Ray Davies, The Trumpet Of & His Button Down Brass - Whipped Cream

Styles: Easy Listening
Year: 2008
File: MP3@320K/s
Time: 32:07
Size: 74,6 MB
Art: Front

(1:50) 1. Dinah
(2:45) 2. My Baby Just Cares for Me
(2:03) 3. The Mexican Shuffle
(1:47) 4. Five Minutes More
(2:31) 5. The John B Sails
(2:02) 6. Flamingo
(2:52) 7. Cabaret
(2:02) 8. Spanish Flea
(2:34) 9. A Taste of Honey
(2:07) 10. Frenesi
(1:54) 11. South of the Border
(3:07) 12. A Swingin' Safari
(2:05) 13. Tijuana Taxi
(2:20) 14. Whipped Cream

Ray Davies was a Welsh trumpeter, session musician, and bandleader, active from the 1940s to 1970s. Much of his work featured on the Boosey & Hawkes stock music library, experiencing a surge in popularity during the 1990s lounge revival, and he also frequently conducted the BBC Radio Orchestra, as well as playing for the BBC Big Band. He is the father of record producer Rhett Davies, and served as chairman of BASCA from 2004 to 2010. During his childhood, he played in local military bands, after which he attended the Royal College of Music. After finishing his education, he began to play trumpet for a large number of orchestras, big bands, and theatres across London, including that of Frank Cordell.

In the 1960s, he took part in a session for Reader's Digest, which, wanting a British response to Herb Alpert, led to Davies forming his band. This group was known as Ray Davies and The Button-Down Brass (or The Button-Down Brass Featuring The Funky Trumpet of Ray Davies), and it released a series of popular easy-listening albums, as well as covers of television and film theme tunes. At the same time, he also entered the pop scene, playing trumpet on records such as It's Not Unusual, Downtown, and Shirley Bassey's version of Big Spender. Known for his short temper, he became an accomplished songwriter, and he was consulted by many pop bands, including The Beatles and The Rolling Stones, on musical arrangements. He died at the age of 89, on July 20, 2017. https://en.m.wikipedia.org/wiki/Ray_Davies_(trumpeter)

Whipped Cream

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OM - OM with Dom Um Romao

Styles: Latin Jazz
Year: 1977
File: MP3@320K/s
Time: 41:55
Size: 96,6 MB
Art: Front

(10:47) 1. Chipero
( 7:38) 2. Back to Front
( 6:25) 3. Dumini
(17:03) 4. De Funk

Is there a high road? This is the question asked by OM’s third of four albums for JAPO. For its junior effort, the renegade quartet of Urs Leimgruber (reeds), Christy Doran (guitar), Bobby Burri (bass), and Fredy Studer (drums) would seem to hold to a relatively accessible doctrine. But while it is the most groove-oriented in their potent discography not surprising, given the driving center found in guest artist Dom Um Romão (1925-2005) the core provided by the legendary Brazilian jazz drummer and percussionist, known for his work with Weather Report, allows a melodic brand of expressive freedom to take shape. The showdown is just as dreamy and feverish as anything OM had ever produced. This atmosphere comes about through the hypnotic effect of a steady pulse, the essence of all ritual. Burri’s “Chipero” opens the doors to a realm of bird and goddess, a forest where waters run shallow but sure. Romão provides the welcoming call, the rest evoking fauna and wounds of expectation. These energies sustain themselves throughout, especially in the two Doran-penned tunes.

“Back To Front” swings us farther out into the cosmic stretch by way of some especially colorful picking from the composer, unwrapping a package of candy and strewing its contents over Saturn’s rings. The flow is not without its detours, as evidenced by the stark change of scenery as bass and guitar mellow for a concluding night flight. Doran’s other half is “De Funk,” which churns the butter to even smoother consistency. Romão’s Nana Vasconcelos vibe adds just the right touch of salt to Studer’s metronome. Doran, ebullient as over, can only defer to Burri, who works overtime to keep us in the here and now. Leimgruber’s bass clarinet turns like a jigsaw piece crying for fit and sets up a round of witty exchanges. Nestled among these propulsive journeys, the artful dodge of Leimgruber’s “Dumini” awakens the behemoth of memory in a lanky, sweltering pitch. Because it is the only track to have made the cut for OM’s retrospective album, this collaborative joint is worth checking out for the surrounding paths it lays. OM remains attentive to ebb and flow, an oarless boat reaching shore. What does oxygen breathe? https://ecmreviews.com/2013/03/22/om-with-dom/

Personel: Urs Leimgruber soprano and tenor saxophones, bass clarinet; Christy Doran 6- and 12-string electric guitars; Bobby Burri bass; Fredy Studer drums; Dom Um Romão percussion, berimbau

OM with Dom Um Romao

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Charlie Ventura - All That's Mine

Bitrate: 320K/s
Time: 77:10
Size: 176.7 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[3:23] 1. Exactly Like You
[5:55] 2. No More Blues
[2:24] 3. Honeysuckle Rose
[3:26] 4. Stardust
[3:15] 5. When The Saints Go Marching In
[4:14] 6. Nobody Knows The Trouble I've Seen
[2:55] 7. Runnin' Wild
[3:08] 8. I've Got You Under My Skin
[5:12] 9. Long, Long Summer
[2:28] 10. Bill Bailey, Won't You Please Come Home
[2:55] 11. Dark Eyes, Pt. 1
[3:01] 12. Sweet Sue, Just You
[2:09] 13. Dark Eyes, Pt. 2
[4:31] 14. 's Wonderful
[3:13] 15. Charlie Comes On
[2:55] 16. It's Only A Paper Moon
[2:48] 17. Jack-Pot
[2:49] 18. I Surrender, Dear
[3:36] 19. Pau De Arara
[3:07] 20. C.V. Jam
[2:29] 21. Sweet Lorraine
[4:15] 22. Who's Sorry Now
[2:50] 23. Good (Big) Deal

A fine swing-oriented tenor saxophonist, Ventura is best-remembered for his attempt at popularizing bebop during the tail end of the music's mid- to late-'40s heyday. Born Charles Venturo, he came from a large, musically inclined family. His first instrument was C-melody sax. He switched to alto before eventually settling on tenor. Ventura left his day job at the Philadelphia Navy Yard in 1942 to join Gene Krupa's band. He became a featured soloist with Krupa, playing with the drummer from 1942-1943 and 1944-1946 (working in the interim with guitarist/bandleader Teddy Powell). Ventura achieved considerable popularity while with Krupa, winning a Down Beat magazine award as best tenor saxophonist in 1945. He started his own big band in 1946 with middling results. He had more success fronting a small band, one version of which included trumpeter Conte Candoli, trombonist Bennie Green, alto saxophonist Boots Mussulli, drummer Ed Shaughnessy, and vocalists Jackie Cain and Roy Kral. Ventura recorded for small labels before getting signed to RCA Victor, which at the time wanted to capitalize on the emergence of bebop. An RCA executive purportedly told him that they wanted the word "bop" in the band's name. Ventura came up with the phrase "Bop for the People," which implied an accessible form of the music. Ventura formed a big band in 1948, but soon cut it down to eight members, retaining Cain and Kral, who were crucial components of the band's sound. The Bop for the People band worked through 1949 (during which time Ventura employed modern jazz's greatest saxophonist, Charlie Parker, on a record date), but in the end Ventura's stab at making a commercial success of bop failed. Indeed, as fine a player as he was, Ventura himself was never really a bopper. During the early '50s Ventura led another big band; formed a highly acclaimed group called the Big Four with bassist Chubby Jackson, drummer Buddy Rich, and pianist Marty Napoleon; briefly ran his own night club in Philadelphia; and also worked again with Cain and Kral. Ventura's health was not the best, yet he continued to work with Krupa into the '60s. After the '50s, Ventura recorded commercially only once (in 1977, with pianist John Bunch for the Famous Door label). Still, he remained active. He worked in Las Vegas (with comedian Jackie Gleason), and fronted various groups in the '70s and '80s, before dying of lung cancer in 1992. ~Chris Kelsey

All That's Mine

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