Adela Dalto - Peace / A Brazilian Affair

Album: Peace
Size: 120,6 MB
Time: 52:01
File: MP3 @ 320K/s
Released: 1995
Styles: Latin Jazz Vocals, Brazilian Rhythms
Art: Front

01. April Child (4:08)
02. I'll Always Remember (5:42)
03. Papagaio Rei (4:24)
04. Falando De Amor (3:43)
05. Guajiro Mio (6:29)
06. Peace (5:02)
07. Sweet Spring (5:19)
08. Sad Love Song (5:08)
09. Estaba En Nada (5:05)
10. Papa Boco (6:56)

The sister of late Latin jazz pianist Jorge Dalto, Adela Dalto has claimed her own ground as a powerful R&B and jazz vocalist. Having honed her skills through years of performing in small New York clubs, her rise to international stardom was boosted by her involvement with her brother's group, the InterAmerican Band. She was featured soloist on the tune, "Ease My Pain", from the group's 1985 album, Urban Oasis.

Dalto has performed with such top-ranked New York-based Latin musicians as Jerry Gonzalez, Hilton Ruiz and Mauricio Smith's Latin Jazz Orchestra and was a featured vocalist with Mario Bauza's AfroCuban Orchestra and Carlos "Patato" Valdes's AfroJazzia Ensemble. She continues to perform with her own band at such New York nightspots as the Blue Note, S.O.B.'s and Birdland.

Born in Texas, to Mexican parents, Dalto grew up in Gary, Indiana. ~by Craig Harris

Peace

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Album: A Brazilian Affair
Size: 101,9 MB
Time: 43:36
File: MP3 @ 320K/s
Released: 2005
Styles: Latin Jazz, Brazilian Rhythms
Art: Front

01. Blue For You (4:44)
02. Freedom Jazz Dance (3:51)
03. A Brazilian Affair (3:42)
04. Into The Night (4:22)
05. Emorio (4:35)
06. Una Manana (3:36)
07. I'll Remember Your Name (3:05)
08. The Days Of Wine And Roses (5:12)
09. Aqua De Beber (5:16)
10. Summertime (5:09)

As a Latin Jazz vocalist, recording artist, songwriter, with a successful career that spans over 30 years, her performance has been described as “A sublime melding of Latin and jazz styles – Dalto is sensuous and spellbinding.” (Mark Holston, JAZZIZ).

Adela Dalto has been immersed in the highest levels of creative Latin and Brazilian music and has mixed the sophisticated elements of this music with American jazz. Her Latin jazz repertoire, also include her original compositions combining beautiful vocal sounds with fiery rhythms. She has performed around the world with her musical group including the U.S., Latin America, the Caribbean, Europe, Japan, China, Indonesia and Egypt.

Ms. Dalto has performed with some of the top Latin jazz artists such as Arturo O’Farrell at Jazz at Lincoln Center’s Rose Theater, Mario Bauza’s AFRO CUBAN JAZZ ORCHESTRA, and Carlos “Patato” Valdez to perform through out Europe’s top festivals. One of her first performances was as a backup singer for Celia Cruz. Her latest CD is La Crème Latina, preceded by Papa Boco, Exotica and A Brazilian Affair. Her recordings include world class musicians such as Chucho Valdez, David Sanchez, Jerry Gonzalez, David Valentin, Ray Vega and Claudio Roditi. She has collaborated on albums with Mario Bauzá, Lee Konitz, and Aloisio Aguiar.

A Brazilian Affair

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Kenny Barron - Flight Path

Size: 159,3 MB
Time: 69:00
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Piano Jazz
Art: Front

01. Fungii Mama (5:40)
02. Slow Grind (5:14)
03. Flight Path (9:10)
04. Dreams (6:36)
05. Pedra Bonita (4:08)
06. My Old Flame (9:01)
07. Pent-Up House (9:27)
08. So What (9:52)
09. Embraceable You (9:47)

The cultured piano style of Kenny Barron has graced many albums in the last half century. He is an easy swinger, deeply admired for his nonpareil musicianship and innate sensitivity to the needs of his musical companions of the moment. Born in 1943 he was gigging with Philly Joe Jones at sixteen and soon playing in a band with his tenor saxophonist brother Bill. In 1962 he was hired by Dizzy Gillespie and the five year stint he had with Dizzy established him firmly on the jazz scene throughout the world. This celebration of Kenny's fifty years on that scene is marked by this program of highlights from his Candid recordings in a variety of settings. Amongst his companions are vibes star Steve Hobbs, saxophonists Bud Shank, Gary Bartz, Donald Harrison, Paquito d'Rivera and Ricky Ford as well as trumpeters Claudio Roditi, Mark Morganelli and others. Together with several of Kenny's fine original compositions, the piano duets with Barry Harris and John Hicks on show here add spice to this truly tasty offering.

Flight Path

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Tiffany Austin - Nothing But Soul

Size: 99,5 MB
Time: 38:29
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Soul Vocals
Art: Front

01. Stardust (6:55)
02. Baltimore Oriole (5:17)
03. I Get Along Without You Very Well (4:08)
04. I May Be Wrong (But I Think You're Wonderful) (3:07)
05. Skylark (4:51)
06. I Walk The Line (4:09)
07. Georgia (5:30)
08. Sing Me A Swing Song (And Let Me Dance) (1:31)
09. Tete-A-Tete (2:57)

I cannot think of a more aptly titled record than this one by Tiffany Austin. Everything sounds so right. About it and it is all because of the music on it. Not simply the songs, but the manner in which they have been sung. There is passion here. It bursts forth from the first bars of “Stardust”. Many have sung this song. But I doubt that I have been so affected by Tiffany Austin’s version. It has that aching intensity, that sweet-sorrowful aura that swirls around it as if it were a halo—very much one made from the stems of a rose, but not all thorns; a flower her and a flower there. This is what makes the song so special. You don’t simply hear the lyrics, you also hear the back-history of the song. No one has ever done that for me before, but now Tiffany Austin…

Clearly Ms. Austin is special. Her vocals have a tender, touching simplicity to them. She sings with great delicacy and great substance at the same time. And while her singing has an utterly beguiling freshness to it, there is also a sense of raw, visceral power. I hear “Skylark” and I am immediately aware that someone so small can fill Abbey Lincoln’s big shoes. She seems to have come from the same place that has produced Abbey Lincoln as well as Aretha Franklin. A place where you have been beaten up and you come out strong, stronger than when you went there. But perhaps I am being too presumptuous. Perhaps I will just stick to the script.

Tiffany Austin is a master of time and space the mastery of which enables her to concentrate fully on the rhetorical power of musical soliloquy. There is, in her voice, a restrained use of physical movement which suggests that each small gesture and conceptual idea (such as the gentle use of breath) achieves greater clarity and impact than if lyrics were swamped by over-active busyness. The sense of broken life, of heartbreaking human condition and its joyful recovery finds a simple and effective universe in songs such as “I May Be Wrong (But I Think You’re Wonderful”, “I Walk The Line” and “Sing Me A Sweet Song (And Let Me Dance)”. Here you get a chance to see deep within Ms. Austin’s soul. Such is the nature of her vocalastics.

But soul does not mean vulnerability. Tiffany Austin is a strong woman and this comes through in the delivery of each song. In its hard colours, its polished texture and diamantine timbre and polished diction as well as in the subterranean aspects of emotion as well: in the gnarled heart and the ability to make your blood beat about your own heart just a little bit stronger. Her performance here is superbly cadenced. Particularly attractive is the depth of her emotions that manifests itself in music of almost primordial intensity. If you feel like you’ve heard this all before, think again. Tiffany Austin has a voice that is singular, unique and she wants you to listen to what she has to say. And there’s a lot to hear in this marvelous record. ~Raul da Gama

Personnel: Tiffany Austin: lead vocals; Howard Wiley: tenor saxophone and vocals; Glen Pearson: piano; Ron Belcher: bass; Sly Randolph: drums

Nothing But Soul

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Rock Candy Funk Party - Groove Is King

Size: 165,5 MB
Time: 71:17
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Funk/Rock Fusion
Art: Front

01. Introducing The Master Of Ceremonies Mr. Funkadamus (0:30)
02. Groove Is King (3:24)
03. Low Tide (2:47)
04. Uber Station (5:01)
05. East Village (6:51)
06. If Six Was Eight (4:44)
07. Cube's Brick (7:33)
08. And Now A Word From Our Fine Sponsors With Mr. Funkadamus (0:17)
09. Don't Be Stingy With The SMPTE (5:14)
10. C You On The Flip Side (5:04)
11. Digging In The Dirt (6:18)
12. Don't Funk With Me (5:53)
13. The 6 Train To The Bronx (6:06)
14. Rock Candy (5:25)
15. Mr. Funkadamus Thanks All The Senors But Especially The Senoritas (0:27)
16. The Fabulous Tales Of Two Bands (5:36)

Coming out on July via J&R Adventures, Groove Is King is the second batch of songs coming from the instrumental funk collective Rock Candy Funk Party. The first RCFP disc We Want Groove was pretty damned good — no, make that really damned good — making me salivate over the second helping.

Groove Is King doesn’t change the mission of delivering hand-made, jam-inspired funk, but does tweak it some to distinguish it from the debut, avoiding letting this groove to become just a rut. Joe Bonamassa, one of the two guitarists in the group (Ron DeJesus is the other) offers up his explanation for what’s different this time: “It’s definitely way more modern and it’s definitely based less on jamming.” Tal Bergman, the drummer, leader and producer allows that “he took the liberty of producing it a little more and put more layers in it.” DeJesus would also tell you that it rocks a little harder.

The continuity comes, of course, from carrying over the same core players: joining Bergman, Bonamassa and DeJesus are bassist Mike Merritt and keyboardist Renato Neto. Having two guitarists doesn’t make things heavier, it makes it funkier because DeJesus and Bonamassa come up with some creative counter-rhythms that only accentuate what the Merritt/Bergman rhythm section is doing. But now, Bergman beefed up that rhythm section with a percussionist (Daniel Sadownick) and also going the James Brown Way of making it funky: with a small, nimble horn section.

Though they aren’t on every track, the horns add a whole ‘nother dimension, and it’s led by a trumpet player who has been on many crucial funky recordings going back to the late 60s: Randy Brecker. Joined by his wife Ada Rovatti (saxes) and James Campagnola (baritone sax), they’re a highly seasoned, slick addition who Bergman wisely left space for, and also handed off the horn arrangement duties to Brecker and Rovatti.

As we already witnessed on the advance single “Don’t Be Stingy With the SMPTE”, the trio amped up the soul factor quite a bit. But also consider how the Brecker/Rovatti/Campagnola team deftly works around the hard rockin’ DeJesus/Bonamassa duo on “Don’t Funk With Me” (which also boasts one of Brecker signature wah-wah trumpet solos) And also how they swap the de-facto vocal role with a acoustic and electric guitars on top of a massive bass groove for Peter Gabriel’s “Digging In The Dirt.” “Low Tide” might have the nastiest funk riff out of this batch of songs, and a Neto’s succulent synth solo steals the show.

A closer connection to We Want Groove can be found on the non-horn tracks, of course, and they aren’t any less thump on those tunes. “Groove Is King” and “East Village” rides on Jeff Beck Wired-era grooves, with Bonamassa’s tasty licks lifting up the latter tune and Neto’s organ brining the Memphis soul. “If Six Was Eight” is a nearly free improv feature for Bergman trading licks with Sadownick, the centrally placed cut where the participants stretch out and jam. That glides into “Cube’s Brick,” which suggest EDM but doesn’t quite cross over, and Bonamassa’s smoldering lead effectively prevents it from doing so. “The Fabulous Tales of Two Bands” on the other hand, does cross right into EDM and just as you’re scratching your head about this musical about-face, the band instantly pivots into a Led Zeppelin figure. They vacillate between these two contrasting moods for the rest of the song, and before long, you understand that the title was tipping you off to this tongue-in-cheek baiting and switching.

Pretty much everyone here has a jazz background, and “Rock Candy” was conjured up expressly to capitalize on that. A blues-based jaunt with a greasy groove and a big band swing, nearly everyone gets to put in a solo in between go arounds with the chorus.

Oh, and there’s one more marquee guest artist on here: ZZ Top frontman and guitarist Billy Gibbons, but not in the way you’re thinking. He’s the “Mr. Funkadamus” DJ emcee character who shows up every five or six songs to give listeners the feel of listening to this really hip radio station. No doubt he could have made a nice six-string contribution, but Bonamassa and DeJesus more than get the job done.

Everyone, in fact gets the job done, because of the cooperative spirit that went into Groove Is King. That’s probably the most critical “old school” component that makes this record work. Bergman tells us so quite plainly when he says, “the integrity is in us and it’s real, real people playing, real people listening, real people coming up with stuff, which doesn’t happen as much today.”

King Groove rules supreme because Rock Candy Funk Party knows how to treat the groove like royalty. In spite of more modern touches, no one will call Groove Is King outdated in twenty years because of the time-honored ways it was conceived and put together. ~S. Victor Aaron

Groove Is King

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Freddie Redd - Redd's Blues

Bitrate: MP3@320K/s
Time: 38:29
Size: 88.1 MB
Styles: Hard bop, Piano jazz
Year: 1988/2002
Art: Front

[7:12] 1. Now
[6:13] 2. Cute Doot
[7:00] 3. Old Spice
[5:00] 4. Blues For Betsy
[5:53] 5. Somewhere
[7:08] 6. Love Lost

Many times in the history of jazz, album titles have played word games with artists' names. Think of Grant Green and Green Street and Green is Beautiful. There is also Freddie Hubbard, with Ready for Freddie, Hub-Tones, and Hub-Cap. You may not have heard of the bop-pianist Freddie Redd, who not to be left out, made Shades of Redd and Redd’s Blues. The latter album, recorded in 1961, has been released now for the first time as part of Blue Note’s limited edition Connoisseur series.

Why would this album interest you? Well, you may not have heard of Freddie Redd, but you will have definitely heard of sidemen Jackie McLean, Tina Brooks and Paul Chambers. The other good news is that Freddie Redd had a good ear for a nice bop melody, and most of the themes feature great harmonic interplay between the three horns. One reason for the obscurity of Freddie Redd may be his rather lacklustre soloing, which although melodic, lacks the necessary pyrotechnics. As a consequence the three horn players take the more interesting solos. Still you can’t complain; this CD has an all-star cast and is classic 1960s Blue Note. Not only that, but unreleased 1960s Blue Note. The ultimate deciding factor in this album is your opinion of Jackie McLean. I personally find his off-sharp tone a little grating. But many listeners like it, in which case you'd be almost certainly be Reddy for Freddie (groan). ~Keiran Smalley

Freddie Redd: piano; Benny Bailey: trumpet; Jackie McLean: Alto saxophone; Tina Brooks: tenor saxophone; Paul Chambers: Bass; Sir John Godfrey: drums.

Redd's Blues  

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Leyla McCalla - Vari-Colored Songs: A Tribute to Langston Hughes

Bitrate: MP3@320K/s
Time: 40:10
Size: 92.0 MB
Styles: Neo-Traditional Folk
Year: 2014
Art: Front

[2:58] 1. Heart Of Gold
[2:08] 2. When I Can See The Valley
[2:23] 3. Mesi Bondye
[2:50] 4. Girl
[2:18] 5. Kamèn Sa W Fè
[2:26] 6. Too Blue
[3:16] 7. Manman Mwen
[2:48] 8. Song For A Dark Girl
[2:37] 9. Love Again Blues
[2:55] 10. Rose Marie
[3:46] 11. Latibonit
[3:18] 12. Search
[3:23] 13. Lonely House
[2:58] 14. Changing Tide

The daughter of Haitian immigrant parents, Leyla McCalla, whether by design or synchronicity, moved to New Orleans in 2010 after studying cello performance and chamber music at New York University, and once there, while busking and playing on the street corners and in the bars and clubs, she fell in love with Louisiana Creole culture, and coupled with her further explorations of Haiti's traditional Creole folk music, she developed a strong and grounded musical vision, part old and traditional and part bohemian intellectual. As this debut solo album (she was featured on the Carolina Chocolate Drops' Leaving Eden album and has toured extensively with them) shows, it's a mix that McCalla balances well, with most of the tracks featuring her musical arrangements of various Langston Hughes poems, along with striking personal versions of a couple of traditional Haitian folk songs. If this sounds like things here will be a little stiff and academic, well, they're not, as McCalla makes the Hughes lyrics her own, and the sparse, haunting feel of these tracks is timeless, belonging to this century but feeling like they could have come from early in the century before, too, or even the one before that, a kind of musical hat trick that is pretty impressive, to say the least. McCalla's voice is warm and just slightly jazz-tinged, and she plays sparse tenor banjo and acoustic guitar on some of the cuts here, but it is her cello playing that gives the album its unique sound, all warm and round and ominous somehow, taking the stark arrangements to deep emotional places. The opener, "Heart of Gold," sets the tone, spare and yet expansive, and tracks like the tenor banjo-led "Mesi Bondye" and the swinging acoustic guitar blues "Too Blue" give the set list some variety. McCalla's debut solo album is a fully realized and nuanced gem, and one can't help but be interested and curious about her next musical project. ~Steve Leggett

Vari-Colored Songs  

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Charlie Rouse - Unsung Hero

Bitrate: MP3@320K/s
Time: 57:07
Size: 130.8 MB
Styles: Hard bop, Saxophone jazz
Year: 1961/1990
Art: Front

[5:47] 1. When Sunny Gets Blue
[8:39] 2. Billy's Blues
[6:14] 3. Stella By Starlight
[5:58] 4. Lil Rousin'
[6:21] 5. (There Is) No Greater Love
[5:49] 6. Quarter Moon
[7:08] 7. I Should Care
[4:40] 8. Rouse's Point
[6:27] 9. Know What Love Is

Tenor saxophonist Charlie Rouse, who would spend all of the 1960s as a member of Thelonious Monk's Quartet, had relatively few opportunities to lead his own sessions. This CD reissue has an LP and a half's worth of material that the instantly recognizable tenor cut for Epic. Well-versed in the swing/bop tradition and a veteran of both the Duke Ellington and Dizzy Gillespie orchestras, Rouse plays thoughtful solos with a pair of conventional rhythm sections on this album (which includes either Billy Gardner or Gildo Mahones on piano, Peck Morrison or Reggie Workman on bass and Dave Bailey or Art Taylor on drums), sticking mostly to standards and avoiding Monk tunes (which he performed on a nightly basis anyway). A fine example of Charlie Rouse's playing outside of the world of Thelonious Monk. ~Scott Yanow

Unsung Hero

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Dr. John - Afterglow

Bitrate: MP3@320K/s

Time: 45:18

Size: 103.7 MB

Styles: Pop/Blues/Jazz vocals

Year: 1995

Art: Front

[5:01] 1. I Know What I've Got

[4:17] 2. Gee Baby, Ain't I Good To You

[3:32] 3. I'm Just A Lucky So And So

[4:41] 4. Blue Skies

[5:03] 5. So Long

[3:59] 6. New York City Blues

[4:38] 7. Tell Me You'll Wait For Me

[5:20] 8. There Must Be A Better World Somewhere

[4:17] 9. I Still Think About You

[4:26] 10. I'm Confessin' (That I Love You)

Unlike his In a Sentimental Mood, which swung wildly from Tin Pan Alley standards to supper-club blues, Afterglow is mostly interested in recapturing the late '40s and early '50s, when jazz, blues, and pop intersected with sophisticated ease. The choice of material is impeccable--songs made popular by Nat "King" Cole, Louis Jordan, and Duke Ellington--and the playing is superb throughout. However, "Ain't I Been Good to You," "Just a Lucky So and So," and a stark read of "I'm Confessin'" are particularly effective. And on his original, "I Still Believe in You," Dr. John proves just how influenced he is by West Coast blues legend Charles Brown, who once recorded at Cosimo Matassa's studio where the future Night Tripper got his start. A lovely, effective album whose only misstep is a version of Irving Berlin's "Blue Skies" that sounds slightly out of step with everything else. --Keith Moerer

Afterglow

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Pamela Rose - Just For A Thrill

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 53:09
Size: 123,4 MB
Art: Front

(5:03)  1. Just For A Thrill
(4:39)  2. He Knows Me Well
(3:36)  3. I Hadn't Anyone Till You
(5:17)  4. Don't Let The Moment Slip Away
(3:37)  5. Lover Come Back To Me
(3:44)  6. Old Piano Plays The Blues
(4:39)  7. Learning The Blues
(5:02)  8. That's What My Baby Does For Me
(3:49)  9. La Vie En Rose
(5:21) 10. Yes, Yes
(3:44) 11. You Never Remember My Birthday
(4:32) 12. I Surrender Dear

Pamela Rose has a strong and versatile voice that is heard at its best on slower material when she expresses beauty through long notes. However, she also swings well at medium tempos. On Just for a Thrill, a wide-ranging program conceived by Rose and guitarist Danny Caron, she is joined on various selections by two different organ groups, a pair of excellent saxophonists, and a piano trio.

The music ranges from Lil Armstrong's "Just for a Thrill" and "Lover Come Back to Me" to a version of "Learning the Blues" that recalls Dinah Washington, a heartfelt "La Vie en Rose," and some saucier material. The sidemen are uniformly excellent (both Jeff Ervin and Charles McNeil have spots on different selections to take saxophone solos), the organists keep the music grooving, and Pamela Rose shows that she is comfortable in several musical genres. Recommended. ~ Scott Yanow http://www.allmusic.com/album/just-for-a-thrill-mw0000354967

Personnel: Pamela Rose (vocals); Jeff Ervin, Charles McNeal (saxophone); John Burr (piano); Jason Lewis (drums); Danny Caron (guitar).

Just For A Thrill

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Cecilia Coleman - Words of Wisdom

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 60:36
Size: 149,9 MB
Art: Front

(9:14)  1. Speak No Evil
(5:22)  2. Alma
(8:06)  3. Words of Wisdom
(6:28)  4. Polka Dots and Moonbeams
(4:51)  5. I'll Get By
(4:55)  6. Hallucinations
(8:18)  7. Posie
(8:00)  8. Nature Boy
(5:19)  9. Well You Needn't

This obscure set has the debut of pianist/composer Cecilia Coleman, an excellent improviser based in Los Angeles during the first half of the 1990s. Most of the music, recorded in 1990 and 1992, showcases Coleman in a trio with bassist Eric Von Essen and drummer Kendall Kay, including such songs as Wayne Shorter's "Speak No Evil," "Polka Dots and Moonbeams," Bud Powell's "Hallucinations," and "Well You Needn't." Trumpeter Oscar Brashear is featured on "I'll Get By," while Brashear and tenor saxophonist Benn Clatworthy make the band a quintet on "Alma," one of three Coleman originals on the disc. But overall, the main purpose of this obscure disc was to introduce Cecilia Coleman, particularly as a pianist, and she rises to the occasion, displaying a great deal of potential.

 ~ Scott Yanow http://www.allmusic.com/album/words-of-wisdom-mw0000118442

Personnel: Cecilia Coleman (piano); Benn Clatworthy (tenor saxophone); Oscar Brashear (trumpet); Kendall Kay (drums).

Words of Wisdom

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Jelly Roll Morton - Birth Of The Hot

Styles: New Orleans Jazz, Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 74:52
Size: 172,5 MB
Art: Front

(3:13)  1. Black Bottom Stomp
(3:27)  2. Smoke House Blues
(3:12)  3. The Chant
(3:29)  4. Sidewalk Blues [Take 3]
(3:14)  5. Dead Man Blues [Take 1]
(3:04)  6. Steamboat Stomp
(3:29)  7. Someday Sweetheart
(2:53)  8. Grandpa's Spells [Take 3]
(3:04)  9. Original Jelly-Roll Blues
(3:24) 10. Doctor Jazz
(3:31) 11. Cannon Ball Blues [Take 2]
(3:09) 12. Hyena Stomp
(3:30) 13. Billy Goat Stomp
(3:08) 14. Wild Man Blues
(3:26) 15. Jungle Blues
(3:15) 16. Beale Street Blues
(3:26) 17. The Pearls
(3:20) 18. Wolverine Blues
(2:52) 19. Mr. Jelly Lord
(3:33) 20. Sidewalk Blues [Take 2]
(3:18) 21. Dead Man Blues [Take 2]
(2:54) 22. Grandpa's Spells [Take 2]
(2:51) 23. Cannon Ball Blues [Take 1]

When in 1995 RCA reissued 19 titles and four alternate takes from the first nine months of Jelly Roll Morton's adventure as a Victor recording artist, the producers elected to christen the album "Birth of the Hot". This title, which is a takeoff on that of Miles Davis' 1949 Birth of the Cool album (later echoed in modified phraseology by the Gil Evans Impulse LPs Out of the Cool and Into the Hot) accurately pegs these exciting 1926-1927 recordings as archetypal manifestations of the classic New Orleans "hot" jazz style that Morton pioneered first as a pianist, then with a series of groups that paved the way for the successes of his supremely adept and well-rehearsed Red Hot Peppers band. This excellent sampler ought to whet the appetite for a larger selection of Morton's works as reissued by numerous labels including Classics, Proper, JSP, and of course RCA Victor. If all you need is a straight shot of Jelly, this is the genuine article. ~ arwulf arwulf  http://www.allmusic.com/album/birth-of-the-hot-mw0000645330

Personnel: Jelly Roll Morton (vocals, piano); Johnny St. Cyr (spoken vocals, guitar, banjo); Lew LaMar (vocal effects); Paul "Stump" Evans (alto saxophone); George Mitchell (cornet); Kid Ory, Gerald Reeves (trombone); Quinn Wilson (tuba); Omer Simeon (clarinet, bass clarinet); Johnny Dodds, Barney Bigard, Darnell Howard (clarinet); J. Wright Smith, Clarence Black (violin); Bud Scott (guitar); John Lindsay (bass); Andrew Hilaire, Baby Dodds (drums); Marty Bloom (special effects).

Birth Of The Hot

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