Friday, August 16, 2019

Eddie Chamblee - Doodlin'

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 32:47
Size: 76,4 MB
Art: Front

(4:25)  1. Doodlin'
(1:54)  2. Back Street
(4:36)  3. Stardust
(4:02)  4. Robbin's Nest
(2:22)  5. Solitude
(2:17)  6. Long Gone
(2:23)  7. Strollin' Sax
(3:26)  8. Lester Leaps Again
(2:41)  9. Swing A Little Taste
(4:36) 10. Village Square

He was born in Atlanta, Georgia, and grew up in Chicago where he began learning the saxophone at the age of 12. After leaving Wendell Phillips High School, he studied law at Chicago State University, playing in clubs in the evenings and at weekends. He played in US Army bands between 1941 and 1946. After leaving the army, he joined Miracle Records. He played on Sonny Thompson's hit record "Long Gone" in 1948, and on its follow-up, "Late Freight", credited to the Sonny Thompson Quintet featuring Eddie Chamblee. Both records reached no. 1 on the national Billboard R&B chart.[3] Two follow-up records, "Blue Dreams" and "Back Street", also made the R&B chart in 1949. From 1947, he led his own band in Chicago clubs, as well as continuing to record with Thompson and on other sessions in Chicago, including The Four Blazes' no. 1 R&B hit "Mary Jo" in 1952. In 1954 he joined Lionel Hampton's band for two years, touring in Europe, before returning to lead his own group in Chicago. He accompanied both Amos Milburn and Lowell Fulson on some of their recordings, and then worked as accompanist to Dinah Washington on many of her successful recordings in the late 1950s and early 1960s. 

The two performed vocal duets in a style similar to that later adopted by Washington with Brook Benton, and were briefly married; he was her fifth husband. Chamblee also recorded for the Mercury and EmArcy labels, and with his own group in the early 1960s for the Roulette and Prestige labels. In the 1970s he rejoined Hampton for tours of Europe, where he also played with Milt Buckner, and he recorded for the French Black & Blue label. He also performed with the Count Basie Orchestra in 1982, and from the 1980s until his death with the Harlem Blues and Jazz Band, as well as in clubs in New York City. He died in New York in 1999 at the age of 79. https://en.wikipedia.org/wiki/Eddie_Chamblee

Personnel: Saxophone – Charles Davis , Eddie Chamblee; Bass – Robert Wilson; Drums – James Slaughter; Piano – Jack Wilson; Trombone – Julian Priester; Trumpet – Flip Ricard

Doodlin'

Joy Bryan - Vocal & Jazz Essentials

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 72:42
Size: 170,3 MB
Art: Front

(2:29)  1. You're My Everything
(3:40)  2. East of the Sun
(2:07)  3. I Could Write a Book
(4:07)  4. Old Devil Moon
(3:46)  5. When It's Sleepy Time Down South
(2:59)  6. My Romance
(3:30)  7. Almost Like Being in Love
(1:47)  8. My Shining Hour
(4:57)  9. Make the Man Love Me
(3:32) 10. These Foolish Things
(3:10) 11. Swinging On a Star
(2:59) 12. I Was Doin' All Right
(3:37) 13. Aren't You Glad You're You?
(4:03) 14. It Never Entered My Mind
(3:13) 15. 'Round Midnight
(3:06) 16. Down the Old Ox Road
(3:56) 17. My Funny Valentine
(2:34) 18. What Is There to Say?
(2:38) 19. My Heart Stood Still
(3:55) 20. When the World Was Young
(3:11) 21. Mississippi Mud
(3:15) 22. Everything's Coming Up Roses

Pre-rock pop, ballads and standards vocalist who cut albums in late '50s, early 60s on West Coast. She was not hugely successful, nor attained widespread notoriety, but her 1961 release with Wynton Kelly and Leroy Vinnegar was good effort. ~ Ron Wynn https://www.allmusic.com/artist/joy-bryan-mn0001193072

Vocal & Jazz Essentials

Greg Osby - The Invisible Hand

Styles: Saxophone And Clarinet Jazz
Year: 2000
File: MP3@320K/s
Time: 65:20
Size: 150,6 MB
Art: Front

(8:02)  1. Ashes
(5:10)  2. Who Needs Forever
(5:40)  3. The Watcher
(7:40)  4. Jitterbug Waltz
(7:39)  5. Sanctus
(4:32)  6. Indiana
(8:44)  7. Nature Boy
(6:00)  8. Tough Love
(7:29)  9. With Son
(4:22) 10. The Watcher 2

Greg Osby has come a long way from his beginnings in St. Louis playing funk and R&B. His sound crossed our radar screens after moving to Brooklyn and joining forces with Steve Coleman in the mid-‘80s to form M-BASE, an urban-beat driven jazz. Osby had a very calculated, sometimes emotionless sound. It was if he was working equations in his head as he played. Where his older recordings suffered from a staid studio approach, his recent effort, Banned In New York, a live “bootleg” recording, displays Osby as an emotional quick-witted band leader. His last disc, Friendly Fire, a co-led affair with Joe Lovano proved Osby deserves to be considered as one of the top musicians working today. The Invisible Hand is further proof that Osby treads comfortably between the past and, importantly, the future of jazz. Joining him are Gary Thomas and Teri Lynn Carrington from his early Brooklyn days and two of the professor emeriti of jazz, Jim Hall and Andrew Hill. Hall is a guitarist that favors a subtle touch; a peculiar feature for someone so associated with cutting edge jazz. He has recorded classic albums with Sonny Rollins, Lee Konitz, and Paul Desmond. Lately, his Telarc dates have featured his third stream thinking. Andrew Hill’s Blue Note dates of the sixties were cerebral efforts, not quite post-bop and not really free jazz affairs. Early in Osby’s career he was a sideman for the late-‘80s Blue Note comeback of Hill. Likewise, he has recorded on two recent Hall dates. The Invisible Hand trades mathematics for emotion. The slow to mid-tempos presented are fertile grounds for group interplay and interpretation. For instance, they take on Fats Waller’s “Jitterbug Waltz,” a tune forever associated with Eric Dolphy. Rather than compete with our collective memories, Osby deconstructs the composition choosing bug parts over the whole, reworking it as an intellectual exercise. Osby’s deference to his esteemed colleagues shows. A stately and exquisite affair. 
~ Mark Corroto https://www.allaboutjazz.com/the-invisible-hand-greg-osby-blue-note-records-review-by-mark-corroto.php  

Personnel: Alto Saxophone, Clarinet, Producer, Liner Notes – Greg Osby; Bass – Scott Colley; Drums – Terri Lyne Carrington; Flute, Flute [Alto], Tenor Saxophone – Gary Thomas; Guitar – Jim Hall; Piano – Andrew Hill

The Invisible Hand

The Fat Babies - 18th & Racine

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 50:56
Size: 118,3 MB
Art: Front

(3:12)  1. Liza
(3:35)  2. Till Times Get Better
(4:32)  3. The Stampede
(2:48)  4. Mable's Dream
(4:20)  5. Nobody's Sweetheart
(3:28)  6. I Can't Dance (I Got Ants in My Pants)
(4:55)  7. 18th & Racine
(2:40)  8. King Kong Stomp
(2:44)  9. El Rado Scuffle
(2:23) 10. Oh Baby
(3:36) 11. Stardust
(2:45) 12. I'll Fly to Hawaii
(3:21) 13. Oh Me! Oh My!
(3:13) 14. The Chant
(3:18) 15. Blueberry Rhyme

Early jazz stylists The Fat Babies' second album 18th & Racine is bolder than their first in their choice of material and their delivery of the songs included. Encouraged by the successful execution of their debut Chicago Hot (Delmark 2012) the band presents 14 lesser-known gems and an original composition by their cornetist Andy Schumm. The relative obscurity of these delightful pieces and the deftness by which the dust of history is polished off them exposes their raw emotion and makes for a very intriguing listening experience. Vocalist/multi-instrumentalist Charlie Gaines' whimsical "I Can't Dance (I Got Ants in My Pants)," first popularized by pioneering trumpeter Valaida Snow, features group vocals over drummer Alex Hall's clear, resonating beats and pianist Paul Asaro's bright, stride solo. Pianist Joseph Robichaux's "King Kong Stomp," which in its original incarnation in 1933 was one of the first recordings to introduce the vibraphone, opens with a primal, thumping rhythm that Hall and leader/bassist Beau Sample lay down. Reedman John Otto Richardson agile, elastic saxophone and Schumm's burnished horn contrast nicely with trombonist Dave Bock's bluesy growl. Banjoist Jake Sanders shines in a brief, crisp and innovative improvisation on composer Owen Murphy's "Oh Baby." Schumm plays the romantic and deceptively simple melody with a lilting tone and sophisticated flair. Shumm's own original, the title track, invokes the ambience of suave nightspots like the legendary Cotton Club. Schumm blows his horn with unbridled passion while Sample and Bock's exchanges add a dark and nocturnesque streak. Bock's trombone moans and roars over the syncopated rhythms with an urbane swagger. Pianist/composer Mel Stitzel's (of New Orleans Rhythm Kings fame) "Chant" epitomizes the exuberant camaraderie of this energetic ensemble. The various members engage in thrilling musical exchanges as they take their turns in the spotlight. This highly enjoyable and engaging disc closes with a nod to yet another pianist, this time Harlem giant James P. Johnson. Asaro plays Johnson's mellow "Blueberry Rhyme" with agility and elegance with only the backing of Hall's brushes. With 18th & Racine the "trad jazz combo" The Fat Babies have honed and perfected their skills not only as musicians but also as true revivalists. They have resurrected, with their unique approach, unjustly forgotten tunes and together the nostalgic aura of a bygone era. 
~ Hrayr Attarian https://www.allaboutjazz.com/18th-and-racine-the-fat-babies-delmark-records-review-by-hrayr-attarian.php

Personnel: Beau Sample: bass; Andy Schumm: cornet and alto saxophone; John Otto: clarinet and alto saxophone; Dave Bock: trombone; Jake Sanders: banjo; Paul Asaro: piano; Alex Hall: drums.

18th & Racine