McCoy Tyner - Jazz Roots

Bitrate: MP3@320K/s
Time: 58:16
Size: 133.4 MB
Styles: Piano jazz
Year: 2000
Art: Front

[2:51] 1. A Night In Tunisia
[3:34] 2. Pannonica
[4:18] 3. My Foolish Heart
[4:23] 4. Don't Get Around Much Anymore
[3:59] 5. Blues For Fatha
[4:04] 6. Sweet And Lovely
[3:33] 7. Lullaby Of Birdland
[5:36] 8. You Taught My Heart To Sing
[5:49] 9. Happy Days
[4:55] 10. Rio
[4:48] 11. Summertime
[3:36] 12. St. Louis Blues
[3:38] 13. Ain't Misbehavin'
[3:05] 14. Misty

The powerful pianist McCoy Tyner forged his sound as a member of John Coltrane's classic 1960s quartet, then expanded his musical horizons for the next four decades with his own ensembles, from trios to string orchestras. He's only recorded solo-piano projects sparingly, making this session all the more valuable. Tyner pays tribute to several keyboard legends and contemporaries, from Earl Hines to Bud Powell. Tyner stays true to Duke Ellington and Thelonious Monk on "Don't Get Around Much Anymore" and "Pannonica," and evokes the down-home magic of George Gershwin's "Summertime." Tyner's own compositions, the Latinesque "Rio" and the gospel-born "Happy Days," are dedicated to Chick Corea and Keith Jarrett, respectively. Tyner's unique keyboard concept makes this recording a tribute to his own talents as well. ~Eugene Holley Jr.

Jazz Roots mc
Jazz Roots zippy

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Adam Nussbaum - The Lead Belly Project

Bitrate: MP3@320K/s
Time: 43:50
Size: 100.4 MB
Styles: Jazz/Blues
Year: 2018
Art: Front

[5:46] 1. Old Riley
[2:13] 2. Green Corn
[3:37] 3. Black Girl (Where Did You Sleep Last Night)
[5:07] 4. Bottle Up And Go
[5:26] 5. Black Betty
[1:51] 6. Grey Goose
[4:22] 7. Bring Me A Little Water, Sylvie
[2:33] 8. You Can't Loose Me Cholly
[2:54] 9. Insight, Enlight
[5:10] 10. Sure Would Baby
[4:47] 11. Goodnight Irene

Adam Nussbaum - drums; Ohad Talmor - saxophone; Steve Cardenas - guitar; Nate Radley - guitar. Released February 23, 2018.

From jazz and soul to rock and country, the blues are the bedrock and a uniting feature for much of the popular music originating in the United Sates. The simple and repetitive structures are easy to grasp and perform, making the blues extremely approachable. Under the command of brilliant writers like the legendary Lead Belly, the blues maintains a unique place between high art and common expression.

The discovery of the music of Lead Belly was transformative for young Adam Nussbaum. The only child of artistic parents in Norwalk, Connecticut, Nussbaum was exposed to many recordings, from classical to folk to jazz and blues. It was the image of Huddie Ledbetter on the original Folkways 10-inch record covers that fascinated the five year old. The celebrated blues and folk musician’s music seared itself into his ears, as it does in young listeners, informing the future drummer’s musical approach for years to come, most explicitly on his new recording, The Lead Belly Project.

Nussbaum studied classical piano for five years, but it wasn’t until he was twelve that he focused on drums. He played in local bands before moving to New York to study at the Davis Center at City College. Most of Nussbaum’s education was earned by sitting in with other musicians and it wasn’t long before he caught the attention of the City’s most notable players, including Dave Liebman and John Scofield. His professional career began as he left school to go on tour with Scofield. He has remained a first call drummer over the past 30 years, playing alongside legends like John Abercrombie, Gil Evans, James Moody, Stan Getz, and many others.

The Lead Belly Project mc
The Lead Belly Project zippy

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Various - Cafe Amsterdam: Latin Jazz Night

Bitrate: MP3@320K/s
Time: 69:46
Size: 159.7 MB
Styles: Latin jazz
Year: 2015
Art: Front

[3:15] 1. Cris Monen Jazz & Blues Band - One Note Samba
[3:02] 2. Ricardo Insunza - Favela
[2:46] 3. Ronald Douglas - I Concentrate On You
[5:39] 4. Perfume De Salsa - Dame Un Traguito
[4:36] 5. Ingram Washington - Witchcraft
[3:50] 6. Joop Thonhäuser - Manha De Carnaval
[4:08] 7. Hot Club De Frank - Melodie Au Crepusule
[3:09] 8. Toots Thielemans - Flow
[2:56] 9. Sue Moreno - I Remember You
[2:38] 10. Sebastian Lightfoot - Soul Bossa Nova
[5:24] 11. Jazz Connection - Pau The Arara
[2:34] 12. Dirk Jan Vennik - Funky Wine
[3:48] 13. Deborah J. Carter - Sabado
[5:48] 14. Ratko Zjaca - Soul House
[3:47] 15. Alice In Dixieland - Bed & Breakfast In B
[5:25] 16. Benjamin Herman - All The Things
[2:44] 17. Ricardo Insunza - Saudade Fez Um Samba
[4:07] 18. Marjorie Barnes - No More Blues

The legendary Jelly Roll Morton was noted for saying that Jazz had to contain “The Spanish Tinge,” indicated that Afro-Latin elements have been in Jazz from the music’s inception.

As the century progressed, however, we started to see a more overt fusion of Jazz with Afro-Cuban musical traditions, especially with BeBop innovators like Dizzy Gillespie. By today, we have a distinct style of music, called Latin Jazz, that we consider a crucial and influential vein in this musical tradition.

Cafe Amsterdam: Latin Jazz Night mc
Cafe Amsterdam: Latin Jazz Night zippy

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Russell Malone - S/T

Bitrate: MP3@320K/s
Time: 59:32
Size: 136.3 MB
Styles: Guitar jazz
Year: 1992/2004
Art: Front

[7:11] 1. Wives And Lovers
[6:14] 2. Invisible Colors
[3:13] 3. When I Take My Sugar To Tea
[3:14] 4. It's The Talk Of The Town
[4:48] 5. St. Louis Blues
[3:45] 6. I Don't Know Enough About You
[3:23] 7. Close Your Eyes
[7:09] 8. London By Night
[6:18] 9. I Can't Believe That You're In Love With Me
[8:37] 10. Moonlight Serenade
[2:53] 11. Flowers For Emmett Till
[2:40] 12. Precious Lord

Russell Malone's debut as a leader is a charming effort that ranges from swing to numbers in which Malone shows off his Wes Montgomery influence. Malone is not only heard with a fairly modern quartet comprised of pianist Donald Brown, bassist Robert Hurst III and drummer Yoron Israel, but also in a trio with the great veteran bassist Milt Hinton and drummer Shannon Powell (Malone and Hinton take "St. Louis Blues" as a duet). There are also two duets with pianist Harry Connick, Jr., including a surprising (and effective) vocal by Malone on "I Don't Know Enough About You." A very enjoyable effort with several other surprises along the way. ~Scott Yanow

Russell Malone mc
Russell Malone zippy

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Helen Carr - Why Do I Love You (Remastered)

Bitrate: MP3@320K/s
Time: 31:23
Size: 71.9 MB
Styles: Vocal, Easy Listening
Year: 1955/2014
Art: Front

[1:53] 1. Be Careful, It's My Heart
[3:52] 2. My Kind Of Trouble Is You
[2:21] 3. Lonely Street
[2:20] 4. Symphony
[3:31] 5. You're Getting To Be A Habit With Me
[2:27] 6. Bye Bye Baby
[2:18] 7. Then You've Never Been Blue
[1:57] 8. Summer Night
[3:39] 9. Got A Date With An Angel
[2:33] 10. Can't Help Lovin' Dat Man/Why Do I Love You
[2:24] 11. Do I Worry
[2:02] 12. I've Got A Feelin' You're Foolin'

Acoustic Bass – Red Mitchell; Guitar – Howard Roberts; Lead Vocals – Helen Carr; Trumpet – Cappy Lewis.

Standards and pre-rock singer who recorded in mid-'50s for Bethlehem. What might have been some interesting late '50s material for Atlantic with King Curtis, Al Casey and the Cumming Sisters never was released. ~ Ron Wynn

Why Do I Love You

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Barney Kessel - Midnight Sun

Bitrate: MP3@320K/s
Time: 114:02
Size: 261.0 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[3:58] 1. If You Dig Me
[4:06] 2. Contemporary Blues
[3:10] 3. Indiana
[6:32] 4. My Man's Gone Now
[4:55] 5. Free As A Bird
[4:22] 6. Wall Street
[2:47] 7. You Came A Long Way From St. Louis
[2:10] 8. Summertime
[4:25] 9. Begin The Blues
[3:07] 10. Midnight Sun
[2:29] 11. It Ain't Necessarily So
[6:40] 12. Joy Spring
[5:03] 13. Opus 711
[2:46] 14. String Of Pearls
[3:55] 15. The Gypsy's Hip
[2:54] 16. Don't Blame Me
[2:55] 17. 12th Street Rag
[3:07] 18. Tumbling Tumbleweeds
[3:14] 19. Stairway To The Stars
[2:21] 20. Muskrat Ramble
[3:10] 21. By The Beautiful Sea
[3:20] 22. Embraceable You
[2:11] 23. Heartaches
[3:42] 24. How Deep Is The Ocean, How High Is The Sky
[3:43] 25. Sweet Georgia Brown
[4:44] 26. My Funny Valentine
[2:21] 27. Bye Bye Blues
[3:38] 28. I Wanna Be Loved By You
[4:37] 29. Lover Man
[2:39] 30. They Can't Take That Away From Me
[4:44] 31. The Blessing

One of the finest guitarists to emerge after the death of Charlie Christian, Barney Kessel was a reliable bop soloist throughout his career. He played with a big band fronted by Chico Marx (1943), was fortunate enough to appear in the classic jazz short Jammin' the Blues (1944), and then worked with the big bands of Charlie Barnet (1944-1945) and Artie Shaw (1945); he also recorded with Shaw's Gramercy Five. Kessel became a busy studio musician in Los Angeles, but was always in demand for jazz records. He toured with the Oscar Peterson Trio for one year (1952-1953) and then, starting in 1953, led an impressive series of records for Contemporary that lasted until 1961 (including several with Ray Brown and Shelly Manne in a trio accurately called the Poll Winners). After touring Europe with George Wein's Newport All-Stars (1968), Kessel lived in London for a time (1969-1970). In 1973, he began touring and recording with the Great Guitars, a group also including Herb Ellis and Charlie Byrd. A serious stroke in 1992 put Barney Kessel permanently out of action, but many of his records (which include dates for Onyx, Black Lion, Sonet, and Concord, in addition to many of the Contemporaries) are available, along with several video collections put out by Vestapol. Kessel was diagnosed with inoperable cancer in 2001, which eventually took his life in May of 2004. He was 80 years old. ~ Scott Yanow

Midnight Sun mc
Midnight Sun zippy

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Gordon Webster and Hetty Kate - Gordon Webster Meets Hetty Kate

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 49:09
Size: 113,1 MB
Art: Front

(3:15)  1. Button Up Your Overcoat
(2:57)  2. Blitzkrieg Baby
(3:50)  3. Peek-a-boo
(3:22)  4. Shoo Fly Pie & Apple Pan Dowdy
(2:40)  5. How D'ya Like to Love Me?
(4:16)  6. Eight, Nine & Ten
(3:06)  7. There's Frost On The Moon
(2:55)  8. Busy Line
(3:30)  9. Sweet Lover No More
(4:45) 10. I Wanna Be Around
(3:30) 11. Hard Hearted Hannah
(5:43) 12. Besame Mucho
(5:15) 13. I Lost My Sugar In Salt Lake City

Celebrated ‘King of Swing’, New York pianist Gordon Webster, met Melbourne’s Hetty Kate on the bandstand at the swing dance event Jumptown Jam 2013.. amidst a crowded dance hall full of fast footwork, twirling skirts and dapper gentlemen. After this fateful meeting, and thanks to Swing Patrol Australia, Jumptown Swing and Australia's exuberant supportive dancers, Gordon and Hetty successfully fundraised and recorded an album in New York (Sept 2013). Well Gordon barely needs any introduction as he’s lauded as the number one pianist and bandleader for dancers, Gordon Webster regularly tours around the world, often invited to Europe and Asia as well as touring regularly across the USA. Drawing on influences as diverse as Fats Waller, Count Basie, Oscar Peterson and Gene Harris, Gordon passionately serves up a smorgasbord of styles unified by one characteristic.. irresistible danceability! Gordon has many albums on CDBaby, so make sure to search his name and check out all his music. Pure of tone, sweet sounding and dangerously infectious, Melbourne jazz vocalist Hetty Kate has built quite a career for herself and can often be seen singing for packed dance floors at lindy-hop and blues events around Australia. Born in England, raised in Australia and now based out of Paris Hetty performs as a jazz vocalist at clubs and festivals, and has released 9 albums of her own. "Like Peggy Lee on a Vespa" Marc Myers Jazzwax USA. Hetty also has a few other albums on CDBaby, so please check them out and visit her on facebook whilst you're here! Both Gordon and Hetty would like to thank all the generous supporters, and the welcoming swing community, it's a pleasure to play for you, and keep on dancing. We hope you like the album! https://store.cdbaby.com/cd/gordonmeetshetty

Personnel:  Gordon Webster (piano) and Hetty Kate (voice)

Gordon Webster Meets Hetty Kate

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Red Garland - Halleloo-Y'-All

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 35:50
Size: 82,1 MB
Art: Front

( 6:59)  1. Back Slidin'
( 6:13)  2. Revelation Blues
( 4:50)  3. Everytime I Feel the Spirit
( 6:38)  4. Halleloo-Y'-All
(11:08)  5. I'll Never Be Free

Except for Count Basie, few pianists in the post-war years could swing the blues like Red Garland. Certainly, Garland could give standards a handsome spin with dramatic lyricism, plenty of space and clusters of block chords. But the blues were in Garland's blood system, and his trio album Halleloo-Y'-All from 1960 remains for me one of the finest examples of his blues trio playing. Garland grew up in Dallas, began his music education on reed instruments, joined the Army in 1941and began playing piano while stationed in Arizona. After being discharged from the service in '44, Garland gigged around Texas and soon joined Oran “Hot Lips" Page's orchestra. When the band hit New York, Garland quit to remain in the city, which turned out to be a shrewd career move.

In New York, Garland played and recorded with many of the greats of the late 1940s. When Miles Davis was unable to persuade Ahmad Jamal and his trio to back him in the early 1950s, Davis turned to Garland, looking to the pianist for an emulation of Jamal's elegant and bright melodic style. Garland delivered (in comes cases on the exact same songs) but with a more pronounced and bluesy style than Jamal. By 1956, Prestige was recording Garland as the leader of a trio when he wasn't playing as a member of Davis's and John Coltrane's rhythm sections. [Photo above of Red Garland and Miles Davis]

Virtually all of Garland's leadership dates had a blues pull. Like a posh musical bartender, Garland was masterful at perfectly blending church and club to produce music that was neither and both. Like B.B. King and Ray Charles, every song Garland touched was saturated in the blues. "Garland recorded several blues-centric albums, including Alone With the Blues and P.C. Blues. But perhaps his best was Halleloo-Y'-All. Recorded in April 1960, the album featured my favorite Garland trio Sam Jones on bass and Art Taylor on drums. Both musicians have been vastly overlooked as industrial and inventive trio players. And this Red Garland Trio ranks up there with the best of the decade. Halleloo-Y'-All features a full menu of five blues. As Dan Morganstern wrote in his original album liner notes, “the program consists of three Garland originals, a rhythm-and-blues hit of fairly recent vintage [I'll Never Be Free] and an old traditional gospel hymn. The emphasis is on relaxed tempos and a bluesy groove, but there is none of the pseudo funk which is marketed in such quantity these days under titles similar to some of the 'churcy' ones found here. Red Garland is a stylist not a gimmick-merchant and everything he plays is musical and unforced. He isn't trying to prove anything and what comes out is uncontrived and happy jazz." The album also features Garland's playing organ on the title track, a play on hallelujah. Garland could swing and extract the Hammond's full gospel flavor using a tender touch. With the sharp fierceness of Taylor and fleshy bass lines of Jones, this is a perfect Red Garland Trio album. ~ Marc Myers  https://news.allaboutjazz.com/red-garland-halleloo-y-and-39-all.php

Personnel:  Red Garland – piano, organ;  Sam Jones – bass;  Art Taylor – drums

Halleloo-Y'-All

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Al Casey - Jivin' Around

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 57:19
Size: 132,6 MB
Art: Front

(2:11)  1. Surfin' Hootenanny
(2:02)  2. El Aguila (The Eagle)
(2:42)  3. Thunder Beach
(2:18)  4. Baja
(2:42)  5. Surfin' the Blues, Pt. 1
(2:12)  6. The Lonely Surfer
(2:05)  7. Guitars, Guitars, Guitars
(2:03)  8. The Hearse
(2:01)  9. Ramrod
(1:51) 10. Caravan
(2:55) 11. Surfin' Blues, Pt. 2
(1:50) 12. Surfs You Right
(2:18) 13. Cookin'
(2:08) 14. Indian Love Call
(2:17) 15. Hot Foot
(2:28) 16. Jivin' Around
(1:36) 17. Doin' the Shotfish
(2:12) 18. Doin' It
(2:21) 19. The Hucklebuck
(2:28) 20. Full House
(2:24) 21. Laughin'
(2:00) 22. Monte Carlo
(1:51) 23. Theme from 'Huckleberry Hound'
(2:11) 24. Chicken Feathers
(2:01) 25. Easy Pickin'
(2:00) 26. What Are We Gonn Do in '64?

Casey made these 26 tracks most of which are instrumentals (the K-C-Ettes, actually the Blossoms, add vocals on three of the selections) for the Stacy label in the early '60s, a stint which represented his greatest success as a singles artist. Casey is a very good rock and surf guitarist, but the material is often average or boring period instrumental rock, and not so elevated by Casey's guitar licks and arrangements that they demand repeated listening. The most exciting cuts are the surf ones produced (and often written) by Lee Hazlewood, including "Surfin' Hootenanny," Casey's biggest hit. The more obscure "El Aguila (The Eagle)" and "The Hearse" show Casey's skill at dipping his axe in reverb to ride the surf wave, while "Thunder Beach" and "Baja" borrow, as a lot of surf did, from Latin melodies and rhythms. Casey also does his own version of "Ramrod," a Casey composition that colleague Duane Eddy had taken into the Top 30 a few years previously. Surf-heads should know, though, that much of this disc is not surf music, but bluesy early-'60s R&B-rock, on which the organ is sometimes as or more prominent than Casey's guitar. In fact, "Cookin'" and "Jivin' Around," which both lurched into the bottom of the Top 100, are a lot closer to Jimmy Smith than Dick Dale; those songs and "Doin' It" are actually pretty respectable as far as that genre goes. Two of the songs on the CD were previously unreleased. ~ Richie Unterberger https://www.allmusic.com/album/jivin-around-mw0000604331

Jivin' Around

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Martha Wainwright - Goodnight City

Styles: Vocal, Folk
Year: 2016
File: MP3@320K/s
Time: 50:04
Size: 116,1 MB
Art: Front

(3:50)  1. Around The Bend
(3:40)  2. Franci
(3:43)  3. Traveller
(4:22)  4. Look Into My Eyes
(3:23)  5. Before The Children Came Along
(4:09)  6. Window
(2:12)  7. Piano Music
(4:14)  8. Alexandria
(4:35)  9. So Down
(3:46) 10. One of Us
(4:00) 11. Take The Reins
(4:06) 12. Francis
(3:57) 13. Somehow

You could never accuse the Wainwrights of being shy about their family difficulties. Rufus Wainwright‘s Dinner At Eight, Loudon Wainwright III‘s Hitting You, and of course Martha Wainwright‘s own delightfully titled paean to her father, Bloody Mother Fucking Asshole have all been so intensely personal that it’s sometimes felt like the listener is sitting in on a huge therapy session. Martha Wainwright’s last album, Come Home To Mama, continued the tradition by writing songs so bleak about her marriage that husband Brad Albetta wore a full monks outfit and black face mask throughout the tour to promote the album. Thankfully, four years on from that last album, Wainwright and Albetta are still together and Goodnight City seems to signal something of a fresh start for the Canadian. It’s her most collaborative album, for a start. While Wainwright is no stranger to the odd cover version  indeed, she recorded a whole album of Edith Piaf standards a few years ago  Goodnight City sees songs written for her by the likes of her brother Rufus, Beth Orton, and tUnE-yArDs‘ Merrill Garbus. That’s not to say that the old Wainwright style is completely out of the window of course: opening track Round The Bend is reminiscent of her debut album, a dark tale of a woman who “used to do a lot of blow” who has “seen and done things I wouldn’t wish on anyone”. In a typical Wainwright twist though, none of this may be what it seems: “watch out for my white lies” runs the killer kiss-off. There are also two songs dedicated to Wainwright’s youngest son Francis  one of her own entitled Franci which turns an open letter to her son (“I wanted to name you Valentine, but Dad convinced me to change my mind”) into a gloriously surging anthemic pop song, while Uncle Rufus’ contribution Francis is as sublime as you’d expect: a swooning piano ballad redolent of his Want One and Want Two albums.

Look Into My Eyes is another collaborative family effort, co-written with aunt Kate McGarrigle and cousin Lily Lanken, and is one of the most startling things that Wainwright has recorded a dramatic, atmospheric ballad featuring flutes, synths, a saxophone and lyrics that flit between English and French. Garbus’ contribution, Take The Reins, is also surprising, not being as remotely frantic as you may expect. In fact, it’s a slinky, slightly jazzy ballad that manages to combine the very best elements of Garbus and Wainwright. Throughout, Wainwright is vocally on top form  whether she be beautifully restrained on the gorgeously poignant One Of Us, or swooping and hollering on Traveller, a song which sounds like it could be a tribute to her late mother. but is in fact about an old friend of Wainwrights who died of cancer aged 40. Admittedly, some tracks don’t work so well, with Piano Music (with lyrics by The English Patient author Michael Ondaatje) is a meandering, formless mess and Before The Children Came Along is a forgettable diversion compared to the rest of the album. Yet the experimental edge that Wainwright has introduced with this album bodes well for the future while she may not be writing operas like her brother, she remains one of the most intriguing, honest songwriters around today. ~ John Murphy https://www.musicomh.com/reviews/albums/martha-wainwright-goodnight-city

Goodnight City

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