Seldon Powell - Go First Class: The Complete Roost Sessions

Bitrate: 320K/s

Time: 68:14

Size: 156.2 MB

Styles: Saxophone jazz, Swing

Year: 2011

Art: Front

[2:59] 1. Go First Class

[3:58] 2. Why Was I Born

[3:15] 3. Love Is Just Around The Corner

[3:44] 4. Someone To Watch Over Me

[4:39] 5. Count Fleet

[5:16] 6. Autumn Nocturne

[4:52] 7. Swingsville, Ohio

[5:04] 8. Summertime

[2:42] 9. Woodyn' You

[2:39] 10. She's Funny That Way

[2:21] 11. Miss Melody

[2:18] 12. I'll Close My Eyes

[2:28] 13. 11th Hour Blues

[2:38] 14. A Flower Is A Lonesome Thing

[3:30] 15. It's A Cryin' Shame

[2:59] 16. Button Nose

[3:17] 17. Undecided

[4:05] 18. Biscuit For Duncan

[2:46] 19. Sleepy Time Down South

[2:36] 20. Lolly Gag

A veteran tenor saxophonist and flutist, Seldon Powell adjusted and honed his style over the years, being flexible enough to play anything from swing to hard bop and in between. He wasn't the greatest soloist, most ambitious composer, or most spectacular arranger; he was simply a good, consistent player who survived many changes and trends to remain active from the late '40s until the '90s. Powell was classically trained in New York, then worked briefly with Tab Smith in 1949 before joining Lucky Millinder and recording with him in 1950. Powell was in the military in 1950 and 1951, then became a studio musician in New York. He worked and recorded with Louis Bellson, Neal Hefti, Friedrich Gulda, Johnny Richards, and Billy Ver Planck in the mid- and late '50s. Powell also played with Sy Oliver and Erskine Hawkins, and studied at Juilliard. He traveled to Europe with Benny Goodman's band in 1958, and worked briefly with Woody Herman. Powell was a staff player for ABC television in the '60s, and also played and recorded with Buddy Rich, Bellson, Clark Terry, and Ahmed Abdul-Malik. He did a number of soul-jazz and pop dates in the late '60s and early '70s, among them a session with Groove Holmes and big-band dates backing Gato Barbieri and Dizzy Gillespie. Powell was principal soloist in Gerry Mulligan's 16-piece band at the JVC Jazz Festival in New York in 1987. He recorded as a leader for Roost and Epic. ~bio by Ron Wynn

Go First Class: The Complete Roost Sessions

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Bill Withers - Live At Carnegie Hall

Bitrate: 320K/s
Time: 77:12
Size: 176.7 MB
Styles: Smooth soul
Year: 1973/2010
Art: Front

[ 8:34] 1. Use Me
[ 4:28] 2. Friend Of Mine
[ 2:57] 3. Ain't No Sunshine
[ 4:53] 4. Grandma's Hands
[ 5:19] 5. World Keeps Going Around
[ 4:16] 6. Let Me In Your Life
[ 3:41] 7. Better Off Dead
[ 3:01] 8. For My Friend
[ 6:43] 9. I Can't Write Left Handed
[ 5:47] 10. Lean On Me
[ 3:58] 11. Lonely Town, Lonely Street
[ 4:26] 12. Hope She'll Be Happier
[ 5:19] 13. Let Us Love
[13:41] 14. Medley: Harlem, Cold Baloney

A wonderful live album that capitalizes on Withers' trademark melancholy soul sound while expanding the music to fit the room granted by a live show. Lovely versions of "Grandma's Hands" and "Lean on Me" are balanced by heartfelt downbeat numbers like "Better Off Dead" and "I Can't Write Left-Handed," the latter being an anti-war song with a chilling message. The set finishes off with the lengthy "Harlem/Cold Baloney," with lots of audience-pleased call-and-response going on. One of the best live releases from the '70s. ~Steven McDonald

Live At Carnegie Hall

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Cindy Scott - Major To Minor

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 49:14
Size: 113,3 MB
Art: Front

(2:56)  1. It's Don't Mean a Thing
(5:54)  2. What'll I Do
(2:48)  3. Mean To Me
(5:06)  4. Get Out Of Town
(4:58)  5. Ev'ry Time To Say Goodbye
(6:11)  6. Nature Boy
(3:19)  7. Deed I Do
(2:41)  8. It's De-Lovely
(3:48)  9. I Just Found Out About Love
(3:22) 10. On a Slow Boat To China
(5:06) 11. It Might As Well Be Spring
(2:59) 12. Imagination

Houston-based vocalist Cindy Scott strikes gold her first time out. Major to Minor is an exceptional debut album, a happy collaboration between an exciting new singer and a cadre of superior jazz artists. This CD is somewhat of a culmination of material that Scott developed with pianist/arranger Gary Norian and other musicians at a steady gig they had at Cïzanne, a noted Houston jazz club. The function of sidemen, as I see it, is to stimulate, inspire, excite, push, drive, goad and coax their colleagues. And, boy, this band stimulates and pushes Scott. Their efforts, however, do not detract from nor intrude upon her vocals but, rather, enhance and embrace her performance. Norian stated, "We like to keep the integrity of the melody but (play) with some different harmonies and time signatures. They succeed. Each arrangement is fresh, challenging, and most entertaining. Not many budding jazz vocalists could hope to have their first recording date backed by such talented musicians. 

The programming is eclectic, ranging from Cole Porter (three tunes) to Ellington, Berlin and McHugh. Thankfully there are no originals, which in many cases can be uninspired. Things start off hot with some dazzling virtuosic scatting by Scott, working in unison with Woody Witt's tenor sax on the Ellington composition "It Don't Mean a Thing If It Ain't Got That Swing. Scott next lends her sunny timbre to the well-known ballad "What'll I Do, thankfully including the beautiful verse. Trumpeter Dennis Dotson takes a splendid chorus on this Irving Berlin evergreen (some of you may recall Dotson from the Woody Herman band). If I were to pick a favorite tune from this disc, it might be "Get Out of Town. Although Cole Porter wrote this tune in 4/4 time, Scott performs it in 6/8, which adds freshness to a well-worn standard. It starts out with voice and drums and gradually builds until Dotson enters on trumpet. "Nature Boy may not be the best composition, but Scott's version adds luster to a rather uninspired melody. This "Nature Boy is not just a "strange, enchanted boy he is a funky cat. The song builds in intensity and includes some tour de force drumming by Chuck Payne.

Cindy Scott plays with time beautifully on this number. Most singers perform the lesser-known Jimmy McHugh song "I Just Found Out About Love as a jump tune, but Scott and the band decided to record it as a slow waltz. It works splendidly at this tempo and time signature. On "Ev'ry Time We Say Goodbye, Scott shows that she can also break your heart with a slow ballad. Her easy, patient way with this Cole Porter classic is downright ecstatic. Kudos also to pianist Norian's lovely counter melody on this cut. Although this is Cindy Scott's first recording, it will certainly not be her last. For she is not only an exceptional new jazz-oriented singer, she is accessible to a wide spectrum of listeners. You don't need a degree in music to understand her singing; all you need is ears. The disc will appeal to fans who appreciate impeccable intonation, an immaculate sense of timing, and emotional interpretations of song lyrics. Scott is a musical artist who delivers fables and stories and vignettes of life and love. But the young lady can also swing you into bad health.  Highly recommended. ~ Roger Crane   http://www.allaboutjazz.com/major-to-minor-cindy-scott-catahoula-records-review-by-roger-crane.php#.U5HvGCioqdk

Personnel: Cindy Scott - Vocals; Gary Norian - Piano; Thomas Helton - Bass; Chuck Payne - Drums; Woody Witt - Tenor Sax; Dennis Dotson - Trumpet.

Major To Minor

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Nancy Wilson - The Great American Songbook (Disc 1) And (Disc 2)

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 54:52 (Disc 1)
Size: 126,5 MB (Disc 1)
Time: 54:30 (Disc 2)
Size: 125,5 MB (Disc 2)
Art: Front

Disc 1

(1:50)  1. All Of You
(2:45)  2. The Things We Did Last Summer
(2:13)  3. The More I See You
(3:01)  4. The Nearness Of You
(2:21)  5. Never Will I Marry
(2:28)  6. What A Little Moonlight Can Do
(2:53)  7. Little Girl Blue
(2:34)  8. Tonight
(1:48)  9. Sometimes I'm Happy
(3:05) 10. Secret Love
(2:35) 11. A Sleepin' Bee
(2:53) 12. Fly Me To The Moon (In Other Words)
(1:44) 13. On The Street Where You Live
(2:36) 14. You Don't Know What Love Is
(2:20) 15. This Time The Dream's On Me
(2:34) 16. Sophisticated Lady
(2:13) 17. Dearly Beloved
(3:14) 18. My Ship
(1:58) 19. My Shining Hour
(2:41) 20. I'm Gonna Laugh You Right Out Of My Life
(2:55) 21. Back In Your Own Back Yard
(1:59) 22. People Will Say We're In Love

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Disc 2

(3:07)  1. Bewitched
(2:44)  2. Try A Little Tenderness
(2:35)  3. At Long Last Love
(2:58)  4. In A Sentimental Mood
(3:57)  5. When The Sun Comes Out
(2:54)  6. The Very Thought Of You
(2:22)  7. Like Someone In Love
(2:54)  8. Angel Eyes
(3:04)  9. My One And Only Love
(2:01) 10. The Song Is You
(3:29) 11. Lush Life
(2:53) 12. It Never Entered My Mind
(2:44) 13. Prelude To A Kiss
(2:44) 14. By Myself
(3:18) 15. Glad To Be Unhappy
(3:01) 16. Time After Time
(2:25) 17. Hello, Dolly!
(2:35) 18. Someone To Watch Over Me
(2:36) 19. You'd Be So Nice To Come Home To

The Great American Songbook has many top-drawer interpreters, but Nancy Wilson is rarely spoken of in the same breath as Ella Fitzgerald or Dinah Washington or Frank Sinatra or Mel Tormé. The reason lies less with her talents, which are sizeable, and more with her orientation, which fits the show tunes concept of putting the song across with precise diction as well as emotion instead of the jazz vocal tradition of personalizing a song. Those who know only Wilson's crossover work and think she intrudes in the field of vocal jazz should simply listen to her 1959 performance of "On the Street Where You Live," where she often varies notes and tempo but preserves the essential ebullience of the song intact an excellent musical performance combined with an excellent reading of a classic standard. 

That song is only one of the treasures present on the two-disc set The Great American Songbook, one in a loose series of three Capitol compilations to compile Wilson's late '50s and early '60s prime, the others focusing on blues ballads and lost love. There is a lot of music to wade through (more than twice as much as the other volumes in the series), but the compilers ably mix up the proceedings, balancing small-group performances that have a loose touch from all involved with large-band spectaculars featuring impeccable arrangements (often by masters of the form Billy May or Gerald Wilson). ~ John Bush   

http://www.allmusic.com/album/the-great-american-songbook-mw0000723672

Personnel: Nancy Wilson (vocals); Joe Gibbons, Bobby Gibbons, John Michael Gray, Jack Marshall, Mundell Lowe, John Collins, Bob Bain, Charles Wright (guitar); Bob Hardaway (flute, clarinet, bass clarinet, English horn); Justin Gordon (flute, clarinet, bass clarinet, saxophone); Abe Most, Ted Nash (flute, clarinet); Bill Green (bass flute, saxophone, alto saxophone); Ernie Snell (bass flute, baritone saxophone); Benny Carter (reeds, saxophone); Jules Jacobs, Bill Ulyate (reeds); Arthur Herfurt, William Ulyate, Jerome A. Kasper, Bill Perkins, Bill Hood, Buddy Collette (saxophone); Jimmy Woods, Joe Maini, Bill Green (alto saxophone); Harold Land, Teddy Edwards (tenor saxophone); Clyde Reasinger, Uan Rasey, Conrad Gozzo , Jules Chaikin, Freddie Hill, Emanuel Klein, Harry "Sweets" Edison , Carmell Jones, Jimmy Salko, Joe Graves, Al Porcino, Pete Candoli, John Audino, Bobby Bryant (trumpet); James A. Decker, Arthur Frantz, Henry DeRosa, Richard Perissi, Henry Sigismonti, Richard Mackey (French horn); Milt Bernhart, Chuck Cooper, Dick Noel, Phillip Teele, William Schaefer, Don Switzer, George Roberts , Lew McReary, Pullman Pederson, Richard Nash, Eddie Kusby, John Ewing , Milt Bernhardt, Murray McEachern, Tommy Pederson , Kenny Shroyer, Lew McCreary, Lester Robertson, Lloyd Ulyate (trombone); Red Callender (tuba); Jack Wilson (piano, celesta); Donn Trenner, George Shearing, Jimmy Jones , Lou Levy, Ralph Sharon, Ronnell Bright, Meyer Rubin (piano); George Duvivier, Jimmy Bond, Joe Mondragon, Sam Jones, Joe Comfort (bass instrument); Carol Kaye (electric bass); Buster Williams (bass guitar); Grady Tate, Stan Levey, Kenny Dennis (drums); Gene Estes, Larry Bunker (percussion); Dick Garcia, Gene Bertoncini, Joe Pass (guitar); Gene Cipriano (bass flute, tenor saxophone); Chuck Gentry, Willie Smith, Paul Horn (reeds); Plas Johnson (saxophone, tenor saxophone, trombone); Fred Falensby (saxophone); Frank Strozier, Cannonball Adderley (alto saxophone); Eddie "Lockjaw" Davis (tenor saxophone); Jack Nimitz (baritone saxophone); Don Fagerquist, Frank Beach (trumpet); Nat Adderley (cornet); Vincent DeRosa (French horn); Si Zentner, Bob Edmondson (trombone); Hank Jones , Joe Zawinul, Milt Raskin (piano); Hal Blaine (vibraphone, drums, chimes); Victor Feldman (vibraphone, timpani, percussion); Eddie Costa (vibraphone); Louis Hayes, Nick Ceroli, Shelly Manne, Irving Cottler, Walter Bolden (drums); Emil Richards (percussion); Gerald Wilson Orchestra, Ron Carter .

 The Great American Songbook (Disc 1)

 The Great American Songbook (Disc 2)

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David "Fathead' Newman - Fathead: Ray Charles Presents David Newman

Styles: Saxophone Jazz
Year: 1959
File: MP3@256K/s
Time: 37:37
Size: 69,0 MB
Art: Front

(4:43)  1. Hard Times
(4:49)  2. Weird Beard
(5:00)  3. Willow Weep For Me
(4:15)  4. Bill For Bennie
(3:46)  5. Sweet Eyes
(5:24)  6. Fathead
(4:17)  7. Mean To Me
(5:18)  8. Tin Tin Deo

The talented David Newman, who alternates on this album between tenor and alto, made his debut as a leader at this session. Since he was in Ray Charles' band at the time, Newman was able to use Charles on piano along with Hank Crawford (here called "Bennie Crawford") on baritone, trumpeter Marcus Belgrave, bassist Edgar Willis, and drummer Milt Turner. The music is essentially soulful bebop, with the highlights including "Hard Times," "Fathead," "Mean to Me," and "Tin Tin Deo." Everyone plays well and this was a fine start to David "Fathead" Newman's career. This historic set was issued on CD by Collectables in 2005. ~ Scott Yanow   http://www.allmusic.com/album/fathead-ray-charles-presents-david-newman-mw0000140154

Personnel: David "Fathead" Newman (flute, alto saxophone, tenor saxophone); David "Fathead" Newman ; Bennie Hank Crawford, Bennie Crawford (baritone saxophone); Edgar Willis (double bass); Milton Turner, Milt Turner, Milton Turner (drums); Marcus Belgrave (trumpet); Ray Charles (piano).

Fathead: Ray Charles Presents David Newman

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