Brubeck Brothers Quartet - Lifetimes

Bitrate: MP3@320K/s
Time: 55:18
Size: 126.6 MB
Styles: Contemporary jazz
Year: 2012
Art: Front

[ 6:02] 1. The Duke
[ 6:26] 2. Jazzanians
[ 7:10] 3. Kathy's Waltz
[ 7:03] 4. Go Round
[ 5:14] 5. Prezcence
[ 6:46] 6. The Girl From Massapequa
[ 6:08] 7. My One Bad Habit
[10:25] 8. Take Five

Chris Brubeck: electric bass, bass trombone; Dan Brubeck: drums; Mike DeMicco: guitar; Chuck Lamb: piano.

LifeTimes, the fourth CD from the Brubeck Brothers Quartet, is a powerful tribute to musical giant Dave Brubeck by two of his natural sons (bassist/trombonist Chris Brubeck and drummer Dan Brubeck) and two of their "honorary brothers" (guitarist Mike DeMicco and pianist Chuck Lamb). Half the compositions are Dave's, most of them dating back decades, but they are so freshly imagined that they sound as if they've just been written. The set ends with "Take Five," which is Paul Desmond's tune but arguably Dave's most famous performance (here, it starts with a second-line, New Orleans groove).

Downloaders will miss a rare historic document, as the CD package is full of nostalgic family photos and revealing notes by Chris, which includes this heartwarming sentence: "We have taken the greatest pleasure in playing these tracks for Dave, who, at nearly 92, grins from ear to ear when he hears our take on his ageless compositions."

While it's clear the project is historically important, the CD stands on its own because of the Brubeck Brothers Quartet's consistently high level of mastery. It's rare to find this combination of sizzling swing, rich melodies, tight arrangements, inventive solos, and warm, yet crisp recording. As always, Chris's fretless expressions on trombone and bass are strong, propulsive, and full of wit (check out his solos on both instruments in "Prezcence"), while Dan's polyrhythms are rarely less than electrifying. Both DeMicco and Lamb are also superb, and their compositions and interpretations fit seamlessly into the mix.

I have a special fondness for the driving juggernaut of "Jazzanians," but the whole CD rocks like mad. It only slows down once, for the ballad "My One Bad Habit," where Chris's trombone lead is achingly soulful. In sum, it's easy to understand why Dave was so happy to hear "LifeTimes"; I did quite a lot of grinning myself. ~DR. JUDITH SCHLESINGER

Lifetimes mc
Lifetimes zippy

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Cory Weeds, Bill Coon Quartet - With Benefits

Bitrate: MP3@320K/s
Time: 66:18
Size: 151.8 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[5:29] 1. Broadway And Alma
[5:17] 2. There's A Small Hotel
[7:27] 3. Cory's Story
[5:20] 4. Smile Stacey
[6:39] 5. East Of The Sun
[7:08] 6. With Benefits
[8:29] 7. Search For Peace
[8:43] 8. Just Squeeze Me
[7:09] 9. Wesology
[4:34] 10. Sunday Morning

Cory Weeds: tenor saxophone, Bill Coon: guitar, Peter Washington: bass, Lewis Nash: drums.

A saxophonist with an expressive sound rooted in Jazz tradition, a label owner tirelessly documenting unsung Jazz heroes, one of Canada’s most important Jazz impresarios, the hardest-working man in Jazz business – Cory Weeds is all of these things, and much more. Weeds may be best known as the founder and owner of Cory Weeds’ Cellar Jazz Club in Vancouver, which he successfully ran for more than 13 years. Weeds built the Cellar to become one of North America’s best Jazz clubs, where masters such as George Coleman, Jeff Hamilton, Louis Hayes, David “Fathead” Newman, Dr. Lonnie Smith, and the finest Jazz musicians from Vancouver and across Canada performed before it closed in February 2014.

But he wasn’t just the club owner. As a saxophonist who studied at the University of North Texas and Capilano College, Weeds spent many nights on the Cellar bandstand as a leader and sideman. He held his own when performing with icons like Joey DeFrancesco and Christian McBride. Weeds has also recorded twelve albums as a leader, including: Dreamsville (with The Jeff Hamilton Trio), It’s Easy To Remember (with David Hazeltine, Joe Magnarelli, Paul Gill and Jason Tiemann) This Happy Madness, (with The Jeff Hamilton Trio), Condition Blue, The Music Of Jackie McLean (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth), As Of Now (with the Harold Mabern Trio), Let’s Go (with Steve Davis), the Juno-nominated Up A Step (Cory Weeds Quartet), With Benefits (with Lewis Nash and Peter Washington), Just Like That (with the Tilden Webb Trio), The Many Deeds of Cory Weeds (with Joey DeFrancesco), Everything’s Coming Up Weeds (with Jim Rotondi), and Big Weeds (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth).

With Benefits mc
With Benefits zippy

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Lucy Ann Polk - Lucy Ann Polk With The Les Brown Orchestra

Bitrate: MP3@320K/s
Time: 76:32
Size: 175.2 MB
Styles: Vocal jazz
Year: 1997
Art: Front

[2:34] 1. Swingin' At The Met
[3:00] 2. Sometimes I'm Happy
[2:53] 3. Boptized
[2:50] 4. Waitin' At The Station
[2:04] 5. Sabre Dance
[2:01] 6. Where Are You
[3:26] 7. How High The Moon
[2:33] 8. You're Different
[2:21] 9. Rosetta
[2:15] 10. Crazy He Calls Me
[3:23] 11. Them There Eyes
[1:55] 12. What's Happened To Joe
[2:59] 13. Moon Of Manakoora
[1:34] 14. It's Too Soon To Know
[3:16] 15. Bopple Sauce
[2:39] 16. Black Coffee
[2:08] 17. Pretty Baby
[3:19] 18. Squeeze Me
[2:41] 19. I May Be Wrong
[1:57] 20. Again
[2:08] 21. Honeysuckle Rose
[1:56] 22. September Song
[3:36] 23. Pell Mell
[2:59] 24. Rock Me To Sleep
[2:44] 25. Harlem Nocturne
[2:56] 26. Back In Your Own Backyard
[2:11] 27. Laura
[3:26] 28. I've Got The World On A String
[2:32] 29. The Song Is Ended

Lucy Ann Polk (May 16, 1927 – October 10, 2011) was an American jazz singer who performed with Les Brown's orchestra in the 1950s. Polk began her music career with her sister and brothers in a quartet named the Four Polks, which was eventually changed to the Town Criers. They performed with big bands led by Les Brown, Lionel Hampton, and Kay Kyser until they disbanded in 1948. Polk became the lead vocalist with the Les Brown Orchestra. From 1952–1954, she was named Best Girl Singer with Band by Down Beat magazine.

She began her solo career with the album Lucy Ann Polk with the Dave Pell Octet (Trend, 1954), followed by Lucky Lucy Ann (Mode, 1957; reissued by Interlude under the name Easy Livin in 1959). The latter album featured arrangements by Marty Paich. On both albums, she sang jazz and traditional pop songs by Duke Ellington, Billy Strayhorn, Hoagy Carmichael, Cole Porter, Sammy Cahn, Jule Styne, and Jimmy Van Heusen. She released no more albums and ended her career in 1960.

Lucy Ann Polk with the Les Brown Orchestra 

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Jordan Officer - Blue Skies

Bitrate: MP3@320K/s
Time: 40:33
Size: 92.8 MB
Styles: Jazz/Blues guitar
Year: 2015
Art: Front

[3:21] 1. Blue Skies
[2:58] 2. Got You On My Mind
[2:58] 3. It's You I Love
[3:04] 4. Shot Of Rhythm And Blues
[4:28] 5. Chains Of Love
[4:08] 6. Night Flight
[2:40] 7. How Long Blues
[3:38] 8. That's For Me
[3:54] 9. Then She Kissed Me
[5:01] 10. When The Deal Goes Down
[4:18] 11. Takin' Off

Jordan Officer treads a fine line between jazz, blues, country and traditional rock’n’roll. On his latest release, Blue Skies, he opens the album with his version of Tom Waits’ title track, but eschews Waits’ solo finger-picking in favour of a two guitar backing, one comping and one adding solos and licks, adding a trad-jazz sheen that wasn’t altogether obvious on the original. And it works very nicely, adding a little joie de vivre to the already-excellent original.

As it turns out, this inventive, almost playful approach to the music inhabits the rest of a fascinating album that takes in covers by Waits, Leroy Carr, Bob Dylan, Fats Domino and Phil Spector as well as songs popularised by the likes of The Big Three Trio, Big Joe Turner, Louis Armstrong and Arthur Alexander. Officer himself contributes two instrumentals, the enticingly discordant “Night Flight” and the closing track, “Takin’ Off”, which features the top-notch keyboard talents of Augie Meyers, formerly with the Sir Douglas Quintet and the Texas Tornados. ~Rhys Williams

Blue Skies mc
Blue Skies zippy

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NYC Jazz Quartett, Nashi Young Cho - The Great American Jazz Songbook Vol 1

Bitrate: MP3@320K/s
Time: 72:06
Size: 165.1 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[3:14] 1. Moonlight In Vermont
[5:54] 2. Cheek To Cheek
[3:30] 3. Fly Me To The Moon
[3:22] 4. You Took Advantege Of Me
[4:18] 5. Blue Moon
[3:51] 6. Honeysuckle Rose
[5:07] 7. Lover Man
[4:06] 8. Mambo Craze
[3:09] 9. One Note Samba
[4:19] 10. How Insensitive
[4:05] 11. That Old Devil Called Love
[2:58] 12. Santa Baby
[3:19] 13. Diamond's Are A Girl's Best Friend
[3:38] 14. Paris Match
[6:24] 15. What A Difference A Day Makes
[3:25] 16. Why Don't You Do Right
[3:40] 17. My Baby Just Cares For Me
[3:37] 18. As Time Goes By

Hello, my name is Nashi Young Cho. I sing, speak, moderate, compose and act. Since early childhood, I sang in public and wrote my own songs. I have already worked as a singer parallel to the A-levels and now have my own recording studio and a jazz band. I have made jazz / lounge / soul / electro releases, as well as numerous jobs in advertising, events (live music). Currently I'm moderating the event magazine X on the radio, Radio X Frankfurt. In addition, as a single singer, I'm on the road with my own band or another, have a large repertoire in the field of jazz, soul, classics, charts. I have been involved in musicals and have been working as a broadcaster, as well as voice-over roles in TV and theater productions, as well as advertising and language course production. I am pleased with inquiries that challenge me because I am versatile. Sincerely. ~Nashi young cho

We combine traditional jazz with modern lounge music. We play the pearls of jazz in sophisticated arrangements. Travel with us from trendy New York to glamorous Hollywood. Experience the soul of the Blue Note Classics and enjoy a touch of sophisticated exoticism. Atmospheric original compositions alternate with newly arranged pop songs and popular movie classics. Energetic soul jazz, groovy cool jazz, swing, bossa nova and chachacha pieces take you to musical paradise. Our exotic cocktail with its heavenly magic gives some often heard songs a new, unexpected sheen. NYC Jazz Quartet sounds like pure jazz holidays. (Translated from German.)

The Great American Jazz Songbook Vol 1 mc
The Great American Jazz Songbook Vol 1 zippy

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Sonny Fortune - Serengeti Minstrel

Styles: Saxophone And Flute Jazz
Year: 1977
File: MP3@320K/s
Time: 41:38
Size: 96,2 MB
Art: Front

(5:43)  1. Bacchanal
(7:26)  2. The Afro-Americans
(6:50)  3. There’s Nothing Smart About Being Stupid
(5:55)  4. Not All Dreams Are Real
(6:16)  5. Never Again Is Such A Long Time
(9:23)  6. Serengeti Minstrel

A great one from Sonny Fortune  done with the fusiony sound he was working so well with at the time, and still filled with a tight conception and an incredible group of musicians who bring depth and deliver some really great solos! The title track is an incredible 10 minute cut that breaks into a beautiful modal groove about 4 minutes into it  and that groove is completely wonderful. It's far from the only high point of a set filled with them. Players include Kenny Barron on Fender Rhodes, Woody Shaw on coronet & flugelhorn, Gary King on bass, Jack DeJohnette on drums, Sammy Figueroa on congas, Rafael Cruz on percussion, and Sonny doing his thing on flute, piccolo and sax. Other tracks include "Bacchanal", "Never Again Is Such A Long Time", "There's Nothing Smart About Being Stupid" and "The Afro-Americans". (Cover has a cutout hole, a promo sticker, light wear, and a bit of stuck-on paper on back.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/8745

Personnel: Sonny Fortune – saxes, flute;  Woody Shaw – cornet, flugelhorn;  Kenny Barron – Fender Rhodes;  Gary King – electric bass; Jack DeJohnette - drums,  Horacee Arnold – drums, celesta, marimba, gong, handclap;  Sammy Figueroa - congas;  Rafael Cruz - percussion

Serengeti Minstrel

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Margeaux Lampley - Love for Sale

Styles: Vocal 
Year: 2009
File: MP3@320K/s
Time: 44:40
Size: 102,9 MB
Art: Front

(4:21)  1. Love for Sale
(3:33)  2. Fly Me to the Moon
(3:37)  3. Still in the Mood
(4:08)  4. Autumn Leaves
(4:39)  5. When Sunny Gets Blue
(4:13)  6. Buildin' Walls
(3:32)  7. My Funny Valentine
(3:21)  8. What Is This Thing Called Love?
(3:35)  9. I Thought About You
(3:37) 10. Stars Fell On Alabama
(3:14) 11. La Javanaise
(2:45) 12. Lady Is a Tramp

Paris-based American jazz and gospel singer, the soulful vocalist Margeaux Lampley welcomes a challenge. Originally from Oakland, California, she has degrees from UCLA and Columbia Law School, but left Wall Street and a renowned law firm in New York and Paris to live the artist’s life, studying jazz and in no time establishing herself as a featured artist, backup vocalist and songwriter for various French groups and singers. As part of the duo Sodex, she had two club hits, including “Move Me”, featured on the soundtrack of the film “De battre mon coeur s’est arrêté”, and even collaborated with disco legend Edwin Starr on one of his last recordings, "Burns Like Fire", which she co-wrote and for which she sings backup vocals. With her warm, intimate style, Margeaux is a regular on the Paris music scene at Paris clubs such as the Sunset-Sunside and has been making a name for herself throughout France and Europe as a solo jazz artist and as a member of various European gospel groups (The 100 Voices of Gospel, Liberty Gospel...). She was a finalist with The 100 Voices of Gospel in the 2016 edition of Britain's Got Talent, one of the largest and most well-known talent competitions in the world.

In 2008, she proposed her first solo jazz album Love for Sale, which revisits the great jazz standards. A second well-received album Rain followed in 2012 with 9 original compositions and 3 standards, oscillating between jazz, pop, soul and latin music. In January 2018, Margeaux will release the first single from her new album with the album to follow in April 2018. « Love for Sale », Margeaux’s debut jazz album, was recorded in Paris with Romain Molist (piano), Nicolas Grammosenis (double bass) and Jérôme Villefranque (drums). The album reflects her true love of the great jazz standards sung by her idols Ella Fitzgerald, Dinah Washington and Billie Holiday. She offers us simple and elegant versions of these favorites, each with its own personal musical style. The tracks “Buildin’ Walls” and “Still in the mood” give a taste of Margeaux’s own composition style, a vibrant fusion of pop, jazz and soul.  https://store.cdbaby.com/cd/margeauxlampley

Love for Sale

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Conrad Herwig - The Latin Side Of Herbie Hancock

Styles: Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 66:12
Size: 153,4 MB
Art: Front

(10:16)  1. Oliloqui Valley
( 5:33)  2. One Finger Snap
( 8:52)  3. Butterfly
( 6:58)  4. The Sorcerer
( 9:22)  5. Actual Proof
( 8:42)  6. Maiden Voyage
( 9:30)  7. Cantaloupe Island
( 6:55)  8. Watermelon Man

Trombonist and bandleader Conrad Herwig has quite colorfully and majestically explored the Latin side of some of modern music's most enduring composers and performers, and herewith adds his survey of Herbie Hancock's compositional catalog to previous Latin sets that honored Miles Davis and Wayne Shorter. "It's a little daunting in the sense that these tunes are so iconic," Herwig admits. "I grew up idolizing Herbie's music. His tunes became the new standards for a whole generation of post-Coltrane players." To navigate this territory, recorded in performance at the Blue Note in NYC, Herwig turned to two old friends: Trumpeter Randy Brecker, who first played with Herwig three decades ago; and pianist Eddie Palmieri, one of Latin jazz's reigning piano masters and one of Herwig's Latin jazz advisors for more than two decades. He also brought one new friend onboard: pianist Bill O'Connell, a veteran of classic sessions by Mongo Santamaria, Jerry Gonzalez, and others. O'Connell and Herwig either split or shared all these Latin Hancock arrangements. Brecker's trumpet burns through the group's collective descarga on "The Sorcerer" like a flame through tissue paper, while O'Connell takes charge with a powerful improvised passage that refracts Hancock's original tune into shards of melodic light. Brecker's and Herwig's intertwined improvisational passages only send these shards flying higher and brighter.

But Herwig's closing trilogy, a howling ensemble hurricane, is simply as good as Latin jazz gets. O'Connell's arrangement strings tethers the familiar "Maiden Voyage" melody to soft horns that float in harmonic space, the shadow of a passing cloud that gently darkens the rhythm section's roiling sea, with Craig Handy on flute, Brecker on trumpet so soft that your ears hear flugelhorn, and O'Connell on piano, painting brilliant solo strokes. More than a beautiful rendition, "Maiden Voyage" rediscovers this jazz classic. Palmieri jumps back in to help fire the remainder back up to a torrid Latin boil. Latin rhythms illuminate the sweet funky insides of "Cantaloupe Island," which, after Palmieri's two-fisted piano excursion, culminates in a blazing percussion/horn breakdown; with no piano or bass to anchor them to the percussion rhythms, Handy, Brecker and Herwig are left free to scatter and soar skyward like untethered birds. In a torrent, "Watermelon Man" pours out from the aftermath of "Cantaloupe," highlighted by Palmieri's spirited dialogue with the rhythm and percussion instruments. Even on just the strength of these last three tunes, Herwig's Latin Hancock presents tremendously rewarding, eye-opening and ear-popping, new interpretations of classic jazz pieces. ~ Chris M.Slawecki https://www.allaboutjazz.com/the-latin-side-of-herbie-hancock-conrad-herwig-review-by-chris-m-slawecki.php

Personnel: Conrad Herwig: trombone; Craig Handy: saxophones, flute, bass clarinet; Mike Rodriguez: trumpet; Bill O'Connell: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Pedro Martinez: percussion; Eddie Palmieri: piano; Randy Brecker: trumpet.

The Latin Side Of Herbie Hancock

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Fausto Papetti - Donna...

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 44:43
Size: 186,8 MB
Art: Front

(2:35)  1. Georgia On My Mind
(2:42)  2. Ballade Pour Adeline
(2:29)  3. Lara's Theme
(3:37)  4. Angela
(2:26)  5. My Funny Valentine
(3:01)  6. Tema Di Nadia
(2:50)  7. Raffaella
(2:34)  8. Chloe
(2:07)  9. Laura
(3:57) 10. Natali
(2:26) 11. Tema Di Adriana
(3:21) 12. Emmanuelle
(2:42) 13. Elise
(2:04) 14. Yasmin's Theme
(3:06) 15. Alexandra
(2:40) 16. Maria Elena

Fausto Papetti (28 January 1923 – 15 June 1999) was an Italian alto saxophone player. His recordings, sometimes under the pseudonym "Fausto Danieli", are also characterized by album art with sexy women posing half naked. His works have been widely known all over the world for the last six decades. He has played the majority of the most famous pop & jazz songs, in a career spanning 45 years. He was born at Viggiù in Lombardy. His performance of the song "Love's Theme" (originally by Barry White's Love Unlimited Orchestra) was featured on the breakbeat compilation "Ultimate Breaks and Beats". Papetti reached the height of his popularity in the 1960s and 1970s, and all of his new albums were hits (most of which were also released in the Latin American market). During the 1970s, Papetti also released two collections a year, the best-selling being the 20th one from 1975. These records are also characterized for their sexy covers, often featuring topless nudity. His influence on saxophone music was substantial and in the 1970s many imitators appeared, like Johnny Sax and Piergiorgio Farina. He died in San Remo. https://en.wikipedia.org/wiki/Fausto_Papetti

Donna...

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Ted Nash - The Mancini Project

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 64:30
Size: 148,2 MB
Art: Front

(5:52)  1. Theme From The Night Visitor
(6:30)  2. Dreamsville
(4:53)  3. Something For Nash
(1:31)  4. Shot In The Dark
(6:28)  5. Lujon
(7:27)  6. Breakfast At Tiffany's
(3:09)  7. Cheryl's Theme
(1:24)  8. Mr Yunioshi
(4:58)  9. Soldier In The Rain
(6:25) 10. The Party
(1:38) 11. A Quiet Happening
(6:11) 12. Two For The Road
(6:17) 13. Experiment In Terror
(1:42) 14. Baby Elephant Walk

While Henry Mancini (1924-1994) borrowed plenty from jazz, he returned in kind by contributing a large body of fine, memorable music worthy of the melodic jazz tradition. Much of Mancini's best film music particularly those scores from the early 1960s sprang from the "cool jazz" of the 1950s West Coast Scene and featured some of the era's best players. Aside from insanely catchy music, Mancini brilliantly fused instrumental colors and devised some of the cleverest musical patterns imaginable. Oddly, though, Mancini never inspired the great wealth of jazz tributes that composers such as Gershwin, Jobim or Ellington motivated over the last several decades. Of the few that have surfaced over the last few years, none were as inspired as the music being honored. Ted Nash's exquisite The Mancini Project is a most pleasurable exception. This fine tribute finds the reed player exploring 14 of Mancini's compositions, including at least two of the composer's very best ("Lujon" and "Dreamsville") and several surprising and satisfying choices ("Theme From Night Visitor" and "Cheryl's Theme"). Nash is joined by three like-minded partners of the highest order, pianist Frank Kimbrough, bassist Rufus Reid and drummer Matt Wilson. Together, and not always at once, they breathe beautiful life into Maestro Mancini's music.

Nash, who has become well known for his considerable contributions to Wynton Marsalis' Lincoln Center Jazz Orchestra as well as the Jazz Composers Collective, charts a path that's very much his own. He's more inspired here than ever before. This is due, perhaps, to his special connection to the music. Both his father and uncle were part of the Mancini aggregates which recorded the original versions of songs heard here. Indeed, "Something For Nash," featured in Blake Edwards' 1987 film Blind Date and covered here, was written by Mancini for Ted's father. Nash sounds lush throughout, primarily but not exclusively on tenor sax. The Kimbrough/Reid/Wilson triumvirate responds in kind with some marvelously melodic and truly creative complicity. This is especially evident on the moodiest pieces, notably "Night Visitor," "Lujon" and "Experiment in Terror." The trio's take on "Breakfast At Tiffany's" moves beyond mood toward pure inspiration, where Nash bravely hints at the motions and emotions David Murray has expertly explored. 

The remarkably funky "The Party," elsewhere an odd rock-ish number highlighting an odd Peter Sellers film, is given great resonance by Kimbrough's strong-as-church gospel foundation. Nash finds a niche on soprano for the lovely, swinging "A Quiet Happening" and "Two For The Road" and finesses the flute on the equally enchanting "Something For Nash," "Soldier In The Rain" and "Baby Elephant Walk." Surprisingly, Nash gives several of the more familiar titles ("Shot In The Dark," "Baby Elephant Walk") a refreshing sprite, but disallows any sort of improvisation and keeps them well below the two-minute mark. But it's hard to fault this collection which could easily stretch into multiple volumes for its attempt at a most beautiful tribute. Nash and company give this timeless music the sense of essential it most surely deserves. ~ Douglas Payne https://www.allaboutjazz.com/the-mancini-project-ted-nash-palmetto-records-review-by-douglas-payne.php

Personnel: Ted Nash: tenor sax, alto sax, soprano sax, alto flute, piccolo; Frank Kimbrough: piano; Rufus Reid: bass; Matt Wilson: drums.

The Mancini Project

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Ricardo Bacelar - Sebastiana

Bitrate: MP3@320K/s
Time: 54:24
Size: 124.5 MB
Styles: Latin jazz
Year: 2018
Art: Front

[4:05] 1. A Volta Da Asa Branca
[4:12] 2. Suco Verde
[4:04] 3. Nothing Will Be As It Was
[0:45] 4. River Of Emotions
[4:20] 5. Menina Baiana
[3:57] 6. Somewhere In The Hills
[4:04] 7. Partido Alto
[0:39] 8. Parts Of Me
[4:05] 9. Sambadouro
[4:18] 10. Oh Mana Deixa Eu Ir (Caicó Cantiga)
[4:56] 11. Sebastiana
[5:00] 12. Depois Dos Temporais
[4:00] 13. Vento De Maio
[4:45] 14. Sernambetiba, 1992
[1:09] 15. The Best Years

Produced by Cesar Lemos (BMI and ASCAP awards in the USA), it was recorded and mixed in Miami, United States, at the legendary Hit Factory (Criteria) and Rebel 11 studios. Its concept gravitates around a Latin American rereading of a Brazilian music repertoire portion. "Sebastiana" was recorded by Brazilian, American, Cuban, Argentine, Venezuelan, Colombian and Peruvian musicians. By researching traditional rhythms, an arrangement laboratory was conceived to implement the fusion of Latin American and Brazilian music elements. It shows contemporary arrangements and a strong jazzy accent, with a subtle percussion that confirms South America's influence.

Sebastiana mc
Sebastiana zippy

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Bill O'Connell - Latin Jazz Fantasy

Bitrate: MP3@320K/s
Time: 55:18
Size: 126.6 MB
Styles: Piano jazz
Year: 2004
Art: Front

[6:44] 1. Barcelona
[6:03] 2. Fast Eddie
[5:27] 3. After The Dust Settled
[8:52] 4. Latin Jazz Fantasy
[5:56] 5. Maybe Tommorow
[5:25] 6. Pogo Sticks
[4:01] 7. Laurie
[5:48] 8. Wind It Up
[4:07] 9. 6 For Claude
[2:50] 10. El Yunque

Jazz pianist Bill O'Connell has established a well-earned reputation as an innovative composer of jazz and Latin jazz, along with being a veteran working musician. Features long-time associate Dave Valentin on flutes, Bobby Maloch on tenor sax, bassists Charles Fambrough, David Fink and Lincoln Goines, along with drummers and percussionists Steve Barrios, Milton Cardona and Kim Plainfield. With Latin jazz fantasy, O'Connell pulls out all the stops and has created a compelling tour de force, composing songs for small groups and large orchestra with a full string and horn section. It's not only big, but it churns, bubbles and rocks.

Latin Jazz Fantasy mc
Latin Jazz Fantasy zippy

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Josée Pascale Perrette, Jean-Philippe Bordier - Exactly Like You

Bitrate: MP3@320K/s
Time: 40:20
Size: 92.3 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[2:54] 1. Exactly Like You
[2:48] 2. Body And Soul
[3:53] 3. Canto De Ossanha
[3:51] 4. Roxanne
[3:34] 5. The Man I Love
[3:37] 6. My Funny Valentine
[3:10] 7. Mon Amant De Saint Jean
[2:53] 8. Besame Mucho
[5:27] 9. Ces Petits Riens
[4:08] 10. Agua De Beber
[4:00] 11. I've Got You Under My Skin

José Pascale Perrette – vocal ; Jean-Philippe Bordier – guitare.

With the passion and warmth of the great Jazz Fan she has always been. Sincerity in the interpretation of "The man I Love" with tenderness and freshness ... thanks to the accompaniment of the guitarist Jean-Philippe BORDIER, we hear here arrangements and an original guitar game that, even if we all know these standards, we make them re-discover with curiosity and interest. When Josée-Pascale Perrette sings "Canto de Ossanha" we have an interesting risk-taking and a warm interpretation ... wink at Baden Powell and Vinicius de Moraes ...? In any case here, once again the guitar of Jean-Philippe Bordier beautifully wraps the voice and enhances the general expression .... in his way ... far from the game of a Baden Powell or a Toquinho .. trying to re-create a clean atmosphere at the moment ... A nice duet ... a good record! ... "Jean Baptiste Boisnier, Noctamblues jazz A swing with finesse and complicity inspired by the world of Ella Fitzegerald and Joe Pass. (Translated from French.)

Exactly Like You mc
Exactly Like You zippy

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Florian Poser - Plays His Favourite Standards

Bitrate: MP3@320K/s
Time: 60:51
Size: 139.3 MB
Styles: Vibraphone jazz
Year: 2011
Art: Front

[4:15] 1. There Will Never Be Another You
[7:27] 2. Once I Loved
[7:45] 3. The Days Of Wine And Roses
[4:29] 4. Cedars Blues
[7:00] 5. Reflections
[7:57] 6. Speak Low
[9:18] 7. Alone Together
[4:43] 8. Softly As In A Morning Sunrise
[7:53] 9. Loverman

Florian Poser: vibraphone Roberto DiGioiga: piano Thomas Stabernow: bass Wolfgang Haffner: drums.

The vibraphonist Florian Poser is considered one of the most interesting representatives of his profession in Germany. Although he was more likely to be experienced in the style of jazz-rock with his group Lifeline during the early Eighties, he made a name for himself at the beginning of the Nineties in the area of swinging mainstream jazz and Latin jazz music with the Florian Poser Group. On the CD "Florian Poser Plays His Favourite Standards," only songs of the so-called standard jazz repertoire are to be heard, as the title already implies. Florian Poser has long had the wish of recording a standard CD with classic quartet instrumentation. In summer of 1994, the opportunity arose for this project together with Robert DiGioia,Thomas Stabenow and Wolfgang Haffner. All three musicians in the accompanying ensemble are leading representatives of their instruments in Europe and internationally renowned and esteemed through their work with innumerable prominent jazz musicians.

Plays His Favourite Standards mc
Plays His Favourite Standards zippy

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Barney Kessel, Ray Brown, Shelly Manne - The Poll Winners: Straight Ahead

Bitrate: MP3@320K/s
Time: 40:23
Size: 92.5 MB
Styles: Bop
Year: 1976/2006
Art: Front

[5:58] 1. Caravan
[6:08] 2. Someday My Prince Will Come
[7:14] 3. Blue Boy
[8:37] 4. Laura
[5:41] 5. Two Cents
[6:42] 6. One Foot Off The Curb

Bass – Ray Brown; Drums – Shelly Manne; Guitar – Barney Kessel. Recorded July 12, 1975 at Contemporary's studio in Los Angeles.

15 years after their last joint recordings, the Poll Winners (a trio with guitarist Barney Kessel, bassist Ray Brown and drummer Shelly Manne) had a reunion for this excellent session which has been reissued on CD. All three players had grown quite a bit musically since the 1950s and Kessel in particular is heard in excellent form on the three standards and three swinging originals. Overall this is the best all-around recording by The Poll Winners and is easily recommended to bop fans. ~Scott Yanow

The Poll Winners: Straight Ahead mc
The Poll Winners: Straight Ahead zippy

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Brian Lynch - Tribute to The Trumpet Masters

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 67:24
Size: 155,5 MB
Art: Front

( 7:12)  1. Woody Shaw
( 7:51)  2. Eclipse
( 7:27)  3. Bus Stop Serenade
( 7:49)  4. Tom Harrell
( 6:05)  5. Elusive
(10:48)  6. Search for The New Land
( 6:05)  7. Tribute to Blue
( 9:19)  8. Charles Tolliver
( 4:44)  9. Opening Statement

From stints with Horace Silver and Art Blakey to those with such Latin luminaries as Hector LaVoe and Eddie Palmieri, trumpeter Brian Lynch has learned his lessons well. First turning a few heads with his solid series of dates as a leader for Criss Cross, Lynch made the move to the fledgling Sharp Nine label in 1995. There he would record his first volume of quartet recordings, Keep Your Circle Small, to be followed two years later with the multifaceted Spheres of Influence. Spheres would prove to be a hard act to follow, owing to its elaborate and far-ranging implications, yet Lynch’s second set of quartet recordings as documented on the newly issued Tribute to the Trumpet Masters is far from being any kind of letdown. In fact, it not only acts as a solid homage but also testifies to Lynch’s talent as a lead voice. There have been relatively few records in the jazz annals sporting just a trumpeter with rhythmic backing (standouts for this reviewer would have to include Kenny Dorham’s Quiet Kenny and Ted Curson’s Fire Down Below ). The instrument is a demanding one and it’s often easier to include a saxophone in the front line to balance out the leadership chores. But as he did on Keep Your Circle Small, Lynch once again proves that the quartet setting can be a viable one for trumpet.

Lynch has also shrewdly avoided just picking out tunes by the trumpeters he’s chosen to spotlight. Out of the nine cuts on the disc, over half of them are Lynch originals and each one sports a title that lays claim to the artist being feted. The most impressive of these are the sprightly “Woody Shaw” and the propulsive bossa of “Tom Harrell,” which recalls such Harrell compositions as “Moon Alley” and “Sail Away.” Freddie Hubbard’s “Eclipse” provides a magnificent ballad forum for Lynch and both Booker Little’s “Opening Statement” and Lee Morgan’s “Search For the New Land” are valuable pieces seldom if ever done by modern day players. Lynch is extraordinary throughout in both lead and solo statements, with motivated backing coming from pianist Mulgrew Miller, bassist Essiet Essiet, and drummer Carl Allen. In fact, this may be Miller’s finest work of recent vintage; he absolutely tears it up on the aforementioned “Woody Shaw.” So while there may be a few years of delay between releases from Lynch, they’re always worth the wait and his recent Sharp Nine dates have yet to disappoint. ~ C.Andrew Hovan https://www.allaboutjazz.com/tribute-to-the-trumpet-masters-brian-lynch-sharp-nine-records-review-by-c-andrew-hovan.php

Personnel: Brian Lynch- trumpet, Mulgrew Miller- piano, Essiet Essiet- bass, Carl Allen- drums

Tribute to The Trumpet Masters

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Fredrika Stahl - Tributaries

Styles: Vocal 
Year: 2008
File: MP3@320K/s
Time: 38:32
Size: 88,9 MB
Art: Front

(3:24)  1. Monumental Mismatch
(3:12)  2. So High
(3:39)  3. Pourquoi Pas Moi?
(4:00)  4. Irreplaceable
(4:14)  5. Stuck On A Stranger
(3:01)  6. Oh Sunny Sunny Day
(3:37)  7. One Man Show
(3:04)  8. I'll Win Your Heart
(3:11)  9. Dina Ogon Bla
(3:58) 10. The Damage Is Done
(3:06) 11. One Man Show (Home Made)

Sophomore album for French and Swedish jazz artist. At 22, Swedish singer-songwriter Fredrika Stahl already shows amazing maturity. She does not want to restrict herself to one genre or another and expresses her very personal style, somewhere between pop and jazz. Her vocal qualities make for a refined, natural and unaffected performance. Vogue. 2008. 

~ Editorial Reviews https://www.amazon.com/Tributaries-Fredrika-Stahl/dp/B0016ORPTI

Tributaries

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Kenny Dorham & Barry Harris Quartet - New York 1964

Styles: Trumpet Jazz
Year: 1964
File: MP3@320K/s
Time: 50:59
Size: 117,1 MB
Art: Front

(3:18)  1. Introduction
(6:55)  2. Confirmation
(6:02)  3. Ma, He's Making Eyes at Me
(7:40)  4. 'Round Midnight
(4:18)  5. The Theme
(4:07)  6. Tin Tin Deo
(8:53)  7. Scandia Skies
(9:44)  8. Manhã de Carnaval

Kenny Dorham spent his career being famous for not being famous, a perennially underrated trumpeter who was overshadowed by Dizzy Gillespie, Fats Navarro, Clifford Brown, Miles Davis and Lee Morgan. Always an excellent bop and hard bop player, Dorham is heard on New York 1964 in solid form. The first five selections were recorded in a trio with pianist Barry Harris in 1964. The music was previously out on an obscure Raretone LP. The last two numbers are from 1963, they match Dorham with pianist Tete Montoliu and were formerly released on a pair of Steeplechase albums, the lone quartet performances from two quintet sessions. The recording quality in all cases is decent and listenable, but far from impeccable. Dorham sounds fine during what would be the last part of a fairly brief career, although nothing all that essential occurs during these boppish performances. ~ Scott Yanow https://www.allmusic.com/album/new-york-1964-mw0001047346

Personnel: Kenny Dorham (tp), Barry Harris (p), Julian Ewell (b) Albert 'Tootie' Heath (d) / Kenny Dorham (tp), Tete Montoliu (p), NH Ørsted Pedersen (b) Alex Riel (d)

New York 1964

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Azar Lawrence - Mystic Journey

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 63:01
Size: 146,9 MB
Art: Front

( 8:20)  1. Mystic Journey
( 7:09)  2. Summer Solstice
( 8:13)  3. Quest
(10:00)  4. Walk Spirit, Talk Spirit
( 7:50)  5. Say It Over Again
( 5:39)  6. Adrees
( 6:54)  7. Journey's End
( 8:53)  8. Starting Point

Elvin Jones, pianist McCoy Tyner and trumpeter Miles Davis. During this period in the 1970s, Lawrence also released several critically acclaimed recordings, including Bridge Into The New Age (Prestige, 1974) and Summer Solstice (Prestige, 1975). So rapid an ascent to the peak of the jazz world may, at times, have led Lawrence to wonder how he could be playing with these giants. But teaching and instilling confidence in youth is the role of the elders in any true community, and so one day Tyner reassured Lawrence: he told the young man that he belonged in such company because he could not only play the hell out of the horn, but because he "felt the same way about the music as John (Coltrane) did."  In 2010, some 30 years after he last took his own jazz band into the studio, Lawrence is making up for lost time. He announced his return with Speak The Word (Zarman Productions, 2008), his first studio recording as a leader since 1976. Next, he offered his profoundly felt thanks to those spirits who came before him with Prayer To My Ancestors (Furthermore Recordings, 2009). Now, Mystic Journey finds Lawrence looking back to the future, as he reunites with several old friends while simultaneously moving forward with the addition of two members of his current East Coast band. Deserving of special mention is the illustrious, Philadelphia-born drummer Rashied Ali, who passed away not long after the completion of this recording. Ali, known primarily as a free jazz player from his collaborations with saxophonist John Coltrane during the mid 1960s, reveals just how hard he can swing as he propels the band with fiery rhythms.  Joining Lawrence in the horn section are two more old friends trumpeter Dr. Eddie Henderson, who brings his vibrant and explosive sound to the recording, and alto saxophonist Gerald Hayes, brother of jazz drummer Louis Hayes, who Lawrence first met while still in High School in Los Angeles. Their relationship bore fruit when Hayes, on flute, performed on Lawrence's Summer Solstice, 35 years ago.

Lawrence's connection with the rest of the rhythm section may be of a more recent vintage, yet musically, it is just as intimate and potent. He first heard and played with Benito Gonzalez, the young and ascendant Venezuelan pianist, when he jammed with him a few years ago at a Kenny Garrett gig in Los Angeles. Months later, the two met again in New York and Gonzalez came aboard for Lawrence's East Coast gigs. In addition to his fiery piano work, Gonzalez's horn arrangements prove invaluable to the session, to which he also brought three tunes. Finally, Essiet Essiet, an in-demand bassist on the New York jazz scene, joined up with Lawrence and, like Gonzalez, has become a regular member of his quartet.  Mystic Journey opens with the title tune, a Lawrence original. Playing ferocious tenor from the first note, the saxophonist establishes the recording's hard-driving, riveting intensity. Ali, holding nothing back, drives the band like a train conductor high ballin' it out of the yard. Gonzalez's thick chords and pulsating rhythms reveal a distinctly Tyneresque influence on the music. Gonzalez also adds a little Latin flavor to "Summer Solstice," the title tune from Lawrence's second recording. After a brief bass intro, the horns enter, stating the melody in unison and delivering that big sextet sound. In this solar celebration, all the horns solo. Lawrence leads the way, again on tenor, while Henderson paints his solo with the brighter hues of his musical palette. Altoist Hayes, playing with burning passion and invention, amplifies the tune's upbeat spirit. All the while, the rhythm section is swinging its collective butt off.

Lawrence plays soprano on Gonzalez's "Quest," the instrument's exotic sound perfectly suited to evoke the mystery and enchantment of this spiritual exploration. Henderson, on flugelhorn, blows gentle, playful tones suggesting these weary travelers may, at last, have found respite in a desert oasis. Paying tribute to John Coltrane's influence on his musical development, Lawrence back on tenor and with just the rhythm section blows warm, lush tones on Jimmy McHugh's ballad, "Say It Over And Over," recorded so memorably by Coltrane on Ballads (Impulse!, 1962).

The band gets to really stretch out on McCoy Tyner's "Walk Spirit, Talk Spirit," a modal classic Lawrence often performed as a member of the pianist's band. Ali's "Adrees" surprises with a waltz tempo, though it swings harder than any tune penned by the waltz king, Johann Strauss. The CD closes with "Starting Point," another burning, straight-ahead tune by Gonzalez. The pianist's insistent line opens the tune, answered in unison by the horns before Lawrence comes roaring in triumphantly on tenor. Henderson  confident, precise and hip as ever takes the next solo. Gonzalez dances his fingers over the ivories, Essiet plucks the bass strings relentlessly and Ali cooks, before the horns return to take the tune out.

The band gets to really stretch out on McCoy Tyner's "Walk Spirit, Talk Spirit," a modal classic Lawrence often performed as a member of the pianist's band. Ali's "Adrees" surprises with a waltz tempo, though it swings harder than any tune penned by the waltz king, Johann Strauss. The CD closes with "Starting Point," another burning, straight-ahead tune by Gonzalez. The pianist's insistent line opens the tune, answered in unison by the horns before Lawrence comes roaring in triumphantly on tenor. Henderson  confident, precise and hip as ever takes the next solo. Gonzalez dances his fingers over the ivories, Essiet plucks the bass strings relentlessly and Ali cooks, before the horns return to take the tune out. The return of Azar Lawrence to the mainstream jazz scene is one of the most gratifying developments in recent jazz history. His rededication to his musical gift, evidenced by the seven- hour days he apparently devotes to practicing scales and playing long tones, has not only allowed him to resume the journey towards his destiny, it has given the jazz world what, in a way, is a "new" master of the saxophone. His compelling sound and volcanic performance, so poignantly captured on Mystic Journey, reveals an artist at the peak of his musical powers. 

~ Chuck Koton https://www.allaboutjazz.com/azar-lawrence-mystic-journey-by-chuck-koton.php

Personnel: Azar Lawrence: tenor and soprano saxophones; Eddie Henderson: trumpet, flugelhorn; Gerald Hayes: alto saxophone; Benito Gonzalez: piano; Essiet Essiet: bass; Rashied Ali: drums.

Mystic Journey

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Down To The Bone - From Manhattan To Staten

Styles: Big Band
Year: 1997
File: MP3@320K/s
Time: 63:55
Size: 165,0 MB
Art: Front

(9:03)  1. Staten Island Groove
(7:18)  2. Brooklyn Heights
(5:24)  3. Savour The Flavour
(6:43)  4. Muesli Brown
(5:01)  5. Yo Mama's So Phat
(6:43)  6. Touch Of Voodoo
(7:14)  7. 17 Mile Drive
(3:41)  8. Carlito's Way
(6:00)  9. 3 Days In Manhattan
(6:43) 10. On The Corner Of Darcy Street

Luckily for Down To The Bone, although there are literally thousands of bands out there trying to do the exact same thing, it's rare that anyone else accomplishes such a successful fusion of jazz and soul groove as From Manhattan To Staten . On tracks like "Brooklyn Heights" and "Carlito's Way," the band combine soulful grooves and light breakbeats to make music as organic sounding as a live jam session, but with an accomplished silky smoothness. While at heart a funk collective, Down To The Bone nevertheless come across as masters of many styles, from jazz, to fusion, to trip-hop. Great for dancing to or even just for setting that perfect mood (think Barry White without lyrics), From Manhattan To Staten  displays Down To The Bone's extraordinary talent and creative vision. https://www.allmusic.com/album/from-manhattan-to-staten-mw0000037087

Personnel:  US Band: Rufus Philpot - Bass and MD/band leader;  Katisse Buckingham - Sax;  Chris Bautista/Gabriel Johnson - Trumpet;  Dave Wood - Guitar;  Iahji Hampden / Gene Coye - Drums;  Quinn Johnson / Lao Tizer - Keyboards.

UK Band: Tim Smart - Trombone /MD;  Simon Allen - Sax;  Ryan Jacob - Trumpet;  Alex Bennett - Keys;  Jo Phillpotts / Chris Dodd - Bass;  Davide Giovannini - Drums;  Joe “Bongo” Becket - percussion;  Billy Adamson - Guitar.

From Manhattan To Staten

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