Count Basie, Zoot Sims - Basie & Zoot

Bitrate: MP3@320K/s
Time: 47:17
Size: 108.2 MB
Styles: Piano blues/jazz
Year: 1976/2008
Art: Front

[4:40] 1. I Never Knew
[5:37] 2. It's Only A Paper Moon
[6:34] 3. Blues For Nat Cole
[6:37] 4. Captain Bligh
[6:25] 5. Honeysuckle Rose
[4:42] 6. Hardav
[6:33] 7. Mean To Me
[6:06] 8. I Surrender, Dear

This is a classic encounter in the Original Jazz Classics series. Pianist Count Basie (in his best-small group outing of the 1970s) and tenor saxophonist Zoot Sims were mutually inspired by each other's presence and, with the tasteful assistance of bassist John Heard and drummer Louie Bellson, they can be heard playing at the peak of their creative powers. Every listener interested in swinging jazz should pick up this disc, if only to hear these hard-charging versions of "I Never Knew," "It's Only a Paper Moon," and "Honeysuckle Rose." A gem, and essential music. ~Scott Yanow

Basie & Zoot

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Jane Bunnett, Don Pullen - New York Duets

Bitrate: MP3@320K/s
Time: 60:52
Size: 139.4 MB
Styles: Bop
Year: 1989
Art: Front

[ 5:47] 1. Bye-Ya
[ 5:37] 2. Ginastera
[11:12] 3. Double Arc Jake
[ 4:01] 4. For Merceditas
[ 8:03] 5. Main Street
[ 4:40] 6. Make Someone Happy
[ 4:53] 7. Nice Work
[ 5:00] 8. The Wanderer
[ 6:10] 9. Gratitude
[ 5:25] 10. Little Rootie Tootie

This strong outing matches together Jane Bunnett on soprano and flute and the great pianist Don Pullen. The adventurous music holds on to the tradition of chordal improvisation yet is also quite free in spots. Pullen's rhythmic playing makes his solos seem more accessible and traditional than they really were and it is to Bunnett's great credit that she keeps up with him. In addition to six of their originals, the duo performs a pair of complex Thelonious Monk songs ("Bye-Ya" and "Little Rootie Tootie") and a Cuban theme "For Merceditas." Thought-provoking and unpredictable music. ~Scott Yanow

New York Duets

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Kenny Ball - Now

Bitrate: MP3@320K/s
Time: 51:17
Size: 117.4 MB
Styles: Dixieland
Year: 1998
Art: Front

[3:48] 1. At The Jazz Band Ball
[2:40] 2. Them There Eyes
[4:38] 3. Chimes Blues
[2:32] 4. I Got Plenty O' Nuttin'
[4:10] 5. Ode To Ed
[3:52] 6. Basin Street Blues
[4:47] 7. Mjuskrat Ramble
[3:23] 8. Ory's Creole Trombone
[3:26] 9. Pennies From Heaven
[3:37] 10. Teddy Bear's Picnic
[3:06] 11. Your Feet's Too Big
[5:18] 12. The Preacher
[2:13] 13. I Shall Not Be Moved
[3:38] 14. Stevedore Stomp

Trumpeter Kenny Ball was at the height of his popularity in the early 1960s, when he had a big hit in "Midnight in Moscow" and was an active participant in England's trad boom. He has managed to continue working since then, despite the change in musical trends, and this 1990 recording (reissued on a 1998 Jazzology CD) finds Ball playing Dixieland in prime form. Heading a fine septet which also includes trombonist John Bennett, clarinetist Andy Cooper, John Fenner on banjo, and guitar, pianist Hugh Ledigo, bassist John Benson, and drummer Ron Bowden, Ball takes many fine solos and shares occasional vocals with Cooper and Benson. Highlights of the superior set include "At the Jazz Band Ball," "Muskrat Ramble," "Ory's Creole Trombone," and "I Shall Not Be Moved." ~Scott Yanow

Now

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Bobby Lyle - Joyful

Bitrate: MP3@320K/s
Time: 60:18
Size: 138.0 MB
Styles: Smooth jazz
Year: 2002/2007
Art: Front

[4:52] 1. You And I
[4:27] 2. Give Me Your Heart
[4:56] 3. Sweetest Taboo
[5:15] 4. Rain Walkin
[4:50] 5. Don't Make Me Wait
[5:21] 6. Genie In A Bottle
[4:27] 7. Spankin
[5:10] 8. Caught Up
[3:54] 9. I Love Your Smile
[4:51] 10. Millennium Dance
[4:30] 11. T.S.F
[4:17] 12. Midnight
[3:21] 13. How Do You Keep The Music Playing

This master of the elegant funk tune launched a promising solo career in the late '70s, long before the term "smooth jazz" was coined, then hit again in the late '80s and early '90s with a series of hits on Atlantic. Bobby Lyle has been out of the loop in that radio format for a few years, but pianist/Three Keys Music founder Marcus Johnson -- a big fan from childhood -- had the insight to sign the versatile Lyle on to help launch his new label of music best described as "metropolitan smooth." No doubt Lyle's old fan base would have come out of the woodwork to support a recording with 13 fresh tracks that range from radio friendly to wild, jamming, and improvisational, but a little big-name support couldn't hurt. Fortunately, Lyle doesn't let his popular cohorts overshadow the melodic foundations of his keyboards and acoustic piano. He enjoys doubling with Norman Brown's crisp guitar licks on the easy funk of "Give Me Your Heart," then going to the high register for a few extra notes. The song plays like a laid-back conversation between old pals. "Rain Walkin" is a bright and bouncy retro-soul piece that also plays like happy chatter between Lyle's catchy melody and Peter White's responsive acoustic guitar harmony. Lyle jumps squarely into the new millennium groovewise on the chunky "Spankin," whose melody harks back to his early days via Fender Rhodes. He plays all the verses, then joins with Rick Braun's trumpet and Gerald Albright's sax for a jamming, percussive chorus. The same trio effect works well on the more lighthearted acoustic piano jaunt "Millennium Dance," which features a unique call and response by Lyle's own high- and low-register lines. Not that he needs cover tunes, but his take on Sade's "Sweetest Taboo" is fairly sensual, though less thoughtful than "How Do You Keep the Music Playing?" Bridging today's pop scene with his own history (his 1977 debut was called The Genie), he can't resist a feisty, blues-drenched romp through Christina Aguilera's "Genie in a Bottle," featuring a few bars of Middle Eastern exotica and Everette Harp on sax and EWI. ~Jonathan Widran

Joyful

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Nicholas Payton & Sonic Trance - Live In New York 1.24.04

Styles: Trumpet Jazz 
Year: 2004
File: MP3@320K/s
Time: 57:40
Size: 135,5 MB
Art: Front

( 0:22)  1. Intro
( 2:27)  2. Seance
( 6:12)  3. Fela
( 4:44)  4. Cannabis Leaf Rag
(10:01)  5. Concentric Circles
( 3:05)  6. Go Round
( 5:55)  7. Blu Hays
( 7:35)  8. Two Mexicans On The Wall
( 4:15)  9. I'm Trying To Swing As Little As Possible
( 6:12) 10. Stardust
( 6:47) 11. Silence

On the surface, Nicholas Payton's Sonic Trance is a fusion band. The leader occasionally tricks out his horn with effects, pianist Scott Kinsey moves over to electric keyboard from time to time, and percussionist Daniel Sadownick does his best to establish an Agharta vibe on congas. But there is no electric guitar in Sonic Trance, and Vicente Archer lays down the groove over the course of this hour-long concert solely on acoustic bass. Every trumpet player is forced at one time or another to confront Miles' legacy, and the better the trumpeter, the closer he can get to meeting it. Nicholas Payton succeeds with originality, clarity and a fresh eclecticism. Miles is quoted briefly by saxophonist Tim Warfield on "Blu Hays," but the influences range much farther. Hugh Masekela and Fela Kuti on a track named for the Afrobeat legend, Scott Joplin and "Fascinatin' Rhythm" on "Cannabis Leaf Rag," and Monk on "I'm Trying to Swing as Little as Possible," which if judged relative to its title, fails utterly; Warfield can't help himself. "Two Mexicans on the Wall" begins by quoting "99 Bottles of Beer" mariachi-style and Payton turns in a guileless performance of "Stardust" before the tune is given over to Archer's funky wormy bass line. Warfield, featured chiefly on soprano for the first part of the disc, lets go on tenor for "Silence" before Kinsey takes over with wah-wah trombone and trumpet-splat keyboard effects. "Silence" doesn't last long enough. Recorded live at the 2004 International Association for Jazz Education (IAJE) conference, Payton's music is so organically conceived and so correct in its variety and logical choices that the whole hour passes much too quickly. This is a good thing, of course. When too many recordings fail to hold up beyond two or three listens, Sonic Trance sends you back to push play again and again. ~  Jeff Stockton https://www.allaboutjazz.com/live-in-new-york-12404-nicholas-payton-kufala-recordings-review-by-jeff-stockton.php
 

Personnel: Nicholas Payton, trumpet; Tim Warfield, saxophones; Adonis Rose, drums; Vicente Archer, bass; Scott Kinsey, keyboards; Daniel Sadownick, percussion

Live In New York 1.24.04

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Barbara Cook - Loverman

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 49:15
Size: 113,2 MB
Art: Front

(1:35)  1. Let’s Fall in Love
(2:31)  2. What A Wonderful World
(4:31)  3. Loverman
(4:34)  4. When Sunny Get’s Blue
(3:28)  5. More Than You Know
(3:41)  6. House of the Rising Sun/Bye By
(2:29)  7. The Nearness of You
(2:25)  8. I Can’t Give You Anything But Love
(3:06)  9. I Don’t Want Love
(3:07) 10. I Hadn’t Anyone But You/It Had
(3:03) 11. If I Love Again
(2:27) 12. Let’s Do It (Let’s Fall In Love)
(4:28) 13. New York State of Mind
(3:39) 14. Georgia On My Mind
(4:03) 15. Makin’ Whoopee

Aged to perfection such is Barbara Cook. The doyenne of New York cabaret has, at 83, never sounded more appealing than she does across this 15-track set almost entirely arranged and orchestrated by Ted Rosenthal. The lyric soprano that propelled Cook to major Broadway stardom decades ago has lost its crystalline purity and, in the process, become far more interesting, intimate and inviting. Though Cook often performs with larger ensembles, here she wisely opts for small-group coziness: just Rosenthal at the piano and Jay Leonhart on bass, plus percussionist Warren Odze and woodwinds player Lawrence Feldman. It goes without saying that the theatrically trained Cook is an outstanding storyteller, among the few who can be considered the equal of Mabel Mercer. It’s a skill that serves her well when interpreting timeworn standards, effortlessly hitting the emotional bull’s-eye of “More Than You Know,” “When Sunny Gets Blue,” the too-rarely recorded “If I Love Again” and the title track. Her narrative gift proves just as affecting across such jauntier numbers as “I Can’t Give You Anything But Love” and “Makin’ Whoopee.”  Nor does Cook allow herself to be limited by Broadway and Tin Pan Alley. Her reading of Dan Hicks’ “I Don’t Want Love,” a breezy list song worthy of Bobby Troup, is a playful delight, and her stark reading of “The House of the Rising Sun,” sung a cappella until Rosenthal tiptoes in with “Bye Bye Blackbird,” is a masterpiece of bruised deliberation. ~ Christopher Loudonhttp://jazztimes.com/articles/66410-loverman-barbara-cook

Loverman

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Jed Levy - One Night At The Kitano

Styles: Saxophone Jazz
Year: 2009
File: MP3@256K/s
Time: 71:14
Size: 133,2 MB
Art: Front

( 8:55)  1. A Great Week
(14:00)  2. Fallen Eagle
( 9:57)  3. Reversible You
(10:07)  4. A Flower Is A Lovesome Thing
(13:16)  5. Limited Means
( 8:32)  6. Match Point
( 6:25)  7. Blues Excerpt

Some live jazz albums transport the listener. If you shut your eyes, you can picture the dim lights of the candles on the tables, the clinking sound of ice cubes falling into glass tumblers... you might even find yourself looking around for someone to take your drink order. One Night at The Kitano makes you feel like you are out at the midtown jazz spot.  Joined by Bill Mays on piano, Ugonna Okegwo on bass and Billy Drummond on drums, saxophonist Jed Levy delivers one of the most enjoyable albums of the year. It's also accessible, straight-ahead music that everyone can enjoy. Novice listeners will say "now, that's jazz I'd pay to see live." That's not to say that it won't appeal to seasoned jazz veterans. Musical complexity and inventiveness abound, especially on the Levy original "Reversible You," which (as the title suggests) applies some structural adjustments to a familiar standard to superb effect. The set consists of six Levy compositions, as well as one standard: a ten-minute rendition of Billy Strayhorn's "A Flower is a Lovesome Thing," with the leader and Mays at their most inspired. The disc's opening number, "A Great Week," pays tribute to an engagement Levy once played with the late John Hicks. The loving homage offers a lively, up-tempo celebration of the pianist's legacy, with excellent support from Mays. The rest of the program features a number of mid-tempo swingers that afford plenty of solo time for the featured players. Levy's tenor doesn't recall the gruff aggressiveness of a Dexter Gordon or a Ben Webster, being more akin to that of Stan Getz. He's able to navigate the high register and achieve a mellow, romantic tone that, at times, makes you think he's switched over to alto.~ George Kanzler https://www.allaboutjazz.com/one-night-at-the-kitano-jed-levy-steeplechase-records-review-by-george-kanzler.php?width=1600
 

Personnel:  Billy Drummond: drums; Jed Levy: tenor sax;  Bill Mays: piano; Ugonna Okegwo: bass.

One Night At The Kitano

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Grant Green - Alive

Styles: Guitar Jazz
Year: 1970
File: MP3@320K/s
Time: 37:57
Size: 87,9 MB
Art: Front

( 8:42)  1. Let The Music Take Your Mind
(11:19)  2. Time To Remember
(11:10)  3. Sookie, Sookie
( 6:45)  4. Down Here On The Ground

Alive! is the hardest funk LP Grant Green recorded during the later phase of his career, capturing a storming gig at Newark's Cliché Lounge. The sweaty club atmosphere adds something to the music that's difficult to pin down, yet unmistakably present a certain organic quality that isn't as noticeable on Green's studio albums of the time. Moreover, Green sounds more like the captain of his ship, with greater assurance in his musical direction and more strut on the R&B material. Drummer Idris Muhammad is a monster in this live setting, and he helps push Green (plus the rest of the band, which includes organist Ronnie Foster) even farther with his kinetic, continually evolving funk rhythms. That's especially true on the swaggering Kool & the Gang cover "Let the Music Take Your Mind," but Don Covay's "Sookie, Sookie" grooves almost as powerfully. What's most surprising about the set, though, is that Green finds ways to work in bits of the modal style he had been pursuing in the mid-'60s on slower pieces like the Earl Neal Creque ballad "Time to Remember" and "Down Here on the Ground," which was later sampled by jazz-rap pioneers A Tribe Called Quest. Green's continued interest in modal jazz is reinforced on the CD reissue, which contains a spacy, grooving cover of Herbie Hancock's classic "Maiden Voyage" as a bonus track (the other two are contemporary R&B covers "Hey, Western Union Man" and "It's Your Thing"). Still, this is the most convincing and consistent Green had been as a funkster and, while nearly all of his albums from the early '70s feature at least some worthwhile material for acid jazz and beat-sampling junkies, Alive! is probably the best place to start. ~ Steve Huey http://www.allmusic.com/album/alive!-mw0000101535

Personnel: Grant Green (guitar); Claude Bartee, Jr., Claude Barlee (tenor saxophone); Neal Creque, Ronnie Foster (organ); Billy Bivens, William Bivens (vibraphone); Idris Muhammad (drums); Joseph Armstrong (congas).

Alive

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Eric Dolphy - Music Matador

Styles: Flute And Saxophone Jazz
Year: 1963
File: MP3@320K/s
Time: 48:11
Size: 111,0 MB
Art: Front

( 7:13)  1. Jitterbug Waltz
( 9:28)  2. Music Matador
(13:29)  3. Alone Together
( 6:29)  4. Come Sunday
( 8:13)  5. Ode To C.P.
( 3:17)  6. Love Me

Amazing work from Eric Dolphy a record that's come out on a number of different labels, under a number of different names but which is one of his most perfectly-realized sessions of the 60s, and one of his most spiritual albums ever! The record features a shifting lineup of players almost presaging the ensemble modes that would rise more strongly in the post-Coltrane years and Dolphy's chosen a strong group of associates, including Bobby Hutcherson on vibes, Woody Shaw on trumpet, Clifford Jordan on soprano sax, Prince Lasha on flute, and Sonny Simmons on alto and bass clarinet. Dolphy plays flute, alto, and bass clarinet and titles include "Love Me", a solo alto tune by Dolphy; "Alone Together", a duet with Davis' bass; a seminal take on "Jitterbug Waltz", completely reinventing the tune for new generations; and the massive "Music Matador". © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/812508?incl_oos=1&incl_cs=1&kwfilter=Bobby+Hutcherson

Personnel:  Alto Saxophone – Sonny Simmons;  Bass – Eddie Kahn, Richard Davis (2);  Drums – Charles Moffet, J.C. Moses;  Flute – Prince Lasha;  Flute, Bass Clarinet, Alto Saxophone – Eric Dolphy;  Soprano Saxophone – Clifford Jordan;  Trumpet – Woody Shaw;  Vibraphone [Vibes] – Bobby Hutcherson

Music Matador

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Ralph Sutton - Ralph Sutton With Ted Easton Jazzband

Bitrate: MP3@320K/s
Time: 49:51
Size: 114.1 MB
Styles: Piano jazz, Dixieland
Year: 1975/2002
Art: Front

[4:23] 1. I'll Be A Friend With Pleasure
[3:49] 2. The Curse Of An Aching Heart
[4:38] 3. Blues In My Heart
[4:54] 4. South Rampart Street Parade
[5:42] 5. Sunshine Of Love
[5:20] 6. Blue Turning Grey Over You
[4:36] 7. Ain't Misbehavin'
[2:39] 8. The Sheik Of Araby
[4:25] 9. Emaline
[2:55] 10. Keepin' Out Of Mischief Now
[2:39] 11. I'm Gonna Sit Right Down And Write Myself A Letter
[3:46] 12. Hony Tonk Train Blues

The great stride pianist Ralph Sutton was in Europe when he recorded this live concert with Dutch drummer Ted Easton's quintet. The repertoire is mostly filled with Dixieland and New Orleans warhorses (the exceptions are Benny Carter's "Blues in My Heart," "Sunshine of Love," and "Emaline"), but the musicians make the music sound fresh and generally exciting. Sutton, who was always very consistent, excels as usual and there are fine solos along the way by trumpeter Bob Wulffers, trombonist Henk Van Muyen, and clarinetist Frits Kaatee. Highlights include "I'll Be a Friend With Pleasure," "South Rampart Street Parade," "Emaline," and "Honky Tonk Train Blues," the latter one of four unaccompanied Sutton piano solos. An excellent Dixieland date from the mid-'70s; the 1975 date is an educated guess. ~ Scott Yanow

Ralph Sutton With Ted Easton Jazzband

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The Platters - The Best Of The Platters

Bitrate: MP3@320K/s
Time: 29:49
Size: 68.3 MB
Styles: R&B
Year: 1999
Art: Front

[2:38] 1. The Great Pretender
[2:44] 2. Twilight Time
[2:37] 3. Smoke Gets In Your Eyes
[2:40] 4. Only You (And You Alone)
[2:44] 5. My Prayer
[2:28] 6. (You've Got) The Magic Touch
[2:38] 7. You'll Never Never Know
[2:52] 8. I'll Never Smile Again
[3:11] 9. Harbor Lights
[2:20] 10. Red Sails In The Sunset
[2:51] 11. Enchanted

A vocal talent of astonishing range and emotion, Tony Williams led the Platters through nearly two dozen Top 40 pop hits, starting in 1955. The Platters drew inspiration from predecessors such as the Mills Brothers, yet had a style all their own that came to be treasured by the first generation of rock & roll and doo-wop fans. This set features the group's Top 10 smashes "Smoke Gets in Your Eyes," "The Great Pretender," "Only You," "(You've Got) The Magic Touch," and several others. Shy of the two-disc Magic Touch: An Anthology, this is about as good a Platters best-of as you can find right now--and at a budget price, no less. ~Daniel Durchholz

The Best Of The Platters

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Dave Pell - Dave Pell Remembers John Kirby & The Big Small Bands

Bitrate: MP3@320K/s

Time: 69:57

Size: 160.1 MB

Styles: Bop, Saxophone jazz

Year: 2008

Art: Front

[2:52] 1. Then I'll Be Happy

[3:15] 2. A Smoo-O-O-Oth One

[2:36] 3. In An 18th Century Drawing Room

[3:16] 4. Summit Ridge Drive

[2:22] 5. At The Codfish Ball

[3:04] 6. Jumpin' With Symphony Sid

[3:02] 7. Popo

[3:11] 8. Boplicity

[3:30] 9. Dark Eyes

[3:34] 10. Viva Zapata

[3:37] 11. Walking Shoes

[2:50] 12. Mountain Greenery

[3:09] 13. Rose Room

[2:50] 14. Royal Garden

[2:32] 15. Anita's Dance

[2:53] 16. It Feels Good

[2:58] 17. Tootsie Roll

[2:45] 18. Double Walk

[3:01] 19. Undecided

[2:52] 20. Blue Skies

[3:31] 21. Coquette

[2:54] 22. Opus 5

[3:11] 23. 20th Century Closet

Twofer: Tracks #1-12 from the Capitol 12" album "The Big Small Bands" (ST 1309). Track #13-23 from the Capitol 12" album "I Remember John Kirby" (ST 1687). Dave Pell (ts, bs), Jack Sheldon, Don Fagerquist (tp), Bob Enevoldsen (v-tb), Abe Most (cl), Art Pepper (as), Ronny Lang (bs), Marty Paich, André Previn, John T. Williams (p), Bob Gibbons (g), Red Mitchell (b), Frank Capp, Shelly Manne (d).

In these two albums, Dave Pell presents swinging memories of the bands small in size, but grand in stature that traced the history of the jazz combo and accounted for some of the greatest hit recordings of their times.

In The Big Small Bands, we can enjoy exciting and authentic re-creations of tunes made famous by groups such as those of John Kirby, Artie Shaw, Lester Young, Gerry Mulligan, Benny Goodman, Miles Davis, Shorty Rogers. Although the tunes start with early sounds, the sequence is varied a little to provide a more interesting programming line-up.

On I Remember John Kirby, Pell, who was a legitimately schooled clarinetist like Buster Bailey, had virtually abandoned the instrument as a solo medium until he had undertook this project. Here he plays with complete command to lead this Kirby-inspired sextet featuring Benny Carter, who gets a beautiful projection of the buoyant lilt that Russell Procope put in his alto solos.

Dave Pell Remembers John Kirby & The Big Small Bands

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Nóis 4 - Gente

Bitrate: MP3@320K/s
Time: 50:49
Size: 116.4 MB
Styles: Brazilian rhythms
Year: 2004
Art: Front

[4:38] 1. Influência Do Jackson
[4:58] 2. Relampiano
[4:06] 3. Choro Bandido
[4:04] 4. Com A Perna No Mundo
[5:15] 5. Canção Em Modo Menor
[4:49] 6. Chá De Panela
[5:09] 7. Sobre O Papel
[4:17] 8. Leve
[3:51] 9. A Flor E O Espinho
[5:27] 10. Canta Pra Cira
[4:09] 11. Why

With their second album NOIS 4 ('Us Four') recount their own poetic tales of Brazil and pay homage to the country's most enduring heritage, the people themselves ('Gente'): Brazilian Music as a popular, collective experience. They've even recorded it in Sao Paulo, to make it as close to the real thing as possible. Brazil comes across in all its warmth, delivered with the lightness of touch that is typical of Nois 4. Carnivalesque grooves alternate with melancholic songs; original tunes with absolute classics (Antonio Carlos Jobim, Vinicius de Moraes; Chico Buarque). One can dive into "Com a Perna no Mundo", and imagine what it is to be part of a Beija Flor parade (one of Rio's most prominent schools of samba).

With "Chá De Panela", Nois 4 pay homage to Brazilian jazz legend Hermeto Pascoal (listen out for the trademark accordion and triangle; the circular pulse; and a lyrical nod to the very core of the Pascoal philosophy: 'All things are musical'). Their collective journey takes on a more personal hue with "Canto pra Cira". Monica Vasconcelos' voice blossoms with a sweet melancholy in this poignant tribute to her mother. But it is the presence of guitarist Guinga, a legendary figure of the MPB scene (Brazilian Popular Music) that adds a hefty weight to the ensemble. His love and knowledge of both classic and popular Brazilian musical traditions is a precious gift to NOIS 4's sound. On the other hand, saxophonist Ingrid Laubrock's wonderfully subtle soprano tone is worth a mention, as well as her sensitive alto modulations that sweetly interweave with Monica's vocals. This is an enjoyablealbum that brims with a love and understanding of Brazilian music. ~Lara Bellini

Gente

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The Michael Silverman Blues Piano Trio - The Blues, The Whole Blues And Nothin' But The Blues

Bitrate: MP3@320K/s
Time: 64:18
Size: 147.2 MB
Styles: Blues/Jazz piano
Year: 2009
Art: Front

[2:32] 1. Blues For A Rainy Day
[2:36] 2. Blues For Miles Davis
[2:38] 3. Blues For Miles Pt. 2
[3:17] 4. Blues For Thelonius Monk
[2:24] 5. Blues For Thelonius Monk Pt. 2
[3:08] 6. Central Park Blues
[3:11] 7. Blues Jazz Swing
[2:11] 8. Blues Solo Piano
[2:07] 9. Tickling The Ivories
[2:44] 10. Fast Blues Piano
[1:50] 11. Funky Blues Piano
[2:05] 12. Jazz Blues Piano
[3:15] 13. Kind Of Blue Kind Of Blues
[1:46] 14. Latin Jazz Explosion
[2:19] 15. New Orleans Blues
[2:43] 16. New York Blues
[1:48] 17. The Shuffle Blues
[3:18] 18. Slow Blues
[2:50] 19. Slow Blues In G
[3:16] 20. Slow Roasted Blues
[1:53] 21. Solopiano Blues
[1:35] 22. Swing Blues Piano
[2:34] 23. That Blues Feeling
[1:21] 24. The Entertainer
[1:28] 25. Upbeat Blues
[3:17] 26. Vibraphone Blues

This album is great for parties, relaxing and travelling. Good combination of slow piano blues and some upbeat. Michael Silverman is exceptional on this cd. ~Carrmen C.

The Blues, The Whole Blues And Nothin' But The Blues

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Jed Levy - Evans Explorations

Styles: Saxophone Jazz
Year: 2008
File: MP3@224K/s
Time: 68:28
Size: 111,2 MB
Art: Front

(5:46)  1. Blue In Green
(5:55)  2. Very Early
(5:56)  3. Jazz Samba
(8:05)  4. Time Remembered
(7:04)  5. The Dolphin
(8:51)  6. Laurie
(7:12)  7. Twelve Tone Tune
(7:13)  8. Interplay
(6:18)  9. Re: Person I Knew
(6:02) 10. I'm Getting Sentimental Over You

Explorations (Riverside, 1961) is one of two landmark studio recordings from the Bill Evans trio that, through chordal voicings, a classically-based style and egalitarian instrumental interplay, moved the jazz piano trio toward impressionism and away from a rhythmic approach. It still sounds amazingly contemporary and the task that tenor saxophonist Jed Levy has set for himself in his explorations of a piece of the Evans digest using his tenor trio is a daunting one. Levy succeeds remarkably well through his own impressionistic gentle touch, Francois Moutin's up-in-the-mix yet perceptively sensitive bass and the drumming of Evans grad Eliot Zigmund.  While a non-traditional bop-ish treatment of the classic "Blue in Green" starts things off and a swinging interpretation of the standard "I'm Getting Sentimental Over You" closes things out, this trio thrives when it is painting with broader sonic brush strokes. This is witnessed on a touching depiction of "Laurie" and a melodiously moving "Re: Person I Knew." Moutin and Levy are a superb pairing on these tunes and remain true to this music with neither overpowering nor assertive one-upmanship. 

They blend harmoniously, as in the wonderfully open "Interplay" that serves as an unfettered forum for improvisation and opportune time for Levy to switch to flute. Likewise, the arco bass/tenor doubling that opens "Twelve Tone Tune" captures that beautiful dreamy quality that helped define the Evans trio. These qualities are also apparent on "Very Early" and "Time Remembered," the latter's spaciousness benefiting from Levy's tenor and flute playing. "Jazz Samba," given a fairly fiery treatment courtesy of Zigmund and Moutin's rhythm, and "The Dolphin," portrayed in a traditional breezy manner that again has Moutin sharing center stage, round things out and are representative of Evans' Latin stylings. This is a unique depiction of Evans' songbook.~ Elliott Simon https://www.allaboutjazz.com/evans-explorations-jed-levy-steeplechase-records-review-by-elliott-simon.php
 

Personnel:  Jed Levy: tenor sax, flute;  Francois Moutin: bass;  Eliot Zigmund: drums.

Evans Explorations

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Jeanette Lindstrom - Whistling Away The Dark

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 68:32
Size: 157,6 MB
Art: Front

(4:22)  1. Whistling Away The Dark
(5:26)  2. My One & Only Love
(6:05)  3. You Go To My Head
(4:43)  4. I Didn't Know What Time It Was
(3:04)  5. Jitterbug Waltz
(4:46)  6. The Nearness Of You
(5:42)  7. Lush Life
(2:17)  8. Misty
(3:55)  9. Nature Boy
(4:49) 10. Peace
(6:07) 11. Night & Day
(3:27) 12. Too Marvelous For Words
(5:57) 13. What Are You Doing The Rest Of Your Life
(4:14) 14. When There Is Love
(3:30) 15. Grow Old With Me

Jeanette Lindström was born and raised in Sweden, but there have been times when her phrasing might lead those who haven't seen her picture to think she could be African-American, although one would have been unlikely to make that mistake if they'd heard her singing jazz in Swedish with bassist Anders Jormin. African-American singers have clearly had a great impact on Lindström, whose impressionistic approach brings to mind Dianne Reeves and Abbey Lincoln, and whose Caprice CDs are best described as post-bop with R&B overtones. Born in Östersund, Sweden, a few hours north of Stockholm, Lindström studied at the University of Lund and earned a degree from the Royal Music Academy of Stockholm when she was 23 in 1995. After attracting attention on the Swedish jazz scene, where she sang with everything from big bands to more experimental groups, Lindström went to Copenhagen in neighboring Denmark in 1995 to record her debut album, Another Country, for Caprice. The following year, she was documented in more of an avant-garde setting when Jormin featured her prominently on his Dragon date, Once. While that disc found Lindström singing in both English and Swedish, she stuck to English on Another Country and her equally appealing sophomore effort, I Saw You (1997). ~ Alex Henderson https://itunes.apple.com/au/artist/jeanette-lindstrom/id65885213#fullText

Personnel:  Double Bass – Palle Danielsson;  Drums – Magnus Öström;  Organ – Bobo Stenson (tracks: 12);  Piano – Bobo Stenson (tracks: 1, 2, 4, 5, 7), Jonas Östholm (tracks: 3, 10, 11, 13 to 15);  Vocals – Jeanette Lindström

Whistling Away The Dark

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Chris Byars - Photos in Black, White and Gray

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 60:13
Size: 138,2 MB
Art: Front

(8:05)  1. Aquarian Epoch
(7:27)  2. Milton
(7:14)  3. Safe at Home
(9:30)  4. Acoustic Phenomenon
(7:51)  5. Manhattan Valley
(6:48)  6. Cliff Diving
(6:40)  7. Riddle of the Sphinx
(6:35)  8. A.T.

Saxophonist Chris Byars has made a name for himself as one of many promising neo-bop musicians who perform on a regular basis at Smalls in New York City, while also appearing on a number of CDs (as either a sideman or leader) issued by the Smalls label. He has played since the age of seven and earned a Masters degree at the Manhattan School of Music at the age of twenty. For his third date as a leader, Byars is joined by several of the label's regulars, including pianist Sacha Perry, bassist Ari Roland and drummer Andy Watson. A talented player, Byars is clearly finding his own voice on each of his three instruments (alto, tenor and soprano sax) and his program of originals is well-paced with a fair amount of variety. He shows a bit of playfulness in "Aquarian Epoch," while the brisk samba "Manhattan Valley" is another obvious highlight. Byars' robust tenor is on display in the pulsating piano-less setting of "A. T." (dedicated to the late drummer Art Taylor). He then switches to soprano sax for the enticing ballad "Safe at Home." Perry, who studied with Barry Harris, is a solid bop pianist who pushes the leader with his driving accompaniment. Roland provides a firm foundation, his arco bass technique inviting comparison to recorded Paul Chambers. Watson is a refreshingly restrained drummer who effortlessly keeps a strong beat, though he is no slouch when he takes the opportunity to solo in "A. T.."~ Ken Dryden https://www.allaboutjazz.com/photos-in-black-white-and-gray-chris-byars-smalls-records-review-by-ken-dryden.php
 

Personnel: Chris Byars: alto, tenor and soprano saxophones; Sacha Perry: piano; Ari Roland: bass; Andy Watson: drums.

Photos in Black, White and Gray

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Courtney Pine - Underground

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1997
File: MP3@320K/s
Time: 66:10
Size: 164,4 MB
Art: Front

(1:11)  1. Intro - Inhale
(6:59)  2. Modern Day Jazz
(6:15)  3. Tryin' Times
(5:55)  4. Oneness Of Mind
(5:37)  5. Invisible (Higher Vibe)
(9:50)  6. The Book Of ... (The Dead)
(5:55)  7. Children Of The Sun
(4:52)  8. The In-Sense Song
(7:50)  9. Silver Surfer
(6:57) 10. Underground
(0:56) 11. Outro - Xhale
(3:46) 12. Save The Children

The first thing that becomes clear on Courtney Pine's Underground is that the hip-hop-jazz hybrids of the 1990s (such as Digable Planets, A Tribe Called Quest, US3, or even the Dream Warriors) missed their target; the combination is much stronger when it's jazz-hip-hop, and the latter becomes a textural element. Pine sticks to his guns-frenetic melodies, engaging song structures, and a keen ability to keep his jazz cool and never lite. Those talents shine further when given the icing of exquisite samples, particularly when the rapid-fire cuts and sharp sense of humor show a respect for turntablism. And lest Pine's jazz fans be dismayed, tracks like "Invisible" seamlessly slip back into Pine's masterful (more traditional) jazz persona. 

Of particular note is "Tryin' Times," one of the few tracks with vocals, which acts as both a lounge singer vehicle as well as venue for Pine's dizzying saxophone acrobatics. Underground is a great introduction to Pine's work, and if there's any justice, will someday be recognized as a benchmark jazz-hip-hop hybrid experiment. ~ Jaime Vázquez http://www.allmusic.com/album/underground-mw0000595653

Personnel: Courtney Pine (soprano & tenor saxophones, bass clarinet, flute); Jhelisa (vocals); Nicholas Payton (trumpet); Cyrus Chestnut (acoustic piano, Hammond B-3 organ, Wurlitzer electric piano); Mark Whitfield (guitar); Reginald Veal (acoustic bass); Jeff "Tain" Watts (drums); DJ Pogo (DJ).

Underground

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Jan Akkerman & Claus Ogerman - Aranjuez

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 43:30
Size: 107,1 MB
Art: Front

(5:57)  1. Adagio from 'Concierto de Aranjuez'
(4:53)  2. Nightwings
(5:09)  3. Modinha (preludio)
(5:36)  4. Espanoleta
(6:48)  5. Pavane pour une infante defunte
(3:38)  6. Love remembered
(5:40)  7. The seed of god (from 'Magdalena')
(5:45)  8. Bachianas Brasileiras No. 5

This is a reissue of a 1978 release by Dutch rock guitarist Jan Akkerman. The album mystified listeners at the time with its still-unusual combination of electric guitar and lush string arrangements, and it remains something of an oddity from a rock perspective. The orchestral writing by the underrated German arranger Claus Ogerman, however, is quite unusual, and the album has a following among Ogerman's fans. Indeed, although Akkerman gets top billing, the partnership is equal or even tilted a bit toward Ogerman. The opening Adagio from Rodrigo's Concierto de Aranjuez is perhaps the most interesting, and it differs entirely in effect from Miles Davis' presentation of the same music. Akkerman is in the foreground here, of course, but the music is a sort of double fantasy, with Akkerman slightly altering Rodrigo's guitar line and Ogerman providing much deeper hues to the orchestral parts. 

The rest of the music is given over to adaptations of other classical pieces, three of them by Heitor Villa-Lobos, and one original each by Ogerman and Akkerman. The string writing contains some of the richest and most harmonically intricate examples in the entire genre of orchestral pop, and it paradoxically seems to overwhelm the rock guitar at times. However, the continuing interest in the album is easy to understand: it offers a musical idea that makes intuitive sense rock, it has often been suggested, is at bottom a Romantic music yet has been little explored.~James Manheim http://www.allmusic.com/album/aranjuez-mw0000259976

Personnel:  Bass – Niels-Henning Ørsted Pedersen;  Guitar – Jan Akkerman

Aranjuez

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Jim Hall - Concierto

Bitrate: MP3@320K/s
Time: 65:34
Size: 150.1 MB
Styles: Guitar jazz
Year: 1975/2011
Art: Front

[ 7:04] 1. You'd Be So Nice To Come Home To
[ 3:48] 2. Two's Blues
[ 7:37] 3. The Answer Is Yes
[19:19] 4. Concierto De Aranjuez
[ 6:09] 5. Rock Skippin'
[ 2:34] 6. Unfinished Business
[ 7:25] 7. You'd Be So Nice To Come Home To
[ 5:33] 8. The Answer Is Yes
[ 6:02] 9. Rock Skippin'

Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true. Paul Desmond (saxophone), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass), and Steve Gadd (drums) are on board, creating -- along with Hall -- one of the highest profile lineups ever put to tape. Yet Concierto is not about star power and showboating. As subtle, nuanced, and considered as any of Hall's output, the ensemble playing here demonstrates great group sensitivity and interplay, giving precedence to mood and atmosphere over powerhouse soloing. Conductor and arranger Don Sebesky evinces a chamber ambience from the sextet on "You'd Be So Nice to Come Home To," the smoky "The Answer Is Yes," and the Hall centerpiece "Concierto de Aranjuez." ~Anthony Tognazzini

Concierto

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