Friday, July 6, 2018

Bill Doggett & His Combo - Fingertips

Bitrate: MP3@320K/s
Time: 30:19
Size: 69.4 MB
Styles: Jazz/Soul/Funk
Year: 1963/2012
Art: Front

[2:20] 1. Fingertips
[2:26] 2. Soul Zone
[3:29] 3. Without Love
[3:23] 4. The Love Of My Man
[2:03] 5. Memphis
[2:01] 6. The Worm
[2:40] 7. One Fine Day
[1:58] 8. Monkey
[2:21] 9. Soul City
[2:46] 10. If You Need Me
[2:34] 11. D'lo
[2:12] 12. Hot Fudge

This lp is very mid 60s instrumentally poppish, likely the most commercial of Doggett's Columbia lps. He does instrumental versions of a lot of "hits" of the day, plays them fairly straight and without a lot of blowing. For the sidemen (not named)it's probably pretty much like doing the original date - just another R&B session. This isn't really a "jazz" date. At least not imho. Bill's organ sound is different here. No vibrato or leslie for the most part. Unusual for him.

So for me it's far from the greatest Bill Doggett, but on the other hand it's likely not to be reissued and when all is said and done I'm glad I have it. I don't listen to it often, but it is a very accurate picure of the times in which it was recorded. ~Harold Z

Fingertips mc
Fingertips zippy

Royce Campbell, Gene Bertoncini - A Tribute To Charlie Byrd

Bitrate: MP3@320K/s
Time: 59:41
Size: 136.6 MB
Styles: Guitar jazz
Year: 2003
Art: Front

[6:21] 1. Shiny Stockings
[4:48] 2. Meditation
[5:50] 3. The Days Of Wine And Roses
[3:26] 4. Mood Indigo
[5:52] 5. How Insensitive
[5:09] 6. Zing Went The Strings Of My Heart
[4:49] 7. Desafinado
[7:08] 8. In A Mellow Tone
[4:26] 9. Prelude To A Kiss
[5:11] 10. One Note Samba
[6:35] 11. Blues For Charlie

Royce Campbell, electric guitar, Gene Bertoncini, acoustic guitar, Chuck Redd, drums, Keter Betts, bass.

Sharing a rare commitment to the mastery of their instrument, jazz guitarists have a strong bond to an axe which – despite huge popularity in other genres – has by and large, seemed to elude jazz throughout the music’s history. When thinking of true non-crossover jazz guitarists, only a handful come to mind: Django Reinhardt, Charlie Christian, Wes Montgomery, Freddie Green (only in terms of longevity, not originality), and Grant Green. George Benson’s roots were in straight-ahead but he eventually sold out to the tasteless modern aesthetic of smooth jazz. And then there was Charlie Byrd. In terms of legends, that’s really it!

In a century when guitar became the most widely heard and played instrument in the world, namely in non-jazz settings, jazz guitarists’ dedication to their trade is admirable since they represent a handful of instrumentalists that dared to delve head-on into the jazz idiom. If you think about it, the aforementioned can only truly be called jazz legends, compared to the throngs of saxophonists, trumpeters, pianists, bassists, and drummers out there credited for great contributions to the music’s development.

Germany's Jardis label prides itself on producing the finest in today’s jazz guitar. Following his critically acclaimed Trioing with drummer Bill Goodwin and fellow DC native bassist Paul Langosch (long a collaborator with crooner Tony Bennett), the mostly unknown guitarist Royce Campbell released his second effort for Jardis, A Tribute to Charlie Byrd. Campbell’s professional connection to Byrd originated in 1998, when the two and veteran Gene Bertoncini, another regional name, collaborated for a tribute to another six string master, Joe Pass. When asked to do the tribute album, Campbell thought it fitting that Bertoncini be on the project. Having worked closely with the man who had greatly influenced the introduction and acceptance of the Brazilian bossa nova and samba within the jazz world, Campbell appropriately chose to do mostly bossa nova works by Jobim and songs out of the Duke Ellington songbook: tunes that had been close to Byrd’s heart.

While the session is highly predictable and laid back, the solo work is magnificent and the overall artistry of the musicians is masterful. Filling out the quartet is a “who’s who” of DC’s thriving jazz scene. Drummer and vibraphonist Chuck Redd (also of the Smithsonian Jazz Masterworks Orchestra) displays tasteful stick and brushwork, very reminiscent of the Charlie Byrd “feel” – not surprising since Redd had been Byrd’s own drummer for 19 years. And finally, one of DC’s living jazz legends, Keter Betts fills in on bass. You might recognize Betts’ name from several years as bassist for both Byrd and “First Lady of Song” Ella Fitzgerald. Highly recommended. ~Matt Merewitz

A Tribute To Charlie Byrd mc
A Tribute To Charlie Byrd zippy

Jane Ira Bloom - Early Americans

Bitrate: MP3@320K/s
Time: 52:00
Size: 119.1 MB
Styles: Saxophone jazz
Year: 2016
Art: Front

[2:54] 1. Song Patrol
[4:19] 2. Dangerous Times
[1:46] 3. Nearly
[5:32] 4. Hips & Sticks
[5:20] 5. Singing The Triangle
[3:05] 6. Other Eyes
[3:22] 7. Rhyme Or Rhythm
[5:25] 8. Mind Gray River
[3:29] 9. Cornets Of Paradise
[4:02] 10. Say More
[5:46] 11. Gateway To Progress
[4:20] 12. Big Bill
[2:33] 13. Somewhere

Jane Ira Bloom: soprano saxophone; Mark Helias: bass; Bobby Previte: drums.

Saxophonist/composer Jane Ira Bloom is one of the few jazz players to concentrate solely on the soprano saxophone. In 35 years she has recorded sixteen albums as a leader, most often in a quartet with piano. This is her first trio album, in the company of longtime playing partners bassist Mark Helias and drummer Bobby Previte. Their high level of communication is evident on a tune like "Singing the Triangle," which features a recurring theme that is clearly stated by all three instruments in unison (with Previte using his toms melodically). Both the head and the band's approach recall the late Steve Lacy, another soprano saxophone specialist and experimentalist. The start-and-stop "Gateway to Progress" has a similar feel (it also demonstrates how hard this band can swing). Bloom definitely has her own sound, but Lacy is the closest comparison that comes to mind. ~Mark Sullivan

Early Americans 

John Wright - The Last Amen

Bitrate: MP3@320K/s
Time: 39:18
Size: 90.0 MB
Styles: Bop, Piano jazz
Year: 1965/2000
Art: Front

[3:40] 1. Les I Can't
[5:57] 2. Be My Love
[2:50] 3. The Last Amen
[4:24] 4. Stella By Starlight
[5:28] 5. But Beautiful
[4:07] 6. 'deed I Do (Do I Love You)
[4:18] 7. More Than You Know
[8:30] 8. Sheba

Bass – Gene Taylor; Drums – Walter McCants; Piano – John Wright. Recorded Englewood Cliffs, N.J., December 19, 1961.

Maybe the most obscure album in that excellent 60s run that Chicago pianist John Wright cut for Prestige Records – and the last one too! Features Eugene Taylor on bass and Walter McCants on drums – on titles that include "Sheba", "Les I Can't", "The Last Amen", and "Stella By Starlight".

The Last Amen mc
The Last Amen zippy

Andrew Litton - A Tribute To Oscar Peterson

Bitrate: MP3@320K/s
Time: 54:00
Size: 123.6 MB
Styles: Piano jazz
Year: 2015
Art: Front

[2:13] 1. Lulu's Back In Town
[6:31] 2. 'round Midnight
[5:37] 3. Body And Soul
[3:09] 4. A Child Is Born
[6:26] 5. Jumbo Little Girl Blue
[2:50] 6. Take The A Train
[4:41] 7. Basin Street Blues
[6:05] 8. Rosalie How Long Has This Been Going On
[3:26] 9. The Nearness Of You
[2:34] 10. Over The Rainbow
[3:04] 11. Things Ain't What They Used To Be
[7:17] 12. Perdido

Andrew Litton plays transcriptions of improvisations by the much-loved jazz pianist Oscar Peterson; The Bad Plus perform what is termed ‘an arrangement’ of Stravinsky’s The Rite of Spring. Litton is a classical conductor who regularly directs Gershwin’s Rhapsody in Blue from the piano; The Bad Plus are a contemporary piano-bass-drums jazz trio, of the type popularised by Peterson, who have become renowned for their punky, rambunctious remakes of pop songs.

Litton interprets music that was originally improvised while The Bad Plus, improvisers by instinct, interpret a score. And somewhere in the back of Oscar Peterson’s mind as he was improvising on Thelonious Monk’s ‘Round midnight’, Billy Strayhorn’s ‘Take the “A” train’ and Juan Tizol’s ‘Perdido’ was an idea about the original source. Strayhorn’s composition became Duke Ellington’s signature theme tune and Peterson’s recasting was packed with a lifetime’s worth of thoughts and associations, the jittery momentum of his improvisation derived partly from needing to contain so much activity within a three-minute duration – finger-busting Harlem stride piano slamming into windows of impressionistic repose.~Phillip Clark

A Tribute To Oscar Peterson mc
A Tribute To Oscar Peterson zippy

The Great Jazz Trio - Autumn Leaves

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 54:57
Size: 128,5 MB
Art: Front

(5:27)  1. Autumn Leaves
(6:36)  2. Yesterdays
(4:13)  3. Rhythm-A-Ning
(4:44)  4. Blue Bossa
(6:22)  5. Take The 'A' Train
(5:53)  6. Summertime
(6:20)  7. Caravan
(4:43)  8. Six And Four
(5:00)  9. My Funny Valentine
(5:34) 10. Bye Bye Blackbird

The Great Jazz Trio was a working cooperative working with various lineups led by Hank Jones in during the 1970s and 1980s, but the revival of this defunct group finds Jones joined by two newcomers to the group, seasoned veterans Richard Davis on bass and the leader's brother, Elvin Jones, on drums. Oddly enough, the two brothers have recorded together very infrequently during their long careers, so this opportunity must have been special to them. The opening track signals a different direction for the group, with Elvin's explosive solo stealing the show in "Autumn Leaves." The pianist's imaginative arrangement of "Yesterdays" begins as a stunning solo before Davis' sparse bass and Elvin's brushes join him. The buoyant treatment of Kenny Dorham's "Blue Bossa" finds Hank in a humorous mood, inserting several brief quotes from well-known works such as "Hot House" and "Blue Skies." The trio is clearly cooking by the time it recorded the percolating take of Oliver Nelson's "Six and Four." Hopefully, this delightful date by the Great Jazz Trio will result in a follow-up recording session. ~ Ken Dryden https://www.allmusic.com/album/autumn-leaves-mw0000318396

Personnel:  Hank Jones - Piano; Richard Davis -  Bass ; Elvin Jones - Drums.

Autumn Leaves

Bill O'Connell - Signature

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 48:30
Size: 111,3 MB
Art: Front

(4:58)  1. Main Street
(4:42)  2. Hit Or Miss
(4:02)  3. Dina
(5:38)  4. Tell Me Again
(4:08)  5. Alfalfa Sez
(5:36)  6. Angels At Play
(3:44)  7. Jazz Eyes
(4:44)  8. St. Croix
(5:01)  9. Cyclone
(5:54) 10. Sammy's Song

Pianist Bill O'Connell is not exactly a household name but his CD is quite memorable. The quality of the originals (seven by O'Connell, three from bassist Charles Fambrough and one from soprano saxophonist Howard Alston) is strong, the melodies are often catchy, Grover Washington, Jr., has two good outings on soprano and O'Connell's work on piano and electric keyboards does a very effective job of combining together aspects of both so-called contemporary jazz and hard bop. This is accessible jazz that is also creative.~ Scott Yanow https://www.allmusic.com/album/signature-featuring-bill-oconnell-mw0000095608

Personnel:  Bill O'Connell (Keyboards, Piano);  Howard Alston Sax (Soprano);  Pablo Batista (Bongos, Conga, Percussion);  Charles Fambrough (Bass, Bass Acoustic);  Rick Sebastian (Drums);  Grover Washington Jr. Sax (Soprano).

Signature

Mark Soskin - Rhythm Vision

Styles: Piano Jazz
Year: 1980
File: MP3@320K/s
Time: 38:16
Size: 88,7 MB
Art: Front

(5:56)  1. Colossus
(4:47)  2. Mambo Mio
(8:26)  3. Walk Tall
(5:29)  4. Caribbean Party Stomp
(4:27)  5. That's What Friends Are For
(5:08)  6. The Opening
(4:00)  7. Bolinas

Mark Soskin was born July 12, 1953 in Brooklyn, N.Y. Soskin has recorded and performed with such diverse musicians as Sonny Rollins, Joe Henderson, Randy Brecker, Billy Cobham, Buster Williams, Eddie Henderson, Stanley Turrentine, Cornell Dupree, Herbie Mann, John Abercrombie, Claudio Roditi, Sheila Jordan, Gato Barbieri, Joe Locke, David"Fathead"Newman, Mark Murphy, Slide Hampton, Pete and Sheila Escovedo, Bobby Watson, Miroslav Vitous, The NY Voices and others.   Soskin attended Colorado State University where he pursued classical studies, but at this time his interests in jazz music were growing. In 1973 he enrolled in The Berklee College of Music, studying composition as well as arranging. In Boston he began to work professionally until moving to San Francisco, eventually going on to work with some of the west coast's finest players.   Shortly after arriving in San Francisco, Soskin was introduced to the Latin music legend, Pete Escovedo. Along with Pete's daughter, percussionist Sheila. E, they toured and recorded as Azteca, a group in which Soskin's keyboard, writing, and arranging talents were showcased. Eventually, the group, which now included Tom Harrell on trumpet, went on to record two discs for Fantasy Records, produced by drum ace Billy Cobham. Soskin was enlisted in Cobham's band, a stint that lasted for two years and which produced two recordings for Columbia. Between tours for Cobham, Soskin did a tour and live recording for the CBS All Stars with Tom Scott, Alphonso Johnson, Steve Khan, and Billy Cobham. At this time Soskin was very active as a session player at Fantasy studios in Berkeley, California and veteran jazz music producer Orrin Keepnews took notice.   Soskin signed his first recording contract with Prestige (a subsidiary of Fantasy) produced by Keepnews, entitled "Rhythm Vision." This featured the likes of Benny Maupin and Harvey Mason with the album eventually making it into Billboard's top ten Jazz Chart.

 Keepnews introduced Soskin to Sonny Rollins, which started a long, fruitful collaboration (14 years). Besides the extensive touring throughout the world, Soskin can be heard on a number of critically acclaimed recordings with the tenor sax master, including a video,"Saxophone Collosus”.   Since 1981 Soskin has resided in New York City, remaining active as sideman and as a leader. He has ten of his own recordings to date and three as co-leader, one which features Harvie Swartz and Joe LaBarbera with Sheila Jordan called "Spirits", one under the name "Contempo Trio" with Danny Gottlieb and Chip Jackson featuring Ravi Coltrane and another Contempo Trio recording named"The Secret of Life" featuring Carolyn Leonhart. His recording, "17" on TCB, highlights Soskin in a quintet setting featuring mainly original compositions.  He continues to maintain a busy tour schedule as well as giving master classes and workshops. Television performance credits include the HBO hit series, "Sex And The City." Examples of arranging projects have been writing for Slide Hampton's "World Of Trombones" and his writing and playing on Steve Smith's DVD,"Drumset Technique/History of the U.S. Beat". Soskin has been featured in solo piano concerts throughout the world such as the Ottawa Jazz Festival. He has performed the premier of contemporary classical music composer John Adams' opera, "Ceiling/Sky" at Lincoln Center. Soskin is currently on the faculty of The Manhattan School Of Music and has been written up in numerous music publications, including Ira Gitler and Leonard Feather's Biographical Encyclopedia of Jazz and The Jazz Book by Joachim E. Berendt. Mark Soskin is featured in the film documenting latin jazz artists entitled "Calle 54”. He signed with the Kind of Blue label and produced three recordings for the company, all critically acclaimed. The first is entitled,“One Hopeful Day ”, which features Chris Potter, Bill Stewart and Jay Anderson.  The second released in October 2009 is “Man Behind the Curtain” with Ravi Coltrane, Bill Stewart and Jay Anderson. The third,released in 2012, is “Mark Soskin Solo Piano- The Music of Nino Rota”. His newest recording is “ Live at Small’s, Mark Soskin Quartett(2015)”, featuring Rich Perry, Jay Anderson and Anthony Pinciotti.  Mark Soskin teaches privately and is available for master classes and workshops.

Personnel:  Mark Soskin-keyboards;  Bennie Maupin-tenor and soprano saxes,flutes ;  Oscar Brashear, Snooky Young-trumpet, flugel horn;  George Bohanon-bass trombone;  Mel Martin-alto flute,alto sax;  Ray Obiedo-guitars;  Paul Socolow-electric bass;  Harvey Mason-drums;  Sammy Figueroa-congas, percussion.

Rhythm Vision

Tessarollo, Fassi, Dalla Porta, Nussbaum - Bemsha

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 63:04
Size: 149,3 MB
Art: Front

(6:45)  1. One for Bill
(7:02)  2. Blitz
(8:29)  3. Dede
(6:33)  4. Algoritmo
(6:04)  5. Stati d'animo
(6:24)  6. This is for Adam
(7:25)  7. La chioma di Emilia
(4:47)  8. For Butch
(5:56)  9. Gentle walk
(3:35) 10. Bemsha swing

Splasc(h) Records has documented the vibrantly diverse Italian jazz scene with hundreds of releases. This recording features four of its key performers, who co-lead a tight, well-played set of original pieces very much in the mainstream tradition. (The only tune not written by a member of the group is Thelonious Monk's "Bemsha Swing," after whom the quartet is named.) Luigi Tessarolla's guitar takes the place of a horn, his light, graceful, lissome lines floating above the backdrop of fine rhythmical support provided by co-leaders Riccardo Fassi, Paolino Dalla Porta, and Adam Nussbaum. While the performances are professional and more than competent, few of the melodies are memorable, and there is little here to distinguish this recording from hosts of others. The players are most comfortable at medium and slow tempos. The piano and guitar effectively double on some of the melodic lines; otherwise, they alternate the lead. Much of it is very pretty, and the influence of Bill Evans is partially evident. Paolo Dalla Porta's acoustic string bass is filled with rich sonorities, and journeyman Adam Nussbaum provides the accurate and sensitive timekeeping skills for which he is known.~ Steve Loewy Splasc(h) Records has documented the vibrantly diverse Italian jazz scene with hundreds of releases. This recording features four of its key performers, who co-lead a tight, well-played set of original pieces very much in the mainstream tradition. (The only tune not written by a member of the group is Thelonious Monk's "Bemsha Swing," after whom the quartet is named.) Luigi Tessarolla's guitar takes the place of a horn, his light, graceful, lissome lines floating above the backdrop of fine rhythmical support provided by co-leaders Riccardo Fassi, Paolino Dalla Porta, and Adam Nussbaum. While the performances are professional and more than competent, few of the melodies are memorable, and there is little here to distinguish this recording from hosts of others. The players are most comfortable at medium and slow tempos. The piano and guitar effectively double on some of the melodic lines; otherwise, they alternate the lead. Much of it is very pretty, and the influence of Bill Evans is partially evident. Paolo Dalla Porta's acoustic string bass is filled with rich sonorities, and journeyman Adam Nussbaum provides the accurate and sensitive timekeeping skills for which he is known.

Bemsha