Marcus Printup - Song For The Beautiful Woman

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 59:38
Size: 137,9 MB
Art: Front

(6:41)  1. The Inquiry
(7:14)  2. I Remember April
(6:37)  3. Song For The Beautiful Woman
(6:23)  4. Trauma
(6:17)  5. Presentation
(6:12)  6. Lonely Heart
(6:50)  7. Minor Ordeal
(6:47)  8. Speak Low
(6:34)  9. Dahomey Dance

Trumpeter Marcus Printup's debut as a leader in 1994 followed recordings as a part of the University of North Florida Jazz Ensemble and the Lincoln Center Jazz Orchestra. Accompanied by four other promising musicians in the early days of their careers, including pianist Eric Reed, alto saxophonist Walter Blanding, bassist Reuben Rogers and drummer Brian Blade, Printup puts together a tantalizing mix of originals and standards on this hard bop session, Song for the Beautiful Woman. His compositions include a driving blues "The Inquiry," a sauntering ballad inspired by a brief encounter with a stranger on a plane "Song for the Beautiful Woman," and the infectious "Presentation," which best showcases his already well-developed chops. So many jazz artists tackle "I'll Remember April" at breakneck tempos that they overlook the beauty of the piece; Printup chooses the less-traveled path with great success. His muted solo in "Speak Low" is fueled by Rogers' tasty lines. Marcus Printup's initial recording on his own will appeal greatly to fans of hard bop. ~ Ken Dryden https://www.allmusic.com/album/song-for-the-beautiful-woman-mw0000644448

Personnel: Trumpet – Marcus Printup; Bass – Reuben Rogers; Drums – Brian Blade; Piano – Eric Reed; Tenor Saxophone – Walter Blanding

Song For The Beautiful Woman

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Patti Page - Golden Hits

Styles: Vocal
Year: 1960
File: MP3@320K/s
Time: 34:45
Size: 80,9 MB
Art: Front

(3:00)  1. Tennessee Waltz
(2:55)  2. Changing Partners
(2:34)  3. Cross Over The Bridge
(2:38)  4. Old Cape Cod
(2:59)  5. Mockin' Bird Hill
(2:29)  6. (How Much Is That) Doggie In The Window
(2:48)  7. Detour
(2:47)  8. Why Don't You Believe Me?
(3:11)  9. Mister And Mississippi
(2:53) 10. Allegheny Moon
(3:11) 11. With My Eyes Wide Open I'm Dreaming
(3:14) 12. I Went To Your Wedding

Patti Page's first (and for many years her only) hits collection was this ten-track release, which contained nine of her Top Five singles, including the chart-toppers "Tennessee Waltz," "Mockin' Bird Hill," "(How Much Is) That Doggie In The Window," and "I Went To Your Wedding." In addition to being a short album, even for the LP era, it failed to contain Page's first number one, "All My Love," and such biggies as "Would I Love You (Love You, Love You)" and "And So to Sleep Again," but it did feature "With My Eyes Wide Open I'm Dreaming," a song Page had released twice without quite getting into the Top Ten with it. So, the selection was not perfect, but Mercury kept the album in print for decades, since it did feature Page's best-known material at a reasonable price. ~ William Ruhlmann https://www.allmusic.com/album/golden-hits-mw0000312367

Golden Hits

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Woody Shaw - Stepping Stones: Live At The Village Vanguard

Styles: Cornet Jazz
Year: 1979
File: MP3@320K/s
Time: 70:35
Size: 162,1 MB
Art: Front

( 9:12)  1. Stepping Stone
(11:16)  2. In a Capricornian Way
( 8:35)  3. Seventh Avenue
(12:04)  4. All Things Being Equal Are Not
(11:14)  5. Escape Velocity
(17:12)  6. Blues for Ball
( 1:00)  7. Theme for Maxine

It's one thing to play the right note, it's another to get it; one thing to play a phrase, another to get to its essence. With academic jazz education more accessible than ever, countless aspiring musicians are learning its vernacular. But music, like all art, is more than technique it's an indefinable truth that can only come from complete immersion and commitment. Learn the language, but without getting on the bandstand every night, playing with as many people in as many contexts as possible, and it's impossible to make the transition from aspiration to being. It's possible to tell almost immediately whether or not a group has managed to get inside the music, transcending mere method. That may not be something you can easily articulate, but it's something you know. From the opening notes of Columbia/Legacy's reissue of the late trumpeter Woody Shaw's 1978 live recording Stepping Stones: Live at the Village Vanguard, there's the instant ring of truth here is a group of players who don't just play notes, they mean them. Hot on the heels of his critically-acclaimed The Moontrane (Muse, 1975), Shaw found himself on a major label with the kind of promotional power that should have led to greater acclaim. Still, his uncompromising devotion to a chosen path contrary to the popular predominance of fusion at that time resulted in a reputation that was greater amongst his fellow musicians than the greater listening public. 

Sixteen years after his tragic death in 1989, the significance of his potent melodies, bright tone, and incisive improvisational style are finally being recognized, with his blend of change-based writing and open-ended modality resulting in flexible but eminently memorable songs. Shaw's band at the time saxophonist Carter Jefferson, pianist Onaje Allan Gumbs, bassist Clint Houston, and drummer Victor Lewis may be the best working group of his career. With everyone but Jefferson contributing songs to the set, it's clear that this is a cooperative, despite Shaw's name on the marquee. They come charging out of the gate for "Stepping Stone with transcendent intensity. Jefferson is especially notable, combining vivid themes with occasional Coltrane-esque sheets of sound. Shaw's "In a Capricornian Way is a modal waltz that's more slow burn than high heat, the perfect setup for Lewis' equally modal 7/4 workout, "Seventh Avenue. But with all the energy and pure engagement of songs like Houston's up-tempo swinger "Escape Velocity and Shaw's equally fast-moving "Blues for Ball, it's Gumbs' lyrical "All Things Being Equal Are Not one of two previously unissued tracks that's the gem of the set. Shaw who eschews trumpet on this date for cornet and, on this song, flugelhorn squeezes pure emotion out of Gumbs' deeply moving ballad. While capable of fleet-fingered runs, Shaw understood the potency of a simple phrase, a well-chosen note, and a perfectly timed trill. Something the entire band clearly understands, making Stepping Stones an album that's more than strong material and imaginative playing. Indeed, it's a deep musical truth that many seek, but few find. ~ John Kelman https://www.allaboutjazz.com/stepping-stones-live-at-the-village-vanguard-woody-shaw-sony-bmg-legacy-review-by-john-kelman.php

Personnel: Woody Shaw: cornet, flugelhorn; Carter Jefferson: tenor saxophone, soprano saxophone; Onaje Allan Gumbs: piano; Clint Houston: bass; Victor Lewis: drums.

Stepping Stones: Live At The Village Vanguard

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The Johnny Varro Quartet - All That Jazz

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 70:48
Size: 164,1 MB
Art: Front

(5:22)  1. The Lady's In Love With You
(4:10)  2. The Touch Of Your Lips
(3:46)  3. Mama's Gone, Goodbye
(4:19)  4. Stars Fell On Alabama
(3:50)  5. Swinging Down To New Orleans
(6:42)  6. A Porter's Love Song To A Chambermaid
(3:25)  7. Was I To Blame For Falling In Love With You'
(4:07)  8. Be Careful, It's My Heart
(4:14)  9. A Monday Date
(4:00) 10. Softly, As In A Morning Sunrise
(5:51) 11. Mandy, Make Up Your Mind
(5:18) 12. Darn That Dream
(4:22) 13. On A Slow Boat To China
(5:05) 14. How Deep Is The Ocean'
(6:09) 15. When Day Is Done

This fine swing-oriented set features the Teddy Wilson-influenced piano of Johnny Varro in a quartet with bassist Nicki Parrott, drummer Joe Ascione, and, most importantly, trumpeter Jon-Erik Kellso (who is listed as playing a "puje," a hybrid of trumpet and cornet). Kellso often takes solo honors, with the highlights including such swing standards as "The Lady's in Love With You," "Stars Fell on Alabama," "A Porter's Love Song to a Chambermaid," "A Monday Date," and "On a Slow Boat to China." These melodic and swinging performances would be difficult not to enjoy. ~ Scott Yanow https://www.allmusic.com/album/all-that-jazz-mw0000013354

Personnel: Piano – Johnny Varro;  Bass – Nicki Parrott; Drums – Joe Ascione; Trumpet – Jon-Erik Kellso

All That Jazz

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Kai Winding - Stay Around

Styles: Trombone Jazz
Year: 2019
File: MP3@320K/s
Time: 75:48
Size: 174,9 MB
Art: Front

(3:19)  1. Just for a Thrill
(2:28)  2. Hearse Ride
(1:55)  3. Python
(3:12)  4. This Could Be the Start of Something
(3:51)  5. Georgia on My Mind
(1:40)  6. Gravy Waltz
(2:08)  7. Warm
(3:35)  8. Alone Together
(2:21)  9. Hero
(3:08) 10. Going, Going, Gone
(1:53) 11. China Nights
(4:03) 12. Theme from "Picnic"
(2:22) 13. Now and Forever
(2:56) 14. Tube Wail
(4:01) 15. I Concentrate on You
(3:54) 16. Soul Surfin'
(3:05) 17. Side by Side
(2:25) 18. Pipeline
(2:15) 19. Comin' Home, Baby
(2:07) 20. Till (Priere Sans Espoir)
(2:20) 21. The Gospel Truth
(5:09) 22. Trixie
(2:30) 23. Sukiyaki Song
(2:08) 24. Spinner
(2:18) 25. Blue Star (Theme from "The Medic")
(2:25) 26. Surf Bird
(2:07) 27. The Struggle

One of the finest trombonists to emerge from the bebop era, Kai Winding was always to an extent overshadowed by J.J. Johnson, although they co-led one of the most popular jazz groups of the mid-'50s. Born in Denmark, Winding emigrated to the U.S. with his family when he was 12. He had short stints with the orchestras of Alvino Rey and Sonny Dunham, and played in a service band in the Coast Guard for three years. Winding's first burst of fame occurred during his year with Stan Kenton's Orchestra (1946-1947), during which his phrasing influenced and was adopted by the other trombonists, leading to a permanent change in the Kenton sound. He also participated in some early bop sessions, played with Tadd Dameron (1948-1949), and was on one of the Miles Davis' nonet's famous recording sessions. After playing with the big bands of Charlie Ventura and Benny Goodman, he formed a quintet with J.J. Johnson (1954-1956); the two trombonists (who sounded nearly identical at the time) had occasional reunions after going their separate ways. Winding led a four-trombone septet off and on through the latter half of the 1950s and into the '60s, was music director for the Playboy clubs in New York, and during 1971-1972 worked with the Giants of Jazz (an all-star group with Dizzy Gillespie, Sonny Stitt, and Thelonious Monk).

Stay Around

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