Sunday, October 31, 2010

Jimsaku: Best Selection (1995)

Jimsaku was a drums and bass duo formed by Akira Jimbo and Tetsuo Sakurai in 1990, after they left the Japanese jazz/fusion band Casiopea. They released 10 albums and one best of collection, and disbanded in 1998.
1. Gypsy Romance
2. Centro Habana
3. Muchacha Bonita
4. Japanese Title
5. Songs De Go Go
6. Wind Loves Us
7. I'm Gonna Catch You
8. Alisa
9. 261 Broadway
10. Awekening
11. Club Wired
12. Sunshade
Best Selection
Hotfile / Uploading @ 320K

Friday, October 29, 2010

Anders Widmark Trio: Soul Piano (2010)

Anders Widmark - pianist & songwriter - was born 1963, in Uppsala, Sweden. At the age of 7 he started to compose and improvise on the piano. Many people have been inspired by the piano playing of Anders Widmark. Whether he plays blues, jazz or songs you will find a very personal imprint. According to the National Encyclopedia he also was "one of the first in Sweden in the beginning of 1990 to mix jazz with hip hop and acid jazz".
"I first heard Anders in 1999 and was knocked out by his playing. I've followed his playing ever since and have never failed to be impressed by the range of his talent. He's among the great pianists of our time." Stuart Nicholson (Stuart Nicholson is an acclaimed author, critic and journalist, who has contributed to many leading newspapers and magazines including the New York Times, The London Times, Jazz Times and others.) Soul Piano is dynamic, extrovert and soulful jazz. Six new compositions mixed with a gospel version of 'Bye, Bye Blackbird' and a solo piano performance of 'Sweet Georgia Brown'.
1.Raga Muffin Man 0:04:49
2.Wonder 0:06:31
3.Josephine Sans Soucis 0:05:48
4.Truck Driver 0:04:26
5.Bye Bye Blackbird 0:07:28
6.Two Chord Song 0:04:12
7.In – Between 0:06:41
8.Sweet Georgia Brown 0:03:29
Bonus Tracks:
9.Sixteen Weeks 0:04:47
10.You Don’t Have To Say 0:05:49
Anders Widmark (piano),
Mattias Welin (bass),
Jonas Helgersson (drums),
Micke NIlsson (percussion).
Sara Isaksson (Vocals) Tracks 9.10.
Soul Piano - Anders Widmark Trio
Hotfile / Rapidshare @ 320K

Walter Beasley: Backatcha! (2010)

According to his website Walter Beasley is the highest selling full-time Professor/Recording Artist in modern history. He describes himself as musical "Renaissance Man" for the modern generation or the heir to Grover Washington Jr.'s throne.
Behind these titles you find a man, who has devoted his life to music. A man, who walked through ups and downs and has found his inner peace. Beasley's success as an educator is his seven-day a week work ethic. "I'm in love with my work and this wonderfully crazy work ethic." No wonder, that he surprises us with a new album nearly every year.
His new album is entitled Backatcha! and will be available Oct. 25, 2010. Walter comments: "There are no words to express how I feel about the new album. This in my opinion is my best studio project ever. Thanks to all for everything."
Walter Beasley is joined on this project by multi-instrumentalist Chris Davis, who produced and performed on most of the tracks, further musicians are Phil Davis (keys), Sonny Emory (drums), Sam Sims (bass), Sean Michael Ray (bass), Derrick Cummings (guitar), Carl Carter (bass), Wayne Bruce (guitar), Tommy Copeland (guitar) and Tiffany Davis (background vocals).
Catch the swiftness and give her the groove, then you reach the Expressway. Right of the kitchen of Chris "Big Dog" Davis, who produced a lot of good music from Marion Meadows to Kim Waters. Legendary Isaac Hayes composed and performed Ellie's Theme for the popular movie Shaft. Walter's awesome rendition motivates me to listen to these timeless soundtracks.
Five Stairsteps' OOh Child was a huge hit. The impressing melody justifies Walter's sensitive interpretation. Another R&B hit is Smokey Robinson's Baby That's Backatcha, his first single in his solo career after the depature from The Miracles. With his cover Walter pays tribute to this great singer.
On Find Your Love Walter Beasley catches up with contemporary R&B. Originally performed by the Canadian singer Drake and released on May, 2010, the song encompass modern elements like vocal processing with Antares' auto-tune. The Stylistic's Hurry Up This Way Again is at first performed by Tiffany Davis in a solid way, before Walter decided to give his rendition some pepper.
Finally we arrived the section of Walter's own compositions. Walter starts with The Call, a lovely song with African flavored vocals. The emotional heartfelt ballad Simply Put is a musical act of pure romantic. When You Least Expect It, Walter chooses a hard beat to a slow and stately melody. Finally he takes a jazzy twist and turn around.
Beasley's Backatcha! offers soulful renditions and also music outside this comfort zone. His audience will like both as part of Beasley's identity.
01. Lovely Day [4:00]
02. Expressway [4:12]
03. Ellie's Theme [3:57]
04. Ooh Child [3:49]
05. Baby That's Backatcha [3:43]
06. Find Your Love [3:42]
07. Hurry Up This Way Again [4:41]
08. The Call [4:49]
09. Simply Put [4:31]
10. When You Least Expect It [4:42]

Thursday, October 28, 2010

John Coltrane: The Stardust Session (1975)

This CD reissue consolidates a very good session by tenor saxophonist John Coltrane. Originally these eight standards (which include the title cut, "Invitation," "My Ideal," and "I'll Get By [As Long as I Have You]") were scattered on three separate LPs even though they all took place on the same day. With strong support from the rhythm section (pianist Red Garland, bassist Paul Chambers, and drummer Jimmy Cobb) and good solos from flьgelhornist Wilbur Harden, Coltrane is heard near the end of his "sheets of sound" period, perfecting his distinctive sound and taking colorful and aggressive solos. ~ Scott Yanow
01. Spring Is Here (Hart, Rodgers) 6:54
02. Invitation (Kaper, Webster) 10:20
03. I'm a Dreamer, Aren't We All? (Brown, DeSylva, Henderson) 7:01
04. Love Thy Neighbor (Gordon, Revel) 9:22
05. Don't Take Your Love from Me (Nemo) 9:13
06. My Ideal (Chase, Robin, Whiting) 7:32
07. Stardust (Carmichael, Parish) 10:41
08. I'll Get By (As Long as I Have You) (Ahlert, Turk) 8:09
John Coltrane (tenor saxophone);
Wilbur Harden (trumpet, flugelhorn);
Red Garland (piano);
Paul Chambers (bass);
Jimmy Cobb (drums)
Stardust Sessions
Hotfile / Rapidshare @ 320K

[By request] Hilario Duran Trio: Motion (2010)

Hilario Duran is about the hottest pianist in any given genre, straddling jazz and Latin music, but sporting brilliance reserved for the Glenn Goulds, Eddie Palmieris, McCoy Tyners, or Oscar Petersons of this mortal world. In a trio with renowned bassist Roberto Occhipinti and drummer Mark Kelso, Duran burns down a whole row of houses on this set of originals and one tune by Ernesto Lecuona, with a tribute to his mentor, Frank Emilio Flynn. He's not shy on any level, ripping up block chords, single lines, and rhythm changes at will, with no regard whatsoever for safe havens. For Duran, everything is a fastest fingers question, blurring lines with remarkable cohesion on "It's Only Seven" in 7/8 time, turning on a dime at will and often, or using hard-edged block chords for a super-fast "Motion." While most of this music pegs the excitement meter, there's one featuring Toronto's Pandamonium Strings, no doubt enhanced by Occhipinti's classical background, and "Danza Negra," which approaches a childlike melody, from the writings of the immortal Lecuona. Then there's "Tango Moruna," distinctly in the ballpark of Chick Corea's Spanish melodicism, as well as a more samba-like than Afro-Cuban tone. Duran's dazzling virtuosity is for listeners seeking to live life to its fullest; he's one of the true genius musicians in modern jazz, with a lot to say and more to come.
01 - It's Only Seven
02 - Conversation With A Lunatic
03 - Havana City
04 - For Emiliano
05 - Tango Moruno
06 - Motion
07 - Danza Negra
08 - Timba en Trampa
Hilario Duran - piano;
Roberto Occhipinti - bass;
Mark Kelso - drums.
Special Guests
Joaquin Hidalgo - vocals & bata
Luis Orbegoso - conga
Jamey Haddad - percussion
The Pandamonium Strings
Hotfile / Uploading @ 320K

Wednesday, October 27, 2010

David Sanborn: Promise Me The Moon (1977)

David Sanborn's third album as a leader has him steering away from the N.Y.C. neo-bop, skunk funk, Seventh Avenue style he helped co-found with the Brecker Brothers band. That it is recorded in Miami speaks volumes about the sunny attitude and less jazz-oriented music he is fomenting. Guitarist/vocalist Hiram Bullock and emerging electric bass guitar star Mark Egan have something to do with this, but the extraordinary drummer Victor Lewis is the one who gives this music an R&B heft while also adding Latin flavors, like boogaloo on growth hormones. Keyboardist Rosalinda DeLeon, percussionist Jumma Santos, and four female vocalists help with the sexy Afro-Caribbean underpinning, while Sanborn plays his trusty St. Louis soul vibrato-drenched alto sax, and also experiments with sopranino sax and the lyricon. The album yields mixed results -- including some spectacular, fervent music, with the tamer sounds more likely to appeal to crossover or pop audiences. Clearly James Taylor is an influence on this music, as his guitarist Danny Kortchmar contributes tunes like the forgettable pop-funk of the title track with Bullock's vocals; "Stranger's Arms," where Sanborn painfully takes a shot at singing; and the band's not bad, slow, loping, Latin-tinged instrumental version of Taylor's "Benjamin." Bullock's two compositions are "We Fool Ourselves," reverting to the chunky, funky street-smart samba beat with Sanborn's rambling alto, though the singing is not helpful, and "The Rev," a slowed soul song more suited to the R&B aspect of the combo's demeanor. Then to the good stuff, as Egan's "Heart Lake" is a road song with Sanborn's sopranino paving the way via Egan's ostinato line after a spacy free intro. DeLeon's "Morning Salsa" is early tropicalia at its best, a fun tune that moves along briskly, but makes you wonder why the keyboardist was never heard from after this date -- maybe just a fling? Then there's "The Legend of Cheops," a stunning piece penned by Lewis that also showed up in the repertoire of Woody Shaw during the drummer's tenure with the trumpeter. Here it's charged with electricity from the wafting keyboardist and punchy, hip bassist, as Sanborn's swirling sopranino provides all the dynamism and depth he is capable of, while also negotiating some tricky key and time changes -- a memorable track for sure. While not as much a breakthrough as the two previous albums, Taking Off and Sanborn, Promise Me the Moon laid the groundwork for Sanborn to become a successful commercial money-maker and reliable production musician or soloist instead of the creative -- and at times innovative -- player hinted at in many instances here during the turning point of his career. ~ Michael G. Nastos, All Music Guide
1. Promise Me the Moon Kortchmar 04:01
2. Benjamin Taylor 01:33
3. Stranger's Arms Kortchmar 04:21
4. Heart Lake Egan 05:21
5. The Rev. Bullock 03:56
6. We Fool Ourselves Bullock 05:14
7. Morning Salsa Bushler, de Leon, DeLeon 06:06
8. The Legend of Cheops Lewis 06:36
Bass - Mark Egan
Drums - Victor Lewis
Guitar - Hiram Bullock
Keyboards - Rosalinda De Leon*
Percussion - Jumma Santos
Saxophone [Alto, Sopranino], Lyricon - David Sanborn
Vocals [Guest Artists] - Christine Faith , Hamish Stuart , Kat McCord* , Lani Groves
Promise Me the Moon
Hotfile / Uploading @ 320K

Fred Hersch Trio: Whirl (2010)

Pianist Fred Hersch had recently arisen from a two-month coma, and had spent the better part of a year ravaged by AIDS-related illnesses, when he recorded Whirl, a trio album featuring bassist John Hebert and drummer Eric McPherson. Despite Hersch’s medical setbacks, there’s nothing weak or infirm about Whirl. With original compositions and a smattering of standards, the album taps directly into a well of sonic consistency and emotional variety.
Whirl opens with the standard “You’re My Everything,” on which Hersch begins improvising before introducing the composed melody. His lines are equally tinged with coyness, elation, and hints of haunted caution, which introduce the main themes of the album as a whole. Throughout the song, he plays linearly, as a horn player or vocalist might, emphasizing melody over pianistic virtuosity.
The following track, “Snow is Falling,” is a Hersch original, and explores the mysterious, slightly haunted mood of which the previous track provides a taste. At certain moments, the crystalline and hushed musical content is packed with snowy imagery. Out mystery advances sheer joy, only to return to dark reflection.
On “Blue Midnight,” McPherson abandons his skittering grooves, and uses mallets to coax pulseless rumbles out of his cymbals and toms. Hebert takes a more active role, supporting Hersch’s penchant gestures with agitated musings of his own. His warm and dark tone is depthless, a resonant counter to Hersch’s nimble upper-register chimes.
“Skipping” evokes untainted joy, and McPherson and Hersch elevate each other to new degrees of lightness. Each beat is accompanied by a feeling of breathlessness, a welcome sense of uncertainty as to whether the airy jaunts will land where they are expected to. Hebert expertly avoids providing too firm a ground, the richness of his sound nonetheless weightless.
Whirl covers broad emotional expanses by limiting itself to the interplay of three common moods. By limiting itself in such a way, it is capable of striking a variety of feelings that are yet related, and to simultaneously achieve a consistent and unified whole. With such a firm foundation, the music is free to explore the ephemeral and imperfect joy of life.
1.You,re My Everything
2.Snow Is Falling
3.Blue Midnight
6.When Your Lover Has Gone
8.Sad Poet
9.Mrs.Parker Of K.C.
10.Still Here
Hotfile / Uploading @ 320K

AfroCubism: AfroCubism (2010)

AfroCubism is World Circuit's dream project. This was Nick Gold's original idea for the Buena Vista Social Club - a stellar collaboration of musicians from Mali and Cuba. 13 years ago, a tale of lost passports meant that the Africans never arrived and so instead, a rather fine but different record was made. Now the original plan has finally been realized with an incredible group of musicians. Original invitees Cuban singer/guitarist Eliades Ochoa and the Malians Bassekou Kouyate (ngoni) and Djelimady Tounkara (electric guitar) are joined by Eliades' Grupo Patria, Toumani Diabate (kora), Kasse Mady Diabate (vocals) and Lasana Diabate (balafon). This extraordinary band came together to record an album and in the process have created a wonderful new sound.
AfroCubism are a supergroup with a history that would make any publicist drool, and an album that almost does justice to their considerable talents. Fourteen years ago, the Malian guitarist Djelimady Tounkara and n'goni player Bassekou Kouyate were supposed to fly to Cuba to take part in the sessions that produced the legendary Buena Vista Social Club. They never turned up, which was perhaps just as well for those Cubans who became international celebrities late in life, thanks to a bestselling album that didn't need African input. But now the collaboration has taken place, at last, with Djelimady and Bassekou joined by other more newly celebrated Malians, including kora virtuoso Toumani Diabate and singer Kasse Mady Diabate working alongside the Cuban Buena Vista star Eliades Ochoa and his band. They have recorded an elegant, gently exquisite album, and it's a reminder that while Malians are at ease playing Cuban songs – which have been popular for decades across West Africa – Cubans are not so familiar with the griot tradition. But the collaboration works. There are some classy and varied tracks, from Tounkara showing off his guitar skills on Djelimady Rumba and the Cuban favourite La Culebra, through to Bassekou and Ochoa mixing Malian and Cuban influences in their reworking of Jarabi, and Bassekou, Toumani and Ochoa providing a delicate improvisation around the well-worn Guantanamera. If these great musicians stay together, they are surely capable of even more.
This summit meeting between the grandees of Cuban and Malian music was originally intended as part of the Buena Vista Social Club, an acknowledgment of the huge influence of Latin music on West Africa. Much delayed, the project proves dazzling. Stetsoned Cuban singer-guitarist Eliades Ochoa trades songs and licks with Rail Band guitarist Djelimady Tounkara and singer Kasse Mady Diabate among others. There's rural languor ("Jarabi"), scorching dance numbers ("Nima Diyala") and fabulous, intricate playing at every turn. The numbers are mostly standards, but none emerge unchanged by the transatlantic dialogue between the masters of kora, balafon and tres guitar. A delight.
There's a great story behind 'AfroCubism'. When Nick Gold & Ry Cooder went to Cuba back in 1996, they were intending to record Malian mucians with Cuban musicians. But the Malians never showed up (visa issues apparently) so there they were with 3 weeks booked in the studio and no collaboration. They worked on other ideas and ended up recording Buena Vista Social Club - the rest, as they say, is history. Or world music history at least :) The original idea for the project - AfroCubism - has finally seen the light of day, so is it worth the wait? Well, the band is certainly more of a supergroup than it would have been back in 1996 - Cuban Eliades Ochoa & Malians Bassekou Kouyate & the kora genius Toumani Diabate in particular having high profiles in their own right these days, and the album more than reflects the considerable talent of all those involved. The discipline of the Cuban rhythm section makes sense of collaborations involving the looser more improvisational Malian style. There is even a fresh & enjoyable improvisation re-working of 'Guantanamera'! This record blends traditions, pushes boundaries & gives you something thoroughly enjoyable to listen to. If you loved Buena Vista Social Club then you will love this too. Joy & exuberance abound!
01.Mali Cuba (5:38)
02.Al Vaiven De Mi Carreta (5:00)
03.Karamo (6:56)
04.Djelimady Rumba (3:11)
05.La Culebra (3:34)
06.Jarabi (5:57)
07.Eliades Tumbao 27 (1:17)
08.Dakan (2:15)
09.Nima Diyala (3:36)
10.A La Luna Yo Me Voy (4:00)
11.Mariama (4:00)
12.Para Los Pinares Se Va Montoro (4:14)
13.Bensema (4:58)
14.Guantanamera (4:05)
Hotfile / Uploading / Mediafire / Megaupload @ 320K

Tuesday, October 26, 2010

Euge Groove: Born 2 Groove (2007)

After searching for a more inspired way to indulge his chart-topping contemporary jazz sound, saxophonist/composer/arranger Euge Groove has created his most personal statement to date as an artist. On Born 2 Groove, the versatile saxophonist surrounds himself with an array of masterful gospel musicians who speak a completely different musical language. The result is ten brand new tracks, seven of which were recorded completely live. With special guest appearances by the great Jeffrey Osborne on "Baby If You Only Knew (What I Could Do)" and former Temptations lead singer Ali "Ollie" Woodson on "I Love You More Than You'll Ever Know," Groove should also gain even more appreciation for his musical interpretations from his ever-increasing R&B fan base. The song's themes range from the gently playful and laid-back feeling heard on the opening track "A Summer's Night Dream" to the beautiful Italian inspired imagery inherent in "Cafй del Soul" to the spiritual essence of "Religify." Groove flat out seduces you, moves you and grooves you on this record. Several of his performances, including "Slow Jam," I Love You More Than You'll Ever Know," "Movin' On," the title track, and "Mr. Groove" reveal him as an accomplished, instinctive musician. His emotional solos and different chord voicings within a larger harmonic setting give him an edge over several of his generation's contemporary jazz counterparts. This CD is where the real players play. Fans of Euge Groove will experience a premium new sound set in HD digital technology that is filled with his incomparable saxophone voices, stirring gospel riffs and emotional, soulful vocals, all of which set a new standard for Groove's distinctive contemporary jazz sound.
01 - A Summer's Nights Dream
02 - Mr. Groove
03 - Cafe Del Soul
04 - Slow Jam
05 - Born 2 Groove
06 - Religify
07 - Geez Spot
08 - I Love You More Than You'll Ever Know
09 - Movin' On
10 - Baby If You Only Knew (What I Could Do)
Born 2 Groove
Hotfile / Depositfiles @ 320K

Joe Beck & David Sanborn (1975)

This cool Fusion classic was recorded in 1975 and features players which are stalwarts of the genre such as : Joe Beck (Guitar), David Sanborn (Alto Sax), Don Grolnick (Keyboards), Steve Khan (Guitar), Chris Parker (Drums) and Ray Mantilla (Percussion). Also included are two bonus tracks : 'Ain't it Good' and 'Spoon's Theme'. (Amazon)
Popular, crossover smash session linking two instrumental pop stars for a 1975 album. Beck played in a slick, light style, while Sanborn, although restrained, would occasionally slip in a hot blues lick or a fluid alto solo. It has been reissued on CD. (AMG)
01. Star Fire 04:34
02. Cactus 04:58
03. Texas Ann 07:56
04. Red Eye 07:14
05. Cafe Black Rose 04:26
06. Brothers And Others 06:27
07. Ain't It Good 07:31
08. Spoon's Theme 06:56
Beck & Sanborn
HotfileDepositfiles @ 320K

Monday, October 25, 2010

Oregon: In Stride (2010)

What a milestone: 40 years! It seems like yesterday that "Our First Record" changed the course of events, arriving in a flash at this latest release "In Stride", with the same energy, the same desire to explore and keep in the game, consistently, and once again. «In Stride» envelopes the entire history of this band; it enhances the compositional talent of these four musicians, magnifies their voices as soloists and, above all, recalls in case you need reminding that strange and magical alchemy which transformed this quartet into Oregon.
01. Hop-To-It [6:00]
02. As She Sleeps [5:02]
03. Nacao [5:02]
04. Summer's End [5:05]
05. On the Rise [7:09]
06. Glacial Blue [1:10]
07. Aeolus [5:38]
08. Song for a Friend [4:33]
09. Petroglyph [5:45]
10. The Cat Piano [3:33]
11. In Stride [6:51]
Paul McCandless: oboe, English horn, soprano, flutes
Ralph Towner: classical guitar, twelve strings, synth guitar, piano
Glen Moore: double bass
Mark Walker: drums, hand percussion
In Stride
Hotfile / Uploading @ 320K

Jeff “Tain” Watts Quintet: Detained at the Blue Note (2004)

Drummer Jeff "Tain" Watts leads his quintet plus guest altoist Kenny Garrett through extended versions of four of his originals (all of which he had recorded previously in the studio) plus Bjцrk's "107 Steps." While "107 Steps" and "JC Is the Man" (which is more Thelonious Monk than John Coltrane) are fine, it is not until Garrett makes his first appearance on "Mr. JJ" (which is more Coltrane than J.J. Johnson) that this set really explodes. Garrett's passion inspires Watts during their midsong duet and adds a great deal of energy during the three songs on which he appears, completely stealing the show. Watts takes a surprise vocal on "Like the Rose" and plays with intensity throughout the performance, but it is Kenny Garrett who makes the music something special; it is a pity that he is not on the first two numbers. ~ Scott Yanow
1. 107 Steps – Jeff “Tain” Watts, Bjork 13:47
2. JC Is the Man 10:56
3. Mr. JJ 11:54
4. Sigmund Groid 19:03
5. Like the Rose 15:10
Jeff “Tain” Watts – drums;
Kenny Garrett – alto saxophone;
Dave Kikoski – piano;
Eric Revis – bass;
David Gilmor – guitar;
Marcus Strickland – tenor saxophone
Detained at the Blue Note
Hotfile Depositfiles @ 320K

Cesare Picco: Light Line (2007)

Beatiful Jazz music with deeply poetic mood from talanted Italian piano player and composer Cesare Picco. With Latin and New Age influences, complex composition forms, and some computer programming, I'd call it "easy listening avant-garde".
01. L'Orologio (07:03)
02. Un Attimo (04:48)
03. Bluewave (07:19)
04. The River (05:27)
05. El Hombre Lobo (05:20)
06. Whisper (05:34)
07. Sambaista (Studio Live Session) (04:48)
08. Camelia (05:36)
09. Un Giorno Con Te (04:05)
10. Calma Apparente (03:14)
11. Il Tuo Respiro (05:08)
12. El Hombre Lobo (Piano Solo Version) (04:31)
Total time 01:02:53
Light Line
HotfileRapidshare @ 320K

Sunday, October 24, 2010

Carlyle Barriteau: Groovin At Sunset (2009)

Fresh on the Smooth Jazz Therapy radar screen is ‘Groovin’ at Sunset’, the excellent album from guitar player and vocalist Carlyle Barriteau. It’s a tight predominately self penned collection from an artist who, as guitarist, is reminiscent of George Benson in style but, also like Benson, has the added advantage of a really great singing voice.
With the release of “Groovin’ at Sunset” on Funky Noiz Music, Carlyle Barriteau combines his reputation as a premier guitar instrumentalist for such artists as Bobby Caldwell, Patti Austin, Paul Taylor, American Idol’s Elliott Yamin and Donny Osmond, with his skillful production arrangements on songs such as the title track, “Groovin’ At Sunset”, “Breaker One 9”, “Diminishing Odds” and the 2 tracks that have Carlyle taking center stage on vocals: “Even Now” (written by Bobby Caldwell and Jimmy Haslip), and the Sultry “Give Me One Night”.
01. Breaker One-9 (4:41)
02. Groovin' At Sunset (5:36)
03. Even Now (5:17)
04. From Me To You (5:29)
05. Give Me One Night (4:57)
06. My Flava (4:13)
07. Irie Strut (5:40)
08. Zouk Smooth (4:51)
09. Diminishing Odds (6:05)
10. Cruisin' (5:34)
Groovin at Sunset
HotfileRapidshare @ 320K

Saturday, October 23, 2010

Michel Legrand Trio: Warm Shade of Memory (1996)

Most significant as a composer for films, Michel Legrand has long been an underrated jazz pianist. This CD features Legrand playing a variety of his melodies in a trio with bassist Marc Michel le Bevillon and drummer Umberto Pagnini. Toots Thielemans adds his welcome harmonica to two pieces (“The Summer Knows” and “I Will Wait for You”) which helps to compensate for Legrand’s heartfelt (but somewhat painful) vocals; fortunately the latter are brief. The trio has good workouts on “Watch What Happens” and some lesser-known material and Legrand also performs medleys from “Donkey Skin” and “The Young Girls of Rochefort” (which includes a dozen melodies including his famous “You Must Believe in Spring”).
1. Watch What Happens
2. Ete ’42 (The Summer Knows)
3. Love Theme from “Lady Sings the Blues”
4. Elle A…Elle a Pas…
5. Demoiselles de Rochefort Medley: Chanson des Jumelles (The Twin’)
6. Parapluies de Cherbourg (I Will Wait for You)
7. Enfants Qui Pleurent (Martina)
8. Peau d’Ane Medley: Amour…Amour/Reves Secrets d’Un Prince et d’Une P
9. Je Vivrai Sans Toi (I Will Say Goodbye)
10. Warm Shade of Memory
Michel Legrand – vocals, piano;
Toots Thielemans – harmonica; (2.6)
Marc Michel le Bevillon – bass
Umberto Pagnini – drums.
Warm Shade of Memory
Hotfile / Uploading @ 320K

Friday, October 22, 2010

George Duke: In a Mellow Tone (2006)

Straightforward small combo jazz (basically an electric/acoustic piano trio with occasional guitar, reeds and percussion) of a kind that George Duke’s detractors say he has long since abandoned, In a Mellow Tone is indubitably a mainstream jazz record with little adventurous spirit and a sound that occasionally even verges on the easy listening horrors of smooth jazz.
However, as such albums go, it’s more than pleasant, with Duke’s underrated piano and Fender Rhodes technique driving the songs. As the Duke Ellington-derived title track suggests, this is a low-key effort that disdains showboating solos or flashy rhythmic changes, and its equal split between familiar standards like “Never Will I Marry” and mellow, melodic Duke originals holds few surprises. The one inarguable flaw is that Duke’s vocals, never his strong suit, verge from forgettable to intrusive on their handful of tracks.
Aside from that, at least two-thirds of In a Mellow Tone is relaxed, but never soporific, mood music. Though that may seem to be damning with faint praise to the jazz faithful who remember Duke’s far more passionate early work, In a Mellow Tone largely fulfills the aesthetic demands it set out for itself.
1 In A Mellow Tone
2 For All We Know
3 Never Will I Marry
4 Spring Is Here
5 Sweet Baby
6 Down The Road
7 So Many Stars
8 So I’ll Pretend
9 Quiet Fire
10 Just Because
11 I Loves You Porgy
George Duke - piano , vocal
Brian Bromberg – bass
Terri Lyne Carrington – drums
Mike Miller – acoustic guitad
Airto Moreira – percussion
Manyungo Jackson – percussion
Ray Fuller – electric guitar
Everette Harp – saxes
Dennis Farias – flugelhorn , trumpet
In a Mellow Tone
Hotfile / Uploading @ 320K

Destiny Brothers: Smoove Ave (2010)

Destiny Brothers are smooth urban jazz duo Calvin Napper and Vincent Crenshaw.
Calvin Napper-Drums / writer / arranger
Vincent Crenshaw-Guitar / piano / keyboards / writer / arranger / programming.
Style and sound are influenced by such artists as:Four80East, George Benson, Dave Weckl Band, Norman Brown, George Duke, Yellowjackets, Mint Condition, and Tower Of Power to name a few.
01. Here With You (4:36)
02. Deep Cutz (5:09)
03. 40 West (3:16)
04. Show and Tell (4:15)
05. After Work Cafe' (3:57)
06. Rhythmic Dialogue (1:18)
07. Hold On (5:03)
08. Smoove Avenue (5:09)
09. Vegas Strip (4:56)
10. Costa Rica Nights (5:56)
11. Moongazing (4:38)
12. One and Five (3:23)
13. Sundayz Child (5:17)
Hotfile / Uploading @ 320K

Juan Pablo Torres: Together Again (2002)

Juan Pablo Torres is one of the best trombone players in the Latin-jazz community of 1990s. He worked with such great musicians as Paquito D’Rivera, Charles Aznavour, Gilberto Santa Rosa, and many others. Torres recorded two dozens of his own discs. “Together Again” was recorded in 2002 with Chucho Valdes on piano, Horacio “El Negro” Hernandez on drums, American trombone players Steve Turre and Robin Eubanks, Diego Urcola on trumpet, Arturo Sandoval on trumpet/flugelhorn, Mario Rivera on flute/sax, Giovanni Hidalgo on conga, and others…
The son of the noted musician Bebo Valdes, Chucho began playing piano when he was three and by the time he was 16 he was leading his own group. In 1960 his father defected from Cuba but Chucho stayed behind. In 1967, he formed the Orquesta Cubana de Musica Moderna and, in 1973, he founded Irakere, the top Cuban jazz orchestra; among its original members were Arturo Sandoval, Juan Pablo Torres and Paquito D'Rivera, all too from the Orquesta Cubana de Musica Moderna. Valdes has been Irakere's musical director almost from the start and has recorded with the full band, in small groups, and as an impressive solo pianist. He remains one of the top jazz musicians living in Cuba.
A blazing, technically flawless trumpeter from Cuba, Arturo Sandoval has been dazzling audiences all over the world with his supercharged tone and bop-flavored flurries way up in the trumpet's highest register. In slower numbers, he sports a golden, mellow tone on the flugelhorn, marked with a sure, subtle sense of swing. Apparently he is capable of playing anything, proving it more than once by tackling classical repertoire as well as jazz in the same concert, and he has enough curiosity to search far beyond his Cubop base for repertory.
1. When Day Breaks
2. Slide Force
3. Salt And Peper
4. Ache
5. Moonlight Serenade
6. Torres And Turre
7. Pennsylvania 6-5000
8. Yunfa
9. All Rhyth.m Ahead
10. Blowing Up
J. P. Torres (trombone)
Chucho Valdes (piano)
Arturo Sandoval (trumpet, flugelhorn) and more...
Together Again
Hotfile / Uploading @ 320K

Thursday, October 21, 2010

Joseph Patrick Moore: To Africa With Love (2010)

For more than a decade Joseph Patrick Moore has been touring, recording, and establishing himself as an artist with a unique voice and a diversity of talents. His skills as bassist; composer; arranger; producer; author; educator and founding partner of Blue Canoe Digital illustrate why he is a highly sought after musician. Moore's music and creative vision echoe the spirits of Quincy Jones; Herbie Hancock and Miles Davis to name a few.
Featuring eleven original compositions and two cover songs by Horace Silver and The Meters, To Africa With Love is the eighth solo project released by Joseph Patrick Moore. On this collection of songs inspired by the enchantment of Africa and fused with Moore's own influences and American heritage, Moore is joined with a core trio of remarkable musicians from the Atlanta area including Tyrone Jackson (keys), Wayne Viar (drums/percussion), and Brian Carl (guitar). Additional guest artists consist of Charlie Wood, Seth Condrey, Chinua Hawk, and Abbes Bouzefrane. From composing to arranging, engineering, and final mixing, Moore was directly involved in every aspect of the recording process. Tracks include "Fire On The Bayou," "Bass Song," "To Africa With Love," "Adventures Of Tigger And Alice," "Ubuntu," "Eyerusalen," "Stained Glass Aura," "Bumpy Ride," "Acadia Tree," "What Could Have Been," "Resolution," "Senor Blues," and "Heart Beat".
To Africa With Love
Hotfile / Rapidshare @ 320K

Miles Davis: In A Silent Way (1969) [2006 DSD Japan Mini LP Edition]

With IN A SILENT WAY, the elements of popular music, blues and electronics that had been implicit in Miles Davis' previous recordings now came center stage, and the trumpeter never looked back again. IN A SILENT WAY is Miles' BIRTH OF THE COOL/MILES AHEAD/KIND OF BLUE for the rock generation.
Gone are the rhythmic and harmonic trappings of bebop. In their place, Miles conjures a hypnotic, subliminal dance pulse and an airy, celestial drone of electric keyboards. Miles fell in love with the bell tones and flute-like textures of Fender/Rhodes electric pianos, and in the hands of Herbie Hancock, Chick Corea and Joe Zawinul (who doubles on organ), they create layer upon layer of choral texture, in great reverberant washes of color and counterpoint.
The juxtaposition of groove and impressionistic drone movements creates the inner tension in each of the extended pieces--Miles' "Shhh/Peaceful" and Zawinul's "In A Silent Way/It's About Time." Newcomer John McLaughlin's lyric, sitar-like guitar sets a serene mood on "Shhh," as bassist Dave Holland and drummer Williams essay a pulsating vamp. Miles' open horn is nuanced and graceful, combining long notes and cracked speech-like tones into one of his classic melodic statements, followed by McLaughlin's dancing figures and Wayne Shorter's chanting soprano. The title tune is a dark, dreamy, aquatic tone poem that breaks into an irresistable blues vamp. IN A SILENT WAY is one of Miles most sublimely beautiful, enduring creations.
Personnel: Miles Davis (trumpet); Wayne Shorter (soprano saxophone); Chick Corea, Herbie Hancock (electric piano); Joe Zawinul (organ); Dave Holland (bass); John McLaughlin (guitar); Tony Williams (drums)
1. Shhh / Peaceful
2. In A Silent Way / It's About That Time / In A Silent Way
In a Silent Way
Hotfile / Uploading @ 320K

Wednesday, October 20, 2010

Bob Baldwin: Never Can Say Goodbye (2010)

The connection between Michael Jackson and jazz seems tentative to non-existent until it's factored in he reached his greatest heights as an artist when collaborating with producer/arranger extraordinaire Quincy Jones. The unlikely pairing of Jackson and Jones brought out a degree of professionalism, maturity and poise in the late King of Pop that did not fully emerge when he was the precocious young boy performing with his brothers in the Jackson Five. Had the Jackson Five worked with Jones, Jackson might never have gone mushy with ballads such as "Ben," where he lovingly crooned to a rat.
Pianist and multi-instrumentalist Bob Baldwin previously covered Jackson's "Never Can Say Goodbye" and "I Wanna Be Where You Are," and was as shaken as the rest of the world by the music icon's untimely death in 2009. Securing the cooperation of the family and estate of Michael Jackson, Never Can Say Goodbye: A Tribute to Michael Jackson is the first officially authorized jazz homage to this legendary artist.
Tribute albums are a tricky proposition. Jackson vocals stylings are indelibly stamped into the minds of millions, and can't be improved upon. Wisely, Baldwin doesn't try to fix what isn't broken by attempting to radically rework Jackson's classic songs. The material (except for two songs penned by Baldwin) cover the classic Motown hits of the Jackson Five ("I'll Be There, "Never Can Say Goodbye," "I Wanna Be Where You Are") and several selections from Off the Wall (Epic, 1979), Bad (Epic, 1987) and Thriller (Epic, 1982), though those albums' biggest hits— "Beat It," "Billie Jean" and "Thriller"—are curiously missing.
Baldwin interprets Jackson in a pretty straightforward and direct manner, with few frills or unnecessary flourishes. Another artist might have overly embellished the material with strings, horns, a battery of overdubbed keyboards, vocalists and other trappings; instead, Baldwin lets the music do the talking, and guest appearances by guitarists Steve Oliver, Chieli Minnucci and Chuck Loeb, along with trumpeter Joey Sommerville, add subtle but not showy contributions. Loeb—the newly recruited replacement for Larry Carlton in Fourplay —shines especially on "Never Can Say Goodbye."
The two Baldwin originals, "Don't Say Goodbye" and "Prodigious," are respectful homage, but are merely okay. It would have been preferable had Baldwin covered some of the post-Bad material, such as "Remember the Time" and "You Are Not Alone" from Dangerous (Epic, 1991), or the underrated "Butterflies" from Invincible. (Epic, 2001).
Still, why quibble over a few omissions from such a vast catalog? Never Can Say Goodbye successfully acknowledges the musical legacy of Michael Jackson, while Baldwin demonstrates that even if you don't like pop music, it can inspire some pretty cool jazz.
Tracklist:: Bad; Human Nature; The Girl Is Mine; I Can't Help It; I'll Be There; Prodigious; I Wanna Be Where You Are; The Lady In My Life; Let Me Show You; She's Out of My Life; Don't Say Goodbye; Never Can Say Goodbye.
Personnel: Bob Baldwin: piano, keyboards, bass, percussion, drums, additional vocals; Buddy Williams: drums (1, 2, 4, 5); Ron Jenkins: bass (1, 2, 4, 5); Ragan Whiteside: flute solo (1); Steve Oliver: guitar, scat solo (3); Armando Marcal: percussion, vocals (7); Joey Sommerville: trumpet (9); Chieli Minnucci: guitars (10); Tony Clarke: percussion (10); Chuck Loeb: guitar (12); Dennis Johnson: drums, percussion (12)

Ethan Iverson Trio: Deconstruction Zone (Standards) (2004)

This exhilarating set of standards was conceived as a companion piece to Iverson’s Construction Zone (Originals) and was recorded during the same two-day session. Revealing their roots in jazz tradition, pianist Iverson and his trio mates Reid Anderson (bass) and Jorge Rossy (drums) bring wit and wisdom to great old songs such as “I’m Getting Sentimental Over You,” “The Song Is You,” and “I’ll Remember April.” Other highlights include a powerful solo piano rendition of “Smoke Gets in Your Eyes,” a moving version of the seldom-heard “This Nearly Was Mine” (from the show South Pacific), and rhythmically bizarre reworkings of “All of Me” and “Have You Met Miss Jones.” Anderson gets far more solo room this time around, which is a considerable bonus.
01. I’m Getting Sentimental over You (Bassman, Washington) 6:02
02. The Song Is You (Hammerstein, Kern) 7:15
03. This Nearly Was Mine (Hammerstein, Rodgers) 5:43
04. All of Me (Marks, Simons) 3:30
05. I’ll Remember April (DePaul, Johnston, Raye) 6:33
06. Smoke Gets in Your Eyes (Harbach, Kern) 6:24
07. Have You Met Miss Jones? (Hart, Rodgers) 7:01
Ethan Iverson (piano);
Reid Anderson (bass);
Jorge Rossy (drums).
Deconstruction Zone (Standards)
Hotfile / Rapidshare @ 320K

Miles Davis: E.S.P. (1965) [2006 DSD Japan Mini LP Edition]

ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet — saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams — gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde....more .
Personnel: Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano); Ron Carter (acoustic bass); Tony Williams (drums)
01. E.S.P.
02. Eighty-One
03. Little One
04. R.J.
05. Agitation (Shorter)
07. Mood
Esp (Reis)
Hotfile / Uploading @ 320K

Chris Minh Doky: Scenes from a Dream (2010)

The new project of Vietnamese-Danish bass player Chris Minh Doky (born 1969) includes Peter Erskine (bass) and Larry Goldings (piano) with Vince Mendoza and The Metropole Orchestra. Mendoza's arrangements for orchestra gives several of the instrumentals a grand American expression - no matter that one of the tracks, the band puts its stamp on American, Danish Peace rests over the country. A few tracks are pure trio numbers, and they exude Nordic melancholy. But whether the constellation of one or the second number is one or the other, says Minh Doky sensual bass playing as central to the album, which as a whole is nice and with compositions such. Arthos II All Is Peace and Rain contains several decidedly profound and beautiful songs.
01. The Cost Of Living
02. Arthos II
03. Fred Hviler Over Land Og By
04. Rain
05. All Is Peace/Ru Con Mien Bac
06. Vienna Would
07. I Skovens Dybe Stille Ro
08. Julio And Romiet
09. Dear Mom
Scenes from A Dream
Hotfile / Depositfiles @ 320K

Tuesday, October 19, 2010

Helmet Of Gnats: High Street (2010)

Those who say jazz is dead must only look harder. I suppose it isn’t as popular to the greater whole of humanity as it used to be, but neither is prog rock, and I honestly feel that both benefited from such a change. A Helmet of Gnats is part of that subgenre of jazz known as fusion that some prog fans consider inside the sphere of Prog (see what I did there?) I can’t say I agree with that when discussing the subgenre’s early history, but at the moment a lot of such bands are creating a true fusion of prog rock and jazz.
One of those is, obviously, a Helmet of Gnats, or else I would have wasted that entire paragraph talking about something completely unrelated. A Hog (as I shall refer to the band as, because I find it to be a hilarious acronym) is a band that consists of Berkley College of music grads (and dropouts, a la Dream Theater) from Connecticut, USA.
They play an eclectic range of jazz styles, going from Return to Foreveresque light synth solos to heavy guitar jams something like Mahavishnu Orchestra, and I even hear bits that sound similar to The Tangent and Van Der Graaf Generator. Usually though it doesn’t sound like anything I’ve ever heard before, and I imagine it only sounds similar to Corea because they use similar sounding instrument settings. The musicianship is very tight and virtuosic (they are Berkley grads, after all), and I can find nothing to complain about, no matter how hard I try (and I try pretty damn hard). Any true fan of jazz or jazz fusion should definitely get this album immediately; I can promise you will be delighted. If not, well, what are you gonna do, punch me?
Tsunami – 11:00 – The first track of four begins with a delightfully melodic guitar intro, which is completely misleading given the name, but it moves after a minute into a moderately energetic guitar/organ duet. This track is mostly guitar driven after the end of that, with an almost funky blueslike melody throughout. A few minutes toward the end there’s an excellent synth solo, before the guitar comes back to dominate. By the end the track begins to live up to its name and builds in intensity faster and faster. I must say I generally prefer my jazz albums to begin with something that has a little more “oomph”, but this does quite nicely regardless.
Tin Whiskers – 10:26 – If Tsunami was guitar-dominated, Tin Whiskers is certainly keyboard-dominated. Lots of excellent stuff here, Corea-style electric piano, hammonds, mellotrons, you name it. The bass-work is also quite funky, and definitely adds to the piece. There’s a sort of groove I can get into when I listen to REALLY good jazz piano, and I feel it with this track. Excellently done. Later on, however, there’s an excellent guitar solo that gives me the same groovy sensation. I feel like I’m betraying jazz piano in saying so, though. I hope it will forgive me.
Dozer – 12: 43 – Like Tsunami, the track name is not fitting at all. It certainly wouldn’t put me to sleep, it’s too enjoyable for that. Dozer is very melodic in the beginning, probably to trick the listener into thinking it IS supposed to be a “dozer”, but the drumming heats up a bit a little before the quarter mark, just as some more of that wonderful piano-work comes in. A little after that, it gets a bit heavy, and we get a very intense guitar/keyboard duet. The rest of the track is rather fast, but not necessarily heavy, except in sections.
High Street – 30:11 – Oh dear, they’re really marching into the realm of prog with this one. A half-hour-long epic, replete with dynamic sections and completely different themes competing with each other. In the band’s entire discography, this is the track that seems to have the most influence from Return to Forever. I just hear it a lot, what can I say. I would say that is the reason it’s my favorite, though not to say the band is simply imitating, they create a cosmic elegance of their own, even if they might borrow some of Chick Corea’s. I say so I don’t have to say it’s my favorite track just because it’s a half hour long, ha! There’s too much to discuss about this track, and I don’t want to bore anyone with the details. Buy the album and listen to it for yourself! -
1. Tsunami - 11:00
2. Tin Whiskers - 10:26
3. Dozer - 12:43
4. High Street - 30:11
Chris Fox – guitars
Matthew Bocchino – keyboards
Wayne Zito – bass
Mark Conese – drums, percussion
High Street
Hotfile / Uploading / Depositfiles @ 320K