Sunday, June 8, 2025

Ronny Whyte - Whyte Witchcraft

Styles: Vocal Jazz
Year: 2019
Time: 60:43
File: MP3 @ 320K/s
Size: 140,2 MB
Art: Front

(2:24) 1. Too Good to Talk About
(4:57) 2. It Amazes Me
(4:01) 3. The Best is yet to Come
(3:13) 4. I'm Watching You
(3:55) 5. Sometime When You're Lonely
(4:37) 6. Witchcraft
(3:22) 7. Sweet Talk
(3:37) 8. On Second Thought
(4:16) 9. Why Try to Change Me Now
(3:36) 10. I've Got Your Number
(3:14) 11. I'm in Love Again
(3:36) 12. Rules of the Road
(3:16) 13. I Walk a Little Faster
(3:51) 14. You Fascinate Me So
(2:21) 15. Don't Ask a Lady
(4:04) 16. Here I Go Again
(2:19) 17. All Right I Love You

Cy Coleman (1929-2004), the jazz pianist turned theater composer, is best remembered for his string of golden Broadway scores—Little Me, Wildcat, Sweet Charity, Seesaw, I Love My Wife. But to cabaret-goers of the 1950s, Coleman was a nightclub mainstay whose songs formed a smart soundtrack to big-city life. His music, with its syncopated, conversational bounce, has a distinctly New York pulse; the lyrics of his key collaborators, Joseph McCarthy, Jr., Carolyn Leigh, and Dorothy Fields, are dazzlingly nimble and worldly-wise. In “You Fascinate Me So,” Leigh’s words have a swing all their own: “I feel like Christopher Columbus when I’m near enough to contemplate/The sweet geography descending from your eyebrow to your toe.” 

It’s a lost language of songwriting, and most of its great interpreters—Blossom Dearie, Sylvia Syms, Mabel Mercer, Bobby Short—are gone. But their urbanity and musicianship live on in Ronny Whyte, a sixty-year member of a grand tradition of New York singer-pianists. Suave but eternally boyish, with jazz chops and a breezy air, Whyte was Coleman’s friend; the composer gave him copies of many of his songs. From these Whyte has assembled his latest album, which focuses mainly on Coleman’s partnership with Leigh. 

Thousands of nights in saloons haven’t dulled the satin sheen of Whyte’s voice. On half the tracks, Cecilia Coleman (no relation), the Los Angeles-based bandleader and pianist, backs Whyte with a sixteen-piece orchestra that is strong on instrumental color but never competitive. Elsewhere Whyte performs in a trio that includes accordionist Eddie Monteiro. Singing the best of early Cy—“Why Try to Change Me Now?,” “Witchcraft,” “I Walk a Little Faster,” “The Rules of the Road”—Whyte captures the wit and the lilt in every phrase.

Whyte Witchcraft

Chet Baker & Bud Shank - Theme Music From "The James Dean Story"

Styles: Cool Jazz
Year: 2016
Time: 42:17
File: MP3 @ 320K/s
Size: 98,1 MB
Art: Front

(2:53) 1. Jimmy's Theme
(4:45) 2. The Search
(3:38) 3. Lost Love
(3:35) 4. People
(3:35) 5. The Movie Star
(4:33) 6. Fairmont, Indiana
(3:43) 7. Rebel at Work
(4:11) 8. Let Me Be Loved
(3:58) 9. Success and Then What?
(5:05) 10. Hollywood
(2:15) 11. Let Me Be Loved (Vocal Version)

Theme Music from the James Dean Story

Presented here for the first time on CD in full Stereo sound, with detailed recording dates and complete, accurate personnel data, the splendidly varied contributions of soloists and arrangers give the album the jazz qualities that help to make it such a satisfying experience.

The famous television host, actor and jazz pianist, Steve Allen, once said that Chet Baker was, because of his general air, looks and attitude, “the James Dean of Jazz.” Since Chet also shared with Dean a similar reputation as a rebel, it seems fitting that he was chosen as co-leader on this album with Bud Shank. Originally written by Leith Stevens for “The James Dean Story” the music for the film contains that background quality, meant to amplify visual action, which gives it a cohesiveness that, in lesser hands, has the potential to make one track sound a great deal like another. However, the Johnny Mandel and Bill Holman orchestrations here simultaneously reflect the James Dean spirit, while providing a rich instrumental framework for the solo work of Baker and Shank. And if Chet plays with consistent force and lyrical warmth throughout, and sings with emotional involvement on the James Dean theme, Let Me Be Loved, it is Bud who steals the show overall with the authoritative vitality and soulfulness of his alto and flute work.

Music composed by Leith Stevens, except “Let Me Be Loved” by Jay Livingston-Ray Evans

Tracks #1-10, originally issued on the Mono 12” album
“The James Dean Story” (World Pacific P-2005)
Tracks #11 from the 7” single World Pacific X-641
Tracks #1,2,4,5,6,8,9 & 10 issued in Stereo on the
12” album “Swinging Soundtrack” (Kimberly 11016)

Personnel includes:

Chet Baker, trumpet & vocals; Ray Linn, Don Fagerquist, trumpets; Milt Bernhart, trombone; Bud Shank, Charlie Mariano, Bill Holman, Richie Kamuca, Herbie Steward, Pepper Adams, reeds & woodwinds; Claude Williamson, piano; Monty Budwig, bass; Mel Lewis, drums; Mike Pacheco, bongos.

All sessions recorded at Radio Recorders, in Hollywood, August 1957

Charlie Mariano: Plays / Plays Alto and Tenor

Charlie Mariano Plays
Styles: Easy Listening, Cool Jazz, Contemporary Jazz
Year: 2005
Time: 63:49
File: MP3 @ 320K/s
Size: 148,0 MB
Art: Front

(4:11) 1. S Nice
(4:07) 2. Clho - E
(4:41) 3. Three Little Words
(3:25) 4. Green Walls
(5:10) 5. My Melancholy Baby
(2:39) 6. You Go to My Head
(3:18) 7. Slugger
(3:09) 8. There Will Never Be Another You
(3:15) 9. Sunday
(3:21) 10. Sapphire
(3:29) 11. Don't Get Around Much More
(3:52) 12. Strike Up the Band
(3:40) 13. Just Max
(2:52) 14. Sweet Georgia Brown
(3:16) 15. I'll Never Smile Again
(3:25) 16. T. K.
(2:25) 17. Rubberneck
(3:26) 18. Jeppers Creepers

Altoist Charlie Mariano, active since the late Forties playing around his native Boston, became much better known through his stay at Stan Kenton's orchestra (1953-1955). He managed to assert his own individual quality and his own musical importance while keeping a deep-seated devotion to Charlie Parker. On these early sides, recorded in Los Angeles, Mariano blows with a great deal of emotion, authority, bite and consistency, showing why he became one of the most demanded studio sidemen in the West Coast (1953-1957) as well as one of the most important altoists in modern jazz since Charlie Parker.

Charlie Mariano Plays

Charlie Mariano Plays Alto and Tenor
Styles: Bop
Year: 2005
Time: 54:01
File: MP3 @ 320K/s
Size: 125,0 MB
Art: Front

(5:32) 1. Johnny One Note
(4:00) 2. The Very Thought of You
(3:11) 3. Smoke Gets in Your Eyes
(5:24) 4. King for a Day
(4:21) 5. Darn That Dream
(4:33) 6. Floormat
(6:43) 7. Blues
(4:12) 8. I Heard You Cried Last Night
(3:29) 9. Manteca
(4:35) 10. It's You or No One
(2:56) 11. I Should Care
(5:00) 12. Give a Little Whistle

On these 1955 quartet sessions, whether on alto or tenor saxophone, we hear Charlie Mariano play some of the strongest and most impressive sides he had recorded until then. He was backed by a solid rhythm section, featuring the stabbing and leanly imaginative pianist John Williams, the striding beat of Max Bennett, and the always tasteful drumming of Mel Lewis. All the tracks are marked by a pulse and a flow and deftness which demand satisfactory attention.

Charlie Mariano Plays Alto and Tenor

Warren Wolf - Wolfgang

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 61:09
Size: 141,0 MB
Art: Front

(7:55)  1. Sunrise
(7:18)  2. Frankie and Johnny
(7:25)  3. Grand Central
(6:05)  4. Wolfgang
(5:34)  5. Annoyance
(5:34)  6. Lake Nerraw Flow
(6:07)  7. Things Were Done Yesterday
(6:27)  8. Setembro
(8:41)  9. Variations sur "Le carnaval de Venise"

In a succession of vibraphonists that began with Lionel Hampton and Red Norvo, Wolf has come into his own. His new album finds him with one rhythm section of veterans pianist Benny Green, bassist Christian McBride and drummer Lewis Nash and another of young musicians from his own quartet. He and the increasingly impressive pianist Aaron Diehl play duets on two pieces. With Wolf on marimba, the two defy categories in variations on the 19th century trumpet chops buster “The Carnival of Venice.” In “Wolfgang” and “Grand Central” (unrelated to the John Coltrane piece of that name) Wolf the composer writes straightforward melodic invention that is also a hallmark of his soloing. His improvisation on “Frankie and Johnny” is a bluesy joy. ~ Doug Ramsey  http://www.artsjournal.com/rifftides/2013/09/cd-warren-wolf.html

Wolfgang

Ramsey Lewis - Them Changes

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 44:59
Size: 104,9 MB
Art: Front

(6:43)  1. Them Changes
(6:30)  2. Drown In My Own Tears
(8:18)  3. Oh Happy Day
(8:00)  4. Do Whatever Sets You Free
(5:12)  5. Something
(6:19)  6. See The End From The Beginning, Look Afar
(3:54)  7. The Unsilent Minority

Pianist and composer Ramsey Lewis has been a major figure in contemporary jazz since the late 1950s, playing music with a warm, open personality that's allowed him to cross over to the pop and R&B charts. Lewis was born in Chicago, Illinois on May 27, 1935, and was introduced to music by his father, who directed the choir at a local church and enjoyed the music of Duke Ellington and Art Tatum. Lewis began studying the piano when he was four years old, and was soon accompanying the choir at Sunday services. At the age of 15, he joined a jazz combo called the Cleffs, who played at parties and dances. Lewis was interested in a leaner, more bebop-oriented sound, and when the group splintered after several members joined the military, he formed the Ramsey Lewis Trio with two other former Cleffs, bassist Eldee Young, and percussionist Redd Holt. The trio became a fixture on the Chicago jazz scene, and they were signed to a deal with Chess Records, releasing their first album, Ramsey Lewis & His Gentlemen of Jazz, in 1956. Lewis and his trio continued to record and tour steadily over the years, building a sizable audience among jazz fans, but their career received a serious boost in 1965, when they recorded a swinging version of Dobie Gray's hit "The In Crowd" at a gig in Washington, D.C.

Chess released the track as a single, and it became a sizable pop hit, earning Lewis his first gold record, as well as a Grammy award for Best Jazz Performance. As Lewis' star rose, he returned to the pop charts in 1966 with versions of "Hang on Sloopy" and "Wade in the Water." Meanwhile, Young and Holt left Lewis' trio to form their own group, Young-Holt Unlimited, and the pianist hired a new rhythm section, Cleveland Eaton on bass and Maurice White on drums. In 1970, White resigned to form his own group, and Morris Jennings signed on as the trio's new percussionist. Lewis continued to record for Chess until 1972, when he moved to Columbia Records, and as his music developed a more contemporary groove, White's group, Earth, Wind & Fire (also on Columbia), was beginning to enjoy considerable success on the R&B charts. White produced Lewis' 1974 album Sun Goddess, in which he experimented with electronic keyboards for the first time, and several members of EWF played on the sessions; it became a major crossover hit and took Lewis to the upper ranks of the smooth jazz/fusion scene. Lewis would continue to record R&B-influenced material through the '70s, but continued to explore his roots in more traditional jazz sounds as well as Latin rhythms. In 1983, he went into the studio with Eldee Young and Redd Holt again for the album Reunion; in 1984, he collaborated with Nancy Wilson on The Two of Us; in 1988, he recorded with London's Philharmonia Orchestra for the album A Classic Encounter, and in 1989, Lewis and Dr. Billy Taylor cut a set of piano duets, We Meet Again.

In 1992, Lewis signed with the successful jazz label GRP Records, and in 1995, he launched the side project Urban Knights, in which he collaborated with a handful of successful crossover jazz stars, including Grover Washington, Jr., Earl Klugh, and Dave Koz. In 1997, Lewis added disc jockey to his résumé, hosting a popular show on Chicago's WNUA-FM that ran until 2009; the show went into syndication in 2006 under the name Legends of Jazz with Ramsey Lewis, and is still on the air. In 2005, Lewis looked back on his roots in gospel music with the album With One Voice, which earned him the Stellar Gospel Music Award for Best Gospel Instrumental Album. In 2007, he was commissioned to write a jazz ballet for the Joffrey Ballet Company, and "To Know Her …" debuted at Highland Park, Illinois' Ravina Music Festival, where Lewis is artistic director of the festival's jazz series, and helped found their Jazz Mentor Program. Lewis has also written several pieces for string ensemble and orchestra that have premiered at Ravina; highlights were featured on the 2009 album Songs from the Heart: Ramsey Plays Ramsey, his first release from Concord Records. In addition to his work as a performer, composer, educator, and disc jockey, Lewis has received five honorary doctorate degrees, won the National Endowment for the Arts' Jazz Master Award in 2007, and is one of the few noted jazz artists to carry the Olympic Torch, having briefly escorted the flame as it passed through Chicago en route to the 2002 Winter Games. Bio ~ Mark Deming  http://www.allmusic.com/artist/ramsey-lewis-mn0000334770/biography

Personnel:  Ramsey Lewis – piano, el. piano (Fender Rhodes),Phil Upchurch – el. guitar (Fender),Cleveland Eaton – el. bass (Fender), Morris Jennings - drums