Andrew Hill Trio - Shades

Styles: Piano Jazz 
Year: 1987
File: MP3@320K/s
Time: 43:49
Size: 101,4 MB
Art: Front

( 4:42)  1. Monk's Glimpse
( 6:36)  2. Tripping
( 5:33)  3. Chilly Mac
( 5:37)  4. Ball Square
( 7:35)  5. Domani
(13:44)  6. La Verne

Pianist Andrew Hill's first recording as a leader in six years was particularly notable for co-starring (and challenging) the underrated tenor Clifford Jordan. The quartet set (with bassist Rufus Reid and drummer Ben Riley) has six of Hill's typically challenging and complex inside/outside originals, a perfect outlet for Jordan and the pianist to interact. Stimulating and unusual music that is difficult to classify as anything but "modern jazz." ~ Scott Yanow https://www.allmusic.com/album/shades-mw0000193340

Personnel: Andrew Hill - piano; Clifford Jordan - tenor saxophone (tracks 1, 3, 5 & 6); Rufus Reid - bass; Ben Riley - drums

Shades

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Adrienne West - The View

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 63:01
Size: 145,1 MB
Art: Front

(4:19)  1. I'm Alright Now
(6:50)  2. Make Me Rainbows
(3:41)  3. It Could Happen To You
(5:15)  4. Here's That Rainy Day
(4:31)  5. That's All
(7:10)  6. Inside A Silent Tear
(7:23)  7. Broadway
(4:17)  8. The View
(4:50)  9. What Is This Thing Called Love
(8:15) 10. Darn That Dream
(6:24) 11. Deep In The Night

Adrienne West, was born in Brooklyn, NY, and at age 9 began studing classical voice and piano. During her teenage years, she felt the need to combine some of the jazz variations she had loved listening to on records with her classical background. As a member of the Alvin Queen Sextet, Adrienne travelled widely throughout Africa performing both in concerts and directing masterclass workshops in voice. Adrienne has performed with some of the world’s most prominent musicians including: Johnny Griffin, Buddy Tate, Scott Hamilton, Al Cohn, Clark Terry, Harry “Sweets” Edison, Billy Cobham and Leonardo Amuedo to name just a few. She has also performed and recorded with the WDR Radio Big Band Koln, the Hessischer Rundfunk Big Band Frankfurt, the NDR Radio Big Band Hamburg, among others. After five years of appearing on Broadway and in European and World touring companies of the Tony Award winning “Ain’t Misbehavin'”, Adrienne decided to make Amsterdam her home where she lives with her husband. She completed a two year European musical theatre tour entitled “George Gershwin: The Musical Gala” as a featured soloist. She also performed the role of Bessie Smith in “Mahalia” (a musical theatre tribute to Mahalia Jackson). She was a member for many years of the “Four Ladies Of Swing”, a concert jazz program. In October 2000, she was invited to perform at the first “Davidoff International Vocal Jazz Festival” in Cape Town, South Africa. Adrienne presently lives in Amsterdam the Netherlands with her husband American born David Cameron, singer/actor and choreographer/director in musical theater. https://www.dottimerecords.com/artists/adrienne-west/

The View

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Cindy Blackman - Music For The New Millenium Disc 1 And Disc 2

Album: Music For The New Millenium Disc 1

Styles: Jazz, Post Bop 
Year: 2004
File: MP3@320K/s
Time: 48:16
Size: 111,7 MB
Art: Front

(4:25)  1. Abracadabra
(5:26)  2. Seven
(4:52)  3. Insight (Past Wisdom)
(6:27)  4. Letter to Theo
(8:29)  5. Black Town (For Harlem)
(2:50)  6. Insight (Right Now)
(6:36)  7. For Wayne (Shorter That Is)
(4:12)  8. The Infinite (For My Grandmother)
(4:55)  9. The ONE (for God)

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Album: Music For The New Millenium Disc 2

Time: 44:55

Size: 104,1 MB

(4:27)  1. Sam Pei

(2:00)  2. The Drums and Me

(7:57)  3. Stars in Eyes

(2:32)  4. Insight (From My Father)

(8:44)  5. Theme To Ginger's Rise

(4:45)  6. All I Want

(5:47)  7. Insight (From My Mother)

(7:23)  8. Insight (The Future)

(1:16)  9. I Come To The Garden Alone (As played by Martha Blackman-Higby)

Drummer Cindy Blackman's solo output has been sporadic since touring and recording with retro-rocker Lenny Kravitz for the past fifteen years. Recorded in 2005 with her regular working quartet, Music For The New Millennium is a double disc collection of inspired post-bop that heralds her return as a session leader. A persuasive reminder of her technical prowess, it reveals a stylistic allegiance to past masters while keeping an eye to the future. Blackman is heavily influenced by the enigmatic writing of saxophonist Wayne Shorter, which fueled Miles Davis' classic second quintet. Like Davis, she shares an affinity for Shorter's dark, impressionistic streak. Embodying the key instrumental elements of Davis' classic electro-acoustic line-up, keyboardist Carlton Holmes plays percolating Fender Rhodes and tastefully subtle synth alongside stalwart bassist George Mitchell. Tenor saxophonist J.D. Allen delivers soulful phrases with a leisurely cadence and dark timbre, reminiscent of Shorter's esoteric approach. Propelling harmonically sophisticated melodic patterns worthy of Art Blakey and Max Roach with a kinetic momentum equal to Tony Williams' legendary fusillades, Blackman launches an endless salvo of tuneful volleys. Like her forefathers, she keeps rhythm, tempo, dynamics and color in constant flux, never merely playing straight time. The album encapsulates a wide variety of moods, from the dreamily understated "Stars In Eyes" and "Sam Pei" to the simmering boil of the brooding "Black Town." Five assorted variations of "Insight" are scattered across the two discs, serving as recurrent thematic motifs, veering from the brisk, hard-boppish "(From My Father)" to the unassuming, meditative "(From My Mother)." The thunderous "Abracadabra," offers a dynamic, incisive performance, updating a roiling M-Base styled groove with a shadowy Milesian chiaroscuro. "Seven" delves further into metrically intricate rhythms, shifting through fractured tempos with a funky, cubist sensibility Transcending typical notions of accompaniment, "All I Want", finds Blackman furiously modulating rhythmic combinations on the theme while Holmes unfurls waves of shimmering Fender Rhodes arpeggios over an ominous synth-bass ostinato. The brief, punchy "The Drums and Me" is Blackman's only unaccompanied solo feature; she magnanimously offers the final word to Holmes, who closes the album with a touching solo piano rendition of the hymn "Come To The Garden Alone."  welcome return to her jazz roots, Music For The New Millennium is a powerful and passionate effort from one of the finest drummers on the scene. It's good to have her back. ~ Troy Collins https://www.allaboutjazz.com/music-for-the-new-millennium-cindy-blackman-sacred-sound-records-review-by-troy-collins.php

Personnel: Cindy Blackman: drums; J.D. Allen: tenor saxophone; Carlton Holmes: Fender Rhodes, synthesizers; George Mitchell: bass.

Music For The New Millenium Disc 1, Disc 2

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Lou Rawls - Black and Blue,Tobacco Road (Digital Remastered)

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 76:43
Size: 176,6 MB
Art: Front

(1:52)  1. Roll 'Em Pete
(3:35)  2. I'd Rather Drink Muddy Water
(4:22)  3. How Long, How Long Blues
(2:32)  4. Every Day, I Have The Blues
(4:42)  5. St. James Infirmary
(3:30)  6. (What Did I Do To Be So) Black And Blue
(3:07)  7. Gloomy Sunday
(2:12)  8. Kansas City
(2:53)  9. Goin' To Chicago Blues
(3:52) 10. Trouble In Mind
(3:11) 11. World Of Trouble
(3:02) 12. Six Cold Feet Of Ground
(3:28) 13. Strange Fruit
(4:01) 14. Tobacco Road
(2:10) 15. Cotton Fields (The Cotton Song)
(1:57) 16. Rockin' Chair
(3:02) 17. Stormy Weather (Keeps Rainin' All The Time)
(3:50) 18. Old Man River
(3:30) 19. Blues For A Four String Guitar
(2:28) 20. St. Louis Blues
(3:19) 21. Georgia On My Mind
(3:20) 22. Sentimental Journey
(3:34) 23. Summertime
(3:05) 24. When It's Sleepy Time Down South

Black and Blue and Tobacco Road were Lou Rawls' third and fourth records for Capitol cut in 1962 and 1963, respectively. The powers that be at the label made the decision to send Rawls into the studio with a swinging big band under the direction of Onzy Matthews and featuring some real heavyweights like saxophonists Curtis Amy, Teddy Edwards, and Sonny Criss; organist Groove Holmes; and bassist Curtis Counce. The choice didn't pan out commercially, but artistically it is a triumph. The band is perfect, the arrangements are tight and interesting, and Rawls sounds completely in his element as he belts out jazz standards like "Summertime" and "Gloomy Sunday." Most of the records are devoted to blues standards like "Trouble in Mind," "Stormy Weather," "St. James Infirmary," and "I'd Rather Drink Muddy Water," and while on paper they may look like the same old songs everyone does, Rawls brings them to life and even sets a few ablaze with his rich, rough, and powerful vocals. The best moment is his sparse and exhilarating version of "Tobacco Road," a tune that has come to be associated with him, mostly due to his live version cut a couple of years later on Lou Rawls Live! This version is a touch less exciting but just as impressive, and it is a treat to hear. In fact, both albums are a treat. Rawls may just be starting his long career, but he sounds fully formed, relaxed, and at home with the big band behind him. It makes for some of the most enjoyable Lou Rawls you'll hear, and fans of Rawls and great jazz and blues vocals should rejoice that Capitol has finally made the records available on CD. ~ Tim Sendra https://www.allmusic.com/album/black-and-blue-tobacco-road-mw0000442588

Personnel:  Lou Rawls, vocal, accompanied by: Bud Brisbois, Bob Rolfe, James Dalton Smith, Freddie Hill (tp); Horace Tapscott, Lou Blackburn, Dick "Slyde" Hyde, Ron Smith (tb); Joe Maini (as) Curtis Amy (sop,ts) Clifford Solomon (ts); Clifford Scott, Jay Migliori (ts,fl) Sidney Miller (bar); Onzy Matthews (p,arr,ldr) Richard "Groove" Holmes (org) ; Gene Edwards (g) Leroy Johnson (d)

Black and Blue,Tobacco Road

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Aldo Romano Quartet - Canzoni

Styles: Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 54:24
Size: 126,5 MB
Art: Front

(4:38)  1. T'ho voluto bene
(5:23)  2. Roma nun fa la stupida stasera
(4:48)  3. Munasterio a Santa Chiara
(6:57)  4. Sapore di sale
(5:55)  5. Torna a Surriento
(6:14)  6. O sole mio
(5:21)  7. Anima e core
(5:26)  8. Reginella
(4:54)  9. Come Prima
(4:43) 10. Senza Fine

On this disc, drummer Aldo Romano leads an Italian supergroup to revisit some of the Italian folk repertoire. It is also the companion CD to Non Dimenticar, which is based on the same concept. Some songs such as "O Sole Mio" and "Come Prima" will be overly familiar to the noninitiated, but listeners also get the opportunity to discover some obscurities from the Italian countryside. The music displays a good share of romanticism and the mood is rather subdued. Only toward the end does the band switch to a higher gear, as on the uplifting closer "Senza Fine." The musicians surrounding Romano are no strangers to the success of this enterprise. Trumpeter Paolo Fresu's playing obviously recalls Miles Davis' muted trumpet, but he is not merely mimicking the master and he brings out the intrinsic quality of the tunes. Pianist Franco D'Andrea and bassist Furio Di Castri's taste and elegance are perfectly suited to the project. After listening to this set, many will be surprised to realize that it was conducted under the leadership of a drummer. Although Romano does leave all the solo spaces to his cohorts, his presence is definitely felt, as he provides the necessary direction. An enjoyable set that proves that Italian songs just like show tunes can become jazz standards in their own right. 

~ Alain Drouot https://www.allmusic.com/album/canzoni-mw0000057987

Personnel:  Drums – Aldo Romano; Bass – Furio Di Castri; Piano – Franco D'Andrea; Trumpet – Paolo Fresu

Canzoni

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Jacqui Naylor - Sunshine and Rain

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 67:01
Size: 159,2 MB
Art: Front

(3:32)  1. Angel Eyes
(3:26)  2. Moon River
(4:28)  3. Sunshine and Rain
(2:53)  4. I Promise
(4:55)  5. Skylark
(3:18)  6. Back to Black
(5:47)  7. Black Coffee
(3:26)  8. Celebrate Early and Often
(5:07)  9. Losing My Religion
(5:27) 10. Ain't No Sunshine
(3:38) 11. Love for Sale
(3:42) 12. Blue Moon
(3:38) 13. Easy Ride From Here
(4:52) 14. Miss You
(4:25) 15. Once in a Lifetime
(4:20) 16. My Funny Valentine

Jacqui Naylor is not an easy artist to categorize. There are times when she performs straight-ahead vocal jazz, but at other times she favors more of a folk-rock/adult alternative approach. Depending on the mood she is in at a given moment, the northern Californian can bring to mind anyone from Cassandra Wilson or British jazz vocalist Claire Martin to Sarah McLachlan or Shawn Colvin she is as comfortable among jazz improvisers as she is in the singer/songwriter world.

During one of her live performances, Naylor has no problem singing smoky jazz one minute and folk-rock or adult alternative the next and there are times when she blurs the line between the two. Naylor, who is very jazz-friendly but far from a rigid jazz purist, brings a long list of influences to her introspective work influences ranging from Billie Holiday, June Christy, and Nina Simone to Tracy Chapman, Natalie Merchant, Carole King, and Sheryl Crow. That is an unlikely combination of influences, certainly, but it is one that works well for Naylor (who has used all of them to fashion a personal, recognizable style of her own). Naylor has a highly diverse repertoire; on-stage, she is likely to perform a Tin Pan Alley standard right after something by the Rolling Stones or Talking Heads (in addition to performing songs of her own). Naylor is not an overly aggressive or forceful type of singer; she favors subtlety, restraint, and understatement, which are things that Holiday and Christy (one of the goddesses of jazz's cool school) were both masters of. ~ Editorial Reviews https://www.amazon.com/Sunshine-Rain-JACQUI-NAYLOR/dp/B00WL8VTL8

Sunshine and Rain

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Alessandro Pitoni - Le Cose Che Vedi

Styles: Vocal, Easy Listening
Year: 2008
File: MP3@320K/s
Time: 42:41
Size: 98,8 MB
Art: Front

(3:02)  1. Salta
(3:02)  2. Le cose che vedi
(4:28)  3. Piovono
(4:13)  4. Prima di andar via
(3:37)  5. Lupo astuto
(4:25)  6. Colpo di coda
(3:47)  7. Monsieur Miracoli
(2:53)  8. Miracoli Madame
(3:32)  9. Quando l'angelo vola
(3:39) 10. Je t'aime, la vie
(4:01) 11. O maremoto
(1:57) 12. Le parole tue

The music kicks her even before being born to a concert by The Rokes. "It's the rain that goes ... and the calm returns". He then meets her at the age of nine in the hands of Paolo Lucci: Choir of white voices of ARCUM. Wonderful years for a kid. Then the voice changes and the music becomes LIFE. Left the studies, part volunteer in the paratroopers.After so much flying, he decides to land on a stage, steals a microphone and with guitarist Daniele Bazzani puts on one of the luckiest bands of those years: BESTAFF (1990). Live live and still live, with a fantastic group of musicians. Pure fun.Pure Rock blues. With them, in 1993 he took part in Sanremo in the youth category with the song "Camminando" and later the first and only album of the group. "As long as we go" (BMG).  In 1997 the solo path saw him write his second album "From the other side of the world" (I Piloti / Ricordi) and with the song "Ora è tempo" he passed the selections of Sanremo Giovani of the same year. With "Tell me where the road to paradise is" participates in the 1998 Sanremo Festival. No paradise but many satisfactions: Tour with friend Alex Baroni, personal tour around the clubs of Italy. In 2001 with Ruggero Brunetti, Saverio Capo and Alessandro Pinnelli was born "Lanegra", a cover band of Italian songs from the 50s. A series of concerts consolidate the band. "La Volata del Ciclista", "Revival" and "Pescatori di telline" tell the story.  

The association brings to light his third work "Le Cose che Vedi" (2008), produced by "FM Records".  The song "Colpo di coda" extracted from the album will end up in the Putumayo world music compilation, touring the world. In 2011 he took part in the 90 + 1 album by Marco Rinalduzzi and later in the tribute to Alex Baroni "Il Senso ... di Alex" (2012) with the song "Have I told you lately that I love you". Fiorella Mannoia, in his new work "SUD" (2012), reinterprets the song "When the angel flies" excerpt from the album "The Things you See". Collaborate with advertising. His is the voice of the characters in the new animation "Acqua Lete" (2010 - 2013).  He lends his voice to two animated films: "Tiffany and the three brigands" (Germany 2007) and "Titeuf" (France 2011).  Participate in the Italian choral versions of the film "The Hobbit - an unexpected journey" (USA 2012). Its the main voice in the theater shows "The diaries of rock" (2006 - 2008) and in the two musical tributes to Fabrizio De Andrè, "Stracci e feather - Il Faber non Faber" and "Creuza de ma". In 2013 he participated in the compilation "Vintage lounge orchestra (chapter two)". Producer: Mario Puccioni Energy with the song "I've been waiting for a girl like you". In March 2015 Alessandro Pitoni & stereo 8 comes out - "Le sere di semper", produced by Nerio Poggi and Francesco Bosco (FM Records). The album of original songs (V. Fontana - F. Bosco - N. Poggi) sees him at the signing in the lyrics of two songs: "Tex Willer" and "The last Saturday of September". 2016 is the year of "Vivo", the author's fourth album (Lyrics and music). Produced by Fm records. In the autumn Ciro De caro's film "Acqua di marzo" will see him as vocal interpreter in the last scenes. Coming soon "Good night". Alessandro Pitoni interprets the piece by M. Puccioni and A. Zammit. He is currently participating in the album - tribute to Lucio Battisti, produced by Nerio Poggi and to be released next fall 2016. Translate By Google http://www.alessandropitoni.it/biografia/

Le Cose Che Vedi

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Lonnie Plaxico - Melange

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 60:54
Size: 140,5 MB
Art: Front

(4:44)  1. Squib Cakes
(4:57)  2. Melange
(5:09)  3. Darkness
(7:22)  4. Short Take
(5:28)  5. Miles II
(5:43)  6. Paella
(5:31)  7. Sunday Morning
(5:34)  8. Beloved
(6:37)  9. T.O.P.
(4:59) 10. Patois
(4:45) 11. Windy City

Lonnie Plaxico’s Blue Note debut is similar in thrust to last year’s Emergence (Savant). The emphasis is on funk, yet the frequent complexity of Plaxico’s writing harks back to his M-Base roots, especially on tunes like "Short Takes," "T.O.P.," "Patois," and the title track. Apparently the disc grew out of two different sessions the first with Tim Ries on sax and Lew Soloff on trumpet, the second with regular band members Marcus Strickland and Jeremy Pelt in their stead. George Colligan handles the main piano and keyboard duties, with Helen Sung contributing a couple of stunning solos along the way. Lionel Cordew and Jeffrey Haynes play drums and percussion, respectively, as they did on the previous record. As was the case with Emergence, Plaxico begins to repeat himself as the record wears on. And the opening cover of "Squib Cakes," by Tower of Power, seems insubstantial next to the original material. That said, the improvisation is often hair-raising, and the ballads, "Darkness" and "Beloved," are effective changes of pace. On the flip side, the speed-funk finale, "Windy City," is a blast. ~ David Adler https://www.allaboutjazz.com/melange-lonnie-plaxico-blue-note-records-review-by-david-adler.php

Personnel: Lonnie Plaxico- Bass, Lew Soloff- Trumpet (tracks 1-5), Jeremy Pelt- trumpet (tracks 6-11). Tim Ries- Saxophone (tracks 1-5), Marcus Strickland- Saxophone (tracks 6-11) George Colligan- piano, keyboards (except #5), Helen Sung- piano, keyboards (#2, 5, 6), Lionel Cordew- drums, Jeffrey Haynes- percussion.

Melange

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Ferit Odman - Autumn in New York

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 45:12
Size: 104,2 MB
Art: Front

(7:09)  1. Step Lightly
(6:21)  2. Alter Ego
(5:22)  3. Autumn in New York
(7:43)  4. The Soulful Mr. Timmons
(4:52)  5. Hindsight
(6:41)  6. My Ideal
(7:01)  7. Changing of the Guard

Autumn in New York comes via Turkish drummer Ferit Odman who leads this session featuring an all-American band playing straight-ahead tunes but this is a far cry from a "drummer's date." Both members of the frontline trumpeter Terell Stafford and alto saxophonist Vincent Herring were referred to as "young lions" early in their careers, and sound very much at home throughout the set, their ensemble playing a testament that, by this point, they are clear mainstays of the scene. Stafford's tone is warm and personal, and his reading of the title tune is delivered with tender familiarity. The lyrics of the song are included in the liner notes, and the trumpeter's feature evokes a feeling of that special time in that special place. Herring still blows a hot, energetic, post-bop horn. Lyrics are also included for "My Ideal," a feature for the altoist, with Odman admitting he is still looking for that special someone. What he has found, however, is the best partner in a rhythm section that a drummer could hope for. Peter Washington has been holding down the anchor for well over 20 years now, and is certainly one of the most dependable timekeepers in the business, possessing a combination of full, round tone and a bouncy agility that has made him much sought after and highly regarded. When he does get a chance to blow, as he does on "My Ideal," he shows what a musical force he is, and his solo is a high point of the recording. 

Jazz has a long tradition of Americans going abroad, some for longer periods than others. Whether it is to live, work or play festivals, jazz remains largely an American art form, and an export which is still well-received in far-off places. Turkish musicians have been playing jazz for quite some time, with schools and conservatories for jazz studies popping up in the country. The best place to learn, however, will always be the bandstand. Odman has the vocabulary, is well-versed in the idiom and does a nice job of accompanying his band mates throughout. His main contribution as leader on this date, however, is in assembling the band and picking the tunes. He's done that well, and his visitors do their job wonderfully also. More sessions like this and perhaps there will be some "young lions" emerging amongst the young Turks.~ William Carey https://www.allaboutjazz.com/autumn-in-new-york-ferit-odman-equinox-music-and-entertainment-review-by-william-carey.php?width=1920

Personnel: Ferit Odman: drums; Terell Stafford: trumpet; Vincent Herring: alto saxophone; Anthony Wonsey: piano; Peter Washington: bass

Autumn in New York

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Kermit Ruffins - Live At Vaughan's

Styles:  Vocal, Trumpet Jazz 
Year: 2007
File: MP3@320K/s
Time: 65:19
Size: 152,4 MB
Art: Front

(1:00)  1. Introduction
(5:49)  2. Skokiaan
(4:51)  3. World On A String
(4:18)  4. Drop Me Off In New Orleans
(3:05)  5. Do You Know What It Means To Miss New Orleans?
(6:22)  6. Palm Court Strut
(5:06)  7. Treme' Second Line
(3:35)  8. Can't Take My Baby Nowhere
(4:25)  9. Hide The Reefer
(6:06) 10. If You Want Me To Stay
(7:39) 11. Be Thankful For What You Got
(8:28) 12. Talking Loud And Saying Nothing
(4:28) 13. O-o-h Child

Trumpeter/vocalist Kermit Ruffins sure knows how to throw a party, and frankly, he should. As the founder of two great New Orleans jazz bands, the Rebirth Brass Band and the Barbeque Swingers, Ruffins has become somewhat of a New Orleans musical diplomat, embracing a vigorous touring schedule that has brought him further from home than many of the city's mainstays. Live at Vaughan's is a different story though, as Ruffins brings his Barbeque Swingers back home for a Thursday night set. The full house is in all-out party mode, and Ruffins delivers with his brand of modern New Orleans jazz, complete with to-the-point soloing, heartfelt vocals, and endless musings. If Ruffins knows how to do anything, he knows how to put on a show. After a brief introduction, things kick off with the infectious opener "Skokiaan." After his trumpet trilling over his rock-steady backing band, Ruffins enters vocally with an extended howl before voicing the rollicking lyrics. His voice, though far from exceptional, does have a certain energy and spirit to it. Ruffins slows it down for the next number, Harold Arlen and Ted Koehler's classic "World on a String." His rendition is an honest one, and it only heats up when Richard Knox tickles the electric ivories in fine fashion. The night soon turns into a family affair, as Ruffins brings in his daughter Neshia to sing on "Do You Know What It Means to Miss New Orleans?" One of the great things about Ruffins, and something that really shines through on this disc in particular, is his broad range of influences. He brings the same care and passion to an old Arlen ballad as he does to Sly Stone's "If You Want Me to Stay," a masterpiece of over-the-deep-end funk. 

His covers never lose Ruffins' own touch, though, and he brings a completely different kind of energy to the song. The opening two-minute jam on the unmistakable bass line is pure fire, and it's clear the band has really hit their stride. Again, his voice doesn't come close to matching Stone's, but his energy is enough to carry it. He even mixes in a few lines from hip-hop staple the Roots's "You Got Me," for Ruffins is a man who embraces all forms of music. These small details are part of what makes Live at Vaughan's such a fun ride. The album closer only certifies Ruffins' role as a musical unifier. The Five Stairsteps' ballad "O-o-h Child" is presented with a funky edge before Ruffins begins rapping over the song's chord changes. For Ruffins, it isn't about playing a style of music; it's about just playing so that people can enjoy themselves. When Ruffins asks the non-New Orleans residents in the audience to scream, he is met with a wall of noise. Looks like it's working. ~ Henry Smith https://www.allaboutjazz.com/live-at-vaughans-kermit-ruffins-basin-street-records-review-by-henry-smith.php

Personnel: Kermit Ruffins: vocals, trumpet; Richard Knox: electric keyboards; Derrick Freeman: drums, vocals; Kevin Morris: electric bass; Neshia Ruffins: vocals; Roderick Paulin: saxophone; Corey Henry: trombone; Percy Williams: percussion; Dirty Rice: washboard; Bob French: introduction.

Live At Vaughan's

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Andrea Lindsay - Entre Le Jazz Et La Java

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 43:37
Size: 101,3 MB
Art: Front

(2:25)  1. Le jazz et la java
(3:19)  2. Plus je t'embrasse
(3:10)  3. Le poinçonneur des lilas
(4:11)  4. Les choses inutiles
(3:28)  5. L'étang
(2:49)  6. Les cinémas bars
(1:59)  7. Café blues
(3:09)  8. Boom Goes My Heart
(4:26)  9. C'est magnifique
(2:50) 10. La java des bombes atomiques
(3:24) 11. J'ferme pas juste
(2:55) 12. Tout doucement
(5:25) 13. Dance Me to the End of Love

In love with French, which she discovers at the age of 18, Ontario singer-songwriter Andrea Lindsay delivers her seductive and personal pop with her elegant voice. But for her third opus Between jazz and java , directed by Jordan Officer, she performs on stage with three talented jazz musicians, she offers her favorite songs of the French jazz repertoire, those of Gainsbourg, Nougaro, Lelièvre and many others, in addition to some rearranged pieces of his own repertoire. And the result is irresistible!Translated by Google

https://www.pauline-julien.com/evenement/201/Andrea_Lindsay_Entre_le_jazz_et_la_java/?perf_id=236

Entre Le Jazz Et La Java

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Hubert Laws - Morning Star (CTI Records 40th Anniversary Edition)

Styles: Flute Jazz
Year: 1973
File: MP3@320K/s
Time: 35:39
Size: 81,9 MB
Art: Front

(7:55)  1. Morning Star
(4:51)  2. Let Her Go
(4:34)  3. Where Is The Love
(4:59)  4. No More
(7:18)  5. Amazing Grace
(6:01)  6. What Do You Think Of This World Now?

Morning Star - Hubert Laws: Recorded in late 1972 between Hubert Laws’ well-known CTI classic The Rite of Spring and the 1973 CTI performance recording Carnegie Hall, Morning Star may be one of the least known of flautist Hubert Laws’ recordings and among his very best. It’s hard to imagine a more perfect setting for the flautist, surrounded as he is by Bob James (electric piano), Ron Carter (bass), Billy Cobham (drums) and Don Sebesky’s sumptuously employed arrangements for horns and strings. Laws alternates between several flutes (flute, alto flute, bass flute, piccolo and an uncredited electric flute) and shares solo duties with Bob James, who is simply magnificent here. Sebesky’s suberbly lovely work here ranks among some of the very best he ever did for CTI. Laws covers a typical program of third-stream jazz (Rodgers Grant’s title track), spirituals (“Amazing Grace”), pop covers (Roberta Flack & Donny Hathaway’s hit “Where Is The Love,” co-written by this album’s percussionist, Ralph MacDonald) and interesting originals (“Let Her Go,” “No More” and “What Do You Think of This World Now?”). Surprisingly, Morning Star has never been issued on CD before, making this particular release substantially significant due to its very first appearance of availability in nearly four decades. Plus, it makes for excellent listening as well.

Personnel:  Flute, Alto Flute, Piccolo Flute – Hubert Laws; Bass – Ron Carter; Bassoon – Jack Knitzer; Cello – Charles McCracken, George Koutzen, Lucien Schmit; Drums – Billy Cobham; Electric Piano – Bob James;Flute, Alto Flute, Clarinet – Phil Bodner; Flute, Alto Flute, Piccolo Flute, English Horn – Romeo Penque; French Horn – Jim Buffington; Guitar – John Tropea; Harp – Gloria Agostini; Percussion – David Friedman, Ralph MacDonald; Trombone – Garnett Brown; Trumpet, Flugelhorn – Alan Rubin, Marvin Stamm; Vibraphone – David Friedman; Violin – David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harry Cykman, Harry Lookofsky, Irving Spice, Max Ellen, Paul Gershman; Vocals – Eloise Laws, Lani Groves, Tasha Thomas

Morning Star (CTI Records 40th Anniversary Edition)

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Tubby Hayes - Night and Day

Styles: Saxophone, Vibraphone And Flute Jazz
Year: 2013
File: MP3@320K/s
Time: 72:30
Size: 166,8 MB
Art: Front

(13:24)  1. Half a Sawbuck
( 8:22)  2. Spring Can Really Hang You up the Most
(18:05)  3. The Simple Waltz
(14:06)  4. I'm Old Fashioned
(18:31)  5. Night and Day

There are relatively few Tubby Hayes CD's currently available, making this collection of live performances from Ronnie Scott's club in London quite valuable. Hayes was a versatile bop-based performer who during the period covered by the set was showing a bit of the influence of Johnny Griffin and Rahsaan Roland Kirk. Tubby is heard mostly on tenor but doubles on flute during Clark Terry's "The Simple Waltz" and sticks to vibes on "Spring Can Really Hang You Up The Most." 

The five lengthy performances (all but one are over 13 minutes long) also include some strong playing by Jimmy Deuchar (who is heard on trumpet and mellophonium on one song apiece) and pianists Terry Shannon and Mike Pyne. Reasonably well recorded for club appearances of the mid-1960's, this CD (whose music was initially released in 1996) is easily recommended to straightahead jazz collectors. ~ Scott Yanow https://www.allmusic.com/album/night-and-day-mw0000082078

Personnel:  Tenor Saxophone, Vibraphone, Flute– Tubby Hayes; Bass – Freddy Logan, Jeff Clyne; Drums – Allan Ganley, Benny Goodman , Phil Seamen; Mellophone – Jimmy Deuchar; Piano – Terry Shannon; Trumpet – Jimmy Deuchar 

Night and Day

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Barry White - Put Me In Your Mix

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 73:08
Size: 169,0 MB
Art: Front

( 4:44)  1. Let's Get Busy
( 6:09)  2. Love Is Good With You
( 5:48)  3. For Real Chill
( 6:24)  4. Break It Down With You
( 5:45)  5. Volare
( 7:38)  6. Put Me In Your Mix
( 5:21)  7. Who You Giving Your Love To
( 7:09)  8. Love Will Find Us
( 5:54)  9. We're Gonna Have It All
(10:07) 10. Dark And Lovely (You Over There)
( 8:03) 11. Sho You Right - Remix

Put Me in Your Mix is a 1991 album by R&B singer Barry White. Regarded as a return to form, with exemplary slow jams, it was the second album of his comeback phase and contained the smash title track. The album also contained production akin to contemporary R&B, featuring electronic instrumentation and, particularly, the presence of a Linn Drum combined with White’s traditional symphonic arrangements. Glodean White sang back-up vocals, and Isaac Hayes sang duet on “Dark and Lovely (You over There).” The album reached number 98 on the Billboard Hot 100 and number 8 on the Billboard top R&B albums chart. https://en.wikipedia.org/wiki/Put_Me_in_Your_Mix

Put Me In Your Mix

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Bob Mintzer Quartet - Quality Time

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 59:50
Size: 138,2 MB
Art: Front

(6:25)  1. Quality Time
(5:30)  2. Overlap
(7:05)  3. Few Good Notes
(5:55)  4. Emit A1
(6:10)  5. All Is Quiet
(4:45)  6. Bop Boy
(5:36)  7. Groovetown
(6:04)  8. Gather the Spirit
(7:19)  9. Bossa
(4:56) 10. Family

As “quality time” is wholly subjective, others may find time spent with saxophonist Bob Mintzer’s quartet(s) far more pleasurable than I. On the one hand, Mintzer is a first rate player, consistently resourceful and well respected by his fellow musicians; on the other, he seldom manages to induce even the slightest response from my emotional nerve center even though I’ve appreciated some of his big band endeavors such as Latin from Manhattan, Art of the Big Band and Big Band Trane. Hard to explain? Sure it is. All the notes are enfolded properly in place, and the music flows as evenly as it should, but a key ingredient seems to be missing call it personality, charisma or whatever. The upshot is that Mintzer dances nimbly around these ears without ever fashioning a secure impression. Not his fault, of course, but mine. He is, after all, merely delivering the message; it falls on my shoulders to receive and decipher it, something I’ve never been wholly able to accomplish. Would that it were otherwise, but it’s not. As for the music on Quality Time, Mintzer’s new release on TVT, it’s largely straight ahead and well mannered. Mintzer penned eight of the charts, co wrote “Emit al” (on which he plays tenor, bass clarinet and EWI) with Ferrante, Haslip and Kennedy, and rounds out the program with a traditional hymn, “Gather the Spirit.” Rhythmically, Mintzer alternates between the rock shuffle cadences so often employed by his longtime colleagues, the Yellowjackets, and more sophisticated backdrops, as on “A Few Good Notes,” on which he plays soprano; the ballad “All Is Quiet,” the fast moving “Bop Boy” and the bluesy “Groovetown.” There are two rhythm sections (with Ferrante, Haslip and Kennedy sitting in on “Emit al” and “Family”), and each might best be described as workmanlike but amorphous aside from a couple of respectable solos by Markowitz and Ferrante, this is Mintzer’s date, and they are there to lend support, which they do. Quality Time is a commendable session, well planned and carried out. I regret that it didn’t push any of my buttons. ~ Jack Bowers https://www.allaboutjazz.com/quality-time-bob-mintzer-tvt-review-by-jack-bowers.php?width=1920

Personnel: Bob Mintzer, tenor, soprano saxophones; Phil Markowitz, piano; Jay Anderson, bass; Peter Erskine, drums, except tracks 4 & 10

Quality Time

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Eileen Farrell - Sings Johnny Mercer

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 47:41
Size: 109,8 MB
Art: Front

(2:24)  1. Too Marvelous for Words
(4:30)  2. Skylark
(2:42)  3. I'm Shadowing You
(3:22)  4. Moon River
(3:00)  5. I Remember You
(3:47)  6. Laura
(4:10)  7. You Grow Sweeter as the Years Go By
(3:16)  8. I'm Old Fashioned
(4:55)  9. I Thought About You
(3:22) 10. Weekend of a Private Secretary
(3:58) 11. Day In, Day Out
(4:50) 12. Early Autumn
(3:17) 13. Autumn Leaves

Another in a series of works with noted operatic singer Eileen Farrell turning to works by pre-rock composers. Her renditions of Johnny Mercer songs were delivered peerlessly, although she didn't always provide the emotional shadings and textures others brought to the lyrics. The 1991 album again featured arrangements by Loonis McGlohon, as well as Manny Albam on four tunes, and a slightly altered instrumental lineup. ~ Ron Wynn https://www.allmusic.com/album/eileen-farrell-sings-johnny-mercer-mw0000074649

Personnel:  Eileen Farrell - vocals; Loonis McGlohon - piano; Doug Burns - acoustic bass; Bill Stowe - drums; Jim Pugh - trombone; Joe Negri - guitar; Phil Thompson - flute, alto saxophone; Doug Henry - tenor saxophone, bass clarinet; Jon Thornton - trumpet

Sings Johnny Mercer

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Dave Frishberg - By Himself

Styles: Vocal And Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 58:56
Size: 136,9 MB
Art: Front

(2:57)  1. I Want To Be A Sideman
(4:07)  2. Ain't She Sweet
(4:15)  3. Last Night When We Were Young
(2:59)  4. You Took Advantage Of Me
(4:18)  5. Saratoga Hunch
(4:26)  6. Groovin' High
(5:40)  7. It Shouldn't Happen To A Dream
(2:21)  8. Can't Take You Anywhere
(5:40)  9. My Swan Song
(8:11) 10. Kansas City Medley: How Long, How Long Blues / I Want A Little Girl / Jumpin' The Blues / Gee Baby, Ain't I Good To You' / Confessin' The Blues / Sometimes I Am Happy
(3:29) 11. I Could Care Less
(3:18) 12. Jump For Joy
(3:36) 13. The Trouble With Me Is You
(3:33) 14. I'll Never Smile Again

Somewhat like Nat King Cole, whose “unforgettable” vocal stylings made him wealthy and famous but changed him from a Jazz pianist to a popular entertainer, Dave Frishberg’s virtuosity as a pianist has been overshadowed by other concerns, namely his well known talents as a singer / songwriter whose hip lyrics always leave one smiling knowingly and nodding his / her head in appreciation. So a couple of decades have passed since Frishberg, once best known as the house pianist at New York’s Half Note cafe, where he accompanied many of Jazz’s brightest stars in the ’60s and early ’70s, last recorded an album that showcases his piano playing. Ten of the fourteen selections on By Himself feature Frishberg’s solo piano; the others (“I Want to Be a Sideman,” “Saratoga Hunch,” “Can’t Take You Nowhere,” “I Could Care Less”) are vocals with lyrics, of course, by Frishberg (“Care Less” was co authored with kindred spirit Bob Dorough). Make no mistake, Frishberg is a gifted pianist, but he’s fortunate to have those other talents to fall back on. What I mean is, when he’s writing and singing he’s unmistakably Dave Frishberg; when he’s playing he could be any one of hundreds, if not thousands, of similarly well endowed keyboard artists. There’s nothing in his competent but otherwise unremarkable approach to the piano that screams “Frishberg” and makes him stand out in an already overcrowded arena. For that reason, good as his playing is, it’s the vocals that leave the strongest impression on By Himself. Frishberg is undoubtedly sharp enough to realize that, which may be why he hasn’t recorded a “piano” album in so many years and why he chose to include some of his inimitable songs with words on this one. As a change of pace for Frishberg fans, this is creditable; as an album of solo piano it’s no better or worse than many others that are crammed into the Jazz bins at record stores across the country. ~ Jack Bowers https://www.allaboutjazz.com/by-himself-dave-frishberg-arbors-records-review-by-jack-bowers.php

Personnel: Dave Frishberg, piano, vocals.

By Himself

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Ferit Odman - Dameronia With Strings

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 42:17
Size: 97,6 MB
Art: Front

(4:28)  1. On a Misty Night
(6:57)  2. If You Could See Me Now
(3:50)  3. Just Plain Talkin'
(4:40)  4. Smooth as the Wind
(6:46)  5. Look, Stop & Listen
(5:26)  6. You're a Joy
(5:01)  7. Our Delight
(5:04)  8. Soultrane

In his latest album Dameronia With Strings, Ferit Odman pays tribute to the great Tadd Dameron. He treats listeners to a smorgasbord of Dameron jazz a sparkling kind that soothes the soul but pumps the heart. Accompanied by an outstanding group of musicians, namely trumpeter Terell Stafford, composer and guitarist David O'Rourke, pianist Danny Grissett, bassist Peter Washington, and a string sextet, the Turkish jazz drummer made Dameron relevant to young jazz artists today. In "Just Plain Talkin,'" Odman reinvents Dameron's blues into bold jazz with a duet of bass and drums midway through and a sleek percussion solo towards the end. An upbeat piano adds more vigor to the already dynamic jazz tunes of the song. "Just Plain Talkin'" is the kind of music that tells a story from its opening rhythms to the end. It intrigues listeners, making them ever so in tuned with every beat, note, and strum. 

"Smooth as the Wind" is a magical masterpiece with an underlying sensuous drum roll. Another classic from Dameron, this composition recalls old Hollywood glamour. Odman's well-timed ripples flow smoothly with the trumpet's enticing tune. It starts off slow, but then gradually becomes upbeat before pulling back once again. It ends with a buoyant crescendo that will leave you in awe as if you've just seen an ochre sunset with multiple tones blending seamlessly. Odman shows off his jazz-drumming prowess in his reimagining of Dameron's "Look, Stop & Listen." The percussion leads the way in this song with the 33-year-old drummer exhibiting pure beat brilliance. The way it merged with the piano was extraordinary. Dameron has had a special spot for drummers and this composition was created to highlight the talent of jazz drummer Philly Joe Jones. In the same way, this song showcases Odman's skillful coordination and impeccable rhythm as he hits the perfect percussion at the right time without a beat going off or out of sync. The title "Look, Stop & Listen" encapsulates the entire experience as it mesmerizes the listener and makes everything seem to stop, as it demands undivided attention. Hurried but not harried, the upbeat tempo will awaken the senses with a unique jazz music that vibrates with a mix of feathery and ferocious beat. Odman is a master of subtlety and grandeur. His gentle drumming resonates despite the presence of other instruments and his loud beats harmonize with the same intensity. This all-instrumental jazz album will captivate listeners the same way Dameron enchanted his followers. Besides, who needs words when every note and beat speaks to you in ways you never thought possible. ~ Jim Olin https://www.allaboutjazz.com/dameronia-with-strings-ferit-odman-review-by-jim-olin.php

Personnel: Ferit Odman: percussion, drums; Terell Stafford: trumpet; David O’Rourke: guitar; Danny Grisett: piano; Peter Washington: bass.

Dameronia With Strings

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Lonnie Plaxico - Rhythm & Soul

Styles: Jazz, Post Bop
Year: 2003
File: MP3@224K/s
Time: 59:22
Size: 95,6 MB
Art: Front

(5:14)  1. Rhythm & Soul
(6:24)  2. Kyeko
(5:36)  3. The Time
(6:20)  4. Slow Dance
(5:36)  5. Always Crazy
(5:41)  6. Don't Explain
(3:06)  7. Soul Eye's
(5:43)  8. Dark Side
(5:32)  9. I'll Wait And Pray
(5:37) 10. Weather Report
(4:29) 11. 'Tis So Sweet

Lonnie Plaxico is a tremendous bassist and session man. His eighth album as a leader spotlights his brilliance in several areas, from gently, yet substantially backing vocalists to working both alone and with large combos. Plaxico uses Mal Waldron’s “Soul Eyes” as a set piece to demonstrate his impressive solo bass facility, delivering a stunning melodic embellishment, then a dazzling improvisation working off it. On “‘Tis So Sweet,” a traditional gospel tune, he smoothly glides underneath vocalist Aneilia Lomax and pianist Arene Lomax, punctuating and extending their leads while turning the song into a majestic concluding work. The disc’s small-group pieces tend to be either intimate ballads, such as the poignant cover of “Don’t Explain” or “I’ll Wait and Pray,” where the unison interaction between Plaxico, pianist/organist George Colligan and drummer Billy Kilson is augmented by careful, intense playing from either trumpeter Jeremy Pelt or tenor/soprano saxophonist Marcus Strickland. The edgier, looser pieces feature bigger units, mainly sextets, on “The Time,” “Weather Report” and “Slow Dance,” but most notably the first-rate octet number “Always Crazy.” Rather than simply churning out another hard blowing piece, Plaxico reserves solos for Pelt and Strickland, getting fiery, expressive and disciplined statements from them, and strong complementary efforts from everyone else. Though the sextet tunes, particularly “Weather Report,” are crisply played, they’re not quite as explosive or memorable as “Always Crazy,” which stands as the best number on a very good record. https://jazztimes.com/reviews/albums/lonnie-plaxico-rhythm-and-soul/

Personnel:  Double Bass, Electric Bass – Lonnie Plaxico; Drums – Billy Kilson; Piano – Arene Lomax; Piano, Organ – George Colligan; Tenor Saxophone – Wayne Escoffery; Tenor Saxophone, Soprano Saxophone – Marcus Strickland; Trumpet – Alex Sipiagin, Jeremy Pelt; Vocals – Aneilia Lomax (tracks: 11)

Rhythm & Soul

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Bill Charlap - Stardust: The Music Of Hoagy Carmichael

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 67:56
Size: 156,3 MB
Art: Front

(3:11)  1. Jubilee
(6:38)  2. I Get Along Without You Very Well
(7:19)  3. Rockin' Chair
(5:00)  4. I Walk With Music
(6:35)  5. Two Sleepy People
(7:27)  6. The Nearness Of You
(6:46)  7. One Morning In May
(5:54)  8. Blue Orchids
(5:41)  9. Georgia On My Mind
(9:24) 10. Stardust
(3:56) 11. Skylark

Although he had made a few records previously, by the time that pianist Bill Charlap cut All Through the Night in 1997, it was obvious that the connection established with trio mates Peter and Kenny Washington was a special one, capable of great finesse and intuitiveness. People in the upstairs offices at Blue Note also must have known a good thing when they heard it because it wasn’t long before Charlap was inking his first major label deal. Written in the Stars would be his initial Blue Note offering, and there was much to recommend, however Stardust strikes a sophisticated pose that ups the ante even further. The American Popular Song has always been Charlap’s fodder (no surprise there considering that his father composed for the Broadway stage), however there’s a new concept at play with Stardust in that the entire program consists of Hoagy Carmichael originals. “The Nearness of You,” “Georgia On My Mind,” “Skylark,” and the title track are the most widely known items, balanced very astutely by some equally beguiling, if lesser known, chestnuts. ”I Get Along Without You Very Well” is a masterpiece of invention and surely one of the greatest lines that Carmichael ever penned and guest Tony Bennett’s rendition is fine enough, even if the vocalist’s pipes are not quite what they used to be. 

Shirley Horn’s husky whisper envelops “Stardust” and again nothing much all that revelatory occurs. It’s with the instrumental numbers that things really begin to coalesce. Frank Wess gets that breathy swagger going and things start to swing as “Rockin’ Chair” reaches for that ‘adult tempo’ (as Kenny Washington calls it) that puts a smile on one’s face. Jim Hall’s appearance on “Two Sleepy People” helps to paint additional hues on an already panchromatic view of another obscure gem. Really only “Jubilee” and “I Walk With Music” get above a slow ballad tempo, but it’s that opportunity to luxuriate in the wide open spaces that helps Charlap get his point across in a way that’s deeply satisfying. Classy and accessible, Stardust is piano trio jazz that’s right up there with as good as it gets. ~ C.Andrew Hovan https://www.allaboutjazz.com/stardust-bill-charlap-blue-note-records-review-by-c-andrew-hovan__10339.php

Personnel: Bill Charlap (piano), Peter Washington (bass), Kenny Washington (drums)

Stardust: The Music Of Hoagy Carmichael

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