Saturday, May 7, 2016

Bob Dorough, Bill Takas - Sing And Swing

Bitrate: MP3@320K/s
Time: 54:29
Size: 124.7 MB
Styles: Jazz vocals
Year: 1984/2011
Art: Front

[4:35] 1. Everything Happens To Me
[4:41] 2. Bijou, I'm Crazy For You
[7:49] 3. When Sunny Gets Blue
[4:56] 4. Be Careful, It's My Heart
[2:53] 5. It's Not Easy Being Green
[5:43] 6. Route 66
[5:07] 7. Moonlight In Vermont
[5:44] 8. Yardbird Suite
[7:15] 9. Quiet Nights
[5:42] 10. Better Than Anything

Bass – Bill Takas; Piano, Voice – Bob Dorough.

Although neglected and underexposed most of his life, Bob Dorough is an adventurous, risk-taking master of vocalese (the process of writing and singing lyrics to instrumental jazz solos) and scat singing who has directly or indirectly influenced Mark Murphy, Michael Franks, Mose Allison, and Kurt Elling. The Arkansas native started out on piano in the 1940s, then took up singing in the early '50s (when he played for boxer Sugar Ray Robinson, an entertainer at the time). From 1954-1955, Dorough lived in Paris, where he recorded with singer Blossom Dearie. The improviser launched his own recording career when he signed with Bethlehem in 1955 and recorded the excellent Devil May Care, which introduced the defiant title song and lyrics to Charlie Parker's "Yardbird Suite." But sadly, he recorded only sporadically after that. In 1962, Dorough co-wrote "Comin' Home Baby" (a hit for Mel Tormé) with Ben Tucker, and in 1966, he recorded his second album, Just About Everything, for Focus. In the early '70s, he began writing and directing the series of educational children's TV programs, Schoolhouse Rock. Though instructional material became his bread and butter, Dorough recorded obscure jazz dates for 52 Rue East, Orange Blue, Pinnacle, Boomdido, Laissez-Faire, and other tiny labels in the 1970s and 1980s. In 1997, a 73-year-old Dorough received some long-overdue attention from a major label when the Capitol-distributed Blue Note released Right on My Way Home. Too Much Coffee Man followed in the spring of 2000. His Sunday brunch residency at New York's Iridium club culminated in 2004's live offering Sunday at Iridium and, at a sprightly 82 years of age, Dorough traveled to England for a series of live dates. The tour culminated in a recording session that spawned the charming Small Day Tomorrow album in 2006. ~bio by Alex Henderson

Sing And Swing

Morgana King - It's A Quiet Thing

Bitrate: MP3@320K/s
Time: 30:58
Size: 70.9 MB
Styles: Vocal, Standards
Year: 1965/2009
Art: Front

[2:58] 1. It's A Quiet Thing
[3:56] 2. Dindi
[3:09] 3. Useless Landscape
[2:54] 4. Gone With The Wind
[3:31] 5. Little Girl Blue
[2:05] 6. Mountain High, Valley Low
[3:10] 7. How Insensitive
[2:35] 8. Here's That Rainy Day
[3:34] 9. Deep Song
[3:01] 10. If You Should Leave Me (E Se Domani)

A vocalist whose work unfortunately fell out of favor and went out of print for decades, Morgana King establishes such a brilliant presence on this album's opening and title track that in some ways it is impossible for her to live up to it throughout the program of ten titles. Blessed with incredible range, she operates in a vast dynamic range made possible not only by her technique, but by the sophisticated and classy, indeed outright lush arrangements by Torrie Zito. She gets to dive into "Useless Landscape," one of several bossa nova numbers from the DeOlivereira/Gilbert/Jobim songwriting team, with the strongly assuring backing of a lightly recorded string section, a steadily throbbing classical guitar, and a pungent French horn soloist. The arranger and producer really do seem fond of their bossa, also inserting the genre's trademark guitar waddle into the standard "Little Girl Blue." "Here's That Rainy Day" and "Gone With the Wind" also get nice treatments, with King showing plenty of flair for texture as well as rhythm. It's a consistently pleasing, professionally produced set of renditions, yet it can't be considered a good sign that a stranger wandering in the door would ask if it was a Tiny Tim record. This is most likely the result of the vocalist overdoing it "time after time," to paraphrase Cyndi Lauper, another stylish vocalist whose work in another era shares some similarities. At times one may wish it was Lauper and not the outrageous Yma Sumac that some of King's enunciation and pyrotechnics are reminiscent of. Any tendency to dismiss King outright would be a mistake, however. Like other somewhat eccentric vocalists, such as Al Hibbler and Betty Carter, aspects that seem inexplicable or tasteless at first listening are guaranteed to grow on the listener. ~Eugene Chadbourne

It's A Quiet Thing

Gerry Gibbs Thrasher Dream Trio - Live In Studio

Bitrate: MP3@320K/s
Time: 77:18
Size: 176.9 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[6:09] 1. Wives And Lovers
[6:01] 2. Summer Of '42
[4:33] 3. The Look Of Love
[3:36] 4. Spartacus Love Theme
[6:44] 5. On A Clear Day You Can See Forever
[3:53] 6. The Surrey With The Fringe On Top
[6:27] 7. Alfie
[5:22] 8. Watch What Happens
[3:22] 9. A Man And A Woman
[3:32] 10. Cast Your Fate To The Wind
[5:45] 11. What Are You Doing The Rest Of Your Life
[4:19] 12. More
[4:05] 13. Watch What Happens (Feat. Cassandra Wilson)
[4:14] 14. Music To Watch Girls By
[4:43] 15. Girl Talk
[4:25] 16. Charade

Kenny Barron: piano; Ron Carter: acoustic bass; Gerry Gibbs: drums; Roy Hargrove: trumpet, flugelhorn (5, 7, 11, 16); Cassandra Wilson: vocals (3, 7, 13).

Drummer Gerry Gibbs has been living a recurring dream with slight variations for the past few years. In December of 2012, he laid down tracks with two of his idols—the legendary Ron Carter and the estimable Kenny Barron—and dubbed their group the Thrasher Dream Trio. The eponymous debut from that band, featuring fifteen tracks recorded at those sessions, was, not surprisingly, a strong and classy affair filled with standards, some originals, and other jazz-friendly fare, such as Stevie Wonder's "Don't You Worry 'Bout A Thing" and Burt Bacharach's "Promises, Promises."

At the time of that album's release, those last-mentioned tracks could simply be viewed as part of the well-rounded program. But looking back now, it actually seems like they were dropped as hints of what was to come. About a year-and-a-half after that first Thrasher Dream Trio album was recorded, Gibbs brought the band together again to lay things down for We're Back (Whaling City Sound, 2014), a jazz-does-R&B project with A-list guests—vibraphonist Warren Wolf, saxophonist Steve Wilson, and organist Larry Goldings. That album offered multiple helpings of Wonder and Earth, Wind & Fire along with single servings of Bacharach, Marvin Gaye, Miles Davis, and the Average White Band. As on the trio's first album, the sparks were flying. The playing field, however, had changed a bit.

For this, the third go-around for this group, Gibbs does it again, tweaking the formula without altering the essence of the trio. This time he turned the focus toward pop-ish material from the '50s and '60s—the work of Bacharach, Henry Mancini, Michel Legrand, and others of that ilk—and put an audience in front of the band, recording live at Systems Two Recording Studio. Guests are part of the package again—now it's trumpeter Roy Hargrove and vocalist Cassandra Wilson, each appearing on a few tracks—and they help to add another wrinkle or two to the project without drawing focus away from the trio.

The album opens on a fluid "Wives And Lovers" that allows Barron's lyricism to shine through, gives Carter a chance to step into the spotlight, and puts Gibbs' brushwork at center stage. From there, the trio moves on with an unusually upbeat take on "The Summer Knows," a Wilson-enhanced version of "The Look Of Love" that moves from bossa nova to swing, and a variety of other familiar hits of yesteryear. Hargrove joins in for "On A Clear Day," quoting Ellington at one point and playfully trading solos with Gibbs; Vince Guaraldi's cheerfulness shines through on a perky trio performance of his "Cast Your Fate To The Wind"; "More" is transformed from a stale confection into an enjoyable swinger; and "Watch What Happens" happens twice—first as a cheerful, Brazilian-based instrumental, then as a swing-centered feature for Wilson.

Along the way there are plenty of other bright spots—an appropriately noir-ish "What Are You Doing The Rest Of Your Life?" with Hargrove on flugelhorn, a leisurely stroll through "Girl Talk"—and plenty of moments that serve as simple reminders as to why Barron and Carter are loved, respected, and emulated the world over. Their time and taste are impeccable, and when married to Gibbs' in-the-tradition drumming, you know the music is going to go in the right direction every time. ~Dan Billawsky

Live In Studio

The Goodfellas - Olly Meets The Good Fellas

Bitrate: MP3@320K/s
Time: 71:47
Size: 164.3 MB
Styles: Swing
Year: 2005
Art: Front

[4:15] 1. No One Knows
[2:23] 2. Secret Agent Man
[3:29] 3. Beautiful People
[2:11] 4. Triste Sera
[4:31] 5. Whose Side Are You On
[3:44] 6. No Worries
[3:47] 7. Vedrai Vedrai
[3:44] 8. Too Darn Hot
[3:41] 9. Un Bimbo Sul Leone
[2:17] 10. That Mellow Saxophone
[3:13] 11. Un Bimbo Sul Leone
[3:36] 12. Whose Side Aare You On (Live)
[2:50] 13. Cheek To Cheek (Live)
[2:35] 14. Pizza Gangster (Live)
[3:45] 15. Small Town (Live)
[3:25] 16. The Beautiful People (Live)
[4:11] 17. No One Knows (Live)
[5:43] 18. That Mellow Saxophone (Live)
[3:50] 19. Un Bimbo Sul Leone (Live)
[4:28] 20. Whose Side Are You On (Live)

The most cursory glance down the roster of America’s most popular troubadours, immediately reveals one prime and inescapable fact- the majority are of Italian-American extraction. Caruso, Sinatra, Como, Prima, Monte, Bennett, Darin…the list seems endless. “Why”, many an eager bobby-soxer has asked “are so many of the great singers Italian?” Why, indeed? The answer is, of course, to step into the history and folkways of a people that it would take thousands of words to explain. But, we can briefly say, it’s because of their warm-hearted, unrestrained humour and passion for life. As a part of this good company we can find “THE GOOD FELLAS”. Better known as the “GANGSTERS OF SWING”, dressed in old fashioned, strictly Italian made, double breast Capone suites, wearing two tone shoes, laughing at life like everyone does deep down in the land of pizza and mandolino. To be a “good fellow” means to be a true gentleman, loyal and respectful of strong heritage and traditions., It means to smell of the full Italian flavour, while always hungry for a lady’s kiss among the scene of a Neapolitan moonlight. What they do best is the well-known, truly genuine, Italian way of entertaining known the world over. Swingin and jokin’ all the time with the audience in that half Italian, half English, macaroni language. This band truly swings from “Oh Marie”, “Tu vuo fa l’americano”(You wanna be American) to Basie’s “Whirly Bird”, and from Haley’s “A rockin’ little tune” to Lou Monte’s Italian version of Fats Domino’s classic Rock’n’Roll “I’m Walkin”. They walk the junction between Italian American and Afro American music, follow the steps of the giants of swing era, spacing from a shuffle beat to a Philly houserock to Texas blues. Like many of the Italian citizens of the World War II age, the GOOD FELLAS feel the “American Dream”, falling in love with the American brashness, cleverness, then impossible madness, but never really thinkin’ to leave the country of sea and sun, their food, their roots. Lean against his big bass, he’s the boss, Mr. LUCKY LUCIANO, created his own way of swingin’ way back in 1993, always guarded by his “shadow”, boxeur/drummer BUM BUM LA MOTTA. With an experience of more than 100 gigs every year, these great musicians entertained the audiences of England, Germany, France, Switzerland, Wales, Belgium, Slovenjia and every corner of their beautiful Country. Over the Rockin’ scene, they blew the fuse of a spectacular audience at “THE RHYTHM RIOT” at Camber Sands, UK, and rocked the house at “SUMMER JAMBOREE” in Senigallia, obtaining massive compliments as top international act. It’s been a pleasure, during the years of their activity to be backing international stars such as JACK SCOTT, BLUE LOU MARINI, DAVE TAYLOR, GRAHAM FENTON, SCREAMIN’ LORD SUTCH, CHARLIE GRACIE, BIG JAY McNEELY, and they work very often with long time friend fellow musician RAY GELATO. Together, they recorded two albums; GELATO ALL’ITALIANA (1996) and GANGSTERS OF SWING (1998). The GOOD FELLAS have been featured several times on top TV shows and reviews, and recently played a role in the major Italian film “I FOBICI” that includes the beauty of international star SABRINA FERILLI. Fall 1999; the Fellas played the most important show in Italy, featuring the famous comedians ALDO, GIOVANNI E GIACOMO. The show, “Tel chi el Telùn” has been attended by more than 80,000 people during 52 days at the No Limits Hall in Milano, and seen by over 10 million per night on TV. The “SALUTE!” Cd was released in the year 2k. In 2002 Mr. Lucky is the music director for Aldo, Giovanni and Giacomo’s brand new motion picture movie “La leggenda di Al, John and Jack”, based on a gangster story, New York 1959. The fellas play 5 tunes of which 3 Lucky’s originals. Again in that same year and the following, they play their music on a superb new Variety show headlined by famous comedian Paolo CEVOLI, aka L’Assessore PALMIRO CANGINI, called “THE RONCOFRITTO SHOW”, which in 2003 became a theatrical comedy show “MOTONAVE CENERENTOLA” starring Russian beauty and Tv star NATASHA STEFANENKO, with over 120 replicas. 2004, the cd “SONGS FOR AL, JOHN AND JACK” hit the market. The new year 2005 began with a full swingin feeling. The band performs at “UMBRIA JAZZ WINTER”, main Italian jazz festival, selling out every show. Therefore, Carlo Pagnotta, promoter of the event, signs the band immediately for the forthcoming 2005 Summer edition of the Festival! April 2005, the latest release: OLLY MEETS THE GOOD FELLAS, starring guest singer Olly from ska core Italian top act SHANDON. A colourful, miscellania of Italian ballads, jazz tunes, early sixties soundtracks stuff and the unbelievable a-la-fellas versions of Marylin Manson and Queens of the Stone Age modern rock tracks! Wear your best suite, put on your dancin’ shoes, grab your girl and bring your best smile; and WATCH OUT, the GANGSTERS OF SWING are back in town!

Olly Meets The Good Fellas

Paul Bley Trio - If We May

Bitrate: MP3@320K/s
Time: 55:36
Size: 127.3 MB
Styles: Avant garde jazz
Year: 1994
Art: Front

[ 9:32] 1. Long Ago And Far Away
[ 9:40] 2. Don't Explain
[10:04] 3. If We May
[ 5:57] 4. Indian Summer
[ 9:23] 5. All The Things You Are
[ 5:08] 6. Goodbye
[ 5:50] 7. Confirmation

Paul Bley has long enjoyed engaging in fairly free improvising, making this set of standards (along with the title cut, an original blues) a bit of a surprise. With bassist Jay Anderson and drummer Adam Nussbaum, Bley plays such songs as "Long Ago and Far Away," "All the Things You Are" and "Confirmation" fairly straight at first, almost as if he were normally a bop-based improviser. The music is quite accessible to straightahead fans even if Bley gives these warhorses some new twists, and he shows that he can swing with the best of them (not that anyone really doubted it). ~Scott Yanow

If We May   

Al Caiola - Serenade in Blue

Styles: Guitar Jazz
Year: 1955
File: MP3@320K/s
Time: 34:54
Size: 80,7 MB
Art: Front

(4:38)  1. Serenade in Blue
(4:50)  2. Don't Worry About Me
(5:05)  3. Moments Like This
(4:15)  4. Early Autumn
(3:43)  5. Black and Blue
(5:02)  6. Indian Summer
(4:23)  7. Blue the Night
(2:56)  8. Dram-Buei

Al Caiola (whose name is misspelled Caiora throughout the outside of this CD, although it is correct on the inside!) was a studio guitarist who led some nice easy listening melodic jazz dates during 1955-60. On this budget release, he is heard on four numbers apiece with a pair of overlapping quintets featuring either Romeo Penque (on flute, bass clarinet, and English horn) or trumpeter Bernie Privin; Hank Jones or Ronnie Ball on piano; bassist Clyde Lombardi (listed as Clyde Rombaldi!); and drummer Kenny Clarke. The music, which includes "Don't Worry About Me," "Early Autumn," and "Indian Summer," is light and easy to enjoy, serving both as superior background music and melodic jazz. It is too bad that the packaging (which credits most of the standards, including "Serenade to Blue" and "Early Autumn," to "Caiora") basically stinks! Hopefully someday this set, and Caiola's earlier Savoy album, will be reissued in much more coherent form; they could easily be repackaged as a single CD.~Scott Yanow http://www.allmusic.com/album/serenade-in-blue-mw0000241191

Personnel:  Alto Flute, Bass Clarinet, English Horn – Romeo Penque (tracks: 2, 3, 6, 8);  Bass – Clyde Lombardi;  Drums – Kenny Clarke;  Guitar – Al Caiola;  Piano – Hank Jones (tracks: 2, 3, 6, 8), Ronnie Bell (tracks: 1, 4, 5, 7);  Trumpet, Flugelhorn – Bernie Privin (tracks: 1, 4, 5, 7)

Serenade in Blue

Chantal Chamberland - Serendipity Street

Styles: Vocal And Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 68:55
Size: 158,2 MB
Art: Front

(4:12)  1. It's You
(4:05)  2. Time After Time
(4:03)  3. Solitude
(3:14)  4. Romance Me
(2:55)  5. Cry Me A River
(4:34)  6. Les Feuilles Mortes
(3:06)  7. Cheek To Cheek
(4:40)  8. Since I Fell For You
(3:34)  9. God Bless The Child
(5:24) 10. At Seventeen
(3:29) 11. Crazy
(4:23) 12. Across The Room
(5:00) 13. Summertime
(4:43) 14. At Last
(4:21) 15. Faded Valentine
(7:08) 16. Ne Me Quitte Pas

" With her smoky, late-night-at-the-club vocal presence, Chantal Chamberland is like a singer from a different era one from the days when standards by Gershwin and Berlin were pop songs of the moment and vintage jazz was the height of fashion. Serendipity Streetis a showcase for the artist's passionate, velvety singing voice and her equally adept skills as a guitarist. Featured are a series of standards, pop covers and original pieces, which include soulful renditions of Billie Holiday's classic "God Bless the Child," Cyndi Lauper's "Time After Time" and Willie Nelson's "Crazy." With each of these timeless torch songs, Chamberland proves herself as a singer with the chops to go up against the best of today's jazz innovators. You'll definitely want to check out this album if you are a fan of Diana Krall. " Chantal Chamberland's latest CD, Serendipity Street, is a passionate labour of love... sweet, sassy, sultry and sad. Not only does it revisit the standards, it offers intimate originals, some penned by Chamberland herself, others written as collaborative efforts. A native of St. Lambert, Quebec, Chantal Chamberland was raised in Montreal on the music of Edith Piaf, Ella Fitzgerald and Artie Shaw. Eventually, she moved to Ontario to pursue her own musical dreams and, of equal importance, to learn how to speak English.

Chamberland launched her professional career as part of an acoustic folk-rock duo, performing at venues and festivals throughout North America. During these years, she was asked to share the stage with such notables as Sarah McLachlan and the Barenaked Ladies. She then took a brief sabbatical during which she began exploring new areas of music and experimenting in a genre that had always been close to her heart Jazz. With that, she embarked on what promised to be the most gratifying adventure of her career. Her first contemporary jazz release, This is Our Time, gave her the opportunity to meet new artists, play new venues and attract a new fan base. Both radio and retail immediately showed their support for this independent release and This is Our Time soon became a testament to her personal evolution. A fan of Billie Holiday, Etta James, and Shirley Horn, among others, Chamberland's vocal delivery is so alluring that Canadian music critic, Nick Krewen, described her singing as "making love to her songs". It's precisely this technique, along with her captivating stage presence, that has made her musical transition to contemporary jazz artist so magical. With the recent release of Serendipity Street, Chantal Chamberland has become a top-selling independent artist in Canada, while also garnering increasing support and amazing critical response south of the border. As a result, says the owner of International Records in Atlanta, Georgia, "Serendipity Street is one of the fastest selling CD's in our 20 year history." Chantal Chamberland's latest burst of magic was her appearance at the prestigious Montreal International Jazz Festival, where she performed two exhilarating concerts for over 150,000 people. The audience was enthralled. They also recognized that the journey was just beginning; that there would be more magic ahead. So why not join Chantal as she sets out on her remarkable stroll down Serendipity Street? http://www.cdbaby.com/cd/chamberland3

Personnel: Chantal Chamberland (vocals, guitar); Bob Doidge (cello, accordion, flugelhorn).

Serendipity Street   

Jackie McLean - Bluesnik

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 53:54
Size: 123,7 MB
Art: Front

(9:32)  1. Bluesnik
(6:34)  2. Goin' Way Blues
(5:52)  3. Drew' s Blues
(5:20)  4. Cool Green
(7:19)  5. Blues Function
(6:18)  6. Torchin
(6:42)  7. Goin' Way Blues (alt. take)
(6:15)  8. Torchin' (alt. take)

Bluesnik, Jackie McLean's seventh session as a leader for Blue Note Records, was one of only two recordings issued by McLean in 1961. With a lineup of trumpeter Freddie Hubbard, bassist Doug Watkins, pianist Kenny Drew, and drummer Pete La Roca, McLean laid down a hard blowing session of six tunes based completely on blues motifs. Many critics as well as jazz fans hold to the opinion that Bluesnik may be McLean's most accessible session for the label. That said, not all of these tunes are blues numbers strictly speaking. They use blues forms, but don't all fall into the conventional 12-bar structure, and therefore even move hard bop paradigms a bit. The title track opening the set is a prime example of this given that it quotes the theme in 12-bar but moves through a knotty ten-bar sequence before roaring into a furious but fluid cut time structure that allows for a maximum "stretching" of the changes by Drew. Drew's "Cool Green," screws around with the 12-bar in the melody, but given the introductory statements made before each line and in the solo breaks, it too pushes the standard blues architecture. There are the great moments in blues here that helped to establish McLean as a giant, such as "Drew's Blues," and the lovely "Torchin'," that closes the set. Hubbard's role here is relatively minor in that he had not yet established himself as a leader and he was still growing into his choppy, taut method of soloing. The swing factor of the rhythm section is undeniable, especially the interaction between Drew and La Roca. In all, this is a monster session effortlessly performed by a soloist at an early peak with a supporting cast of blazing sidemen.~Scott Yanow http://www.allmusic.com/album/bluesnik-mw0000200034

Personnel: Jackie McLean (alto saxophone); Freddie Hubbard (trumpet); Kenny Drew (piano); Doug Watkins (bass instrument, bass guitar); Pete La Roca (drums).

Bluesnik

Art Tatum - Solos (1940)

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 45:16
Size: 104,6 MB
Art: Front

(3:16)  1. Elegie
(3:05)  2. Humoresque
(3:01)  3. Sweet Lorraine
(2:45)  4. Get Happy
(3:06)  5. Lullaby Of The Leaves
(2:15)  6. Tiger Rag
(2:59)  7. Sweet Emalina, My Gal (Take A)
(2:52)  8. Sweet Emalina, My Gal (Take B)
(2:21)  9. Emaline
(3:00) 10. Moonglow
(2:43) 11. Love Me
(2:50) 12. Cocktails For Two
(2:31) 13. St. Louis Blues
(2:42) 14. Begin The Beguine
(2:49) 15. Rosetta
(2:53) 16. (Back Home Again In) Indiana

MCA's short-lived Decca cd-reissue program put out this gem, all of Tatum's piano solos from 1940, including two versions of the previously unknown "Sweet Emalina, My Gal." Some of the routines on these standards were a bit familiar by now (this "Tiger Rag" pales next to his 1933 version) but are no less exciting and still sound seemingly impossible to play.~Scott Yanow 
http://www.allmusic.com/album/solos-1940-mw0000203005

Solos (1940)