Bob Scobey's Frisco Band - Swingin' On The Golden Gate

Styles: Trumpet Jazz, Swing
Year: 1899
File: MP3@320K/s
Time: 38:31
Size: 89,3 MB
Art: Front

(2:48)  1. Sunny Disposish
(3:11)  2. Carolina In The Morning
(3:48)  3. Feet Draggin' Blues
(2:22)  4. It Happened In Sun valley
(4:07)  5. I Can't Get Started With You
(3:19)  6. Come Back Sweet Papa
(2:48)  7. Wabash Cannonball
(2:48)  8. New Orleans
(3:15)  9. Ain't-Cha Glad?
(3:19) 10. Let's Dance The Ragtime, Darlin'
(4:24) 11. Snag It
(2:18) 12. Waiting For The Robert E. Lee

Trumpeter Bob Scobey used an expanded version of his Frisco Jazz Band for this fine effort, last available as a now out-of-print LP. Matty Matlock's arrangements for the six horns (including three trombones), four-piece rhythm section and banjoist Clancy Hayes (who takes five vocals) are colorful and swinging. Some of the song choices are a bit off the wall (including "It Happened In Sun Valley," "Wabash Cannonball" and the recent "Let's Dance The Ragtime Darlin'"), but this brand of Dixieland avoids corn in favor of sincere swinging. In addition to Scobey (who is in fine form), the supporting cast has such strong players as trumpeter Dick Cathcart, clarinetist Matlock and pianist Ralph Sutton. ~ Scott Yanow https://www.allmusic.com/album/swingin-on-the-golden-gate-mw0000896219

Personnel: Bob Scobey - leader, trumpet; Clancy Hayes - banjo, guitar, vocals; Matty Matlock - clarinet, arranger; Abe Lincoln - trombone; Warren Smith - trombone; Jack Buck - trombone; Ralph Sutton - piano; Bob Short - tuba; Sammy Goldstein - drums.

Swingin' On The Golden Gate

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Calabria Foti - In The Still Of The Night

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 49:09
Size: 115,0 MB
Art: Front

(4:07)  1. Just one of those things
(3:40)  2. Miss Otis regrets
(4:09)  3. Anything goes
(5:14)  4. What is this thing called love
(4:35)  5. Night and day
(5:22)  6. I concentrate on you
(4:43)  7. Ev'ry time we say goodbye
(3:18)  8. Get out of town
(4:14)  9. It's alright with me
(5:41) 10. So in love
(4:01) 11. In the still of the night

With In the Still of the Night, vocalist Calabria Foti joins the ranks of Ella Fitzgerald, Frank Sinatra, Oscar Peterson, and many others -vocalists and instrumentalists who have dived deeply into the Cole Porter canon. It takes a very special talent to deftly probe the poetic and pithy romantic lingo that the Classic material offers. So, while that ocean is Trench deep, how is one to pluck new musical perspectives and give old ones a novel patina? Foti, along with a cadre of musicians of same mind, does so and strikes it rich here. Launching into things with a marvelous Latin-tinged send-up of "Just One of Those Things," we get the immediate idea that this run-through of Porter's material 11 of his greatest from Broadway and Hollywood -is going to be a fine and unique ride. Whether it is a "fabluelous" send up of "Miss Otis Regrets" or any of the rest, the selections here are delivered with an elegantly restrained texture that's spearheaded by Foti's marvelously versatile and in-command chops.  While Foti's voice is pitch-perfect and liquid gold, the keen thing about her effort stylistically is her extraordinary rhythmic and dynamic sense and the manner in which she plays with the beat ("Anything Goes," "Night and Day"). A careful listen yields an almost Chet Baker-esque approach to time. Key words in each lyric line are subtlely emphasized and de-emphasized with an instrumentalist's flair ("What is This Thing Called Love," "Every Time We Say Goodbye" with neat cello quotes of "Goodbye" and "My One and Only Love" -and "Get Out of Town"). There's no saccharine served at this table. That's no surprise, since Foti is a heralded violinist, as well as a premier chanteuse. Ever get that sense you're experiencing a memorable musical candlelight dinner conversation? You will here. ("I Concentrate on You," "In the Still of the Night"). It's luscious stuff. The ensemble on the session all crème and superb throughout includes producer/arranger pianist Michael Patterson (an outstanding job), guitarist Gene Bertoncini, bassist Ike Sturm, cellist Richard Locker, and drummer Jared Schonig. Cameos across the date by clarinetist Eddie Daniels and trombonist Bob McChesney add savory fill material always in perfect synch with what's going on. There's no stepping on heels in this dance. In the Still of the Night is certainly a fine addition to those aforementioned classic Songbook albums of the Greats and one that entices and enthralls with sublime taste. It is indeed the genuine turtle soup. ~ Nicholas F.Mondello https://www.allaboutjazz.com/in-the-still-of-the-night-calabria-foti-moco-records-review-by-nicholas-f-mondello.php

Personnel: Calabria Foti: vocals; Michael Patterson: piano; Eddie Daniels: clarinet; Gene Bertoncini: guitar; Richard Locker: cello; Bob McChesney: trombone; Ike Sturm: bass; Jared Schonig: drums. 

In The Still Of The Night

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Bruce Barth Quintet - In Focus

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 62:10
Size: 143,4 MB
Art: Front

(8:04)  1. I Hear Music
(5:45)  2. Escapade By Night
(7:53)  3. Nefer Bond
(5:17)  4. I Got It Bad
(6:27)  5. In Search Of
(5:32)  6. Pinocchio
(5:33)  7. Louise
(5:25)  8. Persistence
(7:05)  9. Wildflower
(5:05) 10. Secret Name

Bruce Barth's recording debut as a leader was an auspicious one, though it probably wasn't as widely distributed as it might have been by a U.S. label. Accompanied by a number of other talented young players (Steve Wilson on alto and soprano sax, trumpeter Scott Wendholdt, bassist Robert Hurst, and drummer Lewis Nash), the pianist works magic with time-tested standards such as his adventurous post-bop treatment of "I Hear Music" and a rhapsodic solo interpretation of Duke Ellington's "I Got It Bad (And That Ain't Good)." His trio arrangement of Wayne Shorter's "Pinocchio" is suspenseful yet full of energy, while another Shorter composition, "Wildflower," shows just a hint of McCoy Tyner's influence on his playing. Barth's original works are also worth investigating, especially the sauntering "Nefer Bond" (named for his cat) and the tender ballad "Louise," which features an intriguing blend of Wilson's soprano sax and Wendholt's trumpet. The overall strength of this initial recording as a leader by Bruce Barth make it worth the search. ~ Ken Dryden https://www.allmusic.com/album/in-focus-mw0000621670

Personnel: Bruce Barth - piano, composer;  Steve Wilson - alto saxophone, soprano saxophone; Scott Wendholt - trumpet; Robert Hurst - bass; Lewis Nash - drums

In Focus

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The Mike Nock Underground - Between Or Beyond

Styles: Piano Jazz
Year: 1971/2015
File: MP3@320K/s
Time: 38:47
Size: 89,9 MB
Art: Front

(5:12)  1. Between Or Beyond
(5:28)  2. The Squire
(3:22)  3. Hobgoblin
(4:51)  4. Outfall
(6:48)  5. Denim Dance
(4:58)  6. Lady Love
(4:00)  7. Wax Planet
(4:04)  8. Space Bugaloo

The Fourth Way (with keyboardist Mike Nock, violinist Michael White and drummer Eddie Marshall) was an early fusion quartet that released three fine albums between 1969-71, none of which has been reissued on CD. Between Or Beyond was an album released in 1970 by the German MPS label and credited to the Mike Nock Underground, basically the Fourth Way minus White. Given its time and place (recorded in Germany in June of 1970), sonically, it's very much of its time. But it's a corker of an album that is the equal to any of the Fourth Way discs as well as a lot of other better-known electric jazz experiments of the time. McClure plays electric bass and it's mixed to the foreground so it functions as much as a frontline instrument as in the rhythm section. While some of this disc dwells in the area of adventurous acoustic piano trio jazz ("Hobgoblin" and McClure's "Denim Dance"), most of it is electric piano based jazz/rock. Nock sounds like he's having a lot of fun making his piano do a lot of things the old acoustic couldn't do. A point of reference might be Canterbury bands' forays into jazz improv. Nock's disc is a good demonstration that before it devolved into formulaic demonstrations of soulless technique, some highly enjoyable recordings were released under the fusion banner. Good to see this one back in print, although it may be hard to come by since it's a Japanese reissue. ~ Robert Iannapollo https://www.allaboutjazz.com/ron-mcclure-wonderland-always-and-between-or-beyond-by-robert-iannapollo.php

Personnel: Mike Nock - piano, electric piano;  Ron McClure - bass; Eddie Marshall - drums.

Between Or Beyond

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Bryan Ferry - Bitter-Sweet

Styles: Vocal, New Orleans Jazz Revival 
Year: 2018
File: MP3@320K/s
Time: 42:52
Size: 99,5 MB
Art: Front

(2:54)  1. Alphaville
(3:42)  2. Reason or Rhyme
(2:30)  3. Sign of the Times
(3:57)  4. New Town
(2:49)  5. Limbo
(3:57)  6. Bitter-Sweet
(2:47)  7. Dance Away
(3:06)  8. Zamba
(3:01)  9. Sea Breezes
(3:11) 10. While My Heart Is Still Beating
(2:26) 11. Bitters End
(3:47) 12. Chance Meeting
(4:40) 13. Boys and Girls

Building upon 2012's The Jazz Age, and his acting turn as a cabaret singer in the 1930s Netflix drama Babylon Berlin, Bryan Ferry returns to his love of urbane classic jazz with 2018's Bitter-Sweet. Recorded with longtime collaborator/pianist Colin Good, Bitter-Sweet finds the Roxy Music frontman once again embracing the vintage 1920s and '30s big-band swing he first explored on 1999's As Time Goes By, and which he and Good brought to fruition with The Jazz Age. However, whereas The Jazz Age featured instrumental reworkings of many of Ferry's best-loved songs, Bitter-Sweet features Ferry singing jazz versions of both Roxy Music songs and songs from his solo career. Featured on the album are the six songs the singer contributed to the Babylon Berlin soundtrack, including "Alphaville," "Reason or Rhyme," "Bitter-Sweet," "Dance Away," "Chance Meeting," and "Bitters End." As arranged by Good and Ferry, these are all wry and romantic productions that evoke the smoky ambiance of Babylon Berlin's Weimar Republic-era setting. Elsewhere, Ferry transforms the new wave sophistication of "While My Heart Is Still Beating" off 1982's Avalon into a slinky, half-lidded crawl, and similarly mutates the pop exotica of his 1985 title track "Boys and Girls" into a slow-burn flamenco fever dream. Particularly compelling is Ferry and his orchestra's snappy rendition of "Sign of the Times" off 1978's The Bride Stripped Bare, in which the original track's driving guitar lines are transposed to a puckered trumpet lead. This is haunting jazz sprinkled with the golden dust of Ferry's glittery rock past. ~ Matt Collar https://www.allmusic.com/album/bitter-sweet-mw0003219669

Bitter-Sweet

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