Monday, July 24, 2017

Bill Black - Bill Black's Combo Plays All-Timers

Bitrate: MP3@320K/s
Time: 27:34
Size: 63.1 MB
Styles: R&B
Year: 1966/2014
Art: Front

[2:08] 1. Hey, Good Lookin'
[2:24] 2. Bouquet Of Roses
[2:19] 3. Together Again
[2:20] 4. Anytime
[2:06] 5. Mountain Of Love
[2:16] 6. Your Cheating Heart
[2:16] 7. I Walk The Line
[2:09] 8. Half As Much
[2:18] 9. I'm So Lonesome I Could Cry
[2:28] 10. Act Naturally
[2:31] 11. Under Your Spell Again
[2:12] 12. Love's Gonna Live Here

William Patton "Bill" Black, Jr. (September 17, 1926 – October 21, 1965) was an American musician and bandleader who is noted as one of the pioneers of rock and roll music. Black was the bassist in Elvis Presley's early trio after which he formed Bill Black's Combo.

Black was born in Memphis, Tennessee, to a motorman for the Memphis Street Railway. He was the oldest of nine children. His father played popular songs on the banjo and fiddle to entertain the family. Black learned to play music at the age of 14 on an instrument made by his father—a cigar box with a board nailed to it and strings attached. At the age of sixteen, Black was performing "honky-tonk" music on acoustic guitar in local bars.

During World War II, Black was stationed with the U.S. Army at Fort Lee in Virginia. While in the Army, he met Evelyn, who played guitar as the member of a musical family. They married in 1946 and returned to Memphis. Black worked at the Firestone plant.

He began playing the upright bass fiddle, modeling his "slap bass" technique after one of his idols, Fred Maddox of Maddox Brothers and Rose. Black also developed a "stage clown" persona in the same way that Maddox entertained audiences. Black performed as an exaggerated hillbilly with blacked-out teeth, straw hat and overalls. According to his son, Black said his goal was always to give his audience "a few moments of entertainment and maybe a little bit of humor that'll tickle 'em for a while."

In 1952, Black began playing club and radio shows with guitarist Scotty Moore. Along with two other guitarists and a fiddler, they performed country music tunes by Hank Williams and Red Foley in Doug Poindexter's band, the Starlight Wranglers. Black and Moore also played in a band with Paul Burlison, Johnny Burnette, Dorsey Burnette on steel guitar, and a drummer.

Bill Black's Combo Plays All-T 

Bebo Valdes - Lo Mejor De Bebo Valdes

Bitrate: MP3@320K/s
Time: 41:12
Size: 94.3 MB
Styles: Latin jazz
Year: 2014
Art: Front

[2:31] 1. Sabor
[2:59] 2. Ansiedad
[2:45] 3. Calor De Nido
[2:52] 4. Enferma Del Alma
[2:54] 5. Imágenes
[3:10] 6. La Noche De Anoche
[2:56] 7. Me Recordarás
[3:00] 8. Son Cosas Que Pasan
[3:01] 9. Nuestro Sentimiento
[2:57] 10. Con Locura
[2:47] 11. Tú, No Sospechas
[3:08] 12. Ven Aquí, A La Realidad
[3:01] 13. Yo No Quiero Piedra En Mi Cami
[3:06] 14. Nada Te Puedo Brindar

Dionisio Ramón Emilio Valdés Amaro (October 9, 1918 – March 22, 2013), better known as Bebo Valdés, was a Cuban pianist, bandleader, composer and arranger. He was a central figure in the golden age of Cuban music, led two famous big bands, and was one of the "house" arrangers for the Tropicana Club.

He started his career as a pianist in the nightclubs of Havana during the 1940s. He replaced René Hernández as pianist and arranger in Julio Cueva's band. In October 1946 the band recorded "Rareza del Siglo", one of Bebo's most famous mambos. From 1948 to 1957 he worked as pianist and arranger for the vedette Rita Montaner, who was the lead act in the Tropicana cabaret. His orchestra, Sabor de Cuba, and that of Armando Valdés, alternated at the Tropicana, backing singers such as Benny Moré and Pío Leyva. Valdés played a role in the adaptation of the mambo into the big band format (it was previously performed by charangas) during the late 1940s and 1950s, and developed a new rhythm to compete with Perez Prado's mambo, called the batanga. Valdés was also an important figure in the incipient Afro-Cuban jazz scene in Havana, taking part in sessions commissioned by American producer Norman Granz during 1952. These sessions yielded the famous improvised piece "Con Poco Coco" among others, which served as a precedent to Panart's descarga sessions (with one exception).[5] In the late 1950s he recorded with Nat "King" Cole. In 1960, accompanied by Sabor de Cuba's lead vocalist Rolando Laserie, Bebo defected from Cuba to Mexico. He then lived briefly in the United States before touring Europe, and eventually settled in Stockholm, where he lived until 2007. In Sweden he was instrumental in spreading the techniques of Cuban music and Latin jazz.

Lo Mejor De Bebo Valdes

Wynonna - Sing Chapter 1

Bitrate: MP3@320K/s
Time: 45:48
Size: 104.9 MB
Styles: Country pop
Year: 2009
Art: Front

[3:03] 1. That's How Rhythm Was Born
[4:03] 2. I'm So Lonesome I Could Cry
[4:37] 3. Women Be Wise
[2:53] 4. I Hear You Knocking
[3:20] 5. Till I Get It Right
[4:46] 6. Are The Good Times Really Over
[2:31] 7. The House Is Rockin'
[3:17] 8. Ain't No Sunshine
[4:02] 9. I'm A Woman
[3:59] 10. Anyone Who Had A Heart
[4:14] 11. When I Fall In Love
[4:57] 12. Sing

Celebrating 25 years in the music business, Wynonna's 7th solo album includes a stunning collection of multi-genre standards from musical legends that have impacted Wynonna's personal life. Wynonna explains, 'Every genre of music is represented on this record. It's all the different chapters of my life. These are the songs that represent snapshots or chapters of everyday life in the Judd family'. Produced by the Grammy Award winning Brent Maher (The Judds, Nickel Creek, Kenny Rogers) and lifelong Judd family friend Don Potter, discover the album that has become known as Wynonna's musical DNA.

Sing Chapter 1

Jimmy Heath - Picture Of Heath

Bitrate: MP3@320K/s
Time: 41:36
Size: 95.2 MB
Styles: Bop, Saxophone jazz
Year: 1975/2015
Art: Front

[7:23] 1. For Minors Only
[7:24] 2. Body And Soul
[6:02] 3. Picture Of Heath
[9:00] 4. Bruh' Slim
[6:28] 5. All Members
[5:17] 6. CTA

As was true of most Xanadu dates, the accent is on bebop during this Jimmy Heath LP. Doubling on tenor and soprano, Heath is heard on five of his better originals, including "For Minor's Only," "CTA" and the title cut, plus "Body and Soul." The great tenorman was clearly inspired by the stellar rhythm section (pianist Barry Harris, bassist Sam Jones and drummer Billy Higgins), resulting in one of his best blowing sessions. ~Scott Tanow

Picture Of Heath

Al Hirt - Our Man In New Orleans

Styles: Trumpet Jazz
Year: 1963
File: MP3@320K/s
Time: 33:45
Size: 80,0 MB
Art: Front

(2:23)  1. Clarinet Marmalade
(3:05)  2. Ol' Man River
(3:16)  3. New Orleans
(2:18)  4. Panama
(3:17)  5. The Birth Of The Blues
(2:43)  6. Ja-Da
(2:31)  7. Wolverine Blues
(2:27)  8. Oh Dem Golden Slippers
(1:59)  9. When The Saints Go Marching In
(4:01) 10. When It's Sleepy Time Down South
(2:42) 11. Muskrat Ramble
(2:57) 12. Dear Old Southland

Paul Cacia was Al Hirt's lead trumpet player and contracted the brass section for what Al Hirt called his dream band, formed in the fall of 1979.

At the time of receiving the phone call to join Al Hirt, Paul Cacia was first trumpet for the Ray Anthony Orchestra, he immediately gave notice. The Al Hirt Big Band was based out of Al's New Orleans Bourbon street nightclub, leaving for road tours, on and off, concert dates and a television show. The arrangements were by Billy May, Sammy Nestico and Mike Barone, It was a young fiery band. He was one of the first ones hired and the first one to give notice after 6 months on the road, his production company demands back in Burbank, studio work, plus the birth of his first child called him home, the road years were now behind him and his solo career ahead of him. “'Jumbo' was truly a trumpet phenomenon, a one man trumpet section. He did things with a trumpet that just weren't on the horn, and it was my great privilege to say that I was his 1st trumpet player and his friend. I helped him form his dream band and we had a great time making great music together with some truly great musicians." “The late great Al Hirt will always have a place in trumpet history as one of the truly great trumpet masters who could play circles around just about anyone!" The Al Hirt Big Band played 6 nights a week at Al's New Orleans Bourbon Street nightclub. Our Man in New Orleans takes Hirt's small Dixieland ensemble and punches it up with a big band comprised entirely of brass. The arrangements are short, without a lot of room for the group to stretch out. Still, they manage to play some real Dixieland and the arrangements are quite effective. There's no way to do justice to Al Hirt's sound. It's bold and open, with astonishing technical finesse. https://news.allaboutjazz.com/al-hirt-our-man-in-new-orleans.php

Pessoal:  Trumpet--Al Hirt;  Bass--Lowell Miller;  Clarinet--Pee Wee Spitelera;  Conductor, Arranged By--Marty Paich;  Drums--Frank Hudec;  Piano--Ronnie Dupont;  Trombone--Jerry Hirt

Our Man In New Orleans

Jackie Allen - Which ?

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 63:58
Size: 146,9 MB
Art: Front

(2:13)  1. Too hot for words
(4:22)  2. Day dream
(5:50)  3. Doodlin'
(5:36)  4. Lost in the stars
(4:11)  5. Dearly beloved
(4:10)  6. My romance
(5:14)  7. In you go
(4:36)  8. Left alone
(3:36)  9. I was a little too lonely
(3:30) 10. Which
(4:27) 11. Admit it
(4:49) 12. I'm just a woman
(3:16) 13. It's bad for me
(3:42) 14. The meaning of the blues
(4:21) 15. The last dance

Integration. Jackie Allen’s Which? is the second vocal release from Naxos Jazz. The budget label broke the ice with Gail Wynters’ 1998 release My Shining Hour (86027-2). Allen’s breathy sensuousness is a good label foil for Wynters’ earthy purring. Both vocalists hold the impeccable Bill Cunliffe on piano, Allen also having him as band leader, arranger, and associate producer. She employs Grammy-winning Ralph Jungheim as her executive producer. The Naxos Jazz stable continues to accumulate major jazz talent with appearances by Red Holloway playing his no-nonsense tenor and Gary Foster his cerebral alto. Differentiation. Jackie Allen’s voice is frankly alto, a reality that neatly works in her favor on the current collection of standards and originals. A snapshot of the cuts reveals a sexy, quirky “Too Hot For Words”, a smoky, smoldering “Doodlin’”, and an almost choral “Lost in the Stars”. Cole Porter’s “Which?” hosts a Red Holloway solo that showcases his 12-gauge blues sensibility and Roy McCurdy’s simply splendid march drumming. Allen’s own “Admit It” finds Foster waxing poetic is his own alto way. The torch of the disc is “I’m Just a Woman”, with lyrics and a deliver that would make NOW blanche, then blush (with a super Holloway R&B solo to boot). Never Let Down. Jackie Allen finds herself in the company of excellent musicians and her considerable talent profits from the Naxos Jazz approach which has framed her wounded yet playful alto range with a warm ornament analog sound (Just check out the bass duet on “The Meaning Of The Blues” and Bruce Paulson’s humid trombone on “The Last Dance”). Recommended. ~ C.Michael Bailey https://www.allaboutjazz.com/which-jackie-allen-review-by-c-michael-bailey.php

Personnel: Jackie Allen (vocals); Gary Foster (alto saxophone); Red Holloway (tenor saxophone); Bruce Paulson (trombone); Bill Cunliffe (piano); Jim Hughart (bass); Roy McCurdy (drums).

Which ?

Kenny Dorham - Matador

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 38:22
Size: 88,2 MB
Art: Front

( 6:33)  1. El Matador
(11:35)  2. Melanie
( 5:01)  3. Smile
( 5:12)  4. Beautiful Love
( 4:47)  5. Prelude
( 5:12)  6. There Goes My Heart

Kenny Dorham's Matador can safely claim the all too common distinction of being a classic among jazz connoisseurs while virtually unknown to the casual listener. Dorham is joined here by Jackie McLean, Bobby Timmons, Teddy Smith, and J.C. Moses, all of whom deliver outstanding performances. More than anything, this session is perhaps best known for including a stunning version of McLean's composition "Melody for Melonae," used less than a month earlier on his groundbreaking Blue Note LP Let Freedom Ring. For this session, though, the tune is renamed "Melanie" and, if not better, this version at least rivals the take under McLean's leadership. For starters, the addition of another horn adds some tonal depth to the proceedings, a situation arguably lacking in the tune's earlier recording. Also of note is what has to be Bobby Timmons' most intense moment on record. One rarely has the opportunity to hear Timmons dig and scrape as hard as he does during this solo, and his barely audible vocal accompaniment (à la Bud Powell) only helps to prove this point. This is a case where a performer not commonly associated with seriously stretching out goes at it with a life-affirming fervor, making "Melanie" a treat for listeners who revel in emotional performances. Other highlights include the opener, "El Matador," a 5/4 number that, frankly, fades out just when things were getting good, and the otherwise unaccompanied Dorham/Timmons duet, "Prelude." A fantastic session by any standard. ~ Brandon Burke http://www.allmusic.com/album/matador-mw0000369703

Personnel: Kenny Dorham (trumpet); Jackie McLean (alto saxophone); Bobby Timmons, Walter Bishop (piano); Teddy Smith, Leroy Vinnegar (bass); J.C. Moses, Art Taylor (drums).

Matador

Woody Herman & Lionel Hampton - Jazz Showcase

Styles: Clarinet And Vibraphone Jazz
Year: 2002
File: MP3@320K/s
Time: 72:16
Size: 174,9 MB
Art: Front

(6:02)  1. Body And Soul
(6:36)  2. Rose
(4:13)  3. Early Autumn
(7:20)  4. Caldonia
(6:09)  5. Mood Indigo
(5:25)  6. Mr. PC
(3:28)  7. I Wish You Love
(6:01)  8. It Don't Mean A Thing If It Ain't Got That Swing
(6:36)  9. Memories Of You
(8:45) 10. Old Man River
(6:20) 11. How High The Moon
(5:15) 12. Satin Doll

Woodrow Charles Herman (May 16, 1913 – October 29, 1987) was an American jazz clarinetist, alto saxophonist, singer, and big band leader. Leading various groups called "The Herd", Herman was one of the most popular bandleaders of the 1930s and 1940s. His bands often played music that was experimental for its time. He was a featured halftime performer for Super Bowl VII. Herman was born Woodrow Charles Thomas Herman in Milwaukee, Wisconsin, on May 16, 1913. His parents were Otto and Myrtle (Bartoszewicz) Herman. His mother was Polish. His father had a deep love for show business and this influenced Woody Herman at an early age. As a child he worked as a singer and tap-dancer in Vaudeville, then started to play the clarinet and saxophone by age 12. In 1931, he met Charlotte Neste, an aspiring actress; they married on September 27, 1936. Woody Herman joined the Tom Gerun band and his first recorded vocals were "Lonesome Me" and "My Heart's at Ease". Herman also performed with the Harry Sosnick orchestra, Gus Arnheim and Isham Jones. Isham Jones wrote many popular songs, including "It Had to Be You" and at some point was tiring of the demands of leading a band. Jones wanted to live off the residuals of his songs; Woody Herman saw the chance to lead his former band, and eventually acquired the remains of the orchestra after Jones' retirement. https://en.wikipedia.org/wiki/Woody_Herman

Jazz Showcase

David Benoit & Marc Antoine - So Nice

Styles: Piano And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 40:44
Size: 93,7 MB
Art: Front

(4:23)  1. French Café
(4:50)  2. Penthouse In Copacabana
(3:27)  3. Só Danço Samba
(5:04)  4. Caminando
(3:28)  5. A Cafe Au Lait Bentley
(4:26)  6. All Said And Done
(3:22)  7. Rio Deluxe
(3:39)  8. Puma Trail
(3:35)  9. So Nice
(4:25) 10. Algarve

One of the more popular performers in the idiom somewhat inaccurately called "contemporary jazz," David Benoit has mostly performed light melodic background music, what critic Alex Henderson has dubbed "new age with a beat." Benoit has done a few fine jazz projects (including a tribute to Bill Evans and a collaboration with Emily Remler) but most of his output for GRP has clearly been aimed at the charts. He studied composition and piano at El Camino College and, in 1975, played on the soundtrack of the film Nashville. After recording with Alphonse Mouzon and accompanying singer Gloria Lynne, he was signed to the AVI label when he was 24, recording sets that paved the way for his later output. In 1986, Benoit signed as a solo artist with GRP, a relationship that would last until 2003. 

Albums like 1989's Waiting for Spring and 1999's Professional Dreamer showcase his smooth, lyrical style, while projects like his 2000 tribute to Vince Guaraldi's Peanuts scores, Here's to You, Charlie Brown!: 50 Great Years!, demonstrate where his own tastes lie. A decade after their first joint venture, Benoit and Russ Freeman collaborated on Benoit/Freeman Project 2, released by the Concord-associated label Peak in 2004. For 2005's Orchestral Works he was joined by the Czech National Symphony Orchestra and members of the Asia America Symphony Orchestra. He released two studio albums including Full Circle in 2006 and Standards, which appeared later that same year. In 2008, Benoit paid tribute to some of his musical idols with the album Heroes. The album saw him covering songs by Elton John, the Beatles, Dave Brubeck, and others. Two years later, Benoit delivered the Clark Germain-produced electronica-inflected album Earthglow, and in 2012, he returned with Conversation, which featured the classical trio-meets-jazz-trio title track taken from his "Music for Two Trios" suite.  In 2014, Benoit contributed to former Ambrosia guitarist David Pack's Napa Crossroads set with Alan Parsons, Ray Manzarek, Larry Carlton, Mindi Abair, and others.  Benoit shifted focus on his next outing. Deciding to record an all-originals vocal album, he collaborated with lyricists Lorraine Feather, Mark Winkler, and Spencer Day. Released in the June of 2015, 2 in Love featured Grammy-nominated jazz vocalist Jane Monheit. She was also featured heavily on Believe, a Christmas recording that appeared just four months later. ~ Scott Yanow http://www.allmusic.com/artist/david-benoit-mn0000635760/biography

Marc Antoine was born in Paris, France on 28 May 1963. His parents bought him his first guitar when he was 11 years old and he developed a passion for the instrument after watching a friend play. By the age of 13, his father was impressed by his growing skill and sent Antoine to Conservatoire de Paris where he would receive classical lessons. While learning his craft, he drew inspiration from his mentors Andrés Segovia and John Williams. Antoine came to a crossroads at the age of 17 at which he had to choose between his hobby of guitar and his profession of competitive swimming. As he'd won several awards through his guitar performances, he chose to remain a guitarist and expand his influences to include local favorites in jazz, rock, Afro, and pop. Marc also played in local bands in Brittany, France during this time. https://en.wikipedia.org/wiki/Marc_Antoine_(musician)

So Nice