Silky Denims

Monday, October 1, 2018

Freddie Hubbard & Woody Shaw - Double Take

Styles: Trumpet Jazz
Year: 1985
File: MP3@320K/s
Time: 44:00
Size: 101,4 MB
Art: Front

(4:27) 1. Sandu
(4:54) 2. Boperation
(6:21) 3. Lament For Booker
(6:26) 4. Hub-Tones
(8:07) 5. Desert Moonlight
(5:28) 6. Just A Ballad For Woody
(8:15) 7. Lotus Blossom

Other than their joint appearance as sidemen on Benny Golson's Time Speaks in 1983, Freddie Hubbard and Woody Shaw had never recorded together before Double Take. At this point in their evolution, Hubbard still gets the edge (his range is wider and he cannot be surpassed technically). Although Shaw tended to play more harmonically sophisticated lines and is remarkably inventive, they are both trumpet masters.

Their meeting on Double Take was more of a collaboration than a trumpet battle; in fact, the brass giants only trade off briefly on "Lotus Blossom." ~ Scott Yanow https://www.allmusic.com/album/double-take-mw0000192018

Personnel: Freddie Hubbard: trumpet, flugelhorn; Woody Shaw: trumpet; Kenny Garrett: alto saxophone, flute; Mulgrew Miller: piano; Cecil McBee: bass; Carl Allen: drums

Double Take

Al Cohn, Scott Hamilton, Buddy Tate - Tour De Force

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 70:17
Size: 162,2 MB
Art: Front

( 8:57) 1. Blues Up and Down
( 7:31) 2. Tickle Toe
(10:29) 3. Soft Winds
( 5:04) 4. Stella by Starlight
( 7:50) 5. Broadway
( 7:41) 6. Do Nothin' Till You Hear from Me
( 7:38) 7. Jumpin' at the Woodside
( 8:12) 8. Bernie's Tune
( 6:51) 9. Rifftide

Al Cohn gets top billing on this CD (formerly a double-LP) but that was because among the three tenors his name comes first alphabetically. This is a jam session set featuring the tenors of Cohn, Scott Hamilton and Buddy Tate. They battle it out to a draw, mostly jamming on fairly basic material such as "Blues Up and Down," "Tickle Toe," "Soft Winds," "Broadway" and "Jumpin' at the Woodside." With guitarist Cal Collins, pianist Dave McKenna, bassist Bob Maize and drummer Jake Hanna offering swinging support, this is a set easily recommended to fans of Jazz at the Philharmonic and mainstream jazz. ~ Scott Yanow https://www.allmusic.com/album/tour-de-force-mw0000315236

Personnel: Al Cohn - tenor saxophone; Scott Hamilton - tenor saxophone; Buddy Tate - tenor saxophone; Cal Collins - guitar; Jake Hanna - drums; Bob Maize - bass; Dave McKenna - piano

Tour De Force

Joe Craven - Camptown

Styles: Latin Jazz, World Fusion
Year: 1996
File: MP3@320K/s
Time: 55:31
Size: 127,7 MB
Art: Front

(4:58) 1. Soldiers Of Joy
(3:33) 2. Uke Pick Waltz
(3:38) 3. Camptown
(4:49) 4. Rites Of Man
(3:38) 5. Hot Turkey
(3:26) 6. Shake In The Barley
(5:57) 7. Star Of The County Down
(3:29) 8. Liberte
(3:47) 9. The New Iberians
(6:08) 10. Combole
(3:34) 11. The Fez Of Abu
(4:02) 12. Old Joe's Delhi
(4:25) 13. Bonaparte

Versatility is the dominating word to describe this disc. Multi-instrumentalist hardly begins to describe Joe Craven. Perhaps he is best known for his performances with Jerry Garcia, David Grisman and his band Psychograss. On this CD he steps dramatically to the forefront. He plays upwards of 30 instruments; predominately known for his mandolin and fiddle playing, he strides to the center on a number of other stringed instruments such as the banjolin and ukulele, while providing most of the percussion on a astounding variety of instruments. The number of instruments played well is complemented by the plethora of styles he plays in. This is music that encircles the world; all aboard for Australia, India, Japan, Ireland and South Africa to name five of the stops on this journey of 14 songs in as many musical styles. All are done with an exhilarating love for the music which shines through. Why did I give it eight and not nine stars if I love it this much? It sometimes shifts styles just a bit too abruptly for my mind. I would prefer to make the journey in two or three discs. But that is personal. This is a journey not to be missed on any account. ~ Bob Gottlieb https://www.allmusic.com/album/camptown-mw0000184596

Camptown

Bobby Caldwell - Where Is Love

Styles: Vocal And Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 45:35
Size: 104,5 MB
Art: Front

(4:08) 1. Where Is Love
(3:48) 2. Once Upon A Time
(4:50) 3. One Love
(3:26) 4. Don't Worry 'Bout Me
(4:50) 5. Love Lite
(3:55) 6. Shape I'm In
(4:06) 7. Carrie Ann (You'll Never Know)
(3:43) 8. Never Take A Chance
(4:07) 9. Trying Times
(4:54) 10. Rina
(3:42) 11. I Get a Kick Out of You

Bobby Caldwell has been a favorite among fans of sophisticated R&B and contemporary jazz since 1978, the year the singer, songwriter, and guitarist hit the Top Ten of Billboard's Hot 100 and R&B charts with "What You Won't Do for Love." Originally from Manhattan and later raised in Miami, Caldwell was exposed to a wide variety of musical influences by his parents, hosts of the television variety show Suppertime. Only a few years after he started studying piano and guitar, he opted to enter the music industry, but it wasn't until the following decade that he signed to the T.K.-distributed Clouds label and broke through with What You Won't Do for Love, his first of several albums. Although Caldwell had a strong following in the U.S., built through continual touring and nine wide-ranging studio albums issued during the '80s and '90s, he also became a superstar in Japan. Throughout the 2000s, he recorded frequently, continued to perform his deep catalog, and starred as Frank Sinatra in the Las Vegas show The Rat Pack Is Back. Several additional albums followed during the 2010s, including sets of standards and big-band numbers, as well as Cool Uncle, a stylistic diversion with admiring producer Jack Splash. ~ Jason Ankeny & Andy Kellman https://itunes.apple.com/us/album/where-is-love/1140210948

Where Is Love

Sunday, September 30, 2018

Joe Farrell - Farrell's Inferno

Styles: Saxophone And Flute Jazz
Year: 1980
File: MP3@320K/s
Time: 44:01
Size: 101,2 MB
Art: Front

(5:47) 1. Let's Go Dancing
(6:08) 2. Autumn Leaves
(5:58) 3. Dreams
(5:38) 4. Whip It Up
(7:17) 5. Invitation
(6:46) 6. Flamingo
(6:24) 7. Moon Germs

Joe Farrell's CTI albums of 1970-1976, which combined together his hard bop style with some pop and fusion elements, made him briefly popular among listeners not familiar with his earlier work. Farrell began playing clarinet when he was 11 and, after graduating from the University of Illinois in 1959, he moved to New York where he worked with the Maynard Ferguson Big Band (1960-1961) and Slide Hampton (1962), and recorded with Charles Mingus, Dizzy Reece, and a notable series with Jaki Byard (1965). A member of both the Thad Jones/Mel Lewis Orchestra (1966-1969) and Elvin Jones' combo (1967-1970), Farrell's distinctive sound on tenor and general versatility were assets. A member of the original version of Return to Forever (1971-1972), Farrell was fairly prosperous during the 1970s when his solo CTI records sold well, but a drug problem gradually caught up with him. After performing with Mingus Dynasty in the late '70s and recording with Louis Hayes in 1983, he moved to Los Angeles where he scuffled during his last couple of years. Farrell died from bone cancer in 1986 at age 48. In addition to CTI, Farrell recorded as a leader for Warner Bros., Xanadu, Contemporary, RealTime, Timeless, and (with Airto and Flora Purim) Reference. ~ Scott Yanow https://www.allmusic.com/artist/joe-farrell-mn0000125160/biography

Personnel: Joe Farrell (Tenor sax, soprano sax, flute); Victor Feldman (Piano); John Guerin (Drums); Bob Magnusson (Bass).

Farrell's Inferno

Danny Moss, Roy Williams Quintet - Steamers!

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 75:09
Size: 173,0 MB
Art: Front

(6:17) 1. Just In Time
(7:39) 2. It's Allright With Me
(5:40) 3. Them There Eyes
(4:57) 4. Too Late Now
(4:36) 5. It's A Wonderful World
(5:58) 6. Li'l Darlin'
(5:24) 7. You're My Everything
(3:46) 8. Isn't It Romantic
(6:48) 9. There Is No Greater Love
(4:38) 10. Mood Indigo
(6:06) 11. Hiya
(8:15) 12. Blues To Be There
(4:58) 13. I've Found A New Baby

Britisher Danny Moss and long time side kick, Roy Williams, with their group carry on in the tradition of small group swing recalling those great combos led by John Kirby, Charlie Shavers, Benny Carter, Buck Clayton and many, many others. The Moss/Williams quintet takes us on a stroll through 13 tunes, all but two of them oft-heard standards. The other two tracks, Johnny Hodges' "Hiya" and Duke Ellington's "Blues to Be". The Ellington tune is from his and Billy Strayhorn's "Newport Suite" which they prepared for the 1958 edition of that festival. Moss, until he retired, was a mainstay of the British jazz scene since the 1950's and has performed with many US jazzers when they visited that part of the world. His approach to the tenor sax has been influenced by the likes of Coleman Hawkins, Zoot Sims and Al Cohn. The co-leader of the Quintet, trombonist, Roy Williams, is also a jazz veteran starting his professional career in 1960, and over the years has developed a reputation as an unsurpassed sight reader. His trombone recalls the great ones, Carl Fontana, Frank Rosolino and Lawrence Brown. The other members of the quintet, John Pearce on piano, Len Skeat on bass and Charly Antolini on drums have the task of backing Moss and Williams, which they do with fervor and skill. There's nothing earth shattering on this disk, nor do I suspect was there any intention that there should be.

The album features comfortable and versatile playing in slow, medium and up tempos for the ensemble work and for Moss' and Williams' solos. Pearce and Skeat are given the opportunity to showcase their wares on a pleasant medium tempo "You're My Everything". "Isn't It Romantic" features Williams playing trombone in the style of Frank Rosolino. Danny Moss' tenor turns sultry and the Williams trombone assumes a languid tone on a very slowly navigated "L'il Darlin'". "Just in Time"," I've Found a New Baby" and "There Is No Greater Love" are given a spirited, but not frantic, reading. Moss and Williams combine for a moving version of "Mood Indigo". They kick off the tune together and then each takes an extended solo with some knowledgeable and sophisticated improvisions on the theme of this lovely tune. Steamers! is an album you'll pull out after a hard day at the office, on the freeway or when entertaining in an intimate setting. This one is recommended. ~ Dave Nathan https://www.allaboutjazz.com/steamers-danny-moss-review-by-dave-nathan.php

Personnel: Danny Moss - Tenor Saxophone; Roy Williams - Trombone; John Pearce - Piano; Len Skeat - Bass; Charly Antolini - Drums

Steamers!

Ketil Bjornstad - New Life

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:08
Size: 138,0 MB
Art: Front

( 6:12) 1. Blue Man
( 3:51) 2. The Night
( 3:53) 3. Song for the Sun
( 3:39) 4. By the Fjord
( 3:48) 5. Ophelia's Arrival
( 4:35) 6. The Token
( 4:22) 7. Sara
( 6:48) 8. Late Summer
( 3:06) 9. Turning Around
( 4:56) 10. Days in Paris
(10:55) 11. When Sleep Brings Us Apart
( 3:56) 12. New Life

A classically trained jazz pianist with a bent toward avant-garde improvised music, Ketil Bjørnstad is a well-known musician and writer in Europe. With his cerebral, atmospheric style that belies a palpable inner passion and an inclination toward genre-crossing compositions, Bjørnstad helped develop and popularize the "European jazz" aesthetic. He is also a writer and poet and has published over 30 works beginning with his 1972 poetry collection Alone. Born in Oslo, Norway, Bjørnstad studied classical piano in London and Paris before making his debut in 1969 at age 16 with the Oslo Philharmonic Orchestra playing Béla Bartók's third piano concerto. Surrounded by the vibrant arts scene in Oslo during the '70s, Bjørnstad became interested in jazz and developing his own style of music. Citing an array of influences from Bach and Ravel to Thelonious Monk and Miles Davis, Bjørnstad began working in an improvised idiom. In 1973, he released his debut album Åpning featuring what would become a core group of longtime associates in drummer Jon Christensen, guitarist Terje Rypdal, and bassist Arild Andersen. The album would be the first of several outings Bjørnstad would record for Phillips. Over the years, Bjørnstad's particular mix of jazz, classical, folk, and rock music would become highly influential in the development of what became known as "European jazz." Although he has become well-associated with the premier European jazz label ECM, he did not record for the label until later in his career with 1993's Water Stories, 1994's The Sea, 1997's The River, and 1998's The Sea II.

In 2000, Bjørnstad released the duo album Epigraphs with cellist David Darling on ECM. That same year, he composed the millennium oratorio "Himmel Rand," featuring the texts of the poet Stein Mehren. In 2002, he released the cinematic soundscape album Before the Light on Universal. In 2004, Bjørnstad released the rock-oriented Seafarer's Song featuring his ensemble with vocalist Kristin Asbjornsen. Four years later, he returned to ECM for the concert album Live in Leipzig with guitarist Rypdal. In 2008, Bjørnstad once again worked with drummer Christensen as well as tenor saxophonist Tore Brunborg for the ECM release Remembrance. In 2011, Bjørnstad delivered the duo album Night Song with cellist Svante Henryson on ECM. The pianist, who is also a published poet, novelist, and essayist, has stated that the Italian filmmaker Michelangelo Antonioni was one of his greatest influences; to that end, he composed a series of works meant to act as "a soundtrack to an inner film." Recording with bassist Arild Andersen percussionist Marilyn Mazur, cellist Anja Lechner, Eivind Aarset on guitar and electronics, and saxophonist Andy Sheppard, Bjørnstad released the live suite La Notte in the late spring of 2013. 2014 proved prolific for the composer and pianist. His first release of the year, appearing in March, was a 2012 recording entitled Sunrise: A Cantata on Texts by Edward Munch, performed by the pianist, his quartet, vocal soloist Kari Bremnes, and the Oslo Chamber Choir under the direction of conductor Egil Fossum. The musical work was set to surviving written texts by the famous painter. In October of that year, ECM also released the 2012 premier performance of Bjørnstad's A Passion for John Donne, a work based on the poet's life, commissioned by the Oslo International Church Festival, and performed live with the pianist's group the Oslo Chamber Choir under the direction of Hakon Daniel Nystedt. Interestingly, it featured the saxophonist Hakon Kornstad in a dual role, not only playing his horn but as a vocal soloist. ~ Matt Collar & Thom Jurek https://itunes.apple.com/ie/album/new-life/1207167576

New Life

Jack Lee - Pray

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 70:54
Size: 163,1 MB
Art: Front

(6:02) 1. Seoulman
(5:50) 2. Pray
(5:15) 3. Happy
(5:39) 4. First Snow
(5:48) 5. Love 2 Love
(5:07) 6. Pangyo Blues
(4:58) 7. Unity Village
(5:11) 8. Transformation
(5:34) 9. La Antigua
(4:46) 10. 6-8 Logic
(5:25) 11. Aqui O
(5:52) 12. Close to Home
(5:21) 13. Tikal Walk

A shadowy but important figure in American power pop and the earliest days of punk, Jack Lee was a member of the Nerves, a wildly influential trio that also included Peter Case (later of the Plimsouls) and Paul Collins (who went on to front the Beat). Lee also wrote the group's best-known tune, "Hanging on the Telephone," which went on to be a hit for Blondie and became a pop perennial covered by many artists. Jack Lee was born in Alaska on March 25, 1952. In the early '70s, Lee left home and traveled to San Francisco, California in hopes of making a career out of music. Initially, Lee had trouble getting gigs, and he busked for change along Fisherman's Wharf. There he met fellow street musician Peter Case, who was also an aspiring singer and songwriter. Lee and Case liked each other's songs, and soon they teamed up with New Jersey exile Paul Collins, another tunesmith looking to form an upbeat rock band. In 1974, they started playing out as the Nerves, with Lee on guitar, Case on bass, and Collins on drums. In 1976, the Nerves relocated to Los Angeles, and self-released a four-song EP that featured two songs from Lee, "Hanging on the Telephone" and "Give Me Some Time." The group set out to spread the word with a nationwide tour they booked themselves, and when they came home to Los Angeles they started booking independent shows for themselves and other L.A. bands. While the Nerves' sound was lean but hooky pop with a British Invasion influence, they admired the spunk and D.I.Y. attitude of the burgeoning punk scene in Los Angeles; dubbing their practice space the Hollywood Punk Palace, they began hosting shows with bands such as the Weirdos, the Screamers, the Zeros, and the Dils. The Nerves were building momentum, but came to an abrupt halt in 1977 when Lee quit the band; Case and Collins briefly continued as the Breakaways, but by year's end that band had also broken up. Initially, Lee laid low and was barely visible on the music scene, but in 1978, just as his phone and electricity were about to be shut off for nonpayment, he was contacted by Deborah Harry, asking if he would mind if Blondie recorded a version of "Hanging on the Telephone" for their third album.

Lee gave them his blessing, and Blondie's cover of "Hanging on the Telephone" rose to number five on the U.K. singles charts, and hit the Top 20 in Ireland, Belgium, and the Netherlands. The song was included on Blondie's 1978 album Parallel Lines, which went on to sell over a million copies in the United States alone. Later on, Def Leppard and L7 would also cover the song, and Cat Power cut a version for a television commercial. "Hanging on the Telephone" proved to be a lucrative copyright for Lee, and in 1979, Suzi Quatro recorded another of his tunes, "You Are My Love," for the album Suzi … and Other Four Letter Words. And in 1983, Paul Young cut Lee's "Come Back and Stay" for his debut album, No Parlez; the single became a major international hit, going Top Ten in ten countries, while two other songs by Lee, "Sex" and "Oh Women," were also featured on the album. Lee was doing quite well as a songwriter, but that didn't translate into a successful recording career. Lee released his first album, Jack Lee's Greatest Hits, Vol. One, in 1981, through his own Maiden America label. Sales were modest, and it was 1985 before Lee issued his self-titled sophomore effort, which appeared on the French label Lolita Records. That same year, Lee left for London, where he would spend two years working with other artists before he came back to Los Angeles. After spending some time working in the film industry, Lee seemed to drop out of show business, though in the 21st century he played a handful of shows with a band called the Jack Lee Inferno, and said he was recording a new album. That LP has yet to appear, but in 2016, Lee's two out-of-print albums from the '80s were reissued by Alive Naturalsound Records (which released a Nerves anthology, One Way Ticket, in 2008) in a collection titled Bigger Than Life. https://itunes.apple.com/us/album/pray/1179519878

Personnel: Jack Lee (Electric and Acoustic guitars, Guitar Synth, keyboards); Charles Blenzig (Piano and keyboards); Hogyu Hwang (Acoustic Bass); Harvey Mason (Drums); Annekei, Nathan East (Vocals); Melvin Lee Davis (Bass); Norihito Sumitomo (Keyboards, Sax); Lewis Pragasam, Billy Kilson (Drums).

Pray

Tia Brazda - Daydream

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 26:43
Size: 62,5 MB
Art: Front

(3:29) 1. Right on Time
(2:48) 2. Moondust Baby
(3:16) 3. Daydream
(3:40) 4. Un amour boheme
(4:22) 5. Perfect Distraction
(3:20) 6. Irreplaceable
(2:50) 7. Livin' Easy
(2:54) 8. Brand New Day

Tia Brazda's jazz-pop gems and retro style have established her as a sparkling presence on the jazz scene at home and abroad, paying homage to the golden era while adding a modern twist. Having honed her cutting-edge sound in the clubs of Toronto, she burst onto the scene in 2012, hitting #1 on the iTunes Canada Jazz Chart as well as receiving play on BBC Radio 6, CBC Radio, Jazz FM 91.1 in Toronto and college radio stations across Canada. This debut brought her to Paris and Amsterdam as well as cities around the UK in support, in addition to performing at major festivals at home across Canada. In 2015 Tia followed up with her debut full-length album 'Bandshell', which also debuted at #1 on the iTunes Jazz Chart and #3 on the Nielsen Soundscan Chart in Canada. It was also ranked the #5 best Canadian jazz release of 2015 by Jazz FM 91 in Toronto. The album also hit #24 on the CMJ national radio chart in the U.S. after being added to over 35 stations nationwide. In support of 'Bandshell', Tia toured Canada, the U.S. and Spain in 2015 and 2016, performing at such major festivals such as the Festival International de Jazz de Montreal (main stage), Xerox Rochester International Jazz Festival (front cover of festival program), TD Toronto International Jazz Festival, Jazz Sudbury Festival, All-Canadian Jazz Festival and Iboga Summer Festival (Spain). In 2016 she also released an electro-swing collection of remixes titled 'Bandshell Remixed', featuring prominent DJs from around the globe, including Wolfgang Lohr and Sound Nomaden. Tracks from this release continue to be featured on BBC6 Radio in the UK and Rai Radio 1 in Italy and the album made the Best of 2016 list by the Craig Charles Funk and Soul Show on BBC6 Radio in the UK. In 2017 Tia performed at the Montreux Jazz Festival as well as the San Jose Jazz Summer Fest (rated "Best of the Fest") as part of her European and North American touring. In September 2018, Tia releases her new all original album, 'Daydream', which finds her irresistible voice cradled in a rich and varied atmosphere of strings, horns, and backing vocals, in service of her positive outlook on various states of romance. She moves effortlessly from the bossa nova of the title track, to the pure jazz balladry of “Irreplaceable,” to the tango-infused French chanson of “Un amour bohème” with the songs sounding as strong as if they’ve been around forever. Brazda strides confidently on a brave new musical path as well, with her most pop-oriented recordings to date: among them, the soulful “Right On Time,” the big, brassy chorus (and synthesizer solo!) of “Moondust Baby,” and the optimistic, can’t-miss, enthusiasm of the pure-pop “Brand New Day” a song that would sound entirely at home as Michael Bublé’s next single. The album also features a who’s who of Juno-nominated players including Larnell Lewis of Snarky Puppy on drums, Shirantha Beddage on saxophone, William Sperandei on trumpet, Adrean Farrugia on piano, William Carn on trombone and Marc Rogers on bass. The funky track “Livin’ Easy” also features a songwriting collaboration and genre-bending piano solo by Marc Pelli of Billboard #1 group, MAGIC!, whose song “Rude” continues to be a global phenomenon. http://www.tiabrazda.com/about.html

Daydream

Saturday, September 29, 2018

Marlene VerPlanck - Marlene VerPlanck Sings Alec Wilder

Size: 141,0 MB
Time: 59:37
File: MP3 @ 320K/s
Released: 1986
Styles: Jazz Vocals
Art: Front & Back

01. Where Is The One (3:19)
02. Crazy In The Heart (4:07)
03. Love Among The Young (3:09)
04. I'm Alone Again (4:03)
05. Please Stay With Me (2:51)
06. The Lady Sings The Blues (2:41)
07. I Like It Here (2:03)
08. Lovers And Losers (2:05)
09. Remember, My Child (1:54)
10. Give Me Time (3:20)
11. That's My Guy (1:49)
12. (So You've Had A) Change Of Heart (4:44)
13. I Wish I Had The Blues Again (3:39)
14. No One Ever Told Me (1:51)
15. I'll Be Around (2:32)
16. Blackberry Winter (3:37)
17. The Wrong Blues (4:28)
18. I Like It Here (And This Is Where I'll Stay) (2:44)
19. Be A Child (2:19)
20. Where Is The One (2:10)

He's been called "the Quincy Jones of Gospel," and besides being one of the best-selling instrumentalists in Christian music, keyboard player Ben Tankard has justified his tag, producing many stellar gospel projects as well as serving as an executive vice-president at Tribute Records, for which he has recorded extensively. Born in Florida to a minister father and a missionary mother, he began playing drums in church at the age of three. He later graduated to tuba and was offered several music scholarships to college, though he eventually accepted a basketball scholarship instead.

Tankard endured a rough period of depression and homelessness when a knee injury prevented him from turning professional (though he was drafted by the NBA). A visit to a revival service put him on the right track, and almost overnight, he became a very talented keyboard/organ player. Tankard began his witness in song with 1990's Keynote Speaker, recorded for Tribute. He continued recording and soon moved into production and arranging as well, calling on his reserves of early musical training to provide impeccable jobs for Yolanda Adams, the Alabama State Mass Choir, and Michael Bruce. His albums were often light jazz works, offering soothing, reflective gospel instrumentals that were similar to mainstream efforts from George Benson and Kenny G. In addition to his numerous solo albums, Tankard has earned a plethora of Gold and Platinum records via his production work, collaborating with a host of Grammy-winning artists including Take 6, Fred Hammond, Kelly Price, John P. Kee, Shirley Murdock, Twinkie Clark, and Gerald Albright. ~by John Bush

Marlene VerPlanck Sings Alec Wilder

Belô Velloso - The Old Fashioned Way

Size: 59,8 MB
Time: 25:34
File: MP3 @ 320K/s
Released: 2018
Styles: Pop
Art: Front

01. My Love (4:12)
02. I'll Be Seeing You (2:41)
03. I Have You (3:18)
04. My Eyes Adored You (3:10)
05. All The Things You Are (3:16)
06. Someday (You'll Want Me To Want You) (2:21)
07. We'll Meet Again (3:12)
08. The Old Fashioned Way (3:21)

Belô Velloso has a supple, airy voice that can caress a melody even when it rides a swaggering sambareggae beat. (The New York Times — Jon Pareles)

Belô Velloso, brings a warm, guileless voice to immaculately graceful pop. (The New York Times — Jon Pareles)

Belô Velloso is something of a hybrid torch, show-tune singer: decidedly Brazilian. (The New York Times — Choire Sicha)

Belô Velloso caresses the melodies, making the songs seem to come straight from the heart. (The New York Times — Jon Pareles)

Belô Velloso has the merits of escaping from the dictatorship which ravages Brazilian pop music... has a beautiful timbre of voice and a good taste for repertory. (Billboard)

Belô Velloso. This young Brazilian singer brings a warm, guileless voice to immaculately graceful pop. The album's dozen pop songs touch on Brazilian styles like bossa nova, forro and pagode samba, and bring a Brazilian subtlety to borrowings from reggae, salsa, funk and nuevo flamenco. The arrangements maintain a light touch while Ms. Velloso caresses the melodies, making the songs seem to come straight from the heart. (The New York Times)

The Old Fashioned Way

Chad Lefkowitz-Brown - Standard Sessions

Size: 202,2 MB
Time: 86:59
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. This I Dig Of You (5:07)
02. Scrapple From The Apple (6:56)
03. Alone Together (6:05)
04. Green Dolphin Street (7:46)
05. Old Folks (7:16)
06. When Will The Blues Leave (6:57)
07. Almost Like Being In Love (8:27)
08. I’ll Remember April (8:41)
09. Out Of Nowhere (7:51)
10. What Is This Thing Called Love (6:14)
11. Yardbird Suite (8:42)
12. You Stepped Out Of A Dream (6:52)

Hailed as a "sax phenom" by The New York Daily News, Chad Lefkowitz-Brown is one of the first prominent jazz musicians to emerge out of the millennial generation. He has toured globally as a soloist, and with numerous jazz artists and pop icons ranging from Arturo O’Farrill to Taylor Swift. Chad is also a member of the multi-Grammy award winning Afro-Latin Jazz Orchestra, and he is on faculty at the San Francisco Conservatory as a visiting artist. Downbeat Magazine selected his latest release, “Onward” as an Editor’s Pick for 2017, commending his “technical abilities that mask the difficulty of his wondrously intricate lines.”

A native of Elmira, New York, Chad established himself as a jazz prodigy at age 11, performing throughout New York State under the mentorship of local jazz hero, George Reed, who was known for backing legends like Teddy Wilson, Buddy Tate, and Marian McPartland.

Chad went on to pursue a formal education in the arts at the Brubeck Institute, a prestigious fellowship program created by jazz legend Dave Brubeck. While studying at the institute, he performed regularly with Brubeck and was a member of the Brubeck Institute Jazz Quintet.

Chad received many accolades during his scholastic career, including 15 DownBeat Magazine Student Music Awards for categories such as "Best Jazz Soloist" and "Best Original Song."

Since graduating from the Brubeck Institute, Chad has performed throughout four continents, and has appeared at venues including Carnegie Hall, the Super Bowl, and Madison Square Garden. His debut album, Imagery Manifesto, was named “Debut Album of the Year” by jazz critic and author, Doug Ramsey, and his most recent recording as a leader, “Onward,” features jazz legend, Randy Brecker.

Standard Sessions

Katia Guerreiro - Sempre

Size: 102,8 MB
Time: 43:42
File: MP3 @ 320K/s
Released: 2018
Styles: Fado
Art: Front

01. Prologo A Minha Vida E (0:47)
02. De Ti Direi Apenas (3:07)
03. Quem Diria (2:11)
04. Tristeza Velha (3:18)
05. Deixar-te Um Dia (2:30)
06. Fora De Cena (3:44)
07. Distante (3:12)
08. Na Volta (2:23)
09. Vem (Cançao Para O Joao Mario) (3:03)
10. Rezando Pedi Por Ti (3:27)
11. Aqui (2:32)
12. Dia Nao (3:11)
13. Brado (3:43)
14. Fado Pessoa (2:34)
15. Sempre (3:13)
16. Epilogo A Minha Vida E (0:40)

It’s a gift. Katia Guerreiro both heals bruised souls and tends to wounded bodies. At thirty eight, this talented Portuguese woman pursues a dual career. By day she is a specialist doctor, by night a successful fado singer. Caught between two passions, the young woman, who grew up in the Azores, has chosen not to choose. For the last 12 years, since the success of her album “Fado Maior” revealed her talents to the world, Katia Guerreiro has captured, better than anyone, the true and original essence of fado. The demanding circle of fans have even gone as far as to compare her to the incomparable Amalia Rodrigues. She has captured both the words and spirit of this great star. Each line is filled with spirituality, whispered secrets and tradition. Love stories finish in heartbreak and blues resonates with the most subtle of echoes – the echoes of the restless Fernando Pessoa and the more contemporary António Lobo Antunes, two Lisbon poets that she visited. Eyes closed and hands interlaced behind her back, Katia Guerreiro offers us a version of fado that transcends clichés, daring to open new horizons by inviting artists such as sambista Martinho Da Vila and diva Amina Alaoui. Brazilian saudade and Moroccan tarab evoke fado’s tragic destiny with long timeless blues. All this serves to highlight the singer’s talent, faultless technique and also a sensitivity that holds us on a tightrope, on the edge of the abyss, and draws us into an intimate drama that becomes universal. Soul wrenching moments make hearts and bodies tremble, as they did at her concert on the mythic stage of the Olympia in Paris on 23 January 2012 or on January 30, 2016, during a memorable concert at the Opera Grande Hall in Lyon, when she became the first Portuguese artist to sing on this stage.

Katia as a captivating and sincere ambassador has performed on the biggest stages and in various countries such as Norway, Spain, France, Brazil, and Latin America for this fall of 2018.

In March 2017, Katia Guerreiro is invited to perform at the Al Bustan Festival in Beirut. In 2017, the prestigious Lebanese festival was titled “Queens and Empresses of the East”

Main awards :
Knight of the Order of Arts and Letters by the French Government
Ordem do Infante D. Henrique by the Portuguese Government
Mexican prize “Lunas del Auditorio”, for his concert at the Teatro de la Ciudad in October 2015.

Sempre

Amy Baker - Get Happy

Size: 72,1 MB
Time: 30:07
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. You Make Me Feel So Young (2:03)
02. Witchcraft (2:15)
03. My Baby Just Cares For Me (2:01)
04. Blue Moon (3:18)
05. What A Difference A Day Makes (2:40)
06. Why Don't You Do Right (2:24)
07. Sentimental Journey (3:54)
08. Get Happy (2:39)
09. The More I See You (2:49)
10. He's A Tramp (2:34)
11. Too Darn Hot (3:25)

Amy Baker is a jazz and swing singer, who has performed at renowned festivals and venues all over the world including Ronnie Scotts, Glastonbury Festival, Edinburgh Fringe, The Tower of London, Montreux Jazz Festival, Goodwood Revival, Derry Jazz Festival, Cannes Yachting Festival, The Fort Lauderdale International Boat Show and The Miami Boat Show. Originally from Hampshire, Amy grew up listening to swing music, and admiring everything about the vintage period. When her uncle heard her singing he suggested she have some singing lessons. At the age of 10 she began lessons with John Atkins, an elderly man, almost blind, who could play anything on the piano. Amy began working through her grades in singing and was delighted to win The Arun Young Vocalist of the Year at the age of 12. When John was unable to carry on with her lessons, she started training with international bass concert singer, Martin Elliott. His wealth of experience gave her an excellent grounding in vocal technique and performance skills. Amy then moved to South Downs College to study classical singing and an A Level in music. It was a wonderful two years of study, but classical singing left her cold. She knew she had to find her own style, and find the music that would really feed her soul. At 20 she began working as an Adele tribute act, emulating Adeles warm vocal sound and presence on stage. She was soon getting booked in casinos, hotels and at corporate events. It was the perfect opening to gain experience of singing in larger venues, and to develop her performance style and confidence. She was getting to do what she loved, although there was still something missing, and she knew that jazz and swing music really made her feel alive. Amy is now in demand as a jazz and swing singer. As well as her many solo gigs, she performs with her own band, and regularly appears with the Jive Aces, the UKs leading jive / swing band.

Get Happy

Ben Tankard - Rise!

Size: 82,8 MB
Time: 35:27
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Smooth Jazz
Art: Front

01. Rise! (3:41)
02. More Rain (3:43)
03. It's Working (3:28)
04. Smooth Sunday (3:21)
05. Still Here (4:08)
06. Afternoon Nap (3:03)
07. George The Duke (3:23)
08. Passionfruit (3:24)
09. Unlisted Number (3:36)
10. Piano Hymn (3:36)

Rise!

Kristy Kruger - Fever Of Unknown Origin

Size: 109,0 MB
Time: 46:37
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Pop, Americana
Art: Front

01. What I Do (3:24)
02. Home Is Everywhere I Roam (3:07)
03. The Carpenter (2:52)
04. Folsom Prison Blues (4:26)
05. I Long For The Night All Day (2:41)
06. I Cried For All That Might Have Been (3:25)
07. Johnny And June (3:39)
08. It Hurts Most Of All When I'm Standing Still (3:22)
09. Goodbye Brother (3:53)
10. I Fell In Love With A Man Who Said He Loved Me (3:24)
11. Directions For A Sudden Death (4:36)
12. Johnny And June (Solo Piano) (3:46)
13. Come And Gone (3:57)

Singer/songwriter Kristy Kruger draws inspiration from varied sources -- including the catalogs of Tom Waits, Emmylou Harris, Bessie Smith, and Aimee Mann -- to create a diverse brand of Americana. Having played piano since the age of five, she began embracing composition as a high school student, winning several competitions in her native Texas and earning a music scholarship from the University of Southern California. Once enrolled, she assembled a band and hit the Los Angeles club circuit in support of her songs, several of which later found their way onto her debut album, 1998's Bachelor of Apathy. Kruger released the album on her own label, Do It Yerself Records, which also issued the follow-up effort The Noise I Make in 2000. While on the road in support her sophomore album, Kruger crossed paths with producer/engineer Andrew Gilchrist, who had previously worked with Ani DiFranco. Gilchrist agreed to produce Kruger's next release, and the songwriter relocated to New Orleans to record An Unauthorized Guide to the Human Anatomy, an anatomically themed album that paired the songwriter with a full band for the first time. Songs from a Dead Man's Couch followed in 2006. ~Andrew Leahey

Fever Of Unknown Origin

Ruby Braff - Linger Awhile

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 69:10
Size: 158,9 MB
Art: Front

( 9:19) 1. Sweet Sue
( 7:25) 2. Ghost of a Chance
( 3:17) 3. Wishing
( 8:29) 4. I Cover the Waterfront
( 5:52) 5. Keeping Out of Mischief Now
( 5:00) 6. Linger Awhile
( 5:50) 7. I'm in the Market for You
( 6:55) 8. Romance in the Dark
( 5:59) 9. When You Wish Upon a Star
(11:00) 10. I Can't Get Started

This compilation combines tracks from three separate early-'50s recording sessions. Braff, heard on trumpet rather than cornet, is in great form, and is joined by Vic Dickenson, Nat Pierce, and now-obscure tenor saxophonist Samuel Margolis on a swinging "Sweet Sue." Two tracks come from a Dickenson-led date; the best is a very relaxed take on "I Cover the Waterfront." Only one selection comes from a meeting of Braff and fellow trumpeter Buck Clayton, but it's a gem an extended look at "I Can't Get Started." As with many Vanguard reissues of recent vintage, the only complaint is that each of the record dates merited a separate re-release instead of this enjoyable but piecemeal anthology CD. ~ Ken Dryden https://www.allmusic.com/album/linger-awhile-mw0000258734

Personnel: Trumpet – Buck Clayton (tracks: 10), Ruby Braff; Bass – Aaron Bell (tracks: 10), Walter Page (tracks: 1 to 9); Clarinet – Edmond Hall (tracks: 4, 5); Drums – Bobby Donaldson (tracks: 10), Jo Jones (tracks: 1 to 3, 6 to 9), Les Erskine (tracks: 4, 5); Guitar – Steve Jordan (3) (tracks: 4, 5, 10); Piano – Jimmy Jones (3) (tracks: 10), Nat Pierce (tracks: 1 to 3, 6 to 9), Sir Charles Thompson (tracks: 4, 5); Saxophone – Buddy Tate (tracks: 10), Samuel Margolis (tracks: 1 to 3, 6 to 9); Trombone – Benny Morton (tracks: 10), Vic Dickenson (tracks: 1 to 9)

Linger Awhile

Pharoah Sanders - Ballads with Love

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 41:01
Size: 94,1 MB
Art: Front

(5:58) 1. Too Young to Go Steady
(7:15) 2. Feelin' Good
(6:23) 3. Light at the Edge of the World
(9:02) 4. Body and Soul
(5:46) 5. Misty
(6:35) 6. In a Sentimental Mood

Known for his harsh excursions into the avant-garde with John Coltrane in the late '60s, Pharoah Sanders is at his most appealing interpreting ballads, such as these 2002 sessions. Well accompanied by pianist William Henderson, bassist Charles Fambrough, and drummer Sherman Ferguson, Sanders offers a fluid interpretation of the nearly forgotten gem "Too Young to Go Steady," showcasing his warm tenor sax and Henderson's lush touch as well. His take of Anthony Newley's "Feelin' Good" shows Coltrane's influence on him, while Sanders gives this show tune a gospel flavor. One fascinating choice is Piero Piccioni's "Light at the Edge of the World," written for the film of the same name, a big-budget 1971 film starring Kirk Douglas that flopped at the box office; Sanders' decision to look for obscurities such as this gem pays off huge dividends, with his robust playing in a soft bossa nova setting and Henderson's shimmering piano glistening like the sun on the ocean. The arrangements of favorites like "Body and Soul," "In a Sentimental Mood," and "Misty" are also among Pharoah Sanders' best recorded performances. Recommended. ~ Ken Dryden https://www.allmusic.com/album/ballads-with-love-mw0000551448

Personnel: Tenor Saxophone – Pharoah Sanders; Bass – Charles Fambrough; Drums – Sherman Ferguson; Piano – William Henderson

Ballads with Love

Quadro Nuevo - Tango Bitter Sweet

Styles: Latin Jazz
Year: 2006
File: MP3@320K/s
Time: 70:00
Size: 163,7 MB
Art: Front

(4:53) 1. L' ete Indien
(4:32) 2. Swing Vagabond
(4:09) 3. Petite Fleur
(3:50) 4. Tango Bitter Sweet
(4:44) 5. Paroles, Paroles
(1:55) 6. The Windmills of Your Mind
(5:08) 7. Tango Jalousie
(4:13) 8. Avant De Mourir
(4:20) 9. Malafemmena
(4:43) 10. Milonga Tati
(5:11) 11. Et Maintenant
(3:28) 12. An Einem Winterabend
(4:35) 13. Mude Sonne
(2:02) 14. Isla De Las Mujeres
(4:06) 15. Gloomy Sunday
(1:31) 16. Afternoon
(2:55) 17. At Night
(3:35) 18. Sabre Dance

There was a time when doing something experimental in tango could not only result in bad reviews from music critics who didn't understand what you were doing it could also result in bodily harm. The late Astor Piazzolla, often hailed as the Charlie Parker of tango, was literally beaten up in the streets of Buenos Aires by opponents who disliked his vision of tango (which was a major departure from the old-school tango of Carlos Gardel, Carlos Di Sarli, Aníbal Troilo and Hugo del Carril). But these days, Piazzolla-minded tango is very much the norm and tango enthusiasts are unlikely to resort to fisticuffs even if an artist does something expansive that they don't comprehend. The word "expansive" easily applies to Quadro Nuevo, a European tango-oriented quartet that takes a lot of chances on their 2006 recording Tango Bitter Sweet. This 69-minute CD has a strong Piazzolla influence, which is hardly unusual in the 21st century; the tiny, insignificant minority of people who still consider Piazzolla a musical heretic are like the tiny, insignificant minority of people who still believe that Dixieland is the only legitimate form of jazz. What makes Tango Bitter Sweet unusual is the way Quadro Nuevo combines that Piazzolla influence with so many non-tango influences; during the course of the album, elements of Piazzolla are blended with everything from Brazilian samba to French chanson to Italian and Mediterranean folk to jazz. One of the selections, in fact, is an intriguing arrangement of Sidney Bechet's "Petite Fleur"and there are plenty of other songs on this disc that originated outside of tango but receive a tango makeover, including Michel Legrand's "The Windmills of Your Mind" and Rezso Seress' "Gloomy Sunday" (a Hungarian gem that found its way to jazz after receiving English lyrics and being recorded by Artie Shaw and Billie Holiday in the early '40s). But Tango Bitter Sweet, for all its risk-taking, is ultimately a very charming and accessible album. The solos are quite lyrical, and Tango Bitter Sweet is happily recommended to anyone who is seeking something fresh from tango. ~ Alex Henderson https://www.allmusic.com/album/tango-bitter-sweet-mw0000559509

Personnel: Tenor Saxophone, Soprano Saxophone, Saxophone [C-Melody Sax], Clarinet, Bass Clarinet, Contrabass Clarinet, Mandolin, Vibraphone – Mulo Francel; Accordion, Melodica [Vibrandoneon], Piano – Andreas Hinterseher; Acoustic Bass, Percussion, Vocals – D.D. Lowka; Guitar – Robert Wolf

Tango Bitter Sweet

Joe Craven - Django Latino

Styles: Latin Jazz, World Fusion
Year: 2006
File: MP3@320K/s
Time: 65:00
Size: 149,0 MB
Art: Front

(4:00) 1. Minor Swing
(4:18) 2. Sweet Chorus
(4:09) 3. Hungaria
(4:05) 4. Nuages
(5:34) 5. Melodie au Crepuscule/Manoir de Mes Reves
(4:26) 6. Douce Ambiance
(4:13) 7. Babik/Festival.48/Micro
(4:40) 8. Anouman
(3:53) 9. Montagne Ste. Genevieve
(4:13) 10. Double Scotch/Artillerie Lourde
(3:28) 11. Swing 39
(5:02) 12. Swing 42
(4:18) 13. Tears
(8:34) 14. Djangology

In addition to demonstrating his talent on an impressive range of string and percussion instruments, Joe Craven, a longtime member of the David Grisman Quintet, uses his second solo album to show off his skills as a translator. Django Latino is the familiar music of gypsy guitarist Django Reinhardt and his Hot Club co-leader and musical soulmate, violinist Stéphane Grappelli, seen "through a musical lens of Latin America" festive and spicy where the originals are swinging and hot. Inspired? This project redefines the word. It is remarkable to hear "Hungaria" recast as a Brazilian choro samba complete with the exuberant squeals of the cuica, or "Minor Swing" twisted into a Puerto Rican plena. Like many of the tracks on Django Latino , both of these sound like group efforts, but they are in fact veritable one-man shows made possible through "Pro-Tools free" studio overdubs. In this way Craven is able to deliver rousing mandola and violin solos on "Minor Swing," and turn "Hungaria" into a celebratory carnaval tune with the assistance of only two other musicians, namely Rick Montgomery on steel drums and erstwhile DGQ bassist Sam Bevan. Reinhardt's famous "Nuages" becomes a Cuban danzón, revealing aspects of the original song, such as the dreamy, almost tropical languor, that make the transformation seem entirely natural. Bevan, flautist Matt Eakle, pianist John R. Burr and percussionist Kendrick Freeman are all part of the endeavor, making for one of the disc's larger studio ensembles, and the multifaceted Craven takes up multiple violins to create a rich but light and pillowy harmonic effect. Moving into the exotic genre of Nigerian-derived Haitian ibo, "Douce Ambiance" morphs into a moving, ambient chant sung by Freeman with original Creole lyrics. For songs like this one and the lesser-known ballad "Anouman," Reinhardt's last (arranged here as a Cuban bolero), the liner notes are invaluable. Burr and Eakle share the spotlight with Craven on "Anouman," and rightly so. Another track of note is "Double Scotch/Artillerie Lourde," in the Colombian cumbia style. It's more than a little zany, featuring excerpts from a basic Spanish vocabulary lesson and Craven's young daughter Hattie urging everyone along. If proof were needed of Craven's sense of lightheartedness and whimsy, this would be enough. "Swing 39" is superbly rendered as stirring nuevo flamenco, drawing on several gypsy musical influences and instruments, while the amusing vocal refrain of the following "Swing 42" is "Ésta canción gitana es de Django/Su ritmo es Cubano," or "This gypsy song is by Django; its rhythm is Cuban." What makes Django Latino so outstanding from start to finish, beyond its musicianship and originality, is the reverent humor of Craven and his equally ingenious collaborators. They subject Reinhardt and Grappelli's music to strange and playful mutations but never resort to mocking the original. Whether one is a Django obsessive or a casual fan of world music, this disc will not disappoint. ~ Eric J.Iannelli https://www.allaboutjazz.com/django-latino-joe-craven-crowart-review-by-eric-j-iannelli.php?width=1920

Personnel: Joe Craven (mandolin, mandola); Ara Anderson (trumpet, cornet); Sam Bevan (bass); John Burr (piano); Enrique Coria (guitar); Diane Craig (coro); Corey Craven (bells, bombo, coro);

Django Latino