Pepper Adams - Hollywood Quintet Sessions

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 76:07
Size: 177,1 MB
Art: Front

(5:53)  1. Muezzin'
(6:20)  2. Unforgettable
(8:26)  3. Baubles, Bangles and Beads
(3:50)  4. My One and Only Love
(6:00)  5. Freddie Froo
(6:26)  6. Minor Mishap
(4:57)  7. Blackout Blues
(8:41)  8. High Step
(6:32)  9. Zec
(5:48) 10. Alone Together
(8:10) 11. 5021
(4:58) 12. Four Funky Folk

Music in general, jazz in particular, and notably baritone saxophonist Pepper Adams all had a breakthrough year in 1957. Given his New Star award in Down Beat magazine's critics poll and much acclaim working with the Stan Kenton Orchestra, Adams left Detroit that year for important recording sessions on both the East and West Coasts. Teamed here with musicians based in the Los Angeles area, Adams proved as adept at hard bop as with the cool school sound the California jazzmen had established. Two dates from the summer of 1957 (Pepper Adams Quintet for the Mode label and Critics' Choice from Pacific Jazz) feature drummer Mel Lewis on all the cuts, with help from pianists Carl Perkins or Jimmy Rowles, Kenton trumpeters Stu Williamson or Lee Katzman, bassist Leroy Vinnegar, and on the second assemblage fellow Detroiter bassist Doug Watkins. The result is a solid collection of standards and compositions from emerging Motor City jazzmen Tommy Flanagan, Barry Harris, Thad Jones, and Adams. The distinguished sound of the baritone makes for an intriguing partnership alongside the brass of Williamson or Katzman. Five tracks with the Perkins/Williamson combine produced the calypso to hard bop "Muezzin'," with a singing trumpet followed by baritone, and "Freddie Froo," a hard bopper based on the same batting order, both originals by the leader. A spry version of the usually mundane "Unforgettable," a frantic, wow factor-saturated take of "Baubles, Bangles and Beads," and the tender, deep, and mellow "My One and Only Love" round out the first session. 

Katzman plays very well, trumping his relatively little-known status on three of the next eight tracks. He's excellent taking the lead on Flanagan's now legendary "Minor Mishap," adds to the breezy cool of "High Step" from the pen of Harris, and assists the band in bright, inventive, and adroit 4/4 to 3/4 time changes during the Thad Jones number "5021." Rowles in particular consistently stands out for his inserted solo segments on "5021," and manhandles the other Thad Jones contribution, a furious flyer titled "Zec," in a way original boppers Charlie Parker and Miles Davis would be envious of. His piano leads are simply elegant and refined on two more originals written by Adams: on the bluesy "Four Funky Folk" (originally on the World Pacific LP Blowin' the Blues) and especially during his feature on "Blackout Blues." Of course, Mel Lewis is the consummate professional with every swinging note. But the star here is Adams, emerging with brimming confidence and a solid concept beyond his peers and influences, and exhibiting a style that perfectly reflects his highly intelligent, dry, quick-witted, and fluid personality. For fans and students of the big horn, this is a homework project, and a testament to one of the greatest players of all time on his instrument. ~ Michael G.Nastos http://www.allmusic.com/album/hollywood-quintet-sessions-mw0001219041

Personnel:  Pepper Adams - baritone saxophone;  Stu Williamson, Lee Katzman – trumpet;  Carl Perkins , Jimmy Rowles  - piano;  Leroy Vinnegar, Doug Watkins – bass;  Mel Lewis - drums

Hollywood Quintet Sessions

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Jill Johnson - Songs For Daddy

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 41:04
Size: 94,3 MB
Art: Front

(2:56)  1. Crazy In Love
(3:25)  2. Hallelujah I Love Him So
(3:18)  3. Fly Me To The Moon
(3:36)  4. Moon River
(3:06)  5. Something's Gotta Give
(3:07)  6. That's Life
(3:53)  7. Love Is Here To Stay
(4:04)  8. The Very Thought Of You
(3:21)  9. No Other Daddy But You
(2:46) 10. After You've Gone
(4:07) 11. Everybody Loves Somebody
(3:19) 12. I Can't Give You Anything But Love

There is no doubt that Jill Johnson is Sweden's uncrowned queen country, but in the fall Jill Johnson takes a step to the side of country music and release an American Songbook albums! An album that is a tribute to Jill's father who has supported her throughout her career. After Jill's success as a singer, musician and songwriter, not least in country music, with the acclaimed Swedish Television series "Jills veranda" and the hit show "Jill" on the Stock Exchange in the spring, choose Jill this autumn to try something for her brand new; To record American classics from the 20s onwards. Standards that are arranged for big band and strings of arranger and musician Anders Berglund. Jill and Anders have talked about making this album together for several years, but not until now has always been right. Anders Jill took under their wing 15 years ago, after they had worked together during the Eurovision Song Contest in 1998 and has presented Jill for big bands, symphony orchestras and invited to collaborations with musicians such as Putte Wickman and Svante Thuresson. "Songs For Daddy" is a tribute album to my father who was a great inspiration in my career. His love of "the American songbook" and jazz have been with me since I was a child and I have long promised him that one day I will play in a big band album. Songs from the past with the likes of Ella Fitzgerald, Frank Sinatra, Ray Charles and Dean Martin. I decided to make the disc now because I'm doing a big band medley of floor show "JILL" and for that I want daddy to be part of it! On "Songs For Daddy" are the very personal and original song "No Other Daddy But You," Jill wrote with his låtskrivarkollegor in Nashville earlier this year. But it also contains classics like Fly Me To The Moon, Everybody Loves Somebody, Moon River and Hallelujah I Just Love Him So and even a big band version of her big hit Crazy In Love. "Songs For Daddy" is a tribute to Jill's father, Tommy, but also a declaration of love to all the fantastic music Jill has been with her from her childhood! (Translate by Google) http://jilljohnson.se/en/songs-for-daddy/

Songs For Daddy

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Mel Tormé - Songs Of New York

Styles: Vocal Jazz
Year: 1963
File: MP3@320K/s
Time: 33:40
Size: 79,3 MB
Art: Front

(2:31)  1. Sunday In New York
(3:23)  2. Autumn In New York
(2:28)  3. Lullaby Of Birdland
(2:15)  4. Broadway
(2:42)  5. The Brooklyn Bridge
(2:35)  6. Let Me Off Uptown
(2:23)  7. 42nd Street
(2:16)  8. Sidewalks Of New York
(3:53)  9. Harlem Nocturne (Nocturne For The Blues)
(2:19) 10. New York, New York
(2:20) 11. There's A Broken Heart For Every Light On Broadway
(3:12) 12. Manhattan
(1:19) 13. My Time Of Day

This thematic recording, with songs all relating to New York City, has vocalist Mel Tormé singing in fine fashion. Some of the familiar numbers are swingy, some stringy, but all are done with the heartfelt passion of a man who has lived in the Big Apple and has many tales to tell. Among some of the favorites are "Autumn in New York" with its ever poignant and heartbreaking lyric, the jumping "Let Me Off Uptown," a classic rendition of "Harlem Nocturne," and the obligatory "New York, New York." 

These sessions, reissued from Atlantic label recordings of 1963, have a disclaimer regarding the transfer from analog to digital, in that quality may be lost in spots. Don't let that dissuade you, as any dropouts are minimal. These are well done and worthwhile offerings from Tormé and friends. ~ Michael G.Nastos http://www.allmusic.com/album/songs-of-new-york-mw0000649757

Personnel: Mel Tormé (vocals); Dave Barbour (guitar); Dorothy Remsen (harp); Gerald Vinci, James Getzoff, Marvin Limonick, Lou Raderman, Henry Roth, Israel Baker, Paul Shure, Harry Bluestone (violin); Alvin Dinkin, Allan Harshman (viola); Margaret Aue, Edgar Lustgarten (cello); Arnold Koblentz (oboe); Gene Cipriano, John Lowe, Paul Horn, Ronnie Lang, Buddy Collette (woodwinds); Frank Beach, Al Porcino, Ray Triscari, Stu Williamson (trumpet); Richard Taylor "Dick" Nash , Lew McCreary, Lloyd Ulyate (trombone); John Kitzmiller (tuba); Jimmy Rowles (piano); Shelly Manne (drums).

Songs Of New York

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Jaco Pastorius & Bireli Lagrene - Stuttgart Aria

Styles: Piano And Guitar Jazz
Year: 1986
File: MP3@320K/s
Time: 54:49
Size: 126,4 MB
Art: Front

( 4:51)  1. American Boy
( 4:46)  2. Donna Lee
( 7:40)  3. Stuttgart Aria I
( 6:02)  4. Jaco Reggae
( 5:55)  5. The Chicken
( 8:56)  6. Teresa
(10:09)  7. Stuttgart Aria II
( 6:30)  8. The Days Of Wine And Roses

At the end of their tour European tour and the triumphant concert in Rome documented on Heavy 'n Jazz Jaco Pastorius, guitarist Bireli Lagrene, and percussionist Serge Bringolf decided to leave the continent with at last one studio recording under their belt. The result is Stuttgart Aria. With the addition of three additional musicians Jan Janke on synths and keyboards, Peter Lubke on drums, and keyboardist Vladislav Sendecki (the keyboardists never played at the same time) the date went off as a series of formatted tunes with extended improvisations anchoring them to the album. While the styles here vary wildly; they are all rooted deeply in the jazz fusion and R&B worlds. To be fair, the trio of Lagrene, Pastorius, and Bringolf could have executed these songs very well especially since one of them was "Donna Lee," Pastorius' transcription of the Charlie Parker bebop classic that he recorded on his own first solo album for Columbia. The keyboards seem to get in the way, and sound stilted based against the loose groove created by the pair of string players. And then there's the matter of Pastorius' "singing" on the title track, which is a meld of James Brown funk, high-tech rock, and jazz. 

It's one long riff; Lagrene gets to riff on forever as Pastorius indulges his weak voice and awful lyrics ("people got to be free/give 'em a shot of R&B"), quoting from Sly Stone and any other tune he can think of. It just comes off as indulgent as hell without any substance other than Lagrene's playing to hold it in place. But there are astonishing moments as well, when Pastorius drives a dub-riddled "Jaco's Reggae" into the stratosphere with a meld of chordal and scalar riffs that never, ever sacrifice the track's rhythm for the sake of improvisation. Lagrene's chunky, knotty chords give it a deeper feel, lending the bottom a wide base. There is also a gorgeous performance of "Teresa" with the single weepiest bassline Pastorius ever recorded. The set ends with a serious lyrical, lush, and moving version of Henry Mancini's "Days of Wine and Roses" that pairs Lagrene and Pastorius together in a silky weave of emotion and musical virtuosity, exchanging harmonics and chromatic melody in a painterly fashion. This disc is far from perfect, and must have been a bit of a drag to even make ever such a high-energy tour, but it's not without merit especially for serious fans of the two principals. ~ Thom Jurek http://www.allmusic.com/album/stuttgart-aria-mw0000654208

Personnel:  Backing Vocals – Jan Jankeje;  Bass [Synthesizer] – Jan Jankeje (tracks: 6, 8);  Drums – Peter Lübke;  Electric Bass [Fender 86], Piano, Vocals – Jaco Pastorius;  Electric Guitar, Backing Vocals – Bireli Lagrene;  Keyboards, Synthesizer – Vladislaw Sendecki*

Stuttgart Aria

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