Count Basie, Joe Turner - The Bosses

Bitrate: MP3@320K/s
Time: 44:00
Size: 100.7 MB
Styles: Jazz-blues
Year: 1974/2006
Art: Front

[6:41] 1. The Honeydripper
[2:36] 2. Honey Hush
[4:42] 3. Cherry Red
[3:55] 4. Night Time Is The Right Time
[4:57] 5. Blues Around The Clock
[3:57] 6. Since I Fell For You
[3:27] 7. Flip Flop And Fly
[5:36] 8. Wee Baby Blues
[3:50] 9. Good Morning Blues
[4:16] 10. Roll 'em Pete

Bass – Ray Brown; Drums – Louis Bellson; Guitar – Irving Ashby; Piano, Organ – Count Basie; Tenor Saxophone – Eddie Davis, Zoot Sims; Trombone – J.J. Johnson; Trumpet – Harry Edison; Vocals – Joe Turner.

Count Basie and an all-star band (including trumpeter Harry Edison, trombonist J.J. Johnson and the tenors of Eddie Davis and Zoot Sims) back up veteran Kansas City blues singer Big Joe Turner on one of his better later albums. The many fine solos inspire Turner, who is in top form on such tunes as "Night Time Is the Right Time," "Wee Baby Blues" and "Roll 'Em Pete." ~Scott Yanow

The Bosses

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Chris Bennett - Less Is More

Bitrate: MP3@320K/s
Time: 49:40
Size: 113.7 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[3:23] 1. Drifting
[3:07] 2. Where Do You Start
[3:32] 3. Isnt It Romantic
[4:07] 4. My Foolish Heart
[3:49] 5. Make Me New For You
[3:38] 6. People Will Say Were In Love
[5:46] 7. Dindi
[5:05] 8. Theme From Midnight Express
[4:10] 9. Feels Like A Heartbreak
[3:46] 10. You Never Saw Me Dance
[3:29] 11. Less Is More
[5:40] 12. Some Other Time

Chris Bennett is a versatile singer whose spine-tingling voice generates soft power. She gets her message across with quiet subtlety and always seems to fully understand the words she is interpreting. Although not really an improviser, Bennett is quite effective throughout this ballad album. Singing some older tunes (including "Isn't It Romantic," "My Foolish Heart" and "Some Other Time") and six of her melodic originals (which are generally pop-oriented), Bennett is featured in several different settings. There are some duets with pianist Eric Doney, a few of the other pieces also use guitarist Wayne Johnson, bassist Cliff Hugo, percussionist Bobbye Hall, flutist Gary Herbig, the tenor of Armando Castagnoli and/or violinist Haim Shtrum (who has a pretty tone), and the singer plays piano on three of her songs. With a few exceptions (such as "Make Me New For You"), the emphasis is on slower tempos, but Bennett's sensuous long tones make the record quite listenable. ~Scott Yanow

Less Is More

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Colin Hodgkinson - The Bottom Line

Bitrate: MP3@320K/s
Time: 45:34
Size: 104.3 MB
Styles: Electric bass guitar jazz
Year: 1999
Art: Front

[3:43] 1. 32-20 Blues
[2:24] 2. Blues For Jimmy Yancey
[2:49] 3. The Black Mirror
[4:28] 4. The San Francisco Bay Blues
[2:21] 5. Southpaw Delta
[5:03] 6. The Sliding Delta
[2:47] 7. Jenny's Rag
[4:39] 8. Sons And Brothers
[6:02] 9. Thight Lines And Screaming Reels
[8:37] 10. All Blues
[2:37] 11. Are Your Sure

Colin Hodgkinson's extraordinary talents on the bass guitar are still woefully underpublicized; his groundbreaking albums from the 1970s with Back Door, where the bass was played like a lead guitar (and was indeed the actual lead instrument), have always been difficult to find. On other albums with collaborators like Brian Auger and Spencer Davis, listeners have been teased with the occasional bass-only song.

What a treat, then, to find a release that is in effect an entire album of bass solos. On songs like "32-20 Blues," "San Francisco Bay Blues," and "Sliding Delta" he chops his way through old blues numbers with nothing but a bass and his own voice, and the effect is startling. A few other songs, such as "Sons and Brothers and "All Blues," are played as a trio. But, as the title indicates, it all comes down to his righteous bass riffs. This is, quite simply, an album that every bass guitarist should own. ~Paul Collins

The Bottom Line

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Hot Club Of The Americas - Federico Britos Presents Hot Club Of The Americas

Bitrate: MP3@320K/s
Time: 61:29
Size: 140.8 MB
Styles: Latin jazz, Bossa Nova, Samba
Year: 2015
Art: Front

[4:11] 1. The Sheik Of Araby
[4:29] 2. J'attendrai (Feat. Hendrik Meurkens)
[6:03] 3. I'm Confessin' That I Love You (Feat. Gonzalo Rubalcaba)
[5:26] 4. Djangology
[6:17] 5. La Vie En Rose (English Version) [feat. Cécile Mclorin Salvant]
[5:07] 6. Dark Eyes (Feat. Giovanni Hidalgo)
[4:55] 7. Melodie Au Crepuscle (Feat. Antônio Adolfo)
[3:56] 8. Exactly Like You
[4:58] 9. Nuages
[4:24] 10. Honeysuckle Rose
[5:19] 11. Tears
[6:18] 12. La Vie En Rose (French Version) [feat. Cécile Mclorin Salvant]

Federico Britos - Violin; Jorge Garcia - Guitar; Felix Gomez - Piano; Renyel Rivero - Bass; Carlomagno Araya - Drums; Edwin Bonilla - Percussion.

For years Federico Britos has performed sets all over the world that include the music of the Hot Club of France and Latin Jazz. Carlomagno Araya, Federico's drummer, had the idea of recording music frequently performed by Stephane Grappelli but in Latin Jazz styles. From this concept, and the friendly contribution of Federico's friend, Nat Chediak, was born the name Hot Club of The Americas. It is a band that performs a unique blend of Latin and Gypsy Jazz.

Recording began and friends of Federico started signing up to take part. Featured guest artists include, Gonzalo Rubalcaba (piano), Giovanni Hidalgo (congas), Cecile McLorin Salvant (voice), Antonio Adolfo (piano) and Hendrik Meurkens (harmonica).

All of the tracks were arranged by Hugo Sanchez with the exception of the Samba and Bossa Nova which were arranged by Jaui Schneider.

Federico Britos Presents Hot Club Of The Americas

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Danielle Eva - Road And Moon

Styles: Vocal Jazz

Year: 2010
File: MP3@320K/s
Time: 49:29
Size: 114,0 MB
Art: Front

(5:04)  1. I Sing In Blue
(5:20)  2. Both Sides Now
(5:07) 3. Softly As In a Morning Sunrise / Little Sunflower
(3:47)  4. Detour Ahead
(2:36)  5. Convenient Distraction
(3:13)  6. Blackberry Winter
(4:15)  7. Where is Love
(4:10)  8. And When I Die
(6:02)  9. Kiss
(4:15) 10. Begin Again
(5:35) 11. He's Gone Away/Willow Weep For Me

What do you get when you mix one part Lizz Wright, one part Alyssa Graham and a dash of Chiara Civello? The answer is vocalist Danielle Eva. Eva's music could be characterized as roots-infused jazz with a pop spin on the production, but plenty of other influences seep into the mix. A large cast of musicians joins her for Road and Moon her own personal travelogue and her diverse tastes are reflected in the songs she chooses to cover. Female singer-songwriters are represented with Joni Mitchell's "Both Sides Now" and Laura Nyro's "And When I Die." The former leans towards the pop side, with Federico Pena Gonzalez contributing some fine piano work. The latter moves in a country-folk direction, gaining authenticity through Dave Gingrich's delightful dobro work. While Mitchell's music has become a given for female jazz vocalists, Nyro's music rarely crosses style lines and Eva's performance makes a compelling argument for a greater need to mine her catalog. Alec Wilder's "Blackberry Winter," a spine-tingling, under-performed piece that's seeing a comeback thanks to people like vocalist Hilary Kole and Eva, is the most engaging, intimate performance on the album. Eva's voice and Gavin Fallow's bass go it alone, and the resulting music is stunning. 

Eva is equally compelling during the first, a capella, portion of "He's Gone Away/Willow Weep For Me." With all instrumental adornments removed, Eva comes across like a sultry Appalachian siren. When violin, acoustic bass and guitar enter, the music moves towards a backwoods folk-jazz that is relaxed, yet luxuriant. "Where Is Love" might seem more natural as cabaret fodder than jazz-pop, but is beautifully rendered. Eva's arrangement, recasting it in five, is well-suited to the song, and her vocals exhibit a sense of longing that often seems absent from other takes on this tune. The only misstep comes with a keyboard solo that has a less-than-desirable faux-woodwind sound. The same goes for the solo on Eva's otherwise-enjoyable Latin-leaning album opener, "I Sing In Blue." The penultimate performance of "Begin Again" which has a hip "Higher Ground" meets Graceland era Paul Simon groove (Warner Bros, 1986), bookending an expansive middle section is the most original sounding of Eva's own compositions. Across eleven tracks, Road And Moon presents pictures of love, longing, sadness, joy and the world-at-large, delivered with class by Eva's gorgeous voice.        ~ Dan Bilawsky  http://www.allaboutjazz.com/road-and-moon-danielle-eva-devour-music-review-by-dan-bilawsky.php
 

Personnel: Danielle Eva: vocals; Lenny Robinson: drums, percussion (1-4, 7-9, 11); Federico Pena Gonzalez: piano, keyboards (1-4, 7, 9); Gavin Fallow: acoustic bass, electric bass (1-3, 6, 7, 9, 11); Michael Bowie: acoustic bass (4, 8); Alvin White: guitar (2, 3, 7); Chuck Underwood: guitar (1, 9, 11); Bob Spates: violin (11); Dave Chappell: electric guitar (8); Dave Gingrich: dobro (8); Dan LaVelle: guitar (5); Rickard Malmsten: fretless bass (5); Anthony Fernandes: percussion (5); Bilal Karaman: guitars (10); Ozan Musluoglu: electric bass (10); Ferit Odman: drums (10).

Road And Moon

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Cannonball Adderley - Nippon Soul

Styles: Saxophone Jazz
Year: 1963
File: MP3@320K/s
Time: 46:17
Size: 106,8 MB
Art: Front

( 9:27)  1. Nippon Soul (Nihon No Soul)
( 3:45)  2. Easy To Love
(10:44)  3. The Weaver
( 2:33)  4. Tengo Tango
( 6:53)  5. Come Sunday
(12:51)  6. Brother John

Recorded live in Tokyo on July 14th and 15th, 1963, Nippon Soul is not the Asian-jazz fusion suggested by the title (check out Cal Tjader's Several Shades of Jade and Breeze From the East for that), but a solid live set that showcases one of Cannonball Adderley's finest groups, featuring himself, brother Nat Adderley on cornet, bassist Sam Jones, drummer Louis Hayes, and most notably pianist Joe Zawinul and reedsman Yusef Lateef. Both near the beginnings of their careers, Zawinul and Lateef nonetheless dominate this set; two of the original tracks are by Lateef, including the centerpiece "Brother John," for John Coltrane and featuring an astonishing extended Lateef solo on oboe, an instrument not normally associated with jazz, but which takes on an almost Middle Eastern fluidity and grace in its approximation of Coltrane's "sheets of sound" technique.

Zawinul arranged the standards for the group, reinterpreting Cole Porter's warm "Easy to Love" as a fleet bebop vehicle for a wicked Adderley solo and working the "Come Sunday" section of Duke Ellington's "Black, Brown and Beige" into a full gospel-style call and response between himself and Jones. Often overlooked, this is one of Adderley's finest albums. The CD reissue includes an extra track, an extended take on "Work Song." ~ Stewart Mason  

http://www.allmusic.com/album/nippon-soul-mw0000654719

Personnel: Cannonball Adderley (alto saxophone); Yusef Lateef (flute, oboe, saxophone, tenor saxophone); Nat Adderley (cornet); Joe Zawinul (piano, electric piano, organ); Louis Hayes (drums).

Nippon Soul

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Kenny Drew Trio - The Lullaby

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 40:58
Size: 93,9 MB
Art: Front

(6:43)  1. Lullaby of Birdland
(3:29)  2. Sweet Lullaby
(4:36)  3. Wiegenlied
(6:40)  4. Summertime
(7:06)  5. Hush-a-Bye
(4:33)  6. Russian Lullaby
(3:23)  7. Lullaby in Ragtime
(4:25)  8. Your Soft Eyes

Kenny Drew was born in New York City in August of 1928. At the age of 5, he began studying classical piano with a private teacher and at 8, gave a recital. This early background is similar to that of Bud Powell, the man who later became his main inspiration as a jazz pianist. After digging Fats Waller, at 12, and then Art Tatum and Teddy Wilson, Drew attended the High School of Music and Art. He was known as a hot boogie woogie player but passed through this phase before graduation. Kenny's first professional job was as accompanist at Pearl Primus' dance school. At the same time, he was alternating with Walter Bishop Jr. in a neighborhood band that included Sonny Rollins, Jackie McLean and Art Taylor. In this period, he used to hang-out on 52nd Street to listen to Charlie Parker and Powell and began sitting in at various jam sessions around town. In January of 1950, Drew made his first appearance on record, with Blue Note. Howard McGhee was the leader and the other featured soloists were Brew Moore and J.J. Johnson. One of the six sides released was “I'll Remember April.” The label, in addition to stating “Howard McGhee's All Stars”, further read, “Introducing Kenny Drew.” Later, in 1953, Kenny made his first album as a leader. Again it was Blue Note who recorded him, this time in a trio with Curly Russell and Art Blakey. 

But Kenny opted to settle in Los Angeles for the next few years. There in 1955, he formed a quartet with the late Joe Maini, Leroy Vinnegar and Lawrence Marable. The quartet first recorded together in 1955 for Pacific Jazz. In December, Jazz West, a subsidiary of Aladdin Records, brought the quartet as is into Capitol's recording studios for “Talkin' & Walkin'.” In February of '56, Kenny's band and arrangements were used for another Jazz West release, this one by vocalist Jane Fielding. A month later, Drew, Paul Chambers, John Coltrane and Philly Joe Jones made the great “Chambers' Music” for the same label, which is now reissued on Blue Note. In early 1957 Kenny made his way back to New York as accompanist for Dinah Washington. That September, he participated in John Coltrane's monumental masterpiece “Blue Train,” but his association with Blue Note did not heat up again until 1960 when he made his own “Undercurrent” as well as Jackie McLean's “Bluesnik,” and “Jackie's Bag,” Kenny Dorham's “Whistle Stop,” Dexter Godon's “Dexter Calling,” Grant Green's “Sunday Mornin'” and a couple of Tina Brooks dates all within the space of a year. Although Kenny was active on the recording and club scenes in New York and even subbed for Freddie Redd for a while in the successful Off-Broadway run of The Connection, he eventually chose to migrate to Europe. 

But he again popped up on a classic Blue Note date, Dexter Godon's “One Flight Up,” done in Paris in 1964. Kenny became a major star in Europe and Japan although his music was sadly neglected at home. He settled in Copenhagen where he ran a publishing company and was the house pianist at the Café Montmartre. He was also the pianist for the Steeplechase label, where he was on countless sessions backing visiting musicians. He left an impressive legacy of recordings both as sideman and leader. Kenny Drew died on Aug. 4, 1993. Bio ~ http://musicians.allaboutjazz.com/kennydrewsr

The Lullaby

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Dave Weckl - Rhythm Of The Soul

Styles: Jazz Funk, Fusion
Year: 1998
File: MP3@320K/s
Time: 56:52
Size: 130,3 MB
Art: Front

(6:10)  1. In The Zone
(6:20)  2. 101 Shuffle
(6:33)  3. Mud Sauce
(6:02)  4. Designer Stubble
(5:26)  5. Someone's Watching
(2:31)  6. Transition Jam
(6:01)  7. Rhythm Dance
(4:02)  8. Access Denied
(6:37)  9. Song For Claire
(6:33) 10. Big B Little B
(0:30) 11. Good Night

One interesting fact about the Dave Weckl Band's Rhythm of the Soul is that it will soon be available in five different music-minus-one play-along formats: one each for drummers, keyboardists, bassists, guitarists and saxophonists. So if you want to strike a monster groove like the Davemeister himself, now's your chance.  Rhythm of the Soul is muscular keyboard-based funk (featuring the tickled plastics of Jay Oliver) that no doubt will inspire hordes of aspiring funksters to plug in and play along in the garage. Bob Malach is along on tenor sax, soloing gamely in a neo-Arnett Cobb mode and pitching in on the unison theme statements. This is drummer Weckl's chance to show off the chops he used to power Robert Plant into the stratosphere, and he takes full advantage of it. The Wecklers kick things off here with the chunky "The Zone," where Oliver gurgles and keens, and Frank Gambale rebukes and exhorts on guitar. It's a booty-shaking opener, but the bluesy "101 Shuffle" takes us even higher. Kudos here to Buzz Feiten on guitar, who, well, has earned his nickname for playing guitar, not for a haircut or an artificially-induced sunny disposition. On "Mud Sauce" Weckl lays down a serpentine line, tastily taken up by Steve Tavaglione on soprano sax and then Buzz and the gang: Oliver and Tom Kennedy on acoustic bass. (Kennedy also plays acoustic bass on "Song for Claire," a sweetly nasty number for Weckl's baby daughter.) 

The groove is inventive and a mile wide, and once again Buzz shines for artful deployment of his wah-wah. "Designer Stubble" sounds something like "Rock and Roll Hootchie-Coo," or another one of those thick Seventies rock grooves. Buzz, Buzz, we hardly know ye. Our favorite guitar savage leaves the scene for "Someone's Watching," a cloudy synthesizer thing (thanks to Oliver on keyboard) where Tavaglione chips in with some Kenny G-laden but effective soprano. "Transition Jam" is a vehicle for Kennedy: fluent funky electric bass lines at 60 mph. On "Rhythm Dance" Mr. Kennedy lays down a nice ostinato in a Stevie Wonder mode. He's earned his stripes. To round things out, "Big B Little B" is a playful, calm feature for Oliver. Then comes "Good Night," which takes the Band out the funky way it came in. These guys must have been listening to AM radio at the same time I was but they were listening harder. Weckl and Co. are good at what they do. ~ Robert Spencer  http://www.allaboutjazz.com/rhythm-of-the-soul-dave-weckl-concord-music-group-review-by-robert-spencer.php

Personnel: Dave Weckl (drums); Frank Gambale (guitar, electric guitar, 12-string guitar, electric sitar); Howard "Buzz" Feiten (guitar); Steve Tavaglione (soprano saxophone, alto saxophone, tenor saxophone); Bob Malach (tenor saxophone); Jay Oliver (keyboards); Tom Kennedy (acoustic bass).

Rhythm Of The Soul

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Jazz Nouveau - Reminiscing: A Collection Of Little River Band Songs

Bitrate: MP3@320K/s
Time: 43:52
Size: 100.4 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[3:21] 1. Playing To Win
[5:05] 2. Reminiscing
[6:14] 3. Night Owls
[3:01] 4. Down On The Border
[4:14] 5. Cool Change
[3:33] 6. Curiosity Killed The Cat
[3:57] 7. Home On A Monday
[4:57] 8. Happy Anniversary
[4:19] 9. Help Is On It's Way
[5:05] 10. Nosotros (We Two)

Reminiscing presents the best of the Little River Band performed by five superb guest female vocalists with each song given a unique soulful, jazz twist. Emma Pask, Evelyn Duprai, Danielle Blakey, Anthea White and Anita Spring, each agreed to the project - giving their voices in song to support Variety’s great work with kids across Australia. Jazz Nouveau, led by charismatic guitarist Joseph Calderazzo, are well known for turning pop songs into jazzy gems. Joseph is joined by an amazing group of musicians including New Zealand piano prodigy Charmaine Ford, rhythm king Dave Goodman on drums and Gary Holgate on double bass, Gordon Rytmeister on drums and Tony Azzopardi on percussion, all lending their talent to the album.

Reminiscing: A Collection Of Little River Band Songs

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The Dave Fleschner Trio - Creepin' Up

Bitrate: MP3@320K/s
Time: 60:28
Size: 138.4 MB
Styles: Soul-jazz
Year: 2010
Art: Front

[7:45] 1. Creepin' Up
[5:11] 2. Saf
[5:59] 3. If You Ever Say Goodbye
[9:54] 4. Bo Diddley Owes Me 80 Bucks
[6:18] 5. The Old Country
[8:36] 6. Feet Music
[9:48] 7. Byzantine
[6:55] 8. Brother

Soul-jazz, funk-grooves, clever writing and unique solos are the meat of this Hammond Organ based trio.

Dave Fleschner, resident keyboardist with the Curtis Salgado Band for six years, performs routinely around the world. Fleschner has performed with B.B. King, The Pointer Sisters, Steve Miller, The Mel Brown B-3 group and The Portland Symphony Orchestra, to name a few. He has toured internationally with Curtis Salgad0, John Nemeth, Karen Lovely and Earl Thomas and has released several albums as a band leader. Dave is in demand as a band-leader and as a side man, playing piano and Hammond B-3 with a deep understanding of American roots music.

Creepin' Up

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Caroline Henderson - Keeper Of The Flame

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 44:05
Size: 101,4 MB
Art: Front

(2:58)  1. Caravan
(3:38)  2. Keeper Of The Flame
(2:45)  3. It Hurts Me Too
(3:28)  4. Get Out Of Town
(2:59)  5. Nature Boy
(3:38)  6. Evolution
(3:02)  7. Ring Them Bells
(3:27)  8. Fever
(3:50)  9. The First Time Ever I Saw Your Face
(4:07) 10. Yesterday Is Here
(3:09) 11. This Is Love
(3:07) 12. Goodbye
(3:49) 13. For All We Know

A jazz and pop vocalist born in Stockholm, Sweden, on February 28, 1962, Caroline Henderson would move to Copenhagen in 1983 and become one of Denmark's top talents. Her first taste of fame and fortune in her new home came about in 1989, as part of the group RayDeeOh, with Maria Bramsen. That group soon came to an end, and Henderson was left to fend for herself. In 1995 she released the first of many albums, Cinemataztic, and began to work in television and film, as well as acting in plays. Her follow-up full-length, Metamorphing, hit stores in 1998, and was followed over the next ten years by five more albums, all of which (Dolores J in 2000, NAOS in 2002, Don't Explain in 2003, Made in Europe in 2004, and Love or Nothin' in 2007) built upon the success of their predecessors. In March of 2008 Henderson released album number eight, No. 8, which was a Top Five hit in Denmark. Apart from her commercial successes, Henderson also won Denmark's Grammy for Best Vocal Recording in 2007 for her work on the album Love or Nothin'. Bio ~ https://itunes.apple.com/dk/artist/caroline-henderson/id57323967#fullText

Caroline Hendersons 9th solo album “Keeper of the Flame” is released on the 26th of October 2009. The album picks up from her previous release “No. 8?, which received brilliant reviews and sold more than 30.000 copies. On “Keeper of the Flame” Caroline Henderson interprets a range of classic jazz standards by legends such as Cole Porter, Duke Ellington and Nina Simone, the latter originally behind the title track. The album also features interpretations of songs by contemporary artists like Bob Dylan, Tom Waits and PJ Harvey, alongside the track “Evolution” the only newly composed number, written by Caroline Henderson herself. The wide-ranging material Caroline Henderson chose for this album, has in the hands of her and some of the most talented musicians in Denmark churned out an altogether solid and sophisticated album. Once again Caroline Henderson and producer Anders Christensen has managed to create a unique sound without comparison. More..http://carolinehenderson.com/2009/10/01/keeper-of-the-flame/

Keeper Of The Flame

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Dave Grusin - Two For The Road: The Music Of Henry Mancini

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 47:41
Size: 112,3 MB
Art: Front

(4:41)  1. Peter Gunn
(4:37)  2. Dreamsville
(4:23)  3. Mr. Lucky
(4:11)  4. Moment To Moment
(3:57)  5. Baby Elephant Walk
(5:35)  6. Two For The Road
(5:28)  7. Days Of Wine And Roses
(4:56)  8. Hatari
(4:54)  9. Whistling Away The Dark
(4:56) 10. Soldier In The Rain

Jazz has always loved the music of Henry Mancini and, lately, quite a few albums have been released in tribute to the late film composer. But this one makes sense: a film composer with a vivid imagination and a deep respect for jazz gets interpreted by a jazz player who himself has scored many films over the last 30 years. Grusin, in his third of recent tribute discs (Duke Ellington and George Gershwin were the others), is very well suited to this music. He sticks to piano throughout, and much of the disc has such a relaxed, quiet feel album that it feels like a late-night piano-trio session. The highlights here are all ballads and serve to illustrate how melodically gifted and accessible Henry Mancini's music is. What's more noticeable, though, is how sensitive Grusin is to this music. He clearly loves it, and the beauty and lightness of his touch  which may have sounded a little too studied in the past is appropriate here. The trio, ideally configured with John Patittucci on bass and Harvey Mason on drums, waxes eloquent on the disc's best track, "Mr. Lucky" and a terrific version of "Days of Wine and Roses." Strings are added to good effect for "Moment by Moment" (a nice surprise), "Hatari" (with good tom work from Mason) and "Two for the Road." 

A small horn section weighs in to funk up the unnecessary up-tempo numbers, "Peter Gunn" and "Baby Elephant Walk." Interestingly, Grusin approaches these tunes on his own terms, as if he wrote them for one of his own films. Vocalist Diana Krall is added for "Dreamsville" and "Soldier in the Rain" and though she sounds fine (in a sweet, overproduced way), vocals seems very intrusive here especially on "Dreamsville," one of Mancini's most beautiful compositions and distract from the beauty of Grusin's performance. "Whistling in the Dark," from Darling Lili, is another after-hours mood piece ideally perfected by Grusin and featuring Tollack Ollestad on harmonica. Discs like this are often made because there's a built-in audience for the music. That's true here too. Fans of both Henry Mancini and Dave Grusin will enjoy Two for the Road. Piano jazz listeners, however, will also hear some choice playing from an unusually introspective Grusin here too. ~ Douglas Payne  http://www.allaboutjazz.com/two-for-the-road-dave-grusin-grp-records-review-by-douglas-payne.php

Personnel:  Gary Grant  (trumpet), Dan Higgins (saxophone), Diana Krall (vocals), Russell Malone (guitar), Eric Marienthal (saxophone), Andy Martin (trombone), Harvey Mason, Sr. (drums), Tollak Ollestad (harmonica), John Patitucci (bass), Tom Scott (saxophone)

Two For The Road

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Dan Barrett - Blue Swing

Styles: Trombone Jazz, Swing
Year: 2006
File: MP3@320K/s
Time: 72:04
Size: 167,7 MB
Art: Front

(5:16)  1. Victory Stride
(5:24)  2. Saturday Night Function
(4:01)  3. Christopher Columbus
(4:28)  4. Can This Be Love?
(4:53)  5. Russian Rag
(3:59)  6. Love Potion #9
(3:56)  7. Wedding Bell Blues
(5:30)  8. Ray's Waltz
(8:58)  9. Song Of The Wanderer
(5:17) 10. Nuages
(3:42) 11. C'Est Si Bon
(5:04) 12. Saratoga Shout
(4:02) 13. I Can't Face The Music
(7:28) 14. I Never Know

With a hand picked group of musicians, trombonist and arranger Dan Barrett’s Blue Swing debuts an outstanding swing band with the ever charming Rebecca Kilgore on vocals. Barrett has become a bit of a blue chip presence in the swing music world. Not only is he an excellent trombonist, but he is also a consistently interesting arranger with a sense of style. Rebecca Kilgore is in top form on "Can This Be Love?" She is silky sweet. She also does a good job with the corny lyrics of "Christopher Columbus." Her weakness for the slight and cute seems to have descended to new levels with Leiber & Stoller’s "Love Potion #9" and Laura Nyro’s "Wedding Bell Blues." At times, it seems this tremendously talented jazz singer is intent on singing high wire acts above the most dubious material. With an unerring sense of phrasing and rhythm, it is always a perverse thrill of sorts to hear her pull the rabbit out of the hat she consistently does, high wire and all. The band accompanies Kilgore beautifully. 

"Russian Rag" is a showpiece for some of the band’s strongest soloists. After the opening Brian Ogilvie clarinet statement, the music slides into low-key, classy Barrett trombone solo then into a fiery trumpet solo by Jon-Erik Kellso. Ogilvie returns as the music shifts into an extended New Orleans exchange at the end. This is a band that plays with ease and assurance with a wide range of resources, from the opening swing track "Victory Stride" to the Bigard/Ellington "Saturday Night Function" to Django Reinhardt/Jacques Larue "Nuages." Their bluesy "Ray’s Waltz" is one of the highlights of a stylistically diverse recording. Without a doubt I’ll be looking forward to this band’s next recording: a talented bunch, this Blue Swing. ~ Mike Neely  http://www.allaboutjazz.com/dan-barrett-and-blue-swing-blue-swing-arbors-records-review-by-mike-neely.php 

Personnel: Dan Barrett, trombone; Jon-Erik Kellso, trumpet; Brian Oglivie, clarinet & tenor sax; John Smith, soprano and alto sax; Eddie Erickson, guitar, banjo; Joel Forbes, string bass; Ray Sherman, piano; Jeff Hamilton, drums; Rebecca Kilgore, vocals.

Blue Swing

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Roland Kirk - Kirk In Copenhagen

Styles: Straight-ahead/Mainstream
Year: 1964
File: MP3@320K/s
Time: 38:30
Size: 88,2 MB
Art: Front

(5:23)  1. Narrow Bolero
(8:07)  2. Mingus-Griff Song
(5:43)  3. The Monkey Thing
(7:18)  4. Mood Indigo
(7:46)  5. Cabin In The Sky
(4:12)  6. On The Corner Of King And Scott Streets

To fully appreciate his artistry, Roland Kirk truly needed to be experienced live. Sure, playing three instruments at once is an incredible feat, but wouldn't it be great to have seen it? Unfortunately for most of us, we can only be satisfied with recordings such as this one from Club Montmarte, Denmark's famous jazz club. Live, Kirk barrels through tunes with an almost reckless abandon, making judicious use of the noisemaking possibilities of his various instruments and firing out long, squalling passages made possible by the circular breathing he mastered. Kirk was a performer who was very sympathetic to his audience, injecting humor through bawdy lyrics and the occasional nose flute licks and, this being an earlier recording, little of the politicizing that became his passion later on. Overall this is a prime example of Kirk's gifts as a musician. He was often criticized for being a carnival act, and certainly his ability to multitask brought out the showman in him in front of interested parties. 

But he was also a crafty improviser as well, and tunes like "Mingus-Griff Song" show his dedication to preserving the legacy of jazz by stitching all its manifestations into a patchwork quilt of influences. This 1963 date is a good representation of Kirk's work, but it has a couple of drawbacks. First, the sidemen seem under rehearsed, not having fully absorbed Kirk's method and hanging on by their fingernails whenever he solos, seeming to breathe a sigh of relief when he takes a break. Also, the levels aren't balanced: the drums are overmiked and the piano lacks the presence it requires. But one of the joys of jazz is bringing together musicians from different backgrounds different countries, even and watching the interplay that follows no matter what occurs. When it comes right down to it, all musicians speak the same language, and in the end this was the message that Kirk was preaching all along. ~ David Rickert  

http://www.allaboutjazz.com/kirk-in-copenhagen-roland-kirk-verve-music-group-review-by-david-rickert.php

Personnel: Roland Kirk - tenor saxophone, manzello, stritch, flute, nose flute, and/or siren whistle; Tete Montoliu - piano; Niels-Henning

Thank You Steve!

Kirk In Copenhagen

Kirk In Copenhagen

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Dexter Gordon - The Other Side Of Round Midnight

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 51:29
Size: 120,6 MB
Art: Front

(6:38)  1. Round Midnight
(4:38)  2. Berangere's Nightmare #2
(6:28)  3. Call Sheet Blues
(3:41)  4. What Is This Thing Called Love
(4:16)  5. Tivoli
(5:41)  6. Society Red
(4:29)  7. As Time Goes By
(7:47)  8. It's Only A Paper Moon
(7:46)  9. Round Midnight

One of two albums recorded on the set of the movie Round Midnight, The Other Side of Round Midnight features tenor-saxophonist Dexter Gordon (the star of the film) in a minor role, playing on just four of the nine numbers. However, the performances also feature Wayne Shorter on tenor and soprano, trumpeters Palle Mikkelborg and Freddie Hubbard, pianists Herbie Hancock and Cedar Walton, guitarist John McLaughlin, bassists Pierre Michelot, Ron Carter and Mads Vinding, drummers Billy Higgins and Tony Williams and (on "What Is This Thing Called Love") singer Bobby McFerrin, all of whom have their moments, both historically and musically. Not essential but interesting. ~ Scott Yanow  http://www.allmusic.com/album/the-other-side-of-round-midnight-mw0000188092

Personnel: Dexter Gordon (soprano & tenor saxophones); Bobby McFerrin (vocals); Wayne Shorter (soprano & tenor saxophones); Palle Mikkelborg, Freddie Hubbard (trumpet); Herbie Hancock, Cedar Walton (piano); Pierre Michelot, Ron Carter, Mads Vinding (bass); Billy Higgins, Tony Williams (drums).

The Other Side Of Round Midnight

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Chuck Hedges Quartet - No Greater Love

Styles: Clarinet Jazz
Year: 1992
File: MP3@320K/s
Time: 56:35
Size: 133,2 MB
Art: Front

(5:31)  1. There Is No Greater Love
(4:45)  2. My Old Flame
(5:38)  3. Samba Dese Days
(4:47)  4. I'll Be Seeing You
(4:48)  5. I'm Getting Sentimental Over You
(2:33)  6. Magnolia Rag
(7:17)  7. I Thought About You
(6:13)  8. Jitterbug Waltz
(5:36)  9. I Remember You
(3:37) 10. I Love You
(5:45) 11. Cheek To Cheek

Although he has been a top clarinetist for over 30 years and a popular attraction at classic jazz parties and festivals, clarinetist Chuck Hedges has had relatively few opportunities to lead his own record dates; in fact, this Arbors CD was his first session as a leader in nine years. Pianist Eddie Higgins (showcased on his "Magnolia Rag"), bassist Bob Haggart and drummer Gene Estes are swinging and supportive of Hedges, who is in top form on such numbers as "There Is No Greater Love," "Samba Dese Days," and "Cheek to Cheek." A superior advanced swing date. ~ Scott Yanow  http://www.allmusic.com/album/no-greater-love-mw0000029794

Personnel: Chuck Hedges (clarinet); Eddie Higgins (piano); Gene Estes (drums).

No Greater Love

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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

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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

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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

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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

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