Red Rodney - Borrowed Times: Quintets 1955-1959 (2-Disc Set)

Red Rodney was a brash young trumpeter who had the mark of greatness before narcotics cut short his career. His lowest point came in January 1953, when a judge in Chicago sentenced him to Leavenworth for five years. Rodney was released on parole in March 1955, having served two years of his sentence, and shortly thereafter he recorded an album for Fantasy (tracks #1-12).

His luck ran out again in November 1955, and he was sentenced to serve the remainder of his term at the Lexington, Ky., federal narcotics hospital. His release on June 5, 1957 was something of an event among aficionados, and the results of his recording contract with Signal (tracks #13-15 on CD-1, and #1-3 on CD-2), are proof of just how much he still had to offer to jazz. He got hooked again for a while after that, until early 1959, when he made a new and brief—but successful—comeback to the scene, cutting a new LP, this time for Argo.

Remarkably, the three stunning albums included in this set were made while Red was living on borrowed time, between one incarceration and the next. “I can only repeat what Bird said” he once explained about addiction. “‘Don’t do as I do, do as I say.’”

CD 1, tracks #1-12 from "Modern Music From Chicago" (Fantasy 3-208).
CD 1, tracks #13-15 & CD 2, tracks #1-3 from "Red Rodney: 1957" (Signal S 1206).
CD 2, tracks #4-11 from "Red Rodney Returns" (Argo LP 643).

Personnel on "Modern Music From Chicago": Red Rodney (tp, vcl on #1), Ira Sullivan (ts on #1-5, 7, 8, 10-12, tp only on #6), Norman Simmons (p), Victor Sproles (b), Roy Haynes (d). Recorded at Universal Studios, Chicago, IL, June 8 [#1-10] and 27 [#11-12].

Personnel on "Red Rodney: 1957": Red Rodney (tp), Ira Sullivan (ts, tp), Tommy Flanagan (p), Oscar Pettiford (b), Philly Joe Jones (d on CD 1, #13-15), Elvin Jones (d on CD 2, #1-3). Recorded at Rudy Van Gelder Studio in Hackenshack, New Jersey, on November 22, 1957 [CD 1, #13-15] and November 24, 1957 [CD 2, #1-3].

Personnel on "Red Rodney Returns": Red Rodney (tp), Billy Root (ts), Danny Kent (p), Jay Cave (b), Frank Young (d). Recorded at Reco-Art Studios, Philadelphia, Pa, February 16 & 17, 1959.

Album: Borrowed Times: Quintets 1955-1959 (Disc 1)
Bitrate: 320K/s
Time: 68:33
Size: 156.9 MB
Styles: Trumpet jazz
Year: 2011

[ 3:09] 1. I Love The Rhythm In A Riff
[ 3:07] 2. Taking A Chance On Love
[ 3:12] 3. Dig This
[ 5:48] 4. Red Is Blue
[ 2:53] 5. Clap Hands, Here Comes Charlie
[ 4:10] 6. On Mike
[ 3:54] 7. The Song Is You
[ 4:17] 8. You And The Night And The Music
[ 4:39] 9. Laura
[ 3:44] 10. Daddy-O
[ 3:38] 11. Hail To Dale
[ 3:37] 12. Jeffie
[10:49] 13. Star Eyes
[ 5:30] 14. You Better Go Now
[ 6:01] 15. Stella By Starlight

Borrowed Times: Quintets 1955-1959 (Disc 1)

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Album: Borrowed Times: Quintets 1955-1959 (Disc 2)
Bitrate: 320K/s
Time: 60:46
Size: 139.1 MB
Styles: Trumpet jazz
Year: 2011
Art: Front

[5:07] 1. Red Arrow
[5:56] 2. Box 2000
[4:51] 3. Ubas
[6:33] 4. Shaw Nuff
[6:02] 5. Red Hot And Blue
[6:05] 6. I Remember You
[4:20] 7. 5709
[5:41] 8. Whirlwind
[6:10] 9. Jordu
[5:28] 10. Shelley
[4:27] 11. Two By Two

Borrowed Times: Quintets 1955-1959 (Disc 2)

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Ellen Vanderslice - Let's Pretend

Bitrate: 320K/s
Time: 48:10
Size: 110.3 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[5:27] 1. Let's Pretend
[2:34] 2. Living A Dream
[3:43] 3. Down At The Goodwill
[3:17] 4. One Little Kiss
[4:19] 5. One More Time To Say Goodbye
[4:05] 6. They Can't Take That Away From Me
[4:55] 7. The Probability Of Love
[4:16] 8. Come On Back, Anytime
[4:37] 9. I'm Not Susceptible To Love
[3:05] 10. Why Am I The Last To Know
[4:31] 11. All That's Missing Is You
[3:16] 12. Sweet Elusive One

One of two CDs released 12/3/2011, this one features Ellen herself singing 11 numbers from the Ellen Vanderslice songbook, plus one Gershwin tune! Ellen is accompanied by some of Portland's finest jazz musicians. Phil Baker, bass, also produced the album. The piano chair is split between Tony Pacini and Greg Goebel. Mike Horsfall, who co-wrote many of the tunes, plays vibes. With Neil Masson on drums and Lee Wuthenow on tenor sax, these numbers sound great.

Let's Pretend

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Dusko Goykovich - Samba Do Mar

Bitrate: 320K/s
Time: 60:02
Size: 137.4 MB
Styles: Latin jazz
Year: 2003
Art: Front

[6:37] 1. Samba Do Mar
[5:39] 2. Jim's Ballad
[6:04] 3. Chega De Saudade (No More Blues)
[7:59] 4. Insensatez
[6:00] 5. Bachianas Brasileiras No. 5 (Arr. For Trumpet, Guitar, Double Bass And Drums)
[3:47] 6. The Fish
[6:35] 7. Quo Vadis
[5:04] 8. Love And Deception
[5:32] 9. Danca Comigo
[6:40] 10. Sunset

Born in 1931 in Jajce (Bosnia, SFR Yugoslavia), Dusko Goykovich studied at the Music Academy in Belgrade from 1948 to 1953. As a youth he played with several jazz and dixie bands, mostly for dancing audiences and eventually on parties at the embassies of the capital. When the 18-year-old joined the Radio Big Band of Belgrade, he was considered a talented young jazz man who also can read music. When he left the band five years later, he had grown into a fine big band player and featured soloist. Dusko went to Germany where he quickly became an integral part of its uprising young jazz scene. In 1956 he made his first record as a member of the Frankfurt All-Stars.

After a short stint in the big band of Munich’s Max Greger, Dusko stayed for four and a half years with Kurt Edelhagen’s band, then Europe’s leading jazz orchestra. Francy Boland, Claus Ogermann, Jerry van Rooyen and Rob Pronk were among the arrangers who worked for Edelhagen. In addition to being the band’s premier trumpet soloist, Dusko performed with such as Stan Getz and Chet Baker. It came as no surprise when in 1958 he was invited to play with the Newport International Youth Band at the Newport Jazz Festival. Other members of the Newport band included Albert Mangelsdorff, Ronnie Ross, George Gruntz, and Gábor Szábo.

Following the performance at Newport, Dusko’s trumpet became very popular in Europe. In 1961 the Berklee School of Music offered the 29-year-old a grant for studying composition and arrangement in Boston where Herb Pomeroy was to become one of his teachers. Looking forward to writing his own arrangements for his great love, the big band, Dusko concentrated on his studies at Berklee so exclusively that he regrettingly turned down offers by Count Basie, Stan Kenton and Benny Goodman to join their bands. While at Berklee Dusko (now also on flugelhorn) recorded with the Berklee School Quintet and Orchestra including fellow students such as Gary Burton, Mike Gibbs, Sadao Watanabe, Steve Marcus, Mike Nock, and Dave Young.

When he had just finished his studies and prepared his return to Germany, Dusko received a call from Canadian bandleader Maynard Ferguson offering him Rolf Ericson’s place (who had just left to join Ellington). Of course, Dusko accepted. Ferguson, a virtuoso trumpeter himself, featured him as a second trumpet soloist and even used some of his big band arrangements. When Ferguson’s band split in 1964, Dusko joined Woody Herman and stayed with him for a year. It was his work for Herman that founded Dusko’s international reputation as an outstanding big band player and soloist. “Woody Herman encouraged me a lot,” Dusko recalls. “He not only accepted my big band charts (with a single exception), but also recorded all of them.”

Samba Do Mar

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Bob Wilber - Bob Wilber & The Three Amigos

Styles: Clarinet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 70:41
Size: 162,8 MB
Art: Front

(5:01)  1. Limehouse Blues
(6:10)  2. Tampa Bay Trot
(2:58)  3. Jubilee Stomp
(4:00)  4. Passport to Paradise
(4:17)  5. Keepin' Out of Mischief Now
(5:56)  6. Black and Tan Fantasy
(6:32)  7. Bernfest '96
(4:31)  8. The Mooche
(5:59)  9. Avalon
(4:19) 10. In an Old Deserted Ballroom
(3:42) 11. Basie-issimo
(4:46) 12. Blue Horizon
(3:08) 13. The Best Things in Life Are Free
(3:56) 14. Willow Weep for Me
(5:20) 15. Isotope Rag

The Three Amigos is not a table-hopping Mariachi band, but an ever-cruising all-star jazz combo, so dubbed during a gig in Mexican waters when they first played together. Don’t let the Alaskan wolf jackets throw you off, they are mementos from another cruise destination, the 49th state. If luxurious cruise ships come to mind, you’ve got the picture. This particular journey took the Amigos to a Florida studio where the eight world-class Amigos led by Bob Wilber strut their stuff, whether as soloists or tight ensemble players, backed by a swinging rhythm section, fresh from the Third Arbors Invitational Jazz Party. As these notes are written, the Amigos are getting ready to gear up for a round trip Jazzdagen -sponsored cruise from Los Angeles to Mexico. The Alaskan wolf jackets will be held in reserve. http://www.arborsrecords.com/recordtemplate.html?ProductID=19424

Personnel: Bob Wilber-soprano sax, clarinet; Pieter Meijers-soprano sax, clarinet; Antti Sarpila-soprano sax, clarinet; Rossano Sportiello-piano; Bucky Pizzarelli-guitar; John Cocuzzi-vibes; Nicki Parrott-bass; Eddie Metz Jr-drums

Bob Wilber & The Three Amigos

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Anne Burnell - Blues In The Night - Songs By Harold Alden

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 61:12
Size: 140,7 MB
Art: Front

(4:09)  1. Blues in the Night
(3:38)  2. A Woman's Prerogative
(5:18)  3. Happiness is a Thing Called Joe
(5:09)  4. I Gotta Right to Sing the Blues
(5:35)  5. Last Night When We Were Young
(5:19)  6. Over the Rainbow
(5:48)  7. Stormy Weather
(5:24)  8. Paris is a Lonely Town
(4:03)  9. Come Rain or Come Shine
(5:39) 10. I'll Wind
(6:43) 11. The Man That Got Away
(4:22) 12. Happy With the Blues

Despite having chosen Arlen songs with primarily sad lyrics, Anne Burnell's CD is not one of those collections of laments which "cry" out to be listened to with a pint of whiskey and a quart of self-pity. She does not wallow in melodrama, and the light, jazzy arrangements keep things sunny enough, despite the foreboding musical weather forecast: "Stormy Weather," "Ill Wind" and "Come Rain Or Come Shine." She seems to be "Happy With The Blues," a 1961 tune with a lyric by Peggy Lee (it also served as the title of a biography of Harold Arlen - sadly, his biographer Edward Jablonski died about a year before the centennial kicked off). Known as Anne Pringle before her marriage to pianist Mark Burnell, who plays solidly on the CD and co-produced it with her, the singer is based in Chicago.

Ms. Burnell has a likeable, sincere, unpretentious quality but does not always sound comfortable and in the center of the note. It's odd, because when she's on target, she is fine and in sync with the big picture of the arrangement and the musicians. She phrases naturally and easily, rarely losing the story of the lyric, even when she and the players are also going for a jazz lick. Count Basie Band alumnus Bob Ojeda provides the tasteful arrangements and is a major asset, featured in trumpet solos. More variety in vocal and instrumental colors and tempi would have been welcome. "Happiness Is A Thing Called Joe" is more thoughtfully done than some of the others, and wins favor by including the verse, and is one of three tracks with the welcome, prominent addition of solo violin. The band is strong here, but his CD can't be wholeheartedly recommended, even though its heart is clearly in the right place. http://www.talkinbroadway.com/sound/mar1505.html

Award winning Jazz vocalist Anne Burnell, formerly Anne Pringle, releases her new CD "Blues in the Night: songs by Harold Arlen" as part of this great American composers centennial celebration.
Harold Arlen wrote "Stormy Weather", Come Rain or Come Shine", "Over the Rainbow" and many more. With arrangements by Count Basie Band veteran, Bob Ojeda, the CD features some of jazz's all time great performers including Ojeda on trumpet, former Frank Sinatra trombonist Bill Porter, and Chicago's own legendary violinist Johnny Frigo. Anne Burnell performs at festivals and clubs including the 2004 Chicago Humanities Festival, and five consecutive years at Chicago's largest music festival, The Taste of Chicago. She performed with her husband, pianist/vocalist Mark Burnell throughout Chicago, Pittsburgh, New York and toured internationally in Amsterdam, Italy, and Paris. "She can send shivers down your spine" - Chicago Tribune"I could listen to her for hours"- NBC Chicago  http://www.cduniverse.com/productinfo.asp?pid=7171541&style=music

Blues In The Night - Songs By Harold Alden

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Coleman Hawkins - At Ease

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 41:33
Size: 95,4 MB
Art: Front

(6:07)  1. For You, For Me, Forevermore
(3:31)  2. While We're Young
(5:08)  3. Then I'll Be Tired Of You
(3:59)  4. Mighty Like A Rose
(4:38)  5. At Dawning
(5:25)  6. Trouble Is A Man
(6:05)  7. Poor Butterfly
(6:36)  8. I'll Get By (As Long As I Have You)

In this crazy run-around world where we never really have time to stop and appreciate all the good things in our lives, it is pretty hard to make time for Coleman Hawkins. But that is precisely why it is so important to do so. They really never invented a saxophone player better than him, and very few musicians have ever gotten closer to what jazz is supposed to be.  At Ease with Coleman Hawkins, originally released in 1960, is like a 42-minute journey into Zen simplicity, with a touch of sexy swagger on the side. Many people today have forgotten just how good the Bean was at this stage of his career. But just because none of the work here is as revolutionary as his work in the 1920s, '30s or '40s doesn't mean these songs aren't full of beauty and invention. His work here on "Then I'll Be Tired of You" starts off kind of sleepy, all loopy Dean Martin phrases, and then gets slightly more beboppy as things go on, until he sounds like Sonny Rollins or someone like that. (Funny quotation work in this solo too!) And there's no mistaking his majesty on the ancient chestnut "At Dawning" or his predatory stroll through the just-as-ancient "Poor Butterfly." But At Ease is not just all pretty notes and assurance. 

Hawkins was smart to have bopper Tommy Flanagan as his pianist here you can hear the two push each other on the opener, "For You, For Me, Forevermore," generations teaching each other how to cook. Flanagan's beautiful intro on "Mighty Like a Rose" ends up presaging his pretty solo two minutes later. And the rhythm section stars throughout. Osie Johnson's drumming is always amazing, but Wendell Marshall deserves special marks for his bass line at the start of "I'll Get By." This recording isn't fiery or out there, but it's about as solid as one can be, and it proves (for about the millionth time) the mastery of Coleman Hawkins. So what's not to love? ~ Matt Cibula  http://www.allaboutjazz.com/at-ease-with-coleman-hawkins-coleman-hawkins-prestige-records-review-by-matt-cibula.php#.VFkQdcmHmtg
 

Personnel: Coleman Hawkins: tenor saxophone; Tommy Flanagan: piano; Wendell Marshall: bass; Osie Johnson: drums.

At Ease

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Christian Tamburr - Places

Styles: Vibraphone Jazz
Year: 2011
File: MP3@320K/s
Time: 51:21
Size: 117,8 MB
Art: Front

(5:08)  1. Eleanor Rigby
(6:17)  2. Body and Soul
(6:54)  3. Sailing Serenity
(6:46)  4. Places
(6:08)  5. Phantoms
(5:22)  6. You and the Night and the Music
(4:08)  7. Flower Waltz
(4:50)  8. Chu's Blues
(5:42)  9. La Carretara

Composer, arranger and multi-instrumentalist, Christian Tamburr has mastered the art of musical communication, expression and creativity. Without the luxury of vocals, instrumentalists must rely on a pallet of notes, rhythms, sounds and phrasing to tell their story. Making a connection of feeling and emotion is the challenge. Mr. Tamburr kicks open that door and confidently gives the listener a platform to feel the emotion and react. His music expertly begins an engaging conversation. All the listener needs to do is accept it and join in. The music veers clear of dictating the feeling so it can go in its own direction. The conversational musician which Mr. Tamburr has become produces an easy and natural attraction. His instrument, the vibraphone, requires an intense sensitivity demanded by few instruments employed in a jazz context. It takes years of getting to know the inner workings and personality of the vibraphone for a master to coax out the elusive beauty. He/she must use dynamicsl, textures and note blends all controlled by the colorfully yarn-wrapped mallets. The work to achieve a beautiful sound must be appreciated. The result is like no other instrument and worth serious investigation. Again, Christian Tamburr has put in the time and is “one” with his instrument. Music selected for “Places” includes something for everyone. Getting things started is a burning version of the mysterious Beatle classic “Eleanor Rigby”. 

The rhythm section builds a supportive, controlled pace for the soloists to present their own improvisational interpretations always showing respect for composer, John Lennon. Nice curious opening! Most every jazz musician has done a version of “Body and Soul.” This quartet plays with the melody and rhythm in a way that ensures interest is captured. Never “mailing it in” on this often overplayed composition listen to the hide and seek approach that at the end of the day is really swinging and respectful of its roots. The first original composition “Sailing Serenity” glides gently as a genuinely relaxed melody with a light yet driving rhythm section keeping all afloat. Each round of the musical form deals an intensified amount energy until passing solo duties from vibraphone to piano only to start anew. Peacefully intense!The title composition “Places” jumps eagerly with a playful meter keeping things bouncing and energetic. The rhythm section drives and encourages Mr. Tamburr to elevate his playing ultimately relinquishing front line duties to Eric Reed’s piano which capably picks up and maintains a masterfully musical solo without hesitation. Beautifully swinging composition. Good jazz ensembles know when to slow things down to catch its musical breath. Choosing the Kenny Baron composition, “Phantom” does just that. This eerie yet romantic ballad showcases the color and clarity of another combined vibraphone/piano interlude. Enough said, just listen when you need a cleansing from a stressful day. Prefect prescription! “You the Night and the Music” begins with a clean, musical introduction with the drums Tamburr is coaxed to enter. 

A “cat and mouse” game ensues until the bass and piano joining in to make this 1934 Arthur Schwartz composition truly simmer. Very nice feature of the entire ensemble and especially drummer Greg Wyser-Pratte. All good jazz quartets have a waltz or two in their bag. Christian Tamburr does not go to the standards bag here. Instead he offers his own composition, “Flower Waltz.” By this time, the quartet is finishing each other’s musical sentences. They fit light a favorite pair of jeans. Chu’s Blues gives it up for ultra-supportive bassist John Shifflett, who gets some front time on this fun up tempo blues. Tamburr takes over and tap dances on the vibraphone with his own joyride only to again turn over control to pianist Eric Reed who builds his own message. Playfully trading fours with Wyser-Pratte ends this fun blues by sending it back to the melody for a final call. Swinging indeed. Why not end with the powerful and emotionally charged ballad La Carretara written by Rafael Ferro and previously recorded by Julio Iglesias on his 1996 album of the same name. Fitting as Christian Tamburr served as Mr. Iglesias’ Musical Director for many years. Just try to find where the piano ends and the vibraphone begins. This is a fine example of pure ensemble playing. So, take some time to get away either on a trip or with the close of your eyes. When you do, put Christian Tamburr’s CD “Places” on your packing list. See for yourself if you don’t end up in places you might not have dreamed of, whether close to home or far away. ~ Bruce Pulver  http://jazztimes.com/community/articles/29137-with-christian-tamburr-s-places-cd-listen-and-escape-to-wherever-you-want-to-go

Personnel: Christian Tamburr (vibraphone); Eric Reed (piano); Greg Wyser-Pratte (drums).

Places

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