Cyrus Chestnut, Renee Rosnes, George Mraz, Billy Drummond - Tribute To Duke Ellington

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 67:04
Size: 153,7 MB
Art: Front

(4:16)  1. C Jam Blues
(4:39)  2. Satin Doll
(7:49)  3. In A Sentimental Mood
(7:56)  4. Take the a Train
(7:57)  5. Angelica
(7:16)  6. Mood Indigo
(4:26)  7. Don't Get Around Much Anymore
(4:55)  8. The Star Crossed Lovers
(4:44)  9. Come Sunday
(6:58) 10. Caravan
(6:04) 11. Lotus blossom

An adept jazz pianist, Cyrus Chestnut balances his lithe technical skill with a robust, soulful style that speaks to his deep gospel roots and love of swinging hard bop. A native of Baltimore, Maryland, Chestnut first studied piano with his father at the age of five, with official lessons beginning two years later. By the age of nine, he was enrolled in the prep program at the Peabody Institute. He graduated from Berklee with a degree in jazz composition and arranging. Chestnut took his time, working with a number of top-notch musicians (Jon Hendricks, Betty Carter, Terence Blanchard, and Donald Harrison) before finally recording his first solo CD at the age of 30. His initial dates as a leader were recorded for the Japanese label Alfa (reissued on Evidence), and he became an Atlantic artist in 1994. 

A self-titled LP followed in 1998, with Tribute to Duke Ellington following a year later. In subsequent years, Chestnut remained busy, releasing Charlie Brown Christmas in 2000, the all-original Soul Food in 2001, You Are My Sunshine in 2003, Genuine Chestnut in 2006, and Cyrus Plays Elvis in 2007. The following year, he released Black Nile on Japan's M&I label. In 2013, he delivered the hard bop-infused Soul Brother Cool, which featured trumpeter Freddie Hendrix. The following year, he showcased his trio on the concert album Midnight Melodies, recorded live at Smoke in New York City. In 2015, Chestnut released his debut album for HighNote, the trio effort A Million Colors in Your Mind, which featured backing from bassist David Williams and drummer Victor Lewis. https://itunes.apple.com/br/artist/cyrus-chestnut/id157212#fullText

Personnel:  Cyrus Chestnut - Piano (Tracks 2, 4, 6, 7 and 9);  Renee Rosnes - Piano (Tracks 3, 5, 8, 10 and 11);  George Mraz – Bass;  Billy Drummond - Drums

Tribute To Duke Ellington

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Gene Ammons - Dig Him!

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 41:16
Size: 94,9 MB
Art: Front

(4:23)  1. Red Sails In The Sunset
(4:20)  2. But Not For Me
(4:39)  3. A Pair Of Red Pants
(4:36)  4. We'll Be Together Again
(3:19)  5. A Mess
(3:57)  6. New Blues Up And Down
(5:14)  7. My Foolish Heart
(2:39)  8. Water Jug
(4:11)  9. Autumn Leaves
(3:53) 10. Time On My Hands

Gene Ammons, who had a huge and immediately recognizable tone on tenor, was a very flexible player who could play bebop with the best (always battling his friend Sonny Stitt to a tie) yet was an influence on the R&B world. Some of his ballad renditions became hits and, despite two unfortunate interruptions in his career, Ammons remained a popular attraction for 25 years. Son of the great boogie-woogie pianist Albert Ammons, Gene Ammons (who was nicknamed "Jug") left Chicago at age 18 to work with King Kolax's band. He originally came to fame as a key soloist with Billy Eckstine's orchestra during 1944-1947, trading off with Dexter Gordon on the famous Eckstine record Blowing the Blues Away. Other than a notable stint with Woody Herman's Third Herd in 1949 and an attempt at co-leading a two tenor group in the early '50s with Sonny Stitt, Ammons worked as a single throughout his career, recording frequently (most notably for Prestige) in settings ranging from quartets and organ combos to all-star jam sessions. Drug problems kept him in prison during much of 1958-1960 and, due to a particularly stiff sentence, 1962-1969. When Ammons returned to the scene in 1969, he opened up his style a bit, including some of the emotional cries of the avant-garde while utilizing funky rhythm sections, but he was still able to battle Sonny Stitt on his own terms. Ironically the last song that he ever recorded (just a short time before he was diagnosed with terminal cancer) was "Goodbye." ~ Scott Yanow https://itunes.apple.com/mt/album/dig-him/id609645816

Personnel:  Sonny Stitt alto - saxophone, tenor saxophone;  Gene Ammons - tenor saxophone;  John Houston - piano;  Charles Williams - bass;  George Brown - drums.

Dig Him!

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Cassidy Place - As You Wish (Deluxe Edition)

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 16:44
Size: 38,9 MB
Art: Front

(3:01) 1. Simple Minded
(1:45) 2. Red
(3:11) 3. Dull
(0:43) 4. My Last Tear
(3:31) 5. Who Would Ever Love Me
(2:01) 6. Good Time
(2:29) 7. Dull (Casino)

Los Angeles-based singer/songwriter, Cassidy Place, revives the 50's era; while developing a new contemporary genre of her own. Her new EP “As You Wish” is now streaming on all platforms
https://www.seetickets.us/event/Cassidy-Place-POP-Lila-Forde/491118

As You Wish (Deluxe Edition)

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Buck Clayton - A Buck Clayton Jam Session

Styles: Trumpet Jazz
Year: 1975
File: MP3@256K/s
Time: 75:39
Size: 138,9 MB
Art: Front

(17:43)  1. Sidekick
(11:52)  2. Change For A Buck
(12:12)  3. The Duke We Knew
(15:11)  4. Glassboro Blues
( 5:10)  5. Glassboro Blues Rehearsal
(13:29)  6. The Duke We Knew Rehearsal

Jazz suffered a major loss when, in the late 1960s, Buck Clayton had to retire from playing due to problems with his lip. But instead of permanently retiring from jazz altogether, he continued to make his mark as an arranger, bandleader, and educator. Clayton doesn't play at all on A Buck Clayton Jam Session: 1975; instead, this blowing date finds him overseeing and directing a 12-piece band that includes Joe Newman and Money Johnson on trumpet, Vic Dickenson and George Masso on trombone, Buddy Tate, Buddy Johnson, and Sal Nistico on tenor sax, Lee Konitz and Earle Warren on alto sax, Tommy Flanagan on piano, Milt Hinton on bass, and Mel Lewis on drums. To be sure, that's a variety of musicians some have strong swing credentials, others were primarily hard boppers, and you even have a musician who came out of the Cool School (Konitz) and went on to explore post-bop. But they manage to find common ground on this swing-oriented jam, which concentrates on Clayton's own compositions and emphasizes blowing, blowing, and more blowing. Thankfully, the liner notes list the order of the solos. Originally a vinyl LP in the '70s and reissued on CD in 1995 (when Chiaroscuro added two previously unreleased bonus tracks), A Buck Clayton Jam Session is less than essential but is an enjoyable jam that die-hard swing fans will appreciate.~ Alex Henderson 

http://www.allmusic.com/album/a-buck-clayton-jam-session-1975-mw0000076132

Personnel: Buck Clayton (conductor, trumpet); Earle Warren, Lee Konitz (alto saxophone); Budd Johnson, Buddy Tate, Sal Nistico (tenor saxophone); Joe Newman, Money Johnson (trumpet); Vic Dickenson, George Masso (trombone); Tommy Flanagan (piano); Milt Hinton (bass); Mel Lewis (drums).

A Buck Clayton Jam Session 1975

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Patrick Williams - Home Suite Home

Bitrate: MP3@320K/s
Time: 50:37
Size: 115.9 MB
Styles: Big band swing
Year: 2015
Art: Front

[ 3:20] 1. 52nd & Broadway
[ 6:06] 2. Home Suite Home I. Elizabeth (The Beautiful Scientist)
[ 7:49] 3. Home Suite Home Ii. Greer (The Dreamer)
[ 7:47] 4. Home Suite Home Iii. Patrick B. (The Real Deal)
[ 4:33] 5. A Hefti Dose Of Basie (To The Memory Of Neal Hefti)
[ 3:47] 6. I've Been Around
[10:20] 7. Blue Mist (For Catherine)
[ 6:51] 8. That's Rich (For Buddy)

Patrick Williams: conductor; Dave Grusin: piano; Chuck Berghofer: bass; Peter Erskine: drums; Dean Parks: guitar; Dan Higgins: alto saxophone; Jeff Driskill: alto saxophone; Bob Sheppard: tenor saxophone; Tom Scott: tenor saxophone; Gene Cipriano: baritone saxophone; Wayne Bergeron: trumpet; Dan Fornero: trumpet; Bob Summers: trumpet; Michael Stever: trumpet; Arturo Sandoval: trumpet; Charlie Loper: trombone; Andy Martin: trombone; Bob McChesney: trombone; Craig Gosnell: bass trombone; Dan Grecco: percussion; Patti Austin: vocals (1); Frank Sinatra Jr.: vocals (6); Tierney Sutton: vocals (6).

Composer, arranger and band leader Patrick Williams leads some of the finest jazz musicians in L.A. on another exciting portrait of big band swing on Home Suite Home, an album that's far more personal than all of his previous works. Documenting a personal homage to his family and his first musical love, Williams pays tribute to his children and wife stating "I tried to capture the essence of the personality of my wife and three children in musical terms...""is truly a labor of love." In addition to the all-star list of players on his band, Williams augments the group with vocalist's Patti Austin, Tierney Sutton and Frank Sinatra, Jr. gracing the stage with the likes of pianist Dave Grusin, trumpeter Arturo Sandoval, drummer Peter Erskine and long-time associate, saxophonist Tom Scott as special guests adding the final ingredients to his most ambitious and masterful musical project to date.

A prolific composer, the band leader offers eight original tunes leading off with "52nd & Broadway" featuring vocalist Austin fronting a full-on swinging orchestra. The tribute to his children is the center-piece of the disc and incorporated in the three-part suite beginning with his first homage, this time for daughter Elizabeth on "Home Suite Home I. Elizabeth (The Beautiful Scientist)" featuring sparkling solos from tenor men Scott and Bob Sheppard. "Home Suite Home II. Greer (The Dreamer)" is a far more subdued and humble piece of music highlighted by the sweet solos from Dan Higgins. The last homage, "Home Suite Home III. Patrick B. (The Real Deal) features a robust ensemble and showcases the chops of drummer Erskine, saxophonist Scott and trumpeter Michael Stever.

Williams pens the most ambitious track for his wife of 54 years dedicating "Blue Mist (For Catherine)" where trumpeter of note Sandoval leads the band on a delicate lush and introspective soft ballad conveying a warm message of love. One of the non-tribute pieces of the set that stands out here is, the swinging orchestral piece "I've Been Around" featuring a smart duet between vocalists Frank Sinatra Jr. and Tierney Sutton.

Aside from dedications to his family, Williams also includes a tip of the hat to trumpeter/composer and arranger Neal Hefti on "A Hefti Dose of Basie (To The Memory of Neal Hefti)" as the band dose a marvelous impersonation of the Basie orchestra featuring the stylish horn of trumpeter Stever taking the honors on lead. The last non-family tribute is a big band swinging chart entitled "That's Rich (For Buddy)" with various members of the band on solo excursions including drummer Erskine doing his best impersonation of the late great drummer Buddy Rich. When all is done, Patrick Williams' Home Suite Home, is far more than a tribute to family, friends and the music he loves, it's a tasteful creatively-designed flavor of big band swing performed with gusto that hits home. ~Edward Blanco

Home Suite Home

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Lewis Porter, Terri Lyne Carrington, John Patitucci, Tia Fuller - Beauty & Mystery

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 70:25
Size: 162,0 MB
Art: Front

( 3:28)  1. Prologue
(10:22)  2. Birthplace (feat. Tia Fuller)
( 8:15)  3. Bye Bye Blackbird
( 7:23)  4. People Get Ready
( 9:43)  5. Blues for Trane and McCoy (feat. Tia Fuller)
( 7:43)  6. 1919
( 7:39)  7. Chasing Lines
( 4:07)  8. Dazzling Raga
( 5:54)  9. From Giovanni to Jimmy
( 5:46) 10. Day Is Done

A somber, modern/Romanticist solo piano "Prologue" beautifully opens jazz scholar, historian, and accomplished pianist Lewis Porter's Beauty & Mystery, his fourth disc as a session leader.  Accompanied throughout this often inspired recording by bassist John Pattitucci, sought after Grammy-winner and frequent trio companion drummer Terri Lyne Carrington and high-flying, rep-rising saxophonist Tia Fuller, Porter unleashes his vast knowledge of John Coltrane, and the multitude of jazz avenues on a frothy mix of original covers and time tested covers. Led by repeated rhythmic motifs, Fuller gives a full blown Trane-like workout on soprano sax on the burbling bitonality of "Birthplace." "People Get Ready" unwinds effortlessly as Porter and Pattitucci immerse themselves in Curtis Mayfield's elegant, secular hymn, taking turns reciting the verses and chorus. Fuller's fiery, the-sky-is-the-limit alto swirls and powers the rolling vamp "Blues for Trane and McCoy" and rewards the listener with a challenging extended duo passage with Porter that recalls many Trane/Tyner glories. 

While we're on the subject of the Classic Quartet, Pattitucci's artistry is on full, glorious display on the robust Porter/Pattitucci composition "From Giovanni to Jimmy," a fitting dedication to Coltrane bassist Jimmy Garrison. Free-wheeling interplay highlights "Chasing Lines" a re-arrangement of British bandleader/composer Ray Noble's "Cherokee." Porter again delves deep into his musical knowledge incorporating raga and jazz on "Dazzling Raga." 

Porter's lyrical waltz, "Day is Done" closes out Beauty & Mystery, a disc of highly expressed individualism.~ Mike Jurkovic https://www.allaboutjazz.com/beauty-and-mystery-lewis-porter-altrisuoni-review-by-mike-jurkovic.php

Personnel: Lewis Porter: piano; John Pattitucci: bass; Terri Lyne Carrington: drums: Tia Fuller: soprano and alto sax.

Beauty & Mystery

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Gene Ammons - Fine And Mellow

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 73:00
Size: 167,9 MB
Art: Front

(5:25)  1. Lady Sings the Blues
(5:59)  2. Play Me
(5:29)  3. Ben
(3:07)  4. Fly Me
(4:25)  5. Fuzz
(5:03)  6. Fine And Mellow
(3:34)  7. Strange Fruit
(7:47)  8. Big Bad Jug
(4:04)  9. God Bless The Child
(7:43) 10. Tin Shack Out Back
(6:47) 11. Lady Mama
(4:09) 12. I Can't Help Myself
(4:52) 13. Lucille
(4:30) 14. Papa Was A Rolling Stone

Gene “Jug” Ammons was a sucker for finely wrought pop songs. He was also unapologetic slave to melody, putting his sturdy saxophone into the service of countless hummable themes. But his improvisations were never slavish and even with material of papish pedigree he always seemed to find something worthwhile to say. Perfect case in point is this new Prestige two-fer, which combines material from a pair of early '70s platters, Got My Own and Big Bad Jug. The first set has a lounge vibe so viscous you can virtually smell the Aqua Velva aftershave, Pall Mall smoke and Mohair fibers in the air. How a string section crammed into Rudy Van Gelder’s studio alongside Jug’s core sextet is a mystery, and it’s more than likely that the label overdubbed the orchestrations after the fact. Largely superfluous to the action, they also thankfully don’t get in the way.

The ensemble line-up includes some impressive talent in the personages of Jones, Beck, Carter and Muhammad, but the ringers are the presence of heavy production and predilection for plugging in. The songbook is just as capricious; balancing a trio of Billie Holiday numbers (the film eponymous with the first track was a big hit contemporaneous to the session) with pop and funk fare. If the idea of Jug tackling Neil Diamond’s “Play Me” and the Michael Jackson signature “Ben” signals skeptical impulses, don’t be alarmed. Ammons treats each tune with sober respect and the gravity in his playing accentuates the sometimes hidden strengths in the song craft. And while he rarely strays far from the melody, the muscle and surety in his phrasings further dispel any traces of triteness from the tracks. The oddest of the clutch is the reading of “Strange Fruit,” a duet with Jones’ electric piano that finds Jug in an uncustomary somber mood, sketching breathy lines across a watercolor wash of keyboard hues and trailing a luminous studio echo.

The second session enlists a different, more streamlined studio band with only Carter returning for the party. Phillips’ organ and, on “Tin Shack Out Back,” electric piano plant the mood firmly in funk and soul territory. Parker’s wah-wah slathered guitar adds fleshy chordal support to Jug’s wailing lead, and the band sounds off here as purely and proudly a product of their era. The leader’s closing unaccompanied cadenza is a killer. Even the rendering of “God Bless the Child” is laced with a palpable backbeat. Carter revels in the weighty sponginess of his amplified strings while Cobham carves out propulsive, if at times simplistic, rhythms. A laidback attitude seems to be the primary sentiment of the moment. Closing with a trance-inducing version of the Temps’ “Papa Was a Rolling Stone,” Jug soars over a stuttering bass-heavy groove that steamrolls everything in its path. Check your prejudices at the coat rack and this set will likely fulfill the same purpose it did back in the day. An enjoyable diversion devoid of pretense by a man who earned the right to play and do things the way he wanted to. (An added extra: the new liner notes scribed by Ted Panken, which contain some insightful anecdotes voiced by none other than fellow Chicagoan Von Freeman.) ~ Derek Taylor  http://www.allaboutjazz.com/fine-and-mellow-gene-ammons-prestige-records-review-by-derek-taylor.php

Personnel: Gene Ammons- tenor saxophone; Ernie Hayes- organ; Hank Jones- electric piano; Joe Beck- guitar; Ron Carter- acoustic & electric bass; Idris Muhammad- drums; Mickey Roker- drums; Sonny Phillips- electric piano, organ; Maynard Parker- guitar; Billy Cobham- drums.

Fine And Mellow

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Henry Hall & The BBC Dance Orchestra - Waltz in Swingtime

Styles: Swing, Big Band
Year: 2022
File: MP3@320K/s
Time: 30:19
Size: 70,2 MB
Art: Front

(2:56) 1. I Like Bananas
(2:54) 2. I'm Putting All My Eggs In One Basket
(2:59) 3. It's A Sin To Tell A Lie
(2:58) 4. Life Begins When You're In Love
(2:50) 5. Waltz In Swingtime
(2:55) 6. We Saw The Sea
(3:08) 7. Music Goes Round And Around
(3:06) 8. Rusty And Dusty
(3:05) 9. Somewhere At Sea
(3:23) 10. Would You

Buddy Rich - Sound Of Fury (Live Remastered)

Styles: Jazz, Post Bop
Year: 2022
File: MP3@320K/s
Time: 47:51
Size: 110,0 MB
Art: Front

( 3:57) 1. 'Round Midnight
( 5:58) 2. Groovin' Hard
( 5:34) 3. Chelsea Bridge
( 2:01) 4. Banter
( 8:01) 5. Watson's Walk
( 5:32) 6. Theme From Love Story
( 3:53) 7. Superstar
(11:18) 8. Time Being
( 1:33) 9. Love For Sale

Arguably the greatest jazz drummer of all time, the legendary Buddy Rich exhibited his love for music through the dedication of his life to the art. His was a career that spanned seven decades, beginning when Rich was 18 months old and continuing until his death in 1987. Immensely gifted, Rich could play with remarkable speed and dexterity despite the fact that he never received a formal lesson and refused to practice outside of his performances. Born Bernard Rich to vaudevillians Robert and Bess Rich on September 30, 1917, the famed drummer was introduced to audiences at a very young age.

By 1921, he was a seasoned solo performer with his vaudeville act, "Traps the Drum Wonder." With his natural sense of rhythm, Rich performed regularly on Broadway at the age of four. At the peak of Rich's early career, he was the second-highest paid child entertainer in the world. Rich's jazz career began in 1937 when he began playing with Joe Marsala at New York's Hickory House. By 1939, he had joined Tommy Dorsey's band, and he later went on to play with such jazz greats as Dizzy Gillespie, Charlie Ventura, Louis Armstrong and Gene Krupa.

Rich was regularly featured in Jazz at the Philharmonic during the late 1940s. He also appeared in such Hollywood films as Symphony of Swing (1939), Ship Ahoy (1942) and How's About It (1943). Throughout the 1960s and 1970s, Rich toured with his own bands and opened two nightclubs, Buddy's Place and Buddy's Place II. Both clubs were regularly filled to capacity by fans of the great master drummer. After opening Buddy's Place II, Rich introduced new tunes with elements of rock into his repertoire, demonstrating his ability to adapt to his audience's changing tastes and establishing himself as a great rock drummer. Known for his caustic humor, Rich was a favorite on several television talk shows including the Tonight Show with Johnny Carson, the Mike Douglas Show, the Dick Cavett Show and the Merv Griffin Show.

During these appearances, audiences were entertained by Rich's constant sparring with the hosts and his slights of various pop singers. This famed musician received outstanding recognition throughout his career. The Downbeat Magazine Hall of Fame Award, the Modern Drummer Magazine Hall of Fame Award and the Jazz Unlimited Immortals of Jazz Award are just a few of his numerous honors. Rich gained international attention for such master compositions as his 10-minute West Side Story medley.

During his lengthy career, Rich toured around the globe, performing for millions of fans and several world leaders including the King of Thailand, King Hussein of Jordan the Queen of England, and U.S. presidents Franklin Roosevelt, John F. Kennedy and Ronald Reagan. On April 2, 1987, Rich died of heart failure following surgery for a malignant brain tumor. Longtime friend, Frank Sinatra, spoke a touching eulogy at Rich's funeral. Today, Buddy Rich is remembered as one of history's greatest musicians. According to jazz legend Gene Krupa, Rich was "The greatest drummer ever to have drawn breath."
ttps://www.allaboutjazz.com/musicians/buddy-rich

Sound Of Fury (Live Remastered)

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Ahmad Jamal - Live in Paris (1971)

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 39:45
Size: 91,2 MB
Art: Front

(15:32) 1. Bogota
(10:19) 2. Manhattan Reflections
(13:53) 3. Effendi

Following the release of two incredible previously unreleased live sessions by jazz greats Pharoah Sanders and Archie Shepp, the French label Transversales Disques has now issued the third of their brilliant Lost ORTF Recordings series featuring a 1971 Paris recording featuring legendary pianist Ahmad Jamal and his trio.

Recorded on June 25, 1971 at the Grand Auditorium Studio 104 in the Maison de la Radio, the trio, who also features Jamil Nasser on double bass and Frank Gant on drums perform expanded renditions of three tracks often associated with Ahmad, including “Bogota” (by Richard Evans), “Effendi” (by McCoy Tyner), and his own composition, “Manhattan Reflections”, which was first introduced on his classic Freeflight full-length for Impulse!.

This well-crafted unearthed live session truly captures Ahmad Jamal and his group at the beginning of what could arguably be his most exploratory and experimental period. Definitely a must-own LP for any Ahmad Jamal fan!
https://beatcaffeine.com/transversales-disques-unearths-incredible-live-1971-recording-of-ahmad-jamal-trio/

Personnel: Ahmad Jamal - (piano, Fender Rhodes); Jamil Nasser - (double bass); Frank Gant - (drums)

Live in Paris (1971)

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Efraïm Trujillo & Rembrandt Frerichs - The Standards Collection

Styles: Saxophone And Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 39:06
Size: 90,0 MB
Art: Front

(3:42) 1. Blue In Green
(2:52) 2. Voyage
(8:47) 3. Peace (Live)
(3:42) 4. Prince Of Darkness
(5:05) 5. Think Of One
(4:24) 6. Come Sunday
(3:17) 7. Seven Steps To Heaven
(4:25) 8. Stompin' At The Savoy
(2:47) 9. One Finger Snap

Over the past fifteen years, saxophonist Efraïm Trujillo and pianist Rembrandt Frerichs have become renowned as leading musicians. They regularly encountered each other in various settings, but they never managed to get a new project off the ground together. During the corona crisis they performed as an occasional duo at the Bimhuis and their performance of Horace Silver's composition 'Peace' in particular received extremely enthusiastic reactions. This piece has therefore been included on their fresh CD and expanded with recent recordings made in Trujillo's Studio Theemsweg. Poetic “The Standards Collection Vol. 1' is the appropriate name of their album: a production filled with more and less known repertoire. The well-known 'Blue in Green', which starts, is given a glowing performance.

In his piano solo Frerichs refers to the great innovator Lennie Tristano (1919-1978). This is followed by the rhythmic 'Voyage' by pianist Kenny Barron and Silver's 'Peace', recorded at the Bimhuis. This last exercise is also now a highlight, with poetic play by Trujillo and Frerichs. Funky Their performance of Wayne Shorter's 'Prince of Darkness' provides a completely different groove, a lyrical composition that seems to gain depth in this intimate configuration.

A nice contrast is the almost funky version of 'Think of One' by Thelonious Monk, in which Frerichs supports Trujillo's playing with beautiful bass lines. Their interpretation of Ellington's gospel 'Come Sunday' is almost religious in character, again interspersed with a rhythmic piece: Victor Feldman's 'Steven Steps to Heaven'. Spicy Nice and fat is their performance of the swing classic 'Stompin' at the Savoy', a piece to sit back comfortably that can of course count on a contemporary twist with an excellent Trujillo in the lead role. Almost naturally, this special album ends with a piece by the grand master of the current jazz piano: Herbie Hancock. His classic 'One Finger Snap' can count on a spicy approach from this fantastic duo. We can already look forward to 'The Standard Collection Vol. 2'!Translate By Google http://www.jazzenzo.nl/?e=4990

Personnel: Efhraim Trujillo tenor saxophone, Rembrandt Frerichs piano

The Standards Collection

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Hot Lips Page - Feelin' High and Happy

Styles:Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 28:28
Size: 65,9 MB
Art: Front

(2:15) 1. Feelin' High And Happy
(2:06) 2. I'm Gonna Lock My Heart
(2:24) 3. Skull Duggery
(2:34) 4. Will You Remember Tonight Tomorrow
(2:31) 5. Small Fry
(2:29) 6. Pied Piper
(2:47) 7. Jumpin'
(2:40) 8. At Your Beck And Call
(2:54) 9. Down On The Levee
(2:52) 10. Rock It For Me
(2:48) 11. He's Pulling His Whiskers

One of the great swing trumpeters in addition to being a talented blues vocalist, Hot Lips Page's premature passing left a large hole in the jazz world; virtually all musicians (no matter their style) loved him. Page gained early experience in the 1920s performing in Texas, playing in Ma Rainey's backup band. He was with Walter Page's Blue Devils during 1928-1931, and then joined Bennie Moten's band in Kansas City in time to take part in a brilliant 1932 recording session.

Page freelanced in Kansas City and in 1936 was one of the stars in Count Basie's orchestra but, shortly before Basie was discovered, Joe Glaser signed Hot Lips as a solo artist. Although Page's big band did alright in the late '30s (recording for Victor), if he had come east with Basie he would have become much more famous. Page was one of the top sidemen with Artie Shaw's orchestra during 1941-1942 and then mainly freelanced throughout the remainder of his career, recording with many all-star groups and always being a welcome fixture at jam sessions.By Scott Yanow
https://www.allmusic.com/artist/hot-lips-page-mn0000825032/biography

Feelin' High and Happy

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Paolo Fresu - Ferlinghetti

Styles: Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 54:08
Size: 125,2 MB
Art: Front

(6:11) 1. I Was An American Boy
(3:16) 2. Ferlinghetti
(3:23) 3. The Macaronis Scene
(6:13) 4. Hill Of Poetry
(4:33) 5. Obscene Boundaries
(2:49) 6. Endless Life
(5:30) 7. Island Of The Mind
(4:21) 8. I Am The Man
(3:23) 9. Too Young To Die
(4:35) 10. Tyrannus Nix
(4:25) 11. Where Books Were Trees
(2:52) 12. Back Roads To Far Places
(2:30) 13. Eponymous Epitaph

The musical analysis of the trumpeter alongside his now trusted new trio with Dino Rubino and Marco Bardoscia manages to offer especially on live occasions profound perspectives around such a beautiful and discussed theme as that of the much loved beat generation. To widen the sound plateau was then called Daniele Di Bonaventura whose bandoneon manages to give deep pictorial nuances.

From San Francisco to Sardinia, passing through Rome: it is the parable between music and poetry that he ideally draws Paolo Fresuprotagonist on trumpet and flugelhorn with his new trio – Dino Rubino on piano, Marco Bardoscia on double bass, Daniele Di Bonaventura on bandoneon – of the concert “Ferlinghetti”, named after the poet and editor of the beat generation Lawrence Ferlinghettian American with an Italian father (who died before he was born), to be precise Lombard, and a Franco-Portuguese mother (hospitalized in an asylum when he was only a few months old), a life between France and the USA, before moving permanently to California.

Fresu, ‘king’ of Italian jazz, creator in his Sardinia of the ‘Time in Jazz’ review starting tomorrow, proposes this evening at the House of Jazz in Rome a concert in which the soundtrack of the docufilm ‘The last beat’ by director Ferdinando Vicentini Orgnani, signed by the Sardinian musician. The feature film was designed to celebrate the centenary of the birth of Ferlinghetti, born in March 1919 and passed away in February 2021 on the eve of his 102 years. A long and even ‘wide’ life, marked by his poems and the activity of his publishing house, City Lights, which gives Allen Ginsberg a Jack Kerouac made the literature of the beat generation.
https://jazzbluesnews.com/2022/10/20/cd-review-paolo-fresu-ferlinghetti-2022-video-cd-cover/

Personnel: Paolo Fresu – trumpet, flugelhorn, effects; Dino Rubino – piano; Marco Bardoscia – double bass; Daniele Di Bonaventura (or Carlo Maver) – bandoneon

Ferlinghetti

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Ed Cherry - Peace

Styles: Guitar Jazz
Year: 2022
File: MP3@320K/s
Time: 63:03
Size: 144,7 MB
Art: Front

( 8:33) 1. In A Sentimental Mood
(12:22) 2. Kojo No Tsuki
( 8:03) 3. Tres Palabras
( 8:29) 4. Edda
( 6:32) 5. Peace
( 7:37) 6. Road Song
( 3:25) 7. Ugly Beauty
( 7:59) 8. Comin' Home Baby

"An expressive instrumentalist, Cherry has a hip, melodic approach that is a refreshing contrast to guitarists who frequently resort to playing 'finger music', the execution of rapid streams of notes that serve no musical purpose other than to fill space"- Jim Ferguson: Jazztimes - 06/02

Born in New Haven,Connecticut, Ed moved to New York in 1978 to play guitar with Dizzy Gillespie from 1978 to 1992 performing in Gillespie's quartet, big band and with The United Nation Orchestra which recorded the Grammy Award-winning Live at Royal Festival Hall (Enja). Gillespie died in 1993, and Cherry released his first recording as a leader, 'First Take' (Groovin' High). That same year, Ed recorded with Paquito D'Riveras' small group which recorded "Havana Cafe" (Chesky Records). Ed also worked with composer/saxophonist Henry Threadgill for two years and recorded three cds with Henry's 'Very Very Circus' group.

In 1995, Cherry released his second project as a solo artist, entitled A Second Look (Groovin' High Records). During that same period Ed worked with Hammond organist John Patton recording three critically acclaimed cds with Patton's quartet-'Blue Planet Man','Minor Swing' and 'This ones for Jah'(DIW). From 1997 to 1998, Cherry worked in Roy Hargrove's “Crisol” Latin jazz band, which performed in Havana, Cuba. During this same period, he also worked w/baritone saxophonist, Hamiett Bluiett, recording Bluiett's cd 'With Eyes Wide Open' on Justin-Time records.In 2001, Cherry toured Europe for the first time with his own group. He also released his cd, 'The Spirit Speaks' on the Canadian Justin Time Records label, inspired by the great jazz organist Jimmy Smith with whom he had also recently worked.Ed was asked to perform at the 'Vodaphone Madarao Jazz festival'in 2002 in Madarao Japan with his quartet featuring trumpeter Jon Faddis.

More recently , Ed toured with the great Hammond organist Dr. Lonnie Smith, recording one critically acclaimed cd, 'In The Beginning' on Pilgrimage Records in 2012. Currently Ed has a brand new second recording released on Posi-Tone Records. ('It's All Good' his first release in 2012 for Posi-Tone stayed in the JazzWeek charts for 3 months) his second recording for the label is titled "Soul Tree" ( release date February 19 2016 ) featuring Kyle Koehler on Hammond B3 organ and drummer Anwar Marshall. As of this pre release date, it's already gathering rave reviews. Ed continues to work nationally and internationally ; concerts, workshops, jazz clubs.
https://www.allaboutjazz.com/musicians/ed-cherry

Peace

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Ben Selvin & His Orchestra - The Dean of Recorded Music

Styles: Big Band
Year: 2022
File: MP3@320K/s
Time: 35:27
Size: 81,6 MB
Art: Front

(2:50) 1. Steppin' In Society
(3:02) 2. Brezzin' Along
(3:09) 3. Yes Sir, That's My Baby
(3:05) 4. Spanish Shawl
(2:47) 5. Charlestonette
(2:42) 6. The Original Charleston
(3:09) 7. There'll Be Some Changes Made
(2:55) 8. Susquehanna Home
(3:20) 9. Dinah
(2:49) 10. I Can't Realise
(2:52) 11. Suite 16
(2:43) 12. Does My Sweetie Do

By many accounts the most recorded bandleader of all time with as many as 13,000 recordings to his credit, Ben Selvin led a variety of studio groups and society orchestras from 1910 into the '30s, recording endless novelties for prime commercial crossover, many of which featured future big bandleaders Benny Goodman, the Dorsey Brothers, Jack Teagarden, Red Nichols, and Bunny Berigan. Among the most popular of Selvin's thousands of sides were "Dardanella" (the first recording to sell five million copies), "I'm Forever Blowing Bubbles," "Yes! We Have No Bananas," "Manhattan," "Happy Days Are Here Again" (best known as a theme song for President Franklin D. Roosevelt), and "When It's Springtime in the Rockies." In addition to his own sides, Selvin also led backing groups for vocalists Ethel Waters, Kate Smith, and Ruth Etting.

Selvin began his career as a violinist in Charles Strickland's orchestra. Not yet out of his teenage years, he launched his own society dance band in 1917 and began a seven-year residency at the Moulin Rouge club in New York. He recorded his first hit, "I'm Forever Blowing Bubbles," for Victor in July 1919 at his first recording session. During the next few years, he led studio ensembles for labels including Vocalion, Brunswick, Okeh, Paramount, Lyric, Emerson, and Arto (many of them recorded under aliases, from the Bar Harbor Society Orchestra to the Broadway Syncopators). Just as on his recording dates, Selvin was able to lead a variety of society orchestras at performance dates, even on the same night. What was then common practice might result in dozens of orchestras playing weekend gigs all over New York, each one under the banner of Selvin (or Lester Lanin or Meyer Davis or any other popular bandleader of the day).

By the late '20s, Selvin was recording exclusively for Columbia. He continued to issue side after side into the mid-'30s. After retiring from performing in 1934, he went to work as a vice president of recording and programming at the newly formed Muzak company, using his connections to convince prominent bandleaders to record for the company anonymously. He became A&R director of Columbia Records in 1947 and supervised recording sessions for such singers as Frank Sinatra and Doris Day. In 1952, he moved to RCA Victor, where he worked until he retired in 1963, after which he was a consultant to 3M. He was also a co-founder of Majestic Records. He lived to see his ninth decade before dying of a heart attack in 1980. By John Bush
https://www.allmusic.com/artist/ben-selvin-mn0000794156/biography

The Dean of Recorded Music

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Dominick Farinacci - Sounds in My Life

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 67:34
Size: 154,8 MB
Art: Front

(7:05) 1. The Thing to Do
(6:15) 2. Flamenco Sketches
(6:12) 3. What Is This Thing Called Love
(6:59) 4. The Pursuit
(5:53) 5. I Can't Get Started
(8:58) 6. Visions
(5:47) 7. Peyote
(9:01) 8. My Funny Valentine
(6:00) 9. Memories
(5:19) 10. Mona's Mood

Trumpeter Dominick Farinacci was named the very first Global Ambassador to Jazz at Lincoln Center by Wynton Marsalis, working to further integrate music into communities around the world in culturally collaborative ways. He graduated from The Juilliard School in 2005 launching his career in Japan with a prolific run of eight albums, later releasing four more globally. He has performed in more than 120 cities in 14 countries around the world, was a featured guest on ABC’s Good Morning America, and is a TED Speaker. Music icon Quincy Jones says of Dominick’s accomplishments in performance, recording, education & advocacy, “This kid is 360 degrees!”

Dominick has been successful in his personal endeavors on bringing music into the community through Arts and Wellness & Education. He was invited by TED to be a TED Speaker at the 2014 TED MED conference at the Kennedy Center in Washington, DC. He is a featured performer for the Cleveland Clinic in both Ohio and Abu Dhabi, and organized the very first jazz performance for patients in Abu Dhabi in collaboration with the Cleveland Clinic and the Abu Dhabi Music and Arts Foundation. For Dominick, music and health go hand in hand, most recently organizing panel discussions around patient-doctor communication through music with Weill Cornell Medical College in Qatar.

Dominick has been a leading advocate in music education development, most recently featured at the Community College Association of America in D.C. He served as Music Consultant to the Amy Winehouse Foundation, and is Artist in Residence at the Gill and Tommy LiPuma Center for Creative Arts at Cuyahoga Community College in Cleveland, Ohio. His educational reach recently expanded to the GCC, in schools such as Weill Cornell Medical College, Qatar Music Academy, the American School of Doha among others.

His most recent recording “Short Stories” is produced by four-time Grammy Award winning producer Tommy LiPuma. This was Tommy & Dominick’s first collaboration, and was recorded in their hometown of Cleveland at the Gill and Tommy LiPuma Center for Creative Arts. Dominick is signed to Mack Avenue Records.https://www.allaboutjazz.com/musicians/dominick-farinacci

Personnel: Trumpet – Dominick Farinacci; Tenor Saxophone – Stacy Dillard; Bass – Yasushi Nakamura (2); Drums – Carmen Intorre; Piano – Miyako Katakur

Sounds in My Life

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Yvonne Walter - Libra

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 52:10
Size: 122,0 MB
Art: Front

(5:18) 1. My Houseboat
(4:06) 2. Ocean Island
(4:25) 3. Libra
(4:12) 4. Autumn Tells
(5:23) 5. Snowflakes
(5:37) 6. Arches De Paris
(3:47) 7. To Be Good to Be Thru
(3:59) 8. If Only We Could
(2:47) 9. Sherry Flowers
(6:13) 10. Take Care
(4:42) 11. Dawn
(1:35) 12. Trois Musiciens

Yvonne Walter was born as Yvonne de Kok in Eindhoven, a town in the southern part of the Netherlands. She started studying piano at the age of seven and in her teens, she performed as a singer in high school bands. At that time she started to compose songs. Yvonne lived twenty years in Antwerp, Belgium. Since 2020 she lives in Malaga, Andalusia, Spain. http://yvonnewalter.com/about/

Personnel: Yvonne Walter vocal; Arturo Serra vibraphone; José Carra piano; Bori Albero bass; Miguel Benito drums

Libra

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Joe Locke - Makram

Styles: Vibes Jazz
Year: 2022
File: MP3@320K/s
Time: 62:16
Size: 142,9 MB
Art: Front

(7:04) 1. Love For Sale
(7:35) 2. Raise Heaven (for Roy)
(7:31) 3. Makram
(3:40) 4. Elegy For Us All
(6:45) 5. Tushkin
(9:06) 6. Shifting Moon
(7:57) 7. Song For Vic Juris
(7:35) 8. Interwoven Hues
(5:00) 9. Lush Life

While 10,000 hours of practice remains a popular adage for attaining a level of mastery in music, it does little to unpack the complexity of being a Jazz musician. Beyond any accounting of time or quality of dedication is the persistent and often mercurial quest for kinship. Whether that takes the form of mastering an instrument, nurturing an affinity for improvisation, or building intimacy within bands and the audiences they engage, kinship, and the connection it fosters, is indispensable to a life-long journey of refining an authentic musical identity.

After decades (past 100,000 hours in case you’re counting) as one of the most impactful vibraphonists in Jazz, with countless awards, critically acclaimed albums, and a remarkably diverse array of musical associations to his credit, Joe Locke brings us Makram; a recording glistening with the spirit, ingenuity, musicianship and inquisitiveness of an artist joyously embracing kinship as the foundation for making music entirely on his own terms. Locke’s quartet, (pianist Jim Ridl, bassist Lorin Cohen, and drummer Samvel Sarkisyan) is a unique musical fraternity, a group perfectly suited to the quality of compositions that make this recording so special.

Named after the talented Lebanese bassist Makram Aboul Hosn, the album opens with an uptempo arrangement of Cole Porter’s Love for Sale, a buoyant, tight, swinging base for crisp solos by Locke, Ridl and Sarkisyan. Soulful and melancholic, Raise Heaven is a lyrical homage to the late Roy Hargrove, reflecting the reverence with which the trumpeter approached ballads while at the same time giving a nod to his love of R&B, as evidenced by his work with the RH Factor. The song is buoyed by the delicate brass arrangement from trombonist and album co-producer, Doug Beavers.

Pivoting to a minor blues laced with an addictive Middle-Eastern melody managed in 5/4 time, the album’s title track Makram glides gracefully while maintaining a spirited rock-like energy. Sarkisyan expertly guides the song through searching solos by Ridl and Locke, accented wonderfully by Samir Nasr Eddine on oud and Bahaa Daou on riq, a smaller version of the tambourine. Delicate, somber and representative of our nation’s growing political vulnerability, Elegy For Us All speaks to Locke’s deep sadness for the growing dark influences he sees threatening democracy in the United States. Locke’s sweeping melody does well to describe the grief in watching ongoing attempts to roll back decades of gains made since the country’s Civil Rights era.

Penned in honor of his grandfather, Tushkin was composed by Samvel Sarkisyan, with a vibes/piano introduction written by Locke. The song features the gifted multi-instrumentalist Tim Garland on soprano saxophone, bass clarinet and flute. Stemming from the genius of John Coltrane’s Satellite, Shifting Moon has Locke deftly slaloming complex chord changes, while Sarkisyan’s percolating drumming shifts between a heavy 4/4 rock groove and 7/4 time. Guitarist, former collaborator, and friend Vic Juris is lovingly remembered by Jim Ridl with his Song For Vic Juris, a shimmering ballad that speaks to the legacy of Juris’ musical career.

Reminiscent of hardbop’s heyday, Lorin Cohen’s Interwoven Hues takes us home with a wonderful collaborative effort. By song’s end, everyone has soloed in ways that would make Horace Silver or Cedar Walton smile. A fitting epilogue, the set ends with Locke playing solo on Billy Strayhorn’s Lush Life. Dancing alone with his instrument, Locke delivers a signature performance that elegantly intertwines Strayhorn’s legacy with his own.

Within the galaxy of contemporary Jazz, albums often come with expectations that artists present their music in ways listeners can easily appreciate or readily understand. Makram’s orbit revolves around a slightly different sensibility, one where a gorgeous collage of music speaks to the meticulous preparation, world-class artistry and personal chemistry which Joe Locke is advancing at this point in his career. Challenging, complex, familiar but with a contemporary and international flare, this recording incorporates a dynamic quartet, effortless arranging spiced with just the right blend of instrumentation, curious meters, honorable sentiments and kinship - music that exemplifies Joe Locke’s intimate connection to his band, his audience, and most importantly himself. By Michael Ambrosino
https://joelocke.bandcamp.com/album/makram

Personnel: Joe Locke - vibes and additional keyboards; Jim Ridl - piano and keyboards; Lorin Cohen - acoustic and electric bass; Samvel Sarkisyan - drums and cymbals

Special Guests: Doug Beavers - trombone (2,4); Eric C. Davis - french horn (2,4); Jennifer Wharton - bass trombone and tuba (2,4); Samir Nasr Eddine - oud (3) Bahaa Daou - riq (3); Tim Garland - soprano saxophone, bass clarinet and flute (5)

Makram

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Ali Ryerson - I'll Be Back

Styles: Flute Jazz
Year: 1993
File: MP3@128K/s
Time: 49:58
Size: 46,5 MB
Art: Front

(4:41) 1. Bobby's Minor
(4:33) 2. L'Ode A' Muse
(5:28) 3. I'll Be Back
(7:51) 4. Peace
(6:24) 5. Thinking of You
(7:29) 6. Nobody Knows
(4:59) 7. Song For Myself
(4:59) 8. Samba De Gago
(3:33) 9. That's All

It is a testament to flutist Ali Ryerson that on her second release she is not overshadowed by her all-star rhythm section (pianist Kenny Barron, bassist Cecil McBee and drummer Danny Gottlieb) and that her sidemen sound happy to be playing with her. The music on this CD ranges from Bobby Jaspar's blues "Bobby's Minor" to a memorable version of Horace Silver's "Peace" and an emotional "That's All." Nothing that innovative occurs, but Ryerson's very pleasing flute sounds perfectly at home in this modern mainstream setting. Recommended for straight-ahead jazz fans.By Scott Yanow
https://www.allmusic.com/album/ill-be-back-mw0000104451

Personnel: Alto Flute, Flute – Ali Ryerson; Bass – Cecil McBee; Drums – Danny Gottlieb; Piano – Kenny Barron

I'll Be Back

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Bill Coleman - Hold Tight

Styles: Trumpet Jazz
Year: 2020
File: MP3@320K/s
Time: 89:58
Size: 210,8 MB
Art: Front

(2:54) 1. Lester Leaps In
(5:10) 2. Colemanology
(4:36) 3. From Boogie to Funk
(4:43) 4. St. James Infirmary
(6:32) 5. Afromotive in Blue
(5:11) 6. Baby, Won't You Please Come Home
(4:56) 7. Pound Horn
(5:27) 8. Old Maid Blues
(9:42) 9. Bill, Budd and Butter
(4:06) 10. Mood Indigo
(3:10) 11. Si Jolie
(6:12) 12. Bill Coleman Blues
(3:25) 13. Come on a My House
(5:50) 14. I Surrender, Dear
(9:46) 15. Have Blues Will Play´Em
(2:58) 16. The Blues Jumped up and Got Me
(5:13) 17. In My Solitude

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935.

While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981. By Scott Yanow
https://www.allmusic.com/artist/bill-coleman-mn0000068537/biography

Hold Tight

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