Sunday, October 12, 2025
Friday, October 10, 2025
Pat Boone/Take 6 - Pat Boone Sings a Tribute to The Ink Spots featuring Take 6
Year: 2012
Time: 32:27
File: MP3 @ 320K/s
Size: 75,3 MB
Art: Front
(3:21) 1. Christopher Columbus
(3:25) 2. Java Jive
(3:34) 3. You Always Hurt The One You Love
(3:04) 4. If I Didn't Care
(2:58) 5. Cow Cow Boogie
(2:42) 6. Do I Worry?
(3:37) 7. Stompin' At The Savoy
(3:12) 8. We Three
(3:28) 9. Don't Get Around Much Anymore
(3:02) 10. I Don't Want To Set The World On Fire
The Ink Spots were an admired quartet notable for blending R&B with the Pop sound of the day. In this easy-going, jazzy collection of R&B history, Pat Boone pays tribute to the renowned quartet with 10 all-new covers featuring the vocal talents of 10-time Grammy Award-winning singing group Take 6, and including a duet with Ella Fitzgerald.https://www.amazon.ca/Sings-Tribute-Spots-Featuring-Take/dp/B007FQUEWG
Pat Boone Sings a Tribute to The Ink Spots featuring Take 6
Kenny Burrell - Weaver Of Dreams
Time: 33:45
Size: 77.3 MB
Styles: Bop, Guitar jazz
Year: 1961/2001
Art: Front
[2:07] 1. I'll Buy You A Star
[2:24] 2. Weaver Of Dreams
[2:49] 3. The More I See You
[2:53] 4. I'm Just A Lucky So And So
[2:01] 5. A Fine Romance
[3:01] 6. Until The Real Thing Comes Along
[2:34] 7. The Blues Is Awful Mean
[3:25] 8. That Old Feeling
[2:05] 9. If I Had You
[3:54] 10. Hootchie-Koo
[4:15] 11. Afternoon In Paris
[2:11] 12. Like Someone In Love
KENNY BURRELL, guitar (also vocals on 1-9 & 12);
(5, 6) & (8): BOBBY JASPAR (ts, fl), WENDELL MARSHALL (b), BOBBY DONALDSON (d). TOMMY FLANAGAN out. New York, October 18, 1960.
Consummate musical taste, fluid technique, emotional warmth, clarity of ideas and tone, and refusal to compromise his artistic principles to passing fads are Burrell hallmarks that have made him among the most highly respected of all jazz guitarists.
(5, 6) & (8): BOBBY JASPAR (ts, fl), WENDELL MARSHALL (b), BOBBY DONALDSON (d). TOMMY FLANAGAN out. New York, October 18, 1960.
Consummate musical taste, fluid technique, emotional warmth, clarity of ideas and tone, and refusal to compromise his artistic principles to passing fads are Burrell hallmarks that have made him among the most highly respected of all jazz guitarists.
Weaver Of Dreams
Johnny Hodges - Triple Play
Time: 47:47
Size: 109.4 MB
Styles: Saxophone jazz
Year: 1967/2015
Art: Front
[3:38] 1. Take 'em Off, Take 'em Off, Pt. 1
[2:55] 2. Take 'em Off, Take 'em Off, Pt. 2
[3:45] 3. The Nearness Of You
[3:52] 4. Monkey On A Limb
[4:53] 5. A Tiny Bit Of Blues
[3:01] 6. For Jammers Only (A.K.A. Wild Onions)
[2:51] 7. On The Way Up
[3:19] 8. Big Boy Blues
[2:48] 9. The Very Thought Of You
[6:21] 10. Fur Piece
[3:18] 11. Sir John
[2:38] 12. Figurine
[4:20] 13. C-Jam Blues
Baritone Saxophone – Harry Carney; Bass – Aaron Bell, Joe Benjamin, Milt Hinton; Cornet – Ray Nance; Drums – Gus Johnson, Oliver Jackson, Rufus Jones; Guitar – Billy Butler, Les Spann, Tiny Grimes; Leader, Alto Saxophone – Johnny Hodges; Piano – Hank Jones, Jimmy Jones, Nat Pierce; Piano – Jimmy Jones; Tenor Saxophone – Jimmy Hamilton, Paul Gonsalves; Trombone – Benny Powell, Buster Cooper, Lawrence Brown; Trumpet – Cat Anderson, Roy Eldridge; Vibraphone – Bill Berry.
Altoist Johnny Hodges is heard in three different settings on this reissue CD. Such top swing stars as trumpeters Ray Nance, Cat Anderson and Roy Eldridge, trombonists Buster Cooper, Lawrence Brown and Benny Powell, tenors Paul Gonsalves and Jimmy Hamilton, baritonist Harry Carney, pianists Hank Jones and Jimmy Jones (the latter two sometimes together), guitarists Tiny Grimes, Les Spann and Billy Butler, bassists Milt Hinton, Aaron Bell and Joe Benjamin and drummers Gus Johnson, Rufus Jones and Oliver Jackson are heard in nonets with the great altoist. Despite the many changes in personnel, the music is pretty consistent, with basic swinging originals, blues and ballads all heard in equal proportion. As usual, Johnny Hodges ends up as the main star. ~Scott Yanow
Altoist Johnny Hodges is heard in three different settings on this reissue CD. Such top swing stars as trumpeters Ray Nance, Cat Anderson and Roy Eldridge, trombonists Buster Cooper, Lawrence Brown and Benny Powell, tenors Paul Gonsalves and Jimmy Hamilton, baritonist Harry Carney, pianists Hank Jones and Jimmy Jones (the latter two sometimes together), guitarists Tiny Grimes, Les Spann and Billy Butler, bassists Milt Hinton, Aaron Bell and Joe Benjamin and drummers Gus Johnson, Rufus Jones and Oliver Jackson are heard in nonets with the great altoist. Despite the many changes in personnel, the music is pretty consistent, with basic swinging originals, blues and ballads all heard in equal proportion. As usual, Johnny Hodges ends up as the main star. ~Scott Yanow
Triple Play
Charles Lloyd - Figure In Blue
Year: 2025
Time: 98:04
File: MP3 @ 320K/s
Size: 225,2 MB
Art: Front
( 2:51) 1. Abide With Me
( 7:50) 2. Hina Hanta, the way of peace
( 7:13) 3. Figure In Blue, memories of Duke
( 5:49) 4. Desolation Sound
(10:39) 5. Ruminations
( 5:03) 6. Chulahoma
( 8:38) 7. Song My Lady Sings
(10:27) 8. The Ghost of Lady Day
( 8:17) 9. Blues for Langston
( 6:16) 10. Heaven
( 9:04) 11. Black Butterfly
( 1:51) 12. Ancient Rain
( 9:26) 13. Hymn To The Mother, for Zakir
( 4:34) 14. Somewhere
In March 2025, the legendary saxophonist Charles Lloyd convened a new trio of musical explorers with Jason Moran on piano and Marvin Sewell on guitar for his 87th birthday concert at the Lobero Theater in Santa Barbara and immediately brought them into the studio to record his remarkable twelfth Blue Note album, Figure In Blue. The spacious double album travels wide expanses of musical terrain from beautiful ballads to raw Delta blues and includes stunning homages to Duke Ellington, Billie Holiday, and Zakir Hussain. https://charleslloyd.com/discography/figure-in-blue/
Personnel: Charles Lloyd – saxophone; Jason Moran – piano; Marvin Sewell – guitar
Personnel: Charles Lloyd – saxophone; Jason Moran – piano; Marvin Sewell – guitar
Figure In Blue
Wednesday, October 8, 2025
Bradley Leighton - Back To The Funk
Styles: Flute Jazz
Year: 2005
File: MP3@224K/s
Time: 52:45
Size: 84,7 MB
Art: Front
(5:32) 1. Runaway
(5:08) 2. Flow
(4:29) 3. Back To The Funk
(4:30) 4. Midnight Affairs
(5:56) 5. Clear Blue Skies
(4:42) 6. Special Lady
(3:43) 7. Sunday In San Diego
(3:59) 8. Make It With You
(4:53) 9. Ready For You
(4:53) 10. Soul Moon
(4:53) 11. Love Light In Flight
Back To The Funk
Year: 2005
File: MP3@224K/s
Time: 52:45
Size: 84,7 MB
Art: Front
(5:32) 1. Runaway
(5:08) 2. Flow
(4:29) 3. Back To The Funk
(4:30) 4. Midnight Affairs
(5:56) 5. Clear Blue Skies
(4:42) 6. Special Lady
(3:43) 7. Sunday In San Diego
(3:59) 8. Make It With You
(4:53) 9. Ready For You
(4:53) 10. Soul Moon
(4:53) 11. Love Light In Flight
Back to the Funk is an intentional throwback to early-'70s funky jazz, the type of music performed by flutist Herbie Mann and a little later by saxophonist Grover Washington, Jr. The R&B-ish grooves are catchy if predictable and the backup band is solid, with flutist Bradley Leighton in the lead nearly all of the time. Nothing unusual happens, but Leighton plays well over the vamps, sounding enthusiastic and reasonably creative within the genre. While eight of the 11 selections are recent originals, this could very easily be an album from 1972. Fans of that era's funky music will want to pick this one up. https://itunes.apple.com/us/album/back-to-the-funk/id91059200
Personnel: Bradley Leighton (alto flute); Scott "Tempo" Kyle, Scott Kyle (trombone); Allan Phillips (piano, keyboards, percussion, drum programming); Cecil McBee Jr. Back to the Funk songs (bass instrument); Evan Marks (guitar); John Rekevics (alto saxophone, tenor saxophone, baritone saxophone); Brad Steinwehe (trumpet); Duncan Moore (drums).
Personnel: Bradley Leighton (alto flute); Scott "Tempo" Kyle, Scott Kyle (trombone); Allan Phillips (piano, keyboards, percussion, drum programming); Cecil McBee Jr. Back to the Funk songs (bass instrument); Evan Marks (guitar); John Rekevics (alto saxophone, tenor saxophone, baritone saxophone); Brad Steinwehe (trumpet); Duncan Moore (drums).
Back To The Funk
Buddy Collette Big Band - In Concert
Time: 55:48
Size: 127.7 MB
Styles: Big band
Year: 2000
Art: Front
[ 7:13] 1. Magali
[ 7:04] 2. Andre
[ 3:08] 3. Mr. And Mrs. Goodbye
[ 4:25] 4. Blues Number Four
[11:55] 5. Jazz By The Bay
[ 7:59] 6. Blues In Torrance
[ 7:00] 7. Point Fermin From Friendships Suite
[ 7:01] 8. Buddy Boo
Bass – Richard Simon; Cello – Fred Katz; Drums – Chico Hamilton, Leon Ndugu Chancler; Guitar – Al Viola; Piano – Gerald Wiggins; Trombone – Britt Woodman, Garnett Brown, George Bohanon, Les Benedict, Maurice Spears; Trumpet – Al Aarons, Anne King (2), Nolan Shaheed, Ronald Barrows; Woodwind – Ann Patterson, Buddy Collette, Ernie Fields, Jackie Kelson, John Stephens, Louis Taylor Jr., Steven Carr. Recorded at the Lincoln Theatre, Washington D.C.
A fluent multi-instrumentalist, and the composer of everything from TV jingles to chamber music to jam-session staples, Buddy Collette has tended to be a victim of his own versatility. But The Buddy Collette Big Band in Concert, which captures a 1996 performance in Washington, D.C., is probably his best calling card to date. For one thing, it demonstrates that the 75-year-old leader remains in fine form on the tenor sax, clarinet, and (especially) flute--check out his nuanced reading of "Blues in Torrance," and the way his ebullient solo keeps bumping up against the tune's descending harmonies. What's more, the disk showcases Collette's compositional gifts. He's concocted some rousing vehicles for his 19-piece band, and the bright, brassy arrangements on "Andre" and "Blues Number Four" suggest late-period Basie, alternating catchy riffing with piquant solo voices. Among the latter, Garnett Brown delivers some attractively gutbucket trombone, while saxophonist Louis Taylor comes out swinging on "Magali." There's also a guest appearance by the leader's old comrade-in-arms Chico Hamilton, who drives the ensemble through a heated version of "Buddy Boo." But despite his aversion to hogging the spotlight, this is clearly Collette's show--and it's about time, isn't it? ~James Marcus
A fluent multi-instrumentalist, and the composer of everything from TV jingles to chamber music to jam-session staples, Buddy Collette has tended to be a victim of his own versatility. But The Buddy Collette Big Band in Concert, which captures a 1996 performance in Washington, D.C., is probably his best calling card to date. For one thing, it demonstrates that the 75-year-old leader remains in fine form on the tenor sax, clarinet, and (especially) flute--check out his nuanced reading of "Blues in Torrance," and the way his ebullient solo keeps bumping up against the tune's descending harmonies. What's more, the disk showcases Collette's compositional gifts. He's concocted some rousing vehicles for his 19-piece band, and the bright, brassy arrangements on "Andre" and "Blues Number Four" suggest late-period Basie, alternating catchy riffing with piquant solo voices. Among the latter, Garnett Brown delivers some attractively gutbucket trombone, while saxophonist Louis Taylor comes out swinging on "Magali." There's also a guest appearance by the leader's old comrade-in-arms Chico Hamilton, who drives the ensemble through a heated version of "Buddy Boo." But despite his aversion to hogging the spotlight, this is clearly Collette's show--and it's about time, isn't it? ~James Marcus
In Concert
Jay Azzolina - Present Tense
Year: 2025
Time: 46:47
File: MP3 @ 320
Size: 43,2 MB
Art: Front
(7:25) 1. Big Lou
(7:12) 2. Viracocha
(7:25) 3. I Choose You
(6:34) 4. Clarebelle
(6:28) 5. He's Back
(5:23) 6. It's All About You
(3:21) 7. Rhythms Change
(2:55) 8. While We're Here
Jay Azzolina is a contemporary jazz guitarist whose music bridges the legacy of post-bop with modern improvisation and fresh harmonic ideas. His latest album Present Tense showcases this blend beautifully bringing together soulful accordion lines, deep grooves, and harmonic textures that challenge and uplift the listener. Inspired by the idea of living in the moment, Present Tense reflects Jay's belief that music is one of the few places where we truly live in the present. With standout collaborators like bassist Dave Zinno, drummer Rafael Barata, and accordionist Sonny Barbato, the album pushes jazz into a bold, expressive space while staying rooted in Jay’s love for songwriting and melodic exploration.
After moving to the UK in August 2024, Jay has been active on the British and Welsh jazz scenes, performing with local musicians and bringing his creative voice to audiences across the region. He will perform in London at the 606 Club and serve as a clinician at the Wrexham International Guitar Workshop. Jay's summer plans include the Fishguard Jazz Festival and performances throughout Pembrokeshire. From early beginnings on trumpet, influenced by his father, to his eventual transition to guitar under the spell of Lenny Breau’s harmonies, Jay’s journey reflects his deep passion for musical evolution. His discography, including Never Too Late, Past Tense, and Live at One Station Plaza, continues to grow as he seeks to share his music on new platforms and connect with listeners around the world.https://www.truthrevolutionrecords.com/jay-azzolina
After moving to the UK in August 2024, Jay has been active on the British and Welsh jazz scenes, performing with local musicians and bringing his creative voice to audiences across the region. He will perform in London at the 606 Club and serve as a clinician at the Wrexham International Guitar Workshop. Jay's summer plans include the Fishguard Jazz Festival and performances throughout Pembrokeshire. From early beginnings on trumpet, influenced by his father, to his eventual transition to guitar under the spell of Lenny Breau’s harmonies, Jay’s journey reflects his deep passion for musical evolution. His discography, including Never Too Late, Past Tense, and Live at One Station Plaza, continues to grow as he seeks to share his music on new platforms and connect with listeners around the world.https://www.truthrevolutionrecords.com/jay-azzolina
Present Tense
Christian McBride - Without Further Ado, Vol 1
Year: 2025
Time: 37:12
File: MP3 @ 320K/s
Size: 86,2 MB
Art: Front
(5:05) 1. Murder by Numbers
(3:49) 2. Back In Love Again
(4:19) 3. Old Folks
(6:19) 4. Moanin'
(3:16) 5. All Through The Night
(6:17) 6. Will You Still Love Me Tomorrow
(3:38) 7. Come Rain Or Come Shine
(4:27) 8. Op. 49 - Cold Chicken Suite, 3rd Movement
The fourth album by the 17-piece Christian McBride Big Band is nothing like your dad’s big band albums. Without Further Ado, Vol. 1 is as much a vocal album as a big band effort, and within those vocals lie several genres. Now, as surprising as that may sound, it is more typical of Christian McBride’s career than not. His versatility matches his virtuosity, and the former may well be his primary trait.
The opener unites two of the three members of The Police as Sting and guitarist Andy Summers proffer one of the band’s biggest hits, “Murder by Numbers.” The song was the B-side of “Every Breath You Take” and marks the first time the two bandmates have played together since the band’s 2007-2008 reunion tour. The tune also features solos from trumpeter Nabate Isles and percussion from the great guest Pedrito Martinez, arguably making it more powerful than the original. Many may be equally surprised to hear R&B great Jeffrey Osborne of the ‘70s group LTD, singing the group’s mega hit “Back in Love Again” to a funky backdrop featuring McBride’s eclectic bass and the punchy horns of the big band. McBride has long had a soft spot for R&B and says in the liner notes that he flashed back to seeing LTD at Philly’s Spectrum in 1979.
The abrupt segue brings us to the jazz standard “Old Folks” sung by the inimitable Grammy winner Samara Joy. The textures are much softer, aided by Warren Wolf on vibraphone, Todd Bashore on flute, and Carl Miraghi on bass clarinet. Longtime McBride collaborator Ron Blake delivers the tenor sax solo. Joy, of course, is an ‘old soul,” a perfect match for the song where she emotes like few can.
Jose James steps in for the standout rendition of Bobby Timmons’ “Moanin’.” James somehow meshes ’50s-’60s big band swing with the vintage soul of greats such as Lou Rawls and Ernie Andrews in this setting while still putting his signature brand of modern-day soul and R&B on the tune. Trombonist Steve Davis and trumpeter Freddie Hendrix deliver the bracing solos. Just listen to James take it out! “All Through the Night” has one of the more complex horn charts and terrific drumming from McClenty Hunter, not to mention the inventive vocal take from Cecile McLorin Salvant in a different arrangement of the tune that appeared on the big band’s 2017 album. Miraghi weighs in with a swinging baritone sax turn.
The incomparable Dianne Reeves has the uncanny ability to make any song her own as she does here with an intimate version of the 1960 hit by the Shirelles, “Will You Still Love Me Tomorrow,” written by Carole King/Gerry Goffin. You can hear another version on Reeves’ 1997 That Day in an arrangement by Yellowjackets keyboardist Russell Ferrante. Yet, the swelling horns here and a sterling solo from another McBride longtimer, Steve Wilson, on soprano sax make this one special. McBride introduces vocalist Antoinette Henry, who attended his same high school in Philadelphia, CAPA, for a tender take on the standard “Come Rain or Come Shine,” tender until the explosive finale. (listen for that!)
McBride is also blessed with a sense of humor. “Opus 49, The Cold Chicken Suite” is his 49th composition and is dedicated to the official food of the working musician, cold chicken. He was commissioned to write a three movement suite by the North American Saxophone Alliance. This is the third movement, a relatively short piece that allows the big band to deliver the goods alone. Once again, tenorist Ron Blake is featured.
The diversity of music and the vocal star power on Without Further Ado, Vol.1 will inevitably garner deservedly high recognition. McBride says there will be just one more, Vol. 2,, with a different cast of vocalists. Stay tuned. By Jim Hynes
https://glidemagazine.com/316570/the-christian-mcbride-big-band-delivers-stunningly-diverse-without-further-ado-vol-1-album-review/
The opener unites two of the three members of The Police as Sting and guitarist Andy Summers proffer one of the band’s biggest hits, “Murder by Numbers.” The song was the B-side of “Every Breath You Take” and marks the first time the two bandmates have played together since the band’s 2007-2008 reunion tour. The tune also features solos from trumpeter Nabate Isles and percussion from the great guest Pedrito Martinez, arguably making it more powerful than the original. Many may be equally surprised to hear R&B great Jeffrey Osborne of the ‘70s group LTD, singing the group’s mega hit “Back in Love Again” to a funky backdrop featuring McBride’s eclectic bass and the punchy horns of the big band. McBride has long had a soft spot for R&B and says in the liner notes that he flashed back to seeing LTD at Philly’s Spectrum in 1979.
The abrupt segue brings us to the jazz standard “Old Folks” sung by the inimitable Grammy winner Samara Joy. The textures are much softer, aided by Warren Wolf on vibraphone, Todd Bashore on flute, and Carl Miraghi on bass clarinet. Longtime McBride collaborator Ron Blake delivers the tenor sax solo. Joy, of course, is an ‘old soul,” a perfect match for the song where she emotes like few can.
Jose James steps in for the standout rendition of Bobby Timmons’ “Moanin’.” James somehow meshes ’50s-’60s big band swing with the vintage soul of greats such as Lou Rawls and Ernie Andrews in this setting while still putting his signature brand of modern-day soul and R&B on the tune. Trombonist Steve Davis and trumpeter Freddie Hendrix deliver the bracing solos. Just listen to James take it out! “All Through the Night” has one of the more complex horn charts and terrific drumming from McClenty Hunter, not to mention the inventive vocal take from Cecile McLorin Salvant in a different arrangement of the tune that appeared on the big band’s 2017 album. Miraghi weighs in with a swinging baritone sax turn.
The incomparable Dianne Reeves has the uncanny ability to make any song her own as she does here with an intimate version of the 1960 hit by the Shirelles, “Will You Still Love Me Tomorrow,” written by Carole King/Gerry Goffin. You can hear another version on Reeves’ 1997 That Day in an arrangement by Yellowjackets keyboardist Russell Ferrante. Yet, the swelling horns here and a sterling solo from another McBride longtimer, Steve Wilson, on soprano sax make this one special. McBride introduces vocalist Antoinette Henry, who attended his same high school in Philadelphia, CAPA, for a tender take on the standard “Come Rain or Come Shine,” tender until the explosive finale. (listen for that!)
McBride is also blessed with a sense of humor. “Opus 49, The Cold Chicken Suite” is his 49th composition and is dedicated to the official food of the working musician, cold chicken. He was commissioned to write a three movement suite by the North American Saxophone Alliance. This is the third movement, a relatively short piece that allows the big band to deliver the goods alone. Once again, tenorist Ron Blake is featured.
The diversity of music and the vocal star power on Without Further Ado, Vol.1 will inevitably garner deservedly high recognition. McBride says there will be just one more, Vol. 2,, with a different cast of vocalists. Stay tuned. By Jim Hynes
https://glidemagazine.com/316570/the-christian-mcbride-big-band-delivers-stunningly-diverse-without-further-ado-vol-1-album-review/
Without Further Ado, Vol 1
Thursday, October 2, 2025
Isrea Butler - Congo Lament
Year: 2024
Time: 40:05
File: MP3 @ 128K/s
Size: 37,2 MB
Art: Front
(5:40) 1. Congo Lament
(5:11) 2. I.Q. Shuffle
(6:39) 3. Easy Living
(5:36) 4. B.G.'s Groove
(5:01) 5. Pennies from Heaven
(4:56) 6. Que's Pills
(6:58) 7. See See Rider
Well, this is the kind of recording that will start a war over who hears whom and what, all that jazz police kind of thing. Worry not. Whether you think this is a bop recording, rooted in swing, with more than a little of Al Grey's plunger mute on the trombone, or something entirely different, the progeny of Ike Quebec, it really does not matter. Anyone who, say, puts him or herself to rest with the music from Robert Altman's "Kansas City" (1996) will simply fall in love at first hearing. Even if a listener's taste in trombone runs more to Curtis Fuller, Isrea Butler's fine recording, Congo Lament, is going to be a hit. Plus, Douglas Lawrence can hold his own on tenor sax with anyone, reaching well back into the rolls of distinguished predecessors. At one point, thinking Dexter Gordon never got further behind the beat, especially on "B.G.'s Groove Two," is simply an observation and not a criticism. With all the Count Basie alumni in this band, it probably is not a surprise that echoes of his great bands, any vintage, are to be found here. Butler and Lawrence trade tasty choruses Even an oldie but goody like "Pennies from Heaven" will send a fan back to a keyboard wondering why those changes do not grace more contemporary recordings.
It would be all too easy to neglect a spit-and-polish rhythm section that does nothing but swing hard, neither rushing nor dragging, just laying a solid groove. Listen to "Que's Pills" for a relevant example. Seriously locked in Dave Loeb, Steve Flora and Robert "Bob" Chmel are. Their names may not be terribly familiar, because they are Nevada guys, sometimes easy to miss simply because they define a species of professionalism that does not grab attention, even when just ending together on a tonic. In the mood for some really filthy blues? Try the closing track, Ma Rainey's "See See Rider." Yes, indeed, as Sy Oliver wrote, "Makes you wanna holler."
Dr. Butler is the Director of UNLV's School of Music. He was trained at the Eastman School of Music and Rutgers University. And then played with Duke Ellington, Cab Calloway, Lionel Hampton, Mingus Big Band, Chico O'Farrill, and the Jimmy Heath. Sometimes a resume is only a list, but this one speaks for itself. And if that is not enough, Butler has played orchestral trombone as well, both with the Rochester Symphony and Buffalo Philharmonic. Lots of technique to accompany all that bluesy shouting, just in case someone wonders where all the classical references come from. By Richard J Salvucci https://www.allaboutjazz.com/congo-lament-isrea-butler-vegas-records
Personnel: Isrea Butler - trombone; Douglas Lawrence - tenor saxophone; David Loeb - piano; Steve Flora - bass; Bob Chmel - drums
It would be all too easy to neglect a spit-and-polish rhythm section that does nothing but swing hard, neither rushing nor dragging, just laying a solid groove. Listen to "Que's Pills" for a relevant example. Seriously locked in Dave Loeb, Steve Flora and Robert "Bob" Chmel are. Their names may not be terribly familiar, because they are Nevada guys, sometimes easy to miss simply because they define a species of professionalism that does not grab attention, even when just ending together on a tonic. In the mood for some really filthy blues? Try the closing track, Ma Rainey's "See See Rider." Yes, indeed, as Sy Oliver wrote, "Makes you wanna holler."
Dr. Butler is the Director of UNLV's School of Music. He was trained at the Eastman School of Music and Rutgers University. And then played with Duke Ellington, Cab Calloway, Lionel Hampton, Mingus Big Band, Chico O'Farrill, and the Jimmy Heath. Sometimes a resume is only a list, but this one speaks for itself. And if that is not enough, Butler has played orchestral trombone as well, both with the Rochester Symphony and Buffalo Philharmonic. Lots of technique to accompany all that bluesy shouting, just in case someone wonders where all the classical references come from. By Richard J Salvucci https://www.allaboutjazz.com/congo-lament-isrea-butler-vegas-records
Personnel: Isrea Butler - trombone; Douglas Lawrence - tenor saxophone; David Loeb - piano; Steve Flora - bass; Bob Chmel - drums
Congo Lament
Tony Williams Lifetime feat John McLaughlin - Live In New York 1969
Year: 2017
File: MP3@320K/s
Time: 38:32
Size: 88,5 MB
Art: Front
( 6:56) 1. To Whom It May Concern
(12:24) 2. Emergency
( 7:01) 3. Unknown Title
( 6:43) 4. A Famous Blues
( 5:27) 5. Something Spiritual
Having fearlessly merged rock rhythms with jazz during a close association with Miles Davis, in 1969 the great Tony Williams founded Lifetime, featuring John McLaughlin at his innovative best, and the mighty organist Larry Young. The trio instantly won acclaim for their fiery, uncompromising improvisations, which are typified on this amazing performance. Recorded for radio broadcast in New York at the close of the year, the FM entire broadcast is presented here, digitally remastered, with background notes and images. https://www.directaudio.net/products/tony-williams-lifetime-featuring-john-mclaughlin-live-in-new-york-1969-vinyl-lp
Musicians: Tony Williams, drums; John McLaughlin, guitar; Larry Young, organ
Musicians: Tony Williams, drums; John McLaughlin, guitar; Larry Young, organ
Live In New York 1969
Greg Foat & Art Themen - Off-Piste
Year: 2023
File: MP3@320K/s
Time: 43:08
Size: 99,1 MB
Art: Front
(10:39) 1. Fresh Snow
( 3:54) 2. La Partida
( 7:44) 3. Off Piste
( 4:48) 4. Yrsno
( 8:15) 5. Sis No Hyp
( 7:46) 6. Apres Ski
Pianist Greg Foat, who has been who has been at the forefront of the UK jazz scene for the past decade, has teamed up with 83 year-old London saxophone great Art Themen on a superb new album for the Athens Of The North label, titled Off-Piste.
Admirers of each other’s work, the two were interested in recording an album together for a number of years, however the pandemic put a delay on the session for a while. Once things opened up again, they headed to highly acclaimed Edinburgh-based Chamber Studio with an exciting group of UK musicians that included guitarist Gavin Sutherland, harpist Amanda Whitingm electric bassist Philip Achille, and drummer/percussionist Nadav Schneerson.
This remarkable 6-track recording features a solid dose of breezy instrumental cosmic jazz featuring warm analog tones, meditative grooves, hypnotic effects, atmospheric textures and cinematic soundscapes. The session truly sounds like the album’s peaceful cover photo. https://www.jazzmessengers.com/en/96650/greg-foat/off-piste-s-art-themen-limited-edition
Personnel: Tenor Saxophone, Soprano Saxophone – Art Themen; Bass – Philip Achille; Drums, Percussion – Nadav Schneerson; Electric Piano [Fender Rhodes], Synthesizer [Prophet 10, Roland SH-101,MK-80,Sequential OB-6] – Greg Foat; Guitar – Gavin Sutherland; Harp – Amanda Whiting
Admirers of each other’s work, the two were interested in recording an album together for a number of years, however the pandemic put a delay on the session for a while. Once things opened up again, they headed to highly acclaimed Edinburgh-based Chamber Studio with an exciting group of UK musicians that included guitarist Gavin Sutherland, harpist Amanda Whitingm electric bassist Philip Achille, and drummer/percussionist Nadav Schneerson.
This remarkable 6-track recording features a solid dose of breezy instrumental cosmic jazz featuring warm analog tones, meditative grooves, hypnotic effects, atmospheric textures and cinematic soundscapes. The session truly sounds like the album’s peaceful cover photo. https://www.jazzmessengers.com/en/96650/greg-foat/off-piste-s-art-themen-limited-edition
Personnel: Tenor Saxophone, Soprano Saxophone – Art Themen; Bass – Philip Achille; Drums, Percussion – Nadav Schneerson; Electric Piano [Fender Rhodes], Synthesizer [Prophet 10, Roland SH-101,MK-80,Sequential OB-6] – Greg Foat; Guitar – Gavin Sutherland; Harp – Amanda Whiting
Off-Piste
Christian McBride Big Band - For Jimmy, Wes and Oliver
Year: 2020
File: MP3@320K/s
Time: 71:53
Size: 166,8 MB
Art: Front
(5:21) 1. Night Train
(6:39) 2. Road Song
(8:12) 3. Up Jumped Spring
(3:47) 4. Milestones
(8:33) 5. The Very Thought of You
(8:20) 6. Down by the Riverside
(7:18) 7. I Want to Talk About You
(6:32) 8. Don Is
(7:13) 9. Medgar Evers'Blues
(9:53) 10. Pie Blues
JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes. hristian McBride’s first two big-band albums won Grammys. The new one is grounded in specific history. Jimmy Smith and Wes Montgomery recorded two LPs in 1966, The Dynamic Duo and Further Adventures of Jimmy and Wes. McBride says he and his classmate Joey DeFrancesco “wore out the grooves” of these records when they were in high school in Philadelphia. DeFrancesco fills Smith’s organ role on McBride’s new release.
The Smith/Montgomery recordings had pieces for big band arranged by Oliver Nelson and also quartet tracks. So does For Jimmy, Wes and Oliver. But McBride’s tribute is more spiritual than one-for-one. He repeats only four tunes from the 1966 albums. All are big-band tracks. It is fun to hear “Night Train” again, powering headlong over the rails, and to hear McBride’s tight large ensemble crack “Milestones” like a whip.
The quartet here is DeFrancesco, Mark Whitfield, McBride, and drummer Quincy Phillips. The first three take almost all the solos. Given this chance to stretch out, DeFrancesco reveals the enormous range of his B-3 chops, and Whitfield reveals that he should be mentioned more often on lists of the top jazz guitarists.
On this swinging, hard-driving album, two rapt quartet ballads stand out. On “I Want to Talk About You,” Whitfield creates gentle tension by continuously postponing melodic closure. On “The Very Thought of You,” DeFrancesco makes his boisterous instrument whisper in your ear. McBride also solos, pizzicato and arco respectively, on these two love songs. In his hands, an acoustic bass can shamelessly expose the human heart.
This is not an album for adventurous listeners who require risk in their jazz. But this conservative, impeccably executed music is full of joie de vivre. In times like these, who can’t use more of that?~ Thomas Conrad https://jazztimes.com/reviews/albums/christian-mcbride-big-band-for-jimmy-wes-and-oliver-mack-avenue/
The Smith/Montgomery recordings had pieces for big band arranged by Oliver Nelson and also quartet tracks. So does For Jimmy, Wes and Oliver. But McBride’s tribute is more spiritual than one-for-one. He repeats only four tunes from the 1966 albums. All are big-band tracks. It is fun to hear “Night Train” again, powering headlong over the rails, and to hear McBride’s tight large ensemble crack “Milestones” like a whip.
The quartet here is DeFrancesco, Mark Whitfield, McBride, and drummer Quincy Phillips. The first three take almost all the solos. Given this chance to stretch out, DeFrancesco reveals the enormous range of his B-3 chops, and Whitfield reveals that he should be mentioned more often on lists of the top jazz guitarists.
On this swinging, hard-driving album, two rapt quartet ballads stand out. On “I Want to Talk About You,” Whitfield creates gentle tension by continuously postponing melodic closure. On “The Very Thought of You,” DeFrancesco makes his boisterous instrument whisper in your ear. McBride also solos, pizzicato and arco respectively, on these two love songs. In his hands, an acoustic bass can shamelessly expose the human heart.
This is not an album for adventurous listeners who require risk in their jazz. But this conservative, impeccably executed music is full of joie de vivre. In times like these, who can’t use more of that?~ Thomas Conrad https://jazztimes.com/reviews/albums/christian-mcbride-big-band-for-jimmy-wes-and-oliver-mack-avenue/
For Jimmy, Wes and Oliver
Artemis - Arboresque
Year: 2025
Time: 43:08
File: MP3 @ 320K/s
Size: 99,6 MB
Art: Front
(5:27) 1. The Smile of the Snake
(5:41) 2. Komorebi
(4:30) 3. Sights Unseen
(5:39) 4. Petrichor
(5:33) 5. Footprints
(5:31) 6. Olive Branch
(5:38) 7. What The World Needs Now Is Love
(5:06) 8. Little Cranberry
The acclaimed international jazz group ARTEMIS, led by pianist and music director Renee Rosnes, arrives in Porto to present his latest album, Arboresque (2025). The line-up, composed exclusively of prominent women in the jazz scene Ingrid Jensen (trumpet), Nicole Glover (tenor saxophone), Noriko Ueda (bass) and Allison Miller (drums) has won audiences and criticism for its fusion of lyricism, creativity and virtuosity.
Following the debut at the Newport Jazz Festival and the signing with Blue Note Records, ARTEMIS has consolidated itself as one of the most relevant bands in contemporary jazz. Elected Group of the Year by the readers of DownBeat magazine in 2023 and 2024, the quintet now brings to Porto a concert that celebrates the artistic maturity and diversity of musical voices that make up the project.https://agendaculturalporto.org/eventos/artemis-apresentam-arboresque/
Following the debut at the Newport Jazz Festival and the signing with Blue Note Records, ARTEMIS has consolidated itself as one of the most relevant bands in contemporary jazz. Elected Group of the Year by the readers of DownBeat magazine in 2023 and 2024, the quintet now brings to Porto a concert that celebrates the artistic maturity and diversity of musical voices that make up the project.https://agendaculturalporto.org/eventos/artemis-apresentam-arboresque/
Arboresque
Monday, September 29, 2025
Mads Tolling - The Playmaker
Year: 2010
Time: 60:51
File: MP3 @ 128K/s
Size: 59,7 MB
Art: Front
(4:40) 1. Just
(4:55) 2. The Playmaker
(4:17) 3. The Contemplator
(5:44) 4. The Risktaker
(4:52) 5. El Duderino
(8:15) 6. Starmaker Machinery
(5:46) 7. Loki In The Pokey
(5:59) 8. I Skovens Dybe Stille Ro
(6:03) 9. The Chicken
(4:57) 10. Blue Monk
(5:20) 11. Black Dog
He's been around for a few years as a member of the Turtle Island Quartet, but for some he's best known for his work on Stanley Clarke's welcome return to fusion, The Toys of Men (Heads Up, 2007). Either way, The Playmaker isn't the violinist's first release as a leader—that would be Speed of Light (Self Published, 2008) but it's the first to expand his trio, featuring guitarist Mike Abraham and bassist George Ban- Weiss, to a more powerful quartet with drummer Eric Garland. It also capitalizes on his increased visibility over the last couple years, with some high profile guest spots.
His sometimes employer, bass icon Stanley Clarke, guests on "The Contemplator," one of six Tolling originals that sit alongside covers of songs by Radiohead, Led Zeppelin, Pee Wee Ellis and Thelonious Monk, as well as a lyrical Swedish folk song dedicated to the memory of another influential bassist, Niels-Henning Orsted Pedersen. Also featuring vibraphonist Stefon Harris, "The Contemplator" is, in many ways, exactly the opposite of what might be expected from a guest session with Clarke. Classical in tone, with Harris' solo intro taking up a quarter of the song's brief four minutes, it's a gently evolving piece of chamber jazz that features Clarke's recognizable arco in a piece that's all about nuance and interpretation, rather than chops.
Not that there isn't a prerequisite virtuosity required throughout The Playmaker, but even when the violinist kicks up the heat, as he does on the alternating reggae/higher octane "The Risktaker"with another guest, Yellowjackets' keyboardist Russell Ferrante, in towTolling avoids excess. Ban-Weiss and Garland, in particular, keep things relatively light, even on Radiohead's "Just," where Abrahams' mix of finger-picked arpeggios, bluesy bends and overdriven power chords make it an exciting opener to this stylistically eclectic set. Ending with a raucous version of Led Zeppelin's "Black Dog" which, following a mainstream take of Monk's "Blue Monk," also demonstrates the disc's inherent playfulness the group expands on this somewhat literal version by extending the brief inter-section drones for Tolling's appropriately unfettered violin, referencing a hint of India and the Middle East.
Ban-Weiss pays tribute to Jaco Pastorius while avoiding direct imitation on Ellis' "The Chicken "the departed bass icon's signature tune. Still, with this version's reduced instrumentation no horns, and Abraham's Steve Cropper- infected comping, in some ways more reverent to the original than Pastorius' ever was is, again, lighter in feel but weighty in substance.
Tollings' six consecutive originals, almost all dedicated to friends or influences past or present crosses a wide swatch, from the buoyant title track to the ambling "El Duderino" and higher velocity lobbies in "Starmaker Machinery," appropriately dedicated to guitar legend John McLaughlin and featuring some of vibrant and inspired interplay between Tolling and Abraham.
Virtuosity may be a given on The Playmaker, but what's most impressive is the sound of Tolling's quartet, which drives the majority of the record and, based on the results, must be thrilling live. For those who can, check out Tollings live; for those who can't, The Playmaker is a great place to start.By John Kelman https://www.allaboutjazz.com/the-playmaker-mads-tolling-self-produced-review-by-john-kelman
Personnel: Mads Tolling - Violin
His sometimes employer, bass icon Stanley Clarke, guests on "The Contemplator," one of six Tolling originals that sit alongside covers of songs by Radiohead, Led Zeppelin, Pee Wee Ellis and Thelonious Monk, as well as a lyrical Swedish folk song dedicated to the memory of another influential bassist, Niels-Henning Orsted Pedersen. Also featuring vibraphonist Stefon Harris, "The Contemplator" is, in many ways, exactly the opposite of what might be expected from a guest session with Clarke. Classical in tone, with Harris' solo intro taking up a quarter of the song's brief four minutes, it's a gently evolving piece of chamber jazz that features Clarke's recognizable arco in a piece that's all about nuance and interpretation, rather than chops.
Not that there isn't a prerequisite virtuosity required throughout The Playmaker, but even when the violinist kicks up the heat, as he does on the alternating reggae/higher octane "The Risktaker"with another guest, Yellowjackets' keyboardist Russell Ferrante, in towTolling avoids excess. Ban-Weiss and Garland, in particular, keep things relatively light, even on Radiohead's "Just," where Abrahams' mix of finger-picked arpeggios, bluesy bends and overdriven power chords make it an exciting opener to this stylistically eclectic set. Ending with a raucous version of Led Zeppelin's "Black Dog" which, following a mainstream take of Monk's "Blue Monk," also demonstrates the disc's inherent playfulness the group expands on this somewhat literal version by extending the brief inter-section drones for Tolling's appropriately unfettered violin, referencing a hint of India and the Middle East.
Ban-Weiss pays tribute to Jaco Pastorius while avoiding direct imitation on Ellis' "The Chicken "the departed bass icon's signature tune. Still, with this version's reduced instrumentation no horns, and Abraham's Steve Cropper- infected comping, in some ways more reverent to the original than Pastorius' ever was is, again, lighter in feel but weighty in substance.
Tollings' six consecutive originals, almost all dedicated to friends or influences past or present crosses a wide swatch, from the buoyant title track to the ambling "El Duderino" and higher velocity lobbies in "Starmaker Machinery," appropriately dedicated to guitar legend John McLaughlin and featuring some of vibrant and inspired interplay between Tolling and Abraham.
Virtuosity may be a given on The Playmaker, but what's most impressive is the sound of Tolling's quartet, which drives the majority of the record and, based on the results, must be thrilling live. For those who can, check out Tollings live; for those who can't, The Playmaker is a great place to start.By John Kelman https://www.allaboutjazz.com/the-playmaker-mads-tolling-self-produced-review-by-john-kelman
Personnel: Mads Tolling - Violin
The Playmaker
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