Buck Clayton - Junpin' At The Woodside

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 34:54
Size: 80,3 MB
Art: Front

( 8:02)  1. Rock-A-Bye Basie
(10:37)  2. Junpin' At The Woodside
( 6:36)  3. Blue And Sentimental
( 9:37)  4. Broaway

The Buck Clayton jam sessions of the mid-'50s led to writer Stanley Dance coining the term "mainstream" to describe swing-oriented veterans of the era. This out-of-print LP, whose contents have been reissued by Mosaic in their six-CD Buck Clayton box set, has a variety of top mainstream all-stars jamming on four songs associated with Count Basie. 

The music is taken from three different sessions, with this version of "Jumpin' at the Woodside" splicing together the best of two completely different performances. The lineup of top players (including trumpeters Clayton, Joe Newman and Ruby Braff, trombonists Trummy Young, Urbie Green and Benny Green, clarinetist Woody Herman and tenors Coleman Hawkins, Al Cohn, Buddy Tate and Lem Davis among others) gives one a good idea as to the high quality of the music.~ Scott Yanow https://www.allmusic.com/album/jumpin-at-the-woodside-mw0000871165

Personnel:  Buck Clayton – trumpet;  Joe Newman (tracks 2 & 3), Joe Thomas (track 2) – trumpet;  Ruby Braff – cornet (tracks 1 & 4);  Bennie Green (tracks 1 & 4), Urbie Green (tracks 2 & 3), Dicky Harris (tracks 1 & 4), Trummy Young (track 2) – trombone;  Woody Herman – clarinet (track 2);  Lem Davis – alto saxophone (tracks 2 & 3);  Al Cohn (track 2), Julian Dash (track 2), Coleman Hawkins (tracks 1–4), Buddy Tate (tracks 1 & 4) – tenor saxophone;  Charles Fowlkes – baritone saxophone (tracks 2 & 3);  Jimmy Jones (track 2), Billy Kyle (tracks 2 & 3) – piano, celeste;  Al Waslohn – piano (tracks 1 & 4);  Steve Jordan (tracks 1, 2 & 4), Freddie Green (tracks 2 & 3) – guitar;  Milt Hinton (tracks 1–4), Walter Page (track 2) – bass;  Jo Jones – drums;  Jack Ackerman – tap dancing (track 1).

Junpin' At The Woodside

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Barbara Mendes - Nada Pra Depois

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 40:53
Size: 94,9 MB
Art: Front

(3:08)  1. Joana
(3:53)  2. Já sabia
(4:00)  3. Nada pra depois
(4:03)  4. Ouro e marrom
(3:18)  5. Brasil invertido
(4:24)  6. Ardendo em cores
(3:58)  7. Vem cá
(3:19)  8. Tatuagem
(4:14)  9. E isso acontece
(3:36) 10. Segue sorrindo
(2:54) 11. Maya

'Nada Pra Depois' is the name of the Barbara Mendes album. With a super brazilian sound, it counts on the illustrious participations of Djavan, in the track that gives name to the disc: 'Nothing To After' and Ivan Lins, in 'And It Happens'. By the way, these two icons of national music are two great admirers of Barbara's talent and music. https://www.somlivre.com/barbara-mendes-nada-pra-depois.html

Nada Pra Depois

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Toots Thielemans - Giants Of Jazz

Styles: Harmonica Jazz
Year: 1995
File: MP3@320K/s
Time: 74:12
Size: 185,2 MB
Art: Front

(5:18)  1. Isn't It Romantic
(7:17)  2. East Of The Sun
(2:30)  3. Don't Blame Me
(2:47)  4. Scotch On The Rocks
(2:14)  5. Cocktails For Two
(2:26)  6. I Let Song Go Out Of My Heart
(3:01)  7. Sophisticated Lady
(4:39)  8. Don't Be That Way
(3:14)  9. Stars Fell On Alabama
(4:33) 10. Strutting With Some Barbecue
(4:30) 11. Imagination
(3:49) 12. 18th Century Ballroom
(7:05) 13. Soul Station
(4:56) 14. Fundamental Frequensy
(4:43) 15. On The Alamo
(4:33) 16. Diga Diga Doo
(2:03) 17. Skylark
(4:27) 18. Sonny Boy

Toots Thielemans virtually introduced the chromatic harmonica as a jazz instrument. In fact, beginning in the mid-'50s, he never had a close competitor. Thielemans simply played the harmonica with the dexterity of a saxophonist and even successfully traded off with the likes of Oscar Peterson. Thielemans' first instrument was the accordion, which he started when he was three. Although he started playing the harmonica when he was 17, Thielemans' original reputation was made as a guitarist who was influenced by Django Reinhardt. Very much open to bop, Thielemans played in American GI clubs in Europe, visited the U.S. for the first time in 1947, and shared the bandstand with Charlie Parker at the Paris Jazz Festival of 1949. He toured Europe as a guitarist with the Benny Goodman Sextet in 1950, and the following year moved to the U.S. During 1953-1959, Toots was a member of the George Shearing Quintet (mostly as a guitarist) and freelanced for the remainder of his lengthy career in music. He first recorded his big hit, "Bluesette" (which featured his expert whistling and guitar) in 1961, and was subsequently in great demand (particularly for his harmonica and his whistling) on pop records (including many dates with Quincy Jones) and as a jazz soloist. 

Toots' two-volume Brasil Project was popular in the 1990s and found him smoothly interacting on harmonica with top Brazilian musicians. Heard on numerous movie soundtracks (including Breakfast at Tiffany's and Midnight Cowboy) and also on the opening theme of television's Sesame Street, Thielemans received Jazz Master honors from the National Endowment for the Arts in 2009. He died in Belgium in August 2016 at the age of 94.~ Scott Yanow https://www.allmusic.com/artist/toots-thielemans-mn0000159791/biography

Giants Of Jazz

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Guilhem Flouzat Trio - A Thing Called Joe

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 39:51
Size: 93,2 MB
Art: Front

(3:58)  1. There's No You
(3:09)  2. Oska T
(5:27)  3. Perdido
(7:19)  4. When I Fall In Love
(4:42)  5. Walking My Baby Back Home
(7:17)  6. Midnight Mood
(3:49)  7. Mrs. Parker of KC
(4:05)  8. Happiness Is A Thing Called Joe

Drummer Guilhem Flouzat, gearing up for his third recording as a leader, had meant to steer his music along the path he'd taken on his sophomore album, Portraits (Sunnyside Records, 2015) a rotating cast of musicians laying down a batch of the leader's eloquent compositions. But a post card slipped through the mail slot suggesting a step back a piano trio outing exploring the standards, in the classic style. Turns out that was good advice. The proof: A Thing Called Joe. With Sullivan Fortner in the piano chair and Desmond White wielding the bass, the trio creates a sound and mood reminiscent of the classic Prestige Records trio outings, especially those of Red Garland. The New Orleans-bred Fortner has style here that harkens, in part, to Art Tatum, Erroll Garner, and Oscar Peterson, and Red Garland, with its classy ebullience, its intricate refinement and bright erudition and elegance. Bassist White and drummer/leader Flouzat are perhaps more adventurous than the rhythm guys of the fifties and sixties, but every bit as in the pocket and supportive. The tunes are familiar: "Perdido" "When I Fall In Love," Jaki Byard's "Mrs.Parker Of K.C." And some surprises are shuffled in: Thelonious Monk's seldom-covered "Osak T" and bouncy take on the Nat "King" Cole vehicle, "Walkin' My Baby Back Home."  With its classic feel, the astute selection of tunes, the adept sequencing, and the superb playing all around, A Thing Called Joe compares very favorably with perhaps the best of Red Garland's Prestige discs, Red Garland's Piano (1957), as one of those feelgood jazz discs that stays in the stack next to the stereo, always somewhere near the top.~ Dan McClenaghan https://www.allaboutjazz.com/a-thing-called-joe-guilhem-flouzat-sunnyside-records-review-by-dan-mcclenaghan.php

Personnel:  Sullivan Fortner: piano;  Desmond White: bass;  Guilhem Flouzat: drums

A Thing Called Joe

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Gabor Szabo - Gabor Szabo In Budapest Again

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 51:07
Size: 117,5 MB
Art: Front

(11:04)  1. Concorde
( 9:11)  2. Magic Mystic Faces
( 3:58)  3. Django Part 1
( 6:12)  4. Django Part 2
( 4:55)  5. Killing Me Softly
( 5:52)  6. The Last Song
( 4:44)  7. The Biz
( 5:07)  8. From A Dream

Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep love of jazz and crafting a distinctive, largely self-taught sound. Inspired by a Roy Rogers cowboy movie, Szabo began playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still living in Budapest. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling with his family in California. He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams. Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more commercially oriented forms of jazz. During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. 

Szabo had revisited his homeland several times during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.~ Douglas Payne https://www.allmusic.com/artist/gabor-szabo-mn0000184187/biography

Gabor Szabo In Budapest Again

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