Jay McShann - Still Jumpin' The Blues

Bitrate: 320K/s

Time: 62:21

Size: 142.8 MB

Styles: Piano blues-jazz, Jump blues

Year: 1999

Art: Front

[ 4:32] 1. Goin' To Chicago

[ 4:19] 2. Moten Swing

[ 4:55] 3. On The Sunny Side Of The Street

[ 3:40] 4. Ain't Nobody's Business

[ 3:06] 5. Come On Over To My House

[ 3:29] 6. Trouble In Mind

[ 4:11] 7. Say Forward, I'll March

[ 6:53] 8. Backwater Blues

[ 4:51] 9. She's Got It

[ 4:31] 10. Hootie's K.C. Christmas Prayer

[17:48] 11. Interview

At age 83, pianist/vocalist Jay McShann was still at the top of his game and providing many lessons for the younger "swing" cats and kittens. He is the epitome of what can be done when jazz and blues are mixed equally, especially when the fun factor is liberally added in. While some might find this typical, many others should revel in the sound of one of this music's last living legends who is still doing it, and doing it very well at that. The chemistry between McShann and guitarist/session leader Duke Robillard is considerable and undeniable, and makes Still Jumpin' the Blues enjoyable throughout. With such solid support from Robillard and the band, McShann has nothing to worry about. Everything you might want is here: classic versions of "Goin' to Chicago," "Ain't Nobody's Business," and "Trouble In Mind"; a nice rearrangement with tempo shift from mellow to mid-tempo on "Sunny Side of the Street"; Maria Muldaur's sultry singing on "Come on Over to My House," and especially the Bessie Smith evergreen "Backwater Blues"; wonderful instrumentals like "Moten Swing" and "Say Forward, I'll March"; and even a little Hawaiian slide accenting "Hootie's K.C. Christmas Prayer." The disc ends with a short solo piano version of "Georgia on My Mind," followed by a lengthy interview with McShann, explaining his nickname "Hootie," happenings in Kansas City, and other topics. Recordings this precious, historical and relevant cannot be dismissed. Instead they should be celebrated, as should the career of McShann, a most enduring figure in American music. His signature spare piano, with its bluesy flourishes, and his slightly mushy vocal style are as distinctive as any, and come shining through on this exceptional document of one of our true musical treasures. ~Michael G. Nastos

Still Jumpin'The Blues 

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Martin Litton - Jazz Piano

Bitrate: MP3@320K/s
Time: 65:57
Size: 151.0 MB
Styles: Piano jazz
Year: 1993
Art: Front

[3:28] 1. Somebody Loves Me
[4:58] 2. Cherokee
[6:28] 3. Black And Blue
[4:03] 4. Rockin' In Rhythm
[3:04] 5. Liza
[4:21] 6. Autumn In New York
[3:36] 7. When Somebody Thinks You're Wonderful
[3:27] 8. Forever Afternoon
[3:01] 9. California Here I Come
[2:30] 10. Manhattan
[4:43] 11. Until The Real Thing Comes Along
[3:28] 12. Alligator Crawl
[2:52] 13. But Beautiful
[5:51] 14. Jitterbug Waltz
[2:59] 15. Viper's Drag
[2:52] 16. The Sheik Of Araby
[4:07] 17. To A Wild Rose

Martin Litton (born 14 May 1957) is a British jazz pianist born in Grays, Essex, UK, most noteworthy for his work with Kenny Ball from 1983-1985 on his British tours and for recording sessions with George Chisholm. Litton has worked with various musicians over his career, including Humphrey Lyttelton, Wally Fawkes and Digby Fairweather.

Litton has been described as a stride piano expert. His Gramercy Five band recreated the small group swing style of Artie Shaw.

Jazz Piano

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Dinah Washington - In The Land Of Hi-Fi

Bitrate: MP3@320K/s
Time: 30:35
Size: 70.0 MB
Styles: Standards, Blues-jazz vocals
Year: 1956/2007
Art: Front

[3:06] 1. Love Is Here To Stay
[2:08] 2. Let Me Love You
[2:05] 3. There'll Be A Jubilee
[2:18] 4. My Ideal
[3:03] 5. I've Got A Crush On You
[2:35] 6. Let's Do It (Let's Fall In Love)
[2:34] 7. Nothing Ever Changes My Love For You
[3:16] 8. What'll I Tell My Heart
[2:26] 9. On The Sunny Side Of The Street
[2:40] 10. Say It Isn't So
[2:15] 11. Sometimes I'm Happy
[2:04] 12. If I Were A Bell

As with most Dinah Washington records, In the Land of Hi-Fi includes an eclectic program of ballads and swingers, all of which become prime vehicles for the singer's dramatic, blues-tinged vocal stylings. Framed by Hal Mooney's mix of string-laden arrangements and big-band charts, Washington imparts both tenderness and passion to slow numbers like "I've Got a Crush on You" and "Say It Isn't So," while getting into some charged vocal buildups on swingers like "Our Love Is Here to Stay" and "If I Were a Bell." In addition to the gospel-imbued number "There'll Be a Jubilee," Latin-tinged cuts like the beautiful bolero-style "Let Me Love You" and the lounge mambo "Nothing Ever Changes My Love for You" provide nice contrast to this jazz and pop set. Topped off with fine contributions by alto saxophonist Cannonball Adderley and pianist Junior Mance, In the Land of Hi-Fi is yet another impressive set among the many fine EmArcy records Washington cut in the '50s. ~Stephen Cook

In The Land Of Hi-Fi

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Asleep At The Wheel - Ride With Bob

Bitrate: MP3@320K/s
Time: 60:02
Size: 137.4 MB
Styles: Country, Western Swing
Year: 1999
Art: Front

[3:38] 1. Bob's Breakdown (Feat. Vince Gill)
[3:01] 2. New San Antonio Rose (Feat. Dwight Yoakam)
[3:31] 3. I Ain't Got Nobody (Feat. Don Walser)
[3:14] 4. Roly Poly (Feat. Dixie Chicks)
[3:25] 5. Heart To Heart Talk (Feat. Lee Ann Womack)
[3:22] 6. Cherokee Maiden (Feat. Ray Benson)
[2:40] 7. Maiden's Prayer (Feat. Squirrel Nut Zippers)
[3:13] 8. You're From Texas (Feat. Ray Benson)
[2:41] 9. Right Or Wrong (Feat. Reba McEntire)
[4:26] 10. Faded Love (Feat. Lyle Lovett)
[4:33] 11. St. Louis Blues (Feat. Merle Haggard)
[2:46] 12. End Of The Line (Feat. Jason Roberts)
[3:08] 13. Take Me Back To Tulsa (Feat.Clay Walker)
[5:51] 14. Milk Cow Blues (Feat. Ray Benson)
[2:57] 15. Stay All Night (Feat. Ray Benson)
[2:49] 16. Bob Wills Is Still The King (Feat.Clint Black)
[4:38] 17. Going Away Party (Feat. The Manhattan Transfer)

Asleep at the Wheel devoted its entire career to Western swing, which is commonly known as the music Bob Wills created. They became the standard bearers for the genre, making sure that it was still an integral part of the country music mainstream. Since their entire career feels like a living monument to Wills, it almost seems unnecessary for them to record tributes to the "King of Western Swing" -- that is, until you hear the records. Ride With Bob, their sequel to the award-winning Tribute to the Music of Bob Wills, has more guest appearances than its predecessor, but it's every bit as enjoyable. The fact of the matter is, Asleep at the Wheel played this music better than anybody else at the close of the century, and these are some of the greatest songs in popular music -- "New San Antonio Rose," "Roly Poly," "Cherokee Maiden," "Right or Wrong," "Faded Love," "Take Me Back to Tulsa," and "Stay All Night" always sound fresh, and the band draws out excellent performances from Dwight Yoakam, the Dixie Chicks, Ray Benson, Reba McEntire, Lyle Lovett and Shawn Colvin, Clay Walker, and Mark Chesnutt, respectively, on these songs. It's a testament to both the group and the songs that nobody here -- not the Squirrel Nut Zippers or Manhattan Transfer -- sounds out of place. This is warm, generous, rich music that's endlessly listenable, much like Wills himself. And the Clint Black-sung cover of Waylon Jennings' tribute "Bob Wills Is Still the King" is a nice touch. ~Stephen Thomas Erlewine

Ride With Bob

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Nat Adderley Quintet - Good Company

Styles: Trumpet Jazz
Year: 1994
File: MP3@320K/s
Time: 55:52
Size: 128,1 MB
Art: Front

(10:26)  1. Rwanda
( 5:14)  2. Sermonette
( 7:19)  3. Corcovado
( 8:14)  4. Rob's New Tune
( 5:32)  5. My Romance
( 6:21)  6. Unit Seven
( 6:55)  7. You Don't Kmow What Love is
( 5:48)  8. War Zone

Considering how late this was recorded in Nat Adderley's career, the cornetist sounds in surprisingly fine form throughout the sessions. There are individual features for altoist Antonio Hart (who ranges from Tranish on "Rwanda" to playing in a more Cannonball Adderley-oriented style on the older tunes) and the McCoy Tyner-inspired pianist Rob Bargad, so Adderley (who is showcased on "You Don't Know What Love Is") has opportunities to rest his chops. Among the other highlights are "Sermonette," "My Romance," and "Unit Seven." ~ Scott Yanow  http://www.allmusic.com/album/good-company-mw0000122731

Personnel:  Nat Adderley (trumpet); Antonio Hart (alto saxophone); Rob Bargad (piano); Walter Booker (bass); Jimmy Cobb (drums).

Good Company

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Mark Weinstein - Latin Jazz Underground

Styles: Flute Jazz
Year: 2014
File: MP3@320K/s
Time: 55:51
Size: 128,1 MB
Art: Front

(8:04)  1. Gregorio's Mood
(6:21)  2. Open or Close
(8:58)  3. Dance of the Tripedal
(7:40)  4. For Emilio
(7:59)  5. Tete's Blues
(5:52)  6. Nature Boy
(5:17)  7. Mellifluous Cacophony
(5:36)  8. Mark's Last Tune

Has flautist Mark Weinstein run out of ideas on how to merge various dialects of Latin jazz with other musical tongues? The answer is a resounding "no." Latin Jazz Underground finds Weinstein saluting the loft jazz scene of the '70s by tackling the work of jazz iconoclasts-turned-icons pianist Andrew Hill and saxophonists Ornette Coleman and Sam Rivers and like minded originals. That concept, in and of itself, doesn't distinguish this project, as plenty of people have traveled down those thorny paths, so the twist comes with the infusion of Afro-Cuban ideals. Such a marriage is a risky union, but one that ultimately works here. There's really no better person to attempt such a unique hybrid, as Weinstein is an expert at conflating Latin sounds and other styles. He was also around to observe and participate in the loft scene, working with trumpeter Bill Dixon when trombone, not flute, was his instrument of choice. Weinstein deserves the credit for realizing this project and coming up with the Afro-Cuban angle in the first place, but the initial idea to look back to the loft scene came from pianist Aruan Ortiz. He previously worked with Weinstein on one of the flautist's strongest releases El Cumbanchero (Jazzheads, 2011) and he does a killer job on this album.

Together, Weinstein and Ortiz have managed to do the near impossible: they've created common ground for rhythmically scintillating sounds and uncertain tones to walk hand-in-hand over. These two men prove to be expert bridge-builders, but they don't do all the heavy lifting. A special sort of rhythm section is required for a project that's so focused on a tight-loose duality. Here, it comes in the form of percussionist Roman Diaz , a player who's as happy upholding tradition as he is mutating it, drummer Gerald Cleaver, renowned for his ability to work both sides of the free-focused fence, and bassist Rahsaan Carter, an open-minded thinker who comfortably volleys between poles and ideas throughout. Latin Jazz Underground opens with Weinstein and Ortiz locked together on an angular head, introducing the concept of the day on Ortiz's "Gregorio's Mood." As the piece plays out, the expected unexpected arrives. Strict time evaporates and everybody is invested in the moment. Percussive underpinnings serve the music once things get back on track, but risk still runs through the piece until the very end. The modus operandi for the date is firmly established on this one.

The structure-meets-freedom aesthetic is deepened and broadened on Coleman's "Open Or Close," a stormier work complete with chanting. Ortiz gets a chance to please with some pummel-and-pounce pianisms, entering the arena as a gladiator of the keys. "Dance Of The Tripedal," the first of two Rivers pieces on the program, is set in motion by Carter's bass riff. The relationship between Weinstein's flute solo and Carter's bass line(s) comes into focus here, as Ortiz leaves a bit more space for this sonic meeting to take place. The pianist later joins Cleaver and Diaz, as all three carry out a rumble-versus-groove game below. As the program continues, Weinstein turns to his bass flute, serving as musical shaman on Hill's "For Emilio." A sense of impending danger informs Ortiz's "Tete's Blues," which is grounded by a slow-and-steady, back-and-forth bass line. Diaz's jittery clave underscores the journey while Cleaver simultaneously creates and breaks things up, allowing for Weinstein and Ortiz to do their respective thing(s) on top. "Nature Boy" finds Weinstein turning to his alto flute. The performance is loyal to a point, but a slight muddying of the harmonic waters helps to keep things interesting.

While this piece is far calmer than most of the other music, the murky, out-of-focus quality that surrounds the melody is in keeping with the general tone of the album. Rivers' "Mellifluous Cacophony" is tough to grab hold of at first, but things start to really gel when Ortiz, Carter and Cleaver interact. Cleaver-born chaos is met with a degree of calm from Weinstein and Carter on "Mark's Last Tune," which closes out the album. That encounter leads to a drum-and-percussion stampede which, in turn, leads to one of the most simple and tuneful episodes on the album. Praising the music that Weinstein makes here is easy, but his most admirable quality goes beyond music and art. He's a man who never stops growing and trying different things. In that respect, he's set an example that everybody could stand to learn from. ~ Dan Bilawsky  http://www.allaboutjazz.com/mark-weinstein-latin-jazz-underground-by-dan-bilawsky.php
 

Personnel: Mark Weinstein, concert flute, alto flute, bass flute; Aruan Ortiz: piano; Rahshaan Carter: bass; Gerald Cleaver: drums; Roman Diaz: percussion.

Latin Jazz Underground

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Clea Bradford - With Oliver Nelson & Clark Terry

Styles: Vocal, Trumpet And Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 34:18
Size: 80,1 MB
Art: Front

(3:36)  1. This Love Of Mine
(2:43)  2. This Can't Be Love
(2:52)  3. These Dues
(3:57)  4. Skylark
(3:59)  5. They Can't Take That Away From Me
(2:53)  6. If You But Knew
(2:47)  7. Somebody Loves Me
(2:59)  8. Willow Weep For Me
(4:29)  9. I'll Never Stop Loving You
(3:58) 10. I Cried For You

Vocals. Exuberant jazz and blues vocalist who had series of good albums released in '60s, enjoyed some success with Cadet in late '60s, though these were more soul-oriented records arranged by Richard Evans. She had more straight jazz sessions with Clark Terry, Oliver Nelson and others on Mainstream, Tru-Sound. ~ Ron Wynn  http://www.allmusic.com/artist/clea-bradford-mn0001161653/biography
 

Personnel: Clea Bradford, vocals;  Clark Terry, trumpet;  Oliver Nelson, tenor saxophone;  Patti Bown, piano;  Chauncey "Lord" Westbrook, guitar;  George Duvivier, bass; Bill English, drums.

With Oliver Nelson & Clark Terry

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Lisa Hilton - Nocturnal

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 51:40
Size: 119,5 MB
Art: Front

(3:28)  1. Nocturnal
(4:51)  2. A Spark in the Night
(5:50)  3. Seduction
(3:57)  4. Whirlwind
(4:31)  5. Willow Weep for Me
(4:36)  6. Where Is My Mind
(5:39)  7. Midnight Sonata Symphony of Blues
(4:56)  8. Midnight Sonata Desire
(4:27)  9. Midnight Sonata Midnight Stars
(4:56) 10. Twilight
(4:23) 11. An August Remembered

Acclaimed composer/pianist/band leader Lisa Hilton has completed her eighteenth release, Nocturnal with her most impressive band to date Hilton again on keys, with Antonio Sanchez/drums, Terell Stafford/trumpet, Gregg August/bass and J.D. Allen on tenor sax. It will be released January 22nd, 2016. The eleven tracks show a remarkable emotional depth and clarity from all band members with plenty of virtuosic moments. “We were trying to explore the multiple layers of human emotions musically,” Hilton explains. For lovers of tradition, the title track Nocturnal, Whirlwind and the classic, Willow Weep for Me allow for Stafford’s fluid trumpet and flugelhorn and Allen’s deep Detroit tenor tone to shine. The Latin flavored, A Spark in the Night, showcases Sanchez and August and their extensive Latin backgrounds in a catchy and appealing way, while Twilight is impressionistic. A surprise choice is The Pixies’ Where is my Mind? so simply stated then turning in another direction by the finale. It’s on the bluesy Seduction and the tender An August Remembered that Hilton’s flowing lines and melodic ideas are highlighted. Also included is Hilton’s Midnight Sonata for piano, bass and drums: I. Symphony of Blues II.

Desire, and III. Midnight Stars. Midnight Sonata merges a classical form with the freedom of American jazz and blues in a trans-genre style. Hilton was inspired by iconic American composers such as George Gershwin, Duke Ellington and Dave Brubeck, who also composed in classical forms. The result is appealing to both jazz and classical fans. Midnight Sonata was also written to communicate an emotional depth not normally found in sonatas. While the sonata form is in tact, Hilton and her trio used improvisation, blues, modal washes, shifting key centers, free jazz, impressionism and extended technique in creating a refreshing yet familiar vibe.  http://photos.allaboutjazz.com/gallery_image.php?id=159370

Personnel:  Lisa Hilton (piano);  Antonio Sanchez (drums);  Terell Stafford (trumpet);  Gregg August (bass);  J.D. Allen (saxophone)

Nocturnal

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Marlene Verplanck - Speaking Of Love

Size: 168,3 MB
Time: 71:31
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz Vocals
Art: Front

01. But Not For Me (4:09)
02. Blues In My Heart (4:35)
03. It Was Written In The Stars (4:13)
04. What Comes After The Rainbow (2:31)
05. I Let A Song Go Out Of My Heart (2:37)
06. Listen To The Silence (5:37)
07. Jamaica Rumba (3:01)
08. Romance Medley: I'll Take Romance/Isn't It Romantic (5:37)
09. The Moment Of Truth (3:00)
10. A Christmas Love Song (2:56)
11. What Are You Doing New Year's Eve (3:36)
12. Little Jazz Bird (2:32)
13. Daydream (2:34)
14. Nearer To Your Love (2:09)
15. Unless It's You (3:33)
16. My Love Went To London (3:43)
17. Make Some Magic (2:42)
18. The Singer (2:39)
19. Speaking Of Love (4:32)
20. My Bluebird (5:07)

Every March, Marlene Ver Planck travels to London, where she works with the Roy Babbington. This time around, one of the additional benefits of the London sojourn is a CD which not only includes the Babbington combo, but a big band conducted by Billy Ver Planck. Ver Planck is one of the most accomplished cabaret singers now or ever. The songs she selects are based on the story they tell, not on their familiarity to the public. This, her umpteenth album, is no exception. After hearing tunes such as "Listen to the Silence" and "My Love Went to London," one asks why they are not in the play books of more performers. Then the realization hits that they sound so good because of the special treatment they get from a doyenne of song like Ver Planck. The music is split between the small group and the big band. One of the zingers with the latter involved is a Brazilian bouncer, "Jamaica Rumba," where Ver Planck shows that a cabaret singer can scat wildly, too. On the more familiar melody side is a mellow version of "But Not for Me," where the singer takes the opening measures with just Babbington's bass in support. Here, as with most of her other releases, credit must go to Billy Ver Planck's arrangements which provide the perfect musical pad for his wife's voice and interpretive preferences. "My Bluebird," written by Tommy Flanagan, is the sweet/sad icing on the cake for this fine album. Recorded in New York in September of 2001 by Ver Planck and Flanagan, it was the last time he was in the studio before passing away in November. This sad note notwithstanding, the latest Ver Planck album is one more smashing success. ~by Dave Nathan

Speaking Of Love

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The Mark Ladley Trio - Strictly Business

Size: 125,4 MB
Time: 53:46
File: MP3 @ 320K/s
Released: 1992/2013
Styles: Jazz: Hard Bop, Hammond Organ
Art: Front

01. Strictly Business (4:28)
02. Gravy Waltz (6:36)
03. On A Misty Night (4:48)
04. Lover Come Back To Me (7:41)
05. Our Love Is Here To Stay (6:16)
06. Workin' Smart (3:19)
07. We'll Be Together Again (6:01)
08. Night Coming Tenderly (5:06)
09. Whisper Not (5:45)
10. Infant Eyes (3:42)

Drummer Mark Ladley leads a set of swinging straight-ahead jazz performed by some fine musicians from the Midwest on this CD. The first five selections feature Ladley in a trio with organist Mel Rhyne (best known for his early association with Wes Montgomery) and tenor saxophonist John Greiner; "Gravy Waltz" and Tadd Dameron's "On a Misty Night" are highlights. The remaining performances have Ladley and bassist Charlie Hoats joined by either John Altenburgh (for one song), Mary Louise Knutson, or Laura Caviani (the latter two on a pair of numbers apiece) on piano. Each of the four different trios works together quite well, with Ladley mostly sticking to swinging the ensembles. Fans of hard bop will enjoy this excellent outing. ~by Scott Yanow

Strictly Business

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Mark Vincent - My Dream - Mio Visione

Size: 143,2 MB
Time: 61:42
File: MP3 @ 320K/s
Released: 2009
Styles: Classical/Pop/Swing Vocals
Art: Front & Back

01. Nessun Dorma (3:09)
02. Time To Say Goodbye (4:02)
03. Hallelujah (3:18)
04. My Way (4:01)
05. You Raise Me Up (3:59)
06. Ave Maria (4:34)
07. This Is The Moment (3:12)
08. The Prayer (4:11)
09. No Matter What (Duet With Jal Joshua) (4:33)
10. Unchained Melody (3:51)
11. Memory (4:09)
12. The Impossible Dream (5:00)
13. Mama (3:18)
14. Lying In The Silence (4:12)
15. Grown Up Christmas List (4:42)
16. Advance Australia Fair (1:24)

Mark Vincent is the 15 year old winner of Channel 7's 2009 Australia's Got Talent competition. At only 15 years old, Mark has started his journey in establishing himself as Australia's newest, and youngest, Opera virtuoso. This album shows a musical diversity and maturity, covering many genres from Opera, to Sinatra classics.

My Dream - Mio Visione

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Paul Meyers - I Let A Song Go...

Size: 121,2 MB
Time: 51:56
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz
Art: Front

01. Solitude (5:50)
02. Falling In Love With Love (4:51)
03. If I Should Loose You (5:25)
04. A Flower Is A Lovesome Thing (5:20)
05. I Let A Song Go.. (3:38)
06. Living To Love You (4:02)
07. September Song (5:51)
08. That Old Feeling (4:23)
09. A Time For Love (4:43)
10. Love Walked In (3:19)
11. Seven Steps To Heaven (4:29)

On his new CD Paul Meyers continues to explore the possibilities of improvisation solo nylon string guitar. Paul is a Potsdam native who lives near New York City. He teaches at two colleges in New Jersey, and travels all over the world playing in a number of musical settings. His new CD is called “I Let A Song Go” and unlike last year’s release, “Welcome Home”, this CD is almost entirely standards.

I Let A Song Go...

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Simona Molinari - Casa Mia

Size: 98,9 MB
Time: 33:37
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. A Tisket A Tasket (2:09)
02. Bewitched (5:59)
03. Puttin' On The Ritz (2:38)
04. Mr. Paganini (4:38)
05. Quizas Quizas Quizas (3:05)
06. Smoke Gets In Your Eyes (3:32)
07. Never Do A Tango With An Eskimo (2:04)
08. Dream A Little Dream Of Me (3:01)
09. It's The Most Wonderful Time Of The Year (2:36)
10. Every Time We Say Goodbye (3:51)

Born in Naples in 1983, Italian singer Simona Molinari started singing as a child, showing an early fondness for jazz and eventually graduating from the Conservatory of L'Aquila. After some piano bar and live theater performances in 2008, she won the Sanremo Lab competition, which led her to take part in the Sanremo Festival in 2009. Her first solo album, Egocentrica, dropped in 2009, followed by 2010's Croce e Delizia, which featured duets with Ornella Vanoni. For 2011's Tua, she began a collaboration with American singer Peter Cincotti, who also worked on her fourth album, Dr. Jekyll Mr. Hyde.

Casa Mia

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Seamus Blake - Superconductor

Size: 146,8 MB
Time: 63:33
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Ohm (7:29)
02. Sofa Song (6:30)
03. Forecast (9:02)
04. Last Continent (7:01)
05. Send In The Clones (8:44)
06. Kepler-186F (5:43)
07. Gracia (7:32)
08. Entheogen (5:33)
09. I Do (5:55)

Personnel:
Rachel Fastenow - flute
Douglas Yates - clarinet
Rob Mosher - english horn/clarinet
John Ellis - bass clarinet
Marshall Gilkes - trombone
Tom Chiu - violin
Stephanie Griffin - viola
Felix Fan - cello
Gonzalo Rubalcaba - piano
Matt Clohesy - bass
Nate Smith - drums

New York based tenor saxophonist/composer SEAMUS BLAKE is recognized as one of the finest exponents of contemporary jazz. His music is known for its sophistication, bold improvisations and “sheer swagger". John Scofield, who hired Seamus for his “Quiet Band,” called him “extraordinary, a total saxophonist.” Seamus Blake’s recent releases, Live at Smalls (Smalls Live 2010), Bellwether (Criss Cross Jazz 2009) and Live in Italy (Jazz Eyes 2009), have garnered considerable critical praise for his masterful playing, his fine compositional skills and for his facility as a leader. Live in Italy was awarded 4.5 stars in Downbeat. Described as “a knockout”, “one of the elite albums of the year” and “as exhilarating as a shot of espresso”, it is on many Top of the Year lists.

Seamus Blake was born December 1970 in England and raised in Vancouver, Canada. At age 21, while still a student at Boston's prestigious Berklee College, he was asked to record with legendary drummer Victor Lewis. After graduation, he moved to New York, where he rapidly established himself on the New York jazz scene. In February 2002, Seamus took first place in the Thelonious Monk International Jazz Saxophone Competition in Washington D. C. As the winner, he performed with Wayne Shorter and Herbie Hancock.

As a leader, Seamus has released six albums on Criss Cross Records, including his 1993 debut The Call. These include the 1995 premiere of the “Bloomdaddies,” a “funky, alternative grunge” jazz band that employed electronic effects. He has also recorded as a leader for the Fresh Sound label ( Stranger Things have Happened), and as a co-leader on Mosh for Lovers (Bloomdaddies, co-leader Chris Cheek), and Fear of Roaming (Sangha Quartet, co-leader pianist Kevin Hays). His band members on these recordings have included David Kikoski, Kurt Rosenwinkel, Larry Grenadier, Bill Stewart, fellow Thelonius Monk winner Lage Lund, Chris Cheek and Jorge Rossy (Brad Mehldau Trio).

Seamus works with a wide variety of artists. A long-standing member of the Grammy nominated Mingus bands, he is featured on six of their albums. He continues to play and record with Bill Stewart, Kevin Hays, David Kikoski and Alex Sipiagin, and is a member of the Victor Lewis Quintet. He is also a member of BANN, led by drummer Adam Nussbaum. Their first recording was released in 2011 on the Jazz Eyes label. Seamus is frequently featured as a guest artist. In 2010 he was guest of honor at the International Saxophone Symposium in Washington hosted by the US Navy Band. Seamus was a member of John Scofield’s Quiet Band and toured and recorded with Dave Douglas. Some of the many other artists he has worked with include Eric Reed, Antonio Sanchez, Scott Kinsey, Tal Wilkenfeld, Jane Monheit, Kenny Barron, Sam Yahel, Michael Brecker, Randy Brecker, Wayne Krantz, Ingrid Jensen, Maria Schneider, Mark Turner, Brad Mehldau, Al Foster, Brian Blade, Jeremy Pelt, Jack Dejohnette. ?Seamus continues to work with his fine quintet (David Kikoski, Lage Lund, Bill Stewart, Matt Clohesey) and on his ongoing explorations of electronic applications in jazz, especially with the EWI (electronic wind instrument). For the last two summers he toured in Italy with his electric project which included Scott Kinsey (keyboards), Tim Lefebvre (bass) and Jordy Rossy (drums).

Superconductor

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Kenny Drew - Elegy

Styles: Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 52:42
Size: 121,0 MB
Art: Front

(9:18)  1. Django
(5:00)  2. Willow Weep for Me
(6:12)  3. Oh, Peter, Go Ring Dem Bells
(5:11)  4. The Last Romantic
(4:57)  5. Elegy
(3:02)  6. Tune Down
(4:50)  7. Sometimes I Fell Like a Motherless Child
(7:36)  8. Days of Wine and Roses
(6:31)  9. Finale

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. ~ Scott Yanow  http://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Personnel:  Kenny Drew (Piano);  Niels-Henning Ørsted Pedersen (Bass);  Ed Thigpen (Drums).

Elegy

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Ben Webster With Georges Arvanitas Trio - Autumn Leaves

Styles: Saxophone And Piano Jazz
Year: 1972
File: MP3@320K/s
Time: 59:33
Size: 136,5 MB
Art: Front

(4:34)  1. Johnny Come Lately
(5:33)  2. Prelude to a Kiss
(4:43)  3. Autumn Leaves
(4:15)  4. Autumn Leaves (take #2)
(5:10)  5. Hal Blues
(7:18)  6. Makin' Whopee
(8:49)  7. Makin' Whopee (take #2)
(6:08)  8. I Want a Little Girl
(4:40)  9. You Better Go Now
(4:42) 10. You Better Go Now (take #2)
(3:35) 11. Ash's Cap

A great late recording from Ben Webster working here in Paris with some wonderful help from the trio of pianist George Arvanitas! George's rhythm duo is wonderful the bold bass of Jacky Samson and hip drums of Charles Saudrais both players who bring a really fresh feel to the record, and help Webster find a hip setting in these later years of his life a sprightly groove that's great for his aging, raspy tone on tenor sax. 

Arvanitas' piano is nicely restrained, leaving Ben to be the key solo star of the album and titles include "Hal Blues", "Johnny Come Lately", "I Want A Little Girl", "Ash's Cap", "Autumn Leaves", and "Prelude To A Kiss". CD features 3 bonus alternate takes too.  https://www.dustygroove.com/item/485235

Personnel:  Ben Webster - Tenor Saxophone;  Georges Arvanitas – Piano;  Jacky Samson – Bass;  Charles Saudrais - Drums

Autumn Leaves

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Harry Allen - For George, Cole and Duke

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 70:36
Size: 162,3 MB
Art: Front

(4:35)  1. Always True To You In My Own Fashion
(5:09)  2. In  a Mellow Tone
(4:42)  3. Happy Reunion
(7:15)  4. Silk Stocking
(4:27)  5. Purple Gazelle (Angelica)
(6:34)  6. How Long Has This Been Going On?
(6:10)  7. I Love You Samantha
(5:19)  8. Shall We Dance?
(5:00)  9. By Strauss
(6:03) 10. Love For Sale
(5:54) 11. They All Laughed
(6:09) 12. Who Cares?
(3:13) 13. Mood Indigo

There is no greater paragon of tenor saxophonist taste than Harry Allen. While the fickle winds of prevailing styles continue to blow this or that way, Allen stands tall like the mighty oak, unswayed by fad fashions and firmly rooted to the music of the Great American Songbook. On this appealing date, Allen visits the music of George Gershwin, Cole Porter, and Duke Ellington. It's not a novel concept, and Allen has gone here countless times, both with single song nods to these men and, on at least two occasions, album-length tributes Cole Porter Songs (BMG, 2001) and Plays Ellington Songs (RCA Victor/RCA, 2000). But does that really matter? Allen continues to find inspiration in the work of these masters men whose respective compositional wells never run dry and his interpretations of their music are things of beauty. You could even go so far as to call them gifts to the ears.

For George, Cole, and Duke finds Allen working with a classy crew of like-minded traditionalists. Pianist Ehud Asherie delivers twinkling and sparkling solos, light and comforting comping, and beautiful beds of sound; Nicki Parrott provides balmy vocals ("In A Mellow Tone," "How Long Has This Been Going On?," and "Mood Indigo"), pleasing solos, and sturdy walking bass lines that act as the heartbeat of this music; and Chuck Redd proves to be a master of feel and economy whether providing a cheery swing pulse from behind the kit or gliding over his band mates with his vibes ("Who Cares?). The majority of the album is a quartet affair, pairing those three with Allen's attractive tenor, but percussionist "Little Johnny" Rivero drops in for the occasional guest shot, adding Latin seasonings to lively numbers ("Love For Sale") and slow roaming episodes of Ellingtonia ("Mood Indigo"). Harry Allen isn't likely to win any originality contests with this one, but that doesn't seem to bother him, nor should it. He's got his sublime saxophone, a group of top-notch musicians, and the music of the masters to work with. In this case, and throughout his career, that's proven to be a formula for success. ~ Dan Bilawsky  http://www.allaboutjazz.com/for-george-cole-and-duke-harry-allen-blue-heron-records-review-by-dan-bilawsky.php
 

Personnel: Harry Allen: tenor saxophone; Ehud Asherie: piano; Nicki Parrott: acoustic bass, vocals; Chuck Redd: drums, vibraphone; "Little Johnny" Rivero: shakere, conga, bongo (5, 10, 13).

For George, Cole and Duke

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Lester Young - Laughin' To Keep From Cryin'

Bitrate: MP3@320K/s
Time: 49:42
Size: 113.8 MB
Styles: Mainstream jazz, Saxophone jazz
Year: 2000
Art: Front

[ 8:28] 1. Salute To Benny
[ 5:56] 2. They Can't Take That Away From Me
[11:38] 3. Romping
[ 4:10] 4. Gypsy In My Soul
[ 5:57] 5. Please Don't Talk About Me When I'm Gone
[ 6:33] 6. Ballad Medley: The Very Thought Of You/I Want A Little Girl/Blue ..
[ 6:57] 7. Mean To Me

One of tenor-saxophonist Lester Young's final studio sessions (he died a year later), this date apparently had a lot of difficulties but the recorded results are excellent. Prez was joined by two great swing trumpeters (Roy Eldridge and Harry "Sweets" Edison) and a fine rhythm section for two standards, two originals and the ballad "Gypsy in My Soul." Young takes rare clarinet solos on two of the selections with his emotional statement on "They Can't Take That Away from Me" being one of the highpoints of his career. ~Scott Yanow

Laughin' To Keep From Cryin'

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Dena Taylor - The Nearness Of You

Bitrate: MP3@320K/s
Time: 41:02
Size: 94.0 MB
Styles: Vocal jazz
Year: 2014
Art: Front

[3:40] 1. When October Goes
[4:02] 2. Solitude
[4:33] 3. But Beautiful
[4:04] 4. Besame Mucho
[5:48] 5. The Nearness Of You
[3:42] 6. Do Nothing Til You Hear From Me
[2:41] 7. If I Love Again
[4:37] 8. For All We Know
[3:20] 9. The Look Of Love
[4:31] 10. The Very Thought Of You

Based in Austin, TX, Dena Taylor is a jazz vocalist who harkens back to the days of smoke filled clubs and smoky voiced chanteuses. Her sound is solid; without a lot of vocal gymnastics in the Jazz Standards she covers. She inhabits the songs and makes them her own – feeling happiness, anger, joy, sorrow, love and hate. She draws listeners in and allows them to relate to these songs all over again. Dena was named “Best Female Jazz Artist of the Year” by Indie Music Channel in 2014. Her album “The Nearness of You” showcases her vocal talents and reminds us that even though she is a “seasoned” artist singing Standards, these songs don’t lose their ability to move and touch the audience just because they may have fallen out of vogue.

The Nearness Of You

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Atlanta Rhythm Section - The Best Of The Atlanta Rhythm Section

Bitrate: MP3@320K/s
Time: 50:36
Size: 115.8 MB
Styles: Classic rock
Year: 2000
Art: Front

[3:15] 1. Doraville
[4:20] 2. So Into You
[4:32] 3. Champagne Jam
[3:11] 4. Crazy
[5:04] 5. Imaginary Lover
[5:10] 6. Angel (What In The World's Come Over Us)
[3:27] 7. Do It Or Die
[4:57] 8. Spooky
[3:59] 9. Neon Nites
[3:36] 10. Dog Days
[4:08] 11. I'm Not Gonna Let It Bother Me Tonight
[4:52] 12. Georgia Rhythm

This is one of those collections that is just about right. ARS were a very good mid-tempo, classic rock band of the mid-70's with solid songs, respectable vocals and very good arrangements. Sort of a Steely Dan-cum-Southern Rock combination. Their biggest hit was the soulful "So Into You" ("I am so into you I can't think of nothing else."), but they also made the top 40 with the onanistic implications of "Imaginary Lovers", "Doraville", the largely forgotten "Do It Or Die", and the wonderful uptempo "Not Gonna Let It Bother Me Tonight". Also include is their cover of the Classic IV 60's hit "Spooky" ('Life sure is crazy with a spooky little girl like you.'), the band from who's ashes ARS rose. A little filler, but a nice, although not critical collection for 70's Classic Rock fans. ~Pat Kelly

The Best Of The Atlanta Rhythm Section

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