Budd Johnson - Ya! Ya!

Bitrate: MP3@320K/s
Time: 42:14
Size: 96.7 MB
Styles: Saxophone jazz
Year: 1999
Art: Front

[9:57] 1. Ya! Ya!
[7:30] 2. In A Mellowtone
[4:36] 3. The Best Things In Life Are Free
[5:16] 4. Body And Soul
[3:10] 5. B&B Blues
[4:02] 6. I Can't Believe That You're In Love With Me
[7:41] 7. I'll Be Seing You

Mighty tenor from the great Budd Johnson – an album titled with a similar name to one of his Chess Records sessions – but done in a very different vibe! This set has an easygoing swing to it – that timeless approach that made the Black & Blue label material feel classic, even at the time of its release – and which has only made the label's productions sound better and better over the years! Budd's got lots of room to stretch out and blow in his solos – as does Charlie Shavers on trumpet, and Andre Persiany on piano – working here in a quintet with Roland Lobliegois on bass and Oliver Jackson on drums. The set's worth it alone for the ten minute title track "Ya Ya" – and other titles include "Body & Soul", "I'll Be Seeing You", "The Best Things In Life Are Free", and "In A Mellowtone". CD features unissued bonus tracks "I Can't Believe That You're In Love With Me" and "B&B Blues"

Ya! Ya!

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Blue Ensemble - In A Sentimental Mood

Bitrate: MP3@320K/s
Time: 37:38
Size: 86.2 MB
Styles: Dixieland
Year: 2016
Art: Front

[4:34] 1. In A Sentimental Mood
[5:35] 2. All Blues
[4:36] 3. Footprints
[3:24] 4. Stella By Starlight
[3:38] 5. So What
[3:53] 6. Blue Bossa
[4:14] 7. Autumn Leaves
[3:49] 8. Just Friends
[3:51] 9. Bluesette

In A Sentimental Mood

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Lenore Raphael - A Beautiful Friendship

Bitrate: MP3@320K/s
Time: 64:17
Size: 147.2 MB
Styles: Piano jazz
Year: 2005
Art: Front

[5:48] 1. A Beautiful Friendship
[9:12] 2. I Love You
[8:21] 3. Alone Together
[5:42] 4. Like Someone In Love
[5:54] 5. We'll Be Together Again
[7:44] 6. Stella By Starlight
[6:47] 7. Darn That Dream
[6:43] 8. Jordu
[8:02] 9. Let It Go

Lenore Raphael: piano; Hilliard Greene: bass; Rudy Lawless: drums.

A Beautiful Friendship is a wonderful, swinging mainstream/bebop piano trio album. Pianist Lenore Raphael has the ability to create new tunes out of timeless standards and make them fresh and her own. The album title reflects the relationship between the musicians. The interplay between the piano, bass and drums tells us that these are three people who have worked together often and enjoy the ride. Ballads are pure emotion; up tempo tunes are swinging and full of joy.

A Beautiful Friendship

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Claudio Roditi - Impressions

Bitrate: MP3@320K/s
Time: 69:26
Size: 158.9 MB
Styles: Trumpet jazz
Year: 2007
Art: Front

[6:29] 1. Moment's Notice
[6:41] 2. Naima
[6:26] 3. Impressions
[7:15] 4. Bye Bye Blackbird
[7:53] 5. The Monster And The Flower
[6:47] 6. Bossa Do Brooklyn
[9:36] 7. Speak Low
[6:57] 8. A Ra
[4:10] 9. Giant Steps
[7:06] 10. Come Rain Or Come Shine

Claudio Roditi's 2006 return trip to his native Brazil prompted this recording session, which draws extensively from John Coltrane's repertoire and adds a few originals. Joined by saxophonist Idriss Boudrioua (who doubles on alto and soprano), pianist Dario Galante, bassist Sergio Barroso, and drummer Pascoal Mereilles, Roditi sticks to trumpet for the entire date. Opening with three straight Coltrane compositions is a challenge that's successfully met by the quintet. "Moment's Notice" and "Impressions" add a lively samba groove underneath the horns, while Boudrioua switches to soprano for the shimmering take of the timeless ballad "Naima." Roditi adds a mute for a lighthearted take of "Bye Bye Blackbird," propelled by a soft samba rhythm and Boudrioua's subdued alto. The trumpeter's originals include the playful bossa nova "The Monster and the Flower" and the sauntering "Bossa do Brooklyn," which sounds as if it were inspired by girl-watching on clear spring day. "Giant Steps," the final Coltrane composition played on the session, is taken at a relaxed tempo. There's never a dull moment during this enjoyable meeting. ~Ken Dryden

Impressions

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Maxine Sullivan - Swing Street: Original 1931-1939 Recordings

Bitrate: MP3@320K/s
Time: 65:51
Size: 150.8 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[2:52] 1. Loch Lomond
[2:21] 2. I'm Coming Virginia
[2:37] 3. Annie Laurie
[2:58] 4. Betsy Blue Skies
[2:42] 5. Mighty Like The Blues
[2:36] 6. Woo-Woo
[2:56] 7. Hot String Bean
[2:49] 8. Jim Jam Stomp
[3:18] 9. I'm Crazy 'bout My Baby
[3:17] 10. Dragging My Heart Around
[2:32] 11. The Joint Is Jumpin'
[2:23] 12. Off Time
[2:36] 13. Choo-Choo
[2:48] 14. The Wail Of The Scromph
[2:42] 15. Swing Boy Swing
[2:13] 16. Poor Robinson Crusoe
[3:09] 17. Call Of The Delta
[2:47] 18. Shanghai Shuffle
[2:56] 19. Harlem Boogie
[2:31] 20. After Tonight
[2:30] 21. Don't Wake Up My Heart
[2:54] 22. Where In The World
[2:41] 23. In Any Language
[2:33] 24. Rosie The Redskin

Maxine Sullivan (vocals), John Kirby (double bass), Frank Newton (trumpet), Buster Bailey (clarinet), Claude Thornhill (piano), O'Neill Spencer (drums), Pete Brown (alto saxophone), Babe Russin (tenor saxophone), Lou Hurst (vocals), Joe Marsala (clarinet), Jack LeMaire (vocals), Ray Biondi (violin), Fats Waller (piano), Myra Johnson (vocals), Honey Bear Sedric (clarinet), Dick Porter (vocals), Jimmy C. Johnson (trombone), Midge Williams (vocals), Honey Bear Sedric (vocals) Joe Marsala Chicagoans, Sedric and his Honey Bears, Dick Porter Orchestra, Seven Chocolate Dandies, Jimmy Johnson Orchestra, Midge Williams Jazz Jesters.

Maxine Sullivan, born Marietta Williams in Homestead, Pennsylvania, was an American jazz vocalist and performer. As a vocalist, Maxine Sullivan was active for half a century, from the mid-1930s to just before her death in 1987. She is best known for her 1937 recording of a swing version of the Scottish folk song "Loch Lomond". Throughout her career, Sullivan also appeared as a performer on film as well as on stage. A precursor to better-known later vocalists such as Ella Fitzgerald, Billie Holiday, and Sarah Vaughan, Maxine Sullivan is considered one of the best jazz vocalists of the 1930s.

Swing Street: Original 1931-1939 Recordings

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Katie Melua - Ketevan

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 40:24
Size: 102,4 MB
Art: Front

(4:14)  1. Never Felt Less Like Dancing
(5:03)  2. Sailing Ships From Heaven
(3:02)  3. Love Is A Silent Thief
(2:59)  4. Shiver Ans Shake
(3:35)  5. The Love I'm Frightened Of
(3:38)  6. Where Does The Ocean Go?
(3:35)  7. Idiot School
(3:23)  8. Mad, Mad Men
(3:43)  9. Chase Me
(2:48) 10. I Never Fall
(4:18) 11. I Will Be There

Having reunited with her longtime mentor, former Wombles singer/songwriter Mike Batt, for her 2012 symphonic album, Secret Symphony, vocalist Katie Melua continues in an orchestral vein with her sixth studio album, 2013's Ketevan. Much like its predecessor, Ketevan is a languid, often cinematic-sounding album that builds upon Melua's talents as an interpreter of other people's material as well as her own songs. Having taken a creative detour to work with electronic producer William Orbit for 2010's The House, Melua once again returns to her roots as Batt's protégée. Raised in the Eastern European state of Georgia, Melua moved with her family to England when she was eight. Batt discovered the then 19-year-old Melua while she was attending the Brit School of Performing Arts in 2003. Subsequently, they have worked together on most of her albums. Taking its title from Melua's Georgian birth name, Ketevan features songs and arrangements from Batt, as well as contributions from his son Luke Batt. Melua also earns a handful of co-writing credits herself, as on the sinewy "Love Is a Silent Thief" and the '60s-influenced torch song "Chase Me," both of which beautifully showcase her crystalline technique and softly soulful style. As with other Melua/Batt productions, Ketevan also serves as a vehicle for Batt to flex his melodic skills as a songwriter and arranger. A veteran of '70s bubblegum pop, Batt has also experimented with rock opera and adult contemporary music, all of which he brings to bear on his work with Melua. Here, he frames Melua's voice in grand, sweepingly romantic arrangements on songs like "Sailing Ships from Heaven" and "I Will Be There," which sound something like Kate Bush singing Scott Walker compositions. Similarly, the Melua/Mike Batt/Luke Batt-composed "Where Does the Ocean Go?" is an ambitious folk-inflected epic inspired by poet Samuel Taylor Coleridge's "The Rime of the Ancient Mariner." Fluid and utterly gorgeous, Ketevan is a unique and delicate vessel. ~ Matt Collar https://www.allmusic.com/album/ketevan-mw0002558370

Personnel:  Katie Melua – vocals;  Tim Harries – bass;  Mike Batt – piano, accordion, harmonium, backing vocals;  Dan Hawkins – bass;  Luke Batt – guitar, piano, drums, percussion;  Joe Yoshida – drums;  Henry Spinetti – drums, percussion

Ketevan

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Ramsey Lewis - Funky Serenity

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 48:02
Size: 111,5 MB
Art: Front

(5:17)  1. Kufanya Mapenzi (Making Love)
(5:22)  2. If Loving You Is Wrong I Don't Want to Be Right
(2:40)  3. What It Is!
(5:12)  4. My Love for You
(5:35)  5. Nights in White Satin
(4:09)  6. Serene Funk
(9:36)  7. Dreams
(5:08)  8. Betcha by Golly Wow!
(4:58)  9. Where Is the Love

Cleveland Eaton, Ed Greene, and Morris Jennings accompany Ramsey Lewis on this commercial-flavored 1973 release. While jazz/pop/soul versions of "Where Is the Love" and "If Loving You Is Wrong" come off limp, spacy renditions of "Nights in White Satin"; Eaton, Jennings, and Lewis' two compositions, "Serene Funk" and "Dreams"; and a beautiful interpretation of Thom Bell and Linda Creed's "Betcha by Golly Wow" make this an enjoyable and essential reissue. Originally issued on Columbia Records (1973). 

~ Andrew Hamilton https://www.allmusic.com/album/funky-serenity-mw0000010670  

Personnel: Ramsey Lewis (piano, Fender Rhodes piano, Wurlitzer piano, electric harpsichord); Ed Green (electric violin, percussion); Cleveland Eaton (bass, percussion); Morris Jennings (drums, conga, percussion).   

Funky Serenity

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George Cables - In Good Company

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 62:28
Size: 150,3 MB
Art: Front

(8:39)  1. After The Morning
(5:04)  2. Mr. Anonymouse
(6:52)  3. Naima's Love Song
(4:36)  4. It Don't Mean A Thing (If It Ain't Got That Swing)
(8:17)  5. Lotus Blossom
(6:29)  6. Love You Madly
(6:24)  7. EVC
(8:13)  8. Lush Life
(5:57)  9. Voyage
(1:54) 10. Day Dream

George Cables’ title refers first to the pianist-composers he covers-John Hicks, Kenny Barron, Ellington and Strayhorn-and second to his trio with bassist Essiet Essiet and drummer Victor Lewis. The album’s a cheery swinger, an exemplar of mainstream piano jazz. In short, the kind of record Cables always makes. But it’s his accompanists, and Victor Lewis in particular, that earn the titular salute. Essiet records semi-regularly with Cables, and evinces an ability to disappear inside the pianist’s rich left-hand chords and the architecture and tenderness of his touch, as on Hicks’ “After the Morning” and Ellington’s “Love You Madly.” But Lewis has been with Cables for 15 years, and the album’s second track, Cables’ “Mr. Anonymouse,” plainly shows why. A bass ostinato bears down as Cables barrels over it with speedy single-note lines; underneath, Lewis lays out a cymbal-and-kick locomotion that’s preternaturally steady. If the pianist is a runaway train, the drummer lays down tracks for it in real time. Lewis’ fingerprints are everywhere on In Good Company. His frequent accents shape Cables’ “EVC” almost singlehandedly, and the upshot of rendering Strayhorn’s poignant “Lotus Blossom” midtempo is to establish the ride cymbal as a playful foundation for Cables’ improvisation. (It also gives Essiet a chance to shoot the breeze.) Lewis gets his own snappy solos on “It Don’t Mean a Thing” and Kenny Barron’s “Voyage,” and space for his brushwork on “Lush Life” and “Day Dream.” The pianist shouldn’t get short shrift; his lithe but thoughtful fingerings uplift every corner of In Good Company, and provide occasional surprises like the Monk-esque glissandi on “Lotus Blossom” and subtle syncopation breakdowns on “Naima’s Love Song.” Lewis simply shows himself to be Cables’ equal-surely the best of company. ~ Michael J.West https://jazztimes.com/reviews/albums/george-cables-in-good-company/

Personnel: George Cables (piano); Victor Lewis (drums).

In Good Company

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Jay-Tee - Don't Jay Walk

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 61:33
Size: 142,6 MB
Art: Front

( 7:11)  1. Gravity Hill Bounce
( 5:11)  2. Bottom Road
( 4:02)  3. Sticktown
( 4:10)  4. Wolf's Woods
( 2:41)  5. Silence. Piano & Bass
( 7:01)  6. Train Of Thought
( 6:38)  7. Morning Traffic
( 5:14)  8. Magnolia's Vineyard
( 2:24)  9. Black Ships At Sea
( 6:38) 10. Mountgerald Summit
(10:16) 11. Camp Adderstone

Dutch Composer and bassist Jay-Tee Teterissa draws from the jazz fusion tradition, while at the same time being fully aware of the current state of affairs in this music. His list of musical collaborators includes Mike Stern, Danny Gottlieb, David Garibaldi, Tony Royster Jr, Alain Caron, Jan Akkerman and Candy Dulfer. He brings his band Jazzm to create this, his second solo album. I love the energy on ‘Gravity Hill Bounce’. It’s an instrumental which almost immediately goes into a thumbed (not slapped) bass solo. The fretless sound and doubled alto sax line will please Yellowjackets fans and the funky off-the-beat playing will delight fans of Joe Hubbard/Hubbard’s Cubbard. It’s a very high-tech yet soulful sound. It’s the essence of funky fusion very Herbie Hancock! Nice what a great start! ‘Bottom Road’ has an altogether less sunny vibe with waves of dark synthesizer, but it roars off led by Mike Stern’s guitar solo and I’m reminded of the Headhunters old ‘Descending Azzizziuh’. This is nuts! More please! Mike Stern features on the equally dramatic ‘Sticktown’. Again, I’m not about to pigeonhole this track because it opens out into a lovely synthesizer solo, underpinned by some deft snarework. Stern’s own solo is underpinned in its turn by some gorgeous barely-contained funk on the bass. What a sound Jay-Tee gets. There’s some very lyrical bass playing on ‘Wolf’s Woods’ with the guitar sounding much like Casiopea’s Issei Noro (so, good) and a lovely beaten-up Rhodes sound playing the changes. This is a song I know I’ll enjoy more the more I listen.

‘Silence, Piano and Bass’ lets you breathe because it is as simple a performance as it promises to be. Its beauty is that it’s not jazz, classical or progressive rock though it’s a little of all those things. Timeless. I love music with a cinematic feel and ‘Train of Thought’ has that. The production is incredible, with a barely-plucked bass, bass trombone, gentle semi acoustic guitar and whispers of percussion seeming to float in space (that’s apparent using headphones, at least). It’s relaxing but breathtaking all at once. Here’s my summary: it’s the sound of James Bond falling asleep. Percussion opens ‘Morning Traffic’ and as the intensity builds, the soprano sax states the theme clearly. Yellowjackets fans jump on board. Lovers of harmonics on bass, prepare yourselves. As with the previous song, I’m more drawn into a soundscape than into any specific melodic or rhythmic strand. This is hypnotic stuff but, like the rush hour, it slows to a halt and you can heave a sigh. ‘Magnolia’s Vineyard’ is a lovely cinematic piece where the bass takes the melody, which the soprano sax picks up. All the while, almost mystical percussion keeps time. Dreamy doesn’t mean dull certainly it doesn’t here.

Sounding like a lost part of the Apocalypse Now soundtrack, the grand intro to ‘Black Ships at Sea’ keeps us guessing with sounds of Australia, sounds of China, sounds of Hollywood. The central bass figure could almost be from a Celtic folk song. You might think I’m crazy I probably am nuts to try describing music as imaginative as this. ‘Mount Gerald Summit’ starts of in a similarly eerie vein until the bass announces its presence and bounces from slap riff to solo and back effortlessly. There’s a tense fretless bass solo to hammer home the point (if you had forgotten) that in the right hands, the electric bass really can say anything. A warm alto sax picks up the few things that the bass leaves unsaid. The closer ‘Camp Adderstone’ opens with the kind of funk bass I could and sometimes try to – listen to all day. Sax takes the melody and leads the changes too. It’s (dare I say it) the most conventionally funky jazz tune on the album. That is until two minutes in, when it gets funky in a Herbie Hancock way great keys, drums that fly along and pace that will leave you breathless. Five minutes in and you’re in deep chillout mode and loving that too! That lovely electric piano remains centre stage but the mood has completely changed. Weird, listen to this on headphones and the cymbals sound like they’re behind you. Some of these songs have an almost 3D sound. Ahh, I know I’ve mentioned other artists during this review. The music is so creative that I’d find it hard to tell you about it if I had no reference points. The simple fact is that writing this has pushed my own ability to appreciate and to express that appreciation. I’ve enjoyed the challenge - this is a masterwork by a composer/player/producer with a vision. Thank God that in these cautious times such daring music is still being created. http://www.smooth-jazz.de/Chris/Jay-Tee/DontJayWalk.htm

Personnel:  Jay-Tee Teterissa - bass, percussion;  Marcel Latupeirissa - drums;  Mike Stern - guitar;  Martijn van Iterson - guitar;  Alain Caron - freetless bass;  Jeroen van Iterson - keyboards, orchestral arrangements;  Tom Beek - tenor & soprano saxes

Don't Jay Walk

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