Clifford Brown - Jazz Immortal

Bitrate: MP3@320K/s
Time: 32:19
Size: 74.0 MB
Styles: Bop, Trumpet jazz
Year: 1954/1990/2011
Art: Front

[4:09] 1. Daahoud
[3:48] 2. Finders Keepers
[3:13] 3. Joy Spring
[3:37] 4. Gone With The Wind
[4:12] 5. Bones For Jones
[3:13] 6. Blueberry Hill
[4:12] 7. Tiny Capers
[2:56] 8. Tiny Capers
[2:55] 9. Gone With The Wind

Baritone Saxophone – Bob Gordon; Bass – Carson Smith (tracks: 4 to 8), Joe Mondragon (tracks: 1 to 3); Drums – Shelly Manne; Piano – Russ Freeman; Tenor Saxophone – Zoot Sims; Trumpet – Clifford Brown; Valve Trombone – Stu Williamson. Recorded at Capitol Recording Studios, Los Angeles in July (#1-3) and August (#4-8) 1954. #8 does not appear on LP configuration and was originally issued on Pacific Jazz (JWC 500). #1-7 were originally issued on 10" LP - PJ19 and later 12" LP - PJ3.

Clifford Brown recorded this album in 1954 in California with a great band, including Zoot Sims on Tenor Sax and Russ Freeman on Piano. Clifford Brown was a masterful trumpet player at a very young age and soon achieved a high stature in the jazz world in the early 50's. He played with Charlie Parker and Tadd Dameron, as well as leading his own bands. I think this recording is one of his best, with original songs and arrangements done by Jack Montrose. Clifford Brown's alternatively sweet, tough and complex trumpet playing integrates wonderfully with Zoot Sims saxophone. The song 'Tiny Capers' is a brilliant excursion in jazz improvisation and playfulness, while retaining a beautiful melody. ~Jostein Berntsen

Jazz Immortal

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Al Cohn - You Will Know My Name

Bitrate: MP3@320K/s
Time: 77:33
Size: 177.5 MB
Styles: Saxophone jazz
Year: 2015
Art: Front

[3:52] 1. A New Moan
[4:16] 2. Just One Of Those Things
[6:10] 3. The Front Line
[3:14] 4. My Blues
[3:25] 5. I Ain't Got Nobody
[9:19] 6. Earthy
[3:22] 7. When Your Lover Has Gone
[3:30] 8. Mediolistic
[6:12] 9. I Wouldn't
[3:18] 10. 'round Midnight
[3:05] 11. More Bread
[6:27] 12. Soft Winds
[2:43] 13. The Song Is Ended
[3:09] 14. Crimea River
[4:09] 15. Plain Bill From Bluesville
[7:07] 16. What's Not
[4:06] 17. Blue Lou

An excellent tenor saxophonist and a superior arranger/composer, Al Cohn was greatly admired by his fellow musicians. Early gigs included associations with Joe Marsala (1943), Georgie Auld, Boyd Raeburn (1946), Alvino Rey, and Buddy Rich (1947). But it was when he replaced Herbie Steward as one of the "Four Brothers" with Woody Herman's Second Herd (1948-1949) that Cohn began to make a strong impression. He was actually overshadowed by Stan Getz and Zoot Sims during this period but, unlike the other two tenors, he also contributed arrangements, including "The Goof and I." He was with Artie Shaw's short-lived bop orchestra (1949), and then spent the 1950s quite busy as a recording artist (making his first dates as a leader in 1950), arranger for both jazz and non-jazz settings, and a performer. Starting in 1956, and continuing on an irregular basis for decades, Cohn co-led a quintet with Zoot Sims. The two tenors were so complementary that it was often difficult to tell them apart. Al Cohn continued in this fashion in the 1960s (although playing less), in the 1970s he recorded many gems for Xanadu, and during his last few years, when his tone became darker and more distinctive, Cohn largely gave up writing to concentrate on playing. He made many excellent bop-based records throughout his career for such labels as Prestige, Victor, Xanadu, and Concord; his son Joe Cohn is a talented cool-toned guitarist. ~ Scott Yanow

You Will Know My Name

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Maria Mendes - Along The Road

Bitrate: MP3@320K/s
Time: 46:04
Size: 105.5 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[5:29] 1. Love Dance
[4:20] 2. Obsession
[4:38] 3. Saia Preta
[4:05] 4. Come Rain Or Come Shine
[6:21] 5. Olha Só No Meu Olhar
[3:25] 6. Somewhere Over The Rainbow
[6:19] 7. So Many Stars
[3:18] 8. Chorinho Pra Ele
[4:04] 9. Verão
[4:00] 10. Começar De Novo

Maria Mendes: vocals; Wim Dijkgraaf: harmonica; Karel Boehlee: piano; Clemens van der Feen: acoustic bass; Jasper van Hulten: drums.

Virtuosity needn't be on display at every moment; restraint, in fact, is an important yet often overlooked aspect of true virtuosity. Norma Winstone is a clear example; certainly capable of plenty, more often than not the British singer's performances are defined by nuance, subtlety and a direct line to the heart of the music. Maria Mendes is another, with the spirit of Brazil looming large over this young Portuguese-born/Netherlands-resident singer's impressive debut, Along the Road—a nine-song set of standards, material by well-known South American composers, one original and one very pleasant surprise.

With harmonicist Wim Dijkgraaf sharing the frontline, Mendes is ably supported by a trio of Dutch musicians clearly conversant in both jazz and Brazilian traditions. The set opens on a gently optimistic note with Brazilian songwriter Ivan Lins' enticing 1989 hit, "Love Dance." From the get-go, Mendes finds the essence of these songs and, with a pristine, pure voice and the slightest turns of phrase, makes each one her own. "Love Dance" also features a lovely, lyrical solo from Dijkgraaf; unmistakably influenced, in his formative years, by the great Toots Thielemans, with Dijkgraaf's now-personal confluence of "elegance, sophistication and emotion," as accurately described on his website, the harmonicist may well turn out to be the aging Belgian's torch-carrier.

The session doesn't exactly burn, but it does simmer on Dori Caymmi's "Obsession," a showcase for Mendes' accurate (and impressive) articulation, empathically supported by pianist Karel Boehlee, who—alongside bassist Clemens van der Feen (pianist Harmen Fraanje's trio) and drummer Jasper van Hulten (trumpeter Eric Vloeimans' Gatecrash)—ratchets the energy up, pushing and pulling with Dijkgraaaf during the harmonicist's thematically focused solo. Mendes' wordless improvisation at the song's end epitomizes her effortless control, leading to a final upper register note that she holds, crystal clear and strong, for ten full seconds before fading with a gently introduced vibrato.

Unlike some singers, Mendes' vibrato is simply one more color on her palette rather than a stylistic constant. And if she avoids overt virtuosity at the end of "Obsession," Mendes proves she can scat with the best of them on Hermeto Pascoal's enduring "Chorinho Pra Ele," which also gives bassist van der Feen a rare but fine moment in the spotlight. As for Mendes, her articulation is rapid-fire and absolute accurate, as she proves as capable of navigating Pascoal's changes as her band mates.

But beyond a soft look at "Come Rain or Come Shine" and a metrically playful yet wholly organic look at "Somewhere Over the Rainbow," it's Mendes' "Olha Só No Meu Olhar" that's Along the Road's biggest surprise. On this reverent yet personal adaptation of Pat Metheny's "Always and Forever," from the guitarist's classic Secret Story (Nonesuch, 1992), the singer takes the more expansively orchestral original and, with the addition of her own Portuguese lyrics, makes it even more intimate.

All too often, young jazz singers feel the need to prove something and all the attendant excesses that go along with it; on the elegant, gentle, joyous Along the Road, Mendes makes clear she has absolutely nothing to prove but plenty of promise and much to say. ~John Kelway

Along The Road

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Benny Golson - Just Jazz!

Bitrate: MP3@320K/s
Time: 37:09
Size: 85.1 MB
Styles: Hard bop, Saxophone jazz
Year: 2010
Art: Front

[3:13] 1. Groovin' High
[4:13] 2. Moten Swing
[4:05] 3. Out Of Nowhere
[4:36] 4. Autumn Leaves
[2:29] 5. Donna Lee
[3:50] 6. Quicksilver
[4:14] 7. Stella By Starlight
[3:41] 8. Ornithology
[2:58] 9. If I Should Lose You
[3:47] 10. Walkin'

Many jazz fans have probably searched for this long out of print (except for a lousy bootleg CD reissued by Fresh Sound) record by Benny Golson because of the promising list of musicians present: Bill Evans, Wayne Shorter, Eric Dolphy, Freddie Hubbard, and Curtis Fuller, among others. But the disappointing fact is that these sessions have a rather tortured history. Initially after these small-group sessions were taped (not all of the musicians are on every track), an 11-piece pop orchestra was dubbed over the original recordings, playing the chord changes of the pieces on which each of the jazz compositions was based. This LP, Pop + Jazz = Swing on the Audiofidelity label, was evidently a total flop. Some time following Eric Dolphy's death in 1964, the original masters, minus the overdubbed pop orchestra, were released as Just Jazz! There are still several problems with this later issue. Golson's arrangements are rather conservative and stiff, with the rhythm section proving to be rather stifled; neither are many of the individual solos very risk-taking. Only Dolphy's alto sax solo on "If I Should Lose You" has stood the test of time very well. Another major annoyance is that the horns frequently seem to have too much reverb added, making it sound as if they were recorded out in a hall away from the rhythm section and then mixed in later. The lack of attention to the packaging of the album includes a very boring front cover, misspelled names of musicians, an incorrect or incomplete list of composers, and, finally, "Groovin' High" and "Quicksilver" have their titles swapped. Collectors will, no doubt, still seek out this LP in spite of its flaws, but at least they have been forewarned before paying a premium price for it. ~Ken Dryden

Just Jazz!

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Dick Hyman & Niels-Henning Orsted Pedersen - Elegies, Mostly

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 62:36
Size: 146,0 MB
Art: Front

(8:54)  1. Cover The Waterfront
(6:18)  2. You Must Believe In Spring
(6:22)  3. Waltz In C# Minor
(7:02)  4. Summertime
(4:26)  5. Take, O Take Those Lips Away
(8:53)  6. Love Me Or Leave Me
(5:51)  7. Some Other Time
(5:24)  8. This is All I Ask Of You
(5:38)  9. My Man's Gone Now
(3:43) 10. We're In The Money

With the phenomenal technique of both Dick Hyman and Niels Pedersen, it's surprising to hear them together in such a low key setting; that doesn't mean that this CD is dull! Hyman was clearly in a reflective mood following his appearance at the Oslo Jazz Festival, though he shows a touch of playfulness during his arrangement of Chopin's "Waltz in C# Minor" and romping take of "Summertime." Pedersen, a veteran who's accompanied many jazz greats (especially Oscar Peterson and Bill Evans), fits Hyman like a glove with his equally impeccable playing. Because it's an import, it takes a little more effort to acquire, but it's worth it. ~ Ken Dryden  http://www.allmusic.com/album/elegies-mostly-with-niels-pedersen-mw0000423662

Personnel:  Dick Hyman (Piano);  Niels-Henning Orsted Pedersen (Double-Bass)

Elegies, Mostly

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Carol Sloane - Heart's Desire

Styles: Jazz, Vocal
Year: 1992
File: MP3@320K/s
Time: 53:16
Size: 122,4 MB
Art: Front

(3:17)  1. Secret Love
(3:56)  2. Memories Of You
(4:39)  3. Heart's Desire
(5:08)  4. September In The Rain
(3:46)  5. Devil May Care
(5:20)  6. You Must Believe In Spring
(3:19)  7. Them There Eyes
(4:43)  8. Never Never Land / My Ship
(3:10)  9. He Loves And She Loves
(4:26) 10. Fairy Tales
(4:00) 11. Robbins Nest
(5:54) 12. You'll See
(1:33) 13. For Susannah Kyle

Singer Carol Sloane's debut for Concord features her swinging and putting the proper amount of emotion into lyrics of both familiar and obscure songs. Accompanied by pianist Stefan Scaggiari, bassist John Lockwood and drummer Colin Bailey, Sloane is heard in fine form on a program ranging from "Secret Love" and "Them There Eyes" to Dave Frishberg's "Heart's Desire" and a pair of songs co-written by Chan Parker. ~ Scott Yanow  http://www.allmusic.com/album/hearts-desire-mw0000076093

Personnel: Carol Sloane (vocals); Stefan Scaggiari (piano); John Lockwood (bass instrument); Colin Bailey (drums).

Heart's Desire

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Doc Severinsen - Unforgettably Doc

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 66:56
Size: 153,7 MB
Art: Front

(4:16)  1. Unforgettable
(5:29)  2. Georgia on My Mind
(5:13)  3. Love
(6:49)  4. Lush Life
(4:49)  5. Misty
(5:14)  6. What Is This Thing Called Love?
(4:44)  7. Someone to Watch over Me
(5:22)  8. Music of the Night (from 'Phantom of the Opera')
(5:15)  9. The Bad and the Beautiful
(4:31) 10. Stardust
(4:43) 11. Speak Low
(4:59) 12. Wind Beneath My Wings
(5:26) 13. Memory (from 'Cats')

Heeeeere’s Johnny!” That lead-in, followed by a big band trumpet blast, was the landmark of late night television for three decades. The ‘Johnny’ was Johnny Carson, the announcer was Ed McMahon and the bandleader was Doc Severinsen. Beginning in October 1962, The Tonight Show with Johnny Carson ruled the night air for thirty years. On May 22, 1992, it came to an end…Within a week of the final telecast, Doc Severinsen and His Big Band were on the road, and to this day, audiences across America love and respect Doc and his big band, not just because he shared their living room with them for so many years, but because of Doc’s love of the Big Band repertoire.  His musicianship keeps this iconic American music fresh to this day. Their repertoire includes Ellington and Basie standards, pop, jazz, ballads, big band classics and, of course, The Tonight Show theme.  Severinsen can still blow hard with his horn, and hit the high notes, a result of his continued commitment to the practice studio and the refinement of his craft. But as a band leader, Doc continues to surround himself with the best in the business, and he’s only too happy to give them a turn in the spotlight. A Grammy award winner, Doc has made more than 30 albums–from big band to jazz-fusion to classical. Two critically acclaimed Telarc CDs with the Cincinnati Pops Orchestra showcase his multifaceted talents from Bach to ballads.  The Very Best of Doc Severinsen reprises fifteen of Doc’s signature pieces. His other recordings include Unforgettably Doc with the Cincinnati Pops on Telarc, and the Grammy nominated Once More With Feeling on Amherst. He received a Grammy Award for “Best Jazz instrumental Performance – Big Band” for his recording of Doc Severinsen and The Tonight Show Band-Volume I.

In 2006, Doc moved to San Miguel de Allende, in Mexico, ostensibly to retire from performance. Within weeks, he was jamming with the magnificent guitarist Gil Gutierrez.  He now tours regularly with Gil in a quintet called The San Miguel Five, performing a mix of Latin and Gypsy jazz and standards, to exceptional acclaim. They just released their most current CD, Oblivion, in January 2014. Severinsen’s accomplishments began in his hometown of Arlington, Oregon, population: 600. Carl H Severinsen was born on July 7th, 1927, and was nicknamed “Little Doc” after his father, Dr. Carl Severinsen a dentist. Little Doc had originally wanted to play the trombone. But Doc Sr., a gifted amateur violinist, urged him to follow in his father’s footsteps. The Doc Jr. insisted on the trombone, which turned out to be unavailable in tiny Arlington’s music store.  And so, a trumpet it would be. A week later, with the help of his father and a manual of instructions, the seven-year-old was so good that he was invited to join the high school band. At the age of twelve, Little Doc won the Music Educator’s National Contest and, while still in high school, was hired to go on the road with the famous Ted Fio Rito Orchestra.  However, his stay with the group was cut short by the draft. He served in the Army during World War II and following his discharge, landed a spot with the Charlie Barnett Band. When this band broke up, Severinsen toured with the Tommy Dorsey, then, the Benny Goodman bands in the late 40's.

After his days with Barnett and Dorsey, Doc arrived in New York City in 1949 to become a staff musician for NBC. After years of playing with NBC’s many studio bands, Doc was invited to play a gig in the highly respected Tonight Show Band.  The band leader at the time, Skitch Henderson, asked him to join that band in 1962 in the first trumpet chair. Five years later, Doc became the Music Director for The Tonight Show and the rest is history.  His loyalty to Johnny Carson and Ed McMahon never faltered, and the warm camaraderie between the three was an enormous part of the show’s success.  When Johnny decided to retire from The Tonight Show, Doc and Ed said their goodbyes as well.  Of course, free from the nightly grind of the TV studio, Doc Severinsen had far more time to expand his musical horizons and continues to keep an extensive touring schedule. In addition to his San Miguel 5 appearances, Doc tours regularly with his own Big Band and continues to perform with symphony orchestras all over the country.  Over the years has been Principal Pops Conductor with the Phoenix Symphony, the Milwaukee Symphony, the Minnesota Orchestra, the Colorado Symphony, the Pacific Symphony and the Buffalo Philharmonic.

Doc performs on a S.E. Shires Severinsen Destino III, a trumpet he developed with Steve Shires and the S.E. Shires Company in Massachusetts.  The factory has 25 craftsmen who are professional, working brass players and totally understand what is involved in making great brass instruments.  The S.E. Shires Company features a line of trumpets that includes the S.E. Shires Severinsen Destino III which was developed through Doc’s supervision until his exacting standards of quality and sound were achieved.  Doc continues to make regular visits to the factory. Today, Doc has not lost his flair for the outrageous fashion statement or his trademark wit. But his gregarious nature has never interfered with the fact that he has been one of the greatest trumpeters and musicians of the last 60 years, respected in the worlds of classical music, jazz, big band, and now even world music.  In the end, Doc Severinsen has transcended his celebrity, and rejoiced in his remarkable ability to simply play his trumpet as well as he can.  Which has proven to be good enough for the millions of people who count themselves his fans. http://www.docseverinsen.com/about/

Personnel: Doc Severinsen (trumpet); Erich Kunzel (conductor); Steven Schmidt (piano); Frank Proto (bass); Roland Wilcox (drums); Cincinnati Pops Orchestra.

Unforgettably Doc

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The World's Greatest Jazzband Of Yank Lawson & Bob Haggart - Hark The Herald Angels Swing

Styles: Holiday, Christmas
Year: 1972
File: MP3@224K/s
Time: 32:46
Size: 56,8 MB
Art: Front

(2:36)  1. Hark, The Herald Angels Swing!
(2:53)  2. Little Drummer Boy
(2:50)  3. Rudolph The Red Nosed Reindeer
(3:52)  4. Silent Night
(2:45)  5. Joy To The World
(3:11)  6. Jingle Bells
(3:24)  7. White Christmas
(1:49)  8. I'll Be Home For Christmas
(3:17)  9. The Christmas Song
(3:10) 10. Winter Wonderland
(2:53) 11. Deck The Halls

This is one of the happier Christmas jazz LPs ever released. Filled with delightful performances of Yuletide favorites including "Rudolph the Red Nosed Reindeer," "Joy to the World," "Jingle Bells," and "Winter Wonderland," showing that many Christmas songs lend themselves well to Dixieland. The hot music is performed by trumpeters Yank Lawson and Billy Butterfield, trombonists Vic Dickenson and Eddie Hubble, Bob Wilber on clarinet and soprano, tenor saxophonist Bud Freeman, pianist Ralph Sutton, bassist Bob Haggart, and drummer Gus Johnson. Recommended. ~ Editorial Reviews  http://www.amazon.com/Hark-Herald-Angels-Swing-Christmas/dp/B002SFGESM

Personnel:  Bass – Bob Haggart;  Clarinet, Soprano Saxophone – Bob Wilber;  Drums – Gus Johnson;  Piano – Ralph Sutton;  Tenor Saxophone – Bud Freeman;  Trombone – Eddie Hubble, Vic Dickenson
Trumpet – Billy Butterfield, Yank Lawson

Hark The Herald Angels Swing

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