Diane Marino - Diane Marino Live at Vitello's

Styles: Vocal Jazz
Year: 2026
Time: 64:24
File: MP3 @ 320K/s
Size: 148,0 MB
Art: Front

(3:42) 1. This Can't Be Love (Live)
(7:36) 2. Just For A Thrill (Live)
(4:08) 3. How Am I To Know (Live)
(5:10) 4. Take Love Easy (Live)
(5:35) 5. Someone You've Loved (Live)
(2:45) 6. What a Difference A Day Made (Live)
(5:01) 7. Chopin Prelude Op 28 No 4 - How Insensitive (Live)
(3:58) 8. I Didn't Know What Time It Was (Live)
(4:54) 9. Never Let Me Go (Live)
(5:32) 10. Get Out Of Town (Live)
(5:48) 11. I See Your Face Before Me (Live)
(4:56) 12. I Just Found Out About Love (Live)
(5:15) 13. Too Late Now (Live)

These 13 tracks on Diane Marino’s “Live at Vitello’s” cd exemplifies a spontaneous, creative performance from five world class musicians.  After booking a date at Vitello’s in Los Angeles, we were in need of an L.A. sax/flute player and drummer. We contacted Rickey Woodard for sax and Clayton Cameron for drums for this performance. A close friend of Diane’s, trumpeter Harry Kim, also performed on a few tunes. The band was set. We were performing, with no rehearsal, for the first time with these three stellar musicians. As you will hear, it’s as if we had performed together many times!

https://dianemarino.com/diane-marino-live-at-vitellos-releasing-january-30-2026/

Arrangements by Diane Marino

Diane Marino… vocals/piano

Rickey Woodard… tenor sax/flute

Clayton Cameron… drums

Frank Marino… bass

Harry Kim… trumpet track 5

Diane Marino Live at Vitello's (mp3 320)
Diane Marino Live at Vitello's (FLAC)

---

Darren Heinrich - Riddle Diddle: The Prague Sessions

Styles: Jazz Organ
Year: 2025
Time: 59:59
File: MP3 @ 320K/s
Size: 137,9 MB
Art: Front

(4:55) 1. Wherever You Go
(6:02) 2. Riddle Diddle
(4:43) 3. Duplicity
(6:43) 4. A Cutting Remark
(5:22) 5. Bluebottles
(6:04) 6. Barrenjoey Boogaloo
(3:47) 7. Bowen's Lament
(4:00) 8. Blues For Bobby Pierce
(5:59) 9. What The Doctor Ordered
(5:29) 10. The Catch-Up
(6:50) 11. Claudia's Song

Darren Heinrich's Riddle Diddle: The Prague Sessions is an organ trio record rooted in swing and outstanding musicianship. The compositions are fresh, the arrangements are purposeful, and the performances show a band that understands how to use jazz language to push the boundaries of the classic organ/guitar/drums setup while keeping the music grounded and direct.

"Wherever You Go" opens the album with a graceful sense of balance. The tune is a lyrical 3/4 with a strong AABA form, arranged cleanly to let the theme do its work. Both Heinrich's organ and Libor Smoldas's guitar solos unfold naturally, patiently treating the listener to melodic, bebop-heavy playing. The head returns briefly, followed by a final organ statement that feels earned rather than appended.

"Riddle Diddle" leans harder into swing and does so with confidence. The composition is direct, and the playing stays tasteful throughout. The guitar solo carries a blues-inflected, Kenny Burrell-like economy, staying concise while still finding angular edges at the right moments. The organ's bass line and comping behind the guitar evoke a midnight-blue texture, with the groove locked in and the ride cymbal swinging relentlessly. Darren's organ solo enters with clear purpose. Nothing is excessive, and every phrase connects. The headout is in unison, built on strong intervallic writing and a blues-forward B section that lands cleanly.

"Bowen's Lament" shifts the mood inward. This ballad is defined by its sparse texture and remarkable interplay. Aside from the lyrical guitar solo, much of the tune is carried by Heinrich, handling bass, melody, and accompaniment while conversing closely with Jesse Simpson 's drums. The result is a focused, intimate performance that highlights control, independence, and deep listening. It functions as a quiet masterclass in organ playing within a trio setting.

"Blues for Bobby Pierce" brings the trio back into a more extroverted space and tempo. The theme features unison lines articulated across hands and feet, with bass and keyboard moving as a single voice. Trading eights with the drums leads into a guitar solo that explores mood and dynamics before opening into a precise, technically clean eighth-note line. The phrasing stays spacious, with chromatic ascents and Pat Martino-esque double stops and chordal punctuations placed deliberately. The organ solo takes over the second half with authority, blending bebop and blues language while the guitar shifts into sparse, supportive comping.

Two additional highlights deserve mention. "What the Doctor Ordered" is an excellent mid-tempo swing tune that oozes feel and clarity. "Barrenjoy Boogalo" closes the circle with a funk-inflected groove that stays grounded in the band's established aesthetic rather than breaking character.

Riddle Diddle succeeds because it understands proportion. Each tune and each player knows their role. Every solo serves the form. The swing feels lived-in, the writing is clear, and the performances reflect a group that values intention over display. It is a focused trio record that rewards close listening, and a strong contemporary take on the classic organ-guitar trio.

https://www.allaboutjazz.com/riddle-diddle-the-prague-sessions-darren-heinrich-self-produced

Riddle Diddle: The Prague Sessions (mp3 320)
Riddle Diddle: The Prague Sessions (FLAC)

---

Bill Coon - Standard Elegance

Styles: Jazz Guitar
Year: 2025
Time: 48:17
File: MP3 @ 320K/s
Size: 111,2 MB
Art: Front

(3:59) 1. All the Things You Are
(3:31) 2. Yesterdays
(3:25) 3. And I Love Her
(2:44) 4. But Beautiful
(4:11) 5. I Cover the Waterfront
(4:41) 6. Prelude to a Kiss
(3:52) 7. East of the Sun
(3:08) 8. The Nearness of You
(3:59) 9. How Deep Is the Ocean
(3:31) 10. Nuages
(3:02) 11. Fall Rain at Night
(3:38) 12. Here's That Rainy Day
(4:30) 13. We'll Be Together Again

Guitarist Bill Coon's Standard Elegance stands as a finely crafted tribute to the timeless appeal of well-made melodies and the skilled artistry needed to refresh them without losing their essence. True to the tradition of great solo jazz guitar recordings, the album finds Coon exploring familiar territory while conveying a deeply personal sense of phrasing, touch, and warm reflection. Whether he chooses his archtop electric or nylon-string instrument, Coon approaches each selection with the restraint and clarity of a musician who knows that standards flourish most when treated with respect and imagination in equal measure.

Coon begins the recital with two Jerome Kern pieces: "All the Things You Are" and "Yesterdays." On the former, he delivers a performance that highlights the tune's elegant structure. His harmonic substitutions stay true to the original flow, yet add graceful tension that brings the melody to life. On the latter, he leans into the number's minor-inflected mood, using shifts in tempo and dynamics to underscore its inward spirit. John Lennon and Paul McCartney's pop hit "And I Love Her" bridges the gap between pop lyricism and jazz sophistication. He maintains the simplicity of the melody while adding gently reharmonized passages that broaden the emotional palette.

"I Cover the Waterfront," the Johnny Green-Edward Heyman gem, offers Coon the chance to craft layers of nuance as he shapes pacing and understated chordal movements that give the piece a late-night, solitary feel. This serves as the ideal introduction to Duke Ellington's "Prelude to a Kiss," where Coon expertly employs voice-leading to highlight the romantic richness of Ellington's composition and to reveal its inner lines with crystalline clarity. Coon's lively side is evident with "East of the Sun," which he frames with a bright, lightly swinging rhythm, enabling the melody to dance freely over his steady accompaniment.

The Romani guitarist Django Reinhardt composed "Nuages," which provides Coon with a lyrical backdrop. His interpretation honours Reinhardt's nostalgic melody while shaping the jazz-manouche nuances into an intimate solo-guitar style, blending respect with personal expression. The closer is the Frankie Laine-Carl T. Fischer tune "We'll Be Together Again." It is delivered with a quiet assurance that honours the ballad's legacy. Coon's version is both an invocation and a fitting tribute to an album firmly grounded in tradition yet keenly alive in the present.

https://www.allaboutjazz.com/standard-elegance-bill-coon-cellar-music-group/

Standard Elegance (mp3 320)
Standard Elegance (FLAC)

---

Hetty Kate - Jazz in Four Seasons: Vol. 1, Spring

Styles: Vocal Jazz
Year: 2025
Time: 55:03
File: MP3 @ 320K/s
Size: 126,8 MB
Art: Front

(5:13) 1. Soon It's Gonna Rain
(6:11) 2. A Flower Is A Lovesome Thing
(3:07) 3. Lady Bird
(4:29) 4. Bein' Green
(4:59) 5. It Might As Well Be Spring
(4:21) 6. Another Spring / April Fooled Me
(3:06) 7. It Looks Like Rain In Cherry Blossom Lane
(4:57) 8. I Like The Sunrise
(4:36) 9. Inchworm
(3:34) 10. Lesní Studánka (Crystal Spring)
(4:45) 11. Strange Meadowlark
(5:40) 12. Spring Can Really Hang You Up The Most

Jazz in Four Seasons: Spring, Vol. 1 is the opening installment of a four-album series by British- Australian vocalist Hetty Kate. Each volume will explore a different season through recordings made in distinct cities around the world, featuring collaborations exclusively with local musicians and incorporating traditional or folk instruments alongside original compositions connected to the host country. Recorded in Prague, Czech Republic, this first volume presents 12 songs celebrating the natural world through works by Duke Ellington, Tadd Dameron, and Dave Brubeck, alongside an original composition inspired by Czech poetry. The album traces spring from its first stirrings to full bloom - from the smallest creature to the most luscious bloom, from sudden downpours to May's sunlight, capturing the season's tempestuous and tender character. The quartet of Prague-based jazz musicians is joined by guest artists on violin, flute, and cimbalom - a Central European stringed instrument similar to a dulcimer, commonly heard in the region's folk music. Its bell-like, shimmering tone adds a distinctive color to the recording. Hetty, with twenty years of international performing experience, first toured Europe as a vocalist with a concert in Prague, making this recording both a return and a new beginning. Prague as the setting reflects an intention to venture beyond typical jazz centers, exploring how this American art form has been embraced and reinterpreted across borders. Spring launches a musical journey that will continue through summer, autumn, and winter volumes, each recorded with local musicians in a different corner of the globe.

https://www.allaboutjazz.com/album/jazz-in-four-seasons-spring-vol-1-hetty-kate

Hetty Kate - Vocals

Libor Šmoldas - Guitar

Jiří Levíček - Piano

Tomáš Baroš - Bass

Tomáš Hobzek - Drums / Percussion

Special Guests

Jan Bradač - Violin on track 10

Robert Fischmann - Flute on track 11

Rob Millett - Cimbalom on track 8

Jazz in Four Seasons: Vol. 1, Spring (mp3 320)
Jazz in Four Seasons: Vol. 1, Spring (FLAC)

---

Michel Portal - Minneapolis We Insist!

Styles: Fusion, Jazz-Rock

Year: 2002
Time: 78:11
File: MP3 @ 320K/s
Size: 179,7 MB
Art: Front

(7:53) 1. Good Bye Pork Pie Hat (Live)
(8:04) 2. Take The Portal (Live)
(6:14) 3. On Nicollet Avenue (Live)
(8:48) 4. Domimonk (Live)
(4:33) 5. Sky Tinted Water (Live)
(5:09) 6. Matourmatourmatourmalet (Live)
(4:38) 7. MP On The Run (Live)
(5:31) 8. Solitudes (Live)
(6:31) 9. Open Season (Instrumental)
(0:18) 10. Introduction To Judy Garland (Live)
(3:37) 11. Judy Garland (Live)
(4:07) 12. Shopping For Black Shirts (Live)
(4:28) 13. Unspoken Truth (Live)
(0:37) 14. Solitudes (Live / Instrumental)
(7:36) 15. Everything Must Change (Live)

We wrote it: Minneapolis, the French wind player's previous album, is a masterpiece, one of the great jazz albums of recent years. Even the protagonist noticed this, so much so that he "insists!" (like Max Roach with Sonny Rollins' Freedom Now Suite), offering us a summary of the tour that took those songs around France, a couple of his signature standards, and some of the band's reinterpretations. Portal's backing band is an excellent but "unique" one, excelling on soprano sax and bass clarinet, but not shying away from alto and tenor: "hard" guitarist Vernon Reid, formerly of Living Colour, and Prince's "superelectric" rhythm section, as well as white pianist Tony Hyams. The same guys from the Basque musician's previous American debut, often accused of being too "classical" due to his academic training, but who proves himself free and refined, vibrant and original, intelligent and lively live. Here is a magnificent manifesto of musical and human communion between one of the greats of European improvised music and the young American talents who have chosen to accompany him in his search for an ideal music, somewhere in the middle of the Atlantic.

https://content.suono.it/en/music-review/michel-portal-minneapolis-we-insist/

Personnel:

Bass Clarinet, Soprano Saxophone, Alto Saxophone, Bandoneon – Michel Portal

Bass, Vocals – Sonny Thompson (2)

Design – Jérôme Witz

Drums – Michael Bland

Executive-Producer – Daniel Richard

Guitar – Jef Lee Johnson (tracks: 1 to 7, 9, 11 to 13)

Piano, Electric Piano [Fender Rhodes Ensoniq SD 1] – Tony Hymas

R.I.P

Born: 27 November 1935 Bayonne, France

Died: 12 February 2026 (aged 90) Paris, France

Minneapolis We Insist (mp3 320)
Minneapolis We Insist (FLAC)

---

Peter Fesperanto Fessler - Lovers, Fools And Dreams

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 48:25
Size: 111,0 MB
Art: Front

(3:25)  1. If You Never Come To Me
(5:02)  2. Strangers In The Night
(4:07)  3. Blue Moon
(4:56)  4. Memories of Moments
(5:21)  5. Hello
(4:15)  6. Smoke Gets In Your Eyes
(4:13)  7. Agua De Beber
(4:51)  8. I Remember You
(4:10)  9. My Romance
(4:35) 10. Poinciana
(3:25) 11. I Wish You Love

Born in Cologne, Germany, and at the age of twelve, he began studying jazz guitar with his supporter and mentor Rick Abao. At the age of 20 he crossed the Atlantic for the first time, embarking on a musical journey that would take him into the world of sessions. Upon his return to Europe, Fessler began a concentrated shortstudy of jazz vocal technique at the renowned Cologne Music Conservatory. Soon after, Fessler became the front man and voice of the succesfull TRIO RIO - group (New York-Rio-Tokyo). Since his return to Europe he has continued to tour, performing live on the concert stage and logging numerous television and radio productions along the way. Fessler's voice can be heard by children all over Germany in the title role of the Walt Disney film "Aladdin", the German version. Following the release of his recording "Don't Tell Me", Fessler dedicated his next album-recordings to jazz and latin-jazz repertoire while simultaneously exploring the territory covered by his own compositions. Since his spectacular duet performance with Al Jarreau at the Montreux Jazz Festival, Peter Fessler has been considered the premiere jazz voice of Germany.

Randy Crawford, Bobby Mc Ferrin, Toots Thielemanns, and many other stars also recognize his unique talent and singular ability. As one of the next generation's jazz stars, he has earned his place on the international stage untill today. Fessler's recent recording and his performance as a "solophonic" musician is a breathtaking fusion of voice and classical guitar. He has found the perfect sound asthetic: High emotional, fascinating and virtuoso.

It all started for German-Canadian Peter Fessler in 1987 with the Top 10 hit "New York, Rio, Tokyo" and the band Trio Rio. Even then many of his breezy pop miniatures bore the influence of Bossa Nova legend Antonio Carlos Jobim. Today Fessler is regarded without a doubt as the most competent interpreter of modern Brazilian sounds in our European climes. A relocation to San Francisco made a decisive mark on him, promptly expressed in songs with a quintessential California "easy feeling".These years of artistic self-searching in the realms of Latin pop, jazz standards, Bach vocalizing or just the barest guitar accompanying his song miniatures have made him a sound to be reckoned with. Nowadays making his home near Cologne, Germany, the inimitably personal style of multi-voice FESSLER is ranked as the European counterpart to such grand masters as Jon Hendricks, Al Jarreau or Bobby McFerrin. Bio ~ http://www.mymusicbase.ru/PPB/ppb35/Bio_3548.htm

Lovers, Fools And Dreams

---

Brian Lynch - Peer Pressure

Styles: Trumpet Jazz
Year: 1986
File: MP3@320K/s
Time: 53:55
Size: 123,7 MB
Art: Front

(10:11)  1. Thomasville
( 8:44)  2. Park Avenue Petite
( 6:01)  3. Peer Pressure
( 7:00)  4. The Outlaw
( 9:00)  5. Change of Plan
( 4:59)  6. 'Nother Never
( 7:57)  7. I Concentrate on You

Lynch wrote three of the seven tracks, while Horace Silver, Benny Golson, Tommy Turrentine and Cole Porter penned one apiece. His trumpet sound definitely borrows from previous modern masters Freddie Hubbard, Lee Morgan & Bill Hardman, and the influence of Silver, Art Blakey's Jazz Messengers and those of the hard/post bop movement cannot be denied. The latin tinge is also prevalent on the Brazilian bossa inflected "Change Of Plan" and Silver's Afro-Cuban tinged classic "The Outlaw." These two selections serve Lynch well for future excursions away from strict mainstream jazz. A rock solid date from a promising musician whose star is on the rise. ~ Michael G.Nastos https://www.allmusic.com/album/peer-pressure-mw0000410785

Brian Lynch Sextet: Brian Lynch (trumpet, flugelhorn); Jim Snidero (alto saxophone); Ralph Moore (tenor saxophone); Kirk Lightsey (piano); Jay Anderson (bass); Victor Lewis (drums).

Peer Pressure

---

Scott Hamilton - Italian Quartet

Styles: Jazz
Year: 2026
Time: 50:10
File: MP3 @ 320K/s
Size: 115,7 MB
Art: Front

(5:50) 1. Expense Account
(5:10) 2. Con Alma
(8:12) 3. Out Of The Past
(5:14) 4. Eu Sei Que Vou Te Amar
(5:38) 5. Heartaches
(8:24) 6. Idle Moments
(6:56) 7. Keester Parade
(4:42) 8. Where Is Love

Scott Hamilton is considered the most popular saxophonist today. Born in Providence, Rhode Island, in 1954, Scott began his career during a musically wild era with a style that was then outside the public's expectations, a style that later became very common among all new performers. His sound and impeccable phrasing were rare among young talents. So, when he signed a contract and began recording albums for Concord Records, it was a source of genuine surprise and excitement among fans of the style and throughout the entire music scene. His first album for Concord, Scott Hamilton is A Good Wind Who Is Blowing Us No Ill, dates back to 1977 and takes its title from a flattering review by critic Leonard Feather. But this was only the first in a memorable series of some thirty albums, which also featured artists such as Buddy Tate, Gerry Mulligan, Ray Brown, Red Norvo, Al Cohn, Flip Phillips, and others. His membership in the groups of Benny Goodman and Rosemary Clooney definitively cemented his fame. Despite his international success, Scott continues to pursue his favorite music, the one that introduced him to jazz, demonstrating a continuous refinement of his creative imagination and the rich, deep sound of his saxophone, to which he adds an impeccable sense of swing, creating a unique atmosphere in each piece he performs. His Italian quartet, with which he has also recorded five CDs, includes Martien Oster (guitar), Marco Micheli (double bass), and Alfred Kramer (drums).

https://green-music.art/green_music/scott-hamilton-italian-quartet/

Italian Quartet (mp3 320)
Italian Quartet (FLAC)

---

June Christy - Something Broadway, Something Latin

Styles: Vocal
Year: 1965
File: MP3@320K/s
Time: 28:58
Size: 66,7 MB
Art: Front

(2:20)  1. Do I Hear A Waltz
(2:26)  2. Long Ago
(2:02)  3. Come Back To Me
(2:37)  4. Here's That Rainy Day
(2:36)  5. He Touched Me
(2:57)  6. The Shadow Of Your Smile
(2:10)  7. Gimme Some
(3:01)  8. What Did I Have That I Don't Have
(2:33)  9. Run For Your Life
(2:25) 10. Tell Me More
(2:27) 11. Cast Your Fate To The Wind
(1:19) 12. One Note Samba

In 1965, June Christy could look back on 20 years of great music, but her best work was definitely behind her. The voice that could whisper or bite was beginning to reveal unintentional flaws, and for her album, Something Broadway Something Latin, she resorted to a bid for the mainstream with something for everyone. As such, the songs come from a variety of sources, mostly Broadway hits of the day, sprinkled with one current movie hit (none of which quite survived to be standards, with the possible exception of the movie hit "The Shadow of Your Smile"). Producer Bill Miller and arranger Ernie Freeman looked to the pop charts for their sound (mostly Brill Building tropes), and although Christy never needed to belt out her songs to sound bewitching, she sounds a little tired and uninspired by her surroundings. The highlights come from a pair of songs perfect for her introspection, "The Shadow of Your Smile" and "Here's That Rainy Day."
~ John Bush http://www.allmusic.com/album/something-broadway-something-latin-mw0000843155

Something Broadway, Something Latin

---

Jeanne Lee & Ran Blake - The Newest Sound You Never Heard Disc 1 & Disc 2

Jeanne Lee & Ran Blake - The Newest Sound You Never Heard Disc 1

Styles: Vocal and Piano Jazz
Year: 2019
Time: 56:09
File: MP3 @ 320K/s
Size: 129,3 MB
Art: Front

(3:05) 1. Misterioso
(3:10) 2. Honeysuckle Rose
(4:31) 3. On Green Dolphin Street
(2:14) 4. A Hard Day's Night
(2:46) 5. I Can't Give You Anything But Love
(1:54) 6. Hallelujah, I Love Him So
(4:10) 7. Night in Tunisia
(1:42) 8. Ja Da (take 1)
(4:35) 9. Something's Coming
(2:51) 10. Just Squeeze Me
(2:15) 11. God's Image
(2:21) 12. Retribution
(2:03) 13. Smoke After Smoke
(4:13) 14. Parker's Mood
(2:21) 15. Caravan
(2:36) 16. Beautiful City
(3:19) 17. Birmingham U.S.A.
(2:44) 18. Ja Da (take 2)
(3:10) 19. Take the A-Train

---

Jeanne Lee & Ran Blake - The Newest Sound You Never Heard Disc 2
Styles: Vocal Jazz, Piano Jazz
Year: 2019
Time: 53:43
File: MP3 @ 320K/s
Size: 123,5 MB
Art: Front

(1:47) 1. Out of This World
(5:14) 2. Mister Tambourine Man
(4:24) 3. Round About
(2:59) 4. Moonlight in Vermont
(2:24) 5. The Frog, the Fountain, and Aunt Jane
(3:23) 6. Billie's Blues
(5:40) 7. Night and Day
(3:21) 8. My Favorite Things
(4:43) 9. Blue Monk
(4:52) 10. Lonely Woman
(2:12) 11. Caravan
(4:04) 12. The Man I Love
(2:45) 13. Something to Live For
(5:48) 14. Spring Can Really Hang You Up the Most

The Newest Sound You Never Heard was captured at the studios of Belgian radio and television station VRT and at a live performance in Brussels. The tapes remained in the VRT archives for nearly 40 years until being rediscovered. The dark sensuality of Lee’s voice and the icy, clipped notes of Blake’s piano create a mesmerizing effect, attractive and unsettling at the same time. A singular classic of voice and piano blending in a way no one has quite been able to match.
https://www.jazzmessengers.com/en/80841/ran-blake/thenewestsoundyouneverheard

Personnel: Jeanne Lee, vocals; Ran Blake, piano

The Newest Sound You Never Heard (1966-67 European Recordings)

---

Ken Peplowski - Last Swing Of The Century

Styles: Big Band, Swing

Year: 1999

Time: 65:26

File: MP3 @ 320K/s
Size: 149,8 MB
Art: Front

(2:20) 1. Let's Dance
(3:27) 2. Hunkadola
(3:12) 3. Between the Devil and the Deep Blue Sea
(6:59) 4. King Porter Stomp
(5:17) 5. Moon Glow
(6:08) 6. Stealin' Apples
(2:32) 7. You Turned the Tables on Me
(3:07) 8. Bugle Call Rag
(3:19) 9. Don't Be That Way
(4:00) 10. Memories of You
(4:11) 11. Restless
(3:15) 12. Get Happy
(5:14) 13. Sometimes I'm Happy
(4:56) 14. China Boy
(3:29) 15. Down South Camp Meetin'
(3:53) 16. Good-Bye

Although the cliche that big bands will never come back is somewhat true, Ken Peplowski is the closest that some listeners near the end of this century will remember as bringing the music back to the ‘90s with taste, drive and creativity. Peplowski doesn’t compromise the artistic integrity of his mentor even though each soloist is playing in their own style, with no re-creations of solos from old records! Popular standards such as “Let’s Dance,” “Moon Glow,” “Bugle Call Rag,” “Don’t Be That Way,” and the “King Porter Stomp,” receive some of the very best arrangements they’ve ever had. On “Memories Of You,” Ken spotlights Bobby Pring’s trombone and the young, Frank Vignola’s mellow guitar. He duets with Vignola on one of Goodman’s favorites, “China Boy,” originally recorded with Teddy Wilson and Gene Krupa in 1936. 

The clarinet of Ken Peplowski, taken up in honor of Goodman, is brilliant on this hard-swinging set of performances by his orchestra and serves as an excellent example of what can be done and has been done to the keep the music of the Big Band Era fresh and vital. Last Swing Of The Century - Big Band Music of Benny Goodman captures the brilliant essence of Benny Goodman and is ever so essential.

By Paula Edelstein http://www.allaboutjazz.com/last-swing-of-the-century-big-band-music-of-benny-goodman-ken-peplowski-concord-music-group-review-by-paula-edelstein.php 

Musicians: Ken Peplowski, clarinet; trumpets; Conte Candoli, Bob Milikan, Randy Sandke; trombones,  Eddie Bert, Bobby Pring; saxophones,  Jack Stuckey - lead alto,  Scott Robinson - tenor,  Joe Romano - alto, Rickey Woodard - tenor; rhythm section, Ben Aronov-piano, Frank Vignola - guitar, Richard Simon - bass, Frank Capp - drums.

Last Swing of the Century

---

Sonny Sharrock Trio - Dance With Me Montana

Styles: Guitar Jazz
Year: 2019
Time: 70:03
File: MP3 @ 320K/s
Size: 161,2 MB
Art: Front

( 4:00) 1. Dick Dogs
(10:09) 2. Dance With Me Montana
( 5:10) 3. Slow Drag
( 4:22) 4. Marpasa Dawn / Song to Chester
( 2:42) 5. 74–75
( 8:45) 6. She’s Only Fourteen
( 5:19) 7. Purple, Blue, Green and Yellow
( 2:48) 8. 74–75 (alt.)
( 4:20) 9. Marpasa Down / Song to Chester (alt.)
( 6:46) 10. Slow Drag (alt.)
(11:44) 11. Dance With Me Montana (alt.)
( 3:51) 12. Dick Dogs (alt.)

The main point of interest of this album is its session date. Recorded in 1982, this is one of the very few documents of the late Sonny Sharrock's playing between his classic work with Pharoah Sanders and Don Cherry as well as on his own and his re-emergence with Last Exit in 1985.

Bill Laswell had already utilized his talents on Material's Memory Serves release from the prior year, but here is Sharrock in a simple trio, playing several of the pieces that would become part of his stock repertoire for the remainder of his career. Unfortunately, his bandmates aren't very inspiring and the entire affair is thinly recorded, making this a less-than-rewarding pickup.

One can attempt to mentally divorce Sharrock's sound from his surroundings, but even so, he's more workmanlike than ecstatic here and the listener can only scrape together the faintest clues of just how great a guitarist he could be. Even his "Dick Dogs," normally a guaranteed roof-raiser, is dragged down here by some astonishingly leaden drumming, though it also provides some of the leader's best work on the date.

Serious students of Sharrock's style will probably want to have this if only to provide a link between his earlier and later playing, but there are many better places to hear his unique genius. Additional warning: This album also contains, arguably, one of the very worst covers in the history of recordings. Be afraid. By Brian Olewnick https://www.allmusic.com/album/dance-with-me-montana-mw0000453199#review

Dance With Me Montana

---

Ken Peplowski Quartet - Lost In The Stars

Bitrate: MP3@320K/s
Time: 66:06
Size: 151.3 MB
Styles: Bop, Saxophone jazz
Year: 2002
Art: Front

[8:07] 1. If This Isn't Love
[6:34] 2. Why Do I Love You
[4:20] 3. Ataraxi
[6:25] 4. My Ship
[4:29] 5. Ballad For Very Tired And Very Sad Lotus Eaters
[7:14] 6. People Will Say We're In Love
[3:59] 7. Marchons
[4:49] 8. Lament
[7:45] 9. Good Morning Heartache
[5:52] 10. Sleep
[4:23] 11. Lost In The Stars/When You Wish Upon A Star
[2:03] 12. Piece #8 From Benny's Gig

Lost in the Stars sounds like the title of a romantic mood music album, and in fact, parts of this 2001 session are romantic and sentimental. But other parts are up-tempo, exuberant, and hard-swinging. So listeners shouldn't make too much of the album's title; Ken Peplowski, true to form, provides yet another well-rounded swing-to-bop effort that ranges from the lyrical to the exhilarating. Like other Peplowski releases, Lost in the Stars has one foot in small-group swing and the other in early bebop an approach that recalls the mid'40s, when there were a lot of players who were right at that swing/bop border.

They were being influenced by the innovations of Charlie Parker, Bud Powell, and Dizzy Gillespie, but they weren't 100 percent bop and hadn't forgotten about swing. On Lost in the Stars, Peplowski oversees a rhythm section that includes pianist Ben Aranov, bassist Greg Cohen, and drummer Lewis Nash and these players serve Peplowski well whether he is on tenor sax or clarinet. Although not groundbreaking, this German release has its share of surprises.

Aranov and Cohen do some writing Lost in the Stars isn't just an album of overdone warhorses and Peplowski unearths a few overlooked gems, including "Ballad for Very Tired and Very Sad Lotus Eaters" (a little known Billy Strayhorn piece from the '50s). "My Ship" certainly falls into the warhorse category some would argue that as great as the song is, the jazz world needs to give it a rest in the 21st century. But Peplowski's version of "My Ship" is so gorgeous and deliciously lyrical that one can easily cut him some slack, and he is equally expressive on "Good Morning Heartache." Lost in the Stars falls short of essential, but even so, it is a solid and rewarding addition to Peplowski's catalog. By Alex Henderson

Personnel: Benny Aronov/Piano; Greg Cohen/Bass; Lewis Nash/Drums; Ken Peplowski/Clarinet, Liner Notes, Primary Artist, Sax (Tenor).

R.I.P. (May 23, 1959 – February 1, 2026) Ken Peplowski was an American jazz clarinetist and tenor saxophonist. He was known primarily for playing swing music. For over a decade, Peplowski recorded for Concord Records.

Lost In The Stars

---

Rondi Charleston - Signs of Life

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 44:15
Size: 106,5 MB
Art: Front

(4:37)  1. DNA
(4:36)  2. Signs of Life
(5:37)  3. How the River Flows
(4:19)  4. The Wind Speaks
(4:12)  5. Footprints
(3:17)  6. Spirit Voices
(3:32)  7. In These Hours
(4:38)  8. Reflections
(2:55)  9. Babe's Blues
(3:22) 10. Chega de Saudade
(3:04) 11. The Cave Knows

Motéma Music recording artist, Rondi Charleston, is an award winning jazz singer/lyricist/composer whose work has appeared in film, TV and on stage throughout the U.S. and Europe. Her most recent album, Signs of Life, climbed the Jazz Week charts for ten consecutive weeks and has critics raving; JazzTimes says “she is a songwriter whose poetic, narrative, and compositional skills are comparable to such modern masters as Joni Mitchell and Paul Simon.”Touring nationally in support of Signs of Life, Rondi and her all-star band gave sold out performances from coast to coast from Yoshi’s in San Francisco to Mayne Stage in Chicago to Joe’s Pub in New York with TV appearances on such prestigious stations as PBS Chicago Tonight and ABC’s Windy City Live. She has collaborated with some of the foremost jazz luminaries of our time including Fred Hersch, Lynne Arriale and Dave Stryker. Rondi was chosen for the Women in Jazz Festival at Jazz at Lincoln Center, and has played Birdland and BlueNote with her quartet in New York City. Her original song, “The Cave Knows”, for the film, No Place on Earth, is currently featured on The History Channel as well as in worldwide theatrical release. In addition Rondi is a Juilliard graduate, Emmy and Peabody award winning journalist at ABC News Primetime Live. Bio ~ http://motema.com/artists/rondi-charleston/

Signs of Life

---

Ashley Pezzotti - We've Only Just Begun

Styles: Jazz Vocals
Year: 2019
Time: 59:32
File: MP3 @ 320K/s
Size: 137,1 MB
Art: Front

(2:34) 1. It Only Takes a Moment
(4:53) 2. We've Only Just Begun
(5:23) 3. Solo Tu
(4:40) 4. That Way
(3:30) 5. I Hope You Find Her
(6:03) 6. Nothing Good Happens After Midnight
(5:41) 7. September in the Rain
(4:35) 8. But Not for Me
(3:43) 9. Something I Dreamed Last Night
(5:13) 10. Drunk on Love
(3:45) 11. Just One of Those Things
(6:02) 12. Darn That Dream
(3:24) 13. Jackie

New York vocalist and composer Ashley Pezzotti discovered her love for music when her Dominican father would sing her classic Spanish songs to sleep. She began taking voice lessons at only 4 years old, and in 2018 she completed her undergraduate degree at the University of Miami’s Frost School of Music with a full tuition scholarship. In the spring of 2019, Ashley participated in the Betty Carter Jazz Ahead Program where she gained invaluable mentorship by Dee Dee Bridgewater, Jason Moran and Marcus Printup. She is also a 2021 alumni of Dee Dee Bridgewater’s Woodshed Network program.

​At the young age of 26 years old, Ashley has performed with renowned artists such as Wynton Marsalis and the Jazz At Lincoln Center Orchestra, Arturo Sandoval, Joey Alexander, Dave Holland, Jon Secada, and country star Keith Urban. She has also performed as a leader at prestigious venues such as Birdland Jazz Club, Dizzy’s Club, Blue Note Jazz Club, The Jazz Showcase, Jazz at Lincoln Center’s Rose Hall, Stockholm Concert Hall, and the John F. Kennedy Center for the Performing Arts in Washington D.C.

​Her 2019 encouragingly titled album “We’ve Only Just Begun” features an array of original compositions inspired by the Great American Songbook. She is accompanied by renowned musicians such as Emmet Cohen on piano, Alex Weitz on tenor sax, Kyle Poole on drums and Bob Bruya on bass. Ashley is featured on Wynton Marsalis’ 2020 album release on Blue Engine Records, The Ever Fonky Lowdown, along with the Jazz at Lincoln Center Orchestra. The album is a sweeping Marsalis suite that captures the artist’s insight on culture and society. https://theravenscroft.com/event/ashley-pezzotti/

Ashley Pezzotti on vocals

Alex Weitz on tenor saxophone

Emmet Cohen on piano

Bob Bruya on bass

Kyle Poole on drums

We've Only Just Begun (mp3 320)
We've Only Just Begun (FLAC)

---

Jean John (feat. Emmet Cohen & Russell Hall) - A Love Lane Nocturne

Styles: Jazz
Year: 2019
Time: 58:19
File: MP3 @ 320K/s
Size: 134,5 MB
Art: Front

(6:46) 1. We Could Be so Happy
(4:14) 2. Down the Old Fulton
(4:06) 3. Hump the Swag
(4:14) 4. Aj's Footsteps
(6:49) 5. A Love Lane Nocturne (Live)
(4:36) 6. Suits Only
(3:03) 7. T'ain't Nobody's Biz-Ness If I Do
(6:59) 8. I Guess I'll Hang My Tears out to Dry
(4:47) 9. In More Ways Than One
(5:51) 10. Epistrophy / Crepuscule with Nellie
(6:49) 11. A Love Lane Nocturne (Trio)

The newly assembled “The New Standards Trio” behind the project “A Love Lane Nocturne”, which gave its debut performance at the world renowned John F. Kennedy Centre for Performing arts in Washington D.C. in March 2017, features prodigious American pianist and a Yamaha artist, Emmet Cohen (Christian Mcbride “Tip City Trio”, Billy Hart Quartet) and exuberant Jamaican bassist Russell Hall.  (Branford Marsalis Quartet). 

  

The New Standards Trio is returning jazz to people, to swing and to its roots, the blues. The trio’s freshness, joyfulness and mesmerizing dancing quality, is re-establishing jazz as popular music as the trio’s main mission is the irresistible good feeling and the divine sensation of liberty of each and every audience member. https://www.jean-john.com/a-love-lane-nocturne

A Love Lane Nocturne (mp3 320)
A Love Lane Nocturne (FLAC)

---

The Four Freshmen Feat. Emmet Cohen. Russell Hall, & Kyle Poole - Vol. 1 & 2

Vol. 1 

Styles: Jazz & Harmony Vocals
Year: 2022
Time: 39:14
File: MP3 @ 320K/s
Size: 90,4 MB
Art: Front

(4:14) 1. From This Moment On (feat. Emmet Cohen)
(5:44) 2. All The Things You Are (feat. Emmet Cohen)
(3:48) 3. Have You Met Miss Jones? (feat. Emmet Cohen)
(4:19) 4. Blame it on My Youth (feat. Emmet Cohen)
(4:46) 5. No More Blues (feat. Emmet Cohen)
(4:32) 6. Waltz For Debby (feat. Emmet Cohen)
(4:29) 7. Easy Living (feat. Emmet Cohen)
(3:45) 8. Put on a Happy Face (feat. Emmet Cohen)
(3:33) 9. What a Wonderful World (feat. Emmet Cohen)

The Four Freshmen:

Ryan Howe - lead voice

Tommy Boynton - 2nd voice

Jake Baldwin - 3rd voice / trumpet / bass trumpet

Bob Ferreira - 4th voice

Featuring:

Emmet Cohen - piano

Russell Hall - bass

Kyle Poole - drums

IN THE BEGINNING

In 1948, four young men created a sound that forever changed the way vocal jazz harmony was heard and performed. Known as The Four Freshmen, the group started with two brothers, Don and Ross Barbour, their cousin Bob Flanigan, and friend Hal Kratzsch. With a soaring, true tenor in Bob Flanigan, the group created a sound that has endured for over 6 decades. Hal Kratzsch sang the bass part and played trumpet. He sang the bass part with a big sound, laying the foundation for the Barbour brothers to add their beautiful inner part stylings. Ross sang the 3rd part and played drums. Don sang the 2nd part and played guitar. Thus, the original Four Freshmen was born and began touring, playing bowling alleys and small clubs across the country.  

STAN KENTON

Early on in their career, the Freshmen met Stan Kenton. He had heard the rumors of a vocal group that sounded like his band. The Freshmen were all fans of Kenton and in many ways, modeled their sound after the Kenton trombone section. Once Kenton heard them, he was hooked. He loved the group and believed in them so much that he approached Capitol and essentially got the Freshmen signed in 1950. This led to a fruitful partnership between Capitol Records and the Freshmen for over 10 years. During the Capitol years, the Freshmen had some of their biggest hits, including their first hit with Capitol called "It's A Blue World." 

https://fourfreshmen.com/history

https://www.fourfreshmen.com/band

The Four Freshmen Featuring Emmet Cohen, Russell Hall, & Kyle Poole, Vol. 1 (mp3 320)
The Four Freshmen Featuring Emmet Cohen, Russell Hall, & Kyle Poole, Vol. 1 (FLAC)

---

Vol. 2

Styles: Jazz & Harmony Vocals
Year: 2025
Time: 35:55
File: MP3 @ 320K/s
Size: 82,9 MB
Art: Front

(3:27) 1. When You're Smiling (Take 2)
(2:51) 2. You and the Night and the Music (feat. Emmet Cohen)
(4:21) 3. Some Other Spring (feat. Emmet Cohen)
(3:33) 4. You Do Something to Me (feat. Emmet Cohen)
(5:52) 5. The Sweetest Sounds (feat. Emmet Cohen)
(3:42) 6. It's a Blue World (feat. Emmet Cohen)
(5:05) 7. Besame Mucho (feat. Emmet Cohen)
(3:46) 8. Cry Me a River (feat. Emmet Cohen)
(3:15) 9. When You're Smiling (Take 1) (feat. Emmet Cohen)

Our new album is here!

The Four Freshmen featuring Emmet Cohen, Russell Hall & Kyle Poole – Volume 2 is out now, and we couldn’t be more excited to share it with you.

Recording with Emmet, Russell, and Kyle was every bit as joyful and effortless as it sounds. Their energy, spirit, and deep connection to the jazz tradition helped us create something that honors our 77-year legacy while celebrating the present. We’re deeply grateful—to everyone we love, and to all who’ve loved this music from 1948 to today. Give it a listen, share it around, and most of all… enjoy. With love,

The Four Freshmen — Ryan, Tommy, Jake & Bob

The Four Freshmen Featuring Emmet Cohen, Russell Hall, & Kyle Poole, Vol. 2 (mp3 320)
The Four Freshmen Featuring Emmet Cohen, Russell Hall, & Kyle Poole, Vol. 2 (FLAC)

---

Rebecca Kilgore & Lyle Ritz - Becky & Lyle Bossa Style

Styles: Easy Listening
Year: 2009
Time: 41:45
File: MP3 @ 320K/s
Size: 96,5 MB
Art: Front

(2:34) 1. A Moment Later
(2:40) 2. Take Me to Aruanda
(2:20) 3. Abobora
(4:54) 4. Love Me or Leave Me
(4:30) 5. Easy Come, Easy Go
(4:07) 6. Happy Talk
(3:16) 7. I Will
(2:33) 8. I'm Looking over a Four Leaf Clover
(4:52) 9. Once I Loved
(3:36) 10. What the World Needs Now
(3:29) 11. Triste
(2:48) 12. Old in New Mexico

Jazz vocalist Rebecca Kilgore and jazz ukulele player Lyle Ritz are excited about their second recording collaboration, "Becky & Lyle • Bossa Style." Previously they addressed gems from their vast collective repertoire of jazz standards, but here they turn their attention to the musical genre imported from Brazil and popularized in the 1960s, the bossa nova. The beat took the jazz world by storm at that time, as introduced by it's leading American proponents tenor saxophonist Stan Getz and nylon-string guitarist Charlie Byrd. Ritz adapts the style fluently and seamlessly to his nylon-string ukulele, along with the help of John Stowell on nylon-string rhythm guitar, Dave Captein on acoustic bass, and Piper Heisig on percussion. Kilgore is known for her relaxed vocals, so it was easy to chose songs which would fit the mellow, swaying style - some from Brazil, some from American composers like Lennon & McCartney and Burt Bacharach, plus four original songs from Ritz himself. The result is a perfect fit. This project was produced by Marianne Brogan of the Portland Ukulele Association.

https://www.amazon.in/Becky-Bossa-Style-Rebecca-Kilgore/dp/B002GNOOME

Becky & Lyle Bossa Style (Mp3 320)
Becky & Lyle Bossa Style (FLAC)

---

John Sheridan's Dream Band: Easy As It Gets (Feat. Rebecca Kilgore)

Styles: Jazz
Year: 2005
Time: 64:02
File: MP3 @ 320K/s
Size: 148,5 MB
Art: Front

(4:12) 1. Devil May Care
(6:12) 2. Easy As It Gets
(3:35) 3. Spring Cleaning
(4:47) 4. Morning Glory
(3:19) 5. You Leave Me Breathless
(3:18) 6. Cherry
(5:05) 7. It's So Peaceful In The Country
(3:22) 8. You Lucky People You
(4:32) 9. The Gypsy
(4:27) 10. Someone Like You
(3:51) 11. When We're Alone (Penthouse Serenade)
(2:48) 12. You Do Something To Me
(4:05) 13. Me, Myself And I
(4:57) 14. Dedicated To You
(5:27) 15. I'm Sitting On Top Of The World

This is the fourth CD by the Dream Band and, the finest so far. On every track, they create lovely jazz and dance music laden with inspiring hot solos, subtle arranged passages, exuberant collective improvisation, and tender ballads. But the Dream Band isn't self-consciously historical, copying riffs from Vocalion 78s: these musicians love the tradition, but their playing is inventive, the result is timeless. 

https://arborsrecords.com/products/john-sheridans-dream-band-easy-as-it-gets-featuring-rebecca-kilgore

Personnel:

John Sheridan, piano

Rebecca Kilgore, vocals

Randy Reinhart, cornet

Russ Phillips, trombone

Ron Hockett, clarinet

Scott Robinson, tenor saxophone

Phil Flanigan, bass

Bob Leary, guitar

Joe Ascione, drums

Easy As It Gets

---

Ian Shaw - Stephensong: Ian Shaw Sings Stephen Sondheim

Styles: Jazz
Year: 2025
Time: 39:57
File: MP3 @ 320K/s
Size: 92,2 MB
Art: Front

(2:27) 1. Everybody Says Don't
(3:34) 2. No One Is Alone
(3:08) 3. Take Me To The World
(4:08) 4. Marry Me A Little
(3:35) 5. I Remember
(3:17) 6. Another Hundred People
(4:34) 7. Being Alive
(2:18) 8. Good Thing Going
(4:15) 9. Anyone Can Whistle
(3:19) 10. Children Will Listen
(5:16) 11. Somewhere

Award-winning vocalist Ian Shaw presents Stephensong, a long-awaited exploration of Stephen Sondheim’s iconic repertoire. With elegant, intimate arrangements from pianist and collaborator Barry Green, Shaw brings a deeply personal perspective to the songs, informed by his life, activism and artistic journey, with Sondheim’s personal blessing dating back to the 1990s.

From classics such as ‘Somewhere’ and ‘Being Alive’ to lesser-known treasures like ‘I Remember’ and ‘Take Me To The World’, Shaw approaches the material with subtlety, precision and a storyteller’s instinct. The recording was made with deliberate simplicity – minimal rehearsal and just a few takes – capturing the rapport built over decades of collaboration between Shaw and Green. “I’ve known these songs for years, but always through an actor’s eyes and ears. It took me a long time to feel ready to record them,” explains Shaw. “I didn’t want to show off or pull them out of context. They’re so beautifully melodic, like Ellington or Strayhorn – you just sing them, and your thumbprint comes through in the sound of your voice.”

For Shaw, this album resonates far beyond the music. His activist history and lived experience give Sondheim’s explorations of struggle, survival and identity a renewed urgency.  “I’m gay: I’ve got scars from my Section 28 demonstrations. These songs mean something, they’re about conflict, about resilience.  And we’re all feeling that now.”

Stephensong is not a tribute record, but a bold retelling of one of the 20th century’s greatest songwriters through the lens of one of the UK’s finest interpreters of song. “Sondheim’s lyrics are conversational but poetic, and every phrase carries its own resolution,” Shaw reflects. “It’s tough, disciplined writing – but that’s what makes it brilliant. These songs are about real people, and they tell truths we all recognise.”  https://ecnmusic.com/release/stephensong/

Stephensong: Ian Shaw Sings Stephen Sondheim (mp3 320)
Stephensong: Ian Shaw Sings Stephen Sondheim (FLAC)

---