Pamela Rose & Wayne De La Cruz - Hammond Organ Party!

Size: 98,1 MB
Time: 42:35
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz/Blues/Soul, Hammond B3
Art: Front

01. How Little We Know (5:17)
02. Nobody But Me (4:44)
03. It's Raining (4:06)
04. September In The Rain (5:32)
05. My Babe (5:29)
06. Too Close For Comfort (6:13)
07. Where Or When (5:19)
08. God Bless The Child (5:52)

Personnel:
Pamela Rose vocals
Wayne De La Cruz Hammond B-3
Kristen Strom saxophones
Jeff Massanari guitar
Kent Bryson drums

With flaming red hair to match her fiery style, San Francisco jazz and blues vocalist Pamela Rose channels her life-long affair with the Hammond B-3 organ with the release of a brand new CD Hammond Organ Party! Co-produced with B-3 master Wayne De La Cruz, the duo have created a rare encounter between a soul-drenched singer and a prodigious B-3 practitioner. Known for her celebration of female songwriters Wild Women of Song, Rose shows yet another facet of her musical identity with this delightful new CD and concert. Boasting a big, bold voice and blues-infused sensibility, Rose is a Los Angeles native who first gained notice on the Bay Area scene in the late 1970s through her work with organist Merl Saunders and the Motown revue ZaSu Pitts Memorial Orchestra. Immersing herself in jazz over the past two decades, she’s the rare singer who can belt sassy golden age blues by Alberta Hunter and Ida Cox as easily as crooning a torchy Peggy Lee lament. For this special event in the Joe Henderson Lab, Rose celebrates her new CD release with a groove-heavy night of sweet soul.

Hammond Organ Party!

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Illinois Jacquet - Bottoms Up

Bitrate: 320K/s
Time: 72:07
Size: 165.1 MB
Styles: Saxophone jazz
Year: 1974/2007
Art: Front

[ 5:13] 1. Bottoms Up
[ 5:46] 2. One O'clock Jump
[ 5:54] 3. One O'clock Jump (alt)
[ 4:52] 4. If You Knew What It Does To My Heart
[ 5:21] 5. On The Sunny Side Of The Street
[ 4:32] 6. On The Sunny Side Of The Street (alt 1)
[ 7:15] 7. Africa Now
[ 6:20] 8. Jacquet's Boogie Woogie
[ 5:21] 9. Jammin For D. S
[10:09] 10. Blues Funk For Bill Marlowe
[ 6:00] 11. All The Things You Are
[ 5:20] 12. On The Sunny Side Of The Street (Alt 2)

There are two albums called Bottoms Up and they are frequently confused including on Allmusic and Amazon. Jacquet recorded an album called Bottoms Up for Prestige in 1968. On The Sunny Side Of The Street isn't on that album. This Bottoms Up was recorded for the French label Black & Blue in 1974 with Milt Buckner on organ, Roland Lobligeois on bass and Jo Jones on drums. Black & Blue re-released it on CD in 2000 with bonus alternate take. Illinois Jacquet continued to tour and record occasionally until his death on July 22, 2004 at age 81.

Bottoms Up

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Karen Lane - Beautiful Love

Bitrate: 320K/s
Time: 53:27
Size: 122.4 MB
Styles: Vocal jazz
Year: 2009
Art: Front

[5:36] 1. Softly As In The Morning Sunrise
[5:00] 2. Angel Eyes
[4:20] 3. Feeling Good
[5:02] 4. Beautiful Love
[4:14] 5. Meditation
[3:12] 6. Day In Day Out
[3:56] 7. We'll Be Together Again
[4:16] 8. Midnight Sun
[2:56] 9. More
[4:38] 10. Mood Indigo
[4:11] 11. Outta This World
[6:00] 12. I Thought About You

b. 1970, Perth, Western Australia, Australia. Encouraged to study music, Lane learned piano from the age of six and also played guitar. She heard pop music on radio and records and from a very early age had ambitions to become a singer. She sang in school shows and also in some teenage bands. Mainly, though, these years were spent studying for a Bachelor of Science degree and qualifying as a speech therapist. At 21 Lane moved to Sydney where she sang in clubs and pubs with a soul funk band and also with a jazz trio. She also began writing her own songs. Gradually, Lane developed her own style and found a following. Over the next few years her skills were enhanced and she wrote and produced music for the National Institute of Dramatic Art dance production Appetite, which was performed at 1994’s Melbourne International Arts Festival. In 1996, she founded Bloomers, a government-sponsored but independent project to record female singer-songwriters. The following year, she recorded a funk soul album, Sheherazade 1001 Nights, but then went to Singapore where she sang at prestigious clubs and hotels.

In 1999 Lane moved to London where she worked on corporate projects, visiting Europe and Asia with her musicians. Among musicians with whom she has worked are pianists Robin Aspland and Phil Peskett, saxophonist Derek Nash, Andy Hamill, violinist Julian Ferraretto, drummer Nic France and in particular with guitarist Dave Colton, with whom Lane writes many of her arrangements. Three of Lane’s cousins are also musical and they too relocated to London where they formed the Fairer Sax. A stylish and elegant singer with a special flair for ballads, Lane is a highly professional performer with a very pleasing vocal sound. ~bio from AMG

Beautiful Love

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Jay Eudaly & Rich VanSant - Channeling Harold

Released: 2002
Size: 161,2 MB
Time: 70:25
File: MP3 @ 320K/s
Styles: Jazz/Organ
Label: Music Room Records (MRR 5819)
Art: Front

01. Channeling Harold [6:43]
02. Autumn Leaves [5:08]
03. When Sunny Gets Blue [5:24]
04. Alone Together [7:51]
05. Norwegian Wood [6:52]
06. Cat [5:49]
07. My Romance [4:54]
08. Jeannine [6:02]
09. Road Song [6:25]
10. Waltz For Debby [3:58]
11. Sugar [6:12]
12. On Broadway [5:02]

The title (and opening) track of this album might have been called "Channeling Wes," what with its 7/4 intro vamp and classic B3 organ/guitar combo sound reminiscent of Portrait of Wes. Jay EuDaly's blowing is bluesier, but his affection for chord soloing and playing octaves definitely invokes the spirit of Montgomery.
(Incidentally, if you're curious, "Channeling Harold," is a EuDaly family term -- inspired by Jay's late grandfather Harold -- for doing "something funny and/or crazy that's potentially life threatening and involves the use of either firearms or lawnmowers.")Following the opener is a medium-up, straightahead shot at "Autumn Leaves," with Jay's fluid bebop lines fueled by Rich VanSant's Hammond B-3. Here VanSant gets his chance to cut loose, followed by the trio trading eights jam-session style.Then comes a major change of pace as the trio becomes a solo with Jay accompanying himself on guitar and singing "When Sunny Gets Blue." He gives it a ballad treatment, lending a folksy voice to the familiar standard.The trio is back for the fourth track, "Alone Together," at a medium tempo, and with a pronounced swing."Norwegian Wood" follows, and as one who finds the Beatles repugnant, I still resist the notion that this is a jazz standard (despite the fact that it has been recorded by Herbie Hancock, Charlie Byrd, and others). Still, once you get past the head, the band makes good on the modal changes."The Cat" is a funkier piece, followed by the great ballad "My Romance" sung by Diane "Mama" Ray."Jeannine" takes us back to up-tempo land, followed by the medium tempo "Road Song." The Wes Montgomery/Pat Martino organ trio influences are evident in spades here, but without being imitative.As on "When Sunny Gets Blue," "Waltz for Debby" has Jay accompanying himself on acoustic guitar. Oddly, the "Waltz" is done in 4/4 time, so if Jay had written original lyrics, he probably could have dodged the BMI royalty. The song has special meaning to Jay; he indicates in his web-based liner notes that he has "two daughters who dance professionally (ballet and modern, not the other kind).""Sugar" is done down-tempo with the trio. And the closing track, "On Broadway," features the trio with Jay singing -- not just the lyrics, but while doubling on guitar with scat. It's an interesting effect, and while Jay's vocals will never rival those of Johnny Hartman or Tony Bennett, they are a far cry from the wailing of Keith Jarrett when Keith is soloing.
For me, the organ trio tracks are what make this CD. Rich VanSant gets to show his jazzier side, and Jay EuDaly gets to unwind his bebop lines with the organ and drums providing train-like momentum.
(~Rod McBride)

Musicians:
Jay EuDaly: guitars, vocals;
Rich VanSant: Hammond B3 organ;
Ian Sikora, Kevin Johnson: drums;
Diane "Mama" Ray: vocals ("My Romance")

Recorded at Berry Music Group, Olathe, KS; Lynn Allred, engineer; mixed at BRC Audio Productions, Kansas City, MO;

REPOST
Channeling Harold

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Muriel Zoe - Birds And Dragons

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 40:31
Size: 92,8 MB
Art: Front

(3:17)  1. Birds And Dragons
(3:39)  2. Snow Covering Fields
(3:02)  3. Stop
(2:51)  4. Old Car
(3:22)  5. Nothing In Return
(3:53)  6. Double File
(3:21)  7. Him
(3:39)  8. Homesick
(3:45)  9. Punches In The Air
(3:06) 10. Tiles
(3:36) 11. Highlands
(2:53) 12. Far Too Far

That Muriel Zoe a highly original standard interpreter has been lost, it may remind you once again on the occasion of their new album. Their debut "Red And Blue" was brilliant eight years ago in this regard. But that is history. Since their last album "Flood" from Hamburg sings her own songs - and it was a right decision. With a small band of producer and multi-instrumentalist Stephan Gade plays a prominent role, Zoe manages to embed their songs in a coherent and transparent environment.Observations of nature ("Snow Covering Fields") and as personal as generally true stories ("Homesick") make "Birds And Dragons" to another album full of beautiful melodies in a simple but haunting sound - somewhere between pop, folk and melancholy, reminiscent of the early 1970s. As before, Zoe must not raise their voice to radiate authority.  http://www.jazzthing.de/review/muriel-zoe-birds-and-dragons/

Birds And Dragons

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Madeleine Peyroux - Bare Bones

Styles: Adult Contemporary
Year: 2009
File: MP3@320K/s
Time: 49:59
Size: 114,4 MB
Art: Front

(5:13)  1. Instead
(3:26)  2. Bare Bones
(4:37)  3. Damn The Circumstances
(5:21)  4. River Of Tears
(5:04)  5. You Can't Do Me
(4:20)  6. Love And Treachery
(5:28)  7. Our Lady Of Pigalle
(3:59)  8. Homeless Happiness
(3:59)  9. To Love You All Over Again
(4:45) 10. I Must Be Saved
(3:44) 11. Somethin' Grand

Madeleine Peyroux's fourth album isn't the normal mix of standards (contemporary or traditional) with a few songs of her own composing; each of the 11 tracks is a new song written by Peyroux, usually in tandem with producer Larry Klein or a guest. Still, she appears in her usual relaxed setting, with a small group perfectly poised to translate her languorous vocals into perfect accompaniment  organist Larry Goldings, pianist Jim Beard, drummer Vinnie Colaiuta, plus producer Klein on bass, Dean Parks on guitar, and Carla Kihlstedt on violin. Fans of vocal jazz may be disappointed to see that all the songs are new ones  many a great conversation could consist solely of the standards she should perform  but they may regret the disappointment. Peyroux is not only a great interpreter of songs, she also knows how to write in what might be called the old-fashioned way, the type of song with a universal, direct, emotional power that became a rarity during the late 20th century. Also, the help she gets from her co-writers  Walter Becker of Steely Dan, Klein, and friend Julian Coryell  is priceless. Becker delivers a pair of special gems, including the title track and a song called "You Can't Do Me" that delivers the priceless cutting wit he perfected with Steely Dan (a sample: "You know I get so blue and I go/Down like a deep sea diver, out like a Coltrane tenor man...Blewed like a Mississippi sharecropper, screwed like a high-school cheerleader"). Granted, Peyroux faces an uphill climb by delivering new songs in the same musical context that most listeners hear standards; after all, comparisons to the half-century of American popular song aren't fair, but they certainly come easy. Still, Bare Bones is a remarkable work from one of the best artists in vocal jazz. ~ John Bush  http://www.allmusic.com/album/bare-bones-mw0000806826

Bare Bones

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Charlie Rouse & Paul Quinchette - The Chase Is On

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 38:03
Size: 87,1 MB
Art: Front

(3:14)  1. The Chase Is On
(5:46)  2. When The Blues Come On
(5:21)  3. This Can't Be Love
(4:27)  4. Last Time For Love
(5:13)  5. You're Cheating Yourself
(6:16)  6. Knittin'
(4:21)  7. Tender Trap
(3:21)  8. The Thing I Love

The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie "Lockjaw" Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie. His liquid, full-bodied, soulful tone became an undeniable force, albeit briefly, before he dropped out of the scene shortly after this date to be an electrical engineer. The stereo split of the saxophonists in opposite channels, a technique endemic of the time, works well whether they play solos or melody lines together. It enables you to truly hear how different they are. Working with standards, there's a tendency for them to play the head arrangements in unison, but then one of them on occasion plays an off-the-cuff short phrase that strays from the established melodic path. 

They also seem to do a hard bop jam, then a ballad, and back to hard swinging. The title track is simply a killer, a perfect fun romp of battling duelists, and one that you'd like to hear in any nightclub setting. Some slight harmonic inserts set "This Can't Be Love" apart from the original and "The Things I Love" displays the two tenors at their conversational best, while the lone original, "Knittin'," is a fundamental 12-bar swing blues, straight up and simple but with some subtle harmonic nuances. The rhythm section of pianist Wynton Kelly, bass player Wendell Marshall, and drummer Ed Thigpen do their usual yeoman job. But on two tracks, pianist Hank Jones and rhythm guitarist Freddie Green take over, and the sound of the band changes dramatically to the more sensitive side on a low-down version of "When the Blues Come On" and the good-old basic vintage swinger "You're Cheating Yourself." An LP-length CD (under 40 minutes), it is a shame there are no extra tracks or alternate takes. The combination of Rouse and Quinichette was a very satisfactory coupling of two talented and promising post-swing to bop individualists, who played to all of their strengths and differences on this worthy and now legendary session. ~ Michael G.Nastos   

http://www.allmusic.com/album/the-chase-is-on-mw0000651184

The Chase Is On

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Rhoda Scott & Benoît Sourisse - Organ Masters

Styles: Organ jazz
Year: 2011
File: MP3@320K/s
Time: 77:11
Size: 176,7 MB
Art: Front

( 8:30)  1. Nova
(12:19)  2. Portrait In Black & White
( 9:28)  3. Take the A Train
(12:13)  4. A Child Is Born
( 7:47)  5. Isn't She Lovely
( 9:32)  6. Le bar est ouvert
( 8:13)  7. C Jam Blues
( 9:05)  8. La valse à Charlotte

The daughter of an AME minister, Scott spent much of her childhood in New Jersey, where she learned to play organ in the churches where her father served. Soon she herself was serving frequently as organist for youth and gospel choirs at her father’s and other churches. Scott later studied classical piano, but she concentrated on the organ, eventually earning a Masters’ degree in music theory from the Manhattan School of Music. By this time she had been asked by a choir member to fill in with a small band as a jazz pianist. Enjoying the music, she agreed to stay on with the band on condition that she be allowed to play organ instead of piano. Choosing as her instrument the Hammond Organ, she soon became a preeminent jazz musician.

Scott was first attracted to the organ in her father’s church at age seven. “It’s really the most beautiful instrument in the world,” she stated in a recent interview. “The first thing I did was take my shoes off and work the pedals.” From then on she always played her church organ in her bare feet, and to this date she has continued the practice, earning her nicknames such as “The Barefoot Lady” and “The Barefoot Contessa.” Following her lead, many other performers of popular organ music now also play barefoot. Because of her church training, however, Scott uses the pedals to play a genuine bass line, unlike many other jazz organists, which allows her to use her left hand for more elaborate chord work. The resulting music is an energetic fusion of musical styles that partakes of jazz, gospel, and classical, reflecting both Scott’s early experience and her formal training. In 1967 Scott moved to France, where she has since spent most of her career and earned recognition far greater than that accorded to her in the United States, though she often performs in the latter country as well. http://www.last.fm/music/Rhoda+Scott/+wiki

Organ Masters

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