Bobbi Humphrey - Blacks And Blues

Bitrate: MP3@320K/s
Time: 39:32
Size: 90.5 MB
Styles: Jazz-funk
Year: 1974/1999
Art: Front

[6:33] 1. Chicago, Damn
[7:49] 2. Harlem River Drive
[6:32] 3. Just A Love Child
[4:35] 4. Blacks And Blues
[5:13] 5. Jasper Country Man
[8:48] 6. Baby's Gone

Backing Vocals, Arranged By [Vocal Arrangements] – Fred Perron, Larry Mizell & Fonce Mizell; Clavinet, Trumpet – Fonce Mizell; Congas – King Errison; Drums – Harvey Mason; Electric Bass [Fender] – Chuck Rainey, Ron Brown; Flute, Vocals [Solo] – Bobbi Humphrey; Guitar – David T. Walker, John Rowin; Percussion – Stephanie Spruill; Piano, Electric Piano [Fender Rhodes] – Jerry Peters; Synthesizer [Arp] – Fred Perren. Recorded June 7 & 8, 1973 at Sound Factory, Hollywood, California.

Bobbi Humphrey scored her biggest hit with her third album Blacks and Blues, an utterly delightful jazz-funk classic that helped make her a sensation at Montreux. If it sounds a lot like Donald Byrd's post-Black Byrd output, it's no accident; brothers Larry and Fonce Mizell have their fingerprints all over the album, and as on their work with Byrd, Larry handles all the composing and most of the arranging and production duties. It certainly helps that the Mizells were hitting on all cylinders at this point in their careers, but Humphrey is the true star of the show; she actually grabs a good deal more solo space than Byrd did on his Mizell collaborations, and she claims a good deal of responsibility for the album's light, airy charm. Her playing is indebted to Herbie Mann and, especially, Hubert Laws, but she has a more exclusive affinity for R&B and pop than even those two fusion-minded players, which is why she excels in this setting. Mizell is at the peak of his arranging powers, constructing dense grooves with lots of vintage synths, wah-wah guitars, and rhythmic interplay. Whether the funk runs hot or cool, Humphrey floats over the top with a near-inexhaustible supply of melodic ideas. She also makes her vocal debut on the album's two ballads, "Just a Love Child" and "Baby's Gone"; her voice is girlish but stronger than the genre standard, even the backing vocals by the Mizells and keyboardist Fred Perren. Overall, the album's cumulative effect is like a soft summer breeze, perfect for beaches, barbecues, and cruising with the top down. ~Steve Huey

Blacks And Blues

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Ray Brown - With My Friends Herb Ellis & Serge Ermoll

Bitrate: MP3@320K/s
Time: 35:01
Size: 80.2 MB
Styles: Bop, Mainstream jazz
Year: 2015
Art: Front

[5:36] 1. Tristé
[4:38] 2. I Love You
[3:33] 3. Au Privave
[5:29] 4. Autumn Leaves
[5:28] 5. All The Things You Are
[3:46] 6. Doxy
[6:28] 7. My Funny Valentine

The huge and comfortable sound of Ray Brown's bass was a welcome feature on bop-oriented sessions for over a half-century. He played locally in his native Pittsburgh in his early days.

Arriving in New York in 1945, on his first day in town Brown met and played with Dizzy Gillespie, Charlie Parker, and Bud Powell. He was hired by Gillespie for his small groups and his big band; "One Bass Hit" and "Two Bass Hit" were early features, and he can be seen with Dizzy Gillespie in the 1947 film Jiving in Bebop. Although not a soloist on the level of an Oscar Pettiford, Brown's quick reflexes and ability to accompany soloists in a swinging fashion put him near the top of his field. After playing with Jazz at the Philharmonic, he married Ella Fitzgerald (their marriage only lasted during 1948-1952), and for a time led his own trio to back the singer. Brown recorded with an early version of the Modern Jazz Quartet (under Milt Jackson's leadership), and then became a permanent member of the Oscar Peterson Trio (1951-1966).

With Peterson, the bassist traveled the world, guested with other top jazz artists, was featured on JATP tours, became famous, and recorded constantly. He began playing cello in the late '50s, and used it on a few of his own dates. After leaving Peterson, Brown settled in Los Angeles, worked in the studios, continued recording jazz, and worked as a manager of several artists (including the Modern Jazz Quartet and Quincy Jones). He played with the L.A. Four starting in 1974, did a great deal to revive the careers of Ernestine Anderson and Gene Harris, and recorded extensively for Pablo and Concord. The Ray Brown Trio featured pianists Gene Harris, Benny Green, and Geoff Keezer, along with drummers Jeff Hamilton and Greg Hutchison, and recorded for Concord and Telarc. He continued touring up until his death, dying in his sleep while napping before a show in Indianapolis on July 2, 2002. His last batch of sessions, working as a trio with pianist Monty Alexander and guitarist Russell Malone, were released that fall. ~bio by Scott Yanow

With My Friends Herb Ellis & Serge Ermoll

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The Intruders - Playlist: The Very Best Of The Intruders

Bitrate: MP3@320K/s
Time: 42:25
Size: 97.1 MB
Styles: R&B, AM Pop
Year: 2012
Art: Front

[2:56] 1. Together
[2:54] 2. A Love That's Real
[2:50] 3. (We'll Be) United
[2:37] 4. Cowboys To Girls
[2:19] 5. Me Tarzan, You Jane
[2:54] 6. Friends No More
[2:24] 7. Slow Drag
[2:44] 8. (Love Is Like A) Baseball Game
[1:54] 9. Sad Girl
[3:20] 10. When We Get Married
[2:44] 11. Jack Be Nimble
[2:43] 12. (You'd Better) Check Yourself
[6:28] 13. I'll Always Love My Mama
[3:32] 14. Energy Of Love

From 1966 through 1975, Philly soul group the Intruders placed two dozen singles on the R&B chart, roughly a dozen of which are missing from the 14-track Playlist: The Very Best of the Intruders. Despite all the missing highlights, most of the group’s well-known songs are included. Casual fans are likely to expect Top Ten R&B hits like “Together,” “Cowboys to Girls” (the group’s lone number one), “(Love Is Like A) Baseball Game,” “When We Get Married,” and “I’ll Always Love My Mama,” and they will get them here, along with a smattering of relatively minor singles that are not filler. Those who want a more thorough overview should check Cowboys to Girls: The Best of the Intruders, originally released in 1995 and reissued years later. ~Andy Kellman

Playlist: The Very Best Of The Intruders

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Anita O'Day & Cal Tjader - Thanks For The Memories

Bitrate: MP3@320K/s
Time: 31:51
Size: 72.9 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[2:45] 1. Thanks For The Memories
[2:59] 2. It Shouldn't Happen To A Dream
[2:46] 3. Just In Time
[2:22] 4. Under A Blanket Of Blue
[2:52] 5. That's Your Red Wagon
[3:02] 6. Peel Me A Grape
[2:27] 7. An Occasional Man
[2:20] 8. The Party's Over
[2:23] 9. I Believe In You
[1:55] 10. Mr. Sandman
[3:23] 11. Spring Will Be A Little Late
[2:32] 12. I'm Not Supposed To Be Blue

Anita O'Day (born Anita Belle Colton; October 18, 1919 – November 23, 2006) was an American jazz singer widely admired for her sense of rhythm and dynamics, and her early big band appearances that shattered the traditional image of the "girl singer". Refusing to pander to any female stereotype, O'Day presented herself as a "hip" jazz musician, wearing a band jacket and skirt as opposed to an evening gown. She changed her surname from Colton to O'Day, pig Latin for "dough," slang for money.

O'Day, along with Mel Tormé, is often grouped with the West Coast cool school of jazz. Like Tormé, O'Day had some training in jazz drums (courtesy of her first husband Don Carter); her longest musical collaboration was with jazz drummer John Poole. While maintaining a central core of hard swing, O'Day's skills in improvisation of rhythm and melody put her squarely among the pioneers of bebop.

She cited Martha Raye as the primary influence on her vocal style, also expressing admiration for Mildred Bailey, Ella Fitzgerald, and Billie Holiday. She always maintained that the accidental excision of her uvula during a childhood tonsillectomy left her incapable of vibrato, and unable to maintain long phrases. That botched operation, she claimed, forced her to develop a more percussive style based on short notes and rhythmic drive. However, when she was in good voice she could stretch long notes with strong crescendos and a telescoping vibrato, e.g. her live version of "Sweet Georgia Brown" at the 1958 Newport Jazz Festival, captured in Bert Stern's film Jazz on a Summer's Day.

Thanks For The Memories

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James Andrews - Expressions

Bitrate: MP3@320K/s
Time: 29:39
Size: 67.9 MB
Styles: Fusion jazz
Year: 2012
Art: Front

[3:25] 1. Let The Horns Play
[3:39] 2. Groove With Me
[4:05] 3. Down The Road
[4:18] 4. Nobody Like You
[3:29] 5. I Know Someone
[6:01] 6. This Is To You
[0:58] 7. Improv
[3:42] 8. Drummer's Groove

The long awaited debut album of James Andrews is a soulful blend of jazz, gospel and inspirational songs featuring very talented artists such as Kyra Brown, Andrea Andrews and more. The instrumentation for this album was produced, recorded, mixed, and mastered by James Andrews for Expected Ends Media Productions LLC.

James Andrews has been in the recording world for over 15 years and has had the opportunity to work with many artists to help bring their musical dreams to reality. He formed Expected Ends Media Productions LLC after relocating to Atlanta, Ga in 2006. Expected Ends Media Productions LLC is a graphic and web design, music and video production company that covers all aspects of business branding and advertising. It is his prayer that this Cd will touch the hearts and lives of those it comes in contact with.

Expressions

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J.R. Monterose - J.R. Monterose

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 48:45
Size: 111,8 MB
Art: Front

(6:59)  1. Wee-Jay
(5:18)  2. The Third
(8:06)  3. Bobbie Pin
(6:33)  4. Marc V
(9:04)  5. Ka-Link
(5:26)  6. Beauteous
(7:17)  7. Wee-Jay (alternate take)

Tenor saxophonist J.R. Monterose (Frank Anthony Monterose, Jr.) made only two appearances on Blue Note, both in 1956 one with trumpeter Kenny Dorham's Jazz Prophets recorded live at the Café Bohemia and the other as a leader of his own crack hard bop unit. It was an early ascendancy for Monterose, who had recorded with bassist Charles Mingus, vibraphonist Teddy Charles, and worked in the big bands of arranger Claude Thornhill and drummer Buddy Rich. But unlike tenor players Sonny Rollins, Hank Mobley and Tina Brooks, Monterose wouldn't make a home (and barely a sonic dent) on Alfred Lion's label, much less in New York. He was soon back in his hometown of Utica and not long for a European sojourn that lasted most of the rest of his life.  Presumably, it had nothing to do with Monterose's abilities that his time with Blue Note was so brief; rather, a loss of the proverbial cabaret card scuttled his appearances in the city and his ability to make work. On this program of three originals and readings of tunes by session drummer Philly Joe Jones, Paul Chambers and Donald Byrd, he's joined by scene regulars in pianist Horace Silver and Jones, as well as Chicagoans bassist Wilbur Ware and multi-instrumentalist Ira Sullivan. Sullivan is heard here on trumpet, but also had baritone, alto saxophone and flute in his arsenal.  Perhaps one reason Monterose's name isn't mentioned even among the heavy birds in Blue Note's stable is because his sound was, even at this fairly early stage, extraordinarily individual echoes of Chu Berry and Coleman Hawkins in his massive tone and the odd, quotable cadences of Sonny Rollins. Yet his influence lay more in pianists. Harmonically, Monterose cited Bud Powell (which would give him a passing affinity with alto saxophonist Jackie McLean), and his solos are odd-metered whirls, half-dissolved licks and emphatic blats that seem directly linked to isolationist pianistic flourishes. The leader's mid-tempo composition "Wee Jay" is the lead-off track here, and is reprised in an alternate take on this Rudy Van Gelder remaster edition.

Monterose probes shards of the theme, a lilting and fragmentary cadence of honks and blats with their edges rounded and velvety, slowly strung together in flourishes and then broken apart. There are echoes of Rollins (circa the contemporaneous Vanguard recordings) in his attack. Lingering a little behind the beat he's still an extraordinarily rhythmic player, riding the rhythm section's wave in alternating swirls and pointillist jabs. Silver is conspicuously absent for the first few bars of Monterose's solo, perhaps trying to find a way in with his comping the tenor man's phrases are obviously a world unto themselves. For those used to Silver's hard, churchy approach, his touch is much lighter here, perhaps because Monterose, Ware and Philly Joe bring such meat to the proceedings. Donald Byrd's "The Third" follows; a jagged and nearly stop-time theme that fits well with Monterose's sinewy and stammering patterns as a soloist. He takes cues from Silver's arpeggiated cascades, hopping and pirouetting into a collective dance with Sullivan. The trumpeter is an excellent front line foil, a brittle and ragged logic that fills the holes in the leader's quixotic play of force and filigree. It's hard to imagine a player like Monterose making cookie-cutter hard bop sessions the likes of which fill out the catalogs of many jazz labels from the period. However, he was certainly up to the task of making a warm and utterly unique contribution to the field, and having this date available again in stunning sound is a welcome homage to an uncompromising and individual saxophonist. ~ Clifford Allen https://www.allaboutjazz.com/jr-monterose-jr-monterose-by-clifford-allen.php

Personnel:  J.R. Monterose: tenor saxophone;  Ira Sullivan: trumpet;  Horace Silver: piano;  Wilbur Ware: bass;  Philly Joe Jones: drums.

J.R. Monterose

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Bob Rockwell & Jesper Lundgaard - Light Blue

Styles: Saxophone Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 65:23
Size: 150,1 MB
Art: Front

(4:22)  1. Bird Feathers
(5:53)  2. Tea for Two
(5:22)  3. Nobody Else But Me
(5:56)  4. Squeeze Me
(5:28)  5. Love Walked In
(5:33)  6. Caravan
(8:02)  7. Sweet Lorraine
(7:04)  8. Three Little Words
(6:04)  9. When It's Sleepy Time Down South
(5:23) 10. Crazy Rhythm
(3:05) 11. Light Blue
(3:05) 12. After You've Gone

Bob Rockwell (born May 1945, Miami, Oklahoma) is a jazz saxophonist. He was born in the United States but emigrated to Denmark in 1983, where he has lived since. Rockwell was raised in Minneapolis, and in his early career he toured the U.S. in various rock and rhythm and blues bands. He worked in Las Vegas in the late 1960s and early 1970s, then moved to New York City, where he played with Thad Jones and Mel Lewis, Tito Puente, Ben Sidran, Freddie Hubbard, Ray Drummond, Billy Hart, Rufus Reid, Victor Lewis, Ron McClure, Tom Harrell, Chuck Israels, John Hicks, Al Foster, Anthony Cox, Bill Dobbins, Keith Copeland, Clint Houston, and Richie Beirach. After settling in Copenhagen, Rockwell released a large number of albums on jazz label SteepleChase Records. He has also worked in Europe with Ernie Wilkins, Kenny Drew, Alex Riel, Marilyn Mazur, Kenny Wheeler, Jan Kasperson, and Jesper Lungaard. https://en.wikipedia.org/wiki/Bob_Rockwell

Personnel: Bob Rockwell (soprano & tenor saxophones); Jesper Lundgaard (bass).

Light Blue

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Ramón Valle Trio - No Escape

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 63:24
Size: 153,0 MB
Art: Front

( 5:23)  1. El Vigia
( 5:50)  2. De vuelta a casa
( 4:44)  3. Fourty Degrees
( 6:08)  4. Viva Coltrane
(11:13)  5. Andar por dentro
( 4:58)  6. Ilegal
( 4:52)  7. Alice Blues
( 3:55)  8. Clouds
( 5:27)  9. Kimbara pá Ñico
( 5:09) 10. Brindemos
( 5:40) 11. Pesadilla

Although pianist Ramón Valle (who contributed all 11 selections), bassist Omar Rodríguez Calvo, and drummer Liber Torriente were all born originally in Cuba and are masterful with polyrhythms, the music that they perform on No Escape is more post-bop jazz than it is Latin or Afro-Cuban jazz. Valle's style recalls Herbie Hancock of the 1960s at times, although it is fairly original. Working closely with his sidemen, Valle performs pieces that are often dark, complex, and a bit dissonant but not without their lighthearted moments. Of these, "El Vigia" is an inventive jazz waltz, the lengthy "Andar por Dentro" sounds mysterious, and "Brindemos" swings hard in its fashion. None of these originals are destined to become standards, but they certainly do challenge the musicians, who somehow often sound as one, following each other telepathically and creating stirring music. ~ Scott Yanow http://www.allmusic.com/album/no-escape-mw0000335238

Personnel:  Ramón Valle – piano;  Omar Rodríguez Calvo – bass;  Liber Torriente – drums

No Escape

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