Tiny Grimes - Some Groovy Fours

Bitrate: MP3@320K/s
Time: 56:17
Size: 128.8 MB
Styles: Guitar jazz
Year: 1974/2002
Art: Front

[4:48] 1. Tiny's Boogie Woogie
[8:07] 2. Tee-Nine-Sy
[4:24] 3. Swinging Mama
[5:17] 4. I Found A New Baby
[4:54] 5. Lester Leaps In
[4:56] 6. Body And Soul
[5:06] 7. Blues For Hugues
[2:53] 8. He'll Never Sweat
[6:27] 9. Frankie And Johnny Boogie
[9:21] 10. Morgantini With Mime No. 2

Double Bass [Contrabajo] – Roland Lobligeois; Drums [Batería] – Panama Francis; Guitar – Tiny Grimes; Piano – Lloyd Glenn. Grabación efectuada el 13 de mayo de 1974. Una selección del Hot Club de Barcelona.

With the exception of a Sonet album from 1977, this was guitarist Tiny Grimes' last recording as a leader. Grimes is surprisingly still in peak form and is well showcased in a quartet with pianist Lloyd Glenn, bassist Roland Lobligeois and drummer Panama Francis. Although there are some blues, as usual, Grimes also gets to stretch out "Lester Leaps In" and "I Found a New Baby," which show how strong a swing-based improviser he could be. This music was last available in the U.S. on a Classic Jazz LP, although it has been reissued on CD in France. ~Scott Yanow

Some Groovy Fours mc
Some Groovy Fours zippy

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The Danish Radio Jazz Orchestra, Jim McNeely - Play Bill Evans

Bitrate: MP3@320K/s
Time: 68:30
Size: 156.8 MB
Styles: Big band
Year: 2002/2012
Art: Front

[ 8:18] 1. Very Early
[ 9:42] 2. Show-Type Tune (Tune For A Lyric)
[ 7:07] 3. Blue In Green
[10:03] 4. T.T.T.T.T.T.T
[ 7:02] 5. Theme For Debby
[10:43] 6. Theme For Scotty Gloria's Step
[ 8:51] 7. Re Person I Knew
[ 6:40] 8. Turn Out The Stars

Bass – Thomas Ovesen; Drums – Søren Frost; Guitar – Anders "Chico" Lindvall; Percussion – Ethan Weisgard; Piano – Jim McNeely (tracks: 8), Nikolaj Bentzon (tracks: 1 to 7); Reeds – Flemming Madsen, Michael Hove, Nicolai Schultz, Tomas Franck, Uffe Markussen; Trombone – Alf Vestergaard, Axel Windfeld, Steen Hansen, Vincent Nilsson; Trumpet – Benny Rosenfeld, Henrik Bolberg Pedersen, Lars Lindgren, Thomas Fryland, Thomas Kjærgaard. Recorded March 20-24, 2000 at studio 3, Broadcast House Copenhagen.

Bill Evans' compositions have been interpreted in countless ways through the years, but not so often by big bands. Who better than Jim McNeely, a fine pianist and one of jazz's most imaginative arrangers, to glean fresh insights from Evans' music? Leading the fine players of the Danish Radio Jazz Orchestra, McNeely sets his sights on some of Evans' strongest melodies, and he consistently finds new angles. The latent dissonance of "Very Early" is fully apparent when the interval-leaping line is placed over a pedal point, or the final B major 7th chord, for instance. There are other surprising touches, like the half-time tag that breaks up "Waltz for Debby"; the climactic shout choruses (and orchestrated Bill Evans solo) in "Show-Type Tune"; the medley-style juxtaposition of "Twelve-Tone Tune" and "Twelve-Tone Tune Two"; and the jarring burst of a chord that ends "Turn Out the Stars," gradually fading to close out the album. Lead trombonist Vincent Nilsson arranged the one piece not composed by Bill Evans: "Theme for Scotty/Gloria's Step" combines Clare Fischer's requiem for Scott LaFaro with a stormy reading of LaFaro's most famous tune, which remained in Evans' repertoire long after the bassist's untimely death. Tenor saxophonist Tomas Franck, one of the album's more prominent soloists, gives "Blue in Green" an unusually turbulent, quasi-"out" arrangement. Other outstanding performers include bassist Thomas Ovesen and flügelhornist Henrik Bolberg Pedersen. ~David R. Adler

Play Bill Evans mc
Play Bill Evans zippy

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Gerry & The Pacemakers - The Very Best Of Gerry & The Pacemakers

Bitrate: MP3@320K/s
Time: 64:48
Size: 148.4 MB
Styles: Oldies, British Invasion
Year: 1997
Art: Front

[1:52] 1. How Do You Do It
[2:17] 2. I Like It
[2:23] 3. It's Gonna Be Alright
[3:11] 4. I'll Be There
[2:04] 5. Girl On A Swing
[2:39] 6. Come Back To Me
[2:18] 7. When Oh When
[2:34] 8. Don't Let The Sun Catch You Crying
[2:38] 9. You'll Never Walk Alone
[2:15] 10. I'm The One
[2:25] 11. Walk Hand In Hand
[2:35] 12. La La La
[2:00] 13. It's All Right
[2:34] 14. Give All Your Love To Me
[2:44] 15. Hallelujah I Love Her So
[2:25] 16. Ferry Cross The Mersey
[2:24] 17. Pretend
[2:35] 18. Jambalaya (On The Bayou)
[2:20] 19. You're The Reason
[2:31] 20. Summertime
[2:10] 21. Away From You
[2:06] 22. You've Got What I Like
[2:04] 23. You You You
[2:32] 24. Baby You're So Good To Me
[2:55] 25. Without You
[2:22] 26. Dreams
[1:43] 27. Think About Love

This CD brings together all the 'A' sidesfrom Gerry's EMI singles from 1963 to 1966plus a selection of other recordings from the mid-Sixties and seven titles that showcaseGerry Marsden's talents as a songwriter. It's an infectious, good-humoured sound, a fitting reminder of one of Liverpool'sfinest talents and greatest bands.

The Very Best Of Gerry & The Pacemakers mc
The Very Best Of Gerry & The Pacemakers zippy

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Mildred Anderson - No More In Life

Bitrate: MP3@320K/s
Time: 35:50
Size: 82.1 MB
Styles: Blues/Jazz vocals
Year: 1961/1995
Art: Front

[5:34] 1. Everybody's Got Somebody But Me
[3:01] 2. I Ain't Mad At You
[4:13] 3. Hard Times
[2:41] 4. No More In Life
[3:16] 5. Roll 'em Pete
[2:41] 6. What More Can A Woman Do
[3:45] 7. That Ole Devil Called Love
[6:00] 8. Mistreater
[4:35] 9. I'm Lost

Bass – Leonard Gaskin; Drums – Bobby Donaldson; Guitar – Chauncey Westbrook; Organ – Robert Banks; Tenor Saxophone – Al Sears; Vocals – Mildred Anderson.

A fine singer who came over from the R&B/blues field to record two jazz-oriented albums in 1960, Mildred Anderson is joined on this CD reissue by tenor-saxophonist Al Sears, organist Robert Banks, guitarist Lord Westbrook, bassist Leonard Gaskin and drummer Bobby Donaldson. The repertoire ranges from originals to "I Ain't Mad at You," "Roll 'Em Pete" and "That Ole Devil Called Love." Considering how well she sings on this set, it is strange that Mildred Anderson would have no further opportunities to lead her own albums. ~Scott Yanow

No More In Life mc
No More In Life zippy

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Various - Legends & Lions: Blues

Bitrate: MP3@320K/s
Time: 58:17
Size: 133.4 MB
Styles: Jazz/Blues
Year: 2006
Art: Front

[6:09] 1. Terry Gibbs - St. Louis Blues
[5:37] 2. Sean Jones - Blues For Matt B
[6:48] 3. The Gerald Wilson Orchestra - Equinox
[6:20] 4. Cedar Walton - Willow Weep For Me
[2:58] 5. Oscar Brown, Jr. - But I Was Cool
[6:08] 6. Kenny Burrell - River's Invitation
[4:55] 7. Ilona Knopfler - Unchain My Heart
[4:51] 8. Terry Gibbs - Jumping With Symphony Sid
[5:39] 9. Eugene Maslov - Groove Merchant
[8:46] 10. The Gerald Wilson Orchestra - Blues For Manhattan

Legends & Lions: Blues is a series assembled by Detroit's Mack Avenue label that pairs its roster's veteran artists with its up-and-coming personas thematically. The first two volumes in the series -- Swingin' and Swoonin' -- were successful in their way. The Blues volume is another attempt at the formula and it meets with very mixed results. First off, one wonders how the label defines the word blues. The version of John Coltrane's "Equinox" here, by the brilliant Gerald Wilson Orchestra, brings out the blues in its soloist's parts, but the band underscores the changes and stretches them until the blues all but disappears. Far more successful is their second number "Blues for Manhattan (The Diminished Triangle)" where the blues are out, front and center, and it's a killer track to close with Too bad everything here isn't that good. Ilona Knopfler's reading of "Unchain My Heart," is, for this performer, typically daring and uses a polyrythmic approach to the blues. The cut feels more like Santana playing the blues with a female vocalist, until the strings kick in. It works beautifully. Terry Gibbs' version of "Jumpin' with Symphony Sid" is strident but stiff, as is the version of "St. Louis Blues" that's so laid-back it's almost unrecognizable. It should be mentioned that some of the sidemen on these sessions are very prominent names in jazz -- Eddie Gómez, Ralph Moore, Jon Faddis, Renee Rosnes, Cedar Walton, Jimmy Heath, and Oscar Brown, Jr. (whose "But I Was Cool," is one of the real high points here) just to name a few. Interesting but forgettable, Legends & Lions: Blues doesn't quite measure up to Mack Avenue's previous compilations. ~Thom Jurek

Legends & Lions= Blues mc
Legends & Lions= Blues zippy

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Red Mitchell, Joakim Milder, Roger Kellaway - Live In Stockholm

Bitrate: MP3@320K/s
Time: 67:23
Size: 154.3 MB
Styles: Bop, Cool
Year: 1994/2002
Art: Front

[ 9:52] 1. Doxy
[10:56] 2. Sophisticated Lady
[10:06] 3. Life’s A Take
[ 6:24] 4. I’ll Never Be The Same
[ 9:54] 5. I’m Getting Sentimental Over You
[ 9:45] 6. All The Things You Are
[10:24] 7. I Love You

Bass, Vocals – Red Mitchell; Piano – Roger Kellaway; Tenor Saxophone – Joakim Milder.

This is another delightful recording from Red Mitchell's long tenure in Sweden, recorded at the Fasching club in Stockholm. Pianist Roger Kellaway, an old friend and frequent musical partner, is on hand, as is tenor saxophonist Joakim Milder, whose chops have grown since the taping of Mitchell's CD Evolution (Dragon 191) a year and a half earlier. Kellaway threatens to steal the show with his percussive licks in "Doxy," while Mitchell's ever-present humor is featured in his lively blues "Life's a Take," which sadly served as his swan song as well, because he died from a stroke a little over a year after this performance. ~Ken Dryden

Live In Stockholm  

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Chuck Mangione - Land of Make Believe

Styles: Trumpet Jazz
Year: 1973
File: MP3@320K/s
Time: 39:04
Size: 91,1 MB
Art: Front

( 7:38)  1. Legend Of The One-Eyed Sailor
( 3:37)  2. Lullaby For Nancy Carol
( 7:23)  3. El Gato Triste
( 4:07)  4. The Gloria From The Mass Of St. Bernard
( 3:52)  5. As Long As We're Together
(12:24)  6. Land Of Make Believe

Though much less expansive than Mangione's other Mercury concerts (only 37 minutes on a single CD or LP), Land of Make Believe is the most successful of the lot, a winning combination of attractive tunes, big-thinking orchestrations, just enough jazz content, and a genuinely felt sense of idealism. Here there is no dead weight; all of the material is very engaging and the combined forces of Mangione's quartet and the Hamilton (Ontario) Philharmonic are on fire. The performance of Mangione's "Legend of the One-Eyed Sailor" still exerts a ferocious jolt of life-affirming energy, "El Gato Triste" is an attractive Latin number, and the buoyant "Gloria" from The Mass of St. Bernard with the Horsehead Chamber Singers makes one want to hear more. The childlike title tune has both a touching sense of naïveté and a lot of drive in key spots credit expert drummer Joe LaBarbera with the latter and Esther Satterfield's clear-eyed Nancy Wilson-like vocals made her famous for a time. This would be Mangione's most irresistible attempt at embracing the whole world of music and for awhile, it was possible to believe that he would become a major unifying figure in American music. Alas, thus far this would be the last full flowering of that promise. ~ Richard S.Ginell https://www.allmusic.com/album/land-of-make-believe-mw0000192140

Personnel:  Chuck Mangione - Flugelhorn, Mixing, Orchestration, Conductor, Arranger;  Joseph C. Crupi - Conductor, Director;  Marta Hidy - Concert Master, Violin;  Gap Mangione - Electric Piano, Toy Instruments;  Cello: Edgar Hayes, Zdenek Konicek;  Flute: Ned Corman, Ron Davis, Paula Elliott, Gordon Johnson, Gerry Niewood, Ray Ricker, Joe Romano, Jeff Tkazyik,;  Tuba: Charles Daellenbach;  Trombone: Eugene Watts, Bill Reichenbach Jr., Janice Robinson, Art Linser III,;  French Horn: Robert Hansen, Gregory Hustis, Graeme Page, Brad Warnaar;  Trumpet: Jon Faddis, Jeff Tyzik, Fred Mills, Ronald Romm;  Viola: Barbara Hustis, Jaroslav Karlovský, Ann Armin;  Violin: David Hung, Rudolph Kalup, Christine Haarvig, Beth Gorevic, Natalie Mysko, Margaret Neufeld, Kathryn Wunder, Michel Zaitzeff;  Tenor Sax: Ron Davis, Ray Ricker, Joe Romano;  Tenor Vocals: Ron Berger, Scott Bump, Jeff Bowlby, Steve Russell;  Alto Vocals: Kathleen Collins, Barbara Hendricks, Terry Lodge;  Soprano Vocals: Jan Walp,;  Bass Vocals: Russ Cembrinski, Michael Cleveland, Jim Smith, Jeff Wilber, Jim Wilber;  Electric Bass: Al Johnson;  Drums: Joe LaBarbera;  Bassoon: Tom Elliot, John Courtney;  String Bass: David Young, Jack McFadden;  Guitar, Guitar (Acoustic), Piano (Electric), Unknown Contributor Role: Don Potter

Land of Make Believe

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Swing Out Sister - Private View

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 41:55
Size: 96,5 MB
Art: Front

(4:53)  1. Incomplete Without You
(3:49)  2. You On My MInd
(2:36)  3. It May Not Be Enough (Interlude)
(4:26)  4. La La Means I Love You
(2:24)  5. And The Flowers Will Grow (Interlude)
(5:40)  6. Am I The SAme Girl?
(6:37)  7. Notgonnachange
(3:15)  8. Breakout (Fabulous Party Mix)
(4:39)  9. Mama Didn't Raise No Fool
(3:32) 10. Now You're Not Here (Taj Calder Instrumental)

Private View is an aural celebration of Swing Out Sister's 25th anniversary, and features completely rearranged versions of some of the best known tunes in its catalog. Lots of acts try this; more often than not the result is a mixed bag at best and an utter failure at worst. 

Not this time. Vocalist and composer Corrine Drewery and keyboardist/arranger/composer Andy Connell (the two remaining members of the original group) appear here with a backing quintet that includes Tim Cansfield on guitar, Gina Foster on backing and duet vocals, Jody Linscott on percussion, Dan Swana on upright bass, and Noel Langley on flügelhorn, to completely revision these tracks in what amounts to a brand new next step worthy of being called the band's first new studio offering since 2008's brilliant Beautiful Mess. While it's obvious that Private View will appeal largely to SOS' devoted fan base, it shouldn't be limited to it. Some of these versions, in particular "Notgonnachange," "Incomplete Without You," and "Mama Didn't Raise No Fool," are all jazz-based pop gems with elegant, breezy arrangements; Drewery's voice is so singular and original in its phrasing, and classy and soulful in its delivery, it remains undiminished by time. The gorgeous late-night club cover of Thom Bell's and Bobby Hart's soul classic "La La Means I Love You" intro'ed and outro'ed by languid, sexy groove-based themes -- is worth the album's purchase price by itself. The new version of SOS' first smash "Breakout" is subtitled "(Fabulous Party Mix)," and is a deliberate attempt at humor. Rather than the celebratory dancefloor pop of the original, this one is a midtempo ballad full of lilting strings, shimmering keyboards, and shuffling percussion that is more tempered, sure, but also more emotionally resonant. While Private View may be an atypical introduction to Swing Out Sister, it's still a fine one for beginners. For fans, it's an absolutely essential addition to the catalog.~ Thom Jurek https://www.allmusic.com/album/private-view-mw0002405459

Private View

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Geof Bradfield - Birdhoused

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 57:34
Size: 132,8 MB
Art: Front

(7:14)  1. The Other Side of Town
(7:10)  2. Constellation
(3:32)  3. Sonatina
(7:50)  4. Nephila
(6:14)  5. Solid Jackson
(1:46)  6. Bass Solo
(9:46)  7. Fearful Symmetry
(5:53)  8. Birdhoused
(8:05)  9. Laconia

A horn-fest? That was the initial impression of saxophonist Geof Bradfield's Birdhoused, a set featuring a quintet with no chording instrument and  four horn front line in a live set at the Green Mill Cocktail Lounge. While Bradfield's Melba (Origin Records, 2013) paid tribute to the under-sung trombonist/composer/arranger Melba Liston; and his Roots (Origin Records, 2015) explored the sounds of Leadbelly, Blind Willie Johnson and the Georgia Sea Island Singers, Birdhoused expands the horizons, delving into the disparate sounds of Chicago soul songster Curtis Mayfield,  bop pioneer Charlie Parker,  and classical Hungarian composer Gyorgi Ligeti, along with five Bradfield originals, with one tune from the quintet's bassist, Clark Sommers, shuffled in.  So: tenor sax,alto sax, trombone and  trumpet makes for a horn fest; except that would be shortchanging the drive train, bassist Clark Sommers and drummer Dana Hall, who provide a high horsepower propulsion both instruments just bit up in the mix, which is a good thing. Opening with Curtis Mayfield's "The Other Side Of Town," the group proves itself a freewheeling, loose limbed outfit, full of spontaneity and intricate interplay, with solos often torrid all around, bringing another Bird to mind: Little Bird, Ornette Coleman, around the time of Science Fiction (Columbia Records, 1971), when the free jazz alto sax man used in his bands multiple hornmen of the adventurous variety. "Constellation," an elastic take on Charlie Parker's tune, rides in the same vein with a spirited sound, while Ligeti's "Sonatina" mellows things down to solemn mood. 

After the covers, the set settles into what could be called the Bradfield Suite. Compositionally, the rest of the album comes from the leader with a brief bass solo tune from Sommers slipped in. Starting with Bradfield's pensive "Nephila,"  rumbling through a turbulent "Solid Jackson," slinking along on "Fearful Symmetry," strutting through "Birdhoused," and wrapping things up with "Laconia," a bright-hued nod to Bradfield's fellow Chicago-an, saxophonist Clifford Jordan, whose middle name happened to be "Laconia." ~ Dan McClenaghan https://www.allaboutjazz.com/birdhoused-geof-bradfield-cellar-live-review-by-dan-mcclenaghan.php

Personnel: Geof Bradfield: tenor saxophone; Marquis Hill: trumpet; Joel Adams: trombone; Nick Mazzarrella: alto saxophone; Clark Sommers: acoustic bass; Dana Hall: drums, percussion.

Birdhoused

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David Binney - Welcome To Life

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 51:40
Size: 119,3 MB
Art: Front

( 5:41)  1. Soldifolier
( 7:27)  2. Welcome To Life
( 7:37)  3. Lisleil
(11:21)  4. Frez
( 4:16)  5. Our Time Together
( 7:33)  6. Sintra
( 4:44)  7. Enchantress
( 2:57)  8. Ici

Chris Potter, Brian Blade, Scott Colley, Craig Taborn, Adam Rogers, David Binney ultra-contemporary modern jazz composers, the latest winners in the Downbeat players poll, or jazzers deserving of a modicum of the hype swirling around the plus band of the moment? All of these, but also the list of participants on Binney's outstanding new Welcome to Life, issued on his own Mythology imprint. These all-stars have been at it for some time now, so this effort potentially marks their full transition in the minds of fans and critics alike from the "emerging" to the "established" category. In fact, all should be classified in the elite of the current vanguard, especially Binney, who released his first recording as a leader some fifteen years ago. Appearing on more than fifty recordings and gigging with everyone from Aretha to Zorn implies the wide-ranging skill set that Binney has perfected to deal with his modern jazz muse. "Welcome to Life" propels us into the moment with unison piano and bass, conveying the tenor and alto horn section forward. Stating strongly together initially, the horns then alternate leading and following, leaning out over a sparser rhythm section breakdown, adding tension before releasing back to the gallop. This technique also introduces Adam Rogers' angular electric guitar solo, brimming with his almost-futuristic phraseology, amalgamating without appropriating the electric guitar's history of influence. Craig Taborn's done much the same on piano, drawing freely on his choruses here from Powell, Monk, Hancock, Tyner, Corea, and Jarrett, while settling in on none. As players, all have that quality, drawing on the influences and inspiration of the greats to the point where lineage is broken and to the artistic place where chops become such a given they cease to matter. So much so, for instance, you won't be distracted by Rogers' expertise on acoustic slide or Binney's frightening facility on alto as notes blur into one, but rather become enraptured in the embrace of "Lisliel." Romance continues in the spiraling spell of the "Enchantress," spurred forward by Taborn's sequenced progression and lush voicings, abetting Rogers' bopped-out Martin steel and Colley's velvety turn. Binney's compositional acumen knows no stylistic bounds and leaves no loose ends, like "Frez," which seamlessly links M-BASE rhythmic explorations to ECM's pastoral lyricism. A sobering indication of the current state of jazz affairs is included on the jacket: "Please visit davidbinney.com , mythologyrecords.com and artistshare.com . Tell your friends, as this is our future as musicians and listeners. We are on our own, as individual artists to bring music to the world. Please support us if you like what you hear"-Welcome to Life indeed! Invigorating that someone like Binney can so openly articulate and confront where we're at. On a release of this caliber, this statement confirms what we should acknowledge things are going to get worse in the jazz marketplace before they get better. But with new standard-bearers like Binney and company firmly holding and boldly reinventing the mantle, things are bound to get better a whole lot faster.~ Phil DiPietro https://www.allaboutjazz.com/welcome-to-life-david-binney-mythology-records-review-by-phil-dipietro.php

Personnel: David Binney-alto, Chris Potter-tenor sax, Brian Blade-drums, Scott Colley-bass, Craig Taborn-piano, Adam Rogers-guitar

Welcome To Life

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