The George Masso Tentet - At Long Last Love

Size: 152,5 MB
Time: 65:46
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz
Art: Front

01. At Long Last Love (5:43)
02. Everytime We Say Goodbye (4:40)
03. Only Trust Your Heart (8:28)
04. Black Butterfly (5:36)
05. Day In - Day Out (8:27)
06. I'll Never Be The Same (7:53)
07. All By Myself (7:55)
08. But Beautiful (6:07)
09. Pick Yourself Up (5:09)
10. Bonnet Strut (5:43)

Veteran trombonist/arranger George Masso's 10-piece group sounds a lot like a hip dance band. Some of the leader's 10 arrangements suggest a scaled-down version of the kind of conservative charts Woody Herman and others often used for dances. Here they serve mainly as vehicles for extensive soloing by the leader and an excellent group of improvisers that includes tenorist/clarinetist Dick Johnson, trumpeter Lou Colombo, guitarist Jon Wheatley and baritonist/clarinetist/flutist Mark Phaneuf. But among the arrangements of songs by such composers as Cole Porter, Sammy Kahn, Duke Ellington ("Black Butterfly"), Irving Berlin and Jerome Kern are some that attract attention to themselves because of Masso's interesting voicings. One example is Porter's "Ev'rytime We Say Goodbye," which features a gently swinging trombone quartet with the baritone saxophone subbing for the fourth trombone.

Although the rhythm section operates more or less in a swing-oriented mode, the improvisations tend to blur the line between swing and modern jazz. Masso, who has been called the "Bobby Hackett of the trombone," clearly owes allegiance to the earlier styles and Colombo's playing displays elements of both. But Wheatley and the two saxophonists lean more toward the modern mainstream in varying degrees. They all have in common a high degree of competence and professionalism. ~by David Franklin

At Long Last Love

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Anna Kolchina - Dark Eyes

Size: 106,5 MB
Time: 45:25
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Dark Eyes (3:16)
02. The Shadow Of Your Smile (4:28)
03. If You Never Come To Me (3:33)
04. My Old Flame (3:42)
05. Beautiful Love (5:10)
06. Let's Face The Music And Dance (3:05)
07. Time After Time (4:21)
08. Angel Face (4:42)
09. Witchcraft (4:04)
10. Just Squeeze Me (2:58)
11. Since I Feel For You (1:45)
12. 'S Wonderful (2:10)
13. They Say It's Wonderful (2:06)

Personnel:
Anna Kolchina, vocal
Massimo Farao, piano
Aldo Zunino, bass
Marco Tolotti, drums
Alessandro Fabbri, drums
Claudio Chiara, alto sax
Fulvio Albano, baritone sax

Anna Kolchina is a Jazz Singer. Currently lives in St. Petersburg and collaborates with the best Russian and European musicians.

Dark Eyes, Anna Kolchina's second album, was released in 2016. Recorded in collaboration with pianist Massimo Farao' and his band in Italy in March 2016. Mixed, mastered and produced by Tetsuo Hara in Japan at Venus Records.

Dark Eyes

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George Kelly - Plays The Music Of Don Redman

Size: 102,5 MB
Time: 36:39
File: MP3 @ 320K/s
Released: 1994/2016
Styles: Jazz
Art: Front

01. Mickey Finn (3:56)
02. Chant Of The Weed (5:36)
03. Cherry (4:52)
04. Gee Baby, Ain't I Good To You (5:03)
05. How'm I Doin (4:27)
06. I Heard (4:04)
07. My Girl Friday (4:32)
08. If It's True (4:05)

When people hear George Kelly play for the first time, the normal reaction is to wonder why they haven't heard of him before. There are many musicians around who, like George Kelly, are fine players but somehow never got the recognition due them. Born in Florida in 1915, George Kelly was one of the members of the original Savoy Sultans, led by Al Cooper, as well as having worked with Tiny Grimes, Jay McShann, and Panama Francis. He has been quoted as saying, 'I think like Lester Young and play like Coleman Hawkins'; his robust sound definitely evokes The Bean, but it is true that his meandering harmonic sense is more akin to players like Prez. This rare studio album features the compositions of a diminutive man, who was essentially the father of the modern Big Band, Don Redman. Redman penned several great songs, such as Cherry and Gee Baby Ain't I Good to You, a fact that is not well-known, so this is an historic recording in more than one way. Joined by Mr. Kelly are a great lineup featuring Glenn Zottola, Richard Wyands, Bucky Pizzarelli, George Duvivier, and Butch Miles.

Plays The Music Of Don Redman

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Lolo Gervais - Lolo's Holiday

Size: 137 MB
Time: 25:05
File: Flac
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Straight Up (2:37)
02. Hey Soul Sister (4:24)
03. Evil Gal (2:41)
04. What A Feeling (3:57)
05. Summertime (3:42)
06. The Power Of Love (3:51)
07. Rock The Casbah (3:51)

Featuring Lorraine Gervais - vocals, Jacob Aginsky - keys, Mike McMullen - horns, Ananda Vaughan - guitar, Charlie Faber - bass & Beau Askew - drums.

Stirring up a mix of classic modern pop, rock and soul tunes into a fun Neo Vintage party soundtrack— vocalist Lorraine Gervais belts out over the backdrop of a mean ragtime/boogaloo/stride piano, standup bass, horn riffs, gypsy guitar & slammin drumbeats — creating a great party wherever they end up.

Lolo Gervais takes tunes of one style and then recreates them into roaring 20's, swinging 30's, New Orleans funky boogaloo style, swanky 50's & 60's, classic early Motown & beyond. Everything is fair game as they bend musical genres into whole new grooves that are hot to hear and fun to play.

Think Paula Abdul meets Louis Armstrong, or Daft Punk, Michael Jackson and Sting running headlong into a funky 1920's swing, Kenny Loggins grooving over an old New Orleans style beat, or Pharrel Williams, the Clash, and Train gettin all jazzed up into 50's swank with a touch of old school Jackson 5 or African Highlife grooves laid over the top. A great rhythm ride down the track of a party you want to go to!

Lolo Gervais began in 2015 after Lorraine Gervais & Jacob Aginsky, as kindred musical spirits who've separately worked alongside the likes of Zap Mama, Mavis Staples, Pink, Chris Isaak, Etta James, Taj Mahal, Charlie Hunter & Pete Escovedo, realized that they both gravitated towards taking tunes from one era and antiquing them into anything from classic swing to vintage funky boogie beats of all kinds. Under Jacob's music direction with Lorraine as frontswoman and a hot rhythm section behind them— the band goes off into musical territories where few others dare…

Lolo's Holiday

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Buddy Greene - A Few More Years

Size: 133,9 MB
Time: 56:54
File: MP3 @ 320K/s
Released: 2010
Styles: Folk, Country, Gospel
Art: Front

01. Twelve Gates To The City (3:51)
02. Headed For The Promised Land (2:33)
03. A Few More Years (5:40)
04. How Can I Keep From Singing (4:36)
05. Denomination Blues (4:46)
06. Hard Times (5:31)
07. Shall We Gather At The River (4:08)
08. The God Who Rescued Me (3:05)
09. All My Tears (5:19)
10. What Are They Doing In Heaven Today (4:25)
11. O, The Precious Blood Of Jesus (4:04)
12. Where Cross The Crowded Ways Of Life (4:30)
13. Twelve Gates (Reprise) (0:32)
14. In The New Jerusalem (3:49)

One day, during the recording of A Few More Years, my assistant asked me to explain why I was so excited about this batch of songs. I reflected for a moment over the last 2 to 3 years - a period which involved buying and selling houses, moving, experiencing our first child leaving the nest, walking with more and more friends and family who were suffering from disease and other hardships, and knowing the grief of not a few loved ones dying. I then told her that during this period these songs helped me hear what I needed to hear, that is, aspects of the gospel that shored me up and helped me deal with the stress and emotional upheaval that was accompanying all of our circumstances. They were a balm for the weariness I felt, reminders of the steadfast love of God for his children, and the hope that comes from trusting in that love to bring me through whatever life in this fallen world may bring. They were also reminders of the things to come, of the new heaven and the new earth, and the New Jerusalem, the city of God, coming down. They were reminders of a God who sets things right, finally and completely in the age to come, but also even today as his children pray “Thy kingdom come, Thy will be done on earth as it is in heaven” and act accordingly. With that in mind I’d like to offer some brief commentary on each of these songs.

A Few More Years

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Michela Lombardi & Piero Frassi Trio - Solitary Moon (Inside The Music Of Johnny Mandel)

Size: 154,1 MB
Time: 66:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Close Enough For Love (6:11)
02. A Time For Love (5:32)
03. Cinnamon And Clove (5:40)
04. Little Did I Dream (3:27)
05. I Never Told You (6:12)
06. The Shining Sea (5:54)
07. Where Do You Start (7:05)
08. Solitary Moon (6:43)
09. I Won't Beleive My Eyes (6:02)
10. Don't Look Back Every Day Is A New Day (4:38)
11. Unless Is You (3:47)
12. The Shadow Of Your Smile (5:03)

Michela is an outstanding singer, a terrific new talent.
She sounds like a hip angel. She writes great lyrics too.
Working with her was a revelation."
(Phil Woods)

She teaches Jazz Vocals at La Spezia Conservatory and Sassari Conservatory. Ever since her debut on the jazz scene with the cd “Small Day Tomorrow” (Philology, 2004), she was mentioned among the “Best Musicians” in the TOP JAZZ POLLS on Musica Jazz magazine. She recorded nine cds as a leader – two of them feature legendary saxophone player Phil Woods.
Michela’s signature also appears close to Burt Bacharach’s below the title of a recent song written by the great American songwriter (“How The Heart Knows”) as she wrote the official Italian lyrics. She’s been performing in festivals both in Europe (especially at Duc Des Lombards, Paris, in 2005) and Israel (she sang at the Opera House in Tel for the Jazz season opening in 2009).
She was among the twelve finalists at Brussels International Young Jazz Singers Competition in 2006 and she received a Special Mention at Crest Jazz Vocal Concours (France) in 2007. As a composer, she won the Audience Prize at the Italian Competition for Female Jazz Composers "Note di Donna" at Piacenza Jazz Club in 2009.

Solitary Moon

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Ulf Wakenius - New York Meeting

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 63:55
Size: 146,6 MB
Art: Front

(5:46)  1. Berni's Tune
(9:11)  2. The way you look tonight
(5:53)  3. Crazy he calls me
(7:43)  4. Nature of business
(5:11)  5. Spartacus
(7:38)  6. New York Meeting
(6:47)  7. Jet Lag
(6:19)  8. Angel Eyes
(9:22)  9. Georgia On My Mind

Even though he has had a spot with the Oscar Peterson Quartet since 1997 and has been on four Ray Brown CDs, including Some of My Best Friends Are...Guitarists, Ulf Wakenius has not yet gained the name recognition accorded to other European guitarists such as Philip Catherine. It's hard to figure out why, given his prodigious talent, which he displays in the company of fine New York jazz musicians, plus Danish pianist Niels Lans Doky. Wakenius favors the cleaner-cut to guitar. Individual notes can be heard and chords are not overly complex. He shows his harmonic creativity on such cuts as "The Way You Look Tonight." This cut has Wakenius making exceptional use of space, understanding that the guitar has to stop and breathe every now and then rather than demonstrating how fast and furious the axe can be played. Wakenius shows a kinder and gentler side on a sort of off-center offering of "Crazy He Calls Me" where he gets a more resonant electric sound on his acoustic guitar. The rhythm section of Ira Coleman and Billy Hart keeps the momentum going on a tough rendition of "Nature of Business," with Hart using cymbals, snares, and bass drums to control the motion of the music. The piece de resistance is a nine-minute excursion by solo guitar of "Georgia on My Mind" where the melody is more often than not hinted at rather than explicitly stated. It's quite amazing as the guitar player reveals aspects of Hoagy Carmichael's rather uncomplicated piece of music that one was never aware of. Wakenius has been active since 1975, so he's no new kid on the block. This album should get this fine Swedish guitarist the recognition he has earned. ~ Dave Nathan http://www.allmusic.com/album/new-york-meeting-mw0001273219

Personnel: Ulf Wakenius - electric/acoustic guitar;  Niels Lan Doky – piano;  Ira Coleman – bass;  Billy Hart - drums

New York Meeting

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Anjani - Blue Alert

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 40:36
Size: 93,7 MB
Art: Front

(5:39)  1. Blue Alert
(3:15)  2. Innermost Door
(3:08)  3. The Golden Gate
(4:06)  4. Half The Perfect World
(3:00)  5. Nightingale
(4:09)  6. No One After You
(4:36)  7. Never Got To Love You
(3:07)  8. The Mist
(4:51)  9. Crazy To Love You
(4:38) 10. Thanks For The Dance

With its program of popular songs by Leonard Cohen and Anjani Thomas, Blue Alert settles in gently for an audience in love. Don't look for sheets of riveting sound to fill the room with propulsive action, or thunderous backbeats to shake your bones in a fascinating rhythmic groove. This is not that kind of album. Anjani's performance brings out the beauty of each song through natural means as she warms with piano and keyboard in support of her evocative vocals. Anjani's clear alto voice creates a beautiful session that sparkles with natural charm. She pours country feeling and blue emotions into each selection, interpreting lyrics convincingly and offering wordless phrases to complement her tales with a solid caress. The accompaniment is kept to a minimum, so that we may remain in touch with her voice. And it works. The lovely session reveals a natural voice in touch with a broad audience. She touches everyone with her unique ballad interpretations. Born in Honolulu and schooled at Berklee, Anjani plays piano and keyboards to accompany her dreamy vocals. She sings with the honesty of a folk singer in love with her songs. "Thanks for the Dance comes with a mesmerizing waltz-time rhythm. "The Golden Gate takes a look back at fond memories with a positive glow. "No One After You professes undying love through poignant lyrics that Anjani interprets convincingly. "Crazy to Love You adds a string quartet for a dash of color; however, the focus remains on Anjani's lovely voice and her vivid interpretations. ~ Jim Santella https://www.allaboutjazz.com/blue-alert-anjani-columbia-records-review-by-jim-santella.php
 

Personnel: Anjani: vocals, piano; John Lissauer: baritone saxophone, clarinet, keyboards; Greg Liesz: lap steel guitar; Danny Frankel: drums; Bruce Dukov, Brian Leonard: violin; Pam Goldsmith: viola; Larry Corbett: cello.

Blue Alert

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Eliot Zigmund Trio - Standard Fare

Styles: Jazz, Post-Bop
Year: 2012
File: MP3@320K/s
Time: 60:53
Size: 140,8 MB
Art: Front

(6:46)  1. Lullyby Line
(7:53)  2. In Your Own Sweet Way
(5:49)  3. Tenderly
(6:39)  4. Luisa
(4:31)  5. This I Dig Of You
(5:20)  6. You Don't Know What Love Is
(5:55)  7. Monk's Dream
(5:20)  8. Lazy Bird
(6:09)  9. Tangerine
(6:27) 10. Yardbird Suite

Recently I've been listening to Breeze, drummer Eliot Zigmund's 2008 release on the SteepleChase label. In part my interest in the recording stems from catching a couple of Zigmund's sideman gigs at The Turning Point Café in Piermont, NY. On those occasions I couldn't get a handle on all of the things that felt right about his playing. And describing some of the highlights in a live performance review didn't come close to capturing the essence of his style. The elements that initially intrigued me about Zigumnd's drumming came into clearer focus on three of the record's nine tracks, "School Night," "Homeland" and "Mathew, In Three." Zigmund is a refreshing change from the ever-growing number of trapsters who rule with an iron fist. There's a shadowy, indirect side to his playing that makes for an interesting contrast to his more assertive, straightforward traits. He functions very well at low dynamic levels, utilizes a minimum of strokes, avoids clutter, and often implies rather than explicitly states the beat. Zigumud's style encompasses grace and grit you often hear both qualities in the course of just a few bars. He excels at listening, responding to and complementing tenor and soprano saxophonist Mike Lee, pianist Gary Versace and bassist Phil Palombi. Aside from playing a supportive role his drumming makes sense on its own terms. When Zigmund is at his best, you rarely notice his technique and execution. Instead, you feel his effect on the music and realize that he projects a distinct personality in ways that don't necessarily draw a lot of attention.

The head of Mike Lee's composition, "School Night," the disc's opening track, is a prime example of Zigmund's resourcefulness. Utilizing every component of the drum set, he steps up and takes his place alongside Lee's tenor, yet never sounds particularly busy. Throughout the course of the swinging, thirty-two bar tune, Zigmund delineates time, plays substantial portions of the melody by way of accents on the snare, toms, bass drum and cymbal, and offers a number of stimulating comments. On the bridge his repetitive two and three stroke fills to the snare and tom-toms blithely bounce away from the melody and create a shuffle-like feel. Zigmund's comping during Lee's solo actively shapes the music. Snare accents some nimble, others chomping interact with and work their way around Lee's somewhat deliberate lines. In the instances when the saxophonist becomes verbose, the drummer's commentary all but disappears. Working at a dynamic level below Palombi's bass line, in the early stages of Versace's improvisation Zigmund's snare tap dances and his cymbal sizzles. He then handles the pianist's brief upheavals in different ways. During one of Versace's adamant passages the drummer offers firm snare strokes in near unison and tops them off with a brief, scrambled fill. Another eruption elicits light, carefully placed snare accents followed by the broad hiss of the cymbal and stout hits to the snare and bass drums.

During Versace's slow, dream-like introduction to his composition "Homeland," Zigmund deftly executes neat pecks to the cymbals, brief buzz rolls, and single strokes to the snare. All are played at a very low volume. He's not just accompanying the pianist; there's an element of independence which makes the music a little larger and a little more certain. Offering only a hint of a steady pulse, his drumming is neither random nor schematic. It's all the more effective for what's left unsaid. Any more strokes would be too busy; any less would run the risk of sounding disjointed or haphazard. At times during Lee's solo on his "Mathew, In Three," Zigmund is a model of restraint, gently patting the cymbal and adding the occasional well-placed accent. Often several bars go by in which he barely makes a ripple. In other instances Zigmund transforms the lovely waltz into something a lot more vigorous. Rim shots sound like a nail gun; the kick drum resembles a boot stomping on a wood floor. There's more than one fill in which impudent strokes are jammed into tight spaces. During these periods, the insistent, somewhat stiff quality of his drumming always swings. ~ David A.Orthmann https://www.allaboutjazz.com/eliot-zigmund-eliot-zigmund-by-david-a-orthmann.php

Standard Fare

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Danny Walsh - D's Mood

Styles: Saxophone Jazz 
Year: 1997
File: MP3@256K/s
Time: 60:58
Size: 111,7 MB
Art: Front

(8:23)  1. D's Mood
(6:54)  2. Danny Boy
(9:59)  3. You Stepped out of a Dream
(5:54)  4. Daydream
(7:35)  5. Shiny Stockings
(9:09)  6. I Hear a Rhapsody
(5:54)  7. Sweet Bubby
(7:07)  8. Fizzology

Leave it to SteepleChase producer Nils Winther to have the fortitude for discovering and then giving recording opportunities to the likes of Ari Ambrose, Michael Cochrane, Dave Ballou, and George Colligan in recent years. Now add to this list the name of alto and tenor saxophonist Danny Walsh. Although he has been heard these days with Joe Locke, Lenny White, Elvin Jones, and Charles Fambrough, Walsh remains largely unknown outside of New York circles. It is therefore hoped that the new U.S. release of his 1997 SteepleChase set, D’s Mood will turn the tides of popularity for this professional who has been an active musician for over two decades now.  First and foremost, Walsh is a compelling tenor man with a persuasive and bristling sound and a heady imagination. His solo spot on the title track is chock full of melodic and textural ideas that he logically develops in a manner that is bracing and agreeable at the same time. Then, he’s no slouch on the alto horn either. 

As he starts his several choruses on “I Hear a Rhapsody,” the piano and guitar drop out and Walsh subsequently cooks with just the backing of bass and drums, spurred on by the audible vocal encouragement of his crew. This is not the only tune where Walsh is accompanied solely by the strolling of Anderson and Drummond and it just goes to prove how strong a soloist he can be. The closing “Fizzology” also sports a Walsh and Drummond duo moment that catches fire immediately. Even as assured a player as Walsh clearly is, his supporting troupe is equally worthy of a mention. Pianist Joey Calderazzo and guitarist Dave Stryker are no strangers to fans of the current jazz scene and each one brings a vivacity and conviction of purpose to the proceedings that seem to keep everyone on their toes, bolstered so artfully by drummer Billy Drummond. While a bit lean on originals, Walsh’s statements on D’s Mood are of such a high caliber that this one comes highly recommended. ~ C.Andrew Hovan https://www.allaboutjazz.com/ds-mood-danny-walsh-steeplechase-records-review-by-c-andrew-hovan.php
 

Personnel: Danny Walsh- tenor & alto saxophone, Joey Calderazzo-piano, Dave Stryker- guitar, Jay Anderson- bass, Billy Drummond- drums

D's Mood

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Club Des Belugas - Nine Disc 1 And Disc 2

Album: Nine   Disc 1

Styles: Soul, Nu Jazz
Year: 2016
File: MP3@320K/s
Time: 63:08
Size: 145,9 MB
Art: Front

(3:44)  1. It's Only Music feat. Ashley Slater
(4:04)  2. Pogo Porn feat. Karlos Boes
(4:39) 3. Ai Mi Morena (Mo'Horizons / Club Des Belugas Remix)
(5:46)  4. Quiet Dawn (The Cosmic Surf Club / Club Des Belugas Remix)
(3:27)  5. What the Butler Heard
(3:15)  6. I Just Want to Make Love to You feat. Brenda Boykin
(3:45)  7. Les Boulevards de Paris (Antoine Villoutreix / Club Des Belugas Remix)
(4:11)  8. Full Crazy feat. Brenda Boykin
(4:32)  9. Mirando Al Mar (Bahama Soul Club / Club Des Belugas Remix)
(3:39) 10. Manteca (WDR Big Band & Arturo Sandoval / Club Des Belugas Remix)
(5:29) 11. Some Like it Hot (Jojo Effect & Gardener of Delight Remix)
(4:14) 12. The Beat Goes On (Jojo Effect / Club Des Belugas Remix)
(4:32) 13. Wheelspin (Los Cuatro de la Sala / Club Des Belugas Remix)
(4:47) 14. Hip Hip Chin Chin (Schizoid Sista Remix)
(2:56) 15. Animal Parade

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Album: Nine   Disc 2

Time: 66:39

Size: 153,9 MB

(6:49)  1. Hard Swing Travellin' Man (Brenda Boykin / Club Des Belugas Remix)

(4:39)  2. Serious Woman feat. Brenda Boykin

(4:06)  3. Not with me (Jojo Effect / Club Des Belugas Remix)

(3:38)  4. Save a Little Love for Me (Zouzoulectric Remix)

(6:41)  5. Better Run feat. Dean Bowman

(4:00)  6. Mambo Tonight (Iain Mackenzie / Club Des Belugas Remix)

(4:46)  7. Iko Iko (Papa Cobana Remix)

(5:02)  8. But Rich Rhythms (Bahama Soul Club / Club Des Belugas Remix)

(3:37)  9. Quicker with the Trigger feat. Anna Luca

(4:31) 10. You and I (Audiogold / Club Des Belugas Extended Remix)

(3:39) 11. Round Around (Zouzoulectric / Club Des Belugas Remix)

(5:03) 12. Under The Neon Light feat. Veronika Harcsa

(4:09) 13. Moon Lagoon

(2:04) 14. Mojo's Walk

(3:48) 15. Bye Bye Baby I Won't Come Back feat. Anna Luca

Club des Belugas is one of the leading lounge & nujazz projects in Germany, perhaps in Europe. They combine Contemporary European Lounge & Nujazz Styles with Brazilian Beats and American Black Soul of the fifties, sixties and seventies, using their unique creativity and intensity. Main members are Maxim Illion & Kitty the Bill, with such exquisite guests as the Californian Jazz Lady Brenda Boykin, trumpeter Reiner Winterschladen (Nighthawks), Swedish singer anna.luca, London based Jazz singer Iain Mackenzie, Anne Schnell from Jojo Effect, Dean Bowman from New York and trumpet player Thomas Siffling.

Club des Belugas started their career in 2002 with their first album "Caviar at 3 a.m." In 2003 they released their 2nd album "Minority Tunes", which included the German Club Charts no.1 hits "hiphip chinchin" and "Gadda Rio". In 2006 Club des Belugas enriched the world of music with a real masterpiece called "apricoo soul". The 12" vinyl "Wildcats gotta move" reached German Club Charts #3 and stayed in the Top Ten for 8 weeks (march & april 2006). The Album included Club des Belugas' Remix of Dean Martin's "Mambo Italiano" and was the first worldwide legal remix of any Dean Martin track, authorized by Capitol/EMI and the Dean Martin Family themselves . Club des Belugas tracks have been licensed for compilations more than 220 times. They have also been licensed for advertisements and TV commercials from companies like: Mercedes-Benz, BMW, Lexus (Toyota), Ford Mondeo, Smart, KIA motors, Campari, Martini, Strenesse, The German National Soccerteam, Kaufhof, Burlington, Unilever, Telekom Germany, Telekom South Korea, IGEDO…This time the stress is more on jazz, less on electronics with use of interesting samples, and featuring vocalists Dean Bowman, Iain Mackenzie, Anna Luca, and Brenda Boykin.  http://www.last.fm/music/Club+Des+Belugas/+wiki

Nine Disc 1, Disc 2

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André Previn - All Alone

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 34:55
Size: 81,7 MB
Art: Front

(2:08)  1. More Than You Know
(2:18)  2. I Got It Bad (And That Ain't Good)
(2:33)  3. Everything Happens To Me
(3:38)  4. You Are Too Beautiful
(3:12)  5. How Deep Is The Ocean
(2:56)  6. Angel Eyes
(2:40)  7. When Sunny Gets Blue
(2:31)  8. As Time Goes By
(3:34)  9. Remember Me
(3:30) 10. Yesterdays
(2:49) 11. Dancing On The Ceiling
(3:00) 12. Here's That Rainy Day

Successful as pianist, composer, and especially as conductor, André Previn has frequently bridged the gap between popular and so-called "serious" music, and in doing so broadened the horizons of both. His father was an accomplished pianist (though a lawyer by profession) and determined that his son would follow in his musical footsteps. The talented young André received instruction on the piano at the Berlin Hochschule, and also absorbed music in a less formal environment during the many private recitals given in the Previn home. In the mid-1930s the Jewish family fled to France where André continued as a scholarship student at the Paris Conservatoire. In 1939, the Previn family relocated to southern California. Life was difficult for the family (all their possessions had been left behind in Europe, and Previn's father was qualified only in German law), and though barely ten years old, André supplemented the family income by accompanying films at movie houses and playing in jazz clubs. At 14 he started working at MGM (Charles Previn, André's great uncle, was head of music at Universal Studios), orchestrating and arranging film music, and slowly saved enough money to study composition with Castelnuovo-Tedesco. At 18 André was asked to compose his own full-length film score (The Sun Comes Up, 1949), which resulted in his first experience on the podium in front of a real orchestra  Previn quickly realized that his future lay in conducting, though he understood the gulf between film music and serious conducting to be a wide one indeed.

Previn, who had taken U.S. citizenship in 1943, serving in San Francisco during the Korean War, where he had the opportunity to study conducting with Pierre Monteux. Following discharge from the army, Previn left MGM, but continued to compose, conduct, and arrange film music throughout the 1950s. He also recorded and released a series of best-selling jazz albums (something he would continue to do sporadically throughout the decades). In 1963, having won four Academy Awards in as many years, Previn found the courage to abandon Hollywood and pursue his dream of becoming a respected conductor. His professional debut occurred that same year with the Saint Louis Symphony Orchestra, and he spent the next several years traveling around the country conducting various little-known orchestras in an effort to gain exposure and develop his own skill on the podium. His first big break occurred in 1967 when he was asked to succeed Sir John Barbirolli as music director of the Houston Symphony. When offered the job of principal conductor for the London Symphony Orchestra in 1968, Previn left Houston. During his 11 years with the orchestra (1969-1979) a series of BBC television productions entitled André Previn's Music Hour made the LSO (and Previn) a household name around the world. Other conducting appointments have included the Pittsburgh Symphony, from 1977 to 1985; the Royal Philharmonic Orchestra in the 1985 and 1986 seasons; and, from 1987 on, the Los Angeles Philharmonic Orchestra. In 1993 he was named conductor laureate of the London Symphony Orchestra, and he continues to make frequent appearances around the globe as a guest conductor. Previn readily admits that he is not driven to compose, but only does so on occasion, and then only on specific request. Nevertheless he has composed a generous quantity of concert music, including a piano concerto for Vladimir Ashkenazy and cello sonata at the request of Yo-Yo Ma. His musical play, Every Good Boy Deserves Favour, was produced in London in 1978. The year 1998 saw the release of his full-length opera, A Streetcar Named Desire at the San Francisco Opera. In 2009, Houston Grand Opera presented his Brief Encounter, based on the film of the same name and the Noël Coward play, Still Life. 

~ Blair Johnston http://www.allmusic.com/artist/andr%C3%A9-previn-mn0000030250/biography
 

Thank You Scoredaddy!!!!

All Alone

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Ernestine Anderson - I Love Being Here With You Disc 1 And Disc 2

Album: I Love Being Here With You (Disc 1)

Styles: Vocal Jazz
Year: 2002
File: MP3@224K/s
Time: 39:46
Size: 64,0 MB
Art: Front

(3:46)  1. I Love Being Here With You
(7:03)  2. All Blues
(5:30)  3. Down Home Blues
(4:26)  4. As long As I Live
(6:50)  5. Please Send Me Someone To Love
(3:30)  6. I Let A Song Go Out Of My My Heart
(4:00)  7. Spring is Here
(4:37)  8. Street Of Dreams

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Album: I Love Being Here With You (Disk 2)

Time: 55:25
Size: 89,1 MB

( 7:32)  1. Blues In The Closet (instr)
( 4:42)  2. I Let A Song Go Out Of My Heart
(10:21)  3. I Should Care
( 5:22)  4. There Is No Greater Love
( 7:14)  5. Skylark
( 4:57)  6. On My Own
(15:14)  7. Never Make Your Move Too Soon

This nicely packaged, but hard to follow (I'm still not completely sure who's playing what on which CD) two CD set compiles excerpts from four live performances by Ernestine Anderson, mostly as a guest. The album covers three live performances from 1987 and one from 1990, when the singer was doing some very good work. The CD 2 is a complete replication of the Live at the 1990 Jazz Festival album. Since as far as I know, this album is still available, why it is included here is a bit of a mystery to me. CD 1 is the far more engaging of the two. One of the compilations's highlights for me is Anderson's appearance with the Frank Capp/Nat Pierce Juggernaut Band from Live at the Alley Cat. This was the last of that high flying big band's albums due to the death of co-leader Nat Pierce. Anderson did four numbers on that album. The work on the "Street of Dreams" and "I Let a Song Go out of My Heart" is recommendation enough to run out and try and located that Frankie Capp/Nat Pierce CD. At one point during his career, pianist George Shearing seemed determined to record with just about every singer he could get his arms around. He cornered Anderson for two cuts on his 1987 release Dexterity. He and Shearing come together nicely on the cuts on which Anderson appears, "As Long As I Live" and "Please Send Me Someone to Love". The other album on this medley, again from 1987, and this time features the Concord All-Stars with such luminaries as Dave McKenna, Red Holloway and Dan Barrett occupying seats. There are three cuts from this album, with Anderson and McKenna working out on "I Love Being Here with You" the top item. This album will certainly appeal to Anderson's many fans as well as to those who just love a good singer behind a good band especially the Capp/Pierce outfit. ~ Dave Nathan https://www.allaboutjazz.com/i-love-being-here-with-you-ernestine-anderson-concord-music-group-review-by-dave-nathan.php

Personnel: Dan Barrett, Charlie Loper, Garnett Brown, Buster Cooper - Trombone;  Ed Bickert, Ken Pohlman - Guitar;  Scott Hamilton, Bob Cooper,  Frank Wess - Tenor Sax;  Red Holloway - Alto & Tenor Sax;  Dave McKenna, George Shearing, Gene Harris, Nat Pierce - Piano; Jimmie Smith, Frank Capp, Harold Jones - Drums; Warren Vache - Trumpet; Steve Wallace, Neil Swainson, Chuck Berghofer, Lynn Seaton - Bass; Snooky Young, Frank Szabo, Conte Candoli, Bill Berry; Dave Edwards, Joe Romano, Marshal Royal - Alto Sax; Bill Green - Baritone Sax

I Love Being Here With You (Disk 1) And (Disk 2)

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Ethan Iverson & Lee Konitz - Costumes Are Mandatory

Styles: Piano And Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 56:10
Size: 130,8 MB
Art: Front

(3:23)  1. Blueberry Ice Cream take 2
(7:03)  2. Try a Little Tenderness
(1:05)  3. It's You (Tempo Complex)
(4:54)  4. It's You
(5:33)  5. What's New
(4:47)  6. 317 East 32nd
(5:50)  7. Body and Soul
(4:42)  8. Blueberry Hill
(2:01)  9. A Distant Bell
(2:12) 10. Bats
(1:19) 11. Mr.Bumi
(2:36) 12. My New Lovers All Seem So Tame
(7:04) 13. My Old Flame
(3:34) 14. Blueberry Ice Cream take 1

Costumes Are Mandatory is very collegially advertised as a collaborative album featuring Ethan Iverson, Lee Konitz, Larry Grenadier, and Jorge Rossy. And while the music may indeed be collaborative, even multi-improvisational at times, it's Iverson's date and he's very clearly the leader. The record is envisioned as an homage to "a dialogue with," according to the liner notes the late blind pianist Lennie Tristano, who in addition to generally being credited as a founder of the 'cool school' (an oversimplification, to be sure), and an early avant-garde pioneer, was also a primary teacher and influence on Konitz (as well as tenorist Warne Marsh). Though he is often thought of as being a somewhat separate musical line from bebop, he was nonetheless a great admirer of Charlie Parker, playing on many of Bird's early recordings in the late 1940s, and later serving as a pallbearer in his funeral. Strangely, given its stated intent, there isn't a single composition credited to Tristano on the record. Iverson is well represented though, opening with his "Blueberry Ice Cream take 2" a relatively conventional blues with a quick walking bass line and catchy melody. The direct connection to Tristano is, of course, Konitz who's own playing in recent years has become freer, with very little melodic structure. Iverson lays out for Konitz' compact solo which has an airiness to it that floats above the straight-ahead structure of the tune. Iverson's piano work is, in places, more reminiscent of Thelonious Monk than Tristano.

The intro to "Try A Little Tenderness" is very reminiscent of Tristano's melancholy "Requiem" featuring broad, well- sustained chords before Konitz and the rhythm section rejoin with the melody. Konitz' straight ahead statement of the tune is uncharacteristic of much of his recent playing, and he barely deviates at all leaving the improvisation to Iverson. "It's You (Tempo Complex)" pulls a Tristano trick right out of the hat by overdubbing two pianos to psychedelic, effect. At only one minute long it's enough to convey the effect without overpowering the surrounding tracks. The following straight acoustic version of the song delivers some of Konitz' best most Konitz-like improvisations: loose and searching, endlessly inventive, but still melodic and delightful. According to the liner notes Konitz declined to play on "Blueberry Hill" stating "Sounds like something The Bad Plus should play instead." Costumes Are Mandatory might work best because the music and the musicians have either approached Tristano with completely different competing musical influences, or in the case of Konitz, having completely absorbed then transcended his former mentor. They're not trying to imitate Tristano, but they forge just enough of a connection to make a truly interesting record that's worth seeking out. ~ Greg Simmons https://www.allaboutjazz.com/costumes-are-mandatory-larry-grenadier-highnote-records-review-by-greg-simmons.php
 

Personnel: Ethan Iverson: piano; Lee Konitz: alto saxophone, vocals (track 13); Larry Grenadier; Jorge Rossy.

Costumes Are Mandatory

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Joel Harrison - Urban Myths

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 55:38
Size: 128,9 MB
Art: Front

( 6:35)  1. You Must Go Through a Winter
( 6:06)  2. 125 and Lenox
(11:18)  3. Mood Rodeo
( 7:58)  4. Last Waltz for Queva
( 6:19)  5. Straight No Chaser Variatioons
( 8:44)  6. Between the Traveler and the Setting Sun
( 5:00)  7. Urban Myths
( 3:35)  8. High Expectation Low Return

With a string of outstanding records that began with his personal look at the music of George Harrison on Harrison on Harrison (HighNote, 2005), continued with an all-original pairing with guitarist Nguyen Le on Harbor (HighNote, 2007) and culminated with the ambitious The Wheel (Innova, 2008), guitarist Joel Harrison has, over the last few years, been setting an increasingly high bar both compositionally and as a player.Most remarkable is that he's managed, each time, to reach that bar and, in many cases, surpass it. Urban Myths may be an homage of sorts, but it still possesses his personal imprint, avoiding the retro feel of so many others of its kind. Instead, this largely original tribute to electric music of the mid-to-late '70s from legends including Joe Zawinul, Herbie Hancock, Wayne Shorter and John McLaughlin is as modern as they come, while still unmistakably referencing the music that Harrison grew up with back in the day.

Urban Myths has grooves aplenty, but they're couched in the kind of episodic writing that's been an increasing Harrison trademark, turning what is largely an impressive blowing session for friends including altoist David Binney and über-violinist Christian Howes into a series of intriguing compositions that transcend mere heads or vamp-based jams. What traces of Harrison's influences exist are so subsumed in his expansive approach to writing that they're more elemental than direct. Not unlike Binney, Harrison finds new ways to couch his roots in complex structures, as on the fiery "You Must Go Through a Winter," where Howes' fervent solo is supported by the relentless energy of bassist Stephan Crump and drummer Jordan Person. The groove gets darker and greasier on "125 and Lenox," with a staggered melody that concurrently references Shorter and, during Daniel Kelly's Rhodes solo, Headhunters-era Hancock though the rhythm section's open-ended approach is like nothing either artist did in the day. "Mood Rodeo" finds an odd nexus between mid-'70s Miles Davis and Jean-Luc Ponty's irregular metered fusion again, despite sounding like neither of these players, with writing of far greater compositional weight. "Last Waltz for Queva" may be a countrified ballad, but its innate lyricism goes beyond western roots with a melody that's sophisticated yet simple; a tad oblique, but equally memorable and singing.

Harrison delivers some of his best solos to date. His blues-drenched Telecaster on "Last Waltz" navigates its gospel-inflections with deep feeling, while his massively overdriven solo on "125 and Lenox" is the definition of reckless abandon; a visceral foil for solos throughout from Binney and Howes that match Harrison's unbridled passion and clear invention. Urban Myths may appear, on the surface, less challenging than Harbor or The Wheel, but Harrison nevertheless manages to create a more contemporary tribute to decade-old music more often aimed at lengthy soloing. Skewed as only Harrison can, Urban Myths is an homage with a difference, and continues to assert his growing reputation as a writer and performer of great significance. ~ John Kelman https://www.allaboutjazz.com/urban-myths-joel-harrison-highnote-records-review-by-john-kelman.php
 

Personnel: Joel Harrison: guitar; David Binney: alto saxophone; Christian Howes: violin; Daniel Kelly: keyboards; Stephan Crump: acoustic bass; Jordan Person: drums; Fima Ephron: electric bass (2, 8); Ambrose Akinmusire: trumpet (4, 5, 7); Corey King: trombone (4, 5, 7); Jerome Sabbag: tenor saxophone (4, 5).

Urban Myths

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John Hollenbeck, Alban Darche, Samuel Blaser, Sebastien Boisseau - JASS

Styles: Avant-Garde Jazz 
Year: 2014
File: MP3@320K/s
Time: 49:26
Size: 114,1 MB
Art: Front

(4:55)  1. Recurring Dreams
(3:07)  2. Saj's
(5:27)  3. Jazz Envy
(5:36)  4. Water
(6:38)  5. Limp Mint
(5:45)  6. Driving License
(6:16)  7. No D
(4:49)  8. Miss Universe 2031
(3:25)  9. It Began to Get Dark
(3:24) 10. Tricephale

J.A.S.S. as in the first letters of the names of American drummer John Hollenbeck, French saxophonist Alban Darche and double bassist Sébastien Boisseau and Swiss trombonist Samuel Blaser. But Jass also as the term used by the Original Dixieland Jass Band in March 1917 for the very first jazz-album recording or just the name of centuries-old popular card game in Switzerland and Austria.  All of the above references relevant to this quartet who first played together in Berlin in July 2011 and recorded its debut after an artist's residency in Nantes, France, the hometown of Darche and Boisseau. The music features the highly personal, distinct compositional skills of Hollenbeck, Darche and Blaser, observing in an amused manner on the history of jazz, and packed with strong, playful and nuanced melodies. This collective quartet keeps a delicate balance between its four musicians, emphasizing the organic highly melodic flow within its compact, well-constructed compositions. Darche and Blaser's playing stresses a beautiful singing and conversational quality while Hollenbeck and Boisseau vary the rhythmic basis constantly, alternating between loose pulses, exploratory sounds, and light swinging ones.

The quartet enables Hollenbeck to re-contextualize some of his past compositions within a new setting. "Jazz Envy," which he previously performed, and Jazz Bigband Graz on Joys & Desires (Intuition, 2005), is anchored within a strong pulse, but within this rhythmic framework the musicians have the freedom to keep exploring its theme. "Limp Mint," originally from Claudia Quintet's Semi Formal (Cuneiform, 2005) retains its dramatic story narrative, delivered now from four sonic angles that intensify its enigmatic story lines. "No D," from Claudia Quintet debut (CRI, 2002) has the most complex and demanding structure, shifting between pulses and cyclical loose, and dense forms of interplay. Darche's "Water" and "Driving License" highlights the immediate, intuitive bond with Blaser. Both exchanging back and forth ideas, constructing thick, detailed articulations. His ironic "Miss Univers 2031" and "Tricéphale" unfold like a dense stories with many twists. Blaser's two compositions, "Recurring Dreams" and "It began to get gark," stress his unique, searching vocabulary on the trombone. Highly impressive debut that calls for following meetings of this quartet. ~ Eyal Hareuveni https://www.allaboutjazz.com/jass-john-hollenbeck-alban-darche-sebastien-boisseau-samuel-blaser-yolk-records-review-by-eyal-hareuveni.php
 

Personnel: Samuel Blaser: trombone; Alban Darche: tenor saxophone; Sébastien Boisseau: double bass; John Hollenbeck: drums.

JASS

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Annekei - Tsuki

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 54:21
Size: 125,4 MB
Art: Front

(4:31)  1. Tsuki
(3:17)  2. That's All
(4:46)  3. Arigato Gozaimasu
(3:49)  4. Only You
(4:52)  5. Both Sides Now
(4:48)  6. Dirt in Your Pocket
(4:15)  7. Everly
(3:35)  8. Why?
(3:46)  9. Refill of Inspiration
(5:12) 10. What You Like
(3:59) 11. What is Your Problem?
(4:23) 12. Towani
(3:00) 13. At Home

Annekei grew up in a family of music. Her parents were both jazz musicians and her 4 brothers - just like herself - mastered their instruments at a very young age.  She sings, plays the piano and guitar in addition to writing and arranging her own material.  At 19-years-old, Annekei moved from her home country, Denmark, to pursue her musical ambitions in New York City. Since her arrival in 2002, the young singer has been performing venues as varied as Joe's Pub, Pianos, The Metropolitan Cafe, Rockwood Music Hall, The Living Room, Bowery Poetry Club, Suite 16, The Cutting Room, Blue Note, The Bitter End and Fez under Time Cafe. In 2003 she made it to the finals of the amateur night competition on the TV show, "Showtime at The Apollo", performing her original song "Close Your Eyes". 2 years later, her single "More Of Your Love" broke on the club scene in the UK. In 2006 she signed with a Japanese label and released her self-titled debut album in September the same year. The single "Brother" made it to #4 on the Japanese charts within 2 weeks of release, rose to #1 vocal album on Japanese iTunes and landed her the title: "Best New Foreign Artist" at the AD LIB AWARDS 2006. Her second solo album "Tsuki" dropped only 9 months after the debut, followed up by the collaboration project "Letter" with Korean guitarist Jack Lee. In June this year Annekei released her 3rd solo album "Touch" produced by legendary guitarist Lee Ritenour and featuring a prolific group of musicians from Los Angeles. She is currently touring Asia in support of the record, as well as bi-coastal'y writing and recording for her 4th album. http://annekei.com/files/html/bio.html

Tsuki

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Gary Peacock & Bill Frisell - Just So Happens

Styles: Jazz, Post-Bop
Year: 1994
File: MP3@320K/s
Time: 51:47
Size: 118,9 MB
Art: Front

(4:40)  1. Only Now
(6:14)  2. In Walked Po
(3:21)  3. Wapitis Dream
(3:30)  4. Home on the Range 1
(5:05)  5. Home on the Range 2
(2:54)  6. Through a Skylight
(3:01)  7. Red River Valley
(4:34)  8. Reciprocity
(5:25)  9. Good Morning Heartache
(4:53) 10. N.O.M.B.
(8:05) 11. Just So Happens

In the early 90’s, the folks at “Postcards” consistently produced some of the finest jazz recordings to hit the stores while featuring artists such as Alan Pasqua, Reggie Workman and here, the teaming of guitarist Bill Frisell and bassist Gary Peacock. Thankfully, Arkadia records have taken ownership of the catalogue and from all appearances, retain the original artwork and packaging. The pairing of Bill Frisell and Gary Peacock is sheer delight as their respective careers in jazz and beyond are well documented. Peacock’s deep, resonant wooden tone along with Frisell’s at times cosmic inventions work extremely well in this setting. Pieces such as “Only Now” and “In Walked Po” are engaging forays into inventive dialogue, brief jagged statements and clever articulations. The duo often sound as if they were putting a jigsaw puzzle together from scratch! Their rendition of the American classic “Home On The Range” is often bluesy in scope yet with Frisell’s astonishing technique and gregarious phrasing, the tune evolves into an ethereal dreamscape. On “Reciprocity” Peacock displays his commanding presence as Frisell’s weaving tapestries of tonal colors offer elegance and contrasts well with Peacock’s deft single note statements. Frisell picks up the acoustic guitar on the laid back “Good Morning Heartache” while vivid imagery prevails on “Just So Happens”. Throughout, Frisell and Peacock lay it on the line via simple elegance, finesse and improvisation of the highest order although most if these compositions are structured yet maintain a relaxed and loose vibe. Recommended. ~ Glenn Astarita https://www.allaboutjazz.com/just-so-happens-gary-peacock-postcards-review-by-glenn-astarita.php

Personnel: Gary Peacock (bass); Bill Frisell (guitar).

Just So Happens

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Albert Heath, Ben Street & Ethan Iverson - Philadelphia Beat

Styles: Jazz, Post-Bop
Year: 2015
File: MP3@320K/s
Time: 50:25
Size: 115,9 MB
Art: Front

(4:24)  1. Bag's Groove
(3:50)  2. Reets and I
(3:44)  3. I Will Survive
(4:49)  4. Concorde
(6:15)  5. Memories of You
(3:04)  6. Con Alma
(3:02)  7. Wachet auf, ruft uns die Stimme
(3:30)  8. Bye-Ya
(4:52)  9. Everything Must Change
(4:09) 10. Speak Low
(3:19) 11. Pentatonic Etude
(5:22) 12. Bakai

Eighty years of fragrance are those of Albert "Tootie" Heath , judging by the quality of the game basted in a trio with the plan of Ethan Iverson and the bass of Ben Street , a game now in its third and most successful hand, voted in the rules unwritten of the jazz school in Philadelphia. A Magisterium, to Heath, formed on lightness, taste subtraction, it said in decades of acquaintances at the top of the history of jazz (asArt Farmer to Yusef Lateef , as Dexter Gordon to John Coltrane, down to Anthony Braxton and Roscoe Mitchell ...) This trio seems to deepen the attitude of Iverson to break down to a minimum the syntax of the standards: where with the Bad Plus pianist uses the art of a baroque masked, with an overload of dynamics, here on the contrary he seems even to dry the pasta of the agreements, insisting on a melodic cantabile whose irregularities mention with continuous syncopations and thin contour colors. The bank that the low Street is able to offer the pianist stands out tonally sense that rhythm, chasing osmosis perfectly realized. The percussion of the great Heath start dancing and lead with extraordinary skill, suggesting unexpected openings, ironic asides, punctuation scathing. It is a different way short of remaking the classic feel of this formula, in a path that draws Iverson still following in the footsteps of a genealogy piano: John Lewis , Lennie Tristano ,Bud Powell , Thelonious Monk , Mal Waldron .

There is the scent of Modern Jazz Quartet in several episodes, the initial "Bag's Groove" to an enchanting "Concorde" which cites the beginning Heath the "I'm an Old Cowhand" rollinsiana. The Powell-Monk line (so to speak ..) passes through the beauty of "Reets and I" up to a luxury "Bye-Ya" which pays tribute to Heath Art Blakey and feels ... An alienating treatment is reserved the cult of the album "I Will Survive," loved by Iverson to the point of even sing live (heard years ago in trio Billy Hart ): here the theme is announced by a whirlwind of color scales and slightly dissonant harmony. But think now not too speculative transactions: the music remains clear and fresh, even in the simple magic tricks. How to confirm the literal reading of "Everything Must Change," with reference to that of Mal Waldron of almost thirty years ago, and the Afro-Cuban of "Bakai" which closes the program.  Libretto of very well done CD, with introductions to individual pieces of Iverson , vintage photos of Tootie with Hi-Tones and Bee-Boppers and other current, taken to the mythical Clef Club next door to friends Buster Williams , Mickey Roker , Sam Reed. ~ Stefano Merighi  https://www.allaboutjazz.com/philadelphia-beat-albert-tootie-heath-ethan-iverson-ben-street-sunnyside-records-review-by-stefano-merighi.php (Translate by Google)

Personnel: Albert Tootie Heath: drums; Ethan Iverson: piano, electric piano; Ben Street: bass.

Philadelphia Beat

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Joel Harrison - 3 + 3 = 7

Styles: Guitar Jazz 

Year: 1996

File: MP3@320K/s

Time: 55:52

Size: 128,7 MB

Art: Front

(5:19)  1. Ratrace

(2:32)  2. Protest

(6:10)  3. Kali

(7:12)  4. Seven Angels

(4:21)  5. Broderick Crawford's Throat

(7:37)  6. Lovingkindness

(9:44)  7. Someday Earth (For Don Cherry)

(5:14)  8. Child's Dream

(4:25)  9. Cold Day In New York

(3:16) 10. Skin Frontier

San Francisco's guitarist Joel Harrison debuted with the ambitious 3+3=7 (1996) for three guitars and three percussionists, but then wasted his talent on the brief vignettes of Range of Motion (1997) and the confused hodgepodge of Transience (2001).  After relocating to New York, he continued to alternate off lightweight works such as Free Country (2003), a country-music tribute featuring Norah Jones on vocals, Dave Binney on alto sax, violinist Rob Thomas, pianist Uri Caine, and Tony Cedras on accordion, and its follow-up So Long 2nd Street (2004), not to mention the George Harrison tribute Harrison on Harrison (2005), with important and difficult projects such as the post-fusion Harbor (2007), featuring guitarist Nguyen Le, David Binney, and Jamey Haddad, The Wheel (2008), a six-movement suite for guitar and double quartet (string quartet and jazz quartet),  Passing Train (2008) is a collection of songs. Urban Myths (2009) sounds like a tribute to jazz-rock of the 1970s (including the funky Mood Rodeo). Search (2012), featuring saxophonist Donny McCaslin, pianist Gary Versace, violinist Christian Howes, cellist Dana Leong, bassist Stephan Crump, and drummer Clarence Penn is a mixed bag but it contains two of his high-brow compositions: Grass Valley and Beyond and A Magnificent Death.  Holy Abyss (Cuneiform, 2012) was a collaboration with Italian bassist Lorenzo Feliciati featuring trumpeter Cuong Vu, drummer Dan Weiss and keyboardist Roy Powell. http://www.scaruffi.com/jazz/harrison.html

Personnel:  Scott Amendola (Dumbek, Drums, Sound Effects);  John Schott (Guitar, Guitar (Electric));  Joel Harrison (Guitar, Producer, Guitar (Electric), Arranger);  Garth Powell (Drums, Drums (Bass), Sound Effects, Berimbau, Bird Calls);  John Holmes (Cymbals, Drums, Indian Bells, Telephone Voice, Cajon); Brad Dutz (Chimes, Maracas Mbira, Telephone Voice, Frame Drum, Udu, Cowbell, Djembe, Conga, Sound Effects, Tabla, Timbales, Cymbals);  Steve Cardenas (Guitar, Guitar (Electric));  Alex Cline (Chimes, Cymbals, Gong, Bells, Drums);  Glenn Cronkhite (Chimes, Gourd, Bell Tree, Shaker, Drums, Sound Effects);  John Golden (Mastering).

3 + 3 = 7

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