Saturday, May 17, 2025
Friday, May 16, 2025
Dan Gabel and The Abletones - Live!
Year: 2019
Time: 65:18
File: MP3 @ 320K/s
Size: 151,6 MB
Art: Front
(4:26) 1. Whispering (opening theme) Song of India
(3:47) 2. Swanee River
(2:05) 3. Almost Like Being in Love
(4:28) 4. I Know Why (And So Do You)
(2:48) 5. Sun Valley Jump
(3:29) 6. Moon Ray
(4:02) 7. Moonlight in Vermont
(2:59) 8. Hot-Cha Cha-Cha
(3:25) 9. American Patrol
(2:58) 10. All the Things You Are
(2:45) 11. L-O-V-E
(2:53) 12. Tuxedo Junction
(3:40) 13. Just The Way You Look Tonight
(2:53) 14. East-Side, West-Side (The Sidewalks of New York)
(2:35) 15. Fly Me To the Moon
(3:42) 16. Boogie Blues
(4:21) 17. Moon River
(3:38) 18. Mack the Knife
(3:30) 19. It Had to Be You
(0:44) 20. The Abletones Jive (closing theme)
Picture this: You’re eating dinner in a crowded ballroom surrounded by couples all dressed to the nines. The stage is set. Big Band stand fronts, vintage instruments and derby mutes line the back row. The lights come up, and eighteen musicians, clad in matching tuxedos, blue vests and pocket squares enter from the wings, their highly polished shoes shining as they take the stage. The bandleader, in his white dinner jacket and spats counts off the first number as the vocalist in her shimmering ball gown appears just in time for her entrance. I’m sure you’re picturing a nightclub or a dance hall circa 1939 but no. It’s a wintry evening in 2018 at Mechanics Hall in Worcester, MA and Dan Gabel and The Abletones are doing what they do best transporting their audience back in time with the sights and sounds of the Big Band era.
In mid-January (2018) we had a busy week playing a series of one-nighters from Boston to Long Island. Our last gig of the week was at Mechanics Hall in Worcester for their annual Winter Soiree. Everything seemed to come together perfectly: the band was hot, the hall was aglow, and the dance floor was packed all night. Fortunately for us, Hannah Truckenbrod joined us for this show. Fortunately for you, this memorable evening was recorded!
I am thrilled to present this album of live recordings. No edits were made, nor any post-production processing used. What you hear on the record is what we performed that night thanks to the expertise of recording engineer Mr. Joe Chilorio. So, sit back, relax, or jump up and dance to: The Abletones Live!
In mid-January (2018) we had a busy week playing a series of one-nighters from Boston to Long Island. Our last gig of the week was at Mechanics Hall in Worcester for their annual Winter Soiree. Everything seemed to come together perfectly: the band was hot, the hall was aglow, and the dance floor was packed all night. Fortunately for us, Hannah Truckenbrod joined us for this show. Fortunately for you, this memorable evening was recorded!
I am thrilled to present this album of live recordings. No edits were made, nor any post-production processing used. What you hear on the record is what we performed that night thanks to the expertise of recording engineer Mr. Joe Chilorio. So, sit back, relax, or jump up and dance to: The Abletones Live!
Live!
Buddy Tate - Hard Blowin'
Year: 1978
Time: 37:51
File: MP3 @ 320K/s
Size: 87,1 MB
Art: Front
(9:49) 1. Sweet Georgia Brown
(9:56) 2. Summertime
(9:22) 3. Undecided
(8:42) 4. Body And Soul
Muse has released at least six albums of material recorded at Sandy's Jazz Revival in Massachusetts during a week in 1978. This is veteran tenor Buddy Tate's most rewarding album from the engagement and a fine all-around showcase. Accompanied by pianist Ray Bryant, bassist George Duvivier, and drummer Alan Dawson, Tate stretches out on four familiar standards and shows listeners that he really had one of the more distinctive tenor sounds of the swing era. Recommended. By Scott Yanow https://www.allmusic.com/album/hard-blowin-mw0000902525#review
Personnel: Tenor Saxophone, Flute – Buddy Tate; Bass – George Duvivier; Drums – Alan Dawson; Piano – Ray Bryant
Personnel: Tenor Saxophone, Flute – Buddy Tate; Bass – George Duvivier; Drums – Alan Dawson; Piano – Ray Bryant
Hard Blowin'
Ester Andujar - Inner Songs
Year: 2025
Time: 59:23
File: MP3 @ 320K/s
Size: 136,4 MB
Art: Front
(5:28) 1. Els Somnis
(6:53) 2. Flor del desierto
(7:02) 3. Caminada
(5:42) 4. Under the Sun
(0:37) 5. Inner Sun
(5:49) 6. Purple Wings
(4:38) 7. Beijo partido
(7:06) 8. República
(8:34) 9. Abans de tu
(7:30) 10. Les dones que ens falten
Ester Andújar Rico's album Inner Songs is a mesmerizing journey through language, culture, and emotion. Andújar effortlessly transitions between Spanish, Valencian, Portuguese, and English, making each track feel like an intimate conversation across borders. Even if you are not fluent in all of the languages, the album provokes introspection on how language modifies the listener's perception of music.
Andújar's vocals carry a subtle but powerful influence from Spanish vocal traditions, particularly in the way she infuses her phrasing with emotional depth and lyrical expression. This is likely inspired by the rich heritage of Spanish singers and genres such as flamenco and bolero, where vocal delivery often emphasizes emotional storytelling and ornamentation.
There are also echoes of George Benson and Al Jarreau in her scat techniques, while at times the album's polished, sophisticated sound brings to mind Basia Gąsienica-Giewont signature blend of jazz and pop. The rhythmic textures and subtle voice-guitar improvisations evoke the spirit of Brazilian bossa nova and Joao Gilberto. Some tracks also carry high-energy funk and soul-infused jazz, adding a dynamic contrast to the more ethereal moments.
Inner Songs is not just a reflection of personal emotion; it also carries an underlying message of social consciousness. Tracks like "Les dones que ens falten" stand as a protest against gender violence, while "República" contemplates historical memory.
Andújar describes "Les dones que ens falten" "The Women We Are Missing" as "a cry of anger, a topic that I cannot and do not want to avoid, an ugly topic. No one wants to talk about this, to assume that male violence surrounds us, but it is what it is." On this track, Valencian saxophonist Javier Vercher joins the band and, according to Andújar, "brings all the emotional storm that this theme inspires in her."
"República" is another track with a powerful social message. Andújar's comment on this song says, "On April 14, 1931, the beginning of the Second Spanish Republic was proclaimed. It marked a period of our history before Franco's dictatorship, during which the social advances that would later shape our democracy began to take form. Many people died defending the Republic, and they fought for the rights we enjoy today. To forget them would be to forget who we are."
Instrumentally, Inner Songs is elevated by a group of exceptional musicians. Albert Palau's piano brings lyrical elegance and harmonic depth, blending classical sensitivity with jazz sophistication reminiscent of Bill Evans, yet grounded in the rhythmic vitality of Latin jazz.
Tico Porcar's drumming is equally nuanced balancing Afro-Cuban and Brazilian influences with jazz precision to create a dynamic, layered foundation.
Iván Cebrián's guitar work stands out for its expressive clarity and stylistic fluidity, drawing from jazz greats like Wes Montgomery and Pat Metheny while embracing the warmth of Brazilian music. His smooth transitions between genres add versatility and color to the album.
Meanwhile, Miquel Álvarez's bass anchors the ensemble with both subtlety and strength, qualities that support the album's emotional and musical breadth.
With Inner Songs, Andújar offers more than just a collection of beautifully crafted tracks she delivers a deeply personal and socially resonant statement. Through her multilingual lyrics, genre-blending arrangements, and fearless engagement with complex themes, Andújar invites listeners into a rich emotional and cultural landscape. By Anastasia Bogomolets
https://www.allaboutjazz.com/inner-songs-ester-andujar-rico-pentasonic-studios/
Andújar's vocals carry a subtle but powerful influence from Spanish vocal traditions, particularly in the way she infuses her phrasing with emotional depth and lyrical expression. This is likely inspired by the rich heritage of Spanish singers and genres such as flamenco and bolero, where vocal delivery often emphasizes emotional storytelling and ornamentation.
There are also echoes of George Benson and Al Jarreau in her scat techniques, while at times the album's polished, sophisticated sound brings to mind Basia Gąsienica-Giewont signature blend of jazz and pop. The rhythmic textures and subtle voice-guitar improvisations evoke the spirit of Brazilian bossa nova and Joao Gilberto. Some tracks also carry high-energy funk and soul-infused jazz, adding a dynamic contrast to the more ethereal moments.
Inner Songs is not just a reflection of personal emotion; it also carries an underlying message of social consciousness. Tracks like "Les dones que ens falten" stand as a protest against gender violence, while "República" contemplates historical memory.
Andújar describes "Les dones que ens falten" "The Women We Are Missing" as "a cry of anger, a topic that I cannot and do not want to avoid, an ugly topic. No one wants to talk about this, to assume that male violence surrounds us, but it is what it is." On this track, Valencian saxophonist Javier Vercher joins the band and, according to Andújar, "brings all the emotional storm that this theme inspires in her."
"República" is another track with a powerful social message. Andújar's comment on this song says, "On April 14, 1931, the beginning of the Second Spanish Republic was proclaimed. It marked a period of our history before Franco's dictatorship, during which the social advances that would later shape our democracy began to take form. Many people died defending the Republic, and they fought for the rights we enjoy today. To forget them would be to forget who we are."
Instrumentally, Inner Songs is elevated by a group of exceptional musicians. Albert Palau's piano brings lyrical elegance and harmonic depth, blending classical sensitivity with jazz sophistication reminiscent of Bill Evans, yet grounded in the rhythmic vitality of Latin jazz.
Tico Porcar's drumming is equally nuanced balancing Afro-Cuban and Brazilian influences with jazz precision to create a dynamic, layered foundation.
Iván Cebrián's guitar work stands out for its expressive clarity and stylistic fluidity, drawing from jazz greats like Wes Montgomery and Pat Metheny while embracing the warmth of Brazilian music. His smooth transitions between genres add versatility and color to the album.
Meanwhile, Miquel Álvarez's bass anchors the ensemble with both subtlety and strength, qualities that support the album's emotional and musical breadth.
With Inner Songs, Andújar offers more than just a collection of beautifully crafted tracks she delivers a deeply personal and socially resonant statement. Through her multilingual lyrics, genre-blending arrangements, and fearless engagement with complex themes, Andújar invites listeners into a rich emotional and cultural landscape. By Anastasia Bogomolets
https://www.allaboutjazz.com/inner-songs-ester-andujar-rico-pentasonic-studios/
Inner Songs
Sunday, May 11, 2025
Saturday, May 10, 2025
Jimmy Scott - Moon Glow
Year: 2003
Time: 53:38
File: MP3 @ 320K/s
Size: 123,3 MB
Art: Front
(3:51) 1. Moonglow
(4:43) 2. Since I Fell For You
(7:10) 3. Those Who Were
(4:12) 4. Yesterday
(7:29) 5. How Long Has This Been Going On?
(4:29) 6. I Thought About You
(6:14) 7. Time On My Hands (You In My Arms)
(3:39) 8. If I Should Lose You
(6:13) 9. Solitude
(5:32) 10. We'll Be Together Again
It took a long time in coming, but Jimmy Scott’s sure found his career groove with his series of “comeback” albums with Todd Barkan for the Milestone label. Barkan somehow knows how to set up Scott’s distinctive vocal presence an unparalleled dynamic between the performer's exquisite sense of jazz and blues timing, and the ravages of Kallmann’s Syndrome on his voice with simple perfection. On his fourth Milestone set, Scott burns like a classic torch singer through classic songs, except he seems to do more than sing these songs he seems to embody them, to give them their own life through his voice.
Scott discovers more shadow than light in “Since I Fell For You,” which pianist Larry Willis and saxophonist David “Fathead” Newman cook up to boiling, and his duet with Willis on “Those Who Were” runs so deep it seems to stop time. This tragic, mournful arrangement of “Solitude” makes the song sound written for Scott, again with Willis plus Grïgoire Maret on harmonica blues. Guitarist Joe Beck also offers soulful counterpart, jazzing up the feel to the opening “Moonglow,” in which Scott languidly bathes just behind the beat, and the nattily swinging “I Thought About You.” By Chris M. Slawecki https://www.allaboutjazz.com/moon-glow-jimmy-scott-fantasy-jazz-review-by-chris-m-slawecki
Personnel: Jimmy Scott - Vocal; Joe Beck--Guitar; Hank Crawford--Alto Sax; Renee Rosnes--Piano; Little Jimmy Scott--Vocals; Lew Soloff--Trumpet; Larry Willis--Piano; Grady Tate--Drums. Lewis Nash--Drums; Eric Alexander--Tenor Sax; Cyrus Chestnut--Piano; Bob Kindred--Tenor Sax; George Mraz--Bass; David "Fathead" Newman--Tenor Sax; Clarence Penn--Drums; Michael Kanan--Piano; Gregoire Maret--Harmonica.
Scott discovers more shadow than light in “Since I Fell For You,” which pianist Larry Willis and saxophonist David “Fathead” Newman cook up to boiling, and his duet with Willis on “Those Who Were” runs so deep it seems to stop time. This tragic, mournful arrangement of “Solitude” makes the song sound written for Scott, again with Willis plus Grïgoire Maret on harmonica blues. Guitarist Joe Beck also offers soulful counterpart, jazzing up the feel to the opening “Moonglow,” in which Scott languidly bathes just behind the beat, and the nattily swinging “I Thought About You.” By Chris M. Slawecki https://www.allaboutjazz.com/moon-glow-jimmy-scott-fantasy-jazz-review-by-chris-m-slawecki
Personnel: Jimmy Scott - Vocal; Joe Beck--Guitar; Hank Crawford--Alto Sax; Renee Rosnes--Piano; Little Jimmy Scott--Vocals; Lew Soloff--Trumpet; Larry Willis--Piano; Grady Tate--Drums. Lewis Nash--Drums; Eric Alexander--Tenor Sax; Cyrus Chestnut--Piano; Bob Kindred--Tenor Sax; George Mraz--Bass; David "Fathead" Newman--Tenor Sax; Clarence Penn--Drums; Michael Kanan--Piano; Gregoire Maret--Harmonica.
Moon Glow
Gato Barbieri - Standards Lost And Found 2
Year: 2025
Time: 54:25
File: MP3 @ 320K/s
Size: 124,9 MB
Art: Front
(9:09) 1. Jayne
(6:24) 2. Anthropology
(6:07) 3. New Rhumba
(6:09) 4. 'Round About Midnight
(6:55) 5. Gato Blues
(5:43) 6. Epistrophy
(5:59) 7. In Search Of The Mystery
(7:56) 8. When Will The Blues Leave?
Standards Lost and Found 2, hosts two compositions by Ornette Coleman (Jayne and When Will The Blues Leave?) a clear homage to the composer, father of free jazz, and an overt demonstration of musical intent and fundamental aesthetic reference. Charlie Parker’s Anthropology is respectfully dedicated to a new interpretation of the more recent jazz tradition from which the four musicians descend, as are the two compositions by Thelonious Monk: ‘Round Midnight and Epistrophy, which, along with Jamal’s fresh New Rhumba however, testify to an already much-transformed tradition. Gato’s In Search of the Mystery and Gato Blues fit perfectly into the set list and reflect the significant role of the Argentine tenor player who in this way places his compositional signature on the record.(by Andrea Polinelli) https://redrecords.it/en/store/vinyls/standards-lost-and-found-2-gato-barbieri/
Personnel:
Gato Barbieri, sax
Franco D’Andrea, piano
Giovanni Tommaso, bass
Pepito Pignatelli, drums
Recorded in Roma, Spring 1968
Remastered by Rinaldo Donati at Maxine Studio, Milano
Standards Lost And Found 2
Gato Barbieri - Standards Lost And Found 1
Year: 2024
Time: 62:28
File: MP3 @ 320K/s
Size: 143,3 MB
Art: Front
( 6:24) 1. Terre Lontane
(10:54) 2. So What
( 3:35) 3. Softly, As In A Morning Sunrise
(10:54) 4. All Blues
( 9:06) 5. Maiden Voyage
( 8:53) 6. Nardis
( 5:27) 7. Lush Life
( 7:11) 8. Tension
A rare and little-known session by Argentinian saxophonist Gato Barbieri playing standards as opposed to his widely known work within Latin and free form jazz. Among the highlights of this incredible album interpretations of Miles Davis's So What and All Blues, Herbie Hancock's Maiden Voyage, and Billy Strayhorn's Lush Life.
"This release fills a gap in Barbieri's discography. The artist we met in his first work as a single leader, 'In Search Of The Mystery' (1967), moved in the realm of pure improvisation, going in the direction of the spirituality of Albert Ayler and Pharoah Sanders. In the Roman sessions, however, Barbieri recovers his original matrix deeply rooted in the language of John Coltrane and, in part, in that of the early Ornette Coleman. To some extent it is a completely new Barbieri that emerges from these recordings." Marco Giorgi (from liner notes) https://www.jazzmessengers.com/en/102262/gato-barbieri/standars-lostandfound1
Personnel:
Gato Barbieri, sax
Franco D'Andrea, piano
Giovanni Tommaso, bass
Pepito Pignatelli, drums
Recorded in Roma, Spring 1968
Remastered by Rinaldo Donati at Maxine Studio, Milano
Standards Lost And Found 1
Franco D'Andrea, piano
Giovanni Tommaso, bass
Pepito Pignatelli, drums
Recorded in Roma, Spring 1968
Remastered by Rinaldo Donati at Maxine Studio, Milano
Standards Lost And Found 1
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