Alex Sipiagin - Returning

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 55:00
Size: 126,2 MB
Art: Front

(10:56)  1. Returning
( 8:32)  2. Extra Chance
( 7:07)  3. Miniature
( 7:47)  4. Pictures
( 7:21)  5. Snova (Choba)
( 6:44)  6. Son of thirteen
( 6:30)  7. Turn Out the Stars

Some artists leap into visibility; others almost insidiously find their way into the public eye. Russian-born, New York-resident trumpeter Alex Sipiagin has made considerable strides in the past decade in establishing his reputation within the New York jazz community. He's been recruited for increasingly high profile gigs with the Mingus Big Band, Michael Brecker and, most notably, Dave Holland's big band touring and appearing on both What Goes Around (ECM, 2002) and Overtime (Dare2, 2005). With his own series of Criss Cross recordings, Spiagin has proven himself an ever-evolving voice in what some are calling "the new mainstream." Returning finds Sipiagin continuing to mine a more modernistic approach to the tradition one that favors original composition over retreads of standards, incorporating a richer compositional palette. Sipiagin doesn't eschew the standards repertoire entirely; each album features one or two compositions from artists like Mingus, Monk, and Evans. But like others of his generation, Sipiagin doesn't place these tunes on a pedestal, instead reinterpreting them with his own contemporary bent. Sipiagin and tenor saxophonist Seamus Blake wind their way in and around the familiar theme to Bill Evans' "Turn Out the Stars," but guitarist Adam Rogers' harmonic backdrop is more open-ended and ambiguous.

Sipiagin's own writing reflects his exposure to the inner workings of artists like Holland and Brecker, but also his own growing comfort level with complex meters and richer orchestration. In fact, the New York crew that includes Sipiagin, Rogers, and alto saxophonist David Binney seems to be reinventing the language of jazz. Sipiagin's title track may be metrically irregular, but it flows with effortless energy, thanks to drummer Antonio Sanchez's delicately tumultuous approach. Dramatic without resorting to obvious devices, Rogers, Blake, and Sipiagin work hard off each other at the core of the oblique "Miniature," where a more communal approach to soloing replaces individual delineation. That these artists are creating their own vernacular is further evidenced by the fact that Spiagin's three compositions feel completely of a kind with Rogers' "Pictures," despite the fact that it's a more complicated piece revolving around contrapuntal melodies from Blake, Sipiagin, and bassist Scott Colley. Even the light bossa of "Snova" and the equally Latin-inflected but more powerful "Son of Thirteen" two compositions written specifically for Sipiagin by Pat Metheny feel part of the same landscape. Metheny's ability to mask deeper complexity under a lyrical and accessible veneer is not lost on Sipiagin or Rogers. In fact, it's something of a litmus test for this new mainstream.

Reaching out to an audience is important, but never at the expense of one's own voice, and everyone on Returning demonstrates an ability to build solos either alone or collectively that are imaginative and innovative without losing sight of fundamentals like melody and construction. Sipiagin, whose warm tone almost renders invisible the difference between his trumpet and flugelhorn, is an evocative player whose avoidance of outspoken virtuosity belies his clearly advanced technique. The ever-compelling Returning is but further evidence of his continued ascension. ~ John Kelman  http://www.allaboutjazz.com/returning-alex-sipiagin-criss-cross-review-by-john-kelman.php

Personnel: Alex Sipiagin: trumpet, flugelhorn; Seamus Blake: tenor saxophone; Adam Rogers: guitar; Scott Colley: bass; Antonio Sanchez: drums.

Returning

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Frank Zappa And The Mothers of Invention - One Size Fits All

Styles: Jazz Fusion
Year: 1975
File: MP3@320K/s
Time: 43:27
Size: 117,5 MB
Art: Front

(8:42) 1. Inca Roads
(2:38) 2. Can't Afford No Shoes
(2:40) 3. Sofa No.1
(7:41) 4. Po-Jama People
(5:27) 5. Florentine Pogen
(1:16) 6. Evelyn, A Modified Dog
(6:07) 7. Andy
(6:05) 8. San Ber'dino
(2:51) 9. Sofa No.2

Released soon after the live Roxy & Elsewhere, One Size Fits All contained more of the material premiered during the 1973-1974 tour, but this time largely re-recorded in the studio. The band remains the same: George Duke, Napoleon Murphy Brock, Chester Thompson, Tom Fowler, and Ruth Underwood. Johnny "Guitar" Watson overdubbed some vocals and Captain Beefheart (credited as Bloodshot Rollin' Red) played some harmonica ("when present," state the liner notes).

The previous album focused on complex music suites. This one is more song-oriented, alternating goofy rock songs with more challenging numbers in an attempt to find a juste milieu between Over-Nite Sensation and Roxy & Elsewhere. "Inca Roads," "Florentine Pogen," "Andy," and "Sofa" all became classic tracks and live favorites. These are as close to progressive rock (a demented, clownish kind) Zappa ever got. The obscurity of their subjects, especially the flying saucer topic of "Inca Roads," seem to spoof prog rock clichés. The high-flying compositions are offset by "Can't Afford No Shoes," "Po-Jama People," and "San Ber'dino," more down-to-earth songs.

Together with Zoot Allures, One Size Fits All can be considered as one of the easiest points of entry into Zappa's discography. The album artwork features a big maroon sofa, a conceptual continuity clue arching back to a then-undocumented live suite (from which "Sofa" was salvaged) and a sky map with dozens of bogus stars and constellations labeled with inside jokes in place of names. An essential third-period Zappa album. By François Couturehttps://www.allmusic.com/album/one-size-fits-all-mw0000202351

Musicians: Frank Zappa – guitar, lead (4, 6, 9) and backing vocals; George Duke – keyboards, lead (1, 8, 9) and backing vocals, synthesizer; Napoleon Murphy Brock – flute, lead (5, 8) and backing vocals, tenor saxophone; Ruth Underwood – marimba, vibraphone, percussion; Chester Thompson – drums, sound effects, voices; Tom Fowler – bass guitar (all but 2); James "Bird Legs" Youman – bass guitar (2); Johnny "Guitar" Watson – vocals (7, 8); Captain Beefheart (credited as 'Bloodshot Rollin' Red') – harmonica (7)

One Size Fits All

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Dutch Swing College Band - Digital Anniversary (40 Years )

Styles: Swing
Year: 1985
File: MP3@320K/s
Time: 60:54
Size: 141,0 MB
Art: Front

(3:19) 1. Bourbon Street Parade
(4:45) 2. Wabash Blues
(4:45) 3. Caribbean Parade
(5:09) 4. Is It True What They Say About Dixie?
(3:20) 5. Clarinet Games
(2:58) 6. Saturday Night Is The Loneliest Night Of The Week
(3:08) 7. Double Bass Hit
(3:31) 8. Coal Black Shine
(5:15) 9. Third Street Blues
(3:13) 10. Gladiolus Rag
(3:23) 11. Columbus Stockade Blues
(4:02) 12. Devil In The Moon
(4:02) 13. Original Dixieland One Step
(2:57) 14. Rose Room
(3:13) 15. Swing 36
(3:43) 16. Sunday

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson. The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. By Craig Harris
https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Digital Anniversary (40 Years )

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Archie Shepp - Attica Blues Big Band - Live At The Palais Des Glaces Disc1, Disc2

Album: Attica Blues Big Band - Live At The Palais Des Glaces Disc 1
Styles: Fusion, Hard Bop
Year: 1979
File: MP3@320K/s
Time: 45:38
Size: 105,3 MB
Art: Front

(4:39) 1. Attica Blues, Part 1
(7:33) 2. Steam
(5:46) 3. Quiet Dawn
(7:26) 4. Hi-Fly
(7:41) 5. U-Jaama
(2:50) 6. Antes De Andios
(3:35) 7. Star Love
(6:05) 8. Moon Bees

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Album: Attica Blues Big Band - Live At The Palais Des Glaces Disc 2
Time: 50:25
Size: 116,2 MB

(6:10) 1. Strollin'
(5:37) 2. Ballad For A Child
(7:34) 3. Simone
(6:20) 4. Crucificado
(5:35) 5. A Change Has Come Over Me
(5:54) 6. Goodbye Sweet Pops
(4:29) 7. Skippin'
(8:43) 8. Attica Blues,pt.2

From the outset, Archie Shepp's terminally misunderstood Attica Blues on Impulse during the 1970s was an attempt by the saxophonist and composer to bring together the various kinds of African American musics under one heading and have them all express the conscience of the day. His ensemble featured singers, string players, horns, drums, guitars, etc. The sounds were a Gordian knot of jazz, free music, R&B, soul, groove, and even funk. In 1979 Shepp was given the opportunity to realize the project with an ensemble of his choosing at the Palais des Glaces in Paris (New York was already courting Wimpton Marsalis).

Shepp chose 30 musicians and director/conductor Ray Copeland. Among the throng were saxophonists Marion Brown, John Purcell, Patience Higgins, and John Ware. Malachi Thompson led a five-trumpet section, and Steve Turre led the trombones, a young Brandon Ross played guitar, Avery Sharpe was one of two bassists, Clifford Jarvis held down the drum chair, Shepp played all his horns and piano though Art Matthews was the primary pianist on the gig.

There were four vocalists and a string section. None of this would mean anything, of course, if the music weren't bad to the bone. From the opening moments of the "Attica Blues Theme, Pt. One" it becomes obvious that, with its drop-dead funky bassline and wailing soul vocals that create the mood, this will be a celebratory evening of education, protest, and groove. From here, Shepp moves the band into "Steam," with the funk and anger already present. But this track is far more laid-back in its big band arrangement than it was on the Shepp's Inner City version of some years before.

It features a gorgeous vocal by Joe Lee Wilson, who has the chops of Sammy Davis Jr. and the depth of Big Joe Turner. And here is where Attica Blues truly begins, as "Steam" reaches its swinging nadir, and Shepp begins to fold in works by other composer such as Cal Massey ("Quiet Dawn"), Randy Weston ("Hi-Fly"), and Dave Burrell ("Crucificado") in with his own works, and the varying elements of free jazz and Latin music begin to make their presences felt on the R&B and swing accents that Attica Blues opens up for the magical treatise it is.

Shepp's own playing is fell of depth and passion, though he leaves his fire music at home, preferring to work inside traditions and allow the music's freedom to dictate its own expression in places rather than as a whole. The history lesson moves on well into the second set with Frank Foster's "Simone" and Ramsey Lewis' gospel-tinged "Skippin," before coming out on the other end with a majestic resurgence of "Attica Blues" to bring it in.

This is big band arranging and execution at its best; Shepp and Coleman make it all sound so easy, though charts are anything, but when you're fusing together so many different kinds of music. This is the high point of the latter part of Shepp's career, and it's a cultural crime that it's not available on an American label and sold as a work that belongs next to Mingus' Ah Um, Miles' Bitches Brew, Ornette's Science Fiction, and other notable works by the masters.By Thom Jurek
https://www.allmusic.com/album/attica-blues-big-band-mw0000453278

Personnel: Saxophone, Flute – James Ware, John Purcell, Marion Brown, Marvin Blackman, Patience Higgins; Soprano Saxophone, Tenor Saxophone, Piano, Leader – Archie Shepp; Trombone – Charles "Majeed" Greenlee*, Charles Stephens, Dick Griffin, Ray Harris, Steve Turre; Trumpet – Charles McGhee, Eddie Preston, Kamal Alim, Richard "Malachi" Thompson*, Roy Burrowes; Viola – Carl Ector; Violin – Candice Greene; Violin, Vocals – Terry Jenoure; Vocals – Irene Datcher, Joe Lee Wilson

Attica Blues Big Band - Live At The Palais Des Glaces Disc 1, Disc 2

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Alison Moyet - The Essential

Styles: Vocal, Pop/Rock

Year: 2001

File: MP3@320K/s

Time: 72:42

Size: 167,0 MB

Art: Front

(3:04)  1. Don't Go

(4:28)  2. Nobody's Diary

(4:01)  3. Winter Kills

(3:49)  4. Love Resurrection

(3:39)  5. All Cried Out

(4:07)  6. Invisible

(3:03)  7. That Ole Devil Called Love

(4:00)  8. Is This Love

(3:31)  9. Weak In The Presence Of Beauty

(2:48) 10. Love Letters

(4:06) 11. It Won't Be Long

(3:56) 12. Wishing You Were Here

(3:53) 13. This House

(3:37) 14. Falling

(3:25) 15. Whispering Your Name

(4:13) 16. Getting Into Something

(3:28) 17. Our Colander Eyes

(3:18) 18. Blue

(3:42) 19. Ne Me Quitte Pas

(2:27) 20. There Are Worse Things I Could Do

Import-only compilation from the British Pop and Soul vocalist best known for being the singing half of Synthpop duo Yazoo (or Yaz, as they are known in the U.S.). When Yazoo split after their sophomore album, Moyet continued as a solo act, releasing a handful of albums and some extraordinary singles. This collection contains all the tracks originally available on her Singles Collection and adds six more: 'Don't Go', 'Winter Kills', 'Blue', 'Our Colander Eyes', 'Ne Me Quitte Pas' and 'There Are Worse Things I Could Do'. With a Yazoo reunion in 2008, interest in all things Alison Moyet is at an all-time high. 20 tracks in all. Sony.By Editorial Reviews
http://www.amazon.com/Essential-Collection-Alison-Moyet/dp/B00005OM6F

Husky-voiced chanteuse Alison Moyet achieved her greatest success with Vince Clarke under their dance-pop duo, Yaz, but her career as a solo artist didn't maintain such momentum. The Essential looks back on this talented singer with the inclusion of only the most sophisticated tracks from her 20-plus career, regardless of her fluctuating popularity. The Yaz classic "Don't Go" kicks things off; however, Moyet's moody aura carries the collection with songs such as "Love Resurrection," "Wishing You Were Here," and "Weak in the Presence of Beauty." Loyal Alison Moyet fans will most likely own everything featured here, but those wanting a nice introduction to the soulful singer should find The Essential a good place to start.By MacKenzie Wilson http://www.allmusic.com/album/the-essential-mw0000455997

The Essential

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The Dutch Swing College Band - Ministry of Jazz

Styles: Swing
Year: 2023
File: MP3@320K/s
Time: 58:45
Size: 136,0 MB
Art: Front

(4:32) 1. High Society
(4:24) 2. When It's Sleepy Time Down South
(4:59) 3. Avalon
(3:38) 4. Marina
(3:42) 5. Morino Komichi (Path In Forest)
(5:50) 6. When You're Smiling
(3:20) 7. Love In Spring
(2:56) 8. 2020 Rag
(4:14) 9. Honeysuckle Rose
(4:41) 10. What A Wonderful World
(3:04) 11. March Of The Indians
(3:16) 12. Pagoda
(6:11) 13. Buddy Bolden's Blues
(3:52) 14. I'll Fly Away

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson.

The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group.By Craig Harris
https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Ministry of Jazz

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Mirna Bogdanovic - Awake

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 58:17
Size: 133,9 MB
Art: Front

(3:46) 1. I Love
(6:03) 2. Only Child
(9:34) 3. Clocks
(5:47) 4. Crazy Chords
(5:23) 5. Moving On
(5:41) 6. Wish I Didn t Miss You
(4:18) 7. May
(5:58) 8. On My Own
(7:12) 9. Dancing In The Dark
(1:09) 10. Awake
(3:21) 11. Finding Closure

Mirna Bogdanovic’s new album AWAKE is released by BERTHOLD records on May 12th 2023.

The line-up: Mirna Bogdanovic (vocals, ukulele and composer), Povel Widerstrand (piano, synths), Peter Meyer (guitar, efx), Felix Henkelhausen (double bass, e-bass), Philip Dornbusch (drums, percussion); guests: Asger Nissen (alto saxophone), Paul Santner (ukulele) and the Rothko String Quartet: Majella Münz (cello), Marc Kopitzki (viola), William Overcash (violin), Joosten Ellée (violin).

Supported by a wide cast of musicians, Bogdanovic’s seductive voice and eloquent compositions give AWAKE, her second album, its compelling dramatic curve. Bogdanovic broke up with her boyfriend in 2019. Through her music and lyrics she describes the drama of this and other personal experiences.

The song Clocks deals with her sense of existential crisis, the feeling that time was passing her by and that she was not making the most out of life. “It’s also about my inner conflict of being a freelance musician and not having a nine-to-five job like most people,” she explains. “Sometimes you have a feeling that life is happening and you’re not part of it. You’re in your own little bubble.”

On My Own is about loneliness and reminiscing about the lost relationship. “I was emotionally stuck,” she says. “At first the track shows my sadness. In the end it almost becomes a rock song, exploding into energetic anger and it feels good to play.” Moving On “looks back at the relationship as if it never happened, hurting and still feeling the sadness, but slowly letting go.”

Dancing in the Dark “has less to do with dancing and more about being in the dark about a new romantic relationship,” she explains. “There’s a sense of anxiety when you’re starting with someone and they’re giving you mixed signals. I ended up in a relationship with someone who was emotionally unavailable. Difficult situation dating!” Finding Closure “has ascending vocal lines which reach a resolution, but there’s also a counter-melody. The synth descends, joined by a peculiar groove. It’s a happy song but with a twist of melancholy.”

Bogdanovic’s lyrics, written in English, are beautiful and poetic. She also expresses her feelings through music alone, as in Crazy Chords. “In the first part the chords are changing fast, the harmony is complex and I’m singing a simple melody on top. In the second part there are only four chords, resolving into something open and lyrical. Then back again to the wild opening.”

May, also without lyrics and written in May her favourite month, has musical references to her time as a classical pianist. “I was playing a lot of Debussy and Chopin. The piece is dissonant but with a pretty sounding harmony. Debussy creeps in though not intentionally.”

At the age of seven, Bogdanovic began learning piano in Maribor, Slovenia, where she was born and brought up. Her mother is Slovenian, her father Bosnian. “We had to flee the war when I was two years old,” she recalls. “It affected a lot of things in my life. It was a rough beginning for me. I experienced the war through my parents. We lost everything. They started a company and worked day and night to make it successful. That’s why I have no siblings.” The track Only Child “is an interplay of music and vocals. The voice here, as in my music generally, is not always up front, but has an instrumental role as part of the band.”

She recalls that music was always played at home, though never jazz. Her father performed Balkan rock. Bogdanovic went on to study classical piano and in her own estimation was good, but not a prodigy. She also sang in various pop and rock bands but felt that she needed more complexity in music and slowly moved towards jazz, which she studied in Austria before moving to Berlin where she now lives.

The composer’s inspirations are a “mashed up, mix of different things from classical music to jazz traditional and modern, singer-songwriter, indie, electronic, soul, neo-soul, r&b, and hip-hop.” Drawn to melancholy she likes rich and unusual harmonies. “When I listen to music,” she says “it needs to sound new to me. The perfect combination is something familiar, but original especially harmonically.”

She wants her own music to be “very cross-over and fresh. I don’t want to be limited by anything.” Greg Cohen, the renowned bass player, talks of her: “...sultry tone, expressive phrasing and total musicality… the choice of many musicians ‘in the know’. Comfortable in all walks of musical life, Ms.Bogdanovic is guaranteed to please.”

Awake

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Pete Candoli, Conte Candoli - Girls, Girls, Girls

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 34:23
Size: 79,7 MB
Art: Front

(1:29) 1. There Is Nothing Like a Dame
(3:05) 2. Diane
(2:46) 3. Gigi
(2:37) 4. Dinah
(3:10) 5. Georgia on My Mind
(3:12) 6. Alouette
(2:36) 7. Candy
(3:23) 8. Valentine
(3:08) 9. Mary Lou
(2:41) 10. Ida! Sweet as Apple Cider
(3:22) 11. Margie
(2:49) 12. Anna

It would seem that Pete Candoli has been biding his time in the wings all these years. While Louis Armstrong, Dizzy Gillespie, Freddie Hubbard, Miles Davis, etc. have long enjoyed broad public recognition; Pete has finally attained the level of popular acceptance that the quality of his talents as a jazz trumpeter deserves.

Within the Music World Pete Candoli is regarded as one of the most precise and eloquent interpreters of jazz. He and his trumpet playing brother Conte have what amounts to a cult following among aficionados.

A trumpet player of major importance, Pete's association with top bands reads like a "Who's Who" of jazz. He has been featured with Tommy Dorsey, Glen Miller, Woody Herman, Stan Kenton, Les Brown, Count Basie, Freddy Slack, Charlie Barnet, etc... in fact, he has played with over 27 of the top named bands.

Although Pete Candoli is best known for the jazz trumpet, his musical background and experience is as varied as it can be. He is equally expert with classical music and pop. He has conducted music seminars and concerts at some (30) universities and colleges when he is not playing a jazz festival, concert, or nightclub somewhere. To date he has worked over (5000) record dates.

He has composed and arranged music and conducted for Judy Garland, Ella Fitzgerald, and Peggy Lee among others. Having played first trumpet for Igor Stravinsky’s “Ebony Concerto” written for the Woody Herman Orchestra. Pete has received much acclaim for his versatility as a solo trumpeter.

Pete Candoli has won awards as outstanding trumpet player from Downbeat and Metronome Magazines, the 20 most prestigious publications in the music business. Pete also won the Esquire Magazine and the Look Magazine Awards as one of the (7) all-time outstanding jazz trumpet players. The (6) were Louis Armstrong, Bix Biederbeck, Harry James, Bunny Berigan, Dizzy Gillespie and Bobby Hackert, there is more. Pete and his brother Conte won The International Jazz Hall of Fame award in 1997, and was honored with The Big Band award in 2003.

Pete began playing lead and jazz for Sonny Dunham’s Orchestra in 1941, followed by a long string of other name bands including Woody Herman’s famed “First Herd.” Pete settled into the studio scene in the 50’s after tenures with Herman, Tex Beneke, Jerry Gray and Stan Kenton among others. He and Conte also co-led a band (1957-62). As a preeminent lead trumpeter, Pete played for the Orchestras of Alex Stordahl, Gordon Jenkins, Nelson Riddle, Don Costa, Michel LeGrand, Henry Mancini, as well as Frank Sinatra.

Pete’s exuberant premier lead work and dashing high note specialty is fueled with gratifying surprises always. His sharp, peppered trumpet recalls the brilliance of Louis Armstrong and Roy Eldridge bulking peaks and climaxes. As for jazz, “I’m radical! I never play the same jazz thing twice!” asserts Pete. “I’m like a chameleon and I play what I feel, although I may favor some patterns. Also, I’m a little staccato... on edge of my fiery type of playing.” In summary both bothers define jazz force at it’s best.
https://www.allaboutjazz.com/musicians/pete-candoli

Girls, Girls, Girls

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Etta James - Time After Time

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 64:37
Size: 149,0 MB
Art: Front

(5:02) 1. Don't Go To Strangers
(5:03) 2. Teach Me Tonight
(4:31) 3. Love Is Here To Stay
(6:36) 4. The Nearnes Of You
(4:26) 5. Time After Time
(5:50) 6. My Funny Valentine
(6:55) 7. Imagination
(4:01) 8. Fool That I Am
(6:27) 9. Willow Weep For Me
(5:19) 10. Ev'rybody's Somebody's Fool
(4:19) 11. Night And Day
(6:01) 12. Someone To Watch Over Me

Casual fans of Etta James most often thought of her as a blues singer, and she was, when that was what she wanted to do, but she also sang straight girl group pop, belted out R&B and soul tunes, and she also, when she chose, took herself uptown and sang jazz.

That's the case here, as James elegantly delivers her versions of vocal jazz standards like Sammy Cahn and Jule Styne's "Time After Time" and Hoagy Carmichael's "The Nearness of You," in front of a tight and fluid big band comprised of Josh Sklair (guitar), Eddie Harris and Herman Riley (tenor saxophone), Ronnie Buttacavoli (trumpet, flügelhorn), Kraig Kilby (trombone), Cedar Walton (piano), John Clayton (bass), Paul Humphrey (drums), and Donto Metto James (shakers). It's all graceful and uptown, and James' singing is hauntingly beautiful. By Steve Leggett
https://www.allmusic.com/album/time-after-time-mw0000175382

Personnel: Vocals – Etta James; Bass – John Clayton (tracks: all except 6); Drums – Paul Humphrey (tracks: all except 6); Flugelhorn – Ronnie Buttacavoli (tracks: 6, 7, 8, & 9); Guitar – Josh Sklair; Piano – Cedar Walton (tracks: all except 6); Tenor Saxophone – Eddie Harris (tracks: 2, 3, 5, & 12), Herman Riley (tracks: 4, 7, 9, 10, & 11); Trombone – Kraig Kilby (tracks: 2, 3, 5, 7, 9, 10, & 12)

Time After Time

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John Patitucci - Soul of the Bass

Styles: Jazz fusion, Post-bop
Year: 2019
File: MP3@320K/s
Time: 37:47
Size: 90,3 MB
Art: Front

(2:23) 1. Soul Of The Bass
(2:37) 2. Seeds Of Change
(2:00) 3. Morning Train (Spiritual)
(3:30) 4. The Call
(3:40) 5. Mystery Of The Soul
(1:44) 6. Morocco
(2:27) 7. Elvin
(3:14) 8. Earth Tones
(2:48) 9. Seeds Of Change Reprise
(5:44) 10. Allemande in D minor
(3:51) 11. Sarab
(1:47) 12. Trust
(1:55) 13. Truth

Take a look at the long musical lineage paved by the titans of bass, and invariably there's a point where each turns inward to express themselves with just their hands and their instrument, unaccompanied. ForJohn Patitucci that time is now. Soul of the Bass, Patitucci's 16th solo record, is his most intimate and revealing.

Centered around melodic, concise improvisations on acoustic bass, the sound of wood, skin on string and open air serve to heighten the expressiveness of the melodies. Patitucci explains, "I think as you get older you prioritize the sound and the feel of everything you play, which if rendered with integrity, will result in a clarity that communicates to the listener and draws them in."

Patitucci continues his trailblazing ways on his 6-string electric bass guitar, offering a stirring interpretation of the Allemande from Bach's "Cello Suite No. 5," and exploring new sonic terrain by applying his six as a color to some of his acoustic bass inventions. In the record's most dramatic departure, John throws down an R&B groove with drummer Nate Smith, layering additional bass guitars on top, in a historic nod to the instrument.By Editorial Reviews https://www.amazon.com/Soul-Bass-John-Patitucci/dp/B07NRH6PZJ

Personnel: John Patitucci, six-string electric bass, electric bass, piccolo electric bass, bass; Nate Smith, drums (4, 9); Greisun, vocals (11); Isabella Patitucci, vocals (11); Sachi Patitucci, cello (13).

Soul of the Bass

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Steve Davis - Dig Deep

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 60:30
Size: 140,3 MB
Art: Front

(5:46) 1. One For All
(6:54) 2. Dig Deep
(7:47) 3. Little Boy's Bossa
(6:26) 4. Blues Noble
(5:18) 5. Detour Ahead
(7:06) 6. I Should Care
(7:02) 7. Summertime
(7:04) 8. Payne's Window
(7:02) 9. Trippin'

Steve Davis, currently a member of the Jackie McLean Quintet, is one of the major new voices on the trombone. On this, his 2nd leader date for Criss Cross, he shines in the company of the friends he usually plays with: Eric Alexander, Jim Rotondi, David Hazeltine, Nat Reeves and Joe Farnsworth.
By Editorial Reviews https://www.amazon.com/Dig-Deep-Steve-Davis/dp/B0000020OO

Personnel: Trombone – Steve Davis; Saxophone – Eric Alexander; Trumpet, Flugelhorn – Jim Rotondi; Bass – Nat Reeves; Drums – Joe Farnsworth; Piano – David Hazeltine

Dig Deep

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Art Pepper - Winter Moon

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 57:41
Size: 132,2 MB
Art: Front

(5:32)  1. Our Song
(5:21)  2. Here's That Rainy Day
(4:52)  3. That's Love
(5:33)  4. Winter Moon
(5:48)  5. When The Sun Comes Out
(7:00)  6. Blues In The Night
(6:48)  7. The Prisoner (Love theme from 'The Eyes of Laura Mars')
(5:34)  8. Our Song (alternate)
(4:57)  9. The Prisoner (alternate)
(6:13) 10. Ol' Man River

Ever since Artie Shaw and Charlie Parker, most jazz musicians have had a desire to record at least once in their lives with strings, often considering it a prestigious honor. Altoist Art Pepper finally had his chance on this album and fortunately the string arrangements (by Bill Holman and Jimmy Bond) do not weigh down the proceedings. Pepper sounds quite inspired performing seven strong compositions highlighted by Hoagy Carmichael's "Winter Moon," "When the Sun Comes Out" and a clarinet feature on "Blues in the Night." This material (plus four alternate takes and two other songs from the same sessions) is included in the massive Art Pepper Galaxy box set. ~ Scott Yanow  http://www.allmusic.com/album/winter-moon-mw0000188534

Personnel: Art Pepper (alto saxophone); Howard Roberts (guitar); Stanley Cowell (piano); Cecil McBee (acoustic bass guitar); Carl Burnett (drums).

Winter Moon

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Steve Dobrogosz - Charts Demos, Pt. 1

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 178:52
Size: 411,4 MB
Art: Front

(4:43) 1. Carolina
(4:47) 2. Grain
(4:43) 3. Rolling Back the Sea
(6:27) 4. Maria of the Roses
(2:21) 5. Seduction
(5:06) 6. In Magic
(5:21) 7. Torch
(3:30) 8. Over the Hill
(5:17) 9. Quail Corners
(5:56) 10. Momentum
(1:41) 11. My
(4:16) 12. Siberia
(2:51) 13. You and I
(6:48) 14. Astronomy
(2:25) 15. Congregation
(3:29) 16. Anyday Now
(4:28) 17. Old Moses
(2:54) 18. Bring That Good News
(4:48) 19. Drawing the Bow
(4:13) 20. The Azures
(5:43) 21. Come Alive
(4:22) 22. Folkmass
(4:07) 23. The Look
(4:21) 24. Desdemona
(2:41) 25. Family
(3:33) 26. Christians and Lions
(3:36) 27. The Hopeless Bottle
(4:19) 28. The Pride
(4:32) 29. The Right Side
(2:37) 30. Welcome
(4:07) 31. Surf
(1:49) 32. Five Red Frogs
(2:25) 33. Sunflowers
(2:33) 34. Raggy
(4:00) 35. When She's Been Near
(3:07) 36. Open Heart
(3:34) 37. American Bible
(3:37) 38. Holyland
(2:53) 39. Limbo
(4:31) 40. Elmer Fudd's Secret Plan
(3:33) 41. The Cavern Clubs
(4:47) 42. Across the Sea
(2:30) 43. Poland
(4:05) 44. Speak
(5:00) 45. Cuernavaca

Steve Dobrogosz composer//pianist (1956 - Bellefonte, Pennsylvania, USA)

Steve Dobrogosz grew up in the American south (Raleigh, NC), trained as a classical pianist and interested in the popular music of the day. While studyiing at Berklee College of Music in Boston he met his Swedish wife and in 1978 moved to Stockholm, quickly becoming active in Sweden's jazz scene with the Steve Dobrogosz Trio and as sideman with popular Scandinavian jazz groups. In the mid 80s he focused on his main interest, songwriting, and began a series of successful vocal collaborations (see: the “Anthology” album with singer Berit Andersson), while also venturing into choral and orchestral composition.

Dobrogosz’s production (now over 1400 pieces) incorporates a wide spectrum of genres. His oeuvre now includes a 2-hour oratorio of Shakespeare sonnets, a symphony, a choral Requiem and several Masses, an oboe concerto and other Americana, gritty rock piano albums, a pop-jazz songbook, sultry background music, jigs, bluegrass fiddle, 300 jazz charts, music for Spanish guitar, a song cycle, and a book of childrens' rhymes.

His 1982 duo album with singer Radka Toneff "Fairy Tales” was voted all-time Best Norweigian Album in an artists poll. His “Mass” (1992) has been performed in 45 countries and is a staple in international choral repertoire. His 2006-2008 recordings with singer Anna Christoffersson recieved Swedish Grammy nominations and critical acclaim. The Gothenburg Post compared his music to Gershwin and Porter, writing "Dobrogosz's songs are melodic masterpieces, with a harmonic sophistication seldom found in music today.”

"Dobrogosz does not play complicated, but each tone is meaningful and the keyboard is a seamless extension of what must be spirit in conjunction with matter... Steve Dobrogosz plays in an alloy of genres without clichés in a way that is almost shockingly complete"
By Lira Magazine https://www.dobrogosz.com/bio.htm

Charts Demos, Pt. 1

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Miles Davis - Workin' with the Miles Davis Quintet

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 42:07
Size: 97,8 MB
Art: Front

(5:24) 1. It Never Entered My Mind
(7:13) 2. Four
(5:43) 3. In Your Own Sweet Way
(1:59) 4. The Theme (take 1)
(8:33) 5. Trane's Blues
(7:24) 6. Ahmad's Blues
(4:46) 7. Half Nelson
(1:02) 8. The Theme (take 2)

Trumpeter Miles Davis led several sessions for Prestige Records between November 1955 and October 1956 with his legendary "first" quintet, featuring tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The sessions represent an incomparable musical legacy. Impeccably engineered by Rudy Van Gelder, the music was released on five albums that provide a unique glimpse at how five brilliant instrumentalists coalesced into one of the most extraordinary ensembles in modern jazz.

Workin' presents an easy going program that balances ballads with the blues and includes quintet performances of originals by Davis ("Four," "Half Nelson"), Coltrane ("Trane's Blues"), and Dave Brubeck ("In Your Own Sweet Way"); an interpretation of the standard "It Never Entered My Mind" without saxophone; and a piano-trio version of Ahmad Jamal's "Ahmad's Blues." Coltrane's melancholy solo on Brubeck's tune and Garland's spry excursion on Coltrane's are two of this classic's many highlights. By Mitchell Feldman https://www.amazon.com/Workin-Miles-Davis-Quintet/dp/B000000YGI

Workin' with the Miles Davis Quintet

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Radka Toneff & Steve Dobrogosz - Fairytales

Styles: Vocal And Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 41:11
Size: 95,7 MB
Art: Front

(3:14) 1. The Moon Is A Harsh Mistress
(3:25) 2. Come Down In Time
(4:23) 3. Lost In The Stars
(4:22) 4. Mystery Man
(5:53) 5. My Funny Valentine
(5:47) 6. Nature Boy
(4:14) 7. Long Daddy Green
(5:10) 8. Wasted
(2:29) 9. Before Love Went Out Of Style
(2:10) 10. I Read My Sentence

Chances are you have neither heard of this album or Radka Toneff. But the album is recognised as a jazz classic in Scandinavia, is Norway's best-selling jazz album of all time and was voted Norway's Best Album of All Time in a poll of Norwegian musicians in 2011. Toneff graduated from the Oslo Musikkonservatorium in 1975.

Seven years later she was dead from an overdose. A highly original singer, she made an enormous impression on Norwegian (and Scandinavian) jazz during her brief lifetime, and her influence still continues to be felt through singers such as Sidsel Endresen, Solveig Slettahjell and Torun Eriksen. This is her finest work, and when it was originally released it became something of an audiophile classic, since it was recorded on one of the first digital tape machines.

Remastered using MQA technology from the 16-bit/50.35 kHz master-tapes, it appears here as a 16-bit Hybrid SACD (meaning Super Audio CD), the combination of piano and voice captured with astonishing clarity. Many pundits have described these performances as breathtaking and it is hard to disagree; the grain of Toneff's voice combined with a less-is-more delivery beguiles with its intimacy and enjoys a second life in the memory long after the CD has been played.

Ultimately, it is limiting to call this remarkable album ‘a classic of Norwegian jazz’; quite simply it is a contemporary jazz classic.
https://www.jazzwise.com/review/radka-toneff-and-steve-dobrogosz-fairytales

Musicians: Steve Dobrogosz (p), Radka Toneff (v)

Fairytales

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Maria Schneider & Dawn Upshaw - Winter Morning Walks

Styles: Jazz, Big Band 
Year: 2013
File: MP3@320K/s
Time: 52:11
Size: 127,2 MB
Art: Front

(3:34)  1. Perfectly Still This Solstice Morning
(1:54)  2. When I Switched On a Light
(3:51)  3. Walking by Flashlight
(2:45)  4. I Saw a Dust Devil This Morning
(3:57)  5. My Wife and I Walk the Cold Road
(2:20)  6. All Night, in Gusty Winds
(1:25)  7. Our Finch Feeder
(2:24)  8. Spring, the Sky Rippled with Geest
(6:05)  9. How Important it Must Be
(4:27) 10. Prologue
(4:48) 11. The Dead in Frock Coats
(3:49) 12. Souvenir of the Ancient World
(6:10) 13. Don't Kill Yourself
(4:35) 14. Quadrille

Maria Schneider proved her genius as a composer and arranger beyond any doubt with Concert in the Garden (ArtistShare, 2004), and she did it again on her second masterpiece of orchestral jazz, Sky Blue (ArtistShare, 2007). With Winter Morning Walks, Schneider introduces her first works with major orchestras, the Australian Chamber Orchestra on the nine part "Winter Morning Walks," and the St. Paul Chamber Orchestra on "Carlo Drummond de Andrade Stories," both in partnership with soprano Dawn Upshaw. "Winter Morning Walks," puts music to the poetry of Ted Kooser, the Poet Laureate of the United States from 2004 to 2006. These short, clear, simple and profound pieces were composed during his recovery from cancer treatment. Upshaw's vocals soar.

The Australian Chamber Orchestra along with long time Schneider compatriots Frank Kimbrough (piano), Scott Robinson (reeds), and Jay Anderson (bass) caress the words, inject small surprises inside the pastel string washes, violins and violas whispering like soft breezes through the prairie grass, making the canopies of the tall trees sing. After the subtle magnificence, the hushed beauty of "Winter Morning Walks," it's probably best to take a break, or to perhaps listen to the work again. It is an experience to be savored before moving on to "Carlos Drummond de Andrade Stories." Carlos Drummond de Adrade (1902 to 1987) was one of Brazil's greatest poets. His writing was most often rooted in the everyday, often featuring contrasts between moods of darkness and light. The St. Paul Chamber Orchestra features a broader palette of colors, with the strings joined by woodwinds and brass embracing the vocals. The backdrop behind Upshaw is more colorful here, though the moods are often darker. "The Dead in Frock Coats" throbs with a deep, aching melancholy; while "Don't Kill Yourself" floats back and forth between whimsey and deep despair, narrated by the poet's street-wise and somewhat detached yet sympathetic even loving voice.

Winter Morning Walks features two major works by a major artist. Trumpeter Wynton Marsalis has long been an advocate for Duke Ellington as the greatest composer/arranger that the United States ever produced. That's a hard point to argue against. We may now, with the release of "Winter Morning Walks" and "Carlos Drummond de Andrade Stories," have to acknowledge Maria Schneider as our greatest "living" arranger/composer. ~ Dan McClenaghan https://www.allaboutjazz.com/winter-morning-walks-maria-schneider-artist-share-review-by-dan-mcclenaghan.php

Personnel: Winter Morning Walks: Maria Schneider: composer; Dawn Upshaw: vocals; Jay Anderson: bass; Frank Kimbrough: piano; Scott Robinson: alto clarinet, bass clarinet; The Australian Chamber Orchestra. Carlos Drummond de Andrade Stories: Maria Schneider: composer; Dawn Upshaw: vocals; The St. Paul Chamber Orchestra.

Winter Morning Walks

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Tineke Postma - The Dawn of Light

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 56:35
Size: 129,9 MB
Art: Front

(6:38)  1. Canção de Amor (Suite I Na Floresta do Amazonas)
(7:10)  2. Falling Scales
(4:19)  3. Before the Snow
(5:37)  4. Leave Me A Place Underground
(6:59)  5. The Observer
(5:47)  6. Off Minor
(4:22)  7. Newland
(4:49)  8. The Man Who Stared At Coats
(4:37)  9. Beyond Category
(6:12) 10. Tell It Like It Is

Since her 2004 debut as a leader, Dutch saxophonist Tineke Postma has released records almost like clockwork every alternate year, with The Traveller (EtceteraNow, 2009), as strong a statement as she's made, featuring a quartet of Americans including drummer Terri Lyne Carrington constant companion since Postma's sophomore For the Rhythm (Munich, 2005). The Dawn Of Light returns to an all-Dutch lineup for the first time since First Avenue (Munich, 2004), with the exception of Grammy Award-winner Esperanza Spalding, whose sweetly appealing voice helps keep the irregularly metered "Leave Me a Place Underground" eminently accessible.  The Dawn of Light reunites Postma with keyboardist Marc Vanroon and bassist Frans van der Hoeven from 2007's A Journey That Matters (Foreign Media). Gigging together since 2006, this is the first time Postma has recorded with this group, which also features drummer Martijn Vink, last heard with her on First Avenue. If artists like drummer Han Bennink and pianist Misha Mengelberg put The Netherlands on the map in the 1960s with their New Dutch Swing, then this new generation of Dutch players is equally forward-thinking, but even more liberal when it comes to the palette from which they work, and the styles from which they draw. 

On this largely acoustic session, which features six Postma compositions written specifically for the group, the aptly titled, tempo-shifting "Beyond Category" one of two tracks written by van Roon goes against type, mixing the keyboardist's Fender Rhodes with some retro synth textures; even van der Hoeven turns on, feeding his double bass through an octave divider for a short but commanding solo in the relatively short track's final moments. The Dawn Of Light may have more limited instrumentation than A Journey, which ran the gamut from quartet to octet, but the greater chemistry of this consistent lineup is apparent from the opening moments of Postma's free-spirited interpretation of Heitor Villa-Lobos' "Canção de Amor." Blending instantaneous spontaneity, rubato lyricism reminiscent of pianist Keith Jarrett's 1970s American Quartet, and lithe contrapuntal elegance all supported with simmering energy by van der Hoeven and Vink Postma's alto solo sets an early high bar which van Roon, on acoustic piano, matches and then raises. Postma's compositional skills continue to develop, whether it's on relative sketches like "Falling Scales," where she provides little more than a roadmap, or the episodic "The Observer," which ebbs and flows in dynamics and tempo, Postma's soprano soaring into fluttering passages that occasionally reach into the stratosphere piercing but pure leading to a stop-and-start piano solo that van Roon mixes with the occasional synth line. Postma recently participated on Terri Lyne Carrington's all-female Mosaic Project (Concord, 2011), which deserves to give her some additional and deserved North American exposure. 

But as strong a performance as the saxophonist turns in there, it's in the context of her own music that her growth is most palpable. Rendering accessibly melodic music with an intrepid spirit that's unafraid to let the music unfold where it may, The Dawn of Light is Postma's most integrated and fully realized album to date; and with the saxophonist still only in her mid-thirties, only time will tell where she goes next. ~ John Kelman  http://www.allaboutjazz.com/the-dawn-of-light-tineke-postma-challenge-records-review-by-john-kelman.php#.VEAIWBawTP8
 

Personnel: Tineke Postma: alto and soprano saxophones; Marc van Roon: Steinway grand piano, Korg MS 20 synthesizer, Fender Rhodes Mark I; Frans van der Hoeven: double bass; Martijn Vink: drums; Esperanza Spalding: vocals (4).

The Dawn of Light

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Maria Schneider Jazz Orchestra - Evanescence

Styles: Big Band, Contemporary Jazz
Year: 1994
File: MP3@320K/s
Time: 72:55
Size: 168,2 MB
Art: Front

(10:29) 1. Wyrgly
(11:23) 2. Evanescence
( 9:02) 3. Gumba Blue
( 5:52) 4. Some Circles
( 8:08) 5. Green Piece
( 7:09) 6. Gush
( 4:53) 7. My Lament
( 7:30) 8. Dance You Monster To My Soft Song
( 8:24) 9. Last Season

Maria Schneider's debut as a leader is quite impressive. Her complex arrangements of her nine originals are most influenced by Gil Evans and Bob Brookmeyer, although her own musical personality shines through. There are strong solos from tenors Rick Margitza and Rich Perry, trumpeter Tim Hagan, altoist Tim Ries, and particularly pianist Kenny Werner, but it is the moody ensembles that most stick in one's mind. Schneider's arrangements are often dense, a bit esoteric, and thought-provoking; this music may need several listens for one to grasp all that is going on. By Scott Yanow
https://www.allmusic.com/album/evanescence-mw0000114781

Personnel: Maria Schnieder – conductor; Mark Vinci – alto saxophone, flute, alto flute, clarinet, piccolo; Tim Ries – alto saxophone, soprano saxophone, flute, clarinet; Rich Perry – tenor saxophone, flute; Rick Margitza – tenor saxophone; Scott Robinson – baritone saxophone, bass saxophone, bass clarinet, clarinet; Tony Kadleck – trumpet, flügelhorn; Greg Gisbert – trumpet, flügelhorn; Laurie Frink – trumpet, flügelhorn; Tim Hagans – trumpet, flügelhorn; John Fedchock – trombone; Keith O'Quinn – trombone; Larry Farrell – trombone; George Flynn – bass trombone, tuba; Ben Monder – guitar; Kenny Werner – piano; Jay Anderson – bass guitar; Dennis Mackrel – drums; Emidin Rivera – percussion on "Gush"; Bill Hayes – flexatone on "Gush"

Evanescence

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Tineke Postma - For The Rhythm

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 63:44
Size: 147,6 MB
Art: Front

(5:23)  1. Summersong
(3:04)  2. Voyage
(5:44)  3. Comprehension
(4:41)  4. Pump It Up!
(8:08)  5. Dialog
(6:40)  6. Song For Sea-Tee
(6:08)  7. New Life
(7:07)  8. Wandering
(5:49)  9. Goodbey
(5:15) 10. Love Theme
(5:40) 11. For The Rhythm

Driving with plenty of contemporary excitement all around her, Dutch saxophonist Tineke Postma provides the kind of tension and release that makes modern jazz swing. Not quite thirty, but experienced through rigorous educational programs in both the United States and Holland, she has combined a strong foundation with her natural inclination for jazz's mainstream. Eight of the eleven pieces on this, her second album as leader, come from her composing pen. Saxophone influences such as Cannonball Adderley and John Coltrane show up in each of the selections, as well as evidence of Postma's mentorships with Chris Potter, Dick Oatts, and Dave Liebman. Look at the common denominator: it all comes from the heart. A dreamy piece written for her mother, "Song for Sea-Tea features alto and guitar in a comfortable unison that floats melody upon melody, while Terri Lyne Carrington's drum set swirls surround them with a rhythmic stutter. Pump it Up! features a similar formula, but with Fender Rhodes in a contemporary adventure that sizzles with dramatic fire. The blues is built in, giving Postma a free-flowing dialog that speaks to a broad audience. Dialog, on the other hand, eschews the blues and goes for the jugular. Here, Postma and guitarist Edoardo Righini bring their fire to a boil gradually, giving it plenty of time to age. 

Her soprano saxophone "dialog reaches far and wide. Additionally, pianist Rob van Bavel turns in a superb solo section on this one that builds from the ground up, unleashing the passion through finely articulated phrases. Carrington ties it all together with her swarming rain of percussive torrents. Goodbye comes at us on slow feet rubato, legato, and reeling like the bartender at 3 am. This tender alto saxophone intimacy works its magic on this standard theme, which is interpreted alone with piano. If the album weren't so darn good to begin with, this piece could be called her best shot. Another intimate arrangement brings us the "Love Theme from Spartacus through the voices of bass, drums, and alto. Pared down for a lyrical affair, Postma's ensemble stretches out with pride. The song itself brings majesty, while the trio adds a warm overcoat to its soul. Closing out with the title track, the full ensemble swings hard in a fresh adventure that smokes behind the leader's blazing alto. The new year has only just begun, and already we're faced with a candidate for our 2006 top ten lists. For the Rhythm comes highly recommended; it reveals a powerful new voice on the mainstream jazz scene that makes the new year look pretty bright. ~ Jim Santella  http://www.allaboutjazz.com/for-the-rhythm-tineke-postma-215-music-munich-records-review-by-jim-santella.php#.VEWfXMlNeKU
 

Personnel: Tineke Postma: alto saxophone, soprano saxophone; Rob van Bavel: piano, electric piano; Edoardo Righini: guitars; Darryl Hall, Jeroen Vierdag: double bass; Terri Lyne Carrington: drums.

For The Rhythm

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Joscho Stephan Trio - Four of a Kind

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 48:37
Size: 112,0 MB
Art: Front

(3:16) 1. Swing News
(3:58) 2. One for Max
(3:47) 3. Rambos Armada
(4:36) 4. Tears
(5:05) 5. Funk 22
(3:47) 6. Just a Gigolo
(2:15) 7. Limehouse Blues
(3:47) 8. Beautiful Love
(3:30) 9. It Don't Mean a Thing
(4:08) 10. Blue Moon
(2:41) 11. Valse de la Mer
(4:21) 12. They Remind Me Too Much of You
(3:19) 13. Struttin' with Some Barbecue

Young fingerstyle guitarist from Germany, Joscho Stephan belongs to a new generation of guitar virtuosos who are introducing fresh stylistic elements into Gipsy Swing.

His debutalbum was named CD of the month by the American magazine Guitar Player and critics found Joscho as virtuoso young musician working in the swing tradition of Django Reinhardt.

Stephan’s music is a mixture of slow melodic jazz and fast, jolly gypsy music. Throughout his music Stephan’s incredible skill and technique can be heard from his vibrato to his incredible runs up and down the guitar neck. Recently Stephan has completed a tour around the world with the great Tommy Emmanuel. https://www.veojam.com/players/joscho-stephan

Four of a Kind

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