Conte Candoli - Modern Sounds From The West

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 60:34
Size: 141,4 MB
Art: Front

(3:29) 1. The Blindfold Test No. 1
(3:42) 2. Culver City
(2:54) 3. Van Nuys Indeed
(3:56) 4. Burbank Bounce
(4:47) 5. Santa Monica
(4:07) 6. The Blindfold Test No. 2
(4:03) 7. Here's Pete
(3:59) 8. No Love, No Nothin'
(3:17) 9. I'm Getting Sentimental Over You
(2:42) 10. Come Love
(2:55) 11. T.N.T.
(3:31) 12. Thank You, Judge
(4:32) 13. Santa Anita
(3:34) 14. Hooray For Hollywood
(4:30) 15. The Blindfold Test No. 3
(4:27) 16. Arcadia

Best-known as the trumpet section leader in Doc Severinsen's Tonight Show Band, Conte Candoli was a fine all-around jazz stylist most at home in the worlds of bop and West Coast cool jazz. Younger by four years than his similarly accomplished trumpet-playing brother Pete, Conte was born Secondo Candoli in Mishawaka, IN, on July 12, 1927. He first patterned himself after players like Harry James, Roy Eldridge, and Dizzy Gillespie, later discovering Miles Davis and Clifford Brown.

His first job came at age 16, when brother Pete recommended him for a summer gig with Woody Herman's Thundering Herd; after graduating high school, he joined full-time. He went on to play with several other bands, including Stan Kenton, whom he left in 1954 to form his own band. After leading some recording dates, he soon found a more comfortable existence, moving to Los Angeles and taking session jobs in between gigs with Howard Rumsey's Lighthouse All-Stars.

After about four years, he left in 1960 to work with drummer Shelly Manne, while he and Pete both enjoyed top-dog status in the L.A. session community. In 1968, Candoli took a part-time gig with the Tonight Show Band and joined permanently in 1972, when the show officially moved to Burbank.

During the '70s, he was also a member of Supersax, among other L.A. all-star outfits, and also continued his periodic collaborations with his brother. Candoli retired from the Tonight Show along with Johnny Carson in 1992, and continued to play until a battle with cancer slowed his activities. Candoli died in a convalescent home on December 14, 2001.By Steve Huey https://www.allmusic.com/artist/conte-candoli-mn0000100990/biography

Personnel: Conte Candoli / trumpet; John Graas / flute; Charlie Mariano / alto sax; Marty Paich / piano; Monty Budwig / bass; Stan Levey / drums; Buddy Collette / alto sax, flute; Jimmy Giuffre / clarinet, tenor sax,bass sax; Gerald Wiggins / piano; Howard Roberts / guitar; Curtis Counce / bass; Hank Jones / piano; Barry Galbraith / guitar; Milt Hinton / bass; Osie Johnson / drums; Harry Edison / trumpet; Herb Geller / alto sax; Bob Enevoldsen / valve trombone, tenor sax; Lorraine Geller / piano; Joe Mondragon / bass

Modern Sounds From The West

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Alex Sipiagin - Returning

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 55:00
Size: 126,2 MB
Art: Front

(10:56)  1. Returning
( 8:32)  2. Extra Chance
( 7:07)  3. Miniature
( 7:47)  4. Pictures
( 7:21)  5. Snova (Choba)
( 6:44)  6. Son of thirteen
( 6:30)  7. Turn Out the Stars

Some artists leap into visibility; others almost insidiously find their way into the public eye. Russian-born, New York-resident trumpeter Alex Sipiagin has made considerable strides in the past decade in establishing his reputation within the New York jazz community. He's been recruited for increasingly high profile gigs with the Mingus Big Band, Michael Brecker and, most notably, Dave Holland's big band touring and appearing on both What Goes Around (ECM, 2002) and Overtime (Dare2, 2005). With his own series of Criss Cross recordings, Spiagin has proven himself an ever-evolving voice in what some are calling "the new mainstream." Returning finds Sipiagin continuing to mine a more modernistic approach to the tradition one that favors original composition over retreads of standards, incorporating a richer compositional palette. Sipiagin doesn't eschew the standards repertoire entirely; each album features one or two compositions from artists like Mingus, Monk, and Evans. But like others of his generation, Sipiagin doesn't place these tunes on a pedestal, instead reinterpreting them with his own contemporary bent. Sipiagin and tenor saxophonist Seamus Blake wind their way in and around the familiar theme to Bill Evans' "Turn Out the Stars," but guitarist Adam Rogers' harmonic backdrop is more open-ended and ambiguous.

Sipiagin's own writing reflects his exposure to the inner workings of artists like Holland and Brecker, but also his own growing comfort level with complex meters and richer orchestration. In fact, the New York crew that includes Sipiagin, Rogers, and alto saxophonist David Binney seems to be reinventing the language of jazz. Sipiagin's title track may be metrically irregular, but it flows with effortless energy, thanks to drummer Antonio Sanchez's delicately tumultuous approach. Dramatic without resorting to obvious devices, Rogers, Blake, and Sipiagin work hard off each other at the core of the oblique "Miniature," where a more communal approach to soloing replaces individual delineation. That these artists are creating their own vernacular is further evidenced by the fact that Spiagin's three compositions feel completely of a kind with Rogers' "Pictures," despite the fact that it's a more complicated piece revolving around contrapuntal melodies from Blake, Sipiagin, and bassist Scott Colley. Even the light bossa of "Snova" and the equally Latin-inflected but more powerful "Son of Thirteen" two compositions written specifically for Sipiagin by Pat Metheny feel part of the same landscape. Metheny's ability to mask deeper complexity under a lyrical and accessible veneer is not lost on Sipiagin or Rogers. In fact, it's something of a litmus test for this new mainstream.

Reaching out to an audience is important, but never at the expense of one's own voice, and everyone on Returning demonstrates an ability to build solos either alone or collectively that are imaginative and innovative without losing sight of fundamentals like melody and construction. Sipiagin, whose warm tone almost renders invisible the difference between his trumpet and flugelhorn, is an evocative player whose avoidance of outspoken virtuosity belies his clearly advanced technique. The ever-compelling Returning is but further evidence of his continued ascension. ~ John Kelman  http://www.allaboutjazz.com/returning-alex-sipiagin-criss-cross-review-by-john-kelman.php

Personnel: Alex Sipiagin: trumpet, flugelhorn; Seamus Blake: tenor saxophone; Adam Rogers: guitar; Scott Colley: bass; Antonio Sanchez: drums.

Returning

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Frank Zappa And The Mothers of Invention - One Size Fits All

Styles: Jazz Fusion
Year: 1975
File: MP3@320K/s
Time: 43:27
Size: 117,5 MB
Art: Front

(8:42) 1. Inca Roads
(2:38) 2. Can't Afford No Shoes
(2:40) 3. Sofa No.1
(7:41) 4. Po-Jama People
(5:27) 5. Florentine Pogen
(1:16) 6. Evelyn, A Modified Dog
(6:07) 7. Andy
(6:05) 8. San Ber'dino
(2:51) 9. Sofa No.2

Released soon after the live Roxy & Elsewhere, One Size Fits All contained more of the material premiered during the 1973-1974 tour, but this time largely re-recorded in the studio. The band remains the same: George Duke, Napoleon Murphy Brock, Chester Thompson, Tom Fowler, and Ruth Underwood. Johnny "Guitar" Watson overdubbed some vocals and Captain Beefheart (credited as Bloodshot Rollin' Red) played some harmonica ("when present," state the liner notes).

The previous album focused on complex music suites. This one is more song-oriented, alternating goofy rock songs with more challenging numbers in an attempt to find a juste milieu between Over-Nite Sensation and Roxy & Elsewhere. "Inca Roads," "Florentine Pogen," "Andy," and "Sofa" all became classic tracks and live favorites. These are as close to progressive rock (a demented, clownish kind) Zappa ever got. The obscurity of their subjects, especially the flying saucer topic of "Inca Roads," seem to spoof prog rock clichés. The high-flying compositions are offset by "Can't Afford No Shoes," "Po-Jama People," and "San Ber'dino," more down-to-earth songs.

Together with Zoot Allures, One Size Fits All can be considered as one of the easiest points of entry into Zappa's discography. The album artwork features a big maroon sofa, a conceptual continuity clue arching back to a then-undocumented live suite (from which "Sofa" was salvaged) and a sky map with dozens of bogus stars and constellations labeled with inside jokes in place of names. An essential third-period Zappa album. By François Couturehttps://www.allmusic.com/album/one-size-fits-all-mw0000202351

Musicians: Frank Zappa – guitar, lead (4, 6, 9) and backing vocals; George Duke – keyboards, lead (1, 8, 9) and backing vocals, synthesizer; Napoleon Murphy Brock – flute, lead (5, 8) and backing vocals, tenor saxophone; Ruth Underwood – marimba, vibraphone, percussion; Chester Thompson – drums, sound effects, voices; Tom Fowler – bass guitar (all but 2); James "Bird Legs" Youman – bass guitar (2); Johnny "Guitar" Watson – vocals (7, 8); Captain Beefheart (credited as 'Bloodshot Rollin' Red') – harmonica (7)

One Size Fits All

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Dutch Swing College Band - Digital Anniversary (40 Years )

Styles: Swing
Year: 1985
File: MP3@320K/s
Time: 60:54
Size: 141,0 MB
Art: Front

(3:19) 1. Bourbon Street Parade
(4:45) 2. Wabash Blues
(4:45) 3. Caribbean Parade
(5:09) 4. Is It True What They Say About Dixie?
(3:20) 5. Clarinet Games
(2:58) 6. Saturday Night Is The Loneliest Night Of The Week
(3:08) 7. Double Bass Hit
(3:31) 8. Coal Black Shine
(5:15) 9. Third Street Blues
(3:13) 10. Gladiolus Rag
(3:23) 11. Columbus Stockade Blues
(4:02) 12. Devil In The Moon
(4:02) 13. Original Dixieland One Step
(2:57) 14. Rose Room
(3:13) 15. Swing 36
(3:43) 16. Sunday

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson. The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. By Craig Harris
https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Digital Anniversary (40 Years )

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