Victor Feldman's Generation Band - High Visibility

Styles: Piano And Marimba Jazz
Year: 1985
File: MP3@320K/s
Time: 41:30
Size: 95,6 MB
Art: Front

(5:26)  1. Cafe Lido
(5:07)  2. High Visibility
(5:42)  3. Brazilia
(4:03)  4. Candy Dance
(5:31)  5. Low Visibility
(5:08)  6. Downtown Dallas
(5:35)  7. China Blues
(4:54)  8. Seven Steps to Heaven

Victor Stanley Feldman (April 7, 1934 – May 12, 1987) was an English jazz musician, best known as a pianist and percussionist. He began performing professionally during childhood, eventually earning acclaim in the UK jazz scene as an adult. Feldman immigrated to the United States in the mid-1950s, where he continued working in jazz and also as a session musician with a variety of pop and rock performers. Feldman caused a sensation as a musical prodigy when he was "discovered", aged seven. His family were all musical and his father founded the Feldman Swing Club in London in 1942 to showcase his talented sons.[1] Feldman's first professional appearance was playing drums at No. 1 Rhythm Club as a member of the Feldman Trio with brothers Robert on clarinet and Monty on piano accordion. He featured in the films King Arthur Was a Gentleman (1942) and Theatre Royal (1943). In 1944 he was featured at a concert with Glenn Miller's AAAF band, as "Kid Krupa" (in reference to drummer Gene Krupa). His drums teacher Carlo Krahmer encouraged Feldman to play the vibraphone which he did first in the Ralph Sharon Sextet and later in the Roy Fox band. He worked in India in 1952 and 1953 in a band led by pianist Eddie Carroll. His vibraphone and conga drum playing were notable, but it was as a pianist that he became best known.https://en.wikipedia.org/wiki/Victor_Feldman

Personnel: Bass – Max Bennett;  Drums – Trevor Feldman;  Lyricon, Soprano Saxophone, Tenor Saxophone – Tom Scott;  Producer – Josh Feldman, The Generation Band;  Rhodes Piano, Acoustic Piano, Percussion, Vibes, Marimba, Synthesizer – Victor Feldman; Synthesizer – Joseph Conlan

High Visibility

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Teresa Brewer - What A Wonderful World

Styles: Jazz, Vocal
Year: 1989
File: MP3@320K/s
Time: 39:23
Size: 91,0 MB
Art: Front

(3:04)  1. What A Wonderful World
(4:04)  2. June Night
(4:15)  3. I Dream Of You
(5:03)  4. Just Imagine
(3:22)  5. Isn't It A Lovely Day?
(3:45)  6. I've Got A Feeling
(2:55)  7. Live Is Just A Bowl Of Cherries
(3:46)  8. On The Road Again
(3:50)  9. Come And Drive Me Crazy
(5:18) 10. My Heart Belongs To Daddy

A 1989 release of Brewer singing and being backed by Stephane Grappelli and Ruby Braff. I'd rather hear them.~Ron Wynn http://www.allmusic.com/album/what-a-wonderful-world-mw0000201527

Personnel: Teresa Brewer (vocals); Bob Haggart (whistling); Bucky Pizzarelli (guitar, acoustic guitar, electric guitar); John Bertoncini (guitar); Diz Disley (acoustic guitar); Martin Taylor (electric guitar); Stéphane Grappelli, Svend Asmussen (violin); Bob Wilber (clarinet, saxophone); Bud Freeman (tenor saxophone); Yank Lawson (trumpet); Ruby Braff , Bobby Hackett (cornet); Vic Dickenson, Benny Morton (trombone); Derek Smith , Hank Jones , Ralph Sutton , Earl Hines (piano); Ron Traxler, Grady Tate, Gus Johnson , Oliver Jackson (drums)

What A Wonderful World

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Brian Charette - Music For Organ Sextette

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 67:36
Size: 157,8 MB
Art: Front

( 5:52)  1. Computer God
( 5:25)  2. Fugue For Kathleen Annex/Ex Girlfriend Variation
( 8:50)  3. Risk
( 7:46)  4. The Elvira Pacifier
( 7:11)  5. Equal Opportunity
( 4:43)  6. Prayer For An Agnostic
( 5:17)  7. Late Night TV
( 6:01)  8. French Bird
(10:06)  9. Mode For Sean Wayland
( 6:21) 10. Tambourine

Finding an organ in a gathering of more than four in jazz seems to be taboo, yet no logic exists behind this unspoken truth. The organ is constantly making friends with guitars and drums, with the occasional singular horn dropping by to converse with them, but the possibility of a broader social circle always seems to elude this unwieldy instrument. Thankfully, organist Brian Charette is helping to rectify this issue. On Music For Organ Sextette, Charette weaves a unique and gripping aural tapestry together with a mélange of woodwinds serving as the thread. He channels his energy into creating constructs that benefit from the blending of multiple voices, yet remain flexible enough to allow for outspoken soloists to have their say. Charette's organ voice is prominent throughout as he cuts swaths through the sonic fields that lay before him and rides the tides of energy created by drummer Jochen Rueckert, but this outing is a true team effort.

The personnel list remains consistent from start to finish, but stylistic direction does not. Charette explores reggae ("Elvira Pacifier"), touches on churchy hymns with intentionally ironic titling ("Prayer For An Agnostic") and dabbles in outré modernism ("Mode For Sean Wayland"). His funky side comes out on occasion ("Late Night TV" and "Tambourine") and swing sneaks into the party ("Equal Opportunity"), but no single style reigns supreme on this tasting menu of music.

All four horns distinguish themselves as individuals, but they work even better as a unit. They move through the Baroque-influenced "Fugue For Kathleen Anne" with sensitivity and end up engaging in a raucous game of musical twister atop Rueckert's Tony Williams-meets-Clyde Stubblefield drumming when the music morphs into "Ex Girlfriend Variations." "Tambourine," likewise, benefits from their delightfully dovetailing lines, but they can also be found making magic with simple riffs in various places. Music For Organ Sextette is an anomaly in the world of organ-centric jazz, but not for the obvious reason. It's a recording that emphasizes the importance of textural exploration, multiple stylistic personalities, groove variations and the balance between group dynamics and solo statements. Charette challenges the status quo with this one and winds up the victor in every way.~Dan Bilawsky http://www.allaboutjazz.com/music-for-organ-sextette-brian-charette-steeplechase-records-review-by-dan-bilawsky.php 

Personnel: Brian Charette: organ; Jochen Rueckert: drums; Jay Collins: flute; Mike DiRubbo: alto saxophone; Joel Frahm: tenor saxophone; John Ellis: bass clarinet.

Music For Organ Sextette

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Dave 'Fathead' Newman - Straight Ahead

Styles: Saxophone Jazz

Year: 1960

File: MP3@320K/s

Time: 38:09

Size: 88,1 MB

Art: Front

(7:27)  1. Batista's Groove

(4:39)  2. Skylark

(7:58)  3. Night Of Nisan

(7:07)  4. Cousin Slim

(6:35)  5. Summertime

(4:21)  6. Congo Chant

The title of this 1961 release best sums up this quartet album. There is nothing particularly innovative about this recording, but the level of expertise and musical maturity displayed here is truly astonishing. This is simply straight-ahead hard bop performed by some of the finest musicians in 1960s jazz, including saxophonist David "Fathead" Newman and pianist Wynton Kelly. Newman's playing is not only confident, it is unbelievably inspired. He rips through all six selections here, employing the great bebop vernacular developed by Charlie Parker and Dizzy Gillespie. Newman plays tenor, alto, and flute on Straight Ahead, providing some variation to this set. Newman's flute work on his composition "Night of Nisan" is particularly energetic, as is his alto solo on his bluesy "Congo Chant." The highlight of the record, however, is the smoking, Caribbean-flavored opening track, "Batista's Groove."http://www.allmusic.com/album/straight-ahead-mw0000661652

Personnel: David "Fathead" Newman (alto & tenor saxophones, flute); Wynton Kelly (piano); Paul Chambers (bass); Charlie Persip (drums).

Straight Ahead

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