Steve Turre - Keep Searchin'

Styles: Trombone Jazz
Year: 2006
File: MP3@320K/s
Time: 63:30
Size: 149,2 MB
Art: Front

(9:13)  1. Sanyas
(6:25)  2. Faded Beauty
(5:43)  3. Thandiwa
(6:50)  4. Reconcilliation
(4:02)  5. Time Off
(5:41)  6. My Funny Valentine
(7:45)  7. Easy Now
(4:53)  8. Steppin' Out
(5:44)  9. Da Blues
(7:11) 10. Keep Searchin'

Few jazz artists today are as adept as Steve Turre in straddling the "one foot in the future, one foot in the past" endeavor. On his past two CD releases, the long-time Saturday Night Show trombonist tipped his hat to a couple of past masters: to fellow trombonist J.J. Johnson with One4J: Paying Homage to J.J. Johnson (Telarc, '03) and to Rahsaan Roland Kirk with The Spirits up Above (High Note, '05). On Keep Searchin' Turre pays tribute to his own musical/life philosophy on a set of forward-looking original (mostly) compositions, performed with a group of stellar musicians. The disc opens with Turre's "Sanyas," which was his first recorded original compostion, from Woody Shaw's Moontrane (Muse, '74). Turre blows in here on the conch shell a sound so far in the past that's it's come back around to the future in front of pianist Xavier Davis' pattering raindrops, yielding a warmly haunting sound that gives way to some high octane open horn blowing, with Akua Dixon weaving a scratchy fabric behind him on baritone violin. The group chemistry is wonderful. Dixon takes a solo that gives way to Stefon Harris, who shines up the sound on the vibes, leading into Xavier Dixon's dark turn on piano. 

The Stephon Harris tune "Faded Beauty" opens with Turre talking on a pixie mute plunger, a smooth wah-wah flow that gives way to Davis' slightly astringent (at least at the beginning) piano solo in front of a flexible rhythm. Turre leans toward the past with a reverent take on the Rodgers and Hart standard "My Funny Valentine," where Davis sparkles behind the horn's deep tone. The band puts some bounce into Grachan Moncur's "Thandiwa" and turns up the heat on Curtis Fuller's "Time Off," as Turre pays his respects to a couple of unerrated trombone masters. Turre mixes up the sound with different mutes throughout, and adds, again, the hollow, peacefully haunting timbre of the conch shell on the closing title track. An excellent set by an ever-searching artist. 

~ Dan McClenaghan https://www.allaboutjazz.com/keep-searchin-steve-turre-highnote-records-review-by-dan-mcclenaghan.php
 

Personnel: Steve Turre: trombone, shells; Stefon Harris: vibes; Akua Dixon: baritone violin; Xavier Davis: piano; Dion Parson: drums; Gerald Cannon or Peter Washington: bass.

Keep Searchin'

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Carmen Gomes Inc. - Carmen Meets Kharma

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 64:42
Size: 148,7 MB
Art: Front

(6:21)  1. Summertime
(4:03)  2. Heaven is a state of mind
(7:02)  3. Pastora
(7:01)  4. I believe
(5:06)  5. Take it all
(3:59)  6. I'll pay the band
(5:22)  7. Gazing at the sun
(4:56)  8. Green and Blue
(4:40)  9. Soul
(6:38) 10. Billie's Blues
(4:33) 11. September
(4:55) 12. It's about time

Carmen Gomes (vocals) is able to add her personal 'je ne sais quoi' to the pieces she sings in an inimitable way. She won several prizes, performed at the North Sea Jazz Festival and played with Louis van Dijk and the Metropole Orchestra. Folker Tettero (guitar) mingles jazz, blues and funk into his own unique blend. He promises to be one of the leading jazz guitarists of his generation. He plays with the New Standard Trio and the band Amsterdam Headliners.

Peter Bjornild (DK) (double bass) dedicates his musical genius and international experience to bring the sound of the band to the highest level. He has played with Ed Thigpen, Thad Jones and Bennie Wallace, among others. Marcel van Engelen (drums) has played with Mark Murphy, Lee Konitz and Toots Thielemans and sees to the rhythmic manoeuvrability of the ensemble in his own subtle way. The four musicians complement each other perfectly. Strong as soloists, yet continuously searching for unity, they are capable of picking up each musical theme and moulding it into the unique sound which is so typical of this band. http://www.mymusicbase.ru/PPB/ppb33/Bio_3328.htm

Personnel: Vocals – Carmen Gomes Inc;  Bass – Peter Bjornild;  Drums – Marcel Van Engelen;  Piano – Cajan Witmer

Carmen Meets Kharma

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Grover Washington Jr. - Strawberry Moon

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 44:22
Size: 107,3 MB
Art: Front

(4:30)  1. Strawberry Moon
(4:40)  2. The Look Of Love
(4:46)  3. Shivaree Ride
(5:10)  4. Caught A Touch Of Your Love
(2:46)  5. Maddie's Blues
(5:39)  6. I Will Be Here For You
(5:53)  7. Monte Carlo Nights
(4:27)  8. Keep In Touch
(6:29)  9. Summer Nights

Grover Washington, Jr.'s first album in three years (and debut for Columbia) did not yield any major hits but found him playing in prime form. Switching between his distinctive soprano, alto and tenor, Washington is joined by bassist-producer Marcus Miller, a large rhythm section and guest vocalists B.B. King ("Caught A Touch Of Your Love") and Jean Carne (on two songs). Highlights include "Strawberry Moon," "The Look Of Love," "Maddie's Blues" and "Summer Nights." ~ Scott Yanow https://www.allmusic.com/album/strawberry-moon-mw0000649776

Personnel: Grover Washington, Jr. (soprano, alto & tenor saxophones, Fender Rhodes, synthesizer); B.B. King (vocals, guitar); Jean Carne, Spencer Harrison (vocals); Marcus Miller (various instruments); James Lloyd (piano, Fender Rhodes, synthesizer); Joey DeFrancesco (piano, Fender Rhodes); James "Sid" Simmons (synthesizer); Richard Lee Steacker, Michael J. Powell (guitar); Gerald Veasley (5-string bass); Tyrone Brown (electric upright bass); Jim Salamone (drums, percussion, programming); Darryl Washington (drums, timbales); Leonard "Dr." Gibbs (conga, percussion); Ellen Cohen (wind chimes, bell tree); Jason Miles (programming); Elizabeth Hogue (background vocals).

Strawberry Moon

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Donald Byrd - First Flight

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 54:48
Size: 125,7 MB
Art: Front

( 6:13)  1. Blues
( 6:26)  2. Tortion Level
( 7:32)  3. Woody 'n You
( 7:36)  4. Dancing In The Dark
(14:27)  5. Parisian Thoroughfare
( 5:35)  6. Yusef
( 6:56)  7. Shaw 'Nuff

First Flight: Yusef Lateef with Donald Byrd is trumpeter Donald Byrd's debut LP. Recorded in his native Detroit with such local players as tenor saxophonist Yusef Lateef, pianist Berry Harris, and Bernard McKinney on euphonium, Byrd is heard at the age of 22 when he was very much influenced by Clifford Brown. Unlike Byrd, Lateef already had his own style at this early stage. The sextet here mostly performs bop originals plus a blues, "Yusef," and "Torsion Level." All of the music is straight-ahead and swinging. A fine beginning for the very interesting career of Donald Byrd. ~ Scott Yanow https://www.allmusic.com/album/first-flight-yusef-lateef-with-donald-byrd-mw0000266267

Personnel: Donald Byrd (trumpet); Frank Foster , Yusef Lateef (tenor saxophone); Bernard McKinney (euphonium); Hank Jones , Barry Harris (piano); Frank Gant, Kenny Clarke (drums).        

First Flight

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David Linx & Diederik Wissels - Up Close

Styles: Vocal And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 57:49
Size: 133,2 MB
Art: Front

(1:10)  1. I Tell My Heart...
(5:07)  2. Sojourner
(4:50)  3. Lord Of The Groundless
(3:47)  4. Ease Of Sunrise
(3:35)  5. Lunch At Midnight
(6:01)  6. What Goes Around Comes Around
(3:21)  7. The Tale ...
(3:44)  8. Meaning
(5:57)  9. Spoken Silence
(2:59) 10. Upon My Soul
(5:24) 11. In Between The Roses And The Ashes
(4:37) 12. Greying Roofs
(3:58) 13. One Morningstar Away
(3:11) 14. Poughkeepsie

Born in Brussels (Belgium), march 22, 1965, Singer, composer lyricist, producer and multi-instrumentalist Lives in Paris (France). David Linx recorded over fifteen albums as a leader or co-leader and is a regular guest in the world of jazz and other projects (John Cage, Mr. Kagel). On tour and / or studio has worked since the early 1980's with: Harry "Sweets" Edison, Johnny Griffin, Clark Terry, slide Hampton, Natalie Dessay, the Count Basie Orchestra, Frank Foster, Toots Thielemans, Mino Cinelu, Marc Ducret, Philippe Catherine, Paolo Fresu, Erik Truffaz, Aka Moon, Billy Taylor, Khalil Chahine, Roy Ayers, Oumou Sangaré, Meshell Ndegeocello, Billy Cobham, Lena Willemark, Palle Danielsson, Jon Christensen Didier Lockwood, Richard Galliano, Bernie Worrell, Michel Portal, Abraham Laboriel, Kenny Wheeler, Claude Nougaro, Mark Murphy, Sheila Jordan, Ivan Lins, Daniel Humair, Gonzalo Rubalcaba, Omara Portuondo, Fay Claassen, Agnès Jaoui, Maria Pia de Vito, Irene Jacob, Rhoda Scott, John Clayton, Nguyen Lê, Craig Street, Ernie Wilkins,The Dutch Metropole Orchestra, Orchestra Jazz Della Sardegna, Sly Dunbar and Robbie Shakespeare, Steve Coleman, Jon Faddis, Ray Lema, Marc Ribot, Charles Trenet, Horace Parlan, Sahib Shihab, Andy Sheppard, Juan Mosalini, Laika Fatien, Aldo Romano, Charlotte Rampling, Jeanne Added, Viktor Lazlo, Bob Stewart, Minino Garay, Hanna Schygulla, Maria Joao, Mario Laginha, Hector Zazou, Gustavo Beytelman, Maria Medeiros David Gilmore, Philippe Baden Powell, Sergio Krakowski, Maurane, Juliette, Greg Cohen, Michel Fugain, Tetê Espindola, Ray Lema, Kevin Breit, Claudio Roditi, Norma Winstone, Ibrahim Maalouf, Nicole Garcia, Lenine, Mederic Collignon, Cristina Zavalloni, Nathalie Baye, Magic Malik , Hamilton de Holanda, Tigran Hamasayan, Jacques Schwartz-Bart, Youn Sun Nah, Elisabeth Kontomanou, Hugh Koltman, Ran Blake, Jason Scheff, Keith Olson,...More..http://www.davidlinx-official.com/biography.html

Personnel: David Linx (vocals); Diederik Wissels (piano); Hans Van Oosterhout (drums, cymbals).

Up Close

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Dexter Gordon Quartet - The Apartment

Styles: Saxophone Jazz 
Year: 1974
File: MP3@320K/s
Time: 47:05
Size: 108,1 MB
Art: Front

(5:51)  1. The Apartment
(7:30)  2. Wee-Dot
(7:17)  3. Old Folks
(7:50)  4. Strollin'
(7:43)  5. Candlelight Lady
(6:04)  6. Stablemates
(4:47)  7. Antabus

While in Europe, tenor-sax-great Dexter Gordon recorded many sessions with pianist Kenny Drew, bassist Niels Pedersen and drummer Albert "Tootie" Heath. All are worth acquiring and this one is no exception. In addition to three of his originals (including the title tune), the quartet performs the old bop line "Wee-Dot" and Horace Silver's "Strollin" while the ballad "Old Folks" is taken as an emotional Gordon-Pedersen duet. ~ Scott Yanow  https://www.allmusic.com/album/the-apartment-mw0000181338     

Personnel:  Dexter Gordon (tenor saxophone); Kenny Drew (piano); Niels-Henning Orsted Pedersen (bass); Albert "Tootie" Heath (drums).

The Apartment

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Helen Shapiro - Tops With Me

Styles: Vocal Jazz
Year: 1962
File: MP3@320K/s
Time: 33:51
Size: 80,2 MB
Art: Front

(2:31)  1. Little Devil
(3:25)  2. Will You Love Me Tomorrow
(3:36)  3. Because They're Young
(2:39)  4. The Day The Rains Came
(2:52)  5. Are You Lonesome Tonight
(2:18)  6. A Teenager In Love
(2:23)  7. Lipstick On Your Collar
(3:34)  8. Beyond The Sea
(2:42)  9. Sweet Nothins'
(2:38) 10. You Mean Ev'rything To Me
(2:23) 11. I Love You
(2:44) 12. You Got What It Takes

Helen Shapiro's debut LP is a selection consisting primarily of covers of recent hits associated with other singers. It's an astonishingly wide array of material, associated with the Shirelles ("Will You Love Me Tomorrow?"), Elvis Presley ("Are You Lonesome Tonight?"), Marv Johnson ("You Got What It Takes"), Connie Francis ("Lipstick on Your Collar"), Bobby Darin ("Beyond the Sea"), Brenda Lee ("Sweet Nothin's"), and, from a uniquely British perspective in the jacket notes, Marty Wilde ("A Teenager in Love"), among others. She does well with the repertoire, backed by Martin Slavin & His Orchestra in tasteful fashion on most of it, and Shapiro was probably the only female singer in England at the time who would not embarrass herself covering an early Motown number, "You've Got What It Takes" in fact, that song, a convincingly raspy "Sweet Nothin's," and "A Teenager In Love" are the best tracks here. None of the rest is too memorable as a performance, or a threat to the originals. 

The primary goal seems to have been to show off the 15-year-old singer's range, intonation, and control, which this disc does admirably. Most of the contents of this LP subsequently appeared on two EPs, and some of the best of those appear on See for Miles' The EP Collection disc. The 24-bit remastering on some editions, however, does impart extraordinary presence and depth to the sound. ~ Bruce Eder https://www.allmusic.com/album/tops-with-me-mw0000087140

Tops With Me

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Herb Alpert & The Tijuana Brass - Herb Alpert's Ninth

Styles: Trumpet Jazz
Year: 1967
File: MP3@320K/s
Time: 28:43
Size: 71,6 MB
Art: Front

(2:11)  1. A Banda
(1:58)  2. My Heart Belongs To Daddy
(2:40)  3. The Trolley Song
(2:27)  4. The Happening
(3:38)  5. Bud
(2:29)  6. Love So Fine
(1:54)  7. The Love Nest
(2:43)  8. With A Little Help From My Friends
(2:05)  9. Flea Bag
(2:53) 10. Cowboys And Indians
(3:40) 11. Carmen

The cover art of Herb Alpert's Ninth is hilarious a bust of grim old Beethoven wearing a Herb Alpert sweatshirt, a parody of the pop icon fad going around at the time and maybe a comment on the rock world's newfound pretensions in the wake of the Beatles' Sgt. Pepper. In any case, Herb Alpert's Ninth does introduce some highbrow pretensions of sorts to Alpert's Ameriachi sound some very subtly applied strands of strings on several numbers and a madcap, multi-sectioned fantasy of tunes from Bizet's Carmen that is full of in-jokes from the opera and the TJB's hits. Alpert is also quite aware of the brave new world around him; he does a spare, lazy, yet entirely novel-sounding cover version of Sgt. Pepper's "With a Little Help from My Friends" and gives the Supremes' "The Happening" a bouncy workout. There is also a touching memorial to the late Ervan Coleman ("Bud") and another underrated contribution from the Alpert songwriting team, Sol Lake's swinging "Cowboys and Indians." The TJB still churns out the Latin American rhythms, but sometimes with a shade less exuberance.~ Richard S.Ginell https://www.allmusic.com/album/herb-alperts-ninth-mw0000207755

Herb Alpert's Ninth

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Milt Buckner - Mighty High

Styles: Jazz, Post Bop

Year: 1960

File: MP3@320K/s

Time: 58:33

Size: 134,1 MB

Art: Front

( 2:45)  1. Mighty  High

( 2:24)  2. Teach Me Tonight

( 7:07)  3. Abstraction

( 4:37)  4. Two Flights Up

( 3:41)  5. After Hours

( 3:18)  6. D.T.'s

( 1:41)  7. Organ Grinder's Swing

( 2:47)  8. Willow Weep For Me

( 4:52)  9. Burnt Out

( 2:40) 10. Syncopated Clock

( 3:08) 11. Castle Rock

( 2:47) 12. Haunting Me

Understatement was always Milt Buckner's strong suit, and Mighty High plays beautifully to those strengths, pairing the organist with guitarist Kenny Burrell, bassist Joe Benjamin, alto saxophonist Jimmy Campbell, and drummer Maurice Sinclair to create a collection of short, simple, and sweet jazz tunes energized by the wonderful rapport of the assembled players. Unlike fellow Hammond B-3 maestros like Jimmy Smith, Buckner clearly savors the group dynamic, eschewing theatrics in favor of brief yet effective solos that never attract attention away from the groove. The music crackles with collaborative energy, drawing its strength from numbers. ~ Jason Ankeny https://www.allmusic.com/album/mighty-high-mw0000878741

Personnel:  Organ – Milt Buckner;  Guitar – Kenny Burrell;  Alto Saxophone – Jimmy Campbell;  Bass – Joe Benjamin;  Drums – Maurice Sinclair

Mighty  High

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Javon Jackson - Me and Mr. Jones

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 57:16
Size: 131,4 MB
Art: Front

( 6:31)  1. Me and Mr. Jones
(11:11)  2. The Masquerade is Over
( 7:31)  3. Theme for Penny
( 8:31)  4. Opus One-Point-Five
( 8:04)  5. A Certain Attitude
( 8:54)  6. A Free Man?
( 6:31)  7. Buzz-At

Already possessing a very distinctive tenor sax sound, Javon Jackson's debut as a leader is an exceptional effort. Jackson, 26 at the time of the recording, joined forces with 40-year-old James Williams, 19-year-old Christian McBride and 64-year-old Elvin Jones to create a powerful musical statement that bridges the generations. "Mr. Jones" refers to the master drummer, whose presence and energy are felt throughout the recording, especially on the medium swingers "The Masquerade Is Over" and Williams' "A Certain Attitude," as well as on the title track and "Theme for Penny," two uptempo Jackson originals that begin with brief drum solos. Also making his presence felt is McBride, whose tone, time, and imagination belie his age. One of 1992's best releases. ~ Greg Turner https://www.allmusic.com/album/me-and-mr-jones-mw0000085280  

Personnel: Javon Jackson (tenor saxophone); James Williams (piano); Elvin Jones (drums, Christian McBride (bass).             

Me and Mr. Jones

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Carl Winther Quartet - Sonic Shapes

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 53:37
Size: 122,9 MB
Art: Front

(4:51)  1. The Out Society
(9:41)  2. Threshold
(7:23)  3. The Prophet
(6:39)  4. Uranian Overtones
(5:59)  5. Yerevan Mama
(7:24)  6. The Falcon
(6:44)  7. James Moody
(4:53)  8. The Core

Danish jazz has experienced an explosive growth in talent over the past decades: A broad scope of young musicians, encompassing older idioms, hard-core, lyrical neo-cool and freeform. A group of original pianists threaten the monopoly on the international scene of the world-famous Danish bassists. One of the finest of these young talents is 26-year old Carl Winther, a graduate from the Rhythmic Conservatory in Copenhagen. While studying, he was already honing his chops on the jazz scene alongside many well-known musicians. He met the Swedish bassist Joel Illerhag at the conservatory, and they have played together for the past four years. The band’s drummer is 42-year old Anders Mogensen. Also a graduate from the Rhythmic Conservatory, Mogensen heard Winther and Illehag while serving as an external examiner at conservatory concerts in 2006/2007. He liked the energy and intensity of their approach, and before long they formed a trio, touring Europe and USA in 2010.

On Sonic Shapes the trio joins forces with Boston-based Jerry Bergonzi, one of the great saxophone influences over the last 35 years. In the 1970’s his apartment in New York was a practice room for like-minded sax-players such as Joe Lovano, Bob Berg and Michael Brecker. Over the years he has often played in Denmark, and his recordings include drummer Alex Riel’s The Riel Deal (Stunt, 1995) and Unriel (Stunt, 1997), on which Michael Brecker also played. Sonic Shapes was recorded in May 2011 following a successful club tour in Denmark and Sweden. The quartet is smoking, and there is already talk of a new tour. This is not your usual European trio borrowing a little stardust from an American legend. Bergonzi is very enthusiastic about the collaboration, and the inspiration goes both ways. The two bandleaders each contribute half of the compositions. The musicians represent three generations playing music rooted in sharp, no-non- sense, modern New York jazz. This music isn’t afraid to groove or flex its muscles. Carl Winther is the son of trumpeter Jens Winther, who died earlier this year, and this CD is dedicated to his memory.

Personnel:  Piano – Carl Winther; Tenor Saxophone – Jerry Bergonzi;  Bass – Joel Illerhag;  Drums – Anders Mogensen

Sonic Shapes

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Bodil Niska - Blue

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 55:14
Size: 126,9 MB
Art: Front

(5:50)  1. In the Wee Small Hours of the Morning
(4:58)  2. How About You
(4:31)  3. Et gammelt stykke Oslo
(6:09)  4. Taking a Chance on Love
(4:49)  5. Little Lulu
(3:23)  6. Vika mitt drommested
(5:27)  7. Sunday
(3:47)  8. Golden Earrings
(5:04)  9. For All We Know
(5:44) 10. Little Old Lady
(5:28) 11. Blues for Madeleine

Norwegian Bodil Niska is one of the few female tenor saxophone artists around to work in the tradition of jazz legends such as Ben Webster, Stan Getz, Zoot Sims or Coleman Hawkins. Her tone is soft, yet powerful and soulfully expressive. Her musical approach takes the legacy of the golden years of jazz into the 21st. century. Bodil was born in the arctic town of Hammerfest, located in northern Norway where she grew up playing in the school marching band. Her first musical memory is sitting on her father's lap while he played Misty for her. Aksel Niska , an accomplished engineer, painter and accordion player also introduced her to the saxophone sounds of Ben Webster and Stan Getz. When the school band managed to acquire their first saxophone, Bodil had to physically fight off the boys in the band to get her hands on the instrument. She won and she never looked back. Bodil quickly devloped her interest for jazz to the point that she became something of a jazz icon in her small home town. She played in numerous jazz band configurations, wrote jazz articles for the local newspaper, arranged concerts and festivals and managed the jazz club on her spare time.

After moving to the nation's capital Oslo in 1990, Bodil Niska effortlessly blended into the urban jazz scene. Mostly due to her mentor / jazz personality / journalist / photographer Randi Hultin . The fabulous Randi introduced Bodil to a veritable who's-who in national and international jazz. She sent private recordings of Bodil to many of her legendary jazz friends, including Sonny Rollins who promptly wrote back: "Damn! The woman can PLAY!" Encouraged by her friends and colleagues, Bodil formed all-girl group, aptly named Girl Talk in 1992. In addition to Bodil, this group consisted of Elizabeth Walker on piano and Tine Asmundsen on bass. The group recorded their acclaimed album Talkin 'Jazz in 1996. In 1998 Bodil embarked on a solo career with the help and support of jazz legend / piano player / composer / arranger Egil Kapstad . With the incredible bass player Bjørn Alterhaug and Swedish drummer par excellence Pelle Hultén their longtime musical friendship was instrumental in producing Bodil's first solo album First Song in 2000. First Song went on to become the best selling jazz album in its genre in 2000. The cover for First Song was inspired by Dexter Gordon's famous cover on Ballads and is a tribute to him, his music and his inspiration. Blue (2004) was a labor of love and took a long time to plan and put together. In her liner notes she says:

"In jazz, the melody is often used only as a tool for improvisation and invention. Freeing yourself from the confines of the melody is sometimes considered to be the very essence of jazzPersonally, I am always touched by a good melodic line, phrase or mood. So on this album I've tried to stay as true to the melody as I could, to clear away some of the musical dust - to find my way back. "

Night Time (2008) puts Bodil in a different musical context. The introduction of the brilliant Claes Crona Trio from Sweden, and swedish born norwegian resident guitarist / composer / arranger Staffan William-Olsson as well as a horn section makes for a more playful swingier musical approach. I put more emphasis on the melody, she expects to receive more than her share of critizism from the "jazz police" who seem to favor inprovisation and technique about musical sincerety. Between musical engagements Bodil Niska owns and runs the all-jazz music store and café Bare Jazz (Norwegian for Only Jazz ) in Oslo. She is often used by the media as a spokesperson for the art of jazz. In 2000, she presented the Norwegian version of the jazz Grammy awards, and she has appeared in numerous national and international radio and television shows. http://www.niska.no/index.php?option=com_content&view=article&id=67&Itemid=53

Blue

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London Grammar - If You Wait

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 43:05
Size: 99,4 MB
Art: Front

(3:21)  1. Hey Now
(3:04)  2. Stay Awake
(3:05)  3. Shyer
(3:20)  4. Wasting My Young Years
(4:13)  5. Sights
(4:34)  6. Strong
(4:28)  7. Nightcall
(3:28)  8. Metal & Dust
(3:59)  9. Interlude (Live)
(4:43) 10. Flickers
(4:46) 11. If You Wait

A trio of Nottingham University graduates who only released their first music last December, London Grammar are so buzzy that there are expectations of a Mercury nomination, despite this album not being out until next week. Blame it on their trippy, translucent electronica, which outdoes even the xx in terms of veiled understatement this record is essentially comprised of slow-build digital clacks and sighs. There's a startling counterpoint in Hannah Reid's fleshy vocals; in full flight, as on Strong, she brings Evanescence-style emo to the hush, and she has the lung capacity of Sia Furler on Hey Now (whose intro is near-identical to Furler's Titanium). This pairing of the ethereal and the visceral makes for an interesting enough album, albeit one that sometimes begs for a kick in the backside the piano ballads Nightcall and Interlude strive for dramatic quiescence, but achieve that Adele B-side feeling. But the clattering Wasting My Young Years wisely recognises that "it takes some time to get it right" and time is on their side. https://www.theguardian.com/music/2013/sep/05/london-grammar-if-you-wait-review

If You Wait

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Carmen Gomes - Carmen Gomes Sings The Blues

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 51:58
Size: 119,5 MB
Art: Front

(3:47)  1. A Fool For You
(5:13)  2. Sinner's Prayer
(6:23)  3. In the Evenin' Mama
(6:00)  4. God Bless the Child
(3:29)  5. Mary Ann
(5:36)  6. Losing Hand
(5:25)  7. Hallelujah I Love Her So
(4:47)  8. The Way That I Feel
(4:42)  9. One For My Baby
(2:24) 10. Cotton Fields
(4:06) 11. Fare Thee Well

Carmen Gomes (vocals) is able to add her personal 'je ne sais quoi' to the pieces she sings in an inimitable way. She won several prizes, performed at the North Sea Jazz Festival and played with Louis van Dijk and the Metropole Orchestra. Folker Tettero (guitar) mingles jazz, blues and funk into his own unique blend. He promises to be one of the leading jazz guitarists of his generation. He plays with the New Standard Trio and the band Amsterdam Headliners.

Peter Bjornild (DK) (double bass) dedicates his musical genius and international experience to bring the sound of the band to the highest level. He has played with Ed Thigpen, Thad Jones and Bennie Wallace, among others. Marcel van Engelen (drums) has played with Mark Murphy, Lee Konitz and Toots Thielemans and sees to the rhythmic manoeuvrability of the ensemble in his own subtle way. The four musicians complement each other perfectly. Strong as soloists, yet continuously searching for unity, they are capable of picking up each musical theme and moulding it into the unique sound which is so typical of this band.http://www.mymusicbase.ru/PPB/ppb33/Bio_3328.htm

Carmen Gomes Sings The Blues

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Kenny Garrett - Happy People

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 61:28
Size: 140,8 MB
Art: Front

(5:25)  1. Song For DiFang
(5:12)  2. Happy People
(5:52)  3. Tango In 6
(5:11)  4. Ain't Nothing But The Blues
(3:41)  5. Song #8
(5:32)  6. Halima's Story
(4:41)  7. Monk-ing Around
(5:59)  8. A Hole in One
(4:49)  9. Thessalonika
(7:03) 10. Asian Medley
(7:59) 11. Brother B. Harper

Just going over the press material for this album, I got the distinct impression that there was a pretentious sense of crossover appeal in the mix with verbiage that in effect claimed Garrett was trying to bridge the gap between jazz, hip hop, and world music. As for the music itself, let's just say that too much of what constitutes this mixed bag is simply unbecoming to an artist of Garrett's stature. Co-producer Marcus Miller shares much of the responsibility for this cloying affair, with slap bass and banal vocals as part of the minefield, not to mention a pretentious dedication to Tiger Woods. Only when Bobby Hutcherson is present and on the cathartic "Brother B. Harper" do we really get a sense of Garrett's great talent, a talent that seems to have been sublimated for the most part since 1996's Pursuance. ~ C.Andrew Hovan https://www.allaboutjazz.com/happy-people-kenny-garrett-warner-bros-review-by-c-andrew-hovan.php

Personnel: Kenny Garrett (saxophones), Marcus Miller (bass), Charnett Moffett (bass), Vernon Brown (piano), Chris Dave (drums), Marcus Baylor (drums), Bobby Hutcherson (vibes), Jean Norris (vocals)

Happy People

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John Beasley - MONK'estra, Vol. 2

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 58:21
Size: 134,1 MB
Art: Front

(7:05)  1. Brake's Sake feat. Dontae Winslow
(3:54)  2. Played Twice
(4:30)  3. Crepuscule With Nellie
(7:20)  4. Evidence
(5:18)  5. Ugly Beauty/Pannonica
(6:22)  6. I Mean You
(5:24)  7. Light Blue
(6:10)  8. Dear Ruby
(6:20)  9. Criss Cross
(5:53) 10. Work

GRAMMY®- and Emmy-nominated recording artist John Beasley leads a smashing big band project MONK’estra. The feel and sound of MONK’estra captures the spirit of Thelonious Monk’s singular style with its off-beat melodies, humor, strange beauty and unbounded swing in fresh arrangements flavored with hints of New Orleans, hip-hop, Afro-Cuban, contemporary and atmospheric rhythms and colors. “Some of the most mesmerizing big band music of recent memory.” Beasley a far-ranging pianist, composer, and arranger who has performed with Miles Davis, Freddie Hubbard, Dianne Reeves, Steely Dan, Marcus Miller, Christian McBride is easily one of the most versatile musicians in jazz. He leads a sparkling career as a bandleader, a first-call keyboardist, composer and arranger for bands and film and television projects. He is the Music Director for the Thelonious Monk Institute, International Jazz Day concerts. In 2016, he earned an Emmy nomination for “Jazz at the White House” for Best Musical Direction on ABC TV. MONK’estra Vol. 2 was released in Sep 2017 to immediate critical acclaim earning 4.5/5 stars in DownBeat. Vol 1 was Beasley’s 11th recording which earned two 2017 GRAMMY nominations for Best Large Jazz Ensemble and Best Arrangement for “Ask Me Now”. MONK’estra re-imagines Monk’s compositions with an eye to the future with a killer contemporary big band that pays loving tribute to the master’s music while infusing it with contemporary harmonies, unstoppable grooves, and a contagious sense of fun. http://johnbeasleymusic.com/monkestra/

Personnel:  Conductor, Piano, Synthesizer – John Beasley;  Acoustic Bass, Electric Bass – Ben Shepherd;  Drums – Gene Coye, Terreon Gully;  Trombone – Francisco Torres ;  Trumpet – Bijon Watson , Brian Swartz , James Ford , Jamie Hovorka?;  Woodwind – Bob Sheppard, Danny Janklow, Tom Luer          

MONK'estra, Vol. 2

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George Garzone - The Fringe in New York

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 51:12
Size: 191,9 MB
Art: Front

(5:03)  1. Tribute To Trane
(6:06)  2. Between Two Cities
(6:29)  3. Slip + Slide
(7:45)  4. Anthony Goes To Mardi Gras
(4:50)  5. Plus One
(7:42)  6. A Fox In The Woods
(2:03)  7. Ultra Tempo
(5:23)  8. We Don't Know Why
(5:48)  9. Central Park West

Sometime after the death of John Coltrane and before the rise of the conservative button-down star as repertoire performer, the influence that Trane had over jazz waned. It’s not that he was forgotten, but that his music required such a commitment from a musician that it must have scared away most by sheer intimidation. Within the past twenty years, musicians like Joe Lovano, Dewey Redman, Pharoah Sanders, David S. Ware, Roy Campbell, Julius Hemphill, and George Garzone have taken up the challenge and beauty of Coltrane. In George Garzone’s case, Coltrane has never been far afield from his own voice. With his band (of 25 years), The Fringe, he exercised the more free improvisational aspects of Coltrane. As a sideman to Danilo Perez, Joe Lovano, George Russell, Gunther Schuller, Rachel Z, Jack DeJohnette, Billy Hart, and even Jamaaladeen Tacuma I always heard the Coltrane spirit in his playing. Garzone has always possessed an expansive warm tone that moves from inside to out-jazz with relative ease. Like Trane, his music resonates from what must be a warm and beautiful soul.

Garzone augments his Fringe trio with vibraphonist Mike Mainieri of Steps Ahead fame. Mainieri of late, has acted as producer and label chief for NYC Records and he recorded two glorious (Frisell-like) American Diary records which presents jazz as quasi-folk/classical music. Let’s talk about how this disc opens and closes, it is of course bookended by Trane. Garzone’s composition “Tribute To Trane” starts this affair and a six-minute (by my count way too short) “Central Park West” ends it. 

In between Garzone delivers music of varied Coltrane influence, like the Dolphy-esque “Plus One” and a taste for the outside on “We Don’t Know Why.” Mainieri’s influence harkens back to the Blue Note sound, both the bop and post-bop of Bobby Hutcherson, even sounding like the piano of McCoy Tyner. Garzone knows the calm and the fury. He quells the thunderous drumming Bob Lockwood on “A Fox In The Woods” with a pacific ‘Stellar Regions’ saxophone chant and runs the energy jams down on “Ultra Tempo” in an expected (and anticipated) Fringe fashion. Recorded in studio, this music begs for a live venue, extended soloing, and a voltage meter. ~ Mark Corroto https://www.allaboutjazz.com/the-fringe-in-new-york-george-garzone-nyc-records-review-by-mark-corroto.php

Personnel: George Garzone: tenor saxophone, soprano saxophone, alto saxophone; John Lockwood: bass; Bob Gullotti: drums; Mike Mainieri: vibraphone.

The Fringe in New York

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Jon Hendricks - A Good Git-Together

Styles: Vocal

Year: 1959

File: MP3@320K/s

Time: 38:00

Size: 89,3 MB

Art: Front

(1:03)  1. Everything Started In The House Of The Lord

(3:58)  2. Music In The Air

(3:50)  3. Feed Me

(2:22)  4. I'll Die Happy

(2:53)  5. Pretty Strange

(5:03)  6. The Shouter

(5:21)  7. Minor Catastrophe

(2:22)  8. Social Call

(4:55)  9. Out Of The Past

(3:41) 10. A Good Git-Together

(2:26) 11. I'm Gonna Shout (Everything Started In The House Of The Lord)

On various tracks, Jon Hendricks' first album as a leader, released in 1959, features such major sidemen as altoist Pony Poindexter, guitarist Wes Montgomery, and both Nat and Cannonball Adderley. Hendricks who was riding high in Lambert, Hendricks & Ross at the time is in superb form on such numbers as "I'm Gonna Shout (Everything Started in the House of the Lord)," a couple of songs that Hendricks had written for Louis Jordan, Randy Weston's "Pretty Strange," "Social Call," and the jubilant "A Good Git-Together." ~ Scott Yanow https://www.allmusic.com/album/a-good-git-together-mw0000551672

Personnel:  Jon Hendricks - vocal;  Ike Isaacs – double bass;  Monk Montgomery – bass;  Nat Adderley – cornet;  Walter Bolden – drums; Walter Tolgen – drums;  Wes Montgomery – guitar;  Gildo Mahones – piano;  Pony Poindexter – alto saxophone, vocals;  Cannonball Adderley – alto saxophone;  Bill Perkins – tambourine;  Buddy Montgomery – vibraphone

R.I.P.
Born: September 16, 1921
Died: November 22, 2017

A Good Git-Together

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Cecilia Dale - Christmas In Bossa

Size: 105,9 MB
Time: 45:19
File: MP3 @ 320K/s
Released: 2003/2017
Styles: Bossa Nova, Xmas
Art: Front

01. Let It Snow! Let It Snow! Let It Snow! (3:46)
02. Santa Claus Is Coming To Town (4:14)
03. White Christmas (3:29)
04. Have Yourself A Merry Little Christmas (4:43)
05. The Christmas Song (4:53)
06. Jingle Bell Rock (2:40)
07. When You Wish Upon A Star (4:27)
08. I'll Be Home For Christmas (3:32)
09. What A Wonderful World (4:15)
10. Jingle Bells (3:30)
11. Someday My Prince Will Come (2:54)
12. Um Novo Tempo (2:50)

O lado cantora é apenas mais uma das facetas desta empresária da decoração cheia de criatividade e bom gosto. Desde menina apaixonada por música, Cecilia soltou a voz pela primeira vez em público, durante uma excursão à Europa. Profissionalmente, contudo, o début ocorreu no Gallery.

Cecilia foi aluna de Wanda Sá e Roberto Menescal. Fã incondicional de bossa nova, incluiu em seu repertório também música americana, uma exigência do público da noite desde o tempo em que, de canja em canja, foi descoberta num ensaio por José Victor Oliva.

Já cantou com a banda de Hector Costita, Roberto Sion, Saba e Moacir Peixoto, entre outros. Como profissional, já realizou pocket shows na Casa Cor 2005, Passatempo, Baretto, no extinto Supremo Musical e na própria loja, onde lançou o primeiro CD numa apresentação para amigos mais próximos.

A gravação do primeiro CD foi um desafio que Cecilia queria e soube enfrentar. Acompanhada por uma banda competente, arranjada e produzida pelo maestro Roberto Menescal, o CD “Cecilia Dale - Standards in Bossa I” trouxe clássicos da música norte-americana como “I'm In The Mood For Love”, “Smile” e “Over the Rainbow”, interpretados com um swing de bossa todo particular. Os sucessos dos dois primeiros CDs renderam um belo show no Baretto em novembro de 2002, com a participação mais que especial de Roberto Menescal.

A partir do primeiro projeto, as idéias de novas musicas e para novos projetos foram surgindo, e foi criada a coletânea Standards in Bossa composta de 4 CDs, que conta com a participação de suas filhas e sobrinha em duetos muito especiais, além do projeto Christmas In Bossa, só com musicas natalinas, todos produzidos por Menescal..

Christmas In Bossa

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Peter Horsfall - Nighthawks

Size: 100,3 MB
Time: 38:14
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Nighthawks (4:27)
02. Then I Saw You (3:29)
03. Interlude, Pt. 1 (1:45)
04. Secretly (5:24)
05. Paradise (5:13)
06. Interlude, Pt. 2 (1:01)
07. Sunset And The Mockingbird (4:56)
08. Couldn't Stop Lovin' You (5:11)
09. Interlude, Pt. 3 (0:49)
10. This Is Goodbye (5:55)

The amazingly bittersweet voice of Peter Horsfall is front and centre in this tingling and focused collection of late night laments and atmosphere.

Horsfall is part of the swinging Kansas Smittys collective, lurking in their Hackney basement bar and emerging to present modern day takes on the swinging styles of vintage jazz. On their two CDs so far Horsfall has mainly featured as an accomplished trumpet soloist with occasional forays into song which revealed his voice to be spookily smooth, high and handsome. For this collection he chooses to set his horn aside completely and perform a set of mostly original songs with an unmistakeably small-hours vibe – Horsfall explicitly refers to Edward Hopper’s famous painting Nighthawks as an inspiration.

The opening title track Nighthawks starts with Horsfall’s voice an immediate and commanding presence – straight in and strong. We are immediately enfolded in a film noir aesthetic which carries through the 10 tracks, sparse backings and plaintive alto saxophone from Giacomo Smith. The band are all Kansas Smittys regulars who instantly gel with the vibe – Joe Webb gives sensitive support on piano and steps forward for solos on tracks like Then I Saw You where he takes a double-time bouncing feel to add variety.

Horsfall’s original songs which form the heart of the album all show a great appreciation for the nuances and harmonies of classic jazz. Similarly to Kansas Smittys, he manages to produce original work which is both highly compelling in itself as well as clearly drawing on, but not merely copying, the jazz traditions. Secretly moves around with confident modulations, while Couldn’t Stop Lovin’ You has controlled blues swagger, emphasised by the appearance of female backing vocals and taut 6/8 drumming from Pedro Segundo.

The album features two non-original tracks: piano legend Barry Harris’ Paradise provides delicious fodder for Horsfall and the band, while Duke Ellington’s Sunset & The Mockingbird is presented with a new lyric. That these tunes sit so easily within the overall album is a great tribute to Horsfall’s compositional skills. The closing track, fittingly entitled This Is Goodbye, makes room for a welcome double bass solo from Ferg Ireland. The album provides variety in three instrumental interludes, where the rhythm section trio gently introduce a new line or riff which floats past for a moment before the next song starts.

The revelation in this collection, though, is Horsfall’s voice and song writing. For this young man to produce and carry this stream of desolation, regret and contemplation is remarkable. He surely has a career as a singer with a wide appeal if he wishes to pursue it. Move over Curtis Stigers? ~by Mark McKergow

Nighthawks

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