Wednesday, December 14, 2016

Barbara Rosene - On The Brink

Size: 138,0 MB
Time: 59:03
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz Vocals
Art: Front

01. Brief And Breezy (4:09)
02. Where Are You (3:44)
03. Frigidaire (3:45)
04. Theme From Picnic (4:07)
05. He Loves Me Not (4:27)
06. How Am I To Know (4:43)
07. Almost In Your Arms (3:10)
08. Dancing In The Ballroom Of Our Hearts (4:47)
09. Did You Ever See A Dream Walking (2:50)
10. I Must Have That Man (5:36)
11. Perfidia (2:50)
12. There Will Never Be Another You (3:56)
13. That Sunday, That Summer (4:10)
14. The Shadow Of Your Smile (3:59)
15. On The Brink (2:45)

Personnel: Barbara Rosene, vocals; Ray Machiarola, James Chirillo, Howard Alden, guitars; Boots Maleson, Joel Forbes, bass; Wycliffe Gordon, trombone; Randy Sandke trumpet and flugelhorn; Joe Ascione, drums and djembe.

Barbara Rosene taps an all-star line up of musicians and arrangers for this treasure trove of tunes. Champion guitarists James Chirillo and Howard Alden take turns with their plectrum and arrangement talents on such songs as "Where Are You?," "Almost in Your Arms," "Did You Ever See a Dream Walking?," "Perfidia," and "There Well Never Be Another You." Guitar fans, these are your moments.

The focus, of course, is Barbara Rosene's singing which more than capitalizes on the fine arrangements, including those done by Ray Machiarola, Wycliffe Gordon and Randy Sandke. Great recordings such as this, like any musical ensemble is the result of successful collaboration and, again, this is an exemplary effort. "Frigidaire," exhibits yet another talent, that of Rosene's abilities as a composer. Sandke's muted trumpet sound adds just the right feeling for the hot-ice message of the lyric. "Theme From Picnic," reprises those memorable dance scenes of Kim Novak and William Holden, adding new insights to the romance of that union. Rosene provides her own special interpretation of the soundtrack, augmenting again Alden's subdued but evocative arrangement. Gordon's trombone solo kicks in at just the right time with just the right wailing tones. Alden's interpretation of "There Will Never Be Another You," solidifies his multitudinous talents. Although the verse is often overlooked, its inclusion here adds appropriate emphasis and meaning to this wonderful inexhaustible old song, enhanced in the upbeat section by Gordon.

For this listener's money, the prize track is "That Sunday, That Summer," where both Rosene and Chirillo excel at their offerings. Chirillo's solo is perfectly charming, played with just the right number and nature of notes in just the right mix of lines, chord melody, and voicings. Joel Forbes' bass, too, is right on for the temper of the tune.

All in all, musicians, arrangements, vocals, tune selection ? this is a AAA winner!

On The Brink

Greg Yasinitsky - Gator Tail

Size: 167,9 MB
Time: 72:30
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Funk/Blues, Hammond Organ
Art: Front

01. Count Dutch (5:23)
02. New Rhumboogie (6:44)
03. Off The Grid (4:55)
04. Gator Hips (5:38)
05. Gator Tail (7:13)
06. McCall (6:30)
07. Bumpy (8:28)
08. Overdrive (6:03)
09. Vaso Strut (7:15)
10. Foot Fingers (7:56)
11. Whodi (6:20)

Gator Tail is a band inspired by Willis “Gator Tail” Jackson, an amazing saxophonist and one of the masters of the great tenor/organ jazz quartet tradition. The music on this disc celebrates hard bop and soul jazz,updated with a contemporary flair. Gator Tail features tenor saxophonist Greg Yasinitsky—whose style is a combination of modern playing with heavy blues content—along with Hammond organist Brian Ward, guitarist Brad Ard and drummer David Jarvis. The tunes on this set were composed especially for Gator Tail by Ard, Ward and Yasinitsky. This collection is ideal for listeners who crave jazz with a strong dose of blues and funk. Yasinitsky, Ward, Ard and Jarvis are faculty members in the School of Music at Washington State University. Yasinitsky is a JodyJazz artist and a Yamaha performing artist.

Gator Tail

Ronny Whyte - Whyte Christmas

Size: 108,2 MB
Time: 45:49
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz Vocals, Xmas
Art: Front

01. Sleigh Ride (3:24)
02. Violets For Your Furs (4:44)
03. Always Christmas In New York (2:54)
04. Mistletoe And Holly (2:29)
05. Evening In December (4:04)
06. That Holiday Feeling (2:09)
07. Christmas Song (4:10)
08. Winter Warm (3:35)
09. I've Got My Love To Keep Me Warm (3:58)
10. Christmas Dreaming - White Christmas (3:45)
11. Christmas Waltz (1:58)
12. I'll Be Home For Christmas (3:15)
13. I Don't Remember Christmas (2:58)
14. I Don't Remember Purim (2:17)

b. 12 May 1937, Seattle, Washington, USA. An excellent interpreter of song lyrics and a good jazz-influenced pianist, he has also worked as an actor and dancer. Mostly based in the New York area, he has performed in many of the city’s intimate supper clubs, night clubs and superior hotel lounges. Among the venues are Michael’s Pub, The Village Gate, the Sherry Netherland, the St. Regis and the Oak Room of the Algonquin Hotel. He has also worked elsewhere in the USA, including Los Angeles, San Francisco, Chicago and Washington while overseas engagements have taken him to Paris, Tokyo, Johannesburg and São Paulo. His concert performances include New York’s Town Hall and Carnegie Hall and he has also appeared at jazz festivals. In addition to his singing he has acted in Shakespeare and has played the lead in a production of Pal Joey. He also makes appearances with symphony orchestras and in performances of music by George Gershwin including ‘Rhapsody In Blue’, and his own arrangement of Porgy And Bess. Whyte’s singing style is delightful and he delivers lyrics with masterly interpretative skills and crystal-clear diction, always displaying acute understanding of the songwriters’ intentions. His piano playing is of a similarly high order and his performances are always beautifully crafted, polished and supremely professional. ~AMG

Whyte Christmas

Kansas Smitty's House Band - Kansas Smitty’s House Band Live

Size: 98,3 MB
Time: 39:10
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Whisky Rag (4:28)
02. Anita (5:04)
03. This Is Goodbye (5:54)
04. Here's To Huw (5:19)
05. Messin' Around No More (4:24)
06. She's Got Soul (3:12)
07. North Henry Street (5:14)
08. Goodnight My Friends (5:30)

Kansas Smitty's is the debut album from the eight-piece Kansas Smitty's House Band, a London-based octet with an open approach to the integration of many jazz styles. The result is a refreshingly original debut album filled with some of the catchiest and most engaging music around.

House bands have a long history, playing regular but badly-paid gigs in dives and other dodgy establishments at the beck and call of dubious owners. Kansas Smitty's House Band follows that tradition but only to a degree—the residency is at Kansas Smitty's in the east of London, the (far from) dubious owners are the band and the establishment's speciality drink is the julep in a variety of forms.

The band name might suggest a harking back to the early swing of speakeasies and joints, but Kansas Smitty's is a band that's inspired and influenced by a host of different genres from across the history of jazz—notably swing, blues and Kansas City (unsurprisingly), but also more contemporary styles. It doesn't just trawl through the jazz back catalog for its material however: every track on this album is an original number written by the band's members, saxophonist Giacomo Smith claiming the lion's share of the credits.

Smith's "Get A Move On" acts on the demand of its title—a fast, driving, rhythm underpinning a punchy, horn-led hook. It also marks the first appearance of Theon Cross' tuba, an instrument whose low, fruity, tone adds impact to the rhythm section and never fails to make every tune sound a little more joyous. The mood swiftly changes with "Warm Embrace" by Smith and saxophonist Ruben Fox: it's a romantic slow song, with trumpeter Pete Horsfall 's sweet-toned vocals giving it a rather innocent charm.

Drummer Pedro Segundo and Smith co-wrote "The Call," a tune that bears a more-than-passing resemblance to Juan Tizol's "Caravan." Horsfall's "Backyard BBQ Blues" swings with the easy charm of a Louis Jordan tune. Fox's "You're Fantastic" is another romantic ballad, showcasing the band at its most graceful and restrained. Guitarist Dave Archer's "Gravy Train," possibly the catchiest tune in a catchy collection, is reminiscent of something John Dankworth might have recorded in the early-60s. For the gin-soaked blues of "What Would You Do" the band is joined by an excellent guest pairing of vocalist Leonie Evans (who co-wrote the song with Fox) and tenor saxophonist Mussinghi Brian Edwards.

Kansas Smitty's was recorded in one take, direct to tape on analog equipment—an approach that's finding increasing favor among young bands. Such an approach to recording seems to reflect and capture the band's spontaneity and in-the-moment musical interactions—all of which lead to an exciting and enjoyable first appearance for Kansas Smitty's House Band.

Personnel: Pete Horsfall: trumpet, vocals; Giacomo Smith: alto saxophone, clarinet; Ruben Fox: tenor saxophone; Theon Cross: tuba, trombone; Dave Archer: guitar; Joe Webb: piano; Ferg Ireland: bass; Pedro Segundo: drums; Leonie Evans: vocals (8); Mussinghi Brian Edwards: tenor saxophone (8).

Kansas Smitty’s House Band Live

Monika Ryan - Fly

Size: 108,4 MB
Time: 46:52
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. The Idea (5:33)
02. Risk (3:45)
03. The Night Before (4:42)
04. Dreams Have No Limits (3:45)
05. The Dawn Approaches (5:14)
06. The Stars Go On Forever (8:26)
07. You (7:06)
08. The Unknown (3:49)
09. Spirals (4:28)

Jazz vocalist Monika Ryan, started singing professionally at the age of 15 and had management by 16, working around New York City and under mentorship of musicians like Houston Person. With his recommendation, she applied and entered the world renowned New School for Jazz and Contemporary Music in Manhattan, where she further honed her craft studying with Jackie Paris, Sheila Jordan, Buster Williams, Reggie Workman, Chico Hamilton, Charli Persip, Junior Mance, Arnie Lawrence, and many other jazz luminaries.

At 18 years old Monika started singing with Charli Persip’s big band, “Precipitation,” and working at nightclubs and concert halls around New York. Through these concerts, she met and started working at premier clubs and venues in New York City with other greats, such as Al Grey, Gene Bertoncini, and Larry Ham. At 23 Monika was hired by Carnegie Hall to perform for 2 seasons of its “Neighborhood Concert Series.” During that time she recorded in Carnegie Hall’s studio with legendary guitar player Gene Bertoncini and Carnegie Hall studio engineer, Leszek Wojcik.

In 2000, she produced her first solo recording of all original material, “Love”. The album met with critical acclaim and brought her to the Montreal Jazz Festival. A year later, she followed up with her second album, “Duo,” a collection of standards and original material with guitarist Satoshi Inoue, and then toured Japan with Jon Faddis, David Hazeltine, Satoshi Inoue, Akira Tana and Kiyoshi Kitagawa as part of The Big Apple In Nonoichi Jazz Festival. A year she later, returned to Japan to tour with James Williams, John Lockwood, Bill Pierce, Satoshi Inoue, and Tony Reedus. In 2014, Monika released her third recording, “Involution." An eclectic and original collection of songs across a variety of genres, "Involution" is a meditation on the cycle of expansion and contraction in all things.

Earlier in 2016, Monika completed a largely improvised jazz album with pianist Chris White, titled "Sketches." Her latest recording, "Fly,” was just released this month—a modern pop/jazz concept piece that aims to take listeners on an intelligent journey, while remaining fun and accessible listening.

Fly

Aston Grey Project - The Hits / Changing The Game

Album: The Hits
Size: 155,0 MB
Time: 66:31
File: MP3 @ 320K/s
Released: 2016
Styles: Smooth Jazz, Soul Jazz, Vocals
Art: Front

01. Relax Your Mind (4:28)
02. I Was Wondering (4:48)
03. I Tried (4:37)
04. For The Love Of Your (Cece Live Mix) (8:15)
05. Get Home To You (4:25)
06. Groovin (On A Sunday Afternoon) (3:55)
07. The Sounds Of 52Nd St (4:12)
08. Just Around Midnight (3:42)
09. When Im With You (5:16)
10. Soul Searching (4:39)
11. Im Not Made For Love (3:08)
12. Beautiful (4:36)
13. Your Smile (5:40)
14. Dance With You (4:46)

The band was founded by Platinum Vybe Recordings president Chris Clay, who ‘s also an active member of the band. Each member of the Aston Grey Project has been apart of the music business for a minimum of 15 years as studio musicians, writers or vocalist.
The Nucleus of the band is Chris Clay (Piano, Strings, Programming, Percussions), Dowell Jones (Drums), Lionel Samuel (guitars), Brandon Green (electric/acoustic bass/upright). All whom have been apart of the music industry for many years.

The Project is committed to bringing it’s fans a full musical experience in recordings as well as the groups live performance. In the forming the Aston Grey Project one of the objectives was to become a platform for unsigned and signed guest artist to shine. “We want to and will feature unsung talent on everyone of our recordings.” - Chris Clay

The band is holding true to that with there second smooth jazz offering Changing The Game featuring lots of great surprises.

Across this diverse output, Aston Grey Project artistic vision remains unmistakable. The groups music is firmly grounded in groove and pulse, but also rhythmically intricate and highly interactive; fluidly improvisational, yet uncannily orchestrated; emotionally compelling, as well as innovative in texture, style, and musical form. Its many points of reference include jazz piano titans such as Monk, Ellington, Tyner, and other greats like Norman Brown, Dave Koz, Paul Hardcastle, Najee, David Sanborn, and Spyro Gyro. The Aston Grey Project offers jazz lovers something different in live performances. The live show offers audience participation, while it’s being fueled and conducted by its leader and and founder.

The Hits

Album: Changing The Game
Size: 153,7 MB
Time: 65:43
File: MP3 @ 320K/s
Released: 2015
Styles: Smooth Jazz, Soul Jazz
Art: Front

01. The Tune Up (1:23)
02. Warm Summer Night (4:02)
03. Misbehavin (3:54)
04. For The Love Of You (7:56)
05. Beautiful (4:36)
06. Interlude Let Me Show You (2:03)
07. Angel (4:46)
08. Sunshine Kisses (4:18)
09. Cest La Vie (4:03)
10. I Was Wondering... (4:48)
11. Feel So Good (4:20)
12. Da Bayou (4:52)
13. When Im With You (5:17)
14. Aston's Groove II (4:34)
15. Angel (Jazz Mix) (4:48)

The Aston Grey Project a smooth jazz band formed by music industry vet Chris Clay back in 2012. With a strong urge to challenge himself to create the music he loves the Aston Grey Project came into existence. The band released it's very first CD in 2013 titled the Chill Lounge. The CD spun a couple of radio hits "Groovin and Your smile". in early 2014 the band went back into the lab to start working on concepts for the new CD Changing The Game.

The ideas was flowing like a river and the band was off to recording after 4 months the band achieved 38 concept records all aimed for this new CD. Here's the result, 15 of the very best songs from those sessions. We promises that in this 15 tracks your hear the growth of the band from a musical and writing standpoint.

Early response to this CD has been nothing less than great. At EVERY listening session, everyone in the room was ready to line up and purchase the compact disc. Even though the music wasn't for sale at that time it really made the guys feel like they nailed it. Now you have the opportunity to be apart of the this sophomore offering from the Aston Grey Project.

Make sure you keep an eye out for the band coming to your area soon. The guys are gearing up to tour on this CD. Visit the bands website for dates and videos and free music. Thank you for your Support and please share our vibe with all your jazz loving friends.

Changing The Game

Cris Monen Jazz & Blues Band - You've Got To Pay The Band

Bitrate: MP3@320K/s
Time: 48:20
Size: 110.7 MB
Styles: Jazz-blues
Year: 1995
Art: Front

[3:35] 1. Oh Babe
[2:10] 2. Ma, She's Making Eyes A Me
[4:14] 3. Blue Light Boogie
[2:47] 4. Lulu's Back In Town
[3:47] 5. After You've Gone
[3:15] 6. One Note Samba
[3:40] 7. Georgia Mae
[3:55] 8. Hush, Hush
[3:31] 9. Some Of These Days
[2:55] 10. A Good Girl Is Hard To Find
[3:31] 11. I'm Crazy 'bout My Baby
[4:18] 12. She's Funny That Way
[3:25] 13. Saturday Night Fish Fry
[3:09] 14. You've Got To Pay The Band

Bass – Frans Van Geest; Drums – Martijn Vink; Guitar, Vocals – Cris Monen; Tenor Saxophone, Alto Saxophone, Clarinet – Sjoerd Dijkhuizen; Trombone, Cornet, Tuba – Jos Machtel. This CD was recorded at The Kwetterhof Studio in Wormerveer, The Netherlands.

You've Got To Pay The Band is the debut album of blues and jazz singer Cris Monen. He tours around the world with his band and sometimes solo. His beautiful voice and perfect guitar playing are very special. The album truly is magnificent and contains 14 superb easy listening jazz and blues songs.

You've Got To Pay The Band

Bebel Gilberto - Momento

Bitrate: MP3@320K/s
Time: 42:08
Size: 96.5 MB
Styles: Bossa Nova, Brazilian jazz
Year: 2007
Art: Front

[5:11] 1. Momento
[4:25] 2. Bring Back The Love
[3:16] 3. Close To You
[3:36] 4. Os Novos Yorkinos
[3:09] 5. Azul
[4:30] 6. Caçada
[4:51] 7. Night And Day
[4:01] 8. Tranquilo
[3:07] 9. Um Segundo
[3:27] 10. Cadê Você
[2:30] 11. Words

On her self-titled 2004 sophomore album, Bebel Gilberto ditched the loungey grooves she explored on her debut and stuck to mostly acoustic elements -- guitars, percussion, strings -- to complement her voice, but her next release, Momento, finds the singer returning to both electronica and more traditional bossa nova. Gilberto is still, of course, thoroughly modern, with a much more lush, produced sound than her predecessors had (including her father), but it works for her, the overall gentle ambiance she's trying to create, even when she's singing old favorites. In Chico Buarque's lovely "Caçada," she adds more bass to the underbelly of the song and lets the woodwinds play a bigger role, and the cover of Cole Porter's "Night and Day" comes off well, gentle, and with a jazzy tenor sax solo. In fact, it's when Gilberto stays simple, and looks more closely at her roots for inspiration, that she sounds the best. It's her ventures into the Rio lounge world that are less interesting, safe to a fault. Gilberto's unfortunately perfected the Brazilian version of smooth jazz or adult contemporary, shown all too clearly on songs like "Cadê Você" or "Bring Back the Love" (which features all four members from the non-Brazilian Brazilian Girls), with their programmed drums and keyboards layered behind her voice. It's too much, too clean, too pretty, sounding nice but nothing more. To be fair, the singer has never tried nor claimed to be cutting-edge, or to challenge her audience, but tracks like "Close to You" and "Momento" are so inoffensive they're hard to pay much attention to. It's very possible to be both memorable and smooth, remarkable and mild (and this is something Gilberto is capable of, like on the sparse "Um Segundo" or the mellow "Os Novos Yorkinos," for example), but more often than not, Momento ends up a shallow listen. This CD was nominated for a Grammy award in 2007 for Best Contemporary World Music Album. ~Marisa Brown

Momento

David Murray, Jamaaladeen Tacuma - Rendezvous Suite

Bitrate: MP3@320K/s
Time: 42:13
Size: 96.6 MB
Styles: Free jazz
Year: 2011
Art: Front

[3:20] 1. Rendezvous The Opening
[8:31] 2. Hotel Le Prince Movement 1
[3:04] 3. Theme On A Dream
[3:36] 4. Bring It On
[4:13] 5. How Sensitive
[3:59] 6. Theme On A Dream: II. 80's Downtown Movement 2
[3:24] 7. Theme On A Dream: III. Who's That Ringing Movement 3 2
[7:09] 8. Hotel Le Prince Movement 2
[2:45] 9. Yes We Can
[2:08] 10. Rendezvous The Ending

Bass Guitar – Jamaaladeen Tacuma; Drums – Ranzell Merrit; Guitar – Mingus Murray; Keyboards [Recomposing] – Paul Urbanek; Tenor Saxophone, Bass Clarinet – David Murray. Recorded February 4 / 5, 2009 at Studio Magnetica, Paris. Mixed and mastered at Next Generation Studios, Vienna.

Berlin's Jazzwerkstatt label is similarly celebrating dreams with this partnership between the great American saxophonist and bass clarinetist David Murray, and sometime Ornette Coleman alter ego on bass guitar, Jamaaladeen Tacuma. In this case, the dreams belong to black America, embracing 1963 Martin Luther King, and Barack Obama's campaign mantra, Yes We Can. The latter sentiment reflects this session's early-2009 recording date, just three months after Obama's election, and before the harsh political realities had kicked in. But the music retains its eager, rough-hewn dynamism (Jazzwerkstatt sessions often sound like minimally premeditated works-in-progress) through some very sparky, post-bop themes, passages of Joe Zawinul-influenced synth-driven world-funk, and some awesome sax playing from Murray. Technology is used to mirror fast, improvised lines with the sonorities of other instruments – the way in which keyboard sounds slipstream Murray's tumbling horn flights is particularly absorbing. Brooding, backbeat-powered bass-guitar vamps and ghostly electric-guitar shimmerings trigger boiling tenor-sax eruptions (the saxophonist's son, Mingus Murray, is the impressive guitarist). Elsewhere, coolly-swinging episodes, such as Hotel Le Prince, give way to Weather Reportish passages; free-sax ascents squeal over rock-music bass licks; and the poet Amiri Baraka appears for a brief recital. The improv-echoing effect is overused, but there's more strong melody on this recording than in many avant-funk sessions, and Murray is as formidable as ever. ~John Fordham

Rendezvous Suite

Rusty Draper - Georgia

Bitrate: MP3@320K/s
Time: 28:57
Size: 66.3 MB
Styles: Country
Year: 2014
Art: Front

[2:32] 1. Georgia On My Mind
[2:25] 2. Lazy Bones
[2:09] 3. Ole Buttermilk Sky
[2:09] 4. Doctor, Lawyer, Indian Chief
[2:41] 5. Moon Country
[2:33] 6. Judy
[2:03] 7. In The Cool, Cool, Cool Of The Evening
[2:34] 8. Ole Rockin' Chair
[2:15] 9. Hong Kong Blues
[2:41] 10. Lazy River
[2:21] 11. My Resistance Is Low
[2:28] 12. Small Fry

Singer Rusty Draper was one of the biggest crossover stars of the early '50s, selling over a million records to pop and country audiences before the rise of rock & roll derailed his career. Born Farrell Draper in Kirksville, MO, on January 25, 1920, he received his first guitar at age ten, and within two years made his radio debut on Tulsa station WTUL's Cy Perkins Show. From there, Draper hosted his own show on Des Moines outlet WWHO, occasionally substituting for sports announcer Ronald "Dutch" Reagan. He also cut a demo for RCA Bluebird, but the label declined to offer a contract. In 1938 the Drapers relocated to San Bernardino, CA. When he proved unable to resume his fledgling music career, Rusty worked as a Western Union messenger boy before pawning his guitar to fund a trip to San Francisco in search of a performing gig. He finally landed a residency at the Bay Area nightclub the Barn, after a year accepting a proposed two-week stay at the nearby Rumpus Room; two weeks ultimately turned into eight years, and during his tenure at the Rumpus Room, Draper met his wife Macia Willsey, who soon took over management of his career. Willsey landed him appearances on The Ed Sullivan Show and Arthur Godfrey's Talent Scouts as well as his own local San Francisco television showcase, and in mid-1952 the singer signed to Mercury and issued his debut single, "How Could You (Blue Eyes)." Draper's early Mercury efforts, including "Devil of a Woman" and "Sing Baby Sing," generated little interest at radio, and even "Release Me," a 1952 duet with Patti Page, failed to jump-start his career. In early 1953 he nevertheless mounted a national club tour, and the publicity gave a much-needed push to his sixth Mercury release, a cover of the Carlisles' country hit "No Help Wanted." In June, Draper released "Gambler's Guitar," and everything clicked -- the record sold over a million copies and not only reached the country Top Ten, but also cracked the pop charts. The follow-up, "Bummin' Around," failed to match its predecessor's success, however, but Draper quickly rebounded with "Lighthouse" and "Native Dancer," both of which reached the number 23 slot. He struggled in 1954 with a series of little-noticed releases including "I Love to Jump," "The Workshop of the Lord," and "Shame on You," but hit paydirt again in 1955 with the Top 20 pop hit "Seventeen," peaking at number three with the follow-up, "The Shifting, Whispering Sands," and closing out the year with "Are You Satisfied?," which flirted with the Top Ten. During 1956, Draper remained a radio fixture with "Held for Questioning" and "House of Cards," and returned to the Top 20 with "In the Middle of the House." (Vaughn Monroe's competing version hit number 11.) Draper entered 1957 weakly, scoring only minor chart success with "Let's Go Calypso" and "Tiger Lily," but a cover of Chas McDevitt's U.K. skiffle smash "Freight Train" returned him to the Top Ten by year's end. From there Draper's brand of middle-of-the-road country-pop again fell out of favor, and singles like "June, July and August," "With This Ring," and "Can You Depend on Me?" sold poorly. His 1960 reading of "Muleskinner Blues" proved a surprise British Top 40 hit, while its flip side, a cover of Hank Locklin's classic "Please Help Me, I'm Falling," reached the number 54 spot on the U.S. pop charts. With 1961's rendition of Cowboy Copas' "Signed, Sealed and Delivered," Draper scored his final hit for Mercury, and after issuing "Beggar to a King" the following summer, he left the label to sign with Monument, reaching number 57 on the pop charts in the fall of 1953 with Willie Nelson's "Night Life." A comeback was not in the cards, however, and subsequent Monument efforts "It Should Be Easier" and "I'm Worried About Me" went nowhere. The label terminated his contract following 1966's "Mystery Train," although he hung around the lower rungs of the country charts for the remainder of the decade via minor hits like "My Elusive Dreams," "California Sunshine," and "Buffalo Nickel." Draper remained a steady concert draw in years to follow, and also appeared in stage musicals and on television; in 1980, he squeaked into the country charts one final time with "Harbor Lights." Draper died of pneumonia in Bellevue, WA, on March 29, 2003. ~ bio by Jason Ankeny

Georgia

Tina Brooks - The Waiting Game

Bitrate: MP3@320K/s
Time: 39:33
Size: 90.6 MB
Styles: Bop, Saxophone jazz
Year: 2002
Art: Front

[7:38] 1. Talkin' About
[4:41] 2. One For Myrtle
[6:52] 3. Dhyana
[6:39] 4. David The King
[7:29] 5. Stranger In Paradise
[6:11] 6. The Waiting Game

Bass – Wilbur Ware; Drums – Philly Joe Jones; Piano – Kenny Drew; Tenor Saxophone – Tina Brooks; Trumpet – Johnny Coles. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on March 2, 1961.

Like two of his other three albums, Tina Brooks' final session as a leader (in March 1961) was sequenced and prepared for release, but remained on the shelves until well after the tenor's tragically early death. That's why the title of The Waiting Game is not only apt, but sadly poignant. Despite Blue Note's reservations at the time, Brooks' output for the label was uniformly strong, demonstrating his skills as a smooth, graceful soloist and a composer of considerable dexterity within the hard bop idiom. Swinging and bluesy, yet sophisticated and refined, The Waiting Game upholds the high standard Brooks set with his previous sessions. Brooks is especially fine on his minor-key compositions, such as "Talkin' About" and "Dhyana," which allow his streak of melancholy romanticism to emerge (as does the lone cover here, the Tony Bennett hit "Stranger in Paradise"). With its hints of Eastern modalities, "David the King" is perhaps the most challenging piece here; in fact, it had been attempted without success at the Back to the Tracks sessions. Brooks sounds especially searching on the album-closing title cut, and pianist Kenny Drew and trumpeter Johnny Coles contribute some long, fluid lines of their own. Hard bop fans will find The Waiting Game just as necessary as Brooks' other albums. Not counting the out-of-print Mosaic box, The Waiting Game was first issued as its own entity in 1999 in Japan, and was finally released in the U.S. in October 2002. ~Steve Huey

The Waiting Game

The Jazz Crusaders - Lighthouse '68

Styles: Jazz, Big Band
Year: 1968
File: MP3@320K/s
Time: 73:43
Size: 169,4 MB
Art: Front

(6:55)  1. Oogo-Boo-Ga-Loo
(7:43)  2. Eleanor Rigby
(8:57)  3. Native Dancer
(7:26)  4. Never Had It So Good
(9:02)  5. The Emperor
(6:25)  6. Impressions
(6:22)  7. Cathy The Cooker
(4:03)  8. Shadows
(8:01)  9. Tough Talk
(8:45) 10. Third Principle

Lighthouse '68 is the third date the Jazz Crusaders cut at the popular California venue. Previous outings recorded here, though very fine, carried the sonic weight of a band very aware of their audience and that they were making live records. Here, they get it completely right. Feel is what dictates the material and its execution on this set, without unnecessary attention paid to crowd or recording apparatus. This is one the most intimate jazz shows captured on tape during the 1960s. It gives record buyers the sound of a band in full possession of their considerable capabilities, celebrating them in a relaxed environment, playing their own brand of grooved-out '60s jazz. What is most apparent is how seamlessly the Jazz Crusaders Wilton Felder, Stix Hooper, Joe Sample, Buster Williams, and Wayne Henderson  wove together hard bopping blues, soul-jazz, Horace Silver's funky rhythmic ideas, and gospel. One listen to the set's opener, "Oogo-Boo-Ga-Loo," with its funky strut and call-and-response chorus, brings the Sunday morning church music to the Saturday discotheque for a workout. As it cascades into "Eleanor Rigby," Sample's solo goes deeply into the blues for his inspiration and comes out with a funky panoply of cadences that are double timed and stretched out into a loping soul groove by the rhythm section before the horns bring the melody back with finger-popping assent. Sample's street-smart "Never Had It So Good" offers an elongated front line with a summer stroll through a Latin theme before erupting into deep soul. But the kicker is in Buster Williams' compositions. 

As a jazz composer, Williams was closely aligned with hard bop as it evolved. His expansive rhythms, smooth melodic lines, and tight harmonic palette offered soloists a chance to stretch his grooves further, bringing modality as first articulated by Miles Davis' mid-'60s quintet and a warm yet expressed sophistication to his tunes (check "Native Dancer" with its Latin tinge and the shimmering melodic pulse of "The Emperor," which gives way to the set's closer, a graceful, profoundly subtle, and gorgeous reading of John Coltrane's "Impressions"). In sum, this record delivers what most records only promise: it literally sings with great musicianship displayed with verve and acumen, along with a warm human feeling that amounts to joy. ~ Thom Jurek http://www.allmusic.com/album/lighthouse-68-mw0000697614

The Jazz Crusaders: Wilton Felder (tenor saxophone); Wayne Henderson (trombone); Joe Sample (piano); Buster Williams (bass); Stix Hooper (drums).

Lighthouse '68

Marian Montgomery - Swings For Winners and Losers

Styles: Vocal
Year: 1962
File: MP3@320K/s
Time: 29:56
Size: 72,4 MB
Art: Front

(1:50)  1. Breezin Along With The Bree
(2:35)  2. Confessin The BLues
(3:06)  3. When Sunny Gets Blue
(2:53)  4. Can't Help It
(2:34)  5. Wee Baby Blues
(2:17)  6. My Buddy
(1:48)  7. Roll Em Pete
(2:34)  8. The Exciting Mister Finch
(2:39)  9. Deed I Do
(3:10) 10. Good Morning Heartache
(2:11) 11. All By Myself
(2:14) 12. When Your Lover Has Gone

Born  Maude Runnels, 17 November 1934, Natchez, Mississippi, USA, d. 22 July 2002, Bray, Berkshire, England. Montgomery quit school to sing on television in Atlanta, Georgia. After working in advertising and publishing, performing in plays and singing in strip joints and jazz clubs, she became an established cabaret performer. Montgomery was signed to Capitol Records after Peggy Lee heard her demo tape, and she recorded three albums for the label. She moved to the UK in 1965 to sing at a new London club, the Cool Elephant, with John Dankworth’s band. That same year she married composer and musical director Laurie Holloway and began to establish herself on the London club scene, equally at home at Ronnie Scott’s jazz club as she was on the less demanding cabaret circuit.

Possessing a voice that was once likened to ‘having a long, cool glass of mint julep on a Savannah balcony’, she expanded her career with a starring role in the 1969 West End revival of Anything Goes, and frequent appearances on radio and television, as well as concerts and cabaret in the UK and abroad. Her one-woman show was televised by the BBC in 1975. Besides her musical association with Holloway, she successfully collaborated with classical composer/pianist Richard Rodney Bennett on several projects, including Puttin’ On The Ritz, Surprise Surprise andTown And Country. With an instantly recognizable, relaxed and intimate style, Montgomery became one of a handful of American artists to take up permanent residence in the UK. She lost her long battle against cancer contracted from passive smoking in July 2002. http://www.allmusic.com/artist/marian-montgomery-mn0000233883/biography

Swings For Winners and Losers

Terence Blanchard & Donald Harrison - Discernment

Styles: Trumpet And Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 45:41
Size: 104,8 MB
Art: Front

(6:45)  1. Worth the Pain
(4:01)  2. When the Saints Go Marching In
(5:38)  3. When I Fall in Love
(6:03)  4. Directions
(1:39)  5. Discernment
(6:10)  6. Are You Sleeping?
(6:01)  7. Akira
(9:19)  8. Dorchester House

The second recording co-led by trumpeter Terence Blanchard and altoist Donald Harrison (both of whom had become stars with Art Blakey's Jazz Messengers) mixes together the influences of New Orleans (they even perform a somber version of "When The Saints Go Marching In"), hard bop and the avant-garde. With pianist Mulgrew Miller, bassist Phil Bowler and the colorful drummer Ralph Peterson, Jr. making strong contributions, the quintet performs spirited renditions of four Blanchard originals, two Harrison songs, "The Saints" and the ballad "When I Fall In Love."~ Scott Yanow http://www.allmusic.com/album/discernment-mw0000191552http://www.allmusic.com/album/discernment-mw0000191552

Personnel:  Donald Harrison (saxophone), Terence Blanchard (trumpet), Mulgrew Miller (piano), Phil Bowler (bass), Ralph Peterson (drums)

Discernment

Vincent Gardner - Vin-Slidin'

Styles: Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 65:40
Size: 151,2 MB
Art: Front

( 8:11)  1. Teaneck
(11:46)  2. Pensativa
( 8:48)  3. For Heaven's Sake
( 6:38)  4. Koko
(12:27)  5. Rocks In My Bed
(10:49)  6. Wildflower
( 6:58)  7. Just One Of Those Things

For his third date for Steeplechase, trombonist Vincent Gardner not only omits a second horn, but also utilizes guitarist Tom Guarna in place of a pianist, with bassist Greg Williams and drummer Quincy Davis rounding out the band. The result is solid effort that swings like mad. Gardner, who has recorded with Marcus Roberts, Wynton Marsalis, and the Lincoln Center Jazz Orchestra, opens with a fluid arrangement of Nat Adderley's "Teaneck," while also mastering Charlie Parker's intricate, rapid-fire bop vehicle "Koko." His laid-back treatment of Duke Ellington's infrequently performed blues "Rocks in My Bed" is complemented by Williams' walking bass and Guarna's spacious accompaniment in an extended workout. Gardner adds a mute for the intimate setting of Wayne Shorter's "Wildflower," a beautiful, subdued performance. The standards include a lush, romantic setting of "For Heaven's Sake" and breezy interpretation of the always popular "Just One of Those Things," helping to nicely round out this recommended session. 
~ Ken Dryden http://www.allmusic.com/album/vin-slidin-mw0000793981

Personnel:  Tom Guarna (guitar); Vincent Gardner (trombone); Greg Williams (upright bass); Quincy Davis (drums).

Vin-Slidin'

Wycliffe Gordon & Eric Reed - We

Styles: Trombone And Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 55:14
Size: 126,8 MB
Art: Front

(3:52)  1. The Lord's Prayer
(8:40)  2. Paris Blues
(4:07)  3. This Rhythm on My Mind
(5:50)  4. Embraceable You
(4:29)  5. Cherokee
(6:03)  6. Precious Lord Take My Hand
(8:56)  7. Lament
(4:49)  8. Toast My Bread
(5:20)  9. He Looked Beyond My Fault (Dan
(3:03) 10. He Cares

We is a profound and intimate set of duets featuring trombonist Wycliffe Gordon and pianist Eric Reed. With a relaxed yet passionate air, the two express their mutual love and respect with a far-ranging program that covers Ellington, Gershwin, spirituals, folk songs, and jazz staples like "Cherokee" and "Lament." Gordon's plunger work is unparalleled in its sophistication, as he reveals on "Embraceable You" and "Precious Lord, Take My Hand." And he can sing, too -- check out the antics on his two originals, "This Rhythm on My Mind" and "Toast My Bread." Reed's stately, gospel-tinged touch and bop command anchor the session; his beautiful ballad "He Cares" closes the session. ~ David R.Adler http://www.allmusic.com/album/we-mw0000218389

Personnel: Wycliffe Gordon: trombone; Eric Reed: piano.

We