Stanley Jordan - Relaxing Music For Difficult Situations, I

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 63:51
Size: 146,2 MB
Art: Front

(63:51) 1. Relaxing Music For Difficult Situations, I

Stanley Jordan's discovery in the early '80s rightfully earned a lot of headlines in the jazz world as he came up with a new way of playing guitar. Although he was not the first to use tapping, Jordan's extensive expertise gave him the ability to play two completely independent lines on the guitar (as if it were a keyboard) or, when he wanted, two guitars at a time. He had originally studied piano, although he switched to guitar when he was 11.

After graduating from Princeton in 1981, Jordan played for a time on the streets of New York. Soon he was discovered, had the opportunity to play with Benny Carter and Dizzy Gillespie, and, after recording a solo album for his own Tangent label, signed with Blue Note. Since then, his career has been surprisingly aimless. Stanley Jordan can play amazing jazz, but he often wastes his talent on lesser material, so one has to be picky in deciding which of his recordings to acquire.

Among his many albums are 1985's Magic Touch, 1986's Standards, Vol. 1, 1990's Stolen Moments, 1994's Bolero, 2003's Dreams of Peace, and 2008's State of Nature. In 2011, Jordan was joined by an all-star lineup featuring saxophonist Kenny Garrett, trumpeter Nicholas Payton, bassist Christian McBride, and drummer Kenwood Dennard for the album Friends. In 2015, Jordan paired up with fellow guitarist Kevin Eubanks for the eclectic, laid-back covers album Duets, which also showcased his piano skills.
By Scott Yanow https://www.allmusic.com/artist/stanley-jordan-mn0000011910#biography

"Music is neurologically processed on different levels," explains Karen Goodman, director of the nearly 40-year-old music therapy program at Montclair State University.

Because music can be processed by several parts of the brain, it can be used as a therapeutic tool, reaching areas of the brain that speech cannot. ("Music begins where words end," as Goethe also noted, long before brain imaging proved him right.)

But what about everyday applications? If music is effective in clinical settings, might it also help you figure out your next step in a crisis or coax your body into action in the midst of despair?

Guitarist Stanley Jordan is among those who believes it can. Several years ago, Jordan sat down with his guitar and played for more than an hour to deal with his anxiety before undergoing extensive dental work.

The result was "Relaxing Music for Difficult Situations," a CD he produced independently while taking a break from the commercial music scene.

"I did this one recording for myself because I had to relax before going to the dentist," Jordan said during a recent telephone interview from his home in Sedona, Ariz. "I had to go for three days of dental work, so I needed something really powerful."

But rather than hearing nervous anxiety in his music, Jordan heard melancholy. "I realized that I was sad because I was disappointed in myself," he said. "The fact that I was having problems with my teeth made it evident that I wasn't really loving myself and taking care of myself."

His music, he said, helped him see the problem in a different light.

https://www.nj.com/homegarden/entertaining/2008/09/guitarist_stanley_jordan_offer.html

Relaxing Music For Difficult Situations, I

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Anna Margolina - One Endless Night

Styles: Vocal Jazz
Year: 2023
File: MP3@320K/s
Time: 44:05
Size: 101,6 MB
Art: Front

(5:45) 1. One Endless Night
(5:04) 2. Mirror Of Me
(5:03) 3. Motherless Child (Feat. Lisa Buchholz)
(5:57) 4. Shadows And Light (Feat. Lisa Buchholz)
(5:52) 5. Cold Waters
(4:32) 6. Life As A Lie
(5:56) 7. Hiding
(5:53) 8. Chaos And I

Anna Margolina’s debut album, One Endless Night, was released under the XJAZZ!Music label in June 2023 is an auditory journey that encapsulates the emotions and experiences of her immigration from Minsk to Berlin. As a work of exquisite musical storytelling, it portrays Margolina’s unique life trajectory through a mélange of captivating jazz compositions

Margolina, already an accomplished performer in her own right with the “Andrej Hermlin Swing Dance Orchestra” and the ensemble “Kaminer & Die Antikörper,” channels her remarkable singing into this heartfelt musical narrative. Known for her versatile range and emotive delivery, her performance on this album is no less impressive. Her voice warm, ethereal, and pulsating with a phenomenal sense of rhythm forms the cornerstone of this musical odyssey.

Balancing traditional Western jazz elements with her European sensibilities, Margolina’s album is an unlikely piece of cross-cultural fusion. “Hiding” has a modern jazz aesthetic that would be enjoyed by any Western modern jazz fan. While “Shadows and Light” is accentuated by an uncanny suggestiveness and flows with an evident European sensibility. The album embraces the improvisational freedom characteristic of both jazz hemispheres while still maintaining a contemporary sound that firmly situates it in the present.

The album’s narrative journey is further underscored by the innovative compositions and arrangements by Conor Cantrell, a fellow world wanderer. Margolina’s powerful vocals are supported by an ensemble of talented musicians, including Kenneth Berkel on piano, Lisa Buchholz on the flugelhorn, Hendrik Nehls on bass, and David Guy on drums. Their synergy breathes life into Cantrell’s compositions, effectively carrying the listener through the highs and lows of Margolina’s life story.

From the melancholic introspection of “Motherless Child” to the climactic resolution of “Chaos and I,” each of the eight tracks in One Endless Night is a chapter in Margolina’s immigration story. While the compositions explore various themes like loneliness, identity search, and personal confrontations, they also depict the liberating kindness of strangers and the hopeful resolution of arrival.

Though not without its somber moments, One Endless Night presents a balanced, primarily positive exploration of Margolina’s immigration experience. Its thematic strength, combined with Margolina’s compelling vocal performance and the accompanying musicians’ skilled improvisation, make it an album worth experiencing.

One Endless Night is an engaging confluence of Western and European jazz elements, delivering a contemporary sound that pushes the boundaries of the genre. Its melodies, deeply rooted in the narrative of Margolina’s journey, add an extra layer of depth to the album, making it a compelling listen for fans of both jazz and storytelling.

One Endless Night is an emotive, rhythmically charged debut album that bridges the divide between Western and European jazz with unerring grace and musical aplomb. Margolina’s versatile talent is a shining beacon throughout the project. This album is not solely a source of entertainment—it aspires to enlighten, stir, and reverberate within its audience, drawing them into Margolina’s exquisitely depicted voyage of emigration. The music also presents a narrative that elegantly pushes exploration, providing a profoundly moving sonic experience that traverses new terrains and skillfully weaves together the distinct attributes of European and Western jazz.https://thejazzword.com/2023/06/anna-margolina-one-endless-night-review/

One Endless Night

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Chet Baker - 'Round Midnight (Live In Cologne)

Styles: Vocal And Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 46:21
Size: 106,4 MB
Art: Front

( 7:00) 1. Prayer For The Newborn
( 8:09) 2. My Ideal
( 7:07) 3. Lady Bird
( 9:30) 4. 'Round Midnight
(14:33) 5. Beatrice

On May 21 and 23 of 1981, trumpeter Chet Baker performed at the Salt Peanuts Club in Cologne, Germany. Backing him were Jon Eardley (fhrn), Bob Mover (as), Dennis Luxion (p), Rocky Knauer (b) and Burkhart Ruckert (d, only on the first three tracks). Now Germany's Circle Records has released a streaming remaster of the performance on 'Round Midnight: Chet Baker Live in Cologne, culled from the gigs. Mark Wingfield did an incredible job on the remastering.

Rudolf Kreis, who founded Circle in 1976, recorded the performances in Cologne, where the label was located at the time. He knew the club's owner, Christoph Höver. The recording was first released in 1982 on vinyl.

The album openswith Prayer for the Newborn, a gorgeous composition by Luxion that features Baker, Eardley and Mover playing off each other. The standard My Ideal follows, with a reedy vocal by Baker. Tadd Dameron's Lady Bird is next. The next two songs Thelonious Monk's 'Round Midnight and Sam Rivers's Beatrice were recorded without drums.

What's notable about this album is its gentle, hammock-like quality. Baker and Eardley are gorgeous together and richly laid back, whether playing in unison or when one is playing lead and the other is on harmony. Add Mover on alto saxophone and you can hear the Pacific Coast.

I can't remember the last time I heard an album this beautiful that moved so cat-like. Quite remarkable. The microphones caught the horns clearly, the piano is a bit less pronounced, the bass even less so and the drums could have been across the street. Nonetheless, it's one of the best Baker albums I've heard in some time. The poetic playing is touching and enveloping. Chet Baker died in 1988; Jon Eardley died in 1991. By Marc Myers
https://www.allaboutjazz.com/news/chet-baker-and-jon-eardley-in-cologne/

Personnel: Trumpet, Vocals – Chet Baker; Alto Saxophone – Bob Mover; Double Bass – Rocky Knauer; Drums – Burkhart Ruckert ; Flugelhorn – Jon Eardley; Piano – Dennis Luxion

'Round Midnight (Live In Cologne)

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Barney Kessel - Hard to Hide

Styles: Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 91:18
Size: 213,0 MB
Art: Front

(2:51)  1. Body and Soul
(2:57)  2. Cheeta's for Two
(4:19)  3. Some Like It Hot
(3:15)  4. Lullaby of Birdland
(7:08)  5. New Rhumba
(3:23)  6. Tea for Two
(2:32)  7. East of the Sun (And West of the Moon)
(4:21)  8. Brasilia
(3:43)  9. All for You
(3:42) 10. I've Grown Accustomed to Her Face
(3:59) 11. Happy Feeling
(4:35) 12. Forward Blues
(2:16) 13. El Tigre
(5:50) 14. Summertime
(3:51) 15. Time Will Tell
(4:35) 16. Passeone Blues
(3:22) 17. The Cobra
(3:55) 18. The Blues
(3:57) 19. Moten Swing
(2:33) 20. Perdido
(2:47) 21. String of Pearls
(2:58) 22. Backward Blues
(3:50) 23. A Woman of Stature
(4:27) 24. The Twister

One of the finest guitarists to emerge after the death of Charlie Christian, Barney Kessel was a reliable bop soloist throughout his career. He played with a big band fronted by Chico Marx (1943), was fortunate enough to appear in the classic jazz short Jammin' the Blues (1944), and then worked with the big bands of Charlie Barnet (1944-1945) and Artie Shaw (1945); he also recorded with Shaw's Gramercy Five. Kessel became a busy studio musician in Los Angeles, but was always in demand for jazz records. He toured with the Oscar Peterson Trio for one year (1952-1953) and then, starting in 1953, led an impressive series of records for Contemporary that lasted until 1961 (including several with Ray Brown and Shelly Manne in a trio accurately called the Poll Winners).

After touring Europe with George Wein's Newport All-Stars (1968), Kessel lived in London for a time (1969-1970). In 1973, he began touring and recording with the Great Guitars, a group also including Herb Ellis and Charlie Byrd. A serious stroke in 1992 put Barney Kessel permanently out of action, but many of his records (which include dates for Onyx, Black Lion, Sonet, and Concord, in addition to many of the Contemporaries) are available, along with several video collections put out by Vestapol. Kessel was diagnosed with inoperable cancer in 2001, which eventually took his life in May of 2004. He was 80 years old. ~ Scott Yanow https://www.allmusic.com/artist/barney-kessel-mn0000784527/biography

Hard to Hide

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Amanda Ginsburg, Andy Fite - Everybody Loves You

Styles: Vocal And Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 52:00
Size: 120,3 MB
Art: Front

(4:29) 1. Polite
(3:09) 2. You Were Mine
(2:41) 3. Everybody Loves You
(3:47) 4. When I Tell You You’re Beautiful
(5:07) 5. Stupid Bastard
(4:48) 6. Hey, Listen Everybody!
(4:47) 7. Darn That Dream And Lover Come Back To Me
(3:05) 8. Isn’t It A Lovely Night?
(3:19) 9. Have You Met Camilla?
(2:41) 10. Maybe Once You’ll Let Me Win
(5:03) 11. What’s On Your Mind?
(3:25) 12. Romans På Distans
(5:33) 13. I Don’t Mind About The Blues

A young Swedish star and a veteran New York jazzman team up on a collection of new songs expressing hope, longing, sympathy, sensuality, impatience, fighting, bitter regret, secrecy and sweet romance. Singer Amanda Ginsburg, born and raised in Stockholm, has captured a wide audience since her album debut in 2018. That album won a Swedish Grammy the following year in the category Best Jazz Album. In 2020 she released her second album which again won for Best Jazz in 2021.

She sings like an angel, with the tantalizing combination of innocence and wisdom that the word implies. Andy Fite came to Sweden from New York City in 1994. He is a highly regarded jazz guitarist, singer and songwriter with over 900 songs written and 56 albums released. The duo features sweet harmony, interplay, some wild improvising and a lot of humor. By Editorial Reviews https://www.amazon.com/Fite-Ginsburg-Everybody-Loves-You/dp/B0C54KF4JS

Everybody Loves You

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Bob Dorough & Bill Takas - Beginning to See the Light

Styles: Vocal And Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 45:58
Size: 105,9 MB
Art: Front

(2:39) 1. Simon Smith and the Dancing Bear
(5:48) 2. Better Than Anything
(6:58) 3. I'm Beginning to See the Light
(5:25) 4. A Hundred Years from Today
(2:53) 5. I'm Hip
(4:44) 6. Nothing Like You
(3:41) 7. Small Day Tomorrow
(4:52) 8. Norwegian Wood
(3:51) 9. Because We're Kids
(5:01) 10. I've Got Just About Everything

This CD reissue from Bob Dorough's label Laissez-Faire reissues a 1976 appearance at Concerts by the Sea. The pianist-vocalist performs duets with bassist Bill Takas that range from a couple of children's songs ("Simon Smith and the Dancing Bear" and Dr. Seuss' "Because We're Kids") to remakes of such "hits" as "Better than anything," "I'm Hip" and "I've Got Just About Everything." In general this concert gives one a good all-round picture of Dorough's singing and piano talents; an acquired taste that is worth developing. By Scott Yanow
https://www.allmusic.com/album/beginning-to-see-the-light-mw0000964246


Personnel: Bass – Bill Takas; Piano, Vocals – Bob Dorough

Beginning to See the Light

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Stacey Kent - Summer Me, Winter Me

Styles: Vocal Jazz
Year: 2023
File: MP3@320K/s
Time: 51:50
Size: 119,5 MB
Art: Front

(5:05) 1. Summer Me, Winter Me
(4:25) 2. La valse des lilas
(5:09) 3. Thinking About the Rain
(4:21) 4. Under Paris Skies
(4:55) 5. If You Go Away
(3:52) 6. Happy Talk
(3:19) 7. Show Me
(5:02) 8. Postcard Lovers
(5:50) 9. Corcovado
(5:12) 10. A Song That Isn't Finished Yet
(4:35) 11. Ne me quitte pas

With her album sales measured in millions, Stacey Kent is one of the great success stories in modern jazz. Her multi-lingual abilities allow her to record in various languages and she has appeared in over fifty countries. Her appeal is global and it is her vocal ability which has taken her to these heights. Her voice is light but commands attention with her ability to engage and communicate the narratives of love and regret, often in a simple and minimalist manner.

This album came about as a result of the material used in her live sets. Often that material had not been formally recorded. In response to audience requests, those songs have been arranged and recorded on Summer Me, Winter Me.

The album includes two original songs written by Cliff Goldmacher and Kent's husband, Jim Tomlinson. Tomlinson also arranged all the tracks as well as playing tenor saxophone, flutes, clarinet, percussion and keyboards. The rest of the tracks are jazz standards with the exception of one track which has lyrics by Nobel Prize-winning author, Kazuo Ishiguro. The album was recorded over three sessions with different piano, bass and drum trios. There is also a string quartet on one track.

Of the original songs, the stand-out is "Thinking About the Rain." Kent's phrasing and vocal clarity all suit the narrative perfectly. There is consummate support from Tomlinson's flute with neat prompting from drummer Anthony Pinciotti. Another high point comes with the bittersweet ballad "Postcard Lovers" which has lyrics by Ishiguro and previously appeared on the live album, Dreamer In Concert (Blue Note, 2012). Tomlinson effectively revises his original music to enhance the song.

Surprisingly, there are two versions of the same song by Jacques Brel, but with different arrangements and in different languages. The original French version of "Ne me quitte pas" is stark and sad, the English version, "If You Go Away," a little lighter with the string quartet in the background. In contrast and regardless of whether it is familiar from the version by Ella Fitzgerald, Captain Sensible or Bloody Mary, "Happy Talk" is light-hearted, upbeat and fun with a sax solo from Tomlinson. Elsewhere there are songs composed by Michel Legrand, Lerner & Loewe, Rodgers & Hammerstein and others.

There is no unnecessary adornment to these songs yet they create the perfect ambience for Kent to deliver her delicate interpretations. Her voice has effortless swing and finds warmth and compassion in every track. The musicians show restraint and perform to highlight Kent's vocal. The album offers a great deal to enjoy and her success story goes from strength to strength.By Neil Duggan https://www.allaboutjazz.com/summer-me-winter-me-stacey-kent-naive

Summer Me, Winter Me

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Chris Botti - Vol. 1

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 47:03
Size: 108,4 MB
Art: Front

(2:50) 1. Danny Boy
(5:16) 2. Bewitched, Bothered and Bewildered
(3:52) 3. Two For The Road
(4:17) 4. Paris
(3:25) 5. Blue In Green
(4:42) 6. Someday My Prince Will Come
(6:23) 7. Time On My Hands
(6:11) 8. My Funny Valentine
(4:13) 9. Fix You
(5:50) 10. Old Folks

Chris Botti has a beautiful tone. His trumpet is clear, warm and caring, particularly on slow tunes. He has been recording since 1979, and his first album as a leader, First Wish, was recorded in 1995. Along the way, he has performed and recorded with jazz stars as well as Lady Gaga, Sting, Paul Simon and Joni Mitchell, among others. His new album Vol. 1 (Blue Note) is a cozy collection of ballads.

Produced by David Foster, Vol. 1 features performances by violinist Joshua Bell, pianist Taylor Eigsti, guitarist Gilad Hekselman, drummer Vinnie Colaiuta, and others. The tracks are Danny Boy; Bewitched, Bothered and Bewildered; Two for the Road, Paris (with John Splithoff on vocal), Blue in Green, Time on My Hands, My Funny Valentine, Coldplay's Fix You and Old Folks.

A few weeks ago, I had a 50-minute Zoom with Chris for my WSJ “House Call" column. Chris lives in Thermal, Calif., at the Thermal Club, a private residential community that sits on a motorsport track. Chris own three sport cars a Porsche GT4 RS, a Porsche GT4 with a DeMan 4.5-liter engine, and a McLaren 720S.

He loves driving fast, without the fear of traffic or police stops. For Chris, though, the cars and track aren't really about speed. As he confessed to me, he simply loves the sound of the engines running hard, which he likened to “an exhilarating symphony."

What you'll love about his new album is the far off, ruminating sound of his horn. It's of the season, when we prepare to spend more time indoors and think back in time, remembering events, friends and family. Growing up, Chris enjoyed being solitary and worked hard at young ago to play the cornet and then the trumpet. Hanging out just wasn't of interest to him.

His early inspirations were Doc Severinsen and then Miles Davis, during the trumpeter's pre-fusion years. As Chris siad, “Unlike other trumpeters, Miles’s sound was tender, dark and nocturnal. There was a human quality about it."

The recording that first hooked Chris on the trumpet was the theme from Brian's Song, a 1971 TV movie, as played by Severinsen on Henry Mancini and Doc Severinsen: Brass on Ivory. Here it is...

Here's two hour of Chris with Ben Butler on guitar, Caroline Campbell on violin, Sy Smith and Jo Lawry on vocals, Abdelrhani Krija on percussion, Richard Goods on bass, Ben Stivers on keyboards, Lee Pearson II on drums, Geoffrey Keezer on piano and Sting on vocals and bass...By Marc Myers https://www.allaboutjazz.com/news/chris-bottis-new-album-vol-1/

Vol. 1

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The Ruby Braff, George Barney Quartet - To Fred Astaire, With Love

Styles: Trumpet And Guitar Jazz

Year: 1975

File: MP3@320K/s

Time: 24:59

Size: 60,1 MB

Art: Front

(2:22)  1. Cheek To Cheek

(3:46)  2. They Can't Take That Away From Me

(2:16)  3. Easter Parade

(2:04)  4. A Shine On Your Shoes

(2:25)  5. I'm Putting All My Eggs In One Basket

(2:26)  6. They All Laughed

(2:25)  7. Be Careful, It's My Heart

(2:22)  8. I'm Old Fashioned

(2:37)  9. Isn't It A Lovely Day To Be Caught In The Rain?

(2:12) 10. Top Hat, White Tie And Tails

The final recorded collaboration between cornetist Ruby Braff and guitarist George Barnes (in a quartet with rhythm guitarist Wayne Wright and bassist Michael Moore) features concise versions of ten songs (all but one is under three minutes) introduced in the 1930s by Fred Astaire. Although this LP is not essential, the arrangements make the veteran standards (which include "Cheek to Cheek," "They Can't Take That Away from Me," "A Shine on Your Shoes" and "They All Laughed") sound fresh and lively. Astaire himself approved of the project. ~ Scott Yanow  http://www.allmusic.com/album/to-fred-astaire-with-love-mw0000873193

Personnel: George Barnes (guitar); Ruby Braff (trumpet); Wayne Wright (guitar).

To Fred Astaire, With Love

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Rock4 - Abbey Road

Styles: Vocal Pop
Year: 2017
Time: 48:03
File: MP3 @ 320K/s
Size: 112,0 MB
Art: Front

(5:46) 1. Come Together
(3:10) 2. Something
(3:01) 3. Maxwell's Silver Hammer
(3:32) 4. Oh! Darling
(2:59) 5. Octopus's Garden
(7:06) 6. I Want You (She's so Heavy)
(2:55) 7. Here Comes the Sun
(2:54) 8. Because
(4:07) 9. You Never Give Me Your Money
(2:28) 10. Sun King
(1:04) 11. Mean Mr. Mustard
(1:20) 12. Polythene Pam
(1:53) 13. She Came in Through the Bathroom Window
(1:31) 14. Golden Slumbers
(1:37) 15. Carry That Weight
(2:11) 16. The End
(0:21) 17. Her Majesty

Are you excited about a new, high quality Beatles tribute album? You will probably like Rock4's Abbey Road. Are you indifferent to The Beatles yet open to a covers album if it's done well? You also will probably like this Abbey Road. But if you don't like songs by The Beatles, I'm not sure this release is compelling enough to change your mind.

For this review to make sense, you should know that I am mostly a category two person with a splash of category three, enough so that I didn't immediately realize this is a track-for-track cover of The Beatles' last four-man studio album. And I didn't really have time to catch up to the rest of the classic rock world by learning the original record inside and out, so you'll have to take my face value impressions at face value.

The opening track, Come Together, is a contender for world's best rock song, is definitely my favorite Beatles song, and is also the one track that gets an obviously less-than-conventional cover. Rock4 chose to transform it into an Enigma-style mashup with techno Gregorian chant. This was a mistake. I, personally, am exactly the target audience for a cappella techno-fied Gregorian chant. I do not want it mixed in with The Beatles. Nor do I want one of the few Beatles songs I actively like to be anything other than the rocker it is.

Further down the road (heh) things seem to straighten out, at least as much as The Beatles intended. Something is straight up and very nice for what it is. Because, an a cappella staple going back to The Nylons, does what it says on the tin and the two Sun songs are arranged with pleasing echos. Octopus's Garden, in addition to being a terrible song, is also the weirdest listen because of the way Rock4 sings the word "garden". It's just a smidge too Germanic (sorry, I know you're Dutch but there it is) to get past my ears. Otherwise, the English is just as good as the singing, which is to say really quite nice overall.

Moving on, I really like the unisons on Carry That Weight. Probably my favorite song on this disc, and one of the most charismatic. I also enjoy the duo of Mean Mr. Mustard and Polythene Pam Rock4 keeps it light and gives the latter a heavy dose of Sympathy For the Devil-style "whoo-whoo"s. I am not going to wade into The Beatles vs. Stones abyss, but a few things stand out too much to avoid.

All this is to say that Abbey Road is an ambitious project that makes good on its promise. If that appeals to you, you'll have a good time.https://www.rarb.org/reviews/albums/1682-abbey-road/

Abbey Road

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Olivia Van Goor - Don't Be Mad At Me

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 30:23
Size: 70,0 MB
Art: Front

(4:57) 1. Over The Rainbow
(3:25) 2. Shulie A Bop
(3:57) 3. Sweetness
(4:33) 4. I Can Tell (Feat. Josie Ala)
(4:11) 5. Nature Boy
(5:54) 6. God Bless The Child (Feat. James Hughes)
(3:24) 7. Almost Like Being In Love (Feat. Sam Corey)

Olivia is a young performer with an old soul influenced by swing and bebop jazz from the mid-20th century. Music is undeniably a part of her identity, her voice being the instrument she communicates with. She draws from the Great American Songbook and other jazz standards in a way that is beyond replicating what has already been done before. Each and every performance and recording exemplifies a rich understanding and musicality that is uniquely her own while still paying tribute to jazz tradition and the ones who created it.
https://www.last.fm/music/Olivia+Van+Goor/+wiki

Personnel: Olivia Van Goor - Voice; Adam Mosley - Piano; Samuel Chase Harris - Bass; David Zwolinski - Drums; Josie Ala - Trumpet (Track 4); James Hughes - Saxophone (Track 6); Sam Corey - Saxophone (Track 7)

Don't Be Mad At Me

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Django Reinhardt - Electric Django: Radio Recordings 1947

Size: 181,8 MB
Time: 77:09
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Gipsy Jazz
Art: Front

01. Nuages (3:26)
02. September Song (3:05)
03. This Kind Of Friend (2:33)
04. Viper's Dream (3:01)
05. Del Salle (3:23)
06. Les Yeux Noirs (3:13)
07. Minor Swing (2:52)
08. Swing 39 (2:38)
09. Crepuscule (4:00)
10. Lover Man (3:53)
11. Porto Cabello (3:49)
12. Sweet Chorus (3:04)
13. Belleville (2:37)
14. Blues En Mineur (3:33)
15. Dinette (2:57)
16. Folie A Amphion (3:02)
17. I Can't Give You Anything But Love (2:53)
18. Improvisation Sur La Danse Norvegienne (2:40)
19. Manoir De Mes Reves (3:52)
20. Melodie Au Crepuscule (3:22)
21. Place De Brouckere (2:45)
22. Swing De Paris (3:54)
23. Ol' Man River (3:28)
24. Swing Guitars (2:59)

Jean "Django" Reinhardt (23 January 1910 – 16 May 1953) was a Belgian-born Romani French jazz guitarist and composer, regarded as one of the greatest musicians of the twentieth century. He was the first jazz talent to emerge from Europe and remains the most significant.

With violinist Stéphane Grappelli, Reinhardt formed the Paris-based Quintette du Hot Club de France in 1934. The group was among the first to play jazz that featured the guitar as a lead instrument. Reinhardt recorded in France with many visiting American musicians, including Coleman Hawkins and Benny Carter, and briefly toured the United States with Duke Ellington's orchestra in 1946. He died suddenly of a stroke at the age of 43.

Reinhardt's most popular compositions have become standards within gypsy jazz, including "Minor Swing", "Daphne", "Belleville", "Djangology", "Swing '42", and "Nuages". Jazz guitarist Frank Vignola claims that nearly every major popular-music guitarist in the world has been influenced by Reinhardt. Over the last few decades, annual Django festivals have been held throughout Europe and the U.S., and a biography has been written about his life. In February 2017, the Berlin International Film Festival held the world premiere of the French film, Django.

Electric Django

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Nate Morgan - Retribution, Reparation

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 36:55
Size: 84,8 MB
Art: Front

(6:40) 1. U.G.M.A.A.GER
(5:44) 2. Impulse
(5:55) 3. Mass Madness
(6:51) 4. Retribution, Reparation
(2:55) 5. One Finger Snap
(8:47) 6. Come Sunday

The second of two albums that Los Angeles-based jazz pianist and composer Nate Morgan recorded for the Nimbus West imprint, Retribution, Reparation is now available on vinyl for the first time since its original release in 1984. With its spiritually and politically charged take on modal jazz, it has been highly sought-after by collectors for years.
https://www.jazzmessengers.com/en/83883/retribution-reparation

Personnel: Nate Morgan - piano; Danny Cortez - trumpet; Jesse Sharps - reeds; Joel Ector - bass; Fritz Wise - drums

Retribution, Reparation

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Zoe Rahman - Colour of Sound

Styles: Piano, Contemporary Jazz
Year: 2023
File: MP3@320K/s
Time: 47:54
Size: 110,4 MB
Art: Front

(5:47) 1. Dance Of Time
(6:22) 2. For Love
(6:01) 3. Little Ones
(4:49) 4. Sweet Jasmine
(6:08) 5. Go With The Flow
(7:37) 6. Roots
(6:15) 7. Unity
(4:51) 8. Peace Garden

If you have shown your virtuosity on the piano in a variety of live and studio recordings, been recognized as one of the leading lights in contemporary British jazz and won multiple awards, what do you do next? In Zoe Rahman's case, more of the same but expanded and magnified. Most often heard in a trio format, Rahman has assembled seven trusted musicians to create an uplifting album, The Colour of Sound.

Perhaps resulting from her background in classical music, her love of jazz, and her British and Bengali heritage, Rahman is a highly individual pianist, composer and arranger. She released her first album, Cynic, in 2001 (Manushi Records) and has been no stranger to jazz awards ceremonies since then. Her ambition to drive forward is clear, offering new compositions, a new large-ensemble band and bold arrangements.

Reflecting her engagement with contemporary diversity, Rahman's team includes a rhythm section of Gene Calderazzo on drums and Alec Dankworth on bass. Her horn section comprises of Alexandra Ridout on trumpet, Rosie Turton on trombone and her brother, Idris Rahman, on tenor, alto and clarinet. The final slots are filled by flautist, Rowland Sutherland and guest trumpeter, Byron Wallen. As Rahman says: "I've chosen all the players for the strong connection I have with them. My music isn't straightforward and needs people with depth to their playing, who can understand the complexities, but who can also express the emotional side of the music to really connect with the audience."

Starting with rolling bluesy piano, the powerful opening track, "Dance of Time" is driven forward by Sutherland's flute. The horns lead into "For Love." The swirling theme is explored by brother and sister on sax and piano. The clever arrangement makes the band sound like a much bigger unit. The slowly building "Little Ones" features Idris Rahman's searching clarinet and an inventive bass solo from Dankworth.

With a South African rhythm, the upbeat "Sweet Jasmine," features a fine trumpet break by Wallon and fiery drumming from Calderazzo. Turton's trombone is joined by Ridout on flugelhorn as the horns lead into "Go with the Flow." The piano eventually breaks free followed by a fast bass break from Dankworth. There are two contrasting piano trio pieces. "Roots" has dramatic piano improvisation, whilst "Peace Garden" is a gentle piano piece with supportive bass and cymbal washes. With constantly changing moods and evolving rhythms, "Unity" is an ambitious composition with a skillful and inventive arrangement.

Perhaps influenced by Cedar Walton's style, Rahman's playing carries considerable gravitas. Her collaborators bring all their skill and passion to the project, making this an exquisitely crafted album that repays repeated listening. With bold arrangements, dynamic compositions and passionate playing, this album is an easy one to recommend.

If you are planning to be in London on the 6th of September 2023, you may be interested to know that the album is being launched at Kings Place. By Neil Duggan https://www.allaboutjazz.com/colour-of-sound-zoe-rahman-proper-records

Personnel: Alto Flute – Rowland Sutherland; Alto Saxophone – Idris Rahman; Clarinet – Idris Rahman; Double Bass – Alec Dankworth; Drums – Gene Calderazzo; Flugelhorn – Alex Ridout (tracks: 5); Flute – Rowland Sutherland; Piano – Zoe Rahman; Tenor Saxophone – Idris Rahman; Trombone – Rosie Turton; Trumpet – Alex Ridout (tracks: 2, 7), Byron Wallen (tracks: 4)

Colour of Sound

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Kayla Waters - Presence

Styles: Piano, Contemporary Jazz
Year: 2023
File: MP3@320K/s
Time: 45:57
Size: 106,2 MB
Art: Front

(4:55) 1. Abundance
(4:31) 2. Waterkisses
(5:11) 3. Acoustic Wind
(4:53) 4. Undulation
(5:18) 5. At The Well
(4:09) 6. Murky Moon
(4:15) 7. Pianissimos
(3:55) 8. Salt N’ Soak
(4:51) 9. Oceanz Of Love
(3:55) 10. Presence

Pianist and composer Kayla Waters is a classically trained performer, known for her sparkling, contemporary jazz- and R&B-inspired sound. She debuted to chart success with 2017's Apogee and 2018's Coevolve, spawning several number one Smooth Jazz Airplay hits, including "I Am," "Zephyr," and "Full Bloom." In 2023, she delivered her third full-length, Presence.

Born into a musical family, Waters was introduced to music through her father, acclaimed smooth jazz saxophonist Kim Waters. From the age of six, she studied classical piano and eventually earned her Bachelor of Music in Piano Performance from Howard University, where she graduated summa cum laude. As a performer, she made her debut playing on several of her father's albums before launching her own career.

She has also shared the stage with a bevy of luminaries including Patrice Rushen, Maysa, Stevie Wonder, and others. Along with her performance career, Waters works as Director of Music and Worship at Mount Vernon Place United Methodist Church in Washington, D.C. and holds the position of Music Director of the Howard University Early Learning Program. In 2017, she released her debut full-length album, Apogee, on Trippin N' Rhythm Records. Featured on the album was the single "I Am," which eventually topped Billboard's Smooth Jazz Airplay chart.

In 2018, Waters returned with her follow-up, Coevolve. It spawned several more number one smooth jazz hits, including "Zephyr" and "Full Bloom." In 2023, she moved to the Shanachie label, releasing the spiritually minded Presence, which also found her drawing inspiration from her love of the ocean. Included on the album was the spotlight track "Undulation."By Matt Collar

Presence

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Dizzy Reece Quintet - On The Scene

Styles: Trumpet Jazz
Year: 1957
Time: 63:50
File: MP3 @ 320K/s
Size: 146,1 MB
Art: Front

(6:36) 1. Yardbird Suite
(6:38) 2. Eboo
(6:14) 3. On The Scene
(3:41) 4. How Deep Is The Ocean
(7:37) 5. Blubird (Take 1)
(5:45) 6. Blubird (Take 2)
(2:56) 7. Stomp
(8:17) 8. Get Up
(4:05) 9. The Gypsy (Take 2)
(5:22) 10. A Variations On Monk
(6:34) 11. Sweet And Lovely

Alphonso Son "Dizzy" Reece is a hard bop jazz trumpeter with a distinctive sound and compositional style.

Reece was born January 5, 1931 in Kingston, Jamaica, the son of a silent film pianist. He attended the Alpha Boys School (famed in Jamaica for its musical alumni), switching from baritone to trumpet at 14. A full-time musician from age 16, he moved to London in 1948 and spent the 1950s working in Europe, much of that time in Paris. He played with Don Byas, Kenny Clarke, Frank Foster and Thad Jones, among others.

Winning praise from the likes of Miles Davis and Sonny Rollins, he emigrated to New York City in 1959, but found New York in the 1960s a struggle. Too little heard-from in the intervening years, he had a reissue on Mosaic in 2004 that gave fans hope of a comeback.

On The Scene

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Nicole Zuraitis - How Love Begins

Styles: Vocal Jazz

Year: 2023
Time: 48:08
File: MP3 @ 320K/s
Size: 110,9 MB
Art: Front

(4:16) 1. The Good Ways
(4:24) 2. Travel
(7:16) 3. Reverie
(3:40) 4. Let Me Love You
(3:46) 5. Burn
(5:05) 6. Two Fish
(4:21) 7. We Planned, Well Played)
(4:53) 8. 20 Seconds
(4:59) 9. Like Dew
(5:23) 10. The Garden

Outside In Music is thrilled to announce the release of How Love Begins, the provocative new release from jazz singer songwriter and vocal/instrumental powerhouse Nicole Zuraitis. Co-produced by bass luminary Christian McBride, How Love Begins is an ardent, vulnerable and relatable meditation on modern love that solidifies the GRAMMY nominated Zuraitis’ stature as one of the pre-eminent songwriters of our time. Alongside Zuraitis’ soaring vocals and pianistic refrains, How Love Begins features the aforementioned Christian McBride on the bass, Gilad Hekselman on guitar, Maya Kronfeld on organ, Wurlitzer and Rhodes, and Dan Pugach on drums. The album also features special guests David Cook on piano, Billy Kilson on drums and Sonica – a co-led vocal trio comprised of Thana Alexa, Julia Adamy and Zuraitis.

“Perhaps this album should have been called “How Love Begins… and Ends,”” Zuraitis says wryly, commenting on the duality she distinctly presents in the two-part structure of the release. To illustrate the many phases of love, she divides her 10-track collection in halves titled ‘part I: oil’ and ‘part II: water’. This format, which verifies the idea that “opposites attract”, embodies a story of romance initially blessed with harmony yet eventually plagued with discord.

Propelled by the notion that the polarity of love can often be coincidental, Zuraitis conceptualized ‘Oil’ and ‘Water’ spontaneously after a visceral reaction she had to the work of Spanish conservation photographer Daniel Beltrá. She stumbled upon his collection “Spill”, which at first glance looked to her like paintings with beautiful color patterns created from the brush of an artist. “When I learned that the stunnings works of art, with their swirling colors and perfectly placed hues, were actually aerial photographs of the most devastating oil spill in history, my heart sank,” she describes. “The irony was not lost on me. Just like a love that ends too soon, the common thread is that some of the most beautiful things in life can also be the most heartbreaking.”

The Deep Water Horizon oil spill destruction combined with the beautiful scope of Beltrá’s imagery struck a chord with Zuraitis. In effect, How Love Begins efforts to depict the all-encompassing journey of modern love, including the beauty of taking chances, the complexity of desire, the fragility of emotion, the blemishes left when chapters close and the long standing optimism of starting anew. The album was conceived between Zuraitis and Christian McBride in 2021 after several years of dreaming about collaborating. The musical partners first crossed paths at the Red Eye Grill in New York City where Zuraitis had a longstanding residency, just a few months after she placed in the International Sarah Vaughan Jazz Vocal Competition. Following many years of mutual admiration, the two artists finally come together on this fruitful collaboration.

“Working with Nicole was an absolute thrill. She does everything at the highest level: singing, playing, writing, producing, and arranging,” shares Christian McBride. “I’m putting big, big money on Nicole. I can’t wait to see her career explode.”

Musically, How Love Begins pays homage to many of Zuraitis’ favorite songwriters from Tin Pan Alley to today. Similar to the great composers of yesteryear, Zuraitis succeeded in composing material that is raw and relatable, with the potential of living on for generations. “I don’t want to be the only person singing these songs I write” she adds, fervently insisting that her goal is for jazz enthusiasts and professionals alike to add her songs to their repertoire.

The first section of How Love Begins, ‘part I: oil’, places the listener in a musical depiction of the thunderous excitement of a new flame that is just beginning, with slippery twists and turns. In “The Good Ways,” Zuraitis warns “You’re simply dangerous, like shock waves” and later “A little heat, a lot of spice / mysterious, never plays nice.” The adventure continues with “Travel” on which a broad, cinematic soundscape is presented by the rhythm section over which Zuraitis’ vocals soar, seemingly bursting with the desire to maintain the listeners autonomy and freedom.

She explores the vicissitudes of daydreams in her arrangement of the Debussy classic “Reverie” which has original lyrics penned by Zuraitis that meditate on how the mind grows occupied with “undeniable whirlpools of fantasy.” “Let Me Love You” is a poetic highlight with Zuraitis wrestling with the question: “Will you ever let me love you?” and later “Does this game ever end?” We’ve all been there before. But at least now we have a song that keeps us company.

The final piece of “part I” is “Burn” – an up-tempo and brisk jaunt, beginning with a notable counterpoint between Zuraitis and McBride. The band enters leading to a stellar guitar solo. Hekselman glides through the progression with angular lines, followed by McBride with a punchy, walking solo. The final lyric “I think i’ll finally try a new romance” conveniently sets the listener up for part II, though trepidation lurks.

Beginning the second section, ‘part II: water”, listeners dive into the deep with “Two Fish” where Zuraitis admires, “how great, the depth of their love”, painting a picture of storybook endings. The feel-good but filled with disquieting subtext of “Well Planned, Well Played” outlines a recipe for modern love, featuring “caffeine and affirmations”, despite being “deeply overwhelmed.” The album takes an emotional spiral with two thought-provoking numbers: “20 Seconds” and “Like Dew”. Ominous lyrics like “Alarm bells ring a warning sound” and “change flows like blood to the heart, while we’re growing further apart” set the scene. Though the fire was lit in part I, allusions to tears and water insinuate flames turning to smoke. “The Garden” comes full circle with melancholic optimism and acceptance, with the hope of starting again.

“If you listen a moment past the final track you may find faint glimmers of hope for the future, saved for a rainy day,” Zuraitis insinuates.

How Love Begins

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Kenny Burrell - Earthy

Styles: Guitar Jazz

Year: 1957/2020

File: MP3@320K/s

Time: 43:40

Size: 100,0 MB

Art: Front

( 9:23) 1. Earthy

( 7:12) 2. What's Not

( 6:16) 3. I Wouldn't

( 6:14) 4. The Frontline

(14:33) 5. Dayee

One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-'50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir, while his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others.

In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava, and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson's trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing in gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, and recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others. Burrell made his recorded debut as a leader on the 1956 Blue Note session Introducing Kenny Burrell technically his second session for the label, but the first to see release. From the late '50s onward, Burrell continued to record by himself and with others, and has appeared on countless albums over the years including such notable albums as 1957's The Cats featuring Coltrane, 1963's Midnight Blue featuring saxophonist Stanley Turrentine, 1965's Guitar Forms with arrangements by Gil Evans, and 1968's Blues - The Common Ground.

Beginning in 1971, Burrell started leading various college seminars including the first regular course to be held in the United States on the music of composer, pianist, and bandleader Duke Ellington. He continued performing, recording, and teaching throughout the '80s and '90s, releasing several albums including 1989's Guiding Spirit, 1991's Sunup to Sundown, 1994's Collaboration with pianist LaMont Johnson, 1995's Primal Blue, and 1998's church music-inspired Love Is the Answer. In 2001, Burrell released the relaxed quartet date A Lucky So and So on Concord and followed it up in 2003 with Blue Muse. He celebrated turning 75 years old in 2006 by recording a live date, released a year later as 75th Birthday Bash Live! In 2010, Burrell released the live album Be Yourself: Live at Dizzy's Club Coca-Cola, recorded at Lincoln Center's smaller club-like venue, followed two years later by Special Requests (And Other Favorites): Live at Catalina's. In 2015, Burrell released The Road to Love, recorded live at Catalina's Jazz Club in Hollywood. Another Catalina's live date, Unlimited 1, appeared in 2016 and featured Burrell backed by the Los Angeles Jazz Orchestra. Besides continuing to perform, Burrell is the founder and director of the Jazz Studies Program at UCLA, as well as president emeritus of the Jazz Heritage Foundation. ~ Matt Collar

https://www.allmusic.com/artist/kenny-burrell-mn0000068780/biography

Personnel: Kenny Burrell - guitar; Al Cohn - tenor saxophone; Art Farmer - trumpet; Hal McKusick - alto saxophone; Mal Waldron - piano; Teddy Kotick - bass; Ed Thigpen - drums

Earthy

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Lisa Hilton - Seduction

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 46:23
Size: 106,7 MB
Art: Front

(3:39)  1. Evening Song
(5:04)  2. Seduction
(3:11)  3. Close to My Heart
(4:29)  4. 29 Palms
(4:38)  5. Missing You
(3:33)  6. Angry Again
(1:46)  7. The Way You Look Tonight
(3:19)  8. Waterfall
(3:44)  9. Desire
(3:01) 10. Getaway
(4:07) 11. Leslie's Song
(4:21) 12. Spanish Dance
(1:27) 13. Remember

"The piano is my friend, my teacher and a passion which soothes my soul and seduces my senses. In composing, I mix my favorite blues, pop and classical styles for a contemporary solo piano sound which speaks to me of today's life. Listen for the whisper of an evening breeze, the splash of a mountain stream, and the rush of Friday's traffic. Listen for anger, acceptance, love, lust, pleasure, pain, and prayer. Now let the music move through you, and listen to the life we share". A passionate pianist and a prolific composer, Lisa Hilton grew up in a very musical family. Her piano has been compared favorably to fellow pianists Oscar Peterson, Bill Evans and George Shearing but her style is all her own. Hilton's beautiful melodies, catchy beats and emotionally played music appeals to listeners of all ages and is played on radio across the US as well as internationally. https://store.cdbaby.com/cd/lisahilton6

Seduction

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Cindy Bradley - Promise

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 44:02
Size: 101,7 MB
Art: Front

(4:12) 1. A Little Moxie
(4:30) 2. For The Cool In You
(4:21) 3. Drive
(4:30) 4. Night Flight
(4:25) 5. Gimme The Night
(4:30) 6. Promise
(4:09) 7. Cinco
(4:35) 8. Take The Plunge
(4:20) 9. Ani
(4:25) 10. Evening Zen

Cindy Bradley is back with a new album. It is called Promise, and it is her first set of new music in four years. Bradley always stays current with her sounds and the production is always first class. Greg Manning produced and mixed the ten track effort, which are all originals. Let's check out the songs!

The album starts off with A Little Moxie. The title is apt, as is is sort of a lazy song that also shows off her prowess on that trumpet. We love the layering of the horn parts, and the hook features the piano playing right with the trumpet, which enriches the sound.

If you like those dirty grooves, then For The Cool In You will fit the bill. You will notice the funky drum patch, and Bradley's horn play is really chill. This track shows why Bradley is one of the top horn players out there.

On every album, Cindy is good for an EDM style track. Drive is that song. Some artists have difficulty with some of the uptempo songs, but not Bradley. She can do a whole album of dance style music and we would not be mad at that!

In Night Flight, Bradley takes it down a few notches with a slow jam that will leave a smile on your face. Everything is working here, with the slick guitar, airy chords, and the soothing sounds of the flugelhorn.

Bradley keeps it moving with Gimme The Night. She plays the trumpet, tenor saxophone, and trombone on the track, and the background vocals add an excellent layer to the mix. The overall vibe is chilled, but with a little intensity.

The title track, Promise is next. The bassline will remind you of some of the classic soul tracks of the late 70's and with the flugelhorn, trumpet, and the piano play, this is a track where it all comes together. We get a little festive with Cinco. You cannot go wrong with a little Latin flair on any track. We actually think that this needs an extended version. In Take The Plunge, we get another uptempo track to keep you moving. The horn arrangements are refreshing, and the entire concept of the song is so different than the usual smooth jazz song. you can check it out below.

In Ani, the tempo slows down a bit, and this song just feels like home. Mark Jaimes adds the guitar play, and this is a new song to add to your Stepper's playlist. The set concludes with Evening Zen. Just like the title implies, you can just close your eyes and enjoy the music. You can add this to a Holiday playlist and it will fit right in.https://thejazzworld.com/review-promise-by-cindy-bradley/

Promise

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