Pete Neighbour - It's Alright With Me

Size: 122,3 MB
Time: 52:48
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz: Retro Swing
Art: Front

01. It's Alright With Me (4:55)
02. I've Got The World On A String (5:49)
03. More Than You Know (7:20)
04. Lover Come Back To Me (5:15)
05. How Long Has This Been Going On (6:35)
06. Don't Be That Way & Stompin' At The Savoy (5:10)
07. Memories Of You (5:14)
08. Flying Home (5:58)
09. Goodbye (6:29)

The album is mainly material associated with the great Benny Goodman, although is most definitely not another “tribute" album! It was recorded with a wonderful rhythm section of Bert Ligon, (piano) Reggie Sullivan (bass) and Jim Hall (drums)

Pete Neighbours musical career began in primary school in London with violin lessons. After a very short while all parties--parents, teacher and pupil - agreed these were a musical disaster! Picking up the clarinet at around the age of twelve he found this to be far more to his liking and began to work his way steadily through the Associated Board grades reaching Grade 8 at the age of 16.

His love of jazz was nurtured from an early age and the complexities of improvisation became a challenge to be conquered... a challenge which excites him as much today as it did in those formative years.

He was lucky enough to meet fellow London clarinet virtuoso Julian Marc Stringle during his mid teens and they became firm friends and popular on the London jazz circuit with two clarinet interpretations of jazz classics. They still work together today when their respective hectic schedules allow.

Pete's love and mastery of jazz has enabled him to perform in a diverse stylistic range; from small group 1920's style music, through the swing era and into settings akin to the more modern clarinet masters such as Buddy de Franco and Eddie Daniels. Indeed, he takes great delight in playing in different musical settings as often as possible. In recent months he has made guest appearances with the British jazz legend Kenny Ball.

It's Alright With Me

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Paulette McWilliams & The Beets Brothers - Live Recording In Amsterdam

Size: 117,0 MB
Time: 50:09
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals,, Bossa Nova
Art: Front

01. Almost Like Being In Love (5:40)
02. Shadow Of Your Smile (5:09)
03. I Remember Clifford (6:03)
04. A Taste Of Honey (4:53)
05. Quiet Nights (Corcovado) (4:35)
06. Devil May Care (4:19)
07. Lush Life (5:32)
08. Easy To Love (4:42)
09. Caravan (3:18)
10. Green Dolphin Street (5:52)

Anyone with a pulse has heard the voice of Paulette McWilliams. Those inclined to inspect liner notes have certainly seen her name. Over the last four decades, she’s emerged as the consummate vocalist, equally at home in rock, R&B, jazz, house, Broadway, and jingles, with hundreds of local and national commercials to her credit.

However, McWilliams’ story may not be as widely known as her voice. Her professional singing career traces back to Chicago where she held the lead spot in Rufus before enlisting her friend Chaka Khan. Quincy Jones then introduced McWilliams and the Brothers Johnson on his Mellow Madness (1975) album. McWilliams soon became a mainstay in both the New York and Los Angeles studio scenes, and dueted with icons like Johnny Mathis and Marvin Gaye. All throughout, she won the admiration of musicians and fellow vocalists. “Her intonation is impeccable and her melodic interpretation is not only creative and interesting, but warmly inviting”, says Terri Lynne Carrington. “The vocal jazz tradition has been authentically passed down to Paulette from her stellar predecessors.” Indeed, McWilliams can turn a jazz phrase with the best of them. She once traded verses on Benard Ighner’s “Everything Must Change” with no less a legend than Sarah Vaughan.

Given her illustrious albeit largely unsung career, McWilliams readily identified with many of the stories in 20 Feet from Stardom (2013). In fact, she’s a common thread between many of the singers documented in Morgan Neville’s Oscar-winning film. For more than 20 years, she recorded and toured with Luther Vandross, sharing background vocals with Lisa Fischer and Cindy Mizelle. Both McWilliams and Darlene Love sang on the Vandross-produced Jump to It (1982) by Aretha Franklin. When Michael Jackson’s “Don’t Stop ‘Til You Get Enough” rocketed to number one in 1979, it was McWilliams shadowing Jackson’s voice on the hook, while she and Patti Austin sang (uncredited) on “Rock With You”. Like Charlo Crossley, McWilliams also had a memorable stint as one of Bette Midler’s Harlettes and appeared in both the Broadway production and touring company of Divine Madness. Mirroring many of the interview subjects in 20 Feet, McWilliams has also struggled to achieve success a solo artist. Thirty years passed before McWilliams recorded a follow-up to her solo debut Never Been Here Before (1977). Released in Japan, the independent Flow (2007) was followed by her album-length collaboration with Tom Scott, Telling Stories (2012).

Live Recording In Amsterdam

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Jason Lee Bruns & Kevin Bechelder - Cherry Avenue

Size: 101,2 MB
Time: 40:25
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Soul/Pop Vocals
Art: Front

01. My Romance (3:15)
02. Autumn Leaves (feat. Daniel Szabo & Ron Blake) (4:05)
03. I Fall in Love Too Easily (feat. Daniel Szabo) (4:28)
04. Waters of March (feat. Angelo Metz) (4:00)
05. Dear Prudence (feat. Kim Richmond) (3:41)
06. Send in the Clowns (feat. Angelo Metz) (4:04)
07. Like Someone in Love (feat. Angelo Metz & Kim Richmond) (3:53)
08. It Didn't Work Out That Way (feat. Kim Richmond) (5:43)
09. Ain't No Sunshine (feat. Jacques Voyemant) (3:27)
10. Cherry Avenue (feat. Brandon Fields) (3:45)

When Jason Lee Bruns asked me to write the liner notes for his new CD, Cherry Avenue, recorded with singer Kevin Bachelder, my first reaction was, “Ah, a jazz odd couple.” I knew Jason Lee as a drummer/percussionist with an irresistible groove, and Kevin as a vocal artist with a gift for telling a captivating musical story. And my question was whether this potential jazz world Oscar and Felix duo could find a way to blend their strong individual characteristics into a productive partnership.

Well, there's no cliffhanger on the answer. It won't take more than one or two tracks from this compelling program of songs to illustrate how effectively Kevin and Jason combined their creative visions. How did they do it? The right way. As Jason and Kevin made clear to me, they did so by finding the common ground between their territories.

Start with the way in which Jason's colorful grooves energize each song. Consider, for example: the Cuban son rhythms of “Autumn Leaves”; the samba of “Waters of March”; the Afro Brazilian afoxé of John Lennon's “Dear Prudence”; the bossa nova of “Like Someone in Love." Making the most of those settings, Kevin's vocals are vividly alive, his warm mid-range and soaring head tones brilliantly illuminating the songs' inner stories.

Another vital aspect of Cherry Avenue traces to the arrangements. Jason and Kevin are trained musician/arrangers, recalling the rare orchestration skills of such predecessors as drummer Louie Bellson and singer Mel Torme. Writing for the modest instrumentation of three horns, guitar, piano, bass and drums, Jason and Kevin devised a colorful array of timbres and textures. On many tunes they employ an effective small band version of big band sound, often calling up similarities to the hard-hitting qualities of Blood, Sweat & Tears.

Both Jason and Kevin are too musically sophisticated, however, to be locked into any single stylistic setting. And, on the opening tune, “My Romance,” Kevin's arrangement immediately establishes the varied setting characterizing the entire album. Starting with a jaunty vocal, primarily backed by Jason's brisk drumming, the song builds to a muscular horn-driven climax. The B,S&T-like prominence of the horns returns in other tunes – “Dear Prudence,” “Send In The Clowns,” “Like Someone In Love” and “It Didn't Work Out That Way” among them.

Additional highlights trace to the arrangement ideas of Jason and Kevin, which often enhance the settings by featuring soloists with the vocals. Listen to the subtle piano of Daniel Szabo on “I Fall In Love Too Easily,” the juxtaposition of Kevin's scatting and Ron Blake's trumpet on “Autumn Leaves,” Brazilian Angelo Metz's atmospheric guitar on “Waters of March,” Kim Richmond's clarinet on “Like Someone In Love,” Jacques Voyemant's trombone on “Ain't No Sunshine,” Brandon Fields’ tenor saxophone on “Cherry Avenue.”

There's more, much more, to praise in the songs that Jason Lee Bruns and Kevin Bachelder have found or written, arranged and performed for Cherry Avenue. But the music speaks for itself. And it remains for listeners to simply sit back and enjoy the numerous pleasures of this memorable album. ~Don Heckman

Cherry Avenue

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Scott Henderson - Vibe Station

Size: 156,9 MB
Time: 67:41
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Jazz Rock
Art: Front

01. Church Of Xotic Dance (7:18)
02. Sphinx (8:59)
03. Vibe Station (7:05)
04. Manic Carpet (7:22)
05. Calhoun (8:38)
06. The Covered Head (6:55)
07. Festival Of Ghosts (8:40)
08. Dew Wut (6:59)
09. Chelsea Bridge (5:41)

Scott Henderson is best known as the guitarist for the legendary fusion group Tribal Tech, and also for his sideman work with Chick Corea, Jean-Luc Ponty, and Weather Report’s Joe Zawinul. He also plays in the group HBC with bassist Jeff Berlin and drummer Dennis Chambers.

In 1991, Scott was named by Guitar World as the #1 Jazz Guitarist, and in January 1992, he was named #1 Jazz Guitarist in Guitar Player's Annual Reader's Poll. His first solo blues album "Dog Party" won best blues album of 1994 in Guitar Player Magazine.

Vibe Station is his most ambitious work to date, and features Travis Carlton on bass and Alan Hertz on drums. The music can only be described as a mixture of edgy blues rock, funk, and modern melodic jazz, amid a huge soundscape of guitar tones and textures.

Vibe Station

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Ralph Sutton - Partners In Crime

Bitrate: MP3@320K/s
Time: 47:27
Size: 108.6 MB
Styles: Piano jazz, Swing
Year: 1983/1999
Art: Front

[4:04] 1. Swing That Music
[4:44] 2. One Morning In May
[5:03] 3. Old Folks
[5:03] 4. Rain
[4:43] 5. I Never Knew
[4:37] 6. On A Slow Boat To China
[4:16] 7. It's Wonderful
[5:15] 8. How Can You Force Me
[5:29] 9. West End Avenue Blues
[4:08] 10. Diga Diga Doo

Through the years, the great stride pianist Ralph Sutton has recorded a surprising number of albums in quartets with trumpeters. For this CD, he teams quite successfully with the talented Australian trumpeter Bob Barnard, bassist Milt Hinton and drummer Len Barnard for a wide-ranging set of swing tunes, most of which are not performed that often. In addition to Bob Barnard's "West End Avenue Blues," the group is heard at its best on "Swing That Music," Hoagy Carmichael's "One Morning In May," "It's Wonderful" and "How Can You Face Me," but all ten selections are rewarding and swinging. Recommended. ~Scott Yanow

Partners In Crime

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Julie Charnet - Is You Is

Bitrate: MP3@320K/s
Time: 48:50
Size: 111.8 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[4:35] 1. I Love Being Here With You
[3:50] 2. Do Nothing Till You Hear From Me
[3:22] 3. I've Got The World On A String
[5:01] 4. 'round Midnight
[3:13] 5. Lullaby Of Birdland
[5:12] 6. T'ain't Nobody's Business
[2:56] 7. Devil And The Deep Blue Sea
[3:55] 8. Is You Is Or Is You Ain't My Baby
[4:24] 9. That's All
[2:53] 10. Frim Fram Sauce
[5:02] 11. Lady Is A Tramp
[4:20] 12. One For My Baby

As a child, Julie lived 30 minutes from New York City, and credits those trips to the city as one of her biggest influences. "My mom played classical piano for years and took us to concerts at Lincoln Center, but she also loved Broadway and we saw so many great musicals. I always knew music would be a part of my life." She had the opportunity to participate in many types of music performances that include Broadway, blues, jazz, and swing. Originally wanting to be a guitarist, she studied with Randy Sarles, a jazz guitarist, for 8 years, and sang with him and other jazz musicians in the tri-state area. Eventually, her focus went to vocals exclusively. ​After moving to Philadelphia, Randy, and other mentors in the Philadelphia area including Tom Lawton, Larry McKenna, and Bootsie Barnes encouraged her to record. They and others were featured on her debut swing cd, Is You Is.

​Julie is noted as having a chameleon-like voice that swings sweetly or rock bluesy-depending on her mood. Her three octave range allows for audiences to call her live performances a "must see." One recent review sums up her style in this way: "She is a storyteller. She invites you in, then hits you with energy - you stay." ​In addition to singing, Julie enjoys writing. She has been published in newspapers, television news, and the University of Pennsylvania.

Is You Is

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Doug Raney - You Go To My Head

Bitrate: MP3@320K/s
Time: 69:59
Size: 160.2 MB
Styles: Guitar jazz
Year: 1999
Art: Front

[8:41] 1. What Is This Thing Called Love
[7:48] 2. Tenderly
[8:57] 3. I Hear A Rhapsody
[8:38] 4. Triste
[9:01] 5. You Go To My Head
[8:13] 6. Autumn Leaves
[9:40] 7. The End Of A Love Affair
[8:57] 8. Barbados

Doug Raney is the son of the late bebop guitar master Jimmy Raney. But whereas Jimmy's playing often had an aura of cool control, Doug's conveys a sense of freedom and even spontaneous improvisational experimentation, something that comes across during the course of this set of trio performances with drummer Billy Hart and bassist Jay Anderson.

While the material encompasses eight familiar tunes, the playing is hardly pedestrian or formulaic, a standard that is established from the opening track, a rousing reading of Cole Porter's "What Is This Thing Called Love?" which features plenty of beautifully fluid blowing and includes a deft, highly active bass solo and some killer trades. Changes of pace are provided by numbers like the perennial ballad "Tenderly" and Jobim's "Triste"; in both cases, the sophisticated, melodic solos occasionally lapse into some especially sleek chordal episodes. The set concludes with Parker's "Barbados," a Latin/bebop amalgamation that offers the best of both worlds by allowing Raney to exercise more of his melodic gifts while grooving at the same time.

It's often said that the acorn doesn't fall far from the tree; however, Doug seems to have dropped at the base and then rolled off in his own musical direction. But isn't that the way things ought to be? ~Jim Ferguson

You Go To My Head

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Jimmy Cobb - Marsalis Music Honors Jimmy Cobb

Bitrate: MP3@320K/s
Time: 61:46
Size: 141.4 MB
Styles: Hard bop, Contemporary jazz
Year: 2006
Art: Front

[6:30] 1. Mr. Lucky
[7:10] 2. W.K
[6:08] 3. Eleanor (Sister Cobb)
[6:46] 4. Composition 101
[7:28] 5. Can You Read My Mind
[5:54] 6. There Is Something About You (I Don't Know)
[6:05] 7. Johnny One Note
[4:14] 8. real time
[5:17] 9. Tell Me
[6:08] 10. Mr. Lucky

You can count on one hand the total number of albums that the great drummer has made as a leader. Acknowledging that oversight, Branford Marsalis has crafted here a fitting showcase for the man who replaced Philly Joe Jones in the Miles Davis sextet (1958–1963), fueled the historic Kind of Blue sessions with his tasty, unerring sense of swing and went on to enjoy an association with the Wynton Kelly trio (1963–1968) alongside bassist Paul Chambers.

At age 77, Cobb is still playing wonderfully well, whether it’s creating a delicate “Flamenco Sketches”-like ambiance with his masterful brushstroke on the gorgeous ballad “Eleanor” (dedicated to his late sister), swinging joyously on Rodgers and Hart’s “Johnny One Note” or engaging in spirited exchanges with the band on his own buoyant “Composition 101.” On a jaunty Wynton Kelly tribute, “W.K.,” Cobb takes his time building an extended solo, working like an orator pacing himself before reaching a speech’s dramatic conclusion. The quintessentially supportive drummer exhibits more soloistic flair on his funky Horace Silver-ish closer, “Tune 341.”

Pianist Ellis Marsalis provides seasoned, soulful accompaniment throughout, and he adds some noteworthy solos of his own, particularly on the restful, almost spiritual “Eleanor” (reminiscent of John Coltrane’s “Dear Lord”), an easy-swinging treatment of Henry Mancini’s “Mr. Lucky” and a hip waltz-time rendition of John Williams’ “Can You Read My Mind” (from the movie Superman). The patriarch of the Marsalis clan also contributes the composition “Tell Me,” a tricky tune full of twisted, odd intervals.

This disc honoring Cobb also introduces two outstanding sidemen in the young British bassist Orlando Le Fleming, a deep-toned walker with an impeccable sense of time, and alto sax burner Andrew Speight, an established jazz educator whose pungent tone, blistering facility and immense soul place him solidly in the Cannonball Adderley camp.~Bill Milkowski

Marsalis Music Honors Jimmy Cobb

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Bob Dorough - The Houston Branch

Styles: Vocal And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 58:29
Size: 134,5 MB
Art: Front

( 6:16)  1. Devil May Care
( 9:34)  2. All the Things You Are
( 2:31)  3. Yesterday
( 7:51)  4. Zingaro
( 7:23)  5. One Note Samba
( 1:56)  6. Over the Rainbow
( 6:21)  7. The Spoiler
( 6:13)  8. September Song
(10:21)  9. Django

Usually known for his jazz vocals and Schoolhouse Rock songs, Bob plays mostly here (there are two vocals) with flute & oboe (his daughter & son-in-law, of the Houston Symphony), sax, bass & drums  classical jazz. Amazingly enough, jazzman Bob Dorough's only child, Aralee Dorough, became a classical flutist. Nowadays she is the Principal Flutist of The Houston Symphony Orchestra. She is married to Colin Gatwood, second oboist of that orchestra and son of veteran oboist, Elden Gatwood, formerly of The Pittsburgh Symphony. However, Aralee, growing up in Bob's house, often took part in his various projects, including childrens' concerts, pop concerts, and even jazz concerts and also participated in Dorough's famous Schoolhouse Rock (ABC-TV), as singer and piccoloist. Furthermore, Colin is an admirer of jazz and well the kids wanted to record with their famous Dad. 

Thus came about this CD, "The Houston Branch," featuring the two on flute and oboe/english horn, along with three top Houstonian sidemen. It might be said to be a "crossover" record, with semi-classical treatments of standards, bossa novas, one composition by Aralee and one by Bob. There are only two Bob Dorough vocals (I wanted to emphasize the unusual instrumentation) but he wrote all the arrangements and it is very much a Bob Dorough outing. Try it you'll like it.  http://www.cdbaby.com/cd/dorough

The Houston Branch

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Alice Groves - Whisper Down The Wind

Styles: Vocal, Adult Contemporary
Year: 2012
File: MP3@320K/s
Time: 39:44
Size: 91,4 MB
Art: Front

(4:37)  1. MacArthur Park (Abridged)
(4:50)  2. Windmills of Your Mind
(4:20)  3. Across the Universe of Time
(4:01)  4. Wild Is the Wind
(3:51)  5. Forever and Ever
(4:32)  6. Dance Me to the End of Love
(5:13)  7. The First Time Ever I Saw Your Face
(8:17)  8. Jazz Tango to Love

Smooth Jazz edges weaving in and out of the evocative fusion of world sounds on this Adult Contemporary album - Yes, the music is stunningly beautiful, but it is the ethereal but gutsy soprano voice that grips your soul and won't let go. https://www.cdbaby.com/cd/alicegroves

Whisper Down The Wind

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Steve Turre - Sanctified Shells

Styles: Trombone Jazz
Year: 1993
File: MP3@320K/s
Time: 57:29
Size: 132,0 MB
Art: Front

( 5:12)  1. Exploration
( 5:41)  2. Gumbo
( 1:16)  3. African Shells- First Interlude - Strength
( 7:06)  4. Macho (Para Machito)
( 4:14)  5. African Shells- Second Interlude - The Dream
(11:21)  6. Beautiful India
( 8:24)  7. Toreador
( 2:12)  8. African Shells- Third Interlude - Happiness
( 4:30)  9. Sanctified Shells
( 7:27) 10. Spirit Man

Steve Turre's trombone playing takes a back seat to his work with shells on this CD. Joined by Robin Eubanks and Reynaldo Jorge on additional shells, Turre wrote or co-wrote all ten selections. There is an OK guest appearance by Dizzy Gillespie on "Toreador" and worthy spots for trumpeter Charlie Sepulveda, trombonist Clifton Anderson, and several percussionists, along with fine contributions from bassist Andy Gonzalez and drummer Herlin Riley. ~ Scott Yanow  http://www.allmusic.com/album/sanctified-shells-mw0000617865

Personnel: Steve Turre (trombone, horns, shaker, bells); Milton Cardona (guitarron, congas, claves, guiro, shaker, percussion); Dizzy Gillespie, Charlie Sepulveda (trumpet); Douglas Purviance (trombone, bass trombone); Renaldo Jorge (trombone, maracas); Clifton Anderson, Clinton Anderson, Robin Eubanks (trombone); Herlin Riley (drums, cowbells); Ignacio Berroa (drums, timbales, bells); Carmen Turre (castanets); Andy González (claves); Kimati Dinizulu (djembe, percussion); Dadal Roy, Badal Roy (tabla).

Sanctified Shells

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Grady Tate - Sings TNT

Styles: Hard Bop, Vocal
Year: 1991
File: MP3@224K/s
Time: 46:11
Size: 74,5 MB
Art: Front

(6:27)  1. TNT
(5:34)  2. You Go to My Head
(4:37)  3. Day by Day
(4:15)  4. Guess Who I Saw Today
(4:20)  5. Loose Change (The Beggar's Opera)
(4:01)  6. 'Deed I Do
(4:46)  7. Don't Misunderstand
(4:43)  8. Lonely Avenue
(3:23)  9. Where Do You Start?
(4:01) 10. Route 66

Though Tate has been featured as a vocalist often enough on records before this 1991 date, it still comes as a surprise to the many fans of his drumming that he is such a superb singer, too. Here, he combines the baritonal warmth of a Johnny Hartman, the flexibility of a Leon Thomas, the scatting agility of a Jon Hendricks, the authoritative swing of a Joe Williams and some other various qualities into his own unique container  a major singing style just waiting to be widely recognized. Foremost among the standards on this album is a great rendition of "You Go to My Head," full of authentic feeling and original phrasing, with a lovely tripping flute solo by reedman Bill Easley. Tate doesn't play drums at all on this gig, leaving the traps in the capable hands of Dennis Mackrel, who clearly got a lot of his inspiration on the rim shots and hi-hat from Tate.

Mike Renzi handles the keyboards, even doing some Jimmy Smith-inspired riffing behind Tate's closing rap on "Loose Change," and Tate's old rhythm partner on countless sessions, Ron Carter, returns on bass. ~ Richard S.Ginell  http://www.allmusic.com/album/tnt-mw0000676545

Personnel:  Bass – Ron Carter;  Drums – Dennis Mackrel;  Keyboards – Mike Renzi;  Tenor Saxophone, Flute, Soprano Saxophone – Bill Easley;  Vocals – Grady Tate

Sings TNT

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Cherry Poppin' Daddies - Please Return the Evening - Salute the Music of the Rat Pack!

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 45:00
Size: 103,3 MB
Art: Front

(2:46)  1. The Best Is Yet to Come
(3:08)  2. Come Fly With Me
(3:24)  3. The Lady Is a Tramp
(2:23)  4. Ain't That a Kick in the Head
(2:42)  5. Fly Me to the Moon
(1:59)  6. I'm Gonna Live Until I Die
(4:58)  7. Luck Be a Lady
(3:31)  8. I've Got You Under My Skin
(2:39)  9. Mr. Success
(3:21) 10. The Way You Look Tonight
(2:44) 11. Ring-A-Ding-Ding
(3:10) 12. Just One of Those Things
(2:28) 13. The Boys’ Night Out
(2:40) 14. Come Back to Me
(3:00) 15. That's Life

Although Cherry Poppin' Daddies became a popular act during the swing revival of the late 1990s, the eight-piece band formed one decade prior in Eugene, Oregon. Vocalist Steve Perry (aka MC Large Drink, a nickname intended to distance Perry from the famous Journey frontman) and bassist Dan Schmid initially crossed paths at the University of Oregon, and a shared interest in punk music convinced the students to leave school and pursue a band. After playing together in the Jazz Greats and St. Huck, the duo shifted gears in 1989 by forming Cherry Poppin' Daddies, a unique band whose lineup gradually encompassed guitarist Jason Moss, drummer Tim Donahue, trumpeter Dana Heitman, saxophonists Sean Flannery and Ian Early, and keyboard player Dustin Lanker. The musicians' dedication to ska, swing, jazz, and jump blues made them oddities in the Northwest, where grunge had already begun its reign. Nonetheless, Cherry Poppin' Daddies enjoyed a brief surge of success several years later, when the popularity of "Zoot Suit Riot" helped launch a nationwide swing music revival. Once formed, it didn't take long for the Cherry Poppin' Daddies to attract attention in the Northwest. Their performances were riddled with theatrics, phallic props, and lavish costumes, making them the recipients of much curiosity and a fair amount of backlash. Moreover, the music mixed elements of swing and jazz with punky rock & roll, while a horn section populated the group's eight-person lineup. The resulting sound was both energetic and unconventional, but America was in the midst of its love affair with grunge, and Cherry Poppin' Daddies' earliest records 1990's Ferociously Stoned and 1994's Rapid City Muscle Car  proved to be little more than cult favorites.

By the mid-'90s, the country's fascination with formerly neglected musical styles (including easy listening, lounge, and swing) had increased the band's prominence, along with similar groups like Squirrel Nut Zippers and Royal Crown Revue. The band's third album, Kids on the Street, benefited from such increased interest, and its popularity earned Cherry Poppin' Daddies a distribution deal with Caroline Records. Lacking the money to record a new album, the band chose instead to cater to America's slowly building swing craze by compiling the most swing-oriented tracks from their back catalog. The result was 1997's Zoot Suit Riot, a compilation that also featured four new tracks. One such track was the titular "Zoot Suit Riot," which became a surprise Top 40 hit in 1998 and helped pave the way for such revivalist bands as Big Bad Voodoo Daddy and Brian Setzer Orchestra. The album had sold more than two million copies by 2000, but the swing craze had already begun to fizzle out, resulting in poor sales for the follow-up effort, Soul Caddy. As touring opportunities dried up, the band took a temporary hiatus. Lanker and Schmid turned their attention to a side project, Visible Men, while Perry returned to the University of Oregon to receive an undergraduate degree. Cherry Poppin' Daddies began touring again in 2002, although activity was limited to sporadic shows until 2008, when the release of the Latin-flavored Susquehanna prompted the group to launch their first full-length tour in years. In 2009, the group released the Skaboy JFK: The Skankin' Hits of the Cherry Poppin' Daddies, a collection of ska culled from their early albums.

Over the next few years, the Cherry Poppin' Daddies toured regularly, adjusting their lineup slightly as they went. In 2012, the group started a PledgeMusic campaign to raise funds so they could complete their next album, White Teeth, Black Thoughts. Their PledgeMusic campaign was successful and the album was released in July of 2013. The band's first album of all swing-oriented music since 1997's compilation Zoot Suit Riot, White Teeth, Black Thoughts is also the first Cherry Poppin' Daddies album to include cover songs. ~ Andrew Leahey & John Bush, Rovi ~ Bio  https://itunes.apple.com/us/artist/cherry-poppin-daddies/id2225241#fullText

Please Return the Evening - Salute the Music of the Rat Pack!

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