Barb Jungr - Barb Jungr sings Leonard Cohen

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 27:43
Size: 63,7 MB
Art: Front

(6:20) 1. So Long Marianne
(4:51) 2. Happens To The Heart
(3:15) 3. Bird On The Wire
(4:25) 4. You Want It Darker
(8:49) 5. The Future/Dance Me To The End Of Love

Leonard Cohen is a an extraordinary artist. He is a challenging poet/songwriter whose works do not give up their meanings easily and his themes can be dark and sometimes disturbing. His commentary on both politics and relationships is usually stark and unsentimental. "Everybody Knows" and "First We Take Manhattan" challenge, and almost threaten, the listener politically.

The 'love' songs "Suzanne" and "So Long Marianne" are wistful and tinged with disappointment. Indeed, Cohen's world is haunted by broken relationships and betrayal, but there is also a promise of reconciliation and redemption. Barb Jungr does an extraordinary job of presenting the poet's musical musings, and it is always a joy to hear her interpret these works.

She does so with skill and intelligence, and she brings drama and clarity to the complex emotions that Cohen conjures up in songs like "Bird on The Wire" and "You Want It Darker." She finds the meaning in Cohen's lyrics and lays it bare for the audience to savour and share. Barb Jungr really is one of our premier interpreters of this amazing writer.

However, if you missed this show, there are three others coming up. On October 14th Barb Jungr presents her interpretation of the works of Nobel Prize winner, Bob Dylan, and on November 18th she is back with her trio in a show called My Marquee. Then, on December 23rd, she will be appearing in two shows with Dillie Keane. Definitely, take advantage of one of these opportunities to appreciate the artistry of Barb Jungr.br /> By J.C.http://www.londonlivinglarge.com/2022/09/barb-jungr-sings-leonard-cohen-crazy.html

Barb Jungr sings Leonard Cohen

---

Brook Benton - Best Of Brook Benton

Bitrate: MP3@320K/s
Time: 31:37
Size: 72.4 MB
Styles: R&B
Year: 2000
Art: Front

[2:26] 1. It's Just A Matter Of Time
[2:19] 2. Endlessly
[2:28] 3. Thank You Pretty Baby
[2:33] 4. So Many Ways
[2:47] 5. Baby (You've Got What It Takes)
[2:40] 6. Kiddio
[2:29] 7. A Rockin' Good Way (To Mess Around And Fall In Love)
[2:26] 8. Fools Rush In
[2:38] 9. The Boll Weevil Song
[2:13] 10. Lie To Me
[2:42] 11. Hotel Happiness
[3:49] 12. Rainy Night In Georgia

This collection contains most of Brook Benton's biggest hits, including the later "Rainy Night In Georgia", a late 60's soul classic that cemented his place in the genre. The few that are missing aren't nearly as significant as the classics that are here. This a disc made to push play on and listen to all the way through. Not a substandard tune anywhere to be found. The sound quality is admirable. No sonic wonder, it is remastered and certainly and improvement over what came before. So buy it, play it, and be prepared to sit back and snap your fingers. ~Jack the Beatlegeezer

A dozen selections, each of which was a Top 15 pop hit, and six of them reached #1 on the R&B charts! Hear these silky-smooth favorites: The Boll Weevil Song; Hotel Happiness; It's Just a Matter of Time; Rainy Night in Georgia; Kiddio; Lie to Me; Fools Rush In; Baby (You've Got What it Takes) (with Dinah Washington), and more.

Best Of Brook Benton

---

Harry Allen - Jazz For The Heart

Bitrate: MP3@320K/s
Time: 72:09
Size: 165.2 MB
Styles: Saxophone jazz
Year: 2006
Art: Front

[5:22] 1. (I Don't Stand A) Ghost Of A Chance With You
[5:34] 2. Nancy (With The Laughing Face)
[5:54] 3. September Song
[8:08] 4. I'm Confessin' (That I Love You)
[3:11] 5. Mona Lisa
[5:23] 6. Skylark
[5:01] 7. Teach Me Tonight
[4:39] 8. Moonlight In Vermont
[6:22] 9. Night Train
[5:07] 10. If There's A Sky Above
[3:45] 11. You Go To My Head
[4:54] 12. Smoke Gets In Your Eyes
[4:35] 13. In The Wee Small Hours (Of The Morning)
[4:08] 14. I'll Be Seeing You

Harry Allen: tenor saxophone; John Bunch: piano; Joe Cohn: guitar; Joel Forbes: bass; Chuck Riggs: drums.

Harry Allen is not exactly a new act. Yet, after some 26 albums under his own name and sideman dates on many others, the saxophonist is hardly a recognizable name to the general public. Too bad, since this recording is among his best and certainly most evocative of a protracted ballad session by Stan Getz. Thematically, the album is perfect for a romantic evening, covering a lengthy 72 minutes. My one reservation is that midway through the album, the Jimmy Forrest standard "Night Train" is played as a mid-tempo blues (as it should be) and damages the mood that the preceding tracks had established.

Harry Allen was a graduate of Rutgers University in New Jersey in 1989 with a music degree and found himself immersed in the New York recording scene with an unexpected opportunity to sit in for Zoot Sims at a session. He has been recording for independent labels like Nagel-Heyer, Progressive and Audiophile, and he's been an RCA recording artist for the past eight years. Now he primarily works within the Harry Allen and Joe Cohn Quartet, a group that was awarded the New York City Nightlife Award for Outstanding Jazz Combo in January, 2006.

Allen's latest release is a followup to last year's Jazz for the Soul and his musical colleagues here are truly veterans of the jazz scene: pianist John Bunch, guitarist Joe Cohn, bassist Joel Forbes and drummer Chuck Riggs. The album is a tribute to the ballads of the Great American Songbook, with one Allen original included ("If There's A Sky Above"). Some of the titles include the Washington/Crosby/Young piece "I Don't Stand A Ghost of a Chance," Johnny Mercer/Hoagy Carmichael's "Skylark" and Hilliard/Mann's "In The Wee Small Hours (Of The Morning)," featuring Joe Cohn's tasty inclusion of the rarely heard verse.

The above reference to Stan Getz is not meant in any way to imply that Allen's music is derivative. Rather, it is an affirmation of this artist's mastery of a style that has been recognized as a significant achievement. Hopefully, some of that will rub off, belatedly, on Allen's career. ~Michael P. Gladstone

Jazz For The Heart

---

Wynton Marsalis - Plays Louis Armstrong - Hot Fives - Hot Sevens

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 73:43
Size: 169,6 MB
Art: Front

(4:48) 1. Potato Head Blues
(4:01) 2. Twelfth Street Rag
(5:48) 3. Skid-Dat-De-Dat
(4:00) 4. Jazz Lips
(6:31) 5. St. James Infirmary
(3:56) 6. Weary Blues
(4:07) 7. Melancholy Blues
(5:52) 8. Heebie Jeebies
(6:11) 9. Once In A While
(4:05) 10. Ory's Creole Trombone
(7:58) 11. Basin Street Blues
(6:33) 12. Savoy Blues
(3:59) 13. Cornet Chop Suey
(5:46) 14. Fireworks

Wynton Marsalis with Vince Giordano pay tribute to the enduring legacy of Louis Armstrong’s “Hot Five and Hot Seven”

Louis Armstrong achieved fame as a trumpeter, but is also known as one of the most influential singers in jazz. His musical presence, technical mastery and imaginative genius so overwhelmed jazz musicians of his day that he became their principal model, leaving an indelible imprint on the Cadillac is the Lead New York Sponsor of Jazz at Lincoln Center. Jazz at Lincoln Center proudly acknowledges its 2006-07 sponsors: Altria Group, Inc., Bank of America, Bloomberg, The Coca Cola Company, Time Warner Inc., XM Satellite Radio.

Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra. BET J is proud to partner with Jazz at Lincoln Center to present the television series Journey with Jazz at Lincoln Center. For more information, visit www.jalc.org imprint on the music. The greatest trumpet playing of Louis Armstrong’s early years can be heard on his Hot Five and Hot Seven records, which were originally done between 1925-1928.

The improvisations, which he made on these records of New Orleans jazz standards and popular songs of the day, transformed jazz. Hits from these recordings which include “Potato Head Blues,” “Muggles” and “West End Blues” set the standard and the agenda for jazz for many years to come.
https://www.highresaudio.com/en/album/view/oupppu/wynton-marsalis-louis-armstrong-s-hot-fives-and-hot-sevens

Personnel: Wynton Marsalis, trumpet; Wycliffe Gordon, trombone; Vincent Gardner, saxophone, clarinet; Victor Goines, saxophone, clarinet; Walter Blanding, piano; Don Vappie, piano; Jon Batiste, piano; Carlos Henriquez, drums; Ali Jackson, drums

Plays Louis Armstrong - Hot Fives - Hot Sevens

---

Thomas Enhco & Stéphane Kerecki - A Modern Songbook

Styles: Piano Jazz, Bop
Year: 2023
File: MP3@320K/s
Time: 76:14
Size: 175,0 MB
Art: Front

(1:23) 1. Reverie (Kinderszenen Op. 15 n°7- Traumerei)
(6:46) 2. Danny Boy
(6:01) 3. (You Make Me Feel Like) A Natural Woman
(4:02) 4. Wasting My Young Years
(6:51) 5. Fields of Gold
(2:40) 6. Day Is Done
(6:53) 7. Gary
(6:34) 8. Oleo de Mujer Con Sombrero
(5:40) 9. Ya Balad
(8:50) 10. Halfway to Japan
(4:25) 11. Lean on Me
(7:21) 12. Libera Me
(3:20) 13. Epilogue
(5:21) 14. Oh Shenandoah

On March 31st the live album "A Modern Songbook" by Thomas Enhco and Stéphane Kerecki was released by Sony Music a summit meeting of two virtuosos.

The album "A Modern Songbook" by Thomas Enhco and Stephane Kerecki is the story of a friendship and successful collaboration between two French jazz virtuosos. What connects the pianist and double bass player is the search for a balance between virtuosity and emotionality, reduction and depth. "We wanted to explore the space between the notes and play with the silence," explains Thomas Enhco. The basis for this musical exploration are pieces from pop, classical, jazz, gospel and folk and music by Aretha Franklin, Nick Drake, Sting, London Grammar, Fauré or Schumann.

Thomas Enhco (1988) continues the work of the artist and musician dynasty Casadesus in the fifth generation. He started playing the violin at the age of three. The piano was added when I was six. From a very young age he was on stage with famous jazz musicians. In France, he is one of the few artists to be celebrated equally by the classical and jazz worlds - he has played and written with/for the Capuçon brothers, Anne-Sofie Von Otter, Khatia Buniatishvili, Lise de la Salle, among others or the Orchester National de France as well as with the jazz musicians Kurt Rosenwinkel, Jack DeJohnette or Mike Stern.

Stéphane Kerecki (1970) is known for his various collaborations, which have received multiple awards. While studying economics, he began playing the double bass, but then decided to devote himself entirely to this instrument and entered the Paris Conservatory. His first engagements took him to Steve Potts' quartet and to the first bassist of the Paris Jazz Big Band. For about twenty years, Stéphane Kerecki has performed in the bands of Denis Colin, Guillaume de Chassy, Yaron Herman, Daniel Humair, François Jeanneau, Sheila Jordan and Steve Lehman, among others. In 2015 he was a prizewinner at Talents Jazz ADAMI and his album Nouvelle Vague received the "Victoire du jazz du Meilleur Disque de l'Année 2015".https://www-jazz--fun-de.translate.goog/thomas-enhco-stephane-kerecki-a-modern-songbook.html

A Modern Songbook

---

Dutch Swing College Band - Digital Dutch

Styles: Jazz, Swing
Year: 1982
File: MP3@320K/s
Time: 59:23
Size: 137,5 MB
Art: Front

(4:31) 1. West Side Stomp
(4:17) 2. Buddy Bolden Blues
(3:05) 3. Papa Dip
(3:31) 4. Sidewalk Blues
(3:18) 5. A Clarinet Case
(3:24) 6. Louisiana
(3:59) 7. My Gal Sal
(3:04) 8. Coney Island Washboard
(3:04) 9. Perdido Street Blues
(2:50) 10. Tail-spin
(3:06) 11. Gate Mouth
(3:17) 12. Perdido
(5:42) 13. Do You Know What It Means To Miss New Orleans
(4:11) 14. Chicago
(7:57) 15. Drum Blues

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

Personnel: Bob Kaper / alto sax (tracks: 3, 4, 6, 9 to 12, 14, 15), bass saxophone (tracks: 6), clarinet (tracks: 1, 2, 4 to 10, 13); Henk Bosch Van Drakenstein / banjo (tracks: 6, 8); Peter Schilperoort / baritone sax (tracks: 1, 2, 7, 10, 12, 13, 15), clarinet (tracks: 3 to 5, 9, 11, 14), soprano sax (tracks: 5, 6, 8, 10, 13); Henk Bosch Van Drakenstein / bass (tracks: 1 to 5, 7, 9 to 15); Rod Mason / bass saxophone (tracks: 6), clarinet (tracks: 4), cornet (tracks: 1 to 15), tuba (tracks: 8), vocals (tracks: 7, 14); Huub Janssen / drums (tracks: 1 to 7, 9 to 15), washboard (tracks: 6, 8); Fred Murray / piano (tracks: 1 to 15); Dick Kaart / trombone (tracks: 1 to 3, 5 to 15).

Digital Dutch

---

Roland Hanna - Bird Tracks: Remembering Charlie Parker

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 53:55
Size: 124,7 MB
Art: Front

(4:08) 1. Donna Lee
(4:15) 2. My Little Suede Shoes
(2:10) 3. Lady Bird
(5:00) 4. Barbados
(4:53) 5. Ornithology
(3:02) 6. Pastel
(5:11) 7. Little Willie Leaps
(2:51) 8. Good Bait
(3:15) 9. Anthropology
(5:32) 10. Lover Man
(4:38) 11. Confirmation
(4:28) 12. Half Nelson
(4:27) 13. Dear Old Stockholm

A talented pianist with a style diverse enough to fit into swing, bop, and more adventurous settings, Roland Hanna was one of the last in an impressive line of great pianists who emerged in Detroit after World War II (including Hank Jones, Barry Harris, and Tommy Flanagan). After serving in the Army and studying music at Eastman and Juilliard, Hanna made a strong impression playing with Benny Goodman (1958).

He worked with Charles Mingus for a period in 1959, and went on to generally lead his own trios. Hanna was an integral part of the Thad Jones/Mel Lewis orchestra (1967-1974), and in 1974 helped found the New York Jazz Quartet (with Frank Wess). He was given knighthood (thus the "Sir") from the President of Liberia in 1970 in recognition for a series of concerts held to benefit Liberian children. Hanna recorded many solo dates and often with a trio, but also composed many works for groups of varying sizes both for jazz groups and classical ensembles.

His piece "Oasis" for piano and orchestra was performed by the Detroit Symphony Orchestra in 1993. In addition to his busy performing schedule, Hanna was also an active educator and tenured professor at Queens College in New York. After almost half a century of performing and recording, Sir Roland Hanna passed away at the age of 70 on November 13, 2002 after suffering a heart attack. By Scott Yanow
https://www.allmusic.com/artist/roland-hanna-mn0000011819/biography

Bird Tracks: Remembering Charlie Parker

---

Tim Carman Trio - Key Lime

Styles: Bop
Year: 2022
File: MP3@128K/s
Time: 42:05
Size: 39,3 MB
Art: Front

(7:11) 1. Blues For Bob
(6:02) 2. Scoochie
(1:50) 3. Key Lime
(4:17) 4. Not A Tear
(4:37) 5. Driftin'
(4:14) 6. Buster Rides Again
(5:32) 7. Sonnymoon For Two
(5:12) 8. Insomnia
(3:07) 9. Buster Rides Again (Live)

"Key Lime, Tim Carman Trio’s debut LP, is no-frills, timeless, B3 organ trio jazz. Inspired by 60s icons like Big John Patton, Jimmy Smith, Brother Jack McDuff, Ben Dixon, Donald Bailey, Roy Haynes, Kenny Burrell, and Grant Green. Tim Carman (drums), Ken Clark (organ), and Steve Fell (guitar) harken back to an age where blues, gospel, jazz, and soul music combined and simmered in barrooms across the country.

Tim Carman, who’s main gig is playing drums with the heavy-blues trio GA-20 (Colemine/Karma Chief Records), crafted the idea for the project in 2020 while off the road due to tour cancellations. Immersed in some of his favorite 60s records, Tim sought to fill a void he noticed in the current jazz world.

With a runtime just shy of 40 minutes the LP is a healthy dose of original tunes, like the laid back “Blues For Bob” and Ken Clark original “Insomnia,” lesser known jazz gems, like the blazing “Scoochie (Hancock) and lone ballad “Not A Tear” (Stevenson), and jazz classics, like Rollins’ “Sonnymoon For Two” and a unique take on Powell’s “Buster Rides Again.”

Recorded live in a single day, the trio captures and creates a fresh spin on the old-school feel and off-the-cuff nature of some of their favorite 60s Blue Note, Verve, and Impulse! recordings. Best spun at late night cocktail parties with spirits aplenty. "

Credits: Tim Carman - Drums; Steve Fell - Guitar (Electric); Ken Clark - Electric Organ

Key Lime

---

Michael Blake - Dance of the Mystic Bliss

Styles: Saxophone, Flute Jazz
Year: 2023
File: MP3@320K/s
Time: 59:09
Size: 136,1 MB
Art: Front

(3:50) 1. Merle the Pearl
(5:38) 2. Le Coeur du Jardin (The Heart of the Garden)
(6:38) 3. Little Demons
(6:26) 4. Love Finally Arrives
(4:08) 5. Topanga Burns
(5:06) 6. Sagra
(7:56) 7. Prune Pluck Pangloss
(7:34) 8. The Meadows
(8:02) 9. Weeds
(3:50) 10. Cleopatra

This is saxophonist Michael Blake's new group, Chroma Nova, which contains guitar, violin, cello, bass and two Brazilian percussionists. They play a set of compositions, inspired by Blake's late mother, dancer Merle Blake, which rely on fluid rhythms and textures taken in many different directions.

Blake is often the main solo voice here but he also blends in with the other instruments to create all kinds of intriguing sonic fabrics. For example, "Topanga Burns" starts with a stately clockwork pattern from Blake's soprano sax and Christopher Hoffman's cello. The music then changes into a blast of violin, hand percussion and fuzz guitar before Blake's soprano comes swirling back into the foreground. "Prune Pluck Pangloss" begins with flute and steely bowed strings before pizzicato violin and the intricate patterns of percussionists Mauro Refosco and Rogerio Boccato bring in a tenser mood. Blake's tenor saxophone then dominates with a broadly rhapsodic solo over Guilherme Monteiro's electric guitar chords.

Blake's comfort within the group shows in the way he navigates all the twists and angles of these compositions. His flute sings brightly over the droning strings and formal dance patterns of "The Meadows" while his tenor sax dances effortlessly over a tricky mesh of Latin rhythms and string accents on "Little Demons." On "Weeds" he plays tenor sax snugly over a menacing up-and-down rhythm vamp before Hoffman's digging cello and Monterio's heavy, scouring rock guitar take over. On the closing track "Cleopatra" Blake blows sorrowful soprano sax into a thick noirish fog of cavernous sound.

In the end, Blake brings Latin, Middle Eastern, and other elements together here into fresh compositions with a flair for the unusual. Chroma Nova has the lightness and flexibility of a dance troupe and they really make the leader's music come to life. This is an album one can listen to many times and always hear something new. By Jerome Wilson
https://www.allaboutjazz.com/dance-of-the-mystic-bliss-michael-blake-self-produced

Personnel: Michael Blake: saxophone, tenor; Guilherme Monteiro: guitar; Mauro Refosco: percussion; Rogerio Boccato: drums; Skye Steele: violin; Chris Hoffman: cello; Michael Bates: bass.

Additional Instrumentation: Michael Blake: soprano saxophone, flute, alto flute; Skye Steele: rabeca, gonji.

Dance of the Mystic Bliss

---

Teddy Grace - Teddy Grace 1937-1940

Styles: Vocal, Swing
Year: 2008
File: MP3@320K/s
Time: 62:25
Size: 65,0 MB
Art: Front

(2:34) 1. I've Taken a Fancy to You
(2:53) 2. I'll Never Let You Cry
(3:01) 3. Goodbye, Jonah
(2:43) 4. Tears in My Heart
(3:09) 5. Love Me or Leave Me
(3:06) 6. Downhearted Blues
(2:44) 7. Crazy Blues
(2:49) 8. Monday Morning
(2:51) 9. Betty and Dupree
(2:53) 10. Arkansas Blues
(3:09) 11. Down Home Blues
(2:53) 12. Gulf Coast Blues
(2:54) 13. Oh Daddy Blues (You Won't Have No Mamma at All)
(2:56) 14. You Don't Know My Mind
(2:59) 15. Low Down Blues
(2:57) 16. Graveyard Blues
(2:55) 17. Hey Lawdy Papa
(2:46) 18. Mama Doo-Shee (Blues)
(2:26) 19. Gee! But I Hate to Go Home Alone
(2:37) 20. Sing (It's Good for Ya!)
(2:17) 21. See What the Boy's in the Back Room Will Have
(2:44) 22. I'm the Lonesomest Gal in Town

Even veteran swing collectors might be unaware of the enjoyable recordings that the unfortunately obscure but very talented Teddy Grace made during her relatively brief career. This valuable CD has 22 of the 30 selections that she made as a leader (leaving off two sessions) and finds Grace very much at ease, whether interpreting swinging, lesser-known material, a series of high-quality blues, or period pieces.

The supporting cast which includes such notables as cornetist Bobby Hackett, trumpeters Charlie Shavers and Max Kaminsky, trombonist Jack Teagarden, clarinetist Pee Wee Russell, tenor saxophonist Bud Freeman, and pianist Billy Kyle, among others speaks for the high esteem in which she was held during the era. By Scott Yanow
https://www.allmusic.com/album/1937-1940-mw0000628303

Personnel: Vocals – Teddy Grace; Bass – Pete Peterson; Clarinet – Pee Wee Russell; Drums – Morey Feld; Guitar – Eddie Condon; Piano – Dave Bowman; Tenor Saxophone – Bud Freeman; Trumpet – Max Kaminsky; Valve Trombone – Brad Gowans

Teddy Grace 1937-1940

---

Nicole Zuraitis & Brandon Coleman - Live At The Two-Headed Calf

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 49:31
Size: 113,5 MB
Art: Front

(4:58) 1. Jolene
(6:17) 2. The Nearness Of You
(3:51) 3. Hallelujah, I Just Love Him So
(4:13) 4. Failing
(4:29) 5. Kansas City
(5:17) 6. Tennessee Whiskey
(4:36) 7. Take A Walk On The Wild Side
(5:24) 8. Angel Eyes
(4:58) 9. Sunny Side
(5:26) 10. How Blue Can You Get

Grammy® Nominated New York based musician Nicole Zuraitis blends clever songwriting skills, an effervescent presence and dazzling vocals in a consummate package that has thrilled audiences across Manhattan and across the world. If recently you happened upon Greenwich Village’s 55 Bar or Birdland Jazz Club and were enchanted by the seismic versatile talent of inspired vocalist, keyboard player and songwriter Nicole Zuraitis, you’re officially part of the lady-powerhouse burgeoning fan club.

Nicole was nominated dually with her husband Dan Pugach in the arrangement category the 61st annual Grammy® Awards for their version of Dolly Parton’s “Jolene”. Connecticut Magazine listed her in their “40 under 40 Class of 2020” and the WOW Forum hosted her as a guest of honor in the fall of 2019. She is the vocalist for the world famous Birdland Big Band in New York City and her album Hive Mind won Best Jazz Album in the 2018 International Music and Entertainment Awards.

In 2016 she won the New York City Songwriting Competition Coffee Music Project, in 2015 was the second runner-up in the Sarah Vaughan International Jazz Vocal Competition and in 2014 won the Herb Alpert ASCAP Young Composer Award. She's also the People’s Choice and Johnny Mercer Award winner in the National American Traditions Vocal Competition. Her brand new project, Generations of Her: Women Songwriters and Lyricists of the last 100 years has sold out both the Birdland Theater and the Cell Theater in New York within months of its conception. Nicole has headlined Birdland, the Blue Note (NYC) and maintains residencies at the 55 Bar (every second Thursday of the month), Rockwood Music Hall (with the Dan Pugach Nonet), and Redeye Grill. Audiences love Nicole’s limitless enthusiasm, but that’s only part of her story; only part of her talent.

While pursuing a career that has spanned jazz, pop and classical, Nicole has collaborated with Cyrille Aimee, Thana Alexa, Dave Stryker, Livingston Taylor, Tom Chapin, Omar Hakim, Melanie Safka, Helen Sung and Bernard Purdie. She’s performed at festivals nationwide, and has recorded two albums: 2013’s Pariah Anthem and 2009’s Spread The Word, both releases featuring the cream of New York’s jazz hierarchy. Her newest album ALL WANDERING HEARTS will realese in May 2020 with Dot Time Records.https://www.allaboutjazz.com/musicians/nicole-zuraitis

Awards: Grammy Nominee 2019. Best Instrumental and Vocal Arrangement, "Jolene" Sarah Vaughan International Vocal Competition runner up NYC Coffee Music Project Songwriting Winnner 2020 Connecticut Magazine Top 40 under 40 Herb Alpert ASCAP Young Jazz Composers Award winner

Live At The Two-Headed Calf

---

Cyndi Lauper - A Night To Remember

Styles: Vocal
Year: 1989
File: MP3@320K/s
Time: 48:04
Size: 111,1 MB
Art: Front

(0:28) 1. Intro
(4:11) 2. I Drove All Night
(3:48) 3. Primitive
(3:01) 4. My First Night Without You
(3:24) 5. Like A Cat
(3:55) 6. Heading West
(3:43) 7. A Night To Remember
(3:56) 8. Unconditional Love
(3:30) 9. Insecurious
(4:12) 10. Dancing With A Stranger
(4:22) 11. I Don't Want To Be Your Friend
(1:15) 12. Kindred Spirit
(4:03) 13. Hole In My Heart
(4:09) 14. I Drove All Night (Summer Sonic 07)

On True Colors, Cyndi Lauper began to edge her way into adult contemporary territory, but it was on her third album, A Night to Remember, that she concentrated all of her attention on becoming a self-consciously "mature" singer/songwriter.

A Night to Remember doesn't always work, but not because she's incapable of performing polished, well-crafted middle-of-the-road material "Time After Time" and "True Colors" prove that she could convincingly deliver ballads. Instead, the album bogs down because it assumes that labored arrangements and precisely detailed production are tantamount to musical sophistication.

That said,there are some moments such as the seductive "I Drove All Night" that make a lasting impression, illustrating what Lauper was attempting to achieve with the record. By Stephen Thomas Erlewine https://www.allmusic.com/album/a-night-to-remember-mw0000201047

A Night To Remember

---

Doug Ferony With Dena DeRose - Time After Time

Size: 123,0 MB
Time: 52:30
File: MP3 @ 320K/s
Released: 1999
Styles: Jazz Vocals
Art: Front & Back

01. Time After Time (3:39)
02. In The Wee Small Hours (2:53)
03. I Fall In Love Too Easily (3:11)
04. You Go To My Head (4:15)
05. That's All (3:47)
06. Good Morning Heartache (4:27)
07. But Beautiful (4:06)
08. When Your Lover Has Gone (3:23)
09. Here's That Rainy Day (3:43)
10. All My Tomorrows (3:23)
11. Moonlight Becomes You (2:55)
12. Angel Eyes (3:39)
13. I Love You So (4:24)
14. I'm A Fool To Want You (4:39)

The occasion for vocalist Doug Ferony's second album is a bittersweet one indeed. A tribute to his wife who recently passed away, the play list leans toward songs which tell stories of love and romance, despair and disappointment. Unlike his first album, where there was a big band with him on some cuts, here he works with just a piano. But like the first album, the pianist is the exceedingly accomplished Dena DeRose. Not only does DeRose sit in as a very sympathetic, aware accompanist, she also sings with Ferony on "I Fall in Love Too Easily," which turns out to be the album's choice track. This latest endeavor is an improvement over the first one in another important respect: Ferony doesn't try as hard. The result is a far more relaxed performance revealing a softer, more pleasant side of the singer's vocal technique. The musicianship is more solid, more assured, and more rewarding for the listener. Such tunes as "Good Morning Heartache," "Time After Time," and the Bing Crosby favorite "Moonlight Becomes You" are pulpits which allow Ferony to demonstrate his uncommon awareness of the lyrics. This, coupled with a good sense of timing and use of the thoughtful pause, makes the album a gem of vocal art. Judging from his work to date, Ferony is determined to do his part to keep alive the tradition of the performing entries in the Great American Popular Songbook established by those male vocalists who have gone before him. Time After Time is recommended. ~by Dave Nathan

Time After Time

---

Sir Roland Hanna - Roland Hanna Quartet Plays Gershwin

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 62:24
Size: 143,3 MB
Art: Front

(7:14)  1. Summertime
(5:23)  2. Lady Be Good
(6:01)  3. Variations In Concerto In "F"
(7:08)  4. Foggy Dau
(5:28)  5. Isn't It A Pity
(7:00)  6. But Not For Me
(7:49)  7. Somebody Loves Me
(5:16)  8. Embrace You
(4:37)  9. Bess You Is My Woman Now
(6:23) 10. Strike Up The Band

Most of the ten compositions written by George Gershwin have been covered numerous times on jazz recordings, so finding fresh approaches to them is a great challenge. Fortunately, Sir Roland Hanna is up to the task. This 1993 studio session kicks off with a funky "Summertime" that includes Bill Easley's hot soprano sax, though Hanna's lively choruses make up its focal point. "Lady Be Good" has a delightful, disguised introductory vamp as Hanna toys with the listener. Easley's full-bodied tenor is present in the snappy rendition of "Embraceable You," which drastically reworks the original piece so much that the label carelessly labeled it "Embrace You." Hanna's mastery of the ballad form is most evident in his luxurious take of "Bess, You Is My Woman Now," with Easley adding a haunting flute solo in a touching duet. Bassist Jon Burr and drummer Ronnie Burrage provide strong support for this very reasonably priced CD from Laserlight. ~ Ken Dryden

Personnel: Sir Roland Hanna (piano); Bill Easley (soprano & tenor saxophones); Jon Burr (bass); Ronnie Burrage (drums).

Roland Hanna Quartet plays Gershwin

---

Eric Marienthal - Just Around The Corner

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 44:15
Size: 101,6 MB
Art: Front

(4:11)  1. Blue Water
(4:27)  2. Times Square
(4:52)  3. Flower Child
(4:13)  4. Open Road
(4:19)  5. 21 Ocean Front
(4:24)  6. Just Around The Corner
(4:13)  7. I Believe In You
(3:38)  8. Dance With Me
(4:36)  9. Your Move
(5:16) 10. Lost Without You

When heard with Chick Corea's Elektric Band or as a sideman in more straight-ahead settings, Eric Marienthal consistently proves that he is a technically skilled and creative jazz altoist. Unfortunately, on his own recordings Marienthal is content to sound as if he is on automatic pilot, caressing insipid melodies, sticking close to the theme in a somewhat generic tone, and playing music that is clearly geared toward smooth radio and romantic backgrounds. Just Around the Corner has the altoist in the forefront throughout while backed by a purposely anonymous rhythm section. 

Whether showing a bit of pseudo-soulful heat or playing a ballad very straight, Marienthal sounds as if every note were planned in advance, with no room for errors, innovations, or spontaneity. The results are predictable instrumental pop performances by musicians capable of so much better. ~ Scott Yanow http://www.allmusic.com/album/just-around-the-corner-mw0000498405

Personnel: Eric Marienthal (soprano saxophone, alto saxophone, tenor saxophone); Jeff Lorber (guitar, piano, keyboards); Ray Parker, Jr. (guitar); Paul Rayner-Brown (acoustic guitar, keyboards, percussion); Michael Stever (trumpet); Brian Culbertson (trombone, piano, keyboards, percussion, drum programming); Stephen Lu (keyboards, programming); Dave Weckl (drums).

Just Around The Corner

---

Dave Douglas - Devotion

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 54:20
Size: 125,0 MB
Art: Front

(4:15)  1. Curly
(5:14)  2. D'Andrea
(4:50)  3. Francis of Anthony
(4:50)  4. Miljøsang
(5:51)  5. False Allegiances
(6:19)  6. Prefontaine
(7:36)  7. Pacific
(5:33)  8. Rose and Thorn
(4:14)  9. We Pray
(5:34) 10. Devotion

The aptly titled Devotion by trumpeter Dave Douglas, pianist Uri Caine and drummer Andrew Cyrille is both a prayer and a dedication. Like a prayer, the trio resolves to maintain a virtuous approach to their celebration of personal heroes, both musical and cultural. The disc opens with "Curly," dedicated to the iconic guileless Stooge, who along with Moe and Larry reigned as the masters of physical comedy in the early 20th century. While there were Three Stooges, Douglas' composition features only a duo between Caine and Cyrille. The piano and drums skid and dance a rollicking scamper of pratfalls and constructed foolishness.  This trio configuration is ideal.

Caine and Douglas have a long history recording in each other's projects and they released the gorgeous duo Present Joys (Greenleaf Music, 2014) which recreated Sacred Harp Psalm music. Add to their duo the master colorist Andrew Cyrille who has been the percussionist of choice for artists such as Wadada Leo Smith, Cecil Taylor, Bill Dixon, Oliver Lake, and Dave Burrell. His hand galvanizes "False Alligences" (for Carla Bley) with mallets, and "Rose And Thorn" with sleight of hand cymbal work. All of which has a sort of ballyhoo-effect on Caine and Douglas. The latter piece shines with Caine's off-kilter stride piano and Douglas' immaculate waxing horn lines. Their dedication to Dizzy Gillespie "We Pray" is a most gentle and reverent composition that fills the heart with its sweet full-bodied sound. Other dedications are to the Italian pianist Franco D'Andrea, Mary Lou Williams, the Olympian runner Steve Prefontaine, and Aine Nakamura and the Mannes/New School composition class. If the finest compliment one can pay to a recording is that you could listen to it repeatedly all day, grab a chair and begin.By Mark Corroto https://www.allaboutjazz.com/devotion-dave-douglas-greenleaf-music-review-by-mark-corroto.php

Personnel: Dave Douglas: trumpet;  Andrew Cyrille: drums, percussion;  Uri Caine: piano.

Devotion

---

Mark Colby and Vince Maggio - Reunion

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 48:27
Size: 111,5 MB
Art: Front

(3:20) 1. You and the Night and the Music
(4:30) 2. Windows
(4:51) 3. I'm Gonna Laugh You Right Out of My Life
(4:12) 4. O Grande Amor
(4:42) 5. Lester Left Town
(4:45) 6. Soul Eyes
(4:46) 7. Up Jumped Spring
(3:21) 8. Airegin
(4:18) 9. Miyako
(5:13) 10. Felicidade
(4:22) 11. Once in a Garden

Of all the configurations in Jazz, the duo may be the most challenging. Each partner must be unremittingly observant, ready and able to lend support in any and all circumstances, while, on the other hand, disclosing a persuasive voice of his or her own with plenty of engaging things to say. Kindred souls Mark Colby and Vince Maggio have those bases well covered on Reunion, on which the two play together for the first time since they were musically separated by Colby’s move from Miami to Chicago a number of years ago.

It’s a sublime reunion wherein Colby and Maggio interact as irreprovably as if they’d never been apart. Like any top–drawer session, this one leaves one hungering for more. Their skills are so abundant that even such overworked staples of the Jazz canon as “Up Jumped Spring” or “Airegin” sound fresh and alive. Colby, whose modernist point of view embraces stylistic touches from Trane and Rollins to Joe Henderson, Michael Brecker, Joe Lovano, Lew Tabackin and others, has forged from them a commanding vocabulary that is unmistakably his own.

Maggio has his own convincing point of view as well, derived from but seldom imitative of other post–bop sovereigns of the piano. He can be unrelentingly forceful, like McCoy Tyner, Benny Green or Harold Mabern, for example, or warmly lyrical in the image of a Kenny Barron, Tommy Flanagan or Bill Evans. Both qualities are employed here to ably complement Colby’s biting tenor (and lustrous soprano on the entrancing ballads “Once in a Garden” and Wayne Shorter’s “Miyako”).

Colby and Maggio have chosen the repertoire with care, embracing two classics by Jobim (“O Grande Amor,” “Felicidade”), Mal Waldron’s “Soul Eyes,” Shorter’s “Lester Left Town,” Armando Corea’s “Windows,” Joe McCarthy/Cy Coleman’s “I’m Gonna Laugh You Right Out of My Life” and the Howard Dietz/Arthur Schwartz standard, “You and the Night and the Music,” which opens the session on a suitably devil–may–care note. This is one Reunion that cries out for an encore. By Jack Bowers
https://www.allaboutjazz.com/reunion-mark-colby-corridor-records-review-by-jack-bowers

Personnel: Mark Colby: saxophone.

Reunion

---

Lluís Coloma Trio - 7 Nights At Central

Bitrate: MP3@320K/s
Time: 68:47
Size: 157.5 MB
Styles: Piano jazz
Year: 2009
Art: Front

[ 5:04] 1. Hurricane's Boogie
[ 4:14] 2. African Gospel
[ 3:58] 3. Coloma's Boogie
[ 4:51] 4. Sleeping
[ 3:51] 5. Betsy's Silent Movie
[ 4:26] 6. Campi Qui Boogie
[ 3:51] 7. Bumble Boogie
[ 8:05] 8. Darkness Dance
[ 4:58] 9. Longhair's Tribute
[ 6:35] 10. The Spirit Of The Blues
[13:02] 11. Cromatic Boogie
[ 5:46] 12. Georgia On My Mind (Bis)

Lluis Coloma (p), Manolo Germán (b), Marc Ruiz (d).

"This CD includes twelve tracks recorded during a week of concerts at Café Central in Madrid. Seven nights wrapped up by a unique atmosphere and the warm audience of one of the most magic places where we have played. With Marc and Manolo, I have shared more than eight years playing concerts, living experiences, traveling, rehearsing, laughing... which make this CD full of complicity and feeling. A honest taste of our music." ~Lluis Coloma

7 Nights At Central

---

Brian Bromberg - The Magic of Moonlight

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 67:14
Size: 154,4 MB
Art: Front

(6:39) 1. The Magic of Moonlight
(6:57) 2. Nico’s Groove
(3:40) 3. A New Dawn
(5:44) 4. So, You Think You’re All That?
(6:53) 5. Just Another Beautiful Day
(6:02) 6. Last Day of Summer
(5:39) 7. The Third Child
(6:48) 8. The Orient Express
(5:20) 9. Bedtime Story
(5:49) 10. The Pink Moment
(7:38) 11. In the Hands of God

The Magic of Moonlight is both an evocative and an apt title for this latest outing; as opposed to its predecessor, the freewheeling, open-road feel of A Little Driving Music, Bromberg’s latest album is deeply imbued with the shadow-cloaked mystery and twilight romance of an evening under the full moon. The feeling is also captured on the Magic Hour wonder of “The Pink Moment,” the nickname for the multi-hued sunset on the Topatopa Mountains near Bromberg’s home outside Ojai, California.

“There's a little bit of mystique in the moonlight,” Bromberg muses. “This album has some mysterious vibes and spirituality along with the feel-good, positive energy, so the name just seemed to fit.”

Originally from Tucson, Arizona, Bromberg started out on the drums before switching to the bass at the behest of his junior high school band director though that driving, rhythmic foundation has remained a core component of Bromberg’s sound. With the help of bass great Marc Johnson, then touring as a member of the Bill Evans Trio, Bromberg landed a gig with the legendary saxophonist Stan Getz in late 1979, when he was just 19 years old.

Bromberg has hardly stopped for a moment’s breath since then. In the ensuing decades he’s performed, recorded or toured with a stunning roster of artists across a spectrum of genres. While it might be easier to list the names that he hasn’t played with, a partial list of collaborators will have to suffice: Joshua Redman, Roy Hargrove, Sarah Vaughan, Bob James, George Benson, Lionel Hampton, Chris Botti, Najee, Whitney Houston, Christina Aguilera, Diana Krall, Dizzy Gillespie, Josh Groban, Mike Stern, Dave Koz, Sting, Michael Brecker, Stanley Clarke, Stanley Jordan even Jerry Lewis. And that’s just scratching the surface.

1986’s A New Day launched Bromberg’s solo career, while his follow-up, Basses Loaded, cemented his place in the front ranks of bass innovators. In the years to follow he released a series of acoustic jazz projects alternating with more electric contemporary outings. He recorded tributes to Jaco Pastorius, Jimi Hendrix and Antonio Carlos Jobim and fronted a full orchestra. Throughout he’s captivated audiences and fellow musicians with his staggering agility on an array of basses: four- and five-string axes, hollowbody electric, acoustic, and the piccolo bass, on which his shredding solos rival the speed and versatility of any electric guitar wizard.

The Magic of Moonlight features an all-star roster of guests tailored to the music that Bromberg has devised for the sessions, supplementing a core band that includes drummers Joel Taylor and Tony Moore, keyboardist Tom Zink, guitarist Gannin Arnold and percussionist Lenny Castro. Smooth jazz sax superstar Everette Harp graces three tunes, playing tenor on the title track and the breezy, wind-in-your-hair “Last Day of Summer,” and soprano on the tender “The Third Child,” lovingly dedicated to Bromberg’s sister.

Fusion sax great Gary Meek, well known for his long association with Airto Moreira and Flora Purim, adds his sinuous soprano to the winsome “Just Another Beautiful Day.” Charlie Bisharat’s mesmerizing violin and Grant Geissman’s sitar guitar combine to add a tinge of otherworldliness to the fusion-driven exoticism of “The Orient Express,” while Lin Rountree’s muted trumpet is the sassy topper on the attitude-fueled funk of “So, You Think You’re All That?”

Though few instrumentalists could combine spellbinding musicianship with entrancing songcraft quite like Bromberg, The Magic of Moonlight is another left-field surprise in a discography full of them. “It's impossible for me to make the same record twice,” Bromberg shrugs. “I like to surprise people. The music comes first.”
https://bassmagazine.com/artists/brian-bromberg-announces-new-album-the-magic-of-moonlight

The Magic of Moonlight

---

Nicola Conte - Umoja

Styles: Contemporary Jazz
Year: 2023
File: MP3@320K/s
Time: 61:17
Size: 141,0 MB
Art: Front

(4:25) 1. Arise
(3:57) 2. Dance Of Love And Peace (Part 1)
(5:54) 3. Life Forces
(5:42) 4. Flying Circles
(8:12) 5. Freedom & Progress
(5:10) 6. Soul Of The People
(5:09) 7. Heritage
(4:13) 8. Into The Light Of Love
(6:55) 9. Umoja Unity
(2:56) 10. Dance Of Love & Peace (Part. 2)
(4:25) 11. Arise (Instrumental)
(4:14) 12. Into The Light Of Love (Instrumental)

Nicola Conte continues on his journey from acid-jazz bohemian to spiritual-jazz sophisticate with this immaculately hip album, fronted on half of its tracks by London-based soul-jazz divas Zara McFarlane and Bridgette Amofah.

Conte began his trajectory with the acid-jazz template Jet Sounds (Schema, 2000), boosted it with Jet Sounds Revisited (Schema, 2002) and, after a brief post-hard-bop detour with Other Directions (Blue Note, 2004), began the spiritual-jazz ascent which has in 2023 reached its new, lofty apogee with Umoja. At all stages, Conte's role has been less that of an instrumentalist and more concerned with composing, arranging, selecting the musicians and producing the sessions.

There is a distinctive, singular thread running through Conte's twenty-three year recorded output. This is a result, in part, of his longtime residence in Bari, an off-the-beaten-track seaport on the heel of Italy's boot on the country's southern Adriatic coast, its location rendering it well placed to shrug off the passing fads and fashions of Rome and Milan. Conte first came to attention in Bari in the 1990s with his Fez Collective, a loose coalition of progressively minded jazz musicians, DJs and cultural activists clustered around the town's alternative club world. Fez was a sort of latter-day musical equivalent of a mid-twentieth century European literary salon.

Continuity has also been created by Conte's collaborator Tommy Cavalieri, at whose Sorriso Studio in Bari Conte's most characterful releases, from Jet Sounds to Umoja, have been recorded.

The new album kicks off with six tracks on which McFarlane and Amofah alternate as lead singers. Within their broadly humanistic paradigm, the lyrics address particular sociopolitical issues such as ethnic identity, and without resorting to prosaic agitprop. The singers are supported by an achingly funky core lineup comprising tenor saxophonist Timo Lassy, multi-keyboardist Pietro Lussu, guitarist Alberto Parmegiani, alternating bassists Ameen Salim, Marco Bardoscia and Luca Alemanno, percussionist Abdissa Assefa and drummer Teppo Mäkynen. Another eleven guest singers and instrumentalists weave in and out (see below for details).

The tracks featuring McFarlane and Amofah are the peaks of the album, for which an honourable mention goes to Lassy, whose sensuous, Pharoah Sanders-like vocalisations behind the singers are terrific. Assefa's percussion work is also noteworthy. And a shoutout, too, for the instrumental tracks "Heritage," featuring flautist Milena Jancuric, and "Arise (Instrumental)," the sans-vocals version of McFarlane's opening track, which features vibraphonist Simon Moullier.

Only on "Into The Light Of Love," featuring male vocalist Myles Sanko, and its album-closing instrumental version, does Conte take his eye, briefly, off the ball, giving us rather too much lurve and a busy but bland quiet-storm vibe. For the rest, Umoja contains some of Conte's most satisfying work to date.

Londoners may like to know that Conte and his band including McFarlane will be performing Umoja at Ronnie Scott's on Thursday 8 June.

The single "Arise" has been released (check the YouTube below). Umoja is scheduled for 30 June 2023.By Chris May
https://www.allaboutjazz.com/umoja-nicola-conte-far-out-recordings

Personnel: Nicola Conte: multi-instrumentalist; Zara McFarlane: voice / vocals; Bridgette Amofah: voice / vocals; Timo Lassy: saxophone; Teppo Mäkynen: drums; Pietro Lussu: keyboards; iAlberto Parmegian: guitar, electric; Abdissa Assefa: percussion; Ameen Salim: bass; Marco Bardoscia : bass, electric; Luca Alemanno: bass
.
Additional Instrumentation: Nicola Conte: composer/arranger/producer; Zara McFarlane: lead vocals (1, 3, 5); Bridgette Amofah: lead vocals (2, 4, 6, 10); Timo Lassy: tenor saxophone; Teppo Makynen: drums; Pietro Lussu: Fender Rhodes, Wurlizter, acoustic piano; Alberto Parmegiani: guitar; Abdissa Assefa: congas, percussions; Ameen Salim: Fender bass and double bass (4, 5, 9); Marco Bardoscia: electric bass (1-3); Luca Alemanno: Fender bass and double bass (6-8); Myles Sanko: lead vocals (8); Simon Moullier: vibraphone (1, 7); Dario Bassolino: Fender Rhodes and Moog (6, 8); Magnus Lindgren: flute (8); Fernando Damon: drums (7); Milena Jancuric: flute (7); Pasquale Calo: tenor saxophone (4); Hermon Mehari: trumpet (5); Paola Gladys: vocals (4, 5); Chantal Lewis: vocals (8); Jaelee Small: vocals (8).

Umoja

---