Melissa Aldana - Second Cycle

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 73:59
Size: 169,7 MB
Art: Front

( 7:54)  1. Ellemeno
( 6:23)  2. Meeting Them
( 9:11)  3. Liquiescence
( 6:21)  4. First Cycle
( 4:56)  5. Second Cycle
( 7:10)  6. Free Fall
( 5:25)  7. My Own World
( 7:15)  8. Polyphemus
( 7:24)  9. I'll Be Seeing You
(11:54) 10. L Line

Melissa Aldana may still be in her early twenties, but the tenor saxophonist already knows what it is like to play with big jazz names like saxophonists George Coleman, Benny Golson and George Garzone. In a short time, Aldana has found her own place in the difficult New York jazz scene because she has developed a new voice that has commanded the attention of both the public and her peers. An obvious talent, one which made Greg Osby stand up and take notice when he first heard her at Boston's Berklee College of Music, combined with a marked perseverance and meticulous study routine is the formula that has brought her to the front line of jazz. She says that Don Byas, Mark Turner, Joe Lovano and Walter Smith III are the four saxophonists who really made her change how she approaches her career, but she continues to keep a close eye on the primary jazz legends. 

Aldana recorded her second album, Second Cycle (2012), for Osby's Inner Circle Music imprint (as she did her first), and she travelled to Spain to perform it, along with drummer Francisco Mela and bassist Dee Jay Foster. She started this short tour with the closing concert of Valencia's Jimmy Glass International Jazz Festival, clearly happy return after after two years. And despite being absorbed in the promotion of her new CD, this enterprising saxophonist is also working with a new trio featuring Mela and bassist Pablo Menares. This project will be debuted in January, 2013 at the New York Jazz Gallery. ~ Marta Ramon   http://www.allaboutjazz.com/melissa-aldana-living-a-second-cycle-melissa-aldana-by-marta-ramon.php#.U5oGTiioqdk

Second Cycle

---

The Manhattan Transfer, Take 6 - The Summit: Live on Soundstage

Styles: Vocal, Swing 
Year: 2018
File: MP3@320K/s
Time: 71:45
Size: 165,6 MB
Art: Front

(6:52)  1. Mean Joe (Killer Joe) (Live)
(3:53)  2. Straighten Up and Fly Right (Live)
(2:56)  3. Tuxedo Junction (Live)
(3:18)  4. Candy (Live)
(4:24)  5. It's Good Enough To Keep (Airmail Special) (Live)
(3:59)  6. Just In Time (Live)
(4:30)  7. I've Got Life (Live)
(1:27)  8. Spread Love (Live)
(2:50)  9. Happy (Live)
(3:37) 10. Like Someone In Love (Live)
(0:51) 11. Twilight Zone / Twilight Tone (Live)
(0:58) 12. Gold Mine (Live)
(0:49) 13. Route 66 (Live)
(0:53) 14. Mary (Live)
(1:58) 15. Operator (Live)
(4:08) 16. A Nightingale Sang in Berkeley Square (Live)
(5:03) 17. Overjoyed (Live)
(3:41) 18. Stand By Me (Live)
(2:00) 19. Trickle Trickle (Live)
(1:30) 20. Boy From New York City (Live)
(6:12) 21. Birdland (Live)
(5:46) 22. What'd I Say (Live)

Riding a wave of nostalgia in the '70s, the Manhattan Transfer resurrected jazz trends from boogie-woogie to bop to vocalese in a slick, slightly commercial setting that balanced the group's close harmonies. Originally formed in 1969, the quartet recorded several albums of jazz standards as well as much material closer to R&B/pop. Still, they were easily the most popular jazz vocal group of their era, and the most talented of any since the heyday of Lambert, Hendricks & Ross during the early '60s. When the group was formed in the late '60s, however, the Manhattan Transfer was a hippie novelty act similar to the Lovin' Spoonful or Spanky & Our Gang. The lone LP that appeared from the original lineup leader Gene Pistilli plus Tim Hauser, Erin Dickins, Marty Nelson, and Pat Rosalia was Jukin', assembled by Capitol. Somewhat of a satire record, it was the last appearance on a Manhattan Transfer album for all of the above except Hauser. After Hauser met vocalists Laurel Masse and Janis Siegel in 1972, the trio re-formed the Manhattan Transfer later that year with the addition of Alan Paul. The group became popular after appearances at a few New York hot spots and recorded their own debut, an eponymous LP recorded with help from the jazz world (including Zoot Sims, Randy Brecker, Jon Faddis, and Mel Davis). Featuring vocalese covers of "Java Jive" and "Tuxedo Junction" as well as a Top 40 hit in the aggressive gospel tune "Operator," the album rejuvenated the field of vocalese (dormant since the mid-'60s) and made the quartet stars in the jazz community across Europe as well as America.

The Manhattan Transfer's next two albums, Coming Out and Pastiche, minimized the jazz content in favor of covers from around the music community, from Nashville to Los Angeles to Motown. A single from Coming Out, the ballad "Chanson d'Amour," hit number one in Britain. Though Masse left in 1979 for a solo career, Cheryl Bentyne proved a capable replacement, and that same year, Extensions introduced their best-known song, "Birdland," the ode to bop written by Weather Report several years earlier. Throughout the '80s, the group balanced retreads from all aspects of American song. The 1981 LP Mecca for Moderns gained the Manhattan Transfer their first American Top Ten hit, with a cover of the Ad Libs' 1965 girl group classic "The Boy from New York City," but also included a version of Charlie Parker's "Confirmation" and a surreal, wordless tribute named "Kafka." (The album also earned the Manhattan Transfer honors as the first artist to receive Grammys in both the pop and jazz categories in the same year.) The production on virtually all these was susceptible to '80s slickness, and though the group harmonies were wonderful, all but the most open of listeners had trouble digesting the sheer variety of material. 

The group's 1985 tribute to vocal pioneer Jon Hendricks, titled Vocalese, marked a shift in the Manhattan Transfer's focus. Subsequent works managed to keep the concepts down to one per album, and the results were more consistent. Such records as 1987's Brasil, 1994's Tubby the Tuba (a children's record), 1995's Tonin' ('60s R&B), and 1997's Swing (pre-war swing) may not have found the group at their performance peak, but were much more easily understandable for what they were. The group stayed very active and concept-heavy during the 2000s, beginning with a tribute to Louis Armstrong for 2000's The Spirit of St. Louis. They included a pair of Rufus Wainwright songs among the jazz material on 2004's Vibrate, and released An Acapella Christmas the following year. The Symphony Sessions followed in 2006, offering re-recordings of some of their best-known songs with orchestral arrangements. In 2009, the Transfer saluted one of the biggest names in jazz with The Chick Corea Songbook, and featured contributions from Corea, Airto Moreira, Christian McBride, and Ronnie Cuber, among others. During the early 2010s, the group focused more on performing, although both Bentyne and Hauser were forced to find temporary replacements during medical procedures. After spinal surgery in 2013, Hauser returned to the group, but then died suddenly from cardiac arrest in October 2014. Following his death, vocalist Trist Curless of the a cappella group m-pact joined the group full-time. In 2018, the group returned with the eclectic studio album Junction, which they dedicated to Hauser. ~ John Bush https://itunes.apple.com/us/album/the-summit-live-on-soundstage/1444195701

The Summit: Live on Soundstage

---

Jeff Palmer, John Abercrombie, David Liebman, Adam Nussbaum - Abracadabra

Styles: Jazz, Hard Bop
Year: 1990
File: MP3@320K/s
Time: 60:04
Size: 137,9 MB
Art: Front

( 7:59)  1. Hip Slick
( 3:05)  2. Mr. Adam
( 8:05)  3. Tango Dream
( 4:44)  4. Mr. John
( 5:13)  5. Abracadabra
( 6:36)  6. The Unkown Known
( 2:49)  7. Mr. Dave
( 8:44)  8. Girl Swirl
(12:47)  9. On Fire

Sound explorations are emphasized throughout this release with Jeff Palmer's atmospheric organ, the varied tones of John Abercrombie's guitar synthesizer, David Liebman's very passionate soprano and Adam Nussbaum's drums interacting over a variety of patterns. All of the compositions are group originals with five by Palmer and one apiece from the other three musicians. 

Whether it be the funky beat of "Hip Slick," the free jamming of "Mr. Adam," the spacey title cut or the almost New Age feel of "Mr. John," the themes are less important than the setting of moods and the advanced improvising. ~ Scott Yanow http://www.allmusic.com/album/abracadabra-mw0000272005

Personnel: David Liebman (soprano saxophone); Jeff Palmer (organ); John Abercrombie (guitar synthesizer); Adam Nussbaum (drums).

Abracadabra

---

Janet Seidel & William Galison - Love Letters

Styles: Jazz Vocals
Year: 2001
File: MP3@320K/s
Time: 57:23
Size: 131,7 MB
Art: Front

(4:06)  1. Love Letters
(4:10)  2. Small Fry
(4:10)  3. Lazybones
(4:23)  4. Baltimore Oriole
(3:24)  5. True Love
(5:11)  6. Nature Boy
(4:15)  7. Rockin' Chair
(4:16)  8. Stardust
(4:53)  9. The Nearness Of You
(4:36) 10. In A Sentimental Mood
(4:27) 11. It Ain't Necessarily So
(5:07) 12. Everytime We Say Goodbye
(4:18) 13. Moon River

With her clear, cool voice, Janet Seidel successfully combines the fluencies of such singers as Chris Connor, Blossom Dearie, Peggy Lee, and Doris Day into a style that focuses on delivering the story of the lyrics rather than making her vocal faculties the message. This is the Australian's eighth album for the La Brava label, and reflects her ability to make each new release as fresh and as captivating as the one that preceded it. Each new release has something novel. Here it is William Galison's harmonica, with the haunting, sensuous tone only that instrument can produce. The musical agenda is made up of songs that bring out the best in the combination of voice and harmonica, recalling Toots Thielemans' work with the likes of Peggy Lee, Sarah Vaughan, and Elaine Elias, to name just a few. Songs like "Baltimore Oriole," "In a Sentimental Mood," and "Stardust," classic standards all, fit perfectly within the feeling of soul created by Seidel and Galison. Add a generous helping of Chuck Morgan's guitar and the delicate drumming of Adam Pache, and out comes a different approach to these oft-saddled warhorses. 

On a lighter side, Seidel takes on a girlish tone (which she does very well) with another Hoagy Carmichael gem, "Rockin' Chair." One of the album's many good tracks is "Nature Boy," where Galison creates images of exotic places and landscapes. Galison shows a light but pleasant voice as he joins Seidel on a tender duet of "Every Time We Say Goodbye." Seidel has earned admission into that select cadre of singers who accompany themselves at piano, like Sarah Vaughan, Jeri Southern, Shirley Horn, and Nina Simone. One thing that stays the same is Seidel's affection for strings, which have shown up on earlier albums. But, on this session, she limits their participation to just two tracks. Love Letters is another fine production by Janet Seidel  with lots of help from her friends and is highly recommended. ~Dave Nathan

Personnel: Janet Seidel - Vocals/Piano/Conductor; William Galison -Harmonica/Vocals; Chuck Morgan - Guitar; David Seidel - Bass; Adam Pache - Drums; Michelle Kelly, Kate Morgan, Fiona Ziegler, Leon Ziegler, Phillip Peipman - Strings; Kevin Hunt - Piano; Len Barnard - Drums

Love Letters

---

Brandon Allen - The Stanley Turrentine Project

Styles: Saxophone Jazz
File: MP3@128K/s
Time: 62:56
Size: 58,6 MB
Art: Front

(4:47) 1. Can't Buy Me Love
(5:29) 2. You're Gonna Hear from Me
(5:46) 3. Love for Sale
(4:45) 4. Little Green Apples
(6:42) 5. What Could I Do Without You
(6:20) 6. And Satisfy
(8:28) 7. The Island
(4:57) 8. Let It Go
(4:41) 9. The Fool on The Hill
(5:50) 10. Evil
(5:07) 11. Mississippi City Strut

Brandon has established himself as one of the UK’s most in-demand saxophonists and bandleaders. He has performed extensively throughout the UK, Europe, the Middle East, Asia and Australia, both as a leader and sideman. Throughout his career he has worked with top international artists including Eric Clapton, Paloma Faith, Kyle Eastwood, Tony Lakatos, Adam Nussbaum, Gary Husband, Stefano Di Battista, US3, The Blockheads and many others. The Stanley Turrentine Project came about because of a deep admiration and respect for the late, great saxophonist’s musical approach and output. Brandon’s highly acclaimed Gene Ammons Project came into existence for the same reasons. Selections from Ammons’ entire catalogue were reinterpreted, seeking to capture the spirit of the music as well as exploring the stylistic changes that occurred throughout the tenor saxophonist’s 30-year career.

The repertoire of The Stanley Turrentine Project is slightly more specific, drawing from Turrentine’s releases on the Blue Note and CTI labels. In addition, some of Turrentine’s renditions of rock & pop hits of the 60s and 70s have been reimagined by Brandon and the quartet. Brandon explains: “When putting this project together I deliberated over the choice of tunes for some time. Listening to as many albums as I could, discovering some gems along the way, I slowly began to pick out some selections that resonated with me and that would work well with this line-up. I then began to arrange them for the quartet. “Some of the original versions were orchestral in nature and so I tried to capture the essence of that large ensemble feeling. With the other tracks I have taken all the main elements of the song but have made some small alterations, textural changes here and there and opened up certain sections for solos.”

Brandon shares his thoughts on the project, “This is very much a labour of love. My deep respect for Stanley Turrentine’s music has guided me in putting together these arrangements and in my selection of what I believe is my strongest band to date. I believe that we’ve captured some of the ‘spirit’ of the music and I can’t wait to share this album with the world.” For his band, Brandon carefully selected some of London’s finest to join him on the project, including Will Barry (piano & keys), Conor Chaplin (acoustic & electric bases) And Dave Ingamells (drums). https://www.prestomusic.com/jazz/products/9314468--the-stanley-turrentine-project

Personnel: Brandon Allen (Tenor Sax), Will Barry (Piano & Keys), Conor Chaplin (Basses), Dave Ingamells (Drums)

The Stanley Turrentine Project

---

Holly Cole Trio - Montreal

Styles: Vocal
File: MP3@320K/s
Time: 29:20
Size: 67,9 MB
Art: Front

(4:41) 1. Whatever Lola Wants
(3:18) 2. Little Boy Blue
(5:46) 3. Girl Talk
(5:11) 4. Talk To Me Baby
(5:19) 5. You've Got A Secret
(5:02) 6. Bali Ha'i

Back in the Spring of 2019, Holly Cole, in recognition and celebration of the 40th anniversary of Le Festival International de Jazz de Montreal decided to reform the original Holly Cole Trio, including David Pitch on Bass and Aaron Davis on Piano to perform live in the very intimate cabaret “Lion D’Or, during the Festival de Jazz, July 2-5. It’s been over 25 years since the band performed live as the Holly Cole Trio and these very special performances would bring back many memories of superlative Trio performances in Montreal at the old Club Soda, Spectrum and Place Des Arts. The revival performance was recorded and arranged into a new album entitled Montreal. The Holly Cole Trio recorded together under that name starting in 1986 and from 1990 -1996 made the international best-selling recordings and toured the world with Blue Christmas, Girl Talk, Blame It On My Youth and Don’t Smoke in Bed. Blame It On My Youth was responsible for the international hit recording and video of “I Can See Clearly Now”. Since that time Cole has gone on to record numerous successful solo recordings, including 2018’s HOLLY, all with Aaron Davis on piano and often with David Piltch on Bass however they never toured or played live as a unit again until the 2019 Montreal dates.

The relationship with the Festival is so special that in 2013, the Festival made Cole the 15th winner of their highly prestigious Ella Fitzgerald Award. The award is annually conferred upon “A jazz singer whose talents have had a major impact and influence on the international scene”. Holly is one of only two Canadians to ever receive this prestigious award. Other winners include Sade, Aretha Franklin, Harry Connick, Jr. and Etta James. The first track and lyric video is a version of a show tune from Damned Yankees, titled “Whatever Lola Wants”. The musical opened on Broadway in 1955 and is a song only Holly and the guys could find and so successfully contemporize! Holly states, “the moment I heard “Whatever Lola Wants” I knew it was perfect for us. Sexy, provocative, enigmatic and completely open to interpretation.” https://themontrealeronline.com/2021/03/holly-cole-new-live-album-new-concert-april-2-2021/

Montreal (Live)

---

Bill O'Connell - Love For Sale

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 56:36
Size: 130,6 MB
Art: Front

(5:19)  1. Ping Pong
(6:25)  2. Have You Met Miss Jones?
(6:41)  3. Love Dance
(4:29)  4. Well You Needn't
(6:59)  5. Slow Motion
(4:31)  6. Casaba
(4:59)  7. Love For Sale
(5:52)  8. Old Folks
(5:07)  9. Sweet Love
(6:11) 10. Like Someone In Love

A veteran jazz pianist from New York City, Bill O'Connell is gifted soloist and bandleader known for his long-running Latin jazz big band. Born in New York City on August 22, 1953, O'Connell grew up in suburban Port Washington, Long Island. After high school, he studied classical piano at Oberlin College in Ohio but has lived in the New York area most of his life. O'Connell has not played Latin jazz exclusively and worked as a sideman with such luminaries as tenor saxophonist Sonny Rollins and the late trumpeter Chet Baker. However, he does have his share of Latin credentials; along the way, he has played with New York trumpeter Jerry Gonzalez's Fort Apache Band and crossed paths with flutist Dave Valentin, Argentinean tenor saxophonist Gato Barbieri, and the late Cuban percussion master Mongo Santamaria. As a pianist, O'Connell is known for a lyrical approach that owes something to Keith Jarrett, Bill Evans, and Chick Corea as well as Herbie Hancock. But it should be stressed that O'Connell is not the sort of jazzman who only sees himself as a soloist; in fact, his albums have underscored his talents as an arranger, bandleader, and composer. O'Connell can as Duke Ellington often put it use his band as his instrument. Much of his bandleading/arranging inspiration comes from Latin greats like Mongo Santamaria, Tito Puente, Machito, Ray Barretto, and Eddie Palmieri (all of whom are identified with Afro-Cuban jazz as well as salsa). As a leader, O'Connell debuted in 1978 with an LP titled Searching for the small Inner City label He then joined longtime associate flutist Dave Valentin's band, touring and recording for several years before returning to his solo work with 1993's Lost Voices on Creed Taylor's CTI Records (with Taylor himself serving as producer). 

Several of O'Connell's big-band albums also appeared in the mid-'90s with Jazz Alive and Unfinished Business. O'Connell also continued working with Valentin, and played on albums by Charles Fambrough, Jon Lucien, and others. In the 2000's, O'Connell signed with the independent Random Chance Records (a small, New York-based label with a fondness for jazz and blues). Black Sand, O'Connell's first album for Random Chance, came out in 2001; that disc was followed by Latin Jazz Fantasy in 2004. Four years later, he returned with the trio album Triple Play, featuring Valentin and percussionist Richie Flores. Rhapsody in Blue followed in 2010. 

A year later, he delivered the follow-up to Triple Play, Triple Play Plus Three, which showcased a rotating lineup of guests including Valentin, clarinetist Paquito D'Rivera, vibraphonist Dave Samuels, and others. O'Connell then joined his Latin Jazz All-Stars for a series of albums including 2013's Zocalo, 2014's Imagine, and 2016's Heart Beat. In 2017, he delivered the intimate solo concert album, Monk's Cha Cha: Solo Piano Live. ~ Alex Henderson https://www.allmusic.com/artist/bill-oconnell-mn0000085005/biography

Personnel:  Bill O'Connell (Piano, Synthesizer); Joey Baron, Robert Amean (Drums); Lincoln Goines (Bass); Giovanni Hidalgo (Percussion); Dave Valentin (Flute); Alex Foster (Soprano Sax).

Love For Sale

---

Salena Jones - Salena Sings Jobim With The Jobim's

Styles: Vocal, Brazilian Jazz
Year: 1994
File: MP3@320K/s
Time: 51:03
Size: 117,6 MB
Art: Front

(3:26)  1. I Was Just One More For You
(3:11)  2. Agua de Beber
(3:10)  3. Useless Landscape
(3:37)  4. Quiet Night Of Quiet Stars
(3:04)  5. Somewhere In The Hills
(5:16)  6. Dindi
(3:31)  7. Desafinado
(4:53)  8. How Insensitive
(3:21)  9. Girl / Boy From Ipanema
(3:22) 10. Once I Loved
(3:11) 11. Meditation
(2:52) 12. One Note Samba
(4:35) 13. Bonita
(3:28) 14. Song Of The Jet

Born in Newport News, VA, in 1944, Salena Jones (real name: Joan Elizabeth Shaw) would over the course of a 60-plus-year career become one of the leading vocalists of swing music, performing in a number of countries in Europe and Asia and recording a number of albums. Jones got her first break at the famed Apollo Theater in New York, winning a talent contest that resulted in a record deal. She spent the early part of her career touring and performing with such leading lights as Louis Armstrong, Cab Calloway, and Duke Ellington. Her first forays overseas, to Spain and the U.K., were in the mid-'60s and were to begin a life spent mostly outside the rather fickle confines of the United States. In 1978, she made her first appearance in Japan and performed there on an annual basis. By the first decade of the 21st century, she had performed on most continents, recorded more than 40 albums, and sang at the 2006 Shanghai International Jazz Festival. ~ Chris True https://www.allmusic.com/artist/salena-jones-mn0000290681                

Personnel:  Salena Jones (vocal);  Antonio Carlos Jobim (piano);  Paulo Jobim (guitar);  Daniel Cannetti Jobim (piano);  Sebastiao Netto (bass);  Ricardo Costa (drums);  Paulo Antonio Braga (percussion);  Raul de Souza (trombone);  Paulo Roberto de Oliveira (flugel);  Danilo Caymmi and Paulo Jobim (flute);  Marcio Mallard and Diana Lacerda (cellos)

Salena Sings Jobim With The Jobim's

---

Fred Hersch - Passion Flower

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 62:42
Size: 143,8 MB
Art: Front

(2:54)  1. Lotus Blossom
(5:21)  2. Day Dream
(7:14)  3. U.M.M.G. (Upper Manhattan Medi
(5:28)  4. Pretty Girl (The Star-Crossed
(5:02)  5. Rain Check
(7:55)  6. Something to Live For
(5:43)  7. Lament for an Orchid (Absinthe
(5:11)  8. Elf (Isfahan)
(5:10)  9. Ballad for Very Tired and Very
(3:16) 10. Tonk
(5:56) 11. Passion Flower
(3:28) 12. Lush Life

A few years ago, I went down to the Village Vanguard to check out pianist Fred Hersch. Sitting next to me in the crowded club was one of today's most popular jazz singers - also a pianist. After the first set, said jazz celeb commented that Hersch was in a different league and that she really needed to take some lessons from him. What strikes us all in Hersch's playing is his perfect blend of technique, style, and sensitivity. His version of Billy Strayhorn's "Daydream," from Hersch's 1996 Strayhorn-tribute album, Passion Flower, illustrates just how good a trio and string orchestra (arranged and orchestrated by Hersch and conducted by Eric Stern) can sound. A lot of players (and arrangers) could use lessons from Hersch. ~ Jazziz https://www.amazon.com/Passion-Flower-Fred-Hersch/dp/B000005J3W

Personnel: Fred Hersch (piano); Eric Stern (conductor); Andy Bey (vocals); Laura Seaton, Joyce Hamman, Sandra Park (violin); Lois Martin, Ruth Siegler, Alejandro Mohave (viola); Erik Friedlander, Richard Locker, Jesse Levy (cello); Nurit Tilles (piano); Drew Gress (bass); Tom Rainey (drums).

Passion Flower

---

Cecile McLorin Salvant - For One to Love

Styles: Jazz, Vocal
Year: 2015
File: MP3@320K/s
Time: 52:57
Size: 124,2 MB
Art: Front

( 5:16)  1. Fog
( 4:34)  2. Growlin' Dan
( 2:19)  3. Stepsisters' Lament
( 2:44)  4. Look at Me
( 2:50)  5. Wives and Lovers
( 4:27)  6. Left Over
( 3:51)  7. The Trolley Song
( 2:00)  8. Monday
( 4:17)  9. What's the Matter Now?
( 6:14) 10. Le Mal de Vivre
(10:33) 11. Something's Coming
( 3:46) 12. Underling

A brilliantly realized follow-up to her Grammy-nominated 2013 effort, WomanChild, vocalist Cécile McLorin Salvant's third album, 2015's For One to Love, is at its core a small-group jazz album featuring a thoughtfully curated set of standards and originals. However, with Salvant at the mike, backed here with nuanced skill by pianist Aaron Diehl, bassist Paul Sikivie, and drummer Lawrence Leathers, it's also a series of virtuoso performances, each one seemingly more engaging and emotionally resonant than the last. Conceptually centered around notions of romantic love from conflicted, melancholic expressions to more bawdy, sensual ones the album finds Salvant further demonstrating the poetic compositional skills and feminist themes that helped make WomanChild so much more than just a solid album from an accomplished jazz vocalist. However, Salvant's feminism here, while finely articulated, isn't explicit. It lies more subtly in the context of her choices. Her exuberant reading of the swing-era "Growlin' Dan," a song by Blanche Calloway, Cab's lesser-known older sister and mentor, seems to symbolize Salvant's distinctly female point of view.

The same might be said of her sardonically faithful rendition of Burt Bacharach's infamously misogynistic "Wives and Lovers" or her playful take on the Oscar Hammerstein II and Richard Rodgers standard "Stepsisters' Lament," in which she coyly asks "Oh, why would a fella want a girl like her?/A girl who's so unusual/Why can't a fella ever once prefer a usual girl like me?" Of course, not to split hairs, but there isn't really anything usual about Salvant. A true sculptor of song, she is the kind of singer who exerts perfect control over everything she sings, molding each musical moment at will. Perhaps it's not surprising, then, to find out that she also painted the image on the cover of For One to Love, a woman's face, Picasso askew, crying from happiness or heartbreak. It's this kind of emotional dichotomy that Salvant, with her malleable talent, is so adept at expressing. She's able to push her voice to the edge of control, but that breaking point is most likely a product of her own virtuosic illusion since she never crosses it. 

As on the poignant "Left Over," in which she sings about an unrequited love, her voice soars into a wobbly falsetto one second, and pulls back into a throaty coo the next, whispering that "his hands on mine are all I know of love, of love." This is a theatrical move, an actor's stage approach to singing in character, only it's Salvant's own composition and it breaks your heart. Salvant's originals are all lyrical, sad, and personal, revealing achingly raw emotions. On tunes like "Underling," we're left to ponder whether the song is about her ruinous devotion to a lover or her painful dedication to her creative muse. Regardless, the results are heartbreaking and beautiful. https://itunes.apple.com/us/album/for-one-to-love/id1006896734

Personnel: Cécile McLorin Salvant (vocals); Aaron Diehl (piano); Paul Sikivie (double bass); Lawrence Leathers (drums).

For One to Love

---

George Shearing, Barry Tuckwell - Play The Music Of Cole Porter

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 43:36
Size: 100,6 MB
Art: Front

(4:58) 1. I Concentrate On You
(2:54) 2. Everything I Love
(4:43) 3. I've Got You Under My Skin (Album Version)
(2:19) 4. Easy To Love
(2:45) 5. In The Still Of The Night
(4:00) 6. Every Time We Say Goodbye
(2:41) 7. But In The Morning, No
(5:32) 8. So In Love
(4:27) 9. After You
(3:55) 10. All Through The Night
(5:16) 11. Do I Love You?

Released as part of Concord's Concerto subsidiary, this unusual release matches together pianist George Shearing with the classical French horn player Barry Tuckwell for a set of 11 Cole Porter songs. Five selections use a full string section, two are performed with a quartet, and four others are duets by Shearing and Tuckwell. In general, Tuckwell does not improvise, but Shearing's arrangements give a jazz feel to all of the performances and make the music accessible (if not really essential) to both classical and jazz listeners.~Scott Yanowhttps://www.allmusic.com/album/play-the-music-of-cole-porter-mw0000188648

Personnel: George Shearing – piano, liner notes, arranger; Barry Tuckwell – french horn, liner notes; Guildhall String Ensemble; Harry Lookofsky, Frederick Buldrini, Lewis Eley, Maura Giannini, Carmel Malin, Joseph Malin, Louann Montesi – violin; Seymour Barab, Avron Coleman, Frederick Zlotkin – cello; John Clayton, Don Thompson – double bass; Grady Tate – drums, percussion

Play The Music Of Cole Porter

---

Jonathan Fritzen - Diamonds

Styles: Smooth Jazz
Year: 2010
File: MP3@320K/s
Time: 44:53
Size: 103,3 MB
Art: Front

(4:17) 1. Feelin' the Groove
(4:22) 2. This Way, That Way
(3:57) 3. Dance With Me
(4:49) 4. Fly Away
(4:18) 5. Undercover
(4:51) 6. You'll Be Mine
(4:36) 7. Stockholm Nights
(4:24) 8. Vibrations
(5:18) 9. Melting
(3:56) 10. Diamonds

Lucky Sweden! They have ABBA, Roxette and Jonathan Fritzén. Hailing from Stockholm he started his solo career with the debut album Love Birds (2008), followed by his sophomore album VIP (2009). Now it's time for the third punch, Diamonds (2010). Like on his previous album Jonathan is joined by an International mixture of American and Swedish artists: Laila Adéle (vocals), Alex Al, Mel Brown and Erik Metall (bass), Koh (aka Mr. Saxman), Darren Rahn and Jessy J (sax), Sara Övinge (violin), Andreas Ekstedt (percussion), Alex Crown (guitar). Jonathan Fritzén performs piano, keyboards and programming.

The starting track Feelin' The Groove features the lovely Laila Adéle. To give you a compass, Jonathan's music is comparable with artists like Alex Bugnon, Nate Harasim or the early Rick Kelly (Soul Ballet). His piano touch is of a graceful ease and elegance. This Way, That Way brings a welcome-back with upcoming smooth jazz star, producer and saxophonist Darren Rahn. Darren appeared in the recent time with artists like Jay Soto, Anthony James Baker, Nate Harasim, Tim Bowman, Michael Manson, dee Brown and a lot more.

Dance With Me is Jonathan's invitation to a dreamy dance and swing. Do I recognize the bass of Sugar Hill's Gang (Rapper's Delight)? Jonathan's approach is fresh and swinging. We can describe Fly Away with the sub-title, when two beauties met. Awesome Jessy J adds her sweet sax to Fritzén haunting melody. Both create an atmosphere of timeless magnificence. With Mel Brown onboard Undercover picks up speed into the funky sea.

The slow-tempo You'll Be Mine presents a anew the gorgeous vocals of Laila Adéle. On this love ballade Fritzén underlines his piano mastery offering a complete scale of crafty tones. The genius combination of Hip Hop rhythm with sizzling key strokes on Stockholm Nights has its own attraction. On his tour through Thailand Jonathan Fritzén performed with Mr. Saxman Koh, who is very popular in Thailand and further Asian countries like Japan. Koh has already five solo albums to his credit. Vibrations is Jonathan's Thank You and a fine song to become acquainted with this outstanding artist.

It's time to present you the excellent guitarist Alex Crown. Superb sustain, tone and sound volume of both instruments (piano and guitar) is the characteristic of Melting. Final tune of this marvelous album is the title song Diamonds. Alex Al's excellent bass lends this song a special dynamic. A must for all radio-djs of the smooth jazz genre. Jonathan Fritzén's album Diamonds absolutely justifies this expression. With this level of talent you still can't help but appreciate the greatness of the performing artists. Quite possibly Fritzén's best to date. http://www.smooth-jazz.de/firstview/Fritzen/Diamonds.htm

Personnel: Laila Adéle (vocals), Alex Al, Mel Brown and Erik Metall (bass), Koh (aka Mr. Saxman), Darren Rahn and Jessy J (sax), Sara Övinge (violin), Andreas Ekstedt (percussion), Alex Crown (guitar). Jonathan Fritzén performs piano, keyboards and programming.

Diamonds

---

Herbie Hancock - Gershwin's World

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 67:39
Size: 155,2 MB
Art: Front

( 0:56)  1. Overture (Fascinating Rhythm)
( 4:48)  2. It Ain't Necessarily So
( 5:58)  3. The Man I Love
( 4:00)  4. Here Come De Honey Man
( 5:51)  5. St. Louis Blues
(11:05)  6. Lullaby
( 3:31)  7. Blueberry Rhyme
( 1:26)  8. It Ain't Necessarily So (Interlude)
( 4:45)  9. Cotton Tail
( 4:43) 10. Summertime
( 1:56) 11. My Man's Gone Now
( 4:44) 12. Prelude in C# Minor
( 9:13) 13. Concerto for Piano and Orchestra in G, 2nd Mvt
( 4:38) 14. Embraceable You

Gershwin's World is a tour de force for Herbie Hancock, transcending genre and label, and ranking among the finest recordings of his lengthy career. Released to coincide with the 100th anniversary of George Gershwin's birth, this disc features jazzman Hancock with a classy collection of special guests. The most surprising of Hancock's guest stars is Joni Mitchell, who delivers a gorgeously sensual vocal on "The Man I Love," then provides an airy, worldly take on "Summertime." On these two tracks, she shows she has come a long way from her folksinger beginnings to become a first-class jazz singer in her own right. Stevie Wonder's unmistakable harmonica complements Mitchell's singing on "Summertime" and shares lead instrument space with his own voice on the W.C. Handy classic "St. Louis Blues." Jazzman extraordinaire Wayne Shorter smokes a solo spot on Duke Ellington's "Cotton Tail" and carves out some space for his soprano saxophone in the midst of "Summertime." 

A number of the young lions of jazz are featured on various cuts, and Herbie's old pal Chick Corea joins the leader for a piano duet of James P. Johnson's "Blueberry Rhyme." Gershwin's wonderful, extended "Lullaby" finds Hancock teamed with the Orpheus Chamber Orchestra, as does an attractive arrangement of a "Concerto for Piano and Orchestra" by Maurice Ravel, whose jazz influence can be heard on the piece. In addition, one of the most beautiful tracks on the album places star soprano Kathleen Battle's voice at the forefront of Gershwin's own "Prelude in C# Minor." Yet with all the fine performances by his guests, Gershwin's World remains Hancock's show, and he plays magnificently throughout. From beautiful to funky, percussive to melodic, improvisational to tightly arranged, Hancock and cohorts take a wondrous journey through the music and world of Gershwin. ~ Jim Newsom  http://www.allmusic.com/album/gershwins-world-mw0000038316

Personnel: Herbie Hancock, Chick Corea: Piano; Madou Dembelle: Djembe; Massamba Diop: Talking Drum; Cryo Baptista, Bireyma Guiye, Cheik Mbaye: Percussion; Eddie Henderson: Trumpet; Kenny Garrett: Alto Saxophone; James Carter: Tenor and Soprano Saxophones, Wayne Shorter: Tenor Saxophone; Bakithi Kumalo: Bass and Guitar; Ira Coleman: Bass; Terri-Lynn Carrington: Drums, Marlon Graves: Guitar, Robert Sadin: Percussion Programming; Stevie Wonder: Harmonica and Vocals; Charles Curtis: Cello, The Orpheus Chamber Orchestra, Kathleen Battle: Vocals, Joni Mitchell: Vocals.

Gershwin's World

---

ZZ Quartet - Midnight in Europe

Styles: Jazz, Post Bop
Year: 2021
File: MP3@320K/s
Time: 69:57
Size: 160,4 MB
Art: Front

( 5:31) 1. Pippo
( 8:06) 2. Twilight Time Again
( 5:02) 3. Voglio Una Donna
(14:00) 4. Frida Is Vanished
( 7:40) 5. Baracoa
( 4:22) 6. Morgagni Est
(10:29) 7. River Spirit
( 9:47) 8. Café Finale
( 4:56) 9. The Easy Whistler

Their 1st Live Album, Collector's Edition artist signed & limited to 999 copies! ''Limited Audiophile Signature Edition'' 180 Gram Virgin Vinyl This third outing by the ZZ Quartet, co-led by guitarist Ratko Zjaca and accordionist Simone Zanchini, finds the intrepid improvisers and virtuosos on their respective instruments stretching and exploring in separate live settings last year.

Recorded in pre-pandemic times at the Milestone Jazz Club in Piacenza and at the Cantina Bentivoglio during the 2019 Bologna Jazz Festival, ''Midnight in Europe'' finds Zjaca and Zanchini taking liberties with some of their own tunes they had previously recorded on two previous studio recordings 2010's ''The Way We Talk'' and 2013's ''Beyond the Lines.'' The two also played together on Zanchini's 2015 album ''Don't Try This Anywhere'', the accordionist's tribute to the late tenor sax great Michael Brecker.

Accompanied by bassist Martin Gjakonovski, a native of Macedonia now living in Bergisch Gladbach near Cologne, and Zjaca's longtime collaborator, American drummer Adam Nussbaum, whose wealth of credits include touring and recording with saxophonist Brecker, guitarists John Scofield and John Abercrombie, and legendary bandleader Gil Evans. Zjaca and Zanchini present an eclectic set of music that organically blends aspects of jazz, classical, folkloric, world music and rock, with just a touch of humor along the way from the fertile imaginations of these stellar improvisors.

''We call this musical theater,'' said Zjaca of the ZZ Quartet's eclectic approach. ''We want to be open for any ideas, any sound. We like rock music, we like jazz, avantgarde music, swing, everything. We don't want to be in a cage just playing one particular groove or style or sound. You can hear that there are a lot of different directions that we are going in. We're not afraid to play a simple swing tune and then we will go to the really open territories. That's what we like to do. We like going out of our comfort zones.''~Editorial Reviews https://www.amazon.com/Midnight-Europe-ZZ-Quartet/dp/B094LC6KRS

Midnight in Europe

---

Jaki Byard - Hi-Fly

Styles: Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 39:48
Size: 92,3 MB
Art: Front

(3:58) 1. Hi-Fly
(5:13) 2. Tillie Butterball
(4:36) 3. Excerpts from 'Yamecraw'
(5:27) 4. There Are Many Worlds
(7:44) 5. Here to Hear
(3:22) 6. Lullaby of Birdland
(4:56) 7. 'Round Midnight
(4:28) 8. Blues in the Closet

Following the success of Here's Jaki, the eclectic pianist continued his explorations in a trio format, with Pete La Roca replacing Roy Haynes on the drums. The set mixes standards with some forgotten gems, plus three originals. The "Excerpts from Yamecraw" is an updated version of the nearly forgotten James P. Johnson orchestral suite, which is complimented here by the Byard original "There Are Many Worlds," which was also written for an orchestra. "Tillie Butterball" is a fun blues romp based on a puppy and a bowling alley. Byard's distinctive approach is evident on Randy Weston's title track "Hi-Fly" and George Shearing's "Lullaby of Birdland," while his debt to Thelonious Monk, sprinkled throughout this session, is obvious on "'Round Midnight." What makes this session special, however, is his original "Here to Hear." His multi-influenced compositional style matched by his versatile technique is explored at length. There are certain pieces that can never be interpreted by anyone else but the composer, and that is the case here, for it would be virtually impossible, and futile, to try and duplicate the individual genius of Jaki Byard. This stands as one of his best.~Robert Taylorhttps://www.allmusic.com/album/hi-fly-mw0000615755

Personnel: Jaki Byard, piano; Ron Carter, bass; Pete La Roca, drums

Hi-Fly

---

Maria Postell - At This Moment

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 55:45
Size: 128,5 MB
Art: Front

(2:16) 1. I'm Beginning To See The Light
(5:37) 2. The Nearness Of You
(4:27) 3. Nice Work If You Can Get It
(3:36) 4. Somewhere Over The Rainbow
(4:12) 5. At Last
(3:39) 6. I Thought About You
(5:08) 7. My Foolish Heart
(2:19) 8. Embraceable you
(3:50) 9. Like Someone In Love
(3:37) 10. Exactly Like You
(5:20) 11. My Funny Valentine
(3:59) 12. The Best Is Yet To Come
(7:39) 13. (I'm Afraid) The Masquerade Is Over

Maria Postell's new release from Wonderlust Records, 'At This Moment', is a rare and electrifying collection of 13 timeless standards that instantly transports the listener to a different time and place swearing this extraordinary recording was cut in an intimate supper club during the early 50's and you had the table in front of this divine chanteuse. Her marvelously mellifluous voice buoyed by her own unique interpretation of songs that never grow old like 'My Foolish Heart' and 'At Last', Ms. Postell manages to reinvent Gershwin classics like 'Embraceable You' and 'Nice Work If You Can Get It' in a way that sounds as fresh as though they were written this year. https://www.ebay.com/itm/402794716019

At This Moment

---

Julian & Roman Wasserfuhr Quartet - Remember Chet

Bitrate: MP3@320K/s
Time: 64:11
Size: 146.9 MB
Styles: Contemporary jazz
Year: 2007
Art: Front

[2:57] 1. There Will Never Be Another You
[5:36] 2. If I Should Loose You
[6:16] 3. Love For Sale
[5:03] 4. You Are A Friend Of Mine
[4:50] 5. Bill's Religion
[5:15] 6. One More Blues For Chet
[9:08] 7. Remember Chet
[6:08] 8. Beautiful Black Eyes
[7:15] 9. You Don't Know What Love Is
[5:37] 10. You Can't Go Home Again
[6:02] 11. My Funny Valentine

Bass – Sava Medan; Drums – Andi Haberl; Piano – Roman Wasserfuhr; Trumpet, Flugelhorn – Julian Wasserfuhr; Vocals, Guitar – Torsten Goods. Recorded and mixed at Realistic Sound Studios, Munich, Germany, on October 31 & November 1, 2005.

"Young German Jazz" enters the next round, and once again it draws attention to the many highly talented and promising young German musicians, that make up a scene that needs to fear no international comparison. The ACT-series "Young German Jazz" not only documents this, it also wishes to support these musicians and help them gain recognition in- and outside the country. The reaction so far has been overwhelming, and rave reviews from abroad prove that young German jazz is perfectly capable of successfully crossing borders. The best example may be the trio [em] grouped around the young shooting star Michael Wollny. The "Süddeutsche Zeitung", among other publications, claims that Wollny is already in the top league of German, maybe even of European Jazz-musicians.

Remember Chet

---

Deborah Cox - Destination Moon

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 43:08
Size: 99,6 MB
Art: Front

(2:41)  1. Destination Moon
(4:07)  2. What A Difference A Day Made
(3:42)  3. Misery
(3:36)  4. Baby, You're Got What It Takes
(4:06)  5. This Bitter Earth
(2:23)  6. Squeeze Me
(3:00)  7. New Blowtop Blues
(4:08)  8. Blue Skies
(3:27)  9. I Don't Hurt Anymore
(4:33) 10. Smoke Gets In Your Eyes
(3:23) 11. September In The Rain
(3:55) 12. Look To The Rainbow

Artist tributes are tricky pieces of work. Most of the time, they aren't recorded by the biggest names of the moment, and they're usually sub-par. Instead of putting out an album of new music after a five-year hiatus, and twelve years into her career, Canadian R&B diva Deborah Cox released Destination Moon, a tribute to jazz legend Dinah Washington. Cox refers to this album as a personal tribute to her legend growing up. Frankly, she does justice to the works, which make for a strong representation of Washington's hits over her far too brief career. Cox's voice, in all its purity, has never sounded better, with the honey tones in her raspy instrument flourishing throughout the album's big moments. Unfortunately, the album is full of awkward missteps that steer this work off course: Cox doesn't always connect with the songs. Many of the tracks seem robotic; Cox sings them well, but doesn't emote to the best of her ability, something that has always been a flaw of hers in the past. Therefore, Moon appears to be more of a lifetime biopic of Dinah Washington's musical career than a genuine blockbuster. For an artist like Washington, who has garnered much respect even to this day for her creativeness and emotional capacity, Cox suffers in both attributes. Considering Moon is supposed to be a tribute, as such it seems flat. 

In addition, the timing of the album seems like an odd choice for Cox; there is a five-year gap between this album and The Morning After (excluding Remixed, a collection of dance re-recordings), but this may be because of her label shift from J-Records to Decca. And because she has stayed out of the limelight for some time, jumping back into the music scene with a tribute doesn't seem like the smartest move on her part. In addition, Cox is an R&B diva who is known for her dance tracks and smooth grooves. Jazz seems awkward for the Canadian superstar, who handles the shift well vocally, but seems to have missed the mark in most other places. Ultimately, the album is too indulgent on Cox's part, and in order for the whole piece to be credible, especially for Cox, whose popularity has slowly faded since her newest album, she needed to nail every part of the album, not just the vocals. ~ Matthew Chisling  http://www.allmusic.com/album/destination-moon-mw0000778238

Personnel: Deborah Cox - vocals, background vocais; Rob Mounsey – piano; David Spinozza – guitar; David Finck – bass; Victor Lewis – drums; Andy Snitzer - tenor saxophone; Lew Soloff - trumpet

Destination Moon

---

Maurice Vander, Kenny Clarke, Pierre Michelot - Jazz At The Blue Note

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 43:59
Size: 101,9 MB
Art: Front

(4:51) 1. Take The A Train
(5:40) 2. Willow Weep For Me
(7:25) 3. Walkin'
(5:24) 4. Autumn Leaves
(6:24) 5. I'll Remember April
(4:30) 6. The Nearness Of You
(5:45) 7. Django
(3:58) 8. Blue Lester

After opening in June 1958, the “Blue Note” became the most cosmopolitan jazz club in all of Paris. Located on 27 rue d’Artois, in the 8th arrondissement, fans were usually crammed on the leather benches that dotted its large central hall, and if they couldn’t find a spot, there was always the bar. The acoustics of the room were excellent, and the house band included some of the best French jazzmen led by guitarist Jimmy Gourley. They, in turn, accompanied many of the top American soloists who visited the “Blue Note” during the splendor years of the club (1958-1965). The long list of names includes Sarah Vaughan, Zoot Sims, Stan Getz, Sonny Stitt, Ray Nance, Lester Young, Alice McCloud, Lucky Thompson, Johnny Griffin and Booker Ervin.

The “Blue Note” was also the club where the legendary bebop pianist Bud Powell established the base of operations for his trio, with Pierre Michelot on bass, and Kenny Clarke on drums. Their stay had really successful moments, and ran from 1959 until 1962, with daily performances where they alternated with the featured American guest of the week. In November 1960, Maurice Vander one of the most prominent jazz pianists in Europe at the time joined forces with the talents of Michelot and Clarke. The trio was warmly acclaimed by the audience at the “Blue Note”, and that good response led to the recording of these excellent live performances. There is no doubt that Vander, Michelot and Clarke were truly “three of a kind.” https://www.freshsoundrecords.com/maurice-vander-albums/6659-jazz-at-the-blue-note.html

Personnel: Maurice Vander (p), Pierre Michelot (b), Kenny Clarke (d)

Jazz At The Blue Note

---

James Emery, Joe Lovano, Judi Silvano, Drew Gress - Fourth World

Styles: Free Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 66:47
Size: 153,6 MB
Art: Front

( 5:18) 1. Bellflower
( 8:59) 2. Golden Horn
(11:52) 3. Fourth World
( 8:57) 4. Worship
( 8:07) 5. Splendido
( 5:32) 6. La Scala
( 8:46) 7. The Next Level
( 5:12) 8. In A Secret Place
( 4:00) 9. Hannah's Song

The title of this newly issued recording might ordinarily imply notions of poverty and human rights, but in the liners, guitarist James Emery iterates that the Fourth World “is the world, or dimension, of vibration.” We are presented with four world-class musicians pursuing good vibes on this astutely constructed 2002 release. Joe Lovano performs on a variety of woodwind instruments here, yet on certain tracks he also mans the drum kit, also evidenced on his recent Flights Of Fancy outing. A minor beef is in order for the decision of not utilizing a seasoned drummer, as Lovano is prone to sound tentative amid choppy and uninteresting fills.

However, his activities behind the kit do not detract from the recording when viewed upon as a whole, as the musicians surreptitiously translate polytonal pastiches of sound through often-compelling exchanges. On many of these works, the band is apt to break off into briefly actualized sub-groups. Alternatively, on pieces such as “Fourth World,” Judi Silvano renders whispery vocalise in unison with her associates’ complex themes. The quartet pronounces an airy backdrop via loosely formulated dialogue or when Lovano and acoustic guitarist James Emery partake in blistering cat-and-mouse like episodes.

Emery executes razor sharp single note lines and sweeping chord progressions during “La Scala,” while also counterbalancing Lovano with emphatically placed accents on their duet encounter titled “The Next Level.” Throughout this affair, bassist Drew Gress serves as the traffic director, while Ms. Silvano picks up the flute on the Caribbean tinged closer, “Hannah’s Song.” The musicians bring a mélange of experience to the table as they elicit notions of wide open terrain or expansive horizons, while touching upon the preternatural minutiae of the Fourth Dimension. Recommended.~Glenn Astarita https://www.allaboutjazz.com/fourth-world-joe-lovano-between-the-lines-review-by-glenn-astarita

Personnel: James Emery: acoustic guitar - Joe Lovano: tenor, soprano, C melody, straight alto saxophones, alto clarinet, bells, shakers, gongs, log drums & drums - Judi Silvano: flute & voice - Drew Gress: acoustic bass

Fourth World

---