Lou Donaldson - Rough House Blues

Bitrate: MP3@320K/s
Time: 34:01
Size: 77.9 MB
Styles: Bop, Soul-jazz
Year: 1964/2010
Art: Front

[5:22] 1. Tippin' In
[3:12] 2. L.D. Blues
[4:24] 3. Days Of Wine And Roses
[4:57] 4. Ignant Oil
[6:33] 5. Rough House Blues
[4:00] 6. Back Talk
[5:30] 7. Huffin' 'n' Puffin'

Lou Donaldson - alto saxophone; Dave Burns, Ernie Royal - trumpet; Phil Woods - alto saxophone; Bob Ashton - tenor saxophone; Danny Bank - baritone saxophone; Lloyd Mayers Jr. - organ; Richard Davis - bass; Grady Tate - drums; Oliver Nelson - conductor, arranger.

Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years.

Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s up until the present.

Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent.

Rough House Blues

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Stanley Turrentine - The Look Of Love

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 38:02
Size: 87,8 MB
Art: Front

(4:23) 1. The Look Of Love
(3:26) 2. Here There And Everywhere
(3:22) 3. A Beautiful Friendship
(6:01) 4. Blues For Stan
(2:34) 5. This Guy's In Love With You
(4:41) 6. MacArthur Park
(2:25) 7. I'm Always Drunk In San Francisco
(3:14) 8. Emily
(3:43) 9. Cabin In The Sky
(4:07) 10. Smile

With its mix of pop covers and jazz material, The Look of Love could be considered a typical Turrentine album from the late '60s. What sets this and a few other of his Blue Note titles apart, though, are the full yet tasteful string and band arrangements by jazz flügelhorn player and composer Thad Jones. With his flexible phrasing and muscular tone, Turrentine dives into the lush arrangements, especially on the sweeping rendition of Burt Bacharach's "Look of Love." Other pop selections bring mixed results: The plodding arrangement on "McArthur Park" garners a lukewarm response from Turrentine, while the tender settings for "Emily" and another Bacharach number, "This Guy's in Love With You," elicit the kind of velvety vaporous tone and sincere romantic phrasing Turrentine usually killed with on ballads.

More upbeat, straight-ahead material like "A Beautiful Friendship" and the blues swinger "Blues for Stan" keep the date well balanced and set the table for some masterful Turrentine solos. Again, special mention should be made of Thad Jones who, along with Oliver Nelson (Nancy Wilson's Welcome to My Love in particular) and Duke Pearson, supplanted the usual syrupy arrangements found on "cross-over" dates with intelligent, complimentary charts. Turrentine certainly appreciated it, as evidenced by his strong work here. Purists who usually cringe at late-'60s jazz dates like this (yes, there is a Beatles cover here) might be pleasantly surprised. For those who feel Bacharach and Jimmy Webb provide fine material for jazz, then The Look of Love is a must.By Stephen Cook https://www.allmusic.com/album/look-of-love-mw0000899764

Personnel: Stanley Turrentine - tenor saxophone; Jimmy Nottingham, Snooky Young - flugelhorn; Benny Powell - bass trombone; Jim Buffington - French horn; Kenny Burrell - guitar; Hank Jones - piano; Duke Pearson - piano, arranger ; Roland Hanna - piano; George Duvivier - bass; Grady Tate - drums; Mickey Roker - Thad Jones - drums

The Look Of Love

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Clifford Jordan - The Adventurer

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 35:11
Size: 81,0 MB
Art: Front

(5:17)  1. He's A Hero
(7:08)  2. Quasimodo
(4:54)  3. No More
(5:06)  4. Blues For Muse
(6:49)  5. Adventurer
(5:55)  6. I'll Be Around

Clifford Jordan was a fine inside/outside player who somehow held his own with Eric Dolphy in the 1964 Charles Mingus Sextet. Jordan had his own sound on tenor almost from the start. He gigged around Chicago with Max Roach, Sonny Stitt, and some R&B groups before moving to New York in 1957. Jordan immediately made a strong impression, leading three albums for Blue Note (including a meeting with fellow tenor John Gilmore) and touring with Horace Silver (1957-1958), J.J. Johnson (1959-1960), Kenny Dorham (1961-1962), and Max Roach (1962-1964). After performing in Europe with Mingus and Dolphy, Jordan worked mostly as a leader but tended to be overlooked since he was not overly influential or a pacesetter in the avant-garde. 

A reliable player, Clifford Jordan toured Europe several times, was in a quartet headed by Cedar Walton in 1974-1975, and during his last years, led a big band. He recorded as a leader for Blue Note, Riverside, Jazzland, Atlantic (a little-known album of Leadbelly tunes), Vortex, Strata-East, Muse, SteepleChase, Criss Cross, Bee Hive, DIW, Milestone, and Mapleshade.
By Scott Yanow https://www.allmusic.com/artist/clifford-jordan-mn0000157487/biography

Personnel:  Clifford Jordan - tenor saxophone, alto saxophone, flute; Tommy Flanagan - piano; Bill Lee - bass; Grady Tate - drums

The Adventurer

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Houston Person - The Art and Soul, Vol.1, Vol.2, Vol.3.

Album: The Art and Soul, Vol. 1
Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 52:52
Size: 121,5 MB
Art: Front

(4:51) 1. You Do Something To Me
(6:53) 2. I Don't Stand A Ghost Of A Chance
(3:54) 3. You're A Sweetheart
(6:49) 4. Maybe You'll Be There
(4:56) 5. All The Things You Are
(5:28) 6. You're My Everything
(5:39) 7. Skylark
(4:36) 8. I Only Have Eyes For You
(5:35) 9. Everything I Have Is Yours
(4:05) 10. Wonder Why

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Album: The Art and Soul, Vol. 2
Time: 54:34
Size: 125,4 MB

(5:50) 1. Do Nothing Till You Hear from Me
(5:05) 2. Here's That Rainy Day
(4:15) 3. Isn't It Romantic?
(5:48) 4. Fools Rush In
(6:36) 5. It Had to Be You
(6:13) 6. But Beautiful
(5:59) 7. For All We Know
(5:48) 8. Blue Moon
(4:42) 9. Bewitched
(4:13) 10. Don't Get Around Much Anymore

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Album: The Art and Soul, Vol. 3
Time: 55:20
Size: 127,2 MB

(6:07) 1. Sentimental Journey
(5:09) 2. Where Are You?
(4:32) 3. There's A Small Hotel
(6:43) 4. Tenderly
(6:06) 5. Be My Love
(6:08) 6. It Might As Well Be Spring
(5:05) 7. My Funny Valentine
(6:27) 8. Gentle Rain
(4:04) 9. Mack The Knife
(4:56) 10. The Very Thought Of You

The Art and Soul of Houston Person is an irresistible combination of the celebrated tenor saxophonist and the Great American Songbook. The 30 songs on this generous three-CD set were culled by Person from ten of his HighNote CDs, with the addition of four new songs recorded in spring, 2008. The songs feature an array of talented sidemen, including pianist Bill Charlap, bassists Ron Carter and Ray Drummond and drummer Grady Tate. If that isn't compelling enough, all the tracks were mixed, edited and mastered by the eminent Rudy Van Gelder in his legendary Englewood Cliffs studio.

The collection is full of high points, with several songs particularly worth noting. The upbeat opener, "You Do Something to Me," showcases Person's golden warmth and impeccable swing. The song also features John di Martino's exquisite touch on piano and John Burr's fluid bass. The same group shines on "I Don't Stand a Ghost of a Chance," elegantly capturing the song's quiet longing. Person exhibits a poignant tenderness and drummer Jerome Jennings adds just the right backup with incredibly spacious brushwork. "Sentimental Journey" is a joyful toe-tapper; "Here's That Rainy Day" explores the rich undertones of melancholy and "Blue Moon" is surprisingly upbeat, with Person's tenor fat and happy. And don't miss "Mack the Knife," a duet with Ron Carter where the two musicians turn the song inside out and trade lines with fluent ease.

In a 2004 interview, Person defined jazz as, "something that, when the end of the day comes, after a hard and frustrating day out in the world, relieves you. Relaxes you and makes you feel good." The Art and Soul of Houston Person is exactly that kind of music, a treasure chest of luscious, soothing sound. By Florence Wetzel https://www.allaboutjazz.com/the-art-and-soul-of-houston-person-highnote-records-review-by-florence-wetzel

Personnel: John di Martino: piano; Jon Burr: bass; Jerome Jennings: drums; Richard Wyands: piano; Ray Drummond: bass; Kenny Washington: drums; Russell Malone: guitar; Grady Tate: drums; Stan Hope: piano; George Kaye: bass; Chip White: drums; Ron Carter: bass; Peter Washington: bass; Paul Bollenback: guitar; Per-ola Gadd: bass; Bill Charlap: piano.

The Art and Soul,Vol.1,Vol.2, Vol.3

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Benny Carter - Princeton Concerts (And Beyond) [eight-album series]

"Benny Carter: The Princeton Concerts" is an eight-album series recorded at Carter’s request and until now, unissued. Although he received many distinguished awards (among the National Medal of the Arts, multiple Grammys, and the Kennedy Center Award), it was the doctorate bestowed by Princeton University in 1974 that he especially treasured. Invited and encouraged by Professor Morroe Berger, Carter not only grew close to the school as he led many classes and seminars, but also to the Berger family. Out of that relationship came the monumental biography and cultural history Benny Carter: A Life In American Music (written by Berger, his son Ed, and James Patrick) and the music presented here, recorded by Berger’s son, Ken.

Across these eight albums, Carter leads small groups and one all-star big band comprised of some of the greatest jazz musicians of all time. The intensity and interaction with a live audience always brought out the best in Carter and each concert has its own unique moments of inspired improvisation. He effortlessly reveals his mastery of the alto saxophone, the elegance of compositions, and his graciousness as a bandleader in giving generous space to his compatriots.

All, save two, were recorded at Princeton between 1972 and 1983. There is a brilliant 1978 evening captured in Buffalo that features one of the only recordings of the legendary pianist Al Tinney, whose role in the creation of bebop in the early 1940s has long been heralded by historians, but who went largely unrecorded during his long career. The collection set ends chronologically with music from the 90-year-old Carter, playing with astounding freshness and creativity, backed by pianist Chris Neville and bassist Steve LaSpina, who were in Carter’s last band.

Mrs. Hilma Carter has made a gift of this music to the National Jazz Museum in Harlem to support their mission of preserving, promoting, and presenting jazz. It is her wish that the music be made available free of charge, and the museum is placing it across the world’s most popular streaming services. In addition, visitors are always welcome (by appointment) to hear the music at the museum.

https://jmih.org/collections/benny-carter-the-princeton-concerts/

 

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Benny Carter - Princeton Concerts (And Beyond) [Vol.1 April 19, 1973 Live at Princeton]

Styles: Jazz

Year: 2022
Time: 87:00
File: MP3 @ 320K/s
Size: 199,9 MB
Art: Front

(2:17) 1. Introduction (Live At Princeton, April, 1973)
(8:07) 2. A Night In Tunisia (Live At Princeton, 1973)
(8:28) 3. Undecided (Live At Princeton, April, 1973)
(8:36) 4. Robbins Nest (Live At Princeton, 1973)
(8:25) 5. The Shadow Of Your Smile (Live At Princeton, April, 1973)
(6:56) 6. Honeysuckle Rose (Live At Princeton, April, 1973)
(8:29) 7. In A Mellotone (Live At Princeton, April, 1973)
(6:53) 8. A Day In The Life Of A Fool (Live At Princeton, 1973)
(8:31) 9. All The Things You Are (Live At Princeton, 1973)
(9:25) 10. One Good Blues (Live At Princeton, 1973)
(4:41) 11. Sweet Georgia Brown (Live At Princeton, April,1973)
(6:07) 12. How High The Moon (Live At Princeton, 1973)

Princeton Concerts (And Beyond) [Vol.1 April 19, 1973 Live at Princeton]

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Benny Carter - Princeton Concerts (And Beyond) [Vol. 2 October 22, 1973 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 137:20
File: MP3 @ 320K/s
Size: 315,5 MB
Art: Front

(03:02) 1. Introduction (Live At Princeton, 1973)
(10:35) 2. Undecided (Live At Princeton, October 1973)
(11:28) 3. The Shadow Of Your Smile (Live At Princeton, October 1973)
(11:51) 4. Satin Doll (Live At Princeton, 1973)
(08:40) 5. When Lights Are Low (Live At Princeton, October 1973)
(02:53) 6. Nuages (Live At Princeton, 1973) (Feat. Bucky Pizzarelli)
(02:43) 7. What Are You Doing The Rest Of Your Life (Live At Princeton, 1973) (Feat. Bucky Pizzarelli)
(02:26) 8. I'm Coming Virginia (Live At Princeton, 1973) (Feat. Bucky Pizzarelli)
(06:08) 9. She's Funny That Way (Live At Princeton, 1973) (Feat. Grady Tate)
(05:22) 10. Body And Soul (Live At Princeton, 1973) (Feat. Grady Tate)
(10:41) 11. Blues Medley: Blues / Blue Monk / My Gal (Live At Princeton, 1973) (Feat. Clark Terry)
(14:09) 12. Take The "A" Train (Live At Princeton, 1973)
(10:20) 13. Perdido (Live At Princeton, 1973)
(07:47) 14. Evening Star (Live At Princeton, 1973)
(07:30) 15. Doozy (Live At Princeton, October 1973)
(03:54) 16. Mumbles (Live At Princeton, 1973) (Feat. Clark Terry)
(09:26) 17. In A Mellotone (Live At Princeton, October 1973)
(08:16) 18. Sweet Georgia Brown (Live At Princeton, October 1973)

Princeton Concerts (And Beyond) [Vol. 2 October 22, 1973 Live at Princeton]

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Benny Carter - Princeton Concerts (And Beyond) [Vol. 3 December 3, 1973 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 132:22
File: MP3 @ 320K/s
Size: 303,9 MB
Art: Front

(10:06) 1. Doozy (Live At Princeton, December 1973)
(03:11) 2. Introduction (Live At Princeton, 1973)
(03:50) 3. When Lights Are Low (Live At Princeton, December 1973)
(02:54) 4. You Are (Live At Princeton, 1973)
(06:11) 5. Souvenir (Live At Princeton, 1973)
(12:51) 6. Honeysuckle Rose (Live At Princeton, December 1973)
(18:19) 7. Blues For Beginners (Live At Princeton, 1973) (Feat. Hale Smith)
(13:14) 8. Coalition (Live At Princeton, 1973) (Feat. Ray Barretto)
(09:15) 9. I Can't Get Started (Live At Princeton, 1973)
(12:06) 10. Cotton Tail (Live At Princeton, 1973)
(04:14) 11. A Kiss From You (Live At Princeton, 1973)
(09:51) 12. A Walkin' Thing (Live At Princeton, 1973)
(04:18) 13. Sleep (Live At Princeton, 1973)
(12:40) 14. Ballad Medley: These Foolish Things/ A Day In The Life Of A Fool / St. Louis Blues / The Nearness Of You (Live At Princeton, 1973)
(09:17) 15. Juke Box (Live At Princeton, 1973)

Princeton Concerts (And Beyond) [Vol. 3 December 3, 1973 Live at Princeton]

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Benny Carter - Princeton Concerts (And Beyond) [Vol. 4 March 18, 1977 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 157:03
File: MP3 @ 320K/s
Size: 360,8 MB
Art: Front

(04:06) 1. Introduction (Live At Princeton, 1977)
(09:42) 2. Undecided (Live At Princeton, 1977)
(10:19) 3. Easy Money (Live At Princeton, 1977)
(08:01) 4. Here's That Rainy Day (Live At Princeton, 1977)
(10:49) 5. South Side Samba (Live At Princeton, 1977)
(10:41) 6. Green Wine (Live At Princeton, 1977)
(05:23) 7. A Child Is Born (Live At Princeton, 1977) (Feat. Joe Newman)
(09:48) 8. Yesterdays (Live At Princeton, 1977)
(09:27) 9. Satin Doll (Live At Princeton, 1977)
(06:52) 10. St.thomas (Live At Princeton, 1977)
(07:45) 11. Django Medley: Nuages / Tears (Live At Princeton, 1977) (Feat. Bucky Pizzarelli)
(03:47) 12. Send In The Clowns (Live At Princeton, 1977) (Feat. Bucky Pizzarelli)
(04:20) 13. Ballad Medley: I'll Be Around / I Concentrate On You (Live At Princeton, 1977) (Feat. Bucky Pizzarelli)
(07:07) 14. Evening Star (Live At Princeton, 1977)
(09:10) 15. On Green Dolphin Street (Live At Princeton, 1977)
(06:45) 16. Summertime (Live At Princeton, 1977) (Feat. Richard Davis)
(04:17) 17. When You're Smiling (Live At Princeton, 1977) (Feat. Joe Newman)
(10:59) 18. The Courtship (Live At Princeton, 1977)
(08:26) 19. Perdido (Live At Princeton, 1977)
(09:08) 20. In A Mellotone (Live At Princeton, 1977)

Princeton Concerts (And Beyond) [Vol. 4 March 18, 1977 Live at Princeton]

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Benny Carter - Princeton Concerts (And Beyond) [Vol. 5 October 12, 1979 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 94:59
File: MP3 @ 320K/s
Size: 218,2 MB
Art: Front

(08:19) 1. Ain't Misbehavin' (Live At Princeton, 1979)
(11:41) 2. Straight, No Chaser (Live At Princeton, 1979)
(07:07) 3. Gee, Baby, Ain't I Good To You (Live At Princeton, 1979)
(09:28) 4. Broadway (Live At Princeton, 1979)
(04:50) 5. This Is Always (Live At Princeton, 1979) (Feat. Joe Kennedy)
(00:42) 6. Introduction (Live At Princeton, 1979)
(11:38) 7. Perdido (Live At Princeton, 1979)
(11:32) 8. On Green Dolphin Street (Live At Princeton, 1979)
(08:51) 9. My Old Flame (Live At Princeton, 1979) (Feat. Stanley Jordan)
(03:25) 10. Now's The Time (Live At Princeton, 1979) (Feat. Stanley Jordan)
(10:20) 11. Caravan (Live At Princeton, 1979)
(07:00) 12. Blues (Live At Princeton, 1979)

Princeton Concerts (And Beyond) [Vol. 5 October 12, 1979 Live at Princeton]

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Benny Carter - Princeton Concerts (And Beyond) [Vol. 6 May 21, 1982 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 137:53
File: MP3 @ 320K/s
Size: 316,7 MB
Art: Front

(12:14) 1. Opening Remarks (Live At Princeton, 1982)
(01:23) 2. Introduction (Live At Princeton, 1982)
(09:41) 3. Easy Money (Live At Princeton, 1982)
(10:27) 4. Autumn Leaves (Live At Princeton, 1982)
(09:50) 5. The Courtship (Live At Princeton, 1982)
(08:10) 6. Love For Sale (Live At Princeton, 1982) (Feat. Derek Smith)
(10:30) 7. In A Mellotone (Live At Princeton, 1982)
(07:11) 8. Ain't Misbehavin' (Live At Princeton, 1982) (Feat. Harry "Sweets" Edison)
(06:16) 9. Basically The Blues (Live At Princeton, 1982) (Feat. George Duvivier)
(10:51) 10. Southside Samba (Live At Princeton, 1982)
(08:47) 11. Undecided (Live At Princeton, 1982)
(06:46) 12. Souvenir (Live At Princeton, 1982)
(01:33) 13. Introduction 2 (Live At Princeton, 1982)
(05:09) 14. Misty (Live At Princeton, 1982) (Feat. Stanley Jordan)
(12:08) 15. Perdido (Live At Princeton, 1982)
(09:44) 16. Cotton Tail (Live At Princeton, 1982)
(07:03) 17. Blues (Live At Princeton, 1982)

Princeton Concerts (And Beyond) [Vol. 6 May 21, 1982 Live at Princeton]

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Benny Carter - Princeton Concerts (And Beyond) [Vol 7. September 13, 1997 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 55:05
File: MP3 @ 320K/s
Size: 126,6 MB
Art: Front

(2:01) 1. Introduction (Live At Princeton, 1997)
(6:28) 2. Just Friends (Live At Princeton, 1997)
(6:40) 3. My One And Only Love (Live At Princeton, 1997) (Feat. Steve Laspina)
(7:49) 4. Another Time, Another Place (Live At Princeton, 1997)
(9:58) 5. Lover Man (Live At Princeton, 1997)
(4:55) 6. You, Only You (Live At Princeton, 1997) (Feat. Chris Neville)
(8:00) 7. What Is This Thing Called Love (Live At Princeton, 1997)
(9:09) 8. Perdido (Live At Princeton, 1997)

Princeton Concerts (And Beyond) [Vol 7. September 13, 1997 Live at Princeton]

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Benny Carter - Princeton Concerts (And Beyond) [Vol. 8 October 28, 1978 Live in Buffalo]

Styles: Jazz
Year: 2022
Time: 139:56
File: MP3 @ 320K/s
Size: 321,5 MB
Art: Front

(05:41) 1. There Will Never Be Another You (Live In Buffalo, 1978) (Feat. Al Tinney)
(07:53) 2. In A Mellotone (Live In Buffalo, 1978) (Feat. Al Tinney)
(05:07) 3. What's New (Live In Buffalo, 1978) (Feat. Al Tinney)
(07:43) 4. On Green Dolphin Street (Live In Buffalo 1978) (Feat. Al Tinney)
(06:07) 5. 12 Bar Blues (Live In Buffalo, 1978) (Feat. Al Tinney)
(08:25) 6. Undecided (Live In Buffalo, 1978) (Feat. Al Tinney)
(04:56) 7. Take The "A" Train (Live In Buffalo, 1978) (Feat. Al Tinney)
(05:11) 8. When Lights Are Low (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(04:29) 9. A Walkin' Thing (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(10:25) 10. Blues For Beginners (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(05:15) 11. I Can't Get Started (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(07:59) 12. Honeysuckle Rose (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(09:06) 13. In A Mellotone, Pt. 2 (Live In Buffalo, 1978) (Feat. Al Tinney)
(08:08) 14. On Green Dolphin Street, Pt. 2 (Live In Buffalo, 1978) (Feat. Al Tinney)
(09:17) 15. Lover Man (Live In Buffalo, 1978) (Feat. Al Tinney)
(09:05) 16. Perdido (Live In Buffalo, 1978) (Feat. Al Tinney)
(08:50) 17. Body And Soul (Live In Buffalo, 1978) (Feat. Al Tinney)
(07:58) 18. Cherokee (Live In Buffalo, 1978) (Feat. Al Tinney)
(08:11) 19. All The Things You Are (Live In Buffalo, 1978) (Feat. Al Tinney)

Princeton Concerts (And Beyond) [Vol. 8 October 28, 1978 Live in Buffalo]

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Akiko Tsuruga - Harlem Dreams

Styles: Jazz
Year: 2004
File: MP3@320K/s
Time: 67:25
Size: 155,5 MB
Art: Front

(5:16)  1. Rapid Shave
(6:44)  2. The Breeze and I
(4:41)  3. Peachie
(6:14)  4. Harlem Nocturne
(3:41)  5. Kiko
(6:34)  6. Let's Hang Together
(6:05)  7. When A Man Loves A Woman
(5:31)  8. Cisco
(6:02)  9. These Are Soulful Days
(5:38) 10. Jitterbug Waltz
(4:34) 11. If Ever I Would Leave You
(6:21) 12. Geogia On My Mind

New York City based Hammond Organist and pianist, Akiko Tsuruga, has established herself as an 'in demand' player since arriving from her home town of Osaka, Japan in 2001. Akiko began Organ lessons at age three, and starting performing professionally throughout Japan after graduating from Osaka College Of Music. While performing in Japan, she encountered and played with many noted American musicians, Roy Hargrove, Jeff "Tain" Watts and Grady Tate to name a few. Grady Tate has been most influential in her career. He played on her debut CD, "Harlem Dreams" and encouraged her to move to New York. After arriving in New York Akiko established herself as one of area's top organist / pianist. Her trio featuring guitarist Eric Johnson and drummer Vincent Ector has been one of the area's top groups, working many jazz nightclubs including, Dizzy's (at Lincoln center) and The Blue Note. Her trio also plays private parties and summer outdoor concerts. Her long awaited debut CD, "Harlem Dreams" featuring Grady Tate and Frank Wess was released in Japan on the M&I label on May 19, 2004. Akiko's CD is so popular in Japan she has returned twice to perform. Her CD release tour featured Grady Tate on drums and guitarist Satoshi Inoue in August 2004.

In September 2005, she returned to Japan with guitarist Eric Johnson and drummer Fukushi Tainaka. It was this trip that caught the eyes and ears of Hammond Suzuki officials. The group was invited to the factory and Mr. Suzuki personally awarded her a Hammond XK-3 organ and endorsement. Among her accomplishments is an organ jazz instructional book "Hammond Organ Complete" (Berklee Press) which was translated from English to Japanese and has been published in Japan. When she's not leading her trio, she still enjoys working as a featured sideman in Grady Tate's vocal group and with saxophonist Jerry Weldon and many others. Akiko is currently working on a new CD to be released in January 2007.
~Editorial Reviews http://www.amazon.com/Harlem-Dreams-Akiko-Trio-Tsuruga/dp/B0001Z2YY4

Personnel: Satoshi Inoue Guitar; Grady Tate  Drums; Akiko Tsuruga Hammond B3; Frank Wess Tenor sax 

Harlem Dreams

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Houston Person - The Talk of the Town

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 39:41
Size: 91,3 MB
Art: Front

(7:26)  1. Only Trust Your Heart
(6:07)  2. Everything Happens to Me
(6:53)  3. Almost Like Being in Love
(7:25)  4. It's the Talk of the Town
(4:18)  5. Just for You
(7:30)  6. I'll Never Be Free

This Muse recording differs from many of tenor saxophonist Houston Person's previous ones in that Person is backed by a piano rather than an organ; he sounds inspired by the "new" setting. Person heads a sextet also including trumpeter Cecil Bridgewater, pianist Stan Hope, bassist Buster Williams, drummer Grady Tate and percussionist Ralph Dorsey. They perform the tenor's "Just for You" and five standards, with the highlights including Benny Carter's "Only Trust Your Heart," "Almost Like Being in Love" and a blues-drenched version of "It's the Talk of the Town." A particularly strong effort by the very consistent tenor great. ~ Scott Yanow https://www.allmusic.com/album/the-talk-of-the-town-mw0000199461

Personnel: Houston Person - tenor saxophone; Cecil Bridgewater - trumpet; Stan Hope - piano; Buster Williams - bass; Grady Tate - drums; Ralph Dorsey - percussion

The Talk of the Town

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Roy Ayers - Stoned Soul Picnic

Styles: Vibraphone Jazz
Year: 2017
File: MP3@320K/s
Time: 38:27
Size: 89,3 MB
Art: Front

(9:00)  1. A Rose For Cindy
(2:47)  2. Stoned Soul Picnic
(8:01)  3. Wave
(3:54)  4. For Once In My Life
(6:34)  5. Lil's Paradise
(8:09)  6. What The People Say

Stoned Soul Picnic is vibraphonist Roy Ayers' third and probably best solo album, made in 1968 while he was still a part of Herbie Mann's group. Ayers stands clearly in the shadow of Bobby Hutcherson on this primarily modally-oriented date, sounding nothing like the groove-meister he would become known as later in the 1970s. Producer Mann, always an underrated talent scout, assembles an especially exceptional septet for Ayers here with Gary Bartz on alto sax, arranger Charles Tolliver on trumpet/flugelhorn, Hubert Laws on flute, Herbie Hancock on piano (and probably uncredited organ on the title cut), Ron Carter or Miroslav Vitous on bass and Grady Tate on drums. The program is a typical late 1960s menu, heavy on such Top 40 pop covers as the dated "Stoned Soul Picnic," "For Once In My Life" and "What The People Say." What sets these and the interesting, if unsuccessful, cover of Jobim's "Wave" apart are Tolliver's rather ingenious arrangements. Tolliver seems to tear apart the constraints of these duds (although "Picnic" is beyond hope) by dramatically slowing down the melodies, providing Ayers the time and space to set the mood (Tolliver correctly recognizes Ayers's strengths with ballads) and punctuating with nicely considered horn statements in between. It is the two modal originals here Ayers lovely "A Rose For Cindy" and Tolliver's waltz, "Lil's Paradise" that make this disc worth hearing. Ayers plays some of his finest-ever work on these pieces. You're sure to hear something new and different in these pieces every time. Hancock completists will also be especially pleased with the pianist's performance here (and on "What The People Say" too). Except for the nods toward late 1960s pop-jazz conventions, Stoned Soul Picnic is a marvelous disc well worth investigating. With so much of Ayers's West Coast work of the 1960s (especially with Jack Wilson) lost in limbo, this disc serves as a cogent reminder of the strength of the vibraphonist's chops. And groove lovers might be happily surprised hearing what Ayers was up to before the groove.
~Douglas Paynehttps://www.allaboutjazz.com/stoned-soul-picnic-roy-ayers-32-records-review-by-douglas-payne.php

Players: Roy Ayers: vibes; Gary Bartz: alto sax;  Charles Tolliver: arranger, trumpet, flugelhorn; Hubert Laws: flute;  Herbie Hancock: piano, organ; Ron Carter: bass;  Miroslav Vitous: bass;  Grady Tate: drums.

Stoned Soul Picnic

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Etta Jones - Doin' What She Does Best

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 62:54
Size: 145,8 MB
Art: Front

(3:53) 1. Laughing At Life
(3:56) 2. Orange Colored Sky
(4:56) 3. Crazy He Calls Me
(3:33) 4. It Could Happen To You
(4:25) 5. I Saw Stars
(5:47) 6. I'm In The Mood For Love
(3:12) 7. I'm Gonna Lock My Heart And Throw Away The Key
(4:34) 8. I'll Be Seeing You
(5:14) 9. My Romance
(4:14) 10. I Laughed At Love
(3:31) 11. East Of The Sun
(5:50) 12. The Man That Got Away
(4:00) 13. What A Little Moonlight Can Do
(5:43) 14. Gone Again

Singer Etta Jones made a comeback while with Muse in the 1970s and '80s, recording more than a dozen albums and teaming up with tenor saxophonist Houston Person (who also produced her sessions). This superior sampler has 14 of her very best recordings from that era.

Person's tenor both complements and contrasts with Jones' voice, and the frameworks/arrangements along with the singer's distinctive phrasing uplift these standards. Her renditions of songs like "Crazy He Calls Me," "I Saw Stars," "I'm Gonna Lock My Heart (And Throw Away the Key)," "My Romance," "East of the Sun (And West of the Moon)," and "The Man That Got Away" are quite definitive. In fact, these are among the very best (and most enjoyable) recordings of Jones' long career.
~Scott Yanowhttps://www.allmusic.com/album/doin-what-she-does-best-mw0000040165

Personnel: Vocals – Etta Jones; Bass – Buster Williams, George Duvivier, Milt Hinton, Sam Jones; Congas, Percussion – Lawrence Killian; Drums – Cecil Brooks III, Frankie Jones, Grady Tate, Idris Muhammad, Jimmy Cobb, Walter Davis Jr.; Guitar – Jimmy Ponder, Melvin Sparks; Keyboards – Sonny Phillips; Percussion – Ralph Dorsey; Piano – Cedar Walton, Stan Hope; Tenor Saxophone – Cedar Walton; Tenor Saxophone – Houston Person; Vibraphone – George Devens

Doin' What She Does Best

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Billy Taylor - Midnight Piano

Styles: Piano Jazz
Year: 1964
File: MP3@320K/s
Time: 33:34
Size: 81,2 MB
Art: Front

(2:43) 1. Midnight Piano
(2:38) 2. You came a long way from St Louis
(3:27) 3. Just The Thought of You
(2:08) 4. A Secret
(2:17) 5. My Romance
(2:30) 6. It's a grand Night for Swinging
(3:18) 7. You Tempt Me
(2:20) 8. Don't Every Say We're Through
(3:16) 9. Days of Wine and Roses
(2:54) 10. Miss Fine
(3:14) 11. That is all I ask
(2:46) 12. Love for Sale

This LP is a follow-up to an earlier collaboration by Billy Taylor and Oliver Nelson with the latter's arrangements, though this time around there are three separate supporting groups. The best tracks are from the big-band session, with an all-star brass and reed section, including Clark Terry and Phil Woods (whose brief solos are instantly recognizable). Taylor wrote several originals for this session, the upbeat and bluesy "Midnight Piano," the charming hard bopper "It's a Grand Night for Swinging," and the easygoing "You Tempt Me," while Nelson contributed the spunky, somewhat playful "Miss Fine."

The horns and rhythm segment hasn't stood the test of time as well due to the rather dated arrangements of "You Came a Long Way From St. Louis" and "Love for Sale" (along with two obscurities written by Teddi Castion). The portion of the record with strings ends up sounding more like mood music than jazz, in spite of the fact that the songs are all classics ("My Romance," "This Is All I Ask," and "Days of Wine and Roses"), except for Taylor's "Just the Thought of You." All of Nelson's arrangements are rather brief (under three and a half minutes each), suggesting that this release was shooting for airplay on easy listening as well as jazz radio stations. Overall, this long out of print LP is an enjoyable though not essential release by Billy Taylor.~Ken Dryden https://www.allmusic.com/album/midnight-piano-mw0000877053

Personnel: Piano – Billy Taylor; Bass – Ben Tucker; Drums – Grady Tate

Midnight Piano

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George Shearing, Barry Tuckwell - Play The Music Of Cole Porter

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 43:36
Size: 100,6 MB
Art: Front

(4:58) 1. I Concentrate On You
(2:54) 2. Everything I Love
(4:43) 3. I've Got You Under My Skin (Album Version)
(2:19) 4. Easy To Love
(2:45) 5. In The Still Of The Night
(4:00) 6. Every Time We Say Goodbye
(2:41) 7. But In The Morning, No
(5:32) 8. So In Love
(4:27) 9. After You
(3:55) 10. All Through The Night
(5:16) 11. Do I Love You?

Released as part of Concord's Concerto subsidiary, this unusual release matches together pianist George Shearing with the classical French horn player Barry Tuckwell for a set of 11 Cole Porter songs. Five selections use a full string section, two are performed with a quartet, and four others are duets by Shearing and Tuckwell. In general, Tuckwell does not improvise, but Shearing's arrangements give a jazz feel to all of the performances and make the music accessible (if not really essential) to both classical and jazz listeners.~Scott Yanowhttps://www.allmusic.com/album/play-the-music-of-cole-porter-mw0000188648

Personnel: George Shearing – piano, liner notes, arranger; Barry Tuckwell – french horn, liner notes; Guildhall String Ensemble; Harry Lookofsky, Frederick Buldrini, Lewis Eley, Maura Giannini, Carmel Malin, Joseph Malin, Louann Montesi – violin; Seymour Barab, Avron Coleman, Frederick Zlotkin – cello; John Clayton, Don Thompson – double bass; Grady Tate – drums, percussion

Play The Music Of Cole Porter

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Richard Wyands - As Long as There's Music

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 51:29
Size: 118,6 MB
Art: Front

(5:31)  1. Stolen Sweets
(3:00)  2. As Long as There's Music
(6:19)  3. Stairway to the Stars
(5:31)  4. Focus
(6:37)  5. Ivy
(4:33)  6. What's New
(5:38)  7. Drop Me Off in Harlem
(5:29)  8. My Old Flame
(2:35)  9. With the Wind and the Rain in Your Hair
(6:12) 10. West 94th Street Funk

With the help of several independent labels and some of the best bassists and drummers in the business, Richard Wyands has been quietly building a superb body of jazz piano trio recordings. Amazing enough, As Long As There’s Music is his first American recording as a leader. Other trio recordings have been released by European labels such as Steeplechase and Criss Cross. On this outing, Wyands is accompanied by bassist Ray Drummond and drummer Grady Tate many a pianist’s dream rhythm section. His recent string of trio recordings with first rate rhythm sections is a testament to the pianist’s stature in the jazz world. This recording is a presentation of what admirers of Wyands have long cherished  his rich sense of tradition, his impeccable taste, his rhythmic ease, and his harmonic sophistication. Wyands is not a flashy pianist; he is a pianist of thoughtful, deeply felt emotion that is fully supported by the integrity of his technique and his artistic choices. Tadd Dameron’s “Focus” is one of the highlights of this recording. Wyands’ subtle shift in tempo over the stop-and-go course of the opening slides into a long, upbeat, boppish solo that brightly rounds the usual edges. Drummond follows with a concise solo before Wyands and Tate trade fours, leading to the closing. This track illustrates the trio’s easy rapport throughout the session. Another highlight is Wyands’ solo performance on “My Old Flame,” a track that vividly demonstrates the casual complexity of his rhythmic sense. A careful listening to his left hand at work, and how Wyands incorporates silences, is enlightening. Incidentally, this track does bring up the obvious that a solo Wyands recording is long overdue. Anyone familiar with this artist’s trio work will be happy to know that this recording is in the same league with his recent recordings with Peter and Kenny Washington on Criss Cross - high praise indeed. ~ Mike Neely https://www.allaboutjazz.com/as-long-as-theres-music-richard-wyands-savant-records-review-by-mike-neely.php

Personnel: Richard Wyands, piano; Ray Drummond, bass; and Grady Tate, drums.

As Long as There's Music

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Pee Wee Ellis - Sepia Tonality

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 47:31
Size: 111,5 MB
Art: Front

(4:14)  1. What Are You Doing The Rest Of Your Life
(5:57)  2. I Should Care
(4:26)  3. Stardust
(4:15)  4. Sepia Tonality
(3:41)  5. Cleaning Windows
(3:36)  6. Cherry Red
(6:37)  7. Body And Soul
(4:20)  8. Prayer Of Love
(4:48)  9. Why Not
(5:34) 10. Come Rain Or Come Shine

A versatile composer, arranger, saxophonist and keyboard player, a musician whose repertoire encompasses all manner of music from jazz through soul and funk to stadium rock, Alfred Pee Wee Ellis stands distinctive in any company. Born in Bradenton, Florida in 1941, Pee Wee was raised in Lubbock, Texas where he played his first public show in 1954 while still in Junior High School. His family moved to Rochester, NY, the following year, where he continued to play professionally throughout High School. He also met Sonny Rollins at this time, and spent the summer of 1957 under his masterful tutelage - a pivotal experience. “A great sax player, he taught me a lot and I still listen to him”. Returning to Florida after graduation he formed his own ensemble, Dynamics Incorporated. He also worked on the carny circuit at this time, laying the foundation of his career as a bandleader and musical director, writer and arranger, and by now multi-instrumentalist, with tenor saxophone as his principal musical voice. It was during this period that he first came to the notice of James Brown. Back in New York, Pee Wee was working with The Sonny Payne Trio in 1965 when he got ‘the call’ from his close friend Wayman Reed to join the James Brown Revue, then the hottest, most sensational and successful head-buster on the R&B circuit, and fast becoming an international phenomenon. “I stood there in the wings and I thought, I should have bought a ticket. 

It was that much of a privilege to be so close to James Brown and that band” says Pee Wee now of his first exposure to the revue. Playing alto sax and organ Pee Wee quickly became an integral element in James’ expanding vision, writing arrangements and horn charts, and he was instantly promoted to bandleader when Nat Jones quit in January 1967. That very same day Pee Wee arranged Brown’s R&B Top 5 Hit, “Let Yourself Go” (from which, 'There Was A Time' was born), and then turned the soul world on its head with Brown’s follow-up, “Cold Sweat.” This was a million selling Number 1 Hit in the autumn of 1967 and it redefined the parameters of popular music. Brown had been out on a musical limb since 1964, with unconventional hits such as “I Got You (I feel Good)” and “Papa’s Got a Brand New Bag,” but Nat Jones’ arrangements had not taken him over the edge. Pee Wee’s “Cold Sweat” propelled James Brown into a new dimension musically, and founded a funk revolution that is still being copied and sampled the world over 30 years on. Pee Wee continued to be a mainspring in James Brown’s musical direction for the next two and a half years, co-writing and arranging the majority of the ‘Godfather’s’ single hits and album tracks during that period and also interjecting commercial success into the instrumental releases of the James Brown Band ('In the Middle', 'Popcorn', 'Soul Pride' and 'The Chicken'.) Pee Wee left the Revue in September of 1969, basing himself in New York and cutting a quick single for the Nashville label, Sound Stage 7, called “Moonwalk” backed with “That Thing”- this is now a sought after ‘rare groove.’ 

He moved to CTI’s Kudu label as musical director and arranger and worked with many of their roster including George Benson and Hank Crawford, and in particular, the exceptional Esther Philips, for whom he was musical director through a five year period. During the 70s Pee Wee continued as arranger and conductor for musicians like Sonny Stitt, and began to concentrate on his own projects such as an album called “Pass The Butter,” for Motown’s Natural Resources label. This led in 1976, to Pee Wee’s first album, “Home in the Country” recorded for Savoy/Arista just before he located to California’s Bay Area. Here he formed a band with David Liebman in 1977. Mark Isham had played with Pee Wee on the road with Esther, and had been in the band with David, so when Van Morrison needed some horns on a song he was working on, called 'Troubadours', Mark recommended Pee Wee. And so began a long-term relationship that was to produce much significant music - 'Into the Music', 'Live in Belfast', 'Beautiful Vision', 'Inarticulate Speech of the Heart', and 'Common One'. “Van gave me the freedom to put the horn charts together. I liked that”, says a modest Pee Wee of his contribution to some of the finest music from the 80s. During this decade, via Bobby Byrd and the JB Allstars, Pee Wee regrouped with Fred Wesley and Maceo Parker from the James Brown days to form the JB Horns. This line-up worked from 1988 and into the 90s, recording “Pee Wee, Fred and Maceo,” “The JB Horns,” and “I Like It Like That” in 1991, “Funky Good Time Live In Tokyo,” in 1992, and the hit albums, “Life on Planet Groove,” “Roots Revisited,” and “Mo Roots,” with the Roots Revisited Ensemble. Pee Wee resumed his solo recording career in 1992, with yet another formidable line-up of New York musicians on “Blues Mission,” which teamed him again with Clyde Stubblefield - the original ‘Funky Drummer’. Pee Wee’s next solo album was released the following year and was another departure - a jazz trio album recorded live in Koln, Germany with bassist Dwayne Dolphin and Bruce Cox on drums. Entitled “Twelve and More Blues,” this CD backtracks to Pee Wee’s musical roots and then moves straight ahead in a be-bop direction, tackling both jazz standards and his own original compositions with virtuosity and vitality. 

The album was chosen as one of the ten Best Jazz Albums of 1993 by the New York Times. Sampling of his songs by Salt 'n' Pepa, KMC KRU and Dodge City Productions, and a sell-out week at Ronnie Scott's in London in the summer of '93, with an astonishing group of young British musicians, sketched out the footprint for Pee Wee's movement from funk into jazz and beyond - 'a modern version of jazz, a little north of funk and well south of fusion' - as Musician Magazine put it. This movement was soon consolidated with a quartet album “Sepia Tonality,” recorded in New York in early 1994 and featuring Pee Wee on tenor, with Rodney Jones on Guitar, Will Boulware on organ and Grady Tate on Drums. A second trio album from Koln was recorded live during a Pee Wee Ellis Assembly Trio tour of Europe in the spring of '94. Called “Yellin' Blue,” it attracted much critical acclaim in Europe. Pee Wee's path had crossed Van Morrison's many times since the 1980s, particularly when Van called on the JB Horns to play with his band, so it was only natural that when Pee Wee relocated to the West Country in England he should rejoin Van on stage and in the studio. Pee Wee arranged the horns and played on Van's 1995 return to critical and commercial success, “Days Like This.” He followed this up working with Van on his subsequent albums, the jazz-orientated, “How Long Has This Been Going On,” and the Mose Allison tribute, “Tell Me Something.” Pee Wee, however, did not ignore his own career and in 1996 a new solo album on Minor Music hit the streets. Entitled, “A New Shift,” the CD was recorded in Germany . 

More studio work with Van Morrison followed later that year, and the resultant CD, “The Healing Game,” was released in 1997. Pee Wee's arrangements and solos turned the album into an instant classic and gave Van some of his strongest material ever for his stage performances. 1997 also saw the release of Pee Wee's “What You Like.” Recorded with the Assembly and the NDR Bigband, it also features Van Morrison and Fred Wesley. In the autumn Pee Wee became Van's Musical Director, arranging and developing Van's stage and studio sound, and also promoting “What You Like,” by touring in France and Germany with the Assembly. Since the turn of the new century Pee Wee had released “Ridin’ Mighty High,” (2001) “Live and Funky,” (2002) and “Different Rooms,” in 2005. Most recently he has performed with, and arranged for, the Miami based Spam All Stars with whom he will be performing live in 2007. He also played several successful dates with Fred Wesley in the UK in 2006 and they played together again in London and Europe in 2007. Pee Wee Ellis’ distinguished career has embraced some of the most important musical movements of recent decades, from jazz to funk, via the blues and a touch of rock. After almost forty years in the music business he is one of the most acclaimed saxophonists of his generation and one of the most sought-after arrangers and MD’s in the industry. His musical range and pursuit of excellence has gained him renown among his peers and the enduring respect of ensuing generations of musicians and fans. http://musicians.allaboutjazz.com/peeweeellis

Personnel: Pee Wee Ellis (tenor saxophone); Rodney Jones (guitar); Howard Johnson (tuba); Will Boulware (organ); Grady Tate (drums).

R.I.P

Born: April 21, 1941, Bradenton, Florida, United States

Died: September 24, 2021

Sepia Tonality

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Ann Burton - New York State of Mind

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 41:08
Size: 95,3 MB
Art: Front

(5:08) 1. New York State of Mind
(2:56) 2. You Started Something
(4:22) 3. I Can Dream, Can't I?
(4:13) 4. All or Nothing At All
(3:44) 5. Come in From the Rain
(4:01) 6. Tell Me More and More and Then Some
(3:36) 7. The Night We Called It a Day
(4:34) 8. Something So Right
(3:35) 9. All Too Soon
(4:59) 10. Never Never Land

Ann Burton (March 4, 1933, Amsterdam – November 29, 1989, Amsterdam) is the pseudonym of Johanna Rafalowicz (between 1938 and 1971: Johanna de Paauw), a Dutch jazz singer. In about 1930 the mother of Ann Burton (pseudonym of Johanna Rafalowicz) immigrated from Poland to the Netherlands. Ann was born in Netherlands and when she was 3 years old, in 1933, her mother married a diamond worker.

In 1938 Johanna's surname was changed to her stepfather's and she became Johanna de Paauw, which was her official name until 1971, when she again changed it back to Rafalowicz. During World War II her family faced Jewish persecution under German occupation and she went into hiding while her mother and stepfather survived the Nazi concentration camps. However, the family became disrupted when her (step) parents were deprived of parental power. Johanna, who had Polish nationality, acquired Dutch nationality in 1957.

Johanna had never had singing lessons, but she had listened to American singers like Doris Day, Jo Stafford, Rosemary Clooney, Ella Fitzgerald and Sarah Vaughan. Later, Billie Holiday and Shirley Horn influenced her. She wanted to get into the music world and so in about 1955 she took the name Ann Burton inspired by the Welsh actor Richard Burton. Ann Burton began her career as singer by a quintet in Luxemburg. She sang with bandleader Johnny Millstonford and performed in clubs with the orchestra of Ted Powder for American soldiers in Germany.

In the summer of 1958 she sang in the quartet of pianist Pia Beck in Scheveningen and in 1960 they toured with saxophonist Piet Noordijk in Spain and Morocco. Back in the Netherlands she sang again in Scheveningen. In 1965, she made an EP for Decca Records with the nl:Frans Elsen Trio. Later she joined Ramses Shaffy's group Shaffy Chantant. In the late sixties she was noticed by John J. Vis, the director of the record company Artone, and he produced her first album "Blue Burton" in 1967. On this record the trio of Louis van Dijk, de:Jacques Schols and nl:John Engels, supplemented with de:Piet Noordijk, accompanied her. She became popular and the album received an Edison Award in 1969. A few more records in 1969 and 1972 were released in collaboration with John Vis.

In 1973, she toured Japan, where she became the most popular jazz singer, second only to Ella Fitzgerald. She made numerous albums with Masahiko Sato and Ken McCarthy and others. In the late seventies she worked in New York, where she made several albums, some of which were with Grady Tate and Buster Williams. Singer Helen Merrill produced the albums. For "New York State of Mind" Burton also received an Edison award. In the eighties she founded her own record label, Burtone, that produced her albums. In the period 1986–1988 she taught at the Amsterdam Conservatory. Ann Burton died at the age of 56 due to throat cancer. https://en.wikipedia.org/wiki/Ann_Burton

Personnel: Ann Buton / vocals; Michael Renzi / piano; Buster Williams / bass; Grady Tate / drums

New York State of Mind

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Abbey Lincoln - Devil's Got Your Tongue

Styles: Vocal
Year: 1992
File: MP3@320K/s
Time: 70:00
Size: 162,2 MB
Art: Front

(4:45)  1. Rainbow
(7:08)  2. Evalina Coffey (The Legend Of)
(5:34)  3. Story Of My Father
(6:25)  4. A Child Is Born
(6:18)  5. People In Me
(6:00)  6. A Circle Of Love
(6:16)  7. Jungle Queen
(7:53)  8. The Merry Dancer
(5:54)  9. Devil's Got Your Tongue
(7:53) 10. Spring Will Be A Little Late This Year
(5:50) 11. The Music Is The Magic

This 1992 album was Abbey Lincoln's third for Verve and another fine display of her musical vision. The set consists primarily of her own compositions. The arrangements vary throughout, depending on the needs of each song. Lincoln is supported by her core trio, with guest spots by trombonist J.J. Johnson, tenor saxophonist Stanley Turrentine, the Staple Singers, and the Noel Singers, a group made up of children. Lincoln revisits a couple numbers from earlier in her career, "Rainbow" and "People in Me." Her interpretive skills and emotional commitment to the material are such that she can even take on a familiar standard like "A Child Is Born" and make it her own. It's gratifying to see a major jazz label allowing Lincoln's musical vision to flourish and grow. https://www.allmusic.com/album/devils-got-your-tongue-mw0000617623

Personnel: Vocals – Abbey Lincoln;  Ashiko [Ashiko Drum] – Kehinde O'Uhuru; Bass – Marcus McLaurine; Djembe [Djembe Drum], Agogô [Agogo Bells] – Sule O'Uhuru; Drums – Grady Tate, Yoron Israel; Drums [Ngoma, Djembe, Ashiko, Sekere] – Babatunde Olatunji; Piano – Rodney Kendrick

Devil's Got Your Tongue

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Jimmy McGriff - The Worm

Styles: Jazz, Post Bop
Year: 1968
File: MP3@320K/s
Time: 37:56
Size: 88,2 MB
Art: Front

(3:20)  1. The Worm
(5:56)  2. Keep Loose
(6:52)  3. Heavy Weight
(3:16)  4. Think
(5:13)  5. Lock It Up
(4:31)  6. Girl Talk
(4:59)  7. Blue Juice
(3:46)  8. Take The "A" Train

Jimmy McGriff's B-3 sound was always rooted in blues and gospel, and his soloing could be very smooth and polished. But every once in a while, he had to break out of his own soul box and tear it up on a session. The Worm, issued on Solid State Records in 1968, is the very first place he did. This is the first true, all-out funky burner from McGriff, and it sounds very different from most of the other titles on his shelf. Having a band like this helps: trumpeter Blue Mitchell, tenor saxophonist Fats Theus (with Bob Ashton on baritone and Danny Turner on alto), alternating drummers Mel Lewis and Grady Tate, bassist Bob Bushnell, and guitarist Thornel Schwartz were all in their prime in 1968. The title track, written by McGriff, Theus, and producer Sonny Lester, sets the tone for the whole platter. The saxophone section lays in the cut and is prodded on in a driving, funked-up, hard soul groove by the expanded rhythm section (a B-3 album with a bassist wasn't unheard of, but it wasn't standard procedure either). Solos by both McGriff and Mitchell are choppy and punchy in the extreme. The trumpeter is amazing here, offering a small taste of the sound he displayed on 1969's Collision in Black. 

But check out the next two tunes, both McGriff originals that push the LP into the red zone and keep it there. "Keep Loose" takes the organist head-to-head against Schwartz's electric six-string, and forces a showdown. McGriff is like an out-of-control soul singer (James Brown in a concert setting comes to mind), incessantly forcing his band to play faster, greasier, and choppier on chorus after chorus. He ups the intensity level until there is nowhere to go but over the ledge. He takes them there on "Heavyweight," the very next number, a swinging boppish blues. The horns actually keep the track grounded as McGriff gets terse, dense, and finally unhinged: he's more adventurous in this solo than he had been before, then he double- and even triple-times the entire band! He brings Bushnell's bass up the ever-narrowing stairs of the riff until they become a single player, all groove, grit, and grease. McGriff's cover of Aretha Franklin's "Think" keeps the exuberance level high. As the horns move right into the Memphis soul vamp, McGriff again plays the part of a vocalist: charging up and down the melody on his keyboards, popping in slippery side chords and harmonic flourishes. Tate's drums swing freely yet forcefully, and bass and guitar lines are simply nasty. The readings of Kenny Burrell's "Lock It Up" and Billy Strayhorn's "Take the 'A' Train" are the closest things to "straight" jazz here, though they're full of razored edges and hard angles. The reading of Neal Hefti's "Girl Talk" features the horns strolling leisurely on the melody and vamp, but McGriff goes into overdrive again and his solo hits the stratosphere. The Worm is a monster album through and through. Not only is it a revelatory example of McGriff on the wild, it marks one of the first places where the new funky urban soul met jazz and blues and evolved into jazz-funk. ~ Thom Jurek https://www.allmusic.com/album/the-worm-mw0000659896

Personnel:  Organ – Jimmy McGriff; Alto Saxophone – Danny Turner; Baritone Saxophone – Robert Ashton; Bass [Fender] – Bob Bushnell; Drums – Grady Tate, Mel Lewis; Guitar – Thornel Schwartz; Tenor Saxophone – Fats Theus; Trumpet – Blue Mitchell

The Worm

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Hubert Laws - Law's Cause

Styles: Flute Jazz 
Year: 2005
File: MP3@320K/s
Time: 34:20
Size: 79,8 MB
Art: Front

(2:32)  1. No More
(4:31)  2. If You Knew
(3:34)  3. A Day with You
(3:04)  4. Please Let Go
(6:44)  5. Shades of Light
(5:08)  6. Trio for Flute, Bassoon, and Piano
(8:42)  7. Windows

Laws' Cause is the third album by jazz flautist Hubert Laws released on the Atlantic label in 1969. https://en.wikipedia.org/wiki/Laws%27_Cause

Personnel:  Hubert Laws - flute, piccolo; Jimmy Owens - trumpet; Karl Porter - bassoon; Chick Corea - piano; Roland Hanna - harpsichord; Kenny Burrell - guitar; Sam Brown - sitar; Ron Carter - bass; Chuck Rainey - electric bass; Grady Tate - drums; Melba Moore - vocals

Law's Cause

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Hubert Laws - Crying Song

Styles: Flute Jazz
Year: 1969
File: MP3@320K/s
Time: 33:19
Size: 77,2 MB
Art: Front

(2:30)  1. La Jean
(3:23)  2. Love Is Blue / Sing a Rainbow
(4:53)  3. Crying Song
(3:21)  4. Listen to the Band
(3:07)  5. I've Got to Get a Message to You
(2:31)  6. Feelin' Alright?
(3:51)  7. Cymbaline
(6:08)  8. How Long Will It Be?
(3:31)  9. Let It Be

A landmark record the first album that flutist Hubert Laws cut for CTI, and the beginning of a very important partnership with the label! The record is a sublime exploration of sound and space very different than Laws' 60s Latin sides for Atlantic, and handled in a baroque mode that has his flute drifting over a mixture of organ, piano, and rhythms augmented with strings easy and jazzy in the same moment, with a hip sophistication that points the way towards a new flute sound in the 70s! Titles include "Crying Song", "Listen To The Band", "Cymbaline", "Feelin Alright", "I've Gotta Get A Message To You", "La Jean", "Love Is Blue/Sing A Rainbow", and "How Long Will It Be".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/60210/Hubert-Laws:Crying-Song

Personnel:  Hubert Laws – flute; Bobby Wood – piano; Bobby Emmons – organ; Bob James – electric piano, organ; George Benson, Reggie Young – guitar; Mike Leech – electric bass; Ron Carter – bass; Gene Chrisman, Billy Cobham, Grady Tate – drums; Ernie Royal, Marvin Stamm – trumpet, flugelhorn Garnett Brown, Tony Studd – trombone;  Art Clarke, Seldon Powell – saxophone;  Ed Shaughnessy – tabla, sand; Lewis Eley, Paul Gershman, George Ockner, Gene Orloff, Raoul Pollikoff, Matthew Raimondi, Sylvan Shulman, Avram Weiss – violin; Charles McCracken, George Ricci – cello; Bob James, Glen Spreen, Mike Leech – arranger

Crying Song

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Michel Legrand - After The Rain

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 43:28
Size: 100,6 MB
Art: Front

(8:54)  1. Nobody Knows
(6:21)  2. After The Rain
(6:28)  3. I Was Born In Love With You
(7:55)  4. Orson's Theme
(7:46)  5. Pieces Of Dreams
(6:02)  6. Martina (Les Enfants Qui Pleurent)

This high-quality outing (reissued on CD) features composer Michel Legrand faring quite well as a jazz pianist. He performs six of his compositions (only "Pieces of Dream" is well-known) with a lyrical septet also including altoist Phil Woods (doubling on clarinet), tenor saxophonist Zoot Sims, trumpeter Joe Wilder, guitarist Gene Bertoncini, bassist Ron Carter, and drummer Grady Tate. The music generally swings, has plenty of fine melodic solos, and gives listeners a taste of some fresh Legrand material. ~ Scott Yanow https://www.allmusic.com/album/after-the-rain-mw0000267685

Personnel:  Piano, Producer – Michel Legrand; Bass – Ron Carter; Drums – Grady Tate; Guitar – Gene Bertoncini; Saxophone – Zoot Sims; Saxophone, Clarinet – Phil Woods; Trumpet, Flugelhorn – Joe Wilder 

 

R.I.P.
After The Rain

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Oliver Nelson - Fantabulous

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 34:36
Size: 82,1 MB
Art: Front

(4:13)  1. Hobo Flats
(5:30)  2. Post No Bills
(3:47)  3. A Bientot
(3:25)  4. Three Plus One
(5:28)  5. Take Me With You
(4:01)  6. Daylie's Double
(4:08)  7. Teenie's Blues
(3:59)  8. Laz-ie Kate

By the time Oliver Nelson and his big band had recorded Fantabulous in March of 1964 for Argo, the great composer, saxophonist, conductor, and arranger was a man about town in New York. He had released some truly classic dates of his own as a leader in smaller group forms Blues and the Abstract Truth and Full Nelson among them and had done arrangement work for everyone from Eddie "Lockjaw" Davis and Johnny Hodges, Nancy Wilson, Frank Wess, King Curtis, Etta Jones, Jimmy Smith, Jack Teagarden, Betty Carter, Billy Taylor, and Gene Ammons, to name more than a few. For Fantabulous, he took his working big band to Chicago for a gig sponsored by Daddy-O-Daylie, a famous local disc jockey. He had also worked with a number of the players on this date before, even recording an earlier version of the tune "Hobo Flats" that opens this set a year before on an album of the same name. Altoist Phil Woods, baritone roarer Jerome Richardson, trumpeters Snooky Young and Art Hoyle, bassist Ben Tucker, and drummer Grady Tate are a few of the names on Fantabulous. Nelson holds down the tenor chair, and Patti Bown is on piano with additional brass and reed players. Another Nelson original, "Post No Bills" features killer alto work from Woods, and a brief but smoking hot baritone break form Richardson on the same cut. This program is compelling in that it provides an excellent meld of all of Nelson's strengths-as an advanced, colorful harmonist who insisted on the hard swinging esthetic, as an excellent tenor saxophonist and a killer conductor. Another highlight is "Daylie's Double," (which bears a similarity to Nat Adderley's "Work Song"") named for the aforementioned DJ, with smoking tenor breaks from Nelson, and big fat soulful chord soloing from Bown. Likewise Billy Taylor's "A Bientot," it opens in true big brass Ellingtonian elegance, and unravels itself as a gorgeous bluesy ballad with echoes of "I Only Have Eyes for You" in its melody. The subtle shades of flute and twinned clarinet are a nice touch before the entire band arrives to carry it out on a big yet tenderly expressive lyric cloud. That said, there isn't a weak moment here, there isn't anything that doesn't captivate, delight, and even astonish, as in the smoking, striated harmonic bop head on "Three Plus One." It's almost amazing it took more than 20 years before this appeared on American shores on CD, but at last, here it is in excellent sound at a budget price as part of Verve's Originals series. This is for those who are fans who don't have it yet (and who are unwilling to pay high collector's fees for good vinyl copies or the wages of Japanese import insanity), and those wondering where to begin with Nelson the arranger. ~ Thom Jurek https://www.allmusic.com/album/fantabulous-mw0000493692

Personnel:  Oliver Nelson - tenor saxophone, arranger and conductor;  Phil Woods - alto saxophone, clarinet;  Kenny Soderblom - alto sax, flute;  Bob Ashton - tenor sax, clarinet;  Jerome Richardson - baritone saxophone, flute, alto flute;  Art Hoyle, Snooky Young - trumpet;  Ray Weigand - trombone;  Tony Studd - bass trombone;  Patti Bown - piano;  Ben Tucker - bass;  Grady Tate - drums

Fantabulous

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