Jack Teagarden - Jazz Great

Styles: Trombone Jazz
Year: 1954
File: MP3@320K/s
Time: 40:26
Size: 93,9 MB
Art: Front

(4:17)  1. King Porter Stomp
(3:09)  2. Eccentric
(4:11)  3. Davenport Blues
(3:22)  4. Original Dixieland One Step
(5:16)  5. Bad Acting Woman
(4:44)  6. Misery And The Blues
(4:21)  7. High Society
(2:14)  8. Music To Love By
(3:49)  9. Meet Me Where They Play The Blues
(4:57) 10. Riverboat Shuffle

For this LP, trombonist Jack Teagarden is heard with three different groups on a dozen titles recorded in Nov. 1954. Although the supporting cast on various selections includes trumpeter Jimmy McPartland, clarinetists Edmond Hall and Kenny Davern, and Dick Cary, Norma Teagarden and Leonard Feather on pianos, Teagarden is the main star throughout. His trombone playing was still in prime form and his vocals give spirit to the music. Highpoints of this enjoyable Dixieland set include "Original Dixieland One Step," "Blue Funk," "Eccentric" and "Milenburg Joys." ~ Scott Yanow http://www.allmusic.com/album/jazz-great-mw0000240824

Personnel:  Trombone – Jack Teagarden;  Bass – Kasper Malone, Walter Page;  Clarinet – Edmond Hall;  Drums – Ray Bauduc;  Guitar – Carl Kress;  Piano – Norma Teagarden;  Trumpet – Fred Greenleaf, Jack Teagarden;  Vocals – Jack Teagarden

Jazz Great

---

Patricia Barber - Mythologies

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 58:56
Size: 135,8 MB
Art: Front

(7:10)  1. The Moon
(4:34)  2. Morpheus
(4:39)  3. Pygmalion
(4:35)  4. Hunger
(5:13)  5. Icarus (for Nina Simone)
(4:33)  6. Orpheus/ Sonnet
(6:00)  7. Persephone
(3:40)  8. Narcissus
(5:21)  9. Whiteworld/ Oedipus
(5:20) 10. Phaethon
(7:46) 11. The Hours

In much the same way that a visual artist paints memorable themes on canvas, Patricia Barber puts her ideas into music by establishing an open avenue of communication with her audience. Her voice is always a pleasure. Her piano work is comfortable in the context of her role as storyteller. Her compositions are deep enough that we'll revisit them again and again. Barber puts the blues into each of her adventurous musical portraits. Her quartet partners, guitarist Neal Alger, bassist Michael Arnopol and drummer Eric Montzka, surround the singer/pianist with hot stuff from start to finish. The scenes vary, as the characters that she's chosen to represent come from different viewpoints. "Icarus is light and positive, while "Pygmalion suffers from a heavy dose of the blues. "Narcissus drowns in romantic sorrow; "Orpheus treads heavily while crying out in sorrow. "Oedipus perks up with a raging storm of percussion activity, while "Persephone waltzes slowly and lightly as if through a meadow of flowers in full bloom. The five-star program delivers a thousand images bound by progressive, enduring jazz wrappings. Barber, now fifty, grew up in South Sioux City, Nebraska. Her music retains the influence of America's heartland through its storytelling, down-home comfort and soulful sharing. Through Mythologies, we're transported home to our own roots: the church, school and neighborhood organizations that helped us to develop and mature. ~ Jim Santella https://www.allaboutjazz.com/mythologies-patricia-barber-blue-note-records-review-by-jim-santella.php
 

Personnel: Patricia Barber: piano, vocals; Neal Alger: guitar; Michael Arnopol: bass; Eric Montzka: drums; Jim Gailloreto: alto saxophone, tenor saxophone; Paul Falk, Grazyna Auguscik, Lawrice Flowers, Airreal Watkins.

Mythologies

---

Jimmy Cobb & Friends - The Meeting

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 61:55
Size: 141,9 MB
Art: Front

(7:40)  1. The Meeting
(6:55)  2. On A Misty Night
(8:38)  3. Full House
(4:34)  4. Mountain Blues
(5:38)  5. Book's Bossa
(6:22)  6. What Was
(6:52)  7. Beni's Mounce
(3:47)  8. I Only Want You
(4:44)  9. Prelude To A Kiss
(6:40) 10. The Vermonter

A superb, mostly self-taught drummer, Jimmy Cobb has been a dominant accompanist and outstanding soloist. He approaches the drum kit in both a melodic and percussive fashion, never playing overly long or rambling solos. He's known for working slightly ahead of the beat, and has anchored many fine sessions as well as spending five years with Miles Davis in the '50s and '60s. Cobb did study briefly with Jack Dennett, a percussionist with extensive symphonic credentials. He played with Charlie Rouse, Leo Parker, Frank Wess, Billie Holiday, and Pearl Bailey in Washington, D.C. Cobb left in 1950 to join Earl Bostic, and cut his first recordings with him. He played with Dinah Washington over three years, then worked with Cannonball Adderley, Stan Getz, and Dizzy Gillespie. He took over for Philly Joe Jones in the Davis band in 1958, and was on hand for several seminal dates. He finally left, along with Paul Chambers, to team with Wynton Kelly. The trio played and recorded with Wes Montgomery, Kenny Burrell, and J.J. Johnson before it disbanded. Cobb played on the soundtrack for the film Seven Days in May, and later worked with David Amram. He worked with Sarah Vaughan through the '70s, and was featured on a public television film of a Vaughan concert at the Wolf Trap Jazz Festival. Cobb also worked with Richie Cole, Sonny Stitt, Nat Adderley, and Ricky Ford. During the '80s he worked with the Joe Albany trio. For all his session work from the '50s onward, Cobb was not particularly known as a leader on his own dates, and rather extraordinarily began developing his own discography in earnest beginning during the late '90s and extending across the first decade of the 2000s, starting (after 1994's Encounter, a duo release with singer Ada Montillanico) with Only for the Pure of Heart by Jimmy Cobb's Mob in 1998. A second Cobb's Mob album, Cobb's Groove, was released by Milestone in 2003. Tribute to Wynton Kelly & Paul Chambers by the Jimmy Cobb Trio was issued by the Japanese Sound Hills label in 2004, followed by two Chesky releases by the Jimmy Cobb Quartet, Cobb’s Corner in 2007 and Jazz in the Key of Blue in 2009. In addition, the Marsalis Music Honors series released a Jimmy Cobb volume in 2006, featuring Cobb on drums along with Ellis Marsalis on piano, Andrew Speight on saxophone, and Orlando Le Fleming on bass. Cobb received a National Endowment for the Arts Jazz Masters award in October 2008. ~ Ron Wynn  https://itunes.apple.com/uz/album/the-meeting/id428728990

Personnel:  Jimmy Cobb – drums;  Helmut Kagerer- guitar;  Rob Bargad - Hammond b-3;  Michael Erian - tenor saxophone

The Meeting

---

Jeff Golub - Out of the Blue

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 59:43
Size: 137,0 MB
Art: Front

(5:20)  1. Wanna Funk?
(4:35)  2. Indiana Moon
(4:22)  3. Manteca
(6:09)  4. The Velvet Touch
(6:27)  5. My Everything
(5:03)  6. Lucky Strike
(5:34)  7. Latitude 19
(4:44)  8. Come on Home
(7:41)  9. Paradise Lost
(9:44) 10. Groanin'

Jeff Golub is categorized in the smooth jazz genre because he's an instrumentalist; at heart, though, he's an Eric Clapton styled rockin' blues guitar player who, on Out of the Blue, finds himself stumbling happily into Tower of Power-like jam sessions. He pulls no punches from the start, rocking hard and furious with his distorted electric thrust darting around and over Ricky Peterson's brooding B-3 and a three-piece horn section on "Wanna Funk?" Same idea, south of the border style, on the similarly hard-hitting Latin blues hurricane "Manteca," where Golub explores some improvisational territory in between sizzling solo sections by his longtime friend Rick Braun. Golub co-produced the album with keyboardist Philippe Saisse, whose comparatively laid-back style keeps Golub in the cool on more mid-tempo, easy to latch onto pieces like "Indiana Moon"; the guitarist gets more aggressive as the song progresses, but the hooky piano harmony line stays a constant. Saisse helps bring out Golub's completely meditative side on "The Velvet Touch" for about half the tune before the electricity rises once again. It's as if Golub just can't keep his virtuosity to himself, no matter how emotionally restrained the trappings. "Groanin'" is a unique departure which plays as though Golub got up one night in a straight-ahead jazz club and tried his hand (pretty convincingly, at that) at the bebop quartet thing. ~ Jonathan Widran http://www.allmusic.com/album/out-of-the-blue-mw0000240008

Personnel: Jeff Golub (guitar); Vaneese Thomas, James "D-Train" Williams (vocals); Dave Woodford (saxophone, flute); Kirk Whalum, Tim Ries (saxophone); Rick Braun, Jim Hynes (trumpet, flugelhorn); Michael Davis (trombone); Jim Biggins (flute); Jeff Levine, Leon Pendarvis, Ricky Peterson (Hammond B-3 organ); Kenny White (Wurlitzer piano); Philippe Saisse (keyboards, percussion); Marc Antoine (nylon string guitar); Lincoln Goines (acoustic bass); Tony Levin (bass, Chapman stick); Neil Jason (bass); Steve Ferrone, Steve Barbuto, Shawn Pelton (drums); Richie Flores, Roger Squitero (percussion)

Out of the Blue

---

Kurt Elling - Close Your Eyes

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 63:39
Size: 146,0 MB
Art: Front

(6:08)  1. Close Your Eyes
(6:36)  2. Dolores Dream
(6:20)  3. Ballad Of The Sad Young Men
(6:59)  4. (Hide The) Salomé
(1:32)  5. Married Blues
(6:16)  6. Storyteller Experiencing Total Confusion
(5:33)  7. Never Say Goodbye (For Jodi)
(3:09)  8. Those Clouds Are Heavy, You Dig?
(3:58)  9. Wait 'Till You See Her
(4:50) 10. Hurricane
(2:03) 11. Now It Is Time That Gods Came Walking Out
(5:53) 12. Never Never Land
(4:15) 13. Remembering Veronica

For his debut recording, Chicago vocalist Elling pushes the envelope, challenging listeners and his musicians with beat poetry, ranting, and his Mark Murphy-ish singing. There's quite a bit of dramatist/actor in Elling, although the romantic in him is also pretty prevalent. Acting much like a tenor saxophonist, Elling can wail and shout, expound on social themes, and scat like a demon. Help from the extraordinary pianist Laurence Hobgood, bassists Eric Hochberg and Rob Amster, and drummer Paul Wertico inspires Elling to even higher plateaus, while tenor saxophone foils Ed Peterson and Von Freeman appear separately on three of the 13 tracks. Elling writes a ton of lyrics. His take on Wayne Shorter's "Dolores" is "Dolores Dream," on which the singer speaks of Chi-Town in terms both favorable (hanging out at the Green Mill jazz club) and not so favorable ("fat frying, spluttering rank Chicago smeltering along, smothered in hot wooly sweat"), with a maniacal swing following his a cappella intro. His ramrod scatting is amazing both on this piece and on an exploratory take of Herbie Hancock's "Hurricane." A "So What"-type modality informs "(Hide The) Salome," with vicious scatting and Freeman's tenor in complete, frustrated agreement. Elling's poetic recitation of "Married Blues" and the avant beat style of "Now It Is Time" show his reverence for Rexroth and Rilke, respectively. As far as pure singing goes, "All the Sad Young Men" is beautifully rendered similar to Murphy, but not as overtly pronounced. "Close Your Eyes" opens with a tender piano intro, flowing into bass/vocal wistfulness and a midtempo romp. Elling extrapolates on the original lyric and scats feverishly on the bridge. He is at his most sexual on the slinky bossa "Never Say Goodbye" and the ballad "Storyteller Experiencing Total Confusion," with Peterson's sax shyly filling in cracks of fear and disillusionment. There's clearly more in store for Elling as he matures, but this is as auspicious a vocal jazz debut as the world has heard. ~ Michael G.Nastos http://www.allmusic.com/album/close-your-eyes-mw0000644447

Personnel: Kurt Elling (vocals); Edward Peterson, Von Freeman (tenor saxophone); Laurence Hobgood (piano, synthesizer); Dave Onderdonk (acoustic & electric guitars); Rob Amster (acoustic & electric basses); Eric Hochberg (acoustic bass); Paul Wertico (drums, percussion).

Close Your Eyes

---