Steve Hobbs - On The Lower East Side

Bitrate: 320K/s
Time: 64:06
Size: 146.7 MB
Styles: Hard bop, Vibraphone jazz
Year: 1995
Art: Front

[7:38] 1. Amazing Grace
[5:21] 2. Around And Around
[7:26] 3. Sweet And Lovely
[5:53] 4. The Song Is You
[4:08] 5. Pedra Bonita
[7:23] 6. Thinking Of Chet
[3:52] 7. Au Privave
[5:09] 8. 18-35 (Together Again)
[5:12] 9. Pentachronic
[5:42] 10. But Beautiful
[6:17] 11. What Is This Thing Called Love

On the Lower East Side is an appropriate title for this hard bop date, which Steve Hobbs really did record on Manhattan's Lower East Side. It was in that part of New York that the vibist/marimba player formed a cohesive quartet with pianist Kenny Barron, bassist Peter Washington, and drummer Victor Lewis. Barron's solos alone make this CD worth the price of admission, but Hobbs is no slouch either. Although not as well known as he deserves to be, Hobbs is an expressive, swinging improviser with a recognizable sound. Though influences like Milt Jackson and Bobby Hutcherson serve him well, Hobbs is definitely his own person. This is apparent on inspired versions of overdone warhorses (including "What Is This Thing Called Love?" and "The Song Is You") as well as Hobbs originals that range from the Brazilian-flavored "Pedra Bonita" to the intriguing "Song for Chet" (which the jazzman wrote after learning about trumpeter Chet Baker's mysterious death in May 1988). One of the CD's most imaginative tracks is "Amazing Grace," which works quite well in a bop setting. On the Lower East Side isn't Hobbs' most essential release, but it's still an album that he can be proud of. ~Alex Henderson

On The Lower East Side

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Julie Kelly - Kelly Sings Christy (Thou Swell)

Bitrate: 320K/s
Time: 48:23
Size: 110.8 MB
Styles: Vocal jazz
Year: 2002
Art: Front

[3:46] 1. There's No You
[5:19] 2. Something Cool
[4:43] 3. It Might As Well Be Spring
[3:19] 4. Thou Swell
[4:59] 5. Lazy Afternoon
[2:45] 6. Gone For The Day
[5:16] 7. It's So Peaceful In The Country
[3:27] 8. It's A Most Unusual Day
[5:53] 9. Midnight Sun
[2:58] 10. The Best Thing For You
[5:53] 11. Lonely House

No discussion of '40s and '50s cool jazz would be complete without some mention of June Christy. Like Chris Connor and Julie London, the Misty Miss Christy (b. 1925, d. 1990) was a vocal equivalent of tenor saxophonist Stan Getz, alto saxophonist Lee Konitz, or trumpeter Miles Davis -- her singing was characterized by subtlety, restraint, and economy instead of aggression or forcefulness. Although Christy was the essence of cool jazz, one doesn't have to be a full-time member of the Cool School to acknowledge her greatness. Julie Kelly is far from a carbon copy of Christy, and that's the thing that makes this Christy tribute as interesting as it is -- on Kelly Sings Christy: Thou Swell, Kelly salutes the cool-toned goddess on her own terms. Recorded in 2001 (11 years after Christy's death), this excellent CD is devoted to songs that people associate with Christy -- gems that include Billy Barnes' "Something Cool" and Lionel Hampton's "Midnight Sun." To her credit, Kelly doesn't go out of her way to emulate Christy's versions. Her own personality never becomes obscured, and Kelly does some things that Christy wouldn't have done. An Afro-Cuban-flavored version of "It Might as Well Be Spring," for example, is more aggressive and hard-swinging than Christy would have been -- and Kelly's interpretations of "Thou Swell" and "Lazy Afternoon" have a tougher, harder edge than one would expect from Christy. So even though Christy is among Kelly's many influences, no one will accuse this CD of being a carbon copy of Christy's work. Jazz tribute albums can be incredibly predictable, cliché-ridden affairs, but that isn't a problem here. Letting her individuality shine through, Kelly isn't afraid to offer some surprises on this inspired tribute to the Misty Miss Christy. ~Alex Henderson

Kelly Sings Christy (Thou Swell)

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Cannonball Adderley - Bohemia After Dark

Bitrate: 320K/s
Time: 46:55
Size: 107.4 MB
Styles: Hard bop, Soul jazz
Year: 1960/2009
Art: Front

[6:03] 1. Bohemia After Dark
[4:19] 2. Chasm
[6:19] 3. Willow Weep For Me
[3:14] 4. Late Entry
[9:09] 5. Hear Me Talkin' To Ya
[5:40] 6. With Apologies To Oscar
[6:54] 7. We'll Be Together Again
[5:13] 8. Carribean Cutie (Alternate)

The June 26, 1955 session is most notable for being the recorded debut of the recently discovered altoist Cannonball Adderley and his brother, cornetist Nat (who is also featured on the lone number from July 26, a quartet version of "We'll Be Together Again"). Although drummer Kenny Clarke is the nominal leader and the other sidemen include trumpeter Donald Byrd, Jerome Richardson on tenor and flute, pianist Horace Silver and bassist Paul Chambers, the impressive performance by the young Adderleys makes this a historic session that has often been reissued under Cannonball's name. ~Scott Yanow

Alto Saxophone – Julian "Cannonball" Adderley; Bass – Paul Chambers; Cornet – Nat Adderley; Drums, Leader – Kenny Clarke; Piano – Hank Jones, Horace Silver; Tenor Saxophone, Flute – Jerome Richardson; Trumpet – Donald Byrd.

Bohemia After Dark

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Loston Harris - Comes Love

Styles: Vocal And Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 42:59
Size: 98,6 MB
Art: Front

(4:49)  1. Swinging At The Haven
(4:48)  2. Moonlight In Vermont
(3:15)  3. Close Your Eyes
(4:22)  4. Do Nothin' Till You Hear From Me
(4:00)  5. Stompin Down Broadway
(4:36)  6. Comes Love
(5:34)  7. There Goes My Heart
(6:50)  8. Easy Listening Blues
(4:42)  9. Shaw We Dance?

Loston Harris' debut makes it easy to compare him to early Harry Connick, Jr. Harris plays piano in a likable style that is swing-based but sometimes boppish; he takes four vocals that sound a bit like Connick, performs an Ellis Marsalis piece ("Swinging at the Haven") and even thanks Ellis and Wynton Marsalis and Marcus Roberts, among others, in the acknowledgements. Harris has stronger technique than Connick (his playing on "Easy Listening Blues" is a good example) and Oscar Peterson is one of his influences. His vocals are unassuming, straightforward and warm. Although no innovations are heard and Loston Harris is in the early stages of forming his own sound, overall this trio date (with bassist David Grossman, drummer Clarence Penn and, on three numbers, Mark Shim guesting on tenor) is an enjoyable set of swinging music. The highlights include "Moonlight in Vermont" (which has a groove reminiscent of the Ahmad Jamal Trio), "Do Nothin' Till You Hear from Me," "Comes Love" and "Easy Listening Blues." ~ Scott Yanow  http://www.allmusic.com/album/comes-love-mw0000034193

Personnel: Loston Harris (vocals, piano); Mark Shim (tenor saxophone); Clarence Penn (drums).

Comes Love

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Ralph Sutton, Jim Galloway, Don Vickery - Pocketful Of Dreams

Styles: Piano And Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 65:54
Size: 151,2 MB
Art: Front

(5:34)  1. Sleep
(7:50)  2. Farewell Blues
(7:33)  3. Sweet And Slow
(6:05)  4. Blue Skies
(4:54)  5. I've Got a Pocket Full of Dreams
(7:01)  6. You've Changed
(5:59)  7. Baby Won't You Please Come Home
(7:12)  8. Poor Butterfly
(6:49)  9. If Dreams Come True
(6:51) 10. She's Funny That Way

Ralph Sutton was the greatest stride pianist to emerge since World War II, with his only close competitors being the late Dick Wellstood and the very versatile Dick Hyman. Nearly alone in his generation, Sutton kept alive the piano styles of Fats Waller and James P. Johnson, not as mere museum pieces but as devices for exciting improvisations. Although sticking within the boundaries of his predecessors, Sutton infused the music with his own personality; few could match his powerful left hand. Ralph Sutton played with Jack Teagarden's big band briefly in 1942 before serving in the Army. After World War II he appeared regularly on Rudi Blesh's This Is Jazz radio show and spent eight years as the intermission pianist at Eddie Condon's club, recording frequently. He spent time playing in San Francisco, worked for Bob Scobey, moved to Aspen in the mid-'60s, and became an original member of the World's Greatest Jazz Band with Yank Lawson, Bob Haggart, and Bud Freeman. 

In the 1970s, he recorded many exciting albums for the Chaz label and then cut albums for quite a few labels. Despite suffering a stroke in the early '90s, Sutton kept a busy schedule through the mid-'90s, playing at jazz parties and festivals. He died suddenly on December 29, 2001, in his car outside a restaurant in Evergreen, CO. Although he would have received much greater fame if he had been born 20 years earlier and come to maturity during the 1930s rather than the 1950s, at the time of his death it was obvious that Ralph Sutton had earned his place among the top classic jazz pianists of all time. ~ Bio  https://itunes.apple.com/us/artist/ralph-sutton/id1579569#fullText

An excellent swing soprano player with a lighter tone than Sidney Bechet, Jim Galloway has made many recordings with like-minded veterans. He played locally in Scotland on clarinet and alto before emigrating to Canada in 1965. He soon began specializing on soprano, led the Metro Stompers (1968), put together the Wee Big Band (1978), and hosted the weekly jazz radio program Toronto Alive! (1981-1987). Galloway, who has appeared at many jazz festivals and jazz parties, has recorded for Sackville, Hep, and Music & Arts along with several smaller Canadian labels with such pianists as Dick Wellstood, Art Hodes, and most often with Jay McShann. ~ Bio  https://itunes.apple.com/ca/artist/jim-galloway/id110727063

Personnel: Ralph Sutton (piano); Jim Galloway (soprano saxophone); Don Vickery (drums).

Pocketful Of Dreams

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Hank Jones - I'm All Smiles

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 47:15
Size: 108,9 MB
Art: Front

(5:19)  1. Relaxin' At Camarillo
(7:37)  2. In A Sentimental Mood
(6:53)  3. Some Day My Prince Will Come
(4:29)  4. Afternoon In Paris
(6:17)  5. Au Privave
(5:03)  6. I'm All Smiles
(4:48)  7. Rockin In Rhythm
(6:46)  8. Con Alma

Although Tommy Flanagan tended to refer to two-piano dates as a gimmick, that's hardly the case during this superb 1983 concert in Germany with Hank Jones. The two pianists have the kind of feel for one another's playing that avoids the crash of egos and instead inspires the give and take necessary for each performance to reach its full potential. Immediately, the two veterans captivate their audience with a stunning aggressive improvisation upon Charlie Parker's "Relaxin' at Camarillo," then immediately quiet them with a soft, lyrical interpretation of the gorgeous ballad "In a Sentimental Mood." They're clearly having a lot of fun during their upbeat waltz through the popular ballad "Someday My Prince Will Come." The rest of the concert is every bit as fulfilling, with an inspired treatment of "Rockin' in Rhythm" getting the nod as the highlight of a memorable evening. ~ Ken Dryden  

http://www.allmusic.com/album/im-all-smiles-mw0000188033

Personnel:  Hank Jones – Piano; Tommy Flanagan – Piano.

I'm All Smiles

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