Chris Anderson & Sabina Sciubba - You Don't Know What Love Is

Styles: Vocal And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 60:03
Size: 138,8 MB
Art: Front

( 4:51)  1. The More I See You
( 5:47)  2. You Don't Know What Love Is
( 5:18)  3. My Romance
( 4:10)  4. Estate
( 5:16)  5. Polka Dots & Moonbeams
( 5:54)  6. How Long Has This Been Goin' On?
( 4:27)  7. Ain't Misbehavin'
( 4:12)  8. The Gypsy
(11:04)  9. Too Late Now
( 9:00) 10. Lazy Afternoon

Chris Anderson is a legendary and, until the mid-1990s, underdocumented veteran pianist. In his mid-70s at the time of this set, he collaborates with Sabina Sciubba, a pop singer from Germany who was in her mid-20s and had always loved jazz. Sciubba shows on this set of standards that she is quite capable of swinging and of adding her own personality to the older songs. With fine backup provided by bassist David Williams and drummer Billy Higgins, the singer sounds haunting yet respectful on such tunes as "The More I See You," "My Romance," "Estate" and "Ain't Misbehavin.'" Anderson, a particularly talented accompanist, additionally has a couple instrumentals as features. Tasteful and subtle music. ~ Scott Yanow http://www.allmusic.com/album/you-dont-know-what-love-is-mw0000237790

Personnel:  Chris Anderson (piano);  Sabina Sciubba (vocals);  David Williams (bass);  Billy Higgins (drums).

You Don't Know What Love Is

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Chris Cheek - Blues Cruise

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 53:54
Size: 123,8 MB
Art: Front

(5:23)  1. Flamingo
(6:38)  2. Low Key Lighty
(6:49)  3. Coo
(5:45)  4. Squirrelling
(3:50)  5. Song of India
(6:21)  6. Falling
(7:46)  7. Blues Cruise
(6:09)  8. John Denver
(5:08)  9. The Sweetheart Tree

Even though he has turned in one stunning performance after another on albums by Paul Motian's Electric Bebop Band, Charlie Haden's Liberation Music Orchestra, Guillermo Klein's Los Gauchos and various lesser-known, though equally interesting ensembles, Chris Cheek is still a lurker. Your only good chance of seeing this reedman live is in New York or on the other side of the pond, where he makes frequent tours. The problem has nothing to do with Cheek's playing. It's the game: labels, distributors, publicists, writiers, editors. Nevertheless, Blues Cruise did get to me by some freakish fluke, and I've gotten to savor its pleasing variety of textures and styles. The erstwhile Brad Mehldau Trio is the backing band on Blues Cruise. Cheek couldn't have asked for a more empathetic and sensitive rhythm team for this program, which ranges from the calypso-tinged "Flamingo to the soft Rhodes-laden bossa-tango "Coo and the folk rock-informed "John Denver, which actually sounds like a convincing jazz version of what would otherwise be a rock song with electric guitars and bass. 

The title of this release would seem to imply that the tunes center around the blues, but they don't, really. Some have a bluesy flavor. But it seems to be more about the journey. The soprano ballads have a searching quality, while the tenor romps are more declaratory. The saxophonist's rich tone is the most notable constant throughout the record. It has a richness and flavor that's akin to a fine wine or cigar. The vivacity and frolicking quality of Cheek's breathy tenor owe much to the influence of Sonny Rollins, while his rhythmic flair draws equally from Eddie Harris. Comparisons to Chris Potter and Donny McCaslin also come to mind, but without all the shrieking and pyrotechnics. This record is a testament to the fact that no matter how far any player may be from the media limelight—and consequently the public consciousness a great soloist coupled with a terrific backing band can make for some of the freshest music you've ever heard. 

~ Matt Merewitz https://www.allaboutjazz.com/blues-cruise-chris-cheek-fresh-sound-new-talent-review-by-matt-merewitz.php

Personnel: Chris Cheek: saxophones;  Brad Mehldau: piano, Fender Rhodes, electric keyboard;  Larry Grenadier: bass;  Jorge Rossy: drums, hand percussion.

Blues Cruise

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Julia Fordham - Julia Fordham

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 41:20
Size: 94,8 MB
Art: Front

(3:43)  1. Happy ever after
(4:24)  2. The comfort of strangers
(3:20)  3. Few too many
(2:49)  4. Invisible war
(3:39)  5. My lover's keeper
(3:39)  6. Cocooned
(4:27)  7. Where does the time go
(5:16)  8. Woman of the 80's
(4:14)  9. The other woman
(2:09) 10. Behind closed doors
(3:35) 11. Unconditional love

Critics were bothered by her cherry-picked appropriations of exotic musical elements (a casual nod to South Africa here, an incongruous incursion of Spanish guitar there) and the ultimately cold nature of what seemed on the surface to be lush and warm instrumental arrangements. More casual listeners probably had the hardest time getting past her voice, which was obviously pretty in a way and yet startlingly deep and dark-hued, and also her tendency to reach beyond her range, as on the unattractively screechy bridge of "Comfort of Strangers." But you get used to the voice within a few tracks and you start getting sucked into those jazzily complex and impeccably produced arrangements. If she fails to hit the high notes on "Few Too Many," it's easy to ignore that fact and pay attention to the music itself, which is lovely. 

Her chief limitation, though, is not her singing; it's her unsettling inability to sing a love song convincingly. "Invisible War" is supposed to be regretful, but it comes out sounding analytical; "My Lover's Keeper" is supposed to sound supplicating (or something), but it comes out sounding dispassionately puzzled. And as for "Woman of the '80s," please it's just a bit hard to take her seriously as an emotional casualty of feminism (nice chorus, though). Only on the nakedly sad and borderline metaphysical "Where Does the Time Go?" does she seem to let listeners into her actual feelings. Porcelain, her follow-up, was more engaging. ~ Rick Anderson http://www.allmusic.com/album/julia-fordham-mw0000603732

Julia Fordham

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Ronnie Cuber - The Scene Is Clean

Styles: Flute And Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 58:05
Size: 140,6 MB
Art: Front

(7:38)  1. The Scene Is Clean
(8:12)  2. Adoracion
(8:39)  3. Song For Pharoah
(7:08)  4. Arroz Con Pollo
(6:50)  5. Mezambo
(6:06)  6. Fajardo
(5:21)  7. Tee's Bag
(8:08)  8. Flamingo

When The Scene Is Clean was recorded in 1993, Ronnie Cuber was far from a big name in the jazz world. The baritone saxman had solid credentials that included stints with George Benson in the 1960s and Lee Konitz in the '70s (among many other accomplishments), and yet, he wasn't nearly as well known as he deserved to be. Like other Cuber recordings, The Scene Is Clean wasn't hyped to death but is an excellent hard bop/post-bop date just the same. It's regrettable that Ronnie Cuber isn't a bigger name in jazz, for the baritonist plays with a lot of soul and charisma on Tadd Dameron's "The Scene Is Clean" and the standard "Flamingo" as well as Latin-influenced originals such as "Fajardo," "Mezambo," and "Arroz con Pollo." On the congenial, optimistic "Song for Pharoah," Cuber acknowledges the mellower side of Pharoah Sanders, although the song would have also worked for John Coltrane, Charles Lloyd, McCoy Tyner, or Lonnie Liston Smith. The Scene Is Clean was a welcome addition to Cuber's catalog. ~ Alex Henderson http://www.allmusic.com/album/the-scene-is-clean-mw0000113980

Personnel: Ronnie Cuber (flute, alto saxophone, tenor saxophone, baritone saxophone); George Waldenius, Georg "Jojje" Wadenius (guitar); Lawrence Feldman (flute); Joey DeFrancesco (organ); Geoff Kiezer, Geoff Keezer (keyboards); Milton Cardona (drums, congas, percussion); Manolo Badrena (drums, percussion); Victor Jones (drums).

The Scene Is Clean

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Donovan - Beat Cafe

Styles: Vocal, Guitar, Rock
Year: 2004
File: MP3@320K/s
Time: 51:08
Size: 117,6 MB
Art: Front

(4:18)  1. Love Floats
(4:02)  2. Poorman's Sunshine
(4:13)  3. Beat  Cafe
(3:34)  4. Yin My Yang
(4:46)  5. Whirlwind
(3:40)  6. Two Lovers
(3:05)  7. The Question
(4:46)  8. Lord Of The Universe
(4:56)  9. Lover O Lover
(3:48) 10. The Cookoo
(4:26) 11. Do Not Go Gentle
(5:29) 12. Shambhala

Beat Cafe is Donovan's first record in nine years. His last, the Rick Rubin-produced Sutras was issued in 1993 and was hopelessly misunderstood especially coming as it did on the heels of Rubin's first collaboration with Johnny Cash. This side, produced by the rootsy yet eclectic John Chelew who has worked with everyone from Richard Thompson to the Blind Boys of Alabama and John Hiatt goes right to the heart of Donovan's particular musical esthetic. The title on this set is significant. The instrumentation is spare, with drums by Jim Keltner, acoustic , upright bass by the legendary Danny Thompson, and keyboards by Chelew.Donovan handled the guitar chores. In other words, small combo, cafe style. . . Atmosphere is everything in these songs; they are intimate, rhythm-conscious, tuneful, and lyrically savvy. In addition, they're inspired by that eternally present, romantically eulogized generation of poets, dope fiends, midnight travelers, and coffeehouse sages, the Beats. The set features 12 new songs; ten of them are Donovan Leitch originals. The covers include a compelling read of the mysterious and traditional "The Cuckoo,"and a jazzy spoken word take on Dylan Thomas' "Do Not Go Gentle." There are some flashes of the hippy mystic of old here, but mostly, this is a fingerpopping set by Donovan the enigma as well as Donovan the songwriter. Chelew and band do a wonderful job of illustrating this juxtaposition. 

With this band tight, deeply in the groove at all times, the tunes open up and out as if the group were on the barroom stage, and extended the dancefloor jumping and jiving into the street on a delirious, humid moonlit night of uncontainable joy. "Poorman's Sunshine," with its skittering brushed snare drums and a B3 tracking the melody with Thompson's bass pushing the rhythm, jumps out at the listener, as does the title track with Thompson driving the whole engine. "Yin My Yang" may have a seemingly ridiculous title, but it's not in the context of what this album tries to achieve. Donovan is celebrating the self-referential, "anything-is-possible" revelation that fuelled the language and spirit of his heroes of yore, and propelled his own romantic, "everything-is-love" aesthetic. The shimmering, dark, Eastern minor-key psychedelic spoken word/sung ditty of "Two Lovers" is one of those poems that makes Donovan so unique (think, "Atlantis" here). The organic jazzed-up funk of "The Question" is one of those crazy moments that makes the whole world open and the body twitch in time. The album ends with the whispering "Shambala," a tender, blissful dirge that is utterly moving and hauntingly beautiful in its optimism and hope. If anything, if albums are "needed" anymore, the spirit in this one is. Donovan reminds listeners that possibility and hope are not passé, but as full of chance and wild grace as ever. Welcome back, Donovan; you've been missed. ~ Thom Jurek http://www.allmusic.com/album/beat-cafe-mw0000656001

Personnel: Donovan (vocals); Donovan Leitch (vocals, guitar); Danny Thompson (bass instrument, bass guitar); John Chelew (keyboards); Jim Keltner (drums, percussion).

Beat Cafe

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Jessica Molaskey - Sitting In Limbo

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 44:57
Size: 103,6 MB
Art: Front

(3:58)  1. Sitting In Limbo
(3:10)  2. Heavy Cloud, No Rain
(4:16)  3. Summer, Highland Falls
(3:00)  4. Ooh Child
(2:13)  5. I Want To Be Happy / Sometimes I'm Happy
(3:12)  6. There Will Never Be Another You
(4:31)  7. Knowing You
(3:31)  8. I'm Gonna Sit Right Down and Write Myself A Letter
(4:48)  9. The Circle Game / Waters Of March
(3:35) 10. Walkin' After Midnight
(4:11) 11. Hearts and Bones
(4:26) 12. Morning Has Broken / I Woke Up One Early Morning

Singer Jessica Molaskey's fourth album, Sitting in Limbo, has been well received. She is guitarist/vocalist John Pizzarelli's wife, and together they have won the New York City Nightlife Award for "Best Musical Duo" in both 2007 and 2008. Molaskey is a very polished vocalist whose specialty is Broadway musicals, currently appearing in a revival of Stephen Sondheim's Sunday in the Park with George, which opened in Manhattan in February, 2008. Her jazz credentials are enhanced by her frequent appearances and recordings such as this one, with her husband's working combo, but she is really an artist even more comfortable in a theatrical or cabaret setting. A similar comparison could be made for the late career of Rosemary Clooney, who was re-invented by Concord Records during the last two decades of her life, through her many jazz-associated albums. However, even Clooney came from a big band setting prior to her string of pop hits in the 1950s. Sitting in Limbo is a thematic album, using the lyrics of Jimmy Cliff's title tune to reflect a place "between heaven and hell" with an interesting choice of mostly pop material. On Paul Simon's "Hearts and Bones," based upon an autobiographical lyric that reflects upon Simon's failed marriage and a journey to New Mexico with actress/writer Carrie Fisher (."..One and one-half wandering Jews, Free to wander wherever they choose..."). Billy Joel's "Summer, Highland Falls" is interleaved with Jobim's uncredited "Tristeza," with the word "sadness" appearing in both songs but with different meanings.


An important part of the Molaskey/Pizzarelli performances live or in studio is their interrelated duets. Here two Vincent Youman/ Irving Caesar tunes "I Want to Be Happy" and "Sometimes I'm Happy" are sung by each of the vocalists. Elsewhere, Molaskey renders Joni Mitchell's "The Circle Game" while Pizzarelli does Jobim's vocally complex "Waters of March." Finally, Cat Stevens' "Morning Has Broken" is sung alongside the Pizzarelli/Molaskey original "I Woke Up One Early Morning." All of these tunes represent contrasting views that are reflected in Jimmy Cliff's lyrics on the title tune: "..I don't know where life will take me, but I know where I've been..." Pizzarelli's group is augmented by pianist/organist Larry Goldings on half of the selections (in lieu of Larry Fuller) and the presence of the always dependable and lyrical tenor saxophonist, Harry Allen. Bassist Martin Pizzarelli and drummer Tony Tedesco complete the roster. Disregarding labels and sub-genres, this is Jessica Molaskey's finest album in terms of concept and execution. ~ Michael P.Gladstone https://www.allaboutjazz.com/sitting-in-limbo-jessica-molaskey-ps-classics-review-by-michael-p-gladstone.php

Personnel: Jessica Molaskey: vocals; John Pizzarelli: guitar, vocals; Larry Goldings: piano and organ (1, 2, 4, 6, 8, 12); Larry Fuller: piano (3, 5-7, 9, 10); Martin Pizzarelli: bass; Tony Tedesco:drums; Harry Allen: saxophone.

Sitting In Limbo

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Walter Lang, Lee Konitz - Ashiya

Styles: Piano And Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 53:57
Size: 123,9 MB
Art: Front

(4:49)  1. Monk's Cottage
(5:55)  2. The Good Way
(3:57)  3. Open Water
(0:24)  4. Interlude I
(4:40)  5. Ashiya
(5:14)  6. Soft Wind Blowing
(4:35)  7. Way Too Early
(3:38)  8. What A Treat
(3:54)  9. Valse Elegance
(6:08) 10. Casa Do Tom
(1:08) 11. Interlude II
(7:42) 12. Farewell
(1:47) 13. Epilogue

The veteran German jazz pianist Walter Lang welcomes alto sax great Lee Konitz for this special duo session. While they had worked together on-stage several times, this marks their first CD together. It is a bit unusual to hear Konitz focusing almost exclusively on another musician's material without adding a few of his own quirky reconstructions of standards, but all goes well, as the two players fit hand in glove. The meandering opener, "Monk's Cottage," has a recurring call-and-response theme. "The Good Way" has a classical air, with Konitz making a late entrance in a very lyrical setting. The ballad "Ashiya" has a melancholy air, with Lang's piano behind Konitz suggesting a lonely person pacing the floor in despair. The lush romanticism of "Valse Élégance" and the elegant "Casa do Tom" are also highlights. The two musicians collaborated on two brief interludes and the closing "Epilogue."~ Ken Dryden http://www.allmusic.com/album/ashiya-mw0000781594

Personnel: Walter Lang (piano); Lee Konitz (alto saxophone).

Ashiya

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Keiko Matsui - Journey To The Heart

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 46:41
Size: 107,4 MB
Art: Front

(4:44)  1. Moving On
(4:33)  2. Carnival
(3:22)  3. The Edge of Twilight
(4:43)  4. Butterfly
(5:01)  5. Casablanca
(5:14)  6. Journey to the Heart
(4:00)  7. Havana Nights
(4:53)  8. New Beginning
(5:17)  9. Two Harbors
(4:49) 10. Blue Rose

Out of pain comes growth and in 2007, Keiko Matsui, emerged from a divorce, record label troubles, and embraced her new singularity by striking out in a bold new direction as she traveled to South Africa, paired up with trumpeter Hugh Masakela and the results gave birth to the adventurous Moyo, one of the brightest and best recordings of a 30-year career. Fast forward nine years and Matsui's at it again with Journey To The Heart, a spirited and joyful project that brims with equal parts euphoric passion and unbridled brilliance as Matsui seems invigorated as a player, composer, and bandleader. Paired with a drum-head tight new band, this is her finest musical moment in nearly a decade. Don't call it world beat. Put a Japanese pianist in the studio with a Cuban bassist and drummer, (Del Puerto and Branley) add a guitarist from Peru (Stagnero) and a percussionist from Venzuela (Quintero) then just for grins invite a dazzling harmonica player from Switzerland (Maret) to join in on the festivities, and what you have is Matsui's 27th album as a leader as she stakes out a bold new direction as she moves into more acoustic music. Intact is her signature precision on the piano and her stately compositions and arrangements.

It takes supreme confidence in yourself and your fellow musicians to reign in and allow them to take the lead and compliment them instead of relegating them to little more than sidemen. Taking few solos here, Matsui has always been willing to unselfishly share the spotlight as her duet with Greigoire Maret on the riveting "Two Harbors" is ample evidence of.  "Moving On" and "Carnival" are two romper stompers featuring guitarist Ramon Stagnero who nimbly navigates his way as Matsui trades leads with him until percussionist Luis Quintero brings it home. It's exciting to follow in a way Matsui's recent outings with studio pros were not. Too many musicians reach a stage in their careers where they seemingly say, "That's good enough. I've done a few different things. I can just keep making the same old same old with different titles and it will sell." Maybe that's true for a dinosaur rock band content to go on stage and crank out the hits, but for a jazz artist, that is a shortcut to stagnation and musical death. When jazz musicians play it safe and are content to just make the donuts, it ceases to be jazz and becomes instrumental pop without vocals and who needs that? Keiko Matsui will never get her proper due for remaining true to the spirit of innovators and risk-takers who elevated the idiom, but Journey To The Heart serves as the testimonial she's richly deserving of the accolades. ~ Jeff Winbush https://www.allaboutjazz.com/journey-to-the-heart-keiko-matsui-shanachie-records-review-by-jeff-winbush.php
 

Personnel: Keiko Matsui: piano; Carlitos Del Puerto: bass; Jimmy Branley: drums; Ramon Stagnero: guitars; Luis Quintero: percussion; Gregoire Maret: harmonica; JP Mourao; additional guitar (2), Randy Waldman; string arrangement (4, 6, 8); Gary Stockdale: string arrangement (10)

Journey To The Heart

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Monty Alexander - Caribbean Circle

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 58:19
Size: 135,8 MB
Art: Front

(1:05)  1. Tradewinds Talk
(6:45)  2. Hurricane Come And Gone
(7:12)  3. Caribbean Circle
(5:05)  4. Consider
(1:15)  5. Cowboys Talk
(8:45)  6. Cowboy Ska Medley
(4:45)  7. Three Little Birds
(5:49)  8. Oh Why? (In Memory Of M.D. Davis)
(1:29)  9. Satchmo Talk
(7:32) 10. When The Saints Go Marching In
(4:38) 11. Mango Walk (Old Fork Song)
(3:54) 12. Sweet Georgia Brown

First-rate example of connecting diverse styles and traditions. Alexander, a solid soloist well versed in Caribbean music, integrates rhythms from the islands into his solos, yet retains the jazz edge and drive. A great supporting cast as well which includes Slide Hampton and Jon Faddis. ~ Ron Wynn http://www.allmusic.com/album/caribbean-circle-mw0000119670

Personnel: Monty Alexander (whistling, piano); Dave Glasser, (alto saxophone); Frank Foster (tenor saxophone); E. Dankworth, Jon Faddis (trumpet); Slide Hampton (trombone); Ira Coleman (acoustic bass); Anthony Jackson (electric bass); Othello Molineax (drums, steel drum); Herlin Riley, Robert Thomas, Jr., Steve Ferrone (drums); Othello Molineaux (steel drum); Marjorie Whylie (percussion).

Caribbean Circle

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Freddie Redd - With Due Respect

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 62:59
Size: 144,6 MB
Art: Front

(6:49)  1. A Night In Nalen
(7:09)  2. Reminiscing
(7:20)  3. Blue Hue
(3:20)  4. With Due Respect
(7:16)  5. I'm Gonna Be Happy
(7:13)  6. O.D.
(6:23)  7. Olé
(8:10)  8. Lady J. Blues
(9:16)  9. Melanie

Freddie Redd is one of the last living links to the golden age of modern jazz. He started playing the piano after hearing Charlie Parker in the 1940s and made his mark on the scene in 1959 with his score for Jack Gelber's avant-garde play "The Connection." This told the story of a group of junkies, most of them jazz musicians, waiting for their man. When he arrives, everyone shoots up and one of the company dies from an overdose. Happy days! It was later turned into a movie. Redd starred in both play and film. Initially, Gelber wanted the musicians to improvise on blues and standards but when the play was being cast met Redd who suggested an original score which would attempt to depict musically what was happening on stage. The idea was deemed to work well, one critic likening the Redd-Gelber collaboration to that of Kurt Weill and Bertolt Brecht. Alas, posterity didn't agree. During the years that followed, kitchen sink drama went where else? down the drain. Redd continued playing in New York and in Europe but was never able to equal the notoriety fame, if you like he'd experienced with "The Connection."

So in the end he stopped trying to and concentrated instead on writing and playing intelligent, swinging music. At the age of 88, he's still doing just that. Here the "forgotten" pianist/composer leads a sextet of far younger musicians in an excellent, varied program of his own compositions, dusted off and arranged for the modern age by saxophonist Chris Byars. In the opening number, "A Night In Nalen," based on the chords of "Cherokee," Redd captures the restless energy generated at the old Stockholm bop venue, paying a brief homage to Bud Powell in the second chorus. But this album is no easy trip down memory lane. The accent is on creating something new, not old, borrowed or blue. Byars' father, James, a member of the New York City Ballet Orchestra, plays oboe on "Reminiscing," the best track, with a lovely, lilting theme and lazy, "old time" feel that has little to do with bebop. And it's interesting to compare "O.D," from Redd's score for "The Connection" with the same song on his 1961 Blue Note album of music from the play, which featured Jackie McLean on alto a new take but based firmly on the original. In the sleeve note, Byars explains Redd's music as a fusion of the 32-bar AABA popular music framework with jazz and blues. He says, "From a songwriting perspective it's like Bird meets Cole Porter. These tunes are built for speed." The title track reflects on the ups and downs of Redd's life in music with no bitterness, just resignation. To Byars the last word: "Freddie is a storyteller, in his solos and as a composer." ~ Chris Mosey https://www.allaboutjazz.com/with-due-respect-freddie-redd-steeplechase-records-review-by-chris-mosey.php

Personnel:  Freddie Redd: piano;  John Mosca: trombone;  Chris Byars: alto saxophone, flute;  Stefano Doglioni: bass clarinet;  James Byars: oboe;  Jay Anderson: bass;  Billy Drumond: drums.

With Due Respect

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Chris Cheek - I Wish I Knew

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 52:49
Size: 121,4 MB
Art: Front

(7:00)  1. I Wish I Knew
(5:59)  2. At Long Last Love
(6:21)  3. Skylark
(7:53)  4. Stairway to the Stars
(6:12)  5. I'll Be Seeing You
(6:16)  6. Garden Floor
(5:32)  7. Time Remember
(4:49)  8. I Don't Want to Set the World on Fire
(2:44)  9. What'll I Do

It has long been said that one can tell a mature jazz musician from an up-and-coming one in the way they handle ballads. Most younger players have a tendency to play too many notes with excessive energy, often filling in all the spaces during the slower tempos. Chris Cheek, who judging by the photo on his CD cover is in his 20s or early 30s, is a major exception. Teamed up with guitarist Kurt Rosenwinkel, bassist Chris Higgins and drummer Jordi Rossy in a pianoless quartet, Cheek mostly performs the standards-oriented program at slow speeds and he is not shy of letting his notes ring. Often sounding a bit like Stan Getz, Cheek draws out plenty of emotion from such songs as "I Wish I Knew," "Skylark" and "Stairway to the Stars." While guitarist Rosenwinkel (who has a cool tone but a modern style) provides most of the fire on the ballads, Cheek comes across on a medium-tempo "I'll Be Seeing You" with some advanced melodic improvising a la Warne Marsh. He shows the most individuality on his original "Garden Floor" and Bill Evans' "Time Remembered," closing off the date with an achingly emotional yet restrained version of "What'll I Do." This easily recommended CD was released in 1997 as part of the Spanish Fresh Sound label's "New Talent" series. ~ Scott Yanow http://www.allmusic.com/album/i-wish-i-knew-mw0000666990

Personnel:  Chris Cheek – sax tenor;  Kurt Rosenwinkel – guitar;  Chris Higgins – bass;  Jordi Rossy - drums

I Wish I Knew

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Pat Bowie - Out Of Sight/ Feelin' Good

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 72:35
Size: 169,0 MB
Art: Front

(2:01)  1. Get Out Of Town
(5:08)  2. Lilac Wine
(2:31)  3. Don't Cha Go 'Way Mad
(4:05)  4. Will I Find My Love Today?
(3:07)  5. Joey, Joey, Joey
(2:32)  6. Moon And Sand
(2:59)  7. The Music That Makes Me Dance
(3:20)  8. What Is This Thing Called Love?
(4:28)  9. I'm Afraid The Masquerade Is Over
(3:09) 10. The Sounds Of The Night
(2:47) 11. I've Got Your Number
(2:15) 12. Baby, Won't You Please Come Home
(3:47) 13. Since I Fell For You
(3:45) 14. They Can't Take That Away From Me
(3:51) 15. You Don't Know What Love Is
(3:37) 16. Summertime
(3:45) 17. Why Don't You Do Right
(4:08) 18. Wonder Why
(3:48) 19. I Wanna Be Loved
(3:09) 20. Lonesome Road
(4:13) 21. Feeling Good

This Jazz Beat two-fer compiles Pat Bowie's two mid-'60s dates for Prestige, the only albums she ever recorded. While the style and scope of Out of Sight positions the singer as a jazz act, her vocals boast a soulful edge that plainly suggests the influence of rhythm & blues; if anything, the album fails to properly exploit the full extent of Bowie's talents, relying too much on familiar ballads and standards instead of more contemporary and complementary material. That being said, this is still a lovely record, with nuanced small-combo backing from guitarist Kenny Burrell, pianist Ray Bryant, and tenor saxophonist Seldon Powell buoying Bowie's lithe interpretations of songs like Cole Porter's "What Is This Thing Called Love?" and "Get Out of Town." 

Like its predecessor, Feelin' Good saddles Bowie with a collection of predictable standards that compromise the singer's distinctly modern and hip approach. Unlike its predecessor, the session features contributions from altoist Charles McPherson, one of his few dates in support of a vocalist. McPherson's rich solos ripple below the lyrics, caressing the contours of Bowie's voice, while pianist Tommy Flanagan, bassist Al Hall, and drummer Osie Johnson further underscore the set's moody, spacious approach, updating chestnuts like "Summertime" and "They Can't Take That Away from Me" with style and sophistication. ~ Jason Ankeny http://www.allmusic.com/album/out-of-sight!-feelin-good!-mw0001656097

Personnel: Pat Bowie (vcl),  Seldon Powell (ts, fl),  Charles Mcpherson (as),  Ray Bryant, Tommy Flanagan (p),  Kenny Burrell (g), Milt Hinton or Al Hall (b) and Osie Johnson (d)

Out Of Sight + Feelin' Good

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Spyro Gyra - A Foreign Affair

Styles: Fusion, Smooth Jazz
Year: 2011
File: MP3@320K/s
Time: 60:53
Size: 150,8 MB
Art: Front

(5:27)  1. Caribe
(4:44)  2. Khuda
(4:26)  3. Sweet Ole Thang
(6:31)  4. Falling Walls
(5:08)  5. Shinjuku
(6:23)  6. Chileno Boys
(5:18)  7. Samba For Two
(4:21)  8. Canção de Ninar
(6:29)  9. Antigua
(4:36) 10. Last Call
(7:24) 11. Dancing On Table Mountain

Over 35 years into one of contemporary jazz fusion's most extraordinary evolving musical journeys, Spyro Gyra entered the 2010s where they began -- on their own indie label, Amherst Records, on which they released their self-titled debut in 1978. Driven by the melodic, jazzy, and increasingly global-minded vision of saxophonist and founder Jay Beckenstein, Spyro Gyra have undergone various personnel changes throughout the years while becoming serial world travelers. The concept of A Foreign Affair began with Beckenstein asking his crew -- Tom Schuman, Julio Fernandez, Scott Ambush, and Bonny B. -- to come up with impressions of these adventures. The results are dynamic, exotic, high-spirited, loaded with invention and improvisation, and even slightly spiritual in spots (the moody African-flavored "Khuda," featuring the dreamy, soaring vocals of young Indian singer Arijit Singh). 

The ports of call on the group's stylistic itinerary develop distinctive personalities as they evolve. They start with a relaxed and silky, sax-driven reggae sway on Beckenstein's "Caribe," then start dancing with Schuman's synth pans in fiery sync with the saxman's punchy lines on Bonny B.'s festive "Sweet Ole Thang." The bubbling, super-percussive "Falling Walls" by Fernandez is harder to place geographically but is reflective of the trademark adventurous Spyro Gyra sound of the 2000s. Schuman's mystical "Shinjuku" touches on the whimsical side of Spyro Gyra's numerous trips to Japan, where they have long enjoyed great popularity. There's also a graceful, lighthearted touch of Rio ("Samba for Two"), a balmy bossa romance ("Canção de Ninar"), and a return to the Caribbean via "Antigua." Ambush's expansive closer, "Dancing on Table Mountain," allows the bandmembers to stretch and show the depth of their jazzy possibilities. Between all the frequent flyer miles, two of the most interesting tracks are the beautiful, poignant vocal tracks by Keb' Mo' (the melancholy "Last Call") and Fernandez (the easy-rolling Latin-tinged cultural message song "Chileno Boys"). Over 30 recordings in, Spyro Gyra still had something fresh to say while fearlessly entering their fifth decade of recording. ~ Jonathan Widran http://www.allmusic.com/album/a-foreign-affair-mw0002180878

Personnel: Julio Fernandez (guitar); Jay Beckenstein (saxophone); Tom Schuman (keyboards); Bonny B. (drums, percussion); Pedrito Martínez (congas).

A Foreign Affair

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The Pete Jolly Trio - Yours Truly

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 60:38
Size: 141,9 MB
Art: Front

(5:48)  1. Speak Low
(5:17)  2. While My Lady Sleeps
(6:41)  3. You Stepped Out Of A Dream
(6:37)  4. Like Someone In Love
(4:34)  5. On Green Dolphin Street
(7:02)  6. Dear Old Stockholm
(5:06)  7. Darn That Dream
(2:49)  8. Little Bird
(5:49)  9. A Gal In Calico
(5:37) 10. Old Folks
(3:58) 11. You And The Night And The Music
(1:16) 12. Stardust

Pete Jolly and his longtime sidemen (Chuck Berghofer has been his regular bassist since the late '50s while drummer Nick Martinis joined up in 1964) perform 11 standards plus his old hit "Little Bird" on this fine outing. The virtuosic pianist dominates the ensembles but the contributions of Berghofer and Martinis (who have to think fast to keep up with him) should not be overlooked. Jolly's total command of the piano and infectious enthusiasm, which can result in some explosive outbursts, do not overshadow his good taste and the self-restraint that he shows on the ballads. ~ Scott Yanow http://www.allmusic.com/album/yours-truly-mw0000108591

Personnel: Pete Jolly (piano); Nick Martinis (drums); Chuck Berghofer (bass).

Yours Truly

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Vikki Carr - Set Me Free

Styles: Voca, Latin
Year: 1990
File: MP3@320K/s
Time: 39:42
Size: 91,2 MB
Art: Front

(4:04)  1. Now It's Over
(3:16)  2. Someone to Take Your Place
(4:18)  3. I Was the One Who Loved You
(5:03)  4. Vamos de frente
(3:30)  5. Otra vez enamorada
(4:16)  6. Best of Both Worlds
(3:05)  7. Let Me Know
(3:55)  8. It's Time to Set Me Free
(3:53)  9. Cuando nos separemos
(4:17) 10. Que nada

After singing in various school functions, local groups, and Pepe Callahan's Mexican-Irish band, Carr began her professional musical career in earnest in the early '60s. Her solo debut was in Reno, supported by the Chuck Leonard Quartet, which led to a record contract with Liberty. While not gathering much attention in the U.S., her first single ("He's a Rebel") was a hit in Australia and led to numerous television appearances, and a spell as a regular on The Ray Anthony Show. In the late '60s, Carr scored three Top 40 hits, including the number three "It Must Be Him." Her American sales dwindled in the beginning of the '70s. With the release of her 1980 album, Vikki Carr y el Amor, Carr gained enormous success in the Latin music world. In 1991, Carr won a Best Latin Pop Album Grammy for her Cosas del Amor. Reta Manda y Provoca followed in 1998, and the next year saw the release of Memories Memorias. ~ Stephen Thomas Erlewine https://itunes.apple.com/ph/artist/vikki-carr/id7044137#fullText

Set Me Free

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Lena Horne - An Evening with Lena Horne: Live At The Supper Club 1994

Styles: Jazz, Vocal 
Year: 1995
File: MP3@320K/s
Time: 54:13
Size: 127,6 MB
Art: Front + Back

(3:08)  1. Come Runnin'
(2:47)  2. Maybe
(4:56)  3. I've Got The World On A String
(3:13)  4. Old Friend
(5:12)  5. Something To Live For
(1:11)  6. Mood Indigo
(1:20)  7. Squeeze Me
(4:21)  8. Do Nothing 'Till You Hear From Me
(5:45)  9. Yesterday When I Was Young
(1:50) 10. How's Your Romance
(2:56) 11. Why Shouldn't I
(2:50) 12. Ours
(3:27) 13. Just One Of Those Things
(1:24) 14. Band Introduction
(3:36) 15. We'll Be Together Again
(3:04) 16. Watch What Happens
(3:03) 17. The Lady Is A Tramp

The sentiment that comes embedded in Lena Horne's classy 1994 concert performance at the Supper Club in New York, is enough to carry the show all by itself. Her magnetic personality gives the cabaret performance a full charge of passion that's complemented by her convincing vocal expressions. She's a born communicator. This performance was broadcast on the A&E television network in December 1994 and was issued on VHS the following year. This release marks its first appearance on DVD. The camera angles provide views of Horne from the front and sides as well as from afar. Instrumental soloists appear in close-ups, but Horne's image remains at arm's length. The looks that she gives her live audience say it all. This is one veteran singer who's used to explaining a lyric through body language. Most of the program is performed with her regular backing quintet; five numbers are performed with The Count Basie Orchestra.

She's at her best when singing a medley of Duke Ellington songs alone with bass or when working with the highly expressive "Yesterday, When I Was Young while the full orchestra provides a glowing ambience. Both the Ellington medley and her Cole Porter medley stand out for their comfortable texture and caring attitude. The Count Basie Orchestra performs "April in Paris and "Jumpin' at the Woodside as instrumental arrangements with all the usual trimmings. They were in fine form for this event, and both arrangements offer superb ensemble counterpoint as well as thrilling solo opportunities. The band's soloists include trombonist Bill Hughes and trumpeter Bob Ojeda on "April in Paris, and tenors Kenny Hing, Doug Miller and Frank Foster on "Jumpin' at the Woodside.  An Evening with Lena Horne, which includes a textual, on-screen biography and liner notes, provides a vivid glimpse of the singer in the twilight of her career, expressing with the kind of sincere passion that only a seasoned veteran can muster. ~ Jim Santella https://www.allaboutjazz.com/an-evening-with-lena-horne-lena-horne-by-jim-santella.php

Personnel:  Lena Horne: vocals;  Donald Harrison: tenor saxophone;  Mike Renzi: piano, synthesizer;  Rodney Jones: guitar; Ben Brown: bass;  Akira Tana: drums;  The Count Basie Orchestra: Frank Foster: director, tenor saxophone; Danny Turner: alto saxophone, flute; Doug Miller, Kenny King: tenor saxophone, flute; John Williams: baritone saxophone; Bob Ojeda, Michael Williams, Derrick Gardner, Scotty Barnhart: trumpet, flugelhorn; Clarence Banks, Melvin Wanzo, Bill Hughes: trombone; George Caldwell: piano; Charlton Johnson: guitar; Cleveland Eaton: bass; Davie Gibson: drums.

An Evening with Lena Horne: Live At The Supper Club 1994

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Chris Anderson - My Romance, Inverted Image

Styles: Piano Jazz 
Year: 2012
File: MP3@320K/s
Time: 78:46
Size: 180,8 MB
Art: Front

(3:32)  1. Wrap Your Troubles in Dreams
(4:25)  2. So in Love
(6:24)  3. You Stepped Out of a Dream
(2:48)  4. Soon
(2:41)  5. Monica
(3:10)  6. A Fellow Needs a Girl
(3:53)  7. I Could Write a Book
(5:20)  8. My Romance
(7:04)  9. Love Letters
(6:02) 10. Inverted Images
(4:56) 11. Lullaby of the Leaves
(4:27) 12. My Funny Valentine
(4:33) 13. See You Saturday
(4:31) 14. Dancing in the Dark
(4:02) 15. Only One
(5:05) 16. I Hear a Rhapsody
(5:47) 17. You'd Be So Nice to Come Home To

Born in Chicago and self-taught, Anderson began playing in Chicago clubs in the mid-1940s and played with Von Freeman and Charlie Parker, among others. Hired as Dinah Washington's accompanist, like other arrangers before him, he did not last long with the cantankerous singer; fired in New York six weeks later, he stayed there. In 1960 he recorded what might be his best regarded album My Romance (VeeJay, 1960) with bassist Bill Lee and drummer Art Taylor. His student Herbie Hancock praised him highly, saying: "After hearing him play just once, I begged him to let me study with him." Despite the respect of his peers, Anderson had difficulty finding work or popular acclaim due in large to his disabilities. He was blind and his bones were unusually fragile, causing numerous fractures, which at times compromised his ability to perform at the times or places requested, although he continued to record until he was well into his 70s. A Down Beat profile indicated he had "Osteogenesis", probably meaning osteogenesis imperfecta. He died February 4, 2008 in Manhattan, New York City. https://en.wikipedia.org/wiki/Chris_Anderson_(pianist)

Personnel:  Chris Anderson (p), Bill Lee (b), Art Taylor, Walter Perkins, Philly Joe Jones (d)

My Romance, Inverted Image

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Anat Cohen & Trio Brasileiro - Alegria Da Casa

Styles: Clarinet, Brazilian Jazz
Year: 2016
File: MP3@320K/s
Time: 44:32
Size: 106,0 MB
Art: Front

(4:50)  1. Murmurando
(3:20)  2. Waiting For Amalia
(3:27)  3. Alegria Da Casa
(3:15)  4. Baiao Guri
(3:56)  5. In The Spirit Of Baden
(4:18)  6. Valsa Para Alice
(3:30)  7. Engole O Choro
(3:00)  8. Sarue Latino
(6:33)  9. Feia
(3:35) 10. Santa Morena
(4:43) 11. Anat's Lament

One of the most difficult things to achieve in the art of musical performance is simplicity. The balance between technical skills and the spirit of the music is an elusive goal. I am very pleased to hear that Anat Cohen, Dudu Maia, Douglas Lora and Alexandre Lora have brilliantly achieved that goal in Alegria da Casa, the recording that I am listening to right now. The music of Brazil is rich, varied and draws its inspirations from many different sources. Mastering its many idioms is a daunting task, even for Brazilians. However, when I hear the joy and bounciness of these tracks, I feel transported not to a serious concert hall, but to a happy gathering of friends in a botequim, or corner bar in a small Brazilian town, where the music flows spontaneously and everyone takes part in the roda, or circle of musicians. This is the soul that permeates this record, and that is why it is so enjoyable for me, a Brazilian musician in Seattle, to put it on, close my eyes and join the party. You can picture the smiles on the players’ faces as they captured these sounds. This music can be enjoyed by anyone, anywhere. The Selection of great choro classics (Santa Morena, Murmurando) and original compositions is finely balanced We hear what we would expect, but then we are surprised by new pieces that coexist nicely in the recording as a whole.  I hope that everyone that hears it enjoys it as much as I do. 

Formed in 2011, Trio Brasileiro has already made a name for itself as an ensemble worthy of international attention. Their stunning virtuosity is matched with remarkable musicianship and a deep devotion to the language of music, allowing them to achieve a one-of-a-kind sound that shares equal parts understated subtlety and irresistible groove. But it is their love of the traditional music of Brazil and the connection between brothers – by birth and by bonds of friendship – that create a very rare and profound beauty. Trio Brasileiro includes the celebrated guitarist and full time member of the award-winning Brasil Guitar Duo, Douglas Lora; one of Brazil’s finest mandolin virtuosos, Dudu Maia, and the amazing percussionist and brother of Douglas, Alexandre Lora. Trio Brasileiro is dedicated to performing the great traditional choro music of Brasil by Jacob do Bandolim, Ernesto Nazareth and others, as well as their own compositions, which are modern reflections of that great traditional musical form. Trio Brasileiro’s discography includes “Simples Assim” (2012), “Alegria da Casa” - featuring the amazing clarinetist Anat Cohen (2015) and “Caminho do Meio” (2015).

Dudu, Douglas and Alexandre live in Brazil and have been touring as a trio in the U.S. since 2011 with overwhelming success, with sold out performances and standing ovations all along the country. The trio has performed with great success in New York, Chicago, Boston, Bay Area, Minneapolis, Portland, Seattle, Bloomington, Louisville, Cedar Rapids, etc. Since 2011, Trio Brasileiro has also led the faculty of the annual Centrum Choro Workshop, the biggest event dedicated exclusively to Choro music in the U.S. http://www.triobrasileiro.com/bio

Personnel:  Anat Cohen – Clarinet;  Dudu Maia – bandolim;  Douglas Lora - 7 String Guitar;  Alexandre Lora - Pandeiro & Percussion;  Special Guest: Gabriel Grossi - Harmonica (3) 

Alegria Da Casa

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Andy Bey - Chillin' with Andy Bey

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 55:12
Size: 126,7 MB
Art: Front

(6:19)  1. Mountain Greenery
(5:01)  2. With A Song In My Heart
(5:45)  3. When Your Lover Has Gone
(4:40)  4. My Heart Stood Still
(5:06)  5. There'll Never Be Another You
(6:47)  6. The Other Half Of Me
(3:44)  7. You Stepped Out Of A Dream
(4:54)  8. Sophisticated Lady
(6:47)  9. More Love Than Your Love
(6:04) 10. I've Got A Crush On You

A major addition to the recorded history of one of the greatest jazz voices ever! For his last studio release, 2005 s American Song, Andy Bey received a Grammy® nomination. One of the greatest vocalists and interpreters of the Great American Songbook. Recorded during a European tour in 2002, when Andy enjoyed a few days off and had the luxury of unlimited access to an intimate studio with a perfect piano. Without any pressure, he was able to express himself at his best. ~ Editorial Reviews https://www.amazon.com/Chillin-Andy-Bey/dp/B0000DGR70

Personnel: Andy Bey (vocals, piano).

Chillin' with Andy Bey

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Claude Hopkins - Swing Time

Bitrate: MP3@320K/s
Time: 72:42
Size: 166.4 MB
Styles: Piano jazz
Year: 1963/1999
Art: Front

[5:41] 1. I Cried For You
[6:12] 2. Somebody Loves Me
[6:14] 3. Stormy Weather
[4:46] 4. Love Me Or Leave Me
[4:59] 5. Mitzi
[4:23] 6. Crying My Heart Out For You
[5:49] 7. On The Sunny Side Of The Street
[4:58] 8. Offbeat Blues
[4:22] 9. I Surrender, Dear
[3:46] 10. I Apologize
[6:32] 11. Late Evening
[5:13] 12. The Way You Look Tonight
[3:58] 13. (I Would Do) Anything For You
[5:43] 14. Safari Stomp

Claude Hopkins is best-known for being a powerful stride pianist who led a big band in the 1930s; he is also known for his solo records of 1969-72. Barely on records at all from 1941-59, Hopkins cut three albums for Swingville from 1960-63; the second and third are reissued in full on this 1999 CD. The most surprising aspect to these combo dates is that Hopkins hardly strides at all and comes across as a Teddy Wilson-inspired swing pianist. Much of the time he is in the background, with the success of the sessions really due to the fine playing of the horns. Trombonist Vic Dickenson and tenor saxophonist Budd Johnson play at the high level one would expect on the Swing Time set, with the main revelation being the obscure trumpeter Bobby Johnson, a veteran of Erskine Hawkins' Orchestra, who holds his own with the stars. Hopkins' "Crying My Heart Out for You" from this date is well worth reviving again. The music from the other Swingville album, Let's Jam, gives tenor saxophonist Buddy Tate an opportunity to play his underrated clarinet on "Late Evening" and has several opportunities for the largely forgotten swing trumpeter Joe Thomas to show how lyrical a soloist he was. This CD is recommended even if Hopkins' role is much more minor than expected. ~Scott Yanow

Swing Time

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