Bryony James - Feeling Good

Size: 103,4 MB
Time: 33:07
File: MP3 @ 320K/s
Released: 1969/2016
Styles: Jazz Vocals, Latin Jazz
Art: Front

01. Feeling Good (Vocal) (2:27)
02. I Got It Bad (3:12)
03. Our Day Will Come (2:16)
04. Sunny Gets Blue (2:57)
05. Soon It's Gonna Rain (3:16)
06. Look Of Love (2:19)
07. Come Back To Me (1:44)
08. Goin' Out Of My Head (3:02)
09. Summertime (2:33)
10. If You Go Away (3:28)
11. How Insensitive (2:33)
12. La Bamba (3:14)

A really groovy little vocal jazz record – cut by an American singer on the London scene of the late 60s – working here with tight backing from the Laurie Holloway Quartet! Bryony James has this way of going deep with her range that's a bit like Morgana King, but she's also a bit less heavy, too – and swings easily without getting lost in her trills – bringing a lightness to the record that's a great match for the cool arrangements provided by Holloway – whose group also includes a nice percussionist. Many tunes are familiar, but they're given very groovy treatments here – and tracks include "Our Day Will Come", "Feeling Good", "Summertime", "Goin Out Of My Head", "How Insensitive", "Come Back To Me", and "Look Of Love". A considerable rarity in its original vinyl form, it's reissued here for the first time.

MC
Ziddu

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Little Charlie & Organ Grinder Swing - Skronky Tonk

Size: 140,4 MB
Time: 59:34
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Jazz Blues, Hammond Organ
Art: Front

01. Shronky Tonk (5:04)
02. How High Is The Moon (4:08)
03. Receita De Samba (2:57)
04. Nuages (5:27)
05. Pennies From Heaven (6:30)
06. Gerontology (3:35)
07. Django (5:49)
08. Swing To Bop (4:14)
09. Broadway (4:06)
10. Um A Zero (2:37)
11. Cobalt Blues (4:02)
12. Misty (6:30)
13. Flyin' Home (4:28)

The organist/guitarist combination was popularized by the legendary Jimmy Smith in 1957. Grant Green and Larry Young took it a step further in 1964, but Smith and Wes Montgomery on their 1966 "Dynamic Duo," album, arguably defined the format. Smith also catapulted the jazz organ trio into another dimension, and set the standard for that ensemble configuration; one of the most difficult, as it requires immense technical skills. Little Charlie and Organ Grinder Swing, is comprised of Little Charlie Baty on guitar, Lorenzo Farrell on Hammond organ, and drummer J. Hansen. Skronky Tonk, is a prodigious set of swing, blues, and gypsy jazz, performed in an genuine vintage organ trio setting.

Little Charlie Baty is best known as leader of The Nightcats, a solid blues band with an extended discography on Alligator records dating back to 1987. He recently recorded and toured with the Golden State Lone Star Blues Revue, to high acclaim. This organ trio venture is a lifelong personal ambition, which he finally realized. Farrell and Hansen are his former Nightcats bandmates, and so the personal and musical chemistry is present. What might appear as a radical departure for these three, upon further analysis, is just a deeper exploration to the core of American music.

The title track determines the direction of the record, and is an indicator that Baty and company have done their homework in the soul/jazz idiom. This is one of three originals, the swinging "Gerontology," and "Cobalt Blues," being the others. Some of the repertoire is composed of standards as "How High The Moon," "Pennies From Heaven," and "Misty," all given a gentle nudge into a jazzier atmosphere.

The jazz manouche of Django Reinhardt is evident on his "Nuages," and "Django," penned by John Lewis of Modern Jazz Quartet fame. Charlie Christian is credited as the first jazz guitarist, and his "Swing To Bop," is rejuvenated with ambitious vigor. The Brazilian tinge is covered on "Receita de Samba," and "Um a Zero," whereas "Broadway," drifts into the Caribbean; displaying versatility and ability to syncopate. They wrap it up with the Benny Goodman classic "Flyin' Home," a good natured jaunt into big band territory, reinvented within the organ trio format. Throughout the record, Baty as guitarist, and Farrell in his role of organist, do a magnificent job playing off of each other with disciplined anticipation. Keeping the arrangements lean, with no rushing or clutter, makes for ease of enjoyment.

Since these musicians are based out of California, Greaseland Studios in San Jose was chosen for recording the sessions; the sound being exemplary, as the clarity of the instruments shines through. Little Charlie elected to play this music as a matter of choice and taste; serving as an homage to those musicians who inspired and challenged his trajectory, his bandmates rising to the occasion. The organ trio is a tough turf to travel, and these guys do it in style. ~James Nadal

Personnel: Little Charlie Baty: guitar; Lorenzo Farrell: Hammond organ, bass (11); J. Hansen: drums, percussion.

Thanks to Johnny Lee Ramirez
MC
Ziddu

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Melissa Morgan - Days Like This

Size: 99,2 MB
Time: 42:23
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues Vocals
Art: Front

01. You Let My Love Grow Cold (3:38)
02. Days Like This (3:51)
03. I Got A Right To Cry (3:44)
04. Wild Is The Wind (6:49)
05. California Soul (4:00)
06. Some Of My Best Friends Are The Blues (5:39)
07. You Don't Know Me (7:53)
08. By Myself (3:49)
09. West Coast Blues (2:57)

"You have to check out this voice. It is interesting. It is sassy. It is sexy.", says producer John Clayton. Brought up in the jazz clubs of New York City, Melissa Morgan has a voice that is unexpected. From the exterior you would assume a sultry lounge singer, which does make an appearance once and awhile, but from inside she contains a powerful instrument. "Prepare to fall in love" (Bay Area Reporter), and fall in love you do. On stage she bares everything and makes you laugh while doing it. While belting a blues or tenderly massaging a ballad, she has come a long way from her appearance at the 2004 Thelonious Monk Competition. In 2009, Melissa released her debut album on Telarc Records, "Until I Met You" to enthusiastic reviews and was embraced by the jazz community as "the one we've been waiting for" (Dr. Herb Wong, jazz critic and historian). Downbeat Magazine included her on their 2009 Rising Star List and JazzTimes has named her "audacious and decidedly salty". With her new album close to completion, she has gathered together her dearest friends to tell her story of the last five years, growing in the business and as a musician. While you will always hear definitive influences from Nancy Wilson, Dinah Washington and Billie Holliday, "Melissa isn't copying anybody" (London Evening Standard) and most certainly has a definitive sound all her own.

MC
Ziddu

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Eric Frazier - In The Same Place

Size: 108,7 MB
Time: 46:43
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Fusion, Vocals
Art: Front

01. Fresh Money (5:10)
02. Chili Pepper (3:56)
03. In The Same Place (5:55)
04. The Bean Song (2:57)
05. Fu Man Shu (5:32)
06. Graduation (3:34)
07. You Don't Know (4:38)
08. It Gets Back To You (4:22)
09. Como Se Llama Mama (5:03)
10. Everything You Got To Give (5:31)

Jazz music percussionist, vocalist, composer, New York City-based Eric Frazier Eric Frazier celebrates the release of his eighth jazz CD, In The Same Place which features ten original compositions in an eclectic mix of Jazz, Blues, R&B, Reggae, Spoken Word, Salsa, captivating storytelling and lyrics. Accompanying Mr. Frazier – who is the creator of the Fort Greene Park Jazz Festival and has been featured in an array of jazz publications including Jazz Inside Magazine, Jazz Improv and more – are a stellar group of New York jazz musicians including Pamela Cornelius, vocals, Danny Mixon, piano; Yoichi Uzeki, piano, Gene Ghee, tenor sax; Paul Beaudry, bass; Lonnie Plaxico, bass; Charles Bartlett, trumpet, and Dwayne “Cook” Broadnax, drums. Cadence Magazine wrote: “Eric’s music is upbeat, fun, and inspiring. You can’t help but snap your fingers, bob your head, dance or sing along with the catchy tunes”

Growing up in Harlem and Brooklyn, Eric Frazier eventually earned a Doctorate from Columbia University. Frazier emerged onto the New York music scene after transitioning from a career as a school Principal and Education Executive to follow his passion for music and storytelling. Initially, immersing himself in playing Conga Drum, Djembe Drum and African Dance, he has expanded his artistic endeavors to singing, trap drums, and inspired by his brother Gary Ellis Frazier, who was formerly with The Alvin Ailey Dance Company, he has expanded to tap dance. Eric Frazier’s recordings are characterized by a range of styles from Jazz, Swing, BeBop, Salsa, R&B, Calypso, Blues, Broadway, Reggae, Reggaeton, World Music and Afro beat.

Over the past decade, Frazier has been very active on the New York jazz scene, and built an impressive list of credits including performances or recordings with Reggie Workman, Robin Kenyatta, Carlos Garnett, Bill Saxton, Stanley Banks and Danny Mixon, Pharaoh Sanders, Jack McDuff and more. His own his recordings have featured notable jazz artists including Jeremy Pelt, Anthony Wonsey, Wayne Escoffery and Maurice Brown. He has performed at leading jazz clubs and venues in New York including the Rainbow Room, Madison Square Garden Theater, Iridium Jazz Club, Brooklyn Academy of Music, Birdland, and The Apollo Theater among others, and has also led his group at noteworthy jazz venues and festivals throughout the United States. In addition to appearances performing on an array of music and jazz TV shows, including spots on BET Jazz Discovery and Bet On Jazz Cable TV shows, Eric Frazier is the co-host of WLIU Jazz radio 88.1 FM, and the creator of the Fort Greene Park Jazz Festival, at which he will appear from 3 to 7PM, Saturday, July 23, 2016 & October 10, 2016. He has written books of poetry, scholarly articles, jazz columns, publications and letters, has spoken at numerous colleges and universities, and is available for lectures, workshops and presentations.

MC
Ziddu

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George Robert - George Robert Plays Michel Legrand

Size: 126,4 MB
Time: 54:28
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Watch What Happens (From The Umbrellas Of Cherbourg) (4:55)
02. How Do You Keep The Music Playing (From Best Friends) (5:35)
03. What Are You Doing The Rest Of Your Life (From Happy Ending) (5:11)
04. The Summer Knows (From Summer Of 42) (4:34)
05. Once Upon A Summertime (4:17)
06. You Must Believe In Spring (From The Young Girls Of Rochefort) (5:51)
07. The Windmills Of Your Mind (From The Thomas Crown Affair) (4:53)
08. I Will Wait For You (From The Umbrellas Of Cherbourg) (5:29)
09. The Way He Makes Me Feel (From Yentl) (5:41)
10. Brian's Song (From Brian's Song) (4:47)
11. Papa, Can You Hear Me (From Yentl) (3:10)

One of the finest jazz musicians born in Switzerland, altoist George Robert has long considered his main influences to be Charlie Parker and Phil Woods. He started on piano when he was eight, and clarinet at ten, playing with a family band that included his four brothers. Robert switched permanently to alto as a teenager. In 1980, he moved to the United States to study at Berklee, settling in New York in 1985. Robert recorded his first album that year (for his GPR label), and in 1987, formed a quintet that he co-led with trumpeter Tom Harrell on and off through 1992. George Robert, who has toured with Clark Terry, has recorded many albums as a leader for Contemporary, TCB, Mons, and Jazz Focus. ~by Scott Yanow

MC
Ziddu

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Elvin Jones - Youngblood

Bitrate: MP3@320K/s
Time: 63:23
Size: 145.1 MB
Styles: Bop
Year: 1992
Art: Front

[3:52] 1. Not Yet
[7:39] 2. Have You Seen Elveen
[8:43] 3. Angel Eyes
[7:17] 4. Ding-A-Ling-A-Ding
[9:27] 5. Lady Luck
[3:56] 6. The Biscuit Man
[6:11] 7. Body And Soul
[4:12] 8. Strange
[6:12] 9. My Romance
[5:51] 10. Youngblood

Bass – George Mraz (tracks: 1 to 3,5 to 10); Drums – Elvin Jones; Tenor Saxophone – Javon Jackson (tracks: 1,2,5,6,8,10), Joshua Redman (tracks: 1 to 3,5,6,8,10); Trumpet – Nicholas Payton (tracks: 1,2,5 to 8,10). Recorded by Rudy Van Gelder at Van Gelder Studios, Englewood Cliffs, N.J. on April 20&21, 1992.

Although this superior set features three of the top Young Lions (tenors Joshua Redman and Javon Jackson and trumpeter Nicholas Payton), along with the fine bassist George Mraz, drummer Elvin Jones, 64 at the time, sounds like the youngest member of the group. The well-rounded CD has individual features for Redman ("Angel Eyes"), Payton ("Body and Soul") and Mraz ("My Romance"), along with the leader (the unaccompanied drum solo "Ding-A-Ling-A-Ling"), and has consistently inspired playing from all of the musicians. An excellent effort. ~Scott Yanow

Youngblood

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McLemore Avenue - 926 East

Bitrate: MP3@320K/s
Time: 49:50
Size: 114.1 MB
Styles: Jazz/Funk/Soul
Year: 2003
Art: Front

[4:22] 1. Ham Slice
[3:25] 2. Fubar
[2:58] 3. About Face
[5:59] 4. The Indefatigable Jimmy Smits
[3:33] 5. Texas Toast
[5:28] 6. Me Gusta
[4:29] 7. Sad, But True
[3:44] 8. A Toy Robot!
[4:25] 9. Tree-Hug-Her
[5:58] 10. (The Last Of The) V-8 Interceptors
[5:25] 11. 926 East

McLemore Avenue--inspired by instrumental groups like Booker T. & the MGs, the Meters, and Medeski, Martin & Wood--blends elements of southern soul, groove, and jazz with an original sound that is unique to Austin, Texas.

926 East

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Terell Stafford - This Side Of Strayhorn

Bitrate: MP3@320K/s
Time: 69:11
Size: 158.4 MB
Styles: Trumpet jazz
Year: 2011
Art: Front

[7:52] 1. Raincheck
[8:54] 2. Smada
[7:17] 3. My Little Brown Book
[7:39] 4. Lush Life
[8:38] 5. Multicolored Blue
[7:07] 6. U.M.M.G. (Upper Manhattan Medical Group)
[8:14] 7. Lana Turner
[7:03] 8. Day Dream
[6:24] 9. Johnny Come Lately

Terell Stafford: trumpet, flugelhorn; Tim Warfield: tenor and soprano saxophones; Bruce Barth: piano; Peter Washington: bass; Dana Hall: drums.

Some music just stands out from the crowd, and certainly Billy Strayhorn's tunes do exactly that. What would the great composer/bandleader Duke Ellington have been without his collaborator? He still certainly would have been considered one of the America's greatest artists, but it's hard to imagine an Ellington "greatest hits" offering—if one could be achieved, considering the Duke's immense output—without Strayhorn's gorgeous and familiar "Lush Life," "Take the 'A' Train," "Lotus Blossom," or "Chelsea Bridge."

This Side of Strayhorn is trumpeter Terell Stafford's heartfelt tribute to Ellington's indispensable partner. The set is made up of a batch of familiar Strayhorn music, as well as some lesser-known gems that shine brightly in the hands of Stafford and his marvelous ensemble. Stafford's working quintet turns in a well-lubricated effort, burning down the house on the opener, "Raincheck." Stafford and saxophonist Tim Warfield trade stretched-out solos throughout, with the leader giving a sizzle to the melody, the sax relaxing into a snappy groove, on the bright and upbeat melody that rides high inside the rhythm section's fluid momentum, until pianist Bruce Barth—who arranged all the tunes—slips into a crisp Ellingtonian piano solo.

"Smada" has a more relaxed feeling. Warfield's solo is warm and laidback, a no-worries-in-the-world affair in front of a saucy backdrop. Then Stafford takes his turn, gliding in with a gorgeous tone and a velvet flow of notes. "Lush Life," one of Strayhorn's most distinctive and best-loved tunes, unfolds in a patient way, in the loveliest fashion, a familiar forlorn lament that sounds timeless in this spare arrangement. "Multiclored Blue" recalls 1940s Ellington, with Stafford blowing jungle cat sassy with his mute, while Warfield goes down low, as cool as can be, the way Ellington's star tenor man Ben Webster always did. "Lana Turner," a lesser-known composition, has a high class dynamic with a bit of slinkiness slipped in, and a jewel of a Warfield sax solo that is smoldering and a little gruff.

This Side of Strayhorn rides out on the upbeat and tangy "Johnny Come Lately," a swinging close to an excellent tribute one of America's finest tunesmiths. ~Dan McClenaghan

This Side Of Strayhorn

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Paul Williams - Here Comes Inspiration

Bitrate: MP3@320K/s
Time: 38:55
Size: 89.1 MB
Styles: AM pop, Soft rock
Year: 1974/2014
Art: Front

[0:53] 1. Nilsson Sings Newman
[3:42] 2. You And Me Against The World
[3:31] 3. You Know Me
[3:01] 4. Driftwood
[3:54] 5. That's What Friends Are For
[3:34] 6. Rainy Days And Mondays
[3:06] 7. Inspiration
[2:59] 8. If We Could Still Be Friends
[2:38] 9. What Would They Say
[3:38] 10. Born To Fly
[3:32] 11. In The Beginning
[4:20] 12. Dream Away

Here Comes Inspiration is one of Williams' better albums. It revisits all of his strongest artistic points, and includes dreamy, whimsical high points like "Rainy Days and Mondays," "Driftwood," and "You and Me Against the World." His voice is certainly still a weak, bleating non-instrument, but here it's never dishonest or insincere. As usual, he's supported by the finest session musicians money can buy and an orchestra whose subtle arrangements never overpower the songs. Most of the material is written by Williams alone (with occasional co-writes from producer Ken Asher). Listeners may prefer the more professional performances of the Carpenters and Helen Reddy, who've recorded a number of the titles (Reddy recorded no less than four of them), but there's a more raw, affecting quality to these original renditions. ~Charles Donovan

Here Comes Inspiration

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Christian McBride Bid Band - The Good Feeling

Styles: Jazz, Straight-ahead/Mainstream, Big Band
Year: 2011
File: MP3@320K/s
Time: 70:32
Size: 162,1 MB
Art: Front + Back

( 7:21)  1. Shake 'n Blake
( 4:05)  2. Broadway
( 4:53)  3. Brother Mister
( 5:17)  4. When I Fall in Love
(11:46)  5. Science Fiction
( 8:17)  6. The Shade of the Cedar Tree
( 3:49)  7. The More I See You
( 5:45)  8. I Should Care
( 3:28)  9. A Taste of Honey
( 8:45) 10. Bluesin' in Alphabet City
( 7:01) 11. In a Hurry

The Good Feeling marks the debut of the Christian McBride Big Band, but the seeds for this album were sown in the mid-'90s. Jazz at Lincoln Center commissioned McBride to write and arrange his first major big band work "Bluesin' In Alphabet City" in 1995, and that experience really sparked his interest in composing for large groups. Now, sixteen years after the ink dried on that number, it appears in the penultimate position on his first big band recording. Over the course of eleven tracks, McBride manages to present music that's respectful of big band traditions, while also showcasing his own unique compositional voice. On one piece, the band might be playing over a pedal-to-the-metal swing pulse, with a string of strong soloists selling their wares over feisty backgrounds that come and go ("In A Hurry"), while another number might sound like a cross between "Maiden Voyage" and funky Freddie Hubbard-style fare ("Brother Mister"), as distilled through the mind of one of jazz's most talented, high profile bassists.

The instrumentalists rule the roost on this album, but McBride makes room for vocalist Melissa Walker on a few numbers, and she brings class to the proceedings. Walker's first feature, "When I Fall In Love," opens with McBride's elegant arco work, and contains some charming piano soloing from Xavier Davis, while the band cooks behind her vocals on the waltzing "A Taste Of Honey." "The More I See You" opens in a relatively calm state, with Walker singing the verse, but things really heat up later, when a Sonny Payne-style triplet build-up from drummer Ulysses Owens, Jr. leads to some shouting brass. While the vocal standards tend to showcase McBride's more conservative, in-the-tradition arrangements, his own "Science Fiction" shows what he can do when he moves away from the norm. 

This number proves to be an episodic odyssey full of wonder and surprise. Suspense gives way to sounds of the bold and big variety, and Davis and McBride set things in motion with driving, hook-laden riffs. Seismic shifts take place in certain places, while more subtle adjustments are at play throughout the piece. McBride utilizes flutes and bass clarinet in expert fashion, and these instruments help to broaden the overall sound of the band. Featuring McBride at the top of his game, The Good Feeling, like its creator, is steeped in tradition while remaining tapped into what's current and exciting in jazz today. ~ Dan Bilawsky https://www.allaboutjazz.com/the-good-feeling-christian-mcbride-mack-avenue-records-review-by-dan-bilawsky.php
 

Personnel: Christian McBride: bass; Steve Wilson: alto saxophone, flute; Todd Bashore: alto saxophone, flute; Ron Blake: tenor saxophone, soprano saxophone, flute; Todd Williams: tenor saxophone, flute; Loren Schoenberg: tenor saxophone (2, 8); Carl Maraghi: baritone saxophone, bass clarinet; Frank Greene: trumpet; Freddie Hendrix: trumpet; Nicholas Payton: trumpet; Nabati Isles: trumpet; Steve Davis: trombone; Michael Dease: trombone; James Burton: trombone; Douglas Purviance: bass trombone; Xavier Davis: piano; Ulysses Owens, Jr.: drums; Melissa Walker: vocals.

The Good Feeling

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John Coltrane - Stellar Regions

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 60:59
Size: 140,4 MB
Art: Front

(8:57)  1. Seraphic Light
(6:08)  2. Sun Star
(3:35)  3. Stellar Regions
(3:54)  4. Iris
(8:23)  5. Offering
(4:05)  6. Configuration
(6:01)  7. Jimmy's Mode
(4:18)  8. Tranesonic
(4:40)  9. Stellar Regions (Alternate Take)
(8:06) 10. Sun Star (Alternate Take)
(2:48) 11. Tranesonic (Alternate Take)

This is a major set, "new" music from John Coltrane that was recorded February 15, 1967 (five months before his death) but not released for the first time until 1995. One of several "lost" sessions that were stored by Alice Coltrane for decades, only one selection ("Offering" which was on Expression) among the eight numbers and three alternates was ever out before. The music, although well worth releasing, offers no real hints as to what Coltrane might have been playing had he lived into the 1970s. The performances by the quartet (the saxophonist joined by pianist Alice Coltrane, bassist Jimmy Garrison, and drummer Rashied Ali) are briefer (from two and a half to five-plus minutes) than Coltrane's recordings of the previous year, but that might have been due to the fact that this music was played in the studio (as opposed to the marathon live blowouts with Pharoah Sanders) or to Coltrane's worsening health. Actually Trane is as powerful as usual, showing no compromise in his intense flights, and indulging in sound explorations that are as free (but with purpose) as any he had ever done. Coltrane's true fans will want to go out of their way to acquire this intriguing CD. ~ Scott Yanow http://www.allmusic.com/album/stellar-regions-mw0000176627

Personnel: John Coltrane (tenor saxophone); Alice Coltrane (piano); Jimmy Garrison (bass); Rashied Ali (drums).

Stellar Regions

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Al Jarreau - Tenderness

Styles: Jazz, vocal
Year: 1994
File: MP3@320K/s
Time: 72:39
Size: 168,5 MB
Art: Front

(5:13)  1. Mas Que Nada
(7:36)  2. Try A Little Tenderness
(6:05)  3. Your Song
(5:21)  4. My Favorite Things (Feat. Kathleen Battle)
(7:39)  5. She's Leaving Home
(6:17)  6. Summertime
(6:04)  7. We Got By (Feat. David Sanborn)
(5:54)  8. Save Your Love For Me
(5:26)  9. You Don't See Me
(5:52) 10. Wait For The Magic
(5:24) 11. Dinosaur
(5:42) 12. Go Away Little Girl

Rather than do a strictly studio or strictly live album next, Jarreau recorded a "live in the studio" affair before an invited audience and this time he would not be bothered with the latest new mediocre R&B tunes. Spreading his net from the Gershwins through Lennon-McCartney to Jorge Ben, Elton John and himself, Jarreau assembled a core band that includes vets like Joe Sample, Steve Gadd, the late Eric Gale, and producer Marcus Miller and turned himself loose on the songs with a freedom that hasn't been heard extensively on his records since the '70s. As then, he transplants standards of whatever school into his own cross-genre idiom, squeezing his tone through the syllables and flashing his speed scatting. He produces some lovingly drawn-out reprises of "She's Leaving Home" and "We Got By," a semi-funk "Summertime" with echoes of Gil Evans in the horns, and fits into the rapid-fire "Mas Que Nada" in the Brazilian manner-born. Opera diva Kathleen Battle's breathless coloratura soprano makes for an odd, unsettling contrast with Jarreau's snake-like wanderings in "My Favorite Things" (the only track recorded at a separate session in New York; the others were cut in L.A.); Michael Brecker's tenor sax adds a third alien voice to the mix. Those who were first drawn to Jarreau from his live and recorded performances of the mid-'70s are going to like this CD and this time, the new material ("Wait for the Magic," "Dinosaur") is not only interesting and thought-provoking, it makes good use of Jarreau's voice. As with Live In London, a home video of the sessions is available, but contains only ten tracks. ~ Richard S.Ginell http://www.allmusic.com/album/tenderness-mw0000624282

Personnel:  Alto Saxophone – David Sanborn (tracks: 6; 7), Kenny Garrett (tracks: 8);  Backing Vocals – Jeff Ramsey, Sharon Young, Stacy Campbell;  Bass – Marcus Miller;  Drums – Steve Gadd;  Guitar – Eric Gale, Paul Jackson Jr. (tracks: 1);  Keyboards – Joe Sample, Neil Larsen; Percussion – Bashiri Johnson (tracks: 4), Don Alias (tracks: 11), Paulinho Da Costa;  Producer – Marcus Miller;  Synthesizer – Jason Miles (tracks: 4), Philippe Saisse;  Tenor Saxophone – Michael Brecker (tracks: 4);  Trumpet – Michael "Patches" Stewart;  Vocals – Al Jarreau, Kathleen Battle (tracks: 4)

Tenderness

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Gary Smulyan Quintet - The Lure Of Beauty

Bitrate: MP3@320K/s
Time: 73:48
Size: 168.9 MB
Styles: Bop, Saxophone jazz
Year: 1990/2000
Art: Front

[ 7:35] 1. Boo's Blues
[10:49] 2. Canto Fiesta
[ 7:56] 3. Minor Conundrum
[10:05] 4. Moonlight On The Nile
[ 6:57] 5. Kiss And Run
[10:53] 6. Lost April
[ 8:41] 7. You Go To My Head
[ 5:08] 8. The Lure Of Beauty
[ 5:38] 9. Off To The Races

Gary Smulyan (Bs); Jimmy Knepper (Tb); Mulgrew Miller (P); Ray Drummond (B); Kenny Washington (D). Recorded December 7, 1990 in New York City, NY, USA

GARY SMULYAN was one of many aspiring alto saxophonists in the jazz world when a career-defining opportunity came along that required him to switch instruments, an immense gamble for a musician. Twenty-five years ago, after learning that the venerable bandleader Woody Herman needed a new baritone saxophonist for his Young Thundering Herd, a big band that was touring 50 weeks out of the year, Mr. Smulyan practiced on the bigger horn for a week and got the job. Giddy to have landed his first job as a professional musician, he spent the next two years in the band's saxophone section refining his technique and making lasting friendships.

''Taking on the baritone sax changed my life,'' said Mr. Smulyan. ''It was a quick decision to make at the time, but I'm grateful for what it has brought me.'' Generally regarded as being difficult to carry because of its big, looped crook and cumbersome size, the real problem with the baritone sax, said Mr. Smulyan, is its infrequent use as a front-line or solo instrument; because of that, its practitioners are few.

Mr. Smulyan, 47, stands today among the handful of first-call baritone players worldwide. Over the years he has worked with some of the biggest stars in popular music, including Diana Ross and B.B. King, not to mention jazz greats like Harry Edison known as Sweets, Joe Henderson, Frank Wess, James Moody and Freddie Hubbard. ''The baritone became Gary's voice practically overnight,'' said Joe Lovano, a tenor saxophonist and member of the Young Thundering Herd when Mr. Smulyan joined the ensemble. ''He has always been a strong improviser, and today you'd have to consider him to be one of the best saxophonists around.'' Mr. Lovano said he formed a nonet a few years ago partly so he would be able to play more often with Mr. Smulyan, and a recording the group made, ''52nd Street Themes,'' won a Grammy award in 2000.

The Lure Of Beauty

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Beth McKee - I'm That Way

Bitrate: MP3@320K/s
Time: 40:05
Size: 91.8 MB
Styles: New Orleans blues-jazz vocals
Year: 2005
Art: Front

[3:46] 1. I Spent All My Money Lovin You
[4:14] 2. But I Do
[3:50] 3. See You Later Alligator
[4:57] 4. Tennessee Blues
[4:00] 5. Small Town Talk
[3:25] 6. I'm That Way
[4:04] 7. Walking To New Orleans
[3:39] 8. I Don't Want To Know
[4:11] 9. Last Train To Memphis
[3:54] 10. I Don't See Me

Beth McKee, former member of gumbo rock band Evangeline, possesses a bold and irrepressible voice that sounds as richly textured as the Louisiana bayou. Her voice isn’t her only instrument. She’s also a whirlwind on the piano. Yet, the earthiness of her voice is unmistakable, and operates on I’m That Way as a supreme asset in taking on the material of the great southern United States songwriter Bobby Charles. Robert Charles Guidry passed away on January 14, 2010, and Ms. McKee’s selections from his songbook continue to honor him.

Standouts from the Bobby Charles legacy are here (“See You Later, Alligator”, “But I Do”, “Small Town Talk”), charged with vigor from Ms. McKee’s vocal chops and set ablaze with horns from her band. She succeeds in sidestepping the usual question that accompanies remakes and covers, which is, “What’s the point?” Here, the point is to connect with the spirit of the songwriter and to celebrate the New Orleans, Louisiana, heritage that informs the music. Sometimes she goes in heavier and harder than do the originals. Compare McKee’s “Walking to New Orleans” to Fats Domino’s version. At other times, she’s lighter and more open, as in her take on “But I Do” compared to Clarence “Frogman” Henry’s big band rendition that everyone heard on the Forrest Gump soundtrack. The album’s highlight, however, is the opener, “I Spent All My Money Lovin’ You”, an edgy bundle of raucous regret that McKee leans into with aplomb.

A couple of tracks are a tad sluggish, and then there is a feeling of sameness, in terms of sound and style, that pervades the sequencing. Although one listener’s “sameness” is another’s “cohesion”, there is a consistency of mood that feels immovable across a sequence of song lyrics that suggest variety. The sameness is due mostly to tempo and the inclusion of horns galore, despite how authentic the horn section is when it comes to evoking the feeling of being there. Beth McKee has been there, all right. What she does while she’s there is fun in the right spots and danceable to boot. A fitting tribute. ~Quentin B. Huff

I'm That Way

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Hot Club Roma - Swing From Rome

Bitrate: MP3@320K/s
Time: 44:42
Size: 102.3 MB
Styles: Swing, Gypsy jazz
Year: 2008
Art: Front

[3:11] 1. Djangology
[2:51] 2. Stomping At Decca
[4:49] 3. All Of Me
[4:49] 4. Nuages
[4:23] 5. Troublant Bolero
[4:22] 6. Artillerie Lourde
[2:36] 7. Exactly Like You
[3:53] 8. Valzer Tradizionale
[2:07] 9. China Boy
[3:34] 10. Je Suis Seul Ce Soir
[4:06] 11. Les Yeux Noir
[3:56] 12. Que Rest'il De Nos Amours

L'Hot Club Roma nasce nel 2005 da un'idea di Gianfranco Malorgio e dall'incontro di alcuni musicisti innamorati della musica del grande compositore e interprete Belga "Django Reinhardt". Il gruppo lavora ad un primo progetto e si esibisce nei più prestigiosi locali di Roma e in vari Festival Italiani. Questo progetto li porta a realizzare il primo CD "Swing From Rome" pubblicato dalla "WIDE SOUND RECORD'S". 2007- Collaborazione con il chitarrista Italiano "Dario Pinelli", con lui la sezione ritmica dell'Hot Club Roma, Gianfranco Malorgio e Renato Gattone, collaborano in numerosi concerti in Italia e all'estero e insieme a lui partecipano alla realizzazione di un video clip "The Vamp" dell'"Italian Gypsy Jazz Trio". Edizioni TRJ records. Sempre con Dario Pinelli registrano per la Cinik Record due brani della colonna sonora del Film Italiano, "La Casa Sulle Nuvole" per la regia di Claudio Giovannesi, musiche Enrico Melozzi e Claudio Giovannesi edizioni Warner Chappell. "Le musiche del film vincono, nel 2009, il premio per la migliore colonna sonora Cinematografica Italiana dell'anno".

Nell'estate del 2008 Gianfranco Malorgio e Renato Gattone partecipano al Festival di Acri (Cs) dedicato alla musica Manouche, dove si esibiscono sul palco in due concerti, il primo con "Walter Clerici, Popy e Tucsi Basily" e nel secondo con il grande "Angelo Debarre" , sicuramente uno dei più grandi interpreti del Gypsy Jazz viventi e "Luca Mannutza" al pianoforte. Ad Agosto del 2009 Gianfranco Malorgio e Renato Gattone hanno l'onore di accompagnare uno de più grandi interpreti viventi del genere Manouche "DORADO SCHMITT" in un concerto realizzato a ROMA nella stupenda cornice di "Villacelimontana Jazz Festival" . Dorado Schmitt Quartet- Dorado Schmitt chitarra solista, violino e voce; Walter Clerici chtarra ritmica/solista; Gianfranco Malorgio chitarra ritmica; Renato Gattone contrabbasso". Il 18 gennaio l'HOT CLUB ROMA ha presentato al Teatro dei Satiri a Roma il suo nuovo progetto “Sur la Route de Django”. I musicisti che collaborano a questo progetto sono:Moreno Viglione chitarra solista, Emanuele Rastelli fisarmonica, Gianfranco Malorgio chitarra ritmica, Marco Loddo contrabbasso.

Swing From Rome

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Toots Thielemans, Kenny Werner - S/T

Bitrate: MP3@320K/s

Time: 70:26

Size: 161.2 MB

Styles: Contemporary jazz

Year: 2001

Art: Front

[7:03] 1. Dolphin Dance

[6:54] 2. The Dolphin

[5:51] 3. Sinatra Medley All The Way My Way

[3:29] 4. Tender Is The Night

[8:29] 5. Legrand Medley

[4:30] 6. Smile

[3:56] 7. Inspiration

[4:27] 8. Sicilienne

[3:32] 9. Windows

[7:05] 10. Bill Evans Medley Time Remembered Very Early

[6:00] 11. Autumn Leaves

[5:35] 12. Disney Medley When You Wish Upon A Star Someday My Prince Will Come

[3:30] 13. What A Wonderful World

The pairing of Toots Thielemans and Kenny Werner for several live duo concerts in mid-June of 2001 (although there is no audible audience response) is a dream come true for fans of ballads. Whether Werner sticks exclusively to piano or adds the lush strings from his synthesizer as well, he provides the perfect complement to the always lyrical harmonica of the veteran Thielemans. Although Thielemans was 79 at the time of this recording, he has lost none of the daredevil spirit he has demonstrated in the past on up-tempo romps such as those through an exciting "Autumn Leaves" or capturing the emotion within a gem such as Charlie Chaplin's bittersweet "Smile." The songs include beautiful interpretations of classic jazz compositions by Herbie Hancock ("Dolphin Dance"), Chick Corea ("Windows"), and Bill Evans (a medley of the moody "Time Remembered" and the upbeat "Very Early"). Medley salutes to Frank Sinatra, Michel Legrand, and music from Disney movies (a medley of "When You Wish Upon a Star" and "Someday My Prince Will Come") also earn high marks. Too many releases of this nature turn to mush because of repeated overdubs and splicing in of additional keyboard parts; the live nature of the recordings and the inspiration provided by the various audiences (even if listeners never hear them clap, cough, sneeze, or talk) clearly brings out the best in both Thielemans and Werner's playing. This warrants a follow-up date. ~Ken Dryden

Toots Thielemans, Kenny Werner

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Dave Weckl Band - Transition

Styles: Jazz Fusion, Crossover Jazz
Year: 2000
File: MP3@320K/s
Time: 70:20
Size: 163,3 MB
Art: Front

(6:51)  1. Wake Up
(9:52)  2. Braziluba
(6:40)  3. Like That
(6:08)  4. Mild Hysteria
(6:51)  5. Group Therapy
(7:33)  6. Passion
(7:12)  7. Crossing Paths
(5:34)  8. Alegria
(5:05)  9. Just For The Record
(8:30) 10. Amanecer

Drum master Weckl continues to hawk the muscular brand of fusion that he began dealing with Chick Corea’s Elektric Band over a decade ago. This album seems a catharsis for Weckl, having just come off a divorce and other personal problems. He’s in better form drum-wise than we have heard in some time, and the music on this disc is more engaging than his prior efforts. It would be hard to find a better environment for Weckl’s style than this present quartet. Brandon Fields offers the ideal blend of soulful jazz sax tradition and contemporary flair. Keyboardist Steve Weingart accentuates the grooves without succumbing to tired synth cliches, and bassist Tom Kennedy’s unwavering, unobtrusive musicianship often carries the day. Weckl himself is a real treasure in the fickle ocean of contemporary jazz, conjuring exciting, unexpected polyrhythms on a consistent basis. 

Drummers who lead bands tend to run the risk of overpowering the general ensemble sound, but Weckl has a knack for navigating while keeping his ego in check.The compositions on Transition are uniformly well-built and suited to the band’s character. There are liberal doses of funk, offbeat rhythmic structures, and no small wealth of solo spots for each performer. If there’s a quibble to be had with the disc, it might be that the production is a little too glossy and sterile. The overall mix glazes the album with a rather generic contempo-jazz sense when the music deserves better. Still, that hardly detracts from the enjoyability of the disc, which is Weckl’s best yet and one of the best entries in the Stretch Records catalog. ~ Todd S.Jenkins https://www.allaboutjazz.com/transition-dave-weckl-concord-music-group-review-by-todd-s-jenkins.php
 

Personnel: Dave Weckl, drums and percussion; Steve Weingart, keyboards; Brandon Fields, tenor and soprano saxes, alto flute; Tom Kennedy, electric bass.

Transition

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Chaka Khan - I Feel For You

Styles: Vocal, R&B
Year: 1984
File: MP3@320K/s
Time: 47:05
Size: 109,9 MB
Art: Front

(4:42)  1. This Is My Night
(4:21)  2. Stronger Than Before
(4:42)  3. My Love Is Alive
(4:38)  4. Eye To Eye
(4:27)  5. La Flamme
(5:46)  6. I Feel For You
(5:16)  7. Hold Her
(4:47)  8. Through The Fire
(3:47)  9. Caught In The Act
(4:35) 10. Chinatown

When Chaka Khan recorded her fifth solo album, I Feel for You, in 1984, she knew that R&B had changed a lot since the 1970s. Horn-powered funk bands, strings-laden Philadelphia soul, and orchestral disco were out of vogue, and the urban contemporary audiences of 1984 were into a more high-tech, heavily electronic style of R&B. Many artists who had been huge in the 1970s found that they no longer appealed to black radio programmers, who had abandoned them and turned their attention to electro-funksters and Prince disciples. But Chaka Khan had no problem keeping up with the times; I Feel for You made it clear that she could easily be relevant to the urban contemporary scene of 1984. 

No one would mistake I Feel for You for a Rufus project from 1975 it's way too high-tech and yet, everything on the album is unmistakably Chaka Khan. That is true of up-tempo items like "Love Is Alive" (an interesting remake of Gary Wright's 1976 hit) and "La Flamme," as well as the ballad "Through the Fire," which was a big hit on urban radio but crossed over to adult contemporary stations in a major way. "This Is My Night" (which was written and produced by the System) also became an urban radio hit, but the album is best known for Khan's unlikely remake of Prince's "I Feel for You." When Prince first recorded "I Feel for You" in 1979, it wasn't a hit; Khan's version, however, soared to number one on Billboard's R&B singles chart. Khan had a very different take on the song than Prince; while his original version was subtle and restrained, Khan went for exuberance and added a strong hip-hop flavor. Excellent from start to finish, this album went down in history as both a creative and a commercial success. ~ Alex Henderson http://www.allmusic.com/album/i-feel-for-you-mw0000650354

I Feel For You

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Grover Washington Jr. - All My Tomorrows

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 74:27
Size: 172,3 MB
Art: Front

(8:57)  1. É Preciso Perdoar
(6:19)  2. When I Fall In Love
(6:58)  3. I'm Glad There Is You
(4:56)  4. Happenstance
(6:18)  5. All My Tomorrows
(8:11)  6. Nature Boy
(4:03)  7. Please Send Me Someone To Love
(7:32)  8. Overjoyed
(5:01)  9. Flamingo
(7:15) 10. For Heaven's Sake
(8:55) 11. Estate ('Ess-Tah-Tay') (In Summer)

Eddie Henderson's lovely flugelhorn colors the opening track, "E Preciso Perdoar (One Must Forgive)," setting the mood for a very mellow set. Washington, accompanied by six pieces, plays the standards straighter than Johnny Mathis sings them; everything is ratcheted down '40s-ish/'50s-ish cozy nightclub style. Freddy Cole resembles his brother, Nat King Cole, on "Overjoyed," while "Happenstance" showcases Henderson's absolute trumpeting skills. But if you expected to exercise your fingers with a few impromptu snaps, these tracks won't take you there. 

Washington's Winelight album, one of his best, was laid-back also but Washington's M.O. was stamped all over it; here you need credits and liner notes for verification, and only the opening tune emits any sparks. An attempt to silence the die-hard jazz critics who considered him a lightweight, but a disappointment for his Mister Magic fans. ~ Andrew Hamilton http://www.allmusic.com/album/all-my-tomorrows-mw0000119244

Personnel: Grover Washington, Jr.(soprano, alto & tenor saxophones); Jeanie Bryson, Freddy Cole (vocals); Bobby Watson (alto saxophone); Bobby LaVell (tenor saxophone); Jimmy Cozier (baritone saxophone); Eddie Henderson, Earl Gardner (trumpet, flugelhorn); Robin Eubanks (trombone); Freddy Cole, Hank Jones (piano); Romero Lubambo (guitar); George Mraz (bass); Billy Hart, Lewis Nash (drums); Steve Berrios (percussion).

All My Tomorrows

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Rodney Jones - Articulation

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 43:36
Size: 101,3 MB
Art: Front

( 4:36)  1. Articulation
(13:17)  2. 1978
( 6:52)  3. Hard New York Swing
( 1:20)  4. Interlude 1
( 3:54)  5. Childville
( 8:17)  6. Blues For Wes
( 5:18)  7. Nereda

Rodney Jones was only 22 when, in 1978, he recorded Articulation, his first album as a leader. At the time, the guitarist was in Dizzy Gillespie's employ, and he was capable of playing both fusion and straight-ahead jazz. Jones favors acoustic-oriented post-bop on this self-produced effort, which Timeless reissued on CD in 1991. Although it falls short of exceptional, Articulation is definitely solid. The tunes (all of which are by either Jones or bassist Bruce Johnson) are worthwhile, and no one would accuse any of the musicians of not having chops (even if some of them still had some growing and developing to do in the late '70s). The participants range from alto sax great Arthur Blythe to up-and-coming players such as tenor saxophonist Bob Mintzer, acoustic pianist Kenny Kirkland, and trumpeter Wallace Roney. In 1978, Mintzer, Kirkland, and the Miles Davis-minded Roney had yet to become major names in the jazz world; but in the 1980s and 1990s, all of them were quite visible. Blythe's passionate solos are a definite asset in 1978, he was the session's best-known player. Nonetheless, Jones is the man in the driver's seat, and one hears his potential on tracks that range from the hard-swinging "Blues for Wes" (which acknowledges fellow guitarist Wes Montgomery) and the driving "1978" to the mysterious "Nereda." The latter employs wordless background vocals by singer Bemshi Jones, who remains in the background. Articulation is very much an instrumental album, and it paints a likable picture of Jones at 22. ~ Alex Henderson http://www.allmusic.com/album/articulation-mw0000366528

Personnel:  Bass – Benjamin Brown;  Drums – Kenwood Denard;  Flute – Bernadine Davis;  Guitar – Rodney Jones;  Piano – Kenny Kirkland;  Saxophone – Arthur Blythe, Bob Mintzer;  Trumpet – Wallace Rooney III;  Voice – Bemshi Jones

Articulation

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