Saturday, November 1, 2014

Frank Morgan - Mood Indigo

Bitrate: 320K/s
Time: 53:42
Size: 123.0 MB
Styles: Bop, Saxophone jazz
Year: 1989
Art: Front

[1:30] 1. Lullaby
[6:35] 2. This Love Of Mine
[4:21] 3. In A Sentimental Mood
[9:00] 4. Bessie's Blues
[1:46] 5. A Moment Alone
[6:00] 6. Mood Indigo
[4:57] 7. Up Jumped Spring
[4:30] 8. Polka Dots And Moonbeams
[6:55] 9. We Three Blues
[5:53] 10. Round Midnight
[1:35] 11. Lullaby Ver 2
[0:35] 12. Gratitude

This ballad-oriented set features veteran altoist Frank Morgan on four duets with pianist George Cables, interacting with either Cables or Ronnie Mathews on piano, bassist Buster Williams and drummer Al Foster on the other selections, and welcoming trumpeter Wynton Marsalis to "Bessie's Blues" and "Up Jumped Spring." Every Morgan recording is well worth picking up (the altoist has been very consistent in the studio), but this one purposely has less mood variation than most and is often a bit melancholy. ~Scott Yanow

Mood Indigo

Kay Starr - Jazz Singer

Bitrate: 320K/s
Time: 31:42
Styles: Vocal
Year: 1960/2011
Art: Front

[2:42] 1. I Never Knew (I Could Love Anybody Like I'm Loving You)
[2:38] 2. My Man
[1:52] 3. Breezin' Along With The Breeze
[2:57] 4. All By Myself
[2:28] 5. Hard Hearted Hannah (The Vamp Of Savannah)
[1:56] 6. Me-Too (Ho-Ho! Ha-Ha!)
[2:47] 7. Happy Days And Lonely Nights
[3:10] 8. Not A Sweetheart
[2:54] 9. Hummin' To Myself
[2:41] 10. My Honey's Lovin' Arms
[2:45] 11. Sunday
[2:47] 12. I Would Do Anything For You

For this 1960 session, Kay Starr joined the Van Alexander & His Orchestra -- with whom she had worked on earlier recordings -- to produce an album of so-called "jazz singer songs." With her deep, husky saloon singer-type voice, Starr swings a set of 12 songs all arranged by Alexander in a variety of tempos. Helped along on such tracks as "I Never Knew" by a wailing, soulful electric organ and a singing ensemble, Starr applies her one-of-a-kind technique to these hardy standards. She brings to most of the tunes that "hillbilly"/blues inflection she developed very early in her career when she was singing on radio stations first in Dallas and then in Memphis. Her blues biases are prominent on such cuts as "My Man" and "All by Myself." Starr reminds the listener that she could swing with the best of them with up-beat romps of "Breezin' Along With the Breeze" and "Happy Days and Lonely Nights." Because of her pop hits, Starr has been underrated as a jazz singer. But with an album such as this, that underestimation is clearly undeserved and wrong, and this album helps document her place as a top-flight jazz vocalist. ~Dave Nathan

Jazz Singer

Manhattan Jazz Orchestra - Swing, Swing, Swing

Bitrate: 320K/s
Time: 53:00
Size: 121.3 MB
Styles: Swing, Big band
Year: 2006
Art: Front

[6:18] 1. Ironside
[7:24] 2. Swing, Swing, Swing
[6:37] 3. Jumpin' At The Woodside
[6:38] 4. Moonlight Serenade
[6:54] 5. Take The A Train
[6:51] 6. Ai No Corrida
[6:04] 7. Manteca
[6:11] 8. Stompin' At The Savoy

Manhattan Jazz Orchestra was created by pianist/arranger David Matthews and an accomplished Japanese producer Shigeyuki Kawashima (both GRAMMY winners) in 1989. It is one of the premier and most prolific big bands in the US, having released more than 13 CDs over the years.

For Swing, Swing, Swing, recorded in 2006, Matthews and his big band chose as materials tunes written by and associated with Quincy Jones ("Ironside," "Ai No Corrida") and Glenn Miller ("Moonlight Serenade") for the first time. They also pay tribute to the great big bands led by Count Basie, Duke Ellington, Dizzy Gillispie and Benny Goodman. The title tune is Matthews' original that takes a nostalgic look back at the big band era. The all-star band, including star players Lew Soloff, Ryan Kisor, Randy Brecker, Jim Pugh and Chris Hunter, plays Matthews' intricate scores with technical perfection and provide inspired solos. Recommended for fans of the contemporary big band sound!

Produced by Shigeyuki Kawashima and David Matthews. Recorded February 2004, New York. Lew Soloff (trumpet); Ryan Kisor (trumpet); Walter White (trumpet; )Scott Wendholt (trumpet); Randy Brecker (trumpet); Jim Pugh (trombone); John Fedchock (trombone); Larry Farrell (trombone); David Taylor (bass trombone); Fred Griffen (French horn); John Clark (French horn); Tony Price (tuba); Chris Hunter (alto sax,flute); Aaron Heick (soprano sax,tenor sax); Scott Robinson (baritone sax,bass clarinet); Chip Jackson (bass); Terry Silverlight (drums); David Matthews (arranger,conductor,piano).

Swing, Swing, Swing

Melvin Rhyne - Kojo

Styles: Straight-ahead/Mainstream
Year: 1998
File: MP3@320K/s
Time: 60:57
Size: 139,8 MB
Art: Front

(4:27)  1. Blue Gold
(5:33)  2. Blues For Mike And Teju
(6:16)  3. End Of A Love Affair
(6:42)  4. I Wish I Knew
(5:35)  5. Blue 'n' Boogie
(8:36)  6. Loose Change
(6:43)  7. In A Sentimental Mood
(7:43)  8. Time For Love
(9:17)  9. Dorothy

Taking advantage of the cyclical nature of fads and stylistic "ins" and "outs", Melvin Rhyne is lucky to be part of the current renaissance movement involving the classic sound of the Hammond B-3 organ and the type of funky fare that was prosperous and bountiful during the ‘60s. Of course, Rhyne was around during the heydays as a member of Wes Montgomery’s touring trio. Now this Milwaukee resident has caught the other side of the upswing with a renewed interest in his particular brand of jazz organ. Added now to four previous Criss Cross dates as a leader, two as a co-leader with the Tenor Triangle and several sideman appearances for the small Dutch independent, Kojo is Rhyne’s latest offering and it serves us a savory and filling plate of grooves that are sure to please. Over the course of his many Criss Cross dates Rhyne has developed quite a simpatico relationship with guitarist Peter Bernstein and drummer Kenny Washington. 

The three function like an integrated machine, anticipating and feeding lines off of each other with the refinement of well-trained athletes. Rhyne's own style is really something out of the ordinary in that he seems to have eschewed the histrionic displays often associated with the organ and with followers of Jimmy Smith. He also has a knack for writing great hooks that stick in your mind long after the song has ceased. Just sample "Loose Change", which sports a catchy descending triplet melody over a heavy Latin groove that then gives way to a double-timed samba for the bridge. More involved than your typical organ grinder fare, but still down to earth enough to connect with the listener, Rhyne and company deliver an agreeable mix of originals and standards that nicely flow from one to the next. As for Melvin's buddies here, much has already been written regarding Peter Bernstein's lissome guitar work. His Grant Green-inspired tone fits so well with the organ trio format (just sample him with Lonnie Smith and Larry Goldings for further proof) and his lines are so sensible and tuneful that one can't help but savor every note. 

Drummer Kenny Washington, in addition to being a sagacious jazz historian and radio dee-jay, is simply one of the best drummers of his generation, with a characteristic sound and encouraging swing that can lift even the dullest session out of monotony. Taken as a threesome, Rhyne, Bernstein, and Washington can seemingly do no wrong and have come up with another winner. Thanks, guys, and keep 'em comin'! ~ C.Andrew Hovan  http://www.allaboutjazz.com/kojo-melvin-rhyne-criss-cross-review-by-c-andrew-hovan.php#.VFF3sclZi5h
Personnel: Melvin Rhyne- organ, Peter Bernstein- guitar, Kenny Washington- drums, Daniel G. Sadownick- percussion (tracks 6 & 9 only)

Kojo

Nicki Parrott - Sakura Sakura

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 65:09
Size: 150,3 MB
Art: Front

(4:18)  1. April In Paris
(4:55)  2. April Showers
(3:34)  3. Cherry Pink And Apple Blossam White
(5:39)  4. It Might As Well Be Spring
(3:24)  5. Sakura Sakura
(5:08)  6. Some Other Spring
(4:52)  7. I Love Paris
(4:53)  8. Spring Can Really Hang You Up The Most
(3:35)  9. Spring Is Here
(3:46) 10. Suddenly It's Spring
(5:24) 11. There'll Be Another Spring
(5:09) 12. They Say It's Spring
(5:53) 13. You Must Believe In Spring
(4:33) 14. I'll Remember April

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award.”  Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd. Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001). 

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It. In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention. In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. 

They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”. Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q. Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro. 

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble. Bio ~ http://musicians.allaboutjazz.com/nickiparrott

Melissa Aldana & Crash Trio - Melissa Aldana & Crash Trio

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 52:38
Size: 120,7 MB
Art: Front

(4:58)  1. M&M
(5:45)  2. Turning
(5:34)  3. You’re My Everything
(5:09)  4. Bring Him Home
(6:08)  5. Tirapie
(5:49)  6. Peace, Love & Music
(4:19)  7. Perdon
(6:39)  8. New Points
(3:57)  9. Dear Joe
(4:15) 10. Ask Me Now

Chilean tenor saxophonist and composer Melissa Aldana was the first female to win the Thelonious Music International Institute's competition for saxophone. Though her two previous recordings were noteworthy as showcases for her soloing and compositions, it is with Crash Trio Chilean bassist Pablo Menares and Cuban drummer Francisco Mela (both are also composers) that she shines brightest. Save for readings of Harry Warren's "You're My Everything" and a tenor solo on Monk's "Ask Me Now," the entire program was written by the trio's various members. Aldana possesses a big, earthy, edgy tone deeply influenced by Sonny Rollins, but her phrasing is her own. While swinging post-bop is predominant, forward-thinking harmonic ideas informed by composers/musicians Kurt Rosenwinkel and Mark Turner add balance to the attack.

Aldana's "M&M" features a stellar walking bassline from Menares and a tight, hard-grooving head from the saxophonist. She explores its various individual elements, recombining them and moving them afield in her solo. The long, folk-like bass solo intro to Menares' "Tirapie" is gorgeous and gives way to a minor-key, midtempo, Latin-tinged ballad that showcases the canny interplay of the rhythm section. Aldana's solo is nearly song-like. Mela's "Dear Joe" kicks off with a bright, Caribbean rhythmic signature, and Menares and Aldana paint a knotty, joyous carnivalesque melody. The taut arpeggios in the saxophonist's solo take place in all three registers with soulful verve as Mela's accents, fills, and rimshot rolls alongside his cruising ride cymbal create an infectious, nearly danceable groove. Aldana's "New Points" is breezily and gently informed by Brazilian samba. 

On the Monk tune, she displays tremendous control and an avid imagination that keeps the composer's melody firmly at the root of her investigation. Melissa Aldana & Crash Trio is fresh, sophisticated, invigorating modern jazz that deserves notice for its fine tunes and seamless execution. ~ Thom Jurek  http://www.allmusic.com/album/melissa-aldana-crash-trio-mw0002637150 

Lucky Thompson & Tete Montoliu - Soul's Nite Out

Styles: Piano And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 42:08
Size: 96,8 MB
Art: Front

(3:56)  1. When Sunny Is Blue
(4:19)  2. Body And Soul
(3:48)  3. Spanyola
(5:26)  4. I Got It Bad
(3:04)  5. Soul Carnival
(3:56)  6. Blues 'N' Boogie
(4:46)  7. Spanish Rails
(5:17)  8. What's New
(3:31)  9. Soul's Nite Out
(4:00) 10. The World Awakes

Recorded in Barcelona on May 1 and 2, 1970 and released shortly thereafter on the Spanish Ensayo label, Soul's Nite Out was reissued in 1978 by Chuck Nessa as Body and Soul, reappeared under its original title on a second Ensayo LP in 1993, and was finally released on CD by Ensayo in 2000. On this mainstream hard bop session, Lucky Thompson blew both soprano and tenor saxophones with sympathetic support from pianist Tete Montoliu, bassist Eric Peter, and drummer Peer Wyboris.

In addition to five Thompson compositions the quartet handled ballads and standards including Duke Ellington's "I Got It Bad and That Ain't Good" and Dizzy Gillespie's "Blue 'n' Boogie" (mistitled "Blues 'n' Boogie"). Like Gene Ammons, Charlie Ventura, and Jack McVea, Lucky Thompson was always "straight-ahead accessible". This album represents only a fraction of the excellent music he recorded in collaboration with Tete Montoliu. ~ arwulf arwufl  http://www.allmusic.com/album/souls-nite-out-mw0001487598

Personnel:  Eric Peter - Bass; Peer Wyboris - Drums; Tete Montoliu - Piano; Lucky Thompson - Soprano Saxophone, Tenor Saxophone

Soul's Nite Out