Terry Blaine, Mark Shane, Allan Vache - Swingin' The Benny Goodman Songbook

Bitrate: MP3@320K/s
Time: 65:35
Size: 150.1 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[3:09] 1. After You've Gone
[4:11] 2. You Turned The Tables On Me
[3:17] 3. I Don't Know Why
[3:21] 4. Junk Man
[4:30] 5. Body And Soul
[3:08] 6. Would You Like To Take A Walk
[3:53] 7. Sweet Lelilani
[4:00] 8. More Than You Know
[3:06] 9. Miss Brown To You
[5:01] 10. I Wished On The Moon-Moonglow
[3:57] 11. Memories Of You
[2:48] 12. Lulu's Back In Town
[3:58] 13. Low Down
[4:50] 14. Time On My Hands
[3:37] 15. You Can't Stop Me From Loving You
[4:12] 16. Goodbye
[4:26] 17. On The Sunny Side Of The Street

Singer Terry Blaine, pianist Mark Shane, and clarinetist Allan Vaché had performed as a trio for several years at the Sacramento Jazz Jubilee before they decided to tour as a trio and perform music from the repertoire of Benny Goodman. It was a logical move for Vaché can closely emulate Goodman, Shane's main piano influence is Teddy Wilson, and Blaine is flexible enough to hint at Helen Ward, Martha Tilton, and Mildred Bailey while still sounding like herself. While most of these songs are familiar items played by Goodman regularly sometime during 1935-1939, there are a few ringers such as "I Don't Know Why," "Junk Man" (which Goodman recorded with Mildred Bailey in 1934), "Would You Like to Take a Walk," "Cause if Feel Lowdown," and "You Can't Stop Me From Loving You" plus a couple numbers that Goodman recorded with Billie Holiday. While most of the selections are taken as trios, "Sweet Leilani" and "Time on My Hands" are played as instrumentals and Vaché sits out on the duo rendition of "Cause I Feel Low Down." The music overall is quite delightful and would have been enjoyed by the King of Swing. This is one of Terry Blaine's finest recordings to date although all are quite worthwhile. ~Scott Yanow

Swingin' The Benny Goodman Songbook

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Erroll Garner - The Complete Concert By The Sea (3-Disc Set)

There’s no way Erroll Garner could have foretold, from his perch at the piano on a Monday evening almost exactly 60 years ago, that he was creating one of the most popular albums in jazz history. He probably didn’t even know tape was rolling.

But as he led his trio in a converted school auditorium in Carmel-by-the-Sea, Calif., Garner, 34, locked into a high creative gear, captivating an audience that wasn’t shy about showing its approval. “Everybody was so beautiful,” he said after the concert, which stretched past an hour and a half. Had there been a way to go longer, he added, “I would have been glad to, sincerely, because they made me feel like playing.”

“The Complete Concert by the Sea,” a new three-CD boxed set from Sony Legacy and Octave Music Publishing, greatly expands and improves on the original album. Produced by Ms. Geri Allen and Steve Rosenthal, it includes 11 previously unissued tracks from the concert — doubling the amount of music — along with long introductions by the promoter, Jimmy Lyons, and that postgame interview by Thornbury. A windfall and in some ways a revelation, the boxed set is just the first sign of a major archival effort around Garner that seems likely to raise his stature in the jazz pantheon, and to reaffirm his place in the lineage of jazz pianists.

Album: The Complete Concert By The Sea (Disc 1)
Bitrate: MP3@320K/s
Time: 59:47
Size: 136.9 MB
Styles: Piano jazz
Year: 2015

[0:37] 1. Announcement (Jimmy Lyons)
[5:04] 2. Night And Day
[5:13] 3. Spring Is Here
[4:23] 4. I'll Remember April
[4:45] 5. The Nearness Of You
[3:22] 6. Where Or When
[4:12] 7. Sweet And Lovely
[4:17] 8. Lullaby Of Birdland
[3:52] 9. Mambo Carmel
[3:48] 10. Teach Me Tonight
[3:56] 11. Will You Still Be Mine
[3:30] 12. I Cover The Waterfront
[4:37] 13. Bernie's Tune
[4:15] 14. How Could You Do A Thing Like That To Me
[3:49] 15. It's All Right With Me

The Complete Concert By The Sea (Disc 1)

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Album: The Complete Concert By The Sea (Disc 2)
Bitrate: MP3@320K/s
Time: 41:05
Size: 94.1 MB
Styles: Piano jazz
Year: 2015

[2:47] 1. 2nd Announcement (Jimmy Lyons)
[4:18] 2. They Can't Take That Away From Me
[6:40] 3. Autumn Leaves
[2:39] 4. S'wonderful
[6:03] 5. Laura
[3:28] 6. Red Top
[4:55] 7. April In Paris
[7:42] 8. Caravan
[2:29] 9. Erroll's Theme

The Complete Concert By The Sea (Disc 2)

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Album: The Complete Concert By The Sea (Disc 3)
Bitrate: MP3@320K/s
Time: 57:58
Size: 132.7 MB
Styles: Piano jazz
Year: 2015
Art: Front

[ 4:22] 1. I'll Remember April
[ 3:42] 2. Teach Me Tonight
[ 3:54] 3. Mambo Carmel
[ 6:33] 4. Autumn Leaves
[ 3:31] 5. It's All Right With Me
[ 3:23] 6. Red Top
[ 4:55] 7. April In Paris
[ 4:15] 8. They Can't Take That Away From Me
[ 4:14] 9. How Could You Do A Thing Like That To Me
[ 3:11] 10. Where Or When
[ 1:45] 11. Erroll's Theme
[14:08] 12. Post Concert Interview

The Complete Concert By The Sea (Disc 3)

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Art Pepper - Art in L.A. Cd 1 And Cd 2

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 49:46
Size: 117,1 MB
Art: Front

Cd 1
(6:59)  1. Whims of Chambers
(6:03)  2. Bijou The Poodle
(3:40)  3. Why Are We Afraid
(7:00)  4. Softly, As In A Morning Sunris
(7:19)  5. Rhythm-A-Ning
(5:07)  6. Diane
(6:58)  7. Gettin' Together
(6:37)  8. The Way You Look Tonight

Cd 2
Time: 36:59
Size: 87,8 MB

(3:39)  1. The Breeze And I
(7:45)  2. Without A Song
(4:14)  3. Long Ago And Far Away
(4:29)  4. Fascinatin' Rhythm
(5:48)  5. I Can't Believe That You're In
(4:40)  6. Webb City
(6:20)  7. Begin The Beguine

Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity.

After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict in that period. The 1950s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also spent two periods in jail due to drug offenses during 1953-1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the 1960s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers.

He recorded with Buddy Rich in 1968 before getting seriously ill and rehabilitating at Synanon (1969-1971). Art Pepper began his serious comeback in 1975 and the unthinkable happened. Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form but topped himself with intense solos that were quite unique; he also enjoyed occasionally playing clarinet. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. When Art Pepper died at the age of 56, he had attained his goal of becoming the world's great altoist. ~ Scott Yanow  http://www.allmusic.com/artist/art-pepper-mn0000505047/biography

Art in L.A. Cd 1 And Cd 2

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Eric Alexander - Extra Innings

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 62:44
Size: 144,0 MB
Art: Front

(6:29)  1. Extra Innings
(6:18)  2. I Remember Britt
(7:03)  3. A Nightingale Sang In Berkley Square
(8:18)  4. Edward Lee
(8:21)  5. Sail Away
(7:24)  6. Easy Walker
(5:25)  7. You Leave Me Breathless
(6:06)  8. No Smoking
(7:17)  9. Come Sunday

A fine straight-ahead jazz saxophonist, Eric Alexander grew up in the state of Washington. He initially attended Indiana University, studying classical music as an altoist. However, he soon discovered jazz, switched to the tenor, and transferred to William Paterson College in New Jersey. After graduating, he moved to Chicago and gained important experience touring with Charles Earland while also becoming a fixture in local clubs. In 1991, Alexander placed second at the Thelonious Monk Institute's saxophone competition, finishing just behind Joshua Redman. In 1992, he relocated to New York and made his recording debut as a leader that year with a set for Criss Cross. Alexander was set to join Art Taylor's Wailers in 1995 when the drummer passed away. 

Influenced by Dexter Gordon and George Coleman, but gradually developing a more original sound, Alexander has also worked with Mel Rhyne, Cecil Payne, Kenny Barron, and Eddie Henderson, among others. Alexander recorded two additional sets as a leader for Criss Cross, was part of their Tenor Triangle session, and cut several heated CDs for Delmark, including one that he co-led with veteran tenor Lin Halliday. His 11th album, Man with a Horn, was licensed for U.S. release in 1999 by Milestone, which also issued the follow-up, The First Milestone, in 2000. 

Since that time, Alexander has kept busy releasing a steady slew of albums including Summit Meeting in 2002, Dead Center in 2004, Battle: Live at Smoke with alto saxophonist Vincent Herring, Temple of Olympic Zeus in 2007, Prime Time: In Concert in 2008, Revival of the Fittest in 2009, and Don't Follow the Crowd in 2011. In 2012, Alexander once again paired up with equally adept saxophonist Herring for the concert album Friendly Fire: Live at Smoke. Two years later, he paid homage to his adopted hometown of Chicago with the album Chicago Fire. ~ Scott Yanow  http://www.allmusic.com/artist/eric-alexander-mn0000184165/biography

Personnel:  Eric Alexander - Tenor Saxophone;  Harold Mabern – Piano;  Peter Washington – Bass;  Joe Farnsworth - Drums

Extra Innings

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Lola Albright - Dreamsville

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 36:37
Size: 84,4 MB
Art: Front

(3:11)  1. Two Sleepy People
(3:23)  2. Dreamsville
(3:09)  3. We Kiss In A Shadow
(3:19)  4. Brief And Breezy
(2:47)  5. You're Driving Me Crazy !
(2:42)  6. They Didn't Believe Me
(2:39)  7. Soft Sounds
(2:33)  8. Slow And Easy
(3:53)  9. It's Always You
(2:51) 10. Straight To Baby
(3:06) 11. Just You, Just Me
(2:58) 12. Sorta Blue

Fans of Peter Gunn know Lola Albright as nightclub singer Edie Hart on that classic Blake Edwards TV series. This crossover album shows that Albright's considerable charm and talent were strong enough to merit her (sadly short-lived) recording career. Albright has a sexy, breathy, and jazz-inflected vocal style that is comparable to Peggy Lee and Julie London, and Henry Mancini's cool West Coast-style charts complement her low-key voice perfectly. One of the real pleasures of this album is hearing the vocal versions to so many of the songs from Mancini's hugely successful Peter Gunn instrumental album mixed in with the usual supper-club suspects. With the noted exception of the title track, none of these Mancini vocal versions went on to become widely recorded, which is probably explained by their beatnik eccentricity (molded to fit the black-turtleneck, bongos, and espresso style of Mancini's music). The most eccentric of these is saved for last, as Sammy Cahn's lyric for "Sorta Blue" casts Albright as a depressive cooing about how her melancholia is so deep that even booze and drugs can't lift her dashed spirits. This album is a time capsule for sure, but it's a great one and it deserves to be reissued on CD, just as Lola Albright's acting career merits a second look. ~ Nick Dedina  http://www.allmusic.com/album/dreamsville-mw0000897077

Dreamsville

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Laurindo Almeida - The Look of Love

Styles: Guitar Jazz, Latin Jazz
Year: 1968
File: MP3@320K/s
Time: 30:12
Size: 69,5 MB
Art: Front

(2:28)  1. Windy
(3:06)  2. Angel Eyes
(2:26)  3. I Love You
(2:36)  4. Up, Up and Away
(3:12)  5. Don't Sleep in the Subway
(2:27)  6. The Look of Love
(3:13)  7. When I Look in Your Eyes
(2:54)  8. Alfie
(2:47)  9. A Beautiful Friendship
(2:26) 10. Simplicidade
(2:33) 11. My Own True Love

During a long and uncommonly productive career, Brazilian guitarist Laurindo Almeida achieved a ubiquity in popular music that has yet to be fully recognized. Largely responsible for the Brazilian/North American "samba jazz" that would eventually catch on in the form of a musical trend known as bossa nova, he played behind dozens of well-known pop vocalists and improved the overall texture of many a studio production ensemble. One credible estimate states that Almeida contributed to no less than 800 film soundtracks (among them The Old Man and the Sea, How the West Was Won, and Breakfast at Tiffany's), as well as countless TV scores. He also authored a series of guitar instruction books that are still in use worldwide. A master improviser and a skilled arranger as well as a brilliant interpreter of classical repertoire, he left for posterity superb recordings of works by J.S. Bach, Fryderyk Chopin, Claude Debussy, and Joaquín Rodrigo as well as a host of Brazilian composers including Heitor Villa-Lobos, Radamés Gnattali, and Alfredo Vianna. Almeida's own chamber compositions include a concerto for guitar and orchestra.

Laurindo Jose de Araujo Almeida Nobrega Neto was born in the village of Prainha near the Port of Santos in the state of São Paulo, Brazil, on September 2, 1917. He received his first musical instruction from his mother, a classically trained pianist, and credited her fondness for the music of Fryderyk Chopin as a primary influence. After observing his sister being given guitar lessons, "Lindo" borrowed her instrument and retreated to a barn where he taught himself to play entirely by ear, transferring what he'd heard his mother play on the piano to the strings of the guitar. Many years later he would declare his preference for the direct intimacy of the guitar as opposed to the more percussive piano. By the age of nine he had become uncommonly skilled and was well on the way to becoming a guitar virtuoso; it was then that he lost his father to typhoid fever. At 12 he relocated to São Paulo with his brother. He joined the Revolutionary Army at 15 and was wounded in a civil conflagration. While recuperating in a hospital he met Garoto, a nationally respected guitarist who was visiting to perform for the patients. Within a few years, Almeida would perform and record extensively with Garoto.

In 1935 Almeida moved to Rio de Janeiro, where he teamed up with singer and tenor guitarist Nestor Amaral and began working in radio while becoming active as a songwriter, arranger, and multi-instrumentalist and performing regularly at the Casino da Urea. He composed folk songs, fox trots, sambas, choros, waltzes, and comedic airs, and worked with a broad range of artists including choro master Pixinguinha. He also collected 78-rpm jazz records, and was especially fond of the way Fats Waller played the piano. In 1936, at the age of 19, he got a job (playing banjo for the most part so as to be heard) for half a year on the Cuyaba, a cruise ship that docked in every country along the coast of Europe from Spain to Germany. While visiting Paris he was able to hear Django Reinhardt and Stéphane Grappelli in person. In 1941 he played the Casino Copacabana, and switched over to the Casino Balneario da Urca the following year. It was there that he met a Portuguese ballerina named Natalia (Maria Miguelina Ferreira Ribeiro) in 1944 and married her shortly afterwards. More... ~ arwulf arwulf  http://www.allmusic.com/artist/laurindo-almeida-mn0000761478/biography

The Look of Love

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