Monday, September 7, 2015

Mose Allison - I've Been Doin' Some Thinkin'

Bitrate: MP3@320K/s
Time: 29:15
Size: 67.0 MB
Styles: Jazz blues vocals, Piano blues
Year: 1968/2005
Art: Front

[1:44] 1. Just Like Livin'
[3:38] 2. City Home
[2:47] 3. If You're Goin' To The City
[2:28] 4. Now You See It
[2:07] 5. You Are My Sunshine
[2:07] 6. Your Molecular Structure
[2:32] 7. Look What You Made Me Do
[2:14] 8. If You Really Loved Me
[2:40] 9. Everybody's Cryin' Mercy
[2:50] 10. Feel So Good
[1:57] 11. Let It Come Down
[2:05] 12. Back On The Corner

Three years had gone by between this release and the previous Mose Allison outing on Atlantic, perhaps giving the artist time to concoct some of the really tasty lyrics he came up with. The opening track, "Just Like Livin'," alternates between absurd satire and to-the-point cynicism in a way that is completely unique to Allison, although many other artists have tried to imitate it. How many songwriters can sum up life in less than two minutes, after all? There are many other highlights as well, including the memorable structure of "City Home" and a rococo reworking of "You Are My Sunshine" that might cause a riot at a wedding if played as a request. A peak perhaps not only of this album but the entire Allison career is the ballad "Everybody's Cryin' Mercy," as powerful an indictment of hypocrisy as has ever been recorded. Bassist Red Mitchell is on hand with his fat but easy to digest sound, and he seems to prompt Allison to play aggressively. Some of the piano solos sound like they were rendered with various martial arts techniques. ~Eugene Chadbourne

I've Been Doin' Some Thinkin'

Ana Gasteyer - I'm Hip

Bitrate: MP3@320K/s
Time: 36:20
Size: 83.2 MB
Styles: Vocal
Year: 2014
Art: Front

[2:34] 1. One Mint Julep
[3:12] 2. I'm Hip
[2:17] 3. Cheek To Cheek
[2:34] 4. Sister Kate
[3:22] 5. The Book Of Love
[2:47] 6. Crazy People
[2:58] 7. Shopping Around
[3:15] 8. A Proper Cup Of Coffee
[3:38] 9. (Theme From) Valley Of The Dolls
[3:49] 10. Before He Cheats
[2:17] 11. I Wantcha Around
[3:32] 12. Defying Gravity

Broadway and television star Ana Gasteyer released her new solo album "I'm Hip" Sept. 30, 2014 following a celebrated in concert album celebration at Joe's Pub Sept. 29.

Gasteyer is a series regular on the ABC Family show "Suburgatory" and has performed on Broadway as Elphaba in Wicked, in The Rocky Horror Show, Threepenny Opera and Royal Family. Comedienne, SNL alum and Broadway belter, Gasteyer's new album blends comedy and sensational vocals in 12 tracks.

Here's how Joe's Pub billed the album release concert, "From songs like "One Mint Julep" and "Proper Cup of Coffee" to a surprisingly smooth rendition of Carrie Underwood’s "Before He Cheats," Gasteyer’s saucy selections tell stories with humor, heartbreak...and just a little splash of soda. Her vibe recalls that of a time when entertainers truly entertained, an era when a broad could bring home the bacon, swing a set of sultry standards and still be a gracious hostess. Ana’s heroes are those fun-loving dames who downed a cocktail, donned a dress and fronted a band of dapper gents in sharp suits wielding shiny horns—think Barbara Stanwyck in 'Ball of Fire' as she captures Gary Cooper’s heart. And then breaks it."
- See more at: http://www.playbill.com/news/article/ana-gasteyer-says-im-hip-with-new-album-332211#sthash.GBaebhMQ.dpuf

I'm Hip

Clarence Clemons - A Night With Mr. C

Bitrate: MP3@320K/s
Time: 44:22
Size: 101.6 MB
Styles: R&B, Rap (!)
Year: 1989
Art: Front

[4:43] 1. Quarter To Three
[5:15] 2. Tonight You're Mine, Baby
[5:39] 3. Shotgun
[5:38] 4. The Man
[5:00] 5. Dance, Dance, Dance
[3:56] 6. Twistin' The Night Away
[5:27] 7. Big Blue
[3:34] 8. Cowboys And Indians
[5:05] 9. Forgiveness

As Bruce Springsteen`s right-hand man, Clemons sounds like the reincarnation of King Curtis. On his own, The Big Man needs to be reminded what he does best-play the saxophone. Apparently, a team of producers led by Narada Michael Walden aren`t the guys to do it. ``A Night`` won`t delight Springsteen aficionadoes looking for a dose of unadulterated R & B. Especially disappointing are flacid techno-funk versions of ``Quarter to Three`` (a longtime show closer for Springsteen), ``Shotgun`` and ``Twistin` the Night Away.`` Clemons does light a few sparks in a duet with Kim Carnes on ``Dance, Dance, Dance,`` and he enrolls in the Grover Washington Jr. School of Makeout Music on the sultry instrumental ``Forgiveness.`` But nowhere does Clemons really let it wail, and that`s a shame. ~Greg Kot

A Night With Mr. C

Sonny Stitt, Booker Ervin, Don Patterson - Soul People

Bitrate: MP3@320K/s
Time: 62:32
Size: 143.1 MB
Styles: Bop, Saxophone jazz
Year: 1993
Art: Front

[ 9:56] 1. Soul People
[ 8:54] 2. Sonny's Book
[ 9:58] 3. C Jam Blues
[11:14] 4. Medley: I Can't Get Started / The Masquerade Is Over
[10:11] 5. Flying Home
[ 4:24] 6. Tune-Up
[ 7:53] 7. There Will Never Be Another You

There are dozens of Sonny Stitt records available at any particular time; this CD reissue is one of the better ones. Mostly sticking to tenor, Stitt battles fellow tenor Booker Ervin with assistance from the fine organist Don Patterson and drummer Billy James on five selections and a ballad medley from 1964. Because both Stitt and Ervin always had very individual sounds, their tradeoffs are quite exciting and end up a draw. Among the "bonus" cuts of this CD are a feature for Patterson with a trio in 1966 ("There Will Never Be Another You") and a collaboration between Stitt, Patterson, James and guitarist Grant Green on a 1966 version of "Tune Up." Enjoyable and generally hard-swinging music. ~Scott Yanow

Soul People

Lisa Wahlandt & Mulo Francel - Bossa Nova Affair

Styles: Vocal And Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 60:46
Size: 139,5 MB
Art: Front

(4:48)  1. Little Boat
(3:37)  2. O Meu Amor
(5:11)  3. As Everybody Sees I'm Oldfashioned
(5:38)  4. Você é Linda
(4:26)  5. Berimbau
(4:56)  6. Only Trust Your Heart
(3:57)  7. Soiree Mignonne
(5:06)  8. Un Homme et une Femme
(4:31)  9. Recado Bossa Nova
(4:13) 10. Greensleeves
(4:46) 11. Tu és a Flor
(6:14) 12. Senhor Gor
(3:18) 13. The Shadow of Your Smile

With swinging samba and sensitive bossa nova interpretations reminiscent of warm summer nights, warm summer rain, cold cocktails and the Brazil of the 60s, was kidnapped this music into a magical world of sound and color. The fabulously voice Lisa Wahlandts is ensnared charming of Mulo Francels extravagant saxophone playing. Bossanova Affair - the title of their new CD - dreamy and sensual, sometimes playful, full of desire and a touch of melancholy.

The first duo project by Lisa Wahlandt and saxophonist Mulo Francel after many years of collaboration with Mind Games is dedicated to here again the old love, the Bossa. That which is never boring, but the musicians provide outstanding (DD Lowka, Walter Lang, Rüdiger and Gerwin Eisenhauer, Christian Diener, Robert Wolf, etc.), especially the Wahlandt with her gentle voice precise and idiosyncratic selection. In addition to Bossa classics like "berimbau" or "Voce e linda" are traditionals like "Greensleeves", the theme song from "Un homme et une femme" by Francis Lai and original compositions of the two. Since (in Portuguese!) The distant and unattainable love sung "O meu amor", and Mulo Francel tailors Lisa the song "As everybody sees I'm oldfashioned" in the body. Warm Music for cold winter evenings by the fireplace.~ Ursula Gaisa, Jazzzeitung

.... This album is not only the 'Friendship of music styles' meant, but also between the princess's voice, Lisa Wahlandt, and her prince of rhythm, Mulo Francel. Of course, stands at the forefront of Wahlandt Combo; Her voice is straightforward, warm and extremely sensitive. In addition to "their fabulous Bossa Band" is her Francel as a saxophonist and arranger aside. 

Before such behind the instrument he convinces through imagination and enjoyment of the game. About the exemplary addition, some songs come from the hands of King children themselves ~ Jazzdimensions, Jan Lautenbach  Translate by google http://www.lisa-wahlandt.com/en/shop/bossa-nova-affair

Personnel:  Lisa Wahlandt vocal;  Mulo Francel tenor sax;  Robert Wolf guitar;  Robert Kainar percussion;  Walter Lang piano;  D. D. Lowka acoustic bass; Ruppert Stamm vibraphone; Andreas Hinterseher accordeon;  Borel de Sousa accordeon

Bossa Nova Affair

GRP All-Star Big Band - All Blues

Styles: Big Band
Year: 1995
File: MP3@320K/s
Time: 61:05
Size: 140,4 MB
Art: Front

(5:41)  1. Cookin' At the Continental
(5:16)  2. Stormy Monday
(7:38)  3. All Blues
(6:03)  4. Birk's Works
(5:19)  5. Goodbye Pork Pie Hat
(6:16)  6. Senor Blues
(5:31)  7. Blue Miles
(8:12)  8. Mysterioso/Ba-Lue Bolivar Ba-Lues-Are: Mysterioso
(3:46)  9. Some Other Blues
(7:19) 10. Aunt Hagar's Blues

When one considers the large number of great players who participated in this project (including trumpeters Arturo Sandoval, Randy Brecker and Chuck Findley, trombonist George Bohanon, the reeds of Eric Marienthal, Nelson Rangell, Tom Scott, Ernie Watts and Bob Mintzer, such keyboardists as Dave Grusin, Chick Corea, Ramsey Lewis and Russell Ferrante, bassist John Patitucci, drummer Dave Weckl, and guests B.B. King and tenor great Michael Brecker), the rather predictable results are a disappointment. With the exception of Chick Corea's recent "Blue Miles," this album could have been titled "Warhorses" due to the very familiar material. The arrangements by Michael Abene, Scott, Grusin, Mintzer and Ferrante contain no real surprises (other than some unexpected moments on "Misterioso"), and none of the solos are long enough to really build. 

There is a certain novelty in hearing some of the crossover players like Rangell, Scott and Lewis playing hard bop tunes such as "Birks Works," "Senor Blues" and "Cookin' at the Continental," but why waste B.B. King on yet another version of "Stormy Monday Blues?" ~ Scott Yanow http://www.allmusic.com/album/all-blues-mw0000124778

GRP All-Star Big Band: Eric Marienthal (alto & soprano saxophones), Nelson Rangell (alto & soprano saxophones, flute), Ernie Watts (tenor & soprano saxophones), Bob Mintzer (tenor & soprano saxophones, bass clarinet), Tom Scott (baritone, soprano & tenor saxophones), Arturo Sandoval, Randy Brecker, Chuck Findley (trumpet, flugelhorn), George Bohanon (trombone), Dave Grusin, Chick Corea, Ramsey Lewis (piano), Russel Ferrante (piano, Hammond B-3 organ), B.B. King (guitar, vocals), John Patitucci (acoustic & electric bass), Dave Weckl (drums).

All Blues

Clayton-Hamilton Jazz Orchestra - L.A. Treasures Project

Styles: Jazz, Big Band
Year: 2014
File: MP3@320K/s
Time: 63:29
Size: 145,9 MB
Art: Front

(3:21)  1. I Love Being Here with You
(3:56)  2. Exactly Like You
(5:02)  3. The Jug and I
(6:40)  4. Hat's Dance
(5:19)  5. I'm Getting Sentimental Over You
(3:47)  6. Got To Get Back To L.A.
(6:18)  7. Goodbye Porkpie Hat
(4:25)  8. River's Invitation
(3:19)  9. Beautiful Friendship
(7:14) 10. I Ain't Got Nothin' But the Blues
(4:53) 11. Time After Time
(4:36) 12. Fever
(4:34) 13. Jazz Party

For nearly thirty-years now the Grammy-nominated Clayton-Hamilton Jazz Orchestra (CHJO) has been easily recognizable as one of the best big bands in the business. Led by bassist John Clayton, saxophonist and brother Jeff Clayton and drummer Jeff Hamilton, the group embarked on a mission to document their various rehearsals with West Coast vocal legends Ernie Andrews and Barbara Morrison, and do so with The L.A. Treasures Project recorded live in the famous Showroom of Alva's Dance Studio and Music Store in San Pedro, California.  Presenting a mixture of instrumentals and vocal numbers, the opening "I Love Being Here With You" seemed an appropriate start and message for the intimate crowd in the Showroom and features excellent solos from each member of the trombone section. Having 20 recordings to her credit, Morrison steps up to lay down a soulful rendition of the Dorothy Fields classic "Exactly Like You" with a little solo help from Lee Callet on the baritone saxophone. The crisp vocals of local legend Andrews takes over the music with a bluesy and sprite interpretation of the Percy Mayfield standard "The Jug and I," superbly aided by the big band orchestrations of the CHJO.

Co-leader Hamilton and pianist Tamir Hendelman take center stage on their composition "Hat's Dance" with the duo playing the lead as the band grooves gently behind them in fine support for one of the tender moments of the disc. The Clayton brothers take their turn in the spot light on the Charles Mingus piece "Goodbye Porkpie Hat" as Jeff Clayton's bluesy alto flute begins the journey that eventually leads to brother John's bowed bass play in unison with Christoph Luty's own bass performance. The two singers get back to form with Andrews getting sentimental on the standard "I'm Getting Sentimental Over You," while the swinging Gospel vocalist Morrison belts the lyrics to "Got To Get Back To L.A.," one of her own compositions telling the world how she feels about the City. Morrison delivers the lyrics on "River's Invitation" and the classic "Fever" as the veteran Andrews does the same on "Beautiful Friendship" and the Sammy Cahn favorite "Time After Time" completing their vocal contribution to this historic night but, the CHJO was not finished. The ensemble plays a powerful opening statement on "I Ain't Got Nothin' But The Blues" only to turn it over to the electric guitar of Graham Dechter as he picks his way all through this terrific blues. In fitting form the CHJO ends the evening with "Jazz Party" elevating the excitement level with salvos fired by saxophonists Rickey Woodard and Charles Owens accompanied by one final pounding drum solo by Hamilton. 

It's obvious that The L.A. Treasures Project refers to singers Andrews and Morrison but, not to be overlooked, is the CHJO, an unquestioned treasure that this time delivers a meaty program of standards and mainstream jazz with a vocal twist perfect as a precursor to the group's thirtieth anniversary in 2015. ~ Edward Blanco http://www.allaboutjazz.com/the-la-treasures-project-the-clayton-hamilton-jazz-orchestra-capri-records-ltd-review-by-edward-blanco.php

Personnel: John Clayton: arco bass, Jeff Clayton: alto saxophone; Jeff Hamilton: drums; Bijon Watson: trumpet; Gilbert Castellanos: trumpet; James Ford: trumpet; Brian Swartz: trumpet; Jamie Hovorka: trumpet; Ira Nepus: trombone; George Bohanon: trombone; Ryan Porter: trombone; Maurice Spears: trombone; Keith Fiddmont: alto saxophone; Ricky Woodard: tenor saxophone; Charles Owens: tenor saxophone; Lee Callet: baritone saxophone; Tamir Hendelman: piano; Christopher Luty: bass; Graham Dechter: electric guitar; Ernie Andrews: vocals; Barbara Morrison: vocals.

L.A. Treasures Project

Denver Brass - Hot Hot Hot

Styles: Chamber Music
Year: 2012
File: MP3@320K/s
Time: 74:36
Size: 171,5 MB
Art: Front

(3:25)  1. Fanfare for the New
(4:55)  2. Malaguena
(4:02)  3. Libertango
(9:23)  4. Danzon No. 2
(3:06)  5. Manteca
(5:23)  6. La Sangre Derremada/España Cañi
(3:37)  7. Coyote Angel
(3:17)  8. Milagro
(2:28)  9. Fiesta
(5:07) 10. Besame Mucho
(3:47) 11. Hot, Hot, Hot!
(5:57) 12. Circular Illogic
(4:32) 13. Woodbrook Jam
(3:42) 14. Picadillo
(4:39) 15. Duerme Negrito
(3:14) 16. Que Rico El Mambo
(3:54) 17. "Danza Final" from Estancia

The Denver Brass was founded in 1981 by Kathy and Chuck Brantigan, as an all-new, one-of-a-kind brass chamber ensemble which would be in the forefront of performance, entertainment, commissions and education.  Today, The Denver Brass is an elite ensemble recognized throughout the U.S. and the world as one of the premier ensembles of its kind setting itself apart through its sound, original repertoire, recordings and concert productions.  With 14 world-class musicians, the Denver Brass performs its own original compositions and arrangements and reaches 60,000+ persons annually through more than 150 concerts and outreach services.  The ensemble has more than 30 recordings and is heard daily on radio stations throughout the world.The Denver Brass works diligently and methodically to increase outreach and exposure, not just to be heard or appreciated, but to provide inspiration, pleasure, and sustenance to as many people as possible.

The trademark sound of The Denver Brass features a dazzling array of more than 13 distinct brass instruments plus percussion, utilizing mutes, technique and sound expertise to produce a rainbow of sound phenomena - not a band, not an orchestra, an entirely new sound.  Originally a classically-oriented ensemble, today’s Denver Brass features a musical palate as diverse as the culture of the western US to present a sound experience that makes an impression long past the final chord of the concert.  People from every background find inspiration in diverse programming classical, jazz, Broadway, Latin, multi-cultural fusions, and new sound sensations created by brass with bagpipes, steel drums, hand-bells, fiddles, voices, and a variety of distinguished soloists. “Shows,” instead of “concerts,” are carefully designed to enhance the listening experience through strong concert themes and story lines, character hosts, guests from a wide variety of artistic genre, and theatrical lighting, staging, and multi-media techniques.

The Denver Brass is also unique in the world for its cohesive and enthusiastic team.  Musicians are selected not only for exceptional technical and creative skills, but also for their integrity, dedication to community, and support of fellow musicians and mission. In addition to remarkable musicians, the Denver Brass team boasts a creative and resourceful staff, forward-thinking Board, large and dedicated volunteer core, and creative artists engaged in new music composition, story line, choreography, and state-of-the art lighting and staging.  The Denver Brass received the Mayor’s Award for Excellence in the Arts in 2008. http://www.denverbrass.org/about/who-we-are.htm

Hot Hot Hot

Gordon Goodwin's Big Phat Band - Swingin' For The Fence

Styles: Big Band
Year: 2001
File: MP3@320K/s
Time: 59:50
Size: 137,5 MB
Art: Front

(5:33)  1. Sing Sang Sung
(7:31)  2. Count Bubba
(6:56)  3. Samba Del Gringo
(7:48)  4. Bach 2 Part Invention in D Minor
(5:47)  5. I Remember
(5:06)  6. Swingin' For the Fences
(4:48)  7. Mueva los Huesos
(5:03)  8. Second Chances
(5:43)  9. There's the Rub
(5:30) 10. A Few Good Men

To carry the baseball metaphor a step further, the hard hitting Big Phat Band not only swings for the fences on skipper Gordon Goodwin’s dynamic new album, it slams almost every fastball or curve thrown its way well beyond the fence and out of the park. And even when the ensemble misses, it does so by no more than a whisker. From this vantage point the first eight tracks are towering home runs, while the last two are solidly struck triples that barely miss clearing the center field wall (others may deem them round–trippers as well). The charts, all of which are Goodwin’s, shine, sizzle and (for the most part) satisfy, and his talent laden ensemble rips into them like scavengers sundering a fresh carcass. As a result, everything swings, even J.S. Bach’s “Two Part Invention in D Minor” or perhaps we should say, especially Bach’s “Two Part Invention,” as it is one of the more high powered selections on offer (and the competition in that arena is indeed formidable).

The Big Phat Band takes dead aim at Goodwin’s opening delivery, “Sing Sang Sung,” a stylish update of the Louis Prima classic that helped make Benny Goodman a household name back in ’38, and crushes it out of sight, thanks to razor sharp ensemble work, superb drumming by Bernie Dresel and breathtaking solos by guest artists Eddie Daniels and Arturo Sandoval. That sets the tone for the rest of the date, as the band romps through eight more originals by Goodwin and the other by Johann Sebastian. To his credit, Goodwin waits until the last two tracks to get funky with “There’s the Rub” and “A Few Good Men.” They’re not bad, but as noted earlier, no more than triples on this reviewer’s scorecard. But hey, even Mark McGuire or Sammy Sosa would do almost anything short of sacrificing his first–born to hammer eight round–trippers in ten trips to the plate, and Goodwin has ample reason to be pleased with Swingin’ for the Fences. The other barn burners are “Count Bubba,” “Samba del Gringo,” “Mueva Los Huesos” and, of course, “Swingin’ for the Fences," while moments of repose are the rule on "I Remember" and "Second Chances." Daniels solos again on "Two-Part Invention," Sandoval on "Mueva Los Hesos." Goodwin has invited no less than three talented alto soloists to sit in Dan Higgins ("Count Bubba," "I Remember"), Brandon Fields ("Samba del Gringo," "There's the Rub") and Eric Marienthal ("Swingin' for the Fences," "Mueva Los Hesos"). 

Guitarist Carl Verheyen picks, scrapes and wails on "A Few Good Men." Goodwin solos twice on tenor, once each on piano ("I Remember") and soprano ("Second Chances"), while trombonist Andy Martin and pianist Tom Ranier are heard on "Swingin' for the Fences," Martin again on "Samba del Gringo," and pianist Jim Cox (uncredited) on "Two-Part Invention." Goodwin says he loves big bands, an avowal that's easy to believe when listening to Swingin' for the Fences, which resonates with high spirits and abiding love for an oft-maligned but enormously creative and pleasurable art form. Goodwin and his Big Phat murderer's row have won the pennant and the Series with this album. ~ Jack Bowers http://www.allaboutjazz.com/swingin-for-the-fences-gordon-goodwin-review-by-jack-bowers.php

Personnel: Gordon Goodwin (woodwinds, soprano saxophone, alto saxophone, piano); Grant Geissman, James Harrah, Carl Verheyen (guitar); Dan Higgins (woodwinds, tenor saxophone); Sal Lozano, Greg Huckins, Bill Liston (woodwinds); Eric Marienthal (alto saxophone, horns); Brandon Fields (alto saxophone); Dan Savant, Gary Grant, Jerry Hey, Larry Hall , Wayne Bergeron, Dennis Farias, Arturo Sandoval (trumpet); Alex Iles, Steven Holtman, Bill Ricenbach, Andy Martin , Craig Ware, William Frank "Bill" Reichenbach Jr. (trombone); Jim Cox, John Pena, Tom Ranier (piano); Dave Stone (acoustic bass); Bernie Dresel (drums, percussion); Gregg Bissonette (drums); Luis Conte (percussion).

Swingin' For The Fence

Sunday, September 6, 2015

Dusko Goykovich - Bebop City

Bitrate: MP3@320K/s
Time: 66:00
Size: 151.1 MB
Styles: Hard bop, Trumpet jazz
Year: 1995
Art: Front

[7:37] 1. Sunrise In St Petersburg
[6:57] 2. In The Sign Of Libra
[7:02] 3. Bebop City
[6:25] 4. Lament
[7:38] 5. Bop Town
[6:45] 6. No Love Without Tears
[6:10] 7. One For Klook
[8:37] 8. Day By Day
[8:46] 9. Brooklyn Blues

This is another excellent album from Duško Gojković that has a lot more to offer than the simple ‘bebop’ promise of the title. Of course, there is something of a bop approach to a few of the tunes, but overall, the album is full of colours, tones, and pulsating rhythms, handled in the best mode of Gojković’s classics from earlier years. The players on Bebop City are of the same calibre as the giants that made Soul Connection so brilliant. Pianist Kenny Barron, like a fine wine, gets even better as time passes and offers expressive solos in addition to his dynamic support. The two saxophonists offer an intriguing contrast in how to approach an improvisation. Abraham Burton has learned from his master Jackie McLean how to come in tonally and rhythmically at an angle and hear the cry in jazz. Tenor Ralph Moore has a muscular and distinctive sound that more quietly but no less passionately rings out that cry. Gojković here strongly makes evident his propensity for the romantic as his trumpet and flugelhorn tell beautiful stories on four deep and individual ballads. Each has a melancholy darkness which Gojković traverses in the manner of Miles Davis—open or muted—as if walking on eggshells. Bebop and its colours make up the other part of Gojković’s personality here: his originals such as “Bebop City,” “Bop Town” and “One For Klook” are no-nonsense lines that Gojković and the saxophonists tackle with appropriate abandon. What is always present, however, is Gojković’s passionate link to his roots both geographic and musical. Bebop City renews and revitalizes the promises made on Soul Connection and surely is another considerable success for Gojković’s universal artistry. ~Slobodan Mihajlović

Bebop City

Ronnie Walker & SwingThing - All Or Nothing At All

Bitrate: MP3@320K/s
Time: 48:20
Size: 110.6 MB
Styles: Swing
Year: 2008
Art: Front

[4:12] 1. All Or Nothing At All
[4:05] 2. You Are The Sunshine Of My Life
[4:13] 3. The Eye Of The Tiger
[4:20] 4. Almost Like Being In Love
[6:10] 5. Hello
[3:39] 6. Isn't She Lovely
[4:40] 7. Come Fly With Me
[2:59] 8. Lover Come Back To Me
[4:23] 9. Have I Told You Lately
[4:19] 10. Witchcraft
[5:16] 11. Moondance

“SWINGTHING” is a 4/5 piece jazz/swing band which specialises in jazz and swing music in the “rat pack” style but is equally at ease performing in a variety of genres. To underline this versatility, Swingthing recently had the pleasure of performing for Camilla Dallerup and Ian Waite in a ballroom dancing weekend held at the Lodore Falls hotel on the shore of Lake Derwentwater near Keswick. A prominent feature of “Swingthing” is the fabulous voice of Ronnie Walker who styles himself on Frank Sinatra. Ronnie has been on the circuit for many years and has performed in venues all over the country. He is not limited to one particular style , however, and is perfectly at home with rock n roll and other dance music. He is ably accompanied by Brian Melville -keys. Brian has been a musician for many years and has performed in a variety of venues in the UK and Europe. His first love is jazz music but is not averse to playing any type of music when the occasion arises. Favourite bands include Chick Corea Electrik Band, The Yellowjackets, Dave Weckl Band and Dave Brubeck Quartet. Brian is currently playing a Roland FP3 electric piano and a Korg M1 synthesizer Paul Williamson is a recent addition to the band. Paul has acquired experience in a number of genres and is now keen to try his hand at jazz and swing music. Dave Thompson - drums. Dave is a highly experienced percussionist who has played professionallly in Europe and the Middle East. Having learned his trade in Birmingham he moved north where he now resides.

All Or Nothing At All

Saheb Sarbib Quartet - Seasons

Bitrate: MP3@320K/s
Time: 40:10
Size: 92.0 MB
Styles: Avant Garde jazz
Year: 1982/2010
Art: Front

[4:53] 1. One For Mo (Dedicated To Muhammed Ali)
[5:07] 2. Partners In Wonder (Dedicated To Ornette Coleman)
[6:40] 3. Nymph Of Darkness
[2:41] 4. Aries' Dance (Dedicated To Cecil Taylor)
[4:57] 5. Round Trip
[5:15] 6. Seasons
[6:39] 7. Living Right On Central Park (Dedicated To Paul Motian);
[3:55] 8. Jumpin' Jack (Dedicated To Karim)

Alto Saxophone – Mark Whitecage; Alto Saxophone, Soprano Saxophone, Tenor Saxophone – Mel Ellison; Bass, Piano – Saheb Sarbib; Drums – Paul Motian.

Although Saheb Sarbib switches between bass and piano and contributed all but one of the eight selections heard on this disc (every piece but Ornette Coleman's "Round Trip"), this live set is most notable for the saxophone solos of Mel Ellison (on alto, soprano and tenor) and altoist Mark Whitecage. With the support of drummer Paul Motian, Sarbib lays down a solid foundation for the adventurous horns. The music is quite coherent but often free, making for a stimulating listen. ~ Scott Yanow

Seasons

David Berger & The Sultans Of Swing - Hindustan

Bitrate: MP3@320K/s
Time: 60:45
Size: 139.1 MB
Styles: Swing, Big band
Year: 2006
Art: Front

[4:08] 1. Stompin' On A Riff
[5:19] 2. No Refill
[7:57] 3. Hindustan
[4:56] 4. Monkey Business
[3:53] 5. Bumper Cars
[4:32] 6. Poor Butterfly
[2:23] 7. Too Marvelous For Words
[3:46] 8. The Very Thought Of You
[2:51] 9. I Don't Hurt Anymore
[5:29] 10. Do It Again
[6:38] 11. The Rising Storm
[4:52] 12. A Whole New You
[3:54] 13. Parting Words

Hindustan is the fourth recording of composer/arranger/conductor David Berger and his band The Sultans of Swing. This spectacular documentation of big band jazz in full swing features vocalist Aria Hendricks and 15 first-call, world-class musicians. It was recorded in Malmo, Sweden at the end of a Scandinavian road trip in September 2005. Berger, who formed The Sultans Of Swing in 1996, explains the significance of this: “Every time we go on tour the music improves daily. After a few days we surpass the highest level we ever achieved as a band. By the end of the tour we are all on a high that doesn’t require artificial stimulants. I’ve always wanted to capture our peak moments on a recording. Well, here it is! So if you can’t hear us live, or you want to re-experience what it felt like when you did, this album is for you.” Hindustan follows Berger’s critically acclaimed CD, Marlowe, and is his most compelling expression to date--as creator, composer, producer and conductor.

Hindustan proudly and exuberantly displays its lineage to the famous big bands of a bygone era; however, the music that is conceived from Berger’s mind and soul, and played by these master musicians, is anything but retro, and far from being a throwback. This is due in part to its emotional impact, which ranges from the universal and timeless feelings of ebullience (swing) to those of lamentation (the blues). Berger elaborates, “Over the past 70 years most people have forgotten the feeling of swing (what Albert Murray calls ‘the American imperative’), if they are old enough to have known it at all. Still this music infects those who are lucky enough to be exposed to it. In those moments we truly feel alive.”

Throughout the recording it is pleasingly evident that, like the great bandleaders that have put their indelible stamp on the jazz idiom, Berger has composed and arranged this music with these particular players in mind. And, in return, they have expertly crafted their improvisations to complement and complete the written music. David Berger and The Sultans Of Swing sound like one glorious, magnificent instrument on Hindustan--one that is capable of providing much pleasure to the ear, heart and mind.

The sonic experience is heightened by the extreme care taken to record the band live in the studio without headphones, mix it with absolutely no compression and run it through an analog board, so that what you hear on this CD is as close to a live performance as ever captured on any jazz CD. Leif Marten Olofsson the CEO/Chief Designer of Marten Design, makers of top-of-the-line audiophile speakers says, ”In the autumn of 2005 I had the pleasure to see and listen to David Berger and his Sultans of Swing live in Sweden. Since then they have been a favourite for me both musically, and when we do demos with our speakers. This latest album has a directness and uncompressed dynamic that shows all the benefits of our speakers. Fantastic! “

Hindustan

Pamela Hines Trio - 3.2.1.

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 50:54
Size: 116,9 MB
Art: Front

(5:33)  1. 34 Skidoo
(5:17)  2. B Minor Waltz
(6:39)  3. Spring Can Really Hang You Up the Most
(4:43)  4. East of the Sun
(4:40)  5. Loose Blues
(7:17)  6. Sangre Joven
(6:37)  7. If You Could See Me Now
(3:20)  8. Loose Blues
(6:43)  9. I Guess I'll Hang My Tears Out to Dry

Pianist Pamela Hines has been busy on the jazz scene for fifteen years, producing many excellent CDs featuring her quartets and quintets, as well as pairings with several top-notch vocalists. A first-rate composer of engaging and memorable tunes who put out one of the coolest Christmas albums, New Christmas (Spice Rack, 2008), she should be better known. 3.2.1, a superb, mostly trio affair, might just push her profile closer to where it belongs. Most of Hines' recordings, including New Christmas, have relied heavily on her own compositions. 3.2.1. takes a different tack, leaning on standards with an emphasis on material by pianist Bill Evans, starting right off with his "34 Skiddoo." Here, however, Hines and trio mates David Clark (bass) and Yoron Israel (drums) sound feistier happier, even than the normally introspective Evans.

On "B Minor Waltz," the trio cools things off a bit, showcasing Hines' exquisite touch and Israel's supple brush work, but the bounce in the trio's step is still there, riding Clark's warm heartbeat. The classic "East of the Sun" takes things out on the edge, an up-tempo high-wire roll, with Hines sounding particularly caffeinated. The album title refers to its music being presented with the trio on seven tunes, a duo on one and solo on another. The old American Songbook chestnut, "I Guess I'll Hang My Tears Out to Dry," is laid down as a piano solo rumination, its sweet reverence suggesting, perhaps, that a future CD-length solo excursion might be in order for Hines. ~ Dan McClenaghan http://www.allaboutjazz.com/321-pamela-hines-spice-rack-records-review-by-dan-mcclenaghan.php

Personnel: Pamela Hines: piano; Yoron Israel: drums; David Clark: bass.

3.2.1.

Tom Harrell - Time's Mirror

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 50:34
Size: 116,0 MB
Art: Front

(8:19)  1. Shapes
(3:31)  2. Autumn Leaves
(4:01)  3. Daily News
(2:47)  4. Dream
(5:06)  5. Chasin' The Bird
(8:43)  6. São Paulo
(8:09)  7. Time's Mirror
(9:54)  8. Train Shuffle

Tom Harrell has received rave reviews from his fellow jazz musicians for years, but he only started receiving the attention he deserved from a wider audience in the latter half of the 1990s. A number of Harrell's compositions and arrangements on this outstanding big band session date from the 1960s but are just now being recorded; it is more than worth the wait. The background harmonies behind the soloists on the hard-driving "Shapes" are incredible; the tense "Daily News" with his rich flugelhorn, the haunting ballad "Times Mirror," and the foot tapping blues "Train Shuffle" are all candidates to become jazz standards. His treatments of "Autumn Leaves," "Dream" and "Chasin' The Bird" display vivid imagination. 

Harrell's playing on trumpet and flugelhorn is sparkling, and tenor saxophonists Alex Foster and Don Braden as well as pianist Xavier Davis also shine. Highly recommended! ~ Ken Dryden  http://www.allmusic.com/album/times-mirror-mw0000668736

Personnel: Tom Harrell (trumpet, flugelhorn); Craig Bailey (alto saxophone, flute); Mark Gross (alto saxophone, clarinet); Alex Foster (tenor saxophone, flute); Don Braden (tenor saxophone); David Schumacher (baritone saxophone); Joe Magnarelli, Chris Rogers, David Weiss, James Zollar (trumpet, flugelhorn); Earl Gardner (trumpet); Conrad Herwig, Mike Fahn, Curtis Hasselbring (trombone); Douglas Purviance (bass trombone); Xavier Davis (piano); Kenny Davis (bass); Carl Allen (drums).

Time's Mirror

Gordon Goodwin's Big Phat Band - Life In The Bubble

Styles: Big Band
Year: 2014
File: MP3@320K/s
Time: 63:19
Size: 145,4 MB
Art: Front

(6:45)  1. Life in the Bubble
(6:16)  2. Why We Can't Have Nice Things
(8:15)  3. Synolicks
(8:18)  4. Years Of Therapy
(6:44)  5. The Passage
(6:47)  6. Garaje Gato
(8:19)  7. Does This Chart Make Me Look Phat?
(4:25)  8. Get Smart
(3:33)  9. On Green Dolphin Street
(3:54) 10. Party Rockers

Gordon Goodwin's Big Phat Band's 2014 effort, Life in the Bubble, showcases the ensemble's lively, crisply swinging jazz sound. Included here is a mix of standards and originals including such songs as the hard-driving "Why We Can't Have Nice Things," the lively Latin-tinged "Garaje Gato," their freewheeling take on the classic "On Green Dolphin Street," and others. ~ Matt Collar http://www.allmusic.com/album/life-in-the-bubble-mw0002637151

Personnel: Andrew Synowiec (guitar); Sal Lozano (flute, piccolo, alto saxophone); Brian Scanlon (clarinet, tenor saxophone); Jay Mason (bass clarinet, baritone saxophone); Eric Marienthal (soprano saxophone, alto saxophone); Gordon Goodwin (tenor saxophone, piano); Kevin Garren (tenor saxophone); Willie Murillo, Dan Fornero, Dan Savant, Wayne Bergeron (trumpet); Charlie Morillas, Francisco Torres, Andy Martin , Craig Gosnell (trombone); Rick Shaw (acoustic bass, electric bass); Bernie Dresel (drums); Joey De Leon, Jr. (percussion).

Life In The Bubble

Marion Brunelle - Ahora Existo

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 44:04
Size: 101,2 MB
Art: Front

(4:02)  1. Ahora Existo
(3:47)  2. Dime Algo
(3:53)  3. Corazón Rosado
(4:29)  4. No Te Mereces
(3:45)  5. Todos Los Días
(6:05)  6. Secreto
(3:49)  7. Sin Ti
(5:25)  8. Tiempo Lejos
(4:08)  9. Amar, Temer Y Partir
(4:37) 10. Como Ángel

Imagine the joy of sipping a cocktail on a mid-Summer afternoon or the feeling of wanting to suddenly declare your love to someone in the middle of a crowded elevator; Marion has the persuasion of doing just that. With her velvety and warm voice in combination of latin-inspired rhythms, this Montreal born young singer-songwriter mixes her Québécois roots with zouk and her own unique blend of soul music. She sings about romance, which invokes the feeling of innocence that you might feel being with your first love. Her songs are touching and her sincere lyrics are bound by catchy and beautiful melodies that you can’t help but sing along to.

After collaborating with different Quebec artists over the years (Wesli, Anodajay, Dubmatique), she left for Cuba for a year to find new inspirations and sang with musicians of the Havana Jazz scene (Yadasny Portillo, Julito Padrón). This journey has allowed her to bridge her pop-jazz influences and Latin flavors and resulted in the production and completion of her sophomore album Ahora Existo to be launched soon. Recorded at Lucero Records Studios, in Havana Cuba, and completely in Spanish, the album features top Cuban musicians such as Roberto García (Afro Cuban All Stars), Keisel Jímenez (Habana de Primera) and Frank Rubio (Issac Delgado) under the direction of piano player and producer Andy Rubal. Songs are a well-engineered blend of pop and jazz with subtle Cuban rhythms and flavours. “Ahora Existo for me is the testimony of a love affair that made me feel alive for the first time of my life”, Marion explains. The 10-track album includes many music styles from latin jazz to bachata and kizomba, and a Spanish version of “Sans Toi” (Sin Ti), from Marion’s first album La Pluie Tombe. Great arrangements and catchy lyrics make this an original and refreshing album. She has made appearances in various TV and radio shows (A Puro Corazón, A Buena Hora, 23 y M) and shared the stage with Cuban stars Waldo Mendoza and Omara Portuondo.

In 2012 she released her debut La Pluie Tombe (The Rain Falls) independently, that has been described as “a unique, sensual, luminous, fresh and delicate album”. She has since then collaborated with several artists throughout the Americas and in Europe and produced 4 videos. With her Cuban and Canadian partners by her side, the show they present is both intimate and festive. Words, rhythms and music all come together to take us on a tropical dream and make us fall in love with the one and only: Marion ~ Bio http://www.marionbrunelle.com/#!bio/c10fk

Ahora Existo

Leila Olivesi, David Binney - Utopia

Styles: Contemporary Jazz
Year: 2015
File: MP3@320K/s
Time: 56:16
Size: 129,2 MB
Art: Front

(6:27)  1. Le Monde De Cyrano (feat. David Binney)
(6:42)  2. Sunland (États Et Empires Du Soleil)
(6:30)  3. Night and Day
(9:29)  4. Revolutions
(8:01)  5. Con Calma (feat. David Binney)
(6:11)  6. Symphonic Circle (feat. David Binney)
(7:46)  7. Lune (États Et Empires De La Lune) [feat. David Binney]
(5:07)  8. Summer Wings

For her fourth album as a leader, pianist and vocalist, Leila Olivesi takes her inspiration from Etats et Empires du Soleil et de la Lune, a novel by 17th Century writer Cyrano de Bergerac. Combining social criticism, adventure novel and philosophical discourse, it is a major work of the time and it foreshadows science fiction. Olivesi's Utopia is a similarly modern work written in the universal language of music. 

She is joined by Manu Codjia on guitar and Yoni Zelnik on bass, and American saxophonist David Binney for three tracks. ~ Editorial Reviews http://www.amazon.com/Utopia-Leila-Olivesi/dp/B00TE80ZZO

Personnel:  Alto Saxophone – David Binney (tracks: 1, 5 to 7);  Contrabass – Yoni Zelnik;  Drums – Donald Kontomanou;  Guitar – Manu Codjia;  Piano – Leïla Olivesi;  Vocals – Leïla Olivesi (tracks: 2, 5)

Utopia

Saturday, September 5, 2015

Joachim Kühn Trio - Voodoo Sense

Bitrate: MP3@320K/s
Time: 59:00
Size: 135.1 MB
Styles: Piano jazz
Year: 2013
Art: Front

[19:50] 1. Kulu Se Mama
[ 8:40] 2. Gbalele
[ 7:55] 3. L'eternal Voyage
[ 5:16] 4. Voodoo Sense
[ 7:58] 5. Crossing The Mirror
[ 9:18] 6. Firehorse

The fourth outing from German pianist Joachim Kühn, Moroccan vocalist and guembri (bass lute) player Majid Bekkas, and Spanish drummer Ramon Lopez continues the trio's exploration into free-jazz and North African roots that began with Kalimba ( ACT Music, 2007). The percussion and rhythms of the Magreb were more prominent on Out of the Desert (ACT Music, 2009) which featured a cast of Berber musicians, while Chalaba (ACT Music, 2011) returned to the stripped down trio format. Here, Kühn again opts for a percussion-heavy approach, augmented on half the tracks by saxophonist Archie Shepp. The result is an intoxicating brew of Afro-centric jazz—rhythmically dynamic, free spirited and emotionally charged.

The standout track is the twenty-minute opener, "Kulu Sé Mama," originally written by percussionist Juno Lewis for saxophonist John Coltrane's album of the same name recorded in late 1965, though released two years later. Shepp, who was championed by Coltrane as part of the emerging free jazz scene, reprises the role played by Pharoah Sanders, improvising with joyous abandon. It's a fairly faithful interpretation, particularly in terms of emotional intensity —though in the potent momentum provided by talking drum, calabash, conga, kalimba, karkabou (metal hand-held clackers) and djembe—and Kühn and Shepp's exuberant improvisations—it's definitely more voodoo than gospel blues in spirit—a powerful evocation of roots and ancestory.

Kouassi Bessan Joseph and Gouria Danielle's celebratory vocal chants bring a strong African flavor on "Gbalele," with Kühn's scurrying improvisations underpinned by Lopez and Bekka's drive, Bessan's talking drums and Abdessadek Bounhar's clattering train-rhythm pulse on karkabou. The same insistent rhythms color "Voodoo Sense," with Bekka's balaphone (wooden marimba) adding additional texture, while Shepp's free improvisations stir up the brew. The saxophonist and Kühn are on lyrical form on the balladic gem "L'eternal Voyage"; Lopez's brushes and Bekka's slow bass pulse set the tone initially but there's a smoldering edge to the bluesy improvisations that unfold, accentuated by intermittent cymbal crashes.

European classicism characterizes Kühn s playing on "Crossing the Mirror," an edgy, slow-paced trio number without an obvious rhythmic compass. The three musicians' meandering paths are closely bound up in this abstract yet hypnotic improvisation. "Firehorse" lives up to its colorful name, charging and rearing up with an unrelenting intensity. Kühn's untethered soloing is punctuated by Lopez' lashing cymbal and spurred by the general rhythmic propulsion. Bekka in turn solos, supported by Lopez' bustle before the trio reunites in a heady maelstrom of dissonant piano, rumbling bass and cracking drums. The sudden conclusion provides a dramatic exclamation mark to a stirring nine minutes of unrelenting tension and passion.

One wonders if' Kühn's European/North African/Iberian trio has reached a kind of creative peak with Voodoo Sense, because for emotional energy alone it will be difficult to top. On the other hand, they could continue in the same vein indefinitely—like Keith Jarrett's trio, though plying original material—recreating more of the same haunting magic. ~Ian Patterson

Joachim Kühn: piano; Majid Bekkas: guembri, vocals & kalimba (1), balafon (4); Ramon Lopez: drums &percussion; Archie Shepp: tenor saxophone (1, 3-4); Kouassi Bessan Joseph: talking drum, zinu congas (1, 2, 4), vocals (2); Gouria Danielle: percussion (1,4), vocals (2); Daily Jean Eric (calabash); Gilles Ahadji: djembe (1, 4); Abdessadek Bounhar: karkabou (1-2, 4).

Voodoo Sense

Lisa Lois - Smoke

Bitrate: MP3@320K/s
Time: 42:21
Size: 97.0 MB
Styles: Neo Soul, Adult contemporary R&B
Year: 2010
Art: Front

[2:56] 1. No Good For Me
[3:12] 2. Little By Little
[3:34] 3. I Know Who I Am
[3:18] 4. Promises Promises
[3:34] 5. Sophia
[2:54] 6. Move
[4:12] 7. Too Much Is Never Enough
[3:44] 8. Owe It All To You
[3:35] 9. Watching You
[3:58] 10. Smoke
[3:33] 11. Hallelujah [acoustic Version]
[3:45] 12. Hallelujah

After rising to fame on the Dutch version of the reality television show X Factor, Lisa Lois made her full-length album debut with Smoke, a soul-pop effort produced in London that follows in the footsteps of Amy Winehouse and innumerable other British vocalists with the same style. While the style of Smoke is overly typical of the soul-pop style popularized by Winehouse on her international blockbuster Back to Black (2006), albeit heavy on straight-edged ballads and without the throwback vibe of that landmark album, it's a suitable showcase for Lois as a vocalist with impressive pipes. Well aware of her mainstream appeal as a first-place winner on X Factor, the heretofore unknown London-based production team TMS (Tom Barnes, Peter Kelleher, Ben Kohn) crafts a full album's worth of soul-pop that's firmly middle of the road. Hence the reliance on strong-willed ballads and sappy string arrangements. For instance, whereas Winehouse sang about how her man knows that she's no good on "You Know I'm No Good," Lois sings how her man is no good for her on "No Good for Me." This album-opening highlight is one of several songs that were penned for Lois by British singer/songwriter Pixie Lott and songwriter/producer Phil Thornalley. This is another notable difference between Lois and Winehouse, who wrote her own songs on Back to Black. Lois may not be a songwriter in her own right, but she's surely capable of delivering the goods as a vocalist. There's no better instance of this on Smoke than album-closing cover of the Leonard Cohen standard "Hallelujah," performed sparely with only acoustic piano backing. It's an impressive rendition of an all-too-familiar song, and it speaks to the vocal talent of Lois, not to mention her command of English. ~ Jason Birchmeier

Smoke