Eddie Higgins Featuring Scott Hamilton & Ken Peplowski - A Handful of Stars

Styles: Piano And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 71:40
Size: 164,4 MB
Art: Front

(6:16)  1. In  Love In Vain
(6:04)  2. You Leave Me Breathless
(8:20)  3. A Handful Of Stars
(6:42)  4. Come Rain Or Come Shine
(6:14)  5. April In Torino
(8:16)  6. Night Has A Thousand Eyes
(5:39)  7. Flamingo
(6:01)  8. Breezin' Along With The Breeze
(7:17)  9. A Portrait Of Jenny
(5:28) 10. Softly As In A Morning Sunrise
(5:17) 11. All Too Soon

A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades. After growing up in New England, he moved to Chicago, where he played in all types of situations before settling in to a long stint as the leader of the house trio at the London House (1957-1969). Higgins moved back to Massachusetts in 1970 and went on to freelance, often accompanying his wife, vocalist Meredith D'Ambrosio, and appearing at jazz parties and festivals. Eddie Higgins has led sessions of his own for Replica (1958), Vee-Jay (1960), Atlantic, and Sunnyside; back in 1960, he recorded as a sideman for Vee-Jay with Lee Morgan and Wayne Shorter.
By Scott Yanow https://itunes.apple.com/us/artist/eddie-higgins/id80690717#fullText


Personnel: Eddie Higgins – piano; Scott Hamilton - tenor sax; Ken Peplowski - tenor sax; clarinet; Jay Leonhart – bass; Joe Ascione - drums

A Handful of Stars

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Masha Ray - Electro Swing

Styles: Swing
Year: 2021
Time: 43:25
File: MP3 @ 320K/s
Size: 100,9 MB
Art: Front

(3:14) 1. Hasta La Vista
(3:09) 2. Eye Candy
(3:18) 3. Grannies
(3:01) 4. Like Me
(3:48) 5. All the World's a Stage
(3:21) 6. Keep Falling
(3:44) 7. Ring Ring Ring
(3:08) 8. Drip Drop
(2:59) 9. Let It Go
(3:27) 10. Break the Spell
(3:39) 11. Lucky You
(3:39) 12. Get Lost
(2:52) 13. Hasta La Vista (ROMZN Remix)

The Berlin based singer/producer duo consisting of Masha and Roman Andor met during a Songwriter Camp in Rotterdam.

Combining the singers’ Ukrainian roots and eastern influenced musical education with Roman Andor’s lush trumpet sounds and rich beats, their Vintage Dance sound was born.

Until now Masha Ray collected a decent range of originals and covers that can easily fill a night, ranging from Electro-Swing, Dancehall, Pop to Balkan-Beats and Klezmer referring to Masha’s jewish roots. The instrumentation varies from a performance as a duo with her producer and DJ Roman Andor to an ensemble with drums, bass, wind section and strings.

The mix of the seductively sweet sound of Masha’s siren voice, the snappy-ironic lyrics and the decadent retro production make up the project Masha Ray.https://www.masharaymusic.com/

Electro Swing

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Milton Nascimento & Jobim Trio - Novas Bossas

Bitrate: MP3@320K/s
Time: 54:23
Size: 124.5 MB
Styles: Bossa Nova, Latin jazz
Year: 2008
Art: Front

[3:44] 1. Tudo Que Você Podia Ser
[4:09] 2. Dias Azuis
[3:27] 3. Cais
[3:50] 4. O Vento
[4:38] 5. Tarde
[2:03] 6. Brigas Nunca Mais
[4:54] 7. Caminhos Cruzados
[3:32] 8. Inutil Paisagem
[3:29] 9. Chega De Saudade
[3:50] 10. Medo De Amar
[2:40] 11. Velho Riacho
[6:05] 12. Esperanca Perdida
[3:59] 13. Trem De Ferro
[3:58] 14. Samba Do Aviao

Milton Nascimento: vocals; Daniel Jobim: piano; Paulo Braga: drums; Paulo Jobim: guitar; Rodrigo Villa: bass.

Tom Jobim was the originator of the new Bossa Nova beat in Brazil in the late 50's and it was Joao Gilberto that first mastered the guitar technique to introduce it to the world in 58. They both said that Milton Nascimento was the only singer that could reach the original pitch of the compositions and so it is entirely fitting that he has teamed up here with Tom's son Paulo and grandson Daniel for a recording session to celebrate both Tom Jobim and the anniversary of his invention of the Bossa Nova. Mixing songs by Tom Jobim, Milton Nascimento and Daniel Jobim, this is a true master class in the art of the Bossa and a new milestone in Brazilian music. An important, as well as a sublime release.

Novas Bossas

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Madeleine Peyroux - Let's Walk

Styles: Vocal
Year: 2024
Time: 42:13
File: MP3 @ 320K/s
Size: 97,3 MB
Art: Front

(4:01) 1. Find True Love
(4:14) 2. How I Wish
(4:52) 3. Let's Walk
(4:52) 4. Please Come On Inside
(4:17) 5. Blues for Heaven
(4:02) 6. Et Puis
(3:35) 7. Me and the Mosquito
(4:12) 8. Nothing Personal
(4:01) 9. Showman Dan
(4:03) 10. Take Care

My focus on albums is to review the music, performance & production. So as far as topics & themes chosen I avoid editorializing since I’m not preoccupied with the artist’s thrust or influence. However, tender subjects can be difficult to navigate since hypocrisy can taint the well-intentioned singer-songwriter. Fortunately, that’s not evident here. These plaintive, lively, well-recorded & deftly handled creative fingertips that touch the surface water seldom venture into dark depths. Madeleine Peyroux cruises through each piece diplomatically, honestly & with beauty & sensibility.

Ms. Peyroux, who I’d seen at The Bottom Line in NYC years ago after hearing her “Dreamland” CD has always been an artist who was a curiosity. Yes, she sometimes has that obvious Billie Holiday with singing lessons tone, but it’s also how she conveys an Edith Piaf classiness. There’s no energetic Joan Armatrading approach, deep tonality of a bluesy-jazz chanteuse like Cassandra Wilson, or sultry deep timbre of Bird York

But what is brought out is the full blossom of 10 unadorned beauties on Let’s Walk (Drops June 28/Just One/Thirty Tigers/42:13) produced by Elliot Scheiner, Jon Herington (guitars/mandolin/marimba sample/synth/vocals/bass) & Ms. Peyroux (vocals/acoustic guitar)

Here, it’s the silkiness of the voice through English ballads, French & Spanish easy listening & melodically solid tunes conveyed with care taken to create something well beyond the mainstream frame. There’s just a marvelous musical sway Madeleine manages to penetrate the seams of a deep ear & travel directly into the heart as well as the soul.

She even has the coolness of a Rickie Lee Jones (“Showman Dan”) with all the old-world spiritual menagerie & finger-popping jive of 52nd Street NYC jazz clubs circa 1945. Madeleine is a study in Style that was hip decades ago but makes you wonder if it ever really left. She doesn’t sound nostalgic at all. She brings the déjà vu.

This is Madeleine’s first album in 6 years & while some may think she’s spread herself thin with all the genres she touches upon the expertise she displays warrants it. She’s daring, diversified & in some spots dare I say, humorous. She’s one of the few artists I’d see again & she doesn’t use laser beams, smoke machines, or 100 dancing girls in flimsy outfits behind her.
https://alleyesmedia.com/lets-walk-madeleine-peyrouxs-most-eclectic-and-courageous-album-to-date-set-for-june-28th-release/

Highlights: “Let’s Walk,” “Please Come On Inside,” “Blues For Heaven,” “Et Puis,” “Me & the Mosquito,” “Nothing Personal” & “Showman Dan.

Musicians: Paul Frazier (bass), Graham Hawthrone (drums/percussion), Andy Ezrin (Hammond organ/vox continental/harmonium/piano/Rhodes/Wurlitzer/orchestral bells), Stan Harrison (clarinets), Catherine Russell, Cindy Mizelle & Keith Fluitt (vocals).

Let's Walk

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Swiss Dixie Stompers - A Tribute to Louis Armstrong

Styles: Jazz
Year: 2024
Time: 67:15
File: MP3 @ 320K/s
Size: 155,3 MB
Art: Front

(3:17) 1. Mabel's Dream
(2:08) 2. Just Gone
(2:58) 3. Potato Head Blues
(2:51) 4. That's My Home
(4:05) 5. St. Louis Blues
(5:13) 6. Black and Blue
(2:47) 7. Cornet Shop Suey
(4:37) 8. Twelfth Street Rag
(4:10) 9. On the Sunny Side of the Street
(5:52) 10. I Can't Belive That You're in Love with Me
(4:27) 11. Basin Street Blues
(4:27) 12. Mack the Knife
(7:32) 13. Tin Roof Blues
(6:01) 14. Bourbon Street Parade
(6:42) 15. I Surrender Dear

The Biel band is undoubtedly one of the most successful Swiss Trad Jazz orchestras. Here, the Stompers are reinforced by the French trumpeter Irakli and the Bernese pianist Mike Goetz, in the footsteps of the largest jazz musician. The repertoire ranges from the pieces in the early 1920s – King Oliver or the Hot Five and Seven to the show tunes towards the end of Louis’ career. https://downtownrecords.ch/produkt/swiss-dixie-stompers-a-tribute-to-louis-armstrong/

Collective personnel: Irakli de Davrichevy tp, Andre Racine tp, Randy Wirz cl, Willy Gasser tb, Mike Goetz p, Marcel Lack bj, g, Martin Albrecht b, David Elias dr, Kurt Gasser bj, g, Tom “Spats” Langham g, voc.

A Tribute to Louis Armstrong

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Angela Bofill - Something About You

Styles: Vocal, Soul
Year: 1981
File: MP3@320K/s
Time: 58:25
Size: 133,9 MB
Art: Front

(4:02)  1. Something About You
(3:54)  2. Break It To Me Gently
(3:22)  3. On And On
(5:57)  4. Tropical Love
(3:27)  5. You Should Know By Now
(4:28)  6. Only Love
(3:22)  7. Holdin' Out For Love
(4:30)  8. Stop Look Listen
(4:32)  9. I Do Love You
(0:18) 10. Three Blind Mice
(5:17) 11. Time To Say Goodbye
(3:56) 12. Never Wanna Be Without Your Love
(3:46) 13. Esperando Al Amor
(3:56) 14. Love Light
(3:29) 15. Rhythm Of Your Mind

Angela Bofill enjoyed surprising commercial success with her first two albums, Angie and Angel of the Night, produced by contemporary jazz executives Dave Grusin and Larry Rosen for their GRP label, distributed by Arista. She then jumped to Arista proper (causing some bad blood with GRP) to try for a deliberate jazz-pop crossover on her third album, which was produced by Narada Michael Walden and shepherded by Arista president Clive Davis, who took an executive producer credit. Davis canvassed the publishing world for likely hit songs, then Walden put together a studio team to create a smooth, sophisticated sound that would, it was hoped, work for pop, R&B, and adult contemporary radio as well as setting feet moving in the discos. In practice, it didn't work out that way. 

The title track, with a lush disco arrangement, arrived as a single after disco had faded, though it, like second single "Holdin' Out for Love," a professional song by professional songwriters Cynthia Weil and Tom Snow, managed to peak in the R&B Top 40. With those calling cards, the album was able to register only a Top 20 R&B/Top 100 pop showing, not as high as Angel of the Night, as Bofill's contemporary jazz fans deserted her in droves for her commercial sellout. This is a shame, since, however compromised its goals, much of Something About You is effective early-'80s jazz-pop, and Bofill sings powerfully throughout. Particularly impressive are the ballads "Break It to Me Gently" and "Time to Say Goodbye." ~ William Ruhlmann http://www.allmusic.com/album/something-about-you-mw0000225004

Personnel: Corrado Rustici, Joaquin Lievano (guitar); Earl Klugh (acoustic guitar, nylon-string guitar); Larry Schneider (flute); Marc Russo (saxophone); Greg Adams, Mic Gillette (trumpet, flugelhorn); Wayne Wallace (trombone); Tower of Power (horns); Narada Michael Walden (piano, drums); Patrick Cowley (synthesizer, sound effects); Greg Levias (synthesizer); Andy Narell (steel drum); Paulinho Da Costa (percussion); Jim Gilstrap, John Lehman, Scherrie Payne, Vicki Randle, Myrna Matthews (background vocals).

Something About You

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Willie Smith With Harry James And His Orchestra - Snooty Fruity

Styles: Swing, Big Band
Year: 1990
Time: 75:49
File: MP3 @ 128K/s
Size: 69,4 MB
Art: Front

(3:25) 1. I'm Confessin' That I Love You
(3:19) 2. Ain't She Sweet-
(3:32) 3. Who's Sorry Now-
(3:22) 4. Keb-Lah
(6:22) 5. Moten Swing
(3:17) 6. East Coast Blues
(3:00) 7. Blue, Turning Grey Over You
(2:51) 8. Cotton Tail
(6:42) 9. Tuxedo Junction
(3:04) 10. Snooty Fruity
(6:05) 11. Poppin' Off
(5:43) 12. Forgotten
(5:19) 13. New Two O'Clock Jump
(2:58) 14. Deep Purple
(3:08) 15. The Great Lie
(3:24) 16. Three For The Show
(3:19) 17. Perdido
(6:50) 18. Stompin' At The Savoy

Although altoist Willie Smith is strangely enough given top billing, all 18 selections in this CD actually feature the great swing trumpeter Harry James and his popular bands (of which Smith was a key sideman).

Many of James' most exciting jazz performances are on this set, including the extended "Tuxedo Junction," "Moten Swing," the "New Two O' Clock Jump," "The Great Lie," and "Stompin' at the Savoy." This essential CD is especially recommended to detractors who think that Harry James was overrated. By Scott Yanow https://www.allmusic.com/album/snooty-fruity-mw0000203636#review

Personnel: Alto Saxophone – Ed Rosa (tracks: 2 to 7, 10, 11), James Cook* (tracks: 12 to 14), Mascagni Ruffo* (tracks: 13, 14), Willie Smith (2); Baritone Saxophone – Robert Poland (tracks: 6, 7, 10 to 18); Bass – Artie Bernstein (tracks: 12), Robert Stone* (tracks: 13, 14), Theodore Hayes (tracks: 15 to 17), Ed Mihelich (tracks: 1 to 11); Clarinet – Corky Corcoran (tracks: 2, 3, 9 to 11, 13, 14), Ed Rosa (tracks: 2 to 11), Francis Polifroni (tracks: 6, 7), James Cook* (tracks: 12, 13), Mascagni Ruffo* (tracks: 13, 14), Sam Sachelle (tracks: 6, 7, 10, 11), Willie Smith (2) (tracks: 2 to 7, 10 to 18); Congas – Gordon Polk (tracks: 15, 16); Drums – Macklin Combine* (tracks: 6 to 11), Carl Maus (tracks: 1), Gene Estes (tracks: 17), Jackie Mills (tracks: 13 to 16), Lou Fromm (tracks: 4, 5), Nick Fatool (tracks: 2, 3, 12); Guitar – Allan Reuss (tracks: 1, 12), Hayden Causey (tracks: 2 to 5), Sam Herman (tracks: 13 to 17), Hilmer Timbrell* (tracks: 6 to 11); Leader – Harry James (2); Orchestra – Harry James & His Orchestra* (tracks: 2 to 18); Piano – Arnold Ross (tracks: 1 to 5), Bruce MacDonald (tracks: 9 to 16, 18), Larry Kinnamon (tracks: 17), Stan Wrightsman (tracks: 6 to 8); Reeds – George Davis (9) (tracks: 2 to 5), Herbert Lorden, Jr* (tracks: 15 to 17), Pat Chartrand (tracks: 15 to 17), Stewart Bruner (tracks: 2 to 5), William Massingill (tracks: 15 to 17); Tenor Saxophone – Corky Corcoran (tracks: 2 to 5, 9 to 14), Ed Rosa (tracks: 12), Francis Polifroni (tracks: 6, 7), Sam Sachelle (tracks: 6, 7, 10, 11, 18); Trombone – Carl "Ziggy" Elmer* (tracks: 6 to 18), Charles Preble* (tracks: 2 to 7, 10, 11, 18), Dalton Rizzotto (tracks: 4, 5), David Robbins* (tracks: 12 to 14), Lee O'Conner* (tracks: 12 to 14), Louis McCreary* (tracks: 15 to 17), Vic Hamann (tracks: 2 to 7, 10, 11, 18); Trumpet – Arthur DePew* (tracks: 13 to 16), Carl Berg (tracks: 4, 5), Everett McDonald (tracks: 13 to 17), Eugene Komer* (tracks: 6, 7, 10 to 12), George Seaberg (tracks: 12), Harold Moe (tracks: 4, 5), Harry James (2), Irwin Berken (tracks: 2 to 7), James Grimes (2) (tracks: 2, 3), James Troutman (tracks: 2, 3), James Campbell* (tracks: 2 to 5), Dominick Buono* (tracks: 6, 7, 10 to 18), Philip Cook* (tracks: 17), Pincus Savitt* (tracks: 6, 7, 10 to 12, 18), Ralph Osborn* (tracks: 10 to 12, 18), Stanley Fishelson* (tracks: 13, 14); Valve Trombone – Juan Tizol (tracks: 2 to 7, 10 to 18).

Snooty Fruity

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Hendrik Meurkens - Manhattan Samba

Styles: Brazilian Jazz, Harmonica Jazz
Year: 2020
File: MP3@320K/s
Time: 41:36
Size: 96,4 MB
Art: Front

(5:44) 1. Clear of Clouds
(6:24) 2. Manhattan Samba
(5:19) 3. One for Manfredo
(6:47) 4. Dona Palmeira
(5:04) 5. The Fropple
(4:43) 6. Bonita
(2:21) 7. Frenzelosa (Choro No. 2)
(5:11) 8. Aquelas Coisas Todas

Composer, virtuoso on both the vibraphone and harmonica, German-born New York-based Hendrik Meurkens presents yet another colorful and tantalizing taste of Brazilian music on the exquisite Manhattan Samba. A proponent of the samba and bossa nova styles of music after a full immersion while living in Rio de Janeiro in the early 1980s, Meurkens continues documenting his passion for the music, this time offering new compositions, includes previously recorded tunes and features the music of Brazilian/jazz masters Ivan Lins, Toninho Horta and Antonio Carlos Jobim.

Recognized as perhaps the most important harmonica voice since Toots Thielmans, for this album, Meurkens performs only on the harmonica and surrounds himself with a core quartet featuring Brazilian pianist Helio Alves, Brazilian bassist Gustavo Amarante and Brazilian percussionist/drummer Portinho. Argentinian bassist Fernando Huergo also participates on three tracks.

Recorded in Augsburg, Germany in 2020, the eight-piece collection of Brazilian jazz begins with the samba-tinged "Clear of Clouds," followed by the fast-tempo title track highlighting the leader on many solo moments throughout. Offering a lighter side of the music on the tribute for the late pianist Manfredo Fest, "One for Manfredo" showcases the talents of pianist Alves along with powerful drumming from Portinho.

The Lins classic "Dona Palmeira" is the first of a couple of very soft and beautiful tunes performed on this album. Speaking of classics, the Jobim staple "Bonita" is the closest to a tender ballad you will encounter here, striking and warm in every way, performed as duet between Meurkens and Alves. The brief choro-styled "Frenzelosa (Choro No. 2)" is a spicy, fast-played, shoulder-moving, Carnival-styled number sure to energize anyone.

Closing out the session is another wonderful genre staple from the great Brazilian guitarist Toninho Horta, "Aquelas Coisas Todas," as the harmonica master and distinguished band mates put a cap on one of the finest musical experiences of Brazilian/jazz on the 2021 jazz landscape.By Edward Blanco
https://www.allaboutjazz.com/manhattan-samba-hendrik-meurkens-self-produced

Personnel: Hendrik Meurkens: harmonica; Helio Alves: piano; Fernando Huergo: bass; Portinho: drums; Gustavo Amarante: bass

Manhattan Samba

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Angela Bofill - Let Me Be The One

Styles: Vocal, Soul
Year: 1984
File: MP3@320K/s
Time: 34:38
Size: 79,8 MB
Art: Front

(5:01)  1. Can't Slow Down
(3:24)  2. Let Me Be The One
(3:33)  3. Who Knows You Better
(5:21)  4. You're Always There
(4:43)  5. Getting Into Love
(3:26)  6. No Love In Sight
(4:25)  7. Love Me For Today
(4:42)  8. This Is The Start

Bronx native Angela Bofill sang with Ricardo Morrero & the Group and the Dance Theater of Harlem chorus before her 1978 debut. With her strong, distinctive alto, she has carved a niche as an outstanding interpreter of soul ballads. Between 1978 and 1984, Bofill had consistent success on the R&B charts, with six albums making the Top 40 (five of which made the Top 100 on the pop charts as well), including two, Angel of the Night (1979) and Too Tough (1983), that made the Top Ten. During this period, she also placed seven singles in the R&B Top 40, with "Too Tough" making the Top Ten. Bofill's career cooled off after 1984, but she returned to the R&B charts with Intuition (1988), I Wanna Love Somebody (1993), and Love in Slow Motion (1996). ~ Bill Carpenter http://www.allmusic.com/artist/angela-bofill-mn0000755570/biography

Personnel:  Angela Bofill – vocals;  Alan Palanker – keyboards;  Mickey Leonard – guitar;  Paul Pesco - guitar, drum programming;  William "Doc" Powell – Guitar;  David Frank - keyboards, producer, drum programming;  Sandy Bofill - background vocals;  Cindy Mizelle - background vocals;  Lisa Fischer - background vocals;  Michelle Cobbs - background vocals;  Mic Murphy - background vocals, producer;  Marc Russo – saxophone;  Eluriel Tinker Barfield - bass guitar; Yogi Horton - drums

Let Me Be The One

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The Tubby Hayes - The Orchestra (Remastered 2019)

Styles: Saxophone And Flute Jazz
Year: 1970/2019
Time: 33:19
File: MP3 @ 320K/s
Size: 76,6 MB
Art: Front

(1:53) 1. Up, Up And Away
(2:56) 2. The Other Man’s Grass Is Always Greener
(2:53) 3. Emily
(2:22) 4. These Boots Are Made For Walking
(2:17) 5. Free Again
(2:52) 6. Here, There And Everywhere
(4:03) 7. Song For A Sad Lady
(2:25) 8. Mas Que Nada
(2:32) 9. The Gentle Rain
(3:32) 10. Hey Jude
(2:15) 11. The Windows Of The World
(3:14) 12. This Guy’s In Love With You

Hayes, Tubby (Edward Brian), tenor saxophone, flute, vibes, arranger (b. London, January 30, 1935, d. June 8, 1973, London). Perhaps Britain’s most beloved jazz musician, Tubby Hayes was a prodigy who seemed to master nearly every musical task he attempted. Already a technical marvel on the saxophone when he first appeared on the London jazz scene at age 16, Tubby worked with several big bands before starting his own band in the mid-1950s. Before long, he was writing many of the arrangements for the group.

From 1957 to 1959 he joined Ronnie Scott in co-leading a quintet, The Jazz Couriers, perhaps the most fondly remembered of British Modern Jazz groups. Subsequently, Hayes reformed his quartet, and toured Germany with Kurt Edelhagen. Then in 1961 he was invited to play at the Half Note Club in New York City; a new transatlantic Musicians’ Union agreement meant that, in exchange, Zoot Sims played at Ronnie Scott’s. While in America, Hayes recorded (Tubbs in NY) with Clark Terry, Eddie Costa, and Horace Parlan, and in 1962 he returned for another visit, this time recording Return Visit with James Moody, Roland Kirk, Walter Bishop Jr, Sam Jones, and Louis Hayes. He played at the Half Note again in 1964, and at the Boston Jazz Workshop the same year, and at Shelly Manne’s Manne-Hole in Los Angeles in 1965.

Back in London, Hayes formed his own big band, working in television, film, and radio, and even having his own television series (1961–1962, and 1963). He stood in for Paul Gonsalves in February 1964 (with whom he also recorded twice in 1965 (Just Friends and Change of Setting)) when the Ellington orchestra played at the Royal Festival Hall.

As well as leading his own bands and recording under his own name, Hayes also appears on recordings by other UK jazz musicians, such as the Harry South Big Band, the Ian Hamer Sextet and later studio sessions by Ted Heath’s Orchestra. Hayes was also a prolific session musician in many genres. Among his many credits, Hayes led the brass section on the sessions for Music in a Doll’s House, the acclaimed 1967 debut album by rock band Family, on which the young Mike Batt arranged the strings and brass. Batt credits Hayes with saving his brass arrangement on the track “Old Songs for New Songs”, which was his first major recording session as an arranger on the first take, he discovered he had inadvertently notated the parts in the wrong key but Hayes and his colleagues, realizing his mistake, discreetly transposed their parts by ear so that they would match the backing track.

Hayes appeared in a number of films, including All Night Long (1961) with Charles Mingus and Dave Brubeck, and (with his group) in A King in New York, by Charles Chaplin (1957), The Beauty Jungle (1964) and Dr Terror’s House of Horrors (1965). He also played at a wide range of jazz festivals, including Reading, Windsor, Antibes, Lugano, Vienna, and Berlin.

Despite all this, regular gigs were hard to come by for jazz musicians, and especially for his big band; first rock and roll and then the Beatles had pushed most jazz out of Britain by the late 1960s. Matters were made worse for Hayes by his drug addiction, which badly affected his health. In the late 1960s, he underwent open-heart surgery; he was able to start performing again in 1971 , and in 1972 toured Norway and Sweden. In 1973, he died during another heart operation at Hammersmith, at the age of thirty-eight. He was cremated and the ashes interred at the Golders Green Crematorium, where there is a white stone memorial plaque affixed to one of the walls. The epitaph reads “Long live his memory and his music”
http://tubbyhayes.jazzgiants.net/biography/

Personnel: Tubby Hayes : Tenor Sax Flute ; Derek Watkins, Greg Bowen, Tony Fisher, Ian Hamer : Trumpet ; Keith Christie, David Horler, Bill Geldard : Trombone ; Roy Willox : Alto sax; Bob Efford : Tenor , Woodwinds ; Alan Branscombe : Piano , Vibes Percussion ; Louis Stewart : Guitar ; Ron Mathewson : Bass ; Spike Wells : Drums ; Plus Harp, 8 violins, 2 violas, 2 cellos

The Orchestra (Remastered 2019)

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Eliane Elias - Time And Again

Styles: Vocal And Piano Jazz
Year: 2024
Time: 38:17
File: MP3 @ 320K/s
Size: 90,3 MB
Art: Front

(5:24) 1. At First Sight
(3:58) 2. Falo Do Amor
(3:56) 3. It's Time
(5:27) 4. How Many Times
(4:24) 5. Sempre
(4:50) 6. A Volta
(5:25) 7. Making Honey
(4:48) 8. Too Late

Eliane Elias, the internationally renowned Brazilian pianist, composer, and vocalist, continues to reach new heights with her latest album, “TIME AND AGAIN.” Building upon her recent GRAMMY® and Latin GRAMMY Award-winning success, this album showcases Elias’ unique blend of her Brazilian roots, jazz mastery, and a fusion of R&B and popular song influences.

Produced by her long-standing collaborators Marc Johnson and Steve Rodby, “TIME AND AGAIN” features eight original compositions that highlight Elias’ exceptional songwriting abilities. The album boasts an impressive lineup of musicians, including guitarists Conrado Goys, Marcus Teixeira, Daniel Santiago, and the legendary Bill Frisell, as well as guest appearances by vibraphonist Mike Mainieri, drummer Peter Erskine, and the background vocals of Mark Kibble. Notably, the legendary Brazilian composer and pop star Djavan graces the first single release, “Sempre.”

Elias reimagines three of her previous instrumental compositions, infusing them with new lyrics, tempos, and arrangements, revealing an emotional depth influenced by her collaboration with the poet Vinícius de Moraes. The album’s tracks, sung in both English and Portuguese, explore themes of love, joy, and life’s transitions, with standouts like “At First Sight,” “It’s Time,” and “How Many Times.”

With “TIME AND AGAIN,” Eliane Elias once again demonstrates her artistic ingenuity and ability to surprise listeners with her creative prowess. Her alluring vocals, masterful musicianship, and songwriting skills cement her status as the reigning queen of Brazilian jazz, delivering a landmark recording that affirms the beauty of life and invites listeners to experience her brilliant musical journey time and again.
https://www.birdland.com.au/eliane-elias-time-and-again

Time And Again

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Ann Hampton Callaway - Blues In The Night

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 55:35
Size: 130,6 MB
Art: Front

(3:31) 1. Swingin' Away The Blues
(5:40) 2. Blue Moon
(6:22) 3. Spring Can Really Hang You Up The Most
(3:24)  4. Lover Come Back To Me
(5:14)  5. Stormy WeatherWhen The Sun Comes Out
(3:43)  6. The I'm-Too-White-To-Sing-The-Blues Blues
(6:21)  7. Willow Weep For Me
(2:45)  8. Hip To Be Happy
(5:55)  9. It's All Right With Me
(4:35) 10. No One Is Alone
(4:51) 11. Blues In The Night
(3:08) 12. The Glory Of Love

Ann Hampton Callaway shows off her persuasive pipes on this memorable program of familiar songs and originals. Backed by pianist Ted Rosenthal, bassist Christian McBride and drummer Lewis Nash, she explores the kind of songs that drive Broadway wild. Sherrie Maricle's Diva big band appears on four tracks, while band members Anat Cohen (tenor saxophone) and Jami Dauber (trumpet) fill in on three additional selections with a moving spirit. With a blues theme running through her album, Callaway aims for the dramatic. You can pick up traces of expressive singers in her presentation; singers who have made an impact on her interpretation of this material, such as Lena Horne, Sarah Vaughan, Peggy Lee and Ella Fitzgerald. Callaway's "Hip to be Happy differs from most of the program. Here, she has put on her "Annie Ross thinking cap and has come up with a highly original song that feels as hip as Lambert, Hendricks Ross. She sings it with her sister, Liz, in a cool and comfortable posture. 

Blues in the Night fills the room with big band sounds as Callaway turns on the charm. She enjoys playing the role with authority. Her big voice belts the blues strong enough, and this band turns on the power for emphasis. Quieter interpretations such as "It's All Right with Me, "Spring Can Really Hang You Up the Most and "Willow Weep for Me demonstrate the singer's heartfelt sincerity. Stephen Sondheim's "No One is Alone, from Into the Woods, brings a beautiful passion to the forum, magnified by Anat Cohen's sultry tenor statements. Tender ballads such as this one reveal the true blue side of Callaway's stage presence, while her program holds plenty of other surprises for her audience. Blues in the Night has all the right ingredients for a true jazz celebration.~ Jim Santella https://www.allaboutjazz.com/blues-in-the-night-ann-hampton-callaway-telarc-records-review-by-jim-santella.php

Personnel: Ann Hampton Callaway: vocals; Ted Rosenthal: piano; Christian McBride: double bass; Lewis Nash: drums; Liz Callaway: vocals; David Gilmore: guitar. Sherrie Maricle and the Diva Jazz Orchestra (1, 4, 6, 11): Sherrie Maricle: drums, leader; Noriko Ueda: double bass; Kristy Norter: alto saxophone, flute; Erica von Kleist: alto saxophone, clarinet, flute; Anat Cohen, Scheila Gonzalez: tenor saxophone, clarinet; Lisa Parrott: baritone saxophone; Tanya Darby, Jami Dauber, Nadje Noordhuis, Alicia Rau: trumpet; Deborah Weisz, Jennifer Krupa: trombone; Leslie Havens: bass trombone.

Blues In The Night

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Doc Severinsen And His Orchestra - Tempestuous Trumpet & The Big Band's Back in Town

Styles: Trumpet Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 76:31
Size: 176,1 MB
Art: Front

(2:40)  1. After You've Gone
(3:40)  2. When It's Sleepy Time Down South
(3:16)  3. Night in Tunisia
(3:35)  4. Tenderly
(3:23)  5. I Can't Get Started
(3:17)  6. And the Angels Sing
(2:41)  7. Baubles, Bangles and Beads
(4:10)  8. Stardust
(2:55)  9. Mack the Knife
(2:40) 10. You Made Me Love You
(2:16) 11. Sleepy Lagoon
(3:10) 12. Sugar Blues
(2:31) 13. Love for Sale
(2:58) 14. Flamingo
(4:11) 15. Blues in the Night
(2:49) 16. Granada
(4:00) 17. When Your Lover Has Gone
(2:41) 18. Johnny One Note
(3:07) 19. Lonesome Road
(2:51) 20. My Funny Valentine
(3:26) 21. St. Louis Blues
(3:16) 22. The Look of Love
(3:04) 23. I Cried for You
(3:42) 24. Poor Butterfly

Heeeeere’s Johnny!” That lead-in, followed by a big band trumpet blast, was the landmark of late night television for three decades. The ‘Johnny’ was Johnny Carson, the announcer was Ed McMahon and the bandleader was Doc Severinsen. Beginning in October 1962, The Tonight Show with Johnny Carson ruled the night air for thirty years. On May 22, 1992, it came to an end… Within a week of the final telecast, Doc Severinsen and His Big Band were on the road, and to this day, audiences across America love and respect Doc and his big band, not just because he shared their living room with them for so many years, but because of Doc’s love of the Big Band repertoire.  His musicianship keeps this iconic American music fresh to this day. Their repertoire includes Ellington and Basie standards, pop, jazz, ballads, big band classics and, of course, The Tonight Show theme.  Severinsen can still blow hard with his horn, and hit the high notes, a result of his continued commitment to the practice studio and the refinement of his craft.

But as a band leader, Doc continues to surround himself with the best in the business, and he’s only too happy to give them a turn in the spotlight.

A Grammy award winner, Doc has made more than 30 albums–from big band to jazz-fusion to classical. Two critically acclaimed Telarc CDs with the Cincinnati Pops Orchestra showcase his multifaceted talents from Bach to ballads.  The Very Best of Doc Severinsen reprises fifteen of Doc’s signature pieces. His other recordings include Unforgettably Doc with the Cincinnati Pops on Telarc, and the Grammy nominated Once More With Feeling on Amherst. He received a Grammy Award for “Best Jazz instrumental Performance Big Band” for his recording of Doc Severinsen and The Tonight Show Band-Volume I. In 2006, Doc moved to San Miguel de Allende, in Mexico, ostensibly to retire from performance. Within weeks, he was jamming with the magnificent guitarist Gil Gutierrez.  He now tours regularly with Gil in a quintet called The San Miguel Five, performing a mix of Latin and Gypsy jazz and standards, to exceptional acclaim. They just released their most current CD, Oblivion, in January 2014.

Severinsen’s accomplishments began in his hometown of Arlington, Oregon, population: 600. Carl H Severinsen was born on July 7th, 1927, and was nicknamed “Little Doc” after his father, Dr. Carl Severinsen a dentist. Little Doc had originally wanted to play the trombone. But Doc Sr., a gifted amateur violinist, urged him to follow in his father’s footsteps. The Doc Jr. insisted on the trombone, which turned out to be unavailable in tiny Arlington’s music store.  And so, a trumpet it would be. A week later, with the help of his father and a manual of instructions, the seven-year-old was so good that he was invited to join the high school band. At the age of twelve, Little Doc won the Music Educator’s National Contest and, while still in high school, was hired to go on the road with the famous Ted Fio Rito Orchestra.  However, his stay with the group was cut short by the draft. He served in the Army during World War II and following his discharge, landed a spot with the Charlie Barnett Band.

When this band broke up, Severinsen toured with the Tommy Dorsey, then, the Benny Goodman bands in the late 40's. After his days with Barnett and Dorsey, Doc arrived in New York City in 1949 to become a staff musician for NBC. After years of playing with NBC’s many studio bands, Doc was invited to play a gig in the highly respected Tonight Show Band.  The band leader at the time, Skitch Henderson, asked him to join that band in 1962 in the first trumpet chair. Five years later, Doc became the Music Director for The Tonight Show and the rest is history.  His loyalty to Johnny Carson and Ed McMahon never faltered, and the warm camaraderie between the three was an enormous part of the show’s success.  When Johnny decided to retire from The Tonight Show, Doc and Ed said their goodbyes as well. Of course, free from the nightly grind of the TV studio, Doc Severinsen had far more time to expand his musical horizons and continues to keep an extensive touring schedule.

In addition to his San Miguel 5 appearances, Doc tours regularly with his own Big Band and continues to perform with symphony orchestras all over the country.  Over the years has been Principal Pops Conductor with the Phoenix Symphony, the Milwaukee Symphony, the Minnesota Orchestra, the Colorado Symphony, the Pacific Symphony and the Buffalo Philharmonic.

Doc performs on a S.E. Shires Severinsen Destino III, a trumpet he developed with Steve Shires and the S.E. Shires Company in Massachusetts.  The factory has 25 craftsmen who are professional, working brass players and totally understand what is involved in making great brass instruments.  The S.E. Shires Company features a line of trumpets that includes the S.E. Shires Severinsen Destino III which was developed through Doc’s supervision until his exacting standards of quality and sound were achieved.  Doc continues to make regular visits to the factory. Today, Doc has not lost his flair for the outrageous fashion statement or his trademark wit. But his gregarious nature has never interfered with the fact that he has been one of the greatest trumpeters and musicians of the last 60 years, respected in the worlds of classical music, jazz, big band, and now even world music.  In the end, Doc Severinsen has transcended his celebrity, and rejoiced in his remarkable ability to simply play his trumpet as well as he can.  Which has proven to be good enough for the millions of people who count themselves his fans. http://www.docseverinsen.com/about/

Tempestuous Trumpet; The Big Band's Back in Town

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The Tonight Show Band With Doc Severinsen - The Tonight Show Band, Vol. II

Styles: Jazz, Big Band
Year: 1978
File: MP3@320K/s
Time: 42:20
Size: 99,4 MB
Art: Front

(3:35) 1. In the Mood
(4:09) 2. The Jersey Bounce
(4:01) 3. Georgia on My Mind
(2:58) 4. The World Is Waiting for Sunrise
(2:37) 5. Airmail Special
(3:33) 6. April in Paris
(5:23) 7. Stardust
(3:09) 8. Take the "A" Train
(2:48) 9. Do Nothing 'Till You Hear from Me
(2:39) 10. Serenade in Blue
(3:38) 11. Hamp's Boogie Woogie
(3:43) 12. Jumpin' at the Woodside

The second of two long-overdue recordings by the Tonight Show Band has its moments, but its reliance on swing-era warhorses and the generally predictable arrangements (Bill Holman's reworkings of "The World Is Waiting for the Sunrise," "Take the 'A' Train," and "Serenade in Blue" are exceptions) are disappointments.

However, there is some excellent solo space for trumpeters Doc Severinsen, Snooky Young, and Conte Candoli; tenors Pete Christlieb and Ernie Watts; and pianist Ross Tompkins. Since this legendary big band recorded so little (just three albums for Amherst), all are worth picking up. By Scott Yanow
https://www.allmusic.com/album/the-tonight-show-band-vol-2-mw0000188827

Personnel: Trumpet, Flugelhorn, Conductor – Doc Severinsen; Alto Saxophone [Lead], Flute, Clarinet – Tommy Newsom; Alto Saxophone, Flute, Clarinet – Bill Perkins, John Bambridge; Baritone Saxophone, Soprano Saxophone, Flute, Clarinet – Don Ashwort; Bass – Joel DiBartolo; Bass Trombone – Ernie Tack; Drums – Ed Shaughnessy; Guitar – Bob Bain, Peter Woodford; Piano – Ross Tompkins; Tenor Saxophone, Flute, Clarinet – Ernie Watts, Pete Christlie; Trombone – Bruce Paulson; Trombone [Lead] – Gil Falco; Trumpet [Lead], Flugelhorn – John Audin; Trumpet, Flugelhorn – Allen Vizzutti, Conte Candoli, Maurey Harris, Snooky Young

The Tonight Show Band, Vol. II

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Randy Weston & Billy Harper - Roots of the Blues

Styles: Piano And Saxophone Jazz

Year: 2013

File: MP3@320K/s

Time: 54:42

Size: 126,5 MB

Art: Front

(4:09)  1. Carnival

(4:31)  2. Blues to Senegal

(5:45)  3. Berkshire Blues

(3:24)  4. Body And Soul

(2:38)  5. Congolese Children Song

(3:23)  6. If One Could Only See

(4:42)  7. Blues to Africa

(3:57)  8. How High The Moon

(2:37)  9. Cleanhead Blues

(2:08) 10. Timbuktu

(2:34) 11. Roots of the Nile

(4:32) 12. Take the A Train

(7:35) 13. The Healers

(2:40) 14. African Lady (Bonus Track)

Randy Weston and Billy Harper‘s long partnership has culminated in their first duo recording, The Roots of the Blues, recorded by French producer Jean-Phillippe Allard for Universal and recently released stateside by the Sunnyside label. Ace producer Allard has been at the console for such Weston record dates as Spirit! The Power of Music Verve/Gitanes 1999), Earth Birth (Verve/Gitanes 1995), Khepera (Verve/Gitanes 1998), Saga (Verve/Gitanes 1995), Volcano Blues (Verve/Gitanes 1993), Marrakech in the Cool of the Evening (Verve/Gitanes 1992), The Splendid Master Gnawa Musicians (Verve 1992), and the classic The Spirits of Our Ancestors (Verve 1991). The latter featured three distinctive, spiritually adept tenor men Pharoah Sanders, Dewey Redman (the tenor exchange between those two on an extended version of “African Cookbook” is worth the price of the CD alone), and Harper. But the Weston/Harper hook-up goes back further than that auspicious record date.

In 1971, as part of his overall plan to develop an African cultural beachhead in Tangier, Morocco that would serve as a hub for African and African Diaspora culture, while continuing to operate his African Rhythms Club in the northernmost African city, Weston began planning a grand festival which would eventually become the first primarily jazz festival in Africa. As part of his planning he recruited his boyhood friend Max Roach and arts activist Mary Jo Johnson as his US-based liaisons to secure and arrange travel for the US artists Randy planned to bring to the festival. The idea was to produce a festival that would find US and African artists collaborating creatively. The US artists who committed to playing the festival, which commenced September 1-3, 1972, included Mandrill, Pucho & the Latin Soul Brothers, Odetta, Hubert Laws, Ahmed Abdul-Malik, and Max Roach’s Quartet, with Cecil Bridgewater on trumpet, Juney Booth on bass, and Billy Harper. However for some then-unexplained reason Max was not on the flight! Additionally, Dexter Gordon and trumpeter Richard “Notes” Williams joined the lineup from Europe.

Randy puzzled over Max’s absence for years, not learning until after Roach’s passing that the reason he didn’t make the flight was to maintain marital bliss, Max’s wife being very much pregnant at the time. Come festival time – at a grand outdoor venue that was actually a converted bull ring stadium, a setting Weston described as fraught with the usual logistical nightmares of a short-funded start-up (the Moroccan government fell short of its promised financial support), Max’s band soldiered on without him, Harper even taking to the traps for part of the performance, which he also did handily for Hubert Laws set. Though clearly an artistic success, the festival dug such a deep hole for Weston that he was forced to padlock his African Rhythms Club and return home to Brooklyn to recoup. Obviously Billy Harper left a major impression on Weston, such that in recent years whenever a performance calls for or affords him the option of having a tenor player in his band, Weston calls on Harper.In preparing the liner notes for The Roots of The Blues, I interviewed both Weston and Harper on the project, starting with Weston, with whom I had the advantage of a 10-year head start from writing his autobiography African Rhythms. More..http://www.openskyjazz.com/2013/11/randy-weston-billy-harper-on-the-roots-of-the-blues/

Personnel:Piano – Randy Weston (tracks: 1 to 5, 7 to 14); Tenor Saxophone – Billy Harper (tracks: 1 to 10, 12 to 14)

Roots of the Blues

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Carol Albert - Tides of Change

Styles: Piano Jazz
Year: 1993
Time: 43:37
File: MP3 @ 320K/s
Size: 99,9 MB
Art: Front

(3:40) 1. Fortune
(4:40) 2. Tides Oof Change (Inst.)
(4:00) 3. To the Sun
(4:18) 4. I still think about you
(4:17) 5. On my Way
(3:47) 6. Looking through the Horizon
(4:27) 7. Solitude
(4:11) 8. High Seas
(5:10) 9. Beyond Tomorrow
(5:03) 10. Tides of Change (Voc.)

After paving the way with a handful of popular radio singles over the past year, Billboard Artist, Carol Albert brings out a full array of rich jazz and global fusion artistry on her unique concept album FLY AWAY BUTTERFLY. The versatile Atlanta-based composer, keyboardist and vocalist takes the listener on deeply soulful, exotic journey that artfully blends spirited, jazzy piano melodies, dreamy vocals, punchy percussion textures and hypnotic ambiences featuring the soaring, inspirational twist on Al Jarreau’s classic song “One Way," a contemporary homage to one of her jazz heroes offering up the powerhouse saxophone of Sam Skelton. FLY AWAY BUTTERFLY will take your musical imagination to many beautiful destinations!.

A rural town like Hiram, Georgia may not seem a likely start or an international recording artist, but that is exactly where Carol Albert's music talent emerged. In early childhood, Carol loved nothing better than to share the piano bench with her beloved grandmother. "My grandmother lost an arm to cancer, so she played the bass with her left hand and taught me to play the treble with my right. She also composed songs in her sleep and taught them to me. In sharing her melodies, my grandmother imparted her love for me as well as her love of music." As her music appreciation grew, so did Carol's aptitude for classical piano. She earned her Bachelor of Music degree from Georgia State University, and then embarked on a career in which she has left her mark nationally and internationally.

Internationally, Carol has toured four separate times in Europe, performing in Sweden, Germany, France, England, Ireland and Spain. Her CD's have also been quite popular overseas. Innovative Communications, her German Record Label, named Carol's Tides of Change among their "Best of Instrumental Music." Along with Tides of Change, Carol has produced four other CDs: Love In Your Eyes, Christmas Impressions, Morning Music and Night Music. Her works showcase original compositions along with Carol's interpretations of selected popular music.

Carol's many performance venues have been in cities across the US; San Francisco, Texas, Florida, North Carolina, Kentucky and Virginia. Carol has provided entertainment for a variety of trade shows, corporations, organizations and public venues. Carol performed at the US Cable & Film Convention in Atlanta, NARM Convention in San Francisco and Southern Gardening Association Convention. Additionally, Carol has performed for numerous corporations such as the Masters Golf Tournament at Augusta National, Olympics Hospitality Suite for Nations Band/German House, Arthur Anderson, AT&T, BellSouth Cellular, Coca-Cola Executives, Dean Witter, Dow Chemical, Georgia Baptist Hospital, Hilton Managers Association, IBM, NASCAR Association, Motorola, ReMax Associates, Southern Nursing Association and SuperValue to name a few. Private organizations have hired her to perform for such events as Party honoring Henry Kissinger and Party for Muhammed Ali. A small sampling of her appearances in her home city of Atlanta, GA includes the JW Marriott, Marriott Marquis, Four Seasons, Capital City Country Club, Country Club of the South, Garbo's, Peachtree Plaza, Banks and Shane and SwissHotel. Additionally, Carol has enhanced the mood at weddings and other momentous occasions as well.

Formerly a staff accompanist for the Georgia State University Music Department, Agnes Scott College and the Atlanta Ballet, Carol uniquely draws from her classical training to create a blend of smooth, contemporary jazz and easy instrumental rhythms. Her Atlanta area concert appearances include the Fox Theatre Keyboard Colossus, Blue Sky Concert Series, Dogwood Festival, Georgia Music Festival, Piedmont Arts Festival, Dekalb College Concert Hall, Taste of Atlanta Festival, New Sout Music Showcase, WPBA TV Jazz Series and Good Day Atlanta. Carol has also performed for the Jerry Lewis Muscular Dystrophy Telethon, WSB-TV's Walk for Hunger and WAVA TV5's Arthritis Telethon.

In 1991 she received an Emmy Nomination for Outstanding Achievement and Individual Excellence as a Composer for original theme music. Carol also took First Place for the Atlanta Songwriters Association's award in the Professional Category for Jazz. She is a professional member of N.A.R.A.S. (National Academy of Recording Arts & Sciences) and ASCAP (American Society of Composers, Authors and Publishers). Carol welcomes you to Contact her to learn specific details regarding her availability.
https://www.allaboutjazz.com/musicians/carol-albert/

Awards:

Global Peace Song Award Winner, New Age Category Emmy nomination for Outstanding Achievement and Individual Excellence/Composer Atlanta Songwriter’s Association 1st and 3rd Place Professional Jazz Division NARAS Member 25 year Certificate

Tides of Change

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Dutch Swing College Band - Johnny Meyer Goes Dixie

Styles: Big Band, Swing
Year: 1974
Time: 38:40
File: MP3 @ 320K/s
Size: 88,5 MB
Art: Front

(2:37) 1. Chigago
(3:05) 2. At A Georgia Camp Meeting
(3:17) 3. Out Of Nowhere
(3:00) 4. Melancholy Baby
(3:00) 5. Johnny's Habits
(3:00) 6. Avalon
(2:44) 7. Deed I Do
(3:30) 8. (Up A) Lazy River
(2:08) 9. I'm Gonna Sit Right Down And Write Myself A Letter
(2:11) 10. Ain't Misbehavin'
(2:53) 11. Is You Is Or Or Is You Ain't My Baby
(3:25) 12. If I Could Be With You
(3:46) 13. Indiana (Way Back Home In)

During World War 2, the Nazis banned jazz music in the Netherlands. Several youngsters wanted to preserve this music against all odds. They practised secretly, copied illegal radio broadcasts and were determined to found a school for jazz music when the war was over: the Swing College.

On Liberation Day, May 5th 1945, the Orchestra of the Dutch Swing College had its first public performance. Their members gave lectures, organised jazz meetings and started to teach jazz music. The name soon changed into Dutch Swing College Band. In 1960 the DSCBand (in the field of traditional jazz in the Netherlands) became professional and still performs worldwide to this day.http://www.dscband.nl

Dutch Swing College Band - Johnny Goes Dixie

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Tomasz Stanko New York Quartet - December Avenue

Styles: Trumpet Jazz
Year: 2017
Time: 64:21
File: MP3 @ 320K/s
Size: 154,1 MB
Art: Front

(4:13) 1. Cloud
(2:01) 2. Conclusion
(8:52) 3. Blue Cloud
(7:19) 4. Bright Moon
(5:05) 5. Burning Hot
(1:30) 6. David and Reuben
(6:26) 7. Ballad for Bruno Schulz
(4:05) 8. Sound Space
(6:33) 9. December Avenue
(6:08) 10. The Street of Crocodiles
(6:07) 11. Yankiels Lid
(5:58) 12. Young Girl in Flower

The elder statesman of modern Polish jazz, trumpeter and composer Tomasz Stańko has more than a forty year history with ECM. Dating back to his 1976 label debut, Balladyna, Stańko sounds to have arrived fully-formed, and in the company of Dave Holland and Finnish percussionist Edward Vesala. Stańko's trademark atmospheric and cerebral style is fully intact on December Avenue, his twelth album for Manfred Eicher's label.

Stańko's New York Quartet includes ECM artists David Virelles, whose Mbókò (2016) and Antenna (2016), amassed high praise, and Gerald Cleaver who has appeared on a number of the label's releases including those of Michael Formanek, Tim Berne, Roscoe Mitchell and Miroslav Vitous. Both were part of Stańko's Wisława project while bassist Thomas Morgan has been replaced by Reuben Rogers. The bassist's ties to the label are with Charles Lloyd on Rabo de Nube (2007), Mirror (2010) and Athens Concert (2011).

Stańko has long surrounded himself with a younger generation of top-rate musicians, helping to keep his own, introspective-leaning style, more open. Historically notably among those supporting players was the Lontano (ECM, 2006) group where the trumpeter was backed by the Marcin Wasilewski Trio who went on to substantial success. The New York Quartet has similarly brought out Stańko's considerable free improvisational skills but to a limited extent.

Virelles' meloncholy piano opens "Cloud," joined quickly by Stańko on a languid ballad that sets up the more spirited "Conclusion." On the latter we hear Rogers crafty introduction and Stańko's more animated playing but at just two- minutes, the piece doesn't quite live up to its energetic beginning. The pace doesn't accelerate again until "Burning Hot" where relative to the reflective stroll of the opening numbers the title is representative of Stańko's more inventive playing and the complex interaction with Virelles. "Ballad for Bruno Schulz" is essentially a Stańko/Virelles duo and the most appealling of the quiet compositions on December Avenue.

The minimal "Sound Space" leads to the energetic, boppish title track featuring a standout solo from Rogers and engaging contributions from both Stańko and Virelles, held together with some intricate and sophisticated work by Cleaver. "Yankiels Lid" is the most open of the twelve pieces and sees Virelles and Rogers at their most imaginative, while Stańko takes an accompanying role. "Young Girl In Flower" closes the album much as it began-a gentle ballad highlighted by Stańko's breathy signature style.

Stańko has been long been regarded for his ability to cover a wide range of emotions with his instrument and he can make the trumpet speak in tongues when he wishes to do so. But the avant-garde Stańko of circa Bluish (Power Bros., 1991) has long since been supplanted by the lyrically sophisticated minimalist of recent years. That mind-set works well in making his more visionary arrangements pop in the context of an entire album. December Avenue is strikingly balanced and tastefully performed by this well synergized quartet.By Karl Ackerman https://www.allaboutjazz.com/december-avenue-tomasz-stako-new-york-quartet-ecm-records-review-by-karl-ackermann

Personnel: Tomasz Stanko, trumpet; David Virelles, piano; Reuben Rogers; bass; Gerald Clayton, drums.

December Avenue

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Something Else! - Soul Jazz

Styles: Bop
Year: 2024
Time: 50:54
File: MP3 @ 320K/s
Size: 117,1 MB
Art: Front

(4:56) 1. Filthy McNasty
(7:55) 2. Too Blue
(4:05) 3. Mean Greens
(4:57) 4. The Chicken
(7:05) 5. Driftin'
(7:23) 6. Slow Drag
(5:34) 7. Strasbourg/St. Denis
(8:57) 8. Naima (Bonus Track)

Jazz supergroup Something Else! is led by Vincent Herring, featuring some of the very best musicians today, playing some of the most iconic toe-tapping Soul Jazz songs ever created. This era of fantastic, rhythmic and soul warming music will be presented with new arrangements plus original compositions in the same genre.

The septet lineups draw from a pool of talented artists whose combined talents make for exciting, danceable and hugely enjoyable shows.

Alto Sax: Vincent Herring
Trumpet: Jeremy Pelt / Randy Brecker / Freddie Hendrix
Tenor sax: James Carter / Eric Alexander
Guitar: Paul Bollenback / Russell Malone
Piano: David Kikoski / Mike LeDonne
Bass: Essiet Essiet / Yasushi Nakamura
Drums: Lewis Nash / Jeff Watts / Johnathan Blake

"The jazz supergroup Something Else!, …then followed with top-shelf soul-jazz and swing… Every one of these musicians is elite it was an extraordinary set. “ ~ Glide Magazine

“…the band wears its hard-bop heart on its sleeve …It practically dares audiences to sit still and remain on their best behavior.” By Steve Futterman, The New Yorker
https://atljazzfest.com/artists/something-else/

Soul Jazz

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Cybill Shepherd - Live at the Cinegrill

Styles: Vocal
Year: 2001
Time: 53:02
File: MP3 @ 320K/s
Size: 122,5 MB
Art: Front

(4:19) 1. That Old Black Magic
(5:19) 2. Diamonds Are a Girl's Best Friend
(2:20) 3. Menopause Blues
(2:02) 4. Walking the Dog
(1:31) 5. Talk Memphis to Me
(3:26) 6. Belle of the Blues
(1:37) 7. Moonlighting
(1:14) 8. I Told Ya I Love Ya Now Get Out
(2:18) 9. Blue Moon
(2:29) 10. Nice Work If You Can Get It
(7:12) 11. Kitchen Man
(0:44) 12. Just in Time
(2:12) 13. Long Before I Knew You
(2:20) 14. The Party's Over
(3:23) 15. I'm Going Back
(3:59) 16. She Must Be Beautiful
(4:37) 17. S'Wonderful
(1:18) 18. For All We Know
(0:34) 19. Bows-Playout

Cybill Shepherd is a one-of-a-kind steel magnolia, a Southern beauty queen who looks soft as a flower petal but who in reality is anything but soft on the inside. Her patrician looks and bombshell figure generated modeling and acting careers while her saucy attitude and flair for comedy won fans for her as well. Most interesting of all, behind the beautiful façade is a woman with brains and talent. She always spoke her mind, as evidenced by a tell-all memoir in 2000 in which she didn't hesitate to spill the beans and name which male co-star failed to finish a horizontal tango, which one tangoed too fast, and who was best equipped for the encounter. In addition to modeling, acting, writing, and producing, Shepherd also sings. She has released seven albums and has performed live in cabarets and other nightspots in Los Angeles, New York, San Francisco, and London.

Like many vocalists, Shepherd began with a stint in the church choir as a child. She started taking voice lessons when she was 16 years old. Her repertoire is a mixture of standards, blues, rock, and ballads. Peabo Bryson appears on her Somewhere Down the Road album. Stan Getz joins her on Mad About the Boy, and Phineas Newborn Jr. appears on Vanilla. Another album, Songs From the Cybill Show in 1999, is a tie-in to her similarly named television comedy series which launched in 1995.

A Tennessee native, Shepherd twice took the title of Miss Teenage Memphis, first in 1966 and again two years later. She was named Model of the Year by Stewart Models in 1968. Her photo has graced the covers of such magazines as Vogue, Life, People, and Glamour. One of those covers sparked Peter Bogdanovich's interest in Shepherd, leading to a long-term relationship and a starring role in his 1971 film, The Last Picture Show. The Heartbreak Kid followed the next year.

Other films include Texasville, Married to It, Daisy Miller, and Taxi Driver. Her awards include four Golden Globes and an equal number of People's Choice Awards. The Hollywood Radio and Television Society dubbed Shepherd and Bruce Willis, her co-star in the Moonlighting television series during the late '80s, Woman and Man of the Year in Broadcasting.

Shepherd was married twice. Her 1978 marriage to David Ford ended in divorce in 1982. In 1987 she wed Bruce Oppenheim, but that union, too, ended in divorce in 1990. She has three children. https://www.allmusic.com/artist/cybill-shepherd-mn0000149345#biography

Live at the Cinegrill

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Bill Barron - Essential Jazz Masters

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 139:34
Size: 323,7 MB
Art: Front

(6:06)  1. Groovin'
(3:05)  2. Billie's Bounce
(4:36)  3. A Cool One
(6:23)  4. Oriental Impressions
(4:49)  5. Jelly Roll
(6:17)  6. Nebulae
(6:49)  7. Bill's Boogie
(7:32)  8. Ode to an Earth Girl
(5:23)  9. Desolation
(4:31) 10. Self Portrait
(6:59) 11. Duality
(5:45) 12. Back Lash
(9:04) 13. Now's the Time
(5:04) 14. Work Song
(4:08) 15. Persian Street Scene
(5:52) 16. Noodlin'
(9:37) 17. Blast Off
(5:21) 18. Playhouse March
(7:07) 19. Fox Hunt
(6:43) 20. Modern Windows Suite: Men At Work
(7:40) 21. Modern Windows Suite: Tone Colors
(4:09) 22. Modern Windows Suite: Dedication to Wanda
(6:23) 23. Modern Windows Suite: Keystone

Bill Barron was an advanced and adventurous tenor saxophonist (doubling on soprano) who never compromised his music or received much recognition. He spent his formative years and beyond in Philadelphia, not moving to New York until 1958. Barron first came to the jazz world's attention through his participation on a Cecil Taylor date in 1959. After recording with Philly Joe Jones, Barron co-led a fine post-bop quartet with Ted Curson. However, Barron spent much of the remainder of his career as an educator, directing a jazz workshop at the Children's Museum in Brooklyn, teaching at City College of New York, and becoming the chairman of the music department at Wesleyan University. His "day job" made it possible for him to consistently record non-commercial music for Savoy (in 1972 he made that label's last jazz record), Dauntless, and Muse. Every one of Bill Barron's recordings as a leader uses brother Kenny Barron (16 years his junior) on piano. ~ Scott Yanow https://www.allmusic.com/artist/bill-barron-mn0000059950/biography

Essential Jazz Masters

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Eartha Kitt - Shorty Rogers And His Giants - St. Louis Blues

Styles: Vocal, Big Band
Year: 1958
Time: 35:12
File: MP3 @ 320K/s
Size: 91,7 MB
Art: Front

(2:45) 1. St. Louis Blues
(3:12) 2. Beale Street Blues
(2:53) 3. Chantez-les bas
(3:29) 4. Hesitating Blues
(2:36) 5. Steal Away (Negro Spiritual)
(3:13) 6. Careless Love
(2:40) 7. Atlanta Blues (Make Me One Pallet On Your Floor)
(3:44) 8. Long Gone
(1:57) 9. Hist the Window, Noah
(2:24) 10. Yellow Dog Blues
(2:49) 11. Friendless Blues
(3:24) 12. The Memphis Blues

Eartha Kitt was an international star who gave new meaning to the word versatile. She distinguished herself in film, theater, cabaret, music and on television. Miss Kitt is one of only a handful of performers to be nominated for a Tony (three times), the Grammy (twice), and Emmy Award (twice). She regularly enthralls New York nightclub audiences during her extended stays at The Cafe Carlyle and these intimate performances have been captured in her newest recording, Eartha Kitt, Live at The Carlyle.

Miss Kitt’s distinctive voice has enthralled an entirely new generation of fans. Young fans loved her as YZMA, the villain, in Disney’s animated feature The Emperor's Groove, (2001 Annie Award for Best Vocal Performance / Animated Feature). Miss Kitt was also featured in the sequel, The Emperor's New Groove II and reprised the role in the popular Saturday morning animated series The Emperor’s New School (2007 Emmy Award for Outstanding Performer in an Animated Program and 2007 Annie Award for Best Vocal Performance in an Animated Television Production).

Eartha Mae Kitt was ostracized at an early age because of her mixed-race heritage. At eight years old, she was given away by her mother and sent from the South Carolina cotton fields to live with an aunt in Harlem. In New York her distinct individuality and flair for show business manifested itself, and on a friend’s dare, the shy teen auditioned for the famed Katherine Dunham Dance Troupe. She won a spot as a featured dancer and vocalist and before the age of twenty, toured worldwide with the company. During a performance in Paris, Miss Kitt was spotted by a nightclub owner and booked as a featured singer at his club.

Her unique persona earned her fans and fame quickly, including Orson Welles, who called her “the most exciting woman in the world”. Welles was so taken with her talent that he cast her as Helen of Troy in his fabled production of Dr. Faust. Back in New York, Miss Kitt was booked at The Village Vanguard, and soon spotted by a Broadway producer who put her in New Faces of 1952 where every night she transfixed audiences with her sultry rendition of Monotonous. Her show stopping performance in New faces, which ran for a year, led to a national tour and a Twentieth Century Fox film version. Broadway stardom led to a recording contract and a succession of best- selling records including Love for Sale, I Want to Be Evil, Santa Baby and Folk Tales of the Tribes of Africa, which earned her a Grammy nomination.

During this period, she published her first autobiography, Thursday's Child. Miss Kitt then returned to Broadway in the dramatic play Mrs. Patterson and received her first Tony nomination. Other stage appearances followed, as did films including The Mark of Hawk with Sidney Poitier, Anna Lucastra with Sammy Davis, Jr. and St Louis Blues with Nat King Cole. In 1967, Miss Kitt made an indelible mark on pop culture as the infamous Catwoman in the television series, Batman. She immediately became synonymous with the role and her trademark growl became imitated worldwide.

Singing in ten different languages, Miss Kitt has performed in over 100 countries and was honored with a star on The Hollywood Walk of Fame in 1960. In 1966, she was nominated for an Emmy for her role in the series, I SPY. In 1968, Miss Kitt’s career took a sudden turn when, at a White House luncheon hosted by Lady Bird Johnson, she spoke out against the Vietnam War. For years afterward, Miss Kitt was blacklisted in the U.S. and was forced to work abroad where her status remained undiminished. In December 2006 she returned to Washington and light the National Christmas Tree alongside President and Mrs. George W. Busch In 1974, Miss Kitt returned to the United States, with a triumphant Carnegie Hall concert and, in 1978, received a second Tony nomination for her starring role in the musical, Timbuktu. Miss Kitt’s second autobiography, Alone With Me, was published in 1976 and I'm Still Here: Confessions of a Sex Kitten was released in 1989. Her best- selling book on fitness and positive attitude, Rejuvenate! (It's never Too Late), was released by Scribner in May 2001.

Live theater is Miss Kitt’s passion. In 2001, Broadway critics singled her out with a Tony and Drama Desk nomination for her role as Dolores in George Wolfe’s The Wild Party. Over the last few years, she has starred in National Tours of The Wixard of Oz and Rogers & Hammerstein’sCinderella. In December 2003, Miss Kitt dazzled Broadway audiences as Liliane Le Fleur in the revival of Nine, The Musical.In December 2004, she appeared as The Fairy Godmother in The New York City Opera production (Lincoln Center) of Cinderella. Most recently, she starred in the off-Broadway production of Mimi Le Duck (2006) and The Westport County Playhouse production of The Skin of Our Teeth (2007). Miss Kitt remainrd devoted to performing in front of live audiences, from intimate cabarets to concert halls with local symphonies.

Recent appearances include appearances at Detroit’s Music Hall, Washington, D.C.’s Blues Alley, Seattle’s Jazz Alley, Palm Beach’s Kravis Center for the Performing Arts, The Mohegan Sun Casino’s Cabaret Showroom, Sarasota’s Van Wetzel Center for the Performing Arts Festival. She is especially proud to have brought her one-woman show to the 51st Annual JVC Newport Jazz Festival and the Miami Beach JVC Jazz Festival. In February 2007, British audiences welcomed Miss Kitt back to London for a special series of eight sold-out performances at The Shaw Theater. Eartha Kitt passed on Christmas Day, 2008.
https://www.allaboutjazz.com/musicians/eartha-kitt/

St. Louis Blues

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Mary Lou Williams - A Keyboard History

Styles: Piano Jazz
Year: 1955
Time: 68:14
File: MP3 @ 320K/s
Size: 156,2 MB
Art: Front

(2:08) 1. Fandangle
(3:28) 2. Mama, Pin a Rose On Me
(3:38) 3. Roll 'em
(3:34) 4. Sweet Sue
(5:17) 5. Lullaby of the Leaves
(2:19) 6. Taurus
(3:32) 7. Jericho
(4:46) 8. I Love Him
(4:02) 9. Amy
(4:42) 10. It's the Talk of the Town
(3:32) 11. I Love You
(4:00) 12. Easy Blues
(2:17) 13. Between the Devil and the Deep Blue Sea
(3:12) 14. There's a Small Hotel
(3:21) 15. En Ce Temps-la
(3:04) 16. Lover
(2:40) 17. Carioca
(3:31) 18. Nicole
(2:35) 19. Tire Tire L'Aguielle
(2:31) 20. Autumn in New York

Mary Lou Williams’ difficult to find 1955 LP A Keyboard History (Jazztone J1206) in its entirety. Williams is showcased here in both a trio setting with bassist Wendell Marshall and drummer Osie Johnson on some tunes, as well as solo piano on many selections. As a bonus, another complete album by the pianist recorded the previous year in Paris.

All ten tracks on Mary Lou (Emarcy LP MG26033) are trio performances featuring Buddy Banks on bass, and Jean-Louis Viale on drums. Both albums received a five-star rating in Down Beat magazine https://www.jazzmessengers.com/en/9374/mary-lou-williams/mary-lou-williams

Personnel: Mary Lou Williams, piano; Wendell Marshall, bass (out on 2, 4, 6 & 10); Osie Johnson, drums (also congas on 7; out on 2, 4, 6, 8 & 10)

A Keyboard History

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Don Sebesky - Joyful Noise; A Tribute To Duke Ellington

Styles: Hard Bop, Crossover Jazz
Year: 1999
Time: 68:21
File: MP3 @ 320K/s
Size: 156,5 MB
Art: Front

(8:00) 1. Mood Indigo
(8:13) 2. Creole Love Call
(6:49) 3. Chelsea Bridge
(5:35) 4. Caravan
(3:56) 5. Warm Valley
(9:23) 6. Take The Coltrane
(4:16) 7. Satin Doll
(6:09) 8. Joyful Noise Suite; Gladly
(6:40) 9. Joyful Noise Suite; Sadly
(6:31) 10. Joyful Noise Suite; Madly
(2:44) 11. Ko-Ko

Joyful? Absolutely. Noise? Not on your bass drum, compadre.

If it has taught us nothing else, the “Year of Ellington” now drawing to its close has shown that there are an almost infinite number of ways in which to enter and throw light upon the Duke’s abundant storehouse of enduring musical treasures. Don Sebesky has chosen the big–band route the one most favored by the maestro himself to stylishly renovate half a dozen opulent melodies by Ellington and his co–authors and another by alter ego Billy Strayhorn, uncloak his own three part “Joyful Noise Suite” and present a faithful transcription of “Ko–Ko” from Ellington’s 1941 recording for RCA.

Sebesky, one of the most respected Jazz composer / arrangers in the business, can literally have his pick of accomplished sidemen, and he chose only the best for this ensemble (including several from the formidable Vanguard Jazz Orchestra). A number of them (including, I believe, most of the trumpet section) can be seen from time to time in drummer Louie Bellson’s “East Coast” ensemble, which speaks for itself. As if that weren’t enough to ensure success, Sebesky has brought in a quintet of world–renowned guest soloists Bob Brookmeyer, Ron Carter, Tom Harrell, John Pizzarelli and Phil Woods, each of whom plays a concise but notably dynamic role. Ellington’s wonderful compositions notwithstanding, the centerpiece of this impressive tribute is Sebesky’s 19–minutes–plus suite, whose three picturesque movements (“Gladly,” “Sadly,” “Madly”) capture superbly the indomitable Ellington spirit while showcasing emphatic solos by Brookmeyer, Woods, Harrell, pianist Jim McNeely, bassist Dennis Irwin and drummer Dennis Mackrel.

Brookmeyer, who on the eve of his 70th birthday is playing as well as he ever has (he’s especially impassioned in the suite), solos also on “Creole Love Call,” “Caravan” and “Ko–Ko.” Woods is heard on the first two of those and on “Satin Doll,” Harrell and Carter on “Satin Doll” and “Creole Love Call,” Pizzarelli on “Mood Indigo,” “Caravan” and “Satin Doll.” Although he’s listed as a guitarist / vocalist, Pizzarelli’s vocals consist of wordless counterweights to his guitar solos.

The guest artists don’t usurp all of the solo space, with McNeely declaiming boldly on “Mood Indigo,” the elaborately rebuilt “Chelsea Bridge,” “Warm Valley” and “Ko–Ko.” Trumpeter Barry Ries, tenor Scott Robinson and the entire trombone section are featured on “Mood Indigo,” while tenor Tom Christensen is in the foreground on “Chelsea Bridge” and “Take the Coltrane,” trombonist Jim Pugh on “Take the Coltrane,” soprano Chuck Wilson and baritone Kenny Berger on “Warm Valley,” alto Andy Fusco on “Chelsea Bridge” and “Take the Coltrane,” flugel Brian O’Flaherty on “Chelsea Bridge,” trumpeter Tony Kadleck on “Creole Love Call.”

Each of them is outstanding, but it is Sebesky’s superior arrangements that produce the strongest and most lasting impression. “My intention,” he says in the liner notes, “was not to imitate Duke. Instead, I’ve tried to treat these great tunes in new and unexpected ways; ‘Chelsea Bridge’ and ‘Mood Indigo,’ originally done as ballads, are given new time signatures and much faster tempos; ‘Creole Love Call,’ led by Ron Carter’s insistent bass line, is much ‘dirtier’ than Duke’s version; ‘Caravan’ is built on an arrangement Erroll Garner did for his trio on a 1954 LP (listen for his ‘left hand’ under Phil Woods’ solo).

This is our love letter to this great master.” It’s precisely the sort of love letter Duke would have cherished. By Jack Bowers
https://www.allaboutjazz.com/joyful-noise-a-tribute-to-duke-ellington-don-sebesky-rca-victor-review-by-jack-bowers

Personnel: Alto Saxophone – Andy Fusco, Chuck Wilson (2); Arranged By – Don Sebesky (tracks: 1 to 10); Baritone Saxophone – Kenny Berger; Bass – Dennis Irwin (tracks: 1, 3, 4, 6, 8 to 11), Ron Carter (tracks: 2, 5, 7); Conductor – Don Sebesky; Drums – Dennis Mackrel; French Horn – Peter Gordon (8); Piano – Jim McNeely; Tenor Saxophone – Scott Robinson (2), Tom Christensen; Trombone – Alan Raph, Jim Pugh, John Mosca, Randy Andos; Trumpet – Barry Ries (tracks: 1, 3, 4, 6, 8 to 11), Brian O'Flaherty, Tim Hagans (tracks: 2, 5, 7), Tony Kadleck

Joyful Noise; A Tribute To Duke Ellington

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Wesla Whitfield - High Standards

Styles: Vocal
Year: 1997
Time: 56:36
File: MP3 @ 320K/s
Size: 129,6 MB
Art: Front

(5:01) 1. From This Moment On
(3:41) 2. I Didn't Know What Time It Was
(6:03) 3. Don't Explain
(4:33) 4. Just One Of Those Things
(4:03) 5. Where Are You?
(3:53) 6. My Favorite Things
(5:06) 7. Exactly Like You
(4:31) 8. Ev'rything I Love
(4:46) 9. How High The Moon
(5:59) 10. Don't Take Your Love From Me
(5:04) 11. Let's Do It
(3:53) 12. Ev'ry Time We Say Goodbye

On this, her tenth album, Wesla Whitfield continues her journey through the Great American Songbook. Liner notes to the contrary, it seems as if Whitfield is trying to move toward a jazzier presentation of the music with High Standards. Toward this end, she has surrounded herself with some excellent jazz musicians. Gary Foster's cool, boppish alto appears on all but two cuts.

Michael Moore's bass and Joe LaBarbera's drums have graced more jazz albums than one can count. The presence of these established players notwithstanding, the results are mixed. On "From This Moment On" and "Don't Explain," the meshing of Foster's high-energy jazz playing and Whitfield's splendid vocalizing provides two examples of where it works.

But it's clear that Whitfield continues to be more at ease with cabaret than with the riskier jazz genre. Like many in cabaret, she creates expectations and sets the mood by including the verse for most of the songs on this set. Cabaret or jazz notwithstanding, her voice of springwater purity, excellent diction, imaginative phrasing, and excellent breath control which allows her to stretch out the words giving continuity to the lyrics, make Whitfield a leading champion of the traditional popular song. Listen to her as she extends the lyrics on "Ev'ry Time We Say Goodbye" and "Don't Explain."

Her outstanding control can be credited to her classical training. This album will strengthen her position as one of popular song's most creative interpreters. One final note: there are discrepancies on the way Whitfield spells her first name. Most places where it appears spell it "Weslia." However, "Wesla" is the way it is spelled on her official web site, and that is the spelling used here.
By Dave Nathan https://www.allmusic.com/album/high-standards-mw0000601801#review

Personnel: Vocals – Wesla Whitfield; Bass – Michael Moore (2); Drums – Joe LaBarbera; Reeds – Gary Foster (tracks: 1 to 8. 10, 12)

High Standards

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