Shirley Scott - Queen Of The Organ

Styles: Jazz, Hard Bop
Year: 1964
File: MP3@320K/s
Time: 71:03
Size: 164,0 MB
Art: Front

(7:34)  1. Just In Time
(9:59)  2. Squeeze Me (But Don't Tease Me)
(9:39)  3. Mean, Angry, Nasty, And Low Down
(9:11)  4. Can't Buy Me Love
(8:52)  5. Like Blue
(8:16)  6. Cute
(8:28)  7. Rapid Shave
(7:50)  8. That's For Me
(1:08)  9. The Theme

This CD reissue brings back all of the music previously put out on the two-LP set The Great Live Sessions with the exception of one number ("Shirley's Shuffle") left out due to lack of space; with over 70 minutes of music, one cannot complain too much about the omission. Overall, this is a pretty definitive live set featuring organist Shirley Scott, tenor saxophonist Stanley Turrentine, bassist Bob Cranshaw and drummer Otis "Candy" Finch, one of the great soul-jazz combos of the 1960s. In addition to a swinging "Just In Time" and Duke Ellington's "Squeeze Me, But Please Don't Tease Me," the set mostly features obscurities and originals, plus a surprisingly effective version of the Beatles' "Can't Buy Me Love." The musicians sound quite heated and consistently inspired. Highly recommended. ~ Scott Yanow  http://www.allmusic.com/album/queen-of-the-organ-mw0000617897

Personnel: Shirley Scott (organ), Stanley Turrentine (tenor saxophone), Bob Cranshaw (bass), Otis "Candy" Finch (drums).

Queen Of The Organ

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Ernestine Anderson - Big City

Styles: Jazz, Vocal

Year: 1983

File: MP3@224K/s

Time: 39:43

Size: 64,3 MB

Art: Front

(3:36)  1. All I Need Is You

(4:31)  2. Street Of Dreams

(4:07)  3. Spring Is Here

(3:33)  4. The 59th Street Bridge Song (Feelin' Groovy)

(4:28)  5. I'll Never Pass This Way Again

(4:40)  6. Big City

(4:44)  7. All Blues

(4:58)  8. Welcome To The Club

(5:03)  9. I Didn't Know What Time It Was

This well-rounded set features vocalist Ernestine Anderson on a few classics (including "Street of Dreams," "All Blues" and "I Didn't Know What Time It Was"), plus some newer material (including a surprisingly successful version of "The 59th Street Bridge Song"). She is accompanied by pianist Hank Jones, bassist Monty Budwig and drummer Jeff Hamilton, giving listeners a strong example of her singing. ~ Scott Yanow  http://www.allmusic.com/album/big-city-mw0000653934

Personnel: Ernestine Anderson (vocals); Hank Jones (piano); Jeff Hamilton (drums)

Big City    

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Enrico Rava - Chanson

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 56:49
Size: 131,0 MB
Art: Front

(4:18)  1. Diva
(3:03)  2. Could Be a Tango
(1:51)  3. Bellflower
(2:22)  4. Balls
(4:26)  5. Autoritratto
(2:17)  6. Que Reste -T-Il De Nos Amours
(1:57)  7. Palami D'Amore Mariu'
(3:28)  8. What's New
(2:08)  9. My Crazy Valentine
(3:20) 10. Blue in Green
(4:40) 11. The Door Without the Door
(3:18) 12. Question
(5:14) 13. Giselle
(2:58) 14. Feuiles D'Automne
(3:31) 15. Parks
(7:49) 16. Spleen

This hugely popular trumpet player (born in Trieste, Italy in 1939) almost single-handedly brought Italian jazz to international attention. He began playing Dixieland trombone in Turin, but after hearing Miles Davis, switched instruments and embraced the modern style. Other key meetings were with Gato Barbieri, with whom he recorded movie soundtracks in 1962, and Chet Baker. He began to play with Steve Lacy; he also teamed up with South African expatriates Louis Moholo and John Dyani and recorded The Forest and the Zoo (ESP) live in Argentina. In 1967, he moved to New York, playing with Roswell Rudd, Marion Brown, Rashied Ali, Cecil Taylor, and Charlie Haden. In a brief return to Europe, Rava recorded with Lee Konitz (Stereokonitz, RCA) and Manfred Schoof (European Echoes, FMP). From 1969 to 1976, he was back in New York, recording Escalator Over the Hill with Carla Bley's Jazz Composers' Orchestra. After his first album as a leader, Il Giro del Giorno in 80 Mondi (Black Saint), he began to lead his own pianoless quartets and quintets. His recorded output numbers 100 records, 30 as a leader.

ECM has reissued some of his essential recordings of the '70s, like The Pilgrim and the Stars, The Plot, and Enrico Rava Quartet, while Soul Note and Label Bleu published CDs by his innovative Electric Five (in reality a sextet, as he always excludes himself from the count), which includes two electric guitars. With keyboard master Franco D'Andrea and trumpeter Paolo Fresu, Rava recorded Bix and Pop (Philology) and Shades of Chet, tributes to Bix Beiderbecke and Armstrong, and to Chet Baker, respectively. Also of note are Rava, L'opera Va and Carmen, gorgeous readings of opera arias. In 2001, he created a new quintet with young talents Gianluca Petrella, Stefano Bollani, Rosario Bonaccorso, and Roberto Gatto, and toured with old friends Roswell Rudd and Gato Barbieri, releasing Easy Living with them in 2004 on ECM. Three years later, after Bollani, who had struck out as a solo player, was replaced by Andrea Pozza, The Words and the Days came out. In 2007, Rava and pianist Stefano Bollani released The Third Man on ECM. Rava followed the released in 2009 with New York Days, a collection of moody originals with a film noir tinge, backed by a band that included Bollani, tenor saxophonist Mark Turner, bassist Larry Grenadier, and drummer Paul Motian. Rava broke in a new all-Italian quintet for Tribe, which was issued by ECM in the fall of 2011. Its members included trombonist Gianluca Petrella, pianist Giovanni Guidi, bassist Gabriele Evangelista, and drummer Fabrizio Sferra. Guitarist Giacomo Ancillotto also guested on the set, expanding the lineup on various selections. Rava made a wide left turn for 2012's On the Dance Floor. Amazingly, the trumpeter only became aware of pop singer Michael Jackson's music after his death, and he became obsessed with it. The album, his tribute to what he considers the late singer's contribution to 20th century music, was recorded with Parco della Musica Jazz Lab at the Rome Auditorium; it is entirely comprised of Jackson's material. http://www.allmusic.com/artist/enrico-rava-mn0000182392/biography

Chanson

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Enrico Rava & Paolo Fresu - Shades of Chet

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 58:47
Size: 134,9 MB
Art: Front

(5:28)  1. Doodlin'
(9:55)  2. My funny Valentine
(5:18)  3. Anthropology
(7:27)  4. Retrato em branco e preto
(7:03)  5. Doxy
(7:34)  6. You can't go home again
(7:15)  7. Line for Lyons
(3:29)  8. Strike up the band
(5:14)  9. Donna

Trumpeter and composer Enrico Rava is one of the Italian musicians even more internationally acclaimed jazz. Born in Trieste in 1939, Rava has learned to play by himself under the influence of Miles Davis and Chet Baker. In the 60s he moved first to Rome, where he began playing with musicians as Gato Barbieri and Steve Lacy, and then in Buenos Aires and New York. During his long career Rava has collaborated with major names in jazz (John Abercrombie, Lee Konitz, Pat Metheny) and pop music (Gino Paoli, Ornella Vanoni) and has also published numerous discs of their group leader. 

~ Mariano Prunes  https://itunes.apple.com/it/artist/enrico-rava/id6473819#fullText

Personnel: Enrico Rava - trumpet, fluegelhorn;  Paolo Fresu - trumpet, fluegelhorn;  Stefano Bollani – piano;  Enzo Pietropaoli - double bass;  Roberto Gatto - drums

Shades of Chet

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Marilyn Scott - Innocent Of Nothing

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 57:48
Size: 133,1 MB
Art: Front

(4:57)  1. Round & Round
(6:13)  2. 'Round Midnight
(4:44)  3. Icebox
(5:40)  4. Spring Can Really Hang You Up The Most
(4:22)  5. Moods
(5:30)  6. It's Alright, Ma (I'm Only Bleeding)
(5:54)  7. Share It
(5:34)  8. The Wilderness
(4:49)  9. A Flame
(5:08) 10. A Change
(4:53) 11. Walking With Stranges (Bonus Track)

Throughout her career, singer Marilyn Scott has straddled a line between traditional jazz vocals and the poppier side of fusion. Innocent of Nothing tilts slightly toward the latter, with catchy R&B-based tunes like "Icebox" and "Round and Round" alongside an oddly overwrought version of Bob Dylan's "It's Alright Ma (I'm Only Bleeding)" that brings Scott Walker's melodramatics to mind. However, Scott's jazz side reasserts itself on her challenging take on the Thelonious Monk standard "Round Midnight," which Scott approaches with the rhythmic fearlessness of Jeanne Lee or indeed Monk himself. Throughout, producer and bandleader George Duke keeps the emphasis on Scott's vocals, using the tropes of contemporary smooth jazz (lots of fretless bass and electric piano, that sort of thing) while never letting the album devolve into soulless background music prettiness, even on lightweight tunes like "A Flame." In terms of Scott's vocal technique, Innocent of Nothing is something of a step back from 2004's Nightcap, a masterful collection of standards that features some of Scott's finest singing, but as a whole, this album shows that interesting work can still be done in the oft-maligned field of jazz-pop. ~ Stewart Mason  http://www.allmusic.com/album/innocent-of-nothing-mw0000529680

Personnel: Marilyn Scott (vocals); George Duke, John Beasley, Patrice Rushen, Russell Ferrante (keyboards); Jimmy Haslip, Brian Bromberg (bass instrument); Vinnie Colaiuta (drums).

Innocent Of Nothing

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Maynard Ferguson - In Jazz We Trust

Styles: Trumpet Jazz

Year: 2015

File: MP3@320K/s

Time: 116:47

Size: 268,5 MB

Art: Front

( 3:11)  1. Easy to Love

( 3:30)  2. Pork Pie

( 3:47)  3. Dancing Nitely

( 3:46)  4. Moonlight in Vermont

( 2:41)  5. Love Me or Leave Me

( 3:30)  6. Never You Mind

( 2:54)  7. Dream Boat

( 3:02)  8. Maiden Voyage

(15:44)  9. Somebody Loves Me

( 2:58) 10. The Way You Look Tonight

(16:06) 11. Our Love Is Here to Stay

( 3:26) 12. The Lamp Is Low

( 2:37) 13. Hymn to Her

(14:08) 14. Night Letter

( 3:13) 15. Wildman

( 3:55) 16. Egad, Martha

(16:51) 17. Air Conditioned

( 3:15) 18. King's Riff

( 4:56) 19. Can't We Talk It over?

( 3:07) 20. Willie Nillie

When he debuted with Stan Kenton's Orchestra in 1950, Maynard Ferguson could play higher than any other trumpeter up to that point in jazz history, and he was accurate. Somehow he kept most of that range through his career and since the 1970s has been one of the most famous musicians in jazz. Never known for his exquisite taste (some of his more commercial efforts are unlistenable), Ferguson nevertheless led some important bands and definitely made an impact with his trumpet playing. After heading his own big band in Montreal, Ferguson came to the United States in 1949 with hopes of joining Kenton's orchestra, but that ensemble had just recently broke up. So instead, Ferguson gained experience playing with the big bands of Boyd Raeburn, Jimmy Dorsey, and Charlie Barnet. In 1950, with the formation of Kenton's Innovations Orchestra, Ferguson became a star, playing ridiculous high notes with ease. In 1953, he left Kenton to work in the studios of Los Angeles and three years later led the all-star "Birdland Dreamband." In 1957, he put together a regular big band that lasted until 1965, recorded regularly for Roulette (all of the band's recordings with that label are on a massive Mosaic box set) and performed some of the finest music of Ferguson's career. Such players as Slide Hampton, Don Ellis, Don Sebesky, Willie Maiden, John Bunch, Joe Zawinul, Joe Farrell, Jaki Byard, Lanny Morgan, Rufus Jones, Bill Berry, and Don Menza were among the more notable sidemen.

After economics forced him to give up the impressive band, Ferguson had a few years in which he was only semi-active in music, spending time in India and eventually forming a new band in England. After moving back to the U.S., Ferguson in 1974 drifted quickly into commercialism. Young trumpeters in high school and colleges were amazed by his high notes, but jazz fans were dismayed by the tasteless recordings that resulted in hit versions of such songs as the themes from Star Wars and Rocky and much worse. After cutting back on his huge orchestra in the early '80s, Ferguson recorded some bop in a 1983 session, led a funk band called High Voltage during 1987-1988, and then returned to jazz with his "Big Bop Nouveau Band," a medium-sized outfit with which he toured the world up until his death from kidney and liver failure on August 23, 2006. http://www.allmusic.com/artist/maynard-ferguson-mn0000397042/biography

In Jazz We Trust 

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McCoy Tyner - Song for My Lady

Styles: Piano Jazz
Year: 1972
File: MP3@320K/s
Time: 44:29
Size: 102,0 MB
Art: Front

(12:59)  1. Native Song
( 8:13)  2. The Night Has a Thousand Eyes
( 7:33)  3. Song for My Lady
( 4:29)  4. A Silent Tear
(11:13)  5. Essence

The early '70s were an exciting recording period for this artist, whose initial forays outside the classic quartet of John Coltrane were just a bit too mellow, as if he was thinking, "Whew! Now I can relax." This was one of several for the Milestone label that burned energetically, although in terms of the pianist's overall career this concentrated thrust of stamina was simply a passing phase. He is captured here a few years before he settled into elder statesman status and began barely breaking a sweat on-stage. The emphasis here is often on pure power, the presence of a non-funky Alphonze Mouzon on drums something of a signature in band attitude. 

The nimble and fleet Calvin Hill is on bass, and Sonny Fortune is present on reeds during a stint of several years with Tyner. What really makes the album special is the enlarged ensemble that creates two of the album's most extended tracks. "Native Song" and "Essence" add flugelhorn, violin, and conga, and the fine-tuning skill of Tyner the arranger becomes present, turning the lineup of three lead instruments into something nearly symphonic. Violinist Michael White is more than a bit overpowered by Tyner, as one would expect, but it is the opposite case in terms of fireworks between brass player Charles Tolliver and the boss. Tolliver fronted a band named Music Inc. during this period who also played hard, heavy, and unrelenting jazz, pianist Stanley Cowell coming on strong with many Tyner-ish-influenced moves. It is a great meeting of the minds, as two players with sympathetic approaches toward the post-Coltrane jazz language engage in high-powered dialogue.

The program is quite typical of some of Tyner's best albums for this label and Blue Note before that. All but one of the tracks are originals, featuring lovely melodies that either wash through a ballad mood or become anthems for rocket launchings, Mouzon splattering away on his cymbals like a happy child. The one standard, "The Night Has a Thousand Eyes," gets a liftoff worthy of Coltrane. This is quite a fine collection of tracks and one of Tyner's six best albums. ~ Eugene Chadbourne  http://www.allmusic.com/album/song-for-my-lady-mw0000198817

Personnel: McCoy Tyner (piano, percussion); Sonny Fortune (soprano & alto saxophones, flute); Charles Tolliver (flugelhorn); Michael White (violin); Calvin Hill (bass); Alphonse Mouzon (drums); Mtume (congas, percussion).

Song for My Lady

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Nigel Price Organ Trio - Live!

Size: 143,1 MB

Time: 61:50

File: MP3 @ 320K/s

Released: 2009

Styles: Jazz: Guitar Jazz, Hammond Organ

Art: Front

01. Bock To Bock (8:58)

02. Jingles (7:50)

03. My Favourite Things (9:47)

04. Angel Eyes (7:34)

05. Mozambique (7:25)

06. S.O.S. (6:15)

07. When Sunny Gets Blue (7:33)

08. Cottontail (6:24)

A former soldier, guitarist Nigel Price is probably best known in musical circles for his work as a member of the long running JTQ led by organist James Taylor. Price has also played with a host of leading British names in the jazz field in settings ranging from mainstream to acid jazz and funk. He has a particular affinity for the Hammond organ trio and this unpretentious, swinging live recording features Price in his favourite musical context accompanied by organist Pete Whittaker and drummer Matt Home.

This album is the follow up to the trio’s 2005 offering “Fool’s Gold” and was recorded live during a tour of club venues in Spring 2009. The locations are the Milestones Jazz Club in Lowestoft, Dereham Jazz Society and the famous Bull’s Head in Barnes. Informative liner notes are provided by fellow guitarist Jim Mullen, a musician who also lead his own combo in the organ trio format.

Price has a particular fondness for the compositions of the late Wes Montgomery, a guitarist who frequently worked with organ trios and two of Wes’s tunes are featured here (“Jingles” and “S.O.S.”).However the programme kicks off with a tune by Wes’s brother Buddy Montgomery, “Bock To Bock”. A “minor key swinger” as Mullen describes it, this is a fine opener with Price’s lazily swinging guitar paced by Home’s metronomic drums. Whittaker colours in the spaces and also takes a fine solo himself, racing his Hammond from a whisper to a roar.

Brother Wes’s boppish classic “Jingles” fairly surges along with Price, as elsewhere playing some dazzling runs, Whittaker matches him with some fiery keyboard work and Home enjoys a series of exhilarating drum breaks.

Rodgers and Hammerstein’s “My Favourite Things” has become a regular item in the jazz canon since John Coltrane liberated it from “The Sound Of Music.” The trio’s version begins languidly with Price leisurely stating the theme above Home’s gently propulsive brush work. The piece really takes off with Whittaker’s organ solo as Home switches to sticks before Price returns with a coruscating solo above Home’s crisp drumming and Whittaker’s organ growl. At one point there’s even the clanking of bottles to remind us that this is all being recorded live in a pub, The Bull’s Head at Barnes no less.

“Angel Eyes” by Earl Brent and Matt Dennis represents the gentler side of Price’s playing with quietly elegant chord based soloing above sympathetic brush work and restrained Hammond accompaniment. Whittaker’s rhapsodic Hammond breaks away mid tune before the trio end again in ballad mode.
Price’s “Mozambique” is the only original tune on the record. It’s full of clipped, funky rhythms and phrases, jazzy guitar runs and grooving Hammond. Both front line instrumentalists contribute fiery solos as Home drums up a storm behind them.

The energy levels are maintained on a breakneck version of Wes Montgomery’s “S.O.S.” with Home featuring alongside Price and Whittaker in a series of explosive drum breaks that are even more dazzling than before.

“When Sunny Gets Blue” by Jack Segal and Marvin Fisher is a lush ballad and a quicksilver version of Duke Ellington’s “cottontail” takes the album storming out. Price’s choppy chording and slippery bebop inspired lines impress on the Ellington piece with Whittaker replying in kind with some characteristically fiery Hammond as Home really rattles the tubs.

There’s nothing particularly new or surprising on on this album but then that isn’t the aim of Price and his colleagues. Quite simply they’re playing the music they love to play and, as Mullen observes, keeping the spirit of Wes Montgomery alive. Mullen also refers to the great organ combos of Jack McDuff and Jimmys Smith and McGriff.

All fans of this format will find much to enjoy here. This is unpretentious swinging fun played with skill and verve.

Live!  

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Maartje Meijer - Inner Circle

Size: 102,7 MB
Time: 41:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Floating (3:04)
02. Wouldn't You (5:05)
03. So Small (5:00)
04. Als Ik Rennen Mag (4:49)
05. The Sun Is Gone (4:45)
06. Father, Mother (6:00)
07. She's Leaving Home (4:30)
08. Because It's You (3:00)
09. Just For Show (5:02)

Amsterdam based singer, pianist and composer. Maartje released her debut album Virgo in 2013 and is currently working on her 2nd album. This will be released in January 2016. Release concerts will take place at the Bimhuis, Lantaren Venster, Paradox and Tivoli/Vredenburg and many other stages. The Band: Maartje Meijer (vocals & piano), Maarten Hogenhuis (alto sax), Joris Roelofs (bass clarinet), Tobias Nijboer (double bass) & Joan Terol Amigo (drums).

Maartje has studied Jazz Vocals and later on Jazz Piano at the Amsterdam Conservatory. In her masters degree she focused on arranging and took lessons from Jörg Achim Keller, chef conductor NDR Bigband. Her thesis was on counterpoint writing and polyphony in modern music. She finished both degrees (piano BA and vocals MA) in 2012 and has performed in many groups ever since.

As a bandleader she has performed at many festivals (Jazz in Duketown, Jazzy Huiskamers, Cutting Edge Jazz Festival, NEU/NOW Festival Talinn, Estonia) and at many venues (Bimhuis, Lantaren Venster, Bird, Beauforthuis). Together with Eric Vaarzon Morel & Jesse van Ruller they’ve hit many Dutch stages (Concertgebouw, Beauforthuis, Lantaren Venster) with their flamenco-jazz crossover.

As an arranger and composer, Maartje is very active for several bands and choirs. She writes regularly for New Amsterdam Voices, and wrote for ensembles like The Jazzorchestra of the Concertgebouw, G-Star and Frommermann. Go to ‘Arrangements’ to read more about her writing work for other groups & ensembles.

Inner Circle

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Marcus J - Passion Speaks Louder

Size: 99,4 MB
Time: 36:29
File: MP3 @ 320K/s
Released: 2016
Styles: Smooth Jazz, Soul, R&B
Art: Front

01. January 27th (4:23)
02. In Time Of Need (4:08)
03. Traveling Down I-24 (4:04)
04. Olivia (4:36)
05. Sleepless Night (3:06)
06. Over And Over (3:13)
07. Dreams (4:15)
08. Sax In The Rain (4:35)
09. Passion Speaks Louder (4:04)

Marcus Johnson is an alto saxophonist rising through the ranks of the Smooth jazz scene. As a product of the great musical city of Nashville, Tennessee, Marcus developed his passion for music at a young age by beginning to play the saxophone at the age of 10. Nashville’s wide range of musical styles and traditions inspired him to develop a unique sound that draws from jazz, R&B, funk, blues, soul and gospel.
This contemporary jazz artist also comes from a musical family and found great joy listening to his many musical family members.
In 2010, at twenty-two years old, Marcus graduated from college with a degree in Economics and Finance and landed
a job on Wall Street.
While in NYC, Marcus immediately regained his inspiration for the music scene, specifically jazz. One week, Marcus decided to take a week off, head down to Philadelphia and study under Grammy Award winning producer Elite and the famed Quad Studio who has produced music for hip hop icons such as:
2015 Academy Award-winning hip- hop artist Common (“Glory”)
Def Jam’s Jada Kiss
Grammy Award-winning Artist Nas
Grammy 2014 “Best New Artist” J. C

Passion Speaks Louder

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Raffaela Siniscalchi Quartet - Waitin' 4 Waits

Size: 183,8 MB
Time: 78:54
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Folk, Vocals
Art: Front

01. Clap Hands (4:46)
02. San Diego Serenade (Feat. Gabriele Coen) (5:42)
03. Jockey Full Of Bourbon (Feat. Antonello Salis, Gabriele Mirabassi, Michele Rabbia) (4:31)
04. Drunk On The Moon (6:22)
05. Raindogs (3:35)
06. All The World Is Green (Feat. Gabriele Mirabassi) (4:59)
07. Broken Bicycles (Feat. Antonello Salis, Michele Rabbia) (7:59)
08. Chocolate Jesus (3:29)
09. The Briar And The Rose (Feat. Alessandro Gwis) (6:12)
10. Ice Cream Man (Feat. Antonello Salis) (3:50)
11. You Can Never Old Back Springs (Feat. Massimo Pirone, Marco Loddo) (4:48)
12. Telephone Call From Instanbul (Feat. Alessandro Gwis, Antonello Salis, Michele Rabbia) (4:11)
13. Alice (Feat. Gabriele Coen, Domenico Capezzuto, Adriano Coen) (6:36)
14. Clap Hands (Bamboo Version) (4:19)
15. Lullaby (3:50)
16. Jockey Full Of Bourbon (Quartet Version) (3:38)

"Waitin'4Waits"
Travel in music Tom Waits

Step Siniscalchi- voice
Massimo Antonietti - guitar
Giovanna Famulari - cello
Andrea Colella -bass

Which may be the need 'to do a tribute to American songwriter crazier the last forty years and perhaps even more' imitated? The primary motivation is that Tom Waits is a kind of magic door like Alice in which go to discover new music things. A different approach has definitely characterized Waits outset and gradually going forward has made a real elf investigator without borders. Its lightness led him always to draw the big basket music as you do with small games without precluding any road passing through the songwriting more classic jazz beginnings until more refined and intimate and romantic smoky and sensual coming to trial extreme . Sing a song of Tom Waits is a journey of extraordinary new discoveries 'cause behind three incredible things' "Torbato" lie fascinating melodies and harmonies never granted full of stimuli. So the choice was to enter into each song as you enter a Luna-Park from children to discover a part of perhaps forgotten. ~google translation

Waitin' 4 Waits

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Mirei - Small Parts

Size: 99,5 MB
Time: 37:18
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. All We’ll Ever Need (3:41)
02. Time Was Not My Friend (4:24)
03. Pixies (3:53)
04. Morning Comes In Peace (4:42)
05. Finally Free (2:35)
06. Where Are You Going (4:29)
07. Stranded (5:00)
08. Small Parts (4:14)
09. Haven (1:24)
10. Langtan (2:50)

Mirei is a duo concistent of Johanna Edberg (singer & pianist) and Natalie Migdal (singer & violinist) where beautiful compositions and sincere lyrics intertwine. With their four instruments, Johanna and Natalie share a personal moment with the audience and gives insight to their world. Natalie’s roots in classical art music and Johanna’s background in jazz gives Mirei a unique expression where music and improvisation is the focal point. One performance is not like the other and time after time you’ll get fascinated by how this intimate group can astound you.

Since the debut in 2012, Mirei’s success story has moved fast. They’ve performed at Fasching, Södra Teatern, Stockholm Jazz festival & Skansen among others. Mirei has also played in different venues around Europe and got highlighted by PSL, Swedish Television’s music blog. Mirei’s debut album will be released on Havtorn Records the 11th of March 2016.

Small Parts

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Herbie Hancock - Then and Now - The Definitive Herbie Hanckock

Styles: Piano Jazz, Jazz Fusion
Year: 2008
File: MP3@320K/s
Time: 78:03
Size: 179,1 MB
Art: Front

(7:54)  1. Maiden Voyage
(5:27)  2. Cantaloupe Island
(5:50)  3. Wiggle Waggle-
(7:40)  4. Chameleon (Edit)
(5:52)  5. St. Louis Blues
(4:16)  6. Chan's Song (Never Said)
(5:26)  7. River
(4:52)  8. Don't Explain
(5:07)  9. All Apologies
(6:28) 10. Watermelon Man
(4:10) 11. Rockit (Live)
(5:39) 12. River (Live)
(9:15) 13. Maiden Voyage (Live)

The idea of collecting tracks off several of jazz legend Herbie Hancock's albums from the influential '60s Blue Note years through to his Grammy-winning 2007 album River is a nice idea that doesn't quite come together on Verve's Then and Now: The Definitive Herbie Hancock. Obviously designed to showcase the whole of Hancock's career post his 2007 Grammy win for River: The Joni Letters, Then and Now doesn't really give you the full picture. With only five tracks devoted to his '60s/'70s recordings (arguably his most essential and defining period), there's just not enough "then" here to really qualify this as a "definitive" collection. Not to mention that Then and Now basically ignores Hancock's '70s recordings, opting for merely an "edit" of "Chameleon" and the album version of "Watermelon Man," which comes out of chronological order near the end of the collection. Add in that you only get a live version of "Rockit" and you're left with less a definitive view of Hancock's career and more of a thumbnail sketch. ~ Matt Collar  http://www.allmusic.com/album/then-and-now-the-definitive-herbie-hancock-mw0000798281

Personnel: Herbie Hancock (piano, Fender Rhodes piano, Clavinet, ARP synthesizer); Stevie Wonder (vocals, harmonica); Damien Rice, Joni Mitchell, Lisa Hannigan (vocals); Eric Gale, Billy Butler , Lionel Loueke (guitar); John Scofield (electric sitar); Vyvienne Long (cello); Bennie Maupin (alto flute, bass clarinet, soprano saxophone, saxello, tenor saxophone); Joe Henderson (alto flute, tenor saxophone); Wayne Shorter (soprano saxophone, tenor saxophone); Bob Sheppard (soprano saxophone); George Coleman (tenor saxophone); Arthur Clarke (baritone saxophone); Eddie Henderson, Ernie Royal, Freddie Hubbard, Joe Newman, Johnny Coles (trumpet); Ray Alonge (French horn); Garnett Brown, Benny Powell (trombone); Paul Jackson (marimbula, bass instrument); Dave Holland, Jerry Jemmott, Marcus Miller, Ron Carter, Shane Fitzsimons, Alex Al (bass instrument); Harvey Mason, Terri Lyne Carrington, Tomo, Tony Williams, Vinnie Colaiuta, Bernard Purdie (drums); George Devens, Bill Summers (percussion);

Then and Now The Definitive Herbie Hanckock

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Nancy LaMott - Come Rain Or Come Shine: The Songs of Johnny Mercer

Styles: Jazz, Vocal
Year: 1992
File: MP3@320K/s
Time: 45:42
Size: 105,0 MB
Art: Front

(3:07)  1. Moon River
(3:59)  2. Accentuate the Positive
(3:48)  3. That Old Black Magic
(3:06)  4. On the Atchison, Topeka and the Santa Fe
(6:18)  5. The Days of Wine and Roses/Whistling Away the Dark
(5:31)  6. Come Rain Or Come Shine
(4:10)  7. Talk to Me Baby
(6:05)  8. Autumn Leaves/When October Goes
(5:41)  9. Hit the Road to Dreamland
(3:54) 10. P. S. I Love You

As an interpreter, Nancy LaMott shunned extremes. Whatever clouds may have darkened the sky, she always sounded as if they couldn't possibly lead to a thunderstorm--only a gentle rain that would eventually becomes, well, shine. And so her tribute to lyricist Johnny Mercer typically avoids emotional extremes, exploring instead subtle in-betweens. The low-key version of "Moon River" that starts things off is indicative of this album's subdued mood. LaMott was well aware she wasn't a swinger, so her take on finger-snapping classics such as "Accentuate the Positive" (instead of the song's usual spelling "Ac-Cent-Tchu-Ate") and "That Old Black Magic" is sensitive rather than jazzily buoyant. Her minimalist approach reaps maximum rewards on "P.S. I Love You" and "On the Atchison, Topeka & the Santa Fe," on which she basically engages in duets with carefully selected instruments (an acoustic guitar and a stand-up bass, respectively). ~ Elisabeth Vincentelli  http://www.amazon.com/Come-Rain-Or-Shine/dp/B000005AAT

Come Rain Or Come Shine: The Songs of Johnny Mercer

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McCoy Tyner - Land of Giants

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:25
Size: 138,5 MB
Art: Front

(6:34)  1. Serra Do Mar
(4:47)  2. December
(4:48)  3. Steppin'
(7:50)  4. If I Were a Bell
(7:20)  5. Manalyuca
(6:11)  6. Back Bay Blues
(4:33)  7. For All We Know
(5:47)  8. The Search
(6:13)  9. Contemplation
(6:17) 10. In a Mellow Tone

One of the three most influential pianists of his generation (along with Keith Jarrett and Chick Corea), McCoy Tyner is a true jazz giant. And more than 40 years after gaining widespread acclaim as the pianist in the classic John Coltrane Quartet, the 65-year-old Tyner shows no signs of slowing down. Like fellow Coltrane alum Elvin Jones, Tyner remains a vital force in modern jazz, leading a series of consistently excellent small groups and big bands, including the fiery new quartet featured on his latest release. Land of Giants, recorded after the quartet won raves at a 2002 London engagement, reunites Tyner with a fellow giant of forward-thinking '60s jazz, vibraphonist Bobby Hutcherson, on a set of seven fresh Tyner originals an impressive mix of Latin numbers, modal burners and a Coltrane-esque blues plus three standards. 

And while the two veterans (along with the fine bass/drum combo of Charnett Moffett and Eric Harland) may not reach the epic heights of some of their earlier collaborations (like Hutcherson's 1965 Stick-Up! or the 1993 duet album, Manhattan Moods ), they prove themselves still kindred spirits and still among the most exciting, advanced improvisers on the scene. Tyner's huge, heavily percussive piano remains one of the most identifiable and inimitable sounds in jazz; but he also has an underrated lyrical side, revealed to great effect here on "For All We Know" and Ellington's "In a Mellow Tone." Hutcherson is Tyner's perfect foil, matching the leader's whirlwind keyboard forays with his own imposing, harmonically rich runs on the vibes.  McCoy Tyner’s been so good and so prolific for so long that his excellence seems a given. But give credit where it is due – he has earned a place in the land of giants. ~ Joel Roberts  http://www.allaboutjazz.com/land-of-giants-mccoy-tyner-telarc-records-review-by-joel-roberts.php


Personnel: McCoy Tyner - Piano; Bobby Hutcherson - Vibraphone; Charnett Moffett - Bass; Eric Harland - Drums.

Land of Giant

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Bobby Hutcherson - Spiral

Styles: Vibraphone Jazz
Year: 1979
File: MP3@320K/s
Time: 36:47
Size: 84,7 MB
Art: Front

(7:55)  1. Ruth
(3:56)  2. The Wedding March
(6:19)  3. Poor People's March
(6:16)  4. Spiral
(3:52)  5. Visions
(8:27)  6. Jasper

Recorded in 1968 but not issued until 1979, Spiral marks the first time that the official lineup of the Bobby Hutcherson-Harold Land Quintet which also included pianist Stanley Cowell, bassist Reggie Johnson, and drummer Joe Chambers recorded together. 

(The first Hutcherson-Land album, Total Eclipse, featured Chick Corea on piano.) In one sense, it's understandable why this music stayed on the shelf for over a decade: it didn't fit the late-'60s zeitgeist. It had nothing to do with fusion, and it wasn't aggressively far-out like much of the avant-garde had gotten. Yet, on the other hand, it isn't so understandable the music was quite good, often excellent, and the quintet had a knack for making sophisticated, mainstream-leaning modal post-bop sound surprisingly soulful. Hutcherson, Land, Chambers, and Cowell all contribute compositions, making Spiral truly a group effort; Chambers in particular proves once again what an overlooked composer he was, but really, all the pieces are strong. 

Yet another unimpeachably solid Hutcherson session. [Note: The original LP version of Spiral contained "Jasper," an Andrew Hill-penned outtake from the 1965 Dialogue session that didn't really fit with all the Hutcherson-Land cuts. When Blue Note reissued Spiral as part of a CD two-fer with Medina, "Jasper" was excised and included on Dialogue as a bonus track.] ~ Steve Huey  http://www.allmusic.com/album/spiral-mw0000896568

Personnel:  Bobby Hutcherson - vibraphone, marimba;  Harold Land – saxophone;  Joe Chambers – drums;  Stanley Cowell – piano;  Reggie Workman - bass

Spiral

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Duke Ellington And Johnny Hodges - Side By Side

Styles: Piano Jazz

Year: 2014

File: MP3@320K/s

Time: 46:13

Size: 107,6 MB

Art: Front

(6:41)  1. Stompy Jones

(4:38)  2. Squeeze Me

(5:39)  3. Big Shoe

(4:54)  4. Going Up

(5:55)  5. Just A Memory

(6:50)  6. Let's Fall In Love

(2:35)  7. Ruint

(3:01)  8. Bend One

(5:57)  9. You Need To Rock

Topping off a wealth of full-band recordings, the various stars of Ellington's great outfit recorded many combo sides under their own names. And while not on the same sophisticated level of classic Ellingtonia, the late-'30s material cut by Johnny Hodges, Cootie Williams, and Rex Stewart is packed with tasty solo work and some of the finest examples of early small-group swing. These later examples from 1958-1959 feature Hodges backed by both Ellington and Billy Strayhorn on piano and such non-Duke luminaries as Ben Webster, Roy Eldridge, Harry "Sweets" Edison, and Jo Jones. Like its companion album, Back to Back, Side by Side has a loose, jam session feel, with all the soloists stretching out. Hodges is in top form throughout, while Edison and Webster man their spots just fine. Highlights include the sveltely swinging "Going Up" and Hodges' bluesy closer, "You Need to Rock." A must for fans of vintage combo swing. ~ Stephen Cook  http://www.allmusic.com/album/side-by-side-mw0000191768

Personnel:  Duke Ellington – p;  Johnny Hodges – as;  Harry "Sweets" Edison - tp (1, 2, 4);  Lawrence Brown - tb (3, 5, 7-9);  Ben Webster - ts (3, 5-9);  Billy Strayhorn - p (3, 5-9);  Les Spann - g (1, 2), fl (4);  Al Hall - b (1, 2, 4);  Wendell Marshall - b (3, 5-9);  Jo Jones - d

Side By Side

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Earl Hines - Just Friends

Styles: Piano Jazz
Year: 1977
File: MP3@320K/s
Time: 63:35
Size: 146,3 MB
Art: Front

( 8:41)  1. Just Friends
( 4:08)  2. I Cover The Waterfront
( 8:26)  3. The One I Love Belongs To Somebody Else
( 8:14)  4. East Of The Sun
(10:29)  5. Can't We Talk It Over
( 4:42)  6. Indian Summer
( 5:29)  7. You Made Me Love You
( 7:39)  8. If I Had You
( 5:43)  9. Velvet Moon

This "Jazz Hour" gives us nine extended solo piano performances of standards by Earl "Fatha" Hines near the end of his career and life, recorded somewhere in New York City in 1977. There is no documentation as to the origin or story behind these sessions, which sound to be in a studio, but there is a peculiar scratching noise heard frequently in the background during the entire program. Perhaps it is the sleeves or cuffs of Hines' shirt rubbing against either the piano, another facade, or a poorly placed microphone. More likely it could simply be an old, less well preserved, or warped spool of a reel-to-reel tape. 

Although the sound of his playing itself is clear and distinct, the background sonics, especially while listening on headphones, are to say the least, annoying. 

~ Michael G.Nastos  http://www.allmusic.com/album/just-friends-mw0000665630

Just Friends

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Vivian Buczek - Straight from My Heart

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 55:47
Size: 127,9 MB
Art: Front

(3:38)  1. Too close for comfort
(6:25)  2. Meditação
(4:11)  3. Feel like making love
(4:31)  4. Filthy McNasty
(4:59)  5. So Many Stars
(5:28)  6. Fly away
(4:40)  7. You're driving me crazy
(6:06)  8. We'll be together again
(3:10)  9. The jodi grind
(4:15) 10. Blues for Laila / Lullaby blues
(3:29) 11. Sakta vi ga
(4:49) 12. Szeptem

Claes Crona is one of our foremost jazz icons in Sweden, his personality and his musical abilities are extremely nuanced, full of energy and truth. Full of heart, playfulness and enthusiasm. Together with guitarist Elias Källvik, drummer Zoltan Csörsz and bass player Mattias Hjorth, we have tried to create an atmosphere that exudes swing, happiness and energy in jazzmusic. As the icing on the cake, the Danish tenor saxophonist Jesper Thilo. This is an eclectic collection of tracks with one thing in common, they all come straight from my heart. http://www.vivianbuczek.com/straight_from_my_heart.html

Straight from My Heart

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Johnny Hodges - The Eleventh Hour/Sandy's Gone

Styles: Saxophone Jazz
Year: 1963
File: MP3@320K/s
Time: 30:18 + 26:15
Size: 69,8 MB + 60,5 MB
Art: Front

Album:  The Eleventh Hour

(2:25)  1. Something to Live For
(2:59)  2. In a Sentimental Mood
(2:40)  3. I Didn't Know About You
(3:35)  4. Guitar Amour
(2:06)  5. You Blew Out the Flame (In My Heart)
(2:17)  6. Theme from 'The Eleventh Hour'
(1:59)  7. Love Song from 'Mutiny on the Bounty'
(2:39)  8. Solitude
(2:00)  9. Satin Doll
(2:48) 10. Don't Blame Me
(2:43) 11. Prelude to a Kiss
(2:01) 12. Warm Valley

Album: Sandy's Gone

(2:10)  1. Sandy's Gone
(2:15)  2. Monkey Shack
(2:14)  3. Wonderful, Wonderful
(2:10)  4. Scarlett O'Hara
(2:13)  5. Candy's Theme
(1:53)  6. Follow Me
(2:17)  7. Blue Velvet
(2:21)  8. So Much in Love
(1:55)  9. Again
(2:20) 10. Deep Purple
(2:20) 11. Since
(2:02) 12. 'The Caretakers' Theme

Two Verve albums from Johnny Hodges both relatively obscure, and both pretty darn great! The Eleventh Hour is an overlooked gem from Johnny Hodges  a 60s session that hearkens back to the "with strings" Verve mode of the 50s but one that also updates the approach strongly, thanks to some well crafted arrangements by Oliver Nelson! Nelson's work in the jazz backings for soloist mode during the 60s was some of the best of the big band genre  and although his work here is much more in the mellow tone mode than his backings for players like Jimmy Smith and Lou Donaldson, Hodges is still getting top shelf treatment, some really wonderful washes of sound and color that show that his tone is still very much alive! A nice preface to the pair's classic set for Flying Dutchman and with tracks that include "Something to Live For", "Don't Blame Me", "Warm Valley", "The Eleventh Hour", "Guitar Amour", and "You Blew Out The Flame In My Heart". 

Sandy's Gone is a set that has the sweet alto sax of Johnny Hodges working with great arrangements from Claus Ogerman a mode that's a bit more groovy and 60s than some of Johnny's previous work in a setting that offers up a nice change for his sound! Claus is in fine form here swinging with the same style as his own instrumental records for RCA in the 60s echoes of his German roots, especially in the use of bass at the bottom which gives even some of the gentler tunes a nice kick we're not used to hearing in Johnny Hodges material. Johnny's got a sound that's soulful, yet sweet too almost pop, but still very strongly rooted in jazz on titles that include "Again", "Sandy's Gone", "Monkey Shack", "Scarlett O'Hara", "Candy's Theme", and "Follow Me". https://www.dustygroove.com/item/626604

The Eleventh Hour/Sandy's Gone

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