Conte Candoli All Stars - Little Band, Big Jazz

Bitrate: MP3@320K/s
Time: 28:39
Size: 65.6 MB
Styles: Trumpet jazz, Bop
Year: 1960/2008
Art: Front

[4:03] 1. Muggin' The Minor
[4:57] 2. Mambo Diane
[5:02] 3. Countin' The Blues
[3:58] 4. Zizanie
[5:07] 5. Macedonia
[5:31] 6. Little David

Conte Candoli (tp), Buddy Collette (ts), Vince Guaraldi (p), Leroy Vinnegar (b), Stan Levey (d).

For the first time on CD. Opportunities to lead his own record date have been surprisingly rare through the years for the talented bop trumpeter Conte Candoli. This obscure LP is one of only two albums Candoli headed during 1958-84! Candoli teams up with other West Coast players of the era (tenor saxophonist Buddy Collette, pianist Vince Guaraldi, bassist Leroy Vinnegar and drummer Stan Levey) for six of his fairly basic originals including such numbers as "Muggin' the Minor," "Mambo Diane" and "Countin' the Blues."

Little Band, Big Jazz

---

Harold Land - Lip Service

Bitrate: MP3@320K/s
Time: 71:59
Size: 164.8 MB
Styles: Bop, Saxophone jazz
Year: 2015
Art: Front

[4:49] 1. Don't Explain
[8:20] 2. Catacomb
[7:44] 3. Terrain
[5:32] 4. Klact-Oveeseds-Tene
[6:53] 5. Hear Ye!
[6:46] 6. Compulsion
[5:25] 7. Rosie's Spirit
[7:03] 8. Ursula
[4:57] 9. Pari Passu
[7:46] 10. Triplin' Awhile
[6:41] 11. Somara

Harold Land is an underrated tenor saxophonist whose tone has hardened with time and whose improvising style after the 1960s became influenced by (but not a copy of) John Coltrane. He grew up in San Diego and started playing tenor when he was 16. After working locally and making his recording debut for Savoy (1949), Land had his first high-profile gig in 1954 when he joined the Clifford Brown/Max Roach Quintet. Land performed and recorded with the group until late 1955 when due to family problems he had to return home to Los Angeles (where he has been based ever since). He played with Curtis Counce's band (1956-1958), recorded a pair of memorable albums for Contemporary (1958-1959), led his own groups in the 1960s, and co-led groups with Bobby Hutcherson (1967-1971) and Blue Mitchell (1975-1978). Harold Land continued freelancing around Los Angeles up until his death in 2001. Land recorded as a leader (in addition to Savoy and Contemporary) for such labels as Jazzland, Blue Note, Imperial, Atlantic, Cadet, Mainstream, Concord, Muse, and Postcards. His son, Harold Land, Jr., occasionally played piano with his groups. ~bio by Scott Yanow

Lip Service

---

Jonah Jones - I Dig Jonah!: The Capitol Records Collection

Bitrate: MP3@320K/s
Time: 63:27
Size: 145.3 MB
Styles: Trumpet jazz
Year: 2000/2010
Art: Front

[2:38] 1. On The Street Where You Live
[2:29] 2. You're Just In Love
[2:18] 3. Baby Won't You Please Come Home
[2:01] 4. Tangerine
[2:07] 5. Get Me To The Church On Time
[2:41] 6. I Can't Get Started
[2:09] 7. Baubles, Bangles And Beads
[2:09] 8. No Moon At All
[3:37] 9. Swing, Moten
[4:52] 10. St. James Infirmary
[2:05] 11. Lullaby Of Broadway
[2:28] 12. Night Train
[2:05] 13. I Dig Chicks!
[2:33] 14. Put On A Happy Face
[2:43] 15. Struttin' With Some Barbeque
[2:44] 16. Dansero
[2:28] 17. South Of The Border
[2:23] 18. Around The World
[2:08] 19. It's A Blue World
[2:11] 20. Pennies From Heaven
[2:19] 21. More Than You Know
[2:11] 22. A Touch Of Blue
[2:51] 23. They Can't Take That Away From Me
[2:07] 24. Lazy River
[2:58] 25. Memories Are Made Of This

A talented and flashy trumpeter, Jonah Jones hit upon a formula in 1955 that made him a major attraction for a decade; playing concise versions of melodic swing standards and show tunes muted with a quartet. But although the non-jazz audience discovered Jones during the late '50s, he had already been a very vital trumpeter for two decades. Jones started out playing on a Mississippi riverboat in the 1920s. He freelanced in the Midwest (including with Horace Henderson), was briefly with Jimmie Lunceford (1931), had an early stint with Stuff Smith (1932-1934), and then spent time with Lil Armstrong's short-lived orchestra and the declining McKinney's Cotton Pickers. Jones became famous for his playing with Stuff Smith's Onyx club band (1936-1940), recording many exciting solos. He gigged with Benny Carter and Fletcher Henderson and became a star soloist with Cab Calloway (1941-1952), staying with the singer even after his big band became a combo. Jones played Dixieland with Earl Hines (1952-1953), toured Europe in 1954 (including a brilliant recording session with Sidney Bechet), and then led his quartet at the Embers (1955), hitting upon his very successful formula. His shuffle version of "On the Street Where You Live" was the first of many hits and he recorded a long series of popular albums for Capitol during 1957-1963, switching to Decca for a few more quartet albums in 1965-1967. Jonah Jones recorded a fine date with Earl Hines for Chiaroscuro (1972) and still played on an occasional basis in the 1980s and early '90s; he died April 30, 2000, at the age of 91. ~bio by Scott Yanow

I Dig Jonah!: The Capitol Records Collection

---

Rumer - Boys Don't Cry

Bitrate: MP3@320K/s
Time: 41:35
Size: 95.2 MB
Styles: Pop-rock, Adult Alternative
Year: 2012
Art: Front

[4:08] 1. P.F. Sloan
[3:18] 2. Travelin' Boy
[3:29] 3. Sara Smile
[3:25] 4. Be Nice To Me
[2:46] 5. The Same Old Tears On A New Background
[3:44] 6. Soulsville
[3:32] 7. Welcome Back
[4:02] 8. Flyin' Shoes
[2:37] 9. Just For A Moment
[2:24] 10. It Could Be The First Day
[4:07] 11. Brave Awakening
[3:58] 12. A Man Needs A Maid

Rumer's sophomore effort, 2012's Boys Don't Cry, is a retro soft rock covers album that finds the vocalist tackling tracks by various male artists of the 1970s. As with her acclaimed 2010 debut, Seasons of My Soul, Boys Don't Cry showcases Rumer's gentle and sweetly soulful vocal style that is clearly perfectly suited to this material. In fact, for anyone already familiar with her, it almost goes without saying that Rumer sounds a lot like soft pop icon Karen Carpenter. However, rather than coming off as a copycat, Rumer always sounds like the real thing and seems like she has genuine respect and love for Carpenter and the rest of the soft singer/songwriter titans. She nailed Bread's "Goodbye Girl" on Seasons for gosh sakes, and Boys Don't Cry takes its cue from that cover and not the original material written in a retro style that made up most of Seasons. Here we get Rumer's take on such laid-back cuts as Jimmy Webb's "P.F. Sloan," Todd Rundgren's "Be Nice to Me," and Hall & Oates' "Sara Smile," among others. Adding to the '70s soft rock vibe is the lush orchestral production from Steve Brown, who was also responsible for the sound of Seasons. These are organic and rich-sounding tracks that frame Rumer's voice in sparkling piano, cinematic bits of strings, rounded horn parts, the twang of the occasional pedal steel guitar, and even a poignant harmonica line, as on Townes Van Zandt's "Flyin' Shoes." Kudos to Rumer for not just covering the most well-known cuts from the best-known '70s artists, but also including such lesser-known numbers as Clifford T. Ward's "Home Thoughts from Abroad" and Terry Reid's "Brave Awakening." ~Matt Collar

Boys Don't Cry

---

Rita Marie - So Many Stars

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 46:50
Size: 110,9 MB
Art: Front

(2:08)  1. You'd Be So Nice To Come Home To
(5:55)  2. You Go To My Head-Coots/Gillespie
(4:48)  3. So in Love
(3:22)  4. Old Devil Moon
(4:34)  5. Easy Street
(3:37)  6. It's All Right With Me
(3:44)  7. Slow Hot Wind
(3:19)  8. Why Don't You Do Right
(3:37)  9. No Moon At All
(3:29) 10. How Deep Is the Ocean
(4:18) 11. You Must Believe in Spring
(3:54) 12. So Many Stars

This is the debut CD of Rita Marie performing some of her favorite classic jazz tunes. The collection includes a unique variety of songs written by Cole Porter Irving Berlin, Michelle Legrand, Sergio Mendez, Henry Mancini, as well as other fine composers spanning the first half of the last century. The warm and sensual vocals will enchant and inspire you. These romantic and moving songs are masterfully delivered by some of South Florida's finest jazz musicians. Enjoy this listening experience which is of course, all about LOVE! http://www.cdbaby.com/cd/ritamarie1

Personnel: Rita Marie (vocals); Jeff Padowitz (piano); Giuseppi Pucci (drums).

So Many Stars

---

Michael Feinstein - Livingston & Evans Songbook

Styles: Vocal And Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 74:37
Size: 172,3 MB
Art: Front

(2:24)  1. You're So Right For Me
(4:56)  2. Mona Lisa
(2:57)  3. What Fools These Mortals Be
(2:40)  4. Buttons and Bows
(3:49)  5. The Late Scene
(1:59)  6. Bonanza / Mr. Ed
(3:01)  7. All the Time
(3:37)  8. How Much Will I Love You
(2:39)  9. His Own Little Island
(2:58) 10. Silver Bells
(2:57) 11. Ya' Got Class
(4:51) 12. Never Let Me Go
(4:33) 13. Jubilie-Jubilo
(3:18) 14. Tammy
(3:03) 15. Through Children's Eyes
(4:20) 16. To Each His Own
(3:26) 17. Almost in Your Arms
(2:32) 18. Henriette
(3:07) 19. The Mating Season
(2:12) 20. Whatever Will Be Will Be (Que Sera, Sera)
(2:37) 21. As I Love You
(3:36) 22. Anywhere But Here
(2:54) 23. Wish Me a Rainbow

There are major songwriters whose names are as well known as those of the singers of their songs, and there are others who are largely unknown, requiring a list of their biggest hits to bring their accomplishments into focus. The team of Jay Livingston and Ray Evans fits into the latter category, probably because they wrote primarily for the movies rather than the Broadway stage and because their heyday occurred from the late '40s to the late '50s, instead of during the perceived golden age of the 1930s. So, here's the list: "Que Sera, Sera (Whatever Will Be, Will Be)," "Mona Lisa," and "Buttons and Bows" were their Oscar-winners, and among their other hits were "Silver Bells," "Tammy," and "To Each His Own." All those songs are featured on Michael Feinstein's tribute album, the flagship release on his new Feinery imprint for Concord Records. The album was made very much with the support of Livingston and Evans.

Livingston (who died of pneumonia on October 17, 2001, at age 86) sings along and plays piano on several songs, and he and Evans submitted to an extensive interview printed in the CD booklet. The songwriters have also provided a number of lost songs from aborted projects that add considerably to their catalog. Writing on assignment, Livingston and Evans were versatile to a fault, such that it's hard to find a consistent style to their work. Feinstein imposes his own style, however, singing the ballads with his exaggerated smoothness and the novelty songs with appropriate sprightliness. On occasion, one wishes for more instrumentation and fuller arrangements to do justice to songs written with Hollywood orchestras in mind, but the intimacy of the songbook approach brings out the songwriters' craftsmanship well. Melissa Manchester's torchy performance of "Never Let Me Go" is a particular standout. ~ William Ruhlmann  http://www.allmusic.com/album/livingston-and-evans-songbook-mw0000226773

Personnel: Michael Feinstein, Jay Livingston (vocals, piano); Melissa Manchester (vocals); Wayne Johnson (guitar); Warren Luening (trumpet); Shelly Markham, Page Cavanaugh (piano); Phil Mallory, Cliff Hugo (bass); Dave Tull (drums).

Livingston & Evans Songbook

---

Paul Desmond - From the Hot Afternoon

Styles: Saxophone Jazz

Year: 2000

File: MP3@320K/s

Time: 57:21

Size: 132,1 MB

Art: Front

(3:00)  1. Outubro (October)

(4:33)  2. Gira Girou (Round n' Round)

(3:09)  3. Faithful Brother

(4:01)  4. To Say Goodbye

(3:31)  5. From The Hot Afternoon

(3:46)  6. Circles

(3:05)  7. Martha & Romao

(2:46)  8. Catavento

(4:25)  9. Canto Latino (Latin Chant)

(4:41) 10. Crystal Illusions

(4:21) 11. Gira Girou (Round n' Round)

(2:49) 12. Faithful Brother

(3:56) 13. From the Hot Afternoon

(2:31) 14. Catavento (Alternative Take)

(4:01) 15. Canto Latino (Latin Chant)

(2:38) 16. From the Hot Afternoon

Paul Desmond's first genuine all-Brazilian album under the Creed Taylor signature was a beauty, a collection of songs by the then-moderately known Edu Lobo and the emerging giant Milton Nascimento, then only in his early twenties. All Desmond has to do is sit back and ride the Brazilian grooves while lyrically ruminating on whatever pops into his head. It sounds so effortless -- until you try it yourself. The swirling, often gorgeous orchestral arrangements are by Don Sebesky (one CD edition mistakenly gives Claus Ogerman credit on the cover), Airto Moreira leads the samba-flavored percussion forces, and Lobo and his wife Wanda de Sah appear on three of Lobo's four songs. Lobo's "To Say Goodbye," "Circles," and "Martha and Romao" have exactly the brand of wistful sadness that Desmond could communicate so well; on the former, de Sah has to sing well below the register with which she is comfortable, and the strain is painfully obvious. Some of Nascimento's best early tunes are here, including the tense title track, the popping "Catavento," and "Canto Latino." "Catavento" inspires a particularly inventive solo from Desmond where he pulls out one of his age-old tricks, quoting "St. Thomas." This 2000 Verve "By Request" edition adds no less than six alternate takes to the package. ~ Richard S.Ginell http://www.allmusic.com/album/from-the-hot-afternoon-mw0000653404

Personnel: Edú Lobo (vocals, guitar); Paul Desmond (saxophone, alto saxophone); Wanda de Sah (vocals); Dorio Ferreira (guitar); Margaret Ross (harp); Lewis Eley, George Ockner, Avram Weiss, Eugene Orloff, Sylvan Shulman, Raoul Poliakin, Max Pollikoff, Matthew Raimondi, Paul Gershman (violin); Charles McCracken , George Ricci (cello); Stanley Webb , Stan Webb (flute, alto flute, percussion); Don Hammond, Hubert Laws (flute, alto flute); George Marge, Phil Bodner (clarinet, oboe, saxophone); Irvin "Marky" Markowitz, Marvin Stamm (trumpet, flugelhorn); James Buffington (French horn); Paul Faulise (bass trombone); Pat Rebillot (electric piano, keyboards); Airto Moreira (drums, percussion); Jack Jennings (percussion).

From the Hot Afternoon

---

Norm Drubner - Let's Fall In Love

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 37:54
Size: 87,5 MB
Art: Front

(3:28)  1. Isn't It a Lovely Day
(2:15)  2. How About You
(2:53)  3. I Don't Know Enough About You
(3:19)  4. My Funny Valentine
(2:40)  5. Let's Fall in Love
(4:18)  6. Where or When
(3:08)  7. Too Marvelous for Words
(4:58)  8. Maybe You'll Be There
(2:36)  9. The Day Isn't Long Enough
(2:48) 10. Day in Day Out
(2:25) 11. You'll Never Know
(3:00) 12. If You Were the Only Girl in the World

With his warm, breathy voice, Norm Drubner can reflect the emotional pulse of even the most familiar of jazz standards. Suddenly, what once seemed to be so engrained in the consciousness that new feelings were muted becomes fresh and alive once again. On his latest album Let’s Fall in Love, Drubner doesn’t do the usual, which is a paint-by-numbers rendition of classic material, so often the case with other artists. Instead, Drubner offers his own interpretation of them, letting his personal affection and experiences for each song drive every performance.

Drubner’s ability to communicate real feelings into these tunes is a huge key to his success. On “My Funny Valentine,” the gentle romanticism in Drubner’s vocals pierces the heart; his lovely singing is perfectly balanced with the sublime piano playing. Together, they light the candles of amore. On “You’ll Never Know,” Drubner’s voice is in front of the mix, giving it heightened intimacy; it almost sounds like he’s whispering it to your ear. The strong production values and tasteful instrumentation on Let’s Fall in Love further complement Drubner’s vocal strengths. The sweetly melodic piano of “The Day Isn’t Strong Enough” and the sweeping beauty of “Too Marvelous for Words” create a blissful listening experience, especially on these simmering spring afternoons. http://news.allaboutjazz.com/vocalist-norm-drubner-captures-emotional-highs-of-jazz-classics-on-new-cd.php

Let's Fall In Love

---