Buddy Johnson - Night Shift

Bitrate: MP3@320K/s
Time: 50:31
Size: 115.7 MB
Styles: Piano jazz
Year: 2013
Art: Front

[2:52] 1. Night Shift
[2:15] 2. Exactly Like You
[2:39] 3. Gee, It's Good To Hold You
[2:11] 4. If You Never Return
[3:27] 5. In There
[4:39] 6. Jodi
[4:50] 7. One For A Nickel
[4:36] 8. One O'clock Boogie
[3:58] 9. Since I Fell For You
[3:31] 10. St. Louis Blues
[2:51] 11. The Otherside Of The Rainbow
[4:32] 12. Traffic Jam
[2:26] 13. Waitin' For The Train To Come In
[5:37] 14. Walk 'em

Buddy began taking piano lessons at age four. Although he specialized professionally in tasty R&B, classical music remained one of his passions. In 1939, Buddy Johnson waxed his first 78 for Decca, "Stop Pretending (So Hep You See)." Shortly thereafter, Ella joined her older brother; her delicious vocal on "Please Mr. Johnson" translated into long-term employment. Buddy had assembled a nine-piece orchestra by 1941 and visited the R&B charts often for Decca during wartime with "Let's Beat Out Some Love," "Baby Don't You Cry," the chart-topping "When My Man Comes Home," and "That's the Stuff You Gotta Watch." Ella cut her beloved rendering of "Since I Fell for You" in 1945, a year after Buddy waxed his jiving gem "Fine Brown Frame." In addition to their frequent jaunts on the R&B hit parade, the Johnson organization barnstormed the country to sellout crowds throughout the '40s. Buddy moved over to Mercury Records in 1953 and scored more smashes with Ella's "Hittin' on Me" and "I'm Just Your Fool," the latter a 1954 standout that was later purloined by Chicago harpist Little Walter.

Rock & roll eventually halted Buddy Johnson's momentum, but his band (tenor saxophonist Purvis Henson was a constant presence in the reed section) kept recording for Mercury through 1958, switched to Roulette the next year, and bowed out with a solitary session for Hy Weiss' Old Town label in 1964. Singer Lenny Welch ensured the immortality of "Since I Fell for You" when his velvety rendition of the Johnson-penned ballad reached the uppermost reaches of the pop charts in 1963. It was a perfect match of song and singer; Welch's smooth, assured delivery would have fit in snugly with the Johnson band during its heyday a couple of decades earlier. ~ Bill Dahl

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Sarah Lancman - À Contretemps

Bitrate: MP3@320K/s
Time: 43:52
Size: 100.4 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[3:28] 1. Don't Lose Me
[4:35] 2. Ça N'a Plus D'importance
[4:41] 3. I Want Your Love
[3:48] 4. On S'est Aimé
[3:49] 5. Wrong Or Right -Sarah's Blues
[6:20] 6. Love Me Just Your Way
[4:34] 7. Tout Bas
[3:51] 8. À Contretemps
[2:12] 9. Choro Pour Les Amants éternels
[2:45] 10. Conjugaison Amoureuse
[3:45] 11. On S'est Aimé-Aishiatta Koto O

In music, the mishap (Contretemps) is a rhythmic process that breaks a regular emphasis when a sound, started on a low time, is interrupted on the next high note. It’s her knowledge of music – Sarah Lancman singer-songwriter has made some serious studies, piano and composition, before opting for singing, which may have inspired this title, for talking to us again about love. Because the point is really about love and the love that inspires her.

So here we are with a new album as fresh as the last one, even more succeeded and that confirms several things: that Sarah Lancman is a great jazz singer, promised a bright future, that the association with her mentor, excellent musician , entrepreneur, virtuoso pianist, Giovanni Mirabassi, produces beauty, highlighting their respective talents and finally that she is on the way to a great career. A matter of time… And as if that were not enough, the creation of this album recorded in Bangkok, inaugurates a magnificent project, the birth of a new independent label, emerged as the hold up of the century: Jazz Eleven.

As in the famous film, are gathered for this project, around Giovanni and Sarah, talents and specialists from all over the world: the double bass Gianluca Renzi (Ari Hoenig, Andrew Ceccarelli, Kevin Hays …), on drums Gene Jackson (Herbie Hancock Trio, Diane Reeves, Christian McBride, Joe Lovano …), and as special guest, the amazing Japanese singer and trumpeter Toku (13 albums, Sony Jazz Japan artist) … Not to mention Lukmil Perez on percussion, in the title “Tout Bas”

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Gerald Clayton - Tributary Tales

Bitrate: MP3@320K/s
Time: 63:34
Size: 145.5 MB
Styles: Piano jazz
Year: 2017
Art: Front

[5:53] 1. Unforeseen
[6:08] 2. Patience Patients
[1:07] 3. Search For
[4:13] 4. A Light
[0:34] 5. Reach For
[6:39] 6. Envisionings
[1:05] 7. Reflect On
[3:06] 8. Lovers Reverie
[5:48] 9. Wakeful
[7:42] 10. Soul Stomp
[6:55] 11. Are We
[1:26] 12. Engage In
[7:04] 13. Squinted
[5:46] 14. Dimensions Interwoven

Tributary Tales is an apt title for the most accomplished and adventurous album yet from pianist Gerald Clayton, a scion of SoCal jazz royalty. The music is forever moving, riding streams of intriguing, pleasing sounds — ambling grooves, burrowing piano solos and colorful and often unpredictable multi-saxophone lines. All are tributaries of a highly personal music that’s clearly drawn from jazz tradition but headed in new, unexpected directions. It’s brainy, yes, but heavy on emotional content, too.

“Soul Stomp” exemplifies this collection of original compositions, all written and arranged by Clayton. The track opens with a playful piano figure and oozing organ. Then a modified R&B groove kicks in under a swaying melody provided by saxophonists Logan Richardson on alto and Ben Wendel on tenor. Clayton’s searching piano improvisation follows, as do sections featuring alternating sax solos, Joe Sanders’ bowed-bass figures, large-ensemble swells and a return to the theme. Tumbling, hyperactive percussion underscores the elongated, twisting sax lines of “Unforeseen,” the album’s opener, while “A Light” thrives on dizzying bebop sax figures fueled by Justin Brown’s groove-digging urban trap-kit propulsion. The silky, large-ensemble textures of “Lovers Reverie” provide a bed for the expressive spoken-word incantations of Aja Monet and Carl Hancock Rux; the two reprise their roles on the pensive closer, “Dimensions: Interwoven.”

Dayna Stephens’ baritone sax adds a chunky bottom to the slippery themes and solos of “Wakeful,” and Sachal Vasandani’s wordless vocals lend an exotic aura to the multi-hued “Squinted.” For extra measure, Clayton offers several short, improvised pieces. All are integral to an album-length journey that feels like a natural segue from 2013’s Life Forum, if worlds away from 2009’s Two-Shade, Clayton’s debut (a trio recording with Brown and Sanders). Tributary Tales presents a fresh chapter in a brilliant career.

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Flip Phillips - Your Place Or Mine

Bitrate: MP3@320K/s
Time: 44:16
Size: 101.3 MB
Styles: Saxophone jazz
Year: 1963/2017
Art: Front

[4:28] 1. Come Rain Or Come Shine
[3:37] 2. Ja Da
[3:26] 3. Just Say I Lover Her
[3:57] 4. It's The Talk Of The Town
[2:36] 5. Summertime
[3:09] 6. Nuages
[1:42] 7. Scatterbrain
[4:54] 8. Chloe
[4:30] 9. Moonlight In Vermont
[2:48] 10. Jazz Me Blues
[3:20] 11. Stars Fell On Alabama
[2:55] 12. With Someone New
[2:49] 13. Gone With The Wind

In 1954, tenor saxophonist Flip Phillips moved to Florida, where aside from occasional tours, he has been content to play locally in semi-retirement ever since. During the 1955-74 period, Phillips only recorded one record as a leader (for Sue in 1963, later reissued by Onyx), so the discovery of a duet tape (also from 1963) with guitarist Dell Staton helped to partly fill a gap. This mid-1970s LP finds Phillips in excellent form playing a variety of his favorite standards. A virtual unknown due to his decision to stick close to Florida, Staton sounds fine in support. Although the recording quality is not quite state-of-the-art, the superior playing by Flip on such songs as "Ja Da," "Nuages," "Jazz Me Blues" and "Gone With the Wind" (plus his "With Someone New") makes this an LP to look for. ~Scott Yanow

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Paquito D'Rivera - Sons Do Brasil

Bitrate: MP3@320K/s
Time: 53:44
Size: 123.0 MB
Styles: Latin jazz
Year: 2008
Art: Front

[ 8:41] 1. To Brenda With Love
[ 9:06] 2. Blues For Astor
[ 6:14] 3. Sons Do Brasil
[ 9:08] 4. Yelele Candombe
[ 9:59] 5. I Remember Dizzy
[10:34] 6. Who's Smoking

Paquito D'Rivera (alto sax, clarinet), Diego Sassetti (piano), Perico Sambeat (sax, flute), Bob Sands (tenor sax, flute), Mario Rossy (bass), Jordy Rossy (drums), José Salguiro (percussion).

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "Whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable."

D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years.

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Guy Mitchell - The Very Best Of Guy Mitchell

Bitrate: MP3@320K/s
Time: 68:42
Size: 157.3 MB
Styles: Oldies, Pop, Country
Year: 2016
Art: Front

[2:26] 1. Singing The Blues
[2:37] 2. Heartaches By The Number
[2:45] 3. My Heart Cries For You
[2:48] 4. My Truly, Truly Fair
[2:55] 5. Pittsburgh, Pennsylvania
[2:48] 6. You're Just In Love
[3:06] 7. She Wears Red Feathers
[2:48] 8. Look At That Girl
[2:27] 9. Cloud Lucky Seven
[2:09] 10. Knee Deep In The Blues
[2:12] 11. Rock-A-Billy
[2:46] 12. The Roving Kind
[3:04] 13. The House Of Singing Bamboo
[3:14] 14. Sparrow In The Treetop
[2:45] 15. Unless
[2:24] 16. Belle, Belle, My Liberty Belle
[3:30] 17. A Beggar In Love
[2:42] 18. There's Always Room At Our House
[2:41] 19. Chicka Boom
[2:55] 20. Sweetheart Of Yesterday
[2:56] 21. The Place Where I Worship
[2:27] 22. Sippin' Soda
[2:39] 23. The Cuff Of My Shirt
[2:33] 24. Pretty Little Black Eyed Susie
[2:52] 25. Cause I Love You, That's A Why

Albert Cernick, 22 February 1927, Detroit, Michigan, USA, d. 1 July 1999, Las Vegas, Nevada, USA. Mitchell was an enormously popular singer in the USA and especially the UK, particularly during the 50s, with a straightforward style, rich voice and affable personality. Although his birthplace is often given as Yugoslavia, his parents’ homeland, Mitchell confirmed in a 1988 UK interview that he was born in Detroit, and was brought up there until the family moved to Colorado, and then to Los Angeles, California, when he was 11 years old. In Los Angeles, he successfully auditioned for Warner Brothers Records and, for the next few years, was groomed for a possible movie career as a child star, in addition to singing on the Hollywood radio station KFWB. The possibility of the world having another Mickey Rooney was averted when the family moved again, this time to San Francisco. Mitchell became an apprentice saddle-maker, and worked on ranches and in rodeos in the San Joaquin Valley, and also sang on cowboy singer Dude Martin’s radio show. His affection for country music stayed with him for the remainder of his career. After a spell in the US Navy, Mitchell joined pianist Carmen Cavallaro, and made his first records with the band, including ‘I Go In When The Moon Comes Out’ and ‘Ah, But It Happens’. He then spent some time in New York, making demonstration records, and also won first place on the Arthur Godfrey Talent Show. In 1949, he recorded a few tracks for King Records, which were subsequently reissued on Sincerely Yours when Mitchell became successful.

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Donny McCaslin - Seen From Above

Bitrate: MP3@320K/s
Time: 58:30
Size: 133.9 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[6:34] 1. Manresa
[6:52] 2. Seen From Above
[5:09] 3. Second Line Sally
[5:38] 4. These Were Palaces
[6:48] 5. Mick Gee
[5:54] 6. Strange Pilgrim
[7:43] 7. Going To The Territory
[6:44] 8. Frontiers
[7:03] 9. September Song

When tenor saxophonist Donny McCaslin hits his stride, he can hold his own with the best of them. On his first recording for the “Arabesque Recordings” label, titled Seen From Above, and second as a leader, the saxophonist incorporates some of the hard nosed voicings and complex time signatures also exhibited in the fine band, “Lan Xang”. - An outfit, that features the blazing dual sax attack of McCaslin and saxophonist David Binney.

Along with drummer Jim Black, bassist Scott Colley and guitarist Ben Monder, McCaslin struts his broad, weighty tone amid scathing lines and cunning improvisation atop solid funk-rock beats on the album’s opener, “Manresa” and throughout most of these upbeat tracks. Here, the band deviates from a traditional ho-hum style of interplay, marked by shifty time signatures, ominous yet altogether innocent themes and searing ensemble work, enhanced by the potent and ever so creative rhythmic developments of Black and Colley.

Monder and McCaslin implement rapid fire, odd-metered unison choruses on the turbo charged composition, “Mick Gee” as the band creates loads of impact via tense themes and beefy lines. With “Going To The Territory”, the saxophonist is ablaze as he reworks the melody while displaying a husky tone to coincide with his shrewd utilization of various registers and altogether expressionistic approach, while Monder counters with electrified aplomb. Overall, McCaslin delivers the knockout blow in prominent fashion! Recommended. ~Glenn Astarita

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McCoy Tyner - Sahara

Styles: Piano Jazz
Year: 1972
File: MP3@320K/s
Time: 47:57
Size: 110,8 MB
Art: Front

( 9:00)  1. Ebony Queen
( 4:48)  2. A Prayer for My Family
( 5:19)  3. Valley of Life
( 5:21)  4. Rebirth
(23:27)  5. Sahara

After the death of John Coltrane, his longtime pianist McCoy Tyner was in something of a musical quandary. Keeping up with his mentor through the incredible explorations of the early '60s, he seemed to have some difficulty navigating the even further out territories explored in the two or three years before Coltrane's death in 1967. His subsequent albums as a leader were solid, enjoyable efforts but seemed oddly retrograde, as though he needed time to settle back and re-digest the information handed down to him. With Sahara, Tyner found the precise perfect "middle ground" on which to stand, more structured than late Coltrane, but exploding with a ferocity and freedom of sound that made it simply one of the greatest jazz recordings of the decade. None of the other members of his quartet ever sounded so inspired, so liberated as they do here. Sonny Fortune threatens to tear the roof off the joint on more than one occasion, Calvin Hill is more than rock-solid on bass, his roots arcing deeply into the earth, and as for Alphonse Mouzon, well, no one familiar with his later vapid meanderings in fusion would begin to recognize him here, so incendiary is his playing. And Tyner develops so much pure energy, channeled with such pinpoint precision, that one worries about the physical stability of any piano under such an assault. From the extraordinarily intense "Ebony Queen" through the ruminative solo "A Prayer for My Family, the equally intense "Rebirth," and the concluding, side-long title track, there's not a misstep to be heard. "Sahara," over the course of its 23 minutes, covers vast ground, echoing the majesty and misery of the geographical area with percussion and flute interludes to some of Tyner's very best playing on record. Even something that could have resulted in a mere exercise in exotica, his koto performance on "Valley of Life," exudes both charm and commitment to the form. Tyner would go on to create several fine albums in the mid-'70s, but never again would he scale quite these heights. Sahara is an astonishingly good record and belongs in every jazz fan's collection. ~ Brian Olewnick https://www.allmusic.com/album/sahara-mw0000566101

Personnel: McCoy Tyner (piano, koto, flute, percussion); Sonny Fortune (soprano & alto saxophones, flute); Alphonse Mouzon (trumpet, reeds, drums, percussion); Calvin Hill (reeds, bass, percussion).

Sahara

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Fats Navarro - Our Delight

Styles: Trumpet Jazz
Year: 1948
File: MP3@320K/s
Time: 48:31
Size: 111,2 MB
Art: Front

(5:49)  1. Good Bait
(3:08)  2. Lady Be Good
(3:41)  3. Anthropology
(4:03)  4. The Squirrel
(4:32)  5. Tadd Walk
(5:16)  6. Dameronia
(4:04)  7. Our Delight
(5:59)  8. Bebop
(4:57)  9. Good Bait (No.2)
(4:08) 10. Symphonette
(2:49) 11. The Squirrel (No.2)

"Our Delight" is a 1947 jazz standard, composed by Tadd Dameron. It is considered one of his best compositions along with "Good Bait", "Hot House", "If You Could See Me Now", and "Lady Bird". A moderately fast bebop song, it featured the trumpeter Fats Navarro, who is said to "exhibit mastery of the difficult chord progression". One author said, "'Our Delight' is a genuine song, a bubbly, jaggedly ascending theme that sticks in one's mind, enriched by harmonic interplay between a flaming trumpet section led by Dizzy, creamy moaning reeds and crooning trombones. The written accompaniments to the solos-in particular the leader's two statements-are full of inventiveness, creating call-and-response patterns and counter-melodies. What is boppish here is the off-center, syncopated melody, as well as the shifting, internal voicings of the chords, especially at the very end. These voicings, along with a love of tuneful melodies that one walks out of a jazz club humming, were Tadd's main legacy to such composers and arrangers as Benny Golson, Gigi Gryce, and Jimmy Heath."Rolling Stone describes it as a "bop gem".  Bill Evans recorded his version of it for his debut album New Jazz Conceptions in 1956. https://en.wikipedia.org/wiki/Our_Delight

Personnel:  Trumpet – Fats Navarro;  Alto Saxophone – Rudy Williams;  Bass – Curly Russell;  Drums – Kenny Clarke;  Piano – Tadd Dameron;  Tenor Saxophone – Allen Eager;  Vibraphone – Milt Jackson

Our Delight

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Romero Lubambo - Rio De Janeiro Underground

Styles: Guitar Jazz, World
Year: 2003
File: MP3@320K/s
Time: 68:33
Size: 157,6 MB
Art: Front

(5:52)  1. She Walks This Earth
(6:43)  2. Easy Going
(5:53)  3. Rio De Janeiro Underground
(5:52)  4. For Donato
(5:35)  5. Aparecida
(4:38)  6. Cornfield
(6:47)  7. Dipper Mouth
(6:35)  8. Estrela Guia
(4:37)  9. Sweeping The Chimney
(5:00) 10. Leblon
(5:43) 11. Avenida Central
(5:13) 12. Nira

RIO DE JANEIRO UNDERGROUND is a combination of several influences that I was exposed to, having been brought up in that incredible city. From bossa nova, to funk, to second line, to Brazilian country music, to jazz, and to street samba. All these types of music touched me greatly; not necessarily played on the radio, but in backyards, jam sessions and on the streets of Rio. For this project, I chose musicians that are masters of many different types of music to bring back to me the feelings I had making music in Rio. It was a joy for me to work with them. To have Herbie Mann and Ivan Lins as special guests is a dream come true. 

~ Editorial Reviews https://www.amazon.com/Rio-Janeiro-Underground-Romero-Lubambo/dp/B0000AOV3L

Personnel : Romero Lubambo (acoustic guitar, guitar); Ivan Lins (vocals); Herbie Mann (alto flute, flute); Cesar Camargo Mariano, Dario Eskenazi (piano, Fender Rhodes electric piano); Sergio Brandao, Paul Socolow (bass); Ricky Sebastian, Mark Walker (drums); Cyro Baptista (percussion).

Rio De Janeiro Underground

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Syd Lawrence Orchestra - Plays The Music Of Glenn Miller

Styles: Jazz, Big Band 
Year: 1990
File: MP3@320K/s
Time: 77:12
Size: 177,1 MB
Art: Front

(4:01)  1. Moonlight Serenade
(3:05)  2. Little Brown Jug
(3:21)  3. String Of Pearls
(4:27)  4. At Last
(4:16)  5. I've Got A Gal In Kalamazoo
(3:41)  6. American Patrol
(3:35)  7. Perfidia
(2:36)  8. Slumber Song
(2:12)  9. Anchors Away
(2:55) 10. Elmer's Tune
(4:02) 11. St.Louis Blues
(3:35) 12. In The Mood
(3:33) 13. Story Of A Stary Night
(3:51) 14. I Dreamt I Dwelt In Harlem
(3:29) 15. Falling Leaves
(2:52) 16. Pennsylvania 6-5000
(2:43) 17. Caribbean Clipper
(4:25) 18. Tuxedo Junction
(3:43) 19. Stardust
(3:45) 20. Chattanooga Choo Choo
(3:42) 21. Frenesi
(3:14) 22. Adios

Vocalion proudly presents the first ever CD reissue of The Syd Lawrence Orchestra's fabulous 1970s album '... Plays the Music of Glenn Miller in super stereo'. Led by trumpeter Syd Lawrence, his orchestra enjoyed huge commercial success in the late 1960s and throughout the '70s, and, next to the Ted Heath Orchestra, was one of the greatest big bands ever to have come from Britain. Listening to this superb album will qualify that point. Syd and his men, aided and abetted on a few numbers by vocalists Kevin Kent and the Skylarks, swing their through a selection of legendary bandleader Glenn Miller's greatest hits, Titles include perennial favourites such as Moonlight Serenade, Little Brown Jug, Pennsylvania 6-5000, Tuxedo Junction, American Patrol, String of Pearls, In the Mood, I've Got a Gal in Kalamazoo and many more. All of which makes this a must-have release for big band aficionados and popular music-lovers alike. Remastered from the original analogue stereo tapes. https://www.amazon.co.uk/Lawrence-Orchestra-Plays-Miller-stereo/dp/B0035FQ4CU

Plays The Music Of Glenn Miller  Mirror

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