Catherine Russell - Alone Together

Styles: Vocal, Swing 
Year: 2019
File: MP3@320K/s
Time: 51:34
Size: 119,5 MB
Art: Front

(4:10)  1. Alone Together
(3:40)  2. You Turned The Tables On Me
(5:05)  3. When Did You Leave Heaven
(4:12)  4. Early In The Morning
(5:08)  5. Is You Or Is You Ain't My Baby
(2:38)  6. You Can't Pull The Wool Over My Eyes
(3:44)  7. Shake Down The Stars
(4:53)  8. I Wonder
(4:08)  9. He May Be Your Dog But He's Wearing My Collar
(2:47) 10. Errand Girl For Rhythm
(3:30) 11. How Deep Is The Ocean
(3:43) 12. I Only Have Eyes For You
(3:50) 13. You're Not The Only Oyster In The Stew

Alone Together is vocalist Catherine Russell’s seventh album, and with each release she seems to inhabit more fully a liminal space between past and present. Without indulging in sentimentality, she captures the spirit of the era out of which the pieces she sings emerged.Part of the timeless yet vintage quality of her music flows from her fine-grained voice and a blues sensibility reminiscent of Dinah Washington and Helen Humes. And part of it is the company she keeps. On Alone Together she’s again joined by a nonpareil band featuring guitarist Matt Munisteri, pianist Mark Shane, bassist Tal Ronen, and drummer Mark McLean, essentially the same core of players who’ve been with her for the past decade. About half the tracks include tenor saxophonist Evan Arntzen, trumpeter Jon-Erik Kellso, and trombonist John Allred, who provide more texture and melodic counterpoint than propulsion. What’s most striking about the album is its restraint, as if Russell is keeping a Ferrari in second gear. Opening with a magnificent version of the title track, she brings the same sense of discovery to familiar tunes like “Is You Is or Is You Ain’t My Baby” and “How Deep Is the Ocean?” as she does to lesser-known fare such as the Jimmy Van Heusen/Eddie De Lange gem “Shake Down the Stars” and the hoary blues “He May Be Your Dog But He’s Wearing My Collar.” Sometimes it’s hard to remember that Russell jumped ship from her thriving career as a rock & roll backup singer only 15 years ago. Alone Together offers a welcome reminder that there’s no one else in jazz doing what she does, and that the scene would be immeasurably poorer without her. https://jazztimes.com/reviews/albums/catherine-russell-alone-together-dot-time/

Personnel:  Vocals – Catherine Russell; Bass – Tal Ronen; Guitar – Matt Munisteri; Piano – Mark Shane; Tenor Saxophone – Evan Arntzen; Trombone – John Allred; Trumpet – Jon-Erik Kellso 

Alone Together

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Manhattan Jazz Quintet - Still Crazy

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 51:27
Size: 118,1 MB
Art: Front

(6:40) 1. Tell Her About It
(6:13) 2. Grampa
(5:25) 3. One Note Samba
(5:03) 4. It's Only a Paper Moon
(8:20) 5. Theme from Good King Bad
(6:30) 6. Nica's Dream
(5:29) 7. S'Wonderful
(7:43) 8. Still Crazy After All These Years

The Manhattan Jazz Quintet, led by David Matthews, celebrates its 30th anniversary with a new recording in New York! Arrangements by David Matthews, the "magician of arrangement", that touches the hearts of Japanese jazz fans, and the front lines of New York. Explosive performances by top-notch musicians!

So far, he has worked on numerous arrangements in the pop music field, and has won the Grammy Award for Arrangements twice. The songs of Paul Simon and Billy Joel are also arranged in jazz this time. Also included is a specially written tribute song to James Brown, for which Matthews has worked on many arrangements. Of course, MJQ's 30-year career includes jazz standards that have not yet been recorded!

Personnel: David Matthews (p,arr); Michael Rodriguez (tp); Chris Hunter (sax); Jon Burr (b); Jimmy Madison (ds)

Still Crazy

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One For All - Upward And Onward

Styles: Jazz, Post-Bop
Year: 2009
File: MP3@320K/s
Time: 65:16
Size: 150,1 MB
Art: Front

( 7:23) 1. D's Blues
( 7:05) 2. Perspective
(11:06) 3. We All Love Eddie Harris
( 5:55) 4. Epitome
( 4:39) 5. Just By Myself
(11:37) 6. John Coltrane
( 8:41) 7. Blues For Joe Don
( 8:47) 8. Upward And Onward

ONE FOR ALL, a cooperative sextet of some of the hot young players on the New York scene, present a swinging and soulfull performance in the hardbop tradition, but with evolving contemporary explorations that are indeed 'Upward and Onward'.

The group features crisp ensemble work and dynamic solo thrusts from young lions Eric Alexander, Jim Rotondi, Steve Davis and David Hazeltine backed by bassist Peter Washington and drummer Joe Farnsworth. All musicians of this group have recorded as leaders for Criss Cross on several occasions.

Personnel: Trumpet, Flugelhorn – Jim Rotondi; Trombone – Steve Davis; Tenor Saxophone – Eric Alexander; Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Upward And Onward

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Marion Brown - Live in Japan

Styles: Jazz
Year: 1979
Time: 71:09
File: MP3 @ 320K/s
Size: 163,4 MB
Art: Front

(15:36) 1. November Cotton Flower
(17:51) 2. La Placita
(11:10) 3. Angel Eyes ~ Hurry Sundown
(13:09) 4. Sunshine Road
(13:21) 5. Africa

Alto saxophonist Marion Brown was an underappreciated hero of the jazz avant-garde. Committed to discovering the far-flung reaches of improvisational expression, Brown nonetheless possessed a truly lyrical voice but was largely ignored in discussions of free jazz of the '60s and '70s. Brown came to New York from Atlanta in 1965. His first session was playing on John Coltrane's essential Ascension album. He made two records for the ESP label in 1965 and 1966 Marion Brown Quartet and Why Not? and also played on two Bill Dixon soundtracks. It wasn't until his defining Three for Shepp (including Grachan Moncur III and Kenny Burrell) on the Impulse! label in 1966 that critics took real notice. This set, lauded as one of the best recordings of that year, opened doors for Brown (temporarily) to tour. He didn't record for another two years because of extensive European engagements, and in 1968 issued Porto Novo (with Leo Smith) on the Black Lion label. In 1970, Brown recorded Afternoon of a Georgia Faun for the ECM label, his second classic. This date featured Anthony Braxton, Andrew Cyrille, Bennie Maupin, Jeanne Lee, and Chick Corea, among others. In 1973, he cut his second Impulse! session, Geechee Recollections, with Leo Smith. Brown registered at Wesleyan University in the mid-'70s, studying ethnic instruments and black fife-and-drum corps music and maintained a regular recording schedule. He also recorded with Gunter Hampel in the late '70s and '80s, as well as composer Harold Budd on his Pavilion of Dreams album (issued on Brian Eno's Obscure label), Steve Lacy in 1985, Mal Waldron in 1988, and many others. There are numerous duet and solo recordings that may or may not be sanctioned. Due to health problems, Brown didn't record after 1992. After the turn of the millennium he lived for a while at a New York nursing home before moving to an assisted living facility in Florida. Marion Brown died in October of 2010. ~ Thom Jurek

Live in Japan

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Boilermaker Jazz Band - Nice Work If You Can Get It

Styles: Jazz
Year: 2011
Time: 66:23
File: MP3 @ 320K/s
Size: 153,6 MB
Art: Front

(3:16) 1. Nice Work If You Can Get It
(3:11) 2. My Baby Just Cares For Me
(3:31) 3. If I Love Again
(3:05) 4. Rosetta
(4:23) 5. That Old Feeling
(3:03) 6. S'wonderful
(3:40) 7. Something To Remember You By
(4:12) 8. I Can Dream Can't I
(3:05) 9. I May Be Wrong
(3:33) 10. I Hadn't Anyone Til You
(3:00) 11. Little White Lies
(2:48) 12. What Is This Thing Called Love
(2:56) 13. Falling In Love With Love
(3:54) 14. Under A Blanket Of Blue
(3:51) 15. Til There Was You
(2:57) 16. Dancing On The Ceiling
(4:39) 17. Don't Blame Me
(2:35) 18. Get Happy
(4:36) 19. Pure Imagination

The hot sounds of the jazz age come alive with the Boilermaker Jazz Band! Led by Paul Cosentino on clarinet, this acclaimed group serves up swinging renditions of jazz classics and rarities through superb instrumentals and heartfelt vocals. With their unique brand of musical Americana and hot jazz revelry, the Boilermakers bring the party to you! This fun, professional band has been making music and memories for more than 25 years! The Boilermaker Jazz Band is joined by 3 guest artists: Joe Negri on guitar, Jon Erik Kellso on Cornet and Michael Hashim on Alto Sax for a great collection of swinging tunes!

Nice Work If You Can Get It

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Laura Anglade - I've Got Just about Everything

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 47:49
Size: 110,5 MB
Art: Front

(3:58) 1. A Beautiful Friendship
(3:43) 2. Change Partners
(4:37) 3. Easy Way Out
(5:20) 4. Spring Can Really Hang You up the Most
(4:07) 5. Imagination
(4:23) 6. I've got just about everything
(4:38) 7. June's a word
(5:25) 8. I'm glad there is you
(3:03) 9. Dearly beloved
(4:20) 10. Exactly like you
(4:09) 11. Three little words

The Laura Anglade Quintet’s debut recording is entitled ‘I’ve Got Just About Everything’. “This record is a collective effort,” explains Anglade, “We are always setting new goals as a band and challenging and learning from each other. I think the key is a shared level of humility and desire to do this music justice. With the exception of Easy Way Out, this record is our take on lesser-known standards outlining the tradition. Branching out from the quintet’s combined influences, on top of the carefully thought out melodies, I truly believe that these tunes offer themes and experiences that are indeed timeless.Music creates a safe space for self-digging by freeing the listener to approach it without constraints.I find truth in every lyric,and I think that every generation can too.
https://lauraanglade.bandcamp.com/album/ive-got-just-about-everything

I've got just about everything

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Kenny Drew Trio - Lullaby of Birdland

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 49:21
Size: 114,1 MB
Art: Front

( 6:21) 1. Lullaby of Birdland
(10:04) 2. It Might as Well Be Spring
( 3:38) 3. The Summer Knows
( 5:50) 4. Django
( 4:32) 5. The Gentle Rain
( 3:28) 6. My Ship
( 3:19) 7. On Green Dolphin Street
( 7:31) 8. God Bless the Child
( 4:33) 9. On a Slow Boat to China

American pianist Kenny Drew (1928-1993) moved to Copenhagen, Denmark, in 1964. Although he may have somewhat faded from the radar of American jazz fans, he had a fantastic career in Denmark and was beloved by European and Japanese jazz fans. In the late 1970s and 1980s, Drew's popularity in Japan grew to incredible heights when he began recording for Japanese labels such as Baystate and Alpha under a partnership with Japanese producer Makoto Kimata.

To commemmorate the 20th anniversary of Drew's passing, a very special series was launched in Japan in 2013, with a release of previously unpublished materials recorded for the two labels between 1972 and 1992. They are alternate takes and takes that did not make onto the original albums released in this period. Danish super-bassist Niels-Henning Orsted Pedersen held the bass chair throughout, and the drummer is either Ed Thigpen, a fellow American expat who had settled in Copenhagen, or Alvin Queen.

It is quite amazing to hear the consistently high quality of these "outtakes" and to realize that there is enough material to fill 15 CDs in this series. Actually, many these "outtakes" tend to be more exciting than those takes that made the original albums. They may have been "cut" because they were slightly rough around the edges, but perhaps they were played with more freedom, abandon, and adventurous spirit. Very highly recommended to fans of Kenny Drew and piano trio jazz! Release produced by Makoto Kimata. Recorded 1978-1992.http://www.eastwindimport.com/product-info.asp?CategoryName=Pony+Canyon&ProductID=3200

Personnel: Kenny Drew (piano); Niels-Henning Ørsted Pedersen (bass); Ed Thigpen (drums); Alvin Queen (drums)

Lullaby of Birdland

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Lothar Kosse - Rainmaker

Styles: Guitar
Year: 1999
File: MP3@320K/s
Time: 52:26
Size: 121,0 MB
Art: Front

(3:50) 1. World Of Wonders
(5:29) 2. When God Comes To Town
(5:04) 3. Sons Of Asaph
(6:56) 4. Rainmaker
(5:52) 5. Fall On Me
(4:06) 6. ZooZoo
(6:09) 7. Walk On Water
(4:42) 8. When I See You
(5:25) 9. Boom
(4:47) 10. Little Big One (Song for Simon)

Lothar Kosse studied popular music in Hamburg and then completed another degree in architecture at the University of Hanover, which he graduated with a diploma in 1987.

Kosse has worked on many musical projects over the course of his career as a musician and has released numerous solo albums. He is particularly well known in Christian circles and his songs are part of contemporary Christian culture in Germany. As a guitarist, arranger, composer and producer he has contributed to over three hundred CDs.

In 1996 Lothar Kosse founded the “Cologne Worship Night”, a music event that takes place regularly in the Cologne scene club “E-Werk” or at various open-air locations (e.g. in front of Cologne Cathedral). Kosse's music is shaped by his guitar playing and singing. Stylistically, he moves between rock, pop and blues.https://second.wiki/wiki/lothar_kosse

Rainmaker

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Sylvia Brooks - Restless

Styles: Jazz
Year: 2012
Time: 49:02
File: MP3 @ 320K/s
Size: 112,7 MB
Art: Front

(4:50) 1. 'Round Midnight
(4:40) 2. Boulevard of Broken Dreams
(4:17) 3. You Go To My Head
(4:19) 4. Trouble
(4:33) 5. Last Tango
(4:14) 6. Be Cool
(4:58) 7. Blue Alert
(3:45) 8. Blues In the Night
(3:49) 9. You're My Thrill
(4:27) 10. Stormy Weather
(5:06) 11. I'm a Fool To Want You

Part the curtains and turn on the Klieg lights for singer Sylvia Brooks, whose second album, Restless, has the widescreen scope and orchestral sweep of a theatrical production. In fact, the record has the overall feel of a soundtrack for a film yet to be made. However, the kind of Hollywood movie this music recalls is certainly not of modern origin; rather, Brooks is paying homage to the film noir classics of the '40s and '50s. In terms of her image alone, Brooks certainly plays the part well; the CD case is enveloped in femme fatale imagery, capitalizing on her sultry looks but also experimenting with light and shadow to strike a black and white atmosphere. The visual element of the album is significant because it adds layers of mystery to the songs presented, placing these covers in a refreshingly pulpy context. Co-producers Brooks, Jerry Bergh and saxophonist Kim Richmond were certainly aware of the cinematic direction the songs were taking, as the opening "'Round Midnight" initially unfolds with ambulance sirens. The tune is given a James Bond kick as Brooks' larger-than-life voice recalls the booming soul of Shirley Bassey. The music sounds big, too, enveloping the speakers with its soaring horns and pounding drums. By the second cut, "Boulevard of Broken Dreams," Brooks plumbs the emotional depths of the material; there is a plaintive romanticism to her vocal work here that is absolutely dazzling. While many other jazz singers are reluctant to expand their range, Brooks shows remarkable courage in continually pushing herself. The boldly self-confident swagger of "You Go to My Head" is miles apart from the heartbroken fragility of "Boulevard of Broken Dreams"; nevertheless, Brooks doesn't lose any sharpness in her stylistic shifts. The quirky stop-start rhythms of "Trouble" may seem out of place from the lush, rain-swept balladry on the record. That's probably because it's not really jazz; the song is an original from Over the Rhine, first heard on The Trumpet Child (Great Speckled Dog, 2007), and echoes CIncinatti duo's alt-rock sensibilities. The gorgeous "Blues in the Night" is, on the other hand, more characteristic of the record's moody crooning. For an independent project, Restless is certainly ambitious; this is no paint-by-numbers jazz vocal showcase, but a fully realized movie score. ~ Jim Olin

Personnel: Sylvia Brooks: vocals; Rich Eames: piano; Jeff Colella: piano; Kevin Axt: bass; Chris Colangelo: bass; Kendall Kay: drums; Steve Hernandez: percussion; Brian Kilgore: percussion; Harry Scorzo: violin, bass violin; Jeff Gauthier: violin; Jamey Havorka: trumpet; George McMullen: trombone; Kim Richmond: saxophone; Alex Budman: saxophone; Ron Kolina: harmonica.

Restless

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Miles Davis - Miles! Miles! Miles! (Live in Japan)

Styles: Trumpet Jazz
Year: 1981
File: MP3@320K/s
Time: 74:56
Size: 161,1 MB
Art: Front

(20:18) 1. Back Seat Betty
( 2:01) 2. Ursula
(15:44) 3. My Man's Gone Now
(12:19) 4. Aida
(12:59) 5. Fat Time
(11:33) 6. Jean-Pierre

Issued in Japan in 1992, a year after Miles' death, this is the complete Tokyo concert from which "Jean-Pierre" was selected for Columbia's We Want Miles album. Ultimately, it adds corroborative detail to the most publicized comeback in jazz history without revealing any startling new facets. The repertoire is a bit different than on the Columbia release; the selections run together in two continuous medleys. "Back Seat Betty," a two-minute "Ursula," "My Man's Gone Now" and "Aida" ("Fast Track") form the first set, and "Fat Time" and "Jean-Pierre" are heard in the second.

The then-frail trumpeter is obviously still groping his way back to form, sounding particularly tentative on "Back Seat Betty," but his vulnerability adds pathos to the reworking of "My Man's Gone Now." His young jazz-funk-rock band, though, is strong and tightly-rehearsed, having settled in after the first few months of Miles' comeback concerts. Guitarist Mike Stern sets the pace for all future Davis guitarists with his rapid-fire metallic crunching, Bill Evans contributes pertinent, if somewhat generic statements on soprano and tenor; drummer Al Foster is adept in funk and straight-ahead styles; and bassist Marcus Miller and percussionist Mino Cinelu fill out the sound. Why this expensive import was issued on two discs when its 75-minute length would easily fit on one is a conundrum that only Sony's accountants can explain.
~Richard S.Ginellhttps://www.allmusic.com/album/miles%21-miles%21-miles%21-live-in-japan-81-mw0000421169

Personnel: Miles Davis – trumpet; Marcus Miller – bass; Bill Evans – soprano saxophone; Mike Stern – guitar; Al Foster – drums; Mino Cinelu – percussion

Miles! Miles! Miles! (Live in Japan)

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Larry Coryell - Live At The Sugar Club - Dublin, Ireland 2016 (Live)

Styles: Guitar
File: MP3@320K/s
Time: 109:30
Size: 251,4 MB
Art: Front

( 0:13) 1. Dar Introducing
(10:32) 2. Bag's Groove
( 1:26) 3. Larry Speaks
(11:33) 4. In Your Own Sweet Way
( 1:10) 5. Larry Speaks 2
( 9:47) 6. In A Sentimental Mood
( 9:38) 7. Good Citizen Swallow
( 0:56) 8. Larry Speaks 3
( 4:38) 9. A Hundred Years
( 8:25) 10. Alone Together
(10:01) 11. Someday My Prince Will Come
( 7:24) 12. Bumpin' On Sunset
( 6:50) 13. Have You Met Miss Jones
( 8:50) 14. The Dragon Gate
(12:15) 15. Our Love Is Here To Stay / Bolero
( 5:46) 16. Morning Of The Carnival

Larry Coryell: Guitar virtuoso, performer and composer of jazz and jazz- rock. Master of guitar improvisation, known in the jazz world as the “Godfather of Fusion”. Larry’s highly acclaimed improvised guitar stylings and compositions positioned him as one of the first innovators of the jazz-rock fusion movement in the late 1960’s. A true legend and well established in the history books of jazz music, Larry knew and played with many of the well known jazz and rock greats of the 20th and 21st Centuries such as Jimi Hendrix, Eric Clapton, Chet Atkins, Chico Hamilton, Gary Burton, Chick Corea and Miles Davis. Larry’s “Last Swing in Ireland” was his last visit to the Emerald Aisle and he made a lasting impression at Hellfire Studios and The Sugar Club with his favorite Irish rhythm section, Kevin Brady and Dave Redmond in May of 2016. They rock and they swing and everything in between. https://punktofunkheaven.co.uk/products/live-at-the-sugar-club-dublin-2016-by-larry-coryell-compact-disc-double-sjpcd648

Live At The Sugar Club - Dublin, Ireland 2016 (Live)

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Paul Bley, Tiziana Ghiglioni - Lyrics

Styles: Jazz
Year: 1991
Time: 52:14
File: MP3 @ 320K/s
Size: 120,3 MB
Art: Front

(4:38) 1. Beginning
(3:50) 2. Long Ago (And Far Away)
(3:05) 3. Close
(5:55) 4. Don't Blame Me
(4:10) 5. Clime
(5:53) 6. Yesterdays
(4:19) 7. Current
(5:09) 8. Lover Man
(4:56) 9. Soulful
(5:09) 10. The More I See You
(5:03) 11. Ending V

Recorded in 1991, this disc gorgeously assembles two of the most lyric "voices" on one CD, Canadian pianist Paul Bley and Italian chanteuse Tiziana Ghiglioni, performing solo and duet in a series of originals and standards. Of the 11 tunes, Bley composed six, all of which are piano solos, which serve as preludes or postludes --depending on your point of view -- to the duets on the standards by Kern, Gershwin, Dorothy Fields/Jimmy McHugh, etc. Bley's compositions are all lyric songs, or songs without lyrics that follow a conventional form and are adorned by his usual lush pointillism. From "Beginning" to "Clime" to "Soulful," Bley digs very deep for the melodic invention only he can put across, stringing lines of arpeggios next to open mode chords and tying them together in a chromaticism of his own design. His triplets give way to staggered ninths and flatted fifths before working themselves out in a lyric line that is as complex as it is stunningly beautiful. As for the duets with Ghiglioni, she proves Bley's perfect foil -- especially on tunes like Gershwin and Kern's "Long Ago and Far Away." Ghiglioni allows the song to come through her voice; she has no need to "make it her own" by taming or twisting it to fit her oracular talent. She allows Bley to bring her the changes and she takes the melody elegantly, letting it come from her mouth as a song, not a vehicle for vocal stylishness. The same goes for "Lover Man," one of the finest versions ever recorded: As she allows the lyric to drip from her emotions and not vice versa, Bley picks it all up and polishes the tune, as the singing needs no assistance. The final duet, "The More I See You," is a revelation in symbiotic musicianship. Ghiglioni just barely anticipates Bley's line as he holds back a fraction of a second to change the shape of his chord voicing to highlight the depth and dimension in Ghiglioni's singing. The song becomes not a sentimental piece of jazz' nostalgic past, but a living, breathing hymn to longing. And you can't ask for more than that. ~Thom Jurek

Lyrics

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Roberto Rabosio - Rudimental Sound

Styles: Jazz Fusion
Year: 2020
File: MP3@320K/s
Time: 40:06
Size: 92,5 MB
Art: Front

(4:56) 1. Theory Book
(4:24) 2. Play on It
(5:30) 3. In Memory
(5:34) 4. The Bear Tower
(5:33) 5. Hanging Bicycle
(4:23) 6. National Road 36
(5:30) 7. The Valley of Time
(4:13) 8. Mountain Village

Born in Milan on 27/2/1959 at the age of 14, the first group "Inferno Canto primo" mainly based on progressive rock and jazz rock in the company of Roberto Muru, Rosario Santagata and the late Paolo Davola. In that particular period (1975) I was very fascinated by Giulio Capiozzo of the "Area" imitating his setting (as far as I could) and I was passionate about the study of multi-composited rhythms to then discover and search for all the great jazz drummers and Fusion.

Thanks to my friend Mauro Garavello I began to study at the "Capolinea" with maestro Enrico Lucchini, legend in the field of national jazz music teaching. Between the end of the 70s and the early 80s I try a rock experience and then Fusion with other friends including Claudio Asquini, Danilo, Nico Napolitano, Luciano Casazza, Stefano Doro, Claudio Stabile, faithful friend and percussionist. In the same period the Time Limit fusion band comes to life with Roberto Muru, Stefano Doro, Claudio Stabile, Stefano Borroni, Adelmo and Bruno Costanzi and on some occasions Beppe Pini and Nicolò Fragile.

In the second half of the 80s to mid 2020 my experience began with the Jazz Fusion Milano XX Century project founded by Roberto and Maurizio Capitanio with Stefano Doro, Alessandro Fasola, Shah Bellati Replaced by Claudio Stabile and Davide Radice. Currently, in addition to playing drums, I also dedicate myself to composition and musical collaborations with various musicians in the world underground jazz fusion scene.Translate by Googlehttps://www.allaboutjazz.com/musicians/roberto-rabosio

Rudimental Sound

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Frank Catalano - Live At Birdland

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 73:08
Size: 168,7 MB
Art: Front

(12:36) 1. Cold Duck Time
(11:41) 2. Birdland At Midnight
( 6:37) 3. He Never Sleeps
( 8:28) 4. Love Will Tear Us Apart
(13:25) 5. Mister MC
(10:01) 6. Things Ain't What They Used To Be
(10:16) 7. Mundo Espiritual

In 2022, Legendary Saxman Frank Catalano will be touring the USA, Europe and Asia extensively as well as releasing a collection of recordings from his many performances at New York’s legendary Birdland Jazz Club. These recordings feature Herbie Hancock Headhunters alum Mike Clark and will be Frank’s 5th album on the Ropeadope label. A documentary was made about Frank by Belgian director Colin Donner. The film is titled “Sugar Jazz” and will premiere at the Tokyo Liftoff Film Festival.

“Tokyo #9” debuted at #1 on the Billboard Traditional Jazz Charts, has garnered millions of streams and topped the Spotify and Apple Music playlists. “Love Supreme Collective” debuted at #1 on the iTunes Jazz Charts and honors John Coltrane. Frank recorded “Bye, Bye, Blackbird” with David Sanborn and teamed up with Jimmy Chamberlin of The Smashing Pumpkins to release “God’s Gonna Cut You Down”. Frank’s Savoy/Columbia recording “Bang!” debuted at #12 on the Billboard Jazz Charts, while his recording, “Mighty Burner” was on the Billboard Charts for 20 straight weeks.

When Frank was 18, he signed to Delmark Records and did a string of critically acclaimed recordings with Randy Brecker, Von Freeman, Ira Sullivan, Willie Pickens, and Paul Wertico amongst others. Frank’s co-led album with Von Freeman, “You Talking To Me,” has become a cult classic. Catalano is the only known saxman to have performed with Miles Davis, Charles Earland, Elvin Jones, Junior Wells, Randy Brecker, Stan Getz, Betty Carter, Tito Puente, Tony Bennett, Les Claypool, and Louis Bellson while still in high school!

Frank has been profiled by countless media including: The New York Times, Forbes, Downbeat, CMJ, JazzIz, Jazz Times, NPR, PBS, Chicago Tribune, Huffington Post, etc. As a sideman, Catalano has been heard by millions of people thanks to his collaborations with Jennifer Lopez, Beyoncé, Maurice Joshua, Destiny’s Child, John Legend, Tony Bennett, Seal, and others.

Frank has received his fair share of accolades, recently winning an IMA award at Lincoln Center and being inducted into the Fox Valley Arts Hall of Fame. He has appeared on 3 Grammy-winning and 11 Grammy-nominated recordings, plus in 2007 he received a Tech Grammy Award as part of the Yamaha Corporation for his numerous patents and developments. He was also the youngest saxophonist to be voted into the Downbeat Critics Poll at age 19.

No stranger to adversity, Frank cut off his right middle finger in an automobile accident. After several surgeries and much effort, Catalano relearned his signature technique, making him one of the most in-demand musicians today. He regularly donates his musical services to the Susan G. Komen Breast Cancer Foundation, Peoples Music School, and Off The Street Club.

Catalano loves composing music and holds a BA in Classical Composition from De Paul University. Frank is the spokesperson for Drambuie Scotch and has a signature cocktail named after him, “The Catalano Sidecar”, which has been trademarked and is featured at hundreds of clubs and music venues. Frank owns hundreds of vintage saxophones and is on the Board of Directors for the National Saxophone Museum in St Louis. Frank and his wife Sona split their time between their homes in Chicago and New York. https://www.jazznearyou.com/madison/frank-catalano-quartet-tour-celebrating-the-release-of-new-album-live-at-birdland-at-19-00-on-may-15

Personnel: Frank Catalano on sax; John Roothaan on piano; Greg Geary on Bass; Kurt Lubbe on drums

Live At Birdland

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Sylvia Brooks - Signature

Styles: Vocal
File: MP3@224K/s
Time: 38:32
Size: 62,7 MB
Art: Front

(3:27) 1. Your Heart is as Black as Night
(4:46) 2. Catch 22
(4:18) 3. Red Velvet Rope
(3:55) 4. Over and Done
(3:47) 5. The Boy That Lived There
(3:34) 6. Sixteen
(3:59) 7. The Flea Markets of Paris
(4:26) 8. Holding Back Tears
(6:16) 9. Boogie Street

Since her captivating debut in 2009, jazz vocalist Sylvia Brooks has displayed a gift for inhabiting different personas, with a subspecialty in film- noir inspired femmes fatale. On this - Signature (Rhombus Records) - her fourth album, she embraces the most challenging role of all, defining herself with a set of beautifully crafted original songs.

Her evocative lyrics and emotionally direct delivery imbue the music with hard-won authenticity. Whether looking back with wry affection on her walk-on-the-wild-side youth or lamenting a lost love, Brooks brings bracing honesty and poise to the material.

Artistically, she is collaborating with Southern California's most creative accompanists: ace pianists Tom Ranier, Jeff Colella, and Christian Jacob designed beguiling, harmonically rich settings for her incisive lyrics. The stellar rhythm section tandem of drummer Ray Brinker and bassist Trey Henry appear on almost every track. Also featuring cellists John Waltz, lead cellist for The Los Angeles Opera Company, Stephanie Fife and Mike Kaufman.

Highlights include the cautionary tale "Red Velvet Rope" which is set to a sensuous Latin groove by cuatro master Kiki Valera, scion of a legendary Cuban musical clan. And she sways through swingtown, from the witty "Catch 22" to the passionately romantic "The Flea Markets of Paris." The two songs she includes by other artists, Melody Gardot's bluesy, organ-driven "Your Heart Is as Black as Night" and the Leonard Cohen/Sharon Robinson erotic lament "Boogie Street" seem to raise the temperature of her own work. This album marks a quantum leap reflecting years of concentrated effort.
https://www.broadwayworld.com/bwwmusic/article/SingerSongwriter-Sylvia-Brooks-Releases-Signature-20220602

Signature

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Frank Kimbrough Trio - Lonely Woman

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 60:58
Size: 139,9 MB
Art: Front

( 7:28)  1. Northwest
( 4:54)  2. Lonely Woman
( 7:44)  3. House Party Starting
( 8:27)  4. 727
( 4:13)  5. Falling Waltz
(10:36)  6. The Peacocks
( 5:34)  7. Pete & Repete
( 6:39)  8. 20 Bars
( 5:21)  9. Lonely in London

One of Frank Kimbrough's strong points has been his flexibility. The acoustic pianist can play with the crystalline elegance of Bill Evans and Keith Jarrett, but he's also quite capable of taking it "outside" and acknowledging the avant-garde contributions of Cecil Taylor and Marilyn Crispell. Kimbrough generally favors "inside" post-bop playing on Lonely Woman, an impressive trio date featuring bassist Ben Wolfe and drummer Jeff Williams. This threesome played around New York's Greenwich Village regularly in the late 1980s, and their strong rapport was a definite advantage when they entered the studio in 1988 to record this album. 

Kimbrough is at his most poetic and Evans-minded on Jimmy Rowles' "The Peacocks" and Wolfe's melancholy "Lonely In London," but things become very angular and abstract on Herbie Nichols' "House Party Startin'" and Wolfe's "Pete And Repeat." Also quite impressive is Kimbrough's haunting, introspective take on Ornette Coleman's "Lonely Woman." This CD is clearly among the pianist's finest achievements.~Alex Henderson http://www.allmusic.com/album/lonely-woman-mw0000177601

Personnel:  Piano – Frank Kimbrough;  Bass – Ben Wolfe;  Drums – Jeff Williams

Lonely Woman

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The Frank Kohl Quartet - Reform

Styles: Guitar Jazz
Year: 1981
File: MP3@128K/s
Time: 39:27
Size: 37,0 MB
Art: Front

(4:43) 1. All in Time
(5:49) 2. I Know I'll See You Again
(6:02) 3. Fall Again
(4:10) 4. Seagate
(5:46) 5. Reform
(4:22) 6. Folk Song
(5:31) 7. Island Song
(3:00) 8. Until We Meet Again

Jazz Guitarist, Frank Kohl was born and raised in the NYC metro area. He began playing guitar at age 7. He started his journey into jazz by joining his award winning high school jazz band. Musicians such as: Wes Montgomery, George Benson, Pat Martino and Jim Hall were milestones along the way of his musical development. One of his greatest influences was at a jazz club in NY called Rapsins. Here he could listen to uncompromised, cutting edge jazz of the highest level with musicians like: Linc Chamberlin- guitar, Lyn Christie- bass, Dave Liebman- sax. Later Frank became A student of Linc and soon he was performing with Lyn Christie.

"I remember around this time going to see Tony Williams Lifetime with John McLaughlin and organist Larry Young. My idea of what jazz was forever changed. I knew then that anything was possible in jazz"

In 1972 Frank attended Berklee College of Music and graduated in 1976 with honors. Students and teachers at that time in Berklee were: John Scofield, Pat Metheny, Steve Swallow and Gary Burton. After Berklee, Frank moved back to NY and performed professionally. In 1981, he released first LP "Reform" The Frank Kohl Quartet featuring Bassist Michael Moore. Around 1983 Frank moved to the San Francisco Bay area and performed his music for years And became a member of Don McCaslin Sr's band Warmth.

In 1990 Frank moved to Seattle where he lives today performing at NW jazz clubs such as: Tula's, Boxley's, Egan's, The Jazz Station.Frank also spends time in NY recording and performing at clubs like Small's, The Metropolitan Room, The Bean Runner.

In 2008 Frank recorded his second CD, "Coast to Coast" The Frank Kohl Quartet in NY with brother and pianist, Tom Kohl. It received rave reviews from Cadence Magazine, All About Jazz, Mike Stern, to name a few. In 2013 Frank recorded his 3rd CD, "Invisible Man" The Frank Kohl Quartet on Pony Boy Records featuring NY bassist Steve LaSpina.

Members of Frank's quartet vary, in Seattle you can hear him with: Bill Anchell, John Hansen, Jeff Johnson, Steve Luceno, Matt Jorgenson, Greg Williamson and others. In NY: Steve LaSpina, Tom Kohl, Steve Roane, Jon Doty And others.https://frankkohl.com/bio

Reform

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Charles Mingus - The Lost Album From Ronnie Scott's

Styles: Bop, Post Bop
File: MP3@320K/s
Time: 145:32
Size: 334,2 MB
Art: Front

( 1:01) 1. Introduction
(30:44) 2. Orange Was The Color Of Her Dress (Then Silk Blues)
(19:52) 3. Noddin' Ya Head Blues
(29:57) 4. Mind-Reader's Convention In Milano (Aka Number 29)
( 0:44) 5. Ko Ko (Theme)
(35:00) 6. Fables Of Faubus
( 7:35) 7. Pops (When The Saints Go Marching In)
(18:33) 8. The Man Who Never Sleeps
( 2:02) 9. Air Mail Special

After the emotional and economic bankruptcies of the late 1960s that nearly took him out of the picture entirely, 1972 broke well for Charles Mingus. He had re-signed with Columbia and delivered the revered Let My Children Hear Music. (He would, a year later, be part of the great Clive Davis jazz purge of 1973 which included Keith Jarrett, Bill Evans, and, some argue Ornette Coleman.) Grants and commissions were coming in and his music, in all its bold, gnarly, swooning vehemence, was being performed far and wide. His irascible, erotic, and essential autobiography, Beneath the Underdog, had finally been published. More and more, Sue Mingus was becoming the edifying force in his life, a beacon for his health, his creativity, his business. Most importantly, as first evidenced by Charles Mingus And Friends In Concert (Columbia, 1972) it was all coming together for him onstage.

Even though his multiple demons (all the usual human foibles but magnified by genius) were never too far from the forefront of his garrulous self, history, while it often casts shade on even our most beloved icons, has been kind to Mingus. He's recognized in the same breath as Duke Ellington, Charles Ives, and Claude Debussy. Now, just in time for a loud and rowdy celebration of his 2022 centennial (April 22) and Record Store Day (April 23) another very sweet slice of history is heard gloriously on The Lost Album from Ronnie Scott's.

Why it takes fifty years for music of this muscle and magnitude to be released is just one of the great eternal questions, but here it is so let's rejoice. Fully authorized by Jazz Workshop, Inc., and given the full Resonance Records grand treatment: interviews with Charles McPherson, Eddie Gomez, Christian McBride; anecdotes from Mary Scott, Sue Mingus, and Fran Lebowitz, as well as archival and production liner notes. But it's the music that spins the head, spikes the pulse, and whips the carpet out from under one. It's what Mingus would want.

So it's the two nights in August at the end of a successful European run and the players are in flux but wasn't flux at the crux of Mingus' most inspired moments? Nineteen year old trumpeter Jon Faddis was not only trying to hone his young brilliance, he was trying to do so through the Mingus maze. Little known pianist John Foster succeeds Jaki Byard and drummer Roy Brooks has taken over for Mingus stalwart Dannie Richmond, who left to soak in some short lived pop rock with Mark Almond Band. It begins as most great jazz moments do. Immediately. Ronnie Scott intros the sextet. Mingus rumbles a happy birthday, thanks the audience for letting their claps be recorded, and it's off to the races with the unapologetic zest and swagger of "Orange Was the Color of Her Dress, Then Silk Blues," a full half hour of stunning, multi-part alchemy. Foster proves he's up to the task, keeping up with the turns and tides precipitated by alto saxophonist Charles McPherson and his tenor counterpart, Bobby Jones.

Variation upon variation. Creation on the fly. "Ysabel's Table Dance" (one of the many glories from Tijuana Moods (RCA, 1962) knits in and out of the general creative mayhem. There's some church, some New Orleans, some breakdowns and fanfares. Faddis and Foster, with Jones on soprano sax, hold court, hand off. Mingus guides and goads. It's an unstoppable momentum that moves into a burly bass solo intro "Noddin' Ya Head Blues" a slow, low down blues that brings Foster to the vocal forefront telling his woman "I need it every morning, I need it every night" as the horns slink and slur. So expansive is the setting that Brooks gets a musical saw solo, as well he should.

Spoiler alert: From here The Lost Album from Ronnie Scott's just gets better and better. Cascading for another riotous half hour, the recently minted Mingus twister "Mind-Readers' Convention in Milan" puts one and all to the test and just can't be described with any real justice. It needs to be heard. It needs to be experienced.

Though by its very nature any jazz moment can be considered one of kind, the barely contained madcappery that ensues in this truly one-for-the-ages performance of the seismic "Fables of Faubus" is the stuff of legend. It noodles, it sprawls, it quarrels. It reaches for the London skies and returns to the stage with ether to burn. Mingus roils as Faddis blows beyond his years, the saxophones cut and weave, Foster veers from stride to barroom to bop and Brooks drives headlong into the hijinks. In a word, remarkable. Ditto The Lost Album from Ronnie Scott's.~Mike Jurkovic https://www.allaboutjazz.com/the-lost-album-from-ronnie-scotts-charles-mingus-resonance-records__7280

Personnel: Charles Mingus: bass, acoustic; Charles McPherson: saxophone, alto; Bobby Jones: saxophone, tenor; Jon Faddis: trumpet; John Foster: piano; Roy Brooks: drums.

The Lost Album From Ronnie Scott's

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Deanne Matley - The Alberta Lounge (Hommage Oscar Peterson)

Styles: Vocal
File: MP3@320K/s
Time: 41:09
Size: 94,3 MB
Art: Front

(3:34) 1. The Alberta Lounge
(4:08) 2. Mas que Nada
(5:10) 3. I Cant Give You Anything But Love
(3:54) 4. Gee Baby Ain I Good To You
(3:46) 5. Merci Pour Ça (Je Ne Sais Pas)
(5:06) 6. The Land Was White (When Summer Comes)
(3:02) 7. How Come You Do Me Like You Do
(3:53) 8. If You Were Here Today
(3:25) 9. Tristeza
(5:05) 10. Hymn To Freedom

Welcome to The Alberta Lounge, where National treasure Oscar Peterson was discovered in Montreal. Alberta, the province where Deanne grew up and started her full-time music career ten years ago!

Inspired by the great Canadian jazz legend, The Alberta Lounge features two new tunes of Deanne's ("The Alberta Lounge" and "If You Were Here Today"). She also made sure to include two of Oscar's originals, the haunting ("Hymn To Freedom") and tender ballad ("When Summer Comes"). The rest were chosen from his vast repertoire, such as Lionel Hampton and Jeri Jones's tune ("Je ne Sais Pas,") for which Deanne had the utmost honour of writing original French lyrics. The album also has a remarkable jazz-funk cover of Jorge Ben Jor's ("Mas Que Nada" ), which Deanne sings in Portuguese and adds vocal harmonies for extra fun.

Deanne recruited some of Montreal's premier jazz talent for the project, including pianist Taurey Butler, bassist Morgan Moore, and drummer Richard Irwin. Also guesting on the album are long-time Canadian pals pianist Paul Shrofel and guitarist Steve Raegele.

Throughout, Deanne shines as a first-rate vocal stylist. Her contemporary style is still deeply rooted in the jazz tradition but is unafraid of pushing the envelope. This anniversary album is a dedication to all Canadians. To quote Oscar, "People are Canada's greatest resource."https://deannematley.bandcamp.com/album/the-alberta-lounge-lp

Personnel: Deanne Matley - Vocals; Taurey Butler - Piano; Morgan Moore - Bass; Richard Irwin - Drums; Paul Shrofel - Piano; Steve Raegele - Guitar

The Alberta Lounge (Hommage Oscar Peterson)

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Gene Bertoncini With Bill Charlap & Sean Smith - Gene Bertoncini

Styles: Guitar And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 77:59
Size: 180,2 MB
Art: Front

( 8:28)1. Japanese Maple
(9:39) 2. Medley; Lullaby Of The Leaves/Summer Night
(9:45) 3.Ellington,StrayhornMedley; Lush Life/Chelsea Bridge/In A Sentimental Mood
( 9:34)4. Dream Dancing
(10:10)5. You Can't Go Home
( 9:42)6. Emily
( 9:30)7. My Funny Valentine
(11:07)8. Medley; Sophisticated Lady/ All The Things You Are

The Floating Jazz Festival, organized by Chiaroscuro owner Hank O'Neal, has produced many outstanding live sessions, this trio date takes its place among the very best. Not satisfied with just tackling familiar standards, guitarist Gene Bertoncini's group opens with bassist Sean Smith's captivating ballad "Japanese Maple." The leader's classically flavored arrangement of "My Funny Valentine" is refreshing. Several tracks are devoted to long but well played medleys. Pianist Bill Charlap rounds out this outstanding trio, whose playing throughout seems to have mesmerized the audience into devoted silence, less they miss a moment of music. ~ Ken Dryden http://www.allmusic.com/album/gene-bertoncini-mw0000047219

Personnel:  Bill Charlap (piano), Gene Bertoncini (guitar), Sean Smith (bass).

Gene Bertoncini

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