Muriel Grossmann - Golden Rule

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 77:25
Size: 178,4 MB
Art: Front

(11:26) 1. Golden Rule
(11:21) 2. Core
( 9:12) 3. Promise
(10:17) 4. Direction
(14:51) 5. Traneing In
(12:07) 6. Trane
( 8:09) 7. Light

Since 2007, Austrian saxophonist and composer Muriel Grossmann has been assembling a catalog of arresting, deeply moving spiritual jazz from her perch in Ibiza, Spain. While she derives direct inspiration from John Coltrane's example, she employs a unique harmonic and polyrhythmic approach to composition and improvisation. It draws equally on blues, soul, and Eastern and European folk traditions. Adept on soprano, alto, and tenor, her nine previous albums are all linked by a unified sense of musical purpose and labyrinthine explorations of space, texture, and melody.

Golden Rule is Grossmann's tenth album and it's deep. This is the third date with her current quartet, comprising Austrian bassist Gina Schwarz, Serbian guitarist Radomir Milojkovic, and Serbian drummer Uros Stamenkovic. The communicative intuition of this group is not only empathic, it seems telekinetic in its anticipation, coloration, and articulation of Grossmann's inspired compositions informed directly by meditation. The title-track opener commences with soft, squalling sound on the soprano saxophone, gently strummed chords, and a bassline that evokes "A Love Supreme" before Stamenkovic's double-timed multivalent rhythm attack. Grossmann offers an inverted quote from the Coltrane tune as a theme but moves off into a serpentine bluesy solo as Milojkovic delivers his trademark vamp drones. The swirl of sound languages at work here, particularly in the interplay between Schwarz and Stamenkovic, is propulsive and earthy, even as Grossmann and her guitarist find their way into the stratosphere before bringing it back home some 11 minutes later. No matter how intense the exchanges between players, the music remains warm, open, and welcoming. By contrast, her tenor horn on "Core" wraps itself in stuttering trancelike guitar arpeggios before they aggressively dig into modal blues and spiritual funk together. After the abstract opening statement on "Promise," Milojkovic delivers a jagged, inquiring solo that is as cavernous rhythmically as it is harmonically. Perhaps the biggest surprise here is on the nearly-15-minute "Traneing In," where guitar chords, clattering cymbals, and shimmering snares roil up around Schwarz's upright bass in what initially seems to be a psychedelic folk-rock tune. While the cadence circles, Grossmann's soprano begins its departure immediately above this luxuriant din, poetically exploiting the margins, transcending them, and bringing back new ones for her accompanists to explore. She is in constant motion, adding ballast, foundation, and risk to the simple melody, freely allowing the ensemble to whirl around her "singing" on the horn. Milojkovic's solo adds a pointillistic contrast as it weaves rock and jazz traditions through the bassline and crashing cymbal work establishing a wily Eastern groove. On "Trane," she multi-tracks her soprano and tenor horns in a mantra-esque statement backed by restrained waves of electric guitar, minimal bass, and percussion before the ensemble begins to play the skeletally architected meta-melody and Grossmann's delve into the gutbucket modal blues on the tenor. Golden Rule is an 87-minute journey; it soothes, provokes, exhorts, cajoles, and beckons the listener ever deeper into its inner articulations of peace and turbulence in Grossmann's always affirmative language that is as pregnant with spiritual meaning as it is breathtaking sophistication.~ Thom Jurek https://www.allmusic.com/album/golden-rule-mw0003241531

Personnel: Soprano Saxophone, Tenor Saxophone – Muriel Grossmann; Bass – Gina Schwarz; Drums – Uros Stamenkovic; Guitar – Radomir Milojkovic

Golden Rule

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Ron Carter - Foursight - Stockholm, Vol. 2

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 62:14
Size: 143,2 MB
Art: Front

( 7:10) 1. 595
(11:55) 2. Mr. Bow Tie
( 6:11) 3. Flamenco Sketches
( 6:55) 4. Seven Steps to Heaven
( 6:32) 5. You Are My Sunshine
( 3:00) 6. Mr. Bow Tie - Reprise
(10:20) 7. My Funny Valentine
(10:08) 8. You and the Night and the Music

Ron Carter is among the most original, prolific, and influential bassists in jazz. With more than 2,000 albums to his credit, he has recorded with many of music's greats: Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, and Bobby Timmons. In the early 1960s he performed throughout the United States in concert halls and nightclubs with Jaki Byard and Eric Dolphy. He later toured Europe with Cannonball Adderley. From 1963 to 1968, he was a member of the classic and acclaimed Miles Davis Quintet. He was named Outstanding Bassist of the Decade by the Detroit News, Jazz Bassist of the Year by Downbeat magazine, and Most Valuable Player by the National Academy of Recording Arts and Sciences.

In 1993 Ron Carter earned a Grammy award for Best Jazz Instrumental Group, the Miles Davis Tribute Band and another Grammy in 1998 for Call 'Sheet Blues', an instrumental composition from the film 'Round Midnight. In addition to scoring and arranging music for many films, including some projects for Public Broadcasting System, Carter has composed music for A Gathering of Old Men, starring Lou Gosset Jr., The Passion of Beatrice directed by Bertrand Tavernier, and Blind Faith starring Courtney B. Vance. Carter shares his expertise in the series of books he authored, among which are Building Jazz Bass Lines and The Music of Ron Carter; the latter contains 130 of his published and recorded compositions.

Carter earned a bachelor of music degree from the Eastman School in Rochester and a master's degree in double bass from the Manhattan School of Music in New York City. He has also received two honorary doctorates, from the New England Conservatory of Music and the Manhattan School of Music, and was the 2002 recipient of the prestigious Hutchinson Award from the Eastman School at the University of Rochester. Carter has lectured, conducted, and performed at clinics and master classes, instructing jazz ensembles and teaching the business of music at numerous universities. He was Artistic Director of the Thelonious Monk Institute of Jazz Studies while it was located in Boston and, after 18 years on the faculty of the Music Department of The City College of New York, he is now Distinguished Professor Emeritus although, as a performer, he remains as active as ever. https://musicians.allaboutjazz.com/roncarter

Personnel: Ron Carter(b); Renee Rosnes(p); Jimmy Greene(ts); Payton Crossley(ds)

Foursight - Stockholm, Vol. 2

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Oscar Peterson - Unmistakable: Zenph Re-Performance

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 78:26
Size: 181,2 MB
Art: Front

(5:12) 1. Body And Soul
(1:38) 2. Back Home Again In Indiana
(5:13) 3. The Man I Love
(4:28) 4. Who Can I Turn To
(5:08) 5. When I Fall In Love
(8:19) 6. Duke Ellington Medley
(5:07) 7. Con Alma
(4:04) 8. Goodbye
(5:12) 9. Body And Soul (Binaural Mix)
(1:38) 10. Back Home Again In Indiana (Binaural Mix)
(5:13) 11. The Man I Love (Binaural Mix)
(4:28) 12. Who Can I Turn To (Binaural Mix)
(5:08) 13. When I Fall In Love (Binaural Mix)
(8:19) 14. Duke Ellington Medley (Binaural Mix)
(5:07) 15. Con Alma (Binaural Mix)
(4:04) 16. Goodbye (Binaural Mix)

The first thing Unmistakable on this recording is the pianist: it can only be the incomparable Oscar Peterson, who, if not the greatest jazz pianist who ever lived, is certainly among the top four or five. This scrapbook, however, is not, strictly speaking, a performance by Peterson but a "re-performance," taken from DVDs of three concerts one from the mid-'70s, the others from the early '80s and re-recorded using the Zenph Sound Innovations re-performance system. Peterson's original performances are electronically and digitally enhanced to theoretically produce the clearest and most natural recorded sound that is humanly possible (at least to this point in time).

Tracks 1-8 on this splendid album are presented in Zenph re-performance stereo, then repeated (tracks 9-16) in binaural stereo, "the ultimate headphone experience," so the liner notes say. What exactly is a Zenph re-performance? Rather than try to explain it in layman's terms, here is what Zenph founder John Q. Walker writes: Zenph Studios takes audio recordings and turns them back into live performances, precisely replicating what was originally recorded. The Zenph software- based process extracts every musical nuance of a recorded performance, and stores the data in a high-resolution digital file. These re-performance files contain every detail of how every note in the composition was played, including pedal actions, volume, and articulation all with micro-second timings.

Further: The re-performance files are played back on a real acoustic piano [in this case a Boesendorfer Imperial, which Peterson preferred] fitted with sophisticated computers and hardware, letting the listener 'sit in the room' as if he or she were there when the original recording was made. The re-performance is then recorded afresh, using the latest microphones and recording techniques, to modernize monophonic or poor- quality recordings of great performances. Whether you follow that or not, what is "unmistakable" is that someone has gone to a great deal of trouble to make sure the sound on this superb "re-performance" is unerring and unblemished.

Having listened to the stereo and binaural stereo versions of Peterson's solo-piano voyages, I must confess that I really can't tell the difference. My guess is that "the ultimate headphone experience" requires "the ultimate headphones" (mine are mid-level Sennheiser 457s) and the kind of ears that are able to discern and appreciate minuscule changes in recorded sound in other words, the kind of ears I've never had. While there's no doubting that the Zenph sound is remarkable, it is best appreciated by audiophiles, for whom I suppose this and other albums like it are designed. On the other hand, this is Oscar Peterson, playing piano as only he could, and if the sound is immaculate, so much the better.~ Jack Bowers https://www.allaboutjazz.com/unmistakable-oscar-peterson-sony-masterworks-review-by-jack-bowers.php

Unmistakable: Zenph Re-Performance

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Charito - When Summer Comes

Styles: Vocal
File: MP3@320K/s
Time: 47:59
Size: 111,3 MB
Art: Front

(5:47) 1. Feelin' Good
(5:00) 2. Imagine
(6:57) 3. If I Ain't Got You
(5:28) 4. Somewhere Over The Rainbow
(4:50) 5. Come Sunday
(4:49) 6. Lovely Day
(6:10) 7. Body And Soul
(3:35) 8. I'll Be Seeing You
(5:18) 9. When Summer Comes

Charito, the top singer in the Japanese jazz world. Session album with Ari Masanori Piano Trio. Created with the aim of encouraging all those affected by the new coronavirus!

Recognized as one of the most individual and creative jazz vocalists in today's Japan jazz circuit. Acclaimed by critics, musicians and audiences as one of the most powerful and talented artists, she has definitely notched a place for herself in Japan's exclusive music world, and is now gaining note abroad. She has ten albums released with most recordings done in US, Canada and Brazil. Her highly personal and expressive vocal style incorporates the breadth of her musical interests, from straight-ahead soulful ballads to hard-swinging grooves and improvisational adventures. Her approach is fresh and invigorating, paying tribute to the jazz tradition while interacting and exploring, always seeking to express herself in the moment. In Ms. Nancy Wilson's words, “The first time I heard Charito, I physically and emotionally embraced her and thought myself BEAUTIFUL, that came from the heart and the soul. She has a warm way of presenting a song and she represents what a singer really is, a song stylist.” This Girl (1990) Her career began its highlights after her first album This Girl was launched in 1990 by Nippon Crown, being the first foreign artist under their label. This opened more doors for her followed by her next albums commercial successes.

More than anything, her experiences working with top notch musicians in the likes of Harry Whitaker, Alex Blake and Wallace Rooney on Swing My Way (1991/NIPPON CROWN), Maurice White on Shades of Love (1992/NIPPON CROWN), collaboration with Cornell Dupree, Buddy Williams, David Espinozza on Love of My Life (1993/NIPPON CROWN), added prestige to her work and has helped in making her a figure in today's music world. In projecting herself as an artist, she included in her albums two famous Philippine love songs partly to affirm her roots as a Filipino. She promotes a more positive image of her country and continuously helps bring about cultural awareness through music. For her efforts, she was honored with an award of commendation as Ambassador of Goodwill, in acknowledgment of her support to the promotional activities of the Philippine department of Tourism in Japan. This talented artist has already entranced the North American audience during a 1995 tour in Chicago, New York, Ottawa, Toronto and Montreal as vocalist for the Asian Jazz All Stars headed by Terumasa Hino, Japan's foremost jazz trumpet player. In 1996, they also toured Korea, Shanghai, Hong Kong, Singapore, Malaysia, Thailand and Taiwan, capped by a performance at the Mt. Fuji Jazz Festival held in Yokohama Japan.

Charito also performed for the first time before a 70,000 audience at the Montreal Jazz Festival in July 1996 (a first for a Philippine artist). This was followed by the release of her album Forevermore (1995/ NIPPON CROWN) and later in Canada and the US under Lost Chart label making her mark as a world class act. In 1997, she was part of the Lost Chart Ensemble, a French Canadian group for a tour in Canada and for a second time at the Montreal Jazz Festival. During this period she did recordings for two new albums, A Time for Love (1998/LOST CHART) and To the Beat of Your Heart (1999/TOP CHART) for international market. In 1998, she toured several major cities in China (Beijing, Shanghai, Dalian, Chengdu) as featured vocalist of the Lost Chart Ensemble for the Beijing Jazz Festival showcase, followed by shows in Tokyo, as part of the promotional tour. In 1999, she performed at the Dewan Filharmonik Petronas in Kuala Lumpur with ASIANA, a group formed by Jeremy Monteiro composed of some of the best Asian musicians in both jazz and traditional instruments. They played an interesting blend of music mixing ethnic sounds with jazz harmony and improvisation.

The year 2000 was highlighted by several performances outside Japan. She was vocalist for World Jazz All Stars, a group of renowned jazz musicians formed by Terumasa Hino for inaugural concerts and workshop series held at the newly opened LG Arts Center in Seoul, Korea. 2001 was a turning point for Charito when her attention was diverted towards charity work. She formed Because We Care Group using music as the key channel to take meaningful actions and effective programs to increase awareness among concerned citizens by helping those in need, especially the children. Charito has since then held annual concerts and charity shows where proceeds have gone to various centers and organizations working for children in the Japan and the Philippines. 2002 brought on more international collaboration at the Jazz Club in Hongkong, performances with Lonnie Plaxico and his New York band, gigs with Brazilian Paulo Gomez and friends, highlighted with a special guest performance with the world renowned Clayton-Hamilton Jazz Orchestra.In 2003, They Say It's Wonderful (2003/CT MUSIC) was released , which she co-produced with Lonnie Plaxico in New York featuring jazz greats Mulgrew Miller, Lewis Nash and Jeremy Pelt. In this recording, Charito once again ventured into a new challenge using unique arranging ideas she helped conceive and then written by Manabu Ohishi, the music director in her band. This year was also highlighted with performances at the Kuchan Jazz Festival, Asahi Jazz Festival and NHK session 505.

2004 marked a new turning point in Charito's career when she teamed up with world famous musician Ivan Lins and released the album Non-Stop To Brazil “Charito meets Ivan Lins” (2004/CT MUSIC) recorded in Sao Paulo, Brazil. Thick, rich, sensuous - jazz-pop vocal arrangements by Ivan and Charito makes this Afro Latin rhythm album very special. This album won her the Swing Journal's Gold Disc Award. This same year she was invited by and performed with Jan Jarczyk's group at the Krakow Jazz festival in Poland representing Japan. She was also invited as faculty for the first time at the Chodziez International Jazz Workshop teaching Polish and international students. Her work earned her much credit and has certainly opened a lot of doors for in Europe, she has been officially invited to do more concerts and to be part of the workshop in the coming years. Charito runs her own voice workshop in Tokyo.

In 2005, Charito's career was off to a good start with the Best Vocal Award 2004 by the Swing Journal for her album Non-Stop to Brazil. But Charito is not one to rest on her laurels. Charito continues to perfect her craft and wow audiences in Japan and internationally. Charito and her Latin Jazz Funk Band was featured as one of the highlights at the Tokyo Jazz 2005 at Tokyo Big Sight where many big name artists from Japan and around the world converge in one stage to bring a dream performance crossing generations and borders. She also performed as part of the Super Unit Session led by Herbie Hancock with Marcus Miller, Ivan Lins among others. 2006 brought on great excitement with her New York recording with the Manhattan Jazz Orchestra. Arranged and conducted by David Matthews, this album was the very first MJO collaboration with a vocalist. Nica's Dream (2006/CT MUSIC) CD launch in June also marked the first club gig ever performed by MJO with Charito. She was also guest at some shows for their SWING, SWING, SWING! Japan Tour 2006, then highlighted at the performance in Suntory Hall in Tokyo. This album received great reviews and was awarded the Swing Journal Gold Disc. This year she also performed for the first time in Augsburg, Germany for the Augustana Hall's jazz series with overwhelming reviews. Here she also conducted a master class workshop for voice students at the Downtown Music Institute. Germany has warmly welcomed Charito and plans to invite her again for festivals and events in the coming year. In January 2007, Nica's Dream received Swing Journal's won Best Vocal Award 2006. https://musicians.allaboutjazz.com/charito

Personnel: Charito: vocal; Yuki Arimasa: piano; Satsuki Kusui: bass; Umino: drums

Thank You Maineime!

When Summer Comes

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Massimo Faraò, Kevin Mahogany - Just You and Me

Styles: Piano And Vocal Jazz
Year: 2019
File: MP3@320K/s
Time: 51:38
Size: 119,0 MB
Art: Front

(4:19) 1. Skylark
(4:10) 2. Moonlight in Vermont
(6:38) 3. Midnight Sun
(4:16) 4. Lush Life
(2:56) 5. Just Friends
(2:51) 6. It's Too Late
(5:27) 7. Imagination
(4:44) 8. For All We Know
(4:57) 9. But Beautiful
(5:59) 10. Body and Soul
(5:16) 11. A Nightingale in Berkeley Square

Kevin Mahogany's sudden prominence in the mid-'90s was a relief to many who felt that male jazz singers under the age of 60 were nonexistent. His swinging style was reminiscent, but not derivative of, Joe Williams. Born in Kansas City, Missouri in 1958, Mahogany played piano, clarinet, and various saxophones while growing up before deciding to specialize in singing. He attended Baker University in Baldwin City, Kansas and sang locally in some R&B groups. In the early '90s, Mahogany dedicated himself to jazz and, after two fine albums for Enja, he signed with Warner Bros. for LPs including 1997's Another Time Another Place and 1998's My Romance. In addition, he recorded as a guest on dates by Elvin Jones and arranger Frank Mantooth. In fall 2000, Portrait of Kevin Mahogany was released, followed by the Motown-centric Pride & Joy in 2002, the self-explanatory Big Band in 2005, and 2015's The Vienna Affair, the latter recorded in its namesake city with a quartet of Austrian musicians. Mahogany died in December 2017 at his home in Kansas City; he was 59 years old.~ Scott Yanow https://www.allmusic.com/artist/kevin-mahogany-mn0000070477/biography

Just You and Me

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Kenny Burrell - The Bluesin' Around Sessions

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 76:17
Size: 175,2 MB
Art: Front

(3:50) 1. Mambo Twist (Alternate Take)
(3:06) 2. Mambo Twist (Master)
(5:07) 3. The Switch (Master)
(2:51) 4. Bye and Bye
(3:08) 5. Funk Junction
(4:42) 6. Mood Indigo
(4:18) 7. The Squeeze
(3:56) 8. How Could You (Do a Thing Like That to Me?)
(4:46) 9. Opus 21
(4:03) 10. Bluesin' Around (Alternate Take)
(3:44) 11. Bluesin' Around
(4:43) 12. Gettin' in the Groove (Alternate Take)
(4:24) 13. Gettin' in the Groove
(3:32) 14. One Mint Julep
(3:30) 15. People Will Say We're in Love (Alternate Take)
(3:41) 16. People Will Say We're in Love
(6:19) 17. Moten Swing (Alternate Take)
(6:27) 18. Moten Swing

The complete original Kenny Burrell LP Bluesin' Around, which showcases the guitarist in a quintet format with such stars as Illinois Jacquet, Hank Jones, Brother Jack McDuff, Leo Wright, and Eddie Bert. In addition, we have included all existing songs from the same sessions that weren't included on the original LP plus all but one of the existing alternate takes from the dates. The music is presented here chronologically, in order to avoid mixing the personnel from the different sessions. Includes 12-page booklet. Essential Jazz Classics.~ Opiniones editoriales https://www.amazon.com/Bluesin-Around-Sessions-Kenny-Burrell/dp/B00F6XM3MYP

Personnel: Electric Guitar – Kenny Burrell; Acoustic Bass – George Duvivier (tracks: 9-13), Major Holley (tracks: 1-8); Alto Saxophone – Leo Wright (tracks: 17-18); Drums – Jimmy Crawford (tracks: 4-8), Joe Dukes (tracks: 14-18), Louis Hayes (tracks: 9-13), Osie Johnson (tracks: 1-8); Organ – Brother Jack McDuff (tracks: 14-18); Piano – Hank Jones (tracks: 1-13); Tenor Saxophone – Illinois Jacquet (tracks: 1-3); Trombone – Eddie Bert (tracks: 9-13)

The Complete Bluesin' Around Sessions

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Kim Cypher - Love Kim X

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 62:34
Size: 144,6 MB
Art: Front

(7:27) 1. The Nearness of You(feat. Pee Wee Ellis & David Newton)
(6:47) 2. Maybe...(Remix)[feat. Karl Vanden Bossche & David Newton]
(6:13) 3. Soul Eyes(feat. David Newton & Clive Morton)
(4:40) 4. Comes Love(feat. David Newton)
(7:26) 5. Breezin'(feat. Lee Jones)
(4:14) 6. Valerie
(5:08) 7. People Get Ready(feat. B.D. Lenz)
(4:40) 8. Highland Mike(feat. Pee Wee Ellis)
(5:14) 9. Rising from the Dust (Soundtrack from the Music Video)[feat. B.D. Lenz & The Kentwood Show Choir]
(4:54) 10. A Time to Reflect, A Time to Forget(feat. Chris Santo Cobbson)
(5:47) 11. Baker Street(feat. B.D. Lenz)

Saxophonist and singer Kim Cypher’s second album builds her reputation for sparkling jazz with classic style and attitude, bringing guest stars including tenor sax legend Pee Wee Ellis and pianist David Newton into the fold for an enjoyable collection of standards and originals with very wide appeal. Since the release of her first album in 2017 Kim Cypher has been building a solid reputation on the UK scene with her lively stage presence and stylish vintage look. Appearances around the country including two appearances at Pizza Express Soho (click on the link for a stonking version of It’s Almost Like Being In Love recorded there) mean that this second CD comes with a track record. The mix is similar to her first album Make Believe, with slightly fewer originals and a wider repertoire. What makes Kim Cypher stand out is her ability both as a sax player and instrumental soloist (we hear her on alto, tenor and soprano on this collection) as well as a stand-out singer and songwriter. Either of these would be notable together they make for an exceptional and winning performer. Add to this her ability to surround herself with fine musicians and guests, and we have a great show on our hands.

The three originals on this album include the soulful Maybe… with a nice soprano sax solo and groovy Rhodes piano from David Newton, and dedicated to Karen Jackson, a friend of Kim’s who is suffering from cancer. It’s a song about hope and has a restful and optimistic quality. Highland Mike is another dedication (to Mike Carter, who introduced Kim to a lot of different music), a reggae-tinged lilting instrumental giving Pee Wee Ellis time to stretch out on tenor saxophone. Rising From The Dust is a power rock ballad with some crunching guitar in the Gary Moore style from American visitor B.D. Lenz and the added vocals of the Kentwood Show Choir, adding up to a number which would sit happily in all kinds of radio setting. The other tracks range from classic jazz to a couple of unexpected rock/pop reinterpretations. The Nearness Of You gives the Hoagy Carmichael classic a nicely judged out-of-time opening with Ellis backing Cypher’s vocal, before latching onto a slightly-faster-than-you-expect tempo giving the piece a lively air. Comes Love bounces along with Cypher backing her own vocals on tenor sax before guitarist Chris Santo Cobbson takes a cleanly picked solo. Cobbson also contributes A Time To Reflect, A Time To Forget, a sunny-tinged calypso offering Cypher another chance to shine on soprano sax. Breezin’ takes the Bobby Womack tune beloved of Gabor Szabo and lets guitarist Lee Jones loose on it, with Karl Vanden Bossche’s percussion making a great contribution.

As on her first album, Cypher has a way of picking pop tunes which seem to have been done to death and then rethinking them in interesting and imaginative ways. Valerie (The Zutons/Amy Winehouse) finds a place as a bouncing jazz waltz vocal with delicate drum-work from Mike Cypher, while the most requested sax riff in the world, Gerry Rafferty’s Baker Street, turns up the tempo into a pumping instrumental boogie which fairly leaps along. The accompanying cast on this and many of the other tracks includes Alex Steele on piano and Tom Clarke-Hill on bass, who don’t put a foot wrong throughout. With a wide range of material, engaging arrangements and thoroughly enjoyable performances throughout, this is more than a jazz album… it’s a Kim Cypher album. Catch her when you can – forthcoming London dates include Mill Hill Jazz Club (8 May 2019) and the Bull’s Head, Barnes (24 August 2019).~ Mark McKergow https://londonjazznews.com/2019/04/27/cd-review-kim-cypher-love-kim-x/

Love Kim X

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Debby Yeager - Live 1999

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 45:02
Size: 103,9 MB
Art: Front

(1:39) 1. Introduction by James Janisse
(4:20) 2. I'll Remember April
(6:05) 3. Happy Stuff
(3:24) 4. So Nice / Summer Samba
(4:09) 5. Shadow of Your Smile
(3:11) 6. Whisper Not
(4:47) 7. At Last
(7:01) 8. Tribute
(4:24) 9. Manhã De Carnaval
(5:57) 10. All Blues

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. For further information, please visit my website www.DebbyYeager.com, and drop me a line. I’d love to hear from you. Thanks, - Debby 'A portion of proceeds is donated to the education of child abuse prevention services. 'https://debbyyeager.com/bio/

Live 1999

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Lauren Henderson - Alma Oscura

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 29:55
Size: 69,0 MB
Art: Front

(6:25) 1. From the Inside Out
(4:57) 2. Something Bigger
(3:26) 3. Alma Oscura
(2:23) 4. El Árbol
(2:43) 5. Ven Muerte
(3:54) 6. Where Are You Now?
(2:00) 7. Protocol
(4:02) 8. Dream

With the exception of a cappella artists, a singer can’t soar without a supportive squad. And an empathetic producer is essential to the equation. Lauren Henderson’s sixth release, Alma Oscura, is a gem, thanks to a combination of strong material, a subtle vocal style and carefully crafted settings that showcase the vocalist’s strengths. Much of the credit belongs to Michael Thurber, who played bass on the sessions, produced the album, composed three songs in the program and co-wrote the title track with Henderson. Singing in Spanish and English, Henderson has a soft delivery that emphasizes nuance and heightens a narrative’s drama without pyrotechnics. She surrounds herself with a terrific supporting cast that provides powerful coloration, whether it is Jon Lampley’s trumpet echoing the lead vocal line on “Something Bigger,” Emi Ferguson’s poignant flute on the title track, Sullivan Fortner’s fluid pianism on “El Arbol” or Leo Sidran (Ben’s son) sculpting a fine bilingual vocal duet with Henderson on his composition “From The Inside Out.”

Although a total of 15 musicians played on the sessions, Henderson and Thurber avoid excess at every turn, favoring a spare, impactful aesthetic. “Where Are You Now?” (a Thurber tune) has a smoky flavor that would appeal to fans of jazz, r&b and sophisticated pop, while “Protocol” has an infectious tango vibe. This album is 30 minutes long, inviting repeated spins and revealing Henderson’s admirable penchant for quality over quantity.= Henderson’s European tour includes a Nov. 22 gig at Zig Zag Jazz Club in Berlin.~ Bobby Reed https://downbeat.com/reviews/detail/alma-oscura

Alma Oscura

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Muriel Grossmann - Reverence

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 78:48
Size: 181,9 MB
Art: Front

( 9:54) 1. Okan Ti Aye
( 9:26) 2. Union
( 9:42) 3. Water Bowl
( 8:57) 4. Sundown
( 9:47) 5. Chase
( 9:02) 6. Tribu
(10:23) 7. Afrika Mahala
(11:34) 8. Morning

Since the late 1990s, the Spanish island of Ibiza has been synonymous with two things: electronic dance music and 3,4-Methylenedioxymethamphetamine aka MDMA or ecstasy. Austrian-born saxophonist Muriel Grossmann has lived on Ibiza since 2004 and her intense wall-of-sound style of astral jazz suggests she is familiar with both those pillars of Ibizan nightlife. Grossmann has not spent her time in Ibiza simply partying and chilling, however. Reverence is her eleventh album since moving to the island. She fronts her regular quartet comprising bass guitarist Gina Schwarz, drummer Uros Stamenkovic and guitarist Radomir Milojkovic, who has been with her since her debut, Homecoming Reunion (Dreamland, 2007). The group has been expanded for Reverence by Hammond B3 organist Llorenc Barcelo, who makes a terrific addition to the lineup.

Grossmann's main saxophone is the tenor, though she also plays alto and soprano. Her composing style is strictly modal and her sound evokes late period John Coltrane and post-Coltrane Pharoah Sanders. Her harmonic palette is limited but she makes up for it through the exuberance and commitment of her playing. Milojkovic brings echoes as diverse Sonny Sharrock, James Blood Ulmer and Grant Green; Barcelo's B3 is winningly retro; and Schwarz and Stamenkovic drive the groove. Such is the band's hard-wired intensity on some of the tracks that it touches on La Monte Young and drone music. "Count Basie once said about his band that he wanted it sounding like one big drum," says Grossman. "That's what I aimed for with this album." She hits the target, ramping things up with a little Phil Spector along the way and enriching the percussive mix with African instruments including a balafon, kalimba and ngoni. Reverence is a double album which clocks in at around 77 minutes. The pace is mostly high energy but Grossmann rings the changes with more restrained and reflective passages. If you like some rocket fuel with your astral jazz, this one is for you. ~ Chris May https://www.allaboutjazz.com/reverence-muriel-grossmann-rr-gems

Personnel: Muriel Grossmann: saxophone; Radomir Milojkovic: guitar, electric; Llorenc Barcelo: organ, Hammond B3; Gina Schwarz: bass; Uros Stamenkovic: drums.

Reverence

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Kandace Springs - The Women Who Raised Me

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 53:12
Size: 123,4 MB
Art: Front

(2:59) 1. Devil May Care
(6:00) 2. Angel Eyes
(3:57) 3. I Put A Spell On You
(4:44) 4. Pearls
(5:30) 5. Ex-Factor
(4:35) 6. I Can't Make You Love Me
(3:55) 7. Gentle Rain
(4:59) 8. Solitude
(3:36) 9. The Nearness Of You
(3:59) 10. What Are You Doing The Rest Of Your Life
(5:17) 11. Killing Me Softly With His Song
(3:36) 12. Strange Fruit

Cover albums tend to sort themselves pretty neatly into two separate bins. One is filled with tiresome stacks of uninspired music soon to be filed away and forgotten. The other, smaller pile is made up of those few in which the artist on the cover managed to do something more than parrot their predecessors. Those who wish to belong to the latter group find a way to add a personal touch to their songs, in such a way that each takes on its new performer's characteristics. At times, singer and pianist Kandace Springs' previous release, Indigo (Blue Note, 2018), had an irritatingly generic blend of pop and R&B influences, while her debut two years earlier often fell upon traditional blues vibes. She detours from those paths with her third full-length entry, titled The Women Who Raised Me, decidedly placing it atop the latter stack.

The album marks a new phase for Springs, who curated a list of songs made famous by the female vocalists who inspired her career. She also recruited a trio comprising guitarist Steve Cardenas, bassist Scott Colley, and drummer Clarence Penn, all of whom share ties to those women. Their presence provides some validation for The Women Who Raised Me, which is a mostly acoustic affair. That, combined with the menagerie of high profile guest artists, and wise song choices keeps the album from taking on a quaint tone. There is a crisp purity in her singing throughout and, while Springs avails herself of modern technology, she is not beholden to it. She excels during songs that challenge her to build to a climax, spending their outset ramping up tension and intensity. "I Put A Spell On You," has her laying the familiar rhythm down on piano while ambling up to the tipping point. Just as Penn's cymbals gather up and crash through both speakers, saxophonist David Sanborn blows out his solo. It is a perfect example of what the singer is capable of when backed by the right talent. Their dark, heavy take on the prolifically covered song offers a possible glimpse into Springs' future, subverting the expectations of a performer within her genre.

This isn't to say that the album's calmer moments drag. "Pearls" and "The Nearness Of You" feature enough simmering passion to keep listeners engaged. Avishai Cohen's trumpet provides a mournful backdrop for Springs during the latter; she loves to allow a note to wither in her throat, ruthlessly wringing every drop of sensuality from it. Another obvious vocal highlight is "Angel Eyes," a duet between Springs and Norah Jones, who is credited as one of the album's eponymous "Women." Neither is heard to overpower the other, and their new rendition sounds more fleshed-out than the one made famous by Ella Fitzgerald in 1958. This could easily boil down to the benefits of 21st century recording technology, but more likely is that Jones' somewhat downtrodden performance keys very well off the wry, positive tones Springs spends the song crooning.

The pair of tracks featuring Chris Potter on saxophone, "Gentle Rain" and "Solitude," in addition to her earlier collaboration with David Sanborn, really demonstrate how much stronger the singer is with a horn in the mix. Unfettered by the restraints of tradition or expectation, she stretches her range without pulling too hard, and the addition of brass or woodwinds gives each piece an added touch of sentiment. Rarely in the modern era of music is one able to simply marvel at the beauty of a singer's voice. So easily distracted by the public persona they sell, the politics they preach, or the awkward impurity of soundboard effects, we find ourselves unable to focus the entirety of our attention upon the same artistic endeavors that got them to the stage in the first place. It is hard to say that anyone in the public eye can shy away from fame in the age of internet video and necessary self-promotion. But Kandace Springs seems content to play to her strengths and take no quarter; the one thing listeners are guaranteed to receive is authenticity.~ Peter J.Hoetjeshttps://www.allaboutjazz.com/the-women-who-raised-me-kandace-springs-blue-note-records

Personnel: Kandace Springs: voice / vocals; Steve Cardenas: guitar; Scott Colley: bass; Clarence Penn: drums.

The Women Who Raised Me

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Nils Landgren, Jan Lundgren - Kristallen

Styles: Vocal, Trombone And Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 56:23
Size: 129,5 MB
Art: Front

(3:49) 1. Blekinge
(3:50) 2. Byssan Lull
(4:15) 3. Country
(5:20) 4. Didn't We
(3:04) 5. Hornlatar
(4:24) 6. I Will
(4:18) 7. Why Did You Let Me Go
(4:56) 8. Lovers Parade
(3:42) 9. Norwegian Wood
(4:36) 10. Olu
(5:25) 11. The Nearness of You
(3:45) 12. Värmlandsvisan
(4:53) 13. The Wedding

Just as he has two roles musically, as a trombonist and singer, Nils Landgren has two sides stylistically: the upbeat and the sedate. Kristallen, his 24th album, leans to the latter, finding him in duet with pianist Jan Lundgren for a collection mostly of pop ballads and folk songs. It’s easy enough on the ears that, if left as background, it could be mistaken for fluff. Listen closely, though, and it’s surprising how much depth these Swedes deliver.

Start with the fact that Landgren is a stunningly good trombonist, the sort of player whose sound is so light and smooth as to seem effortless. Although his solos aren’t obviously showy, they reflect some serious chops, as he stays almost entirely above middle C and moves around the horn with the crisp agility of a veteran bebopper. Rhythmically imaginative, he swings hard even when playing in three, as his fine solos on “Norwegian Wood” make plain, while his ballad work makes the most of his sweet, Dorsey-like tone.

Lundgren is Landgren’s second duet partner, the first having been the late Esbjörn Svensson, and that leaves him with some fairly big shoes to fill. Although he spends much of the album as an accompanist, backing the trombone with well-colored chords and providing lush, gently rhythmic counterpoint for Landgren’s husky, Chet Baker-ish vocals, he has a strong enough sense of the blues to cut straight to the heart of Keith Jarrett’s “Country,” and puts enough rhythmic punch into the Beatles’ “I Will” that you’d almost think someone snuck a rhythm section onto the track. In all, an understated delight.~ J.D. Considine https://jazztimes.com/reviews/albums/nils-landgren-jan-lundgren-kristallen-act/

Personnel: Nils Landgren - Vocal, Trombone; Jan Lundgren - Piano.

Kristallen

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Scott Hamilton, Paolo Birro - Pure Imagination

Styles: Saxophone And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 63:54
Size: 148,0 MB
Art: Front

(4:54) 1. Expense Account
(5:01) 2. You're Gonna Hear from Me
(6:21) 3. That's Entertainment
(6:01) 4. If I'm Lucky
(4:58) 5. Day Dream
(6:51) 6. Funkallero
(6:43) 7. Easy to Love
(6:50) 8. Con Alma
(4:33) 9. Pure Imagination
(6:00) 10. All God's Children Got Rhythm
(5:38) 11. Drinkin' and Driving (502 Blues)

Saxophone player Scott Hamilton is one of the top artists on the Fone Jazz label. Pure Imagination is his 6th DSD release at the Native DSD Music store. The album features Hamilton with pianist Paolo Birro performing 11 songs from the american song book. The tracks include That’s Entertainment by Arthur Schwartz, Day Dream by Billy Strayhorn, Funkallero by Bill Evans, Easy To Love by Cole Porter, Con Alma by Dizzy Gillespie, Drinkin’ and Driving 502 Blues by Jimmy Rowles and the title track Pure Imagination by Leslie Bricusse. This is a Stereo DSD recording. There is no editing used on the album. All the tracks on this release are heard as they were performed. https://www.nativedsd.com/catalogue/albums/sacd205-pure-imagination/

Personnel: Piano – Paolo Birro; Saxophone – Scott Hamilton

Pure Imagination

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Amedeo Ariano, Francesca Tandoi, Luca Bulgarelli - Triplets (Live in Roma)

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 53:13
Size: 122,9 MB
Art: Front

(7:53) 1. BulgArianTandoj (Live)
(7:12) 2. Best Part (Live)
(4:52) 3. Fsr (Live)
(8:06) 4. Maybe You'll Be There (Live)
(9:55) 5. Night Mist Blues (Live)
(7:18) 6. I Dind't Know What Time It Was (Live)
(7:55) 7. Bis Blues (Live)

The project boasts the collaboration of two of the greatest jazz musicians at an international level: Francesca Tandoi on the piano and Luca Bulgarelli on the double bass. Considered by the public and critics among the best Italian drummers, Ariano, thanks to his musical versatility, has at his side with international jazz players, including George Coleman, Johnny Griffin and Benny Golson and Italian pop artists such as the pianist and songwriter Sergio Cammariere, with with whom Lucio Dalla and Renzo Arbore have been collaborating for 18 years. The record, produced by Promu - All For Music, is part of the "Unplugged" project, a collection of "Live Albums", which the guys from Promu recorded during the "Gianicolo In Jazz" festival in Rome in the summer 2019 and which they subsequently re-proposed on YouTube during the rigid lockdown of last March, to relive the experience of the live concert to the public at home, in the most realistic way possible.

In fact, the characteristic of this project consists in having treated the audio, particularly enhancing the spatialization of the sound: if the listener wears headphones, he will realize that each musical instrument has a precise sound space, therefore, if during the concert the battery has been placed to the right of the stage, you will hear more in the right earphone. The "Triplets Live" record, as well as all the concerts in the "Unplugged" collection, are "audio photographs", which have the aim of ideally bringing the audience back to that precise moment of the live concert. Translate by Google https://www.musicaincontatto.it/2020/11/30/amedeo-ariano-pubblica-triplets-live-version-il-suo-nuovo-album-in-collaborazione-con-francesca-tandoi-e-luca-bulgarelli/

Personnel: Francesca Tandoi (pianoforte), Luca Bulgarelli (contrabbasso) e Amedeo Ariano (batteria)

Triplets (Live in Roma)

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Ron Carter - Foursight - Stockholm, Vol. 1

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 57:15
Size: 131,9 MB
Art: Front

( 7:38) 1. Cominando
( 8:50) 2. Joshua
( 7:03) 3. Little Waltz
(10:34) 4. Seguaro
( 1:59) 5. Cominando, Reprise
(13:10) 6. Nearly
( 7:57) 7. You and the Night and the Music

The strings vibrate gently. Accurate tone, unconditionally clear. And quietly. The longest fingers of jazz seem to dance weightlessly along the wooden bridge; yearning, filigree and elegant. No one else sounds like Ron Carter. His double bass often produces a crisp groove like an electric bass, yet it is always clearly definable as the sound of a classical music instrument. https://www.jazzmessengers.com/en/81938/ron-carter/foursight-stockholm-vol-1

Personnel: Bass – Ron Carter; Drums – Payton Crossley; Piano – Renee Rosnes; Tenor Saxophone – Jimmy Greene

Foursight - Stockholm, Vol. 1

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Gabriela Anders - Los Dukes

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 29:11
Size: 67,5 MB
Art: Front

(4:06) 1. I Ain't Got Nothing but the Blues
(2:55) 2. Take the a Train
(3:22) 3. Mood Indigo
(3:53) 4. It Don't Mean a Thing
(3:03) 5. Do Nothing 'Til You Hear It from Me
(4:15) 6. Satin Doll
(4:02) 7. In a Mellow Tone
(3:30) 8. Sweet Georgia Brown

Los Dukes is a new 9 piece band arranged and directed by Gabriela Anders, featuring songs from the Duke Ellington’s catalog done in wildly distinctive Latin American styles. A Latina’s tribute to the music of Duke Ellington. Gabriela Anders is one of the most accomplished and appealing contemporary vocalists creating today. Her debut album on Warner Jazz, “Wanting,” enjoyed much success and critical praise. Her new band, Los Dukes, pays loving tribute to the elegant GENIUS of Duke Ellington and includes some of the best Latin Jazz players on the New York scene. Los Dukes is an explosive, artistic, riotously fun post-macho latin-jazz experience featuring New York City’s baddest gauchos. Los Dukes rocks the groove from all corners of Latin America from North to South and beyond

Personnel: Gabriela Anders Vocal; Bobby Sanabria - Drums; Oreste Abrantes on percussion; Edward Perez on bass; Matthew Jondrell on Trumpet; Alex Brown on piano; Chris Washburne on trombone

Los Dukes

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Bucky Pizzarelli & Manu Lafer - Buckskin

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 46:06
Size: 106,6 MB
Art: Front

(4:12) 1. Take Ten
(2:44) 2. Ain't She Sweet
(4:03) 3. Wave
(3:35) 4. Benny's From Heaven / Pennies From Heaven
(1:54) 5. Fishing Hole
(1:57) 6. Um Abraço nos Pizza
(1:59) 7. Tacos, Enchiladas and Beans
(5:11) 8. Love Walked in
(4:20) 9. Estrada Branca / This Happy Madness
(2:56) 10. Easy to Remember / This Nearly Was Mine
(3:01) 11. Yvette
(2:47) 12. Slow Movin' Sam
(2:44) 13. My Cutey Is Due at Two-to-two Today
(2:12) 14. Bossa Nova
(2:25) 15. Caroline

Buckskin , the name of the CD, was the childhood nickname of Bucky Pizzarelli, then 91, one of the greatest legends and dean of jazz, specialized in the American 7-string guitar and owner of a unique style in the instrument school, coming from George Van Eps, and the jazz swing of the 6-string guitar by Freddy Green and Charlie Christian. Bucky accompanied Benny Goodman, Julie London, Frank Sinatra to Paul McCartney, also making theatrical performances of Stephen Sondheim's shows. On television he played at Johnny Carson and Skitch Henderson.He recorded as a studio musician many hits from the 60's pop and jazz records with guitarists George Barnes, Tal Farlow and Wes Montgomery, among others, before starting a prolific phonographic partnership with saxophonist Zoot Sims.

Produced by bassist Martin Pizzarelli and co-produced by Brazilian guitarist Ricardo Baldacci (who also participates in playing and singing), the album is a tribute and a celebration of Bucky's music and the joy of playing, around whom everyone orbits in these records and always .The swing repertoire band is based on the drums of Tony Tedesco, a constant figure in the films of Woody Allen (as well as Bucky), the acoustic bass of producer Martin and the piano of Larry Fuller, with the participation of the virtuoso of the clarinet and saxophonist Ken Peplowski. Manu shares the vocals of most tracks with Ed Laub, who regularly performs in duo with Bucky on the 7-string guitar and is one of the most expressive voices today, reminiscent of Arthur Prysock, in addition to being the author of the seminal CDSoft Guitar , tribute to a great connoisseur and lover of Brazilian music, Kenny Rankin.

Martin and Bucky (who recorded in Tom Brasil's Terra Brasilis ) read Tom Jobim's bossa-jazz ( Wave , Estrada Branca ), with Duduka da Fonseca's drums, Marc Sganga's nylon guitar and the participation of a of the greatest Brazilian singers, Maucha Adnet, who was part of the vocal ensemble Céu da Boca and Banda Nova by Tom Jobim, along with Danilo Caymmi, Manu's most frequent partner. In the instrumental repertoire, plus a solo guitar medley by Bucky ( Easy to Remember and This Nearly Was Mine, both by Richard Rodgers), a pearl from Bucky, Take Ten , soloed by Ken Peplowski in the fashion of him and Zoot Simms, and accompanied by Manu's vocalise, in addition to Manu's own guitar in his Um Abraço nos Pizza , dedicated to the Pizarellis (originally recorded on the CD Mané Mandou, with a brass arrangement by Lincoln Olivetti). In Canto Casual , John Pizzarelli's album commemorating the 50th anniversary of Sinatra and Tom's LP, John Pizzarelli and Jessica Molaskey took advantage of Manu's verses in an authorial song, hence the opportunity for the tribute

In the American repertoire, frequent numbers of the duo Bucky - Ed Laub ( Bennies / Pennies From Heaven , Love Walked In ), less recorded songs (Caroline , by Randy Newman, Fishing Pole , in a rare version with the lyrics, in addition to the famous whistle on American TV) and two pearls by the brilliant Brian Gari ( Yvette and Slow Moving Sam ). Highlight for the work of the sound engineer Bill Moss, who gives linearity and spontaneity to the repertoire, of a team and comprehensive and ambitious musical style of the project, making the hearing a ride for the ears and hearts. http://manulafer.com.br/discografia/solo/buckskin-pt/

R.I.P.

Born: January 9, 1926

Died: April 1, 2020

Buckskin & Manu Lafer

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Joe Stilgoe - Stilgoe In The Shed

Styles: Vocal And Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 61:00
Size: 140,1 MB
Art: Front

(5:02) 1. Wichita Lineman
(5:21) 2. Some Other Time
(3:38) 3. Mountain Greenery
(3:48) 4. Sunny Afternoon
(3:44) 5. How Are Things in Glocca Mora
(4:15) 6. Seaside
(4:21) 7. Big Yellow Taxi
(3:34) 8. Happier Than the Morning Sun
(3:56) 9. Rainbow Connection
(2:38) 10. You Meet the Nicest People in Your Dreams
(5:05) 11. In the Still of the Night
(4:43) 12. What's Up
(3:55) 13. Make You Feel My Love
(2:43) 14. This Will Be Our Year
(4:09) 15. No One is Alone

Tour cancelled due to lockdown, Joe Stilgoe suddenly found himself missing the adrenalin and human connection that has fuelled his live performances. He decided to perform a show on day 1 of the lockdown via his YouTube channel this led to Joe taking direct song requests and broadcasting online Stilgoe in the Shed was broadcast every day at 1pm, reaching 150,000 viewers worldwide.

67 online shows and 4 months later, Joe’s restless energy resulted in a 15-song album recorded in a single day in his shed. With his friend, Grammy-nominated producer James McMillan, Joe made a decision to recreate the lockdown experience by capturing his performances under the same restrictions as his YouTube show. The songs that made it onto the album where chosen either for being the most requested or for having the most powerful response from his fans all the choices seem to take on a new relevance at a time when live music is barely available but is needed more than ever.

Joe says “It was just one day recording, with McMillan in the pilot seat. We recorded 17, but you’ll only get to hear 15 (I blame the piano pedals…). All these songs mean different things to different people, but for me there’s an attachment because at a time when the days seemed to meld into one another, playing every day in the shed gave me a tangible memory for each flip of the calendar, and each song its own poignant place. They, and music in general, took on new meaning during the lockdown and I’m grateful not only for the escape and comfort that music brings but also the support I and the show received every day.”

Stilgoe in The Shed is Joe’s 8th album. A new UK tour is scheduled for 2021 and the YouTube shows helped raise over £20,000 for local and national charities that Joe felt were being overlooked as so much fundraising and donations were being focused on the NHS charities. These included hospices, disabled arts charities and those from his own industry including Tomorrow's Warriors and Help Musicians UK. https://www.joestilgoe.com/news/

Stilgoe In The Shed

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Walter Beasley - Going Home

Styles: Saxophone Jazz, Smooth Jazz
Year: 2019
File: MP3@320K/s
Time: 45:49
Size: 105,9 MB
Art: Front

(4:16) 1. Feeling Good (feat. Phil Davis)
(3:49) 2. House of Sax (feat. Phil Davis)
(4:41) 3. Strasbourg, St. Denis
(4:28) 4. Moonstreams (feat. Tres Gilbert)
(4:30) 5. No No (feat. Will Downing)
(4:37) 6. Jojo (feat. Derek Cannon & Phil Davis)
(4:08) 7. Aqui
(4:55) 8. My Name Is Love
(3:30) 9. It's Alright
(3:35) 10. En La Noche
(3:16) 11. Gail's Groove (feat. Derek Cannon)

Over the past three decades, saxophonist, Walter Beasley, has artfully and dynamically redefined the phrase “musical Renaissance Man” for the modern generation. Considered by fans and critics alike as the “heir to Grover Washington, Jr.’s Throne,” Beasley is the acclaimed saxophonist, vocalist, educator, and entrepreneur of the decade. As the highest selling full-time Professor / Recording Artist in history, the Boston-based musician has long mastered an exhilarating high wire act of balancing a successful career as a contemporary jazz recording artist and performer with an equally thriving presence in the field of music education. A leading alto and soprano saxophonist and prominent vocalist all the same, Beasley is hailed by fans for his thrilling performances along the East Coast and throughout the U.S. and Caribbean. Notable performances include the all-star tour To Grover, With Love, performing alongside Chuck Loeb, Buddy Williams and Andy Snitzer and performing as the headlining act for the 2011 Playboy Jazz Festival.

As to the release of his latest CD/DVD project, “Live In The Club,” Beasley’s chart-topping single, “Groove In You,” debuted on the Groove Jazz Chart at #29, climbing to Top 20 on the Billboard/R&R Chart, Radiowave, SmoothJazz.com, & Mediabase, earning a spot in the Top 10 on the Indie Chart. Other notable works by Beasley include his self-titled albums, Sax Meditations and Live in the Groove, both released through his Affable Publishing, as well as Free Your Mind (Heads Up), whose presence earned Beasley the 2009 Jazz Awards, and Backatcha (Shanachie Entertainment / Affable), featuring his hot single, “Lovely Day.” During 2011, Backatcha rose to #10 on Billboard Top 50, with his single “The Call” debuting at 30 on Billboard Smooth Jazz chart and #3 Most Added in June 2011.

Since 2008, Beasley continues to thrive at the forefront of digital media and communication by offering consultation services to independent sax artists via Skype. Students are worldwide and of all ages and skill levels. He extends his influence to the younger generation by sharing his experiences and educational expertise through “Walter Beasley Sax Lessons” on YouTube and through his educational app offerings on iTunes and Google. Beasley also creates instructional DVDs for young players who are not able to afford a traditional music education. Projects include 14 Steps To Maximizing your Performance, which is currently available for download on his official website. His other best selling videos released through his Affable Publishing include Sound Production for the Saxophone, Hip Hop Improvisation, Circular Breathing and Performance Workshop.

A native of El Centro, CA, Beasley found his calling in the 1970’s after his Aunt gave him his first Grover Washington, Jr. record at the age of nine. During his early teens, Beasley played sax and sang in various bands throughout Southern California. In the following years, Beasley attended the prestigious Berklee College of Music and graduated alongside such prominent classmates as saxophonist, Branford Marsalis, and vocalist, Rachelle Ferrell. Upon graduation, Beasley accepted a teaching position at Berklee where he continues to share his musical genius with students, nearly 30 years later. https://walterbeasley.com/about/press_kit/

Going Home

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Margriet Sjoerdsma - With The Whisper Of A Morning

Styles: Vocal
Year: 2006/2020
File: MP3@320K/s
Time: 43:14
Size: 100,3 MB
Art: Front

(4:27) 1. Lovin Like I Love You
(6:04) 2. Creepin'
(4:50) 3. God Bless The Child
(3:50) 4. Carry On
(3:33) 5. Our Morning
(0:58) 6. Still Creepin
(3:44) 7. Old Devil Moon
(4:57) 8. Help Me
(4:12) 9. The Meaning Of I Love You
(3:43) 10. I Didnt Know What Time It Was
(2:52) 11. Detour Ahead

The beginning of a new musical project came to life in 2017. With ODELION, Margriet Sjoerdsma is taking a new musical path. The eponymous debut album is the first exit on this new, musical route.In recent years, Margriet has conquered the Netherlands with A Tribute to Eva Cassidy. She played more than 80 times with this project in sold-out venues. The starting shot for this was a performance in Vrije Geluiden, followed by the North Sea Jazz Festival and a packed Concertgebouw. De Telegraaf concluded: "Sjoerdsma is of world class, her Eva Cassidy Tribute is reminiscent of the American self who died too young." **** De Stentor wrote: "Sjoerdsma is outgoing, charming and a little naughty." She recently won the prestigious Dutch Oeuvre Prize Kleinkunst en Cabaret, which will be cashed in on 2 February 2019 with a Bronze Lion in the Schiller Theater (previous winners include Lenny Kuhr and Herman van Veen).

With this new project Margriet returns to her first love: making her own songs. The songs came to life in Odelien, a cottage in Norway. Far away from everyday life, the stress, bustle and chaos of modern life. She sat there alone for three months. As a great lover of all kinds of music, she did not want to devote herself to a particular musical direction. But she wanted to get to the core of what was happening within her and let it arise from there. Do it yourself and decide for yourself was the motto of this album. On this versatile album Margriet shines as a vocalist, composer and producer. She worked with producer Tobias Fröberg (Ane Brun). Recorded in Fattoria Musica (Germany), mixed in Gotland (Sweden) and mastered by Petet Maher (Damian Rice) in England.

ODELION is a strong mix of dark pop and folk with a slightly classical touch and jazz influences. Think of Joni Mitchell's poetry and Tori Amos's musically free spirit. Expect adventurous arrangements with harmonically exciting twists and melancholic melodies with unexpected turns.The press about Margriet Sjoerdsma as a stage personality: "Sjoerdsma is outgoing, charming and a bit naughty."

The press about Margriet Sjoerdsma as a stage personality:

"Sjoerdsma is outgoing, charming and a bit naughty." **** - De Stentor

The press about "With the whisper of a morning" (2006/2020):

“It deserves admiration when you come up with a debut that captivates from start to finish. Margriet Sjoerdsma shows with "With the whisper of a morning" that she can do this. "" With songs sung "laid back", surprising arrangements and swinging musicians, this is a record to enjoy forever. Her voice is warm, her intonation lyrical and personal. The Netherlands has an excellent jazz vocalist again! ” - Frank Huser Jazz Flash 2006

“Our country has gained a promising singer” - Hans Dijkstal, Financieel Dagblad 2006 - Translate By Google https://margrietsjoerdsma.com/wordpress/about/

With The Whisper Of A Morning

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