Kirk Lightsey Trio With Chet Baker - Everything Happens To Me

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 40:38
Size: 93,3 MB
Art: Front

( 4:52)  1. Rays Ideas
(10:45)  2. Everything Happens To Me
( 6:08)  3. Girl With The Purple Eyes
( 6:57)  4. Speak No Evil
( 5:00)  5. Inner Urge
( 6:54)  6. Fee-Fi-Fo-Fum

For some, the most important part about this recording will be the two tracks ("Ray's Ideas" and "Everything Happens to Me") on which Chet Baker blows trumpet and sings. While Baker is not in top form, he is a fine complement to the group sound. Lightsey's trio (with bassist David Eubanks and drummer Eddie Gladden) picks an interesting collection of pieces for the remainder of the program, with his well-known Wayne Shorter emphasis. A largely uneventful, if nonetheless relaxingly swinging set, Lightsey deftly walks through the chords with consummate skill. An underrated performer, the pianist is a skillful interpreter of American song, a performer who understands the meanings of tunes and infuses them with his own interpretations. Not terribly innovative, Lightsey is one of those few serious mainstream jazz piano soloists who pushes the edges ever so slightly but feels comfortable smack dab in the middle of traditional interplay. ~ Steve Loewy http://www.allmusic.com/album/everything-happens-to-me-mw0000877567

Personnel: Kirk Lightsey (piano); Chet Baker (vocals, trumpet); Eddie Gladden (drums).

Everything Happens To Me

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Benny Carter - Benny Carter Songbook Vol II

Styles: Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 76:04
Size: 174,4 MB
Art: Front

(3:26)  1. My Mind Is Still On You - Joe Williams
(5:10)  2. Echo Of My Dream - Dianna Krall
(6:00)  3. Rock Me To Sleep - Ruth Brown
(4:04)  4. Stop Me Before I Fall In Love Again - Billy Stritch
(8:33)  5. He Doesn't Need Me Now - Nancy Marano
(6:05)  6. Doozy - Jon Hendricks
(5:10)  7. Nevermore - Billy Stritch
(7:05)  8. Malibu - Lainie Kazan
(5:53)  9. Blue Moonlight - Marlena Shaw
(5:30) 10. Evening Star - Kenny Rankin
(4:46) 11. Slow Carousel - Nancy Marano
(4:05) 12. Whisper To One - Barbara Lea
(5:56) 13. I'm The Caring Kind - Weslia Whitfield
(4:16) 14. When Hilma Smiles

The 1997 release of this CD helped Benny Carter celebrate his 90th birthday, featuring 14 of his original ballads by a dozen guests, in addition to a warm tribute to his wife of many years, "When Hilma Smiles," sung by Carter himself in a friendly, unpretentious manner. His smooth alto sax hasn't lost anything over the decades, and the top-notch cornet of Warren Vaché is also a nice touch. 

The highlights among the guest vocalists' contributions include Nancy Marano's emotional version of "He Doesn't Need Me Now" and Wesla Whitfield's sassy take of "I'm the Caring Kind." ~ Ken Dryden https://www.allmusic.com/album/songbook-vol-2-mw0000028108

Personnel: Benny Carter (vocals, alto saxophone); Joe Williams, Weslia Whitfield, Ruth Brown, Billy Stritch, Nancy Marano, Jon Hendricks, Lainie Kazan, Marlena Shaw, Kenny Rankin, Barbara Lea, Diana Krall (vocals); Warren Vache (cornet); Chris Neville (piano); Steve LaSpina (bass); Sherman Ferguson, Roy McCurdy (drums)

Benny Carter Songbook Vol II

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Dave Brubeck, Chris Brubeck & Darius Brubeck - Two Generations Of Brubeck/Brother, The Great Spirit Made Us All

Bitrate: 320K/s
Time: 36:26
Size: 83.4 MB
Styles: Piano jazz, West Coast jazz
Year: 1974/2005
Art: Front

[2:43] 1. Mr. Broadway
[7:17] 2. Forty Days
[2:44] 3. The Duke
[5:54] 4. It's A Raggy Waltz
[2:42] 5. Sky Scape
[8:16] 6. Temptation Boogie
[2:49] 7. Ragaroni
[3:58] 8. Christopher Columbus

These two mid-seventies Brubeck Family albums (Dave and sons, along with Jerry Bergonzi and Peter 'Madcat' Ruth) were combined, for a brief time, on to a single cassette tape. ~Sean Westergaard

Two Generations of Brubeck: This very interesting set features the pianist with three of his sons (Darius on keyboards, Chris doubling on trombone and bass and Danny on drums), and a wide variety of musicians including tenor-saxophonist Jerry Bergonzi, clarinetist Perry Robinson and Peter "Madcat" Ruth on harmonica. To hear numbers performed by these younger players casts new light on the durability and flexibility of these classic Brubeck songs.

Brother, The Great Spirit Made Us All: Pianist Dave Brubeck and three of his sons (keyboardist Darius, drummer Danny and Chris on trombone and bass), with the assistance of such players as Jerry Bergonzi (on tenor and soprano), clarinetist Perry Robinson and Madcat Ruth on harmonica, perform colorful treatments of a wide variety of swinging pieces. Highlights include "It's a Raggy Waltz," "Temptation Boogie" and "Christopher Columbus"; Dave Brubeck takes "The Duke" solo. This fine music was last available on LP.

Two Generations Of Brubeck/Brother,The Great Spirit Made Us All

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Lynne Arriale Trio - The Lights Are Always On

Styles: Piano Jazz
File: MP3@320K/s
Time: 44:07
Size: 101,6 MB
Art: Front

(4:55) 1. March On
(3:22) 2. The Lights Are Always On
(5:14) 3. Sisters
(4:25) 4. Honor (Dedicated to Lt. Colonel Alexander Vindman)
(3:26) 5. Loved Ones
(4:42) 6. Sounds Like America
(4:46) 7. The Notorious Rbg (Dedicated to Ruth Bader Ginsburg)
(4:36) 8. Into the Breach
(4:23) 9. Walk in My Shoes (Dedicated to John Lewis)
(4:15) 10. Heroes

The Lights Are Always On is pianist/composer Lynne Arriale’s 16th album as leader, and her third recording on Challenge Records International. Lynne’s original music is a suite of compositions that reflect the world-wide, life-changing events of the past two years. Several of the pieces are named in honor of heroes around the world, including those who served as caregivers on the front lines of the COVID pandemic and as defenders of democracy. On this session Lynne is joined by bassist/co-producer Jasper Somsen and drummer E.J. Strickland, both outstanding, in-demand musicians on the international jazz scene. The trio creates the sort of engrossing musical conversation that has become a trademark of Lynne’s groups.

Lynne’s ten original, highly evocative compositions begin with the persistent Afro-Cuban influenced “March On,” a tribute to activists worldwide. “The Lights Are Always On” features a lyrical melody in perpetual motion; the foundation of a thematic arc that soars over the entire piece. It is followed by the jubilant, gospel-influenced “Sisters.” Lynne’s dedication to Lt. Colonel Alexander Vindman, “Honor,” is the melding of two engaging melodic ideas; each reinforcing the other. Together they convey the heroic character and unwavering strength of this American patriot. “Loved Ones” expresses joyful appreciation for those who are precious to us.

The set continues with “Sounds Like America,” where Lynne creates an optimistic melody and solo, culminating in a celebratory chordal finish. “The Notorious RBG,” is an exuberant dedication to Ruth Bader Ginsburg, assertively propelled by drummer E.J. Strickland. Following that, Lynne and Jasper deftly navigate the angular harmonic construction of “Into the Breach,” Lynne’s ominous remembrance of the January 6th Insurrection and the heroes that saved democracy on that day. “Walk in My Shoes,” a dedication to civil rights icon John Lewis, reflects the tenacity and strength of this remarkable leader. Lynne begins her solo with two motivic statements, which she skillfully integrates into a cohesive, powerful performance. The album concludes with “Heroes”, a heartfelt ballad composed in recognition of those who enlightened a very dark period in our history, and who embody the greatest humanistic virtues of mankind.

The title of the project was inspired by Dr. Prakash Gada, an esophageal and robotic surgeon in Tacoma, Washington. Lynne explained, “This collection was inspired by the doctor and all front-line health care workers. For me, Dr. Gada crystallized the workers’ heroism; each day bearing the risk of personal infection, and enduring the emotional toll of staggering caseloads presented by this global crisis. Nevertheless, the doctor said, ‘Here I am back at work after COVID...I fled Kuwait after the invasion. No matter what happens, no one works at home. The lights are always on. Babies are being born; bones are being set. This hospital, this profession…..we are in a league of our own; we’ll take care of you, I promise. I stand next to the most fearless people I have ever seen.’ ”

“Dr. Gada’s words deeply moved me and evoked memories of 9/11. In the aftermath of that attack, I remembered the rescue workers who ran into the towers without hesitation or concern for their personal safety, and thought, ‘Who are these angels?’ Clearly, the angels of our time are Dr. Gada and all health care workers, professionals and volunteers alike, who battle COVID-19.

“Dr. Gada’s ‘lights’ illuminate hospitals and emergency care facilities. But there is also spiritual light in the humanity, compassion, and courage of Dr. Gada and all our angels; shining brightly and eternally, even in the midst of devastation and loss.”

“There is always reason to believe in that light; the inherent goodness of people. It shines in those leaders who spoke truth to power and stood up for what is right. They changed the world, often jeopardizing their careers, and in some cases, their lives.

“In appreciation of these heroes I offer this musical tribute. It is dedicated to our loved ones, and to our better angels; those who embrace truth, compassion, and inclusivity, and reject selfishness, lies, and hatred. It also acknowledges the marchers, my beautiful sisters worldwide, and the heroes of science and medicine who have sacrificed so much.

"The album also expresses my special admiration for the character of Representative John Lewis, Lt. Colonel Alexander Vindman, Supreme Court Justice Ruth Bader Ginsburg and the patriots of the Capitol Police who stepped into the breach risking their lives to defend our elected representatives and our democracy during the January 6, 2021 Insurrection.” https://www.challengerecords.com/products/16366427482046

The Lights Are Always On

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Doc Cheatham & Nicholas Payton - S/T

Bitrate: MP3@320K/s
Time: 62:17
Size: 142.6 MB
Styles: Trumpet jazz
Year: 1997
Art: Front

[5:53] 1. How Deep Is The Ocean
[3:35] 2. Jeepers Creepers
[8:40] 3. Stardust
[3:21] 4. I Gotta Right To Sing The Blue
[2:21] 5. Dinah
[4:45] 6. Save It Pretty Mama
[3:26] 7. Do You Believe In Love At Sigh
[3:58] 8. Jada
[4:20] 9. I Cover The Waterfront
[3:16] 10. Maybe
[4:42] 11. Black And Blue
[6:02] 12. Out Of Nowhere
[4:53] 13. She's Funny That Way
[2:59] 14. The World Is Waiting For The S

This matchup between trumpeters Doc Cheatham (91 at the time) and Nicholas Payton (just 23) is quite logical and delightful. Cheatham, one of the few survivors of the 1920s, was still in remarkably fine form, while Payton (a flexible New Orleans player capable of ranging from Dixieland to Freddie Hubbard) is both respectful and inspiring. With Doc contributing occasional vocals and the settings ranging from a quartet to an octet with clarinetist Jack Maheu and pianist Butch Thompson, the brassmen explore a variety of 1920s and '30s standards, including a couple of obscurities ("Do You Believe in Love at Sight?" and "Maybe"). The interplay between the co-leaders, the many subtle tributes to Louis Armstrong, and the consistent enthusiasm of this swinging set make this a historic success and a very enjoyable outing. ~Scott Yanow

Doc Cheatham & Nicholas Payton

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Robert Hurst - Presents: Robert Hurst

Styles: Jazz, Post Bop
Year: 1992
File: MP3@256K/s
Time: 67:09
Size: 123,2 MB
Art: Front

(6:20) 1. Down 4 the Cause
(6:28) 2. Detroit Red
(6:36) 3. Aycrigg
(4:41) 4. Joyce Faye
(1:23) 5. Incessant Lullaby
(7:53) 6. The Snake Charmer
(2:55) 7. Evidence
(5:54) 8. Walk of the Negress
(7:59) 9. Blue Freeze
(6:45) 10. Bert's Flirt
(7:24) 11. Devil's Night in Motown
(2:46) 12. Incessant Lullaby.... Bye

This set finds bassist Robert Hurst leading the Tonight Show All-Stars (with Branford Marsalis on various reeds and pianist Kenny Kirkland), plus trumpeter Marcus Belgrave and guest Ralph Miles Jones III (on bass clarinet and bassoon) through 11 of his originals and a solo bass version of Thelonious Monk's "Evidence." The music is complex and hard-driving, but the improvisations are rather cold and sometimes boring. Hurst, a superior bassist, is not a superior composer, and his compositions at best set moods. Of the supporting cast, the most distinctive voices are Belgrave and Jones; the latter has a colorful bass clarinet solo on "The Snake Charmer." This is a decent effort, but not all that essential.~Scott Yanowhttps://www.allmusic.com/album/robert-hurst-presents-robert-hurst-mw0000098147

Personnel: Bass – Robert Hurst; Bass Clarinet, Bassoon – Ralph Miles Jones III; Drums – Jeff "Tain" Watts; Piano – Kenny Kirkland; Sopranino Saxophone, Alto Saxophone, Tenor Saxophone, Clarinet – Branford Marsalis; Trumpet, Flugelhorn – Marcus Belgrave

Robert Hurst Presents: Robert Hurst

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Mindi Abair - Forever

Styles: Saxophone, Vocal
File: MP3@320K/s
Time: 42:26
Size: 111,1 MB
Art: Front

(3:56) 1. Fine Wine And Vinyl
(3:45) 2. Call Me By Your Name
(5:16) 3. Forever
(3:51) 4. Alive
(4:41) 5. Say It With Love
(4:24) 6. April (Radio Edit)
(3:58) 7. What About Love?
(4:18) 8. Where There's A Woman There's A Way
(4:11) 9. Nothing Ever Hurt Like You
(4:03) 10. Midnight In San Francisco

I recorded this album as the world shut down around us in March 2020. This is a very personal album, and it represents a coming back to myself as a solo artist and feeling the strong sense of knowing who I am and what I stand for. It feels like a chant ... a statement of power, Mindi Abair Forever!”~Mindi Abair https://www.mindiabair.com/

Personnel: Mindi Abair - Vocals, Alto Saxophone, Tenor Saxophone, Baritone Saxophone

Forever

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Herbie Hancock, Tony Williams, Ron Carter - The Herbie Hancock Trio

Styles: Piano Jazz
Year: 1977
File: MP3@320K/s
Time: 46:14
Size: 106,2 MB
Art: Front

(12:25)  1. Watch It
(13:06)  2. Speak Like A Child
( 6:20)  3. Watcha Waitin For
( 7:42)  4. Look
( 6:40)  5. Milestones

Herbie Hancock Trio is an album by Herbie Hancock released in September 21, 1977 in Japan. It features performances by Hancock with Ron Carter and Tony Williams. A second selection of six tracks recorded by the trio during the same day's sessions was released under Ron Carter's name as Third Plane. This is the first of two albums with the same title. A second Herbie Hancock Trio, featuring the same personnel, was released in 1982. https://en.wikipedia.org/wiki/Herbie_Hancock_Trio_(1977_album)

Personnel:  Herbie Hancock – piano;  Ron Carter – bass;  Tony Williams – drums

The Herbie Hancock Trio

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Dave Brubeck - Brubeck A La Mode

Styles: Piano Jazz, Cool Jazz
Year: 2006
File: MP3@320K/s
Time: 38:28
Size: 89,8 MB
Art: Front

(3:25)  1. Dorian Dance
(3:52)  2. Peace Brother
(4:54)  3. Invention
(5:21)  4. Lydian Line
(1:42)  5. Catch-Me-If-You-Can
(5:58)  6. Frisco Fog
(2:44)  7. The Piper
(3:22)  8. Soliloquy
(3:07)  9. One For The Kids
(3:59) 10. Ballade

One of Brubeck's three recordings of the 1959-61 period that featured clarinetist Bill Smith in the place of altoist Paul Desmond with the Quartet, this one finds Smith contributing ten originals that use various modes and unusual scales. The music generally swings and there are some fine solos but none of the individual pieces are all that memorable. ~ Scott Yanow http://www.allmusic.com/album/brubeck-a-la-mode-mw0000320166

Personnel: Dave Brubeck (piano); Bill Smith (clarinet); Eugene Wright (bass); Joe Morello (drums).

Brubeck A La Mode

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Roy Eldridge and His Central Plaza Dixielanders - Swing Goes Dixie

Styles: Trumpet Jazz, Swing
Year: 1956
File: MP3@320K/s
Time: 74:01
Size: 170,9 MB
Art: Front

(5:38) 1. That`s A Plenty
(6:19) 2. Royal Garden Blues
(4:44) 3. The Jazz Me Blues
(7:35) 4. Tin Roof Blues
(5:34) 5. Struttin` With Some Barbecue
(7:42) 6. (What Did I Do To Be So)Black And Blue
(5:11) 7. Bugle Call Rag
(4:45) 8. Ja-Da
(5:48) 9. Royal Garden Blues [Alternate Take]
(3:21) 10. Baby, What's the Matter with You (Bonus Track)
(2:56) 11. Yard Dog (Bonus Track)
(2:52) 12. Sweet Lorraine (Bonus Track)
(2:49) 13. Jumbo the Elephant (Bonus Track)
(4:01) 14. Music for the Stripteaser (Bonus Track)
(4:40) 15. Sprang (Bonus Track)

The complete original album Swing Goes Dixie (Verve MGV1010), presenting the great Roy Eldridge in an unusual context as the leader of a group playing mostly traditional and Dixieland jazz. The group consists of a sextet, which also features trombonist Benny Morton, and two stars from the classic Count Basie rhythm section: Walter Page and Jo Jones.

As a bonus we have added one complete session that was also recorded for Verve a few years earlier. The date showcases Eldridge in a very similar mood to that of our main album.We have also included the only two tracks featuring Eldridge from a Ralph Burns LP.https://www.jazzmessengers.com/en/8767/roy-eldridge/swing-goes-dixie

Personnel: Roy Eldridge - trumpet; Benny Morton - trombone; Eddie Barefield - clarinet; Dick Wellstood - piano; Walter Page - bass; Jo Jones - drums

Swing Goes Dixie

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Riccardo Arrighini, Paolo Benedetti, Michela Lombardi - La Donna Cannone

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 79:21
Size: 186,3 MB
Art: Front

( 8:20) 1. E Lucean le Stelle
( 9:31) 2. La Donna Cannone
( 7:23) 3. Anatolia
(11:31) 4. Sous le Ciel de Paris
(10:00) 5. E Dimmi Che Non Vuoi Morire
( 7:27) 6. Giu' la Testa
( 5:51) 7. Nel Respiro
( 6:00) 8. Last Tango in Paris
( 8:30) 9. On the Trail
( 4:43) 10. Dream Youfr Fears Away

Riccardo Arrighini is the pianist who fused Classical music with Jazz. With its arrangements, it aims to bring a breath of fresh air to the works of the great composers, passing through the culture and thirty years of experience of studied, played and taught music. Two enormous heritages such as classical and jazz, two basic cultures such as European and American blend in him in a pianism that is finally free from schemes and barriers. He was born in Viareggio on August 28, 1967. He began studying classical piano at the age of seven and after a few months he won the national competition for young pianists in Osimo. After graduating from the 5th year of studies, he obtained admission as an intern at the Conservatory â € œL.Boccheriniâ € in Lucca, where he graduated with full marks in 1986, under the guidance of Prof. Clara Cesa Luporini. After a few years in which he toured all over Italy with pop or dance music orchestras, and as an accompanist for opera singers, he began studying jazz in 1990 at the â € œSiena jazzâ € seminars held by maestro Enrico Pieranunzi and at the summer courses â € œUmbria jazz Clinicsâ € in Perugia, where he won a scholarship to travel to the USA.

In 1991 he enrolled at the Berklee College of Music in Boston, MA - USA, where he attended a semester and where he had the opportunity to take his first professional steps in the world of jazz. After two years of stopover, during which he plays in the best Tuscan clubs, he returns to Boston and studies privately with masters Jerry Bergonzi and Hal Crook for another semester (1993). Between 1995 and â € ™ 97 he attended the Siena Jazz â € œHigh Professional Qualificationâ € courses, held by Mo Stefano Battaglia and where he graduated in 1997.

In 1996 he participated in the television program â € œMedicine a comparisonâ € by Daniela Rosati, broadcast on Retequattro and â € œBaciami Versiliaâ € by Gianni MinÃ, broadcast on Raidue. In the same period he won the â € œBarga jazz 1996â € competition with his trio for the section dedicated to new talents. He then begins to propose himself, as well as an improviser, also as a composer performing a repertoire of only original pieces that will lead to the first recordings of him in his name. In 1999 and 2000 he was called by maestro Bruno Tommaso to be part of the Barga Jazz orchestra, where he had the opportunity to meet and play with some of the most important names in the Italian jazz scene.

In 2003 the meeting with the 14 year old Sicilian, and extraordinary sax talent, Francesco Cafiso, personally invited by Maurizio Costanzo to the Canale 5 studios, for the transmission â € œfriendsâ € by Maria de Filippi and â € œBuona Domenicaâ €. An excellent human and musical partnership was born immediately between the two. In 2004 he plays with Cafiso at the summer edition of Umbria Jazz and the official quartet of the saxophonist is formed with Arrighini on the piano, Aldo Zunino on the bass and Stefano Bagnoli on the drums. The quartet, from 2004 to 2007, will play in the most important Italian and world jazz festivals. The collaboration with Cafiso ends in early 2008. Since 2006 he has had a trio in his name, with Riccardo Fioravanti on bass and Stefano Bagnoli on drums, with whom he recorded the cd â € œCambio di Marciaâ € presented at â € œUmbria jazz â € ˜07â €.

In 2007 he elaborates a double project on the figure of Giacomo Puccini, solo piano and orchestra, which obtains the support of Umbria Jazz and the Pucciniano Festival Foundation with which in 2008 he participates in important international concerts in the IICs of Tokyo, Kyoto, London, Amsterdam, Stockholm Ankara and Izmir and recorded two discs, "Puccini jazz. Recondite harmonie" (piano solo) and "Puccini jazz: E lucevan le stelle" (trio plus Orchestra dei Solisti di Perugia). With the aforementioned orchestra he participates in events of great media importance such as the "International Music Festival" (21.6.'08) in Perugia, where for the occasion the church of San Francesco al Prato is reopened - formerly the temple of UJ for concerts historians such as Sting & Gil Evans of '87 - and Umbria jazz '08 at the Morlacchi theater.

In August '08 he took part in the important "Ischia Piano Jazz" festival, sponsored by UJ, a solo piano festival alongside Danilo Rea, Enrico Pieranunzi and Stefano Bollani. In 2008 he comes out with a new reworking of great classics, â € œVivaldi Jazz: Le 4 Stagioniâ €, in piano solo and trio, whose tour starts in June â € ™ 09 and will touch all of Italy. For many years he has been successfully dedicated to teaching classical and jazz with students who come from all over Italy. He has reworked all the techniques of jazz harmony and improvisation, learned in the seminars and schools mentioned above, merging and reworking them in his own very personal method. For about 3 years he has been holding workshops and seminars in the Conservatories and in the Italian and foreign Music Study Centers based on the fusion between Jazz and Classical. Of note is the one held in 2006 in San Paolo (Brazil) at the Antonio Carlos Jobim Study Center. https://www-amicidellamusicamilano-it.translate.goog/artisti/a/RiccardoArrighini.html

La Donna Cannone

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Carol Sloane - Live At Birdland

Styles: Vocal
File: MP3@320K/s
Time: 72:21
Size: 166,0 MB
Art: Front

(4:36) 1. Havin Myself A Time
(5:57) 2. Blue Turning Grey Over You
(6:13) 3. I Dont Want To Walk Without You
(4:58) 4. As Long As I Live
(7:57) 5. Glad To Be Unhappy I Gotta Right To Sing The Blues
(5:28) 6. If I Should Lose You
(4:48) 7. You Were Meant For Me
(6:55) 8. The Very Thought Of You
(8:23) 9. You're Driving Me Crazy
(6:13) 10. Two For The Road
(4:23) 11. Wrap Your Troubles In Dreams
(6:26) 12. I'll Always Leave The Door A Little Open

Marks the veteran vocalist's 60th anniversary as a recording artist, and her first album in over a decade. Accompanied by all-star jazz trio Mike Renzi on piano, Jay Leonhart on bass, and Scott Hamilton on sax. "Havin' Myself a Time," "Blue Turning Grey Over You," "I Don't Want to Walk Without You," "As Long As I Live," "Glad to Be Unhappy/ I Got a Right to Sing the Blues," "If I Should Lose You," "You Were Meant for Me," "The Very Thought of You," "You're Driving Me Crazy," "Two for the Road," "Wrap Your Troubles in Dreams," "I'll Always Leave the Door a Little Open."

Recorded in 2019. Produced by Joel Moss and Mark D. Sendroff. Liner notes by James Gavin. Sloane: A Jazz Singer, the documentary feature film profiling Carol Sloane's remarkable career and the creation of this album, is currently in production. https://www.broadwayworld.com/recordings/Carol-SloaneLive-at-Birdland-2022-Club44-Records

Personnel: Carol Sloane vocal; Mike Renzi on piano, Jay Leonhart on bass, and Scott Hamilton on saxophone.

More Information https://www.broadwayworld.com/article/Club44-Records-Releases-New-Album-from-Carol-Sloane-Live-at-BIRDLAND-20220408

Live At Birdland

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Jeremy Steig - Fusion

Styles: Flute Jazz
Year: 1970
File: MP3@320K/s
Time: 78:03
Size: 179,5 MB
Art: Front

(4:39) 1. Home
(4:52) 2. Cakes
(4:12) 3. Swamp Carol
(4:50) 4. Energy
(4:14) 5. Down Stretch
(6:47) 6. Give Me Some
(8:02) 7. Come With Me
(2:22) 8. Dance Of The Mind
(5:23) 9. Up Tempo Thing
(5:55) 10. Elephant Hump
(3:03) 11. Rock #6
(6:33) 12. Slow Blues In G
(5:50) 13. Rock #9
(4:14) 14. Rock #10
(7:02) 15. Something Else

Fusion pairs the entirety of Jeremy Steig's landmark 1971 Capitol release Energy alongside unreleased material from the same sessions. Energy is a miracle of alchemy Jeremy Steig transforms his flute from the ethereal to the elemental, forging a heavy, deeply funky jazz-rock record that defies gravity. Paired with keyboardist Jan Hammer, bassists Gene Perla and Eddie Gomez, and drummer Don Alias, Steig creates Technicolor grooves that float like butterflies and sting like bees.

His music doesn't so much fuse jazz and rock as it approaches each side from the perspective of the other, exploring their respective concepts and executions to arrive at a sound all its own. If anything, the tonal restrictions of Steig's chosen instrument push him even farther into the unknown, employing a series of acoustic and electronic innovations to expand the flute's possibilities seemingly into the infinite. While some of the unissued content here is no less astounding, as a whole Fusion feels like too much of a good thing; one can't help but miss the focus and shape of Energy in its original incarnation.~Jason Ankenyhttps://www.allmusic.com/album/fusion-mw0001883206

Personnel: Jeremy Steig - Flute, Flute (Alto), Piccolo; Eddie Gomez - Bass (Electric); Jan Hammer - Gong, Piano (Electric); Don Alias - Percussion, Conga, Drums; Sonny; Gene Perla - Bass, Bass (Electric)

Fusion

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Jared Gold - Out Of Line

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 50:55
Size: 117,8 MB
Art: Front

(5:32)  1. An Aperitif
(6:20)  2. Preachin'
(4:57)  3. Out Of Line
(4:52)  4. You Haven't Done Nothin'
(5:33)  5. It Is Well
(5:15)  6. Down South
(5:45)  7. The Stone Age
(5:44)  8. La-La (Means I Love You)
(6:52)  9. Skylark

Despite the implications that live within a title like Out Of Line, organist Jared Gold's third Posi-Tone release is rather in tune with the history and vibe of organ groups and all that goes with them. Gold is joined by some top notch east coast talent, in the form of guitarist Dave Stryker, drummer Mark Ferber and saxophonist Chris Cheek, and all four musicians seem to gel well from the very start. Gold might have eclectic tastes, with covers ranging from Hank Mobley's "An Aperitif" to Stevie Wonder's "You Haven't Done Nothin,'" but he covers nearly every style in the organ group playbook as he works his way through this nine-song program. The Mobley tune, originally on the saxophonist's lesser-known Third Season (Blue Note, 1967), starts things off with a bang. Gold and Cheek are as tight as can be, as they work their way through the head on this up-tempo number. 

Funk is a healthy part of any organ group's diet and Gold delivers the goods with "The Stone Age" and "You Haven't Done Nothin,'" the Wonder tune coming across as a looser, riff-based workout, while Gold's original is a bit more substantial. Cheek leads the charge, while the rhythm section has some greasy groove-making going on beneath him; the overall sound like a less aggressive version of Joshua Redman's Elastic Band. "Preachin'" is a superb gospel-soul number which highlights Gold's playing and writing, while "It Is Well" is churchy in a different, more reverent manner. This understated number sounds like a jazz take on a hymn, and it shows off a different side of Gold's personality. While Ferber's drums hint at bossa nova on the title track, nothing else on the disc really speaks of Brazil.  A soothing take on The Delfonics' "La-La (Means I Love You)," and an odd-metered arrangement of "Skylark" close the album. Gold's performance of The Delfonics' megahit reflects the understated quality of their rendition; "Skylark," on the other hand, is reshaped and molded to Gold's liking. Cheek and Gold are both in fine form on this one, and Ferber even gets to solo over an energized vamp, as the album draws to a close. ~ Dan Bilawsky https://www.allaboutjazz.com/out-of-line-jared-gold-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Jared Gold: Hammond B3; Dave Stryker: guitar; Chris Cheek: tenor saxophone; Mark Ferber: drums.

Out Of Line

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Mindi Abair - Always and Never the Same

Styles: Vocal And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 34:42
Size: 79,5 MB
Art: Front

(3:25)  1. Good
(3:13)  2. Maybe I
(3:39)  3. Happy
(3:28)  4. Wish I Could
(4:04)  5. True Love
(4:12)  6. First Kiss
(3:29)  7. Free 2000
(4:22)  8. Always and Never the Same
(4:48)  9. Heaven

Born on tour into a musical family, Mindi Abair was playing piano by the age of five. Within three years, she was playing saxophone and writing songs. She made her way through Berklee performing all kinds of music from jazz to rock and R&B. Upon moving back to Los Angeles, Abair started her own band. She also took on session work with artists as diverse as the Gap Band, Adam Sandler, Mandy Moore, John Tesh, Teena Marie, and the Backstreet Boys. During this time, she worked on creating her own sound and released her debut disc in 1999. The Backstreet Boys connection really paid off for her, and her website and CD (entitled Love) took off. The year 2000 saw the release of the follow-up, Always and Never the Same, and shortly thereafter, Abair signed with GRP Records. A sophomore effort, It Just Happens That Way, was issued in 2003. "Lucy's," "Save the Last Dance," and the album's title track went on to impact Top Ten radio. A year later, Abair returned with Come as You Are, her second set produced with her writing partner Matthew Hager. In 2006, Abair released Life Less Ordinary, which featured guest vocals from Lalah Hathaway and Keb' Mo', and also performed at the Governor's Ball, the official Oscars afterparty. The following year, she appeared on guitarist Peter White's (with whom she had performed frequently) Christmas album, but 2008 saw a return to her solo material (and an introduction to Abair as a singer) with Stars. In 2010, Abair delivered the soul-jazz-inspired In Hi-Fi Stereo, which once again featured a mix of instrumental jazz with a few Abair vocal numbers. Abair returned in 2014 with her seventh studio album, Wild Heart, which featured guest spots from Keb' Mo', Joe Perry, Booker T. Jones, and Gregg Allman. It debuted at number one on the jazz album chart, and received a Grammy nomination for Best Contemporary Instrumental Album. In March of 2015, she recorded a live album, Mindi Abair & the Boneshakers: Live in Seattle. Her backing band is actually an all-star, standalone touring and recording unit that includes former Was (Not Was) members Randy Jacobs on guitar and vocalist Sweet Pea Atkinson. The album was released the following September by Concord. ~ Gary Hill https://www.allmusic.com/artist/mindi-abair-mn0000495456/biography 

Always and Never the Same

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Bobby Timmons - Do You Know The Way?

Styles: Piano Jazz
Year: 1968
File: MP3@320K/s
Time: 40:55
Size: 95,5 MB
Art: Front

(5:54) 1. The Spanish Count
(5:38) 2. I Won't Be Back
(4:25) 3. Last Night When We Were Young
(4:08) 4. Do You Know The Way To San Jose?
(7:44) 5. Come Together
(5:01) 6. Something To Live For
(4:26) 7. Soul Time
(3:35) 8. This Guy's In Love With You

Bobby Timmons came out of Philadelphia at age 19, with a funky gospel tinged piano style, flavored with blues and hard bop. He would, in a recording career that would only span a short time frame, contribute to some of the best recordings on the legendary Blue Note sessions of the ’50’s , and be a member of two of the premier bands of that time, Art Blakey and the Jazz Messengers, and the Cannonball Adderley Quintet.

Robert Henry Timmons was born in Philadelphia in 1935, raised by his grandfather who was a minister in a church. The young Timmons began formal piano lessons at age six, and was the organist at his grandfathers’ church. This early formative period would certainly be a factor in his piano approach. He was be able to innovate and improvise on his gospel foundations and brought them into jazz. He had the lyricism of a Bud Powell in his solos, (who didn’t in the 50’s) combined with a very dominant left hand which was reminiscent of the stride and boogie players, but it was his sense of that down home chording and timing that really identified him.

His musical resume for the period between 1956 and 1969 is very impressive. He was with Kenny Dorham and the Jazz Prophets in 1956, which also included Kenny Burrell on guitar. In the years ’56 through ’57 he was with Chet Baker. The year 1957 would be a very productive and busy one as he worked and recorded with Hank Mobely, Sonny Stitt, Lee Morgan, and Curtis Fuller. In the same year and into ’58 was in Maynard Fergusons’ band, and also did session dates with Art Pepper and Kenny Burrell. He took over the piano chair in Art Blakey and the Jazz Messengers in 1958 at the age of 23. It was in period, that he wrote the classic “Moanin”, that would be a defining tune for that band, and one of his signature tunes throughout his career. He jumped over to the Cannonball Adderley Quintet in ’59 where he then wrote two big hits for them in “Dis Here” and “Dat Dere”. He stayed with Addelry into ’60 then rejoined the Messengers.

He stayed with the Messengers into ’61 then he began a solo career and worked with a trio format for a lot of his own recordings which continued up to 1969. Also in ’60 he did a lot of work with Nat Adderly, Arnet Cobb, The Young Lions, Lee Morgan, and Johnny Griffin. His output was amazing for the time, as it seems in looking at the chronological order of dates, he must have been constantly in the studio, this not counting the live dates on the road. His work is available on the Blue Note, Prestige, and Riverside labels, and many others as reissues and compilations. Quite an achievement by any standard! During the mid 60’s he would continue as leader of his own band and recording trios, and produced an extensive body of work in that period alone. He was able to find work in the smaller venues and clubs into the early ‘70’s where he was still in demand. His piano style would go on to influence Les McCann and Ramsey Lewis, and certainly a lot of the players in the ‘70’s with what would later be called funky or soul fused variations.

Bobby Timmons died of liver ailments in New York in 1974, at the age of 38. Though many would be led to believe that he was just another tragic figure in the annals of jazz, I don’t adhere to that line of thought, and measure and admire the man for his sheer volume of work, his participation and contribution with two of the best ensembles, and his influence, to whatever degree in jazz piano. https://www.allaboutjazz.com/musicians/bobby-timmons

Personnel: Bobby Timmons - piano; Joe Beck - guitar; Bob Cranshaw - electric bass; Jack DeJohnette - drums

Do You Know The Way?

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Joe Lovano - Cross Culture

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 61:45
Size: 142,3 MB
Art: Front

(6:17)  1. Blessings In May
(4:59)  2. Myths And Legends
(6:35)  3. Cross Culture
(4:28)  4. In A Spin
(7:33)  5. Star Crossed Lovers
(5:41)  6. Journey Within
(4:21)  7. Drum Chant
(5:17)  8. Golden Horn
(5:54)  9. Royal Roost
(2:43) 10. Modern Man
(7:51) 11. PM

Joe Lovano's third album featuring his Us Five quintet, 2013's Cross Culture, furthers the adventurous collective aesthetic the saxophonist developed on 2009's Folk Art and 2011's Bird Songs. Once again working with drummers Francisco Mela and Otis Brown III, pianist James Weidman, and bassist Esperanza Spalding, Lovano also employs bassist Peter Slavov on a few tracks here, as well as West African guitarist Lionel Loueke. The result is an album of exploratory jazz that is often more about group interplay on various musical themes rather than straightforward improvisation on melodic compositions  though there is that, too. Tracks like the frenetic "In a Spin" and the sinewy, rambling "Journey Within" sound like Lovano and Loueke might have written them on the spot together and, though thoughtfully composed, evince a conversational, stream-of-consciousness approach. 

Elsewhere, cuts like the ruminative and languid "Journey Within" and the atmospheric, dreamlike "Golden Horn" move back and forth from group interplay to extended solo sections. The musical boundary-crossing title of the album takes on more significance on "Drum Chant," in which Mela, playing the West African balafon (a kind of wooden xylophone), and Brown build an insistent rhythmic palette over which Lovano and Loueke add their knotty, free-leaning improvisational lines. Interestingly, Lovano switches to the double-soprano "autochrome" for his solo on "In a Spin," creating a bright, almost atonal sound that jumps out at you halfway through the track. The autochrome's sound also acts as a kind of response to Loueke's harplike, synthesizer-esque guitar style. In fact, both Loueke and Spalding utilize a percussive style here that complements the two-drummer approach and allows Lovano, who has always leaned more on the rhymically slippery, harmonically advanced end of the spectrum, a large musical bed to spring from. Ultimately, that's what Cross Culture is all about. ~ Matt  Collar   http://www.allmusic.com/album/cross-culture-mw0002460660

Personnel: Joe Lovano (tenor saxophone, shaker, gong); Lionel Loueke (electric guitar); Francisco Mela (whistle, balafon, drums); James Weidman (piano); Otis Brown III (drums).       

Cross Culture

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Manhattan Trinity - Alfie

Styles: Jazz, Post Bop
Year: 2004
File: MP3@320K/s
Time: 55:30
Size: 128,6 MB
Art: Front

(5:47) 1. Alfie
(6:15) 2. Another Star
(4:02) 3. St. Thomas
(6:10) 4. Mack the Knife
(4:19) 5. I'm Through With Love
(4:53) 6. Mercy Mercy Mercy
(5:06) 7. Doxy
(7:34) 8. If You Could See Me Now
(5:00) 9. Stand By Me
(6:20) 10. Send One Your Love

The fifth work of Manhattan Trinity, which has been gradually powered up. Cyrus Chestnut, an immovable member of George Mraz (b) and Lewis Nash (ds), has been recognized by Ray Bryant as the legitimate successor to the black funky piano. In this work, jazz-born "lonely genius" Sonny Rollins challenges the number that has left eternity, and Nash, who has a reputation for percussive performance, has created a splendid Latin rhythm. Nowadays, there are no bebop drummers, and in an era when the generations below Nash with a new sensation occupy the majority, such a new swing feeling is created here as well.

The charm of this band is that Cyrus Chestnut, George Mraz & Lewis Nash are playing on an equal footing. This is the sixth work, a song selection centered on the Sonny Rollins repertoire. Two songs by Stevie Wonder. It's an elegant trio performance.
https://www-hmv-co-jp.translate.goog/artist_Manhattan-Trinity_000000000186454/item_Alfie_1881980

Personnel: Cyrus Chestnut - Piano; George Mraz - Bass; Lewis Nash - Drums.

Alfie

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Ron Carter, Gonzalo Rubalcaba, Jack DeJohnette - Skyline

Styles: Jazz, Bop
Year: 2021
File: MP3@320K/s
Time: 60:39
Size: 139,2 MB
Art: Front

(6:51) 1. Lagrimas Negras
(9:02) 2. Gypsy
(6:41) 3. Silver Hollow
(6:43) 4. Promenade
(3:26) 5. Novia Mia
(4:45) 6. Quite Place
(7:36) 7. Ahmad the Terrible
(7:54) 8. Siempre Maria
(7:36) 9. RonJackRuba

Substantial yet serene, sophisticated yet soothing, Skyline oozes with the earthiness of New York City. Here, Ron Carter, Jack DeJohnette, and Gonzalo Rubalcaba merged their broad skills into an assemblage of erudite conversations, each package wrapped with beauty and delicate care. Of the many common threads heard in this collection, none could be more precious than time. Yes, of course, the trio had a wealth of rich pockets, but the reference is made to time of another nature. They were in no rush. They let the music develop at its own pace. Good things come to those who wait. In the case of Skyline, that would be great things.

Befitting a long overdue reunion, the trio chose to play with old friends. Familiar tunes were reimagined and reenergized with the clearly abundant joy of playing together. A snareless DeJohnette created the necessary Afro-Cuban bolero feel for the timeless standard "Lagrimas Negras." Rubalcaba crescendoed softly and again vigorously, while Carter deftly raised the conversational bar. Carter then reached into his hip-pocket for "Gypsy." A tune first recorded some forty years ago with Chick Corea and DeJohnette, had a luster to it, a shiny new coat. Carter's walking bass allowed Rubalcaba to freely move about. Articulating every note, Rubalcaba again took his time, and explored the boundaries of Carter's stellar composition. It was time for DeJohnette to look into his treasure trove. Out came "Silver Hollow." Well sequenced, Rubalcaba was now able to move deeply in turnabout. The mesmerizing tune heightened his emotional scale, eliciting a heartfelt dive, anchored by Carter's steady, sturdy core. Years before, Rubalcaba wrote a piece dedicated to Carter. There was an entirely different vibe this time around with Carter actually playing on "Promenade." The circumstances and the depth of composition coupled to keep the sentiment and warmth of the recording session intact.

After a return to the Afro-Cuban sound of "Novia Mia," the trio transitioned to "A Quiet Place." This vintage Carter work of art was given a makeover. Its appeal, however, was mostly steeped in the grace of connectivity. The trio had reached a zenith of collective happiness and ease of conversation. In 1984, DeJohnette had honored Ahmad Jamal in song with his composition, "Ahmad the Terrible." Rubalcaba had both the pleasure and the challenge of adding his own voice, while capturing a screen shot of Jamal. With DeJohnette's groovy patterns and flair to play off, Rubalcaba moved brightly and boldly, succeeding on both counts. While Carter, forever the centerpiece, the rock, the engaging conversationalist, propelled the vocabulary. After the recording session was finished, or so they thought, the trio stayed in the studio and continued to play. They weren't recording anymore, just having fun noodling around together. Well, perhaps accidentally on purpose, it was still recording. It turned out to be the final track. "RonJackRuba" is the epitome of improvisation. Completely off the cuff, just messing with some grooves. It resulted in a cool fly-on-the-wall moment to be shared by all. ~Jim Worsleyhttps://www.allaboutjazz.com/skyline-gonzalo-rubalcaba-5passion

Skyline is a breath of fresh air, the very definition of jazz. Three cool cats chilling out and digging on each other. Skyline is a Grammy-worthy project.

Personnel: Gonzalo Rubalcaba: piano; Ron Carter: bass; Jack DeJohnette: drums.

Skyline

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Esther Kaiser - Water

Styles: Vocal
File: MP3@320K/s
Time: 54:06
Size: 125,0 MB
Art: Front

(0:48) 1. Vesi (Interlude)
(4:59) 2. Water
(5:30) 3. Duna
(4:28) 4. Wildfires
(4:21) 5. Salty River
(0:38) 6. The Tear (Interlude)
(5:24) 7. Lament of the King's Wife
(0:59) 8. Maji (Interlude)
(3:10) 9. The Sailor
(1:13) 10. Die Flut (Interlude)
(4:15) 11. Don't We Know Better
(3:54) 12. The Red Sea
(2:03) 13. Rain Dance (Interlude)
(5:04) 14. The Ocean's Song
(4:47) 15. Time's a River
(2:25) 16. Salty River - Epilog

The vocal artist and jazz vocalist Esther Kaiser has taken on a theme for her new album that as with the widely praised previous album “Songs of Courage” addresses an important aspect of our time, which is constantly in flux, in which nothing is more constant than the liquid, than the evaporation and liquefaction of everything solid and traditional: Water.

Esther Kaiser therefore takes the ancient and, from today’s perspective, of course not to be taken literally, quote from Thales of Miletus as a poetic-metaphorical image for her album: Water is the origin of all things. It´s the substance from which everything emerges and to which all things will return.

Thus, even the musically and lyrically multifaceted theme of the album repeatedly finds its way back to pure clarity and lightness, despite the shimmering socio-political and climate-related dimension that Kaiser does not disregard in her cleverly nuanced approach.

On this album, Kaiser transports listeners to a sound that is at once contemporary and urban, as well as to enraptured, almost fairy-like worlds of sound, thanks to the use of unusual sound sources such as the water-powered glass harp and extremely exciting musical guests such as Marie-Christine Gitman on oboe and English horn, the Berlin string quartet “Die Nixen” and the renowned trumpeter and multi-instrumentalist Sebastian Studnitzky.

The genesis of the album fits perfectly with the ancestral symbolism of water, which in many cultures is considered a threshold between (dream) worlds. “In the first Corona lockdown and during a prolonged period of drought in the spring of 2020, during which I had also read the book „The end of the ocean” by Norwegian author Maja Lunde, the song “Water” was created practically in my sleep,” says Esther Kaiser about her first initial inspiration for the new album, which could be described as no dream log. And adds: “I dreamed the melody and the complete lyrics of the chorus and wrote the idea down immediately after waking up. Very quickly, almost as if following a dream dictation, I then finished writing the piece. It was quickly joined by other compositions and lyrics, almost all of which were penned by me and my long-time musical companions Tino Derado and Marc Muellbauer. They’re not all explicitly about water, but on a more abstract level there are images, associations and analogies that connect the songs to the common theme"......More... https://www.glm.de/en/product/esther-kaiser-water/

Personnel: Esther Kaiser – voc/ synth/ glasharp/ glockenspiel; Tino Derado – piano/ accordion; Marc Muellbauer – doublebass; Roland Schneider – drums

Featured Guests: Marie Gitman – oboe/ englishhorn; Sebastian Studnitzky – trumpet; Die Nixen* – string quartet( * Rahel Rilling-violin1, Katharina Wildhagen-violin2, Kristina Menzel-Labitzke-viola, Nicola Springler-cello)

Water

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