Lafayette Harris Jr. - You Can't Lose with the Blues

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 57:07
Size: 132,0 MB
Art: Front

(3:26) 1. He's My Guy
(4:10) 2. I Love You, Yes I Do
(5:03) 3. Blues for Barry Harris
(4:20) 4. Don't Let the Sun Catch You Crying
(4:55) 5. Ev'ry Time We Say Goodbye
(3:28) 6. Things Ain't What They Used to Be
(5:33) 7. Love Me in a Special Way
(3:34) 8. Bloomdido
(6:42) 9. You Can't Lose with the Blues
(5:15) 10. Wonder Why
(5:31) 11. Please Send Me Someone to Love
(5:05) 12. The Juicy Blues

Can’t lose? Well, not if you command a soulful touch and a wealth of resources, something that Lafayette Harris Jr., bassist Peter Washington, and drummer Lewis Nash demonstrate time and again on this intimate, colorfully programmed trio session. Give Harris, the Baltimore-bred, Manhattan-based pianist, a fundamental blues progression and it won’t sound fundamental for long. Without compromising a familiar theme’s emotional or bop-ish slant, he never fails to offer fresh perspectives, whether introducing lyrical melodic variations, vibrant octave shifts, or orchestral-shaded codas. Of course, he consistently benefits from the exceptionally well-matched pairing of Washington and Nash, veteran session mates who shine in a wide variety of interpretations a haunting take on Cole Porter’s “Ev’ry Time We Say Goodbye” and an invigorating reboot of Charlie Parker’s “Bloomdido,” for example. Subtle ornamentation, rhythmically charged sprints, and delightful exchanges and turnarounds are in copious supply.

Harris’ reconfiguring of DeBarge’s “Love Me in a Special Way” fits in surprisingly well here, but it’s no match for the vintage tunes associated with Bull Moose Jackson, Louis Jordan, and Duke Ellington. Or for that matter, the album’s title track, which Harris composed for Houston Person. Suffice to say, it’s performed here with ample authority. Then again, the same can be said for Harris’ “The Juicy Blues,” which serves as the album’s swinging, bass-resonating closer, or the pianist’s deeply expressive solo arrangement of Percy Mayfield’s signature lament, “Please Send Me Someone to Love.”~Mike Joyce https://jazztimes.com/reviews/albums/lafayette-harris-jr-you-cant-lose-with-the-blues-savant/

You Can't Lose with the Blues

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Anne Paceo - Triphase

Styles: Jazz, Post Bop
Year: 2008
File: MP3@320K/s
Time: 69:54
Size: 161,5 MB
Art: Front

(5:45) 1. Cloe
(4:27) 2. Attendre
(6:30) 3. Duas Velas
(1:27) 4. Camino
(5:03) 5. Les petites choses positives
(6:59) 6. Ineffable
(2:46) 7. Menthe à l'eau
(7:59) 8. Minas
(4:04) 9. Traverse
(5:59) 10. Sete Passos
(7:48) 11. Regrets
(3:01) 12. L'île aux coquillages
(8:00) 13. Oblique

Anne Paceo appears as one of the more brilliant young French drummers in France. Her subtile touch on drums and cymbals is very personal. She met pianist Leonardo Montana and bassist Joan Eche-Puig at the CNSM in Paris (National music school) as they were students. Triphase is the name of the album and the name of the trio. If that stands apart from the rest of today’s productions, the themes and melodies remain in your mind as soon as you hear them. Much more than just another Trio, this is a brilliant mix of 3 souls and 3 characters offering a taste of Catalonia, Brasil and Africa. Both three young artists are simple, spontaneous, full of energy and humour, found of encounters and exchange. Triphase is now touring with success all over the world.

Personnel: Anne Paceo : Drums; Joan Eche-Puig : Double bass; Leonardo Montana : Piano

Triphase

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Bob Brookmeyer - Bob Brookmeyer & Friends

Styles: Trombone Jazz
Year: 1964
File: MP3@320K/
s Time: 55:12
Size: 127,7 MB
Art: Front

(4:40) 1. Jive Hoot
(5:17) 2. Misty
(5:18) 3. The Wrinkle
(4:57) 4. Bracket
(5:00) 5. Skylark
(4:04) 6. Sometime Ago
(5:04) 7. I've Grown Accustomed To Her Face
(7:02) 8. Who Cares
(5:18) 9. Day Dream
(3:37) 10. Time For Two
(4:50) 11. Pretty Girl

This somewhat obscure session was reissued on LP by Columbia in 1980. Valve trombonist Bob Brookmeyer and tenor-great Stan Getz (who had played together regularly a decade prior) had a reunion for this date, performing five standards and three Brookmeyer originals. The young rhythm section (pianist Herbie Hancock, vibraphonist Gary Burton, bassist Ron Carter, and drummer Elvin Jones) uplifts what would have been a fairly conventional (although high quality) bop date. https://www.allmusic.com/album/bob-brookmeyer-and-friends-mw0000030917

Personnel: Valve trombone - Bob Brookmeyer; Tenor saxophone - Stan Getz; Vibraphone - Gary Burton; Piano - Herbie Hancock; Bass - Ron Carter , Drums - Elvin Jones; Vocals - Tony Bennett (track 9).

Bob Brookmeyer & Friends

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Debby Yeager - Psychology of Jazz

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 42:05
Size: 97,4 MB
Art: Front

(4:13) 1. Visit Me
(3:48) 2. Devil May Care
(3:16) 3. Suddenly
(2:03) 4. Hear Me Blow
(3:43) 5. Tomorrow's Another Day
(2:19) 6. L’ Étang
(3:58) 7. I Could Write a Book
(4:18) 8. In the Land of Oo Bla Dee
(6:00) 9. Without Rhyme or Reason
(3:44) 10. Relaxin' at Camarillo
(4:39) 11. Happy Endings

During the mid-1950’s I was born into a Bohemian environment. Music was like breathing. At the age of three, pop tunes were blasting from a little radio in our kitchen. And in another direction, the ocean breeze carried jazz sounds from our neighbor's hi fi record player, while someone from down the street played bag pipes every morning! Venice, California (known for its eccentric artists and beatniks) was a magical place in time. "Harry Belafonte to the left, Miles Davis to the right, Bob Dorough in back, Scotland coming through the front, and Chet Baker around the corner! I guess I breathed it all in, got a good dose of early ear training and was labelled the goofy kid!”

By the time I was five, the family took a financial tumble and relocated to the inner city of Lynwood, CA, where I first heard Gospel music. Since it came from a small church on the corner of our shabby street, I believed those glorious voices were sent from the heavens above. Ballet training came shortly after and continued well into my teens, dancing and singing my way through a disheveled childhood. At about eight or nine, every bit of my weekly allowance was spent on vinyl and a record collection began to grow like wildfire. Jazz, pop, blues, African rhythms, Broadway, R&B... and then a new sound, the Bossa Nova, which stopped me in my tracks! I discovered the voice of Wanda De Sah. It was true! Brazilian music (at that time) seduced the world. Who would have thought that thirty-seven years later, I'd be recording "Reza" on my debut disc, "Mood Swing" History played the same trick on me when I also recorded a duet with the legendary, Bob Dorough.

Around 1977, divorced as a young mother, music was still the guiding force. Vocal lessons became necessary when I auditioned as a lead vocalist and landed my first job as a singer. Formal training was essential in order to belt out rock tunes for several hours, five nights a week. A few years later with an intensive vocal study regimen and carrying a beautiful daughter in my arms, I landed a gig on a Japan tour as a lead vocalist for a Funk band. As time marched on, I was fortunate to have studied under Grammy winning composer/arranger Alan Copeland, jazz genius Horace Silver and Jim Mooney from the original Sage and Sound Recording Studio in Hollywood, and jumped into the Jazz Scene. Lucky to work with some of the most gifted musicians in LA, my performance level continued to progress, especially in regard to improvisation. Eventually I became a band leader and began to teach vocal technique and therapy while playing jazz clubs, concerts and various venues. But living the dream ended abruptly when repressed memories of childhood abuse surfaced and all hell broke loose. Suffice it to say life got in the way. Early June 1996, “Mood Swing” was released. The album was remastered and re-released in 2017, with a bonus track. Now recording and producing a variety of music, my second disc, "Precocious", was released January 2018, following up with a vocal project, "Psychology of Jazz", to be released in mid 2018.

'A portion of proceeds is donated to the education of child abuse prevention services'https://debbyyeager.com/bio/

Personnel: Debby Yeager - vocals; Stu Goldberg - piano; Tony Dumas - bass; Willie Jones III - drums; Doug Webb - tenor & soprano saxophones; Ron Stout - trumpet & flugelhorn; Ron Escheté - guitar; Melissa Hasin - cello;Yayo Morales - percussion

Psychology of Jazz

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George Coleman - A Master Speaks

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 66:03
Size: 153,1 MB
Art: Front

(12:40) 1. Invitation
( 6:54) 2. The Shadow Of Your Smile
( 6:56) 3. Blues For B.B. (Feat. Peter Bernstein)
( 6:00) 4. Blondie's Waltz
( 6:39) 5. You'll Never Know What You Mean To Me
( 8:07) 6. Darn That Dream
( 5:15) 7. Sonny's Playground
( 8:00) 8. These Foolish Things
( 5:28) 9. Time To Get Down

Like the pronouncements of a sage, legendary tenor saxophonist George Coleman's new recording A Master Speaks communicates both wisdom and wonder that bespeaks Coleman's half century in music. At 80-years-old, Coleman sounds, as ever, both vital and timeless. He's obviously invigorated by the deep sense of swing and classic hard-bop feel of the quartet he's assembled. A Master Speaks is Coleman's first release as a leader in nearly 20 years and first recording since the 2002 all-star live tribute album Four Generations of Miles. The rarity of the session is remarkable in itself; even more special is the fact that it grew out of a desire shared by Coleman and his son, drummer George Coleman Jr., to finally record together.

They're joined by a stellar band featuring pianist Mike LeDonne and bassist Bob Cranshaw, with guitarist Peter Bernstein making a special guest appearance. A man of few words, Coleman nonetheless conveys his thoughts with unparalleled eloquence when he speaks through his instrument, as profoundly evidenced by the nine tracks on A Master Speaks, his long overdue return to the studio.
https://www.amazon.com.au/MASTER-SPEAKS-GEORGE-COLEMAN/dp/B01C4HDL0M

Personnel: Tenor Saxophone – George Coleman; Bass – Bob Cranshaw; Drums – George Coleman, Jr. ; Guitar – Peter Bernstein; Piano – Mike LeDonne

A Master Speaks

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Abbey Lincoln - Tender As a Rose

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 44:06
Size: 101,8 MB
Art: Front

(2:59) 1. Tender as a Rose
(3:26) 2. That's Him
(3:59) 3. I Must Have That Man
(4:27) 4. Porgy
(4:29) 5. When a Woman Loves a Man
(3:01) 6. Can't Help Lovin' Dat Man
(6:41) 7. Don't Explain
(5:05) 8. Strong Man
(5:57) 9. Happiness Is Just a Thing Called Joe
(3:58) 10. My Man

As with her hero Billie Holiday, Abbey Lincoln always meant the lyrics she sang. A dramatic performer whose interpretations were full of truth and insight, Lincoln actually began her career as a fairly lightweight supper-club singer. She went through several name changes (including Anna Marie, Gaby Lee, and Gaby Woolridge) before settling on Abbey Lincoln. She recorded with Benny Carter in 1956 and performed a number in the 1957 Hollywood film The Girl Can't Help It. Lincoln's first of three albums for Riverside (1957-1959) had Max Roach on drums and he was a major influence on her; she began to be choosy about the songs she sang and to give words the proper emotional intensity. Lincoln held her own on her early dates with such sidemen as Kenny Dorham, Sonny Rollins, Wynton Kelly, Curtis Fuller, and Benny Golson. She was quite memorable on Roach's Freedom Now Suite, showing some very uninhibited emotions. Lincoln's Candid date Straight Ahead (1961) had among its players Roach, Booker Little, Eric Dolphy, and Coleman Hawkins, and she made some important appearances on Roach's Impulse! album Percussion Bitter Suite. Abbey Lincoln and Max Roach were married in 1962, an association that lasted until 1970. They worked together for a while but Lincoln (who found it harder to get work in jazz due to the political nature of some of her music) became involved in acting and did not record as a leader during 1962-1972. She finally recorded for Inner City in 1973 and gradually became more active in jazz. Her two Billie Holiday tribute albums for Enja (1987) showed listeners that the singer was still in her prime, and she recorded several excellent sets for Verve in the 1990s. In the following years, she released a handful of recordings including Over the Years in 2000; It's Me in 2003; and her final recording, Abbey Sings Abbey, in 2007. Abbey Lincoln died in New York City on August 14, 2010; she was 80 years old. Because she put so much thought into each of her recordings, it is not an understatement to say that every set she issued is well worth owning. ~ Scott Yanow https://www.allmusic.com/artist/abbey-lincoln-mn0000487535/biography

Tender As a Rose

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RP Quartet - Chicken Do It

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 49:49
Size: 116,1 MB
Art: Front

(3:58) 1. Ouverture
(2:02) 2. Epistrophy
(5:09) 3. My Favorite Things
(2:24) 4. Limehouse Blues
(4:14) 5. Ugly Beauty
(4:15) 6. Evidence
(3:21) 7. Nuages
(3:48) 8. Monk's Dream
(1:39) 9. Giant Steps
(2:58) 10. Djangologie
(3:54) 11. April in Paris
(2:59) 12. May I
(4:20) 13. Good Bye Pork Pie Hat
(0:53) 14. Intro
(3:49) 15. Boogie Stop Shuffle

Here is the eagerly awaited Great Return of the RP Quartet whose secret formula consists in crossing the swing of Django with the bop of Monk and Mingus. Frenchy combo that mixes ardor and class, daring and modernity, these young people from the Parisian swing scene have now achieved a solid reputation that goes beyond the oceans. Assisted by the formidable singer Lou Tavano and an incisive brass section with an always unstoppable groove, this third album sees the RP gain in maturity. A case of high quality, with breathtaking precision; throughout these 15 tracks, there is perfection, power and lightness. France has tableware, good wine, fashion, cheese and PR! Augustin BONDOUX

For those eagerly waiting, this is the Great Return of the RP Quartet, the band whose secret formula mixes Django's swing with the bop of Monk and Mingus. This young French combo from the Parisian swing scene shows class and fi re in a daringly modern return that justifi es the solid reputation they've acquired internationally. Assisted by the wonderful vocals of Lou Tavano alongside biting brass, the incomparable groove in this third album proves the RP has matured even further. While the quality setting shows astounding precision, the power and clarity of the band shine perfectly across all fi fteen tracks. France had gastronomy, wine and fashion; now you can add the RP! Augustin BONDOUX...
Translate By Google https://www.fremeaux.com/index.php?page=shop.product_details&category_id=64&flypage=shop.flypage&product_id=1739&option=com_virtuemart

THE RP QUARTET: BASTIEN RIBOT (VIOLIN) • ÉDOUARD PENNES (GUITAR) • RÉMI OSWALD (RHYTHMIC GUITAR) • DAMIEN VARAILLON (DOUBLE BASS). WITH: LOU TAVANO (VOCAL) • ARNO DE CASANOVE (TRUMPET) • MAXIME BERTON (TENOR SAXOPHONE) • BENOÎT BERTHE (ALTO SAXOPHONE).

Chicken Do It

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Kate Rusby - Angels and Men

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 52:31
Size: 122,3 MB
Art: Front

(3:47) 1. Hark Hark
(3:31) 2. Let It Snow
(4:56) 3. Paradise
(3:46) 4. The Ivy and the Holly
(4:19) 5. Sweet Chiming Bells
(5:20) 6. See Amid the Winter Snow
(4:49) 7. Rolling Downward
(3:20) 8. Deck the Halls
(4:13) 9. We'll Sing Hallelujah
(0:08) 10. Banjo Banjo
(4:46) 11. Santa Never Brings Me a Banjo
(5:40) 12. Let the Bells Ring
(3:50) 13. Big Brave Bill Saves Christmas

There’s a style that’s become synonymous with the 21st-century Christmas: the sound of a grown adult singing like a child, their breath misting on a window like a spray of fake snow, old classics being turned into virtuous, fragile facsimiles. Kate Rusby has one of these voices pretty to many, mawkish to others and it has little variety or power on her fourth collection of festive songs. Let It Snow and Deck the Halls are delivered in the same disengaged, delicate way; each lyric falls and then melts, leaving no mark behind. Modern songs such as Santa Never Brings Me a Banjo feel slushily tailored to tug the heart (“maybe it’s too tricky for the elves”, Rusby sings); heavenly gleam is only offered on the traditional ballad Paradise, which recalls the ambient atmospheres of Clannad. Overall, though, this feels like a John Lewis Christmas advert extended to 52 minutes, its mannered naivety never knowingly undersold. https://www.theguardian.com/music/2017/nov/23/kate-rusby-angels-men-review-pure-records-christmas

Angels and Men

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Anita Harris - Swinging On A Star

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 73:13
Size: 169,8 MB
Art: Front

(4:36) 1. Somewhere Over the Rainbow
(3:01) 2. Sunshine Superman
(2:48) 3. Swinging On a Star
(2:45) 4. The Clapping Song
(2:44) 5. Watermelon Man
(3:17) 6. When You Were a Child
(3:45) 7. Yes We Have No Bananas
(3:45) 8. Lullaby of the Leaves
(2:58) 9. Maxwell's Silver Hammer
(3:14) 10. Messing About On the River
(2:04) 11. Old Queenie Cole
(2:27) 12. Oranges and Lemons
(2:54) 13. Right Said Fred
(3:25) 14. Somebody's in My Orchard
(4:03) 15. A Taste of Honey
(2:33) 16. Bad For Me
(3:45) 17. Butterfly with Coloured Wings
(2:46) 18. Cherry Ripe
(3:12) 19. Do You Know the Way to San Jose
(3:00) 20. Don't Sit Under the Apple Tree
(2:41) 21. Eleanor Rigby
(2:28) 22. Flash Bang Wallop
(3:08) 23. He's a Tramp
(1:41) 24. Honeysuckle Rose

Anita Harris is known as an all-round entertainer, singing, acting, and dancing all part of her repertoire. Sharing musical arranger Kenny Clayton with Petula Clark, her clear vocal quality invited comparisons with Clark and other top female singers from the mid- to late '50s. She was born on June 3, 1942, in Midsomer Norton, Somerset, and began her show business career as soon as she had left school, traveling to Las Vegas to train in choreographed skating. Her first professional engagement, however, was a singer with the easy listening vocal ensemble the Cliff Adams Singers, who enjoyed an extended run on BBC radio with the program Sing Something Simple, a selection of mainly MOR ballads and show tunes that ran from 1959 through to the death of its creator, Cliff Adams, in 2001. She made her debut on record backed by the John Barry Seven, but the single, a double A-side of "I Haven't Got You" and "Mr One And Only," was not a success. Moving into acting, she became famous for very cheeky performances in two of the Carry On films, particularly Carry on Doctor and Follow That Camel, both from 1967. This was her peak year for chart activity too as her friend Dusty Springfield provided her with a hit single written by her brother Tom, "Just Loving You," which peaked at number six. Two further singles were released, both cover versions of the songs "Anniversary Waltz" and "Dream a Little Dream of Me." Her one and only visit to the album charts was with the album also called Just Loving You, which hit number 29 early in 1968. In the 1970s, she appeared on various television programs, including The Morecambe & Wise Show, and she also co-hosted the David Nixon Magic Show and was still appearing as herself on programs up to 2001, notably Boom Boom: The Best of the Original Basil Brush Show, French & Saunders, and Bob Monkhouse: A BAFTA Tribute.~ Sharon Mawer https://www.allmusic.com/artist/anita-harris-mn0000574671/biography

Swinging On A Star

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Lee Konitz - At the Half Note Disc 1 And Disc 2

Album: At the Half Note Disc 1
Styles: Saxophone Jazz
Year: 1959/2020
File: MP3@320K/s
Time: 48:52
Size: 112,3 MB
Art: Front

(9:16) 1. Palo Alto
(9:17) 2. How About You?
(6:56) 3. My Melancholy Baby
(7:55) 4. Scrapple from the Apple
(7:41) 5. You Stepped out of a Dream
(7:44) 6. 317 E 32nd

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Album: At the Half Note Disc 2
Time: 47:39
Size: 109,5 MB

(8:46) 1. April
(8:11) 2. It’S You or No One
(5:43) 3. Just Friends
(8:33) 4. Baby, Baby All the Time
(8:41) 5. Lennie-Bird
(7:41) 6. Subconscious-Lee

The music on this two-CD set has a strange history. Pianist Lennie Tristano had a rare reunion with altoist Lee Konitz and tenor saxophonist Warne Marsh (his two greatest "students") during an extended stay at the Half Note in 1959. Tristano took Tuesday nights off to teach and Bill Evans was his substitute, but the pianist had a couple of those performances recorded for posterity. While listening to his tapes years later, he was so impressed with Marsh's playing that he sent edited versions (comprised entirely of the tenor man's solos) to Marsh, and somehow they ended up being released in that form by the Revelation label. In 1994, the unedited music was finally issued by Verve; the consistently exciting playing by Konitz, Marsh, and Evans (with backup by bassist Jimmy Garrison and drummer Paul Motian) makes one wonder what took so long. They perform a dozen extended standards (or "originals" based on the chord changes of familiar tunes) with creativity and inspiration. In fact, of all the Konitz-Marsh recordings, this set ranks near the top. ~ Scott Yanow https://www.allmusic.com/album/live-at-the-half-note-mw0000626075

Personnel: Lee Konitz – alto saxophone; Warne Marsh – tenor saxophone; Bill Evans – piano; Jimmy Garrison – bass; Paul Motian – drums

At the Half Note

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Daniele di Bonaventura, Michele Di Toro - Vola vola

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 53:54
Size: 125,2 MB
Art: Front

(4:38) 1. Ninna nanna
(7:30) 2. One Day I'll Fly Away
(7:12) 3. Jeanne y Paul
(3:51) 4. Corale
(4:17) 5. Blossom
(2:55) 6. Sus ojos se cerraron
(4:54) 7. Sogno di primavera (Medley)
(6:22) 8. Touch Her Soft Lips and Part
(6:37) 9. Vola vola vola
(5:34) 10. Soledad

It is the project "Vola flies", by Daniele Di Bonaventura at the bandoneon with Michele Di Toro at the piano, whose 2019 album entitled as the traditional Abruzzo song has aroused great interest for the fusion of funk, jazz and of course tango in a new sound . Daniele Di Bonaventura says: "After spending several years playing together, Michele Di Toro and I have decided to record in this album the songs that are closest to our musical poetics and aesthetics, but one in particular unites us and excites us more than others, the Abruzzo song Vola Vola Vola. This song represents our common roots, the land of Abruzzo, and for this reason we wanted to dedicate it to our grandparents and call the album "Vola Vola". https://www.italiajazz.it/eventi/javier-girotto-aires-tango-special-guest-ralph-towner-daniele-di-bonaventura-e-michele-di

Personnel: Daniele Di Bonaventura (Bandoneon, Piano, Conductor); Michele Di Toro (Piano); Gianluca Petrella (Trombone); Mirco Rubegni (Trumpet); Blake CS Franchetto (Electric bass); Federico Scettri (Drums); Simone Padovani (Percussion)

Vola vola

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Ernestine Anderson - Miss Ernestine Anderson

Styles: Vocal
Year: 1967
File: MP3@320K/s
Time: 39:03
Size: 254,0 MB
Art: Front

(2:12) 1. Let's Get Away From It All
(3:02) 2. The End Of A Love Affair
(2:56) 3. So Nice
(4:17) 4. Funny How Time Slips Away
(2:40) 5. Talk To Me Baby
(4:12) 6. Tears Have To Fall
(2:21) 7. Big Spender
(4:13) 8. What Did I Have That I Don't Have
(2:33) 9. On A Clear Day You Can See Forever
(4:12) 10. I Fall In Love Too Easily
(3:14) 11. Feelin' Good
(3:04) 12. Make It Another Old-Fashioned Please

Positioned squarely in the mainstream, at home in the worlds of jazz and pop standards as well as the blues, comfortable with small groups and big bands, Ernestine Anderson regularly received a lot of airplay on traditional jazz radio stations. She fit those demographics well with her tasteful, slightly gritty, moderately swinging contralto; she rarely probed too deeply into emotional quagmires (and thus didn't disturb the dispositions of those who use the radio as background) but always gave listeners an honest musical account. Anderson's career actually got rolling in the embryonic R&B field at first; as a teenager, she sang with Russell Jacquet's band in 1943, and she moved on to the Johnny Otis band from 1947 to 1949, making her first recording with Shifty Henry's orchestra in 1947 for the Black & White label. In the '50s, however, she converted over to the jazz side, working with Lionel Hampton in 1952-1953 and recording with a band featuring Jacquet, Milt Jackson, and Quincy Jones in 1953, and with Gigi Gryce in 1955. Upon hearing the latter record, Rolf Ericson booked Anderson on a three-month Scandinavian tour; while in Sweden, she made a recording called Hot Cargo that, ironically, established her reputation in America. Once back in the U.S., she signed with Mercury and made a number of albums for that label until the early '60s.

She moved to England in 1965 and remained largely invisible on the American radar until 1975, when Ray Brown heard her sing at the Turnwater Festival in Canada. Brown became her manager, and got her to appear at the 1976 Concord Jazz Festival, which led to a Concord contract that immediately bore fruit with the albums Live from Concord to London and Hello Like Before. These and other comeback albums made her a top-flight jazz attraction in the U.S. again this time for the long haul and in the '80s, she was recording with the Hank Jones Trio, George Shearing, Benny Carter, the Capp-Pierce Juggernaut, the Clayton-Hamilton Jazz Orchestra, and her own quartet. By 1992, she had attracted major-label attention once again, signing with Quincy Jones' Qwest outfit. For Koch, Anderson issued Isn't It Romantic in 1998. The live album I Love Being Here with You appeared in 2002, while 2003’s Love Makes the Changes found her signed to Highnote. The label released her album A Song for You in 2009. Anderson remained with the label for 2011's Nightlife, a live album that featured the singer in a number of small-group settings, with a guest appearance by labelmate Houston Person. Anderson passed away from natural causes on March 10, 2016 at the age of 87. ~ Richard S. Ginell https://www.allmusic.com/artist/ernestine-anderson-mn0000200777/biography

Thank you Flyingfinger!

Jane Ira Bloom - Sometimes the Magic

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 52:16
Size: 121,3 MB
Art: Front

(5:08) 1. Denver Snap
(5:23) 2. Now You see It
(3:03) 3. Bewitched
(5:45) 4. Blue Poles
(4:53) 5. Pacific
(5:28) 6. Truth in Timbre
(4:36) 7. Without Words
(4:20) 8. In Everything
(5:26) 9. Varo
(4:19) 10. Many Landscapes
(3:50) 11. How Are Things in Glocca Morra

Sweeping right and left past the microphone, Jane Ira Bloom throws sound around the room, as a visual artist would apply paint on canvas. The directional movement provides a unique sound to her work and serves to highlight the feelings she wishes to express. Romantic and refreshing, Bloom's tenth recording as leader features her soprano saxophone with a creative supporting trio. Nine modern mainstream originals and two solo saxophone ballad chestnuts complete a program rich in harmony and somewhat introspective. The quartet leaves ample space for settling impressions, while blues roots and emotions pervade.

"Bewitched, Bothered and Bewildered" oozes a romantic spirit: passionate and yet subdued. Bloom's "Varo" infuses a lively street samba rhythm with a crisp, festive, percussion framework. "Without Words" stands out as a lovely sax/bass duet that allows the pair to express as one. Most of the session allows for the passing of creative ideas back and forth between the four artists, keeping the mood quiet and making room for quiet contemplation. Bloom's gorgeous saxophone tone and unique method of presentation makes this and her live performances a special treat. ~ Jim Santella https://www.allaboutjazz.com/sometimes-the-magic-jane-ira-bloom-arabesque-jazz-review-by-jim-santella.php

Personnel: Jane Ira Bloom: saxophone, soprano.

Sometimes the Magic

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Frédéric Schlick - New Day's Horizon

Styles: Jazz, Gypsy Jazz
Year: 2001
File: MP3@320K/s
Time: 63:41
Size: 147,2 MB
Art: Front

(3:28) 1. Speak Italian
(3:18) 2. Hollywood Night
(3:38) 3. Xantia
(4:55) 4. I'm Mood for Love
(5:09) 5. A la mode
(5:02) 6. Golden Line
(5:56) 7. Blusette
(6:53) 8. Summer of 42
(5:04) 9. A chantal
(7:39) 10. Polka Dots and Moonbeans
(4:15) 11. Pacific Blue
(5:12) 12. New Day Horizon
(3:08) 13. Summertime In Paris

Frédéric Schlick (* 1935 in Strasbourg ; † December 14, 2006 ) was a French accordionist of gypsy jazz .

Schlick, who lived in Alsace , learned the accordion at the age of eight. As a teenager he played in a band and continued to be active as an amateur until 1980. Influenced by Art Van Damme , with whom he played in 1997, he only began his musical career on the edge of retirement age. He worked primarily with musicians from Alsace, such as Franck Wolff or Biréli Lagrène , but also with Armin Heitz and André Ceccarelli, and recorded twelve albums under his name.

In Germany he performed mainly with Wedeli Köhler , Pouro Sinto, Ferry Baierl and Joe Bawelino , but also in the ensemble of Romeo Franzon. He died after suffering from cancer.

New Day's Horizon

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Alain Jean-Marie - Biguine Reflections

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 44:20
Size: 102,9 MB
Art: Front

(3:17) 1. Bégonia
(4:49) 2. Doudou pa pléré
(4:26) 3. Ta ta ta
(2:55) 4. Tou sa sé pou doudou
(2:47) 5. Tiéri an lan démil
(3:30) 6. Ka i fé-w
(2:25) 7. Boné an mwen pati
(4:43) 8. Haïtian Child
(2:35) 9. Pa ban mwen kou
(3:55) 10. Gwadloup an nou
(5:43) 11. Driv
(3:09) 12. Chofé bigin la

Jean-Marie taught himself to play piano from age eight. He played in dance orchestras in Guadeloupe (especially that of Robert Mavounzy), lived in Canada from 1967 to 1970 and then in the Antilles. He made his first recordings in 1969 (released in 1997 as piano biguines). At the same time he played regularly with the trio of Winston Berkley and Jean Claude Montredon. In 1973, he moved to Paris, where he accompanied jazz musicians such as Chet Baker, Sonny Stitt, Art Farmer, Johnny Griffin, Lee Konitz, and Max Roach. In 1979, he debuted with his own trio (Al Levitt on percussion, Gus Nemeth and later Riccardo Del Fra on bass). Since the 1980s, he has regularly performed with Barney Wilen, including as a duo on albums such as La Notenbleue (1986) and Dreamtime (1992). In 1986, he regularly accompanied Dee Dee Bridgewater. In 1987 he recorded the album Latin Alley in a duo with Niels-Henning Ørsted Pedersen. In 1990 he accompanied Abbey Lincoln on the album World Is Falling Down with Jackie McLean, Billy Higgins and Charlie Haden. In 1991 he played with Henri Texier (bass) and Aldo Romano (drums) on The Scene Is Clean. His 1992 trio album Biguine Reflections was influenced by the music of the Antilles as well as bebop. He also played in a trio with Gilles Naturel and John Betsch (Lazy Afternoon, 2000) and recorded his first solo album in 1999 (Afterblue, which received the Prix Boris Vian). In 2004, a second solo album, Thats What, followed.

Jean-Marie also played with Guadeloupe musicians such as the guitarist André Condouant (Clean & Class, 1997), a group of musicians from Guadeloupe under the trumpeter Franck Nicolas (Jazz Ka Philosophy) and the saxophonist Jocelyn Ménard (Men Art Works). He also worked with Jacques Vidal / Frédéric Sylvestre, with Michel Graillier (Portrait in Black & White, 1995), Boulou and Elios Ferré (Intersection, 2001, Live in Montpellier, 2006), with Xavier Richardeau, Sara Lazarus and Ted Curson (In Paris, Live At The Sunside, 2006). In 1979 he received the Prix Django Reinhardt and in 2000 the Django d'Or. https://en.wikipedia.org/wiki/Alain_Jean-Marie

Biguine Reflections

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Kate Ceberano - The Dangerous Age

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 42:29
Size: 98,9 MB
Art: Front

(4:23) 1. All Tied Up
(4:17) 2. Monument City Lights. 1973
(3:51) 3. On Love
(2:51) 4. The Dangerous Age
(3:15) 5. Shot From Memory
(3:17) 6. My Restless Heart
(3:08) 7. Girl On The Highwire
(2:58) 8. So Long Ago
(2:59) 9. Not The Loving Kind
(4:09) 10. The Losing Game
(4:09) 11. Glacial Speed
(3:07) 12. Whatever Happened To Steven Valentine?

This is an extraordinary album for extraordinary times. Initially, I wondered if the title was a reference to the Trump era, the rise of extremism, catastrophic climate change and heightened global tension. These are, after all, dangerous times. Reading the news on my phone has become a daily exercise in existential crisis. Today, the sense of danger all around us has risen exponentially as our seemingly indestructible world shuts down, victim to a menacing, insidious, killer pandemic.It is a most dangerous age.This album is one of those rare but memorable instances where art is created before a significant event occurs but its release coincides with that event and it becomes forever associated with it.

Think of Wilco’s album Yankee Hotel Foxtrot. It was written and recorded before September 2001, with the cover featuring two towers in Chicago known as the Marina City towers. The album was released seven days after the terrorist attacks on New York’s own twin towers, the World Trade Center. Although the lyrics and music explore personal themes, the album’s feeling, tone and cover represent that moment in time when the world stopped in terror, and then had to cope in the aftermath. It helped people deal with their shock and grief. In the same way, The Dangerous Age will, for me, forever be tied to this moment in time; a symbol of these dangerous times, in which we shelter in our homes to avoid contracting or spreading a deadly virus, and how we cope. This is music as coping mechanism. https://indaily.com.au/arts-and-culture/music/2020/03/26/album-review-the-dangerous-age/

Personnel: Kate Ceberano – vocals, Steve Kilbey – vocals, Sean Sennett – vocals, Rod Bustos – acoustic guitar, electric guitars, slide guitar, synth bass, table, drum programming, piano, synthesisers, glockenspiel, Jason Millhouse – guitar, John Salerno – drums, Paul Cecchinelli – piano, keys, cello, Alison Ainsworth – backing vocals

The Dangerous Age

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Antti Sarpila - Let's Swing: Plays a Tribute to the Benny Goodman Small Groups

Styles: Clarinet Jazz, Swing
Year: 2005
File: MP3@320K/s
Time: 67:43
Size: 156,9 MB
Art: Front

(3:30) 1. Let's Swing
(4:35) 2. What Can I Say Dear
(5:50) 3. Stealin' Apples - Live
(3:17) 4. He's Funny That Way
(4:57) 5. Avalon
(2:45) 6. Meet Me Tonight in Dreamland
(3:53) 7. My Gal Sal
(5:32) 8. Rose Room
(6:47) 9. Song of the Wanderer
(3:21) 10. You'll Always Be Mine
(4:31) 11. Somebody Stole My Gal
(3:20) 12. Old Spinning Wheel
(3:41) 13. Smoke Gets in Your Eyes
(4:52) 14. I've Got the Heartful of Music
(3:10) 15. Japanese Sandman
(3:34) 16. I Want to Be Happy

Antti Sarpila pays tribute to the king of swing and his chamber jazz combos. There are five previously unreleased tracks and a compilation of the best tracks by Antti Sarpila in the Goodman vein. Apart from Antti's band, there are some tracks featuring vibraphone player Lars Erstrand doing his rendition of Lionel Hampton and pianist Ulf Johansson Werre with his Teddy Wilsonish touch. http://www.anttisarpila.com/en/recordings?start=10

Let's Swing

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Evans Bradshaw - Look Out for Evans Bradshaw

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 44:19
Size: 102,1 MB
Art: Front

(4:08) 1. Georgia on My Mind
(5:40) 2. Hallelujah!
(7:28) 3. The Prophet
(4:29) 4. Love for Sale
(6:58) 5. Coolin' the Blues
(7:38) 6. Blueinet
(4:59) 7. Angel Eyes
(2:54) 8. Old Devil Moon

This pianist was born in Memphis and died there as well, but is associated with the Detroit jazz scene. Despite the fact that his name sounds quite classy, it is possible most jazz listeners have not heard of Evans Bradshaw, who began his professional career as a child and died when he was only in his mid-fifties. He was a childhood pal of the superb pianist Phineas Newborn, and may have even been influential in Newborn's interest in the keyboards in the first place. Bradshaw's first move upon learning to crawl was to try and mount the piano bench; he learned to play at the age of nine and was in his father's band three years later.

The pianist headed to Flint, MI in 1953, picking up a day job in an auto factory. At night, he was out and about gigging with his own trio. At one of these live gigs, a talent scout connected with the group and arranged a contact with the Riverside label. In both 1958 and 1959 the label released albums by Bradshaw which have continued to represent his entire discography.

There are no recordings available of Bradshaw as a sideman in anyone else's groups. His own trio played at the Village Vanguard and the Detroit Jazz Festival as a result of the Riverside buzz.~ Eugene Chadbourne https://www.allmusic.com/artist/evans-bradshaw-mn0000544525

Personnel: Evans Bradshaw - piano; George Joyner - bass; Philly Joe Jones - drums

Look Out for Evans Bradshaw

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Chris Barber - Chris Barber Plays, Vol.4

Styles: Trombone Jazz
Year: 1957/2011
File: MP3@320K/s
Time: 28:05
Size: 65,3 MB
Art: Front

(6:18) 1. When The Saints Go Marching In
(4:18) 2. Olga
(2:49) 3. Old Rugged Cross
(2:27) 4. Bye Bye
(3:22) 5. Pound Of Blues
(2:38) 6. When You And I Were Young
(6:10) 7. Just A Closer Walk With Thee

The March 1957 sessions that ended up on the seven-song 10" LP Chris Barber Plays, Vol. 4 were Barber's final studio recordings for the Pye label prior to his move to Columbia/EMI, though he'd do a couple more live albums for the company in 1958. The sound of the group was loosening up a little, albeit not much, while maintaining its format of reverent facsimiles of early-20th century American jazz. Ottilie Patterson sang on a couple of the tracks, "When the Saints Go Marching In" and "Just a Closer Walk With Thee," but otherwise it was an instrumental set, perhaps with greater sonic presence than some of his earlier Pye sides, with more depth to the bass in particular at times. "Pound of Blues" rates as a highlight of their Pye catalog, with its swinging Hucklebuck riff, and the bandmembers sound like they're actually having fun, not just playing the notes properly, on the extended instrumental tag of "Just a Closer Walk With Thee."~ Richie Unterberger https://www.allmusic.com/album/chris-barber-plays-vol-4-mw0001095200

Personnel: Trombone – Chris Barber, Banjo – Eddie Smith (2), Bass – Dick Smith (2), Clarinet – Monty Sunshine, Drums – Ron Bowden. Sleeve – Ian Bradbery, Trumpet – Pat Halcox

Chris Barber Plays, Vol.4

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Noah Preminger - Contemptment

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 62:49
Size: 144,6 MB
Art: Front

( 6:45) 1. The Late 90s
( 8:05) 2. Hygge
( 7:02) 3. Kamaguchi
( 6:54) 4. Hamburg
( 6:44) 5. Porcelain
( 8:35) 6. Hey J
( 7:12) 7. Contemptment
(11:28) 8. Promises Kept

If you followed saxophonist Noah Preminger's early career you might have read an interview where he revealed his fascination with boxing. The fact that he trained in the sweet science for nearly a decade while making music is evident in the pugilistic blues heard on self-released albums Pivot: Live At The 55 Bar (2015) and Dark Was The Night, Cold Was The Ground (2016). On those two recordings and Genuinity (Criss Cross, 2018), he had a perfect sparring partner in trumpeter Jason Palmer. As he has progressed and his music has seasoned, the brawl has been displaced by the brain and the aggression has diminished while the complexity increased, evidenced by the Chopin Project (Connection Works Records, 2017) and his mini masterpiece Zigsaw: Music Of Steve Lampert (Self Released, 2018).

With Contemptment Preminger comes back to the quartet format with his longtime bassist Kim Cass and the return of drummer Dan Weiss, but Palmer's trumpet is replaced by the guitar of Max Light. The music swaps sparring for a consensual dance and this may be a better way to display the immense talent Preminger possesses. The disc opens with "The Late 90s," as homage to the state of jazz at the close of the 20th century where Preminger and Light have clothed themselves in the sounds of Mark Turner and Kurt Rosenwinkel. From there the quartet explores every possible time signature with "Hygge," performing a kind of musical chairs with tempo. "Kamaguchi," most likely written for bassist Masa Kamaguchi, opens with the gentlest guitar phrases of Light before Preminger and Cass perambulate a most charming melody together. The gentleness continues with a cover of the Red Hot Chili Pepper's "Porcelain," where Preminger's breathy tenor floats over the atmospherics created by Weiss and Light. The title track finds a very busy rhythm section unable to disturb the self possessed tenor man. Sonny Sharrock's "Promises Kept, the final track, opens with an amazing Preminger solo flight before the quartet engages in a most crafty and (can we say 'comforting'?) swing. Sounds like they could have danced all night.~ Mark Corroto https://www.allaboutjazz.com/contemptment-noah-preminger-steeplechase-records

Personnel: Noah Preminger: saxophone, tenor; Kim Cass: bass, acoustic; Max Light: guitar, electric; Dan Weiss: drums.

Contemptment

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