Brian Dickinson & Jerry Bergonzi - Soul Mission

Styles: Piano And Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 65:16
Size: 149,7 MB
Art: Front

( 6:16)  1. Soul Mission
( 7:58)  2. Pardon Me
( 9:23)  3. Delaware Daze
( 7:29)  4. Splurge
( 7:45)  5. Sam's Song
( 7:18)  6. With Reference
(11:04)  7. Crazy Makers
( 8:01)  8. Tribute

Brian Dickinson and Jerry Bergonzi meet in Soul Mission , a record recorded in 2002 and released by Dodicilune records . A non-leading but indispensable players in this musical dialogue are Jim Vivian's double bass and Ted Warren's drums , the rhythmic section of the Dickinsonquartet . Bergonzi and Dickinson share the music. Four original compositions each, almost of the same duration, the same number of solos, but a more precious presence of the saxofonosta professor. Jerry Bergonzi In fact, it offers a lesson in sax, improvisation, cleanliness and roundness; his notes come down precise, they roll like perfect spheres to highlight, again, the possession of a sublime technique and a closeness admired by the sound, however inimitable, of Coltrane. 

In the composition of both dominates the tradition, the elegance of a jazz that we have the need to define as classic, the exception is the energetic Crazy makers signed by Dickinson in which Vivian and Warren are in the foreground . Attention returns to the piano and sax immediately after, in Tribute di Bergonzi , for the closure of this work. The lesson is over the spherical notes drawn by the fingers and the breath are still, immobile like a " soul " listening. ~ Alessandro Armando for JazzItalia http://www.jazzitalia.net/recensioni/soulmission.asp#.XIuyMiJKiUl

Personnel:  Jerry Bergonzi - tenor sax; Brian Dickinson - piano; Jim Vivian - double bass; Ted Warren - drums

Soul Mission

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Dianne Reeves - Light Up The Night: Live In Marciac

Styles: Vocal Jazz
Year: 2016
File: MP3@320K/s
Time: 60:29
Size: 139,8 MB
Art: Front

(8:52)  1. Dreams
(6:44)  2. Minuano (Six Eight)
(6:05)  3. Nine
(8:09)  4. Infant Eyes
(8:12)  5. All Blues
(7:02)  6. Heavens
(9:20)  7. Cold
(6:02)  8. Beautiful

Dianne Reeves has been one of the top singers in jazz ever since the late '80s. A logical successor to Dinah Washington and Carmen McRae (although even she can't reach the impossible heights of Ella and Sarah Vaughan), Reeves is a superior interpreter of lyrics and a skilled scat singer. She was a talented vocalist with an attractive voice even as a teenager when she sang and recorded with her high school band. She was encouraged by Clark Terry, who had her perform with him while she was a college student at the University of Colorado. There have been many times when Reeves has explored music beyond jazz. She did session work in Los Angeles starting in 1976, toured with Caldera, worked with Sergio Mendes in 1981, and toured with Harry Belafonte between 1983 and 1986. Reeves began recording as a leader in 1982 and became a regular at major jazz festivals. Her earlier recordings tended to be quite eclectic and many of her live performances have included original, African-inspired folk music (which is often autobiographical), world music, and pop. After signing with Blue Note in 1987, however, and particularly since 1994, Reeves has found her place in jazz, recording several classic albums along the way, most notably I Remember, The Grand Encounter, The Calling: Celebrating Sarah Vaughan, and A Little Moonlight. In 2005, she appeared onscreen singing '50s standards in the George Clooney film Good Night, And Good Luck. When You Know was released in 2008. Reeves left Blue Note in 2009. After touring and an extended break, she eventually signed with Concord and began working on a new record produced by Terri Lynne Carrington. The pair enlisted an all-star cast including Esperanza Spalding, Sheila E, Robert Glasper, and George Duke (who passed away shortly after the album was completed). Beautiful Life was released just in time for Valentine's Day, 2014. ~ Scott Yanow https://www.allmusic.com/artist/dianne-reeves-mn0000211570/biography

Light Up The Night: Live In Marciac

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Bridge Quartet - Night

Styles:  Jazz, Bop
Year: 2009
File: MP3@320K/s
Time: 72:02
Size: 166,1 MB
Art: Front

(12:22)  1. Wouldn't It Be Lovely
(13:59)  2. Green Dolphin Street
(11:38)  3. A Face Like Yours
( 9:01)  4. Strode Rode
( 9:54)  5. Isfahan
(15:05)  6. Bemsha Swing

For jazz fans with some historical listening under their belts, the word "Bridge" will bring to mind Sonny Rollins' album, The Bridge (Bluebird/RCA, 1962), a set that Rollins released after a three-year hiatus, and changed the saxophonist's musical trajectory from Ornette Coleman-influenced freedom to a more traditional mainstream, but still adventurous, sound. The Bridge Quartet works very much in that Rollins-esque, post-Bridge mode. It's Phil Dwyer's full-bodied saxophone in front of an inspired rhythm team, featuring pianist Darrell Grant, bassist Tom Wakeling, and drummer Alan Jones. The group's previous set, Day (Origin Records, 2008), was a studio affair, recorded in the same 36-hour period as Night, which showcases the ensemble in a live setting. The feeling on both sets is much the same, with Night, as one would expect of a live recording, featuring the tunes in a more stretched out mode, with more room for soloing all around. Much like Rollins, the Bridge Quartet takes on familiar melodies with a fiery gusto, beginning with the buoyant 12-minute take on the Lerner and Lowe gem, "Wouldn't It Be Loverly," moving into an energized and freewheeling rendition of "Green Dolphin Street," with Dwyer wrapping up the roll down that familiar avenue in a "Surrey With the Fringe on the Top." "A Face Like Yours" opens with Darrell Grant's gorgeously supple piano sound before Dwyer blows in with a yearning feeling. 

It's 11 minutes-plus of heart-rendering, breathtaking beauty in the middle of a mostly high octane affair that proves the Bridge Quartet has its own sweet way with a ballad. "Strode Rode," from the pen of Sonny Rollins, blasts full speed ahead, full of muscle and grit, and Billy Strayhorn's "Isfahan" steps lightly, in pretty and contemplative fashion. The set closes with "Bemsha Swing," one of Thelonious Monk's most brilliant tunes. It opens on a smooth rolling rhythm before the saxophone slices in. Pianist Grant gets a lot of space, and he shines in it, smoothing out the Monk-ian angles and taking things into a dance groove before Dwyer shifts things into a freer gear, and addresses the sharp corners of Sonny Rollins' "East Broadway Rundown," from the 1966 Impulse! Records set of the same name, along the way, bringing an especially fine jazz set to a close. ~ Dan McClenaghan https://www.allaboutjazz.com/night-origin-records-review-by-dan-mcclenaghan.php

Personnel: Phil Dwyer: saxophone; Darrell Grant: piano; Tom Wakling: bass; Alan Jones: drums.

Night

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Native Soul - Soul Step

Styles: Jazz, Post Bop

Year: 2011

Time: 69:18

Size: 96,8 MB

Art: Front

(5:39)  1. Soul Step
(7:49)  2. End of a Love Affair
(5:52)  3. Deep Blue
(4:42)  4. Inner Search
(7:17)  5. Mingus
(5:29)  6. Slipstream
(7:22)  7. Castles Made of Sand
(5:26)  8. Into the Night
(9:04)  9. Talking Drum
(5:26) 10. One for Op

(5:38) 11. Gift Within

Native Soul Soul Step is a stylistically coherent and well executed effort. The quartet a classic keyboards, saxophone, bass and drums lineup plays mostly straight-ahead, but adds enough instrumental and musical variation to keep it fresh throughout. Keyboardist Noah Haidu is the collective's founder, and is the source of a good portion of the music's diversity. By switching between piano and Fender Rhodes with a dash of B-3 organ and synthesizer he adds just the right touch of funk and nostalgia to the set, making a credible effort at evoking several distinct styles of jazz. The title track opens with a funky bass vamp, overlaid by some bell-like keyboard tones and Peter Brainin's soprano saxophone. Collectively they recreate a sound that could have easily come from a 1973 date on the CTI label, but that vibe immediately gives way to a more modern feel, as Brainen and Haidu switch to piano and tenor respectively, for "End of a Love Affair," employing some bold, modal chord blocking. Brainin's "Mingus" is a 3/4 vehicle for his grooved tenor improvisation, while Haidu employs a chopped waltz background comp, giving the track a smoky club feeling. The funk reemerges in a big way when bassist Marcus McLaurine breaks open Jimi Hendrix's "Castles Made of Sand." The band really nails this one, using the original melody judiciously as an opening statement and as a framework for improvisation, restating the theme enough to be recognizable, but altering it sufficiently so as to avoid outright imitation. In the collectively written liner notes, the band reminisces about the days when music was not a ubiquitous digital commodity, but something into which people had to put some thought. Getting one's paws on the latest releases wasn't always as simple as making a few keystrokes on a computer. Perhaps Native Soul longs for the opportunity to have its CD prominently featured in the new releases section at the front of the store. Soul Steps might have gotten some traction from music shoppers looking for a solid effort from a group of really fine musicians. ~ Greg Simmons https://www.allaboutjazz.com/soul-step-native-soul-talking-drum-records-review-by-greg-simmons.php

Personnel: Peter Brainin: tenor and soprano saxophones, flute; Noah Haidu: piano, keyboards; Marcus McLaurine: electric and acoustic bass; Steve Johns: drums.

Soul Step

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Thad Jones & Mel Lewis Jazz Orchestra - Consummation

Styles: Flugelhorn Jazz
Year: 1970
File: MP3@320K/s
Time: 46:36
Size: 107,7 MB
Art: Front

( 5:13)  1. Dedication
( 3:07)  2. It Only Happens Every Time
( 6:42)  3. Tiptoe
( 4:09)  4. A Child Is Born
( 3:37)  5. Us
( 7:57)  6. Ahunk Ahunk
(10:38)  7. Fingers
( 5:09)  8. Consummation

Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. Reissued on CD as part of a large Mosaic box set, this set introduced Jones' best-known composition, "A Child Is Born," and also has a colorful rendition of his sly "Tiptoe," and finds the big band ripping the roof off during the lengthy and very exciting "Fingers." The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic. ~ Scott Yanow https://www.allmusic.com/album/consummation-mw0000221310

Personnel:  Thad Jones – flugelhorn; Snooky Young – trumpet; Danny Moore – trumpet; Al Porcino – trumpet; Marvin Stamm – trumpet; Eddie Bert – trombone; Benny Powell – trombone; Jimmy Knepper – trombone; Cliff Heather – bass trombone; Jerome Richardson – soprano saxophone, alto saxophone, flute, alto flute; Jerry Dodgion – alto saxophone, clarinet, flute, alto flute; Billy Harper – tenor saxophone, flute; Eddie Daniels – tenor saxophone, clarinet, flute; Richie Kamuca – baritone saxophone, clarinet; Pepper Adams – baritone saxophone; Joe Farrell – baritone saxophone; Roland Hanna – acoustic piano, electric piano; Richard Davis – acoustic bass, electric bass; Mel Lewis – drums; Jimmy Buffington, Earl Chapin, Julius Watkins  - French horn; Howard Johnson - tuba; David Spinozza - guitar

Consummation

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Miriam Aida & Fredrik Kronkvist - Live at the Palladium

Styles: Vocal, Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 45:13
Size: 103,9 MB
Art: Front

(3:29)  1. It's a Wonderful World
(4:44)  2. Born to Be Blue
(3:39)  3. My Shining Hour
(4:13)  4. Senor Blues
(3:56)  5. Lamesha
(4:49)  6. So tinha de ser com voce
(4:24)  7. Right Here, Right Now
(4:01)  8. If You Go
(4:04)  9. Fun
(4:02) 10. Trav'lin Light
(3:47) 11. Too Close for Comfort

Miriam Aïda (born 24 September 1974) is a Swedish jazz singer. She has toured internationally, performing at the Blue Note in Tokyo, in London, Paris, Istanbul, Moscow, Helsinki, Oslo, Palermo, Berlin and across Sweden. She has appeared on Swedish national television. Aïda's music is influenced by many musical traditions, including Latin American, and she attained success with a Brazilian music-inspired album Meu Brasil. 

She performs with her partner, saxophonist Fredrik Kronkvist, and has since her 2002 debut released five albums with Kronkvist and the Jan Lundgren Trio. She lives in Malmö, where she manages a jazz club named Monk. In 2017, she sang Brazilian music at the Uppsala International Guitar Festival in Sweden. https://en.wikipedia.org/wiki/MiriamAida

Recorded live in front of a huge audience is this album a real powerhouse. Soulfull, straight-a-head jazz, and Bossa Nova with Sweden’s brightest young jazz stars. Singer Miriam Aïda and saxophonist Fredrik Kronkvist deliver their message with powerful big band arrangements of great tunes such as “Senor Blues” by Horace Silver, Nat Adderleys “Fun” and also a big band version of their own tune Right Here, Right Now, first heard on their first appearance on the success record “Jan Lundgren Trio presents Miriam Aïda & Fredrik Kronkvist”.

Personnel:  Miriam Aida - Vocal; Fredrik Kronkvist - Saxophone; Monday Night Big Band

Live at the Palladium

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Richard 'Groove' Holmes, Jimmy Witherspoon - Groovin' With Jimmy

Styles: Jazz, Hard Bop
Year: 2018
File: MP3@320K/s
Time: 71:38
Size: 165,1 MB
Art: Front

(4:33)  1. Groove's Groove
(3:21)  2. California Blues
(6:44)  3. What A Wonderful World
(4:07)  4. Misty
(4:18)  5. Walking On A Tightrope
(7:33)  6. Slow Blues In G
(7:08)  7. Song For My Father
(8:22)  8. My Friend
(7:06)  9. Lonesome Road Blues
(7:24) 10. Onsaya Joy
(7:51) 11. Danger Zone Is Everywhere
(3:06) 12. The Time Has Come

Revered in soul-jazz circles, Richard "Groove" Holmes was an unapologetically swinging Jimmy Smith admirer who could effortlessly move from the grittiest of blues to the most sentimental of ballads. Holmes, a very accessible, straightforward and warm player who was especially popular in the black community, had been well respected on the Philadelphia/Southern New Jersey circuit by the time he signed with Pacific Jazz in the early '60s and started receiving national attention by recording with such greats as Ben Webster and Gene Ammons. Holmes, best known for his hit 1965 version of "Misty," engaged in some inspired organ battles with Jimmy McGriff in the early '70s before turning to electric keyboards and fusion-ish material a few years later. The organ was Holmes' priority in the mid- to late '80s, when he recorded for Muse (he also had stints throughout his career with Prestige Records and Groove Merchant) . 

Holmes was still delivering high-quality soul-jazz for Muse (often featuring tenor titan Houston Person) when a heart attack claimed his life at the age of 60 in 1991 after a long struggle with prostrate cancer. He was a musician to the end, playing his last shows in a wheelchair. ~ Alex Henderson https://www.allmusic.com/artist/richard-groove-holmes-mn0000848952/biography

Groovin' With Jimmy

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Jimmy Scott - Falling in Love Is Wonderful

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 38:37
Size: 90,3 MB
Art: Front

(4:04)  1. They Say It's Wonderful
(4:02)  2. I Wish I Didn't Love You So
(3:27)  3. There Is No Greater Love
(3:23)  4. If I Should Lose You
(4:50)  5. Why Try to Change Me Now
(3:54)  6. I'm Getting Sentimental Over You
(3:29)  7. Someone to Watch Over Me
(3:36)  8. How Deep Is the Ocean
(4:22)  9. I Didn't Know What Time It Was
(3:25) 10. Sunday, Monday or Always

The Eighteenth Century saw the zenith of a subset of opera singers known collectively as the castrati. These singers, eunuchs relieved of their primary sexual characteristics between the ages of 7 and 10 years, had voices full, with high range and perfect timbre. Technically, the normal male voice deepens during puberty under the pressure of increasing secretion of the male sex hormone testosterone, or more probably its biological byproduct dihydrotestosterone. The male vocal cords increase 70% in length during this time, where the female vocal cords increase by only 34%. Testosterone initially produces swelling of the vocal cords, followed by a permanent thickening due to the accumulation of collagen. These changes contribute further to the lowering of vocal pitch. Removal of testosterone causes absence of male-type growth of the larynx or voice box. In the only recorded autopsy of a castrato, the size of the larynx was conspicuously small, with vocal cords the length of a female high soprano. However, in a castrato overall body growth continues unhindered, resulting in a voice very different from that of the prepubescent boy. While the pitch may have been similar to that of a female, the timbre of the voice was different. A leading Eighteenth Century opera critic Charles de Brosses described the castrato sound as being "as clear and penetrating as that of choirboys but a great deal louder with something dry and sour about it yet brilliant, light, full of impact." What does this have to do with Jazz Vocalist Jimmy Scott? Mr. Scott was born with a familial condition commonly known as Kallman’s Syndrome. This is a heredity condition that not only affects Mr. Scott but also his brother and several maternal uncles. In this condition, the cells of the hypothalamus gland responsible for making and secreting the hormones necessary to stimulate the release of the sex related hormones testosterone in the male or estrogen in the female, fail to develop. 

This results in the afflicted never fully developing to sexual maturity. In essence, those who have Kallman’s Syndrome are natural castrati. The result in Mr. Scott’s case is his perfect, beautiful voice. Pristine, crystalline, faultless are all adjectives that fairly describe this unique voice. Born in Cleveland, OH in 1925, Jimmy Scott received musical training for an early age and was invited to sing with Lionel Hampton’s band in the late 1940s. He recorded several well-received sides for Savoy in the 1950s. In 1962, when he thought his contract was completed, Mr. Scott went to Ray Charles’ Tangerine label and recorded the famous Falling In Love Is Wonderful. Shortly before the album’s release, Scott’s previous label sued Tangerine claiming that Scott remained under contract to Savoy. It would be 40 years before Falling In Love Is Wonderful would again be legally heard. Rhino Record’s specialty label Rhino Hand Made has recently released Falling In Love Is Wonderful to a welcoming jazz public. The recording sports the arrangements of Marty Paich and Gerald Wilson and the piano playing of Ray Charles. It is a collection of love songs ballads so sincerely emoted in such a perfect voice that one would think the songs were written for Jimmy Scott. "There Is No Greater Love," "I’m Getting Sentimental Over You," and "Someone To Watch Over Me" are all rendered with careful affection and respect. This is a voice and music of another time. Densely romantic and heartbreakingly open, Jimmy Scott and his exquisite voice should be declared a national treasure. In 1992, interest in Mr. Scott began to pique with the Sire release of All the Way. Since then, Mr. Scott has continued to record critically acclaimed discs, his most recent being 2002’s But Beautiful (Milestone MCD-9321-2). His voice sports the maturity of his 77 years and the sweetness of his life. ~ C.Michael Bailey https://www.allaboutjazz.com/falling-in-love-is-wonderful-jimmy-scott-tangerine-review-by-c-michael-bailey.php

Personnel: Jimmy Scott: vocals.

Falling in Love Is Wonderful

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Lee Ritenour - Banded Together

Styles: Guitar Jazz
Year: 1984
File: MP3@320K/s
Time: 42:53
Size: 99,5 MB
Art: Front

(4:25)  1. Operator (Thief On The Line)
(4:07)  2. Other Love
(4:23)  3. Sunset Drivers
(4:41)  4. Mandela
(3:42)  5. Amaretto
(4:15)  6. Rit Variations II
(3:50)  7. Be Good To Me
(4:21)  8. I'm Not Responsible
(4:26)  9. Shadow Dancing
(4:38) 10. Heavenly Bodies

Lee Ritenour goes techno/pop/rock on an album originally released on the pop Elektra label and as such is not recommended to jazz fans with a low tolerance for the stuff. Here Captain Fingers extends his reach to play keyboards and programmed electronic drums on a few tracks, along with very competent rock guitar to little effect, for the material is just not very interesting. Indeed, in a telling move, two songs from the previous record, On the Line, are actually recycled here ("Rit Variations II," " Heavenly Bodies"); the former comes off a little better in machine-driven, techno-pop manner. Ernie Watts' protean sax talents are wasted, Eric Tagg and John Massaro's high-pitched pop voices are hard to tell apart without a scorecard, and the largely electronic backing never meets a real groove that it can find. And no hits result anyway. ~ Richard S.Ginell https://www.allmusic.com/album/banded-together-mw0000120801

Personnel: Lee Ritenour - producer, executive producer, engineering, music, lyrics, arrangements, electric guitar, acoustic guitar, 12 string acoustic guitar, 12 string electric guitar, guitar synthesizer, bass synthesizer, drum machine, drum programming, synthesizer, Synclavier; Greg Mathieson - producer, music, lyrics, arrangements, bass synthesizer, moog bass taurus, drum programming, keyboards, synthesizer, solo, prophet-5;  Jerry Hey, Gary Grant,  Larry Williams, Gary Herbig - horns

Banded Together

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Randy Brecker - Into The Sun

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 58:45
Size: 135,6 MB
Art: Front

(6:23)  1. Village Dawn
(5:46)  2. Just Between Us
(4:46)  3. The Sleaze Factor
(6:53)  4. Into The Sun
(7:26)  5. After Love
(6:40)  6. Gray Area
(5:18)  7. Tijuca
(3:54)  8. Buds
(7:17)  9. Four Worlds
(4:17) 10. The Hottest Man In Town

It’s Randy, it’s David Sanborn (one track), it’s Brazil. Randy Brecker does the fusion thing, this time fusing his expressive trumpet with comfortable Brazilian rhythms and voices. It’s Astrud Gilberto meets the late Miles in a happy mood, of course. This CD cooks along pleasantly, so tightly executed that it’s surprising to hear Brecker say, "I chose musicians with whom I had never played, and barely knew. Moreover, the musicians themselves had never played together and barely knew each other." The introductions went this way: Randy, of course, on trumpet and flugelhorn; Gil Goldstein on keyboards and accordion; Adam Rogers on electric and acoustic guitars; Bakithi Kumalo on bass; Jonathan Joseph on drums; Café on percussion; and Maúcha Adnét on gossamer-wing vocals. Sanborn chimes in on "The Sleaze Factor," and six others add color but never assume center stage: Dave Bargeron (trombone); David Taylor (bass trombone and tuba); Lawrence Feldman (bass flute); Keith Underwood (alto and bass flutes); Bob Mintzer (bass clarinet); and Richard Sussman (synthesizer programming). Sussman had a lot to do, spreading atmosphere all over this disc. But the synthesizers are never so obtrusive that they detract from Brecker’s consistently strong trumpet or Goldstein’s able keyboards. Everything cooks on "The Sleaze Factor" and "Into the Sun." "After Love" is pleasant, "Gray Area" catchy. "Tijuca" starts in a synthesizer soup, but clears by the time Brecker arrives for another capable turn. 

In sum, everything is slick, slick, slick, and if you like that sort of thing, this is a good, danceable example. For a real twist, the CD ends up with a wildly touching tape of Randy’s father singing to him in 1945 when he was two weeks old. It’s a slice of a different world that cuts through all the slickness (including the funk appended to it) and sticks in your mind more than just about anything else on this album. After this too-brief vignette Randy has attached a vocal in which a man complains about a woman’s having left him. "I was treated like a clown," goes the refrain in part. It’s hard to resist responding, "Well, maybe it’s the generic arrangements."Sure, Randy Brecker can play. But except for his dad’s appearance, this is just another record. If you like this, try late Miles and Getz/Gilberto. ~ Robert Spencer https://www.allaboutjazz.com/into-the-sun-randy-brecker-concord-music-group-review-by-robert-spencer.php

Personnel:  Trumpet, Flugelhorn – Randy Brecker; Vocals – Maucha Adnet;  Alto Flute, Bass Flute – Keith Underwood; Bass – Bakithi Kumalo; Bass Clarinet – Bob Mintzer; Bass Flute – Lawrence Feldman; Bass Trombone, Tuba – David Taylor; Drums – Jonathan Joseph;  Electric Guitar, Acoustic Guitar – Adam Rogers ; Keyboards, Accordion – Gil Goldstein; Percussion – Café; Saxophone – David Sanborn (tracks: on "The Sleaze Factor"); Synthesizer Programming – Richard Sussman; Trombone – Dave Bargeron

Into The Sun

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Annie Gallup - Little five points

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 38:26
Size: 89,9 MB
Art: Front

(3:21)  1. Lester William Polsfuss, 1915 - 2009
(3:42)  2. The story of my life
(3:05)  3. Girl in the ruins
(4:16)  4. Adam's ribs
(4:53)  5. Careless lover
(4:46)  6. Poets
(3:10)  7. 1000 miles away
(2:52)  8. Speed of light
(2:33)  9. Movies
(2:50) 10. Vanity fair
(2:53) 11. All my old lovers

Produced by Annie Gallup & Peter Gallway. Gallup delivers an intense, intimate set of ruminations ranging from the life story of Les Paul  Lester William Polsfuss, 1915-2009 to the intoxication and impermanence of arts scenes (Poets) to the sexual politics in the origins of Adam's Ribs. AG: vocals, lapsteel, resophonic & Gibson Blueshawk guitars, ukulele; Peter Gallway: Fender telecaster, bass, keyboards. https://www.amazon.com/Little-Five-Points-Annie-Gallup/dp/B007DIQAQK
 

Review
Filled with deft metaphors and riveting images sifted from love's ashes... so smooth you'd hardly know it's poetry. ~ NY Daily News

Even her most straightforward lyrics possess a fantastic, almost subliminal quality that brings to mind the magic-realist fiction of Gabriel Garcia Marquez. ~ Acoustic Guitar

Little five points

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Barry Harris - Barry Harris Trio With Al Cohn

Styles: Piano And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 78:35
Size: 182,4 MB
Art: Front

(5:03)  1. America The Beautiful
(8:33)  2. Night And Day
(8:33)  3. My Shining Hour
(5:11)  4. Bright
(6:17)  5. Skylark
(5:53)  6. Woody'n You
(6:09)  7. Comin' Home
(6:09)  8. You're My Everything
(9:47)  9. Lover
(5:03) 10. Play It Now
(6:17) 11. Georgia On My Mind
(5:40) 12. It's Sand, Man!

Originally issued in the Xanadu label, these studio quartet sessions showcase the collaborations between two of the most exciting figures of their instruments: tenor sax giant Al Cohn & piano master Barry Harris, who are joined here by two incarnations of the pianist's regular trio. https://www.freshsoundrecords.com/al-cohn-albums/5221-barry-harris-trio-with-al-cohn-2-lp-on-1-cd.html

Personnel: Al Cohn (ts), Barry Harris (p), Sam Jones, Larry Ridley (b), Leroy Williams, Alan Dawson (d)

Barry Harris Trio With Al Cohn

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Brian Dickinson - Fishs Eddy

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 54:15
Size: 125,2 MB
Art: Front

(9:15)  1. I Loves You Porgy
(7:18)  2. Falling
(6:00)  3. Fishs Eddy
(6:04)  4. Delaware Daze
(7:44)  5. Never Let Me Go
(6:09)  6. Limbo
(5:49)  7. Gateway
(5:53)  8. Rising

A sublime trio recording from pianist/composer Brian Dickinson, this music also features impeccable bass playing by jazz legend George Mraz, and sensitive drumming from Ethan Ardelli. It opens with a haunting rendition of the Gershwins' "I Loves You Porgy" and continues with six inspired originals as well as the beautiful ballad, "Never Let Me Go". All in all, it is a wonderful album capturing an inspired performance by three master musicians. This recording was produced in Toronto, Canada in April of 2013. https://store.cdbaby.com/cd/briandickinson4

Personnel: Brian Dickinson - piano;  George Mraz - bass; Ethan Ardelli - drums.

Fishs Eddy

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Black Swan Classic Jazz Band - Feel the Spirit

Styles: Jazz: Dixieland
Year: 2007
File: MP3@320K/s
Time: 73:36
Size: 171,3 MB
Art: Front

(4:17)  1. Battle Hymn of the Republic
(4:17)  2. Swing Low, Sweet Chariot
(1:43)  3. Clarinet Intermezzo: Peace Like a River
(4:37)  4. Amazing Grace
(4:15)  5. Life is Like a Mountain Railway
(4:32)  6. Old Rugged Cross
(5:10)  7. Xian Medley: Will the Circle be Unbroken & This Little Light of
(1:33)  8. Piano & Drum Intermezzo: Ezekiel Saw the Wheel
(5:58)  9. His Eye is on the Sparrow
(4:15) 10. Operator
(1:33) 11. Trumpet Intermezzo: Ave Maria
(3:50) 12. I Shall Not be Moved
(2:41) 13. Gonna Build a Mountain
(3:16) 14. Old Adam
(4:30) 15. Just a Closer Walk with Thee
(4:47) 16. I'll Fly Away
(1:26) 17. Trombone Intermezzo: How Great Thou Art
(3:46) 18. Ev'ry Time I Feel the Spirit
(2:00) 19. Tuba Intermezzo: Go Down, Moses!
(5:01) 20. Church Rockin' Medley: Standin' in the Need of Prayer, Old Time

A Black Swan gospel performance is a celebration! A celebration of the infectious spirit of religious music. A celebration of the variety of positive and optimistic systems of faith from around the world. A celebration of what unites us in our humanity. A celebration of the connection between audience and performer. A celebration that we are alive and kicking for a shot at another day. A celebration that all the musicians made it out of bed on time, usually, for the 9 a.m. down beat. Not too serious a manner of celebration that might bring Snoopy to mind. Featured on this recording is Black Swan's extraordinary vocalist, Marilyn Keller. Audiences worldwide appreciate her honest and heartfelt vocals. She sings in a variety of genres, but it is safe to say that Marilyn's roots are in spiritual music and there she is most at home. In concert, Marilyn tells of listening as a toddler to her father's gospel quartet singing selections such as "Operator" and "Amazing Grace" in the living room of her home. The music of these formative years is with us forever and greatly influences who we are. Marilyn's featured vocals leave no doubt as to where she comes from and who she is. Alan Phillips joins Marilyn on several selections, singing lead or harmony. His heritage of listening to and performing various folk styles similarly shines through. "Church Rockin' Medley,” "Xian Medley," "Life is Like a Mountain Railway" and "Swing Low, Sweet Chariot" also benefit from the collaboration of our guest vocal ensemble. MaryEtta, Sandra, Letha, Eugene and Amber were delightful to work with and an enriching addition to the production. The Black Swan instrumentalists play a supporting role here. Our job is to provide arrangements, musical interplay and the foundation from which soloists and the congregation can sing at their uninhibited best. Plenty of jazz to go around, but definitely a focus on vocals. An exception are the intermezzi, which feature Steve, John, Ron, Ernie, Kit and Lew, singly or in pairs, and provide a chance for each to step forward and present a personal, musical statement in his unique style. We invite you to "Feel the Spirit" as well, and celebrate with Black Swan. https://store.cdbaby.com/cd/bscjb3

Feel the Spirit

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Terell Stafford - Time To Let Go

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 53:01
Size: 122,6 MB
Art: Front

(4:43)  1. Time To Let Go
(6:16)  2. Was It Meant To Be?
(5:57)  3. Polka Dots And Moonbeams
(7:17)  4. Qui Qui
(8:09)  5. On The Trail
(4:33)  6. Why?
(6:27)  7. Soon
(5:49)  8. Send In The Clowns
(3:45)  9. Just A Closer Walk With Thee

This scintillating set is appropriately titled Time To Let Go and truly reflects the trumpeter's musical state of mind. Firmly established as a contemporary jazz master, Terell Stafford is now getting the critical acclaim his talent deserves. Unlike many of his peers, he is nothing short of seasoned. He spent five years touring with Bobby Watson's scintillating post-bop quintet, which included pianist Ed Simon, drummer Victor Lewis and saxophonists Steve Wilson and Tim Warfield who join Terell here, together with vibraphonist Steve Nelson. ~ Editorial Reviews https://www.amazon.com/Time-Let-Go-Terell-Stafford/dp/B000NVLA9Q

Personnel:  Trumpet, Flugelhorn – Terell Stafford; Alto Saxophone, Soprano Saxophone – Steve Wilson ; Bass – Michael Bowie; Drums – Victor Lewis; Percussion – Victor See Yuen; Piano – Edward Simon; Tenor Saxophone – Tim Warfield; Vibraphone – Steve Nelson 

Time To Let Go

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Emanuele Cisi - Homage To Sonny Rollins

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 70:35
Size: 162,5 MB
Art: Front

(10:01)  1. Why Don't I
( 9:37)  2. Kids Know
( 7:00)  3. Strode Rode
( 5:11)  4. Wynton
(10:14)  5. Duke Of Iron
( 7:42)  6. Without A Song
(12:59)  7. No More
( 7:48)  8. Airegin

A little over 40 years old, Emanuele Cisi is one of the most appreciated musicians of the new European scene. Hc engraved six CDs in his name and tens as co-leader or sideman, in various European countries for Italian and foreign labels (including Blue Note , Universal ); has played in concerts and radio and television recordings in Europe, the United States, China, Oceania., collaborating with some of the most important musicians on the world scene such as Clark Terry , Jimmy Cobb , Billy Cobham , Nat Adderley , Aldo Romano , Daniel Humair , Enrico Rava Paolo Fresu , Sting and many others. A few years ago his activity in France was intense, where he had already recorded a record in his name and where he put his sound at the service of Aldo Romano 's new project, " Because of Bechet ". 1985 - 1990:  Training and start of concert activity. I started studying sax at sixteen by taking some private lessons, and then continuing as a self-taught. After two years he leaves the contralto for the tenor and the soprano. It also follows some seminars with important Italian musicians and, in 1986 , with Michael Brecker . At nineteen he began his professional career playing with various musicians from the Turin area and, at twenty-one, he was called to be part of the reconstituted historical group " Area ", his first important engagement with which he was able to stand out on a national level by participating in tours, festivals, radio and television programs and the recording of a record...More.. http://www.jazzitalia.net/Artisti/emanuelecisi.asp

Personnel:  Emanuele Cisi -Tenor sax; Sandro Gibellini - Guitar; Dario Deidda - Bass; Luigi Bonafede - Drums

Homage To Sonny Rollins

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Bridge Quartet - Day

Styles: Jazz, Bop
Year: 2008
File: MP3@320K/s
Time: 60:06
Size: 138,8 MB
Art: Front

( 7:38)  1. Wouldn't It Be Loverly
(10:26)  2. Exidence
( 6:35)  3. Angel Street
( 6:37)  4. Where Or When
( 5:48)  5. Strode Rode
( 7:51)  6. Italian Sorrow
( 8:30)  7. Milestones
( 6:39)  8. Three for Three

The Portland, Oregon-based Bridge Quartet is a group of hard-swinging musical daredevils who play with ultra-modern sensibilities. The ensemble consists of drummer Alan Jones, pianist Darrell Grant, bassist Tom Wakeling and Canadian saxophonist Phil Dwyer. Their debut release, Day, contains fresh takes on well-worn standards like "Wouldn't It Be Loverly," "Where or When" and "Milestones," along with enticing original material. With an emphasis on group interaction, each of the disc's eight tracks bubbles over with an abundance of dynamic intensity. Jones' lengthy "Exidence" is an enticing exploration of rhythmic and harmonic complexity. Dwyer displays confident lyricism, patiently awaiting a torrent of emotional outpouring for the tune's ending. Other highlights include a rather pensive reading of Rodgers and Hart's "Where or When," featuring meandering solo turns by Dwyer and Grant, and a burning take on Sonny Rollins' "Strode Rode," displaying the individual prowess of the entire band. Jones' bombastic maneuvers are nothing short of sensational. For all of the fire and invention heard in Dwyer and Grant, it is Jones' prodding and poking that brings out the best in each soloist. The level of musicianship among these four stalwarts is obvious. What's more impressive, however, is the sensitive, open-ended camaraderie within the band that elevates the music to an insightful level of jazz expression. ~ John Barron https://www.allaboutjazz.com/day-origin-records-review-by-john-barron.php

Personnel: Alan Jones: drums; Darrell Grant: piano; Tom Wakeling: bass; Phil Dwyer: saxophone.

Day

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Budapest Jazz Orchestra - The City of Bridges

Styles: Jazz, Big Band
Year: 2016
File: MP3@320K/s
Time: 51:45
Size: 118,7 MB
Art: Front

(7:27)  1. RP
(6:48)  2. Tigram
(7:09)  3. Chain
(7:18)  4. White Strings
(7:11)  5. Birdy Green
(6:50)  6. Aftrer the Last Tram
(8:59)  7. The Red Is Ready

Budapest Jazz Orchestra is one of Hungary's most popular big bands . He has been performing world-class swing music for years and almost every genre of jazz . Every member of the band is a jazz musician that allows them to play in any style. In 2015, the audience selected Jazzma.hu as the band's big band of the year. Founded in 1998, the Budapest Jazz Orchestra was a major breakthrough in Hungarian jazz, as it was the first professional big band in Hungary to sound America's 1920s. During the dynamic development of the orchestra, through the major musical stations of the genre, it has become a world-renowned representative of contemporary music. 

The proof of BJO's work over the past 18 years, during which time a number of concerts, domestic and international accolades and foreign performers have colored the band's palette. BJO's ars poetica: to cultivate contemporary jazz and big band music, to keep in touch with the roots of the genre and to make its values public, and to pass on its professional experience to the young generation of musicians. The Budapest Jazz Orchestra considers the aim and task of the Budapest Jazz Orchestra to be the domestic and international interpretation of improvisational and contemporary genres. https://translate.google.com.br/translate?hl=en&sl=hu&u=https://hu.wikipedia.org/wiki/Budapest_Jazz_Orchestra&prev=search

The band follows the traditional 17-member big band lineup: saxophone - Gábor Kollmann, Árpád Dennert, Ákos Csejtei, Zoltán Zana, György Varga; trombone - Ferenc Schreck, Gábor Skerlecz, Ákos Frolov, Viktor Daniel Nagy; trumpet - Péter interpreting, Ferenc Magyar, Áron Koós-Hutás, Balázs Pecze; piano - Attila Juhász; guitar - Miklós Birta; bass - Viktor Hárs; drums - Dániel Serei.

The City of Bridges

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Rick Braun - Full Stride

Styles: Trumpet And Flugelhorn Jazz
Year: 1998
File: MP3@320K/s
Time: 49:28
Size: 114,4 MB
Art: Front

(4:47)  1. A Very Good Thing
(4:20)  2. Nightfall
(4:47)  3. Hollywood & Vine
(4:45)  4. One Love
(4:55)  5. Moonshot
(5:12)  6. China Bath
(4:28)  7. Magic Moment
(5:18)  8. Soul On Soul
(6:18)  9. South Of Midnight
(4:34) 10. Aqua Funk

A positive, tongue-in-cheek attitude infuses the trumpeter's Full Stride with a certain balmy optimism that contrasts with the dark moods of most of 1997's Body and Soul and recalls the deeply grooving, party time atmosphere on his breakthrough Beat Street (1995). His relaxed, fun-seeking attitude is apparent from the start, with the catchy light funk of "A Very Good Thing" recalling the restless spirit of Beat Street's "Marty's Party"; he floats a percussive melody, complete with irresistible pop hooks, over his own tropical vibe harmony (on synth) and Dave Palmer's alternating deep drum groove and insistent high-hat. More Herb Alpert than Miles. Likewise, he teams with keyboardist Brian Culbertson and former Rufus guitarist Tony Maiden (who backs Braun's flügelhorn with an hypnotic clicking wah-wah effect throughout) to reflect the fast-paced street life of "Hollywood and Vine." On "One Love," he combines his muted trumpet with Culbertson's acoustic piano as a harmonic backdrop to a dreamy, swaying flügelhorn melody; the effect is a cool tension beneath a soaring spirit. "China Bath" plays like background music at an Asian massage parlor. Chuck Kentis finds a synth tone that approximates an Oriental stringed instrument, which he touches gracefully behind a gentle conversation by Braun and Peter White's acoustic guitar, all while a bubbly, trip-hop percussion groove rolls in the background. Then there is Moon Calhoun's croaking synth bass backing Braun's give and take with the echoing electric guitar of Bruce Conte. Following the lead of Chet Baker, Braun even doubles his own gentle vocal scat with the horn on "Magic Moment."~ Jonathan Widran https://www.allmusic.com/album/full-stride-mw0000600639

Personnel: Flugelhorn – Rick Braun,  Bass – Cliff Hugo, John Menzano;  Double Bass [Upright Bass] – Cliff Hugo, Jack Daro; Drums – Dave Palmer, Michael White; Electric Piano – Mitchell Forman; Guitar – Bruce Conte, Carl Verheyen, Jeff Golub, Nils, Tony Maiden); Guitar [Nylon String] – Peter White;  Keyboards – Brian Culbertson, Chuck Kentis, David Garfield, Rick Braun; Keyboards [Additional] – Boney James;  Piano – Curtis Brengle, Mitchell Forman; Soprano Saxophone, Tenor Saxophone – Doug Norwine; Synthesizer [Bass] – Brian Culbertson; Trombone – Nick Lane; Trumpet – Lee Thornburg, Rick Braun;  Vocals – Maysa Leak, Rick Braun

Full Stride

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Christie Winn & The Lowdowns - Closer to Home

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 62:59
Size: 145,4 MB
Art: Front

(4:06)  1. Here Comes Misery
(4:02)  2. The Profound Song
(4:40)  3. Belle of the Ball
(5:05)  4. Sweetest Surprise
(5:50)  5. Words Move Too Slow
(4:45)  6. Floating Away
(4:46)  7. Will to Fall
(2:55)  8. Bliss
(4:26)  9. Inner City Blues
(4:18) 10. Wish
(3:55) 11. Tiny Tune
(6:33) 12. Lazy Sunday
(3:38) 13. Sou Seu Sabia
(3:55) 14. Por Favor

"Golden Voiced", The San Francisco Chronicle

"With an awareness of the sensual nature of each note, Winn encapsulates feeling, essence and being all in one breath", NE In Tune Magazine

"As songwriters, Winn and Bissinger have a great feeling for the inner connection between lyrics and melody". Gabriel Fehrenbach, Suddeutsche Zeitung

Following up their debut CD "Further Away From Here" this album showcases an expanded band including Christie Winn - vocals, piano, wurlitzer and melodica, Steve Bissinger - guitar and lap steel, Joe Cohen - alto sax, Joel Behrman - trombone, Joseph Hérbert - cello, Geoff Brennan, David Ewell and Daniel Fabricant - acoustic bass and Jim Bove and Eric Garland - drums. Featuring twelve new original compositions by Winn and Bissinger as well as covers by Marvin Gaye and Caetano Veloso "Closer To Home" steers The Lowdowns in some new directions, exploring latin, pop and jazz ballads while not completely leaving behind the amercana/jazz fusion of their first CD. https://store.cdbaby.com/cd/lowdowns2

Closer to Home

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