Adonis Rose, Maurice Brown, Tia Fuller - Piece of Mind

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 91:35
Size: 210,8 MB
Art: Front

(15:45) 1. Keep Your Soul Together
(12:58) 2. Piece of Mind
( 5:50) 3. Entropy
( 9:12) 4. Nostalgic Impressions
( 9:19) 5. Lovely
( 5:38) 6. Maurice's Rap
( 7:06) 7. Sunny Side of the Street
(13:59) 8. Blue Llama Jam
( 5:16) 9. Here Tonight
( 6:26) 10. Little Liza Jane

Caught in concert at Blue Llama Records, drummer Adonis Rose creates a classic sounding post bop team with a front line of Tia Fuller/ss-as, Maurice Brown/tp, Miki Hayama/p Jasen Weaver/b and guest vocalist Sasha Masakowski for a mix of originals and fun standards. Rose flexes his muscles and lets everyone else join in on the groove of Freddie Hubbard’s “Keep Your Soul Together” with Brown searing on some nice Hub tones and Fuller poignant on the alto sax over Hayama’s electric keys. The dreamy “Piece of Mind” has a Brown in a sweeter tone, and Rose supplying a nifty backbeat, while the team is ethereal on mood for backing Masakowski on a lovely “Entropy”. She gives extra salty caramel’d soul to “Sunny Side of The Street” and goes hip hoppy with the trumpeter on the festive “Maurice’s Rap”. Everyone joins in on the 14 minute party of “Blue Llama Jam” with Rose keeping the stallions reigned in just enough to keep the wagon train from toppling over. Purebreds at play. https://www.jazzweekly.com/2020/10/adonis-rose-piece-of-mind/

Personnel: Adonis Rose – drums; Tia Fuller – alto/soprano sax; Maurice Brown – trumpet; Sasha Masakowski – vocals; Miki Hayama – piano; Jasen Weaver – bass

Piece of Mind

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Morgana King - Gemini Changes

Bitrate: MP3@320K/s
Time: 34:33
Size: 79.1 MB
Styles: Standards, Vocal
Year: 1967/2009
Art: Front

[3:08] 1. I Have Loved Me A Man
[2:32] 2. This Is My Song
[2:44] 3. The Look Of Love
[3:30] 4. A Time For Love
[2:48] 5. Watch What Happens
[2:06] 6. Sunny
[2:32] 7. Walk On By
[3:12] 8. What's Wrong With Me
[2:35] 9. Once I Loved (O Amor En Paz)
[2:49] 10. Softly Say Goodbye
[3:58] 11. I'd Stay With You
[2:34] 12. On The South Side Of Chicago

The album title might be a tip-off that this record is going to be a bit hokey-dopey, but when Morgana King asks "What's Wrong With Me?," the obvious answer is going to be: "You've changed arrangers!" She is matched with Don Costa for this 1967 album, following two albums in which Torrie Zito had created and conducted arrangements. It is not an example of trading up, although there are examples of better work than this by Costa. The album is about as subtle as an aircraft carrier, and sometimes things really are outright ludicrous. "Softly Say Goodbye," for example, is not a song that needs a big band and string section playing loud enough to be heard on the other side of a bay, unless someone is creating a satire. There is nothing satirical about King, however. She is downright serious and emotive on every number, which combines with the old-school arrangements for a sort of Vera Lynn effect. Nothing wrong with that, but it will be a letdown for listeners who enjoyed the exotic, groovy, and swinging vibe of earlier King Reprise albums. Bossa, samba, and the related world of Burt Bacharach come off best here, although once again the clever touches of Zito are sorely missed. "The Look of Love" pays the cost of Costa's hammy conducting, but "Walk on By" is just right. "Sunny" is an unexpected delight, maybe because Costa must have realized he couldn't out-schlock the hit single by Bobby Hebb. Instead, King is given a chance to use her ultra-relaxed and in-control phrasing to give the song a whole new feel. Some listeners may not even get past the first song, however, a monstrosity entitled "I Have Loved Me a Man." This is a good example of a song that gives off the scent of the wretched from its title alone. After ignoring the singer's cozy feel for swing for the entire album, "On the South Side of Chicago" comes off as a strained finale; Costa should have thought of this sooner, although it would have been a lot better if he hadn't shown up at all. ~Eugene Chadbourne

Gemini Changes

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Kathrine Windfeld, Bohuslän Big Band - Determination

Styles: Piano Jazz
File: MP3@320K/s
Time: 45:46
Size: 105,2 MB
Art: Front

(6:46) 1. Crescendo
(6:39) 2. Safe And Sorrow
(6:18) 3. Weaver
(9:43) 4. Determination
(6:10) 5. We Will Depart
(4:03) 6. Block
(6:05) 7. Bloom

Kathrine Windfeld is considered one of the most exciting, and refreshing new Scandinavian jazz composers and arrangers in many years. Pianist, composer, and arranger Kathrine Windfeld was born 1984 in Svendborg on Funen. As a teenager, her strong creative sense was channeled through painting, theatre, singing, and piano playing. During a 5-month stay at a music course at “Den Rytmiske Højskole” in 2003, the piano became her primary means of expression and she started composing her first pieces.

Striving for a further exploration of the world of music, she went to The Department of Musicology in Copenhagen where she took classes in music theory and analysis, arranging for big band, and a master’s degree in choir/ensemble leading. Meanwhile, she played in an experimental and progressive quintet, “Gespenst”, which strongly developed her sense of writing and navigating in complex rhythmical landscapes. This group became her main path to the world of jazz and improvisation, for which reason she dedicated two years at the Swedish jazz school “Fridhems Folkhögskola” to jazz piano playing. In April 2016 KWBB was exclusively selected for a showcase at Jazzahead in Bremen, Germany, where they played for a broad panel of international bookers and jazz labels. KWBB's second album LATENCY was released at the renowned Scandinavian label Stunt Records in March 2017. https://www.allaboutjazz.com/musicians/kathrine-windfeld

Determination

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Willis Jackson With Jack McDuff - Together Again

Styles: Saxophone Jazz, Post Bop
Year: 2003
File: MP3@320K/s
Time: 67:54
Size: 156,4 MB
Art: Front

( 4:05) 1. Gil's Pills
( 4:40) 2. Angel Eyes
( 5:00) 3. Three Little Words
( 4:10) 4. Glad 'a See Ya'
( 7:35) 5. Medley - September Song, Easy Living, Deep Purple
( 5:25) 6. Dancing on the Ceiling
( 6:54) 7. It Might as Well Be Spring
(10:12) 8. This'll Get to Ya
( 7:06) 9. Tu'gether
( 4:50) 10. Jambalaya
( 2:05) 11. Backtrack (Twistin' Train)
( 3:08) 12. Without a Song
( 2:40) 13. Snake Crawl

Organ jazz from the late fifties and early sixties had a tendency to be predictable, yet it still provided a template for churning out catchy tunes, many of which became hit singles. Once again Fantasy has mined its seemingly inexhaustible supply of the stuff for this record, which once again pairs a couple of previous releases together on one CD. Like most of the other discs in this format (many by McDuff himself), there’s some filler, but enough greasy soul on this 1960 reissue to keep one satisfied. Jack McDuff and Willis Jackson were two musicians who mined the soul jazz craze for all it’s worth, and despite a few curveballs, they knew not to tinker with a formula that works. These two had played together before and had a deep understanding of each other’s styles. McDuff is one of the best organists to emerge after Jimmy Smith and is more than capable of sustaining a groove by pumping out chords (although he prefers to leave the bottom end to a bassist instead of using the pedals). Jackson, although not a great tenor player, is capable of stringing together a series of licks into an acceptable solo.

However, the real treat here is Bill Jennings, a guitarist whose country-inflected licks bring to mind a mix of Charlie Christian and Chet Atkins. Jennings is the real reason to check out the record, and his nimble solos on “Angel Eyes” and “Gil’s Pills” easily make up for the shortcomings of a group who sometimes seem to be on autopilot, constructing tunes on what has proved workable in the past. Unfortunately, the last six tracks feature Jackson almost exclusively, and Jennings and McDuff seem to be watching the clock, content to vamp and do little else. Other than the hit single “This’ll Get To Ya,” which is a suitably shallow groove for airplay, the rest of the tunes fail to generate any real heat.

Jackson shows a strong Ben Webster influence, but he lacks the inventiveness necessary to sustain the spotlight on even the shortest of tunes. “Backtrack” and “Snake Crawl” are fine enough but seem like deliberate efforts to climb the charts. Despite its shortcomings, though, Together Again! is a satisfactory release for those who like their organ jazz cut and dry.~David Rickert https://www.allaboutjazz.com/together-again-fantasy-jazz-review-by-david-rickert

Personnel: Jack McDuff-organ; Willis Jackson-tenor sax; Bill Jennings-guitar; Tommy Potter, Wendell Marshall, Milt Hinton, Jimmy Lewis-bass; Al Johnson, Buck Clarke, Bill Elliott,Frank Shea-drums.

Together Again

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The Gaddabouts - S/T

Bitrate: MP3@320K/s
Time: 41:36
Size: 95.2 MB
Styles: Indie Folk, Alternative rock
Year: 2012
Art: Front

[3:24] 1. Never So Far Away
[4:08] 2. Let It Slide
[3:05] 3. Remind Me
[5:07] 4. My Heart
[2:39] 5. They Say Everything
[3:23] 6. Gonna Hold On
[3:00] 7. Mad Dog
[2:26] 8. Good Day
[4:25] 9. Good For Me
[4:37] 10. More Than Anybody
[5:16] 11. Feelin' Better

The Gaddabouts is a spectacular band that consists of Edie Brickell (vocals), Steve Gadd (drums), Pino Palladino (bass), and Andy Fairweather Low (guitar). There are also many special guests on their albums, including Ronnie Cuber on sax.

The Gaddabouts

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Joe Farnsworth - City of Sounds

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 54:06
Size: 126,1 MB
Art: Front

(5:39) 1. New York Attitude
(7:17) 2. The Surrey with the Fringe on Top
(7:44) 3. Ojos Cariñosos
(5:51) 4. Bud-Like
(6:53) 5. Moonlight in Vermont
(4:02) 6. City of Sounds
(8:34) 7. No Fills
(8:02) 8. Softly, as in a Morning Sunrise

A rock-solid trio set from the great drummer Joe Farnsworth one that draws every bit as much of its strength from the piano of Kenny Barron and bass of Peter Washington both players who work together with Joe on a set of tunes that feel effortless, but which are filled with complex ideas and never-ending energy! A fair bit of tunes are originals by Barron or Farnsworth tunes that partly stand as a tribute to New York as it wakes up from the dark days of 2020 and there's this really positive spirit to the record that keeps on going all the way through, and which also transforms the standards as well. Kenny is really at the top of his game here taken into really new territory by Farnsworth's work on the kit and titles include "No Fills", "City Of Sounds", "New York Attitude", "Bud-Like", "Ojos Carinosos", and "Softly As In A Morning Sunrise". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/993649

Personnel: Double Bass – Peter Washington; Drums – Joe Farnsworth; Piano – Kenny Barron

City of Sounds

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Clark Tracey Sextet - Full Speed Sideways

Styles: Jazz, Post Bop
Year: 1994
File: MP3@320K/s
Time: 63:09
Size: 173,9 MB
Art: Front

( 8:22) 1. Revenge Of Sam Tacet
( 8:21) 2. They're Lovely
(11:32) 3. Sherman At The Copthorne
( 9:17) 4. Sphere My Dear
( 6:26) 5. Mark Nightingale Sang
( 7:13) 6. Arnie's Barnie
(11:54) 7. Chased Out

Born 5 February 1961, London, England. Tracey began playing drums at an early age, often working with his father, Stan Tracey. At the start of his professional career, however, Tracey’s drumming was rock-orientated and sat uneasily with the jazz groups with which he often associated. By the early 80s, however, in his playing style it was clear that Tracey had absorbed much from the experience of playing with jazz artists such as Red Rodney, Charlie Rouse and James Moody. With visiting Americans, with bands led by contemporaries and by his father, and also as leader of his own quartet, quintet and sextet, Tracey grew with every appearance.

By the 90s Tracey was established as a major figure among the new and vital group of young British jazz stars. During the middle of the decade he set up the Tribute To Art Blakey band, and also shared an octet with David Newton, in addition to running his own sextet and quintet. A skilled arranger and composer, Tracey has written for the Berkshire Youth Jazz Orchestra and singers Claire Martin and Tina May. He has also released several acclaimed albums for the TenToTen label, including two instalments in the British Composers Series (2001’s British Standard Time and 2008’s Given Time). https://www.allmusic.com/artist/clark-tracey-mn0000112721

Personnel: Clark Tracey - drums; Nigel Hitchcock - alto saxophone; Dave O'Higgins - tenor saxophone; Mark Nightingale - trombone; John Donaldson - piano; Arnie Somogyi - bass

Full Speed Sideways

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Charlie Rouse Quintet - Takin' Care Of Business

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 37:54
Size: 87,5 MB
Art: Front

(7:26)  1. Blue Farouq
(7:27)  2. ''204''
(4:48)  3. Upptankt
(6:02)  4. Wierdo
(5:16)  5. Pretty Strange
(6:52)  6. They Didn't Believe Me

Charlie Rouse's debut as a leader (not counting his earlier work co-leading Les Jazz Modes with the great French horn player Julius Watkins) was made for Jazzland and is available as an OJC CD. The distinctive tenor saxophonist, who had just started a decade-long stint as a member of the Thelonious Monk Quartet, teams up with trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Earl May, and drummer Art Taylor. Together they perform straight-ahead material including Rouse's own uptempo "Upptankt," the standard "They Didn't Believe Me," and songs by Mitchell, Kenny Drew, and Randy Weston. A fine modern mainstream jam session-flavored set. ~ Scott Yanow https://www.allmusic.com/album/takin-care-of-business-mw0000312067

Personnel:  Charlie Rouse - tenor saxophone; Blue Mitchell - trumpet; Walter Bishop, Jr. - piano; Earl May - bass; Art Taylor - drums

Takin' Care Of Business

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Karrin Allyson Sextet - Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 49:57
Size: 117,8 MB
Art: Front

(1:58)  1. Preamble
(3:17)  2. The March of the Women
(4:40)  3. The Great Convention
(1:38)  4. Susan B. Anthony (1873)
(3:30)  5. I’ll Be No Submissive Wife
(1:34)  6. Frederick Douglass (1888)
(4:11)  7. Anti Suffrage Rose
(2:41)  8. She’s Good Enough To Be Your Baby’s Mother
(1:38)  9. Elihu Root (1894)
(3:48) 10. Columbia’s Daughters
(1:43) 11. Sojourner Truth (1851)
(3:49) 12. The Promised Land
(4:34) 13. Winning the Vote
(1:35) 14. Alice Paul (1921)
(4:18) 15. Way Down Below
(4:57) 16. Big Discount

The Karrin Allyson Sextet releases Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage, a very special and timely album, today to celebrate the centennial of women’s voting rights. In addition to five-time Grammy nominee Karrin Allyson, the sextet also features Ingrid Jensen (trumpet),Mindi Abair (alto saxophone) Helen Sung (piano),Endea Owens (bass), and Allison Miller (drums). Shoulder to Shoulder seeks to re-create the multi-decade debate  warts and all that culminated in the enactment of t he nineteenth amendment. “We want to highlight this significant movement in American history. One that we shouldn’t forget and that is relevant today. It’s also one in which music played an important role,” said Karrin Allyson.

A remarkable artist, Allyson is also an activist who feels equally comfortable on the bandstand, as she does at the podium making the case for women’s rights. In fact, she has a history of writing songs (“Big Discount,” “Way Down Below”) that challenge conventional political wisdom and call for societal change. Most of t hese songs are propaganda. They were composed in the nineteenth or early twentieth century to advance or abridge women’s voting rights. In fact, the “suffrage” repertoire is made up of hundreds of songs, and Allyson and the productio n team selected ones that typified the back -and-f or th debate of t he struggle. That these songs can be re-imagined speaks not only to their timeless quality but the power of music in advancing social movements. The “war” over women’s rights was waged, in part, through and by music. And here these songs are made relevant again through modern jazz. Because of t he theme’s inclusive import, Allyson and the production team invited several notable guests to “lend their voices” to the debate. Adding copious artists can risk turning any project from a cohesive musical statement to a “gathering place.” Alas,Allyson’s powerful and profound vocals provide the through line and beginning-to-end narrative arc of the entire production. This album is very much a story. 

And Allyson is its storyteller, with each guest thoughtfully featured to dramatize historical episodes in the women’s suffrage movement. Shoulder to Shoulder has an incredible array of featured artists. Guest appearances by Madeleine Peyroux (vocals),Kurt Elling (vocals),Regina Carter (violin),Denis e Donatelli (vocals), Veronica Swift (vocals), Rapsody (rap),Antonia Bennett (vocals),Emily Estefan (vocals),Pauline Jean (vocals),Olivia Culpo (cello) and a Choir of over forty Women's Rights Activists. There are several spoken word performances that re-create the debateover woman’s suffrage: Harry Belafonte performs a speech by Frederick Douglass, Rosanne Cash performs a speech by Susan B. Anthony, Julie Swidler performs a speech by Alice Paul,Lalah Hathaway performs a speech by Sojourner Truth, and Peter Eldridge performs a speech by Elihu Root. There is even a brief appearance by Roberta Flack on the album. Susan Morrison of The New Yorker serves as an Executive Producer of the project, which was produced by multi-Grammy winners Kabir Sehgal, John Daversa, and Doug Davis.more..... https://karrin.com/wp-content/uploads/2019/09/S2S-Press-Release.pdf

Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage

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The Gaddabouts - Look Out Now!

Bitrate: MP3@320K/s
Time: 67:35
Size: 154.7 MB
Styles: Alternative rock, Indie Folk
Year: 2012
Art: Front

[1:00] 1. Meat On Your Bones
[3:40] 2. Look Out Now!
[2:54] 3. Wicked William
[4:31] 4. House On Fire
[3:48] 5. I'm A Van
[5:50] 6. River Rises
[3:34] 7. The Horse's Mouth
[4:00] 8. Blessed Days
[5:47] 9. Devil's Story
[4:01] 10. Down
[4:22] 11. Free
[4:29] 12. The Mountain
[4:36] 13. Don't Take All Day
[2:59] 14. How I Love You
[3:13] 15. Can You Feel It
[4:06] 16. Younger Woman
[4:36] 17. Corruption

Andy Fairweather Low: guitar, bass harmonica, vocals; Pino Palladino: bass, tres, guitar, vocals; Edie Brickell: guitar, vocals; Ronnie Cuber: baritone saxophone, tenor saxophone, flute, bass clarinet, vocals; Larry Goldings: piano, keyboards, organ, accordion; Pedro Martinez: bata, bongos congas, timbales, guiro, vocals; Axle Tosca: piano, vocals; Andrea Zahn: violin; Mike Mainieri: marimba, orchestra bells, vibraphone; Ingrid Ingrate: vocals (17); Greta Kline: vocals (17); Lulu: vocals (17).

Steve Gadd is the subject of much adoration and nerd-like obsession in drum circles. Several years ago, the drummer embarked on a clinic tour—dubbed Mission From Gadd—where he got up, spoke, and played a bit for his eager fans. At one of these appearances, at a Long Island high school, Gadd became the drum equivalent of William Shatner at a Star Trek convention. Audience members threw out absurdly specific questions about random fills from songs that Gadd had recorded decades before; this is the type of reaction that he can engender from his stick-wielding fans. That Steve Gadd is renowned for his killer drumming with sophisticated pop icons Steely Dan, pianist Chick Corea and countless others, but then there's the other Steve Gadd; the one who goes into the studios and lays down seemingly simple backbeats that groove harder than all the bells-and-whistle beats that so many others record. That's the Steve Gadd behind the Gaddabouts.

This group is fronted by vocalist Edie Brickell, who's far removed from her pop star days, and made up of veteran session men who have crossed paths with Gadd at various times in the past. The music is roots-based fare with an ultra-casual feel; it's the kind of stuff that sounds simple in these expert hands, but isn't so easy to create. Swampy grooves, jazz-inflected sounds, soulful corners, country roads and folksy pop are all explored in winning fashion. Some of the music was born of jamming ("Meat On Your Bones"), while other tunes speak of a fully formed songwriting process ("Blessed Days"), but all of it has a million dollar rhythmic feel to it. Singer/songwriter Paul Simon's influence looms large on "Wicked William," the band marries a jazz vibe with a reggae-derived section on "House On Fire," and a slow martial snare drum groove underscores the riveting "Down," which features some charming violin work from Andrea Zahn.

While the core group is a quartet, with bassist Pino Palladino and guitarist Andy Fairweather Low rounding out the lineup, plenty of high-profile guests gathered from Gadd's Rolodex help to flesh out the sound of the group. Multi-reedist Ronnie Cuber brings his saxophone work to bear on "House On Fire" and "Can You Feel It," expert colorist/keyboardist Larry Goldings puts all sorts of finishing touches on the music, and Gadd's Steps Ahead/L'Image band mate, mallet master Mike Mainieri, makes a few important contributions along the way. This album features a bunch of strong jazz personalities, but it isn't a jazz album. This is music made at a modern Americana crossroad, where a savvy singer-songwriter and never-miss studio icons meet. ~Dan Bilawski

Look Out Now!

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Morgana King - Body and Soul

Styles: Vocal
File: MP3@320K/s
Time: 38:41
Size: 89,4 MB
Art: Front

(3:04) 1. For You, for Me, Forevermore
(2:49) 2. Bill
(3:06) 3. Down in the Depths
(3:43) 4. Something to Remember You By
(3:17) 5. Ev'rything I Love
(3:54) 6. I See Two Lovers
(2:28) 7. In the Wee Small Hours of the Morning
(4:06) 8. Body and Soul
(3:21) 9. If You Could See Me Now
(2:47) 10. It's Only a Paper Moon
(2:34) 11. You're Not so Easy to Forget
(3:26) 12. Mad About the Boy

None of the more than 30 albums recorded by singer Morgana King beginning in the mid-'50s were embraced by the size of the audience that bought tickets to see the first two chapters of The Godfather film trilogy, in which King acted in the role of Mama Corleone. But it would be wrong to assume she had more impact as an actress than as a vocalist. Her acting roles, few and far between, were chosen with care, but did not have the resonance of some of her finest recordings. Millions saw her onscreen in the Godfather films, but her performance was certainly overshadowed by performers such as Robert DeNiro and Al Pacino, not to mention the famous turn by Marlon Brando as her husband. Another role of King's was in the 1997 film A Brooklyn State of Mind; she also appeared in several television productions.

It is possible that there are actors and actresses who have named Morgana King as a great inspiration. Yet, the results of a simple Internet search under her name only yielded dozens of quotes from vocalists and other musicians about the great influence of her recordings and singing style, not her work before the camera. It might not be a surprise when a young female singer gushed about King's albums, but these fans also included deeper thinkers such as classical bass virtuoso Gary Karr. References to her music also show up regularly in fiction as a kind of mood-setting device, such as: "It was a beautiful day in Malibu. He got up, made a coffee and put on a Morgana King record." Some record collectors might be surprised to realize that a complete set of King sides might eliminate any elbow room for, say, the discography of one of the prolific blues guitarists with this regal surname. Morgana King sides can be divided into several periods. It took her almost eight years to peak at whatever commercial success she was going to have with the 1964 A Taste of Honey album, thus ending the early years. She was then absorbed into the Atlantic and Reprise corporation and an exemplary series of releases by singers such as Big Joe Turner, Ruth Brown, Lavern Baker, and Ray Charles. The label's greatest producers stared the oncoming rock & roll in the eye, never forgetting their basic R&B orientation. Within a few years, a subcategory developed, seen through paisley glasses. The material became more philosophical, the increasing intellectual depth not surprisingly accompanied by the audience stampeding in the opposite direction. This might make sense, though; while 1965's The Winter of My Discontent is a masterpiece, 1968's Gemini Changes is laughably pretentious.

By the early '70s she was eager to get into films, the music business pushing away any and all veteran talent. Later in the decade she launched the mature period of her career, though, once again recording as more of a jazz-flavored artist for Muse, a label which in itself indicates a disinterest in pop culture. The label was loyal to her, regularly recording her through the following decade. This material was reissued in the late '90s by the 32 Jazz label, whose honcho, Joel Dorn, also presided over the reissue of her Reprise sides. If a special sort of bittersweet feeling pervaded her later performances, perhaps it had something to do with this return to her jazz singing roots. Her father had been a performer of folk and popular music on voice and guitar, and she had begun singing in nightclubs such as Basin Street in New York City when she was in her mid-twenties.

Only a few years earlier, she had been immersed in classical studies at the Metropolitan School of Music. Basin Street may have been in the same city, but it must have seemed like a completely different musical world. The formal training undoubtedly filled in aspects of her musical walk where some of her peers might have had to limp. For this reason alone, some listeners find her efforts the most swinging of the '60s generation of pop singers. It meant much critical acclaim during her career, if not great commercial success. At many stages, King seemed to have been making other plans. For the 1960 Encyclopedia of Jazz by Leonard Feather, she listed this ambition: "To become a dramatic actress."~ Eugene Chadbourne https://www.allmusic.com/artist/morgana-king-mn0000501436/biography

Body and Soul

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Rebecca Kilgore - With Hal Smith's California Swing Cats

Bitrate: MP3@320K/s
Time: 65:03
Size: 148.9 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[2:47] 1. With Plenty Of Money And You
[3:48] 2. 'deed I Do
[4:30] 3. Sleepy Time Down South
[2:40] 4. Swing, Brother, Swing
[3:51] 5. Georgia On My Mind
[4:13] 6. You
[3:59] 7. I Can't Believe That You're In Love With Me
[4:09] 8. Thou Swell
[4:30] 9. A Kiss To Build A Dream On
[2:43] 10. Piano Man
[4:32] 11. When My Dreamboat Comes Home
[4:03] 12. Drum Boogie
[3:57] 13. What A Little Moonlight Can Do
[5:08] 14. Sing, Sing, Sing
[3:12] 15. Pardon My Southern Accent
[3:30] 16. Cow Cow Boogie
[3:24] 17. La Vie En Rose

As an interpreter of classic American popular songs from the 1930s and 1940s, vocalist and guitarist Rebecca Kilgore helped revive the hits of yesterday for modern-era jazz audiences. Born in Waltham, MA, in 1949, she relocated to Portland, OR, at the age of 30, beginning her music career fronting an area swing band dubbed the Wholly Cats and recording a 1982 LP titled Doggin' Around. Following the group's 1984 breakup, she formed her own unit, the Rebecca Kilgore Quintet, which quickly emerged as a mainstay of the Northwest jazz scene, and in 1989, she released the cassette-only I Hear Music. Most of Kilgore's subsequent recordings were in conjunction with other performers: In 1990, she teamed with John Miller for Put on a Happy Face, and in 1993 appeared with Portland's Tall Jazz Trio on their Plays Winter Jazz disc. However, Kilgore's most fruitful collaborations were in conjunction with pianist Dave Frishberg; after teaming for 1993's Looking at You, they reunited a year later for I Saw Stars, followed in 1997 by Not a Care in the World and again in 2001 with The Starlit Hour. At the same time, Kilgore also fronted a '60s-style country band, Beck-a-Roo, and in 1994 contributed vocals to the score of the CBS animated special Tales From the Far Side, inspired by the popular Gary Larson comic strip. ~ bio by Jason Ankeny

With Hal Smith's California Swing Cats

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Clark Tracey Quintet - No Doubt

Styles: Contemporary Jazz
Year: 2018
File: MP3@320 K/s
Time: 50:17
Size: 80,9 MB
Art: Front

( 9:37) 1. The Prince
(12:07) 2. Foxy Trot
( 5:37) 3. The Star-Crossed Lovers
( 9:41) 4. Pools
(13:12) 5. Top Dog

With each release, Clark Tracey finds new ways to keep the music he loves so passionately not just alive and kicking, but also manages to showcase emerging new talent. How he continue to do this is anyone's guess, but mine would be that he keeps a sharp eye on the BBC Young Jazz Musician of the Year competition (where three members of his new quintet were finalists) and the Royal Birmingham Conservatoire where he is a visiting tutor. From there he seems to have the uncanny knack of selecting not just the cream of the current crop, but young musicians who he feels that will benefit from the exposure to the style of jazz he is so fiercely protective of, and then nurturing them in a band that learns on the job.

It is therefore much to the credit of all concerned that this new album not just follows in the shadow of Tracey's former aggregations, but also stands up to be counted purely on its own merits. The quintet tackle an interesting and ambitious programme with aplomb. Altoist, Sean Payne, make his mark with some wonderful playing on Ellington and Strayhorn's "The Star-Crossed Lovers" and on his own composition "The Prince" with his blistering solo a real highlight. This track is cleverly modulated between interesting theme statement, controlled tempo, and some freewheeling soloing from alto, nicely balanced with some taut playing from Alex Ridout on trumpet. Ridout also gets to show her mastery of her instrument on a fine reading of "Foxy Trot" by Kenny Wheeler, and like her front line partner is also able to present one of her own compositions, "Top Dog", arranged for quintet in a delightful arrangement that would not be out of place coming from the Blue Note label of the sixties, yet retaining an utterly contemporary feel and providing a fine vehicle for some more fine solos from these young musicians.

Throughout, Tracey's presence is felt, providing a firm guiding hand on proceedings. The rhythm section as we have come to expect from one of Clark's bands is rock solid, with an elasticity that is flexible to go with, and shape the music wherever it may lead. Add to this the sensitive accompaniment that pianist Elliott Sansom brings to the table, along with some assured solos, just listen to his outing on Alex Ridout's "Top Dog" and the sparkling solo on "Pools" by Don Grolnick. All in all another superb album from a band that sound like they have certainly got it together in the recording studio, but who should really be heard live. Catch them while you can.~ Nick Lea https://www.jazzviews.net/clark-tracey-quintet---no-doubt.html

Personnel: Clark Tracey (drums); Alex Ridout (trumpet & flugelhorn); Sean Payne (alto saxophone); Elliott Sansom (piano); James Owston (doyble bass)

No Doubt

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Ben (L'Oncle Soul) - Soul Wash

Styles: Vocal, Soul
Year: 2009
File: MP3@320K/s
Time: 20:44
Size: 47,6 MB
Art: Front

(2:56) 1. Seven Nation Army
(2:41) 2. Crazy
(4:17) 3. Barbie Girl
(3:52) 4. Sympathique
(3:14) 5. I Kissed A Girl
(3:41) 6. Say You'll Be There

Ben l'Oncle Soul is a French soul singer with a retro style who made his eponymous Top Five hit album debut in 2010. Born Benjamin Duterde in 1984 in Tours, Indre-et-Loire, France, he took his name and look from Uncle Ben, the fictitious elderly African-American man dressed in a bow tie who serves as the brand image of Uncle Ben's Rice. The moniker Ben l'Oncle Soul was chosen rather than Uncle Ben to avoid any charges of trademark infringement. Years before Duterde adopted the Ben l'Oncle Soul moniker, he got his professional start as a vocalist in the Fitiavana Gospel Choir, which he joined in 2004. The Tours-based gospel choir made its album debut with I Have a Dream (2009), a collection of English-language soul classics such as "Killing Me Softly," "Lean on Me," and "(You Make Me Feel Like) A Natural Woman."

In turn, Duterde was offered a solo recording deal with the French division of Motown Records. Billing himself as Ben l'Oncle Soul, he made his solo recording debut with the Soul Wash EP (2009). Comprised of cover material, the majority of it sung in English, the six-track EP is performed in a retro style informed by the Motown and Stax sounds of the 1960s. A cover of the Gnarls Barkley smash hit "Crazy" was released as a single. A half-year later, Duterde made his full-length debut with the eponymous album Ben l'Oncle Soul (2010). Produced by Guillaume Poncelet and Gabin Lesieur, the album is comprised entirely of original material, plus the cover version of the White Stripes hit "Seven Nation Army" from the Soul Wash EP. With "Seven Nation Army" released as its lead single, Ben l'Oncle Soul was a Top Five hit on the French albums chart.~ Jason Birchmeier https://www.allmusic.com/artist/ben-loncle-soul-mn0002459668/biography

Soul Wash

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Asleep At The Wheel - Half a Hundred Years

File: MP3@320K/s
Time: 67:24
Size: 161,8 MB
Art: Front

(3:34) 1. Half a Hundred Years
(3:06) 2. It's the Same Old South
(3:46) 3. I Do What I Must
(4:00) 4. There You Go Again (feat. Lyle Lovett)
(3:34) 5. My Little Baby
(4:08) 6. Paycheck to Paycheck
(2:38) 7. Word to the Wise (feat. Bill Kirchen)
(2:59) 8. That's How I Remember It
(2:55) 9. The Photo
(3:34) 10. I Love You Most of All (When You're Not Here)
(3:43) 11. The Wheel Boogie
(4:01) 12. Take Me Back to Tulsa (feat. George Strait and Willie Nelson)
(3:37) 13. The Letter That Johnny Walker Read (feat. Lee Ann Womack)
(4:04) 14. Bump Bounce Boogie (feat. Chris O'Connell, Katie Shore, and Elizabeth McQueen)
(3:18) 15. Miles and Miles of Texas
(3:11) 16. (Get Your Kicks on) Route 66 (feat. Leroy Preston, Johnny Nicholas, and Ray Benson)
(3:33) 17. Marie (feat. Willie Nelson)
(3:24) 18. Spanish Two Step (feat. Johnny Gimble and Jesse Ashlock)
(4:11) 19. The Road Will Hold Me Tonight (feat. Emmylou Harris and Willie Nelson)

Asleep at the Wheel, the long-running and influential Western-swing band, will mark 50 years together with a new album. The aptly titled Half a Hundred Years will be released in October and features a number of all-star guests. The Wheel preview the upcoming LP with the title track, released on Friday. Elevated by buoyant horns and singer Ray Benson’s drawling baritone, the track is the ultimate road song: “I’ve been on the road for half a hundred years,” Benson boasts. “I was trying to get across the sacrifices you have to make in 50 years on the road and the other positive side of it. The great experiences, the places I’ve been, and all the amazing people I’ve had the opportunity to meet and play music with,” Benson said in a statement.

The album Half a Hundred Years spans 19 songs includes a number of A-list collaborations: George Strait, Emmylou Harris, Lyle Lovett, Lee Ann Womack, and Bill Kirchen all pop up. Willie Nelson, who paired with Asleep at the Wheel for 2009’s Willie and the Wheel, appears on no less than three tracks. He also earns a shout-out in the title song. “I might catch up to Willie one of these days,” Benson ad libs, paying homage to the enduring road warrior. https://www.rollingstone.com/music/music-country/asleep-at-the-wheel-50th-anniversary-new-album-1208853/

Half a Hundred Years

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Paul Kelly & Paul Grabowsky - Please Leave Your Light On

Styles: Vocal And Piano
Year: 2020
File: MP3@320K/s
Time: 43:11
Size: 99,2 MB
Art: Front

(3:43) 1. True To You
(4:05) 2. Petrichor
(3:42) 3. When A Woman Loves A Man
(4:09) 4. Sonnet 138
(3:00) 5. Time And Tide
(3:04) 6. Young Lovers
(4:17) 7. Every Time We Say Goodbye
(4:10) 8. Please Leave Your Light On
(3:22) 9. You Can Put Your Shoes Under My Bed
(4:07) 10. Winter Coat
(2:20) 11. God's Grandeur
(3:05) 12. If I Could Start Today Again

One of Australia's most popular and acclaimed singer/songwriters since the '80s, Paul Kelly has practically nothing to prove, but admirably he's still eager to try new things. Paul Grabowsky is among the Antipodes' most celebrated jazz pianists, and when he was asked to stage a series of concerts in which he would perform with vocalists he admired, he invited Kelly to join him for one of the shows. They were happy with how the performance worked out, and chose to re-create it in a recording studio over the space of three days. 2020's Please Leave Your Light On features ten numbers from Kelly's songbook, along with one new song ("True to You") and one cover (Cole Porter's "Every Time We Say Goodbye"), all sung by Kelly with only Grabowsky's spare piano arrangements for company (except for a bit of harmonica on "If I Could Start Again Today"). In Grabowsky's hands, Kelly's songs sound like contemporary standards, and that suits them well; his feel for the music recognizes the qualities of Kelly's melodies even as he recasts them into a different but respectful form.

In the quietude of these surroundings, Kelly's phrasing is strong yet subtle, showing an impressive emotional range and no hint of unnecessary force, with a full understanding of how to best communicate his stories. The piano work is every bit as impressive as the vocals, leaving more than enough room for Kelly's voice but carrying his melodies with an artful touch, uncluttered and all the more eloquent for it. Best of all, the piano-and-voice format doesn't blunt the edges of the songs, and if this isn't rock by any means, "Time and Tide" and "Winter Coat" haven't lost their bite in the translation.

Kelly and Grabowsky have said they had the collaborations between Frank Sinatra & Nelson Riddle and Tony Bennett & Bill Evans in mind while working on this project, and as grand as that may sound, the comparison isn't so far off. The intuitive respect and interplay between the singer and the accompanist on Please Leave Your Light On is masterful, and this is an unexpected triumph for them both.~Mark Deming https://www.allmusic.com/album/please-leave-your-light-on-mw0003399138

Personnel: Piano – Paul Grabowsky; Vocals [Vocal], Harmonica – Paul Kelly

Please Leave Your Light On

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Tommy Flanagan, Wilbur Harden - West 42nd Street

Styles: Piano Jazz
File: MP3@320K/s
Time: 38:11
Size: 88,4 MB
Art: Front

(7:51) 1. West 42nd Street
(5:26) 2. E.f.f.p.h.
(7:16) 3. Wells Fargo
(7:59) 4. Rhodamagnetics
(9:38) 5. Snuffy

Known for his flawless and tasteful playing, Tommy Flanagan received long overdue recognition for his talents in the 1980s. He played clarinet when he was six and switched to piano five years later. Flanagan was an important part of the fertile Detroit jazz scene (other than 1951-1953 when he was in the Army) until he moved to New York in 1956. He was used for many recordings after his arrival during that era; cut sessions as a leader for New Jazz, Prestige, Savoy, and Moodsville; and worked regularly with Oscar Pettiford, J.J. Johnson (1956-1958), Harry "Sweets" Edison (1959-1960), and Coleman Hawkins (1961). Flanagan was Ella Fitzgerald's regular accompanist during 1963-1965 and 1968-1978, which resulted in him being underrated as a soloist.

However, starting in 1975, he began leading a series of superior record sessions and since leaving Fitzgerald, Flanagan has been in demand as the head of his own trio, consistently admired for his swinging and creative bop-based style. Among the many labels he has recorded for since 1975 are Pablo, Enja, Denon, Galaxy, Progressive, Uptown, Timeless, and several European and Japanese companies. For Blue Note, he cut Sunset and Mockingbird in 1998, followed a year later by Samba for Felix. Despite a heart condition, Flanagan continued performing until the end of his life, performing two-week stints at the Village Vanguard twice a year, recording and touring. He died on November 16, 2001, in Manhattan from an arterial aneurysm.~ Scott Yanow https://www.allmusic.com/artist/tommy-flanagan-mn0000519715/biography

West 42nd Street

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Barbara Morrison & Peter Nordahl Trio - Timeless

Styles: Vocal
File: MP3@320K/s
Time: 55:59
Size: 134,9 MB
Art: Front

(5:34) 1. I Can't Make You Love Me
(4:16) 2. What A Difference A Day Made
(4:56) 3. All In Love Is Fair
(5:52) 4. All My Tomorrows
(5:31) 5. At Last
(4:05) 6. Never Let Me Go
(4:06) 7. River's Invitation
(3:09) 8. This Is Always
(4:55) 9. Easy Living
(5:01) 10. I'm In the Mood For Love
(3:28) 11. I Can't Make You Love Me (Short Version)
(5:01) 12. At Last

Born in Ypsilanti, Michigan and raised in Romulus, Michigan, Barbara Morrison recorded her first appearance for radio in Detroit at the age of 10. Well known in the Los Angeles area for her duo and trio dates Ms. Morrison also tours extensively, blazing a trail as a Jazz and Blues legend in her own right across the Continental United States, Western Europe the Far East and “Down Under,” wowing audiences with her band.

Fresh off a 33 US City tour, co-headlining in an all-star tribute to legendary composer Harold Arlen (most recognizable for his genius behind the music for the classic film, The Wizard of Oz), Barbara now celebrates her 30th year in the music industry. Over the years she has performed with a virtual “who's who” of the Jazz and the Blues worlds. That list includes legends like; Dizzy Gillespie, Ray Charles, James Moody, Ron Carter, Etta James, Esther Phillips, David T. Walker, Jimmy Smith, Johnny Otis, Dr. John, Kenny Burrell, Terence Blanchard, Joe Sample, Cedar Walton, Nancy Wilson, Mel Torme, Joe Williams, Tony Bennett, and Keb' Mo. Additional, Ms. Morrison guest stars with the Count Basie Orchestra, the Clayton-Hamilton Orchestra and Doc Severinsen's Big Band.

The dazzling Barbara Morrison has been featured on over 20 recordings. She has dazzled fans of a wide aray of genres from traditional Jazz and Blues to Gospel and Pop. Her melodic voice, with its two-and-a-half-octave range, is known worldwide, as are her rich, unique, soulful and highly spirited interpretations of both, familiar Jazz and Blues classics and original contemporary tunes. Equally as striking is Ms. Morrison's ability to belt out down-home, soul-stirring Blues. Her impassioned renditions of old and favorite torch songs are nothing short of breathtaking.In addition to her multiple solo recordings, fans have experienced the pleasure of Barbara Morrison's rich and vibrant tones on such notable film and television appearances as; the movie sound track for The Hurricane (starring Denzel Washington), Goin' Home: A Tribute to Duke Ellington and Johnny Otis's CD “Ooo Shoo Be Dooo”. Additional credits include the hit NBC TV comedy The Naked Truth, The Tonight Show with Jay Leno and The Dennis Miller Show.

In additional to her gigs with other Jazz and Blues groups and legends, Barbara Morrison also performs at the more renown Blues and Jazz Festivals around the world. Her many outstanding appearances, including those at Montreaux, Nice, Pori, Carnegie Hall, North Sea, Monterey, Long Beach, as well as her Salute to Dizzy Gillespie and her Tribute to Benny Golson, are fondly remembered by Morrison fans who return again and again to share her rare, unique and exceptional vocal gifts. Blue Lady Records proudly presents Jazz and Blues great, Barbara Morrison, now available for bookings for 2005/2006. https://www.allaboutjazz.com/musicians/barbara-morrison

Timeless

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Paul McCandless - Morning Sun: Adventures with Oboe

Styles: Contemporary Jazz
Year: 2017
File: MP3@320K/s
Time: 65:08
Size: 150,2 MB
Art: Front

(3:54) 1. All the Mornings Bring
(2:08) 2. Elves Chasm
(3:51) 3. Bright Angel
(4:16) 4. Whooper Dance
(4:10) 5. On The Steppe Of Central Asia
(5:43) 6. Witchi Tai Too
(5:03) 7. Sunset On The Grand Sand Dunes
(3:44) 8. Um Abraco (A Big Hug)
(4:53) 9. Anabela
(5:23) 10. Sunderland
(2:09) 11. Eagle
(3:45) 12. Common Ground
(2:18) 13. Twilight
(4:20) 14. The Last Train
(2:48) 15. Fantasia In G
(6:33) 16. Morning Sun

Morning Sun: Adventures with Oboe – Paul McCandless with the Paul Winter Consort, A Retrospective is dedicated to McCandless’ fellow oboist, the late Sir George Martin, the famed producer of albums by the Beatles, as well as the Paul Winter Consort’s album, Icarus. In his autobiography, Playback, Martin gave the Consort the accolade of a lifetime, referring to Icarus as “the finest record I have ever made.”

Accompanying the album is a 32-page booklet containing an engaging chronicle by Paul Winter that presents a first-person account of the Paul Winter Consort’s history and the memorable times Winter has shared with Paul McCandless through the years, as well as notes on each track and selected photos.

Notes Paul Winter, “With this anthology, I set out to gather a treasury of Paul McCandless’ masterful playing and found that it also became, quite unintentionally, a retrospective of the Consort the most extensive yet done. Listening through the entire album, I am thrilled with every note.” https://paulwinter.bandcamp.com/album/morning-sun-adventures-with-oboe-2

Morning Sun: Adventures with Oboe

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Steve Tyrell - It's Magic: The Songs Of Sammy Cahn

Bitrate: MP3@320K/s
Time: 46:55
Size: 107.4 MB
Styles: Vocal
Year: 2013
Art: Front

[3:05] 1. Come Fly With Me
[4:38] 2. It's Magic
[3:33] 3. The Tender Trap
[3:40] 4. All The Way
[3:30] 5. Teach Me Tonight
[4:20] 6. The Second Time Around
[3:49] 7. It's Crazy
[4:36] 8. Call Me Irresponsible
[2:16] 9. Ain't That A Kick In The Head
[4:59] 10. I Guess I'll Hang My Tears Out To Dry
[3:07] 11. It's Been A Long, Long Time
[2:09] 12. Saturday Night (Is The Loneliest Night Of The Week)
[3:07] 13. I Fall In Love Too Easily

Sammy Cahn, a prolific lyricist, is being honored by Steve Tyrell in Steve's new CD, "It's Magic." Sammy wrote with such notable composers such as Jule Styne and Jimmy Van Heusen. His contributions to music have been heralded by movie awards and television awards. The "Sammy" annual award was established by the Academy in his honor for outstanding songs and scores. It is long overdue that a CD is finally released honoring this brilliant man, and Steve Tyrell is the person able to perform this task and has done a magnificent job with Amazon distributing this.

The songs in the CD include, "Come Fly With Me," "It's Magic," "The Tender Trap," "All the Way," "Teach Me Tonight," "The Second Time Around," "It's Crazy, "Call Me Irresponsible," "Ain't That A Kick in the Head,' "I Guess I'll Hang My Tears Out to Dry," "It's Been A Long Long Time," "Saturday Night Is the Loneliest Night of the Week," and "I Fall in Love Too Easily." Frank Sinatra and Dean Martin are associated with the works of Cahn, which you will recognize from the above titles. The title song, "It's Magic," associated with Doris Day shows a groovy approach and interpretation by Steve.

The arrangements are well done, crisp, yet mellow, and allow you to follow this cd on a "magical" trip to romance land. Alan Broadbent arranged the majority of the tunes sharing honors with other arrangers, Bob Mann, and Don Sebesky, and Artie Butler. Mann's arrangements bring a soulful feel to the tunes and Broadbent's arrangements border on classical sound and romance (opinion). ~Ellie Kligman

It's Magic: The Songs Of Sammy Cahn

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