Tommy Flanagan - The Smart Attitude

Bitrate: MP3@320K/s
Time: 70:15
Size: 160.8 MB
Styles: Piano jazz
Year: 2011
Art: Front

[5:57] 1. Eclypso
[6:24] 2. Willow Weep For Me
[4:40] 3. Delarna
[3:42] 4. Chelsea Bridge
[5:54] 5. How Long Has This Been Goin' On
[3:17] 6. Relaxin' At Camarillo
[4:18] 7. Beat's Up
[4:13] 8. So Sorry Please
[2:12] 9. Verdandi
[2:28] 10. Skål Brothers
[7:04] 11. Little Rock
[5:51] 12. Willow Weep For Me (Alt Take)
[2:06] 13. Verdandi (Alt Take)
[3:45] 14. Chelsea Bridge (Alt. Take)
[3:44] 15. Chelsea Bridge (Alt Take 2)
[4:32] 16. Delarna (Alt Take)

Known for his flawless and tasteful playing, Tommy Flanagan received long overdue recognition for his talents in the 1980s. He played clarinet when he was six and switched to piano five years later. Flanagan was an important part of the fertile Detroit jazz scene (other than 1951-1953 when he was in the Army) until he moved to New York in 1956. He was used for many recordings after his arrival during that era; cut sessions as a leader for New Jazz, Prestige, Savoy, and Moodsville; and worked regularly with Oscar Pettiford, J.J. Johnson (1956-1958), Harry "Sweets" Edison (1959-1960), and Coleman Hawkins (1961). Flanagan was Ella Fitzgerald's regular accompanist during 1963-1965 and 1968-1978, which resulted in him being underrated as a soloist. However, starting in 1975, he began leading a series of superior record sessions and since leaving Fitzgerald, Flanagan has been in demand as the head of his own trio, consistently admired for his swinging and creative bop-based style. Among the many labels he has recorded for since 1975 are Pablo, Enja, Denon, Galaxy, Progressive, Uptown, Timeless, and several European and Japanese companies. For Blue Note, he cut Sunset and Mockingbird in 1998, followed a year later by Samba for Felix. Despite a heart condition, Flanagan continued performing until the end of his life, performing two-week stints at the Village Vanguard twice a year, recording and touring. He died on November 16, 2001, in Manhattan from an arterial aneurysm.

The Smart Attitude

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Ann Hampton Callaway - To Ella With Love

Bitrate: MP3@320K/s
Time: 58:38
Size: 134.2 MB
Styles: Vocal jazz
Year: 2005
Art: Front

[2:44] 1. Let's Fall In Love
[3:50] 2. Do Nothin' Till You Hear From Me
[3:35] 3. A Fine Romance
[4:56] 4. Embraceable You
[5:07] 5. How High The Moon
[4:24] 6. But Not For Me
[3:27] 7. I'm Beginning To See The Light
[5:03] 8. Body And Soul
[3:06] 9. That Old Black Magic
[5:35] 10. Little Girl Blue
[3:37] 11. Lullaby Of Birdland
[4:48] 12. Ev'ry Time We Say Goodbye
[5:07] 13. I Got It Bad (And That Ain't Good)
[3:12] 14. Oh, Lady Be Good

Ann Hampton Callaway has a strong reputation as one of the top cabaret singers of the 1990's but, unlike most others in that idiom, she is also a talented jazz singer. Callaway, who has a beautiful voice with a wide range, always swings while giving strong emphasis to the lyrics she is interpreting. Her ambitious and successful Ella Fitzgerald tribute uses on some songs a string section (recorded in Estonia), an American big band, a trio consisting of pianist Cyrus Chestnut, bassist Christian McBride and drummer Lewis Nash and (On "Do Nothin' Till You Hear From Me" and "How High The Moon") guest trumpeter Wynton Marsalis. Although Callaway does not sound that much like Ella, she pays tribute to the First Lady of Song through her repertoire (14 superior standards), phrasing and joyful swing. Highpoints include "A Fine Romance," "But Not For Me," an emotional "Little Girl Blue" and a stomping rendition of "Lady Be Good." This is a highly recommended elease that both serves as a memorial to Ella and as a strong introduction for jazz listeners to Ann Hampton Callaway. ~Scott Yanow

To Ella With Love

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Wild Bill Davis, Eddie Davis - Live In Chateau Neuf-Du-Pape

Bitrate: MP3@320K/s
Time: 67:57
Size: 155.5 MB
Styles: Swing, Saxophone jazz
Year: 2008
Art: Front

[8:38] 1. Impulsions
[6:44] 2. Cubano Chant
[7:15] 3. Avalon
[4:44] 4. Ghost Of A Chance
[3:43] 5. The Shadow Of Your Smile
[6:47] 6. Loose Walk
[4:42] 7. Misty
[7:34] 8. Lester Leaps In
[3:35] 9. The Girl From Ipanema
[9:26] 10. Things Ain't What They Used To Be
[4:43] 11. Oh! Ah! Dee Dee

Wild Bill Davis (org), Eddie Lockjaw Davis (ts), Billy Butler (g), Oliver Jackson (d). Recorded Live January 17, 1976 in Château Neuf du Pape, France. Digitally remastered.

A smoking live set with a very old school sound – and a quartet that features Wild Bill Davis on organ, Eddie Lockjaw Davis on tenor, Billy Butler on guitar, and Oliver Jackson on drums!

Live In Chateau Neuf-Du-Pape

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Peter Fesperanto Fessler - Fly!

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 41:57
Size: 96,4 MB
Art: Front

(4:00)  1. Passage
(2:46)  2. Postcard from Brazil
(6:19)  3. Estate
(4:24)  4. Brisa
(3:13)  5. Summer Good Beyes
(3:06)  6. A Ra
(4:40)  7. Tokyo Morning
(4:30)  8. There goes Love
(3:26)  9. October Reverie
(5:28) 10. Funky Bossa

The eminence of German vocal jazz is back! Peter Fesperanto Fessler´s new jazzalbum FLY! will be released in June 2012. Fessler´s trademark melody garlands shine through all the songs, but not every song illustrates improvised jazz. Even people who don´t like jazz will notice the elegant, sophisticated phrasing and will inevitably be drawn into Fessler´s sound cosmos. The German-Canadian artist has been a household name in vocal jazz for more than 30 years now. With stunning ease, he combines different musical worlds, with spheric sound structures as in Tokyo Morning“, Brisa“ and the classic Estate“ as well as through refined rhythmical sections in Postcard from Brazil“, A Ra“ or Funky Bossa“. But he always remains true to his own soundvisions both as a composer and singer. Under the impression of a recent trip to Brazil, he recorded the whole album not only as a singer but played accoustic guitar, too. Deliberately Fessler places reminiscences of Joao Gilberto, Tom Jobim and other masters of Bossa Nova with virtuosity. The name Fesperanto“ is made up from Fessler and Esperanto, kind of his own artistical category and an artistname acquired in an advanced period of Fesslers career. Listen to the trombone-like vocal solo in his own song Brisa“: Far from virtuous scat-vocals you might expect from an artist of his distinction, this singer does not imitate instruments, he has turned himself into a true instrument!

New York, Rio, Tokyo“ turned into a slogan that played an important role in Fessler´s musical journey to the worlds jazz metropolises in the past as in present times. His band consists of true masters of their kind: Danny Gottlieb, drummer legend from the original Pat Metheny Group, accounts for a footing of virtuous ease and creative intensity. This is challenged by the outstanding bassist Decebal Badila, who is even able to playfully double along Fessler´s scat-solo in Joao Donatos A Ra“. A novelty in Fessler´s work, charming guest-voices Kira Wolf (Germany) and Theresa Hott (Brazil) appear in 3 songs. Only the voices of the enchanting choir sections are all sung by the master himself. Postcard from Brazil“ is the outstanding song of this CD and illustrates Fessler’s concept of Fesperanto“. 

Among his own compositions, alongside with There goes Love“ (lyrics by Phyllis Molinrary) and October Reverie“, Tokyo Morning“ forms one of the highlights. The magic sound structure of this song creates a downright symphonic  impression crowned by the sax solo of Friedemann Matzeit (Berlin). Chapeau! All arrangements and compositions were penned in collaboration with guitarrist and producer Ralph Herrnkind. Former fellow students Fessler and Herrnkind met again years later at a studio recording with Jaco Pastorius` sons. That was the initial spark for FLY! 10 songs of amazing melodical beauty, exotic rhythmic sounds and melancholic depth (Estate). A real Fesperanto“ album! http://www.caremusicgroup.de/en/artist/info/artist/Peter%20Fessler.html

Fly!

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Kevin Mahogany - My Romance

Styles: Jazz, Vocal
Year: 1998
File: MP3@320K/s
Time: 48:12
Size: 110,7 MB
Art: Front

(4:24)  1. Teach Me Tonight
(4:44)  2. Everything I have is Yours
(4:21)  3. My Romance
(3:55)  4. I Know You Know
(4:11)  5. Don't Let Me Be Lonely Tonight
(4:11)  6. Stariway to the Stars
(4:43)  7. May I Come in?
(4:46)  8. Wild Honey
(4:55)  9. I Apologize
(4:03) 10. How Did She Look?
(3:55) 11. Lush Life

Saxophonists Kirk Whalum and Michael Brecker lend a helping hand on singer Kevin Mahogany’s ballad album. It’s a romantic session with piano trio and expressive melodies. Mahogany experiences a few pitch problems on the title track; the arrangement leaves his voice out front and naked. Bass and drums sit out that one, and the result is one of vulnerability for the singer; not an uncommon event when the topic of romance comes along. Elsewhere, his husky baritone voice blends well with the piano trio and saxophones. "Lush Life," the other exception, finds vocalist and pianist in a serious moment, keeping the romantic fires burning in a pared-down setting.

Mahogany is at his best belting out the blues message, as he does with Michael Brecker’s help on Lyle Lovett’s "I Know You Know." The saxophonist returns for "May I Come In?" with a confident air that adds a swagger to the steps of the ballad. Mahogany relates the lyrics’ apologetic message, leaving no doubts about the meaning. James Taylor’s expressive ballad "Don’t Let Me Be Lonely Tonight" serves to demonstrate Mahogany’s main strength: telling stories from the heart in a convincing manner. Keeping up with the romantic mood of the album, Kilson accompanies "Everything I Have is Yours" with hands on the drums. The piano trio and vocalist have assembled this romance album with care, and the result is a volume of stories that serve as the optimal candlelight dinner aura.~ Jim Santella http://www.allaboutjazz.com/my-romance-kevin-mahogany-warner-bros-review-by-jim-santella.php

Personnel: Kevin Mahogany (vocals); Yergenia Strenger, Laura Seaton (violin); Sue Pray, Nick Cords (viola); Eugene J. Moye, Sarah Seiver (cello); Kirk Whalum, Michael Brecker (tenor saxophone); Hilary James (piano); Billy Kilson (drums).

My Romance

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Keith Andrew - Keith Andrew

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 52:49
Size: 121,2 MB
Art: Front

(6:21)  1. Samasama
(6:45)  2. Pookie's Groove
(6:24)  3. Broken Bone
(6:18)  4. Extreme
(5:53)  5. Sonoma Home
(4:29)  6. You're the One for Me
(6:20)  7. Always With Me
(4:35)  8. In This
(5:41)  9. Nutty Blues

Originally from Baltimore, Maryland, Keith began playing guitar at 10 years old. As a teenager he moved with his family to the San Francisco Bay Area where he was exposed to the rich and diverse SF music scene. His passion and desire for further knowledge led him to Los Angeles where he had the opportunity to study with some of the world's greatest jazz and contemporary guitarists such as: Robin Ford, Joe Pass, Buzz Fieten, Scott Henderson and Joe Diorio. While attending college in Los Angeles, Keith was a featured soloist with the Chaffey College Jazz Ensemble, earning several awards for outstanding musicianship from the National Association of Jazz Educators. He later went on to attend the world-renowned Guitar Institute of Technology. Graduating at the top of his class, he subsequently joined the faculty as a staff instructor. Shortly after graduating from the Guitar Institute, Keith teamed with Keyboardist and Composer Morris Beeks. Shortly thereafter, the duo formed the Jazz/R&B band Himalaya. The Himalaya sound was soon defined by Keith's unique compositions, soon making it one of the most popular and dynamic groups on the L.A. circuit.

Himalaya released their debut album "Friend to Friend" which received national airplay. Shortly thereafter, they embarked on a nationwide tour with notable appearances at the Santa Barbara Jazz Festival as well as major nightclubs and Venues in New York, Washington D. C., Memphis and San Diego. Now residing in the San Francisco Bay Area, Keith Andrew has found his true creative voice. Inspired by the diverse multicultural musical mix found in the San Francisco scene, his style has gravitated toward a World Jazz Fusion Style. His taste for world music was also inspired by performing at some of the top bay area venues with the popular South African band "Zulu Spear". It was with that band the he teamed up with 2 excellent musicians from Austin Texas. Multi-instrumentalists and Producers, Cecil (P-Nut) Daniels and Carlton Lowe have been at the core of many of Keith's SF based recording and live performance projects. The have also formed the popular groups: "Sound Minds" and "P-Nut and The Apocalypse". Bio ~ http://www.cduniverse.com/productinfo.asp?pid=7149232&style=music

Keith Andrew

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J.J. Johnson & Kai Winding - Jay & Kay + 6

Styles: Trombone Jazz
Year: 2010
File: MP3@320K/s
Time: 34:28
Size: 80,6 MB
Art: Front

(2:57)  1. Night In Tunisia
(2:38)  2. Piece For Two Tromboniums
(2:18)  3. Rise 'N' Shine
(2:34)  4. All At Once You Love Her
(3:26)  5. No Moon At All
(2:04)  6. Surrey With The Fringe On Top
(2:28)  7. The Peanut Vendor
(3:00)  8. You're My Thrill
(2:35)  9. Jeanne
(3:58) 10. Four Plus Four
(3:30) 11. You Don't Know What Love Is
(2:53) 12. The Continental

It was around the years when this recording was made that trombone groups, whether they be choirs, quartets, septets, or some other configuration, were in vogue. Kai Winding recorded several during the 1950s with his own group and with his oftentimes playing partner, J.J. Johnson. This album is the product of one of those occasions. Recorded over a three-day period in 1956 and originally issued on a Columbia LP, Johnson and Winding are joined by fellow slide instrumentalists Bob Alexander, Eddie Bert, Urbie Green, Jimmy Cleveland, Tom Mitchell, and Bart Varsalona, the latter two on bass trombone, plus an all-star rhythm section of Hank Jones, Milt Hinton, and Osie Johnson. Also somewhat of an item during this period was the trombonium, an upright valve trombone resembling a euphonium. Johnson and Winding use this instrument on some of the cuts, including "A Night in Tunisia" and "Piece for Two Tromboniums." 

The playing here is simply terrific, as one would expect from this eminent cast of trombonists. The only problem is that after a while, one begins to yearn for some other horns, especially the sax, to get a change in the harmonics and voicings. Nonetheless, the playing, both solo and in ensemble, is brilliant and is a prime example of how the trombone had evolved from essentially a tailgate to an instrument that could execute fast-moving bop tunes and use a controlled vibrato and enveloping tone on slower numbers. There's plenty to choose from both categories on this session. The players on this album were in the vanguard of that metamorphosis. This LP richly deserved to be reissued on CD.~ Dave Nathan http://www.allmusic.com/album/jay-and-kai-6-the-jay-and-kai-trombone-octet-mw0000965548

Personnel:  J.J. Johnson - Trombone, Trombonium;  Kai Winding - Trombone, Trombonium;  Urbie Green – Trombone;  Bob Alexander – Trombone;  Eddie Bert – Trombone;  Jimmy Cleveland - Trombone; Tom Mitchell - Bass Trombone;  Bart Varsalona - Bass Trombone;  Hank Jones – Piano;  Milt Hinton – Bass;  Ray Brown – Bass;  Osie Johnson – Drums;  Candido Camero - Conga, Bongo

Jay & Kay + 6

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