Jimmy Hamilton - In A Sentimental Mood

Styles: Clarinet Jazz
Year: 2000
File: MP3@320K/s
Time: 35:49
Size: 83,1 MB
Art: Front

(3:26)  1. I've Got The World On A String
(2:49)  2. Do Nothing Till You Hear From Me
(2:17)  3. Tempo De Brazilia
(4:23)  4. The Nearness Of You
(5:11)  5. Blue Room
(2:32)  6. Ain't She Sweet
(2:55)  7. I Didn't Know About You
(3:35)  8. Taj Mahal
(5:15)  9. In A Sentimental Mood
(3:24) 10. After You've Gone

Jimmy Hamilton was for a quarter-century a mainstay of jazz's most important large ensemble, the Duke Ellington Orchestra. On clarinet, Hamilton was a model of polished, cool style and substance, while his less often featured work on tenor saxophone allowed him to reveal funkier inclinations. Hamilton was hired by Ellington as the replacement for Barney Brigard in 1943, and he stayed on with the Duke until 1968. Prior to joining Ellington, he had worked with Lucky Millinder, Jimmy Mundy, and most noticeably Teddy Wilson's sextet (1940-1942) and Eddie Heywood; Hamilton also recorded “Gloomy Sunday” with Billie Holiday. While he was featured primarily as a clarinetist, where he employed a cool smooth tone, he sometimes turned to the tenor on which he was a little rougher and raucous. When Jimmy took the job with Duke he actually had another offer on the table from Count Basie. Basie wanted him to perform only on tenor sax, however, and Jimmy wanted the chance to perform on clarinet, as well. Jimmy also commented that he was a great fan of Ellington's compositions and that Duke was sure to challenge him with new material. He was certainly right about that! Duke and Billy Strayhorn wrote many featured parts for Jimmy's clarinet and tenor sax improvisations (Air-conditioned Jungle, Deep Purple, and Bluebird of Delphi; to name a few). After leaving Ellington, Hamilton moved to St. Croix in the Virgin Islands, where he taught music in public schools. Jimmy and his Quartet (with his wife, Vivian on piano) had a weekly radio show (WSTX AM radio station) from1971 to ‘77 which broadcast their Friday night gig, live from the Holger Danske Hotel in Christiansted, St. Croix. 

That broadcast made them fans all throughout the Caribbean. He did return to the U.S. to play with John Carter’s Clarinet Summit in 1981 and 1985, and gigged a bit in New York during 1989-1990, but was otherwise little heard from in his later years. Hamilton did not record much as a leader, but did put together some fine sessions as his two sessions recorded two weeks apart in 1961 for Swingville (Prestige's mainstream offshoot), they spotlight Hamilton on both clarinet and tenor. “It's About Time!” offers a host of tuneful, loose blues, some of whose titles indicate the participants' collective sense of humor (”Stupid But Not Crazy,” “Nits and Wits”), while “Can't Help Swinging” balances four bluesy originals with an equal number of top-notch standards. The sextet finds Hamilton joined on the front line by fellow distinguished Ellingtonians Clark Terry and Britt Woodman, and both dates are graced by Tommy Flanagan's piano. Hamilton went on to do a live recording in 1985 from the Virgin Islands. This date “Rediscovered at the Buccaneer,” finds Hamilton playing clarinet and alto in prime form with a quartet also including pianist Gary Mayone, bassist Joe Straws and drummer Delroy Thomas. Hamilton performs five lazy love songs and five tunes associated with Duke Ellington. These would be his last recordings. Jimmy Hamilton passed in Sept. 1994. https://musicians.allaboutjazz.com/jimmyhamilton

Personnel:  Clarinet – Jimmy Hamilton; Bass – Aaron Bell; Drums – Sam Woodyard; Horns [Baritone] – Britt Woodman, Dave Wells, Mitchell Wood; Piano – Jimmy Rowles; Tenor Saxophone – Paul Gonsalves; Trumpet – John Anderson

In A Sentimental Mood

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Jules Day - Jules Day

Styles: Vocal Jazz 
Year: 2008
File: MP3@320K/s
Time: 38:53
Size: 89,9 MB
Art: Front

(3:56)  1. Hope Avenue & Despair
(3:23)  2. How Will I Ever Know
(4:43)  3. Days That End In Y
(3:38)  4. Get It Right
(3:14)  5. Only You
(4:14)  6. Don't Tell The Sun
(4:18)  7. Say You Will
(3:50)  8. Leave The Love To Me
(3:57)  9. Right On Time
(3:35) 10. Midnight Lullaby

Jules Day is creating quite a buzz as she bursts onto the L.A. jazz scene with a voice and stage presence that belie her 22 years of age. Jules’s young jazz career has experienced a meteoric rise with regular appearances at Southern California’s top jazz venues including Hollywood’s Catalina Bar & Grill and Culver City’s The Jazz Bakery. Jules recently found herself not only on the cover of the L.A. Jazz Scene monthly newspaper, but the subject of an in-depth article by publisher Myrna Daniels. Daniels, in the article, noted that she had seen several singers go on to find great success and predicted, “I think Jules Day will one day belong to that select circle of performers.” 

Don Heckman, jazz critic for the Los Angeles Times, reviewed Jules’s Hollywood performance as “having the vibe, the enthusiasm, and the sheer irresistibility of a star in the making.” Heckman wrote, “At 21, Day has the blond and slender look of a youthful Diana Krall, but the resemblance stops there. Unlike Krall, whose vocals have always worked best when they flow from her piano playing, Day is a stand-up singer, intimately immersed in her songs, digging into their inner meaning with a constantly surprising sense of emotive maturity.”Jules was honored to open the Temecula Smooth Jazz Festival with the enviable position as the only female vocalist on the roster.
When it comes to jazz, this Minneapolis native is the real deal with industry roots that include her grandfather, Kyle Peterson, founding the Twin Cities Jazz Society.

"I grew up with jazz musicians popping in and out of the house,\" remembers Jules, \"And the voices of Ella Fitzgerald, Sarah Vaughn, June Christy to mention a few were a part of my early memories.\" Immediately upon graduating from an arts magnate high school in St. Paul, Jules relocated to Los Angeles upon being invited to be a member of an internationally renowned music ensemble. Less than a year later, an offer to record her debut CD was too much to resist and Jules spent the remaining teenage year hard at work inside a recording studio. As a complete package, Jules seems to have it all, but the ace up her sleeve is her extremely palatable and soulful voice with its flawless pitch, remarkable intonation, and subtle phrasing that can put the most inattentive crowd on the edge of their seats. https://store.cdbaby.com/cd/dayjules

Jules Day

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Eddie Palmieri - The History Of Eddie Palmieri

Styles: Piano Jazz
Year: 1975
File: MP3@320K/s
Time: 47:40
Size: 110,1 MB
Art: Front

(6:40)  1. Café
(5:43)  2. Bilongo
(5:42)  3. Cuídate Compay
(3:52)  4. Sujétate La Lengua
(2:45)  5. Conmigo
(4:10)  6. Tirándote Flores
(3:13)  7. Lázaro Y Su Micrófono
(5:59)  8. Justicia
(3:22)  9. Bomba Del Corazón
(6:09) 10. Viejo Socarrón

History is one of those great 1970s compilations that has just enough perspective to get it right. Material is drawn from both Tico and Alegre albums, and wide varieties of rhythm, tempos, and style are represented, but not too wide. Salsa fans will find much of interest. "Cuidate Compay" and "Conmigo" in particular are hot dance tracks which still sound fresh and infectious. It may not be correct to call the album a "history" of Eddie Palmieri, but it is a great slice of his best work from the 1960s. It is, at least, a history until Harlem River Drive. History serves well as an introduction to the "Sun of Latin Music, " but even longtime Palmieri fans may want it in addition to the originals or other compilations. ~ Tony Wilds https://www.allmusic.com/album/history-of-eddie-palmieri-mw0000727993

Personnel: Piano – Eddie Palmieri ; Vocals – Ismael Quintana

The History Of Eddie Palmieri

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Dennis Coffey - Dennis Coffey

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 38:39
Size: 89,3 MB
Art: Front

(3:53)  1. 7th Galaxy
(2:15)  2. Don't Knock My Love
(3:40)  3. All Your Goodies Are Gone
(5:26)  4. I Bet You
(3:15)  5. Miss Millie
(3:54)  6. Somebody's Been Sleeping
(2:08)  7. Plutonius
(3:59)  8. Knockabout
(2:28)  9. Only Good For Conversation
(4:17) 10. Space Traveller
(3:19) 11. Don't Knock My Love (part 2)

Too rarely, some small justice gets meted out in the music biz; in the 21st century, legendary Detroit guitarist and Motown Funk Brother Dennis Coffey is getting some. Hip-hop and electronic music fans have long sought his seminal recordings for Sussex and his voluminous session dates. His appearance in the 2002 film Standin' in the Shadows of Motown, his autobiography Guitars, Bars and Motown Superstars, and three different late-2000s compilations re-upped his profile. Dennis Coffey, the guitarist's debut for Strut, places his guitar front and center in a multi-generational group of musicians from Detroit and elsewhere. Coffey lays his trademark psychedelic soul wah-wah-and-fuzz guitar to 11 tracks. Some new; others being new versions of legendary jams he played on. The set opens with ultra-funky instrumental orgy "7th Galaxy" (with ex-Big Chief guitarist Phil Durr and Motor City session gods Rayse Biggs and David McMurray on horns, and a rhythm section of session masters bassist Tony “T-Money” Green, drummer Nate Winn, and percussionists Larry Fratangelo and Dennis Sheridan). Other instrumentals include the moody groover "Space Traveler" (with Deadstring Brothers' Jim Simonson on bass and Eric Hoegemeyer on drums), the big horn and guitar burner "Miss Millie" (with Milwaukee's Kings Go Forth), and the wah-wah bass and percussion blowout "Knockabout."These tracks are on a par with Coffey's legendary "Scorpio" and his Black Belt Jones soundtrack. The vocal tracks are no less spectacular. There is the Parliaments' "All Your Goodies Are Gone," with soulster Mayer Hawthorne, and Funkadelic's "I Bet You," featuring the Detroit Cobras' Rachel Nagy and the Dirtbombs' Mick Collins. Fanny Franklin of Orgone lends her voice to a sultry cover of Wilson Pickett's slow-burning "Don't Knock My Love." Rodriguez's venomous "Only Good for Conversation" features Paolo Nutini in a knockout performance, and the Bell Rays' Lisa Kekaula offers a boiling, raw read of Holland-Dozier-Holland's eternal, "Somebody's Been Sleeping" (Coffey played on the 100 Proof (Aged in Soul) original. "Plutonius," a cosmic funk jam, is another Coffey original sung by Herschel Boone and includes a ripping guitar solo by, Durr, and groove alicious B3 by Detroit keyboard master Luis Resto. 

The album is co-produced to maximum kinetic effect by Al Sutton and Hoegemeyer at Detroit's Rust Belt Studio. Dennis Coffey is overflowing with inspiration and the molten pathos, passion, humor, volume, grit, and nasty grooves that Detroit is famous for. As an artist, Coffey, at 70, is at the top of his game as a guitarist and composer; he proves that he can not only hold his own with the youngbloods, but push toward a new level. This self-titled offering is monster; a masterpiece of tough, psychedelic soul. ~ Thom Jurek https://www.allmusic.com/album/dennis-coffey-mw0002110283

Dennis Coffey

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Edmundo Ros - The Latin World Of Edmundo Ros Vol 2

Styles: Latin
Year: 1970/2015
File: MP3@320K/s
Time: 28:46
Size: 67,4 MB
Art: Front

(2:49)  1. Aquarius
(2:23)  2. Corcovado
(2:05)  3. Cumana
(2:10)  4. Carnival
(2:14)  5. La Golondrina
(2:00)  6. Spanish Flea
(2:22)  7. Good Morning Starshine
(2:16)  8. Mambo Number Five
(2:49)  9. What A Difference A Day Made
(3:10) 10. Felicidade
(2:19) 11. The Laughing Samba
(2:04) 12. La Cucaracha

Bandleader Edmundo Ros was the living embodiment of Latin music in World War II-era Britain. The toast of London's high society, he effectively introduced the rhumba and samba to the U.K. shores. Born December 7, 1910, in Port-of-Spain, Trinidad, to a Scottish father and an African-Venezuelan mother, Ros spent much of his childhood in military school, playing percussion in the military band. The experience was otherwise miserable, however, and at 17 he ran away to Caracas, where he served as tympanist in the Symphony Orchestra of Venezuela. A decade later Ros migrated to London, where he briefly studied classical music before pursuing popular music full-time, backing Fats Waller and singing with Don Marino Barreto's Cuban band prior to forming his own five-piece rhumba outfit in 1940. After scoring a hit with 1941's Parlophone release "Los Hijos de Buda," Ros became a sensation, attracting the cream of London society to his appearances at the lavish Coconut Grove. When the defendant in a high-profile divorce case implicated Ros as a catalyst for his marriage's demise, the bandleader made national headlines, and the sex scandal only made him more popular, and he even taught then-Princess Elizabeth and her sister Princess Margaret to dance. After a long residency at the West End club the Bagatelle, Ros in 1951 acquired the former Coconut Grove site on Regent Street and renamed the venue Edmundo Ros' Dinner and Supper Club. He also made regular appearances on BBC radio, and his albums for the London label's Phase 4 imprint (including the space age pop classics Rhythms of the South and Arriba!) sold briskly. His biggest hit, "The Wedding Samba," even crossed over to the U.S. Top Five, selling three million copies in the process. After Parliament legalized gambling in 1965, attendance at Ros' club quickly nosedived, and he sold the business as soon as possible. He retired to Alicante, Spain, a decade later, returning to London's Queen Elizabeth Hall on January 8, 1994, for one final farewell performance leading the BBC Big Band with Strings. Ros was also awarded the Order of the British Empire in the 2000 New Year's Honours List. ~ Jason Ankeny https://www.allmusic.com/artist/edmundo-ros-mn0000182902/biography

The Latin World Of Edmundo Ros Vol  2

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