Mark Turner - In This World

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 60:26
Size: 139,7 MB
Art: Front

(7:33)  1. Mesa
(7:18)  2. Lennie Groove
(8:02)  3. You Know I Care
(6:48)  4. The Long Road
(6:45)  5. Barcelona
(7:56)  6. In This World
(5:02)  7. Days of Wine and Roses
(4:45)  8. Bo Brussels
(6:13)  9. She Said, She Said

A horde of promising young sax players has emerged in the 1990s, but only a few players have begun to find their voices. Mark Turner is one young saxman whose Muse has kept pace with his talent. The 33-year-old tenor saxophonist leads a band of clever young musicians on this thoughtful release, his second for Warner Brothers. Turner has developed a unique style inspired by John Coltrane's modal flights and Warne Marsh's unpredictable chordal experiments. This time Turner delivers six originals and three covers, and each track is energized by the incredibly powerful presence of Brad Mehldau on piano. In This World offers complicated music, a point that's reinforced by Mehdlau's pedantic liner notes. Take the pianist's description of the opening track, entitled "Mesa:" "Opting for mediant relationships instead of dominant-tonic, and casting a mixolydian blur on the dominant seventh chord with the added fourth, he (Turner) conjures a world of half-lights and shadows, filled with achy, suffused longing." Translation: "Mesa" is an ethereal piece that evokes a desert. Complex as these songs are, there is also something inherently tranquil about them. Unlike the majority of young reed players, Turner is not so intent on dazzling us with technique. He's smart enough to be subtle, and his vision takes in the total ensemble. Most of his solos sound like conversations rather than monologues, and most are played at the high end of the tenor sax register. Like Coltrane, Turner started out on alto before he switched to tenor. The young saxman has a very warm tone and an almost spiritual feel for his instrument, qualities that have earned him great respect among his peers. It's telling that Joshua Redman played on his debut ( Mark Turner ) released earlier this year, and that the great James Moody teamed with him on the excellent Warner Jams, Volume Two in 1997. 

Now he's landed Mehldau, the hottest young pianist in jazz. Perhaps owing to the time the two spent together in the TanaReid band, the rapport between Mehldau and Turner seems almost telepathic. They snake their way through this Trane-like terrain with inspired synergy. Dexterous support is provided by Larry Grenadier on bass and New Orleans native Brian Blade on drums. The latter is an intense musician who contributes ambience as well as rhythms. Drummer Jorge Rossy also plays on two cuts, while inventive guitarist Kurt Rosenwinkel appears on three. Besides "Mesa," highlights among the nine tracks include "You Know I Care," a beautiful ballad written by Duke Pearson; "Days of Wine and Roses," which is given a fast-paced treatment; "The Long Road," a multi-hued piece and one of three cuts that feature Mehldau on electric piano; and "Bo Brussels," a wild free-form improvisation. "Lennie Groove" is derived from Lennie Tristano's "Lennie's Pennies," and it showcases some incredibly complex interplay between Turner and Mehldau and intriguing solos by each. My favorite track is "Barcelona," a Turner original that swings in noble fashion. The title track includes a gorgeous serpentine duet between Turner and Rosenwinkel. A cover of the Beatles' "He Said, She Said" even has a Ringo-like back beat. Mark Turner stands with James Carter, Joshua Redman and Chris Potter as one of the most talented  and focused  post-bop saxophonists to emerge in the 1990s. While casual jazz fans might find In This World a difficult listen, anybody who's into Coltrane, Tristano, or Marsh should really dig it. ~ Ed Kopp https://www.allaboutjazz.com/in-this-world-mark-turner-warner-bros-review-by-ed-kopp.php

Personnel:  Mark Turner – tenor saxophone; Brad Mehldau – piano, electric piano; Kurt Rosenwinkel – guitar; Larry Grenadier – bass; Brian Blade – drums; Jorge Rossy – drums

In This World

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Wendy Luck - Stand Up

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 39:18
Size: 90,5 MB
Art: Front

(3:42)  1. Stand Up
(3:37)  2. What's Freedom For
(3:24)  3. My God Is Love
(3:39)  4. You Cheer for Me
(3:40)  5. My House
(4:35)  6. Mercy More
(4:26)  7. You'll Be There
(4:44)  8. I Love You
(3:18)  9. Amazing Grace
(4:07) 10. Ave Maria

It was another very gray, dreary, not yet spring morning as I headed out the door decked with my headset in place. I was headed for the subway, beginning to familiarize myself with the song, Stand Up, in preparation for my upcoming recording session. I got on the C train, and on this day, the “C” stood for crowded. I locked eyes with an old man sitting on the train leaning on his cane. In my earbuds only, I heard the lyrics urging, “Stand up ... Stand up.” Suddenly the man stood up and said, “I am going to stand up. You sit.” I sat down and looked up and into the eyes of a weary pregnant woman in her last weeks. The lyrics again danced in my earbuds ... “Stand up ... Stand up.” This time I stood up and waved her into my seat. She sat, and pretty soon a number of passengers started smiling, laughing, and standing up, offering their seats to others on the subway car. As the train pulled into my stop at Times Square, a few of us got off, smiling like old friends. We had connected by standing up together. On that initially dreary morning, the music, as soundtrack to my life, seemed to magically transform me and somehow those around me, with a sparkling inspiration to stand up for ourselves and for others, and to have some fun in the process. It happened in New York City, so it can happen anywhere. Thank you for the opportunity to share my music with you. This album of songs is about “standing up” while connecting with the joy, passion and love that resides within each of us. The title song, Stand Up, offers a universal message and for me, a unique deeper personal meaning. May the music speak to you, bless you, lift you, and encourage you to stand up to the beautiful truth of who you really are. Peace and blessings, Wendy https://store.cdbaby.com/cd/wendyluck2

Stand Up

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John Hicks, Frank Morgan - Twogether

Styles: Piano And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 57:22
Size: 132,0 MB
Art: Front

(8:22)  1. Parisian Thoroughfare
(8:23)  2. Night in Tunisia
(8:39)  3. My One and Only Love
(8:04)  4. Is That So?
(8:58)  5. Round Midnight
(8:00)  6. N.Y. Theme
(6:53)  7. Passion Flower

The passing of pianist John Hicks and altoist Frank Morgan within a year of each other was a sad blow to the High Note roster and the jazz community writ large. Both men had enjoyed a late career renaissance via the label and Morgan, in particular, experienced an artistic renewal through a series of critically-acclaimed recordings capped by a three-volume document of a stand at The Jazz Standard. This set is something of a posthumous swan song for each player, coupling pieces from a duo performance at the Jazz Bakery in Los Angeles, November of 2005 with selections from a solo Hicks recital roughly a year later. Pun-saddled titled aside, the program delivers tradition-savvy post-bop plied by experts of the form. The tracks unfold in an ear-pleasing sandwich sequence with solo cuts bracketing a pair of duo pieces on either side of the program. Hicks’ solo investigations, starting with a rollicking rococo investigation of Bud Powell’s “Parisian Thoroughfare”, accord him the freedom to range through themes and variations at an easygoing pace with plenty of space for loquacious elaboration. All of the pieces save the closing solo rendering of “Passion Flower” ring in near the eight-minute mark and that last still clocks generously just shy of seven. Sound on both dates is intimate and faithful in the capture of twosome’s toothsome conversations. Compared with the introspective cast of Hicks’ solo ventures, the numbers with Morgan convey an even greater degree of urgency and complexity. “A Night in Tunisia” gives Hicks’ left hand a strenuous work out in the construction of romping chords, Morgan slipping and sliding through elisions on the familiar theme in aerated tone that approaches Paul Desmond territory. Hicks follows his partner’s extended statement with a delightful stride-inflected foray stamped with staggered switchbacks and a dizzying rhythmic pliability that primes the audience for the altoist’s lissome return and a handful more melodic permutations. The choice of “’Round Midnight” would appear to pull the partnership even further into the realm of jazz orthodoxy, but instead they effectively underscore why it remains a perennial favorite for improvisers the world over through an elegant cerulean deconstruction. By contrast, Kenny Dorham’s bop-structured “N.Y. Theme” trades strictly in fun fisticuffs between the partners, Hicks’ hands building decorous layered chords as Morgan lets fly his inner-Bird with unabashed brio. The music of Hicks and Morgan is now a regrettably finite commodity, but their shared artistic import remains undiminished in this delightful meeting between justly-venerated musical souls. https://news.allaboutjazz.com/john-hicks-and-frank-morgan-twogether-high-note.php?width=1920

Personnel: John Hicks – piano; Frank Morgan – alto sax (tracks 2, 3, 5, 6)

Twogether

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Larry Coryell - The Dragon Gate

Styles: Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 43:23
Size: 101,2 MB
Art: Front

(3:42)  1. The Dragon Gate
(3:00)  2. Giant Steps
(3:43)  3. Sunset On Soweto
(4:11)  4. West Coast Blues
(4:38)  5. Molly's Lament
(4:41)  6. Back Bay Blues
(3:45)  7. And She Loved Him
(7:21)  8. Bottleneck Blackout
(3:24)  9. Things Ain't What They Used To Be
(4:52) 10. Snow Prince

This is a strong jazz-oriented date that features Larry Coryell exclusively on acoustic guitar, playing two standard blues unaccompanied, using one or two overdubs on six other tracks and performing a pair of duets with fellow guitarist Stefan Grossman. The music covers a bit of ground from a superior version of "Giant Steps" and tributes to Wes Montgomery and Duke Ellington to some introspective originals, one of which hints at Bob Dylan. The original LP issue also includes a 16-page pamphlet with transcriptions (for guitar) of each of the melodies except "Giant Steps." Recommended, especially to guitarists and those who primarily associate Larry Coryell with fusion. ~ Scott Yanow https://www.allmusic.com/album/dragon-gate-mw0000654926

The Dragon Gate

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Herbie Hancock - Maiden Voyage

Styles: Piano Jazz 
Year: 1965
File: MP3@320K/s
Time: 42:05
Size: 96,8 MB
Art: Front

( 7:57)  1. Maiden Voyage
( 6:01)  2. The Eye Of The Hurricane
( 8:47)  3. Little One
(10:03)  4. Survival Of The Fittest
( 9:16)  5. Dolphin Dance

Over the past forty-nine years there's been no shortage of ink spilled extolling the musical virtues of Herbie Hancock's 1965 recording, Maiden Voyage. Featuring the great trumpet of Freddie Hubbard and the bracing tenor of George Coleman, the record is as good as any effort turned in by Hancock during that period. It's a record every jazz fan should know. Unfortunately, Maiden Voyage also has a long standing reputation for mediocre sound quality. In another review of an expensive vinyl re-release of this record I wrote, "There is nothing to be gained by a first-class analogue pressing of a record that, sadly, was not recorded with the attention to sound quality that it deserved." In my record collection, the smeared quality of every instrument is prominent on a recent CD issue and the aforementioned double 45RPM LP, and an original 1965 vinyl copy while less smeared sounds flat and dull. I acquired each of these disks successively in a quest to find a truly good sounding copy of this date, and was disappointed each time. With that many different versions revealing similar deficiencies it's easy to conclude that this record just wasn't very well recorded in the first place.  All Rudy Van Gelder recordings from the 1950s and 60s have a certain period quality to them. Hard-panning instruments to the left and right channels creates an unnatural soundstage environment. Horns brass and woodwinds generally fare the best, with full-sized scale, realism, and even air surrounding the players (in some cases they're quite extraordinary). Drums and bass are also pretty good. The piano, however, has long been criticized for often sounding small, muffled and indistinct. 

That piano alone makes almost any Van Gelder recording instantly recognizable as such. For whatever the reason, other copies of Maiden Voyage seemed to suffer the additional indignity of an even more deeply truncated piano, blurring of the other instruments, and a collapsed soundstage that sounds as though it had been recorded in a closet. It's never sounded as good as it should have for the quality of its music, making it a frustrating record to love. So when Ron Rambach of Music Matters announced that he was shipping his 33rpm version of Maiden Voyage the first thing that sprung to mind was, "Why bother? It's been done to death and it never gets any better." I stuck it on a shelf without even opening it until Rambach followed up with several emails insisting that I listen to it. Finally relenting, I tossed it on the turntable with absolutely no expectation of being impressed. What else could I possibly hear in this fourth copy that I hadn't already heard in the first three? Boy, was I wrong. It is said that the original master tape for this date has deteriorated significantly over the years, making a truly great 1st generation analog copy supposedly impossible. Yet here it is. Rambach is pretty relentless about getting great sound out of his Blue-Note re-releases, but given its history the sound quality on this pressing is truly surprising. 

The smearing is gone, the instruments are distinct, the soundstage has actual depth that doesn't exist even on my original copy, and most impressively, the piano sounds like an actual piano: large(er. It's still a Van Gelder, after all.), weighty, and dynamic. The horns sound life-like and detailed, Ron Carter's bass has woody pluck, and Tony Williams' drums have resonance while the cymbals shimmer in space. Perhaps the only thing missing in comparison to the best Van Gelder Blue Notes is the scale of the instruments, which on certain recordings can be almost bigger than life. Here, they lack any vertical height, leaving them to sound a little small in a very wide soundstage, a minor quibble on an overall excellent mastering job from a troublesome tape. As usual with the Music Matters releases, the vinyl is dead quiet, which helps more detail emerge from the recording. Whatever hi-fi mojo Rambach and mastering Engineer Kevin Gray used to get this sound off that tape and onto new vinyl, it should be bottled and shipped to every recording engineer in the world. Maiden Voyage has always been musically first-rate, but I'd written off this recording as sonically dead years ago. It's been brought back to life in the most dramatic way. It's still a Van Gelder recording of course, and it sounds like one, with all of the period sonic hallmarks that entails, but now it sounds like a solidly good Van Gelder recording instead a botched job. I've often wondered, "What if Maiden Voyage had actually been recorded properly?" This Music Matters 33rpm pressing is the answer writ large. With sincere apologies to Rudy Van Gelder, this turns out to have been a pretty darned good recording after all. 

~ Greg Simmons https://www.allaboutjazz.com/maiden-voyage-herbie-hancock-blue-note-records-review-by-greg-simmons 7952.php

Personnel: Herbie Hancock: piano; Freddie Hubbard: trumpet; George Coleman: tenor saxophone; Ron Carter: bass; Tony Williams: drums.

Maiden Voyage

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Julie Budd - They Wrote the Songs

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 31:30
Size: 72,8 MB
Art: Front

(4:12)  1. Home
(4:06)  2. Love Me Do
(5:07)  3. Perfect
(4:13)  4. Let Me Try Again
(4:33)  5. Kindred Spirits
(8:05)  6. Newley Medley: Who Can I Turn To , What Kind Of Fool Am I / For Once in a Life Time / If I Ruled the World
(1:11)  7. Reprise Home

This Long awaited CD from one of Americas leading vocalists, is finally here. Every song selection is straight from the heart , delivering dramatic performances that will leave you breathless. These are the Songs Of our generation, contemporary , but yet classic material , written by some of the greatest songwriters of our time. Such as , The Beatles, Ann Hampton Callaway, Anthony Newley & Leslie Bricusse , and many more. Performed by a dynamic and premier Artist. This is a Cd you'll listen to forever. https://store.cdbaby.com/cd/juliebudd

They Wrote the Songs

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Jenny And The Mexicats - Ten Spins Round the Sun (10 Year Anniversary Album)

Styles: Flamenco, Jazz   
Year: 2018
File: MP3@320K/s
Time: 69:31
Size: 162,9 MB
Art: Front

(3:26)  1. Starting Something
(3:29)  2. Verde Más Allá
(2:56)  3. Me and My Man
(3:16)  4. Duele al Caminar
(2:54)  5. Frenético Ritmo
(3:11)  6. On the Hill
(2:56)  7. Why Why
(3:20)  8. Me Voy a Ir
(4:55)  9. The Song for the UV House Mouse
(3:28) 10. Aprendimos
(2:52) 11. La Diabla
(3:03) 12. Labios - Live
(3:17) 13. Boulevard
(2:22) 14. Born in the City
(4:06) 15. Head in My Heart
(5:27) 16. La Primera Despedida - Deep Inc. Vocal Remix
(3:35) 17. Heaven Knows
(3:05) 18. Tanto Tiempo - Live
(3:39) 19. La Bruja
(4:04) 20. Back to Basics

Jenny and the Mexicats, previously known as Pachucos y la Princesa, is a multicultural band composed of English trumpeter and singer Jenny Ball, Spanish percussionist David González Bernardos, and Mexicans Pantera Mexicat on guitar and Icho on double bass. Their style blends elements of flamenco, jazz, folk, and cumbia, with lyrics in both English and Spanish. The band is considered independent for not having a contract with any record company. https://en.wikipedia.org/wiki/Jenny_and_the_Mexicats

Ten Spins Round the Sun (10 Year Anniversary Album)

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Freddie Slack And His Orchestra - Freddie Slack's Boogie Woogie

Styles: Jazz, Big Band 
Year: 1945
File: MP3@320K/s
Time: 22:16
Size: 52,1 MB
Art: Front

(2:55)  1. Rib Joint
(2:46)  2. Behind The Eight Beat
(3:01)  3. Strange Cargo
(2:45)  4. Southpaw Serenade
(2:40)  5. A Cat's Nineth Life
(2:33)  6. Blackout Boogie
(2:54)  7. Bashful Baby Blues
(2:37)  8. Kitten On The Keys

Frederick Charles Slack (August 7, 1910 – August 10, 1965) was an American swing and boogie-woogie pianist and bandleader. Slack was born in Westby, Wisconsin. He learned to play drums as a boy. Later he took up the xylophone, and at the age of 13 he changed to the piano. He studied with a local teacher throughout high school. At the age of 17 he moved with his parents to Chicago, where he continued his musical training. He met Rosy McHargue, a well-known clarinetist, who took him to hear many leading musicians, including Bix Beiderbecke and Earl Hines. His first job was with Johnny Tobin at the Beach View Gardens. He later moved to Los Angeles, where he worked with Henry Halstead, Earl Burtnett and Lennie Hayton, before joining Ben Pollack in 1934. He played with the Jimmy Dorsey Band in the 1930s and was a charter member of the Will Bradley Orchestra when it formed in 1939. Known to bandmates as "Daddy Slack," he played the piano solo on Bradley's recording of "Beat Me Daddy, Eight to the Bar", one of the early white boogie-woogie hits and a classic of the Big Band era. He formed his own band in 1942 and signed with the newly founded Capitol Records. He recorded three songs at his third recording session for Capitol, on May 21, 1942. 

His recording of "Cow Cow Boogie," sung by the 17-year-old Ella Mae Morse, was the second record Capitol issued on July 1, and by July 25 it had reached number 1 on the Hit Parade. It was Capitol's first gold single. T-Bone Walker was a member of Slack's band from 1942 to 1944 and Slack later accompanied Walker on his first solo recording for Capitol, "Mean Old World". This band also had a hit with "Strange Cargo." Slack continued to record with Capitol until at least 1950, recording some 80 tracks for the label. Slack also recorded as an accompanist for Big Joe Turner, Johnny Mercer, Margaret Whiting and Lisa Morrow. "Eight Beat Mack" refers to drummer Ray McKinley, and "Doc" refers to the band's bass player, Doc Goldberg. His 1955 album Boogie Woogie on the 88 featured a horn section including jazz musicians Shorty Sherock and Herbie Harper among others, and with arrangements by Benny Carter. He also co-wrote the 1945 classic "The House of Blue Lights" first recorded with singer Ella Mae Morse, and later by Chuck Miller, The Andrews Sisters, Chuck Berry and Jerry Lee Lewis. On August 10, 1965, Slack was found dead in his bedroom from undetermined causes. https://en.wikipedia.org/wiki/Freddie_Slack

Freddie Slack's Boogie Woogie

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Edmundo Ros and his Rumba Band - Cuban Love Song

Styles: Latin
Year: 1945
File: MP3@224K/s
Time: 52:59
Size: 86,5 MB
Art: Front

(2:30)  1. Negra consentida
(2:26)  2. Brazil
(2:57)  3. Rio de Janeiro
(2:38)  4. Mexico
(3:02)  5. Baia
(3:08)  6. The 3 Caballeros
(2:54)  7. Jesusita en Chihuahua
(2:59)  8. In chi chi Castenango
(3:12)  9. Rum & limonada
(3:15) 10. I'm crazy for you
(2:35) 11. Dengozo
(2:47) 12. Good good good
(3:13) 13. No can do
(2:42) 14. Cancion Cubana
(3:10) 15. Tell me again
(3:20) 16. Quimbamba
(3:09) 17. Chico Chico
(2:54) 18. The Parrot

Edmundo Ros , born Edmundo William Ros , ( Port of Spain , 7 December 1910 - Alicante , 21 October 2011 ), was a trinidadiano- born British singer , arranger and conductor who spent his entire career in Great Britain . He conducted a Latin American orchestra that was very popular and performed an intense activity in recording records. Born in Port of Spain, in Trinidad to a Venezuelan black mother and a father of Scottish descent , Edmundo was the eldest of four children: his sisters, Ruby and Eleonora, followed by his half-brother Hugo, an illegitimate son.  His parents separated after Hugo's birth, due to the fact that his wife badly accepted the betrayal of her husband, and after some missteps Edmundo was enrolled in a military academy . Li became interested in music and learned to play the bombardino . In the period 1927-1937 his family lived in Caracas , Venezuela . He was inserted into theBand of the Military Academy of Venezuela and at the same time entered the staff of the Venezuela Symphony Orchestra as a timpani player . Subsequently he received a scholarship from the government, and in the period 1937-1942 he studied harmony , composition and orchestration at the Royal Academy of Music in London.  At the same time, he was a singer and percussionist in the band of Don Marino Barreto at the Embassy Club and recorded numerous pieces together with Fats Waller who was visiting London in 1938. At the age of 90, in 2000 New Year's Honors List , Ros was named a Knight of the Order of the British Empire . He turned 100 in December 2010.  Ros is an honorary citizen of the city of London and Freemason , member of the Lodge Sprig of Acacia n. 41, of Jávea , Spain . He married twice: the first time with Britt Johansen in 1950 and the second with Susan in 1971. From the first marriage he had two children, Douglas and Louisa. https://it.wikipedia.org/wiki/Edmundo_Ros

Cuban Love Song

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Chuck Hedges & Johnny Varro - Skylark

Styles: Clarinet And Piano Jazz 
Year: 1983
File: MP3@320K/s
Time: 38:31
Size: 88,7 MB
Art: Front

(4:36)  1. When You're Smiling
(4:03)  2. Here's That Rainy Day
(4:19)  3. Autumn Leaves
(3:38)  4. 'Round Midnight
(4:13)  5. Have You Met Miss Jones?
(4:02)  6. Jitterbug Waltz
(4:31)  7. There Will Never Be Another You
(4:12)  8. Skylark
(4:53)  9. I Found a New Baby

During a visit to Los Angeles in June 1983, clarinetist Chuck Hedges crossed paths with pianist extraordinaire Johnny Varro on two occasions. First, they played a gig at Gatsby's, a Brentwood club where Varro was a regular and after that, they entered a Hollywood studio with bassist Ray Leatherwood and drummer Gene Estes and recorded this excellent album, which was released as the Magna Graphic album The Square Roots of Jazz in 1983 before being reissued as the Delmark CD Skylark in 1995. The improvisers enjoy a strong rapport throughout the session, which generally recalls the small group swing of the '30s and '40s. Hedges and Varro are equally melodic, and their warm lyricism is something to savor on familiar standards that include "Autumn Leaves," "Skylark," and Fats Waller's "Jitterbug Waltz." 

Thelonious Monk's "'Round Midnight," which Orrin Keepnews described as "the national anthem of jazz," is an interesting choice for Hedges  though it has been recorded by countless beboppers, hard boppers, and post-boppers, it isn't the first song that swing or Dixieland artists think of. But the song certainly works for Hedges and Varro. Swing fans will definitely want this album. ~ Alex Henderson https://www.allmusic.com/album/skylark-mw0000646939

Personnel:  Clarinet – Chuck Hedges; Piano – Johnny Varro;  Bass – Ray Leatherwood; Drums – Gene Estes

Skylark

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Anne Bisson - Four Seasons in Jazz - Live at Bernie's

Styles: Vocal And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 50:33
Size: 117,6 MB
Art: Front

(0:44)  1. I Can See Clearly Now
(3:16)  2. Summer Breeze
(2:35)  3. Summer Me, Winter Me
(4:34)  4. The Summer We Crossed Europe in the Rain
(4:08)  5. September in Montreal
(3:11)  6. September Song
(3:39)  7. Maybe September
(3:50)  8. Midnight Sun
(3:10)  9. Summer Wishes, Winter Dreams
(4:45) 10. Sinking into the Future
(2:45) 11. Up Jumped Spring
(2:53) 12. It Might as Well Be Spring
(4:05) 13. Spring Can Really Hang You up the Most
(4:12) 14. The Summer We Crossed Europe in the Rain (Take One)
(2:40) 15. It Might as Well Be Spring_take Three

'Serendipity plants the seed, careful planning and hard work bring an amazing collaboration to life. Four Seasons in Jazz: Live at Bernie's is the landmark live recording featuring jazz pianist and vocalist Anne Bisson and the finest musicians and engineers in Hollywood. A selection of popular jazz standards and original compositions by the evocative Canadian songstress was recorded direct-to-disc over two days by Bernie Grundman in Hollywood, CA. Legendary engineer Michael C. Ross used a 100% analog recording chain straight to Grundman's all-analog record cutting system to realistically capture every amazing moment. Four Seasons in Jazz: Live at Bernie's is only the 3rd direct-to-disc recording ever created at Bernie Grundman Mastering. The Grand Master of Audio Mastering himself supervised the audio-to-disc transfer. This exquisite release is the inspiration of two music lovers and audiophile industry luminaries, Gary L. Koh of Genesis Advanced Technologies (USA) and Wuti Larnroongroj of Brilliance Music (Thailand). ~ Editorial Reviews https://www.amazon.com/Four-Seasons-Jazz-Live-Bernies/dp/B0745KR5XF

Four Seasons in Jazz - Live at Bernie's

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Marty Ehrlich, Peter Erskine, Michael Formanek - Relativity

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 64:15
Size: 148,2 MB
Art: Front

(6:47)  1. Incident At Harpham Flat
(5:46)  2. Eloi Lament
(9:22)  3. Lucky Life
(6:53)  4. The Pivot
(5:55)  5. Holy Waters
(6:46)  6. Round The Four Corners
(8:36)  7. Jiggle The Handle
(3:43)  8. Relativo
(6:07)  9. Taglioni
(4:16) 10. In A Child's Eyes

You might justifiably expect sparks to fly on this collaborative effort, given the careers of Ehrlich and his compatriots, trio members Michael Formanek and Peter Erskine. Unfortunately, it rarely happens, and while all three are exquisite players individually, this disappointing, often tepid recording stands as an opportunity not fully realized. In part it might be the result of different styles: Ehrlich, of course, is the more adventurous of the group, but Erskine, whose heart is usually in more commercial ventures, seems comfortable with the music. The pieces are all originals by the trio members, but there are times when a certain boredom pervades the music. To be fair, there are some aggressive, exciting moments, too, but they are the exception. Ehrlich continues to show remarkable versatility on alto and tenor saxophones, clarinet, and flute (where he is particularly lyrical). ~ Steve Loewy https://www.allmusic.com/album/relativity-mw0000252729

Personnel:  Alto Saxophone, Tenor Saxophone, Clarinet, Flute – Marty Ehrlich; Double Bass – Michael Formanek; Drums – Peter Erskine

Relativity

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Oliver Jones - The Many Moods Of Oliver Jones

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 54:42
Size: 127,1 MB
Art: Front

(4:18)  1. Something For Chuck
(4:23)  2. Solar
(4:44)  3. You Must Believe In Spring
(2:02)  4. Straight No Chaser
(4:08)  5. I've Got It Bad And That Ain't Good
(2:14)  6. Summer Me, Winter Me
(4:41)  7. Caravan
(4:28)  8. Emily
(4:33)  9. Alone Together
(4:57) 10. Lovely Lauren
(3:02) 11. It's Only A Paper Moon
(5:19) 12. It Never Entered My Mind
(2:52) 13. Sweet Lorraine
(2:54) 14. If I Should Lose You

Oliver Jones was already in his fifties when he was discovered by the jazz world. He had started playing piano when he was seven and at nine, he studied with Oscar Peterson's sister Daisy; the Peterson influence is still felt in his style. Jones played with show bands and worked with pop singer Ken Hamilton (1963-1980), much of the time in Puerto Rico. It was not until he returned to Montreal in 1980 that he committed himself to playing jazz full-time. Since the mid-'80s, Oliver Jones has recorded extensively for Justin Time and established himself as a major modern mainstream player with impressive technique and a hard-swinging style. ~ Scott Yanow https://www.allmusic.com/artist/oliver-jones-mn0000133036/biography

The Many Moods Of Oliver Jones

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Ralph Peterson - Triangular 2

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 50:27
Size: 116,5 MB
Art: Front

(5:53)  1. Jean's Dream
(8:24)  2. Peri
(6:47)  3. Night & Day
(6:20)  4. Games
(4:51)  5. Blues for Jones
(6:50)  6. I Remember Bu
(5:15)  7. Red's Brazilian Fantasy
(6:04)  8. If I Were a Bell

Ralph Peterson's second Sirocco Jazz release is also his second trio recording. On Triangular 2, Peterson is joined by pianist David Kikoski and bassist Gerald Cannon to play six originals  three by Peterson and two standards. Peterson, who is known for his high energy drumming, is more restrained than usual, as expected due to the lack of horns, but Kikoski, who has performed with drum greats Roy Haynes and Billy Hart, and Cannon, a member of Roy Hargrove's group at the time of this recording, are veteran musicians who complement Peterson's energy with their own, forming a very cohesive unit in the process. The trio's arrangement of Cole Porter's "Night & Day" finds Peterson relaxed and swinging on brushes throughout, and features an excellent Kikoski solo. Frank Loesser's "If I Were a Bell," the session's up-tempo burner, is basically a fast and fiery Kikoski solo over Cannon and Peterson's driving rhythm until Kikoski hints at the melody at the end. Other favorites include the finger-poppin' "Blues for Jones," which appeared on two OTB recordings as "Nathan Jones," the melancholy tribute to Art Blakey, "I Remember Bu," and the samba-ish "Red's Brazilian Fantasy." This is a fine recording from a trio of musicians who deserve wider recognition. ~ Greg Turner https://www.allmusic.com/album/triangular-2-mw0000103032

Personnel:  Drums, Producer – Ralph Peterson;  Bass – Gerald Cannon; Piano – Dave Kikoski

Triangular 2

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Mariachi Brass, Chet Baker - A Taste of Tequila

Styles: West Coast Jazz, Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 25:50
Size: 59,8 MB
Art: Front

(2:21)  1. Flowers on the Wall
(2:09)  2. Tequila
(2:15)  3. Mexico
(2:45)  4. Cuando Calienta El Sol
(2:09)  5. Hot Toddy
(3:12)  6. 24 Hours to Tulsa
(2:36)  7. Speedy Gonzales
(2:53)  8. Come a Little Bit Closer
(3:13)  9. El Paso
(2:12) 10. La Bamba

After returning to the United States in 1964, Chet Baker recorded a fine album for Colpix, two for Limelight, and five (during a busy week) for Prestige. However, after that string, it would be until 1974 before the trumpeter recorded anything else worthwhile. During 1965-1966, he cut six remarkably commercial throwaways for the once viable World Pacific label. A Taste of Tequila was the first, featuring Baker's unenthusiastic solos on ten poppish tunes while joined by the Mariachi Brass, a rather weak derivative of the Tijuana Brass. Jack Nitzsche's arrangements must have sounded a bit corny even at the time. This LP is only recommended to listeners who are curious to hear how Baker (who exclusively played flügelhorn during this period even though he is pictured on the back cover of the album on trumpet) would sound playing "Tequila," "Hot Toddy," and "La Bamba." ~ Scott Yanow https://www.allmusic.com/album/a-taste-of-tequila-mw0000865288

A Taste of Tequila

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Jenny And The Mexicats - Jenny And The Mexicats

Styles: Flamenco, Jazz 
Year: 2012
File: MP3@320K/s
Time: 39:12
Size: 90,3 MB
Art: Front

(3:29)  1. Verde Más Allá
(3:36)  2. Hunt You Down
(3:26)  3. Starting Something
(3:56)  4. Llueve en el Mar
(3:20)  5. Me Voy a Ir
(4:55)  6. The Song Of The UV House Mouse
(3:35)  7. Heaven Knows
(3:06)  8. Freddy
(3:08)  9. Sin Mirar Atrás
(2:47) 10. Flor
(3:48) 11. Anthem Song

Jenny and the Mexicats is a fusion of nationalities and personalities, a band that has a very particular history more than anything accidental. The band had its beginnings in Madrid as Pachucos and the princess , in June 2008. It all started when Icho (double bass) invites Jenny to live in Madrid. Jenny, 20, had arrived at the right place. Icho called the best guitarist he knew, Pantera a guitarist with a very versatile flamenco technique, Icho and he had played together for many years in a rockabilly and punk group in his hometown in Mexico. Pantera proposed to a colleague who played the drawer instead of drums, and so came David , an extraordinary Spanish drawer, with whom he had already shared the stage in the world of flamenco.This is how the little adventure of an English girl who emigrates to Spain in search of new sounds is born, and gives rise to Jenny and the Mexicats. His first concert was Wonderland , a small festival that generates money to help cancer research in the United Kingdom, in August 2008. The roots that this new sound carried, made Jenny begin to compose a lot and so Jenny and the Mexicats began to rehearse at the place where everyone had met ... a flamenco tablao. Jenny didn't speak Spanish and David didn't speak English, so they only understood each other musically and with a little help from the two Mexicans translating. In England Jenny and the Mexicats began to attract attention and realized that they had created something special. On their return to Spain they realized that the merger also worked very well there, so they started playing on the street and later in all the rooms throughout Spain. After signing with a record label in England, Jenny and the Mexicats decided to choose to be independent to have more control musically of the band's sound and to be able to grow in a more real and natural way. Thus was born MEXICAT RECORDS. They recorded their first album 'JENNY AND THE MEXICATS' in the summer of 2011 in Madrid and moved to Mexico City in 2012. With this production they managed to obtain a Gold record. This record material contains a mix of songs in Spanish and English, classics of his material like Heaven Knows and Starting Something , in addition to three successes in Spanish: Green Beyond, I'm Going to Go and Flor, with which they managed to bring the name of the band to everyone's mouth. In 2014 they released their second album 'OME' and the first single Lips was part of the soundtrack of the movie "Love of my Loves" directed by Manolo Caro. The album has new songs with all the Mexicat spirit and mixes great rhythms, lots of energy and moments of sensitivity. In Frenético Ritmo and Boulevard the Mexican influences are noticed, there is even a song full of energy dedicated to the dogs of the band Sasha and Esteban. David's voice takes on more prominence in songs like, It Hurts when Walking, Lips and Boulevard. The last song of the album 'Back to Basics' demonstrates the simplest and most emotional way to compose Jenny, she alone with her guitar. It should be noted that all the art of the disc was designed by Pantera. A musical combination that mixes rhythms of jazz, rockabilly, folk, flamenco, reggae, are Veracruz, country and cumbia. What gives Jenny and the Mexicats a unique, virtually inimitable personality. Translate By Google http://www.jennyandmexicats.com/#about

Jenny And The Mexicats

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Herbie Hancock - Empyrean Isles

Styles: Piano Jazz 
Year: 1964
File: MP3@320K/s
Time: 53:51
Size: 124,4 MB
Art: Front

( 7:21)  1. One Finger Snap
( 8:30)  2. Oliloqui Valley
( 5:34)  3. Cantaloupe Island
(14:01)  4. The Egg
( 7:37)  5. One Finger Snap (Alternative Take)
(10:47)  6. Oliloqui Valley (Alternative Take)

As a member of Miles Davis' second quintet during the 1960s, pianist Herbie Hancock rarely performed live under his own leadership, but he did take the time to record. Hancock's 1964 effort, Empyrean Isles, remains one of the most diverse and often challenging records of the pianist's tenure with Blue Note Records. It's a rare jazz record that offers both a hugely popular hit, as well as an outré masterwork of rhythmic repetition and angular melodies. A masterpiece like Empyrean Isles deserves a first-class reissue, and the good folks at Music Matters have undertaken to press the ultimate vinyl version. With access to the original master tapes, some of the finest cutting and pressing equipment available, and a boatload of enthusiasm, they've cut what was a single LP onto two 180g 45 rpm discs that simply smoke any CD version ever released. Packaged with a deluxe, full-color gatefold jacket, and additional Francis Wolff session photographs inside, this pressing is a feast for both the aural and visual senses. Empyrean Isles is best know for the hit "Cantaloupe Island," which alone is worth hearing on this vinyl edition. The sound is large and smooth, and the piano which can sometimes sound boxed in on Van Gelder recordings is almost full-sized. Most importantly the weight of the piano chords come through loud and clear. What is most startling is the amount of additional information revealed through this true analog pressing. Freddie Hubbard's trumpet is brassy and rich, and Ron Carter's bass, which can often lack tone and depth on CD, is plump and three-dimensional. "Cantaloupe Island" has become one of the most ubiquitous jazz songs ever, especially after being sampled by Us3 for their hit 

"Cantaloop (Flip Fantasia)." A pressing like this will make people question whether they've ever really heard it at all. The real meat of Empyrean Islesits adventurous heart lies with "The Egg," A thirteen-minute exploration of the limits of beat repetition that includes some of Hubbard's most restless trumpet playing. He strains his horn against the locked rhythm, looking for a way out that never comes. It's a fascinating juxtaposition of improvisation over rigid reiteration. On this Music Matters pressing, those elements have never been clearer, with the Tony Williams' drums revealing particular snap and scale. Like most albums in the Blue Note catalog of the 1950s and '60s, Empyrean Isles was recorded at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey. That pedigree leaves a few period sonic fingerprints, but on the whole, with the proper care taken in this remastering, this recording offers a wealth of fresh detail and enhanced musicality. Empyrean Isles has fared well through the Music Matters process, yielding a pressing that will truly augment an understanding of the music. 

~ Greg Simmons https://www.allaboutjazz.com/empyrean-isles-herbie-hancock-blue-note-records-review-by-greg-simmons.php

Personnel: Herbie Hancock: piano; Freddie Hubbard: cornet; Ron Carter: bass; Tony Williams: drums.

Empyrean Isles

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Hossam Ramzy - Rock the Tabla

Styles: Jazz Fusion 
Year: 2011
File: MP3@320K/s
Time: 53:02
Size: 123,3 MB
Art: Front

(5:07)  1. Arabantana
(5:50)  2. Cairo to India
(4:30)  3. Six Teens: 6 Teens
(5:29)  4. Ancient Love Affair
(3:52)  5. Shukran Arigato
(5:04)  6. Bluesy Flusey
(4:32)  7. Billy Dancing
(4:04)  8. Sawagy
(3:03)  9. Dom & Doumbia: Dom and Doumbia
(5:33) 10. Rock the Tabla
(5:54) 11. This Could Lead to Dancing

After countless albums under his own name and guesting on other people's, the Egyptian percussionist comes out with something very high profile indeed. With people like jazz drummer Billy Cobham, Bollywood composer A. R. Rahman, and Turkey's Omar Tekbilek on board, it couldn't be anything less than stellar, and Ramzy has pulled out all the stops here. Although Egypt is at the core of everything, Rock the Tabla glides musically into many corners of the world, as on "Cairo to India," which brings two countries together quite naturally (as does the bonus cut, "This Could Lead to Dancing," which goes out on a glorious swirl of strings). In between, there's some stellar jazz-inflected material in "Six Teens," where Cobham offers a reminder of why he's so lauded, a pair of percussion duets (Egypt meets Japanese taiko drums and Egypt goes to Mali), and some Maghrebi pop on "Sawagy." The true highlight, however, is the title track, one of the best pieces of Arab rock to ever come out of a pair of speakers, with Tekbilek bringing the mizmar and a carefully unnamed guitarist who sounds suspiciously like a '70s icon (Ramzy worked on Page & Plant's Unledded), giving the tune some hard electric lines that really power it, and which might just be Ramzy's best composition to date. Unsurprisingly, all the percussion is mixed high, but not at the expense of everything else, and listening to the players is like attending a master class in musicality. It's certainly Ramzy's most inspired release in years. He's working with people he admires and who push him hard. The joy is hearing him and everyone else deliver. ~ Chris Nickson https://www.allmusic.com/album/rock-the-tabla-mw0002189604

Rock the Tabla

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Miryam Latrece - Quiero Cantarte

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 55:23
Size: 127,5 MB
Art: Front

(3:32)  1. Chega de saudade
(4:52)  2. Drume Negrita
(6:11)  3. Mediterráneo
(4:07)  4. Oh vida
(4:35)  5. Maça
(5:28)  6. Todo es de color
(4:30)  7. Meditaçao
(4:43)  8. Tramontana
(4:24)  9. Jogral
(3:44) 10. Yo vengo a ofrecer mi corazón
(5:02) 11. Like Someone in Love
(4:09) 12. La Leyenda del tiempo

want to sing to you is Miryam Latrece's second job . This young singer and songwriter from Madrid began to take her first steps in music from an early age. At seventeen he already belonged to a band called Akatupower, with which he would record two albums and participate in various music festivals. From 2013 he began his solo career, with performances in the most emblematic places of the Jazz scene in Madrid. And in 2016 he would publish his first solo work, Una Necessity .I want to sing to you is Miryam Latrece's new album , in which he performs versions of artists such as Tom Jobim , Djavan , Chet Baker or Joan Manuel Serrrat, among others. An album recorded with a trio of great musicians such as drummer and producer Michael Olivera, pianist Marco Mezquida and bassist Pablo Martín Caminero. As proof of the quality that this work treasures, nothing better than watching the video clip of Chega de Saudade , the theme that opens it.  The second album by young Madrid singer Miryam Latrece is the protagonist of this edition. We also review recent releases by Jéssica Pina, Vladimir Cetkar, Marc Jordan, The Rippingtons and Rahsaan Patterson. In the memory block we recover the two most international sound discs of Argentine guitarist Luis Salinas. https://www.cloud-jazz.com/miryam-latrece-quiero-cantarte

Quiero Cantarte

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Dear friends and followers,

I'll be away for a few days from tomorrow until mid-week next week.  As I won't be able to post, I ask you to also avoid requesting for re-ups until I come back, when things will go back to normal!
Take good care of yourself. See you soon!