Dexter Gordon - Dexter Calling

Bitrate: MP3@320K/s
Time: 42:57
Size: 98.3 MB
Styles: Bop, Saxophone jazz
Year: 1961/2004
Art: Front

[7:42] 1. Soul Sister
[5:20] 2. Modal Mood
[5:17] 3. I Want More
[6:54] 4. The End Of A Love Affair
[4:51] 5. Clear The Dex
[4:13] 6. Ernie's Tune
[5:13] 7. Landslide
[3:23] 8. Smile

Bass – Paul Chambers; Drums – Philly Joe Jones; Piano – Kenny Drew; Tenor Saxophone – Dexter Gordon. Recorded on May 9, 1961.

Dexter Gordon's second recording for Blue Note is a solidly swinging affair, yet constantly full of surprises. It's not unexpected that Gordon's tenor at this time (1961) was one of the most enjoyable in mainstream jazz, but his transition from the cool California scene to the hotter music environs of New York City had energized his sound and attitude. A first-time pairing with bassist Paul Chambers has something to do with this, but it also inspires pianist Kenny Drew to a great extent, while drummer Philly Joe Jones is his reliable, energetic self, and always works well with Gordon. Where Gordon's fluent melodic sense is perfectly demonstrated during the simple-as-pie groove waltz "Soul Sister," the steady, steamy bopper "I Want More," and the familiar Charlie Chaplin evergreen "Smile," his sense of expanding the specific line upon soloing is truly remarkable. He constantly keeps the song form in mind, riffing on and on without violating the basic note structures, constantly reharmonizing, shuffling the chords like a card dealer and updating the song form. "The End of a Love Affair" takes this concept into an area where his deep, subtle voice is translated directly into the low-slung voicings of his horn. The remarkable "Modal Mood" combines hard bop with Drew's three-chord piano repetitions and Gordon's soulful, simplified sax, while the equally impressive "Clear the Dex" steamrolls the competition as the band -- cued by Jones -- skillfully pushes or pull tension and release elements, then busts loose into joyous swinging in a true signature tune that is immediately recognizable as only the long, tall tenor man. The sad ballad "Ernie's Tune" is based on a yin/yang theme via Freddie Redd's stage play The Connection and the crazy character that ran wild or tame. The excellent band, solid musicianship, and memorable music on every track make this one of the more essential recordings of Gordon's career. ~Michael G. Nastos

Dexter Calling

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The Gramophone Allstars - Just Delightin'

Bitrate: MP3@320K/s
Time: 35:52
Size: 82.1 MB
Styles: Ska, Jazz
Year: 2008
Art: Front

[3:38] 1. In A Mellow Tone
[3:45] 2. Gettin' Hot
[3:17] 3. A Night In Tunisia
[2:58] 4. Taronja
[2:59] 5. Oh, No, Not My Baby
[3:01] 6. Mumps' Invasion
[2:58] 7. A Song For Pauleta
[4:34] 8. Round Trip
[2:53] 9. The Memphis Train
[2:14] 10. Vietnam
[3:18] 11. Makin' Love With Loneliness
[0:10] 12. What An Equinox

THE GRAMOPHONE ALLSTARS band was born in 2007 in Barcelona and their musical proposal is a mixture of ska music and jazz, but also keeping a close eye on styles like rocksteady, soul and boogaloo. All this musical universe can be found in their concerts. They also use the name of "SIDE B" for the shows in which the band experiments with diferent formats, new arrangements or curious sceneries.

Their first album entitled Just Delightin' (Silver Bullets-Brixton Records, 2008) features twelve tracks – eight own penned compositions and four covers – that display the most prominent styles practiced by Jamaican musicians during the sixties: ska, ska-jazz, rocksteady, reggae and a bit of soul and latin stuff. Although we are talking about a very young band, their members have long experience in the Jamaican music scene of Catalonia as well as playing other music styles such as jazz, fusion, rock, pop and funk.

Just Delightin'

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Ella Fitzgerald - Ella Swings Gently With Nelson

Bitrate: MP3@320K/s
Time: 47:59
Size: 109.9 MB
Styles: Vocal jazz
Year: 1962/1993
Art: Front

[3:15] 1. Sweet And Slow
[3:29] 2. Georgia On My Mind
[3:35] 3. I Can't Get Started
[3:12] 4. Street Of Dreams
[3:47] 5. Imagination
[2:49] 6. The Very Thought Of You
[2:44] 7. It's A Blue World
[2:31] 8. Darn That Dream
[3:16] 9. She's Funny That Way
[2:46] 10. I Wished On The Moon
[2:37] 11. It's A Pity To Say Goodnight
[3:12] 12. My One And Only Love
[3:45] 13. Body And Soul
[3:32] 14. Call Me Darling
[3:21] 15. All Of Me

In 1961 Ella Fitzgerald recorded two albums with Nelson Riddle's Orchestra. Her voice was in peak form and, even if the backup band was somewhat anonymous, Fitzgerald uplifted the 15 songs on this set; "All of Me" was from a different obscure sampler and "Call Me Darling" was previously unissued. Although the accent is on ballads, several of the songs are taken at medium tempos and she swings throughout. Highlights include "Georgia on My Mind," "The Very Thought of You," "It's a Pity to Say Goodnight," "Darn That Dream," "Body and Soul" and a cooking "All of Me." ~Scott Yanow

Ella Swings Gently With Nelson

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Guido Basso - Lost In The Stars

Bitrate: MP3@320K/s
Time: 67:48
Size: 155.2 MB
Styles: Trumpet jazz
Year: 2000
Art: Front

[6:04] 1. Lost In The Stars
[5:07] 2. I Can't Give You Anything But Love
[6:22] 3. Smiles/Time On My Hands/Time On My Hands
[5:58] 4. The Continental
[4:54] 5. On The Town/Some Other Time
[5:13] 6. Besame Mucho
[5:46] 7. Portrait Of Guido
[5:03] 8. Don't Know Why
[5:20] 9. Waters Of March
[2:40] 10. 'round Midnight Overture
[3:42] 11. 'round Midnight
[6:42] 12. Tour De Force
[4:49] 13. Yesterday When I Was Young

Trumpet, flugelhorn. He's not Canada's best known jazz musician, but Guido Basso has been around since the mid-'60s, playing tart, hot licks, and heading large and small bands. He's made mellow mainstream sessions, done Afro-Latin and big band dates, plus bop and originals. ~ Ron Wynn

Lost In The Stars

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Joyce Cooling - Global Cooling

Bitrate: MP3@320K/s
Time: 40:53
Size: 93.6 MB
Styles: Contemporary jazz
Year: 2009
Art: Front

[4:12] 1. Grass Roots
[3:37] 2. Global Cooling
[4:16] 3. Save This Dance For Me
[4:36] 4. Cobra
[2:49] 5. What Are We Waiting For
[4:21] 6. Dolores In Pink
[3:05] 7. We Can
[4:27] 8. Rhythm Kitchen
[4:06] 9. The Red Rose
[3:59] 10. Chit Chat
[1:21] 11. In The Streets

Global Cooling features Cooling’s signature, colorful, body-moving sound, blending funky contemporary jazz with flavors and vibes from around the world. “It's eclectic - you can dance to it, you can trance to it. It's up to you." Global Cooling is like taking a transcontinental flight, touching down in fun, exciting and beautiful places. “We were inspired to travel into uncharted territory, so we really stretched ourselves to get our passports in order! We played with a lot of new instruments and layered tablas, congas, bongos, sitar, berimbau and even accordion over funk, rock and jazz. It was a trip.”

Joyce Cooling and songwriting partner, Jay Wagner, have crafted a stunning collection of songs that embody places, feelings and thoughts. “Cobra” and “The Red Rose” paint sound-scapes of exotic lands. Other songs are born of ideas and concepts near and dear to Joyce. In particular, the title track, “Global Cooling,” and “We Can” are driven by Cooling's optimism and love of things global and universal. “Jay and I wanted to make music in the spirit of that interconnectedness that I like to call our global neighborhood.” Cooling, who is known for her eclectic and swinging style, is recognized as one of the most dynamic and popular contemporary jazz guitarists in the world. She invites her fans to join her on the fantastic Global Cooling trek.

Global Cooling

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Rob McConnell & The Boss Brass - Brassy & Sassy

Styles: Jazz, Big Band
Year: 1992
File: MP3@320K/s
Time: 67:09
Size: 154,9 MB
Art: Front

(11:59)  1. Strike Up The Band
( 4:42)  2. Hey
( 7:11)  3. Very Early
( 7:04)  4. Things Ain't What They Used To
(11:23)  5. Scrapple From The Apple
( 5:50)  6. Embraceable You / Why Did I Ch
(18:57)  7. Blue Serge Suit(E)

This CD can serve as a perfect introduction to Rob McConnell's Boss Brass. The leader's arrangements (plus one by Ron Collier) uplift such standards as "Strike Up the Band," "Things Ain't What They Used to Be" and "Scrapple from the Apple"; trombonist Ian McDougall introduces his three-part, 19-minute "Blue Serge Suit(e)," and many veteran soloists are featured, including the tenors of Eugene Amaro and Rick Wilkins, trumpeters John MacLeod and Guido Basso, guitarist Ed Bickert, and McConnell himself on valve trombone. Throughout, the Boss Brass is heard in prime form. ~ Scott Yanow http://www.allmusic.com/album/brassy-and-sassy-mw0000076889

Personnel:  Rob McConnell (valve trombone), Moe Koffman, John Johnson (soprano & alto saxophones, flute, clarinet), Eugene Amaro (tenor saxophone, flute, clarinet), Rick Wilkins (tenor saxophone, clarinet), Bob Leonard (baritone saxophone, flute, clarinet, bass clarinet), Arnie Chycoski, John MacCleod, Guido Basso, Dave Woods (trumpet, flugelhorn), Ian McDougall, Bob Livingston, Jerry Johnson (trombone), Ernie Pattison (bass trombone), Gary Pattison, James MacDonald (French horn), Don Thompson (piano), Ed Bickert (guitar), Steve Wallace (bass), Terry Clarke (drums), Brian Leonard (percussion).

Brassy & Sassy

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Lisa Stansfield - So Natural

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 63:29
Size: 146,6 MB
Art: Front

(5:06)  1. So Natural
(5:02)  2. Never Set Me Free
(4:40)  3. I Give You Everything
(4:16)  4. Marvellous And Mine
(4:37)  5. Goodbye
(4:29)  6. Little Bit Of Heaven
(5:34)  7. Sweet Memories
(5:05)  8. She's Always There
(4:35)  9. Too Much Love Making
(4:41) 10. Turn Me On
(4:33) 11. Be Mine
(6:03) 12. In All The Right Places
(4:44) 13. Wish It Could Always Be This Way

After achieving minor success as the lead singer of the U.K. trio Blue Zone and providing vocals for Coldcut's dancefloor classic "People Hold On," Lisa Stansfield established herself as a solo artist with her immensely successful 1989 debut album Affection. The combination of lush, Barry White-influenced arrangements and Stansfield's soulful voice proved wildly popular, and Stansfield became one of the hottest new international artists of the late '80s. Unfortunately, Stansfield's popularity slipped a bit with the follow-up, 1991's Real Love, but the album was still a respectable seller. So Natural, from 1993, failed to reestablish Stansfield as a major commercial force, but since the album was never released in the U.S., it's easy to understand why. Though So Natural pales in comparison to Affection and even Real Love, it certainly isn't bad, and the lack of an American release remains a mystery.

Stansfield almost abandons the R&B-flavored dance-pop of her debut with So Natural. The album is definitely consistent, but the ballad-heavy approach wears thin. So Natural also lacks a surefire hit single, like Affection's "All Around the World" and "This Is the Right Time" or Real Love's "Change." But So Natural still offers many pleasant moments. The steamy ballads "Never Set Me Free" and "Be Mine" rank with Stansfield's best work, and the album does offer a couple of sunny, up-tempo numbers with "Too Much Love Makin'" and "Marvelous and Mine." So Natural does flow along quite nicely the only real clunker here is the bland, dated-sounding synth pop throwback "Little Bit of Heaven" but the album fails to deliver the memorable hooks of her biggest hits. Still, So Natural could have easily found an American audience, considering the success of her previous work. So Natural is only available in America as an import release. The album is certainly a worthy find for Lisa Stansfield fans willing to search the import bins. The casual fan, however, is better off with the considerably easier to find Affection or her 1997 American comeback effort, simply titled Lisa Stansfield. ~ William Cooper http://www.allmusic.com/album/so-natural-mw0000459115

Personnel:  Backing Vocals – Aileen McLaughlin, Anna Ross, Lisa Stansfield;  Drums – Andy Gangadeen;  Flute, Saxophone – Chris "Snake" Davis; Guitar, Bass – Ian Devaney;  Keyboards – Andy Morris (5), Ian Devaney;  Strings – Andrew Long, Andrew Scrivener, Anna Biggin, Chris Hoyle, Clare Dixon, Drusilla Harris, Jacqueline Anthony, Julia Hoyle, Owen Gordon, Peter Dixon, Richard Thirlwell, Simon Vance;  Trumpet, Flugelhorn – Andy Morris (5), Stephen Gibson

So natural

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The H2 Big Band - It Could Happen

Styles: Jazz, Vocal, Big Band
Year: 2015
File: MP3@320K/s
Time: 67:39
Size: 161,9 MB
Art: Front

(6:59)  1. Hocus Pocus
(6:55)  2. Black Lace Freudian Slip
(6:41)  3. C.P. You
(5:34)  4. The Look of Love
(6:30)  5. It Could Happen To You
(7:45)  6. The Healing Hymn
(5:19)  7. I Like You
(5:45)  8. Lynda B
(5:15)  9. B in C
(5:22) 10. Autobiography
(5:31) 11. You Go To My Head

As Shakespeare wrote, "That which we call a rose by any other name would smell as sweet." Who would dare argue with that? The point is that It Could Happen,the second recording by the H2 Big Band, is performed by a world-class ensemble. It's just not the H2 Big Band, which essentially remained home in Colorado save for its co-leaders, trumpeter Al Hood and pianist Dave Hanson. This is in fact a group of Los Angeles-based studio musicians and their kin masquerading as the H2 Big Band, and, make no mistake, doing a spot-on impersonation (in other words, smelling like a rose). And technically, as Hood and Hanson are present and accounted for, it is the H2 ensemble, or at least a close cousin thereof. As Shakespeare wrote . . .  To be fair (and accurate), one other member of the "regular" H2 Big Band is in the lineup: alto saxophonist Rich Chiaraluce who does his best to keep pace with trumpeter par excellence Carl Saunders on the memorable Johnny Burke / Jimmy van Heusen standard "It Could Happen to You," from which the album derives its name. Hanson wrote all the charts, and they are as bright and engaging as any big-band arrangements you're likely to encounter. He also composed three of the album's conclusive instrumental highlights "C.P. You," "Lynda B" and "B in C." The full band performs on eight tracks, smaller groups on the other three. A string section is added on "The Look of Love" and "Autobiography."

Even with so many thoroughbreds in the stable, the leaders apparently felt the band needed some extra horsepower (not true), so the well-known vocalist Rene Marie was enlisted to lend her talents to four numbers: Burt Bacharach / Hal David's "The Look of Love" and three of her own compositions, "Black Lace Freudian Slip," "I Like You" and "Autobiography." She's fine, in an unpretentious sort of way; enunciates clearly, respects a lyric and sings on-key. Rene Marie fares best on the fast-paced "I Like You," perhaps because it's the most charming of the four tunes on which she appears (enriched by Hanson's sharp arrangement). The "C.P." in Hanson's "C.P. You" is Cole Porter, the song his variation on Porter's standard "All of You." "Lynda B" is Hanson's salute to comic artist Lynda Barry, the bluesy "B in C" a tune originally written in the key of B but, Hanson notes, "a lot easier to play in C." The closing number is yet another high spot: Hanson's superb arrangement of the standard "You Go to My Head," with solo to match by alto Gary Foster.  Hanson, bassist Chuck Berghofer and drummer Joe LaBarbera comprise an unflagging rhythm section, and there are inspired solos along the way by Hood (featured on Jeff Jenkins' "Healing Hymn"), trombonists Andy Martin and Bob McChesney, tenors Rob Lockart and Brandon Fields, trumpeter Ron Stout and guitarist Larry Koonse. Even without their "regular" band, co-leaders Hanson and Hood have produced another unequivocal winner. Could they do any less? It Could Happen, but don't bet on it. ~ Jack Bowers https://www.allaboutjazz.com/it-could-happen-al-hood-dave-hanson-origin-records-review-by-jack-bowers.php
 

Personnel: Jeff Tower: conductor;  Al Hood: co-leader, trumpet, flugelhorn;  Dave Hanson: co-leader, piano, synthesizer;  Wayne Bergeron: trumpet;  Carl Saunders: trumpet; Ron Stout: trumpet;  Gary Foster: alto sax, flute, clarinet; Rich Chiaraluce: alto sax, flute;  Rob Lockart: tenor sax, flute;  Brandon Fields: tenor sax, flute;  Adam Schroeder: baritone sax, bass clarinet;  Bob Sheppard: saxophones (1);  Andy Martin: trombone;  Bob McChesney: trombone;  Alex Iles: trombone;  Bill Reichenbach: bass trombone;  Larry Koonse: guitar (3, 4, 9, 10);  Chuck Berghofer: bass; Joe LaBarbera: drums; Luis Conte: percussion (4). Strings (tracks 4, 10) – Robert Peterson: violin; Jerry Hilera: violin; Ed Persi: viola; John Acosta: cello. Special Guest – Rene Marie: vocals (2, 4, 7, 10).

It Could Happen

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Rich Perry - At The Kitano 1

Styles: Saxophone Jazz
Year: 2006
File: MP3@224K/s
Time: 63:59
Size: 102,9 MB
Art: Front

(13:51)  1. In Your Own Sweet Way
( 9:39)  2. You and the Night and the Music
(10:42)  3. I Thought About You
(10:41)  4. Just Friends
(10:03)  5. Billie's Bounce
( 9:01)  6. I'll Remember April

For over 30 years, saxophonist Rich Perry has been a stalwart of the NY jazz scene, captivating audiences with his fluid phrasing and gorgeous sound while playing with Chet Baker, Lee Konitz and more recently as a featured soloist with Maria Schneider and on more than a dozen records of his own. With these two new Steeplechase releases, Perry once again dazzles with his facility and impeccable taste and further asserts himself as one of the most gifted saxophonists of his generation. The leader's languid saxophone begins At The Kitano 1 with an impromptu flourish before wistfully stating the melody to "In Your Own Sweet Way over crisp piano and a light pulse from Jeff Hirshfield's brushed snare. Perry is patient with his improvisation, letting his ideas bloom while steadily gaining urgency and momentum over a simmering groove. With a subtlety of approach only a seasoned veteran could maintain, the saxophonist's lines build in a graceful arc to a culmination rife with glistening runs and bell-like altissimo before the baton is passed to Harold Danko's pristine piano.

Unlike most instrumentalists of his generation, Perry hasn't amassed a catalogue of original compositions, or distinguished himself on a wide array of instruments. Instead, the soft-spoken sax man has taken the hard road, cultivating a distinctive, lovely sound on the tenor saxophone and proving that a quartet of talented musicians playing well-worn standards can still come up with renditions startling in their freshness and artistic relevance. "I Thought About You is strikingly beautiful, starting with a mournful solo saxophone statement that pours smoothly from the speakers, before the delicately propulsive bass of Jay Anderson and the static wash of Hirshfield's brushed snare and cymbals join it.  The album closes with a couple of 'swingers' that find the telepathic quartet quickening its pace and raising the collective energy level. Perry and Danko think as one on "I'll Remember April , the former weaving a tapestry of intricate lines to which the latter adds vibrant color and contrapuntal intrigue. Hirshfield also plays a vital role, adding just the right amount of rhythmic color and propulsion, pushing each soloist to breathtaking heights. ~ MatthewMiller https://www.allaboutjazz.com/rich-perry-at-the-kitano-1-and-steeplechase-jam-session-19-by-matthew-miller.php

Personnel: Rich Perry: tenor saxophone: Harold Danko: piano; Jay Anderson: bass; Jeff Hirshfield: drums.

At The Kitano 1

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Alex Garnett's Bunch of Five - Andromeda

Styles: Saxophone Jazz

Year: 2015

File: MP3@320K/s

Time: 59:59

Size: 138,6 MB

Art: Front

( 6:06)  1. So Long

(10:28)  2. Charlie's World

( 7:18)  3. Andromeda

( 5:48)  4. Delusions of Grandma

( 6:48)  5. Early Autumn

(10:00)  6. Her Tears

( 5:37)  7. Holmes

( 7:50)  8. I've Got My Love to Keep Me Warm

Taking on a two tenor line-up can be a bit of challenge. The weight of jazz history can hang heavily on the shoulders of the ‘challengers’ having to follow such potent combinations as Sonny Stitt and Gene Ammons and Dexter Gordon and Wardell Grey to pick just a couple. In this, his second album for Whirlwind Recordings, Alex Garnett and fellow tenorist, Tim Armacost achieve this with some strong compositions, some cast iron playing and healthy dose of good humour thrown in, and indeed the Bunch of 5 band comes together from a mixture of determination and good fortune and coincidences over an extended period of time in getting the US based Armacost this side of the pond. The repertoire contains a couple of standards in ‘Early Autumn’ with the saxophonist acknowledging his admiration for Stan Getz, and Irving Berlin’s ‘I’ve Got My Love To Keep Me Warm’; but it the originals that keep the flame burning throughout this fine set. Garnett maintains that writing for two tenors is actually easier than writing for other more usual combinations, and proceeds to put his money where his mouth is in presenting some tough blowing vehicles the humorously titled ‘Delusions of Grandma’ and the clever title track that exhibits great subtly and warmth in the opening phrases, with the two horns weaving intricately around each other. Liam Noble also gets in a delightful solo, perfectly mirroring the feeling that has gone before. Careful listening soon establishes the differences between the two tenors, with Armacost exhibiting the more abrasive tone, and Garnett complimenting this by following a more conventional route through the chords. Throughout, the rhythm section if somewhat subservient to the needs of the saxophonists driving things along nicely, yet manage to find their place in the music that draws the ear. This a fine album from Garnett and his Bunch of 5 that unusually for a two tenor front line resists the temptation for combative duelling, and the net result is a set that reveals more with each listening. ~ Nick Lea http://www.jazzviews.net/alex-garnettrsquos-bunch-of-5-ndash-andromeda.html

Personnel:  Alex Garnett & Tim Armacost (tenor saxophone); Liam Noble (piano); Michael Janisch (double bass); James Maddren (drums)

Andromeda

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