Red Garland - Blues In The Night

Bitrate: MP3@320K/s

Time: 59:18

Size: 135.8 MB

Styles: Hard bop, Piano jazz

Year: 1960/1997

Art: Front

[ 6:57] 1. Back Slidin'

[ 6:09] 2. Revelation Blues

[ 4:46] 3. Every Time I Feel The Spirit

[ 6:34] 4. Halleloo-Y'all

[11:03] 5. I'll Never Be Free

[ 5:04] 6. Blues In The Night

[ 6:26] 7. Rocks In My Bed

[ 4:58] 8. Soul Burnin'

[ 7:17] 9. Portrait Of Jenny

The emphasis is on the blues (although not exclusively) on this CD reissue. The original eight-song program has been joined by "A Portrait of Jennie" by the same trio (pianist Red Garland, bassist Sam Jones and drummer Art Taylor) from an earlier date. Most unusual about the set is that Garland makes a rare (and effective) appearance on organ during "Halleloo-Y'All." Otherwise, this is a conventional but enjoyable set of bluesy bop, highlighted by "Revelation Blues," "Everytime I Feel the Spirit" and "Rocks In My Bed." ~Scott Yanow

Blues In The Night

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Nancy Wilson - Welcome To My Love

Bitrate: MP3@320K/s

Time: 35:05

Size: 80.3 MB

Styles: Vocal jazz, Standards

Year: 1967/1994

Art: Front

[2:33] 1. In The Heat Of The Night

[2:32] 2. May I Come In

[2:49] 3. Angel Eyes

[2:48] 4. It Never Entered My Mind

[2:30] 5. I'm Always Drunk In San Francisco

[2:35] 6. Theme From Hotel

[3:05] 7. For Once In My Life

[2:24] 8. You Don't Know Me

[3:15] 9. Why Try To Change Me Now

[2:32] 10. Welcome To My Love

[5:16] 11. Ode To Billie Joe

[2:40] 12. Let's Make The Most Of A Beautiful Thing

Most of Nancy Wilson's late '60s releases contained four or five good tunes and the rest would be filler from the day's batch of B-grade pop material. Her 1967 date Welcome to My Love, though, is an exception. It offers a consistent selection of high-quality standards and strong contemporary material impressively set off by Oliver Nelson's soulfully urbane arrangements. On the subdued end there are straightahead ballads like "May I Come In" and "It Never Entered My Mind" as well as more soul-tinged numbers such as "Welcome to My Love" and "Let's Make the Most of a Beautiful Thing." Wilson's smoky, whispered voice imparts just the right amount of tender drama here while Nelson's dark and restrained string charts keep things from getting syrupy. Balancing out the set are a series of bluesy big band numbers including "In the Heat of the Night," "I'm Always Drunk in SF" and an amazing version of "Ode to Billy Joe." This classic Bobbie Gentry tune gets a funked up, backwoods treatment à la Etta James with Wilson in full swagger. Eddie "Lockjaw" Davis effectively echoes the intensity with his back in the mix, burning tenor solo while drummer Shelly Manne and bassist Buster Williams anchor the proceedings with driving intensity. The set is rounded out by fine renditions of "For Once in Life" and the classic Ray Charles hit "You Don't Know Me." On Welcome to My Love, Wilson successfully straddled the jazz/soul divide and in the process produced one of her best albums of the 60's. ~Stephen Cook

Welcome To My Love

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Pérez Prado - The Peanut Vendor

Bitrate: MP3@320K/s
Time: 25:00
Size: 57.3 MB
Styles: Latin rhythms, Latin Big Band
Year: 2013
Art: Front

[2:38] 1. The Peanut Vendor
[2:21] 2. Guaglione
[3:17] 3. Guantanamera
[2:29] 4. Perfidia
[2:47] 5. Mambo, No. 5
[2:25] 6. Ciliegi Rosa
[2:19] 7. Mambo Jambo
[2:04] 8. Mambo No. 8
[2:17] 9. Maria Bonita
[2:18] 10. Patricia

Universally known as the King of the Mambo, Pérez Prado was the single most important musician involved in the hugely popular Latin dance craze. Whether he actually created the rhythm is somewhat disputed, but it's abundantly clear that Prado developed it into a bright, swinging style with massive appeal for dancers of all backgrounds and classes. Prado's mambo was filled with piercing high-register trumpets, undulating saxophone counterpoint, atmospheric organ (later on), and harmonic ideas borrowed from jazz. While his tight percussion arrangements allowed for little improvisation, they were dense and sharply focused, keeping the underlying syncopations easy for dancers to follow. Prado played the piano, but was often more in his element as the focal point of the audience's excitement; he leaped, kicked, danced, shouted, grunted, and exhorted his musicians with a dynamic stage presence that put many more sedate conductors and bandleaders to shame. With this blueprint, Prado brought mambo all the way into the pop mainstream, inspiring countless imitators and scoring two number one singles on the pop charts (albeit in a smoother vein than the fare that first made his name) as the fad snowballed. He was a star throughout most of the Western Hemisphere during the '50s, and even after his popularity waned in the United States, he remained a widely respected figure in many Latin countries, especially his adopted home of Mexico. Prado is often best remembered for his softer, more commercial work, which has an undeniable kitschiness that plays well with modern-day lounge-revival hipsters. Unfortunately, that has served to obscure his very real credentials in the realm of authentic, unadulterated Latin dance music, and to this day he remains somewhat underappreciated. ~Steve Huey

The Peanut Vendor

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Buddy De Franco - Bravura: Complete 1959 Septette Sessions (2-Disc Set)

Buddy De Franco (cl), Harry “Sweets” Edison (tp), Bob Hardaway (ts), Herbie Mann (fl, b-cl), Jimmy Rowles, Pete Jolly (p), Victor Feldman (vib), Barney Kessel (g), Curtis Counce, Scott LaFaro (b), Alvin Stoller, Frank De Vito, Mel Lewis (d). Sources CD 1: Tracks #1-6 originally issued on the 12" LP "Generalissimo" (Verve MG V-8363). Tracks #7-10 originally issued on the 12" LP "Live Date!" (Verve MG V-8383). Sources CD 2: Tracks #1-3 originally issued on the 12" LP "Live Date!" (Verve MG V-8383). Tracks #4-10 originally issued on the 12" LP "Bravura" (Verve MG V-8315).

The recordings in the present set are typically fluent, compelling De Franco music in a first-class small combo setting. “I never abandoned the idea of being able to experience a somatic feeling in addition to the intellectual experience of modern music. Both are essential. You gotta have both—the cerebral and the feel, the funk.”

Individually De Franco and Harry “Sweets” Edison blow with the confidence and assertiveness that have become their hallmarks. Kessel takes care of business, lying quietly in the background until it comes his turn to solo, then leaping out to have his say. Jimmy Rowles, Herbie Mann, Bob Hardaway, and the rest of the men playing here are deeply swinging in healthly, mainstream fashion. One of the attractions is the delicacy of some of the ensemble textures and the way in which basic harmonies have been amended to fit the character of these 1959 De Franco Septette. There’s a lot of great listening here whatever your bias.It will be just fine if it does help bring the clarinet back!

Album: Bravura: Complete 1959 Septette Sessions (Disc 1)
Bitrate: MP3@320K/s
Time: 62:49
Size: 143.8 MB
Styles: Clarinet jazz
Year: 2012
Art: Front

[ 5:42] 1. Sunday
[ 9:19] 2. Between The Devil And The Deep Blue Sea
[ 4:54] 3. Tea For Two
[11:24] 4. Ballad Medley 'Round Midnight/You Don't Know What Love Is/How Can We Be Wrong/Lullaby of The Leaves/Yesterdays
[ 4:28] 5. Blue Lou
[ 9:02] 6. Funky's Uncle
[ 4:02] 7. Oh, Lady Be Good
[ 6:06] 8. Satin Doll
[ 3:02] 9. My Funny Valentine
[ 4:45] 10. Blues For Space Travelers

Bravura: Complete 1959 Septette Sessions (Disc 1)

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Album: Bravura: Complete 1959 Septette Sessions (Disc 2)
Bitrate: MP3@320K/s
Time: 63:15
Size: 144.8 MB
Styles: Clarinet jazz
Year: 2012
Art: Front

[7:01] 1. Tin Reed Blues
[6:36] 2. Ballad Medley: I'm Glad There Is You/There's No You/These Foolish Things
[5:23] 3. Crazy Rhythm
[8:44] 4. Just Squeeze Me
[4:03] 5. Undecided
[8:33] 6. Ja Da
[6:32] 7. Ballad Medley 3: Now I Lay Down To Dream/Honey/This Love Of Mine/Darn That Dream
[6:02] 8. Lulu's Back In Town
[5:54] 9. Ballad Medley 2: Old Folks/How Long Has This Been Going On/Please
[4:22] 10. Witty

Bravura: Complete 1959 Septette Sessions (Disc 2)

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Lee Ritenour - Festival

Styles: Guitar Jazz, Brazilian Jazz
Year: 1988
File: MP3@320K/s
Time: 43:21
Size: 99,8 MB
Art: Front

(4:32)  1. Night Rhythms
(6:17)  2. Latin Lovers
(4:38)  3. Humana
(5:24)  4. Rio Sol
(2:22)  5. Waiting for You
(4:58)  6. Odile, Odila
(5:28)  7. Linda (Você é Linda)
(4:22)  8. New York / Brazil
(5:16)  9. The Inner Look

Ritenour's second acoustic album, like his first, has an overall Brazilian theme but this time, he recorded his ensemble of New York, L.A. and Brazilian musicians in one locale, New York City. This is a superior record to Rio, though, because there is a deeper Brazilian feeling to the arrangements, and Lee's own playing is even more refined and meaningful. "Waiting For You," a solo track on an acoustic guitar synthesizer, is especially attractive. The core crew consists of a collection of pro's pros Ernie Watts on alto and tenor, Dave Grusin or Bob James on keyboards, Marcus Miller or Anthony Jackson on bass, Omar Hakim on drums, Paulinho Da Costa and Carlinhos Brown on percussion who lay down smooth yet gently grooving backdrops for Rit to ride. Joao Bosco and Gracinha Leporace contribute fascinating Portuguese vocals to the album's two most appealing and thoroughly Brazilian-flavored tracks, "Latin Lovers" and "Odile, Odila" and Caetano Veloso brings a softer-focused vocal style to "Linda." ~ Richard S.Ginell  http://www.allmusic.com/album/festival-mw0000202185

Personnel: Lee Ritenour (acoustic guitar, synthesizer, guitar synthesizer); Joao Bosco (vocals, acoustic guitar); Caetano Veloso (vocals); Larry Williams , Jerry Hey (strings, horns); Ernie Watts (alto saxophone, tenor saxophone); Dave Grusin, Bob James (keyboards); Robbie Kondor (synthesizer); Anthony Jackson (bass guitar); Omar Hakim (drums); Paulinho Da Costa (bongos, percussion, bells); Carlinhos Brown (djembe, pandeiro, percussion); Gracinha Leporace (background vocals).

Festival

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Barbara Levy Daniels - They're Writing Songs Of Love

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 43:05
Size: 99,0 MB
Art: Front

(4:13)  1. S'Wonderful
(6:15)  2. Memories Of You
(3:04)  3. On The Sunny Side Of The Street
(3:01)  4. Embraceable You
(4:31)  5. After You've Gone
(4:33)  6. But Not For Me
(4:40)  7. A Ghost Of A Chance
(3:14)  8. Mean To Me
(4:46)  9. For All We Know
(4:45) 10. Over The Rainbow

This Cd makes the "standards" sound fresh again. With a unique approach to jazz, along with style and control of production, makes this collection a "must have" in any jazz vocal lovers collection.

“It takes a unique approach for the standards of American Popular Song to sound fresh again. Barbara Levy Daniels has done that, as evidenced by this collection of 10 of the best……” Her maturity of style, combined with confidence and control of production has assured that these well-known songs are visited anew in a manner that deserve our attention, respect and enthusiasm, and rewards the appellation “jazz singer” to Ms. Levy Daniels”~ Dick Judelsohn - Host, BEBOP & BEYOND - WBFO 88.7 Radio  http://www.cdbaby.com/cd/barbaralevydaniels

They're Writing Songs Of Love

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Massimo Farao' - Roses Scatter in Beauty

Styles: Piano Jazz

Year: 2015

File: MP3@320K/s

Time: 58:32

Size: 134,3 MB

Art: Front

(6:11)  1. Roses Scatter In Beauty - The Rose Of Versailles

(4:54)  2. Thanatos If I Can't Be Yours - Neon Genisis Evangelion

(5:32)  3. The Tears of Cleopatra - Cleopatra

(4:40)  4. Sailor Moon Theme - Pretty Soldier Sailor Moon

(5:32)  5. Marvelous Melmo - Fushigi Na Melmo

(5:58)  6. A Whisper of Flower - A Little Princess Sara

(7:46)  7. Soul's Refrain - Neon Genisis Evangelion

(5:56)  8. Love Squall - Lupin the Third

(6:02)  9. Love Theme - Lupin the Third

(5:57) 10. Cruel Angel's Thesis - Neon Genisis Evangelion

Massimo Farao (16th March 1965 in Genoa) is an Italian jazz - pianist. Massimo Farao studied with Flavio Crivelli and worked with local formations; In 1983 he visited the United States, where he among other things, with the first Red Holloway and Albert 'Tootie' Heath played. In the 1990s he worked with Tony Scott, Adrian Mears, John Enders, Jesse Davis, Franco Ambrosetti, at its Enja -albumsGrazie Italia and Light Breeze he participated. He also played in the Nat Adderley Quintet at a European tour. In 1993 he took for Splasc (h) his debut album For Meon; his teammates included the trumpeter Flavio Boltro and bassist Dado Moroni. In 1995 the album Ciao Baby (on Monad).

In Trio with Ira Coleman and Jeff Tain Watts played Farao 1998 Brooklyn for Enja album Black Inside a; 2000 followed (also on Enja) the recorded in trio and quartet album Thorn on which Drew Gress, Jack DeJohnette and saxophonist Chris Potter participated. In 2001, he was (with Wayne Dockery and Bobby Durham)member of the quartet of Archie Shepp; 2001-2005 was the artistic director of the jazz department Farao the label Azzrra Music. In 2003, he stepped on the Jazz Piano Festival in Lucerne. In 2006 he recorded an album with compositions by Ennio Morricone on; In 2007 he toured in a trio with Joey DeFrancesco through Europe and the USA. https://de.wikipedia.org/wiki/Massimo_Farao

Musicians:  Massimo Farao' – Piano;  Aldo Zunino – Bass;  Marco Tolotti - Drums

Roses Scatter in Beauty

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Ron Carter And The WDR Big Band - My Personal Songbook

Styles: Jazz, Bop
Year: 2015
File: MP3@320K/s
Time: 79:26
Size: 182,5 MB
Art: Front

( 7:03)  1. Eight
( 5:59)  2. Receipt, Please
( 6:08)  3. Ah, Rio
( 7:48)  4. Doom Mood
( 9:46)  5. Blues for D.P.
( 6:13)  6. Wait for the Beep
( 9:14)  7. Little Waltz
( 8:37)  8. For Toddlers Only
(10:59)  9. Sheila's Song
( 7:36) 10. Cut and Paste

My Personal Songbook is the perfect amalgamation of sterling bassist and composer, world-leading jazz orchestra and distinctive arranger forged together on this heroic recording. Arguably the most proment and innovative modern jazz bassist today, Ron Carter is no mean composer either, and provides ten of his pieces of varying style feel and tempi. They offer ace arranger Richard DeRosa the handy challenge of harnessing this melange of repertoire into the seamless collection that results. Delivering this in stellar form is the WDR Big Band, based in Cologne, a first class ensemble boasting an array of brilliant soloists that include trumpeter, John Marshall; Paul Heller on tenor sax, Johan Hörlen alto sax, and trombonist Ludwig Nuss. Frank Chastenier's melodic but driving piano solos score throughout alongside the churning battery of Carter's bass and Hans Dekker's drums.

The leader's voice has such a sound and presence that goes well beyond his role in the rhythm section keeping time and goading on soloists.Its as if every note and rhythm and instrumentalist playing them are imbued with Carter's aura and message sending it well into an atmosphere of larger proportions. On a lighter note, Carter's playful propensity for quoting runs amok on his solo on "Receipt Please". He manges to squeeze in a circus call theme, Anything Goes and "All Blues" in as many bars. A feat worthy of a "red card" (in British football parlance) but all the better for his Puckish humour- always welcome in the music. The magisterial arranging prowess of Rich DeRosa is exemplary throughout. Born and bred in Long Island, New York, Rich is the progeny of the late percussionist and jazz educator, Clem DeRosa. Rich's other writing credits include the Mel Lewis Jazz Orchestra, Lincoln Centre Jazz Orchestra (dig his swinging vocal chart on "Lullaby of Birdland")and Gerry Mulligan (with whom he drummed with for many years) as well as a 1980s orchestral jazz concern lead by (Garry) Dial and (Dick) Oatts.
 
DeRosa's Thad Jones-like rhythmic swagger and "red note" harmonies on Receipt Please, Blues for D.P. and Cut and Paste score highly in the 1960s/70s modern post Ellington/Basie tradition. For me , the real tour de force though is Sheila's Song which clearly draws from the sound world of the Gil/Miles 1958 Sketches of Spain collaboration. Not in a pastiche kind of way but more celebrating it in a contemporary fashion. A flamenco mood is established from the outset with a clever balance of mutes and flutes outlining transparent harmonies that belie their size and shape. One of Gil Evans' most remarkable skills  was to disguise and soften bracing dissonances (close and angular harmonies that could be accused of containing incorrect notes) with an orchestration that soothes and salves. 

DeRosa has clearly mastered this skill  bringing about a distinctive early 20th Century rural Spanish ambience to the proceedings....a "Manuel Defy Ya" vibe if you will.....(sorry..). What is also remarkable is that the composer solidly supplies the repeating ostinato bassline throughout the eleven minute track while allowing guitarist Paul Shigihara, and trumpeter Ruud Breuls to handle the solo spots.

They do this magnificently, as well. This is a CD of epic proportions combining flawless bassistry and distinctive compositions performed brilliantly by the WDR band with DeRosa's unparalled arrangements. A hallmark CD indeed. Bravo to all hands. http://www.londonjazznews.com/2015/06/cd-review-ron-carter-and-wdr-big-band.html

My Personal Songbook

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