Red Mitchell - Jam For Your Bread

Bitrate: MP3@320K/s
Time: 40:31
Size: 92.8 MB
Styles: Bop, West Coast jazz
Year: 1956/2015
Art: Front

[4:37] 1. Duff
[5:09] 2. Ornithology
[3:23] 3. Section Blues
[5:05] 4. You Go To My Head
[4:50] 5. Where Or When
[4:14] 6. Jam For Your Bread
[4:24] 7. East Coast Outpost
[4:01] 8. I'll Never Be The Same
[4:45] 9. Will You Still Be Mine

Red Mitchell (b) Conte Candoli (tp) Joe Maini (as, ts) Hampton Hawes (p) Chuck Thompson (d) recorded Los Angeles, CA, September 27, 1955.

Mitchell took up the bass while serving in the armed forces, a career path followed by many would-be jazz musicians during their military service, though the bass must have been particularly cumbersome on the battlefield. A regular feature of the Fifties West Coast scene, Red worked with Gerry Mulligan among others. He helped establish the potential of bass as a “solo” instrument, and escape the rhythm section. Like many boppers in the late 60s, as jazz fell out of fashion, Mitchell moved to Europe, living in Sweden, where he remained until the late Seventies, and continued to play for many decades later moving between the US and Europe.

Fine West Coast artists Hampton Hawes piano and Conte Candoli trumpet help put an extra sparkle into these pieces.

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Radio Free Honduras - S/T

Bitrate: MP3@320K/s
Time: 47:27
Size: 108.7 MB
Styles: Latin folk-rock
Year: 2014
Art: Front

[4:27] 1. Vengan Vengan
[3:35] 2. Solo Sin Tu Amor (Feat. Howard Levy)
[3:32] 3. Morena (Feat. Steve Eisen)
[4:16] 4. Lamento Campesino
[4:18] 5. Te Esperare
[4:01] 6. Gaviota
[3:26] 7. Te Necesito (Feat. Paulinho Garcia)
[4:11] 8. Picale Picale (Feat. Howard Levy)
[3:42] 9. Otra Cerveza
[3:32] 10. Forever And Ever (Feat. Birds Of Chicago)
[3:21] 11. Carino Mio
[5:00] 12. Cancion De Amor

Radio Free Honduras is a latin folk rock band fronted by Honduran guitar virtuoso/singer/songwriter Charlie Baran.

Charlie Baran has lived a life of music. Before moving the the United States he was a founding member of the legendary Honduran musical group Banda Blanca, who’s song “Sopa de Caracol” became the #1 Billboard Top Latin Songs hit in 1992. Now a maintenance man at a Catholic grade school by day, Charlie has kept his musical flame glowing largely through acoustic solo performances around Chicago for the past ten years. Charlie Baran is a true virtuoso. No one sees him perform without recognizing the presence of a true master – an heir to a rich tradition of Honduran music, as well as a guitar slinging showman and a gifted songwriter whose skill transcends all genres. But throughout most of his career he has existed in the shadows – until the formation of Radio Free Honduras.

Radio Free Honduras is a diverse collective of Chicago musicians, all united under one goal – supporting the artistry of Charlie Baran and bringing this tremendous talent into the spotlight where it belongs. Founded by Dan Abu-Absi, longtime guitarist for JT and the Clouds and Birds of Chicago, Radio Free Honduras plays mostly Baran originals, but their live shows often feature a wide variety of reimagined cover songs. This band provides Charlie with the wide musical pallet his talent (and songs) deserve. Abu-Absi has gathered a large, revolving collective of some of Chicago’s most talented musicians; lively percussion, eclectic instrumentation, and rich harmonies all provide the backdrop, allowing Charlie to do what he does best – stunning guitar work, tapping into what seems a limitless supply of energy and enthusiasm for music. Charlie Baran has lived a long and storied musical life – but very few are familiar with his side of the story. Radio Free Honduras has made it their mission to change that.

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Tom Petty & The Heartbreakers - Greatest Hits

Bitrate: MP3@320K/s
Time: 65:17
Size: 149.5 MB
Styles: Heartland rock
Year: 1993/2010
Art: Front

[3:29] 1. American Girl
[2:40] 2. Breakdown
[3:02] 3. Listen To Her Heart
[2:21] 4. I Need To Know
[3:22] 5. Refugee
[2:42] 6. Don't Do Me Like That
[3:39] 7. Even The Losers
[4:22] 8. Here Comes My Girl
[3:56] 9. The Waiting
[3:35] 10. You Got Lucky
[5:02] 11. Don't Come Around Here No More
[2:54] 12. I Won't Back Down
[4:23] 13. Runnin' Down A Dream
[4:14] 14. Free Fallin'
[4:00] 15. Learning To Fly
[3:41] 16. Into The Great Wide Open
[4:30] 17. Mary Jane's Last Dance
[3:16] 18. Something In The Air

2008 reissue of Tom Petty & the Heartbreakers Greatest Hits, originally released in 1993, has gone on to be the best selling collection in the band's four decades and counting career. Over seven times platinum, this collection now has been remastered, updated, and improved.

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Jasmine - Tropical Breeze (Feat. Cassandra Wilson)

Bitrate: MP3@320K/s
Time: 34:36
Size: 79.2 MB
Styles: Contemporary jazz
Year: 2010
Art: Front

[3:23] 1. O Pepita Daughter To Be
[4:00] 2. Jasmine
[4:25] 3. Pretty Black One
[3:17] 4. Everything I Do With You
[4:59] 5. Malaguena
[3:30] 6. Dream Dancer
[2:50] 7. Dream Street
[3:49] 8. Rose Tower
[4:19] 9. Tropical Breeze

When Tropical Breeze was recorded in 1980 by the Brazilian group Jasmine, the music world had yet to hear of Cassandra Wilson. 24 at the time, the singer was still six years away from her first album as a leader and her second appearance on records (with altoist Steve Coleman) was five years in the future. Born in Jackson, Mississippi, Cassandra Wilson had had seven years of classical piano lessons, learned guitar, and played clarinet in her high school’s concert and marching bands. But it was as a singer that she began working professionally in the mid-1970s, gaining experience in a variety of situations in the South during the five years before she recorded with Jasmine.

Even many of the most devoted Cassandra Wilson fans have probably not heard her debut although virtually every jazz listener now knows who she is. Wilson recorded with Jasmine during a year when she lived in New Orleans, a period when she also worked with Ellis Marsalis and Earl Turbinton. In 1982 she moved to East Orange, New Jersey and began singing in New York including with Dave Holland. An important early turning point was when she met up with Steve Coleman, who at the time was involved in creating new music with a co-op called the M-Base Collective.

The music of M-Base tended to feature crowded ensembles, unpredictable funk rhythms, and very adventurous solos. As the only singer in the collective, Cassandra Wilson had to carve out her own role and somehow she succeeded at not being buried in the ensembles. She also did well singing with Henry Threadgill in the group New Air.

But Cassandra Wilson was too strong a musical personality, and had too many fresh ideas, for her to remain a side person forever. In 1986 she recorded her debut as a leader, Point of View. While that and its follow-up Days Aweigh were outgrowths of her associations with M-Base, 1988’s Blue Skies found her for the first time interpreting standards. Her singing, while strongly influenced by Betty Carter, hinted at her future directions.

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Freddie Redd - Freddie Redd & His International Jazz Connection

Bitrate: MP3@320K/s
Time: 74:17
Size: 170.0 MB
Styles: Piano jazz
Year: 1998
Art: Front

[ 9:34] 1. Speak Of The Blues
[ 7:42] 2. Don't Lose The Blues
[10:16] 3. Waltzin' In
[ 8:40] 4. Emily Reno
[ 8:22] 5. Let's Split
[ 7:46] 6. That Dancin' Man
[ 9:49] 7. I'm Gonna Be Happy
[12:04] 8. And Time Marches On

Freddie Redd is a world class jazz composer and pianist. Since his emergence as composer of the score for Jack Gelber's harrowingly exact play, The Connection, winner of three off-broadway awards, Freddie Redd has finally been gaining some of the recognition that has eluded him for much of his playing career. Freddie was born in New York, May 29th, 1928. His inspiration to play began while serving in the Armed Forces. By 1953, Freddie had joined Cootie Williams and spent a stimulating year traveling mostly through the South. Back in New York, Freddie started working with vibist Joe Roland and began to be heard quite often at Birdland's informal Monday night sessions. In 1954, Freddie was with Art Blakey. Shortly after, he was touring Sweden with Rolf Ericson and also was part of Charlie Mingus's Jazz workshop in 1956. Freddie has been at the Living Theatre on Sixth Avenue ever since. Freddie Redd was right in the middle of the NYC bop scene and was privy to the likes of Bird,Bud Powell, Dizzy and Monk.

"In the summer of 1956, I toured Sweden as a member of an all-star, Swedish-American jazz group that included jazz vocalist Ernestine Anderson. In July of 1991, I was invited to the Pori Jazz Festival, and while there I becoame aware that Sweden was just an overnight ferry ride away. My wife and I went to Stockholm, and I met the artists with whom I wanted to work. Thus the International Jazz Connection was born. Each and every take is a first take. What you will hear is just half of what we recorded that day. It was simply amazing how these artists - Krister Andersson, Maffy Falay, Tobjorn Hultkranz, and Gilbert Matthews, Bernt Rosengren, Bengt Stark, and Andres Ulberg - came together and created magic." ~FR

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The Kansas Smitty's House Band - Kansas Smitty's

Bitrate: MP3@320K/s
Time: 38:15
Size: 87.6 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[3:06] 1. Get A Move On
[2:20] 2. Warm Embrace
[3:30] 3. The Call
[2:34] 4. Eight Ball Rag
[5:58] 5. Gravy Train
[3:53] 6. The Black Paddy
[2:32] 7. Monty
[4:34] 8. What Would You Do
[3:47] 9. Backyard Bbq Blues
[5:57] 10. You're Fantastic

Pete Horsfall: trumpet, vocals; Giacomo Smith: alto saxophone, clarinet; Ruben Fox: tenor saxophone; Theon Cross: tuba, trombone; Dave Archer: guitar; Joe Webb: piano; Ferg Ireland: bass; Pedro Segundo: drums; Leonie Evans: vocals (8); Mussinghi Brian Edwards: tenor saxophone (8).

Kansas Smitty's is the debut album from the eight-piece Kansas Smitty's House Band, a London-based octet with an open approach to the integration of many jazz styles. The result is a refreshingly original debut album filled with some of the catchiest and most engaging music around. House bands have a long history, playing regular but badly-paid gigs in dives and other dodgy establishments at the beck and call of dubious owners. Kansas Smitty's House Band follows that tradition but only to a degree—the residency is at Kansas Smitty's in the east of London, the (far from) dubious owners are the band and the establishment's speciality drink is the julep in a variety of forms.

The band name might suggest a harking back to the early swing of speakeasies and joints, but Kansas Smitty's is a band that's inspired and influenced by a host of different genres from across the history of jazz—notably swing, blues and Kansas City (unsurprisingly), but also more contemporary styles. It doesn't just trawl through the jazz back catalog for its material however: every track on this album is an original number written by the band's members, saxophonist Giacomo Smith claiming the lion's share of the credits.

Kansas Smitty's was recorded in one take, direct to tape on analog equipment—an approach that's finding increasing favor among young bands. Such an approach to recording seems to reflect and capture the band's spontaneity and in-the-moment musical interactions—all of which lead to an exciting and enjoyable first appearance for Kansas Smitty's House Band. ~Bruce Lindsay

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Tubby Hayes with Clark Terry - New York Sessions

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 74:39
Size: 172,0 MB
Art: Front

(4:39)  1. You For Me
(7:03)  2. Pint Of Bitter
(8:56)  3. Airegin
(7:33)  4. Opus Ocean
(7:36)  5. Soon
(9:14)  6. Doxie
(8:05)  7. Soho Soul
(9:00)  8. The Simple Waltz
(7:16)  9. Half A Sawbuck
(5:13) 10. You're My Everything

One of England's top jazz musicians of the 1950s and '60s, Tubby Hayes was a fine hard bop stylist on tenor and occasionally vibes and flute. A professional at 15, Hayes played with Kenny Baker and in the big bands of Ambrose, Vic Lewis, and Jack Parnell during 1951-1955. He led his own group after that, and started doubling on vibes in 1956. Hayes co-led the Jazz Couriers with Ronnie Scott (1957-1959), and appeared in the U.S. a few times during 1961-1965. He headed his own big band in London, sat in with Duke Ellington's Orchestra in 1964, and was featured at many European festivals. Heart trouble forced him out of action during 1969-1971, and caused his premature death. Tubby Hayes led sessions for Tempo (1955-1959), London, Jazzland (1959), Fontana, Epic (a 1961 date with Clark Terry and Horace Parlan), Smash (a 1962 album which matched him with James Moody and Roland Kirk), 77, Spotlite, and Mole. ~ Scott Yanow https://www.allmusic.com/artist/tubby-hayes-mn0000842398/biography

Possessor of the happiest sound in jazz, flügelhornist Clark Terry always played music that was exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, Terry gained fame for his "Mumbles" vocals (which started as a satire of the less intelligible ancient blues singers) and was also an enthusiastic educator. He gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flügelhorn in the mid-'50s, had many features with Ellington (including "Perdido"), and started leading his own record dates during that era. He visited Europe with Harold Arlen's unsuccessful Free & Easy show of 1959-1960 as part of Quincy Jones' Orchestra, and then joined the staff of NBC where he was a regular member of the Tonight Show Orchestra. He recorded regularly in the '60s, including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer. Throughout the '70s, '80s, and '90s, Terry remained a major force, recording and performing in a wide variety of settings, including as the head of his short-lived big band in the mid-'70s, with all-star groups for Pablo, and as a guest artist who provided happiness in every note he played. Terry died on February 21, 2015, at age 94, after an extended battle with diabetes. ~ Scott Yanow https://www.allmusic.com/artist/clark-terry-mn0000133832/biography

Personnel: Tenor Saxophone – Tubby Hayes;  Trumpet – Clark Terry; Bass – George Duvivier;  Drums –Dave Bailey;  Piano – Horace Parlan;  Vibraphone – Eddie Costa 

New York Sessions

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Lee Ritenour - Captain Fingers

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 41:05
Size: 94,7 MB
Art: Front

(7:10)  1. Captain Fingers
(7:04)  2. Dolphin Dreams
(5:10)  3. Fly By Night
(5:10)  4. Margarita
(4:33)  5. Isn't She Lovely
(5:10)  6. Space Glide
(6:47)  7. Sun Song

Lee Ritenour was born January 11, 1952 in Los Angeles, California. He played his first session when he was 16 with The Mamas & The Papas. Nicknamed "Captain Fingers," he (along with Larry Carlton) was a sought-after session guitarist by the mid-70s. He is noted for playing his red Gibson ES-335 and his Gibson L5 guitars. One of his most notable influences is the pioneering jazz guitarist Wes Montgomery. In 1976, he released his first solo album, First Course. This was followed up by his famous fusion work Captain Fingers in 1976. Since First Course he has released over 30 albums - the 30th being Rit's House in 2002. One of his most notable works is his 1981 pop album Rit (featuring vocalist Eric Tagg), which contained the chart hits "Is It You," and "Mr. Briefcase." In the 90s, he was one of the founding members of smooth jazz group "Fourplay".

Throughout his career, Lee has not been afraid to experiment with different styles of music, often incorporating elements of funk, pop, rock, blues and Brazilian music with Jazz (much to the dislike of many critics). In the early 1980s, Lee was given his own Ibanez signature model guitar, the LR-10. The LR-10 was produced from 1981 to 1987. It can be heard exclusively on Rit. Currently, Lee plays the Gibsons that he first played in the 1970s (the ES-335 & L5), and now also plays his signature Lee Ritenour Model archtop guitar made by Gibson.

Personnel:  Lee Ritenour electric guitar, classical guitar, guitar synthesizer, associate producer, writer;  Dave Grusin keyboards, string arrangements, conductor, writer;  Dawilli Gongakeyboards;  Ian Underwood keyboards;  Patrice Rushen keyboards;  David Foster keyboards;  Dennis Budimir guitar;  Jay Graydon guitar;  Mitch Holder guitar, writer;  Ray Parker Jr. guitar;  Anthony Jackson bass;  Alphonso Johnson bass;  Bill Dickinson bass;  Charles Meeks bass;  Mike Porcaro bass;  Harvey Mason drums, percussion Jeff Porcaro drums;  Steve Forman percussion;  Victor Feldman congas;  Ernie Watts saxophone;  Bill Champlin vocals.

Captain Fingers

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Herb Ellis - Thank You, Charlie Christian

Styles: Guitar Jazz
Year: 1960
File: MP3@320K/s
Time: 37:17
Size: 100,5 MB
Art: Front

(3:20)  1. Pickley Wickly
(2:55)  2. I told You I Loved You, Now Get You
(4:43)  3. Code One
(4:20)  4. Karin
(2:54)  5. Cherry Kijafa
(7:40)  6. Thank You, Charlie Christian
(2:50)  7. Alexander's Ragtime Band
(2:56)  8. Lemon Twist
(3:38)  9. Everything's Pat
(1:58) 10. Workin' with the Truth

Thank You Charlie Christian pays homage to the legendary jazz guitarist in a manner most appropriate to an innovator of his stature rather than merely imitate that which is inimitable, Herb Ellis channels the imagination and expressiveness of his hero to create a lean, mean sound far more forward-thinking than nostalgic. 

Like Christian, Ellis favors feeling over flash and economy over excess paired here with pianist Frank Strazzari, bassist Chuck Berghofer, cellist Harry Babasin and drummer Kenny Hume, he creates a series of compact and determinedly contemporary bop snapshots in vivid Technicolor, not the black-and-white of a bygone era. A beautiful and heartfelt record that draws from the past but refuses to live in it.~ Jason Ankeny https://www.allmusic.com/album/thank-you-charlie-christian-mw0000346676

Personnel: Guitar – Herb Ellis;  Bass – Chuck Berghofer;  Cello – Harry Babasin;  Drums – Kenny Hume;  Piano – Frank Strazzeri

Thank You, Charlie Christian

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Jeff Williams - Outlier

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 52:51
Size: 121,2 MB
Art: Front

( 7:35)  1. Outlier
( 5:34)  2. The Interloper
( 6:40)  3. Dream Visitor
( 6:54)  4. Meeting a Stranger
(10:10)  5. New and Old
(10:15)  6. Hermeto
( 5:40)  7. Oddity

Drummer Jeff Williams is an American expatriate now residing in London, England. Following his formal drumming studies commencing in 1968 at Berklee College of Music, Williams became a seasoned veteran of the U.S. jazz scene, accompanying some of the biggest names in the business including Stan Getz, Joe Lovano, Dave Liebman, Richie Beirach, Cedar Walton, Lee Konitz, Bill Evans, John Scofield, and Miroslav Vitous. Outlier is his third album for Whirlwind and he's assembled a great line-up of British jazz musicians for this date. The opening title track maintains a plaintive trance-like modal mood throughout with deft interjections from Phil Robson on guitar, Kit Downes on piano and Josh Arcoleo on tenor saxophone. "The Interloper" is quirkier with a definite Monkish feel and appropriate block piano chords with occasional swirls of sound all underpinning Arcoleo's tenor, followed by solos from Downes and Sam Lasserson on bass. But then the mood changes with a comparatively heavier "Dream Visitor," Phil Robson's guitar work is very much to the fore here, most especially when treated with electronic effects, whilst drums and piano provide a powerful backdrop before the theme is taken over by the tenor. Almost at once the tempo slows dramatically whilst still maintaining the heavy feel with a repeated vamp on guitar and electric bass before returning to the original opening riff.

"Meeting A Stranger" is a relaxed ballad with leader Jeff Williams sensitively encouraging the momentum. Kit Downes and Phil Robson turn in fine solos here too. Downes introduces the breezy, medium tempo "New And Old" with solos from Lasserson, Downes and Arcoleo. "Hermeto," the longest track on the album, is Williams' paean to one of his heroes, Hermeto Pascoal. Whilst not imitating Pascoal's compositional style, it possesses its own unique attractiveness, particularly in its opening themes stated alternately by guitar and tenor. The closer, "Oddity" opening with a brief drum foray, is a breezy fast-paced number featuring some vibrant solos from the entire group. This is a very good album which benefits from Williams' imaginative compositions and the ensemble's excellent musicianship. It's also a grower, so play frequently for a lasting effect.~ Roger Farbey https://www.allaboutjazz.com/outlier-jeff-williams-whirlwind-recordings-ltd-review-by-roger-farbey.php

Personnel: Jeff Williams: drums, percussion, Fender rhodes; Josh Arcoleo: tenor saxophone; Phil Robson: guitar; Kit Downes: piano and Fender Rhodes; Sam Lasserson: double & electric basses.

Outlier

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