Jim Kerl's Swing Session Big Band - With Thanks To My Friends

Bitrate: 320K/s
Time: 38:41
Size: 88.6 MB
Styles: Big band, Trumpet jazz, Swing
Year: 2007
Art: Front

[2:05] 1. Undecided
[4:21] 2. Alley Cat
[2:35] 3. Goody Goody
[3:10] 4. Where Or When
[4:27] 5. Caravan
[3:21] 6. Theme Without A Movie
[3:49] 7. Samba De Los Me
[2:23] 8. I Wanna Be Around
[3:47] 9. Skylark
[3:16] 10. Basie
[5:20] 11. Hava Nice Day

When mention is made of the "Big Band Era", people tend to think of the bands of the 1940's that were so popular then. Glenn Miller, Benny Goodman, and Tommy Dorsey were all household names, with new recordings sweeping the airwaves and record players of the nation on a weekly basis. Certainly this was a golden age for the big bands in terms of the number of bands working and the sheer quantity of musicians employed. For me, however, the true "golden age" of big band music started in the 1960's. The bands of Harry James, Count Basie, Stan Kenton, Maynard Ferguson and the like began playing a looser kind of swing, with more emphasis on jazz and more room for individual soloists to express themselves. At the same time, vocalists such as Frank Sinatra, Tony Bennett, Rosemary Clooney, and June Christy were being featured with these bands. This collaboration of voice and big band is nowhere more finely showcased than on the incredible 1966 Reprise recording, "Sinatra at the Sands," with the Count Basie Orchestra.

This is the music that has fueled my passion as a trumpet player and band leader since I first picked up the horn. As the leader of Swing Session, it is immensely satisfying to perform music in the genre of these bands and vocalists that I have enjoyed so much. If you like your big band music to swing hard, featuring vocals with words you can actually understand, and have some great individual soloists as well, then without reservation I recommend With Thanks To My Friends.

Jim KerlSwing Session Big BandAll the way from the drummer to the singers, Swing Session lives up to its name-it can really swing! The arrangements are well written and performed with amazing excitement and energy. The ensemble is tight and the solos are inspired. This is no sleepy "old school" big band album. This band is on fire! With Thanks To My Friends is a great listen and I highly recommend it. ~Bill Gibson

With Thanks To My Friends

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Mary Jenson - Close Your Eyes

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 54:20
Size: 124,7 MB
Art: Front

(3:06)  1. Close Your Eyes
(6:37)  2. It's All Right With Me
(4:53)  3. Cool
(5:13)  4. Fools In Love
(4:58)  5. You're Fine
(4:25)  6. The Hunter Get's Captured By The Game
(4:43)  7. Small Day Tomorrow
(4:16)  8. Dindi
(3:26)  9. Like Someone In Love
(5:19) 10. Besame Mucho
(3:09) 11. Pure Imagination
(4:10) 12. Les Feuilles Mortes

A vibrant vocalist with a love of both jazz and modern music, Mary’s repertoire includes the evolution of popular songs into the jazz context, as well as beautiful renditions of the traditional and familiar.

Mary Jenson's musical tastes were largely influenced by her stint as a radio disc jockey in her early years up on the Mendocino Coast. Exposed to the Bay Area Music scene through the eclectic library of a small market radio station and the left coast culture of Mendocino, those days in a studio lined with LPs had a profound effect on her taste in music. http://www.cdbaby.com/cd/maryjenson

Close Your Eyes

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John Pizzarelli - Rockin' In Rhythm

Styles: Jazz, Swing, Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 49:47
Size: 115,5 MB
Art: Front

(4:11)  1. In A Mellow Tone
(3:41) 2. East St. Louis Toodle-oo/Don't Get Around Much Anymore
(3:38)  3. Satin Doll
(7:59)  4. C Jam Blues
(3:51)  5. In My Solitude
(3:21)  6. Just Squeeze Me
(4:10)  7. Perdido
(3:09)  8. All Too Soon
(4:06)  9. I'm Beginning To See The Light
(3:48) 10. Love Scene
(3:46) 11. I Got It Bad And That Ain't Good
(4:00) 12. Cottontail/Rockin' In Rhythm

John Pizzarelli is a walking, talking embarrassment of riches. He has a great pedigree, as his father, Bucky Pizzarelli), was a prodigious guitar talent (on a seven-string guitar, no less) with a voice like Chet Baker should have had. It is all this charm that Pizzarelli freely shares with us lesser mortals. Rockin' in Rhythm: A Tribute to Duke Ellington is a thematic collection picking up where his 2006 collection, Dear Mr. Sinatra (Telarc), left off. What more can be done with Duke Ellington that has not been done before? Well, quite a lot it turns out. What sets Pizzarelli's Ellington apart from the rest (that is, in addition to his infectious, happy singing) are the arrangements. An artistic discipline unto itself, jazz arrangement often provides the crux upon which a song's success or failure rests. Rockin' in Rhythm sports two of the finest in the business, with the date leader working on the quartet pieces and Don Sebeskyarranging the Swing Seven Horns on seven of the 12 compositions held within. 

Sebesky's genius is exercised in spades on the opening of the disc. "In a Mellow Tone" features tart horn backing to Pizzarelli's uncommonly sweet vocals. Pizzarelli provides an equally tart guitar solo doubled expertly with the guitarist's voice. "East St. Louis Toodle-Do" is overlaid with a sung "I Don't Get Around Much Anymore," with the two tunes attached firmly at the bridge. The effect is startling. Gerald Wilson's arrangement of "Perdido" is given lyrics by Pizzarelli's wife, Jessica Molaskey, who shares vocal duties with Kurt Elling. Other guests include tenor saxophonist Harry Allenand violinist Aaron Weinstein playing Ben Webster and Ray Nance on "C Jam Blues." Pizzarelli takes Ellington for a solo guitar spin on "Just Squeeze Me," giving his father a loving nod in the bargain. Speaking of Bucky, he provides the solo for "Satin Doll." Mainstream jazz is a demanding mistress and Pizzarelli manages her with grace and wit. This recording is an accomplishment of the most rarefied order. ~ C.Michael Bailey   http://www.allaboutjazz.com/rockin-in-rhythm-a-tribute-to-duke-ellington-john-pizzarelli-telarc-records-review-by-c-michael-bailey.php#.U6mlfbG4OSo

Personnel: John Pizzarelli: vocals, guitar; Jessica Molaskey, Kurt Elling: vocals; Bucky Pizzarelli: acoustic guitar, electric guitar; Aaron Weinstein: violin; Andy Fusco: clarinet, alto saxophone; Kenny Berger: bass clarinet, baritone saxophone; Harry Allen: tenor saxophone; Tony Kadleck: trumpet; John Mosca: trombone, alto horn; Larry Fuller: piano; Martin Pizzarelli: double bass; Tony Tedesco: drums.

Rockin In Rhythm

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Walt Weiskopf - See The Pyramid

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 66:14
Size: 176,9 MB
Art: Front

(5:38)  1. See The Pyramid
(9:00)  2. Marcieana
(7:33)  3. Hook Me Up
(9:05)  4. Equality
(5:27)  5. Call Me
(7:53)  6. Little Minor Love Song
(6:07)  7. Double Rainbow
(4:38)  8. A Time For Love
(3:04)  9. Goodbye John
(7:43) 10. Make Someone Happy

Walt Weiskopf's discography for the Criss Cross label has displayed a substantive and well-rounded discipline on the tenor saxophone with many larger ensembles. While peers Donny McCaslin, Chris Potter, Eric Alexander, and Harry Allen have gone into the respective routes of improvised neo-bop, progressive fusion, soul-jazz, and swing, Weiskopf mines the deep well of post-Sonny Rollins/John Coltrane mainstream modern jazz. He's also more composer than interpreter, as evidenced by the original material on this recording, and he also revisits the smaller format of sax with rhythm section, something he hadn't done in nearly 20 years. 

Weiskopf loves to scale hard bop mountain heights on his horn without any abrasion or slippage, as on the modal title track. Also notable is that he does not overuse technique, preferring to evoke the essential spirit of Coltrane on a hip modal "Hook Me Up" or the bossa nova-flavored "Equality," which echoes Trane's "Equinox." There's no real emphasis on rock 'em, sock 'em bebop, but instead an unforced swing and lighter tone. He does venture a bit into pop-jazz with a cover of the Chris Montez Top 40 hit "Call Me" and a bubbling version of "Make Someone Happy." With a piano-bass-drums trio led by Peter Zak on the 88s, Weiskopf has just enough energy to drive these tunes comfortably in mid-gear ratios. It's another sterling example of why he's always one of the more enjoyable tenor players on the current scene solid, unspectacular, logical, and very substantive. ~ Michael G.Nastos   http://www.allmusic.com/album/see-the-pyramid-mw0001987891.

Personnel: Walt Weiskopf (tenor saxophone); Peter Zak (piano); Quincy Davis (drums).

See The Pyramid

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The World's Greatest Jazzband - The World's Greatest Jazzband of Yank Lawson and Bob Haggart

Styles: Jazz
Year: 1969
File: MP3@320K/s
Time: 35:47
Size: 82,4 MB
Art: Front

(2:19)  1. Sunny
(2:23)  2. Panama
(3:21)  3. Baby, Won't You Please Come Home
(2:45)  4. Up, Up &  Away
(3:24)  5. Ode To Billy Joe
(3:44)  6. Honky Tonk Train
(3:04)  7. A Taste Of Honey
(3:56)  8. Limehouse Blues
(2:40)  9. Big Noise From Winnetka
(2:48) 10. This Is All I Ask
(2:57) 11. Mrs. Robinson
(2:20) 12. Bugle Call Rag

The World's Greatest Jazz Band was an all-star jazz ensemble active from 1968 to 1978. Dick Gibson founded the group at his sixth Jazz Party, an annual event. The group performed mostly Dixieland jazz and recorded extensively. It was co-led by Yank Lawson and Bob Haggart, and did early jazz standards alongside contemporaneous pop songs done in a Dixieland style. Though the group disbanded in 1978, the name was revived several times by Lawson and Haggart for limited engagements. 

More..http://en.wikipedia.org/wiki/World%27s_Greatest_Jazz_Band

This all-star group was founded in 1968 by Dick Gibson at his sixth annual Jazz Party. Despite the impossibility of living up to its outrageous name, the band was indeed the finest in Dixieland/classic jazz. Co-led by Yank Lawson and Bob Haggart, and also featuring Billy Butterfield, Bud Freeman, Bob Miller, and Ralph Sutton, the WGJB originally alternated standards with Dixiefied versions of current pop tunes like "Mrs. Robinson," but its finest album (Live on Atlantic) sticks to hot jamming. After the personnel changed a bit (Eddie Miller and Dick Wellstood passed through the band), the group broke up in 1978, although reunions by Lawson and Haggart in later years sometimes revived the name. Their recordings for Project 3, Atlantic, and their own World Jazz label are pretty much all worth getting. Bio ~ Scott Yanow   http://www.allmusic.com/artist/worlds-greatest-jazz-band-mn0000683075/biography.

The World's Greatest Jazzband of Yank Lawson and Bob Haggart

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Butch Miles & Friends - Cookin'

Bitrate: 320K/s
Time: 77:57
Size: 178.4 MB
Styles: Swing
Year: 1995
Art: Front

[6:49] 1. Lady Be Good
[5:03] 2. Did You Call Her Today
[6:53] 3. The Claw
[4:07] 4. Azalea
[4:23] 5. Them There Eyes
[6:57] 6. I Can't Believe That You're In Love With Me
[6:05] 7. Tico Tico
[5:41] 8. Jubilee
[5:01] 9. Barney's Blues
[5:08] 10. What A Little Moonlight Can Do
[6:17] 11. Gone With The Wind
[7:18] 12. Funkallero
[8:10] 13. Tickle Toe

A colorful soloist and an impressive technician in the tradition of Buddy Rich and Gene Krupa, Butch Miles graduated from West Virginia State College in 1966 and worked locally in West Virginia. He toured with Mel Tormé (1972-1974) and made a strong impression propelling Count Basie's Orchestra (1975-1979). After a few months with Dave Brubeck (recording Back Home for Concord in 1979) and a year with Tony Bennett, Miles became a busy freelance musician. He has played at many jazz parties and festivals with a countless number of musicians, including -- most notably -- Gerry Mulligan, Zoot Sims, Woody Herman, Wild Bill Davison, Clark Terry, Scott Hamilton, Warren Vache, and Bob Wilber's Bechet Legacy. Miles led seven fine albums for Famous Door (1977-1982) that feature swing standards and a couple of records for Dreamstreet, including a vocal date. In 1997, Butch Miles toured with the Count Basie Orchestra (under the direction of Grover Mitchell) and showed that he was still a fiery drummer quite skilled at showmanship. ~bio by Scott Tanow

BUTCH MILES - drums; RANDY SANDKE - trumpet; HARRY ALLEN - tenor sax; HOWARD ALDEN - guitar; FRANK TATE - bass; TERRIE RICHARDS - vocals.

Recorded live on November 26, 1995 at the Amerika Haus, Hamburg

Cookin'

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The Irwell Street String Band - 11:60 PM

Bitrate: 320K/s

Time: 41:30

Size: 95.0 MB

Styles: Swing, Contemporary jazz vocals

Year: 2012

Art: Front

[2:43] 1. Zing Went The Strings Of My Heart

[3:43] 2. 11 60pm

[3:21] 3. I Love You But I Don't Like You

[3:13] 4. Funny Funny Funny What A Dime Can Do

[2:29] 5. In A Little Spanish Town

[4:21] 6. Underneath The Arches

[3:33] 7. Elmer's Tune

[2:51] 8. Sing You Sinners

[2:52] 9. Riffin' The Scotch

[4:08] 10. You Came A Long Way From St Louis

[3:43] 11. I Go For That

[4:28] 12. The Bluest Kind Of Blue

The sweetest string band in town.. Irwell Street features two guitars, occasionally some ukulele, and of course swinging double bass, led by the delightfully vintage voiced jazz vocalist Hetty Kate.

We play sparkling, sentimental and sassy songs plucked from the scrapbooks of Tinseltown, the well trodden paths of wartime Britain and the colourful beaches of South America – songs you’ll remember, and songs you may not have heard before. Showcasing a beautiful repertoire from the 1930′s to the 1950′s, curated and arranged to be fresh and original, yet staying true to the memory of those that went before.

Always weaving a special magic when they play together, founding members Hetty Kate and Sam Lemann tip their caps to the popular jazz duo’s of the past.. Peggy Lee and Dave Barbour, Julie London and

Barney Kessell, Mary Ford and Les Paul. With two sell out albums under their belts and having performed all over the country, this band is worth a listen – guaranteed to have you smiling and tapping your feet!

11:60 PM

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Cynthia Holiday - All The Way

Bitrate: 320K/s
Time: 45:39
Size: 104.5 MB
Styles: Jazz-blues vocals
Year: 2008
Art: Front

[4:38] 1. Never Make A Move Too Soon
[5:19] 2. I Like What I See
[4:17] 3. Samba De Amor
[5:05] 4. Knock On Wood
[5:21] 5. My Little Rainbow
[5:07] 6. You've Got A Job To Do
[4:45] 7. I Thought About You
[4:57] 8. All The Way
[6:07] 9. More Today Than Yesterday

She’s not Billie, not Judy, not Jennifer, not Carmen, not Nancy, it’s Cynthia Holiday! Cynthia is a real crowd pleaser and her renditions of straight-ahead jazz, blues and pop standards are full of swing, improvisation and soul. Clearly, singing live before an audience is where she feels most comfortable.

Kevin Mahogany says, “I met Cynthia many years ago when I used to frequent various jam sessions in Harlem clubs. I was struck by her ability to quickly command the stage. Cynthia has fantastic stage presence and it’s time for her music to be heard.”

All The Way

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Rich Perry - Time Was

Bitrate: 320K/s

Time: 58:47

Size: 134.6 MB

Styles: Saxophone jazz

Year: 2012

Art: Front

[8:15] 1. Get Out Of Town

[8:16] 2. Time Was

[7:51] 3. Lonely Town

[7:44] 4. Rouge

[9:38] 5. Summer Night

[7:51] 6. Goodbye

[9:08] 7. Segment

Born in 1955 in Cleveland, Ohio, Perry became interested in jazz in high school, and studied briefly at Bowling Green State University, before moving to New York. In 1977 he joined the Thad Jones /Mel Lewis Orchestra—which at that time included Pepper Adams, Jerry Dodgion, Rufus Reid, and Harold Danko—and spent the next two years touring the U.S. and Europe. After Thad Jones left the band, Perry continued playing with Mel Lewis, recording three LP’s with him, including Live in Montreux, and Naturally. The band, with Perry as a key member, is now known as The Vanguard Jazz Orchestra, and continues to tour and record. Three of their recent cds have been nominated for Grammy awards.

A highlight of Perry’s career has been his association with the gifted composer and arranger Maria Schneider. As a charter member of her orchestra, Perry has been featured on all of her cds including, Allegresse, Coming About, Evanesence , and the Grammy award winning Concert In The Garden. Sky Blue, features Rich’s Piece, a beautiful composition written for him. He has performed with her in Europe, Asia, and throughout the U.S.

Rich Perry is also a member of the George Mraz Quartet, the Matt Panayides Group, the Dave Scott Quintet, and the John Fedchock New York Big Band. He has also played in several groups led by the pianist Fred Hersch.

Time Was

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Adia Ledbetter - Adia First Take

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 40:50
Size: 93,9 MB
Art: Front

(3:43)  1. Route 66
(4:50)  2. You Don't Know Love Is
(7:10)  3. Teardrops On My Letter
(3:24)  4. Al Humduhlah
(2:01)  5. Avalon
(3:43)  6. Bitter Lips
(3:25)  7. My Romance
(3:21)  8. The Lion And The Saint
(5:04)  9. Beautiful Love
(4:05) 10. Moon Child

Be the first on your block to own a copy of this CD featuring the beautiful and talented vocalist, Adia Ledbetter, daughter of my favorite bass violinist. I call him Doc because of his many talents, biochemist, architect, and stellar jazz bassist; I am referring to my main man Freeman Ledbetter. I vividly recall the day we went to TGS studios in Chapel Hill to record. We were blessed to have the best musicians available. On drums we had one of the tastiest percussionist in the world formally from Betty Carters band, Will Terrell, a natural rhythm machine. 

We had master trumpeter and flugelhornist Raymond Codrington. I (Bro Yusuf Salim) arranged and composed about 6 of the tunes and played this beautiful Baby Grand piano. A combination of all of the above-mentioned elements resulted in a session that I was personally well pleased with. This session was truly a labor of love. As a blessed connoisseur of this great American art form called Jazz, I suggest that you put on your kimonos and slippers, sit back, relax, and prepare for the Spiritual experience in store for you. Come along with me on this musical journey. You will not regret the trip; believe me. Peace and Love Always ~ Your Brother Yusuf Salim   http://www.cdbaby.com/cd/adia

Adia First Take

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Agneta Baumann - Comes Love

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 64:58
Size: 149,2 MB
Art: Front

(4:58)  1. That Old Devil Called Love
(4:29)  2. Comes Love
(5:18)  3. Blame It On My Youth
(4:51)  4. I`m Just A Lucky So And So
(5:15)  5. Easy Living
(2:53)  6. Thou Swell
(5:19)  7. Every Time We Say Goodbye
(4:23)  8. Who Cares
(3:05)  9. I Have The Feeling I`ve Been Here Before
(4:57) 10. Get Out Of Town
(5:10) 11. There`s No You
(5:24) 12. It Never Entered My Mind
(3:46) 13. In Love In Vain
(5:04) 14. What's New

A vocalist Sweden can be proud of, Agneta Baumann loves to sing. Her sense of joy is one of her trademarks when listening to her material. Covering standards with style as well as a great group to accompany her, be prepared for over an hour of great listening. Playing with the lyric throughout Baumann is having the time of her life on Comes Love. Always in the moment, her clear delivery, and execution of the note move this number right along. Backenroth’s determined opening sets the pace with Baumann joining in the celebration. Great brush work from Lofcrantz. Teasing piano from Rundqvist chases Lofcrantz to respond with percussive eloquence. One of the most loved ballads in the repertoire, What’s New is presented in a loving way with Baumann’s range and ability to get inside the note reminiscent of Helen Merrill’s style of singing.

Broberg’s beautiful trumpet shines throughout. An up tempo swinging version of Cole Porter’s, Get Out Of Town is just what the doctor ordered. With a relentless opening from Rundqvist, Baumann’s joins in for some fun. Broberg’s characteristic trumpet is right on the money. He makes this a hot number with his rolling cadenza’s, and biting attack. Backenroth and Lofcrantz respond with solid playing, and a suitable call and response. Many Jazz instrumentalists over the years have enjoyed playing the beautiful chord changes in Easy Living. Baumann makes it all her own by carefully executing the lyric in a silky and warm hearted manner. One of the highlights of this recording. Baumann makes it clear that she can sing in nearly any tempo. Comes Love is filled with memories that will last a long time. By carefully crafting the songs with fine arrangements and skillful musicianship, her star continues to rise. ~   Randy Mcelligott  

http://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/comes-love...-by-agneta-baumann.html

Personnel:  Agneta Baumann (Vocals), Bosse Broberg (Trumpet), Gosta Rundqvist (Piano), Hans Backenroth (Bass), Johan Lofcrantz (Drums)

Comes Love

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Nik Payton And Bob Wilber - Swinging The Changes

Styles: Clarinet And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 68:39
Size: 157,7 MB
Art: Front

(6:06)  1. I Won't Dance
(3:56)  2. Swinging the Changes
(4:27)  3. If Only You Knew
(5:47)  4. I Believe in Miracles
(2:49)  5. Jasmine
(5:01)  6. No More Blues
(4:40)  7. You Are Too Beautiful
(4:07)  8. California Here I Come
(4:15)  9. Rabbit Jumped the Frog
(3:51) 10. Ode to Pug
(3:22) 11. Skybloo
(4:07) 12. Dialogue
(4:32) 13. JP's Tee
(3:43) 14. Scuttlebrook Bounce
(3:32) 15. The Sage
(4:16) 16. Circulatin' in C

The teaming of a young protégé and an experienced veteran is a combination rarely seen in other forms of music, but it happens frequently in jazz. Tenor saxophonist Nik Payton (not to be confused with trumpeter Nicholas Payton) is paired with his mentor and legendary saxophonist and clarinetist Bob Wilber for this set of swinging mainstream vintage jazz, standards, and a nice slice of originals written by the two. Recorded in England where Wilber has resided for decades, this program is a delightful document of music that is still as relevant and vibrant as any jazz project in recent years. It is made more vital by the youthful curiosity of the Ben Webster-influenced tenor of Payton, and the chuckling, vibrato-laced reeds of the ever masterful Wilber. 

One aspect of this recording that must be emphasized is that the participants like to change it up frequently, adding further to its listenability. Among the well-known standards, "I Won't Dance" sports a peppy tenor/soprano unison line, counterpoint, second line and pure, natural sound. During the whole of "I Believe in Miracles" you hear the robust trade-offs of the younger player's clarinet and Wilber's toothy and ribald soprano, with nice ideas swirling all around. "California Here I Come" is the hottest number, eschewing corn for hard swing with Payton's tenor opposite Wilber's clarinet. Of the seven pieces penned by Wilber, the title track holds an unusual harmonic motif made simple with his alto and Payton's tenor, "Skybloo" has both on clarinet in a well swing groove, and the similar instrumentation for "Dialogue" contrasts in mysterious and dark blue ways. 

Payton is a decent writer, contributing "J.P.'s Tee" in an homage to his clearly swinging dad in a tenor/soprano tandem, the cute alto/tenor challenge "Rabbit Jumped the Frog" for Johnny Hodges and Webster, and "The Sage," a delightfully sneaky and bouncy twin clarinet tribute to Wilber, the ultimate in pure jazz expressionism. In addition, check out their lone bossa Brazilian number (Payton lives in Brazil) "No More Blues," solo features including Payton's decidedly dry Webster-ish ballad "You Are Too Beautiful," and the wonderful Wilber stretching his legato alto during "Ode to Pug." Credit where credit is due goes to the fine pianist throughout the date Richard Busiakiewicz, a new name who should not remain that way for very long, and the veteran bassist Dave Green. Traditionalists will be hard pressed in resisting the temptations of this finely crafted jazz effort, one that deserves lots of attention and affection. ~ Michael G.Nastos   http://www.allmusic.com/album/swinging-the-changes-mw0000793872.

Personnel: Nik Payton (clarinet, tenor saxophone); Bob Wilber (clarinet, soprano saxophone, alto saxophone); Richard Busiakiewicz (piano); Dave Green (upright bass); Steve Brown (drums).

Swinging The Changes

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Ron Carter - Standard Bearer

Styles: Jazz, Bop
Year: 1988
File: MP3@320K/s
Time: 50:10
Size: 115,4 MB
Art: Front

(5:15)  1. Oleo
(8:22)  2. Stella By Starlight
(4:43)  3. St. Thomas - Live
(2:44)  4. Sometimes I Feel Like A Motherless Child
(6:09)  5. Blue Monk - Live
(4:58)  6. Someday My Prince Will Come
(9:14)  7. Alone Together
(8:42)  8. All Blues

Carter with some first-rate players including Red Garland (p), McCoy Tyner (p), Herbie Hancock (k), and many others, work their way through a program of jazz classics. ~ Ron Wynn   http://www.allmusic.com/album/standard-bearers-mw0000200086
 

Personnel: Ron Carter (bass, piccolo bass); Wade Marcus (conductor); Jon Faddis, Joe Shepley, John Frosk (trumpet, flugelhorn); Urbie Green (trombone); Tom Malone (bass trombone); Jerry Dodgion, Frank Wess (reeds); Kermit Moore, Charles McCracken, John Abramowitz, Richard Locker (cello); Kenny Barron, Red Garland, McCoy Tyner, Herbie Hancock (piano); Jim Hall (guitar); Buster Williams (bass); Ben Riley, John DeJohnette, Philly Joe Jones, Tony Williams (drums); Ralph McDonald (percussion). Producers: Ron Carter, Orrin Keepnews, Dick Katz.

Standard Bearer

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Charles Brown - Honey Dripper

Bitrate: 320K/s

Time: 59:37

Size: 136.5 MB

Styles: West Coast blues, Urban blues

Year: 1996

Art: Front

[7:06] 1. News All Over Town

[4:24] 2. I Cried Last Night

[5:10] 3. When Did You Leave Heaven

[3:21] 4. There Is No Greater Love

[3:48] 5. If I Had You

[3:10] 6. Gee

[5:03] 7. The Very Thought Of You

[4:51] 8. You Won't Let Me Go

[4:25] 9. The Honey Dripper

[4:23] 10. They All Say I'm The Biggest Fool

[5:55] 11. At Your Beck And Call

[3:58] 12. Everyday I Have The Blues

[3:30] 13. Precious Lord

[0:26] 14. Charles Brown's Thank You

"Soothing" is not a word normally associated with blues, but its the word that best captures the experience of listening to Charles Brown, and Honey Dripper is no exception. Listening to it is like sipping a fine bottle of cognac. Seventy-two years old at the time of this recording session, Brown sounds agile, almost ageless. Indeed, time seems to stand still when he plays and sings in that same understated, urbane manner he popularized with Johnny Moore's Three Blazers back in the 1940s. Like his other recordings this decade, Honey Dripper features Brown's regular working combo, led by guitarist Danny Caron and including saxophonist Clifford Solomon. The songs range from straight-ahead blues to jazz ballads, with some straddling the line. ~Steve Hoffman

Honey Dripper

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Josh Lawrence - Roots

Bitrate: 320K/s
Time: 36:55
Size: 84.5 MB
Styles: Trumpet jazz
Year: 2010
Art: Front

[2:41] 1. 125th Street Intro
[5:26] 2. Queensborough Bridge Stomp
[5:27] 3. Northwest Extension
[4:15] 4. Jacob & Aaron
[6:02] 5. Someday Afternoon
[4:20] 6. One For The Cats
[4:10] 7. Sugar Hill Stroll
[4:30] 8. 145th Street Outro

Josh Lawrence is an internationally acclaimed trumpeter, composer, bandleader and educator. He has performed with artists from Erykah Badu to Charli Persip and toured extensively throughout North America and Europe. His band the Josh Lawrence Jazz 3 fuses influences from New York City and Philadelphia into a fresh new sound called Soul Bop.

Lawrence studied at the University of the Arts in Philadelphia and became a popular sideman on the neo-soul and jazz scenes. After graduation, he moved to the historic Sugar Hill neighborhood in Harlem where he was introduced to jazz masters Barry Harris, Frank Lacy, Jimmy Cobb, Lou Donaldson and Olu Dara. He co-founded the Uptown Brass at the Church of the Intercession in Washington Heights, worked as musical director for the band Harlem PsychaDelic and taught on faculty as brass instructor at Bronx Arts and Bronx Lab.

Today Josh Lawrence performs in clubs and festivals across Europe spreading the “gospel of American jazz”. His duo project with pianist Reggie Moore is receiving critical praise in Germany, his work with Adam Baldych’s Damage Control is garnering rave reviews throughout Poland and the Jazz 3 tours are establishing him as a bright new star on the international stage. He has just released his second album Roots and continues to teach students of all ages through master class programs.

Roots

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Maruja Muci - My Funny Valentine

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 46:25
Size: 106,7 MB
Art: Front

(2:35)  1. All Of Me
(2:57)  2. Black Coffee
(3:16)  3. Tenderly
(3:53)  4. Fever
(2:21)  5. Lullaby Of Birdland
(2:50)  6. Peel Me A Grape
(3:28)  7. Every Time We Say Goodbye
(4:22)  8. It Ain't Necessarilly So
(4:36)  9. Cry Me A River
(2:50) 10. Night And Day
(4:02) 11. We'll Be Together Again
(3:12) 12. Do I Move You
(5:57) 13. My Funny Valentine

This is Maruja Muci’s second commercial release. “My funny Valentine”, the title of her second album, is inspired by R. Rodgers & L. Hart’s song of the same title. The album contains 13 songs chosen from what it is called The Great American Songbook , songs that were written between the decades of 1930 and 1960. This album seeks to reinterpret some of the most relevant songs of this era with a Latin influence. It was a very difficult to choose the songs, since this repertoire is so extense and beautiful. Nostalgia may have played a significant role in the selection, as the voices of Ella Fitzgerald, Sarah Vaughn, Peggy Lee and many others were always there when she visited her father’s home. 

The album was recorded live in Jazzmania studios in Caracas,the General Production was managed by Maruja Muci, with collaboration from pianist Alberto Lazo. Many other talented musicians also participated in this production such as Bassist Carlos Rodríguez, drummer Miguel Hernández, Benjamín Brea plays the flute and the saxo, Cellist Pedro Vásquez and Nadim Dao in the Harmonica. The great Austrian- Venezuelan musician, Gerry Weil arranged and played the piano for the title song of this work. Listening to Maruja's voice is listening to a clean, velvety and unaffected voice that wraps itself around the lyrics, it is a voice that tells stories while it sings and brings with it a sense of intimacy between the listener and the artist as if she is singing to you and you alone.   http://www.cdbaby.com/cd/marujamuci2

My Funny Valentine

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Patrick Saussois, Bucky Pizzarelli, Jerry Bruno - Swingin American Songs

Styles: Swing And Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 49:11
Size: 113,1 MB
Art: Front

(3:10)  1. Taking a Chance On Love
(4:54)  2. East Of The Sun
(3:50)  3. Pennies From Heaven
(6:35)  4. Tenderly
(3:18)  5. Struttin' With Some Barbecue
(3:56)  6. Indian Summer
(5:45)  7. When I Grow Too Old To Dream
(2:14)  8. The More I See You
(5:16)  9. If I Had You
(3:04) 10. But Not For Me
(7:05) 11. Body And Soul

The meeting in a studio of NY city in February of two generations of jazz guitarists, the first is French, the second American, and a bass player. Swingin' American Songs is a quite selected title. The beauty of the melodies of these American songs is certainly at the origin of their choice by the three protagonists. No artifice, just 2 guitars, a double bass, years of experiment, to know how to do and a nobstinated research of complementarity and the note which sound well with the moment when nobody have to prove its value, they express themselves in a righter and more significant way. 11 tracks. Djaz Records. 2005. ~Editorial Reviews http://www.amazon.com/Swingin-American-Songs-Patrick-Saussois/dp/B0009Y9EXG

Personnel: Jerry Bruno – bass; Bucky Pizzarelli – guitar; Patrick Saussois - guitar

Swingin American Songs

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Bob Wilber - Spreadin' Joy : The Music Of Sidney Bechet

Styles: Jazz
Year: 2006
File: MP3@320K/s
Time: 45:25
Size: 104,5 MB
Art: Front

(2:50)  1. Polka Dot Stomp
(4:42)  2. Where Am I?
(2:57)  3. Ghost Of The Blues
(4:05)  4. When The Sun Sets Down South
(4:24)  5. Little Creole Lullaby
(3:08)  6. Spreadin' Joy
(5:08)  7. Who'll Chop Your Suey When I'm Gone
(4:32)  8. Quincy Street Stomp
(4:44)  9. Georgia Cabin
(3:16) 10. Blackstick
(5:33) 11. Blue Horizon

Throughout his long career, Bob Wilber has done a lot to keep classic jazz alive. A bit misplaced (most jazz players of his generation were much more interested in bop and hard bop), Wilber (along with Kenny Davern, Ralph Sutton, and Dick Wellstood) was one of the few in his age group to stick to pre-bop music. In high school he formed a band that included Wellstood, and as a teenager he sat in at Jimmy Ryan's club in New York. Early on he became Sidney Bechet's protégé and led his own young group, the Wildcats (with whom he made his recording debut). The close association with the dominant Bechet led to a bit of a personality crisis in the 1950s as Wilber sought to find his own voice. 

He studied with Lennie Tristano and formed the Six, a group that tried to modernize early jazz. When that ended, he played Dixieland with Eddie Condon, and in 1957 joined Bobby Hackett's band for a year. Wilber freelanced throughout the 1960s, in 1968 became a founding member of the World's Greatest Jazz Band, and in 1973 he formed Soprano Summit with Kenny Davern, one of the top swing-oriented groups of the decade. A few years later the band broke up and Wilber teamed up with his wife, singer Pug Horton, in Bechet Legacy (which also featured either Glenn Zottola or Randy Sandke on trumpet).

In addition, Bob Wilber has worked with the New York Jazz Repertory Company, released music on his own Bodeswell label, wrote the authentic soundtrack to the movie The Cotton Club (1984), in 1988 led a band at Carnegie Hall to celebrate the 50th anniversary of Benny Goodman's famous concert, and authored his frank memoirs, Music Was Not Enough. Influenced on soprano, clarinet, and alto by respectively Bechet, Goodman, and Johnny Hodges, Wilber has long had his own sound on each of his instruments. He recorded frequently through the years for many labels, including Arbors in the '90s and 2000s. ~ Bio Scott Yanow   http://www.allmusic.com/artist/bob-wilber-mn0000074476/biography

Spreadin' Joy : The Music Of Sidney Bechet

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Vincent Herring - The Uptown Shuffle

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 68:29
Size: 157,3 MB
Art: Front

( 7:31)  1. Elation
( 5:47)  2. Love Walked In
(10:18)  3. Tenderly
( 7:57)  4. Uptown Shuffle
( 7:49)  5. The Atholete
( 8:17)  6. Polka Dots and Moonbeams
( 7:22)  7. Strike up the Band
( 9:10)  8. Don't Let It Go
( 4:15)  9. Big Bertha

Following on the heels of their vinyl sampler and an introductory set by pianist Harold Mabern, comes The Uptown Shuffle by alto saxophonist Vincent Herring. This nine-track recital offers a smattering of Herring originals along with some well-chosen standards. Herring's choice of bandmates is nothing short of top shelf, with pianist Cyrus Chestnut and drummer Joe Farnsworth locking in with up and comer Brandi Disterheft on bass. A native of Vancouver, Disterheft has three albums of her own and has been actively making a name for herself here in the States the past few years.

The opening "Elation" is a Herring original of the modal variety with plenty of up tempo fire and panache to go around. Herring's tone has matured over the years and now has a stronger core tone, not unlike that of Kenny Garrett. For "Love Walked In," Herring recalls Lou Donaldson with his buttery tone and rhythmic swagger. Chestnut's original, "Uptown Shuffle" is feel good music of the best kind with a substantive solo from its composer. A master of brisk tempos, Farnsworth makes "Strike Up the Band" bristle with excitement. Check out the Phineas Newborn quote from Chestnut that ushers in a brief series of exchanges with Farnsworth to hear how well this rhythm section collates into a unified whole. A favorite Duke Pearson ditty, "Big Bertha," wraps up the proceedings on a joyous note, making this one of Herrings best presentations to date. 

~ C.Andrew Hovan http://www.allaboutjazz.com/smoke-sessions-a-threesome-from-herring-jackson-and-hazeltine-by-c-andrew-hovan.php#.U6iKhLG4OSo

Personnel: Vincent Herring: alto sax; Cyrus Chestnut: piano; Brandi Disterheft: bass; Joe Farnsworth: drums.

The Uptown Shuffle

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Tom Scott & Special Guests - Cannon Re-Loaded: All-Star Celebration Of Cannonball Adderley

Bitrate: 320K/s
Time: 52:19
Size: 119.8 MB
Styles: Contemporary jazz. Saxophone jazz
Year: 2008
Art: Front

[6:32] 1. Jive Samba
[5:48] 2. Work Song
[5:47] 3. Mercy, Mercy, Mercy
[4:50] 4. Save Your Love For Me
[5:28] 5. Sack O' Woe
[3:18] 6. Country Preacher
[5:05] 7. Inside Straight
[5:46] 8. I Should Care
[5:27] 9. The Masquerade Is Over
[4:15] 10. Stars Fell On Alabama

Cannon Re-Loaded is simply that: a collection of tunes closely associated with Cannonball Adderley interpreted by an all-star collection of players on the current scene, with bandleader Tom Scott (who co-produced with Gregg Field) on alto saxophone (an instrument he doesn't play that often anymore), trumpeter Terence Blanchard, pianist George Duke (who was actually a member of the Adderley quintet and who also plays Rhodes and Wurlitzer), drummer Steve Gadd, bassists Marcus Miller and Dave Carpenter, and Larry Goldings on the Hammond B-3. Vocalist Nancy Wilson also guests on a pair of cuts that reprise her performances with Adderley from the Nancy Wilson/Cannonball Adderley set released in 1962. In his liner notes, Scott claims Adderley as a major influence on his own playing, and that what he and his dream band wanted to convey was not only Adderley's brilliance as a musician, but also his sense of humor, one that welcomed the audience in to the music he made.

There is no doubt that this quintet gets the tunes right. They open with "Jive Samba," move toward a fast-paced "Work Song," and then of course to "Mercy, Mercy, Mercy" before Wilson joins the band for "Save Your Love for Me." The music has plenty of swing and groove, and it's tight. And maybe that's the problem. Adderley's best records (we could all argue forever about which records those were) had a sense of looseness and a vibe inherent in them that is lost on this group -- with the exception of Duke, who uses his own sense of humor, percussive flair on the keys, and angular bits here and there to dress these jams up for the bandstand instead of the studio. The sound is so utterly pristine and shiny it contains none of that laid-back approach that made the Adderley groups so enjoyable.

For audiophiles, there is plenty to like: the stereo separation is perfect. There isn't a sound out of place here, with the occasional exception of Duke's touches that at least give the thing some air. "Mercy, Mercy, Mercy" and "Work Song," feel like they're being read off the page -- and we know that isn't so. Wilson's tunes "Save Your Love for Me" and "The Masquerade Is Over" come off beautifully, but they don't really echo the originals, they feel like standard contemporary jazz radio fare. Thanks to the Rhodes and B-3, "Country Preacher" comes off best because of the interplay between Goldings and Duke. They let so much soul drip from their respective keyboards that Scott can't make it shine so much., He has to stay closer to the warmth of the tune, and Blanchard, who actually might have been a bandleader in this setting, has got everything he needs in the melody to just let it fall out of his horn. "Inside Straight," while it has the melody, changes, and timing right, is so slick because of Miller's slaphappy bass; it contains a kind of mellowed-down funk that belongs on the studio-perfected jazz records released in the '80s. Thankfully, Blanchard lets some real grit come from his horn. The ballads "I Should Care" and "The Stars Fell on Alabama" come off better than just about anything here because of their reliance on more restrained charts (particularly on the former, with Blanchard's wonderful solo). Scott's solo is less his than Adderley's on the latter. He restrains himself from over-blowing for the most part, and allows some real emotion into the tune.

Overall though, this date may introduce contemporary jazz fans to the music of Adderley, but it doesn't begin to capture his spirit, his irreverent, dry and elegant sense of humor, or the sheer power he could wrench form a funky blues tune, or the soul he could dig out of that horn -- especially in front of an audience. Perhaps if this band would have cut this in front of a club crowd, they might have been able to get more inside the vibe of Adderley. As it stands, it sounds so controlled and rigid that it's simply a pleasant recording to listen to rather than a real tribute to one of the giants of jazz who was also one of its greatest communicators. And while we're at it, one has to wonder why some of Adderley's great soul classics like Black Messiah, Accent on Africa, Pyramid, Happy People, and Music You All have never been issued on CD? ~Thom Jurek

Cannon Re-Loaded: All-Star Celebration Of Cannonball

Adderley

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