Charnett Moffett - Internet

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 72:27
Size: 168,5 MB
Art: Front

(3:51)  1. G.E.M.
(3:12)  2. Icon Blues
(3:48)  3. PTL
(4:25)  4. Kings and Queens
(1:54)  5. Coral
(4:39)  6. Free Raga
(5:31)  7. Jubilant
(4:59)  8. Rain Drops
(4:12)  9. Triumph
(5:20) 10. Mr. O. C.
(3:24) 11. Wishful Thinking
(6:10) 12. Happy Dreams
(3:36) 13. Internet
(5:48) 14. Universal March
(4:22) 15. Enjoy Your Life
(2:51) 16. Star-Spangled Banner
(4:18) 17. RAS

Nine years have passed since Charnett Moffett 's debut album, later featured in the role of bass player of Ornette Coleman and McCoy Tyner. As for its ninth CD as a leader, two distinct reads are required for the attention of the reviewer, called to evaluate both the expressive brilliance of musicians and the goodness of the project. Of course, Moffett's exquisitely solos are characterized by two salient features: a sharp double-bass effect, accompanied by a powerful and frustrating phrasing, though exuberant. Although energetic and dynamic, his music is not up to the solo figure and will arouse the interest of those who love crossover sounds, cross between canonical jazz and fusion.  Not to be exploited in all the expressive potentials is his remarkable trio, featuring the excellent pianist Stephen Scott, who is also involved in the acidic and granular side of the electric instrumentation. It is pleasing (re) to listen to an underrated artist whose tracks had been lost after the encouraging engravings for the Verve of the '90s. To him and to his wise use of the organ in jazz style, it is best to have a pleasant disc, but not very original on the compositional level. Translate by google ~ AAJ Italy /staff https://www.allaboutjazz.com/internet-charnett-moffett-piadrum-records-review-by-aaji-staff.php

Personnel: Eric McPherson: drums; Charnett Moffett: bass guitar, vocals, fretless bass, acoustic bass, bass; Maria Sartori-Spencer: vocals.

Internet

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Karen Lane and Paul Malsom - Can't Help It

Styles: Vocal And Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 50:26
Size: 117,4 MB
Art: Front

(4:16)  1. I Can't Help It
(4:59)  2. Água De Beber
(4:47)  3. Missing
(3:45)  4. Everything Falls Apart
(5:11)  5. Desafinado
(4:49)  6. It Ain't Over 'til It's Over
(4:58)  7. Song for My Father
(4:35)  8. Is This Love
(4:30)  9. Nature Boy
(4:59) 10. Mas que nada
(3:37) 11. Baby Come Home

Karen Lane originally from Perth Western Australia, moved to Sydney in1990. Her initial grounding was the graveyard shift in seedy Kings Cross, with 10 piece original soul funk band, The Hard Word. Her first foray into Jazz quickly followed with the formation of The Eclectics, a sophisticated lounge trio playing standards. She won coveted slots, including headline at 1993 Western Australia¹s York Jazz Festival, and support for the elite British jazz pianist, Julian Joseph, during his 1994 Australian tour, at Sydney¹s premier jazz club the Basement. In 1993 Lane formed her first original band Deluge and between 1994 and 1997 established her song writing and band leading credentials culminating in the debut of her original acid jazz band, Substance, at the prestigious Bacardi Club for the 1995 Sydney International Arts festival. During this period she also wrote and produced music for a NIDA (National Institute of Dramatic Art) dance production "Appetite" which was featured at the Melbourne International Arts Festival. From her experience as one of the few song writing and band leading females in an Australian music scene dominated by mass marketed, made to order young popstars, Lane conceived the idea that became Bloomers, an independent recording project for women singer songwriters. She secured government funding and recorded 17 women from around Australia. The Bloomers compilation CD was released with considerable national print, radio and TV coverage in August 1998 through Roadshow/Warners music. In 1997, before Lane relocated to Singapore she recorded her original album titled "Sheherazade 1001 nights", and was subsequently invited back to Australia to perform at the 1998 Go Girl! Festival celebrating International Women¹s Day, to a 10,000 strong crowd in The Domain Sydney. In Singapore Lane worked extensively singing sessions, writing and performing in various jazz clubs and hotels including the renowned Raffles Hotel. Since moving to London in 2000, she has steadily established a UK audience and released two UK band albums 'Once In A Lifetime' in 2002, and 'Taste' in 2004. After appearing succesfully as a duo with Paul Malsom, the UK guitarist, at The Sevenoaks Festival, they decided to record this album of their favourite songs from the live concert. https://store.cdbaby.com/cd/malsonlane

Personnel: Karen Lane - (vocals), Paul Malsom - (guitars), Nic France - (percussion), Jo Fooks - (saxophone).

Can't Help It

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Bob Brookmeyer - The Dual Role of Bob Brookmeyer

Styles: Trombone Jazz
Year: 1955
File: MP3@320K/s
Time: 39:47
Size: 91,4 MB
Art: Front

(4:40)  1. Rocky Scotch
(5:07)  2. Under the Lilacs
(5:49)  3. They Say It's Wonderful
(4:49)  4. Potrezebie
(5:46)  5. Revelation
(4:29)  6. Star Eyes
(4:25)  7. Nobody's Heart
(4:38)  8. Loup-Garou

This CD reissue has four selections apiece from two different bands, both of which feature subtle interplay and cool tones. Bob Brookmeyer plays valve trombone and piano on two songs apiece with his 1955 quartet, a group also including guitarist Jimmy Raney, bassist Teddy Kotick and drummer Mel Lewis. The other half of this disc is actually led by vibraphonist Teddy Charles who features Brookmeyer on both of his instruments along with bassist Teddy Kotick and drummer Ed Shaughnessy; Nancy Overton takes a vocal on "Nobody's Heart." Although the overall set is not all that essential, the music is pleasing and reasonably creative. ~ Scott Yanow http://www.allmusic.com/album/the-dual-role-of-bob-brookmeyer-mw0000203311

Personnel: Bob Brookmeyer (valve trombone, piano); Nancy Overton (vocals); Jimmy Raney (guitar); Teddy Charles (vibraphone); Mel Lewis, Ed Shaughnessy (drums).

The Dual Role of Bob Brookmeyer

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Steely Dan - Can't Buy A Thrill

Styles: Vocal And Guitar Jazz
Year: 1972
File: MP3@320K/s
Time: 41:16
Size: 96,4 MB
Art: Front

(5:57)  1. Do It Again
(3:10)  2. Dirty Work
(3:48)  3. A3 Kings
(4:12)  4. Midnite Crusier
(2:54)  5. Only A Fool Would Say That
(4:38)  6. Reelin'In The Years
(3:30)  7. Fire In The Hole
(4:22)  8. Brooklyn
(3:40)  9. Change Of The Guard
(5:00) 10. Turn That Heartbeat Over Again

Walter Becker and Donald Fagen were remarkable craftsmen from the start, as Steely Dan's debut, Can't Buy a Thrill, illustrates. Each song is tightly constructed, with interlocking chords and gracefully interwoven melodies, buoyed by clever, cryptic lyrics. All of these are hallmarks of Steely Dan's signature sound, but what is most remarkable about the record is the way it differs from their later albums. Of course, one of the most notable differences is the presence of vocalist David Palmer, a professional blue-eyed soul vocalist who oversings the handful of tracks where he takes the lead. Palmer's very presence signals the one major flaw with the album  in an attempt to appeal to a wide audience, Becker and Fagen tempered their wildest impulses with mainstream pop techniques. Consequently, there are very few of the jazz flourishes that came to distinguish their albums  the breakthrough single, "Do It Again," does work an impressively tight Latin jazz beat, and "Reelin' in the Years" has jazzy guitar solos and harmonies  and the production is overly polished, conforming to all the conventions of early '70s radio. Of course, that gives these decidedly twisted songs a subversive edge, but compositionally, these aren't as innovative as their later work. Even so, the best moments ("Dirty Work," "Kings," "Midnight Cruiser," "Turn That Heartbeat Over Again") are wonderful pop songs that subvert traditional conventions and more than foreshadow the paths Steely Dan would later take. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/cant-buy-a-thrill-mw0000195859

Personnel: Walter Becker (vocals, guitar, electric bass, bass guitar); Donald Fagen (vocals, piano, electric piano, organ, keyboards); David Palmer (vocals, keyboards); Jim Hodder (vocals, drums, percussion); Clydie King, Sherlie Matthews, Venetta Fields (vocals, background vocals); Jeff Baxter (guitar, steel guitar, Spanish guitar); Denny Dias (guitar, sitar, electric sitar); Elliott Randall (guitar); Jerome Richardson (saxophone, tenor saxophone); Snooky Young (flugelhorn, horns); Victor Feldman (keyboards, percussion); David Paich (keyboards); Shirley Matthews (background vocals).

Can't Buy A Thrill

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Ian & Sylvia - So Much For Dreaming

Styles: Vocal, Folk
Year: 1967
File: MP3@320K/s
Time: 38:48
Size: 89,0 MB
Art: Front

(2:56)  1. Circle Game
(2:58)  2. So Much For Dreaming
(3:51)  3. Wild Geese
(3:24)  4. Child Apart
(3:58)  5. Summer Wages
(2:35)  6. Hold Tight
(2:52)  7. Cutty Wren
(3:35)  8. Si Les Bateaux
(3:29)  9. Catfish Blues
(3:19) 10. Come All Ye Fair And Tender Ladies
(3:01) 11. January Morning
(2:45) 12. Grey Morning

Ian & Sylvia's adjustment to folk-rock was sometimes fine, sometimes awkward, and this was another inconsistent, though generally worthwhile, effort. Highlights include "Circle Game," one of the very first recorded covers of a Joni Mitchell composition. Tyson's "Wild Geese" and "Child Apart" count as some of their better unheralded tunes, and the occasional muted orchestration worked well on "Circle Game" and the melancholy title track. On the other hand, the attempts at blues were abominable, the traditional ballads anachronistic, and some of the material (especially Fricker's) undistinguished. ~ Richie Unterberger  http://www.allmusic.com/album/so-much-for-dreaming-mw0000643815

Personnel: Ian Tyson (vocals, guitar, autoharp); Sylvia (vocals); David Rae (guitar); Robert Bushnell (electric bass); Al Rogers (drums).

So Much For Dreaming

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Cathy Menezes - A Dream

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 51:52
Size: 119,7 MB
Art: Front

(5:06)  1. Waves of Seven
(5:48)  2. Don't Know Yet
(6:46)  3. Quiet Moments
(5:24)  4. A Dream
(6:17)  5. White Swan
(5:22)  6. Will You Be Here
(5:47)  7. Beauty of the Sea
(5:04)  8. Zoe
(6:13)  9. Summer Day

Debut,fully original album by singer, composer and pianist, with powerful melodies and lyrics in a unique blend of Latin, blues and smooth jazz performs with some of the great masters of music, Russell Ferrante, Hussain Jiffry, Mike Shapiro and many more. 2012 Outstanding Creative Performance Award winner, Cathy, has found her musicianship taking her to another artistic level. This debut album was collaborated by some of the greatest masters in music namely: 2014 Grammy Award winner Hussain Jiffry, Russell Ferrante, Mick Shapiro, Allan Hinds, JP Mouro, Satnam, Jackson, Scott Mayo and Gregory Manning. Her compositions provide soulful enticing Latin and jazz grooves infused with colourful melodic improvisations, songs which will no doubt take listeners on an amazing journey. https://store.cdbaby.com/cd/cathymenezes

A Dream

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Charnett Moffett - The Bridge

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 55:28
Size: 129,0 MB
Art: Front

(2:02)  1. Caravan
(3:26)  2. Eleanor Rigby
(1:56)  3. Black Codes
(3:01)  4. Fragile
(1:20)  5. Haitian Fight Song
(4:25)  6. Kalengo
(1:09)  7. Bow Song
(3:59)  8. Jousha Fought the Battle of Jericho
(3:07)  9. Skip Hop
(1:45) 10. The Slump
(4:18) 11. Monk Medley
(2:06) 12. Oversun
(1:58) 13. Swinging Etude
(4:08) 14. Walk Spirit, Talk Spirit
(3:43) 15. Truth
(2:41) 16. The Bridge (Solo Bass Works)
(0:44) 17. Nature Boy
(2:06) 18. Things Ain't What They Used To Be
(2:55) 19. All Blues
(4:27) 20. Free Your Mind

The sound of Charnett Moffett's bass resonates almost instantly straight to the depths of the soul. Over his career, Moffett has played in a tremendous variety of settings and explored seemingly every avenue, alley, and obscure landscape of both the upright and electric bass. Now with his first solo bass CD, The Bridge, audiences can experience Moffett's artisanship in its most concentrated form. Comprised of 20 pieces, The Bridge covers a lot of territory, acting as a portrait of Moffett's musical experience. Included on the album are touchstones to the many stages of his long career, from his early work with Wynton Marsalis to his run with the Manhattan Jazz Quartet, to his explosive experiments as a bandleader, as well as his partnership with McCoy Tyner. However, though touching on these various aspects of his development, it is not a simple march through time, but instead a distillation of the various components into a captivating whole. Moffett begins with a blistering take on "Caravan," followed immediately by "Eleanor Rigby" which in Moffett's hands undergoes a kind of sublimation that exposes the devastating salience of the original's commentary on the human condition. This ability to pair down and purify represents one of Moffett's signature abilities which he applies throughout The Bridge. A second powerful example is his brief 44-second rendition of "Nature Boy." Boldly approaching this classic, Moffett inverts the more usual jazz methodology of expanding on a tune's basic parts to instead render it into its most essential, emotive elements.

The remaining 18 selections continue this pattern, tapping both icons of the jazz repertoire, like Charles Mingus' "Haitian Fight Song" and a medley of Thelonious Monk works, and pop tunes like Sting's "Fragile." Moffett also contributes 8 original compositions that provide some additional standout moments, such as the Middle Eastern-themed piece "Kalengo" on which Moffett integrates pizzicato and bowed techniques in a virtuoso display. In fact, Moffett's bow work on this and several other pieces, including Miles Davis' "All Blues" and the closing, electric-tinged "Free Your Mind," represent some of the most redolent passages on the album. No recording can capture the distinct and uncannily haunting sound of Moffett's tone when experienced live, but The Bridge is an exceptionally actualized statement delivered by the practiced hand of a master during a resurgence of his creative powers. (It should be noted that The Bridge will be followed closely by an ensemble album, and was previewed by a marathon run of solo performances in New York.) In the end, as impressive as Moffett's technical facility on the bass and compositional talents are, it is his emotive clarity, the ability to cut to the core, that ultimately captures the imagination and moves the listener's inner being. His is a rare capacity to reach out sometimes with only one perfectly articulated note to touch the deepest aspects of our spirits and carry us forward. ~ Franz Matzner https://www.allaboutjazz.com/the-bridge-charnett-moffett-motema-music-review-by-franz-a-matzner.php
 

Personnel: Charnett Moffett: Bass

The Bridge

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Ray Brown - Bass Hit!

Styles: Jazz, Bop
Year: 1999
File: MP3@320K/s
Time: 52:38
Size: 124,5 MB
Art: Front

(5:04)  1. Blues For Sylvia
(4:00)  2. All Of You
(4:28)  3. Everything I Have Is Yours
(3:42)  4. Will You Still Be Mine
(4:52)  5. Little Toe
(4:46)  6. Alone Together
(2:30)  7. Solo For Unaccompanied Bass
(4:09)  8. My Foolish Heart
(5:36)  9. Blues For Lorraine
(2:50) 10. After You've Gone
(4:49) 11. After You've Gone (Complete Takle)
(3:01) 12. After You've Gone
(2:44) 13. After You've Gone (Complete Takle)

Since he played on some of the earliest Dizzy Gillespie and Charlie Parker records in 1945, Brown is regarded as the father of modern bass playing. He made his name at that time with the groundbreaking role he played on Gillespie's One Bass Hit. He has been a leading virtuoso for half a century and his tone and dexterity are still something to wonder at, as was shown in an unforgettable master class that he gave to students for a BBC television broadcast. His "Solo for Unaccompanied Bass" here is another dazzling performance. Elsewhere, he's in an unusual setting before an all-star West Coast big band playing a set of arrangements by Marty Paich. Brown bites powerfully into his featured role, notably in an incredibly fast "After You've Gone," and he's helped by key soloists like trumpeter Harry "Sweets" Edison (reprising his role on Sinatra's albums) and clarinetist Jimmy Giuffre. If you're a bass player, be careful with this album. It might make you want to give up. ~ Steve Voce https://www.amazon.com/Bass-Hit-Ray-Brown/dp/B00000JNP2

Personnel: Ray Brown (bass); Marty Paich (arranger, conductor); Jack Dulong, Herb Geller (alto saxophone); Jimmy Giuffre (tenor saxophone, clarinet); Bill Holman (tenor saxophone); Harry "Sweets" Edison, Conrad Gozzo, Ray Linn, Pete Candoli (trumpet); Herbie Harper (trombone); Jimmie Rowles (piano); Herb Ellis (guitar); Mel Lewis, Alvin Stoller (drums).

Bass Hit!

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The Isley Brothers & Santana - Power Of Peace

Styles: Vocal, Funk
Year: 2017
File: MP3@320K/s
Time: 66:08
Size: 151,9 MB
Art: Front

(3:26)  1. Are You Ready
(4:23)  2. Total Destruction to Your Mind
(5:13)  3. Higher Ground
(7:09)  4. God Bless the Child
(5:34)  5. I Remember
(5:22)  6. Body Talk
(7:03)  7. Gypsy Woman
(4:04)  8. I Just Want to Make Love to You
(3:12)  9. Love, Peace, Happiness
(5:29) 10. What the World Needs Now Is Love Sweet Love
(4:02) 11. Mercy Mercy Me (The Ecology)
(6:27) 12. Let the Rain Fall On Me
(4:37) 13. Let There Be Peace On Earth

Supergroup pairings rarely work. Either there are too many egos involved or the magic promised on paper doesn’t materialize because there are too many cooks in the kitchen, or record label and managerial bluster get in the way of actual spontaneity. That's not the case with Power of Peace, delivered by the Santana and Isley families in a Las Vegas studio without prior rehearsal. The material on this 13-song set is comprised mostly of iconic soul, funk, blues, and R&B covers. Carlos Santana and Ron Isley are joined by drummer Cindy Blackman Santana and Ernie Isley, the Santana road band, and a backing chorus of Kandy and Tracy Isley as well as Kimberley Johnson and Eddie Levert. "Are You Ready," the first of two Chambers Brothers tunes, opens the set with a Karl Perazzo conga workout followed by a funky bassline and Ernie on manic wah-wah guitar. Cindy's breaks and Carlos' leads push Ron to overdriven rock intensity with the backing chorus supports. It's a hard groover that introduces a rocking soul rave-up on Swamp Dogg's "Total Destruction to Your Mind." The pairing of Ron and Carlos here is fantastic. If it doesn’t get you on your feet, you're already dead. Things get more intense on Stevie Wonder's "Higher Ground" with Ernie evoking Jimi Hendrix's spirit in his fills and solo, while Cindy's drumming and Perazzo's whomping congas push it into the red. Eddie Kendricks' burner "Body Talk" gets the same treatment. There are some ballads here, too. Ron delivers a beautiful adaptation of Billie Holiday's "God Bless the Child" with Cindy on backing vocals. Santana's melodic presentation is matched by Ernie's tough blues phrasing. The lone original, "I Remember," is a gorgeous, bittersweet samba written and sung by Cindy; it's the only tune here that retains its restraint throughout (though Carlos is tempted to shred near the end). On Curtis Mayfield's "Gypsy Woman," Ron offers his sweetest falsetto amid a humid, atmospheric, Latin soul backdrop. Blues, hard rock, and funk collide in Willie Dixon's "I Just Want to Make Love to You," with Ernie shining in a burning solo. Only the Bacharach-David standard "What the Worlds Needs Now" and Leon Thomas' post-bop "Let the Rain Fall on Me" falter due to overly reverent presentations. That said, the gospelized Latin soul in Marvin Gaye's "Mercy Mercy Me (The Ecology)" is a monster. The set closes with a complete reinvention of "Let There Be Peace on Earth," offering a stellar portrait of what the Santana band does well (especially with an ace guitarist like Ernie aboard). Ron, whose voice is undiminished by time, soars above the band and chorus to end it all on a spiritual tip. Power of Peace is loose, but everybody brought their chops to the party. This is what happens when great musicians gather simply to see what happens and enjoy one another's company. ~ Thom Jurek http://www.allmusic.com/album/power-of-peace-mw0003062166

Personnel: Ronald Isley (vocals); Carlos Santana (guitar, percussion, background vocals);  Mathews, Jim Reitzel (keyboards); Karl Perazzo (percussion).

Power Of Peace

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Kenny Dorham & Jackie McLean - Inta Somethin'

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 38:34
Size: 89,0 MB
Art: Front

(7:13)  1. US
(6:00)  2. It Could Happen To You
(6:06)  3. Let's Face The Music
(6:59)  4. No Two People
(5:01)  5. Lover Man
(7:12)  6. San Francisco Beat

"Originally released in 1962 on the Pacific Jazz label, Inta Somethin' is a wonderful live session from the legendary trumpeter Kenny Dorham and alto sax great Jackie McLean, recorded live at the Jazz Workshop in San Francisco in the winter of 1961. Featuring four standards bookended by two Dorham originals, the album also includes contributions from dynamic bassist Leroy Vinnegar amongst others. Inta Somethin' is a classic hard bop live session that includes a version of Dorham's great 'Uno Mas' a year before the Blue Note album of the same name. Includes original liner notes. 180 gram vinyl." http://www.forcedexposure.com/Catalog/dorham-jackie-mclean-kenny-inta-somethin-lp/DOX.888LP.html

Personnel: Kenny Dorham: trumpet;  Jackie McLean: alto saxophone; Walter Bishop: piano;  Leroy Vinegar: bass; Art Taylor: drums.

Inta Somethin'

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Karrin Allyson - By Request: The Best Of Karrin Allyson

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 65:47
Size: 153,1 MB
Art: Front

(5:26)  1. Night And Day
(6:02)  2. Moanin'
(5:55)  3. What's New
(3:54)  4. O Pato (The Duck)
(4:07)  5. Sous Le Ciel De Paris (Under Paris Skies)
(4:15)  6. Life Is A Groove (Jordu)
(6:44)  7. Everything Must Change
(4:20)  8. A Felicidade (Happiness)
(6:11)  9. Sweet Home Cookin' Man
(6:20) 10. Nature Boy
(3:44) 11. And So It Goes
(3:48) 12. Cherokee
(4:54) 13. Next Time Around (Soultrane)

Straight-ahead jazz vocalist Karrin Allyson came from Kansas City to the world at large, becoming as popular as any singer of her generation. These 12 selections plus one previously unissued track, done over a span of 11 recordings and 15 years, show why she has become likable, marketable, and admired within certain circles of the mainstream standard-bearers. She also writes a little, plays some piano, interprets others' lyrics to well-known standards, and tosses in a considerable amount of seductive Brazilian or French tunes done in their native language. Allyson's controlled voice never soars skyward or through wispy clouds, but her sensible style is one that easily attracts regular nightclubbers, as well as festival crowds who just want to hear good music professionally performed. Her sophistication through the years has grown considerably, but she has never been the cutesy singer who needed to grow up, and has remained as poised and polished as the first day she chose to sing for a living. This recording also displays a mix of the many collaborators she has worked with, including many of her friends from home. She's very comfortable with the blues, as the Bobby Timmons evergreen "Moanin'" displays, going from a scatted intro to the famous Jon Hendricks lyric. She uses two guitarists for the light samba take of "Night and Day," the perky "O Pato," and the convincing, heartfelt "Nature Boy." An accordion accompanies the waltz "Sous le Ceil de Paris," and she sings well in Portuguese on the happy, bouncy "A Felicidade." Working separately and together with the wonderful singer Nancy King, Duke Jordan's "Jordu" is turned into "Life Is a Groove" with Allyson's swinging lyrics, while her original "Sweet Home Cookin' Man" is a fan favorite about an imaginary sweetheart gourmet chef, with the modal piano of Paul Smith keeping the griddle sizzling. In retrospect, her version of the ballad "What's New?" is especially poignant and bittersweet to hear, considering that the late tenor saxophonist Bob Berg and pianist James Williams are backing her up. Both died far too young, making this statement a forever unanswered question. "Cherokee" is the most unusual arrangement, jamming the gears from idle neutral to furiously fast sixth gear at the drop of a flag like a drag race. Certainly there are those who would choose different tracks, but this is a very good overview of what Allyson has done in her relatively short career and there's much more to come. ~ Michael G.Nastos http://www.allmusic.com/album/by-request-the-best-of-karrin-allyson-mw0000816546

Personnel: Karrin Allyson (vocals, piano, shaker); Nancy King (vocals); Danny Embrey (guitar, acoustic guitar, electric guitar); Rod Fleeman (acoustic guitar); Carter Brey (cello); Randy Weinstein (harmonica); Gil Goldstein (accordion, piano); Kim Park (alto saxophone); Bob Berg (tenor saxophone); Paul "Scooby" Smith, Mulgrew Miller, James Williams , Bruce Barth (piano); David Finck, John Patitucci, Bob Bowman (acoustic bass); Todd Strait (drums, percussion); Lewis Nash (drums); Michael Spiro (pandeiro, shaker, surdo).

By Request: The Best Of Karrin Allyson

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Gene Harris Quartet - Live In London

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 62:29
Size: 144,0 MB
Art: Front

(13:26)  1. No Greater Love
(15:18)  2. Blue Monk
( 6:04)  3. My Funny Valentine
(11:18)  4. In A Mellow Tone
( 9:02)  5. Misty
( 7:19)  6. Blues Closer

Gene Harris (1933-2000) was the master of blues in jazz. A self-proclaimed "blues pianist with chops," Harris could sting the most un-blues-like melody and make it sound like it was written by Meade Lux Lewis and performed by Oscar Peterson. Since Harris' death in 2000, posthumous releases of previously unreleased performances have been steady but sparse. These include: Live at Otter Crest (Concord Jazz, 2001), Instant Party (Concord Jazz, 2004), and now Live in London. Documenting a 1996 London performance with a local rhythm section, Live in London find Harris at his most exuberant. The set begins with an expansive "No Greater Love," with Harris introducing the piece with a length legato prelude before turning the tempo upside-down, giving the ballad the momentum of a freight train, albeit a happy one. Guitarist Jim Mullen sounds more rock than jazz, but does manage a clever Mozart quote ("allegro molto," from the "Symphony 40 in G minor") and several cartoon soundtrack quotes. An up-tempo "Blue Monk" provides Harris his first of three blues venues, allowing him and guitarist Mullen to display their considerable chops. This is where Harris is most at home, a steady romp through those twelve bars with a smile as big and fresh as his Idaho home. "My Funny Valentine" displays Harris invention in approaching a melody from the bottom side up in the same way as Erroll Garner in his salad days. The recital center point is the fifteen-minute "In a Mellow Tone." Harris, who states that he never plans set lists or performances, effectively conjures this Ellington chestnut out of thin air, employing the same introduction paradigm he used on "Valentine." He reveals the song covertly and then overtly. Harris uses his great sense of drama to build upon the melody, chorus by chorus, until he achieves the maximus of his orchestral style. Harris salutes Garner with a sensitive "Misty" before closing things with, what else, a blues appropriately entitled "Blues Closer." The Resonance Records website sports a brief interview with Harris where the pianist is revealed as a smiling, amiable giant interested only in playing music. One must believe that there is much more unreleased Gene Harris out there to celebrate. ~ C.Michael Bailey https://www.allaboutjazz.com/live-in-london-gene-harris-resonance-records-review-by-c-michael-bailey.php

Personnel: Gene Harris: piano; Jim Mullen: guitar; Andrew Clyendert: bass; Martin Drew: drums.

Live In London

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Walter Bishop, Jr. - Old Folks

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 37:06
Size: 85,3 MB
Art: Front

(6:01)  1. Manhã De Carnaval
(7:39)  2. Old Folks
(4:35)  3. Up Jumped Spring
(4:15)  4. Straight, No Chaser
(4:41)  5. Here's That Rainy Day
(3:58)  6. Yardbird Suite
(5:54)  7. Ev'ry Time We Say Goodbye

A lost little session from pianist Walter Bishop one that has the pianist working at an all acoustic level, and in a trio format that's a bit different than his other 70s sessions but still totally great! The group features wonderful work from Sam Jones on bass and Billy Higgins on drums both players we totally love together, and who give Bishop a bit of backing that's similar to their work with Cedar Walton. Yet the style here is very different, too as Walter brings out these more gutbuckety notes at times still handled with class and care, but with a deeper vibe that seems to resonate especially strongly with the bass of Jones. Titles include "Manha Do Carnaval", "Old Folks", "Up Jumped Spring", and "Straight No Chaser". © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/731094/Walter-Bishop-Jr:Old-Folks

Old Folks

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Fats Navarro - Fats Blows 1946-1949

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 70:54
Size: 166,1 MB
Art: Front

(2:53)  1. Dance Of The Infidels
(2:49)  2. 52nd St. Theme
(5:34)  3. Double Talk
(2:35)  4. Move
(2:41)  5. Hollerin' And Screamin'
(2:54)  6. The Tadd Walk
(3:09)  7. Jumpin' For Jane
(2:50)  8. Lady Bird
(2:53)  9. Goin' To Minton's
(2:45) 10. Nostalgia
(2:25) 11. Eb Pob
(2:59) 12. Our Delight
(3:16) 13. Bouncing With Bud
(3:04) 14. Wail
(3:05) 15. Symphonette
(3:07) 16. Boperation
(2:49) 17. Fats Blows
(4:02) 18. Stop
(2:52) 19. Sid's Delight
(2:53) 20. Jahbero
(2:57) 21. The Skink
(2:59) 22. The Squirrel
(3:13) 23. Groovin' High

A 23-track overview of Fats' brief moments of brilliance in the jazz skyline. The groups are varied, as was Navarro's wont, featuring such luminaries as Eddie "Lockjaw" Davis, Tadd Dameron, Leo Parker, Art Blakey, Howard McGhee, Bud Powell, Sonny Rollins, Kenny Clarke, Milt Jackson, and Fats' idol, Charlie Parker. Navarro was a brilliant musician, done in by drugs and tuberculosis. This disc gives you an idea of how tragic his loss was to the jazz world. ~ Cub Koda http://www.allmusic.com/album/fats-blows-1946-1949-mw0000051021

Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Charlie Parker, Ernie Henry, Budd Johson, Sahib Shihab, Ernie Henry (alto saxophone); Eddie Davis, Charlie Rouse, Don Lamphere, Allen Eager, Coleman Hawkins, Dexter Gordon, Sonny Rollins, Wardell Gray (tenor saxophone); Cecil Payne, Marion De Veta (baritone saxophone); Howard McGhee (trumpet); Kai Winding (trombone); Milt Jackson (vibraphone); Al Haig, Tadd Dameron, Lennie Tristano, Linton Garner, Bud Powell (piano); Huey Long, Billy Bauer, Chuck Wayne (guitar); Gene Ramey, Curley Russell, Nelson Boyd, Tommy Potter, Jimmy Johnson, Jack Lesberg (bass); Denzil Best, Kenny Clarke, Art Blakey, Shadow Wilson, Buddy Rich, Max Roach, Roy Haynes (drums); Chano Pozo, Diego Ibarra (bongos); Vidal Bolado (conga).

Fats Blows 1946-1949

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Chuck Loeb - My Shining Hour

Styles: Guitar Jazz
Year: 1988
File: MP3@320K/s
Time: 61:20
Size: 141,6 MB
Art: Front

(5:30)  1. The Chant
(6:29)  2. Asi Sera
(6:56)  3. My Shining Hour
(9:06)  4. If I Were a Bell
(5:26)  5. Maxine
(6:05)  6. Let All Notes Ring
(5:57)  7. Tarde
(6:00)  8. I Just Can't Stop Loving You
(4:40)  9. Brunet
(5:05) 10. My Funny Valentine

A skillful guitarist capable of playing any style of music, Chuck Loeb's own solo projects have generally been commercially successful crossover jazz, which has been classified through the years as "contemporary" or "smooth" jazz. He started playing guitar when he was 11; discovered jazz when he was 16; took lessons from Jim Hall, Pat Metheny, and Joe Puma; and attended the Berklee College of Music. Loeb freelanced in New York (with Hubert Laws, Chico Hamilton, and Joe Farrell, among others), and then in 1979 joined Stan Getz's group for two years. While in New York, Loeb worked on jingles and soundtracks both as a player and a composer. He spent 1985-1987 with Steps Ahead and later produced recordings by Donald Harrison, Nelson Rangell, Larry Coryell, George Garzone, and Warren Bernhardt, among others. As a performer, Loeb was part of Petite Blonde (a group featuring saxophonist Bill Evans), Metro, and the Fantasy Band, and played with Gary Burton, Dave Samuels, and many others; in addition, his compositions have been recorded by quite a few pop/jazz artists. Loeb made his first solo record in 1988, recorded extensively for DMP, and switched to Shanachie in 1996. Over the next seven years he released six albums for the label, beginning in 1998 with The Moon, the Stars and the Setting Sun, followed by Listen in 1999. Loeb remained active in the 21st century, releasing In a Heartbeat in early 2001, All There Is in 2002, and eBop one year later. The guitarist wrapped up his tenure with Shanachie in 2005 with When I'm with You, and signed with Heads Up International, a division of Telarc. His first outing for the label was Presence, released in 2007.  In 2010, Loeb replaced Larry Carlton as the guitarist for Fourplay, but continued as a producer, composer, arranger, and guitarist on his own, starting his own label, Heads Up, and with the release of Plain 'n' Simple in 2011 he revisited the world of 1960s jazz bebop organ trios. It's Love, an album with saxophonist Eric Marienthal, appeared in 2012. Loeb returned to Shanachie in 2013 with Silhouette, an eclectic album featuring the guitarist backed by four distinct ensembles including a group with drummer Peter Erskine and an organ trio with Pat Bianchi. Two years later, he again paired with Marienthal for Bridges, which also featured bassist John Patitucci. In 2016, Loeb delivered his 22nd studio album, Unspoken, featuring a bevy of collaborators including Jeff Lorber, Nathan East, Andy Snitzer, Till Brönner, and many more. Loeb died of cancer on July 31, 2017 at the age of 61. ~ Scott Yanow http://www.allmusic.com/artist/chuck-loeb-mn0000125479/biography

Personnel:  Chuck Loeb (Guitar); Makoto Ozone (Piano, synthesizer); John Patitucci (Bass); Dave Weckl (Drums); Pat Rebillot (Piano); Carmen Cuesta (Vocals 02, 07).

My Shining Hour

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Charnett Moffett - Spirit of Sound

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 47:02
Size: 108,2 MB
Art: Front

(2:48)  1. Bassland
(1:28)  2. Seeker of Truth
(3:32)  3. Opera
(4:03)  4. Hope
(4:38)  5. Natural Heritage
(4:53)  6. Swing Raga
(6:43)  7. Blues Walk Groove
(5:30)  8. Overpass
(4:09)  9. Lonely Woman
(3:47) 10. For Those Who Know
(5:26) 11. Spirit of Sound

Bassist Charnett Moffett's first two releases on the Motéma imprint came out two years apart; his third and fourth releases for the same label The Bridge: Solo Bass Works (Motéma Music, 2013) and the outing under discussion here arrive a mere three months apart. His working pace has clearly quickened, but the quality of the music hasn't suffered for it. Both The Bridge: Solo Bass Works and Spirit Of Sound present an artist, interpreter, composer and conceptualist in his prime. Moffett used his first release of 2013 to showcase his virtuosity and skill in delivering songs. His high level bass chops are also on display here, but this album is about creating soundscapes, not out-and-out songs. (Middle) Eastern tinged auras, circling patterns and swirling ideals are all part of this production, and "production" is the key word in that statement; Moffett, label head/label mate/duo partner Jana Herzen and manager/producer Mary Ann Topper shaped the album and gave it a glistening, celestial vibe. The personnel on Spirit Of Sound changes from track to track, as various family members and label mates drop in and out, but the consistent presence of Moffett on bass(es), Angela Moffett on tamboura, and Max Moffett on drums creates a supportive foundation throughout. In a traditional sense, the guests are underutilized, but in the context of this album concept, they deliver what's expected. Amareia Moffett adds some wordless vocals to the underwhelming "Opera," Tessa Souter does the same on the bouncy, hippie-ish "Natural Heritage," and Herzen follows suit on the semi-psychedelic "Swing Raga." Angela Moffett rounds out the vocalist roster, reciting E. E. Cummings' words on "Seeker Of Truth" and Emily Dickinson's work on "Hope." Babatunde Lea adds some percussive coloring on a few tracks, pianist Marc Cary makes an appearance on one piece and multi-reedist Oran Etkin shows up twice, but none of them make a big splash; they simply fit into the overall musical formula of the day. Much of this music is overly repetitious in nature, with vamping patterns aplenty, but Moffett's ever-stupendous bass work is the X factor that brings excitement and a sense of surprise into the picture. His technique, taste and overall conception for construction turns the potentially-bland into a flavorful sonic stew. ~ Dan Bilawsky https://www.allaboutjazz.com/spirit-of-sound-charnett-moffett-motema-music-review-by-dan-bilawsky.php

Personnel: Charnett Moffett: acoustic upright bass, fretless electric bass, piccolo bass guitar, vocals; Angela Moffett: tamboura, spoken word (2, 4); Charnett "Max" Moffett: drums, tabla, vocals (4); Marc Cary: piano (10); Oran Etkin: clarinet (4), tenor saxophone (8); Babatunde Lea: percussion (4, 6, 8); Amareia Moffett: vocals (3); Tessa Souter: vocals (5); Jana Herzen: vocals 6).

Spirit of Sound

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Marcus Printup - Lost

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 64:01
Size: 147,5 MB
Art: Front

(7:21)  1. G Wiz
(7:12)  2. Hopscotch
(9:15)  3. Soul Street Parade
(8:34)  4. Lost
(6:16)  5. Black Bossa
(6:32)  6. Homey's Idea
(8:54)  7. What you Talkin Bout
(9:53)  8. To the Mountain Top

A talented trumpeter with a lot of potential, Marcus Printup was discovered by Marcus Roberts at the University of North Florida in 1991. Printup started on trumpet in the fifth grade, played funk as a teenager, and in college was part of a ten-piece band called Soul Reason for the Blues. Since that time, he has toured and recorded with Roberts, played with the Lincoln Center Jazz Orchestra, recorded with Carl Allen, performed with Betty Carter, and cut a number of excellent albums as a leader for Blue Note. ~ Scott Yanow https://itunes.apple.com/us/album/lost/id949976771

Personnel: Marcus Printup,trumpet; Shantawn Kendrick,tenor sax; Helen Sung,piano;   Ben Williams,bass; Ulysses Owens,drums

Lost

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Ian & Sylvia - Four Strong Winds

Styles: Vocal, Folk

Year: 1964

File: MP3@320K/s

Time: 40:30

Size: 93,0 MB

Art: Front

(2:07)  1. Jesus Met the Woman at the Well

(3:10)  2. Tomorrow Is a Long Time

(2:53)  3. Katy Dear

(3:57)  4. Poor Lazarus

(3:20)  5. Four Strong Winds

(2:20)  6. Ella Speed

(2:21)  7. Long Lonesome Road

(1:38)  8. V'La L'bon Vent

(3:27)  9. Royal Canal

(3:29) 10. Lady of Carlisle

(3:19) 11. Spanish is a Loving Tongue

(2:27) 12. The Greenwood Sidie (The Cruel Mother)

(4:11) 13. Every Night When The Sun Goes Down

(1:43) 14. Every Time I Feel the Spirit

Ian & Sylvia hit their stride on their second LP, which features the first in a line of talented second guitarists (John Herald) they would use to augment their original guitar-autoharp-basslineup. The album featured an assortment of largely traditional material that was unsurpassed in its time, encompassing bluegrass, spirituals, gospel, hillbilly, the French-Canadian standard "V'La L'bon Vent," a British prison song, and two tunes from the Cecil Sharp collection of Southern mountain folk songs of British origin. Two of the most impressive cuts, however, were contemporary compositions. One was their version of Bob Dylan's "Tomorrow Is a Long Time," one of the first obscure Dylan tunes to be committed to vinyl. The title cut, an Ian Tyson original, would prove to be the duo's first song to influence rock musicians, as the Searchers covered it shortly afterwards with a reverent version that was quite close to the original; Neil Young revived it in the late '70s. ~ Richie Unterberger http://www.allmusic.com/album/four-strong-winds-mw0000315505

Personnel: Ian Tyson (vocals, guitar, autoharp); Sylvia Tyson (vocals, autoharp)

Four Strong Winds

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Cathy Menezes - Break Away

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 54:43
Size: 125,8 MB
Art: Front

(6:04)  1. Boundless
(4:55)  2. Gotta Let You Know
(5:23)  3. Blues For Schultz
(5:56)  4. Time In Life
(3:54)  5. This Is What I Do
(5:02)  6. Brave And Startling Truth
(5:41)  7. Whispers Of Love
(5:50)  8. Make You Feel My Love
(6:14)  9. Break Away
(5:39) 10. This Is What I Do (Reprise)

This is an outstanding creation of songwriting which has flowed into genres of Latin Funk, R&B and Smooth Jazz. The music possesses the distinct flow of sophistication melodically and rhythmically.

Composer, Arranger, Cathy Menezes, was raised in a family of Asia's most famous musicians. Her compositions recorded in the USA, collaborating with Musicians: - 2014 Grammy Award winner Hussain Jiffry, Russell Ferrante (Yellow Jackets), Mike Shapiro, Oscar Seaton, Brandon Fields, Scott Mayo and Tony Guerrero. The compositions originate from her ethnic heritage, providing the combination of Latin and Jazz grooves. Her Debut Album "A Dream" was released in 2015, "Waves of Seven" rising to #5 on the Top Ten Regional Charts in Australia - “It's that kind of an album where the artist makes all the right moves”. Jazz Corner News (WavelengthLA), July 10, 2016. Her new album "Break Away" has strong sense of definition and finesse. https://store.cdbaby.com/cd/cathymenezes3

Personnel:  Cathy Menezes – Vocals;  Allen Hinds – Guitars;  Hussain Jiffry – Bass;  Russell Ferrante – Rhodes;  Mike Shapiro – Percussion;  Oscar Seaton - Drums

Break Away

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Ari Ambrose - Settling In

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 65:11
Size: 150,3 MB
Art: Front

(9:34)  1. Fun X 4
(9:18)  2. Country Living
(8:11)  3. How Deep is the Ocean
(9:03)  4. I Remember You
(7:08)  5. Hope and Cope
(8:52)  6. Midnight Moments
(5:44)  7. Polkadots And Moonbeams
(7:19)  8. Airegin

Ari Ambrose, since his recording debut as leader on SteepleChase's “Introducing Ari Ambrose” some 15 years ago, has maintained his musical perspectives of modernism on tradition and has polished them to perfection on this new album.

“…With so many 9of the young tenor voices continuing to follow John Coltrane or Sonny Rollins or turning toward free-form abstraction, it's refreshing to find Ambrose employing the tradition, taking it back and bringing it forward, … offering something different in what often seems to be a world of clones.” (Will Smith – JazzT9imes on Whatever Happens ) “Ari Ambrose's Waiting is totally lacking in pretension. An exceptional example of mainstream modern jazz,…” (David Franklin-JazzTimes)

Personnel:  Ari Ambrose (tenor saxophone);  Nir Felder (guitar);  Jay Anderson (bass);  Anthony Pinciotti  (drums)

Settling In

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