Dr. John - The Montreux Years

Styles: Jazz Funk, Soul
Year: 2023
File: MP3@320K/s
Time: 78:53
Size: 181,7 MB
Art: Front

( 3:35) 1. Professor Longhair Boogie (Live at Casino Montreux 1986)
( 4:52) 2. You Ain't Such a Much (Live at Casino Montreux 1986)
( 3:30) 3. Sick and Tired (Live at Casino Montreux 1986)
( 4:11) 4. Stack-a-Lee (Live at Casino Montreux 1986)
( 3:51) 5. Accentuate the Positive (Live at Auditorium Stravinski 2007)
( 4:04) 6. Right Place Wrong Time (Live at Auditorium Stravinski 2004)
( 4:53) 7. Rain (Live at Auditorium Stravinski 2007)
(10:34) 8. Going Back to New Orleans (Live at Auditorium Stravinski 1993)
( 4:01) 9. Makin' Whoopee (Live at Auditorium Stravinski 1995)
( 7:18) 10. Big Chief (Live at Miles Davis Hall 2011)
( 7:35) 11. In a Sentimental Mood / Mississippi Mud / Happy Hard Times (Medley) (Live at Miles Davis Hall 2012)
( 8:34) 12. Love for Sale (Live at Auditorium Stravinski 2007)
( 6:07) 13. Let the Good Times Roll (Live at Auditorium Stravinski 1995)
( 5:41) 14. Good Night Irene (Live at Casino Montreux 1986)

New Orleans is considered the birthplace of jazz. In the late 1800s, the city was a melting pot of different cultures, including African, European, and Caribbean. This cultural diversity had a profound impact on the music of the city. The new sounds of Dixieland and ragtime became the foundation in the evolution of jazz. Artists such as Buddy Bolden, King Oliver, Louis Armstrong, Sidney Bechet and Jelly Roll Morton became the leaders of this new music.

It was the pianists who later became the heart and soul of the New Orleans style of music, combining many different aspects and genres into an increasingly diverse jazz gumbo soup. Pianists like Fats Domino, Allen Toussaint, Professor Longhair and James Booker continued that evolution. However, no musician epitomizes all the styles present in the history of New Orleans music like Dr. John (Mac Rebennack). Dr. John: The Montreux Years is a remarkable testament to both the breadth and talent he was able to convey, especially in a live setting. The 14 tracks on the album (recorded between 1986 and 2012) are a cumulative masterclass that showcases his diversity of style, all the while staying true to the essence of the New Orleans DNA evident in his playing and singing.

The album starts with four tracks from 1986 with Dr. John performing solo. First up is the instrumental boogie-woogie/barrelhouse piano of "Professor Longhair Boogie." This is followed by the bluesy piano and vocals of "You Ain't Such A Much" and the Fats Domino hit "Sick and Tired," also done as a boogie-woogie. The traditional "Stack-A-Lee" is also done in barrelhouse style and closes the solo mini-set.

The remaining songs are a potpourri of styles and ensembles backing the good doctor. There are old pop standards like "Accentuate the Positive" and "Love for Sale" The latter arrangement might be the most interesting one on the record. It starts with a bluesy bass line and wailing tenor sax before Dr. John comes in to somehow fit the melody over that backdrop. Toward the end of the song, he and guest Jon Cleary, lay down a talking, singing lyric over the bass vamping underneath. It is a great example of Dr. John's ability to adapt his style to any setting. As he remarks to the crowd after the song ends, "That ain't the way Cole Porter composed it, but it's damn sure the way we do it."

"Makin' Whoopie" and "Let The Good Times Roll" are from 1995 and are given stellar big-band arrangements. "Right Place, Wrong Time" from 2004 is here with a similar arrangement to the original. "Rain" is the ballad of the set. Lovingly played and sung, the song is reminiscent of Leon Russell's "A Song For You."

"Big Chief" from 2012 (see the YouTube video below) features Trombone Shorty and is the quintessential New Orleans stomp. Once again paying homage to the song's composer Professor Longhair, Dr. John showcases his piano skills in this joyful performance.

It is a solo rendition of the medley "In a Sentimental Mood/Mississippi Mud/Happy Hard Times" from 2011 that may be the most impressive track on the album. In its seven and a half minutes, he explores the history of New Orleans-style piano. The playing is simple but deep. It is subtle but expressive. It is not flashy but is profound.

A solo performance from 1986, Lead Belly's folk standard "Goodnight Irene," closes the album as it began. Dedicated to James Booker, it is a rollicking boogie-woogie stomper.

Lovingly curated by the Montreux Jazz Festival and overseen by founder Claude Nobs' partner, Thierry Amsallem, this is the tenth installment of The Montreux Years series. The whole album is a wonderful live compilation that shows the many facets of musicianship that made Dr. John the iconic figure he remains.By Dave Linn
https://www.allaboutjazz.com/dr-john-the-montreux-years-dr-john-bmg

Personnel: Dr. John: piano.

Additional Instrumentation: Dr. John: vocals; Dr. John: organ (6, 10), keyboards, guitar (10, 11); Jon Cleary: keyboards, vocals (11); Ronnie Cuber: baritone saxophone (8, 9, 13); tenor saxophone: Alvin "Red" Tyler (9, 13); saxophone: Derek Huston (11); saxophone: Eric Traub (8); trombone: Trombone Shorty (10); trombone: Sarah Morrow (11); trumpet: Charlie Miller (8, 9, 13); Bobby Broom: guitar (9, 13); Cranston Clements: guitar (8); John Fohl: guitar (5-7, 10, 11, 12); David Barard: bass (5-13); Herman "Roscoe" Ernest III: drums (5, 6, 9, 12); Fred Staehle: drums (8); Shannon Powell: drums (10); Raymond Weber: drums (11); percussion: Smiley Ricks (8, 9, 13).

The Montreux Years

---

Dr. John - Things Happen That Way

Styles: Vocal,Piano
File: MP3@320K/s
Time: 39:04
Size: 91,6 MB
Art: Front

(4:37) 1. Funny How Time Slips Away
(3:52) 2. Ramblin' Man
(3:24) 3. Gimme That Old Time Religion (Feat. Willie Nelson)
(4:54) 4. I Walk On Guilded Splinters (Feat. Lukas Nelson & Promise Of The Real)
(2:59) 5. I’m So Lonesome I Could Cry
(4:12) 6. End Of The Line (Feat. Aaron Neville)
(3:24) 7. Holy Water
(3:59) 8. Sleeping Dogs Best Left Alone
(3:54) 9. Give Myself A Good Talkin' To
(3:44) 10. Guess Things Happen That Way

Interviewing the late Dr John aka The Night Tripper aka Dr John Creaux aka Mac Rebennack was a pleasure. Witty, erudite and b.s. free, he was reliably good copy. On one occasion he was an hour late and obviously, totally and spectacularly off his face. "If I nod out," he said, "kick me on the shin." The doctor was in... and out.

Things Happen That Way has turned out to be Dr John's last recorded studio album, and it rises to the occasion. It is the Night Tripper at his gumbo best, a joyous, uplifting mix of New Orleans funk, jazz, blues and country rock, a healing Americana which laughs at ethnic and regional boundaries. Listen to the impossibly funky arrangement of Hank Williams Sr.'s country classic "Ramblin' Man" and try not to gasp with delight. Another Williams song, "I'm So Lonesome I Could Cry," is the only one of the ten tracks which is delivered mono-stylistically, in relatively straight country fashion.

Dr John is accompanied by a deeply empathetic band and chorus, plus a handful of guest artists. The Neville Brothers' Aaron Neville duets on vocals on the Traveling Wilbury's "End Of The Line," Willie Nelson duets on the traditional "Gimme That Old Time Religion" (on which he also adds a guitar solo), and his son Lukas Nelson and Promise Of The Real are the back-up band on a remake of "I Walk On Guilded Splinters," from the Night Tripper's voodoo-drenched debut, Gris-Gris, released on Atco in 1968 (check the YouTube below). Other Mac Rebennack originals are "Holy Water," "Sleeping Dogs Best Left Alone" and "Give Myself A Good Talkin' To." Solid gold, each of them. The album ends with an affecting reading of Jack Henderson Clement's "Guess Things Happen That Way."

Remarkably, Dr John lived a decently lengthy life, passing in 2019 aged 77 years, a span aided no doubt by his finally freeing himself from heroin thirty years earlier. Things Happen That Way is a fine epitath. By Chris May
https://www.allaboutjazz.com/things-happen-that-way-dr-john-rounder-records

Personnel: Dr. John: piano; Shane Theriot: guitar; Tony Hall: bass, electric; Carlo Nuccio: drums; David Torkanowsky: keyboards; Mark Mullins: trombone; Alonzo Bowens: saxophone, tenor; Leonard Brown: trumpet; Jon Cleary: voice / vocals; Herlin Riley: drums; Yolanda Robinson: voice / vocals; Jolynda Chapman: voice / vocals

Additional Instrumentation: Dr John: vocals, piano, keyboards, co-production; Shane Theriot: electric, acoustic, lap steel and baritone guitars, cardboard box drum, co-production; Jon Cleary: additional keyboards, Hammond B3 organ.

Things Happen That Way

---

Dr. John - Dr. John's Gumbo

Styles: New Orleans R&B 
Year: 1972
File: MP3@320K/s
Time: 39:49
Size: 93,2 MB
Art: Front

(4:08)  1. Iko Iko
(3:14)  2. Blow Wind Blow
(3:26)  3. Big Chief
(2:45)  4. Somebody Changed the Lock
(3:14)  5. Mess Around
(3:55)  6. Let the Good Times Roll
(4:32)  7. Junko Partner
(3:29)  8. Stack-A-Lee
(2:09)  9. Tipitina
(2:32) 10. Those Lonely Lonely Nights
(3:20) 11. Huey "Piano" Smith Medley
(3:00) 12. Little Liza Jane

Dr. John's Gumbo bridged the gap between post-hippie rock and early rock & roll, blues, and R&B, offering a selection of classic New Orleans R&B, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/dr-johns-gumbo-mw0000202957

Personnel: Dr. John – guitar, piano, cornet, vocals; Lee Allen – tenor saxophone; Ronnie Barron – organ, piano, backing vocals; Harold Battiste – clarinet, saxophone, horn arrangements; Morris Bechamin – saxophone, backing vocals; Jimmy Calhoun – bass; Sidney George – harmonica, saxophone; Shirley Goodman, Tammy Lann, Robbie Montgomery, Jessica Smith – backing vocals; Ken Klimak – guitar; Dave Lastie – saxophone; Melvin Lastie – trumpet, cornet; John Ewing – trombone; Alvin Robinson – guitar, backing vocals; Fred Staehle – drums, percussion; Richard Washington – percussion

R.I.P.
Died: June 6, 2019
Born: November 20, 1941, New Orleans, Louisiana, United States

Dr. John's Gumbo

---

Hank Crawford - Indigo Blue

Styles: Saxophone, Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 34:55
Size: 81,3 MB
Art: Front

(6:26)  1. All Alone And Blue
(5:31)  2. The Very Thought Of You
(5:22)  3. Things Ain't What They Used To Be
(6:08)  4. Funny
(6:31)  5. Indigo Blue
(4:55)  6. Just For A Thrill

Hank Crawford's Indigo Blue was released in August of 1983, less than a year after his excellent comeback set, Midnight Ramble, and proves that his renewed sense of creativity was no fluke. Here he teams once more with Dr. John on piano and organ and drummer Bernard Purdie. Melvin Sparks took over the guitar chair from Calvin Newborn, and Wilber Bascombe, Jr. holds down the rhythm section on bass. In addition, a horn section that includes David "Fathead" Newman, Danny Moore, Howard Johnson, and Martin Banks, arranged by Crawford, follows the same recipe as Midnight Ramble. The performances here are solid, truly impressive. Crawford plays sweet and slow as well as honking mean in getting at the root source of straight-ahead jazz and soul-jazz: the blues. And speaking of blues, the opener, "All Alone and Blue," is a barrelhouse of nasty guitar and organ work with Crawford's alto walking the bar while playing a mean solo. It's quite a changeup to open a set with but the only other thing you could do is close with it. This is followed by a gorgeous reading of Ray Noble's "The Very Thought of You," all slow, deep, and refined with only Crawford's alto allowed to bring in the edges. But there are more surprises as Crawford and band tackle Willie Nelson's "Funny" and reveal both the blues and jazz roots in the tune. 

The swing between Dr. John and Sparks in the title track is truly canny, and Crawford's response in blowing shows it. This one is in the cut, and the groove is everywhere. The bittersweet ballad "Just for a Thrill" ends the set, with some of the sweetest and most lyrical piano and alto playing either man had done on a record until that time. Indigo Blue is a winner; it's hungry and elegant, sophisticated and swaggering. It's a trademark recording by Hank Crawford. ~ Thom Jurek https://www.allmusic.com/album/indigo-blue-mw0000187873

Personnel: Hank Crawford - alto saxophone, electric piano, arranger, conductor; Dr. John - piano, organ; Melvin Sparks - guitar; Wilbur Bascomb - bass;  Bernard Purdie - drums;  David "Fathead" Newman - tenor saxophone;  Howard Johnson - baritone saxophone; Martin Banks - trumpet; Danny Moore - trumpet.

Indigo Blue

---

Bluesiana Triangle - S/T

Bitrate: MP3@320K/s
Time: 42:56
Size: 98.3 MB
Styles: Jazz, Blues, R&B
Year: 1990
Art: Front

[ 5:43] 1. Heads Up
[ 5:34] 2. Life's A One Way Ticket
[10:12] 3. Shoo Fly Don't Bother Me
[ 3:41] 4. Need To Be Loved
[ 4:47] 5. Next Time You See Me
[ 6:18] 6. When The Saints Go Marchin' In
[ 6:36] 7. For All We Know

Backing Vocals – David Newman (tracks: 3), Essiet Okon Essiet (tracks: 3); Bass – Essiet Okon Essiet; Drums – Art Blakey, Joe Bonadio (tracks: 7); Organ [Hammond], Guitar – Dr. John; Percussion – Joe Bonadio; Piano – Art Blakey (tracks: 7), Dr. John; Saxophone, Flute – David Newman; Vocals – Art Blakey, Dr. John. Recorded And Mixed At Acme Studios, Mamaroneck, NY (March 1990).

Three veteran greats combine efforts on this recording for a back-to-basics album of blues-oriented material. In a classic jam session format, Art Blakey, Dr. John and David “Fathead” Newman join forces in a diverse and frolicsome encounter of three virtuosos. Coming from three different musical backgrounds, the triumvirate finds common ground in the blues and milks it for all it’s worth. From swing to second-line, ballads to boogie, funk, modern jazz, honky-tonk…Blakey, Dr. John and Newman create a soulful spectrum of tunes.

In the spirit of a true jam session, the album was recorded in just two days, with the artists running through each number until they were comfortable with it. Producer Joe Ferry then caught the artists live without a lot of overdubbing to bring out the true spirit of the sessions.

All three brought material to the session. More notable tracks include Dr. John’s arrangement of “Shoo Fly Don’t Bother Me.” With a laid-back, second-line funk groove, the vocals are done as a call-and-response with Dr. John’s lazy, fuzzy phrasing answered by the tune’s refrain. Fathead plays a mean flute solo and the bass vamps on the groove for the last several minutes as Blakey and percussionist Joe Bonadio exchange licks, releasing the thunder they’ve been building up. ~Anthony Clark

Bluesiana Triangle   

---

Olu Dara - Neighborhoods

Styles: Vocal, Cornet, Guitar
Year: 2001
File: MP3@320K/s
Time: 43:36
Size: 105,1 MB
Art: Front

(3:58)  1. Massamba
(4:54)  2. Neighborhoods
(4:45)  3. Herbman
(3:26)  4. Strange Things Happen Everyday
(3:50)  5. Bell & Ponce (At The Movie Show)
(4:09)  6. I See the Light
(3:57)  7. Out On the Rolling Sea
(4:30)  8. Bluebird
(3:18)  9. Used to Be
(4:10) 10. Red Ant (Nature)
(2:35) 11. Tree Blues

?Olu Dara used to be known as a melodic avant-garde cornetist, but in the 1990s he completely changed his musical identity, emerging as a singer and country blues guitarist. Strangely enough on this set, although he is pictured with a guitar, Dara does not play much guitar (other than on a couple solo pieces) and primarily focuses on singing, with his cornet making a few brief appearances. The music is mostly outside of jazz, more in the areas of pop, funk, reggae, and folk music. Unfortunately, the 11 performances (all but the traditional "Out on the Rolling Sea" are Dara originals) are not at all memorable, his singing is a bit mundane, and a guest spot for Cassandra Wilson on "Used to Be" is rather forgettable. The results are disappointing overall. ~ Scott Yanow https://www.allmusic.com/album/neighborhoods-mw0000391886

Personnel: Olu Dara (vocals, cornet, wooden horn, harmonica, guitar); Coster Massamba (vocals, congas, cowbell, shekere); Cassandra Wilson (vocals); John Abrams (tenor saxophone); Rod Williams (piano, electric organ); Dr. John (Fender Rhodes piano, Hammond B-3 organ); Fredger "Said" Dupree (Wurlitzer electric piano); Kwatei Jones-Quartey, Ivan Ramirez (guitar); Alonza "Skip" Gardner (bass); Larry Johnson, Greg Bandy (drums); Cantrese Alloway, Terrill Joyner, Rucyl Mills (background vocals).

Neighborhoods

---

Robin Kenyatta - Stompin' At The Savoy

Styles: Flute And Saxophone Jazz
Year: 1974
File: MP3@320K/s
Time: 37:38
Size: 88,3 MB
Art: Front

(2:28)  1. Stompin' At The Savoy
(3:07)  2. Smooth Sailing
(9:59)  3. The Need To Smile
(2:29)  4. Two Bass Blues
(5:23)  5. Neither One Of Us
(4:32)  6. Mellow In The Park
(3:59)  7. Jessica
(5:37)  8. River Boat

A great blend of older jazz styles and the sweet 70s funk of Robin Kenyatta served up with a hip sort of sparkle overall! There's a few familiar jazz modes in here that definitely live up to the spirit of the title but most of the record is more open, laidback, and somewhat spiritual thanks to help from a hip lineup that includes Billy Harper on tenor sax, Dwight Brewster and Larry Willis on electric piano, Winston Wright on organ, Lew Soloff on trumpet, and Jimmy Knepper on trombone! Some of the best tracks here are surprisingly open and earthy almost pointing back towards Kenyatta's Until album, but a bit more inside and other cuts have a warmer sort of 70s glow, more in the mode that Robin was hitting on other Atlantic albums of the time. Titles include "The Need To Smile", "Mellow In The Park", "Jessica", "River Boat", "Two Bass Blues", and "Smooth Sailing". © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/475315

Personnel: Robin Kenyatta (flute, saxophone, soprano saxophone, alto saxophone); Tasha Thomas, Robin Clark, Carl Hall (vocals); David Spinozza (guitar, electric guitar); Hux Brown (guitar); Billy Harper (tenor saxophone); Lew Soloff (trumpet, flugelhorn); Jimmy Knepper (trombone); Gladstone Anderson, Neville Hinds, Sonelius Smith (piano); Dr. John (electric piano, keyboards); Dwight Brewster, Larry Willis (electric piano); Winston Wright (organ); Ron Carter (bass instrument, acoustic bass, upright bass, electric bass); Lewis Worrell, Walter Booker (acoustic bass); Chuck Rainey, Jackie Jackson (electric bass); Alphonse Mouzon, Winston Grennan, Bernard "Pretty" Purdie (drums); Gilmore Digap (congas, tambourine); Guilherme Franco, Ralph MacDonald, Joao Palma (percussion).

Stompin' At The Savoy

---

Dr. John - In A Sentimental Mood

Bitrate: MP3@320K/s

Time: 40:31

Size: 92.8 MB

Styles: R&B

Year: 1989

Art: Front

[4:07] 1. Makin' Whoopee! (With Rickie Lee Jones)

[5:33] 2. Candy

[3:53] 3. Accentuate The Positive

[3:50] 4. My Buddy

[4:05] 5. In A Sentimental Mood

[4:12] 6. Black Night

[4:53] 7. Don't Let The Sun Catch You Cryin'

[5:15] 8. Love For Sale

[4:41] 9. More Than You Know

On Dr. John's first major-label effort, and first vocal studio album in ten years, he performs a set of pop standards including Cole Porter's "Love for Sale" and Johnny Mercer's "Accentuate the Positive." After starting out with a wild stage act and unusual costumes, Dr. John has evolved into a vocal stylist and piano virtuoso, which makes the idea of doing this sort of material appealing. And he does it well, turning out a leisurely duet with Rickie Lee Jones on "Makin' Whoopee" that won a Grammy (Best Jazz Vocal Performance, Duo or Group), and giving sad feeling to "My Buddy." Maybe he has changed since the Gris Gris days, but even a mellowed Dr. John is a tasty one. ~William Ruhlmann

In A Sentimental Mood 

---

Hank Crawford - Midnight Ramble

Styles: Saxophone Jazz
Year: 1983
File: MP3@320K/s
Time: 39:30
Size: 96,0 MB
Art: Front

(6:09)  1. Midnight Ramble
(5:35)  2. Forever Mine
(5:55)  3. Theme For Basie
(5:57)  4. Mister C
(5:09)  5. Street Of Dreams
(4:50)  6. Next Time You See Me
(5:52)  7. Deep River

Midnight Ramble, released in 1983 on Milestone, was saxophonist Hank Crawford's return to recording after a four-year break following his departure from Kudu. It was the beginning of a decades-long relationship with the prestigious jazz label. Crawford, a veteran of Ray Charles, had long been associated with soul-jazz groove-oriented music. On this date, he delivers a solid, straight-ahead session with some notable surprises. 

The first is that he plays not only his trademark alto saxophone, but also electric piano. Next is his rhythm section: Dr. John on piano and organ, Charles "Flip" Greene on bass, guitarist Calvin Newborn (brother of Phineas), and stone-cold soul-jazz drummer Bernard Purdie. But that isn't all. Crawford also includes five other horns: two trumpets, trombone, bass saxophone, and David "Fathead" Newman on tenor. Needless to say, Crawford's idea of "straight-ahead" still contains plenty, plenty soul. The program is solid, top to bottom; it's amiable, relaxed, and deeply rooted in the blues. Phineas Newborn's "Theme for Basie" and the saxophonist's own composition of the title track are highlights, as is the gospel-oriented blues of "Deep River," with Dr. John's piano leading the band. Among his better offerings, Midnight Ramble stands as one of the more inspired records Crawford cut after leaving Atlantic in 1969, and reveals that the extended downtime had helped him to regain his focus and his power (both imaginatively and compositionally) as one of the great soul and blues-oriented jazzmen in history. ~ Thom Jurek http://www.allmusic.com/album/midnight-ramble-mw0000674658

Personnel: Hank Crawford (alto saxophone, electric piano); David "Fathead" Newman (tenor saxophone); Howard Johnson (baritone saxophone); Waymon Reed, Charlie Miller (trumpet); Dick Griffin (trombone); Dr. John (piano, organ); Calvin Newborne (guitar); Charles "Flip" Greene (bass); Bernard Purdie (drums).

Midnight Ramble

---

Dr. John - Mercernary

Bitrate: MP3@320K/s

Time: 49:31

Size: 113.4 MB

Styles: Pop/R&B/Jazz

Year: 2006

Art: Front

[4:37] 1. Blues In The Night

[3:39] 2. You Must Have Been A Beautiful Baby

[3:34] 3. Personality

[4:08] 4. Hit The Road To Dreamland

[4:16] 5. I'm An Old Cow Hand

[2:34] 6. Dream

[3:45] 7. Lazy Bones

[3:22] 8. That Old Black Magic

[5:26] 9. Come Rain Or Come Shine

[2:37] 10. Moon River

[4:35] 11. Tangerine

[3:13] 12. I Ain't No Johnny Mercer

[3:39] 13. Save The Bones For Henry Jones

Dr. John's been on a roll since he signed with Blue Note. Each title he's released on the label has been solid, full of New Orleans funk, hot R&B, and swinging, finger-poppin' jazz. Since the Hurricane Katrina disaster, dozens of Crescent City players have been active, and trying to bring the message of the music to the masses like never before. Mercernary is a program almost entirely made up of tunes by the legendary Johnny Mercer. There is no explanation for this, other than Mac Rebennack has always admired his lyricism and the striking rhythmic originality of the rhythmic possibilities in his music. Other than a few guests to fill out the proceedings here and there, the band on all tracks is Dr. John with his fine Lower 911. The music here is joyful, gritty, and slippery check out the opener "Blues in the Night" that just roars with backline funk, or the spit and polish on "You Must Have Been a Beautiful Baby," both written with Harold Arlen. The switch-up is from the Mercer period, in the blues stroll of Johnny Burke and Jimmy Van Heusen's "Personality." "Hit the Road to Dreamland" is another blues, with gorgeous piano work by Rebennack. Herbert Hardesty's saxophone adds so much smoke and steam to the leisurely walk that the tune threatens at any moment to erupt into a full-on New Orleans jam, but never does. The reading of "I'm an Old Cow Hand" is a complete reworking of the tune, with killer second-line funky drumming courtesy of Herman V. Ernest III, and the middle-register piano magic by Dr. John struts the tune into the street effortlessly. Some may raise eyebrows at the big horns of Charlie Miller, and John Fohl's electric guitar on "Old Black Magic," but to hell with 'em. This old nugget is given new life, breadth, and an entirely new feel here. Likewise "Moon River," given a soul-jazz strut, will make some cry heresy, but they'll be drowned out by the joyous resonance of the performance itself because it has never been heard this way. Dr. John's interpretive singing is as fine as can be on Mercernary, and on this performance in particular. As if to address his critics, the good doctor lays down his own "I Ain't No Johnny Mercer," a nocturnal, B-3 driven groover that is full of hoodoo sass and greasy funk. Mercernary gives Johnny Mercer's age-old pop songs a new soul twist. And if the man is turning in his grave, he's probably shaking his skeleton, baby! One is struck at just how easy the Lower 911 and Dr. John make this material seem. They virtually write a manual on how standards should be interpreted in the 21st century: with reverence for the creativity and sophistication of the originals, but bringing some of the blessed nightclub vulgarity back into the music, taking it out of the sky and the hallowed hall and putting into back into the barroom where the ears and asses of the people can take it in and shake it. ~Thom Jurek

Mercernary

---

Nicholas Payton - Dear Louis

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 68:16
Size: 161,5 MB
Art: Front

(5:59)  1. Potato Head Blues
(8:30)  2. Hello, Dolly
(4:35)  3. I'll Be Glad When You're Dead, You Rascal You
(7:07)  4. Tight Like This
(0:42)  5. Interlude (St. James Infirmary)
(4:04)  6. On The Sunny Side Of The Street
(6:03)  7. Dear Louis
(3:49)  8. Blues In The Night
(5:25)  9. The Peanut Vendor
(2:53) 10. Mack The Knife
(6:06) 11. Tiger Rag
(4:59) 12. I'll Never Be The Same
(7:58) 13. West End Blues

At the risk of stating the obvious, the best tribute albums involve musicians with their own personalities capable of interpreting the material in such a way as to bring something new and fresh to the table. That is exactly what Nicholas Payton does with Dear Louis. And things could have come out quite to the contrary considering that on the surface this has all the trappings of a major label concept album. You know how that works, a rotating cast of characters, including some big name vocalists. Not that Dr. John or Dianne Reeves add anything all that considerable to the whole, but they certainly don't distract from what has to be Payton's most ambitious work to date. On most of the numbers, Payton writes charts for a large ensemble that gets a major boost in the lower register by the addition of Bob Stewart's tuba. "Tiger Rag" makes the most of this, with Scott Robinson adding even more bottom end via his use of a contrabass saxophone. The same track is also one of several to feature Melvin Rhyne on B-3 organ. 

Not to be missed are the roles that Payton's regular band plays in this affair, namely the rock solid support of bassist Reuben Rogers and drummer Adonis Rose. "Hello, Dolly" escapes any degree of its kitsch quality, as Payton turns it into a bossa nova. The same goes for the approach to "I'll Never Be the Same," with the trumpeter flexing his own vocal chords (he does the same on "I'll Be Glad When You're Dead, You Rascal You," with jubilant results). Even the most overtly apparent nods to Satchmo, such as a verbatim introduction to "West End Blues" from Payton, give way to more modern territory. Again, this leads Payton to explore his own pastures on this greatly varied and immensely satisfying disc.~ C.Andrew Hovan https://www.allaboutjazz.com/dear-louis-nicholas-payton-verve-music-group-review-by-c-andrew-hovan.php

Personnel: Nicholas Payton: trumpet, flugelhorn, vocals, Fender Rhodes electric piano; Paul Stephens: trumpet, flugelhorn; Ray Vega: trumpet; Vincent Gardner: trombone; Bob Stewart: tuba; Bill Easley: clarinet, alto saxophone, flute; Scott Robinson: bass clarinet, baritone and contrabass saxophones, flute; Tim Warfield: tenor and soprano saxophones, flute; Peter Bernstein: guitar; Melvin Rhyne: organ; Anthony Wonsey: piano; Walter Payton: bass; Reuben Rogers: bass; Adonis Rose: drums; Kenyatta Simon: percussion; Dr. John: vocals; Dianne Reeves: vocals.

Dear Louis

---

Donald Harrison - Big Chief

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 55:42
Size: 133,6 MB
Art: Front

(4:39)  1. Hiko Hiko
(8:16)  2. Uptown Ruler
(3:11)  3. Big Chief
(2:23)  4. Walkin Home
(2:51)  5. Shave Em Dry
(6:18)  6. Hu-Ta-Nay
(4:44)  7. Indian Blues
(3:03)  8. Shallow Water
(5:12)  9. Ja-Ki-Mo-Fi-Na-Hay
(7:08) 10. Indian Red
(1:54) 11. Two-Way-Pocky-Way
(5:57) 12. Cherokee

Alto saxophonist Donald Harrison explores another area of his New Orleans heritage, the music of the Mardi Gras "Indians." His solos are more bluesy and R&B-flavored, while the supporting cast includes Dr. John on piano, along with Cyrus Chestnut, drummer Carl Allen, bassist Phil Bowler, percussionists Bruce Cox and Howard Smiley Ricks, and Harrison's father on vocals.

Personnel:  Donald Harrison, Jr - alto sax, tenor sax, trombone, vocals; Dr. John - vocals, piano;  Cyrus Chestnut - piano, background vocals;  Phil Bowler - bass, vocals; Carl Allen - drums, vocals;  Howard Ricks - conga, timbales, vocals;  Bruce Cox - timbales, vocals

Big Chief

---

Dr. John - Afterglow

Bitrate: MP3@320K/s

Time: 45:18

Size: 103.7 MB

Styles: Pop/Blues/Jazz vocals

Year: 1995

Art: Front

[5:01] 1. I Know What I've Got

[4:17] 2. Gee Baby, Ain't I Good To You

[3:32] 3. I'm Just A Lucky So And So

[4:41] 4. Blue Skies

[5:03] 5. So Long

[3:59] 6. New York City Blues

[4:38] 7. Tell Me You'll Wait For Me

[5:20] 8. There Must Be A Better World Somewhere

[4:17] 9. I Still Think About You

[4:26] 10. I'm Confessin' (That I Love You)

Unlike his In a Sentimental Mood, which swung wildly from Tin Pan Alley standards to supper-club blues, Afterglow is mostly interested in recapturing the late '40s and early '50s, when jazz, blues, and pop intersected with sophisticated ease. The choice of material is impeccable--songs made popular by Nat "King" Cole, Louis Jordan, and Duke Ellington--and the playing is superb throughout. However, "Ain't I Been Good to You," "Just a Lucky So and So," and a stark read of "I'm Confessin'" are particularly effective. And on his original, "I Still Believe in You," Dr. John proves just how influenced he is by West Coast blues legend Charles Brown, who once recorded at Cosimo Matassa's studio where the future Night Tripper got his start. A lovely, effective album whose only misstep is a version of Irving Berlin's "Blue Skies" that sounds slightly out of step with everything else. --Keith Moerer

Afterglow

---

Hank Crawford - Night Beat

Bitrate: MP3@320K/s
Time: 40:10
Size: 92.0 MB
Styles: Saxophone jazz, Hard bop
Year: 1989
Art: Front

[8:02] 1. For The Love Of You
[4:58] 2. Mobile Bay
[6:53] 3. Midnight Fantasy
[5:29] 4. K.C. Blues
[5:28] 5. What A Wonderful World
[4:56] 6. Sleepin' On The Sidewalk
[4:20] 7. Trouble In Mind

Guitar – Melvin Sparks; Piano, Organ – Dr. John; Alto Saxophone, Electric Piano – Hank Crawford; Bass – Wilbur Bascomb; Drums – Bernard Purdie.

Altoist Hank Crawford teams up with pianist/organist Dr. John on this accessible and enjoyable soul-jazz outing. Crawford made quite a few CDs in this format for Milestone during the 1980s, using a funky four-piece rhythm section and a small horn section to play recent originals and a few vintage classics. Highlights of the above-average effort include "For the Love of You," "K.C. Blues" and "Trouble in Mind." ~Scott Yanow

Night Beat

---

Steve Tyrell - The Disney Standards

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 48:06
Size: 110,8 MB
Art: Front

(3:52)  1. When You Wish Upon A Star
(3:46)  2. Kiss The Girl
(3:27)  3. You've Got A friend In Me
(2:58)  4. Bella Notte
(2:52)  5. Ev'rybody Wants To Be A Cat
(3:38)  6. Beauty and the Beast
(3:07)  7. He's A Tramp
(4:42)  8. You'll Be In My Heart
(2:48)  9. A Deeam Is A Wish Your Heart Makes
(3:07) 10. When She Loved Me
(2:46) 11. The Bare Necessities
(3:29) 12. Once Upon A Dream
(3:33) 13. Cruella De Vil
(3:54) 14. Baby Mine

On 2006's Disney Standards, pop vocalist Steve Tyrell offers up a charming set of tunes from vintage Mouse House films. Although Tyrell's gravelly voice may seem like an unlikely match for the melodies from animated classics such as Dumbo and Pinocchio, the project works to wonderful effect, allowing the vocalist to imbue the songs with plenty of emotion. Trumpeter Chris Botti joins Tyrell on a delicate reading of "When You Wish Upon a Star" (from Pinocchio), and Dr. John sits in on an easy-going rendition of "You've Got a Friend in Me" (from Toy Story). (The latter is a slightly strange pairing since Tyrell's voice echoes Dr. John's own singing style). Other highlights include "A Dream Is a Wish Your Heart Makes" (a dreamy, piano-driven version of the beloved Cinderella song) and "The Bare Necessities" (a smooth, orchestral take on the Jungle Book original). For fans of both Disney movies and Tyrell, this disc is sure to entertain. http://www.allmusic.com/album/disney-standards-mw0000702722

Personnel: Steve Tyrell (vocals); Bob Mann (guitar, keyboards); Dave Koz (saxophone); Chris Botti (trumpet); Dr. John, Lee Musiker (piano); Paulinho Da Costa (percussion).

The Disney Standards

---

Arif Mardin - All My Friends Are Here

Bitrate: MP3@320K/s
Time: 62:16
Size: 142.6 MB
Styles: Contemporary jazz
Year: 2010
Art: Front

[4:39] 1. The Greatest Ears In Town (Feat. Bette Midler And Barry Gibb)
[4:57] 2. So Blue (Feat. Chaka Khan And David Sanborn)
[5:31] 3. No Way Out (Feat. Nicki Parrott)
[4:14] 4. Goodbye To Rio
[3:17] 5. No One (Feat. Dianne Reeves)
[4:11] 6. So Many Nights (Feat. Danny O'keefe)
[5:39] 7. Calls A Soft Voice (Feat. Carly Simon)
[6:47] 8. Longing For You (Feat. Norah Jones With Joe Lovano And John Faddis)
[5:29] 9. Dual Blues (Feat. Amy Kohn)
[5:39] 10. Chez Twang's (Feat. Dr. John)
[5:54] 11. Willie's After Hours (Lonestar Blues)
[4:29] 12. All My Friends Are Here
[1:24] 13. Wistful

Unintentionally of course, Arif Mardin crafted his own eulogy. Naturally, given Mardin’s stature as arguably the most accomplished arranger/producer of the past half-century — the genius responsible for everything from Dusty Springfield’s landmark Dusty In Memphis to Barry Gibb’s career-altering falsetto, the stratospheric launch of the Average White Band and the equally meteoritic blast-off of Norah Jones — it is shaped of music. Mardin aptly referred to what would ultimately become All My Friends Are Here (NuNoise Records) as his “life’s work.” Begun in 2005 and completed by his son and co-producer Joe after Mardin’s death, in June 2006 at age 74 of pancreatic cancer, it is an incomparably rich, atmospheric celebration of all aspects of the 12-time Grammy winner’s vibrant life and career.

Mardin wrote or co-wrote all but one of the album’s 13 tracks. Some, like the exquisitely romantic “Longing for You” (written when Mardin was 23 as a ode to his then fiancée Latife) date back decades. Others are brand new. To perform this heady potpourri of songs, father and son assembled more than a dozen of the artists whose careers Mardin launched and molded, including Bette Midler, Norah Jones, Raul Midón, Barry Gibb, Chaka Khan, Danny O’Keefe, the Average White Band, Daryl Hall and Felix Cavaliere. ~Christopher Loudon

All My Friends Are Here

---

Dr. John - Ske-Dat-De-Dat: The Spirit of Satch

Styles: New Orleans Blues-Jazz
Year: 2014
File: MP3@320K/s
Time: 58:31
Size: 134,3 MB
Art: Front

(4:10)  1. What A Wonderful World
(6:13)  2. Mack The Knife
(4:51)  3. Tight Like This
(4:04)  4. I've Got The World On A String
(2:47)  5. Gut Bucket Blues
(4:45)  6. Sometimes I Feel Like A Motherless Child
(3:55)  7. That's My Home
(4:36)  8. Nobody Knows The Trouble I've Seen
(6:36)  9. Wrap Your Troubles In Dreams
(4:27) 10. Dippermouth Blues
(4:18) 11. Sweet Hunk O'Trash
(5:02) 12. Memories Of You
(2:41) 13. When You're Smiling (The Whole World Smiles With You)

New Orleans piano man Dr. John needs little introduction his work as a groundbreaking genre-bending musician crosses multiple musical borders. Multiple collaborations with various artists throughout a long career have given him a well-deserved reputation that earned him a place in the Rock and Roll Hall of Fame even though he is a New Orleans boogie man at heart. His amazing tribute to the music of fellow Louisiana son Louis Armstrong features musicians from various backgrounds. The disc begins with a zydeco take on the classic "What a Wonderful World," presented miles away from Satchmo's classic ballad. 

The tune features the Blind Boys of Alabama and writer and trumpeter Nicholas Payton, who adds a funky solo the proceedings. Though most of the songs keep things close to the bandleader's hometown of New Orleans, some of them do go to a different direction. Take for example "Motherless Child," which features a neo-soul arrangement with vocals by Anthony Hamilton. The subtle arrangement is the perfect environment for Dr. John's piano improvisations. "Nobody Knows The Troubles I've Seen" is given a Gospel treatment with a complete choir led by the voice of Ledisi, while "Sweet Hunk O' Trash" is played as a lovely reggae-meets blues arrangement. ~ Ernest Barteldes  http://www.allaboutjazz.com/ske-dat-de-dat-the-spirit-of-satch-dr-john-concord-music-group-review-by-ernest-barteldes.php#.VB2bPhawTP8

Personnel: Dr. Johm: piano and vocals; Bonnie Raitt: vocals; Anthony Hamilton: vocals; Ledisi: vocals, Arturo Sandoval: trumpet; Nicholas Payton: trumpet; Dirty Dozen Brass Band: various brass; Terence Blanchard: trumpet; Blind Boys Of Alabama: various instruments; McCrary Sisters: vocals; Shemekia Copeland: vocals; Wendell Brunious: trumpet;James "12" Andrews: trumpet; Mike Ladd: raps; Telmary: raps

Ske-Dat-De-Dat: The Spirit of Satch

---

Dr. John - Duke Elegant

Bitrate: 320K/s

Time: 54:57

Size: 125.8 MB

Styles: New Orleans blues-jazz vocals

Year: 1999

Art: Front

[ 5:40] 1. On The Wrong Side Of The Railroad Tracks

[ 5:02] 2. I'm Gonna Go Fishin'

[ 3:33] 3. Don't Get Around Much Anymore

[ 5:05] 4. Solitude

[ 4:45] 5. Satin Doll

[ 6:53] 6. Mood Indigo

[ 5:29] 7. Do Nothing 'til You Hear From Me

[ 6:22] 8. Things Ain't What They Used To Be

[ 6:22] 9. Caravan

[ 5:43] 10. The Flaming Sword

Mac "Dr. John" Rebennack playing songs from the canon of Duke Ellington is as natural as the break of day. But the gris-gris king interprets Ellington in a way unlike anyone else. "Mood Indigo," arranged for Dr. John's six-man New Orleans group, takes on a fresh, heartfelt immediacy with the good doctor's vocals and piano locked into a relaxed groove. He sings another slice of essential Ellingtonia, "Do Nothing 'til You Hear from Me," with a lighthearted nonchalance that epitomizes the worthiest New Orleans performers. Dr. John packages snippets of his keyboard playing as panaceas for the soul on a funked-up interpretation of "Caravan," even spinning off on a "Wade in the Water" tangent before wrapping up the song. But with so many, many Ellington nuggets to dust off for reinterpretation, one wonders why Dr. John elected to go with popular numbers that get covered again and again. To his credit, he does serve up the lesser-known "The Flaming Sword," where his piano is luminous in the Calypso fashion of Professor Longhair, and he offers delightful, fonkified updates of the Ellington obscurities "On the Wrong Side of the Railroad Tracks" and "I'm Gonna Go Fishin'." --Frank-John Hadley

Duke Elegant

---

Dr. John Meets Donald Harrison - New Orleans Gumbo

Size: 117,9 MB
Time: 50:50
File: MP3 @ 320K/s
Released: 2013
Styles: New Orleans Jazz/Blues
Art: Front

01. You Ain't So Such A Much (6:35)
02. Ja-Ki-Mo-Fi-Na-Hay (6:54)
03. Shave 'em Dry (5:17)
04. Big Chief (5:17)
05. Mamzelle Zizi (5:44)
06. Livin' On Borrowed Time (9:19)
07. Hu-Ta-Nay (9:16)
08. Walkin' Home (2:23)

This particular New Orleans Cookbook has two of the finest Crescent City chefs in the business cooking up some serious gumbo together! Donald Harrison Jr. and Dr. John got together with Donald's band for this culinary event up at New York's Birdland - one of many live albums recorded for Candid at the club, located at the time Uptown at 2745 Broadway and 105th Street. Donald is of course well known as one of the finest saxophonists of his generation-a long time member of Art Blakey's Jazz Messengers, co- leader of a fine band with trumpeter Terence Blanchard and young veteran of scores of albums under his own name-this being one of five on Candid. During his career he has been involved with many diverse aspects of the jazz idiom embracing the whole history of classic New Orleans music from second-line parade music of traditional jazz and the music of the Mardi Gras Indians tribe to the pioneering R&B of Professor Longhair and the contemporary funk of the Neville Brothers and Dr.John. Add to these ingredients his involvement with be-bop, post bop, nouveau swing and smooth jazz and one can understand why the Times-Picayune called him “A complex keeper of local culture “ ,“I travel through so many different styles of music, it's all part of me,” said Donald. As the son of Guardians of the Flame Big Chief Donald Harrison Sr., Harrison has made his way in the wider world of jazz beyond New Orleans much like the fictional character loosely based on him - Delmond Lambreaux in the hit U.S. Television series Tremé.

Malcolm John “Mac” Rebennack a.k.a. Dr. John the Night Tripper found early inspiration from being exposed to records of jazz stars of the day along with hearing piano playing and minstrel tunes sung by his family. In his early teens he went to hear Professor Longhair who made a tremendous impression on the lad. He took up music lessons, concentrated on the guitar and started gigging around with local bands. He worked extensively as a session musician and all the time his style continued to evolve until eventually it incorporated as well as vocals, blues, jazz, pop, zydeco, boogie R&B and Funk. His profile increased with the success of his recordings and in the late sixties he gained a cult following with his album Gris Gris. And so it goes on - he has made scores of albums and had innumerable hits. He now has six Grammys to his name and in 2011 he was inducted into the Rock and Roll Hall of Fame and two years later was the recipient of an honorary Doctorate of Fine Arts from Tulane University.

Dr. John was certainly in the Right Place at the Right Time in 1991 though when he appeared in this collaboration with Donald Harrison and his fine band. Cousin Joe's 1946 classic You Ain't So Such A Much gets this late night Birdland session into a down home groove right away propelled by Harrisons boppish alto. Likewise Donald soars through Ja-Ki-Mo a New Orleans standard sometimes known as Iko Iko. Shave 'em Dry is referred to as a “wild and woolly song” which Mac learned from Big Chief Jolly-this version enlivened by some choice lyrics from Roosevelt Sykes' Mother Fuyer. One of Professor Longhair’s best known songs is Big Chief, expertly worked over here by both leaders. Howard “Smiley” Ricks the noted percussionist featured on Mamzelle Zizi was brought up on the famous New Orleans second line rhythm. Dr. John tells it like it is on Livin' on Borrowed Time, which is a slow and soulful expression of the eternal problem which besets all over-spenders. Stephen Scott and the aforementioned Smiley get their chance for an extended blow on Hu-Ta-Nay before we all go Walkin Home.

And the two true sons of America’s most unique city have upheld its tradition once again with joyous flair and pride.

New Orleans Gumbo

---

Georgie Fame - The Blues And Me

Bitrate: 320K/s
Time: 54:47
Size: 125.4 MB
Styles: Contemporary blues, Blues-jazz vocals
Year: 1992
Art: Front

[4:17] 1. The Blues And Me
[3:31] 2. I Want To Know
[3:25] 3. Maybe It's Because Of Love
[4:29] 4. How Long Has This Been Going On
[4:12] 5. Jumpin' With Symphony Sid
[3:52] 6. Roll With My Baby
[3:49] 7. The Woodshed
[4:26] 8. Bluesology
[5:50] 9. Everybody Cryin' Mercy
[4:21] 10. Blues For Ann-Marie
[4:48] 11. I Almost Lost My Mind
[3:46] 12. Passed Me By
[3:56] 13. I Ain't Got Nothin' But The Blues

For Georgie's sophmore release on Go Jazz, we focussed on the blues, enlisting modern blues masters like Dr. John and Stanley Turrentine to add some color, and relying on the same good-time production values (get engineer James Farber to set up the mics and turn the dials, have the baddest rhythm section in town lay the grooves down and order a nice lunch) that worked the first time around. ~Ben Sidran

Recorded at The Power Station, Skyline Studios, New York, New York; Abbey Road Studios, London, England.

Georgie Fame (vocals, piano, organ); Dr. John (vocals, piano); Hugh McCracken (guitar); Phil Woods, Pete King (alto saxophone); Bob Malach, Stanley Turrentine (tenor saxophone); Ronnie Cuber (baritone saxophone); Alan Rubin (trumpet); Keith O'Quinn (trombone); Paul Shaffer, Ben Sidran (piano); Mike Manieri (vibraphone); Will Lee (bass); Grady Tate (drums).

The Blues And Me

---