Gerald Wilson Orchestra - Feelin' Kinda Blues

Bitrate: MP3@320K/s
Time: 37:22
Size: 85.6 MB
Styles: Jazz-Funk, Bop
Year: 1965/1981
Art: Front

[3:46] 1. When I'm Feelin' Kinda Blue
[4:15] 2. Freddie Freeloader
[2:25] 3. Do Anything You Wanna
[2:25] 4. Yesterday
[6:09] 5. Watermelon Man
[2:38] 6. Yeh, Yeh
[4:41] 7. One On The House
[2:52] 8. I Got You (I Feel Good)
[5:07] 9. I Concentrate On You
[2:59] 10. Well, Son, Shuffle

Flute, Piccolo Flute, Saxophone – Anthony Ortega; Guitar – Dennis Budimir; Piano – Phil Moore III; Reeds – Curtis Amy; Soprano Saxophone – Curtis Amy; Tenor Saxophone – Teddy Edwards; Trumpet – Bobby Bryant, Freddie Hill, Nat Meeks; Trumpet, Arranged By, Leader – Gerald Wilson; Vibraphone [Vibes] – Victor Feldman.

This live CD reissue features the 1960s Gerald Wilson Orchestra in prime form. Surprisingly Wilson did not contribute any of the ten songs (which are highlighted by "When I'm Feeling Kinda Blue," "Freddie Freeloader," "Watermelon Man," and "Well, Son Shuffle") but his arrangements make all of the pieces sound fresh and swinging. The main soloists are tenor saxophonist Teddy Edwards (who is featured on seven of the songs), trumpeters Bobby Bryant and Freddie Hill, guitarist Dennis Budimir, and altoist Anthony Ortega. ~Scott Yanow

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Kenny Werner, Hans Van Oosterhout, Hein Van De Geyn - Collaboration

Bitrate: MP3@320K/s
Time: 60:05
Size: 137.5 MB
Styles: Bop, Piano jazz
Year: 2013
Art: Front

[10:16] 1. Sound Of Silence
[ 3:47] 2. Do You Do
[ 3:47] 3. Feeling Round For It
[ 5:02] 4. Attitude
[10:12] 5. Elegante
[ 3:09] 6. First Line
[ 2:31] 7. Crystals
[ 3:01] 8. In The Heart
[ 6:51] 9. There Will Never Be Another You
[ 2:40] 10. Passage
[ 4:10] 11. Dot Dash
[ 4:34] 12. Raising The Bar

Bass, Mixed By – Hein Van de Geyn; Drums – Hans Van Oosterhout; Piano – Kenny Werner. Recorded on May 19 and 20 2012 at Fattoria Musica, Osnabrueck (DE).

Collaboration has a dozen fascinating and mostly free improvisations by the great pianist Kenny Werner in a trio. Pianist Kenny Werner, bassist Hein Van De Geyn and drummer Hans Van Oosterhout have worked together on an occasional basis in the past including taking a short tour and functioning as Toots Thielemans’ quartet for a few concerts. But while the musicians are familiar with each other, they have not performed together all that often. Rather than sharing years of mutual experiences, they share a similar outlook towards improvising jazz. Their common vision is on display throughout this continually fascinating and intriguing disc.

With Werner leading the way, the trio creates new compositions and improvisations on the spot during a dozen performances. One of Werner’s songs, “Elegante,” is explored at great length. The trio also performs Paul Simon’s “Sound Of Silence” and the standard “There Will Never Be Another You.” However even those two songs are mostly freely improvised with the tunes being largely unrecognizable until late in the performances when the melodies gradually appear. In addition to the close interplay and the many fine Van De Geyn bass solos, it is difficult not to be impressed by Kenny Werner’s chord voicings. Not only does he seem to know every chord ever played but gives the impression that he is creating some never heard before. Even with the fairly free playing on many of these selections, the results are often melodic, lyrical and a logical extension of each piece’s ideas. Collaboration deserves several close listens. ~Scott Yanow

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Pat Benatar - Greatest Hits

Bitrate: MP3@320K/s
Time: 79:35
Size: 182.2 MB
Styles: Album rock, Arena rock
Year: 2005
Art: Front

[3:26] 1. Heartbreaker
[3:53] 2. We Live For Love
[2:50] 3. Hit Me With Your Best Shot
[4:49] 4. Hell Is For Children
[3:14] 5. Treat Me Right
[3:03] 6. You Better Run
[3:20] 7. Fire And Ice
[4:49] 8. Promises In The Dark
[6:01] 9. Precious Time
[3:40] 10. Shadows Of The Night
[3:26] 11. Little Too Late
[3:25] 12. Looking For A Stranger
[4:08] 13. Love Is A Battlefield
[3:42] 14. We Belong
[4:10] 15. Ooh Ooh Song
[4:09] 16. Invincible
[4:18] 17. Sex As A Weapon
[4:20] 18. Le Bel Age
[4:12] 19. All Fired Up
[4:31] 20. One Love (Song Of The Lion)

Punk legend Pat Benatar has no shortage of hits. And here they are collected, in a remastered set from Capitol Records. Compiling classics like, 'Love Is a Battlefield,' 'We Belong,' 'Hit me with Your Best shot' and her breakout single, 'Heartbreaker,' Greatest Hits is a definitive collection of Benatar's best songs. Expertly remastered by Evren Goknar at Capitol Records, Benatar's hits sound better than ever, with greater range and depth, displaying the punk rocker's true sound. For new and old fans alike, Pat Benatar's Greatest Hits is a sure bet.

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Juan Andrés Ospina Big Band - Tramontana

Bitrate: MP3@320K/s
Time: 54:44
Size: 125.3 MB
Styles: Big band, Latin jazz
Year: 2018
Art: Front

[ 7:25] 1. Tramontana
[ 7:59] 2. Todavía No
[10:16] 3. 102 Fahrenheit
[ 8:25] 4. Like Someone In Love
[11:35] 5. Recuerdos De Un Reloj De Pared
[ 9:01] 6. Ver Llover

Living in between New York City, Bogotá and Barcelona, Colombian musician Juan Andrés Ospina has led a remarkable career that has taken him to become a highly in demand producer, arranger, pianist and composer in a very wide and international scene.

Among his most recent work as a producer, arranger and pianist is Portuguese singer Luisa Sobral’s cd “The Cherry on my Cake” (Universal Music, 2011), which received a Golden Disk Award in Portugal at only 6 months of its release. Currently he is finishing the production of another internationally acclaimed jazz singer from Portugal, Sofia Ribeiro, with whom he performed in prestigious jazz festivals such as Jazz Espoo (Espoo, Finland), Silesian Jazz Festival (Katowice, Poland), Jazz a la calle (Mercedes, Uruguay) and important jazz clubs like Jazz Station (Brussels, Belgium) and Jamboree (Barcelona, Spain). He has also recorded and toured artists such as Colombian singer/songwriter Marta Gómez, Colombian super pop star Fonseca, and Swiss jazz vocalist Sylvie Bourban, and worked as an arranger for the 2007 Latin Grammys Ceremony held in Las Vegas (US).

Juan Andrés started his musical studies at the Universidad Javeriana (Bogotá), and short time after he moved to Barcelona (Spain), where he continued his classical and jazz studies at the Conservatoire and the Taller de Musics. After five years of studying and performing at the most important clubs in the city he graduated as pianist and arranger and was selected by the Taller de Musics to represent the school at the 2004 14th IASJ Annual Meeting held in Freiburg (Germany). He returned to Bogotá to teach at the Universidad de Los Andes and Universidad Incca, and after a year he received a scholarship from Berklee of Music, where he moved in September 2005.

At Berklee he studied with Danilo Perez, Maria Schneider, Greg Hopkins and Dave Samuels amongst many others, and received the “Jazz Performance Award” for outstanding performance from the Piano Department and the “Herb Pomeroy Award” for outstanding composition and arrangements. He graduated with honors (Summa Cum Laude) with a degree in Jazz Composition in December 2007, and moved to New York City.

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Andy Bey - Tuesdays In Chinatown

Bitrate: MP3@320K/s
Time: 57:01
Size: 130.5 MB
Styles: Vocal jazz
Year: 2001
Art: Front

[6:52] 1. Tuesdays In Chinatown
[4:51] 2. Fragile
[4:59] 3. Bridges
[5:32] 4. Saidas E. Bandeiras
[7:04] 5. In A Mist
[5:32] 6. I'll Remember April
[7:00] 7. Invitation
[6:14] 8. Little Girl Blue
[2:36] 9. Just Friends
[6:17] 10. Feelin' Lowdown

Vocalist/pianist Andy Bey is in fine form on Tuesdays in Chinatown, the third installment in a comeback series that began in 1995 with Ballads, Blues & Bey and continued with 1998's Shades of Bey. Here Bey continues to explore fairly eclectic repertoire. His jazz roots are well represented with standards such as "I'll Remember April," "Invitation," "Little Girl Blue," and "Just Friends." There are also two beautiful songs by Milton Nascimento, "Bridges" and "Saidas e Bandeiras" (the latter sung in Portuguese), as well as a (so-so) cover of Sting's "Fragile." Bey's vocal is entirely wordless on the Bix Beiderbecke composition "In a Mist," one of the disc's more ambitious undertakings. The best cuts, however, are the first and the last: first, the lush and mellow title track, featuring John Sneider on flügelhorn; last, Big Bill Broonzy's "Feelin' Lowdown," a self-accompanied slow blues that showcases Bey's gift to full effect. Bey is backed mainly by bassist Peter Washington and drummer Victor Lewis, with guitarist Paul Meyers playing a major role on four tracks. Appearing as guests are Ron Carter, Marty Ehrlich, Steve Turre, Earl Gardner, Mino Cinelu, and more. Geri Allen crafted the horn arrangements; one only wishes there were more of them. ~David R. Adler

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Bob McHugh - American Classics

Bitrate: MP3@320K/s
Time: 61:26
Size: 140.6 MB
Styles: Piano jazz
Year: 2001
Art: Front

[3:52] 1. Blue Monk
[3:24] 2. Here's That Rainy Day
[3:53] 3. Big Bill
[4:34] 4. That Sunday That Summer
[4:12] 5. Up Jumped Swing
[5:28] 6. In A Sentimental Mood
[3:59] 7. California Here I Come
[4:01] 8. Skylark
[3:45] 9. The Duke
[4:39] 10. Memories Of You
[4:08] 11. Some Time Ago
[5:14] 12. Sophisticated Lady
[3:01] 13. Sunny Side Of The Street
[3:17] 14. Stella By Starlight
[3:52] 15. My One And Only Love

Bob McHugh has been playing jazz clubs, festivals, halls, private parties, and restaurants in the NY metro area for over fifty years. Be it solo,duo,trio or big band Bob has done it. His styles include, but are not limited to jazz,, blues, pop and fusion. Bob has recorded three albums for Outstanding Records,and has also recorded on Alliance, Perception and Lunge Music. Some of the people he has recorded with are Ray Mantilla, Rich Austin, Raul Paonessa, Ron Naspo, Earl Sauls, Kevin McCarthy, Vinnie Cutro, Tony Signa, Tommy La Bella, Jackie Jones, MNB, Medoosa, David Humm Trio, and Jon Kline, Johnny Guitar & The Pick Ups, The World Concave and has worked with Joe Morello, Bill Crow, Muzzy Napodano, Andrew Cyrille, Norman Edge, Eliot Zigmond, Lou Grassi, Bob DeVos, Cornucopia Big Band, Max Weinberg and many more.

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Wardell Gray - One For Prez

Styles: Saxophone Jazz
Year: 1946
File: MP3@320K/s
Time: 50:01
Size: 116,7 MB
Art: Front

(2:55)  1. Dell's Bells
(3:12)  2. One For Prez
(3:04)  3. The Man I Love
(3:00)  4. Easy Swing
(4:47)  5. The Great Lie
(3:00)  6. Dell's Bells
(3:15)  7. One For Prez
(3:23)  8. The Man I Love
(3:07)  9. Easy Swing
(3:09) 10. Dell's Bells
(1:39) 11. Dell's Bells
(3:06) 12. Dell's Bells
(3:33) 13. The Man I Love
(3:05) 14. One For Prez
(2:54) 15. One For Prez
(2:45) 16. One For Prez

Wardell Gray's admitted direct and huge influence is Lester Young, and as a tenor saxophonist growing up in the passing lane between swing to bop, it would be difficult for anyone to ignore the so called President of Jazz. Gray's time in Los Angeles with Dexter Gordon further refined his sound, but these recordings, his first as a leader, define the greatness of Gray. Originally recorded on 78s for Vogue Records, and an LP for the Fontana label, this collection is essentially a complete session, done November 23, 1946 in Hollywood, CA, with several alternate takes included. Drummer Harold "Doc" West and bassist Red Callender are the cream of the crop West Coast rhythm section at the time, and cook up a storm when asked to up the tempo. Alongside pianist Dodo Marmarosa, Gray is inspired to play unison lines with him on several occasions, especially in the introductions and melody lines of these pieces, as they mesh brilliantly into a stunning display of teamwork and compatibility. Five versions of "Dell's Bells" display the shared values between Gray and Marmarosa, as they scoot along in perfect tandem lines that seem telepathic, while also displaying the fluid dynamics of the tenor man. "One for Prez" falls along the same lines, basing this jam on the theme of "How High the Moon." Five versions of this one three at the end of the CD are shorter with a more edited introduction. Settling into a more cozy mood, three renditions of the ballad "The Man I Love" have Marmarosa in more of a support role, offering chiming chords and comping that is clearly interactive. 

Two takes of "Easy Swing" are just that, an original based on a simple theme adding big doses of the blues and an off-minor mode à la Thelonious Monk, a big influence on Marmarosa. Drummer Chuck Thompson replaces West for a sole take of "The Great Lie," an out-and-out furious bopper, all Gray, with Marmarosa and the ever brilliant Callender pumping up the rhythm to maximum levels. If you are fond of saxophonists like Don Byas, Chu Berry, Herschel Evans, and Lester Young, please include Gray and this wonderful introduction to him as a leader, backed by a bulletproof all-star combo, all deserving high.~ Michael G.Nastos https://www.allmusic.com/album/one-for-prez-mw0000202924

Personnel: Wardell Gray (tenor saxophone); Dodo Marmarosa (piano); Red Callender (bass); Harold "Doc" West, Chuck Thompson (drums).

One For Prez

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Diane Blue - Blues in My Soul

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 55:12
Size: 127,0 MB
Art: Front

(3:19)  1. That's What They Call The Blues
(4:05)  2. Do I Move You
(3:49)  3. Nothing You Can Do
(5:48)  4. In The Dark
(3:41)  5. I Love Your Lovin' Ways
(5:23)  6. Someday Soon
(2:20)  7. Soulville
(5:07)  8. Today I Sing The Blues
(3:02)  9. Day And Night
(6:32) 10. I Can't Shake You
(3:09) 11. Man About Town
(4:07) 12. Cry Daddy
(4:44) 13. Jump For Joy

Diane Blue's debut album on Regina Royale Records features blues royalty: The masterful blues guitarist, Ronnie Earl, and Boston's Queen of the Blues, Ms. Toni Lynn Washington singing along with Ms. Blue on a few tracks. Ms. Blue performs vocals and harmonica in this soulful collection of original and cover tunes, paying homage to Nina Simone, Koko Taylor, Dinah Washington, and Aretha Franklin. Her ensemble includes drummer Lorne Entress and pianist/Hammond B3 organist Dave Limina (both of Ronnie Earl's "Broadcasters"), along with Boston's Bobby Gus on guitar, Johnny "Blue Horn" Moriconi on trumpet. Scott Shetler does double duty on saxophone and horn arrangements.https://store.cdbaby.com/cd/dianeblue2

Blues in My Soul

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Roy Haynes - Love Letters

Styles: Jazz, Post Bop
Year: 2002
File: MP3@320K/s
Time: 56:38
Size: 130,1 MB
Art: Front

(3:48)  1. The Best Thing For You
(6:28)  2. That Old Feeling
(7:15)  3. Afro Blue
(7:31)  4. Que Pasa?
(6:33)  5. How Deep Is The Ocean
(7:42)  6. Love Letters
(5:46)  7. My Shining Hour
(7:13)  8. Stompin' At The Savoy
(4:18)  9. Shades Of Senegal 2

At 77, Roy Haynes is agile, active and still draws a stellar cast of musicians. Those represented on this recording span a generation, and each one endows the music with his own vivid imprint. The division between the players as partners in the adventure of music draws on their strengths and their pliability within the working environ. The chemistry gets going, bonds are forged and a song is given a whole new dynamic. The end result is a veritable feast for the senses. Guitarist John Scofield settles comfortably in the mainstream as he gets into "That Old Feeling," his notes falling in gentle beauty before Dave Holland come in speaking his own language and turning down the tempo slightly. Scofield comes back, picking up the sway with straight ahead explorations before handing things over to Kikoski. Here is a pianist who is completely focused, his playing without fuss yet chockfull of endearing ideas. Haynes, Holland and Scofield etch quite a different picture on "Afro Blue." Scofield spins rhythmic complexities that are invigorated by Holland. The momentum builds and when the tune has been fully essayed, the experience is riveting. Kenny Barron is an elegant and eloquent pianist. He is perfectly cast in the mould, scintillating in the denouement of "The Best Thing For You," with Redman essaying a liquid tenor study in shaded dynamics. The trade-offs between the two on "My Shining Hour" are something to yearn for; McBride, who opens in harmonic closeness on the arco with Redman, gets his say with a lyrical essay in the synthesis of time. Haynes has it all to himself on the last track. His use of timbre, his shading, the accents forge his vision. His control, now as ever, is absolute.~ Jerry D'Souza https://www.allaboutjazz.com/love-letters-roy-haynes-eighty-eights-review-by-jerry-dsouza.php

Personnel: Roy Haynes: drums; Kenny Barron: piano (1, 4, 5, 7); Dave Holland: bass (2, 3, 6, 8); Dave Kikoski: piano (2, 8); Christian McBride: bass (1, 4, 5, 7); Joshua Redman: tenor saxophone (1, 4, 7); John Scofield: guitar (2, 3, 6, 8).

Love Letters

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Philip Catherine - Summer Night

Styles: Guitar Jazz 
Year: 2002
File: MP3@320K/s
Time: 55:40
Size: 127,7 MB
Art: Front

(5:00)  1. Tiger Groove
(4:47)  2. Letter from My Mother
(2:41)  3. Summer Night
(4:53)  4. Francis' Delight
(3:44)  5. Birth of Janet
(7:45)  6. Janet
(3:06)  7. Time After Time
(4:18)  8. Laura
(3:44)  9. If I Should Lose You
(4:37) 10. 'Round About Midnight
(3:06) 11. All Through the Day
(3:21) 12. Le Jardin de Madi
(4:32) 13. Gilles et Mirona

Philip Catherine has a guitar tone like that of the shine of hot mercury pouring from a stainless steel cylinder. His latest recording, Summer Night is replete with such a tone on both fusionesque pieces and more mainstream standard fare. Catherine deftly employs electric effects, always tastefully, to make his playing more fluid. "Tiger Groove" so totally rocks with Bert Jorvis’ brass that it grabs the listeners’ attention and sucks him or her into this wonderful melee of rhythm and harmony. Catherine takes on the standard ("Time After Time," "’Round About Midnight"), the fusion ("Tiger Groove") and the Space Guitar ("Birth of Janet") with equal enthusiasm. This is simply as fine a jazz guitar recording as one could hope for, as there is something for all listeners. ~ C.Michael Bailey https://www.allaboutjazz.com/summer-night-philip-catherine-dreyfus-records-review-by-c-michael-bailey.php

Personnel: Philip Catherine (guitar); Bert Joris (trumpet, flugelhorn); Philips Aerts (bass); Joost Van Schaik (drums)

Summer Night

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Fred Hersch Trio - Live In Europe

Styles: Piano Jazz 

Year: 2018

File: MP3@320K/s

Time: 63:56

Size: 151,3 MB

Art: Front

(5:51)  1. We See

(7:12)  2. Snape Maltings

(2:50)  3. Scuttlers

(4:48)  4. Skipping

(8:25)  5. Bristol Fog (For John Taylor)

(8:40)  6. Newklypso (For Sonny Rollins)

(6:56)  7. The Big Easy (For Tom Piazza)

(7:10)  8. Miyako

(6:43)  9. Black Nile

(5:16) 10. Solo Encore-Bluemonk

Fred Hersch's 2009 recording, Whirl (Palmetto Records), was where pure magic first occurred in the pianist's extensive and consistently superb discography. That particular outing introduced his now long-standing trio with bassist John Hebert and drummer Eric McPherson. Alive At the Vanguard (2012), Floating (2014), and Sunday Night At The Vanguard (2016) by the group followed, all on Palmetto Records. For those who lauded Hersch's solo outing, Open Book (Palmetto Records, 2017) as his finest, most incisive and finely focused outing, the pianist offers up Live In Europe, featuring his Hebert/McPherson team, to garner votes for that "Hersch's Best" slot. Performed at Flagey Studio 4, in Brussels's former National Institute for Radio Broadcasting, Hersch was initially unaware that the set which he regarded as one of his best trio performances ever had been recorded. Upon finding out that it had been and upon hearing the tape and having his belief in its extraordinary quality confirmed he decided to release the music. Spinning through Hersch's previous outings with this nine years and running trio says that they bring the "A" game every time. On Live In Europe it's an "A+" game. The players are as flexibly synchronized and adept at presenting their three-way improvisational and emotional expressionism as they could be, on a set that begins with a jittery take on Thelonious Monk's "We See."

The group follows with six Hersch originals, including tributes to British pianist John Taylor and a calypso-esque nod to saxophone legend Sonny Rollins, before slipping into the Herbie Hancock songbook with the achingly beautiful "Miyako," that gives way to an effervescent take on a second Shorter tune, "Black Nile." It's a set where Hersch sounds freer, more open to possibilities, employing the same exploratory approach he presented on the epic "Though The Forest" on his Open Book outing. And the sound must be addressed. It doesn't get any better a big plus, especially on piano trio outings. The piano is crisp, like a winter sunrise. Every nuance of McPherson's intricate and energetic drumming has crystal clarity, and Hebert's empathic and emphatic bass lines come through with a clean-cut lucidity. The show wraps it up with a solo encore of "Blue Monk," a sober and contemplative return to Monk-land, a place to which Hersch often travels.~ Dan McClenaghan https://www.allaboutjazz.com/live-in-europe-fred-hersch-palmetto-records-review-by-dan-mcclenaghan.php

Personnel: Fred Hersch: piano; John Hebert: bass; Eric McPherson: drums.

Live In Europe

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Ahmad Jamal - Jazz Cafe Presents Ahmad Jamal

Bitrate: MP3@320K/s
Time: 38:39
Size: 88.5 MB
Styles: Bop, Piano jazz
Year: 2001
Art: Front

[6:22] 1. Waltz For Debby
[5:40] 2. Folks Who Live On The Hill
[5:24] 3. People
[8:31] 4. Baia
[4:39] 5. The Good Life
[5:16] 6. Autumn In New York
[2:44] 7. I've Never Been In Love Before

The Jazz Cafe is an award winning live venue with a live music rota that leans towards the jazz & eclectic side of things. Some very fresh and upfront music across a variety of genres - from the coolest things in live electronic to soulful jazzy beats.

Hailing from Pittsburgh, Pennsylvania, Jamal began playing Piano at a young age and his talents were acknowledged fast within the community. He has been described as one of the “Zen masters of jazz piano” and one of the greatest innovators of the genre. He came at a time where improvisation and speed were core to the success of jazz, however true to his personality he took steps in an opposing direction and formed what he later coined as “cool jazz”, this was an attempt to bring jazz out of the underground and further into the public domain.

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Vic Juris - Blue

Bitrate: MP3@320K/s
Time: 64:12
Size: 147.0 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[6:18] 1. Lonely Woman
[5:00] 2. What's Goin' On
[5:49] 3. Ugly Beauty
[6:20] 4. Tereza My Love
[7:43] 5. The Wrong Blues
[7:27] 6. All The Things You Are
[7:07] 7. Slow Hot Wind
[5:45] 8. Blue
[6:37] 9. I Wish I Knew
[6:00] 10. Remembering The Rain

VIC JURIS guitar; JAY ANDERSON bass; ADAM NUSSBAUM drums.

Vic Juris’ new album “Blue” is heavily focused on ballads, which Vic’s signature fluid sound backed up by his mature artistry fits perfectly. One of today’s premier jazz guitarists Vic Juris has been active on the scene for over four decades amassing an impressive discography.

“Vic Juris is a versatile and impressively accomplished guitarist. His playing exudes warmth, intelligence and respect for the tradition. Perhaps best of all, he seems to understand that the foregoing positives also apply to a legion of contemporary guitarists, and he looks for ways to set his work apart, in terms of sound, approach, or material. “ ~Duck Baker/JazzTimes

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Maxine Brown - Out Of Sight

Bitrate: MP3@320K/s
Time: 33:20
Size: 76.3 MB
Styles: Pop/Soul
Year: 1968/2005
Art: Front

[2:25] 1. Sugar Dumplin'
[2:03] 2. Plum Outa Sight
[2:39] 3. Sunny
[2:48] 4. I Wish It Would Rain
[2:19] 5. I'm In Love
[2:34] 6. In My Entire Life
[2:48] 7. Don't Leave Me Baby
[2:14] 8. Just Give Me One Good Reason
[2:24] 9. Stop
[2:59] 10. Seems You've Forsaken My Love
[2:36] 11. When A Man Loves A Woman
[2:33] 12. Love In Them There Hills
[2:51] 13. From Loving You

Although she never had many hits, Maxine Brown was one of the most underrated soul and R&B vocalists of the '60s. During the '60s she released a series of singles for Nomar and Wand, with only a couple of songs -- "All in My Mind," "Funny," "Something You Got," "Oh No Not My Baby" -- managing to become either pop or R&B hits. Despite her lack of hits, Brown is acknowledged as one of the finest R&B vocalists of her time, capable of delivering soul, jazz, and pop with equal aplomb.

Born in Kingstree, SC, Brown began singing as child, singing with two New York-based gospel groups when she was a teenager. In 1960, she signed with the small Nomar label, who released the smooth soul ballad "All in My Mind" late in the year. The single became a hit, climbing to number two on the R&B charts (number 19 pop), and it was quickly followed by "Funny," which peaked at number three. Brown was poised to become a star, and she moved to ABC-Paramount in 1962, but she left the label within a year without scoring any hits. She signed to the New York-based, uptown soul label Wand in 1963.

Brown recorded her best work at Wand, having a string of moderate hits for the label over the next three years. Among these were Carole King/Gerry Goffin song "Oh No Not My Baby," which reached number 24 on the pop charts; "It's Gonna Be Alright"; and the Chuck Jackson duets "Something You Got," "Hold On I'm Coming," and "Daddy's Home." Part of the reason Brown didn't receive much exposure is that the label focused much of their attention on Dionne Warwick, leaving Maxine Brown to toil in semi-obscurity. In 1969, she left Wand and signed with Commonwealth United, where she had the minor hits "We'll Cry Together" and "I Can't Get Along Without You." In 1971, she moved to Avco Records, but all of her recordings for the label went ignored and she faded away over the course of the decade. ~Stephen Thomas Erlewine

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Scott Reeves Jazz Orchestra - Without A Trace

Bitrate: MP3@320K/s
Time: 51:33
Size: 118.0 MB
Styles: Big band
Year: 2018
Art: Front

[6:47] 1. Speak Low
[7:34] 2. Without A Trace
[7:18] 3. All Or Nothing At All
[6:48] 4. Incandescence
[8:01] 5. Juju
[8:25] 6. Shapeshifter
[6:37] 7. Something For Tadd

Scott Reeves: trombone, alto flugelhorn; Steve Wilson: soprano saxophone, flute; Vito Chiavuzzo: alto saxophone, flute; Rob Middleton: tenor saxophone, clarinet; Tim Armacost: tenor saxophone; Terry Goss: baritone saxophone; Jay Brandford: baritone saxophone; Seneca Black: trumpet; Nathan Eklund: trumpet; Chris Rogers: trumpet; Bill Mobley: trumpet; Andy Gravish: trumpet; Tim Sessions: trombone; Matt McDonald: trombone; Matt Haviland: trombone; Max Siegel: bass trombone; Jim Ridi: piano; Dave Ellson: vibraphone; Todd Coolman: bass; Andy Watson: drums; Carolyn Leonhart: vocals.

The Scott Reeves Jazz Orchestra follows up the highly successful debut album Portraits and Places (Origin, 2016), with another masterpiece recording on Without A Trace offering new and exciting arrangements of three standards and four creative Reeves originals that all together, pack quite a powerful musical punch. A full-tenured professor at The City University of New York (CUNY), composer, trombonist and flugelhornist Reeves, takes this twenty-piece ensemble to a higher level in fashioning a riveting musical statement that is sure to resonate with lovers of the big band sound.

Comprising some of the finest musicians from the New York jazz scene, Reeves spices the cast by including such luminaries as saxophonists Steve Wilson and Tim Armacost, along with pianist Jim Ridi and vocalist Carolyn Leonhart among the world-class personnel. Penned with an Afro-Cuban rhythm in mind, the time-honored Kurt Weill and Ogden Nash composition "Speak Low," takes on a new life with solo moments from Wilson, trumpeter Chris Rogers and drummer Andy Watson. Pianist Ridi and tenor saxophonist Armacost provide the lead solos on the Reeves title track ("Without a Trace") that features Leonhart lending her lush vocals in a tune characterized by unconventional harmonies that work quite well here. The Altman/Lawrence standard "All or Nothing at All," highlights Reeves on a blazing trombone solo as the band turns brassy and bold on this interpretation of the classic with alto saxophonist Vito Chiavuzzo providing a pleasant spark.

From Wayne Shorter's 1965 release of "JuJu," Reeves provides the most recent arrangement from bassist John Patitucci on this large orchestration of the familiar piece while "Shape Shifter," delivers a much more intricate sound from a slow intro to a fast-paced swinging ¾ section, a solo by the leader on alto flugelhorn as well as a shift in tempo and mood. Ending in high-octane fashion, the band lets it all hang out on a tribute for the great Thad Jones on "Something for Thad," featuring sparkling solos from trumpeter Andy Gravish and trombonist Matt Haviland capping a vibrant and powerful session of big band jazz from the Scott Reeves Jazz Orchestra, kudos to Reeves and the band. ~Edward Blanco

Without A Trace mc
Without A Trace zippy

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Bill Harris -S/T

Bitrate: MP3@320K/s
Time: 30:37
Size: 70.1 MB
Styles: Guitar jazz
Year: 2013
Art: Front

[1:32] 1. Cherokee
[2:33] 2. Moonglow
[3:01] 3. Out Of Nowhere
[2:44] 4. Ethyl
[2:46] 5. Possessed
[2:39] 6. Perdido
[1:49] 7. I Can't Get Started
[2:35] 8. Dreaming
[2:18] 9. K.C. Shuffle
[2:09] 10. Ivanhoe
[2:20] 11. Stompin' At The Savoy
[2:22] 12. Lover
[1:42] 13. Spring

A guitarist who spent at least two decades on the road with rhythm & blues vocal group the Clovers, Bill "Willie" Harris had a thick background in bebop and swing guitar as well as gospel. The latter style was at his fingertips even before he discovered guitarists such as Oscar Moore on records and radio, since Harris' father was a preacher who was in the position to turn the church organist job over to his offspring. Meanwhile, Harris' mother was drumming in basic harmony and an uncle had chipped in with a guitar, apparently to be the beauty move. The Army supplied a bugle that temporarily halted progress with strings attached, so to speak. Harris was discharged in the mid-'40s and promptly began studying guitar in Washington, D.C., becoming fairly good with both jazz and classical pieces. Harris was encouraged particularly in the classics by high-up staff at the Columbia School of Music, yet seems to have picked the Clovers due to a perceived scent of economic security. The choice, interestingly enough, still wound up leading to expanded musical horizons when fellow rhythm & blues and session guitarist Mickey Baker eavesdropped on a Harris dressing-room practice session and began pulling strings for what would be a series of releases under Harris' own name, such as the 1960 Great Guitar Sounds. The previous EmArcy Solo Guitar from 1956 is considered to be the first album of solo jazz guitar ever released. During the '70s, Harris operated Pigfoot, a Washington, D.C., restaurant, nightclub, and art gallery. ~bio by Eugene Chadbourne

Bill Harris mc
Bill Harris zippy

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Chet Baker & Art Pepper Sextet - Playboys

Styles: Trumpet And Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 67:21
Size: 157,2 MB
Art: Front

(4:02)  1. For Minors Only
(6:44)  2. Minor Yours
(5:42)  3. Resonant Emotions
(5:32)  4. Tynan Time
(6:45)  5. Picture Of Heath
(6:26)  6. For Miles And Miles
(5:14)  7. C.T.A.
(6:19)  8. Tynan Time
(4:17)  9. Little Girl
(7:14) 10. Minor Yours
(3:57) 11. Sonny Boy
(5:04) 12. The Route

These 1956 Pacific Jazz sides appeared in 1961 under the title Playboys. Myth and rumor persist that, under legal advice from the publisher of a similarly named magazine, the collection would have to be retitled. It was renamed Picture of Heath, as more than half of the tracks are Jimmy Heath compositions. Regardless, the music is the absolute same. These are the third sessions to feature the dynamic duo of Art Pepper (alto sax) and Chet Baker (trumpet). Their other two meetings had produced unequivocal successes. The first was during a brief July 1956 session at the Forum Theater in L.A. Baker joined forces with Pepper's sextet, ultimately netting material for the Route LP. Exactly three months to the day later, Pepper and Baker reconvened to record tracks for the Chet Baker Big Band album. The quartet supporting Baker and Pepper on Playboys includes Curtis Counce (bass), Phil Urso (tenor sax), Carl Perkins (piano), and Larance Marable (drums). Baker and Pepper have an instinctual rapport that yields outstanding interplay. The harmony constant throughout the practically inseparable lines that Baker weaves with Pepper drives the bop throughout the slinky "For Minors Only." The soloists take subtle cues directly from each other, with considerable contributions from Perkins, Counce, and Marable. With the notorious track record both Baker and Pepper had regarding other decidedly less successful duets, it is unfortunate that more recordings do not exist that captured their special bond. These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.~ Lindsay Planer https://www.allmusic.com/album/playboys-mw0000196883

Personnel:  Chet Baker — trumpet;  Art Pepper — alto saxophone;  Phil Urso — tenor saxophone;  Carl Perkins — piano;  Curtis Counce — bass;  Larance Marable — drums.

Playboys

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Deborah Cox - I Will Always Love You

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 36:37
Size: 85,0 MB
Art: Front

(4:40)  1. I'm Every Woman
(5:00)  2. I Have Nothing
(3:55)  3. All the Man I Need
(4:52)  4. I Wanna Dance With Somebody
(4:55)  5. Run to You
(4:58)  6. The Greatest Love of All
(3:37)  7. Jesus Loves Me
(4:35)  8. I Will Always Love You

2017 release. Grammy Award-nominated and multi-platinum R&B/pop recording artist and film/TV actress Deborah Cox is currently crossing the country as superstar Rachel Marron in the hit musical The Bodyguard. "I Will Always Love You" is an eight track EP featuring the most requested songs from the smash-hit musical, including such iconic fan favorites as "All the Man that I Need", "I Have Nothing" and "I Will Always Love You." "Deborah Cox, a songstress with a silken, rangy voice, impresses with her energetic and emotive renditions of the songs." ~ The New York Times. "Deborah Cox astonishes!" ~  The Philadelphia Inquirer. https://www.amazon.com/I-Will-Always-Love-You/dp/B06XGDL523

I Will Always Love You

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Denny Zeitlin - Homecoming

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 41:55
Size: 96,5 MB
Art: Front

(3:35)  1. First Light
(3:41)  2. Homecoming
(5:10)  3. Waltz for Josephine
(3:13)  4. Morning Touch
(5:07)  5. Hymn
(3:12)  6. Just Passing By
(3:49)  7. Brazilian Street Dance
(6:35)  8. Millpond
(3:46)  9. Mayfly
(3:43) 10. Quiet Now

Paul Winter's Living Music label mostly specialized in new age and meditation music, so this solo jazz piano set from Denny Zeitlin was a bit unusual for the company. Actually, Zeitlin mostly concentrated on quiet ballads during the date, playing ten of his originals (best-known is "Quiet Now") and showing off his lyrical rather than his swinging side. More mood variations would have uplifted the music but the results are pleasing. ~ Scott Yanow https://www.allmusic.com/album/homecoming-mw0000192448  

Personnel:  Denny Zeitlin - Piano

Homecoming

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Charlie Haden with Gonzalo Rubalcaba - Land of the Sun

Styles: Post Bop, Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 63:14
Size: 144,9 MB
Art: Front

(6:17)  1. Fuiste Tu (It Was You)
(5:08)  2. Sueno Solo COn Tu Amor (I Only Dream of Your Love)
(7:00)  3. Cancion De Cuna a Patricia (Lullaby for Patricia)
(8:06)  4. Solamente Una Vez (You Belong to My Heart))
(5:41)  5. Nostalgia
(7:07)  6. De Siempre (Forever)
(3:21)  7. Anoranza (Longing)
(4:49)  8. Cuando Te Podre Olvidar (When Will I Forget You)
(6:42)  9. Esta Tarde Vi Llover (Yesterday I Heard the Rain)
(8:58) 10. Cancion a Paola (Paola's Song)

It should come as no surprise that Land of the Sun, a collection of Mexican ballads written by three of Mexico's most prominent modern composers, is yet another chapter in Charlie Haden's continually unfolding musical biography. Haden was given a folder of songs by the late and legendary Mexican composer José Sabre Marroquín by his daughter as a thank you for his recording of "Nocturnal." Haden went over the tunes and decided to record some of them; he turned them over to pianist Gonzalo Rubalcaba for arranging, employed a stellar band, and Land of the Sun is the end result. What a result. There are eight compositions by Marroquín and one each by Augustín Lara and Armando Manzanero, in their own right prolific and revered songwriters who have been recorded in this country by Presley, Sinatra, and Bennett, to name a few. The band assembled for this project is stellar Joe Lovano, Ignacio Berroa, Rubalcaba, Miguel Zenón, Oriente Lopez, Larry Koonse, Lionel Loueke, Michael Rodriguez, and Juan De La Cruz. Rubalcaba's charts don't transform the songs into jazz tunes, but rather become an entryway for melodic improvisation, rhythmic invention, and group interplay. Rubalcaba's front-line interaction with Lovano, Zenón, and Rodriguez especially on "De Siempre" is emotionally honest and musically inspiring. "Nostalgia," introduced by Spanish guitar, percussion, and piano, is a wonderful springlike bittersweet melody wrapped in a languid rhythm and made poignant first by Rodriguez, and then Zenón, before the guitars waft back in. Lara's "Solamenta una Vez" is arranged for trio here. Rubalcaba's solo, with its shifting ostinati and alternating chordal and single-note runs, is breathtaking. Lovano's lyricism on "Esta Tarde Vi Llover," by Manzanero, is played in his best Ben Webster. With skittering brush work by Berroa, Lovano accents the tune's similarities to "A Kiss Is Just a Kiss" before turning it over to Rubalcaba, who extrapolates the harmony and opens it up against De La Cruz's bongos. Land of the Sun is a deeply romantic album, but it is lush without artificial ornamentation or affectation. Musically, its refinement is such that it begs critical as well as casual listening. Hopefully this won't be the last such exercise from Haden and Rubalcaba, but an introduction.~ Thom Jurek https://www.allmusic.com/album/land-of-the-sun-mw0000637062  

Personnel:  Charlie Haden – bass;  Gonzalo Rubalcaba – piano;  Ignacio Berroa – drums;  Joe Lovano – tenor saxophone;  Miguel Zenon – alto saxophone;  Michael Rodriquez – trumpet, flugelhorn;  Oriente Lopez – flute;  Larry Koonse – guitar;  Lionel Loueke – guitar;  Juan De La Cruz – percussion

Land of the Sun

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