David Ostwald's Gully Low Jazz Band - Blues In Our Heart

Bitrate: 320K/s
Time: 60:58
Size: 139.6 MB
Styles: Mainstream jazz
Year: 2007
Art: Front

[3:18] 1. Jubilee Stomp
[3:43] 2. When Day Is Done
[3:32] 3. Don't Forget To Mess Around
[6:25] 4. Lover Come Back To Me
[4:48] 5. Thou Swell
[4:48] 6. Someday Sweetheart
[3:49] 7. Panama
[4:18] 8. 'tain't So, Honey 'tain't So
[6:08] 9. Blues In My Heart
[3:07] 10. New Orleans Stomp
[3:36] 11. Changes
[3:34] 12. Who's It
[5:07] 13. Home
[4:35] 14. Diga Diga Doo

Tuba, Banjo, and a 2/4 Beat. I have been listening to a lot of Nagel-Heyer releases lately and I have been trying to identify the things that make "traditional" jazz traditional. Certainly the presence of the Tuba and Banjo (or guitar as a percussive, rhythmic instrument with harmonic capabilities) are two big clues. Tuba player David Ostwald and the ubiquitous Howard Alden cover these instruments on this and many N-H releases. The majority of the music is played with a 2/4 time rather than the more familiar 4/4 Swing and beyond feel. These factors seem to be what contribute most to the "Traditional" sound. The Gully Low Jazz Band sells itself as a band a variety of jazz styles, but to my ears they play them all in a vintage manner. That is okay with me. Listening to Blues in Our Heart immediately makes me think of Don Byron's Bug Music and any number of Wynton Marsalis releases. My estimation is the Gully Low Jazz Band plays a more authentic brand of traditional jazz than Mr. Marsalis (as much as I admire his music) ever should. The music on this disc (and all other N-H I have heard) sounds genuine and sincere, not overly reverent or worshipful. The sure novelty of the Gully Low Jazz Band is that it only has one constant, the presence of David Ostwald. When Ostwald is asked to record, he assembles his band then under the Gully Low name. Pretty cool. Being associated with N-H helps as their stables are stocked with players totally empathetic with Ostwald and his traditional temperament. For this particular disc, he has assembled Marsalis alums Wycliffe Gordon and Herlin Riley, former Concord stablemates Howard Alden and Ken Peplowski, and fellow N-H cronies Mark Shane and Randy Sandke. This group executes as it appears— too good to be true but it is true.

Miniduos. This disc is replete with vintage performance, but what is most fun is many of these pieces have duo breaks with the Howard Alden's guitar/banjo and another instrument. Alden joins Randy Sandke in a trumpet/banjo lovefest on the opening "Jubilee Stomp". Alden converses with Ken Peplowski on "Panama" and "Changes" and takes the helm alone on "When Day is Done". This arrangement technique adds a tautness and excitement to these time worn classics that makes them new and exciting. Outside of the playing of the aforementioned, Mark Shane shines on piano, always being in the right place at the right time in both solos and comps.

If you, the curious listener/reader, likes the old-timey, traditional sound of Bug Music or Wynton Marsalis trying to be Joe "King" Oliver, this disc (and many other Nagel-Heyers) is for you. If you don't like this music, learn to. It is the musical Old Testament of Jazz. ~Michael Bailey

David Ostwald: Tuba; Randy Sandke: Trumpet; Wycliffe Gordon: Trombone, Vocals; Ken Peplowski: Clarinet, Alto Saxophone; Mark Shane: Piano; Howard Alden: Banjo, Guitar; Herlin Riley: Drums.

Blues In Our Heart

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Mose Allison - Local Color

Bitrate: 320K/s
Time: 35:58
Size: 82.4 MB
Styles: Hard bop, Piano jazz, Vocal jazz
Year: 1957/2006
Art: Front

[2:59] 1. Carnival
[3:20] 2. Parchman Farm
[3:42] 3. Crepuscular Air
[4:07] 4. Mojo Woman
[3:26] 5. Town
[3:14] 6. Trouble In Mind
[3:34] 7. Lost Mind
[5:37] 8. I'll Never Be Free
[3:15] 9. Don't Ever Say Goodbye
[2:40] 10. Ain't You A Mess

This CD reissue brings back Mose Allison's second of six Prestige recordings. Allison performs eight instrumentals in a trio with bassist Addison Farmer and drummer Nick Stabulas, displaying his unusual mixture of country blues and bebop and even taking an effective trumpet solo on "Trouble In Mind." However it is his vocals on "Lost Mind" and particularly the classic "Parchman Farm" that are most memorable. ~Scott Yanow

Local Color

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Annie Lennox - Nostalgia

Bitrate: 320K/s
Time: 39:14
Size: 89.8 MB
Styles: R&B, Standards
Year: 2014
Art: Front

[2:42] 1. Memphis In June
[1:11] 2. Georgia On My Mind
[3:29] 3. I Put A Spell On You
[5:08] 4. Summertime
[2:57] 5. I Cover The Waterfront
[3:40] 6. Strange Fruit
[2:59] 7. God Bless The Child
[3:19] 8. You Belong To Me
[2:50] 9. September In The Rain
[2:53] 10. I Can Dream, Can’t I
[2:29] 11. The Nearness Of You
[5:31] 12. Mood Indigo

Annie Lennox's ongoing evolution from New Wave ruler into U.K. queen of blue-eyed soul isn't exactly surprising – her magnificent voice has always had an R&B foundation, on display in this orchestral set of jazz and blues standards. "Summertime," "Strange Fruit" and "God Bless the Child" show reverence and impeccable technique yet not quite enough signature to transcend mere impressiveness. Standouts: the Andrews Sisters' "I Can Dream, Can't I?" playfully set to a cha-cha groove, and Ellington's "Mood Indigo," with barrel-house brass and raw, if measured, blues hollers. "C'mon, play that thing!" Lennox goads a horn player. One might say the same to her. ~Will Hermes

Nostalgia

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Freddie Hubbard - Open Sesame

Bitrate: 320K/s
Time: 53:06
Size: 121.6 MB
Styles: Hard bop, Trumpet jazz
Year: 1960/2002
Art: Front

[7:07] 1. Open Sesame
[6:23] 2. But Beautiful
[6:25] 3. Gypsy Blue
[5:32] 4. All Or Nothing At All
[5:59] 5. One Mint Julep
[6:51] 6. Hub's Nub
[7:13] 7. Open Sesame (Alternate Take)
[7:32] 8. Gypsy Blue (Alternate Take)

Freddie Hubbard's first recording as a leader, Open Sesame features the 22-year-old trumpeter in a quintet with tenor saxophonist Tina Brooks, the up-and-coming pianist McCoy Tyner, bassist Sam Jones and drummer Clifford Jarvis. This set shows that even at this early stage, Hubbard had the potential to be one of the greats. On the ballad "But Beautiful" he shows maturity; other highlights include "Open Sesame," a driving "All or Nothing at All" and "One Mint Julep." It's an impressive start to what would be a very interesting career. ~Scott Yanow

Open Sesame

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Beryl Davis - I'll Be Seeing You

Styles: Vocal Jazz
Year: 1995
File: MP3@320K/s
Time: 47:06
Size: 109,4 MB
Art: Front

(4:22)  1. The Nearness of You
(2:33)  2. Where or When
(3:15)  3. Old Cape Cod
(3:34)  4. I Can't Get Started
(3:21)  5. Star Eyes
(2:32)  6. A Nightingale Sang in Berkeley Square
(2:32)  7. I'll Be Seeing You
(3:18)  8. I Remember You
(2:13)  9. The Very Thought of You
(4:12) 10. They Can't Take That Away from Me
(2:20) 11. As Time Goes By
(2:11) 12. Dream a Little Dream of Me
(2:26) 13. Cabaret
(5:46) 14. Chaplin Walked Here
(2:26) 15. You Made Me Love You

Big-band singer Beryl Davis was born in England; the daughter of bandleader Harry Davis, she spent her formative years on tour with her father's orchestra, eventually becoming the act's featured vocalist. Subsequently touring Europe with Stéphane Grappelli, George Shearing, and Ted Heath, in 1944 Davis was recruited to join Glenn Miller's Army Air Force Orchestra, and after Miller's death also performed for the troops with Johnny Desmond and the Crew Chiefs. Spotted by Bob Hope, she made her Hollywood debut on his show, next spending a year singing alongside Frank Sinatra on Your Hit Parade; tenures with Benny Goodman, Vaughn Monroe, and David Rose followed, and in 1954 Davis joined with Jane Russell, Rhonda Fleming, and Connie Haines to form a popular gospel quartet that scored a series of hits, including "Do Lord." She continued carrying the big-band torch in the decades to follow, performing with Mel Tormé, the Gene Krupa Orchestra, and the Kay Kyser Band in addition to touring in A Salute to Glenn Miller. Davis died in October of 2011 of complications from Alzheimer's disease. She was 87. 

Bio ~ https://itunes.apple.com/us/artist/beryl-davis/id310982#fullText

I'll Be Seeing You

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Dave Pell Octet - Jazz Goes Dancing (Prom to Prom & Campus Hop)

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 77:26
Size: 178,6 MB
Art: Front

(3:19)  1. Look Who's Dancing
(3:09)  2. Let's Face the Music and Dance
(2:55)  3. Prom to Prom
(3:00)  4. Walkin' My Baby Back Home
(4:17)  5. Java Junction
(2:49)  6. You're My Everything
(4:17)  7. Forty-Second Street
(3:04)  8. By the River Sainte Marie
(3:57)  9. I Know Why and so Do You
(3:31) 10. We're in the Money
(3:02) 11. Cheerful Little Earful
(3:04) 12. East of the Sun
(4:36) 13. Would You Like to Take a Walk
(3:24) 14. Lulu's Back in Town
(2:35) 15. I'll String Along with You
(3:03) 16. Remember Me
(3:01) 17. Summer Night
(2:52) 18. You
(3:22) 19. Young and Healthy
(2:36) 20. The Continental
(2:43) 21. Dance for Daddy
(3:02) 22. When I Take My Sugar to Tea
(2:44) 23. If I Had You
(2:55) 24. Cheek to Cheek

Shortly after it was formed in 1953, the Dave Pell Octet won best new combo of the year in polls conducted by America s Daily News and Mirror newspa- pers. Six of its eight members were included in Down Beat magazine s 1953 poll of the top musicians in the country. Pell and his group flipped fans every where they appeared, specializing in Proms and School Dances, and becoming the first name jazz group ever to play for dancing at one of the top Sunset Strip clubs, The Crescendo, and also the Hollywood Palladium. Its jazz was described variously as tasty, sophisticated, subtle, warm, bright, clean, friendly, inventive, happy, and a complete show and concert rolled into one. One successful Octet approach was to have the crowd gather around the bandstand to watch it play a fast jive number featuring the band s excellent soloists. An essential contributing factor in the Octet s success was that Pell hired the West Coast's finest arrangers to write the beguilingly melodic and alway attractive, danceable band charts; people of the calibre of Marty Paich, Bill Holman, Shorty Rogers, Jack Montrose, Med Flory, John T. Williams. And it was this canny combination of quality and accessibility that really made the Octet s name and gave the music its enduring flavour. In Dave's own words: "Here's hoping you enjoy our combined dance-and-jazz Campus Hop!"~ Editorial Reviews  

http://www.amazon.com/Dave-Pell-Octet-Dancing-Campus/dp/B00AROAWJI

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Jazz Goes Dancing (Prom to Prom & Campus Hop)

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Houston Person - Mellow

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 55:44
Size: 127,9 MB
Art: Front + Back

(5:41)  1. Sunny
(6:26)  2. Too Late Now
(4:56)  3. In A Mellow Tone
(4:56)  4. To Each His Own
(6:11)  5. What A Difference A Day Made
(4:16)  6. Two Different Worlds
(6:41)  7. Blues In The Am
(5:34)  8. Who Can I Turn To?
(7:42)  9. God Bless The Child
(3:15) 10. Lester Leaps In

Houston Person's Mellow could easily have been called "Up Close and Personal." With dozens and dozens of recordings to his credit, it's just the latest in a long list of exemplary sets that always evidence the warmth of his tone and the directness of his tenor sax phrasing. Also mixed in as well is a funky R&B feeling. That is particularly noticeable on the bouncy "Sunny" that opens the set. Everyone gets into a sweet heat, most notably when James Chirillo pungently strums his guitar, John J. DiMartino jumping in with emphatic piano. Ultimately Person wraps it all up with blazing, beefy blasts that gradually diminish and fade away as if into some celestial cloud-space.  With that old gem of Lane-Lerner's, "Too Late Now," the contrast is dramatic. It's typical of Person's deep knowledge of the Great American Songbook. Long ago Lester Young suggested that jazz soloists ought to know the lyrics of a song. 

This is a lush, unhurried take on which the emotional connection is immediate as Person soars with his saxophone. He can also be surprising as with that old Dinah Washington standby, "What a Difference a Day Makes," recast here with a distinctly bolero-like feel. The rhythm is dynamic, the beat clear and effect irresistible. Person's own "Blues in the AM" is the most specifically blues-drenched number on the set, a showcase for the gospel side of his playing, inspiring Chirillo to chime in with particularly inventive enthusiasm. The set closes with a rollicking "Lester Leaps In" and they're clearly having a blast. You will too. ~ Andrew Velez  http://www.allaboutjazz.com/mellow-houston-person-highnote-records-review-by-andrew-velez.php#.VH0xvsmHmtg

Personnel: Houston Person: tenor saxophone; John Di Martino: piano; James Chirillo: guitar; Ray Drummond: bass; Lewis Nash: drums.

Mellow

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Dave Liebman & Michael Stephans - Lineage

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 55:00
Size: 126,5 MB
Art: Front

(6:23)  1. Mr. Sandman
(7:13)  2. Eleanor Rigby
(6:26)  3. Visions
(4:37)  4. Tequila
(6:41)  5. Dames: I Only Have Eyes For You: I Only Have Eyes For You
(4:36)  6. Walk, Don't Run
(6:04)  7. Woodstock
(5:13)  8. Wipe Out
(3:28)  9. Here, There And Everywhere
(4:14) 10. Love Me Tender: Love Me Tender

Saxophonist Dave Liebman was yet another musician drawn into the orbit of trumpeter Miles Davis, contributing to the always innovative master band leader's extraordinary and ground breaking but underappreciated and even maligned at its time of release On the Corner (Columbia Records, 1972), as well as Dark Magus (Columbia Records, 1974) and Get Up With It (Columbia Records, 1974). Then, like so many others saxophonists Wayne Shorter and John Coltrane, pianist Herbie Hancock, drummers' Tony Williams and Elvin Jones, to name just a handful Liebman, a changed man for the Davis experience, left that orbit on his own trajectory, to become one of our premier inside/outside jazzers with scores of releases under his own name, including outstanding (but distinctively his own) homages to Davis and alto saxophonist/free jazz pioneer Ornette Coleman. So Lineage, a teaming with drummer Michael Stephens, a Liebman contemporary, and three young up-and-coming players, delving into rock and pop tunes of the late fifties and early sixties may come as a surprise. Dave Liebman was born in 1946. 

That means he would have encountered the 1963 surf/rock hit, "Wipe Out," by the Surfaris, when he was 17 years old. The saxophone/rock rave up, "Tequila" came out in 1958. Liebman would have been about 12 years old, an age where many young people discover music. Elvis Presley's "Love Me Tender" came out in '56. You get the idea. Liebman and Stephen's idea for this Lineage was a re-visitation of the popular songs they had been drawn to in their younger days, and deconstructing then re-harmonizing, and generally reshaping them under the umbrella of the ideas that Liebman has been employing in jazz for the past forty years. In case you're wondering and because it sounds as if it wouldn't it works, amazingly well. "Mr. Sandman," a sweet and goofy tune, recorded and released by the Chordettes in 1954, seems the least likely of vehicles for a jazz treatment. Stephens's shuffling drums accompany Liebman's soprano sax, playing the melody straight, until pianist Bobby Avey stretches out, taking the mood from gentle whimsey to serious improvisation. The Beatles get two nods: "Eleanor Rigby" and "Here, There and Everywhere." 

The former, with Liebman on wooden flute, opens with an Eastern atmosphere. Switching to soprano sax, Liebman keeps the melody recognizable until guitarst Vic Juris a veteran of Liebmans's jazz quartet steps out with an elastic acoustic solo. On "Here, There and Everywhere," one of the loveliest tunes in the Lennon/McCartney songbook, Liebman switches to tenor sax, introducing the tune on a tender note before he surges into wild and wooly territory, with distinctively Liebman-esque growls and roars over a backdrop of Avey's cool organ flow. And there's "Woodstock, singer/songwriterJoni Mitchell's late sixties anthem that Liebman and the band lead into dark and foreboding territory. Lineage, taking familiar pop tunes and turning them inside out, with reverence, is an excellent addition to the extensive Dave Liebman discography. ~ Dan McClenaghan  http://www.allaboutjazz.com/lineage-rock-and-pop-classics-revisited-dave-liebman-whaling-city-sound-review-by-dan-mcclenaghan.php#.VHygdMmHmtg
 

Personnel: Dave Liebman: soprano and tenor saxophones, wooden flute; Evan Gregor: electric and acoustic bass; Vic Juris: electric and acoustic guitars; Bobby Avey: acoustic and electric piano, organ; Michael Stephens: drums, percussion; Matt Vashlisan: alto and soprano saxophones, flute, EWI, clarinet.

Lineage

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