Sonny Stitt - Only The Blues

Bitrate: MP3@320K/s
Time: 44:05
Size: 100.9 MB
Styles: Bop, Saxophone jazz
Year: 1957/2005
Art: Front

[ 9:57] 1. The String
[11:59] 2. Cleveland Blues
[11:31] 3. B.W. Blues
[10:36] 4. Blues For Bags

Alto Saxophone – Sonny Stitt; Bass – Ray Brown; Drums – Stan Levey; Guitar – Herb Ellis; Piano – Oscar Peterson; Trumpet – Roy Eldridge. Recorded at Capitol Studios in Hollywood, Los Angeles on October 11, 1957.

While the material is basically set up to let Stitt and Roy Eldridge trade off improvisations, when it is these two the result is energetic and totally worthwhile. Eldridge adds a great deal to the date, taking the music back (in feeling) a little bit to an earlier era. He also seems to push Stitt to keep his game at a high level, which he sometimes needed. Oscar Peterson and Ray Brown are their usual first-rate selves. ~Drew Fields

“The String,” is note for note the same as his “Eternal Triangle.” The two horns are quite combative and inspire each other. This is the first time Sonny Stitt and Roy Eldridge have recorded together. Roy, who has reservations about several of the “modernists” in jazz, says of Sonny: “He really comes from the old school. He just kept up. Sonny can get into the meat of a piece where some of the other younger cats can’t. And his time.is really good.”

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Ulf Andersson Band - Flying Carpet

Bitrate: MP3@320K/s
Time: 65:26
Size: 149.8 MB
Styles: Saxophone jazz
Year: 1998
Art: Front

[7:10] 1. Flying Carpet
[8:01] 2. Slow Motion
[4:31] 3. Jamboree
[6:21] 4. Kwaku Baah
[3:30] 5. Early Meeting
[5:01] 6. Straight Flush
[6:26] 7. Tiny Giant
[7:41] 8. Milesology
[5:19] 9. Hermosa Beach
[5:45] 10. Hippodrome
[5:35] 11. Mr. O. Grinders

Ulf Andersson - tenor; Mårten Lundgren - trumpet; Ewan Svensson - guitar; Hans Backenroth - bas; Rune Carlsson - drums.

Here’s a high–energy blowing session by a quintet of Swedes whose radiant concepts have been harvested from the often–plowed but unremittingly productive realm of bop. In a blindfold test, one would not only be hard–pressed to identify their country of origin but even to declare with any degree of certainty that they are not based in, say, New York City or southern California (Andersson, who wrote and arranged all the songs on the disc, even pays tribute to one of the latter area’s Jazz proving grounds with the happy–go–lucky “Hermosa Beach”). Andersson reminds me of any number of talented young tenormen from the States (think Eric Alexander, Bob Mintzer, Chris Potter et al), and the same can be said of his trumpet–playing front–line partner, Lundgren (not far removed from Nicholas Payton, Roy Hargrove, Tom Harrell and so on). Jazz — and this is especially true of its bop–based dialect — has assuredly become an international language, and these European wunderkinds speak it about as fluently as anyone, as do the members of their assiduous and always–supportive rhythm section. As for Andersson’s compositions, they swing with gusto and are about as well–crafted and admirable as any you can envision. The Jazz Messengers would be quite comfortable playing them, as would such contemporary groups as Alexander’s New York–based sextet, One for All. As we said, Andersson knows how to use the language, and his breezy charts are perfectly tailored to harmonize with the quintet’s gregarious point of view. If you’d like to hear some marvelous straight–ahead Jazz and don’t much care where it’s from, climb aboard the Flying Carpet and let this impressive ensemble from far–off Sweden take you on a ride you won’t soon forget. ~Jack Bowers

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Sérgio Mendes, João Gilberto - Tristeza De Nos Dois (Remastered)

Bitrate: MP3@320K/s
Time: 51:39
Size: 118.3 MB
Styles: Latin jazz
Year: 2012
Art: Front

[2:15] 1. Sérgio Mendes - Tristeza De Nos Dois
[1:58] 2. João Gilberto - Corcovado
[1:27] 3. Sérgio Mendes - Dora Lice
[1:47] 4. João Gilberto - Se È Tarde Me Perdoa
[3:05] 5. Sérgio Mendes - Love For Sale
[1:38] 6. João Gilberto - Samba De Uma Nota Só
[2:44] 7. Sérgio Mendes - Disa
[1:51] 8. João Gilberto - Outra Vez
[2:32] 9. Sérgio Mendes - Oba-La-La
[1:49] 10. João Gilberto - Discussão
[2:47] 11. Sérgio Mendes - On Green Dolphin Street
[1:37] 12. João Gilberto - Um Abraço No Bonfá
[2:05] 13. Sérgio Mendes - Tema Sem Palavras
[1:51] 14. João Gilberto - Amor Certinho
[2:48] 15. Sérgio Mendes - Satin Doll
[1:47] 16. João Gilberto - Só Em Teus Braços
[2:55] 17. Sérgio Mendes - Olhou Para Mim
[1:45] 18. João Gilberto - Meditação
[2:51] 19. Sérgio Mendes - Nica's Dream
[2:01] 20. João Gilberto - O Pato
[2:28] 21. Sérgio Mendes - Outra Vez
[1:23] 22. João Gilberto - Trêvo De 4 Folhas
[2:36] 23. Sérgio Mendes - What Is This Thing Called Love
[1:29] 24. Sérgio Mendes - Diagonal

For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Born in 1931 in Juazeiro in the northeastern state of Brazil known as Bahia, João Gilberto seemed obsessed with music almost from the moment he emerged from the womb. His grandfather bought him his first guitar at age 14 (much to the dismay of João's father). Within a year, the result of near constant practicing, he was the leader of a band made up of school friends. During this time Gilberto was absorbing the rhythmic subtlety of the Brazilian pop songs of the day, while also taking in the rich sounds of swing jazz (Duke Ellington and Tommy Dorsey), as well as the light opera singing of Jeanette MacDonald. At 18, Gilberto gave up on his small town life and headed to Bahia's largest city, Salvador, to get a foothold in the music industry performing on live radio shows.

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Alan Broadbent - 'Round Midnight

Bitrate: MP3@320K/s
Time: 55:44
Size: 127.6 MB
Styles: Bop, Piano jazz
Year: 2005
Art: Front

[6:25] 1. Groovin' High
[7:22] 2. Serenata
[7:28] 3. Lament
[6:27] 4. Die Vereinbarung
[7:15] 5. Journey Home
[6:44] 6. I'm Old Fashioned
[8:08] 7. 'round Midnight
[5:51] 8. The Man I Love

Long considered a very valuable pianist, arranger, and conductor behind the scenes, whether accompanying singers (including his classic recordings with Irene Kral) or as part of bands (most notably Charlie Haden's Quartet West), Alan Broadbent tends to be underrated as a pianist/leader. In the Los Angeles area he occasionally performs in clubs where his trio work is quite spontaneous. For 'Round Midnight, he simply gathered together two of his favorite players (bassist Brian Bromberg and drummer Joe LaBarbera), decided on a list of tunes (including two of his originals), and played. Although the results are quite logical, nothing was arranged in advance. It just worked out this perfectly on a moment's notice. Whether swinging on bebop standards, digging into J.J. Johnson's "Lament," or transforming "Serenata" into jazz, everything works well on this easily recommended trio outing. ~Scott Yanow

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Bobby Selvaggio - Grass Roots Movement

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 54:12
Size: 126,0 MB
Art: Front

( 4:38)  1. No Turn on Red
(10:49)  2. Signature Needed
( 5:33)  3. Dust Bunnies
( 5:50)  4. Chicken Legs
( 5:23)  5. Movement
( 6:18)  6. Return to Sender
( 7:41)  7. Fish Food
( 7:57)  8. Spy Movie

Bobby Selvaggio's Grass Roots Movement, marks his sixth release as leader and second outing for Arabesque Records. This quintet record follows his 2009 disc Modern Times, recorded with veteran pianist Kenny Werner. Here, the saxophonist employs some new names, an electric groove, but no worries, the musicianship retains the highest standards. Here he switches on the power with an electric ensemble, where only drummer James Johnson is unplugged. He might as well be plugged in, however, because he animates the affair throughout. His funky drumming opens the disc with "No Turn On Red," a vehicle for Selvaggio to show off his best Maceo Parker imitation. The saxophonist and guitarist Nir Felder match licks lockstep, here and throughout the recording. On the pecking "Chicken Legs" the two create an intricate barnyard dance, with pianist Frank LoCrasto's knobby Fender Rhodes acting as an exciting feed for the composition. Selvaggio gives plenty of room for Felder to strut his stuff, the guitarist favoring crisp notes and an economical approach. His solo on "Dust Bunnies" turns from gregarious showman to thoughtful improviser. Like Selvaggio, the guitarist has a keen sense of economy of notes, even if the pair is brining the funk. On "Return To Sender" groove is the force driving the quintet. Felder's slippery quick guitar lines coat the road for Selvaggio to bark some honking lines over rear-shaking pulse. Same for "Fish Food" a vehicle for Selvaggio and Johnson to duet before the twisty and intricate song emerges.~ Mark Corroto https://www.allaboutjazz.com/grass-roots-movement-bobby-selvaggio-arabesque-jazz-review-by-mark-corroto.php

Personnel: Bobby Selvaggio: alto saxophone; Nir Felder: electric guitar; Frank LoCrasto: Fender Rhodes; Kip Reed: electric bass; James Johnson: drums.

Grass Roots Movement

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Pete Escovedo - E Street

Styles: Vocal
Year: 1997
File: MP3@320K/s
Time: 57:15
Size: 131,4 MB
Art: Front

(6:14)  1. Another Star
(6:24)  2. Sambacu
(5:24)  3. Fantasy
(6:16)  4. Boomerang (Instrumental)
(4:57)  5. Smile Please (Instrumental)
(5:05)  6. Like A Volcano (Instrumental)
(4:49)  7. You're My Little Girl
(6:01)  8. La Familia (Instrumental)
(5:13)  9. Waterfall (Instrumental)
(6:47) 10. Lord Remember Me

E Street is an all-star affair led by percussionist Pete Escovedo, the father of drummer/percussionist Sheila E., who also guests on E Street along with several Escovedo siblings, saxophonists John Handy, Gerald Albright and Mel Martin, and pianist/vibraphonist Buddy Montgomery. E Street seems to expend a great deal of energy going in a lot of different directions wide-open freeways of Latin rock, lit up with horns and sparkling with guitar, piano, trumpet and of course percussion solos; rolling, soft cha-cha ballads; and new yet familiar byways with covers of Earth Wind & Fire's "Fantasy" and Stevie Wonder's "Another Star" but it never seems to actually GET anywhere. The only breaks in the placid scenery come from the appropriately titled fiesta jam "Like a Volcano" and the surprisingly stirring, hymn-with-vocals "Lord Remember Me," which closes this set. ~ Chris Slawecki https://www.allmusic.com/album/e-street-mw0000019566

Personnel: Pete Escovedo (vocals, percussion, timbales); Brenda Roy (vocals); Peter Michael Escovedo (vocals, drums, percussion); Juan Escovedo, Sheila Escovedo (vocals, percussion, congas); John Handy (alto saxophone); Gerald Albright, Alex Murzyn (tenor saxophone); Melecio Magdaluyo (saxophone, flute); Mel Martin (bass clarinet); Bill Ortiz, Louis Fasman, John Worley, Mike Galisatus (trumpet); Robbie Kwock (trumpet, flugelhorn); Marty Wehner, Wayne Wallace, Jeff Cressman (trombone); Buddy Montgomery (vibraphone); Renato Neto, Jeff Chimenti, Murray Low (piano); Dave Mathews (piano, synthesizer); Ray Obiedo (synthesizer, guitar); Steve Erquiaga (acoustic guitar); Mark Van Wageningen, Derek Jones (bass); Paul Van Wageningen (drums); Van Waller (percussion); Juanita Escovedo (guiro).

E Street

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Billy Taylor - Billy Taylor with Four Flutes

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 42:12
Size: 97,1 MB
Art: Front

(3:56)  1. The Song Is Ended
(6:49)  2. Back Home
(2:34)  3. St. Thomas
(4:46)  4. Oh Lady, Be Good
(2:58)  5. No Parking
(4:23)  6. Koolbongo
(7:00)  7. Blue Shutters
(4:47)  8. One for the Woofer
(4:55)  9. How About You?

In the 1950s, pianist Billy Taylor was best known for his work with his trios. For this Riverside set (reissued on CD in the OJC series) Taylor tried something different, writing arrangements for four flutists (including Frank Wess, Herbie Mann, and Jerome Richardson), his rhythm section, and the congas of Chino Pozo. 

The flutists get their opportunities to solo, and the music (which includes "The Song Is Ended," "St. Thomas," "Oh Lady Be Good," "How About You," and four of Taylor's originals) is essentially bop, but the unusual instrumentation gives the set its own personality. Enjoyable music that certainly stands out from the crowd. ~ Scott Yanow https://www.allmusic.com/album/billy-taylor-with-four-flutes-mw0000113827

Personnel: Billy Taylor (piano); Jerry Sanfino, Frank Wess, Herbie Mann, Jerome Richardson, Phil Bodner, Seldon Powell, Billy Slapin (flute); Dave Bailey , Albert "Tootie" Heath (drums); Chano Pozo ( Luciano "Chano" Pozo Gonzales) (congas).

Billy Taylor with Four Flutes

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Dan Siegel - Going Home

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 41:04
Size: 95,7 MB
Art: Front

(3:53)  1. Dee-Ah
(4:23)  2. Going Home
(3:32)  3. Next To You
(4:41)  4. Dark Rain
(4:53)  5. Don't Let Go
(4:04)  6. The Untraveled Path
(2:50)  7. Can't Remember
(4:36)  8. Sojourn
(4:20)  9. Searching
(3:48) 10. The Last Dance

Smooth jazz keyboardist Dan Siegel has been helping to shape the genre since his recording debut in 1980. Born in Seattle and raised in Eugene, OR, Siegel started taking piano lessons at age eight and was fronting a rock band at 12. After attending the Berklee College of Music in Boston, he received a degree in composition from the University of Oregon and began recording his own works. Soon thereafter, well-known independent jazz label Inner City Records signed the young keyboardist, releasing 1980's Nite Ride, which featured guitarist Lee Ritenour. Siegel's second album for Inner City, 1981's The Hot Spot, was more successful and spent ten weeks in the Top Ten of Billboard's jazz chart. In 1983, he moved to Los Angeles to pursue film and television work, as well as a more active recording career. Spending half of the decade composing TV and film scores as well as releasing several albums of varying interest, he signed with Epic in 1986 and began moving away from the ailing jazz fusion scene and into the adult contemporary jazz sound that he had been toying with all along. Highlights of this era include 1994's worldbeat-influenced Hemispheres and the urban-flavored Clairvoyance, released in 1998. Siegel spent the 1990s recording for a variety of labels, working with some of the bigger names in smooth jazz (Boney James, Larry Carlton, John Patitucci), and leading the hard bop combo Birds of a Feather. In 2000, Legacy Recordings released a greatest hits compilation called Along the Way: The Best of Dan Siegel. ~ Zac Johnson https://www.allmusic.com/artist/dan-siegel-mn0000566054/biography 

Kenny Rankin (Vocals); Michael Landau, Allen Hinds, Richard Smith, Grant Geissman (Guitar); Ernie Watts, Jeff Kashiwa, Everette Harp, Gary Herbig, Mark Hollingsworth (Saxophone); Abraham Laboriel, Jimmy Johnson, Ed Alton, Neil Stubenhaus, Dwayne Smith, Alec Milstein (Bass); Vinny Colaiuta, Bobby Colomby, Moyes Lucas Jr., Randy Drake, Dave Miller (Drums);  Luis Conte, Alex Acuña (Percussion); Dan Siegel (Keyboards, Vocals).

Going Home

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