Etta James - Time After Time

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 64:37
Size: 149,0 MB
Art: Front

(5:02) 1. Don't Go To Strangers
(5:03) 2. Teach Me Tonight
(4:31) 3. Love Is Here To Stay
(6:36) 4. The Nearnes Of You
(4:26) 5. Time After Time
(5:50) 6. My Funny Valentine
(6:55) 7. Imagination
(4:01) 8. Fool That I Am
(6:27) 9. Willow Weep For Me
(5:19) 10. Ev'rybody's Somebody's Fool
(4:19) 11. Night And Day
(6:01) 12. Someone To Watch Over Me

Casual fans of Etta James most often thought of her as a blues singer, and she was, when that was what she wanted to do, but she also sang straight girl group pop, belted out R&B and soul tunes, and she also, when she chose, took herself uptown and sang jazz.

That's the case here, as James elegantly delivers her versions of vocal jazz standards like Sammy Cahn and Jule Styne's "Time After Time" and Hoagy Carmichael's "The Nearness of You," in front of a tight and fluid big band comprised of Josh Sklair (guitar), Eddie Harris and Herman Riley (tenor saxophone), Ronnie Buttacavoli (trumpet, flügelhorn), Kraig Kilby (trombone), Cedar Walton (piano), John Clayton (bass), Paul Humphrey (drums), and Donto Metto James (shakers). It's all graceful and uptown, and James' singing is hauntingly beautiful. By Steve Leggett
https://www.allmusic.com/album/time-after-time-mw0000175382

Personnel: Vocals – Etta James; Bass – John Clayton (tracks: all except 6); Drums – Paul Humphrey (tracks: all except 6); Flugelhorn – Ronnie Buttacavoli (tracks: 6, 7, 8, & 9); Guitar – Josh Sklair; Piano – Cedar Walton (tracks: all except 6); Tenor Saxophone – Eddie Harris (tracks: 2, 3, 5, & 12), Herman Riley (tracks: 4, 7, 9, 10, & 11); Trombone – Kraig Kilby (tracks: 2, 3, 5, 7, 9, 10, & 12)

Time After Time

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Craig Davis (with John Clayton & Jeff Hamilton)- Tone Paintings: The Music of Dodo Marmarosa

Styles: Piano Jazz
Year: 2022
Time: 50:51
File: MP3 @ 320K/s
Size: 117,3 MB
Art: Front

(6:23) 1. Mellow Mood
(5:13) 2. Dodo’s Bounce
(6:08) 3. Dodo’s Blues
(2:53) 4. Escape
(4:03) 5. A Ditty For Dodo
(3:57) 6. Opus No. 5
(4:12) 7. Compadoo
(4:12) 8. Dary Departs
(3:24) 9. Tone Paintings
(3:16) 10. Battle Of The Balcony Jive
(7:06) 11. Dodo’s Lament

The subtitle of pianist Craig Davis' second album, Tone Paintings, is "The Music of Dodo Marmarosa." For those who may be inclined to ask, "Dodo who?" the album offers a mini-biography of Pittsburgh-born Michael (Dodo) Marmarosa, an exceptionally talented pianist whose promising early career was cut short by the crushing weight of mental and emotional problems that proved too unbearable for him to overcome. At his peak, in the decade from 1940-50, Marmarosa was a member of big bands led by Gene Krupa, Charlie Barnet, Tommy Dorsey and Artie Shaw, and played and/or recorded with Charlie Parker and Dizzy Gillespie (on Parker's first recordings for Dial Records), Wardell Gray, Lionel Hampton, Mel Torme, Lester Young and Willie "The Lion" Smith, among others, as well as recording with his own groups. The peerless Art Tatum, asked in the mid-'40s to name the most promising young pianists he'd heard, singled out Marmarosa and Red Garland.

Like Marmarosa (and legendary pianist Erroll Garner), Davis hails from Pittsburgh, and was well aware of Dodo's trail-blazing career at the keyboard. What is lesser known (and what Davis chooses to emphasize here) is Marmarosa's singular proficiency as a composer. To do so, he has enlisted the services of a blue-chip rhythm section comprising bassist John Clayton and drummer Jeff Hamilton to perform ten of Marmarosa's seductive original compositions and one flat-out charmer ("A Ditty for Dodo") by Davis. The bop influence is strong throughout, as is Marmarosa's capacity to write enchanting melodies that also swing.

The album's opening number, the Garner-like "Mellow Mood," was written when Marmarosa was a scant fourteen years old (yes, he was a child prodigy who became a professional musician in his mid-teens and listed among his early musical influences Chopin, Ravel, Debussy and Stravinsky). "Mood" is delightful, but no more so than Dodo's eight other themes, which include a blues, a bounce, a battle, a lament and "Tone Paintings." There is even a clever contrafact ("Compadoo") of the standard "Sweet Georgia Brown." The tasteful and deeply grooved "Dary Departs" is among the album's several highlights, as is the animated "Battle of the Balcony Jive," which leads to the pensive and suitable closing number, "Dodo's Lament."

The album's other numbers are "Dodo's Bounce," "Dodo's Blues," "Escape" and "Opus No. 5." The guess here is that Davis an artist to keep an eye on plays them precisely as Marmaroso would have wanted. As for Clayton, he is simply one of the finest bassists on the scene (his solos are models of elegance and perception), while Hamilton's superior talents with sticks and brushes remain at their peak. As trio sessions go, it does not get much better than this. An exemplary tribute to a remarkable musician whose legacy should neither be undervalued nor overlooked.By Jack Bowers
https://www.allaboutjazz.com/tone-paintings-craig-davis-mcg-jazz

Personnel: Craig Davis: piano; John Clayton: drums; Jeff Hamilton: drums.

Tone Paintings

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Rosemary Clooney With the L.A. Jazz Choir - Sings Rodgers, Hart & Hammerstein

Styles: Vocal
Year: 1990
File: MP3@320K/s
Time: 51:24
Size: 118,4 MB
Art: Front

(2:15) 1. Oh, What A Beautiful Morning
(4:55) 2. People Will Say We're In Love
(3:47) 3. Love, Look Away
(6:07) 4. The Gentleman Is A Dope
(2:54) 5. It Might As Well Be Spring
(6:22) 6. The Sweetest Sounds
(3:10) 7. I Could Write A Book
(3:59) 8. You Took Advantage Of Me
(5:58) 9. The Lady Is A Tramp
(4:34) 10. Little Girl Blue
(4:01) 11. My Romance
(3:15) 12. Yours Sincerely

This Rosemary Clooney recording differs from all of her previous Concord albums in that she is joined by the L.A. Jazz Choir (a 12-voice group) on half of the dozen selections. The choral backing is a bit of an acquired taste for jazz listeners but Clooney's backup sextet does consist of tenor saxophonist Scott Hamilton, trumpeter Jack Sheldon (who helps out Clooney with his vocal on "People Will Say We're in Love"), trombonist Chauncey Welsch, pianist John Oddo (who is responsible for both the choral and instrumental arrangements), bassist John Clayton and drummer Joe LaBarbera.

Clooney interprets the music of Richard Rodgers and lyrics which are split almost evenly between Lorenz Hart and Oscar Hammerstein. Most of the tunes are fairly well-known (including "It Might as Well Be Spring," "I Could Write a Book," "You Took Advantage of Me" and "My Romance") but Rosemary Clooney makes them sound fresh and alive.By Scott Yanow https://www.allmusic.com/album/sings-rodgers-hart-hammerstein-mw0000207686

Personnel: Rosemary Clooney – vocals; Jack Sheldon – trumpet, vocal (track 2); Chauncey Welsch – trombone; Warren Vaché Jr. – cornet; Scott Hamilton – tenor saxophone; John Oddo – piano, vocal and instrumental arrangements; John Clayton – bass; Joe LaBarbera – drums; The L.A. Jazz Choir – vocals (tracks 1,3,7,10-12)

Sings Rodgers, Hart & Hammerstein

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Mark Winkler - Late Bloomin' Jazzman

Styles: Vocal
File: MP3@320K/s
Time: 50:20
Size: 117,9 MB
Art: Front

(3:32) 1. It Ain't Necessarily So
(3:25) 2. Don't Be Blue
(4:43) 3. When All the Lights in the Sign Worked
(4:27) 4. Late Bloomin' Jazzman
(3:43) 5. In Another Way
(5:01) 6. Bossa Nova Days
(3:17) 7. Old Devil Moon
(3:44) 8. I Always Had a Thing for You
(4:01) 9. Before You Leave
(4:33) 10. Old Enough
(5:36) 11. Marlena's Memories
(4:13) 12. If Gershwin Had Lived

Anyone who can hold their own on a stage on in a studio with Cheryl Bentyne cannot be all bad, right? Even if one's taste runs more to Harry Connick, Jr than to Mark Murphy, it is difficult not to get seriously into Mark Winkler. Oh, he can sing, for sure, but even if he could not carry a tune, he is a lyricist for the ages. Not all ages, mind you. But for those of a certain age, sensibility, and experience. As people are wont to say of life, "tell me your truth," not tell me the truth. Winkler tells the audience his truth. And more than a few will nod in agreement. Winkler may be a romantic, but he is no fool.

"You're playing better than in your well-regarded youth...the prodigies come and go, don't they?" If there is a mirror image to "September Song," "Late Bloomin' Jazzman" must be it, and Brian Swartz' tart trumpet adds the exclamation point. Yeah, novelty is sometimes confused with talent, or youth with beauty. Is it not, one thinks, the truth of the well-traveled?

"Bossa Nova Days" really drives it home. "I wasn't born for these times, music's not musical, and words don't even rhyme." Winkler remembers being lost in those bossa nova days, "singing of lost romance, sand beneath my feet." You, too, brother? "Take me back," he intones. Well, maybe not to Brazil, but some less exotic shore worked just as well. There were wars in 1967, too, but they had not visited one's doorstep yet. Not better times, but memory convinces otherwise. "Old Enough" explains it all. With ironic good humor. "I'm old enough not to be fooled by the lights and the show." "This time the clever is gone." And one gets it, including, "too many notes and too little feeling." Rueful, but funny. "I'm still young enough to know that I don't know that much." Point taken.

Too sentimental? Maudlin? Then try "Old Devil Moon." Winkler can swing, and he does not try too hard. The musicians are especially well placed here: Rich Eames on piano; Bob Sheppard on tenor sax; Christian Euman on drums; Gabe Davis on bass; and Grant Geissman on guitar, with Brian Swartz playing a solid backup line. Players of this caliber make it easier for a singer to sound good.

"Marlena's Memories" is almost too painful to hear, but a good reminder of how ordinary are the sources of pain. Winkler confesses he once wrote bad songs. Somehow, that seems implausible.

There are twelve tracks here. It really is not possible to write about all of them. And probably not necessary. To paraphrase a Founding Father, "If you have to ask, you will never know." A memorable performance indeed in a most memorable career.
By Richard J Salvucci https://www.allaboutjazz.com/late-bloomin-jazzman-cafe-pacific-records

Personnel: David Benoit: Piano; John Clayton: Drums; Jamieson Trotter: Piano; Bob Sheppard: Saxophone, Tenor; Nolan Shaheen: Flugelhorn; Kevin Winard: Drums; Jon Mayer: Piano; Gabe Davis: Bass, Acoustic; Clayton Cameron: Drums; Brian Swartz: Trumpet; Grant Geissman: Guitar; Christian Euman: Drums; Mark Winkler: Voice / Vocals.

Late Bloomin'Jazzman

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Charito - American Gold Standards: Charito Meets Tamir Hendelman

Styles: Vocal Jazz
Year: 2016
File: MP3@320K/s
Time: 68:39
Size: 158,0 MB
Art: Front

(3:21)  1. I've Got the World on a String
(4:16)  2. Dearly Beloved
(6:42)  3. Guess I'll Hang My Tears Out to Dry
(4:46)  4. Blue Skies
(5:33)  5. I Get a Kick Out of You
(5:25)  6. Do It Again
(5:02)  7. Cheek to Cheek
(5:59)  8. Blues in the Night
(5:23)  9. It's Magic
(4:14) 10. A Fine Romance
(6:18) 11. Dreamer
(5:36) 12. The Man I Love
(5:58) 13. Ev'ry Time We Say Goodbye

Excited to share the upcoming Japanese release of vocalist Charito’s American Gold Standards: Charito meets Tamir Hendelman. I first met Manila-born, Tokyo-based jazz vocalist Charito in Japan when she sat in with the Clayton-Hamilton Jazz Orchestra. Her soulful spark, the way she sings from the heart- stayed with me.  Years later, we finally got to collaborate and it was truly a joyous occasion. Charito has recorded with Ivan Lins, Michel Legrand and Harvey Mason on some special projects.  This was a chance to pay tribute to the Great American Songbook. It was all about breathing new life to this classic songs by Irving Berlin,Gershwin, Cole Porter, Jobim and more. We hope you enjoy the music…

Personnel:  Charito (Vocals); Tamir Hendelman (Piano); John Clayton (Bass); Jeff Hamilton (Drums); Lori Bell (Flute); Gilbert Castellanos (Trumpet); Graham Dechter (Guitar).

American Gold Standards: Charito Meets Tamir Hendelman

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Adrian Cunningham - Jazz Speak

Styles: Saxophone, Clarinet And Flute Jazz
Year: 2017
File: MP3@320K/s
Time: 61:14
Size: 141,0 MB
Art: Front

(5:32)  1. The Source
(5:44)  2. Let«s Fall In Love
(6:24)  3. Mood Indigo
(5:57)  4. Getting Down Uptown
(5:48)  5. Rachel's Dance
(3:31)  6. Appalachia
(6:34)  7. Petite Fleur
(5:23)  8. Jazz Speak
(6:10)  9. Autumn Moon Over the Calm Lake
(4:15) 10. Tempus Fugit
(5:52) 11. Janelle

Australian jazz musician Adrian Cunningham fronts a prestigious quartet that includes pianist Ted Rosenthal, bassist John Clayton and drummer Jeff Hamilton. Cunningham is now based in New York City when not touring internationally. Patrons who attended the New Year’s Eve concert by Pensacola Symphony got to hear him when he played with trombonist Wycliffe Gordon’s group. This CD is a mix of familiar tunes plus some lesser known ones as well as some by Cunningham himself. The artist is equally facile with clarinet, tenor saxophone and flute. As stated, familiar tunes include Arlen and Koehler’s Let’s Fall in Love; Ellington and Bigard’s Mood Indigo, Sidney Bechet’s Petite Fleur along with Bud Powell’s Tempus Fugit. There are five Cunningham originals which are also exciting. One unusual tune, unfamiliar to me, was Lu Wencheng’s Autumn Moon Over the Calm Lake. This is Chinese composer, Wencheng’s most famous tune. Purists would not put it in the jazz category, but most would agree it is a relaxed, typical Chinese melody and quite lovely. 

Thanks to Arbors records for their help in presenting Mr. Cunningham to the wider jazz audience. As readers of The Syncopated Times jazz monthly already know, Adrian has a monthly column about jazz and his peripatetic activity. ~ Norman Vickers  https://jazzpensacola.com/cd-review-jazz-speak-adrian-cunningham/

Personnel:  Adrian Cunningham - tenor sax, clarinet, flute; Ted Rosenthal - piano; John Clayton - bass; Jeff Hamilton - drums

Jazz Speak

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Clayton-Hamilton Jazz Orchestra - Groove Shop

Bitrate: MP3@320K/s
Time: 52:24
Size: 120.0 MB
Styles: Bop
Year: 1990
Art: Front

[3:21] 1. Georgia
[5:37] 2. Raincheck
[3:33] 3. T'aint What You Do
[5:27] 4. Brush This
[3:31] 5. How Great Thou Art
[5:49] 6. Groove Shop
[6:07] 7. Sashay
[5:36] 8. Melt Away A Time For Love
[3:24] 9. I Won't Dance
[9:53] 10. Night Train

Alto Saxophone, Clarinet, Flute – Bill Green; Alto Saxophone, Soprano Saxophone, Oboe, Flute – Jeff Clayton (3); Baritone Saxophone, Bass Clarinet – Lee Callet; Bass Trombone – Maurice Spears; Double Bass – Herb Mickman; Drums – Jeff Hamilton; Guitar – Doug MacDonald; Piano – Mike Lang; Soloist, Double Bass – John Clayton; Tenor Saxophone, Clarinet – Rickey Woodard, Bob Hardaway; Trombone – George Bohanon, Ira Nepus, Thurman Green; Trumpet, Flugelhorn – Bobby Bryant, Clay Jenkins, Oscar Brashear, Snooky Young. Recorded April 18 & 19, 1989.

This Capri CD was the debut of the Clayton-Hamilton Orchestra, a notable L.A.-based big band co-led by bassist John Clayton, altoist Jeff Clayton, and drummer Jeff Hamilton. The 18-piece group has many top soloists, most notably the three co-leaders; tenor saxophonist Rickey Woodard; trumpeters Snooky Young, Clay Jenkins, and Oscar Brashear; and trombonist George Bohanon. However, it is the arrangements of John Clayton that give the orchestra its own sound. Highlights include "Raincheck," Young's vocal and trumpet feature on "T'Aint What You Do," Hamilton's showcase on "Brush This," Oscar Brashear's "Sashay" (which has a Clayton chart that recalls Thad Jones), and "Night Train." Highly recommended. ~Scott Yanow

Groove Shop mc
Groove Shop zippy

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Delfeayo Marsalis - The Last Southern Gentlemen

Bitrate: MP3@320K/s
Time: 70:34
Size: 161.6 MB
Styles: Trombone jazz
Year: 2014
Art: Front

[5:37] 1. The Secret Love Affair
[6:00] 2. Autumn Leaves
[3:12] 3. She's Funny That Way
[5:43] 4. Can You Tell Me How To Get To
[5:35] 5. I'm Confessin'
[6:59] 6. But Beautiful
[7:45] 7. Speak Low
[5:52] 8. Nancy
[4:20] 9. The Man With 2 Left Feet
[5:17] 10. That Old Feeling
[3:46] 11. My Romance
[4:49] 12. If I Were A Bell
[5:33] 13. I Cover The Waterfront

Bass – John Clayton; Drums – Marvin "Smitty" Smith; Piano – Ellis Marsalis; Trombone – Delfeayo Marsalis.

The Last Southern Gentlemen is a landmark recording for Delfeayo Marsalis, pairing father Ellis Marsalis, Jr. with son on a collaborative album for the first time. Marsalis' finest outing to date, the superb recording quality and meticulous production showcase his brilliant, classically trained tone as it swings effortlessly through standards and original compositions. The music is relaxed, thoughtful and provocative, acknowledging the love and respect of all people shared by Louis Armstrong and most early jazz entertainers. This sense of humanity and humility is at the center of the Southern lifestyle that birthed the original American music. Built on the intimacy of American ballads and the trombone's expressive mimicry of the human voice, The Last Southern Gentlemen is a firm acknowledgement of the existence and importance of these sweet, gentle sounds.

The Last Southern Gentlemen

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Milt Jackson, The Monty Alexander Trio - Soul Fusion

Bitrate: MP3@320K/s
Time: 47:24
Size: 108.5 MB
Styles: Bop, Vibraphone jazz
Year: 1978/1991
Art: Front

[5:26] 1. Parking Lot Blues
[7:55] 2. 3000 Miles Ago
[4:57] 3. Isn't She Lovely
[5:42] 4. Soul Fusion
[4:07] 5. Compassion
[7:23] 6. O Amor En Paz
[4:42] 7. Yano
[7:09] 8. Bossa Nova Do Marilla

Bass – John Clayton; Drums – Jeff Hamilton; Piano – Monty Alexander; Vibraphone – Milt Jackson. Recorded June 1-2, 1977 at Group IV Recording Studios, L.A.

Pianist Monty Alexander had first appeared on a Milt Jackson record in 1969. Eight years later the great vibraphonist used Alexander's trio (which included bassist John Clayton and drummer Jeff Hamilton, future big-band co-leaders) for this spirited Pablo session that was subsequently reissued on CD through Original Jazz Classics. Much of the material is obscure (including Jackson's three originals), with Stevie Wonder's "Isn't She Lovely" being the only standard. The music, however, is as straight-ahead as one would expect from these fine musicians, and can easily be recommended to their fans. ~Scott Yanow

Soul Fusion

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Clayton-Hamilton Jazz Orchestra - L.A. Treasures Project

Bitrate: MP3@320K/s
Time: 63:48
Size: 146.1 MB
Styles: Standards, Big band
Year: 2014
Art: Front

[3:22] 1. I Love Being Here With You
[3:57] 2. Exactly Like You
[5:04] 3. The Jug And I
[6:42] 4. Hat's Dance
[5:21] 5. I'm Getting Sentimental Over You
[3:47] 6. Got To Get Back To L.A
[6:20] 7. Goodbye Portpie Hat
[4:26] 8. River's Invitation
[3:19] 9. Beautiful Friendship
[7:17] 10. I Ain't Got Nothin' But The Blues
[4:54] 11. Time After Time
[4:38] 12. Fever
[4:35] 13. Jazz Party

John Clayton: arco bass, Jeff Clayton: alto saxophone; Jeff Hamilton: drums; Bijon Watson: trumpet; Gilbert Castellanos: trumpet; James Ford: trumpet; Brian Swartz: trumpet; Jamie Hovorka: trumpet; Ira Nepus: trombone; George Bohanon: trombone; Ryan Porter: trombone; Maurice Spears: trombone; Keith Fiddmont: alto saxophone; Ricky Woodard: tenor saxophone; Charles Owens: tenor saxophone; Lee Callet: baritone saxophone; Tamir Hendelman: piano; Christopher Luty: bass; Graham Dechter: electric guitar; Ernie Andrews: vocals; Barbara Morrison: vocals.

For nearly thirty-years now the Grammy-nominated Clayton-Hamilton Jazz Orchestra (CHJO) has been easily recognizable as one of the best big bands in the business. Led by bassist John Clayton, saxophonist and brother Jeff Clayton and drummer Jeff Hamilton, the group embarked on a mission to document their various rehearsals with West Coast vocal legends Ernie Andrews and Barbara Morrison, and do so with The L.A. Treasures Project recorded live in the famous Showroom of Alva's Dance Studio and Music Store in San Pedro, California.

Presenting a mixture of instrumentals and vocal numbers, the opening "I Love Being Here With You" seemed an appropriate start and message for the intimate crowd in the Showroom and features excellent solos from each member of the trombone section. Having 20 recordings to her credit, Morrison steps up to lay down a soulful rendition of the Dorothy Fields classic "Exactly Like You" with a little solo help from Lee Callet on the baritone saxophone. The crisp vocals of local legend Andrews takes over the music with a bluesy and sprite interpretation of the Percy Mayfield standard "The Jug and I," superbly aided by the big band orchestrations of the CHJO.

Co-leader Hamilton and pianist Tamir Hendelman take center stage on their composition "Hat's Dance" with the duo playing the lead as the band grooves gently behind them in fine support for one of the tender moments of the disc. The Clayton brothers take their turn in the spot light on the Charles Mingus piece "Goodbye Porkpie Hat" as Jeff Clayton's bluesy alto flute begins the journey that eventually leads to brother John's bowed bass play in unison with Christoph Luty's own bass performance. The two singers get back to form with Andrews getting sentimental on the standard "I'm Getting Sentimental Over You," while the swinging Gospel vocalist Morrison belts the lyrics to "Got To Get Back To L.A.," one of her own compositions telling the world how she feels about the City.

Morrison delivers the lyrics on "River's Invitation" and the classic "Fever" as the veteran Andrews does the same on "Beautiful Friendship" and the Sammy Cahn favorite "Time After Time" completing their vocal contribution to this historic night but, the CHJO was not finished. The ensemble plays a powerful opening statement on "I Ain't Got Nothin' But The Blues" only to turn it over to the electric guitar of Graham Dechter as he picks his way all through this terrific blues. In fitting form the CHJO ends the evening with "Jazz Party" elevating the excitement level with salvos fired by saxophonists Rickey Woodard and Charles Owens accompanied by one final pounding drum solo by Hamilton.

It's obvious that The L.A. Treasures Project refers to singers Andrews and Morrison but, not to be overlooked, is the CHJO, an unquestioned treasure that this time delivers a meaty program of standards and mainstream jazz with a vocal twist perfect as a precursor to the group's thirtieth anniversary in 2015. ~Edward Blanco

L.A. Treasures Project

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Dee Daniels - All Of Me

Styles: Vocal Jazz
Year: 1991
File: MP3@320K/s
Time: 38:35
Size: 88,8 MB
Art: Front

(2:47)  1. What A Difference A Day Made
(3:39)  2. I've Got The World On A String
(5:18)  3. I Got It bad (and That Ain't Good)
(3:18)  4. I'm Walking
(2:51)  5. Midnight Strangers
(2:51)  6. All Of Me
(3:34)  7. Honeysucle Rose
(4:54)  8. Stormy Weather
(3:29)  9. On A Clear Day
(5:49) 10. For Once In My Life

Dee Daniels mixes together the influences of Sarah Vaughan, R&B, and gospel in her own appealing style. She started off singing in church as a child and also took piano lessons so she could play for the choirs of her stepfather's church. She earned an art degree from the University of Montana in 1970 and taught art in high school in Seattle. She also sang on the side, at first for the fun of it and then eventually six nights a week with a band that performed rock and R&B. In 1972 she quit her teaching job to concentrate exclusively on singing. Over time, Daniels began to love improvising and gradually drifted toward jazz. While living in Europe during 1982-1987, she worked with such jazz greats as Toots Thielemans, Monty Alexander, Johnny Griffin, and John Clayton. Although she moved back to the U.S. in 1987, she has performed often in other countries including Canada, Australia, Hong Kong, 11 African countries, and throughout Europe, and is actually better known overseas than in the U.S. Daniels has appeared in such shows as the musical comedy Wang Dang Doodle and the 2001 Calgary Stampede, and she has performed with both jazz groups and pops orchestras. Along the way she has recorded for Capri, Mons (with the Metropole Orchestra), Three XD Music, and Origin in addition to releasing a DVD on Challenge. ~ Scott Yanow https://itunes.apple.com/us/artist/dee-daniels/id155971580#fullText

Personnel:  Bass – John Clayton;  Drums – Bruno Castellucci;  Piano – Jack van Poll;  Vocals – Dee Daniels

All Of Me

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John Pizzarelli And The Clayton-Hamilton Jazz Orchestra - Dear Mr. Sinatra

Styles: Vocal And Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 38:52
Size: 89,3 MB
Art: Front

(3:34)  1. Ring-A-Ding Ding
(3:57)  2. You Make Me Feel So Young
(2:42)  3. How About You?
(4:46)  4. If I had you
(4:11)  5. Witchcraft
(3:24)  6. I've Got You Under My Skin
(2:44)  7. Nice 'N' Easy
(4:11)  8. Medley: I See Your Face Before Me....
(3:56)  9. Can't We Be Friends?
(3:01) 10. Yes Sir, That's My Baby
(2:20) 11. Last Dance

With the Clayton-Hamilton Jazz Orchestra interpreting swinging big band arrangements, John Pizzarelli captures the spirit of Frank Sinatra's memorable years with the bands of Tommy Dorsey, Harry James, Count Basie and others. His aim here is not to emulate Sinatra, but to honor him with the songs that he sang so effectively. How can we ever forget? The program includes eleven familiar songs from the Sinatra years, all presented as brief arrangements that keep creative soloing to a minimum. Pizzarelli's guitar provides a number of well-constructed solos, but they too are also abbreviated. His wordless vocals with unison guitar provide several of the session's high points.

If I Had You features a clarinet choir in a tender interpretation that strolls leisurely at a slow, romantic pace. "I've Got You Under My Skin features Pizzarelli's suave vocal sashay alongside a sensual battery of genteel wind players. "In the Wee Small Hours of the Morning features a slow and steady walk that Pizzarelli delivers convincingly. "Last Dance closes the album with a sad and forlorn sign-off that recalls the emotional impact that Frank Sinatra held in the palm of his hand. Along with Pizzarelli's Swing Era vocals and his always refreshing guitar interludes, Dear Mr. Sinatra features brief but creative solos from John Clayton, Jeff Clayton, Jeff Hamilton, Rickey Woodard, Tamir Hendelman and Bucky Pizzarelli. ~ Jim Santella http://www.allaboutjazz.com/dear-mr-sinatra-john-pizzarelli-telarc-records-review-by-jim-santella.php

Personnel: John Pizzarelli (vocals, guitar); Bucky Pizzarelli (vocals, guitar); John Clayton (clarinet, alto saxophone, bass guitar); Charles Owens II, Charles Owens (clarinet, tenor saxophone); Bijon Watson (trumpet); Maurice Spears, Robbie Hioki (trombone, bass trombone); Ryan Porter (trombone); Christoph Luty (bass guitar); Jeff Clayton , Keith Fiddmont (clarinet, alto saxophone); Rickey Woodard (clarinet, tenor saxophone); Lee Callet (bass clarinet, baritone saxophone); Gilbert Castellanos, James Ford , Sal Cracchiolo, Bobby Rodriguez (trumpet); George Bohanon, Ira Nepus (trombone); Tamir Hendelman (piano); Jeff Hamilton (drums).

Dear Mr. Sinatra

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Clayton-Hamilton Jazz Orchestra - L.A. Treasures Project

Styles: Jazz, Big Band
Year: 2014
File: MP3@320K/s
Time: 63:29
Size: 145,9 MB
Art: Front

(3:21)  1. I Love Being Here with You
(3:56)  2. Exactly Like You
(5:02)  3. The Jug and I
(6:40)  4. Hat's Dance
(5:19)  5. I'm Getting Sentimental Over You
(3:47)  6. Got To Get Back To L.A.
(6:18)  7. Goodbye Porkpie Hat
(4:25)  8. River's Invitation
(3:19)  9. Beautiful Friendship
(7:14) 10. I Ain't Got Nothin' But the Blues
(4:53) 11. Time After Time
(4:36) 12. Fever
(4:34) 13. Jazz Party

For nearly thirty-years now the Grammy-nominated Clayton-Hamilton Jazz Orchestra (CHJO) has been easily recognizable as one of the best big bands in the business. Led by bassist John Clayton, saxophonist and brother Jeff Clayton and drummer Jeff Hamilton, the group embarked on a mission to document their various rehearsals with West Coast vocal legends Ernie Andrews and Barbara Morrison, and do so with The L.A. Treasures Project recorded live in the famous Showroom of Alva's Dance Studio and Music Store in San Pedro, California.  Presenting a mixture of instrumentals and vocal numbers, the opening "I Love Being Here With You" seemed an appropriate start and message for the intimate crowd in the Showroom and features excellent solos from each member of the trombone section. Having 20 recordings to her credit, Morrison steps up to lay down a soulful rendition of the Dorothy Fields classic "Exactly Like You" with a little solo help from Lee Callet on the baritone saxophone. The crisp vocals of local legend Andrews takes over the music with a bluesy and sprite interpretation of the Percy Mayfield standard "The Jug and I," superbly aided by the big band orchestrations of the CHJO.

Co-leader Hamilton and pianist Tamir Hendelman take center stage on their composition "Hat's Dance" with the duo playing the lead as the band grooves gently behind them in fine support for one of the tender moments of the disc. The Clayton brothers take their turn in the spot light on the Charles Mingus piece "Goodbye Porkpie Hat" as Jeff Clayton's bluesy alto flute begins the journey that eventually leads to brother John's bowed bass play in unison with Christoph Luty's own bass performance. The two singers get back to form with Andrews getting sentimental on the standard "I'm Getting Sentimental Over You," while the swinging Gospel vocalist Morrison belts the lyrics to "Got To Get Back To L.A.," one of her own compositions telling the world how she feels about the City. Morrison delivers the lyrics on "River's Invitation" and the classic "Fever" as the veteran Andrews does the same on "Beautiful Friendship" and the Sammy Cahn favorite "Time After Time" completing their vocal contribution to this historic night but, the CHJO was not finished. The ensemble plays a powerful opening statement on "I Ain't Got Nothin' But The Blues" only to turn it over to the electric guitar of Graham Dechter as he picks his way all through this terrific blues. In fitting form the CHJO ends the evening with "Jazz Party" elevating the excitement level with salvos fired by saxophonists Rickey Woodard and Charles Owens accompanied by one final pounding drum solo by Hamilton. 

It's obvious that The L.A. Treasures Project refers to singers Andrews and Morrison but, not to be overlooked, is the CHJO, an unquestioned treasure that this time delivers a meaty program of standards and mainstream jazz with a vocal twist perfect as a precursor to the group's thirtieth anniversary in 2015. ~ Edward Blanco http://www.allaboutjazz.com/the-la-treasures-project-the-clayton-hamilton-jazz-orchestra-capri-records-ltd-review-by-edward-blanco.php

Personnel: John Clayton: arco bass, Jeff Clayton: alto saxophone; Jeff Hamilton: drums; Bijon Watson: trumpet; Gilbert Castellanos: trumpet; James Ford: trumpet; Brian Swartz: trumpet; Jamie Hovorka: trumpet; Ira Nepus: trombone; George Bohanon: trombone; Ryan Porter: trombone; Maurice Spears: trombone; Keith Fiddmont: alto saxophone; Ricky Woodard: tenor saxophone; Charles Owens: tenor saxophone; Lee Callet: baritone saxophone; Tamir Hendelman: piano; Christopher Luty: bass; Graham Dechter: electric guitar; Ernie Andrews: vocals; Barbara Morrison: vocals.

L.A. Treasures Project

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Milt Jackson - Explosive! Meets The Clayton-Hamilton Jazz Orchestra

Styles: Vibraphone Jazz
Year: 2002
File: MP3@320K/s
Time: 64:15
Size: 149,1 MB
Art: Front

(5:54)  1. Bags' Groove
(7:41)  2. Since I Fell For You
(5:25)  3. Evidence
(3:28)  4. Back Home Again In Indiana
(5:23)  5. Deed I Do
(5:20)  6. The Nearness Of You
(5:36)  7. Major Deagan (Blues For Dan)
(5:48)  8. Emily
(6:53)  9. Along Came Betty
(6:00) 10. Revibal Meeting
(6:43) 11. Recovery

In a recording career that's spanned more than half a century, the masterful vibraphonist Milt Jackson has seldom been less than flawless. For Explosive!, his fifth disc on Quincy Jones's well-distributed Qwest label, Jackson is suitably teamed with the well-populated Clayton-Hamilton Jazz Orchestra. It too, is no exception; offering a sterling collection of Jackson's pleasing blend of blues and ballads. Jackson has only recorded with big bands on a surprisingly infrequent basis (his Verve recordings with Ray Brown, two dates from the early 1960s on Riverside and some work in the late 70s with Count Basie's band come to mind). But he has plenty of connections to this music. Helmsman arranger/bassist John Clayton studied with Jackson's soul mate and frequent musical sparring partner, Ray Brown. Clayton has also served a rewarding apprenticeship in Basie's band and his tasteful, swinging arrangements recall the brassy soulfulness Quincy Jones offered to many a Basie session (and plenty others like Ray Charles too).

So Milt's at home here still swinging like he did back in the Forties (consider how he enlivens Monk's "Evidence" here and recall the vibraphonist was heard on the original all those years ago). If there's any gripe - and it's a true quibble - it's that Jackson seems like a guest on his own session. He swings in between the more dominating orchestra (with exceptional offerings from reedman Jeff Clayton, trumpeter Snooky Young and trombonist George Bohanon) and even sits out of "Deed I Do" and "The Nearness of You" altogether. But, as expected, he's above reproach and completely in charge of "Major Deegan," the inevitable "Bag's Groove," and the newer originals, "Revibal Meeting" and "Recovery." Explosive! could have been recorded in the late Fifties, at a time when jazz orchestras like this flourished. Today, it's positively out of the ordinary to hear a big star front a (real) big band. But it shows how ageless and timeless the concept is when it's done right as it is here. ~ Douglas Payne 

http://www.allaboutjazz.com/explosive-milt-jackson-warner-bros-review-by-douglas-payne.php

Players:Milt Jackson: vibes; John Clayton, Jr.: arco bass; Jeff Hamilton: drums; Jeff Clayton: alto sax, flute, clarinet; Byron Stripling, Eugene "Snooky" Young, Oscar Brasher, Clay Jenkins, Bobby Rodriguez: trumpet; Ira Nepus, George Bohanon, Isaac Smith: trombone; Maurice Spears: bass trombone; Keith Fiddmont: alto sax, flute, clarinet; Ricky Woodward, Charles Owens: tenor sax, clarinet; Lee Callet: baritone sax, bass clarinet; Bill Cunliffe: piano; Christoph Luty: bass; Jim Hershman: guitar.

Explosive! Milt Jackson Meets The Clayton-Hamilton Jazz Orchestra

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Monty Alexander - The Duke Ellington Songbook

Styles: Hard Bop, Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 85:15
Size: 201,2 MB
Art: Front

( 9:26)  1. I Let A Song Go Out Of My Heart
( 5:52)  2. Sophisticated Lady
( 6:00)  3. Things Ain't What They Used To be
( 6:07)  4. Love You Madly
( 7:30)  5. Eastside, Westside
(13:19)  6. In A Mellow Tone
( 6:00)  7. Caravan
( 6:07)  8. Just Squeeze Me
( 7:30)  9. In A Sentimental Mood
(17:20) 10. C Jam Blues

Monty Alexander long ago combined together the influence of Oscar Peterson with the soul of Gene Harris and Nat "King" Cole to form his own appealing and personable style. Long a bit underrated (due to the shadow of Peterson), Alexander has recorded more than a score of excellent albums. Monty Alexander began piano lessons when he was six and he played professionally in Jamaican clubs while still a teenager; his band, Monty and the Cyclones, was quite popular locally during 1958-1960. He first played in the U.S. when he appeared in Las Vegas with Art Mooney's Orchestra. Soon he was accompanying a variety of top singers, formed a friendship with vibraphonist Milt Jackson, and began gigging with bassist Ray Brown. 

With the recording of a pair of Pacific Jazz albums in 1965, an RCA date in 1967, and a Verve session in 1969, Alexander began to gain a strong reputation. His series of exciting albums for MPS during 1971-1977 found him in prime form, and his recordings in the '80s, '90s, and 2000s found him building on his original style. Alexander, who often pays tribute to his Jamaican heritage, performs regularly with his own trio and swings hard in his own voice. Bio ~ https://itunes.apple.com/us/artist/monty-alexander/id2987018#fullText

Personnel:  Monty Alexander (Piano), John Clayton (Bass)

The Duke Ellington Songbook

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Jackie Ryan - Listen Here

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 62:40
Size: 143,5 MB
Art: Front

(3:59)  1. Comin' Home Baby
(3:01)  2. The Gypsy In My Soul
(6:26)  3. Throw It Away
(4:51)  4. Accentuate The Positive
(3:19)  5. Anytime, Any Day, Anywhere
(5:32)  6. I Loves You Porgy
(4:02)  7. How Little We Know (How Little It Matters)
(4:04)  8. La Puerta
(4:54)  9. Rip Van Winkle
(6:27) 10. A Time For Love
(3:58) 11. No One Ever Tells You
(3:32) 12. Before We Fall In Love
(4:27) 13. To The Ends Of The Earth
(4:01) 14. Listen Here

With Listen Here, vocalist Jackie Ryan offers a diverse and delectable array of Great American Songbook and jazz classics, well-known but not regularly-recorded older hits, and superb original selections. Supported by Grammy Award-winning bassist John Clayton and most able friends (including Clayton's son, pianist Gerald Clayton, a three-time Grammy nominee), the overall effort soars. It's a tour de force of talent and taste. Ryan's voice is full, highly resonant and eminently inviting. It is also one of subtle shadings. Her colorings run from the bluest blue to the sultriest scarlet. Her intonation and rhythmic sense knowing precisely where to place a beat within a lyric line are uncanny. Those unique abilities assist perfectly in displaying and enhancing her fine emotional range. She covers the 14-cut session with elegance, grace and swing. 

A funk version of the pop-jazz hit "Comin' Home Baby" and the straight-ahead "Gypsy in My Soul" place Ryan out in front and make the initial up-tempo statements. While they launch the effort in fine shape, Ryan's wheelhouse doors open wide on her string-accompanied "Throw It Away." Crescendo, decrescendo and lyric interplay dominate this highlight. The ensuing ballad selections "I Love You, Porgy," "A Time for Love" and "Before We Fall in Love" demonstrate Ryan's gorgeous lyric approach and mile-deep emotional depth. And, not to be constrained, she does it in Spanish, too ("La Puerta").
The gospel-ized version of Harold Arlen and Johnny Mercer's "Accentuate the Positive" played here at a divine tempo  demonstrates that Ryan can sing hand-on-hip and finger-wag powerful. It's a hoot, as there's no faux soul in the rendition. She seals the deal with "No One Ever Tells You." Rickey Woodard's tenor funks up both selections. Gerald Clayton's impeccable taste, touch and meticulous accompaniment dovetail beautifully with Ryan's vocal instrument. The result is, indeed, keyboard/vocal unity. The sonorous John Clayton and guitarist Graham Dechter are understated elegance throughout. Drummer Obed Calvaire wisely never intrudes, and trumpeter Gilbert Castellano offers white- hot solos when and where he stretches out. Listen Here is an apropos title for this wonderfully entertaining recording, one which delivers abundant aural riches by way of a truly gifted vocal talent. It's also a great suggestion. ~ Nicholas F.Mondello  http://www.allaboutjazz.com/listen-here-jackie-ryan-open-art-productions-review-by-nicholas-f-mondello.php
 

Personnel: Jackie Ryan: vocals; Gerald Clayton: piano, organ; John Clayton: bass; Gilbert Castellanos: trumpet; Graham Dechter: guitar; Obed Calvaire: drums; Rickey Woodard: saxophone.

Listen Here

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Graham Dechter - Takin' It There

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 66:22
Size: 151,9 MB
Art: Front

(6:20)  1. Road Song
(6:22)  2. Be Deedle Dee do
(6:42)  3. Chega de Saudade (No More Blues)
(7:30)  4. Together & Apart
(7:09)  5. Takin' It There
(6:54)  6. Father
(5:42)  7. Grease for Graham
(4:57)  8. Hocus Pocus
(5:43)  9. Come Rain or Come Shine
(8:57) 10. Amanda / Every Time We Say Goodbye

A quartet is usually a self-contained collection of four, but sometimes these groupings serve as part of a greater whole; guitarist Graham Dechter's foursome does both. Dechter, drummer Jeff Hamilton, bassist John Clayton and pianist Tamir Hendelman serve as the rhythmic power source for the Clayton-Hamilton Jazz Orchestra but they can also stand on their own in fine, grooving fashion. Dechter, in his mid twenties at the time of this recording, has been keeping company with Clayton and Hamilton since he joined the rhythm section of their illustrious orchestra when he was only nineteen. He played the hell out the guitar back then and he's continued to mature at a rapid pace ever since. Right On Time (Capri, 2009) gave him an opportunity to spread his wings and fly as a leader for the first time, fronting the very same rhythm unit that gave him his first big break, and Takin' It There is round two from this team. 

These guys have all made their individual and collective reputations on the fact that they keep better time than a Rolex, so this fact isn't really worth an at-length discussion. The leader's style, direction and vision, however, deserve comment. Dechter may be operating in the present, but it doesn't seem to be his favorite time. The young guitarist is a '50s and '60s jazz devotee and it comes through in every way. His song choices, which reference guitar greats like Wes Montgomery ("Road Song") and Barney Kessel ("Be Deedle Dee Do"), bossa nova kingpin Antonio Carlos Jobim ("Chega De Saudade") and trumpeter Lee Morgan ("Hocus Pocus") are the first indication. His playing, which is rooted in the Montgomery, Kessel and Herb Ellis schools, is the second signpost. Smoking single note lines, blues-based rejoinders and clean-toned melodies, which nod to those three guitar greats at different times, sing forth from Dechter's axe. Familiar material is around every corner on this disc, but that doesn't mean it's run of the mill in execution. "Chega De Saudade" carries a certain degree of intensity in its being that's rarely encountered in other takes on this classic and "Come Rain Or Come Shine" is given a winning makeover. When Dechter and company put the classics aside, they prove equally capable of creating down-home feels and/or musical finery. 

"Together & Apart" is a mellow original from the leader which opens on some beautiful, cello-like arco work from Clayton, Josh Nelson's title track takes a little while to catch fire, but Dechter and Hendelman eventually fan the flames with some fine soloing, and Clayton's "Grease For Graham," powered by Hamilton's shuffling stick work, is a gas. While some of the positive feedback for this recording will likely be focused on the established veterans, Dechter deserves his due. He may have the luxury of playing with the cream of the crop, but they don't carry him. Graham Dechter's playing is capable, confident and charismatic in every way. ~ Dan Bilaswsky  http://www.allaboutjazz.com/takin-it-there-graham-dechter-capri-records-review-by-dan-bilawsky.php#.U-_UlGOumE4

Personnel: Graham Dechter: guitar; Tamir Hendelman: piano; John Clayton: bass; Jeff Hamilton: drums.

Takin' It There

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Paul Kuhn - The L.A. Session

Bitrate: 320K/s
Time: 48:34
Size: 111.2 MB
Styles: Jazz piano
Year: 2013
Art: Front

[4:27] 1. Almost The Blues
[2:31] 2. Just In Time
[3:12] 3. Close Your Eyes
[3:04] 4. You've Changed
[6:24] 5. On A Clear Day You Can See Forever
[4:44] 6. Griff
[2:57] 7. Dinah
[3:10] 8. Speak Low
[4:21] 9. Emily
[2:57] 10. There Will Never Be Another You
[2:40] 11. My Heart Stood Still
[2:51] 12. Ornithology
[2:32] 13. People
[2:37] 14. As Time Goes By

'The L.A. Session' by the veteran German jazz pianist and vocalist Paul Kuhn was recorded at the legendary Capitol Studios in Los Angeles. Backed by an A-list rhythm section - drummer Jeff Hamilton and bassist John Clayton - he performs a set of classic jazz standards as well as two of his own compositions. With his unmistakable sense of rhythm and melody, Kuhn appears to absorb each individual note and transforms it into a very special art of timeless swing.

Recording information: Capitol Studios, Los Angeles (11/08/2011/11/09/2011).

Paul Kuhn (piano, vocals), John Clayton (bass), Jeff Hamilton (drums)

The L.A. Session

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