Ruby Braff - Being With You: Ruby Braff Remembers Louis Armstrong

Bitrate: MP3@320K/s
Time: 61:54
Size: 141.7 MB
Styles: New Orleans jazz, Trumpet jazz
Year: 2006
Art: Front

[ 9:29] 1. I Never Knew
[ 4:18] 2. Little One
[11:57] 3. Keepin' Out Of Mischief Now
[ 4:49] 4. If I Could Be With You (One Hour Tonight)
[ 4:04] 5. Hustlin' And Bustlin' For Baby
[ 9:16] 6. When Your Lover Has Gone
[ 5:21] 7. Twelfth Street Rag
[ 9:01] 8. Royal Garden Blues
[ 3:35] 9. When It's Sleepy Time Down South

Although billed as a tribute to Louis Armstrong, this 1996 recording by the great cornetist Ruby Braff is not all it seems to be. Several of the swing standards (such as "I Never Knew," "Little One" which Braff sings" and "Royal Garden Blues") do not have much to do with Armstrong; there are no attempts to pay direct homage to any of his recordings, and the arrangements (by Braff and trombonist Dan Barrett) look more toward Count Basie and Lester Young than to Satch. In addition, there is no explanation of the "Being With You" subtitle, nor any song with that name. The lineup of musicians is impressive: cornetist Jon-Erik Kellso, Barrett, Scott Robinson on baritone and clarinet, veteran tenorman Jerry Jerome, guitarist Bucky Pizzarelli, pianist Johnny Varro, bassist Bob Haggart and drummer Jim Gwin; the sidemen get almost as much solo space as the leader. Braff plays well, and the overall results are pleasing but not quite up to the level of the cornetist's more significant dates. ~Scott Yanow

Being With You: Ruby Braff Remembers Louis Armstrong

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The Andrews Sisters - The Ultimate Andrews Sisters

Bitrate: MP3@320K/s
Time: 75:49
Size: 173.6 MB
Styles: Vocal harmonies, Pop
Year: 2003
Art: Front

[2:56] 1. I'll Be With You In Apple Blossom Time
[2:49] 2. Beer Barrel Polka
[2:55] 3. Don't Sit Under The Apple Tree (With Anyone Else But Me)
[2:37] 4. Last Night On The Back Porch
[1:52] 5. Proper Cup Of Coffee
[2:08] 6. Hooray For Love
[3:18] 7. Back In Your Own Backyard
[2:45] 8. Ti-Pi-Tin
[2:42] 9. Bei Mir Bist Du Schön
[2:58] 10. Nevertheless
[2:53] 11. Let There Be Love
[2:49] 12. I Want To Linger
[3:01] 13. Rum And Coca-Cola
[2:45] 14. Don't Bring Lulu
[2:46] 15. Begin The Beguine
[2:04] 16. Melancholy Moon
[2:48] 17. Beat Me Daddy, Eight To The Bar
[3:04] 18. Bei Mir Bist Du Schön
[3:12] 19. Hold Tight (Want Some Sea Food, Mama)
[2:23] 20. Tea For Two
[2:41] 21. Boogie Woogie Bugle Boy
[2:09] 22. When Francis Dances With Me
[2:57] 23. That Naughty Waltz
[1:57] 24. Keep Your Skirts Down, Mary Ann
[2:14] 25. The Song Is You
[3:10] 26. Younger Than Springtime
[2:54] 27. Ferryboat Serenade
[2:49] 28. Show Me The Way To Go Home

During a time when teenagers were doing the jitterbug and Uncle Sam was asking young men to enlist, The Andrews Sisters were America’s most popular female singing group. Patty, the youngest sister, was a loud and energetic blond who headed the group with her confident vocals. The middle sister was Maxene, a brunette, whose harmonic range gave the impression of four voices instead of three. Finally, completing the trio was the eldest, LaVerne, a strong willed red head with a witty sense of humor and an eye for fashion.

The Andrews Sisters versatile sound and range in genres explains their longevity in the music industry and popularity with people all over the world. They had major hits in nearly all types of music ranging from swing to country-western. This tremendous popularity did not stop in the music business. The trio could also be found performing in radio series, commercials, Hollywood movies and on Broadway.

Born in Minnesota, the three Andrews sisters developed a love for music at an early age. As children their first experience with music occurred when LaVerne had her two younger sisters sing a musical note around the family’s piano. This experience awakened the girls love for music and they began spending all of their free time singing and mimicking the successful singers of the time. Some of their first major influences included the Boswell Sisters, Ella Fitzgerald and Mel Torme.

The girls got their start when Larry Rich hired them to go on tour with his 55 member troupe. In 1932 they stopped touring with Rich, but the girls continued to sing at fairs, vaudeville shows and club acts. While touring the girls worked hard on their craft and rehearsed daily, sometimes practicing in the back of their father’s Buick while driving to the next show. After six years of living on the road the girls had their first major success with “Bei Mir” which sold 350,000 copies. The song held the Billboards No. 1 slot for five weeks. This achievement established The Andrews Sisters as successful recording artists and they became celebrities.

The Ultimate Andrews Sisters 

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Ivan Lins - America, Brasil

Bitrate: MP3@320K/s
Time: 51:31
Size: 117.9 MB
Styles: Brazilian jazz
Year: 2015
Art: Front

[3:56] 1. Cantoria
[4:26] 2. Joana Dos Barcos
[2:51] 3. Luxo Do Lixo
[4:02] 4. E Ai
[4:07] 5. Cantor Da Noite
[3:45] 6. Do Olapoque Ao Chui
[3:56] 7. Que Auer De Mim
[4:12] 8. Coragem Mulher
[4:40] 9. Voar
[3:24] 10. Agua Doce
[3:41] 11. Enquanto A Gnete Batuca
[4:13] 12. America, Brasil
[4:12] 13. Do Nosso Amor Tao Sincero-Vitorioso

Born in Rio de Janeiro, the son of a Naval engineer, Ivan (pronounced E-von) spent several formative years in Cambridge, Massachusetts, while his father completed graduate studies at M.I.T. Relocating to his native Brazil, Ivan earned a degree and had a career in professional sports in mind before discovering his passion and natural talent for music. Among his earliest compositions, 'Madalena,' was recorded by the legendary Brazilian artist Elis Regina and was an enormous hit in that country and throughout Europe.

In the early 1980's, the enduring love affair between American and Brazilian musicians took a new turn when it was announced that super-producer Quincy Jones was looking for a special Brazilian touch on an upcoming album for jazz guitar great George Benson. Earning tremendous international respect, Lins has been recorded by many American stars, including Ella Fitzgerald, Sarah Vaughn, Carmen McRae, Nancy Wilson, Patti Austin, Take Six, Lee Ritenour, Dave Grusin and Sergio Mendes.

Like most Brazilian artists, Lins has had to deal with pressures from the Brazilian military regime of the last two decades. Yet luck has been on his side, for he has never had a song cut out or censored. However, he admits that 'when you are suffering, your art takes on greater density.'

America, Brasil

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Chuck Wayne, Joe Puma - Interactions

Bitrate: MP3@320K/s
Time: 59:22
Size: 135.9 MB
Styles: Post bop, Guitar jazz
Year: 1974/2012
Art: Front

[5:52] 1. My Favourite Things
[4:28] 2. Fly Me To The Moon (In Other Words)
[4:21] 3. Let's Do It Again
[5:18] 4. Little Joe Waltz
[7:00] 5. Body And Soul
[4:43] 6. Lester Leaps In
[5:43] 7. Here's That Rainy Day
[4:36] 8. Baubles, Bangles And Beads
[4:47] 9. Satin Doll
[5:13] 10. There Will Never Be Another You
[7:16] 11. I'll Get Along

Guitarist Chuck Wayne came to prominence in the 1940's & 50's. He was best known for his work with Woody Herman and George Shearing. He was also Tony Bennett's musical director from 1953-57. Joe Puma was a contemporary of Chuck and fellow guitarists Jimmy Raney and Johnny Smith, winning the Metronome New Star award in 1957. The two guitarists teamed up in 1973 for some duet playing in the tradition of Barnes/Kress and Ellis/Pass and this resulting album is one of the best of the genre.

Interactions

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Zoot Sims - Bohemia After Dark

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 62:36
Size: 143,9 MB
Art: Front

(4:53)  1. 9:20 Special
(5:13)  2. The Man I Love
(4:44)  3. 55th and State
(5:08)  4. The Blue Room
(4:17)  5. Gus's Blues
(5:33)  6. That Old Feeling
(3:34)  7. Bohemia After Dark
(5:21)  8. Woody 'n You
(6:44)  9. I Don't Stand a Ghost of a Chance with You
(5:14) 10. September in the Rain
(3:31) 11. The Nearness of You
(4:05) 12. Skylark
(4:13) 13. Two Sleepy People

Throughout his career, Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase. He always sounded inspired, and although his style did not change much after the early 1950s, Zoot's enthusiasm and creativity never wavered. Zoot's family was involved in vaudeville, and he played drums and clarinet as a youth. His older brother, Ray Sims, developed into a fine trombonist who sounded like Bill Harris. At age 13, Sims switched permanently to the tenor, and his initial inspiration was Lester Young, although he soon developed his own cool-toned sound. Sims was a professional by the age of 15, landing his first important job with Bobby Sherwood's Orchestra, and he joined Benny Goodman's big band for the first time in 1943; he would be one of BG's favorite tenormen for the next 30 years. He recorded with Joe Bushkin in 1944, and even at that early stage, his style was largely set.

After a period in the Army, Sims was with Goodman from 1946-1947. He gained his initial fame as one of Woody Herman's "Four Brothers" during his time with the Second Herd (1947-1949). Zoot had brief stints with Buddy Rich's short-lived big band, Artie Shaw, Goodman (1950), Chubby Jackson, and Elliot Lawrence. He toured and recorded with Stan Kenton (1953) and Gerry Mulligan (1954-1956). Sims was also a star soloist with Mulligan's Concert Jazz Band of the early '60s and visited the Soviet Union with Benny Goodman in 1962. A freelancer throughout most of his career, Sims often led his own combos or co-led bands with his friend Al Cohn; the two tenors had very similar sounds and styles. 

Zoot started doubling on soprano quite effectively in the '70s. Through the years, he appeared in countless situations, and always seemed to come out ahead. Fortunately, Zoot Sims recorded frequently, leading sessions for Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, and a wonderful series for Pablo. ~ Bio  https://itunes.apple.com/us/artist/zoot-sims/id408729#fullText

Personnel: Zoot Sims (tenor saxophone); Al Cohn (baritone saxophone); Nick Travis (trumpet); Jimmy Cleveland, Bob Brookmeyer (trombone); Elliot Lawrence (piano); Gus Johnson (drums).

Bohemia After Dark

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Joe Sample - The Pecan Tree

Styles: Vocal And Piano Jazz

Year: 2008

File: MP3@320K/s

Time: 54:18

Size: 126,1 MB

Art: Front

(5:24)  1. The Pecan Tree

(4:42)  2. Hot And Humid

(5:16)  3. No One But Myself To Blame

(5:12)  4. X Marks The Spot (Marie Laveau)

(5:20)  5. Fool's Gold

(5:00)  6. Spanish Moss

(5:00)  7. In A Heartbeat

(5:16)  8. El Dorado

(5:27)  9. With These Hands

(3:41) 10. The Texas Two Step

(3:55) 11. Memories

Wow! I don't think there is a better description for this new recording from Joe Sample. I truly believe that this is the best jazz CD that I have heard in the past year. If you're a new listener to jazz, Sample is an accomplished composer, keyboardist and co-founder of the Crusaders. The Pecan Tree is his newest and quite possibly finest recording. For the Pecan Tree, Sample has ventured back to his roots, down to the city of his youth Houston, Texas. It was in Houston that Sample first began playing piano at age five. The Pecan Tree is a CD of themes all of them set in the deep south. The track titles each evoke the geographical atmosphere of Sample's hometown. With titles like "Hot & Humid," "The Texas Two Step," "X Marks the Spot (Marie Laveau)," "Spanish Moss," "El Dorado" and "The Pecan Tree," Sample transports the listener to the area west of the delta, a hot, humid cauldron that has created a musical stew. This stew was consumed heartily by Sample. He soaked up its very essence and fibre and ahs been serving it up to us, the public for over four decades.

The Pecan tree features seven stunning instrumental tracks, but is by no means an instrumental journey. Four superb tracks feature vocals. "With These Hands," an old R&B song is given a wonderful interpretation by ex-Shalamar vocalist Howard Hewett. Hewett also handles the vocals on "In A Heartbeat" a fantastic groove co-written by Sample's son Nicklas. This song has the hooks and feeling that could make it a number 1 pop hit. The remaining two vocal performances feature Lizz Wright, a singer just signed to the Verve label. Ms. Wright (who melodious voice will soon be heard across the land on the radio) provides the vocals on "Fool's Gold" and "No One but Myself to Blame" both of which feature music written by Sample and lyrics written by renowned singer/songwriter Jonathan Brooke. For a trip to jazz heaven or if you're just trying to bring the local jazz club to your living room, sit back and listen to the smooth grooves of The Pecan Tree. ~ Mike Perciaccante  http://www.allaboutjazz.com/the-pecan-tree-joe-sample-verve-music-group-review-by-mike-perciaccante.php

Personnel: Howard Hewett: vocals; Joe Sample: piano; Jay Anderson: bass; Larry Aberman: drums; Lenny Castro: percussion; Paulinho Da Costa : percussion; James Gadson : drums; Dean Parks: guitar; Liz Wright: vocals.

The Pecan Tree

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Erroll Garner Trio - 'Play, Piano, Play' 1950 - 1953

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 65:07
Size: 150,3 MB
Art: Front

(3:47)  1. The Way You Look Tonight
(2:50)  2. Sophisticated Lady
(2:23)  3. Fine And Dandy
(3:13)  4. The Petite Waltz Bounce
(3:00)  5. Body And Soul
(2:40)  6. I Never Knew
(3:15)  7. Please Don't Talk About Me When I'm Gone
(2:25)  8. Play, Piano, Play
(2:43)  9. Ain't She Sweet?
(3:08) 10. Ja-Da
(2:49) 11. I Didn't Know
(2:43) 12. You're Blase
(3:19) 13. It's The Talk Of The Town
(3:09) 14. Undecided
(3:00) 15. Summertime
(2:27) 16. You're Driving Me Crazy
(4:01) 17. 'S Wonderful
(3:23) 18. St. Louis Blues
(3:19) 19. Robbin's Nest
(3:39) 20. Frenesi
(3:43) 21. Groovy-Day

Seeing as "Play Piano Play" was one of Erroll Garner's signature romp tunes, it's no surprise that at least four different Garner compilations have appeared bearing that title. What is surprising is that the Giants of Jazz label released two entirely different packages three years apart using the same title. The 1998 Play Piano Play contains material recorded during the years 1944-1947. The 1995 Play Piano Play 1950-1953 (which is the subject of this review) concentrates upon the marvelous trio recordings Garner made for the Columbia label in Hollywood and New York between October 7, 1950 and March 30, 1953. 

There are two trios at work in this chronologically chaotic compilation. Material pulled from the 1951 and 1952 recording sessions involved bassist John Simmons and drummer Shadow Wilson. The 1953 trio (tracks 13, 17, 18, 20 and 21) had bassist Wyatt Ruther and drummer Fats Heard. This wonderful stash of vintage, mainstream piano jazz is guaranteed to soothe, energize, please and entertain. ~ arwulf arwulf  http://www.allmusic.com/album/play-piano-play-1950-1953-mw0001050094

'Play, Piano, Play'1950 - 1953

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