Wednesday, April 15, 2015

Percy Sledge - Percy Sledge Live

Size: 172,9 MB
Time: 73:56
File: MP3 @ 320K/s
Released: 2008
Styles: Soul, R&B
Art: Front

01. My Special Prayer (4:44)
02. Cover Me (4:05)
03. Take Me To Know Her (3:43)
04. My Girl (4:33)
05. Let Me Wrap You In My Warm And Tender Love (5:12)
06. Bring It Home To Me (4:39)
07. At The Dark End Of The Street (3:02)
08. Sitting On The Dock Of The Baby (3:39)
09. 24-7-365 (3:44)
10. It Tears Me Up (2:54)
11. I'll Be Your Everything (3:28)
12. Blue Water (4:11)
13. Out Of Left Field (4:12)
14. Big Blue Diamonds (3:37)
15. White Shade Of Pale (5:04)
16. Sudden Stop (3:16)
17. Going Home Tomorrow (3:53)
18. When A Man Loves A Woman (5:51)

Percy Sledge (November 25, 1940 – April 14, 2015)

Percy Sledge will forever be associated with "When a Man Loves a Woman," a pleading, soulful ballad he sang with wrenching, convincing anguish and passion. Sledge sang all of his songs that way, delivering them in a powerful rush where he quickly changed from soulful belting to quavering, tearful pleas. It was a voice that made him one of the key figures of deep Southern soul during the late '60s. Sledge recorded at Muscle Shoals studios in Alabama, where he frequently sang songs written by Spooner Oldham and Dan Penn. Not only did he sing deep soul, but Sledge was among the pioneers of country-soul, singing songs by Charlie Rich and Kris Kristofferson in a gritty, passionate style. During the '70s, his commercial success quickly faded away, but Sledge continued to tour and record into the '90s.

While he worked as a hospital nurse in the early '60s, Sledge began his professional music career as a member of the Southern soul vocal group the Esquires Combo. On the advice of local disc jockey Quin Ivy, he went solo in 1966. Ivy fancied himself a record producer and he agreed to help shape Sledge's song "When a Man Loves a Woman" into a full-fledged single, hiring Spooner Oldham to play a distinctive, legato organ phrase. Ivy released the single independently and quickly licensed it to Atlantic Records, who quickly bought out Sledge's contract. "When a Man Loves a Woman" became a huge hit in the summer of 1966, topping both the pop and R&B charts. It was quickly followed that year by two Top Ten R&B hits, "Warm and Tender Love" and "It Tears Me Up," which were both in the vein of his first hit. Although few of his subsequent singles were hits -- only "Take Time to Know Her" reached the R&B Top Ten in 1968 -- many of the songs, which were often written by Dan Penn and/or Oldham, were acknowledged as classics among soul aficionados.

Despite his strong reputation among deep soul fans, Sledge's sales had declined considerably by the early '70s, and he headed out on the club circuit in America and England. In 1974, he left Atlantic for Capricorn Records, where he surprisingly returned to the R&B Top 20 with "I'll Be Your Everything." Instead of re-igniting his career, the single was a last gasp, as far as chart success was concerned. Over the next two decades he continued to tour, and in the late '80s, "When a Man Loves a Woman" experienced a resurgence in popularity, due to its inclusion in movie soundtracks and in television commercials. Following its appearance in a 1987 Levi commercial in the U.K., the single was re-released and climbed to number two. Two years later, he won the Rhythm and Blues Foundation's Career Achievement Award. Sledge was able to turn this revived popularity into a successful career by touring constantly, playing over 100 shows a year into the '90s. In 1994, he released Blue Night, his first collection of new material in over a decade, to uniformly positive reviews. ~by Stephen Thomas Erlewine

Percy Sledge Live

Sue Ramsay - Once Upon A Summertime

Size: 123,3 MB
Time: 53:00
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Comment Allez-Vous (2:36)
02. A Sleepin' Bee (3:35)
03. Les Moulins De Mon Coeur (4:22)
04. The Water Is Wide (4:37)
05. Charade (2:53)
06. Once Upon A Summertime (3:40)
07. Gypsy In My Soul (2:48)
08. If You Go Away (3:37)
09. Summer Night (3:08)
10. Moon And Sand (4:53)
11. I Will Wait For You (3:50)
12. The Folks Who Live On The Hill (5:25)
13. 'Tis Autumn - September In The Rain (4:33)
14. Charade - Alternate (2:57)

Between spinning records at CJTT and digging deep into their jazz collection as a teenager and growing up around a piano as a means of socializing.....it was only natural Sue would become a singer. She came from a long line of them. Her grandfather, father and aunt all sang.....and yes, she grew up around a piano. Her Daddy also was a trumpet player and had a big band in his younger days. Lets say, she knew from the get go, singing was her thing .


Her professional musical journey began in the early 80's while studying music at Sheridan College . A summer run at the Deerhurst Resort in Huntsville led to a 2 year tour throughout Canada and several eastern States with a 4 piece vocal jazz ensemble called the Sheridan Way . Suzanne then relocated to the Hamilton area. While working & attending McMaster University , she did studio session work at Grant Avenue Studios and sang with several local bands at area night and golf clubs.

Then the millennium happened! She got married, moved to Niagara wine country and passionately put together her dream project…a retrospective look at late 50's jazz. Sue performed at the Niagara Casino for over 18 months and continued to play various jazz venues in the Niagara area. She was content to work with her trio when she reconnected with Mike Stanutz and decided it was time to try her hand at writing lyrics. In 2006, she and Mike Stanutz released their first all original cd, Reunion. Suzanne's band quickly became a quintet....and she was very pleased to perform at MacMaster's Convocation Hall as well as the Burlington Blues and Jazz Festival. 2011 saw the release of a new Cd from she and Mike entitled "Dichotomy" . The fifties crashed into the sixties. It's a lot of jazz....some definite 60's grooves and a hint of folk. Definitely Canadian. They topped it off with 24 months of "hippy jazz". It was so fun....but family comes first, Mike became a rep hockey Dad and coach and Sue switched her focus to her trio.


This is where life gets really interesting as we're here and now......Sue and her trio, Bob Shields on guitar and Clark Johnston on bass have recorded her latest cd "Once Upon a Summertime". They have just finished the Twilight Jazz Series, and are poised for Jazz on the Ridge.....the future looks bright. We'll see what we see...... :) Stick around. I think things are about to get really interesting.

Once Upon A Summertime

Toots Thielemans - Now Playing Toots Thielemans

Size: 244,3 MB
Time: 105:54
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Bluesette (Feat. Quincy Jones) (7:00)
02. Flirt (2:44)
03. Big Bossa (Feat. Ferdinand Povel) (4:00)
04. Hummin' (Feat. Valerie Simpson) (8:06)
05. Sicilienne (Feat. Kenny Werner) (4:27)
06. For My Lady (Feat. The Shirley Horn Trio) (4:28)
07. Vai Passar (Feat. Sivuca) (5:09)
08. Wave (Feat. Elis Regina) (3:07)
09. A Volta (Feat. Elis Regina) (4:28)
10. Nocturne (3:04)
11. Sinatra Medley All The Way - My Way (Feat. Kenny Werner (5:51)
12. Autumn Leaves (Feat. Kenny Werner (6:00)
13. Body And Soul (Feat. George Shearing Quintet) (2:33)
14. Windows (Feat. Kenny Werner (3:32)
15. Inspiration (3:56)
16. Dolphin Dance (Feat. Kenny Werner (7:03)
17. C To G Jam Blues (2:55)
18. Disney Medley: When You Wish Upon A Star/Someday My Prince Will Come (Feat. Kenny Werner (5:35)
19. You're My Blues Machine (3:06)
20. Tenor Madness (8:07)
21. Bill Evans Medley: Time Remembered/Very Early (Feat. Kenny Werner (7:05)
22. What A Wonderful World (Feat. Kenny Werner (3:31)

Although preceded by Larry Adler (who has actually spent much of his career playing popular and classical music), Toots Thielemans virtually introduced the chromatic harmonica as a jazz instrument. In fact, ever since the mid-'50s, he has had no close competitors. Toots simply plays the harmonica with the dexterity of a saxophonist and has even successfully traded off with the likes of Oscar Peterson.

Toots Thielemans' first instrument was the accordion, which he started when he was three. Although he started playing the harmonica when he was 17, Thielemans' original reputation was made as a guitarist who was influenced by Django Reinhardt. Very much open to bop, Thielemans played in American GI clubs in Europe, visited the U.S. for the first time in 1947, and shared the bandstand with Charlie Parker at the Paris Jazz Festival of 1949. He toured Europe as a guitarist with the Benny Goodman Sextet in 1950, and the following year moved to the U.S. During 1953-1959, Toots was a member of the George Shearing quintet (mostly as a guitarist) and has freelanced ever since. He first recorded his big hit "Bluesette" (which featured his expert whistling and guitar) in 1961, and ever since has been greatly in demand (particularly for his harmonica and his whistling) on pop records (including many dates with Quincy Jones) and as a jazz soloist. Toots' two-volume Brasil Project was popular in the 1990s and found him smoothly interacting on harmonica with top Brazilian musicians. ~ by Scott Yanow

Now Playing Toots Thielemans

Lisa Bjorange Quintet - Bang!

Size: 140,3 MB
Time: 60:36
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Outside The Box (6:11)
02. Lay All Your Love On Me (6:31)
03. Help! (6:01)
04. Go Away (4:07)
05. Gimme Gimme Gimme (5:24)
06. You Need To Be Gentle (4:43)
07. Sos (6:45)
08. Kill The Doubts (6:26)
09. Falling Fast (7:01)
10. Mamma Mia (7:23)

Lisa Björänge - Voice, Klas Toresson - Tenor Saxophone, Fabian Kallerdahl - Piano, Pär-Ola Landin - Double Bass & Jon Fält - Drums

Swedish vocalist and improviser Lisa Björänge transforms ABBA into playful jazz!

A jazz singer that pushes musical boundaries. With an adventurous group of musicians she plays her own music and presents ABBA tunes in jazz versions.

”Behind the microphone, one of the most expressive of all the young jazz vocalists that have made an appearance on the jazz scene lately. Lisa Björänge dares to show herself from many sides. Tender at times, bold at others, composed when it is appropriate and damn intensive at other crucial moments. Her scat singing is high class and the collaboration with her band members is a joy to see and hear.”

”Lisa Björänge sings open and lively while staying true to the melodies and avoiding sounding pretencious in her frasing. With Mattias Windmo on guitar, Klas Toresson on saxophone, Pär-Ola Landin on bass and Jon Fält on the drums, she’s got a strong accompaniment- and what’s maybe the most important is that they sound like a band and not hired musicians.”

”You can hear and tell by the choice of songs that Lisa, despite the fact that this is her debut album, has a whole lot of experience. She has written all but four of the album’s thirteen tracks and they are of high quality. She sings with great character while maintaining full control and has a beautiful range with a poetic touch. It doesn’t get much better than this. Arguably one of this year’s big breakthroughs. An extra plus for her quartet that lifts her up to these heights.”

Bang!

Syberen Van Munster - Plunge For Distance

Size: 111,2 MB
Time: 47:57
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Label: Syberen Van Munster
Art: Front

01. Royksopp (5:52)
02. Elegy For Edgar Adams (5:39)
03. You Wore Plaid (5:09)
04. Do You Know Reinier Baas (3:36)
05. Diminuition (5:28)
06. La Sorella (4:25)
07. Midlife Mohawk (5:50)
08. Cais (5:35)
09. Plunge For Distance (6:21)

A fresh talent from the Low Countries, Dutch guitar player and composer Syberen van Munster didn’t come to NYC to be ‘just another jazz guitarist,’ because his opening salvo album Plunge For Distance isn’t just another jazz debut album. A graduate of the Conservatory of Amsterdam and active in the Big Apple since 2009, van Munster has had the adaptive skills to thrive in whatever this unrelenting music scene throws at him, but Plunge For Distance, that opening salvo, is where he goes on the offensive.

He carefully assembled his quintet with Ben van Gelder (alto sax), Vitor Gonçalves (accordion, Wurlitzer), Rick Rosato (bass), and Mark Schilders (drums), and wrote his songs around them. Syberen van Munster’s music is a sort of blend fusion of jazz and fusion jazz, where intelligent melodic development that’s easy to embrace is his main strength as a composer. He generously shares the spotlight with his band mates in order to make his songs and their heady execution the real star of this strong debut offering.

Gonçalves’ accordion supplies an Old World charm to “Cais,” where it is instantly apparent that van Munster is a jazz composer with classical insight. A long, probing intro gives way to a more somber mood, and the whole piece is wrapped up with a sumptuous bass solo from Rosato. Van Munster himself plays mostly in a comp role, but without causing much fuss, enriches the melodicism of the song. “Elegy For Edger Adams” is also a song of two personalities, pacing slow and deliberate for most of the way, then breaking out into an odd-metered jig for the last third, a launchpad for van Munster’s liquid bop lines.

For “Diminuition”, Syberen van Munster’s lead is understated but oh so tasteful, and by swinging over the rock beat of “Do You Know Reinier Baas?”, he subtly subverts convention. The title cut features the leader soloing in a fuzz-toned fusion style over the slow march, but it’s no rapid race for notes; he prefers instead to makes each note carry resonance. “Midwife Mohawk” is the energy song of the set; shifty rhythms pace this sax-led song with accordion backing and van Munster turns again to fuzz tone for his solo, this time playing it with rapid fluidity. He and Rosato combine for an unexpectedly muscular bass riff that prods van Gelder’s sax solo to the next level.

The improvs don’t even tell half of the story of this record, however, as Syberen van Munster’s one-of-a-kind compositional style takes left turns without much fanfare and form a coherent whole with individual parts worked into the fabric of the songs. Take “Röyksopp,” an interesting, twisting melody with a guitar/bass riff acting as a counterpart to van Gelder’s single note chirps and Gonçalves on Wurlitzer. Almost everyone takes a solo, but the multiple changes built into the song remain.

Right out the box, Syberen van Munster is a fully formed composer, guitarist and bandleader with his own way of doing things by pulling together familiar elements into a new, intelligent signature language. Moreover, he didn’t have to be fast, loud or atonal to make his music uniquely interesting and captivating. That’s the major achievement of Plunge For Distance. ~S. Victor Aaron

Plunge For Distance

Elisabetta Antonini - The Beat Goes On

Size: 155,3 MB
Time: 66:34
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Cookin' At The Continental (3:34)
02. New York Blues (5:32)
03. On The Road (4:49)
04. Orujo (7:46)
05. For Miles (5:32)
06. Requiem For Bird Charlie Parker (4:38)
07. Holy (2:15)
08. Woodstock (4:30)
09. Howl! (7:23)
10. Well You Needn't (5:45)
11. On Nirvana (2:59)
12. Lsd (3:22)
13. Blowin' In The Wind (8:23)

"This is a fantastic recording honoring the Beat Generation and to say this recording is wonderful would definitely be an understatement. This is an album full of great musicianship, strong knowledge of the bebop era and a deep, soulful understanding of jazz. I love you all dearly!" ~Sheila Jordan

Studying voice and specialises in the stylings and language of jazz in the United States and Italy with some of the more notable figures of international jazz (M. Murphy, B. Harris, N. Winstone, J. Niemack, J. Clayton e B. Stoloff, M.P. De Vito, R. Vitro, R. Treece,).
Sophisticated singer, as well as a talented composer and arranger is active in the jazz sphere participating in shows and festivals all over Italy presenting a vast repertoire that goes from the American Songbook to original works and to contemporary jazz, collaborating with the best musicians (K. Wheeler, P. McCandless, V. Tsabropoulos, A. Gravish, G. Petrella, P. Lussu, L. Tucci, P. Ciancaglini, F. Bosso, N. Conte, G. Renzi, C. Filippini, P. Iodice, D. Scannapieco, D. Tittarelli, A. Bassi, G. Sanjust, B. D’Amato, L. Mannutza, M. Ionata, T. Pancella, L. Bulgarelli, etc.).

Vocalist for various lounge music productions collaborating with producer-dj Nicola Conte in the live presentation of his successful Other Directions recorded with the prestigious Blue Note label.
Co-author and soloist on the project Different Lands, multimedia intersection between the worlds of experimental electronic music, progressive rock, jazz and world music, with whom the cd entitled Cities of Dreams received widespread critical acclaim.
Collaborated with composer and arranger Fabrizio Cardosa participating in the recording and theatrical presentation of some of his vocalise operas with the vocal ensemble Kammerton.
Was a part of the staging of the dance opera Jazz Amore with the music of Francesco Pascarito, choreography of Gabriella Furlan, seen in various Italian theatres from which has been recently realised the cd “Ho Sognato un Blues”.
Solo voice of the orchestra directed by M° Gerardo di Lella, performing at the Auditorium Parco della Musica in a project dedicated to the music of Piero Piccioni; of the group Big Night Jive, swing band of the ’50s, recording the cds Las Vegas Stile and Io Mi Ricordo, with the participation of the famous actor Franco Nero; The AMIT Orchestra in a dedication to Billie Holiday within the project “Jazz: Istruzioni per l’uso” directed by M° Massimo Nunzi and staged at Teatro Sistina di Roma.

Numerous projects originated by Elisabetta can be appreciated for the refinement of compositions and arrangements, as:
“Nuance”, the forthcoming cd with the Harp&Voice Duo with the harpist Marcella Carboni by Blue Serge, which presents a contemporary jazz repertoire using live electronics and effects, from European jazz tunes to Brazilian classics and jazz standards;
“Women Next Door”, a jazz mainstream female project with Gaia Possenti, Federica Michisanti e Danielle Di Majo, featuring Giorgio Cuscito at vibes, mostly inspired to the music and the style of George Shearing, recently recorded in the homonymous cd Women Next Door;
“Un Minuto Dopo”. With Alessandro Gwis on piano and live electronics, and Gabriele Coen on clarinets, is a work dedicated to original music and lyrics, recording a cd with the extraordinary participation of oboist Paul McCandless, member of the famous group Oregon;
“In A New York Minute”, a drumless hard bop project with arrangements of unknown jazz compositions from mainstream, with Luca Mannutza, Francesco Puglisi e Max Ionata.
Jazz educator in jazz voice, improvisation and director of the jazz chorus at Saint Louis Music School of Rome; Department of Associated Jazz Musicians of Naples, carrying out singing lessons and jazz workshops all over Italy. Teaching at the prestigious yearly jazz summer clinics directed by Paolo Fresu.

The Beat Goes On

Ernestine Anderson - My Kinda Swing

Bitrate: MP3@320K/s
Time: 32:39
Size: 74.8 MB
Styles: R&B, Vocal jazz
Year: 1960/2002
Art: Front

[2:10] 1. My Kinda Love
[3:17] 2. Trouble Is A Man
[3:02] 3. See See Rider
[2:37] 4. Moonlight In Vermont
[2:20] 5. Land Of Dreams
[2:34] 6. Black Moonlight
[3:17] 7. All My Life
[2:33] 8. Mound Bayou
[3:25] 9. I'll Never Be The Same
[2:15] 10. It Don't Mean A Thing (If It Ain't Got That Swing)
[2:44] 11. Lazy Afternoon
[2:21] 12. They Didn't Believe Me

Ernestine Anderson was 32 years old at the time of this 1960 session, not long before her career inexplicably fell into the doldrums. This album finds her in great form, supported by a cast of musicians including Clark Terry, Hank Jones, Yusef Lateef, Ernie Royal, Frank Rehak, and Kenny Burrell, with terrific arrangements by Ernie Wilkins. She achieves the perfect balance in her interpretation of "Trouble Is a Man," a masterful ballad written by Alec Wilder, and she's clearly in her element in the hard-rocking blues "See See Rider." Terry's striking trumpet almost provides a contrasting vocal alongside Anderson during "All My Life," while her understated approach to a quick run through "It Don't Mean a Thing (If It Ain't Got That Swing)" showcases Jones and Burrell. Lateef's oboe adds to the exotic flavor of "Lazy Afternoon." ~Ken Dryden

My Kinda Swing

Fabien Mary - Quartet + One

Bitrate: MP3@320K/s
Time: 65:59
Size: 151.1 MB
Styles: Big band, Trumpet jazz
Year: 2010
Art: Front

[5:40] 1. It's About Time
[6:53] 2. Round Trip
[8:15] 3. Little Stars
[3:32] 4. Turbo
[6:04] 5. Sweet And Lovely
[5:42] 6. Change Partners
[3:52] 7. The Things We Did Last Summer
[8:31] 8. Apothegm
[4:57] 9. Sleeves
[6:18] 10. Is That So
[6:10] 11. Where Is The Bar

Fabien Mary, Hugo Lippi, Fabien Marcoz, Mourad Benhammou, Frank Basile. Fabien Mary has received five nominations for the Django Reinhardt Prize "French musician of the year" by the Academy of Jazz between 2008 and 2013.

Born in 1978 in Normandy, Mary Fabien started his career when he settled in Paris at the age of twenty. In a very short time, he received the coveted Django d'Or Young Talent prize for his debut album "Twilight" and the Jazz à Juan Revelation Prize. Fabien remained busy since then, touring with his own band or sharing the stage and recording with a long list of great musicians which includes Wynton Marsalis, Diana Krall, Benny Golson, Johnny Griffin, Harold Mabern, Steve Turre, Michel Legrand, Dave Liebman or Archie Shepp ...

A brillant composer and arranger, Fabien Mary created his quartet in 2002 with which he recorded two albums : "Twilight" and "Chess". He then put an octet together. The band features saxophonists Pierrick Pedron, David Sauzay and Thomas Savy, as well as Jerry Edwards on trombone and can be heard on the album "Four and Four" released in 2007. In 2010 was released "Quartet + One", an album recorded as a quintet with the American bariton saxophonist Frank Basile. All these projects focuse on a repertoire made of original compositions as well tunes written by some of Fabien's favorites: Jimmy Heath, Kenny Dorham, Duke Pearson...

Quartet + One

Terry Hanck - Night Train

Bitrate: MP3@320K/s
Time: 54:31
Size: 124.8 MB
Styles: R&B, Modern electric blues
Year: 2005
Art: Front

[5:05] 1. Night Train
[3:32] 2. Junior's Walk
[6:05] 3. Smilin' Through My Tears
[3:48] 4. All Around The World
[3:07] 5. Ooh Lawdy My Baby
[5:13] 6. Run Run Baby
[3:30] 7. Wish I Had Never
[5:17] 8. Somebody Have Mercy
[3:47] 9. Big Blue Diamonds
[4:16] 10. Let The Four Winds Blow
[6:02] 11. Another Light
[4:42] 12. Have Mercy Baby

Night Train is a competent journeyman set of old school-style R&B, mixing covers with Terry Hanck originals. The covers give a good sense of where Hanck is coming from, as he selects songs from the catalogs of Sam Cooke, Fats Domino, Hank Ballard, and Little Willie John. He plays good smoky saxophone in the spirit of Junior Walker, "Junior's Walk" being an obvious homage to that Motown great. As a singer, he's not as good; the vocals are only adequate. With its mix of New Orleans rock & roll, early soul, and some blues, it's very much a record steeped in 1950s and 1960s forms of R&B, though one that keeps the torch burning rather than igniting it with a distinctive creative voice. ~Richie Unterberger

Night Train

Billy Bauer - Plectrist

Bitrate: MP3@320K/s
Time: 54:32
Size: 124.8 MB
Styles: Bop, Guitar jazz
Year: 1956/2000
Art: Front

[4:09] 1. It's A Blue World
[2:30] 2. Maybe It's Because I Love You Too Much
[4:04] 3. Lincoln Tunnel
[4:43] 4. Night Cruise
[2:58] 5. Too Marvelous For Words
[3:38] 6. Lady Estelle's Dream
[3:11] 7. You'd Be So Nice To Come Home To
[3:44] 8. When It's Sleepy Time Down South
[3:37] 9. The Way You Look Tonight
[3:57] 10. Lullaby Of The Leaves
[2:10] 11. Blue Mist
[3:48] 12. The Way You Look Tonight (alt 1)
[3:50] 13. The Way You Look Tonight (alt 2)
[3:50] 14. The Way You Look Tonight (alt 3)
[4:15] 15. Lullaby Leaves

Bass – Milt Hinton; Drums – Osie Johnson; Guitar – Billy Bauer; Piano – Andrew Ackers. Recorded 1956 at Fine Sound, New York City: tracks 1-4 on January 23; tracks 5-15 on March 12. Tracks 12-15 previously unissued.

Bauer had a natural, swinging style that was essential for keeping 1940s big-band rhythm sections on track. A superb sight-reader, Bauer had great taste in chord structures and improvisational lines. What's more, he was confident and clear, which is why he was in such demand.

As the big bands gave way to smaller ensembles in the late 1940s and early 1950s, guitarists increasingly were called upon to keep tempos and set moods. Like Mundell Lowe, Barney Kessel, Kenny Burrell, Johnny Smith, Dave Barbour, Chuck Wayne, Jimmy Raney and many other guitarists, Bauer was a journeyman, joining groups for brief periods and record dates before being yanked away by another leader or record producer, especially in the 10-inch LP era.

Right after the turn of the year in 1956, Bauer finally relented to Norman Granz's nagging and agreed to record Plectrist. The word "plectrist" was made up by the session's producer and means one who skillfully uses a plectrum or a triangular plastic pic on the guitar's strings. The first four tracks of Plectrist were recorded on January 23, 1956, with another six captured on March 12. Bauer's playing swings on the up-tempo tracks and features gorgeous chords on the ballads. Bauer is so good on the album that he sounds as if he's accompanying himself. What you notice throughout, in addition to Bauer's beautiful taste, is Osie Johnson's drums. Johnson appeared on dozens of recordings in the 1950s, but it's rare to hear his drumming style and technique so distinctly. On Plectrist, you can hear clearly just how gifted a beat-keeper he was and why he was a favorite of so many session leaders of the period. Milt Hinton, of course, keeps rock solid time all the way through. Again, because this is a small group with guitar as the lead, you hear exactly why Hinton was so beloved by session and club artists. Andrew Ackers is the least-known player on the date. Ackers was a session pianist who worked steadily in the 1940s with bandleaders Jerry Wald and George Paxton, and with Carmen McRae in 1955.

Plectrist is a snapshot of the level of taste and talent that existed in early 1956, especially among guys who went from studio to studio earning a living on record dates. It's a sleeper album that's a must-own for any collection.

Plectrist

John Patton - The Capitol Vaults Jazz Series (3-Disc Set)

John Patton, often known as Big John Patton, was one of Blue Note's busiest soul-jazz organists during the golden age of the Hammond B-3s. Between 1963 and 1970 Patton cooked up 11 albums' worth of material as a leader and sat in with a dizzying procession of skilled improvisers, and his best work has since been compared with that of tragically short-lived innovator Larry Young. Patton also enjoyed a long overdue comeback during the '90s when he collaborated with saxophonist and composer John Zorn.

Patton was born in Kansas City, MO, on July 12, 1935. His mother was a church pianist who encouraged her son to learn the instrument, which he began to play regularly at the age of 13. During the mid-'50s Patton worked in bands accompanying rhythm & blues singer Lloyd Price. By 1961 he had switched over to the organ, advancing along the trail blazed by Jimmy Smith, Shirley Scott, and Brother Jack McDuff. It was alto saxophonist Lou Donaldson who initially took Patton the organist into a recording studio -- first on May 9, 1962, to tape an LP to be called The Natural Soul, then on January 24, 1963, for a lengthy session that yielded enough material for the albums Good Gracious and Signifyin'.

On February 2, 1963, Patton sat in -- playing only the tambourine -- on Jimmy Smith's Rockin' the Boat session. Within weeks he had found his own groove and spent the rest of that year making great music as leader and sideman, exchanging ideas and energies with his close collaborator guitarist Grant Green (on the album Am I Blue?) and with saxophonists George Braith (on Patton's Blue John), Harold Vick (on Steppin' Out!), Johnny Griffin (on Soul Groove), Don Wilkerson (on Shoutin'), and Red Holloway (on Burner). Over the next few years Patton recorded with trumpeter Richard Williams (on Patton's Way I Feel) and vibraphonist Bobby Hutcherson (on Patton's Let 'Em Roll), and also appeared as a catalytic agent on Grant Green's album Iron City, George Braith's Laughing Soul, Clifford Jordan's Soul Fountain, and drummer Grassella Oliphant's Grass Is Greener with trumpeter Clark Terry and saxophonist Harold Ousley. In 1968 Patton's recording unit included saxophonists Junior Cook and Harold Alexander. The last of his albums from this period (Accent on the Blues and Memphis to New York Spirit) featured saxophonists Marvin Cabell and George Coleman as well as guitarist James Blood Ulmer.

After 1970 Patton quit the scene for a long while, quietly residing in East Orange, NJ. He contributed to vibraphonist Johnny Lytle's Everything Must Change in 1977, recorded his own Soul Connection in 1983 with guitarist Melvin Sparks and visionary trombonist Grachan Moncur III, then cut two albums with guitarist Jimmy Ponder: Mean Streets: No Bridges (1987) and Jump (1988). Big John Patton's comeback began in 1993-1994 with two albums featuring saxophonist John Zorn: Blue Planet Man and Minor Swing. Here he touched upon edgy ground similar to that which he had explored in 1968. His last major album, This One's for J.A., was recorded in December 1996. On March 19, 2002, 66-year-old John Patton succumbed to diabetes and renal failure. Overshadowed by organists who for one reason or another enjoyed greater popularity, and still underestimated by many jazz critics and historians, Patton and his recorded legacy are ripe and ready for open-minded reevaluation. ~bio by arwulf arwulf

Album: The Capitol Vaults Jazz Series (Disc1)
Bitrate: MP3@320K/s
Time: 71:17
Size: 163.2 MB
Styles: Hard bop, Soul jazz
Year: 2011

[5:38] 1. The Silver Meter
[5:01] 2. I'll Never Be Free
[5:58] 3. Spiffy Diffy
[5:59] 4. Along Came John
[5:59] 5. Gee Gee
[5:41] 6. Pig Foots
[7:26] 7. The Rock
[8:36] 8. The Way I Feel
[6:42] 9. Jerry
[7:22] 10. Davene
[6:49] 11. Just 3 4

The Capitol Vaults Jazz Series (Disc1)

Album: The Capitol Vaults Jazz Series (Disc2)
Bitrate: MP3@320K/s
Time: 61:50
Size: 141.6 MB
Styles: Hard bop, Soul jazz
Year: 2011

[7:38] 1. Fat Judy, Pt. 1
[6:15] 2. Oh Baby
[5:36] 3. Each Time
[7:49] 4. One To Twelve
[6:32] 5. Night Flight
[6:29] 6. Good Juice
[5:39] 7. String Bean
[8:33] 8. I Want To Go Home
[7:15] 9. Early A.M

The Capitol Vaults Jazz Series (Disc2)

Album: The Capitol Vaults Jazz Series (Disc3)
Bitrate: MP3@320K/s
Time: 58:20
Size: 133.5 MB
Styles: Hard bop, Soul jazz
Year: 2011
Art: Front

[6:06] 1. Dirty Fingers
[6:36] 2. Minor Swing
[6:44] 3. Daddy James
[5:32] 4. Ding Dong
[9:08] 5. Congo Chant
[4:38] 6. Alfie's Theme
[6:07] 7. Soul Man
[6:52] 8. Understanding
[6:33] 9. Chitlins Con Carne

The Capitol Vaults Jazz Series (Disc3) 

Rachel Sutton - Trouble In Mind EP

Bitrate: MP3@320K/s
Time: 25:48
Size: 59.1 MB
Styles: Jazz-blues vocals
Year: 2013
Art: Front

[2:46] 1. My Heart Belongs To Daddy
[5:35] 2. New York State Of Mind
[5:09] 3. It Ain't Necessarily So
[3:42] 4. Louisiana 1927
[2:40] 5. Trouble In Mind
[5:56] 6. Embraceable You

thank you der bajazzo for the link to the following info:

Rachel Sutton has worked as both an actress and singer. Her rich tone and unerring sense of swing coupled with her background in theatre makes her an engaging interpreter of both classic jazz and more contemporary repertoire. Rachel not only sings the music, she lives the lyric.

Rachel was born and raised in the Kent countryside and grew up listening to the romantic ballads of Cole Porter and George Gershwin, together with the soulful sounds of Stevie Wonder and Billy Joel.

A theatre student at Glamorgan University and The Welsh College of Music and Drama, she went on to play some of the lead roles in Shakespeare, touring with The Cambridge Theatre Company and Illyria across the UK and Europe. Her appearance in the award winning rock musical 'The Inconsiderate Aberrations of Billy the Kid' at Edinburgh propelled Rachel into the world of singing full time. After settling in London, Rachel worked as a backing singer with various bands before moving on to become a solo performer. She now collaborates with some of the best musicians on the jazz scene and her extensive repertoire, including her own compositions, is both exciting and moving for her audiences.

Rachel has performed sell out gigs at top London jazz clubs as well as venues and festivals across the UK and abroad. Her theatrical training is at the core of every song, and her flair for entertainment and easy rapport with an audience is gaining her a first class reputation.

Trouble In Mind

Charlie Byrd - Jazz 'n' Samba

Bitrate: MP3@320K/s
Time: 41:11
Size: 94.3 MB
Styles: Samba, Latin jazz
Year: 1995
Art: Front

[2:19] 1. Limehouse Blues
[2:43] 2. Take Care Of Yourself
[2:02] 3. Jazz 'n' Samba
[2:43] 4. A Man And A Woman
[2:22] 5. Sweet Georgia Brown
[2:23] 6. Chung King
[3:18] 7. Bluesette
[2:10] 8. When Your Lover Has Gone
[1:26] 9. Someone To Light Up My Life
[2:29] 10. Willow Weep For Me
[3:45] 11. Danza No. 5
[2:47] 12. Carolina In The Morning
[2:18] 13. One Note Samba
[3:07] 14. Things Ain't What They Used To Be
[3:05] 15. Oh, Lady Be Good
[2:07] 16. It Don't Mean A Thing (If It Ain't Got That Swing)

Charlie Byrd (acoustic guitar); Herb Ellis (electric guitar); Joe Byrd (bass); Bill Reichenbach (drums). Recorded in 1965.

Tasteful, low-key, and ingratiatingly melodic, Charlie Byrd had two notable accomplishments to his credit -- applying acoustic classical guitar techniques to jazz and popular music and helping to introduce Brazilian music to mass North American audiences. Born into a musical family, Byrd experienced his first brush with greatness while a teenager in France during World War II, playing with his idol Django Reinhardt. After some postwar gigs with Sol Yaged, Joe Marsala and Freddie Slack, Byrd temporarily abandoned jazz to study classical guitar with Sophocles Papas in 1950 and Andrés Segovia in 1954. However he re-emerged later in the decade gigging around the Washington D.C. area in jazz settings, often splitting his sets into distinct jazz and classical segments. He started recording for Savoy as a leader in 1957, and also recorded with the Woody Herman Band in 1958-59. A tour of South America under the aegis of the U.S. State Department in 1961, proved to be a revelation, for it was in Brazil that Byrd discovered the emerging bossa nova movement. Once back in D.C., he played some bossa nova tapes to Stan Getz, who then convinced Verve's Creed Taylor to record an album of Brazilian music with himself and Byrd. That album, Jazz Samba, became a pop hit in 1962 on the strength of the single "Desafinado" and launched the bossa nova wave in North America. Thanks to the bossa nova, several albums for Riverside followed, including the defining Bossa Nova Pelos Passaros, and he was able to land a major contract with Columbia, though the records from that association often consisted of watered-down easy listening pop. In 1973, he formed the group Great Guitars with Herb Ellis and Barney Kessel and also that year, wrote an instruction manual for the guitar that has become widely used. From 1974 onward, Byrd recorded for the Concord Jazz label in a variety of settings, including sessions with Laurindo Almeida and Bud Shank. He died December 2, 1999 after a long bout with cancer. ~bio by Richard S. Ginnell

Jazz 'n' Samba

Joya Sherrill - Joya Sherrill Sings Duke

Styles: Jazz, Vocal
Year: 1999
File: MP3@320K/s
Time: 33:34
Size: 77,4 MB
Art: Front

(2:15)  1. Mood Indigo
(3:48)  2. Prelude To a Kiss
(1:55)  3. I'm Beginning to See the Light
(2:49)  4. Sophisticated Lady
(1:48)  5. Kissing Bug
(2:22)  6. In A Sentimental Mood
(2:35)  7. Duke's Place
(2:50)  8. I'm Just a Lucky So and So
(3:53)  9. Day Dream
(3:32) 10. Things Ain'T What They Used To Be
(2:48) 11. Just Squeeze Me (But Don't Tease Me)
(2:52) 12. A Flower Is a Lovesome Thing

One of the best singers who toured with Duke Ellington, she seemed to be a natural choice for a feature album, only this release was produced by Mercer Ellington with a number of Ellington veterans in the supporting cast and Billy Strayhorn at the piano. Sherrill's confidence singing the twelve gems from the band repertoire allows her to let the timelessness of the music and lyrics speak for itself rather than overembelish the songs. 

Her superb diction and warm sound are complemented by brief accents by alto saxophonist Johnny Hodges on "Prelude To A Kiss," the muted cornet of Ray Nance on a sassy "I'm Beginning To See The Night," and Nance's violin on her moving take of "Day Dream." This rare outing away from the full band, now available on CD, is worth acquiring. ~ Ken Dryden  
http://www.allmusic.com/album/joya-sherrill-sings-duke-mw0000239630

Personnel: Joya Sherrill (vocals); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Cootie Williams (trumpet); Ray Nance (violin, cornet); Ernie Harper, Billy Strayhorn (piano); Joe Benjamin, John Lamb (bass); Shep Shepard, Sam Woodyard (drums).

Jessy J - Hot Sauce

Styles: Vocal And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 43:12
Size: 99,1 MB
Art: Front

(4:08)  1. Remember The Night (Feat. Paul Brown)
(4:00)  2. Rio Grande
(3:17)  3. Hot Sauce
(4:27)  4. Rainbow Gold (Feat. Joe Sample & Harvey Mason)
(3:53)  5. 'Til You Make Up Your Mind
(4:06)  6. Meant To Be
(2:50)  7. We Kissed
(3:33)  8. Leave Right Now
(4:47)  9. In A September Mood (Feat. Saunders Sermons)
(8:07) 10. Last Night (Feat. Joe Sample & Ray Parker Jr.)

The third major album by saxophonist Jessica Spinella (a.k.a. Jessy J) reflects both a reliance on a proven formula and the stirrings of venturing into unexplored territory. Jessy's got a problem. She can attribute much of her success to veteran producer Paul Brown, whose other clients include Euge Groove, Rick Braun and Boney James. Brown is a master of the catchy hook, which makes him more commercial than cutting edge. That's not a bad thing, but it doesn't always make for boldly inventive music. Brown's production always sounds good, even if it's often a slightly different twist of the same old song.Of Hot Sauce's ten songs, six are produced by Brown, but it's the other four which are the most interesting. There's nothing terribly wrong with "Remember the Night" and "Rio Grande," other than the odd sequencing of two tracks which sound remarkably similar except one is more up-tempo than the other, but there's just nothing original about them, either. Brown's skills are in revisiting what he's done on previous Jessy J albums like Tequila Moon (Peacon, 2008) and True Love (Peak, 2009).

Here, however, Brown holds the reins on the young saxophonist a bit too tightly. Any song entitled "Hot Sauce" ought to flat-out groove, not just bubble away for 3:17; "Mild sauce" would be a better descriptor for the underwhelming, paint-by-numbers title tune. There are faint traces of Jessy J's Latin heart beating faintly in the background, but it's overwhelmed by the slickness and sheen of Brown's production. A little less control and little more risk-taking were needed here. More successful and much more fun are "Rainbow Gold" and 'Last Night," two funky workouts, with "Last Night" offering a rare performance by Joe Sample, workin' it out on the Hammond B3 organ with studio pros Harvey Mason (drums), Ray (Ghostbuster) Parker Jr. (guitar) and Nick Sample son of the former Crusaders keyboardist joining in on bass. Both feature Jessy J's vocalizations, so if you enjoy them, you're in luck.

The moment of revelation comes with Saunders Sermons and his vocal turn on "In A Sentimental Mood," with Jessy J playing a supporting role. Sermons simmers and sways, playing it straight, with Jessy J's tenor sax warmly warbling in the background. Sermons co-produced and arranged the Duke Ellington classic with pianist Jon Notar, and it's a winner, with some nice stick work from drummer Josh Guinta. Nothing else on Hot Sauce sounds remotely like this and it's a style for which Jessy J is well-suited. There is a balance a musician must strike between art and commerce, and not every soloist thrives in the spotlight. The finest moments of Hot Sauce come when Jessy J is part of the band instead of the center of attraction. Going forward she will likely thrive in either role, but for now she seems most comfortable in the former than the latter. ~ Jeff Winbush  http://www.allaboutjazz.com/hot-sauce-jessy-j-heads-up-international-review-by-jeff-winbush.php
 
Personnel: Jessy J: tenor sax, soprano sax, flute, vocals; Paul Brown: guitar, drums, percussion, nylon string guitar, programmed drums (1-3, 5-7); Marco Basci: keyboards, strings, bass, drum programming (2, 5); Roberto Vally: bass (2, 5-7), Lawrence Young: keyboards (3); Michel Ripoli: guitars, bass (3); Deyon Dobson: keyboards, drum programming (3); Joe Sample: piano, Rhodes, Triton keyboard and Hammond B3 organ (4, 10); Ray Parker Jr.: guitars and background vocals (4, 10); Nick Sample: bass (4, 10); Harvey Mason: drums (4, 10); Gregg Karukas: keyboards, strings (6, 7); Jeff Caruthers: keyboards, guitar, bass and drum programming (8); Saunders Sermons: vocals (9); Jon Notar: piano (9); Jordan Scannella: electric bass (9); Josh Guinta: drums (9); Janis Liebhart: background vocals (10); Toni Scruggs: background vocals (10).

Bill Charlap Trio - All Through The Night

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 47:36
Size: 109,0 MB
Art: Front

(8:55)  1. All Through The Night
(5:23)  2. Roundabout
(4:31)  3. Put On A Happy Face
(5:18)  4. It's So Peaceful In The Country
(4:16)  5. The Best Thing For You Would Be Me
(3:19)  6. Pure Imagination
(3:54)  7. Nobody's Heart
(6:25)  8. Dance Only With Me-Dream Dancing
(5:31)  9. I've Just Seen Her

This trio outing by pianist Bill Charlap (with bassist Peter Washington and drummer Kenny Washington) is a superior modern mainstream set. Charlap's boppish yet melodic style (which is championed by George Shearing in the liner notes) is pleasing, swinging and just unpredictable enough to hold one's interest. He mostly performs lesser-known standards such as Vernon Duke's "Roundabout," Irving Berlin's "The Best Thing For You Would Be Me" and the Rodgers and Hart classic "Nobody's Heart." An enjoyable outing. ~ Scott Yanow  http://www.allmusic.com/album/all-through-the-night-mw0000042887

Personnel: Bill Charlap (piano); Peter Washington (bass); Kenny Washington (drums).

Clark Terry & Red Mitchell - To Duke And Basie

Styles: Trumpet and Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 39:57
Size: 91,9 MB
Art: Front

(3:21)  1. It Don't Mean a Thing (If It Ain't Got That Swing)
(2:51)  2. Swingin' the Blues
(5:46)  3. I Got It Bad (And That Ain't Good)
(4:39)  4. Moten Swing
(4:19)  5. Hey Mr. Mumbles, What Did You Say
(2:07)  6. Big 'N' the Bear
(4:47)  7. Shiny Stockings
(4:09)  8. C Jam Blues
(5:25)  9. Thank You for Everything
(2:29) 10. It Don't Mean a Thing (If It Ain't Got That Swing)

Flügelhornist Clark Terry and bassist Red Mitchell play a full program of duets, with most of the music being associated with either Count Basie or Duke Ellington. Actually, the best-remembered selection of the date is Terry's humorous "Hey Mr. Mumbles, What Did You Say?," which has a call-and-response vocal by the two masterful musicians. 

Overall, this is a particularly delightful set, with plenty of wit displayed along with the hard swinging. ~ Scott Yanow  
http://www.allmusic.com/album/to-duke-basie-mw0000317763

Personnel: Clark Terry (vocals, trumpet, flugelhorn); Red Mitchell (vocals, piano).