Mary Lou Williams - Live At The Cookery

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 68:43
Size: 159,2 MB
Art: Front

(5:55)  1. Praise The Lord
(6:56)  2. Blues For Peter
(5:54)  3. I Can't Get Started
(6:33)  4. Roll 'Em
(3:50)  5. The Jeep Is Jumping
(5:23)  6. My Funny Valentine
(3:23)  7. Waltz Boogie
(4:41)  8. The Surrey With The Fringe On Top
(7:58)  9. The Man I Love
(4:46) 10. All Blues
(5:11) 11. Mack The Knife
(8:07) 12. A Grand Night For Swinging

This CD gives one a definitive look at talented pianist Mary Lou Williams in her later years. In these duets with bassist Brian Torff, Williams essentially takes listeners on a trip through the history of jazz, from hymns and blues to stride, swing, and bop (including "All Blues"). The CD reissue adds three fine performances to the original program. Recommended. ~ Scott Yanow https://www.allmusic.com/album/live-at-the-cookery-mw0000091515

Personnel:  Piano – Mary Lou Williams ;  Bass – Brian Torff

Live At The Cookery

---

Lee Wiley - At Carnegie Hall

Styles: Vocal, Swing, Cabaret 
Year: 2000
File: MP3@320K/s
Time: 61:09
Size: 143,5 MB
Art: Front

(3:30)  1. Intro
(2:42)  2. Back Home Again In Indiana
(0:15)  3. Announcement
(2:21)  4. When I Fall In Love
(4:35)  5. You Lucky To Me
(0:12)  6. Announcement
(2:47)  7. A Love Like This
(3:15)  8. Moon River
(0:15)  9. Announcement
(4:16) 10. Come Sunday
(3:04) 11. I'm Coming Virginia
(2:34) 12. A Woman Intuition
(4:18) 13. Sugar
(0:19) 14. Announcement
(2:07) 15. Manhattan
(3:24) 16. Someone To Watch Over Mee
(2:01) 17. Street Of Dreams
(2:02) 18. Some Sunny Day
(2:58) 19. Chicken Today And Feathers
(3:52) 20. A Ghost Of A Chance
(1:44) 21. Any Time, Any Day, Anywhere
(1:17) 22. 'S Wonderful
(1:12) 23. Somebody Loves Me
(1:26) 24. Soft Lights And Sweet Music
(2:20) 25. The Man I Love
(2:11) 26. Any Time Any Day Anywhere

Lee Wiley was a superior singer whose style feel between swing and cabaret. She gave straightforward interpretations of lyrics yet also had a strong sense of swing. Discouraged by the music business, Wiley retired in 1958 when she was still in her prime. She made a brief return during 1971-72 when she recorded a final album and performed at the first Newport in New York Jazz Festival. The latter concert has been released for the initial time on this Audiophile CD and is Wiley's final recording. Accompanied by cornetist Bobby Hackett, pianist Teddy Wilson, guitarist Bucky Pizzarelli, bassist George Duvivier and drummer Don Lamond, Lee Wiley sounds in surprisingly good form. Although her voice had deepened a little, she is quite recognizable and had not declined at all. Before a loving crowd (that sounds quite delighted to get the rare chance to see her), Wiley sings 11 songs. Best are "Indiana," "You're Lucky to Me," an emotional "Come Sunday" and "Sugar." Although she forgets the words at one point on "Manhattan" (a surprise request from George Wein), Lee Wiley does quite well and exits on top. The remainder of this CD is comprised of ten songs recorded at a rehearsal in 1952 with Wein himself on piano, bassist John Field and drummer Marquis Foster. The trumpeter is listed as Johnny Windhurst but I would opt for Bobby Hackett. Although quite informal (and some of the renditions are under two minutes), this rehearsal is an important addition to the relatively slim discography of the charming Lee Wiley. ~ Scott Yanow https://www.allmusic.com/album/the-carnegie-hall-concert-mw0000913043

Personnel:  # 1-16:  Lee Wiley - vocal;  Bobby Hackett - cornet;  Teddy Wilson - piano;  Bucky Pizzarelli - guitar;  George Duvivier - bass;  Don Lamond - drums
# 17-26:  Lee Wiley - vocal ;  Johnny windhurst - trumpet ;  George Wein - piano ;  John Field - bass;  Marquis Foster - drums

At Carnegie Hall

---

Jakob Bro, Thomas Morgan & Joey Baron - Streams

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 48:35
Size: 111,4 MB
Art: Front

( 4:40)  1. Opal
( 5:35)  2. Heroines
( 9:37)  3. PM Dream
(10:19)  4. Full Moon Europa
( 8:17)  5. Shell Pink
( 2:33)  6. Heroines (Variations)
( 7:30)  7. Sisimiut

"The music wants to go in its own direction," Jakob Bro declares, and "it's our job to follow it." If one central theme of jazz is "never the same way once," the Danish guitarist is someone who lives by it more than most. No two of his albums are made with the same cast and rarely do they repeat the same instrumental lineup. A given release may feature a quartet, nonet or fifteen-piece ensemble; there could be three horns or none, two extra guitars or just his own, occasionally no drums, or sometimes electronics and remixing. At other times a simple trio is all it takes. The music on Bro's second ECM Records outing wants to flow quietly and gently like its namesake. The pieces tend to stay as sparse as the lineup: the leader's compositions here are like the framework for a glass house with wide open windows, allowing lovely natural views and letting in a soothing breeze. He and his trio-mates are pleasantly relaxed and feel no undue pressure to fill the space. The rhythm section ambles with comfortable ease while the guitar's electric sheen lets unhurried notes ring in the air. As ample evidence for why he remains Bro's most frequent sideman, Thomas Morgan's double bass stays smooth and expressive in as few notes as necessary. The endlessly adaptable Joey Baron is taking this chair for the first time, but having played with Johns from Abercrombie to Zorn, of course he's eloquent enough to join the conversation and more than hold his own. He contributes mostly with light strokes or cymbal splashes, always showing a tasteful feel for just when to liven up more to match the others. Baron shines most in the disc's sole group improvisation as they pay tribute to the late Paul Motian (his frequent predecessor at the drum stool on past Bro recordings), beautifully simmering on the toms amid a cloud of tone haze and warmly plucked bass. Bro reaches for the distortion knob a bit more with "Full Moon Europa" and the gradual slow build of "Sisimiut," which respectively give the album's overall tone further subtle shadings of dark and light. They're balanced out in between with the prettiest melodic moment in "Shell Pink," followed by a stark guitar reprise of "Heroines" that offers the recording's surest embrace of emptiness. It all evokes the shifting and flowing its title suggests. Largely placid with the odd sharper current underneath, this Streams fluidly finds its path with understated beauty. ~ Geno Thackara https://www.allaboutjazz.com/streams-jakob-bro-ecm-records-review-by-geno-thackara.php

Personnel: Jakob Bro: guitar; Thomas Morgan: double bass; Joey Baron: drums.

Streams

---

Allan Holdsworth - All Night Wrong

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 55:57
Size: 131,5 MB
Art: Front

(5:48)  1. Lanyard Loop
(6:53)  2. The Things You See
(7:04)  3. Alphrazallan
(5:01)  4. Funnels
(9:19)  5. Zone
(5:30)  6. Water On The Brain, Pt. 2
(8:21)  7. Above & Below
(7:58)  8. Gas Lamp Blues

Guitar hero Allan Holdsworth often performs with his peers. Such is the case with this live setting recorded at a venue in Japan during a 2002 tour. On this release, the guitarist leads a trio featuring longtime musical associates, drummer Chad Wackerman, and bassist Jimmy Johnson. To that end, the respective musicians' talents are well-known entities. Wackerman and Johnson can handle the trickiest time signatures imaginable. Along with the nimble flexibilities and odd-metered excursions witnessed here, they exude a force of power that serves as a meaty foundation for Holdsworth's mighty licks. 

A wonderfully recorded album, Holdsworth's climactically driven legato-based riffs are intact, as he also implements jazzy chord voicings and delicately stated fabrics of sound. But the trio raises the ante throughout many of these pieces, awash with moments of nuance and controlled firepower. In sum, Holdsworth's legion of followers should be pleased with a recording that should rank among his finest efforts to date. ~ Glenn Astarita https://www.allmusic.com/album/all-night-wrong-mw0000316616

Personnel:   Allan Holdsworth – guitar;  Chad Wackerman – drums;   Jimmy Johnson – bass

All Night Wrong

---

Don Byron - Bug Music

Styles: Clarinet And Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 51:06
Size: 119,0 MB
Art: Front

(3:18)  1. The Dicty Glide
(2:52)  2. Frasquita Serenade
(2:53)  3. St. Louis Blues
(2:52)  4. Wondering Where
(1:41)  5. Bounce of the Sugar Plum Fairies
(2:48)  6. Charley's Prelude
(1:54)  7. Royal Garden Blues
(2:52)  8. Siberian Sleighride
(2:50)  9. The Penguin
(2:51) 10. The Quintet Plays Carmen
(2:55) 11. Powerhouse
(2:36) 12. Tobacco Auctioneer
(2:36) 13. War Dance for Wooden Indians
(2:49) 14. Cotton Club Stomp
(3:25) 15. Blue Bubbles
(9:47) 16. SNIBOR

Bug Music is a tribute to the music of the Raymond Scott Quintette, the John Kirby Sextet and Duke Ellington, headed by the remarkably versatile clarinetist Don Byron. Raymond Scott's legendary compositions feature eccentric song titles (including, on this set, "Siberian Sleighride," "Tobacco Auctioneer" and "War Dance for Wooden Indians"), complex and thoroughly composed arrangements (all of which were originally memorized rather than being written out) and unique melodies. Kirby's brand of swing, which is quite complementary to Scott's novelties, often utilized themes from classical music and had solos, but were also tightly arranged (even "St. Louis Blues" and "Royal Garden Blues"). The CD begins and ends with four Ellington/Strayhorn pieces that fit well into the idiom (particularly "The Dicty Glide" and "Cotton Club Stomp"). In addition to Byron, the key players on the project include altoist Steve Wilson (one of the best of the younger swing stylists), trombonist Craig Harris and pianist Uri Caine, in addition to four other horns and several rhythm sections. Other than a silly rendition of Ellington's "Blue Bubbles" and an adventurous interpretation of "Snibor," the selections are played with respect and great understanding of the somewhat forgotten style. None of the modern musicians sound as if swing were only their second language, making the continually surprising set a major success. ~ Scott Yanow https://www.allmusic.com/album/bug-music-mw0000078877

Personnel:  Clarinet, Baritone Saxophone – Don Byron (tracks: 1, 14);  Alto Saxophone – Steve Wilson (2) (tracks: 1 to 7, 14);  Banjo – Paul Meyers (3) (tracks: 1, 14);  Bass – Kenny Davis (tracks: 1 to 14, 16);  Drums – Billy Hart (tracks: 2 to 7, 16), Joey Baron (tracks: 8 to 13), Pheeroan akLaff (tracks: 1, 14);  Guitar – David Gilmore (tracks: 16);  Piano, Vocals – Uri Craine (tracks: 4);  Tenor Saxophone – Robert DeBellis  (tracks: 1, 8 to 14);  Trombone – Craig Harris (3) (tracks: 1, 14);  Trumpet – Charles Lewis (2) (tracks: 1 to 3, 5, 6, 8 to 14), James Zollar (tracks: 1, 14), Steve Bernstein (tracks: 1 to 4, 7, 14);  Vocals – Dean Bowman (tracks: 14), Don Byron (tracks: 4)

Bug Music

---

Alyssa Graham - Echo

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 51:21
Size: 120,6 MB
Art: Front

(6:10)  1. America
(4:41)  2. Pictures Of You
(4:19)  3. Echo
(3:59)  4. Arkansas
(4:47)  5. My Love
(5:17)  6. Butterflies
(3:42)  7. I Burn For You
(5:38)  8. Involved Again
(4:03)  9. Once Upon A Summertime
(5:27) 10. Coming Home
(3:14) 11. Izaura

Jazz is a paradox that is both compromising and uncompromising. It is compromising as an assimilating art, one that absorbs all influences that touch it. It is uncompromising that jazz demands virtuosity and creativity. It is this paradox that allows the genre to contain both a Sarah Vaughan and Dianna Krall, and a Grant Green and John McLaughlin beneath its tent. It is jazz that welcomes the better angels of creation into its realm to manifest any number of delightful and inventive manners. Jazz, by its very nature, is evolving in four dimensions. Norah Jones, for example, with a crack band and a Country and Western sensibility, has reformed the interface between jazz and popular music. Think of Jones as Josef Haydn, a musical trailblazer inventing a new way to look at an established genre, one further perfected by Mozart's inevitable invention. Norah Jones' Mozart is Alyssa Graham. New York native Graham and guitarist/husband Douglas Graham recorded the singer's first release in their living room on a self-produced shoestring. The result was What Love Is (2005) which was selected for several Best of 2005 lists. Graham has since honed her musical approach to a fine edge, with Echo at once pure metal and perfect amalgam. Echo boasts a Latin influence and indeed one exists. But there is none of the piquant tartness of a typical Latin outing. Instead, the collective efforts of Jeff Haynes' essential percussion, guitarists Graham and Romero Lubambo and the Hendrik Meurkens-influenced Gregoire Maret are distilled into dense tension, sounding as if it has been there all the time. This is familiar music and that is its magic. Paul Simon's "America" is rendered as a siren song buoyed by purring congas and round nylon stings. This same formula transforms Michel LeGrand's "Once upon a Summertime" in a similar manner; quietly and with great grace. 

Pianist John Cowherd shares composing duties with both Bryan McCann ("Echo" and "Arkansas") and Douglas Graham ("Pictures of You" and "My Love") to anchor the disc. "Echo" is a sophisticated vignette, a cross between Burton Cummings and Bruce Hornsby. Graham's delicious intonation is perfectly balanced by Cowherd's Norah Jones-like octaves. "Arkansas" is a potent pastoral smart and informed and mysterious. "My Love" powerfully recalls Elton John's Tumbleweed Connection (MCA , 1971) and Jackson Browne's The Pretender (Asylum, 1976), especially in Cowherd's fine piano solo and Graham's solid high, rich alto. Into this mix is "Involved Again." Composed by Jack Reardon ("The Good Life"), "Involved Again" was written for Billie Holiday and was slated to be recorded by her, save for the singer's death in 1959. The song remained shelved until Reardon heard Alyssa Graham. The song would have been perfect next to "I'm A Fool to Want You" and "But Beautiful," from Holiday's Lady in Satin (Columbia, 1958). Graham captures perfectly the conflict of forgiven love, totally committed at a cost. She has spent her time wisely, perfecting her art and the art that came before her. Echo is a fine wine with a heady base and nose and an expansive finish. It is to be savored after many listenings. ~ C.Michael Bailey https://www.allaboutjazz.com/echo-alyssa-graham-sunnyside-records-review-by-c-michael-bailey.php

Personnel: Alyssa Graham: vocals; Jon Cowherd: vocals, French horn, piano, organ; Douglas Graham: guitars; Romero Lubambo: guitar; Elizabeth Lim-Dutton, Laura Seaton: violin; Lawrence Dutton: viola; Sachi Patitucci: cello; Gregoire Maret: harmonica; Doug Weiss: bass guitar; Obed Calvaire: drum; Jeff Haynes: percussion.

Echo

---

David Weiss & Point Of Departure - Venture Inward

Styles: Trumpet Jazz 
Year: 2013
File: MP3@320K/s
Time: 57:09
Size: 131,4 MB
Art: Front

(11:36)  1. I Have A Dream
( 7:20)  2. Black Comedy
(16:19)  3. Number 4
( 7:19)  4. Venture Inward
( 6:09)  5. Pax
( 8:24)  6. Snuck In

If music can be described as either masculine or feminine, then recordings by trumpeter David Weiss and his Point of Departure quintet are simply testosteronic. Built upon the legacy of trumpeter Miles Davis' second great quintet and saxophonist Billy Harper's Black Saint inheritance, Weiss presents dexterous arrangements of muscular, second wave hard bop music. This studio session, Venture Inward, was recorded in 2008, one day before the stunning live date at the Jazz Standard, released as Snuck In (Sunnyside, 2010) and Snuck Out (Sunnyside, 2011), with follow-up pieces made the following June for all three releases. While duplicating four tunes heard on the live discs, these studio sessions do not lack for that in-person sensation. Weiss' arrangements are tight and deceptively simple. Drummer Tony Williams' "Black Comedy" starts with the Miles In The Sky (Columbia, 1968) sound of the original, but expands out toward Williams' quintets of the late '80s and early '90s. Drummer Jamire Williams and bassist Luques Curtis power JD Allen's brawny tenor saxophone and the nimble fingers of guitarist Nir Felder. This macho music is felt in the rush of "Number 4," with Weiss drawing equal parts from trumpeters Freddie Hubbard and Lee Morgan. Much like the septet, The Cookers that Weiss organizes around hard bop veterans Billy Harper, trumpeter Eddie Henderson, saxophonist Craig Handy, bassist Cecil McBee, pianist George Cables, and drummer Billy Hart, Point Of Departure is a younger version, with perhaps a bit more fire in its belly. Weiss chooses pieces by pianist Herbie Hancock ("I Have A Dream"), and two each from Chicago pianist Andrew Hill and Detroit trumpeter Charles Moore. Weiss is able to simplify Hill's often abstract pieces and proffer them within the post-bop tradition. This band loves its music to be brawny and powerfully robust. ~ Mark Corroto https://www.allaboutjazz.com/venture-inward-david-weiss-posi-tone-records-review-by-mark-corroto.php

Personnel: David Weiss: trumpet; J.D. Allen: tenor saxophone; Nir Felder; guitar; Luques Curtis: bass; Jamire Williams: drums.

Venture Inward

---

Ada Rovatti - Disguise

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 64:55
Size: 149,6 MB
Art: Front

(7:19)  1. Ghost Stories
(6:59)  2. Alone in Traffic
(8:09)  3. TBA
(3:02)  4. Smile (Sax Solo Intro)
(5:53)  5. Smile
(8:08)  6. Moving Forward
(6:36)  7. Halfway
(5:12)  8. Tripping Step
(7:57)  9. Stairway to Heaven
(5:36) 10. Gentle Giant

An initial spin of saxophonist Ada Rovatti's Disguise says she hasn't lost a step since 2009's The Green Factor (Piloo Records). There's still the judicious funk grooves, the tight arrangements, and catchy and distinctive melodies that make for an engaging and edifying listening experience. And she's still a wonderfully soulful saxophonist. These are quintet, quartet and sextet offerings. In small group jazz outings, there has to be something that sets the effort apart. With Rovatti especially on Disguise that "something" is her arrangements, beginning with "Ghost Stories," one of eight (out of ten tunes) Rovatti originals. Bassist Janek Gwizdala, drummer Dana Hawkins and pianist Oli Rockberger lay down a terrific groove. Trumpeter Miles Davis, in his 1980's mode, would have loved this. His muted horn would have fit right in contemporary funk; but the secret here is Rovatti's sax joined by flutist {Anne Drummond}} for some ghostly harmony, playing a very memorable unison melody. Drummond is spirited in her solo, and makes an argument for more flute-in-the-front line outings. Rovatti doesn't step out until three and a half minutes in. She smolders beautifully in front of the shimmer of Rockberger's electric keys.  "Alone in Traffic" is surprisingly upbeat, considering the title. Maybe the composer (Rovatti) enjoys time alone on the expressways. She is joined here by trumpeter Randy Brecker, with his expansive, cool tone. If Brecker is cool, Rovatti is hot. Her solo cranks the thermostat up fifteen degrees in front of the controlled stumble of the drums and bass. "TBA" features Rovatti on soprano sax. Her tone is clean, gorgeous not always the case with the "straight horn." And her front line partner, Zach Brock on violin, gives the tune a sharp modern edge. His sound, playing alongside Rovatti, sounds like electronic spicing rather than singing strings. Stepping out on his solo he sears it, with a stretchy, elastic, brash sound. A funky, fabulously-arranged gem of a tune. Two familiar non-originals are included. Charlie Chaplin's "Smile," with a lonely, late night three minute intro by Rovatti on tenor. This is a quartet, the saxophonist and the rhythm section, and Rovati shows she can play the classic ballad with loads of emotion, with the rhythm guys flying free when she steps out. The there's "Stairway to Heaven," from the Led Zepplin songbook. She joined here by Randy Brecker again, with Adam Rogers on guitar (if it's Led Zepplin, you've got to have a guitar) on a fairly straight forward, very jazzy turn on the song. The disc closes with ballad full of contemplative joy, "Gentle Giant." Rovatti's tenor has a classic, expressive robustness. Could this be an Ode to Randy Brecker, Rovatti's husband and partner in music? Might be.~ Dan McClenaghan https://www.allaboutjazz.com/disguise-ada-rovatti-piloo-records-and-productions-llc-review-by-dan-mcclenaghan.php

Personnel: Ada Rovatti: tenor and soprano saxophones, composer/arranger; Janek Gwizdala: bass; Dana Hawkins: drums; Leo Genovese: piano (2, 3, 4, 8); Oli Rockberger: piano (1, 6, 10); Adam Rogers: guitar (9); Zach Brock: violin (3, 8); Anne Drummond: flute (1, 6); Randy Brecker: trumpet (2, 6, 9); Dean Brown: guitar (10).

Disguise

---

Jimmy Smith - The Champ

Styles: Soul Jazz, Hard Bop
Year: 1956
File: MP3@320K/s
Time: 40:17
Size: 92,4 MB
Art: Front

(8:34)  1. The Champ
(4:50)  2. Bayou
(7:12)  3. Deep Purple
(4:30)  4. Moonlight In Vermont
(6:29)  5. Ready'n Able
(4:10)  6. Turquoise
(4:29)  7. Bubbis

The Champ is an album by Jimmy Smith. It was recorded in New York City in 1956 and is an early example of hard bop jazz. Smith performs alone on this album. The Champ was re-released to CD by EMI Music Group in 2005. https://en.wikipedia.org/wiki/The_Champ_(Jimmy_Smith_album)

Personnel: Organ – Jimmy Smith;   Drums – Donald Bailey;  Guitar – Thornel Schwartz;  Written-By – Dizzy Gillespie

The Champ

---

Chico Freeman - Sweet Explosion

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 74:25
Size: 172,4 MB
Art: Front

( 7:49)  1. Peaceful Heart
( 8:11)  2. Exotic Places
( 9:17)  3. Afro Tang
(10:58)  4. My Heart
(15:22)  5. Pacifica I, II & III
(10:41)  6. Read The Signs
(12:07)  7. On The Nile

A collection of some of the best numbers played by Brainstorm when the band made its highly successful debut at London's Ronnie Scott's Jazz Club in 1990. One of the most innovative and engaged small groups in contemporary improvised music, Brainstorm here presents 74 electrifying minutes of inspired and wideranging music and abundantly reaffirms the notion that jazz is the sound of surprise. As Ed Hazel has observed, "Chico Freeman's style combines the energy and wide leaps of John Coltrane's later work with a classic conception of form and a strong sense of swing." https://www.amazon.co.uk/Sweet-Explosion-Chico-Freeman/dp/B000005YLF

Personnel: Chico Freeman (saxophones);  Delmar Brown (piano, keyboards,vocals);  Norman Hedman (percussion);  Alex Blake (bass);  Tommy Campbell (drums)

Sweet Explosion

---

Kate Schutt - No Love Lost

Styles: Vocal, Guitar
Year: 2007
File: MP3@320K/s
Time: 46:54
Size: 107,8 MB
Art: Front

(4:30)  1. How Much In Love
(3:27)  2. Wrecking Ball
(4:37)  3. Mary
(5:19)  4. Peter Please
(4:35)  5. Raining
(4:18)  6. Calamity
(3:51)  7. I'm Yours
(3:18)  8. Two Halves
(4:48)  9. The Moon Got Broken
(4:23) 10. The Young
(3:44) 11. Glamorous Life

No Love Lost is an album from singer/songwriter/guitarist Kate Schutt, a U.S citizen living in Guelph, Ontario, Canada since 2005 Schutt offers a variety of moods, and her writing is always sharp regarding the state of her heart, via some tunes of love some unrequited and some rather active. The overall mood of the album echoes the work of vocalist Madeleine Peyroux, who has achieved enormous success, as well as a drop of Norah Jones insofar as arrangement and delivery. The opening, low-key "How Much in Love" sports minimal accompaniment Schutt's guitar backed by viola and cello. The mood changes drastically on the following "Wrecking Ball," moving into a shuffle beat utilized often by Peyroux, and very effectively accompanied by harmonicist Paul Reddick and trumpeter Patrick Boyle, on one of several appearances. The important addition of Boyle, as well as guitarist Duane Andrews' Django Reinhardt-like vibe, fully adds to this music.  "Peter Please" is Schutt's first "love lost" vehicle, with direct lyrics that are right on the mark. "I'm Yours" pairs Schutt with blues singer Toni Lynn Washington for a minimalist but upbeat performance. One highlight of this album is the concluding cover of Sheila E.'s 1984 dance floor hit, "The Glamorous Life." This heated tune, a popular club classic of the pre-hip-hop era, is, in a way a match for the talented original music of vocalist/timbalist Escovedo. What Schutt does here is to raise the shuffle beat a bit more to mid-tempo, and insinuate the lyrics which normally wouldn't be heard over the din of the dance floor to make them into a sensuous lesson to women, young and old a most impressive musical milestone. Which is a good summation of No Love Lost. A coda to the closing track might be to imagine the Sheila E. original being played at full strength at a local disco, while Schutt's version is spun at the back corner tables on the upper floor for romantic couples. ~ Michael P.Gladstone https://www.allaboutjazz.com/no-love-lost-kate-schutt-artistshare-review-by-michael-p-gladstone.php

Personnel: Kate Schutt: 8-string guitar/bass hybrid, electric guitar, bass, vocals; Dave Jamrog: drums; Duane Andrews: acoustic guitar; Patrick Boyle: trumpet; Mark Shilansky: piano; Toni Lynn Washington: backup vocals; Paul Reddick: harmonica (2); Tomasin: rhyme; Jeff Louie: violin; Cloe Kline: viola; Nat Barrett: cello; Adrian Ross: trumpet (10).

No Love Lost

---

Harold Mabern Trio - Don't Know Why

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 58:13
Size: 133,6 MB
Art: Front

(6:24)  1. Edward Lee
(6:43)  2. Dance with Me
(5:23)  3. My Favorite Things
(4:44)  4. Don't Know Why
(6:32)  5. Dreamy
(6:16)  6. Cabu
(6:19)  7. The Surrey with the Fringe on Top
(6:14)  8. Nightlife in Tokyo
(5:05)  9. Blues for David
(4:33) 10. My Shining Hour

It's difficult not to break into a smile when hearing Harold Mabern play piano, as the hard bop stylist has a knack for giving his all as if he were entertaining an audience, even during a studio date. This trio meeting with bassist Nat Reeves and drummer Joe Farnsworth finds Mabern covering a lot of styles, including a few surprising choices. He takes Peter Brown's disco hit "Dance with Me" into new ground with a brisk arrangement incorporating funk, Latin, and driving post-bop. Jesse Harris' soft ballad "Don't Know Why" was a huge hit for singer/pianist Norah Jones on her platinum-selling CD Come Away with Me, though Mabern infuses it with a brighter tempo and a bit of country flavor, plus just a hint of gospel. For most jazz musicians, it's hard to avoid a modal approach to "My Favorite Things" since John Coltrane reworked it into that setting; Mabern follows that path but does his best to avoid outright cloning of McCoy Tyner's technique in Coltrane's historic recording, though total avoidance is impossible. The pianist's potent originals include the hard-driving, gospel-flavored "Edward Lee" and the tense, infectious "Nightlife in Tokyo." Reeves and Farnsworth excel in their support of Mabern, though the hard-charging pianist is practically a one-man band with his boundless energy. ~ Ken Dryden https://www.allmusic.com/album/dont-know-why-mw0000693848

Personnel: Piano – Harold Mabern; Bass – Nat Reeves; Drums – Joe Farnsworth

Don't Know Why

---

Wayne Jones - Closed For The Holidays

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 23:40
Size: 54,6 MB
Art: Front

(3:40)  1. Closed For the Holidays (feat. Rick Braun & Mike Macarthur)
(3:45)  2. Feeling Playful
(4:09)  3. Barcelona
(4:05)  4. Children Who Lose Their Way (feat. Rick Braun)
(3:43)  5. Perfect Mistakes
(4:15)  6. Strawberry On a String

You may have heard the phrase musician’s musician! You know the type … they’re such established players in the scene that everyone wants them on their sessions. Australian bass player, songwriter, arranger, and performer Wayne Jones fits the term perfectly. He has played with so many of Australia’s leading artists over such a long period of time. However, It took until 2006 for Jones to show his true colours with the release of his first solo album ‘Forgotten Melody’. Luckily for music lovers we only had to wait until 2009 for the follow up ‘Saturday Street’, further cementing Jones’ reputation as a world-class instrumentalist and tunesmith. Since Jones presented us with Saturday Street, he sold his much loved vintage car, packed his bags and traversed the world spreading the word on his music, resulting in club gigs in Tokyo, performances on the foreshore in Florida, chart topping tracks in the Canary Islands and has achieved airplay from radio stations at all points of the global compass. Now in 2011, Jones unleashes his finest work yet, the six track recording ‘Closed For The Holidays’. The folks at iTunes define it as it an EP, in vinyl-speak, you’d call it an album. Call the format whatever you want, the music is yet another classy collection of high-quality smooth/contemporary jazz grooves featuring Jones’ signature sound. Closed For The Holidays includes an incredible array of international musicians supporting Wayne on the recording including sought-after US trumpet player Rick Braun, Mike MacArthur on sax, Fallon J Williams III on drums and percussion, Dave Carter (Keys), Ron Peers (guitar), and Paulo Vargas (percussion). While Jones has accumulated many miles of travel with his music career, his world journey is far from over, in fact it’s only just beginning. Yet with Closed For The Holidays you can’t help but feel he’s arrived anyway! Closed For the Holidays is ideal ammunition for Jones to take his music to the world with confidence and that’s what he intends to do. The future looks bright with stand-alone gigs, festivals and promotional activity planned in territories where Jones has already established a name for himself. “It’s a great progression,” Jones says of the new album. “The last two were good and I think I have learned things while over in the States and I feel I have progressed in my writing and playing. Having the involvement of Mike on sax and Rick Braun on trumpet … I love the players that usually play with me but I was after a different flavour this time. I really have a great feeling about this one. I feel I have arrived.” By Greg Phillips, editor Australian Musician magazine. https://store.cdbaby.com/cd/waynejones3

Personnel:  Wayne Jones on Lead Bass; Rick Braun on Trumpet & Mike MacArthur on Sax.

Closed For The Holidays

---

Cal Tjader - Concerts In The Sun

Styles: Vibraphone Jazz
Year: 1960
File: MP3@320K/s
Time: 53:52
Size: 127,1 MB
Art: Front

(5:11)  1. Love For Sale
(4:39)  2. Goodbye
(6:00)  3. Raccoon Straits
(7:14)  4. Walkin With Wally
(5:09)  5. My Romance
(5:28)  6. Sigmund Sten Groove
(4:26)  7. Cubano Chant
(5:03)  8. Afro Blue
(5:43)  9. Tumbao
(4:54) 10. Day In, Day Out

Concerts in the Sun languished in the vaults for 42 years, but it's now finally available on CD. The recording finds Cal Tjader in a state of transition between the West Coast cool jazz he helmed with Dave Brubeck and a full-blown commitment to integrating Afro-Cuban rhythms into jazz. Culled from two concerts, one in Honolulu and the other in San Francisco, the first half features well-mannered standards and a distinct lack of perspiration; unfortunately, the five song routine seems overly rehearsed and detached. Only in the second half, which features the dense polyrhythms of Willie Bobo and Mongo Santamaria, does the band really swing into gear. (Jazz historians will note the appearance of “Afro Blue,” a few years before Coltrane’s famous version.) However, despite the enthusiasm of the band, at this point Tjader wasn’t yet able to fully fuse the foreign rhythms and jazz concept into a convincing whole, so they come off like a bunch of guys who showed up at a black tie dinner wearing sombreros. The problem with much of Tjader’s music is that Tjader himself is frequently the least interesting thing about it; and only later, with classics like Black Orchid, was he able to create a distinctive and enjoyable Latin jazz hybrid. Of course Tjader fans will want to pick this up, but the mildly curious should explore the excellent Monterey concerts first. ~ David Rickert https://www.allaboutjazz.com/concerts-in-the-sun-cal-tjader-fantasy-jazz-review-by-david-rickert.php

Personnel: Cal Tjader-vibes; Lonnie Hewitt-piano; Victor Venegas, Eddie Coleman-bass; Willie Bobo-drums; Mongo Santamaria-congas, bongos.

Concerts In The Sun

---

Eric Dolphy - Conversations

Styles: Clarinet, Flute Jazz 
Year: 1967
File: MP3@320K/s
Time: 33:51
Size: 78,4 MB
Art: Front

( 7:17)  1. Jitterbug Waltz
( 9:35)  2. Music Matador
( 3:22)  3. Love Me
(13:36)  4. Alone Together

In 1963 (probably July, though some sources place the dates in May or June), Eric Dolphy recorded some sessions in New York with producer Alan Douglas, the fruits of which were issued on small labels as the LPs Conversations and Iron Man. They've been reissued a number of times on various labels, occasionally compiled together, but never with quite the treatment they deserve (which is perhaps why they're not as celebrated as they should be). In whatever form, though, it's classic, essential Dolphy that stands as some of his finest work past Out to Lunch. Conversations is the more eclectic of the two, featuring radical re-imaginings of three standards, plus the jubilant, Caribbean-flavored "Music Matador" (by ensemble members Prince Lasha on flute and Sonny Simmons on alto). 

That cut, and a classic inside/outside reworking of Fats Waller's "Jitterbug Waltz" feature Dolphy leading ensembles of up-and-coming "new thing" players, which prominently feature vibist Bobby Hutcherson and trumpeter Woody Shaw. The second half of the album takes a far more minimalist approach, with Dolphy performing unaccompanied (extremely rare prior to Anthony Braxton's For Alto) on "Love Me." "Alone Together" is an over-13-minute duet between Dolphy and bassist Richard Davis, featuring some astoundingly telepathic exchanges that more than justify its length. Even if the selections don't completely hang together as an LP statement, they're united by Dolphy's generally brilliant playing and a sense that  after several years without entering the studio much as a leader Dolphy was really striving to push his (and others') music forward. The results are richly rewarding, making Conversations one of the landmarks in his catalog.~ Steve Huey https://www.allmusic.com/album/conversations-mw0000199276

Personnel:  Eric Dolphy – bass clarinet, flute, alto saxophone;  Richard Davis – bass;  Eddie Khan – bass;  Clifford Jordan – soprano saxophone;  Sonny Simmons – alto saxophone;  Prince Lasha – flute;  Woody Shaw – trumpet;  Bobby Hutcherson – vibraphone;  J.C. Moses – drums;  Charles Moffett - drums on "Music Matador"

Conversations

---

John Handy - Recorded Live at the Monterey Jazz Festival

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 78:17
Size: 179,3 MB
Art: Front

(27:29)  1. If Only We Knew
(19:34)  2. Spanish Lady
(31:12)  3. Tears of Ole Miss (Anatomy of a Riot)(Bonus Track)

John Handy's performance at the 1965 Monterey Jazz Festival was a sensation and arguably the high point of his career. The altoist, using a quintet that included violinist Michael White, guitarist Jerry Hahn, bassist Don Thompson, and drummer Terry Clarke (all of whom were young unknowns at the time), played two lengthy songs: the 27-minute "If Only We Knew" and "Spanish Lady," which lasts a mere 19 and a half minutes. After a brief theme, "If Only We Knew" mostly features unaccompanied solos. Handy's opening statement immediately quieted the crowd, which was amazed by the altoist's courage and the logic of the advanced yet tonal music. "Spanish Lady" also has a long Handy statement and builds up to a very exciting conclusion. 

Even over three decades later, the music sounds fresh, colorful, and innovative. The original Columbia LP (which has been long out of print) had reversed the order of the songs and even their titles so this Koch CD reissue is very welcome on several levels. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/live-at-the-monterey-jazz-festival-mw0000081959

Personnel:  John Handy – alto saxophone;  Mike White – violin;  Jerry Hahn – guitar;  Don Thompson – bass;  Terry Clarke – drums

On bonus track:   John Handy – alto saxophone;  Bobby Hutcherson - vibraphone;  Pat Martino - guitar;  Albert Stinson - bass;  Doug Sides - drums

Recorded Live at the Monterey Jazz Festival

---

Glenn Zottola - Triple Play

Size: 109,7 MB
Time: 46:34
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Sunday (3:18)
02. How About You (2:56)
03. Moonlight In Vermont (3:31)
04. This Heart Of Mine (2:29)
05. Laura (3:26)
06. What Is This Thing Called Love (3:14)
07. Just You, Just Me (2:56)
08. Full Rush In (3:09)
09. Spring Is Here (3:11)
10. I Got It Bad (And That Ain't Good) (4:15)
11. Jupiter (2:43)
12. Darn That Dream (3:24)
13. Beta Minus (1:53)
14. Memories Of You (3:31)
15. Three Little Words (2:32)

Glenn Zottola is a multi-instrumentalist inspired by some of the great jazz icons of our time. He conquered the trumpet, alto saxophone and tenor saxophone with equal mastery. His new album, “Triple Play” explores this versatile artist’s unquestioned musicianship of the three instruments that have defined his career.

The inspiring play of Charlie Parker, Miles Davis, Clifford Brown, Stan Getz, Zoot Sims and others, have left a mark on this artist. His story told here more accurately reflects the blending of the different styles and approaches that have guided the development of Zottola’s own personal and individual style. In demonstrating his unique approach to jazz standards that comprise the fabulous repertoire of this album.

As he has professed his favorite instrument has always been the trumpet. It is with a crisp performance on the horn of the Jule Styne/Ned Miller composition “Sunday,” that Zottola opens up the album sharing the stage and the music with Raney, Getz on tenor, bassist George Duvivier and the drums of Ed Shaughnessey. Written for the film Babes on Broadway, Burton Lane’s familiar “How About You?” is presented here in more of a duet-styled format between Zottola’s sprite tenor voice and guitarist Raney as the dynamic duo lobby one salvo after another at each other keeping the music intimate and exciting.

“Moonlight in Vermont” has Zottola accompanied by a beautiful string section and featured on an expressive alto saxophone voice resulting in a delicate, spacious and yet very accessible version of this immortal classic.

The other two string-arranged standards just as atmospheric as the above track are, the 1945 David Raskin song “Laura” and Eubie Blake’s incomparable “Memories of You”. The 1946 Harry Warren song “This Heart of Mine” has the trumpeter returning to the muted horn displaying quick finger-play on the valves with nice backup play from flautist Hal McKusick, then emerges with his formidable alto saxophone voice on the unforgettable 1929 popular Cole Porter song “What Is This Thing Called Love?”. On this track, Zottola is at his best trading 4s with bassist Milt Hinton as drummer Osie Johnson delivers marvelous brush work.

The trumpeter then belts out three superb trumpet sounds on the oft-recorded “Just You Just Me,” while the Rodgers and Hart standard “Spring Is Here,” and the Jimmy Raney original “Jupiter,” are both reimagined on the muted horn where Zottola projects some of the finesse power play he is known for. Accompanied well by Getz on the tenor and Mckusick on clarinet, Zottola’s quick-paced interpretation of the 1940 Johnny Mercer classic “Fools Rush In” has a decidedly West Coast/Art Pepper feel to the approach. Offered in a small combo format with terrific instrumental support by both McKusick flute and Raney’s soft guitar strings, Zottola’s alto sings a lofty tender song in a warm rendition of Duke Ellington’s love ballad “I Got It Bad (and That Ain’t Good).”

If you listen closely to the arrangement of the Jimmy Van Heusen signature piece “Darn That Dream,” - you will hear a delicate duet of sorts with two great saxophonists (Getz and Zottola) delivering equally enchanting solo moments in one of the highlights of the album. The other Raney original “Beta Minus,” provides the last special showcase for Zottola’s muted horn exhibiting the Davis harmonized-style trumpet play with a decidedly Zottolian twist by design. Harry Ruby’s 1930 song “Three Little Words,” is the album closer and not only does it provide feature moments for the saxophonist on tenor, but also showcases the steady piano lines from Don Abney, Raney’s guitar solo and Kenny Clarke’s splashy brushes which introduces the tune and continues throughout resulting in a classy climax to a wonderful display of light jazz.

Most professional musicians stake their claim to fame by association with one or two instruments of choice. While Glenn Zottola continues to profess his preference for the trumpet over other wind instruments, Triple Play perhaps makes a musical statement that one cannot judge or assume that an artist’s entire career can only be assessed by the performance delivered on any single instrument. There have been few, if any in jazz history that have been able to double on various instruments to the degree and at the level Zottola continues to maintain. As documented quite well here, Zottola is a gifted trumpeter and saxophonist, a triple threat if you will, a world-class player who has spent a career performing with some of the best musicians on the planet. ~Edward Blanco

Triple Play

---

Jacqueline Petroccia - Champagne & Moonshine

Size: 47,7+56,0 MB
Time: 20:22+23:54
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Country Vocals, Big Band
Art: Front

CD 1:
01. Crazy / Crazy He Calls Me (5:13)
02. Sooner Or Later (4:22)
03. Mambo Italiano (3:29)
04. No Bout Adoubt It (2:57)
05. I'll Be Seeing You (4:19)

CD 2:
01. My Church (3:24)
02. Your Name In Lights (3:48)
03. Sin Wagon (3:29)
04. Tennesse Whiskey / Tennessee Waltz (5:31)
05. Do You Think About Me (3:34)
06. Tin Man (4:05)

With a voice described as "dark velvet" and "golden honey," Jacqueline Petroccia's voice and soulful performance have been repeatedly compared to the late country legend Patsy Cline. With a career spanning musical theatre, classical, pop, country and big band, Petroccia is best known for her award-winning portrayal of Cline across the United States in the hit musical ALWAYS... PATSY CLINE. On this 2 disc EP collection, she seamlessly delivers big band, swing and country, not unlike the music legend herself.

Champagne & Moonshine

---

Josephine Howell - Josephine

Size: 88,5 MB
Time: 38:07
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Fever (4:36)
02. I Don't Know Why (6:15)
03. I Can't Stand The Rain (3:24)
04. All Blues (4:25)
05. Stand By Me (Original Arrangement) (4:02)
06. I Hope You Dance (4:42)
07. Hallelujah (5:34)
08. Stand By Me (5:05)

Josephine Howell (Josie) was born in Chicago, IL. She has always been fascinated with music and the arts, captivating family and friends at an early age. She first explored her interest and abilities for singing in the children’s choir at her childhood church, The True Right M. B. Church. It was the beginning of the foundation that would sustain her through a life filled with the type of experiences that inspire every song, every word, and every moment she is on stage.

Because Josephine recognizes the importance of each hand, helping another, she participates often in many local community events, performing, entertaining, but also sometimes speaking very candidly to those who need to hear from someone who’s walked in their shoes. She is active in not only local affairs, but has also committed her time and talent to advocate for the homeless. She believes that it is important not just to entertain, but to use her gifts, her singing, her speaking, her acting, her directing to better the community, city and country in which she lives.

Josephine

---

Pat Becker & Rex Bell - Feel The Love

Size: 101,3 MB
Time: 43:27
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Smooth Operator (4:19)
02. Both Sides Now (5:11)
03. Softly As In A Morning Sunrise (4:35)
04. New Autumn Leaves (4:00)
05. Lover Come Back To Me (3:50)
06. Why Do You Have To Go Home (3:13)
07. Straighten Up And Fly Right (3:09)
08. Lover Man (5:22)
09. Summertime (4:17)
10. Let Me Sing It For You (5:05)

Pat Becker’s career has spanned many facets as an author of books, singing, movies, television and radio.

Pat began her singing career at the age of eight years old for the “Free Milk And Ice Fund” in Fort Worth, Texas. At the age of ten her parents moved to Houston, where she began singing at various events from the age of 10 to 13 years old.

At the age of 15 she sang with the “Buddy Brock Swing Band” in Houston. When she turned sixteen she was booked by the Brock and Martin agency for all Houston venues on their roster. At the age of nineteen she was booked by the “ABC Booking Agency” of Dallas, where she performed at the “The Village Club”, “Executive Inn Club” and many other Dallas venues.

Pat at the age of twenty was put under contract to “The William Morris Agency”, The agency set up a night club act for her and was booked at major hotels across the U.S.A. She also appeared at the various “Play Boy Clubs”, “The Living Room” New York, “Tidelands” Houston, “Caesars Palace” and “The Desert Inn” in Las Vegas.

She has performed with “The Guy Lombardo Orchestra”, and was the opening act for comedians Mort Sahl and Godfrey Cambridge, she also appeared on the national television show “Hollywood Talent Scouts”. Pat was sponsored and introduced by actor Glen Ford, which in turn led to appearances at various clubs in England, Jamaica and Aruba.

She was offered a contract with 20th Century Fox movie studio, which she accepted and put her singing career on hold to pursue acting. As an actress she had roles in “A Guide for the Married Man (1967)”, “In Like Flint (1967)” and “Batman (1966)”. After her contract ended at Fox she started her own band in Oklahoma called “Hart and Soul”, her band has recently retired.

Feel The Love

---