Tuesday, November 4, 2025
The Rein de Graaff trio with Herb Geller & John Marshall - Blue Lights: The Music of Gigi Gryce
Time: 52:15
File: MP3 @ VBR ~320K/s
Size: 119,5 MB
Art: Front
(7:16) 1. stupendous lee
(5:23) 2. social call
(5:21) 3. nica's tempo
(7:37) 4. sans souci
(7:15) 5. evening in casablanca
(4:22) 6. salute to birdland
(5:42) 7. blue lights
(4:11) 8. reminiscing
(5:05) 9. minority
Herb Geller, a famous alto player active on the West Coast since the 1950s, and John Marshall, a lover of bebop, backed by the Rein de Graaff Trio, perform a groovy collection of Grice songs featuring altoist Gigi Grice from the past.
Blue Lights - The Music of Gigi Gryce
The Joe La Barbera Quintet - The Joe La Barbera Quintet Live !
Year: 2002
Time: 70:07
File: MP3 @ 320K/s
Size: 160,6 MB
Art: Front
(10:04) 1. On the Q.T
(11:29) 2. Speak Softly
(10:14) 3. Evidence
( 9:17) 4. Soul Eyes
( 8:43) 5. East Broadway Rundown
( 9:41) 6. Kind of Bill (For Bill Evans)
(10:36) 7. Message from Art (For Art Blakey)
Stung too often by inscrutable contracts and creative bookkeeping, a growing number of jazz musicians are taking matters into their own hands, producing and distributing albums on their own independent labels as an alternative to the bondage in which they’ve long been held by corporate overseers. Four of these artists trumpeter Clay Jenkins, guitarist Larry Koonse, bassist Tom Warrington and drummer Joe LaBarbera have come together to form Jazz Compass Records, an online label whose mandate is to “provide the serious listener with outstanding improvisational music,” presented “as they envision it, without compromise.”
This is the second Jazz Compass album I’ve heard, and each of them upholds the admirable standards expressed in that statement. Bassist Warrington, who led the other one ( Corduroy Road ), is a sideman this time with drummer LaBarbera’s quintet, recorded in concert nearly four years ago at Rocco, which I presume is a nightclub somewhere in the US (most probably California). Trumpeter Jenkins is there too, manning the front line with saxophonist Bob Sheppard, while pianist Bill Cunliffe rounds out the rhythm section. This is a roomy blowing session (the seven tracks average around ten minutes apiece) and everyone makes the most of the opportunity to stretch.
LaBarbera opens with engaging tunes by Freddie Hubbard (“On the Q.T.”), Phil Dwyer (“Speak Softly”), Thelonious Monk (“Evidence”), Mal Waldron (“Soul Eyes”) and Sonny Rollins (“East Broadway Rundown”), then wraps things up with his soulful ballad “Kind of Bill (Evans)” and swinging “Message for Art (Blakey).” Cunliffe and Sheppard (soprano) are mesmerizing on “Kind of Bill,” which salutes the drummer’s membership in Evans’ last trio, while LaBarbera is surprisingly reserved on “Blakey,” comping superbly but earmarking no solo space for himself. In fact, LaBarbera solos at length only on “Q.T.,” which he introduces with an exciting two-and-one-half-minute enfilade that prefaces cogent remarks by Cunliffe, Sheppard (tenor) and Jenkins.
Elsewhere, LaBarbera seems content to play a supporting role, which he does extremely well. Warrington, another resourceful cast member, takes an impressive solo on “Speak Softly,” with Sheppard shining again on soprano. Jenkins, whose bright sound and broad vocabulary serve him well, is featured on “Soul Eyes” as Sheppard sits that one out, returning to offer a hot-blooded impression of Rollins on “Rundown.”
This is an admirable quintet, one whose members work extremely well together and have strong voices of their own (but you probably already knew that). The excellent sound and generous 70- minute playing time help make this endorsement clear-cut and simple. By Jack Bowers https://www.allaboutjazz.com/live-joe-labarbera-jazz-compass-review-by-jack-bowers
This is the second Jazz Compass album I’ve heard, and each of them upholds the admirable standards expressed in that statement. Bassist Warrington, who led the other one ( Corduroy Road ), is a sideman this time with drummer LaBarbera’s quintet, recorded in concert nearly four years ago at Rocco, which I presume is a nightclub somewhere in the US (most probably California). Trumpeter Jenkins is there too, manning the front line with saxophonist Bob Sheppard, while pianist Bill Cunliffe rounds out the rhythm section. This is a roomy blowing session (the seven tracks average around ten minutes apiece) and everyone makes the most of the opportunity to stretch.
LaBarbera opens with engaging tunes by Freddie Hubbard (“On the Q.T.”), Phil Dwyer (“Speak Softly”), Thelonious Monk (“Evidence”), Mal Waldron (“Soul Eyes”) and Sonny Rollins (“East Broadway Rundown”), then wraps things up with his soulful ballad “Kind of Bill (Evans)” and swinging “Message for Art (Blakey).” Cunliffe and Sheppard (soprano) are mesmerizing on “Kind of Bill,” which salutes the drummer’s membership in Evans’ last trio, while LaBarbera is surprisingly reserved on “Blakey,” comping superbly but earmarking no solo space for himself. In fact, LaBarbera solos at length only on “Q.T.,” which he introduces with an exciting two-and-one-half-minute enfilade that prefaces cogent remarks by Cunliffe, Sheppard (tenor) and Jenkins.
Elsewhere, LaBarbera seems content to play a supporting role, which he does extremely well. Warrington, another resourceful cast member, takes an impressive solo on “Speak Softly,” with Sheppard shining again on soprano. Jenkins, whose bright sound and broad vocabulary serve him well, is featured on “Soul Eyes” as Sheppard sits that one out, returning to offer a hot-blooded impression of Rollins on “Rundown.”
This is an admirable quintet, one whose members work extremely well together and have strong voices of their own (but you probably already knew that). The excellent sound and generous 70- minute playing time help make this endorsement clear-cut and simple. By Jack Bowers https://www.allaboutjazz.com/live-joe-labarbera-jazz-compass-review-by-jack-bowers
The Joe La Barbera Quintet Live !
Lex Jasper Trio with Orchestra - Lexpression
Year: 2008
Time: 37:21
File: MP3 @ 320K/s
Size: 86,4 MB
Art: Front
(5:25) 1. A Time for Love
(4:05) 2. Up with the Lark
(4:05) 3. There Is No Greater Love
(5:36) 4. Two for the Road
(3:37) 5. The First Steps
(5:29) 6. Once Is Not Enough
(4:48) 7. In the Wee Small Hours
(4:12) 8. Invitation
Lex Jasper, the hard groover known as the "Dutch Oscar Peterson," joins Ed Sigpen, the drummer of the Peterson Trio, and swings with an orchestra in the background on this Jasper masterpiece! Recorded in 1986.
Lexpression
Sunday, November 2, 2025
Fats Navarro - Goin' to Minton's
Year: 1999
Time: 72:07
File: MP3 @ 320K/s
Size: 167,2 MB
Art: Front
(5:32) 1. Boppin' A Riff
(5:45) 2. Fat Boy
(5:52) 3. Everything's Cool
(5:38) 4. Webb City
(2:50) 5. Calling Dr. Jazz
(2:53) 6. Fracture
(2:42) 7. Hollerin' & Screamin'
(2:49) 8. Stealing Trash
(2:16) 9. Just A Mystery
(3:06) 10. Red Pepper
(2:33) 11. Spinal
(3:03) 12. Maternity
(2:21) 13. Fat Girl
(2:41) 14. Ice Freezes Red
(2:25) 15. Eb Pob
(2:52) 16. Goin' to Minton's
(3:00) 17. A Be Bop Carroll
(2:53) 18. The Tadd Walk
(2:44) 19. Nostalgia
(2:40) 20. Barry's Bop
(2:37) 21. Be Bop Romp
(2:48) 22. Fats Blows
This 22-track collection is a nearly comprehensive view of trumpeter Fats Navarro's recordings for the Savoy label in 1946 and 1947. Because he died in 1948 at age 26 Navarro's influence is often overlooked today. But, along with Miles Davis, he was one of the primary disciples of bebop trumpet avatar Dizzy Gillespie, and was the more technically polished player of the two. Navarro's first recording session follows the trail blazed by the Charlie Parker-Gillespie group, with Sonny Stitt on alto sax and Bud Powell on piano. In his next session, Navarro is somewhat miscast as a foil for "hollerin' and screamin'" tenor saxophonist Eddie "Lockjaw" Davis. His personal voice emerges in a series of 1947 sessions with pianist-arranger Tadd Dameron, where Navarro's strong tone and immaculate phrasing define him as the first link in a thoroughbred chain of modern jazz trumpeters that extends through Clifford Brown, Lee Morgan, and Freddie Hubbard (By Rick Mitchell)
https://www.amazon.co.uk/Goin-Mintons-Fats-Navarro/dp/B0000206AT
Goin' to Minton's
https://www.amazon.co.uk/Goin-Mintons-Fats-Navarro/dp/B0000206AT
Judy Wexler - What I See
Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 49:23
Size: 112,9 MB
Scans: Front
(6:30) 1. Tomorrow Is Another Day
(3:15) 2. The Moon Is Made of Gold
(4:17) 3. Convince Me
(4:46) 4. They Say It's Spring
(5:25) 5. A Certain Sadness
(5:11) 6. The Long Goodbye
(3:49) 7. Just for Now
(5:35) 8. Follow
(3:28) 9. Another Time, Another Place
(3:21) 10. A Kiss to Build a Dream On
(3:37) 11. Laughing at Life
Year: 2013
File: MP3@320K/s
Time: 49:23
Size: 112,9 MB
Scans: Front
(6:30) 1. Tomorrow Is Another Day
(3:15) 2. The Moon Is Made of Gold
(4:17) 3. Convince Me
(4:46) 4. They Say It's Spring
(5:25) 5. A Certain Sadness
(5:11) 6. The Long Goodbye
(3:49) 7. Just for Now
(5:35) 8. Follow
(3:28) 9. Another Time, Another Place
(3:21) 10. A Kiss to Build a Dream On
(3:37) 11. Laughing at Life
Vocalist Judy Wexler is more than a mere singer of songs. She's an actress, mood painter, song archaeologist and vocalist par excellence, and those designations shouldn't be taken as independent virtues; they all merge in her marvelous musical pursuits.
When I See is Wexler's fourth album, but it only took two Easy On The Heart (Jazzopolis, 2005) and Dreams & Shadows (Jazzed Media, 2008) to establish her as one of the most highly respected vocal artists on the West Coast. She furthered her sterling reputation with the all-encompassing Under A Painted Sky (Jazzed Media, 2011), and she's likely to do the same with this one; it's a real beaut.
What I See finds Wexler covering a lot of ground again, as she moves from Benny Carter to John Williams to King Pleasure. She's in familiar company, working with some longtime colleagues like multi-reedist Bob Sheppard, drummer Steve Hass and pianist/arranger Jeff Colella, but she continually avoids the familiar in all other aspects of her work; she doesn't radically reinterpret anything or purposely pounce on never-before-heard numbers, but she also doesn't tread over well-worn ground.
Wexler kicks off the album with a comfortably swinging take on Pleasure's "Tomorrow Is Another Day." Her reading of this better-things-are-on-the-horizon statement is neither depressed nor sunny; it's matter-of-factly honest about the topic at hand. A similar sense of clarity and truthfulness shines through on every number. Wexler's acting credentials no doubt help her in this regard, but it never sounds like she's acting. When Judy Wexler sings a song, it becomes her song and her story, period. She's more than convincing on "Convince Me," a slow jam-of-a-song if ever there was one, and her voice rises to the occasion on "The Moon Is Made Of Gold." The mere mention of spring on "They Say It's Spring" and "Just For Now" brings a blooming quality to her voice, and she carries "Follow" forward in her own inimitable fashion.
The A-list musicians that join Wexler on this journey also do their part to make this a magical listen. Sheppard is ever-impressive, delivering the goods on bass clarinet ("Tomorrow Is Another Day") and adding warmth with his alto flute ("A Certain Sadness"), and Ron Stout adds a touch of brass beauty to the proceedings ("The Moon Is Made Of Gold"). Colella and guitarist Larry Koonse match Wexler in the sensitivity department and prove to be the instrumental MVPs on the project.
What I See, much like Wexler's prior album, is a marvel of sincerity and beauty.~ Dan Bilawsky http://www.allaboutjazz.com/php/article.php?id=45314#.UlHATRDNn8o
Personnel: Judy Wexler: vocals; Jeff Colella: piano; Larry Koonse: guitar, ukulele; Chris Colangelo; bass; Steve Hass: drums; Ron Stout: flugelhorn, trumpet; Bob Sheppard: bass clarinet, alto flute; Scott Whitfield: trombone; Billy Hulting: percussion.
When I See is Wexler's fourth album, but it only took two Easy On The Heart (Jazzopolis, 2005) and Dreams & Shadows (Jazzed Media, 2008) to establish her as one of the most highly respected vocal artists on the West Coast. She furthered her sterling reputation with the all-encompassing Under A Painted Sky (Jazzed Media, 2011), and she's likely to do the same with this one; it's a real beaut.
What I See finds Wexler covering a lot of ground again, as she moves from Benny Carter to John Williams to King Pleasure. She's in familiar company, working with some longtime colleagues like multi-reedist Bob Sheppard, drummer Steve Hass and pianist/arranger Jeff Colella, but she continually avoids the familiar in all other aspects of her work; she doesn't radically reinterpret anything or purposely pounce on never-before-heard numbers, but she also doesn't tread over well-worn ground.
Wexler kicks off the album with a comfortably swinging take on Pleasure's "Tomorrow Is Another Day." Her reading of this better-things-are-on-the-horizon statement is neither depressed nor sunny; it's matter-of-factly honest about the topic at hand. A similar sense of clarity and truthfulness shines through on every number. Wexler's acting credentials no doubt help her in this regard, but it never sounds like she's acting. When Judy Wexler sings a song, it becomes her song and her story, period. She's more than convincing on "Convince Me," a slow jam-of-a-song if ever there was one, and her voice rises to the occasion on "The Moon Is Made Of Gold." The mere mention of spring on "They Say It's Spring" and "Just For Now" brings a blooming quality to her voice, and she carries "Follow" forward in her own inimitable fashion.
The A-list musicians that join Wexler on this journey also do their part to make this a magical listen. Sheppard is ever-impressive, delivering the goods on bass clarinet ("Tomorrow Is Another Day") and adding warmth with his alto flute ("A Certain Sadness"), and Ron Stout adds a touch of brass beauty to the proceedings ("The Moon Is Made Of Gold"). Colella and guitarist Larry Koonse match Wexler in the sensitivity department and prove to be the instrumental MVPs on the project.
What I See, much like Wexler's prior album, is a marvel of sincerity and beauty.~ Dan Bilawsky http://www.allaboutjazz.com/php/article.php?id=45314#.UlHATRDNn8o
Personnel: Judy Wexler: vocals; Jeff Colella: piano; Larry Koonse: guitar, ukulele; Chris Colangelo; bass; Steve Hass: drums; Ron Stout: flugelhorn, trumpet; Bob Sheppard: bass clarinet, alto flute; Scott Whitfield: trombone; Billy Hulting: percussion.
What I See
Cozy Cole - Cozy Cole Hits!
Styles: Jazz, Swing
Year: 2005
File: MP3@224K/s
Time: 64:24
Size: 104,9 MB
Art: Front
(3:22) 1. Topsy I (Original Version)
(2:29) 2. Bad
(2:24) 3. Turvy I
(4:58) 4. Afro-Caravan
(2:36) 5. Topsy-Turvy I
(3:30) 6. Topsy II (Original Version)
(2:09) 7. Charleston
(2:31) 8. Turvy II
(2:16) 9. Late & Crazy
(2:24) 10. Topsy-Turvy II
(2:44) 11. Crescendo
(3:16) 12. Topsy (Part I)*
(3:29) 13. Topsy (Part II)*
(2:19) 14. North Beach
(2:13) 15. Let There Be Drums
(2:45) 16. Ol' Man Mose
(2:08) 17. Sing! Sing! Sing! (With A Swing)
(2:27) 18. Big Noise From Winnetka (PartI)
(2:40) 19. Big Noise From Winnetka (PartII)
(2:20) 20. Christopher Columbus
(2:16) 21. A Cozy Beat
(2:10) 22. Rockin' Drummer
(2:23) 23. Indian Love Call (Part I)
(2:24) 24. Big Noise from Winnetka 2
Cozy Cole Hits!
Year: 2005
File: MP3@224K/s
Time: 64:24
Size: 104,9 MB
Art: Front
(3:22) 1. Topsy I (Original Version)
(2:29) 2. Bad
(2:24) 3. Turvy I
(4:58) 4. Afro-Caravan
(2:36) 5. Topsy-Turvy I
(3:30) 6. Topsy II (Original Version)
(2:09) 7. Charleston
(2:31) 8. Turvy II
(2:16) 9. Late & Crazy
(2:24) 10. Topsy-Turvy II
(2:44) 11. Crescendo
(3:16) 12. Topsy (Part I)*
(3:29) 13. Topsy (Part II)*
(2:19) 14. North Beach
(2:13) 15. Let There Be Drums
(2:45) 16. Ol' Man Mose
(2:08) 17. Sing! Sing! Sing! (With A Swing)
(2:27) 18. Big Noise From Winnetka (PartI)
(2:40) 19. Big Noise From Winnetka (PartII)
(2:20) 20. Christopher Columbus
(2:16) 21. A Cozy Beat
(2:10) 22. Rockin' Drummer
(2:23) 23. Indian Love Call (Part I)
(2:24) 24. Big Noise from Winnetka 2
William Randolph "Cozy" Cole (October 17, 1909 – January 9, 1981) was an American jazz drummer who had hits with the songs "Topsy I" and "Topsy II". "Topsy II" peaked at No. 3 on the Billboard Hot 100, and at No. 1 on the R&B chart. It sold over one million copies and was awarded a gold disc. The track peaked at No. 29 in the UK Singles Chart in 1958.The recording contained a long drum solo and was one of the few drum solo recordings to make the charts at Billboard magazine. The single was issued by Love Records, a small record label in Brooklyn, New York. Cole's song "Turvy II" reached No. 36 in 1959. William Randolph Cole was born in 1909 in East Orange, New Jersey. His first music job was with Wilbur Sweatman in 1928. In 1930 he played for Jelly Roll Morton's Red Hot Peppers, recording an early drum solo on "Load of Cole". He spent 1931–33 with Blanche Calloway, 1933–34 with Benny Carter, 1935–36 with Willie Bryant, 1936–38 with Stuff Smith's small combo, and 1938–42 with Cab Calloway. In 1942, he was hired by CBS Radio music director Raymond Scott as part of network radio's first mixed-race orchestra. After that he played with Louis Armstrong's All Stars. Cole appeared in music-related films, including a brief cameo in Don't Knock the Rock. Throughout the 1960s and 1970s he continued to perform in a variety of settings. Cole and Gene Krupa often played drum duets at the Metropole in New York City during the 1950s and 1960s. Cole is cited as an influence by many contemporary rock drummers, including Cozy Powell, who took his nickname "Cozy" from Cole. In 1981, he died of cancer in Columbus, Ohio. https://en.wikipedia.org/wiki/Cozy_Cole
Cozy Cole Hits album for sale by Cozy Cole was released Jun 07, 2005 on the Love label. Lyrical is a word sometimes used to describe Cozy Cole's drumming style because his melodious technique goes far beyond mere beat-keeping. Cozy Cole Hits buy CD music The recordings that appeared under his name in the late '50s and '60s are mostly big-band jazz instrumentals that emphasize the drums. "Topsy II," a remake of an old Benny Goodman tune, became a left-field hit on the pop and R&B charts in 1958, introducing the veteran Cole to a new generation of listeners and presaging the rise of rock & roll drummers such as Sandy Nelson and Preston Epps.
Cozy Cole Hits assembles 24 of Cole's recordings for the Love and Coral labels from 1958-1965, including all of his chart hits from the period. In addition to "Topsy II" and its many sequels, Cole steps behind the microphone to sing "Ol' Man Mose," covers Sandy Nelson's "Let There Be Drums," and is joined by a girl group that sings the praises of the "Rockin' Drummer." Most of the music follows in the big-band style of "Topsy II," but several of Cole's later recordings are clearly aimed at the rock & roll audience. Love Records is still in operation and owns Cole's masters, so Cozy Cole Hits is a legitimate release created from the original tapes. However, because it was produced in small quantities, it is available only as a CD-R with poor-quality inserts. The cheap appearance may lead some buyers to assume that their copy of Cozy Cole Hits is a counterfeit or a bootleg, when actually it is the official product as sold through major retailers and directly from Love Records. ~ Greg Adams.http://www.cduniverse.com/search/xx/music/pid/6878006/a/cozy+cole+hits.htm
Cozy Cole Hits album for sale by Cozy Cole was released Jun 07, 2005 on the Love label. Lyrical is a word sometimes used to describe Cozy Cole's drumming style because his melodious technique goes far beyond mere beat-keeping. Cozy Cole Hits buy CD music The recordings that appeared under his name in the late '50s and '60s are mostly big-band jazz instrumentals that emphasize the drums. "Topsy II," a remake of an old Benny Goodman tune, became a left-field hit on the pop and R&B charts in 1958, introducing the veteran Cole to a new generation of listeners and presaging the rise of rock & roll drummers such as Sandy Nelson and Preston Epps.
Cozy Cole Hits assembles 24 of Cole's recordings for the Love and Coral labels from 1958-1965, including all of his chart hits from the period. In addition to "Topsy II" and its many sequels, Cole steps behind the microphone to sing "Ol' Man Mose," covers Sandy Nelson's "Let There Be Drums," and is joined by a girl group that sings the praises of the "Rockin' Drummer." Most of the music follows in the big-band style of "Topsy II," but several of Cole's later recordings are clearly aimed at the rock & roll audience. Love Records is still in operation and owns Cole's masters, so Cozy Cole Hits is a legitimate release created from the original tapes. However, because it was produced in small quantities, it is available only as a CD-R with poor-quality inserts. The cheap appearance may lead some buyers to assume that their copy of Cozy Cole Hits is a counterfeit or a bootleg, when actually it is the official product as sold through major retailers and directly from Love Records. ~ Greg Adams.http://www.cduniverse.com/search/xx/music/pid/6878006/a/cozy+cole+hits.htm
Cozy Cole Hits!
Saturday, November 1, 2025
Fats Navarro - Fats Blows 1946-1949
Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 70:54
Size: 166,1 MB
Art: Front
(2:53) 1. Dance Of The Infidels
(2:49) 2. 52nd St. Theme
(5:34) 3. Double Talk
(2:35) 4. Move
(2:41) 5. Hollerin' And Screamin'
(2:54) 6. The Tadd Walk
(3:09) 7. Jumpin' For Jane
(2:50) 8. Lady Bird
(2:53) 9. Goin' To Minton's
(2:45) 10. Nostalgia
(2:25) 11. Eb Pob
(2:59) 12. Our Delight
(3:16) 13. Bouncing With Bud
(3:04) 14. Wail
(3:05) 15. Symphonette
(3:07) 16. Boperation
(2:49) 17. Fats Blows
(4:02) 18. Stop
(2:52) 19. Sid's Delight
(2:53) 20. Jahbero
(2:57) 21. The Skink
(2:59) 22. The Squirrel
(3:13) 23. Groovin' High
Fats Blows 1946-1949
Year: 1991
File: MP3@320K/s
Time: 70:54
Size: 166,1 MB
Art: Front
(2:53) 1. Dance Of The Infidels
(2:49) 2. 52nd St. Theme
(5:34) 3. Double Talk
(2:35) 4. Move
(2:41) 5. Hollerin' And Screamin'
(2:54) 6. The Tadd Walk
(3:09) 7. Jumpin' For Jane
(2:50) 8. Lady Bird
(2:53) 9. Goin' To Minton's
(2:45) 10. Nostalgia
(2:25) 11. Eb Pob
(2:59) 12. Our Delight
(3:16) 13. Bouncing With Bud
(3:04) 14. Wail
(3:05) 15. Symphonette
(3:07) 16. Boperation
(2:49) 17. Fats Blows
(4:02) 18. Stop
(2:52) 19. Sid's Delight
(2:53) 20. Jahbero
(2:57) 21. The Skink
(2:59) 22. The Squirrel
(3:13) 23. Groovin' High
A 23-track overview of Fats' brief moments of brilliance in the jazz skyline. The groups are varied, as was Navarro's wont, featuring such luminaries as Eddie "Lockjaw" Davis, Tadd Dameron, Leo Parker, Art Blakey, Howard McGhee, Bud Powell, Sonny Rollins, Kenny Clarke, Milt Jackson, and Fats' idol, Charlie Parker. Navarro was a brilliant musician, done in by drugs and tuberculosis. This disc gives you an idea of how tragic his loss was to the jazz world. ~ Cub Koda http://www.allmusic.com/album/fats-blows-1946-1949-mw0000051021
Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Charlie Parker, Ernie Henry, Budd Johson, Sahib Shihab, Ernie Henry (alto saxophone); Eddie Davis, Charlie Rouse, Don Lamphere, Allen Eager, Coleman Hawkins, Dexter Gordon, Sonny Rollins, Wardell Gray (tenor saxophone); Cecil Payne, Marion De Veta (baritone saxophone); Howard McGhee (trumpet); Kai Winding (trombone); Milt Jackson (vibraphone); Al Haig, Tadd Dameron, Lennie Tristano, Linton Garner, Bud Powell (piano); Huey Long, Billy Bauer, Chuck Wayne (guitar); Gene Ramey, Curley Russell, Nelson Boyd, Tommy Potter, Jimmy Johnson, Jack Lesberg (bass); Denzil Best, Kenny Clarke, Art Blakey, Shadow Wilson, Buddy Rich, Max Roach, Roy Haynes (drums); Chano Pozo, Diego Ibarra (bongos); Vidal Bolado (conga).
Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Charlie Parker, Ernie Henry, Budd Johson, Sahib Shihab, Ernie Henry (alto saxophone); Eddie Davis, Charlie Rouse, Don Lamphere, Allen Eager, Coleman Hawkins, Dexter Gordon, Sonny Rollins, Wardell Gray (tenor saxophone); Cecil Payne, Marion De Veta (baritone saxophone); Howard McGhee (trumpet); Kai Winding (trombone); Milt Jackson (vibraphone); Al Haig, Tadd Dameron, Lennie Tristano, Linton Garner, Bud Powell (piano); Huey Long, Billy Bauer, Chuck Wayne (guitar); Gene Ramey, Curley Russell, Nelson Boyd, Tommy Potter, Jimmy Johnson, Jack Lesberg (bass); Denzil Best, Kenny Clarke, Art Blakey, Shadow Wilson, Buddy Rich, Max Roach, Roy Haynes (drums); Chano Pozo, Diego Ibarra (bongos); Vidal Bolado (conga).
Fats Blows 1946-1949
Alma Micic/Eric Alexander - Lilac Wine -Tribute to Helen Merrill
Year: 2025
Time: 46:34
File: MP3 @ 320K/s
Size: 107,3 MB
Art: Front
(5:10) 1. You'd Be So Nice To Come Home To
(4:35) 2. Lilac Wine
(4:34) 3. All Of Me
(4:21) 4. Comes Love
(6:47) 5. I Haven't Got Anything Better To Do
(5:25) 6. Wild Is The Wind
(4:18) 7. Lover Man
(4:06) 8. Night And Day
(2:46) 9. 'S Wonderful
(4:27) 10. The Masquerade Is Over
Dedicated to Helen Merrill & Clifford Brown! The thrilling romantic jazz vocals of Alma Micich, a rising New York favorite! Recorded at Rudy Van Gelder Studios, the mecca of the jazz sound, with full feature by Eric Alexander.
Personnel : Alma Micicci ( vocals ), Eric Alexander ( tenor & alto saxophones ), Lale Micicci ( guitar ), Brandan McKeown ( piano ), Alexander Claffey ( bass ), Jason Tiemann ( drums )
Personnel : Alma Micicci ( vocals ), Eric Alexander ( tenor & alto saxophones ), Lale Micicci ( guitar ), Brandan McKeown ( piano ), Alexander Claffey ( bass ), Jason Tiemann ( drums )
Lilac Wine -Tribute to Helen Merrill
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