Wednesday, July 30, 2014

Benny Carter - Swingin' The '20s

Bitrate: 320K/s
Time: 45:15
Size: 103.6 MB
Styles: Saxophone jazz, Jump blues
Year: 1958/1988/2013
Art: Front

[2:49] 1. Thou Swell
[3:17] 2. My Blue Heaven
[2:32] 3. Just Imagine
[2:39] 4. If I Could Be With You (One Hour Tonight)
[4:59] 5. Sweet Lorraine
[2:22] 6. Who's Sorry Now
[2:23] 7. Whio's Sorry Now (Alternate Take)
[3:20] 8. Laugh! Clown! Laugh!
[2:50] 9. Laugh! Clown! Laugh! (Alternate Take)
[3:13] 10. All Alone
[3:09] 11. All Alone (Alternate Take)
[3:07] 12. Mary Lou
[2:43] 13. In A Little Spanish Town
[2:36] 14. Someone To Watch Over Me
[3:08] 15. A Monday Date

Combining altoist Benny Carter with pianist Earl Hines in a quartet is an idea with plenty of potential, but the results of this 1958 session are relaxed rather than explosive. Carter and Hines explore a dozen tunes (standards as well as forgotten songs like "All Alone" and "Mary Lou") with respect and light swing, but one wishes that there were a bit more competitiveness to replace some of the mutual respect. [Originally released in 1958, Swingin' the Twenties was digitally remastered on CD in 1988 and includes bonus tracks.] ~Scott Yanow

Swingin' The '20s

Nicholas Payton - Bitches

Bitrate: 320K/s
Time: 72:35
Size: 166.2 MB
Styles: R&B-jazz, Adult contemporary jazz
Year: 2011
Art: Front

[3:56] 1. By My Side (Ildeth's Blues)
[6:36] 2. Freesia
[4:55] 3. Shades Of Hue
[4:54] 4. Truth Or Dare
[5:22] 5. Togetherness Foreverness
[3:30] 6. Indigo
[4:20] 7. You Are The Spark
[3:55] 8. The Second Show (Adam's Plea)
[5:08] 9. Flip The Script
[5:07] 10. Love And Faith
[4:08] 11. Don't I Love You Good
[4:25] 12. Istole Your Iphone
[5:35] 13. You Take Me Places I've Never Been Before
[6:04] 14. Give Light, Live Life, Love
[4:33] 15. Bitches

Left turns don’t get much sharper than this one. Bitches features guest vocal appearances from Esperanza Spalding, N’dambi, Saunders Sermons, Cassandra Wilson, and Chinah Blac. Nicholas Payton does the rest -- not just the trumpet, but all of the instrumentation, all of the songwriting, and most of the vocals. Those who have followed Payton’s career as a jazz musician with no interest in left-field R&B of the previous several years -- including but not limited to Sa-Ra, the Foreign Exchange, Dâm-Funk, and Bugz in the Attic -- will be thrown. Like those artists, Payton was born in the ‘70s and is inspired by R&B acts that thrived during that decade and the following one. In the liner notes, Payton cites Stevie Wonder, Earth, Wind & Fire, and Michael Jackson, and he might have an affinity for those who started as jazz instrumentalists prior to crossing into R&B during the ‘70s -- Ronnie Foster, George Benson, Patrice Rushen, and Herbie Hancock, to name four of many. Bitches traces the cycle of a romantic relationship, from beginning to end, that dovetails with Payton’s broken marriage. Major points in the story line include the lively “Freesia” (a blissful duet with Spalding, who shines), the funky but furrowed “Truth or Dare” (the woman strays), the floating yet pensive “Indigo” (the man strays), “The Second Show” (the man is ready for a fresh start), the deceptively liquid “Don’t I Love You Good” (the man is somewhat embittered about the woman’s new love interest), and the gospel-tinted “Give Light, Live Life, Love” (where the man shakes off negativity and looks to the future). Throughout, Payton's voice carries an affable, conversational quality. He won’t be compared to his heroes listed above, but he certainly holds his own with his fellow vocalists here, and the lyrics and melodies are mostly top level (merely passable or goofy when not). The slower material, instrumentally reminiscent of Lonnie Liston Smith & the Cosmic Echoes (circa “Love Beams”) and Roy Ayers Ubiquity (circa “Gotta Find a Lover”), is tasteful and solid, but the songs with chunky synthesizers and heavy drum programming, sometimes charmingly sloppy, are the real kick. ~Andy Kellman

Bitches

Lorez Alexandria - Alexandria The Great

Bitrate: 320K/s
Time: 35:53
Size: 82.1 MB
Styles: Vocal jazz
Year: 1964/2004
Art: Front

[3:59] 1. Show Me
[2:17] 2. I've Never Been In Love Before
[2:43] 3. Satin Doll
[4:27] 4. My One And Only Love
[3:56] 5. Over The Rainbow
[3:58] 6. Get Me To The Church On Time
[2:43] 7. The Best Is Yet To Come
[4:03] 8. I've Grown Accustomed To His Face
[2:20] 9. Give Me The Simple Life
[5:23] 10. I'm Through With Love

Lorez Alexandria has not received her due as a jazz singer, probably due in part to her long layoff from recording (11 years) for nationally distributed labels following these 1964 studio sessions for Impulse! But the vocalist is in top form throughout each of these three sessions, each with a different group of musicians. Her soulful singing also hints at her gospel background in places, though her clear enunciation, ability to swing, and touch of charm make her a delight to hear. Most of the arrangements are fairly concise, so the longer tracks shine just a bit brighter. Her swinging take of "Get Me to the Church On Time" is playful, while her soulfulness comes across in the snappy take of "I'm Through With Love," the latter featuring guitarist Ray Crawford. This is an excellent introduction to a fine vocalist worthy of much wider recognition. ~Ken Dryden

Alexandria The Great   

Hot Club Of Philadelphia - Wrap Your Troubles In Dreams

Bitrate: 320K/s
Time: 43:51
Size: 102.4 MB
Styles: Swing, Gypsy jazz
Year: 2010
Art: Front

[3:33] 1. Songe D'Automne
[3:45] 2. Exactly Like You
[3:41] 3. La Gitane
[5:23] 4. Someone To Watch Over Me
[4:15] 5. Tchavolo Swing
[5:00] 6. It's The Bluest Kind Of Blues - Nuages
[6:48] 7. Nature Boy
[2:57] 8. You'd Be So Nice To Come Home To
[2:17] 9. Chez Jacquet
[3:39] 10. Wrap Your Troubles In Dreams
[2:29] 11. While We're Young

The Hot Club of Philadelphia,taking their cue from the European-style Jazz pioneered by Django Reinhardt, and melding it with their own style. Their creative takes on classic tunes, easy-going swinging sound and solid arrangements makes for quite a listenable album. The Hot Club of Philadelphia was founded in 2001 by guitarist Barry Wahrhaftig and violinist Mark Campiglia. Joining them are acoustic bassist Jim Stager and rhythm guitarist Barry Wahrhaftig, as well as plenty of special guests, including the legendary Howard Alden on seven string guitar. This Gypsy Jazz outfit is dedicated to "playing and preserving the music of Django Reinhardt while adding their own style in the process." One is immediately struck by the easy, but deep swing that comes out of Bob Butryn's clarinet (he' also a swing dancer!) on the medium-tempo first track, "Song d'Automme." One can't help but be taken by the way these players make so much outof so little. Two Rhythm guitars and a bass keep thetime and groove with some simple but well craftedchanges in a minor key, as the improvisers outlinethem with the most essential notes, while making beautiful and singable melodies for the listener to relate to at all times. Throughout the CD, new players come and go, such as Accordion player John Matulis for the track "La Gitane," giving it a unique texture. This song is in a triple meter, as the bassist plays on one and the guitars on two and three, giving it a waltz vibe. I can easily visualize a dance floor in France with numerous couples brimming with life. Barry Wahrhaftig shows that he is no Django clone on this track. His right hand has a completely different approach.

Undoubtedly one of the big highlights of this disc is "Someone to Watch Over Me," sung by Denise King. She infuses plenty of personal experience in her rendering, as the song builds gradually. It begins as a duet, with the beautiful solo guitar work of Howard Alden, before the bass joins, and then the lead guitar of Wahrhaftig." Nuages" is another nice interpretation, featuring vocalist Phyllis Chapell. Wahrhaftig takes a particularly memorable guitar solo on this track, departing from the classic gypsy vocabulary with some very unique lines, and plenty of emotion. The listener wil be happy to hear Bob Butryn return for a gorgeous clarinet solo. "Nature Boy" will also be a pleasant surprise to the listener with its Latin vibe, complete with flute, conga, and Flamenco guitar from Carlos Rubio. Wahrhaftig trades solos with Rubio and it a treat to hear two different styles playing together on the same song. Denise King joins the group for the head out.

And then another surprise - Electric guita rand horns! For the penultimate tune, "Wrap YourTroubles in Dreams," the band renders it with a classic swing with arranged parts for trombone, trumpet and clarinet, and a swinging drum groove with the hi-hat on two and four behind Denise King's vocals. We go from the Hot Club to Preservation Hall, and it is a nice departure before returning for the closer, "While We're Young." The Hot Club of Philadelphia may be dedicated to playing the music of Django Reinhardt, but as advertised, they add their own voices and mentalities into the mix, and often infuse Latin and more traditional swing styles into the mix. All of the members have impeccable chops and unwavering musicality. If you're in the Philadelphia area, be sure to seek them out.

Joe Ellis, guitar; Bob Butryn, clarinet;Jim Stager, bass; Barry Wahrhaftig, guitar; JoeArnold, violin; John Matulis, accordion, Howard Alden, guitar; Denise King, vocals; Alex Siniavski, guitar; Mark Campiglia, violin; Phyllis Chapell, vocals; Rich Yescalis, guitar; Carlos Rubio, flamenco guitar; Bob Butryn, flute; George Manney, conga; Stan Slotter, trumpet; Dave Cianci, trombone By Herbie Y. Gamura.

Wrap Your Troubles In Dreams

Karla Harris - Twice As Nice

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 48:35
Size: 111,9 MB
Art: Front

(3:22)  1. I Can't Believe That You're In Love With Me
(3:10)  2. Lover Come Back To Me
(2:47)  3. You Are There
(4:00)  4. Wives And Lovers
(4:09)  5. The Look Of Love
(3:07)  6. On The Sunny Side Of The Street
(2:57)  7. I'm Gonna Laugh You Right Out Of My Life
(2:58)  8. Lover
(3:38)  9. Come Rain Or Come Shine
(3:35) 10. I Wish I Were In Love Again
(3:48) 11. Where Do You Start
(2:24) 12. Happy Talk
(3:49) 13. One For My Baby (And One More For The Road)
(4:46) 14. The Best Is Yest To Come

Twice As Nice, the new CD from Karla Harris and Tom Kennedy, is really two great stories !

~It's a tribute to some of the most memorable melodies and lyrics ever written songs from seven legendary composers of the great jazz and pop standards, with two classic tunes from each.

~It's also about the collaboration of two artists who share a deep appreciation for this music and a love for performing it.

Those artists, internationally acclaimed jazz bassist Tom Kennedy and popular vocalist Karla Harris, met in 2004. Tom was off the road and back in his native St. Louis, playing a gig in the city's celebrated Forest Park one evening when he met Karla, also on the engagement. Well-regarded locally, Karla had recently re-entered the jazz scene after several years away. Hearing her sing standards such as Good Morning Heartache and Moonglow that night, Tom recalls being impressed by a "refreshing lyricism and deep spirit emanating from the vocal mic." Karla, for her part, knew of Tom's reputation as "one of the best bass players on the planet," amazing on both the acoustic and electric bass. A first-call musician, Tom has worked with jazz greats such as James Moody, Freddie Hubbard, David Sanborn, Stan Kenton, Patti Austin, Maureen McGovern and Rosemary Clooney. 

s an integral part of the Dave Weckl Band, with whom he writes, records and tours, his fans are worldwide. LA Weekly writes that Tom's work is "nothing short of inspiring" and Downbeat Magazine calls him a "true virtuoso."  When Tom suggested Karla take part in a CD project he'd been planning, it was the right opportunity at the right time. Their musical rapport and shared vision for performing this music is evident in each track. Twice As Nice glides between jazz and sophisticated pop standards in a rich collection that includes works from composers such as Richard Rodgers, Cy Coleman, Burt Bacharach and Johnny Mandel. Tom performs with the best feel in the business on his 250-year-old acoustic bass, supplying both the emotive touches and acrobatic, horn-like solos for which he's known. Karla, with a clear, soul-tinged delivery that expresses the lyrics with strength, quiet vulnerability or refined fun, is a natural match with the music. Jazz radio host Ross Gentile describes her approach as "sassy and sensitive ... a singer for all seasons who makes every song memorable." Stylish arrangements, created by Tom, brush this varied collection with a fresh touch, making the standards anything but. Oscar Hammerstein's "Lover Come Back to Me," treats you to a prime performance of Tom's artistry, showcasing his artistic nuance, speed and wit in an amazing acoustic solo. 

The Grammy-winning "Wives and Lovers" from Bacharach is cool and swinging with soulful sax by Jason Swagler, while Rogers and Hart's "Lover" gets a rhythmic twist and scintillating sax solos from Gary Meek (of the Dave Weckl Band). "The Look of Love" turns haunting with Tom on electric bass and Karla's longing vocals, and Ray Kennedy (well-known pianist for jazz guitarist/vocalist John Pizarelli) makes you feel like you're there with his bluesy take on Harold Arlen's "One For My Baby." Johnny Mandel's wistful "You Are There" and "Where Do You Start" set a poignant mood; bass and vocal duets "On the Sunny Side of the Street" by Jimmy McHugh and another Rodgers composition, "Happy Talk," add a light touch ! and much more.

Young pianist Kara Baldus adds dynamic touches throughout while drummer Miles Vandiver provides a consistently supportive spirit and swing. With Twice As Nice, Tom and Karla celebrate a golden era of songwriting with all who appreciate the qualities that make this music unforgettable. Fans of acoustic bass, vocal jazz and the Great American songbook will love Twice As Nice.

Twice As Nice

Johnny Hartman - For Trane

Styles: Vocal Jazz
Year: 1995
File: MP3@320K/s
Time: 54:21
Size: 124,9 MB
Art: Front

(4:11)  1. My Favorite Things
(4:59)  2. Violets For Your Furs
(3:27)  3. Nature Boy
(7:07)  4. Summertime
(3:25)  5. Why Did I Choose You
(6:54)  6. The Nearness Of You
(4:09)  7. I'm Glad There Is You
(3:18)  8. On Green Dolphin Street
(7:30)  9. My Funny Valentine
(4:01) 10. Sometimes I'm Happy
(5:15) 11. S' posin'

This CD combines together parts of two sessions recorded in Tokyo by the warm ballad singer Johnny Hartman. Although titled For Trane, the vocal recital only has three songs associated with John Coltrane ("My Favorite Things," "Violets for Your Furs," and "Nature Boy") and the majority of the selections are actually taken from an unrelated session in which Hartman was matched with trumpeter Terumasa Hino. The music alternates between ballads ("Violets for Your Furs" and "The Nearness of You" are high points) and swingers and, although Hartman does not really improvise, his voice (still in its prime at the time) is appealing. Considering his slim discography, Johnny Hartman's fans will definitely want this one. ~ Scott Yanow  http://www.allmusic.com/album/for-trane-mw0000645815

Personnel: Johnny Hartman (vocals); Terumasa Hino (trumpet); Masahiko Kikuchi, Mikio Masuda (piano); Yoshio Suzuki, Yoshio Ikeda (bass); Hiroshi Murakami, Motohiko Hino (drums).

Pablo Bobrowicky - Where We Are

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 66:33
Size: 152,6 MB
Art: Front

( 4:40)  1. Angelica
( 2:36)  2. One For Charlie
( 3:50)  3. Evidence
( 3:18)  4. Au Privave
( 3:46)  5. Body And Soul
( 3:31)  6. Simple Blues
( 6:05)  7. Come Sunday
( 4:59)  8. Invitation
(10:50)  9. Lonnie's Lament
( 6:03) 10. One For Wes
( 5:51) 11. Rio De La Plata
( 4:42) 12. Prelude To A Kiss
( 2:13) 13. Wee
( 4:03) 14. I Fall In Love Too Easily

Writing about jazz is made more difficult when you are presented with a nearly perfect recording. What can you say about Miles Davis’ Kind Of Blue or John Coltrane’s A Love Supreme ? Because the recording is itself complete, words fail. I go to a tried and true method (with close friends only, please), buy the record, if you hate it, I’ll give you your money back. Although my words have, the refund policy has never faltered. I’m tempted to offer refunds for dissatisfied listeners of Pablo Bobrowicky’s jazz standards recording. The 30-something Argentinean guitarist recording for an Italian label doesn’t give us Latin versions of Monk, Duke, and Dizzy as much as he delivers a long distance perspective on the second half of the 20th century. The trio of guitar/bass/drums covers ten standards, all attributed to the jazz giants: Coltrane, Ellington, Miles, Charlie Parker, Thelonious Monk, and Gillespie, plus four originals. Bobrowicky begins with Charlie Christian, Wes Montgomery, and Jim Hall for inspiration. Crafting music in their styles. 

He draws his swing from Christian, deep grooves from Montgomery, and like Hall is more comfortable on ballads and slow tunes. When he plays a blues, I hear Tal Farlow’s spirit. He is breathing American jazz, pumping it through his large Argentinean heart, and returning it not in translation but in panorama. Where is jazz coming from this century? Bobrowicky states a solid case for offshore inspiration, far away from New York’s incestuous scene. The distance afforded to European and South American jazz artists allows for perspective, serious woodshedding, and unfettered development of ideas. If words failed here, it’s only because this is such a great effort. ~ Mark Corroto http://www.allaboutjazz.com/where-we-are-pablo-bobrowicky-red-records-review-by-mark-corroto.php#.U9UsZCgVHfM
Personnel: Pablo Bobrowicky (Guitar)

Where We Are

Nat Pierce - Fun

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 77:36
Size: 178,2 MB
Art: Front

( 7:07)  1. Stomp It Off
( 3:01)  2. Seventh Avenue Express
( 4:31)  3. Constance
(10:38)  4. Stompin' At The Savoy
( 2:10)  5. Look Who's In Love
( 2:56)  6. Love Letters
( 3:59)  7. Pepper Green
( 5:47)  8. Blues Yet?
( 1:58)  9. Lazy
( 2:24) 10. Love Look Away
( 5:39) 11. Whaddaya Know?
( 6:09) 12. Moody Chant
( 2:52) 13. You Are Beautiful
( 5:39) 14. Why Not?
( 4:12) 15. After Glow
( 1:58) 16. My Girl Is Just Enough Woman For Me
( 6:28) 17. Middle Man

Nat Pierce (July 16, 1925 – June 10, 1992) was an American jazz pianist and arranger born in Somerville, Massachusetts, perhaps best known for being pianist and arranger for the Woody Herman band from 1951–1955. Pieces by Pierce were predominantly created for use in big bands. Following schooling at the New England Conservatory and working as an amateur musician in the Boston area, Pierce then led his own band which featured Charlie Mariano from 1949-1951. After working with Woody Herman from 1951–1966 as chief arranger and assistant road manager, Nat took residence in New York City and freelanced with musicians such as Pee Wee Russell, Lester Young, Emmett Berry and Ruby Braff, to name a few. From 1957-1959 Pierce led a band off and on which featured Buck Clayton, Gus Johnson and Paul Quinichette. He recorded with a number of other well-known musicians as well, including Quincy Jones, Coleman Hawkins and Pee Wee Russell. Pierce was noted for his ability to play piano in the Basie style and appeared on many releases by Basie sidemen. Pierce also arranged the music for The Sound of Jazz, a 1954 CBS television special hosted by John Crosby. Pierce died of complications from an abdominal infection in Los Angeles, California. ~ Bio http://en.wikipedia.org/wiki/Nat_Pierce

Fun