Ivo Perelman - Breaking Point

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 61:31
Size: 141,1 MB
Art: Front

( 8:14)  1. Harsh Moon
( 8:02)  2. Dance Matters
( 6:12)  3. Catch 22
( 9:58)  4. The Haunted French Horn
( 6:49)  5. Sound Healers
(14:54)  6. The Forest of Feet and Bass Drums
( 7:19)  7. Breaking Point

Tenor saxophonist Ivo Perelman usually releases albums in waves. Thus, Breaking Point is one of five concurrent productions issued on UK-based Leo Records, and offers the listener a kaleidoscopic glimpse of various ensemble lineups. Over the years Perelman has attained a comfort zone and noticeable synergy with the artists' performing on this outing, as the saga continues on Breaking Point. Perelman's super-powered lungs are in full force, but his tender side is also evident, especially during his somber interactions with violist Mat Maneri on "Harsh Moon," which opens up into a staggered bump and grind episode. Here, the band steps it up with a day of reckoning like underpinning amid frenzied interweaving notes and drummer Gerald Cleaver's swarming polyrhythmic pulse. Other tracks offer irregular currents encompassing mood-evoking sentiment and a few abrasive gambits along with imagery of a histogram, depicting a horde of dips and spikes.

The quartet dishes out an expansive program and a surfeit of fleeting mini-themes, framed on unabashed freedom of expression, where boundaries simply do not exist. Toss in a few Spartan interludes with the saxophonist's galactic plaintive cries; moments of pathos, densely layered improvisational segments and you will get an idea of the band's kinetic output. But "The Sound Healers" is a tad playful in scope as the soloists' linear movements and spiraling crescendos lead to a fast and furious game-plan. " The Forest of Feet and Bass Drums" is where the quartet reaches that point of no return as Perelman and Maneri exchange terse phrasings and expressive discourses, contrasted by some bizarre effects and a multitude of aftershocks. Moreover, bassist Joe Morris lays down a pliant underpinning as Cleaver stretches out, leading to a finale then ends on a murmur. Here and throughout, the quartet arrives at breaking points but also thaw tense situations. Yet they often regroup and renew these cyclonic plots with the greatest of ease. ~ Glenn Astarita https://www.allaboutjazz.com/breaking-point-ivo-perelman-leo-records-review-by-glenn-astarita.php

Personnel: Ivo Perelman: tenor saxophone; Mat Maneri: viola; Joe Morris: bass; Gerald Cleaver: drums.

Breaking Point

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Herlin Riley - New Direction

Styles: Vocal, Post Bop
Year: 2016
File: MP3@320K/s
Time: 63:40
Size: 147,5 MB
Art: Front

(6:53)  1. New Direction
(6:01)  2. Spring Fantasy
(6:43)  3. The Crossbar
(6:14)  4. The Big Banana
(5:54)  5. Shake Off the Dust
(5:32)  6. Connection to Congo Square
(7:03)  7. Herlin's Hurdle
(7:19)  8. Hiccup Smooth
(7:22)  9. Harlem Shuffle
(4:34) 10. Tootie Ma

There’s a subtle but pointed message implied in the title, as it relates to most of the music on this disc: Contrary to what some revivalists and progressives might insist, music can explore new directions without self-consciously proclaiming either its iconoclasm or its purity. Discovering new beauty and truth is a triumph of the spirit, not an ideological manifesto. Herlin Riley is a New Orleans native, and the streetsy, Latin-tinged rhythms of that city’s musical heritage wind through this set. “Connection to Congo Square,” on which Riley and guest conguero Pedrito Martinez interweave with joyful abandon, propelling a melody line that roils with postbop fury, exemplifies this ancient-to-the-future continuum. But then so does “Harlem Shuffle,” which evokes “Night Train” updated with soul-jazz swagger. There, Godwin Louis’ alto saxophone solo reaches back to Johnny Hodge’s swing-era grace, and trumpeter Bruce Harris combines a classicist’s precision with modernist exultation and freedom. “Hiccup Smooth” plays on the paradox of its title with juxtaposed rhythms/time signatures; Louis negotiates the shapeshifting rhythmic terrain with confidence. Although he’s the session leader, Riley is mostly content to set the groove, adding coloration and texture and goading his bandmates-Louis, pianist Emmet Cohen, Harris, bassist Russell Hall, Martinez, guest guitarist Mark Whitfield-with an unforced but relentless will. The major exception is “Herlin’s Hurdle,” written by Cohen, on which Riley allows himself a tightly wound yet explosively unfettered solo. The ballad “Shake Off the Dust” may sound conventional, even prosaic at first listen, but in fact could serve as this set’s manifesto: By revisiting vintage conceits and celebrating their vivacity, we can transform them into vehicles for fresh exploration. David Whiteis https://jazztimes.com/reviews/albums/herlin-riley-new-direction/

Personnel:  Herlin Riley – Drums & Vocals;  Emmet Cohen – Piano;  Russell Hall – Bass;  Bruce Harris – Trumpet;  Godwin Louis – Alto & Soprano Saxophone;  Pedrito Martinez – Conga;  Mark Whitfield – Guitar

New Direction

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Olu Dara - In The World: From Natchez to New York

Styles: Vocal, Trumpet, Cornet And Guitar 
Year: 1998
File: MP3@320K/s
Time: 47:01
Size: 109,9 MB
Art: Front

(4:50)  1. Okra
(4:35)  2. Rain Shower
(3:36)  3. Natchez Shopping Blues
(4:00)  4. Your Lips
(5:48)  5. Harlem Country Girl
(3:14)  6. Zora
(4:45)  7. Young Mama
(3:04)  8. Bubber (If Only)
(3:32)  9. Father Blues
(5:02) 10. Jungle Jay
(4:31) 11. Kiane

?In the World: From Natchez to New York is certainly a surprise. Well known as a lyrical avant-garde cornetist, Olu Dara emerges here as an effective country-blues singer and guitarist. Fortunately, Dara does not neglect his cornet but the music is definitely much different than one might expect. The material, all written by Dara, deals with country life, difficulties with love, and survival in today's society, and includes a tribute to the vegetable and fruit peddlers of yesteryear ("Okra"). 

A few numbers feature other vocalists and storytellers, but overall the multi-talented Dara is the main voice (both vocally and instrumentally) throughout the fascinating and successful effort. ~ Scott Yanow https://www.allmusic.com/album/in-the-world-from-natchez-to-new-york-mw0000032628  

Personnel: Olu Dara (vocals, trumpet, cornet, guitar, bass drum, percussion); Mayanna Lee (vocals); Nas (rap vocals); John Abrams (tenor saxophone); Rudy "Obadeli" Herbert (Hammond B-3 organ); Kwatei Jones-Quartey (acoustic & electric guitars, percussion, background vocals); Ivan Ramirez (electric guitar, guitar, background vocals); Alonzo Gardner (bass, background vocals); Greg Bandy (drums, percussion, background vocals); Richard James (congas); Melba Joyce, Joyce Malone, Cantrese Alloway, Darada David (background vocals)

In The World: From Natchez to New York

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Vanessa Mae - Subject To Change

Styles: Classical Music
Year: 2001
File: MP3@320K/s
Time: 63:40
Size: 156,7 MB
Art: Front

(5:47)  1. Yantra
(5:29)  2. White Bird
(2:54)  3. Picante
(6:42)  4. Destiny
(4:36)  5. Night Flight
(5:06)  6. Clear Like Ice
(6:06)  7. Laughing Buddha
(4:23)  8. Pasha
(4:29)  9. Solace
(2:50) 10. Love Is Only A Game
(6:14) 11. Deep South
(8:59) 12. Jamais

2001 album for the international artist who's conquered the classical music world as well as pop. Teaming with producer Youth (Fine Young Cannibals, Bananarama, James, Crowded House, the Orb) to create this trance/dance infused album. 

Highlights include the first two singles, 'Destiny' & 'White Bird'. ~ Editorial Reviews https://www.amazon.com/Subject-Change-Vanessa-Mae/dp/B00005BIQ8 

Personnel: Le Mystère des Voix Bulgares (vocals); Juan Ramirez (guitar); Keith Nelson (banjo); Bob Loveday (pennywhistle); Geraint Watkins (accordion); J. Neil Sidwell, Sid Gauld (brass); Peter Lockett (bodhran, tabla); Louis Jardim (percussion)

Subject To Change

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Lisa Loeb - Lullaby Girl

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 41:50
Size: 96,3 MB
Art: Front

(3:13)  1. Be My Baby
(3:23)  2. Don't Stop
(2:56)  3. Close Your Eyes
(3:15)  4. Dream a Little Dream
(4:15)  5. In My Room
(3:36)  6. O-O-H Child
(3:57)  7. Rainbow Connection
(2:40)  8. All the Pretty Little Horses
(2:10)  9. Lullaby Girl
(4:05) 10. Inch Worm
(2:58) 11. What the Wold Needs Now Is Love
(2:27) 12. A Dream is a Wish Your Heart Makes
(2:47) 13. Tomorrow

Pull up the covers and relax with Lisa Loeb and a world-class quartet led by keyboardist Larry Goldings. An Amazon Originals release, Lullaby Girl offers fresh and dreamy arrangements of classic songs from a variety of genres. Lisa’s distinctive voice adds intimacy and expression to these familiar melodies. Hushed and meditative, the recording was co-produced with Lisa's longtime collaborator Rich Jacques and Goldings, who is known for his work with James Taylor, John Mayer, as well as many top jazz artists. World-renowned songwriter and guitarist Adam Levy (who tours and records with Norah Jones and Tracy Chapman) also performs. The album was originally planned as a traditional lullaby record for children. As they began the recording process, Lisa, Larry and Rich found a uniquely different path, and it became clear that this would be a record for everyone. “I’m so excited for everyone to hear this collection of classics recorded with an amazing group of musicians. I feel like we’ve come up with a new take on classics that people will really enjoy. We live in a time where everything happens so quickly, but with this album, you’ll be able to slow it all down and relax!" shares Lisa. Indeed, Lullaby Girl is an album for insomniacs. Lisa's performance reminds us of why songs like “Be My Baby,” “All the Pretty Little Horses,” “Dream a Little Dream,” "What the World Needs Now Is Love" and “Oooh Child” remain classics. Lisa’s original songs “Close Your Eyes” and "Lullaby Girl" flows right in with the pristine arrangements of tunes like Brian Wilson’s “In My Room” and Annie's“Tomorrow.” Lullaby Girl is the perfect companion to Lisa's other award-winning family music releases Nursery Rhyme Parade! and Feel What U Feel. ~ Editorial Reviews https://www.amazon.com/Lullaby-Girl-Lisa-Loeb/dp/B0753SFDM5

Lullaby Girl

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Ruby Braff - Ruby Braff Plays Standards And Evergreens

Styles: Cornet Jazz
Year: 1999
File: MP3@320K/s
Time: 51:39
Size: 120,9 MB
Art: Front

(4:14)  1. I've Got A Grush On You
(5:58)  2. Lady Be Good
(3:12)  3. Maybe
(3:50)  4. My Foolish Heart
(3:12)  5. Sweethearts On Parade
(5:38)  6. My Shining Hour
(7:05)  7. Sugar
(4:26)  8. As Times Goes By
(4:47)  9. You're Sensational / I Love You, Samantha / True Love
(4:08) 10. Basin' Street Blues
(5:04) 11. Linger A While

One of the great swing/Dixieland cornetists, Ruby Braff went through long periods of his career unable to find work because his music was considered out-of-fashion, but his fortunes improved by the 1970s. A very expressive player who in later years liked to build his solos up to a low note, Braff's playing was instantly recognizable within seconds. Braff mostly worked around Boston in the late '40s. He teamed up with Pee Wee Russell when the clarinetist was making a comeback (they recorded live for Savoy), and after moving to New York in 1953, he fit easily into a variety of Dixieland and mainstream settings. Braff recorded for Vanguard as a leader, and with Vic Dickenson, Buck Clayton, and Urbie Green. He was one of the stars of Buck Clayton's Columbia jam sessions, and in the mid-'50s worked with Benny Goodman. But, despite good reviews and occasional recordings, work was hard for Braff to come by at times. In the 1960s, he was able to get jobs by being with George Wein's Newport All-Stars and at jazz festivals, but it was not until the cornetist formed a quartet with guitarist George Barnes, in 1973, that he became more secure. 

Afterward, Braff was heard in many small-group settings, including duets with Dick Hyman and Ellis Larkins (he had first met up with the latter in the 1950s), quintets with Scott Hamilton, and matching wits with Howard Alden. He remained one of the greats of mainstream jazz until his death in 2003. ~ Scott Yanow https://www.allmusic.com/artist/ruby-braff-mn0000357057/biography

Personnel:  Ruby Braff - cornet; Gene Di Novi (1-5) - piano;  Howard Alden (6-11) - guitar;  Frank Tate (6-11) - bass             

Ruby Braff Plays Standards And Evergreens

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Mary Ann Redmond - Send The Moon

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 51:00
Size: 117,8 MB
Art: Front

(3:56)  1. Fly Away Home
(5:04)  2. Fifth Gear
(5:29)  3. Not Dark Yet
(3:42)  4. I'll Get Over It
(4:12)  5. Strong Too Long
(5:14)  6. Send The Moon
(5:17)  7. I Don't Wanna Be Right
(4:54)  8. Should I Let You Know
(4:20)  9. He Wont Fall
(4:58) 10. I Still Haven't Found What I'm Looking For
(3:50) 11. Damned

"If Aretha is the Queen of Soul, Redmond must be considered an official Lady in Waiting." ~ Dave Nuttycombe, Washington City Paper

"Every once in a while, a real knockout lands in the [CD] pile, a genuine jaw-dropper. Mary Ann Redmond is a stunning vocalist, she is not just covering these songs, they are transformed by her, exalted into something completely new. Her own songs are equally fine..." ~ Chris Jorgensen, Billings Gazette

"It's startling when the petite blonde with a perky smile opens her mouth and out pours an amalgam of Gladys Knight, Tina Turner and Aretha Franklin." ~ Christopher Loudon, JazzTimes.

"Virginia's Mary Ann Redmond falls somewhere between Dusty Springfield and Aretha Franklin. Yes, her voice is that good." ~ Mike Ryan, Boston Herald.

Redmond is well-known in her home base of Washington, DC, where she's won a staggering 14 WAMMIE Awards from the Washington Area Music Association (Best Female Jazz Singer; Best Rock-Pop Vocalist, Best Roots Rock/Traditional R&B Vocalist, Best Urban Contemporary Vocalist and Best Female Blues Vocalist.) A native of Richmond Virginia, she has toured with her close friend Mary Chapin Carpenter (the first and only background singer Carpenter has ever brought on board), and has opened for an array of artists including The Pointer Sisters, The Neville Brothers, Ashford and Simpson, The O'Jays, and Smokey Robinson. She was also a close friend of the late Eva Cassidy. In addition to their vocal power, they both shared the gift of putting themselves into a song and making it her own. "Eva taught me that no matter what happens, it's got to be real," Redmond says. "You can hear it in every song she sang. And she was right." ~ AllAboutJazz.com  https://store.cdbaby.com/cd/maredmond

Send The Moon

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Bobby Timmons - Sweet And Soulful Sounds

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 39:51
Size: 92,3 MB
Art: Front

(4:56)  1. The Sweetest Sounds
(5:27)  2. Turn Left
(5:02)  3. God Bless The Child
(4:37)  4. You'd Be So Nice To Come Home To
(4:12)  5. Another Live One
(6:01)  6. Alone Together
(3:40)  7. Spring Can Really Hang You Up The Most
(5:53)  8. Why Was I Born?

?Sweet and Soulful Sounds, from 1962, is a most atypical record for Bobby Timmons. Long thought of only as a funky piano player in the style that Ramsey Lewis would later make commercially successful, Timmons could also play prettily, as he does on this ballad-heavy set. There's a little funk here; the up-tempo "Another Live One" sounds like a potential Cannonball Adderley hit (Timmons, bassist Sam Jones, and drummer Roy McCurdy were all once and future Adderley accompanists). But for the most part, Timmons keeps his cool, showing a very strong Bud Powell influence throughout. (Actually, the two solo tracks, "Spring Can Really Hang You Up the Most" and a meditative "God Bless the Child," sound as if Timmons had been listening to Bill Evans' solo records, as the latter in particular has the same rhythmically loose, melodically free style.) The highlights are the three standards, Richard Rodgers' "The Sweetest Sounds," a relaxed and swinging take on Cole Porter's "You'd Be So Nice to Come Home To," and a version of Oscar Hammerstein and Jerome Kern's "Why Was I Born?" that turns it from a show tune into a despondent blues. This is an unusual record for Bobby Timmons, but a great one. ~ Stewart Mason https://www.allmusic.com/album/sweet-and-soulful-sounds-mw0000239114

Personnel: Bobby Timmons (piano); Sam Jones (bass); Roy McCurdy (drums).

Sweet And Soulful Sounds

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Red Garland - Satin Doll

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 39:50
Size: 91,3 MB
Art: Front

( 9:47)  1. Satin Doll
(10:44)  2. The Man I Love
( 5:38)  3. A Little Bit of Basie
( 7:10)  4. It's a Blue World
( 6:30)  5. M-Squad Theme

This out-of-print LP released for the first time five unknown selections featuring pianist Red Garland in a trio with drummer Specs Wright and either Doug Watkins or Jimmy Rowser on bass. 

"Satin Doll" has since been added as a bonus cut on another CD, but the other four numbers ("The Man I Love," "A Little Bit of Basie," "It's a Blue World" and "M-Squad Theme") have not yet resurfaced, making this an album of interest to Red Garland completists. ~ Scott Yanow https://www.allmusic.com/album/satin-doll-mw0000911709 

Personnel:  Red Garland - piano;  Jimmy Rowser - (tracks 4 & 5), Doug Watkins (tracks 1-3) - bass;  Charles "Specs" Wright - drums

Satin Doll

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Sonny Stitt - Sonny Stitt & The Top Brass

Bitrate: MP3@320K/s
Time: 35:07
Size: 80.4 MB
Styles: Bop, Saxophone jazz
Year: 1962/2012
Art: Front

[4:28] 1. Souls Valley
[3:16] 2. Coquette
[4:02] 3. On A Misty Night
[5:52] 4. Stittsie
[3:03] 5. Poinciana
[2:36] 6. Boom-Boom
[4:51] 7. Sea Sea Rider
[3:58] 8. The Four Ninety
[2:57] 9. Hey Pam

This LP features altoist Sonny Stitt accompanied by a nonet playing arrangements by either Tadd Dameron or Jimmy Mundy. The charts give this Stitt album more variety than usual, and the superior material (which includes "On a Misty Night," "Poinciana" and Stitt's "Hey Pam") challenges the saxophonist to play at his best; trumpeter Blue Mitchell also has a couple of spots. ~Scott Yanow

Sonny Stitt & The Top Brass mc
Sonny Stitt & The Top Brass zippy

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Various - Roberto Menescal: 55 Years Of Music

Bitrate: MP3@320K/s
Time: 60:40
Size: 138.9 MB
Styles: Bossa Nova, Samba, Brazilian Traditions
Year: 2013
Art: Front

[5:38] 1. Leila Pinheiro - Ah Se Eu Pudesse O Barquinho Voce Nos E O Mar
[2:19] 2. Emilio Santiago - Amanheendo
[4:20] 3. Daira Saboia - Floripa
[3:55] 4. Os Cariocas - Copacabana De Sempre
[2:43] 5. Leny Andrade - Nas Quebradas Da Vida
[2:28] 6. Arimatea - A Morte De Um Deus De Sal
[2:36] 7. Astrid - Vai De Vez (Original Version)
[4:26] 8. Bebossa - Rio Exaltacao
[4:05] 9. Roberto Menescal & Cris Delano - Eu E A Música
[4:05] 10. Oswaldo Montenegro - Eu Canto Meu Blues
[3:59] 11. Wanda Sá - A Volta
[2:50] 12. Roberto Menescal - Voce Me Ganhou
[4:03] 13. Joyce - Nara
[2:23] 14. Andrea Amorim - Rio
[3:03] 15. Maria Luiza - Assim Como Um Amor
[3:53] 16. Roberto Menescal & Trio - Swingueira
[3:46] 17. Tamy - Me Diz

The composer of bossa nova classics like "O Barquinho," "Ah, Se Eu Pudesse," "Errinho à Tôa," "Nós e o Mar," "Rio," "Você," and "Vagamente," Roberto Menescal started his professional career in 1957 as Sylvia Telles' sideman (on guitar) in a tour around Brazil. In 1958, he opened a guitar school in Copacabana (Rio) with Carlos Lyra, having as his pupils Nara Leão and his sister Danuza Leão. In the same year, he formed, with Luís Carlos Vinhas, João Mário, Henrique, and Bebeto, the Conjunto Roberto Menescal, one of the first instrumental groups of bossa nova. The group accompanied Dorival Caymmi, Vinícius de Moraes, Billy Blanco, Maysa, and Telles. Also in 1958, he participated, with Telles, Carlos Lyra, and other artists, in a show at the Clube Hebraica (Rio), when the words "bossa nova" were used (inadvertently, by the club's secretary) for the first time to advertise the event. Having taken part with his group in the recording of Garotos da Bossa Nova in 1959, he participated in the I Festival de Samba Session at the Teatro de Arena theater of the School of Architecture at the State University of Rio de Janeiro. Such informal venues were important vehicles for bossa nova among the middle-class university people who were more inclined to absorb and disseminate it, and Menescal was instrumental for the promotion of such concerts in 1959, 1960, and 1961. Also in 1959, he had his first recorded composition, "Jura de Pombo" (with Ronaldo Bôscoli), by Alaíde Costa. His "O Barquinho" (with Ronaldo Bôscoli), a bossa nova classic, was simultaneously recorded by Maysa, Perry Ribeiro, and Paulinho Nogueira in 1960. In 1962, he accompanied Maysa in her Argentinean tour and, with Eumir Deodato's group, he performed in Marlene's program on TV Rio, having been hired for two years with his own group to back up artists on that TV station. In November 1962, he participated in the historic Bossa Nova Festival at Carnegie Hall in New York, NY, with Tom Jobim, Carlos Lyra, and others, interpreting "O Barquinho" in one of his few performances as a singer. From 1964 to 1968, he worked as an arranger and, invited by André Midani, he started to work as an independent producer and arranger at Polygram. In 1968, he accompanied Elis Regina in her performance at the MIDEM (International Phonographic Market and Music Publishers) in Cannes, France, and in her subsequent European tour, having been Regina's sideman until 1970, when he became Polygram's A&R. Already established as a major producer (having worked with Caetano Veloso, Gilberto Gil, Jorge Ben Jor, Gal Costa, Maria Bethânia, and many others), instrumentalist (as a session man he worked with Lúcio Alves, Maysa, Claudette Soares, Nara Leão, Jair Rodrigues, and Elis Regina), he had several compositions of his included in soundtracks of broadly popular TV soap operas and also wrote music for the cinema (Bye Bye Brasil, Joana Francesa, both by Cacá Diegues, and Vai Trabalhar Vagabundo, by Hugo Carvana). In 1985, having accompanied Nara Leão in performances in Brazil and abroad, he launched with her the LP Um Cantinho, Um Violão/Nara Leão e Roberto Menescal. In the next year, he abandoned his career in A&R and dedicated himself to his solo career. He has also been participating in jazz projects, among others with Joe Henderson. In 2001, he participated with Wanda Sá, Danilo Caymmi, and Marcos Valle in the Fare Festival (Pavia, Italy). Menescal also owns the label Albatroz, which released albums by Danilo Caymmi, Emílio Santiago, and others. ~bio by Alvaro Neder

Roberto Menescal: 55 Years Of Music mc
Roberto Menescal: 55 Years Of Music zippy

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Alice Free - Humanity

Bitrate: MP3@320K/s
Time: 57:10
Size: 130.9 MB
Styles: R&B/Soul/Blues/Jazz
Year: 2017
Art: Front

[4:46] 1. Small Things
[4:45] 2. Black Dog
[4:29] 3. Half Of Nothin'
[3:48] 4. Joyless Soul
[4:41] 5. Bleak Heart
[5:01] 6. No Goin' Back
[3:35] 7. Doesn't Matter
[4:32] 8. Not Like Me
[5:13] 9. Falling
[4:19] 10. For Me
[2:53] 11. The Box
[5:05] 12. Decision
[3:55] 13. Little Shell

I’m the singer/songwriter with the band. I’ve been writing stuff for as long as I can remember and my home is littered with ‘words’! I’ve had some poetry published and I wrote a few songs with a friend a while ago. After a pretty traumatic time a couple of years ago I expierienced a very prolific writing period and most of the songs were born from that time of sorrow and adversity. I sang my first song ‘The box’ to Larry, luckily he was very receptive and the songs just kept coming after that! Thats how we write, I sing the words and vocal melody, Larry produces the music and arrangements around them then all the guys breathe life into the songs with their amazing playing! I am so glad the songs have come to life and feel all of us together have something special. Many thanks to Larry, Robert, Chris and TMS!

Humanity mc
Humanity zippy

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Stefano Bollani - Volare

Bitrate: MP3@320K/s
Time: 48:21
Size: 110.7 MB
Styles: Piano jazz
Year: 2012
Art: Front

[7:21] 1. In Cerca Di Te
[4:55] 2. Volare
[2:20] 3. Tema Da La Dolce Vita
[6:26] 4. Averti Tra Le Braccia
[4:16] 5. Angela
[5:14] 6. Anema E Core
[5:42] 7. Azzurro
[3:12] 8. E Lucean Le Stelle
[2:44] 9. Te Vojo Bene Assaje
[6:08] 10. Arrivederci

This is the edition for the Italian market of Volare, the album recorded in July 2002 by Stefano Bollani in a trio with Walter Paoli and Ares Tavolazzi, so far available on the Japanese record label Venus Records.

It is with this work that the pianist began to make himself known also in Japan, after his talent had attracted attention both in Italy and in Europe. An album that is conceptually very simple: it is a jazz reinterpretation of ten pieces representative of the Italian popular tradition, from "Azzurro" to "Anema e Core," famous in the world for the beauty and the immediate recognizability of their melodies. Supporting themes that the trio tries to keep intact, revolving around the emotional core with a series of improvisations and solutions that find Bollani a unique interpreter, inspired and in love with his way of understanding the instrument, which leads him to draw moments of tension in "Angela," create more lively and carefree situations in the initial "In search of you," but also to achieve ellipses of formal beauty in "Tema da la dolce vita". Among the moments of greatest intensity we should mention "Azzurro," since it is the passage where the trio's cohesion is felt most, unlike the other pieces where it is almost exclusively the figure of Bollani to be in the foreground.

Years later, the work retains its value and lets you listen with renewed pleasure, just because played with extreme ease and because of a repertoire - perhaps not excessively sought - able to pinch the right emotional rope with ease. ~AAJ Italy Staff (Translated from Italian.)

Volare 

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Fred Hersch Trio - Everybody's Song But My Own

Bitrate: MP3@320K/s
Time: 63:30
Size: 145.4 MB
Styles: Piano jazz
Year: 2011
Art: Front

[6:00] 1. East Of The Sun
[5:44] 2. Shall We Dance
[7:04] 3. I Concentrate On You
[7:10] 4. From This Moment On
[6:25] 5. Two For The Road
[5:44] 6. Invitation
[9:29] 7. The Wind Moon And Sand
[6:18] 8. Everybody's Song But My Own
[5:00] 9. In The Wee Small Hours
[4:32] 10. Three Little Words

The recent CD of the Fred Hersch Trio is characterized by a nearly incredible density of harmonic and rhythmic ideas. This is the result not only of a perfect match between the musicians. It's Fred Hersch, who is extraordinary brillant - one might say: more than ever before. In contrast to other productions, this CD contains none of the Fred Hersch-compositions. The performance is "only" based on Standards out of the Great American Songbook - the reason may be, that this production is exclusively made for the Japanese Market (even the booklet is written in Japanese characters). But nevertheless, this does not harm at all. The technical quality and mastering is very, very good. In Europe (and obviously also in Japan), many people enjoy listening to authentic American Music. This CD is surely a big contribution to this. We are looking forward to the next chapter of this great story ... ~Rainer Noch

Everybody's Song But My Own mc
Everybody's Song But My Own zippy

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Red Garland - Lil' Darlin'

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 30:41
Size: 70,4 MB
Art: Front

(10:09)  1. Lil' Darlin
( 5:48)  2. We Kiss in a Shadow
( 4:30)  3. Blues in the Closet
(10:13)  4. Like Someone in Love

On October 2, 1959, Red Garland performed at a New York club called the Prelude, which was located at 129th Street and Broadway in the western part of the city's Harlem section (near Columbia University). The Prelude had a reputation for being a piano room in other words, a place where people went to hear acoustic pianists. Garland performed more than one set that night, and thankfully, all of them were recorded by jazz's most famous engineer: Rudy Van Gelder. Although Van Gelder did most of his work in his New Jersey studio, Prestige hired him to do some live taping for a change. So Prestige had a lot of material to work with. Garland's Prelude gig resulted in various live LPs, one of which was Lil' Darlin'. Forming an acoustic piano trio with bassist Jimmy Rowser and drummer Specs Wright, Garland excels on four selections: Neal Hefti's "Lil' Darlin'," Oscar Pettiford's "Blues in the Closet," Rodgers & Hammerstein's "We Kiss in a Shadow," and the Burke/Van Heusen standard "Like Someone in Love." Throughout the LP, Garland's pianism is immediately recognizable. The improviser had his influences who ranged from Nat King Cole and Erroll Garner to Bud Powell but he was quite distinctive himself. And when the hard-swinging yet lyrical Garland plays block chords, one can hear how he influenced McCoy Tyner (who was paying close attention to Garland in 1959). Like the other LPs that resulted from Garland's Prelude appearance, Lil' Darlin' demonstrates that the pianist was in excellent form on that night in October 1959. ~ Alex Henderson https://www.allmusic.com/album/lil-darlin-mw0000909300 

Personnel:  Red Garland - piano;  Jimmy Rowser - bass;  Charles "Specs" Wright - drums

Lil' Darlin'

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Pamala Stanley - Seasons Of My Heart

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 45:17
Size: 104,2 MB
Art: Front

(2:31)  1. New Orleans
(3:39)  2. Boyfriend Blues
(4:08)  3. Just Like Love
(3:43)  4. Seasons
(4:20)  5. Survive
(3:05)  6. Goin' Back To New Orleans
(4:21)  7. So Many Years
(3:28)  8. So Good At Bein' So Bad
(3:33)  9. It Would Be So Easy
(4:29) 10. He Moves Me
(3:50) 11. Free Ride
(4:05) 12. In My Dreams

There are no words to truly describe the phenomenal Pamala Stanley. Her unparalleled voice encompasses everything from the most intimate whisper to the soaring "bel canto" that is surely her trademark. And her vivacity, natural warmth and effervescent personality allow her to connect with each and every person in her audience. Pamala has accomplished, and continues to accomplish, remarkable success in the music and entertainment industries. Best known for her hits "I Don't Want To Talk About It" and "Coming Out Of Hiding" [both written by her brother, James Lee Stanley], Pamala has toured the world several times over, blowing away audiences with her sensational voice and irrepressible style. Traveling extensively, Pamala's popularity has grown beyond her wildest dreams. Her fan base spans the globe, and she is constantly invited to perform in venues all over the world, including Greece, England, the United States and South America. https://store.cdbaby.com/cd/pamalastanley5

Seasons Of My Heart

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Wayne Shorter - Odyssey Of Iska

Styles: Saxophone Jazz
Year: 1970
File: MP3@320K/s
Time: 40:14
Size: 93,0 MB
Art: Front

( 8:02)  1. Wind
( 8:16)  2. Storm
( 3:24)  3. Calm
(11:32) 4. De Pois Do Amor, O Vazio (After Love, Emptiness)
( 8:57)  5. Joy

Exotic percussion-based proto-World Music worked for Wayne Shorter on Super Nova, so he tried it again the next year (1970) on Odyssey of Iska. The sound is very similar but the lineup completely different: here Wayne plays tenor and soprano; unlike Super Nova, where he stuck exclusively to soprano. Dave Friedman plays vibes and marimba; Gene Bertoncini, guitar; Ron Carter and Cecil McBee on bass; and there are three drummers: Billy Hart, Alphonse Mouzon, and Frank Cuomo. The pieces are, with one exception, given one-word titles: "Wind," "Storm," "Calm," "Joy," and "De Pois do Amor, o Vazio (After Love, Emptiness)." So like Super Nova, there is one Brazilian tune among a lot of mood music (quieter mood here, for the most part). "Wind" is quieter than "Storm," which comes in with a guitar intro that flirts with rock and roll before resolving into something more rich and strange. Here Shorter doesn’t play nearly as stormily as he does elsewhere. It is always tempting with music titled in this way to speculate on the relation of particular parts to the theme: does Shorter come in playing the role of the storm’s eye? He leaves it to Friedman and the others to stir up most of the fuss, such as it is. For a man who went up ‘gainst the wall with Coltrane, I would have expected more of a storm.

"Calm" is, well, you know. With the possible exception of "Storm," this album should carry a commendation from the FDA for truth in packaging: what you see on the label is what you get. Or is there a subtext for deconstructionists? On "Calm" Shorter does sound as if he has a certain sense of foreboding. Still, he stays within the wider parameters of the mood. "De Pois do Amor, o Vazio" sounds like "Calm the Sequel" until about a minute in, when suddenly we’re in a funky Rio dance hall. Bertoncini is competent, the backing dutiful. To my barbaric ears, however, Shorter sounds more emptied by love on "Calm" than on this track. He raises some sparks here (not too many), but "emptiness"? I dunno. And "Joy"? Is it joyful? Sure. I make no claim to find Mr. Shorter’s storm, calm, emptiness, or joy wanting. I only wonder if his titles do not impose on the listener and compel him to judge the music by its success or failure in raising the specified feelings. Of course, programmatic titles like this in jazz are older than "Struttin’ with Some Barbecue" (now there would have been a great one to cover on this album), but still always risky. This album, like Super Nova, now sounds more dated than much of Shorter’s work with Art Blakey and Miles Davis, as well as his earlier Blue Notes. It may be historically important as a forerunner of Weather Report, or nostalgic for old jazz flower pushers. Shorter always plays well. But if you only have money for one Shorter album, Etc. is the one to find. ~ Robert Spencer https://www.allaboutjazz.com/odyssey-of-iska-wayne-shorter-blue-note-records-review-by-robert-spencer.php

Personnel:  Wayne Shorter – tenor saxophone, soprano saxophone;  Gene Bertoncini – guitar;  Ron Carter, Cecil McBee – bass;  Billy Hart, Alphonse Mouzon – drums;  Frank Cuomo – drums, percussion;  David Friedman – vibraphone, marimba

Odyssey Of Iska

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Richard Galliano - Spleen

Styles: Piano And Accordion Jazz
Year: 1985
File: MP3@320K/s
Time: 38:20
Size: 88,1 MB
Art: Front

(4:01)  1. Sexy Dream
(3:18)  2. Honey Finger
(6:32)  3. Ballade pour Marion
(4:52)  4. Every Time You're Near
(3:20)  5. Tea For Toots
(3:48)  6. M.F.
(7:18)  7. For Lolo
(5:07)  8. Spleen

Accordionist Richard Galliano did for European folk  specifically, the early 20th century French ballroom dance form known as musette what his mentor Astor Piazzolla did for the Argentinian tango. Galliano reimagined and revitalized a musical tradition, expanding its emotional range to reflect modern sensibilities, opening it up to improvisation learned through American jazz. In fact, Galliano was more of a jazz musician than a folk one, although he blurred the lines so much that distinctions were often difficult to make. Born in France of Italian stock, Galliano began playing accordion (as his father had) at a young age. He later picked up the trombone, and studied composition at the Academy in Nice; he also fell in love with jazz as a teenager, particularly cool-era Miles Davis and Clifford Brown, and had made it his primary focus by the late '60s. Making a living as a jazz accordionist naturally proved difficult; fortunately, after moving to Paris in 1973, he landed a position as conductor, arranger, and composer for Claude Nougaro's orchestra. He remained there until 1976, and went on to work with numerous American and European jazz luminaries, including Chet Baker, Joe Zawinul, Toots Thielemans, Ron Carter, Michel Petrucciani, and Jan Garbarek. After meeting Astor Piazzolla, Galliano refocused on his European heritage and set about reviving and updating musette, widely considered antiquated at the time. He signed with Dreyfus in 1993, and the label gave him enough exposure to cause a stir first in his home country, then among international jazz and world music fans. Regular recordings followed; some with clarinetist/soprano saxophonist Michel Portal, some with guitarist Jean Marie Ecay, and some with his favorite rhythm section of bassist Jean-François Jenny-Clark and drummer Daniel Humair (after Jenny-Clark's untimely death, Rémi Vignolo took his place). In 2001, Dreyfus released Gallianissimo, a compilation drawing from his seven albums for the label and a new recording, Face to Face, a duet recording with French pianist and vocalist Eddy Louiss. 

In 2004 after several global tours and reissues of some of his earlier albums, Blues Sur Seine, a duet offering with cellist Jean-Charles Capon, was released on La Lichere; he also appeared as a soloist with Josefine Cronholm on Blue Hat by Søren Siegumfeldt's String Swing and Concerts with Portal. This was followed by 2005's Ruby, My Dear by the New York Trio: Galliano, bassist Larry Grenadier, and drummer Clarence Penn. n 2007, Galliano delivered Solo on Dreyfus as well as Mare Nostrum, co-headlined with Paolo Fresu and Jan Lundgren, and Luz Negra, a tango album by his own sextet. By all accounts, Galliano, in his touring, composing, and recording appearances, had become prolific on both sides of the Atlantic. The accordionist recorded with Charlie Haden, Mino Cinelu, and Gonzalo Rubalcaba on 2008's Love Day: Los Angeles Sessions, and back in Europe with the Brussels Jazz Orchestra on Ten Years Ago; both were issued on Milan. The tango and bal-musette accordionist returned to jazz in 2014. Sentimentale was recorded for Resonance and produced by its founder, George Klabin. The studio band consisted of pianist-arranger Tamir Hendelman, guitarist Anthony Wilson, bassist Carlos Del Puerto, and drummer Mauricio Zottarelli. It was released in September. ~ Steve Huey https://www.allmusic.com/artist/richard-galliano-mn0000150471/biography

Personnel:  Accordion, Synthesizer, Piano – Richard Galliano;  Bass – Jean-Marc Jafet;  Bugle – Eric Giausserand (tracks: 3);  Drums, Percussion – Luiz Augusto;  Piano, Vocals – Frank Sitbon;  Synthesizer – Frank Sitbon (tracks: 4);  Trombone – Denis Leloup (tracks: 6), Richard Galliano (tracks: 1, 3)           

Spleen

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George Benson - Tenderly

Styles: Vocal  And Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 38:49
Size: 89,4 MB
Art: Front

(4:41)  1. You Don't Know What Love Is
(5:16)  2. Stella By Startlight
(6:04)  3. Stardust
(4:55)  4. At The Mambo Inn
(5:07)  5. Here, There And Everywhere
(5:36)  6. This Is All I Ask
(3:07)  7. Tenderly
(4:01)  8. I Could Write A Book

Apparently Benson got the message. Giving up the fruitless search for decent contemporary material, he switched gears and recorded an album of old standards with top-grade jazz musicians (including pianist McCoy Tyner and bassist Ron Carter) and Marty Paich's classy string and brass charts. With good songs to sing, Benson gives some moving performances, particularly on "This Is All I Ask," and there is a lovely reminder of his affinity for the Beatles, "Here There and Everywhere." Moreover, his jazz instincts were fully at his command; you'll hear some remarkable Latin-slanted guitar work on "At the Mambo Inn," some brilliant bebop on "Stella By Starlight" and "I Could Write a Book," and a stunning solo performance of "Tenderly" itself. One could read a bit of calculation into all of this; a Benson riposte to all those critics who thought he'd never play bebop again, an attempt by his record company to pander to an aging fan base. But don't. Enjoy the music, some of the best Benson has made in the 1900s. ~ Richard S.Ginell  https://www.allmusic.com/album/tenderly-mw00006535

Personnel: Vocals – George Benson (tracks: 1, 3 to 6, 8);  Double Bass – Ron Carter (tracks: 1 to 6, 8);  Drums – Al Foster (tracks: 8), Herlin Riley (tracks: 2 to 5), Louis Hays (tracks: 1, 6);  Guitar – George Benson (tracks: 1 to 5, 7, 8);  Percussion – Lenny Castro (tracks: 4, 5);  Piano [Acoustic] – McCoy Tyner (tracks: 1 to 6, 8)

Tenderly

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Stan Kenton - Standards In Silhouette

Bitrate: MP3@320K/s
Time: 45:23
Size: 103.9 MB
Styles: Big band
Year: 1960/1998
Art: Front

[5:52] 1. Willow Weep For Me
[4:52] 2. The Thrill Is Gone
[5:24] 3. The Meaning Of The Blues
[4:44] 4. When Sunny Gets Blue
[5:24] 5. Ill Wind
[5:00] 6. Django
[5:06] 7. I Get Along Without You Very Well
[5:30] 8. Lonely Woman
[3:26] 9. Lazy Afternoon

Stan Kenton, piano; Jimmy Campbell, drums; Jim Amlotte, bass trombone; John Bonnie, tenor sax; Bud Brisbois, trumpet; Bill Chase, trumpet; Pete Chivily, bass; Rolf Ericson, trumpet; Marvin Holladay, baritone sax; Bobby Knight, bass trombone; Kent Larson, trombone; Archie LeCoque, trombone; Charlie Mariano, alto sax; Roger Middleton, trumpet; Jack Nimitz, baritone sax; Mike Pacheco, bongos; Clyde Reasinger, trumpet; Don Sebesky, trombone; Dalton Smith, trumpet; Bill Trujillo, tenor sax; Bill Mathieu, arranger

There was always much more to the Stan Kenton band than stratospheric trumpets and walls of sound. Nobody could play a ballad quite like Kenton. Lugubious tempos so slow they added an extra dimension of emotion to the overall effect. Dynamic control so profound that it seemed at times almost superhuman. And arrangements of such startling harmonic complexity that they breathed life into even the most hackneyed tunes from Tin Pan Alley.

Standards in Silhouette is one of Kenton's finest albums of ballads, and is unusual in that it features exclusively the arrangements of the then 22-year old Bill Mathieu. The selection of tunes is outstanding. From well known standards like "Willow Weep for Me" (also recorded previously by Kenton with a vocal by June Christy), Harold Arlen's "Slow Wind" and Hoagy Carmichael's "I Get Along Without You Very Well" to numbers you wouldn't expect to hear a Kenton band performing like John Lewis' "Django," this album is an aural delight for Kenton cognoscenti and newcomers alike. The soloists on this album are among the finest from the many great sidemen who performed with Kenton over the years. Archie LeCoque on trombone adds his name to the illustrious ranks of Milt Berhnard, Kai Winding and Dick Shearer with inspired solos on "I Get Along Without You Very Well," "Willow Weep for Me" and "Lonely Woman." Bill Trujillo and Rolf Ericson are particularly effective throughout the album on tenor sax and trumpet respectively. The legendary alto saxophonist Charlie Mariano produces outstanding solos on "I Get Along Without You Very Well," "The Thrill Is Gone" and swings like a maniac on "Django." As always, the section work is second to none. One song that deserves special attention is Bobby Troup's brilliant but sadly neglected "The Meaning of the Blues." Although there are a few vocal recordings of this work (The Four Freshmen and Janis Siegel immediately come to mind), Mathieu's arrangement is one of the few instrumental versions of this number ever recorded. Rolf Ericson and Bill Trujillo handle their solos brilliantly while the trademark Kenton high trumpets are employed to great effect in the out chorus.

A lot of critics didn't like (and still don't like) Kenton's band, calling it stilted or unswinging or too musically complex to be authentic jazz. Fortunately, real jazz fans ignored the critics because they knew the critics were wrong. Standards in Silhouette shows just how wrong the critics were. ~William Grim

Standards In Silhouette mc
Standards In Silhouette zippy

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