Lisa Hilton - Life Is Beautiful

Styles: Piano Jazz
File: MP3@320K/s
Time: 53:27
Size: 122,7 MB
Art: Front

(3:50) 1. Ernie's Blues
(4:01) 2. Retro Road Trip
(4:05) 3. Nightingales & Fairy Tales
(4:34) 4. Too Hot
(4:50) 5. Unforgotten Moments, Half Forgotten Dreams
(5:51) 6. Stepping into Paradise
(4:07) 7. Santa Monica Samba
(6:16) 8. Seduction
(5:10) 9. Temporary Lullaby
(5:54) 10. More Than Another Day
(4:44) 11. So This Is Love

There's an affirmation of goodness to the music of pianist Lisa Hilton, a quiet something of a positive nature that is known intrinsically true. But the world and its crowded barges of babbling talking heads are frantically convincing us all otherwise. So listen in to Life Is Beautiful before it's all too late.

Without flash, pyrotechnic soloing, or virtuoso histrionics, Life is Beautiful casts an aura that envelops and holds. Intimately reworking tunes she has recorded throughout her twenty-five disc history, ("Seduction" reaches back to her 1997 debut) the music drops from the ether with the husky fullness of bassist Luques Curtis, and the restive blues of Ernie Wilkins' "Ernie's Blues" sweeps the dust away. Rudy Royston's drums are, as ever, perfect. It is a synthesis, an intent, too will better things into being. It works.

Not in any way to distract from the golden hues of the four tracks that precede it, but the finespun grace of "Unforgotten Moments, Half Forgotten Dream" (its big sky and pacific sun) sets off a suite-like approach for the rest of the album that absolutely enthralls. The vaporous way it rolls into the Latin light of "Stepping Into Paradise," then into the quiet gravity of "Santa Monica Samba, re-framed from 2021's Transparent Sky (Ruby Slippers Productions), before slide saddling solo with the redemptive "Seduction," "Temporary Lullaby" and "More Than Another Day" only doubles down on the trio's deep resolve.

As she often and gracefully does, Hilton quietly delves into the emotional health of every listener with the sincerest desire to soothe the frenzy within. Life Is Beautiful does just that. And maybe it will or won't land on most or many 'best-of' lists, but it is a thing of beauty. A category all its own.~Mike Jurkovic https://www.allaboutjazz.com/life-is-beautiful-lisa-hilton-ruby-slippers-productions

Personnel: Lisa Hilton: piano; Luques Curtis: bass, acoustic; Rudy Royston: drums.

Life Is Beautiful

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Stefanie Schlesinger - Angel Eyes

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 50:06
Size: 133,1 MB
Art: Front

(5:04)  1. Say That You Love Me
(4:55)  2. Stay
(3:25)  3. Welcome Back
(3:34)  4. The Way He Makes Me Feel
(8:05)  5. When Sunny Gets Blue
(4:52)  6. Four Sweet Words
(4:40)  7. Angel Eyes
(4:28)  8. L'amore Che Non C'e
(4:19)  9. No Reason For Spring
(4:33) 10. Hoffnung
(2:04) 11. Close Your Eyes

Stefanie Schlesinger - vocal, Wolfgang Lackerschmid- vibes / gramorimba, Bob Degen - piano, John Lee - bass, Karl Latham - drums, Roger Squitero - percussion, Slide Hampton - trombone, Hendrik Meurkens - harmonica, Johannes Faber - trumpet on her new album "Angel Eyes" Schlesinger goes a step further than most of her singing colleagues.

It presents not only promising new songs (most composed by her musical director and vibraphonist, Wolfgang Lackerschmid), but provides the "standards" in unusual and highly surprising arrangements. Or who would ever "Angel Eyes" heard as bluesy 5/4 strokes and Michel Legrand's "The Way He Makes Me Feel" (from the movie "Yentl") as R & B Waltz? Anyway: "Angel Eyes" is not just the album a good singer plus band. It is also an album full of great solos and brilliant instrumental moments.Including the trombone Champion Slide Hampton, piano wizard Bob Degen and harmonica master Hendrik Meurkens - For the combined forces of some live jazz legends care. There are a lot of music to be discovered between the singing verses. Translate by google  http://hipjazz.net/angeleyes

Angel Eyes

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Introducing Kristin Korb With the Ray Brown Trio

Styles: Vocal, Bop, Swing
Year: 1996
File: MP3@320K/s
Time: 48:54
Size: 112,0 MB
Art: Front

(5:40) 1. A Night in Tunisia
(5:30) 2. Peel Me a Grape
(3:06) 3. Whirlybird
(4:33) 4. Fever
(2:34) 5. Straight No Chaser
(4:09) 6. Black Orpheus
(4:36) 7. Yeh Yeh
(3:36) 8. Ain't Misbehavin'
(6:02) 9. These Foolish Things
(3:53) 10. Funky Tune for Ray
(5:11) 11. Take the "A" Train

Originally from Montana, but now living, performing, and teaching in San Diego, this is Kristin Korb's first album. Not possessed with an especially powerful set of vocal chords, Korb nonetheless weaves delicate figures with a clear, cool, almost vibrato-less voice. Scatting, but not to the point where lyrics are entirely ignored, she's a pleasant, if not overwhelming, addition to the world of jazz vocals. Korb is joined on this session by the dean of bass players, Ray Brown, and his trio that features the outstanding, hard driving piano player Benny Green, an outstanding soloist in his own right. The trio is augmented by two veterans, Plas Johnson on tenor sax and Conte Candoli on trumpet. Johnson, unfairly, is pretty much known for his work on Henry Mancini's Pink Panther. He has done much more and better work, such as with T-Bone Walker, Lou Rawls, and others. His swinging, boppish sax drives "Yeh Yeh."

Conte Candoli has been on so many albums, he's likely lost count, but he hasn't lost his touch of waxing lyrically behind a singer in the tradition of fellow Stan Kenton player, Don Fagerquist. Guest guitarist, the Brazilian Oscar Castro-Neves, takes center stage in Latin-tinged tunes like Luis Bonfa's "Black Orpheus." "Peel Me a Grape" is done, appropriately, in an Anita O'Day style and there's a very delicately delivered "These Foolish Things" and an almost hymn-like "Take the "A" Train." These slower tunes are balanced by a winging version of Neal Hefti's "Whirlybird." A nice program of varied tunes offered by top professionals provides a little more than 45 minutes of pleasant entertainment.~Dave Nathan https://www.allmusic.com/album/introducing-kristin-korb-with-the-ray-brown-trio-mw0000081031

Personnel: Kristin Korb - vocals; Ray Brown Trio - Bass; Plas Johnson - tenor saxophone; Conte Candoli - trumpet; Oscar Castro-Neves - guitar; Benny Green - piano; Gregory Hutchinson - drums

Introducing Kristin Korb

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Bill Evans Trio - Live At Casale Monferrato Disc 1 And Disc 2

Album: Live At Casale Monferrato Disc 1

Styles: Piano Jazz 

Year: 2015

File: MP3@320K/s

Time: 42:23

Size: 97,8 MB

Art: Front

(4:52)  1. Re: Person I Knew

(6:46)  2. Midnight Mood

(4:56)  3. Polka Dots and Moonbeams

(3:58)  4. Theme From MASH

(6:09)  5. A Sleepin' Bee

(5:51)  6. I Do It for Your Love

(9:48)  7. My Romance

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Album: Live At Casale Monferrato Disc 2

Time: 50:33
Size: 116,6 MB

( 3:13)  1. Noelle's Theme
( 6:43)  2. I Loves You Porgy
( 6:37)  3. Up with The Lark
( 5:26)  4. Turn out The Stars
( 5:10)  5. Five
( 4:22)  6. Spring Is Here
(15:21)  7. Nardis
( 3:37)  8. But Beautiful

Casale Monferrato is a town and commune in the Piedmont region of Northwest Italy, which is part of the province of Alessandria. It is situated about 60 km east of Turin on the right bank of the Po, where the river runs at the foot of the Montferrato hills. Beyond the river lies the vast plain of the Po valley. The pianist played there with his last trio, which included the aforementioned Marc Johnson and Joe LaBarbera, who were both very young musicians. According to LaBarbera, the pressure of playing with the celebrated Bill Evans fell mostly on the trio’s bassist, who always had the shadow of the late Scott LaFaro looming over him: “My opinion was that the only stigma placed on a member of Bill’s trio was on the bass player, because of Scott’s legacy. Bill had great drummers over the years, but they never shaped what the trio was doing the way Scott did.

I wanted to be Scott LaFaro, though, I wanted to have that thing going with Bill in every possible way, to have some of that thing for me. I found out later that Bill had no preconceived ideas of what you should do. His bass preferences, for instance, were as diverse as Scott and Percy Heath. He definitely was not looking for people to emulate his earlier groups.” This release presents a beautiful never before released complete live performance by the last incarnation of the Bill Evans Trio. Taped in Italy just a few months before the pianist’s untimely death, its highlights include beautiful solo piano versions of Michel Legrand’s “Noelle’s Theme” and George Gershwin’s “I Loves You Porgy”.https://jazzmessengersblog.wordpress.com/2012/05/15/all-tracks-previously-uni/

Personnel: Bill Evans -  piano;  Marc Johnson - Bass;  Joe LaBarbera - Drums

Live At Casale Monferrato Disc 1, Disc 2

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Jared Gold - All Wrapped Up

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 50:03
Size: 115,2 MB
Art: Front

(5:43) 1. My Sentiments Exactly
(5:28) 2. Get Out Of My Sandbox
(5:31) 3. Piece Of Mine
(6:39) 4. Midnight Snack
(7:04) 5. Dark Blue
(7:23) 6. Mama Said
(6:44) 7. Saudade
(5:27) 8. Just A Suggestion

There's a noticeable change in organist Jared Gold's sonic template of choice, before All Wrapped Up even begins. While two out of Gold's three prior releases were quartet outings that used saxophone as the lone horn voice, all three releases were rooted in the traditional organ trio instrumental format. A different guitarist graced each one of those records, with Randy Napoleon, Ed Cherry and Dave Stryker each putting their own unique stamp on Gold's music, but the organist clearly felt it was time to move on, with guitar nowhere to be found on this album. Instead, Gold turns to two stellar horn players (and label mates) to help flesh out his new sound. Saxophonist Ralph Bowen and trumpeter Jim Rotondi add their own singular voices to Gold's music as the organist creates the next chapter in his career as a leader.

Five of the eight compositions on the album come from Gold, and the funkiest fare stands out above the rest. "Mama Said" starts off with both horns working through the hip head, as drummer Quincy Davis lays down an easy funk beat and things get even more soulful as solos are passed around. The album-closing "Just A Suggestion" has a few more rhythmic turns in the mix, but moves in a similar direction. Bowen's solo is the clear highlight on this one and his passion for the music is palpable.

While more than half of the material comes from Gold, each member of the band contributes one piece. Davis delivers a relaxed swinger ("Piece Of Mine"), but Bowen's "Midnight Snack"is a rhythmic rollercoaster ride, where the groove terrain is in a constant state of flux though everyone knows exactly what they're doing as the rhythmic underpinnings continually shift. Rotondi's "Dark Blue" follows, a mellow swinger that's the calm after the storm.

When All Wrapped Up reaches its conclusion, two things are abundantly clear: this newfound quartet format hasn't dampened or diminished the creative enthusiasm shown on Gold's earlier releases; and the album continues the steady evolution of one of jazz's most prominent rising star organists.~ Dan Bilawskyhttps://www.allaboutjazz.com/all-wrapped-up-jared-gold-posi-tone-records-review-by-dan-bilawsky

Personnel: Jared Gold: organ; Ralph Bowen: saxophone; Jim Rotondi: trumpet; Quincy Davis: drums.

All Wrapped Up

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Eric Reed & Cyrus Chestnut - Plenty Swing, Plenty Soul

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 73:28
Size: 168,5 MB
Art: Front

(14:39)  1. I'll Remember April
(12:14)  2. All The Things You Are
(14:36)  3. Two Bass Hit
( 6:17)  4. Lift Ev'ry Voice And Sing
( 9:40) 5. It Don't Mean A Thing If It Ain't Got That Swing
( 7:49)  6. Prayer
( 8:09)  7. Plenty Swing, Plenty Soul

Piano duo recordings can be a tricky thing: finding a balance that allows each musician to shine while simultaneously keeping in mind that it is a collaborative affair can result either in a seamless piece of cooperative music-making, or a battle of egos that benefits no one. Fortunately, this falls into the former category. With accompaniment by bassist Dezron Douglas and drummer Willie Jones III, Reed and Chestnut are sympathetic players who know when to step forward, when to hold back, and when to meet in the middle. Although seven years apart in age (Chestnut being the older), Reed and Chestnut share somewhat similar backgrounds: both are from large East Coast cities, both began their musical instruction at a very young age via their fathers, and both have gospel training in their backgrounds.

That common ground gives them not so much similar styles as an understanding of where the other is rooted, and as they burrow deeper into each of the pieces here drawn from a trio of live gigs at New York's Dizzy's club there are many times when it's near impossible to tell that two pianists are playing, let alone who's doing what although the mix separates Reed and Chestnut by placing one in the left channel and the other in the right, one would have to be extremely fine-tuned to the nuances of each musician's playing to pick them out had the engineer not made it easier. The set consists of standards (a spry "I'll Remember April" opens it), a couple of jazz classics (a rousing version of Duke Ellington's "It Don't Mean a Thing if It Ain't Got That Swing"), and a couple of gospel-themed tunes played solo the classic "Lift Ev'ry Voice and Sing," featuring only Chestnut, and Reed's "Prayer." That the pianistry is exemplary throughout goes without saying, but these two fine musicians and their accompanists elevate their meeting into something greater. ~ Jeff Tamarkin http://www.allmusic.com/album/plenty-swing-plenty-soul-mw0001962994

Personnel: Cyrus Chestnut (piano); Eric Reed (piano); Willie Jones III (drums).

Plenty Swing, Plenty Soul

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Catherine Russell - Send For Me

Styles: Vocal
File: MP3@320K/s
Time: 47:18
Size: 108,9 MB
Art: Front

(3:26) 1. Did I Remember
(4:44) 2. Send For Me
(3:04) 3. At The Swing Cats Ball
(4:41) 4. Make It Last
(3:37) 5. Going Back To New Orleans
(3:40) 6. If I Could Be With You
(2:52) 7. You Can Fly High
(3:48) 8. East of The Sun (and West of The Moon)
(4:11) 9. In The Night
(3:24) 10. You Stepped Out of A Dream
(3:07) 11. Blue And Sentimental
(2:59) 12. Sticks and Stones
(3:38) 13. Million Dollar Smile

GRAMMY® nominated vocalist Catherine Russell, when asked to characterize her new album, Send For Me, replied, “I love romance that swings.” Send For Me features a baker’s dozen of newly recorded tunes on her eighth album as a leader, meeting a simple exacting standard. “Songs that inspire or touch me in some way. When I find a song I like, it haunts me until I learn it.” Her mission is finding songs that you might not have heard but deserve attention.

Russell’s deep connection to her chosen material is part of a calling. As the daughter of pioneering and legendary musicians, pianist/orchestra leader/composer/arranger Luis Russell, and bassist/guitarist/vocalist Carline Ray, Catherine Russell was born into jazz royalty. In culling material for her new album from the likes of Billie Holiday, Nat King Cole, Luis Russell, Betty Carter, Kay Starr, Joe Liggins, Earl King, Jack Teagarden, Helen Humes, Frank Sinatra, Dakota Staton, Henry Red Allen, and Louis Armstrong, the vocalist swims in familiar waters. She sings a language that comes naturally, furthering a profound legacy.

Send For Me is a follow up to Russell’s 2019 release Alone Together, which received a GRAMMY® nomination for Best Jazz Vocal Album, and landed on the JazzWeek year-end radio chart as the #1 most played album. “I like to invite the people in,” she says of her new album, which is also her philosophy of performing live. The album is an invitation, welcoming the audience to come along on a journey. https://www.dottimerecords.com/product/catherine-russell-send-for-me/

Personnel: Catherine Russell – vocals, percussion (5,7); hand claps (2); Matt Munisteri – guitar, musical director, banjo (5,6); Tal Ronen – bass (except 5); Mark McLean – drums; tambourine (5); Mark Shane – piano (1,3,4,7,12); Sean Mason – piano (2,6,8,9,10,11,13); Jon-Erik Kellso – trumpet (1,3,4,7,9,12); John Allred – trombone (1,3,4,6,7,9,12); Evan Arntzen – reeds (1,3,7,9,12); Paul Nedzela – baritone saxophone (9); Mark Lopeman – tenor saxophone (2); Aaron Heick – tenor saxophone (2); Philip Norris – Tuba (5); Paul Kahn – hand claps (2)

Send For Me

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Hal Galper Trio - Invitation to Openness: Live at Big Twig

Styles: Piano Jazz
File: MP3@320K/s
Time: 71:40
Size: 165,1 MB
Art: Front

(11:18) 1. Embraceable You
(10:51) 2. Rapunzel's Luncheonette
( 9:45) 3. Winter Heart
( 6:56) 4. Ambleside
( 8:41) 5. Invitation to Openness
( 8:38) 6. Take the Coltrane
( 7:58) 7. Wandering Spirit
( 7:28) 8. Constellation

Pianist Hall Galper turned away from the life of touring in 2000, and eased into "the shed," to work on some innovative ideas that would change the shape of the piano trio. Rubato is where he went a style of playing that stretches time, making it flexible, unpredictable and free. It takes special trio mates to assist in this, and he found them in his East Coast Trio, with bassist Tony Marino and drummer Billy Mintz, eventually, the group responsible for the fittingly-titled 2006 album, Agents Of Change (Fabola Records).

The change in Galper's trio approach blossomed fully on six subsequent Origin Records recordings with his West Coast Trio, featuring drummer Jeff Johnson. Two of those Origin Records recordings Airegin (2012) and O's Time (2014) stand as late-career masterpieces for Galper. Given the decade and half of productivity and consistent excellence of the West Coast Trio, Galper's work with Marino and Mintz might seem a footnote, with only one album in the books. But that footnote becomes bigger and better with 2022's Invitation To Openess, recorded in 2008 with Galper's east coast crew. This offering catches the threesome in fine form, opening with a eleven-plus minute take on Gershwin's "Embraceable You." This tune in these hands demonstrates just how beautiful odd beauty can be. This conventional (though superior; it is Gershwin) Great American Songbook tune goes to unexpected places straight ahead at times, often aggressive, warped away from recognizability at others, surprises around every corner.

Galper's creative foundation comes, in part, from the straight ahead tradition, having served considerable time with trumpeter Chet Baker and alto saxophonists Cannonball Adderley and Phil Woods. But he also did a stint in saxophonist Sam Rivers' band, which must have nudged him further in the free direction than he might otherwise have gone. In his semi-retirement over the course of time spent in the shed he sounds completely free. Those of a religious persuasion might say "Let go and let God." Of Hal Galper we could say he "Let go and let rubato."

As with all of his rubato releases, Galper makes wise choices in jazz standards and Great American Songbook tunes on Invitation To Openness, exploring the permutations of the previously-mentioned Gershwin composition, pianist John Taylor's "Ambleside," Duke Ellington's "Take the Coltrane" and Charlie Parker's "Constellation," with four of his own distinctive tunes mixed in. All of this moves into exhilarating and unexpected territory, no matter how familiar the source material, in this a look back at the beginnings of Hal Galper's move into rubato.~ Dan McClenaghan https://www.allaboutjazz.com/invitation-to-openness-hal-galper-trio-origin-records

Personnel: Hal Galper: piano; Tony Marino: bass; Billy Mintz: drums.

Invitation to Openness: Live at Big Twig

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Lisa Lovbrand - Embraceable

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 49:16
Size: 117,7 MB
Art: Front

(5:01)  1. Light My Fire
(4:58)  2. Embraceable You With Chris Botti
(3:00)  3. Smile
(4:50)  4. The Man I Love
(3:35)  5. When I Fall in Love With David Foster
(5:08)  6. The Nearness of You
(4:05)  7. Over the Rainbow
(3:39)  8. These Foolish Things
(4:32)  9. Seagulls
(4:58) 10. Come Rain or Come Shine  With Paul Buchanan
(5:25) 11. Good Morning Heartache

Lisa Lovbrand, a swedish singer/actress from Dorotea (Sweden) but now spending her days in Los Angeles. The album “Embraceable” was released by Lisa herself on her own label Lovbrand Productions. “Embraceable” is a soft jazz album with some very familiar songs as well as sparkling new music written by Lisa and composer/arranger Jeremy Lubbock. The album was mainly recorded in Stockholm with some of Sweden’s most prominent jazz musicians (see list below), all songs were arranged by Bengt Lindkvist and Kjell Öhman and the album is featured by international artists such as Chris Botti, Paul Buchanan and David Foster! Paul Buchanan from Blue Nile sings on the lovely duet “Come Rain Or Come Shine” and David Foster sings and plays keyboard on “When I Fall In Love”. http://www.westcoast.dk/artists/l/lisa-lovbrand/

Musicians on the Embraceable album: Lisa Lovbrand, David Foster, Chris Botti, Paul Buchanan, Johan Setterlind, Bengt Lindkvist, Per V. Johansson, Jesper Kviberg, Jan Ottesen, Kjell Öhman, Jorgen Smeby, Joakim Ekberg & Klas Lindquist.

Embraceable

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Maxine Sullivan & Scott Hamilton Quintet - Uptown

Styles: Vocal And Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 46:21
Size: 106,1 MB
Art: Front

(3:34) 1. You Were Meant for Me
(5:10) 2. I Thought About You
(3:49) 3. Goody Goody
(5:22) 4. Something to Remember You By
(5:54) 5. Wrap Your Troubles in Dreams
(3:50) 6. You're a Lucky Guy
(3:48) 7. Georgia on My Mind
(4:21) 8. By Myself
(4:47) 9. I Got a Right to Sing the Blues
(5:41) 10. Just One of Those Things

The first of her two Concord CDs, this set features veteran singer Maxine Sullivan performing ten of her favorite songs, all of which originated from the swing era or before. Sullivan sounds quite happy to be joined by tenor saxophonist Scott Hamilton's very complementary quintet (which also includes guitarist Chris Flory and pianist John Bunch). The best among the familiar songs are Maxine's renditions of "I Thought About You," "Wrap Your Troubles In Dreams," "By Myself" and "I Got a Right to Sing the Blues."~Scott Yanowhttps://www.allmusic.com/album/release/uptown-mr0001470229

Personnel: Maxine Sullivan - vocals; Scott Hamilton - tenor saxophone; John Bunch - piano; Phil Flanigan - bass; Chris Flory - guitar; Chuck Riggs - drums

Uptown

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Arne Domnerus & Rune Gustafsson - Sketches of Standards

Styles: Bop
Year: 1991
File: MP3@320K/s
Time: 57:21
Size: 131,3 MB
Scans: Front

(5:37)  1. Blowing in the wind
(4:11)  2. I'm beginning to see the light
(4:50)  3. Jazz me blues
(6:25)  4. Mean to me
(5:07)  5. Here's that rainy day
(3:49)  6. Autumn leaves
(3:23)  7. Hymn to freedom
(3:23)  8. It don't mean a thing
(5:06)  9. Mood indigo
(3:04) 10. I've got it bad
(3:33) 11. Sweet Lorraine
(4:39) 12. Don't get around much anymore
(4:09) 13. Is God a three letter word for love?

Swedish-born saxophonist Arne Domnérus looms large in the annals of European jazz -- his breakthrough performance at the Paris Jazz Fair of 1949 is widely cited as the tipping point of the Scandinavian bop movement. Born in Stockholm on December 20, 1924, Domnérus studied clarinet as a child and made his professional debut during the early '40s, playing alto sax in popular dance bands led by Lulle Ellboj and Simon Brehm. By 1942 he led his own group and made his recorded debut in 1945, honing an urbane, sophisticated style that nevertheless possessed an urgency often absent from the cool, remote tone often associated with Swedish jazz. American icons Charlie Parker and Dizzy Gillespie were both in attendance for Domnérus 1949 Paris festival gig, a performance which served notice that players of European descent could offer their own authoritative interpretations of music largely considered an African-American phenomenon -- Parker was so impressed that he signed Domnérus for the Scandinavian tour he mounted a year later. Throughout the '50s Domnérus headlined the Stockholm jazz club Nalen, often appearing alongside trumpeter Rolf Ericson and baritone saxophonist Lars Gullin (who both turn up in the 1952 short film Arne Domnérus Spelar). Domnérus also joined Stockholm locals including pianist Bengt Hallberg for a landmark 1953 Swedish tour in support of American trumpeters Clifford Brown and Quincy Jones. From 1956 to 1965 Domnérus served as a member of Harry Arnold's Swedish Radio Big Band, continuing on with its successor Radiojazzgruppen through 1978 -- concurrently he wrote for television and films, most notably scoring 1966's Nattlek, a film produced by Mai Zetterling and based on her own novel. Domnérus' 1977 LP Jazz at the Pawnshop proved an unprecedented hit, selling more than half a million copies upon its original release -- a year later, he returned with Duets for Duke, a collaboration with Hallberg that captures both men at the zenith of their artistry. While remaining true to his bop roots, Domnérus cited traditional Scandinavian folk music as a growing influence throughout the later chapters of his career, and from the '70s on he regularly performed live in churches, inspired by Duke Ellington's own sacred concerts. He also toured the U.S. and Japan, and recorded with American notables including Clark Terry, James Moody and Jimmy Rowles. After several years in poor health, Domnérus died in Stockholm on September 2, 2008 at the age of 83.

Rune Gustafsson - Heavily inspired by generations of blurry-toned jazz guitar maestros such as Jimmy Raney, Jim Hall, and Tal Farlow, this Swedish artist went on to compose critically acclaimed film soundtracks as well as pick and strum. The Swedish music scene in general is where documentation of Rune Gustafsson is most prevalent, his discography on Sonet, Metronome, and other labels even including a tribute to soul genius Stevie Wonder. The guitarist began performing folk music as a young teen, apparently under considerable prodding from an uncle who was already engaged in the same kind of activity. Gustafsson had evolved to playing jazz on stages in the early '50s, his bandleaders including Bert Dahlander, Putte Wickman, Hacke Bjorksten, and Lars Gullin. When profiled in Leonard Feather's Encyclopedia of Jazz in the '70s, Gustafsson talked about his ambitions in composing and arranging concert music, a promise he certainly made good on in the ensuing years. He also expanded his instrumental arsenal for some of these projects, recording on the banjo and the celeste, among other unusual axes. His film credits include the 1992 Ingmar Bergman release with the English title of Sunday's Children.

Sketches of Standards

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Buddy Tate Feat. Clark Terry - Tate-A-Tate (Remastered Version)

Styles: Saxophone And Trumpet Jazz
Year: 1960/2016
File: MP3@320K/s
Time: 35:40
Size: 82,7 MB
Art: Front

(8:12)  1. Groun' Hog
(4:10)  2. Tate-a-Tate
(5:38)  3. Snatchin' It Back
(6:21)  4. 20 Ladbroke Square
(4:13)  5. All Too Soon
(7:04)  6. Take the "A" Train

For more than seven decades, Texas-bred George “Buddy” Tate graced the American jazz scene with his hard-blowing tenor saxophone style. A resilient tone with high register inflections in the so-called “Texas tenor” sound distinguished Tate among his swing era colleagues. He was a member of the Count Basie Orchestra during the late 1930s and 1940s and later became a bandleader in his own right. By most accounts, Tate was born George Holmes Tate on February 22, 1913, in Sherman, Texas. He began performing in 1925 while still in his teens when his brother handed him an instrument and asked him to play tenor saxophone with the family quartet called McCloud's Night Owls. Tate and the Night Owls learned to play largely by listening to recordings by Louis Armstrong and mimicking the sound. The band toured professionally for the next four years, after which Tate continued to play the horn, performing with a series of territory bands and with circus bands until the early 1930s when he toured the south-western United States with Nathan Towles' band. During those early years, Tate spent time with Terrence Holder's band from 1930-33 and toured with Andy Kirk's Clouds of Joy in 1934-35. In 1934 Tate filled in briefly with Count Basie's Orchestra as a replacement for Lester Young. Young eventually returned to the band, and Tate joined up with Towles for another four years beginning in 1935. Tate worked with Towles until 1939 when Herschel Evans, who was Basie's tenor saxophone player, died. Basie then brought Tate back into the orchestra as a permanent fixture for nearly a decade. Perhaps nowhere was the contention for attention between saxophone players of that era more pronounced than among Basie's sidemen. Among the notables were Illinois Jacquet also one of the so-called Texas tenors, Lucky Thompson, and Young, all of whom along with Tate transformed moments of the orchestra's performances into full-scale dueling sets between horns. Tate was heard on many recordings by the Basie orchestra during that era, including selected recordings where Tate performed on alto saxophone as well as tenor. He emerged from Basie's band as a seasoned professional. After Tate parted ways with Basie in 1949, Tate appeared with Hot Lips Page, Lucky Millinder, and Jimmy Rushing until 1952. He then assembled his own house band at Harlem's Celebrity Club in 1953, marking the start of a gig that lasted for 21 years, until the early 1970s. Tate's European tours brought him largely to France where, in 1967 and 1968, he performed as bandleader in a trio comprised of Milt Buckner on organ and Wallace Bishop on drums. 

Tate and Buckner recorded a series of tenor saxophone and organ duets in 1967 on the Black and Blue label, including “Buddy Tate with Milt Buckner,” which is revered among Tate's best works. He made two earlier European tours as a sideman for Buck Clayton, in 1959 and 1961 respectively. In 1967 Tate also appeared with John Hammond in a concert program called Spirituals to Swing and toured with the Saints and Sinners. Tate spent time in the 1970s as a sideman in the Benny Goodman Orchestra. Tate's 1973 release, “Buddy Tate and His Buddies”, featured his former Basie cohort, Jacquet, pianist Mary Lou Williams, and trumpeter Roy Eldridge. Also numbered among the buddies were guitarist Stan Jordan, drummer Gus Johnson, and Milt Hinton on bass. The album, one of Tate's more popular recordings, was re-issued in 1994. In the 1980s, Tate toured extensively with Jacquet's group called the Texas Tenors. The Tenors followed a festival circuit that took the players to the Newport Jazz Festival in 1980 and to the festival in Cork in 1983 and again in 1985. His festival tours with Jacquet in the 1980s included annual visits to the Grande Parade du Jazz in Nice, France. Additionally, Tate's North American agenda included both live and taped performances with Jay McShann and Jim Galloway in Canada. In 1978 Tate taped a collection of recordings for Muse Records under the bill of Buddy Tate & the Muse All Stars.” Those albums included “Live at Sandy's,” “Hard Blowin',” and “Muse All Stars.” In 1991 Tate joined fellow tenor saxophone player James Moody and a collection of others among his peers on the live recording, “Lionel Hampton and the Golden Men of Jazz.” The 1996 album “Conversin' with the Elders,” by saxophonist James Carter marked what would become Tate's final appearance on record. He remained active and performed with Lionel Hampton and the Statesmen of Jazz in the late 1990s until a bout with cancer left him incapacitated. In January of 2001 Tate moved to Phoenix, Arizona, to live near his daughter. He died in Arizona soon afterward, in a nursing home in Chandler on February 10, 2001. https://musicians.allaboutjazz.com/buddytate

Personnel: Tenor Saxophone – Buddy Tate; Trumpet, Flugelhorn – Clark Terry;   Bass – Larry Gales; Drums – Arthur Taylor; Piano – Tommy Flanagan

Tate-A-Tate (Remastered Version)

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Cyrille Aimée + Friends - Live at Smalls

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 67:00
Size: 155,3 MB
Art: Front

(6:56)  1. September in the Rain
(6:16)  2. Que Reste-Il ( I Wish You Love)
(6:36)  3. Yesterdays
(5:43)  4. East Village Inamorata
(9:38)  5. Love for Sale
(6:47)  6. I Was Beginning to See the Light
(6:07)  7. When I Was a Child
(5:29)  8. Lover Man
(7:40)  9. I Mean You
(5:46) 10. Stand by Me

Cyrille Aimée has consistently proven herself to be an unstoppable, undeniable talent in the modern age of jazz. Her culturally rich background has supplied her with the driving force of Dominican rhythm and the incredible swing of the French Gypsies. Taking these natural abilities with her across the world, she has received rave reviews and a loyal following in each country she graces with her voice. She was a finalist in the prestigious Thelonious Monk Vocal Competition of 2010, performing in front of a jury of Al Jarreau, Kurt Elling, Dianne Reeves, Dee Dee Bridgewater. In 2007, Cyrille won both the first and public prize in the Montreux Jazz Festival Competition. For her SmallsLIVE debut, she is accompanied by jazz legend Roy Hargrove as well as tenor saxophonist Joel Frahm. The rhythm section consists of pianist Spike Wilner, bassist Phil Khuen and drummer Joey Saylor. ~ Editorial Reviews https://www.amazon.com/Cyrille-Aimee-Friends-Live-Smalls/dp/B004NWHVT4

Personnel:  Cyrille Aimée – vocals;  Roy Hargrove – trumpet;  Joel Frahm – tenor sax;  Spike Wilner -  piano;  Phillip Kuehn – bass;  Joseph Saylor – drums

Live at Smalls

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Miriam Klein - By Myself

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 41:05
Size: 94,4 MB
Art: Front

(5:10)  1. Something to Remember You By
(3:33)  2. By Myself
(4:23)  3. Bei mir bist du schoen
(4:08)  4. Lush Life
(4:49)  5. Sophisticated Lady
(3:28)  6. There Is No Greater Love
(3:20)  7. Prelude to a Kiss
(3:50)  8. Mean to Me
(4:21)  9. It's a Sin to Tell a Lie
(3:57) 10. I'm Glad There Is You

Swisss vocalist Miriam Klein first came into the public eye when she performed in Paris in the 1950s with Dexter Gordon, Pierre Michelot, Don Byas and Art Simmons. Later she attended Music School in Vienna and went back to Switzerland to work with the ensembles of her husband, trumpeter and guitarist Oscar Klein. It was in the 1960s and 1970 that she became known internationally. In 1978 her album 'By Myself' was produced by concert management tycoon Horst Lippmann for the L+R label. Lippmann: This is the NEW Miriam Klein confident of her own way of singing. A Miriam Klein By Herself hence the album title. Jazz critic Markus Woelfle: It is her best recording and if she were an American lady and not a Swiss this album would be the pride of everyone's vocal collection. 

The emotional power of her voice and the rich shadings of her interpretations are highlighted by the perfect accompaniment of her inspired sidemen Roland Hanna and George Mraz. It is rare that a pianist offers such perfection and musical additions to a singer - the solos are brilliant and of perfect architecture without overpowering the vocalist. Miriam Klein celebrated her last triumph on her saxophonist son David's 'My Marilyn' album (ENJ-9422) and the label is proud to now present 'By Myself' for the first time on CD. http://akmuzik.com.tr/ak/catalog/showalbum.asp?album=JNKPMPQPO

Personnel: Vocals – Miriam Klein; Acoustic Bass – George Mraz; Piano – Sir Roland Hanna

By Myself

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Larry Goldings,Peter Bernstein,Bill Stewart - Perpetual Pendulum

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 65:00
Size: 149,8 MB
Art: Front

(6:08) 1. United
(7:07) 2. Let's Get Lots
(5:03) 3. Libra
(5:28) 4. Prelude
(5:06) 5. FU Donald
(5:20) 6. Come Rain or Come Shine
(5:54) 7. Little Green Men
(5:35) 8. Reflections in D
(6:05) 9. Perpetual Pendulum
(5:25) 10. Lurkers
(7:43) 11. Django

Larry Goldings, Peter Bernstein, and Bill Stewart celebrate over three decades as a trio with PERPETUAL PENDULUM, a scintillating program combining clever originals with fresh takes on jazz classics. And, while 30 years is not quite an eternity in jazz terms, it might as well be they show no signs of slowing down.

PERPETUAL PENDULUM is also their debut release on Smoke Sessions, which has some historical significance related to their origins as a trio. Smoke Jazz & Supper Club, the label’s parent venue, was opened on the former site of Augie’s Jazz Bar, where Goldings, Bernstein and Stewart first performed together and established their rapport on a regular Thursday night gig starting in 1989. They also recorded this album at New York’s Sear Sound Studio A, which is where they recorded their second outing together, 1992’s "Light Blue" and was also 30 years after the release of their debut album, Goldings’ 1991 album "The Intimacy of the Blues."

If it’s hard to imagine a band with the kind of longevity that Goldings, Bernstein, and Stewart share, it’s even more rare to find one maintaining their brilliant level of musicianship and chemistry and that is not lost on the trio. “We all really dig each other, and that's probably the most important thing,” Goldings says in an attempt to explain the trio’s indefinable chemistry. There’s a lot of crossover in what we like to play and listen to, and our individual visions of jazz tend to align. It’s hard to say, because we never really discuss it; we just try to make good records. We came up together.”

Bernstein concurs. “I think we all share a pure feeling of gratitude. With these cats, I feel pressured to play my best because they’ve heard everything I can do. At the same time, I feel comfortable trying anything with them because I know whatever I do, they're going to hold it together. We’ve all grown through our individual experiences, but we always come back to this. And it's only getting better.”

Personnel: Larry Goldings - organ; Peter Bernstein - guitar; Bill Stewart - drums

Perpetual Pendulum

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Kenny Lattimore - Here To Stay

Styles: Vocal, R&B
Year: 2021
File: MP3@320K/s
Time: 38:13
Size: 88,1 MB
Art: Front

(3:43) 1. Nothing On You
(4:30) 2. Never Knew
(3:47) 3. Only Girl
(3:19) 4. All In
(4:10) 5. What Are You Waiting For?
(5:00) 6. Lose You
(3:12) 7. Take A Dose
(3:32) 8. Pressure
(3:47) 9. Priority
(3:08) 10. Survive

On his ninth solo album, Kenny Lattimore applies his tender tenor vocal stylings and heartfelt lyrics to both the old school and the new school. Maintaining his classic balance of mellifluousness and robust, he effectively secures his relevance in an overcrowded marketplace by keeping in mind both longtime fans and potential new listeners. The first half of Here to Stay incorporates shades of past hits from albums such as Kenny Lattimore and Weekend, while the second expands upon the stylistic diversions hinted at on 2017’s Vulnerable.

Here to Stay opens with the chillaxed yet danceable sway of “Nothing on You,” housing a serene chorus and retro-fitted groove as the backdrop for Lattimore’s assurance of appreciating a good thing: “Heaven ain’t got nothing on you, I wish the Lord could see how much you mean to me…You’re the beat in my chest, nothin’ but assets/They try to buy your love, but can’t afford it.”

The pace is slowed down slightly with “Never Knew,” a crisp midtempo mover bearing a radio-friendly hook imbued by Lattimore with strong phrasing and tonal momentum. Meanwhile, the vibe is breezy on the catchy “Only Girl.” Strong verses surround the assured chorus, as he reflects on the value of resisting temptation when one’s got it good in a relationship: “I can be foolish tonight, I can be careless tonight/She’s my only, she’s my all for life/I would be a fool if I ever let her leave my side/Blessed that she’s mine, and I’ma be all she needs.”

“All In” is a similar ode to a special lady, adding falsetto flourishes into the mix, while “What Are You Waiting For” goes for a club vibe. The groove is good, and Kenny slides in and out of it with finesse. With the melody and pulsations complemented by lyrical passages focused on reclaiming love in one’s life, the track could be especially effective if beefed up with some more vocals and an extension of the percussive elements hinted at here and there. As it stands, it falls short of having a lasting impact.

The second half of Here to Stay, in keeping with its title, makes clear Lattimore’s intent to remain relevant in an era where listening habits are often more particular and hard to predict than ever. While he doesn’t make any overt attempts to pander to a basic sound, the atmosphere of these five tracks is designed more pointedly in line with currently popular production approaches. Thankfully, the lyrical content remains minimally swayed by trends. And while the vocal production is at times heavier than desirable, Lattimore continues to effectively purvey a range of musically emotive qualities.

With the instrumentation pared down on selections like “Lose You” and “Pressure,” it’s striking how little his voice has changed through the years. The high notes are resonant, the flourishes and resiliency smooth and strong. Melodically speaking, most of these cuts fall a bit flat in comparison to the earlier tracks. While they’re solid by contemporary radio standards, they’re not as memorable or soul-stirring as Lattimore classics such as “Never Too Busy” or “Weekend.”

The closing ballad, “Survive,” however, is more impactful with a keyboard-driven arrangement honing in on his sweet falsetto tones and a pretty melody, to boot. With his words on this tune and several others preceding it, perhaps Lattimore gets a bit carried away with the “good man to the rescue” narrative; but that’s highly preferable to the tasteless alternatives for which many artists will settle. Recommended.~Justin Kantorhttps://www.soultracks.com/review-kenny-lattimore-here-to-stay

Here To Stay

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Dutch Swing College Band - Dixieland Goes Dutch

Styles: Jazz, Swing 
Year: 2020
File: MP3@320K/s
Time: 77:51
Size: 181,2 MB
Art: Front

(2:39)  1. At the Jazz Band Ball
(4:38)  2. Fidgety Feet
(3:02)  3. Beale Street Blues
(3:44)  4. The Sheik of Araby
(3:36)  5. Don't Fence Me In
(3:07)  6. High Society
(3:35)  7. Mood Indigo
(3:43)  8. Royal Garden Blues
(2:34)  9. Big Butter and Egg Man
(2:54) 10. I Ain't Gonna Give Nobody None o' this Jelly Roll
(3:09) 11. Marina
(3:12) 12. Savoy Blues
(2:21) 13. Take Your Pick
(3:58) 14. Wolverine Blues
(3:42) 15. Baby Won't You Please Come Home
(2:15) 16. Bel Ami
(3:19) 17. You Don't Know How Much You Can Suffer
(2:32) 18. Besame Mucho
(3:20) 19. Just a Closer Walk with Thee
(2:54) 20. Wilhelm Tell
(5:51) 21. Bei Mir Bist Du Schon
(3:03) 22. Tiger Rag
(4:32) 23. When the Saints Go Marching In

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.  Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. 

The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.  An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson. The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. ~ Craig Harris https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Dixieland Goes Dutch

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The Manhattan Transfer - The Manhattan Transfer

Styles:  Vocal Jazz
Year: 1975
File: MP3@320K/s
Time: 35:38
Size: 82,5 MB
Art: Front

(3:05)  1. Tuxedo Junction
(2:28)  2. Sweet Talking Guy
(3:13)  3. Operator
(3:30)  4. Candy
(3:00)  5. Gloria
(2:57)  6. Clap Your Hands
(2:54)  7. That Cat Is High
(3:33)  8. You Can Depend On Me
(2:24)  9. Blue Champagne
(2:47) 10. Java Jive
(3:08) 11. Occapella
(2:35) 12. Heart's Desire

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 cornball 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. An odd and hardly successful 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 hotspots 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 1980s, 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 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. ~ John Bush http://www.allmusic.com/artist/the-manhattan-transfer-mn0000674749/biography

Personnel: Alan Paul, Janis Siegel, Cheryl Bentyne, Tim Hauser- vocals

The Manhattan Transfer

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Paul Gonsalves, Harry Carney, Mitchell Wood - Stanley Dance Presents The Music Of The Great Ellingtonians (2-Disc Set)

Spanning over five decades (1923-1974), the Duke Ellington orchestra was nursery, proving ground and finishing school for dozens of jazzmen. Three of the greatest, Harry Carney, Mitchell “Booty” Wood, and Paul Gonsalves, here front all-star groups on three albums produced by celebrated jazz critic Stanley Dance. They add up to an engaging example of the unpretentious kind of jazz these musicians liked to play when they were “stretching out”: adventurous but not avant-garde, traditional but not old-fashioned, free-ranging in its moods and full of that sound of surprise which is the lifeblood of jazz—the kind of timeless music, beyond fad and fashion, forever associated with the Great Ellingtonians.

All sessions recorded in New York between September, 1960 and January 1961.

Album: Stanley Dance Presents The Music Of The Great Ellingtonians (disc 1)
Bitrate: MP3@320K/s
Time: 55:13
Size: 126.4 MB
Styles: Big band
Year: 2011

[4:52] 1. Tree Of Hope
[3:43] 2. Blues For Blokes
[4:17] 3. Baby Blue
[3:48] 4. Jeepers Creepers
[4:03] 5. Rock Me Gently
[5:13] 6. Hand Me Down Love
[3:29] 7. Mabulala
[3:57] 8. Five O'clock Drag
[5:47] 9. Hang In There
[7:11] 10. New Cambridge Blues
[4:03] 11. Easin' On Down Piccadilly
[4:45] 12. Ohso

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Album: Stanley Dance Presents The Music Of The Great Ellingtonians (disc 2)
Bitrate: MP3@320K/s
Time: 66:37
Size: 152.5 MB
Styles: Big band
Year: 2011
Art: Front

[4:17] 1. Snowstorm
[4:32] 2. Blues In Bones
[3:49] 3. Sunday
[5:06] 4. Our Delight
[4:09] 5. Out Of Nowhere
[8:24] 6. Swallowing The Blues
[5:32] 7. London Broil
[4:46] 8. Midnight Sun
[6:17] 9. Just Squeeze Me
[5:51] 10. Blue Skies
[5:28] 11. Jeeps Blues
[8:22] 12. You Can Depend On Me

Stanley Dance Presents The Music Of The Great Ellingtonians (Disc 1) (Disc 2)

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Michael Brecker - Don't Try This At Home

Styles: Saxophone Jazz
Year: 1988
File: MP3@128K/s
Time: 55:34
Size: 52,3 MB
Art: Front

(7:43) 1. Itsbynne Reel
(7:51) 2. Chime This
(7:46) 3. Scriabin
(4:59) 4. Suspone
(9:30) 5. Don't Try This At Home
(7:13) 6. Everything Happens When You're Gone
(5:10) 7. Talking To Myself
(5:20) 8. The Gentleman & Hizcaine

Michael Brecker's second album as a leader is almost the equal of his first. Surprisingly, only one song ("Suspone") uses his working quintet of the period (which consists of guitarist Mike Stern, pianist Joey Calderazzo, bassist Jeff Andrews and drummer Adam Nussbaum) although those musicians also pop up on other selections with the likes of pianists Don Grolnick and Herbie Hancock, bassist Charlie Haden, drummer Jack DeJohnette and violinist Mark O'Connor. Brecker (on tenor and the EWI) is in superb form, really ripping into the eight pieces (mostly group originals). Recommended.~Scott Yanowhttps://www.allmusic.com/album/dont-try-this-at-home-mw0000197612

Personnel: Michael Brecker – tenor saxophone, Mike Stern – guitar; Don Grolnick – piano; Herbie Hancock – piano; Joey Calderazzo – piano; Jim Beard – synthesizer, piano ; Mark O'Connor – violin; Charlie Haden – bass; Jeff Andrews – fretless electric bass; Jack DeJohnette – drums; Adam Nussbaum – drums; Peter Erskine – drums; Judd Miller – synthesizer programming

Don't Try This At Home

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