The Count Basie Orchestra - Live At El Morocco

Styles: Jazz, Big Band
Year: 1992
File: MP3@320K/s
Time: 67:43
Size: 158,5 MB
Art: Front

(4:49) 1. Gone An' Git It Y'all
(5:43) 2. A Night At El Morocco
(5:04) 3. Right On, Right On
(5:11) 4. That's The Kind Of Love I'm Talking About
(5:18) 5. Corner Pocket
(4:06) 6. Little Chicago Fire
(5:21) 7. Shiny Stockings
(5:27) 8. Angel Eyes
(6:41) 9. Major Butts
(4:40) 10. Ditty
(5:00) 11. Vignola Express
(4:48) 12. Basie
(5:29) 13. One O'Clock Jump

Even without its original leader, the Count Basie Orchestra is today one of the finest jazz big bands in existence. Frank Foster has kept the instantly recognizable sound while welcoming younger soloists and infusing the band's repertoire with new charts. This strong live program is typical of the Basie band in the '90s, performing older tunes (such as "Corner Pocket" and "Shiny Stockings") that alternate with newer and no less swinging originals, all of which leaves room for the orchestra's many promising soloists.~Scott Yanowhttps://www.allmusic.com/album/live-at-el-morocco-mw0000087296

Personnel: Alto Saxophone [Lead], Piccolo Flute – Danny Turner; Alto Saxophone, Flute – Manny Boyd; Baritone Saxophone, Bass Clarinet – John Williams ; Bass – Cleveland Eaton; Bass Trombone – Bill Hughes; Drums – David Gibson ; Guitar – Charlton Johnson; Piano – George Caldwell ; Tenor Saxophone, Flute – Doug Miller, Kenny Hing; Trombone – Clarence Banks, Robert Trowers; Trombone [Lead] – Mel Wanzo; Trumpet – Bob Ojeda, Derrick Gardner, Melton Mustafa; Trumpet [Lead] – Mike Williams

Live At El Morocco

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June Christy - June Christy 1977

Styles: Vocal
Year: 1977
File: MP3@320K/s
Time: 42:19
Size: 97,1 MB
Art: Front

(3:25) 1. My Shining Hour
(4:51) 2. Once Upon A Summertime
(2:28) 3. Show Me
(6:14) 4. Everything Must Change
(4:20) 5. Willow Weep For Me
(3:54) 6. I'll Remember April
(4:01) 7. The Trouble With Hello Is Goodbye
(4:06) 8. Autumn Serenade
(4:13) 9. Sometime Ago
(4:43) 10. Angel Eyes

Though she was the epitome of the vocal cool movement of the 1950s, June Christy was a warm, chipper vocalist able to stretch out her impressive voice on bouncy swing tunes and set herself apart from other vocalists with her deceptively simple enunciation. From her time in Stan Kenton's Orchestra, she inherited a focus on brassy swing from arranger friends like Pete Rugolo. Rugolo would become a consistent companion far into her solo days, too, arranging most of her LPs and balancing her gymnastic vocal abilities with a series of attentive charts.

Born Shirley Luster in Springfield, IL, she began singing early on and appeared with a local society band during high school. She moved to Chicago in the early '40s, changed her name to Sharon Leslie, and sang with a group led by Boyd Raeburn. In 1945, after hearing that Anita O'Day had just left Stan Kenton's Orchestra, she auditioned for the role and got it early that year. Despite an early resemblance (physically and vocally) to O'Day, the singer -- renamed June Christy -- soon found her own style: a warm, chipper voice that stretched out beautifully and enlivened Kenton's crossover novelties ("Shoo Fly Pie and Apple Pan Dowdy," the million-selling "Tampico") as well as the leader's intricately arranged standards ("How High the Moon"). As she became more and more popular within the Kenton band, arranger Pete Rugolo began writing charts with her style especially in mind. After the Kenton orchestra broke up in 1948, Christy worked the nightclub circuit for awhile before reuniting with Kenton for his 1950 Innovations in Modern Music Orchestra, a very modern 40-piece group that toured America. She had already debuted as a solo act the year before, recording for Capitol with a group led by her husband, Kenton tenor saxophonist Bob Cooper.

Christy's debut LP for Capitol, 1954's Something Cool, was recorded with Rugolo at the head of the orchestra. The album launched the vocal cool movement and hit the Top 20 album charts in America, as did a follow-up, The Misty Miss Christy. Her 1955 Duet LP paired her voice with Kenton's piano, while most of her Capitol LPs featured her with various Kenton personnel and Rugolo (or Bob Cooper) at the head of the orchestra. She reprised her earlier big-band days with 1959's June Christy Recalls Those Kenton Days, and recorded a raft of concept LPs before retiring in 1965. Christy returned to the studio only once, for 1977's Impromptu on Musicraft.~John Bush https://www.allmusic.com/artist/june-christy-mn0000837592/biography

Personnel: June Christy – vocals; Lou Levy – piano; Jack Sheldon – trumpet; Frank Rosolino – trombone; Bob Cooper – tenor saxophone, flute; Bob Daugherty – bass; Shelly Manne – drums

June Christy 1977

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Earl Klugh - Late Night Guitar

Bitrate: MP3@320K/s
Time: 35:45
Size: 81.8 MB
Styles: Guitar jazz
Year: 1980/1999
Art: Front

[1:58] 1. Smoke Gets In Your Eyes
[2:59] 2. Nice To Be Around (Nice To Have Around)
[2:44] 3. Like A Lover
[1:46] 4. Laura
[3:26] 5. Jamaica Farewell
[1:52] 6. Tenderly
[2:54] 7. Mona Lisa
[2:05] 8. Triste
[4:20] 9. Two For The Road
[2:47] 10. Mirabella
[2:06] 11. Lisbon Antigua
[2:51] 12. A Time For Love
[3:51] 13. I'll Never Say Goodbye (The Promise)

This is the perfect setting for acoustic guitarist Earl Klugh, playing strong melodies (including such standards as "Smoke Gets In Your Eyes," "Laura," "Mona Lisa" and "Two for the Road") while joined by strings and several horns in an orchestra arranged and conducted by Dave Mathews. As usual for a Klugh session, the guitarist sticks mostly to the themes and does not improvise much, as he never considered himself a jazz player; but the overall effect is quite pleasing.

Late Night Guitar

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Carmen Lundy - Soul To Soul

Bitrate: MP3@320K/s
Time: 71:33
Size: 163.8 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[5:21] 1. Kindred Spirits
[6:14] 2. Life Is A Song In Me
[6:36] 3. Soul To Soul
[7:11] 4. When Will They Learn
[5:12] 5. Daybreak
[4:08] 6. Between Darkness And Dawn
[6:34] 7. Grace
[4:36] 8. Grateful, Pt. 1
[4:43] 9. Grateful, Pt. 2
[6:31] 10. Everything I Need
[4:33] 11. Don't You Know How I Feel
[5:36] 12. Sardegna
[4:11] 13. What's Your Story, Morning Glory

Carmen Lundy – vocals, piano, Rhodes, keyboards, guitar, drums, percussion, string arrangements and programming; Patrice Rushen – piano, Rhodes, keyboards; Geri Allen – piano, Rhodes; Darryl Hall – acoustic bass, electric bass; Jamison Ross – drums, percussion; Mayra Casales – percussion, congas; Carol Robbins – harp; Warren Wolf – vibes; Randy Brecker – trumpet, ugelhornl Ada Rovatti – tenor sax; Bennie Maupin – tenor sax, soprano sax Simphiwe Dana – vocals; Background Vocals – Carmen Lundy, Patrice Rushen, Jamison Ross, Mayra Casales, Darryl Hall, Elisabeth Oei.

“Soul To Soul,” a passionate new song cycle from vocalist, songwriter, producer and musician Carmen Lundy is Lundy’s 14th album, and the next chapter in her critically-acclaimed career as both a musical artist and a visual artist; a return to her roots but also an exploration of these roots — and the journey that those roots can take you on. Featuring the stellar talents of guest artists Patrice Rushen, Geri Allen, Randy Brecker, Mayra Casales, Simphiwe Dana, Bennie Maupin, Carol Robbins, Ada Rovatti, and Warren Wolf along with Carmen’s core rhythm section members Darryl Hall and Jamison Ross , “Soul To Soul” invites the listener on an intriguing journey. The moods and moments of “Soul To Soul” are genre-bending and traverse many borders, both literally and figuratively.

Soul To Soul

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