Anita O'Day - Gone With The Wind

Bitrate: MP3@320K/s
Time: 45:52
Size: 105.0 MB
Styles: Vocal jazz
Year: 1999
Art: Front

[ 3:05] 1. A Song For You
[ 4:13] 2. Undecided
[ 6:10] 3. What Are You Doing The Rest Of Your Life
[ 4:12] 4. Exactly Like You
[ 6:07] 5. When Sunny Gets Blue
[ 4:19] 6. I Get A Kick Out Of You
[ 3:52] 7. It Had To Be You
[ 2:56] 8. Opus One
[10:54] 9. Gone With The Wind

Few female singers matched the hard-swinging and equally hard-living Anita O'Day for sheer exuberance and talent in all areas of jazz vocals. Though three or four outshone her in pure quality of voice, her splendid improvising, wide dynamic tone, and innate sense of rhythm made her the most enjoyable singer of the age. O'Day's first appearances in a big band shattered the traditional image of a demure female vocalist by swinging just as hard as the other musicians on the bandstand, best heard on her vocal trading with Roy Eldridge on the Gene Krupa recording "Let Me Off Uptown." After making her solo debut in the mid-'40s, she incorporated bop modernism into her vocals and recorded over a dozen of the best vocal LPs of the era for Verve during the 1950s and '60s. Though hampered during her peak period by heavy drinking and later, drug addiction, she made a comeback and continued singing into the new millennium. ~John Bush

Gone With The Wind

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Sophie Milman - In The Moonlight

Bitrate: MP3@320K/s
Time: 56:41
Size: 129.8 MB
Styles: Vocal jazz
Year: 2011
Art: Front

[3:46] 1. Do It Again
[3:25] 2. Oh Look At Me Now
[5:28] 3. Moonlight
[4:26] 4. Speak Low
[4:01] 5. Till There Was You
[4:41] 6. Watch What Happens
[4:34] 7. Prelude To A Kiss
[5:06] 8. Ces Petits Riens
[4:05] 9. So Sorry
[4:37] 10. Detour Ahead
[3:30] 11. Let Me Love You
[4:57] 12. Day Dream
[3:58] 13. No More Blues

Widely regarded as one of Canada's best jazz singers, Russian-born, Toronto-based vocalist Sophie Milman changes tact slightly for her fourth studio album, In the Moonlight. The twinkling piano chords, shuffling, brushed stroke rhythms, and gentle brass instrumentation which defined her previous output are still very much in evidence, but having traveled to New York to record with producer Matt Pierson (Jane Monheit, Michael Franks), the Juno Award winner has capitalized on the opportunity to expand her sound by inviting a string ensemble on board for the first time in her career. However, avoiding the temptation to smother the timeless, smoky, jazz bar arrangements in layers of bombastic layers of strings, the pair only use their newly recruited musicians sparingly and when needed, with only the Duke Ellington standards "Prelude to a Kiss" and "Day Dream," and the Umbrellas of Cherbourg number "Watch What Happens" offering anything more than the occasional orchestral flourish. It's an approach which entirely befits Milman's intimate and understated cabaret tones, whose seductive French-language delivery of Serge Gainsbourg's "Ces Petits Riens" and expressive, timeless performance of the Gershwin classic "Do It Again," belie her twenty-something years. The constant low-key, candlelight vibes inevitably begin to wear a little thin, but luckily, Milman occasionally shakes things up a little bit, whether it's the sensuous bossa nova reworking of the Billie Holiday favorite "Speak Low," the toe-tapping swing jazz rendition of Jon Hendricks' "No More Blues" or, in a rare concession to the modern music scene, the yearning and heartfelt torch song treatment of Feist's folk-pop album track "So Sorry." Indeed, it's the latter's convincing transition which makes you wish that Milman would tackle more contemporary material more often. Nevertheless, In the Moonlight is still a beautifully arranged selection of songs which, while nothing particularly revolutionary, unarguably provides one of the classiest Sunday morning soundtracks of the year. ~Jon O'Brien

In The Moonlight 

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The 3 Sounds - Introducing The 3 Sounds

Bitrate: MP3@320K/s
Time: 37:55
Size: 86.8 MB
Styles: Bop, Soul-jazz
Year: 1958/2011
Art: Front

[4:33] 1. Tenderly
[4:39] 2. Willow Weep For Me
[4:38] 3. Both Sides
[4:23] 4. Blue Bells
[4:37] 5. It's Nice
[3:52] 6. Goin' Home
[7:11] 7. Would'n You
[3:58] 8. O Sole Mio

What's remarkable about Introducing the Three Sounds is how the trio's lightly swinging sound arrived fully intact. From the basis of this album, it sounds as if pianist Gene Harris, bassist Andrew Simpkins, and drummer William Dowdy have been playing together for years. There's empathetic, nearly intuitive interplay between the three musicians, and Harris's deft style already sounds mature and entirely distinctive. There's no question that this music is easy to listen to, but dismissing it because of that would be wrong -- there's genuine style in their light touch and in Harris' bluesy compositions. The Three Sounds never really deviated from the sound they established on Introducing, but that's one of the things that is so remarkable -- they were fully formed on their very first album. Even if it was a peak, it wasn't the only peak in their career. They would often match the heights of this album, but this debut remains a shining jewel in their catalog, and the way to become acquainted with their sound. [The CD reissue of Introducing the Three Sounds contains the five outtakes plus the alternate take of "Goin' Home" that originally comprised the Japanese album, Introducing the Three Sounds, Vol. 2.] ~Stephen Thomas Erlewine

Introducing The 3 Sounds

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Ben Webster - King Of The Tenors

Styles: Saxophone Jazz
Year: 1954
File: MP3@320K/s
Time: 38:48
Size: 90,8 MB
Art: Front

(3:01)  1. Tenderly
(4:10)  2. Jive At Six
(3:05)  3. Don't Get Around Much Anymore
(3:47)  4. That's All
(4:31)  5. Bounce Blues
(2:48)  6. Pennies From Heaven
(3:20)  7. Cotton Tail
(3:36)  8. Danny Boy
(3:55)  9. Poutin'
(3:35) 10. Bounce Blues
(2:54) 11. That's All

This 1953 date matched Webster with such peers as alto saxophonist Benny Carter, trumpeter Harry Edison, and pianist Oscar Peterson for a series of elegant yet soulful and exuberant small group dates. With no cut longer than four and a half minutes, the players didn't have time for excess statements or overkill; they had to quickly get to the heart of the matter in their solos, make their points, and return to the head. The original session has been enlarged by the addition of two previously unissued tracks, plus an alternate version of "That's All" that was later issued as a single. Label head Norman Granz excelled in producing swing-oriented, crisply played mainstream dates. Although this date is more than four decades old, Ben Webster's solos have a freshness and vitality that make them quite relevant to contemporary events. ~ Ron Wynn http://www.allmusic.com/album/king-of-the-tenors-mw0000308183

Personnel:  Ben Webster - tenor saxophone;  Benny Carter - alto saxophone;   Harry "Sweets" Edison – trumpet;  Oscar Peterson – piano;  Herb Ellis;   Barney Kessel  – guitar;  Ray Brown – double bass;  Alvin Stoller, J. C. Heard – drums.

King Of The Tenors

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Janis Siegel - Friday Night Special

Styles: Jazz, Vocal
Year: 2003
File: MP3@320K/s
Time: 48:42
Size: 111,9 MB
Art: Front

(4:25)  1. The Same Love That Made Me Laugh, Made Me Cry
(5:38)  2. My, How The Time Goes By
(4:28)  3. I Just Dropped By To Say Hello
(5:26)  4. My Love Is / My Babe
(5:00)  5. Let It Be
(5:33)  6. Ill Wind
(4:30)  7. You Don't Know Me
(3:33)  8. There's A Small Hotel
(4:44)  9. Make Me A Present Of You
(5:21) 10. Misty

A founding member of the vocal quartet Manhattan Transfer and now an established solo artist as well, Janis Siegel steps out as a leader on the Telarc label for a second time with a program that couldn't be more different from her last effort. Where I Wish You Love found her delivering jazz-inflected renditions of classic pop tunes, on Friday Night Special she leads an organ/tenor quartet through a set of more obscure material. Hammond organist Joey DeFrancesco provides powerful support throughout, but is tastefully (and a bit uncharacteristically) self-effacing in his playing; tenor saxophonist Houston Person, drummer Buddy Williams, and alternating guitarists Peter Bernstein and Russell Malone round out the quartet. 

Siegel shines brightest on the slow ballads and the sultry torch numbers; her rendition of Eddy Arnold's "You Don't Know Me" is especially effective, as are her takes on "I Just Dropped By to Say Hello" and the Harold Arlen composition "Ill Wind." She's a bit less convincing as a straight blues vocalist, and her tepid version of "My, How the Time Goes By" threatens to derail the proceedings early on. But by the end of the program, when she kicks into a delightful and surprisingly uptempo arrangement of "Misty," she has proved all over again why she's one of America's favorite jazz singers. Recommended. ~ Rick Anderson http://www.allmusic.com/album/friday-night-special-mw0000595511

Personnel: Janis Siegel (vocals); Houston Person (temor saxophone); Joey DeFrancesco (Hammond B-3 organ); Peter Bernstein, Russell Malone (guitar).

Friday Night Special

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Valery Ponomarev - The Messenger

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 50:02
Size: 118,0 MB
Art: Front

(6:14)  1. Driving To A Gig II
(9:05)  2. Messenger From Russia
(6:10)  3. Long Distance Relationship
(9:42)  4. Escape From Gorki Park
(7:56)  5. Dark Alley
(5:22)  6. Star Dust
(5:30)  7. Mirage

It’s been quite some time since Russian trumpeter Valery Ponomarev defected from his native land in order to play jazz in America. Landing a gig with Art Blakey and the Jazz Messengers almost immediately, Ponomarev has gone on to practice the jazz tradition while being documented on a distinguished series of dates for the Reservoir label. Clearly, the affection that Ponomarev has for Blakey is still palpable owing to the title of his latest endeavor. The Messenger is indeed hard bop in the grand style and yet that tart Russian tinge that distinguishes the trumpeter’s sound is ever present, giving his originals a worldly stance all their own. Ponomarev definitely could not ask for better company. Tenor saxophonist Michael Karn has his own individualized line of attack, more in tune with mainstream guys like Buddy Tate and Bud Freeman than Coltrane or Rollins. Pianist Sid Simmons is one of Philadelphia’s finest and drummer Jimmy Cobb really needs no introduction at all. With a concise set of diverse tunes and Jim Anderson’s crisp recorded sound, you end up with 50 minutes of high octane playing that not only treads new ground but also spreads the message of the elders. ~ C.Andrew Hovan https://www.allaboutjazz.com/the-messenger-valery-ponomarev-reservoir-music-review-by-c-andrew-hovan.php
 

Personnel: Valery Ponomarev (trumpet), Michael Karn (tenor saxophone), Sid Simmons (piano), Martin Zenker (bass), Jimmy Cobb (drums)

The Messenger

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Steve Davis - Systems Blue

Styles: Trombone Jazz
Year: 2001
File: MP3@224K/s
Time: 67:50
Size: 108,9 MB
Art: Front

(6:33)  1. Surrey With The Fringe On Top
(9:28)  2. Spirit Waltz
(7:42)  3. Systems Blue
(8:52)  4. A Nightingale Sang In Berkeley Square
(7:32)  5. If I Love Again
(5:25)  6. Who Can I Turn To
(7:23)  7. Speak Low
(6:24)  8. Namely You
(3:43)  9. Three And One
(4:43) 10. My Old Flame

Steve Davis, the Criss Cross house trombonist and a member of One for All, is joined by a couple bandmates and two other label regulars for a session mostly devoted to standards. The setting sets Davis' deep debt to the work of J.J. Johnson in sharp relief. The trombonist develops his solos with smooth, measured phrases that emphasize eighth-note lines mostly in the middle register of the horn. On tunes such as "Who Can I Turn To," his work also bears evidence of early Miles Davis (not surprising given the close relationship between the trumpet legend and J.J. Johnson in the late '40s when each was coming to grips with bebop). What Davis lacks that his namesake had was a dramatic way with the melody. This is most evident on the trombonist's matter-of-fact reading of "A Nightingale Sang in Berkeley Square." Pianist David Hazeltine's eloquent, bop-based impressionism provides a fine foil for the leader's horn. The two tracks with Mike DiRubbo are more in the Coltrane modal mode and, though well played, seem out of place in the session. ~ David Dupont http://www.allmusic.com/album/systems-blue-mw0000221316

Personnel:  Steve Davis (trombone); David Hazeltine (piano); Peter Washington (bass); Joe Farnsworth (drums).

Systems Blue

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Bobby Watson - Made in America

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 63:40
Size: 149,2 MB
Art: Front

(5:42)  1. The Aviator “for Wendell Pruitt”
(5:12)  2. The Guitarist “for Grant Green”
(6:18)  3. The Butterfly “for Butterfly McQueen”
(7:51)  4. The Cyclist “for Major Taylor”
(6:44)  5. The G.O.A.T. “for Sammy Davis, Jr.”
(5:49)  6. The Entrepreneur “for Madam C.J. Walker
(6:17)  7. The Jockey “for Isaac Murphy”
(1:06)  8. A Moment of Silence
(7:53)  9. The Real Lone Ranger “for Bass Reeves”
(4:02) 10. The Computer Scientist “for Dr. Mark Dean”
(6:41) 11. I’ve Gotta Be Me

Saxophonist, composer, producer, and educator Bobby Watson grew up in Kansas City, KS. As a consequence, his playing is steeped in the roadhouse blues tradition of his native city. He got his formal education at the University of Miami, where his fellow students included Pat Metheny, Jaco Pastorious, and Bruce Hornsby. The college has a distinguished, long-running, and well-respected jazz performance program. After he was graduated in 1975, he moved to New York City, the jazz capitol of the world, and soon found employment as musical director for Art Blakey's Jazz Messengers. Watson stuck with Blakey's group from 1977 to 1981, and then pursued session and tour work with more vigor, working with drummers Louis Hayes and Max Roach, saxophonists George Coleman and Branford Marsalis, multi-instrumentalist Sam Rivers, guitarist Carlos Santana and trumpeter Wynton Marsalis. He's also worked with a who's-who in the jazz vocal world, including Joe Williams, Dianne Reeves, Lou Rawls, Betty Carter, and Carmen Lundy. Finally he launched his own group, Bobby Watson & Horizon with bassist Curtis Lundy and drummer Victor Lewis, and they recorded for Blue Note and Columbia Records. Watson and Horizon were in demand and on the road from the mid-'80s to the late '90s, and he still performs with the group, with differing sidemen. Watson has amassed nearly 30 recordings as a bandleader and he's a veteran sessionman, having recorded on more than 100 other recordings. As a composer, he has recorded more than 100 of his original compositions, and his arrangements for big bands have circulated internationally. Watson, basing himself alternately in New York City and Kansas City, has been a first-call musician for more than three decades now, and he also served as a member of the adjunct faculty at William Paterson University in the mid-'80s and at the Manhattan School of Music from 1996-1999. In 2000, he was selected as the first William D. and Mary Grant/Missouri Distinguished Professor of Jazz Studies, and he's been working at the University of Missouri/Kansas City, balancing live concerts around the world with his teaching responsibilities. Since 2000, Watson's recordings under his own name include three excellent releases for the Palmetto Records label, based in New York City. They include Live & Learn (2002), Horizon Reassembled (2004), and From the Heart (2008). ~ Richard Skelly https://itunes.apple.com/us/artist/bobby-watson/id3492427#fullText

Personnel:  Bobby Watson [alto saxophone]; Stephen Scott [piano]; Curtis Lundy [bass]; Lewis Nash [drums]

Made in America

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