Freddie Cole - Waiter, Ask The Man To Play The Blues

Bitrate: 320K/s

Time: 32:04

Size: 73.4 MB

Styles: Blues-jazz vocals

Year: 1964/2004

Art: Front

[2:18] 1. Waiter, Ask The Man To Play The Blues

[2:35] 2. Black Night

[2:34] 3. Rain Is Such A Lonesome Sound

[2:38] 4. Bye Bye Baby

[3:24] 5. Just A Dream

[2:16] 6. Muddy Water Blues

[2:39] 7. Black Coffee

[2:28] 8. The Joke Is On Me

[2:44] 9. I Wonder

[2:21] 10. This Life I'm Living

[3:41] 11. Blues Before Sunrise

[2:21] 12. I'm All Alone

Originally released either in 1956, according to Freddy Cole's official website, or 1964, per the reissue's information, Waiter Ask The Man to Play the Blues: Freddie Cole Sings & Plays Some Lonely Ballads isn't as the title might tempt one to think an exercise in despondent blues and wrist slashing. Actually, it has plenty of tight, low, sizzling bluesy swing.

Cab Calloway alumni Milt Hinton and Sam "The Man Taylor (the latter being the instrumental star of the session) are the most notable musicians in the quintet. Cole sings and plays the piano in fine form, Osie Johnson offers smartly played drumming, and Barry Galbraith and Wally Richardson split the guitar duties. The New York recording is a product of its time, with assured long-lasting worth nonetheless. All of the cuts are short and to the point. They do, however, generate interest and radiate musicality.

"Muddy Water Blues is a cool, yet engaging percussive piece with a characteristic blues march. Taylor seems eager to jump in until he does exactly that about halfway through with energetic aplomb and swing. This one is a jumping jive that would make an audience clap with abandon.

On "I Wonder, Cole sweetens the pot with his tasteful piano playing on a mellow blues, Hinton lays back ever so strong, Taylor seduces with his classic jazzy saxophone tone, and Johnson eats this romantic cooker up. "Black Night and "Rain is Such A Lonesome Sound are similar in scope, extension, and sonic character. On both of these numbers, particularly the second, you'll find yourself marking time with your feet or snapping your fingers to the steady beat.

This release is a superb example of urban settled and cosmopolitan blues arousing affection through sheer straightforwardness even when as expected of the blues many of the lyrics are thematically inclined to the loneliest travails of love and life. ~Javier AQ Ortiz

Bass: Milt Hinton. Drums: Osie Johnson. Guitar: Barry Galbraith & Wally Richardson. Piano & vocal: Freddy Cole. Tenor sax: Sam "The Man" Taylor.

Waiter, Ask The Man To Play The Blues

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Carte Blanche - S/T

Bitrate: 320K/s
Time: 52:01
Size: 119.1 MB
Styles: Standards, Jazz/pop
Year: 2012
Art: Front

[3:18] 1. After You've Gone
[3:22] 2. Loca
[3:37] 3. Raphael
[3:39] 4. Corcovado
[3:29] 5. Milord
[4:25] 6. Chan Chan
[7:09] 7. God Bless The Child
[3:19] 8. Cucurrucucu
[2:40] 9. Cette Nuit La
[4:26] 10. As Time Goes By
[2:55] 11. Quizas, Quizas, Quizas
[2:27] 12. On A Slow Boat To China
[4:09] 13. Preciso Me Encontrar
[2:58] 14. Padam Padam

NYC based 6-piece jazz ensemble Carte Blanche breathes new life into jazz classics from around the world. Effortlessly transitioning from 20’s and 30’s American jazz standards to 40’s Parisian swing, bossa nova, cumbia, Russian, Yiddish, and Italian selections, the band’s dynamic and engaging act is a time capsule filled with vintage international musical gems- many of them rarely heard live. The group also incorporates original compositions, offering a modern twist on the tried and true styles of the 20’s 30’s and 40’s. The band features Spanish born, Mexican/American raised vocalist Cristina Kaminis whose unusual and sultry vocal quality captures the essence of the era, and enchants audiences with her impressive knack for languages and musical styles; easily flowing from Edith Piaf to Buena Vista Social Club renditions. The ensemble’s versatile instrumentation featuring accordion and violin has a rich and captivating sound that is powered by a tight rhythm section. With their stunning white vintage accoutrements, they have developed a large group of devoted fans around the globe who love them as much for their look as for their commitment to preserving the music of a by-gone era.

Carte Blanche

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Bob Wilber - Bean: Bob Wilber's Tribute To Coleman Hawkins

Bitrate: 320K/s
Time: 59:57
Size: 137.2 MB
Styles: Mainstream jazz
Year: 2006
Art: Front

[4:21] 1. The Man I Love
[3:03] 2. Netcha's Dream
[4:03] 3. Crazy Rhythm
[2:45] 4. Buh-De-Daht
[4:28] 5. Low Flame
[3:24] 6. Avalon
[2:56] 7. Stuffy
[3:10] 8. Romanza
[3:35] 9. Spotlite
[2:35] 10. Just A Gigolo
[4:02] 11. Tenderly
[3:09] 12. Pick-Up Boys
[4:34] 13. Bean N' Soul
[2:52] 14. Stumpy
[3:23] 15. When Day Is Done
[3:14] 16. Feedin' The Bean
[4:16] 17. Flight Of The Hawk

Bob Wilber, Harry Allen, Antti Sarpila, Tommy Whittle, tenor saxophones ; Mick Pyne, piano ; Dave Cliff, guitar ; Dave Green, bass ; Clark Tracey, drums.

Throughout his long career, Bob Wilber has done a lot to keep classic jazz alive. A bit misplaced (most jazz players of his generation were much more interested in bop and hard bop), Wilber (along with Kenny Davern, Ralph Sutton, and Dick Wellstood) was one of the few in his age group to stick to pre-bop music. In high school he formed a band that included Wellstood, and as a teenager he sat in at Jimmy Ryan's club in New York. Early on he became Sidney Bechet's protégé and led his own young group, the Wildcats (with whom he made his recording debut). The close association with the dominant Bechet led to a bit of a personality crisis in the 1950s as Wilber sought to find his own voice. He studied with Lennie Tristano and formed the Six, a group that tried to modernize early jazz. When that ended, he played Dixieland with Eddie Condon, and in 1957 joined Bobby Hackett's band for a year. Wilber freelanced throughout the 1960s, in 1968 became a founding member of the World's Greatest Jazz Band, and in 1973 he formed Soprano Summit with Kenny Davern, one of the top swing-oriented groups of the decade. A few years later the band broke up and Wilber teamed up with his wife, singer Pug Horton, in Bechet Legacy (which also featured either Glenn Zottola or Randy Sandke on trumpet).

In addition, Bob Wilber has worked with the New York Jazz Repertory Company, released music on his own Bodeswell label, wrote the authentic soundtrack to the movie The Cotton Club (1984), in 1988 led a band at Carnegie Hall to celebrate the 50th anniversary of Benny Goodman's famous concert, and authored his frank memoirs, Music Was Not Enough. Influenced on soprano, clarinet, and alto by respectively Bechet, Goodman, and Johnny Hodges, Wilber has long had his own sound on each of his instruments. He recorded frequently through the years for many labels, including Arbors in the '90s and 2000s. ~ bio by Scott Yanow

Bean: Bob Wilber's Tribute To Coleman Hawkins

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Richie Beirach & Laurie Antonioli - The Duo Session

Styles: Vocal And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 52:42
Size: 120,9 MB
Art: Front

(6:08)  1. Flamenco Sketches
(4:39)  2. You And The Night And The Music
(6:22)  3. Blue in Green
(4:48)  4. Green Dolphin Street
(4:37)  5. New Souls
(3:59)  6. The Island
(5:02)  7. Moonlake (Nightlake)
(4:36)  8. You Don't Know What Love Is
(5:01)  9. Sounds From Your Heart (Elm)
(7:25) 10. Memories, Dreams & Reflections

Recorded in 1992 in San Francisco, this session of piano/vocal duets features a silky-smooth singer in performance with an expressive pianist. Their warm, endearing approach brings you into their circle with open arms and a heartfelt embrace. Together, the two artists interpret moody standards, hip reflections, and searing originals with candor. Laurie Antonioli's clear alto voice and extensive vocal range allow her to express ideas and emotions freely and accurately. What she's thinking is what comes out naturally. Partnering with Beirach, she's confident and convincing. Richie Beirach's consonant harmonies and lush undercurrents provide a kind of acoustic depth that fills the room. His shadows cast far and wide. Each piece finds the pianist as musical partner to the vocalist, sharing in the experience with a lot to say. They give "Green Dolphin Street" a moody texture and "Flamenco Sketches" a dreamy whirl. Miles Davis had passed away the year before this date, and he was surely looking down from above with a smile. 

The session runs solemn and moody, befitting the legacy that the trumpeter left behind. Beirach and Antonioli collaborated on several original numbers, pouring the same heartfelt emotion into each one. They prefer slower pieces that allow ample room for patient expression. Their "Memories, Dreams & Reflections" summarizes the performance through its creative infusion and unique duet interaction. Today, Antonioli is head of the Vocal Jazz Department at KUG University in Graz, Austria and Beirach is head of the Jazz Piano Department at Felix Mendelssohn-Bartholdy in Leipzig, Germany. They're working together again in live performance. It's time they recorded a few more duo albums to let a worldwide audience enjoy the spirit of their work. Surely any followup to this highly recommended album would feature the same wholesome music. ~ Jim Santella  http://www.allaboutjazz.com/the-duo-session-richie-beirach-nabel-review-by-jim-santella.php#.VFKxVslZi5g

Personnel: Richie Beirach: piano; Laurie Antonioli: vocals.

The Duo Session

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Oscar Pettiford - Hit That Jive

Styles: Jazz, Bop
Year: 2014
File: MP3@320K/s
Time: 62:21
Size: 143,6 MB
Art: Front

(3:00)  1. But Not for Me
(5:41)  2. Indiana
(4:54)  3. Summertime
(4:52)  4. Stuffy
(5:51)  5. Low Idea
(7:03)  6. This Side Up
(4:47)  7. Poor Butterfly
(5:35)  8. Sophisticated Lady
(5:23)  9. O.P.
(3:35) 10. Hit That Jive
(5:33) 11. Blues in the Closet
(2:31) 12. Treffpunkt Blues
(3:30) 13. A Smooth One

Oscar Pettiford was (along with Charles Mingus) the top bassist of the 1945-1960 period, and the successor to the late Jimmy Blanton. In addition, he was the first major jazz soloist on the cello. A bop pioneer, it would have been very interesting to hear what Pettiford would have done during the avant-garde '60s if he had not died unexpectedly in 1960. After starting on piano, Pettiford switched to bass when he was 14 and played in a family band. He played with Charlie Barnet's band in 1942 as one of two bassists (the other was Chubby Jackson) and then hit the big time in 1943, participating on Coleman Hawkins' famous "The Man I Love" session; he also recorded with Earl Hines and Ben Webster during this period. Pettiford co-led an early bop group with Dizzy Gillespie in 1944, and in 1945 went with Coleman Hawkins to the West Coast, appearing on one song in the film The Crimson Canary with Hawkins and Howard McGhee. Pettiford was part of Duke Ellington's orchestra during much of 1945-1948 (fulfilling his role as the next step beyond Jimmy Blanton), and worked with Woody Herman in 1949. Throughout the 1950s, he mostly worked as a leader (on bass and occasional cello), although he appeared on many records both as a sideman and a leader, including with Thelonious Monk in 1955-1956. After going to Europe in 1958, he settled in Copenhagen where he worked with local musicians, plus Stan Getz, Bud Powell, and Kenny Clarke. Among Pettiford's better-known compositions are "Tricotism," "Laverne Walk," "Bohemia After Dark," and "Swingin' Till the Girls Come Home." Bio ~ https://itunes.apple.com/br/artist/oscar-pettiford/id2625844#fullText

Hit That Jive

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Oscar Peterson & Roy Eldridge - Oscar Peterson Mets Roy Eldridge

Styles: Piano and Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 43:00
Size: 98,8 MB
Art: Front

(4:44)  1. Little Jazz
(7:34)  2. She's Funny That Way
(6:21)  3. The Way You Look Tonight
(5:44)  4. Sunday
(7:32)  5. Bad Hat Blues
(5:16)  6. Between The Devil And The Deep Blue Sea
(5:45)  7. Blues For Chu

Part of his five sessions that featured duets with different trumpeters, pianist Oscar Peterson's matchup with trumpeter Roy Eldridge (reissued on CD) has its strong moments. Eldridge did not quite have the range of his earlier years, but his competitive streak had not mellowed with age. Peterson pushes Eldridge to his limit and the music is generally quite exciting. Highlights include "Little Jazz," "Sunday," and "Between the Devil and the Deep Blue Sea." ~ Scott Yanow  http://www.allmusic.com/album/oscar-peterson-roy-eldridge-mw0000087839

Oscar Peterson Mets Roy Eldridge

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Reuben Wilson - The Godfathers Of Groove

Styles: Soul Jazz
Year: 2007
File: MP3@320K/s
Time: 62:08
Size: 142,6 MB
Art: Front

(5:14)  1. The Okiedokie
(6:46)  2. Flipity Flop
(7:21)  3. Sweet Home Chicago
(8:19)  4. My Father's Song
(6:47)  5. Long Live New Orleans
(4:51)  6. Everday I Have The Blues
(7:59)  7. Summer Sun
(6:09)  8. People Get Ready
(8:37)  9. Just My Imagination

The godfathers of groove are an All-Star group comprised of Reuben Wilson on the Hammond B3, Bernard "Pretty" Purdie on drums, and Grant Green Jr. on guitar. In the late 60s, organist Reuben Wilson began ascending to his current status as a "godfather" of acid-jazz with "On Broadway", the first in a string of albums for Blue Note Records. With these recordings Wilson revealed a command of funk that helped redefine the soul jazz movement created by the likes of Jimmy Smith, Jimmy McGriff and Richard "Groove" Holmes. Bernard Purdie was born June 11, 1939 in Elkton, Maryland as the eleventh of fifteen children.  At 14 years of age he purchased his first real drum set and became the most important provider for the family - earning his pay with country and carnival bands.   Purdie moved to New York in 1960 and played with (among others), Lonnie Youngblood before landing his first hit with King Curtis. This led to his engagement with Aretha Franklin in 1970 - the beginning of an unparalleled career.

Since then, Purdie has been a regular guest in the studios of the stars of Jazz, Soul, and Rock, working together with Paul Butterfield, Larry Coryell, Miles Davis, Hall & Oates, Al Kooper, Herbie Mann, Todd Rundgren and Cat Stevens, Steely Dan's "Aja", Isaac Hayes, Donny Hathaway, B.B. King, "Sweet" Lou Donaldson, Joe Cocker and Hank Crawford to name a just a few.  No other drummer in the last three decades has seen the interior of a recording studio as often as Bernard "Pretty" Purdie. Purdie has laid down the beat on over 3000 albums to date. As the son of legendary jazz guitarist Grant Green (1931-1979), Grant Green Jr. was exposed to exceptional musicianship and superb guitar playing right from the start. Growing up in the Palmer Woods section of Detroit, Grant enjoyed a constant parade of jazz greats streaming through his living room and at the tender age of five, with his hands barely big enough to grasp the guitar, Grant Jr. played his first chords.  Grant eventually settled in New York City where he fine-tuned his craft in the many blues and jazz clubs throughout Manhattan. His ability to blend funky grooves with the melodic soul-jazz and blues made him a popular session player and musician's musician.  http://www.jwpjazz.com/masters.html

The Godfathers Of Groove

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