Saturday, January 7, 2017

Red Garland - Red In Bluesville

Bitrate: MP3@320K/s
Time: 41:41
Size: 95.4 MB
Styles: Bop, Piano jazz
Year: 1959/1993
Art: Front

[5:09] 1. He's A Real Gone Guy
[7:56] 2. See See Rider
[7:32] 3. M Squad Theme
[5:47] 4. Your Red Wagon
[5:44] 5. Trouble In Mind
[9:30] 6. St. Louis Blues

Pianist Red Garland and his trio (with bassist Sam Jones and drummer Art Taylor) explore six veteran blues-based compositions ranging from Nellie Lutcher's "He's a Real Gone Guy" and "St. Louis Blues" to "Your Red Wagon" and Count Basie's "M-Squad (Theme)." Throughout, Garland modernizes each of the selections with his distinctive chord voicings, and he makes the songs sound fresh and new. A solid effort from this very consistent pianist, who will always be best remembered for his playing with the classic Miles Davis Quintet. ~Scott Yanow

Red In Bluesville

Various - Capitol Sings Coast To Coast

Bitrate: MP3@320K/s
Time: 51:46
Size: 118.5 MB
Styles: Easy Listening, Vocal
Year: 1994
Art: Front

[2:45] 1. Margaret Whiting - Moonlight In Vermont
[2:24] 2. Susan Barrett - Old Cape Cod
[2:48] 3. Dakota Staton - Broadway
[2:39] 4. Jo Stafford - Autumn In New York
[2:48] 5. Dean Martin - When It's Sleepy Time Down South
[3:03] 6. Judy Garland - Carolina In The Morning
[2:39] 7. The Four Knights - Georgia On My Mind
[3:02] 8. Peggy Lee - Basin Street Blues
[2:05] 9. Dinah Shore - Mississippi Mud
[2:36] 10. Ray Anthony & His Orchestra - Chattanooga Choo Choo
[2:13] 11. Kay Starr - Indiana (Back Home Again In Indiana)
[3:38] 12. Nat King Cole - (Get Your Kicks On) Route 66
[2:00] 13. Sandler & Young - Chicago
[2:17] 14. June Christy - You Came A Long Way From St. Louis
[2:13] 15. Gordon Macrae - When It's Springtime In The Rockies
[2:50] 16. Peggy Lee - I Lost My Sugar In Salt Lake City
[2:54] 17. Johnny Mercer - San Fernando Valley
[2:21] 18. Nancy Wilson - I Left My Heart In San Francisco
[2:15] 19. Ella Fitzgerald - Hawaiian War Chant (Ta-Hu-Wa-Hu-Wai)
[2:07] 20. The Pied Pipers - Avalon

In the 1950's, Capitol Records had some of the best talent in the music industry, including Frank Sinatra and Dean Martin, both of whom were at the apex of their respective forms. At least Dean is present in this collection of songs, all of which are tied to the theme of places within the United States (continental and otherwise). Even though Frank is not represented, some of my favorite voices of the era are here, including Jo Stafford, Margaret Whiting, Nat "King" Cole, Peggy Lee, Tony Bennett and the incomparable Johnny Mercer. Unfortunately, the songs don't always match up to the talent. There are some stand-outs, such as "Moonlight in Vermont," "Old Cape Cod," "Autumn in New York" and "Georgia on My Mind." ~Sarah Bellum

Capitol Sings Coast To Coast

Tim Davies Big Band - The Expensive Train Set

Bitrate: MP3@320K/s
Time: 65:55
Size: 150.9 MB
Styles: Big band
Year: 2016
Art: Front

[7:17] 1. Conceivilization
[7:33] 2. Sarahbande
[7:07] 3. Minor Incidents
[9:58] 4. The Expensive Train Set (An Epic Sarahnade For Double Big Band)
[6:08] 5. Sing Sing Sing
[5:47] 6. Let Sleeping Questions Lie
[7:59] 7. Circadian Rhythms
[7:38] 8. Jazz Vespas
[6:23] 9. Goon Juice

Tracks 1, 3, 4, 6, 9 (Los Angeles) – Jon Papenbrook: trumpet; Rich Hofmann: trumpet; Walt Simonsen: trumpet; Ken Bausano: trumpet; Brian Owen: trumpet; Alex Budman, Ann Patterson, Mike Nelson, Lee Secard, Ken Fisher: saxophones; Jacques Voyemant: trombone; Kerry Loeschen: trombone; Martha Catlin: trombone; Steve Hughes: trombone; Mark Cally: guitar; Alan Steinberger: keyboards; Ken Wild: bass; Tim Davies: drums. Tracks 2, 4, 5, 7, 8 (Melbourne) – Greg Spence: trumpet; Michael Fraser: trumpet; Eugene Ball: trumpet; Paul Williamson: trumpet; Thomas Jovanovic: trumpet; Greg Clarkson, Tim Wilson, Tony Hicks, Andrew O’Connell, Stuart Byrne: saxophones; Dave Palmer: trombone; Jordan Murray: trombone; Daryl McKenzie: trombone; Matt Amy: trombone; Jack Pantazis: guitar; Marty Hicks: keyboards; Kim May: bassTim Davies: drums. Additional musicians – Jim Honeyman: saxophone; Bram Glik: saxophone; Bobby Burns Jr.: trumpet; James Blackwell: trumpet; Javier Gonzalez: trumpet; Nicholas Daley: trombone; Jeremy Levy: trombone; Juliane Gralle: trombone.

Tim Davies, who led a big band in his native Australia before relocating to Los Angeles in 2000, reprises that experience on parts of The Expensive Train Set, returning home to supervise his Melbourne ensemble on four selections, presiding over his Los Angeles-based band on four others, and somehow managing to blend the two groups together as one on the ambitious title song, which Davies calls "the centerpiece of the album," as well it should be. Whereas Davies' previous album, Dialmentia, was focused in part on his recurring nightmares, Train Set undrapes a more amiable theme, the singular experience of becoming a father, as Davies recently did. In fact, the opening number, "Conceivilization," is arranged to depict in musical terms—how shall we say this?—the act of making love, with two soloists in each movement playing the part of the lovers. Be sure not to miss the exciting climax!

The Melbourne band makes its first appearance on "Sarahbande," a charming ballad dedicated of course to Davies' newborn daughter. Again, two soloist perform side-by-side, in this case tenor saxophonist Tony Hicks and trombonist Jordan Murray. Then it's back to L.A. for "Minor Incidents," a mid-tempo exercise in darkness and light based on a number of close calls that could have been harmful to toddler Sarah's health and well-being. The parallel soloists are trumpeter Brian Owen and guitarist Mark Cally. The expansive (and expensive!) "Train Set" is next up, and here is how it came about: Davies recorded the drums first (in L.A.), then the rhythm and Melbourne band, followed by the Los Angeles band. Not only is this the album's focal point, it is the last of four movements devoted to the over-all themes of birth and parenthood. Its subtitle is "An Epic Sarahnade for Double Big Band." The deftly-sewn garment is seamless, buttressing splendid solos by baritone Stuart Byrne, trombonist Jacques Voyemant and bassist Kenny Wild.

It's back to Melbourne and the Swing Era for Louis Prima's classic "Sing Sing Sing," on which clarinetist Hicks sits in for Benny Goodman and Davies does the same for Gene Krupa (in point of fact, Davies serves as the able timekeeper for both bands). In L.A. again, Davies and the band welcome guest singer Raya Yarbrough for "Let Sleeping Questions Lie," a pensive ballad that she also wrote. "Circadian Rhythms" (Melbourne) is a serpentine vehicle for the ensemble and Marty Hicks' expressive Hammond organ, "Jazz Vespas" a muscular blues named for Davies' Vespa motor bike. The dynamic, Latin-centered "Goon Juice" (L.A.) applauds a brew favored by many younger (and older) Aussies. Cogent solos on "Vespas" courtesy of flutist Tim Wilson, tenor Andrew O'Connell and bassist Kim May, on "Juice" by trumpeter Jon Papenbrook and alto Mike Nelson. Stylish compositions and arrangements by Davies, plus two world-class bands for the price of one add up to an invigorating ride on an Expensive Train Set that is more than worth the price of a ticket. ~Jack Bowers

The Expensive Train Set

Susannah McCorkle - Ballad Essentials

Bitrate: MP3@320K/s
Time: 56:26
Size: 129.2 MB
Styles: Vocal jazz
Year: 2002
Art: Front

[5:18] 1. How Long Has This Been Going On
[4:07] 2. You Go To My Head
[3:10] 3. For All We Know
[4:25] 4. Why Don't We Try Staying Home
[3:31] 5. Skylark
[4:47] 6. Manha De Carnaval
[5:00] 7. Nuages
[5:09] 8. The People You Never Get To Love
[5:38] 9. Let's Face The Music And Dance
[6:04] 10. There's No Business Like Show Business
[5:02] 11. It Never Entered My Mind
[4:10] 12. P.S. I Love You

Noted for the beauty of her voice and ability to freshen up the most tired lyric, Susannah McCorkle left behind an impressive and large body of work at the time of her death in 2001. Ballad Essentials concentrates onMcCorkle's softer side, collecting a dozen pieces recorded for Concord between 1983 and 2000. A remarkable cadre including Ken Peplowski, Emily Remler, and Bucky Pizzarelli join her on a variety of standards by Cole Porter, Rodgers & Hart, and the Gershwin brothers. The arrangements vary from vocal/guitar duets with Howard Alden and Al Gafa to the small-orchestra backing of "Let's Face the Music and Dance." There's an enjoyable, intimate version of "Why Don't We Try Staying at Home" and an elegant rendering of "Skylark." It's notable that McCorkle, like Ella Fitzgerald, chooses to include the verse, or beginning, of songs like "There's No Business Like Show Business" and "It Never Entered My Mind." A lovely rendition of Django Reinhardt's "Nuages," complete with French and English lyrics, provides a pleasant surprise, while "Manhã de Carnaval (Sunrise)" displays McCorkle's ability as an interpreter of South American material. For those less familiar with the great vocalist's work, Ballad Essentials serves as an excellent primer. For fans, the album gathers a dozen similarly toned pieces, or an hour's worth of music, in one place. A fine collection. ~Ronnie D. Lankford Jr.

Ballad Essentials

Cannonball Adderley - The Very Best Of Cannonball Adderley

Bitrate: MP3@320K/s
Time: 63:19
Size: 145.0 MB
Styles: Bop, Saxophone jazz
Year: 2012
Art: Front

[ 4:40] 1. A Little Taste
[ 7:11] 2. Things Are Getting Better
[11:31] 3. This Here
[ 4:56] 4. Know What I Mean
[ 3:02] 5. Something Different
[ 7:00] 6. Winetone
[ 6:59] 7. Dizzy's Business
[ 9:09] 8. The Work Song
[ 5:25] 9. Jive Samba
[ 3:22] 10. Inside Straight

Cannonball Adderley was a fluid but explosive alto saxophonist with a driving, shotgun style derived from Charlie Parker, but with added-in elements of jump blues, gospel, and country, until Adderley arrived at a wonderful signature sound that bridged hard bop and what would come to be called soul-jazz. His recording career was woefully brief, less than 20 years, from 1958 to 1975 -- the year Adderley died of a heart attack at the age of 46. This tight set, drawn from LPs released originally by the Riverside and Fantasy record labels, provides a warm and loose sketch of Adderley's recorded legacy, from 1958's "Things Are Getting Better," which features vibes maestro Milt Jackson, to 1975's "Jive Samba," which features Adderley's ever-present brother Nat Adderley on cornet. Adderley was a former schoolteacher, and his live shows were often like fascinating little lectures on music and jazz, and when he played, well, that was when he really started talking. That his recorded catalog is smaller than it should have been is a shame, but that it is so rich, joyous, and driving makes it a treasure. This set hints at why. ~Steve Leggett

The Very Best Of Cannonball Adderley 

Oscar Peterson - Oscar Peterson Plays The Harry Warren & Vincent Youmans Song Books

Bitrate: MP3@320K/s
Time: 31:38
Size: 72.5 MB
Styles: Piano jazz
Year: 1959/2015
Art: Front

[2:28] 1. Lullaby Of Broadway
[3:08] 2. Serenade In Blue
[3:19] 3. You'll Never Know
[2:48] 4. I Had The Craziest Dream
[3:37] 5. I Only Have Eyes For You
[2:09] 6. Chattanooga Choo Choo
[2:54] 7. More Than You Know
[2:12] 8. Carioca
[1:44] 9. Drums In My Heart
[3:30] 10. Without A Song
[1:47] 11. Time On My Hands
[1:57] 12. Great Day

Bass – Ray Brown; Drums – Ed Thigpen; Piano – Oscar Peterson.

This LP is one of nine different Songbook LPs recorded by the Oscar Peterson Trio (with bassist Ray Brown and drummer Ed Thigpen) within one month. Peterson performs six songs apiece by Harry Warren (including "Lullaby of Broadway," and "I Only Have Eyes for You") and Vincent Youmans (highlighted by "More than You Know" and "Without a Song") with his usual swinging approach. Very much an ad-lib one-take set, the music is given respectful melodic treatment while being updated to the late '50s. The results are not essential but the pianist's many fans will enjoy his songbooks. ~Scott Yanow

Oscar Peterson Plays The Harry Warren & Vincent Youmans Song Books

Jacqui Naylor - Live At The Plush Room

Bitrate: MP3@320K/s
Time: 43:13
Size: 99.0 MB
Styles: Vocal jazz
Year: 2001
Art: Front

[2:56] 1. Love Me Or Leave Me
[5:25] 2. Ain't No Sunshine
[4:50] 3. I Got The Sun In The Morning
[3:01] 4. Blue Skies
[5:28] 5. Estate
[4:51] 6. My Baby Just Cares For Me
[4:24] 7. Lazy Afternoon
[3:14] 8. Time After Time
[5:56] 9. Playing Your Game Baby
[3:03] 10. It Could Happen To You

The second outing for West Coast singer Jacqui Naylor brings together live performances from San Francisco's Plush Room from February through July in 2001. While she continues down the same path established in her initial album, the delivery of good material in a simple, straightforward manner, there's been a slight expansion of her perspective by adding blues and come-hither accents. Live performances generally demand that the performer be more versatile than in the recording studio. This slight augmentation can be heard on such tunes as "Love Me or Leave Me" and a coy, now-you-see-it, now-you-don't sensuality on "Playing Your Game, Baby." Latin rhythms hold forth on "My Baby Just Cares for Me," where Naylor makes some clever, ear-catching alterations in the phrasing. But regardless of what's on the performance platter, Naylor never loses the smooth, smoky resonance that gives her voice its distinctive flavor. Since these performances were made over a period of five months, her supporting lineup varies over the course of the CD. Nonetheless, there is no diminishment in the caliber of the musicians, including Bob Johnson with his eloquent sax returns on "Blue Skies" and "Lazy Afternoon." There is a highly mellifluous interchange between Art Khu's piano and Thomas Williams' bass on "Ain't No Sunshine." Michael Bluestein's piano manages to flit and flirt behind Naylor without taking attention away from the vocalist on "I Got the Sun in the Morning." Adding value to the vocalizing while not intruding on it is the sign of a wise and accomplished accompanist. If her first two albums are any indication, another fine interpreter of American popular song has emerged in the San Francisco area in the person of Jacqui Naylor. ~Dave Nathan

Live At The Plush Room

String Trio Of New York - Blues...?

Bitrate: MP3@320K/s
Time: 53:36
Size: 122.7 MB
Styles: Avant garde jazz
Year: 1995
Art: Front

[8:42] 1. Cobalt Blue
[4:52] 2. Depth
[5:10] 3. Hurry Up And Wait
[4:03] 4. Speedball
[6:05] 5. I'm Afraid
[6:04] 6. Suite Of Works By Charlie Parker Bloomdido Billie's Bounce K.C. Blues
[7:17] 7. Bellyachin' Blues
[5:57] 8. Red Shift
[5:21] 9. Freddie Freeloader

Double Bass – John Lindberg; Guitar – James Emery; Violin – Regina Carter. Recorded on October 5 and 6, 1993 at Barigozzi Studio, Milano.

The String Trio of New York, which since 1991 has consisted of violinist Regina Carter, guitarist James Emery and bassist John Lindberg (the latter two were founding members in 1979), is often classified as an avant-garde group due to its unusual instrumentation and chancetaking improvisations. However this Black Saint release is among their most accessible. Although not all of the nine performances are blues (Duke Ellington's obscure "I'm Afraid" is a ballad and calling "Hurry Up and Wait" a reggae blues is stretching the point a bit), all of the selections are given blues feeling. In addition to five diverse originals (including an eccentric country blues "Bellyachin' Blues"), the group performs the Ellington piece (which was apparently never recorded by Duke), Lee Morgan's "Speedball," a mournful version of "Freddie Freeloader" and a six-song Charlie Parker blues suite which purposely slows down and speeds up in spots to jarring effect. With the exception of the latter (which ends inconclusively), this is a successful effort, well worth seeking out by adventurous listeners. ~Scott Yanow

Blues...?

Joe Pass - Unforgettable

Bitrate: MP3@320K/s
Time: 58:00
Size: 132.8 MB
Styles: Guitar jazz
Year: 1998
Art: Front

[3:57] 1. My Romance
[4:08] 2. The Very Thought Of You
[4:15] 3. I Cover The Waterfront
[3:13] 4. Isn't It Romantic
[2:40] 5. Walkin' My Baby Back Home
[2:31] 6. Autumn Leaves
[3:29] 7. I Should Care
[5:13] 8. 'round Midnight
[2:16] 9. Unforgettable
[4:08] 10. Don't Worry 'bout Me
[3:24] 11. Spring Is Here
[3:29] 12. Moonlight In Vermont
[3:38] 13. April In Paris
[3:26] 14. Stardust
[2:39] 15. You'll Never Know
[2:31] 16. After You've Gone
[2:54] 17. I Can't Believe You're In Love With Me

With Art Tatum's legendary solo piano sessions in mind, producer Eric Miller put a nylon-string acoustic in the hands of Joe Pass and let the tape roll. Some of the remarkable results of that brainstorm are heard on this collection-recorded in 1992, only two years before the guitarist's death.

Joe lapses into easy rocking swing grooves on tunes like "Walking My Baby Back Home," "I Can't Believe You're in Love With Me," and "Isn't It Romantic," where he intermingles sleek chord voicings, moving bass lines, and deft single-note runs; however, it's the ballad treatments of the remaining material that make up the heart of this album. Here Joe milks chestnuts like "My Romance," "The Very Thought of You," and "Spring Is Here" for every ounce of sentimentality, freely rendering them with a wealth of devices, including rippling arpeggios and off-the-cuff counterpoint. Musicians will marvel at Pass' innovative solo voice, facility, and encyclopedic array of harmonic devices, while casual listeners will be soothed by the session's gentle mood. Overall, a vivid look at one facet of the greatest jazz guitarist since Wes Montgomery. ~Jim Ferguson

Unforgettable