Tony Bennett - Here's To The Ladies

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 66:35
Size: 153,2 MB
Art: Front

(4:41) 1. People
(3:50) 2. I'm In Love Again
(3:56) 3. Somewhere Over The Rainbow
(5:10) 4. My Love Went To London
(5:40) 5. Poor Butterfly
(3:27) 6. Sentimental Journey
(4:42) 7. Cloudy Morning
(3:45) 8. Tenderly
(2:09) 9. Down In The Depths
(2:52) 10. Moonlight In Vermont
(4:04) 11. Tangerine
(2:49) 12. God Bless The Child
(3:42) 13. Daybreak
(5:29) 14. You Showed Me The Way
(2:55) 15. Honeysuckle Rose
(3:24) 16. Maybe This Time
(1:58) 17. I Got Rhythm
(1:55) 18. My Ideal

For years, it was rumored that Frank Sinatra was going to record an album called Here's to the Ladies, but the Chairman of the Board never got around to actually making the record. However, Tony Bennett did and his record covers a wider range of artists and styles than Sinatra's scheduled record. Naturally, Bennett turns in a thoroughly entertaining, professional performance. It's a solid contribution to his impressively assured and diverse comeback. By Stephen Thomas Erlewine
https://www.allmusic.com/album/release/heres-to-the-ladies-mr0000372200

Personnel: Tony Bennett – vocals; Ralph Sharon – piano; Clayton Cameron – drums; Doug Richeson – double bass; Lew Soloff – trumpet solos; unidentified session orchestra and big band (except for tracks 8, 10, 12, 16, 17 & 18); Jorge Calandrelli – arranger, conductor of the orchestral charts (tracks 2, 4–7, 13–15); Bill Holman – arranger, conductor of the Big Band charts (tracks 1, 3, 9, 11)

R.I.P.

Born: August 3, 1926, Long Island City, New York, United States
Died: July 21, 2023, New York, New York, United States

Here's To The Ladies

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Manhattan Jazz Quintet - 25-Tribute to Art Blakey

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 54:06
Size: 123,9 MB
Art: Front

(5:51) 1. Les Liaisons Dangereuses
(9:15) 2. Moanin'
(6:00) 3. Mosaic
(7:09) 4. Blues for Buhaina
(6:17) 5. Quick Silver
(5:33) 6. Split Kick
(7:30) 7. Come Rain or Come Shine
(6:28) 8. Blues March

Manhattan Jazz Quintet, an all-star band led by pianist and arranger David Matthews and a brainchild of Japanese producer Shigeyuki Kawashima, celebrates its 25th anniversary with this strong tribute album to Art Blakey. This is also the super-group's second release from the Birds Records label, following the extremely successful V.S.O.P. which not only became Swing Journal Gold Disc but also won the prestigious magazine's 2008 Jazz Disc Silver Award. In addition to Matthews, the current edition of band features trumpeter Lew Soloff, tenor saxophonist Andy Snitzer, bassist Charnett Moffett and drummer Victor Lewis. They perform the quintessential tunes associated with Art Blakey and his Jazz Messengers, including "Moanin'", "Mosaic" and "Blues March," all arranged by Matthews with a few modern twists. According to the MJQ's tradition, Matthews also wrote an original tune "Blues For Buhaina," a funky blues dedicated to the legendary drummer. The all-star band sounds terrific here. The rhythm section provides kinetic grooves and pushes the entire group. The horn players' performances are inspired and intensely hot! The sound quality of the recording is also quite good. Recommended for fans of hard bop jazz! Produced by Shigeyuki Kawashima. Recorded at Sear Sound Studio, New York, February 27 & 28, 2009.~Swing Journal Gold Disc http://www.eastwindimport.com/product info.asp?ProductId=1186

Personnel: David Matthews (piano); Lew Soloff (trumpet); Andy Snitzer (tenor sax); Charnett Moffett (bass); Victor Lewis (drums)

25-Tribute to Art Blakey

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Lew Soloff - Speak Low

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 55:21
Size: 126,9 MB
Art: Front

(7:55) 1. Marilyn
(7:26) 2. Duty Blues
(7:45) 3. Speak Low
(9:14) 4. Raunchy Rita
(4:39) 5. Reincarnation of a Lovebird
(9:51) 6. But Beautiful
(8:28) 7. Stella by Starlight

In May of 1968, Lew Soloff got the call to replace Randy Brecker in a fledging jazz/rock band called Blood, Sweat and Tears. The band became a immediate hit, selling millions of albums and winning a Grammy Award for their initial release. Since then, he has become one of New York's "first call" trumpeters and has never lost his love for jazz, which is apparent in his 1987 album, Speak Low. ~ Editorial Reviews https://www.amazon.com/Speak-Low-Lew-Soloff/dp/B001CJJPJK

Personnel: Trumpet – Lew Soloff; Bass – Richard Davis; Drums – Elvin Jones; Piano – Kenny Kirkland

Manhattan Jazz Orchestra - Swing, Swing, Swing

Styles: Swing, Big Band
Year: 2006
File: MP3@320K/s
Time: 53:00
Size: 122,9 MB
Art: Front

(6:18) 1. Ironside
(7:24) 2. Swing, Swing, Swing
(6:37) 3. Jumpin' At The Woodside
(6:38) 4. Moonlight Serenade
(6:54) 5. Take The A Train
(6:50) 6. Ai No Corrida
(6:04) 7. Manteca
(6:11) 8. Stompin' At The Savoy

Manhattan Jazz Orchestra was created by pianist/arranger David Matthews and an accomplished Japanese producer Shigeyuki Kawashima (both GRAMMY winners) in 1989. It is one of the premier and most prolific big bands in the US, having released more than 13 CDs over the years.

For Swing, Swing, Swing, recorded in 2006, Matthews and his big band chose as materials tunes written by and associated with Quincy Jones ("Ironside," "Ai No Corrida") and Glenn Miller ("Moonlight Serenade") for the first time. They also pay tribute to the great big bands led by Count Basie, Duke Ellington, Dizzy Gillispie and Benny Goodman. The title tune is Matthews' original that takes a nostalgic look back at the big band era. The all-star band, including star players Lew Soloff, Ryan Kisor, Randy Brecker, Jim Pugh and Chris Hunter, plays Matthews' intricate scores with technical perfection and provide inspired solos. Recommended for fans of the contemporary big band sound!

Produced by Shigeyuki Kawashima and David Matthews. Recorded February 2004, New York. Lew Soloff (trumpet); Ryan Kisor (trumpet); Walter White (trumpet; )Scott Wendholt (trumpet); Randy Brecker (trumpet); Jim Pugh (trombone); John Fedchock (trombone); Larry Farrell (trombone); David Taylor (bass trombone); Fred Griffen (French horn); John Clark (French horn); Tony Price (tuba); Chris Hunter (alto sax,flute); Aaron Heick (soprano sax,tenor sax); Scott Robinson (baritone sax,bass clarinet); Chip Jackson (bass); Terry Silverlight (drums); David Matthews (arranger,conductor,piano).

Swing, Swing, Swing

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Deborah Cox - Destination Moon

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 43:08
Size: 99,6 MB
Art: Front

(2:41)  1. Destination Moon
(4:07)  2. What A Difference A Day Made
(3:42)  3. Misery
(3:36)  4. Baby, You're Got What It Takes
(4:06)  5. This Bitter Earth
(2:23)  6. Squeeze Me
(3:00)  7. New Blowtop Blues
(4:08)  8. Blue Skies
(3:27)  9. I Don't Hurt Anymore
(4:33) 10. Smoke Gets In Your Eyes
(3:23) 11. September In The Rain
(3:55) 12. Look To The Rainbow

Artist tributes are tricky pieces of work. Most of the time, they aren't recorded by the biggest names of the moment, and they're usually sub-par. Instead of putting out an album of new music after a five-year hiatus, and twelve years into her career, Canadian R&B diva Deborah Cox released Destination Moon, a tribute to jazz legend Dinah Washington. Cox refers to this album as a personal tribute to her legend growing up. Frankly, she does justice to the works, which make for a strong representation of Washington's hits over her far too brief career. Cox's voice, in all its purity, has never sounded better, with the honey tones in her raspy instrument flourishing throughout the album's big moments. Unfortunately, the album is full of awkward missteps that steer this work off course: Cox doesn't always connect with the songs. Many of the tracks seem robotic; Cox sings them well, but doesn't emote to the best of her ability, something that has always been a flaw of hers in the past. Therefore, Moon appears to be more of a lifetime biopic of Dinah Washington's musical career than a genuine blockbuster. For an artist like Washington, who has garnered much respect even to this day for her creativeness and emotional capacity, Cox suffers in both attributes. Considering Moon is supposed to be a tribute, as such it seems flat. 

In addition, the timing of the album seems like an odd choice for Cox; there is a five-year gap between this album and The Morning After (excluding Remixed, a collection of dance re-recordings), but this may be because of her label shift from J-Records to Decca. And because she has stayed out of the limelight for some time, jumping back into the music scene with a tribute doesn't seem like the smartest move on her part. In addition, Cox is an R&B diva who is known for her dance tracks and smooth grooves. Jazz seems awkward for the Canadian superstar, who handles the shift well vocally, but seems to have missed the mark in most other places. Ultimately, the album is too indulgent on Cox's part, and in order for the whole piece to be credible, especially for Cox, whose popularity has slowly faded since her newest album, she needed to nail every part of the album, not just the vocals. ~ Matthew Chisling  http://www.allmusic.com/album/destination-moon-mw0000778238

Personnel: Deborah Cox - vocals, background vocais; Rob Mounsey – piano; David Spinozza – guitar; David Finck – bass; Victor Lewis – drums; Andy Snitzer - tenor saxophone; Lew Soloff - trumpet

Destination Moon

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Chuck Mangione - Main Squeeze

Styles: Crossover Jazz, Easy listening
Year: 1976
File: MP3@320K/s
Time: 34:32
Size: 80,0 MB
Art: Front

(8:04)  1. (The Day After) Our First Night Together
(8:01)  2. If You Know Me Any Longer Than Tomorrow
(4:46)  3. Love The Feelin'
(4:33)  4. I Get Crazy (When Your Eyes Touch Mine)
(3:36)  5. Doin' Everything With You
(5:28)  6. Main Squeeze

More and more a creature of the studio, Mangione employs a coterie of '70s New York session players on an album that wears its make-out-music intentions right on its velvet sleeve. All of the titles reflect some aspect of a love affair; the playing is intricate but highly controlled and not terribly exciting. Oddly enough, Chuck effectively attaches a wah-wah pedal to his flugelhorn on a few tracks shades of Miles Davis' "jungle band" period and he gets off his best non-electronically modulated solo on "If You Know Me Any Longer Than Tomorrow." There are orchestrations, but the arrangements are just decorations, not an integral part of the material. But then, after all of the warm, fuzzy stuff has run its course for five tracks, the last cut "Main Squeeze" acts as an ecstatic release, a fine, funky jam session where all seem to be thoroughly enjoying themselves. ~ Richard S.Ginell https://www.allmusic.com/album/main-squeeze-mw0000651826

Personnel: Chuck Mangione - Flugelhorn, Fender Rhodes; Tony Levin - Bass; Rubens Bassini - Percussion; Steve Gadd - Drums, Percussion; Ralph MacDonald - Percussion; Don Grolnick - Acoustic Piano, Fender Rhodes; Richard Tee - Organ; John Tropea - Electric & Acoustic Guitars; Bob Mann - Electric & Acoustic Guitars; Gene Orloff - Concertmaster; Bob Carlisle, Fred Griffen, Jimmy Buffington, John Clarke - French Horns; Bill Watrous, David Taylor, Tom Malone, Wayne Andre - Trombones; Alan Rubin, Jeff Tkazyik, Jon Faddis, Lew Soloff - Trumpets

Main Squeeze

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JaLaLa - That Old Mercer Magic!

Styles: Vocal Jazz 
Year: 2009
File: MP3@320K/s
Time: 52:16
Size: 120,6 MB
Art: Front

(3:00)  1. Spring, Spring, Spring
(5:30)  2. You Must Have Been A Beautiful Baby
(3:35)  3. Jeepers Creepers
(4:22)  4. My Shining Hour
(4:24)  5. Accentuate The Positive
(3:34)  6. Dream
(3:29)  7. I'm Old Fashioned
(3:56)  8. Riding On The Moon
(7:29)  9. Moon River / Moon Country
(4:34) 10. Have You Got Any Castles Baby?
(2:18) 11. Too Marvelous For Words
(5:58) 12. The Dance Of Life

Janis Siegel has done a fair amount of recording away from the Manhattan Transfer during her decades-long tenure with the vocal group, but this a rare opportunity to hear her with other vocalists outside of it. JaLaLa, featured on four selections, includes Laurel Massé and Lauren Kinhan on vocals, with each singer leading individual selections.; the core group of musicians includes pianist Yaron Gershovsky, bassist David Finck, guitarist Frank Vignola, and drummer Matt Wilson, with guests added or substituted on some pieces. The songs selected from Johnny Mercer's vast output include both still-popular standards and obscurities, with the supporting cast varying from one track to the next. All three vocalists join forces for a fun-filled romp through "Ac-Cent-U-Ate the Positive" and the neglected "Spring Spring Spring," both of which add pedal steel guitarist Cindy Cashdollar. Siegel handles both "Jeepers Creepers" and "Too Marvelous for Words" effortlessly. Kinhan shines in the breezy bossa nova setting of "My Shining Hour," while Massé delivers a warm "Moon River" which is joined in a medley with the less familiar "Moon Country," a sauntering chart that features JaLaLa. Only the lame setting of "You Must Have Been a Beautiful Baby," saddled with the inane antics of DJ Sugarkone and a bland groove, proves disappointing. ~ Ken Dryden https://www.allmusic.com/album/the-old-mercer-magic%21-mw0000820178

Personnel: Janis Siegel, Laurel Massé (vocals); David Finck (guitar, acoustic bass); Frank Vignola (guitar); Aaron Weinstein (mandolin, violin); Sara Caswell (violin); Margot Leverett (clarinet); Lew Soloff (trumpet); Yaron Gershovsky (piano); Matt Wilson (drums); Rich "Dusty Chopmeat" Zukor (djembe); Eric Elterman (hand claps).

That Old Mercer Magic!

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Hilton Ruiz - Strut

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 49:24
Size: 113,6 MB
Art: Front

( 6:19)  1. The SideWinder
(10:46)  2. Goin'Back To New Orleans
( 4:57)  3. Bluz
( 4:19)  4. Aged In Soul
( 8:07)  5. All My Love Is Yours
( 5:55)  6. Soca Serenade
( 2:34)  7. Why Don't You Steal My B
( 6:24)  8. Lush Life

Pianist Hilton Ruiz mixes together elements of salsa, r&b, funk and jazz but, instead of his music becoming some type of hybrid, the result is a very danceable variety of jazz that is both accessible and challenging. Ruiz, whose main influence is McCoy Tyner, gathered together a very interesting assortment of players for Strut. Trumpeter Lew Soloff contributes some high notes and leads the horn riffing, trombonist Dick Griffin's extroverted trombone is witty in its short spots, Sam Rivers (mostly on tenor) and percussionist Mongo Santamaria add their sounds to the brew and guitarist Rodney Jones is second only to Ruiz in taking solo honors. 

It is particularly rewarding to hear a Latin remake of "The Sidewinder" and many of the other good-natured melodies are catchy. Strut should be able to win over both jazz fans and those listeners who claim to not understand or be able to appreciative creative music. ~ Scott Yanow https://www.allmusic.com/album/strut-mw0000203520

Personnel:  Piano – Hilton Ruiz; Bass – Rodney Jones; Congas – Mongo Santamaria; Drums – Robby Ameen, Steve Berrios; Electric Bass – Francisco Centeno; Guitar – Rodney Jones; Tenor Saxophone, Soprano Saxophone – Sam Rivers; Timbales, Percussion – Robby Ameen, Steve Berrios; Trombone – Dick Griffin; Trumpet – Lew Soloff

Strut

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Peter Erskine - Motion Poet

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 53:31
Size: 124,1 MB
Art: Front

(6:26)  1. Erskoman
(6:43)  2. Not a Word
(6:25)  3. Hero with a Thousand Faces
(7:23)  4. Dream Clock
(6:01)  5. Exit up Right
(4:07)  6. A New Regalia
(3:25)  7. Boulez
(7:44)  8. The Mystery Man
(5:13)  9. In Walked Maya

A highly skilled, versatile drummer, Peter Erskine has anchored big bands and jazz-rock fusion groups. He's known for sophisticated rhythms, distinctive accompaniment, and powerful, rippling solos. Erskine began drumming at three, and participated in Stan Kenton's National Stage Band Camps from the age of six. He studied with Alan Dawson and Ed Soph, attending the Interlochen Arts Academy in Michigan and Indiana University. He played with Kenton from 1972 to 1975, then from 1976 to 1978 with Maynard Ferguson. Erskine joined Weather Report in 1978, and was their drummer and percussionist until 1982. He also did several West Coast sessions in the late '70s, and was a member of Steps and Steps Ahead. During the '80s he worked with John Abercrombie's groups and the quartet Bass Desires. He's also worked with Joe Farrell, Marc Johnson, Mike Brecker, Randy Brecker, John Scofield, Bob Mintzer, Lew Soloff, Kenny Kirkland, Mike Mandel, and Kenny Werner, among others. As a leader, he debuted with Peter Erskine in 1982 on Contemporary, followed by several well-received efforts for Denon. During the '90s, he developed a good relationship with ECM, releasing such albums as 1992's You Never Know, 1995's As It Is, and 1998's Juni. Also during the '90s, Erskine founded his own Fuzzy Music label, delivering such albums as 1995's From Kenton to Now with tenor saxophonist Richard Torres and 1998's Lava Jazz. In the 2000s, Erskine continued to release albums via Fuzzy Music with 2002's Badlands, 2005's The Lounge Art Ensemble: Music for Moderns, and 2016's Dr. Um, which introduced his Dr. Um Band featuring keyboardist John Beasley. In 2017, Erskine reunited Beasley and the Dr. Um Band for Second Opinion. ~ Ron Wynn https://www.allmusic.com/artist/peter-erskine-mn0000842492/biography

Personnel: Drums, Percussion – Peter Erskine; Arranged By – Bob Mintzer (tracks: 8), Randy Brecker (tracks: 5), Vince Mendoza (tracks: 1 to 4, 6, 7, 9); Baritone Saxophone – Roger Rosenberg (tracks: 1, 3, 4, 6); Bass – Marc Johnson (2) (tracks: 2 to 4, 8, 9); Bass Trombone – Matt Finders (tracks: 2 to 4, 6); Electric Bass – Will Lee (tracks: 1, 5, 6); French Horn – Jerry Peel (tracks: 2 to 4), John Clark (2) (tracks: 2 to 4), Peter Gordon (8) (tracks: 2 to 4); Guitar – Jeff Mironov (tracks: 1, 5, 6); Guitar, Guitar Synthesizer – John Abercrombie (tracks: 2 to 4, 8, 9); Keyboards – Jim Beard (tracks: 1 to 8); Piano – Eliane Elias (tracks: 2, 5); Soprano Saxophone, Alto Saxophone, Flute – Lawrence Feldman (tracks: 1, 3 to 6); Tenor Saxophone – Bob Mintzer (tracks: 4, 6, 8), Michael Brecker (tracks: 3); Tenor Saxophone, Flute – Bob Mintzer (tracks: 1, 3 to 6); Trombone, Tuba – Dave Bargeron (tracks: 1, 2 to 4, 6); Trumpet – Joe Mosello (tracks: 1, 3 to 6), Randy Brecker (tracks: 4, 8); Trumpet, Flugelhorn – Lew Soloff (tracks: 1 to 4, 6)

Motion Poet

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Lonnie Plaxico - Melange

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 60:54
Size: 140,5 MB
Art: Front

(4:44)  1. Squib Cakes
(4:57)  2. Melange
(5:09)  3. Darkness
(7:22)  4. Short Take
(5:28)  5. Miles II
(5:43)  6. Paella
(5:31)  7. Sunday Morning
(5:34)  8. Beloved
(6:37)  9. T.O.P.
(4:59) 10. Patois
(4:45) 11. Windy City

Lonnie Plaxico’s Blue Note debut is similar in thrust to last year’s Emergence (Savant). The emphasis is on funk, yet the frequent complexity of Plaxico’s writing harks back to his M-Base roots, especially on tunes like "Short Takes," "T.O.P.," "Patois," and the title track. Apparently the disc grew out of two different sessions the first with Tim Ries on sax and Lew Soloff on trumpet, the second with regular band members Marcus Strickland and Jeremy Pelt in their stead. George Colligan handles the main piano and keyboard duties, with Helen Sung contributing a couple of stunning solos along the way. Lionel Cordew and Jeffrey Haynes play drums and percussion, respectively, as they did on the previous record. As was the case with Emergence, Plaxico begins to repeat himself as the record wears on. And the opening cover of "Squib Cakes," by Tower of Power, seems insubstantial next to the original material. That said, the improvisation is often hair-raising, and the ballads, "Darkness" and "Beloved," are effective changes of pace. On the flip side, the speed-funk finale, "Windy City," is a blast. ~ David Adler https://www.allaboutjazz.com/melange-lonnie-plaxico-blue-note-records-review-by-david-adler.php

Personnel: Lonnie Plaxico- Bass, Lew Soloff- Trumpet (tracks 1-5), Jeremy Pelt- trumpet (tracks 6-11). Tim Ries- Saxophone (tracks 1-5), Marcus Strickland- Saxophone (tracks 6-11) George Colligan- piano, keyboards (except #5), Helen Sung- piano, keyboards (#2, 5, 6), Lionel Cordew- drums, Jeffrey Haynes- percussion.

Melange

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Dizzy Gillespie - To Diz with Love

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 66:22
Size: 152,2 MB
Art: Front

(14:43)  1. Billie's Bounce
(10:37)  2. Confirmation
(12:52)  3. Mood Indigo
(11:28)  4. Straight No Chaser
(16:40)  5. A Night in Tunisia

Dizzy Gillespie's final recording, taken from a month he spent featured at the Blue Note in New York, matches the aging giant with such fellow trumpeters as Jon Faddis, Wynton Marsalis, Claudio Roditi, Wallace Roney, Red Rodney, Charlie Sepulveda and the ancient but still brilliant Doc Cheatham (who cuts both Diz and Faddis on "Mood Indigo"). Although Gillespie was no longer up to the competition, the love that these fellow trumpeters had for him (and some fine solos) makes this historic CD worth getting. ~Scott Yanow

https://www.allmusic.com/album/to-diz-with-love-diamond-jubilee-recordings-mw0000077323

Personnel:  Dizzy Gillespie - trumpet;  Doc Cheatham (track 3), Jon Faddis (track 3), Wynton Marsalis (tracks 2 & 4), Claudio Roditi (tracks 1 & 5), Wallace Roney (tracks 1 & 5), Charlie Sepulveda (track 4), Lew Soloff (unbilled, track 5) - trumpet;  Red Rodney - flugelhorn (track 2);  Junior Mance - piano;  Peter Washington - bass;  Kenny Washington - drums

To Diz with Love

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Lew Soloff - With a Song in My Heart

Styles: Trumpet Jazz 
Year: 1998
File: MP3@320K/s
Time: 68:17
Size: 156,5 MB
Art: Front

(7:56)  1. Come Rain or Come Shine
(6:53)  2. Andantino from Tchaikovsky Symphony No.4 (2nd Movement)
(4:52)  3. The Way You Look Tonight
(6:04)  4. I'm a Fool to Want You
(8:32)  5. Mea Culpa
(7:44)  6. Deguello
(9:05)  7. Istanbul
(7:18)  8. One for Emily
(9:47)  9. With a Song in My Heart

With a Song in My Heartis a mellow, straight-ahead jazz quartet date. Soloff is full of expressiveness and solo ideas, and his session mates provide understated, sensitive support. Mulgrew Miller turns in some excellent solos, particularly on "I'm a Fool to Want You." The program is a blend of four standards, a couple classical pieces, and a couple Soloff originals. The Tchaikovski piece is especially interesting; Rob Mounsey's expert arrangement distills the essence of the symphony down to the quartet format, remaining true to its classical roots, yet providing some solo opportunities in a jazz quartet setting. 

Soloff keeps his trumpet muted throughout the all-acoustic program, leaving the program sounding mellow and introverted throughout. A little sonic variety might have provided some additional interest. ~ Dave Hugles https://www.allaboutjazz.com/with-a-song-in-my-heart-lew-soloff-fantasy-jazz-review-by-dave-hughes.php

Personnel:  Lew Soloff, trumpet;  Mulgrew Miller, piano;  George Mraz, bass;  Victor Lewis, drums;  Emily Mitchell, harp;  Rob Mounsey, arrangements.

With a Song in My Heart

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Lew Soloff - Rainbow Mountain

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 72:50
Size: 167,2 MB
Art: Front

( 9:30)  1. Frog Legs
( 9:36)  2. Rainbow Mountain
( 7:53)  3. Don't Speak
( 8:58)  4. Up from the Skies
( 7:04)  5. Quiero No Puedo
( 4:56)  6. Suzie Q
(10:23)  7. Starmaker
( 4:47)  8. Born on the Bayou
( 3:40)  9. Stairway to Heaven
( 5:56) 10. Tout Va Lews

Rainbow Mountain is a current example of a blowing session, featuring groove-oriented material, including a number of songs borrowed from the rock arena (Led Zeppelin’s “Stairway to Heaven,” John Fogerty’s “Born on the Bayou,” Jimi Hendrix’s “Up From the Skies”). The album rewards casual listening, mainly due to the high skill level and musicality of the participants. Soloff has been one of the best and most complete jazz trumpeters on the scene for a very long time, while Lou Marini, best known for his appearance in the first Blues Brothers movie, comes across well on saxes and flute, and contributes a lovely ballad, “Starmaker.” Joe Beck’s tastefully chorused guitar is the glue that holds the ensemble together, while electric bassist Mark Egan and drummer Danny Gottlieb (the Sly & Robbie of groove jazz) keep the beat lively while avoiding monotony. This CD would make a good gift for someone who harbors the typical prejudices against jazz: that it’s boring, old-fashioned or lacking in connections to post-rock musical culture. In New York, you occasionally hear young groups playing in a style similar to this, but seldom at such length, or as masterfully. As for whether this is jazz or pop, I can’t put it any more eloquently than Chip Stern did in his excellent liner notes. ~ Greg Robinson https://jazztimes.com/reviews/albums/lew-soloff-and-company-rainbow-mountain/

Personnel:  Trumpet – Lew Soloff, Miles Evans;  Bass – Mark Egan, Will Lee;  Drums – Danny Gottlieb, Jeff "Tain" Watts ;  Guitar – Hiram Bullock, Joe Beck;  Organ – Paul Shaffer;  Saxophone, Flute – Lou Marini;  Synthesizer – Delmar Brown

Rainbow Mountain

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Franco Ambrosetti - Gin and Pentatonic

Styles: Fluegelhorn, Trumpet Jazz
Year: 1985
File: MP3@320K/s
Time: 68:19
Size: 156,8 MB
Art: Front

(10:44)  1. Miss, Your Quelque Chose
( 4:22)  2. More Wings for Wheelers
( 8:10)  3. Yes or No
(13:16)  4. Gin and Pentatonic
( 6:17)  5. Autumn Leaves
(10:54)  6. Ode to a Princess
(14:35)  7. Atisiul

Franco Ambrosetti has had dual careers as a very successful businessman, and as a fine trumpeter and flügelhornist inspired by Freddie Hubbard and Miles Davis. His father Flavio Ambrosetti was an excellent saxophonist. Franco had piano lessons for eight years but is self-taught on trumpet, which he did not take up until he was 17. In 1972, he was one of the founders of the George Gruntz Concert Jazz Band, and through the years he has recorded quite a few worthy hard bop-ish albums for Enja in addition to leading his own groups. ~ Scott Yanow https://itunes.apple.com/nz/album/gin-pentatonic-feat-michael-brecker-kenny-kirkland/1360388464

Personnel:  Franco Ambrostetti, Fluegelhorn, trumpet;  Michael Brecker, tenor sax;  John Clark, french horn;  Kenny Kirkland, piano;  Buster Williams, bass;  Daniel Humair, drums;  Lew Soloff, trumpet;  Michael Mossman, trumpet;  Steve Coleman, alt sax;  Alex Brofsky, french horn;   Howard Johnson, tuba, bariton sax, piano

Gin and Pentatonic

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Manhattan Jazz Quintet - Live At Pit Inn

Styles: Jazz, Big Band
Year: 1986
File: MP3@320K/s
Time: 70:51
Size: 163,2 MB
Art: Front

( 8:10)  1. So This
(11:02)  2. Angel Eyes
(12:04)  3. Round Midnight
( 9:13)  4. Misticized
(10:37)  5. S.u. Blues
(15:29)  6. Autum Leaves
( 4:14)  7. Rosario

The Manhattan Jazz Quintet are an unusual group in that they very rarely perform as a unit in the United States (much less Manhattan) but have been a major hit in Japan, both for their recordings and occasional tours. Originally comprised of leader/pianist David Matthews, trumpeter Lew Soloff, tenor saxophonist George Young, bassist Eddie Gomez, and drummer Steve Gadd, the band (which emphasizes straight-ahead hard bop swinging) first came together in 1983 at the suggestion of the King label and the top Japanese jazz magazine Swing Journal. To everyone's surprise, its first recording (simply called Manhattan Jazz Quintet) became such a big seller that it was awarded Swing Journal's annual 1984 Gold Disk Award as the number one album in Japan. Several years later the group broke up when Gomez and Gadd needed more time to pursue their individual projects and all of the quintet members later became quite successful in their own careers but this edition of the MJQ recorded reunions in 1990 (which found John Scofield guesting on a few selections) and in 1993. Victor Lewis replaced Gadd that year, and subsequently Young was replaced by Andy Snitzer and Gomez by Charnett Moffett. The Manhattan Jazz Quintet recorded primarily for King in Japan (those dates were mostly made available in the U.S. by Projazz) during the 1980s, although they cut some later recordings among the comparative very few that actually took place in Manhattan! for the Sweet Basil label. During the new millennium the Manhattan Jazz Quintet have recorded regularly for Video Arts.~ Scott Yanow https://www.allmusic.com/artist/manhattan-jazz-quintet-mn0000674690/biography  

Personnel: Lew Soloff trumpet; George Young tenor saxophone;  David Matthews piano; Eddie Gómez bass;  Steve Gadd drums.

Live At Pit Inn

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Eric Gale - Multiplication

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 37:31
Size: 86,3 MB
Art: Front

(7:24)  1. Oh! Mary Don't You Weep
(5:55)  2. Thumper
(5:26)  3. Multiplication
(8:30)  4. Morning Glory
(4:53)  5. Gypsy Jello
(5:22)  6. Sometimes I Feel Like a Motherless Child

A guitarist who was used for many R&B-oriented dates and occasionally played jazz, Eric Gale had an appealing sound and was best while performing lazy melodic blues. He was most significant to the jazz world in the early '70s, when he recorded often as a sideman for CTI, later on with the group Stuff, and on isolated tracks on his own sessions. Gale's fine 1987 EmArcy set In a Jazz Tradition shows what he could really do. ~ Scott Yanow https://itunes.apple.com/lb/album/multiplication/id921843571

Personnel:  Eric Gale (Guitar); Willie Weeks (Bass); Charles McCracken , Richard Locker (Cello); Bob James  (Clavinet, Synthesizer, Producer); Steve Gadd (Drums); Ralph MacDonald (Percussion); Richard Tee (Piano, Organ); Jerry Dodgion (Saxophone Alto); George Marge (Saxophone Baritone); Eddie Daniels (Saxophone Tenor); Paul Faulise , Wayne Andre (Trombone); David Taylor (Trombone Bass); Jon Faddis , Lew Soloff , Marvin Stamm , Randy Brecker (Trumpet); Barry Finclair, Emanuel Vardi (Viola); David Nadien, Harold Kohon, Harry Cykman, Harry Lookofsky, Lamar Alsop, Matthew Raimondi, Max Ellen, Max Pollikoff (Violin).

Multiplication

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Jeremy Steig - Firefly

Styles: Flute Jazz
Year: 1977
File: MP3@320K/s
Time: 35:33
Size: 81,6 MB
Art: Front

(11:55)  1. Firefly
( 5:48)  2. Living Inside Your Love
( 2:59)  3. Everything Is Coming to the Light
( 7:26)  4. Hop Scotch
( 2:04)  5. Sweet Hour of Prayer
( 5:17)  6. Grasshopper

Produced by Creed Taylor himself, Jeremy Steig's jazz-funk throwdown, Firefly, is one of the great forgotten masterpieces of the genre. Steig is a monster flutist who may lack some of Herbie Mann's subtlety, but more than makes up for it with his chops. Taylor surrounded Steig with a band that was testosterone-fueled yet knew how to get the sexy grooves. Firefly was designed for the purpose of being a hit in the dance clubs, and it should have been, because it kicks ass on that level as well as on the jazz-funk beam. Arranged and conducted by pianist Dave Matthews, the band included guitarists Eric Gale, Hiram Bullock, and John Scofield, Richard Tee on keys, drummers Steve Gadd and Allen Schwarzberg, conguera Ray Mantilla, percussionist Sue Evans, and vocalist Googie Coppola. As for the commercial edge, tracks like Dave Grusin and Earl Klugh's sublime groover "Livin Inside Your Love," features beautiful double-tracked flute solos going into the red on the funky soul edge; then there's the title track opener where Steig plays inside and out in shimmering interplay with Gary King's popping bassline. But it's on "Grasshopper," a Steig original, that this disc really soars. Overdriven chunky guitars, cutting across one another, electric Rhodes, and acoustic piano in counterpoint on two different melodies, bass bubbling like Sly Dunbar's, and orchestral horns giving Steig a punch lead line he can really mess with in his fills and solo. This is burning. ~ Thom Jurek https://www.allmusic.com/album/firefly-mw0000460410

Personnel:  Jeremy Steig – flute;  Burt Collins, Jon Faddis, Joe Shepley, Lew Soloff – trumpet;  Sam Burtis, Jerry Chamberlain, Tom Malone – trombone;  Dave Taylor - bass trombone;  Richard Tee – keyboards;  Richie Beirach – piano;  Cliff Carter – synthesizer;  Hiram Bullock, Eric Gale, John Scofield - electric guitar;  Gary King – bass;  Steve Gadd, Allan Schwartzberg – drums;  Ray Mantilla – congas;  Googie Coppolla – vocals;  Sue Evans – percussion;  David Matthews - electric piano, arranger

Firefly

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Bob Mintzer & The Horn Man Big Band - Papa Lips

Styles: Saxophone, Flute and Clarinet Jazz
Year: 1983
File: MP3@320K/s
Time: 42:17
Size: 97,9 MB
Art: Front

(6:33)  1. Papa Lips
(9:30)  2. Lazy Day
(4:14)  3. I Hear A Rhapsody
(7:59)  4. Latin Dance
(7:18)  5. Truth
(6:42)  6. Mr. Fonebone

Recorded in 1983 and previously only released in Japan on Cheetah, Papa Lips is Bob Mintzer's third album as a leader. A step ahead of the rather sterile production of his previous album for the label Source (both are now available in the U.S. on CD courtesy of the Elore Records imprint), Papa Lips features a stellar band playing a program comprised almost entirely of Mintzer tunes, the lone exception is the standard "I Hear a Rhapsody." The band here is stellar and includes in various places Michael and Randy Brecker, Lew Soloff, Don Grolnick, David Sanborn, Will Lee, Peter Erskine and Marvin Stamm, among others. The material is more Latin in flavor, and the arrangements are less funk-oriented than its predecessor's. The sound is still quite slick, but the material is stronger and there are no vocal performances this time out. The remarkable thing here is that the Michael and Randy Brecker and David Sanborn were not particularly well known as big band players at this time, but their execution of these often complex charts is remarkable check the title cut that opens the set with a fine Randy Brecker solo; it's knotty and multi-textured with colors coming from all over the tonal spectrum. "Lazy Day," a gospel flavored soul tune for big band is reminiscent of Thad Jones' and Mel Lewis' orchestra, with fine solo s from Mintzer on tenor and Grolnick on piano. Other standouts include "Latin Dance," with a great Sanborn flight on alto, and the remake of "Mr. Fonebone." It appeared on Source as well, but is much faster and more aggressive here, and Lee is less busy than Jaco Pastorius was. "I Hear a Rhapsody" contains an excellent, deeply emotional solo by Michael Brecker, though the tune itself is a bit flowery for this recording. In sum, however, Papa Lips is a fine record; it is still slick but that's how they made jazz records in the '80s but it's sheer musicality, muscle, and sophistication make it an excellent listen. ~ Thom Jurek http://www.allmusic.com/album/papa-lips-mw0000778998

Personnel: Marvin Stamm, Lew Soloff, Randy Brecker, Laurie Frink (Trumpet); David Sanborn (Soprano saxophone, alto saxophone); Michael Brecker (Tenor saxophone, flute); Pete Yellin (Alto saxophone, flute); Lawrence Feldman (Tenor saxophone, flute, piccolo); Roger Rosenberg (Baritone saxophone, flute); Bob Mintzer (Tenor saxophone, flute, piccolo, clarinet); Dave Bargeron, Bob Smith, Keith O'Quinn (Trombone); Dave Taylor (Bass trombone on 1,2,4,5,6); George Moran (Bass trombone on 3); Don Grolnick (Piano); Will Lee, Tom Barney (Bass); Peter Erskine (Drums); Frankie Malabe (Congas); Carla Poole (Fluteon 6).

Papa Lips

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Robin Kenyatta - Stompin' At The Savoy

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

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

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

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

Stompin' At The Savoy

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The Carnegie Hall Jazz Band - The Carnegie Hall Jazz Band

Bitrate: MP3@320K/s

Time: 61:25

Size: 140.6 MB

Styles: Bop, Swing, Big band

Year: 1996/2006

Art: Front

[ 8:22] 1. In The Mood

[ 4:47] 2. It Never Entered My Mind

[ 7:05] 3. Shiny Stockings

[ 9:59] 4. Giant Steps

[10:05] 5. Frame For The Blues

[10:39] 6. Sing, Sing, Sing

[ 5:03] 7. Getting Sentimental Over You

[ 5:22] 8. South Rampart Street Parade

Alto Saxophone – Frank Wess (tracks: 1, 6); Alto Saxophone, Clarinet, Flute – Jerry Dodgion; Alto Saxophone, Soprano Saxophone, Clarinet, Flute – Dick Oatts; Baritone Saxophone – Gary Smulyan; Bass – Peter Washington; Bass Trombone – Doug Purviance; Drums – Lewis Nash; Piano – Renee Rosnes; Tenor Saxophone – Lew Tabackin (tracks: 4); Tenor Saxophone, Clarinet, Flute – Ralph Lalama; Tenor Saxophone, Flute – Ted Nash; Trombone – Dennis Wilson, Slide Hampton, Steve Turre; Trumpet, Flugelhorn – Byron Stripling, Earl Gardner, Lew Soloff, Ryan Kisor. Recorded with a two microphone Cello recording system. Recorded at Sony Studios, New York City.

The ONLY recording of the CARNEGIE HALL JAZZ BAND is a rewarding experience to any jazz lovers ears. The music director for the ensemble was trumpeter Jon Faddis, and for the most part he has done an admirable job producing this along with Newport Jazz impressario, Goerge Wein. 8 tunes with 5 arrangers (Jim McNeely, Garnett Brown, Slide Hampton, Frank Foster and the unknown to my background at least, Randy Sandke). The band unlike others of its ilk, emphasizes classics (in the jazz and pop venues) instead of originals. However, there lies the knocking off of one star to this CD. The originals are not the way you might want to hear them played. Usually thats a good thing, but in some cases ,i.e. IN THE MOOD, the opening number, it can get a little jarring. That aside, the muscianship is top notch. Frank Wess, Jon Faddis, Ted Nash, Jerry Dodgion, Lew Tabackin, Renee Rosnes, to name a few in this band, turn in some fine solos.

This is not a "live" album even though it may look like it is at first glance. Recorded at Sony Music Studio B in NYC with a minimal amount of takes (according to the notes) with no post production or "mixing" which is a rarity today. ~Daddyojazz

The Carnegie Hall Jazz Band   

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