Louie Bellson - Don't Stop Now!

Styles: Jazz, Post Bop
Year: 1984
File: MP3@320K/s
Time: 42:22
Size: 97,9 MB
Art: Front

(4:57)  1. Don't Stop Now!
(6:19)  2. Lover Man
(4:58)  3. Indian Summer
(5:12)  4. Cipriana
(5:15)  5. With Bells On
(5:05)  6. Darn That Dream
(7:16)  7. Three Ton Blues
(3:17)  8. Seven Come Eleven

Recorded in 1984 for Pete Christlieb's Bosco label, this outing by the Louie Bellson Orchestra has plenty of power, more variety than usual, and swings up a storm; half of the selections actually feature a small group from the orchestra. The big band tracks have spots for trumpeters Conte Candoli and Ron King, trombonists Carl Fontana and Andy Martin, tenor great Christlieb and drummer Bellson (who is showcased on Thad Jones' "With Bells On"), while the combo tracks put the focus on trumpeters Conte Candoli and Steve Huffsteter, trombonist Fonanta (featured on "Indian Summer") and Christlieb. This is a rather obscure and hard-to-find release, but is worth the search, for the musicians sound consistently inspired. ~ Scott Yanow https://www.allmusic.com/album/dont-stop-now%21-mw0000694508

Personnel:  Drums – Louis Bellson;  Bass – Dave Stone ; Keyboards [Dx7] – Mike Melvoin;  Piano – Frank Strazzeri;  Saxophone – Dave Edwards (3), Joe Roccisano, John Bambridge, Pete Christlieb, Bill Green; Trombone – Andy Martin, Carl Fontana, Mike Wimberly, Bob Payne; Trumpet – Conte Candoli, John Audino, Ron King, Steve Huffsteter, Walt Johnson

Don't Stop Now!

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Bette Midler - Broken Blossom

Styles: Vocal
Year: 1977
File: MP3@320K/s
Time: 38:54
Size: 89,6 MB
Art: Front

(3:56)  1. Make Yourself Comfortable
(3:38)  2. You Don't Know Me
(3:00)  3. Say Goodbye To Hollywood
(3:36)  4. I Never Talk To Strangers
(3:21)  5. Storybook Children
(3:17)  6. Red
(3:16)  7. Empty Bed Blues
(3:06)  8. A Dream Is A Wish Your Heart Makes
(4:14)  9. Paradise
(4:23) 10. Yellow Beach Umbrella
(3:00) 11. La Vie En Rose

After a string of over the top '70s albums with high-energy tunes that made Bette Midler a sensation worldwide, she settled down on Broken Blossom. The first song, "Make Yourself Comfortable," sets the pace with a relaxed doo wop style that's hard to resist. There are some remakes on Broken Blossom including a version of Billy Joel's "Say Goodbye to Hollywood" with about twice as much pizzazz as the original; the surprising choice of "A Dream Is a Wish Your Heart Makes," from Disney's Cinderella; and "You Don't Know Me," which was previously sung by Elvis Presley, Rick Nelson, Van Morrison, and Ray Charles, and still sounds great. Broken Blossom seems to be a mixed message from Midler, whom listeners love for being so uncontrolled but she has toned down on antics. Broken Blossom served as a bridge between Midler's solely musical days and her career as actress. Shortly after its release, she performed in her classic live film Divine Madness and then was nominated for an Academy Award for The Rose. Broken Blossom is quirky, though not as spontaneous as we have come to expect. We are used to an outrageous choice in songs sung by an outrageous personality. If one can accept simply melodic songs sung by that same personality, then Broken Blossom is a fine listen. 

~ Peter Fawthrop http://www.allmusic.com/album/broken-blossom-mw0000104878

Personnel: Bette Midler (vocals, background vocals); Lee Ritenour , Fred Tackett (guitar, electric guitar); Howard Roberts (guitar, ukulele); Ira Newborn, Thom Rotella (guitar); David T. Walker (electric guitar); Jimmie Haskell (strings, horns); Don Menza, Steve Douglas , Marshall Royal, Plas Johnson (saxophone); Frank Vicari (tenor saxophone); Jim Horn (baritone saxophone); Don Rader, Bobby Shaw, Gene Goe (trumpet); Craig Doerge, Artie Butler (piano, keyboards); John Barnes, Tom Waits (piano); Don Randi (organ, keyboards); Mike Melvoin (keyboards); Steve Porcaro (synthesizer); Chuck Rainey, David Hungate, Jerry Scheff, Jim Hughart, Leland Sklar, Max Bennett (bass guitar); Jim Keltner, Russ Kunkel, Shelly Manne (drums); Alan Estes (congas, percussion); Jack Jennings, Bill Watrous, Lew McCreary (percussion); Chuck Higgins, Clydie King, Donny Gerrard, Ellie Greenwich, D. David Latman, Dianne Brooks, Brian Russell, Mike Harris , Brenda Russell (background vocals).

Broken Blossom

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Ruth Cameron - Roadhouse

Bitrate: MP3@320K/s

Time: 61:43

Size: 141.3 MB

Styles: Vocal jazz

Year: 2000

Art: Front

[5:23] 1. Something Cool

[5:11] 2. One For My Baby

[5:02] 3. My Old Flame

[5:59] 4. Body And Soul

[4:53] 5. Again

[5:33] 6. Willow Weep For Me

[5:17] 7. Happiness Is Just A Thing Called Joe

[5:50] 8. Detour Ahead

[4:52] 9. A Sunday Kind Of Love

[4:21] 10. All About Ronnie

[6:06] 11. Give Me Time

[3:09] 12. Waitin' For The Train To Come In

Ruth Cameron: vocals; Charlie Haden: bass; Lawrence Marable: drums; Alan Broadbent: piano; Brad Mehldau: piano; Mike Melvoin: piano; Chris Dawson: piano; Ralph Moore: tenor saxophone; Gary Foster: tenor saxophone; Federico Britos Ruiz: violin.

The skepticism that greeted Ruth Cameron's debut album, First Songs, was palpable. Fairly or unfairly, the CD was considered by many to be less about the discovery of a new jazz singer than about Verve keeping its star bassist Charlie Haden, Ms. Cameron's husband, happy. Although it proved she was a good singer, Ms. Cameron's work on First Songs failed to overcome the presumption of nepotism. Roadhouse, her second CD, is the work of a singer with great, if still unfulfilled, potential, but it is unlikely that the disc will covert any skeptics. Ms. Cameron has studied with two excellent singers: the talented, too-rarely-heard-from Sue Raney and the legendary Jeri Southern. Ms. Southern's influence is the most strongly felt here especially in the way Ms. Cameron shapes certain vowel sounds. Ms. Cameron sings very soft and low; her timbre at times blurring the line between speech and song. She has a restrained, meditative, elegant approach to lyrics that never feels stiff or cold.

Verve has surrounded Ms. Cameron with a singer's dream band. Yet, despite some wonderful instrumental work and good vocal performances, Roadhouse suffers from a certain monotony. It is not that nearly all the tracks are ballads, but that Ms. Cameron sings too many of those ballads the same way in the same timbre. The quality of her sound does not change significantly from song to song. For example, her emotional state on "Happiness is Just a Thing Called Joe" sounds indistinguishable from her emotional state on "One for My Baby." That type of tonal homogeneity could be overcome through variations in phrasing. However, Ms. Cameron tends to consistently sing in measured phrases holding the notes at the end of each phrase. Rather than bringing her style to the service of the song, the reverse happens. The resulting sameness diminishes the effectiveness of even those tracks where her style is well suited to the material. There are moments, though, when Ms. Cameron breaks out of her pattern. She is very good on the verse to "Body and Soul" and even better on Alec Wilder's "Give Me Time," a song associated with Jeri Southern. She brings a greater range of tonal colors into play on "Again" and negotiates the fine line between playfulness and camp on the closing "Waitin' for the Train to Come In." Perhaps inspired by Gary Foster's tenor saxophone, Ms. Cameron delivers her sharpest, most delineated, most moving performance to date on "Willow Weep for Me."

On Roadhouse, Ms. Cameron successfully captures the feel of the 1950s "cool school" of jazz singing. However, it is worth remembering that only a handful of singers from the "cool school" have had their work survive into the 21st Century. What makes those singers still so appealing is not their style, but the musical and emotional riches they extracted from the songs they sang. Ruth Cameron has plenty of intelligence and talent, the question remains as to whether she has the will to move beyond style and consistently reach for something deeper in her singing. ~Matthew Bahl

Roadhouse    

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Mike Melvoin - The Capitol Sessions

Bitrate: MP3@320K/s
Time: 72:28
Size: 165.9 MB
Styles: Piano jazz, Vocal jazz
Year: 2000
Art: Front

[3:49] 1. Bud's Open
[5:55] 2. I Think You Know
[4:43] 3. You Won't Hear Me Say Goodbye
[5:15] 4. Here's Looking At You
[7:13] 5. Haunted Heart
[3:19] 6. Ruth's Waltz
[5:46] 7. I Never Told You
[6:15] 8. Hello My Lovely
[9:17] 9. Blues For Leroy
[4:59] 10. Living Without You
[7:38] 11. Monday
[3:50] 12. 52nd Street
[4:24] 13. La Luna Negra

The world's most in demand piano-man-for-hire for over forty years, Mike Melvoin makes his debut for Naim Label in duo form with Naim regular and acclaimed bass player Charlie Haden.

Charlie was very keen to record an album with Mike, with whom he had not played since the pianist's move from New York to Los Angeles in 1962. "I was totally thrilled when Charlie asked me to do a record with him," enthuses Mike. The intensity of feeling and enjoyment involved in this record is obvious through listening. As Mike says, jazz is what he is, whereas pop is what he does.

There are three vocal tracks by Bill Henderson on the album. Bill and Mike are also old friends, having appeared as a duo many times. Bill features on Charlie's most recent Quartet West album. Bill is still going strong at well over 80 years old and was recently described as "one of jazz's greatest living male vocalists".

Capitol Sessions was recorded during two intense days of recording at the world famous Capitol Studios in Los Angeles.

The Capitol Sessions

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Mike Melvoin, Kim Park - The Art Of Conversation

Styles: Piano And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 67:07
Size: 154,0 MB
Art: Front

(8:44)  1. Speak Low
(7:59)  2. When I Fall in Love
(6:04)  3. I Remember You
(7:19)  4. Danny Boy
(6:44)  5. Tangerine
(8:09)  6. For All We Know
(6:48)  7. You'd Be So Nice To Come Home To
(7:27)  8. A Time For Love
(7:49)  9. Emily

Leading off is The Art Of Conversation, by pianist Mike Melvoin and alto saxophonist Kim Park.  Minus the familiar timekeeping of bass and drums,  a duet album might challenge the listener’s attention, but Melvoin, a stellar first-call player here in LA, and the lesser heard Park,  son of the late Stan Kenton soloist John Park, reward the listener at every turn.  On Tangerine, the spirit of  fellow Kansas City native Charlie Parker is evoked as Park explores the breadth of the instrument in exhilarating style, with Melvoin deftly filling in underneath, ending up with a quote from Sweet Georgia Brown.   A Time For Love features Park caressing the melody, exploring the lower register of the instrument, leaving it for Melvoin to seamlessly bring up the pace. When you listen to this album you can’t help but recall Stan Getz and Kenny Barron’s People Time.

Park was an artist-in-residence with Getz at Stanford in 1988, and demonstrates a striking lyricism throughout. Melvoin’s contributions are more complex, providing the rhythmic underpinnings for Park’s solos, while blending his own unaccompanied dialogue into the conversation. From the first pensive notes of Danny Boy to the sprightly upbeat rhythms of You’d Be So Nice To Come Home To and Speak Low, it’s a gorgeous set throughout. ~ Michael Katz  https://irom.wordpress.com/2009/02/17/cd-reviews-melvoin-park-cunliffe-and-wolff/

Personnel:  Mike Melvoin – piano; Kim Park - alto sax

The Art Of Conversation

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David Basse - Strike When Your Iron Is Hot

Styles: Vocal

Year: 2000

File: MP3@320K/s

Time: 42:19

Size: 97,4 MB

Art: Front

(2:28)  1. Strike When Your Iron Is Hot

(2:50)  2. The Best Thing

(2:53)  3. I'm Just a Lucky So and So

(6:10)  4. Invitation To The Blues

(3:09)  5. The Eagle Flies On Friday

(4:05)  6. House Of Should'a. Could'a, Would'a A Been

(3:39)  7. New York State Of Mind

(3:10)  8. Sugar

(3:03)  9. The Light of Our Love

(4:12) 10. Gauloise Blue (Smokin' the Night Away)

(2:57) 11. Soft And Furry

(3:38) 12. The Big Comeback

Singer David Basse has a gruff voice a little reminiscent of Dr. John. He sings in a similar jazz-influenced style, performing five of Mike Melvoin's originals, a couple standards ("I'm Just a Lucky So and So" and "Sugar"), and a few offbeat choices including Tom Waits' "Invitation to the Blues," Billy Joel's "New York State of Mind," and Eddie Jefferson's "Soft and Furry." Basse is joined by a rhythm section led by pianist Mike Melvoin with three guest appearances apiece by vibraphonist Larry Bunker and tenor-saxophonist Herman Riley. However, the main focus is on Basse's voice and his interpretations of the lyrics. Fans of Dr. John and Waits in particular should be interested in this well-done project. ~ Scott Yanow  http://www.allmusic.com/album/strike-when-your-iron-is-hot-mw0000109817

Personnel: David Basse (vocals); Herman Riley (tenor saxophone); Larry Bunker (vibraphone); Mike Melvoin (piano); John Heard (bass); John Guerin (drums).

Strike When Your Iron Is Hot

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Mike Melvoin - Oh Baby

Bitrate: MP3@320K/s

Time: 59:22

Size: 135.9 MB

Styles: Straight ahead jazz, Piano jazz

Year: 2007

Art: Front

[6:54] 1. There Is No Greater Love

[6:54] 2. The Melody Is You

[7:22] 3. You And The Night And The Music

[8:34] 4. Sandy

[5:13] 5. North Star

[7:55] 6. I'll Never Smile Again

[6:59] 7. Fifth Power

[5:29] 8. So In Love

[3:59] 9. Oh Baby

Oh Baby is about as good a jazz piano trio album as you’ll ever hear, at least in this millennium. Mike Melvoin is one of the unsung heroes of the music industry, a prolific composer/arranger/producer for countless albums, television shows and films. As a pianist he’s logged more hours in the recording studio than just about any pianist on the planet. He’s been President of NARAS, he’s been the musical director for the Grammy Awards, and now he’s going back to his first love, straight ahead jazz.

With the infectious swing of Ahmad Jamal, the acute harmonic sensitivity of Bill Evans and the deft dexterity of Chick Corea, Mike Melvoin is the consummate jazz pianist. And his sidemen are every bit his equal. John Guerin on drums has impeccable dynamic control that propels the beat but never overwhelms; his solos overflow with taste and musical sensitivity. Brian Bromberg on bass is a phenomenon of nature. The speed at which he plays double- and triple-stops would lead one to believe that he has three or perhaps four arms. And to top it all off, he has impeccable time.

Oh Baby is a fine album by an outstanding jazz pianist and jazz combo. Maybe Mike Melvoin should be onstage receiving a Grammy instead of directing the show. ~William Grim

Mike Melvoin, piano; John Guerin, drums; Brian Bromberg, bass; Tom Scott, alto and soprano saxophone

Oh Baby

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