Randy Weston, Melba Liston - Volcano Blues

Bitrate: MP3@320K/s
Time: 53:15
Size: 121.9 MB
Styles: Piano jazz, Jazz-blues vocals
Year: 1993
Art: Front

[2:42] 1. Blue Mood
[6:01] 2. Chalabati Blues
[3:17] 3. Sad Beauty Blues
[2:31] 4. The Nafs
[2:23] 5. Volcano
[4:08] 6. Harvard Blues
[5:07] 7. In Memory Of
[3:45] 8. Blues For Strayhorn
[4:10] 9. Penny Packer Blues
[2:23] 10. J.K. Blues
[6:21] 11. Mystery Of Love
[7:15] 12. Kucheza Blues
[3:06] 13. Blues For Elma Lewis

Pianist Randy Weston and trombonist/arranger Melba Liston have collaborated successfully for many years. This pairing was on a series of blues numbers, with Weston doubling as session producer and pianist while giving Liston almost total arranging control, except for three numbers. The results were an intriguing twist on standard 12-bar blues, as Weston's muscular piano lead the way through rigorous performances of Count Basie's "Volcano" and his own "Blues For Strayhorn," "Sad Beauty Blues" and "In Memory Of." Liston's arrangements required disciplined solos, and Weston's steady hand generated impressive cohesion and interaction during the unison segments. A superb example of the African/African-American musical continuum. ~Ron Wynn

Volcano Blues

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Jackie McLean - 4, 5 And 6

Bitrate: MP3@320K/s
Time: 45:02
Size: 103.1 MB
Styles: Saxophone jazz
Year: 1956/2006
Art: Front

[ 9:55] 1. Sentimental Journey
[ 5:13] 2. Why Was I Born
[ 4:58] 3. Contour
[11:22] 4. Confirmation
[ 5:32] 5. When I Fall In Love
[ 7:59] 6. Abstraction

In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. 4, 5 and 6 presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track -- thus the title. Mal Waldron, himself an unconventional pianist willing to explore different sizings and shadings of progressive jazz, is a wonderful complement for McLean's notions, with bassist Doug Watkins and drummer Art Taylor the impervious team everyone wanted for his rhythm section at the time. The quartet versions of "Sentimental Journey," "Why Was I Born?," and "When I Fall in Love" range from totally bluesy, to hard bop ribald, to pensive and hopeful, respectively. These are three great examples of McLean attempting to make the tunes his own, adding a flattened, self-effaced, almost grainy-faced texture to the music without concern for the perfectness of the melody. Donald Byrd joins the fray on his easygoing bopper "Contour," where complex is made simple and enjoyable, while Hank Mobley puts his tenor sax to the test on the lone and lengthy sextet track, a rousing version of Charlie Parker's risk-laden "Confirmation." It's Waldron's haunting ballad "Abstraction," with Byrd and McLean's quick replies, faint and dour, that somewhat illuminates the darker side. As a stand-alone recording, 4, 5 and 6 does not break barriers, but does foreshadow the future of McLean as an innovative musician in an all-too-purist mainstream jazz world. ~Michael G. Nastos

4, 5 And 6

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Boston Pops Orchestra - Swing, Swing, Swing

Bitrate: MP3@320K/s
Time: 45:33
Size: 104.3 MB
Styles: Orchestral, Easy Listening
Year: 1985
Art: Front

[3:16] 1. Opus One
[3:16] 2. Begin The Beguine
[2:55] 3. Sunrise Serenade
[2:53] 4. Tuxedo Junction
[2:23] 5. Satin Doll
[3:28] 6. In The Mood
[3:59] 7. Sing, Sing, Sing
[2:38] 8. Stompin' At The Savoy
[3:46] 9. Moonlight Serenade
[3:09] 10. String Of Pearls
[2:44] 11. Sleepy Lagoon
[3:27] 12. Song Of India
[3:11] 13. Snowfall
[4:21] 14. Swing, Swing, Swing

Banker Henry Lee Higginson established Boston's first full-time resident orchestra. An unprecedented one-million-dollar grant endowed the Boston Symphony Orchestra, which, since its debut on October 22, 1881, has established itself as one of the great orchestras of the world.

In order to give orchestra members summer employment, and to recapture the ambience of the Bilse Orchestra's beer-hall concerts in Berlin where Higginson had been a music student, Higginson established a second BSO season in the spring, played by a reduced orchestra initially called the Music Hall Promenade Orchestra. The "Pops," as it became known informally and later officially, was also an audience hit. The Boston Pops remains, essentially, the Boston Symphony Orchestra minus its first chair players. ~Joseph Stevenson

Swing, Swing, Swing

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Bill Evans - Blue In Green

Bitrate: MP3@320K/s
Time: 52:52
Size: 121.1 MB
Styles: Modal music, Jazz piano
Year: 1974/1991
Art: Front

[6:25] 1. One For Helen
[7:17] 2. The Two Lonely People
[4:48] 3. What Are You Doing The Rest Of Your Life
[7:01] 4. So What
[5:42] 5. Very Early
[4:00] 6. If You Could See Me Now
[7:43] 7. 34 Skidoo
[3:54] 8. Blue In Green
[5:58] 9. T. (Twelve Tone Tune)

This CD reissue contains a Canadian concert by the Bill Evans Trio. Pianist Evans, bassist Eddie Gomez and drummer Marty Morell had been playing regularly together since 1969 (Gomez had joined the group back in 1966). The tight and almost telepathic musical communication between the musicians, the strong repertoire (six Evans originals, a pair of ballads and "So What") and the appreciative audience make this a fairly definitive recording by this classic unit. ~Scott Yanow

Blue In Green

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Donald Harrison & Terence Blanchard - Black Pearl

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 53:08
Size: 121,8 MB
Art: Front

( 2:59)  1. Selim Sivad
( 7:34)  2. Black Pearl
(10:44)  3. Ninth Ward Strut
( 5:40)  4. Infinite Heart
( 6:20)  5. The Center Piece
( 6:15)  6. Somewhere
( 4:14)  7. Dizzy Gillespie's Hands
( 4:08)  8. Toni
( 5:11)  9. Birth of the Abstract

The fifth and final recording by the Terence Blanchard-Donald Harrison Quintet uses the same notable rhythm section that was on their previous Crystal Stair release: pianist Cyrus Chestnut, bassist Reginald Veal, and drummer Carl Allen. In addition, two songs add vibraphonist Monte Croft and percussionist Steve Thornton while guitarist Mark Whitfield sits in on "Infinite Heart." With the exception of Leonard Bernstein's "Somewhere," the repertoire is split between compositions by the co-leaders. 

Harrison (who contributed tributes to two notable trumpeters, "Selim Sivad" and "Dizzy Gillespie's Hands") was heard at his best during his period with this group. All five of the Quintet's releases (two for the George Wein Collection on Concord and three for Columbia) are worth picking up for this was one of the most stimulating acoustic jazz groups of the mid- to late '80s. ~ Scott Yanow  http://www.allmusic.com/album/black-pearl-mw0000652086

Personnel: Alto Saxophone, Soprano Saxophone, Saxophone – Donald Harrison;  Bass – Reginald Veal;  Drums – Carl Allen;  Guitar – Mark Whitfield;  Percussion – Steve Thornton;  Piano – Cyrus Chestnut Trumpet – Terence Blanchard;  Vibraphone – Monte Croft

Black Pearl

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Slide Hampton - Jazz With A Twist/Explosion

Styles: Bop, Big Band
Year: 1962
File: MP3@320K/s
Time: 65:05
Size: 149,5 MB
Art: Front

(2:34)  1. The Jazz Twist
(3:04)  2. Mack The Knife
(2:10)  3. Gorgeous George
(3:58)  4. Strollin'
(6:40)  5. The Barbarians
(2:58)  6. Work Song
(2:54)  7. Slide Slid
(4:37)  8. Day In Day Out
(6:17)  9. Red Top
(2:25) 10. Revival
(2:23) 11. Maria
(3:59) 12. Delilah
(2:33) 13. Begin The Beguine
(3:01) 14. Your Cheatin' Heart
(3:33) 15. Spanish Flier
(2:58) 16. Bye Bye Love
(3:29) 17. Love Letters
(5:25) 18. Slide's Blues

A few years ago a “new swing revival” burst onto the music scene, bolstered by newcomers like the Brian Setzer Orchestra, Big Bad Voodoo Daddy, and the Royal Crown Revue, among others. Suddenly techno clubs featured swing nights, as albums by these artists appeared at the top of the charts. Although the new swing craze has passed as we all knew it would, one positive fallout was that many older stalwarts, like Louis Prima and Louis Jordan, received posthumous exposure as a result. 

Another swing artist deserving of wider exposure is Slide Hampton, who has recently been given the reissue treatment by Collectables Records with a two-fer CD overflowing with enthusiasm and swing. Hampton, a gifted trombonist and arranger who previously spent time with both Lionel Hampton and Maynard Ferguson, keeps things lively on both sessions with punchy horn arrangements and lively tempos that make the relatively small orchestra of ten sound like twenty. All of the selections here are real toe-tappers, propelled with a ferocious snap by Vinnie Ruggiero on drums and either Ray Barretto or Willie Bobo on congas. 

The addition of congas adds an additional “junglish” sound to every track, in particular the Hampton original “The Barbarians”. All soloists are in fine form throughout, especially Hampton and Jay Cameron; only a few soloists are permitted on each track, which leaves room for everyone to stretch out for a few choruses. Those in the know will recognize veteran players like George Coleman and Horace Parlan among the mix. As far as the sessions themselves are concerned, Jazz With a Twist is a relatively straightforward set, whereas Explosion! is a bit more adventurous, including country and western tunes, Arabian stylings on “Delilah”, and an upbeat arrangement of “Bye Bye Love” among the more traditional tunes. Although still a good session, the eclectic nature of the tunes on the latter recording detracts from the overall enjoyment. However, the seven originals included on both prove that Hampton can compose tunes that can stand alongside any big band chart currently in circulation.

While not likely to launch another swing revival, this CD is a welcome reissue to an artist deserving of more attention. The last swing craze was fueled by the sheer joy and enthusiasm that good big band music can inspire; Hampton’s recordings are no exception. If Brian Setzer ever needs some inspiration, he would be wise to check out these recordings. ~ David Rickert  http://www.allaboutjazz.com/jazz-with-a-twist-explosion-the-sound-of-slide-hampton-slide-hampton-collectables-review-by-david-rickert.php

Personnel: on "Jazz With a Twist":Slide Hampton and Benny Jacobs-El, trombones; Willy Thomas and Hobrt Johnson, trumpets; George Coleman, tenor sax; Jay Cameron, baritone sax; Horace Parlan, piano; Eddie Khan, bass; Ray Barreto, congas; Vinnie Ruggiero, drums. On "Explosion!" Slide Hampton and Benjamin Jacobs-El, trombones; John Bello, Chad Ferreti, and Jerry Tyree, trumpets; Joe Farrell, tenor sax; Jay Cameron, baritone sax; Horace Parlan, piano; Bob Cranshaw, bass; Vinnie Ruggiero, drums; Willie Bobo, congas.

Jazz With A Twist/Explosion

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Barbara Fasano - Busy Being Free

Styles: Jazz, Vocal
Year: 2015
File: MP3@320K/s
Time: 56:47
Size: 130,8 MB
Art: Front

(5:01)  1. How Little We Know
(5:12)  2. Cactus Tree
(3:58)  3. Remind Me
(2:59)  4. Dancing in the Dark
(4:03)  5. If I Loved You
(3:45)  6. It Never Was You
(3:17)  7. Roundabout
(5:20)  8. The Surrey with the Fringe on Top
(3:45)  9. Time Flies
(3:38) 10. I Got Lost in His Arms
(3:30) 11. Hurry on Down
(4:10) 12. But Beautiful
(4:38) 13. Photographs
(3:25) 14. Where or When

Barbara Fasano, whose fourth CD, “Busy Being Free" drops November 2015, has been hailed as one of the nation’s most stunning and soulful singers. Frank Scheck of The New York Post raves, "Fasano is a gorgeous, soulful singer who has an actor’s intensity in whatever she sings." Whether singing a song by Joni Mitchell or Harold Arlen or Cole Porter, Fasano takes her audience on a spellbinding, emotional musical journey. Her performances and recordings have won her three Backstage Bistro awards, three MAC awards and a New York Nightlife award. Fasano is a regular performer at New York’s most prestigious clubs. Together with her frequent musical partner, Eric Comstock, she was among the last singers to headline at the Algonquin’s legendary Oak Room supper club, with their show “HELLUVA TOWN: A New York Soundtrack”, which enjoyed an acclaimed and sold-out run and has toured the country. The New York Times’ Stephen Holden called it “exhilarating”, singling out Fasano as a “lyrically sensitive interpreter” and comparing her to one of her idols, Lena Horne. “Mr. Comstock and Ms. Fasano are turning the neighborhood into a hotbed of pleasure.”  

Fasano’s voice reaches deep into the soul of humanity. “She illuminates with torchlight,” according to David Finkle of The Huffington Post. “The slim, raven-haired Fasano continually allows feelings to simmer and crackle, singing Cole Porter's ‘In the Still of the Night’ as well or better than anyone has ever sung it.”   Rex Reed of The New York Observer notes, "She gives off palpable electricity", and NEXT’s David Hurst declares, “Fasano is nothing short of a revelation, with the poise and jazz chops to go with her beauty to create a formidable singer.” Theatermania’s Brian Scott Lipton simply states, “Fasano, who sounds better than ever, once again proves herself to be a remarkably expressive singer.” 

Wall Street Journal jazz critic Will Friedwald calls Barbara “a charismatic stylist who effectively channels the spirits of the great über-divas Lena Horne and Barbra Streisand” in his new book The Biographical Guide to the Great Jazz and Pop Singer. On her CD, “Written In The Stars”, a Harold Arlen collection, she surrounds herself with an A-list jazz ensemble, including John di Martino on piano. The CD has garnered praise in publications as diverse as JazzTimes and Playbill, and receives radio play around the world. The New Republic’s David Hajdu raves, “With this record, Barbara Fasano proves that she is not just a great Italian crooner, an heir to Sinatra for our time, but a jazz singer of the first rank.” Barbara’s previous CD, “The Girls of Summer”, is an eclectic mix ranging from Springsteen to Sondheim, and based on her one-woman show of the same title. Both of these CDs were named Record of the Year by the Manhattan Association of Cabarets and Back Stage Bistro awards, and her work as a live performer has twice earned her awards for Female Vocalist of the Year.

Barbara is a native New Yorker, who grew up in a spirited Italian Catholic household – excellent preparation for a life in show business! From her early childhood, music and stories were a way of life. Her mother made the Sunday lasagna while listening to Italian American singers like Jerry Vale on the radio. Her father listened to Louis Armstrong, Ella Fitzgerald and Bing Crosby and sang along in a joyful baritone, teaching Barbara many of his favorite songs. From the early Streisand albums, she learned the music of her favorite composer, Harold Arlen, and learned to play the guitar, memorizing recordings by Paul Simon, Joni Mitchell and other singer-songwriters. Combine all this with her grandparents’ stories of Neapolitan singers and vaudeville and you see how her musical identity was forged. Within her eclectic choices, what remains consistent is her ability to invest a lyric with deep emotional truth, creating virtual one-act plays out of each song.

She earned a degree in theatre, has worked as an actress across the country, and is the recipient of Hofstra University's Estabrook Alumni Achievement Award. Barbara's work as a teacher in New York and around the country includes private coaching, workshops and master classes in the art of performance and song interpretation. Together with Eric Comstock, their workshop, SING THE TRUTH, has enriched the lives and music of hundreds of vocalists. They have an ongoing relationship with the Musical Theater department at University of Michigan, and have recently taught a course in The Great American Songbook at the Neighborhood Playhouse School of the Theatre. She has also worked with the Michael Feinstein Songbook Initiative in Los Angeles, coaching and judging gifted high school students.

Barbara’s many New York headline engagement include concert appearances at Carnegie Hall, Lincoln Center’s American Songbook at the Appel Room, Rose Hall, Dizzy’s Club Coca-Cola, New York Festival of Song, Town Hall and New York’s 92nd Street Y’s Lyrics and Lyricists series. Starring engagements in cabaret and nightclubs include Birdland, The Algonquin, Feinstein’s, The Carlyle,  Iridium, 54 Below, Café Sabarsky, the Colony in Palm Beach, and the Palace in Stamford, CT. Arts centers and music festivals across the country include Caramoor, Arizona Jazz Festival, Jersey Jazz, Kanbar Center, Cooperstown Music Festival, Sheldon Concert Hall and Jazz at The Bistro in St. Louis, Prince Music Theatre, and Kerrytown Concert House. Barbara recently made her London debut at Brasserie Zédel in Piccadilly. In the words of revered jazz critic Ira Gitler, she “has it all, and then some … artistic, swinging, and superbly entertaining.” http://barbarafasano.com/bio.html

Busy Being Free

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Christian McBride Trio - Live At The Village Vanguard

Styles: Neo bop
Year: 2015
File: MP3@320K/s
Time: 68:26
Size: 157,5 MB
Art: Front

( 9:13)  1. Fried Pies
( 2:38)  2. Band Introduction
( 7:14)  3. Interlude
( 9:06)  4. Sand Dune
( 6:56)  5. The Lady in My Life
( 8:41)  6. Cherokee
(10:19)  7. Good Morning Heartache
( 7:01)  8. Down by the Riverside
( 7:14)  9. Car Wash

Recorded over three consecutive nights in December of 2014, Live at the Village Vanguard showcases bassist Christian McBride and his trio in concert at the storied New York venue. A four-time Grammy winner, McBride has been a superstar in the jazz world since debuting as a teenager in the late '80s. Here, McBride is joined by his trio bandmates, pianist Christian Sands and drummer Ulysses Owens, Jr. This is the same outfit that recorded the swinging, sophisticated 2013 studio album Out Here. As with that release, Live at the Village Vanguard finds McBride diving headlong into a set of swaggering, lively standards, originals, and unexpected covers, including a take on the theme to the cult '70s comedy film Car Wash. https://itunes.apple.com/us/album/live-at-the-village-vanguard/id1022494050

Live At The Village Vanguard

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