Eddie Harris - People Get Funny...

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 40:44
Size: 95,0 MB
Art: Front

(4:37)  1. People Get Funny When They Get A Little Money
(8:04)  2. La Carnival
(5:18)  3. Ski Ball
(6:04)  4. Three Quarter Miles
(4:28)  5. Silver Plated
(5:25)  6. Hal Strange
(3:51)  7. The Time Of My Life
(2:55)  8. Step Down To The Top

Most of Eddie Harris' recordings on the Dutch Timeless label in the mid-'80s saw some action in the States but not this one, which was only released in Europe. A shame, for this was mostly one of Harris' few recorded excursions into funk during this period and it's a good one, stripped down, to the point, and featuring remarkably better material than most of his later Atlantic funk recordings. The full name of the vocal title track is "People Get Funny When They Get a Little Money" and it's another of Harris' wry, slightly bitter takes on the foibles of the material world, complete with some vintage acrobatic funk sax. "Three Quarter Miles" is one of Harris' most ingratiating loosey-goosey, triple-meter blues, and "Silver Plated" is a fine tune based roughly on a variation of the "Listen Here" vamp. With the help of overdubbing, Harris lays some electric and tenor saxophone, choral vocals, and humorous funk scatting over his own clarinet comping on the snazzy samba "Carnaval"; sometimes it's a bit stiff, but there is ebullience to spare. When drummer Carl Burnett is laying down a straight-ahead bop groove on "Hal Strange," Harris is locked into his distinctive funk manner, but when he takes off on Burnett's "The Time of My Life," he plays bop style with stunning harmonized electric sax runs Supersax on DC current. Pianist William S. Henderson III also contributes a Headhunters-esque piece called "Ski Ball." Harris' fans ought to grab this if it ever turns up in the vinyl bins. ~ Richard S.Ginell http://www.allmusic.com/album/people-get-funny-mw0000541077

Personnel: Eddie Harris (vocals, saxophone, tenor saxophone, electric saxophone, electric piano, Clavinet); Larry Gales (acoustic bass, electric bass); Carl Burnette (drums).

People Get Funny...

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Gigi Gryce, Donald Byrd & Cecil Taylor - At Newport

Styles: Trumpet, Saxophone And Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 48:49
Size: 113,7 MB
Art: Front

( 7:13)  1. Johnny Come Lately
( 7:40)  2. Nona's Blues
(10:26)  3. Tune 2
( 8:32)  4. Splittin'
( 7:21)  5. Batland
( 7:34)  6. Love For Sale

At first combining a set by Cecil Taylor with another by the Gigi Gryce-Donald Byrd Jazz Laboratory seems like an odd pairing, but it ends up working rather well. These live recordings, which come from the 1957 Newport Jazz Festival, have stood the test of time rather well. Taylor's style of piano playing is not that far removed from Thelonious Monk in his interpretation of Billy Strayhorn's "Johnny Come Lately," though his dissonant, angular approach is a bit busier; Steve Lacy's nasal-toned soprano sax and solid rhythmic support from bassist Buell Neidlinger and drummer Denis Charles fuel Taylor's fiery playing. Both Taylor's "Nona's Blues" and "Tune 2" are fairly accessible in comparison to his works in the decade which followed. The Gigi Gryce-Donald Byrd Jazz Laboratory with pianist Hank Jones, bassist Wendell Marshall, and drummer Osie Johnson is firmly rooted in hard bop. Oddly enough, none of the three pieces were written by either Gryce or Byrd, though they were both already budding composers at this point in their respective careers. But their brief program -- which includes Ray Bryant's "Splittin' (Ray's Way)," the blues "Batland," and a rousing rendition of "Love for Sale" is a good representation of this unfortunately short-lived and under-recorded group. Reissued as a part of Verve's limited-edition series in the summer of 2002, this valuable CD will be available until the summer of 2005. ~ Ken Dryden http://www.allmusic.com/album/at-newport-mw0000222261

Personnel: Donald Byrd (trumpet); Gigi Gryce (alto saxophone); Steve Lacy (soprano saxophone); Hank Jones , Cecil Taylor (piano); Osie Johnson (drums).

At Newport

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Kurt Edelhagen - Moonlight Serenade

Styles: Jazz, Big Band
Year: 1950
File: MP3@320K/s
Time: 75:05
Size: 187,7 MB
Art: Front

(3:00)  1. Begin The Beguine
(2:58)  2. Some Of These Days
(3:15)  3. Happy Days Are Here Again
(3:03)  4. No Can Do
(2:52)  5. In A Little Spanish Town
(2:53)  6. Sam's Song
(2:55)  7. Wilhelmina
(3:07)  8. Boogie At All
(3:07)  9. Paul's Boogie
(2:52) 10. Presto Aus Der "Fantasie In Be-Bop"
(3:08) 11. Moonlight Serenade
(2:58) 12. Dinah
(3:05) 13. I've Got My Love To Keep Me Warm
(3:09) 14. Korridor-Swing
(3:11) 15. Eisbär-Song
(4:12) 16. Blues Aus "Ein Amerikaner In Paris"
(3:26) 17. Hawaiian War Chant
(2:50) 18. Non-Stop-Riff
(3:44) 19. Stumbling
(3:06) 20. Taking A Chance On Love
(3:15) 21. Lilli-Boogie
(3:21) 22. Fine And Dandy
(2:29) 23. Guatemala
(2:56) 24. Hau Den Lucas

A well-respected bandleader whose orchestras tended to emphasize swinging dance music but were open to boppish solos, Kurt Edelhagen was a major name in Germany for quite a few years. He studied piano and conducting, and then in 1946 formed his first big band. Edelhagen was a natural bandleader and he headed ensembles for the radio station in Frankfurt, in Nuremberg (1949-1952) and most notably the orchestra of Sudwestfunk (1952-1957) which sometimes looked towards Stan Kenton. In 1957 he joined Westdeustcher Rundfunk in Cologne which in time included such players as trumpeters Dusko Goykovich and Jimmy Deuchar, altoist Derek Humble, and trombonist Jiggs Whigham. He headed that band until it broke up in 1973 and remained semi-active up until near his death. Kurt Edelhagen recorded fairly often in Germany during 1949-1972 although few of his records (other than one put out by Golden Era) have been made available in the U.S. ~ Scott Yanow http://www.allmusic.com/artist/kurt-edelhagen-mn0001438091

Moonlight Serenade

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The Bangles - Sweetheart Of The Sun

Styles: Vocal, Contemporary Pop/Rock
Year: 2011
File: MP3@320K/s
Time: 42:29
Size: 99,0 MB
Art: Front

(3:31)  1. Anna Lee (Sweetheart Of The Sun)
(4:07)  2. Under A Cloud
(3:51)  3. Ball 'N' Chain
(3:40)  4. I'll Never Be Through With You
(3:46)  5. Mesmerized
(4:04)  6. Circles In The Sky
(2:11)  7. Sweet And Tender Romance
(3:23)  8. Lay Yourself Down
(3:39)  9. One Of Two
(3:22) 10. What A Life
(3:50) 11. Through Your Eyes
(3:00) 12. Open My Eyes

When the Bangles re-formed in the early 2000s and released Doll Revolution in 2003, the band seemed split between trying to recapture the jangle pop sound they had when they began and trying to stay current with the times (in terms of production). On the second album to come from their return, 2011’s Sweetheart of the Sun, there are no attempts to stay current. Instead, by hiring Matthew Sweet to co-produce, the band makes it clear that they are ready to embrace their power pop past. The record brims with jangling guitars, tough lead guitar work from Vicki Peterson, rich vocal harmonies, and a layered, live sound that sounds really, really good (and almost exactly what you’d hope the band who recorded All Over the Place in 1984 would sound like 25-plus-years later). The songs that Susanna Hoffs and the Peterson sisters (Debbi and Vicki) wrote for the record are good, too. Solid and gently hooky tunes about kids, relationships, and the realities of middle age life; they too sound like the best you could hope for all these years later. The mix of convincing rockers ("Ball N Chain," "What a Life"), rollickingly tender janglers ("Anna Lee (Sweetheart of the Sun)"), and a handful of introspective ballads is just about right, too, and shows the band is adept at conveying a wide range of moods and styles. And their choice of covers is predictably savvy. They rock out nicely on "Sweet and Tender Romance," an obscure British girl group song originally done by the McKinleys in 1964, and exhibit some amazing harmony singing on the Nazz's "Open My Eyes." The combo of songs, performance, and sound means that anyone who was saddened by the glitz pop turn the band took post-All Over the Place could look at Sweetheart as the true follow-up to their debut. The only thing that gives you a clue to all the time passed is the rough edges around the lead vocals. It’s kind of odd, really. They all sound miraculously ageless when singing in harmony but when singing alone they tend to push their voices past their natural limits and end up hitting some duff, craggy notes. Especially Hoffs, who takes the bulk of the leads. It’s too bad Sweet didn’t clamp down and reign in this small but noticeable problem, as it makes for some jagged moments. Still, Sweetheart of the Sun is a remarkably good record that comes long after anyone may have expected the Bangles to do anything much at all. Credit Sweet's production, but also the trio’s dedication and renewed skills and energy. Hopefully it won’t take another quarter-decade to follow this one up. ~ Tim Sendra http://www.allmusic.com/album/sweetheart-of-the-sun-mw0002187953

Personnel:  Debbi Peterson – Drums and percussion; vocals;  Vicki Peterson – Electric guitar; vocals;  Susanna Hoffs – Electric guitar; vocals

Sweetheart Of The Sun

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Stefanie Schlesinger - Reality

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 67:49
Size: 156,1 MB
Art: Front

(4:44)  1. Parole, Parole
(6:15)  2. The Summer Knows
(5:30)  3. Reality
(6:33)  4. Hotel Shanghai
(5:10)  5. Com Amor, Com O Mar
(5:47)  6. Ganz leise
(4:08)  7. With You
(5:33)  8. Hurra, wir leben noch
(6:55)  9. Windmills of Your Mind
(5:07) 10. Fool on the Hill
(6:17) 11. Munich Butterfly
(5:44) 12. The Winner Takes It All

Stefanie Schlesinger (born 12 February 1977 in Bamberg ) is a German jazz singer and songwriter. Schlesinger first received recorder lessons , then, from the age of 9, piano lessons. At the age of 12, first singing lessons followed. She completed her high school diploma at the ETA Hoffmann-Gymnasium Bamberg with major singing; Then a classical vocal study at the Leopold-Mozart Conservatory in Augsburg followed. She then appeared in musical and opera productions and gave premieres of contemporary works before turning to the jazz song. She directed her own combo and worked with musicians like Pete York , Daniel Messina , Klaus Doldinger , Herb Geller and Christian Bruhn . Since 2005, Schlesinger has been increasingly active in the composition and also composed poems by Rainer Maria Rilke and Friedrich Schiller , but also wrote music for children. In addition, arrangements were made for own projects. Together with her husband, Wolfgang Lackerschmid , she wrote the music for the musicletts "Ma très chère cousine!" And "Now he is dead, the dog", which she performed as an actress in Augsburg 2010 and 2011 with good reviews. In 2003, she was the first singer to receive the Bavarian Kunstförderpreis in the Jazz category. https://translate.google.com.br/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Stefanie_Schlesinger&prev=search

Reality

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Charles Brown - Just A Lucky So And So

Bitrate: MP3@320K/s
Time: 50:12
Size: 114.9 MB
Styles: Urban blues
Year: 1994
Art: Front

[5:28] 1. I Won't Cry Anymore
[3:44] 2. Just A Lucky So And So
[5:02] 3. Black Night
[4:03] 4. One Never Knows
[5:20] 5. Driftin' Blues
[5:57] 6. Gloomy Sunday
[5:25] 7. I Stepped In Quicksand
[4:42] 8. The Danger Isn't Over
[5:06] 9. A Song For Christmas
[5:20] 10. So Long

Charles Brown's casual yet stunning phrasing, inventive voicings, and piano accompaniment are wonderfully presented on this ten-song set. Ron Levy's production and the arrangements of Wardell Quezergue and Brown are tasteful, breezy, and geared for his carefully constructed, teasing solos and rich, creamy leads. Such numbers as Brown's classic "Drifting Blues," as well as "Gloomy Sunday" and "I Won't Cry Anymore," convey despair and hurt, yet retain a certain appeal and charm. Brown keeps making fine records, sounding as convincing in the 1990s as he did at the start of his career. ~Ron Wynn

Just A Lucky So And So

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Betty Carter - Inside Betty Carter

Bitrate: MP3@320K/s

Time: 45:26

Size: 104.0 MB

Styles: Bop, Soul jazz vocals

Year: 1972/1993

Art: Front

[3:11] 1. This Is Always

[1:55] 2. Look No Further

[5:07] 3. Beware My Heart

[1:35] 4. My Favourite Things

[3:45] 5. Some Other Time

[3:13] 6. Open The Door

[5:17] 7. Spring Can Really Hang You Up The Most

[1:57] 8. Something Big

[2:57] 9. New England

[2:02] 10. The Moon Is Low

[2:56] 11. Once In Your Life

[1:51] 12. It's A Big Wide Wonderful World

[3:48] 13. There Is No Greater Love

[4:03] 14. You're A Sweetheart

[1:42] 15. Isn't It Romantic

These recordings can be considered the final ones of Betty Carter's early period for, by the time she next appeared on record (in 1969), the singer was much more adventurous in her improvisations. This CD reissues eight selections from Carter's rather brief 1964 Roulette LP (under 26 minutes), plus it adds seven previously unissued numbers from 1965. On the former date Carter (who is quite memorable on "This Is Always," "Some Other Time," and "Spring Can Really Hang You Up the Most") is accompanied by pianist Harold Mabern, bassist Bob Cranshaw, and drummer Roy McCurdy, while the "new" session ("There Is No Greater Love" and "You're a Sweetheart" are the standouts) features guitarist Kenny Burrell plus an unknown rhythm section in the backup band. Highly recommended to Betty Carter fans and to those listeners who find her later work somewhat forbidding. ~Scott Yanow

Inside Betty Carter

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Marc Miralta - New York Flamenco Reunion

Bitrate: MP3@320K/s
Time: 50:55
Size: 116.6 MB
Styles: Flamenco, Fusion
Year: 2000
Art: Front

[5:34] 1. Epistrophy
[6:55] 2. Bye Bye Blackbird
[6:16] 3. Bésame Mucho
[3:54] 4. Segment
[6:14] 5. Evidence
[5:44] 6. Los Luchadores No Suspiran
[5:12] 7. You Stepped Out Of A Dream
[6:01] 8. Los Sueños Y El Tiempo
[5:02] 9. Dexterity

Marc Miralta, is one of the most renowned Spanish drummers in the Spanish jazz scene. Both in its facet of traditional jazzman, as in the fields of the fusion of flamenco and jazz. Born in Barcelona in 1966 and starts playing the drums at age seven. At twelve he began to receive classes from the Pau Bombardó drummer. He has studied classical percussion and also plays Hindu tabla. He studied at the Zeleste Music School (CDMBR) in Barcelona (1980-1984), at the Barcelona Conservatory of Music (1982-1989) and at the Berklee College of Music in Boston (USA) (1990-1993).

He has performed at festivals and jazz clubs in Spain, the USA, Canada, Australia, Mexico, Argentina, France, Italy, Austria, Germany, Holland, the former Czechoslovakia, Hungary, Portugal, Slovenia and Bulgaria among others, with musicians of the By Pat Metheny, Gary Burton, Steve Lacy, Paquito D'Rivera, Tete Montoliu, Art Farmer, George Garzone, Jerry Bergonzi, Mark Turner, Joshua Redman, Perico Sambeat, Chano Domínguez, Gerardo Núñez and Esperanza Fernández among others. He has performed with different musical styles, including classical music with the European Young Common Market Orchestra (ECYO), directed by Claudio Abbado, the Vallès Symphony Orchestra and the Symphonic Orchestra of Barcelona i Nacional de Catalunya. (Translated from Spanish.)

New York Flamenco Reunion

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Bill Evans Trio - At Shelly's Manne-Hole

Bitrate: MP3@320K/s
Time: 54:57
Size: 125.8 MB
Styles: Bop, Piano jazz
Year: 1963/2009
Art: Front

[4:41] 1. Isn't It Romantic
[5:26] 2. The Boy Next Door
[5:17] 3. Wonder Why
[5:55] 4. Swedish Pastry
[4:51] 5. Our Love Is Here To Stay
[9:06] 6. 'round Midnight
[5:05] 7. Stella By Starlig
[5:42] 8. Blues In F
[8:50] 9. All The Things You Are

Although the Scott LaFaro-Paul Motian lineup of the Bill Evans Trio is generally considered to be the strongest, Chuck Israels and Larry Bunker make a strong case of their own on At Shelly's Manne-Hole, a 1964 release that finds the entire band in classic form. This particular trio may lack some of the sheer combustive force of the better-known lineup, but it is, if possible, even more sensitive, melancholic, and nostalgic than the previous band. The leadoff track, "Isn't It Romantic," is one of Evans' finest moments, with the gently swinging theme leading into a strong, if restrained, solo from Israels. Over Bunker's sensitive brush work, Evans comments briefly and beautifully on the theme before returning to the head. The band's readings of such classics as "'Round Midnight," "Stella By Starlight," and "All the Things You Are" are wonderful, but it is the lesser-known tracks, such as "Swedish Pastry" and the aforementioned "Isn't It Romantic," that makes this recording so valuable. Jazz is rarely as sensitive or as melodic as this. Another classic from Bill Evans and company. ~Daniel Gioffre

At Shelly's Manne-Hole

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Charlie Byrd - Latin Byrd

Bitrate: MP3@320K/s
Time: 71:21
Size: 163.3 MB
Styles: Bossa Nova, Brazilian jazz
Year: 1996
Art: Front

[5:33] 1. The Duck (O Pato)
[2:00] 2. Amor Flamenco
[3:32] 3. Azul Tiple
[2:03] 4. Cancion Di Argentina
[2:33] 5. Manha De Carnival
[3:12] 6. Homage A Villa--Lobos
[3:50] 7. Bogota (Pasillo Colobiano)
[2:47] 8. Mexican Song No. 2
[0:56] 9. Mexican Song No. 1
[2:54] 10. Samba De Uma Nota So
[2:10] 11. Galopera (Acualero Azuncena)
[5:32] 12. Vals (Opus 8.No 4)
[3:13] 13. Outra Vez
[3:25] 14. Presente De Natal
[2:55] 15. Insensatez
[2:20] 16. Three Note Samba
[1:59] 17. Samba Da Minha Terra
[3:00] 18. Limehouse Blues
[2:23] 19. Saudade Da Bahia
[4:37] 20. Anna
[2:39] 21. Socegadamente (Softly)
[3:13] 22. Chega De Saudade
[4:22] 23. Cancao De Ninar Para Carol

This single CD reissues two complete Charlie Byrd LPs (Latin Impressions and Charlie Byrd's Bossa Nova), some of which had been available previously on a 1970s two-fer. Byrd, the master of the acoustic guitar whose gentle and lyrical style perfectly fit bossa nova, is heard in prime form on 23 rather pretty numbers. There are six unaccompanied solos and many workouts with his quartet, which is sometimes augmented by four cellos, a French horn, trumpeter Hal Posey, vibraphonist Tommy Gwaltney, and/or extra percussionists. Surprisingly there are only two Antonio Carlos Jobim songs among the ones performed, but the other selections (which include five Byrd originals) are very much in the idiom. This CD shows that pretty music does not have to be Muzak or new age. Highly recommended. ~Scott Yanow

Latin Byrd

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Kenny Barron - A Table for Two

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 63:22
Size: 145,7 MB
Art: Front

(4:48)  1. Say it Over and Over Again
(5:40)  2. Stolen Moments
(6:22)  3. Estate
(6:31)  4. The Very Thought of You
(5:26)  5. Alfie
(6:06)  6. Berceuse
(6:25)  7. I Only Have Eyes for You
(5:33)  8. Phantoms
(5:23)  9. Very Early
(5:56) 10. Blame it on My Youth
(5:08) 11. In a Sentimental Mood

Tender, lyrical jazz by the Kenny Barron Ensemble sets the tempo for relaxed dining. The music will make you want to dance in your kitchen or at least after dinner! Here s to great music, delicious dinners, and many magical evenings! Liner notes include two recipes- Roasted Tomato Soup with Goat Cheese Flans Caramelized Apples with Vanilla Bean Ice Cream and Caramel Sauce. https://www.amazon.com/Table-Two-Dinner-Music/dp/B0006ULQQ6

Personnel:  Kenny Baron, piano; Bob Sheppard,saxophones and flute; Dave Ellis, saxophones; Peter Barshay, bass; Lewis Nash, drums

A Table for Two

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Karin Plato - There's Beauty In The Rain

Styles: Vocal Jazz
Year: 1998
File: MP3@320K/s
Time: 54:52
Size: 126,0 MB
Art: Front

(3:21)  1. This Can't Be Love
(4:42)  2. If I Were A Bell
(4:58)  3. Hum Drum Blues
(5:05)  4. Innocent Again
(2:59)  5. Mountain Greenery
(6:28)  6. Beauty In The Rain
(3:52)  7. Joy Spring
(4:12)  8. You Don't Know What Love Is
(5:59)  9. Lazy Afternoon
(4:34) 10. You Give Me The Blues
(5:24) 11. Hooray For Love
(3:11) 12. Dog For A Day

Karin Plato is a talented jazz vocalist whose delivery is straightforward and swinging. Rather than being an adventurous improviser or a scat singer, Plato's variations are subtle, soulful and expressive while paying close attention to the words that she improvises. She hits the notes that she aims for and is able to essay wide interval jumps with apparent ease; plus, her haunting voice is appealing. The singer was wise to surround herself with a particularly strong group of jazz players for her debut. Pianist Ross Taggart (who has many short solos), bassist Torben Oxbol and drummer Craig Scott give her a solid and swinging foundation. Campbell Ryga, who is heard on alto and soprano, is often a co-star, taking many inventive spots that fit in well with Plato's voice. Tenor saxophonist Bill Abbott guests on "Beauty in the Rain," one of four originals contributed by the singer. Other highlights include a happy reworking of "If I Were a Bell," Oscar Brown, Jr.'s "Hum Drum Blues," a heated "Mountain Greenery," Clifford Brown's "Joy Spring" (which is not easy to sing) and a slower than usual treatment of "Hooray for Love." This CD is well worth exploring, and Plato clearly has a great future ahead of her.~ Scott Yanow http://www.allmusic.com/album/theres-beauty-in-the-rain-mw0000941299

Personnel: Karin Plato (vocals); Campbell Ryga (soprano saxophone, alto saxophone); Bill Abbott (tenor saxophone); Ross Taggart (piano); Craig Scott (drums).

There's Beauty In The Rain

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Gigi Gryce - Nica's Tempo

Styles: Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 43:09
Size: 99,2 MB
Art: Front

(4:07)  1. Speculation
(4:26)  2. In a Meditating Mood
(2:46)  3. Social Call
(3:42)  4. Smoke Signal
(3:29)  5. (You'll Always Be) the One I Love
(3:03)  6. Kerry Dance
(5:03)  7. Shuffle Boil
(4:47)  8. Brakes Sake
(5:30)  9. Gallop's Gallop
(6:11) 10. Nica's Tempo

Oh...if these sessions could have only been issued in separate long forms with the bands that are included. Nica's Tempo comprises six tracks with Gigi Gryce's groundbreaking big band, and another four ostensibly as a member of the Thelonious Monk quartet, all from 1955. Each band showcases the estimable compositional and arranging genius of Gryce, as well as his unique sound on the alto saxophone. In this CD format, the music serves a purpose in displaying Gryce's many talents, but ultimately leaves the listener wanting more. What the orchestra tracks offer in terms of an advanced concept paired with extraordinary musicianship is indisputably brilliant. The combination of Gryce with Monk is unparalleled in another way, the brief but fruitful joining of jazz masters that helped both of them grow, while attaining a symbiosis that Monk only reached briefly with Coleman Hawkins, Sonny Rollins, John Coltrane, and later in extensia with Charlie Rouse. Gryce is perfectly situated in his element, able to not only exploit the individualism of his bandmates, but play his slightly tart alto sax in a manner that very few have ever imagined. His shining charts emphasize lower octave tones by baritone saxes, trombones, French horns, tuba, the lone trumpet of Art Farmer, and no extra woodwinds. This larger band, averaging ten pieces, is influenced by Duke Ellington during the fully flowered ballad "In a Meditating Mood," or traditional Irish music on the short and sweet, perfectly layered, bluesy swinger "Kerry Dance." Dizzy Gillespie's complex bop visage is present for the nifty, sub-toned, dynamically controlled in mezzo piano, hard surfaced and simmering "Smoke Signal," with clever meter switchings from 4/4, 3/4, or 2/4, while Bill Barber's tuba lurks underneath. 

The opener "Speculation" reflects its title, with the composer Horace Silver's piano solo intro nicely drawn out, merging into warm simple horn charts with off-minor flourishes a great jazz composition especially engaging considering this is an emerging Silver at age 27. Ernestine Anderson's Sarah Vaughan styled dusky voice is featured in slight echoplex production on the all-time classic "Social Call" about a left behind lover still hoping for a reconnect, while her confessional balladic rendition of (You'll Always Be) "The One I Love" is as passionate as any romantic love song ever. The Monk quartet tracks are as precious as can be, with the dynamite rhythm section of Percy Heath and Art Blakey really on top of it. The pianist is happy to hand the spotlight to Gryce on selections made more famous later on by Herbie Nichols or the Steve Lacy and Roswell Rudd bands. He's comfortably animated during "Shuffle Boil" cutting loose with flurries of notes, using staccato and staggered phrases for "Brake's Sake," and traverses the treacherous, slippery melody of "Gallop's Gallop" as if it had no degree of difficulty. Gryce's Nica's Tempo concludes in off-minor and obtuse angles as Monk liked it, with Heath and Blakey swinging expertly as only they could. These performances are nothing short of flawless, and though one might wish for additional tracks or outtakes, this album remains highly recommended with no reservation, and one for the ages. 

~ Michaael G.Nastos http://www.allmusic.com/album/nicas-tempo-mw0000092265

Personnel: Gigi Gryce (alto saxophone); Ernestine Anderson (vocals); Danny Bank, Cecil Payne (baritone saxophone); Art Farmer (trumpet); Gunther Schuller, Julius Watkins (French horn); Eddie Bert, Jimmy Cleveland (trombone); Bill Barber (tuba); Horace Silver, Thelonious Monk (piano); Oscar Pettiford, Percy Heath (bass); Kenny Clarke, Art Blakey (drums).

Nica's Tempo

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Naoko Terai - Limelight

Styles: Violin Jazz
Year: 2011
File: MP3@320K/s
Time: 51:33
Size: 118,2 MB
Art: Front

(4:54)  1. Prelude in E minor
(4:31)  2. Chaconne
(5:08)  3. Love Theme from The Godfather
(4:07)  4. El Choclo
(4:51)  5. Terry's Theme/Smile
(4:23)  6. Pictures at an Exhibition
(3:14)  7. Merry-Go-Round
(4:34)  8. Somewhere from 'West Side Story'
(2:45)  9. Sing, Sing, Sing
(5:18) 10. Ave Maria
(3:27) 11. Travel in Dream
(4:14) 12. Summer Fantasy

From the age of 4 began to learn the violin, 1988 to professional jazz violinist debut. In 1997, with the Japanese jazz pianist Kenny Barron co-starred in the opportunity to participate in the recording of New York, in one fell swoop attention. After that, we carry out extensive music activity with concerto-centered, television, radio, advertisement, etc., with full expression of expressiveness and rich style of play. With fine expression and passionate playing, active in the world stage jazz violinist. Translate by google http://www.zh-tw.barks.jp/artist/?id=52008425&m=bio

Personnel:  Naoko Terai – violin;  Naoki Kitajima – piano;  Kunio Tanaami – bass;  Go Nakazawa - drums

Limelight

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Nicole Mitchell - Mandorla Awakening II: Emergin Words

Styles: Flute Jazz 
Year: 2017
File: MP3@320K/s
Time: 74:25
Size: 175,5 MB
Art: Front

( 7:36)  1. Egoes War
( 5:35)  2. Sub-mission
( 2:49)  3. The Chalice
( 5:48)  4. Dance of Many Hands
(12:06)  5. Listening Embrace
( 4:54)  6. Forestwall Timewalk
( 9:48)  7. Staircase Struggle
( 8:06)  8. Shiny Divider
(10:22)  9. Mandorla Island
( 7:15) 10. Timewrap

Mandorla Awakening II: Emerging Worlds is Nicole Mitchell's second album for Chicago-based FPE Records. Recorded in May of 2015 at Chicago's Museum of Contemporary Art, it features her longtime collaborators Renée Baker (violin), Tomeka Reid (cello, banjo), Alex Wing (electric guitar, oud) and Jovia Armstrong (percussion), along with new members Tatsu Aoki (bass, shamisen, taiko) and Kojiro Umezaki (shakuhachi). Also in the mix is Chicago artist, scholar and poet avery r young, who brings the her lyrics to life with visceral humanity. Composer and flutist Nicole Mitchell, once hailed by Chicago Reader music critic Peter Margasak as the greatest living flutist in jazz, continues the work begun when jazz visionary Sun Ra and his Arkestra first touched down on Planet Earth and told humanity that space (outer and inner) is indeed the place. As with contemporary Afrofuturist pioneers like cosmic jazz saxophonist Kamasi Washington, post-everything beat maker Flying Lotus, R&B cyborg Janelle Monáe and dystopian noise-rappers Death Grips, she uses Afrofuturism as a platform to launch her own, unique vision. Her vast sound often encompasses contemporary classical, globally oriented fusion, gospel, spoken word, funk-inspired groove research and even brittle shards of avant-rock. Mandorla Awakening II collides dualities such as acoustic vs electric, country vs urban, simple vs complex, while also sounding through intercultural dialogue between Black, European and Pan-Asian improvisational languages. The outcome is a creative music suite that blurs musical styles into recognizable fragments that weave a unique sound fabric, where human emotion and the struggles of today swim. ~ Editorial Reviews https://www.amazon.com/Mandorla-Awakening-Ii-Emerging-Worlds/dp/B06W9J3KJ5

Personnel: Nicole Mitchell (flute, electronics);  Alex Wing (electric guitar, oud, Theremin); Tomeka Reid (banjo, cello); Tatsu Aoki (shamisen, taiko); Renée Baker (violin); Kojiro Umezaki (shakuhachi); Jovia Armstrong (percussion).

Mandorla Awakening II: Emergin Words

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Johnny Hodges Septet - Blues-A-Plenty

Bitrate: MP3@320K/s
Time: 42:11
Size: 96.6 MB
Styles: Saxophone jazz
Year: 1958/2014
Art: Front

[3:32] 1. I Didn't Know About You
[3:36] 2. Cool Your Motor
[3:18] 3. Gone With The Wind
[4:02] 4. Honey Hill
[3:23] 5. Blues-A-Plenty
[3:40] 6. Don't Take Your Love From Me
[5:59] 7. Saturday Afternoon
[5:01] 8. Satin Doll
[9:36] 9. Reeling And Rocking

This record, which I played tonight, is masterful. If you're putting on a Johnny Hodges record, you likely know what you're hoping to hear; that Johnny Hodges sound; the cry and the wail and the strut. And here, he is in full command, effortlessly swinging in a laid-back, whiskey-soaked haze, surrounded by giants like Ben Webster, Roy Eldridge, Billy Strayhorn and Jimmy Woode. It's precisely what you hoped for. A giant sound from a small combo - big blues for broken hearts.

No, they don't break new ground but that's not the point. In the notes on the back of the record, critic Benny Green writes: "...although jazz certainly evolves, its individuals do not, in the sense that once a musician has acquired the nuances of his own generation, they are his for the rest of his life, whether he wants them or not." I don't know that that's true; but for this album the expectations are met and exceeded in the execution and for that, it's more than comforting, it's exhilarating. ~Bink Figgins

Blues-A-Plenty

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Jurandir Santana - Um Segundo

Bitrate: MP3@320K/s
Time: 42:37
Size: 97.5 MB
Styles: Guitar jazz, Brazilian rhythms
Year: 2015
Art: Front

[6:01] 1. Pra Rosa
[3:31] 2. So What
[4:00] 3. Por Um Dia
[5:00] 4. A Minha Cara
[4:22] 5. Chorando De Brincadeira
[5:52] 6. Pro Donato
[4:28] 7. Esperança De Um Menino
[4:42] 8. Noturna
[4:36] 9. É Assim Que Eu Gosto

Jurandir Santana is considered one of the greatest guitarists from Brazil with a unique style, has been dedicated to the research of the complexity of brazilian music. His identification with music began at the age of 10. Today, Jurandir Santana has a respected curriculum, worked with big names of brazilian artists and worldwide music like as Gilberto Gil, Gal costa, Rosa Passos, Daniela Mercury, Jaques Morelenbaum, Seamus Blake Xangai, Toninho Horta, Fabiana Cozza, Mariene de Castro, Fredrik Nooren, Armandinho Macedo, Arthur Maia, Nico Assunção, Gabriel Grossi, Nelson Veras, Marcio Montarroyos, Nelson Ayres, Chico Pinheiro e Filó Machado. As like a teacher was invited to made workshops in Berklee College of Music(USA) , Western Illinois University (USA).

in 2006 Jurandir Santana released his debut album ” Só Brasil “ Maritaca label ( São Paulo ) – A work that is the result of years of research that comes with a new sound with discovering new nuances of brazilian music. One of tracks on the CD is Cravo e Canela his version to the success of Milton Nascimento and Ronaldo Bastos. like most tracks CD Only Brazil, filled with references to Bahia musicality, invites us to know the richness of brazilian rhythms such as frevo, maracatu, chula, samba de roda and Ijexá°. Giving special emphasis to the rich variety of the northeastern sound, where the artist incorporates his jazz design acquired throughout his brilliant career. This work has special guests such as Nelson Ayres, Teco Cardoso, Joana Bocanera, Simone Mota and Damares Martins. Won the Braskem prize as like as better jazz cd of Bahia.

Now Jurandir release his recent album ‚ Um Segundo‚ by Temps Record label (Barcelona). Elegance and precision still present in this new disc. Jurandir Santana has been slowly creating a highly personal style, as seen in the nine musics in CD. Seven musics are unedited, not just in the arrangements and sonic textures, but in striking contrast in acoustic guitar with traditional instruments to which it has bring a new life, as the viola caipira, from Brazil, or the Canary timple. More than ever, Jurandir Santana is presented as an explorer of new sounds that closer itself, with populated and alive, full songs signs here and there, which are an echo of several sound that manages to catch the worlds, as one who is able to reach a wind.This work has special guests such as Seamus Blake, Childo Tomas, Carola Ortiz, Joana Bocanera e Denise de Macêdo.

Musician recognized in the brazilian market and a solid musical career, Jurandir Santana has achieved a well-deserved place in the international market. His work as a accredits the prestigious musician in Europe and USA.

Um Segundo

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Shirley Horn - Violets For Your Furs

Bitrate: MP3@320K/s
Time: 45:54
Size: 105.1 MB
Styles: Vocal jazz
Year: 1991/2014
Art: Front

[ 3:24] 1. Our Love Is Here To Stay
[ 7:24] 2. Georgia On My My Mind
[ 3:40] 3. Gee Baby Ain't I Good To You
[ 5:16] 4. Lover Man
[ 4:55] 5. Violets For Your Furs
[ 4:13] 6. Baby Won't You Please Come Home
[10:16] 7. My Man
[ 4:17] 8. More Than You Know
[ 2:24] 9. I Didn't Know What Time It Was

Six years before she signed with Verve and finally became a big name, Shirley Horn already sounded quite mature and fully developed on this live trio date. Recorded at the 1981 Northsea Jazz Festival with bassist Charles Ables and drummer Billy Hart, the pianist/vocalist performs nine familiar standards, including versions of "More Than You Know" and "I Didn't Know What Time It Was" that did not come out until the 1991 CD reissue. The emphasis, as usual, is on ballads, including "Gee Baby Ain't I Good to You," "Baby Won't You Please Come Home" and the title cut. This lesser-known set is up to the same level as Shirley Horn's best-selling Verve sets. Recommended. ~Scott Yanow

Violets For Your Furs

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Joe Pass - The Best Of Joe Pass

Bitrate: MP3@320K/s
Time: 43:19
Size: 99.2 MB
Styles: Bop, Guitar jazz
Year: 1983/1991
Art: Front

[5:29] 1. A Foxy Chick And A Coolcat
[4:56] 2. How High The Moon
[2:57] 3. What Are You Doing The Rest Of Your Life
[6:55] 4. Que Que Ha
[4:09] 5. Summertime
[5:24] 6. Blues For Alican
[5:48] 7. Satin Doll
[7:38] 8. On Green Dolphin Street

This CD is a collection of selections from other albums that guitar virtuoso Joe Pass recorded over the years. What one person considers "best of" may be very different from what another person considers "best of". The sound quality varies from one cut to the next, including a little acoustic feedback, but they are all acceptable. Joe plays a number of different types of guitar on this album, including electric guitar, gut string guitar (acoustic), and what the liner notes refer to as an acoustic guitar, but it sounds like an amplified acoustic guitar. I was hoping for better than what is presented on this CD. I certainly remember better performances from Joe Pass on the old LP's that I used to listen to. This is not the best of Joe Pass. This album contains some covers of jazz standards and other tunes, and leaves a lot to be desired. ~Daniel M. Hart

The Best Of Joe Pass

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Nancy Reed - Young At Heart

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 64:10
Size: 147,7 MB
Art: Front

(5:00)  1. Young At Heart
(3:31)  2. Cappucino Kisses
(4:13)  3. The Midnight Of Our Love
(2:38)  4. I Like Everything
(4:55)  5. Stars Fell On Alabama
(2:18)  6. Thats The Call Of The South
(4:45)  7. Bittersweet Waltz (Featuring Rick Krive)
(4:35)  8. After All Of These Years
(3:38)  9. Dancin'
(4:00) 10. Mother
(3:35) 11. As Good As It Gets
(3:20) 12. Please Be Kind
(3:28) 13. The Devil Is Afraid Of Music
(2:57) 14. Casablanca
(6:51) 15. Please Don't Play A Bossa Nova
(4:16) 16. At Any Given Moment

Singer Nancy Reed has good musical genes. Her father was a jazz pianist and her mother an opera singer. Her first professional gig was at the age of 19 recording at the A& R studios in N.Y.C.. Over the years, she has performed at jazz festivals and concerts with such luminaries as Phil Woods, Slide Hampton, and David "Fathead" Newman. 1993 saw Reed working with singer Stephanie Nakasian on Nakasian's album Bitter Sweet. In 1996, Reed was on Bob Dorough's CD, This Is a Recording. In the same year, she recorded with her husband-guitarist, Spencer Reed, leading to the aptly named CD, Together. She joined the David Leonhardt Jazz Group in 1997 and she tours regularly with them throughout the United States. Their maiden album, A Time for Love, was released in 1998 and a second album, released in May of 1999, is devoted to music for tap dancing, called Swingin' Tappin' and Jammin'. Like the singers she cites as major influences, Sarah Vaughan and Shirley Horn, Reed's voice is defined by its lovely tone and excellent pitch. She can swing and sing ballads with equal aplomb. Reed is a regular performer at venues throughout the Poconos in Pennsylvania, as well in Mexico and Japan. ~ Dave Nathan http://www.allmusic.com/artist/nancy-reed-mn0000366406/biograph

Young At Heart

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