Chris Flory - City Life

Styles: Guitar Jazz
Size: 134,5 MB
Time: 58:46
File: MP3 @ 320K/s
Released: 1993
Art: Front

1. Alexandra (4:26)
2. Besame Mucho (4:05)
3. S'posin' (5:26)
4. Tin Tin Por Tin Tin (4:09)
5. Good Morning Heartache (5:35)
6. J.A. Blues (4:49)
7. My Shining Hour (3:56)
8. So Danco Samba (4:01)
9. Drafting (3:43)
10. Come Back To Me (4:25)
11. New York (3:59)
12. Penthouse Serenade (5:09)
13. Caf Solo (4:57)

Chris Flory, a talented swing-based guitarist, tackles standards, Latin tunes, and a few hot jam-session numbers on his second Concord CD with a solid quartet that also features pianist John Bunch, bassist John Webber, and drummer Chuck Riggs. Highlights include an enjoyable "So Danco Samba," the up-tempo blues "Drafting," "Besame Mucho," "S'Posin'," and a spirited rendition of "My Shining Hour." This swinging session is consistent with the high-quality music to be found throughout Concord's impressive catalog.By Scott Yanow
https://www.allmusic.com/album/city-life-mw0000110045#review

Personnel: Guitar – Chris Flory; Bass – John Webber; Drums – Chuck Riggs; Piano – John Bunch

City Life

---

Erroll Garner - Nightconcert

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 79:47
Size: 183,8 MB
Art: Front

(4:18)  1. Where or When
(4:21)  2. Easy to Love
(4:47)  3. On Green Dolphin Street
(5:37)  4. Theme from "A New Kind of Love" (All Yours)
(4:52)  5. Night and Day
(5:29)  6. Cheek to Cheek
(8:20)  7. My Funny Valentine
(5:23)  8. Gypsy in My Soul
(6:07)  9. That Amsterdam Swing
(5:00) 10. Over the Rainbow
(4:46) 11. What Is This Thing Called Love
(5:21) 12. Laura
(4:37) 13. When Your Lover Has Gone
(5:33) 14. No More Shadows
(4:16) 15. 'S Wonderful
(0:53) 16. Thanks for the Memory

It's the jazz equivalent of finding a Van Gogh or a Ming vase in the attic: the discovery of a complete 1964 perfectly recorded concert by one of the music's greatest virtuoso solo pianists. In the beginning was Art Tatum. Then came Oscar Peterson. Finally and in many ways the most interesting of the holy trinity was Erroll Garner.  Garner was flashy, famed for his long, rambling introductions. In a section of the liner notes jazz historian Professor Robin D. G. Kelley writes: "His signature introductions left audiences not to mention his own sidemen in great anticipation of what was to come. He was prone to meandering, rubato introductions that initially bear little resemblance to the song or the key, before suddenly leaping into the melody." They have to be heard to be believed and to be honest can become irritating. Many a modern listener may find himself longing for the "less is more" approach to jazz piano taken by the likes of Ahmad Jamal. But Garner was at his peak for this midnight concert before an audience of 2,000 in the Royal Concertgebouw, Amsterdam, on November 7, 1964. Before it got underway, drummer Kelly Martin nervously asked bassist Eddie Calhoun about the set list for the night. 

"Man, I can't tell you nothing," said Calhoun. "We just get up there and play. I don't know what this cat is going to do."  In the event, as Professor Kelly gleefully puts it, the trio "rocked the 76-year-old concert hall like there was no tomorrow." Writing in the New Yorker, critic Whitney Balliett said "Garner's appeal stems from his style which is rococo and eccentric, and from the easily accessible flash, geniality, and warmth that continually propel it."  His words conjure up a magical age when jazz was still unfolding, rock was yet to be born and Garner's Concert By The Sea was the cornerstone to any self-respecting jazz fan's record collection. That classic album now has a worthy companion, blessed with all the aids of modern technology. A collector would have difficulty choosing between them. The program is pretty typical, overwhelmingly standards, kicking off with "Where Or When" and continuing with Cole Porter's "Easy To Love." "On Green Dolphin Street" is from 1947, composed for a film everyone's forgotten but which Miles Davis converted to a jazz classic. 

More interesting are Garner's versions of "Cheek To Cheek" and "My Funny Valentine," in which he doffs his cap to what was then the avant-garde. He arrives back on terra firma with the swinger "Gipsy In My Soul," which he made his very own.  In Garner's version of "Laura," Christian Sands, another contributor to the copious liner notes, hears echoes of believe it or not Cecil Taylor. More plausibly, he highlights Garner's examination of his stride roots in "When Your Lover Has Gone." In each number the maestro gives you something different to get your teeth into. It's what his particular genius was all about and it is truly marvellous to be reminded of it again. ~ Chris Mosey https://www.allaboutjazz.com/night-concert-erroll-garner-mack-avenue-records-review-by-chris-mosey.php?width=1920

Personnel:  Erroll Garner: piano;  Eddie Calhoun: bass;  Kelly Martin: drums.

Nightconcert

---

Wild Bill Moore - 90 Wild Bill's Beat & Bottom Groove

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 76:44
Size: 176,6 MB
Art: Front

(6:46)  1. Heavy Soul
(5:57)  2. A Good 'un
(5:28)  3. Tearin' Out
(6:51)  4. Wild Bill's Beat
(5:11)  5. Things Are Getting Better
(5:18)  6. Bubbles
(5:15)  7. Just You, Just Me
(6:20)  8. Sister Caroline
(5:38)  9. Bottom Groove
(5:35) 10. My Little Girl
(5:36) 11. Down With It
(7:12) 12. Sea Breezes
(5:30) 13. Caravan

Many of the tenor saxophonists who came out of the honker school of the '40s and early '50s had no problem being relevant to the soul-jazz scene of the '60s. That's because '60s soul-jazz was very much an extension of classic honker music; the recordings that big-toned tenor titans like Willis "Gator" Jackson and Arnett Cobb provided in the '60s were not a radical departure from their early sessions. Influenced by Illinois Jacquet and Chu Berry, Wild Bill Moore was the essence of an extroverted, big-toned, hard-blowing honker he epitomized what critic Scott Yanow calls "rhythm & jazz" (that is, jazz with strong R&B leanings). This 76-minute CD, which Fantasy assembled in 2002, reissues two Orrin Keepnews-produced albums that Moore recorded for Jazzland in 1961: Bottom Groove and Wild Bill's Beat. Both albums employ Joe Benjamin on upright bass, Ben Riley on drums, and Ray Barretto on congas, but while Wild Bill's Beat features pianist Junior Mance, Bottom Groove is an organ date with Johnny "Hammond" Smith (one of the countless Jimmy Smith-minded organists who was active in the '60s). Despite the fact that one album has a pianist and the other has an organist, they are quite similar. Both are state-of-the-art soul-jazz, and both are highly accessible; people who, in the '60s, felt that a lot of post-swing jazz was too cerebral and abstract for its own good had no problem getting into straightforward players like Moore. Soulful accessibility is the rule whether Moore is playing original material or turning his attention to Nat Adderley's "Sister Caroline" and Duke Ellington's "Caravan." Naturally, there are plenty of 12-bar jazz-blues grooves, and Moore shows listeners how appealing a ballad player he could be on the dreamy "Sea Breezes." This CD is well worth acquiring if you have a taste for '60s soul-jazz. ~ Alex Henderson https://www.allmusic.com/album/bottom-groove-mw0000659120

Personnel: Tenor Saxophone – Wild Bill Moore;  Bass – Joe Benjamin; Congas – Ray Barretto; Drums – Ben Riley; Organ – Johnny "Hammond" Smith (tracks: 8 to 13); Piano – Junior Mance (tracks: 1 to 7)

90 Wild Bill's Beat & Bottom Groove

---

Christine Jensen - Harbour

Styles: Saxophone Jazz
Size: 155,4 MB
Time: 67:42
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Passing Lion's Gate (12:48)
2. Swirlaround ( 9:32)
3. Wink (10:29)
4. Surge ( 8:18)
5. Harbour (11:32)
6. Cascadian Fragments ( 9:35)
7. Fantasy On Blue ( 5:24)

Canadian Saxophonist and composer Christine Jensen has led a distinct voice to the creative jazz scene for the last twenty-five years with her large and small ensembles. She is set to release her third jazz orchestra album Harbour (2024) which follows previous releases Habitat (2013) and Treelines (2010). It features her Montreal-based orchestra, along with guest soloists NY-based Ingrid Jensen on trumpet and electronics, Gary Versace on piano, Chet Doxas on tenor saxophone, Jon Wikan on drums and Montreal-based Steve Raegele on guitar. This album captures over a decade of her compositions and commissions, with her sister’s improvisations infused throughout.

“I think of this collection of songs as my commissioning series, with each piece marking time since the beginnings of life for my daughter. I chose the title Harbour because I think its place of shelter on the water, a respite before the new migrations that await on land. This ensemble of family and friends represents that feeling to me, as we all came out of so much turbulence to land together in a room, where my music could take flight. The musicians that I had the privilege to perform and record with took all this to another level and brought their own characters in through their masterful sounds and improvisations. This time around, I can’t be more thrilled with the magic that has surfaced, from the sculpting of forms to the performances that are so lovingly interpreted.”
https://www.jazziz.com/new-releases/harbour/

Personnel: It features her Montreal-based orchestra, along with guest soloists NY-based Ingrid Jensen on trumpet and electronics, Gary Versace on piano, Chet Doxas on tenor saxophone, Jon Wikan on drums and Montreal-based Steve Raegele on guitar. This album captures over a decade of her compositions and commissions, with her sister’s improvisations infused throughout.

Harbour

---

Art Blakey's Jazz Messengers - A Night in Tunisia

Styles: Jazz, Hard Bop
Year: 1957
File: MP3@320K/s
Time: 74:48
Size: 172,8 MB
Art: Front

(12:55)  1. A Night in Tunisia
( 7:16)  2. Off the Wall
( 9:46)  3. Theory of Art
( 8:12)  4. Couldn't It Be You?
( 6:30)  5. Evans
(12:30)  6. A Night in Tunisia [alt. take]
( 7:21)  7. Off the Wall [alt. take]
(10:14)  8. Theory of Art [alt. take]

All tracks have been digitally remastered. First Editions Series Recorded at RCA Studio 3, New York, New York on April 8, 1957. Originally released on Vik (1115). Includes liner notes by Nat Hentoff and Mark Gardner. Reissue producer: Ben Young. http://www.cduniverse.com/productinfo.asp?pid=2887752&style=music&fulldesc=T

Recording information: RCA Studios, New York, NY (04/08/1957).

Personnel: Art Blakey (drums); Jackie McLean (alto saxophone, percussion); Johnny Griffin (tenor saxophone, percussion); Bill Hardman (trumpet, percussion); Sam Dockery (piano); Spanky De Brest (bass).

A Night in Tunisia

---

Steve Grossman - Do It

Styles: Saxophone Jazz
Year: 1991
File: MP3@224K/s
Time: 58:44
Size: 94,3 MB
Art: Front

(5:59)  1. Cherokee
(6:53)  2. Let's Call This
(7:13)  3. I'll Keep Loving You
(6:14)  4. Let's Monk
(9:16)  5. The More I See You
(7:00)  6. Oblivion
(4:38)  7. Dance Of The Infidels
(7:35)  8. Soultrane
(3:54)  9. Chi Chi

Saxophonist Steve Grossman hasn't been a regular on the New York scene for many years but a crash  course sampling of the many sessions he has recorded with the likes of Miles Davis, Elvin Jones, McCoy Tyner, Barry Harris and Michel Petrucciani for starters as well as under his name as a soloist and with his own groups shows how much excellent playing he has under his belt. And soon there will be those sets this Brooklyn born, Long Island bred musician will be doing with the Al Foster Quartet at The Kitano performances that will offer a chance to hear how he sounds live these days. So where's he been all this time? South America (where he picked up his penchant for Latin-influenced music, check out 1977's Brazil with trumpeter Marcio Montarroyos and Stone Alliance, featuring Grossman with bassist Gene Perla and percussionist Don Alias), Europe, Japan, you name it. He has also lived in a lot of places outside the United States, especially in Italy: "I started in Amsterdam and basically kept moving south."

"But what you really want to know is what was it like to be handpicked by Miles? Scary. I was very young, I started recording with him when I was 18. It was pretty scary to play with Miles Davis, and I'm just getting out of high school really. "Some people obviously told him about me and he started showing up at gigs I was doing. Then I got the call and I started making all these things. That was right after Bitches Brew (Columbia, 1969). One day it would be me... One day it would be Wayne Shorter... And then he asked me to go with him. I think it was 1969 or 1970."

Grossman remembers Miles was colorful and not just onstage. "I was playing one Sunday in this club, I don't remember [which] and that's when he came down and he showed me these four bullet holes in his Ferrari when they took his instruments in Bedford-Stuyvesant, because he didn't want Kenny Dorham to open for him... Me and Dave Liebman had a double quartet kind of thing, two tenors, one pianist, two basses and two drummers. Miles asked me to come out and see the Ferrari; he'd had this problem in Brooklyn at some club, they kept all his instruments; it was some kind of Mafia thing. They put four bullet holes in his red Ferrari." "I think there was another time at the Village Gate. It was Miles opposite Monk. There were a lot of people backstage like Woody Shaw, Lee Morgan." Heady times, but this is now. "You have to go forward," says Grossman, adding "I never thought I'd make it to this age. When I was 25 I looked older than I do now."

Born in 1951, he's 57. As this interview was conducted by telephone he lives in Bologna, Italy there are no visual clues. So it's impossible to know if that perception is correct. Have to take his word for it. Over the phone, though, his voice is particularly distinct. It sounds gravelly, much lived-in, like that of a person who is waking up. How his other "voice" that famous tenor expresses itself will have to wait for that gig with Miles alumni Al Foster. But a hint of what's to come perhaps can be gleaned from those many fine recordings (check out Do It (Dreyfus, 1993), with Barry Harris, Reggie Johnson and Art Taylor which Grossman says he especially likes, the Stone Alliance recordings or his 1991 Steve Grossman, In New York album (Dreyfus, 1991) with McCoy Tyner, Avery Sharpe and Art Taylor) and that past of his much storied youth to which it seems natural to seesaw back to from time to time.

"I was trying to see what Coltrane was doing in the '60s. I still am. To me, he covered it. He was a very big influence on me. You know, since I was 15, 16. Even earlier, when I was 10, 11. I started with Charlie Parker when I was about eight. I started to play alto saxophone then. I had an older brother [now deceased] and we started listening at about the same time. I guess it was through him and an uncle I had who got me my first records. I became a Bird freak." So the trajectory of his musical life was set early. He played a little baseball with kids he grew up with, but music took over. "I used to play with guys much older than me. And now, I'm the oldest." He laughs. Things "turn around."

Speaking of younger musicians, one thing he'll do while here in New York is hear some of the local talent; perhaps he'll find people he'll want to play with down the road. A priority is visiting family, his 86 year old father, his younger brother and his niece. He's been back and forth for recordings but the last time he did a live gig in New York was "probably in the early or mid '90s." So catch him now. ~ Laurel Gross  http://www.allaboutjazz.com/steve-grossman-steve-grossman-by-laurel-gross.php

Do It

---

Arnett Cobb - Jumpin' At The Woodside

Bitrate: 320K/s
Time: 68:08
Size: 156.0 MB
Styles: Saxophone jazz
Year: 1974/2002
Art: Front

[5:43] 1. Jumpin' At The Woodside
[6:46] 2. I Don't Stand A Ghost Of A Chance
[7:05] 3. Blues For The Hot Club De France
[6:54] 4. I Want A Little Girl
[7:10] 5. Jumpin' In France
[6:11] 6. Salty Mama Blues
[9:01] 7. On The Sunny Side Of The Street
[7:25] 8. Take The A Train
[6:49] 9. I Don't Stand A Ghost Of A Chance 2
[4:12] 10. Swingin Mama
[0:48] 11. Drum Solo

A stomping Texas tenor player in the tradition of Illinois Jacquet, Arnett Cobb's accessible playing was between swing and early rhythm & blues. After playing in Texas with Chester Boone (1934-1936) and Milt Larkin (1936-1942), Cobb emerged in the big leagues by succeeding Illinois Jacquet with Lionel Hampton's Orchestra (1942-1947). His version of "Flying Home No. 2" became a hit, and he was a very popular soloist with Hampton. After leaving the band, Cobb formed his own group, but his initial success was interrupted in 1948, when he had to undergo an operation on his spine. After recovering, he resumed touring. But a major car accident in 1956 crushed Cobb's legs and he was reduced to using crutches for the rest of his life. However, by 1959, he returned to active playing and recording. Cobb spent most of the 1960s leading bands back in Texas, but starting in 1973, he toured and recorded more extensively, including a tenor summit with Jimmy Heath and Joe Henderson in Europe as late as 1988. Arnett Cobb made many fine records through the years for such labels as Apollo, Columbia/Okeh, Prestige (many of the latter are available on the OJC series), Black & Blue, Progressive, Muse, and Bee Hive. ~ Scott Yanow

As the sixties drew to a close, Jean-Marie Monestier and Jean-Pierre Tahmazian discovered the whereabouts of the last living classical jazz musicians. They decided to bring them to France, out of the anonymity into which forgetfulness had plunged them. With the applause of the concert audience still ringing in their ears, these musicians then recorded some of their most beautiful music for Black & Blue. Jean-Michel Proust and Jean-Marc Fritz who were aware of their historical value, listened to these treasures. The result was “The Definitive Black & Blue Sessions”.

Recorded May 21, 1974 in Paris, France. Digitally Remastered.

Arnett Cobb (ts), Lloyd Glenn (p), Tiny Grimes (g, vcl), Roland Lobligeois (b), Panama Francis (d).

Jumpin' At The Woodside

---

Various Artists - The Bossa Nova Exciting Jazz Samba Rhythms Vol.1, Vol.2, Vol.3, Vol.4, Vol.5, Vol.6

Album: The Bossa Nova Exciting Jazz Samba Rhythms-Vol.1

Styles: Bossa
Size: 147,2 MB
Time: 64:19
File: MP3 @ 320K/s
Released: 2001
Art: Front

1. Roberto Menescal - Inflüencia Do Jazz (2:28)
2. Odell Brown & The Organizers - Mas Que Nada (7:12)
3. Os Cincos-Pados - Berimbau (2:52)
4. Jongo Trio - Águas De Março (Waters of March) (4:07)
5. Quarteto Em Cy Com Tamba Trio - Água De Beber (Water to Drink) (2:40)
6. Pedrinho Mattar Trio - Samba Pro Pedrinho (2:40)
7. Charlie Byrd & Woody Herman - Bamba Samba (Bossa Nova) (3:07)
8. Breno Sauer Quinteto - A Felicidade (2:14)
9. Nelson Riddle & Orchestra - Lamento (3:03)
10. Zimbo Trio - To Live Happily (Pra Viver Feliz) (2:39)
11. Os Catedraticos - Os Grilos (Crickets Sing for Anamaria) (2:21)
12. Lalo Schifrin & Orchestra - Samba De Uma Nota Só (3:45)
13. Geraldo Trio - Chora Tua Tristeza (2:58)
14. Bossa Jazz Trio - Canto De Ossanha (2:36)
15. Os Cobras - Cheiro De Saudade (2:52)
16. The Continentals - String of Pearls (2:21)
17. João Meirelles & His Bossa Kings - Batucada (2:27)
18. Chris Montez - The Face I Love (2:02)
19. Martin Denny - Exotique Bossa Nova (4:16)
20. Quartette Tres Bien - Boss Tres Bien (5:30)

---

Album: The Bossa Nova Exciting Jazz Samba Rhythms, Volume 2

Styles: Bossa Nova
Size: 133,5 MB
Time: 57:42
File: MP3 @ 320K/s
Released: 2000
Art: Front

1. Tamba Trio - Mas que nada (Better Than Nothing) (2:33)
2. Edu Lobo - Upa, neguinho (Up, Little Black Child) (2:19)
3. Pery Ribeiro feat. Walter Wanderley & Seu Conjunto - O barquinho (Little Boat) (2:54)
4. Coral De Ouro Preto - Samba de uma nota só (2:06)
5. Bobby Mackay - Bossa Nova (I Say) (1:52)
6. Jorge Ben Jor - Tim Dom Dom (2:20)
7. Toots Thielemans & Elis Regina - Wave (3:08)
8. Elis Regina - O meninho das laranjas (The Orange Selling Boy) (2:16)
9. Ella Fitzgerald - So danço samba (5:49)
10. Sarah Vaughan - The Boy From Ipanema (2:28)
11. João Gilberto feat. Antonio Carlos Jobim & Orchestra - Desafinado (Off Key / Slightly Out of Tune) (1:57)
12. Os Farroupilhas - Samba International (1:56)
13. Marcos Valle - Os grilos (Crickets Sing for Anamaria) (2:06)
14. Walter Wanderley - Telefone (2:15)
15. Ed Lincoln - The Blues Walk (3:59)
16. Pedrinho Mattar Trio - Opato (1:52)
17. Joao Roberto Kelly & Luiz Reis - Leilao / Brotinho Bossa Nova (2:31)
18. Sambalanço Trio - Samblues (2:16)
19. Edison Machado - Menino travesso (2:45)
20. Paul Winter feat. Luiz Bonfá, Roberto Menescal & Luiz Eça - Reza (3:19)
21. Antonio Carlos Jobim & Eumir Deodato - Corteguay (2:24)
22. Sérgio Mendes - Oba - La - La (2:27)

---

Album: The Bossa Nova Exciting Jazz Samba Rhythms Vol.3

Styles: Bossa Nova
Size: 138,6 MB
Time: 60:32
File: MP3 @ 320K/s
Released: 2000
Art: Front

1. Sergio Mendes & Wanda De Sah feat. Bud Shank - Samba De Verao (So Nice) (2:11)
2. Edu Lobo feat. Tamba Trio - Boranda (2:30)
3. Elza Soares - Mas Que Nada (Better Than Nothing) (2:24)
4. Wilson Simonal - Mestico (1:57)
5. Quarteto 004 & A. C. Jobim - Vou Te Contar (2:44)
6. Silvio Cezar & Meirelles - Samba Do Carioca (1:56)
7. Astrud Gilberto - Take Me To Rwanda (2:27)
8. Wanda De Sah - So Danco Samba (Jazz 'N' Samba) (2:11)
9. Lennie Dale & O Sambalanco Trio - O Pato (1:54)
10. Baden Powell - Blues A Volonte (8:52)
11. Caterina Valente feat.Edmundo Ros & His Orchestra - Canto De Ossanha (2:54)
12. Jon Hendricks - Jive Samba (2:19)
13. Quarteto Em Cy & Frejat (Live) - Chega De Saudade (4:00)
14. Lalo Schifrin - The Man From T. H. R. U. S. H. (2:54)
15. Bill Perkins - Baia (3:33)
16. Os Cobras - E Bom Assim (2:46)
17. Jack Wilson feat. Roy Ayers - Days Of Wine And Roses (3:32)
18. Som Tres - Amazonas (2:25)
19. Zimbo Trio (Live) - Nana (6:52)

Janey Clewer - Fallen for Brazil

Styles: Vocal
Size: 138,1 MB
Time: 59:18
File: MP3 @ 320K/s
Released: 2012
Art: Front

1. Samba Sky (5:05)
2. Paparazzi (5:04)
3. One At Heart (3:46)
4. Ooh, Ooh (5:03)
5. I Should Let Go (4:18)
6. The Summer Wind (feat. Michael Sembello) (3:40)
7. Too Good to Be Real (4:35)
8. Picture This (5:05)
9. This Masquerade (4:33)
10. Make Her Mine (feat. Marc Jordan) (4:40)
11. Shangri-La (4:40)
12. Fallen for Brazil (4:57)
13. Coup De Grace (3:46)

'She sings with a Brazilian heart.' Daniel Jobim (grandson of Antonio Carlos Jobim) 'Her voice floats effortlessly over silky melodies and smoky chordal harmonies. She has it all. It's ice cream and coffee, wine and whiskey. It's rare, it's real talent... Janey is the blueprint for the new generation of real singers, just as Ella Fitzgerald was for her generation... Janey goes deep. You don't need any hype. When you start calling a person by their first or last name like: Bird, Coltrane, Ella, you know they are something special. That's Janey' - Michael Sembello 'Your CD is beautiful. The whole thing. Totally suits you to a tee. Your voice sounds amazing....'I Should Let Go' had me wanting a cigarette afterwards....' Richard Marx Fallen For Brazil is one of the most romantic, sensual CDs you will ever own. The songs are sophisticated gems framed in the influences of Brazilian music and culture.

Janey has composed 12 neo-Brazilian styled songs that will thrill your senses and stir your soul. Additionally, there is a cover of This Masquerade an all-time personal favorite of Janey's. She caresses each song with effortless, seductive vocals that exude an intimacy that is undeniably Janey. Every track is drenched with timeless string arrangements and the incomparable John Patitucci on bass. Also featured is the vocal magic of Marc Jordan on the duet Make Her Mine and Michael Sembello sings haunting Portuguese background vocals on The Summer Wind. The CD also features the awesome acoustic guitar work of her husband, Bruce Gaitsch, flutes by Dave Boruff, vibes by Alex Poston and trumpet by Nick Newman.

The timeless string arrangements of Boh Cooper and Janey brush each song with beautiful strokes of color. The string players are Nashville's finest led by David Davidson. Josh Abbey, producer and engineer for Russell Watson, mixed Janey's CD in NYC, NY. Open your finest Malbec, sit back and let your ears take you on a passionate musical journey to Brazil and beyond. https://www.hmv.co.jp/en/artist_Janey-Clewer-Janey_000000000060994/item_Fallen-For-Brazil_4935679

Fallen for Brazil

---

Didier Lockwood - Out Of The Blue

Styles: Violin Jazz
Year: 1985
File: MP3@320K/s
Time: 37:54
Size: 87,6 MB
Art: Front

(4:31)  1. Legs
(6:23)  2. Cello Britten
(2:57)  3. Martinique
(3:12)  4. I Can't Tell You To Begin
(4:20)  5. November Song
(3:55)  6. Out Of The Blue
(6:49)  7. Round About Midnight
(5:43)  8. B. Train Blues

Violinist Didier Lockwood showed great potential when he first arrived on the scene, but despite some good sessions, he has not yet become the pacesetter one originally expected. 

This is one of his better recordings, a quartet outing with pianist Gordon Beck, bassist Cecil McBee and drummer Billy Hart. Other than "'Round Midnight" and an obscurity, all of the music is by either Lockwood or Beck, although much of it is fairly straight-ahead (as opposed to Lockwood's earlier fusion-oriented dates) Worth searching for. ~ Scott Yanow https://www.allmusic.com/album/out-of-the-blue-mw0000188326

Personnel: Didier Lockwood - violin; Gordon Beck - guitar; Cecil McBee - bass; Billy Hart - drums

Out Of The Blue

---

Arnett Cobb - Funky Butt

Bitrate: MP3@320K/s
Time: 59:44
Size: 136.7 MB
Styles: Saxophone jazz
Year: 1980/2014
Art: Front

[4:30] 1. Jumpin' At The Woodside
[5:53] 2. Satin Doll
[4:06] 3. Georgia On My Mind
[5:46] 4. Funky Butt
[6:22] 5. I Got Rhythm
[5:50] 6. September In The Rain
[6:07] 7. Isfahan
[4:43] 8. Radium Springs Swings
[4:25] 9. Jumpin' At The Woodside [take 1]
[7:23] 10. Funky Butt Blues [take 1]
[4:33] 11. I Got Rhythm [take 2]

Arnett Cobb, a tenor from the 1940s who (like Illinois Jacquet) fused together some of the most exciting aspects of swing and early R&B, is in typically exuberant form on this quartet set with pianist Derek Smith, bassist Ray Drummond and drummer Ronnie Bedford. Cobb is warm on the ballads but the stomps (particularly "Jumpin' at the Woodside" and "I Got Rhythm") are what make this record most memorable. ~Scott Yanow

Funky Butt

---

Tubby Hayes - No Blues – The Complete Hopbine ‘65

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 95:41
Size: 219,5 MB
Art: Front

(17:42) 1. Night And Day
( 9:22) 2. It Never Entered My Mind
( 9:19) 3. I Remember You
(15:15) 4. On Green Dolphin Street
(19:39) 5. No Blues
( 5:15) 6. What's New?
(19:08) 7. Have You Met Miss Jones?

"Who the fuck are you?" said Tubby Hayes, encountering Ron Mathewson on the bandstand of London's Hopbine club an hour or so before the start of the gig which this album chronicles. "I'm the bassist," said just turned twenty-one year old Mathewson, who had been booked to deputise for the Hopbine's regular bassist that night.

"Well, we'll see about that, won't we?" said Hayes.

So began a relationship in which Mathewson later became a permament member of Hayes' quartet and the bassist in all of his bands, large and small, up until Hayes passed in 1973.

The full story is told in an interview Mathewson gave, not long before he passed in 2020, to Hayes historian Simon Spillett, the author of the 24-page liner booklet accompanying the 2-CD live album No Blues: The Complete Hopbine '65. It is Mathewson's tape archive which we have to thank for this, the first complete recording of the gig, which has previously been released in bits and always with poor audio. Not only is the Jazz In Britain release the first complete recording, it is the only one on which sound restoration has raised the audio to a quality befitting the music.

And the music is superb. Many people consider Hayes to have been at his peak circa 1965, when, as Spillett observes, one hears the inspiration of Hayes' hero John Coltrane mixed in with Hayes' gift for Stan Getz-like balladry. In 1965, too, Hayes was still in good physical shape, before the effects of longterm heroin use kicked in. When he concludes his 44-chorus solo on Miles Davis' "No Blues" there is every suggestion that he could have maintained the energy level for another 44 choruses. There are similarly ecstatic performances of Cole Porter's "Night And Day" and Bronislaw Kaper's "On Green Dolphin Street," on which Hayes' is joined by fellow tenor saxophonist Tommy Whittle, organiser of the one-night-a-week jazz club in the back room of the Hopbine pub. There is balladry as well, with a gutsy exploration of Richard Rodgers' "It Never Entered My Mind."

Once again, John Thurlow and his dedicated team at not-for-profit Jazz In Britain are to be thanked for bringing a chunk of immortal magic back into the public domain.
By Chris May https://www.allaboutjazz.com/no-blues-the-complete-hopbine-65-tubby-hayes-jazz-in-britain

Personnel: Tubby Hayes: saxophone, tenor; Kenny Powell: piano; Ron Mathewson: bass, acoustic; Dick Brennan: drums.

No Blues – The Complete Hopbine‘65

---

Jo Harrop - The Path Of A Tear

Styles: Vocal And Trumpet Jazz
Size: 115,8 MB
Time: 49:26
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Beautiful fools (4:25)
2. Whiskey or the truth (5:42)
3. A love like this (5:41)
4. Traveling light (4:38)
5. The path of a tear (le chemin d'une larme) (3:10)
6. You'll never be lonely in Soho (4:53)
7. If it wasn't for bad (3:29)
8. Too close to the sun (4:16)
9. Hurt (3:44)
10. Goodbye (5:46)
11. Stay here tonight (3:36)

The Path of a Tear is Durham-born singer and songwriter Jo Harrop's fifth album release on the Lateralize label, which was established in 2018. Harrop's first album was Songs For The Late Hours (Lateralize, 2019), a download-only release on which she and her guitar, piano and bass trio arranged and played a selection of Tin Pan Alley songs, including the Gershwins' "How Long Has This Been Going On," which showcased Harrop's voice well.

Her second album, the first on CD, was Weathering the Storm (Lateralize, 2020) which was jointly credited to Harrop and Jamie McCredie who accompanied her on guitar, giving the music a sound which blurred the boundary between folk and jazz. Again, there were no songs by Harrop or McCredie but the ones they played were rather more modern than those on the previous album, including "Take It With Me" by Tom Waits, "Guilty" by Randy Newman and "If" by David Gates.

Harrop's third album, The Heart Wants (Lateralize, 2021) was a pivot point of her career, as she is credited as a composer of eight of its thirteen tracks, having used the opportunity presented by Covid to work on the album which she had longed to make for years. In addition, a plethora of musicians and singers made the music on the album far richer than on any previous Harrop album. Her fourth album, When Winter Turns To Spring (Lateralize, 2022) was jointly credited to Harrop and pianist and arranger Paul Edis who penned and/or arranged this musical journey through a year's weather.

In several ways, The Path of a Tear differs from Harrop's previous albums. Firstly, the album was recorded at The Village Studios Studio D, Los Angeles, in September 2023, making it the first Harrop album to be recorded outside of the UK. Secondly, it was produced by Larry Klein, who plays bass and has previously produced albums by Joni Mitchell, Madeleine Peyroux and Herbie Hancock among others. He was married to Mitchell for a period in the '80s and '90s. He is also a four-time Grammy winner. Thirdly, no musician from any previous Harrop album plays on the album. All of the musicians here have impressive track records as jazz players.

Of the album's eleven tracks, eight were co-composed by Harrop. The other three are "Travelling Light" by Leonard Cohen, "If It Wasn't For Bad" by Leon Russell, and "Goodbye" by Steve Earle. As is fitting, Harrop's voice dominates the album, rather than the musicians who accompany her. She has the uncommon knack of sounding as if she has experienced every emotion that she sings about. Where The Heart Wants was an album about love and life, as its song titles suggest, The Path of a Tear focuses more on the pain of love; it is a measure of her talent that Harrop conveys the ups and downs of love with equal credibility. Even when she is singing about being hurt, her voice makes beautiful listening. Sure to be one of the year's best.By John Eyles
https://www.allaboutjazz.com/the-path-of-a-tear-jo-harrop-lateralized

The Path Of A Tear

---

Love Suggestions - Piano Night

Styles: Smooth Jazz
Size: 119,5 MB
Time: 52:13
File: MP3 @ 320K/s
Released: 2013
Art: Front

1. Hey Girl (5:11)
2. Treasure (4:18)
3. Come & Get It (5:26)
4. What Makes You Beautiful (4:37)
5. Feel This Moment (4:24)
6. It Goes Like This (5:02)
7. Turn The Night Up (5:27)
8. Clarity (4:34)
9. See You Again (4:37)
10. Mirrors (4:28)
11. My Kind Of Night (4:07)

Konstantin Klashtorni created this series for lovers to spend nice evenings together. Sax Night is the next to come out, probably this year. This collection is more R&B orientated. The first album of this series Piano Night was released in 2013.

Konstantin comments꞉ “I had in mind just a simple instrumental R&B style with nice melodies on it instead of repetitive, closer to rap melodies, R&B artists use to lay down. Smooth Jazz by itself is an instrumental R&B, but with much more elements of Funk, unlike straight SJ. I eliminate that "Funk" element, and instead I incorporate a nice romantic, melodious approach.″

Keeping that in mind the introducing Hey Girl enjoys with a mellifluous and fluid sound pitching the rhythm through a suburban undertone. Treasure comes with a whirring hum preparing the magic of the song marching to your ears.

Come & Get It shares the title with famous songs. This interpretation of the talking phrase remains unobtrusive supple. What Makes You Beautiful shines with a harmonious flute choir and smooth piano play embedded in silky strings. The ideal love present.

Konstantin has a keen sense for melodies flattering your ears like Feel This Moment. Consistent with the principles of harmony the song achieves its impression. It Goes Like This struts anew Konstantin's prowess featuring an array of great sonic synth sounds. Turn The Night Up is the melody for the moment, when you lead your partner down the path to happiness.

The addictive Clarity wallows gleefully in the synth sounds of the 80's. See You Again has the melodious approach of a soulful love ballad. Sometimes I miss this human component even with such a nice horn arrangement. Ancient cultures describe Mirrors as reflection of the shadow soul. Konstantin brings this darkness to the surface. My Kind Of Night struts along on a sax and synth infused vibe.

Piano Night Love Suggestions is a delightful alternative to Konstantin Klashtorni's own series. This album is created with the loving couple in mind.
http://www.smooth-jazz.de/flashback/LoveSuggestions/PianoNight.htm

Piano Night

---

Didier Lockwood - Best of Les Années JMS

Styles: Violin
Year: 2006
File: MP3@320K/s
Time: 74:12
Size: 171,6 MB
Art: Front

(4:45)  1. Juggling in Central Park
(5:29)  2. Polish
(5:07)  3. Tip Tap
(5:25)  4. Cousin William
(2:57)  5. Martinique
(6:49)  6. Round About Midnight
(5:02)  7. Cote Jardin
(5:43)  8. Le Solo
(5:46)  9. Nuages
(3:59) 10. La Ballade Irlandaise
(4:21) 11. Angelito
(2:32) 12. Lune Froide
(6:11) 13. The Kid
(8:28) 14. Pork Chops - Live
(1:32) 15. Zebulon Dance

Didier Lockwood (born February 11, 1956) is a French jazz violinist. He was born in Calais and studied classical violin and composition at the Calais Conservatory. However, his brother Francis made him receptive to forms of music other than the classical and he quit his studies in 1972. Didier was entranced by the improvisation of Jean-Luc Ponty on Frank Zappa's King Kong album and took up the amplified violin. He joined the progressive rock group Magma, touring and notable featured on their 1975 Live/Hhaï album. Lockwood was also influenced by Polish violinist Zbigniew Seifert and Stéphane Grappelli, whom he joined on tour. 

Didier Lockwood in concert (1992)He has also played with Quebecois fusion group Uzeb on their Absolutely Live album. He is famous for exploring new musical environments and for performing various sound imitations on his amplified violin, such as seagulls or trains. On July 23, 1982, in Montreux, Switzerland, he performed in concert with guitarist Allan Holdsworth, drummer Billy Cobham, bassist/vocalist Jack Bruce, and keyboardist David Sancious. Didier Lockwood created a string instruments improvisation school, CMDL (Centre des Musiques Didier Lockwood), in 2001. He is married to singer Caroline Casadesus Throughout 2006 Didier has been touring with Martin Taylor the Jazz guitarist. In these performances it is noticeable to see that he is very involved in improvisation. https://musicians.allaboutjazz.com/didierlockwood

Best of Les Années JMS

---

Pentatonix - Pentatonix (Deluxe Version)

Styles: A cappella,Pop, R&B
Year: 2015
File: MP3@320K/s
Time: 54:06
Size: 125,1 MB
Art: Front

(2:35) 1. Na Na Na
(2:53) 2. Can't Sleep Love
(2:57) 3. Sing
(3:42) 4. Misbehavin'
(3:14) 5. Ref
(2:41) 6. First Things First
(3:43) 7. Rose Gold
(3:14) 8. If I Ever Fall In Love
(2:54) 9. Cracked
(3:11) 10. Water
(2:56) 11. Take Me Home
(3:37) 12. New Year's Day
(4:14) 13. Light In The Hallway
(2:51) 14. Where Are Ü Now
(3:03) 15. Cheerleader
(2:40) 16. Lean On
(3:33) 17. Can't Sleep Love (feat. Tink)

Their sharpness and soul made PTX one of the most popular and well-known a cappella groups outside of The Barden Bellas. The vocal quintet takes a creative leap forward here crafting originals with the same energy, detail, and richness that made their cover songs so beloved. “Sing” and “Na Na Na” show that PTX are pop maestros, creating magic with just voice, handclaps, and beatbox. They float effortlessly between styles “Misbehavin’” takes its cues from doo-wop, “Ref” can fit in with any EDM set, and “First Things First” feels like a lost Timbaland track. To close the album, PTX include their takes on pop hits “Where Are Ü Now,” “Cheerleader,” and “Lean On.”~Editors' Note https://music.apple.com/us/album/pentatonix-deluxe-version/1035387084

Pentatonix (Deluxe Version)

---

Bria Skonberg - What It Means

Styles: Vocal And Trumpet Jazz
Size: 127,7 MB
Time: 55:24
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Comes Love (4:30)
2. Sweet Pea (3:40)
3. Do You Know What It Means to Miss New Orleans (4:13)
4. The Beat Goes On (6:51)
5. In The House (6:23)
6. Cornet Chop Suey (4:44)
7. Beautiful Boy (Darling Boy) (5:27)
8. Days Like This (3:23)
9. Petit Fleur (4:35)
10. Elbow Bump (7:05)
11. Lullabye (Goodnight My Angel) / A Child is Born (4:29)

Trumpeter and vocalist Bria Skonberg says the great joy of music has always been in sharing it. “I love to perform. I love to prepare songs in ways that surprise and delight listeners.” WHAT IT MEANS is Skonberg’s heartfelt homage to the music and traditions of New Orleans. Most of the musicians on the album are from New Orleans; Ben Jaffe on sousaphone, singer Gabrielle Cavassa, trombonist Ethan Santos, Guitarist Don Vappie, drummer Herlin Riley, bassist Grayson Brockamp, and saxophonist Rex Gregory.

One of the most famous songs about the Crescent City is, ‘Do You Know What It Means To Miss New Orleans.’ By shortening the title to WHAT IT MEANS Skonberg transforms it into a broader statement, encouraging her audience to consider what truly matters to them personally.

Not everything on WHAT IT MEANS is from the world of jazz. John Lennon’s ‘Beautiful Boy’ took on new meaning when Skonberg had her first child. There are tunes by Billy Joel, Sonny Bono, and Van Morrison.

Skonberg’s wah wah mute is used to great effect on the 1939 jazz standard ‘Comes Love.’ Aurora Nealand’s soprano saxophone echoes Sidney Bechet, but it’s smoother, without Bechet’s gritty vibrato. Ben Jaffe’s sousaphone evokes New Orleans parade music. The mood shifts with Chris Pattishall’s piano solo, transporting the music to Cuba. Skonberg is mute-less and playing beautiful unison lines with the band, and engaging in an animated call and response with drummer Herlin Riley.

Skonberg’s playing is marked by crisp articulation and a powerful attack, perfectly capturing the spirit of Louis Armstrong’s 1926 recording ‘Cornet Chop Suey.’ Don Vappie’s banjo helps preserve the authentic feel of Armstrong’s Hot Five.

‘In the House’ was one of the original compositions Skonberg wrote for the album, and it’s a beaut. It sounds more hard bop than traditional New Orleans jazz, but It really shows off her trumpet chops. I like the way she switches from playing with a mute, and then not. Pattishall’s melodic piano and the bass work from Grayson Brockamp make this one of the album’s highlights.
I have never liked Sonny Bono’s ‘The Beat Goes On.’ Skonberg is a much better singer, but I thought this is a song that should be left to the ashes of history until I heard her band resurrect this sixties turkey and give it life. Rex Gregory’s tenor saxophone has a lot of fun with the melody. Skonberg’s trumpet playing is a delight. It’s obvious she’s having fun on this album. Ethan Santos’s trombone playing adds a lot to this tune.

Skonberg wanted to record some pop songs from her past that she loved, and I respect that. I don’t have as warm a spot in my heart for some of those pop hits from the past. There is a lot to enjoy on Bria Skonberg’s WHAT IT MEANS. It is a wonderful tribute to the music and the history of New Orleans.By Tim Larsen https://jazzviews.net/bria-skonberg-what-it-means/

Personnel: Bria Skonberg – Trumpet & Vocal; Don Vappie – Guitar, Banjo (track 6); Chris Pattishall – Piano; Grayson Brockamp – Acoustic Bass; Herlin Riley – Drums, Percussion; Aurora Nealand – Soprano Saxophone (track 1); Rex Gregory – Tenor Saxophone, Bass Clarinet (tracks 4,8-10); Ethan Santos – Trombone (tracks 4, 8-10); Ben Jaffe – Sousaphone (tracks 1, 10); Gabrielle Cavassa – Vocal (track 8)

What It Means

---

Janey Clewer - Love

Styles: Vocal
Size: 136,7 MB
Time: 58:21
File: MP3 @ 320K/s
Released: 2012
Art: Front

1. Love (4:34)
2. Fallin' In Love (4:13)
3. Won't Go Back (4:52)
4. Two Shooting Stars (4:19)
5. Can't Let You Go With My Heart (3:43)
6. Impossible (3:40)
7. Call Me Romantic (4:14)
8. God's Perfect Plan (3:52)
9. Only Time Will Tell (3:51)
10. Forever Valentines (4:27)
11. Exposed (4:13)
12. Lovers Are Never Lost (3:36)
13. The Last Words You Said (4:00)
14. If Only For Tonight (4:40)

Love is Janey's latest compilation album, with 4 new releases. The title track, LOVE, features Peter Cetera, Bill and Tamara Champlin, Marc Jordan, Joe Chemay, Jaimee Paul and Janey on vocals; the great musicianship of Vinnie Colaiuta on drums; and Bruce Gaitsch and Tommy Denander on guitars.

The bonus track “If Only For Tonight” is a song to benefit the children of Japan. All proceeds from this song will be donated to the Kids Earth Fund, a worldwide non-profit that benefits children who have been the victims of war, crime and environmental contamination. More specifically, the money raised will benefit the children of Tohoku who were victims of the March 11, 2011 tsunami. http://www.janeyclewermusic.com/love

Love

---

Michael Bublé - Love

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 45:04
Size: 104,3 MB
Art: Front

(4:03)  1. When I Fall In Love
(3:22)  2. I Only Have Eyes For You
(3:02)  3. Love You Anymore
(3:50)  4. La Vie En Rose (Feat. Cécile McLorin Salvant)
(4:25)  5. My Funny Valentine
(3:17)  6. Such A Night
(3:40)  7. Forever Now
(3:42)  8. Help Me Make It Through The Night (Feat. Loren Allred)
(3:08)  9. Unforgettable
(2:50) 10. When You're Smiling
(3:05) 11. Where Or When
(3:38) 12. When You're Not Here
(2:57) 13. I Get A Kick Out Of You

With his supple vocal chops and nonchalant charisma, Michael Bublé became the preeminent neo-crooner of his generation. Influenced by classic singers such as Frank Sinatra and Tony Bennett as well as more modern artists (most notably Harry Connick, Jr.), Bublé can believably sell old-school jazz standards and adult contemporary pop songs alike. Bublé was introduced to the music of the swing era by his grandfather, who filled his ears with the sounds of the Mills Brothers, Ella Fitzgerald, Frank Sinatra, and others. As Bublé eagerly absorbed the recordings, he began to realize that he wanted to be a singer and that this style of music, virtually foreign to his own generation, was what he wanted to perform. With his grandfather's assistance, Bublé soon learned a whole catalog of tunes and gained experience and exposure by singing as a guest with several local bands. While still in his teen years, he won the Canadian Youth Talent Search, released several independent albums, and performed in a musical revue titled Swing that traveled across the U.S. It wasn't long before Bublé was introduced to Grammy-winning producer David Foster and signed his first major recording contract with Reprise Records. The two Canadians began work on a major debut album that would incorporate Bublé's aptitude for pop standards into songs that spanned several decades. His self-titled debut was released in early 2003 and featured jazzy takes on old standards like "Fever" and "The Way You Look Tonight," as well as newer classics like Van Morrison's "Moondance" and the Bee Gees' "How Can You Mend a Broken Heart." Further exposure ensued with a world tour and appearances on several television programs like NBC's Today Show, in which he sang a duet with host Katie Couric. He finished off 2003 with an EP of holiday material, Let It Snow, and began 2004 with the live CD/DVD set Come Fly with Me. In 2005, It's Time was a number one hit in Canada, Japan, Italy, and Australia, and made the Top Ten of both the U.K. and U.S. charts. 

Later that year he released the live album Caught in the Act. The holiday-themed album Christmas followed in 2006, with the studio effort Call Me Irresponsible dropping in 2007. Bublé returned in 2009 with the live concert album/DVD Michael Bublé Meets Madison Square Garden, which documented the singer's first-ever performance at the storied New York City venue. The studio effort Crazy Love, featuring duets with Sharon Jones and Ron Sexsmith, followed in October 2009, becoming his third multi-platinum album in the U.S. In 2010, Bublé released the six-song EP Special Delivery, as well as the expanded Crazy Love: Hollywood Edition. The holiday album Christmas appeared in late 2011, featuring duets with Shania Twain, the Puppini Sisters, and Thalía. Within a few weeks of release, the album topped Billboard's Top 200. In 2013, Bublé released the Bob Rock-produced To Be Loved, which featured a mix of standards, most contemporary, along with three Bublé originals. Guest vocalists including Reese Witherspoon and Naturally 7 appeared on the album, which became his fourth consecutive chart-topper in the U.S. and also his fourth Grammy winner. Buoyed by the album's success, he set out on a massive tour, debuting in June of 2013 with ten shows at London's O2 Arena, and playing North America, Europe, Australia, South America, Asia, and Africa over the next two years. In 2015, he began working on new studio material; the resulting album, Nobody But Me, was released the following year. Co-produced by Bublé himself, the album featured the usual smattering of jazz standards as well as a cover of the Beach Boys' "God Only Knows." It also included three new songs co-written by Bublé and a duet with Meghan Trainor, "Someday," written by Trainor and One Direction's Harry Styles.By Aaron Latham https://itunes.apple.com/us/album/love-deluxe-edition/1436702494

Love

---

Pentatonix - The Lucky Ones

Styles: A cappella,R&B
File: MP3@320K/s
Time: 36:18
Size: 83,8 MB
Art: Front

(3:26) 1. Happy Now
(3:20) 2. Love Me When I Don't
(3:15) 3. Coffee In Bed
(3:24) 4. Be My Eyes
(2:54) 5. A Little Space
(3:27) 6. Side
(2:47) 7. Bored
(3:55) 8. Exit Signs
(2:57) 9. Never Gonna Cry Again
(3:37) 10. It's Different Now
(3:11) 11. The Lucky Ones

It’s safe to say there was a rise in appreciation for acapella music in the year 2012. Yes, the year of the famous “Cup-Song” from the movie “Pitch Perfect.” That little tune was stuck in everyone’s head thanks to Anna Kendrick, and if you didn’t know how to make the cup motions, someone was eager to teach you. There was another important thing happening in 2012, however. Five acapella singers out of Arlington, Texas, dropped their first official album as ‘Pentatonix’ just a year after winning NBC’s ‘The Sing Off’ and signing with Sony Music. There are five of them, and they’re named after the pentatonic scale an “x” sounded cooler at the end. Not to be overlooked, the group’s sound is incredible. As of 2017, Scott Hoying, Kirsten Maldonado, Matt Sallee, Mitch Grassi, and Kevin Olusola make up Pentatonix. Each singer brings something entirely different to the table, which is why their latest album, “The Lucky Ones” was predictably a great listen. This album felt like nothing short of a jubilant merry-go-round ride in the middle of the park. Let’s say it’s a sunny day, too, because the vibe is just that upbeat and positive. The established pop singers zealously inch toward finding their sound as this is only their second original album. Though they are routinely celebrated for their abstract covers of other hits, it’s a new year. Who are we to question change?

Lyrically, what Etta James would call “a Sunday kind of love” is radiant through songs on the project like “Coffee In Bed,” “Love Me When I Don’t” and “Bored.” There’s a reinforced and naturally pleasant theme of relying on a significant other for comfort. Musically, all three songs have little to no instrumental aid, and each beat is created through beatboxing and/or recorded harmonies. Watching the group’s music video for “Coffee In Bed” was a quick reminder of how extensive and fascinating acapella can be. The video starts with showing the five vocalists in different bedrooms, each with a cup of coffee in hand. They sing a beat that favors “Mr. Sandman” by The Chordettes. Listening to Kevin beatbox will make you forget percussion instruments even exist, and Mitch’s high-pitched runs never fail to excite listeners. The lyrics: “You spend every Saturday morning / Stuck on replay of last night / I won’t take your words as a warning / And I’ll pick you up every time” point towards that theme of being there for your significant other. The camera cut from one singer to the next throughout the music video, and suddenly you see all the layers of the song in one listen as if you were right there in the studio when it was recorded. This emphasis set “Coffee In Bed” apart from the rest of the album.

Of course, no matter what day of the week it is, relationships are often complicated and filled with awkward silences and heated arguments sometimes even a need for space or independence altogether. The sentimental track “It’s Different Now” starts with a soft piano playing as Kirsten Maldonado serenades listeners. The lyrics: “I rewind out conversations / Listen between every line / To relieve my superstition / I only reveal, it’s only a sign” set the tone for the singer’s breakthrough and the rest of the group comes together for the chorus. Their voices in unison paint the picture of the support they have for each other even through robust lyrics of independence, thus preparing listeners for the last track on the album “The Lucky Ones.” This song is all about looking back on the quintet’s progress over their last decade together.

As far as the album’s re-listenability goes, it’s not really timeless. Once again, this is just the beginning of Pentatonix writing and singing their original music. Some of these songs should be played on the radio multiple times, and some are to be enjoyed just once, like a tour of an art museum. Even though the songs are distinct in their production, there wasn’t much variety in their overall sound. A track like “Side” with a slower progression felt like a breath of fresh air after a lot of the same buoyant music. This exhale can be seen as a good thing or a bad thing, depending on the listener. This doesn’t speak to the songs’ quality as much as it does the choice of songs on a project. Nonetheless, it still deserves the attention it’s receiving. The best way to describe Pentatonix is a five-piece jigsaw puzzle. Each piece is carved in a way that is so unique and special, but when connected with the other four, it just makes more sense. “The Lucky Ones” artistry is truly a blessing to even the earliest Pentatonix fans a reminder that the group is still committed to their musical journey and their repertoire.~ Madison Smith https://www.ninertimes.com/arts_and_entertainment/album-review-the-lucky-ones/article_a4f68196-73d2-11eb-b6fa-67b4fc142bf4.html

The Lucky Ones

---