Jeff Healey - Last Call

Bitrate: MP3@320K/s
Time: 51:16
Size: 117.4 MB
Styles: Jazz-blues
Year: 2010
Art: Front

[2:56] 1. Holding My Honey's Hand
[5:01] 2. Time On My Hands
[2:33] 3. The Wildcat
[2:59] 4. You Can't Pull The Wool Over My Eyes
[4:49] 5. Deep Purple
[3:09] 6. Hong Kong Blues
[3:57] 7. Pennies From Heaven
[4:46] 8. Autumn In New York
[3:06] 9. I'm Gonna Sit Right Down And Write Myself A Letter
[2:50] 10. Black And Blue Bottom
[3:34] 11. Guitar Duet Stomp
[4:52] 12. Laura
[3:54] 13. Keeping Myself For You
[2:43] 14. Some Of These Days

Jeff Healey gained worldwide fame as a stunningly original rock/blues guitarist. His passion, however, was the infectious and joyful music from the classic jazz era. These stripped down Solo, Duo and Trio last sessions could be titled "The Real Jeff Healey." The material Jeff chose to record for his final jazz/swing disc shows his love for all musical styles.From swing guitar instrumentals first recorded by Lonnie Johnson, Eddie Lang and Joe Venuti to interpretations of songs originally done by Fats Waller, Sidney Bechet and Hoagy Carmichael.

Last Call

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Red Garland Trio - Groovy

Bitrate: MP3@320K/s
Time: 40:04
Size: 91.7 MB
Styles: Hard bop, Piano jazz
Year: 1957/1987
Art: Front

[8:18] 1. C-Jam Blues
[6:43] 2. Gone Again
[4:39] 3. Will You Still Be Mine
[9:33] 4. Willow Weep For Me
[7:11] 5. What Can I Say
[3:38] 6. Hey Now

Bass – Paul Chambers; Drums – Arthur Taylor; Piano – Red Garland. Recording Date: December 14, 1956 - August 9, 1957

Red Garland's third recording as a leader has him playing very well, somewhat energetic and more inclusive in his direction to span the mainstream jazz palate beyond the cool exterior he emanates. The title might be a bit deceptive, for this is not a project where soul-jazz or early boogaloo influences turned jazzmen into groovemeisters -- it's a swinging groove. With bassist Paul Chambers and drummer Art Taylor, Garland has all the support he needs to wing it in a variety of directions. Recorded in that most legendary year of jazz, 1957, Garland is coming into his own in a more confident way, buoyed by his association at the time with Miles Davis. Chambers is flawless in his support role, and on this recording deserves a close listen, especially for students of the acoustic upright. They immediately dig in on the opener "C Jam Blues," with Garland at his heartiest during his bridge solo, they agree in the affirmative during the entirety of the hard bop take of "Will You Still Be Mine?," and repeat but modify the melody à la "Cool Blues" in an adept display of artistry for "Hey Now." Of course Garland has to play a ballad or two, as on "Willow Weep for Me," luscious with chord sequences, and really reflects the influence of Erroll Garner in that chiming, two-handed sustenato style for Garner's "Gone Again." It is said that by the third recording, most musicians should have their style down pat and begin attempting to take the music to a higher level. You really hear that in this recording, which was a springboard to making Red Garland one of the most revered and respected jazz pianists of the modern era. ~Michael G. Nastos

Groovy

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Teddy Charles & His Sextet - Salute To Hamp

Bitrate: MP3@320K/s
Time: 48:39
Size: 111.4 MB
Styles: Vibraphone jazz
Year: 2010/2013
Art: Front

[5:09] 1. Air Mail Special
[2:40] 2. Midnight Sun
[2:23] 3. On The Sunny Side Of The Street
[2:20] 4. He's Gone Again
[3:18] 5. Stompin' At The Savoy
[3:14] 6. Flying Home
[3:43] 7. Stardust
[4:00] 8. Blue Hamp
[2:53] 9. Moonglow
[2:42] 10. On The Sunny Side Of The Street (Alt Take)
[3:17] 11. Stompin' At The Savoy
[2:40] 12. Moonglow (Alt Take 4)
[4:14] 13. Blue Hamp (Alt Take 5)
[2:55] 14. Jack The Bellboy
[3:04] 15. Jack The Bellboy (Alt Take 3)

Bass – Addison Farmer; Drums – Charlie Smith, Ed Thigpen; Piano – Hank Jones; Tenor Saxophone – Zoot Sims; Trombone – Bob Brookmeyer; Trumpet – Art Farmer; Vibraphone – Teddy Charles.

Trained at the Juilliard School of Music, Teddy was able to reach effortlessly into modern classical music theory and deploy modal scales on solos—giving his compositions and recordings a fresh, hip sound. But what made Teddy's style special was that he was able to combine long-hair thinking with street-smart swing, and for Teddy, swing, ultimately, was everything.

There was no shortage of great vibraphonists in the late '40s. Lionel Hampton, Milt Jackson, Red Norvo, Terry Gibbs and Marjorie Hyams all could drop jaws. But Teddy represented something new—a sound that seemed to be visiting from the future. And as it turned out, that's exactly where it came from, since he would influence many young vibraphonists who followed.

Salute To Hamp

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Toots Thielemans - Smooth And Easy

Bitrate: MP3@320K/s

Time: 73:23

Size: 168.0 MB

Styles: Harmonica jazz

Year: 2011

Art: Front

[5:15] 1. Isn't It Romantic

[7:14] 2. East Of The Sun

[2:27] 3. Don't Blame Me

[2:44] 4. Scotch On The Rocks

[2:12] 5. Cocktails For Two

[2:23] 6. I Let A Song Go Out Of My Heart

[2:58] 7. Sophisticated Lady

[4:36] 8. Don't Be That Way

[3:11] 9. Stars Fell On Alabama

[4:30] 10. Struttin' With Some Barbecue

[4:27] 11. Imagination

[3:46] 12. 18th Century Ballroom

[7:02] 13. Soul Station

[4:53] 14. Fundamental Frequency

[4:40] 15. On The Alamo

[4:30] 16. Diga Diga Doo

[2:01] 17. Skylark

[4:25] 18. Sonny Boy

Today Jean “Toots” Thielemans remains a strong favorite among jazz aficionados and professional critics alike. His music CDs continue to delight (many of which were recorded in the 2000s) and have introduced him to entire new generations of keen fans. Apart from his popularity as an accomplished musician, he is well liked for his modesty and kind demeanor. In his native Belgium, he is also popular for describing himself as a Brussels “ket”, which means “street kid” in old Brussels slang. He received a joint honorary doctorate from the Vrije Universiteit Brussel and the Université Libre de Bruxelles (Belgium) and in 2001 Thielemans was ennobled a baron by King Albert II of Belgium.

In 2005 he was nominated for the title of De Grootste Belg (The Greatest Belgian). In the Flemish version he ended 20th place, in the Walloon version he ended 44th place.

Smooth And Easy

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Joan Regan - Just Joan

Bitrate: MP3@320K/s
Time: 47:48
Size: 109.5 MB
Styles: Vocal
Year: 1956/2009
Art: Front

[2:49] 1. It Could Happen To You
[2:07] 2. When I Grow Too Old To Dream
[4:19] 3. I Know Why (And So Do You)
[2:54] 4. I've Got A Feelin' You're Foolin'
[3:13] 5. Deep In A Dream
[2:31] 6. Home
[3:27] 7. Sinner Or Saint
[2:55] 8. That Old Feeling
[3:55] 9. All The Things You Are
[2:46] 10. Someone To Watch Over Me
[3:29] 11. Never In A Million Years
[3:22] 12. For All We Know
[2:45] 13. Ricochet
[2:20] 14. Someone Else's Roses
[2:48] 15. If I Give My Heart To You
[2:01] 16. Wait For Me Darling

Joan Regan is a traditional pop music singer born in the UK at Romford, Essex on 19 Jan 1928. She was popular during 1950s and 1960s, appearing on the variety circuit in numerous shows, and also on TV. She did a Royal Command Performance in 1955 and was a regular at the London Palladium. Originally a talent spotted by impresario Bernard Delfont and signed by Decca Records, she had a hit with ‘Ricochet’ in 1953. Subsequently she made 4 albums, had her own TV programme and international touring engagements. A number of these were in the USA and across Europe.

Married 3 times, she lived in Florida for a time, finally settling in Kent, England with her 3rd husband. He predeceased her, and she died September 12 2013. She is survived by 2 sons from her first marriage and a daughter from her second. She will be remembered by her numerous fans, especially so as she had performed many of her concerts near the end of her career in aid of various charities. She had blonde hair and a broad smile, and her uplifting vocal style and voice lives on in her recordings.

Just Joan

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Archie Semple - Hard Candy

Bitrate: MP3@320K/s
Time: 78:05
Size: 178.8 MB
Styles: Clarinet jazz
Year: 2014
Art: Front

[4:23] 1. Deep Sleep
[3:03] 2. Summer Is Coming In
[2:14] 3. Queen Bess
[2:59] 4. Lady Sings The Blues
[3:49] 5. Up Jumped You With Love
[3:25] 6. Buddy's Habits
[3:34] 7. Back In Your Own Backyard
[3:26] 8. Kansas City Stomps
[5:09] 9. Night People
[2:41] 10. The One I Love Belongs To Somebody Else
[4:01] 11. I'm Coming Virginia
[4:55] 12. What'll I Do
[3:19] 13. Sugar Babe
[2:39] 14. My Foolish Heart
[3:29] 15. Side Walk Blues
[3:06] 16. She's Funny That Way
[3:36] 17. Just Another Day
[3:24] 18. Ostrich Walk
[5:04] 19. I'm Confessin' (That I Love You)
[3:48] 20. After My Laughter Came Tears
[2:52] 21. King Porter Stomp
[2:59] 22. Lullaby Of The Leaves

b. Archibald Stuart Nisbet Semple, 1 March 1928, Edinburgh, Scotland, d. 26 January 1974. After first playing clarinet in bands in his homeland, Semple moved to London in the early 50s. There he became an important voice in the burgeoning traditional jazz scene, playing with the bands of Mick Mulligan, Freddy Randall and Alex Welsh, with whom he remained until the early 60s. During that decade he played with various bands, led his own small groups and made many records, despite the fast-encroaching effects of a severe drinking problem. A very distinctive player with a rich and quirky musical imagination, Semple was one of the most strikingly individualistic musicians to emerge from the sometimes predictable British trad scene. His presence in the already formidable Welsh band helped to create much memorable music. ~bio by AMG

Hard Candy

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Stan Getz - The Best Of The Verve Years (2-Disc Set)

This two-CD sampler is most highly recommended for listeners not familiar with Stan Getz's recordings of the 1950s and '60s. Starting with a version of "Stella by Starlight" that co-stars guitarist Jimmy Raney, this set matches Getz's cool tenor with such artists as trumpeters Dizzy Gillespie and Conte Candoli, trombonist J.J. Johnson, baritonist Gerry Mulligan, pianists Oscar Peterson, Bill Evans and Chick Corea, valve trombonist Bob Brookmeyer and vibraphonist Gary Burton. Also included are his two main bossa nova hits "Desafinado" and "The Girl from Ipanema" along with a couple of tracks from Getz's highly-rated Focus album. It's a fine overview of the great tenor's middle years. ~Scott Yanow

Album: The Best Of The Verve Years (Disc 1)
Bitrate: MP3@320K/s
Time: 69:43
Size: 159.6 MB
Styles: Post bop, West Coast jazz, Saxophone jazz
Year: 1991

[2:41] 1. Stella By Starlight
[6:36] 2. Hospitality Creek
[3:32] 3. Nobody Else But Me
[7:22] 4. Flamingo
[6:02] 5. Summertime
[8:51] 6. Shine
[7:50] 7. Blues For Mary Jane
[3:53] 8. It Never Entered My Mind
[8:22] 9. My Funny Valentine
[4:54] 10. Tour's End
[3:54] 11. You're Blasé
[5:42] 12. A Ballad

The Best Of The Verve Years (Disc 1)

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Album: The Best Of The Verve Years (Disc 2)
Bitrate: MP3@320K/s
Time: 72:01
Size: 164.9 MB
Styles: Post bop, West Coast jazz, Saxophone jazz
Year: 1991
Art: Front

[4:40] 1. Early Autumn
[8:31] 2. Evening In Paris
[6:10] 3. Her
[8:08] 4. I'm Late, I'm Late
[5:49] 5. Desafinado
[5:46] 6. Manha De Carnaval (Morning Of The Carnival)
[3:19] 7. Insensatez (How Insensitive)
[5:21] 8. The Girl From Ipanema
[5:04] 9. Melinda
[3:58] 10. Here's That Rainy Day
[8:03] 11. Con Alma
[7:07] 12. Sweet Rain

The Best Of The Verve Years (Disc 2)

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Wendy Lee Taylor - All You Have To Do

Bitrate: MP3@320K/s
Time: 55:48
Size: 127.8 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[2:48] 1. That Old Black Magic
[3:04] 2. Don't Look At Me That Way
[3:26] 3. Anyone Can Whistle
[4:09] 4. After You Who
[5:06] 5. Plus Je T'embrasse
[4:53] 6. Trav'ling Light
[3:00] 7. Boy Next Door
[3:49] 8. All You Have To Do
[2:47] 9. I Concentrate On You
[3:06] 10. Could It Be You
[4:46] 11. Don't It Make My Brown Eyes Blue
[2:49] 12. Teach Me Tonight
[3:00] 13. Bonjour Tristesse
[3:59] 14. Not A Day Goes By
[5:00] 15. Chez Moi

Wendy Lee Taylor (voc), Pierre Christophe (p), Luigi Trussardi (b), Mourad Benhammou (dm), Cindy Taylor (vib, perc), Fabien Mary (tp), Pierrick Pedron (as), David Sauzay (ts, fl), Xavier Richardeau (bs), Michael Joussein (tb), Laurent Colombani (arr), Michel Delage (arr) Recorded in February 2008, Paris Duration : 56’ 38’’ Safety Records 201002 (Intégral)

Australian singer and dancer Wendy Lee Taylor has trodden a singular path; following an international career in musical theatre, a stint as one the famous Bluebell girls at the Lido de Paris, founding a vocal trio (The Jazzberries), she returned to musical comedy (1999 ‘Lautrec’ written by Charles Aznvour and created for the Shaftesbury Theatre in London) before finally recording her first album “Let’s Do It” (2005) She continues a career encompassing her two fundamentals, dance and singing. ‘All You Have To Do’ is an album recorded some time ago but only recently released, successfully ambitious, as the profusion of horns convivially marries with an absence of pretention.

It’s an album of standards, the majority with a sentimental mood, sung with enthusiasm and lifted by a luxurious staging: counter melodies of flute and muted trumpet on “After you who?” the excellent intro of “Plus je t’embrasse”, the atmosphere of an Art-House Film on “All you have to do”. This sentimental style without soppiness or lament suits Wendy Lee Taylor well and, in a spirit slightly “west-coast be-bop” (Teach me tonight) lets her joy take flight with power and sensitivity. It’s true that’s she has the advantage of a veritable “all-star” of today’s French be-boppers, musicians who illuminated the Franc Pinot in its prime and who distinguish themselves constantly with their own groups: Mourad Benhammou, Fabien Mary, Pierrick Pedron, David Sauzay, Xavier Richardeau, Pierre Christophe, Michael Joussein, are all impeccable and bring a beautiful momentum to the recording, not forgetting the regrettably deceased Luigi Trussardi (29th April 2010). A lovely album: simultaneously rich and simple, classic yet intimate. ~Jean Szlamowicz

All You Have To Do

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Bob Enevoldsen - Smorgasbord

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 60:23
Size: 138,9 MB
Art: Front

(3:52)  1. Iron Works
(5:00)  2. Loaded With Bass
(5:24)  3. Topsy
(8:27)  4. Blues & Rhythm
(5:35)  5. Don't Be That Way
(2:37)  6. Ding Dong, The Witch Is Dead
(2:16)  7. Swingin' On A Star
(3:19)  8. Swinger's Dream
(2:46)  9. My Ideal
(2:27) 10. How Low The Tune
(2:39) 11. John's Jumble
(2:17) 12. You're In Love
(2:50) 13. Thinking Of You
(2:18) 14. No Time For Love
(2:34) 15. Mr. Know-It-All
(2:51) 16. Oh, Look At Me Now
(3:00) 17. Bob's Boy

Back in the early 1950s, jazz musicians were impossibly gifted. A good number not only could play their primary instrument with enormous skill and flair, they often could play quite a few others. This was particularly true on the West Coast, where studio work was abundant but your share depended largely on how many axes you could grind. If you played only the tenor sax, your odds of being called consistently for a job were slim given the competition. But if you played three or more instruments, you could find yourself recording on several sessions a day. One of these highly versatile West Coast jazz musicians was Bob Enevoldsen, who played valve trombone, tenor sax and upright bass. Born in Montana, Enevoldsen (pronounced EE-na-vold-sin) studied music in Montana, served in the army, taught music in  Salt Lake City, and moved to Los Angeles in 1951.

There, he played valve trombone and tenor saxophone with Gerry Mulligan, Shorty Rogers, Shelly Manne and Marty Paich. Soon after he arrived, he learned the bass, perhaps as a way to play with the Harry Babasin Quartet and free up bassist Babasin [pictured] to play the jazz cello.

Enevoldsen also played bass in pianist and singer Bobby Troup's groups from 1954 onward. In 1959, Enevoldsen began working in Las Vegas show bands, and became a staff and studio musician for Steve Allen's TV show from 1962-64. In the decades that followed Enevoldsen remained a steady session and freelance musician on the West Coast. Among Enevoldsen's key recordings of the 1950s are dates with the Gerry Mulligan Tentet (starting in 1953); Shorty Rogers' Shorty Courts the Count (1954); and Bud Shank and Three Trombones (1954), on which he's joined by valve-trombonists Maynard Ferguson and Stu Williamson. Enevoldsen appears on Kenton Presents Jazz: Bill Holman (1954), Russ Garcia's challenging Wigville (1955) and the Marty Paich Dek-tette studio session with Mel Torme (1956). There were singer dates with Anita O'Day and Peggy Lee (1958), as well as swinging ensemble sessions, such as Art Pepper + Eleven (1959). From 1960 onward, Enevoldsen worked on movie soundtracks and TV show themes, and recorded jazz sessions up until his death in 2005.

Perhaps Enevoldsen's finest leadership date from the mid-1950s is Smorgasbord. The album demonstrates his versatility and humor as well as his spirited arranging skills. In addition to being a highly swinging session, it's notable for the musicians who were there and the instruments they played. The recording features Enevoldsen on valve trombone and tenor sax; Marty Paich [pictured] on piano, organ and accordion; Larry Bunker on vibes and drums; Howard Roberts on guitar; Red Mitchell on bass and piano; and Don Heath on drums. Besides the terrific small-group charts by Enevoldsen [pictured], you get to hear Paich play the squeezebox, and he does quite a fabulous job (Swinging on a Star, for example). 

Also spectacular is Larry Bunker on vibes and guitarist Howard Roberts, who too often is overlooked among the crowd of jazz session guitarists in California during this period. As one of jazz's early valve-trombonists, Enevoldsen cannot be compared with Bob Brookmeyer. Bob was and continues to be spectacular, and the two artists weren't in the same league. But Enevoldsen was a solid player and arranger who found steady work playing three different instruments. And he played them with ease and grace. ~ Marc Myers http://www.jazzwax.com/2009/06/bob-enevoldsen-jazz-octopus.html

Personnel:  Bob Enevoldsen - tenor saxophone, valve trombone; Marty Paich - p, accordion, organ; Larry Bunker - vib, p, dr; Howard Roberts – g; Red Mitchell – b; Don Heath - dr

Smorgasbord

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Maria Muldaur - Heart Of Mine: Love Songs of Bob Dylan

Styles: Pop, Vocal
Year: 2006
File: MP3@320K/s
Time: 49:19
Size: 113,5 MB
Art: Front

(4:12)  1. Buckets of Rain
(3:38)  2. Lay Baby Lay (Lay Lady Lay)
(4:15)  3. To Be Alone With You
(3:13)  4. Heart Of Mine
(3:29)  5. Make You Feel My Love
(4:16)  6. Moonlight
(4:53)  7. You're Gonna Make Me Lonesome When You Go
(5:21)  8. Golden Loom
(3:30)  9. On A Night Like This
(4:08) 10. I'll Be Your Baby Tonight
(4:36) 11. Wedding Song
(3:42) 12. You Ain't Goin' Nowhere

Maria Muldaur has been taken by Bob Dylan's music from the very start. They were on the coffeehouse circuit in New York in the early '60s, and she's had occasion to sing his praises from the stage and in Martin Scorsese's film No Direction Home. And while other artists from Joan Baez to Judy Collins have cut entire albums of Dylan's tunes, none of them feels quite like this one. Muldaur, a fine blues and jazz singer, has taken the songs form Dylan's romantic canon and has fashioned them in her own image without losing their original bite, wonder, and humor. Accompanied by her road band and a slew of guests that include Amos Garrett, Danny Caron, and Suzy Thompson, she has created a dreamy, languid, memorable song cycle. 

On first listen, it was a bit off-putting with all the license she took with the material, but on second and repeated listens, it settled in like an old friend on the couch telling stories. Beginning with a slippery, country-tinged bluesy "Buckets of Rain," and moving into a jazz groove on "Lay Lady Lay," (a weak tune by Dylan even if it was a hit) in which she changes the lyrics along gender lines and transforms the tune, perhaps offering a definitive version. The blues return on "To Be Alone with You," and she delivers a wrenching version of "Heart of Mine." The other stellar cuts here are the poignant "Wedding Song," the jaunty Caribbean-flavored "On a Night Like This," the sultry "Make You Feel My Love," and a funky jazz version of "You're Gonna Make Me Lonesome When You Go," which sounds like it could have been produced by Allen Toussaint as does "I'll Be Your Baby Tonight." Recommended. ~ Thom Jurek  http://www.allmusic.com/album/heart-of-mine-love-songs-of-bob-dylan-mw0000348506

Personnel: Maria Muldaur (vocals, fiddle); Danny Caron, Amos Garrett (guitar); Chris Haugen (slide guitar); Joel Jaffe (lap steel guitar, E-bow, shaker, tambourine); Richard Greene & Beryl Marriott (violin); Suzy Thompson (fiddle, accordion); James "Hutch" Hutchinson (bass guitar); Kimberly Bass (background vocals); Cranston Clements (guitar, acoustic guitar); David Torkanowsky (keyboards); Tony Braunagel (drums, percussion).

Heart Of Mine: Love Songs of Bob Dylan

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Hank Crawford - From The Heart

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 38:41
Size: 88,9 MB
Art: Front

(4:19)  1. Don't Cry Baby
(3:38)  2. Sweet Cakes
(3:17)  3. You've Changed
(3:51)  4. Baby Let Me Hold Your Hand
(4:37)  5. Sherri
(3:06)  6. The Peeper
(5:00)  7. But On The Other Hand, Baby
(5:41)  8. Stoney Lonesome
(5:08)  9. What Will I Tell My Heart

Recorded in 1962 with most of the same band that made Soul Clinic, Hank Crawford turns in a simmering, deep soul performance that draws in equal parts from Ray Charles' R&B, James Moody's blues and Duke Ellington's swing. Accompanied by Texas tenor giant David "Fathead" Newman, baritone saxophonist Leroy Cooper, trumpeters John Hunt and Phil Guilbeau, bassist Edgar Willis and drummer Bruno Carr (with Sonny Forrest on guitar on three tracks), Crawford follows the soul-blues Muse into the night on this set. His four originals, including "Stoney Lonesome," "The Peeper" and "Sherri," are high points, so are his readings of Percy Mayfield's classic "But on the Other Hand," and Charles' "Baby Let Me Hold Your Hand." 

The bookends on the set are the Unger-Bernie-Johnson blues finger-popper "Don't Cry Baby" and the elegant, melancholy ballad "What Will I Tell My Heart." From the Heart features Crawford digging deep into the Memphis tradition for expression. His own playing is exceptional as is that of Newman. These solos are as notable for their restraint in the service of melody as they are for their depth of expression. This is an early highpoint for Crawford. ~ Thom Jurek  http://www.allmusic.com/album/from-the-heart-mw0000142533

From The Heart

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