Various - Soul Summit

Bitrate: MP3@320K/s
Time: 74:04
Size: 169.5 MB
Styles: Bop, Soul Jazz
Year: 1992
Art: Front

[9:13] 1. Jack McDuff - Tubby
[5:01] 2. Gene Ammons - Dumplin'
[4:34] 3. Jack McDuff - When You Wish Upon A Star
[6:02] 4. Jack McDuff - Shuffle Twist
[5:42] 5. Jack McDuff - Sleeping Susan
[6:45] 6. Jack McDuff - Out In The Cold Again
[5:09] 7. Jack McDuff - Love, I've Found You
[4:27] 8. Etta Jones - But Not For Me
[3:57] 9. Oliver Nelson, Clark Terry, Red Holloway - Too Marvelous For Words
[4:22] 10. Etta Jones - If You're But A Dream
[7:41] 11. Jack McDuff - Scram
[6:13] 12. Jack McDuff - Ballad For Baby
[4:50] 13. Etta Jones - Cool Cool Daddy

The two early-'60s LPs in the Soul Summit series featured some of the many collaborations of tenors Gene Ammons and Sonny Stitt, who are joined by organist Jack McDuff and drummer Charlie Persip. Their six performances are primarily riff tunes, with "When You Wish Upon a Star" taken at a medium pace and "Out in the Cold Again" the lone ballad. The second half of this CD, which features both volumes, features Ammons on two songs ("Love, I've Found You" and a swinging "Too Marvelous for Words") with a big band arranged by Oliver Nelson, jamming "Ballad for Baby" with a quintet, sitting out "Scram" (which stars McDuff and the tenor of Harold Vick), and backing singer Etta Jones on three numbers, of which "Cool, Cool Daddy" is the most memorable. Overall, this is an interesting and consistently swinging set that adds to the large quantity of recordings that the great Ammons did during the early '60s. ~Scott Yanow

Soul Summit

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Flora Purim - That's What She Said

Bitrate: MP3@320K/s

Time: 35:24

Size: 81.0 MB

Styles: Fusion, Latin jazz

Year: 1978/2001

Art: Front

[4:31] 1. Look Into His Eyes

[4:31] 2. Juicy

[5:07] 3. Hidden Within

[3:29] 4. You On My Mind

[5:02] 5. What Can I Say

[4:44] 6. Love's The Way I Feel 'bout Cha

[3:52] 7. That's What She Said

[4:04] 8. You Are My Heart

Accompanied By/With – Airto, Alphonso Johnson, Byron Miller, Ernie Watts, George Bohanon, George Duke, Jay Graydon, Leon Ndugu Chancler, Oscar Brashear. Recorded (mostly in 1976) at Paramount Recording Studios, Holywood.

Toward the close of her Milestone years, Flora Purim teamed up with producer/keyboardist George Duke -- and the imprint of Duke, then entering his funkified "Dukey Stick" period, is heavy enough to dominate the record. Very often, Duke uses his then rhythm section of bassist Byron Miller (alternating with Alphonso Johnson) and drummer Ndugu Chandler to give the grooves a definite '70s funk feel -- and percussionist Airto adapts his talents seamlessly to this way of life. Duke's electronic keyboard arsenal is all over the record, occasionally going gonzo on the Moog synthesizer, draping a then-still-fashionable ARP string synthesizer over the landscape, comping on the Rhodes electric piano or Yamaha electric grand. Joe Henderson turns up with a funk-bop tenor solo on the Brazilian/funk groove on "What Can I Say?" (what could he say?), part of a first-call L.A. studio horn section that includes trumpet Oscar Brashear, trombonist George Bohanon, and Ernie Watts on flute. And where does all of this instrumental activity leave Purim? Floating on top of the mix as usual, whether in a wordless vocalise, agile scatting with Duke's lead synth on the title track, or heavily accented English, sometimes in multiple overdubs. Nevertheless, the Brazilian feeling is not quite cancelled out by Duke's busy production hand -- and this Western Hemispheric amalgam would soon pave the way for groups like Azymuth. ~Richard S. Ginnell

That's What She Said

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Barney Wilen - Essential Best

Bitrate: MP3@320K/s
Time: 71:03
Size: 162.7 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[5:06] 1. Valse Hot
[4:39] 2. Dig
[5:17] 3. Caravan
[7:27] 4. Granadas
[5:45] 5. You'd Be So Nice To Come Home To
[5:54] 6. Blues Walk
[9:21] 7. No Problem '94
[5:03] 8. Estate
[7:02] 9. Jitterbug Waltz
[9:59] 10. My Ship
[5:26] 11. Passione

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~bio by Chris Kelsey

Essential Best

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Lester Young - The Complete Savoy Recordings (2-Disc Set)

When this double-album set was first released, the "two-fer" fad in jazz and blues reissues was not exactly new, but a consensus on what to do with alternate takes had not been reached, if it ever has. Compact discs made the entire situation easier to deal with, as machines could be programmed to play the selections in any order, and the perception of monotony that lingers just under the surface of any alternate-takes collection could be avoided with the click of a button. Back in the vinyl days, the way this set was programmed would have been bad news for anyone who had problems listening to four takes of "Exercise in Swing" in a row -- although obviously, the thing for such a person to do would be avoid buying this collection entirely. All the versions of a given tune are presented right in a row, with an average of three different titles per side. The takes presented would all have been considered usable, so this is not a case of listening to out-of-tune versions or breakdowns. And in the end, this set is much more varied and interesting to listen to than it might appear from a glance at the track list. Hearing the difference in the solos from version to version would be the major draw for the typical jazz fan, and these recordings are totally satisfying from that perspective. Young is a master soloist who never fails to come up with a odd slant on the melody, usually after lulling the listener into a false sense of calm. He is heard with a selection of players that are at the very least pleasant and swinging. The arrangements and brevity of the tracks means things move along quickly; hearing one soloist who is a genius followed by another who simply plays well is part of the fun, as a pure spirit of jazz flows through all the participants. The 1944 tracks were originally issued under the name of Earl Warren and His Orchestra, but it is actually the Count Basie band in disguise. Due to contract hassles, Basie turned the piano bench over to Clyde Hart, and alto saxophonist and amusing vocalist Earl Warren assumed mock leadership. These tracks absolutely defy the idea that listening to different versions of the same songs is dull. For one thing, the charts are complicated, and it will probably take multiple listens until one even gets used to the melodies enough to become bored by them. It is also thrilling to hear this totally tight band whip through these arrangements and the sequences of quick, energized, and clever solos that follow. At the same session, Young cut some tunes with a smaller band that has an exquisitely polished sound. Pianist Johnny Guarnieri plays wonderfully, a bit of Basie here, a touch of Tatum there, a wash of Wilson to wrap it up. Drummer Cozy Cole is tasteful, while Young's masterful phrasing is well-balanced in a horn lineup of trumpet and clarinet. This takes us to side C, which perhaps should have been identified as the third side to avoid the mediocrity associated with a C grade. Because now Basie himself is on the scene in a small band grouping that is some of the best recorded work of all concerned. It is simple material, played without a touch of pomposity. Some of the titles are only done once, such as "Jump Lester Jump," which everyone must have agreed could not possibly have been improved upon. The tunes that are done twice provide a tremendous opportunity to compare happenings. Rhythm-section fanatics can follow the strumming of Freddie Green or the snare drum of Shadow Wilson, because this is all about details. What happens exactly, that makes one version of tune six seconds longer than another? In the case of "Ding Dong," two of the three versions are exactly the same length, to the second, while the third is only a single second longer. The final session jumps ahead to 1949 and presents Young in a combo with several youngsters that went on to greater jazz glory. Roy Haynes, in his early twenties at the time of these recordings, is as delightful as he is on his Alladin sessions with Young, while the bluesy touch of pianist Junior Mance is right up Young's alley. It is sad to say Mance never backed up anyone as good as this again -- but in a way, nobody did. ~Eugene Chadbourne

Album: The Complete Savoy Recordings (Disc 1)
Bitrate: MP3@320K/s
Time: 75:10
Size: 172.1 MB
Styles: Saxophone jazz
Year: 1973/2002

[2:55] 1. These Foolish Things
[3:00] 2. Exercise In Swing (Take 1, Master)
[2:47] 3. Salute To Fats
[3:08] 4. Exercise In Swing (Take 3)
[3:00] 5. Exercise In Swing (Take 4)
[3:20] 6. Salute To Fats (Take 1)
[1:16] 7. Salute To Fats (Take 2)
[2:57] 8. Salute To Fats (Take 3)
[0:56] 9. Salute To Fats (Take 4)
[2:56] 10. Salute To Fats (Take 5, Master)
[2:58] 11. Basie English (Take 1)
[3:00] 12. Basie English (Take 2, Master)
[2:54] 13. Empty Hearted (Take 1, Master)
[3:11] 14. Circus In Rhythm (Take 1, Master)
[3:03] 15. Circus In Rhythm (Take 2)
[2:53] 16. Circus In Rhythm (Take 3)
[2:55] 17. Poor Little Plaything (Take 1, Master)
[3:00] 18. Poor Little Plaything (Take 2)
[2:49] 19. Tush (Take 1)
[2:58] 20. Tush (Take 2, Master)
[3:21] 21. Blue Lester
[3:25] 22. I Don't Stand A Ghost Of A Chance With You (Take 1)
[3:18] 23. I Don't Stand A Ghost Of A Chance With You (Take 2, Master)
[2:51] 24. Back Home In Indiana
[2:55] 25. (Back Home Again In) Indiana (Take 2, Master)
[3:14] 26. Jump Lester Jump

The Complete Savoy Recordings (Disc 1)

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Album: The Complete Savoy Recordings (Disc 2)
itrate: MP3@320K/s
Time: 77:10
Size: 176.7 MB
Styles: Saxophone jazz
Year: 1973/2002
Art: Front

[2:44] 1. Crazy Over Jazz (Take 1)
[2:45] 2. Exercise In Swig
[2:41] 3. Crazy Over J-Z (Take 3, Master)
[2:23] 4. Ding Dong (Take 1)
[2:23] 5. Ding Dong (Take 2)
[2:25] 6. Ding Dong (Take 3, Master)
[2:10] 7. Blues 'n' Bells (Take 1)
[2:20] 8. Blues 'n' Bells (Take 2)
[2:21] 9. Blues 'n' Bells (Take 3, Master)
[2:35] 10. June Bug (Take 1, Master)
[3:08] 11. Neenah
[3:41] 12. Body And Soul
[4:12] 13. Up And Adam
[9:23] 14. Big Eye Blues
[6:16] 15. One O'clock Blues
[4:52] 16. Lester's Mop Mop Blues
[5:31] 17. Pennies From Heaven
[4:13] 18. I Can't Get Started
[7:01] 19. How High The Moon
[3:57] 20. Jumpin' With Symphony Sid

The Complete Savoy Recordings (Disc 2)

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Jack Jezzro - Romance In Venice

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 50:36
Size: 120,0 MB
Art: Front

(3:42)  1. Santa Lucia
(4:07)  2. The Godfather Waltz / Speak Softly Love
(3:41)  3. Arrivederci Roma (Goodbye To Rome)
(4:08)  4. Non Dimenticar
(3:44)  5. Oh Marie
(3:18)  6. Mattinatta (In The Morning)
(3:00)  7. Torna A Surriento (Come Back To Sorrento)
(3:29)  8. Mio Dolce Sogno
(4:47)  9. O Sole Mio
(3:19) 10. Mala Femmena
(3:45) 11. Bella Notte
(2:50) 12. Tra Veglia E Sonno
(3:12) 13. Vieni Sul Mar (Come To The Sea)
(3:29) 14. Serenade

Imagine you are gliding through the moonlight canals of Venice as your gondolier serenades you with an Italian romantic classic such as "Santa Lucia" or "O Sole Mio". That's where this instrumental collection of favorite Italian love songs will take you through strings of the mandolin, chords of the accordion, and sweeping notes of the violin. Romance yourself around the world with this elegant Italian musical tapestry. https://www.amazon.com/Romance-Venice-Jack-Jezzro/dp/B0001GMT2K

Personnel: Butch Baldassari (mandolin); Jack Jezzro, Pat Bergeson, Van Manakas, John Pell (guitar); Antoine Silverman (violin); Jeff Taylor (accordion); Lee Levine (clarinet); Roger Spencer (bass instrument).

Romance In Venice

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Ari Ambrose - Cyclic Episode

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 69:58
Size: 160,5 MB
Art: Front

( 9:31)  1. Gingerbread Boy
( 9:17)  2. Mirror Mirror
( 9:22)  3. Early Minor
(12:03)  4. Cyclic Episode
(10:38)  5. Goodbye to Childhood
( 9:11)  6. Roses Poses
( 9:53)  7. Remember

That astute follower of new talent, Nils Winther, introduced us to up and coming tenor saxophonist Ari Ambrose in 1998 with a trio date sans piano that was as remarkable in its daring as it was in its pronouncement of a great new talent on the scene. Now comes along Cyclic Episode and we hear Ambrose in a more conventional line-up, but that electrifying sense of abandon and joie de vivre is still there, making this set another triumph.  Going for a collection of seldom-done pieces, Ambrose proves to be a shrewd judge of great music. Sam Rivers wrote the title track, Joe Zawinul’s “Early Minor” comes from the neglected Nat Adderley album You, Baby, and “Goodbye To Childhood” is a shinning jewel from Herbie Hancock’s transcendent Speak Like a Child. A take on Berlin’s “Remember” also suggests that Ambrose has done his homework by checking out Hank Mobley’s version from the classic Soul Station. 

As a tenor stylist, Ambrose possesses a tone that’s full-bodied, but just a little rough at the edges. His fluidity is obvious over the course of the many choruses he spins during the opening “Gingerbread Boy.” Ballad work is a sign of maturity and Ambrose passes the test on “Early Minor” and “Goodbye to Childhood,” with a nod to Sonny Rollins obvious in the latter performance. The rest of the ensemble is also of the highest rank, Colligan and Drummond continuing to impress this reviewer as just about the most exciting thing since sliced bread. So the saying goes, they don’t make ‘em like they used to, but if you’re looking for the kind of spirited jams that used to come with those old Blue Notes and Prestiges, then look no further than Cyclic Episode. ~ C.Andrew Hovan https://www.allaboutjazz.com/cyclic-episode-ari-ambrose-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Ari Ambrose- tenor saxophone, George Colligan- piano and Fender Rhodes, Joe Martin- bass, Billy Drummond- drums

Cyclic Episode

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David Liebman Quintet - Doin' It Again

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 37:49
Size: 87,0 MB
Art: Front

(9:45)  1. Doin' It Again
(9:40)  2. Lady
(9:26)  3. Stardust
(8:57)  4. Cliff's Vibes

Considering what Liebman's quintet was able to achieve on "If They Only Knew," this one is a bit of a disappointment. For one thing, trumpeter Terumasa Hino plays a smaller role, featured only on a lovely rendition of "Stardust." For another, there is more of a feel of 1970s fusion to the whole, which while appealing to some, is nonetheless dated. John Scofield is splendid on electric guitar, with the spiraling, atmospheric forays for which he is known. Overall, this is lightweight fare, with pleasant, danceable melodies and a solid beat provided by drummer Adam Nussbaum. Liebman plays both tenor and soprano saxophones, and he burns on the latter for Ron McClure's "Lady." He shows why he is such a well-respected and sought after performer, and he easily rises above the material. While there are plenty of good moments throughout this recording, there are better examples of the saxophonist's work. The ethereal nature of some of the CD leads to a light airy quality. For those looking for the beef, this might be a tad disappointing. ~ Steve Loewy http://www.allmusic.com/album/doin-it-again-mw0000539969

Personnel:  David Liebman - tenor saxophone, soprano saxophone;  Terumasa Hino - trumpet, flugelhorn, percussion;  John Scofield – guitar;  Ron McClure - acoustic and electric bass;  Adam Nussbaum -drums

Doin' It Again

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Ernie Watts Quartet - Wheel Of Time

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 59:01
Size: 137,0 MB
Art: Front

(6:14)  1. Letter from Home
(5:48)  2. A Distant Light
(5:56)  3. Inner Urge
(5:47)  4. Andi's Blues
(7:03)  5. L'agua Azul
(6:40)  6. You and You
(7:44)  7. Velocity
(7:00)  8. Goose Dance
(6:45)  9. Wheel Of Time (Anthem For Charlie)

On the Buddy Rich band's album Big Swing Face (circa 1967), Ernie Watts unleashes a blazing alto sax solo on the title track that is guaranteed to send chills up and down the spine and leave listeners wondering, "How did he do that?" Now, almost half a century later, the seventy-year-old Watts continues to weave those mind-bending solos, this time on tenor sax, on Wheel of Time, a quartet date whose nine selections include four written by the leader himself and one each by the other members of the group.  If time has tempered Watts' spirit or abraded his technical skills, it's not apparent here. He plays much as he has since his tenure with Rich or, later, bassist Charlie Haden's celebrated Quartet West, which Watts joined as a founding member in 1986. To erase any doubt of that, listen to Watts' aptly named "Velocity" or Joe Henderson's aggressive "Inner Urge." This is Watts' working quartet, European version, with whom he has been playing for more than fifteen years (Wheel of Time was recorded in Darmstadt, Germany). Unsheathing their talents while covering Watts' back are pianist Christof Saenger (versatile), bassist Rudi Engel (unwavering) and drummer Heinrich Koebberling (resourceful).

Saenger wrote the lyrical, Latin-flavored "L'Agua Azul," Engel the easygoing "Andi's Blues," Koebberling the undulating "You and You." Completing the program are Watts' "Letter from Home," "A Distant Light" and "Wheel of Time" (the last an earnest tribute to friend and colleague Haden who died in July 2014) and Canadian pianist Adrean Farrugia's light-hearted calypso, "Goose Dance." Engel delivers an engaging solo on "Wheel," as he does on ""A Distant Light" and "Andi's Blues." Koebberling flexes his chops on "Inner Urge," and as for Saenger, he shines whenever his impressive talents are required, as they are on most numbers. Even so, it is Watts on whose shoulders the album essentially is borne, and they are brawny shoulders indeed. After more than half a century of sharp and spirited blowing, the maestro shows no sign that he is easing back on the throttle. In other words, Wheel of Time is vintage Watts, moderated only by wisdom and experience. ~ Jack Bowers https://www.allaboutjazz.com/wheel-of-time-ernie-watts-flying-dolphin-records-review-by-jack-bowers.php
 

Personnel: Ernie Watts: tenor saxophone; Christof Saenger: piano; Rudi Engel: bass; Heinrich Koebberling: drums.

Wheel Of Time

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Herbie Hancock - Jammin' With Herbie

Bitrate: MP3@320K/s
Time: 70:55
Size: 162.4 MB
Styles: Bop, Piano jazz
Year: 1999
Art: Front

[ 9:35] 1. Maulana
[ 6:37] 2. Rock Your Soul
[13:03] 3. Baraka
[ 5:41] 4. Kamili
[ 8:20] 5. Bunia
[ 7:20] 6. Hot Piano
[ 3:52] 7. One And Awake
[ 4:37] 8. Night Walker
[ 6:35] 9. Jammin' With Herbie
[ 5:10] 10. Scoochie

These are alternate takes from the Warwick Record album OUT OF THIS WORLD co-led by Donald Byrd and Pepper Adams from 1961 in New York. I too bought the lp from the cut-out bin while in college. Many years later Fresh Sounds an import label in Spain made the original sessions available in 2007. Now I have the disc with the master takes and this particular album with bonus alternate takes. The more the merrier for me. The line-up is as follows : Don Byrd-trumpet, Pepper Adams-baritone sax, Herbie Hancock-piano, Laymon Jackson-bass, Jimmy Cobb- drums, and Teddy Charles-vibes on the song It's a beautiful evening only. The titles on the 'Jammin' with Herbie' have been changed from the original session date. This set gives the listener a tasty tidbit of what can be a hearty repaste of musical delight. ~A. Flynt

Jammin' With Herbie

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Paula Santoro - S/T

Bitrate: MP3@320K/s
Time: 50:51
Size: 116.4 MB
Styles: Brazilian jazz vocals
Year: 2005
Art: Front

[4:52] 1. Se Voce Disser Que Sim
[4:04] 2. Sem Fantasia
[3:34] 3. Segue Em Paz
[4:13] 4. Nós Dois
[4:36] 5. Não É Céu
[5:25] 6. Léo
[4:05] 7. Rainha Do Meu Samba
[3:24] 8. É Sério
[3:38] 9. Como Se A Vida Fosse Música
[4:01] 10. Céu No Cio
[4:35] 11. Perfume De Cebola
[4:18] 12. Yemanjá Rainha

Paula Santoro started her career in Minas Gerais in 1989, as part of a local vocal group- Nós & Voz, and was spotted by violinist Marcus Viana, leader of Sagrado Coração da Terra, a reputable progressive rock band.

In 1998 Paula Santoro moved to Rio de Janeiro. She was invited to take part in the Brahma Brasil Festival in France, one of the highlights of the World Cup events. She performed for thousands on her own, and shared the same stage with the great Gilberto Gil.

“Paula Santoro from Minas Gerais is one of those perfect singers: fine voice, perfect pitch and excellent repertoire. As shown is the CD in her own name (Biscoito Fino), which among other hits, opens with a little remembered partnership of Moacir Santos and Vinícius “Se você disser que sim”, includes “Sem Fantasia” by Chico Buarque with his participation, and a pearl from Vitor Ramil “Não é Céu”. ~Antonio Carlos Miguel

Paula Santoro

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Lol Williams Band - The Very Thought Of You

Bitrate: MP3@320K/s
Time: 47:26
Size: 108.6 MB
Styles: Vocal jazz
Year: 2003
Art: Front

[4:46] 1. Night And Day
[2:10] 2. Summerwind
[2:01] 3. I Wanna Be Around
[3:01] 4. Pennies From Heaven
[2:11] 5. The Good Life
[4:05] 6. The Lady Is A Tramp
[2:53] 7. I Left My Heart In San Fransisco
[4:26] 8. Who Can I Turn To
[3:07] 9. Fly Me To The Moon
[2:44] 10. It Had To Be You
[3:09] 11. The More I See You
[3:39] 12. Mack The Knife
[4:49] 13. Fly So High
[4:19] 14. The Very Thought Of You

The Very Thought Of You

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Kate Rusby - The Frost Is All Over

Styles: Vocal, Folk, Christmas
Year: 2015
File: MP3@320K/s
Time: 49:27
Size: 113,7 MB
Art: Front

(4:14)  1. Bradfield
(5:06)  2. Cornish Wassailing
(3:54)  3. Sunny Bank
(3:38)  4. Winter Wonderland
(4:44)  5. Little Bilberry
(5:14)  6. Dilly Carol
(5:31)  7. Cold Winter
(5:03)  8. The Christmas Goose
(4:12)  9. Yorkshire Merry Christmas
(3:49) 10. Mount Lyngham
(3:57) 11. The Frost Is All Over

Kate Rusby's third Christmas album featuring 11 tracks of UK traditional songs and carols. "Warm and inviting, spicy and sparkly she and her marvellous band  accompanied by a sublime brass quintet embody the sounds and joyous spirit of the best Christmases ever! "https://www.amazon.com/Frost-All-Over-Kate-Rusby/dp/B017T1Q6BE

Kate Rusby remains Britain’s most popular female folk singer in part because she has mastered the art of Christmas songs. She is currently on tour promoting this new Christmas album, which follows on from Sweet Bells and While Mortals Sleep by providing a cheerful reminder that Christmas is part of the folk tradition. Once again, she revives songs that are performed in seasonal sing-alongs in pubs in Yorkshire (with Cornish songs now added in), and treats them with her distinctively pure, intimate and understated vocals. She doesn’t stray far from her vocal comfort zone, but variety is provided by classy backing including a five-piece brass section, accordion, and the guitar and banjo work of her partner, Damien O’Kane. The songs include new versions of Christmas carols, a gently jazzy Winter Wonderland, and one Rusby composition, the cheerfully contented title track. A safe and tested format, maybe, but it still works. https://www.theguardian.com/music/2015/dec/10/kate-rusby-the-frost-is-all-over-review-mastering-the-art-of-christmas-songs

The Frost Is All Over

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Andrew Rathbun - Where We Are Now

Styles: Saxophone Jazz 
Year: 2009
File: MP3@320K/s
Time: 64:54
Size: 149,9 MB
Art: Front

(6:42)  1. Son Suite I
(7:12)  2. Son Suite II
(7:43)  3. Son Suite III
(4:08)  4. Son Suite IV
(7:57)  5. Film Under Glass
(7:22)  6. A Stern
(7:45)  7. Wheel
(8:30)  8. Lament
(7:32)  9. No Longer

It is quite insouciant to categorize jazz musicians as either composers or players. But jazz devotees sometimes typecast artists as writers or interpreters of music. With a mature talent such as composer/saxophonist Andrew Rathbun, categorizing him in one camp or the other is unwarranted. With Where We Are Now, his tenth disc as leader, he displays his growing maturity as a player and more of his acclaimed talents as composer/arranger. Like his last few discs, he sets aside his taste for poetry and vocalists to center the session on the music. That's not to say his writing isn't chock-full of versification. His "Son Suite" in four parts, written (of course) for his child, is a cohesive 26-minutes of music, showcasing both the writing and soloing. The mysterious opening gives way to a joyous music, Rathbun switching between the soprano and tenor saxophones to alter the mood. By the fourth section, bassist Johannes Weidenmuller's bowing is followed by a mallet solo from master percussionist Billy Hart's that reads like a fine verse. As for the remainder of the tracks, Rathbun sequences some passionate playing on "Lament," and a bit more introspective fair on "A Stern." The latter composition features Rathbun's considerate soprano saxophone driven (always driven) by Hart. 

The vigorous "Lament" allows the players to stretch out, signaling the opportunity for guitarist Nate Radley to lay down some simple clean lines in response to Rathbun's plush tenor. Pianist George Colligan, a regular companion of Rathbun's, supplies the steady accompaniment here. His solo on the closing "No Longer" follows a concise tenor statement from the leader, and begins with one hand before graduating to a two-handed speed solo. The music of Andrew Rathbun draws into the composition, but requires you to stay for the performance. ~ Mark Corroto https://www.allaboutjazz.com/where-are-we-now-andrew-rathbun-steeplechase-records-review-by-mark-corroto.php
 

Personnel: Andrew Rathbun: tenor saxophone, soprano saxophone; Nate Radley: guitar; George Colligan: piano; Johannes Weidenmuller: bass; Billy Hart: drums.

Where We Are Now

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Ed Hamilton - Hear In The Now

Styles: Piano And Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 58:09
Size: 133,2 MB
Art: Front

(5:31)  1. Boogie woogie
(6:58)  2. Out from the urban sky
(5:51)  3. Iowa
(8:31)  4. Hear in the now
(1:25)  5. Awakenings part 1
(6:17)  6. Awakenings part 2
(5:26)  7. So high (clouds in my eyes)
(4:34)  8. Jazzman
(6:06)  9. Jj's blues
(2:38) 10. When we last spoke
(3:49) 11. We didn't say
(0:59) 12. Goodbye

Born Eduard Scott Hamilton, USA. Hamilton developed his guitar playing out of an eclectic mix of influences that included Charlie Christian and rock, Latin and funk. Although he built a following during the early 90s he experienced difficulty in persuading record companies to accommodate him. As he told jazz writer Deni Kasrel, ‘Since I didn’t fit into any category, they didn’t think they could sell it...’ Showing remarkable tenacity, Hamilton stuck with his wide-ranging preferences and in 1996 was able to make the record he wanted. On the album he played guitar, bass and synthesizers, and also used guests Lenny White and George Howard. The diversity of approach that confounded record company executives makes it difficult to summarize Hamilton’s style. The fact that the music featured on his debut album was all self-written provides the clue. It is this aspect of his work that most enables listeners to find the man inside the music. Further recordings have appeared on the Telarc, Shanachie, and Fahrenheit labels.http://www.allmusic.com/artist/ed-hamilton-mn0000179705/biography

Personnel:  Ed Hamilton (piano, keyboards, acoustic & electric guitars, electric bass); Warren Hill (saxophone); Dave Falcianni (piano, synthesizer); Vince Fay (acoustic bass); Pat Petrillo (drums, percussion).

Hear In The Now

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Kenny Clarke - Meets the Detroit Jazzmen

Styles: Jazz, Bop
Year: 1956
File: MP3@320K/s
Time: 39:09
Size: 89,8 MB
Art: Front

(4:42)  1. You Turned the Tables on Me
(5:15)  2. Your Host
(5:32)  3. Cottontall
(5:24)  4. Apothegh
(5:47)  5. Tricrotism
(5:53)  6. Afternoon in Paris
(6:35)  7. Tom's Thumb

Drummer Kenny Clarke, who was the first to record with Cannonball Adderley, was an underrated talent scout. On this album, Clarke utilizes bassist Paul Chambers and three relative unknowns who had recently arrived in New York from Detroit: baritonist Pepper Adams, pianist Tommy Flanagan and guitarist Kenny Burrell. During what would be the drummer's last date as a leader before permanently moving to Europe, the quintet performs one original apiece by each of the Detroiters plus four jazz standards. 

This high-quality hard bop set in 1956 showed that the latest NY imports were already major leaguers. ~ Scott Yanow http://www.allmusic.com/album/kenny-clarke-meets-the-detroit-jazzmen-mw0000120791

Personnel: Kenny Clarke (drums), Pepper Adams (baritone saxophone), Tommy Flanagan (piano), Kenny Burrell (guitar), Paul Chambers (bass)

Meets the Detroit Jazzmen

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Cheryl Barnes - Listen to This

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 69:12
Size: 160,0 MB
Art: Front

( 4:09)  1. Like Jazz
( 4:42)  2. That Afternoon in Harlem
( 5:55)  3. Come With Me
( 6:03)  4. Why Did I Choose You?
( 3:54)  5. Listen to This
( 4:53)  6. I Wish You Love
(10:41)  7. Come in from the Cold
( 7:00)  8. What's on Your Mind
( 5:29)  9. Baby's Got Some Awful Kind of Blues
( 4:43) 10. What's Fair in Love
( 6:27) 11. When I'm Laid to Rest in Earth
( 5:10) 12. Merry, Merry Christmas to You

Barnes is like a rare archaeological find a legendary artist whose reputation precedes her and now, is suddenly discovered. Actually, the artist herself has been active in the jazz performance space for years, giving hundreds of shows around the world with the likes of Wynton Marsalis, J.J. Johnson, and Quincy Jones. However, unless you were lucky to have caught one of her live performances, her album arrives with a startlingly but altogether pleasurable surprise. While principally a jazz vocalist, she was classically trained in music (since the age of 9) and is adept at pop, classical, Gospel and Latin sounds. She also is a much sought-after vocal clinician, who conducts workshops and classes across the country. Did I mention she s fluent in four languages? The point here is that this is a very smart woman who uses her intellect to enhance her vocal prowess. Even when she is deeply emotive, she is a singer at all times in control of her voice. She punctuated her set at the Rockwell with a mix of songs from the album that showcased her versatility from the upbeat party vibe of the title track Listen To This to the poignant ballad about a veteran jazz singer with an extraordinary life in Afternoon In Harlem and to the heartfelt Baby s Got Some Awful Kind of Blues. Missing from the set, but on the new album, was her amazing reinterpretation of Joni Mitchell s Come In From The Cold. The album was produced by music industry veteran Rahn Coleman, recorded at Mystic Knight Recording Studios in Los Angeles and features a stellar list of sidemen including Brandon Fields on sax, John Hammond on piano, and Rickey Minor on bass with orchestration by John Beasley. Her set at Rockwell was orchestrated expertly by her husband, arranger and keyboardist Phillip Cabasso. In an interview prior to her Rockwell gig, she cited as her musical influences Ella Fitzgerald, Sarah Vaughn, Peggy Lee and Nancy Wilson. 

By the time that I was a teenager, I pretty much could imitate any voice. To find my own voice, I had to stop listening to vocalists and focus instead on instrumentalists, she said. Two other musical influences in her career must be mentioned. My grandmother was a singer and had a naturally, beautiful, magnificent voice, and she encouraged me to study music, she says. The other is Linda Hopkins, the legendary jazz, blues and r&b singer. She confesses to thinking of Hopkins when she recorded for the album An Afternoon in Harlem, written by her friends Mark Winkler and Marilyn Harris. I know Linda Hopkins fairly well, and she reminds me of the elegant, confident, older women with beautiful homes and clothes that were party of my upbringing in Cleveland (Ohio). Linda still has an incredible energy and love for music, which she shows by encouraging and supporting younger artists, she says. So, what took Barnes so along to come in from the cold and enter the studio to record Listen To This ? In a word, life. After years of touring and working with a multitude of artists, I ve decided now was the time to focus my energies on my own CD. It s been a long time in the making and I m very proud of both the music and the breadth of the songs and musicians on this album, she says. But she also confesses her own obsession with being technically perfect might have stymied her from recording more. Six years ago I decided that I must make an album so that I could leave a legacy to share with fans and other artists. But I had to learn not to over analyze my music, and throw my inhibitions under the table, she says. In fact, in the coming years, she says she looks forward to doing new things with jazz, possibly on another album. We re poised and ready when she does. --Greg Ptacek - Monsters and Critics Cheryl Barnes tells us what she wants us to do with her single word album title. ~ Straight No Chaser

Cheryl Barnes tells us what she wants us to do with her single word album title, but her staid album cover (hands clasped, semi serious facial expression) hardly prepares us for the wild ride. Those listening to the singer s glorious voice and surfing the wave of eclectic emotion as she dips and weaves from bluesy, swinging jazz ( Like Jazz ) to sparse eloquent ballads ( Why Did I Choose You, Baby s Got Some Awful Kind of Blues ) and dazzling, colorful big band vibes ( Listen To This, penned by her husband Phillip Cabasso) may wonder where she s been all their lives. And the answer is: out there, performing in various settings throughout the world, which apparently didn t give her time to hit the studio and set her unique brand of heartfelt expression and joyful whimsy to disc. She s done shows with Quincy Jones, Wynton Marsalis, J.J. Johnson, Billy Mitchell and Cathy Segal-Garcia. Brought her 16 years of operatic training to featured solo spotlights with the Denver Symphony Orchestra, the Florida Orchestra and the Lawrence University Orchestra in Wisconsin. Branching out from her home base in Los Angeles, Barnes has also toured South America, worked extensively as a vocal clinician and is a founding member of the Jazz Vocal Coalition. Her resume and creativity demand deeper thought for a debut than simply mining the Great American Songbook so she starts the CD mining gold from the catalog of fellow L.A. vocalist Mark Winkler ( Like Jazz and the playful story song Afternoon in Harlem ) and continues with unique choices like the wistful Come With Me, the eloquent I Wish You Love (partially sung in French) and an expansive, jazzy meditation on Joni Mitchell s Come In From The Cold. Among the L.A. elite helping Barnes bring the magic at last to the studio are Brandon Fields (sax), John Hammond (piano), Rickey Minor (bass) and John Beasley (orchestrations). ~ Jazz Monthly

A lot of CDs cross my desk, and an unusually large number of female vocalists. While some stand out, most are fairly generic treatments of the Great American Songbook. Enjoyable, but not really worth repeated listening. And then I heard Cheryl Barnes. For several decades, Cheryl s versatility has encompassed many musical genres. Singing in four different languages, Cheryl has performed around the world (including shows with Wynton Marsalis, J.J. Johnson, Quincy Jones and a guest member spot with the Clara Ward Gospel Singers), and has recorded with the likes of Azar Lawrence, Billy Mitchell and Cathy Segal-Garcia. Her sixteen years of Operatic training have brought her to the stage as a featured soloist with the Denver Symphony Orchestra, the Florida Orchestra and The Lawrence University Orchestra in Wisconsin, and she has toured extensively throughout South America, nurturing her love for Samba, Bossa Nova, Salsa and the riches of Latin and Afro-Cuban Music. After all that singing, it might come as a surprise that Listen to This is her recording debut. Backed by a strong band featuring Brandon Fields on sax, John Hammond on piano, and Rickey Minor on bass, she has chosen songs that could serve as a series of musical souvenirs from the many places her career has taken her. . From original jazz tunes like Afternoon in Harlem ; to reinterpretations of pop tunes by Joni Mitchell ( Come in From the Cold ); to gospel-influenced and classical material ( When I Am Laid in Earth ) there is no shortage of great material. Add in orchestration by John Beasley and this is a wonderful listen Podcast 411 is my conversation with Cheryl about the making of the CD, her choice of songs, and how she sings such a wide variety of styles. Musical selections include her cpver of Joni Mitchell's "Come in from the Cold"; "Afternoon in Harlem" and "Listen to This".~ Straight No Chaser   https://www.amazon.com/Listen-This-Cheryl-Barnes/dp/B00IQD35JQ

Listen to This

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Rich Perry Quartet - So in Love

Styles: Saxophone Jazz
Year: 1997
File: MP3@256K/s
Time: 65:24
Size: 121,0 MB
Art: Front

(10:44)  1. Eiderdown
( 6:12)  2. Little Waltz
( 9:47)  3. So in Love
(10:29)  4. Spring Is Here
( 9:46)  5. Moon and Sand
( 7:48)  6. My Foolish Heart
(10:34)  7. In Your Own Sweet Way

Too long taken for granted, tenor saxophonist Rich Perry often serves as the faceless sideman, a past contributor to the music of Tom Harrell, Chet Baker, Jack McDuff, Billy Hart, and the Thad Jones/Mel Lewis Orchestra. For very close to a decade now, he's also been the lead voice of pianist Harold Danko's quartet, a group that likewise deserves more critical and popular acclaim than it has garnered. If it wasn't for Perry's select bunch of SteepleChase sides we'd barely hear anything from him, and yet we've really never heard much of those due to those small label distribution woes. That is until now. Actually recorded in the fall of 1997, Perry's So In Love is part of a recent set of SteepleChase releases making their way to the United States for the first time. Before getting too much into details, let it be said that the saxophonist has got himself a surefire winner with this one and the story behind its gestation is worth telling. Basically, Perry was taking a break from the Danko quartet and decided to put together a new grouping for his upcoming session. He's done this for past records, but this ensemble was unique in being a bit more contemporary in stature. Pianist Renee Rosnes and drummer Billy Drummond (who also happens to be Rosnes' husband), along with bassist Peter Washington, combine to create a formidable rhythm section that locks in tight with Perry and holds on. The opening "Eiderdown" contains many of the prime elements that reoccur throughout the record, including Rosnes' liquid touch and abounding imagination, not to mention Drummond's interactive discourse with each soloist. 

Perry is a melodic and methodical soloist who seems to be more influenced by players like Warne Marsh or Hank Mobley than John Coltrane or Sonny Rollins. It's not characteristic of his style to engage in overblowing or other histrionics, yet Drummond and Rosnes seem to bring out his more boisterous side here, particularly on the title track. There's a serene quality to some of the slower pieces that finds Rich and Rosnes in their element. A nice twist on "Moon and Sand" is provided through the use of a bossa beat and Ron Carter's "Little Waltz" gets a heartfelt treatment apropos to its original intent. It just goes to show what can happen when you break out of the routine to hang out with some new friends. If you're having a hard time finding a local dealer for SteepleChase product in the US, contact thier distributor at stateside@prodigy.net. 

~ C.Andrew Hovan https://www.allaboutjazz.com/so-in-love-rich-perry-steeplechase-records-review-by-c-andrew-hovan.php
 

Personnel: Rich Perry- tenor saxophone, Renee Rosnes- piano, Peter Washington- bass, Billy Drummond- drums

So in Love

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Irakere - Cuba Libre

Styles: Latin Jazz, Fusion
Year: 1980
File: MP3@320K/s
Time: 40:10
Size: 93,5 MB
Art: Front

(12:57)  1. Cuba Libre
( 6:58)  2. Sea Mail
( 7:38)  3. Encuentro
( 5:28)  4. Qué Pasa?
( 5:58)  5. Gospelanza
( 1:08)  6. Cuba Libre (reprise)

It's with great pleasure that Far Out Recordings can re-issue this extremely rare, cult record from one of the finest bands to emerge from Cuba. Stepping out of Brazil Joe Davis has been digging through the dustiest crates to re-discover one of the very best Latin American records. Recorded in Japan in 1980 and released as a Japanese exclusive vinyl LP 'Cuba Libre' was composed, arranged and produced by the remarkable Japanese musician Chikara Ueda. With almost the entire original line up in place including Chucho Valdes, Arturo Sandoval, and Jorge Alfonso this is a record of sublime quality that retains all of the authentic essence and beauty of Cuban music. Among the most influential Latin bands Irakere's mix of fiery funk anthems and sophisticated jazz has rarely sounded better than on these six classic and uniquely Cuban tracks. 'Cuba Libre' is one of Irakere's finest moments. Never before released on CD, this is the first ever release outside of Japan for 'Cuba Libre' and with stunning re-mastering and music of glorious quality this is an essential and significant re-issue of one of Latin music's holy grail collector's items. A vital 45 minutes in the history of Cuban music. https://www.amazon.co.uk/d/CDs-Vinyl/Cuba-Libre-Irakere/B003BL0BCC

First time on CD for this 1980 Japanese release by one of Cuba's best loved bands. Overshadowed internationally by the sucess of Buena Vista Social Club, Irakere inhabit an exalted place with those in the know. A real treaasure for all music lovers. ~ Clash
 

Personnel:  Chucho Valdés – keyboards;  Arturo Sandoval – trumpet;  Jorge Varona – trumpet;  Germán Velazco - alto saxophone;  Carlos Averhoff - tenor saxophone;  Carlos Emilio Morales – guitar;  Carlos del Puerto – bass;  Jorge "El Niño" Alfonso – percussion;  Óscar Valdés – percussion;  Enrique Plá – drums.

Cuba Libre

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Ed Hamilton - Groovology

Styles: Guitar Jazz
Year: 1998
File: MP3@320K/s
Time: 44:20
Size: 101,5 MB
Art: Front

(4:21)  1. Fly like an eagle
(3:50)  2. If only
(4:36)  3. On my way
(4:22)  4. Ooh child
(5:51)  5. Jj's groove
(4:38)  6. April goodbyes
(4:50)  7. Souls felt
(5:02)  8. Jinda boogie
(4:38)  9. Didn't i (blow your mind this time)
(2:08) 10. Song for a princess

Dead set on achieving success as a smooth jazz guitarist, Ed Hamilton seems to have abandoned some of the playful sense of humor and adventurous edge which characterized his first two albums. Groovology features beautiful compositions and a solid mix of subtle warmth (as on the tribute "Song for a Princess") and more jumpy expressions which remind us of his sharp improvisational skills. Hamilton also plays the ace card of seamlessly interacting with the soprano sax of Tim Ries over the floating synth textures of pieces like "If Only" and "Ooh Child." Likewise, he creates interesting mood swings by varying his tones from high to low over a bubbling, synth-created, blues organ flavor throughout the light funk cover of "Fly Like an Eagle." It's all perfectly amiable, yet considering the artistic splash his previous works made, Hamilton plays it too close to the vest; there are few traces of the brew of hard rock, avant-garde, spacy fusion, and bebop that made his Path to the Heartland such an eye opener. ~ Jonathan Widran http://www.allmusic.com/album/groovology-mw0000040898

Personnel: Ed Hamilton (guitar, keyboards, bass, programming); Tim Ries (saxophone); Dave Falciani (piano).

Groovology

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Sammy Price - Fire

Bitrate: MP3@320K/s
Time: 60:46
Size: 139.1 MB
Styles: Blues/Jazz piano
Year: 1975/2008
Art: Front

[2:55] 1. Back Home Again To France
[3:29] 2. Black And Blue Blues
[3:01] 3. Walkin' Down Pigalle
[4:10] 4. Memories Boogie
[4:26] 5. Funky
[2:54] 6. Boogie Woogie For Hugues
[4:33] 7. West End Boogie
[3:48] 8. Whodat Blues
[3:55] 9. Riffin' Boogie
[4:57] 10. Tain't Nobody's Business If I Do
[2:24] 11. Salute To Basie
[3:22] 12. Begin The Beguine
[4:31] 13. West End Boogie (Take 1)
[4:41] 14. Indiana
[3:53] 15. Ain't She Sweet
[3:39] 16. Trombone With Fire

Ted Buckner - Sax (Alto); Doc Cheatham - Trumpet; Gene "Mighty Flea" Conners - Trombone; J.C. Heard - Drums; Sammy Price - Piano; Carl Pruitt - Bass.

This LP by pianist Sammy Price (put out domestically by Classic Jazz) can easily be split into two parts. Seven songs pay tribute in their titles to France and showcase Price mostly playing blues in a trio with bassist Carl Pruitt and drummer J.C. Heard. The remaining four songs add a trio of veteran swing-era horn players (trumpeter Doc Cheatham, trombonist Gene "Mighty Flea" Conners and altoist Ted Buckner) on three blues and the one non-Price standard "Tain't Nobody's Business If I Do." Although the inclusion of the horns gives added interest to the date, there is a certain sameness to much of the material and a predictability to the enjoyable but unsurprising outcome. ~Scott Yanow

Fire

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