Cecil Payne - Scotch & Milk

Styles: Saxophone And Flute Jazz
Year: 1996
File: MP3@320K/s
Time: 71:12
Size: 163,4 MB
Art: Front

( 9:04)  1. Scotch and Milk
( 8:46)  2. Wilhelmenia
( 9:56)  3. I'm Goin' In
( 5:15)  4. If I Should Lose You
( 8:10)  5. Que Pasaning
(11:18)  6. Cit Sac
( 8:13)  7. Lady Nia
(10:27)  8. Et Vous Too, Cecil?

When Cecil Payne turned 70 in 1992, the baritone saxophonist was showing no signs of slowing down. Payne was 73 when he recorded Scotch and Milk, a fine hard bop date employing trumpeter Marcus Belgrave, tenor saxmen Lin Halliday and Eric Alexander, pianist Harold Mabern, bassist John Ore, and drummer Joe Farnsworth. Payne's chops are in top shape on this 1996 date, and the veteran saxman plays with a lot of passion on such exuberant originals as "Wilhemenia" (a Sonny Rollins-type jazz/calypso number), "Que Pasaning," and "Cit Sac" (which finds Payne switching to the flute). The only tune on the CD that Payne didn't write is the standard "If I Should Lose You," which serves as a nice example of his soulful ballad playing. Nothing groundbreaking takes places on Scotch and Milk; most of the material could have been recorded for Blue Note in the 1950s or 1960s instead of 1996. Scotch and Milk is a perfect example of a veteran improviser excelling by sticking with what he does best. ~ Alex Henderson http://www.allmusic.com/album/scotch-and-milk-mw0000595078

Personnel: Cecil Payne (flute, baritone saxophone); Paul Serrano (recorder); Eric Alexander , Lin Halliday (tenor saxophone); Marcus Belgrave (trumpet); Harold Mabern (piano); Joe Farnsworth (drums)

Scotch & Milk

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Anne Phillips - Ballet Time

Styles: Vocal Jazz 
Year: 2007
File: MP3@320K/s
Time: 66:39
Size: 153,1 MB
Art: Front

(3:12)  1. Ballet Time
(5:32)  2. I Have the Feeling I've Been Here Before
(4:02)  3. I've Got Just About Everything
(4:43)  4. Here's to Life
(4:51)  5. In Your Own Sweet Way
(3:39)  6. Doubletalk
(3:16)  7. You Are There
(4:01)  8. Late Late Show
(3:44)  9. In the Days of Our Love
(4:57) 10. I Never Went Away
(3:12) 11. I Was Doing All Right
(5:37) 12. Embracable You
(5:53) 13. Romancing Ketchikan
(4:50) 14. New York Night Time Blues
(5:02) 15. Fried Bananas

Vocalist Anne Phillips may not be a familiar name to many jazz fans, though since she began her professional career in the early 1960s as a member of the Ray Charles Singers on the Perry Como Show, she has worked in many musical formats as a singer, composer, arranger, conductor and producer. This project was a special labor of love, as she recruited a number of old friends that she met along the way and recruited them to appear on one track apiece with her. Her engaging vocal duet with Bob Dorough (who complements their vocals with some lively piano) of his "I've Got Just About Everything" is a playful affair. Phillips lays a bit behind the beat effectively in spots in Dave Brubeck's loping treatment of his timeless "In Your Own Sweet Way," while she captures the nostalgic magic of pianist Dave Frishberg's lyrics in his ballad (with music by Johnny Mandel) "You Are There." Marian McPartland is on hand for her haunting ballad "In the Days of Our Love," with Phillips bringing out the essence of Peggy Lee's lyrics. Phillips' duet with tenor saxophonist Bob Kindred (her husband) of "Embraceable You" is full of humor, as is "Double Talk" a duet with organist Larry Goldings that has a campy lyric in the style of Annie Ross. There's never a dull moment in this delightful musical scrapbook. ~ Ken Dryden http://www.allmusic.com/album/ballet-time-mw0001225843

She sings with jazz greats Dave Brubeck, Marian McPartland, Roger Kellaway, Dave Frishberg, Bob Dorough and more...

Ballet Time

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Freddie Hubbard - Born To Be Blue

Styles: Trumpet Jazz
Year: 1981
File: MP3@320K/s
Time: 41:48
Size: 95,8 MB
Art: Front

(12:16)  1. Gibraltar
( 8:06)  2. True Colors
( 7:26)  3. Born To Be Blue
( 6:48)  4. Joy Spring
( 7:11)  5. Up Jumped Spring

Trumpeter Freddie Hubbard teams up with veteran tenor-saxophonist Harold Land and Hubbard's regular rhythm section of the period (keyboardist Billy Childs, bassist Larry Klein, drummer Steve Houghton and percussionist Buck Clark) on this fine modern hard bop CD, a straight reissue of the original Pablo LP. Hubbard had hurt his reputation with his very commercial Columbia recordings of the mid-to-late '70s so in 1981 he was doing his best to return to his brand of straightahead jazz. This date is highlighted by "Gibraltar," Clifford Brown's "Joy Spring" and a revisit to Hubbard's "Up Jumped Spring." ~ Scott Yanow http://www.allmusic.com/album/born-to-be-blue-mw0000188314

Personnel: Freddie Hubbard (trumpet); Harold Land (tenor saxophone); Billy Childs (keyboards); Larry Klein (bass); Steve Houghton (drums); Buck Clark (percussion).

Born To Be Blue

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Narada Michael Walden - I Cry, I Smile

Styles: Vocal, Soul
Year: 1977
File: MP3@320K/s
Time: 41:30
Size: 104,6 MB
Art: Front

(3:40)  1. I Need Your Love
(4:22)  2. Better Man
(3:42)  3. Soul Bird
(3:57)  4. I Remember
(4:58)  5. Oneness-Cry
(4:47)  6. Mango Bop
(1:18)  7. Rainbow-Sky
(5:46)  8. I Cry, I Smile
(4:36)  9. Heaven's Just a Step Ahead
(4:21) 10. So Long

Drummer/songwriter/producer/vocalist Narada Michael Walden's career spans over three decades and is threaded with gold, platinum, and multi-platinum awards. He's produced and/or (co) written number one hits by Whitney Houston, Mariah Carey ("Vision of Love"), Aretha Franklin ("Freeway of Love"), and Lisa Fischer ("How Can I Ease the Pain"). His proficient drumming skills have made him a first-call session musician playing on countless recording sessions.Walden has played on all kind of sessions from rock, jazz, pop, R&B, to fusion, sharing the recording and concert stage with the likes of John McLaughlin, the Mahavishnu Orchestra (a 21-year-old Narada replaced drumming legend Billy Cobham), and Jeff Beck (his Wired album) to name a small few. His own career as a recording artist is showcased on Rhino's Ecstasy's Dance: The Best of Narada Michael Walden. Walden's eclecticism is threaded throughout his recordings in varying degrees. In the '80s, he became a Grammy-winning mega-producer: Producer of the Year in 1987, Album of the Year for the 1993 movie soundtrack The Bodyguard (Narada Michael Walden, producer), and the Song of the Year award in 1985 for writing Aretha Franklin's "Freeway of Love." The song helped the Queen of Soul land her first platinum album. Walden was named one of the Top Ten Producers With the Most Number One Hits by Billboard magazine. Narada produced the Temptations' "Stay," the group's first number one record in 25 years from their platinum-plus Grammy-nominated Phoenix Rising. He also produced tracks for their follow-up album, Ear-Resistable issued by Motown/Universal on May 16, 2000.

Born April 23, 1952, in Kalamazoo, MI, Walden was given the name Narada by guru Sri Chinmoy. After college graduation, he trekked to Miami, FL, playing in various rock bands. Signing with Atlantic Records, his debut album, Garden of Love Light, included the mid-tempo "Delightful," which charted at 81 R&B in spring 1977. His next LP, I Cry I Smile, boasted the sweet "So Long" and the radio-aired LP tracks the languid "I Need Your Love," the delicious "I Remember," and the charming "Better Man." Even though these top-notch tracks received airplay in Chicago and other markets, other than "Better Man," none were released as singles. Instead, the label picked "Soulbird" and "Manago Bop," which worked well as album tracks, but not singles. The Awakening proved to be his breakthrough album, going to number 15 R&B in spring 1979 on the strength of the brassy "I Don't Want Nobody Else (To Dance With You)." Awakening radio-aired LP tracks were the airy "Listen to Me" and the jubilant album opener "Love Me Only" (also arranged by Patrick Adams). Awakening also featured top session bassist Keni Burke, formerly of the Five Stairsteps and best known for his own "Risin' to the Top."

His second highest charting single, "I Shoulda Loved Ya," hit number four R&B in late 1979. It was on his The Dance of Life (number nine R&B, late 1979), which included the gentle ballad "Why Did You Turn Me On." "You're #1" and "Summer Lady" were both on his Confidence LP from summer 1982. Walden's cover of the Four Tops' "Reach Out I'll Be There," "Reach Out," a huge dance hit, was listed on Looking at You, Looking at Me, which charted in spring 1983. Switching to Warner Bros., his duet with Patti Austin, the Motown-ish pop confection, "Gimme Gimme Gimme," issued as Narada Michael Walden with Patti Austin, went to number 39 R&B in early 1985 and was listed on his The Nature of Things album. His single "Divine Emotions" on the Warner Bros. imprint Reprise Records appeared in the Michael J. Fox movie Bright Lights, Big City. The Divine Emotion LP included the charting mellow single "Wild Thing" and the smooth, chugging, radio-aired LP track "That's the Way That I Feel About Cha." His 1995 Toshiba/EMI album was titled Sending Love to Everyone. In late 1985, Walden opened Tarpan Studios, a state-of-the-art recording studio located near San Francisco. Walden's work appears on releases by Stacy Lattisaw ("Let Be Your Angel") ,Al Green (Your Heart's in Good Hands), Shanice Wilson ("I Love Your Smile," "I Hate to Be Lonely"), Ray Charles, Diana Ross, George Michael, Wild Orchid, Tevin Campbell, Angela Bofill, Diana Ross, MyTown, Steve Winwood, Phaze II, Regina Belle-Passion ("Baby Come to Me"), Andy Vargas, Debelah Morgan, Jai, Jermaine Stewart ("We Don't Have to Take Our Clothes Off"), Natalie Cole ("Good to Be Back), Clarence Clemons, Puff Johnson, Eddie Murphy ("Put Your Mouth on Me"), and Carl Carlton ("The Bad CC"), among many many others. Other Narada Michael Walden-related releases are Stacy Lattisaw and Johnny Gill (Perfect Combination), Lisa Fischer (So Intense), and the movie soundtracks to Beverly Hills Cop II, Perfect, Waiting to Exhale, License to Kill, The Bodyguard, Jason's Lyric, 9 1/2 Weeks, Crooklyn, Free Willy, and The Associate. ~ Ed Hogan https://itunes.apple.com/us/album/i-cry-i-smile/id305111925

Personnel:  Narada Michael Walden: Vocals, Drums, Percussion, Keyboards;  Christine Faith, Elisa Delieson, Cheryl Alexander: Backing vocals;  Hiram Bullock, Raymond Gomes: Guitars;  Cliff Carter: Keyboards;  Neil Jason: Bass;  Herbie Mann, Norma Jean Bell: Flute, Reeds;  Sammy Figueroa, Rafael Cruz: Percussion;  Michael Gibbs: String Arrangements & Conducting

I Cry, I Smile

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Aaron Bing - Awakening

Styles: Saxophone Jazz, Smooth Jazz
Year: 2015
File: MP3@320K/s
Time: 44:12
Size: 101,8 MB
Art: Front

(3:36)  1. Whispers in the Wind
(4:32)  2. Break Through
(5:01)  3. Breathe Again
(3:55)  4. What About Us (feat. Jd Greer)
(3:58)  5. Indigo
(5:31)  6. Midnight Silhouette
(4:50)  7. Memories of Love
(5:02)  8. Maybe Tomorrow (feat. Tevin Campbell)
(4:40)  9. Unbroken
(3:04) 10. Overcome

Smooth Jazz Artist Aaron Bing, a native of Jacksonville, FL, was born of Native American/African American heritage. His grandmother, the late, Ola Mae Webster, who Mr. Bing affectionately calls, “Big Mama” raised, nurtured, and encouraged Jazz Artist Aaron Bing to totally dedicate himself to perfecting his God-given talents. She was the cornerstone of his inspiration. Under her guidance, he spent must of his childhood in church. He found refuge in his “secret place” learning to play various instruments. From this inspiration he remembers Big Mama’s voice saying to him, “Don’t forget who gave you the gift.” Jazz Artist Aaron Bing decided then music was his “thing.” Music was his place of comfort to escape from being lonely and unpopular. What he loved the most, music, allowed him to be himself unconditionally. Not forgetting his musical origin of playing his aunt’s old broken clarinet, he began to play the baritone horn, the French horn, and later, the saxophone. Jazz Artist Aaron Bing perfected his musical skills. It was in the 9th grade that he first heard the unique sounds of Grover Washington and Kenny G. He discovered Kenny G’s uniqueness in playing the saxophone. This inspired Jazz Artist Aaron Bing to find his own unique, innate soulfulness. Moreover, during his high school years, he joined the school’s marching band where he continued to play wind instruments while broadening his musical interest. Jazz Artist Aaron Bing learned how to play percussion, particularly the drums, from the 10th through the 12th grades. He kept learning the basics of reading, writing, creating, and playing music- resulting in him arranging various musical parts for the marching band and writing his first song. It was during that time he realized music was what he wanted to do as a career. By the time he graduated from high school, he had written and produced an entire album. He released it locally to get as much exposure as possible. He just kept producing demos with the aim of getting a record deal.

By the age of 19, Jazz Artist Aaron Bing played wherever he could be heard- to include several local nightclubs, the streets, and the airport of Jacksonville, Florida. After playing with several local professional bands, he began to acquire local recognition as an up and coming smooth jazz soprano and alto saxophone artist. Although he never formally studied the discipline of jazz, Jazz Artist Aaron Bing also studied such jazz artist as Gerald Albright, David Sanborn, Najee, David Foster, and Walter Afanasieff. Jazz Artist Aaron Bing is a master musician of the soprano and alto saxophones- not to mention 20 other instruments (18 of which are self-taught). He has dedicated over 15 years of his life perfecting his musical talent. He stayed focused and disciplined in giving himself to producing and promoting his craft. The Smooth Jazz Artist Aaron Bing’s previous experiences have elevated him to the status of a proven jazz artist. Consequently, he has opened for numerous established national artist such as Brian McKnight, Gladys Knight, Jeffrey Osborne, The Temptations, Lenny Williams, and Rachelle Ferrell - to name a few. His most notable national recognition was his appearance on The Late Show with David Letterman for holding a musical note for 39 minutes and 40 seconds as a part of a Guinness World Record challenge. When asked to comment on his musical style, Jazz Artist Aaron Bing paused and said, “Every note that I play comes from my soul. That’s something that can’t be rehearsed or played over and over. All of my emotions and feelings are reflected in my playing. I play every song like it’s the last time I’ll ever play.”In his new CD release titled 'Secret Place', all are invited to experience the long-winded smooth Jazz sounds of Jazz Artist Aaron Bing. https://store.cdbaby.com/Artist/AaronBing

Awakening

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Ralph Alessi - Cognitive Dissonance

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 60:29
Size: 138,9 MB
Art: Front

(4:27)  1. Cognitive Dissonance
(4:28)  2. Buying, Selling
(2:55)  3. Dog Walking
(4:38)  4. Duel
(3:26)  5. A Plenty
(3:45)  6. One Wheeler Will
(3:47)  7. Sir
(3:42)  8. Goodbye Ruth's
(6:37)  9. Hair Trigger
(3:33) 10. Better Not To Know
(3:42) 11. Sunflower
(3:55) 12. Same Old Story
(4:45) 13. Option
(3:51) 14. Wait
(2:53) 15. Goodbye Ruth's (slow)

For his Cam Jazz debut, trumpeter Ralph Alessi recruits two key players from his sadly overlooked Look (Between the Lines, 2007). But while ubiquitous bassist Drew Gress (Marc Copland, Claudia Quintet) is a mainstay of Cognitive Dissonance, pianist Andy Milne only guests on the knottily themed but swinging "Sir" and a quirkily, near-unrecognizable version of Stevie Wonder's "Same Old Story." The rest of the album's fifteen tracks eleven by Alessi, in addition to a free-spirited yet surprisingly lyrical version of Sam Rivers' "Sunflower" and two collective improvs with Gress and drummer Nasheet Waits feature pianist Jason Moran, once again demonstrating his greater strengths as a sideman.The same needn't be said about Alessi who, along with fellow trumpeter Ron Miles, remains one of America's most perennially (and curiously) undervalued trumpeters. His plangent, warm and somehow compressed tone is just one compelling reason to check out bassist Scott Colley's Architect of the Silent Moment (Cam Jazz, 2007) (and his forthcoming 2010 Cam Jazz follow-up, Empire), guitarist Joel Harrison's The Wheel (Innova, 2008) and Gress' The Irrational Numbers (Premonition, 2008). With a relatively diminutive self-led discography, the avant-tinged trumpeter has also proven himself an astute bandleader and fine conceptualist, ranging from the oddly configured Vice & Virtue (RKM, 2003) to the more orthodox (but far from conventional) instrumental line-up of This Against That (RKM, 2002). Cognitive Dissonance covers a lot of ground in an hour. The irregularly metered but unfailingly grooving title track kicks things off on a high note, with Gress and Waits building an M-Base-centric foundation over which Moran's funkified piano sets a broad harmonic context. Alessi's impressive opening salvo sets the tone for an album where the soloists are challenged to say a great deal in a short timeframe, succeeding consistently. Despite only one track exceeding six minutes, with the majority ranging between three and four, there's never a sense of being hurried, as Alessi solos with equal invention over the even more rhythmically intricate "Buying, Selling" his even briefer solo (on a tune where the head occupies a full minute of its 2:56 running time) a muted combination of spare, swinging ideas and equal consideration of space, with Moran's staggered accompaniment leading to a similarly well-conceived solo, supported by the ever-pliant, ever-responsive Gress and Waits.

Alessi waxes lyrical on the balladic "Dog Waking" and tango-esque "One Wheeler Will," written for William Coltrane son of legendary saxophonist John Coltrane's son (and also very fine reed man) Ravi Coltrane. An inadvertent nod to expat Canadian trumpet icon Kenny Wheeler in the trumpeter's tone and expressive melancholy, "One Wheeler Will" also features a robust, yet metallic and Gary Peacock-like solo from Gress that's a Cognitive Dissonance highlight. With so much ground covered, it would be easy for Cognitive Dissonance to lose its focus, to become overly eclectic. But with Alessi's writing a challenging combination of memorable themes, harmonically and rhythmically tricky contexts and improvisational largess and an unfettered yet focused playing style that never succumbs to excess, Cognitive Dissonance easily deserves consideration alongside the music of better-known contemporaries like Dave Douglas. ~ John Kelman https://www.allaboutjazz.com/cognitive-dissonance-ralph-alessi-cam-jazz-review-by-john-kelman.php
 

Personnel: Ralph Alessi: trumpet; Drew Gress: double-bass; Jason Moran: piano (1-6, 8-11, 13-15); Andy Milne: piano (7, 12); Nasheet Waits: drums.

Cognitive Dissonance

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Tia Brazda - Bandshell

Styles: Vocal

Year: 2015

File: MP3@320K/s

Time: 28:44

Size: 66,3 MB

Art: Front

(3:36)  1. Shine

(2:35)  2. Hard Luck

(2:59)  3. Just Like That

(2:58)  4. Old-Fashioned Love

(3:32)  5. Bandshell

(2:36)  6. All Mixed Up

(2:25)  7. Waste of Time

(2:32)  8. Mr. Mystery

(2:52)  9. Breathe Easy

(2:35) 10. All For You

Tia Brazda’s debut, full-length album ‘Bandshell’ debuted at #1 on the iTunes Jazz Chart in Canada and features some of the country's jazz greats, including Marc Rogers on bass, Chris Gale on saxophone, William Sperandei on trumpet, William Carn on trombone, Mark McLean on drums, as well as Miranda Mulholland (Great Lake Swimmers) on fiddle. The album demonstrates Tia’s growth as a performer and songwriter, showcasing a more sophisticated sound while still featuring the saucy dance numbers her fans have come to expect. ~ Editorial Reviews https://www.amazon.com/Bandshell-Tia-Brazda/dp/B0167OF8YU

Bandshell

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Gerald Wilson - Everywhere

Styles: Jazz, Big Band
Year: 1968
File: MP3@320K/s
Time: 33:49
Size: 77,8 MB
Art: Front

(4:45)  1. Everywhere
(6:10)  2. Out of This World
(2:42)  3. Pretty Polly
(2:59)  4. M. Capetillo
(4:17)  5. Little Bit of Soul
(3:12)  6. Do I Love You?
(4:21)  7. Del Oilvar
(5:20)  8. Mini Waltz

Very hip stuff from Gerald Wilson – about as tight and hard as you can get for 60s big band work! The players on the set aren't listed clearly, but we can be sure that they're some of Gerald's usual contemporaries the best of the mid 60s LA soul jazz and avant bop scene, all working together to craft some incredibly groovy tunes with a high degree of soul. The album has lots of nice instrumental touches, from electric harpsichord to vibes to guitar, all woven through the mostly original tunes that make up the set. Tracks include "M Capetillo", "Del Olivar", "Little Bit Of Soul", "Do I Love You", and "Mini Waltz". (Cover has light wear.) © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/49998

Personnel:  Gerald Wilson - arranger, conductor;  Gary Barone (tracks 2, 3, 6 & 8), Bobby Bryant (tracks 2, 3, 6 & 8), Dick Forrest, Steve Huffsteter (tracks 1, 4, 5 & 7), Bill Mattison (tracks 1, 4, 5 & 7), Alex Rodriguez – trumpet;  Thurman Green, Lester Robertson, Frank Strong – trombone;  Mike Wimberly - bass trombone;  William Green - flute, piccolo;  Ramon Bojorquez, Henry DeVega (tracks 2, 3, 6 & 8) - alto saxophone;  Anthony Ortega - alto saxophone, flute, alto flute;  Hadley Caliman, Harold Land - tenor saxophone;  Richard Aplanalp - baritone saxophone;  Bobby Hutcherson – vibraphone;  Jack Wilson - piano, organ;  Joe Pass – guitar;  Stanley Gilbert (tracks 2, 3, 6 & 8), Buddy Woodson (tracks 1, 4, 5 & 7) – bass;  Frank Butler (tracks 2, 3, 6 & 8), Carl Lott (tracks 1, 4, 5 & 7) – drums;  Moises Obligacion - congas (tracks 1, 4, 5 & 7);  Hugh Anderson - percussion

Everywhere

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Miles Davis And John Coltrane - Play Richard Rodgers

Styles: Trumpet And Saxophone Jazz
Year: 1968
File: MP3@256K/s
Time: 35:39
Size: 66,9 MB
Art: Front

(5:21)  1. It Never Entered My Mind
(6:57)  2. Spring Is Here
(6:02)  3. My Funny Valentine
(9:02)  4. Surrey with The Fringe On Top
(3:05)  5. Blue Room
(5:09)  6. I Could Write a Book

Grammy Award winner Miles Davis was a major force in the jazz world, as both a trumpet player and a bandleader. Instrumental in the development of jazz, Miles Davis is considered one of the top musicians of his era. Born in Illinois in 1926, he traveled at age 18 to New York City to pursue music. Throughout his life, he was at the helm of a changing concept of jazz. Winner of eight Grammy awards, Miles Davis died on September 28, 1991 from respiratory distress in Santa Monica, California.  The son of a prosperous dental surgeon and a music teacher, Miles Davis was born Miles Dewey Davis III on May 26, 1926, in Alton, Illinois. Davis grew up in a supportive middle-class household, where he was introduced by his father to the trumpet at age 13. Davis quickly developed a talent for playing the trumpet under the private tutelage of Elwood Buchanan, a friend of his father who directed a music school. Buchanan emphasized playing the trumpet without vibrato, which was contrary to the common style used by trumpeters such as Louis Armstrong, and which would come to influence and help develop the Miles Davis style. Davis played professionally while in high school. When he was 17 years old, Davis was invited by Dizzy Gillespie and Charlie Parker to join them onstage when the famed musicians realized they needed a trumpet player to replace a sick bandmate. Soon after, in 1944, Davis left Illinois for New York, where he would soon enroll at the Juilliard School (known at the time as the Institute of Musical Art). While taking courses at Juilliard, Davis sought out Charlie Parker and, after Parker joined him, began to play at Harlem nightclubs. During the gigs, he met several musicians whom he would eventually play with and form the basis for bebop, a fast, improvisational style of jazz instrumental that defined the modern jazz era. More...https://www.biography.com/people/miles-davis-9267992

Personnel:  Bass – Paul Chambers, Percy Heath;  Drums – "Philly" Joe Jones, Jimmy Cobb, Roy Haynes;  Piano – John Lewis, Red Garland;  Tenor Saxophone – John Coltrane;  Trumpet – Miles Davis, Wilbur Hardin

Play Richard Rodgers

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Christian McBride Big Band - Bringin' It

Styles: Jazz, Post-Bop
Year: 2017
File: MP3@320K/s
Time: 69:00
Size: 161,1 MB
Art: Front

( 6:37)  1. Gettin' To It
( 5:59)  2. Thermo
( 6:59)  3. Youthful Bliss
( 6:09)  4. I Thought About You
(10:09)  5. Sahara
( 4:43)  6. Upside Down
( 6:25)  7. Full House
( 6:16)  8. Mr. Bojangles
( 4:37)  9. Used 'Ta Could
( 3:55) 10. In the Wee Small Hours of the Morning
( 7:06) 11. Optimism

Where and how does Christian McBride find the time to do what he does? His plate is full about nine times over, what with his work as bassist, composer, bandleader, educator, jazz advocate, public speaker, radio personality, DJ, and Artistic Director for the Newport Jazz Festival. It's no wonder that it took him six years to get this juggernaut of a big band back together in the studio. This album serves as the long-awaited follow-up to The Good Feeling (Mack Avenue, 2011), the group's Grammy-winning debut. And like its lauded predecessor, Bringin' It presents a tight and tasty program of music designed by McBride and bolstered by his bass. Everything you've come to expect from this musical dynamo taste, punch, humor, intelligence, solid gold grooves, an appreciation for lyricism is here for the taking. Styles and settings vary greatly from track to track and moment to moment, but this ensemble is remarkably consistent through it all. McBride looks to the funky side of life on "Gettin' To It," an album opener that finds trumpeter Freddie Hendrix and guitarist Rodney Jones stealing the show, and he delivers a solidly swinging take on Freddie Hubbard's "Thermo" that recalls his time spent working with that trumpet icon. Then he brings his wit into full view with "Youthful Bliss." Unexpected detours that seemingly come out of left field a quick drop into Brazil, a classically-oriented flute finger-bender make for a wild ride. They enliven the atmosphere and keep everybody on their toes.

The leader takes a compositional cue or two from the great Maria Schneider with his harmonically moored vision of "I Thought About You," a feature for trumpeter Brandon Lee, and he eschews the desert in favor of the jungle on McCoy Tyner's "Sahara," giving drummer Quincy Phillips the greenlight to take charge. As on The Good Feeling, vocalist Melissa Walker drops in for a pair of tunes "Upside Down" and "Mr. Bojangles," bookending a nod to Wes Montgomery in the form of "Full House" and she doesn't disappoint. The final stretch of the album proves no less memorable than what precedes it. The soul quotient is exceeded with "Used 'Ta Could," an earthy number showcasing saxophonist Steve Wilson and trombonist Michael Dease; Sinatra's late night clarity comes through in McBride's vision of "In The Wee Small Hours," a number resting on his lyrical arco lines and featuring Dan Pratt's tenor; and the band swings its way home through trombonist Steve Davis' arrangement of "Optimism." This album is proof positive that big band jazz can be entertaining without actually pandering or diluting itself. Whether putting a new coat of paint on material from his past, nodding to his influences and mentors, or looking to the classics for inspiration, Christian McBride proves artfully inventive while drawing us in with his magnetic personality. Bringin' It is a meritorious musical feast just waiting to be consumed. No real surprise there. Everything this man touches turns to gold. ~ Dan Bilawsky https://www.allaboutjazz.com/bringin-it-christian-mcbride-mack-avenue-records-review-by-dan-bilawsky.php

Personnel: Christian McBride: bass; Steve Wilson: alto saxophone, soprano saxophone, flute; Todd Bashore: alto saxophone, flute, piccolo; Ron Blake: tenor saxophone, flute; Dan Pratt: tenor saxophone, flute; Carl Maraghi: baritone saxophone, bass clarinet; Frank Greene: trumpet; Freddie Hendrix: trumpet; Brandon Lee: trumpet; Nabate Isles: trumpet; Steve Davis: trombone (11); Michael Dease: trombone; Joe McDonough: trombone (1-10); James Burton: trombone; Douglas Purviance: bass trombone; Xavier Davis: piano; Quincy Phillips: drums; Rodney Jones: guitar; Melissa Walker: vocals (6, 8); Brandee Younger: harp (10).

Bringin' It

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Lisa Hindmarsh - Now I Know

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 50:16
Size: 115,3 MB
Art: Front

(2:09)  1. Let's Get Away From It All
(6:15)  2. Spring Can Really Hang You Up The Most
(2:43)  3. Lullaby Of Birdland
(4:14)  4. With Every Breath I Take
(3:52)  5. Triste
(4:22)  6. The Ballad Of The Sad Young Men
(4:16)  7. Fever
(3:11)  8. They Didn't Believe Me
(4:43)  9. Miss Byrd
(4:17) 10. The Meaning Of The Blues
(4:41) 11. Bluesette
(5:27) 12. When the Sun Comes Out

Pittsburgh vocalist, Lisa Hindmarsh makes her solo debut with her CD titled "Know I Know." Having earned a Master's Degree in voice in the early 1990s, Lisa joined the a cappella group InVoice which enjoyed a high degree of popularity in the Pittsburgh area. She now divides her interests between soloist activities in Westminster Presbyterian Church and her performances with local jazz groups. The young singer is endowed with a broad vocal range and a smooth jazz style. Her solo CD debut finds Lisa with a number of Pittsburgh's most popular jazz musicians immersed in the standards of Jerome Kern, Matt Dennis, Cy Coleman, Harold Arlen and Bobby Troup. Among the tunes presented are Fever, They Didn't Believe Me, When The Sun Comes Out, The Meaning of the Blues, Lullaby of Birdland, With Every Breath I Take and the perennial Bluesette penned by Toots Thielmans. I especially liked the singer's interpretation of the late Julie London's "The Meaning of the Blues" with some fine horn accompaniment by Frank Podroskey. Bluesette is another standout on this album. All things considered, this is a very nice debut for Lisa Hindmarsh. http://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/now-i-know-by-lisa-hindmarsh.html

Personnel:  Lisa Hindmarsh (vocals);  Al Snyder (keyboards);  Jay Weaver (bass guitar);  Mike Visnick (drums) and guests Jay Hitt (guitar);  Tony Janflone Jr. (guitar);  Curtis Swift (sax) and  Frank Podroskey (trumpet/flugelhorn).

Now I Know

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Mongo Santamaria - Mr. Watermelon Man

Styles: Latin Jazz
Year: 1965
File: MP3@320K/s
Time: 41:00
Size: 95,6 MB
Art: Front

(4:00)  1. La Bamba
(3:19)  2. Fat Back
(4:45)  3. Summertime
(4:49)  4. Manha De Carnaval (Morning Of The Carnival) (From 'Black Orpheus')
(2:42)  5. Jose Outside
(2:36)  6. Coconut Milk
(3:18)  7. Watermelon Man
(3:58)  8. Do It To It
(2:24)  9. Ricky Tick
(2:52) 10. Streak O'Lean
(3:17) 11. Just Say Goodbye
(2:52) 12. From Me To You All

One good hit deserves a remake, so Columbia had Mongo Santamaria redo his breakthrough record "Watermelon Man" on his second LP for the label. Indeed, it is this brighter, better-recorded version that we generally hear on the radio nowadays instead of the Battle original. Even better, though, are "Fatback" and the wildly swinging workout on "La Bamba" that kicks off the album, to which you can imagine the foxy blonde model on the cover dancing the boogaloo. 

Marty Sheller's charging arrangements and trumpet are in the driver's seat of this sports car with the Mongo engine, and Hubert Laws has a ball in his flute and tenor sax solos. Few records embodied the go-go spirit of the '60s as well as this Latin jazz album. 

~ Richard S.Ginell http://www.allmusic.com/album/la-bamba-mw0000866540

Personnel:  Leader, Bongos – Mongo Santamaria;  Alto Saxophone, Baritone Saxophone, Flute – Bobby Capers;  Bass – Victor Venegas;  Flute, Tenor Saxophone – Hubert Laws;  Piano – Rodgers Grant;  Timbales, Drums – Carmello Garcia;  Trumpet – Marty Sheller

Mr. Watermelon Man

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Laura Dreyer - Free Flying Bird

Styles: Saxophone And Flute Jazz
Year: 2012
File: MP3@320K/s
Time: 48:13
Size: 112,4 MB
Art: Front

(5:21)  1. Free Flying Bird
(5:11)  2. The Ouzo Bossa Nova
(4:56)  3. The Scarab
(5:03)  4. Paixao Louca
(3:54)  5. Palhaco
(5:33)  6. Rivers
(5:13)  7. Protaras
(5:09)  8. Convergence
(7:48)  9. Beijo do Sol

Laura Dreyer's new release "Free Flying Bird" features contemporary jazz, displayed in an enticing array of idioms, including samba, bossa nova, Latin jazz, rock, funk and more. The album showcases Laura on saxophones and flutes, as well as her original compositions and arrangements. She is supported by a talented and versatile group of musicians, including pianist Kerry Politzer, drummer George Colligan, and Itaiguara on bass and acoustic guitar. Together with guitarist Jane Getter, percussionist Carlos Darci, and a wonderful string quartet, they weave their way through the pieces with strength, energy, and passion, creating a synthesis of jazz solos as seen through many different lenses. "Free Flying Bird" contains an additional bonus track that also spotlight's Itaiguara's bass work, along with acclaimed Brazilian drummer Portinho, pianist Klaus Mueller, and trombonist Noah Bless. https://store.cdbaby.com/cd/lauradreyer1

Personnel:  Laura Dreyer - alto, soprano saxophones, flute, alto flute;  Kerry Politzer – piano;  Itaiguara - bass, acoustic guitar;  George Colligan – drums;  Jane Getter - acoustic and electric guitar;  Carlos Darci – percussion;  Zoran Jakovcic - violin, viola;  Brian Snow – cello;  Klaus Mueller – keyboards;  Portinho – drums;  Noah Bless – trombone.

Free Flying Bird

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Johnny Griffin, Dexter Gordon - Jazz Undulation

Styles: Trumpet Jazz

Year: 2014

File: MP3@320K/s

Time: 41:49

Size: 95,8 MB

Art: Front

( 7:09)  1. Body & Soul

(13:54)  2. All The Things You Are

(20:45)  3. Blues Up And Down

One of the all-time great tenor saxophonists, Johnny Griffin will go down in the annals of jazz as a performer easily able to negotiate the tricky harmonic changes and swift tempos of modern music. He'll also be remembered as a player who could masterfully interpret tender ballads, rivaling Ben Webster in that regard. Born John Arnold Griffin III in Chicago, Illinois, on April 24, 1928, he resided on the South Side of the Second City with his mother, who was a singer, and father, who played cornet. An adolescent Griffin heard Gene Ammons play in the big band of King Kolax. Two years later he picked up an alto saxophone, and soon thereafter was working with bluesman T-Bone Walker. A student at DuSable High School, he was tutored by the legendary band director Captain Walter Dyett. Upon graduation, he toured with Lionel Hampton's big band, switched to the tenor sax, and moved to New York City. The late '40s saw Griffin honking his share of R&B with Joe Morris up to 1950, alongside the band of Jo Jones in 1950, and with Arnett Cobb in 1951. He enlisted in the armed services stationed in Hawaii, and played in an Army band. After his military commitment, he returned to Chicago and was in the company of Thelonious Monk's various ensembles up to the mid-'60s. Griffin cut his Blue Note album Introducing Johnny Griffin in 1958, and that year formed a sextet with Detroiters Pepper Adams and Donald Byrd. He collaborated with pianists Bud Powell and Elmo Hope, was enlisted by Art Blakey briefly as a member of the Jazz Messengers, energized his solo recording career for the Riverside label, and obtained his nickname, The Little Giant, with that eponymously titled LP in 1959. His most famous and popular teaming was with fellow saxophonist Eddie "Lockjaw" Davis. Griffin also recorded the legendary A Blowin' Session for the Blue Note label with John Coltrane and Hank Mobley.

But Griffin grew weary of the U.S. and its apathy regarding jazz, so he became an expatriate. He was living in Paris, France, by 1963, and did many albums with European rhythm sections for the Storyville, Black Lion, and Steeplechase labels. He was also a charter member and chief soloist for many years in the Kenny Clarke-Francy Boland Big Band alongside American and Continental standouts. The year 1975 was an important one for Griffin, who was featured with the bands of Dizzy Gillespie and Count Basie as documented in recordings of their sets at the Montreux Jazz Festival. He also collaborated with German saxophonist Klaus Doldinger and his fusion band Passport. In the late '70s, Griffin returned to the States to record for the Galaxy label, and toured with fellow expatriate tenor saxophonist Dexter Gordon.  He left Paris for the countryside of the Netherlands to live on a farm, then headed to the Côte d'Azur in 1980, and in 1984 to rural Availles-Limouzine. In 1986 he was a member of the Paris Reunion Band with Woody Shaw, Dizzy Reece, Slide Hampton, and Kenny Drew, making one album for the Sonet label. During his time in France, Griffin recorded for the Antilles and Verve labels, including The Cat in 1991 and Chicago, New York, Paris in 1994. On the weeks of his birthday, Griffin made regular appearances at the Jazz Showcase back home in Chicago. In his later years he collaborated with pianist Martial Solal and saxophonist Steve Grossman. Griffin passed away at age 80 on July 25, 2008, at his home in Availles-Limouzine. ~ Michael G.Nastos http://www.allmusic.com/artist/johnny-griffin-mn0000213510/biography

Personnel:  Johnny Griffin - tenor saxophone;  Hampton Hawes – piano;  Jimmy Woode – bass;  Kenny Clarke – drums;  Dexter Gordon - tenor saxophone

Jazz Undulation

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Kimberly Gordon Trio - Melancholy Serenade

Size: 124,4 MB
Time: 53:35
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz Vocals
Art: Front & Back

01. I Got It Bad And That Ain't Good (6:01)
02. As Long As I Live (4:51)
03. Mr. Sandman (4:04)
04. What Am I Here For (3:22)
05. In The Wee Small Hours Of The Morning (3:52)
06. Too Close For Comfort (4:58)
07. I Ain't Got Nothin' But The Blues (6:02)
08. Melancholy Serenade (6:30)
09. Star Eyes (4:28)
10. Alfie (3:03)
11. Incurably Romantic (6:19)

Chicago native Kimberly Gordon makes a huge impression with her debut recording as a leader. It's not just the singer's rich alto voice that wins over the listener, but her ability to communicate. Joined by pianist Chris Foreman and bassist Joe Policastro, Gordon's selection of songs is adventurous, mixing standards, classic jazz compositions, and even pop of the 1950s and '60s. Few singers bother to learn the verse to Duke Ellington's "I Got It Bad (And That Ain't Good)," yet the song is transformed by her inclusion of this brilliant introduction. Policastro's fat- toned unaccompanied bass sets up her moving take of another gem by Ellington, "Ain't Got Nothin' but the Blues," in which she sounds like someone who has experienced the despair within its lyrics. She makes her voice sound like it has the wear and tear of a jazz veteran in her swinging treatment of "As Long as I Live," while playfully switching to a childlike chant for effect, then scatting to Foreman's Erroll Garner-like piano. Her approach to "Star Eyes" sidesteps the typical Latin vamp, as she romps through a straight-ahead bop interpretation. Most jazz vocalists avoid material like "Mr. Sandman," but her transformation of it into a slow ballad makes it work. "Too Close for Comfort" was a favorite of Ella Fitzgerald's, so it's no surprise that Gordon can't resist saluting the "First Lady of Swing." Many people think of Jackie Gleason as a comedian and television star, forgetting that he made many orchestral recordings as a bandleader. Gordon contributed masterful lyrics to his bittersweet ballad "Melancholy Serenade." Rarely does an artist sound so seasoned on a debut recording, this is yet another laudable CD issued by the tiny Chicago-based label The Sirens. ~by Ken Dryden

Melancholy Serenade

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Martial Solal & Dave Liebman - Masters In Bordeaux

Size: 103,9 MB
Time: 44:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. All The Things You Are (7:43)
02. Night and Day (9:30)
03. Solar (8:17)
04. What Is This Thing Called Love (7:03)
05. On Green Dolphin Street (5:07)
06. Lover Man (7:10)

This should have happened a long time ago. Veteran jazz icons Martial Solal and Dave Liebman had never played together before the the Paris jazz club dates that served as a warm-up of sorts for this set, Masters In Bordeaux, recorded at the Jazz And Wine Festival in Bordeaux, France.

Paris-based pianist Solal, ninety years old now, began his career in the 1950s, in small groups, big bands, and as a crafter of soundtracks. His style is a freewheeling brew of form and freedom, often stretching the familiar close to the borders of unfamiliarity, with a wit, grace and humor almost unmatched in jazz. Saxophonist Liebman, twenty years younger than his new partner here, nudged his foot into the doorway of a higher profile with Miles Davis, during one of the trumpeter's most avant and controversial periods, 'round about the time of the making of On The Corner (Columbia Records, 1972). Both artists can be called unconventional, both have had long and successful careers pushing their music to new places. And, judging from their recent output, the artists from different generations couldn't have more different musical personalities—Solal the crafty fox with a perpetual smile, laying down sunny sounds that contain surprising depths; Liebman bursting with intensity, gruff and robust.

This makes for a riveting contrast.

Liebman, better known perhaps for his soprano sax sound, alternates the straight horn here with his tenor sax. His soprano, on the "All The Things You Are," is sharp and searing, a bit rough around the edges; on tenor, on "What Is This Thing Called Love," he barks and blusters like a hungry Rottweiler. And Solal, as always, lays down a light-hearted, light-stepping backdrop as an accompanist, and sparkles the sounds out to the loveliest edge on his solos.

The set is all standards, but not a predictable note can be heard. These two masters are as spontaneous as can be, freewheeling and in the moment, the unique blending of the genius of their disparate artistries on full display. ~By Dan McClenaghan

Personnel: Martial Solal: piano; Dave Liebman: saxophones.

Masters In Bordeaux

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Ella Fitzgerald & London Symphony Orchestra - Someone To Watch Over Me

Size: 102,6 MB
Time: 43:52
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. People Will Say We're In Love (Feat. Gregory Porter) (3:14)
02. Someone To Watch Over Me (3:25)
03. They Can't Take That Away From Me (Feat. Louis Armstrong) (4:39)
04. Bewitched (3:34)
05. I Get A Kick Out Of You (4:15)
06. Misty (2:53)
07. Makin' Whoopee! (2:59)
08. These Foolish Things (Remind Me Of You) (4:26)
09. Let's Call The Whole Thing Off (Feat. Louis Armstrong) (4:22)
10. What Is There To Say (3:28)
11. Let's Do It (Let's Fall In Love) (3:35)
12. With A Song In My Heart (2:56)

Ella Fitzgerald’s iconic vocals are given new life by marrying newly recorded string arrangements from the London Symphony Orchestra. Recorded at Abbey Road Studios, and conducted by James Morgan and Jorge Callandrelli, this new approach to Ella’s timeless music reinvigorates her catalog and is sure to excite and please long time Ella fanatics and classical music connoisseurs at the same time. Guest vocalist Gregory Porter also lends his incredible talent to "People Will Say We're in Love.”

Someone To Watch Over Me

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Herb Alpert - The Christmas Wish (With SYmphony And Choir)

Size: 125,5 MB
Time: 53:38
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Pop, Xmas
Art: Front

01. Joy To The World - Silver Bells (4:01)
02. Let It Snow - Rudolph The Red Nosed Reindeer (2:56)
03. Santa Baby (3:02)
04. Carol Of The Bells - We Wish You A Merry Christmas (3:58)
05. I'll Be Home For Christmas (3:47)
06. Silent Night (2:40)
07. Winter Wonderland (4:12)
08. Merry Christmas, Darling (3:30)
09. Santa Claus Is Coming To Town (2:36)
10. The Christmas Wish (3:48)
11. Have Yourself A Merry Little Christmas (4:29)
12. The Christmas Song (3:30)
13. White Christmas (3:56)
14. What Are You Doing New Year's Eve (3:05)
15. Jesu, Joy Of Man's Desiring (4:02)

While Christmas is still several months away, the holidays’ gears are being oiled for the eventual arrival of holiday music. And, as many of you already know, there are never a lack of new holiday sets. It’s as if there’s an insatiable appetite for you. And the record labels are all too happy to supply that appetite with a lot of new music every year.

This year, one of the first out of the gate is from an old favorite, Herb Alpert. The last Christmas album from Herb Alpert came back in 1968, entitled Christmas Album. Along the way, Herb Alpert released many an endearing classic including his 1987 classic set (Keep Your Eye On Me) that gave us two radio hits. And of course, that entrancing cover of “Stranger On The Shore” played the deeper cut FM circuit well. But Christmas is why we’re here.

On September, Herb Alpert will release his first Christmas album in 50 years. The new album will be titled The Christmas Wish. It will provide fifteen familiar holiday classics. But this album will provide a twist. The songs will be delivered with the use of a ten-piece rhythm section, a 45-piece orchestra, and a 32-member choir to give it a much more distinct sound. Of course, Herb Alpert’s trumpet is the centerpiece of the package. ~By mattrowe

The Christmas Wish

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Nicole Zuraitis - Hive Mind

Size: 104,7 MB
Time: 45:05
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Move On (4:45)
02. Out Of My Heart (4:25)
03. The Inscription (4:45)
04. Idle (6:45)
05. Jolene (4:28)
06. Sunny Side (4:46)
07. Failing (4:06)
08. Episodes (3:54)
09. Pure Imagination (4:25)
10. Shirley's Waltz (2:42)

Vocalist and pianist Nicole Zuraitis has made a name for herself internationally as a jazz singer and songwriter. Nicole will release her album “Hive Mind” in September 2017 with Dot Time Records. She is the 2016 winner of the New York City Songwiting Competition Coffee Music Project, 2015 finalist in the Sarah Vaughan International Vocal Competition at NJPAC, a 2014 winner of the ASCAP Herb Alpert National Young Jazz Composers award and a semi finalist in the National American Traditions Vocal Competition in winter 2015, taking home both the People’s Choice Award and the Johnny Mercer Award. Her world music folk band EVA tours internationally alongside folk legends Livingston Taylor, Melanie Safka and Tom Chapin. As a sidewoman she fronts the Dan Pugach Nonet, joined The Omar Hakim Experience as a vocalist at the Iridium Jazz Club, sung background vocals for Maz of Snarky Puppy, and had the great pleasure of singing with Bernard Purdie, Kung Fu and Elise Testone recently at the New Orleans Jazz Festival. She is a proud member of the Litchfield Jazz Camp faculty and has lead her band on the MainStage of the Litchfield Jazz Festival twice, as well as appeared as a sideman with the Carmen Staaf Quintet. In August 2017 she will sing with the Litchfield Jazz Orchestra under the direction of Jen Allen on the MainStage of the Litchfield jazz Festival. She holds a residency at the iconic jazz club 55 bar once a month and headlined the Blue Note Jazz Club in March 2016.

Hive Mind

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Organissimo - Live At The Speakez

Size: 127,6 MB
Time: 55:17
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Soul, Hammond Organ
Art: Front

01. Mister Walker (Live) ( 9:39)
02. Never Knew Love Like This Before (Live) ( 8:27)
03. Jan Jan (Live) (10:01)
04. Could It Be I'm Falling In Love (Live) ( 7:15)
05. Quem Diz Que Sabe (Live) ( 8:42)
06. Daddy James (Live) (11:12)

Since 2012, the SpeakEZ Lounge in Grand Rapids has hosted a Jazz Jam every Sunday night. The emcee and house drummer for the jam is none other than organissimo's Randy Marsh, so naturally organissimo performs there often.

Over the last few years, the band has documented these performances using a professional multi-track recording system. Originally these recordings were meant for organissimo's crowdfunding patrons as a bonus 'thank you' for their support. But in listening to the performances, the band decided they should be heard by more people.

Live At The SpeakEZ is in many ways a throwback to the days of the jazz clubs that dotted mid-century cities across America. It's where soul jazz and Hammond organ based jazz was nurtured and thrived, bringing jazz to the people at the local bar. In many ways, Live At The SpeakEZ is a continuation of recordings like Groove Holmes' Living Soul (recorded live at Count Basie's club in NYC), Johnny 'Hammond' Smith's Black Coffee (recorded live at the Monterey Club in New Haven, CT), and Jimmy Smith's Groovin' At Small's Paradise (recorded at the club of the same name in NYC). It captures organissimo in the moment, playing for the people, feeding off the energy of the audience, and just having a good time. And that's what music should be about!

Live At The Speakez

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