Phil Woods, Lee Konitz - Play Konitz

Bitrate: MP3@320K/s

Time: 67:27

Size: 154.4 MB

Styles: Bop, Saxophone jazz

Year: 2010

Art: Front

[12:17] 1. Thingin'

[ 8:26] 2. Kary's Trance

[ 8:44] 3. Bop Goes To Leesel

[ 9:37] 4. L.T

[ 8:52] 5. Souvenir

[ 8:44] 6. What Is This Thing Called Love Into Hot House Into Subconscious Lee

[ 6:00] 7. Outra Vez

[ 4:43] 8. Voce E Eu

Phil Woods and Lee Konitz have performed together on occasion throughout their long careers, though relatively few have been recorded for commercial release. Fortunately, they played several sets together during the 2003 Umbria Jazz Festival in Perugia, Italy, so this Philology CD is one of four volumes which came from these concerts. The two musicians are easy to tell apart as Konitz's dryer, more dissonant style contrasts with Woods' boisterous, very melodic approach; yet together, they blend beautifully. With an outstanding rhythm section consisting of pianist Franco D'Andrea, bassist Massimo Moriconi, and drummer Massimo Manzi, the two alto saxophonists have a blast exploring Konitz's compositions, starting with the explosive opener, "Thingin'" (based on the standard "All the Tings You Are"). Konitz's late musical partner, tenor saxophonist Warne Marsh, composed the playful "Bop Goes the Leesel," an adventurous takeoff on the childhood nursery rhyme. Although labeled as a medley of three tunes, the sixth track is actually a fascinating and occasionally chaotic blend of two songs based on the chord changes to "What Is This Thing Called Love": Tadd Dameron's "Hot House" and Konitz's "Subconcsious-Lee." Each musician on-stage gets a turn in the solo spotlight to good effect. Singer Barbara Casini joins the two veterans for two effective interpretations of Antonio Carlos Jobim's bossa nova classics, "Outra Vez" and "Voce e Eu." Fans of either saxophonist will consider this CD to be an essential purchase. ~Ken Dryden

 

Play Konitz

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Dusty Springfield - Dusty In London

Bitrate: MP3@320K/s
Time: 75:48
Size: 173.5 MB
Styles: R&B, Blue eyed soul
Year: 1999
Art: Front

[2:35] 1. Take Another Piece Of My Heart
[3:37] 2. This Girl's In Love With You
[2:45] 3. How Can I Be Sure
[3:24] 4. Mixed Up Girl
[3:20] 5. I Will Come To You
[3:06] 6. I Only Wanna Laugh
[3:32] 7. A Song For You
[3:00] 8. Crumbs Off The Table
[3:41] 9. Let Me Down Easy
[3:03] 10. Who (Will Take My Place)
[2:44] 11. Ain't No Sun Since You've Been Gone
[3:39] 12. Yesterday, When I Was Young
[2:59] 13. I Start Counting
[3:27] 14. See All Her Faces
[3:25] 15. Wasn't Born To Follow
[3:29] 16. What Are You Doing The Rest Of Your Life
[2:09] 17. Love Power
[3:13] 18. I Think It's Going To Rain Today
[2:47] 19. Morning
[3:20] 20. Girls It Ain't Easy
[2:13] 21. Another Night
[3:32] 22. Come For A Dream
[3:11] 23. Sweet Inspiration
[3:24] 24. The Second Time Around

In the late 1960s and early 1970s, Springfield had an unusual arrangement whereby Philips released her records everywhere in the world except the United States, where they appeared on Atlantic. Atlantic chose to release only 1968-71 material that was recorded in the U.S., meaning that quite a few tracks she recorded in Britain during this time went unreleased stateside. This collects 24 of those songs Springfield recorded in the U.K. between 1968 and 1971, only a few which had appeared in the U.S. before. Although this is not as soul- and R&B-oriented as the material Atlantic recorded with her in America during this era, in truth it's not always that far removed in sound and spirit from what you'll hear on the Atlantic albums Dusty in Memphis (1969) and A Brand New Me (1970). You can't get much more soulful than "Piece of My Heart," for instance, a good cover of which leads off the collection. Overall, though, it takes in a broader range of pop styles than Springfield did with her American/Atlantic recordings, from covers of the Rascals ("How Can I Be Sure") and Goffin-King ("Wasn't Born to Follow") to Charles Aznavour, Leon Russell, Jimmy Webb, Bacharach-David, and Antonio Carlos Jobim. Most of it's taken from the British albums Dusty Definitely (1968) and See All Her Faces (1972), and it's lower on standout performances than the familiar Atlantic albums are. The singing is almost always involved and committed, but sometimes the material is pedestrian. The highlights are very good, however, including Randy Newman's "I Think It's Going to Rain Today," the beautiful string ballad "Morning," and the bossa nova spiced "See All Her Faces." This is worth hearing if you like Springfield a lot; just don't gear up for an extraordinarily consistent or essential listen. ~Richie Unterberger

Dusty In London

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Gypsy Swing Quintet De Liege - Impulswing

Bitrate: MP3@320K/s
Time: 61:25
Size: 140.6 MB
Styles: Swing Gypsy jazz
Year: 2014
Art: Front

[2:49] 1. Belleville
[2:56] 2. What Kind Of Friend
[4:28] 3. Premiere Bal
[3:35] 4. Charleston
[3:17] 5. Avalon
[2:58] 6. Impulswing
[4:08] 7. Melodie Au Crepuscule
[3:53] 8. Vous Et Moi
[3:03] 9. Ultrafox
[4:56] 10. Shine
[4:08] 11. Lentement Mademoiselle
[3:43] 12. Jumping At Teatime
[3:49] 13. Django's Tiger
[5:13] 14. Oriental Shuffle
[4:01] 15. Menlimontant
[4:20] 16. Chicago

Christophe Lartilleux/Guitar; Joachim Ianello/Violin; Jean-François Foliez/Clarinet; André Klenes/Double bass; Jean-Pierre Boullet/Guitar; Aurélien Goux/Guitar.

La période de l'entre-deux-guerres voit l'émergence en Europe du jazz venu des Etats-Unis. Le phénomène est principalement dû au fait que nombre de soldats noirs américains préfèrent s'installer à Paris, loin de la ségrégation raciale qui les attend chez eux. À Montmartre fleurissent des clubs où l'on peut entendre la même musique qu'à Harlem. C'est dans ce contexte qu'apparaît le "swing", des deux côtés de l'Atlantique. Bien vite, les musiciens français voudront imiter leurs collègues américains, allant jusqu'à obtenir un quota obligatoire de musiciens locaux dans les clubs de jazz parisiens. C'est alors que Django REINHARDT et Stéphane GRAPPELLI créent une véritable nouveauté : un jazz "français", qui plus est, joué uniquement par des instruments à cordes ! En 1932 est fondé le Hot Club de France, dont le secrétaire, Charles Delaunay, fera du quintette l'orchestre résident de l'association, et lui-même en sera un fervent promoteur. Cette sonorité particulière et le phrasé tout à fait original de nos deux solistes les propulsent au devant de la scène, et de très nombreux musiciens américains, de passage ou résidant à Paris, vont jouer et enregistrer avec Django, en qui ils reconnaîtront un de leurs pairs. C’est le répertoire de cette époque, constitué de compositions originales de Django Reinhardt et Stéphane Grappelli, de standards du jazz américain qu’ils arrangèrent et enregistrèrent, augmenté de compositions originales du GYPSY SWING QUINTET de Liège, que le public est invité à (re)découvrir.

Impulswing

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Art Pepper - The Capitol Vaults Jazz Series (Disc 1 of 3)

Bitrate: MP3@320K/s
Time: 68:18
Size: 156.4 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[4:23] 1. Pepper Returns
[4:57] 2. Broadway
[4:15] 3. You Go To My Head
[4:39] 4. Angel Wings
[4:35] 5. Funny Blues
[4:38] 6. Five More
[4:15] 7. Minority
[3:35] 8. Patricia
[4:13] 9. Mambo De La Pinta
[5:52] 10. Walkin' Out Blues
[3:18] 11. Straight Life
[5:42] 12. Yardbird Suite
[3:46] 13. Pepper Steak
[5:05] 14. You're Driving Me Crazy
[4:58] 15. Tenor Blooz

Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity.

After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict in that period. The 1950s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also spent two periods in jail due to drug offenses during 1953-1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the 1960s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers. He recorded with Buddy Rich in 1968 before getting seriously ill and rehabilitating at Synanon (1969-1971). Art Pepper began his serious comeback in 1975 and the unthinkable happened. Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form but topped himself with intense solos that were quite unique; he also enjoyed occasionally playing clarinet. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. When Art Pepper died at the age of 56, he had attained his goal of becoming the world's great altoist. ~bio by Scott Yanow

The Capitol Vaults Jazz Series (Disc 1)                 

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Bud Shank - By Request: Meets The Rhythm Section

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 70:43
Size: 162,5 MB
Art: Front

(6:24)  1. September Song
(6:24)  2. Besame Mucho
(9:22)  3. Angel Eyes
(5:06)  4. Someday My Prince Will Come
(7:10)  5. Beautiful Love
(6:43)  6. I Remember Clifford
(5:49)  7. Tenderly
(5:48)  8. Here's That Rainy Day
(5:39)  9. I Remember You
(7:01) 10. Night & Day
(5:13) 11. Autumn

Jazz, more than a type of music, encompasses a way of life, an approach towards life, for many people. Bud Shank is one of those people. A man who has spent most of his life with an alto saxophone at least close by, if not in his hands, Shank has traveled and worked as a jazzman, taught and organized jazz schools and festivals, worked as a recording jazz man, and gotten involved with lables and promotion. Currently, Shank lives in the Pacific northwest and applies his effort to his trade with the same fire he has for over 40 years. This album, as the liner notes explain, a project that seemed destined to not happen. However, proving once again that good things seem to happen to good people, Shank did end up getting to make this record, and had some serious fun while making it. And why wouldn't he, getting to work with a rhythm section of Cyrus Chestnut on piano, George Mraz on bass, and Lewis Nash on drums. And on top of his company, the set list for the album was made up from submissions to Swing Journal from fans. What's not to love, here? Certainly nothing Shank could see, and we the fans, are lucky for the results.

From the opening riff of "September Song" the listener is immediately struck by the intimacy Shank shares with his music. As a professional working musician, Shank has played most of these songs a thousand times. Yet throughout the album, Shank pulls the songs into himself, making them part of him as he spreads the good gospel through his horn. "September Song" swings with a jump in its step, and "Someday My Prince Will Come" bops energetically along. "Night And Day" swings at a near break neck pace, yet never neglects the basic melody, and "Tenderly" throws a bit of a Latin rhythm into the mix. Throughout, Shank and his compatriots swing with such verve and style that one can envision the very smiles that must have been on their faces. Shank's talent for ballads is put on full display as well with several cuts on the album. "Angel Eyes" rides in on Chestnut's intro and then soars on Shank's solo. The Benny Golson classic "I Remember Clifford" highlights Shank's exceptional tone and control, while showcasing Mraz's bass work. This particular cut almost didn't make the set list though, as Shank's actual given name is Clifford, and he'd never liked playing the song. But ultimately he was convinced, and the results are as charming as the rest of the record.

Overall, this is the type of album that jazz nuts seem to dig for and special order at record stores....and with good reason. While not the biggest name in the business, Bud Shank probably is the business, at least much more so than many. Paring him up with this outstanding rhythm section is a real treat for the fans, and according to the liner notes, the musicians themselves. Chestnut said it was the most fun he'd ever had at a recording session, which seems evident in his jubilant playing on several of the cuts. Nash keeps the time flawlessly throughout, and shows some outstanding brush work on a few of the ballads. 

Mraz supports during the solos and chorus's, but shines during his own solos, displaying a uniquely deep understanding of the harmonics of each song. Together, the four create a sound that swings with a refined confidence that only comes from mature musicians who know their craft, and know it well. ~ AAJ Staff  http://www.allaboutjazz.com/by-request-bud-shank-meets-the-rhythm-section-bud-shank-fantasy-jazz-review-by-aaj-staff.php

Personel : Bud Shank - alto saxophone; Cyrus Chestnut - piano; George Mraz - bass; Lewis Nash - drums.

By Request: Meets The Rhythm Section

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Lynda Carter - Crazy Little Things

Styles: Vocal

Year: 2011

File: MP3@320K/s

Time: 47:39

Size: 110,1 MB

Art: Front

(4:39)  1. Let's Stay Together

(3:11)  2. Crazy Little Thing Called Love

(4:13)  3. Up On The Roof

(2:57)  4. (Love Is Like A) Heatwave

(3:29)  5. Jessie's Song

(3:34)  6. The Loco-motion

(4:24)  7. Leaving On A Jet Plane

(3:59)  8. Desperado

(3:27)  9. C'est La Vie (You Can Never Tell)

(2:36) 10. Choo Choo

(3:30) 11. Sentimental Journey

(4:27) 12. Let The Good Times Roll

(3:07) 13. I'm So Lonesome I Could Cry

Although 59-year-old actress Lynda Carter remains best known for her starring role on the TV series Wonder Woman in the 1970s, she began her career singing rock & roll in her native Arizona as a teenager. When Wonder Woman was at its height, Epic Records signed her and released Portrait (1978), which was her only album until Potomac Productions issued At Last more than 30 years later. Crazy Little Things is its follow-up, and it demonstrates that Carter has much more than an adequate singing voice. The collection is full of familiar pop/rock songs dating from the 1940s to the ‘70s, and a notable performance is Carter's version of Glenn Frey and Don Henley's Eagles standard "Desperado." Of course, the song is also known for a cover by Linda Ronstadt, another daughter of Arizona, and Carter's alto is in the same register as Ronstadt's, making their voices similar. Ronstadt's reading is much more emotional than Carter's restrained interpretation, however. Her real antecedent is suggested in her version of "Sentimental Journey," the song that made a star out of Doris Day. Carter is much more in Day's camp than Ronstadt's, even though most of her repertoire here dates from the rock era. She certainly can handle a rocker, as she does on "Let the Good Times Roll." But she is better with lighter fare. Carter has made a living in clubs for many years, and this album suggests what audiences are likely to hear if they see her in Las Vegas or Atlantic City, drawn by her TV fame: a good, professional performance. ~ William Ruhlmann  http://www.allmusic.com/album/crazy-little-things-mw0002125147

Personnel: Kerry Marx (acoustic guitar, electric guitar); Viktor Krauss, Bryan Sutton (acoustic guitar); Russ Pahl (steel guitar); "Blue" Lou Marini Jr. (flute, clarinet, saxophone); Tony Harrell (accordion, keyboards); Sam Levine (clarinet, saxophone); John Horn (tenor saxophone, baritone saxophone); Steve Patrick (trumpet); Roy Agee (trombone); Shane Keister (keyboards); Paul Leim (drums); Eric Darken (percussion); Cindy Walker, Tom Flora, Vicki Hampton, Perry Coleman, Tania Hancheroff (background vocals).

Crazy Little Things

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Ruby Braff & Roger Kellaway - Inside & Out

Styles: Cornet And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 60:13
Size: 138,8 MB
Art: Front

(6:07)  1. Love Walked In
(7:27)  2. Yesterdays
(6:03)  3. Memories Of You
(3:59)  4. I Want To Be Happy
(8:53)  5. I Got Rhythm
(6:47)  6. Always
(5:20)  7. Between The Devil And The Deep Blue Sea
(5:54)  8. Basin Street Blues
(9:40)  9. Exactly Like You

Kellaway's next sparring partner was an old hand at stripped-down duets, cornetist Ruby Braff he of the Ellis Larkins and Dick Hyman connection and Braff seems to encourage Kellaway's out-there side more frequently on this all-standards CD. Terse and to the point, almost offhand in his penchant for placing odd notes in the strangest places, Braff's cornet opens holes in the texture for Kellaway to explore his freely eclectic muse. A highly unorthodox "I Got Rhythm" gives vent to a spectacular near Tatum-esque outburst from Roger, and there are streaks of Romantic, Impressionistic, and contemporary classical pianism, boogie-woogie, and of course, stride. 

Yet Braff has his sweet moments too, as on "Memories of You," where he sets Kellaway off in his nostalgic All in the Family mode. The cover photo speaks volumes about the music within this package a pensive, dour, laconic Braff and a jaunty-hatted, inviting, perhaps slightly mischievous Kellaway. ~ Richard S.Ginell  http://www.allmusic.com/album/inside-out-mw0000181036

Personnel: Ruby Braff (trumpet, cornet); Roger Kellaway (piano).

Inside & Out

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Jon Irabagon - The Observer

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 61:50
Size: 142,0 MB
Art: Front

(6:17)  1. January Dream
(6:56)  2. Joy's Secret
(6:54)  3. The Infant's Song
(6:09)  4. Cup Bearers
(7:45)  5. The Observer
(5:20)  6. Acceptance
(4:55)  7. Makai & Tacoma
(6:36)  8. Big Jim's Twins
(5:01)  9. Bar Fly
(5:52) 10. Closing Arguments

Best known as the volatile saxophonist in bassist Moppa Elliott's self proclaimed terrorist be-bop band Mostly Other People Do the Killing, Jon Irabagon has only just begun his career as a solo artist. His bristling duet with drummer Mike Pride, I Don't Hear Nothin' But The Blues (Loyal Label, 2009) was preceded by Outright! (Innova, 2008), the self-titled debut of his own vivaciously eclectic quartet. The Observer is Irabagon's first release for Concord Records, which awarded him a recording contract after he won last year's Thelonious Monk International Jazz Saxophone Competition. On this surprisingly straight-ahead session (expertly recorded by Rudy Van Gelder), Irabagon is supported by a trio of longstanding veterans; pianist Kenny Barron, bassist Rufus Reid, and drummer Victor Lewis Stan Getz's touring rhythm section of the 1980s. Years of shared experience elevates Barron, Reid, and Lewis' congenial interplay beyond mere professionalism, lending this date a timeless appeal.

Seven of the ten selections are originals, demonstrating Irabagon's flair for composing accessible jazz tunes that fit comfortably in the mainstream tradition. A dynamic soloist, Irabagon plays alto for most of the date, his tortuous cadences recalling Charlie Parker's blistering dexterity, Wayne Shorter's cerebral precision, and Julian "Cannonball" Adderley's soulful poise. Showing great reserve, he reins in his more vociferous tendencies, using subtle expressionistic accents (altissimo, chromatics, multiphonics) sparingly. The heavily syncopated "January Dream" opens the set with lush harmonies from Barron and stalwart support from Reid and Lewis. Tom McIntosh's "Cup Bearers" is a brisk bop number, while the sultry title track is a lilting mid-tempo swinger featuring Irabagon's effusive tenor. Infused with simmering post-bop energy, "Joy's Secret" reveals a subtle complexity, underpinned by Lewis' Latin accents and Barron's prismatic flourishes, spotlighting a mellifluous trumpet solo from guest artist Nicholas Payton, who also contributes pithy salvos to the scorching hard bop burner "Big Jim's Twins."

Alternating vibrant up-tempo tunes with more introspective fare, Irabagon unveils a rarely heard sensitive side. His velvety tone is highlighted on Gigi Gryce's melancholy "Infant Song," while his lyrical phrasing dominates "Acceptance," the breezy bossa nova "Makai and Tacoma" and the earthy "Closing Arguments." His intimate duet with guest pianist Bertha Hope on her late husband Elmo Hope's somber ballad "Barfly" reveals depths of emotional maturity.  A solid and eminently likeable mainstream affair, The Observer scarcely hints at Irabagon's avant-garde credentials, focusing instead on his tastefully virtuosic capabilities as a straight-ahead stylist yet another facet of his wide-ranging artistry. ~ Troy Collins  http://www.allaboutjazz.com/the-observer-jon-irabagon-concord-music-group-review-by-troy-collins.php
 

Personnel: Jon Irabagon: alto saxophone, tenor saxophone (5, 7); Kenny Barron: piano (1-8, 10); Rufus Reid: bass; Victor Lewis: drums; Nicholas Payton: trumpet (2, 8); Bertha Hope: piano (9).

The Observer

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