Lester Young & Harry 'Sweets' Edison - Pres And Sweets

Styles: Saxophone And Trumpet Jazz 
Year: 1955
File: MP3@320K/s
Time: 47:32
Size: 109,5 MB
Art: Front

(7:15)  1. Mean To Me
(5:12)  2. Red Boy Blues
(5:14)  3. Pennies For Heaven
(4:35)  4. That's All
(5:19)  5. One O'clock Jump
(8:24)  6. She's Funny That Way
(5:38)  7. It's The Talk Of The Town
(5:52)  8. I Found A New Baby

This 1955 session could really be termed a reunion date. The tenor saxophonist and trumpeter had worked together in the Count Basie Orchestra , Harry Edison for 17 years and Lester Young for seven of those. Together again, these two jazz giants revive the musical rapport they first developed in the Basie band. 

Young and Edison's approach on this session reflects their tenure with Basie; for example, it was common for Young to solo followed directly by Edison in the Basie days, and they follow that same plan here. The two horn players perform a swinging, rousing version of the Count's legendary "One O'Clock Jump," which features superb solos by pianist Oscar Peterson and drummer Buddy Rich, both legends in their own right. Other highlights on Pres & Sweets include the subtle "Pennies from Heaven" and the lovely ballad, "It's the Talk of the Town," the latter of which displays Herb Ellis' delicate guitar stylings and Pres' beautiful light and airy tone. ~ Rovi Staff https://www.allmusic.com/album/pres-and-sweets-mw0000264791

Personnel: Harry Edison - trumpet; Lester Young - tenor saxophone; Oscar Peterson - piano; Herb Ellis - guitar; Ray Brown - bass; Buddy Rich - drums

Pres And Sweets

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Carol Sloane - Sweet & Slow

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 55:35
Size: 128,2 MB
Art: Front

(3:37)  1. Sometime Ago
(3:51)  2. One Morning In May
(4:32)  3. I'm Way Ahead Of The Game
(5:30)  4. I'm Getting Sentimental Over You
(4:18)  5. Until I Met You
(5:55)  6. Sweet And Slow
(3:51)  7. You're Getting To Be A Habit With Me
(3:41)  8. A Woman's Intuition
(4:56)  9. Baubles, Bangles And Beads
(5:10) 10. An Older Man Is Like An Elegant Wine
(3:15) 11. If I Could Be With You One Hour Tonight
(6:53) 12. I Got It Bad And That Ain't Good

After too many years in obscurity or out of music altogether, Carol Sloane's renaissance began in 1988 with her first of two albums for the Contemporary label. This was succeeded by a long string of consistently enjoyable Concord releases, of which this was the second one. This time around, she is assisted by pianist Stefan Scaggiari, bassist John Lockwood, drummer Colin Bailey and, on four of the dozen numbers, Frank Wess on tenor and flute. Sloane pays tribute to Lee Wiley on "A Woman's Intuition" and sounds very close to Ella Fitzgerald on "Sweet and Slow"; she uplifts such numbers as Hoagy Carmichael's "One Morning In May," "Baubles Bangles and Beads," "An Older Man Is Like an Elegant Wine," and in a classic version, "I Got It Bad." Recommended. ~ Scott Yanow https://www.allmusic.com/album/sweet-slow-mw0000621553

Personnel: Carol Sloane - vocals; Stefan Scaggiari - piano; John Lockwood - bass; Colin Bailey - drums.

Sweet & Slow

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Sonny Criss - Go Man

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 39:47
Size: 92,4 MB
Art: Front

(4:04)  1. Summertime
(3:49)  2. Memories Of You
(2:45)  3. Whalin' With Joe
(3:01)  4. How Deep Is The Ocean
(2:33)  5. The Blues For Rose
(3:20)  6. The Man I Love
(4:03)  7. Until The Real Thing Comes Along
(2:38)  8. Blue Prelude
(3:42)  9. After You've Gone
(3:52) 10. Come Rain Or Come Shine
(3:10) 11. How High The Moon
(2:44) 12. If I Had You

By the mid-'50s, William "Sonny" Criss was maturing as a significant voice on the alto saxophone. Heavily influenced by Charlie Parker, much of Criss' earlier output was plagued by a hurried time feel, awkward phrasing and an uncomfortably tense vibrato. Go Man!, one of three dates he did for the Imperial label, showcases a confident, energetic Criss on ten standard tunes and two original lines. This hard-to-find collection is a must-have for fans of pianist Sonny Clark, heard in fine form (a bit more aggresive and "on top of the beat" than usual) along with the very coherent team of bassist Leroy Vinnegar and drummer Lawrence Marable. Only 24 years old at the time of recording, Clark had recently settled in California and was establishing himself as an inspired accompanist and soloist with the groups of Buddy DeFranco and Howard Rumsey. Clark's piano introduces nearly every cut on this recording, and his crisp, inventive soloing is a perfect compliment for Criss' brightly expressive, lightening quick lines. Overall, a lively assortment of concisely rendered, boppish treatments. ~ Lee Bloom https://www.allmusic.com/album/go-man%21-mw0000471629

Personnel: Saxophone [Alto] – Sonny Criss; Bass – Leroy Vinnegar; Drums – Lawrence Marable; Piano – Sonny Clark

Go Man

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Bobby McFerrin - Beyond Words

Styles: Vocal, Keyboards, Jazz
Year: 2002
File: MP3@320K/s
Time: 55:43
Size: 129,7 MB
Art: Front

(7:10)  1. Invocation
(3:40)  2. Kalimba Suite
(4:28)  3. A Silken Road
(4:39)  4. Fertile Field
(2:15)  5. Dervishes
(5:20)  6. Ziggurat
(1:22)  7. Sisters
(1:14)  8. Circlings
(1:30)  9. Chanson
(4:01) 10. Windows
(4:08) 11. Marlowe
(2:40) 12. Mass
(2:11) 13. Pat And Joe
(4:22) 14. Taylor Made
(3:47) 15. A Piece, A Chord
(2:48) 16. Monks/The Shepherd

How does one write about the ineffable? It is, after all, Beyond Words ... We must, however, reflect on Bobby McFerrin’s Beyond Words. There is a certain degree of serendipity in the fact that this recording is being capitalized upon, in the best economic system the world has ever known, through the marketing efforts of both Blue Note and Angel Records as in Classical music, the "grace note" is what in Jazz is known as a "blue note." Beyond Words is an album from the world to the world, encompassing the fleeting hallowedness that structures the allure and effect of a graceful blue note. Hence, it is not for the faint of sensibility and intelligence. Although not a difficult work, without recurring to popish sentimentality or facility in its accessibility, it does require a certain level of engagement in order to disengage the listener from preconceptions and expectations that would mar the delight on musical idioms beyond any evocative or explanatory measure. McFerrin’s latest is “deep,” as musicians are fond of saying when referring to outstanding music. It would be rather tempting to play a game of “Where’s Waldo?” when trying to document the various musical, cultural or aesthetic influences present in this compact disc, although that would be infelicitous and beside the point. 

As mentioned before, this is an album from the world to the world. Creative, or so-called creative endeavors, nonetheless, often times end up as mere masturbatory efforts that have more to do with inbred narcissism than true originality. McFerrin is not affianced in self-pleasure in this Blue Note/Angel release. He wants to gratify his audience with an anointing dipped into one of the widest palettes available for worldwide consumption in contemporary musical markets. Beyond Words has a wide and fun emotional range that swings in saintly depth. The arrangements, vocalizations, and compositions, as well as the performances of the musicians, have a refreshing sense of cultural innocence and curiosity in their tales. With the exception of “Windows,” a Chick Corea composition, reinterpreted here in historical fashion by McFerrin, the rest of the oeuvre was penned by him. Having Corea playing in this recording was a prudent decision as he has an authentic and imaginative record of accomplishment in various musical worlds. The same is true of most of the rest of the crew that gave rise to the beautiful blessing that is Beyond Words. McFerrin’s latest also hits the mark with the integrity of the 16 pictorials poured in this recording. From the short-lived “Circlings,” to the beefier “Invocation,” Beyond Words manages to say what needs saying without recourse to vocal or instrumental logorrhea. The whole of Beyond Words is known through its wholesome parts, duration notwithstanding. All told, Beyond Words says a lot. You had better listen...~ Javier AQ Ortiz https://www.allaboutjazz.com/beyond-words-bobby-mcferrin-review-by-javier-aq-ortiz.php

Personnel: Bobby McFerrin: Vocals, Keyboards;  Richard Bona: Bass; Cyro Baptista: Percussion; Chick Corea: Piano & Keyboards; Gil Goldstein: Accordion & Fender Rhodes; Omar Hakim: Drums; Taylor McFerrin: Beatbox; Keith Underwood: Flutes.

Beyond Words

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Joan Chamorro, Carla Motis - Joan Chamorro Presenta Carla Motis

Styles: Vocal And Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 71:10
Size: 165,1 MB
Art: Front

(4:11)  1. As Long as I Live
(4:42)  2. He Ain´t Got Rhythm
(3:52)  3. Peggy´s Blue Skylight
(5:33)  4. Everything Happens to Me
(5:19)  5. O Grande Amor
(3:34)  6. Dance for Daddy
(5:12)  7. It Had to Be You
(4:25)  8. I'll Wind
(6:10)  9. Afro Blue
(4:49) 10. What´s New?
(4:30) 11. Doodlin´
(4:48) 12. Chelsea Bridge
(5:18) 13. When It´s Sleepy Time Down South
(3:44) 14. Minor League
(4:56) 15. Saudades da Guanabara

Thirteen years of jazz and 12 "Joan Chamorro presents ...", in this case Carla Motis, who joined the Sant Andreu Jazz Band in 2008, with 11 years, and who has been the only guitarist who has formed part of the band. As Freddie Green in Count Basie's bigband, Carla Motis, discreetly, during all these years, has given a special sound to the rhythm section. His time, every day that passed, was more solid, her "compings" supported the soloists that were emerging and she remained in the background, but with a great rhythmic and harmonic contribution. My work in the context of the Sant Andreu Jazz Band has been to try, not so much to teach music properly, but also to transmit my passion for it. Making young people who start at an early age see that devoting themselves to music, specifically Jazz, is something wonderful and worth spending part of our time. On the other hand, I understand that all students are different and that their times in the learning processes and giving light to their creativity and what they are learning and assimilating, are also so. Carla Motis is, for me, and I say it with great satisfaction, the realization that work, perseverance, patience and believing in something have their morereward. Carla Motis, discreetly but in a continuous evolution, begins, three or four years ago, to surface with her improvisations, little by little, timidly, with a coherent discourse, beyond her rhythmic function. 

A speech based on bebop, with references such as Charlie Christian, Grant Creen or Wes Montgomery, and all this with a work supervised with great success by his teacher and collaborator in many of my projects, Josep Traver. And growing and enjoying every day of its evolution, comes this CD, in which we can listen to Carla's wonderful phrasing, as well as a beautiful sound and a coherent and increasingly original speech. One of the things I would like to highlight especially is the incredible time and swing that characterizes it. "Carla is coming", and never stop, because I am convinced that Carla has a lot to tell us with her voice, with the voice of her guitar, because both are the same, and merge, how can it be otherwise in it, a wonderful artist ... Translate By Google https://santandreujazzband.bandcamp.com/album/joan-chamorro-presenta-carla-motis

Joan Chamorro Presenta Carla Motis

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