Ken Slavin - The Song Is You / I'll Take Romance

Album: The Song Is You
Size: 109,2 MB
Time: 46:46
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz/Pop Vocals
Art: Front

01. Route 66 (2:35)
02. Embraceable You (3:43)
03. It's All Right With Me (2:38)
04. Corcovado (Quiet Nights Of Quiet Stars) (4:51)
05. Since I Fell For You (5:38)
06. Orange Colored Sky (2:12)
07. I Wish You Love (5:24)
08. I Thought About You (3:13)
09. It's A Good Day (2:18)
10. You Go To My Head (4:54)
11. If You Go Away This Time (5:04)
12. The Song Is You (4:12)

THE SONG IS YOU is a collection of classic jazz and pop standards updated with the fresh, original interpretations of popular San Antonio jazz crooner Ken Slavin and the sparkling arrangements of young jazz pianist/musical director Andrew Langham.

“San Antonio based vocalist Ken Slavin is one of the most popular singers in that Texas town, and the hardest working. (He) has paid his dues in the home of the Alamo, having played everywhere from local meet markets to the ritziest lounges in the city…’The Song is You’ is a sincere effort…Slavin has an expressive timbre…and a knack for choosing good songs…” -- JAZZREVIEW.COM

“Slavin is a jazz crooner, a saloon singer, an interpeter of pop songs from an era when pop didn't mean pierced navels and a different costume for every song...(H)e brings to bear passion and commitment and makes the songs come alive. Ken Slavin has only been singing for about a decade, but (he) has done his homework while working hard to improve his art and his craft.”--JIM BEAL, SAN ANTONIO EXPRESS-NEWS

“We must surely tip our hats to Ken Slavin ..... this album is really fabulous.” -- JIMMY SMITH, THIS WEEK IN TEXAS

The Song Is You

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Album: I'll Take Romance
Size: 131,1 MB
Time: 56:27
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz Vocals
Art: Front

01. Thoughts Of Your Smile (4:38)
02. You'd Be So Nice To Come Home To (1:50)
03. Tea For Two (2:57)
04. I'll Take Romance (Snappy Version) (3:15)
05. Alone (4:35)
06. Just You, Just Me (3:08)
07. But Beautiful (4:34)
08. Come Rain Or Come Shine (3:55)
09. I Can't Reach Your Heart (3:51)
10. Day By Day (3:12)
11. I Could Have Danced All Night (3:43)
12. Do Nothin' Till You Hear From Me (3:54)
13. Mangos (2:51)
14. That's My Desire (3:17)
15. Summer Samba (So Nice) (3:43)
16. I'll Take Romance (Sexy Version) (2:57)

Ken Slavin is a popular and seasoned jazz crooner, equally at home in intimate jazz clubs, piano bars, concert halls and country clubs. He is one of the most respected entertainers in Texas with a vast repertoire of classic jazz, pop and Spanish-language standards. He has a gift for touching the hearts and souls of listeners of all ages with a smooth, intimate and emotive baritone voice - and total belief in the lyrics and feeling of each song he sings.

"I'll Take Romance" is his latest release, featuring world-class jazz musicians, symphonic arrangements and other polished touches. It is the kind of album you will want to listen to with a special someone -- and share with friends and family.

It has received excellent notices around the country and is on radio play lists in Texas, New York, Italy, France, Poland and the Philippines.

Voted “Best Vocalist” and "Best Musician" multiple times by by readers of The San Antonio Current, Slavin started late in the music business, not stepping on the stage to pursue his lifelong dream until shortly before his 29th birthday.

He gigs regularly in San Antonio and Austin (the Lone Star State's music capital) and occasionally in other areas of the country. He has headlined San Antonio's famous "Jazz'SAlive" festival three times and has opened for such famous performers as David Sanborn, Eddie Palmieri, The Four Freshmen and The Platters. He also has performed at private parties for Helen Reddy and Vikki Carr.

Now gearing up for his 20th anniversary as a performer, Slavin is more determined than ever to make his mark beyond San Antonio on the jazz and cabaret circuits in the United States and abroad. He is actively seeking gigs in New York, Miami, Chicago, Los Angeles, on cruise ships and overseas resorts, and at noted American and European jazz festivals.

"When it comes to crooning in the classic jazz/pop style, Ken Slavin has no peers." -- JIM BEAL, SAN ANTONIO EXPRESS-NEWS.

I'll Take Romance

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Betty Yuzu - Old-Time Cafe

Size: 70,8 MB
Time: 29:55
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Bei Mir Bistu Shein (2:51)
02. More (2:39)
03. Exactly Like You (2:31)
04. Time Heals Everything (3:17)
05. Baubles, Bangles And Beads (2:42)
06. It's A Sin To Tell A Lie (2:42)
07. Mean To Me (2:41)
08. Once In A While (3:39)
09. New York State Of Mind (4:45)
10. Blue Prelude (2:05)

Betty Yuzu sings old standard jazz songs she loves.

Old-Time Cafe

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Sylvia Bennett - Songs From The Heart

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 43:35
Size: 99,8 MB
Art: Front

(3:03)  1. Embraceable You
(2:46)  2. They Can't Take That Away From Me
(4:53)  3. My Funny Valentine
(3:29)  4. Since I Fell For You
(4:06)  5. Someone To Watch Over Me
(2:48)  6. Ain't Misbehavin'
(3:32)  7. Here's That Rainy Day
(3:55)  8. I Still Love You
(4:27)  9. When Sunny Gets Blue
(2:48) 10. You Make Me Feel So Young
(4:21) 11. How Long Has This Been Going On
(3:21) 12. As Time Goes By

The best comment that one could make regarding Sylvia Bennett's Songs From The Heart is that the singer's presentation of a dozen pretty well-worn tunes from The Great American Songbook is pretty good. Her bright and well-enunciated versions of such time-respected fare as Rodgers and Hart's "My Funny Valentine," Gershwin's "Someone to Watch Over Me" and Razaf/Waller's "Ain't Misbehavin'" are almost enough to reawaken interest in these veteran love songs. Only on "I Still Love You," a ballad contributed by producer Hal S. Batt, does the album produce a fresh and unknown song. A secondary motif, the presence of what is billed as "The Three Tenors" tenor saxophonists Boots Randolph, Kirk Whalum and Ed Calle feels like a gimmick. None of these musicians are particularly well-regarded as having any connection with playing in support of jazz vocalists and their participation here seems somewhat superfluous. 

Of the three, Randolph is the most traditional, with an obvious ability to 'play pretty for the people.' Long hailed as a honking saxophonist whose popularity during earlier decades surged with his Top 10 hit "Yakety Sax," Randolph recorded, in an unusual pairing, an album with altoist Richie Cole. Here, however, Randolph's style is closest to that of Coleman Hawkins' restrained and melodic sense and is best heard on Gershwin's "Embraceable You," Burke/Van Heusen's "Here's That Rainy Day" and the album closer from Herman Hupfield, "As Time Goes By." Randolph passed away in July, 2007 and never got to hear the finished album. Kirk Whalum, one of the mainstays of smooth jazz, hails from Memphis and has a soulful presence on his many recordings. While he has experience with studio and film work, his métier has been solo albums in the Contemporary Jazz sub-genre or backing other artists in that field. There is certainly nothing inappropriate in his provision of tenor sax solos and fills on such tunes as Gershwin's "They Can't Take That Away From Me" and an up-tempo bounce on Gordon/Myrow's "You Make Me Feel So Young," but his delivery is less personable than that of Randolph. The third tenor sax belongs to Ed Calle, long an exponent of the Miami music scene. 

He has vast experience working with a number of celebrities and first found popularity with the earlier recordings of Gloria Estefan and Miami Sound Machine. Calle is given five featured tracks on the album and, although pleasant enough, lacks the jazz feel of Randolph on this date. Songs From The Heart is a well-intentioned album, but one that relies too heavily on safety nets. ~ Michael P.Gladstone  http://www.allaboutjazz.com/php/article.php?id=29978#.UuKP5LRpQ2w

Personnel: Sylvia Bennett: vocals; Brian Murphy: piano; Chuck Bergeron: bass; Frank Derrick: drums; Hal S.Batt: guitar; Sammy Figueroa: percussion; Boots Randolph: tenor sax (1, 4, 7, 12); Kirk Whalum: tenor sax (2, 4, 5, 10); Ed Calle: tenor sax (3, 4, 6, 8, 9, 11).

Songs From The Heart

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Lisa Stansfield - Seven (Special Edition)

Styles: Vocal Pop
Year: 2014
File: MP3@320K/s
Time: 57:14
Size: 132,1 MB
Art: Front

(4:14)  1. Can't Dance
(3:08)  2. Why
(4:07)  3. So Be It
(3:51)  4. Stupid Heart
(3:40)  5. The Crown
(3:57)  6. Picket Fence
(3:53)  7. The Rain
(4:22)  8. Conversation
(4:07)  9. Carry On
(3:42) 10. Love Can
(4:22) 11. You Can't Deny It (24/7) [Bonus Track]
(4:03) 12. Set Your Loving Free (Live in Manchester)
(4:56) 13. Time to Make You Mine (Live in Manchester)
(4:46) 14. Someday (Live in Manchester)

Lisa Stanfield’s career has spanned over 3 decades, boasting sales of nearly 20 million records and a string of international top 10 hits including: Around The World, Change, All Woman and Someday. The aptly named album Seven is Lisa’s 7th studio release and promises to galvanise her fan base old and new. The Grammy nominated, multi BRIT, Ivor Novello and Silver Clef Award winner has returned to the studio to record along with long-time songwriting partner Ian Devaney, whose credits include The Bodyguard and Indecent Proposal soundtracks. Seven which has been produced and written in the UK by Lisa Stansfield and husband Ian Devaney features tracks such as: Can’t Dance, The Rain, Stupid Heart, Conversation, The Crown, Strong, So Be It and Picket Fence Recorded in both Los Angeles and Manchester, Stansfield has collaborated with John "JR" Robinson, known as the most recorded drummer in history and Grammy award winning orchestrator Jerry Hey, both integral to the creation of Michael Jackson’s “Off The Wall, Thriller and Bad” and have worked with Lisa for over two decades. Following her critically acclaimed return to live performance in 2013– The Times said “Lisa still has the most distinctive and sensuous voice in soul pop” Seven marks Lisa’s return to the international stage and confirms her status as one of the UK’s premier recording artists. The Deluxe Edition contains extra bonus audio tracks.   http://www.amazon.co.uk/Seven-Lisa-Stansfield/dp/B00ENMZW04

Seven (Special Edition)

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Biréli Lagrène and Sylvain Luc - Summertime

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 57:53
Size: 135,5 MB
Art: Front

(6:02)  1. Summertime
(4:09)  2. So What
(3:52)  3. On The Fourth Of July
(6:19)  4. Spain
(3:51)  5. My One And Only Love
(6:39)  6. Wave
(5:00)  7. All The Things You are
(2:41)  8. Got A Match
(7:14)  9. Can t Take My Eyes Off You
(6:27) 10. On Green Dolphin Street
(0:46) 11. Interlude
(4:46) 12. Someday My Prince Will Come

Guitar duets should all be precious as this one from Bireli Lagrene and Sylvain Luc, as they mutually share musical thoughts, feelings, and honest emotions via a stack of familiar jazz standards. As equally talented players whose virtuosity is not staggeringly overwhelming, these two present a good deal of symmetry and balance, neither dominating the other. Unless you are personally familiar with the stylistic differences of the gypsy driven Lagrene or more contemporary Luc, it's likely their pure sound rather than technique sets them apart. Luc plays Godin guitar, while Lagrene prefers a Barault model, both relatively unamplified or processed, lending to the organic feel of these standards everybody knows. A resonant and languid version of "Summertime" is quite differently rendered in ringing. solemn, patient tones, with no worries or rushed-through cadences, but a bit of speedy soloing. The quick counterpoint and unison playing during "So What" lend toward mixed messages, but within a straight bop framework. 

Chick Corea's "Spain" and "Got a Match" give the two a chance to show off a bit, not so much on the former icon of contemporary repertoire as much as the latter track, which lets them charge ahead full steam in flurries of sixteenth and thirty-second notes. Steady tunes such as "Wave," "My One & Only Love," and "Someday My Prince Will Come" are more liquid and flowing, while the popping, crackling chords setting up "On Green Dolphin Street" and the percussive improv "Interlude" proved stellar examples of Lagrene and Luc's brilliance. Two pop tunes are included a gypsy bop take of James Taylor's "On the Fourth of July," and the old Four Seasons hit "Can't Take My Eyes Off of You" in a tango mode. Overall, this is a solid recording that should please fans of these two great musicians, not a stunning or risk-free effort, but somewhere satisfyingly in the middle. 

~ Michael G.Nastos   http://www.allmusic.com/album/summertime-mw0000815899

Summertime

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Amber Chiang - My Love Journey

Size: 92,4 MB
Time: 39:10
File: MP3 @ 320K/s
Released: 2014
Styles: Easy Listening, Jazz Vocals
Art: Front

01. A Good Thing (1:56)
02. When We Love (3:21)
03. We Never Got To Know Each Other (2:38)
04. Alone In This World (2:08)
05. Baby Be Smart (3:17)
06. Let Me Know (2:23)
07. No Time For Me (2:12)
08. Broken Hearted (3:36)
09. Time Heals All (2:13)
10. Once More, Encore (4:16)
11. I Never Asked (2:56)
12. New Beginnings (4:13)
13. Just You And Me (3:57)

My music is drawn from my life. My influences are mostly from jazz artists, a combination of Billie Holiday, Sarah Vaughn and Betty Carter as well as Latin influences from various Brazilian artists. But I also grew up listening to rock, folk and pop. So, at times the music is a mixture of genres.

I finally recorded my songs through the ups and downs, struggles and insights of relationships. The album is called “My Love Journey”, songs from the heart. After many years of heartbreak and illusions, I found my soul mate!

My Love Journey

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Nita Whitaker - One Voice

Styles: Soul

Year: 2001

File: MP3@320K/s

Time: 50:50

Size: 116,6 MB

Art: Front

(4:42)  1. One Voice

(2:57)  2. I Choose Love

(5:39)  3. Until Now

(3:51)  4. Sending Out A Prayer

(4:50)  5. Use Your Life

(4:06)  6. Eyes of A Child

(3:15)  7. Shine

(3:38)  8. When Mountains Won't Move

(4:05)  9. Climb Ev'ry Mountain

(3:54) 10. That's When I'll Be There

(5:20) 11. A Quiet Place

(4:27) 12. Heaven Hold The Ones I Love

Nita Whitaker is a successful Los Angeles-based session singer, which has earned her the opportunity to make this earnest, if somewhat bland, solo album. On self-written songs and others of a similar tone, she sings of the importance of religion and familial love with a session singer's voice always on key, precise, and well articulated, but lacking something that would make it a real star vehicle. Whitaker once got a walk-on in The Bodyguard by doing an impressive demo for Whitney Houston, and there are several songs here in which she seems to be doing the same thing. But she never goes as far over the top as Houston does, though she has vocal chops at least as good, and her tastefulness makes you focus more on the material, which is mediocre for the most part. A characteristic mistake is her reading of "Climb Ev'ry Mountain," the inspirational song from The Sound of Music written to be sung by a soprano. 

Whitaker is an alto, and her transposition immediately robs the song of much of its force it isn't about climbing mountains anymore, it's just an L.A. pop singer's vocal exercise. It may be odd to criticize a vocalist for not being excessive and indulgent, but Whitaker is performing in not just a singer's, but also an entertainer's medium. Think not only of Houston, but also of Natalie Cole, Toni Braxton, and any number of other stars more interested in calling attention to themselves than to what they're singing. That narcissism is what helps make them stars. Whitaker really cares about her sentimental messages and wants to convey them to her listeners; her more successful peers recognize, intuitively, if not consciously, that they themselves are the message. How can a singer as modest as Whitaker, however good her pipes, compete ~ William Ruhlmann   http://www.allmusic.com/album/one-voice-mw0000015945

Personnel: Anita "Nita" Whitaker (vocals, background vocals); Michael Turner (guitar, acoustic guitar); David Levita (guitar); Dean Parks (acoustic guitar); Maria Casale (harp); Neli Nikolaeva (violin); Robin Ross, Gil Romero, Philip Vaiman, Calabria McChesney, Bette Byers, Harry Scorzo, Alexis Carreon, Michael Allen Harrison, Richard Dodd, Armen Ksadjikian, John Krovoza (strings); Chris Bleth (flute, piccolo, oboe); Daniel Kelley , Marni Johnson , Mark Adams (French horn); Phillip Teele, Bruce Otto, Bob McChesney (trombone); David Foster (piano, keyboards); William Thomas, Jr., Greg Phillinganes, David Loeb (piano); Gary Griffin (toy piano, celesta, keyboards, vibraphone, timpani, tubular bells); Cedric Sampson (drums, percussion); Russ McKinnon (drums); Bryan Brock, Scott Breadman (percussion); Adam Jackson, Ken Stacey, Carol Huston, Debbie Gates, Fred White , Melanie Taylor, Jennifer Cihi, Alex Brown, Peggi Blu, Wil Wheaton, Bridgette Bryant (background vocals).

 

One Voice

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Solitaire Miles - Born to Be Blue

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 50:50
Size: 116,9 MB
Art: Front

(4:03)  1. Baltimore Oriole
(4:02)  2. Too Close for Comfort
(5:11)  3. Born to Be Blue
(3:45)  4. You Gotta Crawl Before You Walk
(3:53)  5. Lover Come Back to Me
(5:51)  6. Detour Ahead
(3:43)  7. Moon Ray
(4:17)  8. Midnight Blue
(2:44)  9. Make with the Kisses
(4:11) 10. Serenade de Clair de Lune
(3:54) 11. Me and the Moon
(5:09) 12. I'll Never Be the Same

Solitaire Miles has always loved swing tunes. Her grandmother, a singer with a big band in the late 1930s, exposed her to the music early on. Solitaire originally planned to be an opera singer, but while attending DePaul University in Chicago, she met the legendary swing violinist Johnny Frigo who encouraged her to sing jazz. After college she began working in Chicago with Sax Maestro Von Freeman, and pianist Willie Pickens, who also played on her self-titled release in 2006. "I was lucky to have their guidance, because they were playing jazz with the greats in their day.” During later years while living in New York, she would sit in regularly with the great trumpeter Doc Cheatham, learning lots of swing tunes. From these venerable bandleaders, she learned more about phrasing; “They wrung every little bit of pop styling from my phrasing until it became authentic, unadulterated jazz and swing."

For her third release Born to Be Blue, Solitaire utilizes some of Chicago's top jazz musicians, all of whom have the flexibility to sound at home in a swing combo. “Willie Pickens is always my first choice on piano,” says the singer. “I love working with him because he is not just accompanying me, we listen closely and challenge each other.” A few of the numbers feature pianist Joe Vito who was Johnny Frigo's regular accompanist for years. Some selections include tenor-saxophonist Jim Gailloreto, while the versatile trumpeter Art Davis is heard playing in a conversational style not that dissimilar from Doc Cheatham's.

Born to Be Blue begins with “Baltimore Oriole” which composer Hoagy Carmichael performed in the Humphrey Bogart movie “To Have and Have Not". “It's a quirky song with a period feeling.” Solitaire says. The haunting vocal and concise solos by Pickens and Davis perfectly fit Carmichael's unusual tale. “Too Close For Comfort” is associated with several singers from the 1950s including Ella Fitzgerald, but Larry Kohut's arrangement, which begins as a duet by Solitaire with drummer Phil Gratteau, puts a new spin on the standard. One particular joy of this CD is hearing a lot of fresh material, and vintage songs that deserve to be revived. “Born to Be Blue” is one of Mel Torme's best originals while “You've Got to Crawl Before You Walk” was the only tune co-written by Torme and Duke Ellington. “Detour Ahead” was Johnny Frigo's most famous original, so it naturally features Joe Vito on piano and is a tribute to the violinist and Jim Gailloreto contributes a tasteful solo to this emotional version. Since she wanted to record several obscure songs that the musicians weren't too familiar with, Solitaire added “Lover Come Back to Me." "It's the type of jam session tune that we play late at night, an up-tempo number that lets everyone stretch out.”

It isn’t often that one gets to hear such superior, if forgotten numbers as Artie Shaw’s “Moon Ray”, which has prominent roles for bassist Joe Policastro and guitarist Andy Brown, or “Make With the Kisses” which features Art Davis and guitarist Neal Alger, and is a delightful romp that has rarely been performed since Mildred Bailey recorded it with Benny Goodman 70 years ago. One can easily imagine Billie Holiday performing "Midnight Blue." which features more ingenious improvising by Art Davis. Most unusual is “Serenade de Clair de Lune,” a version of Glenn Miller's theme song “Moonlight Serenade” sung in French. Joe Vito adds to the cafe atmosphere by switching to accordion with Neal Alger strumming on acoustic guitar. Other songs include “I'll Never Be the Same,” and the charming “Me and the Moon” a sweet band favorite which was originally recorded by the Hal Kemp Orchestra in 1933.

Throughout this project Solitaire and her musicians are not content to merely recreate the past but are creative within the style, adding to the music's legacy. While Solitaire can name a long list of influences, not the least of which was her Grandmother, she does not sound exactly like any of the singers who preceded her. Nor do her sidemen sacrifice their own individuality while doing justice to the material. Instead, they all fully understand the music and are able to add their own voices to the songs while being themselves.

This delightful set not only proves that there is still plenty of life to be found in swing tunes, but it features Solitaire Miles at her very best, taking her place as one of the top swing singers around today. ~ Scott Yanow, jazz writer and critic  http://www.cdbaby.com/cd/milessolitaire

Born to Be Blue

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Rachel Z Trio - Moon At The Window

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 69:38
Size: 169,6 MB
Art: Front

( 4:26)  1. Big Yellow Taxi
( 5:47)  2. Carey
( 5:06)  3. Ladies Man
( 7:23)  4. Chinese Cafe
( 5:30)  5. Free Man In Paris
( 5:10)  6. From Both Sides Now
( 6:39)  7. Moon At The Window
( 4:10)  8. Help Me
( 4:53)  9. River
( 5:15) 10. Circle Game
( 5:11) 11. All I Want
(10:04) 12. Lakota

Rachel Z's tribute to Joni Mitchell has perhaps arrived at just the right time, hot on the heels of Mitchell's decision to never record again. No doubt her die-hard fans will be clamoring for as much original and tribute material as possible, and a good many will find joy in this comfortable instrumental release. It's impossible not to like the buoyant, loving arrangements that Rachel Z has collected here. However, for as many popular tunes as Joni Mitchell has created over the past three decades, this homage clarifies the fact that she a stronger lyricist than a composer. The jaunty theme of "Big Yellow Taxi" jumps right out, but like many of the selections here, the melody becomes a bit repetitive without the witty, socially conscious lyrics to fill things out. 

The three musicians perform exquisitely as a unit, often with a sense of David Benoit's lighter piano works. There are a number of charming twists and turns in the charts. Of particular note are Patricia Des Lauriers' resonant double-stops on the closing "Lakota", and Bobbie Rae's subtly effective rhyhmic matrices throughout the disc. The lush piano ripplings on "Chinese Cafe" and taut interaction on "Free Man in Paris" are attention-grabbers, and "From Both Sides Now" receives what is perhaps its most introspective interpretation yet. This music is obviously close to Rachel Z's heart. The only real beef remains a major one: Joni Mitchell's musical universe is so centered upon her words that it's hard for anyone to do her justice in an instrumental setting. No harm, no foul, then. The trio has made an admirable attempt at honoring a legend, resulting in a truly uplifting album. ~ Todd S.Jenkins   

http://www.allaboutjazz.com/php/article.php?id=10816#.Uub_jbRpQ2w
 

Personnel: Rachel Z, piano; Patricia Des Lauriers, bass; Bobbie Rae, drums.

Moon At The Window

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Kenny Burrell - Special Requests (And Other Favorites): Live at Catalina's

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 74:50
Size: 171,9 MB
Art: Front

(6:47)  1. Killer Joe
(0:18)  2. Spoken Introduction, Pt. 1
(8:13)  3. Little Sunflower
(8:58)  4. Make Someone Happy
(0:36)  5. Spoken Introduction, Pt. 2
(6:29)  6. Sunset and the Mockingbird
(6:36)  7. Bye Bye Blackbird
(7:48)  8. Lament
(0:22)  9. Spoken Introduction, Pt. 3
(6:59) 10. Summer Knows
(0:19) 11. Spoken Introduction, Pt. 4
(5:38) 12. Feeling of Jazz
(5:22) 13. In A Sentimental Mood
(5:57) 14. Generation
(3:52) 15. Chitins Con Carne
(0:28) 16. Closing Remarks

Recorded live at Catalina's in Hollywood in November 2012, these pleasant reworkings are special requests by fans of the legendary jazz guitarist Kenny Burrell. Consider this release as the second part of the 2010 live date Be Yourself: Live at Dizzy's Club Coca-Cola, also on High Note. Alongside Burrell on these performances is an awesome set of musicians who provide a delicate balance between their post-bop technical excellence and improvisational skills: Justo Almario on sax and flute, Tom Ranier on piano, Tony Dumas on bass, and Clayton Cameron on drums. 

On these 11 tracks, Burrell pays tribute to Duke Ellington on "Sunset and the Mockingbird," "The Feeling of Jazz," and "In a Sentimental Mood," plus great renditions of "Generation," Benny Golson's "Killer Joe," the Freddie Hubbard composition "Little Sunflower," the standards "Make Someone Happy," "Bye Bye Blackbird," and "The Summer Knows," J.J. Johnson's "Lament," and Burrell's classic "Chitlins con Carne." Fans of Burrell's early sessions for Blue Note should be aware that the guitarist was in fine form in 2012, and listeners will definitely find some pleasant moments here. ~ Al Campbell   http://www.allmusic.com/album/special-requests-and-other-favorites-live-at-catalinas-mw0002551178

Special Requests

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Janine Gilbert-Carter - In The Moment / Inside A Silent Tear

Album: In The Moment
Size: 137,3 MB
Time: 59:00
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz Vocals, Jazzy Blues
Art: Front

01. I Love Being Here With You (2:20)
02. (I Want) A Sunday Kind Of Love (2:22)
03. Body and Soul (7:30)
04. Someone Else Is Steppin In (4:41)
05. Quiet Nights (3:38)
06. Don't touch Me (3:38)
07. Just In Time (4:27)
08. Where Are You (6:32)
09. Stormy Monday (6:17)
10. I Ain't Got Nothing But The Blues (3:50)
11. Here's To Life (6:11)
12. Summertime (2:36)
13. How Do you Keep The Music Playing (4:51)

Janine was introduced to gospel, jazz and blues at a very early age by her parents and grandmother.

This Pennsylvania native cannot remember a time when music was not a part of her very existence. She began her musical journey like so many contemporary artists as a member of the choir at her church in Aliquippa PA. She also had the opportunity to expand on her solo performances as a member of the Bach Choir of PA which performed some of Broadways most exciting musicals. Janine continued to use the gift she was given to perform at various functions and special events until she relocated to the Washington Metropolitan area in the summer of 1988. During the summer of 1996 Janine performed her debut concert in the DC area at New Genesis Baptist Church; this celestial songbird has been flying ever since.

For five seasons, Ms Gilbert-Carter performed with the Washington Performing Arts Society Men & Women of the Gospel Mass Choir and has shared the stage with notable artists such as Tramaine Hawkins, Oleta Adams, Regina Bell, Ann Nesby and Donnie McClurkin for the WPAS's Annual Gospel concert held at the Kennedy Center in Washington D.C.

Since September 2001 Janine has worked with Local Jazz musical talents Ronnie Wells-Elliston and Ron Elliston. Audiences have been delighted with her performances at "Twins Jazz" the U street Jazz series concerts held at "The Islander" in Washington D.C., The FMJS East Coast Jazz Festival and The legendary Washington DC supper Club Blues Alley. She has also performed at many special events were she has shared the stage with area-wide Jazz musicians like pianist Arron Graves, and Ron Elliston; bassist Wes Biles, James (Tex) King, Saxaphonist Paul Carr and percussionist Mike Smith and the late Ricky Loza.

2004 is proving to be a phenomenal year for Janine. She has released not one but two debut CD's in two different genre's (Jazz) "In The Moment" and (Gospel) "God Spoke To Me" on which Janine actually wrote the lyrics for several song including the title track.

Janine's prayer is to have a positive effect on all that hear her. To exude the feeling of warmth and love through her music.

In The Moment

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Album: Inside A Silent Tear: Live At The Historic Blair Mansion
Size: 133,0 MB
Time: 57:20
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz Vocals, Jazzy Blues
Art: Front

01. Ain't Misbehavin (3:14)
02. Grandmas Hands (4:41)
03. Inside A Silent Tear (6:01)
04. All of Me (5:25)
05. A Change Is Gonna Come (7:01)
06. Everything Must Change (5:57)
07. How High the Moon (3:25)
08. Don't Touch Me (5:56)
09. Nice and Easy (4:53)
10. Our Love Is Here To Stay (4:24)
11. Teach Me Tonight (6:16)

When it comes to good singing there are usually four points to consider; tone, technique, passion and interpretation. Usually you can get some combination of these attributes but it is a very rare occasion when you get them all at the same time. This is one of those times. Janine Gilbert-Carter lives at the intersection where jazz, blues and gospel all come together. Ms. Carter guides her rich, soulful voice and passionate heart with all the authority gained from her years of performing experience. Whether it's taking the turns of "How High The Moon", belting out the old-school funk\gospel of "Grandma's Hands" and the bluesy "Don't Touch Me” or wringing the absolute last drop of emotion out of “Everything Must Change” she never fails to pull the listener into the music with her wonderful sense of phrasing and crystal-clear intonation.

Ms. Carter's band is equally adept at providing wonderful support through all these tunes. Eric Byrd's piano playing is fiery and upbeat, sensitive when it needs to be and incredibly happy and exuberant when the song calls for it. Wes Biles baseline not only covers the bottom but interplays with the vocals with many nifty licks that bring the tunes to an even higher level. Jeff Neal shows himself to be one of the most dynamic drummers around driving these tunes from a whisper to a scream with great accent and flair, always in support of the singer and the song. Brian Settles adds his soulful and sophisticated tenor to many of the cuts.

If you like jazz, blues or gospel, or if you just missed good singing, where a great singer interprets a classic song with all her heart, then this album, performed live at Washington's famous Blair Mansion Inn is the one you've been looking for. ~Jeff Gruber - Blue House Productions

Inside A Silent Tear

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Geoffrey Keezer - Wildcrafted: Live At The Dakota

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 67:38
Size: 155,2 MB
Art: Front

( 8:14)  1. Stompin' At The Savoy
( 8:27)  2. Tea And Watercolors
( 7:34)  3. Koikugari Bushi
( 5:21)  4. Mirrim
( 6:36)  5. Venus As A Boy
( 5:32)  6. The Kindest Soul
(10:29)  7. Black And Tan Fantasy
( 8:16)  8. Ghost In The Photograph
( 7:05)  9. Breath Of The Volcano

Pianist Geoffrey Keezer's career has consistently delivered on the early promise he displayed when he first emerged on the scene as a precocious nineteen year-old in Art Blakey's last Jazz Messengers. In the past fifteen years he's recorded and/or toured alongside contemporaries Roy Hargrove and Christian McBride, in addition to working with legends like Ray Brown and Art Farmer. But since the early part of this decade, and with two projects in particular, Keezer has truly emerged from under the stylistic umbrella of influence by the usual jazz suspects. His own solo outing Zero One (Dreyfus, 2000) found him exploring a repertoire of largely original music, putting his interest in 20th Century classical composers and contemporary pop music alongside his unequivocal understanding of the jazz tradition. His collaboration with vibraphonist Joe Locke on British woodwind multi-instrumentalist Tim Garland's two Storms/Nocturnes Trio recordings further solidified his appreciation for combining detailed through-composition with more interactive interplay.
Wildcrafted: Live at the Dakota finds Keezer and his trio with bassist Matt Clohesy and the increasingly ubiquitous drummer Terreon Gully exploring a repertoire that, while heavily weighted towards his own writing, also looks as far afield as contemporary Okinawan composers Naohiko Uehara and Sadao China, intrepid pop songstress Björk, and more traditional jazz artists Benny Goodman and Duke Ellington. Some groups take their time to warm up, but the set opener Goodman's chestnut "Stompin' at the Savoy, radically transformed from swing staple to something more powerfully modern wastes no time in establishing the trio's fearless approach. As if Keezer's flat-out solo isn't enough to galvanize the audience, Gully's frenetic but never superfluous playing raises the energy level even further.

Keezer's writing tends to revolve around complicated thematic structures. "Tea and Watercolors runs through a gamut of tightly knit ideas before settling into the pedal-tone modal vamp that forms the core of Keezer's solo. It's a challenge to build a solo over a static harmonic backdrop, but Keezer's sense of narrative and the empathic responsiveness of Clohesy and Gully maintain interest throughout. The trio's take on the Latin-informed "Mirim is more intense, and taken at a faster clip, than the version on Falling Up (MaxJazz, 2003). While acoustic piano is Keezer's main axe, he also uses the Fender Rhodes to broaden his sonic palette, indicating that for him texture is of equal importance. On the ballad "Koikugari Bushi Keezer processes the Rhodes heavily, creating a cloudlike cushion of sound that's distanced from the instrument's typically bell-like timbre, an approach he also uses effectively on a reggae-inflected version of Björk's "Venus as a Boy.

As Keezer's career unfolds, it's clear that he's capable of operating in the same space as other artists who are incorporating a myriad of contemporary influences. But unlike Esbjörn Svensson, his pop sensibility shimmers underneath a more vivid surface layer of jazz tradition; and unlike Brad Mehldau, he tends to more complex composition. The compelling compositional appeal and improvisational élan of Wildcrafted mark Keezer a player transcending his early roots and now emerging as a more well-rounded artist as clearly worthy of equal attention. ~ John Kelman   http://www.allaboutjazz.com/php/article.php?id=19655#.Uulu77Sgsis

Personnel: Geoffrey Keezer: piano, Fender Rhodes; Matt Clohesy: bass; Terreon Gully: drums.

Thank You Mai Neime
Wildcrafted: Live At The Dakota

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Cannonball Adderley - Money In The Pocket

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 62:56
Size: 144,3 MB
Art: Front

(10:25)  1. Money In The Pocket
( 9:09)  2. Stardust
( 7:22)  3. Introduction To A Samba
( 7:44)  4. Hear Me Talkin' To Ya
(10:32)  5. Requiem For A Jazz Musician
( 3:06)  6. Cannon's Theme (aka Unit 7)
( 4:05)  7. The Sticks
(10:29)  8. Fiddler On The Roof

Cannonball Adderley's mega-successful album Mercy, Mercy, Mercy!, released in August of 1966, was supposedly recorded "live" at a venue in Chicago called The Club, but it was actually recorded in the studio of Capitol Records with a specially assembled audience. For those who wonder what they really sounded like at that venue, Money in the Pocket contains unreleased live recordings of the Cannonball Adderley Quintet at The Club in Chicago on March 19 and 20, 1966. The only pieces officially released were edited 45-rpm single versions of "The Sticks," "Money in the Pocket," "Hear Me Talkin' to Ya," and "Cannon's Theme." This 2005 reissue restores those tracks to their original full lengths while adding "Introduction to a Samba," "Requiem for a Jazz Musician," "Fiddler on the Roof," and a nice version of "Stardust." Cannonball employed the same excellent band as heard on the Mercy, Mercy, Mercy! album cornetist Nat Adderley, keyboardist Joe Zawinul, drummer Roy McCurdy with the exception of bassist Herbie Lewis, who replaced Victor Gaskin. Any Cannonball Adderley fan will want to own this. ~ Al Campbell   http://www.allmusic.com/album/money-in-the-pocket-mw0000657028

Money In The Pocket

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Kathryn Hettel - Jazz From The Heart

Size: 135,0 MB
Time: 58:00
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals, Standards
Art: Front

01. Angel Eyes (6:08)
02. Black Orpheus (3:41)
03. Cry Me A River (5:36)
04. Don't Get Around Much Anymore (2:49)
05. Lover Man (5:05)
06. I'm Beginning To See The Light (3:24)
07. Lazy Afternoon (5:24)
08. Lush Life (3:37)
09. Can't Help Loving Dat Man (3:31)
10. I'll Be Seeing You (3:54)
11. Come Rain Or Come Shine (4:37)
12. Round Midnight (5:04)
13. My Buddy (5:04)

Released December 21, 2013 on Critical Sun Recordings, Kathryn Hettel’s “Jazz From The Heart” is a quiet album of special memories and feelings set to the intimate beat of a typical, top-shelf nightclub. A retired doctor and Washington Blues Society member, Hettel isn’t one of those well-known jazz numbers around town. Nevertheless, she’s been able to indulge in her jazz love affair as a fan and a fairly good vocalist, quietly gigging with some fierce musicians, including smooth jazz saxophonist Darren Motamedy, her own blues band, and producing this recording.

In her first track, “Angel Eyes,” the Northwest vocalist softly croons, “Excuse me while I disappear.” She does exactly that from start to finish in all the songs she loves to sing, with the vibe she grew to love thanks to her father. Growing up, Hettel was treated to live nightly shows. He’d tuck his little girl into bed, then go to his piano to play such memorable standards, “Autumn Leaves,” “Night And Day,” “September Song,” standards that would become her indelible soundtrack.

Dedicated to her father, Hettel’s “Jazz From The Heart” establishes her quiet love for the standards and the memories they bring early on. Her voice is deep, low, and sultry. It gets into the crevices of the standards she loves so much, as if she’s tried on their stories many times, as an actress tries on costumes.

Recorded locally, in Snohomish, WA’s Studio North, the album brings together some of Northwest’s finest session players and major showmen to help Hettel get to her sweet spots: bassist Evan Flory-Barnes, drummer D’Vonne Lewis, pianist Darrius Willrich, saxophonist Harold Fox, trumpeter/flugelhornist Chris Littlefield, guitarist Scott Caruso, violinist Geoffrey Castle, percussionist Jeff “Bongo” Busch, and Stephen Beaudrey on harmonica.

It’s very clear how much Hettel loves singing jazz standards with a blues force. She’s free and easy in her relaxed approach, and she’s got a supple, well-seasoned voice that conveys meaning beyond the pretty words and the melodic turns.

She conveys that love well on familiar standards “Cry Me A River,” “Don’t Get Around Much Anymore,” “Lush Life,” and “Lover Man,” without coming off too familiar or jaded. Her fresh, joyful approach lifts those standards from the run of the mill. She also puts her own quiet stamp on them.

Hettel can hit the notes. Her voice is deep, rich, and even versatile — going higher when called for. The vibrato, though, is too much. It’s reminiscent of Korean p’ansori, an ancient opera singing style involving a two-and-a-half-octave pitch range and exaggerated vibrato to the point of being oppressive.

This is a nice collection of standards that speak to Kathryn Hettel’s heart, and a nice, easy introduction to jazz for listeners not used to the hard stuff.

Jazz From The Heart

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Monica McIntyre - It Soon Come

Size: 82,6 MB
Time: 35:12
File: MP3 @ 320K/s
Released: 2013
Styles: Blues/Jazz/Soul Fusion
Art: Front

01. Wade In The Water (3:34)
02. It Soon Come (2:04)
03. Drawn (3:37)
04. Freedom Song (3:42)
05. Like A Lover (4:33)
06. River Mother (3:46)
07. Dontcha (2:49)
08. Trouble This Water (4:20)
09. Lullaby (Sacred) (3:42)
10. Think Of Me (2:59)

Artist, Cellist, Singer, Lyricist, Community Activist and Healer; these are a few titles which could be used to describe Monica McIntyre. As a musician Monica weaves a beautiful tapestry of colors and sounds so vivid and unique that one genre simply cannot cover it all. She seamlessly blends: Blues, Soul, Classical, Jazz, Reggae and Middle Eastern sounds with the unique cello techniques of: slapping, plucking and strumming, into an unforgettable musical landscape.

Seeing her perform onstage is an enthralling experience and before you know it you'll be swaying or stomping your feet alongside the mesmerizing sounds of her cello. The meticulous storytelling, metaphor and word play that dominate her lyrics cause her songs to be seen and heard as succinct novellas. Her voice, with it's smoky texture and emotional quality, has left audiences crying, dancing, laughing and testifying.

So who is Monica McIntyre? She is equal parts Jamaican metaphor-laden mother and read-the-dictionary-for-fun father; a perfect writers combination. Originally from Hyattsville, MD, she began her cello career in classical studies; honing her craft through private lessons and orchestral ensembles with the District of Columbia Youth Orchestra (DCYO). After graduating from Eleanor Roosevelt High School in Greenbelt, MD, Monica migrated to Philadelphia, PA to study Fashion Design at Drexel University. In 1999 she earned a BA from the Nesbitt College of Design Arts.

Living in the city of Brotherly Love, where she was immersed in: Funk, Soul, R & B, Jazz, and World Music; brought her back to her first love, music. In October 2003 she released her debut album Blusolaz -- a collection of original songs which fused the genres of Blues, Soul and Jazz. Bars of Gold, her first single, was released in August 2005. Monica has been featured at numerous events throughout the world most notably: Soul Sista's Jukejoint (GA) 2005, The 215 Festival (PA) 2005, Sistahood Celebration (Vancouver) 2008, The Philadelphia Fringe Festival (PA) 2008 & 2009, The Black Women's Art Festival (PA) 2009, Sisterspace (MD) 2009, Ladyfest New Orleans (LA) 2010 & 2011, New Orleans Jazz & Heritage Festival (LA) 2013, and The French Quarter Fest (LA) 2013. Most recently Monica was a featured artist on the online International music show "Balcony TV".

Her new album 'It Soon Come', produced by John Chelew, features: Marcia McIntyre (violin/vocals), Thea Bashful (vocals), Reggina Thompson (oboe), and Mike Jacobsen (percussion).

It Soon Come

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Gene Ammons - Angel Eyes

Styles: Straight-ahead/Mainstream
Year: 1960
File: MP3@320K/s
Time: 36:54
Size: 85,0 MB
Art: Front

(6:54)  1. Gettin' Around
(5:38)  2. Blue Room
(5:58)  3. You Go To My Head
(8:52)  4. Angel Eyes
(5:15)  5. Water Jug
(4:14)  6. It's The Talk Of The Town

Gene Ammons’ Angel Eyes leaves a nagging feeling that it was thrown together and dumped onto the marketplace with little or no thought. After all, when Angel Eyes was released in 1965, Ammons was in the middle of serving a long jail term for narcotics possession. These tunes are culled from two separate sessions, done in 1960 and 1962 respectively, featuring vastly different groups. So, not only does the album feature an outdated snapshot of Ammons’ work as a jazz artist, it also features music that had lingered in the vaults for years. Of course, these two reservations are nonsense when considering the way jazz record companies operated during the 1960s. Blue Note Records, for example, held off on releasing many recordings that, upon their release years and years later, have revealed few discernable flaws. In addition, just because an album contains music recorded by an artist years ago, that in no way should detract from the listener’s enjoyment or its critical value. The six songs on Angel Eyes can easily be broken into three up-tempo tracks and three ballads. The trio of light, subtle swingers feature a quintet of Ammons, Frank Wess on flute and tenor saxophone, organist Johnny “Hammond” Smith, bassist Doug Watkins and Art Taylor on drums. Soulful playing dominates these tunes with Ammons getting in a relaxed solo on “Gettin’ Around” and Wess turning in a memorable flute improvisation on “Blue Room.” The same band shows up on the title track and shifts gears from soul to melancholy. 

In his theme statement, Ammons makes the tune his own, turning the song into a bluesy lament. When he exhorts the listener to “drink up” and “order anything you see,” his saxophone becomes an instrument of beauty and with only a few choice notes conjures up a searing impression of sadness. Throughout the nine minutes of “Angel Eyes,” Ammons’ band creates a expert example of slow-motion ballad playing that perfectly fits the song’s lyrics and drips with pure, authentic emotion. “You Go To My Head” and “It’s The Talk of the Town” pair Ammons up with a rhythm section featuring Mal Waldron on piano, bassist Wendell Marshall and Ed Thigpen on drums. Both are relatively straightforward ballads which concentrate on melody. The latter tune serves as an effective closer to the album, coming after the celebratory mood of “Water Jug,” and features a creative cadenza by Ammons. Upon first glance, Angel Eyes may give the impression that it was hastily put together by Prestige, but the music inside brims with the enthusiasm and talent of jazz musicians creating music to be enjoyed and savoured for years and years to come. ~ Robert Gilbert   http://www.allaboutjazz.com/php/article.php?id=11288#.UufoKrRpQ2w
 

Personnel: Gene Ammons - tenor saxophone; Frank Wess - tenor saxophone and flute; Johnny "Hammond" Smith - organ; Mal Waldron - piano; Doug Watkins, Wendell Marshall - bass; Art Taylor, Ed Thigpen - drums

Angel Eyes

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Bobby Timmons - This Here is Bobby Timmons

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 38:05
Size: 87,5 MB
Art: Front

(3:35)  1. This Here
(5:09)  2. Moanin'
(2:32)  3. Lush Life
(4:15)  4. The Party's Over
(3:24)  5. Prelude To A Kiss
(5:26)  6. Dat Dere
(5:09)  7. My Funny Valentine
(4:33)  8. Come Rain Or Come Shine
(3:58)  9. Joy Ride

This is a classic Riverside set that has been reissued on CD in the Original Jazz Classics series. Pianist Bobby Timmons by early 1960 had already had successful stints with Art Blakey (where he contributed "Moanin'") and Canonball Adderley (writing "This Here" and "Date Dere"). For his first recording as a leader, Timmons (whose "funky" style was beginning to become very influential) performs those three hits along with his own "Joy Ride" and five standards in a trio with bassist Sam Jones and drummer Jimmy Cobb. Always more than just a soul-jazz pianist, Timmons (who effectively takes "Lush Life" unaccompanied) became a bit stereotyped later in his career but at this early stage was at the peak of his creativity. Essential music. ~ Scott Yanow   http://www.allmusic.com/album/this-here-is-bobby-timmons-mw0000192568

This Here is Bobby Timmons

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Aga Zaryan - My Lullaby

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 52:29
Size: 120,2 MB
Art: Front

( 3:13)  1. To See A World
( 5:18)  2. Waltz For Debby
( 4:23)  3. I've Got The World On A String
( 5:22)  4. My Lullaby
( 5:13)  5. You And The Night And The Music
( 3:41)  6. I Put A Spell On You
(12:01)  7. Never Said (Chan's Song) / Trust Me
( 4:46)  8. Still We Dream (Ugly Beauty)
( 3:53)  9. I Hear Music
( 4:35) 10. Polka Dots And Moonbeams

This is the debut album by the undeniable present-day diva of Polish Jazz, vocalist Aga Zaryan. Recorded over a decade ago, when Zaryan was completely anonymous, it exhibits for the first time an outstanding talent, fresh and innocent on one hand and remarkably mature and daring on the other. Backed up by a classic Jazz quartet, Zaryan performs ten standards, which were arranged by pianist Michal Tokaj. The other quartet members are veteran Polish Jazz saxophonist Tomasz Szukalski, bassist extraordinaire Darek Oleszkiewicz and drummer Lukasz Zyta.  The fact that Zaryan received her primary school education in UK enables her to sing in English, free from a foreign accent, which often annoys English-speaking audiences. But the lack of a foreign accent is by far not what is so remarkable about this album. It is the choice of material and the highly personal interpretation of the songs, which is strikingly original and aesthetically pleasing. 

She is able to twist and turn the familiar tunes around her small finger so to speak, with ease and elegance which is simply charming and highly sophisticated.  Another forte of the album is Zaryan´s extraordinary rapport with the quartet members, especially with bass player Darek Oleszkiewicz. Several of the tunes are by and large duets between the vocals and the bass and those are simply breathtaking. Szukalski is an ideal partner as well, constructing concise but wonderfully structured solos, always brilliantly complimenting the music. The entire quartet does a truly beautiful job, supporting the singer without overshadowing her for even a single moment. Such wonderful balance between a vocalist and her group is extremely rare and contributes immensely to the overall success of this recording. In retrospect one can easily hear all the elements, which over time amalgamated into present day Aga Zaryan and her outstanding abilities. This debut album remains a timeless beauty and a favorite album, which I intend to revisit time and again. Extraordinary!  ~ Adam Baruch   http://www.adambaruch.com/reviews_item.asp?item=104071

My Lullaby

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Ronnie Scott Quintet - Never Pat A Burning Dog

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 74:18
Size: 170,5 MB
Art: Front

(12:36)  1. Contemplation
( 4:31)  2. I'm Glad There Is You
(12:00)  3. White Caps
(11:52)  4. All The Things You Are
( 4:10)  5. This Love Of Mine
(13:43)  6. When Love Is New
(15:23)  7. Little Sunflower

Tenor saxophonist Ronnie Scott looms among the towering figures of Britain's postwar jazz scene, exerting equal influence as a performer and as the owner of the world-famous club bearing his name. He was born Ronald Schatt in the east end of London on January 28, 1927  his father, dance band saxophonist Jock Scott, separated from his mother shortly after his birth. After first purchasing a cornet from a local junk shop, Scott then moved to the soprano saxophone, finally settling on the tenor sax during his teens; at a local youth club he began performing with aspiring drummer Tony Crombie, and soon began playing the occasional professional gig. After backing bandleader Carlo Krahmer, Scott toured with trumpeter Johnny Claes in 1945, joining the hugely popular Ted Heath Big Band the following year; however, changing economics made the big bands increasingly unfeasible, and as the nascent bebop sound developing across the Atlantic began making its way to the U.K., he and Crombie traveled to New York City to explore the source firsthand. Scott would regularly return to New York after signing on to play alongside alto saxophonist Johnny Dankworth on the transatlantic ocean liner the Queen Mary.

Despite his travels Scott remained a linchpin of the growing London bop scene, and in late 1948 he co-founded Club Eleven, the first U.K. club devoted to modern jazz. During this time he developed the lyrical but harmonically complex style that would remain the hallmark of his career, first backing drummer Jack Parnell before finally forming his own band in 1953. The nine-piece group made its public debut in conjunction with a London appearance by Norman Granz's Jazz at the Philharmonic touring revue working from arrangements by trumpeter Jimmy Deuchar, the Scott band's debut proved a landmark moment in the history of British jazz, in many respects heralding the true starting point of the postwar era. Not all of Scott's instincts were sound  in 1955, he briefly assembled a full-size big band, to disastrous creative and commercial results but when he officially dissolved the group in 1956, he was a household name throughout Britain. In 1957 he co-founded the Jazz Couriers with fellow tenor saxophonist Tubby Hayes, scaling to even greater heights of fame. the Jazz Couriers amicably split in 1959.

Around this time Scott began to again entertain the notion of a London-based jazz club in the tradition of the landmarks dotting New York's 52nd Street along with Pete King, a longtime collaborator who'd recently retired from active performing, he borrowed the money necessary to lease the building at 39 Gerrard Street and on October 31, 1959 opened Ronnie Scott's Club for business. Scott himself co-headlined the opening night along with Hayes and Parnell sales were promising, but the venue only began reaching true critical mass in 1961 when it hosted its first American act, Scott favorite Zoot Sims. In the months to follow, Ronnie Scott's was the setting of performances by a who's who of American tenor icons including Dexter Gordon, Roland Kirk, Stan Getz, Sonny Stitt, Ben Webster, and Sonny Rollins. In late 1965 the club moved to its present location on Frith Street, where before the end of the decade it would host everyone from Ella Fitzgerald to Albert Ayler, becoming the epicenter of London's jazz community. Although the club consumed much of his time, Scott continued touring with a quartet featuring pianist Stan Tracey during the late 1960s, he also spearheaded an eight-piece group with whom he created the most idiosyncratic and experimental music of his career. At the time of Scott's death on December 23, 1996, his namesake club was perhaps the most famous jazz venue in all of Europe. ~ Jason Ankeny   http://www.allmusic.com/artist/ronnie-scott-mn0000332807/biography

Never Pat A Burning Dog

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Bobby Timmons - Soul Time

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 41:20
Size: 97,2 MB
Art: Front

(6:24)  1. Soul Time
(6:20)  2. So Tired
(4:16)  3. The Touch Of Your Lips
(5:14)  4. S'posin'
(5:54)  5. Stella B.
(6:16)  6. You Don't Know What Love Is
(6:53)  7. One Mo'

Pianist Bobby Timmons, best known for his sanctified and funky playing and composing, is mostly heard in a straightahead vein on this CD reissue of a Riverside session. Timmons's four originals ("So Tired" is most memorable) alternate with three standards and are interpreted by a quartet with trumpeter Blue Mitchell, bassist Sam Jones and drummer Art Blakey. The swinging music is well-played, making this a good example of Bobby Timmons playing in a boppish (as opposed to funky) setting. ~ Scott Yanow   http://www.allmusic.com/album/soul-time-mw0000626438

Soul Time

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