Frank Sinatra - Nice 'n' Easy

Bitrate: MP3@320K/s
Time: 50:57
Size: 116.7 MB
Styles: Vocal, Standards
Year: 1960/2008
Art: Front

[2:43] 1. Nice 'n' Easy
[3:31] 2. That Old Feeling
[3:13] 3. How Deep Is The Ocean
[2:14] 4. I've Got A Crush On You
[4:25] 5. You Go To My Head
[3:22] 6. Fools Rush In
[3:15] 7. Nevertheless (I'm In Love With You)
[3:56] 8. She's Funny That Way
[3:19] 9. Try A Little Tenderness
[3:21] 10. Embraceable You
[2:45] 11. Mam'selle
[2:54] 12. Dream
[2:40] 13. The Nearness Of You
[2:54] 14. Someone To Watch Over Me
[3:04] 15. Day In-Day Out (Alternate Version)
[3:12] 16. My One And Only Love

Breaking slightly from his pattern of a swing album following the release of ballads set, Frank Sinatra followed No One Cares with Nice 'N' Easy, a breezy collection of mid-tempo numbers arranged by Nelson Riddle. Not only is it the lightest set that he recorded for Capitol, it is the one with the loosest theme. Sinatra selected a collection of songs he had sang early in his career, having Riddle rearrange the tunes with warm, cheery textures. Unlike his previous ballads albums, Nice 'N' Easy doesn't have a touch of brooding sorrow -- it rolls along steadily, charming everyone in its path. ~Stephen Thomas Erlewine

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Tom Scott - The Very Best Of Tom Scott

Bitrate: MP3@320K/s
Time: 53:32
Size: 122.5 MB
Styles: Saxophone jazz
Year: 2006
Art: Front

[4:26] 1. Upbeat 90's
[4:23] 2. Only A Heartbeat Away
[5:40] 3. Reed My Lips
[5:04] 4. Anytime, Anyplace
[4:55] 5. Mazin'
[5:37] 6. Lost In Love
[5:09] 7. In Your Eyes
[4:33] 8. Chester & Bruce
[4:45] 9. Only You
[5:03] 10. Amaretto
[3:52] 11. Born Again

The Very Best of Tom Scott covers his recording career for the GRP label between 1987 and 1996 only, and is therefore misleading. The 11 cuts selected reveal different aspects of Scott's playing, but all but one, the bebop tune "Born Again," this set's last tune from the album of the same name, feature Scott in the various smooth jazz and jazz-funk settings. Scott's sound has been synonymous with the genre for three decades -- long before the genre had a name, in fact. Scott's session work alone would fill a box set, so it's difficult to narrow the man down to this one 11-track sampler. The collection's best tracks are the aforementioned (because it displays a completely different sound of the saxophonist's expertise), the title cut from 1994's Reed My Lips (with the late Grover Washington, Jr. on soprano), "Only You" (from 1996's Bluestreak, with Robben Ford, Joe Sample, Steve Gadd, and Ralph MacDonald), and the ballad "In Your Eyes" (also from Bluestreak). This is one of those sets for folks for whom smooth jazz is the only kind of jazz and who are looking for an introduction to his work. ~Thom Jurek

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Bettina Corradini - Debandade

Bitrate: MP3@320K/s
Time: 62:29
Size: 143.1 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[6:11] 1. Cold Winds
[5:45] 2. Change (Débandade)
[3:29] 3. Talk To Me
[4:54] 4. My Tribe
[7:26] 5. Andros Bar
[8:31] 6. Sin Hombre
[4:49] 7. Dehors Il Pleut
[4:48] 8. Some Say
[5:10] 9. You Are The Sunshine Of My Life
[6:21] 10. No End To Love
[4:59] 11. Soul Voyage

Bettina Corradini (voce); Aisha Ruggieri (piano); Ernie Watts (sax tenore); Paolo Boninsegna (contrabbasso; basso elettrico); Giorgio Zanier (batteria); Renzo De Rossi (sax tenore); Gianluca Carollo (tromba); Vincenzo “Titti” Castrini (fisarmonica).

25 years in Paris and then the decision to return to Italy (the father of Bettina was of Italian descent). So, the time to encourage yourself by the force of jazz, funk, rock and R & B and sooner or later the opportunity had to show up.

With Debandade (in fact sbando in French), debut album, Corradini shows us a strict coherence instead. The ideas are clear. Paolo Boninsegna's bass props ("Change" and "My Tribe" produce an engaging groove), Aisha Ruggieri's pianist and essentials (with echoes of the best Herbie Hancock), the tenor (terrible and magniloquent) saxophone of Ernie Watts ( "Andros Bar"), Vincenzo "Titti" Castrini (from romantic landscapes on the Seine "Dehors il pleut") are the happy and comforting narration of a debut album that has the same warm welcome as a field of sunflowers. ~AAJ Staff (Translated from Italian.)

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Frank Lozano Group - Colour Fields

Bitrate: MP3@320K/s
Time: 58:03
Size: 132.9 MB
Styles: Saxophone jazz
Year: 2007
Art: Front

[ 5:47] 1. Cast
[11:21] 2. Village
[ 2:01] 3. Rothko (Colour Fields)
[ 7:40] 4. Buciumeana
[ 5:33] 5. New Man
[ 2:22] 6. Kandinsky
[ 7:22] 7. Now Won
[ 5:48] 8. L.R.P
[ 3:46] 9. Fleurette Africaine
[ 6:17] 10. Center Of Gravity

Frank Lozano: tenor and soprano saxophones, bass clarinet; Kim Ratcliffe: guitar, mandolin; Jim Lewis: trumpet, flugelhorn; John Geggie: bass; Jean Martin: drums.

The diversity of the Canadian jazz scene, as with many countries, is rarely fully appreciated. The Montreal scene, in particular, is as far-reaching as it gets—everything from the mainstream to the experimental can be found in the clubs and on labels like Effendi and Justin Time. Ottawa-born, Toronto and Boston- schooled, and Montreal-based saxophonist Frank Lozano has been active in that most cosmopolitan of Quebec cities for some time, and can be heard on a number of Effendi recordings by Thom Gossage's Other Voices, Effendi Jazzlab and label president/bassist Alain Bédard's Auguste Quintet. Colour Fields is Lozano's long overdue debut as a leader and, with a quintet cherry-picked from the Montreal, Ottawa and Toronto scenes, it's been well worth the wait. ~John Kelman

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Joe Henderson - Warm Valley

Bitrate: MP3@320K/s
Time: 65:49
Size: 150.7 MB
Styles: Straight ahead jazz
Year: 1998/2008
Art: Front

[ 6:23] 1. Who Knows
[ 8:49] 2. Warm Valley
[ 6:40] 3. Zsa Zsa
[12:02] 4. Santorini
[ 9:35] 5. G Flat Ballad
[ 7:56] 6. Escapade
[ 7:35] 7. Sarabande
[ 6:45] 8. Perdido

Bass, Producer – Tommy Cecil; Cello – Susan Kelly (4) (tracks: 7); Drums – Tony Martucci; Piano, Producer, Design [Booklet], Coordinator – Louis Scherr; Saxophone – Joe Henderson (tracks: 2-6). Recorded April 11 & 12, 1991 in Washington, DC.

Although tenor great Joe Henderson is heard on five of the eight selections, this CD is worth picking up if only for the tightness of the fine trio (a co-op consisting of pianist Louis Scherr, bassist Tommy Cecil and drummer Tony Martucci) and the fine mixture of melodic originals ("G Flat Ballad" is particularly memorable) with three standards; guest cellist Susan Kelly is the lead voice on "Sarabande." Henderson's powerful presence gives listeners an additional reason to search for this straightahead set. ~Scott Yanow

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Ari Ambrose - Whatever Happens

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 71:37
Size: 164,6 MB
Art: Front

(8:16)  1. No More
(9:41)  2. More Than You Know
(7:59)  3. Whatever Happens
(6:48)  4. I'm Glad There Is You
(6:36)  5. Luna
(6:40)  6. Emily
(7:31)  7. Unknown Side
(8:51)  8. Don't Blame Me
(9:11)  9. Like Someone In Love

The word retro is almost too new-school when dealing with the stylistic expressions of tenor saxophonist Ari Ambrose. His efforts on Whatever Happens reveal a throwback to the sounds of the tenor players of the ’30s and pre-bop era of the ’40s, when Coleman Hawkins, Lester Young, Ben Webster, Chu Berry and Don Byas ruled the roost, mostly in the big bands of the time. Although largely bypassing references to bop, hard-bop, etc., Ambrose, on his eighth leader date for SteepleChase, has found a way to adapt his playing so it fits neatly with the more modern direction of his rhythm section: pianist George Colligan, bassist Ugonna Okegwo and drummer Billy Drummond. Opening with the Lucky Thompson tune “No More,” the tenorist offers a sensitive reading that holds some of the earmarks of the Thompson sound. The rest of the way through older standards, Johnny Mandel’s “Emily” and three Ambrose originals, the leader plays with a quality that will remind listeners of Bean, Ben and Lester. The smooth, relaxed feel of his tenor work, while perhaps old-school, shows plenty of technical skill and creative flair. He spices up his solos with occasional flurries of notes that aren’t exactly within his stylistic zone but somehow seem to fit nicely. Colligan doesn’t play with his usual adventurous edge but keeps everything together within the rhythm team. With so many of the young tenor voices continuing to follow John Coltrane or Sonny Rollins or turning toward free-form abstraction, it’s refreshing to find Ambrose employing the tradition, taking it back and bringing it forward. If nothing else, he, Mark Turner, Ned Goold, Chris Byars and even Scott Hamilton are offering something different in what often seems to be a world of clones. https://jazztimes.com/reviews/albums/ari-ambrose-whatever-happens/

Personnel:  Ari Ambrose, tenor sax; George Colligan, piano; Ugonna Okegwo, bass; Billy Drummond, drums.

Whatever Happens

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Sally Oldfield - Natasha

Styles: Vocal 
Year: 1990
File: MP3@320K/s
Time: 43:14
Size: 100,6 MB
Art: Front

(3:51)  1. Break Through The Rock
(4:50)  2. Natasha
(4:35)  3. Keep The Fire Burning
(2:20)  4. Clear Light
(5:44)  5. My Drumbeat Heart
(4:03)  6. Song Of The Mountain
(5:01)  7. You Break Like A Wave
(4:12)  8. Maya
(4:31)  9. In The Presence Of The Spring
(4:03) 10. Guiding Star

Sally Patricia Oldfield (born 10th March 1947) is a singer-songwriter, sister of composers Mike and Terry Oldfield. Born in Dublin, Ireland, Oldfield was raised in the Roman Catholic faith of her mother, Maureen. Spending her childhood in Reading, Berkshire, Oldfield studied ballet from the age of four and won numerous competitions in all styles of dance, including ballet, tap and modern. At the age of eleven, she won a scholarship to the Royal Academy of Dancing, then located in Holland Park, London, and two years later was starred to move on to the Royal Ballet School at White Lodge. However, she gave up ballet two years later, and achieved three A-Levels at Grade A. She studied classical piano to Grade 7. All her school years were spent at St Joseph's Convent School, Reading, where she became friends with Marianne Faithfull. Oldfield went on to read English Literature and Philosophy at Bristol University. https://en.wikipedia.org/wiki/Sally_Oldfield

Natasha

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Stephen Riley - Once Upon A Dream

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 68:57
Size: 158,3 MB
Art: Front

(5:54)  1. Israel
(6:52)  2. I'm an Old Cowhand
(7:45)  3. In My Solitude
(8:13)  4. Swinging Till the Girls Come Home
(5:00)  5. Lover Come Back to Me
(6:07)  6. The Very Thought of You
(8:20)  7. Tea for Two
(6:03)  8. All of You
(7:13)  9. Meditation
(3:56) 10. Once Upon a Dream
(3:31) 11. Tune Up

Stephen Riley's third CD as a leader for Steeplechase, like his earlier sessions for the label, is a pianoless affair, but the tenor saxophonist's sole musical partner is fellow Duke University jazz professor John Brown on bass. Although duos of tenor sax and bass are hardly a novelty, they aren't that common; Riley and Brown make the addition of other musicians unnecessary. The repertoire they chose for the recording included standards and a sprinkling of jazz compositions, almost all of which were written prior to 1960. Johnny Carisi's "Israel" has long been a favorite of jazz musicians and the duo's intricate interpretation proves that the lack of piano is no problem. Like Sonny Rollins, they find possibilities within Johnny Mercer's "I'm an Old Cowhand," though the only percussion is provided by Brown's playful taps on the body of his bass; Riley's humor comes through as he uses the full range of his horn and adds a few flutters without overdoing them. Riley's lush rendition of Duke Ellington's "In My Solitude" has the lyricism of Ben Webster, while Brown's arco bass provides a sublime background. Brown walks up a storm in Oscar Pettiford's "Swinging Till the Girls Come Home." Even old chestnuts like "Tea for Two" keep one's interest, due to the inventive approach of Riley and Brown. "Once Upon a Dream" was adapted from Tchaikovsky's ballet The Sleeping Beauty, and the duo's setting of this charming jazz waltz is full of lyricism. Both Stephen Riley and John Brown merit wider attention in the jazz press with this outstanding CD. ~ Ken Dryden https://www.allmusic.com/album/once-upon-a-dream-mw0000585362

Personnel: Stephen Riley (tenor saxophone).

Once Upon A Dream

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Andrei Kondakov & Paul Bollenback - Alone and Together

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 55:43
Size: 128,5 MB
Art: Front

(7:00)  1. Song for Michel (Kondakov)
(3:57)  2. Together (Bollenback)
(7:02)  3. And I Love Her (Lennon - McCartney)
(4:55)  4. Alone Together (Dietz - Schwartz)
(5:16)  5. Skylark (Carmichael - Mercer)
(6:08)  6. If I Should Lose You
(8:17)  7. Cat's Eye (Bollenback)
(4:33)  8. Alone (Kondakov)
(8:30)  9. I Thought About You (Mercer - Van Hensen)

Award-winning jazz guitarist Paul Bollenback developed a taste for the exotic over the course of a three-year period when his family lived in India. He was 11 years old when the family traveled to New Delhi, and years later the sounds and experiences of that early journey found their way into his first album from Challenge Records, Original Visions. His next release, Double Gemini, continued to stir up a buzz among critics, and it drew honors as CD of the Month from both WBGO, a Newark jazz station, and 20th Century Jazz Magazine. Bollenback remained with Challenge for his next project, Soul Grooves.The guitarist first got his hands on an instrument with nylon strings when he was seven years old. The guitar was a gift from his dad, who adored music as much as the younger Bollenback and also played the trumpet. At the age of 14, the budding guitarist headed home to the states with his family, where he discovered the delights of rock & roll. Around this time he started to play the electric guitar, another gift from his dad. When he discovered Miles Davis, it was a major turning point in his musical development.

Bollenback's education includes music studies at the University of Miami. He continued his studies with eight more years of private instruction under the tutelage of Asher Zlotnik in Baltimore. In 1993, the year that he embarked on a European tour, he received a National Endowment for the Arts grant, in conjunction with the Virginia Commission on the Arts, for "New Music for Three Jazz Guitars." The Washington Area Music Awards dubbed him Musician of the Year in 1997, the same year that he joined the music faculty at American University. SESAC honored two of his original pieces, "Romancin' the Moon" and "Wookies' Revenge," both of which were included on the album Reboppin' by Joey DeFrancesco, who returned the favor by appearing on Bollenback's Soul Grooves. he Litchfield Jazz Festival Summer Music School installed Bollenback as artist-in-residence. He also is a featured artist on the bill of the Summer Guitar & Bass Workshop offered by Duquesne University. The guitarist has performed on numerous television programs, among them Entertainment Tonight, The Tonight Show, The Today Show, Joan Rivers, and Good Morning America. He has shared the stage with a long list of musical artists, including Charlie Byrd, Arturo Sandoval, Herb Ellis, Stanley Turrentine, Spyro Gyra's Scott Ambush, and Della Reese. ~ Linda Seida https://www.allmusic.com/artist/paul-bollenback-mn0000746344/biography  

Alone and Together

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Thomas Quasthoff - A Portrait

Styles: Vocal

Year: 2001
File: MP3@320K/s
Time: 77:20
Size: 192,2 MB
Art: Front

( 4:04)  1. Erlkönig (Schubert)
( 4:47)  2. Der Zwerg, op. 22,1 (Schubert)
( 5:33)  3. Prometheus (Schubert)
( 5:03)  4. Der Lindenbaum (Schubert)
( 3:40)  5. Mondnacht (Schumann)
( 1:25)  6. Im wunderschönen Monat Mai (Schumann)
( 4:05)  7. Belsazar, op. 57 (Schumann)
( 4:30)  8. Eilt, ihr angefochtnen Seelen (J. S. Bach)
( 4:10)  9. Mein teurer Heiland, laß dich fragen (J. S. Bach)
( 5:11) 10. Hai gia vinta la causa - Vedro mentre io sospiro (Mozart)
( 5:46) 11. Madamina, il catalogo e questo (Mozart)
( 2:00) 12. Deh! vieni alla finestra, o mio tesoro (Mozart)
( 2:52) 13. Der Vogelfänger bin ich ja (Mozart)
( 4:13) 14. Ein Mädchen oder Weibchen (Mozart)
( 2:42) 15. pa-pa-pa-pa (Mozart)
( 4:41) 16. In diesen heil'gen Hallen (Mozart)
(12:31) 17. Des besten Königs Wink und Wille (Beethoven)

Quasthoff’s reputation has increased with each new disc‚ so it is a good idea of RCA’s to issue this composite picture of his achievements to date. We are here reminded that the eminent bass­baritone has just about every virtue called for in practically all the repertory included here. His voice is faultless in tonal production and technical assurance: he always sings with thought for the text; word and note become as one. These assets are controlled by a sharp‚ intelligent mind and an emotional impulse that makes every reading a sustenance for ear and mind. The Schubert group four dramatic songs‚ one reflective are delivered with a marked emphasis on firm tone‚ a refined legato and acute use of text. His Schumann is hardly less successful The two airs from Bach’s St John Passion have the breadth of line and sonorous voice that make them near­ideal. In Mozart‚ his imposing account of Count Almaviva’s outburst contrasts nicely with his suave Giovanni‚ but his Leporello is rather too well­behaved. The traversal of Sarastro’s second aria is the very epitome of wise authority and most beautiful to hear. He plays Papageno pretty straight‚ and then in the only new item here he’s joined by Caballé‚ of all singers‚ for the duet with Papagena‚ a real collector’s piece‚ the then 65­year­old diva just about keeping up with her partner. Finally comes the closing scene of Fidelio with Quasthoff‚ as I wrote when the set came out‚ as noble and warm a Don Fernando as one could wish. Sir Colin Davis is at his best in this extract from what overall is an uneven set. Elsewhere in the present compilation the piano playing and conducting are all worthy of this artist’s profoundly satisfying work.

A Portrait

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The Modern Jazz Quartet - Topsy: This One's For Basie

Bitrate: MP3@320K/s
Time: 52:59
Size: 121.3 MB
Styles: Contemporary jazz
Year: 1985/2002
Art: Front

[4:09] 1. Reunion Blues
[5:03] 2. Nature Boy
[4:40] 3. Topsy Ii
[8:27] 4. D And E (Retake 1, Master)
[6:46] 5. Valeria
[5:51] 6. Milano
[8:16] 7. Le Cannet
[9:44] 8. D And E (Alternate Take)

Bass – Percy Heath; Drums – Connie Kay;Piano – John Lewis; Vibraphone – Milt Jackson. Recorded at RCA Recording Studios, New York City, June 3rd & 4th 1985.

Despite the title of this CD, the music on this 1985 studio set from The Modern Jazz Quartet is not a program of Count Basie tunes (with the exception of "Topsy") although Basie apparently liked the John Lewis composition "D and E." The other unrelated music is highlighted by an unaccompanied feature for vibraphonist Milt Jackson ("Nature Boy"), "Reunion Blues" and three more complex pieces from pianist John Lewis. Overall this CD gives listeners a fine example of the music of The MJQ during the 1980s. ~Scott Yanow

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Femi Kuti - One People One World

Bitrate: MP3@320K/s
Time: 50:23
Size: 115.3 MB
Styles: Afro beat
Year: 2018
Art: Front

[4:44] 1. Africa Will Be Great Again
[5:13] 2. Best To Live On The Good Side
[3:33] 3. One People One World
[3:38] 4. Na Their Way Be That
[2:28] 5. How Many
[3:19] 6. Evil People
[4:48] 7. Equal Opportunity
[3:50] 8. E Get As E Be
[6:25] 9. Corruption Na Stealing
[4:10] 10. Dem Don Come Again
[4:31] 11. Dem Militarize Democracy
[3:40] 12. The Way Our Lives Go

In the five years between Femi Kuti's Grammy-nominated No Place for My Dream and One People One World, he's been a busy man. He regularly performs at The Shrine, the performance space he built as a memorial to his late father Fela Kuti, he's a touring musician, and he also serves as a traveling ambassador for Amnesty International. (He also found time in 2017 to break the Guinness world record for the longest-held single note on a saxophone -- 51 minutes and 35 seconds.)

One People One World is Kuti's tenth album with his longstanding band Positive Force and its musical director and guitarist Opeyemi Awomolo. Unlike the righteous anger that inspired almost all of his previous recordings, One People One World is by contrast more affirmative; it's celebratory without sacrificing its activism. While Afrobeat is at the core of these 12 songs, Kuti picks up on the mosaic he began weaving on No Place for My Dream by incorporating the harmonies and rhythms of reggae, highlife, soul, R&B, hip-hop, and other global sounds into its mix, adding depth and complexity without sacrificing immediacy and accessibility. The title-track single commences with driving Afrobeat horns, but the rest of the band erupts into calypso and highlife celebration as Kuti and his backing singers deny racism, greed, and hatred the power to conquer the earth. With an infectious, swinging organ, "Africa Will Be Great Again" is a protest jam that details the corruption and greed that hold her back as a continent, but its pulsing wave of salsa, soca, and highlife makes it an irresistible anthem as Kuti posits the reclamation of the continent as the cradle of civilization and the heartbeat of the world. The D'Angelo-esque soul in "It's Best to Live on the Good Side" is carried by slinky, bubbling basslines, vamping R&B guitars, and a swirling organ. When the horns enter, thunder cracks as circular drumming and percussion thread in Afro-Cuban (Yoruban) rhythms. Second single "Na Their Way Be That" opens with cooking reggae before Femi's soulful saxophone solo and an Afrobeat chant cut in from the margin. "Evil People" is stomping, funky R&B, fueled by J.B.'s-style horns, layers of breakbeat drums, chunky wah-wah guitar, and congas. Immediately following is "Equal Opportunity," where Kuti and his backing chorus evoke the celebratory vibe of Curtis Mayfield's "Move on Up," and add jazzy Rhodes piano and Afrobeat horns and rhythms. Even straight-up Afro-funk jams like "Dem Militarize Democracy" open to embrace driving son rhythms, popping R&B basslines, and souled-out vocal and guitar choruses. The dubwise soul of closer "The Way Our Lives Go" is the set's most poetic and inspiring track. Kuti and Positive Force don't let up at all during One People One World. Impeccably sequenced, it runs from strength to strength, dazzling with expansive sonic textures, killer arrangements, and a musical genre palette that exists seemingly without boundaries. As a recording artist, Kuti has been reliably consistent, but this date is his masterpiece. ~Thom Jurek

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Maxine Sullivan - We Just Couldn't Say Goodbye

Bitrate: MP3@320K/s
Time: 74:04
Size: 169.6 MB
Styles: Vocal jazz, Standards
Year: 1995/2015
Art: Front

[2:44] 1. We Just Couldn't Say Goodbye
[2:24] 2. Someday Sweetheart
[2:50] 3. Exactly Like You
[2:49] 4. That Old Feeling
[2:34] 5. Miss Otis Regrets
[2:44] 6. I'm Gonna Sit Right Down And Write Myself A Letter
[3:58] 7. It's The Talk Of The Town
[2:44] 8. I Gotta Right To Sing The Blues
[2:48] 9. She's Funny That Way
[2:33] 10. St. Louis Blues
[2:53] 11. Between The Devil And The Deep Blue Sea
[2:09] 12. Legalize My Name
[2:22] 13. You Were Meant For Me
[3:29] 14. I'm Beginning To See The Light
[4:04] 15. I Thought About You
[2:36] 16. Between The Devil And The Deep Blue Sea #2
[4:11] 17. I Got It Bad, And That Ain't Good
[3:55] 18. Brother, Can You Spare A Dime
[4:14] 19. Georgia On My Mind
[3:22] 20. Don't Get Around Much Any More
[2:19] 21. Skylark
[2:57] 22. What Is There To Say
[3:33] 23. I Didn't Know About You
[3:42] 24. Just One Of Those Things

Two former LPs are combined on this single CD. The subtle but always swinging singer Maxine Sullivan is heard on a very pleasing 1983 session in which she is joined by trumpeter Doc Cheatham (who sounds quite lyrical), the underrated clarinetist Herb Hall, pianist Red Richards, bassist Ike Isaacs and drummer Tom Martin. But good as that date is, it is the first half of this CD that is most memorable. Sullivan sounds exuberant while being inspired by the great cornetist Ernie Carson, Spencer Clark on baritone, pianist Art Hodes, bassist Johnny Haynes and drummer Martin. Carson takes many heated solos; Hodes is often rollicking, and Sullivan's voice is heard throughout in prime form -- she even takes a valve trombone solo on one song. Highlights include definitive versions of "We Just Couldn't say Goodbye," "Someday Sweetheart," "That Old Feeling" and "Between the Devil and the Deep Blue Sea." In addition, there is a previously unreleased version of "It's the Talk of the Town" from Feb. 8, 1978, a very spontaneous performance with Hodes' band during an otherwise instrumental session. Highly recommended. ~Scott Yanow

We Just Couldn't Say Goodbye   

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Angelita Li - Caminhos Cruzados

Bitrate: MP3@320K/s
Time: 57:56
Size: 132.6 MB
Styles: Jazz-Pop vocals
Year: 2002
Art: Front

[5:22] 1. Close To You
[5:49] 2. Caminhos Cruzados
[5:42] 3. Good Morning Heartache
[4:11] 4. Uma Noite
[5:05] 5. He Loves You
[4:11] 6. Inutil Paizagem
[5:59] 7. Más Allá
[8:15] 8. 500 Miles High
[4:30] 9. So Far Away
[8:48] 10. Wishing On A Star

Bass – Anders Christensen; Drums – Mikkel Hess; Guitar [Guitars] – Eugene Pao; Keyboards – Nikolaj Torp; Percussion – Tira Skambye Madsen; Saxophone [Saxophones], Clarinet – Hans Ulrik; Vocals – Angelita Li. Recorded at Granny Studios, Copenhagen, June 28 - 30 2001.

In June 2001 Angelita Li went to Copenhagen to record a cd with Hans Ulrik and his closely-knit band. The result is delightful. Charming and highly sensual music, inter alia coloured by warm Brazilian rhythms, and interpreted by the enticing Chinese singer Angelita Li, who sings just as charmingly in English as she does in Portuguese. The music is sparkling, straightforward and perfect for any occasion. No new ground is broken, but there are plenty of contributions from highly professional musicians with their heart in the right place. We have invented a new genre - jazz-light. A cd for any occasion; catching, pleasant and sensual. Delicious jazz pop, here and in Hong Kong - and in the rest of the world!

Caminhos Cruzados

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Tommy Flanagan, Tommy Cecil, Billy Hart, Paul Bollenback, Gary Bartz, Cyro Baptista - Samba For Felix

Bitrate: MP3@320K/s
Time: 60:47
Size: 139.1 MB
Styles: Bop, Piano jazz
Year: 1999
Art: Front

[8:25] 1. Samba For Felix
[5:52] 2. Don't Get Around Much Anymore
[6:03] 3. You're So Retro
[9:01] 4. Ce
[7:27] 5. Cavalier
[8:17] 6. The Heather On The Hill
[6:56] 7. Perspective Changes
[8:43] 8. Pastorale

Though headlined by Tommy Flanagan, Samba for Felix is truly Tommy Cecil's recording session. Cecil serves as the bandleader, principle songwriter (writing five of the album's eight tracks), and outstanding bassist on this valuable set. For his part, Flanagan is masterful on piano and is expertly joined by Billy Hart (drums), Gary Bartz (alto sax), Paul Bollenback (guitar), and Cyro Baptista (percussion). This all-star cast would be expected to put forth a great effort and they do not disappoint. The title track is a wailing samba, highlighted by Bollenback's intense guitar attack. "Don't Get Around Much Anymore" stays true to Ellington's simple and evocative melody. "Ce" takes on a distinctive Latin flavor and is notable for Baptista's sensitive accompaniment. "The Heather on the Hill" is a lovely ballad on which Bartz makes the alto sing. "Pastorale," a Cecil original, closes the set with understated brilliance. Throughout Samba for Felix, Billy Hart and Cecil lay down a deep, pronounced groove and Flanagan displays the confidence of a genuine master with nothing more to prove. This album is highly recommended. ~Brian Bartolini

Samba For Felix mc
Samba For Felix zippy

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Kenny Kirkland - Kenny Kirkland

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 62:37
Size: 143,6 MB
Art: Front

(8:07)  1. Mr. J.C.
(3:32)  2. Midnight Silence
(1:35)  3. El Rey
(6:02)  4. Steepian Faith
(6:49)  5. Celia
(6:01)  6. Chance
(5:39)  7. When Will the Blues Leave
(8:36)  8. Ana Maria
(7:48)  9. Revelations
(5:19) 10. Criss Cross
(3:04) 11. Blasphemy

Keyboardist Kenny Kirkland's long-overdue debut as a leader really stretches his talents and is occasionally unpredictable. Virtually each of the performances has its own personality and the personnel and instrumentation differ throughout the release. Among the highlights is "Mr. J.C." (which features some stormy Branford Marsalis tenor), an electric Latin but still boppish update of Bud Powell's "Celia" (taken as a duet with percussionist Don Alias), the struttin' "Steepian Faith," a driving rendition of Ornette Coleman's "When Will the Blues Leave" that has some free bop alto from Roderick Ward, and Latin versions (with percussionist Jerry Gonzalez) of two standards not normally thought of as belonging to that idiom: Wayne Shorter's "Ana Maria" and Thelonious Monk's "Criss Cross." This highly recommended CD has more than its share of brilliant moments. ~ Scott Yanow https://www.allmusic.com/album/kenny-kirkland-mw0000676542

Personnel: Kenny Kirkland (piano, keyboards); Branford Marsalis (soprano & tenor saxophones); Charnett Moffet, Robert Hurst, Christian McBride (bass); Steve Berrios (drums, percussion); Jeff "Tain" Watts (drums); Don Alias (bongos, percussion); Jerry Gonzalez (congas, percussion).

Kenny Kirkland

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Aga Zaryan - Remembering Nina & Abbey

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 61:45
Size: 141,8 MB
Art: Front

(5:45)  1. Don't Let Me Be Misunderstood
(4:25)  2. Wild Is The Wind
(4:40)  3. My Baby Just Cares For
(4:23)  4. When Love Was You And Me
(4:31)  5. Long As You're Living
(3:40)  6. I Want A Little Sugar In My Bo
(5:20)  7. Lilac Wine
(5:05)  8. I Got Thunder (And It Rings)
(3:17)  9. Bird Alone
(4:43) 10. Avec Les Temps
(8:25) 11. Strange Fruit
(5:34) 12. Who Knows Where The Time Goes
(1:52) 13. Beautiful Land

The latest album by Agnieszka Czulak (known as Aga Zaryan ) entitled Remembering Nina & Abbey is a direct reference to the work of Nina Simone and Abbey Lincoln , black female singers who have been distinguished in history as women struggling to abolish racial discrimination. Until now, Zaryan only performed single songs from the repertoire of these personalities (eg Suzanne Niny Simone or Throw it Away Abbey Lincoln). This time, however, the album is completely covered by the covers of the two mentioned jazz music.  http://allaboutmusic.pl/aga-zaryan-remembering-nina-abbey-2013-recenzja-szymona-jaremy/

Remembering Nina & Abbey

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Dave Stryker - Big Room

Styles: Guitar Jazz
Year: 1998
File: MP3@320K/s
Time: 56:10
Size: 128,7 MB
Art: Front

( 9:00)  1. Big Room
( 7:41)  2. Nascimento
( 8:15)  3. Hymn
( 8:35)  4. Jabali
(10:30)  5. Mood
( 9:15)  6. Arrival
( 2:51)  7. Hymn(Reprise)

On his latest album Dave Stryker put together a superlative group featuring the New York scene’s most original tenor saxophonist Rick Perry. With his “ enormous technique, rock-hard swing, and a penchant for finely-sculpted solos ” (Chicago Weekly) and “ with a soulful, Grant Green tone and one of the most natural sense of melodic invention …”(The Seattle Times) Dave Stryker welcomes you to the Big Room

Personnel:  Tenor Saxophone – Rich Perry;  Bass – Ed Howard;  Drums – Billy Hart;  Guitar, Composed By – Dave Stryke

Big Room

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Cecil Brooks III - For Those Who Love to Groove

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 67:10
Size: 154,7 MB
Art: Front

(4:06)  1. Get Lonely
(5:43)  2. Mother And Child
(4:53)  3. Stay One Step Ahead
(4:03)  4. Browne James
(3:31)  5. Sweet Summer Breeze
(5:06)  6. Can We Talk
(7:11)  7. Lakumbe's Theme
(6:06)  8. Adreena
(4:32)  9. Swamp Run
(4:19) 10. Yvette
(6:35) 11. Hill District
(2:32) 12. Body And Soul
(2:20) 13. I Gan't Get Started
(2:53) 14. Tenderly
(3:14) 15. Sanj's Smoke Shop

On drummer Cecil Brooks III's Savant debut he is joined by tenor saxophonist Don Braden, alto saxophonist Bruce Williams, trumpeter Riley Mullins, and organist Radam Schwartz to perform ten originals by the group members, two pop songs, and a ballad medley. While Brooks is a modern hard bop drummmer in the tradition of Art Blakey, he chooses to stay in the background for most of this recording, while Schwartz plays strong basslines that are essential to creating the groove that is this recording's focus. Favorites include the soulful finger poppin' grooves of "I Get Lonely," a pop hit for Janet Jackson; "Can We Talk," a pop hit for Tevin Campbell; the exotic grooves of "Browne James" and "Lakumbe's Theme"; and the up-tempo burning grooves of "Swamp Run" and "Hill District." This is different from the bop, blues, and ballads that most organ-based groups play, which makes it an enjoyable listening experience. ~ Greg Turner https://www.allmusic.com/album/for-those-who-love-to-groove-mw0000251490

Personnel: Cecil Brooks III (drums); Bruce Williams (alto saxophone); Don Braden (tenor saxophone); Riley Mullins (trumpet); Radam Schwartz (organ)

For Those Who Love to Groove

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Billy Hart - Oshumare

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 54:59
Size: 125,9 MB
Art: Front

( 6:17)  1. Duchess
( 7:44)  2. Waiting Inside
( 5:56)  3. Chance
( 7:27)  4. Lorca
( 4:45)  5. Cosmosis
(10:20)  6. Idgaf Suite
( 6:09)  7. May Dance
( 6:17)  8. Mad Monkey

Billy Hart is a perfect example of a drummer who has an impressively long list of sideman credits but has only recorded sporadically as a leader. One of the few sessions that he led in the 1980s was 1985's Oshumare, a Gramavision date that has one foot in fusion and the other in straight-ahead post-bop. Hart oversees an interesting blend of acoustic and electric instruments; Dave Holland is on upright bass, while the electric contributions come from Kenny Kirkland or Mark Gray on keyboards and Bill Frisell or Kevin Eubanks on electric guitar. Rounding out the cast which could almost be described an all-star cast are Branford Marsalis on tenor sax, Steve Coleman on alto sax, Didier Lockwood on violin, and Manolo Badrena on percussion. However, the use of the term all-star would be a slight exaggeration because not all of the musicians became major names in jazz although most of them did. But it is no exaggeration to say that Hart leads an impressive cast of players on this CD or that the material is generally solid; that is true of Hart's Latin-flavored "Lorca" as well as Frisell's mysterious "Waiting Outside" and Eubank's abstract "IDGAF Suite." Parts of Oshumare are essentially straight-ahead, especially Holland's fast-paced "Cosmosis." But this album cannot honestly be described as the work of a jazz purist. One minute Hart is straight-ahead, and the next he encourages Eubanks or Kirkland to take things in more of a fusion direction. And that speaks well of the drummer (who was 44 or 45 when this album was recorded), because it demonstrates that he is willing to listen to what younger musicians have to say. Oshumare makes listeners wish that Hart had recorded more albums as a leader in the 1980s. ~ Alex Henderson https://www.allmusic.com/album/oshumare-mw0000188147

Personnel includes: Billy Hart (drums); Branford Marsalis, Steve Coleman (saxophone); Didier Lockwood (violin); Bill Frisell (guitar); Dave Holland (bass); Kevin Eubanks, Kenny Kirkland (piano).

Oshumare

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