Ella Fitzgerald - Sunshine Of Your Love

Bitrate: MP3@320K/s
Time: 45:36
Size: 104.4 MB
Styles: Vocal jazz
Year: 1969/2014
Art: Front

[3:50] 1. Hey Jude
[3:17] 2. Sunshine Of Your Love
[4:26] 3. This Girl's In Love With You
[3:57] 4. Watch What Happens
[3:47] 5. Alright Okay You Win
[1:58] 6. Give Me The Simple Life
[5:08] 7. Useless Landscape
[4:16] 8. Old Devil Moon
[3:34] 9. Don'cha Go Way Mad
[4:06] 10. A House Is Not A Home
[4:09] 11. Trouble Is A Man
[3:04] 12. Love You Madly

During her long career, every once in awhile Ella Fitzgerald would attempt to "get with it" and record contemporary pop tunes. In 1968 for a live concert with a big band and the Tommy Flanagan Trio, the First Lady of the American Song did what she could with such unsuitable material as "Hey Jude," "Sunshine of Your Love," "Watch What Happens" and "A House Is Not a Home." The results (despite her sincerity) sometime borders on the embarassing; there is no way anyone can swing "Hey Jude." A few of the other numbers (particularly "Give Me the Simple Life," "Old Devil Moon" and "Love You Madly") are of a higher quality but when Ella tries to turn "Alright, Okay, You Win" into funk, it is time to switch records. ~Scott Yanow

Sunshine Of Your Love

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Eddie Erickson - I'm Old Fashioned

Bitrate: MP3@320K/s
Time: 78:53
Size: 180.6 MB
Styles: Contemporary jazz
Year: 2009
Art: Front

[5:07] 1. Pick Yourself Up
[3:41] 2. That's My Home
[4:59] 3. S'posin'
[7:45] 4. Medley: It's The Talk Of The Town/Chinatown, My Chinatown
[5:05] 5. Did I Remember'
[7:09] 6. Sweet And Slow
[4:44] 7. Little White Lies
[3:48] 8. You're A Sweetheart
[7:39] 9. My Honey's Lovin' Arms
[3:33] 10. I'm Old Fashioned
[7:59] 11. That's A Plenty
[5:02] 12. Just A Kid Named Joe
[4:47] 13. A Shine On Your Shoes
[3:39] 14. Dream A Little Dream Of Me
[3:49] 15. The World Is Waiting For The Sunrise

Eddie Erickson has been one of the most unsung heroes in traditional jazz for decades. A singer whose sound is much younger than his age, he's also an adept guitarist, mostly in the rhythmic sense, and occasionally picks up the banjo. This concert performance in Germany mines the deep well of American popular songs and early period jazz, is a fairly comprehensive look back to songs of the '30s and '40s, and showcases mostly sweet swinging sounds, a little blues, some dry humor, and some heat when needed to spice up the program. Though most of his bandmembers are relatively obscure, there is the veteran Finnish clarinetist/tenor saxophonist Antti Sarpila, the excellent rising star pianist Rossano Sportiello, and Euro-trad newcomers in drummer Moritz Gastreich, bassist Henning Gailing, and trumpeter Menno Daams. The star of every band he joins is trombonist Bill Allred, always a delight to hear, a true jazz master, and one who infuses kinetic energy with every note, solo, or ensemble contribution he plays. The instrumental numbers "Little White Lies" and "That's a Plenty" reflect the upbeat, good-time Dixieland style hot jazz where the instruments -- particularly Allred and Sarpila -- play battling counterpoint lines against each other. Erickson's singing, which lies somewhere between Jack Sheldon, Tom Saunders, and Harry Connick, Jr., is delightful, understated,. and endearing. The bouncy "Pick Yourself Up," the slower, bluesy "That's My Home," and the lighter "You're a Sweetheart" offer good contrast and consistency. Sportiello is featured during the solo medley "It's the Talk of the Town/Chinatown My Chinatown" with slight, laid-back stride inflections, Gailing gets the spotlight walking away during the old-time, midtempo "I'm Old Fashioned," and Sarpila's clarinet swings à la Benny Goodman for "Did I Remember?." While Erickson's instrumental guitar passages are mainly supportive, his banjo is upfront on his plucked and strummed solo effort "The World Is Waiting for the Sunrise," and pulls it off easily, and proves both lyrical and funny on the doting "A Shine on Your Shoes." Arbors Records consistently produces very good trad jazz records from musicians dedicated to keeping this area alive, and Erickson's band does nothing to diminish those returns. ~Michael G. Nastos

I'm Old Fashioned

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Mel Tormé - Swingin' On The Moon

Bitrate: MP3@320K/s
Time: 37:48
Size: 86.5 MB
Styles: Vocal
Year: 1960/1998
Art: Front

[3:28] 1. Swingin On The Moon
[3:05] 2. Moonlight Cocktail
[3:52] 3. I Wished On The Moon
[3:12] 4. Moon Song
[3:14] 5. How High The Moon
[2:39] 6. Don't Let That Moon Get Away
[3:41] 7. Blue Moon
[2:56] 8. Velvet Moon
[2:32] 9. No Moon At All
[3:01] 10. Moonlight In Vermont
[3:16] 11. Oh You Crazy Moon
[2:45] 12. The Moon Was Yellow

Tormé displays a grasp of a certain agreeable absurdity in this 1962 release's concept--songs with the word moon in their titles or settings--when, at the end of the album's self-penned namesake cut, he begins babbling references to the rest of the tunes in a prophecy of Bill Murray's lounge-singer character. Fortunately, this reissue has more to recommend it than an amusing datedness--not least Tormé's own aplomb and a small big band that includes players like altoist Bud Shank and drummer Mel Lewis. ~Rickey Wright

Swingin' On The Moon

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Jimmy Raney, Doug Raney - Stolen Moments

Bitrate: MP3@320K/s
Time: 39:29
Size: 90.4 MB
Styles: Guitar jazz
Year: 1979/1994
Art: Front

[3:51] 1. Jonathan's Waltz
[5:09] 2. Chelsea Bridge
[5:54] 3. Stolen Moments
[4:49] 4. How My Heart Sings
[6:37] 5. I Should Care
[6:07] 6. Samba Teekens
[6:59] 7. Alone Together

Other than one number on a Jimmy Raney album from 1975, this set was the first joint recording by Jimmy and his son Doug Raney. The two similar-sounding guitarists team up with bassist Michael Moore and drummer Billy Hart on five standards (including "Chelsea Bridge," "Stolen Moments" and "Alone Together") and a couple of Jimmy's originals. The guitarists blend together quite well, and often one does not know who is soloing; the results should delight fans of cool-toned modern mainstream guitar. ~Scott Yanow

Stolen Moments

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Leon Redbone - Any Time

Bitrate: MP3@320K/s
Time: 43:43
Size: 100.1 MB
Styles: Pop/Rock/Jazz, Ragtime
Year: 2001
Art: Front

[3:56] 1. Any Time
[4:06] 2. If You Knew
[2:32] 3. Ain't Gonna Give You None Of My Jelly Rol
[3:52] 4. All I Do Is Dream Of You
[2:58] 5. Louisiana Fairytale
[2:58] 6. So Tired Of Livin' All Alone
[3:36] 7. Sittin' On Top Of The World
[2:42] 8. Sweet Substitute
[3:16] 9. Blossoms On Broadway
[4:05] 10. In The Shade Of The Old Apple Tree
[2:20] 11. Sweet Lorraine
[3:42] 12. Moonlight Bay
[3:34] 13. Your Feets Too Big

Seven years passed between 1994's Whistling in the Wind and Leon Redbone's next studio album, Any Time -- which, like his previous recordings, demonstrates that the singer was born in the wrong time. Redbone should have been born in 1900 or 1905, but lucky for listeners, he wasn't -- and his nostalgia has made for a lot of enjoyable moments. On this 2001 release, Redbone continues his love affair with the jazz, pop, and folk of the '20s and '30s. The crooner takes listeners back to a time when Herbert Hoover or Franklin Delano Roosevelt was in the White House, and he maintains a relaxed, congenial, laid-back ambience on vintage tunes that include "In the Shade of the Old Apple Tree," "All I Do Is Dream of You," and Jelly Roll Morton's "Sweet Substitute." Drawing on influences that range from Hoagy Carmichael to Bing Crosby -- although he has more of a rural, folksy, down-home outlook than the latter -- Redbone pays tribute to what is often thought of as a more innocent and naïve period of American music. Of course, not all of the music from the '20s and '30s was innocent. Classic blues singer Lucille Bogan's "Shave 'Em Dry" (just to give one example) is as raunchy and X-rated as anything by 2 Live Crew, Prince, or Lil' Kim. But a lot of '20s and '30s songs did have an innocent sort of charm -- at least by today's standards -- and that is the type of mood that Redbone goes for on this CD. Anyone who has enjoyed Redbone's previous releases will find Any Time to be a rewarding addition to his catalog. ~Alex Henderson

Any Time

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Wild Bill Davison - Pretty Wild/With Strings Attached

Bitrate: MP3@320K/s
Time: 75:37
Size: 173.1 MB
Styles: Cornet Jazz
Year: 2007
Art: Front

[2:31] 1. Mandy, Make Up Your Mind
[2:54] 2. Black Butterfly
[2:20] 3. If I Had You
[3:52] 4. Just A Gigolo
[2:12] 5. Blue Again
[2:34] 6. When Your Lover Has Gone
[2:35] 7. Sugar
[3:13] 8. Sweet & Lovely
[2:28] 9. Rockin' Chair
[2:50] 10. She's Funny That Way
[2:59] 11. I Don't Stand A Ghost Of A Chance With You
[3:33] 12. Wild Man Blues
[3:24] 13. Love Is Here To Stay
[3:34] 14. Blue
[3:24] 15. It's The Talk Of The Town
[3:11] 16. Mournin' Blues
[3:00] 17. Prelude To A Kiss
[3:54] 18. Sentimental Journey
[3:52] 19. You Turned The Tables On Me
[3:46] 20. My Inspiration
[3:26] 21. Now That You're Gone
[3:04] 22. Limehouse Blues
[3:12] 23. Moanin' Low
[3:36] 24. Serenade In Blue

On the first session - Percy Faith and His Strings; Gene Schroeder, piano; Art Ryerson, guitar; Frank Carroll, bass; Bobby Rosengarden, drums. On the second session - With Strings Attached Orchestra; Cutty Cutshall, trombone; Bob Wilber, clarinet; Gene Schroeder, piano; Barry Gailbraith, guitar; Jack Lesberg, bass; and Don Lamond, drums. Wild Bill Davison plays cornet on all tracks.

Wild Bill Davison did not always front a go-for-broke Dixieland band playing his cornet above a high-octane rhythm section. Arbors Records has reissued two albums featuring Davison with strings. Pretty Wild and With Strings Attached, originally recorded in 1956 and 1957, reveal a lyrical, reflective Davison playing ballads and slow to medium tempo standards. This other side of Wild Bill Davison, a very attractive one, adds dimension to his reputation.

On Pretty Wild Davison plays with a jazz quartet and the Percy Faith Strings. The second album, With Strings Attached, features Davison with a session orchestra and a jazz sextet with a notable line-up that includes Bob Wilber on clarinet and Barry Gailbraith on guitar. Davison is in good form throughout the two sessions, obviously inspired by the settings. Those who are familiar with Davison mainly through his famous Commodore recordings may be a bit surprised by the lush, clear ballad tone that Davison casually sustains. At times, he dips into a growly blues that diverges from the sweet tone of the strings, but for the most part he plays with a graceful assurance in synch with the arrangers’ ambitions. The jazz groups are notable for some outstanding performances, especially on the With Strings Attached session. Bob Wilber’s solo work on “Now That You’re Gone,” and “Limehouse Blues” compliments Davison’s equally fine contributions. Trombonist Cutty Cutshall is also noteworthy for his concise, spirited playing. In general, the string arrangements are fairly unobtrusive and at times succeed. Two of the more successful arrangements are “My Inspiration” and “Mountain Low.” In the latter, the exchanges between the jazz soloists and the strings are engaged and inspired. The typical faults of jazz string arrangements, too sweet playing or a superfluous string presence, emerge at times in both sessions, but Davison’s cornet thrives throughout – so who’s complaining?

This is a long CD with 24 tracks. The focus is on Wild Bill Davison’s solos and he consistently delivers. If you’re fortunate enough to own a copy of the Commodore recordings this reissue is a wonderful compliment to those rough and tumble performances. ~Mike Neely

Pretty Wild/With Strings Attached

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Pee Wee Ellis - Gentle Men Blue

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 57:16
Size: 133,2 MB
Art: Front

(0:36)  1. Mercedes Benz - Take 1
(6:43)  2. I Love You For Sentmental Reasons
(7:49)  3. Someone To Watch Over Me
(5:59)  4. Party Time
(6:09)  5. Crazy
(8:26)  6. Old Folks
(4:30)  7. Parlaying
(9:00)  8. Cottage For Sale
(3:38)  9. Hamburg´n
(3:40) 10. Rock Of Ages
(0:40) 11. Mercedes Benz - Take II

Saxophonist Pee Wee Ellis was the architect of James Brown's era-defining soul classics of the late '60s, introducing the dynamic arrangements and punishing rhythms that would define the emerging language of funk. Born Alfred Ellis in Bradenton, FL, on April 21, 1941, he was raised in Lubbock, TX, and was playing professionally by the time he reached middle school. In 1955, his family relocated to Rochester, NY, where he collaborated with classmates (and fledgling jazzmen) Chuck Mangione and Ron Carter. Ellis spent the summer of 1957 under the tutelage of sax giant Sonny Rollins, and after graduating high school he returned to Florida to form his own R&B combo, Dynamics Incorporated. The experience honed his skills as a writer, arranger, and multi-instrumentalist, and after a brief stint with the Sonny Payne Trio he joined the James Brown Revue in 1965.  Assigned alto sax and organ duties, Ellis quickly proved himself an invaluable contributor to arrangements and horn charts as well, and when Nat Jones quit the lineup in early 1967, Brown named Ellis his new musical director, resulting in significant refinements to the Godfather of Soul's sound. Ellis channeled the lessons of his jazz background to strip Brown's music to its bare essentials, showcasing bold, precise horns and repetitive rhythms with a minimum of melodic embellishment hits like "Cold Sweat," "Licking Stick-Licking Stick," and "Funky Drummer" redefined the sound and scope of soul, pointing the way for its transformation to funk.

Ellis went on to co-write and arrange a series of James Brown smashes, including "Say It Loud, I'm Black and I'm Proud" and "Mother Popcorn," as well as issuing a handful of solo singles on Brown's label King, among them "Little Green Apples" and "In the Middle." He resigned from Brown's band in the autumn of 1969, and after settling in New York City he signed to the Nashville-based Sound Stage 7 label and issued the rare groove classic "Moonwalk." Ellis also emerged as a sought-after session player, contributing to dates headlined by everyone from soul-jazz great Brother Jack McDuff to a latter-day blues-rock incarnation of the Blues Magoos. He then served as musical director and arranger for the CTI label's influential fusion imprint Kudu, overseeing sessions for Esther Phillips, George Benson, and Hank Crawford.  Ellis next teamed with the studio group Gotham to record the LP Pass the Butter for Motown's Natural Resources subsidiary before resuming his solo career with his first-ever full-length effort, the 1976 Savoy release Home in the Country. After relocating to San Francisco, Ellis formed a short-lived fusion quintet with soprano saxophonist Dave Liebman, also playing on and producing Liebman's 1977 A&M release Light'n Up Please! With 1979's Into the Music, he was named arranger for blue-eyed soul mystic Van Morrison, a collaboration that spanned until 1986 and included a series of well-regarded albums including Common One and Inarticulate Speech of the Heart.

Ellis spent much of the late '80s touring behind longtime Brown backing vocalist Bobby Byrd in tandem with fellow J.B.'s alums Fred Wesley and Maceo Parker as the JB Horns, debuting on disc with the 1990 release Pee Wee, Fred and Maceo. Subsequent efforts include I Like It Like That and Funky Good Time/Live. After the JB Horns went on hiatus in 1992, Ellis reunited with another Brown alum, drummer Clyde Stubblefield, for the album Blues Mission. He then returned to his jazz roots with 1993's acclaimed Twelve and More Blues, a live set cut in Köln, Germany, with bassist Dwayne Dolphin and drummer Bruce Cox. That summer, Ellis also headlined a week of sold-out dates at Ronnie Scott's in London, an experience that shaped both his movement into acid jazz with 1994's Sepia Tonality and subsequent relocation to western England.  With the move overseas, Ellis also resumed his partnership with Van Morrison on the latter's 1995 effort, Days Like This, serving as musical director of Morrison's studio and stage crew for years to follow; Ellis also formed his own band, the Pee Wee Ellis Assembly, for 1996's A New Shift. The group remained active in concert and on record for years to follow, confining most of its activities to Europe and pursuing a direction Ellis dubbed "smunk”  i.e., smooth funk. ~ Jason Ankeny http://www.allmusic.com/artist/pee-wee-ellis-mn0000305424/biography

Personnel:  Pee Wee Ellis (saxophone), Horace Parlan (piano)

Gentle Men Blue

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Patricia O'Callaghan - Real Emotional Girl

Styles: Vocal, Swing
Year: 2007
File: MP3@320K/s
Time: 60:01
Size: 137,6 MB
Art: Front

(4:00)  1. Hallelujah
(2:49)  2. Betterman
(3:10)  3. Real Emotional Girl
(1:48)  4. Captain Valentine's Tango
(4:22)  5. Je Rêve de Toi
(3:11)  6. I'm Your Man
(5:53)  7. Joan of Arc
(4:40)  8. Nanna's Song
(4:02)  9. Lucky to Be Me
(4:33) 10. Like a Rolling Stone
(2:57) 11. Attendez Que Ma Joie Revienne
(3:37) 12. Stay Well
(3:59) 13. Take This Waltz
(2:27) 14. Mon Manège à Moi
(3:30) 15. A Singer Must Die
(4:54) 16. Creepin'

Patricia O'Callaghan's Real Emotional Girl was her first album distributed in the U.S. and is also her major-label debut. This O'Callaghan album reduces the number of Kurt Weill tunes to just three, increases the Leonard Cohen quotient to five, and includes other songs from slightly more mainstream writers, such as Pearl Jam and Bob Dylan. Those who were introduced to O'Callaghan with Slow Fox may be critical of the inclusion of such songs as Eddie Vedder's "Better Man" or even Dylan's "Like a Rolling Stone." But her interpretations are often inspired. (In fact, can listeners be so hopeful as to expect that O'Callaghan's next record will be exclusively Cohen material?) Some expecting jazzy vocals may be disappointed; those familiar with her operatic soprano voice should be impressed again. For the pop music fan, covering lesser-known (but highly engaging) material may play better on the ears. One could argue that Real Emotional Girl is too pop and mainstream. Others would say that her take on those pop hits is not of interest to the early 20th century pop expert. The risk this collection takes may be considered a weakness by some. But it is hard to criticize a singer who covers Randy Newman as well as Cohen. (Real Emotional Girl repeats five songs from Slow Fox.) Standout tracks include "Je Rêve de Toi," "I'm Your Man," and "Real Emotional Girl." Real Emotional Girl, because of its diverse song selection, should be where a pop listener starts. But fans of Kurt Weill would be wise to check out this album too. ~ JT Griffith http://www.allmusic.com/album/real-emotional-girl-mw0000000686

Personnel: Patricia O'Callaghan (vocals); Howard Hughes (acoustic, piano); Rob Piltch (guitar); Mark Fewer, Barry Shiffman (violin); Claudio Vena (viola, accordion); Kathleen Kajioka, Max Mandel (viola); David Heatherington (cello); Camille Watts (flute); Mike Sweeney, Chris Sharpe (bassoon); Tom Szczesniak (accordion); Phil Dwyer (soprano saxophone); Robert Kortgaard (piano); Andy Morris (vibraphone, percussion).

Real Emotional Girl

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Bill Potts, Brasilia Nueve - How Insensitive

Styles: Piano, Latin Jazz
Year: 1967
File: MP3@320K/s
Time: 30:36
Size: 70,6 MB
Art: Front

(2:37)  1. How Insensitive
(2:49)  2. Brasilville
(3:05)  3. Day By Day
(3:14)  4. Now I Know The Feeling
(2:51)  5. My Heart Loves The Samba
(2:34)  6. Teach Me Tonight
(4:11)  7. Meditation
(3:08)  8. Como Va
(2:47)  9. Que Se Vaya
(3:13) 10. Forgetting You

Caetano Rodrigues said wonders about this album since it has arrived here. Actually, this LP was supposed to be released yesterday when that technical difficulties appeared. It is the kind of album that you make discovers each time you take for a hearing. Thanks Caetano for making it available, some type of music is very hard to identify, your knowledge has been of a great help to zecalouro and Loronixers. This is Brasilia Nueve, How Insensitive (1969), for Decca. I forgot to check with Caetano and I think the band known here as Brasilia Nueve was assembled only to release this album, recorded in New York. The main performer is the jazz pianist Bill Potts, followed by the sax tenor of Zoot Zimns and a special artist playing vibes that could not be listed, probably due contracts obligations. They made together a nice approach to Bossa Nova, melting at the same song the Bossa Nova rhythm, suddenly changing to jazz on very complex and transitions. Thanks Caetano for this LP, which is a very hard to find information about.

Personnel:  Piano – Bill Potts;  Bass – Richard Davis (2);  Cabasa – Charlie Palmieri;  Conductor, Arranged By – Bill Potts;  Congas – Chino Pozo;  Drums – Mel Lewis;  Guitar – Barry Galbraith, Tony Gottuso;  Percussion – Louie Ramirez;  Producer – Richard Marin;  Saxophone – Zoot Sims;  Trumpet – Markie Markowitz;   Vibraphone [Special Guest Artist] – Unknown Artist

How Insensitive

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Red Garland - The Nearness of You

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 40:30
Size: 92,9 MB
Art: Front

(4:58)  1. Why Was I Born?
(5:42)  2. The Nearness of You
(6:14)  3. Where or When
(3:57)  4. Long Ago (and Far Away)
(5:24)  5. I Got It Bad (and That Ain't Good)
(4:45)  6. Don't Worry About Me
(4:23)  7. Lush Life
(5:03)  8. All Alone

Unlike his slightly earlier recordings for Moodsville (which feature Red Garland on unaccompanied piano solos), this strictly ballad date has Garland joined (on all but the solo "Lush Life") by bassist Larry Ridley and drummer Frank Gant. Since all eight of the standards are taken at the same medium/slow tempo, there is not much variety here, keeping the CD from being essential. But Garland's attractive and distinctive chord voicings, plus his ability to uplift melodies while swinging at a slow speed, make this project a success. Highlights include "The Nearness of You," "Where or When," and Irving Berlin's "All Alone." Particularly effective when used as background music. ~ Scott Yanow http://www.allmusic.com/album/the-nearness-of-you-mw0000602493

Personnel: Red Garland (piano); Larry Ridley (bass); Frank Gant (drums).

The Nearness of You

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Bill Evans - At the Montreux Jazz Festival

Styles: Piano Jazz
Year: 1968
File: MP3@256K/s
Time: 58:59
Size: 111,9 MB
Art: Front

(5:22)  1. One for Helen
(6:05)  2. A sleeping bee
(5:14)  3. Mother of earl
(8:24)  4. Nardis
(6:00)  5. I love you porgy
(4:45)  6. The touche of your lips
(6:45)  7. Embraceable you
(6:09)  8. Someday my prince will come
(3:45)  9. Walkin' up
(6:26) 10. Quiet now

Bill Evans' 1968 release, At the Montreux Jazz Festival, marks the beginning of stylistic changes for the legendary pianist. Only one year earlier, his At Town Hall release found his approach generally more introspective and brooding. In contrast, this set is more lively, playful, and experimental. Much of this is down to the active and intense drumming of Jack DeJohnette, who had joined the trio only a short time before this concert was recorded; longtime bandmate Eddie Gomez is also featured on this album. His energetic soloing adds veracity to tunes such as "Embraceable You" and "A Sleeping Bee." DeJohnette, too, is given several opportunities to display his drumming skills. His lengthy solo on "Nardis" displays his technical prowess and four-way coordination; such acumen would later cause jazz fans and critics alike to hail DeJohnette as one of the world's premier jazz drummers. Evans, famous for a soft-spoken pianistic touch, seems driven to new vistas on this album. He experiments more with harmonic dissonance and striking rhythmical contrasts, making this his most extroverted playing since his freshman release, New Jazz Conceptions. ~ Rovi Staff  http://www.allmusic.com/album/at-the-montreux-jazz-festival-mw0000652751

Personnel: Bill Evans (piano); Eddie Gomez (bass); Jack DeJohnette (drums)

At the Montreux Jazz Festival

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