Gene Ammons - Funky

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 39:39
Size: 90,9 MB
Art: Front

( 9:01)  1. Funky
(12:23)  2. Pint Size
( 8:57)  3. Stella By Starlight
( 9:16)  4. King Size

The Gene Ammons all-star jam session recordings of the 1950's are all quite enjoyable and this one is no exception. The great tenor is matched with trumpeter Art Farmer, altoist Jackie McLean, guitarist Kenny Burrell, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor for lengthy versions of "Stella By Starlight," the Burrell blues "Funky" and a pair of numbers by arranger Jimmy Mundy. All of the horns plus Burrell and Waldron get ample solo space and Ammons seems to really inspire his sidemen on these soulful bop jams. ~ Scott Yanow http://www.allmusic.com/album/funky-mw0000085895

Personnel:  Gene Ammons - tenor saxophone;  Art Farmer – trumpet;  Jackie McLean - alto saxophone;  Mal Waldron – piano;  Kenny Burrell – guitar;  Doug Watkins – bass;  Art Taylor – drums.

Funky

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Dexter Gordon - Daddy Plays The Horn

Styles: Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 41:57
Size: 96,6 MB
Art: Front

(9:14)  1. Daddy Plays The Horn
(7:57)  2. Confirmation
(4:26)  3. Darn That Dream
(4:55)  4. Number Four
(6:26)  5. Autumn In New York
(8:57)  6. You Can Depend On Me

During a period of Dexter Gordon's (tenor sax) life when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays the Horn (1956). Joining him as key constituents of the credited Dexter Gordon Quartet are Kenny Drew (piano), Leroy Vinnegar (bass), and Larry Marable (drums). While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition "Daddy Plays the Horn." In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie "Bird" Parker's bop standard "Confirmation" is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays the Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. "Darn That Dream" embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. 

The generically monikered "Number Four" is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. "Autumn in New York" the album's other essential ballad  is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, "You Can Depend on Me" rounds out the platter with a bang. Each bandmember gets a final opportunity to shine which they individually take full advantage of. In 2005, the Shout! Factory label reissued Daddy Plays the Horn, placing the six selections in the correct running order, and the digital remastering by Randy Perry has the classic sounding better than ever. ~ Lindsay Planer http://www.allmusic.com/album/daddy-plays-the-horn-mw0000196851

Personnel: Dexter Gordon (tenor saxophone); Leroy Vinnegar (bass instrument); Kenny Drew (piano); Larance Marable (drums).

Daddy Plays The Horn

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Gil Mellé - Patterns In Jazz

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 37:00
Size: 84,9 MB
Art: Front

(4:50)  1. The Set Break
(5:15)  2. Weird Valley
(9:07)  3. The Arab Barber Blues
(8:18)  4. Nice Question
(4:55)  5. Moonlight In Vermont
(4:33)  6. Long Ago And Far Away

Like the modern art that stormed the art world in the '50s, Patterns in Jazz is filled with bright, bold colors and identifiable patterns that camouflage how adventurous the work actually is. On the surface, the music is cool and laid-back, but close listening reveals the invention in Melle's compositions and arrangements of the standards "Moonlight in Vermont" and "Long Ago and Far Away." Part of the charm of Patterns in Jazz is the unusual instrumental balance of Melle's bari sax, Eddie Bert's trombone, Joe Cinderella's guitar, and Oscar Pettiford's bass. These low, throaty instruments sound surprisingly light and swinging. Compared to the two standards, Melle's original compositions are a little short on melody, but they give the musicians room to improvise, resulting in some dynamic music. Ultimately, Patterns in Jazz is cerebral music that swings it's entertaining, but stimulating. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/patterns-in-jazz-mw0000463220

Personnel:  Gil Mellé - tenor saxophone, baritone saxophone;  Eddie Bert – trombone;  Joe Cinderella – guitar;  Oscar Pettiford – bass;  Ed Thigpen - drums

Patterns In Jazz

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Paul Chambers - Chambers' Music

Styles: Jazz, Post Bop
Year: 1956
File: MP3@320K/s
Time: 60:47
Size: 140,3 MB
Art: Front

( 6:48)  1. Dexterity
( 5:56)  2. Stablemates
( 3:54)  3. Easy To Love
( 4:57)  4. Visitation
( 6:58)  5. John Paul Jones
( 4:25)  6. Eastbound
(11:05)  7. Trane's Strain
( 8:13)  8. High Step
( 8:28)  9. Nixon, Dixon And Yates Blues

The first sessions as a leader for bassist Paul Chambers were recorded while he was a member of the Miles Davis Quintet. The first six selections feature Chambers with pianist Kenny Drew, drummer Philly Joe Jones, and (on four numbers) the immortal tenor saxophonist John Coltrane. This somewhat obscure date includes such jazz standards as "Dexterity" and "Stablemates" along with "Easy to Love" and three straight-ahead group originals. Coltrane dominates the numbers he is on, although his sound was not quite mature yet. Although none of this music is classic, it does give listeners a valuable early look at these important jazzmen. 

[Three bonus tracks added on the Blue Note 1989 CD reissue were listed as being from April 20, 1955, but the 2010 remastered edition on Fresh Sound clarified that the session took place exactly a year later. Chambers, Jones, and Coltrane welcome two young musicians recently transplanted from Detroit: baritonist Pepper Adams and trombonist Curtis Fuller. In addition, pianist Roland Alexander is on the lengthy "Trane's Strain."] ~ Scott Yanow http://www.allmusic.com/album/chambers-music-a-jazz-delegation-from-the-east-mw0000200663

Personnel:  Bass – Paul Chambers;  Drums – Philadelphia Joe Jones;  Piano – Kenny Drew; Tenor Saxophone – John Coltrane

Chambers' Music

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Laura Ainsworth - New Vintage

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 46:05
Size: 106,3 MB
Art: Front

(2:37)  1. Thats How I Got My Start
(2:24)  2. I'll Take Romance
(4:44)  3. Where Did The Magic Go
(2:50)  4. An Occasional Man
(4:54)  5. Wasting My Love On You
(4:01)  6. Nevertheless
(3:50)  7. A Little Jive Is Good For You
(4:23)  8. The Man I Love Is Gone
(3:13)  9. All About You
(3:00) 10. Nothing Can Replace A Man
(2:55) 11. It's A Nuisance Having You Around
(3:26) 12. Long Ago And Far Away And You Stepped Out Of A Dream
(3:40) 13. I Once Knew A Fella

Satin-voiced retro jazz vocalist Laura Ainsworth & her crew of top Texas jazz musicians' acclaimed breakthrough third CD of standards, lost gems and new songs in elegant midcentury lounge style.

"Sublime...A perfect album..." ~ Alan Mercer, AMProfile.blogspot.com/

“As excellent as her first two albums were, New Vintage looks to be Laura Ainsworth's breakthrough… (She) creates a rich, intoxicating atmosphere that transports the mind to another place and time…Thank you, Laura, for making the Great American Songbook exciting and fun again!" ~ David Gasten, producer, "This Is Vintage Now"

Dallas-based retro jazz chanteuse Laura Ainsworth’s first two albums (Keep It To Yourself and Necessary Evil) earned her worldwide airplay and critical raves, praise from Grammy-winning artists and performance bookings as far away as India and Dubai. Now, August 2017 looks to be her breakthrough, with the release of an audiophile vinyl best-of LP (Top Shelf), a spot alongside the great Sue Raney on the popular compilation series This Is Vintage Now Vol. 2, her solo NYC debut at the famous Metropolitan Room, and best of all, the release of her critically-acclaimed third album, New Vintage. Of course, her crew of top Texas jazz players are back, led by Laura’s amazing pianist/producer/arranger, Brian Piper, of the ‘Nawlins Gumbo Kings and the Brian Piper Trio (90th Floor Records). Fans will find more of what’s made Laura a leader in the growing vintage jazz/lounge/bachelor pad genre: her satiny, sultry, and as one reviewer put it, “impossibly old-fashioned” three-octave voice that’s been called a glorious throwback to the era of Rosemary Clooney, Dinah Shore and Julie London…fresh new spins on standards (“Nevertheless,” “Long Ago and Far Away”)…and overlooked gems (“Where Did The Magic Go,” a nostalgic AC ballad for the TCM generation; “All About You,” which Irving Berlin dubbed “a perfect love song”; the hilariously retro “Nothing Can Replace A Man”; and “That’s How I Got My Start” and “It’s A Nuisance Having You Around,” two sultry seduction ballads by Frank Loesser and Johnny Mercer, respectively, that haven’t been recorded in over half a century). 

But New Vintage brings new twists as well. Like the hip tiki exotica of “An Occasional Man,” complete with surf sounds and tropical bird calls…“The Man I Love Is Gone,” seemingly one of those lost treasures of the ‘40s she loves to unearth, but in fact a brand new ballad in the Great American Songbook style, written by Laura and veteran jazzman George Gagliardi…and “I Once Knew A Fella,” which is both a hilarious female sexual empowerment anthem and a tribute to the raucous lounge-jazz of legendary Vegas wildman Sam Butera of Louis Prima fame. Butera was a one-time bandmate of Laura’s late father, big band sax prodigy Billy Ainsworth, who helped form her unique retro musical tastes. A rare family photo of Butera and her dad performing together adorns the inside CD cover. So sit back and savor this New Vintage of Laura Ainsworth, from its smoky opening to its bold finish. Warning: Contents can be intoxicating…https://store.cdbaby.com/cd/lauraainsworth4

New Vintage

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