Melissa Collard - In A Mellow Tone

Size: 153,5 MB
Time: 65:20
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals
Art: Front

01. Out Of Nowhere (4:02)
02. How Am I To Know (3:42)
03. I'm Confessin' (3:52)
04. I Don't Want To Set The World On Fire (4:16)
05. In A Mellow Tone (2:47)
06. Jitterbug Waltz (5:16)
07. Love You Madly (4:05)
08. Lullaby Of The Leaves (4:32)
09. Indian Summer (4:43)
10. As Long As I Live (3:16)
11. We'll Be Together Again (5:31)
12. If I Had You (3:06)
13. You're Driving Me Crazy (2:42)
14. Azure (2:46)
15. Save Your Sorrow (2:29)
16. Love Locked Out (3:11)
17. O Barquinho (Little Boat) (4:54)

Melissa Collard is an excellent swing singer and guitarist based in Northern California. She grew up in Southern California and was introduced to early jazz through her grandmother, who played ragtime and stride piano. She was also interested in more modern jazz and rock as a teenager, performing as a backup singer with her brothers' rock band. Collard began playing guitar at 12, stretching from Django Reinhardt and Eddie Lang to Pat Metheny and Jimi Hendrix. She first sang regularly at a lounge on the Redondo Beach Pier when she was 14. Collard graduated from high school and studied English at Berkeley, where she met the local traditional jazz musicians. She played early jazz with such musicians as Dick Oxtot, Bob Mielke, Bob Helm, Ray Skjelbred, Leon Oakley, Jim Goodwin, and Bob Schulz. She also worked with a quartet that was inspired by Django Reinhardt's music. After moving to Sacramento in the late '80s, Collard sang more modern standards with piano trios in hotels, worked with the ghost bands of Tommy Dorsey and Nelson Riddle, sang Western swing with the Lost Weekend big band, and traveled to Europe with the Cosumnes River College Jazz Band. In 2004 she made her recording debut on Old Fashioned Love, a CD also featuring trombonist Dan Barrett and banjoist/guitarist Eddie Erickson. ~by Scott Yanow

In A Mellow Tone

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Miles Davis - The Lost Quintet

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 58:11
Size: 133,7 MB
Art: Front

( 7:18) 1. Directions
(10:27) 2. Bitches Brew
(25:26) 3. Sanctuary
(14:59) 4. Masqualero

Miles Davis (tpt), Wayne Shorter (ten, sop), Chick Corea (fender rhodes), Dave Holland (bs), Jack De Johnette (drs)

This is the long awaited release of Miles "Lost Quintet" recordings of 1969 on the occasion of its fiftieth anniversary. The recording date and venue was November 9th 1969 in Rotterdam just three months after the "Bitches Brew" original studio takes with the full band that were not released until March 1970. That incredible two disc recording followed the earlier game changer"In A Silent Way"in the same year and changed the career outcome of every single one of the players involved and as some would say "The whole face of jazz forever". The performance on this album was the last of a ten gig European tour which included two nights in London on the first and second of the month. The gathering of this core group from the earlier albums was the last ever time Miles would record with a small conventional group of instruments during the rest of his career.

The fifty eight minutes of live music here is just what you might expect from these five incredibly talented and creative musicians with the performance of Chick Corea perhaps the one that stands out slightly above the others. Things kick off with "Directions", a piece that Miles often opened up with during this period including the Copenhagen concert of the same year and released on the fortieth anniversary triple album edition of Bitches Brew and of course the subtitle of the original album. Here the rhythm instruments set the mode for the leaders fiery extended excursion into the far reaches of the trumpets capability. Wayne answers Miles, as he often did, within his self titled style of "egg scrambling" leaving no possible corner of the much hidden theme unexplored. All this rides above the increasingly violent but logical assault by Jack De Johnette on his heavy duty drum kit. Emerging from the hectic maelstrom of all that follows a re-visit to "Bitches Brew". At just over ten minutes long this seems a more considered version than the original studio recording which took up a full side on the vinyl edition. Miles opening solo, when did he ever not go first?, is almost from the fifties style, but soon drops into the more fragmented grove of the times over rolling drums along with probing inlays from Chick's keyboard plus a wonderful interlude from Wayne, again on tenor. Rampant applause ensues from the ecstatic Belgian masses.

Wayne Shorter, by common consent is a wonderful jazz composer as well as a master saxophonist. He has created some real masterpieces over the years, none greater than the wonderful "Sanctuary". This appears on a number of albums including B.B. plus a particularly fine take on Circle In The Round by the second great quintet with George Benson guesting. However none of them get such a thorough investigation as the twenty five minute plus version here. Miles is in his "Picasso like" sketching mode early on with Dave Holland in support, soon you realise that this is nothing at all like other versions of the piece as the leader upgrades both the tempo and tension over increasingly frantic drumming which continues under Wayne's soprano solo until things fall away with bass and drums having the final say. Perhaps this take is not the easiest listen of the piece, Miles always had the ability to shock and surprise and we must thank him for that. The closing cut of the album "Mastuero" is the standout track and seems to draw on many of the finest traits from earlier performances during 69. Miles un-muted solo is profound and purposeful over the rarely subdued rhythm team. Chick's contribution is hypnotic, everyone seems to be listening to each other here and although the overall style is entirely different there are times when the listener is reminded of Miles second great quintet with Coltrane. This disk is a heady reminder of the time back in the late sixties when Miles changed the shape of jazz once again, and is a valuable addition to any collection of the great man's music.~Jim Burlonghttps://www.jazzviews.net/miles-davis---the-lost-quintet.html

The Lost Quintet

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Maurice Vander - Spécial Piano Rendez-Vous

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 37:26
Size: 85,9 MB
Art: Front

(3:13) 1. The Wedding of the Painted Doll
(2:58) 2. Nola
(3:15) 3. Fascination
(3:37) 4. Close Your Eyes
(2:50) 5. Carioca
(2:30) 6. What a Difference a Day Made
(3:29) 7. Never On Sunday
(3:21) 8. Dancers in Love
(2:37) 9. Fascinating Rhythm
(3:11) 10. Bewitched
(3:41) 11. San Antonio Rose
(2:40) 12. Temptation Rag

Maurice Vanderschueren, better known as Maurice Vander (born 11 June 1929, Paris, died 16 February, 2017) was a French jazz keyboardist.

Vander worked in the 1950s with Don Byas, Django Reinhardt, Bobby Jaspar, Jimmy Raney, Stephane Grappelli, Chet Baker, and Kenny Clarke. He won the Prix Django Reinhardt in 1962. In the 1960s he was a session musician for Roger Guerin, Pierre Gossez, and Boulou Ferré, and played with Claude Nougaro and Ivan Jullien. He played with Baker again in the late 1970s and with Johnny Griffin; his later work included performing and recording with Clarke, Richie Cole, Art Farmer, and Benny Powell. Vander is the adoptive father of Christian Vander (musician). https://en.wikipedia.org/wiki/Maurice_Vander

Spécial Piano Rendez-Vous

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George Cables - You Don't Know Me Vol 1

Bitrate: MP3@320K/s
Time: 57:13
Size: 131.0 MB
Styles: Jazz piano
Year: 2008
Art: Front

[5:55] 1. My Foolish Heart
[6:12] 2. You Don't Know Me
[6:27] 3. Evc
[4:00] 4. Up Jumped Spring
[4:48] 5. You Don't Know What Love Is
[5:41] 6. Lullaby
[6:09] 7. Helen's Song
[5:57] 8. Helen Mother's Song
[5:50] 9. Spookarella
[6:09] 10. Honey Lulu

George Cables has quietly assembled an impressive discography as a leader over his long career. Two days of sessions in May 2007, a few months before medical problems caused him to undergo a multiple organ transplant, resulted in one of his very best releases. The first disc opens with a rambunctious take of "My Foolish Heart" that is a refreshing alternative to the typical overly sentimental arrangements. His upbeat, subtle treatment of Freddie Hubbard's "Up Jumped Spring" is beautifully understated, while his dramatic setting of "You Don't Know What Love Is" (erroneously credited to Billie Holiday) has Art Tatum-like flourishes. Most of the remaining tracks on disc one are Cables originals, highlighted by his delicate ballad "Lullaby" (a favorite of the late alto saxophonist Frank Morgan when he played with the pianist) and his inventive, bluesy "Helen's Song." Disc two opens with a trio of African-American spirituals, each played with the authority of a man who has lived the music. Cables' breezy take of "Smoke Gets in Your Eyes" takes this standard into less familiar territory, while his intricate reworking of the warhorse "Stella by Starlight" is just as dazzling. Bill Evans' "Waltz for Debby" has long been a favorite of jazz pianists, though Cables successfully puts his own stamp on it with a sparkling arrangement that still retains the original's playful attitude. Cables also includes a trio of originals on disc two, with the descriptive "Morning Song" especially standing out. Highly recommended. ~Ken Dryden

You Don't Know Me Vol 1

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