Richard Williams & Leo Wright Quintets - New Horn In Town + Blues Shout

Bitrate: MP3@320K/s
Time: 62:07
Size: 142.2 MB
Styles: Trumpet jazz, Saxophone jazz
Year: 2012
Art: Front

[6:16] 1. I Can Dream Can't I
[6:25] 2. I Remember Clifford
[4:58] 3. Ferris Wheel
[4:45] 4. Roucous Notes
[4:37] 5. Blues In Quandary
[8:43] 6. Over The Rainbow
[5:27] 7. Renita's Bounce
[5:00] 8. Blues Shout
[5:22] 9. A Night In Tunisia
[4:40] 10. The Wind
[5:51] 11. Two Moods

Tracks #1-7 are from the album “New Horn in Town” (Candid Stereo 9003). Recorded at Nola Penthouse Sound Studio, New York City, on November 19, 1960: Richard Williams, trumpet; Leo Wright, alto sax, flute, Richard Wyands, piano; Reggie Workman, bass; Bobby Thomas, drums.

Tracks #8-11 are taken from the album “Blues Shout” (Atlantic SD1358). Recorded in New York City, on May 25, 1960. Richard Williams, trumpet; Leo Wright, alto sax, Junior Mance, piano; Art Davis, bass; and Charlie Persip, drums. Gigi Gryce, arranger.

This CD features the leader recording premieres of trumpeter Richard Williams and reedman Leo Wright, whose emergence created quite a stir on the late Fifties jazz scene. Both played on each other’s debuts. Williams, whose power, range and ideas had impressed hugely with the Oliver Nelson and Gigi Gryce groups, made his expected appearance as leader with “New Horn in Town”, while Wright, whose direct, exciting alto and flute were showcased when he joined Dizzy Gillespie’s quintet in 1959, debuted with “Blues Shout”. Both were made in 1960 and fulfilled expectations of two rising young talents.

In these quintet sessions Williams displays his capacity for explosive and inventive playing, with the scope, sweep, conception, technique and the versatility of an assured young lion. Wright’s excellence is also self-evident, regardless of instrument; his style is straight-ahead, warm and emotional, uncluttered and flowing. To complete the success of these debut sessions, both rhythm sections provide vigorous, swinging support, with pianists Richard Wyands and Junior Mance adding further solo voices idiomatically on the button.

New Horn In Town + Blues Shout                

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Pat Martino - All Sides Now

Bitrate: MP3@320K/s
Time: 51:49
Size: 118.6 MB
Styles: Post bop, Guitar jazz
Year: 1997
Art: Front

[5:02] 1. Too High
[5:52] 2. Two Of A Kind
[5:34] 3. Progression
[4:42] 4. I'm Confessin' (That I Love You)
[3:09] 5. Ellipsis
[3:53] 6. Both Sides Now
[7:46] 7. Ayako
[5:14] 8. Two Days Old
[7:40] 9. Outrider
[2:52] 10. Never And After

The Blue Note Records debut by guitarist extraordinaire Pat Martino is spotty at best. It is primarily a series of duets and ensemble settings with a wide array of top notch guitarists spanning different genres. This recording was co-produced by jazz/fusion critic Bill Milkowski along with Matt Resnicoff. The feeling here is that Mr. Martino had been granted a minimal amount of artistic control from the onset. What we have here is something short of a hack job!

The CD commences with the Stevie Wonder tune "Too High". Charlie Hunter provides his trademark bass/leslie guitar shtick and Martino takes care of the single note runs; therefore, dictating the melody line. All in all a harmless and uneventful rendition of this generally delightful Wonder composition. The 2nd cut, a Martino original features the master along with Tuck Andress, Andress provides some sympathetic acoustic strumming behind Martino's airy electric lead. A nice tune but altogether uninspiring. The affair procedes with a Martino original called "Progression" in essence it's a duet between Kevin Eubanks on acoustic and Martino again, on the electric. Eubanks is mixed behind Martino's over the top electric. A fairly nondescript outing with Eubanks mainly comping in the background. These two guitar greats take on the chemistry of oil and water on this cut. The styles are so distinctly opposite and the listener feels that these two are off in different directions. A forgettable tune nonetheless. "I'm Confessin'" is an effective and low key effort between Pat and Les Paul. One tune with acoustic guitarist Micheal Hedges is pleasant but Hedges remains fairly low in the mix. "Ellipsis" is a totally negligible duet between Martino and rock guitar great Joe Satriani. Satriani is in the wrong neighborhood and the song never gets off the ground. These guys sounded as though they didn't want to be there but perhaps the producer's thought it was a novel approach? Satriani opens with some heavy metal type distortion than Martino enters with his his "as expected" single note runs at this juncture Satriani reduces his playing to remedial comping in the background. This is a disaster! A huge mistake. Satriani is a gifted stylist in his own right but had no business being here. Perhaps 2 or 3 days in the studio may have produced something more meaningful but I seriously doubt it. Things proceed with Martino backing Cassandra Wilson's vocal rendition of Joni Mitchell's "Both Sides Now". Two more cuts in a quartet setting with "chops of doom" guitarist Mike Stern. "Ayako" is a Martino original and along with Stern there finally seems to be a hint of chemistry in the air. The best cut on the CD, "Outrider" again features Stern along with drummer Ben Perowsky and Scott Colley on bass. This is a fast paced cut. Martino and Stern proceed at a blistering pace. Things finally get moving and we've reached the second to last tune on the entire CD. The final cut is another abysmal duet with Satriani.

Let's hope that Pat Martino enjoys a longstanding and prosperous relationship with Blue Note. He's one of the great guitarists of our time. Unfortunately, he's not off to a good start with this poorly produced and unadventurous recording. Martino doesn't blend very well with an onslaught of guitar heroes. His voice is too distinctive on the instrument. ~Glenn Astarita

Pat Martino: guitar; Tuck Andress: guitar; Les Paul: guitar; Joe Satriani: guitar; Mike Stern: guitar; Charlie Hunter: guitar; Cassandra Wilson: vocal; and various support. Recording Date: June 1, 1996 - January 15, 1997

All Sides Now

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Merle Haggard - Unforgettable

Bitrate: MP3@320K/s
Time: 40:41
Size: 93.2 MB
Styles: Country
Year: 2004
Art: Front

[3:07] 1. As Time Goes By
[3:30] 2. Gypsy
[3:02] 3. Unforgettable
[3:59] 4. Stardust
[3:18] 5. I Can't Get Started
[2:45] 6. Still Missing You
[3:21] 7. Pennies From Heaven
[3:58] 8. Cry Me A River
[3:05] 9. I'll Get By (As Long As I Have You)
[2:37] 10. You're Nobody 'til Somebody Loves You
[3:30] 11. What Love Can Do
[4:23] 12. Goin' Away Party

Merle Haggard is, as the great Duke Ellington used to say, "beyond category." Like the best, he is a genre-defying artist. There is a strong influence of both jazz and blues in Haggard's work, though it's usually labeled as country and western. For example, he phrases like a jazz singer and he features horns in his exceptional band, The Strangers—and, unlike almost all other country singers, he actually gives the band a chorus. Perhaps most importantly, he and the band swing. Like full-fledged jazz singers, Haggard phrases with the assurance of a singer who knows where the pulse is all the time.

Only now, however, as he approaches 68, has he decided to record a full set of standards from the Great American Songbook. Whereas jazz singers often search these old songs for a phrase or a melody they can elaborate and transform, Haggard lets the song do all the work; all he has to do is use his expressive voice to bring out the bruised tenderness present in most old songs, including "Stardust." In addition, he includes "As Time Goes By," and "I Can't Get Started," which are often selected by jazz-oriented singers. Haggard also swings gently through "Pennies From Heaven" (graced by Clint Strong's superb country-jazz guitar) and he brings new life to "Cry Me A River," exhibiting a world-weariness light years from Julie London's sultry original version. Haggard is not, of course, the first country artist to make this leap into standards. Willie Nelson, another C&W artist (and jazz fan), noted for his jazz phrasing, came out with his classic Stardust LP back in 1978; more recently, in 1998, country artist Lorrie Morgan, with her husky jazz timbre, released a CD titled Secret Love.

Unforgettable contains no surprises. Haggard is not stretching any envelopes, but this recording is filled with low-key piano-driven arrangements suited for a late-night smoky bar. Haggard's smooth and effortless voice, uncomplicated phrasing, and warm timbre give the lyrics a clear-headed beauty that is the hallmark of a performer with few pretensions. There are more technically gifted singers than Haggard, of course, but he does something that a lot of those technical singers cannot do, which is convey a helluva lot of truth and emotion. The key to anything touched by Haggard is honesty—whether he's explaining his sinful past in one of his own drinking and cheating songs, or breathing life into an old standard like "I'll Get By." ~Roger Crane

Joe Manuel: electric and acoustic guitar; Freddy Powers: drums, acoustic guitar; Kevin Price: cello; Joe Reed: bass; Clint Strong: electric guitar; Catherine Styron: piano; Redd Volkaert, acoustic guitar; Tony Savage: conductor, string arrangements; Terry Domingue, drums; Rose Katai, violin; Soo Kyong Kim, viola; Don Markum: saxophone, trumpet; Bruce McBeth, violin; B.B. Morse, bass; Bobby Wood, piano; Biff Adam, drums; Gary Church: trombone; Merle Haggard: electric guitar and vocals; other personnel.

Unforgettable

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Hollywood Blue Flames - Road to Rio (2-Disc Set)

The Hollywood Blue Flames emerged from the smoldering embers of The Hollywood Fats Band, arguably the best young blues band to come out of the 1970s, led by guitar phenomenon Michael “Hollywood Fats” Mann. Along with bassist Larry Taylor (fresh from Canned Heat), drummer Richard Innes (ex-Rod Piazza), Lloyd Glenn protégé Fred Kaplan on piano, and featuring the multi-talented Al Blake on harmonica and vocals, Hollywood Fats almost single-handedly ignited a traditional blues revival that still echoes loudly to this day. Whenever you hear the warm retro sounds of classic Chicago blues coupled with a swinging rhythm section and tasty-but-nasty guitar, you’re hearing the legacy of the Hollywood Fats Band. Sadly, Fats passed away unexpectedly in 1986, and the band members all went on to other successful musical ventures.

The Hollywood Blue Flames / Hollywood Fats Band music contained on “Road To Rio” and “Larger Than Life” stands on its own as some of the most enjoyable blues and roots music to be released in recent memory, but with the inclusion of the previously unheard live recordings, it’s also an important and historic document of musical geniuses whose likes we will not see again.

Album: Road to Rio Disc 1
Bitrate: MP3@320K/s
Time: 54:36
Size: 125.2 MB
Styles: Contemporary blues
Year: 2006

[3:45] 1. Road to Rio
[2:44] 2. Everybondy's Blues
[3:12] 3. Coffee Grindin' Man
[4:02] 4. Steady Rollin'
[3:53] 5. Long Black Cadillac
[3:04] 6. Gumbo Grinder
[2:52] 7. Gone Away
[4:19] 8. 3rd Degree Burn
[4:37] 9. Let's Rock a While
[2:38] 10. Dr. Blake's Boogie
[3:41] 11. Black Chili Pepper
[3:19] 12. Sharpest Man in Town
[2:24] 13. Junior's Boogie Rocket
[6:16] 14. Let Me Love You
[3:43] 15. Honeydripper

thank you kempen.
Road to Rio Disc 1

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Album: Road to Rio Disc 2
Bitrate: MP3@320K/s
Time: 61:55
Size: 142.0 MB
Styles: Contemporary blues
Year: 2006
Art: Full

[3:56] 1. Fats Fries One
[5:00] 2. Nasty Boogie Woogie
[4:43] 3. Baby Let's Play House
[4:06] 4. Side Tracked
[3:59] 5. Kidney Stew Blues
[5:19] 6. Cleanhead Blue
[6:45] 7. Shake, Rattle and Roll
[3:41] 8. Rockinitis
[3:37] 9. This Little Voice
[8:15] 10. Love for Sale
[6:52] 11. Boogie Woogie Blues
[5:36] 12. Motel Time

thank you kempen.
Road to Rio Disc 2

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Cheryl Russell - Quiet Nights

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 48:45
Size: 111,8 MB
Art: Front

(4:11)  1. Corcovado (Quiet Nights Of Quiet Stars)
(4:30)  2. All The Things You Are
(2:57)  3. Misty
(4:44)  4. Gentle Rain
(3:50)  5. East Of The Sun (West Of The Moon)
(3:14)  6. Blue Moon
(3:33)  7. How Insensitive (Insensatez)
(5:44)  8. What Are You Doing The Rest Of Your Life
(6:13)  9. Let's Face The Music and Dance
(4:32) 10. Moon River
(5:12) 11. I Thought About You (Live)

Cheryl Russell is a graduate of the Queensland Conservatorium of Music at Griffith University, where she completed post-graduate Music Studies specialising in Vocal Pedagogy and Jazz Voice. She is a highly respected Singing Teacher and Vocal Coach working on the Gold Coast. Cheryl is also the proud owner of Gold Coast Sound City  Music Education, a highly successful music school on the Gold Coast.  http://www.reverbnation.com/cherylrussell

Cheryl Russell is a Singer and Vocal Coach from Australia whose rich warm voice delights audiences through her love of smooth, romantic jazz standards, sensual latin and bossa nova love songs and uplifting inspirational repertoire. Cheryl's voice has often been described as “smooth as silk”, “sultry & sexy”, “relaxing & intimate”. Cheryl is a graduate of the Queensland Conservatorium of Music based at Griffith University, Brisbane. Cheryl completed post-graduate Music Studies specialising in Vocal Pedagogy and Jazz Voice. For nearly ten years Cheryl has been teaching Popular Contemporary Singing from two busy studios on the Gold Coast and Hinterland. 

Cheryl is presently advancing further professional music studies at Central Queensland University. Cheryl is currently in the studio recording her debut album. This long anticipated album expresses Cheryl's love of romantic ballads from the 1930's & 40's along with some seductive Latin love songs. This blend of romance and sensuality creates a wonderfully intimate and dreamy listening experience. Perfect for lovers, and lovers of fine music.

Quiet Nights

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Susanne Menzel & Klaus Ignatzek - Mariposa

Styles: Vocal And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 61:02
Size: 140,4 MB
Art: Front

(5:02)  1. Things to Dig
(5:23)  2. Mariposa
(4:18)  3. Fort, Nur Fort
(5:37)  4. Between Lines
(3:59)  5. Rain in Vain
(3:55)  6. Time Will Tell
(4:39)  7. Whats the Use
(4:39)  8. Wishing (You) Well
(5:38)  9. View from Above
(4:37) 10. Sound of the Sea
(5:16) 11. Silent Reverie
(3:26) 12. Change of Time
(4:27) 13. Lifes Clover

Daring improvisation and a variety of moods and rhythms can listen as well as and the seamless interplay between the singer and pianist. "Mariposa" which are 13 beautiful songs where the music always comes from Klaus Ignatzek and lyrics of singer Menzel were written. Sometimes trendy and catchy, sometimes profound and poetic, these pieces are created, which always sounds through the Great American Songbook. There is no question here a duo presented a work that is full of emotion and the audience touched intensive. 

Klaus Ignatzek is a virtuoso pianist and experienced the European jazz scene and can refer to a variety of phonograms. His imaginative improvisations can be heard on "Mariposa". Susanne Menzel studied among others in the US jazz singing and performed in numerous bands as guest soloist with. Just as Ignatzek she teaches at the Carl von Ossietzky University in Oldenburg. On "Mariposa" she amazes with aesthetic phrasing and her delicate timing. "Mariposa" was recorded in the MPS studio in Villingen. Translate by google  http://www.klausignatzek.de/klaus-ignatzek/mit-susanne-menzel/

Personnel:  Susanne Menzel – vocals;  Klaus Ignatzek - piano

Mariposa

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Tim Warfield - Spherical

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 65:06
Size: 149,6 MB
Art: Front

( 8:59)  1. Blue Hawk
( 7:46)  2. Oska T
( 6:49)  3. That Old Man
( 5:48)  4. Gallop's Gallop
( 9:24)  5. Off Minor I
( 5:09)  6. Ugly Beauty
( 5:58)  7. Coming on the Hudson
(11:21)  8. Off Minor II
( 3:47)  9. 'Round Midnight

Thelonious Monk tribute albums are certainly nothing new in the jazz world. As early as 1961, Eddie "Lockjaw" Davis and Johnny Griffin recorded Lookin' at Monk and pianist Bud Powell recorded Portrait of Thelonious. Even while his career was still going strong, Monk's importance as a composer and influence on other jazz musicians was already clear. Today Monk's legendary status as one of jazz's most important figures is still clear. As far as I know, there is no hard data to back up the fact, but few jazz artists would argue with the claim that Monk is probably the most-covered jazz composer of all time. On this most recent outing, Spherical, saxophonist Tim Warfield tackles music written and inspired by Monk. With seven previous releases on the Criss Cross label and multiple appearances as a sideman, Warfield returns to the label with a cast of familiar names for his dedication to Thelonious Sphere Monk. Joining Warfield on this album is trumpet legend Eddie Henderson, making his first re-appearance on the label since 1998. 

Ben Wolfe and Clarence Penn take the bass and drums chairs, respectively. The choice of pianist is obviously an important one on any work dedicated to Monk, and Warfield could not have filled the position with a better choice than Orrin Evans. Without ever sounding like he is trying to directly emulate Monk, Evans channels the spirit and humor of his idiosyncratic playing. The album opens with Monk's slow swing blues "Bluehawk." Evans begins the soloing with a succinct but characteristic solo that centers around intervallic leaps and disjointed, crooked melodies. Warfield follows for an equally entertaining solo, creating an interesting sound between his full-bodied, Coltrane-esque tenor sound and his Monk-like stabs of melodic abstraction. Penn holds the band together, keeping constantly on top of Wolfe's rock-steady walking line while also keeping up a constant dialogue with the soloists. The second track, "Oska T" is also a standout with the band hammering out Monk's simple, but memorable melody. Here Henderson takes the first solo and shines brilliantly with plenty of playful interplay with Evans. The band presents two takes of Monk's classic "Off Minor" which move freely in very different directions after the forceful statement of the melody. The second take morphs into a feel that almost seems to channel the classic Coltrane quartet during Warfield's intense solo.

Warfield switches over to soprano for a delicate re-working of "Ugly Beauty" in which the band shows off its restraint and lyricism. Also on the delicate side of things, is the album closer, a faithful reading of "Round Midnight" that lets Warfield take the spotlight with his soulful, meaty tone and intimate vibrato. Though the idea is nothing new, the approach and treatment of this Monk tribute album is exceptional. Warfield and co. make the classic tunes their own and draw inspiration and attitude from the mentality of Monk. They approach the music with a sense of adventure and playfulness that draws the listener in and holds his attention. Fans of Monk won't be disappointed, nor will fans of any of the members of this band. ~ Andrew Luhn http://www.allaboutjazz.com/spherical-dedicated-to-thelonious-sphere-monk-tim-warfield-criss-cross-review-by-andrew-luhn.php

Personnel: Tim Warfield: Tenor sax, Soprano sax; Eddie Henderson: Trumpet; Orrin Evans: Piano; Ben Wolfe: Bass; Clarence Penn: Drums

Spherical

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Whit Williams' Big Band - 'Now's The Time' Big Band

Styles: Jazz, Big Band
Year: 2008
File: MP3@320K/s
Time: 58:54
Size: 135,5 MB
Art: Front

(5:00)  1. This Is What It Is
(5:25)  2. Una Mas
(6:06)  3. I Remember Tangle
(7:49)  4. Losing Game
(6:46)  5. Without You, No Me
(4:24)  6. The Radiator Man Is Well
(6:20)  7. A Day In Copenhagen
(4:29)  8. Diana
(5:12)  9. Get Home Before Dark
(7:18) 10. Little Rootie Tootie

Here's more proof of the vitality of the regional jazz scene around this country. Veteran saxophonist and jazz educator Whit Williams began this big band in Baltimore in 1981 and over the years it has accompanied Aretha Franklin and played Ellington's "Night Creature" with the Baltimore Symphony Orchestra. Here guests Jimmy Heath (tenor sax) and Slide Hampton (trombone) also contribute four and three (respectively) of the ten charts on the CD. Tenor saxophonist Gary Thomas and alto saxophonist Charlie Young are also credited as guest soloists.

A rundown of solos by track would have been nice, but since the featured tenor sax on Heath's "Losing Game" doesn't sound like the composer or Thomas, we can assume it's Williams. The tune a kissing cousin of Harry Warren's "This Is Always" is a model of the classic big band ballad frame/showcase for a tenor saxophonist. Unless Young also plays baritone sax, the solo on Heath's Latin swinger, "This Is What It Is," credited to him in the notes, is probably also by Williams, since it shares the robust vibrato of the "Losing Game" tenor lead. Matching the quality of the guests' solos are those from the band, especially the trumpets, both the uncredited one on Williams' "I Remember Tangle" and Don Junker's on Hampton's cubistic chart of Monk's "Little Rootie Tootie."

Three of Heath's four arrangements (and one of Hampton's) have AfroLatin accents, including time shifts in and out of 4/4 swing on "Without You, No Me," all executed admirably by the big band. It sounds equally accomplished negotiating Hampton's complexities, which include bouncing ball theme tosses across sections, rhythm dropouts and extended preludes and interludes. As the Michelin Guide might say of a restaurant, worthy of a side trip to hear. ~ George Kanzler  http://www.allaboutjazz.com/featuring-slide-hampton-and-jimmy-heath-whit-williams-summit-records-review-by-george-kanzler.php

Personnel: Whit Williams: leader, composer, arranger, reeds; Don Junker, Joe Palonzo, Michael Thomas, Eli Asher: trumpet; Jimmy Battallata, Jimmy Kearns, Russel Kirk: alto sax; Howard Burns: tenor sax; Gary Thomas: tenor sax, flute; Steve Swann: baritone sax; Jay Gibble, Richard Ore, Bill Holmes: trombone; Bernie Robier: bass trombone; Charlie Etsel: piano; Earnest Barnes: bass; Harold Summey: drums. Special guests: Slide Hampton: trombone; Jimmy Heath: tenor sax; Charlie Young: alto sax.

'Now's The Time' Big Band

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Rigmor Gustafsson - Ballad Collection

Size: 145,6 MB

Time: 62:32

File: MP3 @ 320K/s

Released: 2005

Styles: Jazz Vocals

Art: Front

01. Keep Going (4:28)

02. Prelude To A Kiss (With Duke Ellington) (6:42)

03. Love Is A Little Late (7:22)

04. Very Warm For May - All The Thins You Are (With Jerome Kern) (6:41)

05. Gelsomina - All The Thins You Are (With Tino Derado) (5:31)

06. The Wizard Of Oz - Over The Rainbow (With Harold Arlen) (7:56)

07. Winter Poem (4:21)

08. Goodbye Pork Pie Hat (With Charles Mingus) (5:20)

09. Very Early (With Bill Evans) (6:28)

10. Winter Doesn't End (7:39)

Rigmor Gustafsson is a Swedish jazz singer born in 1966. She studied at Musikhögskolan (The University of Music) in Stockholm, to continue her studies in Mannes College of Music in New York. In 1995, she formed Rigmor Gustafsson Quintet, to release her first CD “In The Light Of Day” in 1997. With Rigmor Gustafsson Quintet she toured Sweden and Germany at the same time as she was a singing teacher at her former school, Musikhögskolan in Stockholm - a job that she kept between year 1996 and 2000.

Since then, Rigmor Gustafsson has released another five albums (1998’s “Plan #46”, 2000’s “Live På Mosebacke” (“Live At Mosebacke”), 2003’s “I Will Wait For You”, 2004’s “Close To You” and 2006’s “On My Way To You”), participated in the Swedish Jazz Festival, aswell as toured Europe, Asia and Australia.

She lives together with Swedish saxophonist Magnus Lindgren.

Ballad Collection

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Joe Lovano & Dave Douglas Sound Prints - Live At Monterey Jazz Festival

Size: 119,4 MB
Time: 51:47
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Sound Prints ( 4:38)
02. Sprints (13:56)
03. Destination Unknown ( 8:30)
04. To Sail Beyond The Sunset (10:24)
05. Weatherman ( 1:34)
06. Power Ranger (12:44)

For almost twenty years, saxophonist Joe Lovano and trumpeter Dave Douglas have been prime moving forces in the jazz scene, their paths crossing often on stage and occasionally on record. Douglas appears on Lovano's 2001 Blue Note album Flights of Fancy: Trio Fascination Edition Two and they overlapped as members of the SFJAZZ Collective for three seasons during which the band performed the repertoire of Thelonious Monk, McCoy Tyner, and their mutual touchstone: saxophonist and composer Wayne Shorter.

However, the two had yet to find the "proper balance of personnel,” as Douglas puts it, to form a group of their own until they assembled pianist Lawrence Fields, bassist Linda Oh and veteran downtown drummer Joey Baron in 2011. Now, a few years and over 50 gigs later, their band Sound Prints will release their debut Live At Monterey Jazz Festival on Blue Note Records.

Sound Prints takes their inspiration from the music of Shorter – the band's name is a nod to his classic "Footprints" – however the quintet’s focus is on new original compositions by Lovano and Douglas, as well as new Shorter compositions in direct collaboration with Shorter himself, who exclaims: “Onward! Dave Douglas, Joe Lovano, Lawrence Fields, Linda Oh and Joey Baron! It’s not often when a combination of musicians such as the aforementioned elect to immerse themselves in an explorative adventure without hesitation or reservation. May they continue forging ahead on the trail less trodden. Onward!”

Sound Prints' debut album was recorded live at the Monterey Jazz Festival on September 21, 2013. Lovano and Douglas contributed two songs apiece to the set and the Shorter compositions were given their public debut that day. "The recordings are the very first performances of the newly commissioned tunes," said Douglas. "We all were at a heightened state of paying attention. Shorter took a lot of risks exploring elements of change. It was such a high to play it for him.” “The music moves from today into tomorrow," adds Lovano. "Wayne told us the melody was just a suggestion – tell your own story with it.

Live At Monterey Jazz Festival

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Pokey Lafarge - Something In The Water

Size: 102 MB
Time: 40:17
File: MP3 @ 320K/s
Released: 2015
Styles: : Country Folk, Old Timey, Ragtime
Art: Front

01. Something In The Water (3:20)
02. Wanna Be Your Man (2:46)
03. Underground (3:24)
04. When Did You Leave Heaven (3:41)
05. Cairo, Illinois (3:57)
06. Actin' A Fool (3:20)
07. All Night Long (2:49)
08. Goodbye, Barcelona (4:39)
09. Far Away (3:10)
10. The Spark (2:51)
11. Bad Girl (3:07)
12. Knockin' The Dust Off The Rust Belt Tonight (3:09)

Pokey LaFarge makes original Midwestern music. With one foot deep in the heart of the American musical tradition and the other firmly planted in the present, he continually challenges the notion that tradition-bearers fail to push musical boundaries. An eclectic writer and performer, he incorporates elements of early jazz, ragtime, country blues, Western swing, and beyond, transcending the confines of genre to present a sound very much his own. Something in the Water follows on the heels of his last album, released on Jack White's Third Man Records, but comes with an evolution in sound. Treated with a heavier dose of catchy rhythms and traditional drum kit percussion throughout, the 12 tracks on Something in the Water see LaFarge's sound imbued with new life. Produced by kindred spirit Jimmy Sutton, Something in Water showcases Pokey LaFarge's peerless gifts as a songwriter, performer, and entertainer, and further solidifies his place at the forefront of American music.

Something In The Water

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David Sanborn - Time And The River

Size: 103,1 MB
Time: 44:34
File: MP3 @ 320K/s
Released: 2015
Styles: : Smooth Jazz, Vocals
Art: Front

01. A La Verticale (5:20)
02. Ordinary People (5:10)
03. Drift (4:34)
04. Can't Get Next To You (Feat. Larry Braggs) (4:30)
05. Oublie Moi (4:43)
06. Seven Days Seven Nights (5:46)
07. Windmills Of Your Mind (Feat. Randy Crawford) (4:58)
08. Spanish Joint (4:23)
09. Overture From The Manchurian Candidate (2:24)
10. Little Church (Bonus Track) (2:42)

Time and the River, the new album from David Sanborn, is his first collaboration in the studio with producer and bass player Marcus Miller in over fifteen years. Through the years, the two have worked together on a number of records, winning five Grammy Awards ® and seven Gold Records. Time and The River is a modern groove oriented album, with funky beats and beautiful ballads where Sanborn can show the emotional side of his legendary saxophone skills. Along with Miller, the album features Roy Assaf on alto flute, Justin Mullens on trumpet, Tim Vaughn on trombone, Ricky Peterson on organ, Javier Diaz on percussion and Marcus Baylor on drums. Guest vocalists include R&B and jazz singer Randy Crawford on "The Windmills of Your Mind," and Tower of Power vocalist Larry Braggs on the funky "Can t Get Next to You."

One of the most commercially successful saxophonists, David Sanborn has released 25 albums, won six Grammy Awards ® and has eight Gold and one Platinum album. He continues to be one of the most active musicians of his genre, with annual tour dates exceeding 150. He has worked with many diverse artists including Luther Vandross, Gil Evans, Stevie Wonder, David Bowie and Eric Clapton. David is an artist who pushes the limits and continues to make music that challenges the mind and goes straight to the heart.

Time And The River

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Shirley Horn - The Collection

Size: 160,8 MB
Time: 68:52
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Hit The Road Jack (3:08)
02. Here's To Life (5:35)
03. Return To Paradise (5:07)
04. Love For Sale (3:48)
05. Come Dance With Me (2:48)
06. Big City (2:00)
07. Fever (4:43)
08. The Boy From Ipanema (2:39)
09. Winter Wonderland (4:06)
10. A Time For Love (6:43)
11. All Night Long (7:43)
12. Basin St. Blues (5:28)
13. Beautiful Love (3:37)
14. Isn't It A Pity (5:46)
15. My Funny Valentine (5:33)

A superior ballad singer and a talented pianist, Shirley Horn put off potential success until finally becoming a major attraction while in her fifties. She studied piano from the age of four. After attending Howard University, Horn put together her first trio in 1954, and was encouraged in the early '60s by Miles Davis and Quincy Jones. She recorded three albums during 1963-1965 for Mercury and ABC/Paramount, but chose to stick around Washington, D.C., and raise a family instead of pursuing her career. In the early '80s, she began recording for SteepleChase, but Shirley Horn really had her breakthrough in 1987 when she started making records for Verve, an association that continued on records like 1998's I Remember Miles and 2001's You're My Thrill. Along the way she picked up many prestigious honors including seven Grammy nominations (and one win for Best Jazz Vocal Album with I Remember Miles), a 1996 induction into the Lionel Hampton Jazz Hall of Fame and France's the Academie Du Jazz's Prix Billie Holiday for her 1990 album Close Enough for Love. In 2001 Horn's health began to fail (she had her left foot amputated due to diabetes) and while it affected her piano playing, she continued to perform sporadically and recorded one final album for Verve, 2003's May the Music Never End. Horn passed away on October 20, 2005, due to complications from diabetes. ~by Scott Yanow

The Collection

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Steve Gadd Band - 70 Strong

Size: 169,9 MB
Time: 73:19
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz, Blues, Funk
Art: Front

01. Foam Home (5:54)
02. Freedom Jazz Dance (6:25)
03. Written In Stone (4:52)
04. The Long Way Home (6:53)
05. Sly Boots (6:47)
06. Duke's Anthem (7:22)
07. Elegant Squares (6:51)
08. Desu (6:43)
09. De Volta Ao Samba (5:24)
10. Oh, Yeah (8:35)
11. Blues For.. (7:28)

Since the 70s, Steve Gadd has pretty much seen it and done it all, and recognized as one of the most influential drummers of the modern era, spanning numerous musical genres. His slippery cross-sticking between the hi-hat and snare drum amid new ways and means to generate a funk groove, along with his famous drum solo on the title track of Steely Dan's 1977 landmark album "Aja," are just a few noteworthy accreditations of a distinguished career. For example, he's performed on seminal jazz fusion albums for guitarist Al Di Meola and keyboardist Chick Corea while navigating tricky time signatures with the greatest of ease. Thus 70 Strong is a celebration of his 70th birthday as he performs with an all-star crew on an album that is a bit more up-tempo and briskly in the pocket than the rather discreet and probing, Gattitude (BFM Jazz, 2013).

The band locks into a loping and gradually ascending soulful, jazz funk motif on the title track of keyboardist Jan Hammer's (Mahavishnu Orchestra, Jeff Beck) jazz fusion classic Oh, Yeah? (Nemperor Records, 1976). Guitarist Michael Landau launches the piece with a rhythmic picking vamp, outlining the primary theme as Gadd lays down a rather suave groove leading to trumpeter Walt Fowler and Larry Goldings' (Fender Rhodes) sleek rendition of the principle melody. The soloists trade fours and raise the pitch as the guitarist ups the ante via heavily distorted sustain lines, where the frontline steps into the upper-register and even mimics Hammer's famous, recoiling synth riffs. Here and throughout, it's safe to say that the musicians' shimmering enthusiasm impel the celebratory nature of Gadd's 70th birthday and magnificent career. ~Glenn Astarita

Personnel: Steve Gadd: drums; Walt Fowler: trumpet, flugelhorn; Larry Goldings: keyboards, accordion; Jimmy Johnson: bass; Michael Landau: guitars.

70 Strong

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Sonny Red - Out Of The Blue

Bitrate: MP3@320K/s
Time: 72:10
Size: 165.2 MB
Styles: Hard bop, Saxophone jazz
Year: 1960/1996/2005
Art: Front

[5:48] 1. Bluesville
[6:12] 2. Stay As Sweet As You Are
[5:19] 3. I've Been In Love Before
[4:04] 4. Nadia
[6:29] 5. Blues In The Pocket
[2:55] 6. Alone Too Long
[5:12] 7. The Lope
[6:17] 8. Stairway To The Stars
[5:35] 9. Crystal
[6:46] 10. Lost April
[6:28] 11. You're Sensational
[5:33] 12. Blues For Kokee
[5:25] 13. You're Driving Me Crazy

Alto Saxophone – Sonny Red; Bass – Paul Chambers, Sam Jones; Drums – Jimmy Cobb, Roy Brooks; Piano – Wynton Kelly. Recording Date: December 5, 1959 - January 23, 1960.

Sonny Red, a fine altoist inspired by Charlie Parker and Jackie McLean, never really made it in jazz, and some of his recordings are rather uninspired. However, that does not hold true for his Blue Note album, which has been reissued on this 1996 CD along with five previously unissued selections. Red, who is joined by pianist Wynton Kelly, either Sam Jones or Paul Chambers on bass, and either Roy Brooks or Jimmy Cobb on drums, never sounded better on records. He performs mostly little-known standards (along with six of his originals) and displays a fair amount of originality and a great deal of potential that was never really fulfilled. Recommended. ~Scott Yanow

Out Of The Blue

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Joey DeFrancesco - Singin' And Swingin'

Bitrate: MP3@320K/s
Time: 59:41
Size: 136.7 MB
Styles: Hard bop, Soul jazz, B3 Organ jazz
Year: 2001
Art: Front

[3:38] 1. You'd Be So Nice to Come Home To
[3:47] 2. Mr. Dennis Houlihan
[4:31] 3. They Say It's Wonderful
[4:36] 4. Did You Hear Him Holler
[3:24] 5. Mack the Knife
[5:06] 6. One Mint Julep
[5:23] 7. In the Wee Small Hours
[3:34] 8. I Thought About You
[5:57] 9. The Sidewalk Is Wild
[3:25] 10. Let Me Love You Tonight
[3:38] 11. Kansas City
[6:12] 12. Danny Boy
[6:25] 13. I'm Getting Sentimental over You

Recording Date: January 24-25, 1999

Joey DeFrancesco is a direct descendant from the Jimmy Smith school of single-note burn. The 30-year-old has proven himself time and time again since going out on tour with Miles Davis in 1988 at the ripe old age of 17. His only shortcoming over the years is that he tends to lean a bit too much on his awesome technique. Yet with the recent passing of Charles "The Mighty Burner" Earland, DeFrancesco remains the single most exciting organ soloist on the scene-next to Mr. Smith himself, of course. On DeFrancesco's latest, Singin' and Swingin' (Concord CCD-4861-2; 60:44), the organist whips out his wicked Smith-inspired runs on a big-band vocal program that aspires to the Sinatra/Count Basie collaborations of the early '60s. DeFrancesco has sung before and proves to be quite the groovy crooner on hip renditions of Cole Porter's "You'd Be So Nice to Come Home To" and Sinatra staples like "Mack the Knife," "In the Wee Small Hours" and "I Thought About You." His clear diction and soulful phrasing on Irving Berlin's "They Say It's Wonderful" and "Let Me Love You Tonight" sound more inspired by Johnny Hartman than Sinatra. On the instrumental tip, DeFrancesco pulls out the burn on "Mr. Dennis Houlihan," "The Sidewalk Is Wild" (his spirited reworking of Jimmy Smith's hit "Walk on the Wild Side") and a scintillating organ-trio version of "I'm Getting Sentimental Over You." And he goes to church on a gospel rendition of "Danny Boy," recalling an earlier version of that traditional number by organ elder Jimmy McGriff. Ray Brown walks the band of West Coast studio aces through the jaunty shuffles like "One Mint Julep" and "Kansas City," then adds to the funky-butt vibe of the N'awlins flavored "Did You Hear Him Holler?" DeFrancesco's playing and jazzy vocal demeanor may be too hip for massive crossover appeal (my father, who worships Sinatra, probably couldn't get with this). But his vocals are real, which makes him either the playingest singer on the scene or the singingest player on the scene. Either way, he's one prodigious cat. ~Bill Milkowski

Singin' And Swingin'

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Sarah Vaughan & Her Trio - Swingin' Easy

Bitrate: MP3@320K/s
Time: 36:00
Size: 82.4 MB
Styles: Standards, Vocal jazz
Year: 1957/1992
Art: Front

[2:38] 1. Shulie A Bop
[3:15] 2. Lover Man
[1:39] 3. I Cried For You
[2:32] 4. Polka Dots And Moonbeams
[3:14] 5. All Of Me
[4:31] 6. Words Can't Describe
[2:44] 7. Prelude To A Kiss
[2:59] 8. You Hit The Spot
[3:03] 9. Pennies From Heaven
[2:29] 10. If I Knew Then (What I Know Now)
[3:11] 11. Body And Soul
[2:40] 12. They Can't Take That Away From Me
[1:00] 13. Linger Awhile

Bass – Joe Benjamin, Richard Davis; Drums – Roy Haynes; Piano – Jimmy Jones;, John Malach; Vocals – Sarah Vaughan. Recording Date: April 12, 1954 & February 14, 1957.

Swingin' Easy is one of Sarah Vaughan's lesser known albums for Emarcy, combining two separate trio sessions from 1954 and 1957. The earlier date includes pianist John Malachi (who also worked with singers like Dinah Washington, Billy Eckstine, and Al Hibbler, plus bassist Joe Benjamin and drummer Roy Haynes. Vaughan's lush ballad technique is in full force in "Lover Man," "Polka Dots and Moonbeams," and "Body and Soul," while she scats in a midtempo setting of "If I Knew Then (What I Knew Now)" and her own "Shulie a Bop." The second trio include pianist Jimmy Jones, bassist Richard Davis, and Haynes. Aside from a brisk, miniature treatment of "Linger Awhile" and a playful setting of "I Cried for You," the session is highlighted by a breezy "All of Me." Vaughan is in terrific form throughout both dates, with the songs mostly running around the three-minute mark. This CD is well worth acquiring, though it is out of print. ~Ken Dryden

Swingin' Easy

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The Crown Project - Modern Mancini

Bitrate: MP3@320K/s
Time: 52:48
Size: 120.9 MB
Styles: Contemporary jazz, Vocals
Year: 2005
Art: Front

[4:05] 1. Moon River
[4:41] 2. Charade
[3:42] 3. Peter Gunn Theme
[4:12] 4. The Pink Panther
[4:06] 5. Days Of Wine And Roses
[4:34] 6. Dreamsville
[4:06] 7. Baby Elephant Walk
[4:48] 8. The Molly Maguires
[4:02] 9. Song For Cat
[4:18] 10. Holly
[4:54] 11. Two For The Road
[5:15] 12. Soldier In the Rain (with Mark Gasbarro)

Janis Siegel, Oleta Adams, Fred White, Lamont van Hook - Vocals; Alto Saxophone – Gerald Albright; Tenor Saxophone – Doug Norwine; Percussion – Walter Rodriguez, Piano – Fred Hersch, Programmed By – Mark Gasbarro; Flugelhorn – Dmitri Matheny; Flute, Soprano Saxophone – Dan Higgins; Guitar – Carl Verheyen, Dwight Sills, Russell Malone; Harmonica – Tommy Morgan; Drums – Cliff Almond, Jack Kelly; Bass – Abraham Laboriel, Larry Kimpel.

Tribute albums are all the rage these days, so Monarch Records has release Modern Mancini – Tribute to a Music Master under the mysterious moniker “The Crown Project.” Henry Mancini was undoubtedly one of the foremost film and TV scorers, with nearly 80 film scores, four Oscars, and twenty Grammies to his credit, yet one doesn’t have to look too far into his compositions to see his jazz sensibilities at work. Had Mancini not focused so much of his time and talent on scoring and devoted more energies to composing and recording jazz, we can only wonder what he might have contributed to this genre. But given that his musical legacy is what it is, this effort to present some of his most familiar works (and some lesser-known gems as well) in a contemporary jazz context yields only mixed results. For example, “Charade” is re-worked from a waltz into a 4/4 smooth jazz arrangement complete with rhythm loops. Gerald Albright’s sax ably conveys some of the song’s angst with his soulful musings, but it can’t save this musical mismatch. Keyboardist Mark Gasbarro, who plays on many of the selections, tries to update “Baby Elephant Walk” with some new synth samples, but it comes across as hokey. The “Pink Panther” theme fares better, with some great harmonized vocals. Oleta Adams lends some soulful expressiveness to “Moon River,” but I think this song might still be dead from overexposure.

The arrangements that stay away from the contemporary trappings work best. The French horns and strings on “The Days of Wine and Roses” provide a lush, beautiful setting in which Albright’s alto truly shines. Janis Siegel’s duet with guitarist Russell Malone says more with a voice and guitar than many full-production blowouts could ever hope to accomplish. Same goes for Siegel’s duet with frequent collaborator, pianist Fred Hersch. Gasbarro’s acoustic piano pairing with Dan Higgins’ flute and soprano on “The Molly Maguires” is elegant, simple beauty.

For this recording, a never-before-recorded Mancini gem “Song for Cat” was uncovered, and given lyrics and Transferesque vocal arrangement by Janis Siegel. Andy Martin’s trombone and Doug Norwine’s flute make nice contributions as well. This same trombone and flute combination also works well on the next tune, “Holly.” Bottom line: the lesser-known tunes with the more traditional arrangements or elegant duet pairings work well; the overly-familiar tunes with the contemporary reworks don’t. Still, there are lots of exquisite musical moments here, and Mancini lovers should be pleased. (Monarch 1025) ~Dave Hughes

Modern Mancini

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Bucky Pizzarelli - Nirvana

Bitrate: MP3@320K/s

Time: 62:03

Size: 142.1 MB

Styles: Standards, Guitar jazz

Year: 1995/2005

Art: Front

[6:49] 1. Azure'te

[7:11] 2. Sing Sing Sing

[3:24] 3. A Little World Called Home

[2:46] 4. Pick Yourself Up

[5:51] 5. Nuages

[7:35] 6. Honeysuckle Rose

[3:49] 7. Willow Weep For Me

[4:22] 8. Tangerine

[3:02] 9. Medley: It's Been A Long Time/Don't Take Your Love Away From Me

[5:54] 10. Two Funky People

[4:39] 11. Come Rain Or Come Shine

[6:37] 12. Stompin' At The Savoy

BUCKY PIZZARELLI, guitar; JOHN PIZZARELLI, guitar; LYNN SEATON, bass; BERNARD "PRETTY" PURDIE, drums. Recorded in New York, February 21, 1995.

Bucky Pizzarelli CDs are always a treat, and this 1995 studio date is no exception; the seven string guitarist is joined by his son John Pizzarelli (also a fine guitarist), plus veterans Lynn Seaton on bass and Bernard Purdie on drums. The opener is a gently swinging take of organist Wild Bill Davis' "Azure Te" (strangely credited to cornetist Wild Bill Davison instead), which also has some nice arco bass by Seaton. Purdie's rousing percussion drives the band on "Sing, Sing, Sing," and Seaton's scatting along with his bowed bass on "Honeysuckle Rose" and "Stompin' at the Savoy" is more reminiscent of Major Holley than Slam Stewart, as suggested by liner note writer Will Smith. Bucky & John Pizzarelli are featured in several duets: a lush treatment of the long overlooked "A Little World Called Home," a breezy run through "Pick Yourself Up," and a lovely medley of Sammy Cahn's "It's Been a Long, Long Time" and "Don't Take Your Love From Me." The leader is heard unaccompanied on "Willow Weep for Me," which acknowledges the influenced of the late Django Reinhardt. Even if Laserlight wasn't a budget label, this CD would still be highly recommended. ~Ken Dryden

Nirvana

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Blue Mitchell - Boss Horn

Bitrate: MP3@320K/s
Time: 38:41
Size: 88.5 MB
Styles: Hard bop, Trumpet jazz
Year: 2005
Art: Front

[6:12] 1. Millie
[5:31] 2. O Mama Enit
[7:28] 3. I Should Care
[6:18] 4. Rigor Mortez
[6:34] 5. Tones For Joan's Bones
[6:34] 6. Straight Up And Down

Originally recorded on November 17, 1966 at the Van Gelder Studio, Englewood Cliffs, New Jersey. All transfers from analog to digital were made at 24-bit resolution. Alto Saxophone, Flute – Jerry Dodgion; Baritone Saxophone – Pepper Adams; Bass – Gene Taylor; Drums – Mickey Roker; Piano – Cedar Walton, Chick Corea; Tenor Saxophone – Junior Cook; Trombone – Julian Priester; Trumpet – Blue Mitchell.

Trumpeter Blue Mitchell delivers a solid hard bop date with his 1966 Blue Note release Boss Horn. [The Rudy Van Gelder edition of Boss Horn features remastered sound by original producer Van Gelder that does significanly improve the overall sound quality over the original release.] ~Matt Collar

Boss Horn

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