Francesca Tandoi - When in Rome

Styles: Piano, Swing
Year: 2022
File: MP3@320K/s
Time: 39:07
Size: 90,4 MB
Art: Front

(6:10) 1. Tin Tin Deo
(8:23) 2. Eternal dusk
(6:43) 3. Estrada branca
(3:03) 4. Winter Love
(4:59) 5. P.C.R.
(5:50) 6. Arabesque n. 1
(3:57) 7. Two lonely souls

“Francesca Tandoi is a pianist gifted with an excellent musical taste and sense of swing. She has a refined voice, she is capable of composing unforgettable melodies and arranging in an extremely sophisticated manner." By Monty Alexander

Pianist/vocalist Francesca Tandoi is recognized by critics and the public as one of the most interesting talents on the international jazz scene, an excellent composer and extraordinary band leader who already boasts a path studded with successes all over the world. Her trio performances have been repeatedly described as “an explosion of swing” and her pianism incredibly energetic and elegant at the same time.

She has an intense activity as a sideman behind her having collaborated with internationally renowned artists but in recent years it has been the formula of the trio that has been more congenial to her, allowing her a wide-ranging expressive freedom of original intensity in which she maintains a firm bond with the past and the jazz tradition but with the mind projected towards the future. She moved to the Netherlands in 2009 to study at the Royal Conservatory of The Hague et al Codarts Conservatory of Rotterdam, she graduated cum laude in 2015 and soon began her international career which sees her intensely engaged in concerts and tours in some of the most important theaters, festivals and clubs around the world (such as the North Sea jazz festival, Umbria Jazz, Cork jazz, Breda jazz, Amsterdam Arena stadium and many others in USA, Indonesia, India, Japan, South Africa, Russia and throughout Europe) both as leader of his trio and as sideman of some of the names most important of the Italian and international jazz scene.

“Francesca Tandoi has a perfect piano technique and an incredible sense of swing. The audience is totally enthralled by her playing." David Alston As leader of her trio from 2014 to today she already has several recordings "For Elvira" "Something blue" "Magic Three" and "Wind dance". The latter appears in the "top 10 best jazz albums of 2017" ranking of the famous Japanese magazine "Jazz Life". The same magazine defines her as one of the most interesting young talents on the European jazz scene.

Her latest record "When in Rome" will be released in 2022. She also appears as a sideman on more than 20 recordings, three of which as a quartet with saxophonist Scott Hamilton. “Francesca Tandoi has truly excellent piano skills, she's like she's flying over the keyboard. Plus she has a beautiful, enveloping and charming voice." Jazz Flits Magazine Translate By Google https://www.birdboxrecords.com/francesca-tandoi

Personnel: Vocal – Francesca Tandoi (tracks: 4); Double Bass – Matheus Nicolaiewsky; Drums – Sander Smeets; Piano – Francesca Tandoi

When in Rome

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Tim Berne & Matt Mitchell - Angel Dusk

Styles: Saxophone And Piano
Year: 2018
File: MP3@320K/s
Time: 45:44
Size: 106,2 MB
Art: Front

(12:02) 1. Perception-Reception
( 2:26) 2. Not Too Two
( 7:24) 3. Exeception-Pest
( 5:08) 4. Concepcion
( 3:01) 5. Starfish Blues
( 5:43) 6. Chance
( 5:03) 7. Snail's Pace
( 4:54) 8. Petulance

Last year, innovative pianist Matt Mitchell released Forage, a great solo album whose audacious material consisted exclusively of compositions by alto saxophonist Tim Berne, the man who had hired him in 2012 to play in the progressive Snakeoil band. The musical bond between the two men is so strong that a duo album was almost inevitable. Hence, Angel Dusk is now available and features eight tracks that pair Berne’s agile phrasing and resonant angularity with the perceptive, if intricate, tapestries of Mitchell.

The session opens with “Perception/Reception”, which gets strong forward momentum without being constantly busy. It shapes into a lyric reflection imbued with precise movements and emotional force. At some point, Berne embarks on circular crusades, having Mitchell's regularly paced chords darkening the mood for the time they last. Even remaining enigmatic until the end, there’s light in the sharp unison lines, which also endure on the subsequent short tune, “Not Too Two”.

“Exception/pest” flows with an instant liquidity. Mostly amiable in nature and exhibiting a classical-tinged artistry on the piano, the piece is temperate in its last section with a sort of rebelliousness that surfaces under the guise of explosive saxophone statements. Things are maintained hot on “Starfish Blues”, in which the swift interplay becomes massive and irreverent, and on the hyperactive “Petulance”, a recipient of ritualistic saxophone drives delivered with scorching trills in the mix and a complete command of the language. Denser harmonic progressions are adopted as accompaniment.

Both “Chance” and “Snail’s Pace” take their time to evolve, embracing a melodic parallelism that, even cerebral to a certain degree, is no less interesting or provocative than the sonic outbreaks. If the former piece goes from balmy to eloquent before returning to the written section, then the latter opens with Mitchell’s mystic rainbows of beautifully contrasting notes, proceeding in 'searching' mode after Berne jumps in with a combination of intimate melodicism and rhythmic agitation.

The constituent pieces of this collaborative work are extremely hard to separate in upbeat or downbeat. It’s much easier to associate their organic sounds with light and darkness due to the timbral coloring of the knotty textures. Berne and Mitchell sculpt and engrave with an absolute sense of anticipation and direction, making their set of explorations a stimulating listening experience.
https://jazztrail.net/blog/2018/7/24/tim-berne-matt-mitchell-angel-dusk-album-review

Personnel: Tim Berne: alto saxophone; Matt Mitchell: piano.

Angel Dusk

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Buster Williams - Crystal Reflections

Styles: Jazz, Post Bop
Year: 1976
File: MP3@320K/s
Time: 49:45
Size: 114,2 MB
Art: Front

( 7:20)  1. Prism
( 9:30)  2. The Enchanted Flower
( 5:21)  3. I Love You
( 5:38)  4. I Dream Too Much
(11:47)  5. Vibrations
( 3:29)  6. My Funny Valentine
( 6:38)  7. I Dream Too Much

Bassist Buster Williams is well featured here on this pretty, interesting set from 1976, his second disc as a leader. Crystal Reflections concentrates on exploratory duets with keyboardist Kenny Barron (the exceptional Barron original, "The Enchanted Flower"), pianist Jimmy Rowles (two versions of "I Dream Too Much") and vibraphonist Roy Ayers ("My Funny Valentine"). Elsewhere, Williams combines with Barron, Ayers and drummer Billy Hart for three impressionistic pieces: William's sensitive "Prism," Cole Porter's "I Love You" and Roy Ayers's Spyro Gyra-like "Vibrations." Even when Williams overdubs synthesizer and female voices overtop "Prism" or when Roy Ayers doubles up on sythn for "Virgo," the effect is sensitively considered and the result is quite a positive contribution to the success of each piece. This set is much more likely to appeal to fans of Kenny Barron, Jimmy Rowles or Roy Ayers. But bassist Williams proves himself a worthy leader here. He's a sympathetic, melodic player whose perceptive and intuitive string work is often simple and effective, never showy and very much a beneficial part of the whole. Like the title suggests, this is music that is as pretty as it is intelligent. Recommended. ~ Douglas Payne https://www.allaboutjazz.com/crystal-reflections-buster-williams-32-records-review-by-douglas-payne.php

Personnel: Buster Williams: bass, synthesizer; Kenny Barron: piano, electric piano; Jimmy Rowles: piano; Roy Ayers: vibes, synthesizer; Billy Hart: drums; Nobu Urushiyama: percussion; Suzanne Klewan: voice.

Crystal Reflections

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Chris Potter - Got The Keys To The Kingdom: Live At The Village Vanguard

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 61:21
Size: 140,7 MB
Art: Front

(14:01) 1. You Gotta Move
(10:53) 2. Nozani Na
( 9:01) 3. Blood Count
( 7:26) 4. Klactoveedsedstene
( 6:22) 5. Olha Maria
(13:36) 6. Got The Keys To The Kingdom

There is a lot of heavy ordnance going off during this album. Indeed, the incoming only lets up once, and then briefly, during a performance of Billy Strayhorn's "Blood Count" at the halfway point. For the rest of the sixty-one minutes playing time, the watchword is eruptive. But no PPE is required. The barrage is benign.

This is the third album Chris Potter has recorded live at the Vanguard. The attraction is no surprise. Saxophonists, especially those whose primary horn is the tenor, must get a special charge from performing at the venue immortalised by John Coltrane. Potter leads a quartet completed by pianist Craig Taborn, bassist Scott Colley and drummer Marcus Gilmore. Each has form with Potter, especially Colley and Gilmore: Colley was in the band which recorded Lift (Live At The Village Vanguard) (Sunnyside, 2004) and Taborn in the one which made Follow The Red Line (Live At The Village Vanguard) (Sunnyside, 2007). Gilmore, the youngest member of the group, is no stranger to Potter either. Nor is he, genealogically speaking, a stranger to the Vanguard: his grandfather the great Roy Haynes, sat in for Elvin Jones for a run of "Chasin' The Trane" during Coltrane's historic 1961 residency.

Unlike the two earlier discs, which mostly consisted of Potter originals, Got The Keys To The Kingdom is entirely made up of covers. They are an imaginatively diverse collection: Mississippi Fred McDowell's "You Gotta Move;" "Nozani Na," a Brazilian folk tune collected by Heitor Villa-Lobos and Edgar Roquette-Pinto; Charlie Parker's "Klactoveedsedstene;" Antonio Carlos Jobim's "Olha Maria;" and the title track, a traditional African American spiritual; and the aforementioned "Blood Count." The main soloist is Potter, who must be on-mic for around eighty per cent of the time. Next up is Gilmore, with three killer solos and Taborn with two. Colley steps forward only on the intro to "Olha Maria." The album will shave your ass and Potter deserves an honorary set of keys to the Vanguard on the strength of it.By Chris May
https://www.allaboutjazz.com/got-the-keys-to-the-kingdom-live-at-the-village-vanguard-chris-potter-edition-records

Personnel: Chris Potter: saxophone; Craig Taborn: piano; Scott Colley: bass; Marcus Gilmore: drums.

Got The Keys To The Kingdom: Live At The Village Vanguard

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Dominick Farinacci - Smile

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 54:39
Size: 125,4 MB
Art: Front

(4:16) 1. Who Cares
(6:23) 2. The Nearness Of You
(6:26) 3. Estate
(6:39) 4. Just One Of Those Things
(4:51) 5. I Remember Clifford
(6:25) 6. Come Rain Or Come Shine
(6:41) 7. The Grey Goose
(7:32) 8. Relaxin' At
(5:23) 9. Smile

Recently featured on ABC’s Good Morning America, and at the Amy Winehouse Inspiration Awards, Dominick Farinacci has garnered critical acclaim around the globe. Upon the release of his U.S. debut CD, Lovers, Tales and Dances, the great Quincy Jones stopped by the hip Los Angeles club Vibrato to check out a show by the now 30- year-old trumpeter. Farinacci had recorded an obscure Q composition, “The Theme from the Pawnbroker.” Jones’ classic response: “This kid is 360 degrees!” a reference to the cosmopolitan, culturally expansive range of American and world music influences Farinacci brings to his own music.

Over the years, Farinacci has won numerous awards that speak to his wide-ranging impact and appeal: the International New Star Award (along with Diana Krall and Christian McBride) and Disney New Star Award. He was also invited to perform at the O2 in London, opening for Jamie Cullum and Jeff Beck. In January 2012, he was featured on an hour-long segment of NPR’s “Jazz Rising Stars.” Launching his recording career overseas with an incredibly prolific run of six albums from 2003-2007 on Japan’s Pony Canyon/M&I Records, the NYC based artist blossomed with the full throttle eclectic approach he took to Lovers, Tales and Dances, the first jazz recording produced by legendary three time Grammy winning pop/rock producer Russ Titelman (formerly with Eric Clapton, Steve Winwood, James Taylor, etc…)

Dominick was personally invited by music legend Wynton Marsalis to headline the newly established Jazz At Lincoln Center Doha in Doha, Qatar. Since then, he has been invited to return for a one-month residency later this year. He is the creator and Artistic Director for a youth outreach program in his hometown of Cleveland, at the Tommy Lipuma Creative Center for the Arts. This unique community program has reached over 5,000 kids in the past year.

Between Cleveland and NYC (where he lives), Dominick initiated a toy-drive campaign to help children devastated by Hurricane Sandy, partnering with the US Marine Toys for Tots. Together they and raised over 3,000 toys which were delivered to kids in affected areas around the Holidays.

Dominick also serves as an artistic consultant to the newly established Amy Winehouse Foundation. from www.dominickfarinacci.com
https://www.jazzmusicarchives.com/subgenre/eclectic-fusion

Personnel: Dominick Farinacci - trumpet; Dan Kaufman - piano; Yasuhi Nakamura - bass; Carmen Intorre Jr. - drums; Jon Irabagon - alto, sopranosax

Smile

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Massimo Farao and The Jazz Magicians Orchestra - Magic Swing: Tribute To The Music Of Count Basie

Styles: Piano, Big Band
Year: 2022
File: MP3@320K/s
Time: 37:12
Size: 86,5 MB
Art: Front

(3:12) 1. Deep Read
(4:07) 2. It's Oh So Nice
(5:45) 3. Lover Man
(3:48) 4. Moten Swing
(3:19) 5. Cute
(3:59) 6. Hay Burner
(6:19) 7. Told You So
(3:14) 8. We Be Jammin'
(3:25) 9. The Kid From Red Bank

A tribute to the Count Basie Orchestra, the pinnacle of swing jazz big band! The sound of the 18-piece Count Basie Orchestra is recreated by overdubbing the brass sections of the jazz musicians performing here. Just magic!
https://store.acousticsounds.com/d/170275/Massimo_Farao_And_The_Jazz_Magicians_Orchestra-Magic_Swing_Tribute_To_The_Music_Of_Count_Basie-Single_Layer_SACD

Musicians: Massimo Farao, piano; Cesare Mecca, trumpet; Gianpiero Lo Bello, trumpet; Gianni Virone, sax; Claudio Chiara, sax; Luca Begonia, trombone; Gianfranco Marchesi, trombone; David E. Palladini, guitar; Nicola Barbon, bass; Bobo Facchinetti, drums.

Magic Swing: Tribute To The Music Of Count Basie

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Buster Williams Quartet - Lost In A Memory

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 59:37
Size: 138,7 MB
Art: Front

(4:20)  1. A Different Place
(9:04)  2. Lost in a Memory
(7:53)  3. Deja
(7:03)  4. I Thought About You
(4:16)  5. Why Should I Pretend
(5:29)  6. Skim Coat
(5:05)  7. Ambiance and Pie
(9:54)  8. Christina
(6:27)  9. Tunnel Wind

Bassist Buster Williams contributed eight of the nine selections (all but the standard "I Thought About You") for this well-conceived set of advanced straight-ahead jazz. Williams (who had recently turned 50) teams up with vibraphonist Stefon Harris, pianist Geri Allen and drummer Lenny White. Harris is mostly the lead voice and the group does sound at times a little like the Modern Jazz Quartet, due to the identical instrumentation. Williams takes a surprisingly effective vocal on his "Why Should I Pretend" and otherwise is mostly in the background behind Harris and Allen. Due to the excellent originals, this is one of Buster Williams' strongest dates as a leader. ~ Scott Yanow https://www.allmusic.com/album/lost-in-a-memory-mw0000606488

Buster Williams Quartet: Buster Williams (vocals, bass); Stefon Harris (vibraphone); Geri Allen (piano); Lenny White (drums).       

Lost In A Memory

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Tony Lakatos - Blue Chili

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 62:28
Size: 143,2 MB
Art: Front

(6:22) 1. Rama IX
(6:55) 2. Zoot Suits
(9:46) 3. Blue Chili
(4:54) 4. Easy Wish
(6:42) 5. Eugen Choose the Shorter Way
(7:41) 6. Amla Noc
(7:41) 7. Le Babe
(7:18) 8. Mingus Diggs
(5:06) 9. Pocket Waltz

Tony Lakatos is undoubtedly the shining light of the saxophone in the German jazz scene. Like very few German jazz musicians before him, he has gained worldwide recognition and is constantly on the road in concerts to keep the legacy of jazz history alive, including current trends, so he has recently been seen a lot as an outstanding soloist of the ensemble Web Web with Max Herre. Beyond all genres and pigeonholes, he has found his very own, suspended saxophone tone, both on the tenor and soprano saxophone.

In 2021 he was awarded the Hessian Jazz Prize and now he has used the prize money to put together an international top cast in Berlin, with which he pays tribute to his idols. In addition to Alex Sipiagin on trumpet and flugelhorn, he is accompanied by Hans Glawischnigg on drums, Gregory Hutchinson on drums and the famous Danny Grisett on piano and Fender Rhodes.

Nine original compositions impressively demonstrate the mastery of the Frankfurter, who originally came from a Hungarian musical dynasty. With titles such as "Zoots Suits", "Eugen Choose The Shorter Way" or "Mingus Diggs", the connoisseur will know which idols Lakatos recalls. Already from February this ensemble will go on an extensive European tour with numerous concerts in Germany release date of BLUE CHILI: January 13, 2023https://shop.skiprecords.com/blogs/tour-daten/tony-lakatos-with-blue-chili-on-tour

Personnel: Tony Lakatos: tenor, soprano saxophone, flute; Alex Sipiagin: trumpet; Danny Grissett: piano; Hans Glawischnig: bass; Gregory Hutchinson: drums

Blue Chili

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Lee Morse - Old Fashioned Jazz

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 31:13
Size: 72,1 MB
Art: Front

(2:31) 1. Keep Sweeping The Cobwebs Off The Moon
(3:18) 2. Something In The Night
(3:17) 3. Walkin' My Baby Back Home
(3:13) 4. Careless Love
(2:54) 5. Be Sweet To Me
(3:01) 6. Old Fashioned Romance
(2:58) 7. He's Still My Baby
(2:56) 8. Don't Even Change A Picture On The Wall
(3:26) 9. Nobody Cares If I'm Blue
(3:33) 10. By My Side

A torch song singer renowned for her versatility, Lee Morse's troubles with alcohol prevented her from attaining the fame her talents promised. Born Lena Taylor in 1897, Morse grew up in a musical family in Kooskia, Idaho. After marrying and having a son, she left her family for the vaudeville circuit of the west coat around 1920, signing with producer Will King. A year later, she began working in musical revues with Kolb & Dill. In 1922, Morse joined the Pantages circuit, and played to rave reviews. Many wondered how the petite singer could produce such a deep sound, and one Variety writer supposed her low range came from trying to match her brothers' voices throughout her youth. Morse began recording with Pathe-Perfect in 1924, laying down several of her own compositions, such as "Telling Eyes," "Those Daisy Days" and "An Old Fashioned Romance." Lee Morse & Her Blue Grass Boys included trumpeter Manny Klein, Eddie Lang on guitar, and two brothers who played clarinet and trombone named Jimmy and Tommy Dorsey.

Switching to Columbia in 1927, Morse continued working the stage and won a role in Zeigfield's Simple Simon that could have cemented her legacy. But a bender left Morse unable to perform the first show, and Ruth Etting stepped in to take her place. The show's signature song, "Ten Cents a Dance," helped launch Etting to fame, while Morse's Broadway career quickly ended. She still managed to film musical shorts throughout the '30s, including A Million Me's, Lee Morse in the Music Racket, and Song Service. As stage gigs became scarce during the depression, Morse settled for club acts, and even opened a club with pianist Rob Downey in Texas, which ran until it burned down in 1939. Then Morse's marriage to Downey disintegrated, leaving her even more dependant on alcohol. She moved to Rochester, New York, and in 1946 married Ray Farese, who landed her a radio show and club dates. The singer attempted a comeback with the song "Don't Even Change a Picture on the Wall" in 1951. She died at 57 in 1954.
By Ron DePasquale https://www.allmusic.com/artist/lee-morse-mn0000813638/biography

Old Fashioned Jazz

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Cyrus Chestnut, Renee Rosnes, George Mraz, Billy Drummond - Tribute To Duke Ellington

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 67:04
Size: 153,7 MB
Art: Front

(4:16)  1. C Jam Blues
(4:39)  2. Satin Doll
(7:49)  3. In A Sentimental Mood
(7:56)  4. Take the a Train
(7:57)  5. Angelica
(7:16)  6. Mood Indigo
(4:26)  7. Don't Get Around Much Anymore
(4:55)  8. The Star Crossed Lovers
(4:44)  9. Come Sunday
(6:58) 10. Caravan
(6:04) 11. Lotus blossom

An adept jazz pianist, Cyrus Chestnut balances his lithe technical skill with a robust, soulful style that speaks to his deep gospel roots and love of swinging hard bop. A native of Baltimore, Maryland, Chestnut first studied piano with his father at the age of five, with official lessons beginning two years later. By the age of nine, he was enrolled in the prep program at the Peabody Institute. He graduated from Berklee with a degree in jazz composition and arranging. Chestnut took his time, working with a number of top-notch musicians (Jon Hendricks, Betty Carter, Terence Blanchard, and Donald Harrison) before finally recording his first solo CD at the age of 30. His initial dates as a leader were recorded for the Japanese label Alfa (reissued on Evidence), and he became an Atlantic artist in 1994. 

A self-titled LP followed in 1998, with Tribute to Duke Ellington following a year later. In subsequent years, Chestnut remained busy, releasing Charlie Brown Christmas in 2000, the all-original Soul Food in 2001, You Are My Sunshine in 2003, Genuine Chestnut in 2006, and Cyrus Plays Elvis in 2007. The following year, he released Black Nile on Japan's M&I label. In 2013, he delivered the hard bop-infused Soul Brother Cool, which featured trumpeter Freddie Hendrix. The following year, he showcased his trio on the concert album Midnight Melodies, recorded live at Smoke in New York City. In 2015, Chestnut released his debut album for HighNote, the trio effort A Million Colors in Your Mind, which featured backing from bassist David Williams and drummer Victor Lewis. https://itunes.apple.com/br/artist/cyrus-chestnut/id157212#fullText

Personnel:  Cyrus Chestnut - Piano (Tracks 2, 4, 6, 7 and 9);  Renee Rosnes - Piano (Tracks 3, 5, 8, 10 and 11);  George Mraz – Bass;  Billy Drummond - Drums

Tribute To Duke Ellington

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Gene Ammons - Dig Him!

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 41:16
Size: 94,9 MB
Art: Front

(4:23)  1. Red Sails In The Sunset
(4:20)  2. But Not For Me
(4:39)  3. A Pair Of Red Pants
(4:36)  4. We'll Be Together Again
(3:19)  5. A Mess
(3:57)  6. New Blues Up And Down
(5:14)  7. My Foolish Heart
(2:39)  8. Water Jug
(4:11)  9. Autumn Leaves
(3:53) 10. Time On My Hands

Gene Ammons, who had a huge and immediately recognizable tone on tenor, was a very flexible player who could play bebop with the best (always battling his friend Sonny Stitt to a tie) yet was an influence on the R&B world. Some of his ballad renditions became hits and, despite two unfortunate interruptions in his career, Ammons remained a popular attraction for 25 years. Son of the great boogie-woogie pianist Albert Ammons, Gene Ammons (who was nicknamed "Jug") left Chicago at age 18 to work with King Kolax's band. He originally came to fame as a key soloist with Billy Eckstine's orchestra during 1944-1947, trading off with Dexter Gordon on the famous Eckstine record Blowing the Blues Away. Other than a notable stint with Woody Herman's Third Herd in 1949 and an attempt at co-leading a two tenor group in the early '50s with Sonny Stitt, Ammons worked as a single throughout his career, recording frequently (most notably for Prestige) in settings ranging from quartets and organ combos to all-star jam sessions. Drug problems kept him in prison during much of 1958-1960 and, due to a particularly stiff sentence, 1962-1969. When Ammons returned to the scene in 1969, he opened up his style a bit, including some of the emotional cries of the avant-garde while utilizing funky rhythm sections, but he was still able to battle Sonny Stitt on his own terms. Ironically the last song that he ever recorded (just a short time before he was diagnosed with terminal cancer) was "Goodbye." ~ Scott Yanow https://itunes.apple.com/mt/album/dig-him/id609645816

Personnel:  Sonny Stitt alto - saxophone, tenor saxophone;  Gene Ammons - tenor saxophone;  John Houston - piano;  Charles Williams - bass;  George Brown - drums.

Dig Him!

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Cassidy Place - As You Wish (Deluxe Edition)

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 16:44
Size: 38,9 MB
Art: Front

(3:01) 1. Simple Minded
(1:45) 2. Red
(3:11) 3. Dull
(0:43) 4. My Last Tear
(3:31) 5. Who Would Ever Love Me
(2:01) 6. Good Time
(2:29) 7. Dull (Casino)

Los Angeles-based singer/songwriter, Cassidy Place, revives the 50's era; while developing a new contemporary genre of her own. Her new EP “As You Wish” is now streaming on all platforms
https://www.seetickets.us/event/Cassidy-Place-POP-Lila-Forde/491118

As You Wish (Deluxe Edition)

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Buck Clayton - A Buck Clayton Jam Session

Styles: Trumpet Jazz
Year: 1975
File: MP3@256K/s
Time: 75:39
Size: 138,9 MB
Art: Front

(17:43)  1. Sidekick
(11:52)  2. Change For A Buck
(12:12)  3. The Duke We Knew
(15:11)  4. Glassboro Blues
( 5:10)  5. Glassboro Blues Rehearsal
(13:29)  6. The Duke We Knew Rehearsal

Jazz suffered a major loss when, in the late 1960s, Buck Clayton had to retire from playing due to problems with his lip. But instead of permanently retiring from jazz altogether, he continued to make his mark as an arranger, bandleader, and educator. Clayton doesn't play at all on A Buck Clayton Jam Session: 1975; instead, this blowing date finds him overseeing and directing a 12-piece band that includes Joe Newman and Money Johnson on trumpet, Vic Dickenson and George Masso on trombone, Buddy Tate, Buddy Johnson, and Sal Nistico on tenor sax, Lee Konitz and Earle Warren on alto sax, Tommy Flanagan on piano, Milt Hinton on bass, and Mel Lewis on drums. To be sure, that's a variety of musicians some have strong swing credentials, others were primarily hard boppers, and you even have a musician who came out of the Cool School (Konitz) and went on to explore post-bop. But they manage to find common ground on this swing-oriented jam, which concentrates on Clayton's own compositions and emphasizes blowing, blowing, and more blowing. Thankfully, the liner notes list the order of the solos. Originally a vinyl LP in the '70s and reissued on CD in 1995 (when Chiaroscuro added two previously unreleased bonus tracks), A Buck Clayton Jam Session is less than essential but is an enjoyable jam that die-hard swing fans will appreciate.~ Alex Henderson 

http://www.allmusic.com/album/a-buck-clayton-jam-session-1975-mw0000076132

Personnel: Buck Clayton (conductor, trumpet); Earle Warren, Lee Konitz (alto saxophone); Budd Johnson, Buddy Tate, Sal Nistico (tenor saxophone); Joe Newman, Money Johnson (trumpet); Vic Dickenson, George Masso (trombone); Tommy Flanagan (piano); Milt Hinton (bass); Mel Lewis (drums).

A Buck Clayton Jam Session 1975

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Patrick Williams - Home Suite Home

Bitrate: MP3@320K/s
Time: 50:37
Size: 115.9 MB
Styles: Big band swing
Year: 2015
Art: Front

[ 3:20] 1. 52nd & Broadway
[ 6:06] 2. Home Suite Home I. Elizabeth (The Beautiful Scientist)
[ 7:49] 3. Home Suite Home Ii. Greer (The Dreamer)
[ 7:47] 4. Home Suite Home Iii. Patrick B. (The Real Deal)
[ 4:33] 5. A Hefti Dose Of Basie (To The Memory Of Neal Hefti)
[ 3:47] 6. I've Been Around
[10:20] 7. Blue Mist (For Catherine)
[ 6:51] 8. That's Rich (For Buddy)

Patrick Williams: conductor; Dave Grusin: piano; Chuck Berghofer: bass; Peter Erskine: drums; Dean Parks: guitar; Dan Higgins: alto saxophone; Jeff Driskill: alto saxophone; Bob Sheppard: tenor saxophone; Tom Scott: tenor saxophone; Gene Cipriano: baritone saxophone; Wayne Bergeron: trumpet; Dan Fornero: trumpet; Bob Summers: trumpet; Michael Stever: trumpet; Arturo Sandoval: trumpet; Charlie Loper: trombone; Andy Martin: trombone; Bob McChesney: trombone; Craig Gosnell: bass trombone; Dan Grecco: percussion; Patti Austin: vocals (1); Frank Sinatra Jr.: vocals (6); Tierney Sutton: vocals (6).

Composer, arranger and band leader Patrick Williams leads some of the finest jazz musicians in L.A. on another exciting portrait of big band swing on Home Suite Home, an album that's far more personal than all of his previous works. Documenting a personal homage to his family and his first musical love, Williams pays tribute to his children and wife stating "I tried to capture the essence of the personality of my wife and three children in musical terms...""is truly a labor of love." In addition to the all-star list of players on his band, Williams augments the group with vocalist's Patti Austin, Tierney Sutton and Frank Sinatra, Jr. gracing the stage with the likes of pianist Dave Grusin, trumpeter Arturo Sandoval, drummer Peter Erskine and long-time associate, saxophonist Tom Scott as special guests adding the final ingredients to his most ambitious and masterful musical project to date.

A prolific composer, the band leader offers eight original tunes leading off with "52nd & Broadway" featuring vocalist Austin fronting a full-on swinging orchestra. The tribute to his children is the center-piece of the disc and incorporated in the three-part suite beginning with his first homage, this time for daughter Elizabeth on "Home Suite Home I. Elizabeth (The Beautiful Scientist)" featuring sparkling solos from tenor men Scott and Bob Sheppard. "Home Suite Home II. Greer (The Dreamer)" is a far more subdued and humble piece of music highlighted by the sweet solos from Dan Higgins. The last homage, "Home Suite Home III. Patrick B. (The Real Deal) features a robust ensemble and showcases the chops of drummer Erskine, saxophonist Scott and trumpeter Michael Stever.

Williams pens the most ambitious track for his wife of 54 years dedicating "Blue Mist (For Catherine)" where trumpeter of note Sandoval leads the band on a delicate lush and introspective soft ballad conveying a warm message of love. One of the non-tribute pieces of the set that stands out here is, the swinging orchestral piece "I've Been Around" featuring a smart duet between vocalists Frank Sinatra Jr. and Tierney Sutton.

Aside from dedications to his family, Williams also includes a tip of the hat to trumpeter/composer and arranger Neal Hefti on "A Hefti Dose of Basie (To The Memory of Neal Hefti)" as the band dose a marvelous impersonation of the Basie orchestra featuring the stylish horn of trumpeter Stever taking the honors on lead. The last non-family tribute is a big band swinging chart entitled "That's Rich (For Buddy)" with various members of the band on solo excursions including drummer Erskine doing his best impersonation of the late great drummer Buddy Rich. When all is done, Patrick Williams' Home Suite Home, is far more than a tribute to family, friends and the music he loves, it's a tasteful creatively-designed flavor of big band swing performed with gusto that hits home. ~Edward Blanco

Home Suite Home

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Lewis Porter, Terri Lyne Carrington, John Patitucci, Tia Fuller - Beauty & Mystery

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 70:25
Size: 162,0 MB
Art: Front

( 3:28)  1. Prologue
(10:22)  2. Birthplace (feat. Tia Fuller)
( 8:15)  3. Bye Bye Blackbird
( 7:23)  4. People Get Ready
( 9:43)  5. Blues for Trane and McCoy (feat. Tia Fuller)
( 7:43)  6. 1919
( 7:39)  7. Chasing Lines
( 4:07)  8. Dazzling Raga
( 5:54)  9. From Giovanni to Jimmy
( 5:46) 10. Day Is Done

A somber, modern/Romanticist solo piano "Prologue" beautifully opens jazz scholar, historian, and accomplished pianist Lewis Porter's Beauty & Mystery, his fourth disc as a session leader.  Accompanied throughout this often inspired recording by bassist John Pattitucci, sought after Grammy-winner and frequent trio companion drummer Terri Lyne Carrington and high-flying, rep-rising saxophonist Tia Fuller, Porter unleashes his vast knowledge of John Coltrane, and the multitude of jazz avenues on a frothy mix of original covers and time tested covers. Led by repeated rhythmic motifs, Fuller gives a full blown Trane-like workout on soprano sax on the burbling bitonality of "Birthplace." "People Get Ready" unwinds effortlessly as Porter and Pattitucci immerse themselves in Curtis Mayfield's elegant, secular hymn, taking turns reciting the verses and chorus. Fuller's fiery, the-sky-is-the-limit alto swirls and powers the rolling vamp "Blues for Trane and McCoy" and rewards the listener with a challenging extended duo passage with Porter that recalls many Trane/Tyner glories. 

While we're on the subject of the Classic Quartet, Pattitucci's artistry is on full, glorious display on the robust Porter/Pattitucci composition "From Giovanni to Jimmy," a fitting dedication to Coltrane bassist Jimmy Garrison. Free-wheeling interplay highlights "Chasing Lines" a re-arrangement of British bandleader/composer Ray Noble's "Cherokee." Porter again delves deep into his musical knowledge incorporating raga and jazz on "Dazzling Raga." 

Porter's lyrical waltz, "Day is Done" closes out Beauty & Mystery, a disc of highly expressed individualism.~ Mike Jurkovic https://www.allaboutjazz.com/beauty-and-mystery-lewis-porter-altrisuoni-review-by-mike-jurkovic.php

Personnel: Lewis Porter: piano; John Pattitucci: bass; Terri Lyne Carrington: drums: Tia Fuller: soprano and alto sax.

Beauty & Mystery

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Gene Ammons - Fine And Mellow

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 73:00
Size: 167,9 MB
Art: Front

(5:25)  1. Lady Sings the Blues
(5:59)  2. Play Me
(5:29)  3. Ben
(3:07)  4. Fly Me
(4:25)  5. Fuzz
(5:03)  6. Fine And Mellow
(3:34)  7. Strange Fruit
(7:47)  8. Big Bad Jug
(4:04)  9. God Bless The Child
(7:43) 10. Tin Shack Out Back
(6:47) 11. Lady Mama
(4:09) 12. I Can't Help Myself
(4:52) 13. Lucille
(4:30) 14. Papa Was A Rolling Stone

Gene “Jug” Ammons was a sucker for finely wrought pop songs. He was also unapologetic slave to melody, putting his sturdy saxophone into the service of countless hummable themes. But his improvisations were never slavish and even with material of papish pedigree he always seemed to find something worthwhile to say. Perfect case in point is this new Prestige two-fer, which combines material from a pair of early '70s platters, Got My Own and Big Bad Jug. The first set has a lounge vibe so viscous you can virtually smell the Aqua Velva aftershave, Pall Mall smoke and Mohair fibers in the air. How a string section crammed into Rudy Van Gelder’s studio alongside Jug’s core sextet is a mystery, and it’s more than likely that the label overdubbed the orchestrations after the fact. Largely superfluous to the action, they also thankfully don’t get in the way.

The ensemble line-up includes some impressive talent in the personages of Jones, Beck, Carter and Muhammad, but the ringers are the presence of heavy production and predilection for plugging in. The songbook is just as capricious; balancing a trio of Billie Holiday numbers (the film eponymous with the first track was a big hit contemporaneous to the session) with pop and funk fare. If the idea of Jug tackling Neil Diamond’s “Play Me” and the Michael Jackson signature “Ben” signals skeptical impulses, don’t be alarmed. Ammons treats each tune with sober respect and the gravity in his playing accentuates the sometimes hidden strengths in the song craft. And while he rarely strays far from the melody, the muscle and surety in his phrasings further dispel any traces of triteness from the tracks. The oddest of the clutch is the reading of “Strange Fruit,” a duet with Jones’ electric piano that finds Jug in an uncustomary somber mood, sketching breathy lines across a watercolor wash of keyboard hues and trailing a luminous studio echo.

The second session enlists a different, more streamlined studio band with only Carter returning for the party. Phillips’ organ and, on “Tin Shack Out Back,” electric piano plant the mood firmly in funk and soul territory. Parker’s wah-wah slathered guitar adds fleshy chordal support to Jug’s wailing lead, and the band sounds off here as purely and proudly a product of their era. The leader’s closing unaccompanied cadenza is a killer. Even the rendering of “God Bless the Child” is laced with a palpable backbeat. Carter revels in the weighty sponginess of his amplified strings while Cobham carves out propulsive, if at times simplistic, rhythms. A laidback attitude seems to be the primary sentiment of the moment. Closing with a trance-inducing version of the Temps’ “Papa Was a Rolling Stone,” Jug soars over a stuttering bass-heavy groove that steamrolls everything in its path. Check your prejudices at the coat rack and this set will likely fulfill the same purpose it did back in the day. An enjoyable diversion devoid of pretense by a man who earned the right to play and do things the way he wanted to. (An added extra: the new liner notes scribed by Ted Panken, which contain some insightful anecdotes voiced by none other than fellow Chicagoan Von Freeman.) ~ Derek Taylor  http://www.allaboutjazz.com/fine-and-mellow-gene-ammons-prestige-records-review-by-derek-taylor.php

Personnel: Gene Ammons- tenor saxophone; Ernie Hayes- organ; Hank Jones- electric piano; Joe Beck- guitar; Ron Carter- acoustic & electric bass; Idris Muhammad- drums; Mickey Roker- drums; Sonny Phillips- electric piano, organ; Maynard Parker- guitar; Billy Cobham- drums.

Fine And Mellow

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Henry Hall & The BBC Dance Orchestra - Waltz in Swingtime

Styles: Swing, Big Band
Year: 2022
File: MP3@320K/s
Time: 30:19
Size: 70,2 MB
Art: Front

(2:56) 1. I Like Bananas
(2:54) 2. I'm Putting All My Eggs In One Basket
(2:59) 3. It's A Sin To Tell A Lie
(2:58) 4. Life Begins When You're In Love
(2:50) 5. Waltz In Swingtime
(2:55) 6. We Saw The Sea
(3:08) 7. Music Goes Round And Around
(3:06) 8. Rusty And Dusty
(3:05) 9. Somewhere At Sea
(3:23) 10. Would You

Buddy Rich - Sound Of Fury (Live Remastered)

Styles: Jazz, Post Bop
Year: 2022
File: MP3@320K/s
Time: 47:51
Size: 110,0 MB
Art: Front

( 3:57) 1. 'Round Midnight
( 5:58) 2. Groovin' Hard
( 5:34) 3. Chelsea Bridge
( 2:01) 4. Banter
( 8:01) 5. Watson's Walk
( 5:32) 6. Theme From Love Story
( 3:53) 7. Superstar
(11:18) 8. Time Being
( 1:33) 9. Love For Sale

Arguably the greatest jazz drummer of all time, the legendary Buddy Rich exhibited his love for music through the dedication of his life to the art. His was a career that spanned seven decades, beginning when Rich was 18 months old and continuing until his death in 1987. Immensely gifted, Rich could play with remarkable speed and dexterity despite the fact that he never received a formal lesson and refused to practice outside of his performances. Born Bernard Rich to vaudevillians Robert and Bess Rich on September 30, 1917, the famed drummer was introduced to audiences at a very young age.

By 1921, he was a seasoned solo performer with his vaudeville act, "Traps the Drum Wonder." With his natural sense of rhythm, Rich performed regularly on Broadway at the age of four. At the peak of Rich's early career, he was the second-highest paid child entertainer in the world. Rich's jazz career began in 1937 when he began playing with Joe Marsala at New York's Hickory House. By 1939, he had joined Tommy Dorsey's band, and he later went on to play with such jazz greats as Dizzy Gillespie, Charlie Ventura, Louis Armstrong and Gene Krupa.

Rich was regularly featured in Jazz at the Philharmonic during the late 1940s. He also appeared in such Hollywood films as Symphony of Swing (1939), Ship Ahoy (1942) and How's About It (1943). Throughout the 1960s and 1970s, Rich toured with his own bands and opened two nightclubs, Buddy's Place and Buddy's Place II. Both clubs were regularly filled to capacity by fans of the great master drummer. After opening Buddy's Place II, Rich introduced new tunes with elements of rock into his repertoire, demonstrating his ability to adapt to his audience's changing tastes and establishing himself as a great rock drummer. Known for his caustic humor, Rich was a favorite on several television talk shows including the Tonight Show with Johnny Carson, the Mike Douglas Show, the Dick Cavett Show and the Merv Griffin Show.

During these appearances, audiences were entertained by Rich's constant sparring with the hosts and his slights of various pop singers. This famed musician received outstanding recognition throughout his career. The Downbeat Magazine Hall of Fame Award, the Modern Drummer Magazine Hall of Fame Award and the Jazz Unlimited Immortals of Jazz Award are just a few of his numerous honors. Rich gained international attention for such master compositions as his 10-minute West Side Story medley.

During his lengthy career, Rich toured around the globe, performing for millions of fans and several world leaders including the King of Thailand, King Hussein of Jordan the Queen of England, and U.S. presidents Franklin Roosevelt, John F. Kennedy and Ronald Reagan. On April 2, 1987, Rich died of heart failure following surgery for a malignant brain tumor. Longtime friend, Frank Sinatra, spoke a touching eulogy at Rich's funeral. Today, Buddy Rich is remembered as one of history's greatest musicians. According to jazz legend Gene Krupa, Rich was "The greatest drummer ever to have drawn breath."
ttps://www.allaboutjazz.com/musicians/buddy-rich

Sound Of Fury (Live Remastered)

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Ahmad Jamal - Live in Paris (1971)

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 39:45
Size: 91,2 MB
Art: Front

(15:32) 1. Bogota
(10:19) 2. Manhattan Reflections
(13:53) 3. Effendi

Following the release of two incredible previously unreleased live sessions by jazz greats Pharoah Sanders and Archie Shepp, the French label Transversales Disques has now issued the third of their brilliant Lost ORTF Recordings series featuring a 1971 Paris recording featuring legendary pianist Ahmad Jamal and his trio.

Recorded on June 25, 1971 at the Grand Auditorium Studio 104 in the Maison de la Radio, the trio, who also features Jamil Nasser on double bass and Frank Gant on drums perform expanded renditions of three tracks often associated with Ahmad, including “Bogota” (by Richard Evans), “Effendi” (by McCoy Tyner), and his own composition, “Manhattan Reflections”, which was first introduced on his classic Freeflight full-length for Impulse!.

This well-crafted unearthed live session truly captures Ahmad Jamal and his group at the beginning of what could arguably be his most exploratory and experimental period. Definitely a must-own LP for any Ahmad Jamal fan!
https://beatcaffeine.com/transversales-disques-unearths-incredible-live-1971-recording-of-ahmad-jamal-trio/

Personnel: Ahmad Jamal - (piano, Fender Rhodes); Jamil Nasser - (double bass); Frank Gant - (drums)

Live in Paris (1971)

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Efraïm Trujillo & Rembrandt Frerichs - The Standards Collection

Styles: Saxophone And Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 39:06
Size: 90,0 MB
Art: Front

(3:42) 1. Blue In Green
(2:52) 2. Voyage
(8:47) 3. Peace (Live)
(3:42) 4. Prince Of Darkness
(5:05) 5. Think Of One
(4:24) 6. Come Sunday
(3:17) 7. Seven Steps To Heaven
(4:25) 8. Stompin' At The Savoy
(2:47) 9. One Finger Snap

Over the past fifteen years, saxophonist Efraïm Trujillo and pianist Rembrandt Frerichs have become renowned as leading musicians. They regularly encountered each other in various settings, but they never managed to get a new project off the ground together. During the corona crisis they performed as an occasional duo at the Bimhuis and their performance of Horace Silver's composition 'Peace' in particular received extremely enthusiastic reactions. This piece has therefore been included on their fresh CD and expanded with recent recordings made in Trujillo's Studio Theemsweg. Poetic “The Standards Collection Vol. 1' is the appropriate name of their album: a production filled with more and less known repertoire. The well-known 'Blue in Green', which starts, is given a glowing performance.

In his piano solo Frerichs refers to the great innovator Lennie Tristano (1919-1978). This is followed by the rhythmic 'Voyage' by pianist Kenny Barron and Silver's 'Peace', recorded at the Bimhuis. This last exercise is also now a highlight, with poetic play by Trujillo and Frerichs. Funky Their performance of Wayne Shorter's 'Prince of Darkness' provides a completely different groove, a lyrical composition that seems to gain depth in this intimate configuration.

A nice contrast is the almost funky version of 'Think of One' by Thelonious Monk, in which Frerichs supports Trujillo's playing with beautiful bass lines. Their interpretation of Ellington's gospel 'Come Sunday' is almost religious in character, again interspersed with a rhythmic piece: Victor Feldman's 'Steven Steps to Heaven'. Spicy Nice and fat is their performance of the swing classic 'Stompin' at the Savoy', a piece to sit back comfortably that can of course count on a contemporary twist with an excellent Trujillo in the lead role. Almost naturally, this special album ends with a piece by the grand master of the current jazz piano: Herbie Hancock. His classic 'One Finger Snap' can count on a spicy approach from this fantastic duo. We can already look forward to 'The Standard Collection Vol. 2'!Translate By Google http://www.jazzenzo.nl/?e=4990

Personnel: Efhraim Trujillo tenor saxophone, Rembrandt Frerichs piano

The Standards Collection

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