Pat Boone/Take 6 - Pat Boone Sings a Tribute to The Ink Spots featuring Take 6

Styles: Vocal
Year: 2012
Time: 32:27
File: MP3 @ 320K/s
Size: 75,3 MB
Art: Front

(3:21) 1. Christopher Columbus
(3:25) 2. Java Jive
(3:34) 3. You Always Hurt The One You Love
(3:04) 4. If I Didn't Care
(2:58) 5. Cow Cow Boogie
(2:42) 6. Do I Worry?
(3:37) 7. Stompin' At The Savoy
(3:12) 8. We Three
(3:28) 9. Don't Get Around Much Anymore
(3:02) 10. I Don't Want To Set The World On Fire

The Ink Spots were an admired quartet notable for blending R&B with the Pop sound of the day. In this easy-going, jazzy collection of R&B history, Pat Boone pays tribute to the renowned quartet with 10 all-new covers featuring the vocal talents of 10-time Grammy Award-winning singing group Take 6, and including a duet with Ella Fitzgerald.https://www.amazon.ca/Sings-Tribute-Spots-Featuring-Take/dp/B007FQUEWG

Pat Boone Sings a Tribute to The Ink Spots featuring Take 6

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Kenny Burrell - Weaver Of Dreams

Bitrate: MP3@320K/s
Time: 33:45
Size: 77.3 MB
Styles: Bop, Guitar jazz
Year: 1961/2001
Art: Front

[2:07] 1. I'll Buy You A Star
[2:24] 2. Weaver Of Dreams
[2:49] 3. The More I See You
[2:53] 4. I'm Just A Lucky So And So
[2:01] 5. A Fine Romance
[3:01] 6. Until The Real Thing Comes Along
[2:34] 7. The Blues Is Awful Mean
[3:25] 8. That Old Feeling
[2:05] 9. If I Had You
[3:54] 10. Hootchie-Koo
[4:15] 11. Afternoon In Paris
[2:11] 12. Like Someone In Love

KENNY BURRELL, guitar (also vocals on 1-9 & 12);
(5, 6) & (8): BOBBY JASPAR (ts, fl), WENDELL MARSHALL (b), BOBBY DONALDSON (d). TOMMY FLANAGAN out. New York, October 18, 1960.

Consummate musical taste, fluid technique, emotional warmth, clarity of ideas and tone, and refusal to compromise his artistic principles to passing fads are Burrell hallmarks that have made him among the most highly respected of all jazz guitarists.

Weaver Of Dreams

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Johnny Hodges - Triple Play

Bitrate: MP3@320K/s
Time: 47:47
Size: 109.4 MB
Styles: Saxophone jazz
Year: 1967/2015
Art: Front

[3:38] 1. Take 'em Off, Take 'em Off, Pt. 1
[2:55] 2. Take 'em Off, Take 'em Off, Pt. 2
[3:45] 3. The Nearness Of You
[3:52] 4. Monkey On A Limb
[4:53] 5. A Tiny Bit Of Blues
[3:01] 6. For Jammers Only (A.K.A. Wild Onions)
[2:51] 7. On The Way Up
[3:19] 8. Big Boy Blues
[2:48] 9. The Very Thought Of You
[6:21] 10. Fur Piece
[3:18] 11. Sir John
[2:38] 12. Figurine
[4:20] 13. C-Jam Blues

Baritone Saxophone – Harry Carney; Bass – Aaron Bell, Joe Benjamin, Milt Hinton; Cornet – Ray Nance; Drums – Gus Johnson, Oliver Jackson, Rufus Jones; Guitar – Billy Butler, Les Spann, Tiny Grimes; Leader, Alto Saxophone – Johnny Hodges; Piano – Hank Jones, Jimmy Jones, Nat Pierce; Piano – Jimmy Jones; Tenor Saxophone – Jimmy Hamilton, Paul Gonsalves; Trombone – Benny Powell, Buster Cooper, Lawrence Brown; Trumpet – Cat Anderson, Roy Eldridge; Vibraphone – Bill Berry.

Altoist Johnny Hodges is heard in three different settings on this reissue CD. Such top swing stars as trumpeters Ray Nance, Cat Anderson and Roy Eldridge, trombonists Buster Cooper, Lawrence Brown and Benny Powell, tenors Paul Gonsalves and Jimmy Hamilton, baritonist Harry Carney, pianists Hank Jones and Jimmy Jones (the latter two sometimes together), guitarists Tiny Grimes, Les Spann and Billy Butler, bassists Milt Hinton, Aaron Bell and Joe Benjamin and drummers Gus Johnson, Rufus Jones and Oliver Jackson are heard in nonets with the great altoist. Despite the many changes in personnel, the music is pretty consistent, with basic swinging originals, blues and ballads all heard in equal proportion. As usual, Johnny Hodges ends up as the main star. ~Scott Yanow

Triple Play

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Charles Lloyd - Figure In Blue

Styles: Saxophone Jazz
Year: 2025
Time: 98:04
File: MP3 @ 320K/s
Size: 225,2 MB
Art: Front

( 2:51) 1. Abide With Me
( 7:50) 2. Hina Hanta, the way of peace
( 7:13) 3. Figure In Blue, memories of Duke
( 5:49) 4. Desolation Sound
(10:39) 5. Ruminations
( 5:03) 6. Chulahoma
( 8:38) 7. Song My Lady Sings
(10:27) 8. The Ghost of Lady Day
( 8:17) 9. Blues for Langston
( 6:16) 10. Heaven
( 9:04) 11. Black Butterfly
( 1:51) 12. Ancient Rain
( 9:26) 13. Hymn To The Mother, for Zakir
( 4:34) 14. Somewhere

In March 2025, the legendary saxophonist Charles Lloyd convened a new trio of musical explorers with Jason Moran on piano and Marvin Sewell on guitar for his 87th birthday concert at the Lobero Theater in Santa Barbara and immediately brought them into the studio to record his remarkable twelfth Blue Note album, Figure In Blue. The spacious double album travels wide expanses of musical terrain from beautiful ballads to raw Delta blues and includes stunning homages to Duke Ellington, Billie Holiday, and Zakir Hussain. https://charleslloyd.com/discography/figure-in-blue/

Personnel: Charles Lloyd – saxophone; Jason Moran – piano; Marvin Sewell – guitar

Figure In Blue

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Bradley Leighton - Back To The Funk

Styles: Flute Jazz
Year: 2005
File: MP3@224K/s
Time: 52:45
Size: 84,7 MB
Art: Front

(5:32)  1. Runaway
(5:08)  2. Flow
(4:29)  3. Back To The Funk
(4:30)  4. Midnight Affairs
(5:56)  5. Clear Blue Skies
(4:42)  6. Special Lady
(3:43)  7. Sunday In San Diego
(3:59)  8. Make It With You
(4:53)  9. Ready For You
(4:53) 10. Soul Moon
(4:53) 11. Love Light In Flight

Back to the Funk is an intentional throwback to early-'70s funky jazz, the type of music performed by flutist Herbie Mann and a little later by saxophonist Grover Washington, Jr. The R&B-ish grooves are catchy if predictable and the backup band is solid, with flutist Bradley Leighton in the lead nearly all of the time. Nothing unusual happens, but Leighton plays well over the vamps, sounding enthusiastic and reasonably creative within the genre. While eight of the 11 selections are recent originals, this could very easily be an album from 1972. Fans of that era's funky music will want to pick this one up. https://itunes.apple.com/us/album/back-to-the-funk/id91059200

Personnel: Bradley Leighton (alto flute); Scott "Tempo" Kyle, Scott Kyle (trombone); Allan Phillips (piano, keyboards, percussion, drum programming); Cecil McBee Jr. Back to the Funk songs (bass instrument); Evan Marks (guitar); John Rekevics (alto saxophone, tenor saxophone, baritone saxophone); Brad Steinwehe (trumpet); Duncan Moore (drums).

Back To The Funk

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Buddy Collette Big Band - In Concert

Bitrate: MP3@320K/s
Time: 55:48
Size: 127.7 MB
Styles: Big band
Year: 2000
Art: Front

[ 7:13] 1. Magali
[ 7:04] 2. Andre
[ 3:08] 3. Mr. And Mrs. Goodbye
[ 4:25] 4. Blues Number Four
[11:55] 5. Jazz By The Bay
[ 7:59] 6. Blues In Torrance
[ 7:00] 7. Point Fermin From Friendships Suite
[ 7:01] 8. Buddy Boo

Bass – Richard Simon; Cello – Fred Katz; Drums – Chico Hamilton, Leon Ndugu Chancler; Guitar – Al Viola; Piano – Gerald Wiggins; Trombone – Britt Woodman, Garnett Brown, George Bohanon, Les Benedict, Maurice Spears; Trumpet – Al Aarons, Anne King (2), Nolan Shaheed, Ronald Barrows; Woodwind – Ann Patterson, Buddy Collette, Ernie Fields, Jackie Kelson, John Stephens, Louis Taylor Jr., Steven Carr. Recorded at the Lincoln Theatre, Washington D.C.

A fluent multi-instrumentalist, and the composer of everything from TV jingles to chamber music to jam-session staples, Buddy Collette has tended to be a victim of his own versatility. But The Buddy Collette Big Band in Concert, which captures a 1996 performance in Washington, D.C., is probably his best calling card to date. For one thing, it demonstrates that the 75-year-old leader remains in fine form on the tenor sax, clarinet, and (especially) flute--check out his nuanced reading of "Blues in Torrance," and the way his ebullient solo keeps bumping up against the tune's descending harmonies. What's more, the disk showcases Collette's compositional gifts. He's concocted some rousing vehicles for his 19-piece band, and the bright, brassy arrangements on "Andre" and "Blues Number Four" suggest late-period Basie, alternating catchy riffing with piquant solo voices. Among the latter, Garnett Brown delivers some attractively gutbucket trombone, while saxophonist Louis Taylor comes out swinging on "Magali." There's also a guest appearance by the leader's old comrade-in-arms Chico Hamilton, who drives the ensemble through a heated version of "Buddy Boo." But despite his aversion to hogging the spotlight, this is clearly Collette's show--and it's about time, isn't it? ~James Marcus

In Concert

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Jay Azzolina - Present Tense

Styles: Jazz Contemporary
Year: 2025
Time: 46:47
File: MP3 @ 320
Size: 43,2 MB
Art: Front

(7:25) 1. Big Lou
(7:12) 2. Viracocha
(7:25) 3. I Choose You
(6:34) 4. Clarebelle
(6:28) 5. He's Back
(5:23) 6. It's All About You
(3:21) 7. Rhythms Change
(2:55) 8. While We're Here

Jay Azzolina is a contemporary jazz guitarist whose music bridges the legacy of post-bop with modern improvisation and fresh harmonic ideas. His latest album Present Tense showcases this blend beautifully bringing together soulful accordion lines, deep grooves, and harmonic textures that challenge and uplift the listener. Inspired by the idea of living in the moment, Present Tense reflects Jay's belief that music is one of the few places where we truly live in the present. With standout collaborators like bassist Dave Zinno, drummer Rafael Barata, and accordionist Sonny Barbato, the album pushes jazz into a bold, expressive space while staying rooted in Jay’s love for songwriting and melodic exploration.

After moving to the UK in August 2024, Jay has been active on the British and Welsh jazz scenes, performing with local musicians and bringing his creative voice to audiences across the region. He will perform in London at the 606 Club and serve as a clinician at the Wrexham International Guitar Workshop. Jay's summer plans include the Fishguard Jazz Festival and performances throughout Pembrokeshire. From early beginnings on trumpet, influenced by his father, to his eventual transition to guitar under the spell of Lenny Breau’s harmonies, Jay’s journey reflects his deep passion for musical evolution. His discography, including Never Too Late, Past Tense, and Live at One Station Plaza, continues to grow as he seeks to share his music on new platforms and connect with listeners around the world.https://www.truthrevolutionrecords.com/jay-azzolina

Present Tense

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Christian McBride - Without Further Ado, Vol 1

Styles: Jazz
Year: 2025
Time: 37:12
File: MP3 @ 320K/s
Size: 86,2 MB
Art: Front

(5:05) 1. Murder by Numbers
(3:49) 2. Back In Love Again
(4:19) 3. Old Folks
(6:19) 4. Moanin'
(3:16) 5. All Through The Night
(6:17) 6. Will You Still Love Me Tomorrow
(3:38) 7. Come Rain Or Come Shine
(4:27) 8. Op. 49 - Cold Chicken Suite, 3rd Movement

The fourth album by the 17-piece Christian McBride Big Band is nothing like your dad’s big band albums. Without Further Ado, Vol. 1 is as much a vocal album as a big band effort, and within those vocals lie several genres. Now, as surprising as that may sound, it is more typical of Christian McBride’s career than not. His versatility matches his virtuosity, and the former may well be his primary trait.

The opener unites two of the three members of The Police as Sting and guitarist Andy Summers proffer one of the band’s biggest hits, “Murder by Numbers.” The song was the B-side of “Every Breath You Take” and marks the first time the two bandmates have played together since the band’s 2007-2008 reunion tour. The tune also features solos from trumpeter Nabate Isles and percussion from the great guest Pedrito Martinez, arguably making it more powerful than the original. Many may be equally surprised to hear R&B great Jeffrey Osborne of the ‘70s group LTD, singing the group’s mega hit “Back in Love Again” to a funky backdrop featuring McBride’s eclectic bass and the punchy horns of the big band. McBride has long had a soft spot for R&B and says in the liner notes that he flashed back to seeing LTD at Philly’s Spectrum in 1979.

The abrupt segue brings us to the jazz standard “Old Folks” sung by the inimitable Grammy winner Samara Joy. The textures are much softer, aided by Warren Wolf on vibraphone, Todd Bashore on flute, and Carl Miraghi on bass clarinet. Longtime McBride collaborator Ron Blake delivers the tenor sax solo. Joy, of course, is an ‘old soul,” a perfect match for the song where she emotes like few can.

Jose James steps in for the standout rendition of Bobby Timmons’ “Moanin’.” James somehow meshes ’50s-’60s big band swing with the vintage soul of greats such as Lou Rawls and Ernie Andrews in this setting while still putting his signature brand of modern-day soul and R&B on the tune. Trombonist Steve Davis and trumpeter Freddie Hendrix deliver the bracing solos. Just listen to James take it out! “All Through the Night” has one of the more complex horn charts and terrific drumming from McClenty Hunter, not to mention the inventive vocal take from Cecile McLorin Salvant in a different arrangement of the tune that appeared on the big band’s 2017 album. Miraghi weighs in with a swinging baritone sax turn.

The incomparable Dianne Reeves has the uncanny ability to make any song her own as she does here with an intimate version of the 1960 hit by the Shirelles, “Will You Still Love Me Tomorrow,” written by Carole King/Gerry Goffin. You can hear another version on Reeves’ 1997 That Day in an arrangement by Yellowjackets keyboardist Russell Ferrante. Yet, the swelling horns here and a sterling solo from another McBride longtimer, Steve Wilson, on soprano sax make this one special. McBride introduces vocalist Antoinette Henry, who attended his same high school in Philadelphia, CAPA, for a tender take on the standard “Come Rain or Come Shine,” tender until the explosive finale. (listen for that!)

McBride is also blessed with a sense of humor. “Opus 49, The Cold Chicken Suite” is his 49th composition and is dedicated to the official food of the working musician, cold chicken. He was commissioned to write a three movement suite by the North American Saxophone Alliance. This is the third movement, a relatively short piece that allows the big band to deliver the goods alone. Once again, tenorist Ron Blake is featured.

The diversity of music and the vocal star power on Without Further Ado, Vol.1 will inevitably garner deservedly high recognition. McBride says there will be just one more, Vol. 2,, with a different cast of vocalists. Stay tuned. By Jim Hynes
https://glidemagazine.com/316570/the-christian-mcbride-big-band-delivers-stunningly-diverse-without-further-ado-vol-1-album-review/

Without Further Ado, Vol 1

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Isrea Butler - Congo Lament

Styles: Trombone Jazz
Year: 2024
Time: 40:05
File: MP3 @ 128K/s
Size: 37,2 MB
Art: Front

(5:40) 1. Congo Lament
(5:11) 2. I.Q. Shuffle
(6:39) 3. Easy Living
(5:36) 4. B.G.'s Groove
(5:01) 5. Pennies from Heaven
(4:56) 6. Que's Pills
(6:58) 7. See See Rider

Well, this is the kind of recording that will start a war over who hears whom and what, all that jazz police kind of thing. Worry not. Whether you think this is a bop recording, rooted in swing, with more than a little of Al Grey's plunger mute on the trombone, or something entirely different, the progeny of Ike Quebec, it really does not matter. Anyone who, say, puts him or herself to rest with the music from Robert Altman's "Kansas City" (1996) will simply fall in love at first hearing. Even if a listener's taste in trombone runs more to Curtis Fuller, Isrea Butler's fine recording, Congo Lament, is going to be a hit. Plus, Douglas Lawrence can hold his own on tenor sax with anyone, reaching well back into the rolls of distinguished predecessors. At one point, thinking Dexter Gordon never got further behind the beat, especially on "B.G.'s Groove Two," is simply an observation and not a criticism. With all the Count Basie alumni in this band, it probably is not a surprise that echoes of his great bands, any vintage, are to be found here. Butler and Lawrence trade tasty choruses Even an oldie but goody like "Pennies from Heaven" will send a fan back to a keyboard wondering why those changes do not grace more contemporary recordings.

It would be all too easy to neglect a spit-and-polish rhythm section that does nothing but swing hard, neither rushing nor dragging, just laying a solid groove. Listen to "Que's Pills" for a relevant example. Seriously locked in Dave Loeb, Steve Flora and Robert "Bob" Chmel are. Their names may not be terribly familiar, because they are Nevada guys, sometimes easy to miss simply because they define a species of professionalism that does not grab attention, even when just ending together on a tonic. In the mood for some really filthy blues? Try the closing track, Ma Rainey's "See See Rider." Yes, indeed, as Sy Oliver wrote, "Makes you wanna holler."

Dr. Butler is the Director of UNLV's School of Music. He was trained at the Eastman School of Music and Rutgers University. And then played with Duke Ellington, Cab Calloway, Lionel Hampton, Mingus Big Band, Chico O'Farrill, and the Jimmy Heath. Sometimes a resume is only a list, but this one speaks for itself. And if that is not enough, Butler has played orchestral trombone as well, both with the Rochester Symphony and Buffalo Philharmonic. Lots of technique to accompany all that bluesy shouting, just in case someone wonders where all the classical references come from. By Richard J Salvucci https://www.allaboutjazz.com/congo-lament-isrea-butler-vegas-records

Personnel: Isrea Butler - trombone; Douglas Lawrence - tenor saxophone; David Loeb - piano; Steve Flora - bass; Bob Chmel - drums

Congo Lament

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Tony Williams Lifetime feat John McLaughlin - Live In New York 1969

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 38:32
Size: 88,5 MB
Art: Front

( 6:56) 1. To Whom It May Concern
(12:24) 2. Emergency
( 7:01) 3. Unknown Title
( 6:43) 4. A Famous Blues
( 5:27) 5. Something Spiritual

Having fearlessly merged rock rhythms with jazz during a close association with Miles Davis, in 1969 the great Tony Williams founded Lifetime, featuring John McLaughlin at his innovative best, and the mighty organist Larry Young. The trio instantly won acclaim for their fiery, uncompromising improvisations, which are typified on this amazing performance. Recorded for radio broadcast in New York at the close of the year, the FM entire broadcast is presented here, digitally remastered, with background notes and images. https://www.directaudio.net/products/tony-williams-lifetime-featuring-john-mclaughlin-live-in-new-york-1969-vinyl-lp

Musicians: Tony Williams, drums; John McLaughlin, guitar; Larry Young, organ

Live In New York 1969

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Greg Foat & Art Themen - Off-Piste

Styles: Soul Jazz, Jazz Fusion
Year: 2023
File: MP3@320K/s
Time: 43:08
Size: 99,1 MB
Art: Front

(10:39) 1. Fresh Snow
( 3:54) 2. La Partida
( 7:44) 3. Off Piste
( 4:48) 4. Yrsno
( 8:15) 5. Sis No Hyp
( 7:46) 6. Apres Ski

Pianist Greg Foat, who has been who has been at the forefront of the UK jazz scene for the past decade, has teamed up with 83 year-old London saxophone great Art Themen on a superb new album for the Athens Of The North label, titled Off-Piste.

Admirers of each other’s work, the two were interested in recording an album together for a number of years, however the pandemic put a delay on the session for a while. Once things opened up again, they headed to highly acclaimed Edinburgh-based Chamber Studio with an exciting group of UK musicians that included guitarist Gavin Sutherland, harpist Amanda Whitingm electric bassist Philip Achille, and drummer/percussionist Nadav Schneerson.

This remarkable 6-track recording features a solid dose of breezy instrumental cosmic jazz featuring warm analog tones, meditative grooves, hypnotic effects, atmospheric textures and cinematic soundscapes. The session truly sounds like the album’s peaceful cover photo. https://www.jazzmessengers.com/en/96650/greg-foat/off-piste-s-art-themen-limited-edition

Personnel: Tenor Saxophone, Soprano Saxophone – Art Themen; Bass – Philip Achille; Drums, Percussion – Nadav Schneerson; Electric Piano [Fender Rhodes], Synthesizer [Prophet 10, Roland SH-101,MK-80,Sequential OB-6] – Greg Foat; Guitar – Gavin Sutherland; Harp – Amanda Whiting

Off-Piste

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Christian McBride Big Band - For Jimmy, Wes and Oliver

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 71:53
Size: 166,8 MB
Art: Front

(5:21) 1. Night Train
(6:39) 2. Road Song
(8:12) 3. Up Jumped Spring
(3:47) 4. Milestones
(8:33) 5. The Very Thought of You
(8:20) 6. Down by the Riverside
(7:18) 7. I Want to Talk About You
(6:32) 8. Don Is
(7:13) 9. Medgar Evers'Blues
(9:53) 10. Pie Blues

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes. hristian McBride’s first two big-band albums won Grammys. The new one is grounded in specific history. Jimmy Smith and Wes Montgomery recorded two LPs in 1966, The Dynamic Duo and Further Adventures of Jimmy and Wes. McBride says he and his classmate Joey DeFrancesco “wore out the grooves” of these records when they were in high school in Philadelphia. DeFrancesco fills Smith’s organ role on McBride’s new release.

The Smith/Montgomery recordings had pieces for big band arranged by Oliver Nelson and also quartet tracks. So does For Jimmy, Wes and Oliver. But McBride’s tribute is more spiritual than one-for-one. He repeats only four tunes from the 1966 albums. All are big-band tracks. It is fun to hear “Night Train” again, powering headlong over the rails, and to hear McBride’s tight large ensemble crack “Milestones” like a whip.

The quartet here is DeFrancesco, Mark Whitfield, McBride, and drummer Quincy Phillips. The first three take almost all the solos. Given this chance to stretch out, DeFrancesco reveals the enormous range of his B-3 chops, and Whitfield reveals that he should be mentioned more often on lists of the top jazz guitarists.

On this swinging, hard-driving album, two rapt quartet ballads stand out. On “I Want to Talk About You,” Whitfield creates gentle tension by continuously postponing melodic closure. On “The Very Thought of You,” DeFrancesco makes his boisterous instrument whisper in your ear. McBride also solos, pizzicato and arco respectively, on these two love songs. In his hands, an acoustic bass can shamelessly expose the human heart.

This is not an album for adventurous listeners who require risk in their jazz. But this conservative, impeccably executed music is full of joie de vivre. In times like these, who can’t use more of that?~ Thomas Conrad https://jazztimes.com/reviews/albums/christian-mcbride-big-band-for-jimmy-wes-and-oliver-mack-avenue/

For Jimmy, Wes and Oliver

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Artemis - Arboresque

Styles: Jazz, Post Bop
Year: 2025
Time: 43:08
File: MP3 @ 320K/s
Size: 99,6 MB
Art: Front

(5:27) 1. The Smile of the Snake
(5:41) 2. Komorebi
(4:30) 3. Sights Unseen
(5:39) 4. Petrichor
(5:33) 5. Footprints
(5:31) 6. Olive Branch
(5:38) 7. What The World Needs Now Is Love
(5:06) 8. Little Cranberry

The acclaimed international jazz group ARTEMIS, led by pianist and music director Renee Rosnes, arrives in Porto to present his latest album, Arboresque (2025). The line-up, composed exclusively of prominent women in the jazz scene Ingrid Jensen (trumpet), Nicole Glover (tenor saxophone), Noriko Ueda (bass) and Allison Miller (drums) has won audiences and criticism for its fusion of lyricism, creativity and virtuosity.

Following the debut at the Newport Jazz Festival and the signing with Blue Note Records, ARTEMIS has consolidated itself as one of the most relevant bands in contemporary jazz. Elected Group of the Year by the readers of DownBeat magazine in 2023 and 2024, the quintet now brings to Porto a concert that celebrates the artistic maturity and diversity of musical voices that make up the project.https://agendaculturalporto.org/eventos/artemis-apresentam-arboresque/

Arboresque

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Mads Tolling - The Playmaker

Styles: Violin Jazz
Year: 2010
Time: 60:51
File: MP3 @ 128K/s
Size: 59,7 MB
Art: Front

(4:40) 1. Just
(4:55) 2. The Playmaker
(4:17) 3. The Contemplator
(5:44) 4. The Risktaker
(4:52) 5. El Duderino
(8:15) 6. Starmaker Machinery
(5:46) 7. Loki In The Pokey
(5:59) 8. I Skovens Dybe Stille Ro
(6:03) 9. The Chicken
(4:57) 10. Blue Monk
(5:20) 11. Black Dog

He's been around for a few years as a member of the Turtle Island Quartet, but for some he's best known for his work on Stanley Clarke's welcome return to fusion, The Toys of Men (Heads Up, 2007). Either way, The Playmaker isn't the violinist's first release as a leader—that would be Speed of Light (Self Published, 2008) but it's the first to expand his trio, featuring guitarist Mike Abraham and bassist George Ban- Weiss, to a more powerful quartet with drummer Eric Garland. It also capitalizes on his increased visibility over the last couple years, with some high profile guest spots.

His sometimes employer, bass icon Stanley Clarke, guests on "The Contemplator," one of six Tolling originals that sit alongside covers of songs by Radiohead, Led Zeppelin, Pee Wee Ellis and Thelonious Monk, as well as a lyrical Swedish folk song dedicated to the memory of another influential bassist, Niels-Henning Orsted Pedersen. Also featuring vibraphonist Stefon Harris, "The Contemplator" is, in many ways, exactly the opposite of what might be expected from a guest session with Clarke. Classical in tone, with Harris' solo intro taking up a quarter of the song's brief four minutes, it's a gently evolving piece of chamber jazz that features Clarke's recognizable arco in a piece that's all about nuance and interpretation, rather than chops.

Not that there isn't a prerequisite virtuosity required throughout The Playmaker, but even when the violinist kicks up the heat, as he does on the alternating reggae/higher octane "The Risktaker"with another guest, Yellowjackets' keyboardist Russell Ferrante, in towTolling avoids excess. Ban-Weiss and Garland, in particular, keep things relatively light, even on Radiohead's "Just," where Abrahams' mix of finger-picked arpeggios, bluesy bends and overdriven power chords make it an exciting opener to this stylistically eclectic set. Ending with a raucous version of Led Zeppelin's "Black Dog" which, following a mainstream take of Monk's "Blue Monk," also demonstrates the disc's inherent playfulness the group expands on this somewhat literal version by extending the brief inter-section drones for Tolling's appropriately unfettered violin, referencing a hint of India and the Middle East.

Ban-Weiss pays tribute to Jaco Pastorius while avoiding direct imitation on Ellis' "The Chicken "the departed bass icon's signature tune. Still, with this version's reduced instrumentation no horns, and Abraham's Steve Cropper- infected comping, in some ways more reverent to the original than Pastorius' ever was is, again, lighter in feel but weighty in substance.

Tollings' six consecutive originals, almost all dedicated to friends or influences past or present crosses a wide swatch, from the buoyant title track to the ambling "El Duderino" and higher velocity lobbies in "Starmaker Machinery," appropriately dedicated to guitar legend John McLaughlin and featuring some of vibrant and inspired interplay between Tolling and Abraham.

Virtuosity may be a given on The Playmaker, but what's most impressive is the sound of Tolling's quartet, which drives the majority of the record and, based on the results, must be thrilling live. For those who can, check out Tollings live; for those who can't, The Playmaker is a great place to start.By John Kelman https://www.allaboutjazz.com/the-playmaker-mads-tolling-self-produced-review-by-john-kelman

Personnel: Mads Tolling - Violin

The Playmaker

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Teddy Edwards & Houston Person - Horn To Horn

Bitrate: 320K/s

Time: 56:19

Size: 128.9 MB

Styles: Hard bop, Saxophone jazz

Year: 1994/2009

Art: Front

[7:57] 1. Equinox

[6:25] 2. That's All

[5:13] 3. Lester Leaps In

[6:59] 4. The Girl From Ipanema

[7:20] 5. Body And Soul

[7:43] 6. Red Top

[6:58] 7. Talk Of The Town

[7:40] 8. Out Of Nowhere

This is a logical and very successful collaboration featuring the East Coast tenor Houston Person and L.A.'s legendary Teddy Edwards. Although one can generally tell the two veterans apart (Person has a heavier sound than the comparatively light-toned Edwards), the co-leaders are quite complementary and work together well in the tradition of Sonny Stitt and Gene Ammons. With fine backup from pianist Richard Wyands, bassist Peter Washington, and drummer Kenny Washington, Edwards and Person pay tribute to eight great tenors of the past (John Coltrane, Ben Webster, Lester Young, Stan Getz, Coleman Hawkins, Gene Ammons, Dexter Gordon, and Eddie "Lockjaw" Davis) through their renditions of eight standards. Highlights include a romp on "Lester Leaps In," a surprisingly successful version of "The Girl From Ipanema" and a spirited "Red Top." Recommended. ~ Scott Yanow

Recording information: Van Gelder Studios, Englewood, New Jersey (12/27/1994).

Teddy Edwards (tenor saxophone); Houston Person (tenor saxophone); Richard Wyands (piano); Kenny Washington (drums).

Horn To Horn

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Artemis - In Real Time

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 50:23
Size: 117,2 MB
Art: Front

(7:05) 1. Slink
(6:17) 2. Bow and Arrow
(6:18) 3. Balance of Time
(4:51) 4. Lights Away from Home
(7:30) 5. Timber
(7:03) 6. Whirlwind
(5:34) 7. Empress Afternoon
(5:42) 8. Penelope

The all-star jazz sextet Artemis further coalesce their sophisticated post-bop sound with their sophomore album, 2023's In Real Time. When the group debuted with 2020's eponymous title, the all-women group brought each of the member's extensive solo experience to bear on their vibrant group sound.

While part of the line-up has shifted since then, the group (still led by pianist Renee Rosnes) sounds even more united. Part of this is due to the increased time Rosnes and her rhythm section partners, including bassist Noriko Ueda and drummer Allison Miller, have spent touring and performing together.

Also returning is trumpeter Ingrid Jensen, whose warm tone and lithe, Kenny Wheeler-esque harmonies work as a bold herald to the group's lush interplay. Coming on board this time out are tenor saxophonist Nicole Glover and alto saxophonist/multi-reedist Alexa Tarantino, who both bring their distinctive improvisational styles to the fore. While originality is still at the core of Artemis' sound, there's a feeling that Rosnes and her bandmates are also exploring their influences.

It's a vibe that's evident from the start on their sparkling rendition of longtime Pat Metheny bassist Lyle Mays' "Slink," a song culled from his 1985 self-titled album. Here, Artemis transform the contemporary synths of Mays' original into a more organic-sounding arrangement, one where the contrapuntal bass groove is nicely off-set by colorful flute, sax, and vocal harmonies.

They further underscore the deep influences at play on In Real Time with album's closing take on Wayne Shorter's "Penelope" fleshing out the late sax legend's composition with Jensen's muted, night sky trumpet leads, Rosnes' luminous pianos chords, and spectral saxophone solo from Glover. Equally potent are the group's own originals, including Miller's "Bow and Arrow" (a roiling tune in the '60s hard bop tradition) and Tarantino's atmospheric waltz "Whirlwind" (recalling Miles Davis' '60s recordings).

There's also Jensen's "Timber," her vocal-like trumpet textures framed by a funky '70s-style groove and Rosnes' dewy Fender Rhodes accents. While much of In Real Time evokes the deep well of the post-bop jazz tradition that inspires Artemis, they never fail to inspire on their own terms.By Matt Collar
https://www.allmusic.com/album/in-real-time-mw0003961691

Personnel: Renee Rosnes: piano; Ingrid Jensen: trumpet; Alexa Tarantino: alto and soprano saxophone, flute; Nicole Glover: tenor saxophone; Noriko Ueda: bass; Allison Miller: drums.

In Real Time

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Jessica Williams - Tatum's Ultimatum

Styles: Piano Jazz
Year: 2007
Time: 50:34
File: MP3 @ 256K/s
Size: 96,7 MB
Art: Front

(4:03) 1. Gone With The Wind
(6:22) 2. Can't Get Started
(4:36) 3. Petite Fleur
(3:59) 4. I Never Knew
(4:24) 5. Embraceable You
(3:26) 6. Begin The Beguine
(5:14) 7. Ballad For Art Tatum
(4:49) 8. Squeeze Me
(5:27) 9. Easy Livin'
(4:48) 10. Drivin' Me Crazy
(3:21) 11. Ain't She Sweet

Rule Number 1 of writing a music review: try to be at least half as creative and spontaneous as the music at hand. Rule Number 2: If it's Jessica Williams' music you're writing about, good luck with Rule Number 1.

Pianist Jessica Williams is another one of those jazz artists who hasn't received the acclaim she deserves. With forty years of professional playing and fifty albums to her credit, she doesn't boast a top-of-the-line profile of the Keith Jarrett or Herbie Hancock or Chick Corea variety. Maybe it's because she never played with Miles Davis. Players got launched out of those bands. Maybe it's geographical she's been west coast-based since 1977. Maybe it's a "woman in a man's world" thing.

But the why of it doesn't really matter. The music matters, and the music that Williams, after a long career, has made in this century (to slice a nice chunk off the ongoing effort) puts her in the top level of jazz pianists. Her Live at Yoshi's, Volume 1 (MaxJazz, 2004) and Songs for A New Century (Origin Records, 2008) showcase an artist blossoming into her prime in terms of artistic self assurance, spontaneity and the pure joy of creating beautiful sounds.

Which brings us to Tatum's Ultimatum, Williams solo piano tribute to the great Art Tatum. Tatum (1909-1956) was a technically brilliant pianist who took, in part, Fats Waller's stride foundation and ran with it, spruced it up and added a million fast notes and a bunch of exuberance. His art was joyous, flashy and full of life. And Jessica Williams takes his stylistic approach and runs with it.

Williams doesn't copy Tatum, but she gets into his spirit, and sounds as if she's having the time of her life on a bunch of tunes that Tatum played, including Sidney Bechet's "Petite Fleur," Gershwin's "Embraceable You," "Can't Get Started," and "Easy Living." She, like Tatum, can play fast, exploding with right hand bursts of bird song notes, each key touch clear and clean and separate, even at ninety miles per hour. There is, always, a twinkle-in-the-eye elegance to her approach that she roots firmly in a tradition and shades with her own colorful musicality.

Williams has positioned herself in the top level of current jazz pianists and, with discs like Songs for a New Century and Tatum's Ultimatum, she has established herself as the top solo pianist working today.By Dan McClenaghan https://www.allaboutjazz.com/tatums-ultimatum-jessica-williams-blue-and-red-records-review-by-dan-mcclenaghan

Personnel: Jessica Williams: piano.

Tatum's Ultimatum

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Ensemble Vivant, Catherine Wilson - Homage To Astor Piazzolla

Styles: Classical jazz, Tango
Year: 2011
Time: 75:32
File: MP3 @ 320K/s
Size: 174,2 MB
Art: Front

( 4:56) 1. Fuga Y Misterio
(10:58) 2. Adios Nonino
( 4:28) 3. Tango Del Diablo
( 6:25) 4. Romance Del Diablo
( 2:07) 5. Vayamos Al Diablo
( 5:06) 6. Oblivion
( 3:38) 7. Lebertango
( 6:05) 8. Ave Maria
( 3:36) 9. Undertango
( 5:14) 10. Introduccion Al Angel
( 6:11) 11. Milonga Del Angel
( 3:19) 12. La Muerte Del Angel
( 6:52) 13. Resurreccion Del Angel
( 6:30) 14. Milonga For Three

Catherine Wilson, piano and artistic director; Erica Beston, violin; Amy Laing, cello; Sharon Prater, cello; Dave Young, bass; Dave Campion, percussion; Philip Seguin, percussion.

I was utterly captivated the first time I heard Astor Piazzolla’s Milonga For Three. Jazz great Rick Wilkins, C.M., who has played a prominent role in my musical life and that of Ensemble Vivant’s, as arranger, producer, composer and overall champion of our music-making, transcribed this work by ear from the original recording. Piazzolla expert Julien Labro, who had heard Ensemble Vivant perform in Detroit, introduced me to a wealth of Piazzolla’s repertoire, and he wrote the other arrangements on this recording for Ensemble Vivant. So much of Piazzolla’s music captured my imagination that choosing for this compilation, which features both known and unknown Piazzolla was difficult.

I gratefully acknowledge the generous support of Rick Wilkins, C.M.; Julien Labro; our producer Claudio Vena; Ensemble Vivant’s Manager Ian Davies and Assistant Manager Norman Hathaway; Opening Day Records (ODEG); Merriam Pianos; EMC2; and FACTOR. The recording of this wonderful music was a labour of love, and we hope our Homage to Astor Piazzolla dances in your hearts forever.https://www.ensemblevivant.com/product/homage-to-astor-piazzolla/

Homage To Astor Piazzolla

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Milt Jackson Sextet - Invitation

Styles: Vibraphone Jazz
Year: 1962
File: MP3@320K/s
Time: 49:15
Size: 116,5 MB
Art: Front

(3:54)  1. Invitation
(5:14)  2. Too Close For Comfort
(4:27)  3. Ruby, My Dear (take 6)
(4:20)  4. Ruby, My Dear (take 5)
(6:33)  5. The Sealer
(6:54)  6. Poom-A-Loom
(4:00)  7. Stella By Starlight
(5:53)  8. Ruby
(3:58)  9. None Shall Wander (take 8)
(3:59) 10. None Shall Wander (take 6)

Once in while, an audiophile reissue can make the listener realize that what seemed like a good, solid record is better than that. If I had been asked to evaluate Invitation before hearing this release, I would’ve said it was a fairly typical early-60s hard-bop record, led by the great vibraphonist Milt Jackson. I might have added that it suffers from neither the overly careful approach that plagued much of the Modern Jazz Quartet’s output, nor from the opposite extreme, of simply blowing long solos on overly familiar standards, something Jackson has done more than enough of in his time. The success of Invitation owes on both counts to the presence of trumpeter Kenny Dorham and alto saxophonist Jimmy Heath. Each contributes not only fine solos, but a couple of nifty arrangements. But what this listener had not fully appreciated from earlier releases is the fantastically subtle interplay of the rhythm section: Tommy Flanagan, piano, Ron Carter, bass, and Connie Heath on drums. On this remastered LP, one hears every nuance with delicious clarity, from the crackle of Kay’s cymbals to the big, fat sound of Carter’s walking lines. Rarely have Jackson’s uniquely swinging vibes been heard in a more sympathetic setting. ~ Duke Baker http://www.theabsolutesound.com/articles/milt-jackson-sextet-invitation/

Personnel:  Milt Jackson – vibes;  Kenny Dorham, Virgil Jones (tracks 2 & 6) - trumpet;  Jimmy Heath - tenor saxophone (tracks 1, 3-5 & 7-10);  Tommy Flanagan - piano;  Ron Carter - bass;  Connie Kay - drums

Invitation

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Ingrid Mapson - Rhythms Of Your Heart

Styles: Vocal
Year: 2015
Time: 45:37
File: MP3 @ 320K/s
Size: 106,4 MB
Art: Front

(3:54) 1. On My Own (From Les Miserables)
(5:42) 2. Angel
(4:40) 3. Gold (Feat. Rosemary Siemens)
(3:11) 4. Can't Help Lovin' Dat Man (From Showboat) (Feat. Eli Bennett)
(4:09) 5. Regresa A Mi (Feat. Dave Martone)
(3:15) 6. Song Bird
(3:50) 7. La Vie En Rose
(4:05) 8. Come What May (From Moulin Rouge ) (Feat. Roy Tan)
(3:48) 9. Besame Mucho (Feat. Eli Bennett)
(5:01) 10. Summertime (Feat. Vince Mai & Eli Bennett)
(3:58) 11. Moon Love

Her Voice: “Ingrid has an instrument with a rich, round, warm, honeyed color, and is very much at home in a variety of styles”, says renowned American-Canadian musical director and conductor Clyde Mitchell, who has worked with artists such as Michael Buble, Mel Torme and David Foster and every major Canadian orchestra. Ingrid is widely admired for her soulful and soothing interpretations of popular adult contemporary favorites as well as her dynamic and playful renditions of show tunes and light jazz classics. Her sound has the warmth of Diana Krall, the purity of Eva Cassidy and tenderness of Sarah McLachlan.

Her Appearances: Ingrid has most recently enchanted audiences in Symphony Pops engagements with Lions Gate Sinfonia (North Vancouver, 2013, 2014) the Thompson Valley Orchestra (British Columbia, 2015), and has appeared as soloist with Canadian Choral icon Larry Nickel, the 2010 Olympics Cariboo Stage, pianist JD Daniels (Paul Anka, Donnie Osmond, Beyonce), Michael Creber (k.d. Lange, Raffi), as well as with various choirs, jazz combos, orchestras and big bands throughout British Columbia.

Her Concerts: Ingrid's passion lies in masterfully connecting with her audiences through her vibrant stage shows. Performing with either a small combo or a full orchestra, her show is carefully planned so it's seamless in presentation whether she is singing timeless favorites like Danny Boy, Besame Mucho (Spanish), Can't Help Lovin' Dat Man (Showboat), and Summertime or heartfelt ballads like On My Own (Les Misérables), La Vie en Rose (French), and Songbird. Ingrid has built her show based on Nashville's renowned Live Music producer, Tom Jackson (Taylor Swift). His method is an industry proven technique for engaging audiences naturally night after night. Ingrid is a master at connecting with her listeners.

Her Accolades: Ingrid Mapson brings crowds to their feet with her “amazingly versatile voice that seems to effortlessly span genres” and her “rare ability to sincerely connect to her audience” (Miles Black, Juno Award winning producer/ multi instrumentalist/ composer.)

Her Album: Ingrid's Rhythms of Your Heart (2015) album is produced by Grammy-nominated producer Daryl Bennett and features the outstanding talents of Vancouver musicians: Daryl Bennett (cello, drums, percussion, orchestral programming, engineer, mixer), Roy Tan (piano, vocals, arrangements, orchestral programming ), Eli Bennett (saxophone), Vince Mai (trumpet), Dave Martone (guitar), Adam Thomas (bass) and the glamorous Rosemary Siemens (violin). Combined, this team of musicians have won several accolades and have performed and recorded with artists such as Sarah McLachlan, Michael Buble, Natalie Cole, Nickelback, and The Temptations.https://www.plixid.cc/2022/07/06/ingrid-mapson-rhythms-of-your-heart-2015.htm

Rhythms Of Your Heart

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