Monday, February 23, 2015

Jackie McLean - Strange Blues/Presenting Jackie McLean

Size: 179,3 MB
Time: 77:20
File: MP3 @ 320K/s
Released: 1957/1955/2011
Styles: Jazz: Saxophone Jazz, Hard bop
Art: Front

Strange Blues:
01. Strange Blues ( 7:31)
02. Millie's Pad (11:15)
03. What's New ( 6:35)
04. Disciples Love Affair ( 6:48)
05. Not So Strange Blues ( 4:49)

Presenting Jackie McLean:
06. It's You Or No One ( 6:50)
07. Blue Doll ( 7:00)
08. Little Melonae ( 6:27)
09. The Way You Look Tonight ( 6:30)
10. Mood Malody ( 6:53)
11. Lover Man ( 6:37)

Strange Blues:
The last of the Jackie McLean Prestige sessions, this CD reissue has material from two different sets, but fortunately, the music is on a higher level than one might expect of "leftovers." "Strange Blues" is from a marathon quartet set that McLean had with pianist Mal Waldron, bassist Arthur Phipps and drummer Art Taylor as is a rendition of "What's New" that is an alternate version to the one included on Makin' the Changes. In addition, "Disciples Love Affair" and "Millie's Pad" match McLean with the tuba of Ray Draper (who contributed both songs), trumpeter Webster Young, pianist John Meyers, bassist Bill Salter and drummer Larry Ritchie, while the incomplete "Not So Strange Blues" is all McLean on an explosive blues with the rhythm section. A generally strong set chiefly recommended to Jackie McLean completists. ~Review by Scott Yanow

Presenting Jackie McLean:
Originally issued in 1955, this is Jackie McLean's debut date as a leader. The band includes Donald Byrd on trumpet (himself a young lion at the time), pianist Mal Waldron, Doug Watkins on bass, and drummer Ronnie Tucker. A standard late bebop and early hard bop date (but then again, hard bop was still fresh and new at the time, and McLean was at the forefront of it), the album is most notable for its two McLean originals: "Little Melonae" and the beautiful blues "Blue Doll." Mal Waldron's "Mood Malady" closes the set with a wonderful showcase of his own use of extended harmonic reaches inside a conventional hard bop tune. ~Review by Thom Jurek

Strange Blues/Presenting Jackie McLean

The Golden Gate Quartet - Live: 70 Years Around The World

Size: 168,8 MB
Time: 72:41
File: MP3 @ 320K/s
Released: 2005
Styles: Blues, Gospel, Soul
Art: Front

01. I Soon Will Be Done (2:49)
02. Swing Low (3:52)
03. Run On (3:12)
04. Child Of God (4:56)
05. Down By The Riverside (2:19)
06. Only Believe (4:27)
07. Cheer The Weary Traveler (2:55)
08. Gospel Train (2:34)
09. Hammering (3:34)
10. Hush Hush (4:57)
11. Higher Ground (3:24)
12. Sit Down Servant (3:54)
13. Joshua Fit The Battle (2:43)
14. My Pay (8:22)
15. Go Down Moses (3:48)
16. Religion (3:51)
17. Don't Pray (4:56)
18. Banana Boat Song (6:02)

Pioneer Virginia gospel/pop quartet of the '30s and '40s. Calling their innovative approach to sacred hymns "jubilee" singing, the Golden Gate Quartet, propelled by Willie Johnson and William Langford, enjoyed massive acceptance far outside the church. Their smooth Mills Brothers-influenced harmonies made the Gates naturals for pop crossover success, and they began recording for Victor in 1937. National radio broadcasts and an appearance on John Hammond's 1938 "Spirituals to Swing" concert at Carnegie Hall made them coast-to-coast favorites. By 1941 the Gates were recording for Columbia minus Langford, and movie appearances were frequent: Star Spangled Rhythm, Hollywood Canteen, and Hit Parade of 1943, to name a few. Some experiments with R&B material didn't pan out during the late '40s, and Johnson defected to the Jubilaires in 1948. The group emigrated to France in 1959; led by veteran bass singer Orlando Wilson, the Golden Gate Quartet's vocal blend is as powerful as ever. ~by Bill Dahl

Live: 70 Years Around The World

June Bisantz - It's Always You: June Bisantz Sings Chet Baker Vol. 2

Size: 98,9 MB
Time: 40:19
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. I Get Along Without You Very Well (2:39)
02. It's Always You (4:07)
03. Forgetful (2:25)
04. Everything Depends On You (3:17)
05. My Ideal (4:20)
06. Ev'ry Time We Say Goodbye (4:29)
07. So Che Ti Perdero (4:00)
08. You're Mine You (2:59)
09. I Don't Stand A Ghost Of A Chance (4:36)
10. Born To Be Blue (4:11)
11. The Night We Called It A Day (2:13)
12. Spring Is Here (0:58)

Singer and visual artist June Bisantz has co-written and produced several collections of vocal jazz including "Let's Fall in Love", a CD based on the work of legendary jazz musician Chet Baker. Her new release “It’s Always You”, a second Baker-inspired CD, features both familiar and obscure Chet Baker songs that span the course of his fascinating career. Bisantz sets a 1960’s jazz club mood with these tunes about love and longing, delivered in a voice that is “Cool and still full of emotion - just like Chet Baker” Hans-Bernd Kittlaus Jazz Podium Magazine, Germany.

Bisantz has performed and recorded with distinguished jazz musicians including Steve Swallow, Bob Moses, Paul Brown, Will Lee, Lou Soloff, Jerry Neiwood and Mike Stern. Reviews and articles about her work include People Magazine, USA Today, Downbeat Magazine, Jazziz Magazine, New York Newsday, the Boston Herald, Boston Globe, Hartford Courant, Connecticut Magazine and the New York Native.

She currently records and performs with Russian-born jazz/classical pianist and arranger Alex Nakhimovsky; guitarist and composer Norman Johnson; and master trumpeter Gabor Viragh.

It's Always You

Mart'nalia - Mart'nalia Em Samba! Ao Vivo

Size: 179,4 MB
Time: 76:26
File: MP3 @ 320K/s
Released: 2014
Styles: Brazilian Rhythms, Samba
Art: Front

01. Peço A Deus ( 2:27)
02. Mas Quem Disse Que Eu Te Esqueço/Acreditar/Sorriso Negro ( 5:02)
03. Coraçao Em Desalinho ( 3:05)
04. Casa Um Da Vila ( 2:04)
05. Volta Por Cima/Saudosa Maloca ( 1:51)
06. Maracangalha ( 1:23)
07. Chiclete Com Banana (Feat. Emicida) ( 3:07)
08. Quero Ver Quarta-Feira (Feat. Emicida) ( 4:35)
09. Quem Te Viu, Quem Te Ve ( 3:14)
10. Pra Que Chorar ( 2:36)
11. Feitiço Da Vila ( 2:41)
12. Saigon ( 2:48)
13. Um Dia Desses (Feat. Dandara Ventapane) ( 3:04)
14. Carol Ou Clarisse ( 3:15)
15. Aviao ( 3:25)
16. Samba A Dois ( 3:17)
17. Beija, Me Beija ( 3:14)
18. Casa De Bamba/Segure Tudo (Feat. Martinho Da Vila) ( 5:16)
19. Nhem Nhem Nhem/Madalena Do Jucu (Feat. Martinho Da Vila) (10:12)
20. Chega ( 3:23)
21. Sinto Lhe Dizer ( 3:44)
22. Tem Juizo, Mas Nao Usa (Feat. Pedro Luis) ( 2:31)

Daughter of sambista Martinho da Vila and singer Analia Mendonca (her name is a blend of parents' names), the singer was born in Vila Isabel, North Zone of Rio de Janeiro. Since childhood she was surrounded by music.

She began her professional career at age 16, doing backing vocals for her father beside her sister, Analimar. In the mid 1990s, she began making presentations on the circuit of bars, nightclubs and theaters in Rio de Janeiro, which culminated in the release of her album My Man, facing the samba. Since 1994, she joined the group Batacotô, who launched the Semba Ancestors. The artist was also the band's percussionist Ivan Lins.

Mart'nália had the privilege of becoming sponsored big names of Brazilian popular music thanks to her father. Caetano Veloso was the artistic director of her foot hard on my Samba, as well as composing the title track, and Maria Bethânia produced Menino do Rio From these two albums, Mart'nália began to attract greater media attention and have an agenda shows more established throughout the country, paving the way for international tours through Europe and Africa.

Mart'nalia Em Samba!

VA - Jazz Organ

Size: 244,1 MB
Time: 104:51
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Shirley Scott - Ain't Misbehavin' (3:30)
02. Jimmy Smith - The Sermon (7:39)
03. Jack McDuff - Loose Foot (5:04)
04. Bill Doggett - Mudcat (2:32)
05. Larry Young - Back Up (Remastered) (8:36)
06. Dr. Lonnie Smith - Seesaw (Remastered) (5:50)
07. Jimmy McGriff - Sho' Nuff (3:53)
08. Jimmy Smith - Fungii Mama (Remastered) (4:50)
09. Lou Donaldson - Caravan (5:20)
10. Jack McDuff - Butter (For Yo' Popcorn) (4:04)
11. Bill Doggett - Oo-Da (3:48)
12. Larry Young - Paris Eyes (Remastered) (6:37)
13. Jimmy McGriff - Swingin' The Blues (Remastered) (3:44)
14. Shirley Scott - Blue Bongo (3:01)
15. Pat Metheny - Dr. Slate (7:37)
16. Jimmy Smith - Motorin' Along (Remastered) (5:07)
17. Jack McDuff - Down Home Style (5:02)
18. Jimmy McGriff - M.G. Blues (4:55)
19. Grant Green - Luny Tune (7:39)
20. Shirley Scott - Ciao, Ciao (5:51)

Pepi Lemer, co-founder of the legendary jazz/fusion group ‘Turning Point’ is now launching her new cd and band ‘Back2front’. Pepi’s inspiration to find a repertoire of songs that could embrace her passion for latin rhythms, improvisation and intricate jazz patterns which could enable her to use her vocalese style of singing was the great American jazz guitarist Pat Metheny, and when he gave her permission to write lyrics to some of his compositions, her band was formed using his and other world composers songs.

She has created a driving, exciting percussive mix of jazz/latin fusion music using her remarkable vocal range and unique vocalese style.

She is using some of Britain’s finest jazz musicians for her new band and cd, these are: Peter Lemer (piano), Chris Lawrence (bass), Paul Robinson (drums), Gary Hammond (percussion), Richard Edwards (trombone), Derek Nash (sax), Pepi Lemer (vocals).

Jazz Organ

Pepi Lemer - Back2Front

Size: 132,4 MB
Time: 56:42
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Latin Jazz
Art: Front

01. Returning (Third Wind Minuano) (5:00)
02. Brazilian Dorian Dream (4:39)
03. Come With Me (Minuano) (5:53)
04. Just Kidding (5:53)
05. Golden Seal (6:18)
06. The Flame (Hadouk) (4:31)
07. Mambo Influenciado (5:01)
08. Lumbriga (1:27)
09. The Gathering Sky (7:12)
10. Childhood (In Her Family) (2:31)
11. One Night (Para Ti) (3:40)
12. Without You (You) (4:33)

Pepi Lemer, co-founder of the legendary jazz/fusion group ‘Turning Point’ is now launching her new cd and band ‘Back2front’. Pepi’s inspiration to find a repertoire of songs that could embrace her passion for latin rhythms, improvisation and intricate jazz patterns which could enable her to use her vocalese style of singing was the great American jazz guitarist Pat Metheny, and when he gave her permission to write lyrics to some of his compositions, her band was formed using his and other world composers songs.

She has created a driving, exciting percussive mix of jazz/latin fusion music using her remarkable vocal range and unique vocalese style.

She is using some of Britain’s finest jazz musicians for her new band and cd, these are: Peter Lemer (piano), Chris Lawrence (bass), Paul Robinson (drums), Gary Hammond (percussion), Richard Edwards (trombone), Derek Nash (sax), Pepi Lemer (vocals).

Back2Front

Lou Donaldson - The Natural Sound

Bitrate: MP3@320K/s
Time: 48:49
Size: 111.7 MB
Styles: Soul jazz, Hard bop, Saxophone jazz
Year: 1962/2003
Art: Front

[ 9:04] 1. Funky Mama
[ 5:10] 2. Love Walked In
[ 5:35] 3. Spaceman Twist
[10:11] 4. Sow Belly Blues
[ 5:32] 5. That's All
[ 5:23] 6. Nice 'n Greasy
[ 7:50] 7. People Will Say We're In Love

The Natural Soul finds Lou Donaldson delving deeply into soul-jazz, recording a set of funky, greasy instrumentals with only a few references to hard bop. Donaldson occasionally sounds a little awkward with the relaxed groove of The Natural Soul, as does trumpeter Tommy Turrentine, but the trio of guitarist Grant Green, organist John Patton, and drummer Ben Dixon keep things cooking. Green and Patton's solos often burn and are always invigorating, and Lou frequently matches their heights. The original compositions -- which form the bulk of the album -- aren't much more than blues and soul vamps, but they provide an excellent foundation for the combo to work hot grooves. And, in the end, that's what The Natural Soul is about -- groove. It maintains the high standards Donaldson established with his first soul-jazz foray, Here 'Tis, and remains one of his best records in that genre. ~Stephen Thomas Erlewine

The Natural Sound

Shannon Whitworth & Barrett Smith - Bring It On Home

Bitrate: MP3@320K/s
Time: 44:40
Size: 102.3 MB
Styles: Vocal, Alternative folk, Jazz
Year: 2012
Art: Front

[3:33] 1. Bring It On Home To Me
[3:20] 2. Moonglow
[3:34] 3. You Can Close Your Eyes
[4:07] 4. Duncan
[2:58] 5. I Get Ideas (When We Are Dancing)
[3:24] 6. Louise
[2:51] 7. Sway
[3:45] 8. Bird On The Wire
[4:26] 9. Corcovado (Quiet Nights)
[3:44] 10. Green Grass
[4:56] 11. I'll Be Your Lover, Too
[3:58] 12. You Are My Sunshine

Like musical genre, the release of music has become progressively atomized in the past 25 years. Long gone is the ritual ministry of going to a record store to buy an album. Albums, those often painstakingly conceived collections of songs, are gasping their Chain-Stokes last breath at the hands of a generation used to downloading the newest single mp3 recorded in someone's basement using an iPad, the result posted on YouTube. No liner notes, no story, only an effete bunch of too-hip- for-their-own-good writers blogging that this is the new "thing" using the internet as the new word-of-mouth (read that propaganda machine) to decrease the signal-to-noise ratio to just noise.

But, there remains signs of life in the LP, the "album-length" media of the moment. Jazz and classical music may be the only thing between the album and oblivion. That and a good idea. Singers Shannon Whitworth and Barrett Smith, beneath the guise of the Shannon Whitworth Band, did some opening dates for the Tedeschi Trucks Band, revealing a beautifully tranquil and entertaining set of originals and covers readily appealing to those of a certain age (the late Baby Boom). The two touted a new recording they had just made, one devoted to their favorite songs. Now, that is a concept for an album and its title is Bring It On Home.

The single best description of the music Whitworth and Smith make is warm honey infused with opium: both pure and wholesome, while being a bit, how should we say, bohemian. At first blush, this music resembles that of Canada's Cowboy Junkies of the late 1980s, but without the dead seriousness. Relaxed and confident, Whitworth and Smith work their way across an almost 100-year landscape of music that is the crowning achievement of the song writer's craft. They so so with quiet percussion and carefully chosen accompaniment that makes this perfect listening music: appealing to both nostalgia and the appreciation of fine music making.

This disc opens with a spirited reading of Sam Cooke's "Bring It On Home To Me." Whitworth and Barrett have a certain empathy that works on several different levels. They harmonize well together, behind Barrett's "Mr. Postman" Fender Telecaster guitar playing, never too many notes only those necessary, well presented. Okay, that song was circa 1962. The pair jumps back 30 years to the Depression era popular song written by Irving Mills and Eddie DeLange. The song is perfection, until the pair jump ahead 40 years and perform James Taylor's "You Can Close Your Eyes" like it was their own with cellist Melissa Hyman providing that perfect American continuo undercurrent.

From James Taylor to Paul Simon and that composer's introspective "Duncan" from Paul Simon (Columbia Records, 1972). Barrett sings lead and Whitworth provides harmony vocals and a banjo, buoyed by Hyman's cello and Nicky Sander's violin, deriving from this American song all of its Americana. The recording's emotional center is found in the 1927 tango written by Argentinian Julio Cesar Sanders, "I Get Ideas (When We Are Dancing)." Whitworth pours the honey (yes, that same honey) on slow while strumming her ukulele and purring her way through the sexiest lyrics allowable in the Jazz Age.

The disc's apex is the humid and sensual "Corcovado (Quiet Nights)." Whitworth and Barrett divide the vocal duties, with Barrett singing Portuguese and tenor saxophonist Jacob Rodriguez reminding us why Stan Getz was so important. Bring It On Home is that hidden diamond that may be the best recording to cross this desk all year. ~C. Michael Bailey

Shannon Whitworth: vocals, guitar, ukelele; Barrett Smith: vocals, guitar; Mike Ashworth: bass, organ; Jeff Site: drums; Michael Libramento: guitars, piano; Justin Ray: trumpet; Melissa Hyman: cello; Nicky Sanders: violin; Jacob Rodriguez: tenor saxophone; Nate Leath: violin.

Bring It On Home

Miles Davis - Take Off: The Complete Blue Note Albums (2-Disc Set)

The 2014 double-disc anthology Take Off: The Complete Blue Note Albums compiles tracks jazz trumpeter Miles Davis recorded for Blue Note Records during the '50s. These are recordings made after Davis left Prestige, but not including the 1949-1950 sessions later released as the classic 1957 album Birth of the Cool. Here, instead, we get recordings that were initially released as 10" LPs titled Young Man with a Horn, Miles Davis, Vol. 2, and Miles Davis, Vol. 3. Also included are all of the alternate takes that accompanied the original releases. Backing Davis on these sessions is a veritable who's who of future jazz hall of famers, including drummer Art Blakey, pianist Horace Silver, saxophonist Jackie McLean, and others.

These recordings were made during a comparatively fallow period in Davis' career, just as he was emerging from his initial bout with heroin addiction. Here, cuts like the sanguine "Yesterdays" and the poignant "It Never Entered My Mind" reveal a darker, if no less melodic, version of the trumpeter who had previously paid his dues, chasing the shadow of Dizzy Gillespie in Charlie Parker's quintet. In fact, Davis tackles several Gillespie-associated compositions here, including "Woody 'N You" and "Ray's Idea," delivering them in his own understated, if no less bravura, style. This is the beginning of Davis the minimalist, eschewing flowery asides for straightforward, unadorned melodic line readings and improvisations played in a vibrato-free eighth-note style. In that sense, these cuts prefigure the more aggressive hard bop and harmonically challenging post-bop of the '60s; styles that Davis later helped to innovate with his "first great quintet." Ultimately, the tracks on Take Off: The Complete Blue Note Albums point the way toward Davis' landmark Columbia albums that transformed him from one of the best jazz trumpeters on the N.Y.C. scene into an international superstar. ~Matt Collar

Album: Take Off: The Complete Blue Note Albums (Disc 1)
Bitrate: MP3@320K/s
Time: 43:12
Size: 98.9 MB
Styles: Hard bop, Trumpet jazz
Year: 2014

[4:10] 1. Dear Old Stockholm
[3:01] 2. Chance It
[3:42] 3. Yesterdays
[3:11] 4. Donna
[3:22] 5. Would'n You
[4:38] 6. How Deep Is The Ocean
[3:15] 7. Kelo
[3:20] 8. Enigma
[3:41] 9. Ray's Idea
[3:48] 10. Tempus Fugit
[3:31] 11. C.T.A
[3:27] 12. I Waited For You

Take Off: The Complete Blue Note Albums (Disc 1)

Album: Take Off: The Completeblue Note Albums (Disc 2)
Bitrate: MP3@320K/s
Time: 53:26
Size: 122.3 MB
Styles: Hard bop, Trumpet jazz
Year: 2014
Art: Front

[3:37] 1. Take Off
[4:01] 2. Lazy Susan
[4:29] 3. The Leap
[5:21] 4. Well You Needn't
[4:41] 5. Weirdo
[4:01] 6. It Never Entered My Mind
[2:52] 7. Chance It (Alternate Take)
[3:08] 8. Donna (Alternate Take)
[3:21] 9. Woody'n You (Alternate Take)
[3:26] 10. Kelo (Alternate Take)
[3:24] 11. Enigma (Alternate Take)
[3:48] 12. Ray's Idea (Alternate Take)
[3:55] 13. Tempus Fugit (Alternate Take)
[3:15] 14. C.T.A. (Alternate Take)

Take Off: The Completeblue Note Albums (Disc 2)

Roberto Menescal - Eu E Cris (with Cris Delanno)

Bitrate: MP3@320K/s
Time: 41:21
Size: 94.7 MB
Styles: Latin jazz
Year: 2013
Art: Front

[2:08] 1. 's Wonderful
[3:42] 2. Retrato Em Branco E Preto
[4:05] 3. Eu E A Musica-Tá Oquei
[4:08] 4. Outra Vez
[3:58] 5. Roxanne
[3:17] 6. Sabe Você
[3:51] 7. Estate
[4:35] 8. Abraço Vazio
[4:11] 9. Body And Soul
[2:09] 10. Saudade Fez Um Samba
[5:11] 11. Corazon Partio

“EU E CRIS” estreou em novembro de 2003, no Rio de Janeiro, com o patrocínio da Unimed-Rio com enorme sucesso de público e mídia. Desde então, Menescal e Cris vêm encantando a platéia de todo o Brasil e o mundo.

O repertório de Eu e Cris inclui bossa-nova, rock, blues, pop e jazz, destacando “Eu e a Música (TÁOQUEI)” que Roberto Menescal e Aldir Blanc compuseram há dez anos, especialmente para Cris Delanno no primeiro show solo da cantora. Canções de Tom Jobim, Carlinhos Lyra, Chico Buarque, Isolda, Vinícius de Moraes se misturam às de Sting, George Gershwin, Alejandro Sanz, Bruno Martino.

Eu E Cris

Jess Abrams - Cat Stevens Reconstructed

Bitrate: MP3@320K/s
Time: 36:14
Size: 83.0 MB
Styles: Contemporary folk-jazz
Year: 2013
Art: Front

[4:17] 1. Father And Son
[5:39] 2. Wild World
[3:26] 3. Sitting
[5:41] 4. How Can I Tell You
[4:50] 5. Where Do The Children Play
[4:49] 6. Popstar
[4:37] 7. If I Laugh
[2:52] 8. The Wind

Wild World, Father and Son, How Can I Tell You, The Wind and more… The works of Cat Stevens reinterpreted by New York vocalist Jess Abrams. 'Abrams finds her own meaning in each lyric and makes it her own' (Jazz UK). 'Invites you in and makes you feel so good you won't want to leave… A stone delight' (Jazzwise Magazine). Jess, accompanied by piano and bass, will surprise and enchant you with unique interpretations of the songs of one of the most beloved songwriters of the 1970s. Join us, it's a wild world…

Cat Stevens Reconstructed

Clark Terry - Live at the Village Gate

Styles: Bop, Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 60:33
Size: 139,0 MB
Art: Front

( 6:00)  1. Top & Bottom
( 6:16)  2. Keep, Keep, Keep On Keepin' On
( 9:00)  3. Silly Samba
( 8:41)  4. Pint of Bitters
( 6:41)  5. Sheba
( 3:31)  6. Brushes & Brass
( 9:16)  7. Simple Waltz
(11:04)  8. Hey Mr. Mumbles

Flugelhornist Clark Terry, three weeks shy of his 70th birthday at the time of this live performance, sounds very much at the peak of his powers throughout Live at the Village Gate. Teamed up with old friend Jimmy Heath, who doubles on tenor and soprano, pianist Don Friedman, bassist Marcus McLauren and drummer Kenny Washington (altoist Paquito D'Rivera guests on "Silly Samba"), Terry performs eight little-known originals. The tunes are all fairly basic, but they inspire these talented musicians to some of their best playing. The hard-swinging music, which includes a trumpet-drums duet on "Brushes & Brass" and some singing from the audience on "Hey Mr. Mumbles," is quite enjoyable, and among the most accessible type of jazz. ~ Scott Yanow  http://www.allmusic.com/album/live-at-the-village-gate-mw0000269023

Personnel: Clark Terry (trumpet, flugelhorn); Jimmy Heath (soprano saxophone, tenor saxophone); Paquito d'Rivera (alto saxophone); Don Friedman (piano); Kenny Washington (drums).

R.I.P
December 14, 1920/February 21, 2015

Jacqui Naylor - You Don't Know Jacq

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 62:13
Size: 142,9 MB
Art: Front

(3:26)  1. How Deep Is Your Love
(3:29)  2. This Is the Spot
(4:40)  3. Something Cool
(3:03)  4. Shelter
(2:44)  5. Rise Up
(3:00)  6. My Funny Valentine
(5:15)  7. Ain't No Sunshine
(2:49)  8. City By the Bay
(3:20)  9. Summertime
(3:23) 10. Celebrate Early and Often
(5:01) 11. Losing My Religion
(5:36) 12. Black Coffee
(3:34) 13. Dreamin' Big With You
(3:21) 14. Thank You Baby
(5:37) 15. Tell Me More and More and Then Some
(3:47) 16. Miss You

You Don't Know Jacq is all about Jacqui Naylor, exemplifying her vocal range, warm voice, interpretive qualities and style "Acoustic Smashing," which, in essence, means jazz standards done along rock/pop rhythm lines, or vice versa. The disc features new arrangements of the most requested songs from her previous six albums, as well as new material including the first single, "Celebrate Early and Often," now being used for many a wedding across the United States. You Don't Know Jacq is a fulfilling experience, showcasing Naylor's vocal ability and her talent for telling a story. No matter what musical context she puts herself in jazz, pop or rock she will turn it into a captivating narrative. She does so over a selection of songs from various musical styles. Naylor's specialty is tying the knot between clashing worlds of music, and she makes it work so wonderfully, giving new meaning to the tunes she interprets. Opening with the Bee Gees' "How Deep Is Your Love," Naylor makes it work with her unique and unusual phrasing. 

Never falling into the apparent traps of interpreting one of pop's most well-known and often-covered songs, she alters the feel, turning it into a true jazz song. She then takes a Doors-like approach to the Gershwin classic "Summertime," with Hammond organ a vital part of the accompaniment and a number of musical riffs familiar to Doors fans. Again, she makes it work; not as a tender/mellow piece but as a powerful and hot song running on overdrive. R.E.M.'s beautifully lyrical "Losing My religion" is delivered with unique phrasing and a slow Latin rhythm, the violins making it even more romantic and Naylor's R&B phrasing adding to the dramatic tension. "Black Coffee" features a new fusion bass line until the bridge, where Naylor brings the tune back to mainstream jazz. 

Sometimes a ballad with just piano accompaniment is enough, and here Naylor's voice is so rich, her phrasing is so enticing, that the song becomes both refreshing and relaxing. The most surprising arrangement is "My Funny Valentine," with a rubato gypsy violin intro fading into a smashing AC/DC rhythm section, reminiscent of a chase/thriller movie. "Ain't No Sunshine" is another standout, filled with positive energy. Naylor turns what most interpret as a torch song into a perfect and powerful song of hope. ~ Guy Zinger  http://www.allaboutjazz.com/you-dont-know-jacq-jacqui-naylor-ruby-star-records-review-by-guy-zinger.php
 
Personnel: Jacqui Naylor: vocals; Art Khu: acoustic guitar, electric guitar, piano, organ, background vocals; Michael Romanowski: acoustic guitar, recorder; Yoon Ki Chai: violin; Jon Evans: bass; Josh Jones: drums, percussion.

Hampton Hawes - For Real !

Styles: Hard Bop, Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 45:43
Size: 104,9 MB
Art: Front

( 6:14)  1. Hip
( 9:20)  2. Wrap Your Troubles In Dreams
( 6:44)  3. Crazeology
( 8:04)  4. Numbers Game
(11:20)  5. For Real
( 3:58)  6. I Love You

Although For Real! was at least Hampton Hawes' 11th record as a leader, it was his first (and one of his relatively few) that included a horn player. The pianist matches quite well with the hard bop tenor of Harold Land (heard in his early prime), and the quartet outing, which also includes drummer Frank Butler, has an extra bonus in the playing of the brilliant bassist Scott LaFaro. Performing three bop standards (including "Crazeology") and three originals (two of which were co-written by Land), pianist Hawes sounds inspired by the other players and is in top form throughout the generally memorable outing. 
~ Scott Yanow  http://www.allmusic.com/album/for-real!-mw0000201517

Personnel: Hampton Hawes (piano, keyboards); Harold Land (tenor saxophone); Frank Butler (drums); Scott LaFaro (bass).

Sunday, February 22, 2015

Nils Pollheide - Count On Me

Size: 135,0 MB
Time: 58:15
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Hammond Organ, Guitar Jazz
Art: Front

01. Mr. Goldo (5:22)
02. Four On Six (6:51)
03. Gut Gelaunt (7:38)
04. Sunday (5:50)
05. Sleven (6:13)
06. Your Sweet Love (2:53)
07. Hanging With M (6:26)
08. Count On Me (8:13)
09. Shorty (6:29)
10. Outro (2:15)

It seems to become a real organ-guitar renaissance. The latest sign is the Larry Coryell Organ Trio with Sam Yahel on the Hammond B3 organ and Paul Wertico, drums. And this 74 years after Laurens Hammond invented the Hammond B3 organ in Chicago.

Also in Germany something is happening. Guitar player Nils Pollheide of Osnabrück released a new CD with Dirk Schaadt an the Hammond B3 and Etienne Nillesen on the drums. His piece of silver "Count On Me" makes people take notice.

The group presents modern jazz with an extraordinary sound. With swinging, rhythmical, tricky but melodious compositions the Nils Pollheide Trio shoots up the sound of the Hammond trios of the 60s into the present. Its debute album "Count On Me" is built on various styles. First the musicians show by whom they have been influenced. In Dirk Schaadt´s composition "Mr. Goldo" you recognize Larry Goldings, his arrangement of Wes Montgomery´s "Four On Six" is a special reference of Pollheide for the doyen, in "Gut gelaunt" you hear the groove tradition of the Hammond trios in the 60s.
Then the album is getting more and more modern. Pollheide´s compositions show a wide range - from the peaceful ballad and the acoustic solo to an experimental loop orgy.

The concept works, as even Michael Sagmeister, Germany´s most renowned jazz guitarist said with the words: "A good album of a highly talented guitar player".

Count On Me

Janet Planet - Love Letters From Cary Bluff: The Music Of Chris Swansen

Size: 143,7 MB
Time: 61:44
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals, Crossover Jazz
Art: Front

01. Baby, You And Me (2:46)
02. Bottom Line (4:34)
03. Crazy Horse (5:06)
04. Elis (8:02)
05. Enfield Surge (5:31)
06. Get Away Blue (5:24)
07. Look Alive (3:27)
08. Love Beyond Time (4:34)
09. Maybe You Will Hear Me (4:04)
10. Moondog, Can You Hear Me (5:41)
11. Once You Know She's Gone (5:11)
12. Take That (3:23)
13. Yellow Soled (3:54)

Jazz musician Chris Swansen, innovator, composer, genius, helped to develop early use of MOOG Synthesizers in jazz music. Grammy nominated composer featured with jazz saxophonist Phil Woods. This a collection of songs written specifically for jazz singer Janet Planet and features inventive arrangements and performances by a host of top jazz musicians. "Voice of the new jazz culture amazingly powerful with seemingly limitless expression" Jazziz Magazine "Planet defies expectation, anything she graces with her vocal chords benefits" Cadence Magazine.

Featured artists: Janet Planet (vocal), Nancy King (vocal), Steve Christofferson (piano), Matt Turner (cello/piano), Ike Sturm (bass), Ziv Ravitz (drums), Lee Tomboulian (piano), Tom Washatka (saxophones), Woody Mankowski (saxophones), Marc Jimos (saxophones) Brian Lydeen (saxophone) Matt Blanchard (saxophone), Dave Graf (trombone), Cully Swansen (bass), Mark Urness (bass), Dane Richeson (drums), Danny Lueck (drums), John Gibson (bass), Ryan Ferreira (guitar), Kelvin Kasper (guitar), Gene Bertoncini (guitar), Tom Theabo (guitar) Jason Kruk (drums), Marty Robinson (trumpet). A labor of love to a genius.

Love Letters From Cary Bluff

Seamus Blake Quartet - Live In Italy

Size: 123,1+125,4 MB
Time: 53:29+54:25
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz: Modern Jazz
Art: Front

CD 1:
01. The Jupiter Line (11:59)
02. Way Out Of Willy (10:52)
03. String Quartet In G Minor (17:10)
04. Fear Of Roaming (13:26)

CD 2:
01. The Feeling Of Jazz (11:26)
02. Spacing (10:23)
03. Ladeirinha ( 8:10)
04. Darn That Dream (13:02)
05. Dance Me Home (11:22)

Back in 2002, Seamus Blake established himself firmly as tenor player of interest with a first place finish in the prestigious Thelonious Monk International Jazz Saxophone Competition. Since then, his rapidly growing discography, as well as collaborations with artists like John Scofield, suggests that the attention is well-deserved.

Even still, Blake's first live release represents a major step forward for the saxophonist. This two-disc set, culled from several shows in Italy, finds him cutting loose with a quartet that sounds as good as any working the music today. Featuring the superb rhythm section of pianist David Kikoski
, bassist Danton Boller and drummer Rodney Green, Blake's tenor clicks like a lock into multiple sets of diverse and exciting tunes.

The four originals, including Blake's "The Jupiter Line" and "Fear of Roaming," offer great melodies and solo work, while the standards offer opportunities for sensitive reinvention. "Darn That Dream" opens with a lush, unaccompanied tenor statement that suggests the influence of Sonny Rollins
and Michael Brecker. The group then launches into a rendition filled with romance and originality, and doesn't have to overreach for either.

The same sensitivity can be found in an arrangement of Debussy's "String Quartet in G Minor." This redesigned piece features light, dynamic playing from the rhythm section, while Blake reaches his altissimo with a sweetly classical intonation. Another virtuoso display of explosive melody from the piano crescendos into sax work that's all fire, before giving way to a gorgeous, minimalist bass solo.

Blake demonstrates a wonderful ear for melody throughout. His solos are always developing, and the results are frequently as fun and catchy as any head. And while his agility and command will certainly inspire some awe, he plays with soul—never losing sight of the larger musical picture in a flurry of technical push-ups.

His upbeat "Way Out of Willy" grooves along on a tight funk groove from the drums and piano. For his solo, Blake uses wah-wah and other effects to turn himself into a horn-guitar hybrid. Few musicians can pull this kind of thing off without descending into gimmickry, but Blake's raw virtuosity and artful sense of tone-play keep things cooking. Kikoski, who consistently matches the leader with ecstatic keyboard work and an incredible rhythmic vocabulary, rises to the challenge of the electric sax with a statement full of acoustic funk. Starting out simply, he alternates dizzying runs with intricate, foot-stamping beats that build to a fevered intensity, before Blake returns to cool things down.

This is a quartet that makes every tune sound easy, and it sounds even better thanks to a superb recording job. As exhilarating as a shot of espresso, this album should rank among the best of 2009. Even more exciting will be seeing what comes next for Blake and his quartet, wherever they play. ~Warren Allen

Personnel: Seamus Blake: tenor saxophone; David Kikoski: piano; Rodney Green: drums; Danton Boller: double-bass.

Live In Italy CD 1
Live In Italy CD 2

Birgitte Soojin - Hi-Lo

Size: 100,9 MB
Time: 41:04
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz Vocals
Art: Front

01. You Turned The Tables On Me (3:35)
02. Come Sunday (5:37)
03. Hi-Lili, Hi-Lo (3:49)
04. When Your Lover Has Gone (3:57)
05. Nobody's Fault But Mine (4:23)
06. Street Of Dreams (4:26)
07. Just Squeeze Med (4:11)
08. Darn That Dream (4:42)
09. Born To Be Blue (6:21)

Birgitte Soojin is a Korean-born, Norwegian-raised jazz vocalist, who currently lives in Denmark. Her debut album, ‘Hi-Lo’, is an elegant, assured reworking of American songbook standards, from the Thirties to the Fifties.

Her voice, sultry, expressive, with great technical agility, is perfect for these songs, into which she breathes fresh life - aided by a fine band that includes : Jakob Dinesen on tenor sax, Ben Besiakov on piano and Mads Hyhne on trombone.

The album was produced by Birgitte with Jacob Dinesen, and was nominated for a Danish Music Award.

Hi-Lo

Jorge Moniz - Inquieta Luz

Size: 124,4 MB
Time: 53:34
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Contemporary Jazz, Jazz Folk
Art: Front

01. Interruptor (3:35)
02. Neblina (8:16)
03. O Desvio (4:51)
04. Aurora Tem Um Menino (6:47)
05. Infusao (5:35)
06. A Dança Dos Veus (4:12)
07. Porque Nao Me Ves (6:53)
08. Chula Quebrada (5:52)
09. Vejle (7:30)

Inquieta Luz (Restless Light), by a band fronted by Portuguese drummer Jorge Moniz, explodes like a firework in all directions.

The opener, "Interruptor," is electronic and discordant, having the same sort of effect on the listener's sensibilities as fingers scraping down a blackboard.

After this—mercifully—things get very much better. The second track, "Neblina," is fusion à la In A Silent Way, featuring lilting, meditative piano from Luis Figueiredo and soaring guitar by Mario Delgado.

With "O Desvio (The Deviation)," there are echoes from the early days of rock 'n' roll and guitar heroes like Link Wray and Bill Justis. Delgado lays down a simple but catchy hook over a rocking beat supplied by the leader and Figueiredo comes on like a latter day Bill Doggett on organ. Yeah, man!

But the twang ain't the thang for long. It's on to the standout track, "Aurora Tem Um Menino (Aurora Has A Little Child)," a gentle folk song from the Alentejo region of southern Portugal, which features a beautiful, haunting vocal by Joana Espadhina and sees Delgado digging into his Iberian roots for a quite magnificent solo.

The song is from the "Cante Alentejano" repertoire, which has been declared an "intangible cultural heritage" by UNESCO.

"Infusao (Infusion)" is funky, almost danceable, with dark, sometimes almost sinister overtones. Like The Monster From The Black Lagoon meets (and attempts to devour) Ponyo.

"Porque Nao Me Ves (Why Not See Me?) is by Fausto, an important Portuguese singer/composer. It sounds on occasion like a hopped-up "Dancing Cheek To Cheek."

"Chula Quebrada (Broken Chula)" is based on the northern Portuguese musical form, Chula. It all goes a bit haywire towards close of play, but Moniz manfully instills order and takes his troops out to a marching beat.

While it goes off the rails now and again, Inquieta Luz is an interesting musical concoction and well worth a listen. ~Chris Mosey

Personnel: Jorge Moniz: drums; Luis Figueiredo: piano; Mario Delgado: guitar; Joao Custodio: bass; Joana Espadinha, Paulo Ribeiro: vocals.

Inquieta Luz

Charles Power - Imagination

Size: 137,0 MB
Time: 58:22
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Big Band, Swing
Art: Front

01. Imagination (3:05)
02. Almost Like Beimg In Love (1:37)
03. Brazil (3:13)
04. Fly Me To The Moon (2:28)
05. I Could Have Danced All Night (2:39)
06. I Love Paris (1:51)
07. In The Still Of The Night (3:26)
08. Just In Time (2:29)
09. Let's Face The Music And Dance (3:04)
10. Need You Now (4:28)
11. New York, New York (3:23)
12. Night And Day (3:52)
13. Send In The Clowns (3:41)
14. Summer Wind (2:39)
15. The Girl From Ipanema (3:23)
16. The Way You Look Tonight (3:21)
17. You And Me (4:09)
18. You Are The Sunshine Of My Life (2:31)
19. You're Gonna Hear From Me (2:57)

Change is inevitable. I saw the perfect example of impermanence at Sinatra's former home located on Bowmont Avenue in Beverly Hills. Despite the fact that the house is no longer owned by the Sinatra family, it sits regally poised atop a hill that is separated by a ravine from the Sultan of Bernais' palatial mansion. On the opposite side of the home is Sinatra's orange-hued bedroom with a panoramic view of Mulholland Drive in the distance. The home, which still echoes with parties that long ago ended, now stands silent and empty, unsure of its destiny. Vandals and souvenir hunters have grabbed what they could. Below the main house is the kidney-shaped swimming pool, a studio screening room in ruins and a sauna. Wallpaper with some of the Summit's favorite sayings still clings desperately to the bathroom walls next to the sauna. One can almost hear Sammy, Dean's and Frank's voices laughing and whispering about their latest conquests. That was another time. The Summit has since moved on to another playground.

Change may very well be inevitable, but that Power stays to sing. Sinatra may have moved on to a different watering hole, but Charles Power is timeless. The same Power that once manifested through Sinatra is now manifesting through Charles Power. He is not simply with the times. He is the times. Charles Power defies fad. He stays. He has known more and felt more about what a song really is. He is both the poet and the musician merged into one being. You cannot sing the way he does until you've been knocked around by Reality a few times. That is why Charles Power is such a gifted and intuitive performer. He has touched the dark depths of Reality and emerged a golden being. That is what makes Charles Power last, and improve. He leans into the front end of a song and starts singing all the way to "The End." There is no choppy phrasing along the way. The Voice emerges like the hum of a finely tuned Mercedes. Charles Power understands the game and plays it like the Master.

Whether he is standing in the middle of Sinatra's abandoned living room singing "It Was Just One Of Those Things" to the resident entities or playing to an audience of thousands in the middle of Madison Square Garden, Charles Power carries on from where Sinatra left off.

When Charles Power sings to you, he doesn't look at you. He looks about five inches behind your eyes. His eyes are slightly closed, closer to where the truth lives. If you must choose only one word to describe this phenomenon, then choose a word with five easy letters: TRUTH. The fact is that no singer comes as close. And that makes no one else quite as good.

Imagination