Chris Thile, Brad Mehldau - Chris Thile & Brad Mehldau

Bitrate: MP3@320K/s
Time: 62:54
Size: 144.0 MB
Styles: Progressove Bluegrass
Year: 2017
Art: Front

[6:23] 1. The Old Shade Tree
[5:53] 2. Tallahassee Junction
[6:02] 3. Scarlet Town
[6:59] 4. I Cover The Waterfront
[3:08] 5. Independence Day
[4:50] 6. Noise Machine
[5:26] 7. The Watcher
[8:59] 8. Daughter Of Eve
[4:49] 9. Marcie
[6:00] 10. Don't Think Twice It's Alright
[4:22] 11. Tabhair Dom Do Lámh

Other than the album's genre-crossing premise, there's nothing particularly gimmicky or flashy about bluegrass singer/songwriter Chris Thile and jazz pianist Brad Mehldau's 2017 Nonesuch collaboration, Chris Thile & Brad Mehldau. Simply put, Thile and Mehldau deliver a set of deeply engaging, organically realized songs that perfectly balance their respective jazz and bluegrass skills. Given that they seemingly come from polar ends of the musical spectrum, the collaboration may feel like an odd choice at first. However, after hearing this debut, one might be hard-pressed to imagine a more compatible duo to emerge from their generation than these two distinctive mavericks. The similarities have always been there; both musicians started out as purist arbiters of their prospective roots-based genres, but later transitioned into leading proponents of their own progressive, harmonically nuanced musical ideologies. Thile broke the mold when he started incorporating pop, folk, and traditional bluegrass with Nickel Creek, a permutable instinct later underlined with his nods to rock and fusion with the Punch Brothers. Similarly, while Mehldau is often justifiably compared to jazz icons like Keith Jarrett and Bill Evans, his reconceptualization of alt-rock hits by Radiohead and Nirvana, combined with his deft improvisational skill, long marked him as a gentle jazz radical. This inkling that both artists shared a philosophical and aesthetic sensibility is apparently exactly what motivated executive producer and label president Robert Hurwitz to introduce the two to each other after a Punch Brothers show several years prior to this album. Subsequently, Thile and Mehldau began playing together casually, purportedly developing a strong rapport. Based on the songs here, that rapport sounds effortless, as they warmly intertwine both their instruments and voices on covers like a rambling take on Bob Dylan's "Don't Think Twice, It's All Right" and an evocative reworking of Joni Mitchell's "Marcie." One minute, Mehldau is framing Thile's yearning vocals in soft, velvety chords and the next, Thile is comping with furious intensity on his mandolin as Mehldau launches into a cascading solo. The duo's original songs are also quite fascinating, particularly the Eric Clapton-esque "The Old Shade Tree" and the poetic, classically inflected "Noise Machine," inspired by the recent birth of Thile's first child. These are deeply hued, literate songs, as personal as anything either artist has done, yet delivered with an almost startlingly robust virtuosity. Even when they defy expectations, as when Thile sets down his mandolin for a piano-accompanied reading of the standard "I Cover the Waterfront," or when they eschew lyrics for an instrumental version of Elliott Smith's "Independence Day," there's a palpable sense of real listening, of generously shared creativity. Ultimately, it's that synergistic spark that makes Thile and Mehldau's collaboration sound less like a one-off experiment and more like the start of a lasting partnership. ~Matt Collar

Chris Thile & Brad Mehldau mc
Chris Thile & Brad Mehldau zippy

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The O-Tones - Ain't That A Kick

Bitrate: MP3@320K/s
Time: 54:41
Size: 125.2 MB
Styles: Swing, Harmony vocals
Year: 1999
Art: Front

[2:29] 1. Walkin' Slow Behind You
[3:37] 2. Cryin' Out Loud
[2:47] 3. Let's Get Away From It All
[4:00] 4. Ever Since The World Began
[3:14] 5. Ain't That A Kick In The Head
[3:20] 6. A Fool In Love
[3:38] 7. Just Squeeze Me
[3:11] 8. Tell Me What Have I Done Wrong
[5:38] 9. If It's Really Gotta Be This Way
[3:48] 10. Blue Light Boogie
[3:29] 11. Route 66
[2:55] 12. Spring Cleaning
[4:45] 13. Suzie
[6:45] 14. Don't Blame Me
[0:56] 15. Dinah

The O-Tones is a hot Swing and Motown band from Western Massachusetts. With three singers as the core of the band, The O-Tones will melt your hearts with their powerful three-part vocals. Whether they're singing their rendition of a 1940's swing tune, or belting out a Motown number, Ann Percival, Anand Nayak, and Mary Witt make each song they sing a hit. In addition to blending their tones as harmony singers, they are each extremely compelling solo singers. From sentimental ballads to upbeat Soul and Rhythm & Blues, they will charm you and make you want to jump and jive on the dance floor. Ann, Mary, and Anand also form part of the driving rhythm section of The O-Tones, lending their talents on rhythm guitar, bass, and lead guitar respectively. Kerry Blount's soulful sax adds heat while Walt Chapman, king of Boogie Woogie piano style and organ riffs, rocks the group along. Along with Pieter Struyk on the drums, the pulse of this band is fiery for dancing or listening.

Ain't That A Kick mc
Ain't That A Kick zippy

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Oscar Peterson - Motions And Emotions (Remastered Anniversary Edition)

Bitrate: MP3@320K/s
Time: 36:32
Size: 83.7 MB
Styles: Piano jazz
Year: 1969/2014
Art: Front

[3:08] 1. Sally's Tomato
[3:29] 2. Sunny
[4:22] 3. By The Time I Get To Phoenix
[2:54] 4. Wandering
[3:46] 5. This Guy's In Love With You
[6:03] 6. Wave
[2:58] 7. Dreamsville
[4:03] 8. Yesterday
[3:05] 9. Eleanor Rigby
[2:39] 10. Ode To Billy Joe

Bass – Sam Jones; Drums – Bobby Durham; Guitar – Bucky Pizzarelli; Piano – Oscar Peterson.

Recorded in 1969, Motions & Emotions from Oscar Peterson is a bit of a departure from what the famed pianist was doing back in those days. Featuring lush orchestral arrangements by Claus Ogerman, known for his work with Frank Sinatra and more recently, Diana Krall, the album shows off Peterson and his trio members Bucky Pizzarelli on guitar and Bobby Durham on drums performing a wide range of cover songs, from the Beatles to Bacharach, Bobby Gentry to bossa nova.

Motions And Emotions (Remastered Anniversary Edition) mc
Motions And Emotions (Remastered Anniversary Edition) zippy

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Various - Django Festival 2

Bitrate: MP3@320K/s
Time: 87:07
Size: 199.5 MB
Styles: Gypsy jazz
Year: 2018
Art: Front

[ 3:43] 1. Paulus Schäfer - Letter To Vincent Van Gogh
[ 3:43] 2. Valentin Moya - Finished Chapter
[ 5:15] 3. Ultrafaux - Signs Of Struggle
[ 4:39] 4. Scaramouche Jazz Gitan - You And The Night And The Music
[ 5:13] 5. Julien Labro - Rise And Grind
[ 3:46] 6. Latchepen - Koo-Koo
[ 4:45] 7. Sigurd Jovik Bræin - Varm Asfalt
[ 2:41] 8. Remi Harris - Puttin' On The Ritz
[ 3:33] 9. Djalamichto Quartet - Django's Island
[ 6:19] 10. Hot Club De Berne - Plagia
[ 3:34] 11. Balkan Strings - Swing Time
[ 4:25] 12. Jon Delaney - Tango Whisky Foxtrot
[ 3:28] 13. Mauro Albert - Fogo Y Agua
[ 3:02] 14. Las Petits Nouveau - Djelem, Djelem
[ 2:36] 15. Hot Club De Piracicaba - Sweet Georgia Brown
[ 5:35] 16. Olah Vince - What Is This Thing Called Love
[ 4:23] 17. Hot Club De Plovdiv - How High The Moon
[ 2:45] 18. Fernando Seifarth - I'll See You In My Dreams
[ 3:17] 19. Reve Boheme - Swingtime In Springtime
[10:19] 20. Florin Niculescu - Liaisons

The popular DJANGO FESTIVAL anthology vol. 2 - a panorama of the magical world of Django music today: Bireli LAGRENE, Babik REINHARDT, Jimmy ROSENBERG, Jon LARSEN, Angelo DEBARRE, MORENO, John JORGENSON, Reinier VOET, ROMANE, Biel BALLESTER, Raul REYNOSO, Andy MACKENZIE, Rodolphe RAFAELLI, Jean-Philippe WATREMEZ, Vitali IMERELI, CORDES SAUVAGES, Marcello MATTE, Ola KVERNBERG, HOT CLUB DE NORVEGE, LATCHO DROM, OPUS4, and many others! The DJANGO FESTIVAL is presented by Hot Club Records, the main label for the Django music today, and special recordings from the past.

Django Festival 2 mc
Django Festival 2 zippy

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David Friedman Generations Trio - Thursday

Bitrate: MP3@320K/s
Time: 54:51
Size: 125.6 MB
Styles: Vibraphone jazz
Year: 2018
Art: Front

[4:33] 1. Bistro
[4:59] 2. Deer Fall
[7:39] 3. Recycling
[6:35] 4. Thursday Lines
[8:35] 5. Thursday Session
[8:40] 6. Turn Left
[2:33] 7. In Hop
[2:01] 8. Small Talk
[3:37] 9. Gliding
[5:34] 10. Sogni D'oro

Bass – Oliver Potratz; Drums – Tilo Weber; Vibraphone [Vibes], Producer – David Friedman. Recorded at Scoring Stage Babelsberg in September 2014.

Living jazz legend David Friedman is one of the most influential vibraphonists in the history of the instrument. "Thursday" is not only the first release of Friedman's brand new Generations Trio, but also the very first release of his new label "Malletmuse Records". The Generations Trio provides a musical example of intuitive communication and intense interaction, resulting in an audible process of music-making, which speaks directly to the listening audience.

These three generations, with shooting star Tilo Weber on drums, in demand sideman Oliver Potratz on bass, and retired Jazz Professor David Friedman on vibes, develop an amazingly orchestral band sound, which is fresh and hip, while firmly rooted in the deep tradition of Jazz.

Thursday mc
Thursday zippy

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Donald Byrd - Don't Worry Be Jazzy

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 81:39
Size: 187,7 MB
Art: Front

(7:22)  1. Say You're Mine
(6:37)  2. Shangri-La
(5:36)  3. Each Time I Think of You
(6:43)  4. The Cat Walk
(6:14)  5. I'm a Fool to Want You
(7:33)  6. Hello Bright Sunflower
(7:06)  7. Requiem
(6:24)  8. Hush
(6:29)  9. 6m's
(8:07) 10. Jorgie's
(7:04) 11. Duke's Mixture
(6:19) 12. Cute

Donald Byrd was considered one of the finest hard bop trumpeters of the post-Clifford Brown era. He recorded prolifically as both a leader and sideman from the mid-'50s into the mid-'60s, most often for Blue Note, where he established a reputation as a solid stylist with a clean tone, clear articulation, and a knack for melodicism. Toward the end of the '60s, Byrd became fascinated with Miles Davis' move into fusion, and started recording his own forays into the field. In the early '70s, with the help of brothers Larry and Fonce Mizell, Byrd perfected a bright, breezy, commercially potent take on fusion that was distinct from Davis, incorporating tighter arrangements and more of a smooth soul influence. Opinions on this phase of Byrd's career diverge wildly jazz purists utterly despised it, branding Byrd a sellout and the records a betrayal of talent, but enraptured jazz-funk fans regard it as some of the most innovative, enduring work of its kind. In fact, proportionately speaking, Byrd was held in even higher esteem by that audience than by straight-ahead jazz fans who enjoyed his hard bop output. Donaldson Toussaint L'Ouverture Byrd II was born in Detroit, Michigan, on December 9, 1932. His father, a Methodist minister, was an amateur musician, and Byrd was already an accomplished trumpeter by the time he finished high school, having performed with Lionel Hampton. Byrd served a stint in the Air Force, during which time he played in a military band, and subsequently completed his bachelor's degree in music at Wayne State University in 1954. He moved to New York in 1955 to get his master's at the Manhattan School of Music, and soon began performing with pianist George Wallington's group. In December of that year, he was invited to join Art Blakey's Jazz Messengers, filling a chair once held by his idol, Clifford Brown, and Kenny Dorham. Byrd also began his recording career during this period, leading several sessions (mostly for Savoy) and working often as a sideman, particularly at the Prestige label. He left the Jazz Messengers in 1956 and joined up with Max Roach; he went on to play with the likes of John Coltrane, Sonny Rollins, and Red Garland, and also co-founded the Jazz Lab Quintet with altoist Gigi Gryce in 1957. In 1958, Byrd signed an exclusive recording contract with Blue Note, and also formed a band with baritonist Pepper Adams, who would remain Byrd's regular partner until 1961. Byrd's Blue Note debut was 1958's Off to the Races, and he and Adams collaborated on a series of excellent hard bop dates over the next three years, including Byrd in Hand (1959), At the Half Note Cafe, Vols. 1-2 (1960), The Cat Walk (1961), and Royal Flush (also 1961), among others. Another 1961 recording, Free Form, found Byrd giving a young Herbie Hancock some of his earliest exposure. Following this burst of activity, Byrd took a sabbatical to continue his studies in Europe, where he spent some time under the tutelage of the legendary French music educator Nadia Boulanger. He returned to the U.S. in 1963 and recorded A New Perspective, a now-classic set that broke new ground by incorporating gospel choirs into its arrangements; its signature piece, "Cristo Redentor," became quite popular.

In the mid-'60s, Byrd focused more of his energies on teaching, and worked diligently to make jazz and its history a legitimate part of the college curriculum. He taught at Rutgers, Hampton, New York University, and Howard in the late '60s, and the last one remained a steady association for much of the '70s. In the meantime, Byrd continued to record occasionally, cutting a final spate of hard bop albums over 1966-1967 that included Mustang! and Blackjack. Byrd also began to study African music, inspired partly by the emerging black-consciousness movement, and became interested in Miles Davis' efforts to woo a younger audience (including Byrd's own students) by experimenting with electronics and funk rhythms. Released in 1969, Fancy Free found Byrd using electric piano for the first time, with a spacy sound that recalled Davis' In a Silent Way. Issued in 1970, Electric Byrd had more of a Bitches Brew flavor, and the jams on 1971's Ethiopian Knights were longer, funkier, and more aggressive. Byrd truly came into his own as a fusion artist when he hooked up with brothers Larry and Fonce Mizell, who began to handle production, writing, and some musical support duties. Their first collaboration was 1972's Black Byrd, an upbeat, funky blend of jazz and R&B. Jazz critics detested the album and called Byrd all sorts of names, but the record was a smash hit; it became the biggest seller in Blue Note history, and just missed hitting number one on the R&B albums chart. In the wake of its success, Byrd formed a supporting group, the Blackbyrds, who were culled from the cream of his music students at Howard University and recorded through the rest of the '70s. Byrd went on to release a string of successful LPs in partnership with the Mizell Brothers, including the imaginary blaxploitation soundtrack Street Lady (1974), Stepping into Tomorrow (1975), the much-lauded Places and Spaces (1976), and Caricatures (1977). All made the Top Ten on the R&B album charts, and the Places and Spaces single "Change (Makes You Wanna Hustle)" even got substantial play in discotheques. Jazz-funk fans revere this period in general, but usually reserve their highest praise for Street Lady and, especially, Places and Spaces. As a side note to his musical career, Byrd finished law school in 1976, and went on to teach at North Carolina Central University. Following Caricatures, Byrd parted ways with Blue Note and the Mizell Brothers and moved to Elektra. He recorded several albums over 1978-1983, but even the most commercially successful, 1978's Thank You...for F.U.M.L. (Funking Up My Life), didn't match the infectiousness of his Blue Note jazz-funk outings. In 1982, Byrd received his Ph.D. from Columbia Teachers College. He spent a few years in the mid-'80s away from recording, due in part to ill health, but continued to teach, moving on to North Texas State and Delaware State. In the late '80s and early '90s, Byrd returned to the hard bop of his early days on several sessions for the Landmark label. He participated in rapper Guru's Jazzmatazz project in 1993, and with the advent of the jazz-rap movement and England's acid jazz revival, his '70s albums became hugely popular sources for samples. In the meantime, Byrd continued his activities as a jazz educator. He died in February 2013 at the age of 80. ~ Steve Huey https://www.allmusic.com/artist/donald-byrd-mn0000149946/biography               

Don't Worry Be Jazzy

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Jane McDonald - Inspiration

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 61:18
Size: 144,2 MB
Art: Front

(3:51)  1. Help Me Make It Through The Night
(3:21)  2. Maybe This Time
(4:25)  3. When You Tell Me That You Love Me
(2:30)  4. I Only Wanna Be With You
(4:14)  5. The Impossible Dream
(4:18)  6. The First Time Ever I Saw Your Face
(4:10)  7. You're The Inspiration
(4:01)  8. And I'm Telling You
(5:10)  9. Winner
(2:51) 10. How Can I Be Sure?
(3:23) 11. Somewhere
(3:48) 12. The Hand That Leads Me
(3:13) 13. To Sir With Love
(3:30) 14. This Is The Moment
(4:09) 15. My Heart Will Go On
(4:16) 16. Amazing Grace

One of the U.K.'s first successful reality TV recording artists, cabaret singer Jane McDonald became an overnight sensation after appearing in BBC docu-soap The Cruise. Born in Wakefield in 1963, McDonald started her singing career performing at various workingmen's clubs across the North of England, employing her father as her roadie. After working as an entertainer on several cruise ships, she retired from the business for nine months until a call from her agent persuaded her to take up one final job, a residency on The Galaxy. Coincidentally, the BBC was filming a fly-on-the-wall documentary about the day-to-day running of the cruise liner and asked McDonald if she would like to appear. Thanks to her down to earth nature and Northern sense of humor, she became the show's biggest star, and following its huge ratings success, she was signed to Focus Records. In 1998, her self-titled debut album reached number one in the U.K. charts, where it stayed for three weeks; she performed a sold-out show at the London Palladium, and her televised marriage to Henrik Brixen attracted 14 million viewers. In 2000, she returned with second album Inspiration (number six) and became a TV presenter for the BBC, fronting both The National Lottery and Star for a Night, a talent show which helped launch Joss Stone. A year later, her third album, Love at the Movies, reached number 24 and she appeared in the West End production of Romeo and Juliet: The Musical. In 2005, she released her fourth album, You Belong to Me (number 21) and became a regular panelist on ITV chat show Loose Women. In 2008, following an appearance on a program revisiting the stars of The Cruise, her fifth studio album, Jane, saw her return to the Top Ten for the first time in eight years and she embarked on a sold-out theater tour across the U.K. In 2014, she released the album Singer of Your Song, and the same year embarked on a tour in support of the album. Two years later the singer launched the Making Memories tour, and the popularity of the performance extended the show's run into 2017. That same year, McDonald released her seventh album. Hold the Covers Back featured original material, and a guest spot from Spandau Ballet's Tony Hadley. ~ John O'Brien https://www.allmusic.com/artist/jane-mcdonald-mn0000641575/biography 

Thank You Dave!

Inspiration

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JD Allen - Bloom

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 40:30
Size: 93,3 MB
Art: Front

(3:23)  1. Jack's Glass
(6:04)  2. Bloom
(3:13)  3. The Secret Life of Guest Worke
(3:59)  4. The Dreamer
(3:46)  5. A Throng of Millions Can Be On
(4:11)  6. If You Could See Me Now
(3:24)  7. Stardust
(4:52)  8. The Rule of Thirds
(3:16)  9. Pater Noster
(4:18) 10. Car - Car (The Blues)

JD Allen writes in his album notes that “Technically Bloom draws from three sources, 20th-century classical music, the American songbook and jazz improvisation.” But two of Allen’s tenor sax predecessors-John Coltrane and Sonny Rollins-are much in evidence as well. Allen has a big tone that at different times calls to mind each of them (listeners could make a game of deciding when Allen sounds more like one or the other), and his music, like theirs, couples intellect and spirituality without abandoning its earthy roots. Following several well-regarded trio albums, Allen switches to a quartet here, with Orrin Evans, Alexander Claffy and Jonathan Barber joining him on piano, bass and drums, respectively. Allen’s seven compositions on the disc include the title track; the Trane-ish opener, “Jack’s Glass”; the Barber-showcasing “The Secret Life of Guest Workers,” on which a slow, Ornette Coleman-like line leads into and out of an extensive drum solo; “A Throng of Millions Can Be One” and “The Rule of Thirds,” similar tunes differentiated most obviously by Claffy’s bowed solo in the latter; and the closing blues “Car-Car (The Blues),” which Evans opens with one of his better solos. As intriguing and rich as all that is, it’s the three interpretations that stand out. On the first two Allen sounds more Rollins-like. “If You Could See Me Now” shows his willingness to play slow and make his notes count. He takes cues from Rollins in playing “Stardust” unaccompanied, his tone taking on some of the edginess Rollins himself borrowed from Coleman Hawkins. “Pater Noster” (the Lord’s Prayer), from its reverential opening of rumbling piano chords onward, can’t help but call to mind Coltrane’s most famous work. The spirit of serious jazz tenor saxophone endures in JD Allen. ~ Bill Beuttler https://jazztimes.com/reviews/albums/jd-allen-bloom/

Personnel:  Orrin Evans - piano;  J.D. Allen - tenor saxophone;  Jonathan Barber - drums.

Bloom

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Lorez Alexandria - Talk About Cozy

Bitrate: MP3@320K/s
Time: 37:07
Size: 85.0 MB
Styles: Jazz vocals
Year: 1995
Art: Front

[2:27] 1. The Best Is Yet To Come
[1:57] 2. Talk About Cozy
[3:08] 3. Something
[1:45] 4. I'll Remember April
[2:42] 5. Street Of Dreams
[3:57] 6. Be A Sweet Pumpkin
[3:22] 7. Alfie
[2:09] 8. I've Never Been In Love Before
[2:26] 9. I've Got A Right To Cry
[3:17] 10. Night Song
[3:18] 11. Didn't We
[2:35] 12. Here, There And Everywhere
[3:57] 13. My Way

A solid singer who is superior at interpreting lyrics, gives a soulful feeling to each song, and improvises with subtlety, Lorez Alexandria was a popular attraction for several decades. She sang gospel music with her family at churches starting in the mid-'40s and worked in Chicago nightclubs in the 1950s. With the release of several albums for King during 1957-1959, Alexandria became popular beyond her hometown, and by the early '60s she was living and working in Los Angeles. In addition to the King label, her earlier recording sessions were for Argo and Impulse, while her later albums were for Discovery and Muse. Despite a long period off records (only a few private recordings during the 1965-1976 period), Alexandria survived through the many changes in musical styles and could be heard in excellent form up until she retired in the mid-'90s. Not long after retiring, Alexandria suffered a stroke, and her health declined until her death in May 2001. ~bio by Scott Yanow

This album presents another addition to Lorez Alexandria's impressive body of recorded work, reinforcing her status as one of jazzdom's genuinely distinctive vocalist. Recorded 1968, Los Angeles.

Talk About Cozy mc
Talk About Cozy zippy

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Don Ellis - Soaring

Bitrate: MP3@320K/s
Time: 42:24
Size: 97.1 MB
Styles: Bop, Trumpet jazz, Big band
Year: 1973/2014
Art: Front

[4:26] 1. Whiplash
[6:42] 2. Sladka Pitka
[5:54] 3. The Devil Made Me Write This Piece
[3:18] 4. Go Back Home
[6:44] 5. Invincible
[3:03] 6. Image Of Maria
[6:41] 7. Sidonie
[5:33] 8. Nicole

Bass – Dave McDaniel; Bass Trombone – Ken Sawhill; Cello [Electric] – Pat Kudzia; Clarinet, Flute, Oboe, Soprano Saxophone, Baritone Saxophone – Gary Herbig; Clarinet, Flute, Tenor Saxophone – Sam Falzone; Congas – Lee Pastora; Drums – Ralph Humphrey; Flute, Alto Flute, Piccolo Flute, Alto Saxophone, Soprano Saxophone – Fred Selden; Flute, Piccolo Flute, Alto Saxophone, Soprano Saxophone, Tenor Saxophone – Vince Denham; French Horn – Sidney Muldrow; Guitar, Other [Bag] – Jay Graydon; Organ, Piano, Electric Piano [Fender Rhodes], Clavinet – Milcho Leviev; Percussion, Drums – Ron Dunn; Trombone – Mike Jamieson; Trumpet, Drums, Flugelhorn, Trumpet [Electric Trumpet] – Don Ellis; Trumpet, Flugelhorn – Bruce Mackay, Gil Rathel, Jack Caudill; Tuba – Doug Bixby;Viola [Electric] – Renita Koven; Violin [Electric] – Earle Corry, Joel Quivey.

The last album by Don Ellis' big band before the trumpeter suffered a heart attack that would ultimately cut short both his career and his life, this underrated set finds Ellis' orchestra consisting of seven brass (including tuba), four strong woodwind players, a string quartet, and an enlarged six-piece rhythm section that includes guitarist Jay Graydon and keyboardist Milcho Leviev. A special highlight is "Invincible" which is an outstanding feature for altoist Vince Denham; whatever happened to him? Ellis composed four of the eight originals including one titled "The Devil Made Me Write This Piece!" This out-of-print Lp is well worth searching for.

Soaring mc
Soaring zippy

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Newropean Quartet, Danilo Memoli Trio, Steve Grossman - Time On My Hands

Bitrate: MP3@320K/s
Time: 66:29
Size: 152.2 MB
Styles: Traditional jazz combo
Year: 2010
Art: Front

[5:22] 1. Time On My Hands
[5:32] 2. Too Marvellous For Words
[7:29] 3. Autumn In New York
[6:08] 4. Tenderly
[7:16] 5. Change Partners
[5:16] 6. Laura
[7:00] 7. But Not For Me
[5:35] 8. Serenade In Blue
[6:45] 9. Manhattan
[6:11] 10. You Go To My Head
[3:51] 11. September In The Rain

Luciano Cavalieri, executive producer of this cd, contacted me one night - after listening to a Newropean Quartet performance - and asked me to record an album based on a series of standards which he particularly loved, letting me have complete freedom on the choice of the musicians involved (which almost entirely reflects the Newropean, but with Mauro Beggio on drums and with Steve Grossman - on three tunes - instead of Ralph Reichert, co-leader of the NQ; the bassist is Stefano Senni).

Luciano - a great jazz fan and connoisseur, with a collection of records and videos that many would envy... not only in Italy - came up with a list of eleven tunes that simply represent an organic overview of the beautiful american songbook, most of which are part of the repertoire of all the major interpreters in the history of jazz. After some personal re-harmonization and a few simple arrangements, our rendition of these wonderful tunes produced the results now in your hands.

Time On My Hands mc
Time On My Hands zippy

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George Barnes - Guitar Galaxies

Bitrate: MP3@320K/s
Time: 28:12
Size: 64.6 MB
Styles: Guitar jazz, Easy Listening
Year: 1962/2011
Art: Front

[2:18] 1. Tequila
[2:05] 2. Mamá Inés
[2:34] 3. La Paloma
[2:11] 4. When Yuba Plays The Rumba On The Tuba
[2:14] 5. Linda Mujer
[2:07] 6. Bim Bam Boom
[2:39] 7. Ana
[2:52] 8. Orchids In The Moonlight
[2:19] 9. Cumana
[2:28] 10. Lady In Red
[1:58] 11. Cuban Pete
[2:20] 12. Adios

American swing jazz guitarist, born July 17, 1921 - South Chicago Heights, Illinois, USA - died September 5, 1977 - Concord, California, USA. He started his professional career at the age of 12, when he received his musicians' union card, and toured throughout the Midwest. By the time he was 14, he was accompanying blues vocalists such as Big Bill Broonzy and Blind John Davis. On March 1, 1938, he recorded "Sweetheart Land" and "It's a Lowdown Dirty Shame" with Broonzy, the first commercial recordings of an electric guitar. Later in 1938, he was hired as a staff musician for the NBC orchestra, and became a featured performer on the radio shows National Barn Dance and Plantation Party.

Barnes' style took shape before the development of bebop, and he remained a swing stylist throughout his career. His lines were usually short, very melodic, bluesy and "inside" (i.e. diatonic) as compared to the chromaticism and long lines of bop era guitarists. His improvisations often employed call and response phrases, and his tone was clearer, cleaner and brighter than many other jazz guitarists (such as Joe Pass or Jim Hall) and reflected his "happy" approach to music.

Guitar Galaxies

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Jackie Gleason - Champagne, Candlelight And Kisses

Bitrate: MP3@320K/s
Time: 33:39
Size: 77.0 MB
Styles: Easy Listening
Year: 1963/2012
Art: Front

[3:43] 1. Theme From Bus Stop
[2:13] 2. Undecided
[2:49] 3. I Double Dare You
[3:17] 4. A Pretty Girl Is Like A Melody
[1:46] 5. A Little Love, A Little Kiss
[2:08] 6. All By Myself
[2:30] 7. Keepin' Out Of Mischief Now
[3:31] 8. It's Been A Long, Long Time
[2:31] 9. That's A Plenty
[3:53] 10. Everything Happens To Me
[2:37] 11. Just You, Just Me
[2:34] 12. Fascinating Rhythm

Not only was he one of the finest comedians America has ever produced, Jackie Gleason applied his prodigious talents to music as well. With a strong jazz roots background (leaning to mesmerized idolatry when dealing with good trumpet players), Gleason developed a chart-topping series of mood music albums in the '50s, citing his reason for their existence: "Every time I ever watched Clark Gable do a love scene in the movies, I'd hear this really pretty music, real romantic, come up behind him and help set the mood. So I'm figuring that if Clark Gable needs that kinda help, then a guy in Canarsie has gotta be dyin' for somethin' like this!" Gleason began making films in the '40s, but he rose to stardom in the early '50s, thanks to the late '40s/early '50s television series The Life of Riley and Cavalcade of Stars. His television stardom led to a contract with Capitol Records, who released his first album, Music for Lovers Only, in 1953. As a musician, Gleason favored lush, dramatically orchestrated instrumentals, patterned after the mood music of Paul Weston. Gleason wasn't a trained musician, but he was responsible for the musical direction of his records; when he did write a piece, he would dictate to someone who could read and write music.

Music for Lovers Only was a surprise hit, selling over 500,000 copies. Every subsequent Gleason album was a major hit, reaching the Top Ten and selling a large number of copies. Gleason continued to release albums into the '60s, but his popularity dipped dramatically after 1957. After that year, he no longer was able to make it into the Top 15, even though his records continued to appear in the lower regions of the charts. Gleason's records have continued to be popular cult items and they have come to be regarded as definitive mood music albums. ~ Cub Koda & Stephen Thomas Erlewine

Champagne, Candlelight And Kisses mc
Champagne, Candlelight And Kisses zippy

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Philip Catherine, Martin Wind - New Folks

Bitrate: MP3@320K/s
Time: 56:30
Size: 129.4 MB
Styles: Guitar jazz
Year: 2014
Art: Front

[5:49] 1. Old Folks
[4:18] 2. Fried Bananas
[3:51] 3. Hello George (For G. Shearing)
[3:51] 4. Blues In The Closet
[4:12] 5. How Deep Is The Ocean
[2:51] 6. Jenny Wren
[6:05] 7. Song For D
[4:36] 8. Sublime
[2:38] 9. Pivoine
[5:34] 10. L'eternel Desir
[4:59] 11. Standing At The Window Waving Goodbye
[2:47] 12. Toscane
[4:54] 13. Winter Moon

Philip Catherine - the South German Newspaper in Munich just recently wrote that he “plays things that cannot be heard by any other guitarist in the world today”. His partner on the bass, Martin Wind, is one of only a few Germans who made it in New York. Both are aesthetes that love melodic jazz with Swing roots. Without any haste or superficial virtuosity, but instead with complete mutual trust they find the ideal tone, the right timbre for each note, lining up sound and space perfectly. A meeting of generations marked by harmony and respect.

The Belgian guitarist Philip Catherine is a European jazz legend. The now 71-year-old Catherine started playing professionally when he was only 17 and toured with artists such as Lou Bennett, Dexter Gordon, Jean-Luc Ponty, Chet Baker (with whom he recorded 6 albums), Tom Harrell and many others. In 1978 he received the “Artist of the year” award by the German Phono-Academy, and Charles Mingus gave him the nickname “Young Django”. This is also a result of his impeccable time feel, which allows him to sound relaxed and loose even while playing the most breathtaking up-tempo passages. But it is not mainly his technique and dexterity that sets him apart; furthermore what made him so unique is his acoustic guitar sound, as well as an improvisational style, which is based not on other guitarists, but on some of the great horn players in jazz.

New Folks mc
New Folks zippy

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Cal Tjader - Tjader Plays Tjazz

Bitrate: MP3@320K/s
Time: 34:29
Size: 79.0 MB
Styles: Vibraphone jazz
Year: 1955/2006
Art: Front

[4:01] 1. Moten Swing
[2:32] 2. I've Never Been In Love Before
[5:05] 3. There Will Never Be Another You
[3:03] 4. How About You
[3:17] 5. Jeepers Creepers
[3:57] 6. A Minor Goof
[2:47] 7. My One And Only Love
[3:17] 8. Imagination
[2:57] 9. I'll Know
[3:29] 10. Brew's Blues

Bass – Al McKibbon; Drums – Bobby White, Cal Tjader; Guitar – Eddie Duran; Piano – Sonny Clark; Tenor Saxophone – Brew Moore; Trombone – Bob Collins; Vibraphone – Cal Tjader.

In a change of pace, for this recording vibraphonist Cal Tjader recorded cool-toned bop without a Latin rhythm section. Half of the ten songs (mostly jazz standards) feature Tjader switching to drums (his original instrument) in a quartet also including the obscure trombonist Bob Collins, guitarist Eddie Duran and bassist Al McKibbon. Tjader is back on vibes for the quintet selections with tenor saxophonist Brew Moore, pianist Sonny Clark, bassist Eugene Wright and drummer Bobby White. He sounds right at home in both formats and the swinging quintet numbers in particular are a good reason to search for this valuable album. ~Scott Yanow

Tjader Plays Tjazz mc
Tjader Plays Tjazz zippy

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Clifford Brown - Clifford Brown Big Band in Paris

Styles: Trumpet Jazz
Year: 1953
File: MP3@320K/s
Time: 48:13
Size: 110,5 MB
Art: Front

(6:06)  1. Brown Skins (take 1)
(6:09)  2. Brown Skins (take 2)
(7:06)  3. Keeping Up with Jonesy (take 1)
(6:29)  4. Keeping Up with Jonesy (take 2)
(3:12)  5. Bum's Rush
(7:52)  6. Chez Moi
(5:20)  7. All Weird (take 1)
(1:58)  8. All Weird (take 2)
(3:56)  9. No Start, No End

Although Lionel Hampton forbid his sidemen from recording during their trip to France in 1953, many of the musicians fortunately ignored his orders; the band broke up soon anyway. Trumpeter Clifford Brown is heard on this LP mostly with a big band actually put together by Gigi Gryce. A few of these tracks are excerpts but the two takes of "Brownskins" and "Keeping up with Jonesy" are fairly long as is a nearly eight-minute "Chez Moi." The music is not essential but Brownie did not live long enough to record anything less than excellent. ~ Scott Yanow https://www.allmusic.com/album/clifford-brown-big-band-in-paris-mw0000199986

Personnel:  Trumpet – Art Farmer, Clifford Brown, Quincy Jones, Walter Williams;  Alto Saxophone – Anthony Ortega, Gigi Gryce;  Baritone Saxophone – William Boucaya;  Bass – Pierre Michelot;  Drums – Jean-Louis Viale;  Piano – Henri Renaud;  Tenor Saxophone – Andre Dabonneville, Clifford Solomon;  Trombone – Al Hayes, Benny Vasseur, Jimmy Cleveland

Clifford Brown Big Band in Paris

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Paulette Dozier - In Walked You

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 50:45
Size: 117,2 MB
Art: Front

(3:51)  1. The Days of Wine and Rosaes
(3:50)  2. Autumn Leaves
(5:39)  3. Just the Way You Are
(4:14)  4. In Walked You
(4:11)  5. Loving You
(3:23)  6. Together Yet Alone
(4:55)  7. How Am I Suppose to Live Without You
(4:10)  8. Sunny
(3:55)  9. Proud Mary
(4:16) 10. Let's Fall in Love
(3:35) 11. With You
(4:41) 12. Summer Breeze

A successful voiceover performer, model, and professional actress, with a commanding presence onstage, Paulette Dozier is also an exciting vocalist with a sultry appeal. In Walked You, her third full-length solo disc, reveals the tender side of the singer in a wonderfully charming album that combines standards from Great American Songbook with pop classic and original tunes from the vocalist and longtime collaborator and friend, pianist Mike Levine. Dozier's smooth and sensual delivery seems to be a defining characteristic, distinguishing her from the plethora of female vocalists that dot the jazz landscape these days. Her approach to "The Days of Wine and Roses," "Autumn Leaves" and Billy Joel's "Just the Way You Are," shine new light to oft-recorded masterpieces, painted with new colors and feel. Her knack for scatting and the impressive musical support from Levine, electric violinist Nicole Yarling and bassist extraordinaire Jamie Ousley, among others, provide a stylish, light and pleasurable listening experience. Bobby Hebb's pop classic "Sunny" gets a fresh new treatment from Dozier, with amid-tempo romp aided by solid solo work from flautist Domenica Fossati, and the vocalist adding more sultry scatting for an interesting twist. John Fogerty's Creedence Clearwater Revival classic, "Proud Mary," is a rock tune rarely found in jazz circles and yet, here, the singer leaves her softer side behind and comes out swinging with the help of drummer Sammy Levine, and alto saxophonist Jesse Jones Jr. providing the fiery edge. Harold Arlen's immortal "Let's Fall In Love" is one of the sweetest numbers of the set, with Dozier demonstrating her power and vocal range in a superb performance. The original "With You" and Seals and Crofts' "Summer Breeze" close out a truly breezy performance from one of the most unheralded jazz vocalists around. Whether displaying a mastery of beautiful ballads or churning out a swinging song with a measure of sizzle, Dozier crafts a splendidly enchanting musical statement on In Walked You, the kind of jazz vocals album that bears sampling often. ~ Edward Blanco https://www.allaboutjazz.com/in-walked-you-paulette-dozier-d-enterprises-inc-review-by-edward-blanco.php

Personnel: Paulette Dozier: vocals; Mike Levine: piano; Sammy Levine: drums; Jamie Ousley: bass; Nicole Yarling: electric violin (1); Richard Bravo: percussion (1, 2, 5, 8, 9); John Lovell: shekere (1),flugelhorn (10); Domenica Fossati: flute (5, 8); Ira Sullivan: flugelhorn (6); Jesse Jones Jr.: alto saxophone (9); Alex Berti: bass (11); Dan Warner: guitar (11).

In Walked You

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Dave Valentin - Come Fly with Me

Styles: Flute Jazz
Year: 2006
File: MP3@320K/s
Time: 48:35
Size: 112,7 MB
Art: Front

(5:48)  1. Come Fly with Me
(4:53)  2. Twinkle Toes
(4:31)  3. Enciendido
(5:45)  4. Mind Games
(5:52)  5. If You Could See Me Now
(5:51)  6. Easy Street
(5:55)  7. Tu Pañuelo
(5:46)  8. House of the Sun
(4:10)  9. Song for My Brothers

Flutist Dave Valentin is a New Yorker who has capitalized upon a plethora of easy-to-take Latin-lite albums over the years, largely for the GRP label. The emphasis that Valentin lent those GRP albums was fusion-ish, with the perfectly syncopated sounds of smooth Latin jazz and R&B. Of the seventeen albums Valentin has recorded since 1980, only a handful have fallen outside of this categorization. The flutist also led dates on the more authentic Latin RMM label and one date on Concord Records. It is no coincidence that some of his best reviews have come from his two most recent dates for the mainstream HighNote label. There is no direct clue in the material chosen for Come Fly With Me; several tunes are originals from long-time Valentin pianist/arranger Bill O'Connell, along with two standards. Due to the specific personnel on this date, the true nature of the music is of a higher order. Some of the best Latino players are present, including percussionists Milton Cardona and Richie Flores, along with popular trombonist Papo Vazquez. Drummer Robbie Ameen and tenor saxophonist Chris Barretto (Ray's son) appear on the Tadd Dameron ballad "If You Could See Me Now." In a typical setting, the title tune, long associated with Frank Sinatra, features Dave Valentin's lilting, almost pop/jazz flute. In a nutshell, this is an Afro-Cuban gig, not a commercial or funk groove-type album. ~ Michael P.Gladstone https://www.allaboutjazz.com/come-fly-with-me-dave-valentin-highnote-records-review-by-michael-p-gladstone.php

Personnel: Dave Valentin: flute; Chris Barretto: tenor sax (5); Papa Vazquez: trombone; Bill O'Connell: piano; Liquez Cutris: acoustic bass; Robby Ameen: drums; Milton Cardona, Richie Flores: percussion.

Come Fly with Me

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Calvin Keys - Calvinesque'

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 55:39
Size: 136,9 MB
Art: Front

(8:07)  1. Witchcraft
(8:50)  2. Windows
(5:18)  3. Isotope
(2:11)  4. Marela
(6:17)  5. Cindy
(9:33)  6. What's go'in on
(8:02)  7. Lush Life
(7:18)  8. Dolphin Dance

Jazz guitarist Calvin Keys is a legend among soul-jazz fans for his appearances as a session musician and his small catalog of releases under his own name. Known for his lean, muscular single-string solo style, Keys was born in 1943 in Omaha, Nebraska. His first musical influence was his father Otis, a well-known drummer on the city's music scene. He passed the music bug on to Calvin, who picked up the guitar early. Keys eventually landed his first notable gig as a member of Eddie "Cleanhead" Vinson's band when he was 17. He first hit the road with sax player Little Walkin' Willie during his that same year, before moving on to Kansas City. There his first gigs were with Preston Love (of the Count Basie Orchestra) and later the Frank Edwards Organ Trio. After woodshedding with Edwards, he landed a spot in organist Jimmy Smith's road trio. After leaving Smith, Keys worked the rest of the 1960s with Jimmy McGriff, Jack McDuff, and Richard "Groove" Holmes. Keys moved to Los Angeles in 1970. In 1971, he signed to Gene Page's fledgling Black Jazz label and cut his debut album, the now legendary Shawn-Neeq. He gigged on his own before auditioning for the Ray Charles Orchestra. Keys' unique phrasing and his ability to balance sophisticated jazz harmonics with tough R&B and soul grooves were showcased nightly in the Charles band. In 1973, Black Jazz released Keys' second offering, Proceed with Caution. He toured briefly before being snapped up by Ahmad Jamal. Keys spent the next seven years with the pianist, recording six albums and touring the globe. By 1975, Keys had relocated to the San Francisco Bay Area, where he became and remains an avid participant in its jazz community. He worked in live settings and recording sessions with John Handy, Bobby Hutcherson, Eddie Marshall, Leon Williams, Bob Braye, Ed Kelly, Eddie Duran, Bruce Forman, Junius Simmons, and Eddie Moore. In 1976, he played on Doug and Jean Carn's Ovation album Higher Ground. The 1980s proved similarly fruitful; Keys was an in-demand studio and live sideman, with credits including appearances with Tony Bennett, Pharoah Sanders, and Sonny Stitt. Keys began recording another solo album in 1984. In 1985, Olive Branch Records released tracks from these sessions as the album entitled Full Court Press; it was followed a year later by Maria's First.

Keys continued playing sessions and performing with touring acts in the Bay Area and the occasional Los Angeles gig. In 1991 he was part of the band that recorded film composer James Newton Howard's original score for the film Dying Young. Working with his own trio, Keys released Standard Keys on Lifeforce Records in 1992; his session and live work continued at a relentless pace, which eventually took its toll. Some of his work included reuniting with Jamal for the pianist's 1994 album Night Song for Motown's MoJazz imprint, and a tour of Europe that resulted in Jamal's Live in Paris 1996. An Evening with Calvin Keys, taken from a radio broadcast, was released that same year. He was sidelined in 1997 by heart surgery, undergoing a quadruple bypass. Undaunted, he released the widely acclaimed Detours into Unconscious Rhythms on Wide Hive Records. The large cast included organist Chester Thompson (Ray Charles, Santana) and upright bassist Kenneth Nash (from Jamal's band). After the album's release, Keys toured regionally in the U.S. and in Europe before returning to the Bay Area, where he performed with organists Big John Patton and Dr. Lonnie Smith, and Taj Mahal. In 2005 Keys recorded Calvinesque for Silverado. The album hit number 30 on the jazz charts. His second Wide Hive release, Vertical Clearance, was issued in 2006. It reunited Keys with Doug Carn, and included Phil Ranelin, Sonny Fortune, Roger Glenn, and Babatunde in its lineup. In 2007 Keys released Hand-Made Portrait on Silverado, and received a tribute from fellow Midwesterner and fan Pat Metheny, who composed and included the tune "Calvin’s Keys" on his album Day Trip. Keys appeared on Ranelin's Living a New Day for Wide Hive and on organist Gloria Coleman's Sweet Missy for Doodlin in 2009. In 2012 Tompkins Square Records re-released Shaw-Neeq exclusively on 180-gram vinyl. Keys supported it by touring with a band, performing the album in its entirety. ~ Thom Jurek https://itunes.apple.com/mu/album/calvinesque/219705641

Personnel:  Guitar, Executive Producer – Calvin Keys;  Bass – Tim Hauff;  Drums – Mark Lignell;  Piano – Jeff Chimenti

Calvinesque'

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Tower Of Power - Soul Side Of Town

Styles: Funk, Soul
Year: 2018
File: MP3@320K/s
Time: 59:15
Size: 136,9 MB
Art: Front

(0:55)  1. East Bay! All Day!
(5:28)  2. Hangin' With My Baby
(4:37)  3. Do You Like That?
(6:40)  4. On The Soul Side Of Town
(3:53)  5. Do It With Soul
(4:40)  6. Love Must Be Patient And Kind
(5:28)  7. Butter Fried
(4:48)  8. Selah
(4:22)  9. Let It Go
(4:25) 10. Stop
(4:11) 11. When Love Takes Control
(3:33) 12. After Hours
(4:54) 13. Can't Stop Thinking About You
(1:16) 14. East Bay! Oakland Style!

A renowned horn-driven outfit, Tower of Power emerged in the late '60s playing a dynamic blend of R&B, soul, funk, and AM pop. Along with similarly inclined groups like Chicago and Blood, Sweat & Tears, Tower of Power helped push the sound of brass-infused music into the rock era. Led by Detroit-born tenor saxophonist Emilio Castillo, the Oakland, California-based group scored hits like "You're Still a Young Man" and "What Is Hip?" throughout the '70s. They also became one of the most sought-after backing ensembles in pop, playing on recordings by Elton John, Santana, Bonnie Raitt, Aerosmith, Josh Groban, and more. While their lineup has changed over the years, Castillo remains a constant and continues to guide the ensemble live and in the studio. Although born in Detroit, Castillo opted to pursue his musical dreams in Oakland, California. It was in Oakland that Castillo put together a group called the Motowns, which, as their name suggested, specialized in '60s-era soul. In 1967, Castillo teamed up with baritone sax player Stephen "Doc" Kupka, and soon the Motowns were transformed into Tower of Power. (One of the first tunes the duo penned together was "You're Still a Young Man," which would eventually go on to be one of Tower of Power's signature compositions.) The group played regularly in the Bay Area throughout the late '60s, as their lineup often swelled up to ten members, including such other mainstays as Greg Adams on trumpet and vocals, Lenny Pickett on sax, and Rocco Prestia on bass. By 1970, the funk outfit had inked a recording contract with Bill Graham's San Francisco Records, resulting in the group's debut the same year, East Bay Grease, which failed to make an impression on the charts as Tower of Power were still trying to find their own sound.

But it soon came together for the group, as 1972's Bump City would touch off a string of classic hit albums, including 1973's self-titled release (which introduced vocalist Lenny Williams and included another of the group's most enduring tunes, "What Is Hip?"), 1974's Back to Oakland, and 1975's Urban Renewal and In the Slot. While Tower of Power remained a must-see live act, as disco became the new trend in R&B the group's original funk-laden style fell out of favor, and disco-oriented albums like 1978's We Came to Play and 1979's Back on the Streets didn't please critics or fans, and the band would go nine years without releasing an album. Despite it all, Tower of Power in particular their horn section remained a much in-demand backing group for some of pop/rock's biggest names, including Elton John, Santana, Bonnie Raitt, Huey Lewis, Little Feat, David Sanborn, Michelle Shocked, Paula Abdul, Aaron Neville, Aerosmith, Public Image Ltd., and many others. In 1988, Tower of Power returned to the studio for the album Power, and in 1991 they signed with Epic Records, where they released five albums by the end of the decade. Into the new millennium, Tower of Power kept up their reputation as a strong live band, maintaining a steady touring schedule, and in 2009 they launched their own TOP Records label with The Great American Soulbook, in which they covered a dozen soul and R&B classics in the trademark Tower of Power style. In 2007, Tower of Power celebrated their fourth decade together with a special concert at San Francisco's Fillmore Auditorium, and a year later the show was issued in a special CD/DVD package, simply titled 40th Anniversary. In 2013, Tower of Power took a look back with the release of Hipper Than Hip: Yesterday, Today & Tomorrow, which documented a live radio broadcast from 1974. The bandmembers also announced they would be touring in 2013 and 2014 with two other iconic acts from Northern California, Journey and the Steve Miller Band. In 2018, they celebrated their 50th anniversary with the Joe Vannelli-produced studio album Soul Side of Town on Mack Avenue Records. 

~ Greg Prato & Steve Leggett https://itunes.apple.com/us/album/soul-side-of-town/1372978636

Soul Side Of Town

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