Saturday, May 30, 2015

Red Garland Trio - A Garland Of Red

Bitrate: MP3@320K/s
Time: 61:46
Size: 141.4 MB
Styles: Hard bop, Piano jazz
Year: 1956/1991
Art: Front

[25:22] 1. A Foggy Day
[16:11] 2. Little Girl Blue
[ 3:16] 3. What Is This Thing Called Love
[ 3:11] 4. Makin Whoopee
[ 3:30] 5. September In The Rain
[ 3:26] 6. Little Girl Blue
[ 3:33] 7. Constellation
[ 3:14] 8. Blue Red

Thirty-three at the time of this, his first recording as a leader, pianist Red Garland already had his distinctive style fully formed and had been with the Miles Davis Quintet for a year. With the assistance of bassist Paul Chambers (also in Davis's group) and drummer Art Taylor, Garland is in superior form on six standards, Charlie Parker's "Constellation" (during which he shows that he could sound relaxed at the fastest tempos) and his own "Blue Red." Red Garland recorded frequently during the 1956-62 period and virtually all of his trio recordings are consistently enjoyable, this one being no exception. ~Scott Yanow

A Garland Of Red

Merle Travis - Strictly Guitar

Bitrate: MP3@320K/s
Time: 24:09
Size: 55.3 MB
Styles: Country, Americana
Year: 1969/2004
Art: Front

[2:12] 1. Heart Of My Heart
[2:21] 2. Lazy River
[2:11] 3. Guitar Rag
[2:14] 4. Dance Of The Goldenrod
[2:40] 5. Cuddle Up A Little Closer
[2:00] 6. Cannonball Rag
[1:54] 7. Ma (He's Making Eyes At Me)
[1:53] 8. I'll See You In My Dreams
[2:56] 9. I Gotta Have My Baby Back
[2:19] 10. Way Down In New Orleans
[1:22] 11. Fisher's Horn Pipe

The thumb- and index-finger guitar picking method Merle Travis learned as a kid in Muhlenberg County, Kentucky served him very well throughout his long career, and he developed into one of the most skilled and innovative guitar players on the country (or any other) scene, capable of making an electric guitar sound like a complete swing orchestra. Strictly Guitar was recorded in Nashville in 1968 with Kelso Herston producing, and saw Travis revisit some of the tunes he cut his teeth on when he was first starting out in the 1920s and '30s, as well as tackling slightly later pieces like Floyd Tillman's 1949 hit, "Gotta Have My Baby Back," which Travis turns into an elegant, dream-paced instrumental masterpiece. This CD version of Strictly Guitar reproduces the original Capitol LP's cover art and set sequence, which means it comes in at under 25-minutes in length, making it a good deal short by digital-era standards, and one wishes Sundazedhad added some bonus material, but what is here is pretty amazing, including the set closer, a blistering guitar rendition of the old fiddle reel called "Fishers Horn Pipe." ~Steve Leggett

Strictly Guitar

Charlie Shavers - Gershwin, Shavers And Strings

Bitrate: MP3@320K/s
Time: 30:55
Size: 70.8 MB
Styles: Trumpet jazz, Easy Listening
Year: 1955/2015
Art: Front

[2:36] 1. I've Got A Crush On You
[3:05] 2. Someone To Watch Over Me
[2:45] 3. Somebody Loves Me
[3:08] 4. The Man I Love
[3:04] 5. It Ain't Necessarily So
[3:06] 6. Liza (All The Clouds'll Roll Away)
[3:10] 7. Embraceable You
[2:54] 8. I've Got Rhythm
[3:46] 9. Summertime
[3:17] 10. But Not For Me

The music of George Gershwin, but taken to some great late night territory by the trumpet of Charlie Shavers! The album's a sublime "with strings" date – one that has Charlie blowing beautifully over backdrops from Sy Oliver – charts that certainly use some string instruments, but often in a very spare, mellow way – so that once Shavers gets going, his trumpet is right out front – often with a beautifully moody tone! Titles include "I've Got A Crush On You", "Embraceable You", "Liza", "Summertime", "But Not For Me", and "It Ain't Necessarily So".

Gershwin, Shavers And Strings

Madeline Bell & The Swingmates - Have You Met Miss Bell?

Styles: Vocal, Soul
Year: 1993
File: MP3@320K/s
Time: 54:50
Size: 127,3 MB
Art: Front

(3:01)  1. Where Or When
(3:50)  2. Honeysuckle Rose
(5:37)  3. September Song
(1:55)  4. Wonderful Day Like Today
(4:25)  5. Old Devil Moon
(6:20)  6. Someone To Watch Over Me
(2:35)  7. Just You, Just Me
(2:02)  8. Lemon Drop
(5:52)  9. Black Coffee
(3:04) 10. Let's Face The Music
(4:03) 11. Am I Blue
(2:52) 12. Making Whoopee
(5:17) 13. Willow Weep For Me
(3:53) 14. When The Saints Go Marching In

Madeline Bell (born July 23, 1942) is an American soul singer, who became famous as a performer in the UK during the 1960s, having arrived from the US in the gospel show Black Nativity in 1962, with vocal group the Bradford Singers. Bell was born in Newark, New Jersey, United States. She worked as a session singer, most notably backing for Dusty Springfield, and can be found on early Donna Summer material as well. Her first major solo hit was a cover version of Dee Dee Warwick's single "I'm Gonna Make You Love Me", which performed better on the US Billboard Hot 100 chart than the original.

Bell then joined contemporary pop combo Blue Mink, with whom she had a number of Top 20 hits with Philips Records in the UK, including "Melting Pot", "Our World", "Randy", "Banner Man", "Good Morning Freedom", "Sunday", "By The Devil I Was Tempted" and "Stay With Me". Before joining Blue Mink in late 1969 she sang solo, and her cover version of "Picture Me Gone" is still a Northern Soul favourite today, as is "What Am I Supposed To Do", from 1968, a two-minute B-side tune co-written with future Led Zeppelin member John Paul Jones, then working as one of London's most in-demand session bassists. (Bell also sang backup on Joe Cocker's "Bye Bye Blackbird" in 1969, which featured a guitar solo from another Led Zeppelin member, Jimmy Page.) Jones later arranged, produced and recorded Bell's 1973 RCA album Comin' Atcha. She contributed to the soundtrack of the romance film A Touch of Class (1973). She also sang backup for the Dave Clark Five's single release, "Everybody Get Together", and contributed backing vocals to Elton John's 1972 album, Honky Chateau.

Bell has also provided backing vocals on a number of other artists' recordings, notably Tom Parker's neo-classical arrangements, and in 1975 performed with Sunny and Sue (originally members of Brotherhood of Man) at the Eurovision Song Contest in Stockholm, Sweden, providing backing vocals for the German entry "Ein Lied kann eine Brücke sein", performed by Joy Fleming. She worked with Kiki Dee and Lesley Duncan. In 1976 Bell sang backing vocals on We Can't Go on Meeting Like This, the second album by the band Hummingbird. In 1975 she appeared on Sunny Side of the Street for Bryn Haworth. She also joined the French disco group Space, providing lead vocals on two of their albums. One of the songs she provided lead vocals on was "Save Your Love For Me" from 1978, which charted high in many countries. She also provided backing vocals for another French artist; Cerrone. Madeline also appears on Giorgio Moroder's 1979 album, E=MC2.

Since the 1970s, Bell has continued singing solo and also performed in a number of stage shows. She continues to live in Spain since her husband, drummer Barry Reeves (once of the Ferris Wheel) died on February 6, 2010, from pneumonia. She regularly tours Europe singing jazz and popular songs. In 1982, she added background vocals to the fantasy film Alicja. She then again teamed up with John Paul Jones in 1985, contributing performances ("Take It or Leave It" and "Here I Am") to the soundtrack album Scream for Help. Bell was the voice behind the 1980s advertising campaign for Brooke Bond D, a brand of tea bag in the UK. The music was composed by Ronnie Bond. She also provided vocals on the jingles of another 1980s advertising campaign, British Gas's Wonderfuel Gas, which began in 1982. ~ Bio http://en.wikipedia.org/wiki/Madeline_Bell

Warren Vaché - The Warren Vaché Quintet Remembers Benny Carter

Styles: Cornet Jazz
Year: 2015
File: MP3@320K/s
Time: 63:47
Size: 146,6 MB
Art: Front

(6:35)  1. A Walking Thing
(2:34)  2. When Lights Are Low
(4:42)  3. Doozy
(3:54)  4. Key Largo
(5:34)  5. Evening Star
(6:52)  6. Boulevard Bounce
(5:38)  7. Summer Serenade
(4:08)  8. Only Trust Your Heart
(6:01)  9. Souvenir
(3:50) 10. Rock Me to Sleep
(4:44) 11. I'm Sorry
(4:45) 12. All That Jazz
(4:24) 13. The Romp

There's lots of life to this recording. Veteran trumpeter Warren Vache knows a thing or two about an old friend, mentor Benny Carter. With The Warren Vache Quintet Remembers Benny Carter we take a step back in time even as we venture forth into the present. A present that finds cornetist Vache's style and personage slightly at odds with that goofy-looking guy with the lid shaking hands with Carter for the cover of this release. It's a remarkable transformation for someone who, during Carter's life, was enthralled by the man's spirit as well as his humanity and substantial musical contributions. Then and now. That's what these kinds of recordings are all about, aren't they? 

The trick is to pull it off convincingly, which means you gotta inhabit that spirit and wonder with your whole heart and still have the means to convey it. In Vache's case, that's just what happens with this recording of 13 tunes associated with the multi-instrumental maven, whose career spanned a mind-boggling number of years and eras. To perhaps repeat, then and now is furthered along by the visual presentation of this CD. You get the younger, livelier Vache shaking hands with the master along with more recent photos which show a man weathered by the times since Carter's death in 2003 at age 95. Gone is that goofy smile of innocence, replaced by a more taciturn and wry grimace. Vache's seasoning no doubt has included some trials and disappointments in the intervening years. And that's just what seems to be so much a part of this recording: the sound of a man in love with his music and, in this case, the music of another, a more mature voice.

So, take all that in, and then listen to this music and discover a kind of transcendence that speaks to the music's ability to be ageless, Vache's formal treatments of these songs are true to the spirit of Carter's own muse and whatever Vache picked up by being associated with him. There is a joyous quality to everything here, except when "lights are low," but then it somehow remains surreptitiously buoyant. Take any tune and find a group cohesion fostered by the leader of this makeshift group and you'll hear something that's rare in today's marketplace of jazz recordings: an authentic embrace of ... then and now. With regular cohort Tardo Hammer at the keys, along with old friends and colleagues tenorist Houston Person, Nicki Parrott on bass and vocals and Leroy Williams on drums on selective cuts, the moods tend to be mellow when they aren't a tad bouncy. The transition between "Boulevard Bounce" and "Summer Serenade," for example, is the transition between that bounce featuring Vache playing a real cozy mute with tasteful brushwork from Williams to yet another example of Hammer's modest eloquence as he brings the serenade forward, Parrott's basslines and solo work simpatico all the way. 

"Summer Serenade" is that kind of rendition that certainly suggests what the song implies, a lazy river coursing through a nearby meadow, everything in its rightful place as the late-afternoon sun finds its way through the willows and the breezes are soft and reassuring. It's a trio piece, sans Vache, that serves as the midpoint to this collection, having followed what might be considered the overall mood of the album with "Boulevard Bounce," namely, a lighthearted party. And so, with Remembers Benny Carter (featuring incisive, Carter-centered liner notes from Carter biographer Ed Berger) there's the seemingly inevitable gesture that comes with age and the talent to deliver it: a bittersweet melancholy and a certain longing for what was, maybe best heard when Parrott's voice enters here and there, her feminine energy a vital ingredient here as she expands on her bassist role via a samba version of "Only Trust Your Heart" and the more rightfully easygoing "When Lights Are Low" (featuring some delicate muted-horn work from the leader). Her voice is intimate, relaxed, lilting, as she inhabits the words to these songs in ways that make her an ideal foil to Vache's sometimes more caustic yet generous spirit. A generous spirit that leaves others to carry the tune, so to speak, from time to time without him.

With the quiet eloquence of "Souvenir" Vache returns with a full-bodied open horn, cradling the song's melody in this gently delivered ballad, a certain highlight that could be adapted to any time of day, but especially when those lights are low. Tardo's piano is once again a voice that provides that rare mesmerizing balance to Vache's clear, recital-like tones. You can practically feel the love for Mr. Carter. "Rock Me To Sleep" kicks it up a notch, echoing not only Carter the trumpeter but an even earlier master of that instrument, Louis Armstrong, the song's medium-tempo swing a lure for anyone who loves to hit the dance floor anytime of day. And with "All That Jazz," Vache joining Parrott in the vocal department, we hear not only more up-tempo swinging but some real harmonizing between these two singers that makes you wish they'd done another. Ending with the up-tempo swinging blues "The Romp" may have you forgetting everything that came before, this quintet seemingly refusing to go out quietly, but instead opting for just a wee bit more fun. Vache's horn and leadership on this date should be a welcome treat for any music lover, regardless of age or taste. His ultimate compliment to Carter could be Vache's overt presence implied as well as stated and his subdued, age-appropriate enthusiasm for this music, and his hitting every note just right even as he also allows everyone in on the party, for everyone to come celebrate the wonder that Benny Carter will always represent. ~ John Ephland  http://www.allaboutjazz.com/warren-vache-quintet-remembers-benny-carter-by-john-ephland.php
Personnel: Warren Vache, cornet; Houston Person, tenor saxophone; Nicki Parrott, bass, vocals; Tardo Hammer, piano; Leroy Williams, drums.

The Warren Vaché Quintet Remembers Benny Carter

Barney Kessel - Solo

Styles: Guitar Jazz
Year: 1983
File: MP3@320K/s
Time: 35:38
Size: 81,9 MB
Art: Front

(2:35)  1. Brazil
(2:55)  2. What Are You Doing The Rest Of Your Life?
(3:21)  3. Happy Little Song
(3:25)  4. Everything Happens to Me
(4:56)  5. You Are the Sunshine of My Life
(4:13)  6. Manhã De Carnaval
(4:55)  7. People
(3:49)  8. Jellybeans
(5:25)  9. Alfie

This is an unusual set, the only full-length program of unaccompanied guitar solos recorded by Barney Kessel. Although Kessel was not as skilled in solo work as Joe Pass, the music is relaxed, melodic and tasteful. The interpretations are concise and highlighted by "Brazil," "You Are the Sunshine of My Life," and "Alfie," although "People" could have been skipped. ~ Scott Yanow  http://www.allmusic.com/album/solo-mw0000665062

Personnel: Barney Kessel (guitar).

Monique Thomas & Jacki Berecochea - Can't We Be Friends - Combo!

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 54:59
Size: 127,4 MB
Art: Front

(2:08)  1. Can't We Be Friends?
(3:30)  2. Old Devil Moon
(3:23)  3. I Said No
(3:30)  4. Sweet Georgia Brown
(5:03)  5. Save Your Love for Me
(5:27)  6. Dolo Blues
(2:49)  7. Just You, Just Me
(3:20)  8. Speak Low
(2:26)  9. It's Love
(4:51) 10. I'm Old Fashioned
(3:56) 11. Indian Summer
(4:12) 12. Spring Can Really Hang You Up the Most
(4:59) 13. Whisper Not
(5:18) 14. This Can't Be Love

It is said that young singers have this fresh passion envied all jazz musicians. That's the effect we've had by meeting Monique Thomas. She sang a version of "burning-hot" Cherokee full of promises for the hearing of vocal jazz department at William Paterson University. The music integrity of Monique, his talent and experience are evident in each piece. She swings while telling each sentence of the text she sings very personal way. His passion and sensuality in the ballads, like his spark and his swing in fast tempos are beautifully highlighted by brilliant musicians and very successful arrangements. This disc is a wonderful musical adventure. Translate by google  http://www.agorila.com/-combo-monique-thomas-et-berecochea-685.php