Monday, December 23, 2013

Kermit Ruffins - Have a Crazy Cool Christmas

Styles: New Orleans Jazz
Label: Basin Street Records
Released: 2009
File: mp3 @320K/s
Size: 136,2 MB
Time: 59:29
Art: front

1. Silent Night - 5:18
2. Santa Clause is Coming to Town - 5:15
3. What Will Santa Say When He Finds Everybody Swingin' - 3:32
4. O Christmas Tree - 3:16
5. Baby It's Cold Outside - 4:24
6. A Saints Christmas - 5:04
7. Let it Snow, Let it Snow, Let it Snow - 4:22
8. Little Drummer Boy - 6:34
9. Silver Bells - 5:17
10. Crazy Cool Christmas - 5:04
11. Winter Wonderland - 4:05
12. This Christmas - 3:55
13. Jingle Bells - 3:17

Personnel:
Kermit Ruffins (vocals, trumpet)
Troy "Trombone Shorty" Andrews (trombone)
Matt Lemmler (piano)
Irvin Mayfield (organ)
Herlin Riley (drums)
Vincent Broussard (Tenor Sax)
Neal Caine (Bass)
Corey Henry (Trombone)
Derrick Tabb (Snare Drums)
Eric Traub (Tenor Sax)

Notes: Kermit Ruffins’ role as the Bard of Good Times in New Orleans has led him into some musically dubious spots, places where clichés rule. Have a Crazy Cool Christmas suits him beautifully because it lets his personality dominate, and his exuberant sense of fun carries the day. You can hear his smile when he sings, “Santa Claus is swingin’ to town,” and when he sneaks the pick-up to “They All Asked for You” into “O Tannenbaum.” Throughout, the band swings with authority—a given on Ruffins’ albums—even at a breakneck pace on his version of Louis Prima’s “What Will Santa Say (When He Finds Everybody Swinging?).”
In a stroke of prescience, Ruffins wrote a new Christmas song, “A Saints Christmas.” Like many of his originals, the song’s success depends on the goodwill of his audience; those who love the sentiment will excuse some easy lines, and those who don’t, won’t. Fortunately for Ruffins, his songs comes out during the Saints’ best start ever, far stronger than it was in 2004 when Greg Barnhill and New Birth Brass Band cut “All I Want for Christmas is the Saints to Win.” The offhanded vibe that comes through on Ruffins’ album is part of his charm. There are points, though, where that borders on slack. The album includes a version of Donny Hathaway’s “This Christmas” with Rebirth Brass Band, and they move the song to the street parade vibe beautifully, remaking an intimate track as a public celebration. But the song’s key is too high for Ruffins and he flounders with the high notes in the chorus. Fortunately, the version only includes one verse and chorus, so the moment passes, but it’s a sour note—literally—near the end of an album that in most ways is a fine addition to any Christmas collection.

Have a Crazy Cool Christmas


Chet Atkins - Jingle Bell Rock (Special Days)

Bitrate: 320K/s
Time: 31:01
Size: 71.0 MB
Styles: Holiday
Year: 2013
Art: Front

[3:24] 1. The Coventry Carol God Rest Ye, Merry Gentlemen
[1:48] 2. Jingle Bell Rock
[1:48] 3. Jingle Bells
[2:13] 4. Jolly Old St. Nicholas
[2:17] 5. O Come All Ye Faithful
[2:20] 6. White Christmas
[1:54] 7. Hark! The Herald Angels Sing
[2:47] 8. Winter Wonderland
[2:09] 9. Silver Bells
[2:00] 10. Silent Night
[1:45] 11. The First Noel
[2:27] 12. Little Drummer Boy
[1:12] 13. Deck The Halls
[2:51] 14. Blue Christmas

Jingle Bell Rock (Special Days)

Andre Previn & David Finck - We Got It Bad: An Ellington Songbook

Bitrate: 320K/s
Time: 72:28
Size: 165.9 MB
Styles: Piano jazz
Year: 1999
Art: Front

[5:35] 1. Take The A Train
[4:42] 2. Isfahan
[3:49] 3. I Got It Bad (And That Ain't Good)
[6:09] 4. Do Nothin' Till You Hear From Me
[6:29] 5. Chelsea Bridge
[6:51] 6. Things Ain't What They Used To Be
[5:18] 7. In A Sentimental Mood
[4:37] 8. Squatty Roo
[4:31] 9. Come Sunday
[6:36] 10. Serenade To Sweden
[6:08] 11. I Didn't Know About You
[7:43] 12. In A Mellow Tone
[3:54] 13. It Don't Mean A Thing (If It Ain't Got That Swing)

Previn has always been an adept, if not brilliant, pianist whose jazz leanings have belied his classical training. Here he interprets the music of Duke Ellington and Billy Strayhorn lovingly and as well as any legit jazzster could, with help from the fine bassist David Finck. While this music can easily stand on its own, Previn's technical ability and heartfelt stretching of the original blueprints urge these well-worn tunes to carry new meaning and substance. If there are any stock treatments here, it's because the pianist tends to lay back and let the melodies come to him, as evidenced on the steady-paced "Isfahan," the easy "Serenade to Sweden," and the even easier swung "I Didn't Know About You." Previn wrings every emotional drop out of "In a Sentimental Mood," dismisses a time frame for the pristine "I Got It Bad" and "Come Sunday," while Finck is in late for the pensive "Chelsea Bridge." Melody is more implied with tempos at half and full speed on "It Don't Mean a Thing," Previn uses an off-minor change-up on the good swinger "Things Ain't What They Used to Be," and swaps 4/4 in the bridge for a waltzing 3/4 head and tail on "Take the A Train." Obviously an admirer of Oscar Peterson, Previn takes liberties and risks on the easy swing take of "In a Mellow Tone," trades ripped-up lines with the capable Finck, counter-punching during "Do Nothin' 'Til You Here From Me," and fervently digs into the up-tempo "Squatty Roo." Perhaps Previn's voracity is not well known, or as regarded in the modern jazz world as it should be, but on this recording it's clear how great he can be. This second CD with Finck, the previous being a Gershwin songbook "We Got Rhythm," signifies a step up for the veteran pianist, and is perhaps his shining recorded hour. Recommended. ~Michael G. Nastos

We Got It Bad: An Ellington Songbook

Judi D. - Nightshade

Bitrate: 320K/s
Time: 51:08
Size: 117.1 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[4:21] 1. Tenderly
[6:15] 2. Love Dance
[4:42] 3. You've Changed
[4:20] 4. Out Of This World
[5:34] 5. Sophisticated Lady
[7:03] 6. Up Jumped Spring
[4:18] 7. If You Went Away
[4:11] 8. Weaver Of Dreams
[3:11] 9. All Of Me (A La King Pleasure)
[3:54] 10. Small Feats
[3:15] 11. A House Is Not A Home

While there are plenty of jazz survivors—indomitable artists thriving in their 70s and 80s—Miami-based Judith Dubowsky can proudly claim that survival opened her path to a jazz career. Diagnosed with thyroid cancer just over a year ago, left with “three notes, my whole range was gone,” and vowing to rebuild her voice, she underwent three years of therapy, enrolled in the University of Miami to earn a Master of Music degree and began intense study of the great female jazz singers. Now, supported by an enviable rhythm section comprised of pianist Kenny Barron, drummer Leroy Williams, bassist Ray Drummond and, doubling on tenor sax and flute, Frank Wess, she has released her debut album.

That Dubowsky is a superb student is evident throughout these ten standards and one original (the heartfelt “Small Feats” that traces her road to recovery and vocal revitalization). Her style borrows heavily from Sarah Vaughan, Carmen McRae and Diana Krall; her phrasing owes a huge debt to Rosemary Clooney (particularly on the disc-opening “Tenderly”). But there’s much more to Dubowsky than mere mimicry. She handles Ellington’s hugely challenging “Sophisticated Lady” with just the right combination of refracted pain, misty disillusion and judgmental disdain. Her “Up Jumped Spring,” superbly underlined by Wess’ sax, effectively blends unexpected pleasure and thankful satisfaction. Best track: a loose-limbed “All of Me,” crafted in homage to King Pleasure, that boldly displays the marvelously imaginative spirit of the unfettered Judi. ~Christopher Loudon

Nightshade

Ella Fitzgerald - Clap Hands, Here Comes Charlie!

Styles: Vocal Jazz
Year: 1961
File: MP3@320K/s
Time: 57:00
Size: 132,7 MB
Art: Front

(4:10)  1. Night In Tunisia
(3:39)  2. You're My Thrill
(3:20)  3. My Reverie
(3:21)  4. Stella By Starlight
(3:31)  5. 'Round Midnight
(3:36)  6. Jersey Bounce
(3:49)  7. Signing Off
(4:17)  8. Cry Me A River
(2:18)  9. This Year's Kisses
(4:21) 10. Good Morning Heartache
(2:45) 11. (I Was) Born To Be Blue
(2:46) 12. Clap  Hands, Here Comes Charlie!
(6:17) 13. Spring Can Really Hang You Up The Most
(2:16) 14. The One I Love Belongs To Somebody Else
(3:45) 15. I Got A Guy
(2:43) 16. This Could Be The Start Of Something Big

Another typically wonderful CD reissue of Ella Fitzgerald in her prime, this set augments the original LP (which finds Ella joined by pianist Lou Levy, guitarist Herb Ellis, bassist Joe Mondragon, and drummer Stan Levey) with three previously unreleased selections from the same era (with Levey, bassist Wilfred Middlebrooks, and drummer Gus Johnson). Ella is in fine form on such numbers as "A Night in Tunisia," an emotional "You're My Thrill," "Jersey Bounce," "Clap Hands! Here Comes Charlie," and an unissued "The One I Love (Belongs to Somebody Else)." Although not reaching the heights of her live performances, this is an excellent (and somewhat underrated) set.  ~ Scott Yanow  http://www.allmusic.com/album/clap-hands-here-comes-charlie!-mw0000200769               

Clap Hands, Here Comes Charlie!

Gail Jhonson - Her Story

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 43:45
Size: 100,5 MB
Art: Front

(3:42)  1. Make It Happen
(4:32)  2. Electric Lady
(4:11)  3. Crusin After Dark
(4:13)  4. Dear Aaron
(4:12)  5. Still Care About Me
(4:06)  6. This One
(5:44)  7. For You Mom
(5:26)  8. HerStory
(3:29)  9. Do Something Else
(4:04) 10. Dee's

Growing up in one of music’s historical hotbeds, Gail Jhonson was one of many hard working dreamers who truly loved to play the piano.  She was thoroughly awed in how nearly everyone in Philadelphia seemed to take music seriously; even the one who were strictly ‘basement’ musicians.   But between her teachers and funk heroes she heard on the radio like Sly (Stone) and Stevie (Wonder), there were constant conflicts of interest. While the teachers demanded training her in the classical genre, Jhonson highly desired otherwise. In those frustrations, she took a year off from achieving her goals. Thankfully, Jhonston's passion was rejuvanated after witnessing an electrifying concert from Stevie in her hometown’s Uptown Theatre.  She was especially drawn to his Farfisa keyboard; an organ which reminded her of Sly’s rock flavored organ breaks on many of his hits including “Dance to the Music.” Despite persisting on obtaining a Farfisa, she settled for another keyboard.  Jhonson found plenty of work during her high school years (actually as flute player); proving herself worthy of a trip to the top-notch Berklee School of Music.

As she experienced the Berklee life, she slowly changed her direction toward jazz; admiring legends like Ramsey Lewis and John Coltrane. In the meantime to keep paying the bills, Jhonson worked on a smaller scale; mostly in the R&B and soul world. But the seal breaker for Jhonson was an audition for the vivacious entertainer Morris Day. Needless to say after ‘getting the job,’ the doors opened towards her own platform, including a long term musical directing gig for master smooth jazz guitarist, Norman Brown. Her impressive resume crosses over various urban genres performing with Bobby Womack and Sheila E.; and touring with Brown on the Summer Storm Series with Patti Austin, Marion Meadows and many more. As a musical educator; Jhonson produced several instructional books and CD’s including Funk Keyboards, heading full circle to her days of soaking in the dynamics of the Sly’s and Stevie’s of the world.

Known affectionately as ‘The First Lady of Smooth Jazz’, Jhonson dubbed her nickname of “Philly the Kid’ as her music company and record label. Now signed to the 111 East Music family, Jhonson returns with a funky good supporting cast on HerStory. The title was inspired by her hard working mother who fully invested in Jhonson’s musical vision. Much like her previous work: It’s About Time, Keep the Music Playing and Pearls, HerStory aims to please those that crave the pure elements of smooth jazz with a heap of funk frosting. . “Do Something Else,” released as a 2010 sneak preview of HerStory, mixes Latin spiced saxophone from Tom Braxton. Dwayne ‘Smitty’ Smith supplies some tasty bass guitar licks for “Dear Aaron.” The head nodding “Crusin’ After Dark” featuring trumpeter Lin Rountree demonstrates Jhonson’s clever spacing leading into the one-two ‘funky horn break’ punch. “Electric Lady” is a showcase for the keytar; a synthesized keyboard which produces deep, melodic acoustic bass lines. The solemn “For You Mom” steers away from the grooves for a short period, yet Jhonson still manages to ooze poignancy without the schmaltzy effect. HerStory may be pretty much the smooth jazz prototype for many. 

But what puts the icing on the cake is the passion and expressions Jhonson puts into every note and chord plus the guest musicians she surrounds herself with. And of course, there is the undeniable funk factor that Jhonson is passing; as a teacher and musician; onto future generations of jazz groove architects. ~ Peggy Oliver 
http://reviews.theurbanmusicscene.com/2011/06/19/gail-jhonson--her-story.aspx

Giacomo Gates - Miles Tones

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 48:44
Size: 112,0 MB
Art: Front

(5:07)  1. All Blues
(4:00)  2. Be-bop Lives (Boplicity)
(4:19)  3. Fiur
(4:55)  4. 'Round Midnight
(5:02)  5. I Fall in Love to Easily
(6:27)  6. 'Long Come Tutu
(5:18)  7. Milestones
(4:42)  8. You're My Everything
(4:58)  9. So What
(3:52) 10. Walkin'

It has long been widely accepted that Kurt Elling is heir apparent to Mark Murphy. But an equally strong case can be made for Giacomo Gates. Indeed, while Elling has advanced to a somewhat distant some might say higher plateau, Gates remains truer to Murphy’s path. Nor is it surprising that Gates has, since joining Joe Fields’ Savant label in 2011, reached new levels of adventurism. It was, after all, during Murphy’s three-decade association with Fields that his musical boldness and creativity soared. Many would argue that Murphy’s mastery reached its apex with the Fields-produced Bop for Miles, recorded in 1990. Gates’ Miles Tones is very nearly as magnificent.

Though Gates has, like Murphy, achieved his greatest fame for his ability to brilliantly vocalize multiple instruments, particularly horns, the intent of Miles Tones is to focus on lyrics associated with or subsequently attached to 10 Davis-related selections. As such, the album is as much a tribute to the wordsmiths Oscar Brown Jr., Jon Hendricks and Al Jarreau among them whose sagely tailored lyrics Gates so skillfully navigates.

From the long, lean lines of his “All Blues” and loose, loping “Be-Bop Lives,” to his tightly coiled “Four” and dark, dense “’Long Comes Tutu,” Gates strikes a dexterous balance between veneration and fresh interpretive imaginativeness. Murphy first added lyrics to “Milestones” when he recorded it in 1962 (and again in 1990), but Gates opts for his own clever wordplay. He also comes closer than any of the myriad vocalists who have covered it to capturing the bone-deep loneliness of Davis’ “I Fall in Love Too Easily.” The penultimate track, an insistent “So What” hoisted like a raised middle finger to all Davis detractors, is truly the album’s endpoint. “Walkin’,” which follows, simply provides a breezy coda.  ~ Christopher Loudon   http://jazztimes.com/articles/81644-miles-tones-giacomo-gates

Miles Tones

Eldar Djangirov - Live At The Blue Note

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 76:15
Size: 178,5 MB
Art: Front

( 8:00)  1. What Is This Thing Called Love
( 9:37)  2. Someday
( 6:12)  3. You Don't Know What Love Is (feat. Chris Botti)
( 8:18)  4. Daily Living
( 9:39)  5. Dat Dere
( 8:10)  6. Besame Mucho
( 7:02)  7. Straight, No Chaser (feat. Roy Hargrove)
( 5:51)  8. Sincerely
(10:33)  9. Chronicle
( 2:50) 10. Take The A Train

Intimate and sparkling with effervescent joy, Eldar's appearance at the Blue Note in New York clearly brought a persuasive force to his audience. He's spontaneous and personable for this program of six standards and four originals, steering his acoustic trio through lovely straight-ahead territory with class. Trumpeter Chris Botti guests with the trio on "You Don't Know What Love Is, waxing romantic with a heartfelt reading of this romantic evergreen. He's in top form, giving jazz's mainstream a winning ballad appearance that proves convincing. Botti and Eldar both enjoy an eloquent manner that allows for an intimate musical conversation between friends. Trumpeter Roy Hargrove guests on Monk's "Straight, No Chaser, returning the ensemble to the kind of heyday when Bird, Diz, Bud, and Max ruled New York's nighttime jazz scene with a firm hand.

Hargrove and Eldar drive this one hot and fast, taking no prisoners, as they let their passions rule the evening. It's during up-tempo romps such as this one that we clearly see Eldar's impressive talent with the piano keys and understand the phenomenal nature of his attack. The big question of the night: Does Eldar have enough maturity and experience to interpret down-to-earth features such as "Dat Dere and "Besame Mucho with true feeling? The answer is a resounding and emphatic yes. Eldar's amazing technique puts a spin on each selection that translates into a memorable experience. He's unforgettable. ~Jim Santella  
http://www.allaboutjazz.com/php/article.php?id=25959#.Uq4TQrRc_vs

Personnel: Eldar Djangirov: piano; Marco Panascia: double bass; Todd Strait: drums; Chris Botti: trumpet (3); Roy Hargrove: trumpet (7).