Art Farmer & Donald Byrd - 2 Trumpets

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 41:42
Size: 98,1 MB
Art: Front

( 7:42) 1. The Third
( 7:38) 2. Contour
( 5:13) 3. When Your Lover Has Gone
(14:29) 4. Dig
( 6:39) 5. Round Midnight

2 Trumpets is an album by trumpeters Art Farmer and Donald Byrd, recorded in 1956 and released on the Prestige label. They are joined by Jackie McLean in the front line for the uptempo pieces but have a ballad quartet track apiece. In a contemporaneous review, Billboard was positive, commenting that it is a "very enjoyable LP for the modern jazz customer".

In Ron Wynn's review for Allmusic, he stated: "This nice date puts two top trumpets together".The Penguin Guide to Jazz gave it two-and-a-half stars out of four, describing it as "capable but routine".https://en.wikipedia.org/wiki/2_Trumpets

Personnel: Art Farmer – trumpet; Donald Byrd - trumpet; Jackie McLean – alto saxophone; Barry Harris – piano; Doug Watkins – bass; Art Taylor – drums

2 Trumpets

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Carmen McRae & Dave Brubeck - Take Five

Styles: Vocal And Piano Jazz 
Year: 1961
File: MP3@320K/s
Time: 39:32
Size: 90,8 MB
Art: Front

(2:55)  1. When I Was Young
(3:03)  2. In Your Own Sweet Way
(3:03)  3. Too Young for Growing Old
(3:06)  4. Ode to a Cowboy
(4:42)  5. There'll Be No Tomorrow
(4:48)  6. Melanctha
(2:38)  7. It's a Raggy Waltz
(2:38)  8. Oh, So Blue
(5:30)  9. Lord, Lord
(2:59) 10. Travellin' Blues
(2:21) 11. Take Five
(1:44) 12. Easy as You Go

Around the time that she was participating in Dave Brubeck's Real Ambassadors, singer Carmen McRae appeared at Basin Street East with the backing of Brubeck's trio (no Paul Desmond on this set). The resulting live album finds McRae mostly interpreting the lyrics of Iola Brubeck; all dozen songs except Desmond's "Take Five" are Dave Brubeck originals. This interesting set finds McRae's voice in prime form, and her vocal versions of such songs as "In Your Own Sweet Way," "Ode to a Cowboy," "It's a Raggy Waltz" And "Travellin' Blues" are definitive.
~Scott Yanow http://www.allmusic.com/album/take-five-live-mw0000265922

Personnel:  Carmen McRae – vocal;  Dave Brubeck – piano;  Paul Desmond - alto saxophone;  Gene Wright – bass;  Joe Morrello - drums

Take Five

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Eric Reed - The Swing and I

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 68:12
Size: 156,8 MB
Art: Front

(4:38)  1. The Swing and I
(7:03)  2. The Gemini Suite: The First Man - 'Scotty'
(2:25)  3. The Gemini Suite: The Second Man -'Frank Marshall'
(3:18)  4. The Gemini Suite: The Fourth Man -'Holden Caulfield'
(3:50)  5. Felix the Cat
(8:52)  6. Ahmad's Blues
(4:40)  7. Ka-Boose
(0:50)  8. Frenzia
(7:21)  9. A Spoonful of Sugar
(3:56) 10. Listen Here
(0:27) 11. Uncle Lucius' Interlude
(5:33) 12. Old Flame
(3:42) 13. Healing Hand
(2:34) 14. Evergreen
(3:22) 15. Big Dogs
(3:12) 16. Let Us Go into the House of the Lord
(0:58) 17. Acknowledgement
(1:25) 18. Praise #1

Pianist Eric Reed is one of a large number of talented musicians who emerged from Wynton Marsalis' bands to pursue a rewarding solo career in his own right. Born in Philadelphia in 1970, Reed's first exposure to music came through his father, a minister and local gospel singer; he began playing piano at age two and soon discovered jazz, quickly developing into a musical prodigy. He entered music school at age seven, and resisted classical training in favor of jazz, inspired early on by Dave Brubeck, Ramsey Lewis, Art Blakey, and Horace Silver. Four years later, he moved with his family to Los Angeles, where he digested enough jazz history that he was able to begin playing around the city's jazz scene as a teenager, both as a leader and a sideman for the likes of Gerald Wilson, Teddy Edwards, John Clayton, and Clora Bryant. He first met Wynton Marsalis at age 17, and toured briefly with the trumpeter the following year (his first and only at Cal State-Northridge). In 1989, Reed officially joined Marsalis' band as the replacement for Marcus Roberts; the following year, he issued his debut album as a leader, A Soldier's Hymn, on Candid, with backing by his regular trio of bassist Dwayne Burno and drummer Gregory Hutchinson.

In 1991 and 1992, Reed worked with Freddie Hubbard and Joe Henderson as a sideman, returning to Marsalis' group by the end of 1992. He cut a pair of well-received albums for MoJazz, It's All Right to Swing and The Swing and I, in 1993 and 1994, and in 1995 embarked on his first tour as leader of his own group. Two more dates for Impulse!, 1996's Musicale and 1997's Pure Imagination, found his style maturing and his critical and commercial success growing; he also spent 1996-1998 playing with the Lincoln Center Jazz Orchestra. 1999's Manhattan Melodies, his first outing for Verve, was a colorful and sophisticated tribute to New York City; that year, he also undertook the most prominent of several film-scoring projects, the Eddie Murphy/Martin Lawrence comedy Life. Reed also continued to record with Marsalis up into the new millennium. 2001 brought the acclaimed Happiness on Nagel-Heyer, and the next year saw two releases, the well-received From My Heart and a duet album with frequent cohort Wycliffe Gordon on trombone, We. He recorded and played frequently during subsequent years, including a second volume with Gordon (We, Vol. 2) and several sessions for Savant. In 2009, Reed released the gospel-inspired Stand! and returned the following year with Plenty Swing, Plenty Soul, a duet album with Cyrus Chestnut. Beginning with 2011's The Dancing Monk, Reed embarked on an ongoing recording project of Thelonious Monk's music; a theme he revisited on 2012's Baddest Monk and 2014's The Adventurous Monk.~Steve Huey http://www.allmusic.com/artist/eric-reed-mn0000799352/biography

Personnel: Eric Reed (piano); Eddie Bailey (vocals); Ben Wolfe, Rodney Whitaker (acoustic bass); Greg Hutchinson (drums); Denise Morgan, Suzzane Williams, Beverly Taylor (background vocals).

The Swing and I

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Chantal Chamberland - Temptation

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 53:10
Size: 124,3 MB
Art: Front

(3:33)  1. Temptation
(4:48)  2. Beautiful Life
(3:39)  3. Love Never Felt So Good
(3:47)  4. Miss Sarajevo
(4:16)  5. Chasing Cars
(4:58)  6. I Put a Spell On You
(4:04)  7. Believe
(3:11)  8. Ain’t no Sunshine / I Can't Stand the Rain
(4:00)  9. I Wanna Dance With Somebody
(4:39) 10. I Want a Little Sugar In My Bowl
(3:05) 11. I Think of You
(4:20) 12. I Don't Want to Talk About It
(4:43) 13. Syrup and Honey

Temptation is a stellar example of creative courage. Given her large and loyal international audience, powerhouse Canadian jazz vocalist Chantal Chamberland could easily have played it safe by delivering an album of Songbook standards sure to please the following she has built over the last two decades. Instead, a rigorous search for new and oft-unconventional material resulted in a generous collection of 13 songs for which the description 'eclectic' is an understatement. Her seventh full-length release, Temptation moves from Blues, Jazz, to Bossa and features such classics as "I Put A Spell On You" and "I Want A Little Sugar In My Bowl" nestling alongside tunes written or made famous by artists as diverse as Tom Waits, Bill Withers, Justin Timberlake and Michael Jackson, Rodriguez, Cher, U2, and modern rock band Snow Patrol. Chamberland makes this seemingly unlikely song selection work by breathing vibrant new life into every single one, assisted by the inventive arrangement and production choices she makes and the stellar accompaniment of her carefully chosen cast of A-list players.

The diverse material, all focused on different facets of love, showcases her impressive range as a vocal stylist. While always avoiding vocal gymnastics, Chamberland moves from quiet and intimate to sultry, sensual and soulful with seamless ease. The result is a Temptation you will gladly and inevitably succumb to. French-Canadian singer Chantal Chamberland strikes a perfect balance between the soul of the classic singer/songwriter and the dynamic verve of a jazz chanteuse. Chantal Chamberland’s sensuous, smoky voice is her trademark instrument. Temptation is a dish best served chilled. Relaxed mood during wine o’clock. 

Extraordinary company with a snifter of XO. Play on shuffle while soaking in some bubbles. ‘Temptation’ will carry on evosound’s tradition of making beautiful pieces for the Audiophiles and music connoisseurs. Collectables, Classics, Must Haves. 180g Vinyl, Limited Editions, MQACDs, SACD formats. Master Quality Authenticated sound, supported by our attention to detail in the products and packaging. Chantal’s success internationally is not only a testament to her personal evolution but cements her role as one of the finest female interpreters of jazz today. From multiple appearances at the Montreal International Jazz Festival to headline concerts in Hong Kong to Cartagena. Chantal’s vocals move from sultry and soulful to bluesy and brassy with graceful ease. With 6 contemporary jazz pop releases, Chantal’s star shines brightly on an international stage. http://evo88.com/en/music?page=shop.product_details&flypage=flypage.tpl&product_id=1086&category_id=2

Temptation

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The Hot Club Of San Francisco - 2 albums: Live At Yoshi's / Swing This

Album: Live At Yoshi's
Bitrate: 320K/s
Time: 74:27
Size: 170.5 MB
Label: Azica
Styles: Gypsy jazz, Swing
Year: 2012
Art: Front

[3:37] 1. R-26
[4:53] 2. It's Alright With Me
[4:47] 3. What A Little Moonlight Can Do
[5:24] 4. Syracuse
[5:41] 5. Songe D'automne
[6:49] 6. Just One Of Those Things
[5:41] 7. C'est Si Bon
[3:56] 8. Gone With The Wind
[4:49] 9. Dinette
[5:27] 10. I Love Paris
[4:59] 11. Dansons La Rose [roses Of Picardy]
[5:19] 12. Stella By Starlight
[5:36] 13. Buona Sera
[7:24] 14. Milord

The Hot Club of San Francisco is one of many bands focusing on the legacy of Django Reinhardt and Stéphane Grappelli, co-leaders of the Quintet of the Hot Club of France and innovators of swinging Gypsy jazz. But the HCSF have never slavishly stuck to the repertoire of the band that inspired them, preferring to build upon it. Lead guitarist Paul Mehling is an impressive soloist in Django's style without copying him, while Evan Price (formerly with the Turtle Island String Quartet) is a swinging violinist who has developed his own sound. After opening with a rarely performed Reinhardt/Grappelli instrumental, "R-26," much of this engagement recorded at Yoshi's features Isabelle Fontaine, a swinging yet never showy vocalist with an easygoing style. Henri Salvador's "Syracuse" features Fontaine's soft vocal, beautifully accompanied by the band. Cole Porter is one of Fontaine's favorite composers, so she chose several of his standards for this set. She includes the oft-omitted verse to "Just One of Those Things" and a playful "I Love Paris," in which Price nearly steals the show with his imaginative violin solo. She even restores the luster to "C'est Si Bon," a song so often performed in a hackneyed manner that it wore out its welcome for a long time. Recommended. ~ Ken Dryden

Recording information: Yoshi's, San Francisco (10/25/2011).

Isabelle Fontaine (vocals); Paul Mehling (guitar, banjo); Jeff Magidson (dobro); Evan Price (mandolin, violin); Jeff Sanford (soprano saxophone); Clint Baker (trumpet, trombone); Sam Rocha (tuba); The Wit-Lesses (background vocals).

Live At Yoshi's

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Album: Swing This
Bitrate: 320K/s
Time: 52:21
Size: 119.8 MB
Label: (Self released)
Styles: Swing, Gypsy jazz
Year: 2003
Art: Front

[4:50] 1. Tchavolo Swing
[2:25] 2. Swing This
[3:43] 3. While My Guitar Gently Weeps
[5:23] 4. Till We Meet
[4:14] 5. The Man I Love
[5:03] 6. The Breeze And I
[5:24] 7. Nica's Dream
[3:59] 8. Lullaby Of The Leaves
[4:04] 9. A Little Waltz For Mischa
[3:27] 10. Limelight
[4:13] 11. The Very Thought Of You
[2:32] 12. Anitra's Danse
[2:56] 13. Improvisation

The Hot Club Of San Francisco: Sylvia Herrold (vocals, guitar); Steven Strauss (vocals, ukelele, acoustic bass); Paul Mehling (guitar, viola); Julian Smedley, Jeremey Cohen (violin, baritone violin); Jenny Scheinman (violin); Rob Burger (accordion). The music of Django Reinhardt and Stéphane Grappelli has long been a favorite of swing fans. Their approach is adapted by the Hot Club of San Francisco in arrangements of modern jazz compositions, pop tunes, classical music, and their own originals. Guitarist Paul Mehling (who plays all of the guitar solos, while also doubling on viola) contributed the upbeat "Swing This," which also features Jenny Scheinman's swinging violin, as does the toe-tapping arrangement of "The Man I Love" (a favorite of Grappelli). Both Horace Silver's "Nica's Dream" and Gerry Mulligan's "Limelight" also sound great recast in a new light. An enchanting cover of the Beatles' "While My Guitar Gently Weeps" works very well in a gypsy swing setting, adding accordionist Rob Berger. This salute by the Hot Club of San Francisco to the style of the Quintet of the Hot Club of France (without slavishly sticking to their repertoire) merits high praise. ~ Ken Dryden

Swing This

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Norma Winstone - Manhattan In The Rain

Bitrate: MP3@320K/s
Time: 62:24
Size: 142.8 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[4:19] 1. The Heather On The Hill
[6:15] 2. The Music That Makes Me Dance
[3:33] 3. It Never Was You
[3:58] 4. Two Kites
[5:06] 5. Manhattan In The Rain
[6:13] 6. People Will Say We're In Love
[5:05] 7. I Have Dreamed
[5:44] 8. Retrato Em Branco E Preto
[3:25] 9. Lucky To Be Me
[4:07] 10. Baby Don't You Quit Now
[3:51] 11. Shall We Dance
[4:33] 12. Far Away Places
[6:11] 13. When The World Was Young

Norma Winstone - vocals; Steve Gray - piano, synthesizer; Chris Laurence - bass; Tony Coe - tenor sax, clarinet.

Norma Winstone is one of the most recognizable vocalists from the United Kingdom. During her nearly 50-year career, she has performed in many varieties of situations, from the improvisatory world of avant-garde to the classic tastefulness of the jazz songbook. Recorded in 1997, Winstone’s Manhattan In The Rain found her alongside some longtime companions, pianist Steve Gray (of Sky fame), bassist Chris Laurence and woodwind master Tony Coe performing a wonderful collection of jazz standards, all arranged by Gray.

Manhattan In The Rain

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Patricia Barber - Monday Night: Live at the Green Mill Volume I

Styles: Vocal And Piano Jazz 
Year: 2009
File: MP3@320K/s
Time: 50:01
Size: 114,7 MB
Art: Front

( 7:52)  1. Touch of Trash
( 7:06)  2. The Moon
( 4:07)  3. Narcissus
( 9:25)  4. Company
(17:22)  5. Groovin' High
( 4:07)  6. Autumn Leaves

Jim Gailloreto is one of the only musicians I can add comfortably to the quartet. In this set you can hear how he makes us sound 'better.' Jim and I are working together (I have written two tunes) on his project, "American Complex" with string quartet, saxophone and voice due out in the fall. 

This is the first of many "live" downloads that will appear on this site from the past, present and future. http://www.patriciabarber.com/store/monday-night-recorded-live-green-mill

Personnel:  Patricia Barber - piano/vocals;  Neal Alger – guitar;  Michael Arnopol – bass;  Eric Montzka – drums;  Jim Gailloreto - saxophone

Monday Night: Live at the Green Mill  Volume I

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Eric Essix - Stride

Styles: Guitar Jazz
File: MP3@320K/s
Time: 49:44
Size: 114,4 MB
Art: Front

(4:14) 1. Stride
(4:54) 2. Coming Home To You
(4:27) 3. The Start Of It
(3:58) 4. Ain't No Sunshine
(5:10) 5. Steady
(5:11) 6. Inside Out
(3:53) 7. Until We All Are Free
(5:28) 8. The Light
(5:32) 9. Slow And Easy
(3:53) 10. Import
(2:59) 11. Slow And Easy (Chill)

Following the success of his Songs From The Deep project, Eric is now set to release his 28th album entitled STRiDE on his Essential Recordings label, again distributed by Lightyear Entertainment/Virgin Music/UMG.

The album features nine original compositions written by Eric and a lush arrangement of the Bill Withers' classic, Ain’t No Sunshine, featuring fellow Birmingham, AL native and American Idol winner, Ruben Studdard. Released as a single, the song is currently climbing the Smooth Jazz Charts.

STRiDE showcases a diverse mix of songs ranging from danceable, funk instrumentals, sultry ballads, hints of blues and traditional jazz textures and, as always, a very intentional nod to Eric's gospel roots. "This album is an extension of the Songs From The Deep record in a sense. I made a conscious effort to build on what I did with that project compositionally and maintain the same kind of vibe. Musically, it just felt like a good place to explore a while longer."

Even though STRiDE does not directly have Eric's southern upbringing in the forefront conceptually for this record, the influences and the sound are still essential ingredients in the mix. "Some things will just always be buried in every note I play I think and those down home elements that are inherent in my playing are never going away. I gave up trying be someone other than myself 22 years ago and learned to embrace who I am as a guitarist and an artist. I haven't looked back."

STRiDE has several uptempo standout's with Steady, Coming Home To You, The Light and the title track leading the pack. However, the ballads Until We All Are Free, Slow And Easy and the beautiful 6/8 time, Inside Out (featuring flutist Claudia Hayden and a brilliant synth solo by Grammy winner, Phil Davis), are compelling vehicles for some of Eric's best guitar work on the session.

"I'm not done yet," Eric says. "In fact, when the last record was so well received, I felt I was starting to hit my 'stride' again with my audience and my music. It really inspired me to keep going and I am excited to see how this album will resonate with listeners."https://ericessix.net/bio

Stride

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Al Di Meola, John McLaughlin, Paco De Lucia - Friday Night In San Francisco

Styles: Guitar, Bop
Year: 1981
File: MP3@320K/s
Time: 41:13
Size: 94,7 MB
Art: Front

(11:35) 1. Mediterranean Sundance · Rio Ancho
( 8:44) 2. Short Tales of the Black Forest
( 7:57) 3. Frevo Rasgado
( 8:54) 4. Fantasia Suite
( 4:01) 5. Guardian Angel

On 5th December, 1980, Al Di Meola, John McLaughlin, and Paco de Lucia were two months into what had so far been an extremely successful and creative tour. Even just the concept itself was intriguing three guitarists, and acoustic to boot! With not a drummer, percussionist, or bassist in sight. The sheer novelty of it all. Recorded at the Warfield Theatre, California, Friday Night in San Francisco manages to capture this triumvirate trio of instrumentalists at the apex of their abilities.

Now Paco, although he wasn't all that well known outside of Spain, was already something of a super star of Flamenco, and whose virtuosity on guitar was as much respected as it was unmatched. McLaughlin was undoubtedly the most renowned, having played with Miles Davis, Chick Corea, Tony Williams, Jimi Hendrix, Santana, along with pretty much the who's who of jazz-rock and everyone else in between. Di Meola was probably somewhere in the middle of the other two. His career began officially when he became a member of Return to Forever, before releasing a series of highly acclaimed solo albums, and was also voted best jazz guitarist four times in Guitar Player Magazine (in other words, the bloke had a following).

Now some Flamenco purists might turn their noses up at the fact that Di Meola and McLaughlin are using a plectrum, when Paco wasn't. But that shouldn't bother the listener one bit. All that matters is the music itself; and plectrum or no, this is unquestionably some of the hottest acoustic guitar ever to have been performed in front of a live audience.

The performance opens with a dazzling duet between Al and Paco on "Mediterranean Sunset," a Di Meola composition first released on his second solo album Elegant Gypsy in 1977. Al's signature light-speed riffs are everywhere, while Paco plays some ferocious Flamenco. Both are in perfect simpatico throughout, right to the scintillating and exciting climax at the end. Exhilarating for both players and audience alike I'm sure.

Next we have Chick Corea's "Short Tales of the Black Forest," where Di Meola and McLaughlin really do pull out all the stops as performers, like two gunslingers attempting to prove who can shoot the furthest and fastest. There is even a brief reference to Henry Mancini's "Pink Panther" thrown in for good measure, something which elicits much laughter from the audience. They also throw in a little 12 bar blues before finishing with a fiery crescendo.

"Frevo Rasgado, a song written by Egberto Gismonti, begins side two, where this time we have McLaughlin and Paco locked together in mortal six string combat. Personally the money's on Paco, but McLaughlin's not too far behind. Both manage to give as good as the other, as far as this listener's concerned, and while it's Paco who probably has the edge, their exchange is purely magical all the same.

Di Meola's "Fantasia Suite" finds all three on stage exchanging notes at an ever complicated rate. One can hear occasionally an audience member cry out during the quieter moments, but even on LP the listener is simply overwhelmed by the sheer synergy and power on display here. It's as if they had of had a dose of speed about an hour before the show. And that's what must have impressed people at the time, no matter how sophisticated they might have been.

Oddly, the final track is a studio recording made in White Plains, New York. Written by McLaughlin, "Guardian Angel" finds the trio managing to capture not only the complexity of their playing, but also the camaraderie between all three men. It is a relationship which lasted for many years, as attested to by the numerous reunions that took place over the proceeding decades. Paco De Lucia was Spain's equivalent to Jimi Hendrix. And it was this album, more than anything he had done before, which really put him on the map, thus exposing a multitude of people for the first time to the genius of Flamenco, almost in the way that Carmen Amaya had some forty-years before. Yet this was the record which proved that guitars didn't need to be electric in order to be exciting. Because from this a new sense of sophistication had arisen, inspiring a whole new generation of guitarists in the process. And for that at least you have to give them credit where it's due.
https://www.allaboutjazz.com/friday-night-in-san-francisco-john-mclaughlin-al-dimeola-paco-delucia-columbia-records-review-by-sacha-ogrady

Personnel: Al Di Meola: acoustic guitar; John McLaughlin: acoustic guitar; Paco de Lucía: acoustic guitar

Friday Night In San Francisco

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Gloria Lynne - Serenade In Blue

Styles: Jazz, Vocal
Year: 2015
File: MP3@320K/s
Time: 30:46
Size: 71,2 MB
Art: Front

(3:38)  1. I Wish You Love
(2:50)  2. Impossible
(2:23)  3. The Jazz In You
(2:37)  4. Serenade In Blue
(3:02)  5. I Will Follow You
(5:26)  6. I'm Glad There Is You
(2:58)  7. But Not For Me
(2:06)  8. This Little Boy Of Mine
(2:55)  9. I Should Care
(2:46) 10. He Needs Me

Gloria Lynne recorded many albums for Everest in her early days, slipped away into obscurity, and then in the 1990s made a comeback. An excellent singer whose style falls between bop, 1950s middle-of-the-road pop, and early soul, Lynne was always capable of putting on a colorful show. Her mother was a gospel singer and Lynne started out singing in church. She had five years of concert training and in 1951 won the legendary amateur competition at the Apollo Theater. Lynne sang with some vocal groups, became a solo artist, and in 1958 was discovered by Raymond Scott, who at the time was a top A&R man at Everest. 

During her busy period with Everest (at least ten records were cut between 1958-1963), Lynne had hits in "I Wish You Love" (a song she virtually made a standard) and "I'm Glad There Is You." She recorded with both orchestras and jazz combos, becoming quite popular for a period. However, with the rise of rock and the change in the public's musical tastes, Lynne was forgotten for a time.

Only a commercial record in 1975 for ABC broke the silence. But starting in the early '80s, Lynne started working regularly again, regained some of her earlier fame, and in the early '90s recorded a couple of CDs for Muse; her initial Everest date also reappeared as an Evidence CD. Gloria Lynne has remained active into the 21st century, and issued one of her strongest albums in decades, From My Heart to Yours, on the Highnote label in 2007. ~ Scott Yanow  https://itunes.apple.com/us/artist/gloria-lynne/id132350#fullText

Serenade In Blue

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Patricia Barber - Monday Night: Live At The Green Mill - Volume 2

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 74:24
Size: 175,1 MB
Art: Front

(10:00)  1. Triste
(11:47)  2. Like JT
( 4:42)  3. I Fall In Love Too Easily
(12:58)  4. Blue Bossa
( 9:33)  5. On The Road Again
( 7:24)  6. Post Modern Blues
( 5:44)  7. Smile
( 5:50)  8. The Beat Goes On
( 6:23)  9. Summertime

Monday Night: Live at the Green Mill II.  Exactly what jazz fans of all ages have been waiting for! Patricia Barber (www.patriciabarber.com) has just released yet another stunning album, "Monday Night: Live at the Green Mill, Volume 2." From the first heart-humming tones of "Triste," to the last, lingering note of "Summertime," this 9-track album (currently available in MP3 and FLAC format) holds the listener suspended in time, awash in a sea of emotion. "Like JT," a powerful, yet artful piece of piano work; "Blue Bossa," a waterfall of vocalizations blended with delicate melody; "Smile," a rendition that makes you sure that its being played especially for you; along with some old favorites (made new again) is the penultimate for audiophiles worldwide.  I would be remiss however if I didn't acknowledge my personal favorite "On the Road Again." Don't expect Willie Nelson! This piece d'resistance in a mesmerizing piece of dark storytelling at it's finest. This album of one of the world's foremost jazz artists is not to be missed. ~ Lajadjie Sebela http://www.jazzreview.com/jazz-news/press-releases/monday-night-live-at-the-green-mill-volume-ii.html

Monday Night: Live At The Green Mill - Volume 2

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Danish National Symphony Orchestra & DR Big Band - Divas & Diamonds

Styles: Classical Crossover
Year: 2020
File: MP3@320K/s
Time: 46:21
Size: 106,9 MB
Art: Front

(3:30) 1. Diamonds Are A Girl's Best Friend
(2:17) 2. One Silver Dollar
(2:33) 3. My Favorite Things
(2:09) 4. Charade
(4:47) 5. Over The Rainbow
(4:59) 6. Cucurrucucú Paloma
(2:40) 7. Moon River
(3:30) 8. September Song
(2:21) 9. Blanche
(3:13) 10. Days Of Wine And Roses
(3:24) 11. Meglio Stasera
(3:17) 12. We Have All The Time In The World
(3:51) 13. As Time Goes By
(3:43) 14. Mein Herr

The Danish National Vocal Ensemble, the Danish National Symphony Orchestra and the Danish Radio Big Band join forces under the baton of Klaus Tönshoff to celebrate to the greatest classics of black and white cinema, from The Wizard of Oz (1939) to Pink Panther (1963) and Breakfast at Tiffany’s (1961).

Let yourself be dazzled by the talented mezzo-soprano Tuva Semmingsen, who rivals the iconic Judy Garland in her wonderful interpretation of Over the Rainbow. This concert, recorded at the DR Koncerthuset in Copenhagen in June 2020, offers a variety of performances that immerse us in the cinematic universe of the 20th century, including Mexican cinema with the revival of Cucurrucucú Paloma, music from the film Escuela de Vagabundos (1955). The creative lighting immerses us in a colorful atmosphere, conjuring memories of these films and their unforgettable moments. A little gem to listen to and watch as soon as possible! https://www.medici.tv/en/concerts/divas-diamonds

Divas & Diamonds

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Gloria Lynne - This One's on Me

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 42:23
Size: 98,4 MB
Art: Front

(5:27) 1. This One's on Me
(3:35) 2. Angel Eyes
(2:22) 3. What a Difference a Day Makes
(3:40) 4. In the Wee Small Hours of the Morning
(4:01) 5. It's Autumn
(5:03) 6. While We're Young
(4:30) 7. Here's That Rainy Day
(2:42) 8. Snowbound
(3:37) 9. Let's Fall in Love
(2:50) 10. Wild Is Love
(4:30) 11. All Day Long

This is an okay set by veteran singer Gloria Lynne, but one that never really catches fire. Guitarist Rodney Jones was responsible for the arrangements (which are decent but not all that colorful) and produced the date, which finds Lynne backed by Jones, pianist Mike Renzi, bassist Benjamin Brown, either Akira Tana or Jesse Hameen II on drums and sometimes vibraphonist Mark Sherman and organist Bobby Forrester.

Although the material is fine, Lynne does not make such songs as "Angel Eyes," "What a Difference a Day Makes," "In the Wee Small Hours of the Morning" and "Here's That Rainy Day" sound as if they were written for her. The results are pleasing but fall short of their potential.~Scott Yanowhttps://www.allmusic.com/album/this-ones-on-me-mw0000036589

Personnel: Vocals – Gloria Lynne; Bass – Benjamin Brown; Drums – Akira Tana; Jesse "Cheese" Hameen II; Electric Guitar, Acoustic Guitar Rodney Jones; Organ – Bobby Forrester; Piano – Mike Renzi; Vibraphone – Mark Sherman

This One's on Me

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Eastern Rebellion - Just One Of Those...Nights At The Village Vanguard

Styles: Bop, Post Bop
Year: 1994
File: MP3@320K/s
Time: 68:28
Size: 158,5 MB
Art: Front

( 6:32) 1. Something In Common
( 8:09) 2. Precious Mountain
( 7:41) 3. A Child is Born
( 9:32) 4. Lover Man
( 9:37) 5. Jacob’s Ladder
(12:42) 6. Seven Minds
( 6:25) 7. Django
( 7:47) 8. Just One Of Those Things

First formed in 1974 and continuing on an irregular basis ever since, Eastern Rebellion is a cooperative group with pianist Cedar Walton the first among equals. The band's original lineup was Walton, bassist Sam Jones, drummer Billy Higgins, and tenor saxophonist Clifford Jordan. By 1975 and their first official recording, George Coleman was on tenor. In future years, trombonist Curtis Fuller would sometimes make the band a quintet, David Williams became the bassist, and Bob Berg (succeeded in the 1990s by Ralph Moore) took over the tenor spot; trumpeter Alfredo "Chocolate" Armenteros sat in on a 1983 recording. Eastern Rebellion has recorded for Timeless and (in 1990) Music Masters. Their debut recording from 1975 is definitive and has the classic version of Walton's "Bolivia."~Scott Yanowhttps://www.allmusic.com/artist/eastern-rebellion-mn0000139375/biography

Personnel: Bass – David Williams; Drums – Billy Higgins; Piano, Electric Piano – Cedar Walton; Tenor Saxophone, Soprano Saxophone – Ralph Moore

Just One Of Those...Nights At The Village Vanguard

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Brian Charette - Jackpot

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 47:50
Size: 110,1 MB
Art: Front

(5:10) 1. Polka Dot Pinup
(4:21) 2. Tight Connection
(6:54) 3. Triple Threat
(5:25) 4. Good Fortune
(4:16) 5. Upstairs
(7:05) 6. High Ball
(4:09) 7. Vague Reply
(5:22) 8. Jackpot
(5:06) 9. Unmasked

I’ve known Cory Weeds for many years and have always admired him as an artist and label owner. Last year, I had the idea for a new recording that would be more traditional than my other albums which often placed the organ in a more unconventional role with electronics and wind en- sembles. I wanted to write some pretty, swinging, bebop tunes with a classic approach that would give a nod to all my biggest influences; Jack McDuff, Melvin Rhyne, Don Patterson, Larry Young, and Jimmy Smith.

Cellar Music’s esthetic seemed like a perfect fit for the concept, as did Cory’s musicianship which is evidenced in the tracks here. Ed Cherry on guitar was an obvious choice. He’s lyrical, funky, and a brilliant accompanist. We’ve also worked together for many years and know each other’s style very well. Cory had worked with Bill Stewart before and suggested him as drummer for the group. I was naturally very excited to play with one of my heros. Bill’s hard swinging and masterful control were perfect for the date. With Jackpot, we’ve tried to deliver a super swinging session with memorable tunes and super soulful blowing. I hope you enjoy.https://www.allaboutjazz.com/album/jackpot-brian-charette

Personnel: Brian Charette (hammond B-3 org); Cory Weeds (sax); Bill Stewart (ds); Ed Cherry (g)

Jackpot

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Patricia Barber - Monday Night: Live At The Green Mill, Vol. 3

Styles: Vocal And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 67:45
Size: 160,1 MB
Art: Front

( 8:07)  1. In Your Own Sweet Way
( 4:49)  2. Romanesque
( 5:09)  3. Fotografia
( 8:49)  4. Crash
( 4:58)  5. I Could Have Danced All Night
( 4:19)  6. The Thrill Is Gone
( 4:12)  7. Moon River
( 5:06)  8. You Gotta Go Home
( 6:31)  9. Stay With Me
( 4:32) 10. Orpheus (Sonnet)
(11:09) 11. Groovin' High

I have been blessed to have a weekly Monday Night gig at The Green Mill, one of the hippest jazz clubs in the world in one of the most exciting cities in the world, Chicago.  enormous thanks to Dave Jemilo for keeping this Chicago treasure alive and for letting me a part of it.  Also, thanks to our soundman here Chris Grabowski who increasingly is recognized for his very special "live" sound recordings.  On this, the third "Live from the Green Mill " download, you'll hear not only the music, but the soft landscape of the club and the city. Larry Kohut is on acoustic bass, Jon Deitemyer is on drums and Jim Gailloreto is on tenor saxophone. The recording is exceptional.  I suggest you get one of the better sound file downloads, close your eyes and time travel to this Monday Night at the Green Mill.  http://www.patriciabarber.com/store/monday-night-live-green-mill-volume-3

Musicians:  Patricia Barber - piano, vocals;  Jim Gailloreto - sax;  Larry Kohut - bass;  John Deitemyer - drums;  Tom Hipskind - drums.

Monday Night: Live At The Green Mill, Vol. 3

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Eric Essix - The Isley Sessions

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 70:28
Size: 162,3 MB
Art: Front

(6:19) 1. Hello It's Me
(6:02) 2. For the Love of You
(6:31) 3. (At Your Best) You Are Love
(5:33) 4. Footsteps in the Dark
(6:47) 5. Make Me Say It Again Girl
(4:24) 6. I Once Had Your Love (And I Can't Let It Go)
(5:26) 7. Let Me Down Easy
(4:56) 8. Caravan of Love
(6:58) 9. Voyage to Atlantis
(3:33) 10. It's Only Me
(4:38) 11. Caravan of Love (Radio Edit)
(4:38) 12. Hello It's Me (Radio Edit)
(4:39) 13. Footsteps in the Dark (Radio Edit)

The Isley Brothers were one of Eric Essix’s favorite bands as a teenager growing up in the seventies. The group enjoyed a lengthy string of hits throughout the decade, beginning with songs from the landmark "3+3" album, where brother’s Ernie, Marvin and cousin Chris Jasper joined the already established vocal trio.

"To say I am a fan of the Isley Brothers and their music is an understatement," Eric says. “When Ernie Isley exploded onto the scene with his brothers, it was like nothing I had ever heard before. Ernie was so much like Jimi Hendrix - who I idolized - and was featured in a soul/r&b band while playing rock guitar licks. For me at that time, it was the best of all worlds and I instantly identified with the music and the sound! It was an important time that really shaped who I would later become as an artist."

When Herbie Hancock released River: The Joni Letters (which won 2 Grammys in 2007), Eric was intrigued by the way Hancock interpreted Joni Mitchell's mostly pop songs in a traditional jazz setting. “I still listen to that album regularly because it is such an amazing tribute to Joni’s music,” Eric says. “It made me want to do a similar project one day. Then I happened to be on the Soul Train Cruise in early 2014 playing with the great Peabo Bryson and got to see Ernie and Ronald Isley perform. In one portion of the show, Ronald was pouring out his soul on some of their classic ballads, and right then I knew this was the music I wanted to explore.”

Although the album begins with Todd Rundgren's, Hello It's Me, the Isley's soulful version of that song in 1974, resonated with Eric and "I just felt like I had to include it in this collection," he says. Kaleah Wooten, daughter of the album's producer, Kelvin Wooten, lends a beautiful background vocal treatment to the songs refrain which mirrors the Isley Brothers original arrangement. Other standout moments from The Isley Sessions come courtesy of singer and jazz keyboardist, Frank McComb who puts his personal stamp on Footsteps In The Dark and Nashville's newest rising star, Jason Eskridge, who contributes a staggering vocal arrangement and performance on Caravan Of Love. The rest of The Isley Sessions features Eric ‘s well defined, signature guitar sound on hit ballads like I Once Had Your Love, Voyage To Atlantis, Let Me Down Easy and Make Me Say It Again. With the skill of a 26 year veteran recording artist who has released 21 albums over his career, Essix respectfully interprets the Isley’s familiar melodies on the guitar and, at the same time, effortlessly makes each one of these musical gems his own with thoughtful arrangements and solid performances.

Personnel: Eric Essix – Guitars (Arranger, Executive Producer); Kelvin Wooten – Piano/Bass/Percussion (Producer); Marcus Finnie – Drums

The Isley Sessions

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Chris Oatts Group - Personalities

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 73:24
Size: 168,8 MB
Art: Front

(8:08) 1. Alley Birds
(7:16) 2. Dragon Night
(8:34) 3. Building Blocks
(8:39) 4. Shade of Jade
(5:54) 5. Jean's Scene
(8:41) 6. Bewitched
(6:00) 7. Philly Smash Tune
(5:32) 8. Not While I'm Around
(7:10) 9. Sweet Prince
(7:25) 10. Personality

Philadelphia based saxophonist, composer and educator Chris Oatts has been hailed as “a force to be reckoned with,” by All About Jazz. Chris has performed, recorded, or toured with the likes of Seal, Jazz Orchestra of Philadelphia, Chelsea Reed and the Fair Weather Five, The Philly Pops, Terell Stafford, Wycliffe Gordon, the Vanguard Jazz Orchestra and The Temptations.

Born into a musical family, Chris is the nephew of alto saxophone icon Dick Oatts with whom he studied at Temple University in Philadelphia, Pennsylvania. His father Jim played trumpet with Stan Kenton, Machito, and the jazz rock group Chase while his two triplet brothers and multiple other family members are musicians as well. Chris’ grandfather Jack Oatts is credited by the Iowa Jazz Educators Hall of Fame for starting the first high school jazz band in the state of Iowa. Chris continues to perform with his grandfather’s Selmer Mark VI alto saxophone to this day.

In 2017 Chris released his debut album as a leader entitled First Quintet, a record of original compositions featuring a band of Philadelphia’s finest musicians.

Chris is also the founder of South Philly Big Band, a group steeped in the tradition of Thad Jones and Mel Lewis that commissions new works from Philadelphia composers. SPBB has performed shows with Walt Weiskopf, Ignacio Berroa and Gary Smulyan and in December 2017 released a Christmas EP of new imaginations of Christmas classics entitled, SPBBXMAS.

His latest recording project, Personalities presents both quintet and nonet ensemble settings and features Chris’ mentor and legendary jazz trumpeter Terell Stafford on the BCM&D label. Alongside a collection of Philadelphia and New York’s most in demand musicians, Personalities offers listeners fresh arrangements of familiar standards in addition to unique and personal original compositions.

Chris is a dedicated and active music educator in the Philadelphia area, teaching at the Shipley School in Bryn Mawr, Pennsylvania since 2013. Additionally, he has been a faculty member in the Boyer School of Music at Temple University since 2017. He teaches Music Composition, Production, Theory, Improvisation, Instruction of Saxophone, Flute and clarinet, as well as directing large and small ensembles.https://www.chrisoatts.com/bio

Personnel: Chris Oatts: alto and soprano saxophones, leader; Terell Stafford: trumpet; Tim Brey: piano; Sam Harris: bass; Anwar Marshall: drums.

Personalities

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Chuck Loeb - Between Two Worlds

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 65:01
Size: 149,9 MB
Art: Front

(6:48)  1. Let's Go
(5:46)  2. Hiram
(6:43)  3. Mittens
(5:37)  4. Between Two Worlds
(4:22)  5. Oh No You Didn't
(5:19)  6. Let's Play
(4:21)  7. So Tinha De Ser Com Voce
(6:56)  8. The Great Hall
(7:10)  9. Mean Old Man
(5:40) 10. 360
(6:14) 11. Early Turns to Late

As its title suggests, Between 2 Worlds finds guitarist Chuck Loeb's sublimated split personality at last openly revealed. A household name in smooth jazz circles, the former Steps Ahead luminary this time throws the dice with a program heavier on the straight-ahead jazz component that composes the core of his musical upbringing. Does this project mark the dawn of a new beginning, a passage to this other world? Only time will tell. Customarily dressing the table with a set of his glossy, high-sheen wares, the second half of the program finds the agile guitarist delving into some more substantiated, post-bop-type purlieus, not without the same unbridled enthusiasm and passion that characterizes his pop-jazz work. That said, like those that preceded him in such indissoluble mixing of genres (and aesthetics) Lee Ritenour being a rather convenient comparison the final product unfortunately falls flat in the face of artistically more focused covenants. Too much of this, not enough of that, the apanage of the MOR modicum. From the funky, bluesy stroll of the Robben Ford-tinged "Oh No You Didn't" (featuring daughter Lizzy's soulful vocals) things take a radical turn as Dave Weckl's rollicking kit work introduces the supercharged, intervallic theme of "Let's Play."

A brisk minor blues with booming chordal interjections, the piece emphatically celebrates the precise, George Benson/Pat Martino/Mike Stern school of picking. Halting a brief moment for wife-vocalist Carmen Cuesta's grazing Tom Jobim's tranquil "So Tinha De Que Ser Com Voce," Loeb then launches into the open-strings voicings that open "The Great Hall," a luminous waltz recalling John Abercrombie's mid-70's to mid-80's work that most probably got its title after his former teacher, the great Jim Hall. Though the latter composition is rich enough to endure repeated listening, other tracks may, to some, defy the threshold of tolerance namely, "Hiram," a dedication to the late Hiram Bullock, the title track, and the closing sleeper, "Early Turns To Late." A deft technician with years studio experience behind him, Loeb demonstrates with Between 2 Worlds that his straight-ahead fretwork certainly needs to be reckon with, championed even. But, whether learned jazz listeners will buy into such disparate programming remains improbable. ~ Martin Gladu https://www.allaboutjazz.com/between-2-worlds-chuck-loeb-heads-up-international-review-by-martin-gladu.php

Personnel: Chuck Loeb: guitar; Carmen Cuesta: vocals (2, 4, 7); Lizzy Loeb: vocals (5); Eric Marienthal: saxophones, flute; Till Bronner: trumpet (3); Nathan Eklund: trumpet (1), trombone (1); Brian Culbertson: trombone solo (1); Pat Bergeson: harmonica (11); Will Lee: bass (1, 3, 5), fretless bass melody (2); Gerald Veasley: bass (2, 6); Dieter Ilg: bass (8-11); Dave Weckl: drums (1-3, 5-7); Wolfgang Haffner: drums (4, 8-11); Bashiri Johnson: percussion (1-3); David Charles: percussion (5, 7, 10, 11).

Between Two Worlds

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The Jazz Brothers (Chuck Mangione, Gap Mangione, Sal Nistico) - Spring Fever

Styles: Jazz,Bebop
Year: 1961
File: MP3@320K/s
Time: 40:32
Size: 95,9 MB
Art: Front

(7:09) 1. First Waltz
(5:47) 2. What's New?
(7:01) 3. Spring Fever
(5:19) 4. Brooks' Brothers
(9:13) 5. Softly, As In A Morning Sunrise
(6:00) 6. Not Too Serious

Brothers in jazz seems to be a Riverside specialty. If this label had a coat of arms, it might well be two crossed horns on a field of cornering sports cars, and under that banner you'd find albums featuring many fraternal combinations: the Adderleys, Cannonball and Nat; the Montgomerys, Wes, Buddy and Monk; the Heaths, Jimmy, Percy and Al and the Mangiones, Chuck and Gap. But while all are brothers in jazz, only the Mangiones are The Jazz Brothers.

That name of course extends beyond the two actual relatives to include all the members of this close-knit quintet. Sal Nestico has been a "Brother" since before their 1960 recording debut; and in this, the groups third album for Riverside, two new members, on bass and drums, have joined the fraternity.

The changes in the rhythm section are not all that is "new" here. There is also, I think, a further step towards increasing musical maturity. Experience is what young players need most, and often find hardest to obtain. For the usual process of individual "scuffling" for jobs with one pick-up group or another is a decidedly erratic, hit-or-miss affair, not calculated to promote steady progress. But The Jazz Brothers, although they have (like most young musicians) discovered that it is not easy to find those elusive club bookings as often or as regularly as one would like to, have managed to stick together. The tangible results of mutual playing experience are evident on the present album in tighter ensembles and more confident soloing. The spirit of youth that distinguishes the group (all of them 24 or younger at the time of this recording) has not diminished at all; it is just framed more and more professionally as time goes by.

(With the scarcity of big bands, once the natural "school" in which young players gained their earliest experience, the small band has become the nursery as well as the college. For example, young as they are, the Jazz Brothers boast at least one graduate the smooth Roy McCurdy, considered by some to be the best drummer for the Jazztet that Art Farmer and Benny Golson have had, is an alumnus of the group.)

As for the personnel, pipe-smoking pianist Gap is the oldest, although not scheduled to be 24 until the Summer of 1962. His solos have thought and order, but that doesn't at all mean that he forgets to swing. Brother Chuck is now 21. Until recently he played an upswept Dizzy Gillespie-model horn a gift from Diz himself, who does not make such gestures lightly. His switch to conventional horn has apparently done nothing to alter the passion and vigor with which he delivers an assortment of modern trumpet sounds. In his playing there is much conviction for one so young.

Tenorman Nestico, although only one year older that Chuck, has more playing experience under his belt than the others. A native of Syracuse NY, he started at an early age and was on the road with rhythm and blues outfits before The Jazz Brothers got together. He plays hot and hard, with a soaring attack that shows links to todays tenor titans but also speaks with a voice of its own.

Of the two new members of the group, Frank Pullara is the older. A 24-year-old and (like the Mangiones) a native of Rochester NY, he taught himself to play bass at the age of 17. Frank also plays several other instruments, has studied at the Eastman School of Music in Rochester, and has worked with Kai Winding, Carl Fontana and Frank Strazzeri. Since joining The Jazz Brothers Pullara has done much of the composing and arranging for the group; two examples of his writing are included here. Drummer Vinnie Ruggieri, whose taste and poise beile his years, was born in Brooklyn in 1941. Originally self-taught, he began playing at 15, has worked with Kenny Drew and J.R. Monterose, is currently dividing his time between the Brothers and Slide Hamptons band, and particularly digs the playing of Philly Joe Jones.

The mode of expression for The Jazz Brothers is a modern, hard-swinging one, tempered by softer (but no less swinging) performances. The former vein is exemplified by Chuck Mangiones Brooks Brothers (a punning reference to an up-state New York disc jockey) and Spring Fever, and by Frank Pullaras Not Too Serious. The quietest moments are found on the celebrated standard ballad, What's New?, which contains a long, expressive Nestico solo, sandwiched by some sensitive muted work by Chuck.

Not as quiet, but gaining much of the impact by the quiet way in which it does its cooking, is an extended Softly, as in a Morning Sunrise, again showing off a muted Chuck and featuring a building solo by Gap as well as a convincing Nestico stint and an impressive plucked bit by Pullara. Somewhere in between is Pullaras First Waltz, in which I find some echoes of the mood of Randy Westons Little Niles, but which definitely has its own haunting personality.

Two things you can be sure of from these Jazz Brothers are enthusiasm and sincerity. If their playing reflects those older musicians who have influenced them, this is no more than a natural, healthy sign that they are genuinely involved with what they really feel is the best in modern jazz. This is one case of "Spring Fever" that needs no sulphur and molasses.~ Ira Gitlerhttps://www.mangionemagic.com/spring-fever.html

Personnel: Chuck Mangione - Trumpet; Sal Nistico - Tenor Saxophone; Gap Mangione - Piano; Frank Pullara - Bass; Vinnie Ruggieri - Drums

Spring Fever

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