Mose Allison - Ramblin' With Mose Allison

Bitrate: 320K/s
Time: 52:09
Size: 119.4 MB
Styles: Cool jazz, Vocal jazz
Year: 1958/2006
Art: Front

[2:51] 1. I Got A Right To Cry
[5:10] 2. Old Devil Moon
[3:30] 3. The Minstrels
[4:23] 4. You Belong To Me
[5:29] 5. Stranger In Paradise
[4:33] 6. The Kissin' Bug
[3:12] 7. Ramble
[3:56] 8. Saritha
[2:20] 9. Old Man John
[3:03] 10. Ingenue
[5:03] 11. Old Devil Moon (alternate take)
[5:51] 12. Stranger In Paradise (alternate take)
[3:27] 13. Ramble (alternate take)

Mose Allison's Ramblin' with Mose was released in 1958. Other than the opening track, a stellar read of Joe Liggins' blues "I Got a Right to Cry," this is an entirely instrumental album. Bassist Addison Farmer and drummer Ronnie Free accompany the pianist as he rips through "Stranger in Paradise" from the score of Kismet at a tempo that would make the composer dizzy; his "Old Devil Moon," moves through some Latin changes and even rhythmic figures before bringing the tune back to earth, and his own "Ramble" is a scorching back-country blues jaunt that offers some evidence of Allison's mighty left-hand skills. Allison displays absolutely brilliant instrumental prowess as both an arranger and as an improviser. His unique, often unorthodox interpretations of standards and pop songs set him apart from virtually every one of his peers. ~ Thom Jurek

Mose Allison (piano, vocals); Addison Farmer (bass instrument); Ronnie Free (drums).

Ramblin' With Mose Allison

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Barney Kessel - Contemporary Latin Rhythms

Bitrate: 320K/s
Time: 30:25
Size: 69.6 MB
Styles: Guitar jazz
Year: 1963/2005
Art: Front

[2:36] 1. Blues In The Night
[2:27] 2. Days Of Wine And Roses
[2:29] 3. Latin Dance No. 1
[3:28] 4. Lady Byrd
[4:13] 5. One Note Samba
[3:08] 6. The Peanut Vendor
[3:10] 7. Quizas, Quizas, Quizas
[3:44] 8. Everytime I Hear This Song
[2:45] 9. Love
[2:21] 10. Twilight In Acapulco

A wonderful wonderful set from Barney Kessel – bossa-inflected jazz, and a wonderful setting for Barney to hit some very groovy lines on electric guitar! The group on the date is part of the strength of the record – with Conte Candoli on trumpet, Emil Richards on vibes, Paul Horn on flute, and Victor Feldman on piano – with loads of great percussion and guitar interplay on the set, plus some excellent use of flute and vibes – all of which makes for the sort of session that really translates the Brazilian groove into the best sort of sound the LA scene was cutting at the time! Nice, light, and dancing rhythms – and titles that include "Love", "Days Of Wine & Roses", "Latin Dance #1", "Lady Byrd", and "One Note Samba".

Contemporary Latin Rhythms

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Lulu Roman - At Last

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 43:07
Size: 103,0 MB
Art: Front

(2:55)  1. At Last
(4:01)  2. Summertime
(3:51)  3. Get Here
(3:31)  4. Fever
(3:35)  5. You Needed Me
(2:45)  6. In My Life
(3:50)  7. You Don't Know Me
(3:09)  8. 'Til I Can Make It On My Own
(3:49)  9. Killing Me Softly (With His Song)
(3:55) 10. You Are So Beautiful
(3:46) 11. I Will Always Love You
(3:55) 12. Precious Lord, Take My Hand

Hee Haw alum Lulu Roman has a voice as large as her personality. But on At Last, “a collection of standards and classics,” she succeeds by reining it in, interpreting such gems as “At Last” and “Summertime” with a steadiness that belies her boisterous TV years as a cornfield comic. The title track is tailor-made for cocktail hour, while “Killing Me Softly” evokes the tropics with a flamenco flourish. Other selections, however, “You Needed Me” and The Beatles’ “In My Life,” in particular, suffer from karaoke blandness. Fortunately, the appearance of Dolly Parton on “I Will Always Love You” and Lulu’s moving reading of “Precious Lord, Take My Hand” wrap up the project on a note almost as high as her old Hee Haw ’do. ~ Joseph Hudak   http://www.countryweekly.com/reviews/last-lulu-roman

Personnel: Kerry Marx (acoustic guitar, electric guitar); Pamela Sixfin, David Davidson , David Angell (violin); Kristin Wilkinson (viola); John Catchings (cello); Gordon Mote (piano); Tommy Wells (percussion).

At Last

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Jennifer Scott - Mile 41

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 49:41
Size: 115,5 MB
Art: Front

(4:27)  1. Clean Up Your Own Backyard
(4:41)  2. Devon In Yorkshire
(2:52)  3. Just In Time
(5:17)  4. Secret O' Life
(4:32)  5. Whims Of Chambers
(4:53)  6. Do You Know What It Means To Miss New Orleans
(4:30)  7. Armando's Rhumba
(4:55)  8. Case Of You
(5:06)  9. Why Don't You Do Right
(4:31) 10. Hallelujah
(3:51) 11. If I Keep My Heart Out Of Sight

Mile 41, the latest studio recording by one of Canada's finest Jazz singers is very much like a road trip. From straight ahead jazz to the avant garde and calling upon Scott's love and knowlege of funk, pop and blues  this CD represents all that makes this singer truly great. It's like a travelogue through all different regions, or genres, but is made cohesive by the fine musicians who play on this recording. Jennifer Scott has performed with Jazz legends like: Clark Terry, Gene Bertoncini, Don Thompson & Tommy Banks, to name but a few. 

Her selection of material is impeccable here  gems from the Great Canadian Songbook (Case Of You, Hallelujah), bass/vocal duets of instrumental tunes done vocalese-style (Whims Of Chambers, Armando's Rhumba), great standards (Why Don't You Do Right, Just In Time)  even an Elvis tune (Clean Up Your Own Backyard)! Scott proves, once again, that there are few that can improvise with as much melodic and harmonic skill, her reading of a ballad is also a delight. This recording also features multi-reedist/flautist Tom Keenlyside, Rene Worst on Bass and Drummer, Bernie Arai.  http://www.cdbaby.com/cd/jenniferscott6

Mile 41

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Ben Webster & Harry Edison - Complete Sextet Studio Sessions Disc 1 And Disc 2

Styles: Saxophone And Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 75:56 (Disc 1)
Size: 174,6 MB (Disc 1)
Time: 68:48 (Disc 2)
Size: 162,5 MB (Disc 2)
Art: Front

Disc 1

(3:38)  1. Hollering at the Watkins
(6:02)  2. Used To Be Basie
(3:48)  3. How Deep Is The Ocean
(8:13)  4. Studio Call
(4:50)  5. Willow Weep For Me
(5:09)  6. Opus
(3:24)  7. Love Is Here To Stay
(3:35)  8. K.M.Blues
(7:15)  9. Walkin' With Sweets
(7:02) 10. The Night Is Blue
(7:22) 11. Easy On The Eyes
(6:50) 12. Just A Mood
(8:42) 13. Sunrise Blues

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Disc 2

(4:49)  1. Blues For The Blues
(7:37)  2. Blues For Piney Brown
(3:56)  3. Moonlight In Vermont
(7:02)  4. Taste On The Place
(3:31)  5. Gee Baby I Ain't That Good To You
(9:31)  6. Blues For Bill Basie
(6:51)  7. You're Getting To Be A Habit With Me
(5:53)  8. Blues For The Blues
(3:07)  9. Alone Together
(3:37) 10. Willow Weep For Me
(3:27) 11. Bidin My Time
(3:26) 12. Makin Whopee
(2:32) 13. Moon Song
(3:22) 14. Louise

Although they originally became famous for playing with different big bands (trumpeter Harry "Sweets" Edison with Count Basie and tenor saxophonist Ben Webster with Duke Ellington), the two very distinctive swing stylists recorded together frequently in the late 1950s including with Billie Holiday. The music on this two-CD set is drawn from four different record projects from 1956-1957. A pair of Edison-led records, Sweets and Gee Baby, Ain't I Good to You?, are reissued in full. The two horns are joined on the former set by pianist Jimmy Rowles and guitarist Barney Kessel in the rhythm quartet while the latter has the Oscar Peterson Quartet. 

Not too surprisingly, the music is strongly influenced by Count Basie and the emphasis is on basic originals along with occasional standards. Also on this two-fer are the four numbers from Dave Garroway's Some of My Favorites LP that feature the two horns with Rowles and vibraphonist Red Norvo, and the six Woody Herman vocals from Songs for Hip Lovers that also have Edison and Webster. While it would also be desirable to acquire the Garroway and Herman sets in full, this is a generous two-fer that has Webster and Edison playing in prime form throughout. Fun and swinging music.             ~ Scott Yanow  http://www.allmusic.com/album/complete-sextet-studio-sessions-mw0000452794

Personnel:  Ben Webster, tenor sax; Harry Sweets Edison, trumpet; Oscar Peterson, piano; Barney Kessel, guitar; Ray Brown, bass & Alvin Stoller, drums

Complete Sextet Studio Sessions Disc 1

Complete Sextet Studio Sessions Disc 2

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Kenny Davern - Breezin Along

Styles: Clarinet Jazz
Year: 2006
File: MP3@320K/s
Time: 66:20
Size: 152,4 MB
Art: Front

(6:08)  1. Since My Best Gal Turned Me Down
(5:42)  2. Jazz Me Blues
(8:55)  3. Rose Room
(7:45)  4. Dark Eyes
(6:03)  5. Baby, Won't You Please Come Home
(6:58)  6. My Honey's Lovin' Arms
(4:18)  7. I Surrender Dear
(6:23)  8. Exactly Like You
(6:50)  9. My Mama Socks Me
(7:14) 10. Breezin' Along With The Breeze

By the time of this 1996 CD, Kenny Davern already had a full career of accomplishments, and for years, he had had his own sound and a technique that allowed him to hit very high notes with ease. For this set, he is joined by two masterful guitarists (Howard Alden and Bucky Pizzarelli) in a pianoless rhythm section that also includes bassist Greg Cohen and drummer Tony DeNicola. The strong repertoire (mostly Dixieland and swing standards, plus the leader's minor-tinged song "My Mama Socks Me"), the quiet but heated backup group and Davern's own enthusiasm results in this being one of his finest showcases. Highlights include "Jazz Me Blues," "My Honey's Lovin' Arms" and "Breeezin' Along with the Breeze." Highly recommended to fans of the pre-bop clarinet. ~ Scott Yanow   http://www.allmusic.com/album/breezin-along-mw0000029123

Personnel includes: Kenny Davern (clarinet); Howard Alden, Bucky Pizzarelli (guitar); Greg Cohen (bass); Tony DeNicola (drums).

Breezin Along

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Seldon Powell - Go First Class: The Complete Roost Sessions

Bitrate: 320K/s

Time: 68:14

Size: 156.2 MB

Styles: Saxophone jazz, Swing

Year: 2011

Art: Front

[2:59] 1. Go First Class

[3:58] 2. Why Was I Born

[3:15] 3. Love Is Just Around The Corner

[3:44] 4. Someone To Watch Over Me

[4:39] 5. Count Fleet

[5:16] 6. Autumn Nocturne

[4:52] 7. Swingsville, Ohio

[5:04] 8. Summertime

[2:42] 9. Woodyn' You

[2:39] 10. She's Funny That Way

[2:21] 11. Miss Melody

[2:18] 12. I'll Close My Eyes

[2:28] 13. 11th Hour Blues

[2:38] 14. A Flower Is A Lonesome Thing

[3:30] 15. It's A Cryin' Shame

[2:59] 16. Button Nose

[3:17] 17. Undecided

[4:05] 18. Biscuit For Duncan

[2:46] 19. Sleepy Time Down South

[2:36] 20. Lolly Gag

A veteran tenor saxophonist and flutist, Seldon Powell adjusted and honed his style over the years, being flexible enough to play anything from swing to hard bop and in between. He wasn't the greatest soloist, most ambitious composer, or most spectacular arranger; he was simply a good, consistent player who survived many changes and trends to remain active from the late '40s until the '90s. Powell was classically trained in New York, then worked briefly with Tab Smith in 1949 before joining Lucky Millinder and recording with him in 1950. Powell was in the military in 1950 and 1951, then became a studio musician in New York. He worked and recorded with Louis Bellson, Neal Hefti, Friedrich Gulda, Johnny Richards, and Billy Ver Planck in the mid- and late '50s. Powell also played with Sy Oliver and Erskine Hawkins, and studied at Juilliard. He traveled to Europe with Benny Goodman's band in 1958, and worked briefly with Woody Herman. Powell was a staff player for ABC television in the '60s, and also played and recorded with Buddy Rich, Bellson, Clark Terry, and Ahmed Abdul-Malik. He did a number of soul-jazz and pop dates in the late '60s and early '70s, among them a session with Groove Holmes and big-band dates backing Gato Barbieri and Dizzy Gillespie. Powell was principal soloist in Gerry Mulligan's 16-piece band at the JVC Jazz Festival in New York in 1987. He recorded as a leader for Roost and Epic. ~bio by Ron Wynn

Go First Class: The Complete Roost Sessions

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Bill Withers - Live At Carnegie Hall

Bitrate: 320K/s
Time: 77:12
Size: 176.7 MB
Styles: Smooth soul
Year: 1973/2010
Art: Front

[ 8:34] 1. Use Me
[ 4:28] 2. Friend Of Mine
[ 2:57] 3. Ain't No Sunshine
[ 4:53] 4. Grandma's Hands
[ 5:19] 5. World Keeps Going Around
[ 4:16] 6. Let Me In Your Life
[ 3:41] 7. Better Off Dead
[ 3:01] 8. For My Friend
[ 6:43] 9. I Can't Write Left Handed
[ 5:47] 10. Lean On Me
[ 3:58] 11. Lonely Town, Lonely Street
[ 4:26] 12. Hope She'll Be Happier
[ 5:19] 13. Let Us Love
[13:41] 14. Medley: Harlem, Cold Baloney

A wonderful live album that capitalizes on Withers' trademark melancholy soul sound while expanding the music to fit the room granted by a live show. Lovely versions of "Grandma's Hands" and "Lean on Me" are balanced by heartfelt downbeat numbers like "Better Off Dead" and "I Can't Write Left-Handed," the latter being an anti-war song with a chilling message. The set finishes off with the lengthy "Harlem/Cold Baloney," with lots of audience-pleased call-and-response going on. One of the best live releases from the '70s. ~Steven McDonald

Live At Carnegie Hall

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Cindy Scott - Major To Minor

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 49:14
Size: 113,3 MB
Art: Front

(2:56)  1. It's Don't Mean a Thing
(5:54)  2. What'll I Do
(2:48)  3. Mean To Me
(5:06)  4. Get Out Of Town
(4:58)  5. Ev'ry Time To Say Goodbye
(6:11)  6. Nature Boy
(3:19)  7. Deed I Do
(2:41)  8. It's De-Lovely
(3:48)  9. I Just Found Out About Love
(3:22) 10. On a Slow Boat To China
(5:06) 11. It Might As Well Be Spring
(2:59) 12. Imagination

Houston-based vocalist Cindy Scott strikes gold her first time out. Major to Minor is an exceptional debut album, a happy collaboration between an exciting new singer and a cadre of superior jazz artists. This CD is somewhat of a culmination of material that Scott developed with pianist/arranger Gary Norian and other musicians at a steady gig they had at Cïzanne, a noted Houston jazz club. The function of sidemen, as I see it, is to stimulate, inspire, excite, push, drive, goad and coax their colleagues. And, boy, this band stimulates and pushes Scott. Their efforts, however, do not detract from nor intrude upon her vocals but, rather, enhance and embrace her performance. Norian stated, "We like to keep the integrity of the melody but (play) with some different harmonies and time signatures. They succeed. Each arrangement is fresh, challenging, and most entertaining. Not many budding jazz vocalists could hope to have their first recording date backed by such talented musicians. 

The programming is eclectic, ranging from Cole Porter (three tunes) to Ellington, Berlin and McHugh. Thankfully there are no originals, which in many cases can be uninspired. Things start off hot with some dazzling virtuosic scatting by Scott, working in unison with Woody Witt's tenor sax on the Ellington composition "It Don't Mean a Thing If It Ain't Got That Swing. Scott next lends her sunny timbre to the well-known ballad "What'll I Do, thankfully including the beautiful verse. Trumpeter Dennis Dotson takes a splendid chorus on this Irving Berlin evergreen (some of you may recall Dotson from the Woody Herman band). If I were to pick a favorite tune from this disc, it might be "Get Out of Town. Although Cole Porter wrote this tune in 4/4 time, Scott performs it in 6/8, which adds freshness to a well-worn standard. It starts out with voice and drums and gradually builds until Dotson enters on trumpet. "Nature Boy may not be the best composition, but Scott's version adds luster to a rather uninspired melody. This "Nature Boy is not just a "strange, enchanted boy he is a funky cat. The song builds in intensity and includes some tour de force drumming by Chuck Payne.

Cindy Scott plays with time beautifully on this number. Most singers perform the lesser-known Jimmy McHugh song "I Just Found Out About Love as a jump tune, but Scott and the band decided to record it as a slow waltz. It works splendidly at this tempo and time signature. On "Ev'ry Time We Say Goodbye, Scott shows that she can also break your heart with a slow ballad. Her easy, patient way with this Cole Porter classic is downright ecstatic. Kudos also to pianist Norian's lovely counter melody on this cut. Although this is Cindy Scott's first recording, it will certainly not be her last. For she is not only an exceptional new jazz-oriented singer, she is accessible to a wide spectrum of listeners. You don't need a degree in music to understand her singing; all you need is ears. The disc will appeal to fans who appreciate impeccable intonation, an immaculate sense of timing, and emotional interpretations of song lyrics. Scott is a musical artist who delivers fables and stories and vignettes of life and love. But the young lady can also swing you into bad health.  Highly recommended. ~ Roger Crane   http://www.allaboutjazz.com/major-to-minor-cindy-scott-catahoula-records-review-by-roger-crane.php#.U5HvGCioqdk

Personnel: Cindy Scott - Vocals; Gary Norian - Piano; Thomas Helton - Bass; Chuck Payne - Drums; Woody Witt - Tenor Sax; Dennis Dotson - Trumpet.

Major To Minor

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Nancy Wilson - The Great American Songbook (Disc 1) And (Disc 2)

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 54:52 (Disc 1)
Size: 126,5 MB (Disc 1)
Time: 54:30 (Disc 2)
Size: 125,5 MB (Disc 2)
Art: Front

Disc 1

(1:50)  1. All Of You
(2:45)  2. The Things We Did Last Summer
(2:13)  3. The More I See You
(3:01)  4. The Nearness Of You
(2:21)  5. Never Will I Marry
(2:28)  6. What A Little Moonlight Can Do
(2:53)  7. Little Girl Blue
(2:34)  8. Tonight
(1:48)  9. Sometimes I'm Happy
(3:05) 10. Secret Love
(2:35) 11. A Sleepin' Bee
(2:53) 12. Fly Me To The Moon (In Other Words)
(1:44) 13. On The Street Where You Live
(2:36) 14. You Don't Know What Love Is
(2:20) 15. This Time The Dream's On Me
(2:34) 16. Sophisticated Lady
(2:13) 17. Dearly Beloved
(3:14) 18. My Ship
(1:58) 19. My Shining Hour
(2:41) 20. I'm Gonna Laugh You Right Out Of My Life
(2:55) 21. Back In Your Own Back Yard
(1:59) 22. People Will Say We're In Love

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Disc 2

(3:07)  1. Bewitched
(2:44)  2. Try A Little Tenderness
(2:35)  3. At Long Last Love
(2:58)  4. In A Sentimental Mood
(3:57)  5. When The Sun Comes Out
(2:54)  6. The Very Thought Of You
(2:22)  7. Like Someone In Love
(2:54)  8. Angel Eyes
(3:04)  9. My One And Only Love
(2:01) 10. The Song Is You
(3:29) 11. Lush Life
(2:53) 12. It Never Entered My Mind
(2:44) 13. Prelude To A Kiss
(2:44) 14. By Myself
(3:18) 15. Glad To Be Unhappy
(3:01) 16. Time After Time
(2:25) 17. Hello, Dolly!
(2:35) 18. Someone To Watch Over Me
(2:36) 19. You'd Be So Nice To Come Home To

The Great American Songbook has many top-drawer interpreters, but Nancy Wilson is rarely spoken of in the same breath as Ella Fitzgerald or Dinah Washington or Frank Sinatra or Mel Tormé. The reason lies less with her talents, which are sizeable, and more with her orientation, which fits the show tunes concept of putting the song across with precise diction as well as emotion instead of the jazz vocal tradition of personalizing a song. Those who know only Wilson's crossover work and think she intrudes in the field of vocal jazz should simply listen to her 1959 performance of "On the Street Where You Live," where she often varies notes and tempo but preserves the essential ebullience of the song intact an excellent musical performance combined with an excellent reading of a classic standard. 

That song is only one of the treasures present on the two-disc set The Great American Songbook, one in a loose series of three Capitol compilations to compile Wilson's late '50s and early '60s prime, the others focusing on blues ballads and lost love. There is a lot of music to wade through (more than twice as much as the other volumes in the series), but the compilers ably mix up the proceedings, balancing small-group performances that have a loose touch from all involved with large-band spectaculars featuring impeccable arrangements (often by masters of the form Billy May or Gerald Wilson). ~ John Bush   

http://www.allmusic.com/album/the-great-american-songbook-mw0000723672

Personnel: Nancy Wilson (vocals); Joe Gibbons, Bobby Gibbons, John Michael Gray, Jack Marshall, Mundell Lowe, John Collins, Bob Bain, Charles Wright (guitar); Bob Hardaway (flute, clarinet, bass clarinet, English horn); Justin Gordon (flute, clarinet, bass clarinet, saxophone); Abe Most, Ted Nash (flute, clarinet); Bill Green (bass flute, saxophone, alto saxophone); Ernie Snell (bass flute, baritone saxophone); Benny Carter (reeds, saxophone); Jules Jacobs, Bill Ulyate (reeds); Arthur Herfurt, William Ulyate, Jerome A. Kasper, Bill Perkins, Bill Hood, Buddy Collette (saxophone); Jimmy Woods, Joe Maini, Bill Green (alto saxophone); Harold Land, Teddy Edwards (tenor saxophone); Clyde Reasinger, Uan Rasey, Conrad Gozzo , Jules Chaikin, Freddie Hill, Emanuel Klein, Harry "Sweets" Edison , Carmell Jones, Jimmy Salko, Joe Graves, Al Porcino, Pete Candoli, John Audino, Bobby Bryant (trumpet); James A. Decker, Arthur Frantz, Henry DeRosa, Richard Perissi, Henry Sigismonti, Richard Mackey (French horn); Milt Bernhart, Chuck Cooper, Dick Noel, Phillip Teele, William Schaefer, Don Switzer, George Roberts , Lew McReary, Pullman Pederson, Richard Nash, Eddie Kusby, John Ewing , Milt Bernhardt, Murray McEachern, Tommy Pederson , Kenny Shroyer, Lew McCreary, Lester Robertson, Lloyd Ulyate (trombone); Red Callender (tuba); Jack Wilson (piano, celesta); Donn Trenner, George Shearing, Jimmy Jones , Lou Levy, Ralph Sharon, Ronnell Bright, Meyer Rubin (piano); George Duvivier, Jimmy Bond, Joe Mondragon, Sam Jones, Joe Comfort (bass instrument); Carol Kaye (electric bass); Buster Williams (bass guitar); Grady Tate, Stan Levey, Kenny Dennis (drums); Gene Estes, Larry Bunker (percussion); Dick Garcia, Gene Bertoncini, Joe Pass (guitar); Gene Cipriano (bass flute, tenor saxophone); Chuck Gentry, Willie Smith, Paul Horn (reeds); Plas Johnson (saxophone, tenor saxophone, trombone); Fred Falensby (saxophone); Frank Strozier, Cannonball Adderley (alto saxophone); Eddie "Lockjaw" Davis (tenor saxophone); Jack Nimitz (baritone saxophone); Don Fagerquist, Frank Beach (trumpet); Nat Adderley (cornet); Vincent DeRosa (French horn); Si Zentner, Bob Edmondson (trombone); Hank Jones , Joe Zawinul, Milt Raskin (piano); Hal Blaine (vibraphone, drums, chimes); Victor Feldman (vibraphone, timpani, percussion); Eddie Costa (vibraphone); Louis Hayes, Nick Ceroli, Shelly Manne, Irving Cottler, Walter Bolden (drums); Emil Richards (percussion); Gerald Wilson Orchestra, Ron Carter .

 The Great American Songbook (Disc 1)

 The Great American Songbook (Disc 2)

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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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