Teddy Wilson - Interaction

Bitrate: MP3@320K/s
Time: 36:17
Size: 83.1 MB
Styles: Swing, Piano jazz
Year: 1995/2017
Art: Front

[2:03] 1. If Dreams Came True
[3:07] 2. Untitled
[2:52] 3. After You've Gone
[2:25] 4. Sweet Lorraine
[3:06] 5. Red Bank Boogie
[3:02] 6. How High The Moon
[3:12] 7. Tea For Two
[4:19] 8. The Way You Look Tonight
[3:47] 9. Stompin' At The Savoy
[3:19] 10. You're My Favorite Melody
[4:58] 11. The Sheik Of Araby

Bass – Oscar Pettiford; Clarinet – Edmond Hall; Drums – Morey Feld, Big Sid Catlett, Specs Powell; Guitar – Remo Palmieri; Piano – Teddy Wilson; Trombone – Benny Morton; Trumpet – Charlie Shavers, Cootie Williams, Roy Eldridge; Vibraphone – Red Norvo. Recorded June 15 & December 22, 1944, these recording were made for broadcasts.

The tracks on this album were recorded between June 15 and December 22, 1944. Featured in these great sessions are Teddy Wilson on piano; Roy Eldridge, Charlie Shavers and Cootie Williams on trumpet; Benny Morton on trombone; Edmund Hall on clarinet; Red Norvo on vibraphone; Remo Palmieri on guitar; Al Hall, Oscar Pettitford and Slam Stewart on bass; and Big Sid Catlett, Morey Feld and Specs Powell on drums. What all-star swinging lineups.

This is brilliant music. Note that there is actually an untitled Track 2, which is a great tune, bringing the total number of tracks to 11. Highly recommended. ~Jack J. Bieler

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Lori Carsillo - A Dream Or Two

Bitrate: MP3@320K/s
Time: 30:40
Size: 70.2 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[4:24] 1. Alone Together
[3:58] 2. Key Largo
[6:31] 3. There's No You
[4:28] 4. Lullaby Of The Leaves
[4:10] 5. Slow, Hot Wind
[3:06] 6. What'll I Do
[4:00] 7. Out Of The Blue

Lori Carsillo vocals; Jeffrey Burr guitar; Eric Markowitz bass; James Gallagher drums; Erik Jekabson trumpet (tracks 3, 5, 7); Brian Kendrick vibes (track 7).

On A Dream or Two, San Francisco Bay Area jazz vocalist Lori Carsillo offers six stunning jazz gems and an original song co-written with guitarist and arranger on the session, Jeffrey Burr. Noted as a singer with “superb phrasing, an impressive range” (Christopher Loudon, JazzTimes), Carsillo emphasizes her deftness for ballads by touching upon several slower-tempo songs in the session.

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Les Baxter - The Soul Of The Drums

Bitrate: MP3@320K/s
Time: 31:12
Size: 71.4 MB
Styles: Easy Listening, Exotica
Year: 1963/2005
Art: Front

[2:25] 1. The Girl Behind The Bamboo Curtain
[3:57] 2. Lord, What A Morning
[2:15] 3. Coffee Bean Calabash Annie
[2:55] 4. Sunrise At Kowloon
[1:58] 5. Which Doctor
[2:16] 6. Mai Tai
[0:33] 7. Drum Intro From A Day In Rio
[2:53] 8. A Day In Rio
[2:12] 9. River Of Dreams
[1:35] 10. Nina
[3:19] 11. Shadow Of Love The Enchanted Reef
[1:30] 12. Jacaranda
[3:19] 13. Ceremony

The Soul Of The Drums is no more remarkable than any other of Baxter’s albums of one’s choice, but does thankfully emit a strictly uplifting, mirthful aura which is only fugaciously interrupted – or alternatively improved – by mystical heterodynes, otherworldly phantasms and ritualistic drum patterns. It is not as cineastic as his first forerunner and pre-Exotica blueprint Ritual Of The Savage (1951), but this works to its advantage, as the flow or fluxion is uninterrupted. While there are a few pinpointable real-world locations such as Kowloon and Rio on board, this is no dedicated travelog LP rather than a concoction of delight. What role do the drums play? How do the melodies unfold? And why are these things of importance in an Easy Listening work? Someone’s gonna explicate these things below.

This would not be a Les Baxter album if there were no compositions dedicated to adolescent girls and women on this album, and sure enough, the opener The Girl Behind The Bamboo Curtain both glorifies female intuition and beauty; this, however, does not happen via whitewashed strings but in the shape of a rather uplifting upper midtempo Latin base frame. The congas, tonewoods and diffuse maracas create a dense thicket which is lit by polyphonic fairy flutes, warmhearted pianos, short vibraphone additions and many brass instruments. Shuttling between excitement and soothingness, the opener is everything at once, but first and foremost utterly exotic. The odd follow-up Lord, What A Morning by Michael Carlton Clough is a true-spirited Gospel gone wild. Launching with rufescent sunset guitars and yearning strings, the constant bongocalypse nurtures and drives the tempo ever-forward. Mellifluous flutes and distant horn spirals traverse through the percussion placenta, which is later revved up, as are the strings around which a female vocalist orbits. Occasional show tune-resembling protrusions round off a Latinized corker.

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Jake Mason Trio - The Stranger In The Mirror

Bitrate: MP3@320K/s
Time: 51:14
Size: 117.3 MB
Styles: Jazz/Funk/Soul, Organ jazz
Year: 2018
Art: Front

[5:33] 1. The Grain Store
[4:22] 2. The Stranger In The Mirror
[4:46] 3. Rib Eye
[5:08] 4. Please Please Please
[7:07] 5. People Two & One
[5:27] 6. Smile Awhile
[4:35] 7. Butter Melt
[5:07] 8. Sunfall
[4:10] 9. Lemon Twist
[4:54] 10. Candy Smack

Jake Mason is a Melbourne based ARIA-nominated songwriter, producer, educator and touring artist with over twenty years experience in the Australian music industry. A graduate of the Victorian College of the Arts the multi-instrumentalist and prolific songwriter has released twelve albums; gained platinum sales in Australia; and established his own label and production house. An APRA member since 1997, Jake co-wrote and co-produced the Kungs Vs Cookin’ On 3 Burners chart topper “This Girl”, hitting the #1 spot in 10 countries and reaching the Top 10 in 37 territories. Nominated for ARIA song of the year the track became the most shazammed dance song of 2016 worldwide. Published by Origin Music, Jake is a member of the Australian Guild of Screen Composers with television credits including Underbelly and Kath and Kim. An accomplished live performer he has worked with artists such as Richard Clapton, Clare Bowditch and Hugh Jackman and has co-written with Kate Ceberano, Eric McCusker and Tania Doko to name a few.

Mentor to young songwriters across tertiary and secondary schools, plus a member of Music Victoria’s Artist Advisory Panel, Jake is a passionate advocate for equality and the rights of Australian songwriters and musicians.

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Leslie Pintchik - So Glad To Be Here

Bitrate: MP3@320K/s
Time: 59:23
Size: 136.0 MB
Styles: Piano jazz
Year: 2004
Art: Front

[6:15] 1. All The Things You Are
[4:37] 2. You Keep Coming Back Like A Song
[5:57] 3. Scamba
[5:42] 4. Hopperesque
[4:43] 5. Let's Get Lucky
[5:11] 6. Happy Dog
[7:17] 7. Mortal
[5:30] 8. Terse Tune
[4:52] 9. Luscious
[5:06] 10. Something Lost
[4:09] 11. We See

Leslie Pintchik (piano), Scott Hardy (bass), Satoshi Takeishi (percussion).

Pianist and composer Leslie Pintchik has played clubs in New York for several years, and it shows in the natural approach that predominates on this her first release. She gives plenty of space to skillful bassist Scott Hardy, who's also her husband, and to drummer Satoshi Takeishi, whose style is imaginative yet unobtrusive. The three players demonstrate their easy rapport on the opening standard "All the Things You Are," taken in a comfortable samba-like groove. Supporting Pintchik's supple line is the active melodic interplay of Hardy and Takeishi, the latter remarkable for his light and high percussion palette that includes colorful oriental cymbals. On Berlin's "You Keep Coming Back Like a Song," Pintchik plays a plain but emotive line with a gorgeous sound. Hardy contributes one composition, "Scamba," a samba tune with some triplets for rhythmic variety. After Pintchik introduces and improvises on the tune, Hardy's solo explores and reveals the core of the piece.

Pintchik's compositions predominate, and her more balladic are particularly notable. Outstanding is "Hopperesque," which evokes and interprets the work of American painter Edward Hopper, with a '50s-style Afro-Cuban beat and interludes in which Takeishi plies his cymbals. Pintchik seems to favor diminished chords, and the major-minor seventh that closes the work suggests film noir-associated pieces like Washington's "Invitation." Pintchik's "Something Lost" is masterful, a work that sounds through-composed and influenced by impressionistic Bill Evans ballads such as "Time Past." Pintchik's "Mortal" is perhaps the most original and emotive work on the disc, lyrical and pensive, a little foreboding but peaceful. Takeishi starts with spooky cymbals and Japanese-sounding melodic drumming, and the drums continue to wash over and converse with Pintchik's melodic line. Gradually the pace picks up as Hardy's bass turns higher-pitched and more active. ~Virgina A. Schaefer

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Sammy Price - Sammy Price On Tour

Bitrate: MP3@320K/s
Time: 52:15
Size: 119.6 MB
Styles: Boogie woogie, Jump blues
Year: 2013
Art: Front

[3:10] 1. Sammy Price Boogie Woogie #1
[3:41] 2. Just A Gigolo
[5:46] 3. One Sweet Letter From You
[3:23] 4. New Orleans #1
[5:26] 5. Poor Butterfly
[5:08] 6. Isabelle
[1:33] 7. Sammy Price Boogie Woogie #2
[3:08] 8. New Orleans #2
[4:28] 9. Shakin' That Thing
[6:42] 10. Lover Come Back To Me
[6:43] 11. It's Only A Paper Moon
[3:03] 12. C Jam Blues

GHB's 2013 disc Sammy Price on Tour relies largely on a set boogie-woogie pianist Price recorded in Sydney, Australia on April 25, 1982 with guitarist Lars Edegran, clarinetist Orange Kellin, and trumpeter Geoff Bull, with the final three songs deriving from a 1969 London concert with clarinetist John Defferary, saxophonist Sammy Rimington, drummer Dave Evans, and an unknown bassist. If the London cuts are a little more raucous, they also veer toward straight New Orleans jazz, whereas the 1982 cuts often find Price indulging in gregarious, cheerful New Orleans blues, jazz, and boogie-woogie. Bull was the bandleader on this 1982 tour, so, unsurprisingly, there is plenty of space for the trumpeter to prowl, but it's little wonder this is released under Price's name: it showcases his big-hearted boogie-woogie roll to great effect. ~Stephen Thomas Erlewine

Sammy Price On Tour

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