Coleman Hawkins - Desafinado

Bitrate: MP3@320K/s
Time: 35:20
Size: 80.9 MB
Styles: Bossa Nova, Saxophone jazz
Year: 1963/1997
Art: Front

[5:46] 1. Desafinado
[2:49] 2. I'm Looking Over A Four Leaf Clover
[3:54] 3. Samba Para Bean
[1:29] 4. I Remember You
[3:55] 5. One Note Samba
[5:57] 6. O Pato
[4:08] 7. Un Abraco No Bonfa
[7:19] 8. Stumpy Bossa Nova

That Coleman Hawkins jumped on the jazz/bossa nova bandwagon craze initiated by Stan Getz in 1962 was a bit of a surprise to his fans, but that he was comfortable in the idiom should not be off-putting. Able to adapt to any style over his lengthy career, the legendary tenor saxophonist chose classic standards adapted to Brazilian rhythms, music from masters like Antonio Carlos Jobim and João Gilberto, and a Manny Albam original. Producer Bob Thiele and music director Albam were strong in their resolve directing Hawkins to do this project, and the results are fairly predictable, especially considering that every single track is played in midtempo. The difference is the deployment of two guitarists in Barry Galbraith (lead) and Howard Collins (rhythm) split into separate stereo channels, with bassist Major Holley and no full kit drummer, although Eddie Locke with a minimal and stripped-down setup, Willie Rodriguez, and even Tommy Flanagan play small Latin percussion instruments. Themes derived from nights in Rio such as the beautifully rendered title track and "One Note Samba" are quite typical, but "O Pato" (The Duck) has a component added on from Duke Ellington's "Take the 'A' Train," while the Hawkins original "Stumpy" is adapted into "Stumpy Bossa Nova," derived from Dizzy Gillespie's "Groovin' High" with a taste of "The Man I Love" tacked on at the end. Albam's "Samba Para Bean" is standardized cool with Locke's accents via brushes on closed hi-hat cymbals, while "I Remember You" is a completely unforced, pretty rendition of this well-worn standard. Gilberto's tribute to Luiz Bonfá, "Um Abraco No Bonfa," sports a guitar lead by Galbraith in a stretched-out frame. The curve ball is a somewhat weird crossbred samba take of "I'm Looking Over a Four Leaf Clover," a truly corny song the band tried to make cool, only marginally succeeding. The simplified style of this album overall perfectly suited the amiable, good-natured, and laid-back Hawkins at a time when the world was somewhat in political turmoil regarding Caribbean nations and the role of South America in the emerging so-called Third World. He passed away seven years later, leaving a legacy as the most revered tenor saxophonist in jazz, and this very nice recording in his long discography, unique even unto itself. ~Michael G. Nastos

Desafinado

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Melanie Dahan - Keys

Bitrate: MP3@320K/s

Time: 56:44

Size: 129.9 MB

Styles: Vocal jazz

Year: 2014

Art: Front

[5:33] 1. Whisper Not

[5:45] 2. I'm Through With Love

[6:04] 3. Poor Butterfly

[5:09] 4. Dedicated To You

[6:00] 5. Beautiful Love

[5:17] 6. Everytime We Say Goodbye

[6:38] 7. Some Other Time-Lucky To Be Me

[4:57] 8. Star Eyes

[5:01] 9. What's New

[6:16] 10. Never Said

Baptiste Trotignon (piano); Thomas Enhco (piano); Pierre de Bethmann (piano); Manuel Rocheman (piano); Franck Amsallem (piano); Thomas Bramerie (doublebass); Lukmil Perez (drums).

Following 2 well-received recordings, French jazz vocalist Melanie Dahan has just recorded a new one. She has a history of working with excellent musicians (pianist Giovanni Mirabassi) and this album continues this fine tradition. The distinctive, continually surprising sound of this new album is the result of an especially satisfying collaboration with 5 pianists, a veritable who's who of the best in France. A smartly conceived concept recording made up of 10 jazz standards where each pianist pays tribute to the American songbook in his fresh and inventive own way. Each one of their unique and contemporary arrangements acts to highlight Dahan's vocal qualities and to make her voice an instrument.

Melanie's strengths - expressive delicacy at low volumes, flexible phrasing - are all here. Above all, there's her voice - light but expressive, engaging and evocative, whether she's singing in English (here), French (in her first album) or Portuguese (in her second album).

Keys

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The Swingcats - Get Happy!

Bitrate: MP3@320K/s
Time: 66:17
Size: 151.8 MB
Styles: Contemporary jazz
Year: 2003
Art: Front

[4:00] 1. Lullaby Of The Leaves
[3:53] 2. Christopher Columbus
[4:45] 3. I've Got A Crush On You
[3:35] 4. Get Happy
[3:34] 5. Hallelujah
[4:03] 6. Harlem Nocturne
[5:23] 7. Undecided
[3:09] 8. Jubilee
[3:25] 9. Fools Rush In
[3:47] 10. My Little Suede Shoes
[3:06] 11. C'est Magnifique
[5:31] 12. Tea For Two
[4:11] 13. The Midnight Sun Will Never Set
[3:31] 14. King Porter Stomp
[3:13] 15. Be Bop
[3:30] 16. Laura
[3:32] 17. Crazy Rhythm

Frank Roberscheuten (leader, clarinet, saxophones), Dirk Van Der Linden (piano), Karel Algoed (bass), Moritz Gastreich (drums), Shaunette Hildabrand (vocals).

Perhaps a testament to the greatness of the only original art form to come out of the United States is how well it translates to other musicians in places outside of North America. Certainly this is evidenced in the CD Get Happy by the Swingcats. The Swingcats, made up of musicians from Germany, Belgium and the Netherlands, were formed in 1991 and are led by saxophonist and clarinetist Frank Roberscheuten. Get Happy represents the group's cross section of selections ranging from the early jazz of Jelly Roll Morton through more modern styles penned by Charlie Parker and Dizzy Gillespie. Also featured prominently is the group's vocalist, Shaunette Hildabrand, who hails from Oklahoma.

Although there is nothing particularly musically "outside" or adventurous about what the Swingcats perform on Get Happy, there is no doubt they are very competent musicians in great command of their instruments and demonstrate a superlative stylistic understanding of the music. All seventeen pieces on the recording represent jazz standards, including Dizzy Gillespie's "Be Bop," Charlie Parker's "Little Suede Shoes," Jelly Roll Morton's "King Porter Stomp," and selections from the Great American Songbook by George Gershwin, Cole Porter, Harold Arlen, Hoagy Carmichael, and Sammy Kahn. Vocalist Shaunette Hildabrand is a standout on "I've Got a Crush on You," the title cut, "Tea for Two," and "Undecided." Of particular note to this listener is her swinging styling on "Fools Rush In" and "C'est Magnifique" and her beautiful rendition of the classic ballad "Laura." Throughout all of the tunes with vocals, Hildabrand is aptly accompanied by a consistent and tight rhythm section and Roberscheuten's musical asides on saxophone or clarinet.

Jazz aficionados who are particularly interested in groups which hold fast to a swinging groove right down the center of the jazz mainstream and also maintain the repertory and sensibility of jazz of the past will find the Swingcats right up their alley. The group provides an excellent clinic on maintaining the jazz tradition. ~Craig W. Hurst

Get Happy!

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Jake Langley - Diggin' In

Bitrate: MP3@320K/s
Time: 77:23
Size: 177.2 MB
Styles: Guitar jazz
Year: 2014
Art: Front

[6:36] 1. Ogd
[8:10] 2. God Bless The Child
[8:16] 3. Cheese Cake
[5:30] 4. The Garage
[6:39] 5. Sugar
[8:13] 6. Blues For Jim San
[9:40] 7. Gibraltar
[6:24] 8. Maya
[5:55] 9. Continental Blues
[4:58] 10. Bolivia
[6:58] 11. Desert Sun

Jake Langley, guitar; Joey DeFrancesco, B3 organ; Terry Clarke, drums.

Sometimes it's nice to get exactly what you expect after reading the cover, no more or less. Guitarist Jake Langley's Diggin' In features organist Joey DeFrancesco and drummer Terry Clarke playing mostly standards in a Wes Montgomery vein. Learning that much by reading the CD cover suggests a contemporary Lee Ritenour-style treatment with enough twists from DeFrancesco's presence for an intelligent recreational listen. The sort of album, in other words, for unwinding after a long day when one isn't ready to completely submit to the mental enema of typical contemporary.

Langley, 30, a Toronto resident selected as Canada's guitarist of the year in the National Jazz Awards, possesses stylings that carries over from studies with Pat Martino and Jim Hall, plus plenty of influence from the Montgomery school. Diggin' In, his third solo album, returns to the lower-key trio playing of his debut Doug's Garage after showcasing a collection of funk/acid/Latin originals with a larger cast on Non Fiction. Consistency is a good summary for this set, never venturing into uncomfortably exploration or hollow mailed-in territory. Langley keeps the melodies recognizable and his soloing elaborates rather than reinterprets. His plucking runs the range of leisurely to lively, easily absorbed without being completely predictable. Montgomery's "O.G.D." has a laid back feel, for instance, but Langley spices it up with a rapid series of post bop runs. He also displays a fine command for upbeat blues on "The Garage," the lone original composition on this album. His blues-ballad rendition of Billie Holiday's "God Bless The Child" is a smooth change of pace, although it fails to leave any lasting impressions. The same might be said for the album as a whole—while it's pleasant, it may not linger beyond the moment the listener hits the "off" switch.

DeFrancesco has more acclaimed outings on his resume, but he isn't being called upon to go all out and delivers well for the setting. His tone and a bit of extra kick compared to Langley's treatments, plus offering some extra depth as an accompanist, are what will spur listeners to pick this over similar trio discs when the mood arises. Clarke gets little time on his own, but generally his loose-style playing feels like a living organism propelling things ahead.

Diggin' In doesn't cover any new territory, but does a good job within the one it does occupy as long as listeners are seeking comfort rather than a life-changing experience. It's also comforting knowing Langley is capable of mixing styles album to album, making his past and future efforts worth keeping an eye on if this one satisfies.

Diggin' In

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Agnieszka Hekiert - Night And Day Swing

Styles: Jazz, Vocal
Year: 2004
File: MP3@320K/s
Time: 48:09
Size: 110,3 MB
Art: Front

(6:55)  1. Green Eyes
(4:42)  2. Smile
(3:20)  3. Night and Day
(5:06)  4. They Can't Take That Away From Me
(6:14)  5. Our Love is Here to Stay
(4:16)  6. Route
(6:04)  7. Tea in the Sahara
(2:36)  8. A Tisket a Tasket
(8:52)  9. What a Wonderful World

The jazz singer, Agnieszka Hekiert, has been working with the extraordinary jazz artist Bobby McFerrin since 2009. Her other stage partners include Krzysztof Herdzin, considered by Jazz Forum to be one of the three best jazz pianists in Poland, and the Polish jazz legend Leszek Zadlo. She is currently the most in-demand vocal coach in Poland because she gives the final polish to the voices of young artists in TV shows like X-Factor (2011 TVN), Poland's Got Talent (2010/2011 TVN), My Camp Rock II (2009 Disney Channel) and Star Academy (2008Polsat). 

Agnieszka is there fore able to combine two of her passions: performing on stage as bandleader during jazz concerts and imparting her knowledge and experience as vocal coach to young talents. She still gets to work with the best: WeBe3, Rhiannon, Roger Treece and above all Bobby McFerrin, with whom she sang numerous concerts (Vocabularies Project).

Agnieszka has a degree from the jazz and pop department of the music academy in Kattowitz. Her career began in Poland, where she won many prizes at divers festivals. She then worked with well-known stars of the Polish music scene like Krzysztof cieraski, Wiesaw Pieregorólka, Natalia Kukulska, Maryla Rodowicz, Ryszard Rynkowski and Marek Baata.With the years, her field of activity extended beyond the Polish border. Agnieszka started to perform in both Germany and Austria. This resulted in an ongoing collaboration with the saxophonist Leszek Zadlo, the Bulgarian pianist Konstantin Kostov and the percussionist Nevian Lenkov.The fruits of this collaboration, which can be found on the 2009 album "European Impressions", are an incredible mixture of Slavonian melancholy and Balkan energy. The virtuosity of Leszek Zadlo is combined with the wonderful and expressive voice of Agnieszka with ease and energetic improvisation.

Agnieszka also writes music and lyrics, creates arrangements, directs a Circle singing choir (like Bobby McFerrin) and holds vocal workshops all around Europe. The Süddeutsche Zeitung about Agnieszka: "Unbelievable vocal artistic and phrasing"... and the Tölzer Kurier: "Her music is a pleasure for the ears"; "The finest jazz, that one can just not get enough of"  http://www.hekiert.com/bio-1.html

Night And Day Swing

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Jesper Thilo - Still Movin'

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 64:06
Size: 148,1 MB
Art: Front

(4:29)  1. Somebody Loves Me
(6:16)  2. Black and Blue
(4:25)  3. Move
(6:37)  4. Day Dream
(5:55)  5. Just Friends
(7:57)  6. Misty
(8:42)  7. That's All
(5:21)  8. Baby Won't You Please Come Home
(7:54)  9. Stars Fell on Alabama
(6:26) 10. West Coast Blues

One of the top European straight-ahead jazz musicians from 1970 onward, Danish reedman Jesper Thilo has appeared on many records with American artists in addition to recording with his fellow countrymen. His tenor sound is reminiscent of Zoot Sims. Thilo, who has also occasionally played alto and clarinet, first recorded as a leader for Storyville in 1973, and in the 1980s and 1990s on Storyville his sidemen at various times included Hank Jones, Kenny Drew, Clark Terry, Roland Hanna, and Harry "Sweets" Edison. Thilo also appeared on Miles Davis' Aura (with compositions and arrangements by fellow Dane Palle Mikkelborg), released by Columbia in 1989. After the turn of the millennium Thilo has continued recording for a variety of labels, including several releases on Stunt Records: Remembering Those That Were (2009), On Clarinet (2010), and Scott Hamilton Meets Jesper Thilo (2011). ~ Scott Yanow  https://itunes.apple.com/gm/artist/jesper-thilo/id31015525#fullText

Personnel:  Jesper Thilo - tenor sax;  Ben Besiakov – piano;  Jesper Lundgaard - bass

Still Movin'

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Amir ElSaffar - Crisis

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 66:24
Size: 154,5 MB
Art: Front

( 4:54)  1. Introduction - From the Ashes
( 8:50)  2. The Great Dictator
( 3:17)  3. Taqsim Saba
( 8:18)  4. El-Sha'ab (The People)
( 7:05)  5. Love Poem
( 9:45)  6. Flyover Iraq
(13:34)  7. Tipping Point
( 3:29)  8. Aneen (Weeping), Continued
( 7:08)  9. Love Poem

Chicago area native, Amir ElSaffar has been working inside and outside the typical context of jazz since his Two Rivers Ensemble debut, Two Rivers (PI Recordings, 2007). The trumpeter and composer (and master santour player) has built a unique musical architecture based his study of the microtonal techniques of his ancestral Iraqi maqam. While ElSaffar was not raised with a strong sense of father's native culture, his own interest led him to travel extensively in the Middle East. His recent travels coincided with elements of the Arab Spring movements and ElSaffar found himself particularly influenced by the events in Egypt where he had lived for a year and had experienced the cultural turmoil related to the Mubarak regime and its troubled aftermath. Crisis, the third release from ElSaffar's Two Rivers Ensemble, is decidedly more political in nature but treats the music with the same fervent enthusiasm as the group had applied to their more folkloric improvisational recordings. The more abstract elements that ElSaffar had employed on Two Rivers and Inana (PI Recordings, 2011) are circumvented as the emphasis here is on the dualism of purer jazz and authentic Arab styles of music. In this technique, ElSaffar creates a distinctive paradigm.

The intent of Crisis is not in any way veiled. Following the brief opening "Introduction From the Ashes," the suite moves into the "The Great Dictator" with its fluid themes that speak to both repetitive oppression and rare glimmers of light and hope. ElSaffar's solo trumpet improvisation "Taqsim Saba" relies heavily on maqam and Hijaz (a region of Saudi Arabia) influences. The quiet beauty of the piece bleeds into Carlo Derosa's marching bass intro to "El-Sha'ab (The People)" where the mood becomes more confrontational. "Flyover Iraq" adds further layers of complexity combining Turkish melody and the flair of a Chicago horn section. "Tipping Point" is a self-contained study in its own right. The thirteen-plus minute composition opens with DeRosa's cautious bass lines before launching into a narrative that answers to the earlier "The Great Dictator." ElSaffar describes the structure of the composition as ..."simultaneously pulling in multiple directions." There is an endemic sense of potential chaos even in moments of calm as they inevitably explode in remnants of previous pieces that go careering by like shrapnel. The album closes with the melancholy "Aneen (Weeping), Continued," referencing the latter half of the "Two Rivers Suite" from that 2007 recording, and finally "Love Poem" and ancient Sufi poem set to music.

What ElSaffar is doing on Crisis is unique in music. From a perspective of compositional technique, perhaps only multi-reedist/composer Hafez Modirzadeh with his In Convergence Liberation (PI Recordings, 2014) comes close and it's no coincidence that ElSaffar was an integral part of that project. But from a political and historical vantage point, the task of narrating complex global events through instrumental music is more than challenging. 

ElSaffar has not only commendably told this personal and globally important story but has produced a masterpiece of a recording in doing so. ~ Karl Ackermann  http://www.allaboutjazz.com/crisis-amir-elsaffar-pi-recordings-review-by-karl-ackermann.php
 

Personnel: Amir ElSaffar: trumpet, vocal, santour; Ole Mathisen: tenor and soprano saxophone; Nasheet Waits: drums; Carlo DeRosa: bass; Tareq Abboushi: buzuq; Zafer Tawil: percussion.

Crisis

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Randy Weston, Melba Liston - Volcano Blues

Bitrate: MP3@320K/s
Time: 53:15
Size: 121.9 MB
Styles: Piano jazz, Jazz-blues vocals
Year: 1993
Art: Front

[2:42] 1. Blue Mood
[6:01] 2. Chalabati Blues
[3:17] 3. Sad Beauty Blues
[2:31] 4. The Nafs
[2:23] 5. Volcano
[4:08] 6. Harvard Blues
[5:07] 7. In Memory Of
[3:45] 8. Blues For Strayhorn
[4:10] 9. Penny Packer Blues
[2:23] 10. J.K. Blues
[6:21] 11. Mystery Of Love
[7:15] 12. Kucheza Blues
[3:06] 13. Blues For Elma Lewis

Pianist Randy Weston and trombonist/arranger Melba Liston have collaborated successfully for many years. This pairing was on a series of blues numbers, with Weston doubling as session producer and pianist while giving Liston almost total arranging control, except for three numbers. The results were an intriguing twist on standard 12-bar blues, as Weston's muscular piano lead the way through rigorous performances of Count Basie's "Volcano" and his own "Blues For Strayhorn," "Sad Beauty Blues" and "In Memory Of." Liston's arrangements required disciplined solos, and Weston's steady hand generated impressive cohesion and interaction during the unison segments. A superb example of the African/African-American musical continuum. ~Ron Wynn

Volcano Blues

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Jackie McLean - 4, 5 And 6

Bitrate: MP3@320K/s
Time: 45:02
Size: 103.1 MB
Styles: Saxophone jazz
Year: 1956/2006
Art: Front

[ 9:55] 1. Sentimental Journey
[ 5:13] 2. Why Was I Born
[ 4:58] 3. Contour
[11:22] 4. Confirmation
[ 5:32] 5. When I Fall In Love
[ 7:59] 6. Abstraction

In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. 4, 5 and 6 presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track -- thus the title. Mal Waldron, himself an unconventional pianist willing to explore different sizings and shadings of progressive jazz, is a wonderful complement for McLean's notions, with bassist Doug Watkins and drummer Art Taylor the impervious team everyone wanted for his rhythm section at the time. The quartet versions of "Sentimental Journey," "Why Was I Born?," and "When I Fall in Love" range from totally bluesy, to hard bop ribald, to pensive and hopeful, respectively. These are three great examples of McLean attempting to make the tunes his own, adding a flattened, self-effaced, almost grainy-faced texture to the music without concern for the perfectness of the melody. Donald Byrd joins the fray on his easygoing bopper "Contour," where complex is made simple and enjoyable, while Hank Mobley puts his tenor sax to the test on the lone and lengthy sextet track, a rousing version of Charlie Parker's risk-laden "Confirmation." It's Waldron's haunting ballad "Abstraction," with Byrd and McLean's quick replies, faint and dour, that somewhat illuminates the darker side. As a stand-alone recording, 4, 5 and 6 does not break barriers, but does foreshadow the future of McLean as an innovative musician in an all-too-purist mainstream jazz world. ~Michael G. Nastos

4, 5 And 6

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Boston Pops Orchestra - Swing, Swing, Swing

Bitrate: MP3@320K/s
Time: 45:33
Size: 104.3 MB
Styles: Orchestral, Easy Listening
Year: 1985
Art: Front

[3:16] 1. Opus One
[3:16] 2. Begin The Beguine
[2:55] 3. Sunrise Serenade
[2:53] 4. Tuxedo Junction
[2:23] 5. Satin Doll
[3:28] 6. In The Mood
[3:59] 7. Sing, Sing, Sing
[2:38] 8. Stompin' At The Savoy
[3:46] 9. Moonlight Serenade
[3:09] 10. String Of Pearls
[2:44] 11. Sleepy Lagoon
[3:27] 12. Song Of India
[3:11] 13. Snowfall
[4:21] 14. Swing, Swing, Swing

Banker Henry Lee Higginson established Boston's first full-time resident orchestra. An unprecedented one-million-dollar grant endowed the Boston Symphony Orchestra, which, since its debut on October 22, 1881, has established itself as one of the great orchestras of the world.

In order to give orchestra members summer employment, and to recapture the ambience of the Bilse Orchestra's beer-hall concerts in Berlin where Higginson had been a music student, Higginson established a second BSO season in the spring, played by a reduced orchestra initially called the Music Hall Promenade Orchestra. The "Pops," as it became known informally and later officially, was also an audience hit. The Boston Pops remains, essentially, the Boston Symphony Orchestra minus its first chair players. ~Joseph Stevenson

Swing, Swing, Swing

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Bill Evans - Blue In Green

Bitrate: MP3@320K/s
Time: 52:52
Size: 121.1 MB
Styles: Modal music, Jazz piano
Year: 1974/1991
Art: Front

[6:25] 1. One For Helen
[7:17] 2. The Two Lonely People
[4:48] 3. What Are You Doing The Rest Of Your Life
[7:01] 4. So What
[5:42] 5. Very Early
[4:00] 6. If You Could See Me Now
[7:43] 7. 34 Skidoo
[3:54] 8. Blue In Green
[5:58] 9. T. (Twelve Tone Tune)

This CD reissue contains a Canadian concert by the Bill Evans Trio. Pianist Evans, bassist Eddie Gomez and drummer Marty Morell had been playing regularly together since 1969 (Gomez had joined the group back in 1966). The tight and almost telepathic musical communication between the musicians, the strong repertoire (six Evans originals, a pair of ballads and "So What") and the appreciative audience make this a fairly definitive recording by this classic unit. ~Scott Yanow

Blue In Green

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Donald Harrison & Terence Blanchard - Black Pearl

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 53:08
Size: 121,8 MB
Art: Front

( 2:59)  1. Selim Sivad
( 7:34)  2. Black Pearl
(10:44)  3. Ninth Ward Strut
( 5:40)  4. Infinite Heart
( 6:20)  5. The Center Piece
( 6:15)  6. Somewhere
( 4:14)  7. Dizzy Gillespie's Hands
( 4:08)  8. Toni
( 5:11)  9. Birth of the Abstract

The fifth and final recording by the Terence Blanchard-Donald Harrison Quintet uses the same notable rhythm section that was on their previous Crystal Stair release: pianist Cyrus Chestnut, bassist Reginald Veal, and drummer Carl Allen. In addition, two songs add vibraphonist Monte Croft and percussionist Steve Thornton while guitarist Mark Whitfield sits in on "Infinite Heart." With the exception of Leonard Bernstein's "Somewhere," the repertoire is split between compositions by the co-leaders. 

Harrison (who contributed tributes to two notable trumpeters, "Selim Sivad" and "Dizzy Gillespie's Hands") was heard at his best during his period with this group. All five of the Quintet's releases (two for the George Wein Collection on Concord and three for Columbia) are worth picking up for this was one of the most stimulating acoustic jazz groups of the mid- to late '80s. ~ Scott Yanow  http://www.allmusic.com/album/black-pearl-mw0000652086

Personnel: Alto Saxophone, Soprano Saxophone, Saxophone – Donald Harrison;  Bass – Reginald Veal;  Drums – Carl Allen;  Guitar – Mark Whitfield;  Percussion – Steve Thornton;  Piano – Cyrus Chestnut Trumpet – Terence Blanchard;  Vibraphone – Monte Croft

Black Pearl

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Slide Hampton - Jazz With A Twist/Explosion

Styles: Bop, Big Band
Year: 1962
File: MP3@320K/s
Time: 65:05
Size: 149,5 MB
Art: Front

(2:34)  1. The Jazz Twist
(3:04)  2. Mack The Knife
(2:10)  3. Gorgeous George
(3:58)  4. Strollin'
(6:40)  5. The Barbarians
(2:58)  6. Work Song
(2:54)  7. Slide Slid
(4:37)  8. Day In Day Out
(6:17)  9. Red Top
(2:25) 10. Revival
(2:23) 11. Maria
(3:59) 12. Delilah
(2:33) 13. Begin The Beguine
(3:01) 14. Your Cheatin' Heart
(3:33) 15. Spanish Flier
(2:58) 16. Bye Bye Love
(3:29) 17. Love Letters
(5:25) 18. Slide's Blues

A few years ago a “new swing revival” burst onto the music scene, bolstered by newcomers like the Brian Setzer Orchestra, Big Bad Voodoo Daddy, and the Royal Crown Revue, among others. Suddenly techno clubs featured swing nights, as albums by these artists appeared at the top of the charts. Although the new swing craze has passed as we all knew it would, one positive fallout was that many older stalwarts, like Louis Prima and Louis Jordan, received posthumous exposure as a result. 

Another swing artist deserving of wider exposure is Slide Hampton, who has recently been given the reissue treatment by Collectables Records with a two-fer CD overflowing with enthusiasm and swing. Hampton, a gifted trombonist and arranger who previously spent time with both Lionel Hampton and Maynard Ferguson, keeps things lively on both sessions with punchy horn arrangements and lively tempos that make the relatively small orchestra of ten sound like twenty. All of the selections here are real toe-tappers, propelled with a ferocious snap by Vinnie Ruggiero on drums and either Ray Barretto or Willie Bobo on congas. 

The addition of congas adds an additional “junglish” sound to every track, in particular the Hampton original “The Barbarians”. All soloists are in fine form throughout, especially Hampton and Jay Cameron; only a few soloists are permitted on each track, which leaves room for everyone to stretch out for a few choruses. Those in the know will recognize veteran players like George Coleman and Horace Parlan among the mix. As far as the sessions themselves are concerned, Jazz With a Twist is a relatively straightforward set, whereas Explosion! is a bit more adventurous, including country and western tunes, Arabian stylings on “Delilah”, and an upbeat arrangement of “Bye Bye Love” among the more traditional tunes. Although still a good session, the eclectic nature of the tunes on the latter recording detracts from the overall enjoyment. However, the seven originals included on both prove that Hampton can compose tunes that can stand alongside any big band chart currently in circulation.

While not likely to launch another swing revival, this CD is a welcome reissue to an artist deserving of more attention. The last swing craze was fueled by the sheer joy and enthusiasm that good big band music can inspire; Hampton’s recordings are no exception. If Brian Setzer ever needs some inspiration, he would be wise to check out these recordings. ~ David Rickert  http://www.allaboutjazz.com/jazz-with-a-twist-explosion-the-sound-of-slide-hampton-slide-hampton-collectables-review-by-david-rickert.php

Personnel: on "Jazz With a Twist":Slide Hampton and Benny Jacobs-El, trombones; Willy Thomas and Hobrt Johnson, trumpets; George Coleman, tenor sax; Jay Cameron, baritone sax; Horace Parlan, piano; Eddie Khan, bass; Ray Barreto, congas; Vinnie Ruggiero, drums. On "Explosion!" Slide Hampton and Benjamin Jacobs-El, trombones; John Bello, Chad Ferreti, and Jerry Tyree, trumpets; Joe Farrell, tenor sax; Jay Cameron, baritone sax; Horace Parlan, piano; Bob Cranshaw, bass; Vinnie Ruggiero, drums; Willie Bobo, congas.

Jazz With A Twist/Explosion

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Barbara Fasano - Busy Being Free

Styles: Jazz, Vocal
Year: 2015
File: MP3@320K/s
Time: 56:47
Size: 130,8 MB
Art: Front

(5:01)  1. How Little We Know
(5:12)  2. Cactus Tree
(3:58)  3. Remind Me
(2:59)  4. Dancing in the Dark
(4:03)  5. If I Loved You
(3:45)  6. It Never Was You
(3:17)  7. Roundabout
(5:20)  8. The Surrey with the Fringe on Top
(3:45)  9. Time Flies
(3:38) 10. I Got Lost in His Arms
(3:30) 11. Hurry on Down
(4:10) 12. But Beautiful
(4:38) 13. Photographs
(3:25) 14. Where or When

Barbara Fasano, whose fourth CD, “Busy Being Free" drops November 2015, has been hailed as one of the nation’s most stunning and soulful singers. Frank Scheck of The New York Post raves, "Fasano is a gorgeous, soulful singer who has an actor’s intensity in whatever she sings." Whether singing a song by Joni Mitchell or Harold Arlen or Cole Porter, Fasano takes her audience on a spellbinding, emotional musical journey. Her performances and recordings have won her three Backstage Bistro awards, three MAC awards and a New York Nightlife award. Fasano is a regular performer at New York’s most prestigious clubs. Together with her frequent musical partner, Eric Comstock, she was among the last singers to headline at the Algonquin’s legendary Oak Room supper club, with their show “HELLUVA TOWN: A New York Soundtrack”, which enjoyed an acclaimed and sold-out run and has toured the country. The New York Times’ Stephen Holden called it “exhilarating”, singling out Fasano as a “lyrically sensitive interpreter” and comparing her to one of her idols, Lena Horne. “Mr. Comstock and Ms. Fasano are turning the neighborhood into a hotbed of pleasure.”  

Fasano’s voice reaches deep into the soul of humanity. “She illuminates with torchlight,” according to David Finkle of The Huffington Post. “The slim, raven-haired Fasano continually allows feelings to simmer and crackle, singing Cole Porter's ‘In the Still of the Night’ as well or better than anyone has ever sung it.”   Rex Reed of The New York Observer notes, "She gives off palpable electricity", and NEXT’s David Hurst declares, “Fasano is nothing short of a revelation, with the poise and jazz chops to go with her beauty to create a formidable singer.” Theatermania’s Brian Scott Lipton simply states, “Fasano, who sounds better than ever, once again proves herself to be a remarkably expressive singer.” 

Wall Street Journal jazz critic Will Friedwald calls Barbara “a charismatic stylist who effectively channels the spirits of the great über-divas Lena Horne and Barbra Streisand” in his new book The Biographical Guide to the Great Jazz and Pop Singer. On her CD, “Written In The Stars”, a Harold Arlen collection, she surrounds herself with an A-list jazz ensemble, including John di Martino on piano. The CD has garnered praise in publications as diverse as JazzTimes and Playbill, and receives radio play around the world. The New Republic’s David Hajdu raves, “With this record, Barbara Fasano proves that she is not just a great Italian crooner, an heir to Sinatra for our time, but a jazz singer of the first rank.” Barbara’s previous CD, “The Girls of Summer”, is an eclectic mix ranging from Springsteen to Sondheim, and based on her one-woman show of the same title. Both of these CDs were named Record of the Year by the Manhattan Association of Cabarets and Back Stage Bistro awards, and her work as a live performer has twice earned her awards for Female Vocalist of the Year.

Barbara is a native New Yorker, who grew up in a spirited Italian Catholic household – excellent preparation for a life in show business! From her early childhood, music and stories were a way of life. Her mother made the Sunday lasagna while listening to Italian American singers like Jerry Vale on the radio. Her father listened to Louis Armstrong, Ella Fitzgerald and Bing Crosby and sang along in a joyful baritone, teaching Barbara many of his favorite songs. From the early Streisand albums, she learned the music of her favorite composer, Harold Arlen, and learned to play the guitar, memorizing recordings by Paul Simon, Joni Mitchell and other singer-songwriters. Combine all this with her grandparents’ stories of Neapolitan singers and vaudeville and you see how her musical identity was forged. Within her eclectic choices, what remains consistent is her ability to invest a lyric with deep emotional truth, creating virtual one-act plays out of each song.

She earned a degree in theatre, has worked as an actress across the country, and is the recipient of Hofstra University's Estabrook Alumni Achievement Award. Barbara's work as a teacher in New York and around the country includes private coaching, workshops and master classes in the art of performance and song interpretation. Together with Eric Comstock, their workshop, SING THE TRUTH, has enriched the lives and music of hundreds of vocalists. They have an ongoing relationship with the Musical Theater department at University of Michigan, and have recently taught a course in The Great American Songbook at the Neighborhood Playhouse School of the Theatre. She has also worked with the Michael Feinstein Songbook Initiative in Los Angeles, coaching and judging gifted high school students.

Barbara’s many New York headline engagement include concert appearances at Carnegie Hall, Lincoln Center’s American Songbook at the Appel Room, Rose Hall, Dizzy’s Club Coca-Cola, New York Festival of Song, Town Hall and New York’s 92nd Street Y’s Lyrics and Lyricists series. Starring engagements in cabaret and nightclubs include Birdland, The Algonquin, Feinstein’s, The Carlyle,  Iridium, 54 Below, Café Sabarsky, the Colony in Palm Beach, and the Palace in Stamford, CT. Arts centers and music festivals across the country include Caramoor, Arizona Jazz Festival, Jersey Jazz, Kanbar Center, Cooperstown Music Festival, Sheldon Concert Hall and Jazz at The Bistro in St. Louis, Prince Music Theatre, and Kerrytown Concert House. Barbara recently made her London debut at Brasserie Zédel in Piccadilly. In the words of revered jazz critic Ira Gitler, she “has it all, and then some … artistic, swinging, and superbly entertaining.” http://barbarafasano.com/bio.html

Busy Being Free

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Christian McBride Trio - Live At The Village Vanguard

Styles: Neo bop
Year: 2015
File: MP3@320K/s
Time: 68:26
Size: 157,5 MB
Art: Front

( 9:13)  1. Fried Pies
( 2:38)  2. Band Introduction
( 7:14)  3. Interlude
( 9:06)  4. Sand Dune
( 6:56)  5. The Lady in My Life
( 8:41)  6. Cherokee
(10:19)  7. Good Morning Heartache
( 7:01)  8. Down by the Riverside
( 7:14)  9. Car Wash

Recorded over three consecutive nights in December of 2014, Live at the Village Vanguard showcases bassist Christian McBride and his trio in concert at the storied New York venue. A four-time Grammy winner, McBride has been a superstar in the jazz world since debuting as a teenager in the late '80s. Here, McBride is joined by his trio bandmates, pianist Christian Sands and drummer Ulysses Owens, Jr. This is the same outfit that recorded the swinging, sophisticated 2013 studio album Out Here. As with that release, Live at the Village Vanguard finds McBride diving headlong into a set of swaggering, lively standards, originals, and unexpected covers, including a take on the theme to the cult '70s comedy film Car Wash. https://itunes.apple.com/us/album/live-at-the-village-vanguard/id1022494050

Live At The Village Vanguard

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Helen Humes - Blue And Sentimental

Size: 135,8 MB
Time: 58:10
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz/Blues Vocals
Art: Front

01. He May Be Your Man (2:57)
02. Every Now And Then (3:15)
03. Unlucky Woman (3:57)
04. Blue Prelude (3:08)
05. Its Better To Give Than To Receive (2:52)
06. Please Let Me Forget (3:06)
07. He Don't Love Me Anymore (2:48)
08. See, See, Rider (2:45)
09. Pleasing Man Blues (3:03)
10. Central Avenue Boogie (2:36)
11. Married Man Blues (2:56)
12. Be Ba Ba Le Ba Boogie (2:41)
13. Jet Propelled Papa (2:42)
14. They Raided The Joint (2:27)
15. Blue And Sentimental (3:08)
16. I Just Refuse To Sing The Blues (2:55)
17. Jumpin' On Sugar Hill (2:55)
18. Mad About You (2:59)
19. Flippity Flop Flop (1:59)
20. Today I Sing The Blues (2:51)

Helen Humes was a versatile singer equally skilled on blues, swing standards, and ballads. Her cheerful style was always a joy to hear. As a child, she played piano and organ in church, and made her first recordings (ten blues songs in 1927) when she was only 13 and 14. In the 1930s, she worked with Stuff Smith and Al Sears, recording with Harry James in 1937-1938. In 1938, Humes joined Count Basie's Orchestra for three years. Since Jimmy Rushing specialized in blues, Helen Humes mostly got stuck singing pop ballads, but she did a fine job. After freelancing in New York (1941-1943) and touring with Clarence Love (1943-1944), Humes moved to Los Angeles. She began to record as a leader and had a hit in "Be-Baba-Leba"; her 1950 original "Million Dollar Secret" is a classic. Humes sometimes performed with Jazz at the Philharmonic, but was mostly a single in the 1950s. She recorded three superb albums for Contemporary during 1959-1961, and had tours with Red Norvo. She moved to Australia in 1964, returning to the U.S. in 1967 to take care of her ailing mother. Humes was out of the music business for several years, but made a full comeback in 1973, and stayed busy up until her death. Throughout her career, Helen Humes recorded for such labels as Savoy, Aladdin, Mercury, Decca, Dootone, Contemporary, Classic Jazz, Black & Blue, Black Lion, Jazzology, Columbia, and Muse. ~by Scott Yanow

Blue And Sentimental

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Bill McGee - Still Bill

Size: 131,1 MB
Time: 56:03
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz, Vocals
Art: Front

01. Cantaloupe And Watermelon (6:04)
02. Stay (5:19)
03. Grazing In The Grass (4:48)
04. The Gift (5:56)
05. Children Of The Night (5:45)
06. I Know You Got Soul (4:04)
07. The Groove Activator (5:40)
08. Full Circle (4:53)
09. Fence Walk (4:41)
10. Just You Wait And See (6:25)
11. Homily For The Pope (Pope Francis) (2:23)

Since his first solo CD, "This One's 4U", was released in 2002, Bill McGee has survived prostate cancer, had nine grandchildren, retired after thirty years as a school administrator and music teacher, released seven different CD's as the CEO of the 804 Music Group and has come around full circle as a full time musician and recording artist. He was given his first trumpet lesson in 1963, and says that he's still working on learning how to play the instrument. Bill recorded for the first time in 1970, in a small studio in College Park, Georgia with his classmates who went on to become "Brick". After receiving two gold records and working with stars like the O'jays, Lou Rawls, Evelyn Champagne King, and The Sugarhill Gang, learning how to play is a bit of an understatement. But after a nine year hiatus since the hit CD "Chase The Sunset", Bill wants everybody to know that he is "Still Bill", a soulful, spiritual, jazzy kind of trumpet guy, who as an arranger and composer can hang with the best in the business. The CD "Still Bill" comes with all flavors of Jazz, Soul and Gospel Jazz. With a great cast of musicians and singers who all have what Bill likes to call "The Gift". Much of the music is a reflection on his early life as a young trumpet player learning songs like "Watermelon Man", "Cantaloupe Island" and his first public solo, at a pep rally, playing "Grazing in The Grass". Another group of songs represent his days as a young professional musician and being influenced by Mandrill's "Fence Walk" and Philly International's "Children of the Night", by the Stylistics, performed beautifully by Yolanda "Yonnie" Coleman. Then we find the songs on this CD that reflect on a spiritual journey that recognizes we all come "Full Circle", and in time learn to appreciate "The Gift" of music given to us by the creator. Then we reflect and share the beautiful uplifting melody of the original Jazz - Gospel composition "Just You Wait and See" performed by the marvelous voice of Reverend Cora Harvey Armstrong, and the 804 Jazz Allstars. The CD "Still Bill" reflects the life and experience of the veteran trumpet player Bill McGee, who sincerely believes "To whom much is given; much is required."

The CD "Still Bill" has eleven outstanding songs all by Bill McGee and his associates, Tom Reaves a phenomenal guitarist who has played on all four of Bill McGee’s CD’s, E.J. Shaw a gifted drummer, bass player and pianist and Brandon Lane, a gifted composer, arranger, engineer, and bass player extraordinaire. Brandon at 13 made his recording debut when he played on Bill’s cover of “I Wish” from the Chase The Sunset CD. Along with these three fantastic musicians the CD “Still Bill” features many, talented musicians and singers including Fox Hole Records guitarist, Freddie Fox, on Brandon’s composition “Full Circle”. And there is the young prodigy, Ayinde Williams, the 18 year old pianist is featured on the lead single “Cantaloupe and Watermelon”. A 2015 high school graduate, Ayinde was awarded a scholarship to the New England Conservatory of Music to study Jazz Performance. Bill says “it was an honor to feature Ayinde of these two Herbie Hancock classic’s because of the synergy and similarities between a young Herbie Hancock and this fine young pianist who is most definitely heading for bigger and better things as a jazz pianist.”

Also featured on the CD are 804 jazz label mates, James Saxsmo Gates (Sax) and Dr. Weldon Hill (Piano), both of these fantastic artist have been recently nominated on the first ballot for a Grammy, in composition and arranging. Saxsmo stands out once again on several songs, one in particular is “I Know You Got Soul”, a funky G minor blues that will have you bopping your head from side to side. The CD “Still Bill” has so many great originals and cover tunes that it is fundamentally a top to bottom listen. And as it closes out you will hear a composition that was written to acknowledge the 2015 visit of Pope Francis to the United States. This song was released on Facebook and Youtube as a tribute video and received many thousand views. Bill explained that he is not Catholic, but he admires Pope Francis for being a simple man of the people, sick and poor, a man with flaws who follows the words of Christ as he ministers to his flock. In recording this song Bill stepped away from slick studio production and recorded it in one take, a capella, keeping all of the flaws and nuances in an effort to reflect the realness of the moment and the person of Pope Francis, then the music was added to enhance the mood of his soulful trumpet playing. This song brings the CD to a beautiful culmination of excellence and creativity. And yes he is “Still Bill”.

Personnel:
Bill McGee - Trumpet, Flugelhorn, Trombone, Keyboards, Drum Programming, Strings, Arrangements, Producer, Engineer
Tom Reaves - Guitar, Associate Producer, Engineer
E.J. Shaw - Drums, Bass, Keyboards, Associate Producer, Engineer
Brandon Lane - Bass, Trombone, Keys, Programming, Producer, Engineer (Full Circle), Associate Producer
Larry Dee - Organ, Production Assistant
James Saxsmo Gates - Sax
Ayinde Williams - Piano
Hannon D. Lane, Freddie Fox - Guitar (Freddie Fox appears courtesy of FoxHole Records)
Cora Harvey Armstrong - Piano, Lead Vocals (Just You Wait and See)
Matthew Zavich, Kevin Simpson, Dexter Moses - Sax
Juan Nelson - Bass
Kenneth Gill - Trombone
Kofi Shepsu - Drums
Yolanda "Yonnie" Coleman - Lead Vocals (Children of The Night)
Shawanda Yeldell - Lead Vocals (Fence Walk)
Will Hall - Piano, Marsha Meekins - Flute
Ellis Muhammad - Keyboards, Programming
Vocals: Wanda Tiller, Thomasine Johnson, Wanda T. McGee, Clarissa Jackson, Keisha Curry-Hilliard, Tiffany Thomas, Chasity Nero, Kanika McKinzie, Yolanda Coleman, Casper C. Coleman, Leandra Wilson, Tom Reaves, Bill McGee
Sound FX: Amani, Kameron, Jordan, Sean, (Boo boo and The Huggables) with Layla and Joshua (Monk)

Still Bill

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Larry Novak - Invitation

Size: 158,5 MB
Time: 68:20
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Nobody Else But Me ( 6:31)
02. Waltz For Debby (Solo) ( 1:56)
03. Very Early ( 8:37)
04. The Days Of Wine And Roses ( 5:40)
05. Minority ( 5:56)
06. Close Enough For Love (11:00)
07. Yesterdays ( 9:03)
08. Invitation ( 6:33)
09. The Touch Of Your Lips ( 9:25)
10. Too Late Now ( 3:35)

It's been 50 years since the jazz pianist released his first album Larry Novak Plays! on Dot Records in 1964. Novak led his trio at Chicago's London House from 1961 to '63, then at Mr. Kelly's from '63 to '75. He played with and arranged for Peggy Lee, and worked extensively with Pearl Bailey. He also worked with Frank Sinatra, Joe Williams, Sarah Vaughan, Carmen McRae, instrumentalists Dizzy Gillespie, Louie Bellson, Charlie Shavers, Barney Kessel and countless others. This new trio recording features Eric Hochberg, bass and Rusty Jones, drums.

Invitation

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Stephanie Urbina Jones - Feliz Navidad Y'All

Size: 100,8 MB
Time: 38:52
File: MP3 @ 320K/s
Released: 2015
Styles: Texicana, Country, Jazz, Xmas
Art: Front

01. Feliz Navidad (3:41)
02. Hallelujah Chorus (2:54)
03. The Little Drummer Boy (3:46)
04. Santa Claus Is Coming To Town (2:18)
05. One Little Boy (3:22)
06. Silent Night (2:28)
07. You Light Me Up (Like A Christmas Tree) (2:54)
08. Sexy, Saucy, Sometimes Naughty Time Of Year (2:49)
09. Winter Wonderland (3:43)
10. The Spirit Of Christmas (3:49)
11. The Christmas Song (4:12)
12. Silver Bells (2:50)

Stephanie Urbina Jones was born in a bi-cultural home in San Antonio, Texas where she grew up hearing sounds from both sides of the border. Her Texicana tapestry of music combines her life experiences and the sounds that influenced her soul.As a child many evenings were spent two-stepping at the famous honky-tonk Luckenbach where the sheriff and bartender of the one horse town "Margie" was her babysitter.

From country rock to latin blues-pop, she has created a style all her own. This unique artist is poised to be the very first Hispanic American female to break through country music. Drawing from her passion to honor her heritage through her music she became the first independent female to reach #1 on the Texas Music chart.
At this point this latina is committed to joy, laughter, and gratitude. "I've spent most of my life so far being serious, and now I intend to not take myself or anyone else so seriously. They say laughter is the best medicine and after the last few years I am ready to cut loose and have some fun!" Jones says. This upcoming album loosely referred to as "The Texicana Sessions" is just that, a horn filled fiesta platter of passion, romance and a party in a song! Songs like "Revolucion en mi Corazon", "Como Se Llama, Mama?" ( featuring Texas legend Augie Meyers) and "I'm Not a Pinata" are sure to make you laugh and give you a little south of the border getaway without going anywhere.
This saucy Texicana Mama is hitting the road and shakin things up...Vamanos Ya'll!

Feliz Navidad Y'All

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Various - Rockin' The Spirit

Bitrate: MP3@320K/s
Time: 60:26
Size: 138.3 MB
Styles: Boogie woogie, Spirituals
Year: 2001
Art: Front

[6:02] 1. Bob Seeley - St. Louis Blues
[4:29] 2. Johnny O'Neal - Happy Days Are Here Again Jitter Bug Waltz
[3:24] 3. Mark Braun - Pinetop's Boogie Woogie
[5:59] 4. Bob Seeley - Amazing Grace
[6:25] 5. Mark Braun - My Sunday Best
[2:47] 6. Eric Reed - You Took Advantage Of Me
[4:02] 7. Johnny O'Neal - Glory Glory Hallelujah
[5:34] 8. Monty Alexander - Boogie Woogie Keys
[3:24] 9. Bob Seeley - Fourplay Boogie Woogie
[4:20] 10. Eric Reed - Three Hymns
[6:04] 11. Monty Alexander - Nobody Knows The Trouble I've Seen No Woman, No Cry
[7:51] 12. Eric Reed - Whisper Not

After attending an annual boogie-woogie concert organized by Mark Braun (Mr. B.), Monty Alexander headed a recording project that paid tribute to both boogie-woogie and spirituals. Five pianists participated, performing two numbers apiece, with four of the players (all but Alexander) playing a pair of duets. Alexander, Eric Reed, and Johnny O'Neal are better known nationally than Bob Seeley and Mark Braun, but all five pianists fare well, stretching beyond boogie-woogie and spirituals to include a few swing standards and even a bluish duet on Benny Golson's "Whisper Not." Recommended to boogie-woogie fans and the curious. ~Scott Yanow

Rockin' The Spirit

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