Hank Jones, Frank Wess - Hank And Frank II

Bitrate: MP3@320K/s
Time: 67:28
Size: 154.5 MB
Styles: Piano & Saxophone jazz
Year: 2009
Art: Front

[4:41] 1. Sunday
[4:54] 2. Lord Prepare Me
[6:30] 3. More Than You Know
[4:58] 4. If I Were A Bell
[4:39] 5. I Had The Craziest Dream
[6:31] 6. When Your Lover Has Gone
[3:05] 7. Chasing The Bird
[5:29] 8. Ill Wind
[5:52] 9. Jordu
[4:52] 10. The First Time I Saw Ella
[2:40] 11. Quintessence
[2:44] 12. You Don't Know What Love Is
[2:27] 13. Stay As Sweet As You Are
[3:43] 14. For All We Know
[4:16] 15. I'll Be Seeing You

Marion Cowings/Vocals; Ilya Lushtak/Guitar; Ilya Lushtak/Guitar; Frank Wess/Flute, Primary Artist, Sax (Tenor), Saxophone; John Webber/Bass, Bass (Upright), Guitar (Bass).

Hank Jones and Frank Wess retain the same rhythm section as their 2003 session for Lineage, except vocalist Marion Cowings is added on several tracks. Jones retains his masterful touch on piano even into his nineties, swinging effortlessly whether playing a breezy setting of "Sunday," a laid-back gospel-infused "Lord Prepare Me," or bop favorites like "Chasin' the Bird" and "Jordu." Wess' richly textured tenor dominates favorite ballads like "'More Than You Know" and "Ill Wind," while guitarist Ilya Lushtak, who works regularly with Wess and also took part in the earlier CD Hank and Frank, is generously featured, getting a bluesy edge with his spacious interpretation of "When Your Lover Is Gone." Cowings has been on the Manhattan scene for some time and served as vocal coach for Harry Connick, Jr., though he evidently has not been recorded very often. His easygoing vocal style never oversells the lyrics, though he is at his best in ballads like the old chestnut "Stay as Sweet as You Are." ~Ken Dryden

Hank And Frank II

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JC Hopkins Biggish Band, Queen Esther - Underneath A Brooklyn Moon

Bitrate: MP3@320K/s
Time: 39:08
Size: 89.6 MB
Styles: Retro Swing, Vocal Jazz
Year: 2005
Art: Front

[3:06] 1. Here Comes Love
[4:14] 2. One Never Knows
[3:36] 3. I've Got My Finger On A Star
[0:21] 4. Ice Cream Song
[3:51] 5. Underneath A Brooklyn Moon
[7:19] 6. Small Town
[3:22] 7. I Still Believe In Some Kind Of Love
[5:13] 8. Someday
[4:34] 9. Show Biz'ness
[3:29] 10. Settle Down

It isn't hard to understand why the neo-swing trend of the '90s (which favored a very ironic blend of jump blues and early rock & roll) ran out of gas and was pretty much dried up by the end of the decade. Although some quality bands came out of that trend (including the Cherry Poppin' Daddies and Big Bad Voodoo Daddy), there were plenty of amateurs who couldn't play their instruments and seemed to think that irony and cuteness was enough to carry them. Besides, the trend generally neglected the Benny Goodman/Duke Ellington/Artie Shaw side of things -- there's something wrong with bands that run around talking about a swing revival but can't play anything by Lionel Hampton or Glenn Miller. But despite all those things, there is no reason why younger artists shouldn't explore swing if they're good at it -- and Underneath a Brooklyn Moon is far superior to most of the neo-swing that was recorded in the '90s. Perhaps it is mixing apples and oranges to compare pianist/producer J.C. Hopkins and his Biggish Band to those '90s acts and insist that Hopkins is better than most of them; stylistically, Hopkins is going for something different -- instead of mixing jump blues with early rock & roll, this 2005 release recalls the '40s in a way that is much closer to Count Basie and Duke Ellington (minus the heavy focus on instrumentals and with some early bebop influence as well). But Hopkins definitely has the irony thing down -- not only in terms of his '40s-like attire, but also in terms of his often clever lyrics (which are skillfully handled by Queen Esther -- a big-voiced singer with a very bluesy, gritty take on jazz). Hopkins, however, isn't dorky about it; he and Esther show a genuine affection for different sides of '40s culture (the film noir darkness as well as the quaint romanticism). Underneath a Brooklyn Moon doesn't contain any standards; Hopkins wrote everything himself, and he shows considerable promise on this fun yet professional-sounding effort. ~Alex Henderson

Underneath A Brooklyn Moon

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João Gilberto - Brasil

Bitrate: MP3@320K/s
Time: 28:12
Size: 64.6 MB
Styles: Brazilian jazz
Year: 1981/2006
Art: Front

[6:34] 1. Aquarela Do Brasil
[5:18] 2. Disse Alguem (All Of Me)
[5:12] 3. Bahia Com H
[4:49] 4. No Tabuliero Baiana
[4:56] 5. Milagre
[1:20] 6. Cordiero De Nana

Bass – Jim Hughart; Cello – Anne Goodman, Rober Lebon; Drums – Joe Correro; Flute – Bud Shank, Eddie Cainf, Glen Garrett, Harry Klu; Harp – Stella Castellucci; Keyboards – Clare Fischer; Percussion – Paulinho Da Costa; Performer – Caetano Veloso, Maria Bethânia; Synthesizer – Michael Boddicker, Milcho Leviev; Viola – David Schwartz, Helaine Wittenberg, Marilyn Baker; Violin – Bonnie Douglas, Harry Bluestone, Isabelle Daskoff, Israel Baker, Jerry Reisler, John Wittenberg, Joe Goodman, Nathan Ross, Paul Shure, Bob Dubow, Bob Lipsett; Violin, Concertmaster – Gerald Vinci; Vocals, Guitar – João Gilberto.

I'll just make this a brief review. I've been a professional musician for 35 years. In the 1970's when I discovered this album, I was traveling all over the country with a show. I would play this LP constantly; I never got tired of it. Until I heard this, I had always thought of "Brasil" as a raucous, lounge or marching-band sort of tune. Then I heard these artists perform it, and I finally realized what a marvelous song it really was. There must be 100's of recorded version of it, but you'll never find a more beautiful, sophisticated version than this. Of course, the rest of the album is equally good. Great tunes, great singing, and as an added treat, the brilliant orchestrations of the great Claus Oegerman.

I have listened to this record for years on trips to the mountains, the sea; everywhere. It always gives me a placid, serene feeling. Decades later, the music still gives me chills. I cannot recommend this record enough, and I truly hope that someone else will enjoy it half as much as I have over the years. ~BJNick

Brasil

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Judy Niemack - 2 albums: Blue Nights / Jazz Singer's Practice Session

Album: Blue Nights
Bitrate: MP3@320K/s
Time: 73:38
Size: 168.6 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[4:09] 1. I Ain't Got Nothin' But The Blues
[5:15] 2. Bluesette
[5:28] 3. Blue
[5:11] 4. Interplay
[6:44] 5. Moanin'
[7:24] 6. Blue In Green
[5:27] 7. A Crazy Song To Sing
[6:23] 8. Lullaby Of The Leaves
[7:02] 9. In A Sentimental Mood
[5:47] 10. Night In Tunisia
[5:17] 11. Afro Blue
[9:26] 12. All Blues

Judy Niemack has released so many outstanding CDs that it seems unfathomable that this 2007 release for Blujazz is her first U.S. recording since Heart's Desire and only her third U.S. album overall. But she makes up for lost time with a typically adventurous outing, backed by guitarist Jeanfrançois Prins (her husband), pianist Jim McNeely, bassist Dennis Irwin, and drummer Victor Lewis, with guest appearances by saxophonist Gary Bartz and trumpeter/flügelhornist Don Sickler on selected tracks. Niemack's sassy take of Duke Ellington's "I Ain't Got Nothin' But the Blues" and her scatting in unison with Prins' guitar in a romp through "Bluesette" open the disc with a bang, but she cools things down with her intricate interpretation of Bill Evans' "Interplay," for which she supplied delightful lyrics. "A Crazy Song to Sing" has more of a vocalese quality, describing the appeal of performing Thelonious Monk's "Mysterioso," punctuated by Bartz's smoldering alto sax solo. "In a Sentimental Mood" is set up by an intriguing blend of guitar, flügelhorn, and alto sax, with Niemack delivering a captivating performance. Judy Niemack has been one of the most underrated jazz vocalists of her generation, and this brilliant effort should awaken critics who have unjustly overlooked her consistently excellent work. ~Ken Dryden

Blue Nights

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Album: Jazz Singer's Practice Session
Bitrate: MP3@320K/s
Time: 49:39
Size: 113.7 MB
Styles: Vocal jazz
Year: 2004
Art: Front

[4:09] 1. Misty
[4:47] 2. Lullaby Of Birdland
[4:07] 3. How High The Moon
[3:07] 4. Wave
[5:07] 5. You'd Be So Nice To Come Home To
[3:14] 6. All Of Me
[5:08] 7. My Funny Valentine
[3:35] 8. Teach Me Tonight
[3:12] 9. One Note Samba
[2:59] 10. Summertime
[3:25] 11. Lover Man
[3:41] 12. I Got Rhythm
[3:03] 13. Bye Bye Blackbird

Judy Neimack has a strong magical voice that takes you to the martini bar where you can kick back and relax, oh wait -- you're supposed to be learning! She has chosen well-loved jazz standards, and shows you how it's done. Highly recommended! ~Mellani Day

Jazz Singer's Practice Session

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Nicholas Payton - From This Moment...

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 66:50
Size: 155,3 MB
Art: Front

(4:32)  1. In The Beginning
(6:13)  2. You Stepped Out Of A Dream
(6:49)  3. Fair Weather
(7:11)  4. Maria's Melody
(7:48)  5. It Could Happen To You
(4:51)  6. Little Re-Re
(4:47)  7. From This Moment On
(6:01)  8. Rhonda's Smile
(7:35)  9. The Sleepwalker
(4:09) 10. Blues For My Brother
(4:29) 11. Taking A Chance On Love
(2:22) 12. To The Essential One

The young trumpeter Nicholas Payton is featured on this CD as the only horn in a sextet also including guitarist Mark Whitfield, pianist Mulgrew Miller and vibraphonist Monte Croft. Best are Payton's melodic and very mature statements on the veteran standards "You Stepped Out of a Dream," "It Could Happen to You," "From This Moment On" and "Taking a Chance on Love." His six originals are less memorable, but overall, this is a pleasing date that finds the trumpeter showing a great deal of potential. Payton's tone, mixing aspects of Freddie Hubbard, Wynton Marsalis and New Orleans jazz in a post-bop setting, is quite appealing. ~ Scott Yanow http://www.allmusic.com/album/from-this-moment-mw0000122038

Personnel: Nicholas Payton (trumpet); Monte Croft (vibraphone); Mulgrew Miller (piano); Mark Whitfield (guitar); Reginald Veal (bass); Lewis Nash (drums).

From This Moment...

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Dexter Gordon Quartet - Stable Mable

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 49:04
Size: 112,8 MB
Art: Front

(7:55)  1. Just Friends
(8:15)  2. Misty
(7:48)  3. Red Cross
(8:20)  4. So What
(6:51)  5. In A Sentimental Mood
(9:52)  6. Stablemates

Dexter Gordon is in frequently exuberant form on this quartet session with pianist Horace Parlan, bassist Niels Pedersen and drummer Tony Inzalaco. The material, which includes "Just Friends," "Misty," "Stablemates" and "Red Cross," is familiar, but the veteran tenor sounds quite inspired throughout the joyous outing. ~ Scott Yanow http://www.allmusic.com/album/stable-mable-mw0000181410

Personnel:  Dexter Gordon (soprano & tenor saxophones); Horace Parlan (piano); Niels-Henning Orsted Pedersen (bass); Tony Inzalaco (drums).

Stable Mable

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Henry 'Red' Allen - World on a String

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 61:22
Size: 142,9 MB
Art: Front

(5:52)  1. Love is Just Around the Corner
(5:32)  2. Let Me Miss You, Baby
(4:42)  3. Ride, Red, Ride
(8:27)  4. I Cover the Waterfront
(5:30)  5. 'SWonderful
(3:45)  6. St. James Infirmary
(6:52)  7. Algiers Bounce
(5:14)  8. Love Me or Leave Me
(5:38)  9. I've Got the World on a String
(4:10) 10. Ain't She Sweet
(5:35) 11. Sweet Lorraine

A true classic, this release finds trumpeter Red Allen at the peak of his creative powers with a remarkable octet also featuring trombonist J.C. Higginbotham, clarinetist Buster Bailey, and the great tenor Coleman Hawkins. "I Cover the Waterfront" has a wonderfully abstract statement from Allen, "Love Is Just Around the Corner" is joyous Dixieland, "Let Me Miss You, Baby" is a particularly strong blues (featuring Allen's vocal), and the simple blues line that serves as a melody on "Algiers Bounce" is quite catchy. The other seven selections from the classic veterans are also quite enjoyable. Although the music has its basis in Dixieland and swing, the solos of Allen and Hawkins in particular look ahead toward the future. There is nothing dated about these essential performances; highly recommended. ~ Scott Yanow http://www.allmusic.com/album/world-on-a-string-mw0000262743

Personnel: Henry "Red" Allen (trumpet); Coleman Hawkins (tenor saxophone); J.J. Higginbotham (trombone); Buster Bailey (clarinet); Marty Napoleon (piano); Everett Barksdale (guitar); Lloyd Trotman (bass); Cozy Cole (drums).

World on a String

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Benny Waters - Night Session In Swing And Dixieland

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 30:37
Size: 70,3 MB
Art: Front

(7:04)  1. Indiana
(4:47)  2. These Foolish Things
(3:20)  3. After You've Gone
(3:00)  4. Everybody Loves My Baby
(3:34)  5. Exactly Like You
(3:55)  6. If I Could Be With You
(4:53)  7. Sweet Sue, Just You

Until his death at the age of 96, Benny Waters was not only the second oldest active jazz musician (to Eubie Blake who made it to 100) but a powerful altoist who would be considered impressive if he were only 50. Waters' personal history covered virtually the entire history of recorded jazz, although he never really became a major name. He worked with Charlie Miller from 1918-1921, studied at the New England Conservatory, and became a teacher; one of his students was Harry Carney, remarkably. Waters played, arranged for, and recorded with Charlie Johnson's Paradise Ten (1925-1932), an underrated group that also for a time included Benny Carter and Jabbo Smith. Waters, who was primarily a tenor saxophonist and an occasional clarinetist during this period, was influenced to an extent by Coleman Hawkins, and he recorded with both Clarence Williams and King Oliver in the 1920s. During the next two decades, Waters played in many groups including those led by Fletcher Henderson (for a few months), Hot Lips Page, Claude Hopkins, and Jimmie Lunceford. He led his own unit during part of the 1940s, played with Roy Milton's R&B band, and in 1949 went to France with the Jimmy Archey Dixieland group. Waters settled in Paris, working steadily, although he was largely forgotten at home. By the 1980s, he was visiting the U.S. more frequently, and Waters is heard in brilliant form on a 1987 quartet set for Muse on which he plays tenor, alto, and clarinet, in addition to taking some effective vocals. A short time later he went blind and stuck exclusively to playing alto (on which he played in a jump style reminiscent of Tab Smith, that shows the occasional influence of John Coltrane). The seemingly ageless Benny Waters continued recording and performing with a remarkable amount of energy, touring with the Statesmen of Jazz in 1995 and creating some miraculous music prior to his death on August 11, 1998. ~ Scott Yanow http://www.allmusic.com/artist/benny-waters-mn0000053948/biography

Personnel:  Band – The Latin Jazz Band;  Bass – G. Maier;  Clarinet – S. Seyffer;  Clarinet, Soprano Saxophone, Tenor Saxophone, Vocals, Arranged By – Benny Waters;  Drums – M. Buhl;  Guitar – J. Geiger;  Piano – R. Schiefer;  Soprano Saxophone – D. Antritter;  Trombone – M. Gaugel;  Trumpet – E. Krieg

Night Session In Swing And Dixieland

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