Simona Bencini - Unfinished

Styles: Vocal
File: MP3@320K/s
Time: 40:30
Size: 105,6 MB
Art: Front

(4:22) 1. Moonlight on my mind
(4:48) 2. While my time is running through
(4:58) 3. Wondrous child
(4:56) 4. A flash of light
(3:50) 5. You are the music
(5:53) 6. Angel's lullabye
(0:44) 7. Intro bruno
(6:11) 8. Non so se tu
(4:43) 9. It don't mean a thing

Simona Bencini is a famous Italian singer. In the 90s his voice climbed the most important Italian record charts with numerous successful singles and important collaborations. He is the historical voice of Fiorentina live on Cuba, jazz band. Here on the simonabencini website it is possible to read the story of this legendary singer: starting from the biography at the beginning, passing through private life to unpublished curiosities. Simona was born on August 31, 1969. She was born in Florence, the capital of Tuscany. He lived there with his mother, his father and Alberto, his brother. His love of music begins at an early age with the influence of his family, who are all musicians. His grandfather and also his mother are both singers. His musical career starts early; he is only seventeen when he joins a choir. Simona starts singing in the musical The Rocky Horror Picture Show, staged by a company of friends at her own expense.

Graduated with honors from the Technical Institute for Tourism, she continues her studies in Political Science at the University. However, he cannot help but cultivate this innate and growing love of music and singing and continue to practice it in an interpretive and vocal style that is close to that of soul music.A few years ago it joined the Club World Casino, where the most popular online casino games are available. She enjoys playing various online casino games, but slots are her all-time favorite because they often offer her attractive free spins without a deposit. To find out more about the types of bonuses, go togamesonlinenews.info and find the best one for your needs. In the summer of 1993, Simona Bencini participated in the formation of Matte in Transferta, a group made up of four great acoustic singers, including her friend Irene Grandi, Rossella Ruini and Emy Berti. He met them in a famous Italian casino, they have since become close friends. Now this site https://playtech-casinos.ca is a Canadian online casino that has taken enormous inspiration from Italian establishments and their culture in the way of gambling. It has amazing games and even bigger offers.

Starting as a backing vocalist, she joined the Diretta Su Cuba (Hijack on Cuba) Group in 1990 and later became the lead solo vocalist. He made his debut as a singer for the group in 1992. The Diretta Su Cuba group, formed by Rossano Gentili and Stefano De Donato, is a funky-soul group, a genre that was practiced very little at the time, but which immediately achieved considerable success in Tuscan musical competitions. Her dark and powerful voice, her captivating stage presence added to the fresh and original Italian groove and funk. The partnership with producer Pierpaolo d'Emilio created an explosive mix: they signed their first record deal in 1994 with L'abel Urlo (CGD). In the same year in June, they released their first single "Jealousy", which became an instant hit on All Radios. The debut album “Diretta Su Cuba” went platinum. In the same year, they released five singles from the same album, in addition to the song Jealousy, the other songs were solo Baci (only Kisses), Liberi di - Liberi da (Free Of - Free From), Dove Sei (Where are You) and Legami (Tie me up). The song Baci solo sees the collaboration with the speaker of Radio Montecarlo, Nick The Nightfly.

In 1996 their second work Nonostane Tutto was released, a natural continuation of the first album, enriched by a string orchestra and the horn section of Demo Morselli. After having released their album, The following year Dirotta Su Cuba took part in the Sanremo Festival with “it went like this”, alongside a legend of the oral organ, Toots Thielemans. For the occasion, their first collection comes out (that's how it went), with a funky reinterpretation of a famous Delirium song, Jesahel. In these three years, Dirotta Su Cuba regularly played live in many places, with a 12-piece band. During these long tours, Simona has definitively begun to highlight her skills as a front-woman, transforming the concerts into real parties of contagious euphoria and painting her image as a famous Italian singer.Learn more about Hijacking Cuba in our special article about them at simonabencini.com.

Simona decided to leave the group in 2000 to try her luck as a solo singer, inaugurating the new phase of her life with the album “Sorgente”. In 2006 she returned to the Sanremo Festival with the song "Storm", and later made a very successful collaboration with another famous Italian singer Elisa. In 2010 she was chosen by the director Massimo Romeo Piparo to interpret Maria Maddalena in the musical 'Jesus Christ Superstar' staged in the most famous Italian theaters from October 2010 to February 2011. Her fame was immense that even online casinos have shared the interest in involving his music in games. Visit this site and discover the best French online casinos for real money fun and seek out this Italian beauty. In 2016 the band released a new album containing a revised version of their cornerstone debut album Diretta Su Cuba with the addition of six previously unreleased songs. After various television programs in 2019, he is now in the cast of Now Or never 2019, the second edition, directed by Amadeus. https://simonabencini-com.translate.goog/?_x_tr_sl=it&_x_tr_tl=en&_x_tr_hl=en-US&_x_tr_pto=nui,sc

Unfinished

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Laura Fygi - Gold

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 72:36
Size: 166,3 MB
Art: Front

(4:14)  1. Take A Bow
(4:52)  2. Lately
(3:36)  3. How Insensitive (Insensatez)
(2:46)  4. Let There Be Love
(3:38)  5. Dream A Little Dream
(3:26)  6. Sabor A Mi
(4:01)  7. Corcovado (Quiet Nights Of Quiet Stars)
(4:07)  8. Good Morning Heartache
(3:53)  9. Still Crazy
(4:18) 10. Still
(3:59) 11. Triste
(3:38) 12. For Once In My Life
(4:03) 13. You Do Something To Me
(4:14) 14. Dindi
(4:05) 15. It's Crazy
(4:21) 16. Disse Alguém (All Of Me)
(5:00) 17. Have I Told You Lately That I Love You
(4:23) 18. How You Gonna See Me Now

Everywhere that Laura Fygi visits, she is a veritable vision of exotica. In her home country of the Netherlands, they know her as the woman who was raised in Uruguay as the daughter of an Egyptian belly dancer; in the Far East she is the emancipated Western lady who many others aspire to be. But wherever she may be, there is one common factor in all of those locations: that instantly recognisable voice which has won her hearts all over the globe. Since her dance hits with the girl group Centerfold in the early 1980s, Laura has travelled down numerous musical pathways, such as jazz, Latin, and chansons, not shying away from any genre or style. That wilful quest for renewal has rendered collaborations with such music luminaries as the late Toots Thielemans, Michel Legrand and Michael Franks. Laura has also been presented with various gold and platinum discs and awards, as well as playing the lead role in Singapore of her favourite musical Victor/Victoria.

Laura has performed throughout Europe, South America and Asia. As a Dutch singer, she even managed to conquer the Chinese market, a unique achievement! In 2012 she signed a contract with one of China’s largest record companies and recorded the CD Flower specifically for the Asian market. It contains original Chinese compositions that Laura had arranged in her own style. Some songs were translated into English and French, but she also sang four songs in the original Chinese! What is the secret of her success? It is the combination of a number of things. First of all she has a husky voice with a beautiful diction and great timing, which has already been compared to that of Peggy Lee, and the intimacy of Julie London . She has an international appearance  which enables her to perform in Ronnie Scott ‘s Jazz club in London’s Soho with the same ease as on the biggest stages in most of the world cities.  She looks beautiful and is as Latin as Jazzy . But the most important thing Laura is a storyteller, someone who knows how to turn a song into a story that touches you directly from her heart to yours. While it still swings like crazy! In 2015 Laura celebrated her 25th anniversary as a solo artist but there is no way of stopping her! Previously being under contract with Universal Music Netherlands, her career has moved to the Asian part of the world so the next step was a logical one… She recently signed a worldwide record deal with Universal Music in Asia and this year a brand new CD will be released titled Jazz Love. Laura selected a number of popular pop songs and had arrangements written in her own unique style. Bossa, swing, soft jazz, songs from Sade, the Beatles, Alicia Keys and Don McLean gain a whole new dimension! The jazz diva still has many plans of which performing is her favorite activity. She will make sure people have a good time and that is what she does best, entertaining! https://www.laurafygi.com/biography/

Gold

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Amy McConnell & William Sperandei - Accomplice

Size: 130,2 MB
Time: 55:52
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Where Do I Begin (6:03)
02. L-O-V-E (5:04)
03. Dance Me To The End Of Love (3:41)
04. Wild Is Love (4:21)
05. Ne Me Quitte Pas (3:23)
06. On The Street Where You Live (4:25)
07. If I Fell (3:58)
08. Petite Fleur (3:26)
09. Charade (4:49)
10. Les Parapluies De Cherbourg (4:01)
11. Don’t Forget Me (2:18)
12. I Wish You Love (4:11)
13. Une Histoire D’amour (6:05)

Jazz singer Amy McConnell and trumpet player William Sperandei have followed up their JUNO nominated debut album Stealing Genius with an even more arresting offering, Accomplice.

Accomplice sees the pair taking on repertoire from composers of the 60s and 70s like Legrand, Brel, Loewe & Mancini. McConnell and Sperandei push the stylistic boundaries of jazz by taking these much loved, complex melodies and putting them in a fresh context influenced by the sound of vintage French pop and electronica. Their groovy takes on favourites like L-O-V-E, Where Do I Begin? and Wild Is Love embrace non-traditional jazz rhythms and instrumentation to dramatic and compelling effect.

Accomplice

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Billy Larkin & The Delegates - Pigmy

Styles: Jazz, Post Bop
Year: 1964
File: MP3@320K/s
Time: 37:41
Size: 88,8 MB
Art: Front

(2:43)  1. The Peeper
(3:01)  2. Foxy Little Ghoul
(4:38)  3. There Is No Greater Love
(4:32)  4. Cristo Redentor
(3:15)  5. Hainty
(2:23)  6. Pigmy
(3:43)  7. Ice Water
(5:18)  8. Grooveyard
(3:12)  9. Old Country
(4:51) 10. Watch Your Motives

Organist Billy Larkin and The Delegates immediately came to the attention of the Los Angeles jazz audience when their first record was released, but they also picked up a larger audience when the teenagers discovered they could dance to it. Just as Ramsey Lewis, they had an appeal that far exceeded just the jazz listener. Basically a jazz trio with heavy emphasis on the blues, Billy Larkin and The Delegates was a versatile and dynamic group that reached into all corners of music to come up with a style and an approach that is both fresh and distinctive.

Personnel:  Billy Larkin (org), Hank Swarn (g), Mel Brown (d), Clifford Scott (sax, fl)

Pigmy

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Youn Sun Nah - Immersion

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 44:19
Size: 101,9 MB
Art: Front

(2:53)  1. In My Heart
(3:05)  2. The Wonder
(3:38)  3. Isn't It a Pity
(3:41)  4. Here Today
(2:47)  5. Mystic River
(3:00)  6. Sans toi
(3:22)  7. Mercy Mercy Me (The Ecology)
(2:58)  8. God's Gonna Cut You Down
(3:57)  9. You Can't Hurry Love
(3:28) 10. Asturias
(1:45) 11. I'm Alright
(3:36) 12. Invincible
(6:02) 13. Hallelujah

K-Music, London’s annual celebration of Korea’s dance, theatre, music and contemporary warpings of traditional arts, opened this week and runs for a month with the launch gig fittingly delivered by a style-blending star, the astonishing Seoul-born singer Youn Sun Nah. The show was a startling fusion of her homeland’s traditions, remoulded Latin scat, chanson, petrifying abstract noise, and personal angles on western icons such as Tom Waits and Randy Newman. Its power spectacularly contrasted with this inimitable performer’s shy demeanour and the simple duo format of her regular partnership with Swedish guitarist Ulf Wakenius. Youn Sun Nah opened with the Nine Inch Nails classic Hurt, her pealing voice sometimes nuanced by delicate vibrato, sometimes taking on a silvery tingle like a metal-stringed instrument. Her own Lament (from 2013’s Lento) joined ballad sonorities and dramatic diva power over Wakenius’s punchy strumming, while on two Latin-improv scat duets, in unison with a flying guitar line, she resembled Flora Purim in hyperdrive. On My Favourite Things, she simmered slowly and unaccompanied, amiably slipping “fish and chips” into the traditional list. On A Sailor’s Life, she harmonised electronically with herself in flawlessly inflected English-folk mode, and caressed the reticent, silvery melody of a traditional song she called a Korean blues. She delivered Tom Waits’ Jockey Full of Bourbon through cupped hands in a staggering low rasp, and brought the crowd to its feet with her casually reverential Randy Newman encore, Same Girl. A discreet, diminutive vocal giant, Youn Sun Nah keeps insisting on an agenda that’s always her own. https://www.theguardian.com/music/2016/sep/22/youn-sun-nah-review-korea-singer-union-chapel-london

Immersion

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Andrea Caparros Quartet - Piece Of Mind

Bitrate: MP3@320K/s
Time: 52:53
Size: 121.1 MB
Styles: Latin jazz
Year: 2018
Art: Front

[3:33] 1. Canção Da Sedução
[4:24] 2. Walking Alone
[5:45] 3. Holding The Tears In
[3:41] 4. Samba Para Paulinho
[7:19] 5. Peace Of Mind
[3:53] 6. Dream Of
[3:51] 7. Nosso Som
[8:31] 8. Les Pieds De Pia
[5:33] 9. Berimbau
[2:33] 10. Noa
[3:44] 11. Peace Of Mind (Radio Edit)

Born from a Brazilian mother and a musician father Andrea Caparros is rocked from a very young age by the rhythms of samba and bossa-nova. She studied jazz at the Conservatoire Régional de Toulon and the Institute of Professional Music Training (IMFP) of Salon de Provence. The pianist singer sharpens her sense of harmony and improvisation to write her own repertoire. While browsing the scenes she meets the musicians who accompany her today: Emile Melenchon, gold medalist in classical guitar and Jazz at Toulon Conservatory. We could hear him alongside rising artists of the new generation of French jazz like Laurent Coulondre, Gautier Garrigue, Bastien Ribot, Jérémy Bruyère. Arnaud Pacini, self-taught bassist and bassist with Jazz and African-American influences. Jessy Rakotomanga, drummer who turned early to improvised music and drummer, graduated at the Marseille Conservatory. (Translated from French.)

Piece Of Mind

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Harold Land - Westward Bound

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 72:13
Size: 168,2 MB
Art: Front

( 6:17) 1. Vendetta
( 9:20) 2. Beep Durple
( 8:38) 3. Happily Dancing Deep Harmnoies Falling
(10:38) 4. My Romance
(11:07) 5. Triplin' The Groove
(11:27) 6. Autumn Leaves
( 4:54) 7. Who Can I Turn To
( 7:07) 8. Beau-Ty
( 2:43) 9. Blue 'n' Boogie

Contains previously un-issued live recordings of unsung tenor saxophone hero Harold Land from The Penthouse in Seattle from 1962, 1964 and 1965 with stellar musicians including Hampton Hawes, Carmell Jones, Buddy Montgomery and Philly Joe Jones. Released in partnership with the Harold Land Estate, the remastered audio was captured from direct transfers of the original Penthouse's tape reels. Westward Bound! includes an extensive booklet with rare photos; essays by jazz historian Michael Cuscuna, co-producers Zev Feldman and Cory Weeds, and pianist Eric Reed; plus interviews with tenor saxophone giant Joe Lovano and the legendary saxophonist Sonny Rollins.

About the Artist: Harold Land was a legendary hard bop/post-bop tenor saxophonist. Land developed his hard bop playing with the Max Roach/Clifford Brown band. His first recording was as the leader of the Harold Land All-Stars, for Savoy Records in '49. In '54 he joined the Clifford Brown/Max Roach Quintet, with whom he was at the forefront of the hard-bop/bebop movement. He moved to Los Angeles in '55 and co-led groups with Bobby Hutcherson, Blue Mitchell, and Red Mitchell. In the early '80s through to the early '90s he worked regularly with the Timeless All Stars; a group sponsored by the Timeless jazz record label.

The group consisted of Land on tenor, Cedar Walton on piano, Buster Williams on bass, Billy Higgins on drums, Curtis Fuller on trombone and Bobby Hutcherson on vibes. Over his career he was a sideman on albums from Roy Ayers, Bill Evans, Ella Fitzgerald, Freddie Hubbard, Thelonious Monk, Wes Montgomery, Donald Byrd, Dinah Washington and countless others. Land was a professor at the University of California, Los Angeles and joined the UCLA Jazz Studies Program in 1996 to teach instrumental jazz combo. ''Harold Land was one of the major contributors in the history of the jazz saxophone,'' said jazz guitarist Kenny Burrell, founder and director of the UCLA Jazz Studies Program.~Editorial Reviews https://www.amazon.com/Westward-Bound-Harold-Land/dp/B08X5GPPV7

Personnel: Tenor Saxophone – Harold Land; Bass – Monk Montgomery; Drums – Joseph Rudolph Jones, Mel Lee; Piano – Buddy Montgomery, Hampton Hawes, John Houston; Trumpet – Carmell Jones

Westward Bound

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Fiona Ross - Fierce And Non Compliant

Styles: Vocal, Keyboards
Year: 2019
File: MP3@320K/s
Time: 56:03
Size: 130,4 MB
Art: Front

(3:53) 1. Fierce and non-compliant
(4:09) 2. For my dad
(4:49) 3. Woke up this morning so I can't complain
(4:37) 4. Be on my side
(4:11) 5. I followed my heart
(4:50) 6. Don't say
(3:43) 7. Feel
(4:19) 8. Use the right words
(4:07) 9. Just tell me when
(5:36) 10. I don't want it
(3:51) 11. Socialising with misery
(3:57) 12. I thought I saw your heart
(3:56) 13. Doing my thing

Award winning vocalist, pianist, composer and producer Fiona Ross has become known for creating her own contemporary Jazz sound using fast paced Latin Jazz, vintage jazz club and a little neo soul along with heart wrenching ballads that demonstrate that ‘Her style is poetic and the messages ooze with Millennial angst’ (Jazz weekly). She came to the world’s attention as ‘the artist that gave Ed Sheeran his ‘first push’ (Daily Express), but has very quickly established herself as an artist in her own right and has received incredible reviews across the globe for all of her four albums.

Her live performances have seen her perform at prestigious venues including 606 Club, Pizza Express, Bulls Head, Nells Jazz and Blues and Toulouse Lautrec and her music is played on radio stations all over the world including 40 stations in the USA as well as in Canada, Italy, France, Germany, Australia and Spain.

Fiona is also a member of the Jazz Journalist association and is a senior writer for Jazz in Europe and a creative writer Jazz Quarterly. She has interviewed Steve Gadd, Maxine Gordon, Dee Dee Bridgewater, Eric Bibb, Roseanna Vitro and Kyle Eastwood, to name a few. As Head of the British Academy of New Music, Fiona was responsible for the training of the likes of Ed Sheeran, Rita Ora and Jess Glynne, to name just a few but left her role there to establish herself as an artist in her own right. https://jazzineurope.mfmmedia.nl/2020/03/fiona-ross-fierce-and-non-compliant/

Personnel: Fiona Ross (vocals, keyboards); Gibbi Bettini (guitar); Derek Daley (bass); Marley Drummond (drums); Loren Hignall (saxophones); Adam Brown (trumpet); Adam Hayes (percussion); Ashaine White (backing vocals) with Snow Owl (bass); Kim Cypher (saxophone); Adam Cooper (vocals); Marco Piccioni (guitar)

Fierce and non compliant

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Richard 'Groove' Holmes - Somethin' Special

Styles: Jazz, Post Bop
Year: 1962
File: MP3@320K/s
Time: 47:08
Size: 109,6 MB
Art: Front

(9:12)  1. Something Special
(5:46)  2. Black Groove
(3:11)  3. Me & Groove
(5:17)  4. Comin' Through The Apple
(6:30)  5. I Though I Knew You
(5:27)  6. Carma
(5:41)  7. Blow The Man Down
(6:01)  8. Satin Doll

Somethin' Special is a laidback, funky classic which features Richard "Groove" Holmes trading licks with pianist Les McCann, saxophonist Clifford Scott and guitarist Joe Pass, who makes one of his first recorded appearances on this album. It's a fine, infectious album, highlighed by Holmes and McCann's stylish solo. Blue Note's 1997 CD reissue features two bonus cuts, including one that features saxophonist Ben Webster. ~ Leo Stanley https://www.allmusic.com/album/somethin-special-mw0000098677

Personnel: Richard "Groove" Holmes – organ; Les McCann – piano; Clifford Scott – alto saxophone, tenor saxophone; Joe Pass – guitar.

Somethin' Special

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Angela Hagenbach - Feel the Magic

Styles: Jazz Vocals
Label:  Harvest Media Group,LLC
Year: 2001
File: MP3@320K/s
Time: 59:55
Size: 137,2 MB
Art: Front

(3:38)  1. Love for Sale
(5:19)  2. Peel Me a Grape
(3:50)  3. Obsession
(3:36)  4. Nice and Easy Does It
(5:42)  5. Feel the Magic
(3:37)  6. Retribution
(6:03)  7. So Many Stars
(4:05)  8. Don't Get Around Much Anymore
(7:00)  9. Retrato Em Branco e Preto
(4:44) 10. Easy to Love
(6:14) 11. Something Cool
(6:03) 12. Baby, Baby All the Time

Internationally known model turned jazz vocalist, Angela Hagenbach's third album for her Amazon label finds her in the company, although not exclusively, of many of the musicians with whom she has worked on previous albums. These include the important rhythm section of Joe Cartwright, Danny Embrey, Gary Helm, and James Jeffrey. What is striking about Hagenbach are the dramatic alterations to her voice she is able to make from one track to another to conform it to the way she wants to deliver a tune. And she does this with ease, without any diminishment in the quality of her singing. On "Peel Me a Grape," her voice is enticingly light, while on "Retrato em Branco e Preto," one has to take a look at the liner notes to see whether a new singer has been recruited for this tune; her voice drops to a lower register, resulting in a husky, smoky rendition of this Antonio Carlos Jobim Brazilian classic. "Don't Get Around Much Anymore" is the vehicle not only for some well-done scatting, but it allows Hagenbach to show her ability to fool around with the lyrics, adding some new ones without damaging the theme of one of Duke Ellington's greatest. "Baby, Baby, All the Time" shows Hagenbach's blues side, as she rides into the chorus on top of Cartwright's lead in piano. Unlike June Christy's renowned sorrowful version of "Something Cool," Hagenbach's borders on the defiant. On "Easy to Love," she recalls Anita O'Day. On other tunes, she shows touches of Ella Fitzgerald and Carmen McRae. With her excellent range, perfect pitch, and her unerring sense of what she's singing, there is no reason why Hagenbach shouldn't become one of jazz's foremost vocalists, and to get there in a hurry.~Dave Nathan 

http://www.allmusic.com/album/feel-the-magic-mw0000331169 .

Feel the Magic

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Youn Sun Nah - Voyage

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 55:13
Size: 126,4 MB
Art: Front

(4:44)  1. Dancing With You
(5:01)  2. The Linden
(4:06)  3. Calypso Blues
(4:25)  4. My Bye
(3:42)  5. Jockey Full Of Bourbon
(6:01)  6. Voyage
(3:46)  7. Please Don't Be Sad
(4:32)  8. Shenandoah
(3:31)  9. Come, Come
(5:18) 10. Frevo
(5:05) 11. Inner Prayer
(4:58) 12. India Song

Although her UK debut at London's Vortex was in May 2009, South Korean singer Youn Sun Nah has been a figure on the French jazz scene since the mid '90s when she moved there to study jazz and French chanson.Voyage, her sixth release sees her deftly accompanied by some of the top names in European jazz. One phrase into "Dancing With You" and it's clear that here is a remarkable voice. Sun Nah possesses the sensuousness of Melody Gardot, the quirky, theatrical air of Björk, and the blues of a Parisian chanteuse. On the opening "Dancing With You," Ulf Wakenius accompanies softly on acoustic guitar and Lars Danielsson's melodica brings a Parisian feel to a tender love song. Half the tracks are Sun Nah originals and reveal her to be a romantic at heart. Her songs are tinged with a sweet melancholy, like the lovely "My Bye," which features a plaintive solo from trumpeter Mathias Eick. The Norwegian also features on the beautiful title track, where all the nuances of Sun Nah's voice soothing yet fragile are heard. Eick's solo is sensitive and gently paced, providing perfect sympathetic background. Danilesson's "The Linden"with its melancholy air and brushes like a gentle breeze could have been written for Sun Nah. Sun Nah's cover songs are rhythmically more engaging and reveal the impressive range and operatic quality of her voice. Egberto Gismonti's classic "Frevo" sees Sun Nah scatting bebop style with tremendous facility and reaching a flamenco-like passion. Nat "King" Cole's "Calypso Blues" is a sheer delight, with Danielsson laying down a gorgeous groove over which Sun Nah's sultry voice plays with the lyrics, reaching a falsetto which might just crack glass.

Tom Waits could probably retire on the royalties received from covers of his songs, and here Sun Nah takes on "Jockey Full of Bourbon." With Wakenius sounding slightly Marc Ribot-ish, and a swinging groove courtesy of Daneilsson and percussionist Xavier Desandre-Navarre, it is a tad too faithful in spirit to the original to really stand out, but is enjoyable nevertheless. More interesting is the quirky original "Please, don't be sad," which features what sounds like facial percussion and Wakenius' darkly funky guitar punctuation. "Shenandoah" is a long way from Korea, but Sun Nah brings a haunting beauty to this classic of the American songbook. "Inner Prayer," another beautiful original, has a touch of Americana about it and Sun Nah's delivery is yearning and vulnerable, underpinned by washing cymbals and Eick's fragile, puffs-of-air trumpet solo. The final track, Carlos D'Alessio's seductive and moody "India song," sees Sun Nah caressing the lyrics in French, accompanied by bass and minimal acoustic guitar.  The French may well have been keeping Youn Sun Nah a secret all these years. A voice this special with songwriting skills to match may breed jealousy. Unfortunately for the French, Youn Sun Nah's talent is too great to confine and the rest of the world awaits a chance to hear this unique talent. ~ Ian Patterson https://www.allaboutjazz.com/voyage-youn-sun-nah-act-music-review-by-ian-patterson.php

Personnel: Youn Sun Nah: vocals; Ulf Wakenius: guitars; Lars Danielsson: acoustic bass, cello, melodica; Xavier Dessendre-Navarre: percussion; Mathias Eick: trumpet.

Voyage

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McCoy Tyner - Focal Point

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 40:45
Size: 101,6 MB
Art: Front

(7:57) 1. Mes trois fils
(6:57) 2. Parody
(5:36) 3. Indo-serenade
(9:00) 4. Mode for dulcimer
(5:59) 5. Departure
(5:14) 6. Theme for Nana

Although McCoy Tyner recorded with consistent excellence beyond his brilliant and definitive work with John Coltrane, the pianist's Milestone legacy (1972-81) cemented his individual place in the jazz pantheon. Focal Point is a 1976 Milestone date now reissued on OJC that enhances Tyner's then working trio of Charles Fambrough on bass and Eric Gravatt on drums with the commanding reeds of Gary Bartz, Joe Ford and Ron Bridgewater and Guilherme Franco's colorful, exotic percussion. Here, Tyner explores a neat half dozen of his exceptional originals and elicits some of his most powerful, energetic personal pianism. Stand outs include "Mes Trois Fils," the very Tyneresque "Mode for Dulcimer" (with Tyner on the eponymous instrument and Franco subtly working the tabla), the Tyner-Gravatt duet of "Parody" and the Tyner-Ford-Fambrough-Gravatt-Franco "Theme For Nana." A little overdubbing occurs, but the result is still a tight, simpatico septet that understands and thrives on Tyner's unique conceptions.~Douglas Payne https://www.allaboutjazz.com/focal-point-mccoy-tyner-fantasy-jazz-review-by-douglas-payne

Players: McCoy Tyner: piano, dulcimer; Gary Bartz: clarinet, sopranino, soprano sax, alto sax; Joe Ford: flutes, soprano sax, alto sax; Ron Bridgewater: soprano sax, tenor sax; Charles Fambrough: bass; Eric Kamau Gravatt: drums; Guilherme Franco: congas, percussion, tabla.

Focal Point

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Ana Velinova & Walter Martella - Softly

Size: 109,5 MB
Time: 47:21
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Say It (4:36)
02. I Get Along Without You Very Well (4:32)
03. Moon River (4:45)
04. Where Or When (5:02)
05. Blue Orchids (4:26)
06. Mood Indigo (6:37)
07. Estate (4:50)
08. What I Did For Love (4:00)
09. Didn't We (3:56)
10. For All We Know (4:34)

Jazz vocalist, conductor, composer and poet Ana Velinova has inspired audiences around the world. Vocally outstanding, stylistically elegant, innovative and emotionally raw Ana delivers her music effortlessly, leaving the audience bewildered and mesmerized.

Ana has enjoyed an international career working in diverse musical genres such as jazz, modern, classical and gospel. During her years as a fixture of New York City's avant-garde music scene, she formed the group Ensemble Gergana and released 'The Witch,' her first recording of original music. Most current recordings include:

'The Thief', which features Ana’s original compositions, as well as a creative exploration of Gypsy In My Soul and an elegantly powerful rendition of Joao Bosco’s O Bebado E A Equilibrista

'Softly' an intimate interpretation of timeless jazz ballads recorded live in a duo format with pianist Walter Martela

'InhalExale' an EP featuring one of Canada's most celebrated jazz musicians, Brad Turner on trumpet.

With a repertoire extending from Mozart and Stravinsky to Ellington, Monk and Jobim, as well as her own compositions, Ana has shared the stage with many accomplished artists including Bob Moses, Neil Swainson, Don Thompson, Brad Turner, Misha Piatigorsky, Willard Dyson, Ross Taggart and Eric Dozier.

In addition to her performance career Ana is well known for her entrepreneur work as a conductor, educator and event's producer. Ana currently holds the position of Head of Jazz Voice for the Jazz Department of the Victoria Conservatory of Music in Canada. She presides as conductor of the Victoria Conservatory of Music Vocal Jazz Ensemble, and has worked with the One Human Family Gospel Choirs in Canada and the USA as a vocal coach and director. Ana is also the Founder and first conductor of the Bulgarian Children's Choir and School "Gergana" in New York City which recognized her with the distinction of adopting her Bulgarian name. The Gergana Choir has given hundreds of concerts including performances at the Weill Recital Hall (Carnegie Hall).

Ana holds a Master's Degree in Jazz and Contemporary Classical Voice Performance from the Longy School of Music in Boston, undergraduate diploma in Vocal Jazz from the Musician’s Institute in Los Angeles and a diploma in classical guitar from the National Music School in Sofia, Bulgaria. Ana has also studied opera and classical art song in New York with world-renowned sopranos Stefka Evstatieva and Lucy Shelton.

Softly

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Amy Lowrey - Fallen For You

Size: 107,0 MB
Time: 45:56
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Devil May Care (3:43)
02. It's Not (5:15)
03. You'd Be So Nice To Come Home To (3:50)
04. Willow Weep For Me (4:12)
05. Lullaby Of Birdland (3:15)
06. Do Nothin' 'Till You Hear From Me (4:53)
07. Who Will Buy (3:03)
08. Fallen For You (3:46)
09. I'll Be Your Mirror (2:45)
10. Spooky (3:12)
11. Walk On By (3:06)
12. Different Drum (4:52)

A debut vocalist, plus a posse of Austin's most talented players, create an addicting collection of 40's swing, 60's jazz, and fresh arrangements of 70's pop.

Amy Lowrey is a jazz singer who also loves making new arrangements of pop tunes. For her debut album FALLEN FOR YOU, she chose songs with a strong narrative personality, including the Duke Ellington jazz standard "Do Nothing Till you Hear from Me," Sheila Nicholls' "Fallen for You" about the longing for a love that will never happen, as well as the deeply resonant "It’s Not" by Aimee Mann, about the hesitation that can hold you back just when you want to move ahead.

Produced by Mady Kaye and recorded and mixed by The Eastside Flash at Flashpoint Studios in Austin, Texas, FALLEN FOR YOU features jazz swing tunes in minor keys, as well as vintage and contemporary pop tunes with new arrangements. World-class Austin musicians, including guitarist Mitch Watkins and saxophonist John Mills among others--well, all of them are terrific--solo on the album.

Fallen For You

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Joe Farnsworth - Beautiful Friendship

Bitrate: MP3@320K/s

Time: 71:16

Size: 163.2 MB

Styles: Standards, Hard bop

Year: 1999

Art: Front

[8:29] 1. Eddie's Mood

[5:51] 2. A Beautiful Friendship

[9:15] 3. Joobie

[6:40] 4. Lament

[7:56] 5. I'm Not So Sure

[8:29] 6. Something In Common

[9:40] 7. I See You, Brother

[7:21] 8. Melancholee

[7:31] 9. Joe's Tempo

Joe Farnsworth (D); Cedar Walton (P); Eddie Henderson (Tp / Flh); Eric Alexander (Ts); Steve Davis (Tb); Nat Reeves (B).

For his debut session, drummer Joe Farnsworth assembled a crew that mixes veterans Eddie Henderson and Cedar Walton with Farnsworth's regular running mates from the Criss Cross stables: tenor saxophonist Eric Alexander and trombonist Steve Davis, along with bassist Nat Reeves. The mood is definitely Blue Note bop, and as such fits well within the Criss Cross catalog. By soliciting tunes from his sidemen, Farnsworth put together a strong program that elicits fully engaged playing from all the participants. Alexander especially digs in on his own "Joobie," a duet with Farnsworth, and one of two tracks here dedicated to the memory of Farnsworth's late brother, James, a bebop baritone saxophonist. With the set opening and closing with compositions dedicated to participants, the recording has a warm fraternal feeling. Musically, Farnsworth keeps the session moving with steady time, showing why he's so in demand by both veterans and his peers. ~David Dupont

Beautiful Friendship

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Fiona Ross - Red Flags and High Heels

Styles: Vocal And Piano Jazz
File: MP3@128K/s
Time: 65:43
Size: 61,3 MB
Art: Front

(5:21) 1. Red Flags and High Heels
(4:01) 2. More Time
(4:32) 3. When I Get Old
(5:27) 4. Don’t Say It If You Don’t Mean It
(4:07) 5. You Can’t Feel My Groove
(2:56) 6. Good Enough
(4:02) 7. You Are Like Poison
(5:24) 8. You Used to Tell Me
(4:17) 9. I Always Saw the Red Flags
(5:20) 10. The Apple Trees Won’t Grow Anymore
(3:58) 11. You Can Smile (Live at Studio XYZ)
(5:14) 12. I Followed My Heart (Live at St Cuthbert’s Church)
(5:59) 13. Without You (Live at the Premises)
(4:59) 14. Too Many Thoughts (Live at the Premises)

Singer and pianist Fiona Ross returns with an album of fourteen new tracks on which she takes composition, production, and arrangement credits. Ross was Head of the British Academy of New Music for nine years, a role in which she was responsible for the training of Ed Sheeran, Rita Ora and Jess Glynne. Red Flags and High Heels is Ross’ fifth solo album. It’s fair to say that the singer may have flown a little under the radar, despite having previously won several awards. She is clearly a brave spirit, having, as she tells us, performed in jazz clubs and venues since she was fourteen (Ross lied to promoters about her age).

On this release, Ross is back by some notable players, including Gibbi Bettini (guitar), Derek Daley (bass), Marley Drummond (drums), Loren Hignell (saxophones), Dave Boa (trumpets), Ashaine White (saxophone/backing vocals), Simon Todd and Warren Woodcraft (percussion) and a special guest appearance by Kim Cypher (saxophone). The title track sets an impressive standard, a delightfully-swinging number with a contemporary edge. There’s a classy feel to the production, which contains as much lavish style as the classic Bond theme of your choice. Ross’ vocals are wonderful, full of emotion and free of hyperbole, providing a dazzling centre around which the music revolves.

The bombastic whirl of attention-grabbing elements makes for a thrilling listen. There are certainly some captivating solos on display, but this is very much an ensemble effort by some top class players. The slower-paced, charming When I Get Old, proves that Ross is equally capable of entertaining with just voice and piano. Her playing is lovingly understated, an impressionistic soundscape over which her vocals flow like a stream. “I’ll have all the answers, I’ll feel safe and secure…” sings Ross, echoing a forlorn hope with which we can all empathise. After a mercurial sax solo, the band kick in for a rousing finale.

You Feel My Groove, with its playful, call-and-response vocals, bounces with irrepressible energy, the band switching tempos at the drop of a hat. Indeed, throughout this record, Ross and her group display a gift for inventive arrangements and selfless playing. There’s something of a mainstream pop feel to this number, which is in no way a criticism. You Are Like Poison switches directions again, a shuffling, rolling number with blues-tinged guitar and stabbing horns. I Always Save The Red Flags is a particular highlight. Ross’ compelling voice floats over a bed of horns and double-bass. Again, Ross isn’t content to settle for the obvious. This is another song which, although on the surface might appear straight-forward, is packed full of nuance and skilful touches.

A quartet of live tracks takes us out, showing, as if there was any doubt, than Ross and company have the chops to perform more than admirably away from the studio. Red Flags and High Heels ought to find its way into the collection of many a jazz enthusiast. It must be said, though, that Ross’ appeal is bound to spread further than that. https://londonjazznews.com/2021/10/23/fiona-ross-red-flags-and-high-heels/

Personnel: Gibbi Bettini (guitar), Derek Daley (bass), Marley Drummond (drums), Loren Hignell (saxophones), Dave Boa (trumpets), Ashaine White (saxophone/backing vocals), Simon Todd and Warren Woodcraft (percussion) and a special guest appearance by Kim Cypher

Red Flags and High Heels

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Christian Scott aTunde Adjuah - Axiom

Styles: Trumpet Jazz
Year: 2020
File: MP3@320K/s
Time: 118:32
Size: 272,0 MB
Art: Front

( 9:52) 1. X. Adjuah (I Own the Night)
(16:06) 2. The Last Chieftain (for Big Chiefs Donald Harrison Sr. & Jr.)
(10:53) 3. Guinnevere
( 9:39) 4. Songs She Never Heard
( 4:47) 5. Sunrise in Beijing
( 9:17) 6. Huntress (for Cara)
( 6:45) 7. Incarnation (Chief Adjuah - Idi of the Xodokan)
(15:54) 8. West of the West
( 5:50) 9. Diaspora
( 0:38) 10. Introductions
(12:30) 11. Guinnevere [alt take]
(16:17) 12. The Last Chieftain (for Big Chiefs Donald Harrison Sr. & Jr.)[alt take]

As evidenced here, those in attendance for Christian Scott aTunde Adjuah's 2020 engagement at New York's Blue Note from March 11-15 witnessed what turned out to be some of the most powerful performances of this restricted musical year, just before everyday life changed for most people on the planet. The record is dedicated to the victims of Corona-19. This exceptional concert compilation could well be the first of "jazz's" present day, classic live albums released during the pandemic era (genre is in parentheses respecting Adjuah's stated reluctance regarding potentially disingenuous categorizations). A few brief, between song musings serve as milepost statements of the bandleader's mindset as this millennium's unusual third decade unfolded, but there is no political clutter.

Though many of the songs have previously appeared in somewhat similar forms, the sound is fresh, the musicianship fantastic, and the production basically flawless. Sporadic segments throughout evoke a later stage Miles Davis, like a yesternow Bitches Brew (Columbia Records, 1970) by Tutu (Warner Brothers, 1986) at the Fillmore. The set opens with "I Own the Night," a rousing new number with stirring percussion that continues the African-based rhythmic focus explored on Ancestral Recall (Ropeadope Records, 2019), which was released about a year before these concert pieces took place. Each band member also appeared on that album, with the exception of special guest saxophonist Alex Han; thus the cohesive interplay is always optimal. Flautist Elena Pinderhughes earns supporting MVP honors through numerous inspired solos.

"The Last Chieftain" is another percussive tour de force, with the first of some wonderful extended segments between drummer Corey Fonville and pianist Lawrence Fields. Pinderhughes smooths out the middle sections and leads the crew into another feast on the skins that wraps things up with emphasis on traditions like the djembe and bata. Since he's also credited with percussion work, one can assume that beside his mastery on horns, Adjuah's prowess with the drums grows with each release. "Sunrise in Bejing" from 2015's Stretch Music (Ropeadope Records, 2015) builds with wonderfully shadowed phrases between wind instruments that float like an early dawn over lightning flashes of percussion. Bassist Kris Funn makes the most of every fill he touches. Pinderhughes has become a more widely recognized creative force on the musical forefront while building a substantial body of work with Scott's formations,and she steps to the front again on "Diaspora,"the title tune of the 2017 Adjuah Ropeadope Records release.

Another new song, "Huntress," consists of a gentler melody than most cuts over steadily mixed undertone beats. Pinderhughes' flute floats in a higher register above cascading cymbals that build speed and intensity on increasing layers of percussion until winding back to the original pace for a similarly restrained run on what sounds like reverse flugelhorn. Whatever the instrument, Adjuah puts plenty of emotion into it. Written as a tribute to his mother, it's a very touching piece, especially considering this is one of, if not the first, times it was played in public. The regal "Incarnation" is one of the set's most brass based selections and sounds like it got one of the biggest audience reactions. The song features yet further layers of percussion and another sweet, trio-type break by flute, drums and keys that further illuminates the individual powerhouses Adjuah had on stage with him. The album has been released in multiple formats. This review is based on the edition that includes alternate versions of "The Last Chieftain" and "Guinnevere," each enhanced by Han's scorching sax.

Absent from the CD is the stirring "West of the West," a quarter hour of funked-up fury based on a shithead (read racist) neighbor Adjuah encountered at his home in Los Angeles, featuring further Han fireworks and some of Fonville's supremely strongest smacks. With intense foundational interplay between the keys and percussion instruments the track rocks less but is just as explosive as the guitar-heavy original. Considering the current social state of domestic affairs at the time of recording, the piece constitutes a tumultuous time capsule for the United States circa 2020. It's a shame the song isn't on every edition. "What you're going to experience is the re-evaluation," Scott informed the audience. "We have just crossed into the second century of creative improvised music, or othersowise if you prefer belittling and pejorative terms, jazz. We're re-evaluating what we're playing and why. We want everybody to know that they are free, that they are safe if they want to express themselves; as long as they don't sneeze while doing it, then everyone will be on the same page. We're not runnin,' but wash your damn hands." Following a stated goal to de-colonize musical sectors Adjuah, a descendant Chief in the prominent New Orleans "masking" culture, succeeds magnificently at clearly defining his vision of rhythm and tone. With this album he further proves himself true royalty for the future society of sounds.~ PHILLIP WOOLEVER https://www.allaboutjazz.com/axiom-christian-scott-atunde-adjuah-ropeadope-stretch-music

Personnel: Christian Scott aTunde Adjuah: trumpet; Elena Pinderhughes: flute; Weedie Braimah: percussion; Corey Fonville: drums; Lawrence Fields: piano; Kris Funn: bass; Alex Han: saxophone, alto

Axiom

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Lesley Gore - Girl Talk

Styles: Vocal
Year: 1964
File: MP3@320K/s
Time: 29:44
Size: 70,2 MB
Art: Front

(2:15) 1. Hey Now
(2:23) 2. Live And Learn
(2:13) 3. Say Goodbye
(1:59) 4. Look Of Love
(2:15) 5. You've Come Back
(2:34) 6. Maybe I Know
(2:04) 7. Sometimes I Wish I Were A Boy
(2:43) 8. Little Girl Go Home
(2:50) 9. I Died Inside
(2:15) 10. Wonder Boy
(3:13) 11. Movin' Away
(2:59) 12. It's Just About That Time

Digitally re-mastered and expanded edition of this 1964 album, the fourth studio album from the Pop vocalist. Produced by Quincy Jones, Girl Talk hinted of an artist moving beyond her teeny-bopper years and eager to expand her musical palette. Album opener 'Hey Now' was risky far more feisty and rhythmic than her usual material. 'Maybe I Know' and 'Look of Love,' proved that teenage pop could be smart and gimmick-free, and established a relationship between Lesley and songwriter Ellie Greenwich, who penned the songs with her husband Jeff Barry. Ellie, along with singers Jean Thomas and Mikie Harris, were integral to the making of the album, providing it's lush tones and girl group feel.

In addition to the 12 titles on the original album, this CD includes 13 hand-picked bonus tracks from the same timeframe, including three recorded in Hollywood with arranger Jack Nietzsche, and four others which first surfaced from the Mercury tape vaults in 1994. The booklet features an essay by noted girl pop authority Sheila Burgel, based on a new interview with Lesley Gore conducted exclusively for this project.~Editorial Reviews https://www.amazon.com/Girl-Talk-Lesley-Gore/dp/B00HS95IK8

Girl Talk

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Francesca Leone, Guido di Leone - Coracao Vagabundo

Styles: Vocal And Guitar Jazz
File: MP3@320K/s
Time: 76:58
Size: 177,3 MB
Art: Front

(2:35) 1. Rio
(3:38) 2. Dans mon ile
(6:45) 3. O Telefone
(3:14) 4. Laura
(3:03) 5. Flor de Lis
(8:28) 6. Tu si' 'na cosa grande
(4:41) 7. Old Devil Moon
(3:02) 8. Coracao Vagabundo
(2:53) 9. Only Trust Your Heart
(3:29) 10. We' Ll Be Together Again
(3:57) 11. A Felicidade
(5:03) 12. Retrato em Branco e Preto
(3:44) 13. Anos Dourados
(3:10) 14. Desde Que o Samba
(3:24) 15. Accendi una luna nel cielo
(5:13) 16. Chega de Saudade
(3:23) 17. Sabor a Mi'
(3:35) 18. My Ideal
(3:31) 19. Natale al pentagramma

With the important contribution of the Trio Corrente, a Brazilian group that has already won two Grammys, the jazz singer Francesca Leone and the guitarist Guido Di Leone pay tribute above all to the Brazilian songwriting (from Jobim, Caetano Veloso, Djavan, Chico Buarque , Gilberto Gil, Toquinuo, Vinicius de Moraes) in an album of high artistic caliber, supported by a technical component of the highest level. A delicious, usable and enveloping work.Translate By Google~ Antonio Bacciocchi https://www-radiocoop-it.

Coracao Vagabundo

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Joe Farnsworth Quartet - My Heroes: Tribute To The Legends

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 50:44
Size: 116,3 MB
Art: Front

(5:46) 1. George's Dilenma
(7:35) 2. Moanin'
(5:27) 3. No Fills
(4:44) 4. Syeeda's Song Flute
(1:43) 5. Here We Go, Here We Go
(6:23) 6. Cute
(3:38) 7. Two Bass Hit
(7:50) 8. Greensleaves
(3:02) 9. Musashi
(4:33) 10. Reflection

Joe Farnsworth is already regarded as one of the top jazz drummers in the world, but as far as he is concerned, he is just getting started. He is dedicated to the great tradition of jazz drumming as conceived by men like Max Roach, Roy Haynes, Elvin Jones, Billy Higgins and Arthur Taylor and it keeps him in the practice room trying to continue and extend it. Joe was born on February 21, 1968 in South Hadley, Massachusetts into an unusually musical family. His father was a renowned music teacher who immersed his five sons, and it became clear early on that, Joe as the youngest would choose a career in music and would ultimately be a great success. His eldest brother, John, a renowned trombone and saxophone player, exposed him at the age of 12, to the music of Count Basie, John Coltrain, Charlie Parker and the drumming of Tony Williams which led Joe to seek lessons with Alan Dawson out of Boston.

Ultimately enrolling in William Patterson College in New Jersey, he met and befriended Harold Mabern who introduced him to tenor saxophonist George Coleman. Both Harold and George became major influences on Farnsworth's playing. During this time, Joe also sought out and studied with Art Taylor and became friends with saxophonist Eric Alexander. After moving to New York City with brother James, a saxophonist for Ray Charles (1992-1999) when he unexpectedly passed away, Joe became the leader on Friday and Saturday nights as the infamous jazz club Augie's (now Smoke) where he would meet and play with Junior Cook, Cecil Payne, John Ore, Big John Patton, Harold Mabern, Eddie Henderson and John Jenkins. Joe's undeniable talent and hard work ethic started to pay off. He began working with Jon Hendriks in 1992 and then with Diana Krall off and on until he became a full member for a year and half from 1999-2000.

Joe Farnsworth is now known as one of the most recorded drummers on the scene, with over 70 cd's behind him, for musicians such as Wynton Marsalis, Cedar Walton, Pharoah Sanders, Eric Alexander and Benny Golson. His first recording as a leader, “Beautiful Friendship” (Crisscross Records) featured pianist Cedar Walton and trumpeteer Eddie Henderson while his second, “It's Prime Time” (88 Records) included special guest artists Ron Carter, Curtis Fuller, Benny Golson and Harold Mabern, Jr. At 38, Joe has already performed on most of the greatest American and international stages. He appears regularly at New York City clubs like The Village Vanguard (Wynton Marsalis, Cedar Walton), Blue Note (Johnny Griffin, Horace Silver), Birdland (Lou Donaldson), Iridium (George Coleman, Pharoah Sanders) and Jazz at Lincoln Center (Wynton Marsalis). In any given year he is likely to be found backing major artists at the leading jazz clubs and festivals all over the world.

Farnsworth, also a regular on the Jazz Festival scene, has played with Benny Green, Diana Krall (Montreal Jazz Festival), Curtis Fuller and Barry Harris (Northsea Jazz Festival), Pori Jazz Festival, Red Sea Festival and Umbria just to name a few. As a straight-ahead jazz musician, Joe has been compared to his idol “...not unlike Max Roach in his ability to combine furious playing with structural cogency, Farnsworth audaciously travels around the set, establishing unifying ideas without interrupting the barrage of strokes...”

Orthman goes on to describe Joe's career including “...venerable leaders ranging from George Coleman to Benny Golson to Cedar Walton, who frequently call on him to light a fire under their bands. The ability to set all kinds of material in motion, minus fuss and clutter, has also placed him in a coterie of younger, tradition-minded musicians like Eric Alexander (a college classmate during the late 80's), Steve Davis, David Hazeltine and Jim Rotundi, a group of young players that are regulars at Smoke a jazz club in NYC.

In 2006, Japanese label, Commodore Records, will release Farnsworth's third cd, “Drumspeak”. which is sure to change the flavor of drums in jazz today. “Drumspeak” is touted as a festival of musical language incorporating traditional jazz with percussions, drums and various instruments from Japan, Latin-America, Africa and the U.S. Commodore Records will release “Drumspeak” later this year. https://www.allaboutjazz.com/musicians/joe-farnsworth

Personnel: Drums – Joe Farnsworth; Piano – Harold Mabern; Tenor Saxophone – Eric Alexander; Bass – Nat Reeves

My Heroes Tribute To The Legends

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