Freddie Bryant - Boogaloo Brasiliero

Bitrate: 320K/s
Time: 54:20
Size: 124.4 MB
Styles: Latin jazz, Jazz guitar
Year: 1999
Art: Front

[2:54] 1. Por Toda Minha Vida
[7:07] 2. Boogaloo Brasiliero
[7:30] 3. Passages
[8:47] 4. You Don't Know What Love Is
[7:40] 5. Alone
[6:15] 6. Eyes Across The Ocean
[6:02] 7. Peace
[8:03] 8. Solar

"The solo rendition of Jobim's 'Por Toda Minha Vida' is a gorgeous blend of delicate harmonics, etherial harmonies and rhythmic freedom...the title cut ('Boogaloo Brasileiro') has an incendiary groove and Freddie Bryant's original, 'Alone' has a brilliant guitar solo that builds in intensity and incorporates a spectrum of guitar devices. 'Boogaloo Brasileiro' offers a clear view of Freddie Bryant's many talents." ~Jim Fergeson, Jazz Times Magazine

Boogaloo Brasiliero

---

Veronica Martell Trio - Big City Swing

Bitrate: 320K/s
Time: 42:28
Size: 98.2 MB
Styles: Swing, Vocal jazz
Year: 2000
Art: Front

[3:01] 1. Guess Who's In Town
[3:07] 2. Sneakin' Around
[3:01] 3. Choo Choo Ch'boogie
[3:31] 4. I Want You To Be My Baby
[4:36] 5. Garden In The Rain
[3:58] 6. Big City Swing
[3:14] 7. Jive, Jive, Jive
[4:05] 8. Buzz Me Blues
[2:30] 9. Me, Myself, And I
[2:28] 10. Your Momma Don't Dance
[2:49] 11. What A Little Moonlight Can Do
[2:18] 12. Spring Cleaning
[3:43] 13. I Wish I Didn't Love You So

Veronica Martell's debut release, "Big City Swing" is a collection of some of the greatest swing and blues recordings coupled with a contemporary feel for the '90s. These 13 dynamic hits are the perfect showcase for Veronica's strong vocals, which she has fine-tuned for over a decade with performances throughout Europe and the United States. The recent swing revival proves this is perfect timing for an album filled with some of the bigggest hits of the '30s, '40s and '50s. Produced by Doug Petty and Tony Viscards, the album trully captures the essence of swing and the broad appeal of pop. Choo, Choo Ch'Boogie is a poppy swing track which appeals to both young and old audiences alike. On the blues side, Buzz Me Baby and Sneakin' Around are two surefire hits with killer horn arrangements all written by Doug Petty. Veronica's dynamic and soothing vocals are showcased on tunes such as Garden In the Rain and I Wish I Didn't Love You So. Big City Swing is an en!ergetic, sophisticated yet fun album for all generations

Big City Swing

---

Buddy Collette - Jazz Heat Bongo Beat

Bitrate: 320K/s
Time: 31:52
Size: 73.7 MB
Styles: Bop, Latin jazz
Year: 1960/2004
Art: Front

[3:20] 1. Jazz Heat Bongo Beat
[3:16] 2. Pesadilla
[2:53] 3. Selvatico
[3:20] 4. Goza Nena
[3:19] 5. Rapture
[2:55] 6. Bongosville
[4:05] 7. Azul
[2:49] 8. Tobasco
[3:09] 9. Guajiro Cha Cha Cha
[2:41] 10. Tenura

An important force in the Los Angeles jazz community, Buddy Collette was an early pioneer at playing jazz on the flute. Collette started on piano as a child and then gradually learned all of the woodwinds. He played with Les Hite in 1942; led a dance band while in the Navy during World War II; and then freelanced in the L.A. area with such bands as the Stars of Swing (1946), Edgar Hayes, Louis Jordan, Benny Carter, and Gerald Wilson (1949-1950). An early teacher of Charles Mingus, Collette became the first black musician to get a permanent spot in a West Coast studio band (1951-1955). He gained his greatest recognition as an important member of the Chico Hamilton Quintet (1955-1956), and he recorded several albums as a leader in the mid- to late '50s for Contemporary. Otherwise, he mostly stuck to the L.A. area, freelancing, working in the studios, playing in clubs, teaching, and inspiring younger musicians. Although a fine tenor player and a good clarinetist, Collette's most distinctive voice is on flute; he recorded an album with one of his former students, the great James Newton (1989). In addition, Collette participated in a reunion of the Chico Hamilton Quintet, and recorded a two-disc "talking record" for the Issues label in 1994, in which he discussed some of what he had seen and experienced through the years. ~Scott Yanow

Recording information: Los Angeles (1959).

Buddy Collette (flute); Tommy Tedesco (guitar); Eddie Cano (piano); Larry Bunker (drums); Darias (congas); Carlos Mejía (bongos).

Jazz Heat Bongo Beat

---

Melissa Walker - May I Feel

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 58:17
Size: 133,9 MB
Art: Front

(6:55)  1. I'm A Fool To Want You
(4:49)  2. A Time For Love
(6:00)  3. Dancing In The Wings
(5:24)  4. Love Is
(3:50)  5. What A Little Moonlight Can Do
(6:21)  6. Ruby My Dear
(6:31)  7. Never Let Me Go
(6:26)  8. Little Wishes
(5:27)  9. Miss Otis Regrets
(6:30) 10. The Old Country

Melissa Walker's debut recording as a leader is impressive for a number of reasons. Gifted with a deeply expressive voice, and a terrific supporting cast of musicians, including trumpeter and flugelhornist Terell Stafford (her husband), saxophonist Gary Bartz, pianist George Colligan, guitarist Paul Bollenback, bassist James King, drummer Clarence Penn, and percussionist Steve Kroon, Walker finds fresh approaches to several very familiar songs. "I'm a Fool to Want You" finds it groove immediately with her sensitive vocal over a hip rhythm section, accented by Bartz's powerful alto sax solo. Colligan's whispering piano provides the perfect accompaniment for her gorgeous vocal to "A Time for Love." 

Penn's light, swinging brushes, Stafford's darting muted trumpet, and Bollenback's quick runs all assist Walker in her swinging rendition of "What a Little Moonlight Can Do." Bartz's soprano sax is a highlight of her waltz treatment of Cole Porter's oddball "Miss Otis Regrets," which Walker sings very effectively. Her gospel background is evident in her inspired original, "Love Is." This is a brilliant start for a very promising singer. ~ Ken Dryden  http://www.allmusic.com/album/may-i-feel-mw0000596781

Personnel: Melissa Walker (vocals); Paul Bollenback (guitar); Gary Bartz (soprano & alto saxophones); Terell Stafford (trumpet, flugelhorn); George Colligan (piano); James King (bass); Clarence Penn (drums); Steve Kroon (percussion).

May I Feel

---

Phil Woods Quintet - American Songbook

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 66:14
Size: 153,0 MB
Art: Front + Back

(5:32)  1. A Foggy Day
(9:32)  2. All The Things You Are
(5:05)  3. I've Got You Under My Skin
(5:20)  4. When The Sun Comes Out
(6:33)  5. I Concentrate on You
(5:40)  6. Summertime
(4:48)  7. Let's Fall In Love
(8:25)  8. Everytime We say Goodbye
(6:11)  9. World On A String
(9:03) 10. Right As The Rain

Phil Woods, the great American saxophonist, has been featured in more diverse settings than almost anyone in the history of the music. His constant challenging of himself as a player, bandleader, and composer has been admirable since his debut set as a leader. While standards sets these days are not only a dime a dozen but mostly cop-outs from established artists and newcomers who either lost or never had the chops to execute them with any aesthetic imprint, let alone the one they deserve, septuagenarian Woods breathes life into ten of these tunes, and reinvents them both as harmonic structures and as tools for swing. With trumpeter Brian Lynch, pianist Bill Charlap (a fine leader in his own right), bassist Steve Gilmore, and Billy Goodwin on drums, Woods takes on "Foggy Day" as if it were a new tune. The same goes for the age-old jazz ballad of choice "All the Things You Are," on which Charlap sets the course for a wondrous take with the ensemble playing together as if they co-wrote the tune. 

Lynch's muted trumpet is a natural choice, but Charlap's extrapolation on the chord voicings and Woods playing the middle-low register of his horn and easing out with a sense of phrasing akin to Paul Desmond's. The front-line interplay on "I've Got You Under My Skin," is simply gorgeous, especially when Woods takes his second solo break and Lynch slips back in behind the beat. One can hear the entire history of the alto as a solo instrument in this tune. And if you are about to groan at seeing the nugget "Summertime" in this set, just take a listen to the Latin backbeat that this tune builds on, where blues, son and samba all meet, and Woods' clarinet playing when juxtaposed against Lynch's mute is simply out of this world. One wonders how anyone ever played it differently. The joint closes with "Right as the Rain," a near pastoral tune, except the shimmering horn interplay brings it right down into the blues again. The fills Charlap plays around the front line are simple, elegant, spare, and attention grabbing. This is one for the summer of 2006, and offers a fine view of what Woods and his crew are capable of when faced with the daunting task of reinventing standards. ~ Thom Jurek  http://www.allmusic.com/album/american-songbook-vol1-mw0000569521

Personnel: Phil Woods (clarinet, saxophone); Brian Lynch (trumpet); Bill Charlap (piano); Bill Goodwin (drums).

American Songbook

---

Pete Mcguiness - A Voice Like A Horn

Styles: Vocal And Trombone Jazz
Year: 2013
File: MP3@320K/s
Time: 45:51
Size: 105,2 MB
Art: Front

(5:57)  1. Yesterdays
(6:48)  2. Oh, You Crazy Moon
(6:49)  3. Never Let Me Go
(5:05)  4. 49Th Street
(5:45)  5. Birk's Works
(4:49)  6. Tea For Two
(4:20)  7. I've Grown Accustomed To Her Face
(6:14)  8. Who Cares?

"Did you hear the one about the singing trombonist?." It's not even a joke because there have been many a fine trombonist that also sing, to wit: beginning with the inestimable Jack Teagarden. Then there's Billy Eckstine, Wycliffe Gordon, Henry Darragh, Natalie Cressman, and one Pete McGuinness who releases his third recording as leader, Voice Like A Horn. It is McGuinness' vocal abilities that are showcased on this recording, where the singer is supported by a piano trio augmented with special guests. McGuinness is best known for his association with the Pete McGuinness Jazz Orchestra, whose First Flight (Summit, 2007) was roundly well received at All About Jazz. McGuinness has appeared as a sideman on some forty recordings and has sung with the likes of the Jimmy Heath Big Band and the Manhattan vocal project. Voice Like A Horn is made up of a single original and seven standards that showcase McGuinness' curious vocal cross of Chet Baker's vibrato-less delivery coupled with Kurt Elling's fearless attack on convention. 

All selections were given ample time for development, the lion's share being five minutes or longer. The disc opens with Jerome Kern's "Yesterdays." McGuinness opens fire with a machine-gun scat that could light a fire over a thundering piano support. A good start, to be sure. Both "Oh, You Crazy Moon," featuring the set's best ensemble arranging, and trumpeter Bill Mobley's "49th Street, which allows McGuinness to properly demonstrate his scat prowess, find the trombonist joined by the trumpeter and saxophonist Jon Gordon. Dizzy Gillespie's minor blues, "Birk's Works," join "49th Street" as a scat showcase, McGuinness' delivery is as smooth as a single malt, neat, recalling the vocal calisthenics of Lambert, Hendricks & Ross. Bassist Andy Eulau has his best solo, extended between the scat singing. McGuinness turns in a performance of "Tea For Two" that rivals that of Anita O'Day at Newport, 1958. His delivery is precise at speed and speed is the key operative. Voice Like A Horn has many charms and should appeal to a broad jazz listening public. McGuinness might prove to be the next thing in male jazz vocals, an area needing new and bolder talent. ~ C.Michael Bailey  http://www.allaboutjazz.com/voice-like-a-horn-pete-mcguinness-summit-records-review-by-c-michael-bailey.php#.U_4G6mMfLP8
 

Personnel: Pete McGuiness: vocals and trombone; Jon Gordon: alto saxophone, flute (2, 4); Bill Mobley: trumpet (2, 4); Ted Kooshian: piano; Andy Eulau: bass; Scott Newmann: drums.

A Voice Like A Horn

---

Count Basie - Atomic Mr. Basie Disc 1/ One More Time Disc 2

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 39:35 (Disc 1)
Size: 95,9 MB (Disc 1)
Time: 36:57 (Disc 2)
Size: 89,4 MB (Disc 2)
Art: Front + Back

Atomic Mr. Basie  Disc 1

(2:42)  1. Kid From Red Bank
(4:12)  2. Duet
(3:26)  3. After Supper
(3:24)  4. Flight Of The Foo Birds
(2:46)  5. Double-O
(3:19)  6. Teddy The Toad
(3:51)  7. Whirlybird
(4:28)  8. Midnite Blue
(3:36)  9. Splanky
(2:56) 10. Fantail
(4:50) 11. Lil' Darlin'

---

One More Time  Disc 2

(3:56)  1. For Lena And Lennie
(2:44)  2. Rat Race
(4:03)  3. Quince
(3:32)  4. Meet B.B.
(3:02)  5. The Big Walk
(2:22)  6. A Square At The Roundtable
(3:36)  7. I Needs To Be Bee'd With
(4:31)  8. Jessica's Day
(3:38)  9. The Midnite Sun Never Sets
(5:30) 10. Muttnik

Count Basie was among the most important bandleaders of the swing era. With the exception of a brief period in the early '50s, he led a big band from 1935 until his death almost 50 years later, and the band continued to perform after he died. Basie's orchestra was characterized by a light, swinging rhythm section that he led from the piano, lively ensemble work, and generous soloing. Basie was not a composer like Duke Ellington or an important soloist like Benny Goodman. His instrument was his band, which was considered the epitome of swing and became broadly influential on jazz.

Both of Basie's parents were musicians; his father, Harvie Basie, played the mellophone, and his mother, Lillian (Childs) Basie, was a pianist who gave her son his earliest lessons. Basie also learned from Harlem stride pianists, particularly Fats Waller. His first professional work came accompanying vaudeville performers, and he was part of a troupe that broke up in Kansas City in 1927, leaving him stranded there. He stayed in the Midwestern city, at first working in a silent movie house and then joining Walter Page's Blue Devils in July 1928. The band's vocalist was Jimmy Rushing. Basie left in early 1929 to play with other bands, eventually settling into one led by Bennie Moten. Upon Moten's untimely death on April 2, 1935, Basie worked as a soloist before leading a band initially called the Barons of Rhythm. Many former members of the Moten band joined this nine-piece outfit, among them Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), and Lester Young (tenor saxophone). Jimmy Rushing became the singer. The band gained a residency at the Reno Club in Kansas City and began broadcasting on the radio, an announcer dubbing the pianist "Count" Basie. ~ William Ruhlmann  Bio..More..http://www.allmusic.com/artist/count-basie-mn0000127044/biography

Atomic Mr. Basie  Disc 1

One More Time  Disc 2

---

Johnny Moore's Three Blazers - Be Cool Modern & Dolphin Sessions

Styles: Piano Blues, Jump Blues
Year: 1952
File: MP3@224K/s
Time: 72:59
Size: 118,2 MB
Art: Front

(2:38)  1. Dragnet Blues
(2:54)  2. Drifting Blues
(3:19)  3. Saturday Night
(2:58)  4. There Is No Greater Love
(2:51)  5. Johnny, Johnny
(3:43)  6. Johnny's After Hours
(2:19)  7. Down In Texas
(2:48)  8. My Last
(2:50)  9. Be Cool Aka Keep Cool
(2:54) 10. Lonesome Gal Blues
(3:19) 11. False Love
(3:04) 12. What Makes A Man Fool Around
(2:19) 13. Playing Numbers
(2:53) 14. Crazy With The Blues
(2:57) 15. Nightmare Blues
(3:22) 16. My Song
(2:43) 17. Gee, It's Rough
(3:19) 18. Lonesome Train
(3:25) 19. If You Don't Love Me
(2:56) 20. Blues In My Heart
(2:40) 21. Lonesome Stranger
(2:32) 22. Too Bad
(2:31) 23. Merry Christmas Baby
(2:42) 24. I Don't Know, Yes I Know
(2:54) 25. So Long

Johnny Moore's Three Blazers have a notable place in the history of early R&;B as the group with whom Charles Brown first rose to prominence. This odd compilation, however, gathers material from some years after Brown's departure for a solo career in the late 1940s (though he'd occasionally return to Moore's group in subsequent times). Moore ran through a lot of vocalists after Brown left (including Floyd Dixon), and this particular anthology focuses on 25 sides the group cut from 1952 through 1954 featuring either his girlfriend Mari Jones or Frankie Ervin as lead singer. It wasn't a period that found Johnny Moore's Three Blazers at either their commercial or artistic peak, and not only because Brown couldn't be replaced with a talent of equal skill. 

Jones and Ervin were only adequate, and the pop-jazz-R&B crossover music the group was playing which was something like a watered-down version of Nat King Cole's early style was itself passing out of style as tougher R&B, doo wop, and early rock & roll picked up steam. What's more, some of the tracks they laid down during this period were remakes of songs originally recorded in the '40s with Brown on lead. Consequently, this anthology is neither the group or the early-'50s smooth R&B genre itself at its best, though it does include one R&B hit (the 1953 cash-in "Dragnet Blues"), and benefits from Ace's usual scrupulously detailed liner notes and packaging. It's more for the small market of die-hard genre enthusiasts and Moore collectors, and includes nine previously unreleased cuts and alternate mixes. ~ Richie Unterberger  http://www.allmusic.com/album/be-cool-the-modern-and-dolphin-sessions-1952-1954-mw0000575694

Personnel: Nelson Alexander (vocals); Frankie Ervin, Mari Jones (vocals).

Johnny Moore's Three Blazers - Be Cool Modern & Dolphin Sessions

---