Artist: Mark Murphy
     Album: Beauty and the Beast
     Label: Muse
     Years: 1985; release: 1987
     Format, bitrate: mp3, 320kb/s
     Size: 121 MB
     AMG Rating:

     Mark Murphy takes plenty of chances on this date. He recites the words he wrote to Wayne Shorter's "Beauty and the Beast" before singing the song, also finding something new to say on "I Can't Get Started" and interpreting such numbers as McCoy Tyner's "Effendi," "Along Came Betty" and "Vocalise"; the latter is based on a melody by Rachmaninoff. Murphy is assisted by a quintet that includes keyboardist Bill Mays, trumpeter Brian Lynch and violinist Lou Lausche. A very interesting and colorful set. ~ Scott Yanow, All Music Guide

     Artist: Mark Murphy
     Album: Stolen Moments
     Label: Muse
     Year: 1978; release: 1992
     Format, bitrate: mp3, 320 Kbps
     Size: 78 MB
     AMG Rating:


     One of singer Mark Murphy's most famous records, this album finds him at the peak of his powers. This version of the title cut is considered a classic, and other high points of this gem include Murphy's interpretations of "Farmer's Market," Jobim's "Waters of March" and "Like a Lover." Joined by three horns (including altoist Richie Cole) and a fine San Francisco-based rhythm section led by pianist Smith Dobson, Mark Murphy consistently comes up with creative ideas. Essential music.

     Artist: Emily Remler
     Album: Retrospective, Vol. 2: Compositions
     Label: Concord Jazz
     Years: 1981-198, release: 1991
     Format, bitrate: Mp3 320 kbps
     Time: 60:00
     Size: 139 MB

     After Emily Remler's untimely death from a heart attack in 1990 at the age of 32, Concord issued two anthologies of her work, although all six of her CDs for the label were still readily available. The guitarist was still blossoming at the time of her last session for the label; this second volume concentrates on her work as a composer. "The Firefly" is a lively hard bop piece in the style of Wes Montogmery, while the very soft, understated "Waltz for My Grandfather" is reminiscent of Jim Hall. "Nunca Mais" is an upbeat samba featuring trumpeter John D'Earth in a pianoless date; a second session with him produced four more Remler tunes, all of which are present on this CD. Her duo date with Larry Coryell didn't include any of her works, so it is not represented in this release. Her last date for the label included "Blues for Herb," a swinging tribute to her friend and fellow guitarist Herb Ellis, and "East to Wes," her compelling impression of Wes Montgomery's early approach to bossa nova. The collected musicians appearing with Remler in this anthology are all of the first caliber, including Hank Jones, James Williams, Eddie Gomez, and Jake Hanna, among others. Sadly, no unreleased recordings of Emily Remler have since emerged from the Concord vault, so this collection in a worthwhile investment if one can't afford to acquire all of her CDs, which is the best recommendation. ~ Dave Nathan, All Music Guide

     Artist:Emily Remler
     Album: Retrospective, Vol. 1: Standards
     Label: Concord Jazz
     Year: 1981-19888, release: 1991
     Format, bitrate: Mp3 320 kbps
     Time: 60:01
     Size: 141 MB
     AMG rating

     This is the first of two CDs issued by Concord Jazz compiling some of the best tracks from Emily Remler's sessions for that label. Cut short at a far too early age by a heart condition while touring in Australia, Remler had all the talent necessary to carve herself a niche in the jazz world as a premier jazz guitar interpreter and performer. Retrospective, Vol. 1 is probably the superior of the two volumes, as it includes, among other gems, an enticing unaccompanied rendition of "Afro Blue." Remler had the ability to be expressively warm with a romantic ballad, as on "In a Sentimental Mood," but she excelled on tunes that allowed her to bring out her hard bop credentials, especially in the company of similarly tough-minded rhythm sections. She displays those credentials on several tracks, such as "Hot House" and "Daahoud," where she is joined by the inestimable Hank Jones on piano and Marvin "Smitty" Smith on drums. "Del Sasser" is the sole representative from that intriguing album she made with trumpet player John D'earth. On this cut, D'earth plays muted trumpet under a clean, straight-lined Remler guitar with a rather unusual scrimpy, but pleasing, sound as the result. Indeed an appropriate testimonial to a fine guitarist, this album is recommended for those who want an overview of the work by Remler without having to buy all the albums from whence the selections came. ~ Dave Nathan, All Music Guide

     Artist: Ted Greene
     Album: Solo Guitar
     Label: PMP Records
     Year: 1977; release: 2005
     Format: mp3 @320 kbs
     Time: 33:53
     Size: 70 MB
     AMG rating

     Chances are that most jazz fans may not have heard of jazz guitarist Ted Greene, though it is not for his lack of abilities. One of a handful of players able to command attention during an album's worth of unaccompanied performances, Greene evidently has not pursued many recording opportunities following this 1977 debut, which was first issued by the PMP label. Like Joe Pass, Bucky Pizzarelli, Martin Taylor, and a few other guitar masters, Greene is adept enough to accompany himself by playing a melodic line and supporting rhythm, such that novices will think they are listening to two guitarists. Most of this session is devoted to standards like "Ol' Man River," "Just Friends," and a medley of "Summertime" and "It Ain't Necessarily So," all played with finesse and imagination. He avoids the hackneyed approach to songs of more recent vintage, such as "Send in the Clowns" and "Watch What Happens," by utilizing creative voicings. This session was finally reissued in 2004 by Art of Life, and it is a mystery as to why Ted Greene hasn't been heard from since the recording was originally made. He is long overdue to make a follow-up. Highly recommended.

     Artist: John Graas
     Album: Jazz Studio, Vols. 5-6: Complete Sessions
     Label: Lone Hill Jazz
     Year: 1955; Release: 2005
     Format, bitrate: Mp3, 320 kb/s
     Time: 70:00
     Size: 160 MB

     Although Lonehill Jazz issued this CD reissue compilation of Jazz Studio, Vol. 5 and Jazz Studio, Vol. 6 as the third volume of their John Graas series, be aware that the late French horn player does not appear on either of these sessions. The first five tracks feature an orchestra led and arranged by pianist Ralph Burns. Unlike some dates in the series which feature long blowing sessions, Burns puts a lot more emphasis on ensemble work, though there is time allocated for solos. The leader's "Cool Cat on a Hot Tin Roof" is not overly complex but swings nicely, while the richly textured treatment of "I'll Be Around" features trumpeter Joe Newman. His unusual scoring of "Royal Garden Blues" updates the old warhorse into a bop setting and has an unusual exchange between Herbie Mann (on piccolo) and Bill Barber (tuba). The remainder of the disc comes from Jazz Studio, Vol. 6, a series of sessions jointly led by French horn player David Amram (who doubles on tuba and piano) and tenor saxophonist George Barrow, with bassist Arthur Phipps and drummer Al Harewood rounding out the quartet. The blend of tenor sax and French horn make for a lush introduction to "Darn That Dream," with Amram immediately switching to piano afterward. Amram's adaptation of the old folk song "Shenandoah" is another memorable track, while the bassist contributed the snappy bop vehicle "Phipps Quipps." Both of these Decca albums were unavailable for decades, but this CD compilation is well worth acquiring. ~ Ken Dryden, All Music Guide

     Artist: John Graas
     Album: Jazz Studio, Vols. 3-4: Complete Sessions
     Label: Lone Hill Jazz
     Year: 1955
     Release: 2005
     Format, bitrate: Mp3, 320 kb/s
     Time: 60:13
     Size: 135 MB

     This Lonehill Jazz CD compiles the contents of two Decca LPs, Jazz Studio, Vol. 3 and Jazz Studio, Vol. 4. The first sessions consist of several different small groups led by French horn player John Graas, highlighted by the three tracks featuring his good friend Gerry Mulligan on baritone sax. In fact, Mulligan's influence on Graas' writing style is apparent, creating tight ensembles that nevertheless consistently swing, with the leader's well-named "Mulliganesque," a brisk cooker, being especially noteworthy. Among the other musicians are pianist Marty Paich, bassist Red Mitchell, and trumpeter Don Fagerquist. Other tracks feature tenor saxophonist Zoot Sims, trumpeter Conte Candoli, alto saxophonist Charlie Mariano, and either Paich or André Previn, with Jimmy Giuffre on baritone sax. Graas' "Rogersesque," which salutes Shorty Rogers (another prominent influence upon the leader), showcases Mariano, Candoli, Paich, and guitarist Howard Roberts to good effect. The last 12 selections are from Jazz Studio, Vol. 4, with all of the compositions contributed by trumpeter and flügelhornist Jack Millman, though the personnel and arrangers vary widely from one song to the next. Like Graas' works, Millman's have stood the test of time, even if they never became a part of regularly played jazz repertoire. The music is still very fresh decades after it was recorded, with some of the cream of the crop of West Coast musicians present, including Gerry Wiggins, Curtis Counce, Chico Hamilton, Bob Gordon, Buddy Collette, Jack Montrose, and Russ Freeman, among others. Perhaps one of the biggest surprises of the date is the Latin-infused "Cathy Goes South," arranged by Johnny Mandel with Maynard Ferguson playing claves.

     Artist: John Graas
     Album: Jazz Studio, Vols. 1-2: Complete Sessions
     Label: Lone Hill Jazz
     Year: 1954; release: 2007
     Format, bitrate: Mp3, 320 kb/s
     Time: 60:16
     Size: 137 MB
     AMG rating

     The Jazz Studio series recorded for Decca during the 1950s produced a lot of enjoyable sessions, though many of them were very hard to obtain until Lonehill Jazz began reissuing them in 2004. The first two tracks, first released as Jazz Studio, Vol. 1, are long workouts that featuring trumpeter Joe Newman, trombonist Bennie Green, tenor saxophonists Frank Foster and Paul Quinichette, pianist Hank Jones, guitarist Johnny Smith (who appeared on the original album as Sir Jonathan Gasser, since he was under contract to Roost at the time), bassist Eddie Jones, and drummer Kenny Clarke. Smith sets up the 22-minute rendition of "Tenderly" with a beautiful unaccompanied solo, then the full rhythm section joins in as the individual reed and brass players take turns. The tempo picks up a good bit just prior to the midpoint, with the solos being much briefer as everyone gets a chance to blow. The second piece, "Let's Spilt," is a bluesy riff tune jointly composed by Hank Jones and Robert Shad that is also an extended performance; it is easy to imagine this snappy tune being played in a 52nd Street nightclub during the 1940s or early '50s. The last six tracks on this compilation come from a recording originally issued as Jazz Studio, Vol. 2, with French horn player John Graas as the leader of this cool-oriented West Coast session, with trumpeter Don Fagerquist, trombonist Milt Bernhart, alto saxophonist Herb Geller, Jimmy Giuffre (who plays clarinet, tenor, and baritone saxes), pianist Marty Paich, guitarist Howard Roberts, bassist Curtis Counce, and drummer Larry Bunker on hand. The mood is considerably more subdued than the bop material recorded by the East Coast musicians heard on Jazz Studio, Vol. 1, but the music has held up very well, with excellent solos and strong charts by Graas and Paich. Highlights include Graas' intricate "Here Come the Lions" and Paich's equally challenging "Paicheck" (note its equally witty title). ~ Ken Dryden, All Music Guide

     Artist: Chick Corea Elektric Band
     Album: Eye Of the Beholder
     Label: GRP
     Year: 1988
     Format, bitrate: Mp3, 320 kb/s
     Time: 53:23
     Size: 125 MB



     During an era when the word "fusion" was applied to any mixture of jazz with pop or funk, Chick Corea's Elektric Band reinforced the word's original meaning: a combination of jazz improvisations with the power, rhythms and sound of rock. Eye of the Beholder, which found guitarist Frank Gambale, saxophonist Eric Marienthal and bassist John Patitucci displaying increasingly original solo voices, is one of this group's finest recordings and ranks with the best fusion of the latter half of the 1980s.

      Artist: Russell Malone
      Album: Wholly Cats
      Label: Venus
      Year: 1999
      Format: MP3 320 kbps
      Time: 62:00
      Size: 144 MB
      AMG rating:

     Russell Malone recording this studio date for Venus in 1995, though it was several years before the Japanese label got around to issuing it. Joined by an excellent rhythm section consisting of Larry Willis, Rodney Whitaker, and Yoron Israel, Malone is not afraid to go into lengthy exploration of an old favorite like "I Concentrate on You." Malone delves into jazz compositions of several generations, including a furious take of Benny Goodman's "Wholly Cats," an easygoing interpretation of Mulgrew Miller's wistful ballad "Carousel," and a virtuoso performance of Thelonious Monk's challenging "Four in One." His one original is the strident "Chitlin Blues," a duo track with a delicious exchange between the guitarist and Whitaker's humorous arco bass. Among his unaccompanied selections are a spacious yet subtle rendition of the spiritual "Swing Low, Sweet Chariot" and an intricate treatment of "Yesterdays." Recommended.

      Artist: Kevin Mahogany
      Album: You Got What It Takes
      Year: 1995
      Format, bitrate: mp3 @ 320 kbs
      Size: 126 MB
      Time: 55:14
      AMG rating:

     Kevin Mahogany's third and final Enja recording (before moving on to Warner Bros.) was his finest and a very definitive set. More jazz-oriented than his first Warner Bros. set, this program matches Mahogany's attractive voice with pianist James Williams (who contributed the tune "Old Times Sake"), bassist Michael Formanek, drummer Victor Lewis and guest tenor Benny Golson. Singer Jeanie Bryson helps out on the opening "Baby You Got What It Takes," making one wish that the two vocalists would team up more often. Other highlights include Quincy Jones' classic "Stockholm Sweetnin'," "Route 66" (which has some creative scatting by Mahogany), the brief "Yardbird Suite" and "BG's Groove." Throughout this date, Kevin Mahogany (formerly a saxophonist who obviously knows music well) shows just how strong a jazz singer he can be. Highly recommended.

     Artist: Andrй Ceccarelli
     Album: Avenue des Diables Blues
     Label: Dreyfus
     Year: 2005, release: 2006
     Format: MP3 (320 Kb)
     Time: 59:40
     Size: 137 MB
     AMG rating

     During his long career, Andrй Ceccarelli has recorded sporadically as a leader, but this studio affair should open a few doors. Accompanied by the talented Gypsy guitarist Bireli Lagrene and organist Joey DeFrancesco, the drummer puts together a wide-ranging set, delving into standards, swing, bop, jazz fusion, and more. His approach to Duke Ellington's gorgeous "Sophisticated Lady" is soft, as he provides minimal brushwork to back his musical partners. The decades-old chestnut "Summertime" slowly simmers in a thoughtful arrangement honoring the organist's mentor, the late Jimmy Smith. The leader finally cuts loose with the brief "Prelude," which segues into a romp through "April in Paris," while Jaco Pastorius' "Three Views of a Secret" showcases both Lagrene's lyrical side and his virtuosity. The one disappointment of the date is the rather lame Norah Jones composition "Sunrise," which pales in comparison to the other tracks on this enjoyable CD.

     Artist: Abdullah Ibrahim
     Album: Senzo
     Label: Indie Europe/Zoom
     Release: 2008
     Format: MP3, 256 kbps/320 kbps
     Time: 57:19
     Size: 131 MB

     Abdullah Ibrahim's followers likely have preferences for his big-band, large-ensemble, trio, or solo works, but any of his fans will agree that all of his projects display a unique melodic touch that is immediately recognizable and pleasant. Well into his golden years, Ibrahim still proves he has the Midas touch on this collection of 22 solo acoustic piano pieces. It's a mix of familiar songs and new material, all referencing the elements of life, nature, hearth, and homeland that have always been central themes in what he calls storytelling, not mere music-making. On this triptych through memorable experiences, the pianist weaves his way through many short snippets of phrases that have served him well, and a few extended discourses that define his career and its struggles to come out triumphant. There's an ebb and flow to the program that makes you want to listen all the way through, but certain familiar signposts along the way remind you how distinctive and singularly unique Ibrahim's style is. From hymnal and reverent to bouncy South African township music, the blues, Duke Ellington, and back to nature, he continues to reinvent his music with a timeless quality that lingers and never leaves the back of your mind. Then again, there's a serenity and peaceful quality always present, as heard in versions of "Ocean & the River" that bookend the CD, the similarly thematic "In the Evening," the cool "Aspen," the meditative "Prelude" to "For Coltrane," and the soulful "Mamma." Ellington's influence has been with Ibrahim since he was discovered by the jazz legend, and he always acknowledges it, here with the patient revisited version of "Blues for a Hip King" and an unusual extrapolated take of "In a Sentimental Mood." Back to his South African roots, "Tookah" is a short look back at youth, "Pula" a musical homage to rain showers, and "Jabulani" another remade original and expression of joy (this time much faster), while the very familiar "Banyana, Children of Africa" is a definitive, familiar, and rambling tune so identifiable with Ibrahim and Ibrahim alone. He pays tribute to wife Sathima on "Blues for Bea," which assimilates the stride piano sound as well as anything he's ever done, and "Nisa" and "Senzo" back to back are a spiritual pairing, painting aural images of moonlight on water and a somber, pensive, post-romantic mood. Always within his capabilities, playing lovely jazz improvisations embedded deep in his soul, Abdullah Ibrahim makes another classic and epic statement, worthy of high praise and recommended to sensitive and warm-hearted people everywhere.

     Artist: Kazumi Watanabe
     Album: Mobo
     Label: DOMO
     Year: 1984
     Format, bitrate: mp3, 320
     Time: 75:33
     Size: 125 MB
     AMG Rating:

     Kazumi Watanabe lives up to his name as the Japan’s world-class, top jazz guitarist. His quick tempo weaves fascinating ad libs and affluent melodies; he has been noted for elaborately combining various performing techniques and infusing rich expressive power to each and every note to create a one-of-a-kind “Kazumi Sound”. He has made the world his stage for over 40 years, transgressing genres and borders to perform with an outstanding number of domestic and international artists. The natural-born improviser also builds a unique world of composition and arrangements, always pioneering frontier instrumental music. Album Mobo earned high acclaim as a work of experimental approaches to a new sound.

     Artist: Peter Madsen
     Album: Snuggling Snakes
     Label: Minor Music
     Year: 1993, release: 1996
     Format, bitrate: mp3 320 kbps
     Size: 137 MB
     Total Time: 1:00
     AMG rating

     Peter Madsen's debut recording as a leader provides a good introduction to the pianist, if one is not already familiar with his work as a sideman. His enticing opener, "Snuggling Snakes," would have easily fit into the repertoire of any hard bop-oriented group, with great support from bassist Anthony Cox and drummer Lewis Nash. Alto saxophonist Chris Potter (who also plays soprano and tenor saxes on the date) is added for the catchy "Hodge Podge," a tricky post-bop line that seems like it can go in any direction, with great breaks by Cox, Madsen, and Potter in turn. The pianist's "The Web That Has No Weaver" starts off with a Nash solo that suggests a street parade, but this work quickly shifts gears into a challenging post-bop trio setting. Guitarist/vocalist Toninho Horta is added for the brisk bossa nova "Maloca" and his original "Francesca" (the latter song including violinist Rudy Berger). Madsen concludes his solid debut effort with "Monkey Wrench," an angular tribute (a duet with Potter) to Thelonious Monk, a recurring theme in his later dates as a leader and with the trio Three of a Kind. This now unavailable CD will be somewhat difficult to obtain. ~ Ken Dryden, All Music Guide

     Artist: John Basile
     Album: The Desmond Project
     Label: Chesky Records
     Year: 1996
     Quality: mp3, 320 Kb/s
     Time: 00:58:41
     Size: 135 MB

     In the early 1960s, when jazz was becoming angrier and more dissonant, Paul Desmond teamed with Jim Hall for a series of albums that helped calm things down. They took mostly standards and turned them into cozy dialogues for sax and guitar, with the bass and brushes commenting discreetly. Desmond's cool, feathery alto placed every note with care; likewise, much of Hall's eloquence came in what he chose to leave out. This was midnight jazz, meant for that time when the rest of the world has gone to sleep and even the smallest sounds can be heard. Guitarist John Basile heard these albums years after they were made, and they forever changed his conception of jazz. "Compared to most guys, Jim and Paul used a lot fewer notes to get the same emotional and musical ideas across," he says. "That's so hard to do, but to me it's the ultimate in maturity. When I hear them play, I'm never aware of technique, only the music. I think that what they did should be acknowledged." Hence this disc, the first recorded tribute to Desmond and his collaborations with Hall and, in the '70s, guitarist Ed Bickert. With his love of melody, shimmering tone, and spare, graceful touch, John falls into the same lyrical tradition.

Artist: Aaron Goldberg
Album: Home
Label: Sunny Side Records
Year: 2010
Format & Quality: mp3 320 kbps
Size: 138 MB
Total Time: 1:01

Pianist Aaron Goldberg’s Home is a dynamic trio album from a working band whose familiarity with one another manifests itself as ebullient playfulness. Whether it’s a tender love song, a haunting ostinato, or a jazz standard, Goldberg, along with bassist Reuben Rogers and drummer Eric Harland, approaches it with curiosity and restlessness, giving it rhythmic elasticity and eruptive potential.
Saxophonist Mark Turner joins the trio for three tracks on Home, contributing his increasingly voice-like tone, and as a result, an added weight to an album that seeks to balance lightheartedness with dark temperament. The group’s version of Pablo Milanés’ “Cancion por la Unidad Latinoamericana” might sound trite if it weren’t for Turner’s pensive vulnerability. Turner strikes a similar disposition on the Latin-tinged “The Rules,” and on “Aze’s Bluzes.”
Home features several covers, paying tribute to Thelonious Monk, Antonio Carlos Jobim, and Stevie Wonder. “I Mean You” exaggerates Monk’s intended playfulness, focusing it on rhythm by alternatively stretching and compacting the melody over the form. Stevie Wonder’s “Isn’t She Lovely” is transformed from its original shuffle into a driving 6/8 groove that continually flirts with swing. Goldberg’s solo, although filled with flourishes, is restrained with a lyrical discipline. Jobim’s “Luiza” is untethered from its bossa nova roots, and seeks sentiment within a rotating stylistic palette.
The overall feel of Home, like its list of influences and source material, is wide-ranging, but the album is unified by Goldberg’s buoyant expression. No matter the mood of a given piece, his phrases carry a gleam, or at least a faint glimmer of joy. That feeling is what lingers after the music is over. ~ Jacob Teichroew, Jazz Guide

     Artist: Ahmad Jamal
     Album: Digital Works
     Label: Collectables
     Year: 1985
     Format: MP3, 320 kbps
     Time: 63:30
     Size: 146 MB


     Ahmad Jamal was never as distinctive on electric piano as he was on the acoustic counterpart, making this two-LP set, Digital Works, (which finds him doubling) a slight disappointment. Jamal does play well throughout, engaging his sidemen (bassist Larry Ball, drummer Herlin Riley, and percussionist Iraj Lashkaryl) in close interplay, but no new revelations occur on such remakes as "But Not for Me," "Wave" and Jamal's greatest hit, "Poinciana." Good music overall, but not essential.

     Artist: Ahmad Jamal
     Album: Poinciana
     Label: SBME
     Year: Oct 25, 1951-Oct 25, 1955
     Release: 1990
     Format: MP3, 320 kbps
     Time: 42:41
     Size: 99 MB
     AMG Rating:


     This fascinating date features pianist Ahmad Jamal at the beginning of his recording career. With guitarist Ray Crawford and either Eddie Calhoun or Israel Crosby on bass, Jamal showcases a style that would be a major influence on Miles Davis' music. Jamal's use of space and dynamics was very different than the style of any other jazz pianist of the era. His versions of "Old Devil Moon," "Will You Still Be Mine?," "The Surrey with the Fringe on Top," and "A Gal in Calico" inspired Miles to record the songs in a similar fashion, and his "Billy Boy" became the basis of a performance by the Red Garland Trio. Most fascinating is Jamal's inventive interpretation of "Pavanne," for it has a section very reminiscent of "So What" (which was not "composed" by Davis until over two years later) and a melody statement that is exactly the same as John Coltrane's "Impressions."

     Artist: Ahmad Jamal
     Album: Inspiration 2LP
     Label: Cadet Records
     Years: 1955-1968, release: 1972
     Genre: Post Bop/Cool
     Format: MP3, 320 kbps (LP-rip)
     Time: 63:30
     Size: 146 MB