Thursday, May 3, 2018

SWR Big Band - A Fresh Taste Of Thad Jones & Frank Foster

Bitrate: MP3@320K/s
Time: 66:19
Size: 151.8 MB
Styles: Big band
Year: 2006
Art: Front

[5:12] 1. Counter Block
[5:10] 2. Mean What You Say
[5:14] 3. Ode To Joe Newman
[5:11] 4. Winners
[4:57] 5. Love Handles
[6:03] 6. Basic-Ally Yours
[6:35] 7. Victorious Blues
[6:00] 8. Now That She's Away
[5:08] 9. The Biddle-De-Bop Samba
[7:57] 10. Lady In Lace
[8:46] 11. A Fresh Taste Of The Blues

None of the music on Fresh Taste is actually fresh, having been recorded in 1994-96 when the SWR Big Band was still the SDR, and previously issued on CD—but that doesn't mean it need be any less rewarding to anyone who hasn't yet heard it. To the contrary, those whose antennae are attuned to the straight-ahead grooves espoused by Thad Jones, Frank Foster and the Count Basie Orchestra should find almost everything here immensely invigorating and agreeable.

While he commands top billing, Jones wrote only four of the album's eleven selections, "Counter Block, "Mean What You Say," "Basic-Ally Yours and "The Biddle-De-Bop-Samba. The others are by Foster, and six of them were included on the album A Fresh Taste of the Blues (IRS, 1996), released a decade ago. Jones, who died in 1986, was a member of the Basie trumpet section from 1954-63 and co-led the Thad Jones-Mel Lewis Orchestra (now the Vanguard Jazz Orchestra) from 1966-78. He is remembered as a remarkable composer who penned such memorable Jazz standards as "A Child Is Born, "Don't Git Sassy, "Fingers, "Tip Toe, "Little Pixie, "Groove Merchant, "Big Dipper, "Greetings and Salutations, "Kids Are Pretty People and "Mean What You Say, the last included on this album.

Foster's credentials are comparably impressive. The tenor saxophonist joined Basie's orchestra in 1953, remained until 1964, and led the orchestra from 1986-95 (the Count having passed away in 1984). Like Jones a first-rate composer, Foster wrote a number of Basie's most crowd-pleasing charts including "Blues Backstage, "Down for the Count, "Blues in Hoss' Flat and, most notably, "Shiny Stockings. Though sidelined by a stroke in recent years, Foster was still playing when A Fresh Taste was recorded, and he solos strongly on "Counter Block, "Mean What You Say, "Winners (on soprano sax), "Love Handles, "Lady in Lace and (again on soprano) "A Fresh Taste of the Blues.

It always helps, of course, to have a world-class band in one's corner, and that is precisely what the SWR is. The ensemble handles Jones and Foster's Basie-esque charts with ease, while the soloists are consistently persuasive, from trumpeters Karl Farrent and (American expat) Don Rader to soprano Klaus Graf, alto Bernd Rabe, tenors Andi Maile and Peter Weniger, trombonists Ian Cumming and Ludwig Nuss, pianist Klaus Wagenleiter, guitarist Klaus-Peter Schöpfer, bassist Henning Sieverts and drummers Jörg Gebhardt and Keith Copeland. Not exactly a Fresh Taste, but by no means a stale one either. Indeed, a splendid album that is warmly recommended to the many fans of Jones/Foster/Basie. ~Jack Bowers

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Jeremy Tordjman - Sambuka

Bitrate: MP3@320K/s
Time: 70:49
Size: 162.1 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[8:20] 1. Sambuka
[5:59] 2. Worried Time Groove
[7:25] 3. Occitane
[4:26] 4. 70 Boulevard D'ornano
[6:37] 5. Fausses Apparences
[9:03] 6. Mosaique
[6:18] 7. Réminiscences
[5:38] 8. Pensées Nocturnes
[4:36] 9. Allo La Terre
[7:11] 10. Après Les Fetes
[2:21] 11. Miss Mystic
[2:50] 12. In My Heart

A talented musician with different backgrounds, the guitarist Jeremy Tordjman serves up a colourful and vitalized cocktail. The ethereal atmospheres and the spontaneity of Jazz are combined with energy and groove.

Jazz, Blues, Rock, Funk and World Music, Jeremy Tordjman has dipped his guitar into all the shades of this musical palette, with pastel or bright tints, to draw and sign his own compositions. These are paintings in which bring together, in a relief landscape, inspired ballads, themes in fusion, energetic melodies, for horizon heat, audacity and enthusiasm supported by the musicians who accompany him. He does not claim to invent a new idiom, nor even to hustle anything. His objective is to move and touch. That’s all.

His music cultivates the contrasts, airy or percussive, colourful or mixed, exceeding the traditional frame of Jazz. An obviousness both for neophytes and music lovers.

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Allan Harris - Love Came: The Songs Of Strayhorn

Bitrate: MP3@320K/s
Time: 59:58
Size: 137.3 MB
Styles: Vocal jazz
Year: 2001
Art: Front

[5:16] 1. Just A-Sittin' And A-Rockin'
[5:04] 2. Something To Live For
[3:33] 3. My Little Brown Book
[4:07] 4. Love Came
[5:42] 5. Chelsea Bridge
[4:38] 6. Lush Life
[6:35] 7. Daydream
[4:29] 8. Pretty Girl (The Star Crossed Lovers)
[6:02] 9. Passion Flower
[2:05] 10. Oo (You Make Me Tingle)
[3:07] 11. Your Love Has Faded
[4:26] 12. A Flower Is A Lovesome Thing
[3:03] 13. Lotus Blossom
[1:44] 14. Love Has Passed Me By Again

Because the lyrics to so many of Billy Strayhorn's compositions reflect love lost or not yet obtained, few vocalists have attempted to record an entire release of his songs. But singer Allan Harris is up to the challenge, mixing very familiar tunes (while avoiding the all too obvious choice of his best-known song, "Take the 'A' Train") with some rarely recorded at all. With a superb cast of supporting musicians, including pianist Eric Reed, tenor saxophonist Don Braden, guitarist Ron Affif, bassist Essiet Okon Essiet, and drummer Cecil Brooks III, Harris' rich voice carries the day with ease. Part of his success is due to the unusual arrangements: "Something to Live For" is at a brisker than normal tempo with a slightly funky feeling, Ron Affif's lively Joe Pass-like guitar removes the stop-and-go melodrama that pervades nearly every other recorded version of "Lush Life," and "A Flower Is a Lovesome Thing" is recast as a driving samba. But there are treasures also awaiting within the less familiar selections. Harris makes the first recording of the words Strayhorn wrote for "My Little Brown Book," a bittersweet ballad that again benefits from a gently faster and swinging tempo and also has some nice licks by Reed. "Love Came," with lyrics by Ellington and music by Strayhorn, is a powerful bossa nova with soft accompaniment by Affif. "Oo! (You Make Me Tingle)" gives Harris an opportunity to show off his playful side and provides a welcome relief from a steady diet of downcast lyrics. Harris wraps the CD with a powerful a cappella take of the rarely heard "Love Has Passed Me By Again." Allan Harris' brilliant and innovative approach to the works of Billy Strayhorn should make this an essential CD for jazz lovers. ~Ken Dryden

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Laura Taglialatela - The Glow

Bitrate: MP3@320K/s
Time: 45:12
Size: 103.5 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[5:16] 1. The Glow
[4:20] 2. Take Me Back
[3:26] 3. Inutil Paisagem
[4:42] 4. Happiness
[2:50] 5. Retrato Em Branco E Preto
[5:39] 6. Silly Girl
[5:47] 7. Nefertiti
[8:22] 8. Frantasy
[4:47] 9. There's That Smile

Laura began performing music in church at the age of 10, an experience which consequently drove her interest towards black music. In 2009 she completed her studies in vocal jazz performance at the Scuola Civica in Capannori, and decided to attend a Bachelor in Literature and Cultural studies at the Suor Orsola Benincasa University of Naples, while taking music private classes with some of today’s most internationally recognized jazz performers. She graduated in 2014 presenting a thesis entitled "A unifying language: jazz”, a result of her active researches on the field on the impact of the inter-cultural crossover of the jazz scene on the language currently spoken in America by the new generation through the songwriting process, receiving audience acclaim and extra credits.

"The Glow” is the inspiration, the divine entity the artist feeds off and is in constant search of. The idea at the base of this collection of works is to create an embodiment that shows the definition of an artist in the process of self acknowledgment, and self acceptance, through the struggles that come by the confrontation with real life. Each track, therefore, represents a moment of the artist's emotional journey in the controversial relationship with his art: love, devotion, fear, resignation, realization, enthusiasm, despair, joy, all in a space where boundaries between genres and/or between single individuals cease to exist, and the guiding principle is the flow of a spontaneous and fresh interaction.

Taglialatela surrounds herself in this first album by a serious team: Domenico Sanna on piano and rhodes, Matteo Bortone on double bass, Francesco Ciniglio on drums, Dayna Stephens on tenor saxophone and ewi, Logan Richardson, special guest on 4 of the tracks, on alto saxophone. The band includes musicians from different cultural and musical (and geographical!) backgrounds who combine with no inhibitions in a single sound, new, fresh, unanimous and sincere: all improvisations, even when guided by a leader, are collective, and the roles intersect to the point that sometimes vocals become an instrument of accompaniment.

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Mark McLean - Dinner Party

Bitrate: MP3@320K/s
Time: 57:25
Size: 131.5 MB
Styles: Contemporary jazz
Year: 2013
Art: Front

[3:48] 1. Autumn Leaves
[3:42] 2. Whisper Not
[3:50] 3. It Had To Be You
[3:10] 4. Days Of Wine And Roses
[4:40] 5. Bag's Groove
[2:54] 6. It's Only A Paper Moon
[4:48] 7. Darn That Dream
[4:50] 8. Summertime
[4:08] 9. Emily
[4:17] 10. Pennies From Heaven
[4:12] 11. Out Of Nowhere
[3:48] 12. I Love Paris
[4:33] 13. Night Train
[4:41] 14. I Got It Bad (And That Ain't Good)

Kelly Jefferson - Tenor Saxophone; Rob Piltch - Guitar; Robi Botos - Piano; Pat Kilbride - Bass; Mark McLean - Drums, Arranger, Producer.

Mark McLean is a very dynamic and versatile studio and touring musician. If you ask him about his biggest musical influences, the answer is likely to take more time than you have. Even if you ask for just the 'main ones' the list will go on and on. And it is a diverse list; from Johann Sebastian Bach to James Brown (and those are only the 'B's). And for that reason he has been the grooving spark behind many jazz, pop and soul legends whose music and influence span multiple generations. The late legendary producer Phil Ramone, who began hiring him for numerous sessions starting in 2003, called McLean “a tasty, sure handed drummer, a song man’s musician”- but that’s only part of the in-demand musician’s powerful story and evolving artistry. Whether playing a sensitive ballad with Andrea Bocelli, swinging mightily with Jamie Cullum or laying down a funky backbeat for George Michael, Mark McLean is always in his element.

Over the past few years, while maintaining a steady flow of prestigious gigs as a sideman and music director, the Toronto born, New York City based drummer/composer/producer has emerged as a popular band leader, performing numerous gigs with his own group and releasing two acclaimed solo recordings that showcase his expansive musical passions. In an industry that often prefers pigeonholing to expansive creative expression, the multi-talented artist — whose credo is “I don’t want to be seen as a drummer, I want to be known as a musician whose instrument just happens to be drums” — breaks all the rules on his eclectic 11 track sophomore album Feel Alright, sharing his love for everything from old school soul, down and dirty blues/funk and traditional jazz to Southern folk-pop with a zydeco twist, Rat Pack-like swing, edgy pop/rock and New Orleans brass band music. Mark believes that freedom from the burden of musical categorization enables him to fully explore his own voice.

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Jack Costanzo - The Versatile Mr. Bongo Plays Jazz, Afro & Latin

Bitrate: MP3@320K/s
Time: 56:56
Size: 130.4 MB
Styles: Jazz, Afro, Latin rhythms
Year: 2005
Art: Front

[5:30] 1. Bottlabud
[4:14] 2. Satin Doll
[4:08] 3. Maggie
[5:55] 4. G And J Blues
[3:24] 5. Mambo Costanzo
[2:49] 6. Yukon Mambo
[3:17] 7. Burley Q Bongo
[2:06] 8. The Continental
[2:41] 9. Equinox
[2:44] 10. Bei Mir Bist Du Schoen
[2:36] 11. Blue Prelude
[2:47] 12. Young Man With A Horn
[2:11] 13. Diga Diga Doo
[2:26] 14. Street Scene
[2:07] 15. El Diablito
[2:30] 16. Man With The Golden Arm
[3:07] 17. Barney Google
[2:15] 18. Row Row Row

Jack Costanzo (bongos, conga), Rolf Ericson (tp), Bill Holman (ts), Gerald Wiggins (p), Joe Comfort (b), Lawrence Marable (d), Eddie Cano (p), Herbie Harper (tb), Jimmy Salko (tp), Tonny Terran (tp), Shelly Manne (d).

The one man most responsible for the growth of the bongo craze in jazz music is "Mister Bongo", Jack Costanzo. He was the first bongo drummer to join a jazz orchestra when in 1947 he became part of the Stan Kenton organization. His musicianship was so unique that Kenton even had 'Bongo Riff' written to feature Costanzo.

This CD contains the most outstanding recordings Mr. Bongo made under his own name. The first 6 tunes were the first Jack recorded as a leader in 1954. On the following 12 tracks, all recorded in summer of 1956, Jack Costanzo sets his unique percussive sound to a setting of swinging brass and it takes all the brilliance of five trumpets to answer the articulate and exciting rhythm patterns Jack lays down.
This CD is full of provocative and stimulating numbers. It is a great introduction to the many facets of The Versatile 'Mr. Bongo'.

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Gene Ammons - The Soulful Saxophone of Gene Ammons

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 30:03
Size: 69,3 MB
Art: Front

(2:52)  1. My Foolish Heart
(3:04)  2. Prelude To A Kiss
(3:14)  3. It's You Or No One
(3:08)  4. Can You Explain
(2:48)  5. Goodbye
(2:41)  6. Pennies From Heaven
(2:53)  7. Happiness Is A Thing Called Joe
(3:08)  8. You Go To My Head
(3:16)  9. Once In A While
(2:56) 10. Its The Talk Of The Town

10 tracks that perfectly illustrate all that was great about Gene Ammons in his early days a set of singles and 78s recorded for Chess in the late 40s and early 50s, done in a laidback and soulful style that had a tremendous influence on the work of other tenor players at the time! The recording quality is nice and moody, and the tracks hold up surprisingly well over the years with titles that include "My Foolish Heart", "Goodbye", "Once In A While", "Happiness Is A Thing Called Joe", and "It's The Talk Of The Town".© 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/353439/Gene-Ammons:Soulful-Saxophone

Personnel:  Gene Ammons, Tom Archia, tenor sax; Christine Chatman, piano; Leroy Jackson, bass; Wesley Landers, drums.

The Soulful Saxophone of Gene Ammons

Cris Barber - Nobody Else But Me

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 44:08
Size: 101,8 MB
Art:Front

(3:54)  1. Triste
(3:18)  2. My Little Boat
(2:21)  3. You're Getting To Be A Habit With Me
(4:49)  4. The Very Thought Of You
(2:33)  5. So Nice (Summer Samba)
(2:38)  6. The Nearness Of You
(4:49)  7. The Look Of Love
(3:25)  8. Guess Who J Saw Today
(3:49)  9. Tell Me All About Jt
(3:35) 10. Route 66
(2:22) 11. How High The Moon
(3:04) 12. Sentimental Journey
(3:26) 13. Nobody Else But Me

Winner of the prestigious Orange County Music Award for Best Jazz Artist. With a vocal style that conjures the grand jazz traditions while staying true to her 21st Century rhythmic soul, Cris' skillful vibe gives the this album a flow sure to appeal to sophisticated jazz enthusiasts. Recognized in Southern California as one of the area's premier jazz vocals for well over a decade, she can count performances at most of Orange County's most important jazz venues among her successes. Despite the album title, Cris is the first to credit her supporting musicians for the successful sound of Nobody . . . 

"The musicians, the technical and producing talent I was able to work with were just phenominal. These guys are every one of them just the most incredibly gifted people I could imagine." Sentiments they, not doubt, echo. "You are in top voice, plus the arrangements and playing are supportive and tasty. Please don't make us wait too long for the next representation of your art, your craft, and your expression." ~ John Clayton, Jr., noted Composer/Arranger/Bassist former Musical Director for the Hollywood Bowl Jazz Series. https://store.cdbaby.com/cd/crisbarber2

Nobody Else But Me

Jimmy Rowles - Plays Duke Ellington And Billy Strayhorn

Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 48:19
Size: 112,1 MB
Art: Front

(4:09)  1. Mood Indigo
(4:27)  2. Sophisticated Lady
(5:01)  3. Jumpin' Punkins
(4:03)  4. Solitude
(4:20)  5. Lost In Meditation
(6:06)  6. Take The A Train
(4:24)  7. Blood Count
(5:17)  8. Lush Life
(3:48)  9. Isfanan
(4:02) 10. Lotus Blossom
(2:37) 11. Jimmy Rowles Statement

Jazz critic Gary Giddins explored the game of Jimmy Rowles in his book Visions of Jazz: The First Century (1998); "His repertoire is immense and mysterious: original compositions, standards and curiosities, with mastery of the Wayne Shorter repertoire (not the Miles Davis pieces but the Blakeyperiod, such as" The Chess Players "," Running Brook "and "Lester Left Town" [1959/60]) and the Ellington, Strayhorn book. "Giddens notes that Rowles was one of the few who were concerned with their barely noticed compositions such as" Blood Count ", [3]"Black Butterfly", "Lost in Meditation" and "Lotus Blossom" grappled by the orchestral sound moods of the Duke Ellington Orchestra imitated on the piano . This employment culminated in 1980 - after albums such as Grandpaws (1976, with Buster Williams and Billy Hart ) and the solo album Ellington By Rowles (1979) in the album Jimmy Rowles Plays Ellington to Billy Strayhorn , in which he Ellington melodies , harmonies , voicings and solos . The first title of the album, " Mood Indigo " from 1931, is the only title in which Rowles presents "a demonstration of the melodic and harmonic mannerisms of the duke"; " Sophisticated Lady " starts in Rubato and continues at a slow and sweet pace. In "Jumpin 'Punkins" (1942) Rowles shows the boogiw-woogie influence in the rhythmic figures that accompany the theme . " Solitude " (1934) undergoes a warm-hearted reinterpretation; "Lost in Meditation" (1938) is played here deviating from the original in an attractive, swinging tempo. 

Strayhorn's " Take the" A "Train " (1939) begins with a standard introduction and is then translated by Rowles in a dark, abstract first chorus , before paraphrasing the melody in the second chorus . Then Rowles uses the trumpet solo of Ray Nance 's original recording as a texture for the third chorus, alternating here and there. The fourth chorus, in turn, is Rowles' own "single-note drift" and contains allusions to the game of Ben Webster , who was mentor to the pianist. The penultimate chorus uses Rowles back to Ray Nance allusive single notes, before following a rather abstract ending. After "Blood Count", Strayhorn's last composition before his death in 1967, Rowles plays one of Strayhorn's best known titles, " Lush Life " (1938) in a more rhythmically accentuated playground than usual. "Isfahan," a title from the Far East Suite (1964-66), goes through several moods and swings into a sloping melodic phrase . The album ends with "Lotus Blossom" (1947), which was said to be Duke Ellington's favorite Strayhorn composition. In conclusion, Jimmy Rowles makes a 2½-minute statement in which he tells of the tremendous impression the Ellington Orchestra made on him when Ben Webster , Jimmy Blanton , Ray Nance, and Cootie Williams arrived in 1940 for the first time Tacoma could experience live after he had previously known their music only from their records:"One of the things that touched me the most was, in addition to the great arrangements and compositions, the way Ellington led into the next song: he never told his musicians the title, but he played a few lines on it Piano, and the guys knew instantly which piece they would tackle. That knocked me off the stool. Rowles goes on to say that for him, this orchestra was "love at first sight"; He had been profoundly influenced throughout his career by Ellington's orchestrations, arrangements, compositions and various soloists. https://de.wikipedia.org/wiki/Jimmy_Rowles_plays_Duke_Ellington_and_Billy_Strayhorn

Plays Duke Ellington And Billy Strayhorn

Chick Corea - Piano Improvisations Vol. 2

Styles: Piano Jazz
Year: 1972
File: MP3@320K/s
Time: 40:15
Size: 93,1 MB
Art: Front

(2:57)  1. After Noon Song
(2:46)  2. Song For Lee Lee
(2:04)  3. Song For Thad
(2:06)  4. Trinkle Tinkle
(5:41)  5. Masqualero
(2:41)  6. Preparation 1
(0:57)  7. Preparation 2
(7:41)  8. Departure From Planet Earth
(0:40)  9. A New Place - Arrival
(5:53) 10. A New Place - Scenery
(1:40) 11. A New Place - Imps Walk
(5:05) 12. A New Place - Rest

This is the second of two LPs recorded by Chick Corea shortly after he broke up the avant-garde quartet Circle, saying that he wanted to communicate to a larger audience. As with the first set, these brief sketches are melodic and a bit precious but contain some strong moments. In addition to seven Corea originals, he interprets Thelonious Monk's "Trinkle Tinkle" and Wayne Shorter's "Masquellero." Not essential but worth acquiring.~ Scott Yanow https://www.allmusic.com/album/piano-improvisations-vol-2-mw0000196577

Solo performer: Chick Corea (piano).

Piano Improvisations Vol. 2

Jeff Williams - Another Time

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 52:31
Size: 120,7 MB
Art: Front

(6:23)  1. Search Me
(7:49)  2. She Can't Be a Spy
(5:05)  3. Double Life
(8:02)  4. Purple, Blue and Red
(7:20)  5. Fez
(5:29)  6. Under the Radar
(6:42)  7. Go Where You're Watching
(5:38)  8. Another Time

The catch-all term "playing time" is often used as a descriptor for drummers that find a steady, supportive pattern and play it ad infinitum, whether to the benefit or detriment of a band, but that definition has always been limiting. Drummer Jeff Williams, for example, has and plays impeccable time, but he paints around the lines and shifts patterns to accent and highlight what's happening in the music at any given moment. He's the rare drummer who understands and conceptualizes time as something beyond the standard "spang-a-lang" status quo, and this ideal comes to the fore with Another Time. While Williams has been an important voice on the jazz scene for four decades, he's always managed to stay slightly under the radar because his credits have often marked him as a supporting player rather than a leader. Williams secured his place in jazz history as a founding member of the far-reaching band Lookout Farm in the early '70s, and racked up an impressive list of sideman credits in the decades that followed. He has constantly been called upon to provide backing for left-leaning artists-in-the-know, like fellow Lookout Farm members Dave Liebman and Richie Beirach, pianist Richard Sussman, the legendary Lee Konitz, and saxophonist Bill McHenry, but Williams has only stepped out on his own on relatively few occasions over the past two decades. For this, the first record released under his name in the new millennium, Williams brought together a piano-less quartet that occasionally leans on the sound of early Ornette Coleman ("Search Me"), but isn't handcuffed to any single influence. 

Williams penned five of the eight pieces on the album, with each of his band mates contributing one song each to round out the program, and he brings different artistic elements into the mix on each number. "Fez" marries Coleman's ideals with Middle Eastern sounds a la John Zorn's Masada and the title track begins without drums, with some buzzing arco work from bassist John Hébert underscoring the horn lines of trumpeter Duane Eubanks and alto saxophonist John O'Gallagher. Elsewhere, Williams shifts the sands of time from slow and dirge-like to spirited and snappy ("Purple, Blue And Red"), shines a spotlight on Hébert sans band ("She Can't Be A Spy"), and gives plenty of solo space to the fine horn players he employs. While Another Time is another clear indicator of Williams' drumming talents, it also serves as a fine display of his skills as a composer. One can only hope that he doesn't wait so long to release his next disc. ~ Dan Bilawsky https://www.allaboutjazz.com/another-time-jeff-williams-whirlwind-recordings-ltd-review-by-dan-bilawsky.php

Personnel: Jeff Williams: drums; Duane Eubanks: trumpet; John O'Gallagher: alto saxophone; John Hébert: bass.

Another Time

Wednesday, May 2, 2018

Stan Getz, Al Haig - Prezervation (Remastered)

Bitrate: MP3@320K/s
Time: 35:29
Size: 81.2 MB
Styles: Bop, West Coast jazz
Year: 1967/1992
Art: Front

[2:42] 1. Prezervation
[2:59] 2. Pinch Bottle
[2:52] 3. Earless Engineering
[3:06] 4. Be Still, Tv
[3:17] 5. Short P, Not LP
[2:39] 6. Stardust
[2:38] 7. Goodnight My Love
[3:19] 8. Intoit
[2:34] 9. Liza
[3:32] 10. Stars Fell On Alabama
[3:28] 11. Stairway To The Stars
[2:18] 12. Opus Caprice

All of these sides were recorded in 1949-50 for Prestige, most of them under pianist Al Haig's name (when the material was first released on LP in 1967, Getz was much better known and more likely to sell records, thus he was given the leadership plug, even though he doesn't even appear on 1/3 of the tunes).

One track with Getz that's especially fine is the title tune, PREZERVATION, which is an alternate take of the famous CRAZY CHORDS, an up-tempo blues that changes keys with every chorus. It's a real beauty. INTOIT is another swinger with good solos by Getz and Haig. Four of the numbers feature just Haig with the rhythm section (Tommy Potter [b] Roy Haynes [d]); OPUS CAPRICE sounds very much like Monk's RHYTHM-A-NING, and Al plays a nice version of LIZA. Two other tunes feature Junior Parker on vocal; STARDUST has Stan playing the verse and then Parker taking over for a rather straight vocal. This CD collects early stuff by these two modern masters when bop was king. Definitely worth checking out. ~Bomojaz

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The Four Freshmen - First Affair

Bitrate: MP3@320K/s
Time: 33:28
Size: 76.6 MB
Styles: Jazz/pop harmony vocals
Year: 1960/2011
Art: Front

[2:57] 1. Please Be Kind
[2:02] 2. I Hadn't Anyone Till You
[3:02] 3. At Last
[2:38] 4. I Didn't Know About You
[4:04] 5. Polka Dots And Moonbeams
[2:38] 6. I'm Beginning To See The Light
[2:29] 7. Long Ago
[2:54] 8. I've Never Been In Love Before
[2:38] 9. Be Careful It's My Heart
[3:02] 10. It's A New World
[2:17] 11. I Can't Believe That You're In Love With Me
[2:42] 12. First Affair

The Four Freshmen were one of the top vocal groups of the 1950s, and formed the bridge between '40s ensembles like the Mel-Tones and harmony-based rock & roll bands such as the Beach Boys as well as groups like Spanky & Our Gang and the Manhattan Transfer. The group's roots go back to the end of the 1940s and a barbershop quartet-influenced outfit called Hal's Harmonizers, organized at the Arthur Jordan Conservatory of Butler University in Indiana by two brothers, Ross and Don Barbour. Their repertoire centered on standards such as "Moonglow" and "The Christmas Song," and they began to show an unusually free, improvisational approach to their harmony singing. A couple of membership changes brought Bob Flanigan, a cousin, into the fold alongside Hal Kratzsch, and suddenly the Four Freshmen were assembled in all but name, and that fell into place a little later.

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First Affair zippy

Peter O'Mara - My Time

Bitrate: MP3@320K/s
Time: 78:46
Size: 180.3 MB
Styles: Guitar jazz
Year: 2012
Art: Front

[ 7:30] 1. It Never Entered My Mind
[ 6:11] 2. Sizzle
[ 7:18] 3. Waltz For Vivien
[ 6:59] 4. Maratime
[ 7:17] 5. Round Midnight
[ 6:55] 6. Crossing Over
[ 8:36] 7. Dolphin Dance
[12:00] 8. I Concentrate On You
[ 7:58] 9. Last Chance
[ 7:58] 10. Movin On

Guitarist Peter O'Mara's is a soft, round tone that spreads across the jazz mainstream on My Time. This soft ambiance is further buffeted by Tim Collins' vibraphone as harmony instrument. Color is added via the careful cymbal craft of drummer Matthias Gmelin. Bassist Henning Sievert's roll is both tactile and implied, his soloing elegant.

O'Mara is respectful of the standards, as on his lengthy reading of "I Concentrate On You" and the dusky-toned "'Round Midnight." O'Mara's originals are as inventive as they are uncluttered by mean displays of blank virtuosity. O'Mara plays the notes necessary, avoiding a crowded and busy solo space. O'Mara's "Waltz for Vivian" is airy and refined, given ethereal life by Collins' bubbling vibes. My Time is a gentle survey of standards and originals that is readily listenable and enjoyable. ~C. Michael Bailey

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Kat Webb - An Old Soul

Bitrate: MP3@320K/s
Time: 53:04
Size: 121.5 MB
Styles: Soul vocals
Year: 2011
Art: Front

[4:15] 1. Come Sunday
[3:28] 2. Fever
[5:31] 3. Lush Life
[3:47] 4. I'm Still In Love With You
[5:02] 5. All Or Nothing At All
[4:39] 6. I Heard It Through The Grapevine
[3:00] 7. Wives & Lovers
[3:51] 8. Blackbird
[4:31] 9. Walk On By
[6:15] 10. Cry Me A River
[8:41] 11. Until You Come Back To Me

Chris Rob: Keys, Strings, Auxiliary Instruments; Solomon Dorsey: Bass; Joe Blaxx: Drums; eZra Brown: Tenor Sax (except "I'm Still in Love With You", "I Heard it Through the Grapevine", & "Until You Come Back to Me"); Maurice Brown: Trumpet; Chelsea Baratz: Tenor Sax ("I'm Still in Love With You", "I Heard it Through the Grapevine", & "Until You Come Back to Me"); Saunders Sermons II: Trombone; Daniel Sadownick: Auxiliary Percussion; Brandee Younger: Harp.

Hi Everyone!! So, I thought I'd take a moment to tell everyone a little bit about what makes me debut album, "An Old Soul", so special, beyond that I think it's pretty incredible musically. ;)

First off, it pays homage to some amazing music greats. Ella Fitzgerald, Aretha Franklin, Dionne Warwick, Mahalia Jackson and others' great works are all on here, not to mention the writing of people like Billy Strayhorn, Duke Ellington, Burt Bacharach and John Lennon, among others! Secondly, this album was recorded in analog. "What's analog?", you ask? Well, analog was the precursor to ProTools. Back when computers were nothing but sci-fi fantasy, music was recorded on REAL TAPE. My album was recorded on a 24-track recorder. One real weighs about thirty pounds. First it was recorded using REAL MUSICIANS with REAL CREATIVE IDEAS (not digital samples or loops) in a live room along with myself, as if we were putting on a live concert. Without the ability to do 500 takes of each song (because we're working with real tape, and each is only about 30min long), I had to work with tremendously talented musicians who could make it beautiful, make it unique, and get it right. This type of recording focuses on stellar musicians and inspiration over complete perfection and homogynization. All of this was done to keep it more authentically old school, similar to the classic songs to which I'm honoring. One more fun fact about the studio: It was the same studio in which Wu-Tang Clan recorded at one point! ;)

Third, I mentioned it before but it deserves special attention: this album features AMAZING musicians. The musicians I worked with are ALL doing amazing things on their own as well. To find them, you can check out the artists that I like. Although I LOVE plenty of today's artists and think there's DEFINITELY plenty of real music still out there, I'm saving my "like" section for those that worked with me on the album, that I've performed with, and for places/events that have provided me to perform. I strongly urge you to check all of them out as they're ridiculously talented in their own right.

And fourth and last, this album was recorded independently. That means yours truly worked with these people, booked this studio time, raised these funds, found these graphic designers, got these pictures taken, etc. This is the beauty of independent music. You have complete control and freedom, but it also means a lot of work. I wouldn't change how I did this project for one minute, because I had nothing but amazing respect for the independent music industry before this and I'm in TOTAL AWE now. AND, the way in which it was recorded means you're really getting to know ME, Kat Webb, as an artist and as a person, because everything about this album and project was EXTREMELY person, even if the songs aren't original.

So thank you in advance for your support! I've thanked everyone who worked on this project abundantly but thank YOU all again as well, for making my dream and my first project come true. There's a long road ahead of me but this first step is a sure, firm one, thanks to everyone involved. :) ~Kat.

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Branislav Bubalo - Closer To Me

Bitrate: MP3@320K/s
Time: 58:21
Size: 133.6 MB
Styles: Orchestral jazz
Year: 2017
Art: Front

[6:34] 1. Mediterranean Nights
[5:59] 2. Estate
[5:46] 3. April In Portugal
[9:33] 4. Shepherd's Ballad
[3:36] 5. Oblivion
[6:16] 6. Golden Earrings
[5:10] 7. Historia De Un Amor
[6:21] 8. Little Sweet
[4:16] 9. Slavonic Dance
[4:46] 10. Nizamski Rastanak

A romantic, exciting fusion of Mediterranean, Tango and Jazz styling. Featuring Branislav Bubalo on accordion, Larry Vuckovich on piano, Vince Delgado on hand percussion, Jeremy Cohen on violin, Daniel Reiter on cello, Buca Necak on bass & Jackie Ryan as vocal. "Simply beautiful music!" mentioned by many. The string section provides intriguing texture with most of the arrangements done by Larry Dunlap, a grammy music awards winner.

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Yo-Yo Ma - Songs Of Joy & Peace

Bitrate: MP3@320K/s
Time: 79:41
Size: 182.4 MB
Styles: Classical crossover
Year: 2008
Art: Front

[2:00] 1. Dona Nobis Pacem
[3:29] 2. You Couldn't Be Cuter (Feat. Diana Krall)
[3:43] 3. Joy To The World (Feat. Dave Brubeck)
[2:50] 4. Here Comes The Sun (Feat. James Taylor)
[2:57] 5. Improvisation On Dona Nobis Pacem (Give Us Peace)
[2:37] 6. The Wassail Song All Through The Night
[3:47] 7. A Christmas Jig Mouth Of The Tobique Reel (Feat. Natalie Macmaster)
[4:20] 8. The Wexford Carol (Feat. Alison Krauss)
[3:06] 9. Panxoliña A Galician Carol (Feat. Cristina Pato)
[0:58] 10. Improvisation On Dona Nobis Pacem (Give Us Peace) (Feat. Sergio Assad)
[3:25] 11. Vassourinhas
[2:32] 12. Improvisation On Dona Nobis Pacem (Give Us Peace) (Feat. Paquito D'rivera)
[4:53] 13. Invitación Al Danzón (Feat. Paquito D'rivera)
[4:07] 14. My One And Only Love (Feat. Joshua Redman)
[3:57] 15. Familia
[4:31] 16. Concordia (Feat. Dave Brubeck)
[6:30] 17. My Favorite Things (Feat. Chris Botti)
[4:36] 18. Touch The Hand Of Love (Feat. Renée Fleming)
[3:26] 19. Kuai Le
[5:02] 20. This Little Light Of Mine (Feat. Amelia Zirin-Brown)
[4:46] 21. Happy Xmas (War Is Over) (Feat. Jake Shimabukuro)
[1:58] 22. Dona Nobis Pacem (Give Us Peace) Auld Lang Syne (Feat. Chris Botti)

Cellist Yo-Yo Ma has long been a giant in the classical world, though he has also made a number of recordings with musicians who play other styles. This holiday disc doesn't exclusively stick to traditional Christmas songs, but covers a wide scope of material in a very ambitious manner. Ma opens with a lovely take of the traditional favorite Dona nobis pacem (Give Us Peace), playing both the melody and counterpoint via overdubbing. Jazz pianist/vocalist Diana Krall is superb in a swinging rendition of Jerome Kern's unjustly obscure "You Couldn't Be Cuter," adding bassist John Clayton. An arrangement of Joy to the World features pianist Dave Brubeck, cellist Matt Brubeck (his son), and clarinetist Paquito d'Rivera in a playful setting that works in The Christmas Song and On the Trail. The senior Brubeck's Concordia is filled with spirit in a lively performance with the two cellists. Chris Botti has never sounded better in the warm arrangement of My Favorite Things, playing both open and muted trumpet, with pianist Billy Childs, bassist Robert Hurst, drummer Billy Kilson, and guitarist Romero Lubambo. Ma has previously collaborated with bassist Edgar Meyer (who is equally at home in jazz and classical music), though this is the cellist's first meeting with mandolinist Chris Thile. Together they make an impressive trio, especially in the enticing medley of The Wassail Song and All Through the Night. Soprano Renée Fleming's rich voice is beautifully complemented by Ma, Meyer, and Thile. Having worked with onetime bluegrass fiddler Mark O'Connor, Ma is very much at home with Celtic fiddler Natalie MacMaster in the lively medley of A Christmas Jig/Mouth of the Tobique Reel. Among the other friends featured on this disc are the Assad Family, Wu Tong & the Silk Road Ensemble, tenor saxophonist Joshua Redman, plus Alison Krauss with piper Christina Pato. One track doesn't fit in all that well with the rest of this CD. The Beatles' bland "Here Comes the Sun" has a warm vocal by James Taylor, but it is hampered by its weak lyrics. ~Ken Dryden


                                                                                   

Buddy Montgomery Trio - Here Again

Bitrate: MP3@320K/s
Time: 59:31
Size: 136.3 MB
Styles: Piano jazz
Year: 1997
Art: Front

[4:55] 1. My Ideal
[6:09] 2. 1,000 Rainbows
[5:56] 3. Aki's Blues
[7:23] 4. Invitation
[7:53] 5. That Old Black Magic
[7:39] 6. Blues For David
[7:00] 7. You've Changed
[7:07] 8. Hob Nob With Brother Bob
[5:24] 9. Here Again

Buddy Montgomery, the youngest and sole surviving Montgomery brother, is a musician ripe for rediscovery. Since achieving major success in the 1960s with the Montgomery Brothers band, and (along with brother Monk on bass) backing brother Wes on some of the guitar great's most popular albums, Buddy has been heard from only occasionally. His new trio album on Sharp Nine Records, Here Again, shows him still in fine form both as a composer and gently swinging pianist.

Montgomery is from the generation of piano players between bebop pioneers Monk and Powell and 1960s innovators Tyner, Hancock, and Corea. And he sounds like it: His smooth, bluesy playing fits firmly within the post-bop tradition with a strong Latin influence. He is an extremely quiet, economical player not given to loud flourishes or aggressive physical attacks on the keyboard. Montgomery's instrumental virtuosity doesn't leap out at you. His strengths are more subtle. Indeed, this is one of the quieter, more thoughtful albums of the year. And the type of album that may require several listenings to appreciate fully.

If the album has one weakness, it is the relative sameness of the compositions and tempos. Even the usually up-tempo chestnut "That Old Black Magic" is transformed here into an almost unrecognizable slow ballad. One or two fast numbers, or a straight out blues, might have livened things up a bit. But, with solid backing from bassist Jeff Chambers and drummer Ray Appleton, Montgomery has made a fine album of quiet, soulful piano music. ~Joel Robets

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Michael Franks - Rendezvous in Rio

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 52:39
Size: 129,8 MB
Art: Front

(5:26)  1. Under the Sun
(5:36)  2. Rendezvous in Rio
(5:47)  3. The Cool School
(4:40)  4. Samba do Soho
(5:16)  5. The Critics Are Never Kind
(4:27)  6. Scatsville
(4:24)  7. The Chemistry of Love
(5:41)  8. Hearing 'Take Five'
(4:30)  9. The Question is Why
(6:46) 10. Songbirds

Michael Franks' laid-back vocals have made him the choice of a new generation of cool school attendees. With Rendezvous in Rio, his debut release for Koch Records, Franks continuously shows why he is still at the top of his game with brand-new songs that will soothe, undo your stresses, or put you in a romantic mood. The various musical styles on the CD include two Brazilian sambas, one titled "Under the Sun," pointing you toward the Southern Hemisphere and the warmth of Rio de Janeiro and Bahia. A master of phrasing and elongated notes, Franks tells his great stories in several tempos that literally have you wanted to take this journey with him. "Rendezvous in Rio" starts with Café's percussive whistle and the rhythmic flow of Romero Lubambo's guitar. Chris Hunter's sax and flute solos also heighten the imagery of Franks' sexy vocals. "The Cool School" starts with the beautiful guitar accompaniment of Chuck Loeb and continues under Franks' vocals with a hushed flow of cool/smooth riffs that make this song one of the best on the CD. With the artistry of such respected contemporary jazz artists as Jeff Lorber, Jimmy Haslip, Chuck Loeb, and Alex Al and the lilt of the carnival whistle, Michael Franks has conspired to entertain you, and has succeeded. You're sure to enjoy this very special Rendezvous in Rio. Recommended. ~ Paula Edelstein https://www.allmusic.com/album/rendezvous-in-rio-mw0000442477

Personnel: Michael Franks (vocals); Robbie Dupree (vocals, background vocals); Carmen Cuesta-Loeb, Larry Hoppen, Pamela Driggs (vocals); Chuck Loeb (guitar, piano, keyboards, programming); Dwight Sills, Marc Shulman, Mike DeMicco, Romero Lubambo (guitar); Gary Meek (flute, saxophone, tenor saxophone); Chris Hunter (flute, saxophone); Andy Suzuki (woodwinds); Roger Burn (piano, keyboards, vibraphone); Jeff Lorber (keyboards, programming, drum programming, percussion programming); Charles Blenzig (keyboards, programming); Scott Petito (keyboards); Jimmy Haslip (electric bass); Jerry Marotta (drums, percussion); Michael White , Michael White , Wolfgang Haffner, Brian Dunne, Vinnie Colaiuta (drums); Café (percussion); Leslie Ritter, Veronica Nunn, Beth Reineke (background vocals); Eric Marienthal (alto saxophone, tenor saxophone); David Sancious (piano, keyboards).

Rendezvous in Rio

Carmen Cuesta-Loeb - Toda una vida

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 50:43
Size: 119,2 MB
Art: Front

(3:46)  1. Voy a Apagar la Luz
(3:50)  2. Quizás, Quizás, Quizás
(4:23)  3. Contigo Aprendí
(4:40)  4. Eu Sei Que Vou Te Amar
(4:02)  5. El Reloj
(4:57)  6. La Puerta
(4:40)  7. El Día Que Me Quieras
(4:52)  8. No Te Confundas
(4:09)  9. Dos Gardenias
(4:16) 10. Como Fue
(3:16) 11. Bésame Mucho
(3:46) 12. Toda una Vida

“Toda Una Vida” is not your typical Boleros album even though it has mostly Bolero standards. Spaniard singer Carmen Cuesta gives a nice jazzy spin to classic Boleros in her CD with the help of jazz guitarist and husband Chuck Loeb. “Most singers at one point in their career will want to do a Boleros album…” Carmen told me in an interview with Latino Music Café. “There are so many good Bolero albums out there, that I wanted to give mine something different. I wanted to combine the American influence of Jazz with the Latin essence of the Bolero” said the singer raised in Madrid.To be able to achieve this beautiful differentiation in “Toda Una Vida”, it helps to work (and be married ) with legendary guitarist Chuck Loeb, who played in Stan Getz´s band. 

“Collaborating with Chuck allowed me to take (the songs) into a slightly different dimension, a new approach” says Carmen in her press release for “Toda Una Vida” (released January 2014). In our conversation, Carmen said that they wanted to change the tempo of the typical Bolero, but still keeping the essence of the message and feeling of each song. This extraordinary mix of beautiful Bolero standards with a slightly different musical approach was achieved thanks to Chuck Loeb’s musical mastery as well as the participation of Madrid-based renown musicians. “Toda Una Vida” was co-produced by popular Spanish music producer Paco Ortega and was recorded in Ortega’s Musicgrama recording studio in Madrid.¨ For her 6th album, Carmen Cuesta selected a combination of songs that include renown Bolero standards, a few less known Boleros, and then added one song of her own authorship. “My first thought was to record less known but beautiful Boleros that people might not be familiar with; but then decided that I also wanted to record some Bolero standards that I really love. To round up the album I thought, ‘why not add one of my own compositions?’, and added “No Te Confundas”. http://www.latinomusiccafe.com/2014/02/16/carmen-cuestas-jazzy-boleros-in-toda-una-vida/

Personnel: Carmen Cuesta: vocals; Chuck Loeb: guitars, additional keyboards; José San Martín: drums, shakers; Antonio “Toño” Miguel: acoustic bass; Moisés P. Sánchez: piano, electric piano; Yuvisney Aguilar: percussion; Antonio Serrano: harmonica (3); Kike Perdomo: flute (2); Oli Rockberger: piano (12).

Toda una vida