Jimmy Rushing - Remastered Collection

Bitrate: MP3@320K/s
Time: 51:46
Size: 118.5 MB
Styles: Jazz-blues-R&B vocals
Year: 2015
Art: Front

[2:50] 1. Boogie Woogie
[3:04] 2. Goin' To Chicago Blues
[2:59] 3. Listen My Children (And You Shall Hear)
[2:42] 4. Exactly Like You
[2:59] 5. Pennies From Heaven
[2:25] 6. Boo-Hoo
[3:03] 7. Don't You Miss Your Baby
[2:29] 8. Georgianna
[3:05] 9. Good Morning Blues
[2:47] 10. Now Will You Be Good
[3:02] 11. The Blues I Like To Hear
[2:37] 12. Do You Wanna Jump, Children
[3:10] 13. Evil Blues
[3:03] 14. Blues In The Dark
[2:39] 15. I Can't Believe That You're In Love With Me
[2:37] 16. I Want A Little Girl
[3:13] 17. I Left My Baby
[2:53] 18. London Bridge Is Fallin' Down

He was known as "Mister Five-By-Five" -- an affectionate reference to his height and girth -- a blues shouter who defined and then transcended the form. The owner of a booming voice that radiated sheer joy in whatever material he sang, Jimmy Rushing could swing with anyone and dominate even the loudest of big bands. Rushing achieved his greatest fame in front of the Count Basie band from 1935 to 1950, yet unlike many band singers closely associated with one organization, he was able to carry on afterwards with a series of solo recordings that further enhanced his reputation as a first-class jazz singer.

Raised in a musical family, learning violin, piano and music theory in his youth, Rushing began performing in nightspots after a move to California in the mid-'20s. He joined Walter Page's Blue Devils in 1927, then toured with Bennie Moten from 1929 until the leader's death in 1935, going over to Basie when the latter picked up the pieces of the Moten band. The unquenchably swinging Basie rhythm section was a perfect match for Rushing, making their earliest showing together on a 1936 recording of "Boogie Woogie" that stamped not only Rushing's presence onto the national scene but also that of Lester Young. Rushing's recordings with Basie are scattered liberally throughout several reissues on Decca, Columbia and RCA. While with Basie, he also appeared in several film shorts and features.

After the Basie ensemble broke up in 1950, a victim of hard times for big bands, Rushing briefly retired, then formed his own septet. He started a series of solo albums for Vanguard in the mid-'50s, then turned in several distinguished recordings for Columbia in league with such luminaries as Dave Brubeck, Coleman Hawkins and Benny Goodman, the latter of whom he appeared with at the Brussels World's Fair in 1958 as immortalized in "Brussels Blues." He also recorded with Basie alumni such as Buck Clayton and Jo Jones, as well as with the Duke Ellington band on Jazz Party. He appeared on TV in The Sound of Jazz in 1957, was featured in Jon Hendricks' The Evolution of the Blues, and also had a singing and acting role in the 1969 film The Learning Tree. ~bio by Richard S. Ginnell

Remastered Collection

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Tara O'Grady - Black Irish

Bitrate: MP3@320K/s
Time: 32:39
Size: 74.8 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[2:46] 1. Black Velvet Band
[4:27] 2. Danny Boy
[4:35] 3. The Water Is Wide
[2:26] 4. I'll Tell Me Ma
[4:04] 5. Nora
[3:34] 6. Wild Rover
[3:24] 7. Peggy Gordon
[2:49] 8. Molly Malone
[4:31] 9. The Holy Ground

Nominated as one of Irish Voice’s Most Influential Women of 2010, her debut album, Black Irish, is a collection of Irish songs she grew up listening to as a child. But don’t expect any jigs on this CD. She’s swinging it, baby!

Her version of 'Danny Boy' was featured in a 2013 BBC documentary film for the song's 100th anniversary called "Danny Boy: The Ballad That Bewitched The World," along with Elvis Presley's and Johnny Cash's versions. Tara is also interviewed in the film along with folk singer Judy Collins, actor Gabriel Byrne, musician Paddy Maloney of the Chieftains, and film maker Jim Sheridan.

“I think Tara O’Grady has a fierce soul, because her glorious voice is positively dripping with it. I was totally moved by this album. Her unique jazz arrangements of Irish standards, and that VOICE, take me to places I haven’t been in a long time. This delightful album is not only fun, it’s deep!” ~Dr. Christine Ranck, Co-Author, Ignite the Genius Within.

Black Irish

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Carmell Jones - Mosaic Select (3-Disc Set)

Carmell Jones with Harold Land, Gary Peacock, Tricky Lofton, Gerald Wilson, Frank Strazzeri, Red Mitchell, and many others.

I have to claim a special affinity for the music of trumpeter Carmell Jones as documented on this three-disc set. Going back to an interview I conducted with Mosaic’s Michael Cuscuna a few years back, I commented on how much of the Pacific Jazz material that had been reissued up to that point consisted largely of albums from the ‘50s, ignoring the following decade’s trinkets. Cuscuna shared my feelings and expressed his desire to find some way to package items from the Pacific Jazz catalog that might not be as commercially viable as those classic Chet Baker, Gerry Mulligan, and Bud Shank sides. Now we have the Jones set at hand and things seem to be looking up.

Although the misconception exists that the prevailing jazz climate on the West Coast was much cooler than its East Coast counterpart, a quick listen to “I’m Gonna Go Fishin’” from 1961’s The Remarkable Carmell Jones should put that myth to rest. Jones is fluid and fiery throughout, as is tenor saxophonist Harold Land, who contributes some of his most incendiary improvisations. A rare item that fetches high prices on vinyl, this set has been long overdue for reissue, yet even more remarkable is the availability here of two additional Pacific Jazz rarities, Business Meetin’ and Brass Bag. These sets sport large ensemble charts arranged by Gerald Wilson and not only add much to our knowledge of Jones’ work, but also speak to the arranging prowess of Wilson. Little need exists for singling out specific performances as every moment deserves to be savored and the anonymity of these performances simply defies explanation.

Completing this package are two sessions that were not recorded under Jones’ leadership, but prominently feature his contributions. The first of these is a previously unissued 1963 Pacific Jazz date led by Frank Strazzeri. Consisting largely of the pianist’s originals, nothing all that revolutionary occurs, but Jones and tenor man Hadley Caliman form a potent front line and the solo spots are uniformly fine. Harold Land’s Jazz Impressions of Folk Music is entirely something else, an extensive hard bop reworking of public domain ‘oldies’ such as “Hava Na Gila,” “Tom Dooley,” and “On Top of Old Smokey.” To say that Jones and Land whip things into a vibrant froth is an understatement and the album’s inclusion here is an unmitigated bonus. ~Andrew Hovan

Album: Mosaic Select (Disc 1)

Bitrate: MP3@320K/s

Time: 65:26

Size: 149.8 MB

Styles: Bop, Trumpet jazz

Year: 2011

[11:12] 1. I'm Gonna Go Fishin'

[ 4:29] 2. Come Rain Or Come Shine

[ 4:01] 3. Night Tide

[ 5:45] 4. Sad March

[ 9:09] 5. Stellisa

[ 6:37] 6. Full Moon And Empty Arms

[ 6:04] 7. That's Good

[ 7:06] 8. Suearl

[ 5:22] 9. Hip Trolley

[ 5:38] 10. Beautiful Love

Mosaic Select (Disc 1)

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Album: Mosaic Select (Disc 2)

Bitrate: MP3@320K/s

Time: 54:56

Size: 125.8 MB

Styles: Bop, Trumpet jazz

Year: 2011

[4:49] 1. Business Meetin'

[2:33] 2. Stella By Starlight

[3:51] 3. Toddler

[3:53] 4. Cherokee

[3:46] 5. Brass Bag

[4:11] 6. Angel Eyes

[5:20] 7. Celery Stalks At Midnight

[5:19] 8. Mood Indigo

[5:24] 9. Moten Swing

[5:38] 10. Canadian Sunset

[6:49] 11. Ow!

[3:16] 12. Bluer Than That

Mosaic Select (Disc 2)

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Album: Mosaic Selects (Disc 3)

Bitrate: MP3@320K/s

Time: 72:12

Size: 165.3 MB

Styles: Bop, Trumpet jazz

Year: 2011

Art: Front

[5:42] 1. New Orleans

[6:22] 2. Lope In

[4:19] 3. Yvette

[5:45] 4. Huskey

[4:25] 5. Injun Jo

[4:48] 6. Effusion

[2:55] 7. Antler Rock

[6:44] 8. Take This Hammer

[5:12] 9. Hava Na Gila

[6:56] 10. Tom Dooley

[4:06] 11. Scarlet Ribbons

[4:19] 12. The Foggy Dew

[3:51] 13. Kisses Sweeter Than Wine

[2:56] 14. On Top Of Old Smokey

[3:44] 15. Blue Tail Fly

Mosaic Selects (Disc 3)

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Hugo Montenegro - Boogie Woogie & Bongos

Bitrate: MP3@320K/s
Time: 30:55
Size: 70.8 MB
Styles: Contemporary jazz, Easy listening
Year: 1962/1991
Art: Front

[2:49] 1. Night Train
[2:32] 2. Woodchopper's Ball
[2:10] 3. Peter Gunn
[2:18] 4. Swanee River Boogie
[2:35] 5. Java Boogie
[2:35] 6. St. Louis Blues
[2:45] 7. Tuxedo Junction
[2:32] 8. Yancy Goes Honky Tonk
[2:58] 9. Begin The Beguine
[2:20] 10. Win, Win, Boogie
[2:43] 11. Boo Qui Woo Qui
[2:32] 12. Pinetop's Boogie Woogie

Scarce 1962 12-track LP of multi-channel experiments arranged and conducted by Hugo, issued on Time-Oriole as part of the Series 2000 with 'rough' textured labels.

Hugo Montenegro was a composer, arranger, and conductor who is primarily known for his movie work in the '60s, as well as his adaptations of film scores like The Good, the Bad and the Ugly. Montenegro began his musical career in the U.S. Navy, where he arranged scores for various military bands. After he left the Navy, he completed school at Manhattan College, then he began a professional music career.

Initially, Montenegro was the staff manager to André Kostelanetz at Columbia Records in New York, which eventually led to a job as a conductor/arranger for several of the label's artists, most notably Harry Belafonte. By the mid-'50s, Montenegro was making his own albums of easy listening orchestral music.

Montenegro moved to California in the mid-'60s and began to write film scores, starting with Otto Preminger's Hurry Sundown in 1967. That same year, he recorded a version of the theme to The Good, the Bad and the Ugly, which was written by Ennio Morricone. Featuring an arrangement that relied on a chorus, electric instruments, and special effects, the single was a major hit, reaching number one in the U.K. and number two in the U.S.; internationally, it sold over a million copies. An album titled Music from "The Good, the Bad and the Ugly" & "A Fistful of Dollars" & "For a Few Dollars More" appeared shortly after the single's release, and it reached the Top Ten in the spring 1968. Later in the year, Montenegro released a single of the theme from Hang 'Em High, which was a lesser hit, as was the album of the same name.

Montenegro began to branch out after the Hang 'Em High album, recording a diverse array of albums, ranging from show tunes to electronic experiments. Throughout the late '60s and '70s, he continued to score films, including Lady in Cement, The Undefeated, The Wrecking Crew, Tomorrow, and The Ambushers, among many others. He continued composing and recording until his death in 1981. ~bio by Stephen Thomas Erlewine

Boogie Woogie & Bongos

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Bob Brookmeyer - The 1954 Quartets: The Modernity Of Bob Brookmeyer

Bitrate: MP3@320K/s
Time: 60:05
Size: 137.5 MB
Styles: Trombone jazz
Year: 2011
Art: Front

[5:32] 1. You Took Advantage Of Me
[4:24] 2. He Ain't Got Rhythm
[3:43] 3. What Is There To Say
[4:00] 4. There Will Never Be Another You
[4:38] 5. Jasmine
[8:02] 6. Sticks And Stems
[5:34] 7. The Bulldog Blues
[2:46] 8. Liberty Belle
[3:31] 9. Have You Met Miss Jones
[2:33] 10. Traditional Blues
[2:34] 11. Isn't It Romantic
[3:17] 12. Doe Eyes
[3:18] 13. Red Devil
[3:18] 14. Body And Soul
[2:47] 15. Last Chance

Fresh Sounds goes deep into the vaults to reissue a pair of early Bob Brookmeyer-led sessions on a single disc. Recorded in 1954 for Pacific Jazz and Verve at the height of West Coast jazz fever, Brookmeyer's early arranging and composing genius can be heard as already very sophisticated and expressive; his reputation as a soloist on the trombone had been well established by this time. The Bob Brookmeyer Quartet session recorded for Pacific Jazz over two days in July (and inexplicably sequenced on the latter half of this set) listed drummer Frank Isola, pianist John Williams, and alternate bassists Red Mitchell and Bill Anthony. The second session for Verve -- sequenced first -- was recorded in December, and features pianist Jimmy Rowles, drummer Mel Lewis, and bassist Buddy Clark. On the first six tracks (again, which make up the latter session originally titled The Modernity of Bob Brookmeyer), the leader contributes two tunes to a very modern mix that also includes very contemporary (for the time) readings of four standards, including Irving Berlin's "He Ain't Got Rhythm," Rodgers & Hart's "You Took Advantage of Me," and the Harry Warren-Yip Harburg nugget "There Will Never Be Another You." Brookmeyer wasn't afraid of a little dissonance and his own solos bear this out, as Rowles remains sweet and busy as ever. The initial Bob Brookmeyer Quartet session yields three fine pieces, including the first recording of his classic tune "Liberty Belle." In addition, there are some standards and a pair of Mitchell tunes, as well as a compelling reading of "Body and Soul." As is typical of a lot of Fresh Sounds releases, while there are decent liner notes, the mastering job is far from audiophile, so collectors and other jazz fans should be aware. ~Thom Jurek

The 1954 Quartets: The Modernity Of Bob Brookmeyer

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Dee Daniels - All Of Me

Styles: Vocal Jazz
Year: 1991
File: MP3@320K/s
Time: 38:35
Size: 88,8 MB
Art: Front

(2:47)  1. What A Difference A Day Made
(3:39)  2. I've Got The World On A String
(5:18)  3. I Got It bad (and That Ain't Good)
(3:18)  4. I'm Walking
(2:51)  5. Midnight Strangers
(2:51)  6. All Of Me
(3:34)  7. Honeysucle Rose
(4:54)  8. Stormy Weather
(3:29)  9. On A Clear Day
(5:49) 10. For Once In My Life

Dee Daniels mixes together the influences of Sarah Vaughan, R&B, and gospel in her own appealing style. She started off singing in church as a child and also took piano lessons so she could play for the choirs of her stepfather's church. She earned an art degree from the University of Montana in 1970 and taught art in high school in Seattle. She also sang on the side, at first for the fun of it and then eventually six nights a week with a band that performed rock and R&B. In 1972 she quit her teaching job to concentrate exclusively on singing. Over time, Daniels began to love improvising and gradually drifted toward jazz. While living in Europe during 1982-1987, she worked with such jazz greats as Toots Thielemans, Monty Alexander, Johnny Griffin, and John Clayton. Although she moved back to the U.S. in 1987, she has performed often in other countries including Canada, Australia, Hong Kong, 11 African countries, and throughout Europe, and is actually better known overseas than in the U.S. Daniels has appeared in such shows as the musical comedy Wang Dang Doodle and the 2001 Calgary Stampede, and she has performed with both jazz groups and pops orchestras. Along the way she has recorded for Capri, Mons (with the Metropole Orchestra), Three XD Music, and Origin in addition to releasing a DVD on Challenge. ~ Scott Yanow https://itunes.apple.com/us/artist/dee-daniels/id155971580#fullText

Personnel:  Bass – John Clayton;  Drums – Bruno Castellucci;  Piano – Jack van Poll;  Vocals – Dee Daniels

All Of Me

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Otis Brown III - The Thought Of You

Styles: Contemporary Jazz, Post-Bop
Year: 2014
File: MP3@320K/s
Time: 57:00
Size: 131,2 MB
Art: Front

(7:47)  1. The Way (Truth & Life)
(4:11)  2. The Thought Of You - Part I
(1:29)  3. Interlude I - Truth
(7:18)  4. Stages Of Thought
(6:51)  5. The Two Become One (For Paula)
(5:03)  6. You’re Still The One
(3:15)  7. The Thought Of You - Part II
(8:20)  8. I Love You Lord/We Exalt Thee/In The Beginning (Medley)
(5:27)  9. The Thought Of You - Part III
(5:10) 10. I Am Your Song
(2:04) 11. Interlude II - Life

Drummer Otis Brown III is a well-known, in-demand sideman and the founding drummer in Joe Lovano's Us Five. The Thought of You, his debut as a leader, was co-produced with Derrick Hodge. Pianist Robert Glasper, saxophonist John Ellis, trumpeter Keyon Harrold, and bassist Ben Williams -- the only one of these men who was not Brown's classmate at the New School for Jazz and Contemporary Music -- are the core of this lineup. Bilal Oliver (another schoolmate), Gretchen Parlato, and Nikki Ross all make vocal appearances. Hodge and Brown obviously share a love for the classic Blue Note quartet and quintet sounds of the late '50s through the middle '60s: tight, crisp, clean. But that doesn't mean the music is retro; it's anything but. Opener "The Way (Truth & Life)" commences with a punchy bass vamp before Brown enters with a kinetic Afro-Latin groove and Glasper offers his signature elliptical piano line. The horns counter with an urgent, melodic head with labyrinthine asides. Ellis moves toward the outside and Glasper follows.

Brown lays down hip fills and rolls and cymbal washes. The title track, written by Oliver, is quizzically done in three parts spread over the record -- though they were obviously edited from one longer cut. The first part the single has a knotty piano and horn intro before his breezy vocal claims the center briefly before the tune evolves into driving, fingerpopping post-bop. Parlato's reading of Shania Twain's "You're Still the One" is smoky, spacious, nocturnal, and understated. The hook is there, but in her phrasing and Brown's cymbal ticks and snare and tom-tom syncopations, its margin blurs and almost alchemically transforms into jazz. "Stages of Thought" and "The Two Become One" are instrumentals that offer differing sides of Brown's musical vision. The former is tumultuous, with layered dissonant harmonics. Glasper's piano alternates between inquisitive and declamatory as the horns engage in swooping dialogic call-and-response solos. The rhythm section prods and provokes with accents, feints, and dekes. The latter cut employs spoken samples from the tune's (literally) speaking subject (Brown's wife) during their wedding ceremony. It's a spacious, ethereal, open-ended ballad. Ellis' bass clarinet and Glasper's electric piano surround the rhythm section, which lays down a lithe, atmospheric groove. "I Love You Lord/We Exalt Thee/In the Beginning" is one of two fine Ross vehicles here. This one reveals the perfect intersection between gospel and contemporary jazz. 

Glasper's piano accompanies her on the melody, adding dimension and lyric harmony amid guest Shedrick Mitchell's organ swells. The singer soulfully and elegantly commits to the lyric yet never over-emotes. Brown's playing is like a chorale as he and Ross engage to develop an improvisational dialogue. The Thought of You is ambitious in its musical reach and affirmative in its themes of spiritual faith and family (actual and relational). It is a thoroughly classy, sophisticated, at times provocative offering by a top-notch talent.~Thom Jurek http://www.allmusic.com/album/the-thought-of-you-mw0002702040

Personnel: Otis Brown III (drums, cymbals, percussion); Gretchen Parlato, Bilal Oliver, Nikki Ross (vocals); Nir Felder (acoustic guitar); John Ellis (bass clarinet, tenor saxophone); Keyon Harrold (trumpet); Robert Glasper (piano, Fender Rhodes piano); Shedrick Mitchell (Hammond b-3 organ); Derrick Hodge (percussion).

The Thought Of You

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Roger Cicero - Beziehungsweise

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 45:00
Size: 104,2 MB
Art: Front

(2:46)  1. Die Liste
(3:32)  2. Nimm deinen Kerl zurueck
(3:24)  3. Kein Abendessen
(2:46)  4. Sie will es nun mal
(3:57)  5. Ich hab das Gefuehl fuer dich verlor'n
(3:43)  6. Das Experiment
(3:52)  7. Wovon traeumst du nachts
(3:32)  8. Der Anruf
(3:14)  9. Schoener war's ohne
(2:53) 10. Alle Moebel verrueckt
(4:15) 11. Gute Freunde
(3:51) 12. Ich haett' so gern noch Tschuess gesagt
(3:09) 13. Bin heute Abend bei dir

An exciting year Roger Cicero: Almost out of nowhere launched his debut album " Männersachen " the artist in the highest Charts regions. Sold out concerts enthusiastic visitors at the European Song Contest Roger represented the German colors. Also at the ECHO awards and "Golden tuning fork" cleared of Berlin. Now is with "Relativity" before the second album of the singer. And documented impressively his personal development and its own special flavor, as far as transport of classical music and style elements in the Present Time. Already with the single "The List" Cicero puts ordinary music logs into crackling Swing -Fire. The title impresses with pressure, speed, wit and of course a charmingly ironic text. The Berlin holds the Love reins firmly in his hand: "I invited you highlight on the list / You are the bright spot of my choice / I put 'stand out in my register / And then would I like to / You're a with which one time takes / one only would have trau'n / you are standing at the top of my list / the still kissing Frau'n ". In the story her original "Take your guy back" shines Cicero especially with his vocal versatility. "She wants it now time" is only superficially dressed in text suggestiveness, music shimmers a Latin American sound Costume. In "I have the feeling for you verlor'n" Roger jumping with verve into the music ballads specialist fifties together with vigorous Blues -Anstrich, swelling organ and razor-sharp wind-sets. Boredom has no chance to "Relativity" repeatedly puts Cicero with great wealth of variety to.

So in "The Experiment", a cool jazz Swing formulated with a sophisticated again, exciting story about the volatility of alleged Love feelings. Free from any text clichés and provided with hochspannendem story building - a clear Note 1 song! The pop-heavy "All the furniture crazy" recalls an unjustly forgotten Udo Jürgens -Komposition from the seventies. But Cicero will also be appreciated on the quiet sounds. "I'd 'have loved to Bye said" shows to be very personal, touching title, Roger devoted his late father. Here stands Cicero responsible as a text co-authored with Frank Ramond. Relaxed casual adopted Cicero fans with the charming, light-footed "Bin tonight with you." In contrast to the already shiny already rehearsed "Männersachen 'sound to the songs on" Relativity "still dissolved, airy, equipped with more drive and dynamism. Sauber played out, fine details and finesse and the use of blues, salsa and samba elements guarantee the variety and diversity Cicero and his team do not go the easy way, only colorize overused Classics hip and fresh. No trace of nostalgic transfigured look into yesterday: All 13 tracks present itself as a brand new compositions, the success-based producer team Frank Ramond / Matthias hatred again contributed the lion's share. So Welcome to Roger Cicero brightly lit ballroom. The interior is exquisite, the band is excellent, and the atmosphere exuberant song champagne bliss can celebrate itself. Pop, Jazz, Blues, Swing - the Cicero cocktail tastes just gorgeous and all its exquisite ingredients; assembled by master craftsmen and garnished lovingly-imaginative. Cheers!~Artur Schulz http://www.laut.de/Roger-Cicero/Alben/Beziehungsweise-23091(Translate by Google)

Beziehungsweise

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Herbie Hancock - Cantaloupe Island

Bitrate: MP3@320K/s
Time: 42:06
Size: 96.4 MB
Styles: Piano jazz, Hard bop
Year: 1994
Art: Front

[5:26] 1. Cantaloupe Island
[7:03] 2. Watermelon Man
[6:54] 3. Driftin'
[8:15] 4. Blind Man, Blind Man
[6:31] 5. And What If I Don't
[7:54] 6. Maiden Voyage

A mini-retrospective of Herbie Hancock's early years as a jazz artist, this six-track CD touches on some of his best-known small-ensemble works from that period. Of his first five albums for Blue Note Records from 1963-1965, Takin' Off, My Point of View, Empyrean Isles, and Maiden Voyage are represented -- his third and perhaps most individually realized LP, Inventions & Dimensions, is not. You get hits "Canteloupe Island," "Watermelon Man," "Maiden Voyage," and three lesser titles, which remove it from "best-of" status. His sixth and seventh full-length Blue Note recordings, The Prisoner and Speak Like a Child, are also omitted. This is a decent, edited, and concise, but far from comprehensive view of Hancock's salad days, which some purport might still be his best. ~Michael G. Nastos

Cantaloupe Island

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Ella Mae Morse - Capitol Collectors Series

Bitrate: MP3@320K/s
Time: 60:22
Size: 138.2 MB
Styles: Blues/Jazz/Country vocals
Year: 1992
Art: Front

[3:11] 1. Cow Cow Boogie
[3:00] 2. Mr. Five By Five
[2:55] 3. The Thrill Is Gone
[3:03] 4. Get On Board, Little Chillun
[3:15] 5. Shoo Shoo Baby
[2:34] 6. No Love, No Nothin'
[2:36] 7. Milkman, Keep Those Bottles Quiet
[3:11] 8. Tess' Torch Song (I Had A Man)
[2:53] 9. The Patty Cake Man
[2:50] 10. Captain Kidd
[2:58] 11. Rip Van Winkle
[2:56] 12. Buzz Me
[2:53] 13. The House Of Blue Lights
[2:51] 14. Pig Foot Pete
[2:31] 15. Get Off It And Go
[2:18] 16. Tennessee Saturday Night
[3:04] 17. The Blacksmith Blues
[2:26] 18. Oakie Boogie
[2:51] 19. Forty Cups Of Coffee
[2:39] 20. I Love You, Yes I Do
[3:18] 21. Ac-Cent-Tchu-Ate The Positive

After being out of print for many years, a well-chosen sampling of Morse's groundbreaking recordings are now available on this splendid compilation. Her ten charting solo singles are here, along with sides recorded with Freddie Slack and some obscure tracks. Morse blazes through every song, particularly "House of Blue Lights," "Milkman, Keep Those Bottles Quiet," "Pig Foot Pete," "The Blacksmith Blues," and her first recording, "Cow Cow Boogie." The album has terrific liners and superlative sound. ~Stephen Thomas Erlewine

Capitol Collectors Series

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Billy Stewart - The Best Of Billy Stewart

Bitrate: MP3@320K/s
Time: 32:15
Size: 73.9 MB
Styles: R&B
Year: 2000
Art: Front

[3:01] 1. I Do Love You
[2:35] 2. Fat Boy
[2:20] 3. Reap What You Sow
[3:19] 4. Sitting In The Park
[2:54] 5. Love Me
[2:06] 6. Strange Feeling
[3:00] 7. Secret Love
[3:00] 8. Cross My Heart
[2:53] 9. Every Day I Have The Blues
[2:50] 10. Tell Me The Truth
[4:13] 11. Summertime

Billy Stewart was an utterly singular vocal magician who belongs to a long ago era, when an enormously gifted black man could astonish listeners by writing and recording something so utterly disarming as "Fat Boy" (Bo Diddley, another unreconstructed genius, discovered Billy and obviously had a hand in the song's production). Billy Stewart could dazzle with that voice of his, but his deepest and truest music speaks to the fat boy in each of us, somehow empowering anyone whose heart ached, or who was "different", or felt unworthy of love. What makes "Sitting In the Park" such a heavenly experience is that shimmering waterfall of a bridge, when the long suffering narrator's "Why oh why oh why oh why oh why oh whys?..." mark a revelatory moment of frustrated longing, after which he decides not to sit on that park bench yet again, waiting for his beloved - who may or may not show up. Just as the fat boy needs and finds love, "Park's" narrator eventually realizes he doesn't deserve abuse or indifference, and walks away. "I Do Love You" sweeps the listener into the ecstatic intensity of Billy's boundless love, a vocal reverie that swells with joy, with the Chess session stalwarts - especially Leonard Caston's piano - creating a soundscape of stunning beauty for Billy's exquisite vocal performance, in which he finally seems to dispense with mere words altogether.

Billy Stewart was a man's man, a couragious artist whose fearless vulnerability, honesty, and sense of just how raw and squirmingly alive we all are underlies his gift, for we're elevated by how he applies that astonishing voice to songs and themes that resonate now. Billy Stewart, fat, diabetic, a vocal virtuoso, revelled in ecstasy, and embraced love yet refused to let pain and heartache define him as a victim. Sure, "Summertime" is a knockout, a musical and vocal tour de force, especially in this long version, but one is impressed more by technique than passion. That makes it exciting, and a pleasure to hear - but thankfully an exception; technique rarely trumps content in Stewart's work. The deeper secrets are revealed elsewhere, which leads me to regret that this is such a scrawny volume to represent such a big artist. And if you care about decent sound, this 2000 remaster is the only game in town. But be forwarned, "Millennium" offers 11 songs in 32 minutes, short by even vinyl standards. Why so skimpy? If you want more you have to buy the drab sounding 1990 comp, which has twice as much music. Billy Stewart really deserves a career spanning retrospective, with the sort of warm, detailed, full sound unthinkable during the early digital era (1990). ~J.P. Ryan

The Best Of Billy Stewart

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Laura Silverstein - Something Blue: Fingerstyle Guitar & More

Bitrate: MP3@320K/s
Time: 35:46
Size: 81.9 MB
Styles: Folk-jazz guitar
Year: 2008
Art: Front

[3:27] 1. Moondance
[3:08] 2. Something Blue
[2:35] 3. Old Cape Cod
[3:21] 4. Sweet Georgia Brown
[2:01] 5. Don't Mind If I Do
[1:55] 6. Second Street Jump
[2:31] 7. Charade
[3:38] 8. Flatworld
[2:08] 9. Scarborough Faire
[3:23] 10. Midnight In Moscow
[3:34] 11. Wayfaring Stranger
[3:58] 12. All Is Well... A Lullaby

Funky, Poignant, Upbeat, Romantic, Playful, and Tender….. describe Laura Silverstein’s instrumentals played with passion on her 1930 Gibson L0 guitar. “Something Blue – Fingerstyle Guitar and More” is an eclectic compilation of instrumentals spanning centuries and genres, and featuring fingerstyle guitar, joined on some tracks by violin, mandolin, and/or bass. Playing styles ranging from folk to blues, ragtime, Hawaiian slack-key, contemporary, and swing, Laura Silverstein’s guitar playing celebrates the power, passion, and versatility of fingerstyle guitar. Laura’s performances take listeners on a journey through love, joy, humor, and life--all expressed through the wonderful and expressive voice of the guitar.

Laura’s guitar playing reflects the influences of John Fahey, John Knowles, Judy Fjell, Kay Eskenazi, Harmony Grisman, Eddie Pennington, Kent Hillman, Eric Schoenberg, Pat Donohue, Doc Watson, and Marcel Dadi. Laura loves to share her passion for fingerstyle with others, teaching guitar at the Pacific Northwest Women’s Music Celebration, WildJamminWomen, and Women Making Music. She’s a regular participant at Puget Sound Guitar Workshop, where she learns from and networks with other guitarists from around the country every summer.

Something Blue: Fingerstyle Guitar & More

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Rachel Z - Trust The Universe

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 61:39
Size: 141,2 MB
Art: Front

(7:29)  1. Nardis
(5:16)  2. I Won't Cry 4 Us
(5:01)  3. Monk's Other Women
(7:01)  4. Inamorata
(4:21)  5. Under The Suit
(6:12)  6. Forgive Me
(3:42)  7. Save My Soul
(3:56)  8. Go!
(4:59)  9. One Night
(4:29) 10. Trust The Universe
(4:56) 11. When The Cats Away
(4:11) 12. Iyakutanda

Keyboardist Rachel Z divides her debut CD into mainstream and contemporary sections, but in reality she plays basically the same in both sessions, emphasizing her acoustic work in a style most influenced by Chick Corea, Herbie Hancock, and occasionally Bill Evans. The music is usually soulful enough for the jazz lite listener and contains just enough chance-taking for more serious jazz collectors. Nothing too unexpected occurs, but this enjoyable set has some fine solos from the leader and the contrasting saxophones of David Sanchez and David Mann.~Scott Yanow http://www.allmusic.com/album/trust-the-universe-mw0000094905

Personnel: Rachel Z (piano, keyboards); David Mann (soprano saxophone, alto saxophone, tenor saxophone); David Sanchez (soprano saxophone, tenor saxophone); Charnett Moffett (acoustic bass); Victor Bailey (electric bass); Al Foster, Lenny White (drums); Gumbi Ortiz (percussion).

Trust The Universe

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Richie Cole - Bossa Nova Eyes

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 36:25
Size: 136,4 MB
Art: Front

(4:31)  1. Dear Hearts And Gentle People
(3:57)  2. I Remember Sonny Stitt
(4:44)  3. Makin' Whoopee
(5:28)  4. 2 Degrees East, 3 Degrees West
(2:37)  5. Bossa Nova Eyes
(5:26)  6. Serenata
(3:13)  7. Seems Like Old Times
(3:14)  8. Anna Maria
(3:11)  9. Dc-10

Altoist Richie Cole's first album in three years is typically hard-swinging but adds little to his legacy. Best are "I Remember Sonny Stitt," "Makin' Whoopee" and "Serenata" although "Seems like Old Times" was not too necessary. Cole plays a bit of his rarely-heard baritone, pianist Dick Hindman has some good solos and singer Janis Siegel guests on the title track but few surprises occur.~Scott Yanow http://www.allmusic.com/album/bossa-nova-eyes-mw0000957645

Personnel:  Richie Cole - Alto & Bariton Saxes;  Dick Hindman - piano;  Paul Warburton - bass; Colin Bailey - drums;  Babatunde – Percussion;  Janis Siegel - vocal.

Bossa Nova Eyes

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Larry Young - Testifying

Styles: Hard Bop, Soul Jazz
Year: 1960
File: MP3@320K/s
Time: 46:52
Size: 107,6 MB
Art: Front

(9:54)  1. Testifying
(5:18)  2. When I Grow Too Old To Dream
(7:37)  3. Exercise For Chihuahuas
(5:07)  4. Falling In Love With Love
(6:23)  5. Some Thorny Blues
(7:07)  6. Wee Dot
(5:23)  7. Flamingo

Organist Larry Young was 19 when he made this, his debut recording. Although he would become innovative later on, Young at this early stage was still influenced by Jimmy Smith, even if he had a lighter tone; the fact that he used Smith's former guitarist, Thornel Schwartz, and a drummer whose name was coincidentally Jimmie Smith kept the connection strong. R&B-ish tenor Joe Holiday helps out on two songs, and the music (standards, blues and ballads) always swings. Easily recommended to fans of the jazz organ.~Scott Yanow http://www.allmusic.com/album/testifying-mw0000276468

Personnel: Larry Young (organ); Joe Holiday (tenor saxophone); Thornel Schwartz (guitar); Jimmie Smith (drums).

Testifying

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Sammy Price - Boogie & Jazz Classics

Bitrate: MP3@320K/s
Time: 46:24
Size: 106.3 MB
Styles: Jazz/Blues Piano, Jump blues
Year: 1975/2008
Art: Front

[3:07] 1. My Blue Heaven
[3:03] 2. Saint James Infirmary
[2:29] 3. Gee Baby, Ain't I Good To You
[3:12] 4. Sunday
[3:38] 5. J.C. Speaks
[3:21] 6. Can't Help Lovin' That Man
[2:03] 7. Stormy Weather
[3:25] 8. Berne's Boogie
[3:01] 9. Sammy & J.C. Boogie
[3:11] 10. Barefoot Boogie
[2:46] 11. Untitled Boogie
[4:36] 12. Goin' Back Home Boogie
[2:09] 13. Cow Cow Boogie
[3:04] 14. Don't Blame Me
[3:12] 15. Ain't Misbehavin'

Price, a delightful, romping pianist in the vintage barrelhouse and boogie-woogie genres, interpreted, reworked, and remade a series of traditional blues and jazz tunes on this fine 1975 release. Everything, from song selection to solos, is wonderful. ~Ron Wynn

Boogie & Jazz Classics

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Hillary Capps - A Perfect Dozen

Bitrate: MP3@320K/s
Time: 42:38
Size: 97.6 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[4:31] 1. Come Rain Or Come Shine
[3:09] 2. Lullaby Of Birdland
[4:30] 3. East Of The Sun
[4:54] 4. You Don't Know Me
[3:44] 5. You'd Be So Nice To Come Home To
[2:23] 6. One Note Samba
[3:08] 7. Unchain My Heart
[2:53] 8. Time After Time
[3:08] 9. They Can't Take That Away From Me
[2:17] 10. Twisted
[2:29] 11. At Last
[5:26] 12. The Nearness Of You

Ours is an age that reduces amateur vocalists to fanatical reality-television contestants. So it’s comforting to discover that there are still singers like Hillary Capps in the studio, honing their talents the time-honored way. A Perfect Dozen is the twentysomething jazz songstress and Underhill native’s solid debut release, a sturdy collection of 12 classic jazz vocal standards.

Despite her youth, Capps is already a veteran, and her savvy is obvious to the listener straight away, a capacity fashioned by an interesting combination of talent and pedigree. Since the age of 16, she has been performing with her father, a noted Vermont jazz artist, educator and studio engineer. He ably backs her on the record with the ensemble that bears his name, The Joe Capps Group.

Even veterans of the jazz stage will have to respect the younger Capps’ fearless song selections. Tom Jobin’s “One Note Samba” and Etta James’ “At Last” aren’t exactly campfire tunes. And they are certainly not for hobbyists, given their technical and emotional requirements. But Hillary Capps manages this challenge with impressive command of these and other classic selections. Her remarkably clean voice prevails delightfully over the skillful backing musicianship found throughout A Perfect Dozen. ~John Pritchard

A Perfect Dozen

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Jimmy King Band - Shanghai At Night

Bitrate: MP3@320K/s
Time: 62:22
Size: 142.8 MB
Styles: Big band
Year: 2012
Art: Front

[4:58] 1. Shanghai At Night
[3:39] 2. The Last Waltz
[3:23] 3. Evening Primrose
[3:54] 4. As Time Goes By
[2:22] 5. Money Honey
[4:31] 6. Rose, Rose, I Love You
[3:20] 7. Amor Amor
[3:54] 8. Sleepy Lagoon
[4:19] 9. Rosebush In Blossom
[3:47] 10. Boogie Woogie
[1:58] 11. Hawaii Sunrise
[3:34] 12. In The Mood
[3:29] 13. Begin The Beguine
[4:04] 14. Shangri-La
[2:38] 15. Hawaii Paradise
[3:44] 16. Rum And Coca-Cola
[4:40] 17. Smoke Gets In Your Eyes

The Paramount Dance Hall is the grand old lady of Shanghai's past. But in 1930, it was the most expensive and elaborate ballroom of its age, with a specially designed wooden dance floor with cantilevered springs. Now, the old songs still play, and the elderly dancers twirl stiffly — but the Paramount is a tired reminder of what once was.

Today, a small group of jazz musicians are re-creating the sounds of the old days for a series of concerts in Shanghai. These elderly veterans of the jazz scene play with the same verve as they did in the 1940s. The roaring nightlife of Shanghai came to an end after the Communist revolution in 1949. Finally in 1980, as Shanghai opened up once more, the management of the Peace Hotel decided to start a jazz band, the first in China. Back at the Paramount, the band still plays on.

Shanghai At Night

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Ben Webster - The Verve Years

Bitrate: MP3@320K/s
Time: 67:20
Size: 154.2 MB
Styles: Saxophone jazz
Year: 1992
Art: Front

[4:31] 1. Bounce Blues
[3:35] 2. Danny Boy
[3:21] 3. Cotton Tail
[3:55] 4. Chelsea Bridge
[4:46] 5. Prelude To A Kiss
[3:56] 6. What Am I Here For
[3:04] 7. Sophisticated Lady
[7:37] 8. Who's Got Rhythm
[4:31] 9. Time After Time
[5:51] 10. Fajista
[6:15] 11. The Touch Of Your Lips
[2:32] 12. How Deep Is The Ocean
[4:57] 13. When I Fall In Love
[4:29] 14. Makin' Whoopee
[3:54] 15. Sunday

Another fine edition of Verve's budget series Compact Jazz, this Ben Webster sampler rounds up some stellar selections from the tenor giants '50s stay with the label. Webster is in top form throughout, collaborating with the likes of Gerry Mulligan, Oscar Peterson, Billy Strayhorn, and Ralph Burns. He show his brevity, too, ranging from an update of his Ellington swing staple, "Cotton Tail," to an indelible ballad like "Time After Time" and Strayhorn's complex "Chelsea Bridge." And helping on the support end, Hank Jones, Barney Kessel, Ed Thigpen, and many others provide Webster with a steady stream of ideal backdrops. A perfect introductory disc. ~Stephen Cook

The Verve Years

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John Scofield - Past Present

Styles: Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 52:29
Size: 120,4 MB
Art: Front

(7:10)  1. Slinky
(5:20)  2. Chap Dance
(6:34)  3. Hangover
(6:30)  4. Museum
(5:03)  5. Season Creep
(5:21)  6. Get Proud
(5:23)  7. Enjoy The Future !
(5:01)  8. Mr. Puffy
(6:03)  9. Past Present

During the course of his storied career, guitarist/composer John Scofield has never shown much of of a predilection to repeat himself. Rather, he navigates through projects as diverse as trio outings, experiments with horns, collections of ballads and collaborations with the likes of Gov't Mule and the Grateful Dead's Phil Lesh in a such a way that, when he completes a cyle of activity, he's grown discernibly as an artist.  Which is why the title of Past Present so suits Sco's concept of return to a lineup similar to one he fronted in the early Nineties. Apart from the frontman's evolution as an instrumentalist, writer and recording artist, the distinguishing factor here is the presence of bassist Larry Grenadier, whose work with pianist Brad Mehldau and guitarist Pat Metheny, among many others, reaffirms an appetite for adventure similar to the bandleader's. Both establish an uncanny bond with the musicians who appeared on the aforementioned records, saxophonist Joe Lovano and drummer Bill Stewart.

As evinced by his playing on the opener, "Slinky," Grenadier has an abiding gift for understatement he shares with Scofield. The guitarist always relishes immersing himself within the interactions of any group he's playing with not just Medeski Martin and Wood so the spotlights he affords Lovano, like the one on "Season Creep," is no surprise. In fact, it's John Scofield's modesty and humility, a tone in place even as he acted as producer, that elevates not just the playing of those around him, but his own as well. And pithily as he solos completely in line with the austere graphics of Past Present, including the somber cover portrait he invariably whets the appetite for more by the time he's finished, as is the case with "Enjoy the Future!" And in doing so, during, for instance, "Museum," he deftly interweaves the staccato attack of a blues guitarist and the fluid approach of a pure jazz player.

It's well-nigh impossible to mistake John Scofield for any other active guitarist. Scofield also distinguishes himself as a composer here, writing all nine tunes, including the title track; apart from the delicious mix Mark Wilder preserved in his mastering, the songwriter's melodies tickle the ear to compel repeated playing on their own terms, but, as with "Hangover," also offer inspiration for all four of these players to improvise and elicit additional nuance from the changes. Within such intervals throughout "Mr. Puffy," for instance, neither Grenadier or Stewart remain merely support players; rather, as individuals and partners in the rhythm section, they imprint their personalities on material such as "Chap Dance," by weaving their own instrumental patterns inside, outside and around the melody. It's a measure of the solidarity of this quartet that, if Past Present were used in a blindfold test, the listener might be hard pressed to determine who the top-billed player actually is, the highest compliment to be paid to the genuinely selfless, joyful musician that is John Scofield.~Doug Collette http://www.allaboutjazz.com/john-scofield-past-present-by-doug-collette.php

Personnel:  John Scofield: guitar;  Joe Lovano: tenor saxophone;  Larry Grenadier: double bass;  Bill Stewart: drums

Past Present

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Ann Peebles - Straight From The Heart

Styles: Vocal, Soul
Year: 1971
File: MP3@320K/s
Time: 26:00
Size: 61,3 MB
Art: Front

(2:28)  1. Slipped, Tripped & Fell In Love
(2:38)  2. Trouble, Heartache & Sadness
(2:25)  3. What You Laid On Me
(2:59)  4. How Strong Is A Woman
(2:24)  5. Somebody's On Your Case
(2:28)  6. I Feel Like Breaking Up
(2:50)  7. I've Been There Before
(2:58)  8. I Pity The Fool
(2:16)  9. 99 Pounds
(2:28) 10. I Take What I Want

A lean, tough set that was not only a triumph for Peebles, but illustrated how the Hi label had surpassed its crosstown Stax rival for quality Memphis soul in the early '70s. The guitars are spare, funky, and bluesy, the horn section punchy, and the material far earthier and down-home than the increasingly formulaic grooves at Stax. There were three modest R&B hits on the album ("Slipped, Tripped and Fell in Love," "I Feel Like Breaking Up Somebody's Home," "Somebody's on Your Case"), much of which was penned by Peebles or her husband Don Bryant. Peebles' vocals were convincingly biting, and she never, unlike many other singers of the era, tried too hard for her own good. The main flaw of the record is its length (26 minutes), which was short even by early-'70s standards.~Richie Unterberger http://www.allmusic.com/album/straight-from-the-heart-mw0000099467

Personnel:  Backing Vocals – Rhodes, Chalmers And Rhodes;  Bass – Leroy Hodges;  Bass Saxophone – James Mitchell;  Drums – Howard Grimes;  Guitar – Teenie Hodges;  Organ, Piano – Charles Hodges;  Tenor Saxophone – Andrew Love, Ed Logan;  Trombone – Jack Hale;  Trumpet – Wayne Jackson

Straight From The Heart

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Larry Young - Groove Street

Styles: Hard Bop, Soul Jazz
Year: 1962
File: MP3@320K/s
Time: 40:18
Size: 92,7 MB
Art: Front

( 4:57)  1. Groove Street
( 5:29)  2. I Found A New Baby
( 9:27)  3. Sweet Lorraine
(14:27)  4. Gettin' Into It
( 5:57)  5. Talkin' 'Bout J.C.

Larry Young's third and final Prestige recording (reissued in the OJC series on CD) concludes his early period; he would next record as a leader two and a half years later on Blue Note, by which time his style would be much more original. For his 1962 outing, Young is joined by the obscure tenor Bill Leslie, guitarist Thornel Schwartz and drummer Jimmie Smith for some original blues and two standards ("I Found a New Baby" and "Sweet Lorraine"). 

Nothing all that substantial occurs, but fans of Jimmy Smith will enjoy the similar style that Larry Young had at the time.~Scott Yanow http://www.allmusic.com/album/groove-street-mw0000644712

Personnel: Larry Young (organ, keyboards); Thornel Schwartz (guitar); Bill Leslie (tenor saxophone); Jimmie Smith (drums).

Groove Street

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Oscar Brown, Jr. - Movin' On

Bitrate: MP3@320K/s
Time: 33:05
Size: 75.7 MB
Styles: Jazz vocals
Year: 1972/2002
Art: Front

[3:09] 1. A Dime Away From A Hotdog
[4:29] 2. Walk Away
[3:28] 3. Feel The Fire
[4:23] 4. A Ladiesman
[3:41] 5. No Place To Be Somebody
[3:17] 6. To Stay In Good With You
[3:25] 7. Gang Bang
[3:15] 8. First Lady
[3:55] 9. Young Man

Oscar Brown, Jr.'s vocal and lyrical talents shine on this reissue of his 1972 album Movin' On. Brown's witty, politically conscious scats meld art and humor into innovation. Movin' On's nine songs, including highlights like "A Dime Away from a Hot Dog," "Ladiesman," and "No Place to Be Somebody" enhance Brown's reputation as an inventive jazzman. ~Heather Phares

Movin' On

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Eddie Cano - Eddie Cano Quintet

Bitrate: MP3@320K/s
Time: 29:00
Size: 66.4 MB
Styles: Latin jazz
Year: 2015
Art: Front

[2:45] 1. Poinciana
[2:37] 2. S'wonderful
[2:44] 3. Dancing In The Dark
[2:23] 4. For You
[2:20] 5. It's Easy To Remember
[1:42] 6. Mimi
[2:18] 7. I Don't Know Why
[2:32] 8. Time Was
[2:17] 9. Softly As In A Morning Sunrise
[2:29] 10. Crazy Rhythm
[2:21] 11. Moonlight In Vermont
[2:26] 12. Catalina

Edward "Eddie" Cano (June 6, 1927 – January 30, 1988) was an Afro-Cuban jazz and Latin jazz pianist born in Los Angeles, California. He began his musical career with Miguelito Valdés and his orchestra. Cano has worked with many other notable musicians including Bobby Ramos, Les Baxter, Jack Costanzo, Buddy Collette, and Tony Martinez. He was also first president of the Hispanic Musicians Association. He also recorded a slew of albums for various labels, including Reprise Records and RCA Records. He also explored boogaloo and tropical music. Eddie Cano died from an apparent heart attack on January 30, 1988.

Cano spent most of his career trying to find the balance between jazz and Latin jazz styles. He found an appreciative audience for a series of albums under his own name released in the '50s and '60s by labels such as Atco, Reprise, and RCA, his following similar to that of vibraphonist Cal Tjader and bandleader Les Baxter. Cano also drew on dance crazes such as the cha cha and the Watusi to promote his efforts. His family was rich musically, Cano's father a bass guitarist, his grandfather a member of the Mexico City Symphony. Cano studied bass with his grandfather and private teachers, also studied piano and trombone, spent two years in the Army beginning in 1945, and then began hitting stages in a group led by Miguelito Valdés.

Eddie Cano Quintet

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Anita O'Day, Cal Tjader - Time For 2

Bitrate: MP3@320K/s
Time: 31:45
Size: 72.7 MB
Styles: Jazz vocals
Year: 1962/1999
Art: Front

[2:45] 1. Thanks For The Memory
[2:59] 2. It Shouldn't Happen To A Dream
[2:46] 3. Just In Time
[2:21] 4. Under A Blanket Of Blue
[2:48] 5. That's Your Red Wagon
[3:02] 6. Peel Me A Grape
[2:26] 7. An Occasional Man
[2:20] 8. The Party's Over
[2:23] 9. I Believe In You
[1:54] 10. Mr. Sandman
[3:23] 11. Spring Will Be A Little Late This Year
[2:32] 12. I'm Not Supposed To Be Blue Blues

In another experiment, producer Creed Taylor teams O'Day with the alternately Latin and bop-grounded quartet of vibraphonist Cal Tjader -- and he gets some amazing performances from this team. O'Day sounds as if she is delighted with Tjader's polished Afro-Cuban grooves, gliding easily over the rhythms, toying with the tunes, transforming even a tune so locked into its trite time as "Mr. Sandman" into a stimulating excursion. Indeed, O'Day's freewheeling phrasing becomes downright sexy on "That's Your Red Wagon" and Dave Frishberg's delicious parody of a spoiled honeybunch, "Peel Me a Grape." Also, thanks to Taylor's obsession with good engineering and tasteful applications of reverb, O'Day's voice sounds much fuller and more attractive in his productions than on her Norman Granz-produced albums. ~Richard S. Ginnell

Time For 2

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Jim Rotondi - Blues For Brother Ray

Bitrate: MP3@320K/s
Time: 51:46
Size: 118.5 MB
Styles: Post bop
Year: 2009
Art: Front

[6:06] 1. What'd I Say
[5:56] 2. Baby, It's Cold Outside
[5:11] 3. Brother Ray
[5:44] 4. Cry Me A River
[6:59] 5. One Mint Julep
[7:22] 6. Makin' Whoopee
[8:21] 7. Lonely Avenue
[6:04] 8. Georgia On My Mind

Jim Rotondi isn't the first jazz artist to pay tribute to Ray Charles. Singer Roseanna Vitro, for example, paid tribute to the soul icon on her 1997 session Catchin' Some Rays: The Music of Ray Charles. But it is safe to say that paying tribute to Charles isn't an idea that has been beaten to death in the jazz world; there haven't been nearly as many jazz tributes to Charles as there have been jazz tributes to Cole Porter, Irving Berlin, Harold Arlen, or George Gershwin. And on Blues for Brother Ray, Rotondi offers a hard bop/post-bop instrumentalist's take on Charles' repertoire. Joining Rotondi on this 52-minute CD are tenor saxophonist Eric Alexander, guitarist Peter Bernstein, organist Mike LeDonne, and drummer Joe Farnsworth; because the album prominently features an organist and focuses on songs associated with a major R&B legend, one naturally expects to hear some soul-jazz -- and sure enough, the soul-jazz factor is quite strong on groove-oriented but improvisatory performances of "Lonely Avenue" (which absolutely oozes with blues feeling), "What'd I Say," "One Minute Julep," and "Makin' Whoopee." But Rotondi goes for more of a post-bop approach on "Cry Me a River," which finds LeDonne's organ playing taking on a Larry Young-minded quality (as opposed to the Jimmy Smith/Jack McDuff/Richard "Groove" Holmes aesthetic LeDonne usually favors on Blues for Brother Ray). And "Georgia on My Mind" is a major surprise; instead of performing the Hoagy Carmichael standard as a slow ballad, Rotondi transforms it into ultra-fast bop. A consistently engaging acknowledgement of Charles' legacy, Blues for Brother Ray is easily one of the best albums in Rotondi's catalog. ~Alex Henderson

Blues For Brother Ray

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Duke Pearson - Bag's Groove

Bitrate: MP3@320K/s
Time: 45:18
Size: 103.7 MB
Styles: Hard bop, Piano jazz
Year: 1961/1987
Art: Front

[4:42] 1. I'm An Old Cowhand (From The Rio Grande, Take 5)
[5:24] 2. Say You're Mine (Take 4)
[4:47] 3. Le Carrousel (Take 3)
[5:45] 4. Exodus (Take 1)
[4:59] 5. Bags Groove (Take 1)
[5:28] 6. Jeannine
[4:29] 7. I'm An Old Cowhand (Take 3)
[5:27] 8. Say You're Mine (Take 3)
[4:14] 9. Le Carrousel (Alternate Take)

Pianist Duke Pearson sounds a lot like Bud Powell in spots during this trio outing with bassist Thomas Howard and drummer Lex Humphries (particularly on "I'm an Old Cowhand") but shows more individuality in his writing. His most famous song "Jeannine" is heard in one of its earliest versions and Pearson's other two originals "Say You're Mine" and "Le Carrousel" are both somewhat memorable. For the CD reissue of Duke Pearson's third trio session in two years, the original six-song program is augmented by three previously unreleased alternate takes. Recomended for straightahead jazz collectors. ~Scott Yanow

Bag's Groove

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Lee Morgan - The Rumproller

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 41:27
Size: 95,7 MB
Art: Front

(10:25)  1. The Rumproller
( 9:17)  2. Desert Moonlight
( 6:52)  3. Eclipso
( 7:19)  4. Edda
( 7:31)  5. The Lady

A great album by Lee Morgan  and one not to pass up! The Rumproller often gets too easily lumped next to The Sidewinder because of an obvious title and cover similarity to that hit record but like that one, the album's far more than jazz cliche – and shows Lee Morgan to be one of the greatest jazz musicians of the 60s. The set starts off with the title cut, "The Rumproller" hard-wailing soul bop, in the manner of Lee's most popular work but then it easily flows into more sensitive material that has a freer, lyrical feel like the great original tune "Eclipso" and Wayne Shorter's "Edda" both of which are superb. Lee is astounding, as always, on trumpet and the rest of the group includes the great Ronnie Matthews on piano, plus Joe Henderson, Victor Sproles, and Billy Higgins. (80s DMM pressing. Cover has some sticker residue, a number of creases, and a small tear at the bottom of the spine.) https://www.dustygroove.com/item/7557

Personnel:  Lee Morgan – trumpet;  Joe Henderson - tenor saxophone;  Ronnie Mathews – piano;  Victor Sproles – bass;  Billy Higgins - drums

The Rumproller

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Alan Broadbent Trio - Moment's Notice

Styles: Piano Jazz

Year: 2007

File: MP3@320K/s

Time: 56:10

Size: 130,3 MB

Art: Front

(6:27)  1. Flamingo

(6:13)  2. Marmaduke

(4:56)  3. Soul Eyes

(5:12)  4. Chi Chi

(7:11)  5. Willow Weep for Me

(4:55)  6. Lady Love

(6:44)  7. My Old Flame

(6:30)  8. Along Came Betty

(7:58)  9. Moment's Notice | Naima

In person, in bands like Charlie Haden’s Quartet West, Alan Broadbent can be a startling piano player, capable of impulsive outbursts. He makes damn fine piano trio records, one after the other, but they only hint at his live persona. They are more conservative, and more about his exceptional skill level, which is able to translate even momentary creative reflexes into something pianistic and elegant. His tight trio here is his regular working Los Angles-based unit, with bassist Putter Smith and drummer Kendall Kay. The overall mood is one of reflective quietude, even on headlong lines like Charlie Parker’s “Marmaduke” and Coltrane’s title track.Broadbent is a special ballad player. His rendering of Mal Waldron’s “Soul Eyes” communicates fervent adoration. He touches in the parameters of “My Old Flame” in careful, significant chords and spare right-hand gestures that eventually become long twisting lines like meandering thoughts. “Willow Weep for Me” is a halting waltz, a contemplation that almost sounds too private to be shared. One complaint: Smith should take a vow of verbal silence when he solos. His mutterings are not only distracting, they sound slightly demented.~Thomas Conrad http://jazztimes.com/articles/21215-moments-notice-alan-broadbent

Moment's Notice

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Richie Cole - New York Afternoon: Alto Madness

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 34:38
Size: 79,8 MB
Art: Front

(5:38)  1. Dorothy's Den
(4:05)  2. Waltz For A Rainy Be-Bop Evening
(6:52)  3. Alto Madness
(4:43)  4. New York Afternoon
(3:12)  5. It's The Same Thing Everywhere
(4:59)  6. Stormy Weather
(5:07)  7. You'll Always Be My Friend

This Muse album features the group that altoist Richie Cole and the late singer Eddie Jefferson co-led in the mid-'70s. They had a mutually beneficial relationship, with Cole learning from the older vocalist and Jefferson gaining extra exposure from associating with the popular young saxophonist. Their spirited set, which has two Jefferson vocals, is highlighted by "Waltz for a Rainy Be-Bop Evening," "New York Afternoon," "Stormy Weather" and "Alto Madness."~Scott Yanow http://www.allmusic.com/album/new-york-afternoon-alto-madness-mw0000308734

Personnel: Richie Cole (alto saxophone); Eddie Jefferson (vocals); Vic Juris (guitar); Mike Tucker (piano, electric piano); Rick Laird (electric bass); Eddie Gladden (drums); Ray Mantilla (percussion).

New York Afternoon: Alto Madness

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Jimmy Witherspoon - 'Spoon / Hey, Mrs. Jones

Bitrate: MP3@320K/s

Time: 63:51

Size: 146.2 MB

Styles: Urban blues/Jazz vocals

Year: 2015

Art: Front

[2:45] 1. Lover Come Back To Me

[2:24] 2. A Blues Serenade

[2:43] 3. Do Nothin' Till You Hear From Me

[2:47] 4. Ain't Misbehavin'

[2:46] 5. We'll Be Together Again

[2:45] 6. I'll Always Be In Love With You

[2:12] 7. Just A Sittin' And A Rockin'

[2:49] 8. Just One More Chance

[2:32] 9. Music, Maestro, Please

[3:28] 10. It Only Happens Once

[2:57] 11. I'm Beginning To See The Light

[3:28] 12. Don't Worry 'bout Me

[2:19] 13. Hey, Mrs. Jones

[2:30] 14. In The Dark

[2:34] 15. Tanya

[2:10] 16. I Ain't Mad At You, Pretty Baby

[2:18] 17. Have Faith

[2:17] 18. Lovey Dovey

[3:08] 19. I Don't Know

[2:22] 20. Warm Your Heart

[2:21] 21. Wee Baby Blues

[2:45] 22. If You Live The Life, You Pay The Price

[2:31] 23. Pink Champagne

[2:49] 24. The Masquerade Is Over

Twofer: Spoon + Hey, Mrs. Jones (2 LPs on 1 CD). Jimmy Witerspoon (vcl), with Bob Florence & H.B.Barnum Orchestras feat. Gerald Wilson, Conrad Gozzo (tp), Si Zentner, Frank Rosolino (tb), Lanny Morgan (as), Teddy Edwards, Ben Webster (ts), Gerry Wiggins (p), Al Viola (g), Jimmy Bond (b), Earl Palmer (d).

Jimmy Witherspoon was more than just a pitch-perfect blues belter, able to bend a note or a phrase with great expressiveness, with the attack and blues feeling to stamp his individuality on the idiom. He was also blessed with the musicality, taste, sheer jazz feel and lyric smoothness that allowed him to perform persuasively in more sophisticated settings. Both sides of his musical personality are encompassed in two late-50s, early-60s albums made in stellar company. The first, Spoon, was produced by David Axelrod in 1959 for Hollywoods HiFi Records, but the label cancelled its jazz series before the album came out. Spoon wouldnt see the light until 1961, when Reprise took over the master and released it. It was a great two-date session featuring a swinging all-star orchestra arranged and conducted by Bob Florence, and with such soloists as Teddy Edwards, Gerald Wilson, Lanny Morgan and Gerry Wiggins.

Reprise later recorded Hey, Mrs. Jones!, giving Witherspoons forceful, vigorous and exuberant voice an excellent backing by the fresh, deft arrangements of H.B. Barnum. In a wide-ranging program strings and rhythm feature on some pieces, and a brassy big band on others, with Spoons vocals garnished by good solos from tenors Harold Land and Ben Webster. Together, these albums amply show the range of one of the greatest of all blues singers.

'Spoon Mrs. Jones    

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Ben Sidran - Nick's Bump

Bitrate: MP3@320K/s

Time: 48:08

Size: 110.2 MB

Styles: Smooth jazz

Year: 2003

Art: Front

[3:28] 1. Little Sherry

[4:34] 2. Cryin' Blues

[7:11] 3. Black Jack

[5:01] 4. Blue Panther

[0:20] 5. The Cats

[5:57] 6. Zambia

[5:07] 7. Mean Greens

[5:50] 8. Listen Here

[6:31] 9. Blue Minor

[4:04] 10. Nick's Bump

Groove-oriented jazz didn't start with the organ combos and soul-jazz groups of the '60s and '70s; plenty of grooving occurred with Dixieland in the '10s and '20s and swing in the '30s and early to mid-'40s. But soul-jazz did remind the jazz world that it was still OK for an improviser to groove -- that not everything had to be as complex and demanding as John Coltrane's "Giant Steps" or Sonny Rollins' "Oleo." And those soul-jazz and jazz-funk grooves of the '60s and '70s continue to hold up well after all these years, which is why Ben Sidran celebrates that era on this 2003 date. Although Sidran is known for his singing, he favors an instrumental setting on Nick's Bump; this time, Sidran uses the Hammond organ and the electric piano to get his points across -- and he savors the funkier side of post-swing jazz whether he is embracing Sonny Clark's "Blue Minor," Donald Byrd's "Black Jack," or three Eddie Harris compositions ("Listen Here," "Mean Greens," and "Cryin' Blues"). If Nick's Bump sounds dated, it is dated in the positive sense -- dated as in remembering how rewarding a particular era was and being faithful to the spirit of that era. Nick's Bump recalls a time when soul-jazz players realized that jazz was losing more and more listeners to R&B and rock -- and that the only way to win over those Marvin Gaye, Rolling Stones, and James Brown fans was to groove and be accessible. Soul-jazz, unfortunately, didn't restore the mass appeal that jazz enjoyed during the Great Depression and World War II, but it was a noble effort -- one that Sidran happily remembers on Nick's Bump, which falls short of essential but is still an infectious, enjoyably funky demonstration of what he can do in an instrumental setting. ~Alex Henderson

Nick's Bump

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Betty Carter - I'm Yours, You're Mine

Bitrate: MP3@320K/s
Time: 53:43
Size: 123.0 MB
Styles: Vocal jazz
Year: 1996
Art: Front

[ 7:40] 1. This Time
[ 9:33] 2. I'm Yours, You're Mine
[ 6:27] 3. Lonely House
[ 7:42] 4. Close Your Eyes
[ 7:15] 5. Useless Landscape
[ 4:48] 6. East Of The Sun
[10:17] 7. September Song

I'm Yours, You're Mine is a 1997 studio album by the American jazz singer Betty Carter. Recorded in January 1996, this was the last album that Carter recorded before her death in February 1998.

Howard Reich, writing in the Chicago Tribune said that "No doubt Betty Carter's singing is an acquired taste, but to those who have acquired it, she's a uniquely appealing artist. The elongated lines, exotic colors and unusual ornaments she brings to every cut on this recording...attest to the singular nature of Carter's singing.

I'm Yours, You're Mine

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Illinois Jacquet - Bosses Of The Ballad: Illinois Jacquet And Strings Play Cole Porter

Bitrate: MP3@320K/s
Time: 75:01
Size: 171.8 MB
Styles: Saxophone jazz
Year: 1965/2005
Art: Front

[2:35] 1. I Love You
[6:16] 2. Las Vegas Blues
[2:35] 3. Get Out Of Town
[4:30] 4. Harlem Nocturne
[6:43] 5. Can't We Be Friends
[3:15] 6. So In Love
[5:06] 7. Achtung
[4:04] 8. I Concentrate On You
[5:56] 9. Have You Met Miss Jones
[3:27] 10. You Do Something To Me
[3:50] 11. Ev'ry Time We Say Goodbye
[5:42] 12. Lullaby Of The Leaves
[3:15] 13. Use Your Imagination
[3:26] 14. All Through The Night
[3:12] 15. Begin The Beguine
[3:20] 16. It's All Right With Me
[3:27] 17. Do I Love You
[4:11] 18. I've Got You Under My Skin

Bossess of the Ballad (subtitled Illinois Jacquet and Strings Play Cole Porter) is an album by saxophonist Illinois Jacquet recorded in 1964 and released on the Argo label featuring Cole Porter compositions performed by Jacquet and an orchestra.

Bosses Of The Ballad: Illinois Jacquet Plays Cole Porter

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