Don't Know What Love Is

Countless instrumentalists have paid tribute to John Coltrane, but rarely have jazz vocalists provided Coltrane tributes. Resolution: A Remembrance of John Coltrane is a rare example of a singer paying homage to the seminal saxophonist. Hard-swinging but melodic, Suzanne Pittson thinks like a post bop saxophonist her appreciation of saxmen like Trane, Wayne Shorter, and Michael Brecker comes through whether she's embracing lyrics or scatting. So she was a logical person to record this fairly ambitious project, which ranges from interpretations of the Coltrane classics "Resolution," "Liberia," and "Pursuance" (all of which the Bay Area singer and/or her husband, pianist Jeff Pittson, wrote lyrics for) to various standards that Coltrane recorded. "You Don't Know What Love Is" and "I Wish I Knew" recall Trane's versions from Ballads, while "My One and Only Love" fondly remembers his historic 1963 encounter with Johnny Hartman. But through it all, Pittson's own personality never becomes obscured. Resolution is one jazz vocal CD that can hardly be called generic.~ Alex Henderson https://www.allmusic.com/album/resolution-a-remembrance-of-john-coltrane-mw0000243387

Resolution: A Remembrance of John Coltrane

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Adam Rogers, David Binney - R&B

Styles: Guitar And Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 66:57
Size: 153,7 MB
Art: Front

(6:47)  1. Ah-Leu-Cha
(7:34)  2. Introspection
(6:35)  3. In Love In Vain
(7:05)  4. Africaine
(7:21)  5. Don't Misunderstand
(9:03)  6. Sippin' At Bell's
(7:23)  7. Skydive
(7:14)  8. My Ship
(7:50)  9. I Feel A Song Coming On

From his many Criss Cross dates as a leader to his extraordinary sideman work with Chris Potter, the late Michael Brecker and many more, Adam Rogers continues to blaze a path as one of jazz's most compelling guitarists. His longtime associate David Binney, alto saxophone great and an influential composer and producer, has also distinguished himself with numerous innovative sessions for Criss Cross and others. On R & B, Rogers and Binney unite to co-lead a lean and hard-swinging quartet with bassist Reuben Rogers (no relation) and drummer Gerald Cleaver. In a departure from their usual focus on original material, Rogers and Binney aim straight for bebop, ballads and classics by Thelonious Monk, Freddie Hubbard and Wayne Shorter, among others. ~ Editorial Reviews  http://www.amazon.com/R-Adam-Rogers-David-Binney/dp/B00US68XZA

Personnel: David Binney (alto saxophone); Adam Rogers (guitar); Gerald Cleaver (drums), David Binney (Saxophone).

R&B

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Stockholm Swing All Stars - Stockholm Swing All Stars ! ! ! Vol. 1

Styles: Swing
File: MP3@320K/s
Time: 50:49
Size: 117,5 MB
Art: Front

(3:41) 1. The Man I Love
(6:25) 2. I Got It Bad
(4:23) 3. Fly Me to the Moon
(3:29) 4. Blue and Sentimental
(4:57) 5. Caravan
(3:27) 6. Like Bonnie
(4:29) 7. Segment
(5:33) 8. Where's Your Heart
(3:41) 9. Li´l Darling
(5:57) 10. My Romance
(4:42) 11. Wings and Things

The Stockholm Swing All Stars formed in 2002. The idea was to form a band featuring the top jazz and swing players in Stockholm. The four horn players in the front line play an important role in the band. With cleverly written arrangements, mostly by Klas Lindquist and Fredrik Lindborg, the band can play softly like a small group and seconds later explode in a big band fortissimo. The rhythm section gives the band a bouncing ground for the solos and ensembles. The members of the Stockholm Swing All Stars are considered among the best in their field in Sweden. The band plays swing and jazz music suitable both for concerts and for dancing. They often play at lindy hop and other dance events as well as in concert halls. The Stockholm Swing All Stars have released five albums and one DVD. The most recent album, “In The Spirit of Duke Ellington”, was released in September 2018. They tour all over Scandinavia, and sell out the Stockholm Concert Hall and the Gothenburg Concert Hall regularly. https://www.stockholmswingallstars.com/about/

Personnel: Karl Olandersson – trumpet and vocals; Klas Lindquist – reeds; Fredrik Lindborg – reeds ; Dicken Hedrenius – trombone; Daniel Tilling – piano; Göran Lind – double Bass; Mattias Puttonen – drums

Stockholm Swing All Stars ! ! ! Vol. 1

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Joanne Brackeen - Breath Of Brazil

Styles: Piano Jazz, Brazilian Jazz
Year: 1991
File: MP3@320K/s
Time: 67:04
Size: 154,0 MB
Art: Front

(6:38)  1. Madalena
(5:52)  2. Velas
(6:15)  3. Aquas De Março
(3:39)  4. Guessing Game
(4:38)  5. Breath Of Brazil
(7:12)  6. Sue Encanto
(4:27)  7. Loro
(5:33)  8. So Many Stars
(5:40)  9. Anos Dourados
(6:29) 10. Brasileiro Escondido
(5:14) 11. Flora
(5:20) 12. Samba Do Soho

Pianist Joanne Brackeen is one of the best non-Brazilian interpreters of Brazilian music on the scene today. For many years a sideman in a wide variety of jazz combos, Brackeen has a natural flair for Brazilian and Latin rhythms as it quite clear from her brilliant album Breath of Brazil that features the works of a number of composers including Ivan Lins, Antonio Carlos Jobim and Sergio Mendes. “Madalena” and “Velas” are two songs by Ivan Lins that have become standards. Brackeen’s interpretation of “Velas” is particularly satisfying and is a model of the deceptively smooth laid-back performance style of the bossa nova that masks an underlying rhythmic intensity.  A very interesting work is “Guessing Game” with its angular modal melody and rhythmic tricks. Brackeen features her supporting musicians to great advantage, especially bassist Eddie Gomez who figures prominently in “Breath of Brasil” and in Sergio Mendes’ “So Many Stars.” Having “So Many Stars” begin with the melody in the bass is an interesting and unexpected twist.  No Brazilian album would be complete without Jobim, and Brackeen selects two of the master’s best songs, “Aguas de Marcos” and “Anos Dourados.” Jobim considered “Aguas de Marcos” to be his masterpiece and most performers have agreed with his self-assessment. The versatility of the song is remarkable and it has been interpreted in a variety of ways, from Elis Regina’s playful way with the song’s text in her famous duet with Jobim himself to hard-driving instrumental versions such as the one offered here by Brackeen. Joanne Brackeen is an excellent jazz pianist who deserves much wider recognition. Breath of Brasil is a good introduction to this fine performer, and if you’re already a fan it’s another “must have” for the cd collection.~William Grim https://www.allaboutjazz.com/breath-of-brazil-joanne-brackeen-concord-music-group-review-by-william-grim.php
 

Personnel: Joanne Brackeen: piano; Eddie Gomez: bass; Duduka Da Fonseca: drums; Waltinho Anastacio: percussion.

Breath Of Brazil

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Fleurine - Meant to be!

Styles: Vocal Jazz, Brazilian Jazz
Year: 1996
File: MP3@320K/s
Time: 63:23
Size: 158,2 MB
Art: Front

(4:41)  1. Lazy And Satisfied
(6:14)  2. My Souldance With You
(6:14)  3. Favorite Love Affair
(5:59)  4. Velejar
(3:52)  5. Meant To Be
(5:11)  6. My Hearts Escapade
(3:59)  7. I've Got Just About Everything
(4:50)  8. When I Think Of One
(3:23)  9. Escolher
(4:45) 10. It's All In The Mind
(5:42) 11. Better Call Me Now
(4:07) 12. One Dream Gone
(4:25) 13. High In The Sky

Fleurine is a Dutch vocalist with an impressive international resume. She studied at the Amsterdam School of High Arts / Conservatory for four years, and then left The Netherlands to live in New York and has been working on both continents since 1993. Wanting to sing songs of Jazz in a different way, thinking it would be hard to add anything to the repertoire of her favourite vocalists, she set out to write her own lyrics to compositions of famous Jazz composers such as Thelonious Monk , Kenny Dorham, Ray Briant, Curtis Fuller and Thad Jones, but also to songs of contemporaries such as Tom Harrell and Joshua Redman, thus creating a brand new vocal repertoire, writing in English and in Portuguese. She recorded these songs on her debut Album "Meant to Be!" in N.Y, with a band consisting of Tom Harrell(tp), Ralph Moore(ts), Renee Rosnes(p), Jesse van Ruller (g), Christian McBride(b), Billy Drummond (d) and Grammy Award winning Producer Don Sickler (who produced a/o Joe Henderson, Jimmy Smith, Christian McBride and Mark Whitfield). The Album, which was received excellently by the International Press, (see reviews) was released on English Independent label "Bluemusic". (1996). It immediately became a regular Jazz Hit in a/o The Netherlands and England. Shortly after, Fleurine toured all over the world, performing with her own band at renowned Jazz clubs such as Birdland and Blue Note(recorded for TV) in New York, the renowned PizzaExpress Jazzclub in London and at International festivals such as the Montreal Jazz Festival and the Edmonton Jazz festival in Canada, the Umbria Jazz Festival in Italy, the Istanbul Jazz Festival in Turkey and the North Sea Jazz Festival, where she performed seven times since 1994.

She also debuted as a Producer on guitarist Jesse van Ruller's first album as a leader: "European Quintet"(1997) .This album became a top seller in Japan in 2000. Fleurine was soon noticed in the International Jazz scene and got invited to tour as a guest vocalist with bands such as the Roy Hargrove Quintet, at the Havana Jazz Festival in Cuba in 1996, and with the T.S. Monk Band in Canada and at the 1997 North Sea Jazz Festival where she met Brad Mehldau. Mehldau heard Fleurine sing, and invited her to sit in with his Trio at the famous Village Vanguard in New York. The combination turned out to be a great success, and the idea for a tour together was born. In the meantime Fleurine's debut Album "Meant to be!" had sold so well that she got an offer to record for Universal. Fleurine and Brad Mehldau went into the studio in New York in June '99 and recorded the fresh material they had just toured in Europe. The Album is a duo-collaboration, for which Brad Mehldau wrote exquisite string-arrangements on a couple of tracks. (a "primeur!")  Fleurine chose the material for the album, continuing to create new vocal standards by writing lyrics to beautiful compositions of Pat Metheny and Brad Mehldau, composing a song of her own, and interpreting contemporary songs by Jimi Hendrix and Supertramp as well as three classic composers, Michel Legrand, Antonio Carlos Jobim and Johnny Mandel.  Fleurine's duo album with Brad Mehldau is entitled "Close Enough for Love", released by  EmArcy/ Universal (157 548-2) in February 2000.

Fleurine and Mehldau subsequently toured the world, playing in Paris, London , Berlin, Amsterdam, Antwerp, Prague, Utrecht, Los Angeles, New York, Montreux, The Hague, Sao Paulo (Brazil) , Buenos Aires (Argentina) with great success.(see reviews). Fleurine's debut Album, "Meant to be!", has been re-released by Universal, and is available in many new countries since 2000 under catalogue number EmArcy/Universal 159 085-2. For her new release, "Fire", Fleurine collaborated with producer Robert Sadin, who recently produced Herbie Hancock's Grammy winning "Gershwin's World" with Stevie Wonder and Joni Mitchell, and Wayne Shorter's latest release "Alegria". Sadin has also conducted, arranged and produced for a wide range of leading artists, including Kathleen Battle, Wynton Marsalis, Milton Nascimento, Dee Dee Bridgewater,  and the New York Philharmonic.

Sadin was so enthusiastic about Fleurine's previous recordings that he offered to produce her next album. Fleurine was thrilled to work with Sadin and their musical chemistry brought forth an exceptional album. Fleurine continues to be bold and original, this time arranging famous pop hits by Peter Frampton, Bruce Springsteen, Nick Drake, Paul Simon and The Pretenders in a jazz context, while at the same time reinterpreting a Gabriel Fauré's classic sung in French, showcasing that jazz has no limits. Her great love for Brazilian grooves and language, always present on all of Fleurine's albums is featured on the title track "Fire", as well as on two brand new Brazilian originals and one classic Jobim.  The album features top players from two continents; New York's finest -drummer Jeff Ballard, saxophonist Seamus Blake, accordionist Gil Goldstein, pianist Brad Mehldau and guitarist Peter Bernstein, and from Europe,  Fleurine's  treasured band-members of 10 years: Holland's premier guitarist Jesse van Ruller and Dutch bass ace Johan Plomp. With "Fire" Fleurine continues to create her own unique niche in the world of jazz.  http://www.fleurine.com/Biography/biography.html

Meant to be!

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Sarah Partridge - Beautiful Minds: Celebrating Extraordinary Women

Styles: Vocal
File: MP3@320K/s
Time: 50:23
Size: 116,4 MB
Art: Front

(5:02) 1. Sky Sweeper
(7:54) 2. Blues in Maryam's Truth
(4:58) 3. A Double Life
(3:24) 4. Stella Splendida (Bright Star)
(4:10) 5. Against the Current
(5:20) 6. She Who Stayed to Prove the Day
(6:12) 7. Courage Is a Woman
(4:08) 8. Rise Up!
(5:28) 9. Queen of Disguise
(3:43) 10. Adorn the World

Jazz vocalist Sarah Partridge releases her seventh recording, a project two years in the making. Comprised of ten original songs written by Partridge and mostly members of her band, each piece is a musical portrait of a notable woman in STEM. (Science, Technology, Engineering and Mathematics). A stunning example of art meets science, these compositions bring each woman to life with a variety of international grooves, and lyrics that poetically celebrate each woman. This is a concept album like no other, and Partridge has assembled a masterful ensemble of players and composers.

From Maria Mitchell, the first female astronomer in the 1800’s to film star and inventor, Hedy Lamarr, to current climate scientist Nicole Hernandez Hammer, this is an inspiring exploration into jazz like never before. Partridge says, “My hope is to introduce the world to these courageous women through music: Women who have overcome mountains of challenges to achieve what they have.

I’d like the music to embody the flavor of their lives so that it inspires women everywhere to enter the STEM fields, and hopefully embrace jazz music!”~Scott Thompson Public Relations https://www.allaboutjazz.com/news/sarah-partridge-beautiful-minds-extraordinary-women

Beautiful Minds: Celebrating Extraordinary Women

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