Oliver Jones, Hank Jones - Pleased To Meet You

Styles: Piano Jazz
Year: 2009
Time: 52:57
File: MP3 @ 320K/s
Size: 124,3 MB
Art: Front

(6:29) 1. What Am I Here For?
(5:18) 2. Groove Merchant
(4:19) 3. Ripples
(4:44) 4. Makin' Whoopee
(5:19) 5. I'll Remember April
(6:09) 6. Star Eyes
(4:55) 7. Blues For Big Scotia
(4:38) 8. Cakewalk
(2:32) 9. Monk's Mood
(6:41) 10. I Remember OP
(1:48) 11. Lonely Woman

What a surprise to hear the first-ever recording that joins piano maestros Hank Jones and Oliver Jones.

A Detroit native, ninety-year-old Hank Jones is from the family that gave us Thad Jones and polyrhythmist Elvin Jones, and he has participated in historic bebop sessions with Charlie Parker and memorable duets with Tommy Flanagan. Montreal's Oliver Jones, who once followed in the footsteps of Oscar Peterson, has emerged to forge a virtuosic path as a Canadian music icon not unlike his erstwhile predecessor.

But their performances shine even brighter than the rare nature of this recording. Both men have the virtuosity to turn even an innocuous repertoire into something special, and thankfully don't have to here; Pleased to Meet You gives them something to work with.

Significantly, the label has chosen not to identify the order of their solos on ensemble pieces and duets. Yet it isn't hard to tell the two men apart. Hank Jones has the touch of an alchemist: notes are never ebony and ivory once he touches them lightly. They become burnished purveyors of dynamic sound, full of tonal color and timbral elegance. He holds an ever-burning torch for the stride geniuses of the past, such as Willie "The Lion" Smith, stepping on flatted fifths every once in a while (on "Ripples," for instance). On "Monk's Mood" and "Lonely Woman," both of which he plays alone, American music history flows through, and swirls around him. He is fleet-fingered, playing solos with rapid-fire double helix runs. Sometimes he turns them into inverted commas, pausing before quoting the melodies inside out.

Hank is generous with Oliver, allowing the younger man space to run riot with his florid, almost Byzantine whorls. Once it was well nigh impossible to tell Oliver Jones and Oscar Peterson apart, but the younger pianist has become his own man. He shows occasionally that he has heard Peterson and Ravel and Debussy as well. But he quotes only from his own vast store of intelligent and melodious phrases and metaphors. He constructs his solos like towering architectural wonders with grace and legato splendor. And he is tender as the night as he eulogizes his dear friend on "I Remember OP."

These two giants are joined on bass and drums by young pretenders to their respective thrones: Brandi Disterheft is a princess of the bass violin. She plays with great sensitivity and solos with confident majesty on all her tracks. Jim Doxas, Oliver Jones' drummer, shows himself to be a sublime melodist when he deftly brushes brass and skins on "What Am I Here For."

This is truly rare record a moving document in modern music that recalls the majesty of yesterday and the promise of tomorrow.By Raul d'Gama Rose
https://www.allaboutjazz.com/pleased-to-meet-you-hank-jones-justin-time-records-review-by-raul-dgama-rose

Personnel: Piano – Hank Jones, Oliver Jones (5); Bass – Brandi Disterheft; Drums – Jim Doxas

Pleased To Meet You

---

Flora Purim - Open Your Eyes You Can Fly

Styles: Latin Jazz, Vocal
Year: 1976
File: MP3@320K/s
Time: 37:21
Size: 85,7 MB
Art: Front + Back

(4:29)  1. Open Your Eyes You Can Fly
(5:09)  2. Time's Lie
(4:44)  3. Sometime Ago
(4:08)  4. San Francisco River
(6:11)  5. Andei (I Walked)
(4:19)  6. Ina's Song (Trip to Bahia) / Transition
(2:29)  7. Conversation
(5:49)  8. Medley: White Wing (aka Asa Branca)

As an original member of Chick Corea's group Return to Forever, Purim subsequently drew praise as a solo act. Recording for the jazz label Milestone since 1973, Purim's sensual and strong voice was singular enough to withstand the pitfalls that hampered the work of many Latin jazz fusion artists. Open Your Eyes You Can Fly represents a commercial breakthrough, and has the artist again supplemented by adventurous players and top-notch songwriting. The best of the three Chick Corea tracks is the title song. With it's emotive and stinging guitar solo from David Amaro, it features Purim at her most accessible and charming. 

The remake of "Sometime Ago" has one of Corea's more accessible melodies, as Purim turns in one of her more sweet and fulfilling vocals. The melodic and soothing "San Francisco River" has the artist writing solely with frequent Corea collaborator Neville Potter on the evocative track. Despite the great work here, Open Your Eyes You Can Fly, lacks consistency. But with the great talents assembled and great voice, it's easy to overlook that fact. Hermeto Pascoal's "Andei (I Walked)" has a great synthesizer solo from George Duke and a flute solo from Pascoal. "Ina's Song (Trip to Bahia)" features Purim singing in Portuguese, starting off slow but then enlivened by her passion filled vocalizations. Produced by jazz producer Orrin Keepnews, this features the artist more lucid and joyful than some of her other work. For the reason it is recommended. ~ Jason Elias  http://www.allmusic.com/album/open-your-eyes-you-can-fly-mw0000263439

Personnel: Flora Purim (vocals); Hermeto Pascoal (flute, electric piano, harpsichord, percussion, background vocals); George Duke (electric piano, Arp & Moog synthesizers, background vocals); David Amaro (acoustic, electric & 12-string guitars); Egberto Gismonti (acoustic guitar); Alphonso Johnson (acoustic & electric basses); Ron Carter (acoustic bass).

Open Your Eyes You Can Fly

---

Three Decades - Jazz Harmony

Styles: Jazz
Year: 2024
Time: 40:00
File: MP3 @ 320K/s
Size: 92,6 MB
Art: Front

(3:13) 1. Click Clack
(4:40) 2. Cry Me a River
(3:09) 3. All Of Me
(5:51) 4. My Funny Valentine
(3:35) 5. Cheek To Cheek
(4:42) 6. Summertime
(2:26) 7. Orange Colored Sky
(3:50) 8. No More
(4:28) 9. Harlem Nocturne
(4:02) 10. So We Dance

Erkki from Alba-Recods had put a couple of discs in the envelope for the signatory. Thanks for them. Albahan is primarily known as a wooden law on classical music, but occasionally makes jazz exceptions. The discs now sent differ in style and content and performers quite different. That's why I first focus on female trio Jazz Harmony's product. According to the record, the Jazz Harmony album of the Three Decades Jazz Harmony includes wonderful evergreen jazz standards and its own production. Presented in the guaranteed Three Decades style.

The whole is mainly shaped by old familiar nostalgic jazz standards. Great table setting. I have been involved in dozens of international jazz singers competitions in Finland and in the Baltic countries. As a competition organizer, jury and media representative. And it has always been difficult. Tasks, etc., in live performances against each other. So also on this album. Occasionally, the song harmony of this album is very sweet, American, but not always in the best balances (?). Now, the arrangements are partly lacking in the soul's soul and the state of being fond of well -being. The vocals of the members of the trio are in themselves very good Finnish class. The piano contact of Gilda Nevala's accompaniment is somehow too fascinating, and the quick penetration of the clavies is too many.

On the other hand, the accompaniment of "nude" gave the Estrad singer space. I believe that as a live presentation, the whole is even better. As the only cheerful company for a different break, a couple of tracks have been tried as Armstrong-Hands, which turned into a tasty feminine scratching. A few arrangements also did not please the signatory. I undoubtedly came to mind Finnishness and stream of stream ... Unfortunately, for example, Summertime represented that direction. With the Lady Summertime Jazz Singer Contest, hundreds of spirits are fitted. Slowly and rhythmic. However, now Spark's wandering tenor blasting gave the atmosphere.

But despite all the partial negative things I mentioned above, it is really great that there are such female jazzers to the album in Finland. Because it's a bit older ladies, their experience and routine get (give) many things forgiven. So, so, a nice snack for the songs of the first half of the last century and a nostalgic blasting for the jazz singer at that time, such as Andrew Sisters and homely siblings, Harmony Sisters. On this album, I would have expected Lady to have an even stronger grip on the song. And an intensive more damping feeling.Translate By Google
https://www.jazzrytmit.fi/s8-levyarvostelut/c29-levyarvostelut/three-decades-jazz-harmony

But it's good for me. Great "girls". My listening recommendation on this disc and possible live enjoyment. (Or) Gilda Nevala (vocals, piano), Spark [= Salla Niemi] (vocals, tenor saxophone, altar saxophone, washboard, bass), Esther (vocals, Laundry, Ukulele) Little Grand Trio; Lotta Laaksonen Violin, Anne Korhonen Viola, Maija Juuti Cello Recording, Mixing & Free Mastering Gilda Nevala, Juha Järvinen / Beatlake Oy Pre-Recording Masi Created #3 Mastering Lauri Heikkilä / Astral Studio

Jazz Harmony

---

Shana Tucker - Hiding in the Light

Styles: Vocal
Year: 2024
Time: 37:52
File: MP3 @ 320K/s
Size: 87,4 MB
Art: Front

(5:04) 1. My Favorite Things
(4:58) 2. Time After Time
(3:59) 3. Hiding in the Light
(4:37) 4. Overjoyed
(3:28) 5. How We Love
(5:18) 6. Fast Car
(5:46) 7. The First Time Ever I Saw Your Face
(4:39) 8. Kiss of Life

In the ever-evolving landscape of music, certain artists emerge like beacons of innovation, reshaping genres and leaving an indelible mark on listeners. With a career marked by creativity, artistry and clever storytelling, renowned singer-songwriter and cellist SHANA TUCKER captivates audiences with her innovative blend of music known as ChamberSoul.

And on June 4, 2024, she released her highly anticipated latest album, Hiding in the Light.

Shana’s second full-length project is a collection of songs influenced by requests of her devoted audiences over the years and features ChamberSoul renditions of classics such as Roberta Flack’s "The First Time Ever I Saw Your Face," Stevie Wonder’s "Overjoyed," and "Kiss of Life" by Sade. Shana is dancing on the cusp of international discovery, delighting new audiences who are instantly taken by her timeless artistry and who leave her performances wondering why this voice is not yet world-renowned. Shana’s new, thoughtfully reimagined album of timeless favorites will prove to be a key mechanism for her transition into a realm of recognition worthy of her talents.

Known for her delightfully intimate performances and endearing audience interplay, Shana continues to inspire and push boundaries with her unique style, blending jazz, soul, and acoustic pop into an unforgettable musical experience.

At the core of Shana’ musical prowess is her approach to the cello, an instrument she wields with unparalleled grace and emotive depth. With each stroke of the bow and pluck of the string, she weaves intricate tapestries of sound, blending classical techniques with soulful, improvisation. It's a testament to her skill and artistry that she seamlessly transitions from hauntingly beautiful melodies to rhythmic grooves, captivating audiences with every note.

Shana’s talent, however, extends far beyond instrumental aptitude. As a singer-songwriter, she possesses a voice that defies categorization, effortlessly traversing genres and evoking a range of emotions. Her soul-stirring performances are imbued with passion and authenticity, drawing listeners like moths to a flame into her nuanced world of song-storytelling and musical exploration.

What truly sets Shana apart is her creation of ChamberSoul: a genre that fuses elements of jazz, soul, acoustic pop and folk music into a harmonious blend of sonic bliss. Shana transcends boundaries as a trailblazer, activating her unique brand to perpetuate a musical experience that is both timeless and contemporary. It's a genre that originates from her soul and speaks to the soul, resonating with audiences of all walks of life on a profound level.

Through collaborations with music industry greats and groundbreaking performances as the featured artist, Shana continues to push the boundaries of what's possible in music. Her dedication to artistic integrity and innovation has garnered acclaim from critics and fans alike, solidifying her place as a visionary in the music world.

As Shana prepares to release her latest album, Hiding in the Light, featuring soul-stirring renditions of iconic songs, the world eagerly awaits another chapter in her musical journey. With each performance, each song, Shana reaffirms her status as a luminary in the realm of ChamberSoul, leaving an indelible legacy for generations to come.https://www.shanatucker.com/bio

Hiding in the Light

---

Ann Hampton Callaway - Jazz Goes To The Movies

Time: 54:12
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals, Cabaret
Art: Full

01. 'S Wonderful (4:32)
02. Let's Face The Music And Dance (3:06)
03. Blue Skies (4:16)
04. The Folks Who Live On The Hill (4:12)
05. As Time Goes By (3:31)
06. The Way You Look Tonight (4:40)
07. This Time The Dream's On Me (2:47)
08. The Nearness Of You (6:06)
09. How Little We Know (3:30)
10. This Can't Be Love (3:40)
11. Just One Of Those Things (2:59)
12. Taking A Chance On Love (3:20)
13. Long Ago And Far Away (4:32)
14. From This Moment On (2:55)

World renowned Tony nominee, New York Cabaret Award "Best Jazz Vocalist" winner and Theater World Award winner Ann Hampton Callaway delivers a must have album. "Jazz Goes To The Movies is a spectacular collection of all-time great movie songs lovingly performed by Ann and her ensemble led by Ted Rosenthal, winner of the Thelonious Monk International Jazz Competition." Jazz Goes To The Movies" conjures stirring images from the golden age of Hollywood. Highlights include the iconic "As Time Goes By" from Casablanca, Irving Berlin's immortal "Blue Skies" from The Jazz Singer, Jerome Kern's "The Way You Look Tonight" from Swing Time and many more movie classics!

Jazz Goes To The Movies

---

Syd Lawrence - Miller Magic

Styles: Jazz, Big Band
Year: 1970
Time: 34:37
File: MP3 @ 320K/s
Size: 79,3 MB
Art: Front

(4:02) 1. Moonlight Serenade
(3:06) 2. Little Brown Jug
(2:55) 3. Elmer's Tune
(4:52) 4. Serenade in Blue
(3:10) 5. Flying Home
(4:15) 6. I've Got a Gal in Kalamazoo
(3:45) 7. Stardust
(3:31) 8. Story of a Starry Night
(2:15) 9. Jersey Bounce
(2:43) 10. Caribbean Clipper

Syd Lawrence (1923-1998), was a British bandleader from Chester, England who became famous in the UK for his orchestra's Big Band Sound which drew on the 1940's style of music of Glenn Miller and Count Basie amongst others.

Syd had been a talented trumpet player during the Second World War. He had written and arranged music and his early talent was recognised in those fields as well. He was based in Cairo during the war years, playing and arranging for the RAF service bands. After he left the forces, he played with some of the leading British dance bands of the 1940's, finally being invited to join the BBC's Northern Dance Orchestra in 1953. He stayed with this band for 16 years playing alongside fellow trumpet player Stan Hibbert.

In 1967 Syd teamed up with several of his colleagues at the Northern Dance Orchestra to play the music that he was most enthusiastic about, that of Glenn Miller. Early concerts at the Mersey Hotel in Manchester were a great success, and larger venues were found to play in as the reputation of his band grew.

Yorkshire Television gave The Syd Lawrence Orchestra a regular spot on the comedy show Sez Les. As the music became more popular, Syd and his band started touring around the UK, which they did with great success for many years. Several records were made along with radio and television appearances on variety shows.

Syd retired from touring in 1994 and died of an aneurism in 1998. Following his death, the Syd Lawrence Band continued on and still tours. The orchestra has been led by Brian Pendleton, and presently by Chris Dean. User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.
https://www.jazzmusicarchives.com/artist/syd-lawrence

Miller Magic

---

Glenn Zottola/Romero Lubambo/Pamela Driggs - Summer Samba

Styles: Jazz
Year: 2023
Time: 24:47
File: MP3 @ 320K/s
Size: 57,2 MB
Art: Front

(5:07) 1. Summer Samba
(6:11) 2. Para Machuchar Meu Coracao
(4:22) 3. Ligia
(4:13) 4. Fotografia
(4:51) 5. Samba e Amor

2023 news reports and events acknowledged and celebrated 50 Years Of Hip-Hop. While noteworthy, it is doubtful that hip hop classics such as "Get Ur Freak On," "Sucker M.C.'s and "Nuthin' But a G Thang" will ever find themselves in the Great American Songbook. The genre simply cannot compare with the vast extent of musical influence emanating from that 1960s period in which Stan Getz, Astrud Gilberto, Antonio Carlos Jobim, et al, took the popular and jazz worlds by storm with the exciting bossa nova sounds of Brazil. "Summer Samba" from should-be-Hall of Fame multi-instrumentalist Glenn Zottola, virtuoso Brazilian guitarist Romero Lubambo, and outstanding vocalist Pamela Driggs epitomizes the substance, vibrancy, and perennial influence that that music has had.

The album offers a handful of beautiful and sublimely-performed selections , all firmly entrenched in the Brazilian canon. The title tune, whose Portuguese name is used here, was a big hit for Brazilian organist Walter Wanderley in 1966, and is covered straight up. Driggs certainly has Gilberto's stylings on loan and adds a fair amount of her own expressiveness to the Marcos and Sergio Paulo Valle composition. Romero Lubambo, who is outstanding throughout the session, here eases all and delivers a fine solo. Then there's Zottola. With a youthful vigor and endless elegance, his luxurious, silk-smooth tenor glides as did that girl on Ipanema Beach. The utterly lovely "Pra Machcar" has Driggs and Zottola as two cavorting musical butterflies with Lubambo adding their rhythmic breeze. Zottola's solo here is a case study in taste. And Lubambo's octaves launch him into a tasteful overdubbed solo.

Driggs, an American who is fluent in Portuguese, has all of the linguistic inflections and their give and take with lyric and melody in her command. Her dynamic approach goes hand-glove with Zottola's tenor and Lubambo's fine acoustics. With a trio set-up such as this, the players must meld perfectly. Toes must be respected and restrained involvement is key. Driggs, Zottola, and Lubambo demonstrate that they are skilled in that regard.

"Ligia," a lesser-known Jobim tune, is more balladic than typical bossa. Lubambo's tasty intro sets up Driggs seduction. It is a romantic grabber and a four-square gorgeous track. Dreamlike, "Fotographia" is also on the relaxed side. "Samba da Amor" offers Zottola's finest solo of the session and a lovely voice/sax unison leading to an apropos "suspended" ending.

"Summer Samba," even with its shorter length, is an exquisite and involving engagement. Hip tip: Hop in and don't listen alone. By Nicholas F. Mondello
https://www.allaboutjazz.com/summer-samba-glenn-zottola-romero-lumbambo-pamela-driggs-self-produced

Personnel: Glenn Zottola - Alto Saxophone; Romero Lubambo - Guitar; Pamela Driggs - Vocal.

Summer Samba

---

Stephane Belmondo - Love For Chet

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 62:38
Size: 144,1 MB
Art: Front

(4:59)  1. You Can't Go Home Again
(5:59)  2. I Remember You
(6:11)  3. Love for Sale
(3:36)  4. La chanson d'Hélène
(5:46)  5. With a Song in My Heart
(6:38)  6. Daddy & I
(5:51)  7. Tarde
(3:55)  8. Seven Steps to Heaven
(5:23)  9. Say It So
(6:05) 10. If I Should Lose You
(5:46) 11. Blame It on My Youth
(2:23) 12. On Green Dolphin Street

Since the 1980s, French trumpeter Stéphane Belmondo has been a well-known figure in clubs, from Paris to New York. He has collaborated with jazz personalities such as Dee DeeBridgewater, Horace Silver and Lee Konitz. Above all, Belmondo knows what jazz is all about: with a profound respect for tradition, he explores new paths in complete freedom. Along with forays into classical music and that of Stevie Wonder, among others, his name remains inextricably linked to the musical experiments of the Belmondo Quintet. Belmondo’s distinctive sound flows naturally, like musical poetry; somewhere between Freddie Hubbard and Chet Baker. The latter needs hardly any introduction. The American trumpeter/singer Chet Baker made his mark on the history of jazz like no other, until passed away before his time in 1988. Belmondo’s fascination with Baker has now inevitably led to the tribute ‘Love For Chet’, to be released in spring 2015. http://www.gentjazz.com/en/concerts/stephane-belmondo-trio/

Personnel:  Stéphane Belmondo (trumpet, bugle), Jesse Van Ruller (guitar), Thomas Bramerie (contrabasse)

Love For Chet

---

Threestyle (feat. Magdalena Chovancova & Robert Fertl) - Music for the Soul

Styles: Saxophone Jazz, Smooth Jazz
File: MP3@320K/s
Time: 51:48
Size: 119,5 MB
Art: Front

(4:05) 1. What's Going On
(4:11) 2. I'll Be Around
(5:08) 3. Me and Mrs Jones
(4:45) 4. Grandmas Hands
(4:05) 5. So Tired of Being Along
(4:25) 6. To Know You Is to Love You
(4:49) 7. Let's Do It Again
(4:11) 8. Back Stabbers
(3:38) 9. Let's Stay Together
(4:11) 10. Cruisin
(3:57) 11. Let the Music Play
(4:17) 12. Superfly

Threestyle feat. Magdalena Chovancova is focusing on their own compositions in various styles including Smooth jazz, Latino, Soul, Funk, R&B. Threestyle has released 10 solo albums, over 400 single releases and has reached #1 on the US Billboard Charts, #1 on the US SmoothJazzNetwork Top 20, #1 on the US Groovejazzcharts, #1 on the Wave.fm Charts. Winner of Global Music Awards, Hollywood Music In Media Awards and Akademia Music Awards.

The band has collaborated with musicians, including Paul Brown , Gail Jhonson (Jazz in Pink), Katja Rieckermann (Rod Stewart ) , Mack (Queen, ELO, Rolling Stones ), Nils, Jimmy Haslip, James L. Manning , Latonya Black, Lew Laing, Chris Troy, Marcus Anderson,Roberto Vally, Julian Vaughn, Matt Marshak, Chris de Burgh, Chris Norman, Brosis, Raid Said Fred and continues to tour the world on a regular basis, from the U.S. (Catalina Jazz Club Hollywood, Perfect Note Birmigham, Palm Springs, Seal Beach-Spaghettini) Seabreeze Jazz Festival Panama City Beach to South Africa (Shiraz Jazz Festival, China (Expo Shanghai), Indonesia, Brazil, Australia to the Carribbean and throughout Europe (Augsburg SmoothJazz Festival, Liburnia Jazz Festival Croatia, Hungarian Pannonhalma Jazz Festival and more).

Europe’s #1 Billboard charting , Hollywood music awarded Threestyle, founded by German guitarist Robert Fertl and Czech Republic’s Magdalena Chovancova who plays saxophone and flute for the ensemble. Their project, currently based in Germany, features Jimmy Haslip (Yellowjackets, Jeff Lorber) Katja Rieckermann from the Rod Stewart Band, James Manning (Chaka Khan), Nils, Paul Brown(2x Grammy Winner), along with an assortment of European A-Listers! Threestyle truly personifies Smooth Jazz with killer originals and a sophisticated, modern spin with their blend of smooth, nu, funk, soul and chill jazz! The band continues to tour the world on a regular basis, from the U.S. to South Africa, to the Caribbean and extensively throughout Europe!

Magdalena was born in Ostrava, Czech Republic. She began to play the piano at the age of 6. Later on she learned to play the saxophone and flute. Still in her teens, she won several national music competitions and began recording and touring together with other musicians and bands. After her studies in Prague, she moved to Germany where she founded the Threestyle band together with Robert Fertl (guitar, bass, trumpet) and her twin sister Gabriela Chovancova (drums, vibraphone). Since that time they have been touring the world on regular basis.

Robert Fertl was born in Bavaria-Germany. He began playing the guitar at the age of 6. Later on he learned to play the trumpet . while studying in Munich Robert made rapid progress, winning National Guitar Competition with his own compositions, as well as First Place in the National Jazz Competition in Berlin. Robert record his first vinyl LP with the age of 18 years, together with his longtime teacher and mentor Richard Klimeck. After his studies in Germany he moved to Los Angeles 1989 to study the jazz guitar at the Musicians Institute Hollywood Los Angeles USA. During that period he played with several Los Angeles local bands and musicians. http://www.threestylejazz.com/Reviews_Bio.html

Music for the Soul

---

Lucy Reed - Basic Reeding

Bitrate: MP3@320K/s
Time: 51:13
Size: 117.3 MB
Styles: Traditional pop, Standards
Year: 1992
Art: Front

[3:02] 1. You're The Cause Of It All
[4:02] 2. The Touch Of Your Lips
[3:27] 3. I Told Ya I Love Ya, Now Get Out
[3:47] 4. Pete Kelly's Blues
[3:25] 5. A Child Is Born
[2:10] 6. The Umbrella Man (Tuda Lumma) The Gravy Waltz
[3:58] 7. I Ain't Got Nobody
[3:21] 8. The Swing Song
[3:05] 9. Winter Moon
[4:27] 10. Get Outta My Life, Baby
[3:14] 11. The Music Machine
[3:51] 12. One Morning In May
[3:03] 13. Lulu's Back In Town
[6:15] 14. Young And Foolish

"Lucy Reed has mellowed over the years - in this CD she comes across as a seasoned professional. Her voice is smooth and easy to listen to, the songs were artfully chosen - new and refreshing even in the 90s. Highly recommended."

Basic Reeding

---

Amber Weekes - A Lady with a Song - Amber Weekes Celebrates Nancy Wilson

Styles: Vocal Jazz
Year: 2024
Time: 51:43
File: MP3 @ 320K/s
Size: 119,2 MB
Art: Front

(2:16) 1. My Gentleman Friend
(5:15) 2. Save Your Love For Me
(4:11) 3. A Lady With A Song
(3:43) 4. Ten Good Years
(4:01) 5. What A Little Moonlight Can Do
(4:22) 6. Midnight Sun
(5:39) 7. Suppertime
(4:27) 8. Wave
(3:43) 9. Guess Who I Saw Today
(3:31) 10. I'm Always Drunk In San Francisco
(3:34) 11. The Best Is Yet To Come
(3:51) 12. You're Gonna Hear From Me
(3:06) 13. Wasn't It Wonderful

A memorable jazz singer based in Southern California, Amber Weekes has always been a storyteller who puts a lot of heart and honest feelings into her interpretations of superior standards taken from a wide variety of sources.

The same can be said of Nancy Wilson (1937–2018). The beloved singer was discovered by Cannonball Adderley (with whom she made a classic album), recorded a string of jazz-inspired albums for Capitol in the 1960s, had great success in the pop world, and was an influential household name during her final 50 years.

In her homage to Nancy Wilson, Amber Weekes and her producer, arranger, and conductor Mark Cargill chose songs from Wilson’s huge repertoire that convey a wide variety of emotions and styles. With a top-notch background group that on various songs includes pianists Tony Campodonico and Andy Langham, bassists Jeff Littleton and John B. Williams, and drummers Fritz Wise and Oscar Seaton, several horns and (on “Suppertime”) a gospel choir, plus such featured guests as guitarists Russell Malone and Paul Jackson Jr, and tenor-saxophonists Gerald Alright and Rickey Woodard, the singer creates some of her most inspiring performances.

An up-tempo “My Gentleman Friend” begins the program in a joyful mood. The new version of the classic “Save Your Love For Me” has a light bossa rhythm and singing by Amber that is both swinging and soulful. Lesser known are “A Lady With A Song” (recorded by Wilson in 1989) and the 1965 song “Ten Good Years” during which Amber sings the rapid lyrics with confidence.

Irving Berlin’s “Suppertime” which deals with a lynching, is often sanitized in other versions but Amber added a spoken word section during which she frankly explains the horrible situation. Among the other highlights are “What A Little Moonlight Can Do” which the singer takes a bit slower than is typical, her excellent ballad singing on “Midnight Sun,” Antonio Carlos Jobim’s “Wave” which has Cargill contributing a violin solo, Nancy Wilson’s trademark song “Guess Who I Saw Today” which Amber manages to make her own, and the good-humored “I’m Always Drunk In San Francisco.” A Lady With A Song concludes with a happy and determined “The Best Is Yet To Come,” Amber’s heartfelt ballad singing on “You’re Gonna Hear From Me,” and the spirited jazz waltz “Wasn’t It Wonderful.”

The latter piece was one of the songs that Amber Weekes sang for her parents with her sister when she a child. Born and raised in Los Angeles, Amber had parents who were both singers. She was exposed early on to all types of music, from Frank Sinatra and Ray Charles to the Beatles, Barbra Streisand, Motown, classical music, Ella Fitzgerald, Sarah Vaughan, and Billie Holiday. A professional singer as a teenager, she has since taken lessons from Sue Raney for many years. Amber has worked in virtually every Southern California club in addition to Caesar’s Palace in Las Vegas, New York’s New Rochelle Jazz Festival and the Hampstead Jazz Club in London. Her earlier recordings include ‘Round Midnight Reimagined, Pure Imagination, and The Gathering.

With the release of A Lady With A Song, which features Amber Weekes at her best, one of today’s greats pays homage to a legend. Source: JIM EIGO, JAZZ PROMO SERVICES
https://www.allaboutjazz.com/news/amber-weekes-celebrates-nancy-wilson-on-her-new-release-a-lady-with-a-song/

A Lady with a Song - Amber Weekes Celebrates Nancy Wilson

---

Love Suggestions - Guitar Night

Styles: Smooth Jazz
Year: 2014
Time: 53:49
File: MP3 @ 320K/s
Size: 123,2 MB
Art: Front

(5:47) 1. It's Our Time
(4:39) 2. Stay
(4:45) 3. Life Is Love
(5:02) 4. Little Talks
(4:33) 5. Put You To Bed
(4:00) 6. Can't Hold Us
(4:12) 7. I Need Your Love
(5:11) 8. Counting Stars
(6:38) 9. Wake Me Up
(4:46) 10. The Next Morning
(4:13) 11. The Way

The Love Suggestions series are entitled Piano Night and Guitar Night. This year Konstantin Klashtorni will probably release Sax Night. That sounds like one instrument on each album in the lead.

Konstantin comments꞉ “True, that was my idea, it's like a piano, guitar and sax player each recorded an album in the same vein. By the way, those are 3 instruments I like to feature on all my releases, I like the combination of different instruments a lot, depending on mood and kind of arrangement. I find it quite boring when only one instrument is playing hole song long, no matter how good it is.

I believe people like a variety very much, by the way in the mean of time I've learned a bit to listen music with "normal" people's ears, just a bit! Wish I could do it much better to understand what Jazz music people like most and why.″

The starter It's Our Time invites the audience with a full-bodied ear catcher. The rhythm has the charm of Dr. Hook's Sexy Eyes and the melody is based on the duet principle. The lovely ballad Stay shares the attractive melody between acoustic and electric guitar and a warm pulsing flute.

Carriers of the musical message on Life Is Love are guitar and piano with a gentle approach to your soul. The romantic element is the common denominator on the instrumental union of Little Talks. Overdubbed sax, acoustic guitar and sassy synth lines are melting in an digestible amalgam. The sweet lullaby Put You to Bed creates a cozy atmosphere.

The blazing Can't Hold Us smiles with seductive tasteful guitar sounds while the piano forms a lively counterweight to these riffs. With I Need Your Love the album reaches a first summit of loveliness. Soprano sax, guitar and synth sounds mingles to an infectious brew.

What kind of instruments Konstantin elects, doesn't matter. The result is always an astounding melody like on Counting Stars, where he perfectly pairs sax and acoustic guitar. The steady Wake Me Up is surprising with different music groups especially with a phenomenal horn arrangement. More than six minutes entertainment are passing with ease.

On The Next Morning Konstantin is swelling crystal clear notes fine tempered for the listeners pleasure. The album closes with the sexy charmer The Way balanced between sax and guitar.

Konstantin Klashtorni tirelessly establishes with Guitar Night the ideal audible environment for the best moment with the admitted lover by using carefully selected melodies and instruments to reach this mission.
http://www.smooth-jazz.de/flashback/LoveSuggestions/GuitarNight.htm

Guitar Night

---

Cyrus Chestnut - You Are My Sunshine

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 70:25
Size: 161,6 MB
Art: Front

(5:31)  1. God Has Smiled On Me
(6:41)  2. It's All Right With Me
(6:56)  3. For The Saints
(7:14)  4. Precious Lord
(4:07)  5. You Are My Sunshine
(5:51)  6. Erroling
(2:45)  7. Total Praise
(3:51)  8. Lighthearted Intelligence
(4:15)  9. Sweet Hour Of Prayer
(5:22) 10. Hope Song
(4:39) 11. Flipper
(5:26) 12. What A Fellowship
(7:41) 13. Pass Me Not O Gentle Savior

Tough times make simple music cathartic, and Cyrus Chestnut’s You Are My Sunshine combines tradition with innovation to attractively articulate this 70-minute collection of modern jazz trio music. Chestnut clearly doesn’t expect this record to change your life, but it does successfully brighten our mood. The record’s opening, “God Smiled On Me,” clearly establishes the comfort of acoustic subtlety within a groove that nicely unites Chestnut with band mates Michael Hawkins on bass and Neal Smith on drums. The pianist brings his gospel leanings to five original compositions and standards such as Dorsey’s “Precious Lord.” “...I borrowed a little Stevie Wonder feeling and added it to the mix to create a wholly different sound,” says Chestnut. He subsumes his hard bop and post bop past in the gospel and blues immersion of the record’s first original song, “For the Saints.” It takes Chestnut back to soul as we have experienced it in the domains of churches and small jazz clubs (how often one does feel like the other). The resonant nature of Chestnut’s playing doesn’t give way to rhythm-driven ensemble groove until the 22nd minute, when Hawkins embarks on a lovely solo on bass. This follows with the kind of sterling piano work that defines a great club gig. We revisit the groove stew on “Flipper.” 

By this point, I was recalling so many nights watching the great Oscar Peterson. You Are My Sunshine is a well-paced record. Phrases, explorations, solos and ensemble combine in a time that spaces out this music. Chestnut moves us from one idea to the next with seamless expertise. Great players learn how to immerse the listener in a stew of musical flavor on the bandstand, at home and, in Chestnut’s case, at Berklee. The experience is very positive. “Errolling,” an original dedicated to Erroll Garner, reflects Chestnut’s embrace of the tradition and the new demand for re-examination. Songs of quietude are best left to resonate. This happens in transcendent simplicity with “Total Praise,” one of the highest moments on this record. Jazz lovers often dismiss songs like this, ideas stated in three minutes or less, as “ditties.” Bill Evans turned such dismissal into legend. Chestnut hints at the brilliance of that here. ”Light Hearted Intelligence” pulls us back to Chestnut’s original groove of ensemble dance. His tickling solo work makes way for one of several short drum solos by Neal Smith, a tasteful assembly of accentuated decisions. This may be the only song on the record that is negatively abbreviated, but Chestnut can forever extend it in concert. You Are My Sunshine is a nice release; it retrospectively values a time when the new seems to pale by comparison to the aged. This record will warm traditional jazz lovers like a good memory. It is refreshing to see this kind of jazz emerge from an artist under 40.By AAJ Staff https://www.allaboutjazz.com/you-are-my-sunshine-cyrus-chestnut-warner-bros-review-by-aaj-staff.php

Personnel: Cyrus Chestnut, piano; Michael Hawkins, bass; Neal Smith, drums.

You Are My Sunshine

---

Bill Charlap Trio - And Then Again

Styles: Piano Jazz
Year: 2024
Time: 46:41
File: MP3 @ 320K/s
Size: 106,9 MB
Art: Front

(7:01) 1. And Then Again
(5:01) 2. All The Things You Are
(5:27) 3. 'Round Midnight
(6:22) 4. In Your Own Sweet Way
(6:05) 5. Darn That Dream
(7:23) 6. Sometimes I'm Happy
(4:03) 7. The Man I Love
(5:15) 8. (I Don't Stand) a Ghost of a Chance (With You)

Listening to pianist Bill Charlap is akin to hearing acoustic jazz in its purest form, and that's the overriding feeling you have while listening to his 2024 concert album And Then Again. Recorded live at the famed Village Vanguard in New York, the album features Charlap and his long-running trio with bassist Peter Washington and drummer Kenny Washington.

Together on and off since the '90s, they play with a swinging, urbane sophistication marked by a warm camaraderie and dancerly interplay. As a soloist, Charlap displays his deep grasp of straight-ahead jazz traditions, tackling a handful of gorgeous jazz standards. We get sparkling, brawny renditions of "All the Things You Are," "In Your Own Sweet Way," and "Darn that Dream." He also delves into Thelonious Monk's "'Round Midnight," evoking Monk's angular, cubist bop style but in his own nuanced way. In fact, what is so compelling about Charlap's playing is just how balanced it is.

He's clearly imbibed an array of influences, from Earl Hines and Teddy Wilson to Bud Powell and Bill Evans, yet he always sounds like himself and is never too indebted to any one performer. The album even opens with his title-track original, a spritely blues in the modern jazz tradition that finds him tumbling through a string of bebop and modal harmonies. Charlap closes out the evening with a dusky, harmonically lush take on "(I Don't Stand) a Ghost of a Chance with You," sinking into the song with a hushed reverie that clings to you long after the album ends.By Matt Collar
https://www.allmusic.com/album/and-then-again-mw0004313755#review

Personnel: Bill Charlap - piano, Peter Washington - bass, Kenny Washington - drums

And Then Again

---

Natalie Jacob - Sooner or Later

Styles: Vocal Jazz
Year: 2024
Time: 45:09
File: MP3 @ 320K/s
Size: 104,2 MB
Art: Front

(3:43) 1. Exactly Like You
(4:57) 2. Wave
(4:47) 3. I Could Write A Book
(4:11) 4. Smile
(4:12) 5. East of the Sun (And West of the Moon)
(3:25) 6. What A Little Moonlight Can Do
(5:42) 7. Corcovado (Quiet Nights of Quiet Stars)
(5:14) 8. I've Got You Under My Skin
(4:01) 9. Sooner or Later
(4:53) 10. No More Blues (Chega De Saudade)

Sooner Or Later is jazz vocalist Natalie Jacob's debut release. It is a refreshing addition to the jazz landscape, blending classic Great American Songbook tunes and bossa nova standards. Produced by Grammy Award winner Scotty Barnhart, the album benefits from the contributions of an outstanding ensemble, including Barnhart on trumpet, pianist Tamir Hendelman, guitarist Anthony Wilson, bassist Carlitos del Puerto, drummer Clayton Cameron and percussionist Kevin Winard. This all-star lineup created a rich backdrop for Jacob's compelling vocal interpretations.

Using songs from her live performances gave Jacob an easy familiarity with the material, and it shows from the opening number, "Exactly Like You." With an arrangement by the swinging and sensitive pianist Hendelman, Jacob delivers the lyrics in an attentive hand-in-glove fashion. Both Barnhart and Hendelman offer clear and definitive solos. The first of the Antonio Carlos Jobim numbers is "Wave," on which the percussionist Winard lays down the soothing boss nova rhythm on which Jacob covers the lyrics with a sunny and gently sailing delivery.

Brooks Bowman's classic "East Of The Sun (And West Of The Moon) has an ingenious charm driven by the Del Puerto opening bass line that leads into the rhythm section's groove. Jacob uses her voice as an instrument of empathy and intimacy, delivering the lyrics with composure. Jacob, who has French-Canadian heritage and has spent time in Montreal, Canada, brings her bilingual skills to bear on Jobim's "Corcovado," singing in English and French with her nuanced phrasing shining through. The collaboration with percussionist Kevin Winard and guitarist Anthony Wilson is particularly noteworthy as their expressive playing complements Jacob's vocals perfectly.

The irrepressible Cole Porter wrote the swinging gem "I've Got You Under My Skin." The rhythm section of Hendelman, Del Puerto and Cameron lays a harmonic foundation and flexible groove which supports Jacob's vibrant vocal lines.

The title track, "Sooner Or Later," is a Stephen Sondheim creation done in a bluesy style. With Barnhart's muted trumpet in the background, Jacob shows she has an emotional connection to the lyrics, infusing them with a contemporary freshness. Jobim's "No More Blues" (Chega De Saudade) closes the session joyfully. Backed by the full ensemble's stellar contribution, Jacob's vocals have an unerring sense of swing and bustling with vital energy. By Pierre Giroux
https://www.allaboutjazz.com/sooner-or-later-natalie-jacob-self-produced

Personnel: Natalie Jacob on vocal, Scotty Barnhart on Trumpet, pianist Tamir Hendelman, guitarist Anthony Wilson, bassist Carlitos Del Puerto, drummer Clayton Cameron, and percussionist Kevin Winard.

Sooner or Later

---

Michael Kaeshammer - Strut

Styles: Piano Jazz
Year: 2004
Time: 54:28
File: MP3 @ 320K/s
Size: 124,9 MB
Art: Front

(5:26) 1. Twentysomething
(3:10) 2. Sleepy Time
(2:23) 3. Bass Gone Crazy
(4:23) 4. Comes Love
(5:11) 5. Now?
(3:44) 6. Almost a Rag
(4:12) 7. You're a Good Dancer, Johnny!
(3:37) 8. At the Vinyl Cafe
(4:57) 9. Blue Skies
(5:22) 10. Soundtrack to Something Beautiful
(3:37) 11. Sunny Morning
(4:00) 12. Cry to Me
(4:19) 13. Maybe Tomorrow

Michael Kaeshammer studied classical piano when he was a child. By the time he entered his teens, he fell in love with boogie-woogie piano. Form then on, jazz and its diverse extensions captured his muse, and his first recording, 1996's Blue Skies, showcased that proclivity. Time saw the release of two more albums and now, with his fourth, Kaeshammer shows a compact feel for mood and dynamics.

Kaeshammer and his band converse fluidly and bring in an emotional impetus that drives the tunes. But give it to him as he socks out the boogie-woogie on “Bass Gone Crazy” (which composer Albert Ammons also recorded as a solo), the bass accented by his left hand. He adds to the skein of imagination with “Almost a Rag,” which moves just enough from the core of the style to bring in a distinct, pleasing adjunct.

The blues come in on “Cry to Me,” where his yearning vocals bring the right pathos, and on “Twentysomething,” a delightful choogle elevated by the accents of Johnny Vidacovich on drums, with Ben Wolfe on bass singing a fine melodic line.

One test for a musician is adaptability to standards and the way they are read. Kaeshammer does well on both counts. “Blue Skies” has a moving time scape. Kaeshammer is buoyant on a traipsing melody at the outset but is coaxed into a hardier métier by Vidacovich before they come together for an amiable dialogue, with the former making good use of space and the drummer using the cymbals in gossamer hue before punching out in a final crescendo. Kaeshammer gets “Sunday Morning” in his stride, his left hand and right locked in harmony.

Michael Kaeshanmmer is one heck of a musician and he deserves a wider audience. It’s a sure bet that it won’t be long before he has one. By Jerry D'Souza
https://www.allaboutjazz.com/strut-michael-kaeshammer-review-by-jerry-dsouza

Strut

---

Eddie 'Lockjaw' Davis - Goin' To The Meetin'

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 73:00
Size: 171,6 MB
Art: Front

(5:02)  1. I Wished On The Moon
(4:24)  2. From This Moment On
(5:44)  3. It's A Pity To Say Goodnight
(6:17)  4. Just Friends
(7:03)  5. The Moon Of Mankoora
(6:53)  6. Speak Low
(5:27)  7. Goin' To Meetin'
(3:05)  8. People Will Say We're In Love
(5:00)  9. Night And Day
(3:41) 10. Pass The Hat
(3:48) 11. Yes, Yes
(3:59) 12. Please Send Me Someone To Love
(2:40) 13. Our Love Is Here To Stay
(5:35) 14. Oh Babee
(4:15) 15. Little Cougar

The esthetic and visceral aspects of Eddie “Lockjaw” Davis’ music have been on my mind a lot lately. My regular AAJ column “Combing the Fantasy Catalog” allowed me the welcome chance to explore his Prestige label legacy at length, but much to my regret this recent reissue wasn’t in circulation until after I’d put the wrap on the articles. The generous clutch of material from three albums, Misty, Stompin’ and Goin’ to the Meetin’ gathered here is much in line with his other work circa this vintage. The disc’s first half revisits the classic Davis/Scott combo flying its full hard-swinging soul-hued regalia with the added bonus of conguero Ray Barretto in the ranks. Originally a Moodsville release the tunes are a surprising mix of up-tempo burners like “From This Moment On” and balladic fare such as “Just Friends.” Both vie to create a swirling batch of performances that bring out the band’s best side. Just drop in on the furious conga breaks on the former tune and tidal force of Scott’s sustain-saturated fills for a taste guaranteed to leave even the most sullenly jaded listener rapacious for more. Even the slice of pop exotica “The Moon of Manakoora,” a regular staple of the Bachelor pad orchestras bandleaders like Les Baxter and is successfully given a make-over in line with the Davis’ no-frills delivery.

The album from which the disc’s title is taken fills out the second half trading Scott’s soul organ for Parlan’s hard bop piano and convening a completely different rhythm section with conga presence intact. Catlett’s moody walking line on the title track (which strangely recalls the bass line to Gil Melle’s “Mars”- how’s that for an obscure reference?) is but one of the many indications of a different, but no less visceral vibe. Bobo’s skins are sparser and more staccato in sound, accenting rather than driving the group, and Taylor’s sticks deliver a crisper, more measured sound than Edgehill. Parlan steps to the solo podium almost as often as the leader, but tune lengths are significantly shorter. Highlights are numerous, but the Latin groove of “Night and Day” where Taylor and Bobo sculpt a living lattice of interlocking cross rhythms beneath Davis’ booting phrasings garners first prize by my estimation. Listener’s familiar with Davis won’t need much prodding when it comes to acquisition of this disc, but suffice it to say that those unfamiliar with his gruff charms are likely to find themselves pleased by the purchase as well.By Derek Taylor
https://www.allaboutjazz.com/goin-to-the-meetin-eddie-lockjaw-davis-review-by-derek-taylor.php

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Horace Parlan (piano); Shirley Scott (organ); George Duvivier (bass); Ray Barretto, Willie Bobo (congas).

Goin' To The Meetin'

---

Mishka Adams - Stranger On The Shore

Bitrate: MP3@320K/s
Time: 41:10
Size: 94.3 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[2:47] 1. Whisper Not
[3:34] 2. Both Sides Now
[3:51] 3. Les Enfants Qui S'aiment
[4:02] 4. Star Eyes
[4:22] 5. Stranger On The Shore
[4:54] 6. Sous Le Ciel De Paris
[4:45] 7. Beatriz
[2:45] 8. Time On My Hands
[5:58] 9. Midnight Sun
[4:08] 10. You Must Believe In Spring

Since graduating from London’s prestigious Guildhall College of Music ,Mishka has honed not only her vocal skills, but as is clear from this new album she has also developed admirably her compositional and arranging skills. Here she puts her indelible stamp on a hand picked collection of songs internationally known and loved. Here” Star Eyes” gets a pulsating Bossa Nova treatment ,while the groovy Benny Golson classic “Whisper Not” and the poignant rendition of “Stranger in the Shore” emphasise the lyrics to great effect.

Other highlights showcase Mishka’s passion for the” Great French songbook”as she sings “Sous le ciel de Paris” in it’s native tongue and likewise Chico Barque’s masterpiece “Beatriz” . Another landmark album from this Anglo-Filipina artist.

Mishka Adams (vocals); Edgar Avenir (guitar); Mike Guevarra, Toots Tolentino (saxes); Ria Villena (piano).

Stranger On The Shore

---

Andy James - Let Me See Your Heart

Styles: Vocal
Year: 2024
Time: 60:53
File: MP3 @ 320K/s
Size: 140,0 MB
Art: Front

(3:49) 1. Take Five
(5:52) 2. Bali Hai
(5:17) 3. Photograph
(6:03) 4. New York State of Mind
(5:27) 5. For Every Man There’s a Women
(5:28) 6. All Or Nothing At All
(5:09) 7. Danny Boy
(5:16) 8. Let Me See Your Heart
(5:04) 9. Lets Try
(4:14) 10. I Was Born In Love With You
(5:17) 11. Lets Talk Of Love
(3:52) 12. I Will Say Goodbye

One of the classiest readers of standards, Andy James brings together an all star group that includes (but is not limited to) the A list of Jon Cowherd-John Beasley/key-p, Ronnie Foster/B3, Chico Pinheiro-Larry Koonse/g, John Patitucci/b, Alex Acuna/perc, Clarence Penn-Rudy Royston/dr, Terell Stafford/tp and Joel Frahm/ts in a vibrant mix and match session of ideas

She is luminous when simply supported by Cowherd on “Danny Boy” while getting urgent with Frahm on “All Or Nothing At All”. An Afro Cuban read of “Take Five” was a brilliant call, and she sounds worldwise on a street savvy “New York State of Mind”. A master of moods, she coos effervescence for “I Will Say Goodbye” and is wondrous and wide eyed for “Bali Hai”. Well told stories.https://www.jazzweekly.com/2024/07/andy-james-let-me-see-your-heart/

Let Me See Your Heart

---

Love Suggestions - Sax Night

Styles: Smooth Jazz
Size: 116,9 MB
Time: 51:03
File: MP3 @ 320K/s
Released: 2017
Art: Front

1. Thick of It (5:42)
2. There Goes My Baby (4:17)
3. Shape of You (5:06)
4. Don't Wanna Know (4:49)
5. That's What I Like (4:18)
6. U + Me (4:47)
7. She Lovin' It (4:15)
8. Back 2 Life (4:15)
9. Better Man (4:56)
10. Don't Want You Back (4:39)
11. Million Reasons (3:53)

Multi-instrumentalist Konstantin Klashtorni has designed the Love Suggestions series for lovers to spend nice evenings together. The main emphasis is on one instrument in the foreground without neglecting other instruments. That in mind he already released Piano Night in 2013 and Guitar Night in 2014. Now he returns with the long-awaited Sax Night.

With a romantic and melodious approach he creates R&B oriented smooth jazz with that certain twist. Listening to the first notes of Thick of It brings back in mind, what we miss since the release of his latest album in 2016. With the perfect balance of flavor coming out of the land of rhythm and groove Konstantin creates with sax, flute and guitar the magical melody line.

There Goes My Baby rides on an emotional wave incorporating gospel elements and some retro feeling. Sax and guitar are living in a fine neighborhood. The sweeping ballad Shape of You reunites flute and sax to a deceptively accessible celestial arrangement. Don't Wanna Know flows in a coherent fluid music stream that is smooth like Italian ice cream.

That's What I Like reveals a beautiful melody, which has already been heard in one way or another. Nothing to bother about with the exception of the desperate desire to find the similar sounding piece. I would opt for Stevie Wonder. Now relax and sit back to listen to the mellifluously seductive sax on U + Me.

She Lovin It reveals Konstantin's uncanny virtuosity of working at a chromatic harmonic level and arrangement weaving an irresistible tapestry of sax and keys. Back 2 Life is another charming melody intertwining with a lightness of touch flute and sax. Better Man slows down the pace to soothing moments.

The harshness of the title Don't Want You Back stands in diametrical contrast to the grace of the saxophone-loaded melody. Million Reasons shines with spatial grandeur. Outstanding sax overdubs find their equivalent in an excellent arrangement.

Konstantin Klashtorni is the epitome of perfect smooth jazz. A courageous guardian of the better sound.http://www.smooth-jazz.de/firstview/LoveSuggestions/SaxNight.htm

Sax Night

---