Ken Navarro - Labor of Love

Styles: Guitar Jazz
Year: 1992
File: MP3@320K/s
Time: 48:48
Size: 112,7 MB
Art: Front

(4:25)  1. Hands On the Whee
(5:17)  2. The Labor of Love
(5:08)  3. After All These Years
(4:40)  4. Fortunate Son
(5:03)  5. From Now On
(4:23)  6. Night Light
(5:50)  7. What Could Be
(4:22)  8. Don't Give Up
(5:02)  9. One Wish
(4:35) 10. Taking Her Time

Ken Navarro is recognized as one of today's leading Contemporary Jazz guitarists. His impressive discography of top charting albums on Positive Music Records showcase his appeal to a wide range of listeners with inspiring compositions and superb guitar performances. Ken Navarro's album, "Old Friends - The Best of Ken Navarro" was released on June 5, 2001. It contains 13 remastered classics plus two new recordings for a total of 15 songs and 72 minutes of Ken's best music! His 2000 CD release "Island Life" scored two hits at smooth jazz radio including "Delicioso" as well as the title track keeping the CD on the airwaves for a solid 52 weeks!

1999's "In My Wildest Dreams" continues to be one of Ken's top sellers and 1998's live CD & Video "Ablaze in Orlando" won the Smooth Jazz Oasis Award for best video of 1998 and has been acclaimed as one of the best live jazz CDs of the decade. "Smooth Sensation, released in 1997, was in the Top 10 of Radio & Records' Smooth Jazz chart for 12 weeks, helping to make the CD the #17 Smooth Jazz album of 1997! Other recent releases from Ken Navarro include his 1996 album, When Night Calls, featuring Eric Marienthal on saxophone, and Christmas Cheer, a holiday album of contemporary jazz guitar and acoustic piano duets. Ken's 1995 album, Brighter Days, was voted the #9 album of the year by Smooth Jazz radio. Brighter Days heralded a bold step forward for Ken, bringing to the forefront the strong R & B elements that have always been a part of his music, and enlisting a powerhouse of support from featured solo artists including former Rippingtons sax man Brandon Fields. Brighter Days reached the national radio top 5 and held a position in the top 20 for six months in 1995. His 1991 release, After Dark, was selected for screening by the 1991 GRAMMY nominating committee. His successive albums, The Labor of Love(1992), I Can't Complain(1993), and Pride and Joy (1994), all reached the top 5 in national radio, firmly establishing Ken Navarro as a mainstay on Smooth Jazz radio playlists. Ken began his recording career in Los Angeles as a premier session guitarist, performer and composer, performing and recording with artists as diverse as Doc Severinsen, Nell Carter, John Pattitucci and Dave Koz. In 1990, Ken established his own musical identity with the release of his debut album, The River Flows. With each successive album, Ken has received increasing acclaim and recognition as a leading stylist in Contemporary Jazz. 

Ken maintains an active schedule of concert appearances as part of his quartet, the Ken Navarro Group. Highlights of his tour schedule have included appearances at the World Trade Center in New York, the Carter Barron Amphitheater in Washington, D.C., Merriweather Post Pavillion in MD, Jacksonville Jazz Fest, Clearwater Jazz Holiday, the Pleasure Island Jazz Fest, the Venetian Festival, the Winter Park Arts Festival, and concerts where the group shared the stage with artists such as Eric Marienthal, The Rippingtons, Joe Sample, Jean Luc Ponty, Stanley Clarke/Larry Carlton, George Howard, Bela Fleck and the Flecktones, Fattburger, Marion Meadows, Keiko Matsui, Slim Man, Nelson Rangell, David Benoit, Alex Bugnon, Boney James and many others. Ken's contribution to Contemporary and Mainstream Jazz goes beyond his personal artistry. As founder of Positive Music Records, Ken is responsible for launching and furthering the recording careers of saxophonist Brandon Fields and guitarist Grant Geissman. Ken handles all of the A&R for Positive Music and is actively involved as a producer on many of the label's albums. Ken's vision of a musician's record label has enhanced the genre with over 35 new artists and over sixty releases in ten short years.  http://www.cdbaby.com/cd/kennavarro3

Personnel: Ken Navarro (guitar, electric guitar, steel guitar, nylon-string guitar, keyboards, drum programming); Phil Mathieu (guitar, nylon-string guitar); Mike Tomaro (alto saxophone, tenor saxophone); Stefan Scaggiari (piano, keyboards); Dave Wundrow (acoustic bass); Jay Dulaney (electric bass); Mike Aubin (drums); Steve Bloom (congas, bongos, guiro, shaker, tambourine, triangle, percussion, wind chime, drum programming, percussion programming).

Labor of Love

---

Joan Chamorro, Andrea Motis & New Cat Ensemble - Coses Que Es Diuen Però Que No Es Fan

Styles: Vocal, Trumpet And Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 72:53
Size: 167,4 MB
Art: Front

(6:01)  1. The nearness of you
(4:22)  2. Sol
(5:26)  3. Sastre de rec
(6:34)  4. Tot l'enyor de demà
(5:35)  5. Coses que es diuen però que no es fan
(7:09)  6. Gol
(3:06)  7. Kore
(6:24)  8. Hotel Marriott
(6:10)  9. Summertime
(4:02) 10. Aquest aire suau
(7:12) 11. Corcovado
(2:30) 12. Coses que no es diuen
(8:15) 13. My favorite things

Discmedi publica el primer disco de Andrea Motis cantado mayoritariamente en catalán Coses que es diuen però que no es fan” (" Cosas que se dicen pero que no se hacen") es el título del disco de Andrea Motis. Joan Chamorro y The New Catalán Ensemble: una nueva formación que incorpora el timbre de los instrumentos solistas de la cobla catalana con la que Andrea Motis canta por primera vez una selección de poemas de autores clave en la literatura catalana contemporánea: desde clásicos escogidos por ella misma como el poema ‘Tot l’enyor de demà’, de Joan Salvat-Papasseit hasta Gabriel Ferrater (de quien canta el poema ' Kore ') o Joan Vinyoli ( 'Sol' ) , del que este año se conmemora el centenario de su nacimiento. 

El proyecto incluye poetas incuestionables como Joan Margarit (‘Hotel Marriott', del premiado 'Casa de Misericordia') , la tarraconense Montserrat Abelló (‘Aquest teu aire suau’', el único tema interpretado como quinteto con Chamorro al contrabajo y Enrique Ortí a la tenora como solista), y los reconocidos Enric Casasses (‘Sastre de rec’), Manuel Forcano ('Gol') o el mallorquín Sebastià Alzamora, cuyo poema da título al disco (extraído del poemario 'La part visible' , premio Carles Riba 2008). El álbum se completa con algunos standards jazzísticos muy conocidos que debido a la instrumentación del conjunto , toman una nueva vida: son 'The Nearness of You ', que abre el álbum , ' Summertime ' y el clásico de Jobim , ' Corvocado '. El prestigioso ilustrador Arnal Ballester ha creado la imagen del disco. http://www.amazon.es/Coses-Que-Diuen-Per%C3%B2-Fan/dp/B00IA1PV14

Coses que es diuen però que no es fan

---

Zoot Sims - Gold in the Shadow

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 77:16
Size: 178,1 MB
Art: Front

(2:59)  1. Bernie's Tune
(5:35)  2. Cano Canoe
(3:44)  3. The Trouble With Me Is You
(4:07)  4. Cantando a Orquestra
(4:21)  5. Lonesome Road
(2:36)  6. Maria Ninguem
(2:50)  7. You and I
(6:02)  8. Sem Saudades de Voce
(2:35)  9. Recado Bossa Nova
(3:24) 10. My Old Flame
(2:39) 11. Tickle Toe
(2:52) 12. Barquinho de Papel
(2:31) 13. Poquito Cantando
(4:12) 14. Ciume
(2:35) 15. Zing Went the Strings of My Heart
(5:13) 16. The Man I Love
(2:26) 17. Instant Samba
(2:56) 18. They Call the Wind Maria
(5:02) 19. Lover Come Back to Me
(3:22) 20. Evening in Paris
(2:13) 21. Don't Fool With Love
(2:53) 22. Reaching for the Moon

Throughout his career, Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase. He always sounded inspired, and although his style did not change much after the early 1950s, Zoot's enthusiasm and creativity never wavered. Zoot's family was involved in vaudeville, and he played drums and clarinet as a youth. His older brother, Ray Sims, developed into a fine trombonist who sounded like Bill Harris. At age 13, Sims switched permanently to the tenor, and his initial inspiration was Lester Young, although he soon developed his own cool-toned sound. Sims was a professional by the age of 15, landing his first important job with Bobby Sherwood's Orchestra, and he joined Benny Goodman's big band for the first time in 1943; he would be one of BG's favorite tenormen for the next 30 years. He recorded with Joe Bushkin in 1944, and even at that early stage, his style was largely set. 

After a period in the Army, Sims was with Goodman from 1946-1947. He gained his initial fame as one of Woody Herman's "Four Brothers" during his time with the Second Herd (1947-1949). Zoot had brief stints with Buddy Rich's short-lived big band, Artie Shaw, Goodman (1950), Chubby Jackson, and Elliot Lawrence. He toured and recorded with Stan Kenton (1953) and Gerry Mulligan (1954-1956). Sims was also a star soloist with Mulligan's Concert Jazz Band of the early '60s and visited the Soviet Union with Benny Goodman in 1962. A freelancer throughout most of his career, Sims often led his own combos or co-led bands with his friend Al Cohn; the two tenors had very similar sounds and styles. Zoot started doubling on soprano quite effectively in the '70s. 

Through the years, he appeared in countless situations, and always seemed to come out ahead. Fortunately, Zoot Sims recorded frequently, leading sessions for Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, and a wonderful series for Pablo. ~ Bio  https://itunes.apple.com/us/artist/zoot-sims/id408729#fullText

Gold in the Shadow

---

Dave Liebman - Ceremony

Styles: Flute And Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 47:49
Size: 120,8 MB
Art: Front

(2:53)  1. The Drum Thing
(8:27)  2. Tunji
(7:41)  3. Kulu Se Mama (Juno Se Mama)
(5:08)  4. Ceremony: Morning
(7:10)  5. Ceremony: Afternoon
(6:57)  6. Ceremony: Evening
(4:04)  7. Tardes de Lindoia
(5:29)  8. Danza del Pajaro

This exciting new album returns to the haunting evocative beauty of the origins of jazz rhythms but has a contemporary feeling infused into it by very sophisticated players of contemporary jazz and Latin music who give the album a special shine. While jazz matured within an eclectic mix of American music ranging from marching bands to gospel to ragtime, vaudeville, and musical theater, it is firmly rooted in its rhythmic intensity in the rituals and ceremonies of Africa and the Caribbean. This album returns to those roots. Ceremonies consists of an unusual grouping of just one horn player, four percussionists and electric bass. It features the brilliant saxophone and flute playing of Dave Liebman backed by the legendary Oscar Stagnaro's electric bass and a team of outstanding percussionists playing a variety of drums, mostly of Cuban origin but harking back to the tribal rituals of the African continent. To capture the ceremonial effect, the album was recorded in a naturalistic way, with one binaural microphone in a church which provided richer resonance than a recording studio. The result is an ear- satisfying "living presence" in which the natural sonorities and timbres of the drums and reeds can be vividly heard. 

The music itself is stripped of many of the trappings of modern jazz such as the standard swing syncopation, AABA choruses, and familiar tunes. Neither is it "avant-garde" nor is it by any means primitive. Headed up by Liebman's extraordinary mastery of and lasting contribution to the jazz syntax, the music is infused with modernity. The obvious influence in that respect is John Coltrane, two of whose compositions ("The Drum Thing" and "Tunji") are represented and who briefly experimented with Afro-Cuban sources. However, the hidden tribal chieftains whose spirits hover over the musical inventiveness articulated here are Duke Ellington, who transformed jazz into serious expression beyond entertainment, and the classical composer Bela Bartok, who developed the modal approach to music based on the naturally occurring sounds of folk music. Like much of Ellington's and Bartok's work, this album possesses an aesthetic purity that has a hypnotic effect on the listener, a conjuring of past lives of other times and places while fully alive and unique in the present moment of creation. Two features of this album provide it with its special magic. 

One is the presence of several drummers, truly a "drum section" if you will. It is a rare pleasure to hear superb percussionists exchange well-crafted sonorities and rhythmic virtuosity with one another. They evoke both African and Cuban rhythms, with the emphasis shifting in the course of the album from the former to the latter. The drums are underpinned by Stagnaro's distinctly Afro-Cuban "tumbao" bass lines that also coincidentally carry some of Jaco Pastorius' lineage with them. Stagnaro's repetitive chants (which came to be called "riffs" during the swing era) establish a trance-like ostinato that evokes ancestral spirits. Over and against this rhythmic intensity, Liebman weaves melody lines that "tell stories" that range from lamentations to ecstatic conversations. By using an imaginative "vocabulary" that has flavors of Coltrane, as well as Afro-Cuban melodies and European impressionism (think of Debussy and Ravel) with occasional modal alterations attributable to Bartok, Liebman achieves a compositional complexity and beauty that is spontaneous yet magnificently structured.
~ Victor L.Schermer  http://www.allaboutjazz.com/ceremony-dave-liebman-chesky-records-review-by-victor-l-schermer.php

Personnel: Dave Liebman: tenor and soprano saxophones, wooden flute; Willy Rodriguez: drum set, percussion; Paolo Stagnaro: congas, batá, cajón, percussion, Iyá (1); Gabo Lugo: congas percussion, Itótele (1); Marcos López: timbales, percussion, Okónkolo (1); Oscar Stagnaro: electric bass

Ceremony

---

Calabria Foti - A Lovely Way To Spend An Evening

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 50:06
Size: 114,8 MB
Art: Front

(4:58)  1. Love Me As Though There Were No Tomorrow
(5:27)  2. The Touch of Your Lips
(6:08)  3. Do It Again
(4:22)  4. When Lights Are Low/Linger In My Arms
(3:54)  5. All Of You
(4:40)  6. I Am Woman (You Are Man)/You Fascinate Me So
(5:13)  7. I Wanna Be Loved
(4:27)  8. Close Your Eyes
(4:32)  9. A Lovely Way To Spend An Evening
(6:19) 10. For All We Know

Three especially sparkling ingredients shine through this exceptional CD. One is the singer, another is the well-chosen song selections, and the third is the stellar arrangements. The singer is the lovely, very talented Calabria Foti, she with a warm honey voice, a thoroughly musicianly voice. Foti phrases with feeling, emotes with intensity but always with taste. She has technique but it is always in service to the material, which brings me to the second ingredient, those romantic, sensual songs.“I am woman you are man” and “I wanna be loved starting tonight” and then “do it again. “Love me as though there’s no tomorrow;” why shouldn’t we surrender when “lights are low.” Calabria Foti is telling a story in this exceptional CD and it is a sexy story featuring a woman spending “a lovely evening” with a man who “fascinates her so.” 

Unlike many CDs, there are no weak songs, no throw aways in her selections. From beloved standards such as the exquisite “For All We Know” and Cole Porter’s “All of You” to lovely but lesser knowns, such as Herb Magidson’s “Linger In My Arms," each song is an emotive, polished gem. The dozen selections include two songs by the team of Jimmy McHugh and Harold Adamson, including the title song, “A Lovely Way to Spend an Evening” on which Foti wisely chooses to sing the rare verse. The second by this collaborative duo is the lovely “Love Me As Though There Were No Tomorrow.” which Foti performs as a beautiful bossa.Perhaps the highlight of this most satisfying CD is, Gershwin’s “Do It Again,” which is often done up-tempo and “tongue-in-cheek. But Foti’s slow version - complete with the well-written verse  takes the lyrics seriously and brings an intended erotic glow to this text. If this is not the definitive version, then it is certainly a most unforgettable rendition. But then, maybe the highlight is the unjustly overlooked Jule Styne song “I Am Woman” which Foti cleverly works into a medley with Cy Coleman’s “You Fascinate Me So." (Anyway, these cuts alone are worth the price of this CD.) And that third sparkling ingredient, the arrangements. 

At a time when charts seem to be growing more like obstacle courses, the beautifully crafted arrangements by Bob McChesney, Matt Harris and Foti are tasty, illuminating and in support of Foti’s soft-focus vocals. There is insufficient space to mention each of the superlative musicians, but it should be noted that McChesney enhances certain songs with most lovely and interesting trombone solos. Matt Harris is at the piano, Trey Henry at the upright bass, Dick Weller at the drums, the always lyrical Larry Koonse is the guitarist and some selections are enhanced by a string section. A Lovely Way to Spend an Evening elegantly explores an evening of love and is certainly one of the best jazz vocal recordings in many years. Since this CD has done quite well, thankfully my enthusiasm is shared by others. ~  Roger Crane  

www.thesongscout.com/.../Calabria_Foti_-_Lovely_Way_to_Spend_an_...

Personnel: Calabria Foti, vocals, violin solos; Matt Harris, piano, electric piano; Larry Koonse, guitars; Trey Henry, bass; Dick Weller, drums; Luis Conte, percussion; Bob McChesney, trombone solos; Rob Lockhart, tenor sax solo; string section

A Lovely Way To Spend An Evening

---

Bobby Hackett - Rendezvous

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 34:13
Size: 80,1 MB
Art: Front

(3:04)  1. You Are Too Beautiful
(2:38)  2. Thank You For A Lovely Evening
(2:38)  3. Autumn Nocturne
(2:59)  4. Cocktails For Two
(3:08)  5. When I'm With You
(3:07)  6. We Kiss In A Shadow
(2:36)  7. Two Cigarettes In The Dark
(2:35)  8. The Very Thought Of You
(2:33)  9. The Way You Look Tonight
(3:14) 10. Moonlight Becomes You
(3:07) 11. Love Me
(2:27) 12. One Kiss

Hackett was born in Providence, Rhode Island, to a family of Irish immigrants. He made his name as a follower of the legendary cornet player Bix Beiderbecke: Benny Goodman hired him to recreate Bix's famous "I'm Coming Virginia" solo at his (Goodman's) 1938 Carnegie Hall concert. In the late 1930s Hackett played lead trumpet in the Vic Schoen Orchestra which backed the Andrews Sisters. Bobby Hackett can be heard on the soundtrack to the 1940 Fred Astaire movie Second Chorus. In 1939 the talent agency MCA asked Bobby Hackett to form a big band with its backing. Unfortunately the band failed and Hackett was in substantial debt to MCA after it folded. Bobby Hackett joined the bands of Horace Heidt and then Glenn Miller to pay down this debt. To make matters worse, his lip was in bad shape after dental surgery, making it difficult for him to play the trumpet or cornet. Glenn Miller came to Hackett's rescue, offering him a job as a guitarist with the Miller Band. "When I joined the band and I was making good money at last, [...] [jazz critics] accused me of selling out. Hell I wasn't selling out, I was selling in! It's funny, isn't it, how you go right into the wastebasket with some critics the minute you become successful". Despite his lip problems, Hackett could still play occasional short solos, and he can be heard playing a famous one with the Glenn Miller Orchestra on "A String of Pearls."

A dream come true for Hackett was his inclusion in Louis Armstrong's 1947 Town Hall Jazz Concert. In 1954, Hackett appeared as a regular on the short-lived ABC variety show, The Martha Wright Show, also known as The Packard Showroom.However, what made Hackett something of a household name was his being hired by Jackie Gleason as a cornet soloist for some of Gleason's earliest mood music albums. Starting in 1952, Hackett appeared on Gleason's first Capitol Records album, Music for Lovers Only. The record as well as all of Gleason's next ten albums went gold. Hackett went on to appear on six more Gleason LPs. This association led directly to Hackett signing with Capitol for a series of his own albums. In 1965, he toured with singer Tony Bennett. In 1966 and 1967 Hackett accompanied Bennett on two European tours. In the early 1970s, Hackett performed separately with Dizzy Gillespie and Teresa Brewer.In 2012, Hackett was selected to be inducted into the Rhode Island Music Hall of Fame. Bio ~ http://en.wikipedia.org/wiki/Bobby_Hackett

Rendezvous

---

Lizz Wright - Fellowship

Styles: Neo-Soul
Year: 2010
File: MP3@320K/s
Time: 47:32
Size: 109,3 MB
Art: Front

(3:33)  1. Fellowship
(4:37)  2. Imagination
(5:30)  3. I Remember, I Believe
(4:29)  4. God Specializes
(8:30)  5. Gospel Medley
(1:56)  6. Sweeping Through The City
(1:18)  7. All The Seeds
(4:51)  8. Presence Of The Lord
(3:06)  9. In From The Storm
(2:58) 10. Feel The Light
(1:31) 11. Oya
(5:07) 12. Amazing Grace

On her fourth album, Lizz Wright returns to her gospel roots after writing her own material on 2008's The Orchard. Typically, however, this is hardly a traditional collection of faith-based songs. Wright does include a medley of old spirituals including "Up Above My Head," and she closes the proceedings with "Amazing Grace." But her idea of gospel is highly eclectic, also encompassing the Gladys Knight & the Pips hit "I've Got to Use My Imagination" and Jimi Hendrix's "In from the Storm," neither of which seem particularly religious, as well as Eric Clapton's "Presence of the Lord." Wright also draws material from a clutch of black female contemporaries and influences including Me'Shell Ndegéocello, Bernice Johnson Reagon, Joan Wasser, and Angélique Kidjo as she ranges from neo-soul to African-styled folk-rock music. 

The disparate sources are united by Wright's distinctive and powerful alto voice, which anchors the music and provides a stylistic through-line, no matter what the nominal genre. This is an unusually somber type of gospel, as Wright favors moodiness over fervor in her statements of faith. That is especially true at the end, when she presents "Amazing Grace" in an ambient, funereal mood. Listeners should expect to be moved by these performances, but not to be cheered. 

~ William Ruhlmann  http://www.allmusic.com/album/fellowship-mw0002033204

Fellowship

---

Bob Barnard & Jim Galloway - What's New

Styles: Cornet And Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 63:02
Size: 144,8 MB
Art: Front

(5:59)  1. I've Got A Feeling I'm Falling
(7:05)  2. You Are My Lucky Star
(5:57)  3. What's New
(5:43)  4. Marie
(6:04)  5. The Last Time I Saw Paris
(5:30)  6. I May Be Wrong
(6:13)  7. I'm Getting Sentimental Over You
(7:20)  8. There'll Be Some Changes Made
(7:42)  9. Wabash Blues
(5:24) 10. Yearning

This Swiss concert matches together the hot Australian cornetist Bob Barnard with the Canadian soprano saxophonist Jim Galloway and a top-notch Swiss rhythm section comprised of pianist Henri Chaix, bassist Isla Eckinger and drummer Romano Cavicchiolo. Although they mostly perform swing standards, the music is closer to Dixieland than swing with many freewheeling ensembles. Barnard is in generally good form and the highlights include "I've Got a Feeling I'm Falling," "Marie," "I May Be Wrong," "There'll Be Some Changes Made" and the often-overlooked tune "Yearning." Listening to this very coherent and swinging music, it is impressive to note that Barnard and Galloway had never played together before. ~ Scott Yanow  http://www.allmusic.com/album/whats-new-mw0000414819

Personnel: Bob Barnard (cornet); Jim Galloway (soprano saxophone); Henri Chaix (piano); Romano Cavicchiolo (drums).

What's New

---

Matthieu Boré - Sometimes On My Own

Size: 104,8 MB
Time: 44:48
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz/Pop Vocals, Old Timey
Art: Front

01. The Way You Look Tonight (1:57)
02. Baby Face (2:42)
03. Georgia On My Mind (3:34)
04. But Not For Me (3:12)
05. Hold Tight, Hold Tight (2:11)
06. Just A Gigolo (3:24)
07. The Party (2:57)
08. On A Slow Boat To China (2:00)
09. Lazy Bones (3:24)
10. Cheek To Cheek (2:58)
11. My Blue Heaven (4:22)
12. Hong Kong Blues (2:35)
13. Gee Baby, Ain't I Good To You (3:15)
14. I'm Beginning To See The Light (2:30)
15. My Little Child (3:40)

French pianist, jazz vocalist and songwriter Matthieu Boré grew up surrounded by music and the arts, going as far back as an opera singing great grand-father. At age 7, Boré took his first piano lessons, and sang in various punk and trip hop outfits during the 1990s, before pursuing his love of vintage jazz music. In early 2000, the young pianist started playing the Parisian jazz club circuit and a year later, released an entire album of Fats Domino covers. In keeping with his fascination for 1950s R&B and R&B music, he issued Doo Wop (2003) and Sometimes on My Own (2007), the latter inspired by his idols Irvin Berlin, Hoagy Carmichael and Gershwin. 2009 saw the release of FriZZante!, an album featuring a mixture of covers and Boré originals, with full orchestra.
Matthieu Boré has performed many concerts, including ones at the Festivals of Montreal and Jarasum in Korea, the New Morning and the Olympia. In 2011 he released a live album recorded at the Duc des Lombards. Roots, Matthieu's latest studio album, is a surprising cocktail — a strong dose of New Orleans funk, with all its nonchalance, predilection for acoustic sounds and syncopated grooves.

Sometimes On My Own

---

Heather Pierson - Motherless Child

Size: 109,3 MB
Time: 46:41
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop/Blues Vocals
Art: Front

01. Junkies (3:28)
02. The Gumbo's Too Hot (3:16)
03. Is You Is, Or Is You Ain't My Baby (3:46)
04. Dirty No-Gooder's Blues (4:16)
05. Norwegian Wood (4:52)
06. I Loves You, Porgy (3:01)
07. Good Girl Blues (3:22)
08. Ain't Misbehavin' (2:52)
09. Motherless Child (6:38)
10. Peace (3:06)
11. Nobody Knows You When You're Down And Out (3:53)
12. When You Wish Upon A Star (4:05)

Recorded in rural Maine on an 1898 Steinway Model A in front of a live in-studio audience, this collection of inspired originals and renditions of blues and jazz standards promises to be her best release to date. In bringing a Dr.-John-meets-Dave-Brubeck sensibility to songs like “The Gumbo’s Too Hot” and embodying the very meaning of heartache in her Nina Simone-infused renditions of classics like “I Loves You, Porgy” and the stunning title track, Heather’s formidable talents as a vocalist, pianist, songwriter, arranger, and bandleader are on full display.

Motherless Child

---

John Hart - Comfort Zone

Size: 132,1 MB
Time: 56:50
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz: Mainstream Jazz
Art: Front

01. Charade (5:57)
02. Desalento (4:44)
03. Comfort Zone (4:10)
04. Dark Attitude (5:31)
05. Living For The City (5:34)
06. Michelle (4:51)
07. There Is No Greater Love (7:33)
08. I'll Get By (5:04)
09. Lonnie's Lament (7:25)
10. Moonlight In Vermont (5:57)

John Hart has performed and/or recorded with Jack McDuff, Jimmy Smith, Lou Donaldson, Chris Potter, Joey DeFrancesco, Randy Brecker, Bob Berg, Jerry Weldon and John Tendy. John is a veteran of the world famous Apollo Theater band in Harlem, NY. This is John's dabut recording with Index Jazz and he can also be heard on the Index collection: Index Jams Vol. 1, which features Joe Magnarelli, Jerry Weldon, John Tendy, and Akiko Tsuruga.

Comfort Zone

---

Platina Jazz - Tokyo Express: Live In Concert

Size: 177 MB
Time: 75:42
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Big Band, Vocals
Art: Front

01. The Galaxy Express 999 (Feat. Niklas Gabrielsson) (4:09)
02. Hajimete No Chuu (My First Kiss) (3:48)
03. Thanatos - If I Can't Be Yours (4:20)
04. Genesis Of Aquarion (Feat. Emily Mcewan) (5:10)
05. Miracle Girl (5:45)
06. Nausicaa Of The Valley Of The Wind (3:48)
07. Gravity (Feat. Emily Mcewan) (7:00)
08. Ready!! (5:22)
09. Chiisana Tenohira (4:26)
10. Stolen Moments (Feat. Niklas Gabrielsson) (4:36)
11. Medley: Sobakasu (Freckles)/Go! Go! Maniac/Hyadain's Kakakata Kataomoi-C/Waganawa Shougakusei/Enchanting Creamy (9:35)
12. 1/2 (6:30)
13. Fly Me To The Moon (Feat. Niklas Gabrielsson) (3:53)
14. Gotta Knock A Little Harder (Feat. Douglas Unger) (7:14)

With four studio albums behind them, the anime soundtrack covering Swedish jazz band led by producer Rasmus Faber are all set to release their first live album. Entitled Tokyo Express, the album includes completely new arrangements of Platina Jazz's favourite tracks taken from performances at the Billboard Live venue in Tokyo during 2013. And as a special bonus, a song that has never been played at all before by the band, Knock A Little Harder from Cowboy Bebop. Rasmus Faber comments: "this album is very important to us as it represents how jazz music should be heard, live! These tracks have never been performed in this way before. Although all but one song features on the previous 4 studio albums we have released, each arrangement on this live album is unique. We wanted to capture the essence of live performance. That unique moment in time that cannot be repeated, the energy and vibrancy of 12 very talented musicians working together in one space, harnessing the energy of the audience and giving them everything we have".

ALBUM CREDITS: Recorded Live at Billboard Live, Tokyo. Musicians: Vocals: Emily McEwan, Niklas Gabrielsson, Douglas Unger Piano: Martin Persson Bass: Martin Höper Drums: Ola Bothzen, Fender Rhodes: Rasmus Faber Hammond Organ: Carl Bagge Trumpet: Nils Janson Trombone: Karl Frid Alto Saxophone: Thomas Backman / Jonas Wall Tenor Saxophone / Flute: Andreas Gidlund / Kristian Harborg Baritone Saxophone / Flute: Kristian Harborg / Alberto Pinton Produced, mixed and mastered by Rasmus Faber Artwork designed: Tetsuo Inokawa Album cover illustration provided: Kenichi Yoshida Photography by Masanori Naruse

BACKGROUND ON PLATINA JAZZ: What do Japanese anime, a House music producer and a Swedish jazz band have in common? If your answer is "not much", then chances are you have yet to discover the unique style and blend of anime music and jazz sensibilities that can be done only by the group known as Platina Jazz. In 2008, Swedish DJ, pianist and producer Rasmus Faber spoke of his love for the musical complexity of anime music with his Japanese manager. They discussed different ways of interpreting anime music to bring it to a wider audience and bring out its musical qualities to the fullest. By a strange coincidence, the manager had just had a similar discussion together with music journalist Yuzuru Sato, who had been expressing his wish to select anime songs for a jazz cover project. And from that moment, the Platina Jazz project was founded to bring those dreams to life. Coming from a background of jazz music, Rasmus had all the right connections with jazz musicians in his home city of Stockholm, Sweden. The group's first volume, called "Anime Standards vol. 1" was released in 2009 to both critical acclaim and fan delight. Critics loved the "real jazz" sound of the album as performed by such talented musicians, and anime fans delighted to hear such carefully crafted versions of their favourite songs.

Tokyo Express

---

Milana - Frozen Dream

Size: 143,8 MB
Time: 61:48
File: MP3 @ 320K/s
Released: 2014
Styles: Piano Jazz/New Age
Art: Front

01. Autumn Dream (2:25)
02. Falling Into You (3:18)
03. The Whispering Blaze Of Autumn (5:07)
04. Rainy Thoughts (4:25)
05. Childhood That Is Gone (3:29)
06. Shine On (2:23)
07. Looking Through A Frozen Window (3:26)
08. Frozen Dream (3:44)
09. Meltdown (4:10)
10. February Elegy (3:36)
11. From The Heart (2:30)
12. Tenderness (5:22)
13. Rhythms Of The Night (2:20)
14. Violet Dream (2:51)
15. Movement (4:41)
16. Waltzing At Dawn (5:28)
17. Autumn Dream (Bonus) (2:24)

Milana Zilnik, is one of the most popular piano players on the Soundcloud platform, with 20,000 followers and regularly appears in the “Piano Explore” section, which showcases the trending / most listened to tracks across the world. Milana’s music is very difficult to “pigeon hole”, as she covers such a wide variety of genre’s, from classical, to jazz, across to new age, romantic and then dashes of ambient in there as well. Milana sums it up best, when she says “many of my free flowing melodies and harmonies were born after listening to my favourite masters such as Chopin, Debussy, Chick Corea, Oscar Peterson & Keith Jarret.

"Frozen Dream" is the second solo piano (mostly) release from Milana this year and her fifth solo piano release in two years. This extraordinary artist has lived in a variety of cultures around the world, has had extensive musical training and has worked within a broad range of musical genres. Those influences serve her well and make her musical voice unique and distinctive. Frozen Dreams is a collection of seventeen improvisations that reflect on the seasons and their emotional impact on Milana’s soul. Many of the free-flowing pieces were created after listening to and being inspired by some of her favorite composers and musicians such as Chopin, Debussy, Chick Corea, Oscar Peterson, and Keith Jarrett. In the liner notes, Milana says: “Some of my compositions sound raw, spacious, hectic, edgy but more than anything I want them to be made for the love of the dreaming and the Harmony.”

"Frozen Dream" begins and ends with “Autumn Dream.” The first version is solo piano and the closing bonus track is orchestrated with strings and harp. Sweet and gentle with a dreamy flow, it’s a beautiful opening (and ending!). “Falling Into You” is somewhat edgier with jazz harmonies and a very spontaneous, introspective feeling. “The Whispering Blaze of Autumn” is a favorite. Spare and deeply emotional, the use of reverb creates an atmospheric backdrop to the haunting piano. Love it! “Looking Through a Frozen Window” has a lovely, melancholy cast. Some of the piece is smooth and flowing contrasted occasionally by the hard bite of icy cold. The title track also has the contrasting playing touches in a jazzier, freer style - another favorite. The lyrical “February Elegy” is a graceful, emotional heartbreaker that is SO beautiful! “From the Heart” lightens the mood considerably while “Tenderness” is so delicate it is almost fragile. “Violet Dream” is close to ambient in style, flowing freely and gently. Very expressive and just a little bit edgy, “Movement” would be an inspiring piece for a free-form dance.”Waltzing At Dawn” is a slow, romantic waltz for two set in the early-morning stillness, expressing warmth, contentment and a sense of freedom.

If you haven’t yet discovered the wonderful artistry of Milana’s music, this is a great place to start! Highly recommended! ~Kathy Parsons

Frozen Dream

---

Jill Salkin - What The World Needs Now

Size: 118,4 MB
Time: 50:54
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. What The World Needs Now (4:27)
02. Feelin' Groovy (2:55)
03. You're Everything (4:22)
04. How Deep Is The Ocean (5:32)
05. Light Of Day (4:33)
06. Your Mind Is On Vacation (3:25)
07. Little Children, Be Free (3:54)
08. Stolen Moments (5:43)
09. Spring Will Come Again (3:11)
10. Joy Spring (3:38)
11. Summertime (5:51)
12. Every Little Light (3:17)

Jill Salkin's third release, "What the World Needs Now" is a treasure trove of beautifully sung jazz, blues, and classic pop. Jill has included four of her own compositions. The quartet consisting of piano, bass, drums, and guitar, joined by trumpet, flugelhorn, and sax, provide stellar playing and great solos. The fine arrangements and Jill's scatting add to the listening pleasure.

Jill's first release, "Heart's Desire" is a compilation of her original songs. Her second release, "The Very Thought of You", is a collection of jazz standards. "What the World Needs Now" gives the listener a broad palette of styles; the kind of mix that Jill does in live performance.

What The World Needs Now

---

The Derek Paravicini Quartet - The Derek Paravicini Quartet

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 54:24
Size: 125,4 MB
Art: Front

(3:02)  1. Mir Bist du Schoen
(3:24)  2. Moanin'
(3:33)  3. Lullaby of Birdland
(4:11)  4. Crazy
(2:55)  5. Straighten Up and Fly Right
(2:16)  6. Sweet Georgia Brown
(4:14)  7. Autumn Leaves
(2:52)  8. Honeysuckle Rose
(2:58)  9. I've Got Rhythm
(5:35) 10. Somewhere Over the Rainbow
(3:32) 11. Night and Day
(2:59) 12. The In Crowd
(3:17) 13. Black Coffee
(1:44) 14. Take 5
(3:16) 15. Danny Boy
(4:26) 16. Air on a G String

The Derek Paravicini Quartet is the new must-hear group, currently wowing audiences all over the UK, following their successful debut on the BBC’s ‘In Tune’ programme. Four stunningly talented young musicians combine to create a unique sound, portraying a kaleidoscope of emotions now achingly sad, now humorous, now infused with warmth and all shot through with a fiery virtuosity. Derek Paravicini Quartet are a musical chameleon, able to change their sonic palette to suit any occasion, with the breathtaking new takes on classic songs and jazz standards, and a repertoire from ragtime to Radiohead, from Irving Berlin to the Beatles, from Cole Porter to Coldplay.  http://www.derekparaviciniquartet.com/

Personnel: Derek Paravicini - Piano; Hannah Davey – Vocal;  Ben Holder – Violin; Ollie Howell – Drums

The Derek Paravicini Quartet

---

Annette Neuffer Quintet - The Art of Chet

Styles: Vocal And Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 57:21
Size: 134,5 MB
Art: Front

(5:04)  1. Line for Lyons
(4:51)  2. Look for the Silver Lining
(4:06)  3. The Art of Chet
(6:02)  4. The Song Is You
(6:21)  5. Remembering... That Old Feeling
(4:39)  6. But Not for Me
(4:43)  7. How Long Has This Been Going On
(3:52)  8. Long Ago and Far Away
(4:38)  9. Chet's Blues
(4:10) 10. Dinner
(3:17) 11. It Could Happen to You
(5:31) 12. Time After Time

Neither Annette Neuffer want to reproduce the music Chet Baker, heave still chatting with Chet whose inspiration over the Millennium, but simply prove a revered model reference, by singing some of his favorite songs and plays. As the late musical appointed Flügelhornistin discovered jazz, the music Bakers played no small role in their awakening - now came the years vocally long to personal maturity - love of improvised music. On their second CD "But Not For Me" is situated next to Favourites such as "Look For The Silver Lining" or even five elegant homage original text, melody and relaxed swinging performance quite successful overtures to Chet's Mood. Claus Koch, ts; Bernhard Pichl, p; Rudi Engel, b, and Jens Düppe, dr, do yours, so some throwback to the good old days to give a piece of contemporary gloss. ~ Tobias Böcker  http://www.annetteneuffer.de/press.htm (Translate by google)

Personnel: Annette Neuffer (vocals, Trumpet, flugelhorn); Claus Koch (tenor sax); Bernhard Pichl (piano); Rudi Engel (bass); Jens Düppe (drums)

The Art of Chet

---

Bobby Hackett - Rosalie

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 87:09
Size: 202,9 MB
Art: Front

(2:04)  1. Rosalie
(2:43)  2. S'Wonderful
(2:41)  3. Oh Baby!
(2:33)  4. Royal Garden Blues
(3:01)  5. Struttin' With Some Barbecue
(3:04)  6. Fidgety Feet
(2:27)  7. Sunday Coots, Grey
(2:41)  8. I Found a New Baby
(3:03)  9. Baby Won't You Please Come Home
(2:17) 10. My Monday Date
(2:39) 11. If I Had My Way
(2:21) 12. C'est Magnifique
(2:49) 13. Cheek to Cheek
(2:08) 14. That Naughty Waltz
(2:16) 15. It's Been so Long
(2:38) 16. Spring Beautiful Spring
(2:47) 17. Paradise
(4:29) 18. That's a Plenty
(3:57) 19. It's Wonderful
(1:23) 20. Bye Bye Blues
(2:25) 21. (Back Home Again In) Indiana
(3:00) 22. Muskrat Ramble
(3:11) 23. Big Butter and Egg Man
(2:31) 24. Moonlight Becomes You
(2:44) 25. Moma's Gone, Goodbye
(3:31) 26. Way Down Yonder in New Orleans
(2:57) 27. Cocktail for Two
(2:26) 28. Everybody Loved My Baby (But My Baby Don't Love Nobody Buy Me)
(2:20) 29. Struttin' With Some Barbecue - Alternative Version
(4:52) 30. Royal Garden Blues - Live Version
(2:57) 31. Oh Baby

Bobby Hackett's mellow tone and melodic style offered a contrast to the brasher Dixieland-oriented trumpeters. Emphasizing his middle-register and lyricism, Hackett was a flexible soloist who actually sounded little like his main inspiration, Louis Armstrong. When Hackett first came up he was briefly known as "the new Bix" because of the similarity in his approach to that of Bix Beiderbecke, but very soon he developed his own distinctive sound. Originally a guitarist (which he doubled on until the mid-'40s), Hackett performed in local bands, and by 1936 was leading his own group. He moved to New York in 1937, played with Joe Marsala, appeared at Benny Goodman's 1938 Carnegie Hall concert (recreating Beiderbecke's solo on "I'm Coming Virginia"), recorded with Eddie Condon, and by 1939 had a short-lived big band. 

Hackett played briefly with Horace Heidt, and during 1941-1942 was with Glenn Miller's Orchestra, taking a famous solo on "String of Pearls." Next up was a stint with the Casa Loma Orchestra, and then he became a studio musician while still appearing with jazz groups. Hackett was a major asset at Louis Armstrong's 1947 Town Hall Concert, in the 1950s he was a star on Jackie Gleason's commercial but jazz-flavored mood music albums, and he recorded several times with Eddie Condon and Jack Teagarden. During 1956-1957, Hackett led an unusual group that sought to modernize Dixieland (using Dick Cary's arrangements and an unusual instrumentation), but that band did not catch on. Hackett recorded some commercial dates during 1959-1960 (including one set of Hawaiian songs and another in which he was backed by pipe organ), he worked with Benny Goodman (1962-1963); backed Tony Bennett in the mid-'60s; co-led a well-recorded quintet with Vic Dickenson (1968-1970); and made sessions with Jim Cullum, the World's Greatest Jazz Band, and even Dizzy Gillespie and Mary Lou Williams, remaining active up until his death. Among the many labels Bobby Hackett recorded for as a leader were Okeh (reissued by Epic), Commodore, Columbia, Epic, Capitol, Sesac, Verve, Project 3, Chiaroscuro, Flying Dutchman, and Honey Dew. 

~ Scott Yanow, Rovi  http://www.shazam.com/discover/artist/9601/album/62033986

Rosalie

---

Bucky Pizzarelli Trio - Three For All

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 64:57
Size: 149,3 MB
Art: Front

(5:22)  1. All The Things You Are
(7:50)  2. Body And Soul
(5:00)  3. Avalon
(5:41)  4. Snowfall
(5:17)  5. Stompin' At The Savoy
(7:12)  6. If I Had You
(3:01)  7. Stage Fright
(3:08)  8. It's Been A Long, Long Time-Don't Take Your Love From Me
(5:28)  9. Undecided
(3:10) 10. In The Dark
(5:38) 11. I'm Confessin'
(5:31) 12. Three For All
(2:38) 13. I Got Rhythm

Whose line is it anyway? No matter. Whether it’s jazz patriarch Bucky Pizzarelli or his son, fellow seven-string guitar master John, fashioning melodic embellishments and spinning single-note improvisations on Three for All, the level of musicianship is consistently high. What’s more, the same can be said for guitarist Ed Laub’s knowing support, scarcely a surprise given his long association with père Pizzarelli. Not surprising, too, are the songs chosen for this date. “Body and Soul,” “I Got Rhythm,” “All the Things You Are” and “Avalon” are among the vintage pop classics, while lesser-known tunes, including the Dick McDonough-Carl Kress treat “Stage Fright,” round out the collection. 

Even the most weathered selections, however, have a fresh allure after Bucky and John get their fingers on them. Strings of choruses dart along, then dovetail, then dart again. Blue notes tweak the melodies, harmonic substitutions add texture and color, tricky contrapuntal passages abound, and frequent surges of rhythmic propulsion make for some exhilarating moments. Offsetting the most vibrant trio performances are some soulful interludes, a dash of melancholy lyricism and the occasional, deftly executed duet, including a Bucky and Ed pairing. ~ Mike Joyce  http://jazztimes.com/articles/132462-three-for-all-the-bucky-pizzarelli-trio?

Personnel: Bucky Pizzarelli (guitar); John Pizzarelli, Ed Laub (guitar).

Three For All

---

Ben Sidran - Blue Camus

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 45:09
Size: 103,5 MB
Art: Front

(6:58)  1. Soso's Dream
(4:45)  2. Blue Camus
(3:13)  3. "A" Is For Alligator
(4:57)  4. King Of Harlem
(6:20)  5. Rocky's Romance
(4:32)  6. Wake Me When It's Over
(7:23)  7. There Used To Be Bees
(6:58)  8. Dees Dilemma

Blue Camus is the follow up to Don’t Cry For No Hisper.  If the latter spoke to the hipster’s inner monologue, this project reflects the external input source that the hipster has been taking in.  The references in Blue Camus go back almost one hundred years to Garcia Lorca’s poetry (referenced in “The King of Harlem”), Orwell’s fantastic fiction (found in “A is for Alligator”) and a bit more recently to Albert Camus’ philosophy of existentialism. So there is a direct connection from the February afternoon in Mexico when I began writing the songs for Don’t Cry For No Hisper, a somewhat autobiographical, jaundiced view of today’s world through the eyes of a jazz man who has been around for several decades, to Blue Camus.  The classic hipster, as I see him, with his roots going back deep into the jazz life, was a reader of literature and a lover of philosophy, particularly, during the bebop era of the 40s and 50s.  

The starting premise of Camus’ existentialism can be compared to jazz in that in both jazz and existentialism, we begin with a world of open possibilities and rely on our own experiences and emotions to figure out the next move, rather than what we are taught or by following some other theory.  For Camus (and the beboppers) all thought originates in action just as all jazz music originates in swing, not notes. We may be confused, but that could be the good news, because so much is clearly going amok, if we thought we knew what we were doing and that this was it, we’d be in even worse trouble than we already are.  Make sense?  No? Welcome to existentialism! In a world that appears to be swallowing itself whole, jazz and literature, combined here as Blue Camus, provide a starting point to ask some questions about where we are and resolve them in swing. http://bensidran.com/album/blue-camus

Personnel: Ben Sidran - Wurlitzer, Piano, Vocals; Leo Sidran - Drums; Billy Peterson – Bass; Ricky Peterson – Organ; Bob Rockwell – Saxophone, Trixie Waterbed – Backing Vocals

Blue Camus

---

Ben Wolfe - No Strangers Here

Styles: Straight-ahead/Mainstream
Year: 2008
File: MP3@320K/s
Time: 49:55
Size: 114,5 MB
Art: Front

(7:20)  1. The Minnick Rule
(2:31)  2. No Strangers Here
(3:52)  3. Milo
(3:34)  4. No Pat No
(7:55)  5. The Filth
(3:29)  6. Circus
(5:29)  7. Blue Envy
(7:17)  8. Rosy & Zero
(3:42)  9. Jackie Mac
(4:41) 10. Groovy Medium

Ever since the seminal Charlie Parker With Strings (Mercury 1950), numerous artists have attempted to add symphonic strings to jazz ensembles. Some have succeeded, but many have failed to capture a proper balance, resulting in string arrangements that sound superfluous. Bassist Ben Wolfe's fifth album, No Strangers Here, is one example of a successful merger of two worlds acoustic jazz quartet and classical string quartet. A compelling bassist, Wolfe came to prominence as a sideman for Harry Connick Jr., Wynton Marsalis and Diana Krall. He currently teaches at Julliard and is a member of the Jazz at Lincoln Center Orchestra. Augmenting a jazz combo with strings is not a novel idea for Wolfe, whose previous album, My Kinda Beautiful (Planet Arts Records, 2004) featured a brass heavy jazz octet with an eight piece string section. 

An extended suite, "From Here I See," was commissioned by the Rubin Museum and revolved around a jazz quartet/string quartet combo. Another long-form composition, "Contradiction: Music for Sextet" was the result of a commission from Chamber Music America. Wolfe's core quartet features saxophonist Marcus Strickland, pianist Luis Perdomo and drummer Greg Hutchinson, all rising stars on the New York scene who execute Wolfe's tightly arranged compositions with palpable commitment and panache. In addition, Wolfe regularly augments the quartet with a traditional string quartet, as well as a handful of special guests. At their most vigorous, Wolfe's pieces recall the forward thinking hard-bop of a mid-60s Blue Note date. "The Minnick Rule" and "Circus" are labyrinthine swingers filled with hairpin rhythmic shifts and understated string accents that resound with dramatic flair. A nostalgic air often permeates the session; the subtly integrated strings reinforce Wolfe's romantic side by adding a layer of euphonious lyricism to his sumptuous writing, most notably on the title track and "Blue Envy." The special guest appearances are well integrated. 

Terell Stafford's buttery trumpet soars on the spirited opening cut and offers supportive nuance on the wistful closer. Saxophonist Branford Marsalis and drummer Jeff "Tain" Watts provide muscle to the escalating drama of the noirish "The Filth" while Marsalis' soprano waxes lyrical on the effervescent "Milo." Victor Goines enriches the lush "Blue Envy" with his poetic bass clarinet. The album's string quartet tour-de-force, "Rosy & Zero," regales with expansive sonorities. Alternating austere chamber music inflected excursions with blistering post-bop interludes, the piece unfolds like a long lost, albeit highly successful, Third Stream experiment. From bittersweet nostalgia to cinematic drama, No Strangers Here encapsulates an array of moods, textures and dynamics. Reminiscent of the string augmented ensembles of Max Roach and Charles Mingus, Wolfe's double quartet emboldens the jazz tradition with neo-classical overtones, yet never fails to swing. To quote Wynton Marsalis, "Ben Wolfe swings with authority."     

~ Troy Collins http://www.allaboutjazz.com/no-strangers-here-ben-wolfe-maxjazz-review-by-troy-collins.php
 

Personnel: Ben Wolfe: bass; Marcus Strickland: tenor and soprano saxophone; Luis Perdomo: piano; Greg Hutchinson: drums; Cyrus Beroukhim: violin; Jesse Mills: violin; Kenji Bunch: viola; Wolfram Koessell: cello; Branford Marsalis: tenor and soprano saxophone (3, 5); Terell Stafford: trumpet (1, 10); Victor Goines: bass clarinet (7); Jeff "Tain" Watts: drums (5).

No Strangers Here

---