Bob Dorough - Sunday at Iridium

Styles: Vocal And Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 69:59
Size: 160,6 MB
Art: Front

(0:51)  1. Welcome from Bob Dorough
(7:03)  2. You're the Dangerous Type
(4:15)  3. But for Now
(0:40)  4. Introducing the Band
(5:21)  5. You're Looking at Me
(0:26)  6. Introducing Joe Wilder
(4:34)  7. Sunday
(0:13)  8. Introducing The Bobettes
(3:51)  9. Comin' Home Baby
(0:34) 10. Introducing Schoolhouse Rock
(7:00) 11. Three Is a Magic Number
(4:30) 12. Baby Used to Be
(3:43) 13. How Could a Man Take Such a Fa
(0:21) 14. Introducing Daryl Sherman
(6:04) 15. Without Rhyme or Reason
(5:13) 16. Down St. Thomas Way
(6:09) 17. Ain't No Spoofin'
(0:23) 18. Introducing Electricity, Elect
(3:52) 19. Electricity, Electricity
(0:15) 20. Farewell from Bob
(4:34) 21. We'll Be Together Again

Welcome to the world of Bob Dorough, the oldest living hipster in jazz at age 81 (December 14, 2004). The singer/composer/pianist has been recording since 1956 and except for a brief flurry of attention with his compositions written for ABC-TV's Schoolhouse Rock from 1973-1985, he has remained largely unappreciated. When I first heard Dorough's vocal of Charlie Parker's "Yardbird Suite" on his debut Bethlehem album Devil May Care , it was a burst of energy and long-needed thank you to Bird for his musical contribution. When I first saw Dorough perform in late 1963, he opened for Miles Davis at the Village Vanguard in duet with bassist Bill Takas and seemed an anachronism more typical of the bohemian jazzman of the late 50s. However, over the decades Dorough has endured and thrived artistically. He has also become something of a cult figure in the Cabaret genre per his peformances and his own compositions or those co-written with such esteemed musicians as Fran Landesman, Blossom Dearie and Dave Frishberg. I enjoyed his live album with Dave Frishberg, Who's On First (Blue Note, 2000), although Dorough's tunes and piano were not quite as witty and prolific as Frishberg's. All that being said, it is a pleasure to hear this live performance at Manhattan's midtown jazz club, Iridium, where Bob Dorough and his friends entertain on most Sunday afternoons. Over the years, Dorough's voice has deepened and a bit of the Arkansas twang has lessened. Also, Dorough serves as a most affable host and provides well chosen and witty words to describe the music. Approximately 6 of the 21 tracks are brief spoken word opportunities. Dorough's group is a lively and swinging combo with Steve Gilmore on bass (normally with Phil Woods) the only known player. Veteran NYC trumpetman and recording artist Joe Wilder sits in on "Sunday" and "Ain't No Spoofin'" adding some good musical punch to the tunes. The latter is a Leroy Vinnegar melody and the title reflects one of the bassist's favorite expressions. Singer Daryl Sherman also shows up to duet and joins Dorough in a four-handed piano setting on "Without Rhyme or Reason." There is a reciprocal duet between the two on Sherman's latest album A Hundred Million Miracles (Arbors Records, 2004). There is also vocal assistance for the Bobettes (not to be confused with the late 1950s doo-wop femme group) who provide vocal backup on Dorough's pop hit "Comin' Home Baby" later popularized by Herbie Mann and Mel Torme. They also sing on "Electricity, Electricity." The songs on this album are largely Dorough originals with a few exceptions. In addition to the aforementioned "Sunday," Dorough closes with a poignant version of the Laine/Fischer standard "We'll Be Together Again" and features new lyrics to the Sonny Rollins-associated "St.Thomas" which is here retitled "Down St.Thomas Way." Bob Dorough's forte is his ability to compose incisive lounge songs in the style of the tunes popularized by the Nat King Cole Trio. In fact, when he performs Bobby Troup's "You're Looking At Me" on this album, the blend is perfect. Songs like "You're the Dangerous Type," "But For Now" and "Baby Used to Be" share, along with the work of Dave Frishberg, a treasure trove for singers and musicians for decades to come. The resulting album is greatly enchanced by the musicians. Steve Berger on guitar adds some lovely and swinging solo work in the manner of Russell Malone, and demonstrates a lyrical sense. Drummer Ed Ornowski provides just the right shading for percussion. All in all, this is a relaxed and fun session! ~ Michael P.Gladstone https://www.allaboutjazz.com/bob-dorough-sunday-at-iridium-by-michael-p-gladstone.php

Personnel: Bob Dorough, piano,vocals; Steve Berger, guitar; Steve Gilmore,bass; Ed Ornowski,drums with Special Guests: ;Joe Wilder,trumpet(7,17) Daryl Sherman, vocal and four-handed piano with Bob (15); The Bobettes:Laura Amico and Roslyn Hart,vocals(9,19)

Sunday at Iridium

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Anne Shelton - Showcase

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 45:42
Size: 105,2 MB
Art: Front

(2:20)  1. Let's Face The Music And Dance
(2:57)  2. Too Young To Go Steady
(2:21)  3. Ha Ha Ha
(3:19)  4. To Love And Be Loved
(2:55)  5. Do You Love Me Like You Kiss Me
(4:01)  6. I Got It Bad And That Ain't Good
(3:31)  7. The Village Of St Bernadette
(4:04)  8. The Man That Got Away
(2:59)  9. Lay Down Your Arms
(3:01) 10. Souvenir D'Italie
(2:11) 11. Seven Stages Of Man
(3:42) 12. Smoke Gets In Your Eyes
(3:50) 13. Perfidia
(4:24) 14. My Yiddishe Momme

Although singer Anne Shelton issued several recordings throughout her career, she is best-known for generously touring Army, Navy, and Air Force bases. Born in Dulwich, London, England, on November 10, 1923, Shelton began singing at the age of 13, and by 15 had her own recording contract as a solo artist. In 1942, Shelton began playing military bases across England and as her popularity grew, was offered her own radio program, Calling Malta, which remained on the air for five years. In 1944, Shelton was invited to sing with the Glenn Miller Orchestra, and although some of these shows were recorded, none have ever surfaced in their entirety. Miller invited Shelton to stay on with the band and travel to Versailles for a series of shows; she had to turn him down due to prior commitments in Britain, which turned out to be a blessing in disguise as Miller's plane crashed shortly after the shows. But Shelton soon performed with another American who had come over to England: Bing Crosby. Crosby and Shelton appeared on the Variety Bandbox radio show together and afterwards played a show together, duetting on the songs "Easter Parade" and "I'll Get By." In 1949, Shelton began to make headway stateside, scoring a pair of hits with "Be Mine" and "Galway Bay," which resulted in her inaugural U.S. tour two years later (all the while continuing to entertain the troops). But it was in her native land where Shelton's popularity was the greatest, as she scored a number one hit with "Lay Down Your Arms" in September of 1956, remaining atop the U.K. singles charts for a solid four weeks. Shelton was never able to follow up her big hit, but remained a popular concert attraction nonetheless, performing shows straight up to her death on July 31, 1994. Following her death, numerous compilations saw the light of day, including such titles as Early Years: Lili Marlene and At Last: The Very Best. ~ Greg Prato http://www.allmusic.com/artist/anne-shelton-mn0000495398

Showcase

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Jason Marsalis Vibes Quartet - The 21st Century Trad Band

Styles: Vibraphone Jazz
Year: 2014
File: MP3@320K/s
Time: 77:21
Size: 178,3 MB
Art: Front

(1:09)  1. Discipline Meets The Offbeat One
(7:21)  2. Offbeat Personality
(6:10)  3. The Man With Two Left Feet
(6:11)  4. Nights in Brooklyn
(6:04)  5. 18th Letter of Silence
(4:19)  6. Blues for Now
(9:19)  7. Interzone
(5:54)  8. BP Shakedown
(6:45)  9. Blessed Unrest
(5:48) 10. The 21st Century Trad Band
(8:43) 11. Calm Before the Storm
(9:32) 12. Ratio Man

Following 2013's In A World of Mallets (#1 on Jazz Radio), the youngest of New Orleans' Marsalis Jazz dynasty Jason Marsalis is back with his 2nd Vibes Quartet release, The 21st Century Trad Band. Backed once again by Will Goble on bass, Austin Johnson on piano, and David Potter on drums, The 21st Century Trad Band puts a spotlight on the growing synergy among these young and talented musicians. Songs like 'BP Shakedown' and 'Offbeat Personality' showcase the unit's propensity for combining lush melodies with pulsating rhythms. Together, they deliver music with a high level of complexity without isolating the listener, a testament to the band's rapport. Jason Marsalis is a musician with a lot to say, but like any worthwhile artist he lets his work do the talking. With The 21 Century Trad Band, The Jason Marsalis Vibes Quartet continue to help keep contemporary Jazz relevant for and through the younger generation of its musicians. ~ Editorial Reviews https://www.amazon.com/21st-Century-Trad-Band/dp/B00MZ3X78W

Personnel:  Jason Marsalis: Vibes;  Austin Johnson: Piano;  Will Goble: Bass;  Dave Potter: Drums

The 21st Century Trad Band

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Harry Belafonte - Belafonte Sings The Blues

Styles: Vocal
Year: 1958
File: MP3@320K/s
Time: 45:26
Size: 104,8 MB
Art: Front

(3:42)  1. A Fool For You
(4:20)  2. Losing Hand
(4:36)  3. One For My Baby
(3:31)  4. In The Evenin' Mama
(2:56)  5. Hallelujah I Love Her So
(4:35)  6. The Way That I Feel
(5:20)  7. Cotton Fields
(5:07)  8. God Bless The Child
(2:46)  9. Mary Ann
(3:43) 10. Sinner's Prayer
(4:45) 11. Fare Thee Well

After flirting with traditional African-American material in his previous albums, Belafonte, for the first time, devotes an entire album to the blues. However, of the eleven songs, only two could be classified as traditional blues: "In the Evenin' Mama" and "Cotton Fields," the latter given a five minute treatment. Belafonte would take this song on the road as part of his live act for the next decade. Of the other songs, three were covers of Ray Charles standards ("A Fool For You," "Hallelujah I Love Her So," "Mary Ann"). Another highlight is Belafonte's rendition of Billie Holiday's "God Bless the Child." With few exceptions, the entire album is understated and not as exciting or riveting as other Belafonte records. Still, it's solid listening, and taken track by track, thoughtful performances. Footnote: this was the first Belafonte album recorded in stereo. Some releases feature a thick, dark blue spine. ~ Cary Ginell http://www.allmusic.com/album/belafonte-sings-the-blues-mw0000863291

Personnel:  Harry Belafonte – vocals

Belafonte Sings The Blues

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Steely Dan - The St. Louis Toodle-Oo

Styles: Vocal And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 143:35
Size: 334,2 MB
Art: Front

( 7:56)  1. The Royal Scam/Bad Sneakers/Aja
( 5:24)  2. Green Earrings
( 5:29)  3. Bodhisattva
( 6:12)  4. I.G.Y. (What a Beautiful World)
( 7:14)  5. Josie
( 6:28)  6. Hey Nineteen
( 4:32)  7. Book of Liars
( 6:33)  8. Chain Lightning
( 3:45)  9. Introductions
( 3:56) 10. Green Flower Street
( 6:51) 11. Home at Last
( 4:14) 12. Black Friday
( 8:11) 13. Deacon Blues
( 6:40) 14. Tomorrow's Girl
( 6:48) 15. Babylon Sisters
( 7:27) 16. Reelin' in the Years
( 6:12) 17. Fall Of '92
( 4:39) 18. Peg
( 6:28) 19. Third World Man
(13:36) 20. Countermoon
( 8:17) 21. My Old School
( 6:33) 22. FM (No Static at All)

Following the tumultuous albeit fruitful recording of their 1980 album Gaucho, and their subsequent breakup soon thereafter, the next decade was somewhat quiet for Donald Fagen and Walter Becker, the gifted musical duo behind Steely Dan. Despite a number of producer credits to their respective names, the only releases that appeared with either as featured artist were two Donald Fagen solo records. The first, The Nightfly, came out to rapturous critical and commercial success, going Platinum on both sides of the Atlantic. Meanwhile, Becker was listed as an as an official member of China Crisis on their 1985 album Flaunt the Imperfection. However the pair had reconciled their differences by the end of the 1980s with Becker playing on and producing Fagen s 1993 album Kamakiriad, which received praise from critics but failed the match its predecessor sales-wise. Following this semi-joint venture, Steely Dan reformed for a tour the same year. Becker and Fagen had retired from live performance in 1974 to concentrate on writing and recording, so their 93 jaunt was something of a treat and a rare opportunity for long term fans. One of the 30 dates performed in the US this time round took place at the 20,000-capacity Riverport Amphitheatre in Maryland Heights, Missouri on 1st September 1993. Featuring a rich mixture of Dan classics with a few solo cuts included too, this set, recorded for live FM broadcast, finds the group in superb form and is now featured in its fully remastered entirety on this double CD set. https://www.spincds.com/time-out-of-mind-dvd-53250

The St. Louis Toodle-Oo1

The St. Louis Toodle-Oo2

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