Ira Sullivan & Stu Katz - A Family Affair: Live at Joe Segal's Jazz Showcase

Styles: Saxophone, Trumpet And Vibraphone Jazz 
Year: 2011
File: MP3@320K/s
Time: 70:27
Size: 162,2 MB
Art: Front

( 7:51)  1. Blues Two Views
(11:39)  2. Gee, Matthew
( 9:05)  3. Pennies from Heaven
( 6:58)  4. Scrapple from the Apple
( 9:01)  5. Lullaby of the Leaves
( 7:45)  6. Yesterdays
( 9:28)  7. Take the A Train
( 6:53)  8. Stablemates
( 1:43)  9. What a Friend We Have in Jesus

Multi-instrumentalist Ira Sullivan spent a good while working around Chicago before leaving for Florida in the early '60s, though he retained a significant fan base in his old hometown. This live recording made in 2010 over four nights at Joe Segal's Jazz Showcase is a reunion, featuring vibraphonist Stu Katz, who while in his teens had regularly sat in with Sullivan over a half-century earlier before pursuing a law career. Joining them in the rhythm section are pianist Dan Trudell, bassist Dennis Carroll, and drummer George Fludas, the latter two who have played often with Sullivan for years. Starting off with a bluesy hard bop original, "Blues Two Views," the leader offers some sinewy muted trumpet, followed by strong features for Katz and Trudell before the leader returns with a vibrato-filled tenor solo. Sullivan switches to alto sax for an expressive, offbeat take of "Pennies from Heaven" (in which Katz switches to piano) and plays soprano sax with equal authority in a moody rendition of "Lullaby of the Leaves" and a driving "Yesterdays" (the latter featuring vocalist Lucia Newell's buoyant scat solo). Stu's son Steve takes over on bass for a breezy run-through of "Take the 'A' Train," with the vibist shining in the lead before Sullivan makes his explosive entrance on tenor. The attentive audience obviously enjoyed the reunion as much as the players on-stage, yet another fine example of memorable music documented at the longtime Chicago nightspot. ~ Ken Dryden https://www.allmusic.com/album/a-family-affair-live-at-joe-segals-jazz-showcase-mw0002186814

Personnel:  Saxophone – Ira Sullivan; Trumpet – Ira Sullivan; Vibraphone – Stu Katz; Acoustic Bass – Dennis Carroll; Drums – George Fludas; Piano – Dan Trudell; Voice – Lucia Newell

A Family Affair: Live at Joe Segal's Jazz Showcase

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Eartha Kitt - Purr-Fect: Greatest Hits

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 68:15
Size: 213,8 MB
Art: Front

(2:54)  1. Just An Old Fashioned Girl
(2:52)  2. Je Cherche Un Homme (I Want A Man)
(3:32)  3. I Want To Be Evil
(3:05)  4. Mink, Schmink
(3:07)  5. Let's Do It
(3:00)  6. C'Est Si Bon (It's So Good)
(2:53)  7. Annie Doesn't Live Here Any More
(3:47)  8. Monotonous
(3:03)  9. My Heart Belongs To Daddy
(2:43) 10. Under The Bridges Of Paris
(2:32) 11. I Wantcha Around
(3:45) 12. Lilac Wine
(2:47) 13. Somebody Bad Stole De Wedding Bell (Who's Got De Ding Dong)
(4:01) 14. Thursday's Child
(3:28) 15. Angelitos Negros
(2:57) 16. Lovin' Spree
(2:12) 17. Toujours Gai
(3:09) 18. Uska Dara (A Turkish Tale)
(2:30) 19. Proceed With Caution
(3:36) 20. The Blues
(2:48) 21. The Heel
(3:24) 22. Santa Baby

In 1996, taxi patrons in New York were greeted with a tape of Eartha Kitt's famous "R"-rolling cat growl: "Wrrrrrrrrow. Cats have nine lives, but you have only one. So buckle up." This was a reference to the source of her fame for the under-50 crowd: her stint as Catwoman on the '60s Batman TV series. But her abilities as a tantalizing, talented seductress stretch further back to her early '50s singing career, wearing tight-for-then voluptuous gowns instead of a catsuit. Both Kitt and her records predated rock & roll, but her 1953-1955 success was a hint that bad girl behavior would become prevalent. Never mind Phil Spector's later girl groups; Kitt could sully a polite orchestral backing with her sex kitten purring on hilariously libidinous numbers such as the number 22 hit "I Want to Be Evil," the number four hit "Santa Baby," "Mink Schmink," and her standard "C'est Si Bon," another Top Ten hit. Hearing her saucy tongue wrap around the words is amusing, but Kitt makes it sound so exotic, dangerous, and impetuous, you want to take her on. If this was torch singing, she was going to burn down the clubs she headlined. If she had been more R&B and more gimmicky, she could have been the female Screamin' Jay Hawkins. You can hear it in every syllable, the attitude and raucous delivery that made her a song stylist more than a pop singer, allowing her to survive the coming barrage of guitars and drums that would initially bury her career. She could always prosper in her other haunts of stage and screen, and in her nightclub act. But a collection of the best of her old LPs, RCA Victor Presents Eartha Kitt and The Bad Eartha is no "bad" idea. Tangle with her if you dare. ~ Jack Rabid https://www.allmusic.com/album/purr-fect-greatest-hits-mw0000240845

Purr-Fect: Greatest Hits

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Art Pepper - Smack Up

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 51:03
Size: 117,3 MB
Art: Front

(4:18)  1. Smack Up
(7:11)  2. Las Cuevas de Mario
(7:24)  3. A bit of Basie
(6:56)  4. How can you lose
(4:24)  5. Maybe next year
(7:44)  6. Tears inside
(6:32)  7. Solid Citizens (Take 33) (Bonus Track)
(6:29)  8. Solid Citizens (Take 37) (Bonus Track)

Art Pepper's reckless lifestyle tended to overshadow his superb musicianship, and the circumstances surrounding Smack Up are certainly no exception. Shortly after recording it in 1960, he spent three years in jail for heroin possession, and one can only wonder if the title of the record is a play on words. Nevertheless, Pepper is in good form, as he usually was despite his troubles, darting over the changes and stitching together sharp, boppish lines without hesitation. Featuring a crack rhythm section and a subtle accompanist in trumpeter Jack Sheldon, one can easily expect a set of expertly played jazz. However, this album is different from the usual West Coast program of standards and show tunes, in that it features songs composed by other saxophonists associated with the Contemporary label, from the famous (Carter) to the infamous (Coleman) to the downright obscure (Duane Tatro and Jack Montrose). Most of these songs are inspired originals that never would have been recorded again had Pepper not resuscitated them, and the varied selection of artists and styles gives the album a wider reach than Pepper's other records, or most West Coast records for that matter. The end result is a set that runs through various directions of music from the high-powered swing of Buddy Collette's "A Bit of Basie" to the hard bop of "Smack Up" to the edgy leanings of the Tatro tune "Maybe Next Year." 

The quintet even explores a soulful groove more commonly found on Blue Note releases with Pepper's own "Las Cuevas de Mario" (in 5/4) and Montrose's "Solid Citizens." Appropriately Jolly sits out for the Coleman tune while Pepper and Sheldon wander over the changes, a little more tentatively than Ornette did. But the strength of the album, other than the terrific playing, is just that it sounds different, an unexpected foray into little known songs that features energy and swing in equal doses. Perhaps the novelty of the music forced the musicians to approach the material more creatively or purposefully, but whatever the reason, Smack Up is one of the highlights of Pepper's career, a record that shows that despite his sordid life, he was a master on his instrument. ~ David Rickert https://www.allaboutjazz.com/smack-up-art-pepper-contemporary-review-by-david-rickert.php

Personnel:  Art Pepper — alto saxophone; Jack Sheldon — trumpet; Pete Jolly — piano; Jimmy Bond — bass; Frank Butler — drums

Smack Up

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Bob Holz - Visions And Friends

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 59:48
Size: 137,5 MB
Art: Front

(6:32)  1. Flat Out
(5:15)  2. Take It From Maurice
(5:54)  3. Five Times The Winner
(4:34)  4. Last Stop
(3:21)  5. Eleven High
(5:56)  6. Jemin Eye'n
(4:55)  7. Rodrigo Reflections
(4:34)  8. Bob Blues
(5:52)  9. One Breath Two Hearts
(6:07) 10. For The One
(6:45) 11. Scattered

After scoring some success with A Vision Forward (2015), Bob Holz releases his sophomore effort, this time with some extra help. Visions & Friends (MVD Records, 2017) is a set of all-original music. The players are Holz, drums and percussion; Larry Coryell and Alex Machacek, guitars; Ralphe Armstrong and Mike Schoeffter, bass; Randy Brecker, trumpet on “Flat Out” and “For the One”; Billy Steinway, keyboards; David Goldberg, saxophones; Tori Higley, vocals on selected tracks; Rob Stathis, accompanying piano on “Eleven High”; Zoe Stathis-Sandor, vocals on “Take It From Maurice”; and Scott Gerling, percussion on “Take It From Maurice.” “Flat Out” sets the tone for this set. This lively groove crosses the bridge between funk, fusion and instrumental rock. Brecker and Machacek are the stars, fronting the main theme and enjoying invigorating solos. Steinway and Schoeffter get their licks in as well. Holz keeps it all together, adding just the right touch to whatever is happening in the moment. “Five Times the Winner” brings a laid-back, bluesy vibe. With Armstrong providing a cool bass line, the composer goes through multiple moods on guitar, shifting from a straight blues presentation to something out of a space travel movie. During one passage, two basses are playing at the same time, as Schoeffter injects a solo. The ensemble cranks up the heat during the final minute, increasing both the pace and the intensity for a climactic ending. Goldberg joins for the bossa nova “Last Stop.” The saxophone carries the melody, with the accompanists delivering a sound that’s for a romantic evening on the beach. It sets the image of a couple dancing in the moonlight with a cool breeze keeping things from getting too steamy. Holz began his career in Boston, while a student at Berklee College of Music. He studied with Billy Cobham in New York and went on to perform with such luminaries as Robben Ford, Less McCann, David “Fathead” Newman, Maria Muldaur, Dr. John and George Clinton / Parliament Funk. Also joining Holz on tour is former Spyro Gyra guitarist Chet Catallo. All 11 songs on Visions & Friends were written by members of the studio lineup. Holz contributed to six, including three he co-wrote with Steinway and one with Goldberg. Coryell composed three, and Steinway wrote two more. The second Holz / Steinway offering, “Take It From Maurice,” is a tribute to the late Maurice White, founding member of Earth, Wind & Fire. http://www.smooth-jazz.de/Woodrow/Holz/VisionsandFriends.htm

Visions And Friends

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Steven Bernstein - Diaspora Soul

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 66:53
Size: 154,8 MB
Art: Front

(4:38)  1. Manishtana
(3:45)  2. Chusen Kalah Mazel Tov
(7:52)  3. L'Chaim
(4:31)  4. Mazinka
(5:39)  5. Shalom Bimramov
(4:09)  6. Let My People Go
(8:46)  7. Roumania Roumania
(4:50)  8. Cha
(6:41)  9. Rock Of Ages
(4:45) 10. Ani Mamin
(5:27) 11. Habet Mishmayim
(5:45) 12. Dybbuk Dub

And endlessly inventive musical magician delving deep into his Jewish roots and coming up with sounds you ve never imagined possible. Steve Bernstein has worked as musical director for the likes of Hal Wilner, John Lurie's Lounge Lizards and his own madcap bar band Sex Mob, but this newest project is his best yet. Jewish contunical melodies wailing over Afro-Cuban percussion. A funky New Orleans rhythm section setting up Klezmer classics. Diaspora Soul is this and more. One of the most exhilarating releases this or any other year.

The word "eclectic" is thrown around a lot, but seldom does a record in this post everything era live up to that billing. Judging by its title, Diaspora Soul would seem to be another klezmer recordin fact, its raison d'être is as one of a series of albums foisted by John Zorn as part of his "Radical Jewish Culture" series. But apparently, Steve Bernstein--who's logged time in the Lounge Lizardswas doing some radical cultural-thinking of his own. This album came about as a result of Bernstein's desire to combine what he described as "the Gulf Coast sound, encompassing Texas and Cuba" with traditional Hebrew music. The result is a totally twisted and brilliant affair that pairs greasy organ with Cuban percussion (think Willie Bobo or Mongo Santamaria) and bears little resemblance to the rock-influenced experiments of sometime collaborator Marc Ribot. Bernstein's own trumpet leads the way on most of the compositions--which are principally made up of traditional Hebrew tunes like "Shalom Bimramov" and "Manishtana" and it's a lot closer tone-wise to the clarity of a Booker Little than, say, the muted wheeze of Miles Davis. A great example of the genuine eclecticism displayed here by Bernstein and his cohorts can be heard on "Roumania, Roumania"; Brian Mitchell's whirring Wurlitzer organ, which is suitably smoldering throughout, provides much of the ride, beginning with a sustained sizzle that actually, for about 10 seconds, evokes the pyrotechnic pomp of organ-laden bands like Deep Purple before slinking into a sleazy groove. What's even more amazing is that this song was recorded. On five tracks, Bernstein expands the lineup to include a big band of sorts featuring the underrated Briggan Krauss, who plays baritone sax here and duels it out to good effect with tenor man Peter Apfelbaum on "Mazinka" before Bernstein gets that Cuban thing going once more. Jews with the blues or urban toreadors, take your pick. Who said it couldn't happen here? ~ Joe S. Harrington https://www.amazon.com/Diaspora-Soul-Steven-Bernstein/dp/B00000JWFJ

Personnel:   Producer, Arranged By, Trumpet – Steven Bernstein; Baritone Saxophone – Briggan Krauss; Bass – Tony Scherr; Congas, Bongos, Maracas, Claves [Clave] – E.J. Rodriguez; Drums, Percussion – Roberto Juan Rodriguez; Electric Piano [Wurlitzer Electric Piano], Organ – Brian Mitchell; Tenor Saxophone – Michael Blake, Paul Shapiro, Peter Apfelbaum

Diaspora Soul

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