Cedar Walton - Naima

Bitrate: MP3@320K/s
Time: 75:26
Size: 172.7 MB
Styles: Bop, Piano jazz
Year: 1997/2009
Art: Front

[ 6:40] 1. Holy Land
[ 8:07] 2. This Guy's In Love With You
[ 8:45] 3. Cheryl
[ 6:04] 4. Down In Brazil
[10:05] 5. St. Thomas
[ 7:46] 6. Naima
[ 5:01] 7. All The Way
[11:08] 8. I'll Remember April
[10:48] 9. Blue Monk
[ 0:56] 10. Bleecker Street Theme

Bass – Sam Jones; Drums – Louis Hayes; Piano – Cedar Walton; Tenor Saxophone – Clifford Jordan. Recorded live at Boomer's in NYC Jan 4, 1973.

The live NAIMA, recorded at Boomer's, is representative of a New York mid-'70s jazz-club gig. Cedar Walton's band mixes originals with cover tunes, conveying a vibe of bright harshness combined with propulsive NY energy. They're slightly hyper and on top of the beat.

The set opens with the bluesy Walton original "Holy Land." Walton pulls back on the beat during his solo. It's the most interesting, hard-swinging playing on the album, slightly disjointed and choppy. The influences of Errol Garner and Bill Evans emerge on Bacharach's "This Guy's in Love With You." Walton aims for clarity of line, fighting against a piano miked a little brightly. Sam Jones' driving bass is up front in the mix. Throughout, Cedar plays blues lines interwoven with ornate bop. But he brings pure melodicism to John Coltrane's "Naima." Here the band swings like a refreshing Brooklyn breeze. Cedar is at his sweetly singing best on the trio arrangement of the Cahn/Van Heusen tune "All the Way." Clifford Jordan's playing throughout is warm and almost woodsy, while Cedar and Jones' brightness offsets the mellow tonal quality of Louis Hayes' drumming. ~AMG

Naima

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Betty Carter - It's Not About The Melody

Bitrate: MP3@320K/s
Time: 70:44
Size: 161.9 MB
Styles: Vocal jazz
Year: 1992
Art: Front

[8:24] 1. Naima's Love Song
[7:10] 2. Stay As Sweet As You Are
[5:06] 3. Make Him Believe
[3:23] 4. I Should Care
[5:57] 5. Once Upon A Summertime
[5:32] 6. You Go To My Head
[4:06] 7. In The Still Of The Night
[7:42] 8. When It's Sleepy Time Down South
[7:14] 9. The Love We Had Yesterday
[8:53] 10. Dip Bag
[7:11] 11. You're Mine, You

Bass – Ariel J. Roland (tracks: 1,3,4,6,7,10,11), Christian McBride (tracks: 2,5,8), Walter Booker (tracks: 9); Drums – Clarence Penn (tracks: 3,4,10,11), Jeff "Tain" Watts (tracks: 1,9), Lewis Nash (tracks: 2,5-8); Piano – Cyrus Chestnut (tracks: 3,4,6,7,10,11), John Hicks (tracks: 1,9), Mulgrew Miller (tracks: 2,5,8); Tenor Saxophone – Craig Handy (tracks: 1,9); Vocals – Betty Carter.

A song's melody is simply a reference point and a beginning for Carter; she takes words and inverts, probes and extends them, embellishes themes, changes moods and alters rhythms. She's a vocal improviser in a manner few have equaled, and if her voice lacks the clarity and timbre of the all-time greats, she's more than compensated with incredible timing, flexibility and power. Throughout this 11-track effort, Carter's vocals direct and steer the responses of pianist Cyrus Chestnut, bassist Ariel J. Roland and drummer Lewis Nash. It was yet another memorable outing for Betty Carter, an all-time great. ~Ron Wynn

It's Not About The Melody

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John Denver - Playlist: The Very Best Of John Denver

Bitrate: MP3@320K/s
Time: 53:03
Size: 121.5 MB
Styles: Soft rock, Country-pop
Year: 2008
Art: Front

[4:42] 1. Rocky Mountain High
[3:35] 2. Goodbye Again
[2:26] 3. Mother Nature's Son
[3:08] 4. Take Me Home, Country Roads
[3:36] 5. Leaving On A Jet Plane
[4:42] 6. Back Home Again
[2:58] 7. Annie's Song
[5:25] 8. Sweet Surrender
[5:10] 9. Sunshine On My Shoulders
[3:19] 10. Thank God I'm A Country Boy
[2:45] 11. Baby, You Look Good To Me Tonight
[3:29] 12. I'm Sorry
[4:06] 13. Fly Away
[3:34] 14. Calypso

This single-disc, 15-track collection features several of John Denver's hits from the '70s including "Sunshine on My Shoulders," "Take Me Home, Country Roads," "Back Home Again," "Thank God (I'm a Country Boy)," and "Rocky Mountain High." This is a perfect set for casual listeners. ~Al Campbell

Playlist: The Very Best Of John Denver

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Marc Hemmeler, Ray Brown - For Betty

Bitrate: MP3@320K/s
Time: 38:49
Size: 88.9 MB
Styles: Cool jazz
Year: 1995
Art: Front

[5:31] 1. Girl Talk
[3:54] 2. Dany Boy
[5:54] 3. Take Theatrain
[4:35] 4. I'm Glad There Is You
[5:33] 5. Give Me Something
[5:03] 6. Love Walked In
[3:26] 7. Watch What Happens
[4:48] 8. A Portrait Of Jenny

Cet album de jazz assez méconnu, interprété par le pianiste suisse Marc Hemmeler et Ray Brown à la basse, est un petit joyau pour les oreilles. Entente parfaite entre les deux musiciens qui nous régalent de ballades émouvantes (Danny Boy, Bryan's Song) et de quelques titres aux swings irrésistibles (Girl Talk, Take The 'A' Train). A découvrir si vous aimez le jazz simple et beau. ~Frenchblues

For Betty

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The Bob Wilber-Dany Doriz Quintet - Memories Of You: Lionel & Benny

Bitrate: MP3@320K/s
Time: 54:43
Size: 125.3 MB
Styles: Mainstream jazz
Year: 1996/2008
Art: Front

[4:33] 1. Avalon
[5:28] 2. Air Mail Special (Good Enough To Keep)
[4:12] 3. Memories Of You
[4:17] 4. AC-DC Current
[3:15] 5. After You've Gone
[3:13] 6. My Melancholy Baby
[4:16] 7. Soft Wind
[4:37] 8. Just One Of Those Things
[3:48] 9. Moonglow
[4:11] 10. Stompin' At The Savoy
[3:44] 11. Seven Come Eleven
[2:29] 12. Smiles
[2:59] 13. Pick-A-Rib, Pt. 1
[3:32] 14. Pick-A-Rib, Pt. 2

Bob Wilber: American jazz saxophonist (alto, tenor and soprano) and clarinetist. Worked with : Sidney Bechet, Wilbur De Paris, Flip Phillips, Max Kaminsky, Bobby Hackett, Eddie Condon and many others.

Dany Doriz, né à Boissy-Saint-Léger le 6 septembre 1941, est un vibraphoniste, saxophoniste et pianiste de jazz français. Depuis les années 1970, il est le propriétaire du Caveau de la Huchette, célèbre club de jazz du 5e arrondissement de Paris.

Memories Of You: Lionel & Benny

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Cheryl Bentyne - Dreaming of Mister Porter

Styles: Vocal Jazz
Year: 2000
File: MP3@224K/s
Time: 46:57
Size: 75,4 MB
Art: Front

(5:26)  1. Dreaming of Mister Porter
(3:17)  2. I Love You
(3:14)  3. Begin the Beguine/All of You-You've Got That Thing
(2:58)  4. Let's Do It
(2:33)  5. In The Still of The Night
(3:06)  6. Can Can
(3:42)  7. Paree Paree I Love Paris
(2:46)  8. Just One of Those Things
(4:20)  9. Love For Sale
(4:10) 10. Pets
(4:44) 11. Find Me A Primitive Man/ You'd Be So Nice To Come Home To
(2:23) 12. At Long Last Love
(2:24) 13. True Love
(1:48) 14. Every Time We Say Goodbye

Since 1979 Cheryl Bentyne has been part of the Grammy-winning, iconic vocal quartet, "The Manhattan Transfer," recording such mega-hits as "Twilight Zone/Twilight Tone," "Birdland," "Boy From New York City," "Route 66," and "Sassy." She has also been very busy with her solo career, having produced such great CDs as Something Cool, Talk of the Town, Moonlight Serenade, Waltz for Debby, and the Cole Porter Songbook. Here we present a great track each from two of her most recent releases, The Gershwin Songbook and Blissongs, a multi-voice healing journey through the seven chakras.

Ms. Bentyne has sung some of the most memorable solos in the Transfer's repertoire: "Good-bye Love," Benny Goodman's solo on "Down South Camp Meeting" (both on the 1983 release, Bodies and Souls) and "Meet Benny Bailey" (on their landmark 1985 recording, Vocalese). She won a Grammy (which she shares with Bobby McFerrin) for her arrangement of "Another Night In Tunisia" (also on Vocalese). Her hot performance in the video and single release "So You Say" (from Brasil, 1987) helped broaden the Transfer's audience via frequent appearances on BET. She also wrote and co-wrote tracks for the Transfer's 1992 release, The Offbeat of Avenues, including the title track and the Grammy winning "Sassy."

Twenty-four albums and many Grammy Awards later, the group is still going strong, with each of the members also performing in solo careers as well. In 1988, Cheryl appeared on bassist Rob Wasserman's highly acclaimed Duets album. Four years later, she released her solo debut album, Something Cool, for Columbia/Sony Records. Cheryl explains: "The original concept was to do a tribute to the cool singers of the 1950's, particularly June Christy. Producers Mark Isham and Corey Allen did such an incredible job on the arrangements that the songs sound strikingly modern and beautiful. These arrangements have brought out a new dimension to my singing. It's like nothing I've ever heard." Cheryl appears on the soundtrack to the 1990 film Dick Tracy, on "Back in Business," a song she performed with Lorraine Feather and fellow Transfer member Janis Siegel. She also collaborated with trumpeter/composer Mark Isham in the soundtrack to the 1991 Alan Rudolph film, Mortal Thoughts. In 2000, she recorded an original cast album of her new musical revue based the music and wit of Cole Porter. Dreaming Of Mister Porter has played to sold-out audiences and received rave reviews in Boston and Seattle.

Cheryl has released seven CDs for King Records in Japan: The first, The Talk Of The Town, is an album of classics from the "Great American Songbook," recorded with some of the biggest names in jazz: Kenny Barron, Chuck Mangione, John Patitucci, Lewis Nash, Don Alias, David "Fathead" Newman, and the tenor and bass voices from Take 6, Mark Kibble and Alvin Chea. The Lights Still Burn is an album of romantic ballads. Moonlight Serenade features Cheryl leading a vocal group comprised of some of the best singers in the business: Mark Kibble from Take 6, Roger Treece from Bobby McFerrin’s Voicestra, and jazz great Kevin Mahogany. In Waltz for Debby, Cheryl meets up again with Kenny Barron, this time with the addition of the great bassist Ray Drummond. Songs Of Our Time is an album of pop tunes from the 1960s–90s, approached from a jazz point of view. The Cole Porter Songbook rekindles her love affair with Porter's music, and her latest CD, The Gershwin Songbook (2010), features fourteen classic Gershwin standards, with a band that will burn the house down!

In a completely different direction, in 2010 Cherly co-wrote and recorded with Tom McCauley Blissongs Volume One, a soothing, healing journey of the seven chakras. As her busy schedule allows, Cheryl helps the next generation of professional vocalists get started. She taught at the prestigious Berklee College of Music and routinely holds master classes at universities and music schools around the US. As a member of the board of governors for The National Academy of Recording Arts and Sciences (NARAS,) Cheryl worked hard to promote educational programs — most notably through the "Grammy In The Schools" program. A truly wonderful result of her work at NARAS is the strength of the vocal department at the Hamilton Musical Academy in Los Angeles, which she helped to establish. In recognition of their many achievements, Cheryl and her partners in The Manhattan Transfer received honorary doctorate degrees from the Berklee College of Music. In June 2011 "The Cheryle Bentyne Show" debuted on The Jazz Groove radio station. Click the logo to learn more about it. http://www.thescreamonline.com/music/music7-3/bentyne/bentyne.html

Dreaming of Mister Porter

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Grover Washington Jr. - A House Full Of Love: Music From The Bill Cosby Show

Styles: Crossover Jazz, Saxophone Jazz 
Year: 2009
File: MP3@320K/s
Time: 37:33
Size: 87,0 MB
Art: Front

(2:40)  1. Resthatherian
(4:56)  2. Camille
(3:35)  3. Love In Its Proper Place
(3:51)  4. Poppin'
(3:11)  5. Kitchen Jazz
(3:58)  6. Clair (Phylicia)
(3:10)  7. The Huxtable Kids
(4:47)  8. Outstretched Hands (Gloria)
(3:11)  9. Look At This
(4:08) 10. A House Full Of Love

This album was presented by longtime Bill Cosby collaborator, producer Stu Gardner and includes the theme song and background music from on his hugely successful 80s NBC-TV sitcom. Of note are Cosby's recitations on the steppers favorite, "Look at This," (the instrumental version was used in a dance scene between Cosby and co-star Phylicia Rashad) and the earnest "Love In Its Proper Place,." ~ Ed Hogan http://www.allmusic.com/album/a-house-full-of-love-music-from-the-cosby-show-mw0000650019

Personnel:  Gloria Agostini (Harp); Patti Austin Vocals (Background); Tom Barney Bass (Acoustic), Bass (Electric); Michael Bolton Vocals (Background); Michael Brecker Sax (Tenor); Randy Brecker Trumpet; Cameron Brown Bass, Bass (Acoustic); Jocelyn Brown Vocals (Background); Bill Cosby Vocals;Jon Faddis Trumpet; Lori Fulton Vocals, Vocals (Background); Steve Gadd Drums; Stu Gardner Arranger, Composer, Guest Artist, Mixing, Organ, Piano, Producer, Vocals (Background); Paul Griffin Composer, Piano, Synthesizer; Lani Groves Vocals (Background); James Ingram Vocals (Background); Gary King Bass (Electric), Composer; Ullanda McCullough Vocals (Background); Sid McGinnis Slide Guitar; Marcus Miller Bass; Jeff Mironov Composer, Guitar; Allen Reuben Trumpet; Scott Schreer Composer, Drums, Percussion; Richard Tee Fender Rhodes, Keyboards, Piano; Grover Washington, Jr. Sax (Alto), Sax (Tenor); Wah-Wah Watson Guitar

A House Full Of Love: Music From The Bill Cosby Show

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Warren Wolf - Convergence

Styles: Vibraphone Jazz
Year: 2016
File: MP3@320K/s
Time: 67:54
Size: 158,3 MB
Art: Front

( 4:56)  1. Soul Sister
(11:06)  2. Four Stars From Heaven
( 5:08)  3. King Of Two Fives
( 4:39)  4. New Beginning
( 6:46)  5. Cell Phone
( 4:36)  6. Montara
( 5:09)  7. Havoc
( 5:05)  8. Tergiversation
( 6:38)  9. Knocks Me Off Of My Feet
( 8:38) 10. A Prayer For The Christian Man
( 5:10) 11. Stardust / The Minute Waltz

The name of Baltimore vibraphonist Warren Wolf may not be too well known, but the sidemen he has called on for his third release on well-funded US indy label Mack Avenue should ensure he doesn’t remain so for much longer. Produced by Wolf’s mentor and regular employer, bassist Christian McBride, Convergence features a dream team band including pianist Brad Mehldau and drummer Jeff “Tain” Watts, with guitarist John Scofield guesting on two tracks. The danger when you recruit such heavyweight sidemen, of course, is that they will eclipse you and indeed there are times when Wolf’s companions, particularly Mehldau, raise proceedings to another level, but at his best, the 36-year-old’s strong melodic sense and bravura technique mean he holds his own, just. http://www.irishtimes.com/culture/music/warren-wolf-convergence-album-review-holding-his-own-among-the-heavyweights-1.2696282

Personnel:  Warren Wolf – vibes, marimba 5/6/9/10/11, Fender Rhodes 2/9, piano 9;  Christian McBride – bass 1/2/3/5/6/7/8/9/10;  Brad Mehldau – piano 1/2/4/5/7;  John Scofield – guitar 1/7;  Jeff “Tain” Watts – drums 1/2/5/6/7/8/9/10

Convergence

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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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