Capital Jazz Band - Add A Beat!

Bitrate: MP3@320K/s
Time: 53:40
Size: 122.9 MB
Styles: Traditional jazz combo
Year: 2010
Art: Front

[ 5:23] 1. Everyone Gets To Feelin' Blue
[ 3:07] 2. Now Is The Time
[ 7:25] 3. Reflections On Astrud And Stan
[ 3:28] 4. Moonlight And You
[ 3:10] 5. Calypso Town
[ 4:26] 6. Skater's Ballet
[ 5:03] 7. Add A Beat, Outta Beat Waltz
[ 5:04] 8. Where We Are
[ 6:12] 9. My One And Only Love
[10:16] 10. Stella By Starlight

Capital Jazz Band is a collaborative of DC’s finest jazz musicians both young and old. The DC Music Entertainment & Grabielismo Productions signature band is DC’s most versatile jazz band specializing in jazz from dixieland to swing/bigband, straight ahead to latin and traditional to modern. Rotating members of the band include senior jazz professionals in the area to the youngest and freshest musicians found in the clubs on U Street and DC’s hottest jazz spots. The end result, a band of deep sizzling talent that delivers music ranging from traditional sounds to the most cutting edge.

The Capital Jazz Band is proud to release it’s first CD entitled “Add A Beat!”. True to it’s vision of blending the seasoned with the modern-day, Capital Jazz Band’s CD “Add A Beat!” brings together the original music of DC native Sam Glenn with the hottest young talent that DC has to offer. The album features eight original tracks written by Sam & Kathy Glenn and arranged by Sam and Pablo Grabiel as well as two standards, My One and Only Love and Stella By Starlight. In their debut album the Capital Jazz Band features the talent of Sam Glenn, Pablo Grabiel, Eric Wheeler, Nathan Jolley, Noble Jolley, Josh Carr, Justin Parrot & Lena Seikaly.

Add A Beat!

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John Williams - Jazz Guitar

Bitrate: MP3@320K/s
Time: 44:01
Size: 100.8 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[4:41] 1. Fall Highway
[3:31] 2. Santa Monica
[2:39] 3. Lost You
[3:26] 4. Kitchen Pass
[3:47] 5. Late Night
[3:37] 6. Blue Medium
[3:18] 7. Beautiful
[5:08] 8. Blues Old
[3:01] 9. Slinky
[3:41] 10. Friday Blues
[3:34] 11. Influence
[3:32] 12. What

I'm a guitar player, mostly electric, steel string acoustic too. I do session work, songwriting, and production projects. I have a well-outfitted home studio for songwriting and some production, and I also work with a nationally acclaimed pro studio here in Seattle. I cover country, country/rock, blues and jazz, both acoustic and electric, solo guitar and full-band arrangements. I like working with songwriters and can take almost any songwriter's demo (even face-to-face), turn it into a full-blown arrangement suitable for any studio in Nashville, select and hire appropriate instrumentation, produce the project, assist with artwork and duplication, and assist with marketing.

I am a tone fanatic. I love Teles and Strats - have several. My main guitar is a late-model Telecaster that has been modified with a humbucker in the neck, a Duncan Nashville Strat pickup in the middle, and a Joe Barden Tele pickup in the bridge. I'm also using a late-model Dobro (for slide and fretted), a Larrivee C-19, a Martin OM28V, a Music Man 6 string bass, an early '60s ES-175, a Music Man ASAT, a Deering 6 string banjo, a Ramirez classical, and a Tacoma Papoose. I have several other guitars but these are the ones that get used the most.

Jazz Guitar

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Elliott Chavers - Elliott Chavers Performs The Music Of Louis Jordan

Bitrate: MP3@320K/s
Time: 45:31
Size: 104.2 MB
Styles: Jazz-Blues
Year: 2007
Art: Front

[4:15] 1. Blue Lights Boogie
[3:13] 2. Early In The Morning
[3:35] 3. Let The Good Times Roll
[4:17] 4. Every Goodbye Ain't Gone
[4:00] 5. Buzz Me Blues
[3:38] 6. Ain't Nobody Here But Us Chickens
[4:21] 7. Run Joe
[4:31] 8. Rock This Mother
[3:41] 9. Betty Jo
[5:44] 10. Let's Do It
[4:11] 11. Bad Mudda Strutta

The legendary artist elliott chavers is no stranger to the music world. He has recorded over 300 songs, mainly jump blues, ballards, rhythm & blues. He has also performed with rockabilly groups. to name legendary artists that he has performed with it ranges from Sam Cooke, Jackie Wilson, Clyde McPhatter, Jimmy Reed, and the list goes on. He has toured the european market more than once. he brings to you texas california style, straight ahead blues. He was a mainstay at the 5/4 ballroom, which he lead the house band backing too many artists to try to name.

Elliott Chavers Performs The Music Of Louis Jordan

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Jeff 'Tain' Watts - Bar Talk

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 70:28
Size: 161,9 MB
Art: Front

(4:20)  1. JC Is The Man (Part 1)
(8:37)  2. Vodville
(5:49)  3. Stevie In Rio
(9:52)  4. Mr. JJ
(6:06)  5. Side B
(8:16)  6. Kiss
(5:07)  7. JC Is The Man (Part 2 )
(5:31)  8. Laughin' & Talkin' (with Higg)
(8:05)  9. Tonality Of Atonement
(8:42) 10. ...Like The Rose

Now here’s a guy (and a group) that can play: Jeff “Tain” Watts, who is quite simply one hell of a drummer, is an artist growing in popularity but building impressive skill and power after having served as a supporting player for the likes of such prominent jazz masters as pianist McCoy Tyner and guitarist George Benson. In the terrific Bar Talk , working with Ravi Coltrane (tenor), David Budway (piano), James Genus (bass), Paul Bollenback (guitar) and Gregoire Maret (harmonica), Watts creates music that forgets to play it safe and the listeners are the beneficiaries. Adding to this pedigree are awesomely performing guest stars: Branford Marsalis, Micahel Brecker, Hiram Bullock, Robert Thomas, Jr., and Joey Calderazzo. Wow.

Watts and his group play not simply with vibrancy, but employ a virtuoso command of music that allows them to try new things, and do so with coherency and sheer command. In the constant varying of tempo changes and improvisational bravado alone, they deliver on the broken promises of their contemporaries in sustaining their invention all throughout rather than sparringly. There’s the kind of marvelously sloppy, anything-goes dexterity akin to Wayne Shorter in opening number “JC is The Man” (which JC Coltrane or the man upstairs are they referring to, one wonders), which is smoothly contrasted as soon as the third cut, “Stevie In Rio” (a Stevie Wonder tribute), which pays particular attention to Maret’s terrific use of harmonica and the quietly yet wonderfully lush guitar backbone provided by Bollenback. Budway’s very assured piano playing provides winning touches, and all throughout, Watts’ drumming unquestionably is the guiding force. That’s just one track, but you’ll find such attention to detail, clarity and invention in anything these boys play. 

Together as a team or separate as soloists, this crew is as about as promising and passionate as they come nowadays. Several tracks refreshingly break the five-minute mark (hey, regular pop rock rarely breaks the three minute barrier), and each cut manages to dip into some kind of jazz flavor, from the bluesy aura of “Side B,” to the genuine virtuosity of “Mr. JJ,” in which Ravi Coltrane’s saxophone is the highlight, conjuring up a passion and proficiency eerily similar to his father, all-time-great John Coltrane. Higher praise is not necessary. Helpful readers have informed the critic that "JC" refers to James Carter.  ~ Paul West https://www.allaboutjazz.com/bar-talk-jeff-tain-watts-columbia-records-review-by-paul-west.php

Personnel: Jeff "Tain" Watts (guitar) Ravi Coltrane (tenor) David Budway (piano) James Genus (bass) Paul Bollenback (guitar) Gregoire Maret (harmonica)

Bar Talk

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Budd Johnson - Budd Johnson And The Four Brass Giants

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 44:16
Size: 103,2 MB
Art: Front

(4:05)  1. All My Love
(5:11)  2. Blue Lou
(8:08)  3. Trinity River Bottom
(4:22)  4. Driftwood
(6:56)  5. Blues For Lester (Memories Of Lester Young, Part 1)
(6:41)  6. The Message (Memories Of Lester Young, Part 2)
(4:16)  7. Dont't Blame Me
(4:33)  8. I'll Get By (As Long As I Have You)

Put simply and succinctly this is a brass lover’s dream! The fact that you get the hard swinging and under-recognized Budd Johnson as part of the package makes it damn near essential. Originally the brainchild of Nat Adderly’s brother (“Cannonball” anyone?), Johnson took the arranger’s helm at an early stage of the project and devised a program of tunes with the preeminent four-pronged phalanx of soloists squarely in mind. He succeeds superlatively with an exciting blend of standards and originals for the quartet of brassmen to blow over. Nance and Edison, veterans of the and Basie Orchestras respectively start the engines at full throttle on a blistering reading of “All of My Love.” Terry and Adderly soon follow and Johnson weaves tensile lines between all four. What’s even better is that none of the players are shy about hoisting their mutes, hats and plungers and each man continually creates all manner of slurs, stops and smears across the majority of tunes. Combined with the inviting medley of brass instruments favored by the four, from the tart prickle of trumpet to the rounded caress of flugelhorn, the possible sonic variations are many.  Considering the width of the horn section the rhythm section necessarily takes on a secondary role, but with Flanagan and Jones alternating on piano and the solidly supportive rhythmic accompaniment of Benjamin and Lovelle the brass heavy group is in good hands. Flanagan takes the first two and final two tracks and Jones handles piano chores on the middle four which are all Johnson originals. “Trinity River Bottom” evokes the fertile bluesy soil of a Texas tributary through a turbid turn by Terry with a plunger and Adderly playing a piercing cornet. Nance switches to violin on “Driftwood” for a solo that is both bucolic and lyrical in conception with gentle counterpoint from the remaining brass and Benjamin’s ruddy bowed bass. The two-part “Memories of Lester Young” is largely a feature for Johnson who offers his mentor a fittingly swinging memoir by playing off the best aspects of Young’s style while still remaining true to his own sound. The brass players all blow open horns and follow largely the same solo order on both parts without once lapsing into monotony. After a boisterous beginning the band settles into a leisurely swing on “Don’t Blame Me” and Nance’s stirring violin solo generates one of the most moving moments of the entire disc. A vivacious version of “I’ll Get By” takes things out in suitably up-beat mood and features cogent closing statements from both Adderly and Edison. Anyone with an affinity for the pleasures of jazz brass should cease reading this review, dish out the cash and procure a copy of this all-star summit conference as quickly as finances permit. ~ Derek Taylor https://www.allaboutjazz.com/and-the-four-brass-giants-budd-johnson-fantasy-jazz-review-by-derek-taylor.php

Personnel: Budd Johnson- tenor saxophone; Nat Adderly- cornet; Harry Edison-trumpet; Ray Nance- trumpet, violin; Clark Terry- trumpet, flugelhorn; Jimmy Jones- piano; Tommy Flanagan- piano; Joe Benjamin- double bass; Herb Lovelle- drums.

Budd Johnson And The Four Brass Giants

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Walt Dickerson - Vibes In Motion

Styles: Vibraphone Jazz
Year: 1963
File: MP3@320K/s
Time: 64:16
Size: 147,2 MB
Art: Front

(16:26)  1. Unity
(17:23)  2. High Moon
( 2:47)  3. Theme From Lawrence Of Arabia
( 5:09)  4. That Is The Desert
( 3:55)  5. Motif From Overture Part I
( 3:47)  6. Motif From Overture Part II
( 2:21)  7. Arrival At Auda's Camp
( 4:36)  8. Nefud Mirage Part I
( 4:20)  9. Nefud Mirage Part II
( 3:27) 10. The Voice Of The Guns

In the early 1960s, when Dickerson first emerged on the scene, a number of musicians had already arrived at the conclusion that bebop, which had dominated jazz for two decades, was an increasingly inadequate system out of which to make a music that could embody the tensions, dangers, revelations and liberated energies of the times. His music, while not nearly as radical in its departures and explorations as, say, the music of Cecil Taylor and Ornette Coleman, certainly places him among the significant contributors to the jazz revolution of his era. ~ Editorial Reviews https://www.amazon.com/Vibes-Motion-Walt-Dickerson/dp/B000ENWIBM

?Personnel:  Walt Dickerson (vib), Walter Davis Jr., Austin Crowe (p), George Tucker, Henry Grimes (b), Edgar Bateman, Andrew Cyrille (d).               

Vibes In Motion

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