Herb Alpert & Lani Hall - Anything Goes (Live)

Styles: Trumpet And Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 62:28
Size: 148,9 MB
Art: Front

(4:14)  1. Fascinating Rhythm
(5:47)  2. Para Raio (Pah dah hi yoo)
(3:48)  3. The Trolley Song
(4:43)  4. That Old Black Magic
(6:29)  5. Dinorah (Gee no rah) / Morning
(1:56)  6. It's Only a Paper Moon
(5:15)  7. Let's Face the Music and Dance
(3:25)  8. Morning Coffee
(3:50)  9. I've Grown Accustomed to Her Face
(4:30) 10. Who Are You? (w/ Bill Cantos)
(4:44) 11. Besame Mucho
(3:34) 12. Anything Goes
(4:26) 13. I've Got You Under My Skin
(5:41) 14. Laura

Though trumpet legend Herb Alpert and wife Lani Hall have been together for more than three decades, it's hard to believe that Anything Goes is their very first album together. A musician and entrepreneur, Alpert is best known for his work in the 1960s with his Tijuana Brass, five number one hits, eight Grammy Awards and fifteen gold albums. As co-founder of A&M Records, Alpert's impact on music has been even greater. After signing Sergio Mendes and Brasil '66 to A&M and producing the group's first recordings in the 1960s, Alpert met and later married lead singer Lani Hall. After being together on stage many times, Alpert and Hall collect a set of eight live performances recorded across the United States for Anything Goes.  The selection of music could not be better, as the duo draws on a total of fourteen pieces including standards from the songbooks of Harold Arlen and Cole Porter to Gershwin and Irving Berlin classics, Latin and Brazilian music. The years have treated Hall kindly, as her vocal energy has not diminished in any discernible way. Some of her finest performances can be heard on songs like "That Old Black Magic" and "I've Got You Under My Skin," but perhaps her best and most powerful vocals are on the two Brazilian songs, Djavan's "Para-Raio" and Ivan Lins' classic, "Dinorah," both sung in Portuguese.  Hall shares vocals with pianist Bill Cantos on the opening " Fascinating Rhythm" and the stunning Cantos original , "Who Are You," where she reaches high notes with ease. Cantos joins Alpert on "I've Grown Accustomed To Her Face," with drummer Michael Shapiro and bassist Hussain Jiffry rounding out the group's musical support. As for Alpert, he is simply amazing; whether on open trumpet or muted horn, he leads the music, providing a slew of gritty solos and holding court on several instrumentals including "The Trolley Song," Consuelo Velazquez's Latin classic, "Besame Mucho," and David Raskin's immortal "Laura." Alpert may be viewed through the prism of pop music, largely because of his success in the genre and partly of his own doing when he stated that, during the 1960s and 1970s, " [I] was in the closet as a jazz musician because I wasn't quite sure where I fit in." He now firmly asserts that, "I' m basically a jazz musician...Jazz is always in my spirit." With Anything Goes, Alpert cements his jazz pedigree, and as for this long-awaited duo record, these two very special people and partners for life make beautiful music together...and lucky for us. Anything Goes immortalizes their performance once and for all; hopefully there is an encore in the waiting.~ Edward Blanco https://www.allaboutjazz.com/anything-goes-herb-alpert-concord-music-group-review-by-edward-blanco.php

Personnel: Herb Alpert: trumpet, vocals; Lani Hall: vocals; Bill Cantos: piano, vocals; Hussain Jiffry: bass; Mike Shapiro: drums, percussion.

Anything Goes (Live)

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Grover Washington, Jr. - All The King's Horses

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 32:12
Size: 74,4 MB
Art: Front

(3:50)  1. No Tears, In The End
(3:49)  2. All The King's Horses
(5:07)  3. Where Is The Love
(3:05)  4. Body And Soul (Montage)
(4:25)  5. Lean On Me
(7:03)  6. Lover Man
(4:50)  7. Love Song 1700

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. 

Then there's the gorgeous and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk  is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.

~ Thom Jurek https://www.allmusic.com/album/all-the-kings-horses-mw0000314316

Personnel:  Grover Washington Jr. – tenor and alto saxophone;  Bob James – arranger, conductor, electric piano, Harpsichord;  Richard Tee – organ;  Arthur Clarke, Pepper Adams – baritone saxophone;  John Frosk, Alan Rubin, Ernie Royal, Marky Markowitz, Marvin Stamm, Snooky Young, Jon Faddis – trumpet, flugelhorn;  Paul Faulise, Tony Studd, Wayne Andre – trombone;  Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge – French horn;  George Marge – alto saxophone, flute, English horn, oboe;  Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini – guitar;  Margaret Ross – harp;  Ron Carter – bass;  Gordon Edwards – bass;Bernard Purdie – drums;  Billy Cobham – drums;  Airto Moreira – percussion;  Ralph MacDonald – congas;  Richard Dickler, Emanuel Vardi – viola;  Alexander Cores, Bernard Eichen, Irving Spice, Joe Malin, John Pintaualle, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman – violin;  Charles McCracken, George Ricci – cello

All The King's Horses

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Sidney Bechet - Saga Jazz: New Orleans - Paris (& vice versa)

Styles: Saxophone Jazz, New Orleans Jazz
Year: 2003
File: MP3@320K/s
Time: 73:38
Size: 170,8 MB
Art: Front

(3:39)  1. Buddy Bolden Story Discours Entre Sidney Et Claude Luter
(2:43)  2. Les Oignons
(3:00)  3. Wild Cat Blues
(3:10)  4. Old Fashioned Love
(3:11)  5. Mandy Make Up Your Mind
(3:10)  6. In Harlem's Araby
(3:19)  7. The Basement Blues
(2:52)  8. Sweetie Dear
(2:57)  9. Maple Leaf Rag
(3:06) 10. Shag
(2:53) 11. Polka Dot Rag
(2:56) 12. Characteristic Blues
(2:25) 13. Chant In The Night
(3:37) 14. Really The Blues
(2:04) 15. The Weary Blues
(2:23) 16. I Wish I Could Shimmy Like My Sister Kate
(3:01) 17. Down In Honky Tonk Town
(2:57) 18. Blues In Thirds
(4:15) 19. Bechet Parades The Blues Eng 9 Dec 1943 New York
(3:20) 20. Klook's Blues
(3:28) 21. Dans les rues d'Antibes
(2:27) 22. September Song
(3:20) 23. Summertime
(3:11) 24. Petite Fleur

Sidney Bechet was the first important jazz soloist on records in history (beating Louis Armstrong by a few months). A brilliant soprano saxophonist and clarinetist with a wide vibrato that listeners either loved or hated, Bechet's style did not evolve much through the years but he never lost his enthusiasm or creativity. A master at both individual and collective improvisation within the genre of New Orleans jazz, Bechet was such a dominant player that trumpeters found it very difficult to play with him. Bechet wanted to play lead and it was up to the other horns to stay out of his way. Sidney Bechet studied clarinet in New Orleans with Lorenzo Tio, Big Eye Louis Nelson, and George Baquet and he developed so quickly that as a child he was playing with some of the top bands in the city. He even taught clarinet, and one of his students (Jimmie Noone) was actually two years older than him. In 1917, he traveled to Chicago, and in 1919 he joined Will Marion Cook's orchestra, touring Europe with Cook and receiving a remarkably perceptive review from Ernst Ansermet. While overseas he found a soprano sax in a store and from then on it was his main instrument. Back in the U.S., Bechet made his recording debut in 1923 with Clarence Williams and during the next two years he appeared on records backing blues singers, interacting with Louis Armstrong and playing some stunning solos. He was with Duke Ellington's early orchestra for a period and at one point hired a young Johnny Hodges for his own band. However, from 1925-1929 Bechet was overseas, traveling as far as Russia but getting in trouble (and spending jail time) in France before being deported.

Most of the 1930s were comparatively lean times for Bechet. He worked with Noble Sissle on and off and had a brilliant session with his New Orleans Feetwarmers in 1932 (featuring trumpeter Tommy Ladnier). But he also ran a tailor's shop which was more notable for its jam sessions than for any money it might make. However, in 1938 he had a hit recording of "Summertime," Hugues Panassie featured Bechet on some records and soon he was signed to Bluebird where he recorded quite a few classics during the next three years. Bechet worked regularly in New York, appeared on some of Eddie Condon's Town Hall concerts, and in 1945 he tried unsuccessfully to have a band with the veteran trumpeter Bunk Johnson (whose constant drinking killed the project). Jobs began to dry up about this time, and Bechet opened up what he hoped would be a music school. He only had one main pupil, but Bob Wilber became his protégé. Sidney Bechet's fortunes changed drastically in 1949. He was invited to the Salle Pleyel Jazz Festival in Paris, caused a sensation, and decided to move permanently overseas. Within a couple years he was a major celebrity and a national hero in France, even though the general public in the U.S. never did know who he was. Bechet's last decade was filled with exciting concerts, many recordings, and infrequent visits back to the U.S. before his death from cancer. His colorful (if sometimes fanciful) memoirs Treat It Gentle and John Chilton's magnificent Bechet biography The Wizard of Jazz (which traces his life nearly week-by-week) are both highly recommended. Many of Sidney Bechet's recordings are currently available on CD. ~ Scott Yanow https://itunes.apple.com/lk/album/saga-jazz-from-new-orleans-to-paris-vice-versa/452324933

Saga Jazz: New Orleans - Paris (& vice versa)

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Gary Bartz - Shadows

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 69:25
Size: 159,3 MB
Art: Front

( 9:49)  1. Marion's Theme
(12:30)  2. Shadows
(10:25)  3. Songs Of The Underground Railroad
(14:35)  4. Peresina
( 4:50)  5. How Do You Keep The Music Playing
( 9:32)  6. Children Of The Night
( 7:41)  7. Holiday For Strings

Veteran alto and soprano saxophonist Gary Bartz's debut recording for the Dutch Timeless label is one of his finest efforts as he enlisted the services of pianist Benny Green, bassist Christian McBride, drummer Victor Lewis, and tenor saxophonist Willie Williams on three selections to perform an unusual program of one Bartz composition, three jazz classics, two movie themes, and one radio theme. Bartz's strong tone, sense of swing, and improvisational imagination place him within the ranks of jazz's finest saxophonists, and he proves it throughout this recording. Favorites include the title track, which is actually two Bartz compositions, one medium, one up, joined by an excellent McBride bass solo; John Coltrane's "Song of the Underground Railroad," performed up-tempo, in the spirit of Coltrane all the way down to a blistering sax-drums duet; McCoy Tyner's "Peresina," a medium Afro-Latin number with the melody played by the not-heard-enough combination of tenor and alto sax; and Wayne Shorter's "Children of the Night" where the melody is played over a hip groove by McBride and Lewis and features one of the best Bartz solos on record. McBride, who just had turned 19 at the time of this recording, displays a huge tone, solid time, and the improvisational ability of a more experienced musician, while Lewis' dynamic drumming lays down a solid foundation along with McBride's bass, serving as the catalyst for the excellence of this recording. Shadows is an excellent addition to Bartz's extensive discography.~ Greg Turner https://www.allmusic.com/album/shadows-mw0000100346

Personnel:  Gary Bartz - alto saxophone, soprano saxophone;  Willie Williams - tenor saxophone;  Benny Green - piano;  Christian McBride - bass;  Victor Lewis - drums

Shadows

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Steve Grossman - Perspective

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 40:45
Size: 93,5 MB
Art: Front

(5:25)  1. Creepin'
(5:26)  2. Arfonk
(5:15)  3. Pastel
(4:26)  4. The Crunchies
(5:42)  5. Olha Graciela
(7:59)  6. King Tut
(6:28)  7. Katonah

For many, the electric jazz scene of the late '70s was a tired thing, steeped equally in fusion and disco. That was the common feeling at the time, though many groups like Weather Report were enjoying massive commercial success. In the 21st century, the conventional wisdom is being turned on its head by many of the beat collectors and younger jazz listeners encountering some of music of the era for the first time. Saxophonist Steve Grossman's Perspective is an excellent case in point. Released in 1979 on Atlantic, this set features the great tenor saxophonist in an electric setting with some killer sidemen including guitarist Buzzy Feiten, bassist Mark Egan, pianist Onaje Allan Gumbs, drummer Steve Jordan, percussionists Sammy Figueroa, and Raphael Cruz. Guest players include the great Japanese pianist Masabumi Kikuchi, drummer Victor Lewis, guitarist Barry Finnerty, bassist Marcus Miller, and drummer Lenny White, to mention a few. These seven tracks are united by one thing: the enormous sound of Grossman's Sonny Rollins-meets-John Coltrane-influenced tone on tenor. While the record kicks off on the easy side of jazz-funk with "Creepin'," it contains some knotty acoustic piano from Gumbs and some tastefully elegant playing by Feiten. 

Grossman's stating of the theme is economical but emotive. The Latin groove that commences in the bridge is a surprise and moves the cut through his boisterous solo. "Arfonk" is on the edgier side of jazz-funk with a great breakbeat drum intro by White, who also does an impressive bit of counterpoint on the bongos. The fat guitars play call and response with Grossman, who gets up into the high register on the horn and lets loose against the simple riff. There are touches of fusion, but it never leaves the realm of jazz-funk entirely. Beautiful Fender Rhodes work by Gumbs adds rich color and texture, not to mention Egan's killer, popping bass work. "Pastel" features Kikuchi on acoustic piano, and this tune is pure, languid, gorgeous, communicative jazz with an excellent rapport in terms of lyricism between the pianist and Grossman. The set closes with the Eastern-cum-Latin-tinged "Katonah" with Finnertyon guitars, creating a wide palette of chord forms for Grossman to solo off of, eight bars from the intro. Egan is uncanny here on his bass, inventive and rhythmically guiding the entire band. The adrenaline-fueled breaks by Jordan as he double times Egan and Grossman are among the toughest of his long career. Ultimately, this set more closely resembles the work Grossman did with Stone Alliance than it does his later excellent Way Out East dates, but this set has stood the test of time remarkably well; its reissue on Wounded Bird in 2009 goes one step further in putting down the myth that electric jazz in the late '70s almost killed the music off in the days before Wynton Marsalis took it retro.~ Thom Jurek https://www.allmusic.com/album/perspective-mw0001737028

Personnel:  Soprano Saxophone, Tenor Saxophone – Steve Grossman;   Bass – Marcus Miller, Mark Egan;  Congas – Sammy Figueroa;  Drums – Steve Jordan, Victor V. Lewis;  Drums, Bongos – Lenny White;   Lead Guitar, Rhythm Guitar – Barry Finnerty, Howard"Bugzy"Feiten;  Piano [Acoustic, Fender Rhodes] – Onaje Allan Gumbs;  Piano [Acoustic] – Masabumi Kikuchi 

Perspective

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