George Coleman - My Horns of Plenty

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:15
Size: 145,1 MB
Art: Front

(12:34)  1. Lush Life
(11:16)  2. Conrad
(13:41)  3. My Romance
( 3:01)  4. The Sheik of Araby
( 8:59)  5. You Mean so Much to Me
(13:43)  6. Old Folks

This reissue of George Coleman’s recording My Horns of Plenty is a real treat for those wanting to hear the sheer talent of a lesser known saxophonist. Coleman enjoyed his greatest exposure when Miles Davis, who had a knack for surrounding himself with great musicians, featured him early on in his great '60s quintet. But since then, Coleman's musicianship has not waned. The skill and depth of Coleman's playing is clearly evident on this 1991 reissue. Equally adept on soprano, alto, and tenor saxophone, Coleman possesses a smooth and dynamic presence. With speed and poise he shines on the Billy Strayhorn composition “Lush Life”. His tenor is as silky as butter on the classic “My Romance” and his own compositions give ample room for band members to show their skills on “You Mean So Much To Me.” With great tunes, an equally talented band, and an outstanding voice, it's nice to discover a cornucopia of good music on Mr. Coleman’s My Horns of Plenty. ~ Mark F.Turner https://www.allaboutjazz.com/my-horns-of-plenty-george-coleman-birdology-review-by-mark-f-turner.php

Personnel: George Coleman - Alto, Tenor, Soprano Saxophones; Ray Drummond - Bass; Billy Higgins - Drums; Harold Mabern - Piano

My Horns of Plenty

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Larry Willis - My Funny Valentine

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 63:38
Size: 146,1 MB
Art: Front

(5:46)  1. For Opener's
(3:18)  2. It could Happen to You
(6:31)  3. Blues for Wynton Kelly
(8:52)  4. Who's Kidding Who
(6:03)  5. Rhythm-A-Ning
(6:28)  6. Blood Count
(6:46)  7. My shining Hour
(5:45)  8. Lazy Afternoon
(8:02)  9. Ethiopia
(6:02) 10. My Funny Valentine

Although Larry Willis had played fusion and electric jazz-rock in the 1970s, the Willis heard on 1988's enjoyable, if conventional, My Funny Valentine is a more conservative post-bopper/hard bopper whose main reference points include McCoy Tyner, Tommy Flanagan, Wynton Kelly and Bill Evans. Willis plays the acoustic piano exclusively on this CD, and standards are a high priority. Nothing cutting-edge occurs, just straight-ahead jazz that's honest, warm and melodic. Most of the selections are trio numbers with bassist George Mraz and drummer Al Foster, although the pianist is joined by the passionate alto saxman Kenny Garrett on Thelonious Monk's "Rhythm-A-Ning," Garrett's insistent "For Openers" and Willis' haunting "Ethiopia." As a trio pianist, Willis is in good form on such often recorded standards as "My Funny Valentine," "Lazy Afternoon" and Billy Strayhorn's "Bloodcount" all of which demonstrate how sensitive a ballad player he can be. Initially released only in Japan by the Jazz City label, My Funny Valentine came out in the U.S. when the Philadelphia-based Evidence Music reissued it in 1998. ~ Alex Henderson https://www.allmusic.com/album/my-funny-valentine-mw0000198066

Personnel: Larry Willis – piano; Kenny Garrett – alto saxophone; George Mraz – bass; Al Foster – drums

My Funny Valentine

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Niels-Henning Ørsted Pedersen - Hommage, Once Upon A Time

Styles: Jazz, Post Bop
Year: 1990
File: MP3@320K/s
Time: 45:38
Size: 106,0 MB
Art: Front

(3:36)  1. Cream
(9:08)  2. Tango Jalousi
(7:56)  3. Lullabye-Bye
(3:55)  4. Sporge-Jorgen
(3:50)  5. Det Haver Sa Nyeligen Regnet
(5:25)  6. Lost In The Stars
(3:07)  7. J.P.
(5:16)  8. That Ol' Black Magic
(3:21)  9. September Song

A virtuoso who mostly played in bop-oriented settings, Niels-Henning Ørsted Pedersen was in great demand since he was a teenager. One of many superb European bassists to emerge during the 1960s, Pedersen originally studied piano before starting to play bass with Danish groups when he was 14. He had to reluctantly turn down Count Basie's offer to join his orchestra when he was just 17, but worked steadily as the house bassist at the Club Montmartre and as a member of the Danish Radio Orchestra. Whenever American jazzmen passed through Scandinavia, they asked for Pedersen; during the 1960s he played with Sonny Rollins, Bill Evans, Roland Kirk, Dexter Gordon, Bud Powell, and even Albert Ayler (although the latter's session was not too successful). In the 1970s, Pedersen was featured in a duo with Kenny Drew. Starting in the mid-'70s, he was an occasional member of the Oscar Peterson Trio and he recorded several dates as a leader for SteepleChase. Pedersen also recorded in many different settings for Pablo Records during the era. He remained very active until his sudden death in April 2005. He was 58. ~ Scott Yanow https://www.allmusic.com/artist/niels-henning-%C3rsted-pedersen-mn0000404907/biography

Personnel: Niels-Henning Ørsted Pedersen - bass, keyboards, producer; Palle Mikkelborg - trumpet, flugelhorn, keyboards, piano, producer; Ole Kock Hansen - keyboards; Thomas Clausen - piano, keyboards; Helen Davies-Mikkelborg - harp; Lennart Gruvstedt - drums; Mehmet Ozan - percussion; Niels Eje - oboe d'amore;  Cy Nicklin - vocals;  Jan Kohlin - trumpet; Palle Bolvig - trumpet; Vincent Nilsson - trombone; Axel Windfeld - trombone; Jan zum Vohrde - saxophone;  Flemming Madsen - saxophone; Bjarne Boie Rasmussen - viola; Mogens Durholm - violin;  Anika Telmanyi - violin;  Lars Holm Johansen - cello; Ars Nova Choir - choir

Hommage, Once Upon A Time

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Pete Jolly & Ralph Pena - The Duo

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 64:49
Size: 149,4 MB
Art: Front

(6:15)  1. Easy To Love
(4:51)  2. We'll Be Together Again
(7:43)  3. Celia
(7:15)  4. Friday The Thirteenth
(6:28)  5. I Love You
(4:49)  6. Variations
(4:44)  7. Bulja Bass
(5:03)  8. On Green Dolphin Street
(3:17)  9. Whistle While You Work
(7:44) 10. Walkin'
(6:37) 11. I Don't Wanna Be Kissed

When pianist Pete Jolly passed away in 2004, he was one of the last major survivors of the West Coast jazz scene of the 1950s. A powerful two-handed pianist influenced by Bud Powell but having his own style within straight-ahead jazz, Jolly worked in Los Angeles for decades, which led to him being underrated and often overlooked by the rest of the jazz world. Jolly had a trio with bassist Chuck Berghofer and drummer Nick Martinis that lasted over 40 years. However just prior to the formation of that group, Jolly often worked in a duo with bassist Ralph Pena. The music on this CD, of which originally only a dozen LPs were pressed, is rare in the extreme. It is taken from a 1960 tour of New Zealand and features Jolly and Pena digging into a variety of jazz standards and originals. Most unusual are the fairly early covers of Bud Powell's "Celia," George Wallington's obscure "Variations," and Thelonious Monk's "Friday the Thirteenth." Pete Jolly and straight-ahead jazz piano collectors will definitely want this rare item. ~ Scott Yanow https://www.allmusic.com/album/the-duo-mw0000486668

Personnel: Pete Jolly, piano; Ralph Pena, bass

The Duo

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Susan Wong - Close to Me

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 45:24
Size: 104,5 MB
Art: Front

(3:59)  1. Vincent
(4:00)  2. Sing For You
(4:50)  3. Man In The Mirror
(3:49)  4. The One You Love
(3:35)  5. Sunday Morning
(4:00)  6. What's Going On
(3:47)  7. Don't Dream It's Over
(3:51)  8. He's the One
(2:32)  9. Can't Hurry Love
(3:32) 10. That's Why You Go Away
(4:43) 11. When You Were My Man
(2:41) 12. Yesterday

The long-awaited new album by Susan Wong has arrived. "Close To Me" is particularly special because Susan worked on the arrangements and production of the album. Throughout this project, she maintains her trademark style of sultry vocals over smoothly adapted cover versions such as the piano laced rendition of "Man In The Mirror" original by Michael Jackson. Recorded over 3 years at studios in the USA, Hong Kong, Philippines, Susan spent countless hours and sleepless nights alongside other co-producers refining her sound to highest standards. Recorded & mixed at 24bit/96khz. This album is recorded with audiophiles in mind and exemplifies ultra-high definition audio, ready to be experienced on super class HiFi stereos, in Master Quality Authenticated sound. MQA CD plays back on all CD players. When a conventional CD player is connected to an MQA-enabled device, the CD will reveal the original master quality. ~ Editorial Reviews https://www.amazon.com/Close-Me-MQACD-SUSAN-WONG/dp/B07QV6W57S

Close to Me

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Peter & Will Anderson Trio - Reed Reflections

Styles: Saxophone And Clarinet Jazz 
Year: 2014
File: MP3@320K/s
Time: 49:31
Size: 114,6 MB
Art: Front

(4:06)  1. Begin the Beguine
(3:51)  2. My Heart Stood Still
(3:31)  3. Willow Weep for Me
(3:18)  4. Cherokee
(4:59)  5. Yesterdays
(3:08)  6. It's All Right With Me
(3:38)  7. Tea for Two
(3:57)  8. In a Sentimental Mood
(4:42)  9. Bud On Bach
(6:34) 10. Reed Reflections
(3:22) 11. Bye-Ya
(4:22) 12. What Is This Thing Called Love

There’s only one way to fully appreciate the new jazz album by the Bethesda-bred, Juilliard-trained Anderson twins, Peter and Will, and guitarist Alex Wintz: Keep it spinning. Listen to “Reed Reflections” three times: First, to hear the Andersons’ saxophones and clarinets elegantly converge, converse and engage in delightful counterpoint; second, to focus on Wintz’s resonating chordal propulsion and crisp, single-note interludes; and, finally, to hear the arrangements in full, imaginatively unfolding in ways that consistently bring a fresh perspective to such classic pop and jazz tunes as “Cherokee,” “Willow Weep for Me” and “In a Sentimental Mood.” Wonderfully evocative tributes to Thelonious Monk (“Bye-Ya”) and Bud Powell (“Bud on Bach”) offer more reasons to stay tuned. Even then, anyone with a taste for swing, bop and chamber jazz will want to come back for more. The Andersons earned reams of praise for their 2013 debut album, “Correspondence,” which featured pianist Kenny Barron and other well-known artists, but the streamlined “Reed Reflections” is no less impressive. In Wintz, the siblings have a collaborator who can offer pianistic touches as well as evoke the sound of legendary and contemporary jazz guitar masters, from Charlie Christian to Martin Taylor. As a result, the arrangements, which often feature the reeds trading places, have more texture and color than you might expect. And if some of the subdued performances strike particularly soulful notes, the shifting tempos ensure that the trio’s ability to swing effortlessly is never overshadowed for long. ~ Mike Joyce https://www.washingtonpost.com/goingoutguide/music/anderson-trio-album-review-reed-reflections/2014/05/22/585d65f2-dc62-11e3-8009-71de85b9c527_story.html

Personnel: Peter Anderson, Tenor Saxophone and Clarinet; Will Anderson, Alto Saxophone and Clarinet; Alex Wintz, Guitar

Reed Reflections

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Anna Kolchina - Wild Is The Wind

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 52:07
Size: 120,2 MB
Art: Front

(4:50)  1. Wild Is The Wind
(5:28)  2. So In Love
(3:30)  3. You Do Somethings To Me
(3:57)  4. Don't Worry 'bout Me
(3:39)  5. You Won't Forget Me
(4:19)  6. Don't Look Back
(4:59)  7. Exactly Like You
(2:09)  8. I Never Told You
(2:55)  9. With A Song In My Heart
(3:18) 10. It Never Was You
(2:52) 11. A Fine Romance
(2:40) 12. You Can Have Him
(3:25) 13. Day By Day
(4:00) 14. A Sinner Kissed An Angel

Anna Kolchina's debut Wild is the Wind is a masterclass in ensemble performance. Backed by pianist John di Martino, bassist Peter Washington, and drummer Willie Jones, Kolchina is more an equal quartet member than a singer backed by a trio. This is experienced immediately on the title piece, where Kolchina's delicately-played voice peeks out from behind Washington's gentle bass playing as it directs the remainder of the arrangement. It is a stunningly organic musical effect that increases the intimacy of the performance greatly. This approach characterizes the remaining tunes, all "standards" to one degree or another. The engineering captures the music three-dimensionally, where the listener can almost walk among the musicians as they perform.  Another element to note about this recording is its programing. The album is made up of 14 love songs... all kinds of love songs. On one hand there is the tentative cynicism introducing "You Do Something To Me," and maturing in "So In Love," while a completely different love aspect is studied in the loss-lessening "Don't Look Back," "It Never Was You," and "You Can Have Him." In all the different settings, Kolchina uses her refined, yet street-smart voice to finely hone the song she is presenting. The totality of approach on Wild is the Wind makes it an event in itself. While Kolchina's voice is less than perfect, it is perfect in that her vocals betray a knowing and aware character not afraid to show its wounds in its vulnerability, while telegraphing a warning to the listener that it has been all places and knows all things. ~ C.Michael Bailey https://www.allaboutjazz.com/wild-is-the-wind-anna-kolchina-venus-records-review-by-c-michael-bailey.php

Personnel: Anna Kolchina #1: Vocals; John Di Martino #2: Piano; Peter Washington #3: Bass; Willie Jones #4: Drums.

Wild Is The Wind

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Bill Frisell - Blues Dream

Styles: Guitar Jazz 
Year: 2001
File: MP3@320K/s
Time: 61:39
Size: 142,2 MB
Art: Front

(2:31)  1. Blues Dream
(6:45)  2. Ron Carter
(3:20)  3. Pretty Flowers Were Made for Blooming
(1:38)  4. Pretty Stars Were Made to Shine
(5:19)  5. Where Do We Go ?
(1:34)  6. Like Dreamers Do (Pt. One)
(2:36)  7. Like Dreamers Do (Pt. Two)
(4:18)  8. Outlaws
(7:03)  9. What Do We Do?
(0:48) 10. Episode
(2:39) 11. Soul Merchant
(6:14) 12. Greg Leisz
(2:26) 13. The Tractor
(1:30) 14. Fifty Years
(3:08) 15. Slow Dance
(4:46) 16. Things Will Never Be the Same
(3:04) 17. Dream On
(1:51) 18. Blues Dream (Reprise)

Blues Dream is another winsome album by Bill Frisell. On this Walker Arts Center-commissioned program, the composer-guitarist amalgamates elements and players from past projects to reiterate his bucolic synthesis of American root musics. The two-guitar, three-horn septet gives Frisell great flexibility in his trademark evocations of regional and ethnic dialects. Soloists like trumpeter Ron Miles and guitarist Greg Leisz continue to be fine foils. Certainly, Blues Dream will reinforce the media consensus that Frisell is an American original. However, this is a strangely antiseptic album. The immaculate mix is partly responsible. While the engineering makes a marvel of the burnished horns and the beckoning twang of Leisz’s steel and resonator guitars, it takes much of the bite out of Frisell’s rawest sounds and suspends each instrument in its own isolated space, diffusing the band’s punch. This reinforces the languor of much of the program. Many of Frisell’s tunes are built on materials that hover somewhere between a riff and a theme-they tend to moan, gasp and wheeze more often than they shout and holler. Without exception, each of Frisell’s 18 tunes contributes to the album’s dreamlike synergy of sound and sensibility. Yet Blues Dream is not a compelling album. Shadowy, but benign shapes-a shroudlike willow tree, a bunting-draped bandstand and a distant moonlit cabin-dominate this dream. It’s a pat atmosphere only occasionally disrupted by a busy loop or a blast of distortion from Frisell, or a raucous horn statement (trombonist Curtis Fowlkes and alto saxophonist Billy Drewes round out the section). While one can easily slip into Blues Dream, but nobody’s going to bolt upright in a cold sweat after hearing it. https://jazztimes.com/reviews/albums/bill-frisell-blues-dream/

Personnel: Bill Frisell – guitars; Greg Leisz – steel guitar, mandolin; Ron Miles – trumpet; Billy Drewes – alto sax; Curtis Fowlkes – trombone; David Piltch – bass; Kenny Wollesen – drums

Blues Dream

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Philly Joe Jones Dameronia - Look, Stop, and Listen

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 55:16
Size: 128,3 MB
Art: Front

(5:52)  1. Look, Stop and Listen
(5:34)  2. If You Could See Me Now
(5:30)  3. Choose Now
(5:49)  4. Focus
(6:08)  5. Killer Joe
(5:05)  6. Dial B for Beauty
(4:28)  7. Our Delight
(5:52)  8. Theme of No Repeat
(5:41)  9. If You Could See Me Now - 1st Take
(5:12) 10. Look, Stop and Listen - 1st Take

Philly Joe Jones was Tadd Dameron's roommate for nine years and long thought that the pianist/composer's contributions had been pretty much overlooked. He formed the tribute band Dameronia to make explore the late composer's music, debuting with a small group in the spring of 1982. With the help of trumpeter Don Sickler (who makes a pair of rare appearances on tenor sax as well) as musical director, the band expanded by the time of its first recording a few months later to a nonet. By the time of its second recording the following year, the personnel had changed slightly, now including pianist Walter Davis, Jr., tenor giant Johnny Griffin, tenor saxophonist Charles Davis and alto saxophonist Frank Wess (both of whom double on flute), baritone saxophonist Cecil Payne, trombonist Benny Powell, trumpeter Virgil Jones, and bassist Larry Ridley. Sickler's transcriptions of Dameron's arrangements reveal the depth of his music. "Look, Stop and Listen" is a showcase for the leader, while Griffin shines in the richly textured ballad "If You Could See Me Now," backed by the lush flutes and brass. Wess' flighty alto and Powell's sassy trombone are featured in the rarely performed "Focus." Another gem is the infrequently heard "Dial B for Beauty," spotlighting Davis in a ballad setting instead of the driving hard bop often associated with him. The sole composition not by Dameron is a hard-charging take of "Killer Joe," again showcasing Griffin, who was invited as a guest for two songs initially but encouraged by the musicians to hang around and play on other tracks. Not satisfied with the original mix of the LP due to the dominant presence of the leader's drums (due to the fact that he refused to play in an isolation booth), original session engineer Rudy Van Gelder remixed the album, improving the sound and adding two alternate takes. Highly recommended. ~Ken Dryden https://www.allmusic.com/album/look-stop-and-listen-mw0001954564

Personnel: Philly Joe Jones – drums; Johnny Griffin - tenor saxophone; Don Sickler – trumpet, tenor saxophone, director; Virgil Jones – trumpet; Benny Powell – trombone; Frank Wess – alto saxophone, flute; Charles Davis – tenor saxophone, flute; Cecil Payne – baritone saxophone; Walter Davis Jr. – piano; Larry Ridley – double bass

Look, Stop, and Listen

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John Patitucci - Sketchbook

Styles: Jazz, Post Bop
Year: 1990
File: MP3@320K/s
Time: 59:23
Size: 137,4 MB
Art: Front

(6:00)  1. Spaceships
(4:52)  2. Joab
(5:23)  3. If You Don't Mind
(6:07)  4. Scophile
(5:28)  5. Greatest Gift
(5:04)  6. From A Rainy Night
(2:50)  7. Junk Man
(6:18)  8. Two Worlds
(3:18)  9. Backwoods
(4:11) 10. They Heard It Twice
(5:17) 11. 'Trane
(4:30) 12. Through The Clouds

Bass player John Patitucci is the musical equivalent of a Porsche: an incredibly fast, technically awesome machine capable of handling a variety of terrain with aplomb. Yet, as his opening set Wednesday night at Elario’s proved, a high-tech machine makes it easy to race through beautiful terrain without pausing to enjoy the scenery. Often, Patitucci didn’t leave sufficient space between his prodigious bursts on his six-string instrument to let the capacity crowd of 120 fully appreciate them. The 30-year-old Wunderkind , who made his initial mark with keyboardist Chick Corea’s Elektric Band, is appearing nightly through Sunday, with a crack band that includes former Weather Report drummer Alex Acuna, Steve Tavaglione on tenor sax and EWI (electronic wind instrument), and John Beasley on keyboards and synthesizer. The band proved to be the ideal setting for Patitucci and his unusual bass, which covers a range from deep, rumbling lows to highs that cross into guitar territory. With Beasley occasionally handling bass parts on synthesizer, Patitucci was free to roam his instrument’s broad neck, producing melodic inventions with amazing speed and fluidity. The group opened with “On the Corner” from Patitucci’s album by the same name, a fast-paced tune that resembles some of the 1980s music made by trumpeter Miles Davis. Patitucci has the snapping, popping funk sound down pat, and he alternated between anchoring the bottom and producing incredibly fast guitar-like lines. On the EWI, Tavaglione ranged from the wail of a soprano sax to a bluesy harmonica sound.The lazy-tempoed “Searching Finding” found Patitucci and Tavaglione doubling up on sections of catchy signature melody, with band members trading solos in between.“Peace and Quiet Time” provided some slower, romantic moments, with Tavaglione and Patitucci again doubling on the melody, this time with a moody, minor sound reminiscent of the Yellowjackets or Weather Report. Patitucci’s playing was especially delicate here. He used a combination of finger picking and wavering vibrato to produce a full sound well-suited to this ballad, as Acuna drove the tune with lightening flourishes on cymbals. The remainder of the set came mostly from Patitucci’s third album, “Sketchbook,” released this year. Tavaglione’s EWI shone on “Scophile,” opening the tune with deep-fathomed blasts that sounded like the sound track from a documentary on whales, proceeding to screaming, guitar-like licks on this tribute to guitarist John Scofield. As if his mastery of six-string bass isn’t enough, Patitucci hoisted an acoustic bass for the set’s last two tunes, going solo for the rhythmically driving “Backwoods,” joining the band again to close the set with “ ‘Trane.” On the larger, more cumbersome instrument, he didn’t lose a step. Unquestionably, Patitucci is the rising young lion of electric bass guitar, and you won’t find him in a tighter band than this one. But now that he has achieved phenomenal technical prowess, a little restraint would heighten the impact of his playing. With chops like his, there is no need for excessive engine revving. He needs to remember that it’s nice to mix high-speed joy rides with scenic Sunday drives. Patitucci continues at Elario’s through Sunday. Shows tonight and Saturday are at 9, 10:30 and midnight. Tickets are $7.50. On Sunday, shows are at 8:30 and 10:30, and tickets are $5.~  DIRK SUTRO https://www.latimes.com/archives/la-xpm-1990-12-07-me-6048-story.html

Personnel: Bass – John Patitucci;  Acoustic Guitar – Ricardo Silveira;  Drums – Vinnie Colaiuta; Percussion – Paulinho Da Costa; Piano – David Witham; Vocals – Dori Caymmi 

Sketchbook

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Andrew Hill - Smoke Stack (Remastered)

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 60:52
Size: 140,4 MB
Art: Front

(5:00)  1. Smoke Stack
(5:07)  2. The Day After
(5:46)  3. Wailing Wall
(4:29)  4. Ode To Von
(6:24)  5. Not So
(5:48)  6. Verne
(7:06)  7. 30 Pier Avenue
(4:20)  8. Smoke Stack
(4:49)  9. The Day After
(5:28) 10. Ode To Von
(6:28) 11. Not So

Emerging at the beginning of the '60s, Andrew Hill was always difficult to pigeonhole. The pianist was too aligned with mainstream harmony to be considered avant garde, too complex a writer to be considered free, too abstruse a player to be considered mainstream. The people at Blue Note knew they had a gem when they signed him. What they didn't know was that it would be decades before his value was truly appreciated. But better late than never. Smoke Stack, the second of six Blue Note sessions recorded between November 1963 and February 1965, was the pianist's fourth release by the label. While Hill's other sessions from the time were equally challenging from a compositional perspective, Smoke Stack was the most inherently difficult to fathom. It eschewed the more traditional instrumentation of Black Fire (1963), Judgement! (1964) and Point of Departure (1965) in favor of a piano/two-bass/drums lineup that was likely too unorthodox, even for a label that wasn't particularly averse to the unconventional. Hill's partners on this recording are bassists Richard Davis and Eddie Khan, along with drummer Roy Haynes, who also played on Black Fire. Other sessions from 1963-65 would feature different drummers, but Davis remained a constant throughout the period. Always a thinking man's bassist, Davis is at his most dominant on Smoke Stack, where Khan and Haynes assume the role of rhythmic anchor. Unlike Ornette Coleman and John Coltrane, who had already used twin-bass lineups but typically buried them underneath one or more solo voice, Hill places Davis front and center alongside his own idiosyncratic playing. Even on the balladic "Verne," where Khan sits out, Haynes steadfastly maintains rhythmic consistency while Davis interacts more persistently with Hill. On "Wailing Wall," Haynes' prevalent cymbal work sets a precedent for drummers like Jon Christensen and Jack DeJohnette; Davis' out-front arco gives credence to the song's title. Even on the semi-swinging "Ode to Von," where the harmonies feel mainstream, Hill's playing always skews things just the slightest bit off-kilter. But the tandem playing with Davis ensures an even greater elasticity which sometimes feels as though it might actually fall apart completely if it weren't for the real rhythmic glue that Haynes provides to bind this quartet. Looking back on Hill's emergence, it's remarkable how much he varied the contexts in which he worked. Smoke Stack may have been more of a challenge to listeners at the time, but today it stands out as one of Hill's most satisfying efforts, if only because of his remarkable interplay with Davis. ~ John Kelman https://www.allaboutjazz.com/smoke-stack-andrew-hill-blue-note-records-review-by-john-kelman.php

Personnel: Andrew Hill: piano; Richard Davis: bass; Eddie Khan: bass; Roy Haynes: drums.

Smoke Stack

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Seamus Blake, Daniel Thouin Trio - Live Au Cabaret

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 70:38
Size: 162,5 MB
Art: Front

(12:33)  1. Happen Stance
(14:49)  2. Perk
( 9:43)  3. Extranjero
(13:34)  4. Vanguard Blues
( 8:56)  5. Cloud
(11:01)  6. The Call

This CD was recorded at the Cabaret du St-Sulpice (Montreal) by CBC for the program "Silence on Jazz" on February 22 1999. It was an unforgettable moment in the life of the Montreal jazz scene over the past few years. The dynamic performance of saxophonist Seamus Blake accompanied by the Daniel Thouin trio was what inspired Effendi to launch its production. ~ Editorial Reviews https://www.amazon.com/Live-au-Cabaret-Daniel-Thouin/dp/B00005QB21

Personnel: Seamus Blake, tenor saxophone; Daniel Thouin, piano & rhodes; Norman Lachapelle, bass; Karl Jannuska, drums

Live Au Cabaret

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Charles Mingus, Eric Dolphy - Cornell 1964

Styles: Saxophone, Clarinet, Flute Jazz, Post Bop

Year: 1964
File: MP3@320K/s
Time: 134:22
Size: 308,3 MB
Art: Front

( 0:16)  1. Opening
( 4:26)  2. ATFW You
( 4:23)  3. Sophisticated Lady
(29:41)  4. Fables Of Faubus
(15:05) 5. Orange Was The Color Of Her Dress, The Blue Silk
(17:26)  6. Take The A Train
(31:23)  7. Meditations
(15:33)  8. So Long Eric
( 6:06)  9. When Irish Eyes Are Smiling
( 9:58) 10. Jitterbug Waltz

The hype factor was cranked up considerably in 2005 for the unearthed recording of two jazz legends: John Coltrane and Thelonious Monk's At Carnegie Hall (Blue Note). Things have cooled down a tad since that momentous release but just as exciting and equally important is Cornell 1964 featuring the Charles Mingus Sextet with Eric Dolphy.  Mingus, the powerful enigmatic bassist, band-leader and composer, was as controversial as he was dynamic. Dolphy, an absolutely brilliant musician (alto sax, bass clarinet, and flute), whose short lived musical career (he died a few months after this concert in 1964) still leaves a vivid mark in jazz today. The chance to hear them together is a treat for longtime admirers and newcomers alike. But this is more than just a meeting of two giants because we also get a chance to witness Mingus' illustrious quintet which included lesser known yet stunning musicians: Jaki Byard (piano), Johnny Coles (trumpet), Clifford Jordan (tenor saxophone), and Dannie Richmond (drums). Mingus always ran a tight ship, tolerating nothing less than excellence. With this band, the musicians not only meet his criteria but also deliver some stellar performances. The two-CD recording covers everything from Mingus' epic "Fables of Faubus, (written as a direct protest against Civil Rights injustices in 1957) to a jubilant rendition of "When Irish Eyes Are Smiling as the band engages in some light hearted fun. There is an air that the vibe was stress free (in contrast to some of Mingus' engagements) and that they were clearly enjoying themselves and the receptive audience. There are many highlights from everyone: Byard's exhaustive range on "ATFW You included bebop, ragtime, classical and more. Mingus' gregarious fretwork injected with humor and an unflinching presence on "Orange Was the Color of Her Dress, Then Blue Silk as Coles' sweet muted trumpet harmonizes with Jordan's warm tenor and Dolphy's throaty bass clarinet. Each voice glows against the blues/swing melody. They "Take The A Train to new destinations of swing as Mingus and Richmond thrill the audience with boisterous solos. Dolphy played jazz flute like no one else, as heard on "Jitterbug Waltz, brings the recording to a satisfying conclusion. There are many bright moments on this resurrected historical document. The shadows of these players still looms today and this concert is a testament of their greatness that will hopefully endure for years to come. ~ Mark F.Turner https://www.allaboutjazz.com/cornell-1964-charles-mingus-blue-note-records-review-by-mark-f-turner.php

Personnel: Charles Mingus: bass; Eric Dolphy: alto saxophone, flute, bass clarinet; Johnny Coles: trumpet; Clifford Jordan: tenor saxophone; Jaki Byard: piano; Dannie Richmond: drums.

Cornell 1964

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The Headhunters - Straight From The Gate

Styles: Jazz Funk
Year: 1977
File: MP3@320K/s
Time: 45:05
Size: 104,4 MB
Art: Front

(5:31)  1. Straight From The Gate
(5:32)  2. Mayonnaise
(6:49)  3. Ms. Wum Yum
(4:34)  4. Don't Kill Your Feelings
(4:01)  5. Descending Azzizziuh (The Beginning Of A Dream)
(5:23)  6. I Remember I Made You Crazy
(3:59)  7. Pork Soda
(3:19)  8. Dreams
(5:52)  9. Silhouette

The second album by this legendary 70s funk combo best known as Herbie Hancock's backing band, but sounding great here on their own. The album's much more of a solid soul effort than the first one which was great, but felt more like Herbie had stepped out of the studio for a minute or two. The vocals are better, with more of a feel for the lyrics and the songs themselves are a great mix of funk and smooth soul. There's still plenty of tight jamming and cool electronics and the group still includes Mike Clark, Bennie Maupin,and Paul Jackson. Includes the sample cut "I Remember I Made You Cry", plus "Pork Soda", "Dreams", "Straight From The Gate", and "Mayonnaise".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/1153/Headhunters:Straight-From-The-Gate

Straight From The Gate

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Malene Mortensen - At Elske Er At Leve

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 54:24
Size: 125,8 MB
Art: Front

(3:49)  1. Man bli'r så glad når solen skinner
(4:34)  2. At elske er at leve
(4:39)  3. Jeg har elsket dig så længe jeg kan mindes
(3:05)  4. Pige træd varsomt
(4:25)  5. I dit korte liv
(4:16)  6. Gå med i lunden
(4:44)  7. Man binder os på mund og hånd
(4:46)  8. Alle går rundt og forelsker sig
(3:38)  9. Som du
(4:42) 10. Glemmer du
(4:27) 11. Titte til hinanden
(4:11) 12. Den allersidste dans
(3:02) 13. Musens sang

Malene Mortensen is a danish jazz singer who has recorded 11 albums with some of the biggest names in modern jazz like Chris Potter, Mike Stern, Christian Sands, George Whitty og Niels Henning Ørsted Pedersen.  he album ”Paradise” from 2003 is Malenes first solo album recorded and produced with the world renowned bassist Niels Henning Ørsted Pedersen. She has played more than a thousand concerts all around the world during the last 15 years. She has toured all over Scandinavia, Europe, the States, Australia and Asia. In the last few years she has been a part of Kid Creole and the Coconut’s and toured with them in Australia, United Kingdom, Spain and Italy. In her homeland she plays concerts in churches and performs as a solo singer in big bands. Her album “Date With A Dream” from 2005 was released in 20 countries and has sold more than 30.000 units. This album became Malene’s international breakthrough after having represented Denmark in the Eurovision Song Contest in 2002. The 2014 album ”Can't Help It” is Malene's 10th album and the first to be recorded outside Scandinavia. It was recorded in New York in march of 2014 with a renowned american jazz trio. The album grew out of a jamsession at the famous danish jazz club Montmartre in Copenhagen where Malene played with the young american pianist Christian Sands. The two of them had a special connection combining his virtuous playing and her great musicality and ability to improvise. Later the same year Malene visited New York to work on new material with Christian Sands playing with Christian McBride’s famous trio. The work with music and lyrics progressed and they continued the work on both sides of the Atlantic for choosing the right material and arrangements for the recording sessions. Malene is the embodiment of jazz and the the nordic sound. She strives for musical freedom, excels in improvising and refines the music with excellent taste and emotional depth. She holds a masters degree from the Rhythmic Music Conservatory in Copenhagen. http://www.malenemortensen.dk/

At Elske Er At Leve

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Sonny Stitt - Deuces Wild

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 33:50
Size: 78,6 MB
Art: Front

(5:23)  1. Deuces Wild
(4:42)  2. My Foolish Heart
(4:16)  3. Blues Ahead
(4:00)  4. Sittin' in with Sitt
(6:19)  5. In the Bag
(3:17)  6. Me 'n' You
(5:50)  7. Pipin' the Blues

Originally released on Atlantic in 1967, this welcome reissue of an above-average sax/organ date finds Sonny Stitt in a familiar setting with familiar company. The organist is listed as Wilmer Mosby, but one listen makes clear that it's the great Don Patterson working the B-3 with his customary drive, taste, and imagination. (The pseudonym may have been necessary for contractual reasons.) The core trio is rounded out by drummer Billy James, a longtime collaborator with Patterson and Stitt, who supports with a supple, active style. The performances are concise, blues-based blowing numbers. What they lack in compositional refinement they make up for in energetic execution. The one exception is the flaccid reading of the ballad standard "My Foolish Heart." Saxophonist Robin Kenyatta's serpentine facility brings a progressive dimension to the tracks "In the Bag" and "Me 'n You." Stitt, in turn, responds with a slightly more outward-bound approach on these two Kenyatta originals, the second of which is, unfortunately, flawed by an abrupt edit near the end of Patterson's solo. The final track, "Pipin' the Blues," includes a jazz rarity...bagpipes. Sounding like an electric organ (Farfisa not Hammond), piper Rufus Harley's single-note lines fit right in with Stitt's blues groove. A whole album of soul-jazz bagpipes might wear thin, but as a one-off, Harley's performance here is more than mere novelty. ~ Jim Todd https://www.allmusic.com/album/deuces-wild-mw0000011960

Personnel: Sonny Stitt - alto saxophone, tenor saxophone; Robin Kenyatta - alto saxophone, soprano saxophone; Wilmer Mosby - organ; Billy James - drums; Rufus Harley - bagpipes

Deuces Wild

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Marlena Shaw - Love Is In Flight

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 36:32
Size: 84,8 MB
Art: Front

(4:07)  1. Before You Know It
(4:28)  2. I Want To Know
(4:27)  3. I'll Remember You
(4:18)  4. This Time
(4:04)  5. Love Is In Flight
(5:02)  6. Loving You
(5:46)  7. I Must Be In Love
(4:18)  8. With You

A charismatic and versatile jazz vocalist, Marlena Shaw's performances are marked by an artful blend of pop standards and straight-ahead jazz tunes. Her extroverted stage presence gives her an edge over other vocalists, and clearly, singing live before an audience is where she feels most comfortable. After her uncle Jimmy Burgess introduced her to the recordings of Dizzy Gillespie and Miles Davis, she caught the jazz bug and purchased records by Al Hibbler, a vocalist who had a big influence on her singing style. When she was ten she performed at Harlem's Apollo Theater, and despite the enthusiastic reception she received in front of one of the world's toughest audiences, her mother refused to let her go on the road with her uncle, a trumpet player. Shaw attended the State Teachers' College in Potsdam, New York, but later dropped out. For some time in 1963 she worked around New England with a trio led by Howard McGhee. By the mid-'60s she was performing regularly for audiences in the Catskills, Playboy Clubs, and other New York area venues. In 1966, she recorded "Mercy, Mercy, Mercy" for Cadet Records, and the single sold very well for an unknown singer. The success of the single, a rare vocal version of the tune, prompted executives at Cadet to encourage her to record a whole album for the label in 1967. 

The diversity of styles, including blues, jazz, and pop standards, was reflected in the album's title, Out of Different Bags. Through her accountant, she was brought to the attention of bandleader Count Basie, and she ended up singing with the Basie band for four years.  In 1972, after leaving the Basie Orchestra, Shaw was the first female vocalist signed to Blue Note Records, and she toured for a while with the Sammy Davis, Jr. She recorded five albums and several singles for Blue Note, and critics likened her singing style to Dinah Washington and Sarah Vaughan. At her club shows, Shaw dazzled audiences with her intoxicating blend of straight-ahead jazz, soul, pop, and classic R&B, but her recordings also satisfied those fans of traditional jazz who had no prejudices about blues and R&B. In 2014, Blue Note Records (Europe) began reissuing her catalog titles, and in 2017 Akshin Alizadeh delivered two remixes of her signature "Woman of the Ghetto" track as a limited-edition single on Cold Busted. The recording was spun by Gilles Peterson and made club DJ playlists across Europe, Asia, and the United States. ~ Richard Skelly https://www.allmusic.com/artist/marlena-shaw-mn0000847756/biography

Love Is In Flight

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Larry Willis - How Do You Keep The Music Play

Styles: Piano Jazz 
Year: 1992
File: MP3@320K/s
Time: 63:20
Size: 146,7 MB
Art: Front

(5:04)  1. Gloria's step
(7:33)  2. How do you keep the music playing
(6:23)  3. All of you
(7:33)  4. Northwest
(7:49)  5. Slick Rick
(7:29)  6. Missing you
(5:24)  7. Ezekial saw the wheel
(7:23)  8. Dance cadaverous
(8:36)  9. Alone together

Once identified with on-the-edge free music, keyboardist Larry Willis had a profitable flirtation with fusion in the '70s, then moved to hard bop in the '80s and '90s. Willis' playing has been frenetic, ambitious, and interesting, but during his jazz-rock and fusion days it was funky but greatly restrained and simplistic. A devotee of Herbie Hancock, Willis has found a good balance, with expertly constructed modal solos and also lyrical, relaxed statements. Willis graduated from the Manhattan School of Music in the early '60s, then played with Jackie McLean and Hugh Masekela. He recorded with Lee Morgan and McLean in the mid-'60s, and worked with Kai Winding and Stan Getz, as well as recording with Robin Kenyatta in 1969. Willis turned to synthesizer and electric piano in the '70s, doing sessions with Cannonball Adderley, Earl May, Joe Henderson, Richard "Groove" Holmes, and Masekela again. He joined Blood, Sweat & Tears in 1972, recorded with Alphonse Mouzon in both 1972 and 1973, and did dates as a leader and freelance session musician. Willis also recorded with Ryo Kawasaki and Sonny Fortune in the late '70s, and with David "Fathead" Newman and Carla Bley in the '80s. Willis toured and recorded with Nat Adderley in the '80s and joined Woody Shaw's quintet in 1986. He's done sessions as a leader for Groove Merchant, Steeplechase, Audioquest, Brunswick, and Mapleshade, among others, including Blue Fable and Offering on Highnote in 2007 and 2008, respectively. ~ Ron Wynn https://www.allmusic.com/artist/larry-willis-mn0000114935/biography

Personnel: Larry Willis – piano; David Williams – bass; Lewis Nash – drums

R.I.P.
Born: December 20, 1942

Died: September 29, 2019

How Do You Keep The Music Play

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Hal Singer - Blues and News

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 45:07
Size: 103,8 MB
Art: Front

(7:37)  1. It's My Thing
(4:38)  2. Lina
(8:38)  3. Malcolm X
(6:17)  4. Pour Stéphanie
(6:07)  5. Du Bois
(6:20)  6. Lina - Unissued
(5:27)  7. Blues For Hal

The other great Hal Singer album from his years on the French scene and a record that we'd say is even better than his legendary Paris Soul Food set! Although Singer is often most associated with an older style of swing-based jazz, he's working here in a loose, free mode that's got plenty of 70s soulful touches often funky at the best moments, but even more importantly openly rhythmic with a progressively soulful style that's really outta site! The group features Art Taylor on drums, plus an assortment of European players led by Siegried Kessler who plays some great piano and flute on the album, and also handled the arrangements. The album features Singer's wonderful tune "Malcolm X" the kind of a track that we'd rank right up there with some of the most righteous soul jazz groovers of the time. Other highlights include the modal "Pour Stephanie", the jagged "Blues For Hal", and the groovy "It's My Thing". CD also includes the bonus track "Lina".

Personnel: Hal Singer - tenor saxophone; Jacques Bolognesi - trombone;  Jean-Claude Andre - guitar; Siegfried Kessler - piano; Patrice Caratini - bass; Art Taylor - drums

Blues and News

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Sant Andreu Jazz Band, Joan Chamorro - Jazzing 9 Vol.1

Styles: Jazz, Big Band
Year: 2019
File: MP3@320K/s
Time: 77:52
Size: 181,0 MB
Art: Front

(5:24)  1. The Good Life
(2:39)  2. No Moon at All
(5:20)  3. Where or Where
(2:33)  4. Take It Like You Give It
(5:21)  5. Round Midnight
(4:26)  6. Donna Lee
(5:03)  7. I Could Write a Book
(6:08)  8. Sophisticated Lady
(6:40)  9. Insensatez
(4:19) 10. Sugar
(5:36) 11. Blue Gardenia
(3:46) 12. On the Sunny Side of the Street
(5:30) 13. Le Coiffeur
(5:07) 14. So What
(4:23) 15. Blues After Dark
(5:28) 16. Brighter Day

This new work, although it includes many vocal themes, also contains so many instrumental themes in which the increasingly numerous soloists of the orchestra have their opportunity to share their creativity, their ability to generate their own discourse, in a continuous evolution. https://santandreujazzband.bandcamp.com/album/jazzing-9-vol-1

Jazzing 9 Vol.1

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