Vic Juris Trio - While My Guitar Gently Weeps (2002)

Genre: Jazz | Total Time: 1:01:03 | Size: 135.69 MB | MP3 320 kbps
1.Do You Hear The Voices You Left Behind (5:25)
2.Magenta (5:44)
3.While My Guitar Gently Weeps (6:34)
4.The Visit (5:27)
5.Ladies Choice (5:34)
6.Careful (5:56)
7.Action (4:46)
8.Road Song (6:30)
9.Soulful Spirit (7:46)
10.Jean De Fleur (7:03)

Recorded In November 2002
Label: SteepleChase 31553

Vic Juris - guitar
Jesse Chandler - organ
Tim Horner - drums


Vic Juris - Remembering Eric Dolphy (1998)

Genre: Jazz | Total Time: 1:00:52 | Size: 132.03 MB | MP3 320 kbps
1.Miss Ann (4:37)
2.Vaults (7:47)
3.Latin's Lamp (5:53)
4.Emphasizing (7:20)
5.Tone Rose (7:16)
6.South St. Exit (5:26)
7.Something Sweet, Something Tender (6:29)
8.He Me (7:31)
9.Gentle (4:09)
10.Out There (3:43)

Recorded In April 1998
Label: SteepleChase 31453

Vic Juris - guitar
Dick Oatts - alto, tenor sax & flute
Jay Anderson - bass
Jeff Hirshfield - drums


Vic Juris - Omega Is The Alpha (2009)

Genre: Jazz | Total Time: 1:06:02 | Size: 138.32 MB | MP3 320 kbps
1.Folksong (6:30)
2.Hallucinations (5:00)
3.For Shirley (7:19)
4.Omega Is The Alpha (5:33)
5.Subway (6:08)
6.Romulan Ale (8:27)
7.Lonely Woman (6:04)
8.Sweet Sixteen (7:18)
9.Rosario (6:49)
10.Alone Together (6:47)

Label: SteepleChase 31696

Vic Juris - guitar
Jay Anderson - bass
Adam Nussbaum - drums

Vic Juris - Free Admission (2012)

Genre: Jazz | Total Time: 56:27 | Size: 124.97 MB | MP3 320 kbps
1.Congeniality (5:43)
2.Ocean View (5:21)
3.How Deep Is The Ocean (5:31)
4.The Sky (5:25)
5.An Overseas Memory (8:28)
6.Floater (5:13)
7.You're My Thrill (7:14)
8.McCoy (4:43)
9.12 Tone Jones (4:21)
10.Dolores (4:50)

Label: SteepleChase - 31746

Vic Juris - guitar
Jay Anderson - bass
Anthony Pinciotti - drums


Toots Thielemans - Ne Me Quitte Pas (1989)

Genre: Jazz | Total Time: 57:05 | Size: 131.16 MB | MP3 320 kbps
01. Ne Me Quitte Pas (Jacques Brel) (3:55)
02. Blue 'n' Green (Bill Evans, Miles Davis) (20:23)
03. All Blues (Miles Davis) (9:38)
04. Stardust (Hoagy Carmichael) (3:41)
05. Autumn Leaves (Jacques Prévert, Joseph Kosma) (9:45)
06. Velas (Ivan Linns) (6:53)
07. Bluesette (Toots Thielemans) (2:53)

Toots Thielemans - harmonica;
Fred Hersch - piano;
Marc Johnson - bass;
Joey Baron - drums.

Label: Milan – CD CH 303 (UK)

Sheila Cooper - Phoenix Rising (2012)

Genre: Jazz | Total Time: 56:14 | Size: 127.81 MB | MP3 320 kbps
1. Man Overboard
2. Learnin' The Blues
3. Phoenix Rising
4. Devil May Care
5. Kiss And Tell
6. The Home Inside My Heart
7. Ridin' High
8. Blues In The Night
9. If I Had You
10. Just Be Livin' In It
11. Don't Look Down
12. Embraceable You
13. Man Overboard (Radio Edit)

Sheila Cooper: vocals, alto saxophone; Gary Versace: piano, Hammond B-3 organ, accordion; Ed Howard: acoustic bass; Billy Drummond: drums; John Hart: guitar (6, 9); Luis Ribeiro: percussion (3, 4).

On “Phoenix Rising”, her fourth CD as a leader, Sheila Cooper brings her songwriting skills to the fore, with six inspired new compositions that match her emotional breadth as a performer, from humorous (“Man Overboard”, “Just Be Livin’ In It”), to romantic (“Kiss and Tell”) to searching (“Phoenix Rising”, “The Home Inside My Heart”). Sheila is backed by master New York musicians Gary Versace on piano, organ, and accordian, Ed Howard on acoustic bass, and Billy Drummond on drums, with guest appearances by guitarist John Hart and Vienna-based Brazilian percussionist Luis Ribeiro, Sheila and her band create grooving, soulful and impassioned moods on these originals and the her signature witty reworkings of standards that complete the set.

"Canadian-born, NYC-based singer and saxophonist Cooper has developed her own self-assured sound as both a vocalist and altoist - her refreshingly simple, unfussy delivery befits her Konitz-esque sax tone while her unpretentious singing draws on her narrative abilities over excessive reliance on technique.

Nina Simone - It is Finished (1974)

Genre: Jazz | Total Time: 43:32 | Size: 99.47 MB | MP3 320 kbps
1. The Pusher 5:12
2. Com' By H'Yere-Good Lord 5:51
3. Funkier Than A Mosquito's Tweeter 5:21
4. Mr Bojangles 4:53
5. I Want A Little Sugar In My Bowl 5:54
6. Dambala 6:53
7. Let It Be Me 3:35
8. Obeah Woman 6:17
Label - RCA

Nina Simone – Piano, Vocals
Avram Schackman - Bass, Sitar, Guitar (Spanish, Acoustic)
Nadi Qamar - Harp (Madagascar, Mama-likembi, Tal Viha, Guinee Kuna)
Wonderful work by Nina – the kind of record that once made purists turn up their noses, but which is now being rediscovered as a unique jazz/soul crossover album, filled with loads of nice moments! The instrumentation's pretty darn interesting – and includes sitar, harp, Spanish guitar, and other odd percussion instruments. Includes Nina's nice version of "Funkier Than a Mosquito's Tweeter", plus "I Want A Little Sugar In My Bowl", "Dambala", "Obeah Woman", and "The Pusher".

Louis Van Dyke - Louis Van Dyke Plays Lennon-McCartney (1970)

Genre: Jazz | Total Time: 40:03 | Size: 91.97 MB | MP3 320 kbps
01. Golden Slumbers and Carry That Weight (5:35)
02. She's Leaving Home (4:18)
03. For No One (3:11)
04. Eleanor Rigby (5:43)
05. Lucy In The Sky With Diamonds (5:03)
06. Hey Jude (4:46)
07. Goodnight (6:33)
08. Blackbird (3:12)
09. Nowhere Man (1:48)

Louis Van Dyke at the Flentrop Organ in the Netherlands Reformed Church at Loenen a. d. Vecht.

Lena Seikaly - Lovely Changes (2011)

Genre: Jazz | Total Time: 41:56 | Size: 95.78 MB | MP3 320 kbps
1. Amateur
2. Memento
3. Triste
4. What Was I Supposed To Do
5. The Way You Look Tonight
6. Here Again
7. God Only Knows
8. Can't Get Out Of This Mood
9. Everytime We Say Goodbye
10. Waltz #1

Given Lena Seikaly’s firm grounding in harmony and composition, it’s no surprise that a musician sharing the bandstand with her once remarked on a harmonic progression she’d written: “Man, those are some lovely changes!” The phrase struck a chord and emerged as the title of her second recording.

On Seikaly’s new album, her second, there are Lovely Changes in more ways than one. The album presents a constantly shifting harmonic and rhythmic landscape in which familiar jazz classics by Cole Porter, Frank Loesser and Jerome Kern co-exist alongside Seikaly originals and unexpected arrangements of more contemporary songs by Elliot Smith, Brian Wilson and Amie Mann; a touch of 1967 Antonio Carlos Jobim bridges the gap. Seikaly’s cool, classic jazz voice breathes a cohesive beauty into the recording, the release of which she celebrates with a show this Sunday at Blues Alley. Her vocals are complemented by the savvy arrangements and sensitive musicianship that she and her band mates put forward; the group is comprised of Dan Roberts on piano, Tom Baldwin on bass and Dominic Smith on drums.

Kenny Wheeler - Six For Six (2013)

Genre: Jazz | Total Time: 57:57 | Size: 156.05 MB | MP3 320 kbps
01. Seven, Eight, Nine [Part 1] 08:18
02. Canter N. 6 05:06
03. The Long Waiting 05:55
04. Four, Five, Six 08:06
05. Ballad N. 130 07:24
06. Seven, Eight, Nine [Part 2] 05:34
07. The Imminent Immigrant 06:56
08. Upwards 10:38

Personnel: Kenny Wheeler: trumpet, flugelhorn; Stan Sulzmann: tenor and soprano saxophone; Bobby Wellins: tenor saxophone; John Taylor: piano; Chris Laurence: bass; Martin France: drums.
When artists move into their eighties, every new album is a gift. It's difficult enough for any octogenarian musician to maintain his/her game, but especially horn players, for whom embouchure and breath are so essential to tone and reach. Six for Six is, however, a curious gift from expat Canadian trumpeter Kenny Wheeler, who's made Britain his home since the mid-'50s. Recorded in 2008, it's his first sextet recording since 2003's Dream Sequence and even that album only featured one piece for all six players. What that really means, then, is that Six for Six is Wheeler's first real sextet date since 1980's Around 6, and his very first with a lineup consisting, in addition to his inimitable horn work, of two saxophones, piano, bass and drums. It's a curious program: a full six of its eight tracks were heard just last year on Wheeler's superb big band outing, The Long Waiting (Cam Jazz, 2012), but they couldn't be more different, demonstrating just how malleable Wheeler's charts can be. Recorded in 2011, The Long Waiting, "Seven, Eight, Nine" was a relatively concise, mid-tempo swinger that featured just one solo (Wheeler); here, it's broken into two parts spread across the record. The album-opening "Part 1" opens with a powerful a cappella intro from drummer Martin France that sets the tone for an album that's Wheeler's most flat-out incendiary since Double, Double You (ECM, 1984). Unlike The Long Waiting's mixed meter reading of 7/8, 6/8 and 4/4, "Part 1" here sticks with a constant 4/4, but at a much brighter clip and with plenty more solo space for Wheeler, tenor saxophonist Bobby Wellins and soprano saxophonist Stan Sulzmann.

Excising the original's second theme for further extrapolation, "Seven, Eight, Nine (Part 2)," is taken at a slightly slower pace than "Part 1" (but still considerably brighter than the big band version) and, while significantly shorter, still leaves room for impressive solos from Sulzmann (this time on tenor), Taylor and Wheeler, with Laurence a firm but pliant anchor and France, once again, playing with fire and unfettered freedom throughout this bright 6/8 take. Wellins is the only new face here, with Sulzmann, pianist John Taylor and bassist Chris Laurence all longtime Wheeler collaborators; and, although France only made his first recorded appearance with Wheeler on The Long Waiting, he's been gigging with the trumpeter for some time, and has been a member of Taylor's trio since the pianist's superb Angel of the Presence (Cam Jazz, 2006). Still, with Wellins an alumnus of British luminaries like Stan Tracey and Tubby Hayes, it's unlikely that this is the first time he and Wheeler have broken musical bread together. On the flip side to more powerful tracks like "Upwards," which more closely mirrors the energy of The Long Waiting's version, albeit with a significantly altered arrangement, Six for Six's fresh look at "The Long Waiting," with its spare duo intro from Wheeler and Taylor, is taken at a slower pace, while the more amiable pulse of the big band's "Four, Five Six" is deserted here for a shorter version that still manages to squeeze in another piano/trumpet intro, a fiery rubato exchange between Sulzmann and Wellins and, finally and at a faster clip space for concise but high octane solos from Wellins, Taylor, Wheeler and France.

It's not just because, with the exception of The Long Waiting, Six for Six is Wheeler's first Cam Jazz recording to feature a drummer though France certainly lights one heckuva fire underneath his band mates, while still proving capable of a gentler disposition on more subdued fare like "Ballad N. 130" and the brighter, but lighter-textured "The Imminent Immigrant," making its first appearance since Wheeler's quartet date All the More (Soul Note, 1997). In a career now approaching its sixth decade, Wheeler's writing has not lost any of the unmistakable lyricism that's been a defining touchstone since early recordings like the classic Gnu High (ECM, 1976), but even as he's passed the 83 mark this year, Wheeler's lost neither his tone nor his remarkable reach his closing, stratospheric note at the end of "Four, Five, Six" being something to which many trumpeters half his age still aspire. Not since Double, Double You has Wheeler released an album as exhilarating as Six for Six. With a sextet capable of delivering both the firepower and the poetry, hopefully this won't be another of the one-shot deals that have defined the rest of Wheeler's nevertheless impressive discography.

John Zorn, AutorYno - Flauros: Book Of Angels Volume 29 (2016)

Genre: Jazz, Rock | Total Time: 45:48 | Size: 103.18 MB | MP3 320 kbps
01. Carcas
02. Saelel
03. Uvmiel
04. Adoyahel
05. Qaddisin
06. Shahariel
07. Abrimas
08. Bethuel
09. Achusaton
10. Kaniel

Composed By – John Zorn
Arranged By – AutorYno, David Konopnicki
Bass – Bertrand Delorme
Drums – Cyril Grimaud
Guitar – David Konopnicki
Executive-Producer – John Zorn

Recorded and mixed March 2016 at Ari's 4A Sound Factory Studio, Forges-les-Eaux, Normandie, France .

Release Date: 22 July 2016.

After 12 years and 28 CDs, the “Book of Angels” project is drawing towards completion! For one of the last installments, Zorn turns to AutorYno, a wild power trio of three Paris punk rockers and one of the most powerful bands in the French rock scene. Their third CD for Tzadik presents tunes from the classic “Book of Angels” in a heavy rock context. Metal, Punk, Thrash, Dub and Surf come together in this trance-inducing sledge-hammer reading of some of the strongest and strangest pieces out of the Masada repertoire. One of the last releases in the “Angels” series is also one of the most compelling !

Jerry Butler - Mr. Dream Merchant (1968)

Genre: Funk / Soul, Pop | Total Time: 30:34 | Size: 70.66 MB | MP3 320 kbps
Side A
A1. Mr. Dream Merchant 2:47
A2. (Nobody Ever Loved Anybody) The Way I Love You 2:55
A3. Mr. Dee Jay (I Got A Heartache) 2:50
A4. I Come To You 2:34
A5. When A Woman Loves A Man (When A Man Loves A Woman) 2:47
A6. Alfie 2:45
Side B
B1. Lost 2:35
B2. Beside You 2:56
B3. To Make A Big Man Cry 3:12
B4. 100 Lbs. Of Clay 2:50
B5. Yesterday 2:38
Label – Mercury Records

Georgia Anne Muldrow - Early (2009)

Genre: Jazz, Funk / Soul | Total Time: 41:31 | Size: 91.90 MB | MP3 320 kbps
1. Child Of The Sun
2. Never A Day In Vain
3. Run Away
4. Break You Down
5. Sunset
6. Keep It Real?
7. Alone With An Angel
8. In Love Again
9. Let It Go
10. Gears (Sing It Again)
Label -Animatedcartunes
When listening to this album, remember that it was recorded seven years previously when Muldrow was just 17 years old. When that seeps in, the contents of this album are astounding. No, this isn't the astral-traveling, intense and exploratory, far-reaching Muldrow of Olesi, Sagala, and Umsindo. The title is a telling one -- this is "early" Muldrow as a teen, at the dawn of the new millennium, spinning her own version of the new-soul music that was in vogue back then. Songs like "Never a Day in Vain" and "Run Away" are the answer to the question "What if, before Georgia loaded up her spaceship with all her instruments and equipment to blast off to another galaxy, she made a Dwele album?" Since Muldrow is one of the most daring and important (albeit underappreciated) artists of her time, this revealing look into her "early" work is essential. Tunes such as "Break You Down" show the artist developing her unique, patented, singular groove. It's an album that reveals her vocal influences, whether overt (Betty Carter on "Sunset") or subtle (Erykah Badu on "Keep It Real?"). And then there are tracks like "In Love Again" -- one of those classic Georgia performances, one without a single vocal repeat and too many bridges to count -- that sound like she locked herself in a closet for months with Chaka Khan on loop, only to emerge with her own voice and technique in full bloom on "Let It Go." It's fitting that "Let It Go" appears near the end of the album, right before "Gears (Sing It Again)," which is like a harbinger of things to come. For an artist who wasn't even a legal adult to write, sing, play, and produce virtually every sound on this album is astonishing on so many levels. But then again, this is Georgia we're talking about.

Dmitry ''Bobeen'' Alexandrov, Mark Soskin, Andrew Arnautov, Alex Fantaev - SkhidSide meets Mark Soskin (A Night In Kiev) (2008)

Genre: Jazz / Contemporary Jazz | Total Time: 52:45 | Size: 124.18 MB | MP3 320 kbps
01. SkhidSideMan (Dmitry 'Bobeen' Alexandrov) (6:59)
02. Seventeen (Mark Soskin) (9:34)
03. Mr.BlueTooth (Dmitry 'Bobeen' Alexandrov) (7:29)
04. 19:60 (Dmitry 'Bobeen' Alexandrov) (9:08)
05. Meltdown (Mark Soskin) (5:49)
06. Voices (Andrew Arnautov) (13:57)

Dmitry ''Bobeen'' Alexandrov - tenor saxophone;
Mark Soskin - piano;
Andrew Arnautov - double bass;
Alex Fantaev - drums.

Recorded live on April 22, 2006 in "a7" Club, Kiev, Ukrain.

Label: Comp Music – 2084862 (Ukraine)

Dmitry Baevsky - Somethin´ Special (2016)

Genre: Jazz | Total Time: 43:00 | Size: 96.97 MB | MP3 320 kbps
1. Somethin' Special
2. Fools Rush In
3. Cheesecake
4. Lament
5. Eclypso
6. The End of a Love Affair
7. I Thought About You

Dmitry Baevsky (as)
Fabio Miano (p)
Ignasi González (b)
Joe Strasser (ds)

Vienna Art Orchestra - Suite For The Green Eighties (2LP-1982)

Genre: Jazz / Contemporary Jazz | Total Time: 1:16:50 | Size: 660.21 MB | FLAC
Side A
A1 - Haluk .... 14:05   
A2 - Plädoyer For Sir Major Moll .... 6:10   

Side B
B1 - Nanan N'z Gang .... 11:10   
B2 - Blue For Two .... 6:15   

Side C
C1 - Suite For The Green Eighties Part I .... 11:25
C2 - Suite For The Green Eighties Part II .... 4:05

Side D

D1 - Suite For The Green Eighties Part III .... 7:50
D2 - Suite For The Green Eighties Part IV .... 8:00
D3 - Suite For The Green Eighties Part V .... 5:45

Lauren Newton – voice
Karl Fian – trumpet
Herbert Joos – flugelhorn, baritonhorn, double trumpet, alpenhorn
Christian Radovan – trombone
Billy Fuchs – tuba
Harry Sokal – soprano sax, tenor sax, flute
Wolfgang Puschnig – alto sax, bass clarinet, piccolo flute
Ingo Morgana – tenor sax
Woody Schabata – vibes, marimba, tablas
Uli Scherer – pianos, melodica
Jürgen Wuchner – bass
Wolfgang Reisinger – percussion, drums, paiste gongs
Janusz Stefanski – drums, percussion
Mathias Rüegg – leader, composer, arranger

Label: Hat Hut Records – Hat Art 1991/92
Format: 2 × Vinyl, LP, Album, Box Set / Country: Switzerland / Released: 1982
Style: Free Jazz, Contemporary Jazz, Free Improvisation
Track A1 on June 15, 1981, at Thalwil Gemeindehaussaal
Track A2 on October 29, 1981, at Bern Restaurant Schweizerbund
Track B1 on October 28, 1981 at Geneve New Morning
All other on October 30, 1981 at Zürich Bazillus
Cover art by – Klaus Baumgärtner
Photos by – Heinz Heinrich Stoller
Packaging concept by Werner X. Uehlinger
Recorded by – Peter Pfister
Mixed and edited by – Peter Pfister, Mathias Rüegg and Werner X. Uehlinger
Produced by Pia and Werner X. Uehlinger

It might as well be said now so the hate mail can flow fast and free: I happen to agree with music critic/composer and historian Art Lange that Mathias Rüegg, leader, composer, director, etc., of the Vienna Art Orchestra is, without question, Europe's answer to Duke Ellington at the end of the 20th century, though he clearly isn't yet in Ellington's league. With Suite for the Green Eighties, a work inspired in equal parts by the gaining of popularity and power by the Green Party in Germany, Austria, and elsewhere in Europe, and also by the classic book by Charles Reich called The Greening of America, the five-part work is a crosshatch of jazz, blues, circus music, postmodern harmonic and intervallic invention, and dance music (as in ballet). The temptation to call it a pastiche is too easy to drape over this mammoth construction of color and texture in sound.

Before this suite begins -- and it is actually more like a symphony than a jazz suite -- there are three Rüegg compositions that set the audience up for the drama. There is the New Orleans jazz-flavored "Haluk," with its riveting soprano solo by Harry Sokal; the glorious Gil Evans-ish "Plädaoyer for Sir Mayor Moll," with its elegant quotation from "I Only Have Eyes for You," and microtonal flügelhorn solo by Herbert Joos, which turns the piece inside out and makes it a modal meditation on minor sevenths; and the woolly "Nanan N'Z Gang," which sounds -- in its opening measures -- like it was written in the medina in Morocco or Algeria. It eventually evolves into a post-bop modal stomp with a killer alto sax break from Wolfgang Puschnig. When the "Suite" finally begins, listeners are almost taken off guard since it sounds like a coda. Before the vibes and trumpets go into a dance of intricate counterpoint, the band plays "fliessend," smoothly and evenly, and the movement becomes almost contemplative, with the exception of the two contrapuntal instruments now playing in restrained tones. As the bop horn lines state the theme for the rest of the suite, short, choppy interludes of dissonance and even sets of quiet tone rows are inserted into the melody! Rüegg's harmonic sensibility is so developed that he has no difficulties in traversing isorhythms to get to his desired place. By the time the last movement is reached, one would swear that all elegiac notions have been left behind in order to join Buddy Rich and Count Basie in a Kansas City block party. Swinging brass, jump-start rhythms, and angular solos carry the joyous suite to its impossible ending -- in the quiet of the evening with only the feeling that something new is possible for the first time in a long, long while.

Tarfala Trio: Mats Gustafsson, Barry Guy, Raymond Strid - Syzygy (2LP-2011)

Genre: Jazz / Free Jazz | Total Time: 1:27:29 | Size: 694.82 MB | FLAC
Side A
A1 - Broken By Fire .... 21:30

Side B
B1 - Lapilli Fragments .... 17:43

Side C
C1 - Cool In Flight .... 6:41

Side D
D1 - Tephra .... 22:10

+ one-sided 7'' EP
E1 - Syzygy .... 19:16

Tarfala Trio:
Mats Gustafsson – tenor saxophone, alto fluteophone
Barry Guy – double bass
Raymond Strid – drums, percussion

Label: NoBusiness Records – NBLP 35/36 + NBEP1
Format: 2 × Vinyl, LP, Album + Vinyl 7", Single Sided / Limited edition of 600 records
Country: Lithuania / Released: Jul 2011
Style: Free Jazz, Free Improvisation
Recorded 14th nov 2009 at België, Hasselt, Belgium.
Design – Oskaras Anosovas
Photography By [7" Cover Photo] – Olof Madsen
Photography By [Booklet Photos] – Ziga Koritnik
Mixed By, Mastered By – Michael W. Huon
Executive-Producer – Danas Mikailionis, Valerij Anosov
Producer – Tarfala Trio

This is a double limited gatefold vinyl edition only, which, as a bonus, contains one-sided 7“ EP and a booklet of photos of the musicians playing live.
NoBusiness Records NBLP35/36 + NBEP1, 2011, limited edition of 600 records. Sold Out.

 Sometimes one has to admit that, as much of a connection as free improvisation has with the heart of jazz — an approach to music and life that has its roots in spontaneity — it’s sometimes a bit of a tenuous relationship. European free improvisation has a lengthy history going back to the heady late 1960s, as musicians weaned on traditional jazz and bebop searched for ways to distance themselves from cultural-geographic implications quite different from broad European-ness. In places like Scandinavia, it was ironically the influence of African-American jazz musicians like Don Cherry and Albert Ayler, both resident in Sweden in the 1960s, that helped free up local musicians from American influence. Cherry’s effect on the Stockholm scene of the time — including saxophonists like Bernt Rosengren and Bengt “Frippe” Nordström, pianist Jan Wallgren, and itinerant Turkish drummer Okay Temiz and trumpeter Maffy Falay — cannot be underestimated.

Swedish saxophonist Mats Gustafsson studied with Nordström and also worked with veteran European heavies like Peter Brötzmann (Germany), Günter Christmann (Germany), and Sven-Ake Johansson (Sweden/Germany) throughout the 1980s and 1990s. At this point, he’s one of the leading lights of European free improvisation and has, through integrating it with a longtime interest and experience in punk rock and psychedelia, brought the music to a diverse stage. Lately, his collaborations seem to draw as much from the noise and art-rock end of the spectrum as they do improvised music and jazz, but that’s not to say his roots don’t often show.

The Tarfala Trio is a cooperative venture that also features English contrabassist Barry Guy and fellow Swede, percussionist Raymond Strid (Gush, Too Much Too Soon Orchestra). With its roots going back to 1992, the group has gigged around Europe, including collaborations with pianists Sten Sandell and Marilyn Crispell, drummer Alvin Fielder, and saxophonist Kidd Jordan. Curiously, Syzygy is the trio’s second proper recording in nearly two decades of existence, featuring four sidelong improvisations on two slabs of heavyweight vinyl with the addition of a bonus 7-inch. In true Gustafsson “diskaholic” style, the package itself is absolutely stunning, housed in a heavyweight gatefold with a gorgeous LP-sized booklet of photos by Ziga Koritnik. The music was recorded live in Belgium in fine detail, making this a very high-end and honest document of European free music.

 With reputations for both full-bore freedom and rarefied insectile distance, it’s easy to forget that things like lyricism and delicacy are important, that players with as much pedigree as Gustafsson and Strid are capable of poetic statements. Part of this group’s penchant for simple give-and-take might be due to Guy’s presence. The bassist has been a significant figure on the landscape of creative music since 1967, and he shows no sign of letting up — “supple orchestration” could be his nom de plume. From the opening entreaties of “Broken by Fire,” the saxophonist’s tenor coagulations nod equally to Evan Parker and Albert Ayler, logical incisions that ultimately catapult in steely, go-for-broke exploration. Although a first-time listener might not know it, Gustafsson is almost reined-in here, dipping and shouting as he bunches, blats, and stretches out on newfound tightropes. Guy and Strid are absolutely nothing like Thing collaborators Ingebrigt Haker Flaten and Paal Nilssen-Love, rather constructing a lacy accenting thrum that’s constantly on the verge of disappearing. Constancy is, of course, the stock in trade of this rhythm section, ebbing and lapping cymbals enveloping the five-string filigree of Guy’s manhandled classicism. When Strid switches to a bevy of mallets and small objects, his phrases mirror Gustafsson’s flutter in beautiful succession; the three build tension expertly as Guy strums and swirls against breathy harmonics and eventual pulpit-pounding. The side closes with velvety, somber crooning, drawn arco and tapped gongs in huge, sweet counterpoint.

The third side’s “Cool in Flight” begins as a duo for bass and tenor, recalling the excellent Guy-Gustafsson duo LP Sinners, Rather than Saints (No Business, 2009) with slap-tongue drawn into burred lines. Jamming mallets and objects into the strings, Guy’s pizzicato solo sounds more like a brutish take on prepared piano a la Juan Hidalgo or the Swedish guitar wizard Christian Munthe. As the saxophonist reenters and tries to find a matching cadence, it sounds more akin to a drunken clamber. But the trio’s empathy is borne out through steadfastness as“wrong-ish” notes and phrases become “right.” Dogged volleys are rhythmic through lungpower and athleticism, glossolalic screams granted a workmanlike search as Strid and Guy maintain a toe-tapping rigor. There’s a winsome quality to the bassist’s upper-register strums alongside Gustafsson’s simple closing phrases, which recall Archie Shepp’s protest-pastoral “There is a Balm in Gilead.” This performance alone is worth the price of the set.

Taking two 20-minute slices out of an 85-minute set might seem disingenuous, but there’s so much music on offer here that giving it all away in platitudes seems more unfair. It’s worth noting again that a significant swath of Gustafsson’s work of the last several years has been wrapped in lung-busting machismo, tight t-shirts and wagging tongues alongside free-jazz covers of punk rock tunes. That music has its own attraction — outdoing PJ Harvey on “Who the Fuck,” for instance — but without denigrating the world-class improvisation that goes on in The Thing, Fire, and other groups, the Tarfala Trio embraces subtlety as much as it does the full-bore. There are snatches of jazz, or maybe the whole thing is “jazz,” depending on how open your definition of the music is — danger, excitement, love, and knowledge, where the only preordained structure is empathy.

Siegfried Kessler, Jean-Francois Pauvros - Phenix 14 (LP-1979)

Genre: Jazz / Free Jazz | Total Time: 42:07 | Size: 236.56 MB | FLAC
Side A
A1 - Danse Du Stampe .... 5:08
A2 - Reve D'un Vol .... 6:32
A3 - Pizzicato D'antennes .... 2:02
A4 - Rock 83,000 Pieds D'altitude .... 3:15
A5 - Swinging S.K. 13, Swagin' Cap 10 .... 4:10

Side B
B1 - Espace Cathédrale .... 7:18
B2 - Chant Du Bijave .... 4:17
B3 - Cumulo-Nimbus .... 3:00
B4 - Phenix Re-naissance .... 5:32

Siegfried Kessler – clavinet, organ, piano
Jean-François Pauvros – electric guitar [Jacobacci]

Label: Le Chant Du Monde – LDX 74706
Format: Vinyl, LP, Album / Country: France / Released: 1979
Style: Experimental, Free Improvisation, Free Jazz
Recorded at studio Solaris, Paris, France, July 13 & 14, 1978.
Photography – Siegfried Kessler
Layout – Anne-Marie Dufour
Recorded By – Armand Friedman, Dominique Pauvros
Matrix / Runout (Side A Label): XC1I 74706 A
Matrix / Runout (Side B Label): XC1I 74706 B

Pauvros, a well-known avant garde guitarist composer & performer. He met and plays since the early 70s with the most renown musicians (Ted Milton/Blurt, Arto Lindsay/DNA, Elliot Sharp/Carbon). Part of Catalogue with Jac Berrocal and Gilbert Artman (Lard Free & Urban Sax). Siegfried Kessler played with numerous artists and namely Yochk'o Seffer. Considered as one of the most brilliant pianists of his time...

There are several ways to master the fear of emptiness. In music, it is alone with his instrument that reveals the most pressing. But improvisation, that moment of weightlessness happiness that rewards long years of work sometimes turns into minutes of boredom, ecstasy or shame. To master the fear, you have to let go as they say in TV-hooks fashionable to jump naked into the mouth of the ogre. The vacuum also dominates the amateur aerobatics. At the helm of the cuckoo, there is then no question of improvisation for the pilot, everything seems thought studied as a tool for each function, dials numbers, a broom handle and so many other things to handle. A calm and control force, he will fly to the worst in gravity-defying acrobatics. Improvisation and technology, pushed to their limits are rare, and when these two qualities are found in one man, it borders on the fantastic.

 Siegfried Kessler, German pianist and installed in France was this rather special timber, a fanatic aerobatics, a real, to the point that will make a record, at a time when the talent still allowed some daring. Phenix 14 is thus a recueuil impressions, music and freely inspired tensions aircraft, air, metal and unequal fight that they indulge without respite.

Accompanied by Jean-François Pauvros on guitar, the unlikely duo resembles one of those improbable cinema alloys where the two heroes who oppose eventually best friends. With his mop to Tahiti Bob and small glasses Pauvros like a conscientious objector all ready to be lectured by Kessler sergeant with his steely gaze and his aviator outfit is furiously thinking about a guy that must not do shit too. But the music of the two men, instinctive to excess, boiling, simmering ( "Pizzicato antenna"), energetic, it is nothing artificial, she speaks from heaven and she talks to you in the guts.

The large gap also does not stop the protagonists. The musical journey of Siegfried Kessler capable alongside Didier Levallet both of the free bold as to accompany the classic singer Jacques Bertin, and always on the very institutional and exciting label "Le Chant du Monde" that will given the words to all music and all the revolts that these carting behind. Excellence at the service of more or less popular singers of that time seems to be the witness of a bygone era where human connections flouted labels of all kinds. In the same vein, we think Francois Beranger who played in all relaxation alongside the great guitarist Jean-Pierre Alarcen (and vice versa) yet it it offended anyone. And deeper still, this absolutely free music made the big difference...

The album concludes with Phenix Rebirth, exciting piece, torn between the two musicians. Remove the guitar, he still plays some contemporary Kessler notes, remove the piano, there remains a sticky guitar solo, violent, but together the great voodoo operates.

Rova - The Crowd-For Elias Canetti (2LP-1986)

Genre: Jazz / Free Jazz | Total Time: 1:19:01 | Size: 665.66 MB | FLAC
Side A
A1 - Terrains .... 16:30

Side B
B1 - Room .... 10:35
B2 - Knife In The Times, Parts 1 + 2 .... 6:30

Side C
C1 - Knife In The Times, Parts 3-8 .... 22:50

Side D
D1 - The Crowd .... 19:30
D2 - Sport .... 3:00

Andrew Voigt – alto saxophone, clarinet
Jon Raskin – baritone saxophone, alto saxophone
Bruce Ackley – soprano saxophone
Larry Ochs – tenor saxophone, soprano saxophone

Label: Hat Hut Records – hat ART 2032
Format: 2 × Vinyl, LP, Album
Country: Switzerland
Released: 1986
Style: Avantgarde Jazz, Free Jazz, Free Improvisation
Album was recorded in a French studio while on tour in 1985.
Design – Walter Bosshardt
Photography By – Hans H. Kumpf
Recorded by – Peter Pfister
Mixed and edited by – Peter Pfister, Larry Ochs
Packaging concept by Werner X. Uehlinger
Produced by Pia and Werner X. Uehlinger
? + © 1986 Hat Hut Records Ltd.

Rare vinyl 2LP box set, ROVA – The Crowd - for Elias Canetti, Hat Art 2032, is an out of print. This is Swiss press 1986.

Originally constructed as a much longer piece for a commission by composer John Adams for the Bay area saxophone quartet to perform a concert of original material, this shorter, tighter version was heavily influenced by the writings of Nobel laureate Elias Canetti's works. Most notably, his classic sociological text Crowds and Power. This album was recorded in a French studio while on tour in 1985. How a book about the fascistic implications of crowds, their organization, circumstances surrounding their coming into being, and how they are manipulated from outside their framework and a musical work of this size and statue have anything in common is a guess for anyone who hasn't absorbed both sources. But it doesn't matter. The Crowd was a turning point for the original ROVA, which still contained Andrew Voigt. From the freewheeling excesses of their earlier recordings on Meta Language and the more structural framework for improvisation employed on their Soviet tour of 1983 to this piece, ROVA had become a finely tuned machine. The Crowd is seamless in both composition and execution after the first few minutes that is "Sport," and directly into the nearly 20-minute title work it becomes impossible for the listener to know what was written and what was improvised. Certainly each member of this group solos, but it is the simultaneous improvisation and the harmonic texture of the composition itself that winds and weaves its way not only though different musical territory (there is even a section that nods toward Adams and Philip Glass), but diverse emotional ground is covered as well. To call this music "jazz" would be both accurate and a mistake, for it is both entirely jazz and not at all; to call it "free music" or "new music" would be just plain lazy and stupid; to call this ROVA music would make sense. From swing to Baroque quotations to minimalist serialism, free jazz, Herbie Nichols, Thelonious Monk, and even ragtime, the Crowd contains every kind of human voice, all together but as separate beings, just like those in Canetti's book. Where they are separate, however, is in the multivalent language they express and signify: As a group, or a "crowd," ROVA uses a self-created language to express the needs of each of its individual players, all borrowing and lending from one another as ideas or structural framework dictate. In Canetti's book, the individual is consumed within the frightening crowd, no longer conscious at all of her or his own motives, but only there to serve the ends of power. That ROVA can mirror this sentiment and thought process so well with a recording is a phenomenal thing, that they can do it and make it a joy to listen to an encounter without knowledge of the original work is what made them so special at the time they recorded this. Bravo.

Elias Canetti / Crowds and Power, a masterwork of philosophical anthropology.
(Nobel Prize in 1981).

Crowds and Power is a revolutionary work in which Elias Canetti finds a new way of looking at human history and psychology. Breathtaking in its range and erudition, it explores Shiite festivals and the English Civil war, the finger exercises of monkeys and the effects of inflation in Weimar Germany. In this study of the interplay of crowds, Canetti offers one of the most profound and startling portraits of the human condition.
The style is abstract, erudite, and anecdotal, which makes Crowds and Power the sort of work that awe some readers with its profundity while irritating others with its elusiveness. Canetti loves to say something brilliant but counterintuitive, and then leave the reader to figure out both why he said it and whether it's really true.

Michel Portal Unit - A Chateauvallon-No, No But It May Be (LP-1973)

Genre: Jazz / Free Jazz | Total Time: 44:26 | Size: 345.12 MB | FLAC
Side A
A1 - No, No, But It May Be .... 19:46

Side B
B1 - No, No, But It May Be (2e T.) .... 24:30

Michel Portal: clarinets, bass, double bass, alto & sopranino sax, taragot
Bernard Vitet: trumpet, horn, violin
Léon Francioli:  double bass
Beb Guérin: double bass
Pierre Favre: percussions
Tamia: vocal

Label: Le Chant Du Monde – LDX 74526
Format: Vinyl, LP, Album, Repress, Gatefold / Country: France / Released: 1973
Style: Free Jazz, Contemporary Jazz, Free Improvisation
Recorded live at Châteauvallon, August 23, 1972.
Design – Henri Galeron
Photography By – Guy Le Querrec
Engineer – Bruno Menny, Jean-Bernard Plé
Supervised By [Recording] – André Francis
Executive Producer – Daniel Richard
Matrix / Runout (Side A Label): XWG 74526 A
Matrix / Runout (Side B Label): XWG 74526 B

 Rare LP, French Press only; this record : 271 grams + package weight : 250 grams

...One of the artists that incorporates that huge creative streak, goes by the name of Michel Portal and those who minimally know his music, are aware of his constant search for new sounds, taking advantage of his provocative attitude to motivate himself towards new horizons...
In the autumn of 1973 by the Chant du Monde, the concert Michel Portal Unit to A Châteauvallon upset many minds and inspired a generation of French musicians.

 Michel Portal, born in 1935 (Bayonne, France) stands out as a composer, clarinetist and saxophonist, while several other instruments like the bandoneon (small accordion) are also part of his repertoire.
In addition to having studied clarinet at the Paris Conservatoire, he also studied conducting with Pierre Dervaux, which would give him a solid background for future projects.
The diversity (or dissatisfaction) is present over a considerable part of the career of this unusual artist. Apart from multi-instrumentalist, also when it comes to musical genres, Portal has whittled different ways throughout his extensive career.
His musical anarchist tendencies revealed in different ways: in the participations with Stockhausen in the late 60s, the award-winning movie soundtracks and the reference pieces of contemporary or classical music, such as the remarkable participation as soloist in “Domaines” of Pierre Boulez.
But despite his artistic diversity, one of the labels he cannot get rid of, is the “father of the French modern jazz”, being considered by many as one of the architects of modern jazz and improvised music in the old continent. This reputable title comes from the fact that he participated in the initial phase of the free jazz movement in France (late 60’s) with musicians such as François Tusques, Bernard Vitet or Sunny Murray.
With the aim of promoting instant composition and collective improvisation, Portal still formed the “New Phonic Art” (1969) and developed a strong partnership with John Surman (first record of the Michel Portal Unit, created in 1971).

 “No, no but it maybe” was recorded in Chateauvallon on August 23, 1972 during a live performance. The recording by ORTF (Office de Télévision Française Radiodiffusion) had its first edition by the extinct “Chant du Monde”.
This session of about 45 minutes of pure listening pleasure, has no line-up or separation of tracks; only the magic of improvised music interpreted with great mastery.
Despite this excellent work having on the soils of Michel Portal and Bernard Vitet (who died on July 3, 2013) the main protagonists, the other elements of this group have an equally important contribution in creating pieces of great richness.
The first part presents us a deep atmosphere, marked by the rhythm of the bass and the interventions of Portal and Vitet on the reeds and horns. The percussion (Pierre Favre) and the double-bass with bow (Beb Guerin, Léon Francioli) also join this exclusive creation, conveying the idea of a natural atmosphere that grows in rhythmic intensity until its end.
The B side, in a something obscure and enigmatic line (with influences of movie soundtracks) includes a beautiful performance of targot (instrument of clarinet family) whose intriguing sounding triggers some vocal interventions (cries and whimpers) by way of incentive. While a tribal and theatrical sound develops in intensity, joins Tamia’s voice by way of scat-singing.
The instrumental diversity used throughout this session is extremely well coordinated, revealing the individual conscience of each element in favor of the collective sound, even in the case of an exercise of pure improvisation. Perhaps that’s why the name (Michel Portal) “Unit” makes some sense.
Given the difficulty in describing in words the result of this work, it is particularly important to hear it and feel it and therefore, no hesitation in recommending this work to all who are interested in the European free jazz movement.

With almost 80 years of age, Michel Portal continues active and although no longer recording with the regularity of the past, he continues to incorporate in his music a contagious energy. His last works alternate between Jazz (Bailador, 2010) and interpretations of classical composers like Mozart or Brahms. As for his next work, nobody knows, but will certainly have the stamp of innovation and excellence that this great artist has used throughout his career of over 45 years.


Zoot Sims - Choice (1961)

Genre: Jazz, Cool | Total Time: 34:18 | Size: 79.01 MB | MP3 320 kbps
01. A1. I'll Remember April (4:15)
02. A2. Flamingo (2:15)
03. A3. There Will Never Be Another You (5:00)
04. A4. Red Door (7:00)
05. B1. You're Driving Me Crazy (4:47)
06. B2. Brushes (6:30)
07. B3. Choice Blues (4:30)

Zoot Sims - Tenor Saxophone;
Bobby Brookmeyer (tracks: A1, A2, A4), Russ Freeman (tracks: B1 To B3) - Piano;
Gerry Mulligan (tracks: A2, A3) - Baritone Saxophone;
Jon Eardley (tracks: A2) - Trumpet;
Bobby Brookmeyer (tracks: A3) - Valve Trombone;
Billy Bean (tracks: B1), Jim Hall (tracks: B2, B3) - Guitar;
Monte Budwig (tracks: B1 To B3), Red Mitchell (tracks: A1 To A4) - Bass;
Larry Bunker (tracks: A1 To A4), Mel Lewis (tracks: B1 To B3) - Drums.

Side 1 recorded during a concert in San Diego, California, December, 1954.
Side 2 recorded Hollywood, California, March, 1959.

Label: Pacific Jazz Records – PJ 20 (US 1961) / Pacific Jazz – TOCJ-9422 (Japan 2002)

Tony Bennett - On Holiday (1997)

Genre: Jazz | Total Time: 58:56 | Size: 273.04 MB | FLAC
01. Solitude
02. All of Me
03. When a Woman Loves a Man
04. Me Myself and I (Are All in Love with You)
05. She's Funny that Way (I Got a Woman Crazy for Me)
06. If I Could Be with You (One Hour Tonight)
07. Willow Weep for Me
08. Laughing at Life
09. I Wished on the Moon
10. What a Little Moonlight Can Do
11. My Old Flame
12. That Ole Devil Called Love
13. Ill Wind (You're Blowin' Me No Good)
14. These Foolish Things (Remind Me of You)
15. Some Other Spring
16. Crazy She Calls Me
17. Good Morning, Heartache
18. Trav'lin' Light
19. God Bless the Child (duet with Billie Holiday)
Personnel includes: Tony Bennett, Billie Holiday (vocals); Ralph Sharon (piano); Count Basie.

Tony Bennett's "duet" with Billie Holiday was created with recording studio overdubbing techniques using a previously released recording.

TONY BENNETT ON HOLIDAY won the 1998 Grammy Award for Best Traditional Pop Vocal Performance. "God Bless The Child" was nominated for a 1998 Grammy for Best Pop Collaboration With Vocals.

As his contemporaries fade into the past, Tony Bennett remains the primary exponent of popular American song in the second half of the twentieth century. His vibrant, assured style is undiminished by time, and the added wisdom of his years as a song stylist has made his recent recordings even richer. In the tradition of his Frank Sinatra tribute, PERFECTLY FRANK, TONY BENNETT ON HOLIDAY is a collection of songs made popular by the great godmother of the torch song, Billie Holiday.

Backed by his longtime musical accomplice, pianist Ralph Sharon, and augmented on some cuts by a string section, Bennett interprets Holiday-associated material like "Trav'lin' Light" and "Laughing At Life." Many cuts receive a simple piano-and-vocal arrangement that allows pianist Sharon to strut his stuff as well as showing off the intimate nooks and crannies of Bennett's rich voice. Bennett's version of "Willow Weep For Me" is a standout by virtue of the shimmering whisper he uses to deliver the lovelorn ballad. At this point, Frank Sinatra's favorite singer seems incapable of releasing a poor album. In deference to Mr. Bennett's overwhelming artistry, we won't even mention the overdubbed duet with Holiday on "God Bless The Child."

Liner Note Author: Ralph Sharon.

Personnel: Billie Holiday (vocals).

Producers: Tony Bennett, Danny Bennett, Phil Ramone.

Audio Mixers: Joel Moss ; Rob Eaton.

Recorded at Clinton Recording Studios, National Edison Recording Studios and Sound on Sound, New York, New York. Includes liner notes by Ralph Sharon.

Recording information: Clinton Recording Studios, New York, NY (1996); National Edison Recording Studios, New York, NY (1996); Sound on Sound, New York, NY (1996).

Photographer: Nigel Parry.

Peter Zak - Standards (2015)

Genre: Jazz | Total Time: 1:08:48 | Size: 152.01 MB | MP3 320 kbps
1. Moon And Sand 7:57
2. I Loves You Porgy 7:17
3. The Night Has A Thousand Eyes 5:50
4. I Had The Craziest Dream 5:38
5. So In Love 6:49
6. The Star. Crossed Lovers 7:26
7. I'm All Smiles 7:09
8. The Very Thought Of You 6:55
9. Wives And Lovers 7:46
10. Indian Summer 6:09
Label – SteepleChase

Peter Zak - piano
Jay Anderson - bass
Billy Drummond - drums
Peter Zak presents himself here as a pianist in his inherently natural format of a piano trio performing “Standard” tunes.
Michael Bailey of AAJ commented on Zak’s previous release The Disciple that “… The smarter artists, like Zak, add a program or theme to their recordings, something that gives an otherwise disparate collection of pieces some continuity or integrity.”
The program or theme on this album is the standards interpreted and performed for here and now in order to give them a lasting life.

Nancy Hamilton - Dreamsville (2016)

Genre: Jazz Vocals | Total Time: 37:06 | Size: 84.75 MB | MP3 320 kbps

01. Slow, Hot Wind (4:48)
02. Invitation (5:13)
03. Soul Eyes (2:33)
04. Dreamsville (3:57)
05. Maybe September (3:36)
06. Out Of This World (3:35)
07. Baltimore Oriole (5:42)
08. Mr Lucky (3:41)
09. Love Came On Stealthy Fingers (4:02)

Nancy Hamilton is a vocalist cut from the old cloth, delivering jazz vocals old school.
Her voice is a rich, sultry contralto that instantly recalls smoke-filled jazz bars in dark basements in the heyday of jazz. Although her voice has a beautiful tone, she is not simply a pretty voice. Nancy discovers great gems in the jazz repertoire and gives them a good polish, and a brand new sound. There is always a sense of adventure and exploration, but always a cool control, as different corners of a tune are brought to light.

Michael Weiss - Milestones (2000)

Genre: Jazz | Total Time: 1:03:07 | Size: 142.23 MB | MP3 320 kbps
1. Milestones
2. Wave
3. Walter Davis Ascending
4. Just One of Those Things
5. Little Melonae
6. Buffalo
7. Like Someone in Love
8. Love for Sale
9. Stella by Starlight

Personnel: Michael Weiss- piano, Paul Gill- bass, Joe Farnsworth- drums
One of many yeoman New York musicians who goes about his work without much fanfare, pianist Michael Weiss is certainly one of the city's finest despite his low profile. Since 1981, he has been an active jazz educator and musician who has spent time with such masters as Art Farmer, Johnny Griffin, and Junior Cook. With only two previous albums under his own name available (one for Criss Cross and another for DIW/Disc Union), the release of this new SteepleChase disc is a valuable addition to Weiss' catalog. A modest trio affair with bassist Paul Gill and drummer Joe Farnsworth (both currently backing singer Diana Krall), Milestones easily qualifies as an excellent example of the art of piano trio jazz.

A set of standards provides the fodder for Weiss and crew, with the debut of Jackie McLean's "Walter Davis Ascending" thrown in for good measure. Jobim's "Wave" receives a most venerable and engaging makeover, with Farnsworth's supple Latin groove providing a charged impetus for Weiss' string of incendiary choruses. Kenny Dorham's "Buffalo" also proves to be an astute choice for investigation with Weiss laying down the blues with aplomb. Both McLean's "Little Melonae" and "Just One of Those Things" provide high octane bebop and further proof that Weiss is a multi-talented player capable of undertaking any style or genre. Contributing to the overall success of this affair are the efforts of Gill and Farnsworth. The former is surely one of the brightest of up-and-coming bassists, while the latter has already caught the ears of anyone in touch with the current scene due to his highly musical and complimentary drumming. If there's one disappointment, it might be that the other standards are not quite as creatively altered as the aforementioned highlights, allowing a touch of sameness to creep in towards the end of the disc. That aside, however, there's enough engaging material here to more than push this one over the top and send it off with a solid recommendation.

Kenny Wheeler & John Taylor - One The Way To Two (2015)

Genre: Jazz | Total Time: 44:37 | Size: 105.13 MB | MP3 320 kbps
01. Canter#2
02. Fedora
03. Sketch No. 1
04. Quiso
05. Who Knows?
06. Sketch No. 2
07. Clore To Mars
08. Fortune's Child
09. Sketch No. 3
10. Flower Is A Lovesome Thing

John Taylor - Piano
Kenny Wheeler - Trumpet, Flugelhorn

Recorded and mixed in Ludwigsburg on 21 - 22 March 2005 at Bauer Studios.

Kathryn Hettel - Cookin' In The Kitchen With Dinah: A Tribute To Dinah Washington (2016)

Genre: Jazz / Blues Vocals | Total Time: 1:03:03 | Size: 146.51 MB | MP3 320 kbps
01. Good Daddy Blues (4:22)
02. Showtime (3:20)
03. Fat Daddy (3:22)
04. You Don't Know What Love Is (4:22)
05. I Don't Hurt Anymore (3:22)
06. Blow Top Blues (3:26)
07. Birth Of The Blues (3:50)
08. Since I Fell For You (3:24)
09. Baby Get Lost (2:56)
10. Bad Luck (3:09)
11. Gamblers Blues (3:14)
12. I'll Never Be Free (4:10)
13. Soulville (2:51)
14. Salty Papa Blues (3:06)
15. Stormy Weather (5:49)
16. Bad Case Of The Blues (4:44)
17. This Bitter Earth (3:38)
Kitchen Crew = Darrius Willrich – Piano & Keyboards, Patrick McDanel – Bass, Rick J Bowen – Drums, Kevin Andrew Sutton- Guitars.
Washington Horns= Brian Kent –Tenor sax, Naomi Siegel –Trombone, Jacob Zimmerman-Alto sax, Kevin Sieley –trumpet. Tony Degrasso-Trumpet.

Recorded and mixed by Steve Feasley at Contact Create, Snohomish and Love Studios, Seattle
Cookin' In The Kitchen with Dinah: A Tribute To Dinah Washington. The third album by Northwest vocalist Kathryn Hettel is a collection of her favorite songs from the iconic Dinah Washington. Spanning genres of Jazz, Blues, Pop and Soul. The album pays loving tribute to "The Queen,' as well as expands on the sounds from her repertoire. The album was a three year project in which Hettel and her co-producers, Engineer Steve Feasely and Drummer Rick J Bowen, saw to fruition an idea hatched a decade previous. Kathryn has been singing Dinah's songs for years always striving to emulate the sass and style of Dinah. In 2014 a skilled rhythm section of Darrius Willrich on Piano & Keyboards, Patrick McDanel Bass, Rick J Bowen on Drums, and guitarist Kevin Andrew Sutton laid down the basic tracks. Arranger Charles Hiestand created charts inspired by the original recordings and a horn section and real strings were brought in and new elements such as vibes, Harmonnica, Hammond B3 and pedal steel expand the sound of the time tested songs. Old friend and fellow lady of the blues Mary McPage joined Kathryn for a saucy duet and the album closer 'This Bitter Earth,' finds our star revealing as much as any artist would dare. Cooking In the Kitchen is truly a labor of love that Kathryn Hettel and her team are thrilled to share. *Kitchen Crew = Darrius Willrich – Piano & Keyboards, Patrick McDanel – Bass, Rick J Bowen – Drums, Kevin Andrew Sutton- Guitars. Washington Horns= Brian Kent –Tenor sax, Naomi Siegel –Trombone, Jacob Zimmerman-Alto sax, Kevin Sieley –trumpet. Tony Degrasso-Trumpet. Charts and Horn Arrangements by Dr. Charles Hiestand Recorded and mixed by Steve Feasley at Contact Create, Snohomish and Love Studios, Seattle Mastered by Ed Brooks at RFI, Seattle Produced by Steve Feasley and Rick J Bowen Executive Producer Kathryn Hettel

Judy Renaud & Eddie Tobin - When Love Comes Around The Corner (2016)

Genre: Jazz Vocals | Total Time: 1:00:03 | Size: 138.14 MB | MP3 320 kbps
01. I'll Remember April (3:37)
02. What Are You Doing The Rest Of Your Life (6:23)
03. Over The Rainbow (6:28)
04. East Of The Sun (3:25)
05. Midnight Sun (7:06)
06. I Will Wait For You (5:03)
07. You Are My Sunshine (3:47)
08. The Frim Fram Sauce (3:25)
09. Maybe You'll Be There (5:28)
10. Out Of This World (5:25)
11. Smile (3:44)
12. When Love Comes Around The Corner (6:12)
"Some say, Doris Day - Some say, Diana Krall - You'll say, Judy Renaud - is Timeless!" What a nice quote from a great fan.

What a fun time it was having some of my best friends with me at the studio while Eddie and I were recording this album. Sharing the experience with them made it all that much more special for me. And to my husband, Tom, thank you for supporting me with patience and love in this effort to fulfill one of my dreams. "What Are You Doing The Rest Of Your Life" is for you. Love you forever.

And for my sons who have provided me with so much joy and excitement and love over the years I want to dedicate these three songs. “You Are My Sunshine" is for you Danny. You have always been my sunshine and always will be. For Jack Allen, it's "Over The Rainbow." You are already there son – I miss you so much. For Ronnie it's "Smile" just because it fits. Love you guys so much.

And without my great friend, Eddie Tobin, this recording never would have happened. Over the past few years you have shared yourself and your magical music and knowledge with me in so many ways, always giving me what I need whether you are playing or arranging for me and always challenging me to stretch and grow musically in all ways. You are an amazing talent and friend whom I am grateful and honored to spend time with professionally and personally. My world is a little bigger and brighter because of you. You know you own a very special corner of my heart and my soul. Thank you for letting me play in the corners of your sandbox my friend.

I wrote "When Love Comes Around The Corner" as a result of the love and encouragement from all of you. Love has come around so many corners in so many ways in my life. I am truly grateful for it all. I hope we have provided some enjoyable and thoughtful songs that might touch you with love and bring back some memories from your own lives. I do smile a lot. It just doesn't get any better than this! Thanks for listening! ~Judy Renaud

In everyone's life there comes a time when you meet special people. They may be artists, athletes, educators, friends or the person in your life that you marry. Judy and Tom are two of those special people. They are friends and musicians.

This is Judy's album with me accompanying. It was an opportunity to play solo piano with a lady who can beautifully sing a melody and create and bring out many nuances that the composer may or may not have thought about. That's jazz. She has a tone that makes you smile!

I must thank Bud, our recording engineer at The Spirit Ranch Studio. He is a real gentleman and awesome engineer. It is always a pleasure to do any kind of project with him. Way to go, Bud!

I am happy that we recorded these songs. It's voice and piano with a few strings added sparingly. It came out quite nicely and I really enjoy listening to the performances. Hope you all enjoy the album.

Humphrey Lyttelton - Georgia Mae (1974)

Genre: Jazz | Total Time: 41:39 | Size: 95.48 MB | MP3 320 kbps
1.In Swinger (7:52)
2.Toot'n In Kamen (4:38)
3.Talk Of The Town (7:04)
4.One For Buck (2:39)
5.Harry Looyah (4:38)
6.St. Louis Blues (6:02)
7.The New Bad Penny Blues (6:22)
8.Georgia Mae (2:30)

Label: Pastels CD 20.1623

Humphrey Lyttelton - trumpet
Kathy Stobert - tenor sax
Bruce Turner - alto sax & clarinet
Mike Pyne - piano
Dave Green - bass
Tony Mann - drums

Holly Cole Trio - Don't Smoke in Bed (1993)

Genre: Jazz | Total Time: 44:46 | Size: 103.35 MB | MP3 320 kbps
1. I Can See Clearly Now
2. Don't Let The Teardrops Rust Your Shining Heart
3. Get Out Of Town
4. So And So
5. The Tennessee Waltz
6. Everyday Will Be Like A Holiday
7. Blame It On My Youth
8. Everything I've Got
9. Je Ne T'Aime Pas
10. Cry (If You Want To)
11. Que Sera Sera
12. Don't Smoke In Bed
Personnel: Holly Cole (vocals); David Lindley (steel guitar); Bryan Epperson, Mihai Tetel, Martin Loomer, Young Dae Park, Christopher Redfield, Mark Skazinetsky, Simon Fryer, Charles Elliot , Mary Carol Nugent, Nicole Zarry, Katherine Palyga, Joel Quarrington, Atis Bankas, Carol Fujino, Paul Meyer, Susan Lipchak, Mark Sabat (strings); Howard Levy (harmonica); Art Avalos (saxophone, percussion); Joe Henderson (saxophone); Aaron Davis (piano); David Piltch (percussion).
Holly Cole explores a number of styles on her second album, Don't Smoke in Bed, without overreaching her grasp. Adding pop, blues, country, and a French ballad to her standard, low-key jazz, Cole demonstrates that not only does she have impeccable taste, but she has the talent to make all of the material sound convincing.

Count Basie, Zoot Sims - Basie & Zoot (1975)

Genre: Jazz | Total Time: 47:24 | Size: 113.85 MB | MP3 320 kbps
01. I Never Knew (Fio Rito, Ted Fiorito) (4:38)
02. It's Only a Paper Moon (Harold Arlen, E.Y. Harburg, Billy Rose) (5:33)
03. Blues for Nat Cole (Count Basie, Zoot Sims) (6:32)
04. Captain Bligh (Count Basie, Zoot Sims) (6:36)
05. Honeysuckle Rose (Andy Razaf, Fats Waller) (6:23)
06. Hardav (Count Basie, Zoot Sims) (4:41)
07. Mean to Me (Fred E. Ahlert, Roy Turk) (6:30)
08. I Surrender, Dear (Harry Barris, Gordon Clifford) (6:05)

Count Basie - Piano, Organ;
Zoot Sims - Tenor Sax;
John Heard - Bass;
Louie Bellson - Drums.

Recorded at RCA Studios, New York, April 9, 1975.

Label: Original Jazz Classics – OJCCD 822-2 (US 1994)

Chris Barber - Concert '80 (1980)

Genre: Jazz | Total Time: 57:32 | Size: 131.68 MB | MP3 320 kbps
1.Royal Garden Blues (7:37)
2.Wabash Blues (5:49)
3.Ha-Ha-This-A-Way (1:56)
4.Sweet Sue (3:57)
5.Ain't Misbehavin (7:21)
6.We Shell Walk Through The Streets Of The City (3:44)
7.Down By The Riverside (3:31)
8.Oh Baby (Patocake Blues) (6:13)
9.Alligator Hop (2:47)
10.Tiger Rag (3:44)
11.Come Friday (5:40)
12.Ice Cream (5:13)

Live In Dusseldorf 1980

Chris Barber - trombone
John Crocker - reeds
Pat Halcox - trumpet
Ian Wheeler - reeds
Johnny McCallum - guitar & banjo
Roger Hill - guitar
Vic Pitt - bass
Norman Emberson - drums

Bob Mintzer & Gil Goldstein - Longing (1995)

Genre: Jazz | Total Time: 56:06 | Size: 130.72 MB | MP3 320 kbps
01. Overlap (Bob Mintzer) (5:19)
02. Jaco (Gil Goldstein) (5:27)
03. Angelique & Ellen (Gil Goldstein) (5:40)
04. Comotion (Bob Mintzer) (5:46)
05. Longing (Bob Mintzer) (6:12)
06. Your Story (Bill Evans) (5:42)
07. What's The Word (Bob Mintzer) (4:23)
08. Two To Tango (Bob Mintzer) (4:00)
09. Three Little Initials (Gil Goldstein) (5:56)
10. Everything Happens To Me (Matt Dennis, Tom Adair) (7:18)

Bob Mintzer - Tenor Sahophone, Bass Clarinet;
Gil Goldstein - Piano, Accordion;

Recorded at Carriage House Studio, Stamford, Connecticut March 20, 1995.

Label: Sunnyside Communications – SSC 3517 (US)

Barbara Dennerlein - My Moments: Live On Hammond & Pipe Organ (2016)

Genre: Jazz | Total Time: 1:11:37 | Size: 165.94 MB | MP3 320 kbps
01. Blues In The Pipeline (Live) ( 9:49)
02. Sensitivity ( 7:33)
03. Black And White ( 5:04)
04. Southern Funk ( 5:34)
05. Frog Dance (10:04)
06. Fantasia Acusticum ( 9:11)
07. Blues In The Pipeline ( 6:48)
08. Symphony In Minor (11:34)
09. Get It On ( 6:01)

Pure magic! Flying hands and feet! An amazing Jazz concert like you never experienced before at both, the Hammond and the pipe organ in a unique concert hall, the Studio Acusticum in Piteå/Sweden. Explore all the wonderful sound details of the Hammond organ with footpedal bass providing acoustic bass samples and the mighty and colorful pipe organ in this unique solo performance.

Perhaps only once in a generation or two, a musician emerges whose talent, skill and innovation takes virtuosity on their chosen instrument to a level never seen or heard before. Barbara Dennerlein is such a musician, and the organ, both the Hammond B3 and the Pipe Organ, are her instruments.

Her CDs have won numerous awards, including the German Record Critics Award. Barbara Dennerlein belongs to the small circle of German artists of international repute. On her recordings and in her concerts, she stands out as a member of the first liga of jazz musicians, and is regarded by her peers and her audiences alike as one of the leading representatives of her instrument, the legendary Hammond B3 and the pipe organ. Her unique style is incomparable to any other organist and she has created a totally new approach to the organ music.

It is an awe-inspiring experience to watch Barbara live on stage. As the most important and most successful German jazz export, she is familiar with large international festival stages and intimate clubs alike.

Barbara is one of the few musicians who can make the connection between different styles and audiences, building bridges between the musical past and present. She is just as familiar with the grooves of youth culture as with the listening experiences of a generation that grew up with the Hammond organ boom of the fifties. Swing, bebop, blues, soul, latin, funk and classical excursions - for Barbara there are no rigid boundaries, only fluid transitions.

Art Pepper Quintet - Live At Donte's 1968 (1968)

Genre: Jazz | Total Time: 1:49:31 | Size: 247.00 MB | MP3 320 kbps
01. Groupin' (21:46)
02. Art Pepper Introduces The Musicians (1:20)
03. Lover Come Back To Me (22:07)
04. Everything Happens To Me (13:39)

05. Cherokee (19:40)
06. Stompin' at the Savoy (21:08)
07. Blues Rock (10:19)

Alto Saxophone – Art Pepper
Tenor Saxophone – Joe Romano
Piano – Frank Strazzeri
Bass – Chuck Berghofer
Drums – Nick Ceroli

Recorded at Donte's jazz club in North Hollywood, the night of November 24, 1968.

Alexander Stein - Mint Tonic (Organ Piano Lounge) (2014)

Genre: Lounge | Total Time: 39:26 | Size: 90.72 MB | MP3 320 kbps
1. The One Is Not The Only 3:58
2. Mint Tonic 4:41
3. Late Lounge Chair 4:26
4. Blue Lounge Drink 4:14
5. Welcome Lobby 3:28
6. Jazzy Meeting Point 3:16
7. Last Sunday Drink 4:13
8. Happy Cool Year 4:20
9. Cocktail Funk 3:28
10. Friday Talk 3:22
Label - Volume0dB