Ike Quebec - Bossa Nova Soul Samba

Styles: Saxophone Jazz, Latin Jazz
Year: 1996
File: MP3@320K/s
Time: 46:10
Size: 106,6 MB
Art: Front

(3:10)  1. Loie
(3:01)  2. Lloro Tu Despedida
(5:41)  3. Goin' Home
(4:42)  4. Me 'N You
(3:42)  5. Liebestraum
(3:32)  6. Shu Shu
(5:15)  7. Blue Samba
(4:00)  8. Favela
(3:29)  9. Linda Flor
(3:33) 10. Loie - Alternate Take
(2:38) 11. Shu Shu - Alternate Take
(3:21) 12. Favela - Alternate Take

This is quite a painful disc to listen to. Not because of the music which is beautiful but because of the events surrounding it. Recorded in October 1962, it was to be tenor saxophonist Ike Quebec's final album. Less than four months later he died of lung cancer. This fact rather sticks in the mind like a house guest who has outstayed his or her welcome. Wistful, pretty and elegiac, the music is somehow a fitting final statement from a player best known for more muscular, extrovert, swing-to-bop balladeering. The wonder is that Quebec was able to create such lovely music when he must have known his end was near. But as session engineer Rudy Van Gelder says in the liner notes to this RVG remaster, "Ike always played beautifully, even at the end, when he was dying...I mean, literally dying." And it's true. Despite the circumstances surrounding it, Bossa Nova Soul Samba is an album of beauty. 1962, of course, was the year it seemed every jazzman was making a bossa nova album. Tenor saxophonist Stan Getz began the trend with Jazz Samba (Verve, 1962), made with guitarist Charlie Byrd and containing the chart hit "Desafinado." By the time Quebec was in the studio, even big-tone tenor maestro Coleman Hawkins was on board, with Desafinado (Impulse!, 1962). Next up were Sun Ra & The Solar Myth Arkestra with Sugar Loaf Mountain Bossa Party! (no, I made that up actually, but it might have been). By the end of the year, the genre was already in danger of becoming a cliché; not least for its reliance on the songwriting of Antonio Carlos Jobim, whose tunes dominated many track listings. But Quebec had the wit to ring the changes with the material for Bossa Nova Soul Samba he began his time with Blue Note, after all, as an A&R man. The tunes are the real thing, but little known; Brazilian composers are used, but not Jobim; and there are two originals by Quebec ("Blue Samba," "Me 'n' You"), who also, imaginatively, re-arranges Anton Dvorak's "Goin' Home." Bossa nova was well suited to Quebec's physical and, one imagines, mental states at the time of this recording. It requires no strutting or grandstanding, and lends itself instead to subtlety and ellipsis. The saxophonist plays with heartrending tenderness throughout, sensitively supported by guitarist Kenny Burrell, drummer Willie Bobo and bassist Wendell Marshall. If you already know Quebec's chef d'oeuvres The Complete Blue Note 45 Sessions (Blue Note, 1959-62) and Blue And Sentimental (Blue Note, 1961), Bossa Nova Soul Samba will enhance your understanding of both, while also providing plenty of enjoyment in its own right. ~ Chris May https://www.allaboutjazz.com/bossa-nova-soul-samba-ike-quebec-blue-note-records-review-by-chris-may.php

Personnel: Ike Quebec: tenor saxophone; Kenny Burrell: guitar; Wendell Marshall: bass; Willie Bobo: drums; Garvin Masseaux: shekere.

Bossa Nova Soul Samba

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Della Reese - The Ultimate Della Reese

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 43:11
Size: 100,4 MB
Art: Front

(2:09)  1. Don't You Know
(4:23)  2. If Ever I Should Leave You
(1:56)  3. I Wanna Be Around
(1:36)  4. S'Wonderful
(2:26)  5. What Is There To Say
(5:03)  6. The Lamp Is Low / After The Lights Go Down Low / Fly Me To The Moon
(1:43)  7. I Could Have Danced All Night
(3:20)  8. Swing Low Sweet Chariot
(3:05)  9. I'm Always Chasing Rainbows
(2:11) 10. Put On A Happy Face / I Want To Be Happy
(2:25) 11. But Not For Me
(2:51) 12. Chicago
(4:26) 13. Misty
(2:16) 14. Tea For Two
(3:14) 15. Whatever Lola Wants

Renowned as both a television star and a top-flight interpreter of jazz, blues, R&B, gospel, and straight-ahead pop music, Della Reese's many talents ensured a long, varied, and legendary show biz career. In addition to being nominated for both an Emmy and a Grammy and receiving a star on the Hollywood Walk of Fame, Reese was also an ordained minister in the Universal Foundation for Better Living, an association of churches she helped found in the early '80s. Born Deloreese Patricia Early on July 6, 1931, the young Reese began singing in the Baptist church choir in her hometown of Detroit at age six. In 1945, having developed quite rapidly, she caught the ear of legendary gospel queen Mahalia Jackson, who invited Reese to join her touring choir; Reese did so for the next five summers. Upon entering Wayne State University to study psychology, Reese formed a women's gospel group, the Meditation Singers, but her college career was cut short by the death of her mother and her father's serious illness. Reese worked odd jobs to help support the rest of her family; she also continued to perform with the Meditation Singers and various other gospel groups. Encouraged by her pastor, Reese began singing in nightclubs in hopes of getting a singing career off the ground; recently married to a factory worker named Vermont Adolphus Bon Taliaferro, her name was too long to fit on marquees, and she eventually arrived at her performing alias by splitting up her first name. After impressing a New York agent, who promptly signed her, Reese moved to New York and joined the Erskine Hawkins Orchestra in 1953. 

A year later, she had a recording contract with Jubilee, for whom she scored hits like "And That Reminds Me," a 1957 million-seller. Switching to RCA Victor, Reese landed her biggest hit in 1959 with "Don't You Know?," a song adapted from Puccini's La Bohème; this cemented her career, leading not only to plentiful appearances on variety shows, but successful nightclub tours of the country and eventually nine years of performances in Las Vegas, as well as recording contracts with a variety of labels over the next few decades. Building on her previous variety show experience, Reese made a small bit of television history in 1969 when she became the first woman to guest-host The Tonight Show with Johnny Carson. Later that year, she became the first black woman to host her own variety show, the syndicated Della, which ran until 1970. Following its cancellation, Reese returned to her nightclub tours, often putting in guest appearances on television shows like The Mod Squad, Sanford and Son, and Chico and the Man; after three prior failed marriages, Reese also found a lasting relationship with producer Franklin Lett, whom she married in 1978. On October 3, 1980, while taping a song for The Tonight Show, Reese suffered a brain aneurysm that nearly proved fatal; however, thanks to a successful operation, she was able to make a full recovery. She kept up her singing career and appeared on television shows like Designing Women, L.A. Law, and Picket Fences, as well as the Eddie Murphy films Harlem Nights and The Distinguished Gentleman. Reese also starred in the Redd Foxx sitcom The Royal Family from 1991-1992, and garnered what was undoubtedly her highest level of recognition in the inspirational drama series Touched by an Angel, a quite popular program that ran for nine years, between 1994 and 2003, on the CBS network. After Touched by an Angel finished its run, Reese continued to act intermittently on television through to 2014. She died at her home in Encino, California in November 2017 at the age of 86. ~ Steve Huey https://www.allmusic.com/artist/della-reese-mn0000196544/biography

The Ultimate Della Reese

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Alan Pasqua, Peter Erskine, Dave Carpenter - Standards

Styles: Piano Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 68:30
Size: 158,9 MB
Art: Front

(9:05)  1. The Way You Look Tonight
(7:46)  2. Dear Old Stockholm
(6:10)  3. Deep in a Dream
(6:31)  4. Con Alma
(6:29)  5. It Never Entered My Mind
(6:26)  6. Speak Low
(7:26)  7. I'm Glad There Is You
(5:41)  8. I Hear Rhapsody
(6:03)  9. I'm Old Fashioned
(6:47) 10. I Could Have Danced All Night

Representing the other half of a two-release project from drummer Peter Erskine's Fuzzy Music label that also includes Worth The Wait (2008), with trumpeter Tim Hagans and the Norrbotten Big Band, Standards is exactly what the title implies a session of old standards with a couple of new acquaintances thrown in for good measure. In an attempt to come as close as possible to the sound produced in a concert experience, the recording was made in an acoustically live space and enhanced with two pair of KMF Audio Stereo Tube Microphones. Performed by a veteran trio that also features pianist Alan Pasqua and bassist Dave Carpenter, the music is rhythm-based light jazz taken from the Great American Song Book and played in a straight-ahead style that comes across with warmth and elegance. Opening with the Sinatra staple "The Way You Look Tonight, Pasqua leads the music with light touches on the keys, giving way to an extended solo by Carpenter and putting a new face on this old classic that composers Jerome Kern and Dorothy Fields would not recognize. The Van Heusen/de Lange cushy ballad, "Deep In a Dream, features Erskine's soft brush strokes, which he employs many times throughout the recording. The drummer uses the cymbals and picks up the sticks for a rather interesting rendition of Dizzy Gillespie's "Con Alma that swings to a different rhythm and beat than the original, while Pasqua performs magnificently on a beautiful interpretation of "It Never Entered My Mind. The group goes on to play delicious versions of standards including "Speak Low, "I'm Old Fashioned and "I Could Have Danced All Night, but none of these match the intensity and energy conveyed by their performance of "I Hear a Rhapsody, clearly the best cut on the disc. Completing a two record release that stretches the range in performance from featuring new music with the big band sound to the limited voice of a small combo, Standards represents the other side of Erskine's musical personality with a repertoire of familiar tunes that jazz audiences will love. ~ Edward Blanco https://www.allaboutjazz.com/standards-peter-erskine-fuzzy-music-review-by-edward-blanco.php

Personnel: Alan Pasqua: piano; Dave Carpenter: bass; Peter Erskine: drums.

Standards

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Marcus Printup - Peace in the Abstract

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 64:29
Size: 148,5 MB
Art: Front

(7:17)  1. Your Time Has Come
(7:03)  2. Soul Vamp
(7:13)  3. I Will Sing of You
(5:59)  4. Deddy's Blues
(6:07)  5. Hot House
(8:20)  6. Amazing Grace
(8:36)  7. Peace in the Abstract
(8:32)  8. Everytime We Say Goodbye
(5:19)  9. Soul Mama

A talented trumpeter with a lot of potential, Marcus Printup was discovered by Marcus Roberts at the University of North Florida in 1991. Printup started on trumpet in the fifth grade, played funk as a teenager, and in college was part of a ten-piece band called Soul Reason for the Blues. Since that time, he has toured and recorded with Roberts, played with the Lincoln Center Jazz Orchestra, recorded with Carl Allen, performed with Betty Carter, and cut a number of excellent albums as a leader for Blue Note. ~ Scott Yanow https://www.allmusic.com/artist/marcus-printup-mn0000673081/biography

Personnel:   Marcus Printup - trumpet; Gregory Tardy - tenor saxophone; Marc Cary - piano;  Kengo Nakamura - bass; Shinnosuke Takahashi - drums

Peace in the Abstract

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Stanley Turrentine - The Sugar Man

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 78:10
Size: 180,0 MB
Art: Front

(5:02)  1. Tiny Capers
(4:50)  2. Return Engagement
(7:12)  3. Look Out
(6:13)  4. Minor Chant
(7:51)  5. Little Sheri
(6:18)  6. Tin Tin Deo
(6:58)  7. Yesterdays
(6:19)  8. Blue Riff
(4:58)  9. Journey into Melody
(9:56) 10. Willow Weep for Me
(5:23) 11. Baby, Ain't I Good to You
(7:04) 12. I Want a Little Girl

A legend of the tenor saxophone, Stanley Turrentine was renowned for his distinctively thick, rippling tone, an earthy grounding in the blues, and his ability to work a groove with soul and imagination. Turrentine recorded in a wide variety of settings, but was best-known for his Blue Note soul-jazz jams of the '60s, and also underwent a popular fusion makeover in the early '70s. Born in Pittsburgh on April 5, 1934, Turrentine began his career playing with various blues and R&B bands, with a strong influence from Illinois Jacquet. He played in Lowell Fulson's band with Ray Charles from 1950-1951, and in 1953, he replaced John Coltrane in Earl Bostic's early R&B/jazz band.

After a mid-'50s stint in the military, Turrentine joined Max Roach's band and subsequently met organist Shirley Scott, whom he married in 1960 and would record with frequently. Upon moving to Philadelphia, Turrentine struck up a chemistry with another organist, Jimmy Smith, appearing on Smith's 1960 classics Back at the Chicken Shack and Midnight Special, among others. Also in 1960, Turrentine began recording as a leader for Blue Note, concentrating chiefly on small-group soul-jazz on classics like That's Where It's At, but also working with the Three Sounds (on 1961's Blue Hour) and experimenting with larger ensemble settings in the mid-'60s. As the '70s dawned, Turrentine and Scott divorced and Turrentine became a popular linchpin of Creed Taylor's new, fusion-oriented CTI label; he recorded five albums, highlighted by Sugar, Salt Song, and Don't Mess With Mister T. While those commercially accessible efforts were artistically rewarding as well, critical opinion wasn't as kind to his late-'70s work for Fantasy; still, Turrentine continued to record prolifically, and returned to his trademark soul-jazz in the '80s and '90s. Turrentine passed away on September 12, 2000, following a massive stroke. ~ Steve Huey https://www.allmusic.com/artist/stanley-turrentine-mn0000012644/biography

The Sugar Man

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Jerry Bergonzi - Convergence

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 53:50
Size: 124,1 MB
Art: Front

(8:11)  1. Lend Me a Dream
(5:12)  2. I've Got a Crush on You
(5:25)  3. Squid Ink
(4:38)  4. Stoffy
(3:17)  5. Silent Flying
(4:51)  6. Osiris
(5:28)  7. Mr. Higgins
(5:17)  8. Ddodd
(7:52)  9. Convergence
(3:35) 10. Seventh Ray

Saxophonist Jerry Bergonzi has become one of the most reliable recording artists in jazz. In between his day job as a Berklee College of Music professor, and performing, he turns out a great album or two every year. Featuring mostly tenor horn, Convergence follows dutifully in that pattern. The album splits between a classic piano-based quartet and the more risky piano-less trio with equally good results. Bergonzi, who also overdubs soprano sax for a few tracks, has no problem carrying the trio, revealing no weaknesses in an unforgiving, nowhere-to-hide lineup. The lone cover on the album, George Gershwin and Ira Gershwin's, "I've Got A Crush On You," starts with a straight-through reading of the melody, before becoming a platform for the kind of first-rate improvisation expected from Bergonzi, his horn warm and forceful, as he expands over the rhythm section, reaching out but never breaking too far away. It's a beautiful rendering of a classic. "Stoffy," another trio track, opens with a film-noir-ish bass vamp that supports a more unconventional melody and improvisational statement. The result is equally fine, hanging together as a fully realized statement. Bergonzi's writing, throughout the album, is organized, logical and tight, making Convergence as notable for its composition as for its improvisation.  The rest of the album plays out on this pattern, with a just a couple of exceptions. This is Bergonzi's date, and he does not cede the leadership duties often. Pianist Bruce Barth joins the proceedings for three tracks, adding some lovely background comps and taking a really solid solo on "Convergence." The rhythm section bassist David Santoro and drummer Andrea Michelutti supports the entire disc without flaw. As a musician, Bergonzi is as competent on soprano as he is his main instrument. Overdubbing the straight horn on "Osiris," the saxophonist uses it to emphasize the melody, and to add some harmony that would be impossible in a trio, for a musically compelling result. His workout on soprano is as skilled as anything else on the album, and the overdubbing is seamless. Bergonzi manages to harmonize and interact with himself in a manner that were it a recording of two horn players might recall the psychically intertwined interplays of the Gerry Mulligan/Chet Baker quartets, dipping and diving over each other, completely in sync. There is no fault with the music here it's excellent across the board but it would be interesting to hear what this might have sounded like with two musicians actually interacting with each other, rather than one player playing along with something previously recorded.  Convergence showcases Bergonzi's considerable talents as a writer and improviser, and is worthy of his already impressive recording legacy. This effort enhances his position as one of the most important artists in jazz today, and is truly one of the first great jazz albums of 2011. ~ Greg Simmons https://www.allaboutjazz.com/convergence-jerry-bergonzi-savant-records-review-by-greg-simmons.php

Personnel: Jerry Bergonzi: tenor and soprano saxophones; Bruce Barth; piano (1,3 9); David Santoro: bass; Andrea Michelutti: drums.

Convergence

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Josh Evans - Portrait

Styles: Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 72:11
Size: 167,4 MB
Art: Front

( 5:21)  1. Albany Ave.
( 7:30)  2. Ray Mac Left Town
( 5:11)  3. Tehran
( 5:05)  4. Chronic Mistakes
( 6:16)  5. Spring is Here
( 7:03)  6. Beatnik
( 6:56)  7. The Lamp is Low
( 8:53)  8. Ballad
(12:04)  9. The Moment of Truth
( 7:46) 10. Good Mornin'

The artist Picasso once said “the way I paint is my way of keeping a diary.” Much like Picasso, Josh Evans’ “Portrait” is a musical diary suggesting a close relationship between art and life. “Portrait” takes us through a remarkable musical journey with uncompromising integrity, creating a masterpiece. Evans shares with the listener his important and influential relationships with Rashied Ali, Jackie McLean, and Raymond “Dr. Rackle” Williams, whose musical talent is evident throughout the CD. “Portrait” marks the debut recording of Josh Evans as a musical leader and encompasses something very special that upon listening evokes a realization that the world of jazz resides in this musician; with deep roots in the knowledge of the music and his own self-awareness. Listeners are engulfed in rhythms, melodies, & textures of music that is special for an artist to achieve. This CD contains intensity of performance and the intimacy of a late night jazz scene. This long anticipated recording reveals a new and fresh approach to music that as Josh himself would describe, “had nothing to do with anything you could put on paper; it was about creating music.” Josh Evans “Portrait” is a recording everyone will want in their music collection. https://store.cdbaby.com/cd/joshevans

Personnel:  Josh Evans -Trumpet;  Ray McMorrin - Tenor Saxophone;  Lawrence Clark - Tenor Saxophone;  Alan Jay Palmer - Piano;  Theo Hill - Piano;  Dezron Douglas - Bass;  Ralph Peterson - Drums

Portrait

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Janet Mudge, Andy Reiss - Tenderly: The Nashville Sessions

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 41:56
Size: 97,1 MB
Art: Front

(4:37)  1. Skylark
(3:09)  2. Call Me
(3:34)  3. If I Were a Bell
(3:19)  4. Tenderly
(4:13)  5. It Might as Well Be Spring
(4:05)  6. Don't Go to Strangers
(4:13)  7. A Nightingale Sang in Berkeley Square
(3:06)  8. What'll I Do
(3:02)  9. Falling in Love
(4:31) 10. Wave
(4:03) 11. Smile

Though new to the jazz scene - I've been singing my entire life. My mother would say that even as a 2 year-old, I could carry a tune. This cherished sentiment has stayed deep in my heart and has provided continual encouragement to pursue my musical dreams. Throughout my years of singing, people had asked if I'd made any recordings. I can now respond emphatically  "yes!"! So why Nashville? Why not, I said! Though residing in Seattle I decided to celebrate a "significant" birthday by gifting myself with this amazing recording experience in the most musical place on earth. And what an experience... Music City delivered memories, music and friendships to last a lifetime. I was blessed beyond all measure to have recorded at this palace of a studio - Audio 51, owned by Crystal Gayle and Bill Gatzimos. I am eternally grateful to these lovely people - and to their son, Christos Gatzimos who engineered the magic. I was made to feel at home and practically family by their graciousness and hospitality. None of this would've happened if not for my amazing producer, Andy Reiss. I couldn't been more pleased to be under his skillful and creative direction; the band that he put together was unbelievable the dream band of Chris Walters on piano, Roger Spencer on bass, and Chris Brown on drums. What a joy! My heart is filled with gratitude. I do hope you will enjoy hearing my take on these fabulous melodies... thank you! https://store.cdbaby.com/cd/janetmudge

Tenderly: The Nashville Sessions

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Stephen Riley - Baubles, Bangles and Beads

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 64:11
Size: 148,0 MB
Art: Front

(5:11)  1. Baubles, Bangles and Beads
(8:14)  2. Wait Till You See Her
(4:12)  3. I've Told Ev'ry Little Star
(6:20)  4. I Thought About You
(6:52)  5. Who?
(5:16)  6. Hellhound On My Trail
(3:23)  7. Cherokee
(9:16)  8. Taking A Chance On Love
(5:32)  9. Bewitched, Bothered And Bewildered
(4:25) 10. I Heard That Lonesome Whistle
(5:24) 11. Baubles, Bangles and Beads

In spite of his preference for piano-less format, saxophonist Stephen Riley found the ideal pianist for him in Peter Zak, with whom he recorded his previous album 'Lover'. Here on his 11th release Riley is backed by the same team, including Zak, to interpret an amazing collection of classic but rarely heard jazz titles. Since his 2005 debut album 'Inside Out' Riley has kept momentum to become and remain a "distinctly unique jazz voice" (leading Chicago journalist Neil Tesser). On 'Baubles, Bangles and Beads' he is also joined by bassist Neal Caine and drummer Jason Marsalis, a member of the famous Marsalis family. "Riley's unconventional use of ultra-hard reed to essay a satin soft sound - a common sense contradiction - sets him apart from every other under-40 player I can think of. This date brings his track record as a leader to seven for seven and, for reasons I'm still discovering and savouring, it comes highly recommended." 

~ Derek Taylor, Dusted Magazine (on 'Lover'). https://www.propermusic.com/product-details/Stephen-Riley-Baubles-Bangles-and-Beads-182601

Personnel: Stephen Riley (tenor saxophone), Peter Zak (piano), Neal Caine (bass), Jason Marsalis (drums)

Baubles, Bangles and Beads

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Karen Aoki - By My Side

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 49:30
Size: 114,4 MB
Art: Front

(4:00)  1. By My Side
(4:05)  2. We've Only Just Begun
(4:07)  3. Sam the Samba Man
(3:56)  4. Dreams
(4:03)  5. It's All Right with Me
(4:24)  6. Each and Everyone
(4:18)  7. Coming Home
(4:56)  8. Breezes from the Sea
(5:44)  9. Trigger
(4:57) 10. The Paris Match
(4:56) 11. Feel Like Makin'Love

By welcoming Czechfani of Jazz Life Sexstat to sound producer Paulo Scotti of the club and jazz world presiding Norma Blu as a producer, and pursuing thorough quality such as full recording of Italy recording full-length, the highest grade "Italian club jazz" of completed. In addition to pop songs with popular jazz with light horns, cover works such as EBTG masterpieces "EACH AND EVERYONE", "SAM THE SAMBA MAN", "FEEL LIKE MAKIN 'LOVE". Bright and light sounds and arrangements are rolled out, finished in a popular work that is easy to hear. Translate by Google http://www.rambling.ne.jp/artist/karen/information/archives.html

Personnel: (Tenor sax) Alessandro Farrisell; (Trumpet, Flugelhorn) Stefano Serafini; (Trombone) Federico Tassani; (Flute) David Di Gregorio; (Percussion) Luka Florian;  (Bass) Dario Rosuglione;  (Piano) Massimiliano Rochetta; (Drums) Lorenzo Tucci

By My Side

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JD Allen - Grace

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 56:17
Size: 130,0 MB
Art: Front

(5:15)  1. Mass
(5:03)  2. Lode Star
(5:49)  3. Chagall
(5:40)  4. Luke Sky Walker
(5:07)  5. Grace
(3:06)  6. Detroit
(6:11)  7. Cross Damon
(3:36)  8. Pole Star
(5:23)  9. Papillon 1973
(5:59) 10. Selah (My Refuge)
(5:03) 11. The Little Dipper

Tenor saxophonist JD Allen sounds different on Grace-less muscular, more introspective. But while he’s not as aggressive as he has been over his last several albums, he’s playing with just as much confidence. After four records in a sax-bass-drums trio, he’s added a pianist-Eldar Djangirov, no less-to the group. And he’s playing a bit longer. Whereas he kept most of his performances under four minutes on his previous albums, on Grace he lets the band go for five-plus on most tracks. This doesn’t mean he’s abandoned his theory of jazz economy. Less is still more with Allen. He’ll play two notes where other musicians would play four, and he sits out plenty in order to listen to Djangirov ruminate. But Allen has got something more than songs on his mind with Grace, and it’s spelled out in David Michael Greenberg’s meticulous liner notes: This project tells a story, in two acts, a narrative built around the human journey. But being aware of it is not essential to enjoying the music. And the music is transcendent. Themes are implied more than stated. Structure is loose. Musicians have free rein to take liberties and go where their solos take them. Songs like “Detroit” and “Luke Sky Walker” are pleasant without conforming to traditional notions of melody. On “Pole Star,” it’s not immediately clear what Allen is doing: Is that a solo right off the bat, with no theme? Is that all? Is that the bassline, or is Dezron Douglas soloing too? Here comes Jonathan Barber’s drum solo-no, wait, the song’s over. Allen just gets going on “Papillon 1973” with a beguiling solo that begins to build tension when suddenly he stops and lets Djangirov take over. The ballad “Selah (My Refuge),” on the other hand, does have an easily discernible theme, and it invites sax-and-piano exchanges that might be the most beautiful dialogue you’ll hear all year. Song after song, Allen keeps us guessing and on our toes. One thing we do know: His deceptively complex music keeps getting more and more interesting. ~ Steve Greenlee https://jazztimes.com/reviews/albums/jd-allen-grace/

Personnel:  Acoustic Bass – Dezron Douglas; Drums – Jonathan Barber; Piano – Eldar Djangirov; Tenor Saxophone – J.D. Allen

Grace

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The Los Angeles Jazz Ensemble - Jazz for a Lazy Sunset

Styles: Contemporary Jazz
Year: 2015
File: MP3@320K/s
Time: 36:18
Size: 84,2 MB
Art: Front

(2:20)  1. Lazy Afternoon
(2:15)  2. Cayuga's Waters
(2:40)  3. The Girl from Ipanema
(1:42)  4. Anybody's Riff
(2:00)  5. Baubles, Bangles & Beads
(2:04)  6. A Foggy Day
(2:18)  7. On Green Dolphin Street
(2:06)  8. I Don't Stand a Ghost of a Chance with You
(1:35)  9. Lady Be Good
(3:37) 10. Blues After Dark
(1:51) 11. Be Careful It's My Heart
(2:23) 12. This Can't Be Love
(2:28) 13. Flying Home
(1:49) 14. Stella by Starlight
(2:30) 15. They Can't Take That Away from Me
(2:33) 16. Charade

Jazz for a Lazy Sunset

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Phineas Newborn Jr, Dennis Farnon & His Orchestra - While My Lady Sleeps

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 44:41
Size: 103,1 MB
Art: Front

(5:05)  1. Moonlight In Vermont
(5:02)  2. Don't You Know I Care
(5:19)  3. Lazy Mood
(3:58)  4. I'm Old-Fashioned
(4:06)  5. Black Is the Color of My True Love's Hair
(6:07)  6. While My Lady Sleeps
(5:00)  7. It's Easy to Remember
(4:18)  8. Bali Ha'i
(5:43)  9. If I Should Loose You

While My Lady Sleeps is an album by American jazz pianist Phineas Newborn Jr. with Dennis Farnon and His Orchestra recorded in 1957 and released on the RCA Victor label. The Allmusic review by Scott Yanow states "Although not as vital as his usual trio dates and Farnon's string arrangements are not too inspiring, the music is pleasing and finds Newborn in his early prime". https://en.wikipedia.org/wiki/While_My_Lady_Sleeps

Personnel:  Phineas Newborn Jr. – piano; George Joyner – bass; Alvin Stoller – drums; Victor Arno, Len Atkins, Israel Baker, Jack Gasselin, Benny Gill, Henry Hill, Carl LaMagna, Marvin Limonick, Dan Lube, Alfred Lustgarten, Ralph Shaeffer, Jerry Vinci, Eunice Wennermark – violin; Cecil Figelski, Al Harshman, Abraham Hochstein, Harry Hymans, Lou Kievman, Joe Reilich, George Neikrug – viola; Ray Kramer, Ed Lustgarten, George Neikrug – cello; Dennis Farnon – arranger, conductor

While My Lady Sleeps

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Monika Ryan - Windmills

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 46:56
Size: 108,5 MB
Art: Front

(6:00)  1. The Windmills of Your Mind
(4:07)  2. Cinnamon and Clove
(4:10)  3. The Summer Knows
(5:12)  4. I Have The Feeling I've Been Here Before
(3:55)  5. Moonlight
(3:20)  6. What Are You Doing The Rest of Your Life
(4:30)  7. So Many Stars
(3:48)  8. Where Do You Start
(5:39)  9. His Eyes, Her Eyes
(6:11) 10. Love Like Ours

Jazz vocalist Monika Ryan has recorded a series of albums as leader since 2000 with the sensuous and audacious Windmills, a tribute to the lyrics of composers Alan and Marilyn Bergman, one of her latest projects. Voicing a repertoire of beautiful love songs and ballads, Ryan caresses the lyrics of each song with a measure of emotion and taste making for a vocal jazz album that's a pleasure to hear often. Supporting her crisp vocal instrument are a septet of musicians anchored by a rhythm section of keyboards, bass, guitar and drums accentuated by lead players on the sax, trumpet and trombone, altogether establishing a musical background perfect for highlighting her talents as a songstress of note. Though there are moments of swing on this session, make no doubt about the texture of the music, this is a genuine album of light jazz that appeals to the lighter side of one's musical DNA. Opening up with a creative arrangement of the title-track and time-honored standard "The Windmills of Your Mind," Ryan voices a haunting slow introduction to the song that eventually picks up to become a medium-tempo burner with Keith Loftis on the soprano saxophone, Nick Rolfe on the keyboards and guitarist David O'Rourke as featured soloists. One of the swinging moments can be found on the lively rendition of "Cinnamon and Clove" as Ryan and the band light up the lyrics on a gyrating piece of music. The soft and mellow sound returns on the familiar classic "The Summer Knows," followed by a perkier "I Have the Feeling I've Been Here Before" and another warm version of "Moonlight." The singer and keyboardist Rolfe deliver and intimate take in a beautiful duet on the gorgeous love ballad "What Are You Doing the Rest of Your Life," while the Alan Bergman song made so popular by Sergio Mendes in 1968 and sung by Lani Hall, "So Many Stars," gets a new treatment featuring trumpeter Brad Goode and Ryan doing a terrific impression of Hall. The Bergman/ Michel Legrand collaboration on "His Eyes, Her Eyes" works quite well here as Ryan and Rolfe on the piano provide one of the best renditions of the original around as the music comes to a close on the seductive slow-moving finale "Love Like Ours." As tribute albums go, Monika Ryan's Windmills is a homage project that the Bergman's should be proud of. Classical love songs voiced by a superior singer and backed by a top-notch cast of players, makes this vocal jazz album, a must for those who appreciate the genre. ~ Edward Blanco https://www.allaboutjazz.com/windmills-monika-ryan-self-produced-review-by-edward-blanco.php

Personnel: Monika Ryan: vocals; Keith Loftis: saxophones; Brad Goode: trumpet; Clark Gayton: trombone; Nick Rolfe: keyboards; David O'Rourke: guitar; Rene Hart: bass; Alvester Garnett: drums.

Windmills

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Stephen Scott - Aminah's Dream

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 57:19
Size: 132,5 MB
Art: Front

(6:32)  1. Aminah's Dream
(4:35)  2. Behind The Scenes
(6:38)  3. Young Confucius
(5:51)  4. Positive Images (Mother, Father)
(5:24)  5. The Pit And The Pendulum
(7:09)  6. When God Created Women
(4:48)  7. L'Ill Bro'... Life Goes On
(4:39)  8. You Are Too Beautiful
(4:58)  9. Moontrane
(6:40) 10. The Spur Of The Moment

One of the most promising of the "Young Lions," pianist Stephen Scott has a versatile style that can range from McCoy Tyner to Wynton Kelly without resorting to mere copying. On his second release as a leader, Scott holds his own during six trio performances with bassist Ron Carter and drummer Elvin Jones. The other four selections add four nonsoloing horns playing harmonies behind Scott's piano. With eight of the ten songs being his originals, this is a fine all-around showcase for the talented Stephen Scott. ~ Scott Yanow https://www.allmusic.com/album/aminahs-dream-mw0000618597

Personnel:  Piano, Co-producer – Stephen Scott (5); Alto Saxophone – Justin Robinson (tracks: 1,4,6,9); Bass – Ron Carter; Drums – Elvin Jones; Tenor Saxophone – Don Braden (tracks: 1,4,6,9); Trombone – Jamal Haynes (tracks: 1,4,6,9); Trumpet – Terell Stafford (tracks: 1,4,6,9); Tuba – Bob Stewart (tracks: 1)

Aminah's Dream

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Charles Bellonzi - Abracadadrums

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 71:40
Size: 165,8 MB
Art: Front

(8:23)  1. Négroni's Brothers
(5:19)  2. Is't Time for Love
(5:50)  3. Valse à Montrichard
(3:24)  4. Abracadadrums
(8:30)  5. The Best Memories of Manu
(7:18)  6. Sun Bossa
(3:54)  7. Fast Changes
(5:47)  8. You, My Red Rose
(6:58)  9. Chicken Scat
(7:24) 10. Charles's Stone
(8:48) 11. To Beps With Love

Charles Bellonzi was born in Nice in 1941. He was attracted by music at a very young age, at the age of seven. His uncle played helicon in the municipal band "La Renaissance". He noticed very quickly that he was talented and had a great sense of rhythm. Charles learned the drums from 7 to 13 years old, and then the accordion. He played both with the "Renaissance". His friends introduced him to jazz in 1958. http://www.guitaresetbatteries.com/charles-bellonzi/

Abracadadrums

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Andy Sheppard Quartet - Romaria

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 48:07
Size: 110,7 MB
Art: Front

(8:06)  1. And A Day ...
(4:48)  2. Thirteen
(5:11)  3. Romaria
(4:21)  4. Pop
(5:56)  5. They Came From The North
(5:53)  6. With Every Flower That Falls
(7:07)  7. All Becomes Again
(6:42)  8. Forever ...

Where so much music treats silence as an exception, Andy Sheppard's recordings find it serving more as the rule. He's never been one for weaving flashy speed runs or feeling pressure to fill space. Even when his sax lines speed up from time to time through Romaria, they serve the mood with tasteful restraint, smoothly evoking the soothing coolness of its cover. Sheppard uses the term "dream band" to describe this quartet, which is appropriate in more ways than one. Dreaminess is the overarching quality of the session and the group's longstanding familiarity lets them trust each other wherever they drift. Sheppard had already explored the chordless trio format with Michel Benita on bass and Sebastian Rochford at the drumkit; the guitar and electronic tones of sometime collaborator Eivind Aarset made an excellent expansion on Surrounded by Sea (ECM, 2015). Their followup here is just a touch more active in comparison, keeping their identity while turning one more facet toward the light. The opening "And a Day..." could serve as the start of a proper ambient album if it wished, full of wide breathing space and gentle sweeps of guitar swaying like waves at low tide. It's not long before Sheppard steps into livelier territory with the mid-tempo lines through "Thirteen," though the album's pace never feels anywhere near rushed. Again Aarset provides an atmospheric backing framework while the other players keep the pulse at the most languid of lulls. The rhythm section is often here to provide shading more than actual rhythm throughout; when the pieces ebb, they judiciously choose their spots with tasteful strums and splashes rather than any recognizable beat. The leader's pieces generally alternate between these two modes to refreshingly tranquil effect. 

The groove builds to a light-floating cruise during "Pop" and "All Becomes Again," then an actual clatter in between with "They Came from the North." Open air takes prominence for the meditative ballad "Every Flower That Falls" and the finale of "Forever..." (bookended with that opener because they were two complementary takes of the same piece). In either mode it's an atmosphere to soak in at leisure. This quartet's easy chemistry creates a pretty soundscape both inviting and intriguing, and Romaria never loses the airy feel of a cozy reverie even at its busiest. ~ Geno Tackara https://www.allaboutjazz.com/romaria-andy-sheppard-ecm-records-review-by-geno-thackara.php

Personnel: Andy Sheppard: tenor and soprano saxophones; Eivind Aarset: guitar; Michel Benita: double bass; Sebastian Rochford: drums.

Romaria

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The Cannonball Adderley Quintet - In Person (Live)

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 45:55
Size: 105,8 MB
Art: Front

(11:44)  1. Rumplestiltskin
( 3:08)  2. I'd Rather Drink Muddy Water
( 4:43)  3. Save Your Love For Me
( 2:03)  4. The Scene
( 5:35)  5. Somewhere
( 9:54)  6. The Scavenger
( 5:13)  7. Sweet Emma
( 3:31)  8. Zorba

Almost everything soulful at Capitol Records in the mid 60s packed together in one sweet little place! The set's a winner in a great line of Cannonball Adderley live dates from the time produced by David Axelrod, and done with that great mix of angular, slightly electric groove the combo was virtually pioneering thanks to help from Joe Zawinul on electric piano, and Nat Adderley on cornet! Cannon also plays some great soprano sax an instrument that he was taking off beautifully with at the time and sets fire to a few great tunes with the instrument. But as if that's not enough, Lou Rawls joins in on vocals on a few cuts, and Nancy Wilson comes in on a few more and the album alternates singing with instrumentals in a really great way. Titles include two very nice extended tracks by Joe Zawinul  "Rumplestiltskin" and "The Scavenger", both of which are over 10 minutes long, and which have the group stretching out in a nice live vein and other cuts include "The Scene", "Somewhere", "Sweet Emma", and "Zorba".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/838654/Cannonball-Adderley-with-Nancy-Wilson-Lou-Rawls:In-Person

Personnel:  Cannonball Adderley - alto saxophone, soprano saxophone; Nat Adderley - cornet; Joe Zawinul - piano; Victor Gaskin - bass; Roy McCurdy - drums; Lou Rawls - vocals (track 2); Nancy Wilson - vocals (track 3)

In Person (Live)

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Buddy Rich - Buddy Rich Band

Styles: Jazz, Post Bop
Year: 1981
File: MP3@320K/s
Time: 36:57
Size: 86,2 MB
Art: Front

( 4:54)  1. Never Can Say Goodbye
( 4:41)  2. Fantasy
( 3:34)  3. Listen Here Goes Funky
( 5:46)  4. Slow Funk
( 3:34)  5. Beulah Witch
(14:26)  6. Good News

This release finds Buddy Rich, nearly 65 at the time, trying to appeal to a popular audience by infusing more elements of funk and rock into the big band sound. The technical execution of the pieces by the ensemble is just fine, but the project should never have been attempted in the first place. The set opens with a bland arrangement of "Never Can Say Goodbye," a pop tune done by the Jackson 5, which sets the tone for the album. The majority of the selections were arranged by Harold Wheeler, but the two tracks arranged by Robert Mintzer"Slow Funk" and "Good News are far more effective. "Good News" closes the album and is the best track of the set. It is an epic at 14:24, which features an extended solo from Rich himself. It was a showcase piece which extended out even further in concert. In all, the album has a few moments, but is not representative of Rich's best work. He was much better off when he stuck to conventional jazz formulas. ~ Steven Jacobetz https://www.allmusic.com/album/the-buddy-rich-band-mw0000198264

Buddy Rich Band

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Herbie Hancock - Sleeping Giant

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 127:47
Size: 293,9 MB
Art: Front

( 3:49)  1. Fat Mama
( 4:08)  2. Oh! Oh! Here He Comes
( 6:30)  3. Fat Albert Rotunda
( 4:23)  4. Lil' Brother
( 5:02)  5. Tell Me a Bedtime Story
( 2:36)  6. Crossings
( 7:21)  7. Einbahnstrasse
( 5:50)  8. Wiggle Waggle
(10:13)  9. You'll Know When You Get There
( 4:12) 10. Jessica
(24:38) 11. Sleeping Giant
(13:56) 12. Water Torture
( 7:22) 13. Quasar
( 6:14) 14. Ostinato (Suite for Angela) [Special Edit]
(21:27) 15. Wandering Spirit Song

Herbie Hancock will always be one of the most revered and controversial figures in jazz just as his employer/mentor Miles Davis was when he was alive. Unlike Miles, who pressed ahead relentlessly and never looked back until near the very end, Hancock has cut a zigzagging forward path, shuttling between almost every development in electronic and acoustic jazz and R&B over the last third of the 20th century and into the 21st. Though grounded in Bill Evans and able to absorb blues, funk, gospel, and even modern classical influences, Hancock's piano and keyboard voices are entirely his own, with their own urbane harmonic and complex, earthy rhythmic signatures and young pianists cop his licks constantly. Having studied engineering and professing to love gadgets and buttons, Hancock was perfectly suited for the electronic age; he was one of the earliest champions of the Rhodes electric piano and Hohner clavinet, and would field an ever-growing collection of synthesizers and computers on his electric dates. Yet his love for the grand piano never waned, and despite his peripatetic activities all over the musical map, his piano style continued to evolve into tougher, ever more complex forms. He is as much at home trading riffs with a smoking funk band as he is communing with a world-class post-bop rhythm section and that drives purists on both sides of the fence up the wall. Having taken up the piano at age seven, Hancock quickly became known as a prodigy, soloing in the first movement of a Mozart piano concerto with the Chicago Symphony at the age of 11. After studies at Grinnell College, Hancock was invited by Donald Byrd in 1961 to join his group in New York City, and before long, Blue Note offered him a solo contract. His debut album, Takin' Off, took off after Mongo Santamaria covered one of the album's songs, "Watermelon Man." In May 1963, Miles Davis asked him to join his band in time for the Seven Steps to Heaven sessions, and he remained with him for five years, greatly influencing Miles' evolving direction, loosening up his own style, and, upon Davis' suggestion, converting to the Rhodes electric piano. During that time, Hancock's solo career blossomed on Blue Note, as he poured forth increasingly sophisticated compositions like "Maiden Voyage," "Cantaloupe Island," "Goodbye to Childhood," and the exquisite "Speak Like a Child." He also played on many East Coast recording sessions for producer Creed Taylor and provided a groundbreaking score to Michelangelo Antonioni's film Blow Up, which gradually led to further movie assignments. Having left the Davis band in 1968, Hancock recorded an elegant funk album, Fat Albert Rotunda, and in 1969 formed a sextet that evolved into one of the most exciting, forward-looking jazz-rock groups of the era. By then deeply immersed in electronics, Hancock added Patrick Gleeson's synthesizer to his Echoplexed, fuzz-wah-pedaled electric piano and clavinet, and the recordings became spacier and more complex rhythmically and structurally, creating their own corner of the avant-garde. By 1970, all of the musicians used both English and African names (Herbie's was Mwandishi). Alas, Hancock had to break up the band in 1973 when it ran out of money, and having studied Buddhism, he concluded that his ultimate goal should be to make his audiences happy.

The next step, then, was a terrific funk group whose first album, Head Hunters, with its Sly Stone-influenced hit single, "Chameleon," became the biggest-selling jazz LP up to that time. Handling all of the synthesizers himself, Hancock's heavily rhythmic comping often became part of the rhythm section, leavened by interludes of the old urbane harmonies. Hancock recorded several electric albums of mostly superior quality in the '70s, followed by a turn into disco around the decade's end. In the meantime, Hancock refused to abandon acoustic jazz. After a one-shot reunion of the 1965 Miles Davis Quintet (Hancock, Ron Carter, Tony Williams, Wayne Shorter, and Freddie Hubbard sitting in for Miles) at New York's 1976 Newport Jazz Festival, they went on tour the following year as V.S.O.P. The near-universal acclaim of the reunions proved that Hancock was still a whale of a pianist; that Miles' loose mid-'60s post-bop direction was far from spent; and that the time for a neo-traditional revival was near, finally bearing fruit in the '80s with Wynton Marsalis and his ilk. V.S.O.P. continued to hold sporadic reunions through 1992, though the death of the indispensable Williams in 1997 cast much doubt as to whether these gatherings would continue. Hancock continued his chameleonic ways in the '80s: scoring an MTV hit in 1983 with the scratch-driven, electro-influenced single "Rockit" (accompanied by a striking video); launching an exciting partnership with Gambian kora virtuoso Foday Musa Suso that culminated in the swinging 1986 live album Jazz Africa; doing film scores; and playing festivals and tours with the Marsalis brothers, George Benson, Michael Brecker, and many others. After his 1988 techno-pop album, Perfect Machine, Hancock left Columbia (his label since 1973), signed a contract with Qwest that came to virtually nothing (save for A Tribute to Miles in 1992), and finally made a deal with Polygram in 1994 to record jazz for Verve and release pop albums on Mercury. Well into a youthful middle age, Hancock's curiosity, versatility, and capacity for growth showed no signs of fading, and in 1998 he issued Gershwin's World. His curiosity with the fusion of electronic music and jazz continued with 2001's Future 2 Future, but he also continued to explore the future of straight-ahead contemporary jazz with 2005's Possibilities. An intriguing album of jazz treatments of Joni Mitchell compositions called River: The Joni Letters was released in 2007 and won a Grammy for Album of the Year in 2008. Two years later, Hancock released his The Imagine Project album, recorded in seven countries with a host of collaborators including Dave Matthews, Juanes, and Wayne Shorter. He was also named Creative Chair for the New Los Angeles Philharmonic. In 2013, he was the recipient of a Kennedy Center Honors award, acknowledged for his contribution to American performing arts. An expanded tenth anniversary edition of River: The Joni Letters was released in 2017, and he continued to perform regularly. ~ Richard S.Ginell https://www.allmusic.com/artist/herbie-hancock-mn0000957296/biography

Sleeping Giant

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