Juana Schaeffer - Blossom in Paris

Styles: Vocal
Year: 2023
Time: 48:23
File: MP3 @ 320K/s
Size: 111,5 MB
Art: Front

(4:31) 1. Surrey With The Fringe On Top
(3:41) 2. Plus Je T'embrasse
(3:18) 3. April In Paris
(5:29) 4. Lush Life
(3:41) 5. Peel Me A Grape
(0:39) 6. Little Jazz Bird
(4:29) 7. Give Him The Ooh La La
(4:50) 8. Hey John
(4:02) 9. Lonely Town
(4:48) 10. The Gentleman Is A Dope
(4:08) 11. If I Were A Bell
(4:41) 12. Venez Donc Chez Moi

Juana Schaeffer presents her first album “Blossom in Paris” in homage to the illustrious Blossom Dearie. Accompanied by the great jazz pianist Olivier Hutman, she revisits the legendary “standards” and compositions of the American artist, which range from Gershwin to Bernstein via Rogers, Strayhorn, Porter, Misraki…Translate By Google
https://www.parisjazzclub.net/fr/85808/concert/2023/11/28/juana-schaeffer-sextet

Personnel: Juana Schaeffer - chant; Guillaume Naturel - sax, flûte; Yoann Loustalot - trompette, bugle; Olivier Hutman - piano; Samuel Hubert - c.basse; Stefano Lucchini - batterie

Blossom in Paris

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Art Themen Organ Trio - Live in Soho

Styles: Saxophone Jazz
Year: 2024
Time: 50:53
File: MP3 @ 320K/s
Size: 117,5 MB
Art: Front

(5:10) 1. Chili Peppers
(5:48) 2. Brahms… I Think
(6:06) 3. Country
(5:56) 4. Groovy Samba
(3:54) 5. I’ve Grown Accustomed To Her Face
(5:41) 6. African Market Place
(7:03) 7. And What If I Don’t?
(3:01) 8. Sophisticated Lady
(8:11) 9. Cape Verdean Blues

I heard this band at Swanage (admittedly with trumpeter Martin Shaw added) and thought them a wow. Now comes the acid test of a live album to consider and the good news is that one’s original impression is largely confirmed. The veteran Themen’s open-mindedness comes across as ever, first on the stirring ‘Chilli Peppers’, his tenor often this side of wonky but always with melodic malice in mind, Double’s percussive expertise and Whittaker’s brilliance keeping him on the straight and (fairly) narrow.

It’s Art’s serpentine soprano on Zoot Sims’ ‘Brahms… I Think’, Whitaker resplendent. ‘Country’ is taken slow, Themen on tenor letting the melody breathe and have its way, the total performance a joy. ‘Groovy Samba’ follows, danceably direct, soprano leading, sinuous and slippery, Double keeping an eye on the beat. ‘I’ve Grown Accustomed To Her Face’ is another beauty, Themen again proving his worth as a tenor balladeer, understated, Whitaker compelling on piano.

How about Abdullah Ibrahim’s ‘African Marketplace’ as a contrast? Double again sounding out its shape, Whitaker comping, Themen jubilant and yes, fervent. Hancock’s ‘And What If I Don’t?’ is a bluesy piece, and gets a righteous treatment ahead of ‘Sophisticated Lady’, this given a largely a cappella tenor workout, and the stompy closer, Silver’s ‘Cape Verdean Blues’.

So, an eclectic mix and a set of pleasingly varied performances: no wonder Themen calls his trio mates, ‘the best of musical compadres’. He should know, having enjoyed their company over some 70-plus gigs. Look out for them.https://www.jazzwise.com/review/art-themen-organ-trio-live-in-soho

Personnel: Art Themen (tenor and soprano sax); Pete Whittaker (organ and piano); George Double (drums)

Live in Soho

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Tania Grubbs - Lost In The Stars

Size: 136,9 MB
Time: 58:49
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. This Heart Of Mine (4:23)
02. Cathedral Earth (4:24)
03. Lost In The Stars (4:00)
04. The Best Thing For You Would Be Me (4:26)
05. Matchmaker (2:50)
06. Get Out Of Town (3:03)
07. I've Got The Sun In The Morning (3:03)
08. Doce Presença (Sweet Presence) (4:22)
09. Charade (3:28)
10. Show Me (4:09)
11. Everything I Love (3:00)
12. Come Waltz With Me (3:00)
13. Let Us Be Always (3:53)
14. Detour Ahead (5:20)
15. Anyone Can Whistle (5:19)

Tania Grubbs is one of the busiest promoters in the Pittsburgh jazz scene, and one of the best singers, too. Organizing two jazz programs Downtown and one in Oakland has not kept her voice and style from steadily improving. “Lost in the Stars” shows that development as she presents 15 tunes from stage favorites such as “Show Me” and “Matchmaker” to the Henry Mancini classic “Charade” and “Come Waltz With Me,” an original by pianist Daniel May and lyricist Lou Tracey, two of the area's better secrets. Her voice is pure, and she has a wonderful sense of melody and lyric. Nowhere on the album does she falter, from the Latin lilt of “I Got the Sun in the Morning” to the ain't-romance-grand swing of “This Heart of Mine.” The album also is boosted by the work of pianist May, drummer Thomas Wendt, guitarist Eric Susoeff, trumpeter James Moore and bassist Jeff Grubbs, her husband. The album is a clear statement on what a great gift she is in the local music scene.By Bob Karlovits

Lost In The Stars

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Don Ellis - Out Of Nowhere

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 45:24
Size: 105,1 MB
Art: Front

(6:11)  1. Sweet And Lovely
(4:28)  2. My Funny Valentine
(4:39)  3. I Love You ( Take 2 )
(3:33)  4. I'll Remember April
(3:41)  5. Just One Of Those Things
(3:47)  6. You Stepped Out Of A Dream
(6:10)  7. All The Things You Are
(3:45)  8. Out Of Nowhere
(3:32)  9. Just One Of Those Things (take 5)
(5:36) 10. I Love You (take 1)

This formerly unknown date was released for the first time on this 1988 CD; chances are that the short-lived Candid label died before the music could be put out. Don Ellis, one of the most original trumpeters to emerge in the early 1960's, performs ten standards on a trio session with pianist Paul Bley and bassist Steve Swallow (who was making his recording debut) but the music is far from routine or predictable. Ellis takes an unaccompanied trumpet solo on "Just One Of Those Things," "All The Things You Are" is a trumpet-bass duet and Ellis interacts with Bley on a moody "My Funny Valentine." The players constantly take chances with time but there are few slipups or hesitant moments. A fascinating and long-lost session. ~ Scott Yanow https://www.allmusic.com/album/out-of-nowhere-mw0000202922

Personnel:  Don Ellis - trumpet; Paul Bley - piano; Steve Swallow - bass

Out Of Nowhere

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Art Blakey - Dizzy Gillespie... - The Giants Of Jazz Disc 1, Disc 2

Album: The Giants Of Jazz Disc 1
Styles: Bop, Cool Jazz
Year: 1971
File: MP3@320K/s
Time: 44:16
Size: 101,8 MB
Art: Front

(11:49) 1. Tin Tin Deo
(10:25) 2. Night in Tunisia
( 8:36) 3. Woody 'n' You
(13:24) 4. Tour de Force

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Album: The Giants Of Jazz Disc 2
Time: 46:40
Size: 107,5 MB

( 8:42) 1. Allen's Alley (Be Bop Tune)
(13:52) 2. Blue 'n'Boogie
( 4:52) 3. Everything Happens to Me
( 1:28) 4. Dizzy's Rap
( 9:25) 5. Blue Monk
( 8:19) 6. 'Round Midnight

This two-LP set, Giants of Jazz, (which should be reissued on CD) features a dream band comprised of trumpeter Dizzy Gillespie, Sonny Stitt on alto and tenor, trombonist Kai Winding, pianist Thelonious Monk (in a very rare stint as a sideman), bassist Al McKibbon, and drummer Art Blakey.

In general, the all-stars perform up to their usual standards on such standards as "Night in Tunisia," "Woody 'N' You," "Tour de Force," "Allen's Alley," and "Blue 'N' Boogie." Monk is well-featured on "Blue Monk" and "'Round Midnight" but Stitt steals honors on "Everything Happens to Me." A historic and superlative set. By Scott Yanow
https://www.allmusic.com/album/the-giants-of-jazz-mw0000346843

Personnel: Art Blakey – drums; Dizzy Gillespie – trumpet; Kai Winding – trombone; Sonny Stitt – saxophone; Al McKibbon – double bass; Thelonious Monk – piano

The Giants Of Jazz Disc 1, Disc 2

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Ronald Shannon Jackson - ManDance

Styles: Jazz Fusion
Year: 1982
Time: 41:10
File: MP3 @ 320K/s
Size: 97,0 MB
Art: Front

(4:34) 1. Man Dance
(5:25) 2. Iola
(3:07) 3. Spanking
(6:43) 4. Catman
(1:25) 5. The Art of Levitation
(4:45) 6. Belly Button
(3:09) 7. Giraffe
(5:48) 8. When souls speak
(6:10) 9. Alice in the Congo

The ensemble-oriented "free funk" music of drummer Roland Shannon Jackson's Decoding Society never can be accused of being overly mellow or lacking in excitement. The 1982 version of his band features trumpeter Henry Scott, Zane Massey on reeds, guitarist Vernon Reid, and both Melvin Gibbs and Bruce Johnson on electric basses. The frenetic and intense ensembles (essentially everyone solos at once) would not be classified as relaxing background music.By Scott Yanow https://www.allmusic.com/album/mandance-mw0000195271#review

Personnel: Ronald Shannon Jackson – drums; David Gordon (tracks 1, 2 & 8), Henry Scott (tracks 3-7 & 9) – trumpet, flugelhorn; Zane Massey – tenor saxophone, alto saxophone, soprano saxophone; Lee Rozie – tenor saxophone, soprano saxophone (tracks 1, 2 & 8); Vernon Reid – electric guitar, steel guitar, Roland guitar synthesizer, banjo; Melvin Gibbs – electric bass; Reverend Bruce Johnson – fretless electric bass, electric bass

Man Dance

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Gene Bertoncini & Michael Moore - Two Is Time

Styles: Guitar Jazz
Year: 1989
Time: 67:13
File: MP3 @ 320K/s
Size: 153,9 MB
Art: Front

(5:07) 1. It Had To Be You
(4:23) 2. I'm Getting Sentimental Over You
(8:05) 3. The Bad And The Beautiful / Laura
(4:34) 4. Killer Joe
(2:16) 5. Chopin Prelude Variations / Django
(4:51) 6. Whisper Not
(4:18) 7. Cherokee
(5:19) 8. These Foolish Things
(5:10) 9. Wonderful Girl
(3:38) 10. You've Changed
(4:49) 11. I'm All Smiles
(4:55) 12. The Lilter
(9:42) 13. It's Might As Well Be Spring / Spring Can Really Hang You Up The Most

Recording and performing together since the late '70s, Gene Bertoncini and Michael Moore once more undertake the daunting task of making a guitar-bass duet session attractive to listeners without being boring or maudlin. Like their earlier efforts, Two in Time successfully fills the bill. The interesting play list, with a balanced mix of slow and up-tempo tunes, contributes much to making this a satisfying session. The medley of "The Bad and the Beautiful" and "Laura," with most of the players' attention given to the latter, is intriguing in the way that it segues back and forth between Moore's dark, brooding bowing on "Laura" and Bertoncini's upbeat guitar.

Moore also bows on "You've Changed" which is a highlight of his introspective but very lyrical approach to the music. Revealing their classical roots, Bertoncini and Moore pay homage to Chopin with variations on one of his preludes, cleverly linked a medley with John Lewis' "Django." Ray Noble's "Cherokee" swings, while "These Foolish Things" makes your foot tap. Although Bertoncini stays mostly with the electric guitar on this set, he gets unplugged on "Wonderful Girl" (really "I'm in Love With a Wonderful Guy"). The one original, Moore's "The Lilter," takes on a Scottish motif with the bass and guitar replacing the bagpipes. Two fine artists very contented with each other and a comfortable song list makes for pleasant jazz played in a chamber setting.
By Dave Nathan https://www.allmusic.com/album/two-in-time-mw0000675570#review

Personnel: Guitar – Gene Bertoncini; Bass – Michael Moore (2)

Two Is Time

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Paul Gant - In the Bar Round Midnight

Styles: Vocal
Year: 2024
Time: 41:57
File: MP3 @ 320K/s
Size: 96,9 MB
Art: Front

(3:06) 1. In the Morning Time
(2:33) 2. Save the Last Dance for Me
(3:08) 3. In the Bar Round Midnight
(3:03) 4. If I Were a Carpenter
(4:13) 5. Only You
(3:16) 6. Just Dynamite
(4:43) 7. One for My Baby
(3:41) 8. I Kiss You Under the Moonlight
(2:45) 9. A Kind of Hush
(3:06) 10. My Heart Beats Like Crazy
(5:13) 11. Mr. Bojangels
(3:05) 12. Ogni Mattino

Paul Gant is a symbiosis of the Berlin atmosphere of Harald Juhncke's time and the Las Vegas feeling of Frank Sinatra's time! Experience Paul's smoky and velvety voice! Lean back and let yourself be transported to a carefree, exhilarating sphere. May I? I'm Paul Gant!

I'll take you into my emotional world of romantic delights, deep pain, unbridled grief and of course love. Entertaining with small interludes, light relaxed casual as swing is: soothing and exhilarating music to dream to and reminisce to! Translate By Google https://www.paul-gant.com/

In the Bar Round Midnight

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The Cannonball Adderley Quintet - Mercy, Mercy, Mercy! Live At "The Club"

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 41:22
Size: 95,2 MB
Art: Front

( 0:07)  1. Introduction
( 8:19)  2. Fun
( 7:20)  3. Games
( 5:10)  4. Mercy, Mercy, Mercy!
( 4:03)  5. Sticks
( 5:49)  6. Hippodelphia
(10:31)  7. Sack O' Woe

Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was meant to publicize a friend's nightclub venture in Chicago, but Adderley actually recorded the album in Los Angeles, where producer David Axelrod set up a club in the Capitol studios and furnished free drinks to an invitation-only audience. Naturally, the crowd is in an extremely good mood, and Adderley's quintet, feeding off the energy in the room, gives them something to shout about. By this point, Adderley had perfected a unique blend of earthy soul-jazz and modern, subtly advanced post-bop; very rarely did some of these harmonies and rhythms pop up in jazz so saturated with blues and gospel feeling. Those latter influences are the main inspiration for acoustic/electric pianist Joe Zawinul's legendary title cut, a genuine Top 40 pop hit that bears a passing resemblance to the Southern soul instrumentals of the mid-'60s, but works a looser, more laid-back groove (without much improvisation). 

The deep, moaning quality and spacy texture of "Mercy, Mercy, Mercy" stand in contrast to the remainder of the record, though; Nat Adderley contributes two upbeat and challenging originals in "Fun" and "Games," while Zawinul's second piece, "Hippodelphia," is on the same level of sophistication. The leader's two selections the gospel-inflected "Sticks" and the hard-swinging, bluesy bop of "Sack O' Woe" (the latter of which became a staple of his repertoire)  are terrific as well, letting the group really dig into its roots. Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well or with such tremendous musical rewards as Mercy, Mercy, Mercy. ~ Steve Huey   http://www.allmusic.com/album/mercy-mercy-mercy!-live-at-the-club-mw0000173884

Personnel : Cannonball Adderley (alto saxophone); Nat Adderley (cornet); Joe Zawinul (acoustic & electric pianos); Victor Gaskin (bass); Roy McCurdy (drums).

Mercy, Mercy, Mercy! Live At "The Club"

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Jimmy Heath Quartet - You've Changed

Bitrate: 320K/s

Time: 62:20

Size: 142.7 MB

Styles: Saxophone jazz, Hard bop

Year: 1991

Art: Front

[8:11] 1. Soul Eyes

[9:19] 2. Sleeves

[7:12] 3. Bluesville

[8:16] 4. You've Changed

[7:27] 5. Basic Birks

[7:10] 6. Last Night When We Were Young

[6:35] 7. Sassy Samba

[8:07] 8. Prince Albert

You've Changed presents journeyman saxophonist Jimmy Heath in an unadorned setting that exhibits his talents in full splendor. Also a noted composer -- three of the pieces here are his -- this session showcases Heath's sound, which is as smoky and sweet as the best whiskey. Heath plays with fluid drive. The composer in him never takes a break as evidenced by the logical flow of his melodic ideas. The band is a pared down version of the Heath Brothers with regulars Tony Purrone and brother Tootie Heath on board joined by bassist Ben Brown. Purrone's smooth, bluesy fretwork provides just the right foil for the leader. ~David Dupont

You've Changed

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Stella Bass - Look for the Silver Lining

Styles: Vocal
Year: 2024
Time: 42:17
File: MP3 @ 320K/s
Size: 97,3 MB
Art: Front

(4:32) 1. Being Alive
(5:41) 2. Blame It on My Youth
(2:23) 3. This Could Be the Start of Something Big
(3:47) 4. All the Colours of My Love
(5:07) 5. Pure Imagination
(3:32) 6. Old Devil Moon
(5:15) 7. Still
(3:11) 8. Look for the Silver Lining
(4:23) 9. I Believe in You
(4:21) 10. Change Partners

It is an enviable trait to always look for the silver lining in troubled times. For Dublin vocalist Stella Bass, when gigs dried up during the Covid pandemic, the silver lining was the gift of time. She did not waste it, studying music production with Berklee College, Boston, and music composition & arranging with Studio Orchestrations, Belfast. The seeds planted, work duly followed, with writing, arranging and syncing music for TV, film and gaming. She also decided that it was time to record again, almost a decade after Too Darn Hot (Self Produced, 2014). For Bass, the title of her second album seemed obvious from the outset.

Bass has led her own quartet for years, playing a weekly residency at Dublin's Café en Seine. She has also sung with the long-running Dublin City Jazz Orchestra, so she can call on the cream of the city's jazz musicians. It is no less than her voice deserves. Just as pianist Phil Ware's arrangements were key to the success of Too Darn Hot, another lauded pianist, Johnny Taylor, leaves an indelible stamp on the standards-heavy Look for the Silver Lining, with arrangements which play to Bass' strengths.

Taylor is a refined pianist, one who values economy and space, qualities that also shape his arrangements. However, when the mood takes him he is also capable of lighting a fire, as he does on "Being Alive," and on the swinging "Old Devil Moon," while his silky touch chimes nicely with Bass' deft delivery on the ever-popular "Pure Imagination." Drummer Dominic Mullan and bassist Barry Donohue, both long-standing collaborators, provide equally sympathetic support.

Telling cameos from flugelhornist Ronan Dooney brighten "Blame It on My Youth" and the leader's own "All The Colours of My Love," while tenor saxophonist Michael Buckley brings his customary panache to the swinging "This Could be the Start of Something Big" and the bossa nova-tinged "Change Partners."

But Bass is the real star of the show, her pure-toned voice, lightly spiced by vibrato, bossing the swingers, and imbuing the ballads with the requisite emotional nuance. In essence an interpretive jazz singer, albeit one who also sings Kurt Weil, Marlene Dietrich, Amy Winehouse and Ella Fitzgerald, Bass contributes two original compositions.

The swaying "All the Colours of My Heart" and the pretty ballad "Still," co-penned with Yann O'Brien and Neville Lloyd respectively, nestle comfortably among the standards. So comfortably, in fact, that for one not overly familiar with the standards presented here, it would be hard to pick out Bass' originals from those by Stephen Sondheim, Jerome Kern, Irving Berlin et al. She should not wait for the next pandemic before reaching for pen and blank paper.

Excellent production values give these strong performances the added luster they demand. Recommended for lovers of vocal jazz standards sultry, swinging, playful and tender. By Ian Patterson https://www.allaboutjazz.com/look-for-the-silver-lining-stella-bass-self-produced

Personnel: Stella Vass: Vocal; Johnny Taylor: piano; Dominic Mullan: drums; Barry Donohue: bass; Michael Buckley: tenor saxophone; Ronan Dooney: flugelhorn

Look for the Silver Lining

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Stephen Riley - El Gaucho

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 60:31
Size: 139,3 MB
Art: Front

(6:53)  1. El Gaucho - Take 2
(7:17)  2. Think of One
(9:15)  3. Never Let Me Go
(7:37)  4. Night and Day
(7:17)  5. Central Park West
(7:29)  6. Milestones
(9:15)  7. J. Mood
(5:26)  8. El Gaucho - Take 3

Stephen Riley's fourth CD as a leader for Steeplechase is a bit different, as he has added a piano to the group. With pianist Ernest Turner, bassist Neal Caine, and drummer Jason Marsalis, the tenor saxophonist explores a combination of standards and time-tested jazz compositions. His soft, breathy vibrato in the gorgeous setting of "Never Let Me Go" is an extended affair, with the rhythm section playing conservatively behind him to allow plenty of space. He adds a hip, disguised introduction to "Night and Day," teasing the listener but never outright stating its well-known theme. Riley wails in John Coltrane's "Central Park West," changing the mood completely from the ballad tracks, while his interpretation of Thelonious Monk's "Think of One" is full of humor. The two takes of Wayne Shorter's "El Gaucho" are as different as night and day, though they both merited inclusion. Not many artists have recorded songs by Wynton Marsalis, though that may be because every leader seems to concentrate primarily on his or her compositions. In any case, this early work by the trumpeter proves to be an excellent choice, showcasing Caine's bluesy touch.By Ken Dryden https://www.allmusic.com/album/el-gaucho-mw0001983521

Personnel: Stephen Riley - tenor saxophone; Ernest Turner - piano; Neal Caine - bass; Jason Marsalis - drums

El Gaucho

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Amy Roberts' Gentlemen Of Jazz - I'm Confessin'

Bitrate: MP3@320K/s
Time: 65:38
Size: 150.3 MB
Styles: Contemporary jazz
Year: 2009
Art: Front

[8:35] 1. Runnin' Wild
[7:56] 2. I'm Confessin'
[5:51] 3. Isle Of Capri
[8:16] 4. That Teasin' Rag
[4:30] 5. A Nightingale Sang In Berkeley Square
[4:37] 6. Royal Garden Blues
[6:21] 7. Singing The Blues
[6:29] 8. Collegiate
[5:40] 9. I Can't Give You Anything But Love
[7:19] 10. Panama

In today's traditional jazz world there is a handful of talented young musicians - Amy Roberts is one of this select group. She first appeared on the club scene in Cornwall (her home county) as a schoolgirl a few years ago. Now (Autumn 2009) aged 21 she is studying music at the Royal Northern College of Music in Manchester, and at the same time she is making a name for herself on the jazz club and festival scene. This, the first CD by her own band, was recorded at the 2008 Bude Jazz Festival. The band has a sound reminiscent of the American small bands of the 1930s and '40s and on this CD they work well together to play hot inventive jazz and entertain their audience. The band line-up is Steve Graham trumpet, Amy Roberts alto sax (flute on one track), Roger Heeley piano, John Baker banjo, Andy Craddock double bass, Graham Smith drums.

I'm Confessin'

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Sant Andreu Jazz Band - Jazzing 14 Vol.1

Styles: Jazz, Big Band
Year: 2024
Time: 66:20
File: MP3 @ 320K/s
Size: 151,8 MB
Art: Front

(2:16) 1. Top Hat, White Tie & Tails
(4:37) 2. Bewitched
(3:12) 3. Four Brothers
(5:40) 4. For All We Know
(4:26) 5. Sway
(6:06) 6. Ceora
(3:23) 7. I Cried For You
(4:14) 8. My One And Only Love
(6:54) 9. Quiza´s, Quiza´s, Quiza´s.mp3
(4:00) 10. The Nearness Of You
(5:32) 11. Lady Be Good
(7:12) 12. After Supper
(4:30) 13. Fantail
(5:12) 14. Curacao Doloroso
(5:53) 15. Cherokee

Sant Andreu Jazz Band is a project arising from a music class. Conducted by Joan Chamorro, the big band brings together children between 6 and 18 years old, around a classic jazz repertoire with lots of swing, which gained the public and sold-out some of the most important music auditoriums in Spain.

The band was founded in 2006 at Escola Municipal de Música de Sant Andreu. The band has performed at numerous concerts and festivals in Catalonia and neighbouring countries. They released their first live CD/DVD Jazzing: Live at Casa Fuster in 2009, featuring alongside established jazz musicians, the precocious 14-year-old, Andrea Motis among other young talents.

2010 was a breakthrough year for the band, with appearances on more than 20 festivals including Valls, Terrassa, Girona, Barcelona, Platja d'Aro, and legendary venues like el Jamboree, Palau de la Música Catalana, JazzSi, Hotel Casa Fuster, featuring international performers like Dick Oatts, Ken Peplowski, Bobby Gordon, Perico Sambeat, Ignasi Terraza, Matthew Simon, and Esteve Pi. The band also released their second recording Jazzing, Vol. 2

In 2012 the film director Ramón Tort made the documentary A film about kids and music based on the band's work and efforts.The film was awarded best feature film at the Lights, Camera, Help Festival in Austin, Texas, in 2013
https://www.freshsoundrecords.com/13058-sant-andreu-jazz-band-albums

Jazzing 14 Vol.1

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Ronnie Cuber - Cuber Libre

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 52:34
Size: 120,6 MB
Art: Front

(11:59)  1. Star Eyes
( 5:19)  2. Rifftide
(10:18)  3. Tin Tin Deo
( 6:13)  4. Samba D'Orfeo
( 7:07)  5. Misty
( 5:30)  6. Sudwest Funk
( 6:05)  7. Prince Albert

This quartet session was a perfect setting for baritonist Ronnie Cuber, who was 34 years old at the time. Joined by the impeccable pianist Barry Harris, bassist Sam Jones, and drummer Albert "Tootie" Heath, Cuber gets to swing hard on such standards as "Star Eyes," "Rifftide," and "Tin Tin Deo." 

Throughout this bop-oriented date, Cuber shows why he has been considered one of the top masters of the baritone during the past 20 years.~Scott Yanow http://www.allmusic.com/album/cuber-libre-mw0000869723

Personnel: Ronnie Cuber (baritone saxophone); Barry Harris (piano); Albert Heath (drums).

Cuber Libre

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Cannonball Adderley, Milt Jackson - Things Are Getting Better

Bitrate: MP3@320K/s
Time: 52:46
Size: 120.8 MB
Styles: Soul jazz, Saxophone jazz
Year: 1958/2012
Art: Front

[4:58] 1. Blues Oriental
[0:44] 2. A Few Words
[7:09] 3. Things Are Getting Better
[4:45] 4. Serves Me Right (Take 5)
[5:18] 5. Groovin' High
[6:56] 6. The Sidewalks Of New York (Take 5)
[6:23] 7. Sounds For Sid
[6:43] 8. Just One Of Those Things
[4:34] 9. Serves Me Right (Take 4, Alternate)
[5:12] 10. The Sidewalks Of New York (Take 4, Alternate)

This title provides ample evidence why alto Cannonball Adderley is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly on piano, Percy Heath on bass, and the one and only Art Blakey on drums. The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."] ~Lindsay Planer

Things Are Getting Better

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Miriam Aida - Come On Home

Styles: Vocal
Year: 2008
Time: 48:46
File: MP3 @ 320K/s
Size: 112,2 MB
Art: Front

(3:16) 1. Come On Home
(3:53) 2. A Handful Of Soul
(4:24) 3. Two Steps From The Blues
(3:03) 4. Now That You're Gone
(3:56) 5. You'd Be So Nice To Come Home To
(2:58) 6. Make Sure You're Sure
(3:41) 7. The Man I Love
(2:50) 8. A Night In Tunisia
(4:52) 9. Skylark
(3:13) 10. Jive Samba
(6:00) 11. Ruby And The Pearl
(3:00) 12. Rainbows End
(3:33) 13. I'm Not Ashamed

Miriam Aïda, one of Sweden’s most popular singers with an international following, has performed in Japan, UK, Brazil, France, Spain, USA, Turkey, Russia, Italy, Germany and of course all around Sweden and Scandinavia, both as a solo artist as well as with the band A Bossa Elétrica. She has shared the stage with many great Brazilian musicians such as Hermeto Pascoal, Badi Assad and master guitarist Marco Pereira.

After exploring the music traditions of Brazil and her success with the albums such as Quatro Janelas, Letras ao Brasil & É de Lei! she has been spotted in several national TV shows.

Miriam ́s extensive talent travels through a number of musical landscapes and since her album-debut in 2002 she has released 8 albums as a leader. Since 2010 she is an acclaimed radio profile for Swedish National Radio as a producer and music journalist. She has hoasted the Swedish Radio live broadcast JazzAward "Jazzkatten" several times and on the PolarPrize 2017 she interviewed Wayne Shorter on PolarTalks.

Following the success of the Swedish Grammy, Manifest and World Music Awards nominated albums Letras ao Brasil (2009) and Visans Väsen (2011), mixing Swedish traditional songs with Brazilian rhythms, her album AFRO SAMBA ORCHESTRA - É de Lei!" was awarded "Rhythm of the Year" by Manifestgalan.

The album honors the Brazilian legend and founder of Afro Samba, Baden Powell. And was recorded in Sweden and Rio de Janeiro in collaboration with the Brazilian arranger Jayme Vignoli. É de Lei! features one of Rio’s greatest singers, Marcos Sacramento.

Artist of the year at Swedish World Music Awards 2012

"A versatile artist, colorful, headstrong, audacious and personal. A performer who twists and turns on the familiar and who creates new perspectives for all of us.” This was the jury’s statement when Miriam Aïda received the price for Artist of the year at the Swedish World Music Awards in 2012.
https://info4993393.wixsite.com/miriamaida/about

Come On Home

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Ronnie Cuber - Four

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 66:43
Size: 153,9 MB
Art: Front

(4:50)  1. Battery Blues
(7:24)  2. Sidewinder
(5:28)  3. Motivation
(9:17)  4. Tenderly
(6:56)  5. Just Friends
(6:14)  6. Bluesette
(5:24)  7. Coming Home Baby
(6:02)  8. How High the Moon
(8:49)  9. Sugar
(6:15) 10. Four

Ronnie Cuber's always a hell of a swinger, but he sounds especially nice here  really letting his baritone hit some bold, soulful sounds in the company of Hammond organist Brian Charette, guitarist Ed Cherry, and drummer Adam Nussbaum! The record's got this soul jazz vibe that's a bit different than some of Cuber's other records and features a number of tunes penned by older heroes of the genre – like Horace Silver, Lee Morgan, Stanley Turrentine, and others – which makes for a set of songs that has Ronnie sounding completely wonderful all the way through. There's few cats who could ever make a baritone sax sound this wonderful – and we think you'll agree after hearing tracks that include "Four", "Battery Blues", "Bluesette", "Coming Home Baby", "Sugar", and "Motivation". https://www.dustygroove.com/item/936387/Ronnie-Cuber:Four

Personnel: Ronnie Cuber – baritone saxophone; Ed Cherry – guitar; Brian Charette – Hammond B3.; Adam Nussbaum – drums

Four

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Cannonball Adderley - Quintet In Chicago

Styles: Saxophone Jazz

Year: 1959
File: MP3@320K/s
Time: 34:03
Size: 78,2 MB
Art: Front

(4:40)  1. Limehouse Blues
(6:14)  2. Stars Fell on Alabama
(5:46)  3. Wabash
(4:33)  4. Grand  Central
(5:34)  5. You' re A Weaver Of Dreams
(7:13)  6. The Sleeper

This exciting session consists of the 1959 edition of The Miles Davis Sextet minus its leader, though it was later reissued as Cannonball & Coltrane, as there was evidence that both men had considerable input into the date. A brisk "Limehouse Blues" features great exchanges between the saxophonists, while Adderley's soulful "Wabash" is more easygoing. This newly remastered CD is a distinct improvement over the earlier retitled reissue. ~ Ken Dryden  http://www.allmusic.com/album/cannonball-adderley-quintet-in-chicago-mw0000088595

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Quintet In Chicago

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Bobby Hutcherson - Stick Up!

Styles: Vibraphone Jazz
Year: 1997
File: MP3@320K/s
Time: 40:26
Size: 93,1 MB
Art: Front

(6:26)  1. Una Muy Bonita
(6:58)  2. 8/4 Beat
(6:59)  3. Summer Nights
(6:57)  4. Black Circle
(9:32)  5. Verse
(3:32)  6. Blues Mind Matter

One of Bobby Hutcherson's best albums, Stick-Up! was also his first official release not to feature drummer Joe Chambers, who was a major part of Hutcherson's outside leanings. Instead, Stick-Up! stakes out the middle ground between hard bop and the avant-garde, offering a set of structured yet advanced modal pieces indebted particularly to Coltrane. Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson. Tyner in particular is a standout, charging relentlessly forward on the intricate "8/4 Beat" and "Black Circle" and lending a Coltrane-ish flavor to the spiritually searching "Verse." The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that coupled with the energetic performances ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.
~ Steve Huey https://www.allmusic.com/album/stick-up%21-mw0000028035

Personnel: Joe Henderson - tenor saxophone;  Bobby Hutcherson - vibraphone, composer; McCoy Tyner - piano; Herbie Lewis - bass; Billy Higgins - drums

Stick Up!

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