Dave Grusin - Out of the Shadows

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 43:34
Size: 100,2 MB
Art: Front

(5:15)  1. Last Train To Paradiso
(5:19)  2. She Could Be Mine
(5:50)  3. Crystal Morning
(6:05)  4. Five Brothers
(6:58)  5. Anthem Internationale
(6:50)  6. Serengeti Walk
(1:59)  7. Hokkaido
(5:15)  8. Sweetwater Nights

Dave Grusin has been a highly successful performer, producer, composer, record label executive, arranger, and bandleader. As a pianist, Grusin tends toward the fusion and smooth end of jazz, but he's primarily an accomplished film and television soundtrack composer. Grusin played with Terry Gibbs and Johnny Smith while studying at the University of Colorado. He was the assistant music director and pianist for Andy Williams from 1959 to 1966, and then started his television composing career. Grusin recorded with Benny Goodman in 1960, and with a hard bop trio which included Milt Hinton and Don Lamond in the early '60s. He also played and did a session with a quintet including Thad Jones and Frank Foster. Grusin did arrangements and recorded with Sarah Vaughan, Quincy Jones, and Carmen McRae in the early '70s. He played electric keyboards with Gerry Mulligan and Lee Ritenour in the mid-'70s, then helped to establish GRP Records out of a production company. GRP developed into one of the top contemporary jazz and fusion companies; they were later taken over by Arista, then by MCA. Grusin continued recording through the '80s and '90s, doing numerous projects, from fusion and pop to working with symphony orchestras. He has also conducted the GRP Big Band, scored such films as The Fabulous Baker Boys, and performed duet sessions with his brother, Don, and Ritenour. In addition to his numerous GRP releases, Grusin has also recorded for Columbia, Sheffield Lab, and Polygram. 

In 2011, he released the concert album and DVD An Evening with Dave Grusin, which featured him backed by the 75-piece Henry Mancini Institute Orchestra revisiting works from throughout his varied career. ~ Ron Wynn https://itunes.apple.com/us/album/out-of-the-shadows/id21802007

Personnel: Dave Grusin (piano, Fender Rhodes piano, keyboards, synthesizer); Lee Ritenour (guitar, acoustic guitar, electric guitar); Don Grusin (Fender Rhodes piano, synthesizer); Lincoln Goines (upright bass, electric bass); Steve Gadd (drums); Rubens Bassini (percussion).

Out of the Shadows

---

Harcsa Veronika - You Don't Know It's You

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 59:34
Size: 137,5 MB
Art: Front

(3:45)  1. Too Early
(3:13)  2. What Is Our Love For
(3:58)  3. Play Me, Play Me
(3:21)  4. If You
(5:21)  5. But I'm Not
(7:38)  6. Maybe Neverending
(6:43)  7. All That You Say
(4:14)  8. Nothing's Left
(4:35)  9. Losing Ground
(5:56) 10. Luring
(4:59) 11. Pirate Ballad
(1:28) 12. Something New
(4:19) 13. You Don't Know It's You

Harcsa Veronika was born in Budapest. During her school years she went to several music schools learning to play the piano, the saxophone, classical and jazz singing. She is graduating from the vocal jazz faculty of the Ferenc Liszt College of Music Budapest in June 2008. She formed her own jazz quartet in 2005, featuring leading young Hungarian jazz musicians. She produced and released their debut jazz standard album Speak Low in Hungary in 2005. . https://musicazon.com/artist/harcsa-veronika

You Don't Know It's You

---

John Fedchock - Hit The Bricks

Styles: Trombone Jazz
Year: 2000
File: MP3@256K/s
Time: 62:18
Size: 114,6 MB
Art: Front

(5:59)  1. This Just In
(9:14)  2. Moon Alley
(6:24)  3. Steps En Trois (Giant Steps)
(8:48)  4. Twilight
(5:43)  5. Hit The Bricks
(6:10)  6. Cool Customer
(5:33)  7. I'm Thru With Love
(7:33)  8. Empty Promises
(6:51)  9. Brazilian Fantasy

His two big band albums are terrific. Now trombonist John Fedchock leads a quartet on a session that incorporates ballads with up-tempo romps and fresh originals with existing compositions. Three tracks add trumpet and tenor saxophone for a larger sound. The title track comes from Fedchock's vast experience, placing a big band chart in the hands of a sextet. Driving with a hard-nosed direction, the sextet covers the territory well. Kenny Barron's "Twilight" stands out as another high point of the album, with Fedchock's buttery trombone tone pushing a deliberate tempo. In 3/4 time, "Giant Steps" runs amok like a busy, intellectually occupied parody of "My Favorite Things." "Brazilian Fantasy" lays it out gently like a walk on the beach, while Fedchock's "Cool Customer," another session high point, lets loose with a Count Basie big band swing. Never one to pull any punches, John Fedchock has made a subtle change in direction while keeping the central focus of his music at its trombone-lover's best. ~ Jim Santella https://www.allaboutjazz.com/hit-the-bricks-john-fedchock-reservoir-music-review-by-jim-santella__1907.php

Personnel: John Fedchock- trombone, Scott Wendholt- trumpet (tracks 2,5, & 8 only), Chris Potter- tenor & soprano saxophones (tracks 2, 5, 8, & 9 only), Allen Farnham- piano, Rufus Reid- bass, Dave Ratajczak- drums, Adrian D Souza- percussion (track 9 only)

Hit The Bricks

---

Charlie Barnet And His Orchestra - Clap Hands, Here Comes Charlie

Styles: Jazz, Big Band
Year: 1987
File: MP3@320K/s
Time: 63:49
Size: 151,6 MB
Art: Front

(2:59)  1. Knockin' At The Famous Door
(3:22)  2. The Girl From Joe's
(3:20)  3. Cherokee
(3:04)  4. The Duke's Idea
(3:23)  5. The Count's Idea
(3:14)  6. The Right Idea
(2:56)  7. Between 18th And 19th On Chestnut Street
(2:42)  8. Clap Hands, Here Comes Charlie
(2:45)  9. Leapin' At The Lincoln
(3:25) 10. Afternoon Of A Moax
(2:55) 11. Flying Home
(2:53) 12. Six Lessons From Madame La Zonga
(3:09) 13. Rockin' In Rhythm
(3:00) 14. Pompton Turnpike
(3:15) 15. Wild Mab Of The Fish Pond
(3:24) 16. Southern Fried
(2:39) 17. Redskin Rhumba
(2:29) 18. Lumby
(3:15) 19. You're My Thrill
(2:37) 20. Charleston Alley
(2:54) 21. Murder At Peyton Hall

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s.  And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson.

In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.  By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. ~ Scott Yanow http://www.allmusic.com/artist/charlie-barnet-mn0000166767/biography

Clap Hands, Here Comes Charlie

---