Ron Carter, Gonzalo Rubalcaba, Jack DeJohnette - Skyline

Styles: Jazz, Bop
Year: 2021
File: MP3@320K/s
Time: 60:39
Size: 139,2 MB
Art: Front

(6:51) 1. Lagrimas Negras
(9:02) 2. Gypsy
(6:41) 3. Silver Hollow
(6:43) 4. Promenade
(3:26) 5. Novia Mia
(4:45) 6. Quite Place
(7:36) 7. Ahmad the Terrible
(7:54) 8. Siempre Maria
(7:36) 9. RonJackRuba

Substantial yet serene, sophisticated yet soothing, Skyline oozes with the earthiness of New York City. Here, Ron Carter, Jack DeJohnette, and Gonzalo Rubalcaba merged their broad skills into an assemblage of erudite conversations, each package wrapped with beauty and delicate care. Of the many common threads heard in this collection, none could be more precious than time. Yes, of course, the trio had a wealth of rich pockets, but the reference is made to time of another nature. They were in no rush. They let the music develop at its own pace. Good things come to those who wait. In the case of Skyline, that would be great things.

Befitting a long overdue reunion, the trio chose to play with old friends. Familiar tunes were reimagined and reenergized with the clearly abundant joy of playing together. A snareless DeJohnette created the necessary Afro-Cuban bolero feel for the timeless standard "Lagrimas Negras." Rubalcaba crescendoed softly and again vigorously, while Carter deftly raised the conversational bar. Carter then reached into his hip-pocket for "Gypsy." A tune first recorded some forty years ago with Chick Corea and DeJohnette, had a luster to it, a shiny new coat. Carter's walking bass allowed Rubalcaba to freely move about. Articulating every note, Rubalcaba again took his time, and explored the boundaries of Carter's stellar composition. It was time for DeJohnette to look into his treasure trove. Out came "Silver Hollow." Well sequenced, Rubalcaba was now able to move deeply in turnabout. The mesmerizing tune heightened his emotional scale, eliciting a heartfelt dive, anchored by Carter's steady, sturdy core. Years before, Rubalcaba wrote a piece dedicated to Carter. There was an entirely different vibe this time around with Carter actually playing on "Promenade." The circumstances and the depth of composition coupled to keep the sentiment and warmth of the recording session intact.

After a return to the Afro-Cuban sound of "Novia Mia," the trio transitioned to "A Quiet Place." This vintage Carter work of art was given a makeover. Its appeal, however, was mostly steeped in the grace of connectivity. The trio had reached a zenith of collective happiness and ease of conversation. In 1984, DeJohnette had honored Ahmad Jamal in song with his composition, "Ahmad the Terrible." Rubalcaba had both the pleasure and the challenge of adding his own voice, while capturing a screen shot of Jamal. With DeJohnette's groovy patterns and flair to play off, Rubalcaba moved brightly and boldly, succeeding on both counts. While Carter, forever the centerpiece, the rock, the engaging conversationalist, propelled the vocabulary. After the recording session was finished, or so they thought, the trio stayed in the studio and continued to play. They weren't recording anymore, just having fun noodling around together. Well, perhaps accidentally on purpose, it was still recording. It turned out to be the final track. "RonJackRuba" is the epitome of improvisation. Completely off the cuff, just messing with some grooves. It resulted in a cool fly-on-the-wall moment to be shared by all. ~Jim Worsleyhttps://www.allaboutjazz.com/skyline-gonzalo-rubalcaba-5passion

Skyline is a breath of fresh air, the very definition of jazz. Three cool cats chilling out and digging on each other. Skyline is a Grammy-worthy project.

Personnel: Gonzalo Rubalcaba: piano; Ron Carter: bass; Jack DeJohnette: drums.

Skyline

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Esther Kaiser - Water

Styles: Vocal
File: MP3@320K/s
Time: 54:06
Size: 125,0 MB
Art: Front

(0:48) 1. Vesi (Interlude)
(4:59) 2. Water
(5:30) 3. Duna
(4:28) 4. Wildfires
(4:21) 5. Salty River
(0:38) 6. The Tear (Interlude)
(5:24) 7. Lament of the King's Wife
(0:59) 8. Maji (Interlude)
(3:10) 9. The Sailor
(1:13) 10. Die Flut (Interlude)
(4:15) 11. Don't We Know Better
(3:54) 12. The Red Sea
(2:03) 13. Rain Dance (Interlude)
(5:04) 14. The Ocean's Song
(4:47) 15. Time's a River
(2:25) 16. Salty River - Epilog

The vocal artist and jazz vocalist Esther Kaiser has taken on a theme for her new album that as with the widely praised previous album “Songs of Courage” addresses an important aspect of our time, which is constantly in flux, in which nothing is more constant than the liquid, than the evaporation and liquefaction of everything solid and traditional: Water.

Esther Kaiser therefore takes the ancient and, from today’s perspective, of course not to be taken literally, quote from Thales of Miletus as a poetic-metaphorical image for her album: Water is the origin of all things. It´s the substance from which everything emerges and to which all things will return.

Thus, even the musically and lyrically multifaceted theme of the album repeatedly finds its way back to pure clarity and lightness, despite the shimmering socio-political and climate-related dimension that Kaiser does not disregard in her cleverly nuanced approach.

On this album, Kaiser transports listeners to a sound that is at once contemporary and urban, as well as to enraptured, almost fairy-like worlds of sound, thanks to the use of unusual sound sources such as the water-powered glass harp and extremely exciting musical guests such as Marie-Christine Gitman on oboe and English horn, the Berlin string quartet “Die Nixen” and the renowned trumpeter and multi-instrumentalist Sebastian Studnitzky.

The genesis of the album fits perfectly with the ancestral symbolism of water, which in many cultures is considered a threshold between (dream) worlds. “In the first Corona lockdown and during a prolonged period of drought in the spring of 2020, during which I had also read the book „The end of the ocean” by Norwegian author Maja Lunde, the song “Water” was created practically in my sleep,” says Esther Kaiser about her first initial inspiration for the new album, which could be described as no dream log. And adds: “I dreamed the melody and the complete lyrics of the chorus and wrote the idea down immediately after waking up. Very quickly, almost as if following a dream dictation, I then finished writing the piece. It was quickly joined by other compositions and lyrics, almost all of which were penned by me and my long-time musical companions Tino Derado and Marc Muellbauer. They’re not all explicitly about water, but on a more abstract level there are images, associations and analogies that connect the songs to the common theme"......More... https://www.glm.de/en/product/esther-kaiser-water/

Personnel: Esther Kaiser – voc/ synth/ glasharp/ glockenspiel; Tino Derado – piano/ accordion; Marc Muellbauer – doublebass; Roland Schneider – drums

Featured Guests: Marie Gitman – oboe/ englishhorn; Sebastian Studnitzky – trumpet; Die Nixen* – string quartet( * Rahel Rilling-violin1, Katharina Wildhagen-violin2, Kristina Menzel-Labitzke-viola, Nicola Springler-cello)

Water

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Wayne Shorter - Adam's Apple

Bitrate: MP3@320K/s
Time: 47:55
Size: 109.7 MB
Styles: Saxophone jazz, Bop
Year: 2003
Art: Front

[6:46] 1. Adam's Apple
[6:35] 2. 502 Blues (Drinkin' And Drivin')
[6:28] 3. El Gaucho
[7:26] 4. Footprints
[6:13] 5. Teru
[7:32] 6. Chief Crazy Horse
[6:52] 7. The Collector

Bass – Reginald Workman; Drums – Joe Chambers; Piano – Herbie Hancock; Tenor Saxophone – Wayne Shorter.

By the beginning of '66, Wayne Shorter had already made jazz history twice: forging gospel-drenched hard bop with Art Blakey from '59 to '64 and helping to create the metaphysical artistry of the Miles Davis quintet during the mid-'60s. So it should come as no suprise that Adam's Apple , which was recorded in February of '66, has Shorter compositions in standard AABA blues form and introspective ballads that sound like his work with Davis.

Recorded at the infamous Van Gelder studio for Blue Note Records, Adam's Apple features Shorter leading an all-star rhythm section consisting of pianist Herbie Hancock, bassist Reggie Workman, and drummer Joe Chambers. As in the second "classic" Miles Davis quintet, Hancock and Shorter find solace in each other on Adam's Apple. Shorter's solos throughout the album are encouraged by Hancock's stride-like comping.

Adam's Apple features underrated drummer Joe Chambers, who appeared on four of Wayne Shorter's Blue Note albums during the '60s. Not a well-known Blue Note favorite like Tony Williams or Art Blakey, Chambers still manages to produce outstanding aesthetics of sound on his drums, frequently using the tom-toms in his solos to produce a tympanic effect. Chamber's playing is so controlled throughout Adam's Apple that he manages to keep a swinging tempo during his extremely polyrhythmic solos. ~Aaron Rogers

Adam's Apple

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Claire Martin & Richard Rodney Bennett - Say It Isn't So

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 36:40
Size: 85,0 MB
Scans: Front

(2:20)  1. Steppin' Out with My Baby
(2:40)  2. Change Partners
(3:45)  3. Get Thee Behind Me, Satan - I Got Lost In His Arms
(2:13)  4. He Ain't Got Rhythm
(2:48)  5. Love, You Didn't Do Right by Me
(3:22)  6. How Deep is the Ocean
(3:00)  7. Lonely Heart
(2:44)  8. Shakin' the Blues Away - Blue Skies
(2:58)  9. Better Luck Next Time
(3:13) 10. Say It Isn't So
(3:44) 11. What'll I Do?
(3:37) 12. Waiting at the End of the Road

Following their two previous duo albums, 'When Lights Are Low' and 'Witchcraft', 'Say It Isn't So' presents a final third chapter in the remarkable musical partnership of Claire Martin and the late Richard Rodney Bennett.

Like 'Witchcraft' the new album is a songbook, focusing here on the work of the great Irving Berlin. Such is the rapport between the duo that every one of the 12 songs strikes vocal jazz gold: the emotional honesty, the perfect pacing and the genuine warmth of the music-making is heard in every phrase, not to mention Linn's superb recorded sound.

Martin sprinkles her magic over everything she touches here, from an effervescent ‘Steppin' Out' to a heart melting ‘What'll I Do'. I've never heard the latter sung more beautifully. Bennett really shines in a terrific arrangement of ‘He Ain't Got Rhythm', clearly having a ball with the lyric (He attracted some attention/When he found the fourth dimension/but He Ain't got Rhythm). A magnificent finale to a unique collaboration.
http://www.linnrecords.com/review-claire-martin-richard-rodney-bennett-say-it-isnt-so-jazzwise.aspx

Say It Isn't So

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Rodney Jones - When You Feel The Love

Styles: Guitar Jazz
Year: 1980
File: MP3@320K/s
Time: 47:49
Size: 109,9 MB
Art: Front

(5:05)  1. The Gift
(6:21)  2. When You Feel The Love
(6:09)  3. Gaze
(6:34)  4. The Joy Of Now
(3:24)  5. I'll Always Be With You
(5:02)  6. Just Because
(8:23)  7. Another Bag
(6:48)  8. Song For Jean

Rodney Jones is an excellent guitarist whose style sometimes hints at George Benson, R&B and soul jazz. On this fairly rare 1988 CD, Jones gets into the groove on eight of his originals with a group also including keyboardist Kenny Kirkland, electric bassist Marcus Miller, drummer Buddy Williams, percussionist Rick Cutler and the woodwinds of Fred Lipsius. The music is reasonably enjoyable and lightly funky, if not too substantial. 

~ Scott Yanow http://www.allmusic.com/album/when-you-feel-the-love-mw0000652879

Personnel:  Guitar – Rodney Jones;  Bass – Marcus Miller;  Drums – Buddy Williams;  Percussion – Rick Cutler;  Piano – Kenny Kirkland;  Reeds – Fred Lipsius

When You Feel The Love

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Horace Silver - Song for My Father

Styles: Piano Jazz
Year: 1964
File: MP3@320K/s
Time: 42:28
Size: 97,2 MB
Art: Front

(7:20)  1. Song for My Father
(6:12)  2. The Natives Are Restless Tonig
(8:32)  3. Calcutta Cutie
(7:49)  4. Que Pasa
(5:27)  5. The Kicker
(7:06)  6. Lonely Woman

One of Blue Note's greatest mainstream hard bop dates, Song for My Father is Horace Silver's signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song for My Father has perhaps the most sophisticated air of all his albums. Part of the reason is the faintly exotic tint that comes from Silver's flowering fascination with rhythms and modes from overseas the bossa nova beat of the classic "Song for My Father," for example, or the Eastern-flavored theme of "Calcutta Cutie," or the tropical-sounding rhythms of "Que Pasa?" Subtle touches like these alter Silver's core sound just enough to bring out its hidden class, which is why the album has become such a favorite source of upscale ambience. 

Song for My Father was actually far less focused in its origins than the typical Silver project; it dates from the period when Silver was disbanding his classic quintet and assembling a new group, and it features performances from both bands. Still, it hangs together remarkably well, and Silver's writing is at its tightest and catchiest. The title cut became Silver's best-known composition, partly because it provided the musical basis for jazz-rock group Steely Dan's biggest pop hit "Rikki Don't Lose That Number." Another hard bop standard is introduced here in the lone non-Silver tune, tenor saxophonist Joe Henderson's "The Kicker," covered often for the challenge of its stuttering phrases and intricate rhythms. Yet somehow it comes off as warm and inviting as the rest of the album, which is necessary for all jazz collections -- mainstream hard bop rarely comes as good as Song for My Father. ~ Steve Huey   http://www.allmusic.com/album/song-for-my-father-mw0000241423

Personnel: Horace Silver (piano); Carmell Jones, Blue Mitchell (trumpet); Joe Henderson, Junior Cook (tenor saxophone); Teddy Smith, Gene Taylor (bass); Roger Humphries, Roy Brooks (drums).

RIP

Set/1928-Jun/2014

Song for My Father

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Charlie Barnet & His Orchestra - Hop On The Skyliner !!

Styles: Jazz
Year: 2009
File: MP3@320K/s
Time: 35:03
Size: 80,6 MB
Art: Front

(2:59)  1. Skyliner
(3:19)  2. Strollin'
(3:01)  3. Xango
(3:03)  4. Smiles
(3:12)  5. Gulf Coast Blues
(2:40)  6. The Moose
(2:37)  7. Things Ain't What They Used To Be
(3:06)  8. Oh! Miss Jaxson
(2:44)  9. Pow-Wow
(2:18) 10. Drop Me Off In Harlem
(2:52) 11. Shady Lady
(3:06) 12. The Great Lie

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s. And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. 

Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson. In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.

By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. Bio ~ Scott Yanow  http://www.allmusic.com/artist/charlie-barnet-mn0000166767/biography

Hop On The Skyliner !!

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Liz Callaway - Anywhere I Wander: Liz Callaway Sings Frank Loesser

Styles: Cabaret
Year: 1993
File: MP3@320K/s
Time: 64:10
Size: 147,9 MB
Art: Front

(3:46)  1. How To Succeed/I Believe In You
(2:58)  2. Standing On The Corner
(4:25)  3. What Are You Doing New Year's Eve?
(4:52)  4. Joey, Joey, Joey
(5:11)  5. Never Will I Marry
(2:45)  6. On A Slow Boat To China
(5:05)  7. I'll Know/Somebody Somewhere
(4:08)  8. If I Were A Bell
(5:37)  9. Anywhere I Wander
(3:11) 10. Inchworm
(4:00) 11. I Wish I Didn't Love You So
(4:05) 12. Brotherhood Of Man
(6:56) 13. My Heart Is So Full Of You
(3:24) 14. More I Cannot Wish You
(3:40) 15. Spring Will Be A Little Late This Year

Introductory notes on “Anywhere I Wander: Liz Callaway Sings Frank Loesser,” from Oscar Winner, David Shire:
"1958. I’m sitting in the back of the balcony of New York’s Imperial Theatre. Jo Sullivan is singing “My Heart Is So Full of You” as Frank Loesser’s The Most Happy Fella soars towards curtain. I’m crying.

1982. I’m sitting at a ringside table in the King Cole Room of the St. Regis Hotel listening to Liz Callaway sing “I Don’t Want to Walk Without You, Baby”, one of the songs in an all-Loesser revue she’s appearing in. Richard Maltby has brought me here because he feels that Liz is perfect for one of the leads in BABY, a new show we’re writing. I lean over and tell him he’s right.

1983. I’m in the back of another Broadway Theatre, the Barrymore. Liz Callaway is singing “The Story Goes On,” the finale of the first act of BABY. I’m crying again.

1993. I’m driving along a Connecticut highway listening to an advance cassette of Liz Callaway’s first solo album, “Anywhere I Wander” comprised of Frank Loesser songs. She’s making “My Heart Is So Full of You” come alive again, and I only wish Frank could hear it too. He spent a lot of time looking for the most exciting vocal instruments to sing his music, and nothing pleased him more than finding one. I think Liz Callaway would have blown him away as she blew away Richard and me and a lot of other people night after night during the run of BABY. This album is a feast for anyone who appreciates some of the greatest theatre (and pop) music ever written and one of the purest voices to sing it that God ever made.

Rest in peace, Frank. A new generation is taking good care of your music. And if I’m not careful I’m going to be crying again."~ David Shire  http://www.cdbaby.com/cd/lizcallaway2

Personnel: Liz Callaway, Ann Hampton Callaway (vocals); Scott Kuney (guitar); Michelle Stewart (violin); Nick Armstrong (viola); Ted Hoyle (cello); Dave Weiss (reeds); Dan Higgins (saxophone); Dave Rogers (trumpet); Kenny Rupp, Marco Katz (trombone); Alex Rybeck (piano); Rich Ruttenberg (keyboards, programming); Mark Minkler, Jay Leonhart (bass); Ron Tierno (drums).

Anywhere I Wander

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Dave Brubeck - Anything Goes - Plays Cole Porter

Styles: Jazz
Year: 1965
File: MP3@320K/s
Time: 48:15
Size: 110,5 MB
Art: Front

(5:34)  1. Anything Goes
(5:07)  2. Love For Sale
(4:49)  3. Night And Day
(6:11)  4. What Is This Thing Called Love?
(5:16)  5. I Get A Kick Out Of You
(6:14)  6. Just One Of Those Things
(6:34)  7. You're The Top
(8:26)  8. All Through The Night

The Quartet performs eight of Cole Porter's most famous songs on this enjoyable outing. Few surprises occur but the music often swings hard, pianist Brubeck and altoist Paul Desmond take several excellent solos and bassist Eugene Wright and drummer Joe Morello really push the group.~Scott Yanow(http://www.allmusic.com/album/anything-goes-the-music-of-cole-porter-mw0000649427).

Anything Goes

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Jeremy Steig - Temple of Birth

Styles: Flute Jazz
Year: 1975
File: MP3@320K/s
Time: 44:17
Size: 101,6 MB
Art: Front

(8:25) 1. King Tut Strut
(2:33) 2. Gale
(7:52) 3. Ouanga
(3:49) 4. Mountain Dew Dues
(3:52) 5. Goose Bumps
(3:14) 6. Belly Up
(2:11) 7. Temple Of Birth
(9:30) 8. Shifte Telle Mama
(2:47) 9. Rupunzel

In his entire career as an improvisational flutist Steig has challenged the boundaries of conventional categories in music. In his first album Flute Fever (Columbia Records 1963) Steig established himself as one of the most important voices in contemporary music, setting new standards in the performance and appreciation of the flute as improvisational instrument.

Steig's openness to all kinds of music is the key that attracts audience to his music. In his newest CD, Steig teams up as a duo with the prominent guitarist and composer, Vic Juris. Their collaboration covers everything from jazz, blues, rock, free music and even some classical pieces that have been reworked to include improvisation. Improvised, Steig and Juris' first CD together, is a dynamic sonic adventure. They have been invited to the 2004 Yokohama Jazz Promenade, one of the biggest jazz festivals held in Japan.

Steig has also been active as Free Folk, a trio with Perry Robinson (clarinet) and Ed Schuller (bass). The music they play contains elements of folk, classical and jazz. Steig studied flute with Paige Brook, who played in the New York Philharmonic. He went on to study at the High School of Music and Art in New York. Paige encouraged Steig to play “jazz” while providing him with classical tools. Emerging as a leader of the first jazz-rock band, “Jeremy and the Satyrs,” followed by the release of What's New (Verve 1969) with the legendary Bill Evans, proved Steig's versatility as a young musician.

Steig has played and recorded with a wide variety of musicians, such as Jimi Hendrix, Tim Hardin, Jim Hall, Big Joe Williams, Junior Wells, Eddie Gomez, David Amram, Art Blakey, Paul Bley, Joe Chambers, Jan Hammer, Johnny Winter and Tommy Bolin. The Beastie Boys have shaped their hit Sure Shot around Steig's flute. https://www.allaboutjazz.com/musicians/jeremy-steig

Personnel: Jeremy Steig – flute, Armstrong bass flute; Johnny Winter - acoustic guitar, electric guitar; Richie Beirach - acoustic piano, electric piano; Anthony Jackson - bass guitar; Alphonse Mouzon – drums; Ray Mantilla - congas, percussion

Temple of Birth

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Chris Botti - When I Fall In Love

Styles: Trumpet Jazz 
Year: 2004
File: MP3@320K/s
Time: 58:49
Size: 135,7 MB
Art: Front

(4:22)  1. When I Fall In Love
(5:09)  2. What'll I Do
(6:04)  3. No Ordinary Love
(3:21)  4. My Romance
(3:41)  5. Let's Fall In Love
(4:57)  6. Cinema Paradiso
(4:36)  7. Someone To Watch Over Me
(5:31)  8. La Belle Dame Sans Regrets
(3:11)  9. Nearness Of You
(4:03) 10. How Love Should Be
(4:09) 11. Make Someone Happy
(4:53) 12. One For My Baby
(4:44) 13. Time To Say Goodbye (Con te Partiro)

While his ballad album emphasizes the clear tone and gentle spirit that this lyrical trumpeter releases quite naturally, it also serves to exhibit the nuances with which Chris Botti can convince. His subtle improvisations ooze heartfelt emotion from start to finish. Comparisons with Miles Davis and Chet Baker prove valid. While Columbia prefers to market his good looks and youthful, boyish charm, they know they've got a winning formula here, in this evocative trumpet soloist. Backed by a large studio orchestra and close friends and acquaintances, Botti interprets thirteen sensual ballads with passion and understanding. And who can resist "Con te Partiro"? As he closes out the album with this dramatic aria, the clear tones of his open trumpet ring through the halls in glory. It's a triumphant closing for a session that pays homage to centuries of lyrical beauty. Botti has harnessed that spine-tingling feeling into his solemn work. As Sting sings "La Belle Dame Sans Regrets" in French, the session turns light and bouncy. He and Botti pour the gentle bossa gracefully and gently. Paula Cole interprets "How Love Should Be" slowly with a dramatic spirit. She builds the piece gradually and infuses a sincere plea. Botti replies with a muted trumpet whisper that tugs at your heartstrings. His "One for My Baby" seals the message for good. Open and boldly confident, the trumpeter makes no secret of his feelings. Late at night, in the wee hours, he's in love with a ballad. Highly recommended for all lovers this one hits home.
 

Personnel: Chris Botti- trumpet, vocals; Shane Fontayne, Dean Parks- guitar; Federico Gonzalez Pena, Greg Phillinganes- piano; Billy Childs- piano, electric piano; Jon Ossman, Brian Bromberg- bass; Billy Kilson, Vinnie Colaiuta - drums; Paulinho Da Costa- percussion; Dominic Miller- guitar on "La Belle Dame Sans Regrets;" Mitch Dalton- guitar on "Someone to Watch Over Me;" Alec Dankworth- bass on "Someone to Watch Over Me;" Ralph Salmins- drums on "Someone to Watch Over Me;" Jeff Lorber- keyboards on "No Ordinary Love;" Bob Sheppard- tenor saxophone on "No Ordinary Love;" Gil Goldstein- accordion on "La Belle Dame Sans Regrets"Paula Cole- vocal on "What'll I Do?" and "How Love Should Be"Jill Zadeh- vocal on "No Ordinary Love; Sting- vocal on "La Belle Dame Sans Regrets;" The London Session Orchestra: Isobel Griffiths- conductor; Ken Silleto, Rolf Wilson, Roger Garland, Thomas Bowes, Jonathan Evans-Jones, Patrick Kiernan, Boguslaw Kostecki, Julian Leaper, Rita Manning, Steve Morris, Maciej Rakowski, Jackie Shave, Cathy Thompson, Debbie Widdup, Paul Willey, Dave Woodcock- violin; Edward Vanderspar, Peter Lale, George Robertson, Ivo Van Der Werff, Vicci Wardman, Bruce White- viola; Anthony Pleeth, Dave Daniels, Caroline Dearnley, Paul Kegg, Anthony Lewis, Frank Schaeffer- cello; Chris Laurence, Mary Scully, Alec Dankworth, Patrick Lannigan- double bass; Fiona Hibbert- harp; Phil Todd, Stan Sulzmann, Karen Jones, Helen Keen- flute, alto flute; Andy Panayi- bass flute; Jane Marshall- English horn; David Theodore- oboe; Nick Rodwell, Anthony Pike- clarinet; Jamie Talbot- bass clarinet, tenor saxophone; Derek Watkins, John Barclay, Guy Barker- trumpet, flugelhorn; Mike Thompson, David Pyatt, Richard Bissill- French horn; Peter Beachill, Richard Edwards, Mark Nightingale- trombone; Dave Stewart- trombone, bass trombone; Nigel Hitchcock- alto saxophone; Mitch Dalton- guitar; Ralph Salmins- drums.

When I Fall In Love

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Dutch Swing College Band - Swing College At Home

Styles: Jazz, Swing
Year: 1965
File: MP3@320K/s
Time: 49:58
Size: 114,8 MB
Art: Front

(1:19) 1. Way Down Yonder In New Orleans
(3:30) 2. Sensation Rag
(2:59) 3. Riverside Blues
(3:37) 4. At A Georgia Camp Meeting
(6:24) 5. Peter's Swayin's
(2:54) 6. South
(3:42) 7. Weary Blues
(4:37) 8. Basin Street Blues
(3:17) 9. Copenhagen
(4:08) 10. Lazy River
(2:49) 11. Kitty's Dream
(3:25) 12. The World is Waiting For The Sunrise
(2:49) 13. Savoy Blues
(3:08) 14. Steamboat Stomp
(1:14) 15. Way Down Yonder In New Orleans

The Dutch Swing College Band, the leading and best-known jazz orchestra in The Netherlands, still guarantees professional performances of traditional jazz music at a world-class level. The swinging orchestra, founded on May 5th, 1945, is highly regarded with its exemplary function as the calling card of Dutch Jazz and has released more than 150 albums (a cautious calculation…).

The line-up has of course changed several times over the years, making the Dutch Swing College Band more than just an ordinary group of musicians. The word ‘institute’ is more applicable here. With refreshing arrangements in the unmistakable Dutch Swing College sound, played by a rejuvenated orchestra, the Dutch Swing College Band is energetic today like never before.

The Dutch Swing College Band is widely regarded as the most important representative of European Classic Jazz. Since it was founded, the band has distinguished itself on a number of fronts: the permanent line-up always consists of excellent and dedicated musicians so that quality is guaranteed. The music sounds organic, the band explores the musical boundaries in a virtuoso way with respect for the style of Classic Jazz. In addition to the individual musical freedom of the players, which comes into its own in improvisations, it is the musical cohesion and interaction between the musicians that are so characteristic of DSCB’s group sound. https://cityproms.nl/en/portfolio-posts/dutch-swing-college-band/

The Dutch Swing College Band comprises of: Keesjan Hoogeboom – trumpet; David Lukács – clarinet, saxophone; Bert Boeren – trombone; Peter Kanters – banjo, guitar; Adrie Braat – double bass; Anton Burger – percussion

Swing College At Home

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Simon & Garfunkel - The Best Of Simon & Garfunkel

Bitrate: MP3@320K/s
Time: 63:27
Size: 145.3 MB
Styles: AM Pop, Folk-Pop/rock
Year: 1999
Art: Front

[3:04] 1. The Sound Of Silence
[2:29] 2. Homeward Bound
[2:49] 3. I Am A Rock
[2:37] 4. The Dangling Conversation
[3:10] 5. Scarborough Fair Canticle
[1:53] 6. The 59th Street Bridge Song (Feelin' Groovy)
[2:17] 7. A Hazy Shade Of Winter
[2:21] 8. At The Zoo
[3:11] 9. Fakin' It
[4:01] 10. Mrs. Robinson
[3:56] 11. Old Friends
[5:07] 12. The Boxer
[4:52] 13. Bridge Over Troubled Water
[2:54] 14. Cecilia
[3:58] 15. The Only Living Boy In New York
[1:48] 16. Song For The Asking
[3:05] 17. El Condor Pasa (If I Could)
[2:22] 18. For Emily, Whenever I May Find Her
[3:34] 19. America
[3:52] 20. My Little Town

The Best of Simon & Garfunkel supersedes Greatest Hits as the best compilation of the duo, with more tracks (20 compared to Greatest Hits' 14). Among the new additions are some notable hits: "Hazy Shade of Winter," "At the Zoo," "Fakin' It" (in its "Mono Single Version," for what that's worth), "The Dangling Conversation," and the 1975 reunion "My Little Town." Includes the A-sides of all 16 S&G singles to make the Billboard charts, as well as three B-sides and one album cut. The only number lost from the Greatest Hits set is "Kathy's Song." ~Richie Unterberger

The Best Of Simon & Garfunkel

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Kristin Korb - Where You'll Find Me

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 55:48
Size: 133,7 MB
Art: Front

(3:51)  1. How About You
(5:45)  2. Wouldn't It Be Loverly
(5:49)  3. East of the Sun
(6:25)  4. They Say It's Spring
(3:56)  5. Where You'll Find Me
(5:07)  6. Benny
(4:43)  7. Mac
(4:33)  8. My Gingerbread Boy
(5:41)  9. The Man I love
(4:43) 10. Yes, I Know When I've Had It
(5:11) 11. Darn That Dream

Kristin Korb is both a swinging bassist and an occasional jazz singer. Originally she was a guitarist and singer who loved country music; Barbara Mandrell was one of her early musical heroes. Korb also studied piano and violin. She attended the Soundsation Jazz Camp one summer and came away interested in performing jazz. She switched from guitar to electric bass to join a vocal jazz group in the seventh grade, taking up the acoustic bass in 11th grade. Korb earned a degree in Music Education at Eastern Montana College in 1992 and spent the next two years working on her masters in Classical Bass Performance at the University of California at San Diego. She took lessons from Bertram Turetzky who inspired her to sing and play bass at the same time. In 1994, she met and started studying with Ray Brown, who recorded her debut the following year, Introducing Kristin Korb with the Ray Brown Trio. Where that CD has Korb just singing, her other recordings, for Grace Bass and Double K, feature her as both a vocalist and a bassist. Korb taught jazz history, bass, and the vocal jazz ensemble at Grossmont Community College during 1996-2000, and was the Director of Jazz Studies at Central Washington University during 2000-2002. Since moving to Los Angeles in 2002, she has performed at jazz parties, occasionally toured, and led her own trio.
~Scott Yanow https://itunes.apple.com/us/artist/kristin-korb/id85824690#fullText

Personnel: Kristin Korb (vocals); Mike Wofford (piano); Jeff Hamilton (drums).

Where You'll Find Me

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Joe Henderson, Ron Carter, Chick Corea, Billy Higgins - Mirror, Mirror

Styles: Jazz, Post Bop
Year: 1980
File: MP3@320K/s
Time: 43:42
Size: 102,0 MB
Art: Front

(5:55) 1. Mirror, Mirror
(6:17) 2. Candlelight
(9:45) 3. Keystone
(9:44) 4. Joe's Bolero
(4:00) 5. What's New
(7:59) 6. Blues for Liebestraum

Tenor saxophonist Joe Henderson has had a remarkably consistent career. Although he has spent periods (such as the 1970s) in relative obscurity and others as almost a jazz superstar, Henderson's style and sound has been relatively unchanged since the 1960s. This lesser-known album finds Henderson in typically fine form in an acoustic quartet with pianist Chick Corea, bassist Ron Carter and drummer Billy Higgins. Carter and Corea contribute two songs apiece, Henderson gets to perform his "Joe's Bolero" and the tenor sounds majestic on "What's New."~Scott Yanowhttps://www.allmusic.com/album/release/mirror-mirror-mr0004590662

Personnel: Tenor Saxophone – Joe Henderson; Bass – Ron Carter; Drums – Billy Higgins; Piano – Chick Corea

Mirror, Mirror

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Christian McBride Big Band - For Jimmy, Wes and Oliver

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 71:53
Size: 166,8 MB
Art: Front

(5:21) 1. Night Train
(6:39) 2. Road Song
(8:12) 3. Up Jumped Spring
(3:47) 4. Milestones
(8:33) 5. The Very Thought of You
(8:20) 6. Down by the Riverside
(7:18) 7. I Want to Talk About You
(6:32) 8. Don Is
(7:13) 9. Medgar Evers'Blues
(9:53) 10. Pie Blues

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes. hristian McBride’s first two big-band albums won Grammys. The new one is grounded in specific history. Jimmy Smith and Wes Montgomery recorded two LPs in 1966, The Dynamic Duo and Further Adventures of Jimmy and Wes. McBride says he and his classmate Joey DeFrancesco “wore out the grooves” of these records when they were in high school in Philadelphia. DeFrancesco fills Smith’s organ role on McBride’s new release.

The Smith/Montgomery recordings had pieces for big band arranged by Oliver Nelson and also quartet tracks. So does For Jimmy, Wes and Oliver. But McBride’s tribute is more spiritual than one-for-one. He repeats only four tunes from the 1966 albums. All are big-band tracks. It is fun to hear “Night Train” again, powering headlong over the rails, and to hear McBride’s tight large ensemble crack “Milestones” like a whip.

The quartet here is DeFrancesco, Mark Whitfield, McBride, and drummer Quincy Phillips. The first three take almost all the solos. Given this chance to stretch out, DeFrancesco reveals the enormous range of his B-3 chops, and Whitfield reveals that he should be mentioned more often on lists of the top jazz guitarists.

On this swinging, hard-driving album, two rapt quartet ballads stand out. On “I Want to Talk About You,” Whitfield creates gentle tension by continuously postponing melodic closure. On “The Very Thought of You,” DeFrancesco makes his boisterous instrument whisper in your ear. McBride also solos, pizzicato and arco respectively, on these two love songs. In his hands, an acoustic bass can shamelessly expose the human heart.

This is not an album for adventurous listeners who require risk in their jazz. But this conservative, impeccably executed music is full of joie de vivre. In times like these, who can’t use more of that?~ Thomas Conrad https://jazztimes.com/reviews/albums/christian-mcbride-big-band-for-jimmy-wes-and-oliver-mack-avenue/

For Jimmy, Wes and Oliver

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Heath Brothers - In Motion

Styles: Jazz, Post Bop
Year: 1979
File: MP3@320K/s
Time: 36:53
Size: 88,7 MB
Art: Front

(6:06) 1. Feelin' Deelin'
(4:23) 2. The Voice Of The Saxophone
(6:44) 3. Project 'S'
(6:47) 4. Move To Groove
(5:28) 5. Passion Flower
(7:23) 6. (There's) A Time And A Place

The Heath Brothers was an American jazz group, formed in 1975 in Philadelphia, by the brothers Jimmy (tenor saxophone), Percy (bass), and Albert "Tootie" Heath (drums); and pianist Stanley Cowell. Tony Purrone (guitar) and Jimmy's son Mtume (percussion) joined the group later. Tootie left in 1978, and was replaced by Akira Tana for a short period before returning in 1982. They also added other sidemen for some of their recording dates. The group issued four singles between 1978 and 1981, "Mellowdrama", "For the Public", "Use it (Don't abuse it)" and "Dreamin'". "Dreamin'", a track from the 1980 LP, "Expressions of Life", had the most airplay in the UK despite not reaching the UK charts.

The group with just two of the brothers, Jimmy and Tootie, and additional sidemen as needed, continued to perform and record after Percy died in 2004. The DVD, Brotherly Jazz: The Heath Brothers, recorded in 2004, shortly before Percy's death, was one of the last times the three brothers played together and chronicled the brothers' personal lives as well as socio-political issues many jazz musicians dealt with in the later 20th century, including jail, drugs, discrimination and segregation. The 2009 CD Endurance was the first without Percy, and features seven original numbers by Jimmy, including "From a Lonely Bass", composed in memory of his late brother. https://en.wikipedia.org/wiki/Heath_Brothers

The Heath Brothers: Jimmy Heath (tenor saxophone); Percy Heath (bass); Albert "Tootie" Heath (drums); Stanley Cowell (piano); Tony Purrone (guitar).

In Motion

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Kristin Korb - Finding Home

Size: 102,3 MB
Time: 42:01
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Something To Celebrate (5:13)
02. Jeg Elsker Dig (Y-Eye Elsker D-Eye) (4:09)
03. 58 Boxes (4:06)
04. Up Again (5:00)
05. It's Spring (3:35)
06. The Letter (4:39)
07. Happy For Me (4:43)
08. Invisible (5:22)
09. Finding Home (5:10)

Kristin Korb treasures the jazz tradition. She is known for her collaborations with Ray Brown, Bruce Forman, Jeff Hamilton and more who have all taken note of her incredible sense of swing. On Kristin’s 2013 release What’s Your Story?, she dug deep into her long-standing relationship with classic jazz material and those musical personalities who influenced her. Out of those relationships and experiences, a more developed and diverse musician is emerging and Finding Home.

Love brought the American bassist and singer to Denmark in 2011. This September, Kristin Korb releases her most personal CD yet. Finding Home features Kristin’s stories of love, travel, language lessons and the peace she has found in her marriage and her adopted country. Instead of her “korbinated” arrangements of jazz standards, Kristin has made the bold leap to write all original material to fit her life experiences.

Personnel:
Kristin Korb – bass & vocals
Magnus Hjorth – piano
Snorre Kirk – drums
Jacob Fischer – guitar
Poul Halberg – guitar solo (Invisible)
Gerard Presencer – trumpet
Karl-Martin Almqvist – tenor saxophone
Steen Nikolaj Hansen – trombone

Finding Home

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The Dave Brubeck Quartet - Time Out (50th Anniversary) (Legacy Edition) [Disc 1] And (Disc 2)

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 38:37 (Disc 1)
Size: 89,2 MB (Disc 1)
Time: 54:19 (Disc 2)
Size: 125,3 MB (Disc 2)
Art: Front

Disc 1
(6:46)  1. Blue Rondo a La Turk
(7:24)  2. Strange Meadow Lark
(5:27)  3. Take Five
(5:25)  4. Three to Get Ready
(4:51)  5. Kathy's Waltz
(4:24)  6. Everybody's Jumpin'
(4:17)  7. Pick up Sticks

Disc 2
(7:55)  1. St. Louis Blues
(4:57)  2. Waltz Limp
(6:19)  3. Since Love Had It's Way
(6:00)  4. Koto Song
(4:49)  5. Pennies from Heaven
(9:36)  6. You Go To My Head
(7:22)  7. Blue Rondo à la Turk
(7:18)  8. Take Five

The year 1959 could easily go down as the one of most important years in the history of recorded jazz. In addition to Miles Davis' Kind of Blue (Columbia), it saw the release of the Dave Brubeck Quartet's groundbreaking LP Time Out. Columbia Records got the risky inclination to release the album's third track, the Paul Desmond-penned title song, as a single and it went on to become the first jazz single to sell one million copies. Despite the fact that "Take Five" might be one of the top three most-recognized jazz recordings ever, the album's history shows that it almost wasn't even released. 

According to Brubeck (in an interview included on a bonus DVD), Time Out made Columbia executives extremely skeptical on three major counts. First, Brubeck wanted to feature nothing more than an abstract painting on the cover. Second, the execs feared the album's groundbreaking, unconventional time signatures wouldn't hold up in dance halls. Third, all of the tunes were originals, meaning standards like "Stardust" and "Body and Soul" wouldn't pad the more unfamiliar works. Luckily, company President Goddard Lieberson believed in Brubeck's vision, resulting in what remains today as one of music's undisputed masterpieces.

The aforementioned DVD that comes with it includes a 30-minute interview conducted in 2003 with a lively and reflective Brubeck where he discusses in great detail the album's origin, as well as that of each individual track. The DVD also features an interactive, multi-angle "piano-lesson" where the viewer can toggle through four different camera angles that simultaneously shoot Brubeck performing a solo version of "Three to Get Ready." The crown jewel of this edition, however, has to be the bonus disc featuring the same quartet from Time Out in various performances at the Newport Jazz Festival in 1961, '63 and '64. It's hard to describe the thrill of listening to this classic ensemble playing at its very best and to audiences whose enthusiasm equals that of the performers on stage.

Highlights include the haunting, noir-ish "Koto Song," as well as Brubeck's magnificent solo work on "Pennies From Heaven."~Graham Flanagan http://www.allaboutjazz.com/time-out-50th-anniversary-legacy-edition-dave-brubeck-legacy-recordings-review-by-graham-l-flanagan.php

Personnel: Dave Brubeck: piano; Paul Desmond: alto sax; Eugene Wright: bass; Joe Morello: drums.

Bill Evans Trio - Live In Buenos Aires Disc 1, Disc 2

Album: Live In Buenos Aires Disc 1
Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 45:23
Size: 104,2 MB
Art: Front

(7:34) 1. Stella by Starlight
(8:18) 2. Laurie
(4:58) 3. Theme From MxAxSxH
(5:57) 4. Turn Out the Stars
(6:42) 5. I Do It for Your Love
(7:10) 6. My Romance
(4:42) 7. Letter to Evan

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Album: Live In Buenos Aires Disc 2
Time: 49:53
Size: 114,5 MB

( 7:35) 1. I Loves You Porgy
( 7:23) 2. Up with the Lark
( 4:11) 3. Minha
( 6:48) 4. Someday My Prince will Come
( 6:31) 5. If You Could See Me Now
(17:22) 6. Nardis

This two-CD set features the final edition of the Bill Evans Trio with Marc Johnson on bass and Joe LaBarbera on drums in a complete concert that originally appeared as a two-LP set on the Yellow Note label. In spite of occasional surface noise resulting from using the earlier records as this set's source material, the music catches the trio during one of its many peaks from their last year of touring together. A rather reserved rendition of "Stella By Starlight" kicks things off, which is a bit of surprise because Evans seemed to prefer his moody "Re: Person I Knew" as an opener during this period.

An excellent version of "Turn Out the Stars," one of Evans' most beloved compositions, is also a first-set highlight. As the second CD gets underway the groove noise proves somewhat distracting during the otherwise quiet beauty of "I Loves You Porgy." A romp through "Someday My Prince Will Come" is followed by the almost obligatory closer "Nardis," in its typically abstract form, with long solos by each of the musicians. Well worth acquiring.Ken Dryden https://www.allmusic.com/album/live-in-buenos-aires-1979-mw0000678039

Personnel: Bill Evans - piano; Marc Johnson - bass; Joe LaBarbera - drums

Live In Buenos Aires Disc 1, Disc 2

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