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Artist: Charlie Mariano Quartet Title: Portrait of France Year Of Release: September 12 & 13, 2001 Label: Pony Canyon Genre: Jazz, Post Bop Quality: Flac lossless /Mp3 320 kbps Total Time: 55:27 Total Size: 273 MB /127 MB Tracks 01. La Mer 02. C'Est Si Bon 03. Les Parapluies De Cherbourg 04. La Vie En Rose 05. Plein Soleil 06. Un Homme Et Une Femme 07. Moulin Rouge 08. Domino 09. Autumn Leaves (Les Feuilles Mortes) 10. What Are You Doing The Rest Of Your Life Personnel Charlie Mariano: alto saxophone Hubert Nuss: piano Dieter Ilg: bass Wolfgang Haffner: drums http://rapidgator.net/file/0dc85c0d66f62bcdde5939cae1aeca4e/ChrlMrnQuPrtrtfFrnc.rar.html http://ssh.tf/tZyJmSbFd/ChrlMrnQuPrtrtfFrnc.rar http://rapidgator.net/file/fd0791aeadf8d82e58e26b315d633774/ChrlMrnQuPrtrtfFrncMP3.rar.html http://ssh.tf/xJu0e2Esd/ChrlMrnQuPrtrtfFrncMP3.rar

Artist: Charlie Mariano Title: Not Quite A Ballad Year Of Release: 2004 Label: intuition Genre: Jazz Quality: Mp3 / 320kbps Total Time: 65:35 min Total Size: 152 MB Tracklist ---------- 01. Adagio 02. Plum Island 03. Yagapriya 04. Vesti La Giuppa 05. Not Quite a Ballad 06. The Next Last Wave 07. Lopin' 08. Candy Lip 09. You Better Go Now Octogenarian saxophonist Charlie Mariano has spent a lifetime blurring boundaries. One of the few remaining witnesses of the bebop era, he has spent the early part of his career in that arena. In the mid-'60s he began experimenting with fusion, recording arguably his best work in that genre with bassist Eberhard Weber's groundbreaking Colours band in the '70s. Throughout he has had a passion for music of other cultures, spending time in India learning the nadhaswaram, a South Indian wind instrument. His immersion in Indian culture is well-documented on the '83 ECM recording Jyothi. In recent years, however, he has become more associated with the mainstream, although his broader interests never seem to be far away. With Not Quite a Ballad he marks another achievement'a recording with a concert orchestra'and the result combines the expected with an element of pure surprise. Along with the Wurtzburger Philharmonic, under the direction of conductor Jonathan Seers, Mariano is supported by New on the Corner, a trio consisting of pianist Bernard Pichl, double-bassist Rudi Engel and drummer Bill Elgart. While both the orchestra and the trio deliver everything that is expected of them and more, this is really Mariano's show and he is understandably front and centre for its majority. An adaptation of Albinoni's "Adagio" is a fitting introduction, reflecting Mariano's Italian roots. Another classical reworking, that of the aria "Vesti la Giubba" from Leoncavallo's I, Pagliacci , demonstrates how Mariano can deliver an interpretation that is dramatic without being melodramatic. His rich tone and invention permeate both pieces. The orchestration is lush without being cloying; sentimental without being syrupy. Four pieces for Mariano with New on the Corner alone highlight Mariano's sense of adventure, even within a mainstream context. The title track is aptly named; the melody would lend itself to being a ballad if it weren't for the more medium-tempo swing of the rhythm section. Mariano's tone is strong and expressive; age seems to be doing nothing to diminish his power. The highlight of the album is clearly Indian composer Ramamani's "Yagapriya," where the orchestra comfortably navigates the microtonal nature of Indian music. The first half is a free improvisation, or tampura, by Mariano over the orchestra's changing "bordun" form; the second, in 7/4 time, is structured around a single scale, but Peter Fulda's orchestration again creates a broad sense of drama that is exhilarating without being overstated. The marriage of jazz soloists and orchestras can be risky. The inherent structure required of the orchestra can detract from the spirited improvisational nature of the soloist. Thankfully, in this case, Mariano and orchestrator Fulda understand the intentions and requirements of both soloist and orchestra, creating an amalgam which successfully brings out the strengths of both. Not Quite a Ballad is another high point in Mariano's career; a recording that shows that, even though he is in his 80s, he is as vital and exhuberant as ever. ~ John Kelman Personnel includes: Charlie Mariano (saxophone); Wurzburg Philharmonic; Jonathan Seers (conductor); New On The Corner: Bernhard Pichl (piano); Rudi Engel (acoustic bass); Bill Elgart (drums). http://rapidgator.net/file/cefcac09389118c839fb33f563031624/CharlieMarianoBallad.rar.html http://ssh.tf/FSQErlRDP/CharlieMarianoBallad.rar http://uploaded.net/file/jpwsmm0v/CharlieMarianoBallad.rar

Artist: Charlie Mariano Title: Innuendo Year Of Release: 1993 Label: Lipstick Records Genre: West Coast Jazz, Mainstream Jazz Quality: FLAC [16bit/44.1kHz] Total Time: 50:18 Total Size: 284 MB Tracklist: 01. Innuendo (05:31) 02. Innamorata (07:51) 03. Side Dish (07:20) 04. Dorothee (03:48) 05. Trio To Do (04:23) 06. Silk (06:05) 07. Embrace (07:44) 08. Be Left (07:32) http://rapidgator.net/file/b29120c4f890d521e4a0ff0b669182f5/Innuendo.rar.html http://ssh.tf/KN4TjslXP/Innuendo.rar http://uploaded.net/file/8gejl587/Innuendo.rar

Artist: Charlie Mariano Title: Mirror Year Of Release: 2012 Label: Atlantic/WEA/Warner Genre: Post-Bop, Free Jazz, Jazz-Funk Quality: FLAC (image+.cue,log,scans) Total Time: 35:53 Total Size: 250 MB Tracklist: 01. Himalaya (Mariano) - 5:56 02. Shout (Mariano) - 2:22 03. F Minor Happy (Mariano) - 5:12 04. Theme from Summer of '42 (Legrand) - 5:05 05. Mirror (Mariano) - 8:35 06. Vasi Bindu (Raindrops) (Mariano) - 5:36 07. Madras (Mariano) - 3:06 Charlie Mariano - alto saxophone (#1-3,5,6), soprano saxophone (#1-3,5,6), flute (#4), bass flute (#4), nagasuram (#7) David Spinozza - guitar Pat Rebillot - electric piano, organ George Mraz - string bass Tony Levine - electric bass Ray Lucas - drums Airto Moreira, Ralph MacDonald - percussion Asha Puthli - vocals (#5) Charlie Mariano's MIRROR ranks with the best JAZZ ROCK ever recorded! I'm dead serious. If you love Zappa's GRAND WAZOO, Embryo's ROCKSESSION, Return to Forever's NO MYSTERY, or Mahavishnu Orchestra's BIRDS OF FIRE, then you WILL LOVE THIS ALBUM! I've been a fan of Mariano's sax playing, as well as his world music-jazz fusion for awhile, even tho I never looked into buying any of his solo albums. CHARLIE MARIANO started out playing with Mingus (Black Saint and the Sinner Woman). Then, he moved to Europe, and started to play with various bands there, in particular EMBRYO. (Check out Embryo's 1972 album WE KEEP ON, as well as SURFIN, or BAD HEADs and BAD CATS.) Not only does Charlie play Sax with Embryo, and on MIRRORS, he plays bass flute and nagasauram, a type of indian reed instrument. His mastery of not only western jazz on the sax, but india scales and talas, creates a style which fuses not only jazz and rock, but also the sounds of India. MIRROR is his masterpiece. First, consider the band: TONY LEVIN on BASS. Levin played with King Crimson from 1982 until recently, as well as with Peter Gabriel's early solo albums, and a ton of session work. DAVID SPINOZZA on Guitar. David played on John Lennon's MIND GAMES, as well as Yoko Ono's solo work, and McCartney's RAM. PAT REBILLOT on electric piano, played with everyone from Herbie Mann to Hall and Oats. AIRTO MOREIRA on Percussion. Airto got his name playing on Mile's BITCHES BREW, LIVE EVIL, and helped formed both WEATHER REPORT and RETURN TO FOREVER. His solo albums on CTI records are brazillian rock jazz fusion, and are funked up. The drummer is Ray Lucas. Anyway, this band just gells, rocks, grooves, and does everything a band CAN do. The album opens with HIMALAYA, a nice mid tempo jazz rock number, that trades fours between the bass line and the sax for the head. Not only does Mariano's sax sound fantastic, he merges with the band on some metaphysical level. He's in the pocket, yet plays out JUST ENOUGH to keep his lines from sounding smooth, or contrived. As his solo ends and David Spinozza picks up the lead on guitar, you'll want to stop time to hang on every note. Next comes SHOUT, a jazz blues number, that helps create the kalidascope of jazz styles on the album. F MINOR HAPPY works as a funk jazz song, tho also sounds a LOT like Zappa's work from 1973 as well. However, NOTHING on this album sounds dated, or passe. Spinozza's guitar solos sound as if they could have been lifted from a MEDINSKI MARTIN AND WOOD album. Next comes THEME FROM SUMMER OF '42, where Mariano switches to BASS FLUTE. The ribato tempo, keyboard arpeggios, and perfectly placed percussion overdubs, slows the pace way down. His bass flute lines are introspective, and contemplative. Yet the song completely lacks saccharine production, or bland orchrestration. Tony Levin's bass playing keeps the song rooted deep and cool. Next, MIRROR (the song) starts out with some free jazz sax riffs, before settling into its head and slow groove. The magic here? ASHA PUTHLI's vocals, layered inside the mix, and not on top. Check out how she harmonizes with herself, while the sax plays in tandem with the vocal lead. This song defies definition, tho free jazz-blues rock-soul music, MIGHT come close. Spinozza's guitar leads move from jazz to blues twang, often in the same line. And, the keyboard solo on this song will sooth the soul, and amaze you all over again, with how the band mutual empathy. VASI BINDU starts out with some nice keyboard tonal riffs, not unlike Bill Evans on BLUE ON GREEN. Here's another song that's mostly ribato, until about two minutes in, when it hits a sort of groove, as Tony Levin stops bowing his bass, and lays down the law, with a nice, open, spacey bass line. Some of his lines sound lifted from Mingus. As always, Mariano's sax is impeccably tasteful. Airto's percusssion overdubs provide the colors that create the movement. If this song reminds me of anything, I'd link it to one of the slow numbers by WEATHER REPORT's early period. Finally, MADRAS is world fusion jazz, in the best sense of the word. Mariano's ability to get a legitamitely Indian sound from the nagasauram is impressive to say the least. http://rapidgator.net/file/8458ad1faa618b54c29cfb896fb6af43/Charlie_Mariano.rar.html http://ssh.tf/50bQlFSXS/Charlie_Mariano.rar https://bytewhale.com/dtabx230s1x4/Charlie_Mariano.rar

Artist: Charlie Mariano Title: Mirror Year Of Release: 2012 Label: Atlantic/WEA/Warner Genre: Post-Bop, Free Jazz, Jazz-Funk Quality: FLAC (image+.cue,log,scans) Total Time: 35:53 Total Size: 250 MB Tracklist: 01. Himalaya (Mariano) - 5:56 02. Shout (Mariano) - 2:22 03. F Minor Happy (Mariano) - 5:12 04. Theme from Summer of '42 (Legrand) - 5:05 05. Mirror (Mariano) - 8:35 06. Vasi Bindu (Raindrops) (Mariano) - 5:36 07. Madras (Mariano) - 3:06 Charlie Mariano - alto saxophone (#1-3,5,6), soprano saxophone (#1-3,5,6), flute (#4), bass flute (#4), nagasuram (#7) David Spinozza - guitar Pat Rebillot - electric piano, organ George Mraz - string bass Tony Levine - electric bass Ray Lucas - drums Airto Moreira, Ralph MacDonald - percussion Asha Puthli - vocals (#5) Charlie Mariano's MIRROR ranks with the best JAZZ ROCK ever recorded! I'm dead serious. If you love Zappa's GRAND WAZOO, Embryo's ROCKSESSION, Return to Forever's NO MYSTERY, or Mahavishnu Orchestra's BIRDS OF FIRE, then you WILL LOVE THIS ALBUM! I've been a fan of Mariano's sax playing, as well as his world music-jazz fusion for awhile, even tho I never looked into buying any of his solo albums. CHARLIE MARIANO started out playing with Mingus (Black Saint and the Sinner Woman). Then, he moved to Europe, and started to play with various bands there, in particular EMBRYO. (Check out Embryo's 1972 album WE KEEP ON, as well as SURFIN, or BAD HEADs and BAD CATS.) Not only does Charlie play Sax with Embryo, and on MIRRORS, he plays bass flute and nagasauram, a type of indian reed instrument. His mastery of not only western jazz on the sax, but india scales and talas, creates a style which fuses not only jazz and rock, but also the sounds of India. MIRROR is his masterpiece. First, consider the band: TONY LEVIN on BASS. Levin played with King Crimson from 1982 until recently, as well as with Peter Gabriel's early solo albums, and a ton of session work. DAVID SPINOZZA on Guitar. David played on John Lennon's MIND GAMES, as well as Yoko Ono's solo work, and McCartney's RAM. PAT REBILLOT on electric piano, played with everyone from Herbie Mann to Hall and Oats. AIRTO MOREIRA on Percussion. Airto got his name playing on Mile's BITCHES BREW, LIVE EVIL, and helped formed both WEATHER REPORT and RETURN TO FOREVER. His solo albums on CTI records are brazillian rock jazz fusion, and are funked up. The drummer is Ray Lucas. Anyway, this band just gells, rocks, grooves, and does everything a band CAN do. The album opens with HIMALAYA, a nice mid tempo jazz rock number, that trades fours between the bass line and the sax for the head. Not only does Mariano's sax sound fantastic, he merges with the band on some metaphysical level. He's in the pocket, yet plays out JUST ENOUGH to keep his lines from sounding smooth, or contrived. As his solo ends and David Spinozza picks up the lead on guitar, you'll want to stop time to hang on every note. Next comes SHOUT, a jazz blues number, that helps create the kalidascope of jazz styles on the album. F MINOR HAPPY works as a funk jazz song, tho also sounds a LOT like Zappa's work from 1973 as well. However, NOTHING on this album sounds dated, or passe. Spinozza's guitar solos sound as if they could have been lifted from a MEDINSKI MARTIN AND WOOD album. Next comes THEME FROM SUMMER OF '42, where Mariano switches to BASS FLUTE. The ribato tempo, keyboard arpeggios, and perfectly placed percussion overdubs, slows the pace way down. His bass flute lines are introspective, and contemplative. Yet the song completely lacks saccharine production, or bland orchrestration. Tony Levin's bass playing keeps the song rooted deep and cool. Next, MIRROR (the song) starts out with some free jazz sax riffs, before settling into its head and slow groove. The magic here? ASHA PUTHLI's vocals, layered inside the mix, and not on top. Check out how she harmonizes with herself, while the sax plays in tandem with the vocal lead. This song defies definition, tho free jazz-blues rock-soul music, MIGHT come close. Spinozza's guitar leads move from jazz to blues twang, often in the same line. And, the keyboard solo on this song will sooth the soul, and amaze you all over again, with how the band mutual empathy. VASI BINDU starts out with some nice keyboard tonal riffs, not unlike Bill Evans on BLUE ON GREEN. Here's another song that's mostly ribato, until about two minutes in, when it hits a sort of groove, as Tony Levin stops bowing his bass, and lays down the law, with a nice, open, spacey bass line. Some of his lines sound lifted from Mingus. As always, Mariano's sax is impeccably tasteful. Airto's percusssion overdubs provide the colors that create the movement. If this song reminds me of anything, I'd link it to one of the slow numbers by WEATHER REPORT's early period. Finally, MADRAS is world fusion jazz, in the best sense of the word. Mariano's ability to get a legitamitely Indian sound from the nagasauram is impressive to say the least. http://rapidgator.net/file/35a70e34ddc8c7cdacd98ab0f8794053/Charlie_Mariano.rar.html http://ssh.tf/XB1rR0KTY/Charlie_Mariano.rar