Saturday, September 20, 2014

Danny Caron - Good Hands

Bitrate: 320K/s
Time: 55:43
Size: 127.6 MB
Styles: Jazz-blues guitar
Year: 2003
Art: Front

[4:22] 1. Shaggin'
[7:04] 2. In A Sentimental Mood
[5:09] 3. The Promise
[7:12] 4. Shine On
[5:00] 5. I Wonder Where Our Love Has Gone
[2:48] 6. The Guitar Speaks
[3:11] 7. Gate Walks The Board
[6:17] 8. A Rainy Night In Georgia
[4:28] 9. Hey Jimmy
[5:26] 10. Soul Street
[4:41] 11. With The Wind And The Rain In Your Hair

Danny Caron is a soulful and passionate guitarist who has played with some of the best musicians in America. His just released CD entitled "Good Hands" features some of the most soulful musicians in the San Francisco Bay Area including Jim Pugh from the Robert Cray Band on Hammond organ, Ron E. Beck from Tower of Power on drums, and two exquisite previously unreleased Charles Brown trio cuts with the legendary Charles Brown singing and playing piano, and Ruth Davies on bass.In addition you'll find some beautiful acoustic jazz cuts with John Wiitala (bass), Deszon Claiborne (drums), and John R Burr (piano) A couple of those are augmented by a burning horn section, with a few searing sax solos from Jeff Ervin and Charles McNeal. "The tunes on this record are really homages to some of my favorite guitarists", says Caron. "Grant Green, Billy Butler, Johnny and Oscar Moore, Gatemouth Brown, T Bone Walker, and BB King - just to name a few of the obvious ones...I'm not trying to play like them-I never could-I'm just trying to thank them!" Originally out of Silver Spring, Maryland, Danny moved to Austin, Texas and cut his teeth on the Crawfish circuit playing with singer-pianist Marcia Ball. He then worked with Zydeco king Clifton Chenier and his Red Hot Louisiana Band with whom he recorded the Grammy Award winning Album I'm Here in 1980. Relocating to the San Francisco Bay Area in 1981 he continued to freelance and eventually teamed up with the legendary singer and pianist Charles Brown. Danny served as guitarist and musical director for Charles Brown from 1987 until Brown's death in 1999. He has played on numerous CD's and sessions with Charles Brown, Clifton Chenier, Bonnie Raitt, John Lee Hooker, Van Morrison, Ruth Brown, Etta Jones, John Clayton, Teddy Edwards, Gerald Wilson, Donald Fagen, Dr. John, Little Milton Campbell, John Hammond Jr. and many others. *Danny is the featured guitarist on the Van Morrison produced John Lee Hooker album, "Don't Look Back" which won two Grammy Awards - one for Best Traditional Blues Recording, and the other for Best Collaboration, Van Morrison and John Lee Hooker. He keeps up a busy schedule touring and performing most recently with Robben Ford, Barbara Morrison, Maria Muldaur and others. He continues working with Just Say Jazz, a group of Bay Area musicians dedicated to preserving and promoting jazz and blues awareness in primary schools. He is presently teaching courses at The Jazzschool in Berkeley California.

Good Hands

James Taylor Quartet - James Taylor Quartet Plays Motown: Don't Mess With Mr. T

Bitrate: 320K/s
Time: 44:52
Size: 102.7 MB
Styles: R&B, Funk
Year: 2009
Art: Front

[4:06] 1. Money That's What I Want
[3:18] 2. Got To Give It Up
[3:19] 3. Signed Sealed Delivered (I'm Yours)
[5:12] 4. Function At The Junction
[4:07] 5. After The Dance
[3:20] 6. Jimmy Mack
[3:15] 7. Machine Gun
[2:49] 8. Come See About Me
[3:08] 9. Cleo's Mood
[3:12] 10. You Beat Me To The Punch
[4:14] 11. You're All I Need To Get By
[4:47] 12. Don't Mess With Mr T

James Taylor's vintage Hammond-led outfit has consistently delighted lovers of jazz, funk and R&B in equal measure over the last twenty years. The group is most famous for its signature tune, the "Theme From Starsky and Hutch, but this album shows greater variety than the standard jam workout. Don't Mess With Mr. T: James Taylor Quartet Plays Motown is a series of 12 cover tracks from Marvin Gaye to Stevie Wonder.

The quartet itself, which comprises Taylor (Hammond organ), Nigel Price (guitar), Andy McKinney (bass) and Adam Betts (drums), is augmented for this record by four more musicians: a full horn section and an extra percussionist. As well as the expected fiery instrumentals, the band is joined by leading soul vocalists Omar, Hil St Soul and Donna Gardier who each add their own notable contributions to the proceedings. ~Frederick Bernas

Bass – Andrew McKinney; Drums – Adam Betts; Guitar – Nigel Price; Organ [Hammond] – James Taylor; Percussion – Oreste-Noda Fernandez; Saxophone – Jamie Anderson; Trombone – Dave Williamson;Trumpet – Nick Smart; Vocals – Donna Gardier (tracks: 3, 6, 8, 10), Joy Rose (tracks: 3, 6, 8, 10), Tyrone Henry (tracks: 3, 5, 12)

James Taylor Quartet Plays Motown: Don't Mess With Mr. T

Billie Poole - Sermonette

Bitrate: 320K/s
Time: 29:37
Size: 67.8 MB
Styles: Blues Soul Jazz vocals
Year: 1961/2013
Art: Front

[2:20] 1. This Can't Be Love
[2:16] 2. Sermonette
[2:16] 3. When You're Smilin'
[2:46] 4. Time After Time
[3:17] 5. Drown In My Own Tears
[1:48] 6. I Could Have Danced All Night
[2:25] 7. Lazy Afternoon
[2:19] 8. Sometimes I'm Happy
[2:24] 9. Rocks In My Bed
[2:37] 10. Young Woman's Blues
[2:31] 11. He's My Guy
[2:31] 12. A Sunday Kind Of Love

Billie Poole was a young Californian blues singer with a style derivative of Bessie Smith who first made her name in Paris. In 1962 she was offered a recording contract back in the USA. On Sermonette she is backed by an orchestra and extends her range beyond the blues idiom to include standards and romantic ballads.

Sermonette

Oksana Ferenchuk - Little Bird

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 53:08
Size: 122,0 MB
Art: Front

(5:37)  1. Lover Man (feat. Jim Ridl, Steve Varner & Vince Ector)
(4:16)  2. Social Call (feat. Jim Ridl, Steve Varner & Vince Ector)
(5:58)  3. Never Said (Chan's Song) [feat. Jim Ridl]
(7:05)  4. How Long Has This Been Gonig On (feat. Freddie Bryant)
(7:11)  5. Polkadots and Moonbeams
(6:40)  6. The Peacocks (feat. Freddie Bryant)
(5:08)  7. Little Bird (feat. Freddie Bryant)
(5:25)  8. Tenderly
(5:45)  9. A Felicidade

Young and talented jazz singer and musician, that recently recorded her first album in NYC. Original arrangements on the favorite jazz standards and one beautiful original song Little Bird.This album is a little story of mine. The story that have brought me to the jazz world. I've met an incredible person, amazing musician that became my teacher and producer of this CD. JD Walter. All the songs I have chosen are the reflection of my environment, my music thoughts, and persons that I've met through recent years who influenced on me. And the main person who has inspired me to improvise every minute and every single day - is my daughter Michelle. My Little Bird. http://www.cdbaby.com/cd/oksanaferenchuk

The Harry Allen & Joe Cohn Quartet - Stompin' The Blues

Styles: Guitar And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 65:17
Size: 150,0 MB
Art: Front

(7:33)  1. You're Driving Me Crazy
(7:17)  2. I'll Get By
(5:10)  3. Stompin' the Blues
(5:01)  4. My Old Flame
(4:52)  5. Don't Want to Have To
(5:21)  6. But I Will
(9:20)  7. I Only Have Eyes for You
(8:18)  8. (I Would Do) Anything for You
(6:28)  9. Medley It Might As Well Be Spring, Spring Is Here
(5:54) 10. So There

Despite his still young age, tenor saxophonist Harry Allen has released nearly 40 CDs. Even more impressive is that he plays mostly standards, and while that well is deep, there's no easy chore in making American popular songs fresh and vibrant within the mainstream. Allen accomplishes this by changing up his bands, working hard on his personalized post-Stan Getz voicings, and occasionally inviting veteran hero/musicians to his recording sessions. In this case, fellow tenor man Scott Hamilton joins the band Allen co-leads with the excellent primarily rhythm guitarist Joe Cohn, and there's a story behind the recording date. Hamilton, living in London, England, flew to the U.S. shortly after the terrorist threat there in February of 2007 and was forced to check his saxophone instead of carrying it with him on the flight, and it was badly damaged in transit. But somehow Hamilton was able to piece the hurt horn together, and he sounds as good on it as he ever has. Trombonist John Allred is another modern miracle on this effort, as his playing in accord with, opposite to, and in conversational mode with Allen is sheer genius. 

Why is Allred not hailed as one of the top five jazz trombonists going today? Some good swingin' music is created as Allen and Allred trade alternating choruses for the obscure "I'll Get By" and go back and forth in chat-chat mode during "I Only Have Eyes for You," while each adopts solo lines on the medley melodies of "It Might as Well Be Spring" (Allred) and "Spring Is Here" (Allen). Of the three selections with the twin tenors plus 'bone, "You're Driving Me Crazy" is as interactive as any Dixieland tune, the deep saxes take eight-bar turns for "My Old Flame," and all three horns hit a singsong groove as the cool bass of Joel Forbes and Cohn's guitar prep "(I Would Do) Anything for You." Of the originals penned by Allen, "Don't Want to Have To" evokes a Gerry Mulligan or Dave Brubeck/Paul Desmond classical jazz stance moving forward, wryly followed by the just fine swing of "But I Will." The title track is a basic romping, bopping 12-bar blues, while the end game piece, "So There," has Allen and his band syncopatin' as hard as he ever has. This is yet another complete, effervescent, solid session for Allen. It's also a treat to read the liner notes by Herb Wong. Any jazz fan can receive special insight reading what Dr. Wong has to say. ~ Michael G.Nastos  http://www.allmusic.com/album/stompin-the-blues-mw0000786043

Personnel : Joe Cohn (guitar); Harry Allen, Scott Hamilton (tenor saxophone); John Allred (trombone); Joel Forbes (bass instrument); Chuck Riggs (drums).

Echoes Of Swing - Message From Mars

Styles: Swing
Year: 2010
File: MP3@320K/s
Time: 57:41
Size: 132,4 MB
Art: Front

(3:32)  1. Shake It and Break It
(3:08)  2. Liebesleid
(3:56)  3. Twiligthnin' Hopkins
(3:30)  4. Don't Save Your Love For A Rainy Day
(2:54)  5. Odeon
(2:46)  6. Bughouse
(3:48)  7. Spring Is Here
(3:34)  8. Gavotte
(3:17)  9. Message From Mars
(4:05) 10. The Ghost Of Marsden Grotto
(4:33) 11. Don't Explain
(2:42) 12. Butterfly Chase
(5:19) 13. Goon Drag
(3:03) 14. Delirium
(3:54) 15. His Honour And The Vermin
(3:33) 16. Moonlight Fiesta

Free from any museum nostalgia, the four musicians take their inspiration from the gigantic treasury of swinging jazz, from Bix to Bop, from Getz to Gershwin, while constantly searching for the hidden, the unexpected, the exquisite. The Great American Song book and the immeasurable recordings of great Jazz pioneers form the humus for the creativity of the combo, with astonishing arrangements, virtuoso solos and expressive compositions of their own. Two horns, drums and piano. This unique, compact formation permits the greatest in harmony and flexibility and allows freedom for an agile, exact ensemble.  The group thrives on a mixture of clever arrangements and interaction of improvised dialogue, performing for, and with one another. 

The contemporary interpretation of an enormously varied repertoire and not last the humorous moderation and spontaneous stage presence, has helped gain ECHOES OF SWING great popularity and made the ensemble a much renowned and celebrated attraction on the international jazz scene. Sixteen years of touring have led the ECHOES all across Europe and the USA, to Japan, New Zealand and even the Fiji Islands. The exceedingly diverse musical development of the band is in the meantime impressively documented on five CDs.  The last ECHOES OF SWING album ‘Message from Mars’ received the ‘Prix de l’Académie du Jazz’ in Paris, and in Germany was awarded the ‘German Record Critics' Award’. Bio ~ https://www.actmusic.com/en/Artists/Echoes-Of-Swing/Biografie

Personnel: Colin T. Dawson - trumpet & voc, Chris Hopkins - alto sax, Bernd Lhotzky - piano, Oliver Mewes - drums

Steve Kuhn - Live At Birdland

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 67:33
Size: 156,0 MB
Art: Front

( 9:31)  1. If I Were A Bell
(10:47)  2. Jitterbug Waltz
( 6:13)  3. Two By Two
( 7:03)  4. La Plus Que Lente/Passion Flower
( 7:16)  5. Little Waltz
( 6:12)  6. Lotus Blossom
( 7:16)  7. Slow Hot Wind
( 6:16)  8. Clotilde
( 6:54)  9. Confirmation

You have to crank the volume hard to hear Bill Evans' whisper-soft intro to Miles' "So What" on Kind of Blue (Columbia, 1959). When you hear it, though, you know something special this way comes. Steve Kuhn comes from the same school of subtlety as Evans, and Kuhn's one-finger opening to his trio's Blue Note debut, Live at Birdland, achieves the same effect as Evans' hushed chords: a simple beginning to a tremendous set.This disc would have been special, in any case. Aside from their respective resumes, the trio pianist Kuhn, bassist Ron Carter and drummer Al Foster did a legendary one-week stand two decades ago at the Village Vanguard that produced two stunning live albums: The Vanguard Date (Owl, 1986) and Life's Magic (Blackhawk, 1986). Material from both records has been re-imagined for Live at Birdland, and the result is both fresh and exciting. Kuhn plays four single notes, like a faraway church clock, on the opener, "If I Were A Bell." He takes the head while Carter goes off on his own, each monologue moving toward the same intersection. 

By the time they link, the tune is in high gear, and Kuhn's solo has gone from spare to soaring. It's like easing off the parking brake at the top of a steep, steep hill. One moment you're barely creeping forward; the next, you're flying almost straight down, and loving every second of the freefall. (If this ride isn't enough for you, you get one more trip on the breakneck Bird closer, "Confirmation.") Live at Birdland dances as much as it dives. "If I Were A Bell" gives way to Fats Waller's "Jitterbug Waltz," mixing classical-music reverence with bursts of humor typical of the wild-eyed NOLA legend who told us all, "One never knows, do one?" Foster gets us all dirty (salsa) dancing with his Latin backbeat on Billy Strayhorn's "Passion Flower," and "Stella by Starlight" hangs in the air like a leaf on the wind, darting to and fro on Kuhn's buoyant playing. By contrast, Carter's "Little Waltz" is stark and mournful, with Carter referencing Michel LeGrand's theme from Summer of '42, another tale of love and innocence lost. Kuhn, like Evans, does so much with so little. 

He is a remarkable two-handed pianist, launching dueling solos throughout the disc, but he's at his best when he gets sparse, as he does on the solo snippet of Debussy's "La Plus Que Lente" which he uses to preface "Passion Flower." Carter should play in trios the rest of his life, because the format is optimal for the stained-glass beauty of his playing. Rock-solid one moment, butter-soft the next, Carter's bass is still the best, bar none. Campaigns start way too early nowadays. But like the presidential race, the competition for best disc of 2007 has begun, and Live at Birdland is the frontrunner. Let the debates begin! ~ J Hunter  http://www.allaboutjazz.com/live-at-birdland-steve-kuhn-blue-note-records-review-by-j-hunter.php#.VBcoQhawTP8
 
Personnel: Steve Kuhn: piano; Ron Carter: bass; Al Foster: drums.