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Benny Golson is an American bebop/hard bop jazz tenor saxophonist, composer, and arranger. He came to prominence with the big bands of Lionel Hampton and Dizzy Gillespie, more as a writer than a performer, before launching his solo career. All About Jazz’s Jack Bowers stated “At age eighty-seven, saxophonist Benny Golson is one of the last surviving links to the Golden Age of modern jazz”.

If John Coltrane came to personify a profound spiritual yearning, what has his boyhood friend Benny Golson signified? A personal brand of stately elegance, in everything from his appearance, with his dapper mustache out of classic Hollywood; to his playing, a flawless balance of elegant and earthy; his composing, with its meticulous craftsmanship yielding effortless melodies; and his onstage storytelling, which crosses from erudition into delightful eccentricity. All of those elements-even the mustache-are in play on Golson’s most recent album, Horizon Ahead, his HighNote label debut and his first new release since a 2009 outing with a relaunched Jazztet. A quartet date featuring the lived-in rhythm section of pianist Mike LeDonne, bassist Buster Williams and drummer Carl Allen, it matches choice standards (“Don’t Get Around Much Anymore” has rarely been so hummable) with Golson originals (the deceptively accessible “Jump Start”; “Domingo,” written for Lee Morgan Vol. 3), and ends with a curveball. Following an astute spoken introduction from Golson-just the sort of thing you’d hear in your local theater-Allen offers a highly listenable solo drum-kit piece. Neither blowing session nor conceptual work, Horizon Ahead is simply terrific.

Tracklist:

01 – Don’t Get Around Much Anymore
02 – Jump Start
03 – Horizon Ahead
04 – Mood Indigo
05 – Domingo
06 – Lulu’s Back in Town
07 – Night Shade
08 – Three Little Words
09 – Spoken Introduction to out of the Darkness, and into the Light
10 – Out of the Darkness, and into the Light

Produced by Benny Golson. Engineered by Dennis Wall.
Recorded on December 7, 2015 at The Samurai Hotel Recording Studio, Astoria, NY.

Musicians:
Benny Golson – tenor saxophone
Mike LeDonne – piano
Buster Williams – bass
Carl Allen – drums

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Bigfoot are a 5 piece Hard Rock band based in Wigan, England. Formed in spring of 2014 Bigfoot consists of members from various bands from the local scene combining powerful vocals, dual lead guitars and a heavy driving rhythm section. With influences stemming from many different genres from The Eagles to Pantera this is a band that can be appreciated and enjoyed by a wide range of music fans. Since forming Bigfoot have toured constantly around the UK and landed slots at the likes of Breakout Festival 2014, Bloodstock Festival 2015, Hard Rock Hell 2015 and Steelhouse 2016. After 2 successful self releases with their debut EP and ‘Stone Soldiers’ EP the band signed a multi-album deal with Frontiers records and have released their debut album in October 2017.

Tracklist:

01 – Karma
02 – The Fear
03 – Tell Me a Lie
04 – Forever Alone
05 – Eat Your Words
06 – Prisoner of War
07 – Freak Show
08 – I Dare You
09 – The Devil in Me
10 – Uninvited
11 – Yours

Musicians:
Antony Ellis – Vocals
Sam Millar – Guitars
Mick McCullagh – Guitar
Matt Avery – Bass
Tom Aspinall – Drums

Download:

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“Slow Train Coming” is the nineteenth studio album by American singer-songwriter Bob Dylan, released on August 20, 1979 by Columbia Records. It was Dylan’s first effort since converting to Christianity, and all of the songs either express his strong personal faith, or stress the importance of Christian teachings and philosophy. The evangelical nature of the record alienated many of Dylan’s existing fans; at the same time, many Christians were drawn into his fan base. “Slow Train Coming” was listed at #16 in the 2001 book CCM Presents: The 100 Greatest Albums in Christian Music.

Perhaps it was inevitable that Bob Dylan would change direction at the end of the ’70s, since he had dabbled in everything from full-on repudiation of his legacy to a quiet embrace of it, to dipping his toe into pure showmanship. Nobody really could have expected that he would turn to Christianity on Slow Train Coming, embracing a born-again philosophy with enthusiasm. He has no problem in believing in a vengeful god – you gotta serve somebody, after all – and this is pure brimstone and fire throughout the record, even on such lovely testimonials as “I Believe in You.” The unexpected side effect of his conversion is that it gave Dylan a focus he hadn’t had since Blood on the Tracks, and his concentration carries over to the music, which is lean and direct in a way that he hadn’t been since, well, Blood on the Tracks. Focus isn’t necessarily the same thing as consistency, and this does suffer from being a bit too dogmatic, not just in its religion, but in its musical approach. Still, it’s hard to deny Dylan’s revitalized sound here, and the result is a modest success that at least works on its own terms.

Tracklist:

01 – Gotta Serve Somebody
02 – Precious Angel
03 – I Believe In You
04 – Slow Train
05 – Gonna Change My Way Of Thinking
06 – Do Right To Me Baby (Do Unto Others)
07 – When You Gonna Wake Up
08 – Man Gave Names To All The Animals
09 – When He Returns

All Songs written by Bob Dylan. Recorded at Muscle Shoals Sound Studio.

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“The Basement Tapes” is singer-songwriter Bob Dylan’s sixteenth studio album. The album’s tracks were recorded at house’s in and around Woodstock, New York between the years 1967 and 1968.

The official release of The Basement Tapes – which were first heard on a 1968 bootleg called The Great White Wonder – plays with history somewhat, as Robbie Robertson overemphasizes the Band’s status in the sessions, making them out to be equally active to Dylan, adding in demos not cut at the sessions and overdubbing their recordings to flesh them out. As many bootlegs (most notably the complete five-disc series) reveal, this isn’t entirely true and the Band were nowhere near as active as Dylan, but that ultimately is a bit like nitpicking, since the music here (including the Band’s) is astonishingly good. The party line on The Basement Tapes is that it is Americana, as Dylan and the Band pick up the weirdness inherent in old folk, country, and blues tunes, but it transcends mere historical arcana through its lively, humorous, full-bodied performances. Dylan never sounded as loose, nor was he ever as funny as he is here, and this positively revels in its weird, wild character. For all the apparent antecedents – and the allusions are sly and obvious in equal measure – this is truly Dylan’s show, as he majestically evokes old myths and creates new ones, resulting in a crazy quilt of blues, humor, folk, tall tales, inside jokes, and rock. The Band pretty much pick up where Dylan left off, even singing a couple of his tunes, but they play it a little straight, on both their rockers and ballads. Not a bad thing at all, since this actually winds up providing context for the wild, mercurial brilliance of Dylan’s work – and, taken together, the results (especially in this judiciously compiled form with its expert song selection, even if there’s a bit too much Band) rank among the greatest American music ever made.

Tracklist:

01 – Odds and Ends
02 – Orange Juice Blues
03 – Million Dollar Bash
04 – Yazoo Street Scandal
05 – Goin’ to Acapulco
06 – Katie’s Been Gone
07 – Lo and Behold!
08 – Bessie Smith
09 – Clothes Line Saga
10 – Apple Suckling Tree
11 – Please, Mrs. Henry
12 – Tears of Rage
13 – Too Much of Nothing
14 – Yea! Heavy And A Bottle Of Bread
15 – Ain’t No More Cane
16 – Crash on the Levee
17 – Ruben Remus
18 – Tiny Montgomery
19 – You Ain’t Goin’ Nowhere
20 – Don’t Ya Tell Henry
21 – Nothing Was Delivered
22 – Open the Door, Homer
23 – Long Distance Operator
24 – This Wheel’s on Fire

Produced by Bob Dylan & The Band.
Recorded: Dylan & The Band recordings in June–September 1967; The Band only in 1967–1968, later overdubs in 1975.

Musicians:
Bob Dylan – vocals, piano, acoustic guitar
Rick Danko – bass guitar, mandolin, vocals
Levon Helm – drums, mandolin, bass guitar, vocals
Garth Hudson – organ, clavinet, accordion, tenor saxophone, piano
Richard Manuel – piano, drums, harmonica, voclas
Robbie Robertson – electric guitar, acoustic guitar, drums, vocals

24-192

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German jazz singer Céline Rudolph and internationally renowned guitarist Lionel Loueke combine forces on “Obsession”, a beautifully crafted release uniting Loueke’s unique fusions of Brazilian and African music and jazz with Rudolph’s sensitive horn-like voice and delicate improvisations. The two bring out the best in each other in these ten selections recorded in Berlin and New York City.

A singer playing the guitar. A guitarist who sings. An album on which these two exceptional musicians show that in music, too, the whole can be bigger than the sum of its parts. Their common “obsession” opens up musical horizons, sounds like Jazz and singer-songwriter-elegance, like Cotonou, Rio, Memphis and Berlin. It is music that speaks of the passion that loves, of deep moments, life, pleasure and the Blues. This duo, which most often sounds like a band, sometimes even like an orchestra, sings ten glorious, spontaneous songs, sometimes in English, sometimes French, sometimes in Celinish or Lionelish. You may think, after just one listen, that you’ve known these songs all your life, but there is really only one cover among them (Caetano Velosos “O Leãozinho”), while the rest of the songs were written by either Céline Rudolph or Lionel Loueke or both of them. Make no mistake: this is a complex, diverse album, while at the same time homogeneous and subtle, aptly titled “Obsession”.

The duo album is the beginning of further “obsessions” on Céline’s newly founded label with the same name. “Obsession” means: being deeply bound to music, with love, with abandon, says Céline. Plunging into it all, with all the risks, in music and in life. The here and now, the wild moment, the adrenaline. The name “obsession” includes the word “session”, which emphasizes the improvisational aspect.

Tracklist:

01 – C’est un Love Song
02 – New Day
03 – Veuve Malienne
04 – Archaic
05 – Here Comes the Rain
06 – O Leãozinho
07 – Morning Blues
08 – Le Vent du Nord
09 – Fábula
10 – Rêve Obsession

Celine Rudolph – vocals
Lionel Loueke – guitar, vocals

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Christopher Maurice Brown is an American R&B singer. “Heartbreak on a Full Moon” is his eighth studio album. The album is a double-disc, and it was released initially on digital platforms on Helloween 2017.

Chris Brown is back, and he’s brought along a staggering with 45 songs with him. The dynamic entertainer, who recently called himself the best artist around, finally pulled up with his Heartbreak on a Full Moon, his first new album in almost two years. The album features a ton of heavy hitters. Yo Gotti, A Boogie Wit Da Hoodie and Kodak Black join him on “Pills & Automobiles,” while Future and Young Thug link with him on “High End.” Then of course, there’s Usher, Gucci Mane, Dej Loaf, Lil Yachty, Ty Dolla $ign and even more.

Tracklist:

01 – Lost & Found
02 – Privacy
03 – Juicy Booty (feat. Jhené Aiko & R. Kelly)
04 – Questions
05 – Heartbreak on a Full Moon
06 – Roses
07 – Confidence
08 – Rock Your Body
09 – Tempo
10 – Handle It (feat. DeJ Loaf & Lil Yachty)
11 – Sip
12 – Everybody Knows
13 – To My Bed
14 – Hope You Do
15 – This Ain’t
16 – Pull Up
17 – Party (feat. Usher & Gucci Mane)
18 – Sensei (feat. A1)
19 – Summer Breeze
20 – No Exit
21 – Pills & Automobiles (feat. Yo Gotti, A Boogie wit da Hoodie & Kodak Black)
22 – Hurt the Same
23 – I Love Her
24 – You Like
25 – Nowhere
26 – Other N****s
27 – Tough Love
28 – Paradise
29 – Covered In You
30 – Even
31 – High End (feat. Future & Young Thug)
32 – On Me
33 – Tell Me What to Do
34 – Frustrated
35 – Enemy
36 – If You’re Down
37 – Bite My Tongue
38 – Run Away
39 – This Way
40 – Yellow Tape
41 – Reddi Wip
42 – Hangover
43 – Emotions
44 – Only 4 Me (feat. Ty Dolla $ign & Verse Simmonds)
45 – Grass Ain’t Greener

Download:

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“Sky Trails”, the sixth full-length solo studio release for the singer-songwriter also known as founding members of The Byrds and Crosby, Stills, Nash & Young, continues fearless folk rock legend David Crosby’s unexpected late-period resurgence. In his eighth decade, Crosby is not only surviving, but thriving personally and creatively. This project contains new material co-written with friends Michael McDonald and Joni Mitchell and produced by his son, James Raymond.

Twenty years of recording silence is an interlude like no other… But that’s what David Crosby decided on before going back solo to the studio to record Croz in 2014… For this unexpected comeback at the age of 72 years old, the ex-member of Byrds and Crosby, Stills, Nash & Young invited a few friends along, such as Wynton Marsalis and Mark Knopfler. While Crosby remained one of the sharpest shooter in rock history, his ever so rare solo initiatives were never earth shattering, except for the immense If I Could Only Remember My Name, a forgotten treasure from 1971… But Croz, which combined psychedelic rock, conventional folk and soft jazz, proved to be a quality album one could enjoy a bit more on each new listen. Crosby went back at it in 2016 with the very acoustic Lighthouse! And once again with Sky Trails, proving one more time that the old walrus still has some beautiful stories to tell. With touching vocal harmonies and careful crafted melodies, this fifth solo album, clearly oriented towards jazz, reminds those who may have forgotten, as well as younger listeners, that his voice still counts! Worth pointing out, a beautiful cover of Joni Mitchell’s Amelia.

Tracklist:

01 – She’s Got To Be Somewhere
02 – Sky Trails
03 – Sell Me A Diamond
04 – Before Tomorrow Falls On Love
05 – Here It’s Almost Sunset
06 – Capitol
07 – Amelia
08 – Somebody Home
09 – Curved Air
10 – Home Free

Mastered by Bernie Grundman.

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A long way from the Byrds and the Crosby, Stills and Nash era, David Crosby is still evolving well. At the age of 77, the old American walrus is still a prolific artist, unstintingly generous in his writing. Recorded at Brooklyn’s Atlantic Sound Studio,Here If You Listen calls in three other artists who click immediately: Becca Stevens, Michelle Willis and Michael League from the jazz group Snarky Puppy. Together with Crosby they form an original quartet that plays with varied textures, hypnotic themes and folk ballads with pop accentuation, all held together by a unifying writing style. Produced by League, Here If You Listen doesn’t put the focus solely on Crosby: he knows how to take a step back and let his partners take centre stage. Things kick off with a gentle dance between the guitars and Crosby and Becca Stevens’ voices on Glory. It’s a delicate layering of harmonies that creates an almost religious, mystical sound. The duet continues with an electric ballad. Vagrants of Venice is an inspired voyage through time, based around a poetic and dark tale that seems to have leapt straight from the pages of Shakespeare. This contrasts subtly with 1974, which has a Seventies rock sound that is reminding of Bill Fay’s light touch at times. Once again, David Crosby proves that he has a nose for collaborations, and that he’s anything but out of inspiration. – Clara Bismuth

Tracklist:
01. Glory 05:20
02. Vagrants of Venice 04:06
03. 1974 03:00
04. Your Own Ride 04:34
05. Buddha on a Hill 04:07
06. I Am No Artist 04:37
07. 1967 03:19
08. Balanced on a Pin 04:30
09. Other Half Rule 04:34
10. Janet 03:27
11. Woodstock 03:34

Personnel:
David Crosby, vocals, guitar
Michael League, bass
Becca Stevens, vocals, guitar
Michelle Willis, vocals, keyboard
Lighthouse Band
Produced by Michael League
Co-produced by Crosby, Willis, and Stevens

Download:

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Two-time Grammy-winning vocalist/pianist Diane Schuur shakes out new versions of songs for which she has a deep-rooted affection. On her latest recording “Running On Faith”, Schuur arranges music by some of her favorite performers and songwriters; from Miles Davis to Percy Mayfield to Paul Simon, all with her distinctive, jazzy charm.

According to Schuur, “I’ve been focusing on the condition of our world and chose songs that make a statement about what is along with songs of hope, about what can be”. Showcasing music from “Running On Faith”, Schuur’s performance include blues, straight-ahead jazz and a few tunes that don’t fit a category. The artist adds these familiar compositions to her expansive body of work to create a musical blueprint of her current place in time.

Tracklist:

01 – Walking on a Tightrope
02 – The Danger Zone
03 – All Blues
04 – Something so Right
05 – Let It Be
06 – The Sun Will Shine on You
07 – Everybody Looks Good at the Starting Line
08 – There is Always One More Time
09 – Chicken
10 – This Bitter Earth
11 – Running on Faith
12 – Way over Yonder
13 – Swing Low Sweet Chariot

Musicians:
Diane Schuur – vocals & piano
Ernie Watts – saxophone
Bruce Lett – bass
Kendall Kay – drums

Download:

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To catch Dianne Reeves singing on stage is to witness one of the most captivating vocalists on the international music scene today. Through her majestic alto, conversational phrasing and improvisational agility, she delves deep inside each song, unveiling its universal themes in a repartee with her own revelations.

The New York Times hailed Reeves as “the most admired jazz diva since the heyday of Sarah Vaughan, Ella Fitzgerald and Billie Holiday,” while the Chicago Tribune praised her as “one of the most creative and technically accomplished female vocalists today.”

For her Concord Records release Light up the Night – Live in Marciac, Reeves unleashes some of the lightning that has long ignited her live concerts. It marks her first live recording since 2000’s In the Moment, which earned Reeves her first Grammy for “Best Jazz Vocal Album.”

The now five-time Grammy-winning singer fronted her longtime band pianist and musical director Peter Martin, bassist Reginald Veal, drummer Terreon Gully, guitarist Romero Lubambo with special guest harmonica virtuoso Grégoire Maret at the Jazz in Marciac Festival in August 2016 for what was an unforgettable engagement at one of her favorite jazz festivals.

Light up the Night, set for international release on September 8, 2017, documents Reeves on the final night of her triumphant 2016 European tour. With Reeves and her band as fierce as ever, they explore road-tested repertoire with inventive spontaneity, resulting in an especially memorable set.

“It’s important to learn to trust your instincts,” Reeves explained. “I just try to find the magic of each night which includes calibrating how the band and I are creating with one another that night, and how each audience is different. So our sets are not planned; tunes are called out in response to a feeling. That keeps me on a creative edge…and that’s where I am at my best.”

Reeves begins the album with her mesmerizing retooling of “Dreams,” the Stevie Nicks-penned hit from Fleetwood Mac’s classic 1977 LP, Rumours

“Dreams” is one of two songs on this disc which appear on Beautiful Life, which won the 2015 Grammy for “Best Jazz Vocal Album.” The other song is the bruising and sassy ballad “Cold,” an original she co-wrote with Martin and Gully. Reeves’ rueful sighs and regal soars bring a bristling conviction to ending an unhealthy relationship. It’s a performance of sheer theater.

Light up the Night also showcases Reeves’ deep appreciation for the American songbook. Included are sublime readings of Wayne Shorter’s “Infant Eyes” and Miles Davis’ classic “All Blues.” On the former, Reeves deftly channels Shorter’s sense of search and splendor as Maret’s beguiling harmonica adds a level of celestial intrigue. On “All Blues”, Veal’s swaggering upright bass intro provides the perfect bedrock for Reeves’ magnificent scatting.

Reeves, a frequent performer at the White House, returned for the 5th International Jazz Day celebration hosted by President Obama and the First Lady. There she sang alongside the iconic guitarist Pat Metheny on his Brazilian-inflected gem, “Minuano.” On Light up the Night, she revisits this song, unraveling Metheny’s infectious melody at first in unison with Lubambo’s empathic guitar before embarking upon flights of fancy. “I’ve always loved this song because it’s so free and open,” Reeves says. “My performance with Pat at the White House was so memorable that it’s now part of my story that I enjoy revisiting whenever I can.”

Every great storyteller is able to draw upon his or her own personal history. Reeves has done this throughout her career by penning stunning originals, and at Jazz in Marciac, she delivered the fan favorite, “Nine,” where she engagingly reminiscences about the joys of childhood as she effortlessly glides across a samba in 7/4.

For an encore, Reeves delivers a divine, heartfelt rendition of Mali Music’s “Beautiful,” an uplifting song that encourages us to project the best of ourselves while appreciating the greatness of others.

Light up the Night can be viewed as a celebration an artist in her prime doing what she does best. The National Endowment for the Arts just tapped Reeves as one of next year’s NEA Jazz Masters the greatest honor given to jazz musicians in the United States. While Reeves is appreciative of the many accolades she has received, she is not one to rest on her laurels. “The story continues,” she says. “I look at this record as a moment in my life that sparkles, shines and speaks loudly to audiences while it whispers to me, ‘Good…now keep moving forward.’”

Tracklist:

01. Dreams (Live) (8:52)
02. Minuano (Six Eight) (Live) (6:44)
03. Nine (Live) (6:06)
04. Infant Eyes (Live) (8:09)
05. All Blues (Live) (8:12)
06. Heavens (Live) (7:03)
07. Cold (Live) (9:21)
08. Beautiful (Live) (6:02)

Download:

https://subyshare.com/kzspmjwhtd8g/DianneReevesLightUpTheNightLiveInMarciac2017HD.rar.html

The man is a cult. His face is somehow reminiscent of the multiple villain Steve Buscemi. Otherwise the mighty Dr. Seems to have sprung from a weird western jingle comedy in red suit and top hat. A shakes-peare-tarantino charlatan? But no, this whole hammer show is real. The guy is real, a real entertainer & gentleman. A wonder doctor walking through heaven and hell. Of course, all public patients are healed, the evil spirits are awakened and hunted to hell.

Tracklist:

01. Hoodoo Moon
02. High Jeopardy Thing
03. Guilty Conscience Blues
04. The Hell Outta Here
05. Rosie’s Boudoir
06. Rosie Revisited
07. Move On
08. I’m Running
09. Big Old Drum
10. Walking Crippled
11. The Truth Is
12. Everybody Wants a Cookie
13. High Jeopardy Thing Reprise
14. Summer Wine feat. Sandy Beach

Download:

https://subyshare.com/95epd3g47vzl/Dr.WillIWantMyM0neyBack202024441.rar.html

“Bacalao” is another album by saxophonist Eddie “Lockjaw” Davis with organist Shirley Scott recorded in 1959 for the Prestige label.

When it came to tenor saxophonists, the late organist Shirley Scott had excellent taste. One of the big-toned tenor men she worked with extensively was Stanley Turrentine, whom she married; another was Eddie “Lockjaw” Davis. Recorded in Rudy Van Gelder’s New Jersey studio in 1959, Bacalao is among the many solid hard bop/soul-jazz albums that resulted from Davis’ association with Scott. The two of them enjoyed an incredibly strong rapport in the late ’50s and early ’60s, and they are very much in sync on Bacalao (which unites them with bassist George Duvivier, drummer Arthur Edgehill, and two Latin percussion men: Luis Perez and salsa giant Ray Barretto). The presence of Perez and Barretto gives the album some Afro-Cuban appeal, and both of them do well by Davis and Scott — who are in fine form whether they turn their attention to two James Moody items (“Last Train From Overbrook” and “Dobbin’ With Redd Foxx”) or well-known pop standards (which include “That Old Black Magic,” “Sometimes I’m Happy,” “When Your Lover Has Gone,” and “Come Rain or Come Shine”). In the liner notes that he wrote for Bacalao in 1959 or 1960, Amiri Baraka (formerly Leroi Jones) describes “Come Rain or Come Shine” and “That Old Black Magic” as “old beat-up tunes”; even back then, those Harold Arlen standards were considered warhorses. But Baraka also goes on to say that Davis and his colleagues revitalize the songs. Organ combo soul-jazz was still new and fresh in 1959, and Scott was helping Davis find new ways to interpret very familiar melodies. Although not quite essential, Bacalao is a rewarding example of Davis’ ability to thrive in an organ/tenor setting. ~ Alex Henderson

Tracklist:

01 – Intermission Riff
02 – Can’t Get Out Of This Mood
03 – Foxy
04 – Our Delight
05 – Bahia
06 – Bingo Domingo

Produced by Esmond Edwards. Engineered by Rudy Van Gelder.
Recorded on December 20, 1959 at Van Gelder Studio, Hackensack, NJ.

Musicians:
Eddie “Lockjaw” Davis – tenor saxophone
Shirley Scott – organ
George Duvivier – bass
Arthur Edgehill – drums
Luis Perez – bongos, congas
Ray Barretto – bongos

Download:

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“Jaws in Orbit” is an album by saxophonist Eddie “Lockjaw” Davis with organist Shirley Scott recorded in 1959 for the Prestige label.

The group that Eddie “Lockjaw” Davis led with organist Shirley Scott during the latter half of the 1950s was quite accessible and did a great deal to popularize the organ band in jazz. This reissue features the duo joined by bassist George Duvivier, drummer Arthur Edgehill and the obscure trombonist Steve Pulliam for a typically swinging set of basic originals and standards. Highlights include a hard-swinging “Intermission Riff” and “Our Delight.”

Tracklist:

01 – Intermission Riff
02 – Can’t Get Out Of This Mood
03 – Foxy
04 – Our Delight
05 – Bahia
06 – Bingo Domingo

Produced by Esmond Edwards. Engineered by Rudy Van Gelder.
Recorded on May 1, 1959 at Van Gelder Studio, Hackensack, NJ.

Musicians:
Eddie “Lockjaw” Davis – tenor saxophone
Shirley Scott – organ
Steve Pulliam – trombone
George Duvivier – bass
Arthur Edgehill – drums

Download:

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Edna Vazquez is a fearless singer, songwriter and guitarist whose haunting and powerful voice and musical talent transcend the boundaries of language to engage and uplift her audience. Born in Jalisco, Mexico, and now based in Portland, Oregon, Edna has been touring full time with the globe-trotting “little orchestra” Pink Martini as a special guest singer for the last two years, her featured moments on stage inevitably bringing a roaring standing ovation at every tour stop. Now, to help give this incredible talent an even wider exposure, Pink Martini bandleader Thomas Lauderdale has produced a special five-song ep featuring Edna’s soul-stirring singing accompanied by Pink Martini. Edna’s original song “Sola Soy” is the highlight of the album, alongside memorable classic repertoire in Spanish, such as the title track and “Quizás, quizás, quizás”.

Tracklist:

01 – Bésame Mucho
02 – Sola Soy
03 – Lo Que Pasó, Pasó
04 – Te He Visto Pasar
05 – Quizás, Quizás, Quizás

Download:

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Emi Fujita (藤田恵美) is a Japanese singer. Several of her solo albums have charted in Japan. She has also found some success in Southeast Asia. Her series of “Camomile” albums are covers of popular western songs. Now, for the first time in eight years, Emi Fujita is releasing a new album in her Camomile series, called “Camomile Colors”. It includes songs by the Carpenters, the Beatles, Sting, Disney movie themes, traditional songs, and the English version of her Japanese mega-hit “Hidamari no Uta” (Wishes), among others. This acoustic album has been recorded using rare analog technology.

Tracklist:

01 – Close to You
02 – Colors of the Wind
03 – Let It Be
04 – Shape of My Heart
05 – Vincent
06 – Someday
07 – Just When I Needed You Most
08 – You Raise Me Up
09 – The Water Is Wide
10 – Ae Fond Kiss
11 – Wishes

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Father John Misty – Off-Key In Hamburg (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:22:48 minutes | 1,05 GB | Genre: Alternative
Studio Masters, Official Digital Download | Front cover

In the key of COVID-19 pandemic, Joshua Tillman, better known as Father John Misty, has released “Off-Key in Hamburg” comprising 18 tracks recorded in August 2019 with the Neue Philarmonie Frankfurt. This latest live album showcases his affecting voice, its melancholy timbre often contrasting the wry humour in his lyrics, and Tillman’s way with melody.

Recorded live at the shiny new Hamburg Elbphilharmonie concert hall on August 8, 2019 and with accompaniment not just from Father John Misty’s eight-piece band, but the acclaimed Neue Philharmonie Frankfurt orchestra, ‘Off Key In Hamburg’ is a high-end luxury offering. With no glitchy livestream to contend with or the logistical nightmare that would entail getting a full orchestra together at short notice – not to mention the fact that even an orchestra playing to an empty room would count as a verboten mass gathering – this instead is a sumptuous reminder of those big budget blow-out shows that will happen again one day, but not any time soon. A lavish, 20-song banquet with a 90 minute run-time – well, you’ve got the time now, haven’t you? – the album gracefully tracks Misty’s near decade long career progression from sassy folk hero with a one-liner always on hand to simmering philosophical showman and arch cultural commentator.

Tracklist:

01 – Hangout At The Gallows
02 – Hollywood Forever Cemetery Sings
03 – Mr. Tillman
04 – Disappointing Diamonds Are The Rarest of Them All
05 – The Night Josh Tillman Came To Our Apt.
06 – Strange Encounter
07 – Total Entertainment Forever
08 – Things It Would’ve Been Helpful To Know Before The Revolution
09 – Ballad Of The Dying Man
10 – A Bigger Paper Bag
11 – I Went To The Store One Day
12 – Nancy From Now On
13 – Chateau Lobby #4 (In C For Two Virgins)
14 – Please Don’t Die
15 – The Palace
16 – God’s Favorite Customer
17 – Pure Comedy
18 – Holy Shit
19 – I Love You, Honeybear
20 – Leaving LA

Recorded Live on August 8, 2019 at the Hamburg Elbphilharmonie.
Mixed by Trevor Spencer at Way Out Studios. Mastered by Joe Visciano at Studio 112.

Musicians:
Daniel Bailey – Drums
Chris Dixie Darley – Guitars, Keytar, Vocals
Kyle Flynn – Keyboards
Corey Lareau – Tenor Saxophone, Flute, Clarinet
Kelly Pratt – Trumpet, Flugelhorn, Flute, Alto Saxophone
Eli Thomson – Bass, Synth Bass
Jon Titterington – Piano
David Vandervelde – Guitars, Keys, Vocals
+
Neue Philharmonie Frankfurt:
Astrid Brachtendorf – Trompete
Norbert Porth – Posaune
Ralf Hübner – Violine 1a
Anna-Maria Barth – Violine 1b
Carlos Cota Lopez – Violine 2a
Esther Owusu -Violine 2b
Julia Mangelsdorf – Violine 3a
Sabina Bogus – Violine 3b
Pilar Carvajal – Viola 1a
Olga Hübner – Viola 1b
Camila Munoz – Viola 2a
Roland Kleinschmidt – Viola 2b
Astrid Naegele – Cello 1a
Ruben Jeyasundaram – Cello 1b

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A self-titled 2013 EP signalled the arrival of indie-rock quintet Foreign Diplomats as a promising new act, and they now take giant strides with first full-length “Princess Flash”. Helmed by ace American producer, Brian Deck (Modest Mouse, the Shins), the album showcases their impressive dynamic range and instrumental ability.

Focus track “Beni Oui Oui” is a good place to start. We’re betting there’ll be no diplomatic immunity to their multi-faceted musical charms.

Tracklist:

01 – Lies (Of November)
02 – Comfort Design
03 – Queen + King
04 – Color
05 – Flash Sings For Us
06 – Lily’s Nice Shoes!
07 – Béni-oui-oui
08 – Mexico
09 – Guns (Of March)
10 – Crown
11 – Drunk Old Paul (And His Wild Things)

Download:

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Mirella Freni, Luciano Pavarotti, Herbert von Karajan, Berliner Philharmoniker – Puccini: La Bohème (1972/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:50:00 minutes | 2,05 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front cover | © Decca Music Group Ltd.

The role of Rodolfo from Giacomo Puccini’s La Bohème launched Luciano Pavarotti’s career in 1961 when he made his professional debut in a small regional production in Reggio Emilia, Italy. He would revisit the role several times over his career, including this 1972 album considered to be one of the finest versions of La Bohème ever recorded. Equally impressive here is Pavarotti’s childhood friend Mirella Freni as Mimi. Conductor Herbert von Karajan proves himself a masterful, sensitive interpreter of Puccini as he leads the Berlin Philharmonic Orchestra.

There is no lack of stellar, gripping versions of La bohème on disc, and by most reckonings, this one stands toward the front of the pack. Having a cast of superstars is no guarantee that an opera recording is going to have the chemistry to knock you off your feet, but the performers here live up to the expectations that their fame raises. Luciano Pavarotti is an ardent Rodolfo; his youthful impetuosity is completely convincing, and he sings with the passionate but unforced creaminess that characterized his performances at the height of his career. Mirella Freni is also vocally in top form. Her Mimi is deeply felt and her voice is sweet, pure, and soaringly lyrical. Rolando Panerai was into middle age when he made this recording, but he is persuasively youthful and he sings with warmth and vigor as Marcello. Elizabeth Harwood is more effective in Musetta’s serious moments than in her fiery ones, but she has a very lovely floating top. The smaller roles are exceptionally well taken; it’s real luxury casting to have an artist of Nicolai Ghiaurov’s caliber as Colline, and Michel Sénéchal is marvelously funny as Benoit and Alcindoro. The Chorus of the Deutschen Oper, Berlin, sings with a great sense of character, and the Berlin Philharmonic plays as if this quintessentially Italianate music was in its blood. Herbert von Karajan leads an extraordinarily nuanced and expressive reading of the score. Felicitous details of orchestration that are frequently lost are clearly audible here, often to revelatory effect. Decca’s sound is exemplary in its clarity and depth. Its engineers are scrupulous in their stereo separation; the stage movement is so precisely calibrated that it’s easy to tell the spatial relationship between characters. This altogether exceptional version has much to recommend it to fans of the opera, and listeners coming to it for the first time could hardly find a more compelling introduction.

Tracklist:

01 – Act 1: Questo Mar Rosso
02 – Act 1: Pensier profondo
03 – Act 1: Abasso, abbasso l’autor!
04 – Act 1: Si puo…Chi e la?
05 – Act 1: Io resto
06 – Act 1: Chi e la?
07 – Act 1: Si sente meglio?
08 – Act 1: Che gelida manina
09 – Act 1: Si. Mi chiamano Mimi
10 – Act 1: O soave fanciulla
11 – Act 2: Arranci, datteri!
12 – Act 2: Chi guardi?..- Ecco i giocattoli di Parpignol
13 – Act 2: Viva Parpignol…Una cuffietta a pizzi
14 – Act 2: Oh!…Essa!…Musetta!
15 – Act 2: Quando m’en vo’
16 – Act 2: Chi l’ha richiesto?
17 – Act 3: Ohe, la, le guardie!…Aprite!
18 – Act 3: Sa dirmi, scusi
19 – Act 3: Mimi! – Speravo di trovarvi qui
20 – Act 3: Marcello. Finalmente!
21 – Act 3: Mimi e una civetta
22 – Act 3: Mimi e tanto malata!
23 – Act 3: Donde lieta usci
24 – Act 3: Dunque: e proprio finita!…Addio, dolce svegliare
25 – Act 4: In un coupe?
26 – Act 4: O Mimi, tu piu non torni…Che ora sia
27 – Act 4: Gavotta
28 – Act 4: C’e Mimi…
29 – Act 4: Vecchia zimarra, senti
30 – Act 4: Sono andati
31 – Act 4: Oh Dio! Mimi! …Che avvien?

Performers:
Mirella Freni – Mimi
Luciano Pavarotti – Rodolfo
Nicolai Ghiaurov – Colline
Elizabeth Harwood – Musetta
Rolando Panerai – Marcello
Gianni Maffeo – Schaunard)
Michel Sénéchal – Alcindoro/Benoit
Gernot Pietsch – Parpignol
Hans-Dieter Appelt – Sergente dei doganieri
Hans-Dietrich Pohl – Un doganiere
Berlin Philharmonic Orchestra, Chorus of German Opera Berlin – Conducted by Herbert von Karajan

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Mirella Freni, Luciano Pavarotti, Herbert von Karajan, Wiener Philharmoniker – Puccini: Madama Butterfly (1974/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:50:00 minutes | 2,49 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front cover | © Decca Music Group Ltd.

A 1974 recording of Puccini’s classic opera Madama Butterfly, one of the most-performed operas in the world. Herbert von Karajan conducts The Vienna Philharmonic Orchestra with a compelling Mirella Freni in the title role, up-and-coming superstar Luciano Pavarotti as Pinkerton, Christa Ludwig as Suzuki and Robert Kerns as Sharpless.

In every way except one the transfer of Karajan’s radiant Vienna recording for Decca could hardly provide a firmer recommendation. The reservation is one of price – this Karajan is on three discs, not two, at full price. However it does allow each act to be self-contained on a single disc, and for such a performance as this no extravagance is too much. Movingly dramatic as Renata Scotto is on the Barbirolli set, Mirella Freni is even more compelling. The voice is fresher, firmer and more girlish, with more light and shade at such points as ‘Un bel dì’, and there’s an element of vulnerability that intensifies the communication. In that, one imagines Karajan played a big part, just as he must have done in presenting Pavarotti – not quite the super-star he is today but already with a will of his own in the recording studio – as a Pinkerton of exceptional subtlety, not just a roistering cad but in his way an endearing figure in the First Act. Significantly CD brings out the delicacy of the vocal balances in Act 1 with the voices deliberately distanced for much of the time, making such passages as ‘Vienna la sera’ and ‘Bimba dagli occhi’ the more magical in their delicacy. Karajan, in that duet and later in the Flower duet of Act 2, draws ravishing playing from the Vienna Philharmonic strings, getting them to imitate the portamento of the singers in an echt-Viennes manner, which is ravishing to the ear. Christa Ludwig is by far the richest and most compelling of Suzukis.

Tracklist:

01 – Act 1: … E soffitto e pareti
02 – Act 1: Sorride Vostro Onore?
03 – Act 1: Dovunque al mondo
04 – Act 1: America For Ever
05 – Act 1: Ier l’altro il Consolato
06 – Act 1: Ecco. Son giunte al sommo del pendio
07 – Act 1: Gran ventura
08 – Act 1: L’Imperial Commissario
09 – Act 1: Vieni, amor mio!
10 – Act 1: Ieri son salita tutta sola in segreto alla Missione
11 – Act 1: Tutti zitti!
12 – Act 1: O Kami! O Kami!
13 – Act 1: Cio-cio-san! Cio-cio-san!
14 – Act 1: Bimba, bimba, non piangere
15 – Act 1: Viene la sera
16 – Act 1: Vogliatemi bene
17 – Act 2: E Izaghi ed Izanami, Sarundasico e Kami
18 – Act 2: Un bel di vedremo
19 – Act 2: C’e. Entrate
20 – Act 2: Si sa che aprir la parta
21 – Act 2: Udiste?
22 – Act 2: Ora a noi. Sedete qui.
23 – Act 2: Ebbene, che fareste, Madama Butterfly?
24 – Act 2: E questo? E questo?
25 – Act 2: Che tua madre dovra prenderti in braccio
26 – Act 2: Vespa! Rospo maledetto!
27 – Act 2: Una nave da guerra
28 – Act 2: Scuoti quella fronda di ciliegio
29 – Act 2: Or vienmi ad adornar
30 – Act 2: Coro a bocca chiusa (Humming Chorus)
31 – Act 2: Intermezzo
32 – Act 2: Fischi d’uccelli dal giardino
33 – Act 2: Gia il sole!
34 – Act 2: Chi sia?
35 – Act 2: Io so che alle pene
36 – Act 2: Non ve l’avevo detto?
37 – Act 2: Addio fiorito asil
38 – Act 2: Suzuki! Suzuki! Dove sei?
39 – Act 2: Tu, Suzuki, che sei tanto biona
40 – Act 2: Come una mosca prigionera
41 – Act 2: Con onor muore chi non puo serbar vita con onore

Performers:
Mirella Freni – Butterfly
Luciano Pavarotti – Pinkterton
Christa Ludwig – Suzuki
Robert Kerns – Sharpless
Vienna Philharmonic Orchestra, Vienna State Opera Chorus – Conducted by Herbert von Karajan

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On this recording and his second as a leader, “Wanted”, the exceptional chromatic harmonica player Grégoire Maret once again finds himself moving away from his complementary duties as a sideman, and focusing on his role as a leader with his own musical vision. Naturally, Maret finds collaborating an important part of developing as an artist, but he is especially aware of the pressures imposed by the needs of others, and the necessity of removing these outside influences in order to get to one’s core identity.

Over his career, Maret has found himself alongside many musical masters, including Herbie Hancock, Pat Metheny, Cassandra Wilson and Steve Coleman, adapting to and absorbing many different styles, as many in his open-minded generation do. The challenges were exciting and educational. Maret heard many kinds of music in his native Switzerland. His parents introduced him to soul, jazz and R&B. It was the music of masters Miles Davis, Herbie Hancock, Stevie Wonder, Wayne Shorter, and Louis Armstrong that immediately struck home and inspired Maret. It was their example that shined brightest as he approached the creation of his own recording, as he looked to make a recording that he would have connected to when he was younger. Going into the studio, Maret knew that he wanted to shape his music using all the tools at his disposal. He assembled a tight, core quartet of pianist Gerald Clayton, bassist James Genus and drummer Terri Lyne Carrington. Maret wanted to treat the initial sessions like Miles Davis did the Kind of Blue sessions, namely to embrace the moment at hand with great musicians. Maret was able to assemble a who s who of the jazz world to appear as special guests on Wanted. First off, he approached the fantastic drummer Terri Lyne Carrington to play as a part of his core group band, and also to co-produce, with Maret, the recording. Maret also enlisted Chris Potter on bass clarinet, guitarists Ricardo Vogt, Marvin Sewell and Kevin Breit, pianist Jon Cowherd, organist Shedrick Mitchell, keyboardist Bobby Sparks, arranger Gil Goldstein, percussionist Mino Cinelu and Kofo the Wonderman on talking drum. Maret has a deep connection to voice since the beginning of his musical life, as he began as a singer and later took up the chromatic harmonica, which he sees as an extension of, or the instrument closest, to the voice. So it should be no surprise that he brought in a number of fabulous vocalists to perform on Wanted, including Mark Kibble of Take 6, Frank McComb, Dianne Reeves, Luciana Souza, Ivan Lins and Maret s early mentor, Jimmy Scott, who passed away shortly after the recording.

Tracklist:

01 – 2 Beats
02 – Wanted
03 – Blue In Green
04 – Diary of a Fool
05 – Heaven’s
06 – Groove
07 – Footprints
08 – Voo do Passaro
09 – Talking Drums
10 – 26th of May

Produced by Grégoire Maret & Terri Lyne Carrington.

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Benny Golson – Horizon Ahead (2016) [Official Digital Download 24bit/96kHz]

Bigfoot – Bigfoot (2017) [Official Digital Download 24bit/44,1kHz]

Bob Dylan – Slow Train Coming (1979/2015) [Official Digital Download 24bit/192 kHz]

Bob Dylan & The Band – The Basement Tapes (1975/2015) [Official Digital Download 24bit/192 kHz]

Celine Rudolph, Lionel Loueke – Obsession (2017) [Official Digital Download 24bit/44,1 kHz]

Chris Brown – Heartbreak On A Full Moon (2017) [Official Digital Download 24bit/48kHz]

David Crosby – Sky Trails (2017) [Official Digital Download 24bit/44,1kHz]

David Crosby – Here If You Listen (2018) [Official Digital Download 24bit/88,2kHz]

Diane Schuur – Running On Faith (2020) [Official Digital Download 24bit/44,1kHz]

Dianne Reeves – Light Up The Night – Live In Marciac (2017) [Official Digital Download 24bit/48kHz]

Dr. Will – I Want My Money Back (2020) [Official Digital Download 24bit/44,1kHz]

Eddie ‘Lockjaw’ Davis & Shirley Scott – Bacalao (1960/2019) [Official Digital Download 24bit/44,1kHz]

Eddie ‘Lockjaw’ Davis Quintet With Shirley Scott – Jaws In Orbit (1959/2019) [Official Digital Download 24bit/44,1kHz]

Edna Vazquez – Besame Mucho (2019) [Official Digital Download 24bit/88,2kHz]

Emi Fujita – Camomile Colors (2018) [Official Digital Download DSF DSD128/5.64MHz + FLAC 24bit/96kHz]

Father John Misty – Off-Key In Hamburg (2020) [Official Digital Download 24bit/48kHz]

Foreign Diplomats – Princess Flash (2015/2017) [Official Digital Download 24bit/88,2kHz]

Mirella Freni, Luciano Pavarotti, Herbert von Karajan, Berliner Philharmoniker – Puccini: La Boheme (1972/2014) [Official Digital Download 24bit/96kHz]

Mirella Freni, Luciano Pavarotti, Herbert von Karajan, Wiener Philharmoniker – Puccini: Madama Butterfly (1974/2014) [Official Digital Download 24bit/96kHz]

Gregoire Maret – Wanted (2016) [Official Digital Download 24bit/44,1kHz]