Dizzy Reece - A New Star

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 70:44
Size: 162,4 MB
Art: Front

(3:36)  1. O Moon
(9:23)  2. Butch
(3:07)  3. Bang
(6:21)  4. This Is Always
(2:36)  5. Now's the Time
(3:02)  6. Please Call
(2:58)  7. Chorous
(3:40)  8. Basie Line
(6:36)  9. Yardbird Suite
(3:41) 10. How Deep Is the Ocean
(6:37) 11. Out of Nowhere
(5:40) 12. Scrapple from the Apple
(7:37) 13. Bluebird (take 1)
(5:44) 14. Bluebird (take 2)

This is what musicians call a 'blowing sessions'. No attempt to create any so-called 'new sounds'. Just honest-to-goodness, down-to-earth, relaxed swinging jazz. This date gives a real first recording break to one of the British jazz scene's 'musicians' musicians, trumpeter Dizzy Reece. Dizzy's following is confined to just about every musician who has blown with him, a handful of knowledgeable fans (the kind who dig Miles Davis) and a couple of critics. This particular writer has tried to wake the town and tell the people about Dizzy since early 1954, but so far all appears to have fallen on deaf ears. Born in Kingston, Jamaica, Dizzy Reece first learnt baritone horn before switching to trumpet, his schoolmates included altoist Joe Harriott and tenorist Wilton 'Bogey' Gaynair. Reece came to Europe, via London, in 1948 and whilst in Paris between 1949 and 1950 sat in with Americans Don Byas and Hay Cameron. 

He later worked in Germany, Holland and Italy, returning to London in 1954. Playing loosely in the Miles Davis style, he gained sufficient attention in the London clubs for Tempo to give him a recording contract. The session presented here by Jasmine date from 1955 and 1956 and include his complete LP 'A New Star' plus his 'Dizzy Blows Bird' tracks. Tubby Hayes is featured on "Now's The Time" & "Please Call" and Ronnie Scott plays on "Out Of Nowhere" & "Scrapple From The Apple". ~ Editorial Reviews https://www.amazon.com/New-Star-ORIGINAL-RECORDINGS-REMASTERED/dp/B000059T6Q

A New Star

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Monica Zetterlund - It Only Happens Every Time

Styles: Vocal 
Year: 2016
File: MP3@320K/s
Time: 36:53
Size: 85,7 MB
Art: Front

(5:12)  1. It Only Happens Every Time
(3:38)  2. Long Daddy Green
(4:37)  3. Silhouette
(5:06)  4. He Was Too Good To Me
(4:07)  5. The Groove Merchant
(4:14)  6. Love To One Is One To Love
(4:16)  7. Happy Again
(5:40)  8. The Second Time Around

Swedish singer Monica Zetterlund is backed by the Thad Jones-Mel Lewis Orchestra on the Inner City LP It Only Happens Every Time. Her phrasing is precise, but her vocal style doesn't always blend well with the big band. Jones' "It Only Happens Every Time" comes off under-rehearsed, as if the chart is still in a state of flux, a similar problem that occurs during "The Second Time Around." Better is the swinging treatment of "Long Daddy Green" and the tearjerker ballad "He Was Too Good to Me." Sadly, none of the instrumental soloists is identified, though Pepper Adams shines on baritone sax in two compositions by the late Lars Gullin, one of Europe's best players of the instrument; this was also Adams' final recording with the band. Overall, this is a good, though hardly essential record. ~ Ken Dryden https://www.allmusic.com/album/it-only-happens-every-time-mw0000852532

Personnel:  Monica Zetterlund – vocals; Thad Jones – flugelhorn; Mel Lewis – drums; Harold Danko – piano; Rufus Reid – bass; Jerry Dodgion – saxophone, flute; Ed Xiques – saxophone, flute, clarinet; Rich Perry – saxophone, flute, clarinet; Dick Oatts – saxophone, flute, clarinet; Pepper Adams – saxophone; Frank Gordon – trumpet; Earl Gardner – trumpet; Jeff Davis – trumpet; Larry Moses – trumpet; Earl McIntyre – trombone; John Mosca – trombone; Clifford Adams – trombone; Billy Campbell – trombone

It Only Happens Every Time

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David Hazeltine - After Hours

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 71:42
Size: 164,5 MB
Art: Front

(4:09)  1. Happy Times
(5:48)  2. Captain's Song
(5:58)  3. Theme for Ernie
(6:19)  4. Detour Ahead
(7:08)  5. 4 Flights Up
(7:09)  6. People
(4:18)  7. Look What I Found
(4:07)  8. Hindsight
(4:15)  9. I'm a Fool to Want You
(7:11) 10. Goodbye
(4:39) 11. Confluence
(4:51) 12. I Get a Kick Out of You
(5:44) 13. Caravan

After Hours is a very appropriate title for this trio CD led by pianist David Hazeltine, because it was recorded following two dates at the Artists Quarter in Minneapolis, with the musicians warmed up very nicely after playing two or more sets for paying customers. Hazeltine is joined by bassist Billy Peterson and drummer Kenny Horst on both sessions. Their are a number of well executed standards, especially the sauntering "Detour Ahead" and the up-tempo Latin-flavored take of "I Get a Kick Out of You," and an intense version of "Caravan," which includes a brief but effective solo by Horst. The leader contributed several tasty originals, including the driving hard bop "Captain's Song," "4 Flights Up," which is reminiscent of Cedar Walton's approach to the piano and features a sterling bass solo by Peterson, as well as the funky piano solo "Look What I Found." While only a few customers who stuck around to hear this music as it was recorded in the wee hours of the morning at the club, the rest of us at least have a chance to hear this long hidden music by the David Hazeltine Trio. ~ Ken Dryden https://www.allmusic.com/album/after-hours-vol-2-mw0000257527

Personnel:  Piano – David Hazeltine; Bass – Billy Peterson; Drums – Kenny Horst

After Hours

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Philip Catherine - Blue Prince

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 64:33
Size: 149,1 MB
Art: Front

(3:34)  1. Coffee Groove
(5:03)  2. Global Warming
(3:50)  3. With a Song in My Heart
(7:42)  4. The Creeper
(5:39)  5. The Postman
(6:35)  6. More Bells
(4:22)  7. Memories of You
(6:02)  8. Kwa Heri
(4:10)  9. Blue Prince
(6:32) 10. Arthur Rainbow
(6:18) 11. Magic Box
(4:38) 12. Sweet Lorraine

Belgian guitarist Philip Catherine has performed with the creme de la creme of modern jazz and fusion. Noticeably inspired by the late great Django Rheinhardt, Catherine has emerged as a true stylist who melds lush romanticism with bold, simmering lines, witnessed here on Blue Prince. The guitarist utilizes his warm-toned hollow bodied electric guitar to great effect via shrewd employment of volume control techniques, jazzy chord progressions and scathing leads, evidenced on the often blistering yet predominately cool and sleek Bop-ish burner, “Coffee Groove”. Trumpeter Bert Joris proves to be a near perfect foil for Catherine, as the twosome frequently engage in brisk unison choruses, while also trading sprightly fours during this groove-laden set primarily consisting of medium tempo swing motifs. The band turns in a peppery walking blues, titled “The Creeper” and continues along with a series of pieces featuring amicable melodies and sonorous themes amid sympathetic accompaniment by the rhythm section. On, “Blue Prince” Joris articulates Chet Baker-style, understated lyricism as everyone gets a spot to exhibit their wares, yet a few more accelerated or rapidly paced pieces tossed into the mix might have elevated the excitement factor a few notches. Otherwise, Blue Prince is a solid and expertly executed effort, as Catherine implicitly illustrates why he is one of the finest guitarists on the globe. ~ Glenn Astarita https://www.allaboutjazz.com/blue-prince-philip-catherine-dreyfus-records-review-by-glenn-astarita.php

Personnel: Philip Catherine; guitars: Bert Joris; trumpet, bugle: Hein Van de Geyn; double bass: Hans Van Oosterhout; drums

Blue Prince

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The Microscopic Septet - Manhattan Moonrise

Styles: Progressive Jazz, Post Bop  
Year: 2014
File: MP3@320K/s
Time: 61:15
Size: 142,0 MB
Art: Front

(3:50)  1. When You Get In Over Your Head
(5:51)  2. No Time
(8:14)  3. Manhattan Moonrise
(3:22)  4. Obeying the Chemicals
(4:13)  5. A Snapshot of the Soul
(5:12)  6. Star Turn
(5:49)  7. Hang It On a Line
(5:12)  8. Let's Coolerate One
(5:02)  9. Suspended Animation
(4:14) 10. Blue
(4:57) 11. You Got That Right
(5:15) 12. Occupy Your Life

In the 80s, the band engendered a cagey slant on mainstream swing and then morphed into the risk-taking New York downtown scene, eventually garnering widespread attention and sell-out crowds at the Knitting Factory and other hip venues. They regrouped in 2006, carrying the torch for what has become a singular sound, ingrained in classic jazz stylizations, bop, funk, and the free-jazz domain. Known for its quirky deviations, razor-sharp horns arrangements and melodic hooks, the septet's spunkiness and tightknit overtures align with the stars on Manhattan Moonrise. The musicians tackle a funk rock itinerary spiced with pianist Joel Forrester's New Orleans style phrasings in support of baritone saxophonist Dave Sewelson's ballsy impetus on "Hang It On A Line." Augmented by whispery horns and contrapuntal dialogues, they ring in a good timey vibe, slightly shaded with sober undertones. They spark a polytonal jamboree, while integrating linear unison choruses and drummer Richard Dworkin's snappy breaks between choruses. Here, the ensemble renders alternating modalities and launch the bridge with Sewelson's fervent solo spot atop a swaggering groove. And the musicians shift the dynamic with a straightforward and slightly in-you-face interlude as an embryonic current ensues. Towards the finale, the hornists gel to a simple melody via extended notes, yielding a subliminal nod to 70s like soul jazz. No monumental surprises here, but another stirring and broadly entertaining production by these consummate team players. ~ Glenn Astarita https://www.allaboutjazz.com/manhattan-moonrise-microscopic-septet-cuneiform-records-review-by-glenn-astarita.php

Personnel: Phillip Johnston: soprano saxophone; Don Davis: alto saxophone; Mike Hashim: tenor saxophone; Dave Sewelson: baritone saxophone; Joel Forrester: piano; Dave Hofstra: bass; Richard Dworkin: drums.

Manhattan Moonrise

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