Dizzy Gillespie - All The Things You Are

Bitrate: MP3@320K/s
Time: 37:29
Size: 85.8 MB
Styles: Bop, Trumpet jazz
Year: 1994/2010
Art: Front

[2:58] 1. All The Things You Are
[3:00] 2. Dizzy Atmosphere
[3:11] 3. Shaw' Nuff
[3:08] 4. Melancholy Baby
[3:05] 5. On The Alamo
[3:21] 6. Emanon
[3:03] 7. Cherokee
[3:11] 8. Blue 'n Boogie
[3:07] 9. One Bass Hit 1
[3:15] 10. A Handfulla Gimme
[2:51] 11. That's Earl Brother
[3:13] 12. I Waited For You

Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated. Somehow, Gillespie could make any "wrong" note fit, and harmonically he was ahead of everyone in the 1940s, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to explain them to the next generation, thereby insuring that bebop would eventually become the foundation of jazz. ~Scott Yanow

All The Things You Are

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Helen Merrill - Merrill At Midnight

Bitrate: MP3@320K/s

Time: 34:25

Size: 78.8 MB

Styles: Vocal jazz, Easy Listening

Year: 1957/2006

Art: Front

[3:13] 1. Soft As Spring

[2:51] 2. Black Is The Color Of My True Love's Hair (Feat. Hal Mooney And His Orchestra)

[3:07] 3. It's A Lazy Afternoon

[3:05] 4. The Things We Did Last Summer

[3:03] 5. After You

[3:12] 6. If You Go

[3:20] 7. If I Forget You (Feat. Hal Mooney And His Orchestra)

[2:57] 8. If Love Were All

[3:42] 9. Easy Come, Easy Go

[2:44] 10. I'll Be Around

[3:05] 11. If Love Were All

Helen Merrill recorded this lushly orchestrated album in conjunction with arranger/conductor Hal Mooney, with whom she'd previously cut a single, in early 1957. Opening with the moody and gorgeous "I'll Be Around," she moves into almost an art-song mode on "Soft as Spring," and her sound on "If I Forget You" veers perilously close to pop, complete with rippling harp arpeggios, as does "It's a Lazy Afternoon." But Merrill is so beguilingly subtle and hauntingly beautiful in her intonation, and maintains just enough of a blues base to her delivery here, that these songs remain consistent with the rest of the material and with her other output of the era. Actually, the whole album works by straddling all of this territory -- it's simply Helen Merrill and Hal Mooney bending a few genres in a more sophisticated musical setting than usual on her records. All of these elements get pulled together, and wound as tight and powerfully as possible, on the final track, "Black Is the Color of My True Love's Hair" -- that had to be the finish, because nothing else here could top it for sheer, understated power and impact. Merrill at Midnight was also stunningly recorded, an attribute that one hopes will not be lost when and if the album ever gets reissued on CD. (As it is, the only way to get this album on CD, as of 2006, is as part of the four-CD The Complete Helen Merrill on Mercury which, itself, is out-of-print). For anyone who has it, or the old LP, this one's a keeper and in a class by itself, with lots and lots of class. ~Bruce Eder

Merrill At Midnight

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Paul Bley, Sonny Greenwich - Outside In

Bitrate: MP3@320K/s
Time: 70:09
Size: 160.6 MB
Styles: Piano jazz, Avant garde jazz
Year: 1996
Art: Front

[1:40] 1. Sonics Ii
[4:34] 2. Horizons
[7:07] 3. Arrival
[7:31] 4. Now
[6:12] 5. Meandering
[7:00] 6. Willow
[6:45] 7. I Remember Harlem
[4:25] 8. Peel Street Blues
[7:47] 9. Steeplechase
[6:14] 10. You Are
[4:45] 11. These Foolish Things
[6:04] 12. Pent Up House

This duet set by pianist Paul Bley and guitarist Sonny Greenwich, after two melodic solos by Greenwich and Bley's feature on "Arrival," becomes a loose bop session. "Meandering" is a blues and, in the tradition of Lennie Tristano, the origins of the originals "Willow" and "You Are" are not too difficult to figure out. The music does meander a bit but mostly swings in a floating way. Although there are some freer moments, this is as straight as Paul Bley has played on records in years and Sonny Greenwich also sounds fairly conservative, at least if one does not listen too closely. It's a relaxed and very interesting set. ~Scott Yanow

Outside In

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Stevie Wonder - Music Of My Mind

Bitrate: MP3@320K/s
Time: 47:57
Size: 109.8 MB
Styles: R&B
Year: 1972/2012
Art: Front

[7:23] 1. Love Having You Around
[8:08] 2. Superwoman
[3:55] 3. I Love Every Little Thing About You
[4:59] 4. Sweet Little Girl
[5:17] 5. Happier Than The Morning Sun
[3:36] 6. Girl Blue
[4:21] 7. Seems So Long
[6:40] 8. Keep On Running
[3:33] 9. Evil

With a new contract from Motown in his hand, Stevie Wonder released Music of My Mind, his first truly unified record and, with the exception of a single part on two songs, the work of a one-man-band. Everything he had learned about musicianship, engineering, and production during his long apprenticeship in the Snakepit at Motown Studios came together here (from the liner notes: "The sounds themselves come from inside his mind. The man is his own instrument. The instrument is an orchestra.") Music of My Mind was also the first to bear the fruits of his increased focus on Moog and Arp synthesizers, though the songs never sound synthetic, due in great part to Stevie's reliance on a parade of real instruments -- organic drumwork, harmonica, organs and pianos -- as well as his mastery of traditional song structure and his immense musical personality. The intro of the vibrant, tender "I Love Every Little Thing About You" is a perfect example, humanized with a series of lightly breathed syllables for background rhythm. And when the synthesizers do appear, it's always in the perfect context: the standout "Superwoman" really benefits from its high-frequency harmonics, and "Seems So Long" wouldn't sound quite as affectionate without the warm electronics gurgling in the background. This still wasn't a perfect record, though; "Sweet Little Girl" was an awkward song, with Stevie assuming another of his embarrassing musical personalities to fawn over a girl. ~John Bush

Music Of My Mind

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Pee Wee Russell & Henry 'Red' Allen - The College Concert

Styles: Clarinet And Trumpet Jazz
Year: 1966
File: MP3@320K/s
Time: 32:15
Size: 75,2 MB
Art: Front

(6:04)  1. Blue Monk
(6:12)  2. I Want A Little Girl
(4:26)  3. Body And Soul
(4:28)  4. Pee Wee's Blues
(4:17)  5. 2° East, 3° West
(6:46)  6. Graduation Blues

Although trumpeter Red Allen (heard in his final recording) and Russell had recorded back in 1932, their paths only crossed on an infrequent basis through the years. For this LP, the two veteran modernists (who spent much of their careers in Dixieland settings) are joined by a young rhythm-section pianist Steve Kuhn, bassist Charlie Haden and drummer Marty Morell). The music is generally relaxed with an emphasis on blues and a fine feature for Allen on "Body and Soul." ~ Scott Yanow http://www.allmusic.com/album/college-concert-of-pee-wee-russell-and-henry-red-mw0000892162

Personnel:  Pee Wee Russell – clarinet;  Red Allen - trumpet, vocals;  Steve Kuhn – piano;  Charlie Haden – bass;  Marty Morell - drums

The College Concert

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Oleta Adams - Evolution

Styles: Vocal And Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 57:14
Size: 131,4 MB
Art: Front

(4:42)  1. My Heart Won't Lie
(5:11)  2. Hold Me for a While
(4:45)  3. Don't Let Me Be Lonely Tonight
(5:16)  4. When Love Comes to the Rescue
(3:38)  5. I Just Had to Hear Your Voice
(4:14)  6. Come When You Call
(6:33)  7. Easier to Say (Goodbye)
(4:10)  8. Lover's Holiday
(5:04)  9. The Day I Stop Loving You
(5:33) 10. New York State of Mind
(3:42) 11. Evolution
(4:23) 12. Window of Hope

After the success of her debut, Adams doesn't change the formula for her second album. Which isn't a bad thing the stylish love ballads she sings are some of the best adult contemporary pop of the early '90s. 

~ Stephen Thomas Erlewine http://www.allmusic.com/album/evolution-mw0000101891

Personnel: Oleta Adams (vocals, piano, electric piano, synthesizer, background vocals); Valerie Pinkston-Mayo, Fred White , Rick Nelson, Paulette Brown (vocals, background vocals); Arnold McCuller, Bunny Hull (vocals); Michael Landau, Ray Fuller (guitar, piano, synthesizer); Aaron Zigman (strings, keyboards, synthesizer, programming); David Sanborn (alto saxophone); Tom Scott (tenor saxophone); Chuck Findley (trumpet, flugelhorn); Fred Washington (fretless bass); Gota Yashiki, Richard Stevens (drums, programming); Richie Steves (drums); Lenny Castro (percussion); Carolyn Perry, Bunny Hill, Arnold McCutler, Jerry Knight, Lori Perry, Darlene Perry, Sharon Perry (background vocals).

Evolution

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Peter Brendler & John Abercrombie - The Angle Below

Styles: Guitar Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 60:28
Size: 138,8 MB
Art: Front

(5:31)  1. Downhill Runner
(6:28)  2. Half Dozen of the Other
(6:36)  3. Nick of Time
(8:07)  4. Valdoviño
(7:04)  5. Jazz Folk
(7:45)  6. Misdirection
(2:20)  7. Rockaway
(5:17)  8. Six of One
(4:40)  9. Sweet 16
(6:35) 10. Goodbye

Peter Brendler and guitarist John Abercrombie have developed their playing partnership over a number of years, but The Angle Below is their first duo recording. Brendler "the guy on the bass" as he's described in Neil Tesser's sleeve notes is the nominal leader but he refers to the album as a collaboration. He's not wrong. He may be the driving force behind the project, the man who sorted out the studio, booked the dates, contacted the press and made the coffees, but as soon as the bass and guitar open "Downhill Runner" it's clear that this is a joint venture a very successful joint venture. Abercrombie has a long and distinguished discography, with over 50 albums as leader. Brendler, the younger man by about four decades, doesn't quite match that number, but his reputation is building. Brendler takes the lion's share of composer credits six, to Abercrombie's three, plus a cover of Gordon Jenkins' "Goodbye." There's a gentle, almost genteel, quality to the tunes with Brendler's earthy, full, bass tone contrasting well with Abercrombie's bright, metallic electric guitar. In 2010 Brendler joined drummer Barry Altschul on Jon Irabagon's Foxy (Hot Cup Records), a full-on, fiery, high-energy slab of jazz that took few, if any, prisoners. It also demonstrated Brendler's power and strength as a player. The Angle Below requires a different set of skills from the bassist a subtler, more nuanced approach to the instrument. He shows himself to be eminently accomplished at this his composition for solo bass, "Rockaway," is calm and meditative. 

One of the most impressive features of The Angle Below is the way in which the interplay between Brendler and Abercrombie develops within each tune. There are unison passages but for the most part the two musicians work as a lead and rhythm duo. While that might suggest a traditional partnership with the guitar taking on the melody and the bass establishing a rhythmic foundation this collaboration finds both men moving between the two. Abercrombie's "Jazz Folk" is an especially fine example of this interplay, but it's a common motif across the album. The switches between roles are achieved so smoothly that it takes a few seconds to realize that they've happened, a testament to the relationship that the players have on this beautifully-recorded and rewarding album. ~ Bruce Lindsay https://www.allaboutjazz.com/the-angle-below-peter-brendler-steeplechase-records-review-by-bruce-lindsay.php

Personnel: Peter Brendler: bass; John Abercrombie: guitar.

The Angle Below

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Delfeayo Marsalis - Minions Dominion

Styles: Trombone Jazz
Year: 2006
File: MP3@320K/s
Time: 63:10
Size: 145,5 MB
Art: Front

( 7:33)  1. Brer Rabbit
(11:15)  2. Lone Warrior
( 9:11)  3. If You Only Knew
( 8:49)  4. Minions Dominion
( 9:27)  5. Just Squeeze Me
( 6:46)  6. Weaver Of Dreams
(10:05)  7. Lost In The Crescent

What does the term "mainstream" mean to you? In jazz, the label is applied to music which has time-tested, codified rhythm and structure. After that, it can get more mainstream if the melody and harmony are easily understood. This is not a value judgment about good or bad music, but rather a way of placing the music within a framework of expectation. However, that expectation can be quite different depending on one's individual experience and personality. Some listeners enjoy having such expectations fulfilled, while others revel in being set up and fooled. Many people with wide listening habits are on the lookout for music that manages to hold together without doing the expected, and actually relish feeling the musical ground constantly shifting under their feet.  Trombonist Delfeayo Marsalis' Minions Dominion is absolute dead-center mainstream music for people who like well-played jazz that is just thorny enough to elicit a smile (or grimace, as the case may be). However, this music will not have that "sound of surprise" enjoyed by more adventurous listeners, which draws them to jazz in the first place. They will be able to pull out Blue Note reissues that have almost the same feel. Moreover, mainstream does not have to mean music which sounds old. Two recent, and quite different, albums, David Braid's Zhen and Andrew Rathbun's Shadow Forms, both sit in the mainstream camp, but they also bend the rules and thwart expectations enough to be quite surprising and memorable.

The liner notes for Minions Dominion actually anticipate this whole issue. The 2002 session is special in that it was the great Elvin Jones' last studio session. Marsalis had an ongoing apprenticeship with the drummer, and at one point asked him whether his playing would benefit from "less tradition and more avant-garde?" Some might think that asking such a question might indicate that Marsalis was missing the point. You cannot just decide to "play avant-garde." A real avant-garde player feels that style as deeply within himself as does the traditional player his own. Jones, perhaps sensing this whole conundrum, and being a trailblazer himself, answered perfectly, saying that if Marsalis continued studying and playing, in a few years he should "understand the tradition well enough that you can take it into whatever direction you'd like." Given all of this philosophy, the record does swing like hell in the expected way for sure, but it is nonetheless very deep and irresistible. The bass players, Robert Hurst III and Edwin Livingston, along with Jones (of course) should get much of the credit for this. Also, pianist Mulgrew Miller, as a member of the rhythm section, plays in a very wide and deep pocket; there is no question of his feel for this style. He also plays outstanding accompaniment: one can hear him listening to and echoing the soloists, providing just the right touch whenever he plays.

Jones himself is in fine form and in general pushes the proceedings, adding intensity to the session, including the famous polyrhythms of his John Coltrane years' lore, as in the evocative "Lone Warrior." He can also just flat out swing as in "Brer Rabbit," which is a good track to show why this record falls flat. The bass starts the tune with a walking line that sounds at first like an ear-catching mistake but is not, but then the piano has trouble synching up with him, as do the drums with the other two. Eventually, they all get hooked up and build a head of steam, but this beginning screams "studio recording," with the musicians interacting through headphones and not by really being there. Saxophonists Branford Marsalis and Donald Harrison provide most of the fireworks, which to these ears sound forced within the context of the rest of the playing and could almost be the expected "avant-ness."  The leader's trombone tone is quite clean, warm and inviting. He certainly likes to throw a quote in during his soloing, but it is not subtle at all. The high point of the record for me is his sumptuous playing on the ballad "If You Only Knew."  All in all, the music sounds trapped in the past, especially "Lost In The Crescent," which just reeks of the Marsalis jazz-through-slavery prism refracted through Coltrane. ~ Budd Kopman https://www.allaboutjazz.com/delfeayo-marsalis-minions-dominion-by-budd-kopman.php

Personnel: Delfeayo Marsalis: trombone; Donald Harrison: alto saxophone; Branford Marsalis: tenor and soprano saxophones; Mulgrew Miller: piano; Sergio Salvatore: piano; Robert Hurst III: bass; Edwin Livingston: bass; Eric Revis: bass; Elvin Jones: drums.

Minions Dominion

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Steve Nelson - Brothers Under the Sun

Styles: Vibraphone Jazz
Year: 2017
File: MP3@320K/s
Time: 60:02
Size: 138,0 MB
Art: Front

(9:07)  1. The More I See You
(4:41)  2. Eastern Joy Dance
(6:23)  3. Grew's Tune
(8:38)  4. Soul Leo
(5:13)  5. It Never Entered My Mind
(5:16)  6. Samba d'Blue
(4:52)  7. Brothers Under the Sun
(5:28)  8. For Those Who Do
(4:46)  9. New Wheels
(5:33) 10. Melody for Mulgrew

Vibist Steve Nelson made a big splash as a newcomer in the jazz polls at the end of the '80s just as the vibraphone began to re-emerge as one of jazz's favorite instruments. The cool, drifty, slightly detached sound of the vibraphone will forever be associated with great jazz players like Lionel Hampton, Gary Burton and others, but Nelson has firmly established himself as a leader of top-notch small ensembles that showcase his own personal voice on the instrument. Leading a blue-chip quartet composed of pianist Danny Grissett, bassist Peter Washington, and drummer Lewis Nash, Nelson has put together an imaginative setlist that serves as a tribute to the late pianist Mulgrew Miller, with whom Nelson enjoyed a long and fruitful musical collaboration and friendship. Throughout the date the interplay of the quartet is engaging, the creativity unflagging and the joy in the music making is always apparent. Brothers Under the Sun is a substantial addition to Steve Nelson's far-too-small discography as a leader. https://www.amazon.com/Brothers-Under-Sun-Steve-Nelson/dp/B01MTBDPQW

Personnel: Steve Nelson (vibraphone), Danny Grissett (piano), Peter Washington (bass), Lewis Nash (drums)

Brothers Under the Sun

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