Carlo Uboldi Trio, Emanuele Cisi - Looking Beyond

Styles: Piano And Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 57:19
Size: 133,1 MB
Art: Front

(5:55) 1. Malupa
(4:22) 2. Lady K
(4:43) 3. Oh, beh!
(6:52) 4. Invitation
(6:12) 5. Looking Beyond
(4:19) 6. The Opener
(3:29) 7. Walkin' Over
(4:24) 8. Sibelia
(6:22) 9. Times Does It
(5:36) 10. Circus
(5:01) 11. Panegra

The pianist Carlo Uboldi is a veteran of Italian jazz who, with perseverance and dedication, makes us listen to music with roots in tradition, rich in swing, which we listen to with pleasure. For this new recording he introduces us a special guest together with his trio, the Turin tenor saxophonist Emanuele Cisi , to complete the group are Valerio Della Fonte on double bass and Massimo Manzi, drummer known on countless recordings of Italian jazz. Aside from Bronislaw Kaper's Invitation and Bill Evans' The Opener , there are all compositions by the leader and double bass player, along with Lady K.di Cisi, dedicated to his colleague Richie Kamuca.

The quartet works perfectly on a common language, it is a timeless mainstream where the musicians give their best with measured solos, very compact during the performances. Some compositions of the leader, such as Panegra which closes the album, are very listenable, Looking Beyond which gives the title to the album, has something fascinating, faced by the leader with a lot of swing and by Cisi with a fluid and bewitching sound on the saxophone. An album that is happy to listen to in the background, but on which you can focus on carefully because it is full of important moments. Translate By Google http://www.musiczoom.it/?p=30639

Looking Beyond

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Nicki Parrott - Great 70's

Styles: Vocal, Post Bop
File: MP3@320K/s
Time: 61:16
Size: 141,8 MB
Art: Front

(3:27) 1. Lotta Love
(4:39) 2. You're So Vain
(3:48) 3. Will You Still Love Me Tomorrow?
(5:12) 4. Your Song
(4:17) 5. If You Leave Me Now
(4:42) 6. My Love
(5:22) 7. Killing Me Softly With His Song
(4:32) 8. Alone Again Naturally
(4:39) 9. Imagine
(4:16) 10. Chuck E.'s In Love
(4:21) 11. How Deep Is Your Love
(4:09) 12. You Are The Sunshine Of My Life
(3:37) 13. Laughter In The Rain
(4:08) 14. We're All Alone

A cover of the golden 70's Billboard Greatests hit's masterpieces with a new sense of Nikki jazz style. Venus Records' signature singer / bassist, Nicki Parrott's latest work! Nikki's charm is in full bloom! (Neil Young, Carly Simon, Elton John, Carole King, Chicago, Boz Scaggs, Roberta Flack, Paul McCartney, Gilbert O'Sullivan, John Lennon, Rickie Lee Jones, Neil Sedaka, Beezies , Stevie Wonder).

Celebrated as an instrumentalist and a vocalist, Australian artist Nicki Parrott has earned acclaim as one of the most engaging talents to emerge on the jazz scene in the 21st century. Born in Newcastle, New South Wales, Australia in 1970, Parrott had a precocious talent for music, first learning to play the piano when she was four years old. She would become proficient on piano and flute, but when her sister Lisa, who plays saxophone, was looking for a bassist for her jazz combo, Nicki took up the double bass, and fell in love with the instrument. At the age of 16, Parrott earned a scholarship to attend the Pan Pacific Music Camps, and after completing high school, she relocated to Sydney to enroll at the New South Wales Conservatorium of Music. Parrott was soon performing with a number of leading Australian jazz musicians (including Mike Nock, Paul Grabowski, and Dale Barlow), as well as American artists Chuck Findley and Bobby Shew. In 1994, Parrott left Australia for New York City thanks to an Arts Council grant, and she began studying bass with Rufus Reid. In 2000, Parrott landed an especially prestigious gig -- she became bassist with Les Paul's combo for the legendary guitarist's weekly performances at the Manhattan jazz spot Iridium. Paul became her mentor, and encouraged her as a vocalist as well as a bassist. (https://www.allmusic.com/artist/nicki-parrott-mn0000108314/biography)

Personnel: Nicki Parrott (vocals, bass); John Di Martino (piano); Dave Blenkhorn (acostic & electric guitar); Quentin Baxter (drums)

Great 70's

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George Kahn - Secrets From The Jazz Ghetto Disc 1 And Disc 2

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 76:06 (CD 1)
Size: 179,5 MB (CD 1)
Time: 79:57 (CD 2)
Size: 188,3 MB (CD 2)
Art: Front + Back

Disc 1

(4:47)  1. Sombras De Noite (Night Shadows)
(6:25)  2. Over The Rainbow
(5:03)  3. Waltz For Diana
(6:09)  4. My Funny Valentine
(6:28)  5. See Cruise
(7:11)  6. Say Goodbye
(5:56)  7. Benji
(7:55)  8. Freedom Vessel
(4:12)  9. Open House
(4:43) 10. Out Of Time
(4:14) 11. One Moment Of Your Life
(7:08) 12. 5 To Get Ready, 10 To Go
(5:50) 13. The Hero's Journey

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Disc 2

(6:44)  1. Too Much Sax
(7:36)  2. The Big 4-0
(5:43)  3. Millennium Schmellenium
(4:58)  4. Evan's Seven
(4:53)  5. A Bop For Billy
(5:50)  6. Swiss Cheese
(5:27)  7. Midnight Brew
(4:58)  8. Mercedes The Lady
(5:59)  9. Gnomesayin'
(5:22) 10. Wes' Coast
(6:42) 11. Mitchell's Blues
(6:14) 12. Evan's Eleven
(9:27) 13. Wayne's World

West Coast jazz pianist George Kahn revisits past successes on Secrets From The Jazz Ghetto selecting some of his best compositions from five of his previous six albums for this compilation recording. This seventh outing contains 26 pieces covering a range of styles from contemporary to bebop, and from Bossa Nova to Latin and Cool jazz. Though the main repertoire on this two-disc set album reprises music recorded between 1998 to 2008, there are seven new recordings revealed here as the first of Kahn's secrets. The music is quite varied, accessible and challenging to the core, an obvious conclusion after a sampling of the album and that's no secret. The first four pieces on disc one (Nightside), are new recordings beginning with the Brazilian-shaded "Sombras De Noite" (Night Shadow) featuring Luba Masonon vocals and guitarist Pat Kelly. 

Harold Arlen's classic "Over The Rainbow" is the next piece enjoying another new interpretation that showcases saxophonist Andy Suzuki and Kahn on delicate solos. The third tune, "Waltz For Diana" is special for Kahn, penned for his wife, to whom the entire album is dedicated and is five minutes of pure West Coast bop pleasure. The pianist is masterful on "My Funny Valentine" both on the keys and in the unique arrangement he provides. The melody is painted with glowing soprano lines from Suzuki and a bit of improvisation on his part makes the tune just a tad challenging to discern. Vocalist Tierney Sutton appears on a couple of originals, including "One Moment of Your Life" which had been previously recorded, but unreleased until now. "Evan's Eleven" comes out swinging with a funky perky beat behind M.B. Gordy's strong stick work on the last gyrating number of the set. "Wayne's World" takes a more contemporary road ending the album on a high note, an expansive nine-minute plus finale featuring brilliant tenor lines once again from Suzuki, tantalizing piano play from the leader, and stellar bass lines from Karl Vincent. Kahn draws on five tracks from Midnight Brew (Playing Records, 2002) including "A Bop for Billy," "Swiss Cheese" and the title track, with saxophonist Eric Marienthaland trumpeter Bobby Rodriguez. 

"Say Goodbye" and "The Big 4-0" are two pieces showcasing trumpeter Wayne Bergeron among the four charts taken from "Out of Time (Playing Records, 1998). The balance of the album contains selected pieces from Freedom Vessel (Playing Records 2000), Compared To What? (Playing Records, 2004), and his highly acclaimed Cover Up (Playing Records, 2008). For those not familiar with George Kahn's music, Secrets From The Ghetto is the perfect vehicle to get acquainted with one of the finest pianist and composers in the jazz world today. Delivering a variety of styles recorded with some of the best jazz musicians in the world, this album provides a good bang for the buck with a number of outstanding musical scores included. That's the real secret here. ~ Edward Blanco http://www.allaboutjazz.com/secrets-from-the-jazz-ghetto-george-kahn-playing-records-review-by-edward-blanco.php#.U7gOzbF8eM0

Personnel: George Kahn: piano; Karl Vincent: bass (CD1#1-3, 10-12, CD2#5-7, 12, 13); Richard Reed: bass (CD1#5-7, CD2#2); Brian Bromberg: bass (CD1#12, 13, CD2#1, CD2#9-11); Dave Carpenter: bass ( CD1#8, CD2#3, 4); Pat Kelley: guitar (CD1#1, CD2#10); Jerry Kalaf: drums (CD1#1); M.B. Gordy: drums, percussion (CD1#2, 3, 8-11, CD2#3-7, 12, 13); Billy Higgins: drums (CD1#5-7, CD2#2); Joe LaBarbera: drums (CD2#3, 4); Alex Acuna: drums (CD1#12, 13, CD2#8-11); Andy Suzuki: saxophone (CD1#2-4, CD2#12, 13); Eric Marienthal: saxophone (CD1#5, 7, 8, CD2#1-7); Justo Almario: saxophone (CD1#11, 12, CD2#8); Wayne Bergeron: trumpet (CD1#10, 12, 13, CD2#3-7); John Fumo: trumpet ( CD2#8-11); Luba Mason: vocals (CD1#1); Tierney Sutton: vocals (CD1#10, 11); Kevin Ricard: percussion (CD2#7).

Secrets From The Jazz Ghetto Disc 1, Disc 2

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The Western Swing Authority - Big Deal

Styles: Jazz, Swing
Year: 2020
File: MP3@320K/s
Time: 33:30
Size: 79,3 MB
Art: Front

(2:26) 1. Mississippi (feat. Jane Monheit)
(3:32) 2. Dance With Who Brung Ya (feat. Ray Benson)
(2:59) 3. Extraordinary (feat. Jason McCoy)
(2:49) 4. In the Middle of the Song (feat. Carolyn Martin)
(3:47) 5. Big Ball's in Cowtown
(3:44) 6. Big Deal (feat. Bruce Bouton & Buddy Spicher)
(4:06) 7. After the Leavin'
(3:14) 8. Swingin' from the Rafters
(2:45) 9. My Window Faces the South (feat. Jason Blaine)
(4:02) 10. This Old Bar

The Western Swing Authority is Canada's most recognized and awarded authentic Western Swing group. Made up of a collection of some of the country's finest touring and studio musicians, they came together to play the timeless style of music they love. Seamlessly combining stellar musicianship and vocals with traditional country and jazz standards and their own “new vintage” originals, they have created a sound that is truly their own.

WSA have been recognized with awards and nominations in both Canada and the United States and are reintroducing the Western Swing sound to an entire new generation of music lovers with every performance.

Recently, they caught the attention of a few of the music industry's most legendary icons, receiving an invitation to play a private party in Nashville in March of 2018 for none other than Garth Brooks and his manager Bob Doyle. In October 2019 the WSA released their 4th studio album, “BIG DEAL”, that includes guest appearances by 9x Grammy winner Ray Benson of Asleep at the Wheel, Grammy nominated Jazz sensation Jane Monheit, Canadian Country Stars George Canyon and Jason McCoy, along with many more amazing artists who have added their support and talent. https://grandmusiclive.com/wsa/

The Western Swing Authority is led by husband-and-wife duo Shane Guse (fiddle, vocals) and Stacey Lee Guse (vocals). The others are Ed "Pee Wee Charles" Ringwald (steel guitar), Dan Howlett (fiddle, vocals), Paul "Chappy" Chapman (guitar and vocals), Matthew Lima (standup bass) and Jimmy Boudreau (drums). https://www.therecord.com/entertainment/2018/12/20/western-swing-authority-s-big-deal.html

Big Deal

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Art Blakey & The Jazz Messengers - Jazz Messengers '70

Styles: Jazz, Hard Bop
Year: 1970
File: MP3@320K/s
Time: 49:19
Size: 113,1 MB
Art: Front

( 5:49) 1. Moanin'
( 4:57) 2. Blues March
( 6:34) 3. Whisper Not
(10:14) 4. It's Only A Paper Moon
( 6:51) 5. What The World Needs Now Is Peace And Love
( 5:25) 6. Politely
( 9:26) 7. A Night In Tunisia

One of only two albums recorded by Art Blakey's Jazz Messengers during 1967-71, this LP is quite unusual, for not only does it feature veteran trumpeter Bill Hardman, but the avant-garde tenor of Carlos Garnett and pianist Joanne Brackeen (the first female member of The Jazz Messengers). Mostly performing durable standards such as "Moanin'," "Whisper Not" and "A Night in Tunisia," the quintet casts new light on these tunes, making them sound fresh and flexible. This unusual set is recommended to longtime followers of Art Blakey; it deserves to be reissued on CD.

Personnel: Bass – Jan Arnet; Drums – Art Blakey; Piano – Joanne Brackeen; Tenor Saxophone – Carlos Garnett; Trumpet – Bill Hardman

Jazz Messengers'70

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Miho Sasaki Trio - From My Heart

Styles: Piano Jazz
File: MP3@320K/s
Time: 59:46
Size: 137,4 MB
Art: Front

(6:17) 1. There Will Never Be Another You
(6:27) 2. How Deep Is the Ocean?
(7:09) 3. Room 81
(7:44) 4. Under the Water
(5:33) 5. I Wish I Were with You
(9:57) 6. But It's Alright
(5:53) 7. Lush Life
(5:48) 8. Struttin' with Some Barbecue
(4:53) 9. From My Heart

Japanese-born pianist Miho Sasaki put down some productive roots in the United States, studying piano with Donald Vega at SUNY Purchase College, where she earned a James Moody Scholarship. The challenges of the Covid-19 pandemic sent her back home to Tokyo, where she live streams her music and teaches online. But the challenges of Covid did not prevent her from recording and releasing her debut CD, From My Heart.

The first impression coming from the album's first spin is that even though Japan is a long way, geographically and culturally, from the birthplace of jazz Sasaki's music sounds American, as if the DNA of the Great American Songbook, jazz standards and the blues are embedded deep down in her bones. She and her trio open with the familiar "There Will Never Be Another You," starting out in a somewhat hushed and languid manner, laying down a loose groove while searching for a tighter one, certain it will coalesce. It does, after an initial improvisation on the theme which shifts gears in an eye blink, incited by a sharp snare drum hit, with bassist Yoshimisa Otsuka and drummer Yoshifumi Nihonmatsu gelling into a more assertive forward momentum which enlivens Sasaki and the entire trio dynamic.

Irving Berlin's "How Deep Is The Ocean" rolls the same way, a relaxed opening which moves into a relentless up-tempo romp, followed by the first of five Sasaki originals, starting with "Room 81," a buoyant sound that brings Ahmad Jamal to mind, in Sasaki's playing and composing. Asked about her influences, Sasaki said, "I basically like bebop pianists like Wynton Kelly, Barry Harris, Tommy Flanagan and Red Garland." The Garland mention seems especially appropriate as"Room 81" even includes to go along with Sasaki's Garland-esque light touch and keyboard sparkle a particularly deft arco bass solo by Otsuka, reminiscent of Paul Chambers approach, in his work in the Red Garland Trio.

Billy Strayhorn's "Lush Life" get a beautifully reverent treatment, with Sasaki sounding especially pensive, leading into "Struttin' With Some Barbecue," which was recorded by Louis Armstrong in 1927, and sounding here, in 2021, like a rollicking good time down on Bourbon Street. Sasaki closes with her original, the disc's title tune, music fittingly titled to describe the pianist's purity of purpose and focused artistic vision on a fine debut. Sasaki closes with her original, the disc's title tune, music fittingly titled to describe the pianist's purity of purpose and focused artistic vision on a fine debut.~ Dan McClenaghan https://www.allaboutjazz.com/from-my-heart-miho-sasaki-self-produced

Miho Sasaki is a jazz pianist originally from Japan. Born in Tokyo, she began to play piano at the age of 5 and continued studying music through high school. After her exposure to jazz and enrolling in a jazz program for two years, she began her musical career. She has performed in many venues and has taught in Tokyo. In 2016, she received a scholarship from the Rotary Foundation to study abroad, which led her to the jazz program of SUNY Purchase. Approaching her third year in the program, she was selected as the prestigious James Moody Scholarship recipient. She has performed at many jazz venues in New York City, such as Tomi Jazz, Cleopatra's Needle, and Knickerbocker Bar and Grill. In 2018, she led her trio on a tour in Japan. And she also attended a historical jazz competition in Tokyo, called the “38th Asakusa Jazz Contest,” and her trio won third place. In 2021, she released her album “From My Heart”. https://musicians.allaboutjazz.com/mihosasaki

Personnel: Miho Sasaki: piano; Yoshimasa Otsuka: drums; Yoshifumi Nihonmatsu: bass, acoustic.

From My Heart

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Jeff Denson & Joshua White - I'll Fly Away

Styles: Hymns and Spirituals
Year: 2014
File: MP3@320K/s
Time: 50:11
Size: 115,8 MB
Art: Front

(4:34) 1. I'll Fly Away (Version One)
(5:19) 2. Lord, I Want to be a Christian
(5:22) 3. Down at the Cross
(5:47) 4. Amazing Grace
(3:52) 5. I'll Fly Away (Version Two)
(6:10) 6. What a Friend We Have in Jesus
(4:11) 7. When the Saints Go Marching In
(3:57) 8. Just As I Am
(3:09) 9. Crying in the Chapel
(5:03) 10. In the Garden
(2:41) 11. I'll Fly Away (Version Three)

Jeff Denson has been alto saxophone legend Lee Konitz's bassist of choice for the past several years, and it's easy to see why on this superlative duet album of gospel music with the explosive pianist Joshua White, who, at age 28 appears ready to take the world by storm. White has almost twenty years of experience playing gospel music obvious by the great liberties he uses to transform this music while retaining a visceral authenticity. There are three radically different versions of the title track here, but the opening take on I'll Fly Away, is a stunner. Over the dark and wood-grain pulse of Denson, White expounds like a player-piano infused with the holy spirit, as well as a liberal dash of Cecil Taylor to keep it real.

Indeed, much of what makes this disc so satisfying is the open embrace of dissonant textures and audacious harmonic choices which add depth to a program imbued with joyous consonance. Denson's pizzicato intro to "Down at the Cross," is deep, dark and soulful and White's sparkling lyricism compares very favorably to similar work by Keith Jarrett. The bassist begins his solo tour-de-force on "Amazing Grace," with throaty bowed harmonics that cut into the ether and it only gets deeper from there.

The tender exchange on "What a Friend We Have in Jesus," might have lapsed into the maudlin, but the pensive dialog sails clear with White's melodic cascades and Denson's resonant, Charlie Haden like tone. "When the Saints Go Marching In," emerges drastically retooled, and the two improvisers exploit the altered form as a vehicle to dart in and around oncoming traffic with spontaneous ideas. White's unbridled virtuosity is loosed on "Just As I Am," as waves of impressions pile atop each other in dense, violent layers.

Beautifully recorded by Adam Munoz at the iconic Fantasy Studios, in Berkeley, California, this recording captures Denson's huge sound in great detail, especially in the solo bass reading of "Crying in the Chapel," where it moans like a wounded leviathan. The delicate waltz of the penultimate tune, "In the Garden," begins with almost classical gestures, but by the time the body of the tune emerges—a more modern exchange of singing voices dominates. One of the finest bass and piano discs to surface in a long time, I'll Fly Away, is worth seeking out.~ Robert Bush https://www.allaboutjazz.com/ill-fly-away-jeff-densen-and-joshua-white-pfmentum-review-by-robert-bush.php

Personnel: Jeff Denson: double-bass; Joshua White: piano

I'll Fly Away

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The Bordertown Bootleggers - Western Swing Allstars

Styles: Wester Swing
Year: 2010
File: MP3@320K/s
Time: 41:19
Size: 95,8 MB
Art: Front

(4:23) 1. Minor Imposition
(4:18) 2. Lonesome
(4:26) 3. Limehouse Blues
(2:24) 4. Fidoodlin
(4:40) 5. String Theory
(4:45) 6. Skylark
(3:55) 7. Two Of A Kind
(3:53) 8. Almost To Tulsa
(4:01) 9. Turnin' The Corn
(4:30) 10. Little Rock Getaway

In the style of Speedy West, Spade Cooley, and the Texas Troubadours The Bordertown Bootleggers join the ranks of bands like The Time Jumpers and Asleep At The Wheel to keep the Texas Western Swing tradition. alive.The Bordertown Bootleggers are a lounge and dance band from an age gone by. A hard swinging band that remains true to the roots of Western Swing , Classic Country and Jazz featuring classics by Bob Wills, Les Paul and Mary Ford, Ernest Tubb, Hank Williams, Spade Cooley, Speedy West, The Texas Troubadours as well as a few original finger twisters.

The Bordertown Bootleggers are quickly becoming "thee" band to see and hear in Austin for Western Swing music and dance fans. The band features jazz guitarist Jake Langley, as well as Asleep at the Wheel alumni and Grammy award winners, Cyndi Cashdollar on lap steel and dobro, Danny Levin on fiddle and Floyd Domino on piano. Rounding off a killer rhythm section is Rob Kazanel on drums and Kevin Smith on upright bass (Wille Nelson, Heybale, Dwight Yokam). Our vocalist Naomi Emmerson sings all the hits of yesteryear and has been known to cut a rug with the audience when she can.

Western Swing Allstars

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Leni Stern - Like One

Styles: Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 51:17
Size: 118,0 MB
Art: Front

(5:12)  1. Bubbles
(6:04)  2. Jessie's Song
(5:23)  3. Low Blow
(5:39)  4. Leave Softly
(4:42)  5. Lights Out
(6:46)  6. Blue Cloud
(4:11)  7. Bruze
(4:22)  8. Every Breath You Take
(3:54)  9. Court and Spark
(5:00) 10. Back Out

It isn't elitism that makes many in the jazz hardcore shudder whenever the word "fusion" is mentioned; it is the attempt to define any and everything instrumental as jazz, regardless of sound, structure, intent and content. Guitarist Leni Stern clearly has improvisational skills, and there are certainly songs on his current session designed in a jazz context. But neither Sting's "Every Breath You Take" nor Joni Mitchell's "Court and Spark" qualify; these are clearly pop covers, done with little or no jazz sensibility. Other songs reveal Stern's penchant for light, finely played voicings and bluesy chords, and includes some fervent blowing from tenor saxophonist Bob Malach. There is a lot on this session that is entertaining and commendable; just don't call the Sting cover jazz. ~ Ron Wynn  http://www.allmusic.com/album/like-one-mw0000619594 .

Personnel: Leni Stern (electric & slide guitar, tiple, 6 & 12-string acoustic guitar); Bob Malach (tenor saxophone); Didier Lockwood (violin); Russel Ferrante (keyboards); Alain Caron (bass); Dennis Chambers (drums).

Like One

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Caro Emerald - Live In Concert (At The Heineken Music Hall)

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 78:25
Size: 187,1 MB
Art: Front

(2:13)  1. Intro Greg Shapiro (Live)
(2:04)  2. Zoot Suit Theme
(1:41)  3. Absolutely Me
(4:20)  4. Just One Dance
(4:28)  5. You Don't Love Me
(0:59)  6. Muchos Besos
(5:16)  7. Back It Up
(7:48)  8. The Other Woman
(1:33)  9. Close To Me
(4:05) 10. Riviera Life
(3:40) 11. Dr Wannado
(1:34) 12. Caro's Lament
(4:54) 13. I Know That He's Mine
(6:22) 14. The Lipstick On His Collar
(4:20) 15. Bad Romance
(4:01) 16. That Man
(6:44) 17. A Night Like This
(3:44) 18. Two Hearts
(8:30) 19. Stuck

In 2008 singer Caroline van der Leeuw, artist name Caro Emerald, was as happy as a child that she could sing the song Back It Up live at AT-5 in Amsterdam. After that, the positive reactions came soon and in July 2009 she decided to release this song via her own record label Grandmono Records. The successes then accumulated in rap temp, first with her big hit A Night Like This and then the charming singer won several major music prizes including the MTV Award for the best Dutch and Belgian act, the Scale of Rigter, an Edison in the category 'Best Singer and the 3 FM Mega Award 2010. Her debut album Deleted Scenes From The Cutting Room Floor was number 1 in the album top 100 for more than 30 weeks and as a whipped cream on the price pie she received from Giel Beelen on 15 January this year the Popprijs 2010. On 21, 22 and 23 December 2010 she and her 16-piece live band The Grandmono Orchestra performed in a stiff sold-out Heineken Music Hall. From the catchy and typical 1950s announcement of Greg Shapiro to the uplifting final piece Stuck , Lady Emerald knows how to enchant her audience with beautiful live versions of her album songs. The band, with solid base players Wieger Hoogendorp, Daan Herweg and Martin Broeders, supplemented with, among others, the new band leader Stefan Kruger (Zuco 103), the 'sexy strings and the horny horns', as Greg jokingly announces them, plays fervently, tightly and with a lot of conviction and pleasure. The enthusiastic audience can not get enough of all Caro classics, which literally pass by and sing, jump, dance and hip cradle that it is a sweet lust. All songs from Deleted Scenes From The Cutting Room Floor, including of course Back It Up , That Man and megahit A Night Like This are played, supplemented by the two previously unreleased tracks Close To You and Two Hearts and a short, playful version of Bad Romance by Lady Gaga. In 81 minutes the Caro Emerald revue rushes past you, tasteful, seductive, in style and with class. The commercial success of the modernized and jazzy 1950s approach of Caro Emerald knows no boundaries for the time being. At the same time I am very curious how she deals with this and which creative choices the most successful Dutch pop diva will make in the future. But that is for later care, for now it's harvest time for Miss Emerald: 'Clear the way boys, the lady has arrived!'

Live In Concert  (At The Heineken Music Hall)

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Marieke Koopman - Chapter One

Styles: Vocal
File: MP3@320K/s
Time: 50:09
Size: 115,6 MB
Art: Front

(2:43) 1. Just One of Those Things
(4:05) 2. The More I See You
(3:16) 3. Looking for a Boy
(3:17) 4. Someone to Watch over Me
(2:43) 5. Let's Face the Music and Dance
(2:35) 6. Everything I've Got Belongs to You
(4:26) 7. Stardust
(4:40) 8. I Get a Kick out of You
(4:01) 9. But Not for Me
(3:36) 10. Get out of Town
(2:55) 11. Taking a Chance on Love
(2:55) 12. Things Are Looking Up
(3:53) 13. It Had to Be You
(4:57) 14. With a Song in My Heart

Vocalist Marieke Koopman grew up in a musical family in The Netherlands. Although the music was baroque (her father is a percussionist, her mother a harpsichordist), Koopman was somehow drawn toward jazz, especially swinging jazz. "The first time I saw a big band perform live, I was mesmerized," she writes. And she made a promise to herself: "One day, that will be me, singing with a swing band." On Chapter One, Koopman's debut recording, that promise is kept. Koopman does indeed sing, and the band does indeed swing.

As for the music, Koopman has carefully chosen fourteen superlative standards from the Great American Songbook by composers whose names include Porter, Gershwin, Berlin, Rodgers, Hart, Carmichael, Gordon, Warren, Kahn and Duke. And lest you are thinking "I've heard those songs before; nothing to see here," chances are you could be wrong. How can that be, you ask? Because Koopman sings the verse to almost every song on the album. For the novice, the verse is that exquisite part of a song that listeners seldom hear, the introductory passage that sets the stage for everything that is to follow. "Not using the verse," Koopman writes, "is like telling a story but starting in the middle." Disarmingly obvious and also quite true.

Without introductions, there would be no such memorable phrases as "each time I look at you is like the first time, each time you're near me the thrill is new..." (Mack Gordon/Harry Warren, "The More I See You") or "old man sunshine listen you, never tell me dreams come true; just try it and I'll start a riot..." (George and Ira Gershwin, "But Not for Me"). Not to mention "there's a story old, says that love is blind; still we're often told, seek and ye shall find..." (the Gershwin brothers again, "Someone to Watch Over Me"). Koopman reprises two verses that are sung fairly often: the "purple dusk of twilight time" from Hoagy Carmichael's "Stardust," and "my story is much too sad to be told, but practically everything leaves me totally cold..." (Cole Porter, "I Get a Kick Out of You"). On the other hand, here's a gem that's almost never heard: "I thought love's game was over; Lady Luck had gone away. I lay my cards on the table, unable to play. But then I heard good fortune say, 'We're dealing you a new hand today...'" (Vernon Duke/John LaTouche, "Taking a Chance on Love"). Hearing these marvelous verses is so refreshing, and so right, that they alone raise Koopman's album well above the ordinary.

But there's more to it than that. First, Koopman is a pretty capable singer. While she doesn't knock every lyric out of the park, she connects far more often than she misses. There are muddled phrases here and there but hardly enough to dampen one's pleasure. As for Koopman's nonet, which is present on half a dozen numbers, it surely does swing, and there are a number of admirable solos, especially by pianist Bob Wijnen who also plays on the five quartet selections (with bassist Jos Machtel and drummer Mitchell Damen) and is the lone accompanist on "Stardust," as is Machtel on the Gershwins' "Looking for a Boy." The accompanist on "Someone to Watch Over Me" is Koopman's baroque-leaning father, Ton, who seems to be playing celeste in a mix-and-match melange of classical and jazz.

The charts are generally pleasing, and the band swings heartily on "The More I See You," "I Get a Kick Out of You," "Taking a Chance on Love," Porter's "Just One of Those Things" and Irving Berlin's "Let's Face the Music and Dance" (which has no opening verse). The lone misstep is saved for last: trumpeter Thomas Welvaadt's unwieldy arrangement of Rodgers and Hart's "With a Song in My Heart," which misses the target with ample room to spare. Aside from that, tone and tempos are spot-on. That's a minor blemish on an otherwise handsome coming-out party for Marieke Koopman who is living her dream, "singing with a swing band."~ Jack Bowers https://www.allaboutjazz.com/chapter-one-marieke-koopman-challenge-records

Chapter One

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Hot Sugar Band - Are You in Shape

Styles: Jazz, Swing, Big Band
Year: 2014
File: MP3@320K/s
Time: 59:35
Size: 138,5 MB
Art: Front

(3:14) 1. Wham!!!
(2:36) 2. Beethoven Riffs On
(4:01) 3. Sugar
(3:31) 4. I Can't Believe That You Are in Love with Me
(3:50) 5. Bouncin Around
(3:20) 6. Blues Petite
(3:08) 7. At the Jimmy's Bar
(3:51) 8. Est St Louis Toodle-Oo
(3:29) 9. Cavalerie
(3:02) 10. Mabel
(3:00) 11. Savoy
(2:47) 12. Zooming at the Zombie
(3:41) 13. How Deep Is the Ocean
(3:03) 14. Do You Know What It Means to Miss New Orleans
(2:40) 15. Flip Lid
(3:18) 16. St James Infirmary
(6:55) 17. I Can't Dance

Based in Paris, and featuring some of the finest musicians of the french swing and jazz scene, the band has performed all around the world, including Sweden, Vietnam, Hungary, Lithuania, Canada, Spain, South Korea, China, Italy, Netherlands ... among many others !!

Its unique, highly recognisable sound, at the crossing of John Kirby's sextet, Django Reinhardt big band works, and Count Basie and Duke Ellington's classics, in addition to the band's endless energy on stage, have contributed to make it one of the most-demanded bands in the world of swing, with 300+ shows over the 5 last years, 4,5M streams, and more than 14.000.000 views on youtube. https://www.hotsugarband.fr/the-band

Are You in Shape

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Joel Paterson - Down At The Depot

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 43:01
Size: 99,4 MB
Art: Front

(4:07)  1. Down At The Depot
(2:54)  2. You Got To Die
(2:35)  3. Easy Rider
(3:03)  4. Jailhouse Rag
(4:58)  5. That's No Way To Get Along
(3:07)  6. Guitar Chimes
(2:57)  7. Buck Dancer's Choice
(2:53)  8. Keep On Tryin'
(2:34)  9. Meet Me In The Bottom
(2:43) 10. Hard Road Blues
(3:04) 11. Cannonball Rag
(3:00) 12. Cincinnati Flow Rag
(2:02) 13. Blood Red River Blues
(2:57) 14. Keep Your Lamp Trimmed And Burning

“Joel Paterson defines who the ideal session guy should be: selfless, musical, and born with impeccably good taste. His sympathetic hollowbody makes the jazz, country, rockabilly or swing he’s backing come alive.” ~ Timeout Chicago

My life is dedicated to playing guitar and exploring the sound and history of the roots music I love, including blues, jazz, country, western swing, and whatever else you want to call it. I live in Chicago, and I’m lucky to be surrounded by some of the finest musicians you will find anywhere. Rather than trying to have one band to brand and market, I enjoy playing in many projects, and putting together different lineups to play a variety of musical styles to keep things fresh and to have the right sound to fit any occasion.  It’s always difficult to keep people updated with everything I’m up to (and it’s hard for me to keep track of it all), but for info on the projects that I'm currently working on, check out the "Bands" section of my website. And check out the "Recordings" section of my site for ordering info on albums that are still in print and available for purchase. https://www.joelpaterson.com/bio

Down At The Depot

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Bill Evans - Everybody Still Digs Bill Evans Disc 1, 2, 3, 4, 5

Album: Everybody Still Digs Bill Evans Disc 1
Styles: Piano Jazz
File: MP3@320K/s
Time: 76:16
Size: 175,0 MB
Art: Front

(4:02) 1. Five
(4:13) 2. Woody'N You (Take 2)
(5:53) 3. Young And Foolish
(5:59) 4. Autumn Leaves
(3:35) 5. How Deep Is The Ocean
(5:54) 6. Sweet And Lovely
(5:24) 7. Blue In Green
(4:58) 8. How My Heart Sings
(5:47) 9. Re: Person I Knew
(4:57) 10. My Foolish Heart (Live At The Village Vanguard / 1961)
(6:57) 11. Waltz For Debby (Live At The Village Vanguard / 1961)
(6:10) 12. Gloria's Step (Live At The Village Vanguard / 1961)
(6:25) 13. My Man's Gone Now (Live At The Village Vanguard / 1961)
(5:54) 14. Swedish Pastry (Live At Shelly's Manne-Hole / 1963)

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Album: Everybody Still Digs Bill Evans Disc 2
Time: 73:33
Size: 168,7 MB

(4:50) 1. Israel
(6:05) 2. The Peacocks
(5:54) 3. I Believe In You (feat.Shelly Manne)
(4:26) 4. Santa Claus Is Coming To Town
(3:30) 5. I Will Say Goodbye
(5:51) 6. Turn Out The Stars (Live At The Village Vanguard, 1967)
(3:37) 7. Walkin' Up (Live At The Montreux Jazz Festival, 1968)
(5:44) 8. Very Early (Live At Camp Fortune / 1974)
(3:48) 9. Minha (All Mine) (Live At The Wisconsin Union Theater / 1976)
(9:17) 10. My Romance (Live At L'Espace Cardin, Paris / 1979)
(7:33) 11. Days Of Wine And Roses (Live At The Village Vanguard / 1980)
(5:31) 12. The Touch Of Your Lips (Live At The Keystone Korner / 1980)
(7:20) 13. Someday My Prince Will Come (Live At The Keystone Korner / 1980)

Everybody Still Digs Bill Evans Disc 1, Disc 2

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Album: Everybody Still Digs Bill Evans Disc 3
Time: 67:34
Size: 155,0 MB

( 6:43) 1. Peace Piece
(10:40) 2. Danny Boy
( 7:12) 3. Make Someone Happy
( 5:07) 4. A Time For Love
( 1:37) 5. Waltz For Debby
( 2:20) 6. The Bad And The Beautiful
( 5:39) 7. N.Y.C.'s No Lark
( 4:56) 8. Emily
( 4:30) 9. Remembering The Rain
( 7:04) 10. I Loves You Porgy (Live At L'Espace Cardin / 1979)
( 4:52) 11. Letter To Evan (Live At L'Espace Cardin / 1979)
( 6:48) 12. Nardis (Live At The Keystone Korner / 1980)

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Album: Everybody Still Digs Bill Evans Disc 4
Time: 77:13
Size: 177,1 MB

(5:23) 1. My Funny Valentine
(5:37) 2. A Face Without A Name
(3:57) 3. The Touch Of Your Lips (Vocal Version)
(3:48) 4. I Love You
(6:37) 5. Up With The Lark (Live At L'Espace Cardin / 1979)
(6:29) 6. Funkallero (Live In Antwerp / 1974)
(5:57) 7. Who Cares?
(6:21) 8. Body And Soul
(7:04) 9. You And The Night And The Music
(6:03) 10. Time Remembered
(6:07) 11. Night And Day
(7:34) 12. A Child Is Born
(6:09) 13. Peri's Scope

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Album: Everybody Still Digs Bill Evans Disc 5
Time: 60:36
Size: 139,0 MB

( 6:54) 1. Sareen Jurer (Live At Oil Can Harry's / 1975)
( 7:04) 2. Sugar Plum (Live At Oil Can Harry's / 1975)
( 7:43) 3. The Two Lonely People (Live At Oil Can Harry's / 1975)
( 5:10) 4. T.T.T. (Twelve Tone Tune) (Live At Oil Can Harry's / 1975)
( 5:19) 5. Quiet Now (Live At Oil Can Harry's / 1975)
( 6:20) 6. Up With The Lark (Live At Oil Can Harry's / 1975)
( 5:53) 7. How Deep Is The Ocean (Live At Oil Can Harry's / 1975)
( 5:26) 8. Blue Serge (Live At Oil Can Harry's / 1975)
(10:44) 9. Nardis (Live At Oil Can Harry's / 1975)

Only occasionally do classy looking limited-edition box sets prove to be a triumph of style and substance. Too often they are undermined by cheapskate packaging, over elaborate design, poorly written and researched booklets, inadequate session details or, most egregiously, bizarre (in a bad way) track selections. So it is a more than pleasant surprise when something comes along which succeeds, and succeeds magnificently, on all those fronts. Such an item is Concord Records' Craft imprint's Everybody Still Digs Bill Evans: A Career Retrospective (1956—1980).

The 5-CD set comes in a seriously heavyweight, hard bound, velour wrapped, 12" x 10" portfolio style book with a foil-stamped cover. Inside are the discs and a stitched-in 48-page book. There are some great photographs, but the main event is an essay by the Chicago-based writer and Bill Evans connoisseur Neil Tesser. That is followed by complete session details. The whole shebang was produced Nick Phillips (check the YouTube clip below). The music itself has been newly remastered by Paul Blakemore, and immaculately so: the audio quality is off-the-scale superb.

The first four discs total playing time just under five hours cherry pick some of the greatest work Evans released on Riverside, Milestone, Verve, Warner Bros., Fantasy, Elektra/Musician, The Jazz Alliance, United Artists and Nova Discs. Discs One and Two (Trialogues Vol. 1 and Vol. 2) cover his trio recordings from 1956 to 1980. Disc Three (Monologues) surveys his solo recordings from 1958 to 1980. Disc Four (Dialogues & Confluences) takes in some of his co-headlining and sideperson work from 1962 to 1979. It is here that the only significant omission occurs: there is nothing from Miles Davis' Kind Of Blue (Columbia, 1959). Licensing difficulties, presumably.

Disc Five is the icing on the cake. It contains a recently discovered, previously unreleased, live recording of an hour-long performance Evans gave at the long since defunct Oil Can Harry's, Vancouver in June 1975, with bassist Eddie Gomez and drummer Eliot Zigmund. The recording appears to have been broadcast once on local radio and then put away in the station's tape archive. The performance contains no previously unrecorded material but most of it was in 1975 quite recently arrived in the set list. Evans had first recorded the opener, Earl Zindars' "Sareen Jurer," in 1974; his own "Sugar Plum," "The Two Lonely People" and "T.T.T." in 1971; and Jerome Kern's "Up With The Lark" in 1972. The other four tunes were familiar Evans fare: Denny Zeitlin's "Quiet Now," Irving Berlin's "How Deep Is The Ocean," Mercer Ellington's "Blue Serge" and, at almost eleven minutes the longest track, Miles Davis' "Nardis," the closer. The group is in terrific form and the sound quality is excellent (take a bow audio restorers Jamie Howarth, John Chester and the aforementioned Paul Blakemore). The performance is also being released on two 180-gram vinyl LPs as On A Friday Evening.Listening to the complete box set, one is reminded that Evans reached his peak of perfection, in a trio format anyway, between 1959 and 1961 with bassist Scott LaFaro and drummer Paul Motian. But that peak was so lofty that even Evans' lower slopes are heavenly and this well compiled collection contains no lower slopes, only peaks and upper slopes.~ Chris May https://www.allaboutjazz.com/everybody-still-digs-bill-evans-a-career-retrospective-1956-1980-bill-evans-craft-recordings

Personnel: Bill Evans: piano; Teddy Kotick: bass; Paul Chambers: bass, acoustic; Sam Jones: bass; Scott LaFaro: bass; Chuck Israels: bass, acoustic; Eddie Gomez: bass; Gary Peacock: bass, acoustic; Marc Johnson: bass; Paul Motian: drums; Philly Joe Jones: drums; Larry Bunker: drums; Shelly Manne: drums; Jack DeJohnette: drums; Marty Morell: drums; Joe La Barbera: drums.

Additional Instrumentation: Jim Hall: guitar; Eliot Zigmund: drums; Tony Bennett: vocal; Marian McPartland; piano; Stan Getz: tenor saxophone; Cannonball Adderley: alto saxophone; Percy Heath: bass; Connie Kay: drums; Freddie Hubbard: trumpet; Zoot Sims: tenor saxophone; Ron Carter: bass; Lee Konitz: alto saxophone; Warne Marsh: tenor saxophone; Harold Land: tenor saxophone; Kenny Burrell: guitar; Ray Brown: bass; Tom Harrell: trumpet; Larry Schneider: tenor saxophone.

Everybody Still Digs Bill Evans Disc 3,4,5

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Carlo Uboldi Trio Guest Scott Hamilton - Live At Jazz Appeal

Styles: Piano And Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 62:39
Size: 144,0 MB
Art: Front + Back

(10:22)  1. Tangerine
(12:09)  2. The Way You Look Tonight
(11:22)  3. Have You Met Miss Jones
( 4:39)  4. Sweet Georgia Brown
( 5:35)  5. The Shadow Of Your Smile
( 9:51)  6. Besame Mucho
( 8:37)  7. Mack The Knife

Born in Como in the 1996 (but of italy-swiss nazionality), Carlo Uboldi begin studying music at 6 years, thanks to a keen-family on music. In 1983 and 1984 he partecipates to the different festivals of the jazz in Como. Infact he points out his swing-phrasing and since then he starts his professional carreer,playing with different and various swing and be-bop groups in Italy and abroad. At the same time he teaches in the different schools in Milan and Como (Italy). In the meantime he continue studying with the teacher "Ettore Righello. In 1992 he works with the Fritz Hartschuh's quintet (together with the Paolo Tomelleri) in Germany, with whom he takes part in the Cruise "Jazz at the Sea" with the name-groupe "swinging Italy", during which Carlo Uboldi has the opportunity to play with the best American-musicians. In swiss he knows some of the best and important local-musicians (Oliviero Giovannoni and Danilo Moccia), with whom he plays again in various formation now. For 1996 (till to-day) he has been taking part in the Gianni Coscia's quartet "A Kramer piaceva cosi"(together with the musicians such as Luciano Milanese e Ellade Bandini) and for 2000 he has been working with the quintet of the actress-singer Elisabetta De Palo (with the project "omaggio a Natalino Otto" who, together also with the musician Marco Ratti. They have recorded CD and till to-day plays in different theatres and festivals in Italy.

Today he works such as "free lance" in various and different jazz-groups and he is the leader, with Marco Castiglioni, of the sextet "DUDECOM " (with musicians such as Emilio Soana, Francesco Licitra, Stefano Dall'Ora, Marco Bianchi), with whom he performs his own swing/be-pop compositions. However, the Trio (together with the musician such as Dall'Ora (bass), e Castiglioni-(drums) is the best and test formation of Uboldi. This Trio is full of swing and they own (among the three of them) an ritmic – harmonic agreement that only little groups can boast of this characteristic. For an year he has been working with Luca Calabrese with whom interacts in a "duo" that presents standard and original-pieces. In his career he has worked also with Rudy Migliardi, Bruno de Filippi, Hengel Gualdi, Glauco Masetti, Stefano Bagnoli, and played also at the "New Orleans festival of Ascona (ch); jazz-festival of Sori in Italy; Conservatorium G.Verdi of Milan; B.Goodman story of Bergamo (Italy); "quelli che il jazz" of Milan; jazz club of Lucerna (ch), Rheinfelden(ch),Emmenbrucke(ch),Bulach(ch);conservatorium of Zagabria (J); jazzhaus of Freiburg(D); jazztone of Lorrach(ch);cafe cult, jazz keller e Alte Oper di Francoforte/Frankfurt (D); Rive jazzy IF Nyon (ch); rathaussaal of Karlstadt (D). Today Carlo Uboldi is esteemed as one of the best pianist o and he is also the nearest at the "Peterson-style". Contrarily to the other imitator-instrumentalists, he succeeds to propose himself with a particolar fantasy and volcanic-sensibility with traditional-passages and sometime with a refined phrasing with points of the vanguard. http://www.jazzitalia.net/public/blogs/24/carlouboldi_eng.asp#.V6ZLNzXQua4

Personnel:  Carlo Uboldi (Piano); Luciano Milanese (Bass); Marco Castiglioni (Drums); Scott Hamilton (Tenor sax).

Live At Jazz Appeal

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John McLaughlin - Liberation Time

Styles: Guitar Jazz
File: MP3@320K/s
Time: 36:59
Size: 85,1 MB
Art: Front

(5:21) 1. As the Spirit Sings
(5:06) 2. Singing Our Secrets
(7:13) 3. Lockdown Blues
(2:28) 4. Mila Repa
(7:22) 5. Right Here, Right Now, Right On
(1:37) 6. Shade of Blue
(7:49) 7. Liberation Time

Perhaps the biggest success of Liberation Time is that its title feels sincere and not ironic. Such a sentiment could have easily come out as a cute bit of wishful thinking under the restrictions of pandemic life. Being who he is, though, John McLaughlin inevitably finds the value and positivity even in this strange state of affairs. "The wonderful thing about music is that you put the headphones on and you are all in the same room," he says in regards to the newly-standard modus operandi of virtual conference calls. Even if that's not literally true, the chemistry among this crew of friends is thankfully undimmed by distance.

Of course the closeness is partly due to the long working history of the 4th Dimension band of Gary Husband, Etienne Mbappe and Ranjit Barot. As a silver lining to the circumstances, though, McLaughlin takes advantage of the remote-recording method to include a handful of collaborators who might not have been available otherwise. His romping guitar and Husband's keys are joined by a different rhythm section on the cooking opener "As the Spirit Sings"; Julian Siegel's sax adds some extra bebop flavor to the intricate rock-fusion jam of "Right Here, Right Now, Right On" while an entirely different backing group flies through the quick changes.

Alongside the core quartet's jamming in spots such as the jaunty "Singing Our Secrets," or the too-bright-for-its-name "Lockdown Blues" (spiced up with some playful Indian konokol scatting while they're at it), the guest tracks manage to feel all of a piece with the overall program. The leader's uplifting spirit unifies the music and the cast as much as his voice on the guitar does. His fleet juicy fretwork is inimitable as ever, often still tearing through these fun licks at whiplash speed, surprisingly complemented by a couple of contemplative interludes featuring him at the piano another addition that probably would not have happened in what we used to call ordinary circumstances. Even if it can't quite hit the incendiary highs of Live at Ronnie Scott's (Abstract Logix, 2017) or John McLaughlin & Jimmy Herring—Live in San Francisco (Abstract Logix, 2018), this is a sharp-cooking session radiant with liberating energy and hope for the future.By Geno Thackara https://www.allaboutjazz.com/liberation-time-john-mclaughlin-abstract-logix

Personel: John McLaughlin: guitar; Gary Husband: drums; Ranjit Barot: drums; Etienne Mbappe: bass; Roger Rossignol: piano; Jean Michel Aublette: bass; Vinnie Colaiuta: drums; Nicolas Viccaro: drums; Julian Siegel: saxophone, tenor; Sam Burgess: bass; Jérôme Regard: bass; Oz Ezzeldin: piano.

Liberation Time

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George Kahn - ...Compared To What

Styles: Straight-ahead/Mainstream
Year: 2004
File: MP3@320K/s
Time: 62:55
Size: 144,5 MB
Art: Front

(8:23)  1. On Green Dolphin Street
(4:56)  2. Mercedes the Lady
(5:26)  3. Compared to What
(7:06)  4. 5 to Get Ready 10 to Go
(6:41)  5. Too Much Sax
(6:04)  6. Woodstock
(5:15)  7. Soul Sause
(5:58)  8. Gnomesayin'
(7:14)  9. Alice in Wonderland
(5:48) 10. The Hero's Journey

This crisp, well-crafted, straight-ahead (mostly) set opens auspiciously, with tenor saxophonist Justo Almario wandering into the studio blowing solo, wailing, strolling around seemingly aimlessly; but you can feel there's a method to his melodic madness. About a minute later the bass throbs in behind him with repeated two note statements, followed by the drums, and finally the leader, George Kahn, appears, and the tune gels into the familiar "On Green Dolphin Street," in a finely focused up-tempo mode.

Kahn says playing a solo in front of this band—tenor and trumpet in front of a rhythm section, mostly is like driving a well-tuned Ferrari, and that's a pretty apt comparison for this sound: clean, synchronized, and lightly lubricated for an effortless forward momentum provided by the drive train/rhythm section.

"Mercedes the Lady" introduces Latin sounds. Kahn is adept in an array of styles here. "Compared to What" proves itself a funkier, harder-driving version of the Les McCann/Eddie Harris hit from '68, featuring vocalist Courtney Lemmon, whose soulful take on the lyrics show them to be as relevant in these turbulent times as they were in the late sixties. "5 to Get Ready 10 to Go" has a Kind of Blue -ish feel, with some marvelous mute work by trumpeter John Fumo.

Saxophonist Eric Marienthal sits in on two tunes. His tone, sharp and stinging, always brings a modern edge to the sound. I've loved his playing ever since I first heard it in Chick Corea's Elektric Band's Inside Out (GRP, '90); and he doesn't disappoint here. He just cooks, with a clean, high heat on "Too Much Sax," adding some fire to the title tune as well.

An excellent set, with different styles deftly mixed and held together by the stellar rhythm team behind a bunch of spirited blowing. The title tune alone is worth the price of admission, but then so are all the others. Kahn, piano; Alex Acuna, drums and percussion; and Brian Bromberg, bass: they've got to put out a trio set sometime. ~ Dan Mcclenaghan   

http://www.allaboutjazz.com/php/article.php?id=15777#.Ur9FAbTJI0g

Personnel: George Kahn, piano; Alex Acuna, drums and percussion; Justo Almario,tenor and soprano saxophones; Brian Bromberg, bass; John Fumo, trumpet, flugelhorn; with guests Eric Marienthal, tenor and alto saxophones; Courtney Lemmon, vocal on "Compared to What";  Ira Ingler, guitar

...Compared To What

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Quentin Angus - Perception

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 48:21
Size: 111,3 MB
Art: Front

(5:37) 1. Particular,Peculiar
(6:22) 2. Perception
(5:28) 3. Nardis
(7:16) 4. Red and Yellow
(4:26) 5. Chernobyl
(5:17) 6. Restoration
(7:09) 7. Den Haag
(6:42) 8. Bounce

Australia boasts an embarrassment of great jazz musicians, an increasing number of whom have made their way to New York in recent years to broaden their horizons. Guitarist Quentin Angus is one such notable Aussie talent. Here Angus follows up his promising debut, Retrieval Structure (Self Produced, 2011) with another assured work that highlights his tasteful virtuosity and growing strengths as a composer. Angus effectively fronts two quartets, with drummer Kenneth Salters the anchor throughout. Stylistically, the music shares a similar contemporary straight-ahead vibe as Angus' debut, though the employment of a string quintet marks a significant progression in songwriting terms. Angus and alto saxophonist Will Vinson form an exciting front-line, weaving tight unison lines on "Particular, Peculiar" before the guitarist breaks formation for a solo flight that scores moderately for acrobatics but high marks for artistic grace. Angus is a melodic musician, both with pen and when soloing, and there's more than a hint of the Pat Metheny Unity Band's influence in his approach to composition.

"Perception" follows a similar pattern to "Particular, Peculiar," though shifts back and forth between soft and more pronounced rhythmic passages. Shai Maestro's piano paves the way for a somber guitar and saxophone motif, with bassist Linda May Han Oh another Aussie who's blossomed in New York and Salters lending shadowy support. A dynamic piano riff and Salter's dry and snappy Bill Bruford-esque touch inject some voltage into the piece, with piano, saxophone bass and guitar unified on the striking melody. Oh executes a grooving solo, which leads the quintet back to the melody and a stirring conclusion. The sole cover is trumpeter Miles Davis's "Nardis," a tune Davis never recorded but which was a staple of pianist Bill Evans's concerts for many years. Pianist Matthew Sheens-another New York-based Aussie exile and bassist Or Bareket follow Angus between, dark, rock-oriented syncopation and more lyrical passages. Angus stretches out, sculpting a wonderfully fluid solo that mixes and matches sustained notes and confidently structured, chattering phrases. Vocalist Jo Lawry's wordless vocal forms the centerpiece of a union with Angus and Vinson on the elegant "Red and Yellow," with attractive, laid back soloing from the latter duo and Maestro.

Sheen's beautiful composition "Chernobyl" stems from piano and Chad Lefkowitz-Brown's soprano saxophone intro, and features extended, articulate solos from Angus and Lefkowitz-Brown; in between, layers of dual violins, viola, cello and additional bass bob in and out of the narrative to striking affect. The string quintet enjoys greater protagonism on the bright, optimistic "Den Haag," setting the tone before Angus carves out a measured, commanding run. Sheen likewise impresses, supported and coaxed by the effervescent Salters. Rumbling mallets, alto sax and piano introduce "Restoration," a lithe tune that moves quickly through the gears. Vinson takes the bragging rights in the solos department but it's the thrilling all-hands-on-deck finale, with its punchy motif and spiky tempo that wins the day surely a barnstorming live number. The equally dynamic "Bounce" features further hugely satisfying solos from Angus and Vinson, over a crisp, driving rhythm. Angus' compositions boast the sophistication and nous of a veteran yet sizzle with youthful vitality. There's not a weak track on the collection, and fine playing all round, not least from Angus himself. Clearly a name to watch out for.~Ian Patterson https://www.allaboutjazz.com/perception-quentin-angus-self-produced-review-by-ian-patterson.php

Personnel: Quentin Angus: guitar; Jo Lawry: voice (4); Will vinson: alto saxophone (1, 2, 4, 6, 8); Chad Lefkowitz-Brown: soprano saxophone (5);Shai Maestro: piano (1, 2,4, 6, 8); Matthew Sheens: piano (3, 5, 7); Linda Oh: bass (1, 2, 4, 6, 8); Or Bareket: bass (3, 5, 7); Kenneth Salters: drums; Yanni Burton: bass (5, 7); Sarah Koenig- Plonskier: violin (5, 7); Lavina Pavlish: violin (5, 7); Jack Stulz: viola (5, 7); Leana Rutt: cello (5, 7).

Perception

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Luis Disla - The Prophecy

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 47:32
Size: 109,8 MB
Art: Front

(0:34) 1. Intro
(4:00) 2. Down for the Count
(4:45) 3. Angelina
(4:53) 4. Naima's Way
(4:47) 5. Reasons
(4:29) 6. Nucleus
(4:46) 7. Brigette
(4:40) 8. JeDu
(4:33) 9. Stick to It
(5:12) 10. You Don't Know Me
(4:03) 11. The Prophecy
(0:49) 12. Coda

One quick way to verify a musician's credentials is to check out who plays on his debut record. Respected reed man Luis Disla obviously called in a few markers for The Prophecy , assembling an all-star lineup and achieving a glossy production in the process. No stranger to the studio with numerous sessions accounted for, Disla is prodigious on alto, tenor, soprano and baritone saxophones and relies on his expertise on all of them. He chooses the perfect musicians for this contemporary Latin jazz project in bassist Abraham Laboriel, drummer Steve Gadd and premier percussionist Alex Acuña. Though a polished studio recording, the record opens and ends with a novel approach, simulating what Disla's band might be like in a club setting complete with background noise, bar banter, and musician introductions at the end of the "set."

There is a well thought-out sense of original compositions offering a wide range of directions and tempos, from smooth jazz and grinding salsa to funk and ballads, with two interesting cover choices: Earth, Wind & Fire's "Reason," and Disla's personal tribute to Ray Charles, "You Don't Know Me," the surprise number in the package that really works and is given the star treatment it deserves. Nestor Torres's charanga flute is featured on "Naima's Way," a sizzling mambo number with pianist Jorge Luis Sosa depicting a genuine montuno. Sosa also demonstrates his versatility by switching to a Hammond organ sound on the bluesy "Stick to It." Disla displays not only great musicianship and tone, but also a spatial approach in his soloing which blends well with the other players. In picking top accompanists, he wisely lets them stretch out and offer their individual talents to the mix. The Prophecy is a record that was a long time coming and Disla has been meticulous in his production, proving it was well worth the wait.~ James Nadal https://www.allaboutjazz.com/the-prophecy-luis-disla-self-produced-review-by-james-nadal.php

Personnel: Luis Disla: alto, tenor, soprano, baritone saxophones; Jorge Luis Sosa: keyboards; Leo Quintero : guitar; Abraham Laboriel: bass; Alex Acuña: percussion; Steve Gadd: drums; Julio Diaz: trumpet; Jorge Dobal: trombone; Richard Bravo: additional percussion; Paul Hoyle: vocal (5); Nestor Torres: flute (4); Tito Puente Jr.: timbales (2).

The Prophecy

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Jimmy Forrest - Out Of The Forrest

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 37:16
Size: 85,5 MB
Art: Front

(4:09)  1. Bolo Blues
(5:08)  2. I Cried for You (Now It's Your Turn to Cry over Me)
(4:23)  3. I've Got a Right to Cry
(4:05)  4. This Can't Be Love
(5:17)  5. By the River Sainte Marie
(5:12)  6. Yesterdays
(4:04)  7. Crash Program
(4:54)  8. That's All

This CD reissue is an excellent example of tenor saxophonist Jimmy Forrest in a soulful but fairly straight-ahead setting. Accompanied by pianist Joe Zawinul, bassist Tommy Potter and drummer Clarence Johnston, Forrest revives his "Bolo Blues," and plays his basic "Crash Program," and otherwise sticks to melodic standards. His highly expressive powers and ability to say a lot with a few notes is very much in evidence on this excellent set. 

~ Scott Yanow  http://www.allmusic.com/album/out-of-the-forrest-mw0000234092

Personnel: Jimmy Forrest (tenor saxophone); Joe Zawinul (piano); Tommy Potter (bass); Clarence Johnston (drums).

Out Of The Forrest

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