Jimmy McGriff - McGriff's House Party

Bitrate: MP3@320K/s
Time: 59:34
Size: 136.3 MB
Styles: Soul-jazz, Funk
Year: 2000
Art: Front

[8:00] 1. Neckbones à la Carte
[8:19] 2. Blues For Stitt
[5:45] 3. Red Roses For A Blue Lady
[6:00] 4. Red Cadillac Boogaloo
[6:31] 5. that's all
[7:26] 6. McGriff's House Party
[7:30] 7. Grits, Gravy And Groove
[9:59] 8. Dishin' The Dirt

This Milestone release continues in the soul groove that Jimmy McGriff helped create in the early '60s. McGriff's House Party took two days to complete and found the participants in a hard funk mood. The fine groove ensemble on this disc features Kenny Rampton's trumpet on four cuts, tenor saxophonists Eric Alexander or Bill Easley, Rodney Jones on guitar, and Bernard Purdie on drums. It's to McGriff's credit that he invited another organ legend, Dr. Lonnie Smith, along on four especially greasy cuts that will have fans of the genre in Hammond hysteria. Highlights include "Neckbones à la Carte," an up-tempo James Brown-style funk written by guitarist Rodney Jones. "Blues for Stitt" is Easley's tribute to the legendary tenor saxophonist. "Red Roses for a Blue Lady" trots along with an extra bite given to this standard from Alexander. Special guest guitarist George Benson doesn't actually play on this date but he does make his presence felt by contributing "Red Cadillac Boogaloo," which he composed while enjoying the session from the control booth. The slow closing blues "Dishin the Dirt" signals last call and winds up another enjoyable and recommended soul groove session from Jimmy McGriff. ~Al Campbell

McGriff's House Party

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Ingrid James, San Gabriel 7 - Blue Confluence

Bitrate: MP3@320K/s
Time: 53:54
Size: 123.4 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[2:48] 1. Radames Y Pele
[4:31] 2. Waters Of March
[5:18] 3. Into The Groove
[6:30] 4. I Dream Of You
[5:16] 5. Blue Confluence
[5:33] 6. Second Chance
[5:00] 7. Listen Up
[5:16] 8. Not This Time
[3:47] 9. Nothing Will Be As It Was
[4:13] 10. Papagaio Rei
[5:37] 11. Another Season

Blue Confluence is the second collaboration of the Australian jazz singer Ingrid James and US based San Gabriel 7, led by Jim Lewis. On their 2012 release, Lost My Heart and now on Blue Confluence, arranger Dave Cushman weaves a common thread throughout both recordings with tailored charts for the singer, band and guest artist Eric Marienthal (aka Chick Corea’s Electric Band, Gordon Goodwin’s Big Phat Band, etc.), who imprints the recording with his signature alto saxophone solos on Into the Groove, Blue Confluence and Radames y Pele.

Ingrid has co-written some of the songs with various musicians including French pianist Alexis Tcholakian on title track Blue Confluence, Italian saxophonist Jacopo Jacopetti on I Dream Of You, Queensland pianist Louise Denson on Not This Time, US trombonist Jim Lewis on Second Chance and US guitarist Bruce Lofgren on Into The Groove, etc.

Blue Confluence

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Various - 16 Most Requested Songs: The 1940s Volume 1

Bitrate: MP3@320K/s
Time: 47:12
Size: 108.1 MB
Styles: Traditional pop, Swing
Year: 1989
Art: Front

[3:11] 1. Les Brown - Sentimental Journey
[3:11] 2. Harry James & His Orchestra - You Made Me Love You (I Didn't Want To Do It)
[2:00] 3. Dinah Shore - Buttons And Bows
[2:34] 4. Harry Babbitt - (There'll Be Bluebirds Over) The White Cliffs Of Dover
[3:15] 5. Xavier Cugat - Amor
[3:08] 6. Benny Goodman & His Orchestra - Symphony
[3:03] 7. Buddy Clark - Ballerina
[3:13] 8. Harry James - I'm Beginning To See The Light
[3:03] 9. Doris Day - You Won't Be Satisfied (Until You Break My Heart)
[3:10] 10. Dinah Shore - Doin' What Comes Natur'lly
[2:50] 11. Frankie Carle & His Orchestra - Cruising Down The River (On A Sunday Afternoon)
[2:44] 12. Mellomen - Again
[2:57] 13. Ezio Pinza - Some Enchanted Evening
[3:14] 14. Buddy Clark - Linda
[2:53] 15. Les Brown - I've Got My Love To Keep Me Warm
[2:40] 16. Harper Valley Boys - Dear Hearts And Gentle People

16 Most Requested Songs of the 1940s, Vol. 1 contains a selection of traditional pop, big-band and easy listening hits from the Columbia Records vaults, including performances from Les Brown ("Sentimental Journey"), Harry James ("You Made Me Love You"), Dinah Shore ("Buttons and Bows," "Doin' What Comes Naturally"), Xavier Cugat ("Amor"), Benny Goodman ("Symphony"), Doris Day ("Again") and Ezio Pinza ("Some Enchanted Evening"). It's not a definitive overview of pop hits of the era, but it's still a nice sampler of some highlights from one of the most popular and successful labels of the decade. ~Stephen Thomas Erlewine

16 Most Requested Songs: The 1940s Volume 1

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Bob Dylan - Triplicate (sampler)

Bitrate: MP3@320K/s
Time: 33:08
Size: 75.9 MB
Styles: Traditional pop
Year: 2017
Art: Front

[2:52] 1. The Best Is Yet to Come
[4:05] 2. These Foolish Things
[2:34] 3. It's Funny to Everyone but Me
[3:41] 4. When the World Was Young
[3:35] 5. I Could Have Told You
[3:12] 6. Sentimental Journey
[3:33] 7. That Old Feeling
[3:23] 8. My One and Only Love
[2:35] 9. Stardust
[3:33] 10. Once Upon a Time

It's possible to read the title of Triplicate in two ways. First, the 2017 collection is the third installment in Bob Dylan's exploration of the Great American Songbook, following quickly on the heels of 2015's Shadows in the Night and 2016's Fallen Angels. Secondly, Triplicate is indeed a triple-album, or perhaps more accurately, a set of three interlinked albums all running 32 minutes apiece. Each of the three discs are given titles -- the first is dubbed 'Til the Sun Goes Down, the second Devil Dolls, with Comin' Home Late rounding out the collection -- and they're presented in a manner not dissimilar to an old-fashioned album of 78 rpms, a nod to the dawn of popular recorded music. By now, Dylan's approach to this material is familiar -- he takes his touring band into the legendary Capitol Studios in Hollywood to record arrangements that feel lean yet full, rooted in pre-war pop but played for a barroom audience -- but it is by no means exhausted. Dylan is captivated by this music, reveling in the lyrics, restoring intros often left off of modern interpretations, bending his style to fit the songs instead of vice-versa. Like Fallen Angels before it, Triplicate is palpably lighter than the weary Shadows in the Night, and that's not just because there are livelier tempos here ("Day In, Day Out" positively glides along on its swift speed and horns). Much of this breeziness derives from Dylan's performance. Cherishing the turns of phrase as much as the intent of the song, he sings with a sly sensitivity that's alluring; when he elongates a phrase or has his voice crack, he reveals more about the song than any retro-swinger with showboating chops. This comparison stands on Triplicate more than its predecessors because it's filled with songs that often appear on modern collections of standards: "Stormy Weather," "As Time Goes By," "The Best Is Yet to Come," "Day In, Day Out," "Sentimental Journey," These Foolish Things," and "Stardust." Dylan treats these common classics with as much care as he does "There's a Flaw in My Flue," a Jimmy Van Heusen/Johnny Burke obscurity that appeared on Frank Sinatra's 1957 Close to You. Its appearance suggests how Triplicate, along with its cousins, is an ongoing exploration of Sinatra's body of work, but if Dylan learned anything from Sinatra, it's how to drill to the core of the song. Dylan does just that on Triplicate, finding the heart beating within some old warhorses and placing them within several great American musical traditions, and that's why this cements his place as one of the most distinctive interpreters of the Great American Songbook. ~Stephen Thomas Erlewine

Triplicate (sampler)

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Arthur Prysock, Count Basie - S/T

Bitrate: MP3@320K/s
Time: 43:05
Size: 98.7 MB
Styles: Vocal jazz
Year: 1966/1989
Art: Front

[3:47] 1. I Could Have Told You
[2:45] 2. Ain't No Use
[3:40] 3. I Could Write A Book
[3:08] 4. Gone Again
[3:40] 5. Come Home
[2:16] 6. I Worry 'bout You
[2:45] 7. What Will I Tell My Heart
[2:46] 8. Don't Go To Strangers
[3:21] 9. I'm Lost
[2:52] 10. I'm Gonna Sit Right Down And Write Myself A Letter
[2:24] 11. Come Rain Or Shine
[3:43] 12. Where Are You
[3:13] 13. Do Nothin' Till You Hear From Me
[2:39] 14. Sunday

Bass – Norman Keenan; Drums – Grady Tate, B5), Rufus Jones; Guitar – Fred Green; Piano – Count Basie; Saxophone, Clarinet – Charles Fowlkes, Eddie Davis, Eric Dixon; Trombone – Al Grey, William Hughes, Robert Plater, Grover Mitchell, Henderson Chambers, Henry Coker, Marshal Royal; Trumpet – Albert Aarons, Phil Guilbeau, George Cohn, Wallace Davenport; Vocals – Arthur Prysock. Recorded December 12-21, 1965 at Van Gelder Studios, Englewood Cliffs, New Jersey.

Arthur Prysock/Count Basie documents a set of wonderful mid-'60s cuts in which Arthur Prysock came the closest of any replacements to duplicating the Joe Williams sound in the Basie orchestra. Seven saxes are led by Lockjaw Davis in a big band that drives Prysock. Of the 11 songs, the best are "I Could Write a Book" and "Don't Go to Strangers." [The 2015 Verve reissue added three bonus tracks to the original program.] ~Michael G. Nastos

Arthur Prysock, Count Basie

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Art Farmer - Azure

Styles: Jazz, Bop
Year: 1987
File: MP3@320K/s
Time: 40:32
Size: 94,9 MB
Art: Front

(4:41)  1. If You Could See Me Now
(4:00)  2. Nighttime
(5:00)  3. Yesterday's Thoughts
(3:22)  4. Blue Windows
(4:19)  5. Azure
(6:17)  6. Sound Within An Empty Room
(4:24)  7. Soul Eyes
(4:24)  8. Danielle
(4:03)  9. Song Of Praise

Although the personnel listing mistakenly lists pianist Fritz Pauer as playing bass, this mellow release features his duets with flugelhornist Art Farmer. Pauer has been Farmer's regular pianist overseas since the flugelhornist moved to Europe in 1968. Together they perform three of Pauer's moody originals, an Austrian folk song and tunes by Al Cohn, Mal Waldron ("Soul Eyes"), Duke Ellington, Benny Golson and Tadd Dameron ("If You Could See Me Now") with the emphasis on ballads. 

A peaceful and mostly introspective release.~ Scott Yanow http://www.allmusic.com/album/azure-mw0000193980

Personnel:  Art Farmer – flugelhorn;  Fritz Pauer - bass

Azure

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April Stevens/Nino Tempo - All Strung Out

Styles: Vocal
Year: 1968
File: MP3@320K/s
Time: 41:38
Size: 96,2 MB
Art: Front

(2:05)  1. You'll Be Needing Me Baby
(2:27)  2. Help You to See
(3:01)  3. All Strung Out
(2:33)  4. Follow Me
(2:41)  5. Little Child
(2:00)  6. Alone Alone
(2:44)  7. Sunny
(2:16)  8. Out of Nowhere
(2:30)  9. Wings of Love
(2:40) 10. I Can't Go on Livin' (Without You Baby)
(2:32) 11. Bye Bye Blues
(2:51) 12. The Habit of Lovin' You Baby
(2:36) 13. My Old Flame
(2:57) 14. Let It Be Me
(2:48) 15. Ooh Poo Pa Doo
(2:50) 16. Please Help Me I'm Falling

Upon gazing at the original cover art for All Strung Out, one could assume that it was a sure sign that the early- to mid-'60s Brill Building music era was crumbling fast; here's Nino Tempo and April Stevens' "psychedelic" album. Actually, it's one of the few post-Spector era albums that holds that same production ethos. The songs may be a bit more "with it" (the title track, "You'll Be Needing Me, Baby," and "The Habit of Loving You"), but all drip with that Spector Wall of Sound production ripple and tinsel. And small wonder because the record was cut at Gold Star Studios, utilizing the famous Spector gang of session whizzes known as "the Wrecking Crew" and the same engineer, Larry Levine. Although originally released on a non-Spector involved label (White Whale), this is one album that true Spector fans would love to add to the collection. [Originally released in 1968, Rev-Ola reissued the LP on CD in 2003 and added bonus tracks.] 

~ Cub Koda http://www.allmusic.com/album/all-strung-out-mw0000666962

Personnel : April Stevens (vocals); Nino Tempo

All Strung Out

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Niels-Henning Ørsted Pedersen - Those Who Were

Styles: Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 54:54
Size: 128,8 MB
Art: Front

(7:08)  1. Our Love Is Here To Stay
(5:38)  2. Derfor Kan Vort Oje Glaedes
(4:56)  3. With Respect
(5:31)  4. Those Who Were
(6:53)  5. Friend Forever
(6:41)  6. The Puzzle
(5:42)  7. Wishing And Hoping
(6:41)  8. You And The Night And The Music
(5:40)  9. Guilty, Your Honour

Not only is Niels Pedersen a great bassist, but he puts a lot of care into his solo projects as well. Pedersen is joined by guitarist Ulf Wakenius for a slow, percolating version of "Our Love Is Here to Stay." Johnny Griffin's tenor sax joins in on the bassist's challenging blues "The Puzzle" and jousts with the string players for top solo honors on a vigorous workout of "You and the Night and the Music." Victor Lewis and Alex Riel share the drumming duties. A surprise guest is European pop vocalist Lisa Nilsson, who does a beautiful interpretation of Pedersen's "Those Who Were"; the leader discovered her by hearing one of her recordings on his daughter's radio. By far this is Niels Pedersen's most impressive release to date. ~ Ken Dryden http://www.allmusic.com/album/those-who-were-mw0000029967

Personnel: Niels-Henning Orsted Pedersen (acoustic bass); Lisa Nilsson (vocals); Johnny Griffin (tenor saxophone); Ulf Wakenius (acoustic & electric guitars); Alex Riel, Victor Lewis (drums).

Those Who Were

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Adonis Rose Quintet - Song for Donise

Styles: Jazz, Post Bop
Year: 1997
File: MP3@224K/s
Time: 56:42
Size: 91,0 MB
Art: Front

(7:21)  1. Dia's Blues
(6:46)  2. Estrella del Mar
(6:28)  3. Seventy Ninth Street
(7:29)  4. Song for Donise
(6:27)  5. Reflections
(8:31)  6. My Foolish Heart
(6:47)  7. E.S.P.
(6:48)  8. Love Walked In

A veteran of groups led by trumpeters Terence Blanchard and Nicholas Payton, this is drummer Adonis Rose's debut as a leader. For Song for Donise, he gathered his colleagues from Payton's quintet Payton, tenor saxophonist Tim Warfield, pianist Anthony Wonsey, and bassist Reuben Rogers to perform five post-bop originals, two standards, and one jazz classic, Miles Davis and Wayne Shorter's "ESP," played at an incredibly fast tempo. As this is a working band that has toured regularly and has recorded under Payton's name on Verve, the group's sound becomes the recording's focus, although the feel seems looser and more energetic than on Payton's recordings, best exemplified by the interplay between Payton and Warfield on "Dia's Blues," an up-tempo number on which Payton and Warfield play different melodies and solo collectively. Other highlights include Wonsey's "Seventy Ninth Street," an up-tempo swinger built on some well-placed drum hits on which Wonsey quotes Leon Parker's "B.B.B.B" during his solo, and the Shorter-ish "Reflections," also written by Wonsey. This is a very good debut from a fine young musician. ~ Greg Turner http://www.allmusic.com/album/song-for-donise-mw0000038289

Personnel: Adonis Rose (drums); Tim Warfield (tenor saxophone); Nicholas Payton (trumpet); Anthony Wonsey (piano); Reuben Rogers (bass).

Song for Donise

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Kevin Eubanks - East West Time Line

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 63:03
Size: 145,2 MB
Art:Front

(6:31)  1. Time Line
(8:59)  2. Watercolors
(7:09)  3. Poet
(4:19)  4. Carnival
(8:46)  5. Something About Nothing
(6:24)  6. Take the Coltrane
(4:55)  7. Captain Señor Mouse
(5:00)  8. Cubano Chant
(3:18)  9. What's Going On
(7:38) 10. My One and Only Love

Philadelphia-born guitarist, composer Kevin Eubanks has been building a creative catalog and playing style since his 18-year tenure as the guitarist and music director of TV's, The Tonight Show Band ended in 2010. Eubanks took New York by storm, starting out in straight ahead jazz clubs, followed by progressive albums for contemporary jazz giant GRP Records and legendary Blue Note Records, frequent collaborations with cutting edge bassist Dave Holland, on "The Tonight Show" he played with seemingly every meaningful musician across all genres. Eubanks brings his vast experience, unique right hand technique (choosing not to play with a pick) and his ability to meld styles under the jazz umbrella to his 2017 album, East West Time Line. On this newest offering, Eubanks explores the chemistry he preserves with musicians based on the two opposite coasts and historically, the two styles of jazz. And once again, his distinctive fingerstyle approach to the instrument is in the service of the tunes that run the stylist gamut from burning swingers, to thoughtful ballads, to Latin-tinged tracks and some enjoyable Philly funk. Joining Eubanks on this outing is longtime collaborator and former Berklee College of Music schoolmate, drummer Marvin "Smitty" Smith, who fuels the West Coast outfit alongside seasoned session bassist Rene Camacho, percussionist Mino Cinelu and saxophonist Bill Pierce. Smith's East Coast counterpart on this bi-coastal session is the swinging Jeff “Tain” Watts, a force of nature on the kit who combines with bassist Dave Holland, Philadelphia-based pianist Orrin Evans and New York trumpeter Nicholas Payton. Together these great musicians bring out the best in Eubanks' six-string prowess and ignite his searching instincts throughout the sessions in Los Angeles and New York. Eubanks expands on the project, "Of course, we all came up through New York," says the guitarist who broke in with Art Blakey & The Jazz Messengers during the early '80s. "But we also got the benefits of seeing the East Coast down and dirty and Hollywood down and dirty too. We combined both vibes on this recording the kind of Latin vibe of Los Angeles and the straight up swinging vibe of New York."

The album kicks off with the East Coast crew performing "Time Line," an urgent swinger paced by Holland's signature walking pulse and Watts' polyrhythmic kit work. Eubanks right hand technique allows him to get a sonically different percussive attack rather than if he just used a pick, it also affords him the ability to play more independent parts or counterpoint within his musical ideas. For example, his alternating doubling the baselines and dealing in Wes-style octaves on his solo in "Time Line," reveals the uniqueness of his technique. Payton's strong brass trumpet sound turns in a solo that bristles with energy and "Tain" brings his usual rhythmic power through musicality on the kit during the tag. Eubanks gives his thoughts on the track, "There's something a little Philly about that groove. I mean, it's a long way from when I was playing in the neighborhood bands but basically that's a little Philly vibe in there." The introspective "Poet" introduces Evans on the Fender Rhodes engaging in a sparse and tender duet with Eubanks on the opening four minutes of the tune before the full band enters. All though, Eubanks predominantly takes the solo role during the intro. He keeps a central theme throughout, with Evans playing the supportive role, but when Evans does take the lead, he matches Eubanks musical language and style perfectly. The guitarist shifts from warm-toned electric to nylon-stung acoustic after that distinct break, while Evans moves from Rhodes to acoustic piano in the second half of the tune. The melody is beautiful and Evans chordal colors are perfect. The group returns to the original theme for the ending and really makes an enjoyable musical journey that is jazz and much more.

The West Coast crew opens with a mambo-flavored arrangement of Duke Ellington's "Take the Coltrane." Eubanks articulations are percussive in his attack, slightly on top of pulse of the clave-fueled groove, leading to an exceptional musical statement. Eubanks next extrapolates on a motif from Chick Corea's "Captain Señor Mouse," which has him doubling on steel string guitar and bass, accompanied only by Cinelu on percussion and Smith on drums. The West Coast crews take on Eubanks' uncle, Ray Bryant's "CubanoChant" has the guitarist alternating between acoustic and electric guitar, while Pierce supplies a climbing soprano sax solo.The guitarist explains his directive to the musicians on this popular Afro-Cuban flavored track. "I just said, 'Let's just get compassionate on this...let's breathe on this and let it float so it's not all stick it and quit it. The influence of Latin jazz is undeniable when you're on the West Coast long enough, and I wanted to reflect that in this session." Overall, Eubanks first bi-coastal recording is a great set of music with many styles, amazing playing and most importantly, it really is a creative project that is accessible to all music lovers. Eubanks speak about the overall project, "I think because I'm so familiar with all the musicians and we played together over the years in different settings, on different tours, that it helped the music quite a bit. There's something that goes with friendship, knowing everybody's journey to a large extent, that really enhances the communication between the players on a session. It's that thing where everybody's pulling for each other to do well and trying to make each other sound better, and you keep your sorry-ass ego out of it. We all have egos, we're human beings and everything, but through the love of the music and wanting the best, good things happen. 

It's really such a wonderful kind of democracy that you don't see in other things. I think jazz music is the most perfect example of democracy in action." Well for me, that pretty much sums it up -Enuff said! ~ Geannine Reid https://www.allaboutjazz.com/east-west-time-line-by-geannine-reid.php

Personnel: Kevin Eubanks: guitar; Marvin “Smitty” Smith: drums; Jeff "Tain" Watts: drums; Rene Camacho: bass; Dave Holland: bass; Mino Cinelu: percussion; Bill Pierce: saxophone; Orrin Evans: piano; Nicholas Payton: trumpet.

East West Time Line

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