Joe Newman - More Than You Know

Size: 166,1 MB
Time: 72:04
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. Taps Miller (8:22)
02. Wednesday's Blues (9:09)
03. Cuein' The Blues (4:33)
04. Jive At Five (5:38)
05. Don't Worry 'bout Me (4:40)
06. More Than You Know (3:58)
07. J & B (5:48)
08. Main Stem (6:48)
09. Ho! (4:33)
10. Latino (6:08)
11. Tangerine (7:02)
12. Tipsy (5:19)

Joe Newman was a superb, exciting trumpeter whose style echoed the best of Harry Edison, Dizzy Gillespie, and Thad Jones, seasoned with his own flavoring. He was among a select corps who not only enjoyed playing, but communicated that joy and exuberance in every solo. He provided high-note and upper-register antics, but functioned best doing soft, enticing melodies or engaging in mildly combative jam sessions. He was also an accomplished player in the traditional New Orleans style. Newman began his professional career with Lionel Hampton in 1942 and 1943, joining him after touring with the Alabama State Teachers College band. Newman became a member of the Count Basie orchestra in 1943, remaining until 1947. He co-led groups with Illinois Jacquet and J.C. Heard, before returning to the Basie band for a great run from 1952 to 1961. During that time, there were periodic outside recording sessions. Newman did sessions for Savoy, Vanguard, and RCA in the '50s, most of them small-combo and tasteful, enjoyable outings. The 1956 album Salute to Satch was with a big band. The Happy Cats was a sextet date. There was a quintet session with Zoot Sims on Roulette and another Roulette recording with an 11-piece band. Newman toured Europe with the Basie band in 1954. During the early '60s, he continued recording and touring with Basie and making other sides on his own. These included sessions with Tommy Flanagan for Prestige and a quartet set for Stash. There was a 1962 Russian tour with Benny Goodman. Newman became involved with Jazz Interaction, an organization promoting awareness and jazz education in the early '60s, and soon became a tireless advocate. He assumed the organization's presidency in 1967. Newman also wrote compositions for their organization. He began playing with the New York Repertory Orchestra in 1974, and toured Europe and the Soviet Union with them in 1975. During the '70s, '80s, and '90s, Newman juggled educating, recording, and doing an infrequent reunion with the Basie orchestra. He made nice sessions with Ruby Braff and Jimmy Rowles in the '70s and Joe Wilder and Hank Jones in the '80s. ~ Ron Wynn

Track 1-6:
Joe Newman (tp) Frank Wess (ts, fl) Tommy Flanagan (p) Eddie Jones (b) Oliver Jackson (d) - Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 4, 1960
Track 7-12:
Oliver Nelson (saxophone); Joe Newman (trumpet); Hank Jones (piano); George Duvivier (bass); Charlie Persip (drums); Ray Barretto (congas) - Recorded at Van Gelder Studio, Englewood Cliffs, NJ; August 25, 1961

More Than You Know

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Two Generations - For You

Size: 120,8 MB
Time: 51:34
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Come Rain Or Come Shine (3:42)
02. Bye Bye Blackbird (4:39)
03. Some Other Time (2:30)
04. Short Talk (2:41)
05. For You (4:18)
06. Don't Get Around Much Anymore (3:33)
07. Better Than Anything (4:07)
08. Some Day (3:15)
09. Sugar (3:59)
10. Lover Come Back To Me (3:41)
11. Blame It On My Youth (2:26)
12. So Long Big Time (4:00)
13. Caravan (4:04)
14. They Call It Stormy Monday (4:33)

Hannah Svensson was born and raised in Falkenberg on Sweden’s west coast. Brought up in a stimulating musical environment with mainly jazz influences, she became interested in music early on. At the age of nine she started taking piano lessons and eventually guitar lessons as well.

Without any ambitions to be a singer, Seventeen-year-old Hannah heard Eva Cassidy singing for the first time and was touched to tears and her interest in singing took off. Hannah made her first singing performance at a cousin’s wedding one year later and there would be many more to come. Apparentley Hannah has been lucky under her upbringing. Her father Ewan Svensson is a renowed jazz guitarist and has been a great source of inspiration.

At the age of twenty-one Hannah began to sing in her own group “Hannah & Acoustic 3” in which her father also played guitar. One of the band members was very successful in booking engagements for the group, resulting in a busy touring schedule around Sweden. This gave Hannah good routine and provided the best school of experience for her.

After having lived in Stockholm and Gothenburg, Hannah has now made her home in Malmo, Sweden. During this time she has released two CDs and worked with, among others, Niels Lan Doky, Jan Lundgren, Alvin Queen, Svante Thuresson and many other prominent musicians.

Hannah creates her own unique sound through her spontaneous personality, powerful expression and clear phrasing thus conveying the lyrics to the audience in a clear and powerful way.

For You

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Marcus Anderson - And Coffee

Size: 107,5 MB
Time: 45:57
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. Espresso Shot (3:32)
02. Cappuccino Strut (4:14)
03. Cup Of Joe (3:31)
04. Coffee Cocktails (4:04)
05. And Coffee (4:58)
06. Vanilla Mocha (3:55)
07. Carmel Mocha (5:12)
08. Hazelnut (4:21)
09. 2 Cream, 3 Sugars (3:40)
10. Latte In The Rain (4:02)
11. Passion Blend (Bonus Track) (4:23)

This marks Anderson’s eighth album in ten years. When not on the road performing his own tunes to his loyal audiences around the world, he is on the road with Prince as part of his New Power Generation band. “Touring with Prince has been rewarding in so many different ways; I feel as if I’m in grad school, business classes, and etiquette school all wrapped into one. Thank you Paisley University!”

The song titles and moods of each song on the “AND Coffee” album correspond to the flavorful tastes, aromas and emotions that each of the various coffee flavors in ANDerson’s selections reflect, from mild to passionate and bold. The CD is available for sale with or without purchasing coffee, although audiences would be missing out on the full bodied, rich and tasty beverages that are synonymous with the moods and mastery reflected on the album.

Why coffee? ANDerson explains, “Coffee is a beverage enjoyed all over the world. People share the experience of drinking a cup of Joe with a stranger and begin to relate to one another. Mutual appreciation of music has the same kind of effect on people. I love being a part of products that bring us all together.” He continues, “And now you don’t have to shuffle through your music library to create the perfect coffee drinker’s playlist. With AND Coffee we have merged great music with great flavors.”

And Coffee

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Kim Nazarian - Some Morning

Size: 117,5 MB
Time: 50:07
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Robbin's Nest/Boneology (5:51)
02. Tell Him I Said Hello (5:58)
03. Gotta Be This Or That (3:30)
04. All In My Heart (5:07)
05. What'll I Do (5:06)
06. Still Life (3:59)
07. Some Morning (4:29)
08. So In Love (5:27)
09. If It's Magic (3:41)
10. Que Sera, Sera (2:39)
11. Road To Kursk (4:15)

Personnel:
Kim Nazarian - vocals
Jay Ashby - trombone (1, 5, 10, 11)
Gary Burton - vibes (7)
Paquito D’Rivera - clarinet (solo on 2)
John Pizzarelli - guitar (3)
Sean Jones - trumpet (1,11)
Roger Humphries - drums (1, 3, 10, 11)
Jamey Haddad - drums (2, 4, 5, 6, 7, 8, 9)
Peter Eldridge - vocals (7)
Mark Shilansky - piano (2, 4, 5, 7, 8, 9, 11)
Mark Soskin - piano (1, 3, 10)
Marty Ashby - guitar (2, 8)
Jiro Yoshida - guitar (4)
Dwayne Dolphin - bass (1, 3, 7, 9, 10, 11)
Leo Traversa - bass (2, 4, 5, 6, 8)
Greg Nazarian - sax (10)
Anna Nelson - ensemble clarinet (2)
Jesse McCandless - bass clarinet (2)
Alexa Still - flute (2)
Steve Hawk - trumpet (1,11)
Caitlin Merhtens - harp (8)
Ian Ashby - vocal (10)

Some Morning is the first solo release by Grammy-nominated Kim Nazarian. Well-known to jazz fans around the world as a founding member of New York Voices, Kim is one of the most accomplished vocalists on the scene today. This project highlights Kim’s talents not only as a singer, but also as a lyricist and an arranger.

Some Morning features some of the most well-known names in jazz, including her husband, Jay Ashby, the five-time Grammy Award-winning producer and trombonist. Special guests include Gary Burton, Paquito D’Rivera, John Pizzarelli, Sean Jones, Roger Humphriesand Jamey Haddad.

Some Morning

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Martin Sasse Trio & Steve Grossman - Take The 'D' Train

Size: 138,7 MB
Time: 59:45
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Angelica (6:19)
02. In A Sentimental Mood (7:39)
03. Like Someone In Love (6:51)
04. New Moon (5:52)
05. Nicolette (8:21)
06. Stable Mates (6:12)
07. Take The Coltrane (5:38)
08. Take The 'D' Train (7:11)
09. Wabash (5:38)

The Cologne pianist Martin Sasse has evolved over the last 15 years the leading German mainstream pianists, what his latest recordings impressively demonstrate. Whether as a sensitive accompanist of singers or brass, as head of the piano trio or pianist in other formations - Sasse guarantees swing, emotion and high Difficulty. The saxophonist Steve Grossman has repeatedly invited in recent years as a guest star Sasse. The Americans living in Europe became known in 1970 as the successor to Wayne Shorter in Miles Davis' band internationally. Despite a series of remarkable shots of his career due to illness raised never expire as his playing skills deserve it. All the more gratifying that the tenor saxophonist shows here in good shape. His masterful ballads game impressed Ellington's "In A Sentimental Mood" as well as his composition "Nicolette" said Sasse congenially zuspielt him the musical balls. Drummer Joost van Schaik drives Benny Golson's "stablemates" skillfully ahead a little faster than usual. Grossman celebrates the catchy melody before Sasse lifts to an inspired improvisation that merges successful in bassist Henning Gailings short solo. Grossman is one of Ellington's "Take the Coltrane" rapidly and are Sasse as a template for its immensely swinging solo before Grossman himself enters a rousing improvisation river. The CD swings with Cannonball Adderley's "Wabash" to the end, again with good solos by Grossman and Sasse.
"Rollin '" is a trio recording under the direction of native Hanoverian drummer Dennis Frehse, who now lives after several years of training in USA in Japan and operates currently in the band of the Japanese saxophone legend Sadao Watanabe. This picture was taken in Tokyo. Even in this environment shows Sasse his qualities as a swinger, about when he first called "Deggen McBobben" the picks elegant Bouncing Beat by bassist Kengo Nakamura. The soulful ballads player Sasse comes in "You Taught My Heart To Sing" to light, pleasantly low-key accompanied by Nakamura and Frehse, or even in Coltrane's "Naima". The personable old fashioned swinging "Rosetta" is at the end of this successful recording. ~online translation

Take The 'D' Train    

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Mariza - Mundo

Size: 113,5 MB
Time: 48:11
File: MP3 @ 320K/s
Released: 2015
Styles: Fado, World
Art: Front

01. Rio De Magoa (3:14)
02. Melhor De Mim (4:05)
03. Alma (3:10)
04. Saudade Solta (3:28)
05. Sem Ti (4:57)
06. Maldiçao (4:45)
07. Padoce De Ceu Azul (3:47)
08. Caprichosa (2:33)
09. Paixao (2:58)
10. Anda O Sol Na Minha Rua (2:24)
11. Adeus (2:52)
12. Missangas (3:36)
13. Sombra (3:49)
14. Meu Amor Pequenino (2:28)

Personnel:
José Manuel Neto - portuguese guitar
Pedro Jóia - acoustic guitar
Charlie Mendes - acoustic bass guitar
Alfonso Pérez - piano and keyboards
Israel Suárez 'Piraña' - drums and percussion
Joel Pina - acoustic bass guitar on “Maldição” and “Anda o Sol na Minha Rua”
Rui Veloso - piano on “Meu Amor Pequenino”
Javier Limón - guitarra flamenca em “Alma”
Carlos Leitão - viola em “Maldição” and “Anda o Sol na Minha Rua”

Produced by Grammy award winner Javier Limón, “Mundo” is her first new album in five years.

Once you have traveled all around the world, what's left to do, to discover?
14 years ago, a young singer released her debut album. Few would have ventured the journey she was then beginning would take her so far away from home for so long. Not even after that record, 2001's Fado em Mim, became a runaway success.

The journey encompassed all that followed. Four other albums (Fado Curvo, Transparente, Terra e Fado Tradicional), three live recordings (Live in London, Concerto em Lisboa e Terra em Concerto), atriumphant greatest hits album (Best Of), countless international tours and concerts in some of the most prestigious venues around the world, numerous global awards and decorations... And in so doing, Mariza's journey took her beyond her wildest dreams. You don't come home the same person you were when you left.

Or do you?

Mariza answers that question with the opening track on her new album: “Rio de Mágoa”, a classic Fado that sets in stone who Mariza is, where she came from. And once you know your roots, you can go on a journey –and it's that journey that is chronicled in this new album, her sixth studio recording and her first of entirely new material in five years.

The record is called “Mundo”. “World”. It's an appropriate title to describe all the world that fits inside it –a world that Mariza already had within herself, in her voice, but also the world whose doors opened to her as she traveled around it through the years.

Mariza is a Fado singer and she will never let go of, never forget, this music she heard from a young age. But Fado can be many things, as many as the singer wants it to be. And because Fado is always in Mariza's voice, it's always there even when it doesn't conform to its traditional image.

It's there in her voice, in the soul, in the passion she puts in every single track on this record, whether she is singing new material written by her producer, the Spaniard Javier Limón, or covering classics by the legendary Amália Rodrigues or the mythical Tango singer Carlos Gardel. Mariza's remarkable voice builds a bridge between many different kinds of music under the all-encompassing umbrella of Fado. Not yesterday's Fado, not a purist, traditionalist Fado; but a modern, contemporary Fado, open to the world, as befits a song that began as a sailor's lament.

Mariza's Fado is a different, adventurous Fado, that expands beyond the Portuguese borders in search of a new cosmopolitan identity. A new beginning, if you like, carried by a voice who always keeps her roots in her home country but knows that you need to learn and move on to soar higher, farther.

“Mundo” is a travelogue,a diary, a record of a journey, from Cape Verde to Spain, from Argentina to Portugal. All of it is present in Mariza's astonishing vocal and emotional range, a voice that shortens distances, folds time, makes the world smaller and brings it closer. Her voice, her songs, tell of “our” world, the world of music, of emotions, of Fado and all the styles swirling around it. But they also tell of her world–a world that has grown in the past five years, enriched by new landscapes, new places, new people, new influences. This is the world “Mundo” gives us.

It's Mariza's world. We're lucky to be living in it.

Mundo

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Zoot Sims - American Swinging In Paris

Bitrate: MP3@320K/s
Time: 33:47
Size: 77.3 MB
Styles: Bop, Saxophone jazz
Year: 2003
Art: Front

[5:00] 1. Captain Jetter
[7:20] 2. Nuzzolese Blues
[4:16] 3. Ev'rything I Love
[5:33] 4. On The Alamo
[3:19] 5. Evening In Paris
[3:22] 6. My Old Flame
[4:53] 7. Little Jon Special

Bass – Benoit Quersin; Drums – Charles Saudrais; Piano – Henri Renaud; Tenor Saxophone – Zoot Sims; Trumpet – Jon Eardley (tracks: 1 to 3, 5 to 7). Recorded in Paris, 15th & 16th March 1956.

Throughout his career, Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase. He always sounded inspired, and although his style did not change much after the early 1950s, Zoot's enthusiasm and creativity never wavered.

Zoot's family was involved in vaudeville, and he played drums and clarinet as a youth. His older brother, Ray Sims, developed into a fine trombonist who sounded like Bill Harris. At age 13, Sims switched permanently to the tenor, and his initial inspiration was Lester Young, although he soon developed his own cool-toned sound. Sims was a professional by the age of 15, landing his first important job with Bobby Sherwood's Orchestra, and he joined Benny Goodman's big band for the first time in 1943; he would be one of BG's favorite tenormen for the next 30 years. He recorded with Joe Bushkin in 1944, and even at that early stage, his style was largely set.

After a period in the Army, Sims was with Goodman from 1946-1947. He gained his initial fame as one of Woody Herman's "Four Brothers" during his time with the Second Herd (1947-1949). Zoot had brief stints with Buddy Rich's short-lived big band, Artie Shaw, Goodman (1950), Chubby Jackson, and Elliot Lawrence. He toured and recorded with Stan Kenton (1953) and Gerry Mulligan (1954-1956). Sims was also a star soloist with Mulligan's Concert Jazz Band of the early '60s and visited the Soviet Union with Benny Goodman in 1962. A freelancer throughout most of his career, Sims often led his own combos or co-led bands with his friend Al Cohn; the two tenors had very similar sounds and styles. Zoot started doubling on soprano quite effectively in the '70s. Through the years, he appeared in countless situations, and always seemed to come out ahead. Fortunately, Zoot Sims recorded frequently, leading sessions for Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, and a wonderful series for Pablo. ~bio by Scott Yanow

American Swinging In Paris

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Scott Robinson - Thinking Big

Bitrate: MP3@320K/s
Time: 62:05
Size: 142.1 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[7:50] 1. My Heart
[5:17] 2. Mood Indigo
[4:27] 3. Mandy, Make Up Your Mind
[5:03] 4. All Too Soon
[3:48] 5. Ko Ko
[3:17] 6. Chances Are
[5:48] 7. Sleepy Time Gal
[3:35] 8. Oh, Sister! Ain't That Hot!
[4:46] 9. It's Magic
[3:26] 10. Dreams Come True
[5:45] 11. Stompin' At The Savoy
[3:59] 12. On A Turquoise Cloud
[3:20] 13. Basso Profundo
[1:38] 14. Moonlight And Roses

Scott Robinson always thinks big. He has appeared in all types of jazz settings including the Dixieland scene, playing hard bop and in very adventurous big bands, and playing virtually every type of reed (and sometimes brass) instrument. The music on this CD is mostly comprised of vintage tunes from the '20s to the '40s. Robinson, who is joined by up to six other musicians (including trumpeter David Robinson, trombonist Dan Barrett, and guitarist Bucky Pizzarelli), sticks to reeds here: clarinet, bass clarinet, C-melody sax, soprano, alto, tenor, baritone, bass sax, contrabass sax, contrabass sarrusophone, and the very haunting Theremin. From the first cut, Lil Hardin's "My Heart" (recorded by Louis Armstrong's Hot Five) on which Robinson plays tenor a bit like Stan Getz, it is obvious that this is going to be an unusual but very musical date. Robinson uses the bizarre sounding Theremin on "Mood Indigo" and in place of Kay Davis' wordless voice on Duke Ellington's "On a Turquiose Cloud." He only plays the contrabass sarrusophone on "Mandy, Make Up Your Mind" (which in 1924 had the only other recorded sarrusophone solo) and his playing falls short of Sidney Bechet's maiden effort. No matter, his bass sax work (showcased on "Sleepy Time Gal," "It's Magic," and "Stompin' at the Savoy") is fluent but sounds like a toy compared to the mighty (and very rare) contrabass sax, which certainly makes its presence felt on Ellington's "Ko Ko" and "Basso Profundo"; the instrument is over six feet tall! This good-humored and swinging CD will certainly stick in one's memory. ~Scott Yanow

Thinking Big

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Dinah Washington - Sings The Standards

Bitrate: MP3@320K/s
Time: 52:23
Size: 119.9 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[2:08] 1. I Left My Heart In San Francisco
[2:04] 2. Baby Won't You Please Come Home
[2:17] 3. Call Me Irresponsible
[3:11] 4. For All We Know
[3:30] 5. The Man That Got Away
[2:26] 6. Fly Me To The Moon
[2:52] 7. Coquette
[2:15] 8. Do Nothin' Till You Hear From Me
[4:05] 9. There Must Be A Way
[2:38] 10. Let Me Be The First To Know
[2:31] 11. Destination Moon
[2:44] 12. You're Nobody 'til Somebody Loves You
[2:30] 13. Red Sails In The Sunset
[2:59] 14. Lover Man
[2:53] 15. I'll Be Around
[3:07] 16. Say It Isn't So
[2:04] 17. What Kind Of Fool Am I
[3:27] 18. These Foolish Things
[2:31] 19. Don't Say Nothing At All

Creating yet another series to justify reissuing material from its vaults, this Verve Jazz Masters entry raids albums Dinah Washington recorded for the Mercury label from 1952 through 1958. This is the second Dinah Washington compilation in this series. Although advertised as an album of standards, Washington avoids making these tunes come across as the romantic warhorses most of them are. Rather, her gospel-inspired voice conveys the song's message with a blues, funky tinge that always distinguished her from the rest of the crowd since she began her career at the age of 15. On these tracks, Washington is joined by the crème de la crème of jazz musicians who were part of the Mercury stable during these years. While some of the arrangements were not all that creative, Washington's inimitable style and the playing of her fellow musicians make up for any shortcomings. "I'll Remember April" is an 11-plus minute jam session spotlighting solos by Clifford Brown, Harold Land, Herb Geller, and Junior Mance (or Richie Powell). Washington swings hard on "They Didn't Believe Me" in front of a big band led by Quincy Jones and then goes sentimental on "You Go to My Head" before seguing into a second chorus behind a Latin beat. On the latter track Washington and the unknown group backing her is energized by the urging of a live audience. There's more Latin on "I've Got You Under My Skin" built around the trumpet trio of Clifford Brown, Clark Terry, and Maynard Ferguson. (The liner notes listing of personnel for this track are incorrect). While the album has several excellent instrumental solos, none is better than Rick Henderson's extended alto sax work on "Blue Skies." There's a relaxed traditional jazz atmosphere underlying "All of Me" with Washington chatting away in the background during solos by vibist Terry Gibbs and trombonist Urbie Green. Whatever style or beat, each tune is delivered by Washington's instantly recognizable penetrating but tender voice, buttressed by her consistently precise enunciation. This more than an hour long album is a worthy tribute to the one of a kind vocal skills of Dinah Washington. ~Dave Nathan

Sings The Standards

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Wynton Kelly - Don't You Feel

Bitrate: MP3@320K/s
Time: 76:43
Size: 175.6 MB
Styles: Piano jazz
Year: 2015
Art: Front

[5:31] 1. Don't Explain
[3:12] 2. Crazy He Calls Me
[5:45] 3. Chloe
[2:34] 4. Love, I've Found You
[5:07] 5. Park Avenue Petite
[6:28] 6. Softly, As In A Morning Sunrise
[4:06] 7. Sometimes I Feel Like A Motherless Child
[7:09] 8. Weird Lullaby
[4:02] 9. Too Marvelous For Words
[5:46] 10. Polka Dots And Moonbeams
[6:22] 11. Sounds For Sid
[3:25] 12. Moonlight In Vermont
[5:14] 13. Old Folks
[8:29] 14. Goodbye
[3:25] 15. Born To Be Blue

A superb accompanist loved by Miles Davis and Cannonball Adderley, Wynton Kelly was also a distinctive soloist who decades later would be a strong influence on Benny Green. He grew up in Brooklyn and early on played in R&B bands led by Eddie "Cleanhead" Vinson, Hal Singer, and Eddie "Lockjaw" Davis. Kelly, who recorded 14 titles for Blue Note in a trio (1951), worked with Dinah Washington, Dizzy Gillespie, and Lester Young during 1951-1952. After serving in the military, he made a strong impression with Washington (1955-1957), Charles Mingus (1956-1957), and the Dizzy Gillespie big band (1957), but he would be most famous for his stint with Miles Davis (1959-1963), recording such albums with Miles as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio. The group actually sounded at its best backing Wes Montgomery. Before his early death, Kelly recorded as a leader for Blue Note, Riverside, Vee-Jay, Verve, and Milestone. ~bio by Scott Yanow

Don't You Feel

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David Hazeltine - Good Hearted People

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 55:39
Size: 127,8 MB
Art: Front

(7:22)  1. Blueslike
(6:06)  2. Caliente Blues
(6:41)  3. Imagination
(6:58)  4. Demasiado Dulce
(7:12)  5. Good-Hearted People
(8:12)  6. Quiet Now
(6:37)  7. Cozytine
(6:28)  8. Barbados

Another solid Criss Cross date from David Hazeltine, this one featuring an unusual front line: Jim Snidero on alto sax and Steve Davis on trombone. (Straight-ahead groups more routinely feature trumpet and sax, with trombone as a possible third horn.) Bassist Nat Reeves and drummer Tony Reedus drive the rhythm; guitarist Jesse Van Ruller replaces the horns on a seductive rendition of Denny Zeitlin's "Quiet Now" and joins the full band for a closing romp on Charlie Parker's "Barbados." Steve Davis gets two writing spots with the deliciously relaxed "Cozytine" and the sun-bright, hard-swinging title track. Hazeltine's two creations are the grooving, mid-tempo "Blueslike" and the moody bossa "Demasiado Dulce." (Snidero plays flute on the latter.) ~ David R.Adler  http://www.allmusic.com/album/good-hearted-people-mw0000014383 

Personnel: David Hazeltine (piano); Jesse Van Ruller (guitar); Jim Snidero (flute, alto saxophone); Steve Davis (trombone); Tony Reedus (drums).

Good Hearted People

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Betty Carter - I Can't Help It

Styles: Jazz, Vocal

Year: 1960

File: MP3@224K/s

Time: 62:32

Size: 101,2 MB

Art: Front

(2:46)  1. I Can't Help It

(2:08)  2. By The Bend Of The River

(2:49)  3. Babe's Blues

(2:31)  4. You're Getting To Be A Habit W

(3:59)  5. But Beautiful

(2:15)  6. All I Got

(1:45)  7. You're Driving Me Crazy

(2:22)  8. Foul Play

(2:03)  9. On The Isle Of May

(4:31) 10. Make It Last

(1:31) 11. The BlueBird of Happiness

(3:37) 12. Something Wonderful

(2:19) 13. For You

(2:03) 14. What A Little Moonlight Can Do

(2:23) 15. Remember

(2:43) 16. At Sundown

(2:04) 17. Mean To Me

(2:23) 18. I Don't Want To Set The World

(1:55) 19. On The Alamo

(1:56) 20. Jazz (Ain't Nothin' But Soul)

(3:09) 21. There's No You

(3:22) 22. Stormy Weather

(2:48) 23. My Reverie

(3:01) 24. Don't Weep For The Lady

This single-CD reissues the second batch of Betty Carter recordings, her Peacock and ABC-Paramount dates which followed her Epic/Columbia titles by two years. Formerly available as a two-LP set (What a Little Moonlight Can Do), the 24 selections find the already-distinctive vocalist carving out her own sound from the bebop tradition; her more innovative work was in the future. Quite a few of the renditions are memorable including "I Can't Help It" (which is somewhat autobiographical), "You're Driving Me Crazy," "What a Little Moonlight Can Do," "Jazz (Ain't Nothin' but Soul)" and "Don't Weep for the Lady." While the second half of the CD has Carter accompnied by an orchestra arranged by Richard Wess, the first 12 numbers feature such top players as trumpeters Ray Copeland and Kenny Dorham, either Jerome Richardson or Benny Golson on tenor and pianist Wynton Kelly. Highly recommended. ~ Scott Yanow  http://www.allmusic.com/album/i-cant-help-it-mw0000081210

I Can't Help It

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Joe Williams - A Man Ain't Supposed To Cry

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 35:22
Size: 81,3 MB
Art: Front

(2:48)  1. What's New?
(3:15)  2. It's The Talk Of The Town
(3:04)  3. I'll Never Smile Again
(2:56)  4. I'm Through With Love
(2:52)  5. Where Are You?
(2:52)  6. I've Only Myself To Blame
(2:55)  7. Say It Isn't So
(2:41)  8. What Will I Tell My Heart?
(2:48)  9. You've Got Me Crying Again
(2:35) 10. Can't We Talk It Over?
(2:57) 11. I Laugh To Keep From Cryin'
(3:35) 12. A Man Ain't Supposed To Cry

When Joe Williams passed away in March of 1999 while walking home in Las Vegas, he of course was acknowledged as one of the greatest vocalists in jazz. Legions of jazz musicians enjoyed performing with him and admired the way he crafted a song, not to mention the way he knew how to add character to a big band with the sound of his voice. Nancy Wilson's respect overflowed when she interviewed him on Nancy Wilson's Jazz Profiles. A concert at the Hollywood Bowl after Williams' death attracted musicians from New York, as well as from the West Coast, so that they could honor his legacy. No male jazz singers seem to be on the horizon to even hint at recalling Williams' way of affecting an audience. But when Roulette recorded A Man Ain't Supposed To Cry , Williams' reputation was sealed for big band and blues singing, primarily because of his hit, "Every Day I Have The Blues." What A Man Ain't Supposed To Cry revealed, and what is now taken for granted, was that Williams was a supreme balladeer as well.

With lush string arrangements by Jimmy Mundy, known for his Earl Hines and Benny Goodman arrangements, Williams delivers songs like "Say It Isn't So" with an ease that proves his versatility and remarkable sense of connecting with his audience even an audience that was imagined in the recording studio during that October in 1957. Not that the arrangement detracts from Williams' talent, but he could be just as effective with a trio or in solo. His consistency throughout the CD positions him in the tradition of male romantic singers, like Sinatra, as his articulation and sense of phrasing conveys the meaning of each tune in an unmistakable clear baritone voice. For instance, he delivers a slight pause with the "gee" of "What's New" to communicate a sense of wistfulness. Or he lengthens the tones at the end of a phrase to extend its final thought. Williams' conversational style throughout this long-out-of-circulation, breakthrough CD gives evidence of his concentration upon the meaning of the tunes and how they affect the listener.

Reportedly, Nat Cole said that A Man Ain't Supposed To Cry was the best record he ever heard. With over 40 years of recorded singing accumulating since Williams' album was produced, that claim may be harder to make now because of all of the singers who have come and gone since then. But A Man Ain't Supposed To Cry certainly is one of the most important records by one of the greatest male jazz singers. It's essential to the collection of any Joe Williams enthusiast. ~ AAJ Staff  http://www.allaboutjazz.com/a-man-aint-supposed-to-cry-joe-williams-label-m-review-by-aaj-staff.php

Personnel: Joe Williams (vocals); Jimmy Jones (piano).Jimmy Mundy Orchestra

A Man Ain't Supposed To Cry

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