Dizzy Gillespie - Dizzy On The French Riviera

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 38:34
Size: 90,0 MB
Art: Front

(10:20)  1. No More Blues
( 5:15)  2. Long, Long Summer
( 2:44)  3. I Waited For You
( 3:27)  4. Desafinado
( 8:33)  5. Here It Is
( 3:38)  6. Pau De Arara
( 4:34)  7. For The Gypsies

Some of Dizzy Gillespie's best and most well-known material from the '60s with a truly talented band is included on this set of recordings done in France. A group of American expatriates and Europeans really musicians from all over the world accompany the trumpeter for music that spans bop, Brazilian sounds, and originals. Argentine pianist Lalo Schifrin plays piano and contributes the arrangements, and Leo Wright is Gillespie's main foil on flute and alto sax, while Hungarian Elek Bacsik plays guitar in subtle ways that reflect the overall style of the sounds inspired by the French Riviera. A classic, stretched-out take of Antonio Carlos Jobim's "No More Blues" kicks off the set, with the sound of kids on an ocean beach leading to Gillespie and Wright trading halves of the melody line as playful as the children in a perfectly played bossa. Another Jobim standard, "Desafinado," has Wright's bright flute and the muted trumpet of Diz in a more pensive but still hopeful romantic mood. "I Waited for You" is the ultimate languid, laying-in-wait ballad, with Schifrin's refrains cuing the trumpeter's procrastinations, while "Long, Long Summer" is the pianist's ode to a sullen affair with ultraviolet light cool shades included in a swinging and modal approach. "For the Gypsies," penned by the leader, has Bacsik more up-front rhythmically, as Wright's mysterious flute contrasts with Gillespie's sharply precise notes in a sneaky quick bossa rhythm. Also written by Dizzy, "Here It Is" is as memorable a tune as he ever did, a signature strutting shuffle jazz/blues that exemplifies the joy in life always present in his music. That all of the participants are extremely talented and can mix and match with Gillespie beautifully makes this an album that should appeal universally to all jazz lovers, and especially his biggest fans. ~ Michael G.Nastos https://www.allmusic.com/album/dizzy-on-the-french-riviera-mw0000188085

Personnel: Dizzy Gillespie – trumpet, vocals;  Lalo Schifrin – piano;  Leo Wright - flute, alto saxophone, vocals;  Elek Bacsik - guitar;  Chris White - double bass;  Rudy Collins - drums;  Pepito Riestria - percussion;  Charlie Ventura - tenor saxophone, bass saxophone

Dizzy On The French Riviera

---

Thelonious Monk, John Coltrane - Thelonious Monk With John Coltrane

Styles: Piano And Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 45:51
Size: 107,4 MB
Art: Front

(6:22)  1. Ruby, My Dear
(6:41)  2. Trinkle, Tinkle
(5:16)  3. Off Minor (take 4)
(6:40)  4. Nutty
(3:11)  5. Epistrophy (alt. take)
(9:46)  6. Functional (alt. take)
(7:52)  7. Monk's Mood

Universally regarded as one of the greatest collaborations between the two most influential musicians in modern jazz (Miles Davis notwithstanding), the Jazzland sessions from Thelonious Monk and John Coltrane should be recognized on other levels. While the mastery of the principals is beyond reproach, credit should also be given to peerless bassist Wilbur Ware, as mighty an anchor as anyone could want. These 1957 dates also sport a variety in drummerless trio, quartet, septet, or solo piano settings, all emphasizing the compelling and quirky compositions of Monk. A shouted-out, pronounced "Off Minor" and robust, three-minute "Epistrophy" with legendary saxophonists Coleman Hawkins, Gigi Gryce, and the brilliant, underappreciated trumpeter Ray Copeland are hallmark tracks that every jazz fan should revere. Of the four quartet sessions, the fleet "Trinkle Tinkle" tests Coltrane's mettle, as he's perfectly matched alongside Monk, but conversely unforced during "Nutty" before taking off. Monk's solo piano effort, "Functional," is flavored with blues, stride, and boogie-woogie, while a bonus track, "Monk's Mood," has a Monk-Ware-Coltrane tandem (minus drummer Shadow Wilson) back for an eight-minute excursion primarily with Monk in a long intro, 'Trane in late, and Ware's bass accents booming through the studio. This will always be an essential item standing proudly among unearthed live sessions from Monk and Coltrane, demarcating a pivotal point during the most significant year in all types of music, from a technical and creative standpoint, but especially the jazz of the immediate future. ~ Michael G.Nastos https://www.allmusic.com/album/thelonious-monk-with-john-coltrane-mw0000188439

Personnel:  Thelonious Monk — piano;  John Coltrane — tenor saxophone;  Ray Copeland — trumpet on "Off Minor" and "Epistrophy";  Gigi Gryce — alto saxophone on "Off Minor" and "Epistrophy";  Coleman Hawkins — tenor saxophone on "Off Minor" and "Epistrophy";  Wilbur Ware — bass on all except for "Functional";  Shadow Wilson — drums on "Ruby, My Dear", "Trinkle, Tinkle" and "Nutty";  Art Blakey — drums on "Off Minor" and "Epistrophy"

Thelonious Monk With John Coltrane

---

Elmo Hope Sextet And Trio - Homecoming!

Styles: Piano Jazz

Year: 1961

File: MP3@320K/s

Time: 50:26

Size: 116,6 MB

Art: Front

(5:56)  1. Moe, Jr. (take 4)

(4:41)  2. Moe, Jr. (take 2)

(3:14)  3. La Berthe

(6:33)  4. Eyes So Beautiful As Yours

(5:15)  5. Homecoming

(6:48)  6. One Mo' Blues

(5:33)  7. A Kiss For My Love (take 5)

(5:39)  8. A Kiss For My Love (take 4)

(6:43)  9. Imagination

Homecoming! is a particularly high-spirited record for this stage in Hope's troubled career. Following an extended stay in Los Angeles, a number of the day's top players helped welcome a refreshed Hope back to New York on this session. Tenor saxophonists Frank Foster and Jimmy Heath, as well as trumpeter Blue Mitchell, form the front line on the sextet numbers, while on all tracks Hope is joined by the rhythm section of Percy Heath and Philly Joe Jones. Four of the album's (original) seven tracks are sextet performances and the two alternate takes only appear on the Fantasy Original Jazz Classics CD reissue. The Dameron-esque bop numbers sizzle and weave and the tenor work of Frank Foster is especially rewarding on the album's bouncing opener, "Moe, Jr.," take four on the CD. The three ballads are equally fresh and less doom-ridden than comparable performances found elsewhere in his catalog. Expect fine performances by all. This great hard bop record is highly recommended. ~ Brandon Burke https://www.allmusic.com/album/homecoming%21-mw0000093981

Personnel:  Elmo Hope - piano;  Blue Mitchell - trumpet (tracks 1, 2, 4, 7 & 8);  Frank Foster, Jimmy Heath - tenor saxophone (tracks 1, 2, 4, 7 & 8);  Percy Heath - bass;  Philly Joe Jones - drums

Homecoming!

---

Will Boulware - Summertime

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 50:24
Size: 118,0 MB
Art: Front

(6:05)  1. Slow Down
(4:15)  2. Till
(7:30)  3. On Green Dolphin Stree
(5:13)  4. Thumbs
(5:32)  5. Moment's Notice
(3:59)  6. Big Band
(6:01)  7. E.S.P.
(5:48)  8. Who's Blues
(5:57)  9. Summertime

Rhythm team has been playing the bass in full story following the past two works by Richard Bonna, drums has been increasingly sharp instead of Billy Kilson from this time. I admire the wonder of the rhythmic team of this work from the original song "Slow Down" of the first thrilling theme. The combination of Bonna and Kilson is a speed sense, and in the sharpness it will be no doubt saying that it is the top class rhythm corps of the era. In this album in which the original and standard were interwoven in about half, the standard song was arranged to be easy to listen with pop sounds filled with Boureware's melodic, but in the original song it was a contemporary that was a little adventurous It is arranged. Eric Alexander of tenor who is participating in the three songs guests also listens to the performance of expressible expression that matched Boulewear's pop sense. It can be said that it is a work that seems to be a boule wear that can be enjoyed straight to the whole. People who want to listen to Bona's base are also satisfying. (Masato Hashi). https://translate.google.com.br/translate?hl=en&sl=ja&u=http://jazzfusion.com/cd2007/will_summertime.htm&prev=search

Personnel:  Will Boulware (piano), Richard Bona (bass), Billy Killson (drums), Eric Alexander (t.sax 3 songs participation)

Summertime

---

Joani Taylor - In A Sentimental Mood

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 63:20
Size: 146,7 MB
Art: Front

(6:27)  1. This Can't Be Love
(4:58)  2. In A Sentimental Mood
(4:19)  3. Embraceable You
(5:24)  4. Alfie
(3:46)  5. Undecided
(3:14)  6. Sentimental Journey
(7:01)  7. Lover Man
(5:23)  8. Love Walked In
(3:57)  9. A Ghost Of A Chance / I Can't Get Started
(6:43) 10. More Than You Know
(6:41) 11. Be My Love
(5:19) 12. I Just Had To Hear Her Voice

About three years ago at the Vancouver International Jazz Festival, I was standing in the back of a concert in studio B at CBC. Joani was singing a ballad to an audience of approximately three hundred people. She had the room in the palm of her hand and I was starting to get all choked up. I looked around the room and saw that I wasn't alone. There were a lot of people trying to pretend they weren't wiping away tears. Over the years, I've seen Joani do this many times. The first time was decades ago at the El Mocambo nightclub in Burnaby and I think she was only sixteen then. I've had the honour and privilege of witnessing and playing with some wonderful artists who can do this, who can connect to something deep inside themselves and touch something deep inside us. But still and all, they are relatively rare. To be able to do this an artist has to, as well as have the skill of their craft and of their art, go deep inside themselves to go beyond style, tradition, politics and personality, plus find a connection to their own essence. Then they need the willingness to be vulnerable enough to open up and connect with the people they are playing with and for. For me, Joani has always been a benchmark of this kind of intimacy. Every time I play with her she completely connects and any move I make moves her. When she performs for an audience, she takes them to someplace new and magical. Working on this project has been a great joy for me, especially the writing sessions with Joani and Miles. Things just seemed to fall into place naturally and the results are open and sincere. The beautiful original music by Sharon Minemoto, Ross Taggart and Jimm Taylor was a delight to play and I think show many different sides to Joani's “Own Voice”. Her original lyrics show the same intimacy as her performances. The three non-originals take us in different soul-stirring directions again. The recording sessions with all these beautiful players were so inspiring. Every cut is first or second take. For this reason, I think the music has a fresh, raw, and honest quality that I love. Every time I listen to these takes of Joani, Miles, Ross, Brad, Buff, Bernie and Doug, it makes me laugh and cry. I think this is a generous offering from a beautiful and continually developing, but maturing artist of great depth and breadth. I hope there is much more to come from Joani, my longtime friend, because I know she certainly has a lot more to say. ~ Bob Murphy http://www.joanitaylor.com/index2.html

Personnel:  Joani Taylor - Voice - Vocal;  P.J. Perry - Alto & Tenor Saxophones;  Miles Black - Piano;  Neil Swainson - Bass

In A Sentimental Mood

---