Tony Bennett - Hot & Cool: Bennett Sings Ellington

Bitrate: MP3@320K/s
Time: 60:48
Size: 139.2 MB
Styles: Vocal jazz
Year: 1999
Art: Front

[3:58] 1. Do Nothin' Till You Hear From Me
[4:32] 2. Mood Indigo
[4:49] 3. She's Got It Bad (And That Ain't Good)
[4:35] 4. Caravan
[3:58] 5. Chelsea Bridge
[3:56] 6. Azure
[3:38] 7. I'm Just A Lucky So And So
[3:30] 8. In A Sentimental Mood
[3:16] 9. Take The A' Train/Don't Get Around Much Anymore
[4:43] 10. Sophisticated Lady
[6:53] 11. In A Mellow Tone
[3:56] 12. Day Dream
[4:55] 13. Prelude To A Kiss
[4:00] 14. It Don't Mean A Thing (If It Ain't Got That Swing)

Tony Bennett's practically inevitable commemoration of the Duke Ellington centenary is an appropriately blue-chip affair, with a big band and orchestra augmenting the Ralph Sharon Quartet on arrangements by Jorge Calandrelli, who has slowed the tempos to give the singer time to give intimate interpretations to the lyrics of songs like "Mood Indigo" and "Sophisticated Lady." Especially impressive are the less familiar tunes, such as "Azure" and "Day Dream." The slowest tunes also leave room for expressive solos by trombonist Al Grey and trumpeter Wynton Maralis ("Mood Indigo") and violinist Joel Smirnoff ("Sophisticated Lady"). Marsalis even gets his own tune, "Chelsea Bridge," to himself, which means, oddly, that on an album called Bennett Sings Ellington, there is a track on which Bennett does not sing and that was not written by Ellington! ("Chelsea Bridge" was composed by Ellington's partner Billy Strayhorn.) When you hear it, though, it's hard to complain. Less effective is the decision to stick short excerpts of "Take the 'A' Train" (never heard in its entirety) in between many of the tracks. But the main pleasure here is found in Bennett's vocals. In his early seventies, he probably couldn't have belted these songs if they'd been played in more demonstrative ways, but he gets a lot of out them in his breathy, conversational style. ~William Ruhlmann

Hot & Cool Bennett Sings Ellington      

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David Murray Infinity Quartet - Be My Monster Love

Bitrate: MP3@320K/s
Time: 56:09
Size: 128.6 MB
Styles: Post Bop, Modern creative
Year: 2013
Art: Front

[6:53] 1. French Kiss For Valerie
[6:34] 2. Be My Monster Love
[6:42] 3. Stressology
[6:18] 4. Army Of The Faithful (Joyful Noise)
[8:58] 5. Sorrow Song
[7:47] 6. About The Children
[5:39] 7. The Graduate
[7:14] 8. Hope Is A Thing With Feathers

David Murray: tenor saxophone; Marc Cary: piano,organ; Jaribu Shahid: bass; Nasheet Waits: drums; Bobby Bradford: cornet; Macy Gray: vocals; Gregory Porter: vocals.

David Murray's last Motema Music offering, Plays Nat King Cole en Español, wowed listeners with its inventive reading of the music from the great singer's two Spanish-language albums with a Cuban ensemble. On Be My Monster Love, Murray unveils his Infinity Quartet (named for the jazz loft he and Stanley Crouch operated in New York in the 1970s) with pianist/organist Marc Cary, drummer Nasheet Waits, and bassist Jaribu Shahid. While a Latin-tinged groove on opener "French Kiss for Valerie" sets the tone in post-bop terms, this is a varied affair that showcases the many aspects of the tradition Murray embodies in both his playing and arranging. He provides a link between an Ellington-ian elegance and the deep, gospel-influenced emotionalism of Albert Ayler, the soulful, melodic, inquisitive investigations of Ben Webster, and the modal openness of John Coltrane. The title track features Macy Gray (the first of three tunes here with lyrics by writer Ishmael Reed), offering her raw, sensual vocal on a fingerpopping swinger. Gregory Porter makes three appearances as well, first on the nearly gospel-ized R&B of "Army of the Faithful (Joyful Noise)," driven by Cary's B-3 and recalling Murray's Special Quartet with the late Don Pullen. The midtempo "Sorrow Song" is actually a deeply moving ballad with the saxophonist offering a rounded warmth in his tone as Waits' skittering cymbals set the groove. Rich, modal soul and Latin rhythms underpin Porter's vocal on "About the Children," with lyrics by Last Poet Abiodun Oyewole. Shahid's bassline is a propulsive glue, holding seemingly disparate elements together in a glorious whole. Murray's former teacher, trumpeter Bobby Bradford, guests with the quartet on the skillfully skewed blues walk that is "The Graduate." But the set's finest moment is on the nearly straight-ahead sprint that is "Stressology," with Murray getting in some of his most fleet-fingered lines and righteous groans. The interplay between Cary's piano and Shahid's bass is breathtaking. Be My Monster Love is a diverse, travel modern creative jazz through a prismatic lens. While Murray's compositions are tighter and more song-like than ever (the presence of these excellent vocalists highlights this), he simultaneously offers a group of stellar players the opportunity (collectively and individually) to shine and push their margins. Highly recommended. ~Thom Jurek

Be My Monster Love

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Chico Freeman / Von Freeman - Freeman & Freeman

Bitrate: MP3@320K/s
Time: 71:08
Size: 162.8 MB
Styles: Saxophone jazz
Year: 1981/2008
Art: Front

[ 8:12] 1. I Can't Get Started
[19:58] 2. Paying New York Dues
[ 6:36] 3. The Shadow Of Your Smile
[ 6:18] 4. Lover Man
[14:30] 5. Undercurrent
[ 5:27] 6. I Remember You
[10:04] 7. Jug Ain't Gone

The two tenors Chico Freeman and father Von Freeman had an opportunity to team up on this CD. Recorded live in concert, the Freemans are assisted by pianist Kenny Barron (Muhal Richard Abrams takes his place on "Paying New York Dues"), bassist Cecil McBee and drummer Jack DeJohnette. Von actually sounds the more modern of the two (due to his unusual tone) on a set mostly comprised of standards, plus McBee's "Undercurrents" and the lengthy jamming blues "Jug Ain't Gone," a tribute to Gene Ammons. The straight-ahead but sometimes eccentric music has its surprising moments, and the Freemans mostly battle to a tie. ~Scott Yanow

Freeman & Freeman

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Sarah Menescal - Consequence Of Love

Bitrate: MP3@320K/s
Time: 33:12
Size: 76.0 MB
Styles: Lounge, Bossa Nova
Year: 2016
Art: Front

[3:55] 1. Adventure Of A Lifetime
[3:35] 2. Save A Prayer
[3:48] 3. I Can't Go For That (No Can Do)
[2:50] 4. Lanternas Dos Afogados
[3:09] 5. Free Fallin'
[3:54] 6. Never Be The Same
[2:11] 7. Can't Get Enough Of You Baby
[2:50] 8. Mercy Mercy Me
[4:03] 9. Shout
[2:52] 10. Don't Stop Believin'

Sarah Menescal is the singer who has brought the bossa nova till an absolutely new place. Owner of a gorgeous voice and surrounded of an incredible crew of producers and musician she has arrived to the record studios with a solid career on her back. (Vintage Café, Jazz and 80s series, etc) On our artistic profit they have recorded this, her second album: "Consequence of Love" giving extremely sensitive versions of pop hits like Adventure of a Lifetime, Shout, Free Fallin´, Mercy, Mercy Me and Lanterna dos Afogados, among many others.

Consequence Of Love

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Cannonball Adderley & His Orchestra - African Waltz

Bitrate: MP3@320K/s
Time: 35:28
Size: 81.2 MB
Styles: Soul jazz, Modern big band
Year: 1961/1993
Art: Front

[3:02] 1. Something Different
[4:03] 2. West Coast Blues
[2:59] 3. Smoke Gets In Your Eyes
[2:13] 4. The Uptown
[3:39] 5. Stockholm Sweetnin'
[2:10] 6. African Waltz
[4:51] 7. Blue Brass Groove
[3:48] 8. Kelly Blue
[1:58] 9. Letter From Home
[3:40] 10. I'll Close My Eyes
[3:01] 11. This Here

Alto Saxophone – Cannonball Adderley; Alto Saxophone, Flute – George Dorsey; Baritone Saxophone – Arthur Clarke; Bass – Sam Jones; Congas – Ray Barretto; Drums – Charlie Persip, Louis Hayes; Piano – Wynton Kelly; Tenor Saxophone, Flute – Jerome Richardson, Oliver Nelson; Trombone – Bob Brookmeyer, Jimmy Cleveland, Melba Liston, Paul Faulise; Trumpet – Clark Terry, Ernie Royal, Nat Adderley, Nick Travis; Tuba – Don Butterfield. Recorded at Plaza Sound Studios, New York City; February 28, May 9 and 15, 1961.

The music on African Waltz is better than it should be. Cannonball Adderley had a fluke hit with "African Waltz," so a full album was recorded with the hopes of coming up with additional hits. These 11 selections (which include "African Waltz") feature altoist Adderley backed by an 18-piece big band with arrangements provided by Ernie Wilkins and Bob Brookmeyer. The tunes clock in between two and five minutes and leave little room for much improvising by anyone other than Cannonball, his brother Nat on cornet, and pianist Wynton Kelly. There is some strong material on the set (including "West Coast Blues," "Stockholm Sweetnin'" and a remake of "This Here"), but the results are not too substantial and this was not that big a seller but it is still a reasonably enjoyable effort. ~Scott Yanow

African Waltz

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Ellis Marsalis, Makoto Ozone - Pure Pleasure For The Piano

Styles: Piano Jazz 
Year: 2011
File: MP3@320K/s
Time: 46:46
Size: 107,8 MB
Art: Front

(4:49)  1. Confusing Blues
(7:19) 2. Do You Know What It Means To Miss New Orleans?
(4:40)  3. Sweet Georgia Brown
(4:23)  4. A Moment Alone
(6:45)  5. Emily
(7:41)  6. Longing For The Past
(6:03)  7. What Is This Thing Called Love
(5:03)  8. Struttin' With Some Barbecue

It is a bit ironic that Ellis Marsalis had to wait for sons Wynton and Branford to get famous before he was able to record on a regular basis, but Ellis finally received his long-overdue recognition. The father of six sons (including Wynton, Branford, Delfeayo, and Jason), Ellis Marsalis' main importance to jazz may very well be as a jazz educator; his former pupils (in addition to his sons) include Terence Blanchard, Donald Harrison, Harry Connick, Jr., Nicholas Payton, and Kent and Marlon Jordan, among others. He started out as a tenor saxophonist, switching to piano while in high school. Marsalis was one of the few New Orleans musicians of the era who did not specialize in Dixieland or rhythm & blues. He played with fellow modernists (including Ed Blackwell) in the late '50s with AFO, recorded with Cannonball and Nat Adderley in the 1960s, played with Al Hirt (1967-1970), and was busy as a teacher. Marsalis freelanced in New Orleans during the 1970s and taught at the New Orleans Center for Creative Arts. He recorded with Wynton and Branford on Father and Sons in 1982, an album that they shared with Chico and Von Freeman. After that, Marsalis recorded for ELM, Spindletop (a duet session with Eddie Harris), Rounder, Blue Note, and Columbia, issuing Twelve's It on the latter in 1998. Duke in Blue followed a year later. Since that time, Marsalis has kept busy releasing Afternoon Session, An Open Letter to Thelonious, and Ruminations. ~ Scott Yanow https://itunes.apple.com/us/artist/ellis-marsalis/id503569#fullText

Personnel:  Alto Saxophone – Branford Marsalis (tracks: 8);  Piano – Ellis Marsalis, Makoto Ozone

Pure Pleasure For The Piano

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Andrea Motis, Joan Chamorro, Orquestra Simfonica del Valles - Live at Palau De La Musica

Styles: Vocal, Trumpet And Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 51:05
Size: 117,8 MB
Art: Front

(5:24)  1. Solitude
(4:51)  2. Sophisticated Lady
(4:04)  3. My Favorite Things
(5:52)  4. Body and Soul
(4:04)  5. The Girl from Ipanema
(6:05)  6. Lover Man
(5:16)  7. Sun Showers
(3:42)  8. Crazy He Calls Me
(6:44)  9. La Javanesa
(4:59) 10. Feeling Good

In 2012 we recieved a proposal by the Orquestra Simfònica del Vallès to make a concert together in the cycle Simfònics al Palau. Immediatly we found the idea very interesting. Before, on our second album, Feeling Good, we had recorded some songs with a string quartet and we loved the experience. Now they gave us the opportunity to go further and be accompanied by a full symphonic orchestra. 

We accepted the proposal and we agreed on the repertoire to write the arrangements based on it, looking for a variety of rythms and that everyone felt comfortable. The concert was a success and the result is reflected in this new work. We hope you enjoy it. https://andreamotisjoanchamorro.bandcamp.com/album/live-at-palau-de-la-m-sica

Live at Palau De La Musica

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Grant Green - Reaching Out

Styles: Guitar Jazz
Year: 1961
File: MP3@320K/s
Time: 65:49
Size: 151,0 MB
Art: Front

( 5:22)  1. Reaching Out (Take 4)
( 6:49)  2. Our Miss Brooks (Take 4)
( 7:51)  3. A Flick Of A Truck (Take 1)
( 6:09)  4. One For Elena (Take 5)
( 9:15)  5. Baby, You Should Know It (Take 3)
( 5:28)  6. Falling In Love With Love (Take 1)
( 6:47)  7. Reaching Out (Take 1)
(10:13)  8. Our Miss Brooks (Take 1)
( 7:52)  9. One For Elena (Take 4)

Grant Green was just established as a leader by 1961 when these recordings were made, but this is not the typical Blue Note date that stamped his individuality in following years. Though Green is credited as the leader, those responsibilities are accepted by tenor saxophonist Frank Haynes, one of the most obscure but tastiest players on his instrument this side of Joe Henderson and Stanley Turrentine. The cool, spacious, thoughtful and unhurried sound of Haynes dominates this recording, as Green barely comes up for air on solos or the occasional joint melody line. Billy Gardner, better known as an organist, plays beautifully and with feeling on the piano, while bassist Ben Tucker and the great drummer Dave Bailey team up to provide the perfect, steady rhythmic foundation so essential to great mainstream jazz expressionism. Detroiter Rudy Stevenson consistently contributed to Green's repertoire, and here he delivers the title selection, a steady, subtle bop line, while Gardner wrote "One for Elena," another bop tune for Haynes and his understated demeanor, with Green's signature single-note staccato style emerging on his solo. Tucker always a solid musician contributes the compositions "A Flick of a Trick" and "Baby, You Should Know It," the former an easy swinging blues based jazz tune with Gardner's rumbling piano and a plus-plus solo, while the latter is a famous soul-jazz classic, vocalized in later years, but here a nice, long groove tune where Haynes and Green play in tandem. Harold Vick's "Our Miss Brooks" became a staple of Green's repertoire after this session, here it is rendered in a slow grinding blues base, with Green's one-note accents and simple rhythm guitar buoyancy. In only one instance, Green leads out for "Falling in Love with Love" as his true colors and personalized vibe shines. There are much longer master first takes on the CD reissue of "Reaching Out," "Our Miss Brooks," and "One for Elena." As most of Grant Green's best work is on the Blue Note label, these developmental sessions constitute a fledgling effort, easily treasured by his fans. It is also a high-water mark for Haynes, who sadly passed away only four years after this album was made. ~ Michael G.Nastos http://www.allmusic.com/album/reaching-out-mw0000310852

Personnel:  Dave Bailey – drums;  Frank Haynes - tenor saxophone;  Billy Gardner – piano;  Grant Green – guitar;  Ben Tucker - bass

Reaching Out

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Skip Wilkins - Skip Wilkins Quintet Disc 2

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 72:07
Size: 165,1 MB
Art: Front

( 9:26)  1. For Ten Percent
( 7:38)  2. Used to Be
( 7:06)  3. Agitated
( 7:09)  4. Need Some Ice
( 6:37)  5. Quiet, Please!
(10:14)  6. Not Perfect
( 7:16)  7. Betrayal
( 5:44)  8. Fortuitous Fifteen
(10:52)  9. Hold Me

"Quintet Volume II contains nine original tunes by the leader, some terrific, all interesting. What’s more, this is definitely a group effort...these fellows have played together for awhile, and its straight-ahead, cohesive sound shows it....The style is solid straight-ahead, many numbers on the contemplative side. ...Most tracks are seven to ten minutes long. Democratically, each musician gets equal solo time, ample opportunity to stretch out. The highly-rated Rissmiller particularly shines throughout, knitting the group together, embellishing each tune with his tasty touches on drums. Some stand outs--'Used to Me' features Kozik’s relaxed guitar and Marino’s soft bass. On 'Not Perfect,' Wilkins' jaunty piano introduces the tune, and Kendall’s soft sax effectively builds to a strong climax, blending with piano and guitar for a delicate, pensive finish.  Wilkins shows Bill Evans’ influence, stretching out for his strongest improvising in 'Fortuitous Fifteen,' a guitar-piano collaboration. 'Hold Me,' Wilkins' remembrance of 9/11, starts starkly, making way for Kendall’s haunting sax solo. The piano provides a moving coda, concluding a very fine album."~  JazzReview.com 

"Pianist Skip Wilkins continues his easy-to-take ways on this follow-up to last year's Volume I. Wilkins...doesn't wax professorial on this set of nine originals. The session sounds like West Coast cool but with updated, East Coast suavity. The quintet...regularly creates a likable languor. The tunes evolve - the fast-moving 'Needs Some Ice' hits a soulful interlude courtesy of (Tom Kozic's) guitar, while 'Quiet, Please,' written for a local politician whom Wilkins found irritating, comes off as chamomile mellow. Neat trick... 'Fortuitous Fifteen' is more angular and boppish yet still melodic, while 'Hold Me' is all liquid ballad."~  Philadelphia Inquirer

"Pianist Skip Wilkins gathers some musically sympathetic colleagues in Easton, Pennsylvania, for the second part of a marathon session. Wilkins' pieces are well thought out, with plenty of musical mile-markers in the solo sections to tie in with the various head structures...the musical quality is always there. The CD begins with a Silver-Blakey influenced mid-tempo quasi-shuffle, 'For Ten Percent,' a tune with some definite soul. Paul Kendall’s straight-ahead tenor solo reminds a little of Frank Foster or Benny Golson in its overall approach. Guitarist Tom Kozic comes through with a burnished tone like Burrell and he is no slouch. The rhythm section cooks along, drummer Rissmiller sounds tasty. Skip takes a solo next in an impeccable way according to the style at hand. An engaging tune. A pretty ballad in three follows, called 'Used to Be.' Wilkins takes a solo which gives you his lyrical-melodic sincerity and Kendall’s tenor sounds a bit like Shorter in a wistful mood. He builds the solo as the rhythm section takes on a kind of 1965 Miles feel... A Shorter ESP period-like 'Betrayal' follows, with a rather nice wispy tenor motif and piano response. Then follows an almost polite post-Evans 'Hold Me' with quiet chords on piano with quiet guitar commentary. The tenor does a Shorteresque cantabile and it’s all quite sensitive......well-wrought, quite pleasant...the song craft is in abundant evidence... the rhythm section strongly anchors the date and it’s all solid..." ~ Cadence  http://www.dreamboxmedia.com/wilkins.htm

Skip Wilkins Quintet

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George Cables Trio - Dark Side, Light Side

Styles: Piano Jazz
Year: 1997
File: MP3@224K/s
Time: 65:17
Size: 107,1 MB
Art: Front

( 9:39)  1. Dolphin Dance
( 9:15)  2. Dark Side, Light Side
( 7:37)  3. Ruby, My Dear
( 7:24)  4. Alone Together
(10:26)  5. In a Sentimental Mood
( 5:12)  6. One Finger Snap
( 7:10)  7. Sweet Rita Suite, Pt. 1
( 8:30)  8. Ah, George, We Hardly Knew Ya

George Cables focuses primarily on works by other jazz pianists on this trio date with bassist Jay Anderson and drummer Billy Hart. Thoughtful treatments of Thelonious Monk's "Ruby, My Dear" and Duke Ellington's "In a Sentimental Mood" contrast with the elaborate workouts of two Herbie Hancock tunes, the easygoing "Dolphin Dance" and the rapid-fire "One Finger Snap." The sole standard is a brisk rendition of "Alone Together." Don Pullen's quirky "Ah George, We Hardly Knew You" adds an exotic air. Cables' two originals especially stand out. "Dark Side, Light Side" is an intricate post-bop vehicle with an infectious tension-and-release highlighted by Cables' breezy improvising in a swinging setting, while "Sweet Rita Suite" is actually a Spanish-flavored waltz in disguise. This is another fine recording from George Cables' productive association with Steeplechase. ~ Ken Dryden http://www.allmusic.com/album/dark-side-light-side-mw0000050643

Personnel: George Cables (piano); Jay Anderson (bass); Billy Hart (drums).

Dark Side, Light Side

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Andre Previn, David Finck - We Got Rhythm: A Gershwin Songbook

Bitrate: MP3@320K/s
Time: 71:04
Size: 162.7 MB
Styles: Standards, Jazz-pop
Year: 1998
Art: Front

[3:15] 1. They All Laughed
[4:59] 2. Someone To Watch Over Me
[4:15] 3. Oh, Lady, Be Good
[5:47] 4. A Foggy Day
[5:33] 5. Do It Again Soon
[5:09] 6. Girl Crazy I Got Rhythm
[4:52] 7. Girl Crazy Embraceable You
[6:49] 8. He Loves, She Loves/Our Love Is Here To Stay
[3:31] 9. Fascinating Rhythm
[4:39] 10. Isn't It A Pity
[4:27] 11. boy what love has done to me/i've got a crush on you
[6:00] 12. Love Walked In
[5:21] 13. The Man I Love
[6:22] 14. 's Wonderful

André Previn moves seamlessly from the world of classical music to jazz and film, but on this occasion, the pianist covers 14 gems from the vast repertoire of George Gershwin. Well accompanied by bassist David Finck, Previn faces the same challenge every jazz musician must address: finding new paths through Gershwin's frequently recorded masterpieces. Previn uses a train-like bassline substitution to open and close a rollicking take of "They All Laughed," while the pianist is more laid-back in the bluesy treatment of "Oh, Lady Be Good" to better feature Finck initially. Previn's modification of "I Got Rhythm" provides some added dissonance. The haunting setting of the ballad "The Man I Love" suggests an added degree of melancholy. While this session was released on a classical label, Deutsche Grammophon, something that always seems to confuse record-label marketing departments, music store personnel, and consumers as well, it is very much a jazz date and a fine effort by André Previn and David Finck. ~Ken Dryden

We Got Rhythm: A Gershwin Songbook

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Hendrik Meurkens - Harmonicus Rex

Bitrate: MP3@320K/s

Time: 58:11

Size: 133.2 MB

Styles: Harmonica jazz

Year: 2016

Art: Front

[4:28] 1. Mundell's Mood

[5:06] 2. Slidin'

[5:42] 3. In Your Own Sweet Way

[4:09] 4. Aftenoon

[6:37] 5. Skj

[4:54] 6. Falling In Love With Love

[5:30] 7. A Summer In San Francisco

[5:41] 8. Up Jumped Spring

[5:05] 9. Mean Dog Blues

[5:21] 10. Darn That Dream

[5:33] 11. What's New

Hendrik Meurkens: harmonica; Dado Moroni; piano; Marco Panascia: bass; Jimmy Cobb: drums; Joe Magnarelli: trumpet, flugelhorn; Anders Bostrom: alto flute.

While the swing side of harmonica master Hendrik Meurkens' personality has basically been dormant for the past fifteen years, it hasn't disappeared. After highlighting his Brazilian jazz bona fides on record after record, Meurkens now returns to straight-ahead jazz on this instantly pleasing date. Harmonicus Rex, despite it's humorously monstrous title, isn't a roaring beast. There are no high speed scenarios to speak of and no bash-and-crash displays to witness. This record's strength is in its ability to get the point across without all of that needless showboating. It's essentially a model for how feel and taste can trump tempo and dynamic excess in terms of establishing a swinging environment. And with a cast that includes drumming legend Jimmy Cobb and under-the-radar heavies like pianist Dado Moroni and bassist Marco Panascia, it's easy to see why this album projects that train of thought.

In observing Meurkens here, it becomes increasingly clear that he's a master conversationalist with some incredible ears and reflexes. That's something that's often overlooked in discussions of his work, but it's central to the success of his art. Whether trading solos with trumpeter Joe Magnarelli on "Mundell's Mood," responding to Moroni with brief and subtle gestures during "In Your Own Sweet Way," blending and balancing his sound against that of Anders Bostrom's alto flute, or playing off of the rhythm section when in the spotlight, Meurkens' foremost concern is how he relates to the other musicians and the music at hand. Meurkens clearly relies on a recipe that calls for stirring all of the essential elements of a straightforward date together and cooking everything on low to medium settings. It's a formula for success. By exploring the mellow environs of ballads like "Afternoon" and "Darn That Dream," inviting a little heat and embracing the swing uplift on "SKJ" and "Up Jumped Spring," finding the sweet spots between those locales, and even taking a quick dip into bossa territory on "A Summer In San Francisco," Meurkens manages to create a complete picture that offers rich viewpoints to admire from wherever you happen to be standing. ~Dan Bilawsky

Harmonicus Rex

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The Hollies - Essential

Bitrate: MP3@320K/s
Time: 60:00
Size: 137.4 MB
Styles: British Invasion, AM Pop-Rock
Year: 2012
Art: Front

[2:11] 1. Stay
[2:08] 2. (Ain't That) Just Like Me
[2:17] 3. Here I Go Again
[2:13] 4. We're Through
[2:28] 5. Just One Look
[2:15] 6. Look Through Any Window
[2:23] 7. I'm Alive
[2:48] 8. Stop Stop Stop
[2:51] 9. Bus Stop
[2:42] 10. Jennifer Eccles
[2:52] 11. Carrie Anne
[3:11] 12. On A Carousel
[2:40] 13. Listen To Me
[4:19] 14. He Ain't Heavy He's My Brother
[3:54] 15. Gasoline Alley Bred
[3:14] 16. Long Cool Woman (In A Black Dress)
[4:02] 17. The Air That I Breathe
[3:52] 18. The Day That Curly Billy Shot Down Crazy Sam Mcgee
[3:59] 19. Soldier's Song
[3:34] 20. The Woman I Love

The Hollies are a well-respected British beat and rock and roll band that formed in the early 60s. Initially they had a squeaky-clean image and were famous for their rich vocal harmonies, rivaling those of The Beach Boys. Between 1964 and 1969, only two Hollies songs failed to reach the UK Top 10. Their most famous member was Graham Nash, who left in 1968 to form the folk supergroup Crosby, Stills & Nash. Two of the core members, drummer Bobby Elliott and lead guitarist Tony Hicks, still perform with The Hollies into the new millennium. Frequent releases during the mid-60s included many cover versions of popular songs, as well as a few group-penned hits and many songs written especially for them by professional songwriters.

The Hollies were formed in 1962 in Lancashire, England. By 1965,the group had been established as one of Britain's pre-eminent singles bands. As part of the British Invasion, they enjoyed huge chart success in many countries in the mid-Sixties, releasing a string of classic harmony-pop hits including Bus Stop I'm Alive, a UK No. 1, I Can't Let Go, Stop Stop Stop, Carrie Anne, On A Carousel, Look Through Any Window, and Jennifer Eccles. In 1972, the hit Long Cool Woman in a Black Dress reached #2 in the US. Their last mega hit was He Ain't Heavy, He's My Brother, hitting #1 in the UK in 1988 (albeit 19 years after its first release).

The band are noted for their longevity, with their 2006 tour chalking up 45 years. Despite numerous changes in line-up, Tony Hicks & Bobby Elliott have been with the band almost from its inception. Lead singer Allan Clarke left The Hollies in 1971, though he rejoined the band at later times. He was eventually replaced by Carl Wayne, ex lead singer of The Move, who passed away in 2004. Wayne was replaced by Peter Howarth. The 2007 line up is, Ian Parker on keyboards, Ray Stiles (Ex Mud, remember 'Tiger Feet') on bass guitar and Alan Coates on guitar and vocals by Steve Lauri.

The Hollies were inducted into the Rock and Roll Hall of Fame on March 15, 2010. Allan Clarke (vocals, 1962-71, 1973-99), Graham Nash (guitar, vocals, 1962-68, 1983), Eric Haydock (bass, 1962-66), Vick Farrell (guitar, 1962), Don Rathbone (drums, 1962-63), Tony Hicks (guitar, banjo, mandolin, electric sitar, vocals, 1963-present), Bobby Elliott (drums, percussion, 1963-present), Bernie Calvert (bass, 1966-81), Terry Sylvester (guitar, vocals, 1969-81), Mikael Rickfors (vocals, 1971-73), Denis Haines (bass, 1981-86), Alan Coates (guitar, 1981-2004), Ray Stiles (bass, vocals, 1986-present), Ian Parker (keyboards, vocals, 1991-present), Carl Wayne (vocals, 2000-04), Peter Howarth (vocals, acoustic guitar, 2004-present), Steve Lauri (guitar, vocals, 2004-present)

Essential

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Bobby Troup - Tell Me You're Home

Bitrate: MP3@320K/s
Time: 53:15
Size: 121.9 MB
Styles: Vocal jazz
Year: 2007/2015
Art: Front

[ 1:38] 1. Dream Of You
[ 1:44] 2. Route 66
[ 1:29] 3. Lullaby Of Birdland
[ 1:36] 4. Daddy
[ 1:58] 5. Their Hearts Were Full Of Spring
[ 1:16] 6. They Didn't Believe Me
[ 1:58] 7. Tell Me You're Home
[ 1:18] 8. Lulu's Back In Town
[ 2:00] 9. Do Re Mi
[ 1:31] 10. They Can't Take That Away From Me
[ 1:38] 11. You're Looking At Me
[ 1:52] 12. Hungry Man
[ 1:20] 13. You're In Love
[ 1:43] 14. Cuckoo In The Clock
[ 2:00] 15. It Happened Once Before
[ 1:31] 16. I'm With You
[ 1:47] 17. The Gypsy In My Soul
[ 1:34] 18. Lemon Twist
[ 1:30] 19. Indiana
[ 2:02] 20. The Three Bears
[ 2:21] 21. Baby, Baby All The Time
[ 1:45] 22. Heidi
[ 2:02] 23. Skylark
[ 1:25] 24. Tangerine
[12:06] 25. Interview Bobby Troup's Take On Route 66

Bobby was a first-rate songwriter (and much else). As a performer, he is more a "song stylist" than a strong singer, but a very pleasing stylist he is. This is a slightly odd jazz album. No number is developed. Rather, the songs average between 1:30 to 2:00 minutes apiece--a fine, light-touch jazz trio with the vocalist following the principle "do you remember this one?" then moving on. That's why there are 24 selections here! The 25th, however, is a 12-minute interview about Troup's early career and nervously auditioning a still untested Route 66 for Nat King Cole. Tom Snyder is the interviewer but he is sympathetic and restrained (no barking laughs a la Dan Aykroyd) and it's fun to listen to. Overall, a first rate album. ~Ronald L. Levao

Tell Me You're Home

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Lou Donaldson & Grant Green - Cool Blues

Styles: Saxophone And Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 71:01
Size: 162,9 MB
Art: Front

(6:38)  1. A Foggy Day
(9:26)  2. Here 'Tis
(6:53)  3. Cool Blues
(7:32)  4. Watusi Jump
(8:36)  5. Walk Wid Me
(8:33)  6. Misty
(6:08)  7. Please
(5:48)  8. Man With a Horn
(5:11)  9. Prisoner of Love
(6:12) 10. Stardust

Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years. Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s up until the present.

Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent. However, after a few years off records, Lou Donaldson's artistic return in 1981 and subsequent soul-jazz and hard bop dates for Muse, Timeless, and Milestone have found the altoist back in prime form, interacting with organists and pianists alike and showing that his style is quite timeless. ~ Scott Yanow http://www.allmusic.com/artist/lou-donaldson-mn0000808198/biography

Personnel: Lou Donaldson - alto sax,  Grant Green - guitar,  Baby Face Willette - organ on tracks 1-5,  Dave Bailey - drums on tracks 1-5,  Brother Jack McDuff - organ on tracks 6-10,  Joe Dukes - drums on tracks 6-10.

Cool Blues

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Lisa Bell - Dare To Be...

Styles: Jazz, Vocal
Year: 2002
File: MP3@320K/s
Time: 54:34
Size: 125,4 MB
Art: Front

(4:25)  1. Summertime
(5:50)  2. God Bless The Child
(5:41)  3. Skylark
(6:15)  4. Black Coffee
(2:28)  5. I'll Remember April
(3:45)  6. For All We Know
(4:45)  7. That Old Black Magic
(5:04)  8. What Can I Do
(5:01)  9. They Can't Take That Away From
(2:56) 10. Do Nothin'' till You Hear From
(4:41) 11. My Romance/That's The Way Of The World
(3:38) 12. In A Sentimental Mood

Singer Lisa Bell was born and raised in Boulder, CO, where she first showed an interest in singing after being taken to Dionne Warwick and Ella Fitzgerald concerts when she was six. She sang in school choirs, and as a high school student was selected to be a member of the jazz choral group Excalibur, which performed material associated with the Manhattan Transfer and Lambert, Hendricks & Ross. She earned a scholarship to the Conservatory of Music at the University of Missouri-Kansas City, graduating with a B.A. in Communications and Vocal Performance. Settling in Kansas City, she had various singing jobs that included studio and jingle work, stage appearances in musicals, and concert performances as a backup vocalist for Bobby McFerrin. Moving back to Colorado, she became a member of the Colorado Symphony Chorus, the Boulder Philharmonic Chorus, and a vocal jazz quartet called Jazz on the Rocks. Her debut album, Dare to Be..., was released by Hapi Skratch Records in 2002 and featured her versions of jazz standards such as "Summertime" and "Do Nothin' Till You Hear from Me." The album's release led to her appearances in jazz clubs and at jazz festivals. For her second album, It's All About Love (2005), she took a different tack, writing most of the songs herself and using instruments not generally associated with jazz such as a Dobro and a pedal steel guitar. ~ William Ruhlmann https://itunes.apple.com/us/artist/lisa-bell/id58897081#fullText

With her premier full-length CD recording Lisa has taken a fresh look at popular jazz standards to create modern soulful renditions that are all her own. The CD also features her first recorded original, What Can I Do, on which Nelson Rangell adds his magic with Soprano Sax. As an artist, Lisa dares to be different, expressive and musically eclectic. Her first CD reflects her unique style, smooth vocals and a band of musicians second to none. From the first notes of Summertime with a searing Latin beat, to the final In a Sentimental Mood with its exquisitely poignant vocal/guitar arrangement, Dare To Be...provides variety and excitement for standard and "cool" jazz lovers of all kinds. Dare To Be...is presented on the Hapi Skratch Records label. Lisa Bell has loved and has been performing jazz since she can remember, receiving her BA degree in vocal performance with an emphasis in jazz from the Conservatory of Music at the University of Missouri-Kansas City. In Kansas City, Lisa worked with Bobby McFerrin, Marilyn Maye and Ida McBeth among others. She also recorded numerous jazz demo albums as well as jingles during her eight years in the Kansas City area. Lisa has been singing tight vocal harmonies since high school, and was a founder and member of two professional vocal ensembles, More or Less Jazz and Jazz on the Rocks. She writes original songs in jazz, pop and contemporary Christian realms. Lisa honed her vocal skills over the years by performing every genre of music from musical theater to opera and country western, but her true passion is vocal jazz. http://www.cdbaby.com/cd/lisabellmusic

Dare To Be...

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Dave Stryker - Strike Up The Band

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 68:00
Size: 156,0 MB
Art: Front

(10:16)  1. Strike Up The Band
( 7:23)  2. The Message
( 8:32)  3. Airegin
( 7:19)  4. I Love You
( 8:35)  5. What Is This?
( 8:39)  6. Peace Song
( 8:16)  7. Blues Strut
( 8:56)  8. Saints And Sinners

Dave Stryker is a strong guitarist with an excellent back-catalog of credits to his name. While Strike Up The Band doesn't show off his full capabilities in their best light, it makes for a listenable jaunt, and a clear reminder that musicians on Stryker's level can seek out more demanding material. The album has a definite polish: Nils Winther's production is of a very high quality, and each of the four musicians plays with a distinctive and clear sound, too. So at root, the disappointment of the album is in its material. There are no bad songs here, to be sure; but neither are there any challenges, for the listener or for the musicians. Half the tracks are constructed over the same essential textures and tempos. Although the title track is indeed different from Gershwin's original envisioning, it burns with a high energy (thanks largely to a percussive rising line on the bass) that never resolves into anything. As a result, it's hard to tell what the effect of the arrangement is supposed to be: it feels tense and a little empty at once. Pianist Xavier Davis has a conventional style, but he relies principally on the adapted language of minor pentatonic harmony first popularized by McCoy Tyner. It's a great, full sound, but when used equally on "Airegin," "Strike Up The Band" and "Saints and Sinners," it loses some of its poignancy. There are definitely highpoints, though. "What Is This?" makes for a quirky play on "What Is This Thing Called Love?" And "I Love You," after an urbane bass riff under the intro and melody, features an intelligent guitar solo, though not Stryker's most dynamic. Still, Stryker and his band mates are capable of more than they attempt with this outing. ~ Jay Deshpande https://www.allaboutjazz.com/strike-up-the-band-dave-stryker-steeplechase-records-review-by-jay-deshpande.php
 

Personnel: Dave Stryker: guitar; Andy McKee: bass; Xavier Davis: piano; Billy Hart: drums.

Strike Up The Band

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Doug Snyder & Bob Thompson - Daily Dance

Styles: Guitar Jazz
Year: 1973
File: MP3@320K/s
Time: 41:41
Size: 95,6 MB
Art: Front

(10:28)  1. Daily Dance
( 1:28)  2. Living With The Crocodiles
( 8:05)  3. Time Overlaps Itself
( 4:53)  4. Soul And Universe
( 5:34)  5. Hit And Run
( 2:42)  6. Truth Is A Pathless Land
( 8:28)  7. Teenage Emergency

This is the 25th year anniversary reissue of a noteworthy historical and musical document. Daily Dance was recorded in rural Fayette County, Ohio in 1972, yet its clangorous drones sound as if they could have been recorded yesterday (or, perhaps, a few hours ago). Daily Dance was originally released as an LP in 1973 on the New Frontiers label...and has been out of print for about fifteen years.  Five years later Doug (largely on the strength of this recording) would become a “key” member of recondite NYC noise-improv ensemble Sick Dick and the Volkswagens, along with Donald Miller (Borbetomagus and Lhasa Cement Plant), Mark Abbott (see John Zorn's  School) and Brian Doherty (Borbeto and Lhasa).  

After Sick Dick’s demise (1983), Doug returned to Ohio. To this day, Snyder and Thompson perform and record together on a regular basis.  All in all, here is a disc that looks back toward The Velvet Underground, the Stooges and Elvin Jones, as it looks forward to Ascension, Keiji Haino and William Hooker (and any number of other free-noising, free-rocking manifestations)……and it was recorded over 25 years ago! http://www.sonic.net/~chm/warpodisc/daily_dance.htm

Personnel:  Doug Snyder - electric guitar;  Bob Thompson - drums and percussion

Daily Dance

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Blue Mitchell - Blue's Blues (Feat. John Mayall)

Bitrate: MP3@320K/s
Time: 55:25
Size: 126.9 MB
Styles: Bop, Trumpet jazz
Year: 1974/1991
Art: Front

[ 8:22] 1. Casa Blues
[ 7:31] 2. Just Mad Up
[ 7:03] 3. Blue's Blue
[ 9:55] 4. Granite And Concrete
[10:07] 5. I Didn't Ask To Be
[12:24] 6. Valerie

At the time that this Mainstream LP was recorded, Blue Mitchell was the featured trumpeter with John Mayall's blues group. Mayall returned the favor for Blue's set, playing harmonica with an electric octet headed by Mitchell. Among the sidemen are Herman Riley (on tenor and flute), keyboardist Joe Sample and guitarist Freddy Robinson. The material (all obscure originals) is primarily blues-oriented, and the music overall is listenable and funky, but not particularly memorable. Just an average date from these fine musicians. ~Scott Yanow

Blue's Blues (Feat. John Mayall)

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Jimmy Rosenberg - Trio

Bitrate: MP3@320K/s
Time: 31:00
Size: 71.0 MB
Styles: Gypsy jazz guitar
Year: 2004
Art: Front

[2:37] 1. Just One Of Those Things
[1:42] 2. China Boy
[3:16] 3. Made For Wesley
[1:53] 4. Cherokee
[2:06] 5. Noto Swing
[3:42] 6. Chega De Saudade
[2:38] 7. Place De Broukere
[2:11] 8. Number One
[2:15] 9. Swing 48
[3:34] 10. Blue Bossa
[2:51] 11. Old Waltz
[2:10] 12. Georgia

Joseph "Jimmy" Rosenberg (born 10 April 1980, in Helmond) is a Dutch Sinto-Romani guitarist, known for his virtuoso playing of Gypsy jazz and other related styles. He was initially active in the Romani (Gypsy) cultural center of Sinti, and was inspired by his relative Stochelo Rosenberg, after the release of his trio's album "Seresta" (Hot Club Records, 1989). Jimmy Rosenberg's international reputation started with the British Channel 4 show (Django's Legacy, 1990) with the trio "The Gypsy Kids", who consisted of Falko Reinhart and Sani van Mullum. In 1995 he was in the trio together with Johnny Rosenberg on guitar and Rinus Steinbach on bass. With this group he toured in Oslo, New York City and the Django festival in Paris until he pursued a solo career in 1997. Rosenberg has often taken part in the Norwegian Django Festival in Oslo, his first attendance having been made at only twelve years of age.

In 2000 he made his debut at Carnegie Hall, as part of the Django Reinhardt Festival at Birdland, New York City. He has released many records, and has worked together with Norwegians such as Hot Club de Norvège, Ola Kvernberg, and Stian Carstensen. Internationally, he has worked and released records with Romane, Jon Larsen, Andreas Öberg, Bireli Lagrene, Angelo Debarre and Frank Vignola. He has also played with Willie Nelson. His life is documented in the Dutch film The Father, The Son, and the Talent (2007).The film is an account of Jimmy's relationship with his father and his struggles with drugs, in addition to live performances. It documents the high regard given Jimmy by artists such as James Brown, Stevie Wonder and Willie Nelson, including inviting him to play guitar with them. Jimmy says, about performing, "That feeling is beyond description. A lot of love goes into it. When I play at a concert after I've been very angry or very upset.. and I play it all out of my system, after the concert I feel as light as a feather. It was all gone and I felt happy and cheerful. And I would enjoy everything I did".

Trio

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