The Jive Aces - Recipe For Rhythm

Bitrate: MP3@320K/s
Time: 51:16
Size: 117.4 MB
Styles: Swing
Year: 2008
Art: Front

[2:53] 1. Aces Shuffle (Feat. Jeremy Wakefield & Miss Carmen Getit)
[3:26] 2. Something Can Be Done About It (Feat. Miss Carmen Getit & Steve Lucky)
[3:28] 3. Love Me Or Leave Me (Feat. Mark Isham)
[3:44] 4. Buona Sera (Feat. Toni Elizabeth Prima)
[3:05] 5. Once More (Feat. Chick Corea)
[2:50] 6. London Rhythm (Feat. Vic Flick)
[3:34] 7. Fever
[4:37] 8. Affinity, Reality And Communication (Feat. Mark Isham)
[3:53] 9. The Few
[3:29] 10. Up A Lazy River
[3:46] 11. Summertime (Feat. Chick Corea)
[2:58] 12. Happy All The While (Feat. Jeremy Wakefield)
[3:11] 13. Sway
[3:00] 14. Heading Home (Feat. Miss Carmen Getit)
[3:16] 15. We'll Meet Again (Feat. Mr. Acker Bilk & Toni Elizabeth Prima)

The Jive Aces is the UK's top jive/swing band. This six piece group have performed all around the world and starred on TV, radio, at festivals, theatres,clubs and top charity and corporate events, reaching the Britain's Got Talent semi-finals in 2012.

Recipe For Rhythm

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Lee Konitz & Walter Lang Trio - Someone To Watch Over Me

Bitrate: MP3@320K/s

Time: 55:54

Size: 128.0 MB

Styles: Saxophone jazz, Piano jazz

Year: 2011

Art: Front

[9:20] 1. Someone To Watch Over Me

[7:39] 2. Autumn Leaves

[5:26] 3. I Fall In Love Too Easily

[7:10] 4. East Of The Sun

[9:21] 5. All The Things You Are

[7:18] 6. Gone With The Wind

[9:37] 7. The Way You Look Tonight

One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity that has led him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill & His Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis' Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh's tenor (their unisons on "Wow" are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton & His Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo. Konitz was primarily a leader from that point on. He almost retired from music in the early '60s but re-emerged a few years later. His recordings have ranged from cool bop to thoughtful free improvisations, and his Milestone set of Duets (1967) is a classic. In the late '70s Konitz led a notable nonet and in 1992 he won the prestigious Jazzpar Prize. He kept a busy release schedule throughout the '90s and dabbled in the world of classical music with 2000's French Impressionist Music from the Turn of the Twentieth Century. The Mark Masters Ensemble joined him for 2004's One Day with Lee, and in 2007 he recorded Portology with the Ohad Talmor Big Band. He has recorded on soprano and tenor but has mostly stuck to his distinctive alto. Konitz has led consistently stimulating sessions for many labels, including Prestige, Dragon, Pacific Jazz, Vogue, Storyville, Atlantic, Verve, Wave, Milestone, MPS, Polydor, Bellaphon, SteepleChase, Sonet, Groove Merchant, Roulette, Progressive, Choice, IAI, Chiaroscuro, Circle, Black Lion, Soul Note, Storyville, Evidence, and Philogy. In 2011, he released his own trio album Knowinglee and appeared on the live ECM date Live at Birdland (recorded in 2009) with pianist Brad Mehldau, bassist Charlie Haden, and drummer Paul Motian. ~ bio by Scott Yanow

The pianist Walter Lang founded in 1999 the Walter Lang Trio. The trio released succesful Cd's such as "Walter Lang Trio plays Charles Chaplin" (1999), "Across The Universe" (2002), "Softly as in a morning Sunrise" (2005) "The Sound Of A Rainbow"(2005), that received the "Best Sounding CD Award" by the japanese "Swing Journal", as well as the CD "Romantische Straße"(2007) that got the Gold Disc Award by "Swing Journal". The trio has been touring all over the world, and is especially loved by the japanese jazz fans. 

In 2008 the Walter Lang Trio regrouped: Thomas Markusson from Gothenburg/Sweden is playing bass now and Sebastian Merk from Berlin/Germany is the new drummer. Their first CD „Eurasia“ came out in 2009. Toghether with Lee Konitz, the Walter Lang Trio recorded their first CD for JAWO Records „Someone to watch over me“, in 2011. Their latest CD's „Starlight Reflections“ and "Moonlight Echoes“ were released in 2013 and 2015 by the japanese label Atelier Sawano.

Someone To Watch Over Me

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Neil Sedaka - The Very Best Of Neil Sedaka

Bitrate: MP3@320K/s
Time: 35:34
Size: 81.4 MB
Styles: AM pop
Year: 2001
Art: Front

[2:14] 1. The Diary
[2:30] 2. I Go Ape
[2:16] 3. Oh! Carol
[2:38] 4. Stairway To Heaven
[2:34] 5. You Mean Everything To Me
[2:50] 6. Run Samson Run
[2:35] 7. Calendar Girl
[2:41] 8. Little Devil
[2:36] 9. Happy Birthday, Sweet Sixteen
[2:18] 10. Breaking Up Is Hard To Do
[2:24] 11. Next Door To An Angel
[2:30] 12. Alice In Wonderland
[2:45] 13. Let's Go Steady Again
[2:37] 14. Bad Girl

Famed singer-songwriter Neil Sedaka was born on March 13, 1939, in Brooklyn, New York. By the age of 8, Sedaka was already a piano prodigy. In 1956, he was awarded a scholarship to the Juilliard School in New York City, where he continued to divide his time between pop music and classical studies. In 1952, while playing at a resort in the Catskill Mountains, he was introduced to 16-year-old Howie Greenfield, a young poetry writer. The two began a songwriting career that would continue through the 1980s.

In 1956, Neil Sedaka formed a high school group called The Tokens. They were discovered by record producer, Morty Craft who issued two Tokens singles that became regional hits. Shortly after, Sedaka went solo, releasing his first single on the Decca label, Snowtime. In 1958, Sedaka penned his first international hit, Stupid Cupid recorded by Connie Francis. In 1958, Sedaka and Greenfield joined the talent at 1650 Broadway, which included Neil Diamond, Carole King and Paul Simon. Record producer Steve Sholes contracted Sedaka for RCA, where he created such hits as Oh! Carol (written for former girlfriend Carole King), Breaking Up Is Hard To Do and Calendar Girl.

The Very Best Of Neil Sedaka

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Richard Elliot - Chill Factor

Styles: Saxophone Jazz, Smooth Jazz
Year: 1999
File: MP3@320K/s
Time: 50:09
Size: 115,2 MB
Art: Front

(4:55)  1. Moomba
(4:58)  2. Chill Factor
(4:36)  3. Deep Touch
(4:55)  4. This Could Be Real
(4:18)  5. Who?
(4:34)  6. On The Fly
(4:47)  7. Adia
(4:42)  8. Like Butter
(5:13)  9. Kick It Up
(4:51) 10. Ain't Nothing Like The Real Thing
(2:15) 11. Mikayla's Smile

Richard Elliot chose to go with the production expertise of Steve Dubin on his Chill Factor, but the silky, simmering soul influence of Paul Brown who produced the veteran saxman's previous hit, Jumpin' Off  has stuck. Where Elliot once routinely went for the jugular and blistering approach to his tenor, he lives up to this disc's name by bringing out some of his best hooks in a gentler, restrained mode. In the past, you might never mistake an Elliot horn lick for one by the master of funky cool, Boney James, but he's in that zone from the first easygoing notes of the bluesy opening track "Moomba." That's not to say he won't let out occasional gushes of the old intensity during certain break points in a tune, but it has to be the right occasion, like wrapping around Tim Heintz's bouncy Rhodes and Rick Braun's sassy flügelhorn on the title track. With other guests like Peter White, Elliot sets the example; rather than let White chime in with nylon string gymnastics, he instead asks the acoustic guitarist to simply embrace his gentle sax melody so tightly that you can hardly tell he's there. The most remarkable evidences of the new, more mature Elliot are the low bass tone he uses on the smoky ballad "Deep Touch" (what Gerry Mulligan might have sounded like on tenor) and the elegant, folksy duet "Mikayla's Smile," where he picks up his rarely used soprano and wraps a loving melody around the swaying acoustic guitar harmony lines of Dwight Sills. ~ Jonathan Widran http://www.allmusic.com/album/chill-factor-mw0000247170

Personnel:  Richard Elliot (saxophone); Siedah Garrett, Robbie Nevil (vocals); Steven Dubin (various instruments, drums, programming); Rick Braun (flugelhorn); Mitch Forman, Tim Heinz, Leon Bisquera (keyboards); Peter White (acoustic guitar); Wah Wah Watson, Dwight Sills, Paul Jackson, Tony Maiden, Michael Simms (guitar); Alex Al (bass); Lil' John Roberts (drums); Lenny Castro, Luis Conte (percussion).

Chill Factor

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Joanie Sommers - Johnny Gets Angry

Styles: Vocal
Year: 1962
File: MP3@320K/s
Time: 29:27
Size: 68,1 MB
Art: Front

(2:33)  1. Johnny Get Angry
(3:23)  2. A Nightingale Sang in Berkeley Square
(2:06)  3. The Piano Boy
(2:13)  4. I Don't Want to Walk Without You
(2:30)  5. Mean to Me
(2:38)  6. Shake Hands with a Fool
(2:02)  7. One Boy
(2:32)  8. Since Randy Moved Away
(2:21)  9. (Theme From) a Summer Place
(2:22) 10. Seems Like Long, Long Ago
(2:39) 11. Little Girl Blue
(2:02) 12. I Need Your Love

"Johnny Get Angry" was one of the great teen pop hits and the biggest for Joannie Sommers, but most of her recordings were in more of a mature vein pop in the old-fashioned sense. This straight CD reissue of her 1962 album has a mixture of both styles. The title track and "Since Randy Moved Away" sit alongside "(Theme From) A Summer Place" and "A Nightingale Sang in Berkeley Square," giving listeners a look at both sides of Sommers. Her minor hit version of "One Boy" from Bye Bye Birdie is also included among the dozen tracks here. With a playing time just under a half-hour, Johnny Get Angry could have been presented as a two-fer or with bonus tracks, but fans will be glad to finally have a legitimate reissue of her original album. ~ Greg Adams http://www.allmusic.com/album/johnny-get-angry-mw0000014752

Johnny Gets Angry

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Kevin Mahogany - Pride & Joy

Styles: Jazz, Vocal
Year: 2002
File: MP3@320K/s
Time: 50:22
Size: 116,1 MB
Art: Front

(2:28)  1. Signed, Sealed, Delivered I'm Yours
(6:27)  2. Pride and Joy
(5:26)  3. I Can't Get Next to You
(4:57)  4. Neither One of Us (Wants to Be the First to Say Goodbye)
(3:33)  5. The Tears of a Clown
(2:53)  6. Reach Out I'll Be There
(5:11)  7. My World Is Empty Without You
(4:19)  8. Never Can Say Goodbye
(6:14)  9. She's Out of My Life
(3:30) 10. The Hunter Gets Caputured by the Game
(5:19) 11. Just My Imagination (Running Away With Me)

The Tamala-Motown songbook...Kevin Mahogany is a bit of a quandary. A very fine jazz vocalist, Mahogany is not content just to recapitulate the standards. His current Pride & Joy and 2000's Pussy Cat Dues The Music of Charles Mingus are both tightly focused efforts intent on shining a light on little illuminated corners of jazz. Pride & Joy is a swinging tribute to Motown. Mahogany opens his tribute with a down-on-the-corner a cappella "Signed, Sealed, and Delivered." Marvin Gaye's "Pr;ide and Joy" is transformed from a Motown template into a swinging jazz vehicle that Mahogany takes for a spin. "Tear's of a Clown" is delivered as an angular ballad with only guitar accompaniment. 

A cappella delivery returns with "Reach Out I'll Be There." "Never Can Say Goodbye" is slickly produced and perfored. Mahogany throws off these gems in the same way George Gordon, Lord Byron could throw off brilliant verse without effort. Pride & Joy is well-conceived and delivered...Signed and Sealed. ~ C.Michael Bailey https://www.allaboutjazz.com/pride-and-joy-kevin-mahogany-telarc-records-review-by-c-michael-bailey.php
 

Personnel: Kevin Mahogany, Gregory Clark, Todd Johnson, Gerald Trottman, Peter Eldridge: Vocals;  Jon Faddis: Trumpet;  James Weideman:  Piano;  Dave Stryker:  Guitar;  Melissa Slocum:  Bass;  Charles Haynes:  Drums/Telephone Books:  Don Alias:  Percussion

Pride & Joy

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Rodney Whitaker - Hidden Kingdom

Styles: Jazz, Post Bop 
Year: 1997
File: MP3@320K/s
Time: 67:09
Size: 154,9 MB
Art: Front

(8:14)  1. Childhood
(9:45)  2. Blues in the Closet
(5:34)  3. Repentance
(7:18)  4. Mastery Through Love
(3:42)  5. Pilgrim Progress
(6:40)  6. First Impressions
(7:21)  7. The Child in the Womb
(6:46)  8. Hidden Kingdom
(9:19)  9. Open Hit (D. W.)
(2:26) 10. The Promise of You

On his second CD as a leader, Rodney Whittaker is joined by a rotating cast of Detroit's best jazz players and other guests for a program of original compositions by the group's members and one jazz classic, with Whittaker's big-toned bass anchoring the proceedings. Sax superstar James Carter guest stars on five of the ten selections, with his swing-based tone and cutting edge tendencies, although he is more restrained here than on his own recordings. Favorites include Whittaker's "Childhood," a multi-tempo composition that features an excellent alto sax solo by Cassius Richmond and an exciting trumpet-tenor duel between Dwight Adams and Ron Blake; a joyous romp on Oscar Pettiford's "Blues in the Closet"; Richmond's multi-themed and multi-tempo "First Impressions"; and Whittaker's lovely ballad "The Child in the Womb." Whittaker's bass playing and composing establish him as one to watch in the future.~ Greg Turner http://www.allmusic.com/album/hidden-kingdom-mw0000032518

Personnel:  Dwight Adams – Trumpet (1, 5, 7, 8, 10);  Marcus Belgrave – Trumpet (2, 3, 4, 6);  Cassius Richmond – Flute, Alto Sax (1, 2, 4, 5, 6, 8, 10);  Ron Blake – Soprano, Tenor (1, 5, 7, 8, 10);  James Carter – Soprano, Tenor Sax (2, 3, 4, 6, 9);  Mark Hynes – Soprano Sax (4);  Peter Martin – Piano (1, 5, 7, 8, 10);  J. D. – Piano (2, 3, 6, 9);  Rick Roe – Piano (4);  Rodney Whitaker – Bass;  Gerald W. Cleaver - Drums (1, 5, 7, 8, 10);  Gregory Hutchinson – Drums (3, 9);  Kariem Riggins – Drums (2, 4, 6);  Leonard King – Vocal (10)

Hidden Kingdom

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George Shearing - Paper Moon: Music Of Nat King Cole

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 62:48
Size: 146,1 MB
Art: Front

(4:38)  1. Straighten Up And Fly Right
(4:00)  2. I'm Lost
(4:37)  3. Sweet Lorraine
(3:56)  4. Nature Boy
(5:22)  5. Homeward Bound
(3:55)  6. I'm Thru With Love
(5:14)  7. It's Only A Paper Moon
(5:00)  8. Gee Baby, Ain't I Good To You
(5:04)  9. Lost April
(6:19) 10. Peaches
(3:55) 11. You've Changed
(3:14) 12. I'd Love To Make Love To You
(3:27) 13. Could Ja
(4:02) 14. I Just Can't See For Lookin'

Pianist George Shearing re-creates the instrumentation of the classic Nat King Cole trio on this 1995 session, but, rather than try to emulate the original performances, he wisely offers his own perspective on Cole's repertoire. Shearing, who collaborated with Cole on the successful 1961 date Nat King Cole Sings/George Shearing Plays, counts Cole as an early influence and inspiration. For these 14 pieces, he combines his own elegant touch, elements of Cole's style including a pianistic approach to Cole's singing style as well as some of pianist Teddy Wilson's boppish swing. The most distinctive piece is a highly impressionistic version of Cole's 1948 hit "Nature Boy," which Shearing performs unaccompanied. Cole's trio was propelled by the energy and drive of the guitar and bass. Oscar Moore's guitar, and later that of Irving Ashby and then John Collins, was key, both for rhythm and as a solo voice. All three guitarists had a vintage, amplified sound noted for its warmth and sustaining tone. Shearing's guitarist, Louis Stewart, relies more on the natural tone of the guitar itself. His rhythm work is not as dynamic as Moore's, but it fits well with Shearing's conception. Longtime Shearing bassist Neil Swainson provides a solid foundation for the group and has a balanced, well-recorded presence in the mix. The performances generally run a good bit longer than the originals, giving the trio room to stretch out on several tracks. Comparisons are inevitable, but, ultimately, Shearing's work here must stand on its own merits which it does in this fine, relaxed trio outing that takes a genteel, drawing-room approach to the Cole sound.~ Jim Todd http://www.allmusic.com/album/paper-moon-mw0000071121

Personnel:  Bass – Neil Swainson;  Guitar – Louis Stewart;  Piano – George Shearing

Paper Moon: Music Of Nat King Cole

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Keith Jarrett - Bop-Be

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 39:31
Size: 91,8 MB
Art: Front

( 6:03)  1. Mushi Mushi
( 3:16)  2. Silence
( 6:59)  3. Bop-Be
( 3:41)  4. Pyramids Moving
(10:35)  5. Gotta Get Some Sleep
( 3:38)  6. Blackberry Winter
( 5:17)  7. Pocket Full Of Cherry

Here is another LP helping from the Keith Jarrett "American" Quartet's last recording session one that is almost as consistent in quality as its predecessor. The happy-go-lucky groove of the title track perfectly expresses its name, with Jarrett blithely singing along; both Dewey Redman and Charlie Haden get plenty of solo space on Redman's "Gotta Get Some Sleep" and Haden's "Pocket Full of Cherry" (a pun referring to Haden cohort Don Cherry); and Paul Motian remains a marvelously flexible drummer. Moreover, there is another fascinating swatch of Middle Eastern experimentation on "Pyramids Moving." ~ Richard S.Ginell http://www.allmusic.com/album/bop-be-mw0000938452

Personnel:  Keith Jarrett - piano, soprano saxophone, percussion;  Dewey Redman - tenor saxophone, musette;  Charlie Haden – bass;  Paul Motian - drums, percussion

Bop-Be

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Rodney Whitaker - Children of the Light

Styles: Jazz, Post Bop
Year: 1996
File: MP3@320K/s
Time: 69:36
Size: 160,0 MB
Art: Front

(6:47)  1. Mandela's Muse
(4:30)  2. Broadway
(6:06)  3. One Silent Moment
(5:31)  4. On Green Dolphin Street
(5:13)  5. Woman Child
(7:25)  6. Mood Swings
(6:53)  7. (Queen) Roz
(5:51)  8. Children of the Light
(7:00)  9. Langman
(7:13) 10. El Morro
(7:02) 11. Cultural Warrior

For his debut as leader, Rodney Whitaker takes center stage on several melodies and solos frequently. His playing is well-rounded in every respect, and he has a supple, sleek, strong tone. His core group for this outing consists of James Carter (tenor sax), Cassius Richmond (flute), Wallace Roney and Nicholas Payton (trumpet), Cyrus Chestnut (piano), Karriem Riggins and Gregory Hutchinson (drums), and Andrew Daniels (percussion); pianist Geri Allen and baritone saxophonist Alex Harding make cameo appearances. Three of the 11 tracks were penned by Whitaker the bass/percussion workout "Woman Child," the jungly "(Queen) Roz," and the crackling "Langman." Ken Cox's triumphant melody for Nelson Mandela, "Mandela's Mood," is a highlight, featuring bright melodies and Afro-Cuban underpinnings. Everyone solos on this piece, but it's Carter's histrionics that really provide the exclamation point. There are two hard boppers a version of "Broadway" featuring a path-clearing solo by Carter, and Richmond's "Mood Swings," which finds Carter and Roney acting like Wayne Shorter and Miles Davis. The title track features Payton's plaintive head statement and Chestnut's fervid solo. Whitaker's wife, Monzola, contributes the soft "One Silent Moment," while Roney lights things up for "On Dolphin Street." Allen waxes poetic beneath a bed of exotic, subtle rhythms on "El Morro," and the finale, "Cultural Warrior," is languid and solemn. Whitaker shows a grand diversity on this complete package of modern jazz. Highly recommended. ~ Michael G.Nastos http://www.allmusic.com/album/children-of-the-light-mw0000085197

Personnel:  Baritone Saxophone – Alex Harding (tracks: 3);  Bass – Rodney Whitaker;  Drums – Gregory Hutchinson (tracks: 4-6, 9, 10), Karriem Riggins (tracks: 1-3, 7, 8, 11);  Flute – Cassius Richmond (tracks: 1, 3, 10);  Percussion – Andrew Daniels (tracks: 1, 3, 5, 7, 9, 10);  Piano – Cyrus Chestnut (tracks: 1-3, 6-9, 11), Geri Allen (tracks: 4, 10);  Tenor Saxophone – James Carter (3) (tracks: 1-4, 6, 7, 9, 10);  Trumpet – Nicholas Payton (tracks: 1, 2, 3, 7, 8), Wallace Roney (tracks: 4, 6, 9, 10)

Children of the Light

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Brandi Disterheft - Blue Canvas

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 44:58
Size: 106,0 MB
Art: Front

(5:38)  1. Dis Here
(2:19)  2. Prelude to the Crippling Thrill
(4:26)  3. Crippling Thrill
(5:26)  4. Beehive
(4:32)  5. Daahoud
(4:27)  6. Blue Canvas
(4:11)  7. George's Dilemma
(3:39)  8. When the Mood is Right
(4:38)  9. Our Delight
(5:39) 10. Willow Weep for Me

Juno Award winning bassist, composer, vocalist Brandi Disterheft releases "Blue Canvas", the highly anticipated follow up to her critically acclaimed 2012 release ‘Gratitude.’ Like a savvy card player, she pulls out two aces from her deck in the new offering - her third release on the Justin Time Records label - joining forces with hard bop veteran pianist Harold Mabern and drummer Joe Farnsworth. Recorded last summer in Montreal after a successful club engagement at the Festival de Jazz de Montréal, and apart from an array of classic standards like the funky opener, Bobby Timmons' Dis Here, Tadd Dameron's Our Delight and George's Dilemma (a rarely heard Clifford Brown item), "Blue Canvas" also features four of Brandi’s original compositions, in fact she specifically wrote the originals on this album with the trio in mind, including a waltz for the cello When the Mood Is Right and the daringly epic suite/story of the Crippling Thrill. Daahoud showcases the legendary Harold Mabern in his Teddy Wilson stride-like ballad arrangement, and hear how romantic he makes this otherwise up-tempo song. The Beehive, Harold's composition is the highlight of the album with a signature Joe Farnsworth drum solo. In her eloquent liner notes, the multi-talented musician reminds us of the Muses of Ancient Greece, and how these Gods and Goddesses would lead the artist into a state of ecstasy. And such are the feelings that lead her to state that: “This album tells a story about that escape to freedom and the unyielding feeling of coming alive.”~ Editorial Reviews https://www.amazon.com/Blue-Canvas-Brandi-Disterheft/dp/B01D9EZJLI

Blue Canvas

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Penelope Sai - Sings 007

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 65:34
Size: 150,7 MB
Art: Front

(3:48)  1. License To Kill
(5:32)  2. Thunderball
(5:14)  3. From Russia With Love
(3:58)  4. A View to a Kill
(4:48)  5. Nobody Does it Better
(5:03)  6. Never Say Never
(4:32)  7. For Your Eyes Only
(4:21)  8. You Only Live Twice
(4:55)  9. GoldenEye
(4:25) 10. Goldfinger
(3:45) 11. Diamonds are Forever
(5:57) 12. Moonraker
(4:22) 13. Skyfall
(4:48) 14. We have all the Time in the World

Penelope Sai is a jazz vocalist and lyricist who infuses her diverse repertoire with a range of influences as it traverses refreshing interpretations of well loved jazz standards and striking original compositions.  Following an extensive career in fashion, Penelope moved to Paris to train in voice and improvisation with award winning jazz singer/teacher Anne Ducros and performed with numerous jazz ensembles. During this time Penelope launched a number of creative partnerships that have been sustained her through her solo recordings.

The latest offering  Penelope Sai Sings 007 is the jazz artists 4th album release, and what a spunky and brave offering it is! Sexy, dramatic & seductive, her guest soloists include the sublime French jazz violinist Didier Lockwood, and virtuoso American trumpeter and leader of The Count Basie Orchestra, Scotty Barnhart. These extraordinary musicians bring impeccable flair and take the recording to the next level of cool. The resulting record sizzles. It is timeless and a pure listening pleasure as it draws us back into the fabulous world of 007. http://www.penelopesai.com/

Sings 007

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Steve Gadd Band - Gadditude

Styles: Crossover Jazz, Fusion 
Year: 2013
File: MP3@320K/s
Time: 56:53
Size: 130,3 MB
Art: Front

(8:08)  1. Africa
(7:46)  2. Ask Me
(5:58)  3. Country
(6:40)  4. Cavaliero
(6:12)  5. Green Foam
(6:11)  6. The Mountain
(5:55)  7. Who Knows Blues
(5:40)  8. The Windup
(4:20)  9. Scatterbrain

Drummer Steve Gadd, the man responsible for some of the most memorable grooves and explosive drum solos on record, is often looked at as a perpetual sideman and session giant. Over the past four decades he's laid down the rhythmic law for everybody from Steely Dan to James Taylor and Chick Corea to Paul Simon, but he's been making more time for himself of late; in a three year span, he's managed to deliver four albums that highlight his versatility and supreme musicality: The hard grooving Live At Voce (BFM Jazz, 2010), billed to "Steve Gadd And Friends," a pair of albums from The Gaddabouts, a roots-y outfit which puts Gadd behind vocalist Edie Brickell and some studio heavyweights, and this earthy instrumental session. Gadditude finds the man of the hour fronting/backing a band that's been backing Taylor for years. Together, without Taylor, they deliver a program that's alternately about fun, feel and depth. Gadd's partners on this journey bassist Jimmy Johnson, trumpeter Walt Fowler, guitarist Michael Landau and keyboardist Larry Goldings are all supremely gifted players with shared musical values, making them ideally suited for this project. They all know how to simply throw it down and have a good time ("The Windup"), but they're also capable of extreme sensitivity when the music calls for different-and-precise aural coloring ("Scatterbrain").

Gadditude moves from spacy to grounded and airy to dense as the members of the Steve Gadd Band demonstrates why they're the first call guys for so many other musicians. As the album takes flight, the light textured fusion of Landau's "Africa" leads to the mellow and intriguing "Ask Me Now." Things become more reflective when Gadd and company explore Keith Jarrett's "Country," recast in three here, but that mood doesn't linger; Goldings' "Cavaliero," which comes next, has a bit more bite, thanks in large part to Landau's guitar work. As the album continues, Gadd and his companions tackle the blues ("Green Foam"), add a dash of old school American soul to pianist Abdullah Ibrahim's music ("The Mountain"), and have a party on their return visit to Jarrett territory ("The Windup"). Gadd doesn't deliver any chops-heavy solos or eye-popping fills here, but he does what he does best: create grooves and rhythmic foundations that support the music and accentuate the core concepts of each song. ~ Dan Bilawsky https://www.allaboutjazz.com/gadditude-steve-gadd-bfm-jazz-review-by-dan-bilawsky.php
 

Personnel:  Steve Gadd: drums;  Walt Fowler: trumpet, flugelhorn;  Larry Goldings: keyboards;  Jimmy Johnson: bass;  Michael Landau: guitar(s);  Arnold McCuller: vocals (3, 9);  David Lasley: vocals (3, 9).

Gadditude

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Chuck Mangione - The Feeling's Back

Styles: Flugelhorn Jazz 
Year: 1998
File: MP3@320K/s
Time: 57:00
Size: 132,1 MB
Art: Front

(4:51)  1. Mountain Flight
(7:39)  2. Consuelo's Love Theme
(6:36)  3. Leonardo's Lady
(6:05)  4. Fotografia
(3:34)  5. Quase
(5:06)  6. Aldovio
(5:59)  7. Once Upon A Love Time
(8:25)  8. Manhã De Carnaval
(3:51)  9. Maracangalha
(4:50) 10. Le Vie En Rose

Chuck Mangione, who all but disappeared from the radar screens after his enormously successful run of best-selling albums in the mid- to late-'70s, says "the feeling's back" and, if we are to judge from his even-tempered debut for Chesky Records, so is Chuck, who seems to be playing his dulcet flugel as well as ever. He's always had a well-developed ear for beguiling melodies, and that too seems as keen as ever. While one may question the music's Jazz content, none can doubt its loveliness or charm. The downside is that much of the date is rather dreamy and atmospheric, as if everyone were reaching for another crossover chart-buster such as "Land of Make Believe," "Chase the Clouds Away," "Feels So Good" or "Hill Where the Lord Hides." In that respect, there are several noteworthy candidates including "Consuelo's Love Theme," "Leonardo's Lady," "Aldovio" and "Once Upon a Love Time," each of which appears to have been written by Mangione with that purpose in mind. Equally lovely are the relatively more familiar "Mountain Flight" by Toninho Horta; Jobim's "Fotografia"; Luis Bonfá's "Manhã de Carnaval," and Edith Piaf's mega-hit from the '50s, "La Vie en Rose." There are only two songs designed to stir one's blood and quicken the pulse rate, Dori Caymmi's "Maracangalha" and Mario Adnet/Carlos Sandroni's "Quase," and even they simmer more than cook. Also, this is Chuck's show all the way, with the flugel commanding the spotlight and everyone else remanded to the chorus. Nothing wrong with that (it is his gig), but one should be aware that Mangione isn't playing much Jazz these days; the session is long on melody but short on improvisation. 

If you heard any of Chuck's well-received albums of a generation ago, you'll pretty much know what to expect.  The Feeling's Back is in many ways a throwback. Whether it can recapture the special magic of the '70s remains to be seen. ~ Jack Bowers https://www.allaboutjazz.com/the-feelings-back-chuck-mangione-chesky-records-review-by-jack-bowers.php
 

Personnel: Chuck Mangione (flugelhorn);  Cliff Korman (piano, keyboards);  Jay Azzolina (guitar);  Paulo Braga (drums);  Sanders (vocals);  Gerry Niewood (flute, alto flute);  Sarah Carter (cello);  David Finck (acoustic & electric basses); Kip Reid (electric bass); Cafe (percussion).

The Feeling's Back

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Kirk Knuffke & Ted Brown - Pound Cake

Styles: Cornet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 61:30
Size: 141,3 MB
Art: Front

(5:16)  1. Arrive
(5:38)  2. Jazz Of Two Cities
(7:24)  3. Pound Cake
(5:35)  4. Feather Bed
(5:53)  5. Gee Baby Ain't I Good To You
(5:53)  6. Slippin' & Slidin'
(7:37)  7. Swivel
(7:08)  8. Lennies
(5:27)  9. Dig It
(5:35) 10. Blimey

It seems that cornetist Kirk Knuffke, in addition to his many more adventurous projects, has made it his personal mission to document a good deal of the jazz tradition as well, through an ongoing set of recordings with SteepleChase.  (See the reviews on this site of his “tribute” discs with Jesse Stacken: his Mingus record, Orange Was the Color, and his Like a Tree, which includes compositions by Carla Bley, Ornette Coleman, and Misha Mengelberg.  Although unlike those other discs this one includes some originals, some of the standout tracks are the jazz standards, which include Lester Young’s “Pound Cake” and Don Redman’s “Gee Baby Ain’t I Good to You.”  Considered collectively, these albums aren’t destined to become Free Jazz Blog classics, as they’re considerably more mainstream than the majority of recordings we review. Nevertheless, they’re still quite compelling in their own right, as Knuffke manages to infuse them with enough energy and creativity to avoid having them become staid repertory exercises.

It helps that he has such talented bandmates: in this case, his senior partner Ted Brown, a longtime “cool”-styled tenor saxophonist who has recorded with Lennie Tristano, Warne Marsh and Lee Konitz; bassist John Hébert; and drummer Matt Wilson, like Knuffke also a veteran of both outside and inside recording sessions.  Each offers his distinctive voice as an essential part of the collective whole.  Brown has a restrained yet self-assured tone, and his studied explorations of these tunes, including a number of his own originals, are consistently interesting.  Hébert can generate a nice swinging bass line when he needs to, but he’s also able to open things up a bit, using more space in his playing to give the others room to work.  Wilson is right there with him in this regard, as he can provide some punch when it’s called for, but he is typically willing to limit himself to occasional light snare and cymbal accents so as not to overwhelm the proceedings, especially on the quieter tracks. For his part, Knuffke shows himself to be a virtuosic presence, ranging from impressive flurries of notes (particularly on the title track) to more careful, measured passages that are more subtle and spare.  While his technique is remarkable, he always manages to put it in the service of the music as a whole, and he’s particularly sensitive when joining in with Brown, as the two engage in some thoughtful interaction on a few of the tracks a great example being “Swivel,” one of the two Knuffke compositions on the record, in which the two horns intertwine nicely during the last third of the tune. Every now and then it’s good to hear a well-played mainstream record that does justice to the ongoing vitality of the jazz tradition, and this certainly qualifies.  I’m not at all sure how Knuffke manages to find time for all his varied projects, but this is a worthy one. ~ Troy Dostert http://www.freejazzblog.org/2013/11/kirk-knuffke-and-ted-brown-pound-cake.html

Personnel:  Kirk Knuffke – Cornet;  Ted Brown - Tenor Saxophone;  John Hebert – Bass;  Matt Wilson - Drums

Pound Cake

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Tim Warfield - Inspire Me!

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 53:45
Size: 123,7 MB
Art: Front

( 5:49)  1. Monkee See Monkee Doo
( 5:33)  2. Robert Earl
(10:34)  3. Ny Daze Ny Knights
( 6:06)  4. When I'm Alone With You
( 8:24)  5. Inspire Me!
( 6:44)  6. What If's
( 4:36)  7. A Tinge of the Melancholy
( 5:56)  8. Monkee See Monkee Doo(Alternate Take)

Saxophonist Tim Warfield has a lot of irons in the fire. While serving as "artist-in-residence" at Messiah College, attending to his duties as an adjunct faculty member at Temple University, appearing live under his own name and working with high profile artists like trumpeter Terell Stafford, he also found time to deliver three albums in an eleven month span Tim Warfield's Jazzy Christmas (Self Produced, 2012), Eye Of The Beholder (Criss Cross, 2013) and the record under discussion here; if that's not musical multi-tasking, nothing is.  Warfield a once-upon-a-time "young lion" and finalist in the 1991 Thelonious Monk International Jazz Saxophone Competition is one of the most consistently engaging saxophonists in the game, yet he rarely gets the credit and attention he deserves from the listening public. Fortunately, those inside the jazz community know the real score when it comes to Warfield. He's something of a musician's musician, as demonstrated by the fact that he's played and recorded with everybody from trumpeter Nicholas Payton and vibraphonist Stefon Harris to organist Joey DeFrancesco and pianist Orrin Evans, and his pillowy-to-billowy range and no-nonsense approach have served him well in all of those situations; those same attributes are also ever-present on Inspire Me!.

While Warfield gets top billing here, the album is something of a collaboration between Warfield and Herb Harris. Harris produced the record, wrote all of the material and released the album on his own imprint. If that wasn't enough, he also adds vocals in a few places and picks up his tenor saxophone for one number ("NY Daze NY Knights"). Harris is, essentially, the man behind the album, but Warfield is the man upfront on the album. Every track, from the bluesy "Monkee See Monkee Doo" to the mellow "Robert Earl" to the simply swinging "When I'm Alone With You," serves as a showcase for his horn. 

Harris and Warfield, ultimately, deserve the most ink for putting this project together, but a few other noteworthy individuals make some important contributions. Kevin Hays contributes some sterling piano solos and support, trumpeter Antoine Drye stands tall next to Warfield on five of the eight album tracks, bassist Greg Williams is rock solid from top to bottom, and drummer Rodney Green serves as the driving force behind the strongest track on the album "NY Daze NY Knights." Harris' vocals, which come off wonderfully on "A Tinge Of Melancholy" but sound a bit less comfortable on the skyward reaching melody of "What If's," create another dimension here, helping to bring variety to the table.  Inspire Me! manages to live up to its titular mission while showcasing an incredible saxophonist and his ace backing band. Who could ask for anything more? ~ Dan Bilawsky https://www.allaboutjazz.com/inspire-me-tim-warfield-herb-harris-music-review-by-dan-bilawsky.php
 

Personnel: Tim Warfield: tenor saxophone; Herb Harris: vocals (6, 7), tenor saxophone (3); Antoine Drye: trumpet (1, 2, 3, 5, 8); Kevin Hays: piano; Greg Williams: bass; Rodney Green: drums.

Inspire Me!

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Anna Danes - Find Your Wings

Styles: Jazz, Vocal
Year: 2016
File: MP3@320K/s
Time: 46:45
Size: 108,0 MB
Art: Front

(4:30)  1. When You Were My King
(4:42)  2. I Will Wait for You
(4:25)  3. It's Crazy
(4:18)  4. I Want to Be Around / Cry Me a River
(3:12)  5. Find Your Wings
(4:07)  6. That's All
(3:45)  7. Long Distance
(3:29)  8. In the Wee Small Hours
(3:52)  9. See You in L.A.
(5:03) 10. Mr. OMG
(3:21) 11. The Voice
(1:55) 12. I Love You

On her 2014 debut, San Diego's Anna Danes came across as what she admittedly was: A woman who only came to singing in her 40s, who had limited training, only a rudimentary grasp of technique and theory -in short, a beginner. The voice was unpolished, the delivery often hesitant, the choice in material suspect for someone aspiring to be a serious jazz musician. Danes proves herself an adept student of the art, though, on "Find Your Wings," her follow-up album. An exquisite duet with British actor Richard Shelton of "That's All," the smoldering romantic standard, is unlike anything heard on her first release. Her singing voice exhibits a bottom half barely evident previously, her pacing is nearly languid, and she's learned how to caress space as well as notes, to dance atop the band instead of marching alongside it. She shows herself, in fact, a jazz singer. While "That's All" alone would be worth obtaining the album to possess, the other 11 songs here are a nice mix of jazz standards and newly written originals. If Danes is still finding her feet as composer, her sometimes uneven originals are still an improvement over some of the pop covers on her first release.

Her interpretations of the Great American Songbook range from standards like "In the Wee Small Hours" (an obvious and lovely homage to the 1970s Tony Bennett -Bill Evans sessions) and "Cry Me a River" (which swings like Anita O'Day in her prime) to lesser known gems like Sammy Cahn's "It's Crazy" (featuring more wonderful interplay between Danes and pianist Rich Ruttenberg). Of the half-dozen originals that Danes wrote or co-wrote, "The Voice" is the strongest of the bunch, with the most memorable melodic theme every bit as good as the songs written by more established songwriters Michel Legrand and Janiva Magness. The backdrop provided by the jazz trio of Rich Ruttenberg (piano), Trey Henry (bass) and John Ferraro (drums) frames every song in its best possible light. It is a serious jazz combo -and one Danes shows she is capable of fronting without fear of exposing herself as the weak link.

For the sake of jazz fans, one hopes that this is merely another step in Danes' growth as singer -that she spends the coming decades continuing to learn, and putting that knowledge to work in the recording studio. One also hopes the borderline cheesy and definitely embarrassing marketing of Danes' attractiveness on the first two albums with the slinky dresses and hither come yon flirtation on the covers -goes by the wayside. Market her voice, her growing artistry, her increasing command of the jazz idiom.  Anything less is an insult to her work. ~ Jim Trageser https://www.allaboutjazz.com/find-your-wings-anna-danes-self-produced-review-by-jim-trageser.php

Personnel: Anna Danes: vocal;  Rich Ruttenberg: piano; Trey Henry: bass;  John Ferraro: drums.

Find Your Wings

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Rahsaan Roland Kirk - Blacknuss

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 42:41
Size: 98,0 MB
Art: Front

(2:24)  1. Ain't No Sunshine
(3:44)  2. What's Goin' On, Mercy Mercy Me (The Ecology)
(2:47)  3. I Love You Yes I Do
(3:18)  4. Take Me Girl, I'm Ready
(3:04)  5. My Girl
(2:26)  6. Which Way Is It Going
(3:40)  7. One Nation
(4:01)  8. Never Can Say Goodbye
(7:12)  9. Old Rugged Cross
(4:49) 10. Make It with You
(5:11) 11. Blacknuss

From its opening bars, with Bill Salter's bass and Rahsaan's flute passionately playing Bill Withers' "Ain't No Sunshine," you know this isn't an ordinary Kirk album (were any of them?). As the string section, electric piano, percussion, and Cornel Dupree's guitar slip in the back door, one can feel the deep soul groove Kirk is bringing to the jazz fore here. As the tune fades just two and a half minutes later, the scream of Kirk's tenor comes wailing through the intro of Marvin Gaye's "What's Goin' On," with a funk backdrop and no wink in the corner he's serious. With Richard Tee's drums kicking it, the strings developing into a wall of tension in the backing mix, and Charles McGhee's trumpet hurling the long line back at Kirk, all bets are off especially when they medley the mother into "Mercy Mercy Me." By the time they reach the end of the Isleys' "I Love You, Yes I Do," with the whistles, gongs, shouting, soul crooning, deep groove hustling, and greasy funk dripping from every sweet-assed note, the record could be over because the world has already turned over and surrendered and the album is only ten minutes old! Blacknuss, like The Inflated Tear, Volunteered Slavery, Rip, Rig and Panic, and I Talk to the Spirits, is Kirk at his most visionary. He took the pop out of pop and made it Great Black Music. 

He took the jazz world down a peg to make it feel its roots in the people's music, and consequently made great jazz from pop tunes in the same way his forbears did with Broadway show tunes. While the entire album shines like a big black sun, the other standouts include a deeply moving read of "My Girl" and a version of "The Old Rugged Cross" that takes it back forever from those white fundamentalists who took all the blood and sweat from its grain and replaced them with cheap tin and collection plates. On Kirk's version, grace doesn't come cheap, though you can certainly be a poor person to receive it. Ladies and gents, Blacknuss is as deep as a soul record can be and as hot as a jazz record has any right to call itself. A work of sheer blacknuss! ~ Thom Jurek http://www.allmusic.com/album/blacknuss-mw0000101699

Personnel: Rahsaan Roland Kirk (vocals, tenor saxophone, flute, whistle, percussion); Princess Patience Burton, Cissy Houston (vocals); Charles McGhee (trumpet); Dick Griffin (trombone); Sonelius Smith, Richard Tee (piano); Mickey Tucker (organ); Billy Butler, Cornell Dupree, Keith Loving (guitar); Henry Pearson, Bill Salter (bass); Khalil Mhrdi, Bernard Purdie (drums); Arthur Jenkins (congas, cabasa); Richard Landrum (congas); Joe Habad (percussion).

Blacknuss

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Connie Evingson - The Secret Of Christmas

Styles: Vocal, Holiday, Christmas
Year: 2002
File: MP3@320K/s
Time: 49:48
Size: 114,4 MB
Art: Front

(3:25)  1. Snowfall/ I Love The Winter Weather
(5:19)  2. Carol Of The Bells
(5:34)  3. Simple Gifts
(5:50)  4. The Christmas Song
(6:41)  5. The Nutcracker Petit Suite
(6:05)  6. Some Children See Him
(4:22)  7. Gesu Bambino
(5:56)  8. The Secret Of Christmas
(5:14)  9. A Cradle In Bethlehem
(1:17) 10. Silent Night

Connie Evingson's set of Christmas jazz has plenty of variety and mood changes. The warm singer performs a medley of "Snowfall" and "I Love the Winter Weather," interacts with guest trumpeter Doc Severinsen on the Latin jazz number "Gesu Bambino," takes a brief "Silent Night" a cappella, and duets with guitarist/vocalist Robert Everest on "A Cradle in Bethehem." Most impressive is "The Nutcracker Petite Suite," which has the singer's lyrics to six parts of Tchaikovsky's Nutcracker Suite in a very coherent six-and-a-half-minute story. Mixing together the celebratory with the reverent, The Secret of Christmas is both entertaining and respectful. Recommended for one's Christmas jazz collection. ~ Scott Yanow http://www.allmusic.com/album/the-secret-of-christmas-mw0000784579

Personnel: Connie Evingson (vocals); Robert Everest (vocals, guitar); Dave Karr (flute, clarinet, saxophone); Doc Severinsen (trumpet); Mary Louise Knutson, Sanford Moore (piano); Ricky Peterson (organ); Terry Burns (bass guitar); Steve Jennings, Jay Epstein (drums); Shai Hayo (percussion).

Thank You my Friend!

The Secret Of Christmas

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Bill Evans - Jazzhouse

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 39:40
Size: 92,2 MB
Art: Front

(6:01)  1. How Deep Is The Ocean
(4:05)  2. How My Heart Sings
(3:52)  3. Good Bye
(5:48)  4. Autumn Leaves
(3:14)  5. California, Here I Come
(4:33)  6. Sleepin' Bee
(3:51)  7. Polka Dots And Moonbeams
(5:46)  8. Stella By Starlight
(2:27)  9. Five (Theme)

This set is one of two albums (both reissued on CD) recorded by the Bill Evans Trio (with bassist Eddie Gomez and drummer Marty Morell) at Copenhagen's Montmartre on one night in 1969 but not released initially until the late '80s. Evans sounds relaxed and swinging playing his usual repertoire. All of the songs (mostly standards) have been recorded by Evans at other times but the pianist's many fans certainly will not mind hearing these "alternate" versions of such tunes as "How Deep Is the Ocean," "How My Heart Sings," "Sleepin' Bee" and a light-hearted "California Here I Come." ~ Scott Yanow http://www.allmusic.com/album/jazzhouse-mw0000651674

Personnel:  Bill Evans – piano;  Eddie Gómez – bass;  Marty Morell - drums

Jazzhouse

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