Sylvia Brooks - Restless

Styles: Jazz
Year: 2012
Time: 49:02
File: MP3 @ 320K/s
Size: 112,7 MB
Art: Front

(4:50) 1. 'Round Midnight
(4:40) 2. Boulevard of Broken Dreams
(4:17) 3. You Go To My Head
(4:19) 4. Trouble
(4:33) 5. Last Tango
(4:14) 6. Be Cool
(4:58) 7. Blue Alert
(3:45) 8. Blues In the Night
(3:49) 9. You're My Thrill
(4:27) 10. Stormy Weather
(5:06) 11. I'm a Fool To Want You

Part the curtains and turn on the Klieg lights for singer Sylvia Brooks, whose second album, Restless, has the widescreen scope and orchestral sweep of a theatrical production. In fact, the record has the overall feel of a soundtrack for a film yet to be made. However, the kind of Hollywood movie this music recalls is certainly not of modern origin; rather, Brooks is paying homage to the film noir classics of the '40s and '50s. In terms of her image alone, Brooks certainly plays the part well; the CD case is enveloped in femme fatale imagery, capitalizing on her sultry looks but also experimenting with light and shadow to strike a black and white atmosphere. The visual element of the album is significant because it adds layers of mystery to the songs presented, placing these covers in a refreshingly pulpy context. Co-producers Brooks, Jerry Bergh and saxophonist Kim Richmond were certainly aware of the cinematic direction the songs were taking, as the opening "'Round Midnight" initially unfolds with ambulance sirens. The tune is given a James Bond kick as Brooks' larger-than-life voice recalls the booming soul of Shirley Bassey. The music sounds big, too, enveloping the speakers with its soaring horns and pounding drums. By the second cut, "Boulevard of Broken Dreams," Brooks plumbs the emotional depths of the material; there is a plaintive romanticism to her vocal work here that is absolutely dazzling. While many other jazz singers are reluctant to expand their range, Brooks shows remarkable courage in continually pushing herself. The boldly self-confident swagger of "You Go to My Head" is miles apart from the heartbroken fragility of "Boulevard of Broken Dreams"; nevertheless, Brooks doesn't lose any sharpness in her stylistic shifts. The quirky stop-start rhythms of "Trouble" may seem out of place from the lush, rain-swept balladry on the record. That's probably because it's not really jazz; the song is an original from Over the Rhine, first heard on The Trumpet Child (Great Speckled Dog, 2007), and echoes CIncinatti duo's alt-rock sensibilities. The gorgeous "Blues in the Night" is, on the other hand, more characteristic of the record's moody crooning. For an independent project, Restless is certainly ambitious; this is no paint-by-numbers jazz vocal showcase, but a fully realized movie score. ~ Jim Olin

Personnel: Sylvia Brooks: vocals; Rich Eames: piano; Jeff Colella: piano; Kevin Axt: bass; Chris Colangelo: bass; Kendall Kay: drums; Steve Hernandez: percussion; Brian Kilgore: percussion; Harry Scorzo: violin, bass violin; Jeff Gauthier: violin; Jamey Havorka: trumpet; George McMullen: trombone; Kim Richmond: saxophone; Alex Budman: saxophone; Ron Kolina: harmonica.

Restless

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Miles Davis - Miles! Miles! Miles! (Live in Japan)

Styles: Trumpet Jazz
Year: 1981
File: MP3@320K/s
Time: 74:56
Size: 161,1 MB
Art: Front

(20:18) 1. Back Seat Betty
( 2:01) 2. Ursula
(15:44) 3. My Man's Gone Now
(12:19) 4. Aida
(12:59) 5. Fat Time
(11:33) 6. Jean-Pierre

Issued in Japan in 1992, a year after Miles' death, this is the complete Tokyo concert from which "Jean-Pierre" was selected for Columbia's We Want Miles album. Ultimately, it adds corroborative detail to the most publicized comeback in jazz history without revealing any startling new facets. The repertoire is a bit different than on the Columbia release; the selections run together in two continuous medleys. "Back Seat Betty," a two-minute "Ursula," "My Man's Gone Now" and "Aida" ("Fast Track") form the first set, and "Fat Time" and "Jean-Pierre" are heard in the second.

The then-frail trumpeter is obviously still groping his way back to form, sounding particularly tentative on "Back Seat Betty," but his vulnerability adds pathos to the reworking of "My Man's Gone Now." His young jazz-funk-rock band, though, is strong and tightly-rehearsed, having settled in after the first few months of Miles' comeback concerts. Guitarist Mike Stern sets the pace for all future Davis guitarists with his rapid-fire metallic crunching, Bill Evans contributes pertinent, if somewhat generic statements on soprano and tenor; drummer Al Foster is adept in funk and straight-ahead styles; and bassist Marcus Miller and percussionist Mino Cinelu fill out the sound. Why this expensive import was issued on two discs when its 75-minute length would easily fit on one is a conundrum that only Sony's accountants can explain.
~Richard S.Ginellhttps://www.allmusic.com/album/miles%21-miles%21-miles%21-live-in-japan-81-mw0000421169

Personnel: Miles Davis – trumpet; Marcus Miller – bass; Bill Evans – soprano saxophone; Mike Stern – guitar; Al Foster – drums; Mino Cinelu – percussion

Miles! Miles! Miles! (Live in Japan)

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Larry Coryell - Live At The Sugar Club - Dublin, Ireland 2016 (Live)

Styles: Guitar
File: MP3@320K/s
Time: 109:30
Size: 251,4 MB
Art: Front

( 0:13) 1. Dar Introducing
(10:32) 2. Bag's Groove
( 1:26) 3. Larry Speaks
(11:33) 4. In Your Own Sweet Way
( 1:10) 5. Larry Speaks 2
( 9:47) 6. In A Sentimental Mood
( 9:38) 7. Good Citizen Swallow
( 0:56) 8. Larry Speaks 3
( 4:38) 9. A Hundred Years
( 8:25) 10. Alone Together
(10:01) 11. Someday My Prince Will Come
( 7:24) 12. Bumpin' On Sunset
( 6:50) 13. Have You Met Miss Jones
( 8:50) 14. The Dragon Gate
(12:15) 15. Our Love Is Here To Stay / Bolero
( 5:46) 16. Morning Of The Carnival

Larry Coryell: Guitar virtuoso, performer and composer of jazz and jazz- rock. Master of guitar improvisation, known in the jazz world as the “Godfather of Fusion”. Larry’s highly acclaimed improvised guitar stylings and compositions positioned him as one of the first innovators of the jazz-rock fusion movement in the late 1960’s. A true legend and well established in the history books of jazz music, Larry knew and played with many of the well known jazz and rock greats of the 20th and 21st Centuries such as Jimi Hendrix, Eric Clapton, Chet Atkins, Chico Hamilton, Gary Burton, Chick Corea and Miles Davis. Larry’s “Last Swing in Ireland” was his last visit to the Emerald Aisle and he made a lasting impression at Hellfire Studios and The Sugar Club with his favorite Irish rhythm section, Kevin Brady and Dave Redmond in May of 2016. They rock and they swing and everything in between. https://punktofunkheaven.co.uk/products/live-at-the-sugar-club-dublin-2016-by-larry-coryell-compact-disc-double-sjpcd648

Live At The Sugar Club - Dublin, Ireland 2016 (Live)

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Paul Bley, Tiziana Ghiglioni - Lyrics

Styles: Jazz
Year: 1991
Time: 52:14
File: MP3 @ 320K/s
Size: 120,3 MB
Art: Front

(4:38) 1. Beginning
(3:50) 2. Long Ago (And Far Away)
(3:05) 3. Close
(5:55) 4. Don't Blame Me
(4:10) 5. Clime
(5:53) 6. Yesterdays
(4:19) 7. Current
(5:09) 8. Lover Man
(4:56) 9. Soulful
(5:09) 10. The More I See You
(5:03) 11. Ending V

Recorded in 1991, this disc gorgeously assembles two of the most lyric "voices" on one CD, Canadian pianist Paul Bley and Italian chanteuse Tiziana Ghiglioni, performing solo and duet in a series of originals and standards. Of the 11 tunes, Bley composed six, all of which are piano solos, which serve as preludes or postludes --depending on your point of view -- to the duets on the standards by Kern, Gershwin, Dorothy Fields/Jimmy McHugh, etc. Bley's compositions are all lyric songs, or songs without lyrics that follow a conventional form and are adorned by his usual lush pointillism. From "Beginning" to "Clime" to "Soulful," Bley digs very deep for the melodic invention only he can put across, stringing lines of arpeggios next to open mode chords and tying them together in a chromaticism of his own design. His triplets give way to staggered ninths and flatted fifths before working themselves out in a lyric line that is as complex as it is stunningly beautiful. As for the duets with Ghiglioni, she proves Bley's perfect foil -- especially on tunes like Gershwin and Kern's "Long Ago and Far Away." Ghiglioni allows the song to come through her voice; she has no need to "make it her own" by taming or twisting it to fit her oracular talent. She allows Bley to bring her the changes and she takes the melody elegantly, letting it come from her mouth as a song, not a vehicle for vocal stylishness. The same goes for "Lover Man," one of the finest versions ever recorded: As she allows the lyric to drip from her emotions and not vice versa, Bley picks it all up and polishes the tune, as the singing needs no assistance. The final duet, "The More I See You," is a revelation in symbiotic musicianship. Ghiglioni just barely anticipates Bley's line as he holds back a fraction of a second to change the shape of his chord voicing to highlight the depth and dimension in Ghiglioni's singing. The song becomes not a sentimental piece of jazz' nostalgic past, but a living, breathing hymn to longing. And you can't ask for more than that. ~Thom Jurek

Lyrics

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Roberto Rabosio - Rudimental Sound

Styles: Jazz Fusion
Year: 2020
File: MP3@320K/s
Time: 40:06
Size: 92,5 MB
Art: Front

(4:56) 1. Theory Book
(4:24) 2. Play on It
(5:30) 3. In Memory
(5:34) 4. The Bear Tower
(5:33) 5. Hanging Bicycle
(4:23) 6. National Road 36
(5:30) 7. The Valley of Time
(4:13) 8. Mountain Village

Born in Milan on 27/2/1959 at the age of 14, the first group "Inferno Canto primo" mainly based on progressive rock and jazz rock in the company of Roberto Muru, Rosario Santagata and the late Paolo Davola. In that particular period (1975) I was very fascinated by Giulio Capiozzo of the "Area" imitating his setting (as far as I could) and I was passionate about the study of multi-composited rhythms to then discover and search for all the great jazz drummers and Fusion.

Thanks to my friend Mauro Garavello I began to study at the "Capolinea" with maestro Enrico Lucchini, legend in the field of national jazz music teaching. Between the end of the 70s and the early 80s I try a rock experience and then Fusion with other friends including Claudio Asquini, Danilo, Nico Napolitano, Luciano Casazza, Stefano Doro, Claudio Stabile, faithful friend and percussionist. In the same period the Time Limit fusion band comes to life with Roberto Muru, Stefano Doro, Claudio Stabile, Stefano Borroni, Adelmo and Bruno Costanzi and on some occasions Beppe Pini and Nicolò Fragile.

In the second half of the 80s to mid 2020 my experience began with the Jazz Fusion Milano XX Century project founded by Roberto and Maurizio Capitanio with Stefano Doro, Alessandro Fasola, Shah Bellati Replaced by Claudio Stabile and Davide Radice. Currently, in addition to playing drums, I also dedicate myself to composition and musical collaborations with various musicians in the world underground jazz fusion scene.Translate by Googlehttps://www.allaboutjazz.com/musicians/roberto-rabosio

Rudimental Sound

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Frank Catalano - Live At Birdland

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 73:08
Size: 168,7 MB
Art: Front

(12:36) 1. Cold Duck Time
(11:41) 2. Birdland At Midnight
( 6:37) 3. He Never Sleeps
( 8:28) 4. Love Will Tear Us Apart
(13:25) 5. Mister MC
(10:01) 6. Things Ain't What They Used To Be
(10:16) 7. Mundo Espiritual

In 2022, Legendary Saxman Frank Catalano will be touring the USA, Europe and Asia extensively as well as releasing a collection of recordings from his many performances at New York’s legendary Birdland Jazz Club. These recordings feature Herbie Hancock Headhunters alum Mike Clark and will be Frank’s 5th album on the Ropeadope label. A documentary was made about Frank by Belgian director Colin Donner. The film is titled “Sugar Jazz” and will premiere at the Tokyo Liftoff Film Festival.

“Tokyo #9” debuted at #1 on the Billboard Traditional Jazz Charts, has garnered millions of streams and topped the Spotify and Apple Music playlists. “Love Supreme Collective” debuted at #1 on the iTunes Jazz Charts and honors John Coltrane. Frank recorded “Bye, Bye, Blackbird” with David Sanborn and teamed up with Jimmy Chamberlin of The Smashing Pumpkins to release “God’s Gonna Cut You Down”. Frank’s Savoy/Columbia recording “Bang!” debuted at #12 on the Billboard Jazz Charts, while his recording, “Mighty Burner” was on the Billboard Charts for 20 straight weeks.

When Frank was 18, he signed to Delmark Records and did a string of critically acclaimed recordings with Randy Brecker, Von Freeman, Ira Sullivan, Willie Pickens, and Paul Wertico amongst others. Frank’s co-led album with Von Freeman, “You Talking To Me,” has become a cult classic. Catalano is the only known saxman to have performed with Miles Davis, Charles Earland, Elvin Jones, Junior Wells, Randy Brecker, Stan Getz, Betty Carter, Tito Puente, Tony Bennett, Les Claypool, and Louis Bellson while still in high school!

Frank has been profiled by countless media including: The New York Times, Forbes, Downbeat, CMJ, JazzIz, Jazz Times, NPR, PBS, Chicago Tribune, Huffington Post, etc. As a sideman, Catalano has been heard by millions of people thanks to his collaborations with Jennifer Lopez, Beyoncé, Maurice Joshua, Destiny’s Child, John Legend, Tony Bennett, Seal, and others.

Frank has received his fair share of accolades, recently winning an IMA award at Lincoln Center and being inducted into the Fox Valley Arts Hall of Fame. He has appeared on 3 Grammy-winning and 11 Grammy-nominated recordings, plus in 2007 he received a Tech Grammy Award as part of the Yamaha Corporation for his numerous patents and developments. He was also the youngest saxophonist to be voted into the Downbeat Critics Poll at age 19.

No stranger to adversity, Frank cut off his right middle finger in an automobile accident. After several surgeries and much effort, Catalano relearned his signature technique, making him one of the most in-demand musicians today. He regularly donates his musical services to the Susan G. Komen Breast Cancer Foundation, Peoples Music School, and Off The Street Club.

Catalano loves composing music and holds a BA in Classical Composition from De Paul University. Frank is the spokesperson for Drambuie Scotch and has a signature cocktail named after him, “The Catalano Sidecar”, which has been trademarked and is featured at hundreds of clubs and music venues. Frank owns hundreds of vintage saxophones and is on the Board of Directors for the National Saxophone Museum in St Louis. Frank and his wife Sona split their time between their homes in Chicago and New York. https://www.jazznearyou.com/madison/frank-catalano-quartet-tour-celebrating-the-release-of-new-album-live-at-birdland-at-19-00-on-may-15

Personnel: Frank Catalano on sax; John Roothaan on piano; Greg Geary on Bass; Kurt Lubbe on drums

Live At Birdland

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Sylvia Brooks - Signature

Styles: Vocal
File: MP3@224K/s
Time: 38:32
Size: 62,7 MB
Art: Front

(3:27) 1. Your Heart is as Black as Night
(4:46) 2. Catch 22
(4:18) 3. Red Velvet Rope
(3:55) 4. Over and Done
(3:47) 5. The Boy That Lived There
(3:34) 6. Sixteen
(3:59) 7. The Flea Markets of Paris
(4:26) 8. Holding Back Tears
(6:16) 9. Boogie Street

Since her captivating debut in 2009, jazz vocalist Sylvia Brooks has displayed a gift for inhabiting different personas, with a subspecialty in film- noir inspired femmes fatale. On this - Signature (Rhombus Records) - her fourth album, she embraces the most challenging role of all, defining herself with a set of beautifully crafted original songs.

Her evocative lyrics and emotionally direct delivery imbue the music with hard-won authenticity. Whether looking back with wry affection on her walk-on-the-wild-side youth or lamenting a lost love, Brooks brings bracing honesty and poise to the material.

Artistically, she is collaborating with Southern California's most creative accompanists: ace pianists Tom Ranier, Jeff Colella, and Christian Jacob designed beguiling, harmonically rich settings for her incisive lyrics. The stellar rhythm section tandem of drummer Ray Brinker and bassist Trey Henry appear on almost every track. Also featuring cellists John Waltz, lead cellist for The Los Angeles Opera Company, Stephanie Fife and Mike Kaufman.

Highlights include the cautionary tale "Red Velvet Rope" which is set to a sensuous Latin groove by cuatro master Kiki Valera, scion of a legendary Cuban musical clan. And she sways through swingtown, from the witty "Catch 22" to the passionately romantic "The Flea Markets of Paris." The two songs she includes by other artists, Melody Gardot's bluesy, organ-driven "Your Heart Is as Black as Night" and the Leonard Cohen/Sharon Robinson erotic lament "Boogie Street" seem to raise the temperature of her own work. This album marks a quantum leap reflecting years of concentrated effort.
https://www.broadwayworld.com/bwwmusic/article/SingerSongwriter-Sylvia-Brooks-Releases-Signature-20220602

Signature

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Frank Kimbrough Trio - Lonely Woman

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 60:58
Size: 139,9 MB
Art: Front

( 7:28)  1. Northwest
( 4:54)  2. Lonely Woman
( 7:44)  3. House Party Starting
( 8:27)  4. 727
( 4:13)  5. Falling Waltz
(10:36)  6. The Peacocks
( 5:34)  7. Pete & Repete
( 6:39)  8. 20 Bars
( 5:21)  9. Lonely in London

One of Frank Kimbrough's strong points has been his flexibility. The acoustic pianist can play with the crystalline elegance of Bill Evans and Keith Jarrett, but he's also quite capable of taking it "outside" and acknowledging the avant-garde contributions of Cecil Taylor and Marilyn Crispell. Kimbrough generally favors "inside" post-bop playing on Lonely Woman, an impressive trio date featuring bassist Ben Wolfe and drummer Jeff Williams. This threesome played around New York's Greenwich Village regularly in the late 1980s, and their strong rapport was a definite advantage when they entered the studio in 1988 to record this album. 

Kimbrough is at his most poetic and Evans-minded on Jimmy Rowles' "The Peacocks" and Wolfe's melancholy "Lonely In London," but things become very angular and abstract on Herbie Nichols' "House Party Startin'" and Wolfe's "Pete And Repeat." Also quite impressive is Kimbrough's haunting, introspective take on Ornette Coleman's "Lonely Woman." This CD is clearly among the pianist's finest achievements.~Alex Henderson http://www.allmusic.com/album/lonely-woman-mw0000177601

Personnel:  Piano – Frank Kimbrough;  Bass – Ben Wolfe;  Drums – Jeff Williams

Lonely Woman

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The Frank Kohl Quartet - Reform

Styles: Guitar Jazz
Year: 1981
File: MP3@128K/s
Time: 39:27
Size: 37,0 MB
Art: Front

(4:43) 1. All in Time
(5:49) 2. I Know I'll See You Again
(6:02) 3. Fall Again
(4:10) 4. Seagate
(5:46) 5. Reform
(4:22) 6. Folk Song
(5:31) 7. Island Song
(3:00) 8. Until We Meet Again

Jazz Guitarist, Frank Kohl was born and raised in the NYC metro area. He began playing guitar at age 7. He started his journey into jazz by joining his award winning high school jazz band. Musicians such as: Wes Montgomery, George Benson, Pat Martino and Jim Hall were milestones along the way of his musical development. One of his greatest influences was at a jazz club in NY called Rapsins. Here he could listen to uncompromised, cutting edge jazz of the highest level with musicians like: Linc Chamberlin- guitar, Lyn Christie- bass, Dave Liebman- sax. Later Frank became A student of Linc and soon he was performing with Lyn Christie.

"I remember around this time going to see Tony Williams Lifetime with John McLaughlin and organist Larry Young. My idea of what jazz was forever changed. I knew then that anything was possible in jazz"

In 1972 Frank attended Berklee College of Music and graduated in 1976 with honors. Students and teachers at that time in Berklee were: John Scofield, Pat Metheny, Steve Swallow and Gary Burton. After Berklee, Frank moved back to NY and performed professionally. In 1981, he released first LP "Reform" The Frank Kohl Quartet featuring Bassist Michael Moore. Around 1983 Frank moved to the San Francisco Bay area and performed his music for years And became a member of Don McCaslin Sr's band Warmth.

In 1990 Frank moved to Seattle where he lives today performing at NW jazz clubs such as: Tula's, Boxley's, Egan's, The Jazz Station.Frank also spends time in NY recording and performing at clubs like Small's, The Metropolitan Room, The Bean Runner.

In 2008 Frank recorded his second CD, "Coast to Coast" The Frank Kohl Quartet in NY with brother and pianist, Tom Kohl. It received rave reviews from Cadence Magazine, All About Jazz, Mike Stern, to name a few. In 2013 Frank recorded his 3rd CD, "Invisible Man" The Frank Kohl Quartet on Pony Boy Records featuring NY bassist Steve LaSpina.

Members of Frank's quartet vary, in Seattle you can hear him with: Bill Anchell, John Hansen, Jeff Johnson, Steve Luceno, Matt Jorgenson, Greg Williamson and others. In NY: Steve LaSpina, Tom Kohl, Steve Roane, Jon Doty And others.https://frankkohl.com/bio

Reform

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Charles Mingus - The Lost Album From Ronnie Scott's

Styles: Bop, Post Bop
File: MP3@320K/s
Time: 145:32
Size: 334,2 MB
Art: Front

( 1:01) 1. Introduction
(30:44) 2. Orange Was The Color Of Her Dress (Then Silk Blues)
(19:52) 3. Noddin' Ya Head Blues
(29:57) 4. Mind-Reader's Convention In Milano (Aka Number 29)
( 0:44) 5. Ko Ko (Theme)
(35:00) 6. Fables Of Faubus
( 7:35) 7. Pops (When The Saints Go Marching In)
(18:33) 8. The Man Who Never Sleeps
( 2:02) 9. Air Mail Special

After the emotional and economic bankruptcies of the late 1960s that nearly took him out of the picture entirely, 1972 broke well for Charles Mingus. He had re-signed with Columbia and delivered the revered Let My Children Hear Music. (He would, a year later, be part of the great Clive Davis jazz purge of 1973 which included Keith Jarrett, Bill Evans, and, some argue Ornette Coleman.) Grants and commissions were coming in and his music, in all its bold, gnarly, swooning vehemence, was being performed far and wide. His irascible, erotic, and essential autobiography, Beneath the Underdog, had finally been published. More and more, Sue Mingus was becoming the edifying force in his life, a beacon for his health, his creativity, his business. Most importantly, as first evidenced by Charles Mingus And Friends In Concert (Columbia, 1972) it was all coming together for him onstage.

Even though his multiple demons (all the usual human foibles but magnified by genius) were never too far from the forefront of his garrulous self, history, while it often casts shade on even our most beloved icons, has been kind to Mingus. He's recognized in the same breath as Duke Ellington, Charles Ives, and Claude Debussy. Now, just in time for a loud and rowdy celebration of his 2022 centennial (April 22) and Record Store Day (April 23) another very sweet slice of history is heard gloriously on The Lost Album from Ronnie Scott's.

Why it takes fifty years for music of this muscle and magnitude to be released is just one of the great eternal questions, but here it is so let's rejoice. Fully authorized by Jazz Workshop, Inc., and given the full Resonance Records grand treatment: interviews with Charles McPherson, Eddie Gomez, Christian McBride; anecdotes from Mary Scott, Sue Mingus, and Fran Lebowitz, as well as archival and production liner notes. But it's the music that spins the head, spikes the pulse, and whips the carpet out from under one. It's what Mingus would want.

So it's the two nights in August at the end of a successful European run and the players are in flux but wasn't flux at the crux of Mingus' most inspired moments? Nineteen year old trumpeter Jon Faddis was not only trying to hone his young brilliance, he was trying to do so through the Mingus maze. Little known pianist John Foster succeeds Jaki Byard and drummer Roy Brooks has taken over for Mingus stalwart Dannie Richmond, who left to soak in some short lived pop rock with Mark Almond Band. It begins as most great jazz moments do. Immediately. Ronnie Scott intros the sextet. Mingus rumbles a happy birthday, thanks the audience for letting their claps be recorded, and it's off to the races with the unapologetic zest and swagger of "Orange Was the Color of Her Dress, Then Silk Blues," a full half hour of stunning, multi-part alchemy. Foster proves he's up to the task, keeping up with the turns and tides precipitated by alto saxophonist Charles McPherson and his tenor counterpart, Bobby Jones.

Variation upon variation. Creation on the fly. "Ysabel's Table Dance" (one of the many glories from Tijuana Moods (RCA, 1962) knits in and out of the general creative mayhem. There's some church, some New Orleans, some breakdowns and fanfares. Faddis and Foster, with Jones on soprano sax, hold court, hand off. Mingus guides and goads. It's an unstoppable momentum that moves into a burly bass solo intro "Noddin' Ya Head Blues" a slow, low down blues that brings Foster to the vocal forefront telling his woman "I need it every morning, I need it every night" as the horns slink and slur. So expansive is the setting that Brooks gets a musical saw solo, as well he should.

Spoiler alert: From here The Lost Album from Ronnie Scott's just gets better and better. Cascading for another riotous half hour, the recently minted Mingus twister "Mind-Readers' Convention in Milan" puts one and all to the test and just can't be described with any real justice. It needs to be heard. It needs to be experienced.

Though by its very nature any jazz moment can be considered one of kind, the barely contained madcappery that ensues in this truly one-for-the-ages performance of the seismic "Fables of Faubus" is the stuff of legend. It noodles, it sprawls, it quarrels. It reaches for the London skies and returns to the stage with ether to burn. Mingus roils as Faddis blows beyond his years, the saxophones cut and weave, Foster veers from stride to barroom to bop and Brooks drives headlong into the hijinks. In a word, remarkable. Ditto The Lost Album from Ronnie Scott's.~Mike Jurkovic https://www.allaboutjazz.com/the-lost-album-from-ronnie-scotts-charles-mingus-resonance-records__7280

Personnel: Charles Mingus: bass, acoustic; Charles McPherson: saxophone, alto; Bobby Jones: saxophone, tenor; Jon Faddis: trumpet; John Foster: piano; Roy Brooks: drums.

The Lost Album From Ronnie Scott's

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Deanne Matley - The Alberta Lounge (Hommage Oscar Peterson)

Styles: Vocal
File: MP3@320K/s
Time: 41:09
Size: 94,3 MB
Art: Front

(3:34) 1. The Alberta Lounge
(4:08) 2. Mas que Nada
(5:10) 3. I Cant Give You Anything But Love
(3:54) 4. Gee Baby Ain I Good To You
(3:46) 5. Merci Pour Ça (Je Ne Sais Pas)
(5:06) 6. The Land Was White (When Summer Comes)
(3:02) 7. How Come You Do Me Like You Do
(3:53) 8. If You Were Here Today
(3:25) 9. Tristeza
(5:05) 10. Hymn To Freedom

Welcome to The Alberta Lounge, where National treasure Oscar Peterson was discovered in Montreal. Alberta, the province where Deanne grew up and started her full-time music career ten years ago!

Inspired by the great Canadian jazz legend, The Alberta Lounge features two new tunes of Deanne's ("The Alberta Lounge" and "If You Were Here Today"). She also made sure to include two of Oscar's originals, the haunting ("Hymn To Freedom") and tender ballad ("When Summer Comes"). The rest were chosen from his vast repertoire, such as Lionel Hampton and Jeri Jones's tune ("Je ne Sais Pas,") for which Deanne had the utmost honour of writing original French lyrics. The album also has a remarkable jazz-funk cover of Jorge Ben Jor's ("Mas Que Nada" ), which Deanne sings in Portuguese and adds vocal harmonies for extra fun.

Deanne recruited some of Montreal's premier jazz talent for the project, including pianist Taurey Butler, bassist Morgan Moore, and drummer Richard Irwin. Also guesting on the album are long-time Canadian pals pianist Paul Shrofel and guitarist Steve Raegele.

Throughout, Deanne shines as a first-rate vocal stylist. Her contemporary style is still deeply rooted in the jazz tradition but is unafraid of pushing the envelope. This anniversary album is a dedication to all Canadians. To quote Oscar, "People are Canada's greatest resource."https://deannematley.bandcamp.com/album/the-alberta-lounge-lp

Personnel: Deanne Matley - Vocals; Taurey Butler - Piano; Morgan Moore - Bass; Richard Irwin - Drums; Paul Shrofel - Piano; Steve Raegele - Guitar

The Alberta Lounge (Hommage Oscar Peterson)

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Gene Bertoncini With Bill Charlap & Sean Smith - Gene Bertoncini

Styles: Guitar And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 77:59
Size: 180,2 MB
Art: Front

( 8:28)1. Japanese Maple
(9:39) 2. Medley; Lullaby Of The Leaves/Summer Night
(9:45) 3.Ellington,StrayhornMedley; Lush Life/Chelsea Bridge/In A Sentimental Mood
( 9:34)4. Dream Dancing
(10:10)5. You Can't Go Home
( 9:42)6. Emily
( 9:30)7. My Funny Valentine
(11:07)8. Medley; Sophisticated Lady/ All The Things You Are

The Floating Jazz Festival, organized by Chiaroscuro owner Hank O'Neal, has produced many outstanding live sessions, this trio date takes its place among the very best. Not satisfied with just tackling familiar standards, guitarist Gene Bertoncini's group opens with bassist Sean Smith's captivating ballad "Japanese Maple." The leader's classically flavored arrangement of "My Funny Valentine" is refreshing. Several tracks are devoted to long but well played medleys. Pianist Bill Charlap rounds out this outstanding trio, whose playing throughout seems to have mesmerized the audience into devoted silence, less they miss a moment of music. ~ Ken Dryden http://www.allmusic.com/album/gene-bertoncini-mw0000047219

Personnel:  Bill Charlap (piano), Gene Bertoncini (guitar), Sean Smith (bass).

Gene Bertoncini

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Nicole Zuraitis - All Wandering Hearts

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 43:51
Size: 100,7 MB
Art: Front

(4:40) 1. Make it flood
(4:55) 2. The way home
(4:08) 3. I would die 4 u
(4:58) 4. Overdrive mind
(3:11) 5. What a wonderful world
(5:25) 6. Gold
(4:03) 7. Sugar spun girl
(4:48) 8. Rock bottom
(3:14) 9. Lullabye
(4:26) 10. Send me on my way

Nivoli Zuraitis has a heart full of soul and a voice full of sunshine. She's got a mix of things on her mind with her fourth album, everyday themes and weighty matters alike, and yet they ultimately come out sounding exuberant in her hands. The fundamental optimism is one key asset of All Wandering Hearts, even if her variety of jazzy coffee-shop balladry is no less eloquent in the spots when things get more somber.

The too-spirited-for-AOR "Make It Flood" starts off with subtly buoyant optimism to balance out its depiction of life's trials, and the set's original pieces keep that bright spirit as they touch on themes of change, loss, family and modern-day burnout. It's dressed up with an instrumental backing somewhere between contemporary jazz and the livelier side of adult-contemporary singer-songwriter pop. Husband Dan Pugach keeps the rhythms light yet propulsive while Alex Busby Smith's sprightly electric bass stays in step; the small cast of other players is likewise just as subtly energetic as needed.

While a recurrent string backing gives a dash of grandeur to back up several pieces, usually staying on the right side of bombastic, Zuraitis keeps any vocal theatrics on the judicious side. Her delivery maintains an intimate tone that remains relatable throughout; here she's an actress as much as a singer, conveying emotional shades without quite emoting. The positivity comes out most in the sporadic covers here, from a rubato "What a Wonderful World," rich in its wistful simplicity, to the reinvented '90s alt-rock staple that soars to the finish on clever new jazzy chordings and sweeping guitar. If "Sugar Spun Girl" crosses the line into cutesy or "Rock Bottom" leans trite (though genuine), those moments are temporary enough not to derail things. Hearts still gives all kinds of weary hearts a refreshing lift.~ Geno Thackara https://www.allaboutjazz.com/all-wandering-hearts-nicole-zuraitis-dot-time-records

Personnel: Nicole Zuraitis: voice / vocals; Idan Morim: guitar; Dan Pugach: drums; Alex Busby Smith: bass; Carmen Staaf: piano; Thana Alexa: voice / vocals; Elise Testone: voice / vocals; Chase Potter: various.

All Wandering Hearts

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Michael Dease - Best Next Thing

Styles: Trombone Jazz
File: MP3@320K/s
Time: 56:19
Size: 129,9 MB
Art: Front

(6:56) 1. Rainbow People
(4:42) 2. Parker's Brood
(4:47) 3. Tiktaalik
(4:06) 4. Doxy
(6:09) 5. Charly Jaye
(5:40) 6. Glory
(4:53) 7. One for Dease
(7:19) 8. With Love
(5:43) 9. Horse Trading
(6:00) 10. Lullaby for Rita

Michael Dease keeps the music moving forward toward the "Best Next Thing" on his ninth album for Posi-Tone. With clear purpose, Trombonist Michael Dease gathers together an assemblage of exceptional musicians to help him interactively explore the essence of the blues and reframe the abstract truths of jazz as the "Best Next Thing" for today's audience of listeners. Providing support in bringing this vision to fruition, the session features an all-star lineup of musicians including trumpeter Alex Sipiagin, alto saxophonist Rudresh Mahanthappa, pianist Renee Rosnes, bassist Boris Kozlov, and powerhouse drummer Rudy Royston.

As a band leader, Dease makes sure the entire session stays insightfully straight forward and refreshingly melodic throughout while he conducts his topnotch crew through a series of his new compositions and some inventive arrangements of selections crafted by Dease's musical mentors. With this latest release, Michael Dease not only confirms his status as a virtuoso soloist and one of the biggest stars in jazz today, but also demonstrates that he is clearly an artist for jazz fans to rely upon to bring them the "Next Best Thing" in jazz for years to come.https://posi-tone.com/bnthing/bnthing.html

Personnel: Michael Dease - trombone; Alex Sipiagin - trumpet; Rudresh Mahanthappa - alto sax; Renee Rosnes - piano; Boris Kozlov - bass; Rudy Royston - drums

Best Next Thing

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Rick Fay & Friends - Rolling On

Styles: Vocal And Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 61:05
Size: 140,8 MB
Art: Front

(5:14)  1. I Double Dare You
(5:09)  2. Blues My Naughty Sweetie Gives To Me
(3:04)  3. In the Dark
(5:20)  4. Somebody loves me
(2:47)  5. Ballad For Eddie
(5:04)  6. Can't We Be Friends?
(4:07)  7. Roll on, Mississippi, Roll On
(6:30)  8. Possum Jump
(4:31)  9. Tishomingo Blues
(5:26) 10. Manoir De Mes Reves
(3:38) 11. Plain and Simple
(2:24) 12. Echoes of Spring
(3:35) 13. Day Dream
(4:10) 14. Come Back Sweet Papa

Rick Fay's series of Arbors releases, which really got going in 1991, are superior examples of Dixieland and small-group swing. On this set Fay sticks to tenor and soprano (leaving his clarinet in the case), welcoming such major players as trumpeter Jon-Erik Kellso, trombonist Dan Barrett, clarinetist Chuck Hedges, pianist-arranger Dick Cary and guest-guitarist Howard Alden (who makes a couple of rare appearances on banjo) to his octet. 

The music is played with plenty of spirit and, although all of the music but three originals was already quite vintage at the time, the musicians come up with many fresh statements. Among the highlights are "I Double Dare You," a Dick Cary arrangement of Bix Beiderbecke's "In The Dark," "Somebody Loves Me," "Roll On, Mississippi, Roll On," and "Come Back Sweet Papa." ~ Scott Yanow  http://www.allmusic.com/album/rolling-on-mw0000026400

Personnel: Rick Fay (vocals, soprano saxophone, tenor saxophone); Howard Alden (guitar, acoustic guitar, electric guitar, banjo); Paul Scavarda (guitar, banjo); Chuck Hedges (clarinet); Jon-Erik Kellso (trumpet); Dan Barrett (trombone); Dick Cary (alto horn, piano); Joe Ascione (drums).

Rolling On

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Juan Dhas - Embracing Clarity

Styles: Guitar Jazz
Year: 2014
File: MP3@128K/s
Time: 52:49
Size: 49,0 MB
Art: Front

( 8:53) 1. Free
( 7:10) 2. Motive
( 5:13) 3. Premonition
( 6:20) 4. Light in the Dark
( 7:22) 5. Wired
( 6:21) 6. Let Go
(11:26) 7. Andean Sky

Guitarist Juan Dhas's full name is Juan Diego Chandra Dhas which gives some idea of his initial life influences through his Colombian mother and Indian father. After getting a scholarship to the Berklee College of Music in 2010, and graduating in 2014, Dhas recorded Embracing Clarity, which is only available digitally due to financial constraints.

Blessed with seemingly endless guitar technique in both hands (see here), Dhas can do whatever he wishes technically. However, on his seven original compositions he frequently underplays the technical and emphasizes emotion and story telling.

Dhas and his highly sympathetic band (pianist Benjamin Furman, bassist Alex Gorchesky and drummer Aaron Lawson), all of whom participated in the arrangements, have created music that floats over an inner core of intensity and fire. The "clarity" of the album's title is immediately evident both in Dhas' guitar lines and the way the very tight band's individual parts fit together -and the sum is much more than the parts.

The overall effect is very attractive and more than a bit mesmerizing, while the music seems to fly by as it ebbs and flows while always moving forward. There is a gloss and sheen to Dhas' music, caused partly by his physical guitar sound, but also by the ethereally ambiguous harmony that is many times coupled with a driving groove. Guiding the beautiful sounds and emotions is an intelligence which can be clearly sensed.

As a début effort, Embracing Clarity is very impressive in that Dhas exhibits a distinct musical personality at such an early stage of development. From the musical evidence, he knows what he wants to say and how he wants to say it, and there is no doubt that Dhas will continue to grow, but always from this solid and joyful musical core -and it is this core which reaches out and touches.~Budd
Kopman https://www.allaboutjazz.com/embracing-clarity-juan-dhas-self-produced-review-by-budd-kopman

Personnel: Juan Dhas: guitar; Benjamin Furman: piano/keyboards ; Alex Gorchesky: Bass; Aaron Lawson: drums
.

Embracing Clarity

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Pearl Bailey - Pearl Bailey at Her Best

Styles: Vocal
File: MP3@320K/s
Time: 31:42
Size: 73,5 MB
Art: Front

(2:12) 1. Come Rain or Come Shine (St. Louis Woman)
(3:00) 2. Takes Two to Tango
(2:17) 3. Between the Devil and the Deep Blue Sea
(2:43) 4. The Man That Got Away
(3:04) 5. Fifteen Years
(2:40) 6. I've Got the World on a String
(3:08) 7. Love for Sale
(1:44) 8. There's a Little Bit of Bad on Every Good Little Girl
(3:02) 9. Solid Gold Cadillac
(2:23) 10. That Certain Feeling
(2:35) 11. Hit the Road to Dreamland
(2:48) 12. Zing Went the Strings of My Heart

Pearl Mae Bailey (March 29, 1918 – August 17, 1990) was an American actress, singer, and author After appearing in vaudeville, she made her Broadway debut in St. Louis Woman in 1946. She received a Special Tony Award for the title role in the all-black production of Hello, Dolly! in 1968. In 1986, she won a Daytime Emmy award for her performance as a fairy godmother in the ABC Afterschool Special Cindy Eller: A Modern Fairy Tale. Her rendition of "Takes Two to Tango" hit the top ten in 1952.

In 1976, she became the first African-American to receive the Screen Actors Guild Life Achievement Award.She received the Presidential Medal of Freedom on October 17, 1988. Bailey was born in Newport News, Virginia to the Reverend Joseph James and Ella Mae Ricks Bailey. She was raised in the Bloodfields neighborhood of Newport News and graduated from Booker T. Washington High School in nearby Norfolk, the first city in the region to offer higher education for black students. Blues singer Ruth Brown was one of her classmates. Bailey later moved to Philadelphia with her mother and siblings.

Bailey made her stage-singing debut at the age of 15. Her brother Bill Bailey was beginning his own career as a tap dancer and suggested that she enter an amateur contest at the Pearl Theatre in Philadelphia. Bailey won and was offered $35 a week to perform there for two weeks. However, the theater closed during her engagement and she was not paid. She later won a similar competition at Harlem's famous Apollo Theater and decided to pursue a career in entertainment. She was also known to have performed in the church choir at St Peter Claver Catholic Church in Brooklyn, at the behest of Msgr Bernard J. Quinn, More..https://en.wikipedia.org/wiki/Pearl_Bailey

Pearl Bailey at Her Best

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Maria Pia De Vito, Danilo Rea, Joni Mitchell, Aldo Romano, Enzo Pietropaoli - So Right

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 66:35
Size: 153,1 MB
Art: Front

(5:29)  1. Amelia
(5:08)  2. Big Yellow Taxi
(5:11)  3. Little Blue Birds
(5:22)  4. So Right
(5:16)  5. God Must Be A Boogie Man
(6:17)  6. River
(4:41)  7. Harlem In Havana
(3:05)  8. Since Your Love Died
(5:44)  9. Woodstock
(4:54) 10. Miskin
(8:19) 11. A Case Of You
(2:58) 12. The Sweetest Medicine
(4:05) 13. The One-eyed Man

Following her successful full house U.S. debut at the Blue Note, this release includes two additional astounding scat tracks (#2 & 13) by Maria Pia De Vito, and an elegantly re-styled booklet filled with photos by Alessandro D'Urso. "When De Vito cut loose with startling intervallic leaps, complex internal overtones and keening, swooping, racing runs, it was a rush. She blew wild and free across Mitchell's already counter-intuitive bar lines. But also on every song, before her solo flights, De Vito did full justice to Mitchell's lyrics. Working in a language other than her own, like an accomplished actress, she brought Mitchell's words to life with altered, personalized meanings." (Thomas Conrad)

So Right: lyrics, melodies, great musicians. An album of songs performed and partly written by four of the most prominent figures in international jazz. From the re-reading of songs by Joni Mitchell, new original songs are sought and written: an excellent union between the language of songwriting and the universal world of jazz, skilfully performed by great artists. An intense and elegant interpretation by one of the leading Italian jazz vocalists, the unequaled Maria Pia De Vito.  http://www.camjazz.com/releases/8024709779526-so-right-cd.html

So Right

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Lee Konitz Quartet - Ideal Scene

Bitrate: 320K/s
Time: 48:39
Size: 111.4 MB
Styles: Saxophone jazz, Cool
Year: 1986/1993
Art: Front

[ 6:06] 1. Chick Came Around
[ 7:40] 2. Tidal Breeze
[10:17] 3. Silly Samba
[ 4:36] 4. Ezz-Thetic
[ 7:28] 5. If You Could See Me Now
[ 3:07] 6. Stare-Case
[ 9:22] 7. Stella By Starlight

This Soul Note release features Lee Konitz with his 1986 quartet, a unit that also includes pianist Harold Danko, bassist Rufus Reid and drummer Al Harewood. Konitz, listed as playing soprano on the album but actually sticking exclusively to alto, not only interprets three veteran standards ("Ezz-thetic," "If You Could See Me Now" and "Stella by Starlight") but also three of Danko's then-recent originals and his own "Chick Came Around." The subtle but swinging music is harmonically advanced and full of surprising twists; no predictable bebop here. More than most members of his musical generation, Lee Konitz has continued to keep his music and improvising style fresh and enthusiastic while retaining his own original musical personality through the years. ~Scott Yanow

Ideal Scene

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Erena Terakubo - New York Attitude

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 57:55
Size: 133,8 MB
Art: Front

(4:36)  1. New York Attitude
(7:52)  2. One For You
(4:15)  3. Star Eyes
(6:16)  4. Oriental Folksong
(5:26)  5. That's The True
(5:25)  6. Invitation
(7:26)  7. This Here
(4:34)  8. Fascination
(6:33)  9. Del Sasser
(5:28) 10. Body And Soul

Erena Terakubo is the next emerging star in a long list of young and gifted musicians hailing from the land of "The Rising Sun" who, may have thankfully, chosen jazz music as a possible career choice. Barely 20 years old and from Sapporo, Japan, this alto saxophonist caught the ear of jazz luminaries like renowned saxophonist Sadao Watanabe and Grammy award-winning bassist Eddie Gomez among others, then later signed with King Records, a major Japanese jazz label, for her first album which, unfortunately, was not released in the United States.

Accordingly, and under an exclusive license from Four Quarters Entertainment, King Records presents New York Attitude as Terakubo's American debut. Young Terakubo makes an impressive entrance in the US jazz market fronting a dynamite quintet that features legendary pianist Kenny Barron and bassist Ron Carter. Her sparkling statements on a pair of originals and a selection of classic tunes like "Body and Soul," "Star Eyes" and "Invitation," and soulful interpretations of the Bobby Timmons piece "This Here," the Sam Jones standard "Del Sasser," as well as Wayne Shorter's "Oriental Folksong," belies her youth and limited experience giving ample testimony of her extraordinary abilities on the instrument. Coming out swinging on Barron's quick-paced tempo title piece, Terakubo quickly establishes herself with a perky performance on alto serving notice that this is her show, while Barron and drummer Lee Pearson provide splendid back up. 

The saxophonists' high register sound is on display throughout the recording beginning on Watanabe's "One For You," where incidentally, Barron and Carter lend superb solo statements. Other innovative arrangements include a spicy rendition of the classic "Star Eyes," as well as a new reading of Shorter's "Oriental Folksong" and "Del Sasser" two compositions that include contributions from trumpeter Dominick Farinacci and the evergreen standard "Body and Soul." Teaming up with a group of accomplished players for a performance, will most probably make an average player sound good, here though a talented player is made to sound extraordinary. Japanese-born Erena Terakubo is a gifted musician with burnished skills on the saxophone who surrounded by this group of jazz masters presents a sharp and vibrant musical experience that is a pleasure to hear. Serving as the perfect introduction to an American audience, New York Attitude captures an exciting new artist delivering the best of straight ahead jazz like a seasoned veteran. ~ Edward Blanco  http://www.allaboutjazz.com/new-york-attitude-erena-terakubo-king-record-co-ltd-review-by-edward-blanco.php#.U9BkIbFryM0

Personnel: Erena Terakubo: alto saxophone; Kenny Barron: piano; Ron Carter: bass; Lee Pearson: drums; Dominick Farinacci: trumpet, flugelhorn (4, 7, 9).

New York Attitude

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