Jay McShann - Still Jumpin' The Blues

Bitrate: 320K/s

Time: 62:21

Size: 142.8 MB

Styles: Piano blues-jazz, Jump blues

Year: 1999

Art: Front

[ 4:32] 1. Goin' To Chicago

[ 4:19] 2. Moten Swing

[ 4:55] 3. On The Sunny Side Of The Street

[ 3:40] 4. Ain't Nobody's Business

[ 3:06] 5. Come On Over To My House

[ 3:29] 6. Trouble In Mind

[ 4:11] 7. Say Forward, I'll March

[ 6:53] 8. Backwater Blues

[ 4:51] 9. She's Got It

[ 4:31] 10. Hootie's K.C. Christmas Prayer

[17:48] 11. Interview

At age 83, pianist/vocalist Jay McShann was still at the top of his game and providing many lessons for the younger "swing" cats and kittens. He is the epitome of what can be done when jazz and blues are mixed equally, especially when the fun factor is liberally added in. While some might find this typical, many others should revel in the sound of one of this music's last living legends who is still doing it, and doing it very well at that. The chemistry between McShann and guitarist/session leader Duke Robillard is considerable and undeniable, and makes Still Jumpin' the Blues enjoyable throughout. With such solid support from Robillard and the band, McShann has nothing to worry about. Everything you might want is here: classic versions of "Goin' to Chicago," "Ain't Nobody's Business," and "Trouble In Mind"; a nice rearrangement with tempo shift from mellow to mid-tempo on "Sunny Side of the Street"; Maria Muldaur's sultry singing on "Come on Over to My House," and especially the Bessie Smith evergreen "Backwater Blues"; wonderful instrumentals like "Moten Swing" and "Say Forward, I'll March"; and even a little Hawaiian slide accenting "Hootie's K.C. Christmas Prayer." The disc ends with a short solo piano version of "Georgia on My Mind," followed by a lengthy interview with McShann, explaining his nickname "Hootie," happenings in Kansas City, and other topics. Recordings this precious, historical and relevant cannot be dismissed. Instead they should be celebrated, as should the career of McShann, a most enduring figure in American music. His signature spare piano, with its bluesy flourishes, and his slightly mushy vocal style are as distinctive as any, and come shining through on this exceptional document of one of our true musical treasures. ~Michael G. Nastos

Still Jumpin'The Blues 

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Martin Litton - Jazz Piano

Bitrate: MP3@320K/s
Time: 65:57
Size: 151.0 MB
Styles: Piano jazz
Year: 1993
Art: Front

[3:28] 1. Somebody Loves Me
[4:58] 2. Cherokee
[6:28] 3. Black And Blue
[4:03] 4. Rockin' In Rhythm
[3:04] 5. Liza
[4:21] 6. Autumn In New York
[3:36] 7. When Somebody Thinks You're Wonderful
[3:27] 8. Forever Afternoon
[3:01] 9. California Here I Come
[2:30] 10. Manhattan
[4:43] 11. Until The Real Thing Comes Along
[3:28] 12. Alligator Crawl
[2:52] 13. But Beautiful
[5:51] 14. Jitterbug Waltz
[2:59] 15. Viper's Drag
[2:52] 16. The Sheik Of Araby
[4:07] 17. To A Wild Rose

Martin Litton (born 14 May 1957) is a British jazz pianist born in Grays, Essex, UK, most noteworthy for his work with Kenny Ball from 1983-1985 on his British tours and for recording sessions with George Chisholm. Litton has worked with various musicians over his career, including Humphrey Lyttelton, Wally Fawkes and Digby Fairweather.

Litton has been described as a stride piano expert. His Gramercy Five band recreated the small group swing style of Artie Shaw.

Jazz Piano

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Dinah Washington - In The Land Of Hi-Fi

Bitrate: MP3@320K/s
Time: 30:35
Size: 70.0 MB
Styles: Standards, Blues-jazz vocals
Year: 1956/2007
Art: Front

[3:06] 1. Love Is Here To Stay
[2:08] 2. Let Me Love You
[2:05] 3. There'll Be A Jubilee
[2:18] 4. My Ideal
[3:03] 5. I've Got A Crush On You
[2:35] 6. Let's Do It (Let's Fall In Love)
[2:34] 7. Nothing Ever Changes My Love For You
[3:16] 8. What'll I Tell My Heart
[2:26] 9. On The Sunny Side Of The Street
[2:40] 10. Say It Isn't So
[2:15] 11. Sometimes I'm Happy
[2:04] 12. If I Were A Bell

As with most Dinah Washington records, In the Land of Hi-Fi includes an eclectic program of ballads and swingers, all of which become prime vehicles for the singer's dramatic, blues-tinged vocal stylings. Framed by Hal Mooney's mix of string-laden arrangements and big-band charts, Washington imparts both tenderness and passion to slow numbers like "I've Got a Crush on You" and "Say It Isn't So," while getting into some charged vocal buildups on swingers like "Our Love Is Here to Stay" and "If I Were a Bell." In addition to the gospel-imbued number "There'll Be a Jubilee," Latin-tinged cuts like the beautiful bolero-style "Let Me Love You" and the lounge mambo "Nothing Ever Changes My Love for You" provide nice contrast to this jazz and pop set. Topped off with fine contributions by alto saxophonist Cannonball Adderley and pianist Junior Mance, In the Land of Hi-Fi is yet another impressive set among the many fine EmArcy records Washington cut in the '50s. ~Stephen Cook

In The Land Of Hi-Fi

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Asleep At The Wheel - Ride With Bob

Bitrate: MP3@320K/s
Time: 60:02
Size: 137.4 MB
Styles: Country, Western Swing
Year: 1999
Art: Front

[3:38] 1. Bob's Breakdown (Feat. Vince Gill)
[3:01] 2. New San Antonio Rose (Feat. Dwight Yoakam)
[3:31] 3. I Ain't Got Nobody (Feat. Don Walser)
[3:14] 4. Roly Poly (Feat. Dixie Chicks)
[3:25] 5. Heart To Heart Talk (Feat. Lee Ann Womack)
[3:22] 6. Cherokee Maiden (Feat. Ray Benson)
[2:40] 7. Maiden's Prayer (Feat. Squirrel Nut Zippers)
[3:13] 8. You're From Texas (Feat. Ray Benson)
[2:41] 9. Right Or Wrong (Feat. Reba McEntire)
[4:26] 10. Faded Love (Feat. Lyle Lovett)
[4:33] 11. St. Louis Blues (Feat. Merle Haggard)
[2:46] 12. End Of The Line (Feat. Jason Roberts)
[3:08] 13. Take Me Back To Tulsa (Feat.Clay Walker)
[5:51] 14. Milk Cow Blues (Feat. Ray Benson)
[2:57] 15. Stay All Night (Feat. Ray Benson)
[2:49] 16. Bob Wills Is Still The King (Feat.Clint Black)
[4:38] 17. Going Away Party (Feat. The Manhattan Transfer)

Asleep at the Wheel devoted its entire career to Western swing, which is commonly known as the music Bob Wills created. They became the standard bearers for the genre, making sure that it was still an integral part of the country music mainstream. Since their entire career feels like a living monument to Wills, it almost seems unnecessary for them to record tributes to the "King of Western Swing" -- that is, until you hear the records. Ride With Bob, their sequel to the award-winning Tribute to the Music of Bob Wills, has more guest appearances than its predecessor, but it's every bit as enjoyable. The fact of the matter is, Asleep at the Wheel played this music better than anybody else at the close of the century, and these are some of the greatest songs in popular music -- "New San Antonio Rose," "Roly Poly," "Cherokee Maiden," "Right or Wrong," "Faded Love," "Take Me Back to Tulsa," and "Stay All Night" always sound fresh, and the band draws out excellent performances from Dwight Yoakam, the Dixie Chicks, Ray Benson, Reba McEntire, Lyle Lovett and Shawn Colvin, Clay Walker, and Mark Chesnutt, respectively, on these songs. It's a testament to both the group and the songs that nobody here -- not the Squirrel Nut Zippers or Manhattan Transfer -- sounds out of place. This is warm, generous, rich music that's endlessly listenable, much like Wills himself. And the Clint Black-sung cover of Waylon Jennings' tribute "Bob Wills Is Still the King" is a nice touch. ~Stephen Thomas Erlewine

Ride With Bob

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Nat Adderley Quintet - Good Company

Styles: Trumpet Jazz
Year: 1994
File: MP3@320K/s
Time: 55:52
Size: 128,1 MB
Art: Front

(10:26)  1. Rwanda
( 5:14)  2. Sermonette
( 7:19)  3. Corcovado
( 8:14)  4. Rob's New Tune
( 5:32)  5. My Romance
( 6:21)  6. Unit Seven
( 6:55)  7. You Don't Kmow What Love is
( 5:48)  8. War Zone

Considering how late this was recorded in Nat Adderley's career, the cornetist sounds in surprisingly fine form throughout the sessions. There are individual features for altoist Antonio Hart (who ranges from Tranish on "Rwanda" to playing in a more Cannonball Adderley-oriented style on the older tunes) and the McCoy Tyner-inspired pianist Rob Bargad, so Adderley (who is showcased on "You Don't Know What Love Is") has opportunities to rest his chops. Among the other highlights are "Sermonette," "My Romance," and "Unit Seven." ~ Scott Yanow  http://www.allmusic.com/album/good-company-mw0000122731

Personnel:  Nat Adderley (trumpet); Antonio Hart (alto saxophone); Rob Bargad (piano); Walter Booker (bass); Jimmy Cobb (drums).

Good Company

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Mark Weinstein - Latin Jazz Underground

Styles: Flute Jazz
Year: 2014
File: MP3@320K/s
Time: 55:51
Size: 128,1 MB
Art: Front

(8:04)  1. Gregorio's Mood
(6:21)  2. Open or Close
(8:58)  3. Dance of the Tripedal
(7:40)  4. For Emilio
(7:59)  5. Tete's Blues
(5:52)  6. Nature Boy
(5:17)  7. Mellifluous Cacophony
(5:36)  8. Mark's Last Tune

Has flautist Mark Weinstein run out of ideas on how to merge various dialects of Latin jazz with other musical tongues? The answer is a resounding "no." Latin Jazz Underground finds Weinstein saluting the loft jazz scene of the '70s by tackling the work of jazz iconoclasts-turned-icons pianist Andrew Hill and saxophonists Ornette Coleman and Sam Rivers and like minded originals. That concept, in and of itself, doesn't distinguish this project, as plenty of people have traveled down those thorny paths, so the twist comes with the infusion of Afro-Cuban ideals. Such a marriage is a risky union, but one that ultimately works here. There's really no better person to attempt such a unique hybrid, as Weinstein is an expert at conflating Latin sounds and other styles. He was also around to observe and participate in the loft scene, working with trumpeter Bill Dixon when trombone, not flute, was his instrument of choice. Weinstein deserves the credit for realizing this project and coming up with the Afro-Cuban angle in the first place, but the initial idea to look back to the loft scene came from pianist Aruan Ortiz. He previously worked with Weinstein on one of the flautist's strongest releases El Cumbanchero (Jazzheads, 2011) and he does a killer job on this album.

Together, Weinstein and Ortiz have managed to do the near impossible: they've created common ground for rhythmically scintillating sounds and uncertain tones to walk hand-in-hand over. These two men prove to be expert bridge-builders, but they don't do all the heavy lifting. A special sort of rhythm section is required for a project that's so focused on a tight-loose duality. Here, it comes in the form of percussionist Roman Diaz , a player who's as happy upholding tradition as he is mutating it, drummer Gerald Cleaver, renowned for his ability to work both sides of the free-focused fence, and bassist Rahsaan Carter, an open-minded thinker who comfortably volleys between poles and ideas throughout. Latin Jazz Underground opens with Weinstein and Ortiz locked together on an angular head, introducing the concept of the day on Ortiz's "Gregorio's Mood." As the piece plays out, the expected unexpected arrives. Strict time evaporates and everybody is invested in the moment. Percussive underpinnings serve the music once things get back on track, but risk still runs through the piece until the very end. The modus operandi for the date is firmly established on this one.

The structure-meets-freedom aesthetic is deepened and broadened on Coleman's "Open Or Close," a stormier work complete with chanting. Ortiz gets a chance to please with some pummel-and-pounce pianisms, entering the arena as a gladiator of the keys. "Dance Of The Tripedal," the first of two Rivers pieces on the program, is set in motion by Carter's bass riff. The relationship between Weinstein's flute solo and Carter's bass line(s) comes into focus here, as Ortiz leaves a bit more space for this sonic meeting to take place. The pianist later joins Cleaver and Diaz, as all three carry out a rumble-versus-groove game below. As the program continues, Weinstein turns to his bass flute, serving as musical shaman on Hill's "For Emilio." A sense of impending danger informs Ortiz's "Tete's Blues," which is grounded by a slow-and-steady, back-and-forth bass line. Diaz's jittery clave underscores the journey while Cleaver simultaneously creates and breaks things up, allowing for Weinstein and Ortiz to do their respective thing(s) on top. "Nature Boy" finds Weinstein turning to his alto flute. The performance is loyal to a point, but a slight muddying of the harmonic waters helps to keep things interesting.

While this piece is far calmer than most of the other music, the murky, out-of-focus quality that surrounds the melody is in keeping with the general tone of the album. Rivers' "Mellifluous Cacophony" is tough to grab hold of at first, but things start to really gel when Ortiz, Carter and Cleaver interact. Cleaver-born chaos is met with a degree of calm from Weinstein and Carter on "Mark's Last Tune," which closes out the album. That encounter leads to a drum-and-percussion stampede which, in turn, leads to one of the most simple and tuneful episodes on the album. Praising the music that Weinstein makes here is easy, but his most admirable quality goes beyond music and art. He's a man who never stops growing and trying different things. In that respect, he's set an example that everybody could stand to learn from. ~ Dan Bilawsky  http://www.allaboutjazz.com/mark-weinstein-latin-jazz-underground-by-dan-bilawsky.php
 

Personnel: Mark Weinstein, concert flute, alto flute, bass flute; Aruan Ortiz: piano; Rahshaan Carter: bass; Gerald Cleaver: drums; Roman Diaz: percussion.

Latin Jazz Underground

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Clea Bradford - With Oliver Nelson & Clark Terry

Styles: Vocal, Trumpet And Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 34:18
Size: 80,1 MB
Art: Front

(3:36)  1. This Love Of Mine
(2:43)  2. This Can't Be Love
(2:52)  3. These Dues
(3:57)  4. Skylark
(3:59)  5. They Can't Take That Away From Me
(2:53)  6. If You But Knew
(2:47)  7. Somebody Loves Me
(2:59)  8. Willow Weep For Me
(4:29)  9. I'll Never Stop Loving You
(3:58) 10. I Cried For You

Vocals. Exuberant jazz and blues vocalist who had series of good albums released in '60s, enjoyed some success with Cadet in late '60s, though these were more soul-oriented records arranged by Richard Evans. She had more straight jazz sessions with Clark Terry, Oliver Nelson and others on Mainstream, Tru-Sound. ~ Ron Wynn  http://www.allmusic.com/artist/clea-bradford-mn0001161653/biography
 

Personnel: Clea Bradford, vocals;  Clark Terry, trumpet;  Oliver Nelson, tenor saxophone;  Patti Bown, piano;  Chauncey "Lord" Westbrook, guitar;  George Duvivier, bass; Bill English, drums.

With Oliver Nelson & Clark Terry

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Lisa Hilton - Nocturnal

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 51:40
Size: 119,5 MB
Art: Front

(3:28)  1. Nocturnal
(4:51)  2. A Spark in the Night
(5:50)  3. Seduction
(3:57)  4. Whirlwind
(4:31)  5. Willow Weep for Me
(4:36)  6. Where Is My Mind
(5:39)  7. Midnight Sonata Symphony of Blues
(4:56)  8. Midnight Sonata Desire
(4:27)  9. Midnight Sonata Midnight Stars
(4:56) 10. Twilight
(4:23) 11. An August Remembered

Acclaimed composer/pianist/band leader Lisa Hilton has completed her eighteenth release, Nocturnal with her most impressive band to date Hilton again on keys, with Antonio Sanchez/drums, Terell Stafford/trumpet, Gregg August/bass and J.D. Allen on tenor sax. It will be released January 22nd, 2016. The eleven tracks show a remarkable emotional depth and clarity from all band members with plenty of virtuosic moments. “We were trying to explore the multiple layers of human emotions musically,” Hilton explains. For lovers of tradition, the title track Nocturnal, Whirlwind and the classic, Willow Weep for Me allow for Stafford’s fluid trumpet and flugelhorn and Allen’s deep Detroit tenor tone to shine. The Latin flavored, A Spark in the Night, showcases Sanchez and August and their extensive Latin backgrounds in a catchy and appealing way, while Twilight is impressionistic. A surprise choice is The Pixies’ Where is my Mind? so simply stated then turning in another direction by the finale. It’s on the bluesy Seduction and the tender An August Remembered that Hilton’s flowing lines and melodic ideas are highlighted. Also included is Hilton’s Midnight Sonata for piano, bass and drums: I. Symphony of Blues II.

Desire, and III. Midnight Stars. Midnight Sonata merges a classical form with the freedom of American jazz and blues in a trans-genre style. Hilton was inspired by iconic American composers such as George Gershwin, Duke Ellington and Dave Brubeck, who also composed in classical forms. The result is appealing to both jazz and classical fans. Midnight Sonata was also written to communicate an emotional depth not normally found in sonatas. While the sonata form is in tact, Hilton and her trio used improvisation, blues, modal washes, shifting key centers, free jazz, impressionism and extended technique in creating a refreshing yet familiar vibe.  http://photos.allaboutjazz.com/gallery_image.php?id=159370

Personnel:  Lisa Hilton (piano);  Antonio Sanchez (drums);  Terell Stafford (trumpet);  Gregg August (bass);  J.D. Allen (saxophone)

Nocturnal

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