Thursday, March 31, 2016

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

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

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


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


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


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

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

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

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

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