Count Basie - Kansas City Shout

Bitrate: MP3@320K/s

Time: 42:02

Size: 96.2 MB

Styles: Swing, Piano blues

Year: 1980/1995

Art: Front

[3:40] 1. Just A Dream On My Mind

[5:57] 2. Blues For Joe Turner

[4:05] 3. Blues For Joel

[4:02] 4. Everyday I Have The Blues

[2:56] 5. Blues Au Four

[3:27] 6. My Jug And I

[4:08] 7. Cherry Red

[3:49] 8. Apollo Daze

[3:19] 9. Standing On The Corner

[3:34] 10. Stormy Monday

[3:00] 11. Signifying

Bass – Duffy Jackson; Guitar – Freddie Green; Piano – Count Basie; Saxophone – Bobby Plater, Danny Turner, Eric Dixon, Johnny Williams, Kenny Hing; Trombone – Bill Hughes, Mitchell 'Bootie' Wood, Dennis Rowland, Dennis Wilson, Grover Mitchell; Trumpet – Dale Carley, David Stahl, Pete Minger, Sonny Cohn; Vocals – Joe Turner (tracks: 2, 4, 10); Vocals, Alto Saxophone – Eddie "Cleanhead" Vinson (tracks: 1, 6, 7). Recorded in Hollywood, CA, April 7, 1980.

This session from 1980 helps to recreate the atmosphere of '30s Kansas City. Featured are the great blues singer Joe Turner and the strong singer and altoist Eddie "Cleanhead" Vinson, along with the Count Basie Orchestra. "Just a Dream," "Everyday I Have the Blues," "Cherry Red" and "Stormy Monday" receive very spirited renditions, as do some newer blues. Since all of the principals are no longer with us, Norman Granz deserves special thanks for organizing this special session. ~Scott Yanow

Kansas City Shout

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Toni Harper - Toni Harper With The Oscar Peterson Quartet

Bitrate: MP3@320K/s

Time: 64:52

Size: 148.5 MB

Styles: Jazz vocals

Year: 2012

Art: Front

[3:30] 1. Can't We Be Friends

[2:39] 2. I Could Write A Book

[2:24] 3. Gone With The Wind

[2:54] 4. Singin' In The Rain

[5:37] 5. Love For Sale

[3:26] 6. Just A-Sittin' And A-Rockin'

[3:05] 7. A Foggy Day

[2:38] 8. You Don't Know What Love Is

[4:23] 9. Bewitched, Bothered And Bewildered

[3:28] 10. Little Girl Blue

[2:42] 11. You Took Advantage Of Me

[4:26] 12. Like Someone In Love

[2:13] 13. Taking A Chance On Love

[2:56] 14. Play Me The Blues

[2:47] 15. Love Is A Wonderful Thing

[2:46] 16. I Telephoned, I Telegraphed

[2:46] 17. We've Got To Live, Got To Grow

[3:01] 18. My Memory Book

[1:44] 19. Them There Eyes

[2:19] 20. Bewitched (Bothered And Bewildered)

[2:57] 21. Petals On The Pond

Toni harper (vcl), Oscar Peterson (p), Herb Ellis (g), Ray Brown (b), Alvin Stoller (d) / Dizzy Gillespie, Harry Edison (tp), Melba Liston (tb), Willie Smith (as),Curtis Amy (ts), Clyde Dunn (bar), Eddie Beal (p), George Bledsoe (b), Albert Bartee (d).

In 1956, when Toni Harper was just eighteen years old, she made her first album for Norman Granzs Verve, the label he had started earlier that year. For her debut Harper, who had already made an impact as an almostbaby singer, was backed by none other than Oscar Peterson, Herb Ellis, Ray Brown, and Alvin Stoller. On display were all the traits that had made her a success: a good voice, a knack for swing, and brilliant intonation. She had traces of Sarah Vaughan in her singing, without ever becoming derivative or getting stuck in any one style. All I want now, she said, is to become a good, versatile singer. To underline that, this fine release also includes two recordings she did with Dizzy Gillespie, four tunes issued on two singles with an orchestra under the direction of Buddy Bregman; two tracks from her appearance on the TV show Stars of Jazz, and one last song arranged and conducted by Marty Paich - a handful of great performances by an outstanding singer.

Toni Harper With The Oscar Peterson Quartet

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Laurindo Almeida & Bud Shank - Brazilliance Complete Sessions

Bitrate: MP3@320K/s
Time: 76:54
Size: 176.1 MB
Styles: Latin jazz
Year: 2001
Art: Front

[2:47] 1. Atãbaque
[3:41] 2. Rio Rhapsody
[2:57] 3. Simpatico
[4:06] 4. Mood Antigua
[3:17] 5. Blue Baião
[3:32] 6. Nocturno
[3:00] 7. Stairway To The Stars
[3:10] 8. Terra Sêca
[2:19] 9. Speak Low
[3:01] 10. Acertate Mas
[3:01] 11. Nonô
[3:09] 12. Carioca Hills
[4:44] 13. Tocata
[2:55] 14. Amor Flamengo
[2:41] 15. Little Girl Blue
[3:33] 16. Carinhoso
[2:51] 17. I Didn't Know What Time It Was
[4:37] 18. Noctambulism
[3:00] 19. Baa-Too-Kee
[2:33] 20. Choro In A
[2:47] 21. Hazardous
[2:02] 22. The Color Of Her Hair
[3:55] 23. Lonely
[3:02] 24. Inquietaçao

Alto Saxophone – Bud Shank; Bass – Harry Babasin; Drums – Roy Harte; Guitar – Laurindo Almeida.

Laurindo Almeida (born September 2, 1917, São Paulo, Brazil–died July 26, 1995, Van Nuys, California) was a Brazilian classical guitarist. Prior to being invited to the United States in 1947 by Stan Kenton, Laurindo Almeida played guitar in Rio De Janeiro where he was known for his classical Spanish guitar playing. He joined Kenton's band during the height of its success in the 1940s, then was employed as a studio musician. In 1953 he recorded, with Bud Shank, two albums called Brazilliance for the World Pacific label. He also recorded with Stan Getz and Herbie Mann, among others, and recorded for film and television.

Clifford Everett "Bud" Shank, Jr. (May 27, 1926 – April 2, 2009) was an American alto saxophonist and flautist. He rose to prominence in the early 1950s playing lead alto and flute in Stan Kenton's Innovations in Modern Music Orchestra and throughout the decade worked in various small jazz combos. He spent the 1960s as a first-call studio musician in Hollywood. In the 1970s and 1980s he performed regularly with the L. A. Four. Shank ultimately abandoned the flute to focus exclusively on playing jazz on the alto saxophone. He also recorded on tenor and baritone sax. He is also well known for the alto flute solo on the song "California Dreamin'" recorded by The Mamas & the Papas in 1965.

Brazilliance Complete Sessions

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Wayne Wilkinson - Full Circle

Bitrate: MP3@320K/s
Time: 52:07
Size: 119.3 MB
Styles: Guitar jazz
Year: 2007
Art: Front

[3:34] 1. Swingin'
[4:36] 2. Martino's Waltz
[5:34] 3. Lament
[4:56] 4. Change The World
[6:49] 5. The Heritage
[4:26] 6. Full Circle
[4:18] 7. Speak Low
[6:22] 8. Here We Go Again
[5:23] 9. So Many Stars
[6:03] 10. Sleepwalk

Wayne Wilkinson, a Benedetto guitar artist, has performed and toured across the country and internationally for over four decades. Throughout his career, Wayne has been fortunate to share the stage with iconic jazz musicians and world class performers. As the guitarist for the premieier Air Force Jazz Ensembles "The Airmen of Note" in Washington, jD.C. and the "Falconaires" in Colorado Springs, Colorado, Wayne performed for Presidents and other dignitaires at venues including the White House and Carnegie Hall as well as major jazz and music festivals.

Wayne is a headliner guitarist playing high octane stratight ahead jazz, traditional classics from the great American songbook, innovative bebop jazz and original compositions. His Texas roots are recognizable with a hint of western swing infused in his performances.

Full Circle

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Herb Alpert & The Tijuana Brass - The Brass Are Comin'

Bitrate: MP3@320K/s
Time: 32:58
Size: 75.5 MB
Styles: Easy Listening, Jazz-pop
Year: 1969/2016
Art: Front

[2:06] 1. The Brass Are Comin' (The Little Train Of Caipira)
[2:37] 2. Good Morning, Mr. Sunshine
[2:57] 3. Country Lake
[3:16] 4. I'll Be Back
[2:54] 5. Moon River
[2:15] 6. The Maltese Melody
[3:09] 7. Sunny
[2:38] 8. I'm An Old Cowhand (From The Rio Grande)
[2:38] 9. Anna
[2:15] 10. Robbers And Cops
[2:44] 11. Moments
[3:24] 12. You Are My Life

The Western motif on the double-fold album jacket -- with Herb Alpert and the Tijuana Brass in costume -- signals this as another companion album to a TV special. But there is a deeper significance to this LP, for shortly after its release, a burned-out, personally troubled Alpert disbanded the Brass and retired from music for awhile. Indeed, stretches of this record reveal a tired group and a leader whose trumpet has lost much of its old zip. Even so, as on all TJB albums, there are several gems -- the stunning shifts in texture and tempo that enliven the worn-out "Moon River," the chugging bluegrass-tinged arrangement of Villa-Lobos' "The Little Train of the Caipira" that masquerades under the name of the title track, a haunting rendition of the Beatles' "I'll Be Back," the fast samba treatment of "Anna." Dave Grusin and Shorty Rogers contribute an occasional orchestration, and Alpert does a modest vocal turn on the lush "You Are My Life." But this time, the old sales magic was gone; the Tijuana Brass had suddenly become unhip in polarized 1969. ~Richard S. Ginnell

The Brass Are Comin'

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The Wynton Kelly Trio - Full View

Bitrate: MP3@320K/s
Time: 36:30
Size: 83.6 MB
Styles: Bop, Piano jazz
Year: 1967/1996
Art: Front

[4:43] 1. I Want A Little Girl
[4:53] 2. I Thought
[4:49] 3. What A Diff'rence A Day Made
[3:53] 4. Autumn Leaves
[4:27] 5. Dontcha Hear Me Callin To Ya
[3:14] 6. On A Clear Day (You Can See Forever)
[3:03] 7. Scufflin'
[4:08] 8. Born To Be Blue
[3:16] 9. Walk On By

Bass – Ron McClure; Drums – Jimmy Cobb; Piano – Wynton Kelly. Recorded at Plaza Sound Studios (New York City), Sept., 1966.

Pianist Wynton Kelly's next-to-last set as a leader (he would record a slightly later date for Delmark) featured him at a time when his influence was waning and he was overshadowed by more advanced players. However, Kelly's impact would begin to grow again after his death, when the Young Lions movement began in the early '80s; certainly pianist Benny Green was greatly touched by Kelly's conception. This Milestone trio set, reissued on CD, matches Kelly with bassist Ron McClure and drummer Jimmy Cobb on a fine program mostly filled with standards but also including the then-recent Burt Bacharach hit "Walk on By" and Kelly's original "Scufflin'." ~Scott Yanow

Full View

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Cynthia Crane - Blue Rendezvous

Styles: Vocal  
Year: 1995
File: MP3@320K/s
Time: 66:17
Size: 152,8 MB
Art: Front

(5:08)  1. Blue Rendezvous
(4:45)  2. The Night We Called It a Day
(4:24)  3. If You Could See Me Now
(4:53)  4. Music Maestro Please
(6:07)  5. You Don't Know What Love Is
(3:21)  6. Azure-té
(5:05)  7. I'm Gonna Laugh You Right Out of My Life
(5:21)  8. Born to Be Blue
(4:30)  9. You Would Rather Have the Blues
(5:37) 10. Ill Wind
(4:19) 11. New Shade of Blues
(4:22) 12. I Don't Want to Cry Anymore
(5:27) 13. Serenade in Blue
(2:52) 14. Hey Look, No Cryin'

Originally on Lookout and then reissued in 2000 on the Original Cast label, this session discloses Cynthia Crane's affinity for songs associated with smoky bistros; those blues dripping songs which are the stock in trade of a tried and true chantuese. Crane is a female counterpart of Frank Sinatra's image of a saloon singer, bursting with those qualities essential for singers who enter this musical arena. First and foremost, she (or he) has to be well tuned in to the story and events described by the lyrics to transport them to the listener. The voice also has to have the drama these songs demand. Dashes of nostalgia and regret always help. Crane has these qualities and touches all these bases on this CD. With her deep voice, on the mark diction, an excellent feel for timing, and the ability to pause for effect, she displays these qualities with perfection. Helping to pull off this emotional adventure are some of the best session musicians New York City has to offer. First and foremost is her regular piano player, Mike Renzi. Others helping out include the Leonharts on such cuts as "If You Could See Me Now," Jay on bass and Michael on trumpet. Bill Easley adds his soulful sax on four cuts, and is especially telling on "Blue Champagne." This CD is more than an hour of music that one would expect to hear in a darkly lit bar at 2:00 in the morning, or maybe in one of those all-night dance emporiums of yore by musicians with cigarettes dangling from their lips and half-filled glasses at the ready. No matter, Crane is a fine performer and her album of melancholy music is recommended. ~ Dave Nathan http://www.allmusic.com/album/blue-rendezvous-mw0000174646

Personnel: Cynthia Crane (vocals); Jay Berliner (guitar); Bill Easley (woodwinds); Michael Leonhart (trumpet); Wayne Andre (trombone); Mike Renzi (piano); Warren Chiasson (vibraphone); Ronald Zito (drums).

Blue Rendezvous

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Horace Parlan - The Maestro

Styles: Piano Jazz
Year: 1979
File: MP3@256K/s
Time: 50:03
Size: 91,8 MB
Art: Front

(5:40)  1. Ruby, My Dear
(6:31)  2. Spring Is Here
(6:02)  3. A Flower Is a Lovesome Thing
(5:15)  4. Peace
(8:17)  5. The Maestro
(5:13)  6. Nardis
(6:20)  7. Alone Together
(6:42)  8. Ill Wind

This is the second volume of Parlan’s solo recording (earlier release Sccd 31141 “Musically Yours ”). Horace Parlan (b. January 19, 1931 in Pittsburgh) after suffering from polio as child learned to play piano as a therapeutic means and developed a strong left hand technique which became his trade-mark as professional musician.  “… Horace Parlan performs here 8 titles each one of which is a grand moment of jazz history …” (Midi-Libre)

Personnel:  Horace Parlan – Piano Solo.

The Maestro

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Kidd Jordan - On Fire

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 50:10
Size: 115,9 MB
Art: Front

(13:55)  1. Officer, that Big Knife Cuts My Sax Reeds
(17:03)  2. The Evil Eye
(13:52)  3. We Are All Indebted to Each Other
( 5:18)  4. Harrison Carries the Coffin Out

Incendiary similes have always proven popular as descriptors of free jazz. Indeed, "Fire Music," has been used as a label for the whole genre. New Orleans-based saxophonist Kidd Jordan's 2006 outing, the superb Palm of Soul (AUM Fidelity), essayed a meditative calm, music which couldn't be more different from the accurately named 50-minute studio session On Fire. While bassist Harrison Bankhead and drummer Rocker Warren Smith would be eminently suited to a contemplative, even melodically inclined date, here they too pursue more rough-hewn ends. As customary for Jordan, each cut is spontaneously created, relying on the participants' quick wits and instincts honed over 55 plus years of activity in not only avant jazz, but also, as in the case of Jordan, stints backing R&B royalty like Ray Charles, Aretha Franklin and Stevie Wonder. Jordan's signature falsetto wail an uncompromising but deeply felt sound permeates each track although the resultant blowing is more than one- dimensional. He spikes his unbridled expression with insistent riffs or reflective codas, around which his colleagues rally and create emphatic conclusions. On "We Are All Indebted To Each Other," the combination of both approaches, with a beautiful luminous tone, makes for a strikingly affecting conclusion. Smith's artistry is orchestral in scope, demonstrating mastery of timbre and rhythm. He effects an inspiring change of pace when he switches to shimmering vibes. Bankhead deploys a deep buzzing thrum, like a hive of bees, best heard in an extended flickering feature towards the end of "The Evil Eye," when he evokes flamenco stylings. He gets a name check all his own on the soulful "Harrison Carries Out the Coffin" where he accompanies another fleet-fingered solo with a melodic hum, leading to a richly bluesy Second Line finale. Jordan and his band burn brightly, their blend of joyous abandon and searing intensity prove hard to beat. ~ John Sharpe https://www.allaboutjazz.com/on-fire-kidd-jordan-engine-review-by-john-sharpe.php

Personnel: Kidd Jordan: tenor saxophone; Harrison Bankhead: bass; Warren Smith: drums, vibraphone.

On Fire

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