Friday, June 5, 2015

Ella Fitzgerald - Rhythm Is My Business

Bitrate: MP3@320K/s
Time: 41:35
Size: 95.2 MB
Styles: Standards, Vocal jazz
Year: 1999
Art: Front

[2:49] 1. Rough Ridin'
[2:42] 2. Broadway
[3:31] 3. You Can Depend On Me
[2:39] 4. Runnin' Wild
[2:41] 5. Show Me The Way To Get Out Of This World
[2:49] 6. I'll Always Be In Love With You
[2:33] 7. Hallelujah, I Love Him So
[4:59] 8. I Can't Face The Music
[2:35] 9. No Moon At All
[4:52] 10. Laughin' On The Outside (Crying On The Inside)
[4:07] 11. After You've Gone
[2:34] 12. Taking A Chance On Love
[2:38] 13. If I Could Be With You (One Hour Tonight)

Organist Bill Doggett had a rare chance on this album to write swinging charts for a big band. Ella Fitzgerald is in the spotlight throughout, mostly singing swing-era songs along with a couple of newer pieces, such as "Hallelujah I Love Him So" and "No Moon at All." "I Can't Face the Music" is the longest performance at 5:01, and all but three of the other selections are under three minutes, so there is no real stretching out. However, Ella's voice was in its prime, and the charts are excellent. ~Scott Yanow

Rhythm Is My Business

Benny Carter, Bill Coleman, Henri Chaix Orchestra & Quintet - The Three C's

Bitrate: MP3@320K/s
Time: 72:23
Size: 165.7 MB
Styles: Swing, Saxophone jazz, Piano jazz
Year: 2003
Art: Front

[5:06] 1. Swingin' In November
[6:54] 2. Easy Money
[7:04] 3. I Can't Get Started
[5:53] 4. Titmouse
[6:10] 5. Body And Soul
[8:05] 6. 's Wonderful
[3:46] 7. March Wind
[4:31] 8. Wrap Your Troubles In Dreams
[3:45] 9. N'embrassez Pas Ma Femme
[3:11] 10. Idaho
[3:43] 11. Blue Turning Grey Over You
[3:30] 12. Caravan
[3:03] 13. When My Sugar Walks Down The Street
[3:35] 14. Honeysuckle Rose
[4:00] 15. I've Found A New Baby

Musical archeology is fascinating, especially if you dig what's dug from long-forgotten archives. Thanks to Canadian label Sackville, three sessions that took place in Switzerland in the '50s and '60s shed some enjoyable light on world traveler Benny Carter, expatriate Bill Coleman and Swiss native Henri Chaix (pronounced "shecks"), a first-rate stride pianist who obviously idolized Fats Waller. Behold The Three C's, nearly 73 minutes of nostalgic swing, divided evenly between the two Americans: Chaix's nine-piece band backing Carter's alto sax and Chaix's quintet supporting Coleman's trumpet and vocals.

Notes are sparse and vignettes are few. Considering the material at hand, the album literally cries out for more historical background. Not surprisingly, Carter is the elegant standout in four originals and three standards, the highlight being "'S Wonderful," not only for Chaix's paean to Fats with a wonderful solo, but the organic way an "arrangement" takes shape after Carter exchanges fours with (apparently) tenor Michel Pilet. Coleman flexes his chops (muted trumpet and vocal) most effectively on "Wrap Your Troubles in Dreams" and "I've Found a New Baby." ~Harvey Siders

The Three C's

Daniel Smith - Smokin' Hot Bassoon Blues

Bitrate: MP3@320K/s
Time: 48:34
Size: 111.2 MB
Styles: Jazz
Year: 2014
Art: Front

[4:10] 1. Night Train
[4:55] 2. Hummin'
[4:11] 3. Better Get Hit In Your Soul
[4:14] 4. Back At The Chicken Shack
[4:10] 5. What'd I Say
[4:16] 6. Blue Seven
[4:08] 7. Señor Blues
[3:55] 8. Hallelujah I Love Her So
[2:42] 9. C Jam Blues
[2:54] 10. Eddie's Blues
[5:37] 11. Moanin'
[3:18] 12. Mamacita

Recorded by Grammy Award winning Tom Lazarus, this recording brings the cutting edge, critically acclaimed “greatest bassoon player of the generation” (New York Daily News) into a plethora of tasty tunes arranged perfectly for him and an extremely talented lineup of musicians…

One of today’s leading pioneers of the bassoon with many critically acclaimed award winning recordings and live performances, Daniel Smith’s repertoire spans music ranging from Baroque concerti to jazz, ragtime and crossover. He is the only bassoon soloist who has performed and recorded over the years in both the jazz and classical fields. Daniel Smith’s unique career has been profiled in numerous publications. In the USA, his career was highlighted on PBS’s “All Things Considered” while in the UK, BBC 4 showcased his career along with BBC2 featuring his music for their ‘signature tune’.

JazzWeekly says: ”…Incredible Chops….a force to be reckoned with!”

Smokin' Hot Bassoon Blues

Jimmy McGriff - Blue To The Bone

Bitrate: MP3@320K/s
Time: 44:18
Size: 101.4 MB
Styles: Soul-jazz-blues
Year: 1988
Art: Front

[ 6:26] 1. Ain't That Funk For You
[ 5:11] 2. For All We Know
[10:18] 3. Don't Get Around Much Anymore
[ 9:03] 4. Secret Love
[ 7:43] 5. Hangin' In
[ 5:34] 6. After The Dark

Bill Easley »» Saxophone; Al Grey »» Trombone; Jimmy McGriff »» Hammond B3; Bernard Purdie »» Drums; Melvin Sparks »» Guitar.

McGriff with Bill Easley on sax, Melvin Sparks on guitar, Bernard Purdie on drums, and Al Grey on trombone. The trombone is not that often found in the small-organ combo format and may not appeal to everyone. Smooth, yet funky. ~Michael Erlewine

Blue To The Bone

Joyce Hurley - Off The Record

Styles: Vocal, Jazz
Year: 2010
File: MP3@320K/s
Time: 51:56
Size: 119,5 MB
Art: Front

(5:19)  1. A Night In Tunisia
(4:55)  2. That's All
(3:00)  3. Sometimes I'm Happy
(5:44)  4. September In the Rain
(2:47)  5. What Are You Doing the Rest of Your Life?
(4:08)  6. Shaker Song
(5:01)  7. Fine and Mellow
(3:27)  8. Thou Swell
(2:56)  9. Peel Me a Grape
(2:50) 10. 50 Ways To Leave Your Lover
(1:35) 11. Blues for Mr. Smirnoff
(4:44) 12. Ode To Billy Joe
(5:23) 13. Fast Car

I've been described as "a multi-talented musician with wide performing experience as a singer, pianist and composer." My eclectic musical styles are based firmly in classical training, and offer audiences a range from jazz standards through smooth jazz through Latin to pop. More recently I have been touring with several groups in Europe.  In Bulgaria, I have done several tours with Ivan Iankov and a chamber orchestra, promoting his composition of music set to Shakespeare sonnets.  We have performed at concerts all over Bulgaria, recorded at the Bulgarian National Television, Radio and Recording House, ( the biggest studio I have ever seen ), and completed a CD, “How Like a Winter”. I also had the opportunity to perform with this constellation in the Oslo Concert Hall for hundreds of world diplomats honouring the welcome of Bulgaria into the European Union. I have also toured extensively in the Czech Republic, with a jazz trio I frequently perform with all over Europe.  It is the “Joe After Trio”, and I began performing with them on the Color Cruise Line, out of Norway.  We have also recorded a CD, “From Chicago to Ostrava”. We have performed on Czech National TV and radio, and continue to work regularly together.

I also work closely with a Stockholm based group, the DreemTeem.  Zak Kieth, guitar, Derek January, bass, and Fredrik Hellberg, drums, are all a vital part of the Stockholm music scene. Recently I have had the honour of performing a series of gospel concerts with the Halmstad Gospel Choir.  That honour was magnified when they performed one of my original compositions. I have also been writing the music for a stage musical, which I hope one day will come to life on the stage. As for the piano bar scene my main gig for me  it is mainly centered in Norway, Sweden (Stockholm Grand Hotel and Casino Cosmopol), and the Costa Cruise Lines. Travelling with Costa, I am on my way to fulfilling one of my goals to see the world. From basic piano studies at the Detroit Art Center Music School, I went on to obtain a Bachelor of Music Degree in piano performance from the University of South Carolina and a Master of Music Degree in theory and composition from the University of South Carolina in conjunction with the University of Sydney in Australia. I also completed other post-graduate studies at the Conservatory of New South Wales, Australia.

I've entertained as a solo pianist and vocalist all over the world, beginning in Chicago, where I played in some of the city’s finest hotels and restaurants such as the Hilton, Radisson and Marriott, as well as Eugene’s and Sage’s, among others, before entering the international circuit.Since then, I've performed widely in Sweden, Norway, Denmark, France, Germany, Switzerland, Greece, Singapore, Hong Kong and Australia. I've also played on a variety of cruise ships including the Birka Princess and those of the Silja, Viking, Color Line and Stena lines. I've performed with various groups in jazz clubs and festivals throughout Scandinavia, France, Germany, Switzerland, Poland, Russia and the United States. In 1996, I performed with Phil Collins and Ray Glover in Zermatt and Geneva, Switzerland, as well as with Glover at a series of pre-Montreux Jazz Festival galas in Bern, Geneva and Zurich. In 1999, I performed at Summerfest in Milwaukee. Other notable collaborations include drummer Ed Thigpen, bassist Mads Winding and percussionist Master Henry Gibson.

And, in January 2001, Deep Purple's Jon Lord and The Spencer Davis Group's Pete York sat in with my trio when we performed in Zermatt. I've had extensive TV and radio coverage. In Sweden, I provided the music for a Channel 1 documentary about Nobel Prize winner Toni Morrison, and I've been a featured guest on Hasse Andersson’s program on Channel 2 and on Channel 4’s morning talk show. You may also have heard me on one of many radio programs in Europe and the United States. In 1996, I served as music consultant for the movie, “Sånt är Livet,” from British producer Colin Nutley, and provided vocal coaching to his wife, Swedish actress Helena Bergstrom. And, in May 2002, I shot a scene with internationally known classical pianist Per Tengstrand for his upcoming documentary film, "The Big and the Small World." http://joycehurley.com/index.php/en/menu/bio

Rebecca Parris - My Foolish Heart

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 61:30
Size: 141,1 MB
Art: Front

(7:33)  1. My Foolish Heart
(8:37)  2. The Shadow of Your Smile
(5:36)  3. Lover Man
(6:04)  4. Yesterday I Heard the Rain
(5:33)  5. Never Let Me Go
(6:00)  6. When October Goes
(7:50)  7. Body and Soul
(8:18)  8. Crazy He Calls Me
(5:54)  9. If You Could See Me Now

Rebecca Parris gives a masters class in singing ballads very slow and very well. Miles Davis once heard Shirley Horn perform a ballad that had been in his band's book for many years. He said in that sandpaper voice of his, "Man, you sing that so slow." On My Foolish Heart, Boston-native Rebecca Parris, provides nine studies in the slow ballad, all sung with a voice that is quite unforgettable.  Ms. Parris' voice is deep, not unlike that of actress Kathleen Turner (whom she also physically resembles). It is smoothly resonant reminding me of Johnny Hodges playing alto in the low register. In the jazz vocals realm, her voice most closely resembles Shirley Horn's, sans the cigarettes and 40 years experience (not implying that Ms. Parris is any kind of vocal slouch). Ms. Parris' selection of ballads is predictable, but her capability and delivery are not. She basically deconstructs and then reconstructs "Lover Man" and her "Body and Soul" reveals what Coleman Hawkin's must have been thinking during his solo of his 1939 recording of the same.

Ms. Parris' phrasing is perfectly elastic without being brassy. Her dynamic range and ear are sure. "Crazy He Calls Me" is taken at a very slow tempo, effectively conveying a tired sardonic sarcasm rather than defeat. The disc highlight is the closer, Tadd Dameron's "If Your could See Me Now." This piece death-defying in its tempo and is sung by Ms. Parris beautifully. Her support is tasteful with little soloing, choosing instead to showcase her considerable talent. John Mayall once remarked that the hardest music to play was a slow blues. I amend that to include the slow jazz ballad and Rebecca Parris performs them effortlessly. ~ C.Michael Bailey  http://www.allaboutjazz.com/my-foolish-heart-rebecca-parris-koch-international-jazz-review-by-c-michael-bailey.php 
 
Personnel:  Rebecca Parris: Vocals;  George Mesterhazy: Guitar, Keyboards;  Scott Steed: Bass; Matt Gordy: Drums;  Paul McWilliams: Piano.

Sadao Watanabe - Sadao Watanabe Plays Ballads

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 44:47
Size: 102,9 MB
Art: Front

(3:01)  1. Here's That Rainy Day
(4:10)  2. My Foolish Heart
(4:10)  3. I Thought About You
(4:08)  4. Old Folks
(1:48)  5. Spring Is Here
(2:45)  6. Little Girl Blue
(2:25)  7. That's All
(3:13)  8. They Say It's Wonderful
(3:51)  9. My Romance
(5:11) 10. Sometimes I Feel Like a Motherless Child
(3:11) 11. Once Upon A Summertime
(2:34) 12. A Nightingale Sang In Berkley Square
(4:14) 13. It's Easy to Remember

Sadao Watanabe has long had a split musical personality. He alternates excellent bebop dates with pop albums. Watanabe learned clarinet and alto in high school, and in the 1950s he moved to Tokyo, joining Toshiko Akiyoshi's bop-oriented group in 1953. When the pianist moved to the U.S. in 1956, Watanabe took over the band. He attended Berklee during 1962-1965 and had the opportunity to work with Gary McFarland, Chico Hamilton, and Gabor Szabo. However, throughout his career Watanabe has remained mostly based in Japan, where he is a major influence on younger players. He has recorded steadily through the years, most notably with Chick Corea in New York (1970) and with the Galaxy All-Stars (1978). Watanabe's bop records are inspired by Charlie Parker, and his pop dates by Brazilian-flavored music. Bio ~ Scott Yanow  http://www.allmusic.com/artist/sadao-watanabe-mn0000282544/biography

Personnel: Sadao Watanabe (alto saxophone), Masabumi Kikuchi (piano), Masanaga Harada (bass), Masahiko Togashi (drums).

Lee Morgan - The Best Of Lee Morgan

Styles: Trumpet Jazz
Year: 1988
File: MP3@320K/s
Time: 72:23
Size: 166,0 MB
Art: Front

( 6:21)  1. Ceora
(10:24)  2. The Sidewinder
( 5:29)  3. Speedball
( 9:23)  4. A Night In Tunisia
( 5:32)  5. Since I Fell for You
(10:23)  6. The Rumproller
( 7:06)  7. I Remember Clifford
( 8:44)  8. Mr. Kenyatta
( 8:59)  9. Cornbread

Curious listeners who encounter Lee Morgan for the first time through this single-disc anthology will come away mightily impressed, even inspired, but they will be hearing only the first part of the story. The album picks up on his teenage whiz kid days circa 1957, then jumps ahead to his renaissance in 1963-1965 as the high priest of hard bop boogaloo. Besides showcasing Morgan's brash, crackling, infinitely expressive trumpet playing, the album does a good job of emphasizing his abundant, still-underrated gifts as a composer with "The Sidewinder," of course, but also the strikingly lovely bossa nova "Ceora" and the near standard "Speedball." 

With its three bonus tracks, "I Remember Clifford," "Cornbread," and especially "Mr. Kenyatta," the CD version adds compelling corroborating evidence of Morgan's originality. The major hang-up, alas, is that the album cuts off the time line at 1965, thus leaving out Morgan's gradual move away from boilerplate hard bop toward modal, progressive explorations that reached an exciting peak on 1970's Live at the Lighthouse. The selections included here will no doubt satisfy those who would want to keep this tremendous talent locked into a single airtight box and frankly, it would be difficult to dispute any of the choices on their own terms. But the rest of Morgan's tragically aborted evolution deserves representation on a set like this. ~ Richard S. Ginell  http://www.allmusic.com/album/the-best-of-lee-morgan-mw0000198488

Rickie Lee Jones - The Devil You Know

Styles: Vocal, Pop/Rock
Year: 2012
File: MP3@320K/s
Time: 42:25
Size: 97,8 MB
Art: Front

(6:28)  1. Sympathy for the devil
(3:53)  2. Only love can break your heart
(4:27)  3. Masterpiece
(6:31)  4. The weight
(2:18)  5. St. James infirmary
(3:12)  6. Comfort you
(5:17)  7. Reason to believe
(3:44)  8. Play with fire
(3:54)  9. Seems like a long time
(2:36) 10. Catch the wind

Rickie Lee Jones' The Devil You Know is a collection of classic rock cover songs that follows the intimate and excellent Balm in Gilead. Jones has performed covers since she began singing in dive bars in Los Angeles in the 1970s. They've made steady appearances in her recording career: Girl at Her Volcano (1983), Pop Pop in 1991, and It’s Like This (2000). Jones is a truly gifted interpreter. She takes songs inside herself, pulls them apart, reveals previously hidden meanings, and imbues them with new shades of meaning while transforming them into something of her own. Ben Harper, who collaborated with her on Balm in Gilead, produced the set. He gets it exactly right: the instrumentation is sparse, leaving lots of space for Jones' voice at the forefront. Ultimately, The Devil You Know is about Jones' voice and the journey it takes through these songs. So intimate are these proceedings, the listener may feel she is eavesdropping. In Jones' voice, "Sympathy for the Devil" is no longer a swaggering statement of rebellion, but an exposed view of the heart of the being who boasts. Neil Young's "Only Love Can Break Your Heart" sheds the innocence of the original and imparts experience, wisdom, and scars from love's battlefield without bitterness or cynicism, only tenderness. Her reading of Van Morrison's "Comfort You" is proof. 

She takes the songwriter's sense of want and expresses it as a pure intention in spite of its cost. The two seeming oddities here Harper's original "Masterpiece" and the standard "St. James Infirmary" add striking depth and dimension. The former is obviously modeled on Morrison's Astral Weeks period and as such, Jones gives it that anchor. Her take on the latter tune strips away the decades of nostalgia and brings it right back to the blues. Her emotive resonance brings back the depth of emotion the song was meant to convey. Jones' version of Tim Hardin's "Reason to Believe" and Ted Anderson's "Seems Like a Long Time" both appeared on Rod Stewart's Every Picture Tells a Story. Jones adds a different kind of authority to both. Her voice, while less grainy, is more world-weary, more broken, but more convincing in its resolve. Between them is the Rolling Stones' "Play with Fire," its refrain is a warning (once more stripped of its boast), an act of simple, dark truth-telling. With its restrained arrangements and spacious production, The Devil You Know allows Jones' enigmatic voice the room it needs to rise and deliver these songs, not from rock & roll history, but from her heart, marrow, and bones. ~ Thom Jurek  http://www.allmusic.com/album/the-devil-you-know-mw0002404588

Personnel: Rickie Lee Jones (vocals, guitar, piano, percussion, background vocals); Ben Harper (guitar, organ, vibraphone, drums, percussion, background vocals); David Lindley (violin); Larry Goldings (piano, organ); Jesse Ingalls, Jamie Elman (piano); Chris Joyner, Jason Yates (organ); D.J. Bonebrake (vibraphone).