Dizzy Gillespie - All The Things You Are

Bitrate: MP3@320K/s
Time: 37:29
Size: 85.8 MB
Styles: Bop, Trumpet jazz
Year: 1994/2010
Art: Front

[2:58] 1. All The Things You Are
[3:00] 2. Dizzy Atmosphere
[3:11] 3. Shaw' Nuff
[3:08] 4. Melancholy Baby
[3:05] 5. On The Alamo
[3:21] 6. Emanon
[3:03] 7. Cherokee
[3:11] 8. Blue 'n Boogie
[3:07] 9. One Bass Hit 1
[3:15] 10. A Handfulla Gimme
[2:51] 11. That's Earl Brother
[3:13] 12. I Waited For You

Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated. Somehow, Gillespie could make any "wrong" note fit, and harmonically he was ahead of everyone in the 1940s, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to explain them to the next generation, thereby insuring that bebop would eventually become the foundation of jazz. ~Scott Yanow

All The Things You Are

---

Helen Merrill - Merrill At Midnight

Bitrate: MP3@320K/s

Time: 34:25

Size: 78.8 MB

Styles: Vocal jazz, Easy Listening

Year: 1957/2006

Art: Front

[3:13] 1. Soft As Spring

[2:51] 2. Black Is The Color Of My True Love's Hair (Feat. Hal Mooney And His Orchestra)

[3:07] 3. It's A Lazy Afternoon

[3:05] 4. The Things We Did Last Summer

[3:03] 5. After You

[3:12] 6. If You Go

[3:20] 7. If I Forget You (Feat. Hal Mooney And His Orchestra)

[2:57] 8. If Love Were All

[3:42] 9. Easy Come, Easy Go

[2:44] 10. I'll Be Around

[3:05] 11. If Love Were All

Helen Merrill recorded this lushly orchestrated album in conjunction with arranger/conductor Hal Mooney, with whom she'd previously cut a single, in early 1957. Opening with the moody and gorgeous "I'll Be Around," she moves into almost an art-song mode on "Soft as Spring," and her sound on "If I Forget You" veers perilously close to pop, complete with rippling harp arpeggios, as does "It's a Lazy Afternoon." But Merrill is so beguilingly subtle and hauntingly beautiful in her intonation, and maintains just enough of a blues base to her delivery here, that these songs remain consistent with the rest of the material and with her other output of the era. Actually, the whole album works by straddling all of this territory -- it's simply Helen Merrill and Hal Mooney bending a few genres in a more sophisticated musical setting than usual on her records. All of these elements get pulled together, and wound as tight and powerfully as possible, on the final track, "Black Is the Color of My True Love's Hair" -- that had to be the finish, because nothing else here could top it for sheer, understated power and impact. Merrill at Midnight was also stunningly recorded, an attribute that one hopes will not be lost when and if the album ever gets reissued on CD. (As it is, the only way to get this album on CD, as of 2006, is as part of the four-CD The Complete Helen Merrill on Mercury which, itself, is out-of-print). For anyone who has it, or the old LP, this one's a keeper and in a class by itself, with lots and lots of class. ~Bruce Eder

Merrill At Midnight

---

Paul Bley, Sonny Greenwich - Outside In

Bitrate: MP3@320K/s
Time: 70:09
Size: 160.6 MB
Styles: Piano jazz, Avant garde jazz
Year: 1996
Art: Front

[1:40] 1. Sonics Ii
[4:34] 2. Horizons
[7:07] 3. Arrival
[7:31] 4. Now
[6:12] 5. Meandering
[7:00] 6. Willow
[6:45] 7. I Remember Harlem
[4:25] 8. Peel Street Blues
[7:47] 9. Steeplechase
[6:14] 10. You Are
[4:45] 11. These Foolish Things
[6:04] 12. Pent Up House

This duet set by pianist Paul Bley and guitarist Sonny Greenwich, after two melodic solos by Greenwich and Bley's feature on "Arrival," becomes a loose bop session. "Meandering" is a blues and, in the tradition of Lennie Tristano, the origins of the originals "Willow" and "You Are" are not too difficult to figure out. The music does meander a bit but mostly swings in a floating way. Although there are some freer moments, this is as straight as Paul Bley has played on records in years and Sonny Greenwich also sounds fairly conservative, at least if one does not listen too closely. It's a relaxed and very interesting set. ~Scott Yanow

Outside In

---

Stevie Wonder - Music Of My Mind

Bitrate: MP3@320K/s
Time: 47:57
Size: 109.8 MB
Styles: R&B
Year: 1972/2012
Art: Front

[7:23] 1. Love Having You Around
[8:08] 2. Superwoman
[3:55] 3. I Love Every Little Thing About You
[4:59] 4. Sweet Little Girl
[5:17] 5. Happier Than The Morning Sun
[3:36] 6. Girl Blue
[4:21] 7. Seems So Long
[6:40] 8. Keep On Running
[3:33] 9. Evil

With a new contract from Motown in his hand, Stevie Wonder released Music of My Mind, his first truly unified record and, with the exception of a single part on two songs, the work of a one-man-band. Everything he had learned about musicianship, engineering, and production during his long apprenticeship in the Snakepit at Motown Studios came together here (from the liner notes: "The sounds themselves come from inside his mind. The man is his own instrument. The instrument is an orchestra.") Music of My Mind was also the first to bear the fruits of his increased focus on Moog and Arp synthesizers, though the songs never sound synthetic, due in great part to Stevie's reliance on a parade of real instruments -- organic drumwork, harmonica, organs and pianos -- as well as his mastery of traditional song structure and his immense musical personality. The intro of the vibrant, tender "I Love Every Little Thing About You" is a perfect example, humanized with a series of lightly breathed syllables for background rhythm. And when the synthesizers do appear, it's always in the perfect context: the standout "Superwoman" really benefits from its high-frequency harmonics, and "Seems So Long" wouldn't sound quite as affectionate without the warm electronics gurgling in the background. This still wasn't a perfect record, though; "Sweet Little Girl" was an awkward song, with Stevie assuming another of his embarrassing musical personalities to fawn over a girl. ~John Bush

Music Of My Mind

---

Pee Wee Russell & Henry 'Red' Allen - The College Concert

Styles: Clarinet And Trumpet Jazz
Year: 1966
File: MP3@320K/s
Time: 32:15
Size: 75,2 MB
Art: Front

(6:04)  1. Blue Monk
(6:12)  2. I Want A Little Girl
(4:26)  3. Body And Soul
(4:28)  4. Pee Wee's Blues
(4:17)  5. 2° East, 3° West
(6:46)  6. Graduation Blues

Although trumpeter Red Allen (heard in his final recording) and Russell had recorded back in 1932, their paths only crossed on an infrequent basis through the years. For this LP, the two veteran modernists (who spent much of their careers in Dixieland settings) are joined by a young rhythm-section pianist Steve Kuhn, bassist Charlie Haden and drummer Marty Morell). The music is generally relaxed with an emphasis on blues and a fine feature for Allen on "Body and Soul." ~ Scott Yanow http://www.allmusic.com/album/college-concert-of-pee-wee-russell-and-henry-red-mw0000892162

Personnel:  Pee Wee Russell – clarinet;  Red Allen - trumpet, vocals;  Steve Kuhn – piano;  Charlie Haden – bass;  Marty Morell - drums

The College Concert

---

Oleta Adams - Evolution

Styles: Vocal And Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 57:14
Size: 131,4 MB
Art: Front

(4:42)  1. My Heart Won't Lie
(5:11)  2. Hold Me for a While
(4:45)  3. Don't Let Me Be Lonely Tonight
(5:16)  4. When Love Comes to the Rescue
(3:38)  5. I Just Had to Hear Your Voice
(4:14)  6. Come When You Call
(6:33)  7. Easier to Say (Goodbye)
(4:10)  8. Lover's Holiday
(5:04)  9. The Day I Stop Loving You
(5:33) 10. New York State of Mind
(3:42) 11. Evolution
(4:23) 12. Window of Hope

After the success of her debut, Adams doesn't change the formula for her second album. Which isn't a bad thing the stylish love ballads she sings are some of the best adult contemporary pop of the early '90s. 

~ Stephen Thomas Erlewine http://www.allmusic.com/album/evolution-mw0000101891

Personnel: Oleta Adams (vocals, piano, electric piano, synthesizer, background vocals); Valerie Pinkston-Mayo, Fred White , Rick Nelson, Paulette Brown (vocals, background vocals); Arnold McCuller, Bunny Hull (vocals); Michael Landau, Ray Fuller (guitar, piano, synthesizer); Aaron Zigman (strings, keyboards, synthesizer, programming); David Sanborn (alto saxophone); Tom Scott (tenor saxophone); Chuck Findley (trumpet, flugelhorn); Fred Washington (fretless bass); Gota Yashiki, Richard Stevens (drums, programming); Richie Steves (drums); Lenny Castro (percussion); Carolyn Perry, Bunny Hill, Arnold McCutler, Jerry Knight, Lori Perry, Darlene Perry, Sharon Perry (background vocals).

Evolution

---

Peter Brendler & John Abercrombie - The Angle Below

Styles: Guitar Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 60:28
Size: 138,8 MB
Art: Front

(5:31)  1. Downhill Runner
(6:28)  2. Half Dozen of the Other
(6:36)  3. Nick of Time
(8:07)  4. Valdoviño
(7:04)  5. Jazz Folk
(7:45)  6. Misdirection
(2:20)  7. Rockaway
(5:17)  8. Six of One
(4:40)  9. Sweet 16
(6:35) 10. Goodbye

Peter Brendler and guitarist John Abercrombie have developed their playing partnership over a number of years, but The Angle Below is their first duo recording. Brendler "the guy on the bass" as he's described in Neil Tesser's sleeve notes is the nominal leader but he refers to the album as a collaboration. He's not wrong. He may be the driving force behind the project, the man who sorted out the studio, booked the dates, contacted the press and made the coffees, but as soon as the bass and guitar open "Downhill Runner" it's clear that this is a joint venture a very successful joint venture. Abercrombie has a long and distinguished discography, with over 50 albums as leader. Brendler, the younger man by about four decades, doesn't quite match that number, but his reputation is building. Brendler takes the lion's share of composer credits six, to Abercrombie's three, plus a cover of Gordon Jenkins' "Goodbye." There's a gentle, almost genteel, quality to the tunes with Brendler's earthy, full, bass tone contrasting well with Abercrombie's bright, metallic electric guitar. In 2010 Brendler joined drummer Barry Altschul on Jon Irabagon's Foxy (Hot Cup Records), a full-on, fiery, high-energy slab of jazz that took few, if any, prisoners. It also demonstrated Brendler's power and strength as a player. The Angle Below requires a different set of skills from the bassist a subtler, more nuanced approach to the instrument. He shows himself to be eminently accomplished at this his composition for solo bass, "Rockaway," is calm and meditative. 

One of the most impressive features of The Angle Below is the way in which the interplay between Brendler and Abercrombie develops within each tune. There are unison passages but for the most part the two musicians work as a lead and rhythm duo. While that might suggest a traditional partnership with the guitar taking on the melody and the bass establishing a rhythmic foundation this collaboration finds both men moving between the two. Abercrombie's "Jazz Folk" is an especially fine example of this interplay, but it's a common motif across the album. The switches between roles are achieved so smoothly that it takes a few seconds to realize that they've happened, a testament to the relationship that the players have on this beautifully-recorded and rewarding album. ~ Bruce Lindsay https://www.allaboutjazz.com/the-angle-below-peter-brendler-steeplechase-records-review-by-bruce-lindsay.php

Personnel: Peter Brendler: bass; John Abercrombie: guitar.

The Angle Below

---

Delfeayo Marsalis - Minions Dominion

Styles: Trombone Jazz
Year: 2006
File: MP3@320K/s
Time: 63:10
Size: 145,5 MB
Art: Front

( 7:33)  1. Brer Rabbit
(11:15)  2. Lone Warrior
( 9:11)  3. If You Only Knew
( 8:49)  4. Minions Dominion
( 9:27)  5. Just Squeeze Me
( 6:46)  6. Weaver Of Dreams
(10:05)  7. Lost In The Crescent

What does the term "mainstream" mean to you? In jazz, the label is applied to music which has time-tested, codified rhythm and structure. After that, it can get more mainstream if the melody and harmony are easily understood. This is not a value judgment about good or bad music, but rather a way of placing the music within a framework of expectation. However, that expectation can be quite different depending on one's individual experience and personality. Some listeners enjoy having such expectations fulfilled, while others revel in being set up and fooled. Many people with wide listening habits are on the lookout for music that manages to hold together without doing the expected, and actually relish feeling the musical ground constantly shifting under their feet.  Trombonist Delfeayo Marsalis' Minions Dominion is absolute dead-center mainstream music for people who like well-played jazz that is just thorny enough to elicit a smile (or grimace, as the case may be). However, this music will not have that "sound of surprise" enjoyed by more adventurous listeners, which draws them to jazz in the first place. They will be able to pull out Blue Note reissues that have almost the same feel. Moreover, mainstream does not have to mean music which sounds old. Two recent, and quite different, albums, David Braid's Zhen and Andrew Rathbun's Shadow Forms, both sit in the mainstream camp, but they also bend the rules and thwart expectations enough to be quite surprising and memorable.

The liner notes for Minions Dominion actually anticipate this whole issue. The 2002 session is special in that it was the great Elvin Jones' last studio session. Marsalis had an ongoing apprenticeship with the drummer, and at one point asked him whether his playing would benefit from "less tradition and more avant-garde?" Some might think that asking such a question might indicate that Marsalis was missing the point. You cannot just decide to "play avant-garde." A real avant-garde player feels that style as deeply within himself as does the traditional player his own. Jones, perhaps sensing this whole conundrum, and being a trailblazer himself, answered perfectly, saying that if Marsalis continued studying and playing, in a few years he should "understand the tradition well enough that you can take it into whatever direction you'd like." Given all of this philosophy, the record does swing like hell in the expected way for sure, but it is nonetheless very deep and irresistible. The bass players, Robert Hurst III and Edwin Livingston, along with Jones (of course) should get much of the credit for this. Also, pianist Mulgrew Miller, as a member of the rhythm section, plays in a very wide and deep pocket; there is no question of his feel for this style. He also plays outstanding accompaniment: one can hear him listening to and echoing the soloists, providing just the right touch whenever he plays.

Jones himself is in fine form and in general pushes the proceedings, adding intensity to the session, including the famous polyrhythms of his John Coltrane years' lore, as in the evocative "Lone Warrior." He can also just flat out swing as in "Brer Rabbit," which is a good track to show why this record falls flat. The bass starts the tune with a walking line that sounds at first like an ear-catching mistake but is not, but then the piano has trouble synching up with him, as do the drums with the other two. Eventually, they all get hooked up and build a head of steam, but this beginning screams "studio recording," with the musicians interacting through headphones and not by really being there. Saxophonists Branford Marsalis and Donald Harrison provide most of the fireworks, which to these ears sound forced within the context of the rest of the playing and could almost be the expected "avant-ness."  The leader's trombone tone is quite clean, warm and inviting. He certainly likes to throw a quote in during his soloing, but it is not subtle at all. The high point of the record for me is his sumptuous playing on the ballad "If You Only Knew."  All in all, the music sounds trapped in the past, especially "Lost In The Crescent," which just reeks of the Marsalis jazz-through-slavery prism refracted through Coltrane. ~ Budd Kopman https://www.allaboutjazz.com/delfeayo-marsalis-minions-dominion-by-budd-kopman.php

Personnel: Delfeayo Marsalis: trombone; Donald Harrison: alto saxophone; Branford Marsalis: tenor and soprano saxophones; Mulgrew Miller: piano; Sergio Salvatore: piano; Robert Hurst III: bass; Edwin Livingston: bass; Eric Revis: bass; Elvin Jones: drums.

Minions Dominion

---

Steve Nelson - Brothers Under the Sun

Styles: Vibraphone Jazz
Year: 2017
File: MP3@320K/s
Time: 60:02
Size: 138,0 MB
Art: Front

(9:07)  1. The More I See You
(4:41)  2. Eastern Joy Dance
(6:23)  3. Grew's Tune
(8:38)  4. Soul Leo
(5:13)  5. It Never Entered My Mind
(5:16)  6. Samba d'Blue
(4:52)  7. Brothers Under the Sun
(5:28)  8. For Those Who Do
(4:46)  9. New Wheels
(5:33) 10. Melody for Mulgrew

Vibist Steve Nelson made a big splash as a newcomer in the jazz polls at the end of the '80s just as the vibraphone began to re-emerge as one of jazz's favorite instruments. The cool, drifty, slightly detached sound of the vibraphone will forever be associated with great jazz players like Lionel Hampton, Gary Burton and others, but Nelson has firmly established himself as a leader of top-notch small ensembles that showcase his own personal voice on the instrument. Leading a blue-chip quartet composed of pianist Danny Grissett, bassist Peter Washington, and drummer Lewis Nash, Nelson has put together an imaginative setlist that serves as a tribute to the late pianist Mulgrew Miller, with whom Nelson enjoyed a long and fruitful musical collaboration and friendship. Throughout the date the interplay of the quartet is engaging, the creativity unflagging and the joy in the music making is always apparent. Brothers Under the Sun is a substantial addition to Steve Nelson's far-too-small discography as a leader. https://www.amazon.com/Brothers-Under-Sun-Steve-Nelson/dp/B01MTBDPQW

Personnel: Steve Nelson (vibraphone), Danny Grissett (piano), Peter Washington (bass), Lewis Nash (drums)

Brothers Under the Sun

---

Terry Blaine & Mark Shane - Lonesome Swallow

Size: 154,9 MB
Time: 65:49
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz Vocals
Art: Front

01. Squeeze Me (3:56)
02. Lonesome Swallow (4:04)
03. I Got Rhythm (2:53)
04. My Handy Man (4:10)
05. Memories Of You (4:30)
06. Hate To Talk About Myself (2:48)
07. Willow Tree (3:11)
08. Am I Blue (3:26)
09. I'm Glad There Is You (4:30)
10. Jeepers Creepers (3:35)
11. River (Stay 'way From My Door) (4:38)
12. You Don't Understand (4:01)
13. Do What You Did Last Night (2:56)
14. 100 Years From Today (4:16)
15. Long About Midnight (3:16)
16. Shim Sham Shimmy Dance (2:04)
17. Don't Cry Baby (3:56)
18. Home (When Shadows Fall) (3:31)

Singer Terry Blaine likes to use her album releases as a vehicle for giving a nod to those who have influenced her. Among these are Ella Fitzgerald, Fats Waller, Lee Wiley, Helen Ward, Annette Hanshaw, Martha Tilton, Helen Forrest and Ethel Waters . For their fifth album together Blaine and long time accompanist Mark Shane have structured a program patterned after recordings made between 1929 and 1939 by Ethel Waters and J. P. Johnson for the Columbia label. With James P. Johnson in the mix, it's understandable why 1/3 of the play list belong to tunes by Fats Waller and Andy Razaf, including their lovely, underplayed "Lonesome Swallow". Blaine picks up several of the jazz influenced mannerisms that made Waters one of the top singers of her day before the movies beckoned, such as those cute second chorus embellishments. While at first hearing, these sound somewhat dated, they only add to the charm of Blaine's (and Water's) handling of these great tunes. Mark Shane captures the stride of James P. Johnson and the way Johnson used that device to highlight Water's vocal artistry, especially on such tunes as "Am I Blue" and "Willow Tree". There are a couple of ballads on the program, such as a lovely "Home (When Shadows Fall)", but mostly what we hear are the highly infectious rhythms of Blaine and Shane.

It's hard to imagine any two performers who can handle this material better than these two. With Blaine's dark, husky Lee Wiley like voice and Shane's delicate stride piano, this happy album is one that should be considered for the record collection. ~Dave Nathan

Personnel: Terry Blaine - Vocals; Mark Shane - Piano

Lonesome Swallow

---

Fabio Zeppetella, Emmanuel Bex, Roberto Gatto, Geraldine Laurent - Chansons!

Size: 120,6 MB
Time: 52:06
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. E La Chiamano Estate (5:36)
02. Bocca Di Rosa (5:13)
03. Buona Notte Fiorellino (1:11)
04. A Me Me Piace O' Blues (4:03)
05. Napule E (5:07)
06. Luna Rossa (6:09)
07. Avec Le Temp (3:27)
08. C'est Si Bon (5:01)
09. L' Ete Indien (7:00)
10. Les Temps Des Cerises (4:33)
11. Le Bon Dieu (4:40)

Chansons! is a musical conception similar to a diplomatic treaty or melodious embrace between cousins. Essentially, it's an innovative exchange between two neighboring worlds that have always eyed and inspired one other with reciprocal curiosity. Italy and France unite as allies on the musical front, gathering on the field four extraordinary talents: Fabio Zeppetella, Roberto Gatto, Géraldine Laurent, and Emmanuel Bex. This original quartet uniquely interprets eleven songs that best reflect the musical tradition of singer-songwriters belonging to these two countries. Starting from the highly popular jazz composer Bruno Martino, passing through the ever-present Fabrizio De André and Francesco De Gregori and arriving to Pino Daniele, another milestone; on the French scene are idols such as Jacques Brel, Leo Ferré, Yves Montand, and Joe Dassin. The quartet's interpretation is extraordinary and the songs on Chansons! enchant from beginning to end. While the harmonious complicity of Gatto, Bex, and Zeppetella is a well-known fact, the musical fluency added by the involvement of Laurent is unexpected, further enriching this innovative project. Also features compositions by: Vincenzo De Crescenzo-Antonio Vian, Henri Betti-André Hornez, and Jean-Baptiste Clément-Antoine Renard. Personnel: Fabio Zeppetella - guitar; Emmanuel Bex - organ, voice; Géraldine Laurent - alto sax; Roberto Gatto - drums.

Chansons!

---

Ray Gelato & The Enforcers - Energy!

Size: 105,3 MB
Time: 44:38
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Swing, Vocals
Art: Front

01. The Barnyard Boogie (2:37)
02. I've Been Around The Block (2:16)
03. Medley That's My Home - Moonglow (4:25)
04. Dark Eyes (4:26)
05. Jack You're Dead (2:58)
06. The Gal Of My Pal (3:35)
07. Corn On The Cobb (3:07)
08. Teach Me Tonight (4:32)
09. Don't Toy With Me Baby (3:01)
10. The Best Things In Life Are Free (4:33)
11. Isfahan (4:24)
12. Medley Should I - You Rascal You (4:39)

Personnel:
Ray Gelato - Vocals, Tenor Sax
Danny Marsden - Trumpet
Andy Rogers - Trombone
Olly Wilby - Tenor & Alto sax
Gunther Kurmayr- Piano
Manuel Alvarez- Double Bass
Ed Richardson - Drums

Ray numbers amongst his fans such great artists as Van Morrison, Paul McCartney and Brian Adams. For good reason. Every concert, club date or event that Ray performs at transforms one back in time, to an era of music where musicians were not afraid to communicate and entertain.

Ray Gelato's brand new band, The Enforcers, encompasses all of the elements that Rays world wide fans love about him but in a compact, small combo format. The idea being to present a complete repertoire of new songs, old favourites and Ray’s critically acclaimed original tunes.

It's all here from Gelato's big toned, passionate tenor sax to his highly distinctive jazzy, Swingin' vocals. His driving rhythm section understands how to swing, rock and create excitement. The Enforcers make a huge sound for a small combo. All presented with a tough contemporary edge and the explosive energy that Ray is famous for. This is Swing and R&B music not stuck in the past but very much for now.

"He plays what he means and he means what he plays"- Jools Holland

Energy!

---

Jurgen Burdorf - Straight Up Guitar

Size: 100,0 MB
Time: 40:03
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Rock
Art: Front

01. Going Places (2:43)
02. October (5:36)
03. Feels About Right (3:52)
04. Flying Saucers (4:23)
05. Evening Glow (3:32)
06. Old Town (5:00)
07. New Frontiers (3:36)
08. Tender Logic (4:11)
09. Something's Buzzing (4:00)
10. Tides Of Time (3:06)

Straight Up Guitar, by Dutch guitarist Jurgen Burdorf (1980) it’s his second album as a leader and composer, after his debut Opening Lines, that was released in 2016.
The music of the Jurgen Burdorf Band is energetic, firmly grounded and smoulders under its surface. It is accessible and always has a tight groove. Jurgen loves all kinds of music and that can be heard in his compositions. Influences of jazz, roots, rock and a little bit of Eastern European folkmusic are mixed into a tasty stew. The band consists of Jurgen Burdorf on guitar, Dutch-Colombian keyboard player Tico Pierhagen (Aguabajo), bassist Hugo den Oudsten (Shirma Rouse, Sabrina Starke) and drummer Léon Klaasse (Powerplay, The Pilgrims).
Until 2015 Jurgen mainly worked as a freelance guitar player. In 2015 he started to write compositions that would end up on his debut album ‘Opening Lines’. The album was released in 2016 en gained an enthousiastic press response. Belgian website Rootstime.be wrote: “Burdorf is not only a gifted guitarist with a nice sound on top of that, but he’s also written 10 skillful and melodious compositions with a lot of variety.” In 2016, with the repertoire of Opening Lines, the band played ao on the known Dutch Jazz Festival Jazz In Duketown.

Straight Up Guitar

---

Alma Matters - Alma Matters

Size: 160,9 MB
Time: 69:33
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz World Fusion
Art: Front

01. Intro ( 0:26)
02. The Unknown ( 5:47)
03. Shadow Woman ( 6:28)
04. Use It All (10:45)
05. Hold On ( 8:38)
06. Get Involved ( 5:24)
07. Nobody's Fault But Mine ( 6:37)
08. You'll Never Follow ( 5:52)
09. Gospel Sermon ( 8:15)
10. Wade In The Water ( 6:25)
11. Bridge Over Troubled Water ( 4:49)

A unique and ambitious recording project conceived and organized by Oakland-based vocalist/flutist/drummer/producer Jeff Weinmann, Alma Matters reflects the vibrant cultural diversity of the San Francisco Bay Area, and features some of the region's artists who have become leading voices in contemporary music. It's a collection of songs "with a message" interspersed with grooving, African- and Latin-infused instrumentals whose horn-laden melodies call out and unfold over a thick layer of drums and percussion. Co-produced by SF-based trombonist/recording engineer Jeff Cressman and Berkeley-born, now NY-based multi-instrumentalist Peter Apfelbaum, the recording draws heavily from the Bay Area's jazz scene - indeed, many of the participants came through the Berkeley High School Jazz Ensemble and/or Apfelbaum's world music big band, the Hieroglyphics Ensemble - but also draws from the local Gospel and Latin scenes as well. The multifaceted album includes re-imagined, Afro-Latin percussion-heavy covers of the spirituals "Wade In The Water" (done with a brass band and featuring Gospel singers Terrence Kelly and Destani Wolf) and "Nobody's Fault But Mine" (featuring Sandy Cressman's vocals and Apfelbaum's tenor sax over intermittent horn chorales and Josh Jones' congas) as well as Paul Simon's classic "Bridge Over Troubled Water" done as a vocal quartet with Apfelbaum on piano, and a reggae version of the 70's soul hit "Get Involved" featuring vocalist Tony Lindsay (Jeff Cressman's bandmate in the Santana band for years). The album also includes cinematically orchestrated originals by Apfelbaum, Sandy and Natalie Cressman (whose "You'll Never Follow" features fellow rising star Elena Pinderhughes on vocals) and trumpeter Erik Jekabson, and includes an churning, suite-like meditation on recycling, "Use It All", by Apfelbaum's latest band, Sparkler.

Alma Matters

---

The Carnegie Hall Jazz Band - The Carnegie Hall Jazz Band

Bitrate: MP3@320K/s

Time: 61:25

Size: 140.6 MB

Styles: Bop, Swing, Big band

Year: 1996/2006

Art: Front

[ 8:22] 1. In The Mood

[ 4:47] 2. It Never Entered My Mind

[ 7:05] 3. Shiny Stockings

[ 9:59] 4. Giant Steps

[10:05] 5. Frame For The Blues

[10:39] 6. Sing, Sing, Sing

[ 5:03] 7. Getting Sentimental Over You

[ 5:22] 8. South Rampart Street Parade

Alto Saxophone – Frank Wess (tracks: 1, 6); Alto Saxophone, Clarinet, Flute – Jerry Dodgion; Alto Saxophone, Soprano Saxophone, Clarinet, Flute – Dick Oatts; Baritone Saxophone – Gary Smulyan; Bass – Peter Washington; Bass Trombone – Doug Purviance; Drums – Lewis Nash; Piano – Renee Rosnes; Tenor Saxophone – Lew Tabackin (tracks: 4); Tenor Saxophone, Clarinet, Flute – Ralph Lalama; Tenor Saxophone, Flute – Ted Nash; Trombone – Dennis Wilson, Slide Hampton, Steve Turre; Trumpet, Flugelhorn – Byron Stripling, Earl Gardner, Lew Soloff, Ryan Kisor. Recorded with a two microphone Cello recording system. Recorded at Sony Studios, New York City.

The ONLY recording of the CARNEGIE HALL JAZZ BAND is a rewarding experience to any jazz lovers ears. The music director for the ensemble was trumpeter Jon Faddis, and for the most part he has done an admirable job producing this along with Newport Jazz impressario, Goerge Wein. 8 tunes with 5 arrangers (Jim McNeely, Garnett Brown, Slide Hampton, Frank Foster and the unknown to my background at least, Randy Sandke). The band unlike others of its ilk, emphasizes classics (in the jazz and pop venues) instead of originals. However, there lies the knocking off of one star to this CD. The originals are not the way you might want to hear them played. Usually thats a good thing, but in some cases ,i.e. IN THE MOOD, the opening number, it can get a little jarring. That aside, the muscianship is top notch. Frank Wess, Jon Faddis, Ted Nash, Jerry Dodgion, Lew Tabackin, Renee Rosnes, to name a few in this band, turn in some fine solos.

This is not a "live" album even though it may look like it is at first glance. Recorded at Sony Music Studio B in NYC with a minimal amount of takes (according to the notes) with no post production or "mixing" which is a rarity today. ~Daddyojazz

The Carnegie Hall Jazz Band   

---

Gigi MacKenzie - Skylark

Bitrate: MP3@320K/s
Time: 68:58
Size: 157.9 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[3:32] 1. Moonlight In Vermont
[4:58] 2. The Shadow Of Your Smile
[4:09] 3. Small World
[4:35] 4. Embraceable You
[4:07] 5. Stranger In Paradise
[4:30] 6. Come Rain Or Come Shine
[4:19] 7. Let's Make A Go Of It
[4:29] 8. Cry Me A River
[4:45] 9. Blue Moon
[5:04] 10. Tenderly
[3:20] 11. Hey There
[4:18] 12. Skylark
[3:29] 13. Almost Like Being In Love
[4:54] 14. Good Morning Heartache
[4:53] 15. That's All
[3:30] 16. Moonlight In Vermont

Gigi brings a fresh style to beautiful jazz standards in this electrifying solo album. Her captivating sound that melds sprinkles of R&B with a good dose of modern jazz makes these songs breathe new life. Not only is her voice deliciously magnetic with a huge range, but a sense of intimacy unfolds as she accompanies herself on guitar, drums and percussion as well. These imaginative arrangements will make it feel as if you're hearing these great songs for the very first time.

Skylark

---

Wild Bill Davison - Rosetta

Bitrate: MP3@320K/s
Time: 43:06
Size: 98.7 MB
Styles: New Orleans jazz
Year: 2016
Art: Front

[4:41] 1. When You're Smiling
[6:28] 2. Big Butter And Egg Man
[5:14] 3. I Want A Little Girl
[7:53] 4. Love Is Just Around The Corner
[3:36] 5. Memories Of You
[7:12] 6. Rosetta
[7:58] 7. C Jam Blues

During his 69th year, Wild Bill Davison led seven albums. The definitive Dixieland cornetist, Wild Bill was still in prime form in the mid-'70s, as he shows on this spirited pickup date in New Orleans. Best-known among his sidemen in the sextet are trombonist George Masso and the ancient bassist Ed Garland, while soprano saxophonist Noel Kalet and pianist David Paquette have remained unknowns. Seven veteran standards (mostly from the 1930s) are interpreted in typically spirited fashion by Davison. Recommended.

Rosetta

---

Peter Kavanaugh - Whisper Not

Bitrate: MP3@320K/s
Time: 39:01
Size: 89.3 MB
Styles: Jazz guitar
Year: 2015
Art: Front

[4:11] 1. Whisper Not
[4:09] 2. Emily
[6:09] 3. Poinciana
[2:50] 4. Swing 48
[4:24] 5. Easy Living
[1:59] 6. Ask Me Now
[4:45] 7. On The Way To Your House
[4:25] 8. (I'm) Confessin’ (That I Love You)
[6:05] 9. Jitterbug Waltz

Peter Kavanaugh – Guitar; D.J. Bonebrake – Vibraphone (tracks 1-6, 8 & 9); Shawn Oshmiansky – Clarinet (tracks 8 & 9); Paul Eckman – Upright bass (tracks 1-6, 8 & 9); Jack Le Compte – Drums (tracks 1-6, 8 & 9); Michael Bolger – B3 Organ (track 7); Geoff Rakness – Upright bass (track 7); Mark San Filippo – Drums (track 7).

With “Whisper Not,” Kavanaugh creates a melodic, harmonically rich picture that showcases a guitar player with rare soul and finesse, as well as a bandleader with a unique yet accessible vision. The repertoire is an appealing collection of lesser-known nuggets from the jazz songbook, and unexpected elements appear right out of the gate with the title track’s pairing of sun-dappled vibraphone and toothy blues guitar tones.

The breezy bossa nova “Poinciana” surprises with nods to Esquivel and the twanging baritone guitar of a spaghetti western, while under Kavanaugh’s direction, Fats Waller’s “Jitterbug Waltz” descends to earth from a dreamy stratosphere where a clarinet trades lines with an interstellar Les Paul. Kavanaugh pulls out the syncopated bop with a take on Django Reinhardt’s “Swing 48” that sounds like the lost soundtrack to a cartoon short involving spies, gangsters and unsafe driving. The original composition “On the Way to Your House” has an infectious, playful melody and soulful call-and-response Hammond B-3 that shows Kavanaugh to be an artist who can both honor and build upon the great traditional jazz and blues genres.

Whisper Not

---

Gerry Mulligan - Gerry Mulligan Meets Johnny Hodges

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 33:25
Size: 76,8 MB
Art: Front

(5:47)  1. Bunny
(3:45)  2. What's The Rush
(7:28)  3. Back Beat
(4:02)  4. What's It All About
(5:16)  5. 18 Carrots For Rabbit
(7:04)  6. Shady Side

Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve, yet it was inexplicably the last to be made available on CD. With a hand-picked rhythm section consisting of pianist Claude Williamson, bassist Buddy Clark, and drummer Mel Lewis, and three originals contributed by each of the two leaders, everything gels nicely, though several tracks took more than three takes (in spite of liner note writer Nat Hentoff's assertions) to reach their final form. Mulligan contributed the gorgeous ballad "What's the Rush" (where he sat back to enjoy Hodges' solo and never plays his own horn), the easygoing swinger "Bunny," and the brisk cooker "18 Carrots (For Rabbit)," the latter which its composer would revisit with his Concert Jazz Band. The veteran alto saxophonist contributed the low-key ballad "Shady Side," the sassy blues "Back Beat" (later re-recorded by Hodges during a still unreleased 1960 studio meeting with Ben Webster), and "What It's All About," another potent blues. Throughout the date, the two saxophonists blend beautifully and complement one another's efforts, even though this was their only opportunity to record together in the studio. Sadly, no alternate takes or unissued numbers (at least two of which exist) have been added to this long anticipated reissue. ~ Ken Dryden http://www.allmusic.com/album/gerry-mulligan-meets-johnny-hodges-mw0000029368

Personnel: Gerry Mulligan (baritone saxophone); Johnny Hodges (alto saxophone); Claude Williamson (piano); Buddy Clark (bass); Mel Lewis (drums).

Gerry Mulligan Meets Johnny Hodges

---

Louise Rogers - Black Coffee

Styles: Jazz, Vocal

Year: 2010

File: MP3@320K/s

Time: 58:21

Size: 134,1 MB

Art: Front

(4:26)  1. Comes Love

(2:57)  2. Alice in Wonderland

(4:53)  3. Easy to Love

(3:43)  4. Sentimental Journey

(2:42)  5. Lazy Afternoon

(4:45)  6. Pennies from Heaven

(3:47)  7. Alright Okay You Win

(5:55)  8. Black Coffee

(3:43)  9. Ain't Misbehavin'

(3:45) 10. Happiness Is a Thing Called Joe

(4:40) 11. Skylark

(5:16) 12. When the Sun Comes Out

(4:13) 13. Be My Baby

(3:32) 14. Gentle Rain

Jazz vocalist Louise Rogers has been gradually winning over converts with her beautiful burnished tone, clear diction, flawless intonation, and impeccable musicianship. Her natural, unforced delivery harkens back to such pure singers as Peggy Lee, Ella Fitzgerald, Chris Connor, and Doris Day. And while she may possess considerable technique and a capacity to improvise and scat up a storm like her most significant role model, Ella, Rogers takes a more relaxed and restrained approach on Black Coffee, her fifth recording overall and first for Chesky Records. https://www.amazon.com/Black-Coffee-Louise-Rogers/dp/B003TT72LO

...a pure incandescent voice, free of affectation or obvious influence... ~ Christopher Loudon, Jazz Times

Personnel: Louise Rogers (vocals); Paul Meyers (guitar); Billy Drummond (drums).

Black Coffee

---