Mélanie Dahan - Latine

Styles: Vocal, Chanson
Year: 2011
File: MP3@320K/s
Time: 58:52
Size: 135,0 MB
Art: Front

(4:32)  1. Utile
(3:59)  2. Berimbau
(5:48)  3. Retrato em branco e preto
(3:25)  4. Vingt ans
(4:45)  5. Que feras-tu de ta vie ?
(4:30)  6. Luiza
(5:00)  7. Le prochain amour
(4:53)  8. El cosechero
(4:31)  9. Flor de lis
(5:41) 10. J'ai eu trente ans
(5:38) 11. Catavento e girassol
(6:04) 12. Que reste-t-il de nos amours ?

Following the success of her first album ("La Princesse et les Croque-notes") and numerous concerts, Mélanie Dahan returns to us in a formula favorable to the expression of her great qualities as an interpreter. She continues to create bridges between French chanson and jazz and we also embark this time in a program more mixed, with Latin sounds. This second opus balances with grace and elegance between France, Brazil, Argentina and reflects nicely the diversity of its influences. Two, three repertoires, therefore, with common roots, which she declines in several forms and colors, in ease from one register to another, and in a style that belongs only to her. It succeeds the tour de force to offer an extraordinarily coherent, dark and luminous universe in the same inflection. Everything Mélanie sings is borrowed from a gentle sensitivity to the service of a refined phrasing, a gourmet mastery of words, a natural know-how. Loving the nuance and the beautiful and just phrase, she has the ability to move and touch the heart without resorting to artifice. The arrangements accord soloists large spaces in which they can move freely. For the occasion, she surrounded herself with the accomplices of her first album: the lyrical flights of harmonic sculptor Giovanni Mirabassi, Marc-Michel Le Bévillon's balloon, round and melodic double bass, and a perfectly Cuban drummer: Lukmil Perez. She made a wish: to record half of the disc with a string quartet, the Storycordes (arrangements: Marc-Michel Le Bévillon), where she only has to distill her delicate voice which finds in this context a new setting. https://www.amazon.fr/Latine-Giovanni-Mirabassi/dp/B004Z1Z9D8

Personnel:  Melanie Dahan : voix;  Giovanni Mirabassi: piano;  Marc-Michel Le Bévillon : Ctb;  Lukmil Perez: Batterie;  Eve-Marie Bodet : violon;  Johan Renard: violon;  Frédéric Eymard: alto;  Clément Petit: violoncelle;  Marc Berthoumieux: accordéon

Latine

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Ragan Whiteside - Class Axe

Styles: Vocal And Flute Jazz
Year: 2007
File: MP3@320K/s
Time: 48:47
Size: 112,4 MB
Art: Front

(0:11)  1. Introduction
(4:12)  2. Funktuation
(4:45)  3. Gonna Fly
(4:02)  4. So Glad
(0:54)  5. Always There For Me (Interlude)
(4:34)  6. In Love
(4:33)  7. How Do You Know
(4:10)  8. Options
(1:23)  9. I've Been Thinking (Interlude)
(5:44) 10. 3 A.M.
(4:13) 11. Break Me Down
(4:56) 12. Call Me
(4:17) 13. Meu Amigo Meu Amante
(0:49) 14. Funktuation-Reprise

"...let elegance, also dexterity be recognized; the integrity of this fascinating musical composition should be heard on all smooth jazz and classic soul airwaves world wide; Ragan Whiteside is elegance and one to watch out for in the music industry… let the 'flutress' be heard."~Gary Tann, ''Harlem after Midnite'', Whcr 90.3 Fm, Ny

"She not only has The silkiest and sweetest flute tone in the business, but her tenacity and desire to be recognized in Urban, New-Soul AND smooth jazz genres makes her a musical force to be reckoned with!! Mark my words!"

- Bob Baldwin – Grammy-Nominated Arranger

From her clever introduction (a quick sojourn into a Felix Mendelssohn opus, interrupted by her chuckle and the word “Psyche”) to the first bars of “Funktuation” (Need I define that for you?), you know Class Axe is going to be something special. And it is. Mt. Vernon, Ny’s Ragan Whiteside is someone special. You can just tell. She’s totally connected to the hip, sexy side of the jazz flute (she switched from Classical some time back) for this awesome collection of Smooth Jazz, Urban, Neo-Soul songs that will totally convince you this woman has a huge future ahead of her. It’s hard to believe this is her debut album. The performances… and I’m talking her playing, her singing, her writing… are mature and confident. She’s got the masterful Bob Baldwin and Dennis Johnson producing this disc, which certainly adds a magnitude of strength to the project, but they’ll be the first to tell you that Ragan rises to the occasion beautifully with both her playing and her singing. This is an album that, as Bob Baldwin puts it, clearly shows that “her breakthrough on this instrument can be historical for the genre. She’s smooth, sexy, and radio-friendly.” You’ve really got to hear this one. From the aforementioned “Funktuation” to the delicious Bob Baldwin-penned Latin Samba “Meu Amigo, Meu Amante,” this is an album that gets my highest recommendation. I promise you, this is only the beginning of the Ragan Whiteside story! She is totally a class act with her Class Axe!  ~Scott O'Brien,   SmoothJazz.com  https://store.cdbaby.com/cd/ragan2

Class Axe

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Chris Potter - The Dreamer Is The Dream

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 50:06
Size: 117,1 MB
Art: Front

( 8:19)  1. Heart In Hand
( 9:52)  2. Ilimba
( 8:18)  3. The Dreamer Is The Dream
( 7:53)  4. Memory And Desire
(10:07)  5. Yasodhara
( 5:34)  6. Sonic Anomaly

Multi-reedist and composer Chris Potter has been an in-demand artist since his late teen years when he began playing the New York clubs. With a diverse catalog that runs from Steely Dan to regular collaborations with Dave Holland, Potter has picked up a number of Grammy nominations and wins. His versatile abilities have made him equally at home touring with the lyrical Jim Hall or recording in the angular style of Steve Swallow's Damaged in Transit . The Dreamer Is the Dream is Potter's third leader release on the ECM label. Potter pares back from the large ensemble that accompanied him on his previous ECM outing Imaginary Cities (2015). This quartet includes ECM artist David Virelles, whose Mbókò (2016) and Antenna (2016), were widely acclaimed. The young Cuban pianist is becoming a staple player for the label, appearing as part of the Tomasz Stanko New York Quartet December Avenue (2017). Bassist Joe Martin has led on two recordings, Passage (Fresh Sound New Talent, 2001) with Mark Turner, Kevin Hays and Jorge Rossy (drums) and Not by Chance (Anzic, 2009), a quartet that included Potter, Brad Mehldau and drummer Marcus Gilmore. Gilmore himself fills out the quartet lending a solid synergistic make-up to the group. The grandson and early student of Roy Haynes, began playing with Steve Coleman at the age of fifteen and later with Vijay Iyer.

Potter's smoky, dark tenor opens the album on "Heart In Hand" to the lyrical accompaniment of Virelles, the piece eventually building to a more fevered pitch. "Ilimba" begins as a fairly mainstream composition that quickly morphs and infuses a fast-paced Latin theme, then opens up to a broader improvisation. Potter breaks out the bass clarinet on the title track where Martin has the opportunity for a vibrant bass solo. The leader switches back to the tenor for an extended duet with Gilmore as the atmospheric tune concludes. The sounds of nature and chimes open "Memory And Desire" as Potter's soprano sax flutters in with a perfect sensory blending and the piece takes on a pastoral atmosphere. More exotic is "Yasodhara" which opens to a fiery improvisation from Potter, toned down for the relatively tranquil closer, "Sonic Anomaly."  

The Dreamer Is the Dream is a testament to Potter's composing as much as to his multi-reed instrumentality. He penned each of the compositions here and they all speak to a deeper sense of mortality, portrayed through lyricism and emotive performances. Potter's responsiveness as a leader shines through in the beautifully orchestrated work of this quartet. One of Potter's best to date. ~ Karl Ackermann https://www.allaboutjazz.com/the-dreamer-is-the-dream-chris-potter-ecm-records-review-by-karl-ackermann.php
 

Personnel: Chris Potter: tenor and soprano saxophones, bass clarinet; David Virelles: piano, keyboards; Joe Martin: double bass; Marcus Gilmore: drums, percussion.

The Dreamer Is The Dream

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Carmen Cicero - Friends

Size: 117,8 MB
Time: 50:21
File: MP3 @ 320K/s
Released: 2017
Styles: Traditional Jazz Combo, Vocals
Art: Front

01. Autumn In New York (2:28)
02. You Stepped Out Of A Dream (5:23)
03. My Buddy (4:00)
04. Every Time We Say Goodbye (3:53)
05. You’re My Everything (3:56)
06. I Cover The Waterfront (3:29)
07. My Romance (7:34)
08. My Old Flame (Feat. Donna Byrne) (5:24)
09. You Are My Sunshine (Feat. Donna Byrne) (2:34)
10. If I Had You (Feat. Donna Byrne) (2:38)
11. Day By Day (Feat. Donna Byrne) (2:27)
12. But Not For Me (6:29)

Carmen Cicero was trained as a concert classical clarinetist as a child, switching to alto saxophone in his early '20s and playing jazz. He played free-form jazz for many years and was reviewed in "Downbeat Magazine". In this, his second CD, Carmen has added several world-class musicians, some of whom he has performed with for many years. Following is Cicero's introduction to his new CD "Friends":
On Dec. 9, 1971, I had a devastating fire in my studio and lost all of my musical instruments. As a consequence, I stopped playing for a number of years, but finally acquired a saxophone and started practicing again. I was, of course, rusty. By a stroke of good fortune, I met the pianist Kent Hewitt who, despite my inadequacies, allowed me to sit in with his group. We soon became great friends and have played together ever since. Kent is a remarkable person and pianist who has worked with some of America’s most famous jazz musicians.
I became acquainted with Marshall Wood shortly after my friendship with Kent began. Marshall is without doubt a world-class bassist (presently working with Tony Bennett). Marshall’s outstanding musicianship and intelligence made it easy for us to become lasting friends.
I came to know Donna Byrne while playing concerts with her in Provincetown, MA. Donna not only has a superb singing voice (Tony Bennett called her ”…one of the best jazz singers in America”); she also has the ability to relate to her audience with warmth and professional ease. It was through her great sense of humor, however, that we became fast friends.
Our drummer was unable to be with us for this recording, however, we were very fortunate to get Jim Guin, a highly-regarded drummer who has worked with the Boston Pops for many years. Kent, Marshall and Jim form a fabulous rhythm section. We hope that you enjoy listening to us as much as we enjoyed playing together.

Friends

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Akua Dixon - Akua's Dance

Size: 127,9 MB
Time: 54:57
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Contemporary Jazz
Art: Front

01. I Dream A Dream (5:15)
02. Dizzy's Smile (3:27)
03. If My Heart Could Speak To You (Feat. Aziza Miller) (7:06)
04. Orion's Gait (5:16)
05. Akua's Dance (5:25)
06. Throw It Away (5:53)
07. Afrika! Afrika! (6:50)
08. The Sweetest Taboo (5:45)
09. I'm Gonna Tell God All Of My Troubles (5:26)
10. Don't Stop (4:31)

Lyricism and elegance are two words that come to mind while describing cellist Akua Dixon's third release under her own leadership, Akua's Dance. Two sessions comprise this engaging album on one of which Dixon plays, the rarely heard, baritone violin.

The joyous ambience and the instrumentation, Dixon accompanied by guitar, bass and drums, are reminiscent of gypsy jazz. This is most apparent on the undulating "If My Heart Could Speak To You" with guitarist Russell Malone engaging Dixon's cello in an expressive and swinging dialogue. Dixon takes center stage with an eloquent and complex spontaneous monologue followed by Malone's charming and erudite extemporization.

Another guitarist Freddie Bryant brings a Spanish touch to the tango-esque title track with his agile and supple chords. Dixon embellishes the yearning melody with urbane passion. Bassist Kenny Davis and drummer Victor Lewis add a touch of intrigue to the emotive piece with their hypnotic vamps.

Lewis drives "Afrika! Afrika!" with thudding beats and splashing cymbals. His lithe polyrhythms bring a primal spirituality to Dixon's dramatic original. Dixon's unaccompanied cello opens the music on a captivating note. The band's alternating lines build a vibrant tune that brims with fervor and intelligence with hints of angularity. As the tempo picks up and Dixon improvises with fiery energy and maintains a mellifluous edge. Bassist Ron Carter takes a suave and sophisticated solo that delights with its technical prowess.

Similarly warm and soulful is the quartet's take on the traditional spiritual "I'm Gonna Tell God All Of My Troubles." Over Bryant's reverberant strums, Dixon plays the main theme with fluidity and grace. Her interpretation of the song is simultaneously uplifting and wistful. simultaneously uplifting. Bryant showcases his virtuosity with a stimulating and poignant performance that evolves over Lewis' sashaying brushes and Davis' thumping bass.

All of Dixon's recordings are equally stirring and spirited which the accomplished cellist/violinist infuses with her characteristic brilliance and charisma. Akua's Dance is not an exception. In addition, it is, perhaps, her most cohesive and most polished work to date. ~by Hrayr Attarian

Personnel: Akua Dixon: baritone violin (1, 2, 5, 8-10); Freddie Bryant: guitar (1, 2, 5, 6, 8-10); Kenny Davis: bass (1, 2, 5, 6, 8-10)Victor Lewis: drums; Russell Malone: guitar (3, 4, 7); Ron Carter: bass (3, 4, 7).

Akua's Dance

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Melvin Sparks - Live At Nectar's

Size: 166,3 MB
Time: 71:49
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Soul Jazz
Art: Front

01. Miss Riverside (Live) (8:46)
02. Ain't No Woman (Like The One I Got) (Live) (5:31)
03. Fire Eater (Live) (8:08)
04. Cranberry Sunshine (Live) (7:00)
05. Breezin' (Live) (9:06)
06. Whip! Whop! (Live) (6:28)
07. Thank You (Live) (12:05)
08. Hot Dog (Live) (12:42)
09. Band Intro (Live) (1:57)

A cool thing about music is that when you follow a band for a long time, you eventually get turned on to the music that influenced them. You get to hear all kinds of exciting new music, and start digging deep, going down groovy rabbit holes to discover great musicians you might not find on your own.

This is the case with Melvin Sparks, the late great soul jazz guitarist, whose music greatly influenced one of my current favorite bands, The New Mastersounds. The guys in the band say that, "Melvin has had a huge influence on the music of The New Mastersounds."

And now, fans of The New Mastersounds, and lovers of funky soul jazz get to hear marvelous music that may be new to their ears from a master guitarist who influenced lots of younger musicians, even though he was never super famous on his own.

Simon Allen, the drummer of The New Mastersounds, worked closely with Bill Carbone, drummer of Melvin Sparks' band, the venue and Sparks' family to turn a multitrack recording of a live show that had taken place at Nectar's in Burlington, VT at the end of 2010 into a special live vinyl LP—mixed and mastered by Eddie Roberts, The New Mastersounds' guitarist.

The fabulous result, Live at Nectar's, is now available on The New Mastersounds' own label, One Note Records.

Organist Beau Sasser and drummer Bill Carbone had been working with Sparks for several years and, despite the difference in age—they were in their early 30s, while the guitarist was an elder- statesmen of the genre—the unit was razor sharp.

The trio played the Burlington, VT club Nectar's regularly, but this evening featured two variables. Per the recommendation of the venue, they used The Grippo Horns, featuring Dave Grippo on alto saxophone and Brian McCarthy on tenor saxophone. This was the only time Sparks utilized a horn section in the last several years of his life. Additionally, they captured the performance on a multitrack recording. Both would prove to be wise decisions.

Lovingly mixed by guitarist, producer and Sparks' fanatic Eddie Roberts and curated for release by drummer Simon Allen, the album demonstrates that the 64-year old guitarist played as well in the final months of his life as at any other time.

From the opening "Miss Riverside" through rousing set-closer "Whip! Whop!," Sparks peppers his performance with quotes from jazz standards, pop songs and cartoon themes, all woven effortlessly into the bebop-funk dialect he helped create. He offers delectable melodies, patiently and methodically, through his lengthy lead on "Breezin,'" while delivering a slice of red hot boogaloo on "Fire Eater."

Sparks is audibly uplifted by The Grippo Horns helping him perform his 1973 arrangement of "Ain't No Woman (Like The One I Got)" for the first time in decades.

Texas-born, Melvin Sparks was an R&B guitarist at the outset of his career, backing Jackie Wilson, Curtis Mayfield and Marvin Gaye as a member of The Upsetters. He gave up his seat on The Upsetters' bus when a chance introduction to George Benson inspired him to relocate to New York City; a decision that would ultimately pave the way for his ascension into the soul jazz pantheon.

Sparks would go onto play and record with Lou Donaldson, Leon Spencer, Bernard Purdie, Jack McDuff, Jimmy McGriff, Idris Muhammad, Dr. Lonnie Smith, Charles Earland, Grover Washington, Jr., Reuben Wilson and so many more. He'd also record nearly a dozen stand-out sessions as a leader.

Even when soul jazz experienced a downturn in commercial popularity in the '80s, Sparks stayed relevant with hip-hop artists sampling his work, which now totals more than 150 samples of his "funky chicken scratch."

Sparks' legacy is also heard in contemporary soul/funk bands like The New Mastersounds, Soulive and The Greyboy Allstars, all of whom he guested with several times before his far too early departure.

Every song on Live at Nectar's sounds superb. This is an impeccable live recording that brilliantly captures the master's gorgeous style of playing. His tone is captivating, irresistible, and joyful.

When the horns, organ, bass and drums start getting down—especially on high-energy tunes like "Whip! Whop!" and the cool cover version of "Thank You"—it all comes together. When you listen to Live at Nectar's it transports you to what must have been a magical night.

Good thing they recorded it, and thanks to his proteges for honoring his legacy with this remarkable record. ~by joe Gatto

Personnel: Melvin Spark: guitar; Bill Carbone: drums; Beau Sasser: organ; Brian McCarthy: tenor saxophone; Dave Grippo: alto saxophone.

Live At Nectar's

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Stephanie Hundertmark - Enjoy The View

Size: 100,0 MB
Time: 40:11
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. Light In The Distance (4:52)
02. So It Is Over (3:49)
03. Still (4:30)
04. Make You You Again (4:49)
05. To The End Of The World (4:28)
06. The Real Me (4:35)
07. No Angel (4:31)
08. Over There (3:44)
09. Enjoy The View (4:49)

For quite a while now I’ve been working as a singer doing all sorts of projects - wonderful chillout with VARGO, a cappella of many kinds, commercials and music in TV Movies, children’s songs… Not so much has been happening with my original compositions lately, for some reason. And then I actually surprised myself when a while ago I decided to ask the fantastic canadian producer Joby Baker to record an album with me.
Sure enough, I spent the following summer recording in Canada at the renowned Baker Studios - which (naturally) was an allover sensational experience in itself - with the benefit of having this cd in my hands now. Joby was, as I'd guessed and hoped, the perfect person to bring my songs to life.

And now I do believe there could be people out there who might enjoy this music with me.
Take a listen and, if you feel so inclined, spread the word!

Enjoy The View

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Mel Torme - Mel Torme At The Red Hill (Remastered)

Size: 103,6 MB
Time: 39:47
File: MP3 @ 320K/s
Released: 1962/2017
Styles: Jazz Vocals
Art: Front

01. Shakin' The Blues Away (2:10)
02. I'm Beginning To See The Light (2:30)
03. In Other Words (4:16)
04. Medley A Foggy Day, A Nightingale Sang In Berkeley Square (3:31)
05. Love For Sale (2:51)
06. It's Delovely (4:34)
07. Mountain Greenery (2:53)
08. Nevertheless (3:24)
09. Early Autumn (3:09)
10. Anything Goes (3:22)
11. (Ah, The Apple Trees) When The World Was Young (3:44)
12. Love Is Just Around The Corner (3:18)

Mel Tormé's first recording for Atlantic is his best, a devastating swing set recorded at the Red Hill in Pennsauken, New Jersey. It's clear from just a few bars that the ever-ebullient scatter/singer is in his element here, swinging live at an intimate jazz club before a knowing audience; he treats onlookers to glorious versions of his live standards "Mountain Greenery" and "It's Delovely," extending the latter by several verses with updated, modern lyrics. Always conscious of featuring his musicians too, Tormé allows room for solos from pianist Jimmy Wisner, and even grabs the piano himself for three songs (including both of the above). One caveat: taking nothing away from the original performance, his dynamic vocal range occasionally results in light distortion. ~ by John Bush

Mel Torme At The Red Hill

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Yoko Miwa Trio - Pathways

Size: 166,2 MB
Time: 71:57
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Piano Jazz
Art: Front

01. Log O' Rhythm ( 7:37)
02. Lickety Split ( 9:30)
03. Court And Spark (10:54)
04. The Goalkeeper ( 6:52)
05. After You ( 9:52)
06. Lantern Light (11:54)
07. Was It Something I Said ( 6:31)
08. Dear Prudence ( 8:45)

It sounds like Boston-based pianist Yoko Miwa gathered her trio mates bassist Will Slater and drummer Scott Goulding outside the studio door and said: "Let's have some fun!" The result is Pathways, her seventh release as a leader, in a discography that includes Fadeless Flower (Self Produced, 2004), Canopy Of Stars (Self Produced, 2007, and Live At Sculler's Jazz Club (Self Produced, 2011).

If ever there was a studio recording with the freshness and vitality of a live set, this is it. The group dynamic bounces with joy, and Oscar Peterson and Benny Green come to mind, stylistically, with Miwa's always engaging melodies dancing around propulsive rhythms. This is Yoko Miwa at her extroverted best. The trio is a relentless forward motion machine on the Marc Johnson-penned "Log O 'Rhythm." There is muscle in Miwa's delivery, mixed with an elegant melodic grace, as she proves herself, again, to be a stellar interpreter of tunes not her own.

Miwa's own "Lickety Split" showcases the pianist powering down chords with a nail gun intensity, while her right hand gives off off sparks.

"Court And Spark," from Joni Mitchell's groundbreaking 1974 Asylum Records album of the same name, reigns in the momentum, but not the beauty. Mitchell's songs are oddly gorgeous, different than anything anybody else writes. Miwa keeps the colors in the dark end of the spectrum on the most inward piece on this set.

The trio revisits the Marc Johnson songbook with "After You," a light-stepping, light-hearted, Latin-esque romp, leading into the Miwa-penned "Lantern Light," full of subdued majesty tinted with melancholy.

Miwa wraps it up with The Beatles (John Lennon's) "Dear Prudence," with Brad Barrett replacing Will Slater in the bass slot. A measured pace and powerful percolation back Miwa's stormy piano work, to close out her finest recording to date. ~Dan McClenaghan

Personnel: Yoko Miwa: piano; Will Slater: bass; Scott Goulding: drums Brad Barrett: bass (8).

Pathways                 

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Les McCann - On The Soul Side

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 62:58
Size: 144,4 MB
Art: Front

(5:09)  1. Shabalala
(8:41)  2. Early Riser
(7:16)  3. Back Rub
(8:12)  4. Vu Jade (The Feeling Of Never Having Been There Before)
(8:55)  5. New Blues
(5:15)  6. Lift Every Voice And Sing / God Bless America
(3:52)  7. Ignominy
(4:22)  8. The Children
(4:50)  9. Dippermouth
(6:22) 10. Look To Your Heart

While other Les McCann albums have emphasized R&B or soul-jazz vocals, the singer/pianist does very little singing on this CD. Only on "Look to Your Heart" can McCann's vocals be heard. Except for "God Bless America" (which contains a memorable vocal by Lou Rawls), all of the other tracks are jazz instrumentals. Joined by saxman Keith Anderson, trumpeter Jeff Elliott, bassist Abraham Laboriel, and drummer Tony St. James, a 58-year-old McCann makes jazz pianism his top priority on this album. It's a very lyrical and accessible sort of jazz pianism -- those who have spent a lot of time savoring Gene Harris' playing or getting into Joe Sample's Carmel should appreciate McCann's melodic playing on "Back Rub," "Shabalala," and other originals. Sadly, On the Soul Side is the last studio album that McCann would record as a leader before suffering a major stroke in early 1995 one that weakened his piano playing without depriving him of his ability to sing. ~Alex Henderson http://www.allmusic.com/album/on-the-soul-side-mw0000115110

Personnel: Les McCann (piano, vocals); Lou Rawls (vocals); Eddie Harris, Keith Anderson (saxophone); Jeff Elliott (trumpet, flugelhorn); Abraham Laboriel (bass); Tony St. James (drums).

On The Soul Side

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Janis Ian - Aftertones

Styles: Vocal, Guitar, Piano, Folk
Year: 1975
File: MP3@320K/s
Time: 33:36
Size: 79,3 MB
Art: Front

(3:14)  1. Aftertones
(3:41)  2. I Would Like To Dance
(2:16)  3. Love Is Blind
(3:11)  4. Roses
(4:31)  5. Belle Of The Blues
(3:08)  6. Goodbye To Morning
(2:42)  7. Boy, I Really Tied One On
(2:42)  8. This Must Be Wrong
(3:57)  9. Don't Cry, Old Man
(4:12) 10. Hymn

On Aftertones, Janis Ian (guitar/piano/vocals) continued the artistic, and to a lesser extent, the commercial success she garnered on her previous effort Between The Lines (1975). Once again, she assembled some of the finest session musicians from the Big Apple to animate her intimately sensitive sonic portraits and caricatures. Although Ian would not surpass the universality of "At Seventeen," much of this disc continues the theme and moods expressed as far back as Stars (1974). Ian's advanced folk sensibilities are emotional progressions away from the weepy and introspective nature heard from her mid-'70s singer/songwriter contemporaries. Part of Ian's enticement is the marriage between achingly beautiful melodies and thoroughly personalized lyrics. The album commences with the title track setting the tenor and sonic ambiance. The acoustic guitar and compact string section lend to "Aftertones" slightly baroque feel, which adds to the song's palpable isolation ("'Til all that's left to see are aftertones/I take them home/ We live alone"). The beautifully bitter "Love Is Blind," and the harrowing "Don't Cry, Old Man" are piercing in their honesty. They contrast the lighter fare of "I Would Like to Dance," as well as the tongue-in-cheek "Boy, I Really Tied One On," or the overtly kinky blues "This Must Be Wrong." "Goodbye to Morning" is a dark jazzy ode that stands out as one of the best sides on the album, featuring some distinct interaction between Richard Davis (acoustic bass) and Ian's own rambling, unplugged fretwork. Folk and gospel legends Odetta (vocals) and Phoebe Snow (vocals) join in on Aftertones magnum opus, "Hymn." The trio soulfully swaddle their subtle harmonies into a unified lead as they languidly allow their own vocal aftertones resonate with unencumbered majesty. ~ Lindsay Planer http://www.allmusic.com/album/aftertones-mw0000691057

Personnel: Janis Ian (guitar, piano); Claire Bay (vocals); Al Gorgoni, Jeff Layton (guitar); Kathryn Kienke, Ezra Kliger, Michael Comins, Julius Schacter, Paul Winter Consort, Gene Orloff, Harry Cykman, Harry Lookofsky (violin); George Browne, The Manny Vardi Strings, David Sackson, Selwart Clarke (viola); Bruce Rogers, Jesse Levy, Charles McCracken , Max Hollander, Kermit Moore (cello); Romeo Penque (flute, piccolo, e flat clarinet, oboe, English horn); Phil Bodner (alto flute, oboe, English horn); Gonzalo Fernandez (wooden flute); Artie Kaplan (bass clarinet, baritone saxophone); Pete Nater, Ernie Royal, Larry Spencer, Joe Shepley (trumpet); Donald Corrado, James Buffington, Earl Chapin (French horn); Mickey Gravine (trombone, tenor trombone); Tom "Bones" Malone, Lewis Kahn (trombone); Wayne Andre (tenor trombone); Larry Harlow (piano); Barry Lazarowitz (drums, percussion); Arthur Jenkins (congas).

Aftertones

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Dieter Ilg - Summerhill

Styles: Jazz Fusion
Year: 1992
File: MP3@320K/s
Time: 44:39
Size: 102,5 MB
Art: Front

(6:27)  1. It's getting better
(5:48)  2. Springfever
(7:33)  3. The shadows of the fall
(9:14)  4. Summerhill
(5:54)  5. All childrens love song
(4:04)  6. Somersault
(5:36)  7. Under the skin of the earth

Bassist Dieter ILG is the nominal leader on this '91 session, but it is guitarist Mike Stern and tenor saxophonist Bob Berg who are in the forefront. ILG has a firm, solid tone, plays nice accompaniment and takes an occasional well-constructed solo, but is not the kind of dashing or virtuoso player who makes hearing unaccompanied bass something out of the ordinary. 

The title track ranks as the best musical workout and is the only one where the ensemble and individual sections are equally accomplished. Otherwise, you get either fine playing on humdrum writing or good arrangements and less than exemplary execution. ~ Ron Wynn http://www.allmusic.com/album/summerhill-mw0000095371

Personnel: Dieter Ilg (bass), Bob Berg (saxophone), Randy Brecker (trumpet), Jim Beard (keyboards), Mike Stern (guitar), Peter Erskine (drums).

Summerhill

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Jeff Lorber - It's A Fact

Styles: Jazz Fusion
Year: 1982
File: MP3@320K/s
Time: 37:43
Size: 87,5 MB
Art: Front

(4:35)  1. Tierra Verde
(4:51)  2. Full Moon
(4:25)  3. Warm Springs
(4:19)  4. It's A Fact
(4:00)  5. The Magician
(3:59)  6. Your Love Has Got Me
(4:05)  7. Delevans
(4:27)  8. Always There
(2:59)  9. Above The Clouds

With a smooth sound bringing together elements of funk, R&B, rock, and electric jazz, keyboardist Jeff Lorber helped pioneer a genre of fusion later formatted under such names as NAC and contemporary jazz. Born in Philadelphia on November 4, 1952, he began playing the piano at the age of four, and as a teen performed with a variety of local R&B bands. Lorber's infatuation with jazz began during his stay at the Berklee College of Music, and after forming the Jeff Lorber Fusion he issued the group's self-titled debut in 1977. During the first half of the following decade, the band became one of the most popular jazz acts of the period, touring nonstop and even scoring a Best R&B Instrumental Grammy nomination for the radio hit "Pacific Coast Highway." Released in 1986, Private Passion was Lorber's most successful outing yet, but at this commercial peak he stopped recording, instead turning to production and session work.  He did not issue his first proper solo LP until 1991's Worth Waiting For, remaining both a prolific performer and producer for the rest of the decade. He recorded for Verve and Zebra in the '90s before moving over to Narada in the 2000s and releasing successful smooth jazz albums like 2003's Philly Style and 2005's Flipside. He released He Had a Hat on Blue Note in 2007. In 2010, Lorber released the '70s funk and soul-inflected Heard That. In 2010, Lorber reactivated the Jeff Lorber Fusion and released Now Is the Time via Heads Up International. The album received generally positive reviews, placed high on the contemporary jazz chart, and was nominated for a Grammy.

Lorber not only stayed with the revitalized JLF format, but went even deeper for 2012's Galaxy (Heads Up/Concord), revisiting in depth the sound he helped to pioneer. Lorber, bassist Jimmy Haslip, and saxophonist Eric Marienthal were accompanied by drummer Vinnie Colaiuta. The album also featured guest spots by trumpeter Randy Brecker; percussionist Lenny Castro; guitarists Paul Jackson, Jr., Michael Thompson, Andrée Theander, and Larry Koonse; and drummer Dave Weckl. In August of 2013, the JLF released Hacienda; it was nominated for Best Pop Instrumental Album at the 2014 Grammy Awards. After a supporting tour, Lorber and Haslip wanted to waste no time in cutting another record. They re-enlisted Colaiuta and recruited Yellowjackets saxophonist Bob Mintzer and guitarist Robben Ford, as well as a host of studio aces including percussionist Lenny Castro and guitarist Paul Jackson, Jr. David Mann was hired to provide horn charts. Step It Up was released by Heads Up during the fall of 2015. Two years later, the keyboardist was back with the JLF, this time with saxophonist Andy Snitzer and longtime bassist Gary Novak, for Prototype. ~ Jason Ankeny http://www.allmusic.com/artist/jeff-lorber-mn0000190888/biography

Personnel: Jeff Lorber (keyboards); Marlon McClain (guitar); Kenny Gorelick (soprano saxophone, tenor saxophone); Nathan East (electric bass); Paulinho Da Costa (percussion)

It's A Fact

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Bill Frisell & Thomas Morgan - Small Town

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 68:06
Size: 159,6 MB
Art: Front

(11:05)  1. It Should Have Happened a Long Time Ago
( 7:31)  2. Subconscious Lee
( 9:35)  3. Song for Andrew No. 1
( 5:08)  4. Wildwood Flower
( 8:57)  5. Small Town
( 6:41)  6. What a Party
(12:05)  7. Poet / Pearl
( 7:01)  8. Goldfinger

Small Town presents guitarist Bill Frisell and bassist Thomas Morgan in a program of duets, the poetic chemistry of their playing captured live at New York s hallowed Village Vanguard. Frisell made his debut as a leader for ECM in 1983 with the similarly intimate In Line. The guitarist's rich history with the label also includes multiple recordings by his iconic cooperative trio with Paul Motian and Joe Lovano, culminating in Time and Time Again in 2007. Small Town begins with a tribute to Motian in the form of a searching, 11-minute interpretation of the late drummer s composition It Should've Happened a Long Time Ago, the duo's counterpoint yielding a hushed power. Morgan has appeared on several ECM albums of late, as bassist of choice for Tomasz Stanko, Jakob Bro, David Virelles, Giovanni Guidi and Masabumi Kikuchi. Small Town sees Frisell and Morgan pay homage to jazz elder Lee Konitz with his Subconscious Lee, and there are several country/blues-accented Frisell originals, including the hauntingly melodic title track. The duo caps the set with an inimitable treatment of John Barry s famous James Bond theme Goldfinger. ~ Editorial Reviews https://www.amazon.com/Small-Town-Frisell-Thomas-Morgan/dp/B06XRJNC4K

Personnel:  Bill Frisell – guitar; Thomas Morgan – double bass

Small Town

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Karin Krog, Steve Kuhn Trio - Where You At?

Styles: Vocal And Piano Jazz 
Year: 2003
File: MP3@320K/s
Time: 53:45
Size: 125,1 MB
Art: Front

(5:44)  1. The Meaning of Love (Feat Steve Kuhn)
(3:55)  2. Where You At (Feat Steve Kuhn)
(4:33)  3. Lazy Afternoon
(5:23)  4. It Could Be Hip
(4:30)  5. Speak Of Love
(5:34)  6. Canto Mai
(7:38)  7. Saharan
(3:37)  8. You Say You Care
(4:33)  9. Kaleidoscopic Vision
(4:07) 10. Missing Calada
(4:06) 11. Gloomy Sunday

One of Europe's leading jazz singers meets piano virtuoso Steve Kuhn and his trio: creative, swinging, original, and very charming! Karin Krog is perhaps Norway's leading jazz singer, and certainly its most idiomatic. She is a unique artist with a great international reputation, and possesses her own recognizable style and voice. She has worked with Don Ellis, Archie Shepp, Dexter Gordon, John Surman, and more. "A band poised between the drummer's rugged swing and a robustly underwired lyricism." (Penguin Guide To Jazz) ~ Editorial Reviews https://www.amazon.com/Where-You-at-Karin-Krog/dp/B00009XBX7

Personnel:  Vocals – Karin Krog;  Double Bass – David Finck;  Drums – Billy Drummond;  Piano – Steve Kuhn

Where You At?

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Dieter Ilg Trio - Folk Songs

Styles: Jazz, Jazz Fusion
Year: 1997
File: MP3@224K/s
Time: 54:47
Size: 88,4 MB
Art: Front

(5:32)  1. Guter Mond Du Gehst So Stille
(4:59)  2. Es Tagt Der Sonne Morgenstrahl
(5:11)  3. Frère Jaques
(4:01)  4. Arirang
(3:47)  5. Wann Ich Des Morgens Frueh Aufsteh'
(3:53)  6. Im Maerzen Der Bauer
(6:48)  7. Alles Schweiget
(5:52)  8. Maienzeit Bannet Leid
(4:55)  9. In Stiller Nacht
(4:44) 10. So Sei Gegruesst Viel Tausendmal
(5:02) 11. Der Mond Ist Aufgegangen

Bassist Dieter Ilg is well-featured on two different trio dates. Folk Songs buy CD music Five songs have Benoît Delbecq on keyboards and drummer Steve Arguelles, while Ilg and Arguelles are joined on the remaining six numbers by guitarist Wolfgang Muthspiel. Folk Songs songs The songs are all traditional European folk melodies but are given very different treatments, from swinging sections to introspective ballads and quiet sound explorations. Folk Songs album for sale Although Delbecq and Muthspiel have their spots, Ilg has the lion's share of the solo space and the emphasis is more on the atmospheric ensembles than individual solos. Folk Songs CD music Although the musicianship is high, it is difficult to concentrate too closely on this often dreamy music without drifting off. Folk Songs buy CD music Perhaps if there were a bit more fire, this would have been a stronger outing. Folk Songs songs As it is, it manages to be well-intentioned, quite musical, and somewhat forgettable. https://itunes.apple.com/nz/album/folk-songs/id386923813

Personnel: Dieter Ilg (Bass);  Wolfgang Muthspiel (guitar); Benoît Delbecq (piano, keyboards); Steve Arguelles (drums).

Folk Songs

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Evan Christopher's Django A La Creole - Live!

Styles: Clarinet Jazz

Year: 2014

File: MP3@320K/s

Time: 77:45

Size: 179,5 MB

Art: Front

(7:13)  1. Douce Ambiance

(6:35)  2. Riverboat Shuffle

(9:05)  3. Dear Old Southland

(8:07)  4. One For The Duke

(8:24)  5. Mamanita

(5:06)  6. Solid Old Man

(7:26)  7. The Mooche

(5:53)  8. The Crave

(4:05)  9. Feerie

(6:27) 10. Manoir De Mes Reves

(9:19) 11. Songe D'Automne

Both the public and the critics have been won over by Django a la Creeole, the group led by Evan Christopher, no doubt the greatest jazz clarinetist on today's New Orleans scene. Reaching the end of a hugely successful world tour, the band decided to record a live album that would show the rapport they'd created with audiences thanks to the extraordinary color and savor of their music. And here it is, rich with soaring swing, soft and elegant Creole excursions and even sidesteps into bossa nova. The music is intimate and generous, and the band goes way beyond gypsy swing and the jazz of New Orleans: the concept here is to take music outside the notion of genres. In fact, Django, la Creole is a genre of its own: a fantastic universe of sound somewhere between the Old World and the New. ~ Editorial Reviews https://www.amazon.com/Django-Creole-Live-Evan-Christopher/dp/B00HYID4V8

Evan Christopher (clarinet), Don Vappie (solo guitar, banjo, vocals), Dave Kelbie (rhythm guitar), Sebastien Girardot (bass)

Live!

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Ragan Whiteside - Quantum Drive

Styles: Vocal And Flute Jazz
Year: 2014
File: MP3@320K/s
Time: 46:19
Size: 106,2 MB
Art: Front

(0:30)  1. Intro
(4:20)  2. Valentin Dream (feat. Bob Baldwin)
(4:47)  3. Remind Me (feat. Patrice Rushen)
(3:35)  4. Indrani
(6:17) 5. Smokey Room (feat. Frank McComb & Bob Baldwin)
(3:30)  6. Work 'it Out (feat. Bo Valentine)
(3:48)  7. Sould Biscuit
(0:46)  8. Interlude
(4:59)  9. Like The First Time
(4:03) 10. Wing And A Prayer (feat. Althea Rene)
(4:17) 11. Gentle Touch
(5:22) 12. Quantum Drve

Smooth Jazz Therapy has admired the music of the wonderfully soulful Ragan Whiteside since 2007 and the release of the highly acclaimed ‘Class Axe’. Not only did it mark her out as a leading exponent the smooth jazz flute but also glistened with production touches from Bob Baldwin and Dennis Johnson. This collaboration was again on sensational show for Ragan’s 2012 project ‘Evolve’ and has carried on to her brand new CD ‘Quantum Drive’. Not only that, with an all-star roster featuring Baldwin, Patrice Rushen, Frank McComb and Althea René, this is a collection that merits closer scrutiny and which has already been described as soulful, daring, sultry and edgy. None more so in this respect is the zesty flute-fest of ‘Soul Biscuit’ that has both Baldwin and Johnson contributing on keyboards and when she notches down the tempo for the beguiling Bob Baldwin composition ‘Like The First Time’, the result is just as good. In fact Whiteside’s connection with Baldwin predates her ‘Class Axe’ debut as even before she had won the 2006 Capital Jazz Challenge, Ragan had already caught his attention. She played flute on Baldwin’s 2004 album ‘Brazil Chill’ and a year later Baldwin included her on his follow up, ‘All In A Day’s Work’. In fact, for ‘Quantum Drive’, Baldwin writes (or co-writes) seven of the twelve tracks that, complete with a smattering of intro’s and interludes, are all fine examples of hugely relevant R & B tinged jazz. 

Ragan’s trademark rhythmic style is front back and center of the of the sparking ‘Valentin Dream’ which features Baldwin on piano and he is again around for the easy grooving ‘Indrani’ that in every respect is beauty personified. Whiteside was recently voted Flutist of the Year at the 2014 Black Women in Jazz Awards and someone else in the shake-up for that particular honor, smooth jazz flautist Althea René, joins her for a duet on the seriously grooving ‘Wing And A Prayer’. From start to finish it is a complete delight and much the same can be said of ‘Gentle Touch’ for which the title betrays the sexy vibe of this sumptuous song. Later, the hard driving yet mellifluous title cut owes much to Whiteside’s prowess on flute and vocals while elsewhere the decidedly jazzy ‘Smokey Room’ includes a keyboard solo from contemporary jazz heavyweight Frank McComb. One of the highlights of ‘Quantum Drive’ is the funky dance groove of ‘Work It Out’ that has rising hip-hop star Bo Valentine stealing the show whilst in terms of personal favorites, Ragan’s exciting cover version of Patrice Rushen’s silky smooth ‘Remind Me’ is right up there. With Rushen guesting on keyboards and Whiteside combining flue and vocals like only she can, this one is a real winner. ~ Denis Poole https://store.cdbaby.com/cd/raganwhiteside2

Personnel:  Flute, Vocal  – Ragan Whiteside;  Keyboards – Bob Baldwin, Dennis Johnson

Quantum Drive

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Ruby Braff - Hi-Fi Salute To Bunny

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 52:49
Size: 124,4 MB
Art: Front

(5:31)  1. Keep Smiling At Trouble
(6:10)  2. I Can't Get Started
(7:23)  3. It's Been So Long
(6:05)  4. I'm Coming Virginia
(4:46)  5. Marie
(6:29)  6. Downhearted Blues
(4:21)  7. I Got It Bad And That Ain't Good
(6:46)  8. Somebody Else Is Taking My Place
(5:16)  9. Did I Remember

Ruby Braff's 1957 tribute to trumpet great Bunny Berigan is only appropriate, as he has long since gone on to establish himself as one of the modern masters of swing. His band includes pianist Nat Pierce, guitarist Steve Jordan, clarinetist Pee Wee Russell, trombonist Benny Morton, tenor saxophonist Dick Hafer, bassist Walter Page (in one of his last recordings prior to his death), and drummer Buzzy Drootin. Braff's passionate, always-melodic solos contrast with Russell's rather distinctive approach to the clarinet, while the rhythm section is dominated by Page's fat-toned bass. The leader's approach to "I Can't Get Started," a song forever associated with Berigan, remains fresh decades later. Most of the selections were reissued on the since-deleted Bluebird CD This Is My Lucky Day, so finding a copy of this valuable music remains somewhat challenging. ~ Ken Dryden http://www.allmusic.com/album/hi-fi-salute-to-bunny-mw0000497315

Ruby Braff, trumpet; Benny Morton, trombone; Pee Wee Russell, clarinet; Dick Hafer, tenor sax; Nat Pierce, piano; Steve Jordan, guitar; Walter Page, bass; Buzzy Drootin, drums.

Hi-Fi Salute To Bunny

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Janet Seidel - Doris And Me

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 68:46
Size: 161,9 MB
Art: Front

(4:55)  1. Somebody Loves Me - Blue Skies
(2:54)  2. Sentimental Journey
(3:34)  3. Secret Love
(4:12)  4. I'll String Along With You
(3:24)  5. My Dreams Are Getting Better All the Time - Let's Be Buddies-I May Be Wrong
(2:18)  6. I've Got the Sun In the Morning
(3:06)  7. Embraceable You
(4:11)  8. It's Magic
(2:59)  9. Canadian Capers
(2:29) 10. Too Marvelous For Words
(0:58) 11. I Know That You Know
(1:52) 12. Crazy Rhythm
(3:19) 13. Tea For Two | Do Do Do
(2:55) 14. The Very Thought of You
(1:33) 15. The Way You Look Tonight
(2:09) 16. Lullaby of Broadway
(3:16) 17. Love Me Or Leave Me
(3:21) 18. Ten Cents A Dance
(2:03) 19. Close Your Eyes
(2:40) 20. Perhaps
(1:36) 21. Windy City
(3:48) 22. Pillow Talk - Please Don't Eat the Daisies - Teacher's Pet
(2:08) 23. Que Sera Sera
(2:54) 24. Please Don't Talk About Me

Doris Day recorded more than 600 songs over a lengthy and successful career in the movies and recording studio. She was smart enough to quit while she was ahead. But neither she nor the special way she sang a song is forgotten. Tribute and commemoration albums abound. This latest from one of Australia's premiere singers, Janet Seidel, focuses on more sophisticated material Day sang in movies, like Young Man With a Horn and her film portrayal of vocalist Ruth Etting, as well as tunes she did with bands led by Les Brown and Bob Crosby and others. While not jazz, these performances certainly have a jazzy feel about them. Seidel wisely does only one track of vocal trivia that Day had to do in such movies as Pillow Talk. Seidel has long been an admirer, not an imitator, of Day, creating a cabaret show around Day's material. Like that singer, she has perfect pitch, clear diction, and a convincing feel for the beat. "Close Your Eyes," where she works with guitarist Chuck Morgan, is just one of the many tracks where she demonstrates her vocal skills. Unlike Day, Seidel backs herself on piano, a la Jeri Southern and Shirley Horn, with help from brother David Seidel on bass and Morgan. One of the real pleasures here is that there's no dubbing the voice on top of the instrumentation. What you hear is precisely how it was recorded in the studio very unusual in these days of high-tech wizardry where too often younger artists are less and less concerned with what they're playing and how they're playing it. This is Seidel's ninth album for La Brava, and it joins the ranks of her long line of excellent output. ~ Dave Nathan http://www.allmusic.com/album/doris-me-mw0001192154

Doris And Me

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