Thad Jones & Mel Lewis Jazz Orchestra - Consummation

Styles: Flugelhorn Jazz
Year: 1970
File: MP3@320K/s
Time: 46:36
Size: 107,7 MB
Art: Front

( 5:13)  1. Dedication
( 3:07)  2. It Only Happens Every Time
( 6:42)  3. Tiptoe
( 4:09)  4. A Child Is Born
( 3:37)  5. Us
( 7:57)  6. Ahunk Ahunk
(10:38)  7. Fingers
( 5:09)  8. Consummation

Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. Reissued on CD as part of a large Mosaic box set, this set introduced Jones' best-known composition, "A Child Is Born," and also has a colorful rendition of his sly "Tiptoe," and finds the big band ripping the roof off during the lengthy and very exciting "Fingers." The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic. ~ Scott Yanow https://www.allmusic.com/album/consummation-mw0000221310

Personnel:  Thad Jones – flugelhorn; Snooky Young – trumpet; Danny Moore – trumpet; Al Porcino – trumpet; Marvin Stamm – trumpet; Eddie Bert – trombone; Benny Powell – trombone; Jimmy Knepper – trombone; Cliff Heather – bass trombone; Jerome Richardson – soprano saxophone, alto saxophone, flute, alto flute; Jerry Dodgion – alto saxophone, clarinet, flute, alto flute; Billy Harper – tenor saxophone, flute; Eddie Daniels – tenor saxophone, clarinet, flute; Richie Kamuca – baritone saxophone, clarinet; Pepper Adams – baritone saxophone; Joe Farrell – baritone saxophone; Roland Hanna – acoustic piano, electric piano; Richard Davis – acoustic bass, electric bass; Mel Lewis – drums; Jimmy Buffington, Earl Chapin, Julius Watkins  - French horn; Howard Johnson - tuba; David Spinozza - guitar

Consummation

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Miriam Aida & Fredrik Kronkvist - Live at the Palladium

Styles: Vocal, Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 45:13
Size: 103,9 MB
Art: Front

(3:29)  1. It's a Wonderful World
(4:44)  2. Born to Be Blue
(3:39)  3. My Shining Hour
(4:13)  4. Senor Blues
(3:56)  5. Lamesha
(4:49)  6. So tinha de ser com voce
(4:24)  7. Right Here, Right Now
(4:01)  8. If You Go
(4:04)  9. Fun
(4:02) 10. Trav'lin Light
(3:47) 11. Too Close for Comfort

Miriam Aïda (born 24 September 1974) is a Swedish jazz singer. She has toured internationally, performing at the Blue Note in Tokyo, in London, Paris, Istanbul, Moscow, Helsinki, Oslo, Palermo, Berlin and across Sweden. She has appeared on Swedish national television. Aïda's music is influenced by many musical traditions, including Latin American, and she attained success with a Brazilian music-inspired album Meu Brasil. 

She performs with her partner, saxophonist Fredrik Kronkvist, and has since her 2002 debut released five albums with Kronkvist and the Jan Lundgren Trio. She lives in Malmö, where she manages a jazz club named Monk. In 2017, she sang Brazilian music at the Uppsala International Guitar Festival in Sweden. https://en.wikipedia.org/wiki/MiriamAida

Recorded live in front of a huge audience is this album a real powerhouse. Soulfull, straight-a-head jazz, and Bossa Nova with Sweden’s brightest young jazz stars. Singer Miriam Aïda and saxophonist Fredrik Kronkvist deliver their message with powerful big band arrangements of great tunes such as “Senor Blues” by Horace Silver, Nat Adderleys “Fun” and also a big band version of their own tune Right Here, Right Now, first heard on their first appearance on the success record “Jan Lundgren Trio presents Miriam Aïda & Fredrik Kronkvist”.

Personnel:  Miriam Aida - Vocal; Fredrik Kronkvist - Saxophone; Monday Night Big Band

Live at the Palladium

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Richard 'Groove' Holmes, Jimmy Witherspoon - Groovin' With Jimmy

Styles: Jazz, Hard Bop
Year: 2018
File: MP3@320K/s
Time: 71:38
Size: 165,1 MB
Art: Front

(4:33)  1. Groove's Groove
(3:21)  2. California Blues
(6:44)  3. What A Wonderful World
(4:07)  4. Misty
(4:18)  5. Walking On A Tightrope
(7:33)  6. Slow Blues In G
(7:08)  7. Song For My Father
(8:22)  8. My Friend
(7:06)  9. Lonesome Road Blues
(7:24) 10. Onsaya Joy
(7:51) 11. Danger Zone Is Everywhere
(3:06) 12. The Time Has Come

Revered in soul-jazz circles, Richard "Groove" Holmes was an unapologetically swinging Jimmy Smith admirer who could effortlessly move from the grittiest of blues to the most sentimental of ballads. Holmes, a very accessible, straightforward and warm player who was especially popular in the black community, had been well respected on the Philadelphia/Southern New Jersey circuit by the time he signed with Pacific Jazz in the early '60s and started receiving national attention by recording with such greats as Ben Webster and Gene Ammons. Holmes, best known for his hit 1965 version of "Misty," engaged in some inspired organ battles with Jimmy McGriff in the early '70s before turning to electric keyboards and fusion-ish material a few years later. The organ was Holmes' priority in the mid- to late '80s, when he recorded for Muse (he also had stints throughout his career with Prestige Records and Groove Merchant) . 

Holmes was still delivering high-quality soul-jazz for Muse (often featuring tenor titan Houston Person) when a heart attack claimed his life at the age of 60 in 1991 after a long struggle with prostrate cancer. He was a musician to the end, playing his last shows in a wheelchair. ~ Alex Henderson https://www.allmusic.com/artist/richard-groove-holmes-mn0000848952/biography

Groovin' With Jimmy

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Jimmy Scott - Falling in Love Is Wonderful

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 38:37
Size: 90,3 MB
Art: Front

(4:04)  1. They Say It's Wonderful
(4:02)  2. I Wish I Didn't Love You So
(3:27)  3. There Is No Greater Love
(3:23)  4. If I Should Lose You
(4:50)  5. Why Try to Change Me Now
(3:54)  6. I'm Getting Sentimental Over You
(3:29)  7. Someone to Watch Over Me
(3:36)  8. How Deep Is the Ocean
(4:22)  9. I Didn't Know What Time It Was
(3:25) 10. Sunday, Monday or Always

The Eighteenth Century saw the zenith of a subset of opera singers known collectively as the castrati. These singers, eunuchs relieved of their primary sexual characteristics between the ages of 7 and 10 years, had voices full, with high range and perfect timbre. Technically, the normal male voice deepens during puberty under the pressure of increasing secretion of the male sex hormone testosterone, or more probably its biological byproduct dihydrotestosterone. The male vocal cords increase 70% in length during this time, where the female vocal cords increase by only 34%. Testosterone initially produces swelling of the vocal cords, followed by a permanent thickening due to the accumulation of collagen. These changes contribute further to the lowering of vocal pitch. Removal of testosterone causes absence of male-type growth of the larynx or voice box. In the only recorded autopsy of a castrato, the size of the larynx was conspicuously small, with vocal cords the length of a female high soprano. However, in a castrato overall body growth continues unhindered, resulting in a voice very different from that of the prepubescent boy. While the pitch may have been similar to that of a female, the timbre of the voice was different. A leading Eighteenth Century opera critic Charles de Brosses described the castrato sound as being "as clear and penetrating as that of choirboys but a great deal louder with something dry and sour about it yet brilliant, light, full of impact." What does this have to do with Jazz Vocalist Jimmy Scott? Mr. Scott was born with a familial condition commonly known as Kallman’s Syndrome. This is a heredity condition that not only affects Mr. Scott but also his brother and several maternal uncles. In this condition, the cells of the hypothalamus gland responsible for making and secreting the hormones necessary to stimulate the release of the sex related hormones testosterone in the male or estrogen in the female, fail to develop. 

This results in the afflicted never fully developing to sexual maturity. In essence, those who have Kallman’s Syndrome are natural castrati. The result in Mr. Scott’s case is his perfect, beautiful voice. Pristine, crystalline, faultless are all adjectives that fairly describe this unique voice. Born in Cleveland, OH in 1925, Jimmy Scott received musical training for an early age and was invited to sing with Lionel Hampton’s band in the late 1940s. He recorded several well-received sides for Savoy in the 1950s. In 1962, when he thought his contract was completed, Mr. Scott went to Ray Charles’ Tangerine label and recorded the famous Falling In Love Is Wonderful. Shortly before the album’s release, Scott’s previous label sued Tangerine claiming that Scott remained under contract to Savoy. It would be 40 years before Falling In Love Is Wonderful would again be legally heard. Rhino Record’s specialty label Rhino Hand Made has recently released Falling In Love Is Wonderful to a welcoming jazz public. The recording sports the arrangements of Marty Paich and Gerald Wilson and the piano playing of Ray Charles. It is a collection of love songs ballads so sincerely emoted in such a perfect voice that one would think the songs were written for Jimmy Scott. "There Is No Greater Love," "I’m Getting Sentimental Over You," and "Someone To Watch Over Me" are all rendered with careful affection and respect. This is a voice and music of another time. Densely romantic and heartbreakingly open, Jimmy Scott and his exquisite voice should be declared a national treasure. In 1992, interest in Mr. Scott began to pique with the Sire release of All the Way. Since then, Mr. Scott has continued to record critically acclaimed discs, his most recent being 2002’s But Beautiful (Milestone MCD-9321-2). His voice sports the maturity of his 77 years and the sweetness of his life. ~ C.Michael Bailey https://www.allaboutjazz.com/falling-in-love-is-wonderful-jimmy-scott-tangerine-review-by-c-michael-bailey.php

Personnel: Jimmy Scott: vocals.

Falling in Love Is Wonderful

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Lee Ritenour - Banded Together

Styles: Guitar Jazz
Year: 1984
File: MP3@320K/s
Time: 42:53
Size: 99,5 MB
Art: Front

(4:25)  1. Operator (Thief On The Line)
(4:07)  2. Other Love
(4:23)  3. Sunset Drivers
(4:41)  4. Mandela
(3:42)  5. Amaretto
(4:15)  6. Rit Variations II
(3:50)  7. Be Good To Me
(4:21)  8. I'm Not Responsible
(4:26)  9. Shadow Dancing
(4:38) 10. Heavenly Bodies

Lee Ritenour goes techno/pop/rock on an album originally released on the pop Elektra label and as such is not recommended to jazz fans with a low tolerance for the stuff. Here Captain Fingers extends his reach to play keyboards and programmed electronic drums on a few tracks, along with very competent rock guitar to little effect, for the material is just not very interesting. Indeed, in a telling move, two songs from the previous record, On the Line, are actually recycled here ("Rit Variations II," " Heavenly Bodies"); the former comes off a little better in machine-driven, techno-pop manner. Ernie Watts' protean sax talents are wasted, Eric Tagg and John Massaro's high-pitched pop voices are hard to tell apart without a scorecard, and the largely electronic backing never meets a real groove that it can find. And no hits result anyway. ~ Richard S.Ginell https://www.allmusic.com/album/banded-together-mw0000120801

Personnel: Lee Ritenour - producer, executive producer, engineering, music, lyrics, arrangements, electric guitar, acoustic guitar, 12 string acoustic guitar, 12 string electric guitar, guitar synthesizer, bass synthesizer, drum machine, drum programming, synthesizer, Synclavier; Greg Mathieson - producer, music, lyrics, arrangements, bass synthesizer, moog bass taurus, drum programming, keyboards, synthesizer, solo, prophet-5;  Jerry Hey, Gary Grant,  Larry Williams, Gary Herbig - horns

Banded Together

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