Philip Catherine - September Sky

Styles: Guitar Jazz 
Year: 1988
File: MP3@320K/s
Time: 65:12
Size: 150,2 MB
Art: Front

(4:27)  1. September Sky
(7:16)  2. Body And Soul
(5:14)  3. Randy Moon
(8:26)  4. Girl Talk
(6:50)  5. Stella By Starlight
(6:51)  6. Adriano
(5:49)  7. My Serenade
(5:28)  8. Changemant D' Avis
(6:58)  9. My Foolish Heart
(7:49) 10. All Blues

An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend's distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others.  Catherine began playing gigs while in his teens, working in a trio with American Hammond B-3 specialist Lou Bennett and drummer Oliver Jackson. There were also stints with Belgian saxophonist Jack Sels and Philadelphia-born/Brussels-based drummer Edgar Bateman. In 1970, violinist Jean-Luc Ponty asked him to join his band and, inspired by contemporaries like John McLaughlin and Larry Coryell, Catherine stayed with Ponty for a year, dedicating himself to the progressive fusion sound. Also during this period, he attended formal music classes at Berklee College of Music in Boston. After returning to Belgium, Catherine found himself in high demand and developed a bevy of connections, including playing with Klaus Weiss, Les McCann, Karin Krog, Dexter Gordon, and others. As a solo artist, he made his debut with 1971's Stream, a funky, inventive mix of acoustic and electric jazz. He followed up in 1975 with Guitars and September Man, both also highly inventive, fusion-influenced albums.

 Sessions with Herb Geller, Niels-Henning Ørsted Pedersen, and Charles Mingus followed, as did a duo tour with guitarist Coryell. Also during the '70s, he paired with close associate saxophonist Charlie Mariano for a handful of sessions, and rounded out the decade with his own Nairam, which also featured Mariano, along with trumpeter Palle Mikkelborg and others. During the '80s, Catherine's profile continued to rise as he released several more well-regarded efforts, including Babel, End of August, and Trio with guitarist Christian Escoude and violinist Didier Lockwood. There also were dates with Aldo Romano, Stéphane Grappelli, and Kenny Drew. Also in the '80s, he gained attention for his work with legendary West Coast trumpeter/vocalist Chet Baker, touring and appearing on such albums as 1983's Mr. B and 1985's Strollin'. Although his 1986 album, Transparence, layered keyboards into his atmospheric sound, his work with Baker pointed toward a more acoustic-leaning aesthetic. It was a sound he further embraced on 1990's I Remember You. Dedicated to Baker (who died in 1989), the album also featured trumpeter/flügelhornist Tom Harrell. Throughout the '90s, Catherine released a steady stream of albums for smaller jazz labels like Enja, Criss Cross, and Dreyfus, including albums like Moods, Vol. 1, Spanish Nights, and 1999's Guitar Groove.  In 2001, he returned with Blue Prince, which found him balancing his love of acoustic jazz and electric fusion. Joining him were trumpeter Bert Joris, bassist Hein van de Geyn, and drummer Hans Van Oosterhout. Joris was also on board for 2002's Summer Night. The orchestral album Meeting Colours followed three years later. The more intimate Guitars Two appeared in 2008. He then joined bassist van de Geyn, pianist Enrico Pieranunzi, and drummer Joe La Barbera for the 2010 live album Concert in Capbreton. A year later, he delivered the trio date Plays Cole Porter, followed by 2013's warmly sophisticated Côté Jardin. The duo album New Folks with bassist Martin Wind followed a year later. He then joined the Orchestre Royal de Chambre de Wallonie for 2015's The String Project: Live in Brussels.
Matt Collar https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography

Personnel: Guitar – Philip Catherine; Bass – Hein Van de Geyn; Drums – Aldo Romano

September Sky

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Al Di Meola - Twentyfour

Styles: Guitar Jazz
Size: 194,9 MB
Time: 82:35
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Fandango ( 7:11)
2. Tears of Hope ( 7:19)
3. Esmeralda ( 4:58)
4. Capriccio Suite ( 7:27)
5. Ava's Dance in the Moonlight ( 8:03)
6. Immeasurable Part1 (10:01)
7. Immeasurable Part2 ( 3:57)
8. Eden ( 4:29)
9. Close Your Eyes ( 4:10)
10. Immeasurable Part3 ( 6:11)
11. Paradox of Puppets ( 4:11)
12. For Only You ( 4:00)
13. Genetik ( 3:18)
14. Testament 24 ( 2:43)
15. Precocious ( 4:31)

Today guitar legend Al Di Meola releases his new album “Twentyfour,” a testament to his immense creativity. Although Al has released 34 albums, the title refers to the fact that it was completed and released in 2024. As he tells Australian Musician, the title was a record label decision, they liked the fact that it was ‘confusing’!

Conceived during the tumultuous times of the pandemic, what started as a simple acoustic project evolved into something much grander. Al’s initial intention to craft a reflective acoustic album on the challenges of the time expanded exponentially as he found himself unable to resist the allure of boundless musical exploration.

Over the span of four years, “Twentyfour” blossomed into a masterpiece, brimming with intricately woven melodies, diverse instrumentation, and captivating highlights. It’s a journey through Al’s musical evolution, showcasing his virtuosity and vision in those special times. Each track is a moment within these four years and a contemporary witness to the events.

Australian Musician editor Greg Phillips spoke to Al Di Meola via zoom to discuss the making of his new album ’Twentyfour’.
https://australianmusician.com.au/features/al-di-meola-the-twentyfour-album-interview/

Twentyfour

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Massimo Faraò, Francesca Bertazzo - The Jazz Vocals Serie, Vol. 1

Styles: Piano,Vocal And Guitar Jazz
Year: 2021
File: MP3@320K/s
Time: 51:23
Size: 117,8 MB
Art: Front

(4:08) 1. But Not for Me
(7:31) 2. I Gotta Right to Sing the Blues
(6:30) 3. I Ve Got the World on a String
(4:20) 4. Too Late Now
(4:46) 5. Lullaby of the Leaves
(5:59) 6. Over the Rainbow
(7:40) 7. Oh Lady Be Good
(5:17) 8. Turn out the Stars
(5:08) 9. Nobody Else but Me

Francesca Bertazzo Hart was reported among the best new talents in the 2003 referendum organized by the magazine Musica jazz. In 1997 she graduated in jazz singing at the C.P.M. of Milan with full marks and best known under the guidance of Tiziana Ghiglioni and Francesca Olivieri for vocal technique, repertoire, interpretation and scat; with Roberto Cipelli and Attilio Zanchi for theory and harmony. He has also participated in various seminars studying with: Maurizio Caldura, Mark Murphy, Bob Stoloff (Berklee School of music), Jay Clayton, Rachel Gould, Paul Jeffrey, Roseanna Vitro, Barry Harris, Kate Baker, Nancy Marano, Anne Marie Moss, Rich De Rosa, Chris Rosenberg etc.

In 1996 he took part in a seminar studying with Sheila Jordan and won a scholarship to follow courses at the Manhattan School of Music college in New York. In 1997 she moved to America and remained there for almost four years, working her way up in New York clubs. He sang: in the "Ronald Westray Ensemble" directed by the trombonist Wynton Marsalis, in the "Jason Lindner Big Band" which includes personalities of the caliber of Mark Turner, Antonio Hart and Greg Tardy, in the gospel-jazz group "Look and Live " directed by saxophonist Richard D'Abreu and in several other small formations with Steve Kirby and Greg Williams (both bassists who have played with Elvin Jones), Joshua Wolff, Steve Hass, Nick Russo, Gerry Dial, Terry Roche, Eric Lewis, John Ormond, Bill Kennedy, Dwayne Burno, Ugonna Ukuego, Rick Germanson, Mike Hawkins, etc..

Francesca is a versatile artist capable of creating a whole between vocal experiments, bebop improvisations and interpretations of American standards. In recent years he has worked with various Italian musicians including Fabrizio Bosso, Marcello Tonolo, Robert Bonisolo, Ares Tavolazzi, Massimo Manzi, Bruno Cesselli etc. Among the most relevant projects is the CD "Silver Friends", a tribute to music by Horace Silver, with Ettore Martin on sax, Alberto Marsico on Hammond B3 organ and Enzo Carpentieri on drums. In addition to concert activity, Francesca Bertazzo Hart teaches jazz singing at music schools: George Gershwin, Thelonious Monk in Vicenza and L.A.M.S in Verona; she also collaborates with the New School of New York as a teacher and assistant. Translatae By Google
http://www.jazzitalia.net/Artisti/francescaBertazzoHart.asp#.ZDrbK9eZOpo

The Jazz Vocals Serie, Vol. 1

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Bucky Pizzarelli And Strings - So Hard To Forget

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 61:52
Size: 142,2 MB
Art: Front + Back

( 4:47)  1. Laura
( 4:02)  2. Slow Burning
(11:48)  3. Duke Ellington Medley :  Do Nothin' Till You Hear from Me In a Sentimenta
( 5:20)  4. It's Easy to Remember
( 3:34)  5. Sonatina in A : First Movement
( 2:25)  6. Sonatina in A : Second Movement
( 4:07)  7. My One and Only Love
( 3:11)  8. Prelude to a Kiss
( 5:17)  9. Wabash One More Time
( 5:08) 10. Tarantella Opus 87a
( 2:25) 11. Test Pilot
( 8:20) 12. Boots Blues
( 1:22) 13. Last Night When We Were Young

Several well-known jazz musicians have used string quartets to complement their performances over the decades, and many have come up with resultant syrupy mixes drowning individuality via over-production. Thankfully, this collaboration between legitimate jazz string players and legendary veteran guitarist Bucky Pizzarelli does not suffer from sucrose saturation, as these sessions were conceived and played with large amounts of taste, class, and substance. Cellist Jesse Levy, violist Valerie Levy, and violinists Aaron Weinstein and Sara Caswell all are very capable of swinging this program of standards along quite well, while Pizzarelli's seven-string amplified or acoustic guitar has more than enough fuel to keep the songs moving along in a interesting manner without forcing or dragging them into a saccharine morass. Bassist Jerry Bruno, a longtime collaborator of Pizzarelli, is added to five cuts, while the repertoire includes American popular songs, works of Duke Ellington, legitimate Spanish classical works, and the music of George M. Smith. This is Pizzarelli's seventh recording for the Arbors label as a leader, and his 30th project for them overall, proof of his endurance and continuing interest in making good music consistently through the decades of his golden years. 

The technique of counterpoint between Pizzarelli and the strings crops up on the fun, '30s hot jazz-flavored Smith composition "Test Pilot," while the other Smith number, "Slow Burning," has the leader and Bruno conversing with the strings replying in slight refrains. Employing mainly the solo format, Pizzarelli's take of "It's Easy to Remember" is a ballad, deepened by the late-arriving strings sadly agreeing that separation is inevitable, while the short closer, "Last Night When We Were Young," has the guitarist pulling out harmonic chord flourishes of pensive introspection. Duke Ellington's music is lovingly interpreted in a 12-minute medley where Pizzarelli bends bluesy notes and chords, and does a polite version of "Prelude to a Kiss" alongside second guitarist Frank Vignola.

Federico Torroba's Sonatina in two movements is a classical bolero waltz, with a changed up George Gershwin Americana-styled second part, while Tarantella Opus 87a is a lithe Italian chamber piece in 2/4 instead of the typical 6/8 time. Bouncy, upbeat, and happy, "Wabash One More Time" is the best swinger, while Pizzarelli's "Boots Blues" is a straightforward, easygoing tune, with help from Vignola and solos by both the exceptional violinists. This CD is a pleasant listening experience that yields more upon additional playings, best heard with significant others or ideally at dinner. It is also another fine effort in the long and illustrious career of one of the truly great jazz guitarists of all time.By Michael G.Nastos  http://www.allmusic.com/album/so-hard-to-forget-mw0000801885.

Personnel: Bucky Pizzarelli (acoustic guitar, 7-string guitar); Frank Vignola (guitar); Sara Caswell, Aaron Weinstein (violin); Valerie Levy (viola, cello); Jessy Levy, Jesse Levy (cello); Jerry Bruno, Martin Pizzarelli (bass instrument).

So Hard To Forget

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Nouvelle Vague feat. Alonya - Should I Stay Or Should I Go?

Styles: Bossa Nova
Size: 108,7 MB
Time: 46:57
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. What I Like Most About You Is Your Girlfriend (3:19)
2. People Are People (3:34)
3. You Spin Me Round (2:59)
4. Only You (2:13)
5. She's In Parties (3:56)
6. The Look Of Love (3:59)
7. Shout (3:29)
8. Should I Stay Or Should I Go? (3:16)
9. Rebel Yell (4:26)
10. Breakfast (3:59)
11. Girls On Film (3:27)
12. Rapture (4:54)
13. This Charming Man (3:20)

When they released Should I Stay or Should I Go?, Nouvelle Vague were as seasoned as the 1980s new wave hits they turned into bossa nova-flavored pop on their 2004 self-titled debut album. They celebrate the 20th anniversary of Nouvelle Vague's release by steering away from the experiments with original material on I Could Be Happy their last album with late founding member Marc Collin and getting back to basics. They do this cleverly on a reworking of the Specials' "What I Like Most About You Is Your Girlfriend," transforming the original's creeping jealousy into flirtatious cocktail-party banter backed by a swaying bossa nova rhythm and synths that sparkle like champagne.

For better or worse, Should I Stay or Should I Go?'s theatricality also reflects the years the group spent touring after I Could Be Happy. Nouvelle Vague spotlight the camp in Dead or Alive's "You Spin Me Round" and Duran Duran's "Girls on Film," giving them a winking, cabaret-like shimmy, while the title track sounds like something from an awkward reggae revue. Their flair for the dramatic fares much better on "Breakfast," which magnifies the brooding of the Associates' original to gothic grandiosity, and on the James Bond theme-worthy version of Bauhaus' "She's in Parties." Along with the candy-coated '60s girl group pop makeover of Yaz's "Only You" and the silky

Bacharach-meets-bossa nova reinvention of ABC's "The Look of Love," these are some of the finest examples of how Nouvelle Vague can bring out something special in well-known songs. Their willingness to go to extremes when they reimagine these songs is another tradition they continue on Should I Stay or Should I Go?, and once again, it doesn't always work; for example, a crowing rooster detracts from an otherwise winsome rendition of the Smiths' "This Charming Man." As uneven as it can be, Should I Stay or Should I Go? still boasts enough highlights to make it one of the more enjoyable albums of Nouvelle Vague's career.By Heather Phares,
https://www.allmusic.com/album/should-i-stay-or-should-i-go-mw0004147941#review

Should I Stay Or Should I Go?

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Ernestine Anderson With The Clayton-Hamilton Orchestra - Boogie Down

Styles: Jazz, Vocal, Big Band
Year: 1989
File: MP3@320K/s
Time: 44:47
Size: 102,9 MB
Art: Front

(4:09)  1. Boogie Down
(6:39)  2. That Sunday That Summer
(4:40)  3. Love Walked In
(4:32)  4. Only Trust Your Heart
(2:16)  5. Day By Day
(4:45)  6. Nothing Ever Changes My Love For You
(3:24)  7. Wait Till You See Him
(6:17)  8. One Mint Julip
(8:01)  9. Le Blues

A solid but unspectacular effort, this CD matches singer Ernestine Anderson with the Clayton-Hamilton Jazz Orchestra. The big band is mostly heard in the background (except on the instrumental "Le Blues"), with the spotlight otherwise totally on the vocalist. Anderson sounds fine, but the material (which ranges from Al Jarreau's "Boogie Down" to "Love Walked In" and "One Mint Julep") offers few surprises, and she is not really smoothly integrated into the big band. However, the music still has its enjoyable moments.By Scott Yanow http://www.allmusic.com/album/boogie-down-mw0000204454

Personnel: Ernestine Anderson (vocals); Jim Hershman (guitar); Jeff Clayton (flute, oboe, alto saxophone); Bill Green (clarinet, alto saxophone); Herman Riley, Rickey Woodard (clarinet, tenor saxophone); Jack Nimitz (bass clarinet, baritone saxophone); Clay Jenkins, Oscar Brashear, Ray Brown , Snooky Young (trumpet, flugelhorn); George Bohannon, Thurman Green, Ira Nepus (trombone); Maurice Spears (bass trombone); Larry Fuller (piano); Jeff Hamilton (drums).

Boogie Down

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Jo Harrop - The Heart Wants

Styles: Vocal
Size: 121,7 MB
Time: 52:43
File: MP3 @ 320K/s
Released: 2021
Art: Front

1. The Heart Wants What The Heart Wants (4:42)
2. All too soon (3:23)
3. Everything's changing (3:24)
4. I think you'd better go (3:36)
5. Wise words (4:31)
6. Red mary janes & a brand new hat (3:38)
7. Hold on (4:04)
8. Life inside (3:55)
9. What if (3:01)
10. If I knew (3:40)
11. Rainbow sleeves (2:59)
12. If I ever would leave you (7:41)
13. Weather the storm (4:04)

Is it the behind-the-beat feel Ms Harrop gets, even when she is not? Or perhaps it is in the phrasing? Somehow, she puts a listener in mind of Keely Smith, which is a good thing. There are some very talented jazz singers in the United Kingdom; Jo Harrop is certainly one of them. Here is a recording of loss and longing, and very well done it is.

Much of the material Harrop presents in this recording, bluesy, mournful in a minor key, is original. She discloses a considerable talent as a songwriter and, of course, she knows just how she wants the interpretation to go. Harrop is surrounded by a group of excellent musicians who only enhance the feelings she evokes. There are times, as in "Wise Words," when the mood is mildly sanctified. "Red Mary Janes," on the other hand, with a dead-on rhythm section, is ironic and arch. Somehow, one wonders if the red mary janes to which she alludes are shoes.

"I Think You Better Go" and "Hold On" manage to evoke contrary emotions based on the kind of complicated adult relationship that real people contrive to create. Yet it would sound good in a Texas road house near the end of the night. "Life Inside" brings on vocal accompaniment, just a touch, but effective. "What If" is so subtly done that it takes a bit to realize that Ms Harrop is singing in three quarter time. "If I Knew" is a kind of pour the martinis song, not sentimental, but still soulful. Somehow, Harrop manages to do a lot of crying without shedding too many tears, blues for the disillusioned, but not embittered. She has a smoky sound to her voice, aged, even weary, but not dark.

No-one would think that anyone could do a song from the musical "Camelot" in this day and age without somehow sounding corny or at least affected, without a touch of Bob Goulet. Well, Harrop manages, navigating all the subtle harmonies which a more melodramatic version effectively obscures. So, yes, it is not surprising that Harrop has managed to cause a stir in the United Kingdom.

It is not fair to wonder how Harrop would come off with a different genre, or up tempo. This is a kind of "only the lonely" album, and should be appreciated for that. The full range of Harrop's talents will certainly be well served in another recording, which one hopes, will appear soon.

She closes out with "there is nothing we can't do." You do believe her. By Richard J Salvucci https://www.allaboutjazz.com/the-heart-wants-jo-harrop-jo-harrop-laterialize

The Heart Wants

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George Robert - Soul Searching

Styles: Saxophone Jazz
Size: 172,4 MB
Time: 75:19
File: MP3 @ 320K/s
Released: 2005
Art: Front

1. Namely You (11:13)
2. Soul Searching ( 8:32)
3. Nostalgie (11:59)
4. African Village ( 9:43)
5. Blue for Trane (12:42)
6. Peace ( 3:25)
7. I've Never Been in Love Before (12:04)
8. Here's That Rainy Day ( 5:37)

Swiss alto saxophonist George Robert shines in this 2003 concert in Lausanne, Switzerland. The influence of Phil Woods is unmistakable at times, though Robert is hardly a mere clone of the American (who has performed and recorded with Robert, while he also wrote the liner notes for this CD).

Joining Robert is an all-star rhythm section consisting of pianist Kenny Barron, bassist Rufus Reid, and drummer Billy Hart. The set starts off with a sparkling interpretation of the standard "Namely You," showcasing Robert, Barron, and Reid. The full band is featured in a driving setting of "I've Never Been in Love Before," while the heartfelt rendition of "Here's That Rainy Day" is a rhapsodic closing number.

Robert penned several originals, including the exotic "Soul Searching," in which the leader plays soprano sax, which he also utilizes in his dramatic "Blues for Trane." Issued by DIW in Japan, this rewarding CD is an important addition to George Robert's discography.By Ken Dryden https://www.allmusic.com/album/soul-searching-mw0000767509#review

Personnel: George Robert - saxophone; Kenny Barron - piano; Rufus Reid - bass; Billy Hart - drums

Soul Searching

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Steve Grossman - Time to Smile

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 60:14
Size: 139,1 MB
Art: Front

(7:25)  1. 415 Central Park West
(7:03)  2. Circus
(8:42)  3. I'm Confessin'
(6:48)  4. Extemporaneous
(7:47)  5. This Time the Dream's On Me
(8:39)  6. Time to Smile
(5:49)  7. Till There Was You
(7:57)  8. E. J.'s Blues

This outing is one of tenor-saxophonist Steve Grossman's finest recordings to date. He has mixed together the almost equal influences of John Coltrane and Sonny Rollins to achieve his own style and sound. The program is quite strong with its superior yet generally underplayed standards joined by two of the leader's originals, Elvin Jones's "E.J.'s Blues" and Freddie Redd's "Time to Smile"; also the lineup of musicians would be difficult to top. Pianist Willie Pickens shows a lot of versatility on the hard bop-oriented music, trumpeter Tom Harrell (who is on around half of the tracks) is as fiery and alert as usual, bassist Cecil McBee has a strong musical personality that comes across even when restricted to accompanying the soloists, and drummer Elvin Jones remains in prime form. The main focus however is mostly on Grossman and he continues to grow as an improviser year-by-year. Highly recommended.By Scott Yanow https://www.allmusic.com/album/time-to-smile-mw0000181523

Personnel:  Tenor Saxophone – Steve Grossman; Bass – Cecil McBee; Drums – Elvin Jones; Piano – Willy Pickens; Trumpet, Flugelhorn – Tom Harrell

Time to Smile

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Jo Stafford - As Time Goes By

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 43:56
Size: 100,9 MB
Art: Front

(3:51)  1. I Believe in You
(3:22)  2. As Time Goes By
(3:16)  3. Quiet Nights of Quiet Stars (Corcovado)
(3:01)  4. I'll Be Seeing You
(2:57)  5. September in the Rain
(3:16)  6. Somewhere My Love (Lara's Theme)
(3:23)  7. People
(3:54)  8. (I Don't Stand) A Ghost of a Chance (With You)
(3:40)  9. Stormy Weather
(3:01) 10. Try to Remember
(3:28) 11. What the World Needs Now Is Love
(3:49) 12. Silver Threads Among the Gold
(2:55) 13. The Party's Over

Really wonderful work from Jo Stafford  recorded much later than some of her more popular material with a hip 60s sound that's mighty nice! These tracks were recorded at the end of the 60s for the Readers Digest label a short-lived imprint that only issued a handful of original music, but who managed to make some real gems with Jo. And if you think the mixture of "Readers Digest" and "Jo Stafford" is middle America at its best, then think again because there's a depth to these recordings that far surpasses Jo's commercial material hardly ever heard by most, given that the recordings were only issued to subscribers of the magazine! 

There's still some of the warm, sentimental modes of years before but the overall style is a bit more mature, almost boozy at points thanks in part to orchestrations from Glenn Osser, Paul Weston, and Billy VerPlanck. Some tracks feature background vocals and titles include "I Believe In You", "A Ghost Of A Chance", "Quiet Nights Of Quiet Stars", "September In The Rain", "People", and "What The World Needs Now Is Love".  https://www.dustygroove.com/item/735359

As Time Goes By

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Mitzi Gaynor - Sings The Lyrics of Ira Gershwin

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 34:48
Size: 80,9 MB
Art: Front

(2:05)  1. Soon
(3:52)  2. Half of It Dearie Blues
(3:31)  3. Spring Again
(2:35)  4. Gotta Have Me Go With You
(2:29)  5. Here's What I'm Here For
(3:42)  6. I Can't Get Started
(2:26)  7. Treat Me Rough
(2:19)  8. That Certain Feeling
(3:23)  9. My Ship
(2:06) 10. There's A Boat Dat's Leavin' Soon For New York
(2:48) 11. Island In The West Indies
(3:27) 12. Isn't It A Pity

With her delicate, fluttery voice (which can also go into overdrive with a very satisfactory belt when required), Gaynor tackles two numbers closely identified with Judy Garland "Gotta Have Me A Go With You" and "Here's What I'm Here For" as well as a lullaby-esque "My Ship" intimately scored with soft, hesitant strings and just the right amount of brass and a gangbusters "Soon" amongst others.By Editorial Reviews https://www.amazon.com/Sings-Lyrics-Gershwin-Mitzi-Gaynor/dp/B002D1GND2

Personnel: Pete Candoli, Don Fagerquist, Cappy Lewis, Uan Rasey, Manny Klein (tp); Dave Wells, Ed Kusby, Tommy Pederson, Lloyd Ulyate, Joe Howard, Hoyt Bohanon (tb); George Roberts, Kenny Shroyer (b-tb); Paul Horn (as); Paul Smith (p, celeste); Jimmy Rowles (p); Barney Kessel, Jack Marshall, Al Hendrickson (g); Max Bennett, Joe Mondragon (b); Jack Sperling, Mel Lewis (d); Ralph Hensell (perc); plus 8 violins.

Sings The Lyrics of Ira Gershwin

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Barney Kessel - On Fire

Styles: Guitar Jazz

Year: 1965

File: MP3@320K/s

Time: 34:45

Size: 80,5 MB

Art: Front

(8:20)  1. Slow Burn

(4:03)  2. Just In Time

(3:25)  3. The Shadow Of Your Smile

(4:53)  4. Recado Bossa Nova (Gift Of Love)

(3:30)  5. Sweet Baby

(2:24)  6. Who Can I Turn To

(8:07)  7. One Mint Julep

Rare and groovy work by Barney Kessel originally recorded for a strange subsidiary of Phil Spector's record label! The album's quite different than some of Kessel's other albums of the earlier years recorded live with a gritty feel that's really nice a bit more edge on the strings of the guitar, and a rumbling tone that's a far cry from his lighter work for Contemporary in the 50s. Kessel still retains much of his ability to produce a bell-like tone on the guitar but he rings out with a tremendous amount of force spurred on by the crackling club rhythm section of Jerry Scheff on bass and Frank Capp on drums. Titles include 2 great originals "Slow Burn" and "Sweet Baby" plus an excellent version of "Recado Bossa Nova", and the tunes "The Shadow Of Your Smile", "Just In Time", and "One Mint Julep".  https://www.dustygroove.com/item/735355

Personnel: Bass – Jerry Scheff ;  Drums – Frankie Capp;  Guitar – Barney Kessel.

On Fire

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Robi Weber Quartet - Favourite Things

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 58:35
Size: 134,5 MB
Art: Front

(3:40) 1. Moanin'
(3:56) 2. Black And Blue
(4:39) 3. Hot Lips
(3:41) 4. Chocolate Blues
(3:48) 5. Cold Duck Time
(4:41) 6. Misterioso
(2:40) 7. Save Your Love For Me
(3:40) 8. The Fat Man
(7:58) 9. Mercy, Mercy, Mercy
(4:34) 10. Sweet Georgia Brown
(3:33) 11. In Your Quiet Place
(5:07) 12. Why Don't You Do Right
(4:00) 13. Basin Street Blues
(2:37) 14. Topsy

Robi Weber’s enthralling soul jazz shows strong influences from the blues, R&B, and gospel and is oriented toward pianists like Les McCann and Gene Harris and, naturally, toward Oscar Peterson’s energetic piano playing. For years he has been regarded as one of Switzerland’s most distinguished and successful jazz pianists, whether as a soloist, in duos, or in his trio with Kalli Gerhards and Curt Treier. In 2009 he received the Swiss Jazz Award. https://www.lucernefestival.ch/en/program/directory-of-artists/robi_weber/2939

Favourite Things

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Chris Bennett - Girl Talk

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 37:19
Size: 87,1 MB
Art: Front

(3:14)  1. Girl Talk
(4:15)  2. Caravan
(5:01)  3. I Will Wait for You
(5:04)  4. I Wish You Love
(3:41)  5. I Thought About You
(3:51)  6. The Man With a Horn
(3:19)  7. Nice and Easy
(3:05)  8. That Old Black Magic
(2:04)  9. Can't We Be Friends
(3:41) 10. Desafinado

A stunning collection of jazz standards by Grammy-nominated singer/songwriter Chris Bennett singing and playing piano and accompanied by all female jazz musicians. Produced by Tom Saviano.

Chris Bennett is, today, a name synonymous with the international success and commercial appeal of the southern California contemporary jazz music scene. With the Summer 2008 release Girl Talk, her 10th studio CD release, she has secured a revered place as one of an intimate handful of successors to Peggy Lee, June Christy, Anita O\'Day and the classic American female jazz vocalists...Cont... http://www.cdbaby.com/cd/bennettchris4 

Girl Talk

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John Coltrane - The Atlantic Years-In Mono (Disc 1), (Disc 2), (Disc 3)

Album: The Atlantic Years-In Mono (Disc 1)

Size: 85,9 MB
Time: 37:32
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Giant Steps (4:47)
2. Cousin Mary (5:50)
3. Countdown (2:25)
4. Spiral (5:59)
5. Syeeda's Song Flute (7:06)
6. Naima (4:25)
7. Mr. P.C. (6:58)

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Album: The Atlantic Years-In Mono (Disc 2)

Size: 84,7 MB
Time: 36:59
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Bugs & Trane (7:28)
2. Three Little Words (7:31)
3. The Night We Called It Day (4:22)
4. Be-Bop (8:01)
5. The Late Late Blues (9:35)

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Album: The Atlantic Years-In Mono (Disc 3)

Size: 84,1 MB
Time: 36:45
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Ole (18:16)
2. Dahomey Dance (10:51)
3. Aisha ( 7:37)

Includes mono versions of the following albums:- Giant Steps- Bags & Trane (with Milt Jackson)- Ole Coltrane- Coltrane Plays The Blues- The Avant Garde (with Don Cherry)While John Coltrane first gained attention for his revolutionary "sheets of sound" technique, it was the deep spirituality of his music that really made his recordings as a bandleader such classics. The albums he recorded for Atlantic in 1959 and 1960 represent the heart of his legacy.

This box set gathers Coltrane's mono recordings from the Atlantic vaults to be released as a 6CD box set:- Packaged in an elegant hard-bound box.- Fully remastered in glorious mono.- Original studio albums replicating the original artwork and labels. Giant Steps (1960), Bags & Trane (1961) with Milt Jackson, Ole Coltrane (1962), Coltrane Plays The Blues (1962), The Avant Garde (1966) with Don Cherry.- One album of outtakes.- A 32-page perfect-bound booklet, with period photos by Lee Friedlander and liner notes by Grammy-winning jazz writer Ashley Kahn.By Editorial Reviews https://www.amazon.com/Atlantic-Years-Mono-6CD-Boxset/dp/B01C7W7KWY

The Atlantic Years-In Mono (Disc 1),(Disc 2), (Disc 3)

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John Coltrane - The Atlantic Years-In Mono (Disc 4), (Disc 5), (Disc 6)

Album: The Atlantic Years-In Mono (Disc 4)

Size: 93,7 MB
Time: 40:56
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Blues to Elvin (7:52)
2. Blues to Bechet (5:44)
3. Blues to You (6:28)
4. Mr. Day (7:56)
5. Mr. Sims (5:22)
6. Mr. Knight (7:32)

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John Coltrane & Don Cherry - The Atlantic Years-In Mono (Disc 5) Album: The Atlantic Years-In Mono (Disc 5)

Size: 82,8 MB
Time: 36:10
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Cherryco ( 6:49)
2. Focus on Sanity (12:10)
3. The Blessing ( 7:54)
4. The Invisible ( 4:10)
5. Bemsha Swing ( 5:05)

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John Coltrane - The Atlantic Years-In Mono (Disc 6) Album: The Atlantic Years-In Mono (Disc 6)

Size: 92,3 MB
Time: 40:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. 26-2 (6:13)
2. Original Untitled Ballad (9:00)
3. Untitled Original (5:22)
4. Centerpiece (7:08)
5. Stairway to the Stars (3:32)
6. Blues Legacy (9:02)

Includes mono versions of the following albums:- Giant Steps- Bags & Trane (with Milt Jackson)- Ole Coltrane- Coltrane Plays The Blues- The Avant Garde (with Don Cherry)While John Coltrane first gained attention for his revolutionary "sheets of sound" technique, it was the deep spirituality of his music that really made his recordings as a bandleader such classics. The albums he recorded for Atlantic in 1959 and 1960 represent the heart of his legacy.

This box set gathers Coltrane's mono recordings from the Atlantic vaults to be released as a 6CD box set:- Packaged in an elegant hard-bound box.- Fully remastered in glorious mono.- Original studio albums replicating the original artwork and labels. Giant Steps (1960), Bags & Trane (1961) with Milt Jackson, Ole Coltrane (1962), Coltrane Plays The Blues (1962), The Avant Garde (1966) with Don Cherry.- One album of outtakes.- A 32-page perfect-bound booklet, with period photos by Lee Friedlander and liner notes by Grammy-winning jazz writer Ashley Kahn.By Editorial Reviews https://www.amazon.com/Atlantic-Years-Mono-6CD-Boxset/dp/B01C7W7KWY

The Atlantic Years-In Mono(Disc 4),(Disc 5), (Disc 6)

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Cheryl Bentyne - The Book of Love

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 49:16
Size: 113,2 MB
Art: Front

(4:31)  1. You Don't Know Me
(4:48)  2. Be My Love
(3:40)  3. Blue Moon
(3:25)  4. Lets Do It
(5:05)  5. Don't Say A Word
(4:17)  6. The Book of Love
(4:29)  7. You Taught My Heart to Sing
(4:52)  8. You Go To My Head
(4:35)  9. Cry Me A River
(5:30) 10. I'm A Fool To Want You
(2:49) 11. Goodbye
(1:11) 12. The Book of Love (Reprise)

Much like fellow West Coaster Karrin Allyson, Cheryl Bentyne has shown a certain affection for thematic recordings. Allyson released her superb Coltrane tribute, Ballads: Remembering John Coltrane, in 2001, and Bentyne answered with her own tribute to Anita O'Day, Let Me Off Uptown, in 2005. Bentyne now returns with The Book of Love, a suite of standards based on a literary motif.  The Book of Love is divided into a seven chapters covering longing, flirtation, lust, love, joy, disillusion, and finally loss. Bentyne is clothed in a variety of musical attire for this reading. The opening "You Don't Know Me uses a Ray Charles line of orchestral outerwear to accent a soulful guitar-organ-piano ensemble warmly cushioning Bentyne's firm alto. "Be My Love is more simply clad with Wayne Johnson's classical guitar and bearing the jewel of Armen Ksajikian's cello solo.  "Blue Moon wears the flapper brocade of the 1920s Jazz Age. Bentyne playfully duets with John Pizzarelli while dancing with violinist Charlie Bisharat's best Joe Venuti. "Let's Do It wears the cloth of the guitar-piano quartet, swinging in three time signatures. Bentyne displays her superb lyric control best here. Having progressed through longing and flirtation, we arrive at lust, represented by the single song "Don't Say a Word, a contemporary piano-orchestra piece written by pianist Bill Cantos. Tenor saxophonist Bob Sheppard plays a Zoot Sims-inspired ballad solo and Bentyne captures the ember of the piece gracefully.

Love (containing the original title track) and joy reveal a gem in a regimented "You go to My Head, adorned with full orchestra and a languid guitar/piano/bass/drums rhythm section. Bentyne sings straight, employing a linear melody method not characteristically used on this song. Trumpeter Chris Tedesco blows a bright two-chorus solo that is a highlight.  But it is not longing, flirtation, lust or love that make the best songs; it is disillusion and loss. "Cry Me A River is formally dressed with stings and presented by Bentyne in a sardonically prideful manner. The true grief and anger are reserved for "I'm a Fool to Want You, where Bentyne's vocal sweetness is tainted by saline tears and bitterness. She sings in the context of her guitar-piano quartet accented again by Charlie Bisharat's violin. The disc closes with a smoky, Latinesque "Goodbye before signing off with a reprise of the original title track. Bentyne continues to deliver measured, intelligently defined recordings that brighten the jazz vocal landscape.By C.Michael Bailey https://www.allaboutjazz.com/the-book-of-love-cheryl-bentyne-telarc-records-review-by-c-michael-bailey.php

Personnel:  Cheryl Bentyne, Zoe Allen, John Pizzarelli, Mark Kibble, Alvin Chea: vocals;  Grant Geissman, Wayne Johnson: guitar; Charlie Bisharat: violin;  Armen Ksajikian: cello;  Bob Sheppard:tenor saxophone;  Chris Tedesco: trumpet;  Corey Allen: piano, keyboards;  Bill Cantos: piano;  Kevin Axt: bass guitar; Dave Tull: drums;  Don Alias, Scott Breadman: percussion;  The City Of Prague Symphony.

The Book of Love

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Frank Sinatra, Antônio Carlos Jobim - The Complete Reprise Recordings

Styles: Vocal, Guitar
Year: 1967
File: MP3@320K/s
Time: 58:03
Size: 134,3 MB
Art: Front

(3:20) 1. The Girl From Ipanema
(3:32) 2. Dindi
(2:43) 3. Change Partners
(2:45) 4. Quiet Nights of Quiet Stars
(2:55) 5. Meditation (Meditação)
(2:11) 6. If You Never Come To Me
(3:18) 7. How Insensitive
(2:39) 8. I Concentrate On You
(2:36) 9. Baubles, Bangles And Beads
(2:39) 10. Once I Loved
(3:39) 11. The Song Of The Sabia
(2:35) 12. Drinking Water
(2:36) 13. Someone To Light Up My Life
(2:39) 14. Triste
(2:53) 15. This Happy Madness
(2:20) 16. One Note Samba
(2:27) 17. Don’t Ever Go Away
(3:19) 18. Wave
(3:09) 19. Off Key
(3:40) 20. Bonita

For the first time in over three decades, the Frank Sinatra/Antonio Carlos Jobim recordings are now together in The Complete Reprise Recordings, the most comprehensive compilation of the Sinatra/Jobim sessions yet. The re-mastered classics of the two late musical legends include "Dindi," "How Insensitive," "Quiet Nights of Quiet Stars," and of course, "The Girl from Ipanema," a Jobim masterpiece covered by numerous colleagues such as pianist Vince Guaraldi. In addition to those, there are three new bonus tracks on this reprise that allow for a new compositional spark that perfectly compliment the jazz standards that Jobim arranges in his distinct Brazilian bossa nova style. The Complete Reprise Recordings are a must-have for any collector, and a new lifestyle for dedicated Sinatra/Jobim fans. Sinatra's voice has been heard around the world, and as it is matched flawlessly with the compositional genius of Antonio Carlos Jobim, his fame will continue to grow more than a decade after his passing. https://www.amazon.com.br/Sinatra-Jobim-Complete-Reprise-Recordings/dp/B003CR9BYE

Personnel: Frank Sinatra – vocals, Antônio Carlos Jobim – vocals, guitar

The Complete Reprise Recordings

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Jack Walrath - Forsooth!

Styles: Trumpet Jazz 
Year: 2011
File: MP3@320K/s
Time: 63:26
Size: 145,7 MB
Art: Front

(6:07)  1. A Fog Sets In Vienna
(4:41)  2. Pavlov's Cat
(8:14)  3. Espionage
(4:50)  4. Slighly After Midnight
(6:08)  5. The Resurrection Machine
(6:54)  6. Holy Smoke
(9:10)  7. High Plains Riffer
(2:58)  8. Yet, A Tear Tells Its Tale
(9:39)  9. Mescalito's Birthday
(4:41) 10. I Los My Mind in San Bernadino

An often exciting, thoughtful trumpeter and good arranger, Jack Walrath has steadily gained attention and exposure through his contributions to outstanding sessions. Walrath began playing trumpet at nine, and studied at Berklee in the mid- and late '60s while working with other students and backing up R&B vocalists. He moved to the West Coast in 1969, and co-led the bands Change with Gary Peacock, and Revival with Glenn Ferris. Walrath also toured a year with Ray Charles. Walrath relocated to New York in the early 70s, and worked with Latin bands before playing with Charles Mingus from 1974 to 1979, an association that gave him a certain amount of recognition. Walrath contributed some arrangements and orchestrations to Mingus' final recordings. In the 1980s and '90s, he led his own bands, toured Europe with Dannie Richmond and the British group Spirit Level, worked with Charlie Persip's Superband and Richard Abrams, and helped keep the music of Charles Mingus alive by playing with Mingus Dynasty. Jack Walrath has recorded as a leader for Gatemouth, Stash, SteepleChase, Red, Muse, Spotlite, Blue Note, and Mapleshade; he is still improving with age. https://itunes.apple.com/br/artist/jack-walrath/id36602597#fullText

Personnel:  Jack Walrath: tp;  Abraham Burton: ts;  George Burton: p;  Boris Kozlov: b;  Donald Edwards: ds

Forsooth!

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Mike Westbrook - Band of Bands

Styles: Contemporary Jazz
Size: 204,5 MB
Time: 89:20
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Glad Day ( 2:42)
2. Blues for Terenzi (10:20)
3. Johnny Come Lately ( 5:54)
4. Yellow Dog (10:34)
5. Black Market ( 7:28)
6. Doll's House ( 7:27)
7. My Lover's Coat ( 9:04)
8. My Pale Parasol ( 6:42)
9. Illusions (Bonus Track) ( 9:40)
10. Gas, Dust, Stone (11:09)
11. What I Like ( 8:15)

No one could say that the great English composer and bandleader Mike Westbrook has settled into pipe-and-slippers mode for his late career. Although he was 87 when this was recorded and is 88 now, his latest ensemble Band of Bands is a fiercely Westbrookian outfit that shares the same passionate commitment and many of the same gifted personnel as his prolific musical past. As an arranger, he also gets an unfeasibly brassy big band sound from a smallish six piece instrumental line-up that swings like the clappers all the way.

The combination of Karen Street’s accordion with the twin alto-doubling-soprano saxes of Chris Biscoe and Pete Whyman is a masterstroke of casting. Each of them has been with the master for thirty years plus almost fifty in Biscoe’s case, evidently – but their of necessity exposed front-line is wickedly effective, coaxing a bold and gloriously bluesy sound from relatively slender means. Street is particularly essential at conjuring up a thick, horn-chorus feel that somehow creates the illusion that there’s a trumpet in the line-up hidden somewhere, and maybe a trombone too.

The rhythm team of Marcus Vergette on bass and Coach York on drums enhances the intensity of the front-line by grounding the gospelly wails and bluesy ornaments of Whyman and Biscoe with emphatic, rock solid time and driving momentum. It’s all a bit like Mingus, where the airy architecture of the written themes has to share house-room with the very earthy contributions of free-flowing and occasionally impolite-sounding soloists.

Recorded in concert last year at Ashburton Arts Centre in Devon Westbrook’s home county by engineer Matthew North and produced by Jay Auburn, the very live mix is superbly up-front and in your face. It’s also an almost indecently good value single CD that clocks in at around 80 minutes. The opening instrumental tunes set the tone, with the overture-like ‘Glad Day’ from Westbrook’s popular William Blake-related suite of half a century ago, re-recorded and regularly re-presented since then followed closely by the hard-blowing ‘Blues for Terenzi’ and a rollicking version of Billy Strayhorn’s ‘Johnny Come Lately’. All three sound absolutely on the money, with great ensemble passages and spirited individual solos, all guided by Westbrook’s steady hand on the piano-tiller.

The blues theme continues with the entry of singer Kate Westbrook on ‘Yellow Dog’, and she fronts the rest of the set from then on. It’s fair to say that Kate’s contributions divide Westbrook fans. Her unfailing intelligence and far-reaching range of reference she began her career as a painter – have greatly broadened Westbrook’s vision over the years, helping to create a genuinely international aesthetic that is very rare in British jazz. But I found her expressionist version of Friedrich Hollander’s ‘Black Market’, complete with growls and whistling, seven minutes of pure torture.

Then again, on the lovely closing number, ‘What I Like’, as she and the band exchange breezy call and response badinage, she sounds perfect, and perfectly Westbrookian. The song, which unpretentiously celebrates drink and fraternity, among many other things, is like an emblem of the composer. It’s the humanity, the unwavering left-of-centre commitment, and the sheer good fellowship of his music and personality that have helped to make Mike Westbrook the closest thing to an English version of Duke Ellington that we have. ‘Band of Bands’ certainly does enough to celebrate that. The recording was supported by the Airshaft Trust and the patrons of Band of Bands. By Phil Johnson/
https://londonjazznews.com/2024/06/21/mike-westbrook-band-of-bands/

Personnel: Mike Westbrook - piano; Kate Westbrook - voice; Chris Biscoe - alto / soprano saxophones; Peter Whyman - alto / soprano saxophones / clarinet; Karen Street - accordion; Marcus Vergette - bass; Coach York - drums

Band of Bands

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