Holly Cole – Baby, It’s Cold Outside (2001/2014)
FLAC (tracks) 24 bit/44.1kHz | Time – 43:12 minutes | 468 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Fidelio Technologies Inc.

Recorded in Toronto at Inception Sound Studios and McClear Digital Studios Baby, It’s Cold Outside was co-produced by Cole and her long-time accompanist, pianist Aaron Davis who also provided the dazzling orchestral arrangements for the 27-piece orchestra featured on four selections: Zat You Santa Claus, Santa Baby, Wildwood Carol, and the title track.
Also appearing on the album as core members backing Cole are: David Piltch and George Koller (bass), Mark Kelso (drums), and Brian Barlow (percussion). Baby, It’s Cold Outside possesses a diverse spectrum of seasonal emotions. It is not just Christmas favourites. It is not a bunch of chestnuts roasting on the open fire. It’s obvious by listening to it that Cole likes to poke fun at Christmas; likes to poke fun at the notion of Santa Claus; and really likes to swing with songs that have bit of sexual innuendo. There’s a lot of give-me-a-break about the album.
Cole chose Christmas songs with the same critical ear as all of her previous recordings. Not only did she take care in selecting the repertoire, but she set out to interpret them in such a fashion that they effectively are her own.

Tracklist:
1. Christmas Time Is Here 03:01
2. Baby, It’s Cold Outside 04:07
3. The Christmas Song 05:07
4. Santa Baby 04:00
5. I’ll Be Home for Christmas 03:08
6. ‘Zat You, Santa Claus 03:22
7. If We Make It Through December 03:42
8. Christmas Is 02:40
9. Wildwood Carol 02:54
10. Sleigh Ride 02:37
11. What Is This Love Fragrance? 04:22
12. Never No 02:13
13. What About Me 01:42

Personnel:
Holly Cole – Arranger, Vocals, Voices, Producer, Shaker
Brian Barlow – Percussion, Chimes, Cymbals
Guido Basso – Trumpet, Flugelhorn
Daniel Blackman – Viola
Young Dae Park – Violin
Aaron Davis – Piano, Arranger, Celeste, Conductor, Producer, Orchestral Arrangements
Vern Dorge – Saxophone
David Dunlop – Trumpet
Mark Fewer – Violin
Fujice Imajishi – Violin
John “Snakehips” Johnson – Saxophone, Wind
Johnny Lee “Jaimoe” Johnson – Flute (Alto), Saxophone, Sax (Soprano), Wind Instruments
Mark Kelso – Drums, Drums (Snare)
Audrey King – Cello
Debbie Kirshner – Violin
George Koller – Bass
Janice Lilndskoog – Harp
Ray Luedeke – Clarinet
Kathy MacLean – Bassoon
Jayne Maddison – Violin
Gord Myers – Trombone
Roberto Occhipinti – Bass, String Contractor, String Coordinator
Hyung-Sun Paik – Violin
Gary Pattison – French Horn
David Piltch – Bass, Percussion, Arranger
Terry Promane – Trombone
Ed Robertson – Vocals, Voices
Cynthia Steljes – Horn (English), Oboe
Vera Tarnowsky – Violin
Kent Teeple – Viola
Camille Watts – Flute, Piccolo
Julia Wedman – Violin
Kirk Worthington – Cello

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Horace Silver – Horace Silver Quintet (1954/2014)
FLAC (tracks) 24 bit/192kHz | Time – 23:37 minutes | 836 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Blue Note Records
Recorded: December 13, 1954 at Van Gelder Studio in Hackensack, NJ.

Horace Silver and the Jazz Messengers is a 1955 album by jazz pianist Horace Silver with drummer Art Blakey and the Jazz Messengers. It was an important album in the establishment of the hard bop style, and was the studio first album released under the band name The Jazz Messengers, which Blakey would use for the rest of his career. Scott Yanow on Allmusic describes it as “a true classic”. Originally released as an LP, the album has subsequently been reissued on CD several times.

From the perspective of the early 2000s, it is clear that few jazz musicians have had a greater impact on the contemporary mainstream than Horace Silver. The hard bop style that Silver pioneered in the ’50s is now dominant, played not only by holdovers from an earlier generation, but also by fuzzy-cheeked musicians who had yet to be born when the music fell out of critical favor in the ’60s and ’70s.
Silver’s earliest musical influence was the Cape Verdean folk music he heard from his Portuguese-born father. Later, after he had begun playing piano and saxophone as a high schooler, Silver came under the spell of blues singers and boogie-woogie pianists, as well as boppers like Thelonious Monk and Bud Powell. In 1950, Stan Getz played a concert in Hartford, CT, with a pickup rhythm section that included Silver, drummer Walter Bolden, and bassist Joe Calloway. So impressed was Getz, he hired the whole trio. Silver had been saving his money to move to New York anyway; his hiring by Getz sealed the deal.
Silver worked with Getz for a year, then began to freelance around the city with such big-time players as Coleman Hawkins, Lester Young, and Oscar Pettiford. In 1952, he recorded with Lou Donaldson for the Blue Note label; this date led him to his first recordings as a leader. In 1953, he joined forces with Art Blakey to form a cooperative under their joint leadership. The band’s first album, Horace Silver and the Jazz Messengers, was a milestone in the development of the genre that came to be known as hard bop. Many of the tunes penned by Silver for that record — “The Preacher,” “Doodlin’,” “Room 608″ — became jazz classics. By 1956, Silver had left the Messengers to record on his own. The series of Blue Note albums that followed established Silver for all time as one of jazz’s major composer/pianists. LPs like Blowin’ the Blues Away and Song for My Father (both recorded by an ensemble that included Silver’s longtime sidemen Blue Mitchell and Junior Cook) featured Silver’s harmonically sophisticated and formally distinctive compositions for small jazz ensemble.
Silver’s piano style — terse, imaginative, and utterly funky — became a model for subsequent mainstream pianists to emulate. Some of the most influential horn players of the ’50s, ’60s, and ’70s first attained a measure of prominence with Silver — musicians like Donald Byrd, Woody Shaw, Joe Henderson, Benny Golson, and the Brecker Brothers all played in Silver’s band at a point early in their careers. Silver has even affected members of the avant-garde; Cecil Taylor confesses a Silver influence, and trumpeter Dave Douglas played briefly in a Silver combo.
Silver recorded exclusively for Blue Note until that label’s eclipse in the late ’70s, whereupon he started his own label, Silveto. Silver’s ’80s work was poorly distributed. During that time he began writing lyrics to his compositions; his work began to display a concern with music’s metaphysical powers, as exemplified by album titles like Music to Ease Your Disease and Spiritualizing the Senses. In the ’90s, Silver abandoned his label venture and began recording for Columbia. With his re-emergence on a major label, Silver is once again receiving a measure of the attention his contribution deserves. Certainly, no one has ever contributed a larger and more vital body of original compositions to the jazz canon. –Chris Kelsey

Tracklist:
1. Room 608 05:21
2. Creepin’ In 07:25
3. Doodlin’ 06:45
4. Stop Time 04:06

Personnel:
Horace Silver, piano
Kenny Dorham, trumpet
Hank Mobley, tenor saxophone
Art Blakey, drums
Doug Watkins, bass

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Horace Silver Quintet – Song For My Father (1965/2012)
FLAC (tracks) 24 bit/192kHz | Time – 42:23 minutes | 1,53  GB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Blue Note Records

Recorded: October 31, 1963 (#3, 6); October 26, 1964 (#1, 2, 4, 5) at the Van Gelder Studio, Englewood Cliffs, NJ.
High Resolution Mastering by Alan Yoshida and Robin Lynn at Blanche DuBois, April 2012.

“In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you’ve set up your chaise lounge right in the middle of Rudy Van Gelder’s studio!” –Blue Note President, Don Was.

Song for My Father was a milestone recording in the illustrious career of jazz pianist Horace Silver. Recorded through two sessions, a year apart, the album boasts an impressive line-up featuring Silver’s classic band and his newly formed quintet. The charismatic jazz man delivered his sophisticated balance of lively rhythms with complex harmonies. The title track, one of his most well known compositions, has transformed into a jazz standard and heavily influenced Steely Dan’s biggest pop hit, “Rikki Don’t Lose That Number.” This essential recording remains one of Blue Noteís greatest hard bop releases, and was inducted into the Grammy Hall of Fame in 1999.

One of Blue Note’s greatest mainstream hard bop dates, Song for My Father is Horace Silver’s signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song for My Father has perhaps the most sophisticated air of all his albums. Part of the reason is the faintly exotic tint that comes from Silver’s flowering fascination with rhythms and modes from overseas — the bossa nova beat of the classic “Song for My Father,” for example, or the Eastern-flavored theme of “Calcutta Cutie,” or the tropical-sounding rhythms of “Que Pasa?” Subtle touches like these alter Silver’s core sound just enough to bring out its hidden class, which is why the album has become such a favorite source of upscale ambience. Song for My Father was actually far less focused in its origins than the typical Silver project; it dates from the period when Silver was disbanding his classic quintet and assembling a new group, and it features performances from both bands. Still, it hangs together remarkably well, and Silver’s writing is at its tightest and catchiest. The title cut became Silver’s best-known composition, partly because it provided the musical basis for jazz-rock group Steely Dan’s biggest pop hit “Rikki Don’t Lose That Number.” Another hard bop standard is introduced here in the lone non-Silver tune, tenor saxophonist Joe Henderson’s “The Kicker,” covered often for the challenge of its stuttering phrases and intricate rhythms. Yet somehow it comes off as warm and inviting as the rest of the album, which is necessary for all jazz collections — mainstream hard bop rarely comes as good as Song for My Father. –Steve Huey

Tracklist:
1 Song For My Father 7:18
2 The Natives Are Restless Tonight 6:11
3 Calcutta Cutie 8:31
4 Que Pasa 7:48
5 The Kicker 5:27
6 Lonely Woman 7:03

Personnel:
Tracks 1, 2, 4, 5:
Horace Silver – piano
Carmell Jones – trumpet
Joe Henderson – tenor saxophone
Teddy Smith – bass
Roger Humphries – drums
Tracks 3, 6:
Horace Silver – piano
Blue Mitchell – trumpet
Junior Cook – tenor saxophone
Gene Taylor – bass
Roy Brooks – drums

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Tobias Hume: Poeticall Musicke / Eric Fischer: Topographic Long Range – Marianne Muller (2010)
FLAC (tracks) 24 bit/88.2kHz | Time – 01:12:48 minutes | 1,15 GB | Genre: Classical
Official Digital Download – Source: Qobuz | © Zig-Zag Territoires , Outhere Music
Recorded: 20 au 24 juillet 2009 à l’église évangélique allemande PARIS 9

Marianne Muller – fierce player of viola da gamba, recently applauded for her outstanding interpretation of Folies d’Espagne of Marin Marais on Zig-Zag Territoires – brings us solo and consort pieces of Tobias Hume – captain and eccentric English composer of the XVII century. Committed to her instrument, Marianne Muller commissions to contemporary composers new pieces for viola di gamba…and Eric Fischer created a piece dedicated to Tobias Hume.Little is known of Hume’s life. Some have suggested that he was born in 1569 because he was admitted to the London Charterhouse in 1629, a pre-requisite to which was being at least 60 years old, though there is no certainty over this. He had made his living as a professional soldier, probably as a mercenary. He was an officer with the Swedish and Russian armies.His published music includes pieces for viols (including many solo works for the lyra viol) and songs. They were gathered in two collections, The First Part of Ayres (or Musicall Humors, 1605) and Captain Humes Poeticall Musicke (1607). He was a particular champion of the viol over the then-dominant lute, something which caused John Dowland to publish a rebuttal of Hume’s ideas.Hume was also known as a prankster, as some of his somewhat unusual compositions illustrate. His most notorious piece was “An Invention for Two to Play upone one Viole”. Two bows are required and the smaller of the two players is obliged to sit in the lap of the larger player. This work was notated in tablature and is indeed technically possible to play. His instructions to “drum this with the backe of your bow” in another piece, “Harke, harke,” constitute the earliest known use of col legno in Western music.Eric Fischer has composed more than 200 works, which range from pieces for solo instrument to symphonic form by way of every type of instrumental forces and the most diverse experiences, including chamber music, electronics, vocal works, incidental music for the theatre, improvised music and pieces for period instruments. His openness to encounters of all kinds has led to other highly unusual artistic exchanges.

Discs anthologizing Tobias Hume have appeared for almost as long as Elizabethan and Jacobean music has been recorded. Discs presenting only Captain Hume – yes he was indeed, in his youth, a soldier – are much rarer although in 1997 Naxos did produce two discs mixing instrumental works, especially the viol pieces he is best known for, with various songs (Naxos 8554126 and 554127). What makes this well-filled recording valuable and unusual is that Hume’s music is coupled with a recent work for violas da gamba by Eric Fischer. His is a new name to me but from what the booklet biographies tell us he is a very prolific composer.
The CD opens with one of Captain Hume’s most played and recorded pieces, Captain Hume’s Pavan coupled here with a brief Soldier’s Gaillard. The former is a searching and deep meditation, which can only just be considered a Pavan. This is the most expressive account of it I have ever heard and sets the CD off on the right foot for me.
There are two major collections of Hume’s music The first part of Ayres in which the above two pieces can be found. This dates from 1605 and comprises mainly but not entirely pieces for solo viol. Then there is Captain Hume’s Poeticall musicke (1607) in which can be found pieces for viol consort or more especially two or three violas da gamba. The next pieces are from that collection. What Greater Grief might remind one of passages from Dowland’s recently published Lacrimae. This piece, better known in its solo vocal version (with words like “ there is no relief in deepest woe”) comes in what is called ‘Two couplets’; melancholic second part ends the CD. Also from this collection comes The Virgin’s muse for three viols is a lengthy and intense piece in fantasia form. It is preceded by an imitative dance-like miniature for two viols possibly based on a folk melody Touch me Sweetly.
A Question and its ensuing An Answere is not like a James Naughtie question: it is short and to the point with some quite aggressive phrases. The placatory Answere is much longer, uses some of the material from A Question and grows in confidence – all quite fascinating.
Musick and Mirth is almost a madrigal for three viols with its opening contrasted ideas being repeated with typical imitation. It is in triple time but with the second contrasting idea in duple time. These two melodies are then played attractively and with imagination. Tinckeldum Twinckeldum is a triple time dance for solo viol but so cleverly written in its two registers that it almost appears to be for two viols.
One of my favourite pieces on the disc is Sweet Music for three viols set as a Pavan in three sections. Perhaps Dowland is the inspiration. It is lyrical and clearly a tune with a not overly complex accompaniment. Its predominantly major mode is especially touching. It is followed by a solo piece from the ‘Ayres’, Good Again, presumably based on a pre-existing song, with its usual double-stopping, some left hand pizzicato passages and dance measures. Do I also detect some col legno?
Eric Fischer’s Topographic Long-Range falls into eight sections. It was commissioned by Muller. The opening Premier duo is a duet. It is jazz-inspired, highly syncopated and almost a perpetuum mobile. A five movement solo viol portion follows being headed as Les Géosophiques. This challenges the performer to use several extraordinary effects which the composer in his notes lists as quarter-tone melodies, glissandos, long measured sustained notes, simultaneity of unsynchronized fluxes! “Sources”, the first movement, sounds rather nocturnal. In “Concordancia discordancium canorum” we hear the glissandi and double-stoppings. In “Medius” we have harmonics and further haunting glissandi. “De l’arupt” incorporates quarter-tone double-stops. Finally the wonderful “Coda” has some finger percussion and all kinds of pizzicato effects. There follows a second duo which is partially syncopated and jazzy but also has haunting nocturnal moments. Finally we have “Le Clepsydre”, a weird and wonderful exploitation of wispy noises for all three viols. A truly extraordinary work and one, which, much to my surprise, held my attention.
The modernist Fischer and the modernist (for his time) Captain Hume make ideal bedfellows. All of the performances are remarkably true to the composers’ intentions and wonderfully conceived and created. –Gary Higginson, MusicWeb International

Tracklist:
Tobias Hume
1. Captaine Humes Pavan
2. A Soldier’s Gaillard
3. What Greater Griefe: premier couplet
4. A Question
5. An Answere
6. Touch me sweetly
7. The Virgins Muse
8. Musicke and Mirth
9. Tinckeldum Twinckeldum
10. Sweet Musicke
11. Good Again
Eric Fischer
12. Premier duo: Rock
13. Geosophique Sources
14. Geosophique Concordancia discordancium
15. Geosophique Medius
16. Geosophique De l’abrupt
17. Geosophique Coda
18. Deuxième duo
19. La clepsydre
Tobias Hume
20. What Greater Griefe: deuxième couplet

Personnel:
Marianne Müller, Pau Marcos, Liam Fennelly – violes de gambe

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Paul Simon – Hearts And Bones (1985/2015)
FLAC (tracks) 24 bit/96kHz | Time – 00:54:28 minutes | 977 MB | Genre: Rock
Official Digital Download – Source: acousticsounds.com | © Legacy Recordings

Hearts and Bones was a commercial disaster, the lowest-charting new studio album of Paul Simon’s career. It is also his most personal collection of songs, one of his most ambitious, and one of his best. It retains a personal vision, one largely devoted to the challenges of middle-aged life, among them a renewed commitment to love; the title song was a notable testament to new romance, while “Train in the Distance” reflected on romantic discord. Elsewhere, “The Late Great Johnny Ace” was his meditation on John Lennon’s murder and how it related to the mythology of pop music. Musically, Simon moved forward and backward simultaneously, taking off from the jazz fusion style of his last two albums into his old loves of doo wop and rock & roll while also incorporating current sounds with such new collaborators as dance music producer Nile Rodgers and minimalist composer Philip Glass. The result was Simon’s most impressive collection in a decade and the most underrated album in his catalog. –William Ruhlmann

Tracklist:
1. Allergies 04:39
2. Hearts and Bones 05:39
3. When Numbers Get Serious 03:26
4. Think Too Much (b) 02:45
5. Song About the Moon 04:11
6. Think Too Much (a) 03:05
7. Train in the Distance 05:12
8. Rene and George Magritte with Their Dog After the War 03:46
9. Cars Are Cars 03:15
10. The Late Great Johnny Ace 04:53
Bonus Tracks:
11. Shelter of Your Arms (Unreleased Work-In-Progress) 03:12
12. Train in the Distance (Original Acoustic Demo) 03:14
13. Rene and George Magritte with Their Dog After the War… 03:47
14. The Late Great Johnny Ace (Original Acoustic Demo) 03:22

Personnel:
Paul Simon – guitar, programming, vocals
Rob Mounsey – synthesizer, vocoder
The Harptones – background vocals
Bernard Edwards – bass
Nile Rodgers – guitar, programming
Airto Moreira – percussion
Marin Alsop – violin
Michael Boddicker – synthesizer
Wells Christy – synthesizer, Synclavier
Tom Coppola – synthesizer, Synclavier
Al Di Meola – guitar
Gordon Edwards – bass
Steve Ferrone – drums
Steve Gadd – drums
Eric Gale – guitar
Anthony Jackson – contrabass guitar
Jill Jaffe – viola
Jesse Levy – cello
Michael Mainieri, Jr. – marimba, vibraphone, background vocals
George Marge – bass clarinet
Sid McGinnis – guitar
Marcus Miller – bass
David Nichtern – synclavier
Jeff Porcaro – drums
Dean Parks – guitar
Greg Phillinganes – piano, Fender Rhodes
Michael Riesman – synthesizer, conductor
Mark Rivera – alto saxophone
Robert Sabino – synthesizer, piano
Richard Tee – synthesizer, piano, Fender Rhodes, vocals
Carol Wincenc – flute
Frederick Zlotkin – cello
Peter Gordon – French horn
Dave Matthews – horn arrangements 

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Paul Simon – One-Trick Pony (1980/2015)
FLAC (tracks) 24 bit/96kHz | Time – 00:43:24 minutes | 804 MB | Genre: Rock
Official Digital Download – Source: acousticsounds.com | © Legacy Recordings
Recorded: 1979–1980

Though it was released to coincide with the opening of the film One-Trick Pony, which Paul Simon wrote and starred in, the One-Trick Pony album is not a soundtrack, as it is sometimes categorized, at least, not exactly. If it were, it might contain the Paul Simon song “Soft Parachutes” and other non-Simon music featured in the movie. Instead, this is a studio album containing many of the movie songs, some of them in the same performances (two were cut live at the Agora Club in Cleveland). The record is not billed as a soundtrack, but a sleeve note reads, “The music on this Compact Disc was created for the Paul Simon Movie ‘One-Trick Pony.’” Anyway, if Simon was in fact writing songs for Jonah, his movie character (as seems true of songs like “Jonah,” “God Bless the Absentee,” and “Long, Long Day”), he intended that character to take a somewhat less considered lyrical viewpoint than Paul Simon generally does, but to be even more enamored of light jazz fusion than Paul Simon had been on his last album, Still Crazy After All These Years. Tasty licks abound from the fretwork of Eric Gale, Hiram Bullock, and Hugh McCracken, and the rhythm section of Steve Gadd, Tony Levin, and Richard Tee is equally in the groove. This is the closest thing to a band album Simon ever made, and it contains some of his most rhythmic and energetic singing. But it is also his most uneven album, simply because the songwriting, with the exception of the title song and the ballads “How the Heart Approaches What It Yearns” and “Nobody,” is not up to his usual standard. Maybe he was too busy writing his screenplay to polish these songs to the usual gloss. (It can’t have been than Jonah wasn’t supposed to be as talented as Paul Simon. Could it?) In any case, though the album spawned a Top Ten hit in “Late in the Evening” and may have sold more copies than the film did tickets, it remained a disappointment in both artistic and commercial terms. –William Ruhlmann

Tracklist:
1. Late in the Evening
2. That’s Why God Made the Movies
3. One-Trick Pony
4. How the Heart Approaches What It Yearns
5. Oh, Marion
6. Ace in the Hole
7. Nobody
8. Jonah
9. God Bless the Absentee
10. Long, Long Day
Bonus Tracks:
11. Soft Parachutes (Unreleased Soundtrack Recording)
12. All Because of You (Outtake)
13. Spiral Highway (Unreleased Soundtrack Recording)
14. Stranded in a Limosine

Personnel:
Paul Simon – vocals, guitar, percussion
John Tropea – acoustic guitar
Patti Austin – vocals
Joe Beck – electric guitar
Michael Brecker – saxophone
Hiram Bullock – electric guitar
Jon Faddis – flugelhorn
Don Grolnick – synthesizer
David Sanborn – saxophone
Marvin Stamm – trumpet
Ralph MacDonald – percussion
Randy Brecker – trumpet
Dave Grusin – horn and string arrangements
Gordon Edwards – bass
Steve Gadd – drums, percussion
Eric Gale – guitar
Lani Groves – background vocals
Anthony Jackson – bass
Tony Levin – bass
Irwin “Marky” Markowitz – trumpet
Hugh McCracken – acoustic guitar
Jeff Mironov – electric guitar
Richard Tee – piano, tambourine, background vocals
Bob Friedman – horn and string arrangements
John Garcia – guitar 

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Paul Simon – Paul Simon (1972/2010)
FLAC (tracks) 24 bit/96kHz | Time – 00:43:12 minutes | 822 MB | Genre: Rock
Official Digital Download – Source: acousticsounds.com | © Legacy Recordings
Recorded: January to March 1971

If any musical justification were needed for the breakup of Simon & Garfunkel, it could be found on this striking collection, Paul Simon’s post-split debut, writes AllMusic.com. “From the opening cut, ‘Mother and Child Reunion’ (a Top 10 hit), Simon, who had snuck several subtle musical explorations into the generally conservative S&G sound, broke free, heralding the rise of reggae with an exuberant track recorded in Jamaica for a song about death. From there, it was off to Paris for a track in South American style and a rambling story of a fisherman’s son, ‘Duncan’ (which made the singles chart). But most of the album had a low-key feel, with Simon on acoustic guitar backed by only a few trusted associates (among them Joe Osborn, Larry Knechtel, David Spinozza, Mike Manieri, Ron Carter, and Hal Blaine, along with such guests as Stefan Grossman, Airto Moreira, and Stephane Grappelli), singing a group of informal, intimate, funny, and closely observed songs (among them the lively Top 40 hit ‘Me and Julio Down by the Schoolyard’). It was miles removed from the big, stately ballad style of Bridge Over Troubled Water and signaled that Simon was a versatile songwriter as well as an expressive singer with a much broader range of musical interests than he had previously demonstrated.”

Tracklist:
1 Mother And Child Reunion 3:05
2 Duncan 4:39
3 Everything Put Together Falls Apart 1:59
4 Run That Body Down 3:52
5 Armistice Day 3:55
6 Me And Julio Down By The Schoolyard 2:42
7 Peace Like A River 3:20
8 Papa Hobo 2:35
9 Hobo’s Blues 1:20
10 Paranoia Blues 2:45
11 Congratulations 3:40
Bonus Tracks
12 Me And Julio Down By The Schoolyard (Demo-San Francisco 2/71) 2:30
13 Duncan (Demo-San Francisco 2/71) 2:49
14 Paranoia Blues (Unreleased Version) 3:41

Personnel:
Paul Simon: acoustic guitar, vocals, percussion (10), producer, arranger (all tracks)
Hal Blaine: drums (4, 10, 11)
Huks Brown: lead guitar (1)
Ron Carter: bass (4)
Russel George: bass (6)
Stéphane Grappelli: violin (9)
Winston Grennan: drums (1)
Stefan Grossman: bottleneck guitar (10)
Jerry Hahn: electric guitar (4, 5)
Neville Hinds: organ (1)
Jackie Jackson: bass (1)
Larry Knechtel: piano (1), electric piano (3, 11), harmonium (3, 8), organ (11)
Denzil Laing: percussion (1)
Fred Lipsius: horns (5)
Los Incas: flute, charango, percussion (2)
Mike Mainieri: vibes (4)
Charlie McCoy: bass harmonica (8)
Victor Montanez: drums (7)
Airto Moreira: percussion (5, 6)
Joe Osborn: bass (7, 11)
John Schroer: horns (5, 10)
David Spinozza: acoustic guitar (4, 6)
Steven Turre: horns (10)
Wallace Wilson: rhythm guitar (1)
Cissy Houston, Von Eva Sims, Renelle Stafford and Deirdre Tuck: backing vocals (1)

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http://www.datafile.com/d/T1Rrek1EYzFOUT0F9/PaulSimonPaulSimon19729624.part1.rar
http://www.datafile.com/d/T1Rrek1EYzJPQT0F9/PaulSimonPaulSimon19729624.part2.rar

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Paul Simon – Still Crazy After All These Years (1975/2010)
FLAC (tracks) 24 bit/96kHz | Time – 00:45:18 minutes | 820 MB | Genre: Rock
Official Digital Download – Source: acousticsounds.com | © Legacy Recordings
Recorded: 1975

The third new studio album of Paul Simon’s post-Simon & Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin’ Simon. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, Still Crazy found him working for the most part with a group of jazz-pop New York session players, though he did do a couple of tracks (“My Little Town” and “Still Crazy After All These Years”) with the Muscle Shoals rhythm section that had appeared on Rhymin’ Simon and another (“Gone at Last”) returned to the gospel style of earlier songs like “Loves Me Like a Rock.” Of course, “My Little Town” also marked a return to working with Art Garfunkel, and another Top Ten entry for S&G. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. Perhaps more striking, however, was Simon’s lyrical approach. Where Rhymin’ Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on “50 Ways to Leave Your Lover,” which became the biggest solo hit of Simon’s career. But elsewhere, as on “Have a Good Time,” the singer’s cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance.

Tracklist:
1 Still Crazy After All These Years 3:25
2 My Little Town 3:52
3 I Do It For Your Love 3:35
4 50 Ways To Leave Your Lover 3:35
5 Night Game 2:47
6 Gone At Last 3:24
7 Some Folks Lives Roll Easy 3:10
8 Have A Good Time 3:25
9 You’re Kind 3:23
10 Silent Eyes 3:57
Bonus Tracks
11 Slip Slidin’ Away (Demo; Recorded September 1976) 5:30
12 Gone At Last (Original Demo, Recorded Octeber 1974) 4:38

Personnel:
Paul Simon – vocals, guitar
John Tropea – electric guitar
Patti Austin – background vocals
Art Garfunkel – vocals on “My Little Town”
Phoebe Snow – background vocals, vocals on “Gone at Last”
Joe Beck – electric guitar
Michael Brecker – saxophone soloist
Bob James – electric piano
David Sanborn – saxophone
Grady Tate – drums
Pete Carr – electric guitar
Sivuca – accordion, vocals
Ralph MacDonald – percussion
Chicago Community Choir – background vocals
Barry Beckett – electric piano
Eddie Daniels – saxophone
Gordon Edwards – bass
Jerry Friedman – electric guitar
Steve Gadd – drums
Roger Hawkins – drums
David Hood – bass
The Jessy Dixon Singers – background vocals
Tony Levin – bass
Hugh McCracken – guitar
Leon Pendarvis – piano
Valerie Simpson – background vocals
Richard Tee – piano
Toots Thielemans – harmonica
Phil Woods – saxophone
Kenny Ascher – organ, electric piano

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Paul Simon – The Rhythm Of The Saints (1990/2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:01:57 minutes | 1.16 GB | Genre: Rock
Official Digital Download – Source: acousticsounds.com | © Legacy Recordings
Recorded: December 1989 – June 1990

Though he recorded the album’s prominent percussion tracks in Brazil, Paul Simon fashioned The Rhythm of the Saints as a deliberate follow-up to the artistic breakthrough and commercial comeback that was the South Africa-tinged Graceland. Several of the musicians who had appeared previously were back, along with some of the New York session players who had worked with Simon in the 1970s, and the overall sound was familiar to fans of Graceland. Further, Simon’s nonlinear lyrical approach was carried over: he continued to ruminate about love, aging, and the onslaught of modern life in disconnected phrases and images that created impressions rather than telling straightforward stories. But where Graceland had seamlessly merged its styles into an exuberant whole, The Rhythm of the Saints was less well digested. Those drum tracks never seemed integrated effectively into what had been dubbed over them; at the same time, they tended to lock the songs into musical patterns that reined them in from the kind of excitement the South African music on Graceland generated, making the melodies harder to grasp. At the same time, Simon sang his lyrics in a less involved way, which sometimes made them seem like collections of random lines rather than the series of striking observations Graceland seemed to contain. No Paul Simon album could be lacking in craft or quality, and The Rhythm of the Saints was a typically tasteful effort. But this time around, Simon hadn’t quite succeeded in bringing the wide-ranging elements together; the album sold about half as many copies as Graceland (that is to say, a none-too-shabby two million), and that’s about right — where Graceland was an exotic adventure, The Rhythm of the Saints was more of an anthropology lesson. –William Ruhlmann

Tracklist:
1. The Obvious Child
2. Can’t Run But
3. The Coast
4. Proof
5. Further to Fly
6. She Moves On
7. Born at the Right Time
8. The Cool, Cool River
9. Spirit Voices
10. The Rhythm of the Saints
Bonus Tracks:
11. Born at the Right Time (Original Acoustic Demo)
12. Thelma
13. The Coast (Work-In-Progress)
14. Spirit Voices (Work-In-Progress)

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http://www.datafile.com/d/T1Rrek1Ea3dPQT0F9/PaulSimonTheRhythmOfTheSaints19909624.part1.rar
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Paul Simon – There Goes Rhymin’ Simon (1973/2010)
FLAC (tracks) 24 bit/96kHz | Time – 00:50:08 minutes | 940 MB | Genre: Rock
Official Digital Download – Source: acousticsounds.com | © Columbia Records
Recorded: Columbia Studios, New York City; Malaco Recording Studios, Jackson, Mississippi; Muscle Shoals Sound Studio, Sheffield, Alabama; Morgan Studios, London, September 1972 – January 1973

“Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin’ Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music. Simon returned to the kind of vocal pyrotechnics heard on the Simon & Garfunkel records by using gospel singers. On ‘Love Me Like a Rock’ and ‘Tenderness’ (which sounded as though it could have been written to Art Garfunkel), the Dixie Hummingbirds sang prominent backup vocals, and on ‘Take Me to the Mardi Gras,’ Reverend Claude Jeter contributed a falsetto part that Garfunkel could have handled, though not as warmly. For several tracks, Simon traveled to the Muscle Shoals Sound Studios to play with its house band, getting a variety of styles, from the gospel of ‘Love Me Like a Rock’ to the Dixieland of ‘Mardi Gras.’ Simon was so confident that he even included a major ballad statement of the kind he used to give Garfunkel to sing: ‘American Tune’ was his musical State of the Union, circa 1973, but this time Simon was up to making his big statements in his own voice.” — AllMusic

Tracklist:
1 Kodachrome 3:35
2 Tenderness 2:56
3 Take Me To The Mardi Gras 3:31
4 Something So Right 4:37
5 One Man’s Ceiling Is Another Man’s Floor 3:48
6 American Tune 3:47
7 Was A Sunny Day 3:44
8 Learn How To Fall 2:48
9 St. Judy’s Comet 3:22
10 Loves Me Like A Rock 3:40
Bonus Tracks
11 Let Me Live In Your City (Work-In-Progress) 4:22
12 Take Me To The Mardi Gras (Acoustic Demo) 2:31
13 American Tune (Unfinished Demo) 4:03
14 Loves Me Like A Rock (Acoustic Demo) 3:25

Personnel:
Paul Simon – vocals; guitar on “Kodachrome”, “Take Me to the Mardi Gras”, “Something So Right”, “American Tune”, “Was a Sunny Day”, “Learn How to Fall”, “St Judy’s Comet” & “Loves Me Like a Rock”
Pete Carr – guitar on “Kodachrome” & “One Man’s Ceiling is Another Man’s Floor”, electric guitar on “Take Me to the Mardi Gras” & “St Judy’s Comet”
Jimmy Johnson – electric guitar on “Kodachrome” & “Take Me to the Mardi Gras”
Cornell Dupree – guitar on “Tenderness”
Alexander Gafa, David Spinozza – guitars on “Something So Right”,
Jerry Puckett – guitar on “Learn How to Fall”
David Hood – bass guitar on “Kodachrome”, “Take Me to the Mardi Gras”, “One Man’s Ceiling is Another Man’s Floor”, “St Judy’s Comet” & “Loves Me Like a Rock”
Gordon Edwards – bass guitar on “Tenderness”
Bob Cranshaw – bass guitar on “Something So Right”, “American Tune” & “Was a Sunny Day”
Vernie Robbins – bass guitar on “Learn How to Fall”
Richard Davis – double bass on “Something So Right”
Barry Beckett – keyboard on “Kodachrome”, “Take Me to the Mardi Gras” & “St Judy’s Comet”, piano on “One Man’s Ceiling is Another Man’s Floor”, vibraphone on “St Judy’s Comet”
Paul Griffin – piano on “Tenderness”
Bobby James – keyboard on “Something So Right” & “American Tune”
Bobby Scott- piano on “Something So Right”
Carson Witsett – organ on “Learn How to Fall”
Don Elliott – vibraphone on “Something So Right”
Roger Hawkins – drums on “Kodachrome”, “Take Me to the Mardi Gras”, “One Man’s Ceiling is Another Man’s Floor” & “Loves Me Like a Rock”, percussion on “St Judy’s Comet”
Rick Marotta – drums on “Tenderness”
Grady Tate – drums on “Something So Right” & “American Tune”
James Straud – drums on “Learn How to Fall”
Airto Moreira – percussion on “Was a Sunny Day”
The Onward Brass Band – horns on “Take Me to the Mardi Gras”
The Dixie Hummingbirds – group vocals on “Tenderness” & “Loves Me Like a Rock”
Rev. Claude Jeter – falsetto vocals on “Take Me to the Mardi Gras”
Maggie and Terre Roche – backing vocals on “Was a Sunny Day”
Allen Toussaint – horn arrangements on “Tenderness”
Quincy Jones – string arrangements on “Something So Right”
Del Newman – string arrangements on “American Tune”

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http://www.datafile.com/d/T1Rrek1EZzRNUT0F9/PaulSimonThereGoesRhyminSimon19739624.part1.rar
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Jesse Davis Quintet – Live at Smalls (2012/2013)
FLAC (tracks) 24 bit/88.2kHz | Time – 01:15:19 minutes | 1,51 GB | Genre: Jazz
Official Digital Download – Source: HDTracks | © SmallsLIVE
Recorded: December 13, 14,& 15, 2011 at SMALLS JAZZ CLUB, greenwich village NYC

Jesse Davis has a classic tone that will remind you of the best and beautiful days of bebop. WithLive At Smallsyou get a feeling of a classic jazz performance. This live performance from 2011 features great interaction between Davis and Ryan Kisor; Davis sounds bold and his quintet have an urgency that makes this live date extremely exciting and romantic. A great session filled with lengthy selections and is a perfect introduction to a great performer.

One of the best albums in years from altoist Jesse Davis – recorded in a relaxed, open-ended style that really unlocks some new magic in his horn! Davis’ studio records are all quite nice, but this live date really takes him to places we’ve never heard before – a really old school exploration of alto modes that brings us back to Stitt or Criss, and shows a long-winded creativity we hardly knew that Jesse had. The rhythm section really helps the feel of the record, too – with a lot of humanity in the piano of Spike Wilner, mixed with the impeccable work of Peter Washington on bass and Billy Drummond on drums. Ryan Kisor’s trumpet adds one more horn to the mix – and titles include “I’ll Close My Eyes”, “Piece Of The Apple”, “Pray Thee/Beyond The Storm”, “Journey From The Lighthouse”, and “Body & Soul”. –Dusty Groove

The alto saxophonist Jesse Davis, who worked in New York during the late 1980s and ’90s before moving back to his hometown, New Orleans, carries Cannonball Adderley and Charlie Parker in his playing. That’s nothing categorically new, and for some, categorical newness is where validity lives. He seemed to be around a lot 15 years ago — in New York clubs and on records — then not so much. He’s getting into his late 40s now; one could argue that back then he was playing the sort of music he’d be expressing more deeply in middle age. So — have you heard him in a while? On “Live at Smalls” (Smalls Live), recorded last year with a quintet including the pianist Spike Wilner, the trumpeter Ryan Kisor, the bassist Peter Washington and the drummer Billy Drummond, his playing bounces off the walls, arguing and winning its own case. His phrasing is loose, his tone individual, immediate, raucous; it sounds alive, almost electrified. This is jazz with bop, blues and gospel elements, oriented around standards and common-practice harmony, casual but wide awake. There’s a variation on “Sweet Georgia Brown,” a version of “Body and Soul,” a spiritual that narrows down to a bass solo (“Pray Thee/Beyond the Storm”). Each tune lasts more than 10 minutes, but earns its space. –Ben Ratliff, The New York Times

Tracklist:
1 I’ll Close My Eyes 19:51
2 Piece Of The Apple 18:55
3 Body & Soul 10:55
4 Pray Thee/Beyond The Storm 12:57
5 Journey From The Lighthouse 12:41

Personnel:
Jesse Davis – Alto Saxophone
Ryan Kisor – Trumpet
Spike Wilner – Piano
Peter Washington – Bass
Billy Drummond – Drums

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http://www.datafile.com/d/TVRBd05qazRNekkF9/JesseDavisQuintetLiveatSmalls201288.224.part1.rar
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Jimmy Smith – A Date With Jimmy Smith, Vol. 1 (1957/2014)
FLAC (tracks) 24 bit/192kHz | Time – 33:57 minutes | 1,15 GB | Genre: Jazz
Official Digital Download – Source: acousticsounds.com | © Blue Note Records
Recorded: Manhattan Towers in New York City on February 11 (tracks 1 & 2), and February 13 (track 3), 1957

“These 1957 sessions were the first Jimmy Smith did with horns after his recording debut the previous year. With the calibre of the top-rank musicians involved – Smith, the first to translate Bird’s innovations to the organ, altoist Donaldson, the blues-drenched Bird follower, and both Mobley and Byrd contributing some thoughtful blowing of their own on tenor and trumpet respectively – the overall results were rewarding.
In the rhythm section, McFadden’s warm guitar offered another colour to the organ-and-horns sound, and Blakey, as always, was a force of nature on drums in this no-holds-barred meeting of modern minds.” — FreshSoundRecords

After cutting five albums with his trio, organist Jimmy Smith on Feb. 11, 1957, recorded with trumpeter Donald Byrd, altoist Lou Donaldson and tenor saxophonist Hank Mobley in a sextet that also included guitarist Eddie McFadden and drummer Art Blakey. Among the five songs recorded that day, two (lengthy versions of “Falling in Love with Love” and “Funk’s Oats”) are included on this LP along with a shorter trio rendition of “How High the Moon” from two days later with McFadden and drummer Donald Bailey in a trio. –Scott Yanow

Tracklist:
1 Falling In Love With Love 12:08
2 How High The Moon 5:56
3 Funk’s Oats 15:54

Personnel:
Jimmy Smith – organ
Donald Byrd – trumpet (tracks 1 & 2)
Lou Donaldson – alto saxophone (tracks 1 & 2)
Hank Mobley – tenor saxophone (tracks 1 & 2)
Eddie McFadden – guitar
Donald Bailey (track 3), Art Blakey (tracks 1 & 2) – drums

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Jimmy Smith – A Date With Jimmy Smith, Vol. 2 (1957/2014)
FLAC (tracks) 24 bit/192kHz | Time – 34:15 minutes | 1,08 GB | Genre: Jazz
Official Digital Download – Source: acousticsounds.com | © Blue Note Records
Recorded: Manhattan Towers in New York City on February 11 (tracks 1 & 3), and February 12 (track 2), 1957

After cutting five albums with his trio, organist Jimmy Smith on Feb. 11, 1957, recorded with trumpeter Donald Byrd, altoist Lou Donaldson and tenor saxophonist Hank Mobley in a sextet that also included guitarist Eddie McFadden and drummer Art Blakey. Among the five songs recorded that day, two (lengthy versions of “Falling in Love with Love” and “Funk’s Oats”) are included on this LP along with a shorter trio rendition of “How High the Moon” from two days later with McFadden and drummer Donald Bailey in a trio.

This LP is one of five that has been reissued by Mosaic in a three-CD box set. For the jam session date altoist Lou Donaldson has a duet with organist Jimmy Smith on “I’m Getting Sentimental over You,” and together they match up forces in a sextet with trumpeter Donald Byrd, Hank Mobley on tenor, guitarist Eddie McFadden and drummer Art Blakey, playing lengthy versions of Mobley’s “Groovy Date” and Duke Ellington’s “I Let a Song Go out of My Heart.” All of the Jimmy Smith jam sessions are easily recommended to fans of straightahead jazz; get the Mosaic box. –Scott Yanow

Tracklist:
1 I Let A Song Out Of My Heart 16:59
2 I’m Getting Sentimental Over You 4:11
3 Groovy Date 13:00

Personnel:
Jimmy Smith – organ
Donald Byrd – trumpet (tracks 1 & 3)
Lou Donaldson – alto saxophone
Hank Mobley – tenor saxophone (tracks 1 & 3)
Eddie McFadden – guitar (tracks 1 & 3)
Art Blakey – drums (tracks 1 & 3)

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Johan Brouwer plays Bach, Bohm, Couperin and Forqueray (2014)
FLAC (tracks) 24 bit/96kHz | Time – 01:10:38 minutes | 1,63 GB | Genre: Classical
Official Digital Download – Source: highresaudio.com | © Aluid Records
Recorded: 2014

Bach and the French baroque :: The working title of the programme is Bach and the French baroque. L’art de toucher le clavecin by François Couperin (1668-1733) was published in 1716 as a manual for the French style and gives important instructions for playing the harpsichord as regards finger positions and ornamentations. The préludes are written-out improvisations in the style of the Préludes non mésurée.
The Suites of Georg Böhm (1661-1733) were produced in an environment orientated towards France, like the court in German Celle, where the French consort of Duke Georg Wilhelm resided. After her husband’s death, she lived for some years in Lüneburg, where Böhm worked in the Johannis-Kirche. Besides the usual dances, the Suite in F Minor played here contains for instance a French Ciaconne.

Pascal Taskin :: The instrument played is a copy built by David Rubio (1979) after an instrument by Pascal Taskin (1769). The original instrument remained in the possession of the Taskin family until 1952, when it passed into the hands of Raymond Russell, founder of the famous Russell Collection in Edinburgh. Taskin had his workshop in Paris as successor to Etienne Blanchet. The chinoiserie was made by Ann MacTaggert after examples of instruments painted by Gerard Dagly. Dagly (1653-1714) was born in Spa and worked many years for the Prussian court in Berlin. My Rubio instrument was renovated in 2013 by Cornelis Bom (Nieuwolda), who introduced new strings with different measurements and a new intonation.

Johan Brouwer (1946) studied organ under Wim van Beek and music theory under Frans van Eeden at the Groningen Conservatory of music, then harpsichord at the Amsterdam Conservatory of music. After his soloist exam he took up further studies with Gustav Leonhardt. Johan Brouwer followed masterclasses by Ton Koopman, René Saorgin and os van Immerseel.Johan Brouwer has given concerts in the Netherlands, France, Portugal, England and Germany and as leader/harpsichordist formed part of the Groningen baroque orchestra Collegium Musicum, concentrating not just on the great traditional works of the baroque but also on unknown work from the 17th and 18th centuries. He also worked for a long time as conductor of the Winschoten Chamber Choir, with which he performed much 17th century music together with the Collegium Musicum Groningen.

Tracklist:
François Couperin (1668-1733)
1. L’art de toucher le clavecin – Premier Prélude 01:15
2. L’art de toucher le clavecin – Troisième Prélude (mesuré ) 01:34
3. L’art de toucher le clavecin – Septième Prélude… 02:43
4. La Superbe ou La Forqueray (fièrement, sans lenteur)
Antoine Forqueray (1671-1745)
5. La Couperin (noblement et marqué ) 05:11
6. La Sylva! (très tendrement) 06:39
Georg Böhm (1661-1733)
7. Suite F mol – Allemande 03:24
8. Suite F mol – Courante 01:25
9. Suite F mol – Sarabande 01:59
10. Suite F mol – Ciacona 03:17
Johann Sebastian Bach (1685 -1750)
11. Ricercar a tre voci BWV 1079 07:17
12. French suite c-moll BWV 813 – Allemande 04:02
13. French suite c-moll BWV 813 – Courante 02:32
14. French suite c-moll BWV 813 – Sarabande 04:01
15. French suite c-moll BWV 813 – Air 01:51
16. French suite c-moll BWV 813 – Menuet 02:26
17. French suite c-moll BWV 813 – Gigue 03:11
18. Präludium, Fuge & Allegro Es-Dur BWV 998 11:50

Personnel:
Johan Brouwer, harpsichord

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John Coltrane – The Atlantic Studio Album Collection (2015)
FLAC (tracks) 24 bit/96kHz | Time – 05:06:47 minutes | 11.2 GB | Genre: Jazz
Official Digital Download – Source: highresaudio.com | © Atlantic Records
Recorded: 1959-61

During Coltrane’s Atlantic years, he made important recordings such as Giant Steps and My Favorite Things, recorded albums with Milt Jackson, Don Cherry, and Eric Dolphy and made his debut on the soprano saxophone. The Penguin Guide to Jazz assigned its “Crown” award to the box set, in addition to giving it a four-star rating (of a possible four). Allmusic gave the album a five-star rating (of a possible five). Stephen Thomas Erlewine wrote that “the scope of this music is, quite simply, breathtaking — not only was Coltrane developing at a rapid speed, but the resulting music encompasses nearly every element that made him a brilliant musician, and it is beautiful.”

Album List:
Giant Steps (1960 Atlantic SD 1311)
Coltrane Jazz (1961 Atlantic SD 1354)
My Favorite Things (1961 Atlantic SD 1361)
Bags & Trane (1961 Atlantic SD 1368) Milt Jackson & John Coltrane album
Olé Coltrane (1961 Atlantic SD 1373)
Coltrane Plays The Blues (1962 Atlantic SD 1382)
Coltrane’s Sound (1964 Atlantic SD 1419)
The Avant-Garde (1966 Atlantic SD 1451) John Coltrane & Don Cherry album

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Justin Kauflin – Dedication (2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:00:44 minutes | 1,24 GB | Genre: Jazz
Official Digital Download – Source: Qobuz | © Qwest Records
Recorded: July 2014 at EastWest Studios, Hollywood, CA

Justin Kauflin is all the rage now. His precocious talent was discovered when he was just 2—yes 2—years old. When he was just 15 he performed with the Jae Sinnett trio and appeared on the Trio’s extraordinary 2010 record, Theatre. But it was a year later that he was propelled into a rarefied realm. Placing 4th in the Thelonious Monk Institute of Jazz International Piano Competition he came to the attention of critics and important music aficionados including Clark Terry. The 2013 film Keep On Keeping On is just one of the interesting documentations of the raw talent of Mr. Kauflin. The other, more recent document is the 2014 album Dedication produced by Quincy Jones, another admirer of the pianist. Naturally this would come with the special Q touch. But none of the production values would matter in the least bit if it were not for the exquisite nature of Justin Kauflin’s playing, so wise beyond his years and so wonderfully articulate that it is bordering on genius.

Dedication is a testament to sheer brilliance of technique and unbridled imagination. It is immediately evident right from the first track, “Elusive” that this is something special and by the time that you get past “For Clark” this becomes something breathtaking to behold. The pianism here is mature, poised and absolutely flawless. Mr. Kauflin plays with such effortless control of lyrical line and rhythm. His lines are like exquisite whorls that unfurl as his long and graceful fingers caress the melodies with tenderness and tranquility. Mr. Kauflin’s playing is supple and contains the whole range of pianistic inflections, judiciously appointed with angular sensitive accents. His brain works incredibly fast sending breathtaking impulses to his fingers that then strikes the right balance between technique and emotion always illustrating Mr. Kauflin’s imaginative creative impulses that are swathed in melismatic aural poetry.

Employing a kind of vocal approach to his playing Mr. Kauflin is able to interpret the songs on this album with great delicacy. Often the stately forward motion of his playing is interrupted by rollicking arpeggios that seem to come out of nowhere and rush up and down the keyboard tearing up the keyboard, though never without elegance, intuition as well as intellect. The right brain nestling cheek-by-jowl with the left one. Throughout, pointed phrasing helps convey the music’s graceful contours. He observes the songs’ dynamics with extraordinary maturity and shapely delineation. This record is one of the more brilliant introductions to a young talent whose playing is sensitive, nuanced and technically assured. The fare is carefully chosen seemingly to introduce the listener to the breadth of Mr. Kauflin’s sumptuous talent. It is also a superb recording to boot. But then everything that Quincy Jones does has that very special touch. This includes the wonderful accompaniment of bassist Christopher Smith and drummer Billy Williams. As if that were not enough guitarists Matt Stevens and Etan Haziza bring formidable articulacy to harmonic content of the songs. –Raul da Gama

Tracklist:
1 Elusive 06:14
2 B Dub 06:40
3 For Clark 04:41
4 The Professor 04:44
5 Epiphany 05:28
6 Tempest 05:11
7 No Matter 05:19
8 Where Are You 04:32
9 Up And Up 03:29
10 Lasting Impression 05:15
11Mother’s Song 04:49
12 Thank You Lord 04:22

Personnel:
Justin Kauflin – piano, keyboards (5, 6, 10)
Christopher Smith – bass
Billy Williams – drums
Matt Stevens – guitar (1, 2, 4, 5, 7, 8, 10, 12)
Etan Haziza – nylon guitar (12)

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Keith Jarrett, Charlie Haden & Paul Motian – Hamburg ’72 (2014)
FLAC (tracks) 24 bit/96kHz | Time – 55:25 minutes | 1,06 GB | Genre: Jazz
Official Digital Download – Source: HDTracks | © ECM Records
Recorded live June 14, 1972 in Hamburg.

The Keith Jarrett Trio, playing live at NDR Funkhaus, Hamburg in July 1972. The trio with Haden and Motian was Jarrett’s first great band, his choice of players a masterstroke. Charlie and Paul hadn’t worked together until Jarrett brought them into each other’s orbit in 1966. With the bassist who had learned his craft in Ornette Coleman’s band, and the drummer from Bill Evans’s ground-breaking trio, Jarrett was able to explore the broadest scope of modern jazz, from poetic balladry to hard-swinging time-playing to ferocious and fiery free music. The improvisation heard in the Hamburg concert includes episodes with Keith on soprano sax and flute as well as piano, while Motian expands the role of percussion in the music, developing the supple, elastic, supremely unpredictable vocabulary that would subsequently become such a crucial part of both Jarrett’s groups and Paul’s own.

The interaction between the three musicians is uncanny throughout, reaching a peak in an emotion-drenched performance of Charlie Haden’s “Song for Che” (this is Jarrett’s only recording of a piece that has become a new jazz classic). But from the first notes of “Rainbow”, with its radiant piano, it is clear that something special is happening here.

The German radio concert from which this album is drawn was part of a tour – the first European tour for this trio – organised by ECM. Manfred Eicher returned to the original analog sources, remixing the music recorded by NDR engineer Hans-Henirich Breitkreuz for this edition in Oslo in July 2014, together with Jan Erik Kongshaug. (As it happened, the work took place the day after Charlie Haden’s death.)

Haden’s importance in this music can hardly be overstated. He is such a strong, centering presence. Jarrett plus Haden was always a special combination, of course, as recordings from Arbour Zena to Last Dance have eloquently shown, but for dynamic interplay between pianist and bassist the Hamburg recording is hard to beat. Charlie highly valued this musical association, and the way in which Jarrett would compose tunes for the strengths of the trio members: “I think some of the greatest music made in that time period came out of that group,” Charlie told Ethan Iverson a few years ago. “Keith was always his own person, with original ideas as a leader. He wrote specifically for us. I loved it. He showed up at every rehearsal and sound-check with new music. It’s amazing when you go over a new tune at a sound-check and can’t wait to play it that night, since it already felt like ‘you’.”

The Hamburg concert dates from the beginning of ECM’s association with Keith Jarrett, whose solo album Facing You had been recorded the previous November and released just three months before this show.

In the US, Keith Jarrett had begun to include saxophonist Dewey Redman in his group music and the trio was in the process of morphing into the group colloquially known as Jarrett’s American Quartet. Several of the Jarrett tunes heard here, amongst them “Everything That Lives Laments” and “Piece for Ornette”, would also find expression in the quartet repertoire. Much inspired quartet music was ahead, including the landmark albums The Survivors’ Suite and Eyes of the Heart. But Hamburg ’72 captures the core trio of Keith Jarrett, Charlie Haden and Paul Motian at the very apex of its creativity.

Tracklist:
1 Rainbow 09:52
2 Everything That Lives Laments 09:44
3 Piece For Ornette 09:33
4 Take Me Back 08:08
5 Life, Dance 03:00
6 Song For Che 15:08

Personnel:
Keith Jarrett: piano, soprano saxophone, flute, percussion
Charlie Haden: double bass
Paul Motian: drums, percussion

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Kenny Dorham – Trompeta Toccata (1964/2014)
FLAC (tracks) 24 bit/192kHz | Time – 00:37:09 minutes | 1,41 GB | Genre: Jazz
Official Digital Download – Source: Qobuz | © Blue Note Records
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on September 4, 1964

It seems strange and somewhat tragic that this was trumpeter Kenny Dorham’s last full album as a leader for he was only 40 at the time and still in his prime. Dorham contributed three of the four selections to the session (Joe Henderson’s catchy “Mamacita” also receives its debut), and his very underrated abilities as a writer, trumpeter, and talent scout are very much in evidence. This modern hard bop quintet set with Henderson on tenor, pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert “Tootie” Heath served as a strong (if premature) ending to Dorham’s impressive career as a solo artist. –Scott Yanow, AllMusic

Leave it to the least showy, most thoughtful of trumpet players to compose and perform a Trompeta Toccata (show piece) and make it work. Any new reissue of a Kenny Dorham date is welcome, guaranteed to be full of Dorham’s inventive twists and surprises as a soloist as well as composer. But as the very last recording session by Dorham as leader (it was recorded in 1964), this one merits special consideration.
The presence of the trumpeter’s favorite frontline companion at this time, tenor saxophonist Joe Henderson, will further enhance its value to some listeners. It’s hard to argue against Henderson’s main predecessor, Hank Mobley, as more compatible with Dorham’s deceptive facility and melodic logic, but the presence of Henderson seemed to push Dorham into more adventurous territory as both composer and player. Henderson’s Coltrane-inspired harmonics and overtones during his somewhat edgy, rough-hewn solos practically required an answer from Dorham in the form of more adventurous solo constructions and modal compositions.
The title piece is one-of-a-kind yet vintage Dorham, taking the music of the bull fight, toreador and matador, stripping it of all the gratuitous trappings, and distilling it to its dramatic and poignant flamenco essence. Besides the artistry of Dorham, the talents of both Henderson and bassist Richard Davis are also heard to full advantage (thankfully, Davis’ strong but lengthy solo stops just short of changing the character of this delicately balanced tone poem into a vehicle for bass).
In some respects, the piece is a highly concentrated, orchestrally spare version of the Miles Davis/Gil Evans recording of Rodrigo’s famous “Concierto De Aranjuez on the Sketches Of Spain album (Columbia, 1959), with Tommy Flanagan’s piano as the subtle, colorful counterpart of Evans’ image-rich, evocative orchestration. (Flanagan is one of the few pianists whose touch is so personal, so distinctive that not even Van Gelder can homogenize it.)
Trompeta Toccata offers a later, more idiosyncratic Dorham, sounding vulnerable and breathy one instant and dynamically brilliant and virtuosic the next. It’s when he moves to the upper register, without betraying a hint of strain or pushing, that his sound really opens up, “blossoming” into bright radiance and fullness. Then there’s that inimitable “growl” (sounding more like a cornered, frightened and ornery kitten) for added tonal variety and humor—possibly Dorham’s response to Henderson’s husky harmonics and percussive articulations.
The “growl” shows up not only in the Toccata but in the debut of “Blue Bossa,” from Henderson’s own debut session, Page One (Blue Note, 1963), as well as in the title tune of Dorham’s Una Mas, which again matches him with the textures of Henderson’s unshaven, masculine sound. But one of the tunes, “The Fox,” harkens back to the kind of challenging, rapidly changing chord sequence that only Dorham, with the possible exception of Mobley, could negotiate with such effortless facility and consummate command. It’s the one tune on both of the present sessions that captures the trumpeter at his lithe best, putting on the sort of harmonic clinic that characterizes his indispensable on-location Blakey session pairing him with Mobley (Jazz Messengers: At the Cafe Bohemia, Blue Note, 1955).
As the quintessential musician’s musician, never showing a need to play merely to “impress,” Dorham seemed intent on precluding others from judging his music by writing his own epitaph in the form of an extended orchestral work. Seeing it to completion remained his dream to the end, and somewhat sadly his album Whistle Stop concludes with a 69-second fragment of that dream, “Dorham’s Epitaph.
Even without the grand closure of a fully-realized requiem, Kenny Dorham remains a giant, belonging on any short list of trumpet immortals. In fact, once Louis Armstrong, Dizzy Gillespie and Clifford Brown have been accounted for, it can be difficult to move any further down the list without at least giving serious thought to the insertion of Kenny Dorham’s name. Given more familiar and influential trumpet styles, it can take a while for a new listener to “get” Dorham. Soon, however, it’s impossible to get enough of him. –Samuel Chell, All About Jazz

Tracklist:
1 Trompeta Toccata 12:22
2 Night Watch 5:44
3 Mamacita 11:03
4 The Fox 7:58

Personnel:
Kenny Dorham, trumpet
Tommy Flanagan, piano
Joe Henderson, tenor saxophone
Richard Davis, double bass
Albert Heath, drums

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Kenny Dorham – Whistle Stop (1961/2014)
FLAC (tracks) 24 bit/192kHz | Time – 00:38:30 minutes | 1,67 GB | Genre: Jazz
Official Digital Download – Source: Qobuz | © Blue Note Records
Recorded: January 15, 1961 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Whistle Stop is a jazz studio album by Kenny Dorham, featuring performances by acclaimed musicians Hank Mobley, Kenny Drew, Paul Chambers and Philly Joe Jones. It was recorded in January 1961 at Van Gelder Studio, in Englewood Cliffs, and was originally released on Blue Note Records as BST 84063 and BLP 4063. “In 1975″, Blumenthal states in the CD liner notes, “five British critics picked Whistle Stop as one of 200 albums that belonged in a basic library of jazz recorded after World War II”.

Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. Whistle Stop features seven of his compositions, none of which were picked up later by any of the Young Lions of the ’90s despite their high quality and many fresh melodies. Dorham teams up with tenor-saxophonist Hank Mobley (who had recorded with him previously, along with Art Blakey and Max Roach), pianist Kenny Drew, bassist Paul Chambers, and drummer Philly Joe Jones for a set of lively, fresh, and consistently swinging music. This is a generally overlooked near-classic set. –Scott Yanow

Tracklist:
1 Philly Twist 5:39
2 Buffalo 7:42
3 Sunset 6:22
4 Whistle Stop 5:56
5 Sunrise in Mexico 5:39
6 Windmill 6:18
7 Dorham’s Epitaph 1:16

Personnel:
Kenny Dorham, trumpet
Hank Mobley, tenor sax
Kenny Drew, piano
Paul Chambers, double bass
Philly Joe Jones, drums

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Kenny G – Brazilian Nights (Deluxe Edition) (2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:18:13 minutes | 1,62 GB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Concord Music Group, Inc.
Recorded: 2014

Kenny G has had one of the most eclectic and dominant careers the music business has ever seen. He’s maintained a high level of creative excellence through decades of unprecedented commercial success by never allowing himself to stay in one place too long. That reputation for musical curiosity stays well intact on his fourteenth studio album Brazilian Nights.

“I’ve been in love with bossa nova my whole life,” says the saxophonist in the album’s liner notes. “I think the first song that ‘won me over’ was Cannonball Adderley’s version of “Quiet Nights”. And more recently I’ve been listening (non-stop!) to Stan Getz’s album called Getz For Lovers. I think I’ve listened to that record almost every day for the past 5 years and it really was the inspiration in making this album. My goal was not only to make a bossa nova album that pays tribute to the “Masters” who I’ve been listening to (Cannonball Adderley, Paul Desmond and Stan Getz) but also to write and record original bossa novas that I hope can ‘hold their own’ in this distinguished company. I humbly say that I feel we’ve succeeded.”

Starting with melodious sounds of “Bossa Antiqua,” the ten-song set is a mixture of classics and Kenny G originals. Writing five of the ten tracks with longtime collaborator (and co-producer) Walter Afanasieff, the veteran performer plays alto, tenor and soprano sax and is dazzling on such cuts as “Bossa Real, ”the gently pulsating “April Rain,” and the relaxed yet dramatic flair of the title cut.

He admits that he took his time making Brazilian Nights, as he wanted to immerse himself into the light and melodic sounds of music from across the globe. “I spent a year and a half studying and embracing the style of the bossa novas from decades ago. I had fun and learned a lot during my “wonderful labor of love” and I truly hope you get the same pleasure from this album that I have experienced when I sit down after a long day and put on my “bossa nova” sounds. Words can’t describe that feeling but hopefully the melodies that I’ve played here will.”

Melodies and music have long been a signature part of Kenny G’s life. Since releasing his self-titled debut disc in the fall of 1982, Kenny G has become the biggest selling instrumental musicians of the modern era and one of the best selling artists of all-time with global sales totaling more than 75 million records. His biggest album was 1992’s Breathless – which sold a staggering twelve million copies in the United States alone. In addition, his 1994 Christmas disc Miracles: The Holiday Album ranks as one of the most successful Yuletide albums ever – with sales over eight million copies. Seven of his singles have hit the Top-40 on the Billboard Hot 100. He has also been ranked as one of the most-played artists in the Adult Contemporary format – with nine top ten singles. His biggest hit came with 1987’s “Songbird,” which peaked at #4 on the Hot 100. Kenny G continues to play to sold out houses both here and abroad, with dates on his calendar already filled through mid-2015.
Kenny G has collaborated with some of the biggest names in the business during his legendary career, ranging from Michael Bolton to Weezer to Whitney Houston. He recently worked with pop superstar Katy Perry on her single “Last Friday Night.”

Tracklist:
1. Bossa Antigua 03:49
2. Corcovado (Quiet Nights Of Quiet Stars) 07:31
3. Bossa Réal 07:37
4. Brazilian Nights 06:33
5. April Rain 06:48
6. Menina Moca 05:58
7. Bu Bossa 04:26
8. Clouds 05:38
9. Girl From Ipanema 05:33
10. Summer Love 06:15
11. Loving You 03:23
12. G Bop 04:18
13. Forever In Love 05:42
14. Heart And Soul 04:42

Personnel:
Kenny G – Arranger, Sax (Alto), Sax (Soprano), Sax (Tenor)
Walter Afanasieff – Drum Programming, Orchestral Arrangements, Percussion Programming, Piano, Synthesizer
Jorge Calandrelli – Orchestral Arrangements
Sam Hirsch – Piano

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