Swedish Swing Society - Live At Regina

Styles: Swing
Year: 2011
File: MP3@320K/s
Time: 63:34
Size: 147,0 MB
Art: Front

(5:25) 1. Rosetta
(4:49) 2. Softly as in a Morning Sunrise
(6:09) 3. Poor Butterfly
(5:04) 4. Sweet Georgia Brown
(2:57) 5. I'll See You in My Dreams: I'll see you in my dreams
(5:05) 6. If I Had You
(4:11) 7. Chinatown, My Chinatown
(4:45) 8. Between the Devil and the Deep Blue Sea
(5:18) 9. I'm Confessin' (That I Love You)
(4:11) 10. Alexander's Ragtime Band
(5:09) 11. Lady, Be Good: Oh! Lady Be Good
(5:18) 12. Smiles: Time on My Hands
(5:06) 13. What a Little Moonlight Can Do

In 1935 Benny Goodman put together the famous trio with Teddy Wilson at the piano and Gene Krupa on the drums. The first recordings resulted in an immense success. The concept of letting the left hand of the pianist work together with the bassdrum, in the absense of a bassplayer, and Goodmans joyful ease created an airy sound that brought fourth the elegant technique of the musicians and an ecceptional swingexperience. In 1936 vibraphonist Lionel Hampton was added to the group. This quartet became the model for the popular Swedish group that Ove Lind and Lars Erstrand put together. Ulf Johansson Werre overtook the pianostool from Bengt Hallberg and later Bjorn Sjodin inherited the drummer position from Ronnie Gardiner.

After the decease of Ove Lind Antti Sarpila joined the group. Now, after the decease of Lars Erstrand the group continues as the original, chambermusical trio with which Goodman set style in 1935. SWEDISH SWING SOCIETY (SSS) cares and develops this inheritance in a way that has given response among audiences and critics over the world. ”World class” is often mentioned when referring to the appearances of the group, for example at Carnegie Hall in New York at a celebration of the National Day of Sweden.

”The interplay between Ulf, Antti and Bjorn is brilliant.It sounds so easy and natural when these musicians make their elegant and swinging versions that it puts You in a great mood".

Translated By Google http://www.bjorntjanst.com/SwedishSwingSociety.html

Personnel: Antti Sarpila, clarinet; Ulf Johansson Werre, piano; Lars Erstrand, vibraphone; Björn Sjödin, drums

Live At Regina

---

Chuck Mangione - Main Squeeze

Styles: Crossover Jazz, Easy listening
Year: 1976
File: MP3@320K/s
Time: 34:32
Size: 80,0 MB
Art: Front

(8:04)  1. (The Day After) Our First Night Together
(8:01)  2. If You Know Me Any Longer Than Tomorrow
(4:46)  3. Love The Feelin'
(4:33)  4. I Get Crazy (When Your Eyes Touch Mine)
(3:36)  5. Doin' Everything With You
(5:28)  6. Main Squeeze

More and more a creature of the studio, Mangione employs a coterie of '70s New York session players on an album that wears its make-out-music intentions right on its velvet sleeve. All of the titles reflect some aspect of a love affair; the playing is intricate but highly controlled and not terribly exciting. Oddly enough, Chuck effectively attaches a wah-wah pedal to his flugelhorn on a few tracks shades of Miles Davis' "jungle band" period and he gets off his best non-electronically modulated solo on "If You Know Me Any Longer Than Tomorrow." There are orchestrations, but the arrangements are just decorations, not an integral part of the material. But then, after all of the warm, fuzzy stuff has run its course for five tracks, the last cut "Main Squeeze" acts as an ecstatic release, a fine, funky jam session where all seem to be thoroughly enjoying themselves. ~ Richard S.Ginell https://www.allmusic.com/album/main-squeeze-mw0000651826

Personnel: Chuck Mangione - Flugelhorn, Fender Rhodes; Tony Levin - Bass; Rubens Bassini - Percussion; Steve Gadd - Drums, Percussion; Ralph MacDonald - Percussion; Don Grolnick - Acoustic Piano, Fender Rhodes; Richard Tee - Organ; John Tropea - Electric & Acoustic Guitars; Bob Mann - Electric & Acoustic Guitars; Gene Orloff - Concertmaster; Bob Carlisle, Fred Griffen, Jimmy Buffington, John Clarke - French Horns; Bill Watrous, David Taylor, Tom Malone, Wayne Andre - Trombones; Alan Rubin, Jeff Tkazyik, Jon Faddis, Lew Soloff - Trumpets

Main Squeeze

---

John Hicks Trio - Moanin' - Portrait of Art Blakey

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 44:43
Size: 113,7 MB
Art: Front

(7:25)  1. No Problem
(7:05)  2. Whisper Not
(8:14)  3. Nica's Dream
(7:18)  4. Moanin'
(7:13)  5. Blues March
(7:26)  6. A Night In Tunisia

A longtime fixture of the New York City jazz landscape, pianist John Hicks was an artist of uncommon versatility, moving effortlessly from pop standards to the avant-garde while retaining the dense physicality and intense energy that were the hallmarks of his approach. Born December 12, 1941, in Atlanta, Hicks was still an infant when his preacher father relocated the family to Los Angeles. He spent the better part of his teen years in St. Louis, and counted among his classmates there the young Lester Bowie. Hicks' mother was his first piano teacher, and after a stint at Lincoln University in Missouri he attended the Berklee School of Music and the Juilliard School; he later cited influences spanning from Fats Waller to Thelonious Monk to Methodist church hymns, and his catholic listening tastes were instrumental in shaping his far-ranging skills as a player. After touring in support of bluesman Albert King and hard bop tenor saxophonist Johnny Griffin, Hicks backed singer Della Reese during a 1963 New York club residency, and the city remained his home for the rest of his life. In the wake of stints with Kenny Dorham and Joe Henderson, Hicks joined Art Blakey's Jazz Messengers in 1964, collaborating alongside the likes of trumpeters Lee Morgan and Freddie Hubbard. Two years later, he signed on with singer Betty Carter, like Blakey a keen judge of emerging talent. Upon exiting Carter's band in 1968, Hicks spent the remainder of the decade with Woody Herman and entered the decade to follow as a first-call sideman. He also moonlighted as an educator, and during the early '70s taught jazz and improvisation at Southern Illinois University.

After backing Carter on her 1976 date Now It's My Turn, Hicks returned to her backing group full-time. The exposure vaulted him to new renown, and in 1979 he finally led his own studio effort, After the Morning. With 1981's Some Other Time, cut with bassist Walter Booker and drummer Idris Muhammad, Hicks also emerged as a gifted composer, writing his best-known effort, "Naima's Love Song," in honor of his young daughter. He recorded prolifically in the years to follow, concentrating on solo and small ensemble work including stints as member of the Power Trio and the Keystone Trio. He also served as the regular pianist with the Mingus Dynasty Band and for a time led his own big band. Hicks enjoyed his greatest commercial success with a series of tribute LPs celebrating the music of his mentors and influences, highlighted by 1998's Something to Live For (a collection of Billy Strayhorn compositions), 2000's Impressions of Mary Lou (Williams, of course), and 2003's Fatha's Day (honoring Earl Hines). Hicks' longest and most rewarding collaboration was his partnership with flutist Elise Wood, which launched in 1983 and after several studio sessions and tours culminated in marriage in 2001, around the time of the release of their duo recording Beautiful Friendship. Hicks died suddenly on May 10, 2006. Just three days earlier, he delivered his final performance at Harlem's St. Mark's United Methodist Church, where his father served as a minister prior to his own death. Hicks was 64 years old. ~ Jason Ankeny http://www.allmusic.com/artist/john-hicks-mn0000224920/biography

Personnel:  Piano – John Hicks;  Bass – Marcus McLaurine;  Drums – Victor Lewis

Moanin' - Portrait of Art Blakey

---