Hendrik Meurkens - Cobb's Pocket

Styles: Harmonica Jazz
Year: 2019
File: MP3@320K/s
Time: 50:18
Size: 116,3 MB
Art: Front

(6:07)  1. Driftin'
(4:47)  2. Cobb's Pocket
(8:34)  3. Frame for the Blues
(6:29)  4. Slidin'
(5:40)  5. Slow Hot Wind
(5:35)  6. Unit Seven
(6:25)  7. Polka Dots and Moonbeams
(6:38)  8. A Slow One

It may be posited that what Louis Armstrong was to the trumpet, Toots Thielemans was to the mouthorgan. With Thielemans now blowing in the Upper Room, the field is open to aspiring and worthy replacements. Hendrik Meurkens fits that bill appropriately and is a leading contender, for sure. Like his aforementioned hero, Meurkens is not only a superior harmonica player, he is, like Thielemans, a multi-instrument-playing musician.

Cobb's Pocket, a very fine effort, has Meurkens fronting a terrific rhythm section consisting of B-3 organ, guitar and drums. Not a lengthy album -there are only eight tracks. The session offers terrific ensemble playing and great jazz improv across a variety of grooves. "Driftin'" is a Herbie Hancock-composed head-tilting ear-wormer that has Meurkens and Bernstein's guitar working its way over a hip, with a struttin' head and LeDonne chiming in before Meurkens, Bernstein and LeDonne deliver pocketed solos. The pairing of harmonica and guitar on melodies is an excellent touch that adds a robust dimension. The title cut, a Meurkens composition, is a respectful and furiously-paced tip of the hat to legendary drummer Jimmy Cobb. It is a burner with leader and cadre delivering smoking solos. Maestro Meurkens is a technical wizard. He holds little back and swings heavily throughout the date. His chops have chops. His improvisations are swinging, extended lines that resemble of those of a saxophonist or pianist. Remember, Meurkens is also an ace vibraphonist. He is (and all are) soulful on Slide Hampton's "Frame for the Blues" and he demonstrates great dynamic taste on "Polkadots and Moonbeams." Bernstein offers great swing and a tasty solo on the leader's "Slidin' and Henry Mancini's bossa, "Slow Hot Wind." LeDonne, as underrated as he is talented, is a swinger in the finest B-3 tradition. Cobb, a near-nonegenarian at the time of the session, is tasty and driven throughout and offers a fine solo on "Unit Seven."

Cobb's Pocket is shorter in length, but extensive in its delivery of an A-1 entertaining session. This is a pocket to be picked. And yes, The Baron would be proud. https://www.allaboutjazz.com/cobbs-pocket-hendrik-meurkens-in-and-out-records-2

Personnel: Hendrik Meurkens: harmonica; Peter Bernstein: guitar; Mike LeDonne: B-3 organ; Jimmy Cobb: drums.

Cobb's Pocket

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Charnett Moffett - Bright New Day

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 43:33
Size: 100,3 MB
Art: Front

(5:01)  1. Holy Spirit
(4:56)  2. Free the Slaves
(4:51)  3. Precious Air
(3:46)  4. O My God Elohim
(6:56)  5. Set It Free
(6:52)  6. Waterfalls
(3:25)  7. Netting
(7:43)  8. Bright New Day

Bassist Charnett Moffett has a catalog of solo recordings dating back 32 years, yet he may be best known for his touring and recording with guitarist Stanley Jordan. Such is the reality for rhythm instrumentalists, even ones whose recording credits include Wynton Marsalis, Branford Marsalis, and Ornette Coleman. On his latest release, Moffett who can impressively play every variety of acoustic and electric bass plays only a fretless electric instrument, which he utilizes to create a unique mix of jazz, folk, and chamber music with keyboardist Brian Jackson, violinist Scott Tixier, drummer Mark Whitfield, Jr., and guitarist/vocalist (and Motéma founder and president) Jana Herzen. When Jackson sticks to piano rather than synthesizers, as on the opener “Holy Spirit,” the disc evokes disparate European classical and acoustic Americana themes thanks to Moffett’s upright-like tones, the unplugged nature of Tixier and Whitfield’s instruments, and the sparse accompaniment of Herzen on a semi-hollowbody acoustic/electric guitar. On the subsequent “Free the Slaves,” Moffett’s funk bass line, Stanley Clarke-inspired solo, and chanted vocals help create a very different atmosphere. It’s a recurring pattern. The third track is the lone non-Moffett composition, Herzen’s “Precious Air,” which straddles pop and folk styles via her breathy lead vocal. “O My God Elohim” adds elements of gospel and Irish music, thanks to the 6/8-timed cadence of Moffett and Whitfield and dancing solos of Tixier. The disc only detours when Herzen becomes overly dissonant, but such moments are few and far between. The disc ends with the Mahavishnu Orchestra-inspired “Netting” and the title track, an anthemic piece that rides the ascending arpeggios of Tixier and Moffett. https://jazztimes.com/reviews/albums/charnett-moffett-bright-new-day-motema/

Bright New Day

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Billy Cobham - A Funky Thide Of Sings

Styles: Jazz, Hard Bop 
Year: 1975
File: MP3@320K/s
Time: 45:05
Size: 104,3 MB
Art: Front

( 4:06)  1. Panhandler
( 2:24)  2. Sorcery
( 3:38)  3. A Funky Thide of Sings
( 4:29)  4. Thinking of You
( 5:10)  5. Some Skunk Funk
( 3:41)  6. Light at the End of the Tunnel
( 9:18)  7. A Funky Kind of Thing
(12:17)  8. Moody Modes

After a string of successful solo efforts, Billy Cobham began to slip into mediocrity beginning with this recording, originally released in 1975. While elements of funk were always a part of his band's sound, it was now the primary focus. "Panhandler" stands out as the session's most memorable composition, while Milcho Leviev contributes nicely on "Moody Modes." Cobham fans will want to seek this out for the extended drum solo "A Funky Kind of Thing," which stands as one of the most original drum solos he ever recorded. Of particular interest here is the presence of John Scofield, who had replaced John Abercrombie. Not up to the standards of its predecessors, but a worthy purchase. ~ Robert Taylor https://www.allmusic.com/album/a-funky-thide-of-sings-mw0000239676

Personnel: Producer, Percussion, Synthesizer – Billy Cobham; Bass – Alex Blake; Guitar – John Scofield; Keyboards – Milcho Leviev; Saxophone – Michael Brecker;  Trombone – Glenn Ferris;  Trumpet – Randy Brecker 

A Funky Thide Of Sings

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Rosemary Clooney - Swings Softly

Size: 74,4 MB
Time: 30:50
File: MP3 @ 320K/s
Released: 1960/2010
Styles: Jazz Vocals
Art: Front

01. For You (1:55)
02. Always Together (2:46)
03. You Ol' Son Of A Gun (2:31)
04. I Wonder (2:48)
05. Always Be In Love (2:23)
06. Grieving For You (2:46)
07. With You And Me (2:20)
08. Looking For A Boy (2:12)
09. With The Night (2:57)
10. Love Eyes (2:29)
11. Sorry For Myself (2:39)
12. Keep It Simple (2:58)

Rosemary Clooney (May 23, 1928 – June 29, 2002) was an American singer and actress. She came to prominence in the early 1950s with the song "Come On-a My House", which was followed by other pop numbers such as "Botch-a-Me", "Mambo Italiano", "Tenderly", "Half as Much", "Hey There" and "This Ole House". She also had success as a jazz vocalist. Clooney's career languished in the 1960s, partly due to problems related to depression and drug addiction, but revived in 1977, when her White Christmas co-star Bing Crosby asked her to appear with him at a show marking his 50th anniversary in show business. She continued recording until her death in 2002.

Swings Softly

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Harry Allen & Scott Hamilton - 'Round Midnight

Size: 437 MB
Time: 66:23
File: FLAC
Released: 2012
Styles: Jazz
Art: Front & Back

01. My Melancholy Baby (6:03)
02. Great Scott (7:51)
03. How Am I To Know (8:29)
04. The Opener (6:26)
05. Baubles, Bangles And Beads (8:43)
06. Hey Lock! (7:50)
07. Lover (8:10)
08. Flight Of The Foo Birds (6:06)
09. 'Round Midnight (6:40)

Tenor saxophonists Harry Allen and Scott Hamilton are veterans who have occasionally shared the stage and recorded together, a complementary pairing reminiscent of the team of Al Cohn and Zoot Sims. For these 2012 sessions, the two tenorists are joined by pianist Rosanno Sportiello, bassist Joel Forbes, and drummer Chuck Riggs, all of whom, like the co-leaders, are regulars on the jazz party circuit. The songs selected include a mix of standards, jazz favorites, and a handful of obscurities. Their relaxed interpretation of the old chestnut "My Melancholy Baby" is anything but hackneyed, with a conversation between the two tenors. The hard-driving bop setting of Rodgers & Hart's "Lover" showcases how well the tenor men complement one another's playing, with Forbes' potent bass work driving them. The standard "Baubles, Bangles and Beads" was a favorite of Gerry Mulligan; this version transforms it into an easygoing bossa nova. The breathy vibrato in the robust setting of "'Round Midnight" recalls the great Ben Webster. One hidden gem is the brisk, swinging take of Neal Hefti's "Flight of the Foo Birds" (the title was inspired by an old joke with a Spoonerism punch line), written for Count Basie and long forgotten. Allen's punchy "Great Scott" is a reworking of "Indiana" that was inspired by a riff he heard Hamilton play; together they swing like mad. This rewarding release proves there is still plenty of life left in two-tenor record dates. ~Ken Dryden

'Round Midnight

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Staci Griesbach - My Patsy Cline Songbook

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 63:16
Size: 146,7 MB
Art: Front

(4:59)  1. Crazy
(3:20)  2. Sweet Dreams
(2:59)  3. Blue Moon of Kentucky
(4:12)  4. Why Can't He Be You
(3:38)  5. So Wrong
(5:28)  6. Leavin' on Your Mind
(4:03)  7. Walkin' After Midnight
(1:01)  8. I Fall to Pieces (Intro)
(4:39)  9. I Fall to Pieces
(3:25) 10. Won't You Come Home Bill Bailey
(5:33) 11. She's Got You
(2:41) 12. Strange
(4:32) 13. He Called Me Baby
(4:27) 14. Always
(4:01) 15. You're Stronger Than Me
(4:13) 16. Faded Love

“My Patsy Cline Songbook” is the first-ever full-length jazz-style tribute album dedicated to the one and only Patsy Cline. Staci Griesbach‘s debut album release show in Nashville will take fans on a journey through songs Patsy Cline made famous and written by some of Nashville’s most renowned songwriters, including Hank Cochran, Harlan Howard, Bob Wills, Willie Nelson and more. Classic Nashville standards that include “I Fall To Pieces,” “She’s Got You,” “Leavin’ On Your Mind,” “Walkin’ After Midnight,” and “Crazy.” Join us as we remember the trailblazing country music icon on her birthday. https://www.nowplayingnashville.com/event/staci-griesbach-presents-my-patsy-cline-songbook-a-birthday-tribute-to-patsy-cline/

My Patsy Cline Songbook

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Marc Copland Trio - Haunted Heart

Styles: Piano Jazz 
Year: 2003
File: MP3@320K/s
Time: 65:55
Size: 152,3 MB
Art: Front

(1:55)  1. My Favorite Things 1
(7:17)  2. Crescent
(6:32)  3. Dark Territory
(6:05)  4. Greensleeves
(5:39)  5. When We Dance
(2:26)  6. My Favorite Things 2
(7:50)  7. Soul Eyes
(8:02)  8. It Ain't Necessarily So
(7:49)  9. Easy to Love
(8:42) 10. Haunted Heart
(3:33) 11. My Favorite Things 3

Originally released in 2001, Marc Copland's Haunted Heart deserves re-examination and re-evaluation, as hatOLOGY brings one of the perennially undervalued pianist's most sublime trio recordings back into print. With the original subtitle And Other Ballads removed, those familiar with Copland's intimate approach will already know what to expect, especially with a trio that, in the early part of the 21st century, was Copland's most consistent line-up. Copland works less regularly with drummer Jochen Rueckert these days, but this first trio encounter with bassist Drew Gress their first recorded collaboration being Second Look (Savoy Jazz, 2006), with guitarist John Abercrombie and drummer Billy Hart; a quartet recently reformed for Another Place (Pirouet, 2008) and expanded to a quintet with the addition of saxophonist Dave Liebman on Five on One (Pirouet, 2010) was of particular importance. It introduced a marvellously effective stylistic conceit that Copland would repeat on subsequent hatOLOGY releases, including the career-defining solo disc, Time Within Time (2005): choose a particularly meangingful song, and use multiple solo takes to bracket other material in the program. In this case, Copland delivers three very different, yet consistently dark and brooding readings of the old Sound of Music chestnut, "My Favorite Things" made famous in the jazz world by John Coltrane to set up two mini-sets that combine other songs popularized by the late saxophone giant, as well as a subtly Latin-esque look at Sting's "When We Dance," a series of well-heeled but here equally distinctive standards, and one Copland original.

Copland turns the ambling swing and simmering intensity of Coltrane's "Crescent" into a hushed, romantic showcase for his impressionistic harmonic approach; rarely resolving in a direct way, Copland instead deals in ambiguous implication. Coltrane also covered the traditional English tune "Greensleeves," but the "sheets of sound" saxophonist never sounded this spare, this economical...or this hauntingly lyrical. Copland's own "Dark Territory" fleshes out the first "set," revolving around a three-note bass pattern that shifts harmonically, but acts as a rallying motif throughout this perfect example of the pianist's three-way empathy with his band mates; Rueckert's understated brushwork, a definitive combination of gentle pulse and kaleidoscopic color; and Gress' thematically oblique feature surpassed only by his unerring support for Copland's softly stated solo. The second set collects a number of often covered standards, with the trio's take on Mal Waldron's enduring "Soul Eyes" one of the best on record. The trio's approach to time is fluid and pliant, so when it begins to swing more decidedly than anywhere else on the disc with Copland into some of his most assertive and overtly virtuosic playing of the set it creates a dramatic high point, without breaking free of the disc's overall subdued tone. It's hard to beat Copland's subsequent New York Trio Recordings series on Pirouet, where the pianist teamed with three different trios to explore the intimacies of the format. Still, though he'd been working with piano trios for nearly two decades when Haunted Heart was released, it's where this modern mainstreamer's greatest growth began and, consequently, is well-deserving of return-to-print status. ~ John Kelman https://www.allaboutjazz.com/haunted-heart-marc-copland-hatology-review-by-john-kelman.php

Personnel: Marc Copland: piano; Drew Gress: double-bass; Jochen Rueckert: drums.

Haunted Heart

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Thank You

My friends!

It is a real joy to be with you again and say: how will I ever be able to express all the gratitude I owe you? There are no words that can express what I feel for each one of you who joined in prayers so that I could be here today.

My confidence in walking has clearly not yet been totally restored but I'm working very hard with the physiotherapist and I hope that I will get well soon. I still feel pains in my back, but it doesn't stop me from coming here every day to say hello to those I care so much.

I decided that I will post an album a day. I can't do more than that, unfortunately, but I will be here to express my gratitude. In the meantime, you can count on the help of Yara and MaiNeime who, in solidarity, returned to the blog (hopefully our mentor Mat.Tiggas will also return, at least an invitation was sent to him).

Once again, all my gratitude for your coming here to say a word of affection and solidarity. I read all the messages and I thank each one of you for your words of encouragement and prayers.

You are in my heart.

See you later!

With all my love,

Giullia

Dave Ballou - The Floating World

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 60:58
Size: 140,7 MB
Art: Front

( 8:54)  1. All the things you are
( 6:25)  2. Bronk
( 5:52)  3. Pannonica
( 6:38)  4. Memories of you
( 5:40)  5. Don and Dewey
(10:02)  6. I hear a rhapsody
( 5:46)  7. The floating world
( 7:50)  8. Time remembered
( 3:49)  9. Plan

On his third release, trumpeter Dave Ballou opts for a standard quartet, with George Colligan on piano, Doug Weiss on bass, and Darren Becket on drums. Ballou's original compositions are less prevalent this time around, and a casual glance at some of the titles  "All the Things You Are," "I Hear a Rhapsody" suggests that The Floating World might be more middle-of-the-road than his previous efforts. That's only partially true, as Ballou can't resist throwing curves. His four originals are decidedly left of center particularly "Bronk," which appears early on. His flugelhorn reading of Thelonious Monk's "Pannonica" (sans Colligan) is fabulous, and his trumpet/piano duo rendition of Eubie Blake's "Memories of You" is inspired on a multitude of levels. Other highlights include Colligan's thunderous solo on "I Hear a Rhapsody" and Ballou's melodic insight on the Bill Evans classic "Time Remembered." Despite its low and inconsistent recording level, The Floating World is superb, proving Ballou's ability to say something very different each time he's heard from. ~ David R.Adler https://www.allmusic.com/album/the-floating-world-mw0001170149

Personnel: Dave Ballou - Trumpet; George Colligan - piano, Doug Weiss - bass,  Darren Beckett - drums.

The Floating World

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Jumpin'up - Swing It Again

Styles: Jazz, Swing
Year: 2011
File: MP3@320K/s
Time: 44:10
Size: 103,4 MB
Art: Front

(2:13)  1. Opus One
(2:35)  2. Rocket 69
(3:14)  3. Baciami piccina (Botch-A-Me)
(2:26)  4. Shake That Thing
(2:44)  5. Un bacio a mezzanotte
(3:17)  6. Swing It Again
(2:08)  7. Leave Married Woman Alone
(2:36)  8. Tre numeri al lotto
(2:51)  9. I Can't Stop It
(3:03) 10. Shout Sister Shout
(2:47) 11. Oh Babe!
(3:12) 12. The Walkin' Blues (Walk Right In Walk Right Out)
(2:25) 13. Nessuno
(2:34) 14. Feeling Happy
(3:32) 15. Prima's Medley
(2:25) 16. Sleepwalk

The Jumpin up is a all Italian eight piece band. Most of the players used to play Rock 'n' Roll, Jive and R 'n' B. The Band formed in July 2004 with the aim to recreate the original hot sound of The Jumpin up is a all Italian eight piece band. Most of the players used to play Rock 'n' Roll, Jive and R 'n' B. The Band formed in July 2004 with the aim to recreate the original hot sound of 40's and fifties tunes from jump blues and jive. 

Talented singer and the skilled players, double bass, guitar, trumpet, tenor and baritone sax, piano, drums join together in an exciting jumpin live act that with the help of their warm sun of mother land "Sicily" makes the coldest locations really HOT!!! http://www.numberonemusic.com/jumpinup/about

Swing It Again

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Beegie Adair - A Time For Love: Jazz Piano Romance

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 51:13
Size: 119,3 MB
Art: Front

(3:50)  1. Let's Get Lost
(3:45)  2. Polka Dots And Moonbeams
(4:03)  3. I Only Have Eyes For You
(3:38)  4. What A Difference A Day Makes
(4:05)  5. My One And Only Love
(3:21)  6. It Could Happen To You
(4:19)  7. A Time For Love
(3:08)  8. Let's Do It
(4:43)  9. What Are You Doing The Rest Of Your Life
(5:25) 10. But Beautiful
(3:43) 11. Oh Look At Me Now
(3:57) 12. When I Fall In Love
(3:09) 13. Again

An elegant collection of romantic standards performed by a jazz piano trio.

Born in Cave City, Kentucky, a small farming community of 1,400 residents, Beegie Adair (pronounced B-G) grew up avidly listening to music. At age four she started the 'two-finger-hunt-and-peck' system on the piano, but began actual lessons when she was five and continued studying piano through college at Western Kentucky University in Bowling Green where she received her Bachelor of Science Degree in Music Education. Arriving in Nashville during the heyday of Country music allowed her the opportunity to accompany such legendary performers as Chet Atkins, Johnny Cash, and Dolly Parton. Because Nashville was a hot bed of musical television tapings and live performances during that time, Adair also worked with such entertainers as Neil Diamond, Mama Cass Elliott, and Peggy Lee in her position as in-house pianist for The Johnny Cash Show for ABC-TV plus other television programs featuring Lucille Ball, Carol Burnette, and Dinah Shore. Adair serves as adjunct professor in jazz studies at Vanderbilt University's Blair School of Music and currently teaches singers repertoire at the Nashville Jazz Workshop. Beegie credits as her main influences Jimmy Jones, George Shearing, Teddy Wilson, Tommy Flanagan, Oscar Peterson, Bill Evans, and Russ Freeman (the pianist who played with Chet Baker in the Fifties). ~ Editorial Reviews https://www.amazon.com/Time-Love-Jazz-Piano-Romance/dp/B00AK77WKY

A Time For Love: Jazz Piano Romance

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Howard Alden, Jeanne Gies - Window: The Music of Manu Lafer

Styles: Vocal And Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 37:34
Size: 87,2 MB
Art: Front

(3:08)  1. Journey
(3:33)  2. Soul Tree
(4:09)  3. Gypsy
(4:11)  4. Crime
(5:45)  5. Window
(4:12)  6. Ta Shema
(3:34)  7. Sky
(4:52)  8. Translation
(4:06)  9. Account

Manu Lafer is an interesting man. A prolific and accomplished musician and composer with over 300 songs to his catalog, and a discography of over 15 CDs, he studied guitar with Luiz Tatit, Cezar Mendes Nogueira, and Ítalo Perón; and studied singing with Ná Ozzetti, Fernanda Gianesella and Wagner Barbosa. In addition to his extensive experience as a producer, arranger, and composer, Lafer also studied medicine at Escola Paulista de Medicina in at São Paulo. He earned a doctorate in pediatrics, and has worked as a visiting researcher at Columbia University in New York and with the Food and Drug Administration in Maryland. With Lafer’s Brazilian jazz compositions as an inspiration and musical template, vocalist and MFM member Jeanne Gies, and guitarist Howard Alden set out to interpret Lafer’s music. The result is amazing. Gies is performing artist of international renown, and an educator. She has recorded with Sandro Albert, Howard Alden, Gerald Cannon, Sherman Irby, Willie Jones III, Romero Lubambo, Russell Malone, Bucky Pizzarelli, Eric Reed, and Jack Wilkins. As a licensed voice specialist, Gies presides over the annual Jazz Vocal and Guitar Workshop in Bolzano Italy. Alden began playing guitar at age ten, inspired by Louis Armstrong, Count Basie, Barney Kessel, Charlie Christian, Django Reinhardt and George Van Eps. He performed with Joe Bushkin, Ruby Braff, Joe Williams, Warren Vache, and Woody Herman, and has been a Concord Jazz recording artist since the late ’80s. He also performed on the soundtrack to the 1999 Woody Allen movie Sweet and Lowdown (starring Sean Penn) and also coached Penn on playing the guitar for his role in the film. He concentrates on the 7 string guitar.

The addition of the low B string gives the instrument a rich harmonic spectrum which Adlen makes use of in an impressive manner. From the opening track, “Journey,” it’s clear that Gies and Alden have a special chemistry. On this Brazilian jazz piece, Gies and Alden establish as firmly as possible that this is that special branch of jazz that draws you into a peaceful and lush world. Alden also plays tenor banjo on this song (obviously overdubbed – but we can overlook this brief deviation from the orthodoxy of Gies’ silky smooth and flawlessly executed vocal performance continues its musical peregrination on “Soul Tree.” Her interaction with Alden’s inventive harmonic concept produces some astonishing moments. “Gypsy” affords Alden the opportunity to nod in respect and admiration to the great Django Reinhardt. His guitar invokes the classical era of Gypsy Jazz, and brings it into a modern jazz context. Gies responds to this, assuming the role of playful, and almost flirtatious chanteuse. The overall effect is truly delightful. The mood of the previous song is transformed into an almost (but not quite) Noir quality in the next track “Crime.” Gies becomes more of a storyteller on this song, with Alden providing a backdrop. His solo brings out an interesting compliment to the implied darkness of the song. Gies and Alden continue to explore the musical possibilities of Lafer’s songs, and the complex interaction between their own musical personalities. I won’t spoil any surprises that may await you in the remainder of the music. You will want to experience it yourself. The jazz world has no shortage of vocal / guitar duos; and few realize that this reduction of instrumentation places not less but more demands upon the performers. 

The full essence of the music is distilled into a form of almost frightening intimacy, and few can stand up to this intensity of musical scrutiny. With Gies and Alden, it’s impossible not to recall the same unity of musical vision shared between Ella Fitzgerald and Joe Pass. Yet, this is not an imitation of what’s already been perfected; they have their own musical story to tell. Like the aforementioned legends, they know how to bring out the finest and most expressive nuances of their respective instruments. Gies and Alden stand apart from the crowd as true artists and true purveyors of the requisite beauty this music demands. ~ Dawoud Kringle https://doobeedoobeedoo.info/2019/01/06/cd-review-jeanne-gies-howard-alden-window/

Window: The Music of Manu Lafer

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Stephen Riley - Oleo

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 66:58
Size: 154,1 MB
Art: Front

( 7:36)  1. Ornithology
( 9:10)  2. Doxy
( 6:56)  3. St. Thomas
( 7:06)  4. Valse Hot
( 8:23)  5. On Green Dolphin Street
( 6:10)  6. Minority
( 6:20)  7. Oleo
( 3:59)  8. Lazy Bird
(11:14)  9. Don't Get Around Much Anymore

Magnificent long-blown solos from tenorist Stephen Riley  on an album named after a Sonny Rollins tune, and which definitely carries a bit of the Rollins approach in its sound! Yet the album's also got plenty of Riley's strengths in the mix, too  that great raspy sound he can get on the tenor, which also echoes a bit of Ben Webster, but with more contemporary phrasing  matched in the frontline by the trumpet of Joe Magnarelli, who we always love in an open date like this  with just the bass of Jay Anderson and drums of Adam Nussbaum for support. The lack of piano allows for plenty of structural freedom on the tunes and titles include "Oleo", "Minority", "Doxy", "Valse Hot", "Lazy Bird", "On Green Dolphin Street", and "St Thomas".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/928719/Stephen-Riley:Oleo

Personnel: Stephen Riley - tenor saxophone; Joe Magnarelli - trumpet; Jay Anderson - bass; Adam Nussbaum - drums

Oleo

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Ken Peplowski, Jesper Thilo - Up and Down (Live at Birdland, Vol. 2)

Styles: Saxophone and Clarinet Jazz 
Year: 2012
File: MP3@320K/s
Time: 51:35
Size: 118,3 MB
Art: Front

( 9:18)  1. Drop Me off in Harlem
(12:53)  2. Blues up and Down
( 4:52)  3. Body and Soul
( 6:38)  4. Something as Simple
( 9:17)  5. Like Someone in Love
( 8:35)  6. Tickle Toe

The late Mel Tormé said, "Since the advent of Benny Goodman, there have been too few clarinetists to fill the void that Goodman left. Ken Peplowski is most certainly one of those few. The man is magic." The New York Times pronounced a concert of Ken's "Goodman Straight Up, With A Twist Of Lightning."These quotes only hint at Ken Peplowski's virtuosity not only is he an outstanding clarinetist and saxophone player, but he's also a charismatic entertainer who has been delighting audiences for over 30 years with his warmth, wit, and musicianship.

Here Ken is joined by Jesper Thilo, Danish jazz tenor saxophonist and clarinetist born in Copenhagen. Thilo is perhaps best-known for his work with Ernie Wilkins from in the 1980s called "Ernie Wilkins's Almost Big Band". Thilo also appears on the Miles Davis album "Aura" recorded in 1985. And in 1991 heworked with Hank Jones in a quintet.

The word "sublime" comes to mind when listening to the new recording by Ken Peplowski and his co-leader Jesper Thilo. The music echoes the smoothness of Dexter Gordon, Benny Goodman, and Charlie Parker, with the right touch of swing and balladry. The sound that the band creates is simply a pleasant and joyful experience.

With Peplowski's and Thilo’s impeccable woodwind voices, an impressive band, and just the right mood, the stage is set for music that is classy and elegant. And so the audience on that special night at Birdland, Hamburg, was very enthusiastic about what was happening on stage, too.

Let's end with a quote from the Jazz Journal International, “Ken Peplowski is one of those fine young americans who are currently setting so much of the pace in all that's good in jazz.”

Ken Peplowski - tenor sax (2 & 6), clarinet (1 & 4)
Jesper Thilo - tenor sax (2, 3, 5 & 6), clarinet (1)
Thilo Wagner - piano
Isla Eckinger - bass
Gregor Beck - drums

Recorded live on April 20, 2002 at Birdland Jazzclub, Hamburg

Up and Down (Live at Birdland, Vol. 2)

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Stan Getz Quartet - In Poland 1960

Size: 160,0 MB
Time: 68:53
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz
Art: Front & Back

01. But Not For Me ( 6:13)
02. Cherokee ( 5:21)
03. Darn That Dream ( 5:49)
04. Out Of Nowhere ( 7:04)
05. The Folks Who Live On The Hill ( 4:40)
06. Waltz For Lovely Wife (Bonus Track) ( 6:10)
07. Grandfather's Waltz (Bonus Track) ( 7:31)
08. Sweet Georgia Brown (Bonus Track) ( 6:31)
09. 'Round Midnight (Bonus Track) ( 9:00)
10. A Night In Tunisia (Bonus Track) (10:30)

Personnel:
Stan Getz: Tenor Sax
Andrzej Trzaskowski: Piano
Roman Dylag: Bass
Andrzej Dabrowski: Drums

A long unavailable 1960 performance by Stan Getz, recorded in studio conditions in Warsaw, plus five rare bonus tracks by Getz recorded live in Thailand, Japan and Sweden. The latter includes well-known pianist Bobo Stenson featured here at the beginning of his career.

All tracks carefully remastered.

Recorded at National Philharmonics Concert Hall, Warsaw, Poland, on October 31, 1960.

In Poland 1960

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Paolo Tomelleri Big Band/Nicki Parrott - A Jazz Story. Volume 1

Styles: Swing Jazz 
Year: 2019
File: MP3@320K/s
Time: 55:17
Size: 127,9 MB
Art: Front

(5:24)  1. Moon River
(7:42)  2. Chinatown My Chinatown
(2:38)  3. Nocturne, Op.9: No. 2 - Jazz Version
(5:08)  4. Mississipi Rag
(4:10)  5. Besame Mucho
(6:37)  6. One o'Clock Jump
(2:46)  7. Fidgety Feet
(7:44)  8. Deep Purple
(6:04)  9. Estrellita
(3:23) 10. Tutti Frutti
(3:36) 11. La Mer

After the extraordinary success of Jazz Broadway 2011, the great gala dedicated to swing music returns to Milan, in a new dress and a new concept: bringing together the best talents on the international scene in Milan. Together they will tell an extraordinary era for swing: the transition from Broadway musicals to the great musical themes of Hollywood films.

The gala reads in an original way the American song book of the 30s and 40s through a path that intertwines the history of music, costume and vintage style, swing dances and extraordinary composers who in their time were great innovators.

Big Band by Paolo Tomelleri (sax, trumpets, trombones, rhythms)
Scott Hamilton (tenor sax, among the greatest living saxophonists)
Carlo Bagnoli (baritone sax)
Niki Parrot (acoustic double bass and vocals)
Paolo Alderighi and Rossano Sportiello (piano)
Stephanie Trick (stride piano)
the drummers Tullio de Piscopo and Christian Meyer

80 years old and a career spanning 60 years: Paolo Tomelleri, rewarded at last year’s festival for his exceptional contribution to the development of jazz in Italy, is a legendary musician from the Milano scene. With experience also as a writer of theater and film music, he is a successful soloist and orchestra director who has collaborated with Enzo Jannacci for over thirty years (as well as with Ornella Vanoni, Giorgio Gaber, and Adriano Celentano) and with famous jazzists such as Tony Scott, Joe Venuti, Jimmy McPartland, Clark Terry, Bill Coleman, or Phil Woods.

A Jazz Story. Volume 1

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