Oscar Peterson, Stephane Grappelli - Jazz In Paris: Oscar Peterson-Stephane Grappelli Quartet Vol 1

Bitrate: MP3@320K/s
Time: 38:55
Size: 89.1 MB
Styles: Bop, Piano jazz
Year: 2001
Art: Front

[4:47] 1. Them There Eyes
[5:34] 2. Flamingo
[4:33] 3. Makin' Whoopee
[4:41] 4. Looking At You
[4:58] 5. Walkin' My Baby Back Home
[9:44] 6. My One And Only Love
[4:35] 7. Thou Swell

One of the nice things about jazz is the cross-pollination of different players in multiple settings. No one would've thought of pairing swing violinist Stéphane Grappelli and bop pianist Oscar Peterson, for instance, but the match works very well. The pair have expanded into a quartet on this reissue with the aid of double bassist Niels-Henning Ørsted Pedersen and drummer Kenny Clarke. The set, recorded in 1973 in Paris, includes a handful of standards, from Pinkard/Tracey/Tauber's "Them There Eyes" to Rodgers & Hart's "Thou Swell." As one might guess, Grappelli is in his own element on upbeat, swinging pieces like "Makin' Whoopee" and "Walkin' My Baby Back Home." Peterson likewise joins in the spirit of these pieces, making them the most interesting interpretations on the album. Other material, like the lingering "Flamingo" and "My One and Only Love," are also enjoyable, but seem rather tepid in comparison. The latter composition is also handicapped by its nearly ten-minute length. Peterson and Grappelli end with a nice, bouncy version of "Thou Swell" that brings the whole affair to a satisfying close. Quartet, Vol. 1 isn't a perfect recording, but it is an enjoyable one, showing how much fun it is to pair unlikely musicians in the studio and see what happens. ~Ronnie D. Lankford Jr

Jazz In Paris: Oscar Peterson-Stephane Grappelli Quartet Vol 1

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Kevin Hassett's A Game - Take Two For Rosa

Bitrate: MP3@320K/s
Time: 48:11
Size: 110.3 MB
Styles: Vocal jazz
Year: 2014
Art: Front

[3:50] 1. Moonlight In Vermont
[3:23] 2. I Thought About You
[4:32] 3. Summer Samba
[3:05] 4. Do Nothing Til You Hear From Me
[4:04] 5. I'm Afraid The Masquerade Is Over
[3:31] 6. Tangerine
[4:35] 7. Autumn Leaves
[4:01] 8. I Can't Get Started
[3:17] 9. In The Wee Small Hours
[2:22] 10. But Not For Me
[2:50] 11. Teach Me Tonight
[5:24] 12. I've Got You Under My Skin
[3:12] 13. For Sentimental Reasons

'At the end of last year I recorded and arranged a Great American songbook CD entitled “Take Two for Rosa” with jazz artist Kevin Hassett’s A Game. The title was inspired by the birth of my daughter Rosa, right in the middle of the recording sessions!' ~Gary Davies

Take Two For Rosa

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Sue Raney - Complete Capitol Years 1956-1960 (2-Disc Set)

"In the late '50s and early '60s, Capitol Records had two leading jazz-oriented pop singers on its roster -- June Christy and Peggy Lee -- and then added another young singer, Sue Raney. Raney cut a few albums which seemed to quickly disappear, never to be heard from again until now [...] On the 1958 release 'When Your Lover Has Gone,' Raney is supported by the estimable Nelson Riddle, whose arrangements and orchestrations have graced the recordings of many of the top singers of the last four decades (among the more notable, Ella Fitzgerald and Frank Sinatra). The second album, 'Songs for a Raney Day,' was cut under the leadership of another Hollywood music icon, Billy May. His arrangements on this album are much softer than the blaring brass a la the discs he cut with Sinatra and Anita O'Day. This is a gentler, softer May, appropriate for an album of songs that capture the essence and moods of rainy weather. Although very young when these sessions were recorded, there's more than a hint of the consummate artistry that was to characterize Raney's singing over the next 40 years. The style, diction and appreciation for good melodies which became a staple of Raney's albums are already evident, and each album has well-known standards. But there are songs penned by composers not often recorded, like Ann Ronell's "Rain on the Roof," a reminder that Ronell did much more than "Willow Weep for Me." Unfortunately, the promise created by these two albums never quite materialized. Raney, despite her outstanding recordings, never entered studios with the frequency commensurate with her talent, which doesn't say much for the music business." ~Dave Nathan

Album: Complete Capitol Years 1956-1960 (Disc 1)

Bitrate: MP3@320K/s

Time: 57:28

Size: 131.6 MB

Styles: Vocal jazz

Year: 2013

[2:48] 1. Everytime

[3:08] 2. The Careless Years

[2:09] 3. What's The Good Word Mr Bluebird

[2:37] 4. Don't Take My Happiness

[1:53] 5. Please Hurry Home

[2:38] 6. Till There Was You

[3:00] 7. When Your Lover Has Gone

[3:08] 8. I Stayed Too Long At The Fair

[2:22] 9. If I Could Be With You (One Hour Tonight)

[3:30] 10. My Ideal

[2:26] 11. It Looks Like Rain In Cherry Bloss

[3:04] 12. It's Easy To Remember

[4:02] 13. Moon Song That Wasn't Meant For Me

[2:56] 14. Heart And Soul

[3:04] 15. If You Were There

[3:20] 16. My Silent Love

[4:19] 17. I Remember You

[2:30] 18. I'll See You In My Dreams

[2:07] 19. My My How The Time Goes By

[2:16] 20. Periwinkle Blues

Complete Capitol Years 1956-1960 (Disc 1)

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Album: Complete Capitol Years 1956-1960 (Disc 2)

Bitrate: MP3@320K/s

Time: 49:29

Size: 113.3 MB

Styles: Vocal jazz

Year: 2013

Art: Front

[2:48] 1. Ever

[3:08] 2. The Restless Sea

[2:42] 3. I Don't Look Right Without You

[2:53] 4. Swingin' In A Hammock

[2:05] 5. I Get The Blues When It Rains

[2:33] 6. Impossible

[2:08] 7. A Blossom Fell

[2:43] 8. Wrap Your Troubles In Dreams

[2:05] 9. The Whipoorwill Song

[2:45] 10. Rain

[2:31] 11. Rain On The Roof

[2:27] 12. Blue Tears

[3:12] 13. Exactly Like You

[2:33] 14. Wanna Laugh

[1:52] 15. My Prayer

[2:00] 16. September In The Rain

[2:00] 17. Biology

[2:30] 18. Too Soon

[1:59] 19. The Word Got Around

[2:25] 20. One-Finger Symphony

Complete Capitol Years 1956-1960 (Disc 2)

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Elvin Jones - All Or Nothing At All: Blues Of Summer

Bitrate: MP3@320K/s
Time: 76:22
Size: 174.8 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[ 5:17] 1. In Your Own Sweet Way
[ 3:33] 2. All Or Nothing At All
[11:31] 3. Summertime
[ 6:50] 4. Blues Back
[ 5:20] 5. Village Blues
[ 4:22] 6. Blues For Gwen
[ 9:11] 7. My Favorite Things
[ 6:35] 8. Effendi
[ 7:24] 9. Old Devil Moon
[ 9:56] 10. Greensleeves
[ 6:17] 11. There Is No Greater Love

When Elvin Jones plays the drums, the world listens. His drumming is like a force of nature: thunderous, vital and devastatingly complex. Jones moved to New York in 1955, diving headlong into the whirlwind of Bop. In 1960, Jones began working with the great John Coltrane as a member of the legendary quartet that would last for five years and make some of the most powerful music in jazz history. With Coltrane, Jones explored the elasticity of his style -- the polyrhythms flew fast and furious, reflecting his West African influences. Jones could play gently as well, backing up mellifluous singer Johnny Hartman. Since leaving Coltrane, Jones has enjoyed a successful solo career, recording several excellent albums as a leader, featuring such notable sidemen as saxophonists George Coleman and Joshua Redman. Until his death in 2004, Jones played an Art Blakey-like role in jazz, acting as a mentor for younger musicians.

All Or Nothing At All: Blues Of Summer

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Alison Ruble - This Is a Bird

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 49:32
Size: 121,6 MB
Art: Front

(4:08)  1. Interlude
(5:29)  2. So in Love
(4:30)  3. If I Had You
(5:34)  4. Skylark
(4:41)  5. Always Something There to Remind Me
(3:48)  6. We Kiss in a Shadow
(4:32)  7. Lazy Afternoon
(2:53)  8. It's Magic
(4:48)  9. Something in the Way She Moves
(5:55) 10. The Night Has a Thousand Eyes
(3:09) 11. This Nearly Was Mine

It's amazing that out of the clutter of an industrial urban center like Chicago, a voice as serene and unruffled as Alison Ruble's can exist. For her debut recording, the opulent vocalist teams up with guitarist extraordinaire/producer John McLean for an intriguing journey through a collection of timeless American classics. The song selection, a mix of standard jazz fare and modern pop numbers, seems to suit Ruble's understated approach. McLean's acoustic guitar and stripped-down arrangements present fresh takes on the familiar and not-so-familiar. The opening "Interlude" invokes a Brazilian vibe, while Cole Porter's "So In Love" has a subdued hypnotic effect courtesy of McLean's droning accompaniment. 

The funky groove on "If I Had You" shows off Ruble's swinging capabilities. "Skylark" floats along with a carefree momentum. Jim Gailloreto's well-placed alto flute fills complement Ruble's unhurried phrasing and McLean's sympathetic comping. "Always Something There to Remind Me" opens with percussionist Geraldo De Oliveira's fine-tuned congas before Ruble explores the familiar Burt Bacharach staple. 

The tension-building, folk-rock sensibilities of "Lazy Afternoon" contrast nicely with the straight-ahead, strolling duet between Ruble and bassist Larry Kohut on "It's Magic." Kohut's playing throughout is inventive while maintaining solid support. Pianist Jo Ann Daugherty adds a lyrical presence, especially on the sensitive piano/voice duet "This Nearly Was Mine." Drummer Tim Davis provides a solid, low-profile pocket. This Is A Bird is an impressive debut from a fresh voice worthy of wider recognition.~ John Barron http://www.allaboutjazz.com/this-is-a-bird-alison-ruble-origin-records-review-by-john-barron.php

Personnel: Alison Ruble: vocals; John McLean: guitar; Jo Ann Daugherty: piano; Jim Gailloreto: soprano saxophone, alto flute; Larry Kohut: string bass, chapman stick; Tim Davis: drums; Geraldo De Oliveira: percussion.

This Is a Bird

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Jackie McLean - Capuchin Swing

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 40:38
Size: 93,9 MB
Art: Front

(9:34)  1. Francisco
(7:33)  2. Just For Now
(4:23)  3. Don't Blame Me
(8:13)  4. Condition Blue
(6:10)  5. Capuchin Swing
(4:44)  6. On The Lion

One of Jackie McLean's more underrated albums from a plethora of Blue Note releases, 1960's Capuchin Swing finds the bebop alto saxophonist in fine form on a mix of covers and originals. While his future fascination with Ornette Coleman's free-form innovations can be sensed in some of the solos here, the majority of the album is in a classic hard bop vein. Like contemporaries Hank Mobley, Sonny Clark, and Lee Morgan, though, McLean doesn't just churn out pat jam-session fare, but comes up with consistently provocative charts and solos. Eschewing ballads, McLean focuses on mid- to fast-tempo swingers and blues. Standouts include originals like "Francisco" and "Condition Blue" and choice renditions of "Just for Now" and "Don't Blame Me." McLean enlists a sparkling lineup of hard bop stars, including trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Paul Chambers, and drummer Art Taylor. Mitchell particularly impresses, matching many of McLean's own inspired flights with his supple and progressive playing. Along with other fine Blue Note titles like Jackie's Bag and Bluesnik, Capuchin Swing makes for a great introduction to McLean's extensive catalog. ~ Stephen Cook http://www.allmusic.com/album/capuchin-swing-mw0000224154

Personnel: Jackie McLean (alto saxophone); Blue Mitchell (trumpet); Walter Bishop Jr. (piano); Paul Chambers (bass); Art Taylor (drums).

Capuchin Swing

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Freddie Hubbard - Breaking Point!

Styles: Trumpet Jazz
Year: 1964
File: MP3@320K/s
Time: 46:55
Size: 107,8 MB
Art: Front

(10:19)  1. Breaking Point
(10:58)  2. Far Away
( 6:24)  3. Blue Frenzy
( 3:18)  4. Blue Frenzy (alternate take)
( 6:25)  5. D Minor Mint
( 6:08)  6. Mirrors
( 3:21)  7. Mirrors (alternate take)

Immediately after leaving Art Blakey's Jazz Messengers, trumpeter Freddie Hubbard formed his own quintet and set the modern jazz world on its collective ear with this incredible album. Beyond hard bop and into early creative territory, Hubbard explored a sonic deliverance based on his fiery personality and a refusal to stand still or be satisfied with standardized phrasings and nomenclature. 

His effective teaming with the unique alto saxophonist James Spaulding and pianist Ronnie Mathews is particularly telling, as this set of Hubbard originals and one from drummer Joe Chambers constitutes some of the most powerful jazz music of this time period. The expansive style of Andrew Hill is identifiable especially during the title track, with the piano of Mathews leading a startling charge of several short and swift mini-theme clarion bursts, moving into calypso. This is one of the more astonishing pieces ever conceived in modern music. "Blue Frenzy" and "D Minor Mint" both display uncanny original themes within mainstream frameworks, bearing the stamp of Hubbard's fierce approach to post-Dizzy Gillespie-type trumpet. 

The former piece is an easy 24-bar blues activated into cool constraints via the style of Horace Silver but fired up by the antics of Mathews, while the latter track sports a chatty melody, humorously cackling onward. "Far Away" is the most intriguing piece rhythmically and sonically, moving from 6/4 and 3/4 to 12/6, again similar to Andrew Hill's harmonic concept with Spaulding's piquant flute accenting a hip, agile melody. The pure energy Hubbard injected into this ensemble, and the sheer originality of this music beyond peers like Miles Davis and Lee Morgan, identified Hubbard as the newest of new voices on his instrument. Breaking Point has stood the test of time as a recording far ahead of mid-'60s post-bop, and is an essential item for all listeners of incendiary progressive jazz. 

[Some reissues offer alternate takes of "Blue Frenzy" and the pretty Joe Chambers composition "Mirrors," wavering via Spaulding's flute, a reaching-for-the-stars ballad that has become a standard.] ~ Michael G.Nastos http://www.allmusic.com/album/breaking-point!-mw0000263635

Personnel: Freddie Hubbard (trumpet); James Spaulding (flute, alto saxophone); Ronnie Mathews (piano); Eddie Khan (bass instrument); Joe Chambers (drums).

Breaking Point!

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Frank Vignola & Vinny Raniolo - Swing Zing

Styles: Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 49:24
Size: 123,0 MB
Art: Front

(3:08)  1. Cheek to Cheek
(2:22)  2. The Best Things in Life Are Free
(3:47)  3. September Song
(3:53)  4. Cry Me a River
(4:22)  5. Joseph Joseph
(2:05)  6. I'm Getting Sentimental Over You
(4:30)  7. All the Things You Are
(3:59)  8. Do You Know What It Means to Miss New Orleans
(4:34)  9. Whispering
(3:56) 10. Sleepytime Gal
(3:01) 11. Stardust
(4:35) 12. Tico Tico / Djangomania
(5:06) 13. Peg O My Heart / I'm Confessin'

When a press release accompanying a new album conveys more information than is found on the album itself, the supposition must be that it was recorded hurriedly with an eye toward a similarly expeditious release. Swing Zing! pairs the estimable guitarists Frank Vignola and Vinny Raniolo, who've been working together for more than five years, with half a dozen guests who are identified on the album (and in the press release) by name but not by instrument. Three of them Bucky Pizzarelli, Julian Lage and Gene Bertoncini are definitely guitarists. At least one of the others Olli Soikkeli, Audra Mariel, Gary Mazzaroppi must be a bassist, or doubles on it, as a bass seems to be present on several tracks. On the other hand, it could be a bass guitar or even a regular guitar played as a deep-throated rhythm instrument, a la Freddie Green. Sure sounds like a bass, though.

It's clear that Mariel is a vocalist, as she sings (quite well) on the Jerome Kern standard "All the Things You Are." As Mazzaroppi is also listed on that track, perhaps he's the mystery bassist (there's a photo inside the album cover of someone playing bass but he isn't identified by name). The problem is, Mazzaroppi's not noted as present on the other numbers that seem to include a bass including the upbeat opener, Irving Berlin's "Cheek to Cheek." Soikkeli sits in on "Joseph Joseph," Bertoncini on "Whispering," Lage on "Sleepy Time Gal," Pizzarelli on "All the Things" and the closing medley, "Peg O' My Heart" / "I'm Confessin.'" The solo order for any of the tracks is not given, nor is there any hint as to the speaker (left or right) through which anyone can be recognized. We are told that Lage plays the lead, Vignola the rhythm on "Sleepy Time Gal" and (for some reason) that Pizzarelli plays a 1947 D'Angelico. Otherwise, as all guitars sound basically alike to some people (not mentioning any names), that makes any individual appraisals rather improbable.

Suffice to say that everyone on the album acquits himself (or herself) well, leaving no room for complaint about the music itself aside from the fact that it is rather guitar-heavy. For those who appreciate the sound of a well-strummed guitar, that should pose no problem. As for the swing quotient, it remains fairly high throughout, reaching its apex on the medley of "Tico Tico" and "Djangomania," taken at breakneck speed by Vignola and Raniolo. Elsewhere, the music is time-tested and should be familiar to most listeners, comprising as it does "The Best Things in Life Are Free," "September Song," "Cry Me a River," "I'm Getting Sentimental Over You," "Do You Know What It Means to Miss New Orleans" and "Stardust." No surprises there. In spite of the lack of information offered, Swing Zing! is an enjoyable album of guitar-soaked jazz that should please fans of the instrument in general and the Vignola / Raniolo tandem in particular. ~ Jack Bowers http://www.allaboutjazz.com/swing-zing-frank-vignola-fv-records-review-by-jack-bowers.php

Personnel: Frank Vignola: guitar; Vinny Raniolo: guitar; Special guests – Bucky Pizzarelli: guitar; Olli Soikkeli: guitar; Julian Lage: guitar; Gene Bertoncini: guitar; Audra Mariel: guitar; Gary Mazzaroppi: guitar.

Swing Zing

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