Stuff Smith - Cat On A Hot Fiddle

Bitrate: MP3@320K/s
Time: 38:21
Size: 87.8 MB
Styles: Violin jazz
Year: 1959/2004
Art: Front

[2:36] 1. Undecided
[3:42] 2. The Man I Love
[2:17] 3. Oh Lady Be Good
[4:01] 4. Nice Work If You Can Get It
[4:09] 5. Take The A Train
[3:02] 6. Blue Violin
[5:05] 7. They Can't Take That Away From Me
[3:38] 8. Somebody Loves Me
[3:41] 9. 's Wonderful
[3:13] 10. Nice And Warm
[2:52] 11. Strike Up The Band

Bass – Lewis Powers (tracks: 2 to 4, 7 to 9, 11), Red Mitchell (tracks: 1, 5, 6, 10); Drums – Harry Saunders (tracks: 2 to 4, 7 to 9, 11), Sid Bulkin (tracks: 1, 5, 6, 10); Piano – Paul Smith (5) (tracks: 1, 5, 6, 10), Shirley Horn (tracks: 2 to 4, 7 to 9, 11); Violin – Stuff Smith; Vocals – Stuff Smith (tracks: 3, 8). Tracks 1, 5, 6, 10 recorded October 22, 1959 at United Recorders, Hollywood. Tracks 2 to 4, 7 to 9, 11 recorded August 7, 1959 at Edgewood Recording Studios, Washington, DC.

Recorded on two dates in 1959, this full-length by Stuff Smith features a pair of rhythm sections. One contains the great Red Mitchell on bass, the other the magnificent Shirley Horn on piano. In 1959, Smith had been on the scene for over two decades. And while he was well-known by the public at large for his novelty persona and his singing -- as evidenced by his 1936 smash hit "I'se A-Muggin'," this long-player aptly displays his stunning virtuosity as a jazz violinist, from standard jazz repertoire such as Duke Ellington's "Take the 'A' Train" and "They Can't Take That Away from Me" to "Strike Up the Band." His bowing is dizzying and the band pushed hard to keep up with him. On "Nice Work if You Can Get It," the tempo middles along but Smith swings hard in his tasty way. And Smith's vocal skills are showcased on the classics "Oh, Lady Be Good" and "Somebody Loves Me," offering a well-rounded portrait of a man who many thought was past his prime. Not so. This date smokes and is a welcome addition to the jazz violin canon. ~Thom Jurek

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Eddy Louiss, Richard Galliano - Face To Face

Bitrate: MP3@320K/s
Time: 59:45
Size: 136.8 MB
Styles: Accordion & Hammond Organ jazz
Year: 2001
Art: Front

[5:06] 1. Sang Mêlé
[4:26] 2. Face To Face
[4:21] 3. Tribute To Joe Diorio
[4:40] 4. Beija-Flor
[6:21] 5. I Remember Clifford
[5:17] 6. Enlacés
[2:59] 7. Laurita
[5:13] 8. Berimbau Sermao
[4:30] 9. Amandine
[4:22] 10. Framboise
[5:06] 11. Sous Le Ciel De Paris
[4:34] 12. Azul Tango
[2:43] 13. Avec Le Temps

Richard Galliano – Victoria Accordion & Alfred Arnold Bandoneon; Eddy Louiss – Hammond Organ. The two legendary French jazz musicians unite for the first ever recorded collaboration. Louiss' B-3 and Galliano's accordion blend together in a sound that is unique and captivating.

Accordion player Richard Galliano and organist Eddy Louiss have created a stirring set of duets. Both have impressive pedigrees as players and composers, and this set, recorded over three days at a Paris studio in the spring of 2001, is a brilliant pairing. The sympathetically matched tones of their two instruments create beautifully interwoven lines that at times sound like a single complex and pulsing instrument. The classic Hammond sound of Louiss anchors the bottom end, with Galliano's melodies swooping in and around the organ's mid and upper registers. Besides a commonality in American jazz, they also embrace elements of musette, tango, waltz, and blues. The duo segues perfectly between the disc's 13 pieces. Benny Golson's classic "I Remember Clifford" intermingles naturally with a couple French songs, a Brazilian medley by Baden Powell, and a few other choice covers. Originals by both men straddle tradition and invention with subtle grace. Since the death of Astor Piazzolla, Galliano has become one of the primary composers for the accordion. His "Framboise" evokes his multinational background (he's a Frenchman of Italian descent), while "Azul Tango" would have made the late master proud. ~David Greenberger

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Dip Ferrell & The Truetones - Dip In The Road

Bitrate: MP3@320K/s
Time: 40:36
Size: 93.0 MB
Styles: Urban, R&B
Year: 2013
Art: Front

[3:46] 1. Where You Tryin' To Go
[4:17] 2. Lonely Girl
[3:08] 3. Dip In The Road
[4:42] 4. Where Do I Go From Here
[3:06] 5. Since Emptiness Filled My Heart
[3:42] 6. Must've Been A Fool
[4:34] 7. Some Say Hey
[3:20] 8. One True Truth
[2:43] 9. Love Is Gone
[3:41] 10. Way Of The Dinosaur
[3:32] 11. Devil In Your Soul

FLORENCE, S.C. -- Brothers Billy and Jackie Jeffords, longtime Florence businessmen, have been involved with music all their lives. Their passion for music and songwriting has brought accolades their way since their early teenage years. Together they have written more than 400 songs, more than 100 of which have been published. In 2005 Dip Ferrell (Billy) and the Truetones was formed primarily to record Billy and Jackie’s original songs. However, the brothers seemed to “stumble into beach music” as someone mentioned to Billy that one of their songs was getting a lot of air time and they didn’t know it until that song was nominated for song of the year.

“We never really considered ourselves to be beach music players -- we initially wrote James Taylor-like songs and rhythm and blues.” Billy Jeffords said. “We were trying to write and produce songs and hope that a big name would pick up a song or two. Most of our success, if you want to call it that, has been though the rhythm and blues section of beach music.”

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Art Hodes Quintet, Don Ewell Quartette - S/T

Bitrate: MP3@320K/s
Time: 71:14
Size: 163.1 MB
Styles: Piano jazz
Year: 2012
Art: Front

[3:33] 1. After You've Gone
[3:22] 2. Apex Blues
[4:42] 3. Ain't She Sweet
[3:12] 4. Libert Inn Drag
[2:50] 5. I've Found A New Baby
[4:07] 6. Dardanella
[3:52] 7. B-Flat Blues
[4:40] 8. Chimes Blues
[2:36] 9. Angry
[4:32] 10. Michigan Water Blues
[5:42] 11. Atanta Blues
[5:10] 12. Tishomingo Blues
[4:47] 13. Georgia Bo Bo
[4:08] 14. New Orleans Hop Scop Blues
[4:11] 15. Blues (My Naughty Sweetie Gives To Me)
[4:42] 16. Ole Miss
[4:57] 17. Yellow Dog Blues

This CD features two small group sessions recorded in the late 1950s featuring two of the finest traditional jazz pianists - Art Hodes and Don Ewell. (Tracks 1-9 - Art Hodes Quintet. Tracks 10-17 - Don Ewell Quartette.)

"The Hodes session is 'Some Legendary Art' and was recorded in Chicago on December 8, 1957. Musicians are Hodes on piano, Eddie Burleton on clarinet, Marty Grosz on guitar, Truck Parham on bass and Freddie Kohlman on drums. A beautiful session. The Ewell session may even be better. Also recorded in Chicago this session is from May 21, 1959 and has Ewell on piano, Nappy Trottier on trumpet, Marty Grosz again on guitar and Earl Murphy on bass.

The music on both of these sessions is very well recorded (by Ewing D. Nunn) and swings wonderfully. It's classic traditional jazz at its best. Anybody familiar with Art Hodes and Don Ewell will know exactly what to expect from this disc. This is legendary stuff and thanks must go to the wonderful folks at Jazzology/GHB Records for making this music available to all." ~Jazzman

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John Hicks - Beyond Expectations

Bitrate: MP3@320K/s
Time: 72:03
Size: 164.9 MB
Styles: Piano jazz
Year: 1994
Art: Front

[ 6:32] 1. Expectations
[ 8:05] 2. Once I Loved
[ 8:18] 3. Every Time We Say Boodbye
[ 8:44] 4. There Is No Greater Love
[10:08] 5. Up Jumped Spring
[ 6:03] 6. Peace
[ 8:21] 7. Stella By Starlight
[ 5:23] 8. Au Privave
[ 5:32] 9. Turn Out The Stars
[ 4:53] 10. Bouncing With Bud

Bass – Ray Drummond; Drums – Marvin "Smitty" Smith; Piano – John Hicks.

John Hicks was 51 when, in 1993, he recorded Beyond Expectations for the independent Reservoir label, and at that age no one was demanding that the veteran pianist reinvent the jazz wheel. However, it wasn't unreasonable to ask that he show some imagination when it came to choosing material. Some of Hicks' '90s albums placed too much emphasis on overdone warhorses, and that is true of Beyond Expectations. Leading an acoustic piano trio that employs Ray Drummond on bass and Marvin "Smitty" Smith on drums, Hicks doesn't offer a lot of surprises. Most of the songs that he embraces (which range from Horace Silver's "Peace" to "There Is No Greater Love" and "Every Time We Say Goodbye") have been recorded time and time again over the years. But while this CD isn't very adventurous, it is still solid and enjoyable. Yes, Hicks is too reliant on warhorses, and instead of yet another version of "Stella by Starlight," how about surprising listeners with some less-obvious choices? How about finding the hard bop/post-bop possibilities in Stevie Wonder and Marvin Gaye or unearthing some of Duke Ellington and Antonio Carlos Jobim's lesser-known jewels? No one is demanding that Hicks be a trendsetting innovator -- he should stick to hard bop and post-bop because that's what he does best -- but it would be nice to hear him make less-obvious choices when it comes to picking material. Nonetheless, Hicks is still a warm, soulful, expressive improviser and he certainly has a great sound -- one that is greatly influenced by McCoy Tyner yet is recognizably John Hicks. Contrary to what its title suggests, Beyond Expectations isn't the Hicks album to end all Hicks albums. But it's a pleasing, if conventional, document of the pianist at 51. ~Alex Henderson

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David Murray, Gwo Ka Masters - The Devil Tried To Kill Me (Feat. Taj Mahal)

Bitrate: MP3@320K/s
Time: 64:21
Size: 147.3 MB
Styles: Saxophone jazz, African rhythms
Year: 2009
Art: Front

[10:35] 1. Kiama For Obama
[ 8:06] 2. Africa
[ 8:17] 3. Southern Skies (Radio Edit) 2
[ 9:43] 4. The Devil Tried To Kill Me
[ 7:34] 5. Congo
[10:32] 6. Canto Oneguine
[ 4:44] 7. Southern Skies (Radio Edit)
[ 4:47] 8. Africa (Radio Edit)

David Murray: tenor saxophone, bass clarinet; Taj Mahal: vocals (2, 3); Sista Kee: vocals (3, 4); Jaribu Shahid: electric bass; Renzel Merrit: drums; Klod Kiavue: ka drums, vocals; Francois Ladrezeau: ka drums, vocals; Rasul Siddik: trumpet; Christian Laviso: guitar; Herve Samb: guitar.

This global block party, by saxophonist David Murray, blends ebullient African- rhythms with funk and jazz, brought by a fiery band that integrates two Gwo ka masters (Guadalupean drummers/vocalists), some sassy urban soul from pianist/vocalist Sista Kee, and the world renowned blues voice of Taj Mahal. The Devil Tried To Kill Me is Murray's third release with the Gwo ka Masters, following 2004's well received Gwotet (Justin Time), a recording that also featured avant-garde icon, saxophonist Pharoah Sanders.

Recorded in Pointe-a-Pitre, Guadalupe's largest city, the recording is an emphatic celebration of the island's proud past and compelling present—reminding of its history of slavery, struggle, and independence before integration into France (circa 1794). The music is fueled by the indigenous beats of Gwo ka drums, stirring vocals and lyrics that speak life—as Murray states in the CD's liner notes, ..."music that is aimed towards the future."

The heartbeat of the Gwo ka is undeniable, starting with "Kiama For Obama," its pulse growing feverishly by the drumming and voices of Klod Kiavue and Francois Ladrezeau as the other band members improvise over the contagious theme. The cadence slows on "Africa" as Taj Mahal sings poignant lyrics of love and healing to the beautiful continent and its people, with Murray echoing the sentiment via a warm baritone solo. The funk comes hard in the super-bad "Southern Skies," treated with a double-dose of bluesy lyrics by Taj Mahal and sassy spoken word from the multi-talented San Franciscan, Sista Kee. The band burns white hot; Murray's tenor flying free, followed by Christian Laviso and Herve Samb's super-heated guitars. The title track is another free funk jazz killer, with Sista Kee spinning a humorous tale (lyrics by Ishmael Reed) of an escape from American cyberspace. "Congo" and "Canto Oneguine" are Afropop-influenced tracks that continue the recording's upbeat spirit, as the Gwo ka masters provide fervent call and response verses to the band's incessant playing. Radio-edits of "Southern Skies" and "Africa" are thrown in for those who want shortened versions but are otherwise redundant. It would have been better to have more tunes, especially with Sista Kee and Taj Mahal. Regardless, David Murray and the Gwo ka masters have created another stupendous release that makes the trip to Guadalupe an extraordinary journey. ~Mark F. Turner

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Jane Bunnett & The Spirits Of Havana - Ritmo + Soul

Bitrate: MP3@320K/s
Time: 70:52
Size: 162.2 MB
Styles: Afro-Cuban rhythms
Year: 2000
Art: Front

[ 6:32] 1. Santos Saurez
[ 8:40] 2. Joyful Noise
[10:28] 3. El Rio
[ 3:55] 4. Osain
[10:02] 5. Drume Negrita
[ 5:59] 6. Journey Back
[ 5:21] 7. 3 Voices One Spirit
[ 7:00] 8. Hebioso
[12:52] 9. Fransisco's Dream

Merging a traditional Afro-Cuban spirit with the sound of acoustic mainstream jazz, Jane Bunnett and her Spirits of Havana have topped their previous projects. Since her 1992 Spirits Of Havana album on the Denon label, the saxophonist/flutist has brought more than 40 Cuban musicians on tour with her in Canada and in the United States. In addition, she and trumpeter Larry Cramer have established the Spirits of Music project to raise money for the repair of broken musical instruments in Cuba’s conservatories. They’ve produced a documentary film about Cuban music that will be presented this fall and winter at various film festivals around the world. In the film, Bunnett and Cramer perform with contemporary groups from all over Cuba, from son montuno groups, a 38-piece conga band, and even a 10-piece a cappella choir that sings in Creole.

With Ritmo + Soul, trumpet and soprano saxophone work together on "Santos Suárez," as two interwoven voices playing in harmony. Bunnett’s lively C flute and Cramer’s muted trumpet make "Joyful Noise" with a laid-back mood supported by the band. Composed by the husband-wife pair, these two songs and "Francisco’s Dream" offer a mellow adventure through consonant scenes, applying unisons and octaves liberally. Equal parts traditional Afro-Cuban and mainstream jazz, the band’s sound gets a big boost from pianist Hilario Duran and bassist Roberto Occhipinti. Their solo work stands out as both complex and comfortable. Recommended, the 71-minute program has an appeal across genre boundaries. ~Jim Santella

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Jeff Richman - Like That

Bitrate: MP3@320K/s
Time: 56:27
Size: 129.2 MB
Styles: Jazz-rock guitar
Year: 2010
Art: Front

[5:38] 1. Like That
[5:28] 2. In Spirited
[5:41] 3. Small Kid Time
[6:27] 4. Awful Pretty
[5:47] 5. The Endless Inbetween
[5:24] 6. Rock Tall
[4:45] 7. Tsuyako
[5:09] 8. Touch And Go
[6:45] 9. In Flux
[5:19] 10. Truffaz

Jeff Richman’s 15th solo release delivers ten hard-hitting, playful compositions with catchy melodies and a refreshingly modern sound. Richman continues to shine in his ability to write music with creative intricacy and sophistication, articulating his individual point of view. This time around, his guitar tone is deeper, more resonant, robust and alive. Richman’s style of playing complex changes fluidly over these infectious grooves will satisfy over many listenings.

Like a musical alchemist, Richman’s purposeful selection of accompanying musicians creates a unique magic and delivers pleasing surprises along the way. A Vinnie Colaiuta solo highlights the expansive, wild adventure on “In Spirited” and Will Kennedy puts his signature on title track “Like That” with a funky backbeat. Larry Golding’s solo on “Tsuyako” adds to its romantic flair, Mitchel Forman lays an all-out solo on “Rock Tall”, and Deron Johnson’s hypnotic acoustic piano on “Endless Inbetween” gives it depth and dimension. Alex Acuna’s vibrant percussion adds just the right amount of muscial spice.

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The Three Suns - A Swingin' Thing

Bitrate: MP3@320K/s
Time: 34:03
Size: 78.0 MB
Styles: Easy Listening, Lounge
Year: 1964/1989
Art: Front

[3:19] 1. Sweet Georgia Brown
[2:39] 2. Mean To Me
[2:16] 3. African Waltz
[2:47] 4. Georgia On My Mind
[3:14] 5. Honeysuckle Rose
[3:17] 6. A Taste Of Honey
[3:07] 7. Ain't Misbehavin'
[3:06] 8. Sleepy Time Gal
[2:52] 9. Nite Trix
[2:50] 10. Ja-Da (Jada, Jada, Jing, Jing Jing)
[2:14] 11. Painted Desert
[2:17] 12. Lazy River

Most of this record is cheesy and fun. The jacket blurb "tasteful music for every musical taste" and the album title in this case apply to jazz (if you can imagine The Three Suns doing jazz). Nowhere is their new style better demonstrated than on the two originals, "Nite Trix" and "Painted Desert." "Sleepy Time Gal" features amazing staccato organ. Old Three Suns chestnuts "Honeysuckle Rose" and "Ain't Misbehavin'" receive new treatments. ~Tony Wilds

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Eric Dolphy - The Illinois Concert

Bitrate: MP3@320K/s
Time: 69:06
Size: 158.2 MB
Styles: Saxophone jazz
Year: 1963/1999
Art: Front

[20:16] 1. Softly As In A Morning Sunrise
[ 1:29] 2. Something Sweet, Something Tender
[ 8:45] 3. God Bless The Child
[ 7:29] 4. South Street Exit
[10:58] 5. Iron Man
[12:26] 6. Red Planet
[ 7:40] 7. G.W.

Bass – Eddie Khan; Drums – J.C. Moses; Flute, Bass Clarinet, Alto Saxophone – Eric Dolphy; Piano – Herbie Hancock. Recorded live at the University of Illinois in Champaign, IL on March 10, 1963. The band is augmented by the University of Illinois Brass Ensemble (6 French horns, 2 baritone horns and 1 tuba) on track 6 and by the University of Illinois Big Band (6 trumpets, 4 trombones, 5 reed instruments) on track 7.

The 1999 discovery of a previously unknown 1963 concert by Eric Dolphy makes it one of the finds of the decade. Taped for broadcast at the University of Illinois at Champaign, it was mentioned in an Eric Dolphy Internet chat room and eventually relayed to producer Michael Cuscuna. The sound is very good, except for overly prominent drums throughout the concert and an under-miked flute on "South Street Exit." Dolphy's playing is consistently rewarding, including a lengthy workout of "Softly, As in a Morning Sunrise," a miniature of "Something Sweet, Something Tender," and his always superb solo feature of "God Bless the Child." He switches to alto sax for an adventurous new work, "Iron Man" (which he would record a few months later for Douglas International), also inserting a hilarious quote of "Comin' Through the Rye." A 23-year-old Herbie Hancock on piano, Eddie Locke on bass, and drummer J. C. Moses make up the solid rhythm section. The last two tracks, "Red Planet" and Dolphy's "G.W.," add the support of the University of Illinois Brass Ensemble, which included a young Cecil Bridgewater on trumpet. Highly recommended! ~Ken Dryden

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