New York Trio - Blues In The Night

Bitrate: MP3@320K/s
Time: 52:20
Size: 119.8 MB
Styles: Bop, Mainstream jazz
Year: 2001/2014
Art: Front

[8:21] 1. Blues In The Night
[6:35] 2. I Could Have Danced All Night
[5:00] 3. Blue Skies
[7:23] 4. You Better Go Now
[6:08] 5. My Funny Valentine
[5:12] 6. Tenderly
[7:42] 7. Embraceable You
[5:56] 8. Don't Explain

In the dawn of the 21st century, pianist Bill Charlap took the jazz world by storm with a series of rewarding albums for labels both in the U.S. and abroad. On Blues in the Night, he leads his New York Trio in a recording made for the Japanese label Venus, with veteran bassist Jay Leonhart and fellow young gun Bill Stewart joining him. Right away Charlap signals that he can take an old chestnut into a new direction. His stretched-out, blues-drenched "Blues in the Night" makes effective use of space and showcases his sidemen as well. Leonhart's buoyant bassline brings to mind the late Milt Hinton in the brisk rendition of "I Could Have Danced All Night." Charlap's intense workout of "Blue Skies" is a virtual jazz history lesson, showing the influence of a number of legendary pianists, while achieving a sound distinctly his own. His loping, jaunty approach to "My Funny Valentine" is another winner; equally playful is the snappy waltz treatment of "Tenderly," accented by Stewart's brushwork. One of the most promising pianists of his generation, this Charlap CD is highly recommended. ~Ken Dryden

Blues In The Night

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Nnenna Freelon - Homefree

Bitrate: MP3@320K/s
Time: 51:58
Size: 119.0 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[4:54] 1. The Lamp Is Low
[5:36] 2. I Feel Pretty
[5:59] 3. The Very Thought Of You
[4:59] 4. Theme From Valley Of The Dolls
[4:12] 5. Smile
[4:36] 6. You And The Night And The Music
[4:38] 7. Cell Phone Blues
[4:18] 8. Get Out Of Town
[5:14] 9. Skylark
[4:37] 10. Lift Every Voice And Sing
[2:51] 11. America The Beautiful

Nneena Freelon, voice; Brandon McCune, piano; Wayne Batchelor, bass; Kinah Ayah, drums; Beverly Botsford, percussion; Ray Codrington, flugelhorn (2); Ira Wiggins, tenor sax (3); Scott Sawyer, guitar (4, 7).

Nnenna Freelon can be spotted miles off, like neon or a rainbow. The tall, rawboned, outspoken gal from Cambridge, MA via North Carolina owns a musical persona as unique as her name. She nails her ancient/modern, genre-jumping repertoire, embraces it, inhabits it organically and belts it with a hearty, emphatic attack. You can tell her from a phrase—even a note—as she goes merrily variegating vowels, taffy-pulling syllables, signifying scat sounds (gong-gong), sing-songing exit vamps; check her risqué post-play on "The Lamp Is Low."

She and her working band of 10 years—Brandon McCune (piano), Wayne Batchelor (bass), Kinah Ayah (drums) and Beverly Botsford (percussion)—mess with usual tempos ("Smile" as breezy Latin) and keys ("I Feel Pretty" in minor). They gleefully reinvent Tin Pan Alley, here skanking up Cole Porter's "Get Out Of Town" as reggae and Dietz-Schwartz' "You and the Night and the Music," over a slow slinky vamp. Freelon sometimes lobs original blues bombs, wry comments on contemporary mores: she recasts an old favorite ("Future News Blues") in a personal tweet at her quick-twittering-but-not-so-handy man in "Cell Phone Blues."

Even with all that, expect the unexpected. Freelon can wear down the unwary, lazy listener, in her persistent quest to rediscover tunes, with her indefatigable energy. Witness her closing three tracks. She turns "Skylark" from jazz hymn into a bluesy, cantankerous one-on-one with Wayne Batchelor's bass that Hoagy Carmichael and Johnny Mercer—even Carmen McRae—might dig (her devoted version with strings came in 1992, big-budget Butler days at Columbia). She transforms the gospel song "Lift Every Voice and Sing" with a bit of scat over a respectful rap cameo by her son, Pierce. Her angular, salty "America The Beautiful," with cello sweetening, takes the disc out with an uneasy feeling. Freelon's compelling, searching artistry never lets up, yet leaves you with more grins than furrowed brows, with more questions than answers. ~Fred Bouchard

Homefree

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Milt Jackson - The Prophet Speaks

Bitrate: MP3@320K/s
Time: 72:58
Size: 167.0 MB
Styles: Post bop, Vibraphone jazz
Year: 1994/2014
Art: Front

[7:18] 1. The Prophet Speaks
[4:44] 2. In A Sentimental Mood
[6:44] 3. Five O'clock In The Morning Blues
[6:07] 4. You Are So Beautiful
[6:03] 5. Off Minor
[5:35] 6. Come To Me
[7:30] 7. Wonder Why
[5:54] 8. Rev-Vitalization
[6:13] 9. Ah! Sweet Mystery Of Life
[5:45] 10. Serious Grease
[4:30] 11. My Romance
[6:29] 12. Blue Monk

48 years after he first made a major impression on a Dizzy Gillespie recording date, vibraphonist Milt Jackson proves that he was still at the top of his form on this CD. The straight-ahead date finds his quartet (with pianist Cedar Walton, bassist John Clayton and drummer Billy Higgins) welcoming guests Joshua Redman (whose tenor is on six of the dozen selections) and singer Joe Williams, who helps out on three songs. Redman easily fits into the role that other tenors such as Teddy Edwards and Jimmy Heath have had with Jackson, taking concise solos while allowing the great vibist to be the lead in most of the ensembles. Joe Williams is fine during his three spots, but it is the apparently ageless Milt Jackson who is the main star during this enjoyable set. ~Scott Yanow

The Prophet Speaks

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Ted Brown, Jimmy Raney - Good Company

Bitrate: MP3@320K/s
Time: 66:05
Size: 151.3 MB
Styles: Saxophone jazz
Year: 2002
Art: Front

[4:44] 1. Blimey
[3:12] 2. We'll Be Together Again
[6:36] 3. Lost And Found
[4:33] 4. Sir Felix
[6:56] 5. Instant Blue
[4:45] 6. Gee Baby, Ain't I Good To You
[6:08] 7. People Will Say We're In Love
[6:20] 8. Lost And Found
[6:25] 9. We'll Be Together Again
[5:05] 10. Blimey
[4:31] 11. Sir Felix
[6:46] 12. People Will Say We're In Love

Ted Brown (Ts); Jimmy Raney (G); Hod O'Brien (P); Buster Williams (B); Ben Riley (D). Recorded December 23, 1985 in Englewood Cliffs, NJ, USA by Rudy Van Gelder.

Tenor saxophonist Ted Brown studied with, and belonged to the coterie of like-thinking players around Lennie Tristano. He recorded with Warne Marsh and Lee Konitz and recorded under his own name with Warne Marsh and Art Pepper as sidemen. Here, after an eight year recording hiatus, in the company of legendary bebop-guitar-great Jimmy Raney and an all star rhythm section with pianist Hod O'Brien, bassist Buster Williams and drummer Ben Riley. This rare session from 1985, recorded at Rudy Van Gelder's Recording Studio, has 5 alternate takes, and was never released as CD before.

Good Company

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Harry Allen Quartet - Jazz Im Amerika Haus, Volume 1

Styles: Saxophone Jazz, Straight-ahead/Mainstream 
Year: 1994
File: MP3@320K/s
Time: 78:53
Size: 181,2 MB
Art: Front

( 9:28)  1. 'Deed I Do
( 9:50)  2. Close Your Eyes
( 5:29)  3. But Beautiful
( 9:37)  4. The King
(10:01)  5. Did You Call Here Today
( 5:21)  6. Honeysuckle Rose
( 4:53)  7. Thie Time the Dream's On Me
( 8:49)  8. My Heart Stood Still
( 5:06)  9. Every Day I Have The Blues
(10:13) 10. Limehouse Blues

Young Harry Allen, a rising star among swing–based tenor saxophonists, is heard here in the company of a world–class rhythm section that helps him breeze confidently through a nearly eighty minute long concert consisting for the most part of well–known songs from the Golden Age of American popular music. Although Allen is no one’s clone, I am struck by how often his wailing sound and informed manner of expression remind me of the late Stan Getz, of all people. This is especially true at faster tempos and in the higher register, where he comes as close to mimicing Stan as anyone I’ve heard not that he is doing so on purpose; for all I know, Allen may not even be aware of the resemblance, but it’s nonetheless there. In the lower register, the New York born Allen’s full bodied tenor more closely parallels those of Scott Hamilton, Ken Peplowski or other contemporary swing era advocates. 

Thanks to his awesome technique and endless flow of fresh ideas, Allen is perfectly comfortable in any tempo, as are his enterprising colleagues (listen as they let it all hang out on Count Basie’s barn–burner, “The King”). The veteran Bunch is a paragon of swinging and tasteful lyricism, while Irwin and Jackson know precisely the proper support to furnish in any situation (Jackson, the son of bassist Chubby, is equally dazzling with brushes or sticks in hand). As for the music, well, one could hardly wander far astray reprising such time honored classics as “Close Your Eyes,” “My Heart Stood Still,” “This Time the Dream’s on Me” or “Limehouse Blues.” Aside from offering well–deserved applause after solos and at the end of each number, the audience is quiet as a company of church mice. This is a luminous concert session, and while I’m perfectly aware that musical tastes vary widely, I’d recommend it to anyone. ~ Jack Bowers https://www.allaboutjazz.com/jazz-im-amerika-haus-vol-1-harry-allen-review-by-jack-bowers.php 
 

Personnel: Harry Allen, tenor sax; John Bunch, piano; Dennis Irwin, bass; Duffy Jackson, drums.

Jazz Im Amerika Haus, Volume 1

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Sony Holland - Swing, Bossas, Ballads & Blues

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 67:50
Size: 156,6 MB
Art: Front

(3:12)  1. You're The Best
(3:44)  2. I Can't Blame Them For Trying
(4:17)  3. As You Are
(4:59)  4. The First Time Ever I Saw Your Face
(5:30)  5. Fifty Ways To Leave Your Lover
(3:33)  6. Speak Low
(4:47)  7. Meditation
(3:49)  8. I Was No Angel Myself
(4:26)  9. I'll Remember Paris
(3:34) 10. Midnight Sun
(3:44) 11. Saving My Life Everyday
(4:26) 12. Million Dollar Dreams
(4:03) 13. Act Like You're In Love With Me
(4:22) 14. The Shadow Of Your Smile
(4:34) 15. Here's That Rainy Day
(4:42) 16. My Funny Valentine

Sony Holland sings in a style that is both sophisticated and emotionally direct. Her interpretations of the great American songbook show a deep respect and love for the material while adding an unmistakable spark of personality. Originally from northern Minnesota, Sony fell in love with jazz while spending a year in Paris and has earned a devoted following worldwide with her renditions of standards, contemporary classics, and original songs. She has made San Francisco her home since 2003 although she now performs internationally, including extensive concert tours and residencies in Tokyo, Hong Kong, and Bangkok. Her CD Swing, Bossas, Ballads & Blues is an intimate set of 16 songs which she brings together with impeccable musicianship. Despite her sunny good looks Sony is a performer who knows what it is to pay her dues. She started her career on the streets of Fisherman’s Wharf and sang there in the wind, cold and rain, through good times and bad. “None of the other street musicians thought I would last, but I was determined to make a living out there.” That means spending hours singing when few tourists are about, simply to guard one’s turf. She explains, “I never minded the hostile elements or the slow nights because I understood that you need to put the time in to get your voice strong.” “People would constantly ask me what I was doing out there. They don’t understand how few well-paying jazz venues there are and how expensive it is for an independent musician to travel with a band.”

To keep herself working Ms. Holland often goes from playing a club like NYC’s Blue Note one night, to performing at a black-tie event the next… and then she’ll go out the following morning to sing for tips at a Nor-Cal Farmer’s Market! It keeps things interesting. “I always think of what my first bass player said. He was an old-timer who had toured with some of the biggest names in jazz and he’d tell me, “Whether you’re playing Carnegie Hall or a neighborhood dive, remember they’re all just joints.” Partially to deal with the expense of traveling she encouraged her songwriting husband to beef up his jazz chops on the guitar. Now they often perform together in concert venues and cafes as a duo. “Jerry has a rhythmic approach to playing jazz tunes that audiences really enjoy even if they’re not huge jazz fans.” His compositions have also added freshness to her repertoire. Swing, Bossas, Ballads & Blues includes several of his compositions such as: You're The Best, As You Are and Act Like You're In Love With Me. The rest of the 16 track disc is filled with jazz/pop and bossa nova classics such as Speak Low and Midnight Sun. Sony puts a jazzy spin on Paul Simon's Fifty Ways and Roberta Flack's The First Time Ever I Saw Your Face. The disc closes with three bonus tracks which showcase Sony's sensitive readings of the most iconic songs of our time: The Shadow Of Your Smile, Here's That Rainy Day and My Funny Valentine. Sony Holland and her band recorded Swing, Bossas, Ballads and Blues at Skywalker Ranch with Grammy winning engineer Leslie Ann Jones in 2007. This disc is a "new edition" of a previously released CD. http://www.cdbaby.com/cd/sonyholland7

Swing, Bossas, Ballads & Blues

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Wallace Roney - Understanding

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 58:59
Size: 135,3 MB
Art: Front

(6:56)  1. Understanding
(5:47)  2. Is That So?
(8:07)  3. Search for Peace
(6:52)  4. Gaslight
(7:43)  5. Red Lantern
(7:08)  6. Kotra
(8:21)  7. Combustible
(8:01)  8. You Taught My Heart to Sing

So much has been made of Wallace Roney’s studies with Miles Davis that it’s easy to forget his first breakthrough: Art Blakey’s Jazz Messengers, where he succeeded Terence Blanchard (and Wynton Marsalis) on trumpet. Yes, Roney was a dyed-in-the-wool Young Lion. Understanding, a sextet session and his first all-acoustic album in over a decade, places him back in that context, with (mostly) wondrous results. Understanding could have been released in 1983 and largely fit in with the then-zeitgeist. Technical virtuosity, dense harmony and zealous swing abound. At its best, melody abounds too. The title track, a Roy Brooks composition, is the highlight, opening on a simple theme that inspires Roney and tenor saxophonist Ben Solomon to bright, declarative solos with just a hint of poignancy underneath. McCoy Tyner’s “Search for Peace” and Duke Pearson’s “Gaslight” feature alto saxophonist Arnold Lee, whose gruff tone at times approaches David S. Ware levels of coarseness, but always in the service of lush melody and hefty rhythm. Alas, when the sextet plays original tunes, they also evince the ’80s Young Lions’ great weakness: the forsaking of good melody for complex chord changes. Solomon’s “Kotra” is the worst offender, a swinging but shapeless tune with even more shapeless solos. Lee’s “Red Lantern” is better, Roney’s blues “Combustible” better still more or less a single bebop lick repeated over a I-IV-V. But only bassist Daryl Johns’ solo is both on point and on budget; pianist Victor Gould and Sullivan go on too long, and Roney loses a sense of purpose. Fortunately, these are the only three originals to five outstanding covers.(Understanding has one running flaw: Drummer Kush Abadey is too high in the mix. Abadey is fantastic, with a window-rattling kick that recalls Elvin Jones, but there’s no need for him to nearly drown out the horns.) ~ Michael J. West  http://jazztimes.com/articles/93155-understanding-wallace-roney

Personnel: Wallace Roney (trumpet); Ben Solomon (saxophone); Kush Abadey (drums).

Understanding

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Dave Weckl and Jay Oliver - Convergence

Styles: Jazz Fusion
Year: 2014
File: MP3@320K/s
Time: 59:32
Size: 136,9 MB
Art: Front

(7:24)  1. Apocalypso
(8:43)  2. Sternoids
(5:16)  3. Carousel
(8:02)  4. Road to Connemara
(6:04)  5. Convergence
(4:15)  6. Cups (You're Gonna Miss Me)
(7:27)  7. Twelvin
(2:39)  8. Hand It Over
(5:53)  9. Higher Ground
(3:47) 10. Incantation

Jazz and jazz fusion from two legendary artists and featuring several of the world's top musicians. Convergence is an exciting project from Dave Weckl and Jay Oliver. Jay was a major creative force behind Dave Weck's first three solo releases in the '90s and two Dave Weckl Band records ("Rhythm of the Soul" and "Synergy"). Convergence reunites these longtime musical counterparts with 10 new songs. Highlights of the album include a remake of Stevie Wonder's "Higher Ground," a nod to 1990's "Master Plan" which featured two drummers. This time, it's Dave, the incredible Chris Coleman, a first-call horn section, three gospel singers, and legendary players including Dean Brown (guitar) and Jimmy Johnson (bass). Convergence also features a collaboration with Bill Whelan (Riverdance) that was partially recorded in Ireland. There's also a saucy New Orleans-inspired tune, two jazz tunes, two "fusion" tunes, and two solo pieces (drums and keys). Additionally, play along versions of each song are available at http://www.daveweckl.com. These include mixes without each instrument and charts. The drum version includes a multi-camera video of Dave's actual session for each song! http://www.cdbaby.com/cd/davewecklandjayoliver

Convergence

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Wilbur De Paris, Jimmy Witherspoon - New Orleans Blues

Bitrate: MP3@320K/s
Time: 36:56
Size: 84.6 MB
Styles: Jazz blues, Urban blues
Year: 1957/2013
Art: Front

[3:57] 1. Lotus Blossom
[3:02] 2. Trouble In Mind
[2:00] 3. Big Fine Girl
[2:59] 4. How Long Blues
[5:36] 5. Good Rollin' Blues
[2:39] 6. Careless Love
[5:11] 7. Tain't Nobody's Bizness If I Do
[3:47] 8. St. Louis Blues
[3:40] 9. When The Sun Goes Down
[4:01] 10. See See Rider

Jimmy Witherspoon (nicknamed Spoon) was born in 1923, in Gurdon, Ark., where he grew up singing in the choir of the First Baptist Church. He ran away from home in the mid-1930's to work in Los Angeles, and from 1941 to 1943 was in the merchant marine. His first break came during that time, sitting in with Teddy Weatherford's jazz band on an Armed Forces Radio broadcast from Calcutta, India. Returning in 1944 to San Francisco, where his mother then lived, he replaced Walter Brown in Jay McShann's band during the group's stay in Vallejo, Calif. He toured and recorded with Mr. McShann for four years, forming his emotional and sophisticated singing style: a layering of fine jazz rhythms over gospel inflections in a deep, wide mellow baritone.

Wilbur DeParis, an adequate soloist, was an excellent ensemble player and an important bandleader who helped keep New Orleans jazz alive in the 1950s. He started out on alto horn and in 1922 played C-melody sax while working with A.J. Piron before switching permanently to trombone. In 1925, DeParis led a band in Philadelphia and then had stints in the orchestras of Leroy Smith (1928), Dave Nelson, Noble Sissle, Edgar Hayes, Teddy Hill (1936-1937), the Mills Blue Rhythm Band, and Louis Armstrong (1937-1940). Not as well-known as his brother, the talented trumpet soloist Sidney DeParis, Wilbur was with Roy Eldridge's big band and Duke Ellington (1945-1947) and recorded with Sidney Bechet during 1949-1950. However, it was in 1951 when he put together a band to play at Ryan's that included his brother and clarinetist Omer Simeon that he found his niche. Wilbur DeParis' New New Orleans Jazz Band did not just play Dixieland standards but marches, pop tunes, and hymns, all turned into swinging and spirited jazz. Throughout the 1950s, the group recorded consistently exciting sets for Atlantic (all of which are unfortunately long out of print) and they were the resident band at Ryan's during 1951-1962, touring Africa in 1957. DeParis continued leading bands up until his death, but his last recordings were in 1961. ~Scott Yanow

New Orleans Blues

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Ronnie Bedford Quartet - Just Friends

Bitrate: MP3@320K/s
Time: 67:51
Size: 155.3 MB
Styles: Contemporary jazz
Year: 2002
Art: Front

[ 9:14] 1. Lester Leaps In
[ 8:12] 2. Just Friends
[ 8:08] 3. Dream Dancing
[11:06] 4. Now's The Time
[ 6:22] 5. Spring Can Really Hang You Up The Most
[ 8:02] 6. Tickle Toe
[ 6:10] 7. How Long Has This Been Going On
[10:33] 8. On Green Dolphin Street

Recorded live in concert on Oct. 1, 1993 at Northwest College in Powell, Wyoming, this 8 track CD features drummer Ronnie Bedford, tenor saxophonist Tommy Newsome, pianist Bill Charlap and bassist Peter Huffaker.

Just Friends

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Chris Calloway - Live In Espiritu

Bitrate: MP3@320K/s
Time: 62:21
Size: 142.7 MB
Styles: Vocal jazz
Year: 2000
Art: Front

[4:02] 1. Brazil
[3:51] 2. A Good Man Is Hard To Find
[0:50] 3. I've Got You Under My Skin
[2:54] 4. Boogit
[1:10] 5. Kicking The Gong Around
[2:49] 6. Do Nothin' Til You Hear From Me
[4:43] 7. Don't Get Around Much Anymore
[1:03] 8. Come Rain Or Come Shine
[1:54] 9. Blues In The Night
[3:19] 10. You've Changed
[4:40] 11. Willow Weep For Me
[0:33] 12. Dindi
[4:19] 13. Minnie The Moocher
[0:27] 14. Madi (Intro)
[4:53] 15. You've Changed (Madi)
[0:12] 16. Intro (Willow Weep For Me)
[5:49] 17. Willow Weep For Me
[0:10] 18. Intro (Dindi)
[5:45] 19. Dindi
[8:48] 20. Minnie The Moocher

Jazz singer performed with father Cab Calloway for 20 years before going on to perform and record on her own. A Santa Fe resident since 1991, the vivacious vocalist sang with her father's Hi-De-Ho Orchestra for two decades until his death in 1995. She then became a bandleader in her own right, putting together a new version of the band. In 2001, she took the group on a 55-city tour.

"The revised Hi-De-Ho Orchestra was made up of musicians she collected," Santa Fe businessman Tom Berkes. He and singer Madi Sato owned the Espiritu Canyon Road club where Calloway staged a performance series in 1999. Just like they did with the Count Basie Orchestra, you'd hire good musicians who were willing to travel," Berkes said, "so most of the people in Chris' band were from New York and California."

She had been battling breast cancer since 1987. Chris Calloway died in 2008.

Live In Espiritu

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Asleep At The Wheel - Miles And Miles Of Texas

Bitrate: MP3@320K/s
Time: 90:32
Size: 207.2 MB
Styles: Western swing
Year: 2012
Art: Front

[3:23] 1. Miles And Miles Of Texas
[3:27] 2. Take Me Back To Tulsa
[3:57] 3. The Letter (That Johnny Walker Read)
[4:30] 4. Bump Bounce Boogie
[6:04] 5. Sittin' On Top Of The World
[2:24] 6. Bob's Breakdown
[4:20] 7. Under The Double Eagle
[3:27] 8. House Of Blue Lights
[3:31] 9. Goodbye Liza Jane
[3:37] 10. Texas, Me And You
[4:10] 11. Cotton-Eyed Joe
[4:09] 12. Big Ball's In Cowtown
[6:37] 13. Hot Rod Lincoln
[3:00] 14. Ain't Misbehavin'
[3:45] 15. I Wonder
[3:47] 16. Ain't Nobody Here But Us Chickens
[4:02] 17. Cherokee Maiden
[2:50] 18. Don't Fence Me In
[3:17] 19. Get Your Kicks On Route 66
[2:48] 20. You're From Texas
[5:08] 21. Wonderful World
[5:00] 22. Choo Choo Ch'boogie
[3:07] 23. Old Cowhand

Since the early '70s, Asleep at the Wheel have been the most important force in keeping the sound of Western swing alive. In reviving the freewheeling, eclectic sensibility of Western swing godfather Bob Wills, the Wheel have earned enthusiastic critical praise throughout their lengthy career; they have not only preserved classic sounds that had all but disappeared from country music, but have also been able to update the music, keeping it a living, breathing art form. Typically featuring eight to 11 musicians, the group has gone through myriad personnel changes (at last count, over 80 members had passed through their ranks), but 6'7" frontman Ray Benson has held it together for four decades, keeping Asleep at the Wheel a viable recording and touring concern and maintaining their devotion to classic-style Western swing. ~Steve Huey

Miles And Miles Of Texas

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David Fathead Newman, Marchel Ivery & The Rein De Graaff Trio - Blue Greens & Beans

Bitrate: MP3@320K/s
Time: 54:20
Size: 124.4 MB
Styles: Bop, Soul jazz
Year: 1991/2015
Art: Front

[ 7:42] 1. Blue Greens And Beans
[ 8:26] 2. Montana Banana
[ 4:56] 3. I've Grown Accustomed To Her Face
[10:38] 4. A Night In Tunisia
[ 8:34] 5. Good Bait
[ 5:38] 6. Skylark
[ 8:23] 7. Wide Open Spaces

David Newman was a musician's musician. Whenever someone wanted to add something special to their own recording, they called ‘Fathead.’ His horn graced the recordings of such diverse artists as Ray Charles, Dr. John, Eric Clapton, Jane Monheit, the Average White Band, Queen Latifah and others. David's authoritative playing sums up a lifetime of experience and grants us a look at his intensely personal thoughts on music and, by extension, life itself.

Blue Greens & Beans

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Gerry Mulligan - Watching & Waiting

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 36:52
Size: 85,1 MB
Art: Front + Back

(1:37)  1. Dance of the truck
(5:45)  2. Introspect
(3:46)  3. Watching and waiting
(1:01)  4. Trucking again
(1:56)  5. New wine
(4:59)  6. The trap
(3:31)  7. Theme from 'La Menace'
(4:02)  8. Vines of Bordeaux
(3:18)  9. The house they'll never live in
(1:41) 10. Watching and waiting (reprise)
(1:43) 11. The pantomimist
(1:01) 12. Introspect (reprise)
(2:26) 13. Vines of Bordeaux (reprise)

This CD is a straight reissue of the Gerry Mulligan LP La Menace, the soundtrack to the film of the same name. He's joined by nine other musicians (though not all at the same time), including keyboardists Dave Grusin, Pete Levin, Derek Smith, Edward Walsh, and Tom Fay; drummers Bobby Rosengarden and Michael DiPasqua; and bassists Jack Six and Jay Leonhart. Mulligan also overdubs soprano sax, clarinet, and keyboards into the mix, which of course prominently features the leader on baritone sax. The music has a more contemporary feeling than his typical recordings because of the sometimes heavy use of synthesizers, and while the music is enjoyable, none of the compositions are particularly memorable. At times Mulligan's baritone sax sounds as if it has gone through some added processing. Overall this 1982 recording is of borderline interest to Mulligan fans. ~ Ken Dryden http://www.allmusic.com/album/watching-waiting-mw0000244651

Personnel: Gerry Mulligan (saxophone, keyboards, synthesizer); Tom Fay (piano, Fender Rhodes piano); Derek Smith (piano); Dave Grusin (keyboards); Peter Levin (Moog synthesizer); Edward Walsh (Oberheim synthesizer); Jack Six, Jay Leonhart (bass); Bobby Rosengarden, Michael Di Pasqua (drums).

Watching and waiting

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Gabriela Anders - Beleza: Tribute to Antonio Carlos Jobim

Styles: Brazilian Jazz, Bossa Nova
Year: 1995
File: MP3@320K/s
Time: 58:01
Size: 133,3 MB
Art: Front

(3:07)  1. Time After Time
(3:38)  2. Água de Beber
(3:48)  3. A Garota de Ipanema
(4:50)  4. Chega de Saudade
(4:36)  5. One Note Samba
(5:28)  6. This Masquarade
(4:09)  7. Corcovado
(5:03)  8. Desafinado
(3:56)  9. Besame Mucho
(4:37) 10. Wave
(5:58) 11. A Felicidade
(3:33) 12. Doralice
(5:11) 13. Dindi

Influenced by Brazilian pop and the music of her native Argentina, Gabriela Anders spent much time in America soaking up jazz and R&B sensibilities, all of which inform her singing. The daughter of a jazz saxophone player, Anders studied classical guitar while a child but moved to piano study at a Buenos Aires conservatory. She spent much time in New York as well, soaking up the music of tenor specialists John Coltrane, Stan Getz and Dexter Gordon. She also studied with Don Sebesky and began singing with Grover Washington, Jr. and Tito Puente while going to college. A brief time in Japan resulted in her first album, 1996's Fantasia (recorded as Beleza), though she had returned to New York by 1997. After sending a demo tape into Warner Jazz, Anders signed a contract and released Wanting in August 1998. ~ John Bush, Rovi

Personnel:  Gabriella Anders (vo);  Angela Santos (vo);  Vera Mara (vo);  Lygya Barretto (vo);  Engene Ruffolo (vo);  Claudio Fornaro (g:vo);  Paul Ricci (g);  David Sacks (tb);  Richard Coffey (tb);  Siraj Al Hasan (as);  Sid Teixeira (p);  Clyde Bullard (b);  Hellio Schiavo (ds);  George Silvea (per)

Beleza: Tribute to Antonio Carlos Jobim

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Garland Jeffreys - Ghost Writer

Styles:  Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 41:39
Size: 96,1 MB
Art: Front

(3:01)  1. Rough and Ready
(3:51)  2. I May Not Be Your Kind
(3:32)  3. New York Skyline
(4:09)  4. Cool Down Boy
(5:43)  5. Ghost Writer
(3:31)  6. Lift Me Up
(3:43)  7. Why-O
(3:03)  8. Wild in the Streets
(3:17)  9. 35 Millimetre Dreams
(7:44) 10. Spanish Town

Ghost Writer wasn't Garland Jeffreys' first album, but it was the first one where his signature lyrical voice made itself properly heard on vinyl, and where he seemed to fully embrace the stylistic eclecticism that would become one of the hallmarks of his work. On Ghost Writer, Jeffreys spins ten vivid tales of life on the New York streets, ranging from the cool literary philosophizing of the title cut to the teenage rage of "Wild in the Streets," encompassing the slinky reggae of "I May Not Be Your Kind," the sinewy Latin grooves of "Spanish Town," the cocky rock & roll of "Rough & Ready," the graceful sweet soul of "New York Skyline," and the edgy, urgent menace of "Lift Me Up." What holds it all together is Jeffreys' songwriting, keenly intelligent without seeming academic and reveling in the power of the word; here Jeffreys makes much of his multicultural background, which seems a natural reflection of the city that provides a backdrop for the stories, and Ghost Writer's musical shape shifting makes these songs sound like they're leaping from borough to borough without losing the "you talkin' to me?" big city swagger that informs them all. And Jeffreys can sing about the dilemma of race in an international city, political unrest in another land, unrequited love, the movies that give life to his dreams, and the books that nourish his soul while sounding wise, fully engaged, and like the coolest guy on the block all at once, with a voice that's sweet, sharp, and commanding. Ghost Writer is an album that covers a lot of ground in ten songs, but it never gets lost on its whirlwind ride around the city, and if it became a cult item rather than a mainstream success, anyone who gives this a fair hearing is likely to conclude it's the work of an artist of the first order, and Jeffreys' second masterpiece, Escape Artist, would attract the larger American audience he deserved. ~ Mark Deming http://www.allmusic.com/album/ghost-writer-mw0000856640

Personnel:  Bass: Anthony Jackson;  Drums: John Boudreaux, Rick Marotta, Steve Gadd;  Guitar – Alan Freedman, Sugar Bears;  Guitar, Harmonica – Hugh McCracken;  Guitar, Keyboards – David Spinozza;  Guitar, Vocals, Percussion – Garland Jeffreys;  Keyboards – Don Grolnick, Dr. John, Leon Pendarvis Percussion – Rubens Bassini;  Saxophone – Al Cohn, David Sanborn, Michael Brecker;  Trombone – Phil Messina;  Trumpet – Burt Collins, Danny Cahn, Randy Brecker;  Vocals – Arnold McCuller, David Lasley, David Peel, James Taylor, Lynn Pitney

Ghost Writer

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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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