Tuesday, September 26, 2017

Bertha Hope - Elmo's Fire

Bitrate: MP3@320K/s
Time: 55:39
Size: 127.4 MB
Styles: Bop, Piano jazz
Year: 1991
Art: Front

[ 6:52] 1. Low Tide
[ 2:13] 2. Mirror-Mind Rose
[ 9:12] 3. Bai Tai Blues
[ 9:16] 4. For Duke And Cannon
[11:57] 5. Bellarosa
[ 7:16] 6. Luna Negra
[ 8:50] 7. Elmo's Fire

Bertha Hope was married to pianist Elmo Hope for just seven years prior to his death in 1967, but she only recorded a few piano duets with him until getting back into the studio in the early 1990s. On this session, she proves herself to a more than capable pianist, composer and arranger as she leads a strong quintet featuring trumpeter Eddie Henderson, tenor saxophonist Junior Cook (with Dave Riekenberg taking over on "Bellarosa"), bassist Walter Booker and drummer Leroy Williams. Her snappy "Bai Tai Blues" stands up against anything her late husband recorded during his career, while there is plenty of blowing space for Cook and Henderson. The lovely ballad tribute "For Duke and Cannon," composed by Sonny Fortune, is a subtle feature for Hope with Booker's tasty bass and Williams' crisp brushwork. She offers effective interpretations of her late husband's works, especially the sauntering "Bellarosa" and the breezy "Elmo's Fire," which showcases the leader extensively. Sadly there are no liner notes to give more background about the leader and the making of this session. Bertha Hope, a superb talent worthy of wider recognition in her own right, should be a regular visitor to the recording studio. ~Ken Dryden

Elmo's Fire

Charlie Byrd Trio - I've Got The World On A String

Bitrate: MP3@320K/s
Time: 68:02
Size: 155.7 MB
Styles: Guitar jazz
Year: 1994
Art: Front

[3:26] 1. I'm Gonna Sit Right Down And Write Myself A Letter
[3:13] 2. Blue Skies
[4:15] 3. How Deep Is The Ocean
[2:49] 4. Gee Baby, Ain't I Good To You
[3:48] 5. I've Got The World On A String
[3:48] 6. Goody Goody
[4:05] 7. They Can't Take That Away From Me
[2:55] 8. Avalon
[3:41] 9. Just You, Just Me
[4:51] 10. One To Nothing
[4:13] 11. Don't Get Around Much Anymore
[4:57] 12. Satin Doll
[4:23] 13. Travellin' On
[4:03] 14. Someone To Light Up My Life
[4:09] 15. So Danca Samba
[5:10] 16. Imagination
[4:08] 17. Straight, No Chaser

Charlie Byrd - guitar, vocals; Joe Byrd - bass; Chuck Redd - drums. Recorded at Studio Murec, Milano.

Charlie has always liked to sing. That's one of the reasons he wanted to make this recording. He's only been featured singing once before on record - on one of his old Columbia albums. His singing voice is just as sweet and soft and tinged with his lovely Southern accent as his speaking voice. It's just right for such songs as Blue Skies and Gee Baby, Ain't I Cood To You?

The other thing that Charlie wants to do with this record is spotlight his regular trio. Charlie, his brother Joe, and drummer Chuck Redd have been working as a tight unit for 14 years...yet they haven't been recorded that much. Joe is an excellent bass player who also sings (though not on this recording) in a style that recalls Mose Allison. Chuck Redd is one of the most respected young drummers on the D.C. scene. He's got big ears - you often see him at the clubs, after he's finished playing his own gigs, checking out the other musicians. It's always a pleasure to hear the Charlie Byrd trio...and it's often a surprise. Even if you know his music well, you sometimes slip into making that instant connection: 'Charlie Byrd = Brazilian music.' It's a treat to hear... again...how much else he can do. ~Tom Cole

I've Got The World On A String

Dizzy Reece - Asia Minor

Bitrate: MP3@320K/s
Time: 36:13
Size: 82.9 MB
Styles: Bop, Trumpet jazz
Year: 1962/1992
Art: Front

[5:26] 1. The Shadow Of Khan
[4:31] 2. The Story Of Love
[5:38] 3. Yamask
[4:37] 4. Spiritus Parkus (Parker's Spiritus)
[7:48] 5. Summertime
[8:11] 6. Ackmet

Baritone Saxophone – Cecil Payne; Bass – Ron Carter; Drums – Charlie Persip; Flute – Joe Farrell; Piano – Hank Jones; Tenor Saxophone – Joe Farrell; Trumpet – Dizzy Reece. Recorded in Englewood Cliffs, New Jersey; March 13, 1962.

This is one of trumpeter Dizzy Reece's finest recordings, a well-planned sextet date (reissued on CD) with baritonist Cecil Payne, Joe Farrell on tenor and flute, pianist Hank Jones, bassist Ron Carter, and drummer Charlie Persip that is on the level of a Blue Note album. Reece (who contributed three diverse originals) performs mostly minor-toned songs that seem to really inspire the musicians. The solos tend to be concise but quite meaningful, and, overall, this hard bop but occasionally surprising session is quite memorable. Strange that Reece would not get another opportunity to lead a record date until 1970. ~Sxptt Yanow

Asia Minor

Roland Hanna Trio - Dream

Bitrate: MP3@320K/s
Time: 63:29
Size: 145.3 MB
Styles: Bop, Piano jazz
Year: 2001
Art: Front

[4:54] 1. When I Grow Too Old To Dream
[4:12] 2. Street Of Dreams
[6:05] 3. You Stepped Out Of A Dream
[6:39] 4. Day Dream
[5:31] 5. This Time The Dream's On Me
[4:34] 6. Skylark
[6:01] 7. I Hear A Rhapsody
[5:07] 8. Dream
[4:31] 9. So In Love
[5:30] 10. Dream Dancing
[4:28] 11. A Sleepin' Bee
[5:51] 12. You Do Something To Me

Bass – Paul West; Drums – Eddie Locke; Piano – Roland Hanna. Recorded at "The Studio" in New York on February 1st, 2001.

One of Sir Roland Hanna's last recordings prior to his death at the end of 2002 was this session for the Japanese Venus label. With seven of the 12 songs incorporating the word "dream" in their titles, it seemed to be a fitting title for the CD. Hanna is joined by bassist Paul West and drummer Eddie Locke, kicking off with a rollicking take of "When I Grow Too Old to Dream." The pianist and the bassist trade lines throughout the lush introduction to the infrequently heard "Street of Dreams." The joyful interpretation of "This Time the Dream's on Me" (a favorite of Marian McPartland) and swinging treatment of "Dream" are also highlights. The "non-dream" tracks include a lullaby-like arrangement of "A Sleepin' Bee" and a toe-tapping "I Hear a Rhapsody." Highly recommended. ~Ken Dryden

Dream

Glen Gray & The Casa Loma Orchestra - 1940

Bitrate: MP3@320K/s
Time: 55:06
Size: 126.2 MB
Styles: Big band
Year: 1983
Art: Front

[3:20] 1. Little Brown Jug
[3:05] 2. Last Night's Gardenias
[3:00] 3. Save Your Sorrow For Tomorrow
[3:02] 4. Tuxedo Junction
[2:55] 5. The Fable Of The Rose
[2:52] 6. Would'nt Could I But Kiss Thy Hand, Oh! Babe
[2:39] 7. Castle Of Dreams
[3:25] 8. Git Away Day
[2:53] 9. You've Got Me Out On A Limb
[3:20] 10. In The Mood
[2:34] 11. Yodelin' Jive
[3:03] 12. Watching The Clock
[2:52] 13. Jimtown Blues
[3:05] 14. I'll Take You Home Again, Kathleen
[2:50] 15. Big Bad Bill (Is Sweet William Now)
[3:10] 16. Polka Dots And Moonbeams
[6:51] 17. No Name Jive Parts One And Two

The Casa Loma Orchestra was a popular American dance band active from 1927 to 1963. From 1929 until the rapid multiplication in the number of swing bands from 1935 on, the Casa Loma Orchestra was one of the top North American dance bands. With the decline of the big band business following the end of World War II, it disbanded in 1947. However, from 1957 to 1963, it re-emerged as a recording session band in Hollywood, made up of top-flight studio musicians under the direction of its most notable leader of the past, Glen Gray. The reconstituted band made a limited number appearances live and on television and recorded fifteen LP albums for Capitol Records before Gray died in 1963.

1940

Cherry Poppin' Daddies - White Teeth, Black Thoughts

Bitrate: MP3@320K/s
Time: 37:15
Size: 85.3 MB
Styles: Retro Swing
Year: 2013
Art: Front

[3:55] 1. The Babooch
[3:44] 2. I Love American Music
[3:20] 3. Whiskey Jack
[2:27] 4. Doug The Jitterbug
[3:26] 5. White Teeth, Black Thoughts
[4:05] 6. Brown Flight Jacket
[2:28] 7. Bloodshot Eyes
[2:44] 8. Jakes Frilly Panties
[3:16] 9. Huffin' Muggles
[2:47] 10. I Want A Bowlegged Woman
[4:58] 11. Concrete Man Blues

Cherry Poppin' Daddies' sixth studio album, 2013's White Teeth Black Thoughts, is the band's first album of all swing-oriented material since their hit 1997 compilation Zoot Suit Riot. The album also follows up the group's more eclectic, world music-infused 2008 album Susquehanna and ska-centric 2009 compilation Skaboy JFK. Loosely inspired by the American financial crisis of 2007-2008, lead singer Steve Perry began re-investigating various Dust Bowl and Depression-era swing songs as a way of finding historical context for the nation's troubles. This led Perry and the Daddies to cover several songs from the '30s, '40s, and '50s, something the band had heretofore eschewed in favor of sticking to original material. To these ends, the band takes on Wynonie Harris' "Bloodshot Eyes," Bull Moose Jackson's "I Want a Bowlegged Woman," and Louis Jordan's "Doug the Jitterbug." While these cover songs never stray too far afield from the original arrangements, they do sound fresh and imbued with that crisp (punk-informed, if not literally punk-sounding) Cherry Poppin' Daddies style of swing. Elsewhere, the band delves into several no less compelling originals, including the very socio-satirical "The Babooch," the bluesy "I Love American Music," and the glitter rock meets Cab Calloway-sounding "Brown Flight Jacket." The result is an album of exuberant, urbane dance music that moves from popular standards to new compositions with devilish ease. ~Matt Collar

White Teeth, Black Thoughts

Bill Evans - We Will Meet Again

Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 61:59
Size: 142,3 MB
Art: Front

(10:09)  1. Comrade Conrad
( 8:22)  2. Laurie
(10:52)  3. Bill's Hit Tune
( 3:40)  4. For All We Know (We May Never Meet Again)
( 9:14)  5. Five
(10:51)  6. Only Child
( 6:14)  7. Peri's Scope
( 2:33)  8. We Will Meet Again

This was pianist Bill Evans' final studio session, a rare outing with a quintet (starring trumpeter Tom Harrell and Larry Schneider on tenor and soprano) and his first recording with the members of his final regular trio (bassist Marc Johnson and drummer Joe LaBarbera). The playing time is over 61 minutes. The group interprets "For All We Know" and seven Evans originals, including "Peri's Scope" and "Five." The thoughtful session is full of lyrical melodies and strong solos; even Evans' electric keyboard work on a few tunes is distinctive. ~ Scott Yanow http://www.allmusic.com/album/we-will-meet-again-mw0000276230

Personnel:  Piano, Electric Piano – Bill Evans;  Acoustic Bass – Marc Johnson;  Drums – Joe LaBarbera;  Tenor Saxophone, Soprano Saxophone, Flute [Alto] – Larry Schneider;  Trumpet – Tom Harrell

We Will Meet Again

Hank Jones, Jimmy Cobb, Christian McBride - West of 5th

Styles: Piano Jazz, Post-Bop
Year: 2006
File: MP3@320K/s
Time: 62:18
Size: 143,1 MB
Art: Front

(5:22)  1. On Green Dolphin Street
(4:26)  2. Mr. Walker
(8:00)  3. Speak Low
(5:28)  4. A Child Is Born
(5:50)  5. If I Were A Bell
(5:18)  6. Billie's Bounce
(6:26)  7. Lotus Blossom
(4:53)  8. Confirmation
(6:52)  9. We'll Be Together Again
(4:50) 10. Stella by Starlight
(4:49) 11. Eleanor

Veteran pianist Hank Jones is hardly slowing down at the age of 87, as heard on this beautifully recorded session in early 2006. With drummer Jimmy Cobb (who sticks to brushes) and Christian McBride rounding out his potent trio, Jones keeps old warhorses like "On Green Dolphin Street" fresh, giving ample space to his partner and adding a humorous detour into Billy Strayhorn's "Rain Check." Other highlights include his elegant treatment of his late brother Thad's timeless ballad "A Child Is Born" and a hard driving take of Charlie Parker's "Confirmation."

McBride shows depth beyond his years with strong accompaniment and swinging solos. This Hybrid Super Audio CD, recorded without any gimmickry such as remixing or compression, enables the listener to enjoy these intimate performances as if sitting in the studio with the players. Highly recommended! 
~ Ken Dryden http://www.allmusic.com/album/west-of-5th-mw0000559064

Personnel: Hank Jones (piano); Christian McBride (double bass); Jimmy Cobb (drums).

West of 5th

Eddie 'Lockjaw' Davis - Trane Whistle

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 33:03
Size: 76,8 MB
Art: Front

(6:19)  1. Trane Whistle
(3:35)  2. Whole Nelson
(5:11)  3. You Are Too Beautiful
(7:54)  4. The Stolen Moment
(5:27)  5. Walk Away
(4:36)  6. Jaws

This CD reissue brings back an Eddie "Lockjaw" Davis session in which the distinctive tenor saxophonist is joined by a 13-piece big band arranged by Oliver Nelson. Most significant is the inclusion of the original version of "Stolen Moments" (here called "The Stolen Moment" and predating the more famous Oliver Nelson recording by several months). Eric Dolphy is in the backup group but is not heard from in a solo capacity. There are some spots for trumpeters Richard Williams, Clark Terry and Bobby Bryant along with Nelson on alto but this is primarily Davis' showcase. On a set comprised of four Oliver Nelson originals, the ballad "You Are Too Beautiful" and the leader's "Jaws," Lockjaw as usual shows plenty of emotion during his driving solos. ~ Scott Yanow http://www.allmusic.com/album/trane-whistle-mw0000207360

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Clark Terry, Richard Williams, Bob Bryant (trumpet); Melba Liston, Jimmy Cleveland (trombone); Jerome Richardson, Oliver Nelson, Eric Dolphy, George Barrow, Bob Ashton (reeds); Richard Wyands (piano); Wendell Marshall (bass); Roy Haynes (drums).

Trane Whistle

Dmitry Baevsky - The Day After

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 67:22
Size: 155,0 MB
Art: Front

(6:39)  1. Would You?
(6:37)  2. Minor Blues 012
(5:30)  3. Chant
(6:38)  4. Minor Delay
(7:20)  5. Hotel Baudin
(5:06)  6. The Wise Ones
(6:36)  7. The Day After
(5:39)  8. Four Seven Nine One
(9:33)  9. Delilah
(7:39) 10. I've Told Ev'ry Little Star

Imagine a group that, in large measure, references the bebop revolution of nearly seventy-five years ago, yet steers clear of the pitfalls of nostalgia, hero worship, and blatant imitation, and ultimately wins the day with an adroit blend of teamwork and compelling individual voices. For those who believe that nothing good can come from contemporary players choosing to work an all-too-familiar vein of the jazz tradition, I suggest a visit with Dmitry Baevsky's band. Over the past several years, the alto saxophonist's quartet featuring pianist Jeb Patton, bassist David Wong, and drummer Joe Strasser, has often performed at Smalls Jazz Club in New York City. The fruits of their labor are documented for the first time in The Day After, Baevsky's sixth record date as a leader. One of the record's primary strengths is the lasting impression made by the heads, leaving no doubt that they're as important as the solos that follow. The material feels lived-in, savored, respected, as opposed to expediently worked up for the record date. The group fully realizes a number of expressive perspectives. Baevsky's "Would You?," the opening track, is a graceful, courtly jazz waltz. Duke Pearson's "Chant" manages to wax shrewd and soulful without being too obvious about it. Patton's lickety-split "The Wise Ones" contains a number of dazzling twists and turns. Tom McIntosh's "The Day After" is a convincingly melancholy ballad. Victor Young's "Delilah" evinces a seductive, unhurried vibe. Much of the substance in these tracks lies in the details, such as the easy, natural sounding ways in which Patton supports and/or joins Baeveky in playing the melodies. Or, the exemplary hook-up between Wong and Strasser, in which the bassist lays down a sturdy, feel-good foundation that enables the drummer to use every component of his kit to make all manner of remarks about a song while remaining in the pocket.

The band's primary soloists, Baevsky and Patton, emerge in ways that display an acute awareness of the group as a whole. Throughout his turn on "Would You?," Baevsky persuasively asserts himself without becoming particularly verbose or forceful; often leaving enough space between tart, relatively concise phrases to allow the voices of each accompanying instrument to take effect. The title track finds him in an assertive ballad mode, gradually expanding and imaginatively building in strength without completely breaking ties to the tune's the melody. Patton's "Chant" solo is noteworthy for stability amidst changes in velocity and emphasis, as he leans against Wong's earthy walking bass, suddenly skips away from it with breathless single note lines, and invariably finds unexpected places to snap back into place. 

Left to his own devices at the onset of Baevsky's "Rollin'" and near the end of "Delilah," Strasser makes a deep impression with meticulous sticking and mallet strokes, a genuine feel for structure, and the ability to tell a story minus any extraneous details. For anyone who appreciates shrewdly chosen material, a cohesive, interactive group sound, and solos that are nicely integrated into the whole presentation, I heartily recommend The Day After. ~ David A. Orthmann https://www.allaboutjazz.com/the-day-after-dmitry-baevsky-jazz-family-review-by-david-a-orthmann.php

Personnel: Dmitry Baevsky: alto saxophone; Jeb Patton: piano; David Wong: bass; Joe Strasser: drums.

The Day After

Lizz Wright - Grace

Styles: Vocal, Neo-Soul
Year: 2017
File: MP3@320K/s
Time: 43:50
Size: 101,2 MB
Art: Front

(5:07)  1. Barley
(4:43)  2. Seems I’m Never Tired Lovin’ You
(3:47)  3. Singing In My Soul
(4:14)  4. Southern Nights
(3:17)  5. What Would I Do Without You
(4:55)  6. Grace
(3:52)  7. Stars Fell On Alabama
(5:29)  8. Every Grain Of Sand
(4:34)  9. Wash Me Clean
(3:48) 10. All The Way Here

In reaffirming the adage that you can go home again, Lizz Wright did just that. The songs on Grace reflect a homecoming to the singer's southern heritage a personal rite of passage to glean inspiration and redefine her musical origins. She revisits her rural Georgia upbringing and Atlanta gospel roots, and finds comfort at her current home in Asheville, North Carolina. Having had an enduring taste of fame and success, she articulates the need for humanity, direly absent in times like these. Possessing a discernible earthy vocal quality, and recognized as a riveting interpreter of any song she sings, this time around Wright opts for an Americana theme guided by the expertise of producer Joe Henry, who proves to be a wise choice for the project. In keeping with Wright's natural inclinations, there is an inherent sense of the music that has forever buoyed the spirit of the black community, where she has been culturally grounded since Wright's days as musical director of her father's church. "Barley" is a rhythmic acoustic blues that conjures images of farmlands, down home country living and unwavering faith. The iconic Nina Simone continues to cast a mesmerizing spell over contemporary singers, and Wright fell under her sway long ago. She does a remarkable version of Simone's "Seems I'm Never Tired Of Lovin' You," bringing in an impressive Atlanta church choir under the direction of Kenny Banks Sr., a local gospel legend. They come in around mid-song, and the increasing vocal textures add a divine proclivity to the outcome. The traditional gospel "Singing In My Soul," long associated with Sister Rosetta Tharpe, comes with a swinging cadence, embellished by electric guitars amidst a sanctified shuffle. Allen Toussaint's signature "Southern Nights" is returned to the bayous and backwaters from where it came, with Wright successfully projecting the bucolic imagery the song intended. The road back to Atlanta goes right through Ray Charles, and he is given his due with "What Would I Do," with the choir brought back, accompanied by a deliberate church-inspired piano.

In breaking with her personal practice of composing the title track on her records, "Grace" was written by Rose Cousins, and given the royal Wright treatment, the choir returning for an encore. Wright contributes her romantic magic on the standard "Stars Fell On Alabama," while Bob Dylan's "Every Grain of Sand" is transported to a place where poetry, country and blues melt into the setting sun. There is an undercurrent of sensuality evident in Wright's voice, which she can conjure up at will, as she does on "Wash Me Clean," a k.d. lang ballad, converted into a soulful yearning moan. 

She co-wrote "All The Way Here," with Maia Sharp, a biographical tale of coming to terms with where she's been and what she has become, as the album comes to an end. There are few singers that are comfortable in a variety of styles while maintaining individuality and quality in the process. Lizz Wright can take any song into another dimension, yet she chooses with care as she is a firm believer in song as a means of message and hope. Her voice has a kind and tender quality that is evidence of her engagement with life on the higher spiritual plane from which she sings. ~ James Nadal https://www.allaboutjazz.com/grace-lizz-wright-concord-music-group-review-by-james-nadal.php

Personnel: Lizz Wright: vocals; Jay Bellerose: drums, percussion; David Piltch: upright bass; Chris Bruce: acoustic and electric guitar; Marvin Sewell: acoustic and electric guitar; Kenny Banks: piano, Hammond organ; Patrick Warren: keyboards (3, 9, 10); Marc Ribot: electric guitar (7); Valorie Mack: backing vocals (2, 5, 6); Cathy Rollins: backing vocals (2, 5, 6); Artia Lockett: backing vocals (2, 5, 6); Angela Jenifer: backing vocals (2, 5, 6); Sheree-Monique: backing vocals (2, 5, 6); K. Heshima White: backing vocals (2, 5, 6); Ted Jenifer: backing vocals (2, 5, 6); Kevin O’Hara: backing vocals (2, 5, 6); Kenny Banks, Sr.:vocal choir director (2, 5, 6).

Grace