Monday, June 5, 2017
Charles Earland - Front Burner
Styles: Jazz, Straight-ahead/Mainstream
Year: 1988
File: MP3@320K/s
Time: 44:15
Size: 101,6 MB
Art: Front
(4:33) 1. Moonlighting (Theme)
(7:27) 2. My Two Sons
(5:18) 3. I Will Always Love Her
(5:22) 4. Gospel Time
(9:51) 5. Mom and Dad
(6:25) 6. Can You Wait
(5:15) 7. Kickin' the '3
Front Burner
Year: 1988
File: MP3@320K/s
Time: 44:15
Size: 101,6 MB
Art: Front
(4:33) 1. Moonlighting (Theme)
(7:27) 2. My Two Sons
(5:18) 3. I Will Always Love Her
(5:22) 4. Gospel Time
(9:51) 5. Mom and Dad
(6:25) 6. Can You Wait
(5:15) 7. Kickin' the '3
Charles Earland is among the most consistent of organists, with nearly every one of his recordings on that instrument (as opposed to his interlude on synthesizers) being easily recommended to soul-jazz and hard bop collectors. For this CD, Earland heads a sextet also including trumpeter Virgil Jones (long an underrated player), Bill Easley on tenor, guitarist Bobby Broom, drummer Buddy Williams and occasionally Frank Colon on conga. Other than a throw-away version of the theme from Moonlighting, the mostly basic music on this set is rewarding, with Earland infusing the tunes with plenty of grease and funk. ~ Scott Yanow
Personnel: Charles Earland (organ); Bobby Broom (guitar); Bill Easley (tenor saxophone); Virgil Jones (trumpet); Buddy Williams (drums); Frank Colon (congas)
Personnel: Charles Earland (organ); Bobby Broom (guitar); Bill Easley (tenor saxophone); Virgil Jones (trumpet); Buddy Williams (drums); Frank Colon (congas)
Front Burner
Gwyneth Herbert - All The Ghosts
Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 42:02
Size: 96,7 MB
Art: Front
( 3:36) 1. So Worn Out
( 3:54) 2. Annie's Yellow Bag
( 3:40) 3. Lorelei.
( 3:37) 4. My Narrow Man
( 3:04) 5. Jane Into A Beauty Queen
( 4:42) 6. Put Your Mouth Where Your Money Is..
( 3:00) 7. Nataliya
( 4:34) 8. My Mini And Me
(11:51) 9. Some Days I Forget..
Year: 2009
File: MP3@320K/s
Time: 42:02
Size: 96,7 MB
Art: Front
( 3:36) 1. So Worn Out
( 3:54) 2. Annie's Yellow Bag
( 3:40) 3. Lorelei.
( 3:37) 4. My Narrow Man
( 3:04) 5. Jane Into A Beauty Queen
( 4:42) 6. Put Your Mouth Where Your Money Is..
( 3:00) 7. Nataliya
( 4:34) 8. My Mini And Me
(11:51) 9. Some Days I Forget..
On her fourth album, Gwyneth Herbert builds on the strengths that made her last release, Between Me And The Wardrobe, a success. Focussing on her folk-jazz vocal style and on her own compositions rather than cover versions, All The Ghosts should see her career continue on its recent upwartrajectory.Herbert's songs are rightly starting to draw comparisons with those of 60s Ray Davies and Paul McCartney. She has a fine sense of melody and her latest songs tell stories that equal ''Terry meets Julie, Waterloo station, every Friday night'' or ''Wednesday morning at five o'clock as the day begins''. The songs create a cast of inner-city archetypes, each with an intriguing tale to tell. Many of the protagonists are society's losers or victims. Unlike Davies or McCartney, Herbert unfailingly sees the world from a woman's point of view. It is no coincidence that four of the track titles contain women's names. Her voice and phrasing are often reminiscent of Joni Mitchell, noticeably on Nataliya. The elasticity of her voice perfectly conveys the songs' emotions and softens their occasional bleakness. Men are either objects of desire, as on My Narrow Man, or contempt, as on Put Your Mouth Where Your Money Is. The accompaniment from pianist Steve Holness, bassist Sam Burgess, percussionist Dave Price and guitarist Al Cherry is subtly understated, complementing the voice well. Rarely in the limelight, the music impresses when it is featured. Cherry's acoustic guitar is the highlight of My Mini and Me, notably the slide guitar coda.
Previously available online in 2008 as a download-only album entitled Ten Lives, this expanded and retitled version is a coherent and compelling song suite. One of the added tracks comes as a surprise after the nine Herbert originals. Almost as an afterthought, the album closes with a raw version of Bowie's Rock 'n' Roll Suicide.It seems an odd finale given Herbert's age. She was born years after Ziggy Stardust gave his last performance. Nonetheless, as on the original Bowie release, it brings this impressive album to a suitably emotional and rousing conclusion. http://www.bbc.co.uk/music/reviewsGwyneth Herbert – vocals, piano (on "My Narrow Man")
Personnel: Gwyneth Herbert – vocals, piano (on "My Narrow Man"); Al Cherry – guitars; Dave Price – percussion; Sam Burgess – bass; Steve Holness – piano and organ; Jonathan Bierman – "droid" electronics on "So Worn Out"
Personnel: Gwyneth Herbert – vocals, piano (on "My Narrow Man"); Al Cherry – guitars; Dave Price – percussion; Sam Burgess – bass; Steve Holness – piano and organ; Jonathan Bierman – "droid" electronics on "So Worn Out"
All The Ghosts
Cedar Walton - Reliving the Moment: Live at the Keystone Korner
Styles: Piano Jazz
Year: 2014
File: MP3@256K/s
Time: 65:44
Size: 121,4 MB
Art: Front
( 0:12) 1. Opening Remarks
( 9:43) 2. Midnight Waltz
(11:56) 3. Jacob's Ladder
( 8:37) 4. For All We Know
(11:05) 5. Byrdlike
(10:22) 6. Ugetsu
(13:46) 7. Impressions
Year: 2014
File: MP3@256K/s
Time: 65:44
Size: 121,4 MB
Art: Front
( 0:12) 1. Opening Remarks
( 9:43) 2. Midnight Waltz
(11:56) 3. Jacob's Ladder
( 8:37) 4. For All We Know
(11:05) 5. Byrdlike
(10:22) 6. Ugetsu
(13:46) 7. Impressions
The “moment” in question occurred in late 1977; the event was the Rahsaan Roland Kirk Memorial Jazz Festival at San Francisco’s Keystone Korner. The Cedar Walton Quartet, co-headlining with Leon Thomas and Bobby Hutcherson, were joined by Walton’s old Jazz Messengers compatriot Freddie Hubbard, returning to a straight-ahead context in the wake of the trumpeter’s controversial plunge into jazz-funk fusion. Judging by what’s here, these were three nights of hard-charging swing and unfettered creativity.
Walton’s piano lines, complex and multi-textured yet resolutely straight-ahead, are powered by a percussive impetus that both complements and goads drummer Billy Higgins’ dexterous punctuations; when tenorman Bob Berg weighs in with his astringent tone and Trane-like roils and flurries, he brings a bracing element of rawness and emotive unpredictability into the mix. We first hear Hubbard on Walton’s “Ugetsu,” a tune that dates back to the pair’s ’60s-era tenure with the Messengers. The aggression with which Hubbard fires out his hard-bop lines-blunt and confrontational, despite that soft-edged flugelhorn tone-suggests that he may have been sending a message to the purists who’d been accusing him of fusionist apostasy. (He sounds less combative but no less fired up on “Byrdlike,” his tribute to Donald Byrd, another postbop icon who’d been castigated for selling out to Mammon.) “Jacob’s Ladder,” Latin-tinged and soulful, invokes Horace Silver, a connection Walton makes clear with a quote from “Song for My Father” (one of numerous witty quotes scattered throughout). The final workout on “Impressions” transforms Coltrane’s standard into a free-swinging jam-session set piece-a perfect capstone to a set that proclaims joy, discovery and new beauty from first note to last. ~ David Whiteis https://jazztimes.com/reviews/albums/cedar-walton-featuring-freddie-hubbard-live-at-the-keystone-korner-reliving-the-moment/
Personnel: Cedar Walton (piano); Bob Berg (tenor saxophone); Billy Higgins (drums).
Personnel: Cedar Walton (piano); Bob Berg (tenor saxophone); Billy Higgins (drums).
Reliving the Moment: Live at the Keystone Korner
Freddie Hubbard - The Blue Note Years
Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 74:02
Size: 169,7 MB
Art: Front
(11:34) 1. Crisis
( 7:10) 2. Open Sesame
( 9:39) 3. Lament for Booker
( 5:16) 4. Hub Cap
( 6:28) 5. Gypsy Blue
( 6:26) 6. D Minor Mint
( 6:35) 7. You're My Everything
( 6:45) 8. Asiatic Raes
( 6:31) 9. Body and Soul
( 7:33) 10. The Melting Pot
The Blue Note Years
Year: 2009
File: MP3@320K/s
Time: 74:02
Size: 169,7 MB
Art: Front
(11:34) 1. Crisis
( 7:10) 2. Open Sesame
( 9:39) 3. Lament for Booker
( 5:16) 4. Hub Cap
( 6:28) 5. Gypsy Blue
( 6:26) 6. D Minor Mint
( 6:35) 7. You're My Everything
( 6:45) 8. Asiatic Raes
( 6:31) 9. Body and Soul
( 7:33) 10. The Melting Pot
In the pantheon of jazz trumpeters, Freddie Hubbard stands as one of the boldest and most inventive artists of the bop, hard-bop and post-bop eras. Although influenced by titans like Miles Davis and Clifford Brown, Hubbard ultimately forged his own unique sound – a careful balance of bravado and subtlety that fueled more than fifty solo recordings and countless collaborations with some of the most prominent jazz artists of his era. Shortly after his death at the end of 2008, Down Beat called him “the most powerful and prolific trumpeter in jazz.” Embedded in his massive body of recorded work is a legacy that will continue to influence trumpeters and other jazz artists for generations to come. Hubbard was born on April 7, 1938, In Indianapolis, Indiana. As a student and band member at Arsenal Technical High School, he demonstrated early talents on the tuba, French horn, and mellophone before eventually settling on the trumpet and flugelhorn. He was first introduced to jazz by his brother, Earmon, Jr., a piano player and a devotee of Bud Powell. Hubbard’s budding musical talents caught the attention of Lee Katzman, a former sideman of Stan Kenton. Katzman convinced the young trumpeter to study at the Arthur Jordan Conservatory of Music with Max Woodbury, the principal trumpeter of the Indianapolis Symphony Orchestra.
As a teenager, Hubbard worked and recorded with the Montgomery Brothers Wes, Monk and Buddy. His first recording session was for an album called The Montgomery Brothers and Five Others. Around that same time, he also assembled his first band, the Jazz Contemporaries, with bassist (and manager) Larry Ridley, saxophonist/flutist James Spaulding, pianist Walt Miller and drummer Paul Parker. The quintet became recurring players at George’s Bar, the well known club on Indiana Avenue. In 1958, Hubbard moved to New York at age 20 and quickly established himself as one of the bright young trumpeters on the scene, astonishing critics and fans alike with the depth and maturity of his playing. Within the first two years of his arrival in the Big Apple, he landed gigs with veteran jazz artists Philly Joe Jones, Sonny Rollins, Slide Hampton and Eric Dolphy. He joined Quincy Jones in a tour of Europe that stretched from 1960 to 1961.Per a recommendation from Miles Davis, Hubbard was signed to Blue Note, where he recorded Open Sesame, his solo debut, in 1960 at the age of 22. The album, which also featured Tina Brooks and McCoy Tyner, marked the launch of one of the most meteoric careers in jazz. Within a year’s time, Hubbard followed up with his second and third recordings – Goin’ Up (1960), with Tyner and Hank Mobley, and Hub Cap (1961), with Julian Priester and Jimmy Heath. In 1961, Hubbard released what many consider to be his masterpiece, Ready For Freddie, which marked his first Blue Note collaboration with Wayne Shorter. Later that same year, he joined Art Blakey’s Jazz Messengers. In the span of a few short years, this hard-blowing young lion had quickly established himself as an important new voice in jazz.
Hubbard left the Jazz Messengers in 1964 to form his own small group, whose ranks included Kenny Barron and Louis Hayes. Throughout the remainder of the decade, he also played in bands led by a variety of other high-profile jazz artists. He was a significant presence on Herbie Hancock’s Blue Note recordings, beginning with Takin’ Off (1962) – Hancock’s debut as a leader – and continuing on Empyrean Isles (1964) and Maiden Voyage (1965). Hubbard’s other noteworthy session work in the 1960s included Ornette Coleman’s Free Jazz(1960), Oliver Nelson’s The Blues and the Abstract Truth (1961), Eric Dolphy’s Out To Lunch (1964), and John Coltrane’s Ascension (1965). He achieved his greatest popular success in the 1970s with a series of crossover albums on Atlantic and CTI Records. His early ‘70s jazz albums for CTI Red Clay (1970), Straight Life (1970) and First Light (1971) were particularly well received (First Light won a Grammy for Best Instrumental Jazz Performance). Later in the decade, he returned to the acoustic, hard-bop idiom with the V.S.O.P. quintet, which teamed him with members of the 1960s Miles Davis Quintet: Herbie Hancock, Wayne Shorter, Tony Williams and Ron Carter. Hubbard also stepped briefly into the pop arena when he played a solo on “Zanzibar,” a track from Billy Joel’s Grammy-winning 1978 album, 52nd Street. As the ‘80s got under way, Hubbard was once again leading his own group, playing at concerts and festivals in the U.S. and Europe. He frequently collaborated with Joe Henderson, playing a repertory of hard-bop and modal-jazz pieces. Other associations throughout the decade included Monterey Jazz Festival dates with Bobby Hutcherson; studio projects with Woody Shaw and Benny Golson; and a live recording in Holland (Feel the Wind) with Blakey in 1988.
In 1990, he appeared in Japan in an American-Japanese concert package that also featured Elvin Jones, Sonny Fortune, George Duke, Benny Green, Ron Carter and Rufus Reid. He also performed at the Warsaw Jazz Festival – a date that was recorded and released in 1992. Other pursuits in the early ‘90s included the formation of a new band of emerging young artists: Christian McBride, Javon Jackson, Carl Allen and Benny Green. He continued to seek out fresh young talent as the decade unfolded by collaborating with the New Jazz Composers Octet. Hubbard performed and recorded with the Octet – a collective led by fellow trumpeter David Weiss – for the last decade of his career, culminating with his final recording, On The Real Side, released in 2008. Despite failing health as the new century got under way, Hubbard continued to carry the jazz torch by participating in clinics and residencies at various colleges around the country to share the wealth of his knowledge with up-and-coming artists. In 2006, the National Endowment for the Arts granted Hubbard its highest honor in jazz, the NEA Jazz Masters Award. He suffered a heart attack in late November 2008 in Sherman Oaks, California, and died a few weeks later, on December 29, at the age of 70. At his peak, Freddie Hubbard was a brilliant virtuoso performer with a rich, full tone that remained consistent in slow passages as well as fast ones. As one of the greatest hard-bop trumpeters of his era, he created impassioned blues lines without sacrificing the context of the music he was playing. He was perhaps one of the greatest technical trumpeters ever to play in the jazz idiom, and arguably the most influential. http://www.freddiehubbardmusic.com/landing.php
As a teenager, Hubbard worked and recorded with the Montgomery Brothers Wes, Monk and Buddy. His first recording session was for an album called The Montgomery Brothers and Five Others. Around that same time, he also assembled his first band, the Jazz Contemporaries, with bassist (and manager) Larry Ridley, saxophonist/flutist James Spaulding, pianist Walt Miller and drummer Paul Parker. The quintet became recurring players at George’s Bar, the well known club on Indiana Avenue. In 1958, Hubbard moved to New York at age 20 and quickly established himself as one of the bright young trumpeters on the scene, astonishing critics and fans alike with the depth and maturity of his playing. Within the first two years of his arrival in the Big Apple, he landed gigs with veteran jazz artists Philly Joe Jones, Sonny Rollins, Slide Hampton and Eric Dolphy. He joined Quincy Jones in a tour of Europe that stretched from 1960 to 1961.Per a recommendation from Miles Davis, Hubbard was signed to Blue Note, where he recorded Open Sesame, his solo debut, in 1960 at the age of 22. The album, which also featured Tina Brooks and McCoy Tyner, marked the launch of one of the most meteoric careers in jazz. Within a year’s time, Hubbard followed up with his second and third recordings – Goin’ Up (1960), with Tyner and Hank Mobley, and Hub Cap (1961), with Julian Priester and Jimmy Heath. In 1961, Hubbard released what many consider to be his masterpiece, Ready For Freddie, which marked his first Blue Note collaboration with Wayne Shorter. Later that same year, he joined Art Blakey’s Jazz Messengers. In the span of a few short years, this hard-blowing young lion had quickly established himself as an important new voice in jazz.
Hubbard left the Jazz Messengers in 1964 to form his own small group, whose ranks included Kenny Barron and Louis Hayes. Throughout the remainder of the decade, he also played in bands led by a variety of other high-profile jazz artists. He was a significant presence on Herbie Hancock’s Blue Note recordings, beginning with Takin’ Off (1962) – Hancock’s debut as a leader – and continuing on Empyrean Isles (1964) and Maiden Voyage (1965). Hubbard’s other noteworthy session work in the 1960s included Ornette Coleman’s Free Jazz(1960), Oliver Nelson’s The Blues and the Abstract Truth (1961), Eric Dolphy’s Out To Lunch (1964), and John Coltrane’s Ascension (1965). He achieved his greatest popular success in the 1970s with a series of crossover albums on Atlantic and CTI Records. His early ‘70s jazz albums for CTI Red Clay (1970), Straight Life (1970) and First Light (1971) were particularly well received (First Light won a Grammy for Best Instrumental Jazz Performance). Later in the decade, he returned to the acoustic, hard-bop idiom with the V.S.O.P. quintet, which teamed him with members of the 1960s Miles Davis Quintet: Herbie Hancock, Wayne Shorter, Tony Williams and Ron Carter. Hubbard also stepped briefly into the pop arena when he played a solo on “Zanzibar,” a track from Billy Joel’s Grammy-winning 1978 album, 52nd Street. As the ‘80s got under way, Hubbard was once again leading his own group, playing at concerts and festivals in the U.S. and Europe. He frequently collaborated with Joe Henderson, playing a repertory of hard-bop and modal-jazz pieces. Other associations throughout the decade included Monterey Jazz Festival dates with Bobby Hutcherson; studio projects with Woody Shaw and Benny Golson; and a live recording in Holland (Feel the Wind) with Blakey in 1988.
In 1990, he appeared in Japan in an American-Japanese concert package that also featured Elvin Jones, Sonny Fortune, George Duke, Benny Green, Ron Carter and Rufus Reid. He also performed at the Warsaw Jazz Festival – a date that was recorded and released in 1992. Other pursuits in the early ‘90s included the formation of a new band of emerging young artists: Christian McBride, Javon Jackson, Carl Allen and Benny Green. He continued to seek out fresh young talent as the decade unfolded by collaborating with the New Jazz Composers Octet. Hubbard performed and recorded with the Octet – a collective led by fellow trumpeter David Weiss – for the last decade of his career, culminating with his final recording, On The Real Side, released in 2008. Despite failing health as the new century got under way, Hubbard continued to carry the jazz torch by participating in clinics and residencies at various colleges around the country to share the wealth of his knowledge with up-and-coming artists. In 2006, the National Endowment for the Arts granted Hubbard its highest honor in jazz, the NEA Jazz Masters Award. He suffered a heart attack in late November 2008 in Sherman Oaks, California, and died a few weeks later, on December 29, at the age of 70. At his peak, Freddie Hubbard was a brilliant virtuoso performer with a rich, full tone that remained consistent in slow passages as well as fast ones. As one of the greatest hard-bop trumpeters of his era, he created impassioned blues lines without sacrificing the context of the music he was playing. He was perhaps one of the greatest technical trumpeters ever to play in the jazz idiom, and arguably the most influential. http://www.freddiehubbardmusic.com/landing.php
The Blue Note Years
Clark Terry - Wham (Live At Jazzhouse Hamburg)
Styles: Trumpet Jazz
Year: 1976
File: MP3@320K/s
Time: 52:17
Size: 121,1 MB
Art: Front
( 9:33) 1. Perdido
( 8:19) 2. On The Trail (Grand Canyon Suite)
( 4:36) 3. Jazzhouse Blues
( 2:30) 4. In der Heimat gibt's ein Wiederseh'n
( 5:36) 5. Straight, No Chaser
(11:48) 6. Wham
( 9:52) 7. Take The "A" Train
Wham (Live At Jazzhouse Hamburg)
Year: 1976
File: MP3@320K/s
Time: 52:17
Size: 121,1 MB
Art: Front
( 9:33) 1. Perdido
( 8:19) 2. On The Trail (Grand Canyon Suite)
( 4:36) 3. Jazzhouse Blues
( 2:30) 4. In der Heimat gibt's ein Wiederseh'n
( 5:36) 5. Straight, No Chaser
(11:48) 6. Wham
( 9:52) 7. Take The "A" Train
The irrepressible Clark Terry was all over jazz in the second half of the 20th century, playing a technically demanding but playful style that made him a crowd favorite. Here on this live album from Hamburg, Germany originally released in 1976 he’s joined by pianist Scott Bradford, bassist Larry Gales (misspelled as “Gailes”), and drummer Hartwig Bartz. One of the earliest jazz proponents of flugelhorn, Terry plays that instrument throughout. He actually opens with trumpet, then trades off the two horns (holding one in each hand) for a very peppy version of “Perdido.” Terry then takes the band through an easy-swinging “On the Trail” that features speedy runs that give Dizzy Gillespie a run for his money (for more of this, also check out “Straight No Chaser”). There's a slow improvised blues that functions as a vehicle for his famous scat singing, and Terry opts to close out with Strayhorn’s “Take the A Train” where he again is in vocal mood after everyone solos. It's now available digitally for the first time, with a fresh mastering job to boot. https://itunes.apple.com/us/album/wham-live-at-jazzhouse-hamburg/id873105286
Personnel: Trumpet, Flugelhorn, Vocals – Clark Terry; Bass – Larry Gailes; Drums – Hartwig Bartz; Piano – Scott Bradford
Personnel: Trumpet, Flugelhorn, Vocals – Clark Terry; Bass – Larry Gailes; Drums – Hartwig Bartz; Piano – Scott Bradford
Wham (Live At Jazzhouse Hamburg)
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