David "Fathead' Newman - Fathead: Ray Charles Presents David Newman

Styles: Saxophone Jazz
Year: 1959
File: MP3@256K/s
Time: 37:37
Size: 69,0 MB
Art: Front

(4:43)  1. Hard Times
(4:49)  2. Weird Beard
(5:00)  3. Willow Weep For Me
(4:15)  4. Bill For Bennie
(3:46)  5. Sweet Eyes
(5:24)  6. Fathead
(4:17)  7. Mean To Me
(5:18)  8. Tin Tin Deo

The talented David Newman, who alternates on this album between tenor and alto, made his debut as a leader at this session. Since he was in Ray Charles' band at the time, Newman was able to use Charles on piano along with Hank Crawford (here called "Bennie Crawford") on baritone, trumpeter Marcus Belgrave, bassist Edgar Willis, and drummer Milt Turner. The music is essentially soulful bebop, with the highlights including "Hard Times," "Fathead," "Mean to Me," and "Tin Tin Deo." Everyone plays well and this was a fine start to David "Fathead" Newman's career. This historic set was issued on CD by Collectables in 2005. ~ Scott Yanow   http://www.allmusic.com/album/fathead-ray-charles-presents-david-newman-mw0000140154

Personnel: David "Fathead" Newman (flute, alto saxophone, tenor saxophone); David "Fathead" Newman ; Bennie Hank Crawford, Bennie Crawford (baritone saxophone); Edgar Willis (double bass); Milton Turner, Milt Turner, Milton Turner (drums); Marcus Belgrave (trumpet); Ray Charles (piano).

Fathead: Ray Charles Presents David Newman

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Brigitte Mitchell - Don't Explain

Size: 132,3 MB
Time: 56:55
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. God Bless The Child (5:53)
02. My Favourite Things (4:13)
03. Don't Explain (With Jazz Quintet) (5:38)
04. Doodlin' (3:56)
05. Another Star (5:02)
06. Midnight At The Oasis (4:41)
07. That Ole Devil (3:50)
08. Nica's Dream (4:16)
09. Cry Me A River (5:27)
10. Moonlight In Vermont (4:14)
11. Georgy Porgy (4:08)
12. Don't Explain (Voice And Piano) (5:32)

Silva Records proudly presents one of Hong Kong’s most celebrated Jazz vocalists, Brigitte Mitchell, whom offers an array of delightful and sensual standards, exhibiting her versatility with a daring grace. Hits on this release include timeless Billie Holiday classics, God Bless The Child and the title track Don’t Explain, plus a toe-tapping, swing interpretation of Stevie Wonder’s Another Star. OTher tracks include re-imagined Jazz standards such as Horace Silver’s Doodlin’ and Nica’s Dream, as well as a haunting rendition of evergreen My Favourite Things.

Originally from the scenic shores of Cape Town, Mitchell has been living in Hong Kong for the past 10 years. She had an undeniable urge to explore an artistic path of unknown proportions, sparking this migration from South Africa to Asia. The move has offered a sense of creative liberation. “Taking that step to leave my comfort zone was one of the best decisions I’ve made,” she recounts fondly.

Growing up a witness to the diverse conditions in South Africa, she came to Asia aspiring to personify the change her father wanted to see for the people of Cape Town. By making a name for herself on new ground, she cultivated her father’s vision and she confidently asserts the importance of his advice, “He really insisted on this, try and reach your highest potential and become the best version of yourself.” And her record is certainly indicative of this mind set.

Mitchell has established herself as a headliner Jazz singer, known for her spontaneous and captivating live performances. Don’t Explain is made up of selections from her live show repertoire. “This is how I wanted to feel and sound. Ultimately, I grew into Jazz because I let it take hold of me.” The record is a time capsule that represents not only the magic of a live performance, but also the culmination of Mitchell’s decade-long experimentation and love affair with Jazz.

Don’t Explain showcases Mitchell’s multidimensional vocals in a variety of musical settings. She is backed by a core rhythmic section that she has worked with over the years made up of New York Jazz pianist Bob Mocarsky, Hong Kong veteran Rudy Balbuena on upright bass, and drummer Gary Da Silva, who is also Mitchell’s husband and the record’s Executive Producer. The album also features a number of guest artists, including Australian sax star Blaine Whittaker, Los Angeles pianist Bobby West (Ray Charles, Marvin Gaye), Australian trumpeter Toby Mak, Hong Kong producer and guitarist Tommy Ho, LA tenor saxophonist Albert Wing and Brazilian saxophonist Paulo Levi. Mitchell sweetly praises her colleagues, “Each musician has given a piece of themselves.”

Don’t Explain is just the beginning of Mitchell’s recording career. She says, “I come from such a wide range of musical interests. I hope to explore and continue to grow in new directions.”

Don't Explain

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Brother Jack McDuff - Anthology

Size: 172,9 MB
Time: 74:26
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Funk/Soul
Art: Front

01. Butter (For Yo' Popcorn) ( 4:04)
02. Down Home Style ( 5:02)
03. Flat Backin' (10:19)
04. Oblighetto ( 6:32)
05. The Vibrator ( 4:45)
06. Memphis In June ( 4:13)
07. Moon Rappin' ( 6:18)
08. Theme From Electric Surfboard ( 3:30)
09. It's All A Joke ( 3:49)
10. Groovin' (On A Sunday Afternoon) ( 5:14)
11. Made In Sweden ( 7:33)
12. As She Walked Away ( 7:59)
13. Loose Foot ( 5:02)

A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest. They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. ~Biography by Bob Porter

Anthology

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Spencer Day - Daybreak

Size: 76,4 MB
Time: 32:49
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Rock/Pop Vocals
Art: Front

01. Missing Tonight (3:30)
02. Naturally (2:37)
03. These Boots Are Made For Walkin' (2:57)
04. Don't Let Me In (3:53)
05. Never My Love (2:57)
06. Wait Till I Get You Alone (3:26)
07. Groovin' (3:29)
08. Bad Moon Rising (3:27)
09. World Without Love (3:27)
10. You Don't Know You're Lonely (3:02)

Far more than a crooner, vocal artist Spencer Day is cutting a unique path as one of the top vocal artists in the country! ~Brent Black / criticaljazz.com

Spencer Day does an new school riff on classic music from the 60's with the release of Daybreak. A sweeping generalization would be Day fits in with Harry Connick, Michael Buble, Michael Feinstein bunch. Nice...yet artistic comparisons in this case are grossly unfair as Day is charting his own unique course down the harmonic road less traveled.

Daybreak is a well conceived and magnificently executed gem divided into two equal parts. Five somewhat eclectic covers from the 60's and five solid originals that match up to the vibe perfectly. A couple of thoughts on why Daybreak works so well would start with the arrangements. When considering the work of song stylist Spencer Day, a respectable cover of "These Boots Are Made For Walking" would seem to be the equivalent of pulling a lyrical rabbit out of the hat. The arrangements make the Nancy Sinatra hit work along with other favorites such as "Bad Moon Rising" and "World Without Love" from Lennon and McCartney. The first single would be the original "Missing Tonight" which has the deceptively subtle feel of a song destined for the Great American Songbook.

Spencer Day has a voice that is clean, neat and with a slight smoky finish. The horns add a pop of color and texture. While still early in what is destined to be a stellar career, Day has managed to find the ability to crawl inside a lyric and make it his own. Spencer Day does not sing the words, he makes the music. ~by Brent Black

Personnel: Spencer Day: Keyboards & Vocals; Erik Kertes: Bass, Multi Instrumentalist; Matt Mayhall: Drums, Tympani, Percussion; Brett Farkas: Electric and Acoustic Guitar; John Storie: Electric and Acoustic Guitar; Jeremy Levy: Trombone; Alex Budman: Saxophone; Alan Chang: Piano and Organ; Jamie Hovorka: Trumpet; Paul Cartwright: Violin; Cliff Goldmacher: Uulele: Rayna Dae: Vocals; Kathleen Grace: Vocals.

Daybreak

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Bennett B - Groove Time

Size: 87,7 MB
Time: 37:32
File: MP3 @ 320K/s
Released: 2014
Styles: Smooth Jazz
Art: Front

01. Tell Me About It (4:03)
02. Slipstream (3:53)
03. Show Your Love (3:57)
04. Get On Up! (3:27)
05. When I Look In Your Eyes (3:26)
06. Now And Again (4:43)
07. Between Rivers (3:18)
08. Above The Clouds (3:25)
09. Groove Time (3:29)
10. In My Mind (3:46)

For those who may not know, Bennett B (aka Bennett Brandeis) is a four-time recipient of ASCAP’s Popular Music Award and is listed in the Who’s Who World of Jazz. Now, with that brief Bennett B CDintro, allow me to delve into the artist’s latest activity – a cool and often funky offering featuring some of today’s best known artists in accompaniment.

The album is called Groove Time and features the renowned guitarist Paul Brown (who also produced and mixed this effort), saxman Elan Trotman, trumpeter Greg Adams, and the late great drummer Ricky Lawson.

The album has that cool, confident Paul Brown production feel to it while Brandeis exhibits his own storytelling style on guitar.

Several tunes warrant you paying close attention to this one. From the funky mid-tempo tunes like the lead track “Tell Me About It,” “Get On Up,” the up-tempo title track, and the light-funky “Above the Clouds” to the smooth and steady hook-rich “Show Your Love” to the more laid-back tracks like “When I Look in Your Eyes,” “Now and Again,” and “In My Mind,” you get your ear’s worth on this one.

Listening to Brandeis’ style almost conjures up a cross between Paul Brown on the electric guitar pieces and Ken Navarro and Jim Adkins on the acoustic tracks. His tunes are both colorful and modest, flaunting confidence yet subtleness, all at the same time. A treat for those who like their jazz somewhat unassuming but very present. Give this one a listen. Something is bound to be here for you. – Ronald Jackson

Groove Time

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Bob Barnard & Ralph Sutton - The Joint Is Jumpin': The Music Of Fats Waller

Bitrate: 320K/s

Time: 56:43

Size: 129.9 MB

Styles: Cornet & piano jazz

Year: 2003

Art: Front

[3:18] 1. The Joint Is Jumpin'

[3:54] 2. I've Got A Feeling I'm Falling

[3:36] 3. Black And Blue

[3:46] 4. I'm Crazy 'bout My Baby

[3:50] 5. Blue Turning Grey Over You

[4:45] 6. Up Jumped You With Love

[4:44] 7. Keeping Out Of Mischief Now

[4:28] 8. Dream Man

[4:52] 9. Squeeze Me

[4:05] 10. You Meet The Nicest People In Your Dreams

[2:31] 11. Sweet And Slow

[3:47] 12. It's A Sin To Tell A Lie

[5:06] 13. I'm Always In The Mood For You

[3:53] 14. I Used To Love You

The music of Fats Waller never sounds old and dated, especially when in the hands of the two masters who share top billing on this album. Australian cornetist Bob Barnard, who made his first solo album in 1952, and American Ralph Sutton, one of the last geniuses of the stride piano, renew their acquaintance with this release. The term "music" is used broadly to mean not only pieces written by Waller but also others' compositions that Waller had in his vast repertoire, some of which were virtually Waller's personal property, such as "You Meet the Nicest People in Your Dreams." Included is "It's a Sin to Tell a Lie," which Waller did with a tongue-in-cheek, don't-you-really-believe-it demeanor. The double-entendre "Sweet and Slow" was a Waller favorite, and one that Sutton has recorded elsewhere. In addition to the house rhythm section of Ed Gaston on bass and Len Barnard on drums, guests arrive on some tracks to help move things along. Don Burrows, with many albums of his own under his belt, does his clarinet thing on such cuts as "Up Jumped You With Love" and "I'm Crazy About My Baby." On the former, he ad libs over Barnard's enunciation of the melody line before taking a chorus of his own. Another Australian clarinet player of note, John McCarthy joins in on a slow drag version of "Squeeze Me." An album highlight is "Blue Turning Grey Over You," the only track where it's just Sutton and Barnard. About 100 years of jazz performing experience are on exhibit here, and you hear every year in every note. Highly recommended for Waller fans in particular and lovers of any jazz style played by consummate artists. ~Dave Nathan

The Joint Is Jumpin': The Music Of Fats Waller

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James Clay - Tenorman: The Kid From Dallas

Bitrate: 320K/s
Time: 66:35
Size: 152.5 MB
Styles: Hard bop
Year: 1956/2011
Art: Front

[3:28] 1. In A Sentimental Mood
[4:36] 2. The Devil And The Deep Blue Sea
[4:30] 3. Easy Living
[4:31] 4. Minor Meeting
[3:40] 5. Airtight
[4:46] 6. Willow Weep From Me
[4:27] 7. Three Fingers North
[4:12] 8. Lover Man
[4:16] 9. Marbles
[2:41] 10. It's Alright With Me
[5:29] 11. Scrapple From The Apple
[6:15] 12. Out Of The Blue
[5:31] 13. Sandu
[8:07] 14. Cheek To Cheek

In the summer of 1956 James Clay was a 20-year-old tenor saxophonist from Dallas, who had been living and playing in Los Angeles since mid-1955. At that time his colleagues were all young and independent experimentalists, completely outside of the flourishing West Coast jazz movement – players like trumpeter Don Cherry, bassist Billy Higgins, and altoist Ornette Coleman – and though he said he was not an outside player, he worked easily within the unconventional settings of Coleman’s compositions.

Paradoxically, however, his only recordings were straight ahead, not at all in line with Ornette’s controversial music. On them his ideas flow melodically, especially in ballads and mid-tempos. On faster tunes, his blowing statements come from the strong swinging style and hot tone that characterized other Texas tenors such as Illinois Jacquet and Arnett Cobb, with a hard-bop approach clearly influenced by his idol Sonny Rollins. This CD contains all James Clay studio performances on tenor sax while the young kid from Dallas was living in Los Angeles in the mid Fifties.

Track #1: James Clay (ts), Bobby Timmons (p), Jimmy Bond (b) and Peter Littman. Recorded at Forum Theatre, Los Angeles, on July 25, 1956.
Tracks #2-9: James Clay (ts & fl), Sonny Clark (p), Jimmy Bond (b) and Lawrence Marable (d). Recorded at Capitol Recording Studios, Hollywood, on August 4, 1956.

Tenorman: The Kid From Dallas

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Monica Worth - Never Let Me Go

Bitrate: 320K/s

Time: 53:58

Size: 123.5 MB

Styles: Vocal

Year: 2010

Art: Front

[3:26] 1. Shall We Dance

[6:13] 2. Lazy Afternoon

[6:14] 3. You Must Believe In Spring

[5:45] 4. I'm Going Out Of My Head For You

[4:30] 5. Hello Young Lovers

[5:09] 6. Never Let Me Go

[3:00] 7. I'll Be Seeing You

[4:55] 8. I'm Old Fashioned

[5:23] 9. Overjoyed

[3:51] 10. I'm In The Mood For Love

[5:25] 11. It Never Entered My Mind

The CD package describes Monica Worth as “a rich, throaty alto with echoes of Rosemary Clooney and Morganna [sic] King.” It is a claim that raises an interesting question. Can a singer simultaneously evoke both Ms. Clooney’s earthy directness and Ms. King’s highly stylized abstractions? The answer, of course, is no. While the influence of Ms. King’s esoteric approach to jazz singing is evident, the use of Ms. Clooney’s name appears to be a marketing ploy.

Ms. Worth’s singing sounds like the product of both too much and too little voice training. She projects her vocal tone with a good deal of the formality of a classical singer but without any of a classical singer’s discipline. Ms. Worth’s intonation and time feel are more than occasionally problematic. She also appears to have difficulty moving between her head and chest voices. Ms. Worth tries to sing too many of these ballads in her upper register where her control over pitch and dynamics is less secure. Only on “Never Let Me Go” and a nicely done “Overjoyed,” both sung in her comfortable middle register, does Ms. Worth manage to communicate actual emotion. Special mention should also be made of the voice & bass passages of an otherwise overdone “I’m Going Out of My Head Over You.”

The rhythm section is outstanding as are the beautiful and subtle string arrangements by Larry Willis. Mapleshade has also once again done a masterful job with their live-to-two-track analog recording process. ~Mathew Bahl

Monica Worth: vocals; Larry Willis: piano; Keter Betts: bass; Jimmy Cobb: drums; Janice Martin: violin; Rick Schmidt: violin; George Olson: viola; Bruno Nasta: viola; Nat Chaitlein: cello; Steve Novosel: bass.

Never Let Me Go

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Jay McShann - If You Need Me

Bitrate: 320K/s
Time: 77:19
Size: 177.0 MB
Styles: Piano jazz
Year: 2013
Art: Front

[3:53] 1. Lady Be Good
[6:24] 2. Blue And Sentimental
[4:11] 3. Jay's Boogie Woogie
[5:19] 4. Memories Of You
[6:24] 5. Moten Swing
[2:48] 6. Duke And The Brute
[4:26] 7. Hootie's Ignorant Oil
[4:25] 8. Tenderly
[4:40] 9. Say Forward, I'll March
[2:51] 10. Nasty Attitude
[6:06] 11. Hootie's In Hutchinson
[2:43] 12. Reach
[5:50] 13. Slow Drag Blues
[3:59] 14. Four Day Rider
[4:16] 15. You Can Depend On Me
[6:08] 16. Doggin' Around
[2:50] 17. Confessin' The Blues

The great veteran pianist Jay McShann (also known as Hootie) enjoyed a long career and it is unfair to primarily think of him as merely the leader of an orchestra that featured a young Charlie Parker. He was mostly self-taught as a pianist, worked with Don Byas as early as 1931 and played throughout the Midwest before settling in Kansas City in 1936. McShann formed his own sextet the following year and by 1939 had his own big band. In 1940 at a radio station in Wichita, KS, McShann and an octet out of his orchestra recorded eight songs that were not released commercially until the 1970s; those rank among the earliest of all Charlie Parker records (he is brilliant on "Honeysuckle Rose" and "Lady Be Good") and also feature the strong rhythm section team McShann had with bassist Gene Ramey and drummer Gus Johnson. The full orchestra recorded for Decca on two occasions during 1941-1942 but they were typecast as a blues band and did not get to record many of their more challenging charts (although very rare broadcasts have since surfaced and been released on CD by Vintage Jazz Classics). In addition to Bird (who had a few short solos), the main stars were trumpeter Bernard Anderson, the rhythm section, and singer Walter Brown. McShann and his band arrived in New York in February 1942 and made a strong impression, but World War II made it difficult for any new orchestras to catch on. There was a final session in December 1943 without Parker, but McShann was soon drafted and the band broke up. After being discharged later in 1944, McShann briefly re-formed his group but soon moved to Los Angeles, where he led combos for the next few years; his main attraction was the young singer Jimmy Witherspoon.

McShann was in obscurity for the next two decades, making few records and mostly playing in Kansas City. In 1969 he was rediscovered and McShann (who had first sung on records in 1966) was soon a popular pianist/vocalist. Sometimes featuring violinist Claude Williams, he toured constantly, recorded frequently, and appeared at many jazz festivals, being active into the mid-'90s. Jay McShann, who recorded through the years for Onyx (the 1940 radio transcriptions), Decca, Capitol, Aladdin, Mercury, Black Lion, EmArcy, Vee Jay, Black & Blue, Master Jazz, Sackville, Sonet, Storyville, Atlantic, Swingtime, and Music Masters among others, was a vital pianist and an effective blues vocalist who keept a classic style alive. A live album, Hootie Blues, recorded in 2001 in Toronto and released in 2006 by Stony Plain, showed that McShann could still bring it at the age of 85. He died at the age of 90 on December 7, 2006. ~bio by Scott Yanow

If You Need Me

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Kelley Johnson - Home

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 60:03
Size: 137,9 MB
Art: Front

(4:55)  1. Should've Been
(4:24)  2. Be Careful, It's My Heart
(5:04)  3. Home
(4:59)  4. The Sweetest Sounds
(7:52)  5. Wouldn't It Be Loverly - Living Room
(4:22)  6. A Lovely Night
(6:32)  7. Moon River
(2:57)  8. (Looking at the World Through) Rose Colored Glasses
(5:06)  9. From Here - Where Do You Start
(4:52) 10. For An Hour
(3:25) 11. Love Walked In
(5:28) 12. Even You and I

Kelley Johnson is a veteran vocalist with an expressive alto who is willing to give a fresh sound to familiar songs while also tackling overlooked gems. Utilizing two different pianists including the brilliant Geoff Keezer (who has been very effective with singers) and the underrated John Hansen, two different bassists (Nathan Peck or Paul Gabrielson), and three drummers (Matt Jorgenseen, Jon Wikan, and Julian MacDonough), plus brass and reedman Jay Thomas as a guest on three tracks, Johnson has put together a delightful set. 

Her own arrangement of Abbey Lincoln's infrequently performed "Should've Been" has shades of Carmen McRae, while her medley of the show tune "Wouldn't It Be Loverly" (from My Fair Lady) and Lincoln's "Living Room" is very playful. "Moon River" has been recorded so often that it is in danger of overexposure, though the colorful backgrounds arranged by Wikan and Ingrid Jensen bring new life to this old chestnut. Johnson also proves her merit as a songwriter, penning or co-writing three songs, highlighted by her expressive, bluesy "Home." ~ Ken Dryden   

http://www.allmusic.com/album/home-mw0000793637

Personnel: Jay "Bird" Thomas (horns); John Hansen (piano); Matt Jorgensen, Jon Wikan (drums); Kelley Johnson (Vocal)

Home

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Jody Sandhaus & Pete Malinverni - Afterglow

Styles: Vocal And Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 50:27
Size: 115,8 MB
Art: Front

(6:29)  1. Isn't It a Pity?
(5:13)  2. Afterglow/In The Days Of Our Love
(3:44)  3. Love Is a Necessary Evil
(5:34)  4. I Never Meant To Hurt You
(3:38)  5. It's April Again
(3:59)  6. I'd Like To Hate Myself in The Morning
(4:50)  7. I Don't Know Where To Turn
(3:12)  8. Do You Know Why?
(5:13)  9. I'm In Love Again
(5:30) 10. Love Came On Stealthy Fingers
(2:58) 11. Impossible

Jazz singer Jody Sandhaus and pianist Pete Malinverni set out to record a beautifully intimate album together. No need to light the fire or top off your glass of wine here-just put on the music, relax, and listen. You can, of course, have your favorite drink, but it is not necessary with this selection of songs. The recording is so personal you'll feel as if they are performing in your living room, right there, for you. AFTERGLOW will set you aglow. Different from Ms. Sandhaus' previous three albums done with a trio- Afterglow offers very personal interpretations of some stunning songs. Beautiful arrangements-lyrical improvisations.  http://www.cdbaby.com/cd/sandhaus4 .

Personnel: Jody Sandhaus (vocals); Pete Malinverni (piano).

Afterglow

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Bobby Hackett & Jack Teagarden - Baby, Won't You Please Come Home

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 33:20
Size: 76,7 MB
Art: Front

(3:02)  1. Baby, Won't You Please Come Home
(3:28)  2. Way Down Yonder In New Orleans
(4:38)  3. 55th And Brodway
(2:24)  4. Everybody Loves My Baby
(2:55)  5. Indiana (Back Home Again in Indiana)
(2:26)  6. Oh Baby
(2:41)  7. 'S Wonderful
(3:56)  8. It's Wonderful
(2:42)  9. Mama's Gone, Good Bye
(2:25) 10. Sunday
(2:39) 11. I Found a New Baby

One of the classic giants of jazz, Jack Teagarden was not only the top pre-bop trombonist (playing his instrument with the ease of a trumpeter) but one of the best jazz singers too. He was such a fine musician that younger brother Charlie (an excellent trumpeter) was always overshadowed. Jack started on piano at age five (his mother Helen was a ragtime pianist), switched to baritone horn, and finally took up trombone when he was ten. Teagarden worked in the Southwest in a variety of territory bands (most notably with the legendary pianist Peck Kelley) and then caused a sensation when he came to New York in 1928. His daring solos with Ben Pollack caused Glenn Miller to de-emphasize his own playing with the band, and during the late-'20s/early Depression era, "Mr. T." recorded frequently with many groups including units headed by Roger Wolfe Kahn, Eddie Condon, Red Nichols, and Louis Armstrong ("Knockin' a Jug"). 

His versions of "Basin Street Blues" and "Beale Street Blues" (songs that would remain in his repertoire for the remainder of his career) were definitive. Teagarden, who was greatly admired by Tommy Dorsey, would have been a logical candidate for fame in the swing era but he made a strategic error. In late 1933, when it looked as if jazz would never catch on commercially, he signed a five-year contract with Paul Whiteman. Although Whiteman's Orchestra did feature Teagarden now and then (and he had a brief period in 1936 playing with a small group from the band, the Three T's, with his brother Charlie and Frankie Trumbauer), the contract effectively kept Teagarden from going out on his own and becoming a star. It certainly prevented him from leading what would eventually became the Bob Crosby Orchestra. In 1939, Jack Teagarden was finally "free" and he soon put together a big band that would last until 1946. However, it was rather late to be organizing a new orchestra (the competition was fierce) and, although there were some good musical moments, none of the sidemen became famous, the arrangements lacked their own musical personality, and by the time it broke up Teagarden was facing bankruptcy. 

The trombonist, however, was still a big name (he had fared quite well in the 1940 Bing Crosby film The Birth of the Blues) and he had many friends. Crosby helped Teagarden straighten out his financial problems, and from 1947-1951 he was a star sideman with Louis Armstrong's All-Stars; their collaborations on "Rocking Chair" are classic. After leaving Armstrong, Teagarden was a leader of a steadily working sextet throughout the remainder of his career, playing Dixieland with such talented musicians as brother Charlie, trumpeters Jimmy McPartland, Don Goldie, Max Kaminsky, and (during a 1957 European tour) pianist Earl Hines. Teagarden toured the Far East during 1958-1959, teamed up one last time with Eddie Condon for a television show/recording session in 1961, and had a heartwarming (and fortunately recorded) musical reunion with Charlie, sister/pianist Norma, and his mother at the 1963 Monterey Jazz Festival. He died from a heart attack four months later and has yet to be replaced.   https://itunes.apple.com/us/artist/jack-teagarden/id279808#fullText

Baby, Won't You Please Come Home

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Buddy Greco - Big Band & Ballads

Size: 75,4 MB
Time: 31:59
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz/Pop Vocals, Big Band
Art: Front

01. Wild Is Love (1:59)
02. It's A Beautiful Evening (3:24)
03. Girl Talk (3:16)
04. I'll Only Miss Her When I Think Of Her (3:35)
05. Watch What Happens (3:21)
06. What Did I Have The I Don't Have (3:24)
07. Love (3:12)
08. Funny (3:17)
09. Once Upon A Summertime (La Valse De Lilas) (2:52)
10. The More I See You (3:35)

Buddy Greco (born Armando Greco on August 14, 1926 in Philadelphia, Pennsylvania) is an American singer and pianist.

Greco began playing piano at the age of four. His first professional work was playing with Benny Goodman’s band.

Most of Greco’s work has been in the jazz and pop genres. He has had hits such as “Oh Look At Her Ain’t She Pretty”, “The Lady is a Tramp”, and “Around the World”. He has recorded about 65 albums and 100 singles. He has had an active concert career playing in symphony halls, theatres, nightclubs, and Las Vegas showrooms (in the 1960s he made appearances with the Rat Pack). On screen, he had a memorable turn as the nightclub singer Lucky in the 1969 film The Girl Who Knew Too Much.

Buddy Greco recently closed his club in Cathedral City, California.

Big Band & Ballads

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Brian Charette - Square One / The Question That Drives Us

Album: Square One
Size: 106,4 MB
Time: 45:31
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Post-Bop
Art: Front

01. Aaight! (3:18)
02. If (3:53)
03. Three For Martina (3:48)
04. People On Trains (4:43)
05. True Love (4:44)
06. Ease Back (4:03)
07. Time Changes (4:12)
08. A Fantasy (3:22)
09. Yei Fei (4:22)
10. Things You Don't Mean (5:12)
11. Ten Bars For Eddie Harris (3:50)

With the exception of John Medeski, there are aren’t a whole lot of Hammond B3 players as imaginative as Brian Charette. And even Medeski didn’t come up with the idea to put his B3 alongside a four-part horn section like Charette did a couple of years back. Charette follows up that the uncommonly exciting Music for Organ Sextette with the much more common organ-guitar-drums getup for Square One (March 18, 2014), his first for the well-regarded Posi-Tone label.

Scaling back his combo doesn’t necessarily equate to scaling back on ambitions, however. Charette is plenty talented enough to have modeled this record after Jimmy McGriff or Jack McDuff and it would have certainly gotten a warm reception from jazzbos. But the former Joni Mitchell and Lou Donaldson sideman just can’t settle for the easy route. That’s why any grease found on Square One is just one of many elements he pours into this record.

“Aaight!” has a groovy funky vibe alternating with swing. Charette plays it tough during the funky parts and his guitar player Yotam Silberstein plays it nice ‘n’ breezy during the swinging parts. Charette integrates harmony into rhythm for “Yei Fei,” with drummer Mark Ferber inserting complex wrinkles into the rhythm, but Ferber makes it seem easy. The quick-paced “Ten Bars for Eddie Harris” sizzles and bristling with highlights, like Silberstein’s fuzzy toned lead lines, Charette’s typical organ burns and the song coming to a standstill for Ferber’s showstopping, spirited drum solo.

Charette picks the sleeper cut “If” from Larry Young’s Unity, featuring tasty licks by Silberstein and Charette making plain that Young is a major influence of his. Charette’s own “Time Changes” is remindful of “If,” full of interesting chord and tempo changes. The one other cover is the early Meters tune “Ease Back,” where Silberstein’s clipped notes and psychedelic sound evoke that vintage Big Easy funk feel without mimicking it.

Though not credited, background synthesizer sounds (from producer Marc Free) can be heard on four of the tracks, an odd juxtaposition with the vintage vibe coming from an organ trio but Charette isn’t afraid to take chances. It works best on “A Fantasy,” a choice slice of stormy rock-soul fusion jazz played in 7/4 time.

Brian Charette goes back to Square One but he doesn’t land on the rote or mundane. This is bound to be one of the more adventurous, eccentric and — ultimately — satisfying organ trio releases of the year.

Square One

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Album: The Question That Drives Us
Size: 141,9 MB
Time: 61:58
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Post-Bop
Art: Front

01. Blazinec (6:53)
02. The Question That Drives Us (4:49)
03. Medium/Up (4:24)
04. Answer Me (4:16)
05. Labor Day (6:27)
06. Svichkova (6:35)
07. 5Th Base (6:47)
08. #9 (5:55)
09. Denge Marenge (5:10)
10. I Came So Far To See You (3:37)
11. Moose The Mooche (7:01)

The second release by organist Brian Charette's unique, reed-based sextet, which features the tenor saxophonist Joel Frahm and clarinettist John Ellis. They perform a set of all original compositions by Charette, plus a version of "Moose the Mooche" by Charlie Parker.

Brian Charette's Organ Sextet released their first album 'Music for Organ Sextette' in 2012 to critical and public acclaim. Dan Bilawsky noted in All About Jazz: "Charette weaves a unique and gripping aural tapestry together with a mélange of woodwinds serving as the thread. He channels his energy into creating constructs that benefit from the blending of multiple voices...Music For Organ Sextette is an anomaly in the world of organ-centric jazz...Charette challenges the status quo with this one and winds up the victor in every way."

Personnel: Brian Charette (Hammond B3 organ), Itai Kriss (flute), Mike Dirubbo (alto saxophone), Joel Frahm (tenor saxophone), John Ellis (bass clarinet), Jochen Rueckert (drums)

The Question That Drives Us

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Clarice Assad - Imaginarium

Size: 89,1 MB
Time: 37:57
File: MP3 @ 320K/s
Released: 2014
Styles: MPB, Brazilian Jazz, World
Art: Front

01. De Perna Pro Ar (4:27)
02. Passaros (3:34)
03. Tempestade (2:52)
04. Fantasia (3:52)
05. Da Imaginaçao (4:28)
06. Perto Do Luar (3:53)
07. Revolta Das Flores (3:39)
08. A Morte Da Flor (3:49)
09. Lachrimae (1:23)
10. Why (2:54)
11. Dedezinha De Maio (3:00)

The release of Clarice Assad’s Imaginarium puts her in contention for some major recognition, for with this recording, Ms. Assad has created a veritable museum of music; a cultural cornucopia—with Brasil at the centre of this spectacular universe. Ms. Assad is one of those musicians who have their fingers on the pulse of the science and the mysticism of art all at once. Moreover, being made almost entirely of music she appears to see and hear things almost in their entirety. And not only that, Ms. Assad also hears the music that she is going to write in its finest detail. The result is writing and producing music that is almost pre-written in her head. And because she is so sophisticated; so well-schooled and such a complete musician the results are—especially here—like certain classical composers and musicians: completely perfect. Traversing through this album is like walking through a museum of life, but a completely imagined one—an Imaginarium. The tour takes place in three dimensions—and a fourth and spectral one as well. However all of the music is almost palpable so that even the hidden, spectral ones, pierce the heart and soul and the mind’s mind as if it were the music of the deepest desires of the subconscious, calculated to draw in the soul of every one beguiled by its utterly spectacular beauty.

Clarice Assad is not a vocalist; she is more than that: a griot who having absorbed the history of the world as described by music now sings it, while accompanying herself on the piano or celeste. Like some supernatural being she can entertain and heal with her music as well. While her vocalastics do not subscribe to any order or system of defined pitch, her singing is, nevertheless, beautiful and attractive and touches the soul of the listener with its suggestion of a falling brook, its dramatic glissandos and sudden leaps that cut through the air like great arcs of musical fire, searing the mind with impressions of their memorability. Her pianism is both melodic and rhythmic, and rocks and sways with the pulsating life of Brasil. But it is the whole of her music that mesmerises. Its imagery is replete with the idiom of Brasilian life played by such a myriad of instruments that augment the voice that it is almost mind-boggling how such disparate elements can be forged into something so ineffably perfect. Mighty indeed is her voice and so singular that there is nothing to compare with it. This voice that permeates all of her musicianship and defines her repertoire that is here, vast and varied. Ms. Assad also functions as a consummate arranger, conductor and producer of her own music creating such daredevil feats as melding rap and soaring voices and strings with her earthy Brasilian fare.

The list of performers includes the soprano Melody Moore (“A Morte da Flor”), the great violinist Nadja Salerno-Sonnenberg (“A Morte da Flor” and the soaring, but elementally melancholic “Lachrimae”) as well as mandolinist Mike Marshall (“Fantasia”), guitarist extraordinaire Romero Lubambo on the breathtaking “Da Imaginação” and the marvelous Luciana Souza (“Perto do Luar”) and a discovery of sorts, vocalist Arooj Aftab (“Tempestade”). Many more stellar performances inform the beauty of this album, but the marquee belongs to Clarice Assad. It is usually difficult to predict how careers will turn out but even at her young age, everything she has done so far suggests that Clarice Assad is destined for great things. ~by Raul da Gama

Imaginarium

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Allison Adams Tucker - April In Paris

Size: 94,2 MB
Time: 40:35
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. It Might As Well Be Spring (3:54)
02. La Canzone Dei Vecchi Amanti (La Chanson Des Vieux Amantes) (4:55)
03. Le Temps Du Muguet (Moscow Nights) (3:57)
04. April In Paris (3:21)
05. April Child (Maracatu Nação Do Amor) (6:08)
06. Seasons Of Song (3:59)
07. Here Comes The Sun (4:33)
08. Derradeira Primavera (3:47)
09. You Must Believe In Spring (La Chanson De Maxence) (5:58)

Born in San Diego, California, multi-lingual jazz vocalist Allison Adams Tucker began singing before she could speak. Allison was raised by classically trained musical parents, and began performing in front of audiences at age 5. She studied piano, flute, violin, dance and voice from elementary school and holds a BA in Linguistics / Music Vocal Performance and an AA in Italian. Allison's vocal palette has been colored by her experience in a variety of musical genres throughout her life, from punk rock to Elizabethan a cappella. These experiences led her on a natural and steadfast transition to the world of jazz in 2005.

Allison's love for languages and world cultures also began at a young age, and she has studied and sings in 6 languages besides her own. She has lived in Japan and Spain and has traveled to over 15 countries. This “wanderlust” is evident in the music she chooses today. Her music reflects her passion for world cultures with rhythms, melodies, and lyrics of Brazil, Italy, France, Latin America, Japan, and the US.

Allison's debut CD “Come With Me” (Allegato Music, July 2008), co-produced by jazz guitarist Peter Sprague (Dianne Reeves, David Benoit, Chick Corea, Sergio Mendes) and arranged by Kamau Kenyatta (Gregory Porter, Hubert Laws, Earl Klugh, Patti Austin), received international acclaim, was nominated for Best Jazz Album 2009 by the San Diego Music Awards, and continues to receive airplay on radio stations in 18 countries.

Allison's sophomore CD “April in Paris”, celebrating songs of springtime from around the world, was recorded in Paris on UNESCO's 1st Annual International Jazz Day at the end of a 9-concert tour through Italy & France. Arrangers for this album include Kamau Kenyatta, Danny Green, Emmanuel Massarotti, and Jovino Santos Neto. “April in Paris” is scheduled for release in 2014.

As a session vocalist, Allison's voice can be heard in the video game “The Saboteur” soundtrack singing French jazz in the company of Nina Simone, Ella Fitzgerald, Madeleine Peyroux, & others. This has resulted in a cult following by the typically “non-jazz listening” gamer audience.

As an international artist, Allison has entertained audiences in Japan, Europe, Mexico, and the US, including performances on local and national television, on radio stations, and in festivals and jazz clubs. Allison has shared festival billing and musical collaborations with jazz greats such as Kenny Burrell, Poncho Sanchez, Ivan Lins, Mindy Abair, Pete Escoveda, Sheila E, Tommy Campbell, Gene Jackson, Mirko Guerrini, Toku (Japan Sony Music) and Ken Ota (Japan Universal Jazz), among others.

April In Paris

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Brian Lynch Quartet - Keep Your Circle Small

Bitrate: 320K/s
Time: 57:03
Size: 130.6 MB
Styles: Trumpet jazz
Year: 1996
Art: Front

[7:29] 1. I'm Getting Sentimental Over You
[6:39] 2. Bolero De Sata
[6:25] 3. Chippin' In
[5:02] 4. Keep Your Circle Small
[6:56] 5. My Old Flame
[5:37] 6. The Trifle
[5:15] 7. Silent Conversation
[6:04] 8. Straight Street
[7:32] 9. Blues For Duane

Trumpeter Brian Lynch helped to kick off the brand new Sharp Nine label in 1995 with the release of this stunning CD. Familiar to jazz devotees for his work with Art Blakey, and also Phil Woods, Lynch is accompanied by pianist David Hazeltine, bassist Peter Washington, and veteran drummer Louis Hayes. His confidence is apparent in a lively arrangement of "I'm Getting Sentimental Over You," while he captures the bittersweet essence of "My Old Flame" without needing a vocalist. Hayes helps power Lynch through a brisk reading of John Coltrane's infrequently performed "Straight Street." He plays both muted and open horn in the attractive samba "Bolero de Sata." Lynch also contributed four strong originals, including the tense post-bop vehicle "The Trifle," showcasing some fine unison playing and chases between the leader and the pianist, as well as a brilliant solo by Hayes. This engaging release will especially appeal to hard bop fans. ~ Ken Dryden

Brian Lynch – trumpet; David Hazeltine – piano; Peter Washington – bass; Louis Hayes – drums.

Keep Your Circle Small

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Shelby Lynne - Just A Little Lovin'

Bitrate: 320K/s
Time: 38:53
Size: 89.0 MB
Styles: Adult contemporary, Contemporary country
Year: 2008
Art: Front

[5:17] 1. Just A Little Lovin'
[3:32] 2. Anyone Who Had A Heart
[4:10] 3. You Don't Have To Say You Love Me
[3:50] 4. I Only Want To Be With You
[3:20] 5. The Look Of Love
[3:20] 6. Breakfast In Bed
[4:07] 7. Willie And Lauramae Jones
[4:35] 8. I Don't Want To Hear It Anymore
[3:06] 9. Pretend
[3:33] 10. How Can I Be Sure

Shelby Lynne has followed her own sometimes reckless, always adventuresome muse throughout her career. Just a Little Lovin' is her personal homage to the late, legendary Dusty Springfield. Nine of its ten cuts are inextricably linked to the late British vocalist whose sway Lynne came under years ago, but a chance conversation with Barry Manilow -- of all people -- led to the making of this record. Lynne doesn't attempt to sound like Springfield. She uses her own phrasing and rhythmic sensibility. Four cuts here come from the Dusty in Memphis period, as well as the title track to The Look of Love and some of her mid-'60s British hits that were not released in America. All these songs, with the exception of the self-penned "Pretend," were recorded by Springfield. The album was recorded in the Capitol Records studio with Frank Sinatra's microphone and producer Phil Ramone. Lynne's aesthetic sense serves her well: most singers automatically shoot for "Son of a Preacher Man," but Lynne steers clear. She does, however, tackle some truly monolithic Springfield hits: "Just a Little Lovin'," "Breakfast in Bed," "Willie and Laura Mae Jones," and "I Don't Want to Hear It Anymore." Lynne's readings are close, intimate. They're understated but more direct. Ramone used a small quartet in guitarist Dean Parks, keyboardist Rob Mathes, drummer Gregg Field, and bassist Kevin Axt to give her that edge. Lynne's delivery takes these songs straight to the listener's belly. The taut but easy sensuality in her voice adds a very different dimension to them.

When she gets to the in-the-pocket feel of "Breakfast in Bed," she comes at the tune's subject with an up-front sexual expression -- Springfield's trademark vulnerability is willfully absent. A Rhodes and Parks' guitar give her plenty of room to pour out the lyric. "Willie and Laura Mae Jones" has a rough, swampy earthiness; Lynne adds her guitar to its sparse, slow growl. Springfield recorded this tome about interracial love when the subject was taboo in America. She made it palatable with her innocent delivery. Lynne gets at Tony Joe White's lyric with a bluesy toughness expressing incredulity toward injustice. Randy Newman's "I Don't Want to Hear It Anymore" carries inside it the trace of both Lynne's Southern homeland and her adopted West Coast residency. She can tell this heartbreaking tale as if it were her own while uncannily recalling Springfield's empathy. Signature Springfield pieces such as "I Only Want to Be with You" are astonishing for their contrast. The bubbly, poppy original version is slowed here; it offers the impression of genuine surprise by an unsuspecting protagonist. The jazzy piano and Parks' lush guitar lines entwine perfectly. Springfield's version of "The Look of Love" has remained unchallenged for more than 40 years. Lynne doesn't even try. Instead she offers tribute. It's not as sultry as the original was, but feels honest and hungry in stripping off the lyric's mask with her voice. "How Can I Be Sure" by the Rascals -- cut as a British-only single by Springfield -- is startling: Lynne sings it accompanied only by Parks' guitar. It's a radical but fitting closer. Just a Little Lovin' is the finest tribute Springfield has ever received on tape. That such a fine singer and songwriter interpreted her in such an empathic and sophisticated manner is respect personified. Ramone's care with the project is, as usual, celebratory. The multidimensional persona Lynne usually displays on her records is still here in spades. Her diversity, confidence, and wide-ranging ability are the standard to aspire to. ~Thom Jurek

Just A Little Lovin'

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Phineas Newborn Jr. Trio - Piano Portraits

Bitrate: 320K/s

Time: 70:45

Size: 162.0 MB

Styles: Piano jazz

Year: 2011

Art: Front

[2:57] 1. Star Eyes

[3:20] 2. Golden Earrings

[3:56] 3. It's All Right With Me

[3:55] 4. I Can't Get Started With You

[3:33] 5. Sweet And Lovely

[2:24] 6. Just In Time

[3:41] 7. Caravan

[4:14] 8. For All We Know

[4:04] 9. Blues Theme For The Left Hand Only

[3:44] 10. Chelsea Bridge

[2:40] 11. Take The A Train

[3:03] 12. Gee Baby Ain't I Good To You

[3:54] 13. Ain't Misbehavin'

[3:26] 14. I've Got The World On A String

[4:02] 15. The Midnight Sun Will Never Set

[2:11] 16. Real Gone Guy

[3:38] 17. Undecided

[3:45] 18. Ivy League Blues

[4:00] 19. Love And Marriage

[4:11] 20. Give Me The Simple Life

Phineas Newborn’s warm, sensitive and impressionist playing is at its perceptive best in these outstanding examples of jazz piano. Uncluttered and supported by his remarkable technical ability, his ideas are in full flow, developing in sustained melodic lines, rather than relying on simple rhythmic patterns for their impact. Consistently subtle and full of emotional depth, the combination makes for a swinging collection of gripping performances by a piano virtuoso. Backed by John Simmons and Roy Haynes, he breathes new excitement into these familiar portraits.

Phineas Newborn Jr. (p), John Simmons (b) and Roy Haynes (d).

Recorded in New York City, June 17 (#1-10), and October 26-29 (#11-20), 1959.

Piano Portraits

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Jennifer Lee - J-Walkin'

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 62:10
Size: 148,6 MB
Art: Front

(3:52)  1. Blue Skies
(6:05)  2. Night And Day
(7:01)  3. I'm Old Fashioned
(4:54)  4. Jaywalkin'
(4:51)  5. Note To My Niece
(5:45)  6. The Inchworm / Inchworm Rap
(4:31)  7. Rosa / Claire De Lune
(6:03)  8. Baltimore Oriole
(6:16)  9. November In The Snow
(4:42) 10. Chega De Saudade
(4:52) 11. Please Don't Talk About Me When I'm Gone
(3:11) 12. Cathy's Song

From the first note of this debut album, one can't help but be smitten with the charm and delivery of this San Francisco-based singer. I would expect that such an effort would be worthy of a jazz chanteuse on the order of Susannah McCorkle or another San Fran singer, Weslia Whitfield. The album was produced by guitarist Peter Sprague, a personal favorite during the late '70s and '80s. I wasn't surprised to find seven Sprague albums in my collection on Xanadu, Concord and Nova. Jennifer Lee is a late-in-life jazz singer who has studied with Kitty Margolis. She is also the house vocalist at the Ritz-Carlton Hotel in San Francisco. As a pianist-vocalist, Lee has put together a good mix of standards, some originals and two Brazilian tunes. What is striking is the warmth and clarity of her voice, reminiscent of the June Christy-Chris Connor school of jazz vocals. 

On three of the tunes the title tune penned by Sprague, "Baltimore Oriole," and "November in the Snow" from Bill Mays/Mark Murphy she scats in perfect unison with her own piano solo, the accordion of Rich Kuhns and the tenor sax of Tripp Sprague. The result is a delightful musical experience that I've only heard from Dena DeRose, another talented pianist-singer. "Note to my Niece," a Lee original, is a latter day "Waltz For Debby." The Brazilian entries, "Chega de Saudade" and the lesser known "Rosa," coupled with Debussy's "Claire de Lune," are both sung effectively in Portugeuse. Frank Loesser's "Inchworm," not heard too frequently these days, is given an interesting reading replete with a spoken word "rap." The session closes with an original instrumental, "Cathy's Song," written for an ailing friend.  The remainder of the album, "Blue Skies," "Night and Day," "I'm Old Fashioned" and "Please Don't Talk About Me When I'm Gone," could have been given a tired presentation inasmuch as they've been heard so often, but Jennifer Lee gives these songs a respectively bright or reflective treatment. 

All of the musicians chosen for this date play an important part ranging from Sprague and Magnusson's support to the fine tenor sax work of brother Tripp Sprague, subtle percussion from Lewis and Aros, and atmospheric accordion work from Kuhns. I don't know when Ms. Lee will be appearing in the NYC area next, but I do hope that I can be there too. ~ Michael P.Gadstone   http://www.allaboutjazz.com/j-walkin-jennifer-lee-review-by-michael-p-gladstone.php#.U4--Hiioqdl
 

Personnel: Jennifer Lee, vocals,piano; Peter Sprague,guitar; Bob Magnusson,bass; Tommy Aros, percussion; Tripp Sprague,tenor sax; Rich Kuhns, accordion; Jason Lewis,drums

J-Walkin'

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