Slim Gaillard, Babs Gonzales - Shuckin' & Jivin'

Bitrate: MP3@320K/s
Time: 56:30
Size: 129.4 MB
Styles: R&B/Jazz/Blues
Year: 1975/1997
Art: Front

[3:02] 1. Vout Orenee
[2:29] 2. Please Wait For Me
[2:51] 3. Sighing Boogie
[2:52] 4. Queen's Boogie
[2:51] 5. Voot Boogie
[2:48] 6. Nightmare Boogie
[2:43] 7. Slim Gaillard's Boogie
[2:40] 8. Harlem Hunch
[2:44] 9. Tutti Frutti
[3:01] 10. Travelin' Blues
[2:45] 11. Sightseeing Boogie
[2:41] 12. Central Avenue Boogie
[2:52] 13. Boogie
[2:40] 14. Slim's Cement Boogie
[2:11] 15. Still Wailin'
[2:26] 16. Shuckin' And Jivin'
[2:57] 17. House Rent Party
[2:57] 18. She's Just Right For Me
[3:19] 19. Be Bop Santa Claus
[3:31] 20. Watch Them Resolutions

This set brings together the work of two artists who delighted in turning language into humorous jive-talk. Gaillard's 14 tracks are all from the mid-'40s and feature three different ensembles: his 10-piece orchestra, a trio under his name, and another trio dubbed the Boogiereeners. His seemingly off-the-cuff riffing belies a dazzling set of skills. Wordplay and invented phrases roll through everything with infectious exuberance. Gaillard was not only an excellent singer, but also an inventive pianist and guitarist. The six numbers that close the set offer a fine contrast in vocalizing as Babs Gonzales carves out his own corner of the scat-singing world. He worked in the '50s, and was a contemporary of Lambert, Hendricks & Ross. However, where they created lyrics to popular instrumental jazz numbers, Gonzales created his own songs, which drew heavily from the pre-beatnik era of jazz talk. ~AMG

Shuckin' & Jivin' mc
Shuckin' & Jivin' zippy

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Stew Cutler - Insignia

Bitrate: MP3@320K/s
Time: 63:19
Size: 144.9 MB
Styles: Guitar jazz
Year: 2001
Art: Front

[ 7:35] 1. Whisper
[ 2:34] 2. QT
[ 5:30] 3. Lovely Mary
[ 6:51] 4. Left Behind
[ 4:13] 5. East River Delta
[ 4:46] 6. Saudades On 8th Avenue
[ 4:35] 7. Coles Mountain
[ 8:13] 8. Elizabeth
[ 4:58] 9. Left Alone
[13:59] 10. Insignia

Stew Cutler's electric guitar sound borrows from very few discernible sources, and as such is difficult to pigeonhole. There's a leanness to his style that is not enhanced or processed by electronics, though he occasionally does leap out with elements extracted from pedals or effects. Using a spare trio of electric bass guitar and drums, Cutler is just barely on the cutting edge of modern mainstream, contemporary, and even fusion jazz, but hints at it rather than pronounce its glory. On this program of all original music, Cutler plays pleasant swing jazz on "Whisper," utilizes a bluesy slide guitar on "East River Delta," trims a spare modal but intricate line in alternating bars of seven and five during "Saudades on 8th Avenue," and uses loops and effects in an insular self-examination during "Left Alone." "Left Behind" is dissimilar, using a steel-edged rock sound, with beats courtesy of drummer Garry Bruer, that reflects the British fusion of Allan Holdsworth, while a fun and funky "Elizabeth" playfully hops around courtesy of bassist Booker King and "Q.T." is perhaps the most innovative track, with a swirling repeat melody as a prelude to a tick-tock chorus and another bluesy refrain. While Cutler does have moments of languidness, sluggishness, or sentimentality, the music is generally hopeful. The 14-minute title track discourses from slow funk to more upbeat moments, letting the guitarist cut loose a bit. While not yet a distinctive voice, Cutler is quite literate, enjoyable, and witty in an internal manner. His music requires close listening to hear the flowers blooming in very rich soil. ~Michael G. Nastos

Insignia mc
Insignia zippy

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The Kim Richmond Concert Jazz Orchestra - Artistry: A Tribute To Stan Kenton

Bitrate: MP3@320K/s
Time: 73:04
Size: 167.3 MB
Styles: Big band
Year: 2013
Art: Front

[ 4:26] 1. Artistry In Rhythm
[ 7:59] 2. Horizon Under
[15:21] 3. Anchor Of Hope
[ 5:48] 4. Intermission Riff
[ 4:56] 5. Seascape
[ 6:21] 6. Invitation
[ 5:32] 7. Over The Rainbow
[ 6:47] 8. The Peanut Vendor
[ 4:30] 9. Virna
[ 4:10] 10. Willow Weep For Me
[ 4:43] 11. Zippidy Altered
[ 2:25] 12. Poetry

This ‘tribute’ to Stan Kenton and his musical mission impresses and holds true to what Kenton was all about. Besides new originals and a few new arrangements of standards, there are three adventurous new treatments of Kenton titles… a fitting tribute indeed from this jazz “orchestra”. Recorded at Capital Studios – in the same studio – on the exact same date (Nov. 1) that Kenton did his first recording session in 1940, the energy captured is incredible!

The critically acclaimed KIM RICHMOND CONCERT JAZZ ORCHESTRA was formed to provide a workshop for major concert works that include elements of both large ensemble jazz with free-swinging improvisation and symphonic colors and textures. This is truly a large jazz (orchestra) ensemble with expanded instrumentation contributing to the symphonic nature of the group… by definition, an authentic large jazz ensemble – the real deal!

“…The twenty-four piece Kim Richmond Concert Jazz Orchestra boasts a full roster of instrumentation, including double reeds and French horns, for a sound that is somewhat rare in the professional jazz world – Lush and multi-layered – a full range of color and emotion. The word “symphonic” comes to mind with so many deftly-woven textures underlying the free-swinging improvisations…” ~Allaboutjazz.com

Artistry: A Tribute To Stan Kenton mc
Artistry: A Tribute To Stan Kenton zippy

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Marjorie Barnes, Equinox - Brighter Shores

Bitrate: MP3@320K/s
Time: 66:48
Size: 152.9 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[4:26] 1. Let's Dance
[6:38] 2. Brighter Shores
[8:23] 3. Come What May
[7:24] 4. Throw It Away
[5:21] 5. Lady Be Good
[7:12] 6. Little Girl Blue
[5:25] 7. E.V.'s Berlin Bounce
[6:08] 8. I'm Glad There's You
[5:33] 9. Round And Round
[5:48] 10. Where Or When
[4:25] 11. Here's To Life

Marjorie Barnes is one of the world’s great jazz singers and performers. She is possessed with serious vocal chops, a confident and dramatic stage presence, and an ability to deliver a lyric in the manner of the great musical storytellers. She also manages to couple an authenticity and wisdom earned through five decades in the music business with an infectiously youthful and playful spirit. Equinox is a firmly rooted and musically diverse quintet of highly seasoned jazz musicians based in the Netherlands. Led by American guitarist, composer, arranger, and lyricist Dan Nicholas, the band also features Simon Rigter on tenor saxophone, Bob Wijnen on piano, Steve Zwanink on bass, and Marcel Serierse on drums.

The meeting between Marjorie Barnes and Equinox is of a true collaborative spirit. Marjorie’s singular vocal gifts shine brightly over the band’s unique sound and her sharp musical instincts and daring fit hand in glove with the band’s adventurous musical interplay. Marjorie Barnes and Equinox’s music is a seamless blend of original works penned by Dan Nicholas set alongside jazz classics, more contemporary pieces, and favorites from the great American songbook. With Equinox behind her every step of the way, Marjorie brings powerful emotional and personal depth to songs that speak of love, loss, hope, celebration, and the blues.

Brighter Shores mc
Brighter Shores zippy

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Ray Vanderby Hammond Combo - Orange Not Blue

Bitrate: MP3@320K/s
Time: 31:28
Size: 72.0 MB
Styles: Organ jazz
Year: 2009
Art: Front

[4:33] 1. Troubleshooter
[4:22] 2. Near Midnight
[6:20] 3. Where The Wind Blows
[2:59] 4. Gotta Get Up
[4:28] 5. Hospitalityman
[4:35] 6. Senior Citizen's Samba
[4:07] 7. Orange Not Blue

Ray Vanderby was born in Sittard Holland in 1953 and is a self taught jazz musician on the Hammond organ; he can’t read music, has not done any formal jazz studies and plays by ear. He began playing in 1964 at age 12 and was the youngest semi-professional organist in Australia. Ray became a qualified piano tuner/technician and at age 20, was the in house session keyboard sideman for EMI 301 Studios Sydney. He worked with some of Australia’s top performers and in 1991 won first prize in the W.R.O.C./BMG Australia wide songwriting competition out of 2,500 entries. Ray has performed at the Cronulla, Newcastle Jazz Festivals as well as the Thredbo, Goulburn and Bluestone Blues Festivals. Over the years he has released original recordings in various genres, “Orange Not Blue” is his first jazz album, consisting entirely of Ray’s original compositions.

Ray Campbell veteran bassist cut his teeth on the early Sydney scene in the 1960’s and 70’s playing in the house band at the Latin Quarter with Stewie Speers, Jimmy Sloggett and Ricky May. He toured New Zealand in the 1972 production of "Hair" with Marcia Hines and Reg Livermore and was in the resident band for the hit New Zealand show "The Happen Inn". Gerry Ramage started playing trombone at school in 1966, then did the Jazz Studies program at the Sydney Conservatorium of Music under Howie Smith, Bill Motzing, Don Burrows and Dick Montz. He joined the ABC in 1975 and has played in most ABC orchestras throughout Australia. Gerry has worked with Johnny Dankworth, Cleo Lane, Shirley Bassey, Pavarotti, the Ed Wilson, Warren Daly, Ralph Pyl Big Bands and the James Morrison’s Big Bad Band.

Chris Ronan is the youngest member of the Ray Vanderby Combo and began playing sax at age 14 in 2006. He played with the Orange High School and Orange Regional Conservatorium stage bands. Chris was a member of the 2008 Beijing Olympic Orchestra and toured China with that ensemble playing for diplomats and performing on the Great Wall of China and in Tiananmen Square. Rob “Rocky” Rochelli is probably the Central West's most versatile drummer and percussionist. He has played with various bands over many years covering the styles of jazz, funk, latin, folk, country and rock. Rob has worked extensively in theatre both as a musician and Music Director; his influences are many and include the soul, latin, Afro Cuban genres as well as drummers Dave Mattacks and Dave Weckl.

Orange Not Blue mc
Orange Not Blue zippy

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Freddie Redd Trio, Hampton Hawes Quartet - Piano East Piano West

Bitrate: MP3@320K/s
Time: 41:59
Size: 96.1 MB
Styles: Bop, Piano jazz
Year: 1956/1991
Art: Front

[2:44] 1. Terrible T
[2:47] 2. Fanfare
[2:59] 3. Just Squeeze Me (But Don't Tease Me)
[2:58] 4. I'll Remember April
[2:59] 5. Hamp's Paws
[1:57] 6. Move
[2:35] 7. Once In A While
[2:39] 8. Buzzy
[4:16] 9. Debut
[5:47] 10. The Things We Did Last Summer
[5:20] 11. Lady J Blues
[4:53] 12. Ready Freddie

This CD reissue has two unrelated early sessions from pianists Hampton Hawes and Freddie Redd. Hawes, heard in a quartet with vibraphonist Larry Bunker, bassist Clarence Jones and drummer Larence Marable, already ranked as one of the top bop-based pianists in 1952. He performs eight straight-ahead numbers (five bop standards and three originals like "Hamp's Paws"), including a two-minute version of "Move" that lives up to its name. Redd, who recorded much less during his longer career, stretches out a bit more on four numbers (including three originals) in a trio with bassist John Ore and drummer Ron Jefferson. Excellent music, easily recommended to bop collectors. ~Scott Yanow

Piano East Piano West 

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Walt Weiskopf - Day In Night Out

Styles: Saxophone And Flute Jazz
Year: 2008
File: MP3@320K/s
Time: 59:42
Size: 139,2 MB
Art: Front

(4:42)  1. Day In Night Out
(5:54)  2. West Side Waltz
(5:27)  3. City Of Sin
(6:42)  4. Blue In Two
(5:36)  5. Walk In The Woods
(6:03)  6. Off Yellow
(6:00)  7. Lean And Green
(7:17)  8. Heather On The Hill
(6:01)  9. Solid Citizen
(5:57) 10. I Got It Bad And That Ain't Good

Most of us find that there are certain musicians who speak to us through their music in a profound way that makes for a special connection. These are the artists who find a prominent space in our collections because we continuously seek out all of their current musical endeavors. For this reviewer, saxophonist Walt Weiskopf has always been a musician to watch. Not to take anything away from other jazz saxophonists, but Weiskopf's musical persona is the complete package. He has an identifiable sound, chops aplenty, great ideas, and a strong emotional base that is often absent in other technically gifted players. Beginning with 1993's Simplicity, Weiskopf has led a strapping and diverse series of albums for Criss Cross that rank among the finest the label has to offer. Additionally, his name has been getting out there more frequently these days as he continues to perform with rock icon Steely Dan.

His first large ensemble work since Siren (Criss Cross, 2000), Day In Night Out brings back a few familiar faces from his previous nonet records, but ultimately opts for a smaller unit composed of some new friends. As usual, the emphasis here is on Weiskopf's own unique compositions and a few sagacious reworkings of select standards. The title track opens up the program with one of Walt's signature licks, namely a tightly voiced serpentine melody with the saxophone choir speaking and breathing as one. Harmonized backing lines soon follow and the whole thing ends up sounding much larger than the sum of these few parts. Weiskopf has a wonderful knack for working in three quarter time and "West Side Waltz" is just the latest example of his prowess. It's also a great place to hear the palette of colors he uses in creating his canvas which, in this case, finds the humming of flutes figuring prominently in the mix.

Rich textures and hues mark the slower numbers such as "City of Sin" and "Off Yellow," where Weiskopf gives as much prominence to the ensemble structures as he does to the solos. It's interesting to note that in the liners, the saxophonist comments on the influence of Don Sebesky and the CTI albums of the '70s. He comments on the iconic arranger's skill of achieving a large sound with a small number of musicians and that's exactly what Weiskopft attains in his work here, as heard in the cacophony he generates on the opening gambit of "Lean and Green." Equally intriguing are the horn accents that punctuate a splendid reading of "Heather on the Hill," yet another standard to get the red carpet treatment arranging wise from Weiskopf.

As a leader, Weiskopf is more than generous with sharing the solo space. Prominent in the mix are Andy Fusco, a firebrand with a sound that nods towards James Spaulding, and Gary Smulyan, heir apparent to the burly style of the late, great Pepper Adams. Filling some big shoes is drummer Kendrick Scott, since Weiskopf usually prefers the company of modern powerhouse Billy Drummond. What Scott may lack in visceral punch, he more than makes up for in a swinging beat and crisp sound that shades his accompaniment to the needs of the arrangement. Weiskopf himself is so fluent that he is able to execute anything and his tone retains its weight regardless of range. A thoroughly accomplished work from start to finish, Day In Night Out can be appreciated for its technical virtuosity, bur remains surprisingly accessible. It not only sets a benchmark for jazz that functions within the tradition, but speaks with individuality and emotional attachment. Need one ask for anything more? ~ C.Andrew Hovan https://www.allaboutjazz.com/day-in-night-out-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf: tenor sax and flute; Andy Fusco: alto sax, flute, clarinet; Gary Smulyan: baritone sax; Michael Leonhart: trumpet; John Mosca: trombone; Peter Zak: piano; Doug Weiss: bass; Kendrick Scott: drums.

Day In Night Out

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Mast - Thelonious Sphere Monk

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 67:12
Size: 154,7 MB
Art: Front

(1:48)  1. Misterioso (Reprise)
(4:50)  2. Evidence (feat. Jonah Levine Collective, Dan Rosenboom, Gavin Templeton)
(3:44)  3. Bemsha Swing
(5:17)  4. Ask Me Now (feat. Brian Marsella)
(4:59)  5. Well You Needn’t (feat. Chris Speed)
(4:05)  6. Epistrophy (feat. Dan Rosenboom, Gavin Templeton)
(5:38)  7. ‘Round Midnight (feat. Brian M
(4:21)  8. Blue Monk (feat. Jason Fratice
(1:29)  9. Oska T
(5:06) 10. Nutty (feat. Makaya McCraven,
(4:23) 11. Straight No Chaser (feat. Bria
(3:16) 12. Friday the 13th
(3:50) 13. Let’s Cool One (feat. Makaya M
(4:24) 14. Pannonica
(5:47) 15. Trinkle Tinkle
(4:10) 16. Misterioso

Jazz anniversaries are always a bit underwhelming. They come and go, their significance trumpeted in earnest Facebook posts. At the end of the day though, the artists we honor remain underappreciated by casual music listeners. The 100th anniversary of Thelonious Monk's birth date last October is a case in point. His contribution to American culture and to jazz culture globally is on par with that of the 20th century's great artists. To describe him as a giant is to state the obvious. But it's hard to imagine that Oct. 17, 2017 saw any meaningful uptick in Monk sales. Harder still to find signs of a sustained boost in interest. Still, he is among our heroes. And when a group of musicians gather to record a tribute as wide ranging and tightly performed as this new one, we can take some solace in the fact that our man remains as influential as ever. Behind Tim Conley's (a.k.a. MAST) leadership, Thelonious Sphere Monk offers up aggressively modern interpretations of Monk's music. Major works like "Epistrophy," "'Round Midnight" and "Straight No Chaser" are here. So too are compositions you may be less familiar with.

"Epistrophy" signals the band's willingness to push Monk fans beyond their comfort zone. Its first 30 seconds is a cross between a drum and bass track and a broken Space Invaders game. But like a lot of the album, MAST's horn section jumps in quickly and brings us right back to what we love about Monk. The forcefulness, the intricacy, the way Monk challenged us is captured faithfully again and again on these 16 new recordings.  "Oska T" features a cracking beat that would sound right at home on a downtempo electronic track. Paired with both a piano and brass band presentation of the tune, the mix is infectious. That's followed by the great "Nutty," which opens with one of the album's several recordings of Monk speaking: "I like to reach everybody," he says. "The public plus the musicians. That's a standard I set for my songs something that will get to the people's ear, plus no criticism from the musicians." These documentary-style additions are fun and add to the disc's modern feel. The track itself features an electric piano performance by Conley (an inarguably gutsy call). He keeps the piece grounded while Daniel Rosenboom's trumpet leads a brass section worthy of the great man himself. Conley began his career as a guitarist. His delivery on "Pannonica" is as good a measure of his talent as any on the album. What makes this tribute work is that he's surrounded by equally strong players, all of whom appear to revere Thelonious Sphere Monk. ~ Kevin Press https://www.allaboutjazz.com/thelonious-sphere-monk-tim-conley-world-galaxy-records-review-by-kevin-press.php

Personnel: Tim Conley: guitar, bass, keyboards, synthesizers, drum programming, production; Chris Speed: tenor saxophone (track 5); Dan Rosenboom: trumpet (tracks 2, 3, 6, 9, 10, 13); Gavin Templeton: alto saxophone, baritone saxophone (tracks 2, 3, 6, 9, 10, 13); Jonah Levine: trombone (tracks 2, 3, 6, 9, 10, 13); Jason Fraticelli: upright bass (track 8); Brian Marsella: piano (tracks 4, 7, 11); Makaya McCraven: drums (tracks 10, 13); Anwar Marshall: drums (track 2).

Thelonious Sphere Monk

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Kathy Kosins - Uncovered Soul

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 54:37
Size: 127,2 MB
Art: Front

(4:28)  1. Don't Get Me Started
(4:23)  2. Voodoo
(3:54)  3. Uncovered Soul
(4:41)  4. Ms. Martha
(4:13)  5. The Downtown Lights
(5:12)  6. A to B
(3:59)  7. Dreamin' / Dreamin's Gonna Pull Me Through
(4:55)  8. If Love Could Talk
(5:17)  9. Can We Pretend
(5:59) 10. Any Day Now
(3:50) 11. Could You Be Me
(3:40) 12. Seria Voce Como Eu

In “Uncovered Soul” Kosins (ASCAP awarded composer & lyricist) teams up with Kamau Kenyatta, the stellar long time producer of Gregory Porter, she will re-unite with her soulful and groove skills. A contrast to her previously released and highly acclaimed album, To the Ladies Of Cool“, "Uncovered Soul" follows in the footsteps of Kamau Kenyatta’s three Grammy nominated, Gregory Porter projects. The Grammy nominated CD “Water,” the Grammy nominated single, “Real Good Hands,” from the CD “Be Good” and the Grammy Award winning CD “Liquid Spirit.” “Uncovered Soul” is based on a sonic worldview shaped by the interpersonal and musical landscape of Detroit in the late 60s and 70s. 

“Uncovered Soul” however, is not merely an urban reality: It is also the common thread that binds the relevancy of the words and music of Curtis Mayfield, Gene McDaniels, Bill Withers,The Neville Brothers, Amos Lee and Burt Bacharach to the present. Three original compositions were added to “Uncovered Soul” to provide a contemporary point of view. http://www.kathykosins.com/

Uncovered Soul

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