Wes Montgomery - The Incredible Jazz Guitar Of Wes Montgomery

Styles: Guitar Jazz
Year: 1960
File: MP3@320K/s
Time: 44:03
Size: 101,2 MB
Art: Front

(4:26)  1. Airegin
(5:23)  2. D-Natural Blues
(4:44)  3. Polka Dots And Moonbeams
(6:15)  4. Four On Six
(7:25)  5. West Coast Blues
(4:54)  6. In Your Own Sweet Way
(4:33)  7. Mister Walker
(6:20)  8. Gone With The Wind

Ask a dozen jazz guitar fans for their all-time top guitar albums and The Incredible Jazz Guitar of Wes Montgomery is likely to be high on every list. If it isn't, chances are Montgomery's live set Full House (Riverside, 1962), recorded two years later, will be. With these discs, Indianapolis-born Montgomery (1923-68) gave the guitar its biggest quantum leaps forward, both stylistically and in terms of listener acceptance, since Charlie Christian in the late 1930s/early 1940s and Johnny Smith in the 1950s. Full House got the 24-bit remastering treatment in 2007 as part of Riverside's Keepnews Collection series, supervised and annotated by label founder/producer Orrin Keepnews. Now The Incredible Jazz Guitar joins it.  Almost entirely self-taught (initially by immersing himself in Christian's recordings with clarinetist Benny Goodman's chamber groups), and unable to read a note of music, by 1959 when he was brought to Keepnews' attention by saxophonist Cannonball Adderley, who'd been gigging in Indianapolis Montgomery had developed a revolutionary new approach to the instrument. His style featured three signature elements: he played with his thumb, never a pick, and he improvised entire choruses using either octaves or pianistic block chords. None of these techniques were unique, but until Montgomery came along no other guitarist had mastered them so completely (let alone combined them) or made them so integral to sound and improvisation. An exception is Smith, whose Moonlight in Vermont (Roulette, 1953) and later albums featured extended passages of block chording as beautiful and fluid as Montgomery's.

The Incredible Jazz Guitar burst onto the US scene in 1960 like a benign hurricane, and it still sounds like a gale almost 50 years later. Over four bluesy originals, the standards "Polka Dots And Moonbeams" and "Gone With The Wind," Dave Brubeck's gorgeous "In Your Own Sweet Way" and a fast-paced reading of Sonny Rollins' "Airegin," Montgomery empathetically accompanied by pianist Tommy Flanagan, bassist Percy Heath (then riding high with the Modern Jazz Quartet), and drummer Albert Heath makes the guitar sound like it never had before. It has sounded similar since, of course, thanks to the legion of Montgomery-influenced players, but rarely so close to perfection. In his revealing new extended liner notes, Keepnews, born within a few days of Montgomery and at 85 a fluent anecdotal historian, paints a vivid portrait of Montgomery as a musician and as a private person. He expresses some regret that he was unable to give Montgomery the big mainstream audience he achieved with producer Creed Taylor on Verve and CTI 1964-68 (but is proud that Montgomery's Riverside recordings made no attempt at pop crossover) and some embarrassment over the lack of alternate takes or bonus tracks (the reissued Full House by contrast had both), recalling the many Riverside archive tape boxes he's come across with the original data crossed out and supplanted by something later. 

But he doesn't beat himself up about it, and nor should he. At 43:58 divine minutes, The Incredible Jazz Guitar endures, and will continue to do so.~Chris May http://www.allaboutjazz.com/the-incredible-jazz-guitar-of-wes-montgomery-wes-montgomery-riverside-review-by-chris-may.php

Personnel: Wes Montgomery: guitar; Tommy Flanagan: piano; Percy Heath: bass; Albert Heath: drums.

The Incredible Jazz Guitar Of Wes Montgomery

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Judy Wexler - Back to the Garden

Styles: Vocal
File: MP3@320K/s
Time: 45:15
Size: 105,5 MB
Art: Front

(6:00) 1. Get Together
(4:41) 2. Up on the Roof
(4:03) 3. American Tune
(3:25) 4. Big Yellow Taxi
(4:45) 5. The Times They are A'Changin'
(3:28) 6. Since You've Asked
(3:53) 7. For What It's Worth
(3:33) 8. Everybody's Talkin'
(6:10) 9. Forever Young
(5:14) 10. Who Knows Where the Times Goes

A glance at the tracks on this album might make one think that it is a well-selected gathering of '60s message tunes from compilation stalwart, Rhino Records. That not being the case, rest assured that Back to the Garden presents those iconic Pop selections so incredibly re- imagined that what we experience could easily be considered "new selections." Judy Wexler petite in stature, but tremendously talented and agile in artistry and her cadre of LA's best, delivers her finest performance and certainly most ambitious album to date. And, given her track record, via five celebrated albums, Back to the Garden borrowing a 60's adjective is very "heavy."

Though young when most of these tracks hit the airwaves in chaotic times, Wexler dives fully into the familiar melodic and message content. Jeff Colella & Josh Nelson's unique arrangements and the ensemble's performances brilliantly deliver stunningly new perspectives. "Get Together," originally a more Folk-like side, kicks things off slickly and texturally, and portends different things to come. Joni Mitchell's manifesto about urban development, "Big Yellow Taxi" is the funk-quirky killer champion on this album. "Something's Happening Here" has Wexler, Colella, and team going towards deeper, darker-blue imagery than the original. "Everybody's Talkin' " from "Midnight Cowboy," (United Artists, 1969) is taken slower than normal and has Wexler talking beautifully, followed by a slick Hendrik Meurkens' solo (a nod to Toots Thielemans who performed on the soundtrack).

Wexler's awesome vocal talent, dexterity, and expressive flair lavishly wash across the session. While this was Pop fare in the day, hers is not a Pop voice. Rather, she's a hip vocalist whose tune engagement is paramount. That's quite apparent on "Who Knows Where the Time Goes?" (with a fine Jay Jennings trumpet solo). It would be so easy for a singer to "re-sing" this material. Wexler doesn't. She and the crew have re- ignited it, lending new reflections on Pop gospels. Back to the Garden is quite a recording. It is an accomplishment and truly an aural "Garden of Earthly Delights."~ Nicholas F.Mondello https://www.allaboutjazz.com/back-to-the-garden-judy-wexler-jewel-city-jazz

Personnel: Judy Wexler: voice / vocals; Jeff Colella: piano; Larry Koonse: guitar; Gabe Davis: bass, acoustic; Steve Hass: drums; Bob Thiele, Jr,: guitar, electric; Erin Bentlage: voice / vocals; Danny Janklow: saxophone; Jay Jennings: trumpet; Hendrik Meurkens: harmonica; Sara Caswell: violin; Joel Pargman: violin; Carrie Kennedy: violin; rodney wirtz: viola; Stephanie Fife: cello; Talley Sherwood: voice / vocals.

Back to the Garden

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John Sheridan's Dream Band - Get Rhythm In Your Feet

Bitrate: 320K/s
Time: 69:42
Size: 159.6 MB
Styles: Swing
Year: 2006
Art: Front

[6:07] 1. Stop Look And Listen
[3:56] 2. All The Cats Join In
[3:55] 3. Indian Summer
[6:42] 4. I Love My Baby
[4:04] 5. I Was Doing All Right
[6:42] 6. A Gal In Calico
[3:02] 7. Humpty Dumpty Heart
[3:16] 8. Between The Devil And The Deep Blue Sea
[3:24] 9. People Like You And Me
[4:14] 10. I'm In The Mood For Love
[2:52] 11. Get Rhythm In Your Feet
[4:35] 12. A Handful Of Stars
[3:18] 13. You Can't Pull The Wool Over My Eyes
[4:05] 14. My Extraodinary Gal
[3:57] 15. Walkin' By The River
[5:27] 16. The Dixieland Band

"The Dream Band´s third release, Get Rhythm In Your Feet, is on the same high level as the first two, and in some ways is the best of the trio...John Sheridan´s Dream Band looks back towards The Swing Era and the classic groups of that era without directly copying any of them. Mixing together written and jammed ensembles with concise solos and Becky Kilgore´s joyful vocals, the Sheridan Dream Band is carving out its own legacy within the current classic jazz scene." ~ Scott Yanow

John Sheridan - leader, arranger, piano Randy Reinhart - cornet Russ Phillips - trombone Brian Ogilvie - tenor saxophone Ron Hockett - clarinet Reuben Ristrom - guitar Phil Flanigan - bass Ed Metz Jr. - drums Becky Kilgore - vocals

Get Rhythm In Your Feet

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Ella Fitzgerald - The Moment Of Truth: Ella At The Coliseum (Live)

Styles: Vocal Jazz
Year: 2025
Time: 41:04
File: MP3 @ 320K/s
Size: 94,0 MB
Art: Front

(2:52) 1. The Moment Of Truth (Live At The Coliseum)
(4:33) 2. Don’t Be That Way (Live At The Coliseum)
(4:37) 3. You’ve Changed (Live At The Coliseum)
(4:43) 4. Let’s Do It (Let’s Fall In Love) (Live At The Coliseum)
(5:02) 5. Bye Bye Blackbird (Live At The Coliseum)
(5:43) 6. Alfie (Live At The Coliseum)
(4:41) 7. In A Mellow Tone (Live At The Coliseum)
(3:56) 8. Music To Watch Girls By (Live At The Coliseum)
(4:53) 9. Mack The Knife (Live At The Coliseum)

If someone stated the opinion “man, woman or child, Ella’s the greatest” it might well be dismissed as outrageous press agent hype. But the words were uttered by Bing Crosby, a man who knew a bit about the art of popular singing.

Shy and reticent when interviewed, Ella Fitzgerald morphed into an extrovert the moment she started singing. It’s often been argued that various other female jazz vocalists might have been more subtle, more profound, more dramatic or more seductive, but Ms Fitzgerald was hardly a klutz in any of those departments. And, in every other department, few ever came close.

For example, take scatting. Listening to any vocalist other than Ms Fitzgerald or Louis Armstrong in full, or even partial, scat, raises my feelings of embarrassment for the singer (always with the notable exception of Sarah Vaughan). Yet, when Ella (I can’t keep typing ‘Ms Fitzgerald’) did it, magic happened. Her time, pulse and phrasing were close to miraculous. Graduating from the Swing Era, she out-swung every other singer, ecstatic when surfing a riff with a big band, yet equally at ease as a saloon singer, confiding her emotions with only a lone pianist alongside (ever heard her Decca sides with Ellis Larkins?).

Her sound, which at the beginning of her career was an attractive little girl voice, matured into an instrument for which the adjectives ‘ravishing’ and ‘glorious’ were invented. She had the ability to switch her tone from liquid honey to a throat-ripping rasp within a hemi-demi-semiquaver. Her expressive range across every mood and every tempo remains unmatched. Downhearted or celebratory, she never sounded less than sincere.

Excessive overclaim? Not when you’ve heard this live album recorded on June 29, 1967 at the Oakland Coliseum accompanied by the full Duke Ellington Orchestra with pianist Jimmy Jones substituting for the Duke. Impresario Norman Granz, who shaped Ella’s career, taped the concert and we hear seven selections covering emotions from poignant dejection to unfettered exuberance. You know that phrase ‘on song’? This performance defines it.

After drummer Sam Woodyard splashes every cymbal within reach, she launches her set with Scott and Satterwhite’s up-tempo The Moment of Truth, a brash piece ostensibly written to open Las Vegas acts. Her version overcomes the brashness by stoking the excitement with intense swing, her virtuosity leaving few syllables unembellished.

Edgar Sampson and Mitchell Parrish wrote Don’t Be That Way and Benny Goodman made it famous. Ella decelerates the tempo previously set on the indispensable Ella & Louis Again album she made with Louis Armstrong, and, with superhuman breath control, sustains tones for longer than any normal singer would regard as dangerous. Backed by Duke’s pugnacious brass and a driving backbeat from Woodyard, she weaves fanciful melodic variations. The audience can hardly restrain its applause before the final note.

You’ve Changed, a ballad of lost love by Carl Fischer and Bill Care, was closely associated with Billie Holiday, but Ella assumes possession of the lyric when, over the tight trio harmonies of the Ellington trombone section, she invests the lyric with fresh pathos, expertly controlling her vibrato as she unwraps her luscious contralto register.

In its time, Cole Porter must have horrified puritans with his witty ditty Let’s Do It, possibly the raunchiest of all list songs. Ella seldom sings a written note, recasting the melody over and over again in live performance, risking liberties few other singers would consider, let alone attempt. Her vocal micro-acrobatics on the phrase ‘even baby jellyfish do it’ defy death.

Ray Henderson and Mort Dixon wrote Bye, Bye Blackbird around 1926 and jazz musicians have jammed on it ever since. Ella calls it ‘one of the old tunes’ and, over five minutes of leaning behind the rhythm section’s beat, subjects the melody to an exhaustive workout through every register. She has the facility to divide even a single syllable into multiple parts, assigning to a different note to each. In the third chorus, she starts by scatting over Bob Cranshaw’s supportive bass, then winding up to an uninhibited knockdown and drag-out finale.

As Jimmy Jones caresses the keyboard for a delicate intro to Burt Bacharach and Hal David’s Alfie, Ella can be heard stage-whispering an instruction to the wings: ‘sexy lights here’. The mood is restrained and she produces an intimate ballad sheen to smooth the extremes of the melody’s choppy form (by way of an unexpected detour to You’re Nobody Till Somebody Loves You). When she sings “I believe in love, Alfie”, we believe her. And we believe in her.

Duke Ellington wrote In A Mellow Tone and Milt Gabler added lyrics making it, in effect, a song about a song. By the second chorus, over the band’s insistent riffs, Ella is immersed in the beat, scatting, slurring, scooping pitch and swinging ferociously reminding us of the Duke’s alto saxophone star, Johnny Hodges (Charlie Parker called him ‘Lily Pons’, at the time a well-known opera singer). She holds onto the final word ‘tone’ for a long time, like someone who’s loath to leave the party.

Eager to demonstrate she was abreast of changing fashion, Ella chooses Music To Watch The Girls Go By, a big number in the 60s written by Sid Ramin, in an arrangement that has her switching rhythms, even interpolating Happy Talk from the long-running musical, ‘South Pacific’.

In 1928, Kurt Weill and Bertolt Brecht wrote Mack The Knife for ‘The Threepenny Opera’. During the 60s, now equipped with lyrics in English, it became a monster hit for both Bobby Darin and Louis Armstrong with Ella following third. Third, maybe, but she embraced Mack and made it her own, graciously adding references to the first two performers (including a witty representation of a Satchmo growl). This version, packed with passion, bounce, regular half-step modulations and the Ellington band in rocking form, prompts Ella to discard any vestige of vocal inhibition and let rip for the concert’s big finale.

So far, so brilliant. But here’s the mystery.

Why did it take 75 years for such artistry to surface? Only recently, we’re told in Will Friedwald’s informative sleeve notes, the tape boxes were discovered languishing in the late Norman Granz’s effects. Why didn’t he release them? Were they forgotten? Did he think they weren’t up to scratch? Or did they simply get lost, lodged invisibly between a couple of Granz’s original Picasso etchings?

Whatever the reason (and it’s unlikely to be lack of quality), we’re grateful that this evidence was found to reinforce Crosby’s belief: “…Ella is the greatest”.https://ukjazznews.com/ella-fitzgerald-the-moment-of-truth-ella-at-the-coliseum/

The Moment Of Truth: Ella At The Coliseum (Live)

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Rebecca Kilgore - I Saw Stars

Styles: Jazz, Vocal
Year: 1994
File: MP3@320K/s
Time: 61:03
Size: 140,9 MB
Art: Front

(2:15)  1. Happy as the Day Is Long
(5:12)  2. Sweet Substitute
(3:16)  3. I Saw Stars
(4:11)  4. For Heaven's Sake
(4:29)  5. Say It Isn't So
(4:07)  6. He Needs Me
(3:12)  7. Jeepers Creepers
(4:13)  8. No Love, No Nothing
(3:37)  9. Everything I Have Is Yours
(2:29) 10. Exactly Like You
(3:27) 11. A LonelLonely Co-Ed
(3:04) 12. This Is No Laughing Matter
(3:01) 13. A Fine Romance
(3:50) 14. I'll Be Around
(4:39) 15. You Can't Lose a Broken Heart
(2:45) 16. Symphony
(3:08) 17. Princess

Becky Kilgore, a singer based in the Pacific Northwest, is a longtime associate of pianist Dave Frishberg. Frishberg is part of the impressive supporting cast (along with trombonist Dan Barrett, altoist Chuck Wilson, Scott Robinson on tenor, bass sax and clarinet, guitarist Bucky Pizzarelli and bassist Michael Moore) for her solo debut. Kilgore has a nice swing to her style and clearly enjoys reviving such songs as "Happy as the Day Is Long," "A Lonely Coed" and "You Can't Lose a Broken Heart." She has a pleasing voice, gives a liberal amount of space to the soloists (the ensembles often sound a bit like the John Kirby Sextet), and constructs a set of enjoyable music that is heartily recommended to fans of small-group swing. ~ Scott Yanow  http://www.allmusic.com/album/i-saw-stars-mw0000026865

Personnel: Rebecca Kilgore (vocals, guitar); Bucky Pizzarelli (guitar); Scott Robinson (clarinet, tenor saxophone, bass saxophone); Chuck Wilson (alto saxophone); Dan Barrett (trumpet, trombone); Dave Frishberg (piano).

I Saw Stars

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Phil Miller - Digging In

Styles: Guitar Jazz
Year: 1991
Time: 55:44
File: MP3 @ 320K/s
Size: 127,6 MB
Art: Front

(10:34) 1. No Holds Barred
(15:29) 2. Digging In
( 8:14) 3. Bass Motives
( 5:19) 4. Down To Earth
( 9:30) 5. Speaking To Lydia
( 3:38) 6. Birds Eye View
( 2:57) 7. Louder Than Words

Guitarist Phil Miller resides as one of the preeminent exponents of progressive rock, notwithstanding his storied legacy amid the much beloved British Canterbury rock scene. Otherwise, this 1991 release features the guitarist performing with some of his longtime musical associates: bassist Fred Baker, drummer Pip Pyle, and keyboardist Pete Lemer.

Armed with MIDI and electric guitars, Miller successfully masters the digital revolution with a congenial and altogether zestful set, featuring Pyle's drum programming and the soloists' astute effects manipulations. Here, the band melds jazzy motifs with ethereal backdrops, whimsical themes, and memorably melodic choruses.

Furthermore, Miller and Lemer employ MIDI-based trumpet and vibes patches, whereas Baker often trades harmonious notes with the primary soloists via his fluent attack and articulately executed chord voicings. Ultimately, Miller's penchant for constructing melodically tinged compositions among a series of cheery arrangements provides the winning formula. Recommended. By Glenn Astarita https://www.allmusic.com/album/digging-in-mw0000019673#review

Digging In

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Chick Corea, Christian McBride & Brian Blade - Trilogy 3

Styles: Jazz
Year: 2025
Time: 77:10
File: MP3 @ 320K/s
Size: 177,1 MB
Art: Front

(10:12) 1. Humpty Dumpty (Live)
( 9:35) 2. Windows (Live)
( 8:52) 3. Ask Me Now (Live)
(15:22) 4. You'd Be So Easy To Love (Live)
( 6:48) 5. Trinkle Tinkle (Live)
( 6:04) 6. Scarlatti: Sonata in D Minor K9, L413 Allegro (Live)
(11:13) 7. Spanish Song (Live)
( 9:00) 8. Tempus Fugit (Live)

Trilogy 3 is the third and likely the last installment of live shows with Chick Corea’s legendary trio of bassist Christian McBride and drummer Brian Blade. The 2-LP set includes just eight lengthy tracks, five of which are from Paris in 2020, one from Spain, and 2019 dates from Japan and Burlington, Vermont. Streaming will be available on 2/28, but you’ll have to wait until May 30 for the physical product, including liner notes from McBride and Blade. Interestingly, unlike the other two installments that appeared on Concord, this one was issued by Candid Records, which has released over thirty titles and received four Grammys since its relaunch in 2021.

Aside from the technical brilliance of these three players in an all-acoustic setting, the lasting impressions from these shows are Corea’s charisma, playful approach, and unique connection with his audience. A recording can’t possibly capture all of that, but fortunately, this one comes close. Also, the connection that he has to McBride and Blade is special. These three can play as one or dazzling improvisations on solos, bringing elegance, grace, and especially a freshness to this music, no matter if you’ve heard it played by others before. Blade and McBride can quickly read the music and adapt, so Corea has no compunctions about unearthing his older tunes.

Longtime Corea fans will recognize most, if not all, of these tracks, played at one time or another in a career that began in the mid-’60s. The project leads off with the playful (rather obviously) “Humpty Dumpty,” performed first with Corea’s Akoustic Band (Patitucci and Weckl) in 1978. The Burlington, VT audience is pumped, as gleaned from the applause on introductions of the band members. They swing hard from the outset, propelled by Blade’s wondrous kit work and McBride’s in-the-pocket bass lines. Corea is free to roam all over the piano, which he does gleefully, yielding to a beyond-nimble solo from McBride and a whirlwind take by Blade on the eights; they succeed in raising the nursery rhyme character back to his sitting position

The shimmering “Windows” is the first of the Paris pieces, tracing back to 1966 when Corea originally recorded the piece with Mercer Ellington and had Duke’s iconic players, such as Paul Gonsalves and Louis Bellson, on the session. Here, it runs rather introspectively at first, gaining intensity as it unfolds, with McBride and Corea in synch to the extent that the bassist anticipates and sometimes leads the pianist’s next move. They develop uncanny harmonics together, and from the piano to the bassist’s outrageous solo, it’s just a smooth continuum. The piece ends on one piano note, to the delight of the awestruck audience. “Ask Me Now” is a standard, often performed solo by Corea as on his 2000 Standards. His imaginative rendering is again on display here as he takes an extended solo intro before his trio mates join in around the three-minute mark, and it morphs into a swinger. Standout “You’d Be So Easy to Love” is an Ahmad Jamal piece that Corea performed on his duo album with Herbie Hancock. He begins this with a touch of electronics and Blade’s signature cymbal whispers before launching into the swinging, lyrical melody and intricate rhythms. The latter half features a vigorous dialogue between McBride and Blade and an energetic turn from the drummer that draws faves from the audience.

In almost every concert Corea plays a Monk piece, here delivering one of Monk’s most covered tunes, “Tinkle, Tinkle,” (from Spain) a fine representation of how this trio approaches a piece so playfully. The chops of these three are so refined that they can easily glide into a classical piece, “Scarlatti: Sonata in D Minor, K9, L413 Allegro,” one that also appears on Corea’s 2020 solo Plays. The intricate “Spanish Song” features more telepathic interplay, the tune first appearing on Corea’s 2017 album with Steve Gadd, Chinese Butterfly. Constantly aware of the tradition, Corea closes with his third tribute to a significant influence, Bud Powell’s “Tempus Fugit” (from Japan), a joyous, glorious bebop romp to a monstrous finale.

Years from now, this trio will still be held in great esteem as one of the greatest piano trios ever to perform. That was well established on the first two Trilogy projects. Trilogy 3 is just further proof.
By Jim Hynes https://glidemagazine.com/310412/chick-coreas-final-tour-with-brian-blade-christian-mcbride-captured-on-two-lp-trilogy-3-album-review/

Trilogy 3

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Helen Merrill And Dick Katz - A Shade of Difference

Styles: Vocal And Piano Jazz
Year: 1968
Time: 40:40
File: MP3 @ 320K/s
Size: 93,1 MB
Art: Front

(3:52) 1. Lonely Woman
(2:51) 2. While We're Young
(5:03) 3. Never Will I Marry
(4:13) 4. I Should Care
(4:47) 5. A Lady Must Live
(3:19) 6. Looking for a Boy [aka I Want a Little Boy]
(6:39) 7. Spring Can Really Hang You Up the Most
(2:26) 8. My Funny Valentine
(5:02) 9. Lover Come Back to Me
(2:25) 10. Where Do You Go ?

Originally put out by the Milestone label and later reissued by Landmark, this is a superior and consistently surprising effort by singer Helen Merrill. With arrangements provided by pianist Dick Katz and adventurous yet sympathetic playing by Thad Jones on flugelhorn and cornet, flutist Hubert Laws, altoist Gary Bartz (who is only on Ornette Coleman's "Lonely Woman"), Katz, guitarist Jim Hall, either Ron Carter or Richard Davis, on bass and drummer Elvin Jones, this is a particularly strong jazz vocal date.

Merrill's voice was at its prime during the era, and her ability to tackle a wide repertoire and to bring new life to standards (including taking "My Funny Valentine" as a fairly free duet with Ron Carter) makes this a highly recommended effort. By Scott Yanow https://www.allmusic.com/album/a-shade-of-difference-mw0000263395#review

A Shade of Difference

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Jim Snidero - Bird Feathers

Styles: Jazz, Be Bop
Year: 2025
Time: 46:57
File: MP3 @ 320K/s
Size: 107,9 MB
Art: Front

(5:12) 1. Bird Feathers
(5:34) 2. Scrapple from the Apple
(7:08) 3. These Foolish Things
(5:02) 4. Ornithology
(5:56) 5. Embraceable You
(5:20) 6. The Nearness of You
(4:44) 7. Charlie's Wig
(5:05) 8. Confirmation
(2:51) 9. Lover Man

To mark the 40th anniversary of his debut recording as a bandleader in 1984, alto saxophonist Jim Snidero set out to create something special with his 28th album-and his second trio project to date with jazz masters Peter Washington on bass and Joe Farnsworth on drums.

Fresh off the success of For All We Know (Savant), particularly the standout track "Parkers Mood", Snidero felt the time was right to pay tribute to Charlie Parker, an artist he regards as "the king of the hill." Ranked among the top five alto saxophonists in Down Beat's 2024 Critics Poll, Snidero is more than qualified to honor one of the bebop pioneers. By Editorial Reviews https://www.amazon.com/Bird-Feathers-Jim-Snidero/dp/B0DQ988VZM

Bird Feathers

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Ellyn Rucker - Now

Bitrate: 320K/s
Time: 71:09
Size: 162.9 MB
Styles: Vocal jazz
Year: 2003
Art: Front

[ 5:33] 1. Now
[ 3:34] 2. Can't Get Out Of This Mood
[ 5:33] 3. Now
[ 7:02] 4. Strollin'
[ 5:06] 5. With You In Mind
[ 5:28] 6. Estate (Summer Passed)
[ 5:07] 7. Stockholm Sweetnin'
[ 5:32] 8. The Heather On The Hill
[ 6:25] 9. Last Resort
[10:52] 10. Useless Landscape Moon And Sand
[ 2:35] 11. The Best Thing For You
[ 2:09] 12. Lucky To Be Me
[ 6:07] 13. Here

Not many people can get away with putting two 5/4 bossa novas into a single program, but pianist and singer Ellyn Rucker has always done things just a bit differently. On her fifth album as a leader she steers clear of the usual repertoire of jazz standards, instead selecting a winning program of more obscure material both new and old, though a number of the songs and tunes were written by such familiar names as Horace Silver (the vocal version of "Strollin'"), Quincy Jones ("Stockholm Sweetnin'"), Ron Carter ("Last Resort"), and Irving Berlin ("Best Thing for You"). The arrangements call for a shifting complement of sidemen; her cool and lovely rendition of "Stockholm Sweetnin'" is performed by a standard quartet that includes alto saxophonist Rich Chiaraluce, while she handles Leonard Bernstein' s "Lucky to Be Me" all alone, singing and accompanying herself on piano. Rucker is an expert and charming singer, but for some reason this album's highlights tend to come on the instrumental numbers: her duo arrangement (with the exquisitely tasteful bassist Dave Young) of Lerner & Loewe's "Heather on the Hill" is simply gorgeous, as is her simple trio take on "Last Resort." And she effectively treads the fine line between excessive rhythmic looseness and effortless swing on those two 5/4 bossas, both of which could probably have done without the additional vocal contributions of their male composer. Recommended. ~ Rick Anderson

Recorded at Greywood Studios, Denver, Colorado, March 2001.

Ellyn Rucker (vocals, piano); David Mackay (vocals); Mark Rose (soprano & tenor saxophone); Rich Chiaraluce (alto & tenor saxophone); Pete Sommer (tenor saxophone); Ron Satterfield (synthesizer); Mitchell Long (guitar); Dave Young (bass, percussion); Claudio Slon, Paul Romaine (drums).

Now

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Brian Bromberg - It's About Time: The Acoustic Project

Bitrate: MP3@320K/s
Time: 57:48
Size: 132.3 MB
Styles: Bop, Fusion
Year: 1991
Art: Front

[4:58] 1. Dear John
[6:09] 2. Echoes
[4:58] 3. One For The Woofer
[5:50] 4. Waltz For Daphne
[7:12] 5. Yes Or No
[5:55] 6. If I Should Lose You
[7:47] 7. From Dust To Dessert
[5:40] 8. The Gnocchi
[9:15] 9. Buddha Belly

Drums – David Bromberg (2) (tracks: 1 to 7, 9); Piano – Mike Garson (tracks: 1 to 3, 6, 7, 9); Producer, Bass – Brian Bromberg; Saxophone – Ernie Watts (tracks: 2, 4, 5, 8, 9). Recorded live on May 21-22 1991 and mixed at: Garden Rake Studios Sherman Oaks CA.

After a few electric projects, bassist Brian Bromberg decided to record a purely acoustic project. With such sidemen as pianists Mike Garson and Mitch Forman, brother Dave Bromberg on drums, trumpeter Freddie Hubbard (on three songs), and tenors Ernie Watts (on five) and Doug Webb (on two), Bromberg holds his own with the fast company. Some of the selections on this CD are quite memorable, particularly Hubbard's "Dear John," Watts' interpretation of Wayne Shorter's "Yes or No," and the trumpeter's feature on "If I Should Lose You." Although the Nova label has since gone belly-up, this excellent CD might still be found and is certainly worth a search. ~Scott Yanow

It's About Time: The Acoustic Project

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Lori Williams - Behind The Smiles

Size: 118,4 MB
Time: 50:28
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Deja Vu (Feat. Benjie Porecki, Mark Prince, Zack Pride, Victoria Purcelel Coan & Rayshun Lamarr) (4:40)
02. It's Love (Feat. Benjie Porecki) (4:30)
03. Save Your Love For Me (Feat. Zack Pride) (5:24)
04. You Make Me Feel Alright (Feat. Raymond Reeder) (3:25)
05. The Island (Feat. Benjie Porecki, Mark Prince, Tracey Cutler & Zack Pride) (5:48)
06. Through Your Eyes (4:26)
07. Behind The Smiles (4:29)
08. Mixed Signals (4:42)
09. It's Safe To Dream (4:24)
10. Overjoyed (4:47)
11. Song Of Praise - It Is Well (3:48)

In the ever-crowded field of jazz vocalists, it is always such a pleasure to encounter an artist who stands out in the crowd, Willard Jenkins, DC Jazz Festival Artistic Director. Lori Williams is the real deal. She believes in her motto Words are powerful. Speak wisely and has found her voice in the music she passionately shares. Lori's third CD Behind the Smiles is a romantic collection, embodying a seamless mix of Jazz, Inspiration and Soul music. Her choices of lyrical themes are those that touch the human soul, Phil Perry. Lori's creative process has been characterized as a 'Love Supreme', offering a relatable musical experience for everyone who hears her. She is a singer's singer with over 30 years on the professional scene. She also surrounds herself with the crème de la crème of musicians on every CD project. The listener is taken on a captivating musical journey. With songs from Stevie Wonder, Melvyn K. Prince, Nancy Wilson and others, her songs are inviting and directly respond to the album's title.

Behind the Smiles is a wonderful compilation of 11 original and cover songs. Lori opens with the Isaac Hayes' classic Déjà Vu, popularized by Dionne Warwick. She ends with Song of Praise/It Is Well, a beautiful marriage of songs. One of her proudest moments is shared on Mixed Signals when her daughter, Lauren Highsmith sings background vocals with Lori and scats at the end. You'll want to hear the progressive sounds and creative prowess. Lori offers sultry deliveries on The Island (Ivan Lins) and Through Your Eyes/Iris (Wayne Shorter, Music/Lori Williams, Lyrics), which were videotaped during the recording. Lori...can seamlessly move from Jazz to R&B where the listener can feel at home with her in either genre, Terri Lyne Carrington, Grammy Award Winning Jazz Drummer/Producer/Composer. If you'd like to hear sensual tones encompassing beautiful colors and sublime phrasing...listen to Lori Williams, Maysa, Grammy Nominated International Singer.

Behind The Smiles

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Pat Healy - Sings Just Before Dawn · Her Complete Recordings

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 58:45
Size: 136,3 MB
Art: Front

(0:28) 1. Bobby Troup Introduces Pat Healy
(1:33) 2. I Wish I Were In Love Again
(2:38) 3. Bobby Troup Interviews Pat Healy
(1:42) 4. The Siren Song
(3:47) 5. Don't Ever Leave Me
(3:54) 6. The Siren Song
(3:38) 7. I'm A Dreamer, Aren't We All?
(1:39) 8. Boys And Girls
(2:47) 9. Naughty But Nice
(3:35) 10. Isn't It A Pity
(4:09) 11. When I Fall In Love
(4:07) 12. Nobody Else But Me
(2:21) 13. Easy Come 
(3:13) 14. Every Time
(3:26) 15. You Never Knew About Me 
(0:22) 16. Bobby Troup Introduces Pat Healy
(2:24) 17. Blue Moon
(3:51) 18. I've Got It Again
(0:55) 19. Bobby Troup Introduces Pat Healy
(1:38) 20. They All Laughed
(0:17) 21. Bobby Troup Introduces The Next Song
(1:40) 22. The Siren Song
(2:00) 23. Ever Since You Went Away (Bonus Track)
(2:30) 24. Bill Bailey Won't You Please Come Home (Bonus Track)

Miss Pat Healy (1927-2020) was born in Cleveland but at age 22 she settled in Los Angeles. She spent years filling various jobs before having the courage to make impromptu appearances at some local nightclubs. Finally in 1957 spirited by pianist Joe Marino, she quit her job and soon emerged as a praised and applauded singer by the audiences, winning soon her first professional contract as a guest vocalist on the television show Stars of Jazz, backed by the Paul Bley trio. As a consequence of her performance, she was offered to record for World Pacific Records.

On Just Before Dawn, her debut album, Pat sang eleven standard songs, some of them quite unusual, backed by cellist Fred Katz’s intimate approach to arranging and conducting, and by Joe Marino’s quartet. In both settings, she revealed herself as a vocalist with clarity of sound, style, sensitivity, and the ability to sing difficult songs, with the right accompaniment, resulting in this distinctive album, the first and only she recorded.The remaining recordings come from two later appearances of Pat in Stars of Jazz, where she can be heard with the backing of the Keith Williams orchestra, and finally, alone with her favorite accompanist, Joe Marino.By Jordi Pujol
https://www.amazon.com/Sings-Just-Before-Dawn-Recordings/dp/B0BXFSTGF4

Personnel: Pat Healy (vcl), Fred Katz (arr, dir), Paul Horn (as, bcl, fl), Paul Bley, Gerald Wiggins, Joe Marino (p), John Pisano, Howard Roberts (g), Charlie Haden, Hal Gaylor, Richard Von Holberg (b), Lenny McBrowne, Chico Hamilton, Shelly Manne (d)

Sings Just Before Dawn · Her Complete Recordings

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Jo Harrop & Paul Edis - When Winter Turns to Spring

Styles: Vocal And Piano Jazz
Year: 2022
Time: 41:40
File: MP3 @ 320K/s
Size: 95,5 MB
Art: Front

(2:48) 1. Short Story
(3:46) 2. When Winter Turns to Spring
(3:40) 3. Spring Put the Swing in My Step
(3:44) 4. Umbrellas in the Rain
(3:29) 5. A Perfect Winter's Day
(5:04) 6. Winter Love Affair (One Day Soon)
(3:05) 7. A Child is Born
(3:09) 8. New Year, New You
(4:38) 9. Breathing
(5:13) 10. In the Bleak Midwinter
(3:00) 11. Only Spring Will Decide

Although Jo Harrop had previously released albums such as Songs for the Late Hours (Lateralize, 2019) and Weathering the Storm (Lateralize, 2020), the release of The Heart Waits (Lateralize, 2021) was a quantum leap forward for the Durham-born vocalist, not least because the album included fewer covers and far more original material than before. Harrop has said of that breakthrough album, "I sent my first lyrics to [pianist] Paul Edis and we wrote "If I Knew," which became the key that unlocked the door to creating this album." In fact, of the album's twelve tracks Harrop was credited with eight of them, and Edis with three, two jointly with Harrop. So, it is no surprise that Harrop and Edis are jointly credited on When Winter Turns to Spring and that all but two of its eleven tracks are credited to one or both of them.

As with her past albums, When Winter Turns to Spring is not a haphazard collection of songs, but has a theme running through it. Just as Weathering the Storm dealt with pathos and pain, while The Heart Wants focussed on love and life, losing and then finding oneself, so When Winter Turns to Spring is a reflective journey through the seasons; on this theme, the album's only two tracks not penned by Harrop or Edis are "When a Child is Born" by Thad Jones & Alex Wilder, and an Edis arrangement of Gustav Mahler's "In the Bleak Midwinter" played on piano and guitar with no vocals.

Whatever the subject matter, Harrop's voice is always versatile enough to eloquently convey a range of moods and emotions; she always makes this sound effortless and natural. Throughout the album, in addition to his roles as composer and arranger, Edis is ever present as accompanist or soloist, fully justifying his joint billing with Harrop. Where The Heart Waits featured a plethora of guest musicians, including the likes of Christian McBride, Jason Rebello and Troy Miller, this album needs no visitors as the accompaniment perfectly complements and showcases Harrop's voice throughout. Altogether, this album is another step on Harrop's route to superstardom. By John Eyles https://www.allaboutjazz.com/when-winter-turns-to-spring-jo-harrop-and-paul-edis-lateralize

Personnel: Jo Harrop: vocals (1-7 9-11); Adam King: bass (1-2, 4, 6, 9-11); Peter Adam Hill: drums (1-2, 4, 6, 9- 11); Emma Rawicz: soprano saxophone (1), flute (4, 9) , clarinet(4, 9), bass clarinet (4) tenor saxophone (10-11); Jamie McCredie: guitar (1, 8, 11); Debs White: violin& fixer (3-4, 7, 10); Reiad Chubah: viola (3-4, 7, 10); Will Hillman: viola (3-4, 7, 10); Julia Graham: cello (4, 10); Freddie Gavita: flugel horn (4, 9) trumpet (10-11); Rory Ingham: trombone (4, 11); Bryony James: cello (4, 7); Paul Edis: piano.

When Winter Turns to Spring

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Polly Gibbons - Midnight Prayer: The Best of Polly Gibbons on Resonance

Styles: Vocal Jazz
Year: 2020
Time: 83:51
File: MP3 @ 320K/s
Size: 192,8 MB
Art: Front

(5:08) 1. Permit Me to Introduce You to Yourself
(4:15) 2. Miss Celie's Blues
(5:45) 3. Ability to Swing
(5:39) 4. Pure Imagination
(3:42) 5. Midnight Prayer
(4:51) 6. Company
(7:10) 7. So Good
(7:23) 8. Everything Must Change
(4:26) 9. Don't Be on the Outside
(5:56) 10. Wild Is the Wind
(5:06) 11. Dr. Feelgood
(6:28) 12. Good Hands Tonight
(6:11) 13. Love Me Like A Song
(6:04) 14. After Hours
(5:39) 15. This Is Always

Polly Gibbons is a growing presence in the UK Jazz scene. She has already been nominated twice as "Best Jazz Vocalist" by JAZZ FM and the BBC. Fully embracing the inspiring expansiveness of American Jazz, Blues, Soul and R&B, her career as a vocalist, composer and live performer is influenced by these genres. But Polly is hesitant to define her music as strictly Jazz; her eclectic repertoire and the ease and style with which she performs it, have led her to appear at a variety of music festivals and venues: from the prestigious Royal Albert Hall in London opening for George Benson and Gladys Knight, or for Bozz Scaggs at the famous Montreal Jazz Festival. Equally, her fans might find her performing a weekly residency with her band at the legendary Birdland Jazz Club in NYC, Ronnie Scott’s in London or at the funky new venue Rudy's down in Nashville. Her music and her voice have a broad appeal to music lovers - and her ongoing touring over the last few years in the USA has garnered her many new fans.

One might ask how a farmer's daughter (one of seven siblings), who grew up in a small market town in Suffolk, England, came to sing in some of the greatest venues in the world? Polly grew up in a family that loved various types of music and although acting was her first love, she first began to experiment with vocals at 13; and the well-known British vocalist, Ian Shaw, helped her secure her first gig in London at 17. Then she was off! She released her first album, My Own Company in 2014, and soon afterward she was contacted by the American producer, George Klabin, President of the established USA label, Resonance Records, a division of the non-profit RISING JAZZ STARS, INC.

It was at Resonance Records Beverly Hills studio where Polly recorded Many Faces of Love, released in 2015. Touring the country from Oklahoma City to Minneapolis to New York City in support of that CD began a new career phase for Polly. She soon returned to the States in the Autumn of 2016 to begin work on her second album for Resonance: Is It Me…? The album was released in April of 2017 and several new touring periods (in the USA, EUROPE and ASIA) began, attracting critical acclaim from many music critics and periodicals; for example, the American music magazine, DOWNBEAT, compared Polly to a female version of the highly acclaimed vocalist, Gregory Porter.

In the Summer of 2018 the dynamic young vocalist spent three months in NYC exploring both the eclectic music scene in the city and some of its best musicians, as well as taking on the challenge of her first live recording - her third for Resonance. It took place over two days in June at the famed Powerstation/Berklee NYC, and was staged in front of a live audience.

It was an exciting event, made even more special by the presence of several All-Star Band members who have worked with Polly on both the East Coast and West Coast, as well as in London: the keyboards were represented by the remarkable musicians Tamir Hendelman and James Pearson on the acoustic piano, and Shedrick Mitchell held court on the Hammond B3. The rhythm section featured Polly’s long time guitarist, Paul Bollenback, along with the versatile drummer Mark McClean and Richie Goods who performed on both electric and acoustic basses. The repertoire chosen for the new 12-track CD represents the vocalist as both a singer and a songwriter, and features her original title track, “All I Can Do”, as well as another track co-written with the pianist and Polly’s long-time collaborator, James Pearson, entitled “If You Had The Chance”. The remainder of the album features tunes as diverse as Prince’s “Nothing Compares to You”; a very unusual and delightful version of the great Cole Porter standard, ”Anything Goes”; and the Duke Ellington classic, “I’m Just a Lucky So and So”.

All I Can Do will be released in February of 2019, and will be supported initially by a tour of the West Coast, followed in the early Spring by performances in both the Midwest, the East Coast and the UK.

As Polly reflects on her career so far, she says, "it's a fascinating journey that's constantly in flux, there are always exciting new goals to work towards." The vocalist and songwriter is definitely on that road, and with All I Can Do out soon, she is on the way to new and extraordinary musical destinations. Stay tuned!! https://www.allaboutjazz.com/musicians/polly-gibbons/

Midnight Prayer: The Best of Polly Gibbons on Resonance

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Noah Preminger - Ballads

Styles: Saxophone Jazz
Year: 2025
Time: 37:38
File: MP3 @ 320K/s
Size: 86,5 MB
Art: Front

(4:42) 1. Stan's Mood
(3:53) 2. Carry Me Ohio
(5:23) 3. Unfair World
(6:17) 4. In Our 20s
(5:30) 5. Democracy
(6:35) 6. Pneu
(5:16) 7. Someone To Watch Over Me

An album of pure elegance, which can be seen as a tribute to John Coltrane. Without imitating him, it achieves the remarkable feat of presenting inspiring works with a dazzling aesthetic. My personal tastes being exceptionally broad, I find as much joy in writing these lines about this album as I would for one by Médéric Collignon, Céline Bonacina, or Wadada Leo Smith. We are not dealing with just any musician: of the Brooklyn-based saxophonist Noah Preminger, The New York Times declares: “Mr. Preminger designs a different kind of sound for each note, an individual destiny and story.”

At just 36 years old and a two-time recipient of Downbeat magazine’s Rising Star Best Tenor Saxophonist award, Preminger has recorded nearly two dozen critically acclaimed albums as a leader. These few lines from his biography encapsulate not only his style as a performer but also his philosophy of music, as it is clear that Noah Preminger possesses a singular vision, allowing us to grasp and appreciate his inner universe.

Born in 1986, Preminger grew up in Canton, Connecticut. He released his debut album, Dry Bridge Road, shortly after his 21st birthday, earning the title of Debut of the Year in the Village Voice Critics Poll. His second and third albums as a leader were released in 2011 and 2013 under Palmetto Records. The Boston Globe describes him as “a master of standards and ballads, as well as an adventurous composer.” The saxophonist has performed on prestigious stages across the United States, Europe, Asia, and Australia, and he has played or recorded alongside artists such as Jason Moran, Dave Holland, John Patitucci, Fred Hersch, Dave Douglas, Billy Hart, Rob Garcia, Joe Lovano, Victor Lewis, John and Bucky Pizzarelli, Cecil McBee, George Cables, and Roscoe Mitchell. Preminger currently teaches at the Longy School of Music of Bard College and The New School.

Ballads, an album steeped in bebop, romance, and lyricism, is an exceptional work that prioritizes both substance and the aesthetics of form. This form of beauty, found as much in Pachelbel as in Coltrane, takes a modern, warm direction here, balanced by the extraordinary musicians accompanying Preminger in this venture: pianist Julian Shore, bassist Kim Cass, and drummer Allan Mednard. The exceptional cohesion of this quartet offers a dynamic stage presence that would be a delight to experience live.

2025 promises jazz in all its forms, with a January that has already exceeded expectations and a February poised to do the same. The press, much like myself, deeply appreciates this artist: “Noah Preminger’s sound is beholden to no one. That makes him continually unpredictable and continually satisfying.” By The Boston Phoenix

“Mr. Preminger designs a different kind of sound for each note, an individual destiny and story.” By The New York Times

Ballads is intelligent music meant to inspire dreams, with arrangements that are both understated and stylish an album destined to find its place among our “Essential” collection. By Thierry De Clemensat https://www.paris-move.com/reviews/noah-preminger-ballads-eng-review/

Personnel: Noah Preminger – Tenor Saxophone; Julian Shore – Piano; Kim Cass – Bass; Allan Mednard – Drums

Ballads

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Sergio Mendes - In The Key of Joy Disc 1, Disc 2

Album: In The Key of Joy Disc 1
Styles: Bossa Nova
Year: 2019
File: MP3@320K/s
Time: 43:37
Size: 102,1 MB
Art: Front

(4:11) 1. Sabor Do Rio
(3:20) 2. Bora Lá
(2:54) 3. La Noche Entera
(3:56) 4. Samba In Heaven
(4:13) 5. Muganga
(3:13) 6. In The Key Of Joy
(4:15) 7. Love Came Between Us
(3:11) 8. Catch The Wave
(2:57) 9. Romance In Copacabana
(2:56) 10. This Is It (É Isso)
(4:26) 11. Times Goes By
(3:58) 12. Tangara

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Album: In The Key of Joy Disc 2
Year: 2020
File: MP3@320K/s
Time: 58:00
Size: 134,6 MB

(2:39) 1. Mas Que Nada
(4:03) 2. Agua De Beber
(3:57) 3. Primitivo
(3:24) 4. Lamento (No Morro)
(3:14) 5. Pais Tropical
(4:52) 6. Reza
(3:19) 7. Consolacao
(3:05) 8. Going Out Of My Head
(2:43) 9. The Frog
(4:29) 10. Morro Velho
(2:43) 11. The Look Of Love
(3:18) 12. Constant Rain
(4:16) 15. Never Gonna Let You Go
(4:01) 16. Fanfarra – Cabua-Le-Le

With exuberant Brazilian beats variously smoldering and at full flame, In the Key of Joy (Concord Records, 2019) archives the sound and the ambiance that defines Sergio Mendes. In 2020, the composer, keyboardist and vocalist celebrates more than sixty years in the music industry with this release. No matter how many beautiful songs and engaging records Mendes has provided over the years, many of a certain age will always first conjure up Sergio Mendes and Brazil '66. The 1960s produced a musical tapestry that was near limitless in its emotional depth and diversification. Mendes firmly yet delicately grabbed hold of that joy with both hands and has never let go. He has expressed it in pop, jazz, Brazilian and beyond. In 1968 we were treated to his spicy take on Burt Bacharach's "The Look of Love" and the heartbeat of Latin romance was within us. That sound and mood has playfully filled the air ever since.

In the Key of Joy kicks off with a visit from Common on the feisty "Sabor Do Rio." This, along with the title track, with rapper Buddy, illustrate Mendes' ability to stay current and explore new territory, while never sacrificing any of his core sound. Chico Brown's catchy acoustic guitar work is augmented by vocalist Shelea on "Catch the Wave." Mendes shuns the collaborative with his own jaunty piano skills on "Romance in Copacabana." His days with bossa nova legend Antonio Carlos Jobim are remembered with pianist and co-writer Joao Donato playing a duet on the upbeat "Muganga." It's also a family affair as Mendes' wife, singer and muse Gracinha Leporace joins in the fun and Joe Pizzulo's daughter, Sugar Jones, sings "Samba in Heaven." Pizzulo himself adds a reconnect with Mendes on "Love Came Between Us." Long time collaborators Hernan Pascal and Guinga join the party as well. A true celebration of family, friends and music. On the final track, Guinga's snappy guitar grooves signify that the celebration continues.

Released in conjunction with a bright documentary of his career, In the Key of Joy is at once a homage to the past and a step forward. This is a concept record. Breezy, bright, and infectious tunes are generally not the making of a concept record. But again, Sergio Mendes does what he does best. The concept is simple. Relax, get comfortable and breathe in the joy.~Jim Worsley https://www.allaboutjazz.com/in-the-key-of-joy-sergio-mendes-concord-music-group

Personnel: Sergio Mendes: piano; Leo Costa: drums; Andre de Santana: bass; Paul Jackson Jr.: guitar; Mika Mutti: acoustic guitar, synths & rhythm design, percussion.

In The Key of Joy Disc 1, Disc 2

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Ivan Lins, Chucho Valdes E Irakere - Ao Vivo Em Cuba

Bitrate: MP3@320K/s
Time: 59:58
Size: 137.3 MB
Styles: Latin jazz
Year: 2014
Art: Front

[9:48] 1. Lua Soberana
[4:11] 2. Somos Todos Iguais Nesta Noite
[5:59] 3. Comecar De Novo
[3:16] 4. Dinorah, Dinorah
[8:33] 5. La Explosion
[4:03] 6. Lembra De Mim
[2:52] 7. Iluminados
[7:10] 8. Garota De Ipanema
[4:18] 9. Vitoriosa
[9:44] 10. Al, Al, Al, Al, Al

The combination of Chucho Valdés’ Afro-Cuban fusion jazz with Ivan Lins’ elaborate songwriting has produced a truly world-class recording. For Ivan Lins music lovers, Ao Vivo em Cuba is more than a collection of greatest hits. The new arrangements and totally new Caribbean flavor in Lins’ songs are unforgettable and just sound well together.

Ivan Lins is not new to the world market. Since Quincy Jones’s Grammy winner arrangement of “Velas” hit the air waves in 1981, Ivan Lins’s music is being recorded by artists such as George Benson, Manhattan Transfer, Mark Murphy, Diane Schuur, Sting, Nancy Wilson and a fantastic array of renowned names. Also, the encounter of Brazil and Cuba is not new. This Brazilian-Cuban romance has survived governments and geographical distances. Pablo Milanés, for example, has sung some of his songs with Chico Buarque and Simone. This new flame with Ivan Lins is the result of the work of Julio Ballester Guzmán and Vítor Martins (Ivan Lins’s most regular songwriting partner).

As indicated in the liner notes, Ao Vivo em Cuba was recorded in La Casa de la Música (Havana, Cuba) before a live audience exclusively comprised of Cuban artists and musicians. Irakere’s Latin percussion and, especially, Chucho Valdés’s piano accompaniment carry most of the songs in this release. To give the audience a breathing moment, Ivan Lins sings a few songs only with piano accompaniment. It is during this segment of the show that we hear a medley of “Garota de Ipanema” and “Aos Nossos Filhos.” Though a rather unusual medley, the ending result is quite pleasing. However, from the opening track of “Lua Soberana/Confins,” the listener has no alternative but agree with Franklin Valverde’s statement that this CD is a “cocktail to be enjoyed slowly.” “Somos Todos Iguais Nesta Noite,” “Dinorah” or the closing track “Ai, Ai, Ai, Ai, Ai” will be anything and everything that encompass Cuban and Brazilian flavors. ~Egídio Leitão

Ao Vivo Em Cuba

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Patricia Sosa, Chucho Valdés - ONCE: Concierto para Dos

Styles: Vocal, Piano
Year: 2017
File: MP3@320K/s
Time: 49:53
Size: 114,8 MB
Art: Front

(3:47) 1. Alli
(3:53) 2. Envidia
(3:39) 3. Distancia
(3:24) 4. Ningún Amor Es Perfecto
(6:22) 5. Vela Encendida
(6:44) 6. Dias de Otoño
(3:44) 7. Me Has Echado al Olvido
(5:14) 8. Marcada a Fuego
(5:02) 9. Ya No Me Dueles
(3:32) 10. De Aqui a la Eternidad
(4:28) 11. Concierto para Dos

The Argentine singer-songwriter, Patricia Sosa, gives a turn in her career with the presentation of "Once (Concierto para dos)", an album of boleros and ballads that features the participation of the emblematic Cuban pianist, Chucho Valdés. This record was recorded at Chucho's studio in Málaga, with the participation of artists Dany Leis, Daniel Casares, Esperanza García de Soria and Miguel Poveda. https://www.amazon.com/Once-Concierto-PATRICIA-VALD%C3%89S-CHUCHO/dp/B0784W1HC7

ONCE: Concierto para Dos

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Lorez Alexandria - Alexandria The Great

Bitrate: 320K/s

Time: 35:53

Size: 82.1 MB

Styles: Vocal jazz

Year: 1964/2004

Art: Front

[3:59] 1. Show Me

[2:17] 2. I've Never Been In Love Before

[2:43] 3. Satin Doll

[4:27] 4. My One And Only Love

[3:56] 5. Over The Rainbow

[3:58] 6. Get Me To The Church On Time

[2:43] 7. The Best Is Yet To Come

[4:03] 8. I've Grown Accustomed To His Face

[2:20] 9. Give Me The Simple Life

[5:23] 10. I'm Through With Love

Lorez Alexandria has not received her due as a jazz singer, probably due in part to her long layoff from recording (11 years) for nationally distributed labels following these 1964 studio sessions for Impulse! But the vocalist is in top form throughout each of these three sessions, each with a different group of musicians. Her soulful singing also hints at her gospel background in places, though her clear enunciation, ability to swing, and touch of charm make her a delight to hear. Most of the arrangements are fairly concise, so the longer tracks shine just a bit brighter. Her swinging take of "Get Me to the Church On Time" is playful, while her soulfulness comes across in the snappy take of "I'm Through With Love," the latter featuring guitarist Ray Crawford. This is an excellent introduction to a fine vocalist worthy of much wider recognition.By Ken Dryden

Alexandria The Great

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