The Manhattan Transfer - Live

Styles: Vocal Jazz, Big Band
Year: 1978
File: MP3@320K/s
Time: 59:21
Size: 138,0 MB
Art: Front

(3:18)  1. That Cat Is High
(3:26)  2. Snootie Little Cutie
(4:03)  3. Four Brothers
(3:43)  4. On A Little Street In Singapore
(3:02)  5. Java Jive
(3:25)  6. Walk In Love
(2:39)  7. Chanson D'Amour
(3:27)  8. Speak Up Mambo (Cuentame)
(1:40)  9. 15 Minute Intermission
(4:18) 10. In The Dark
(4:55) 11. Je Voulais (Te Dire Que Je T'Attends)
(0:42) 12. Sunday
(3:39) 13. Candy
(1:56) 14. Well, Well, Well
(4:10) 15. Freddy Morris Monologue / Bacon Fat
(3:38) 16. Turn Me Loose
(3:55) 17. Operator
(3:17) 18. Tuxedo Junction

The Manhattan Transfer was recorded at Manchester (23rd April 1978), Bristol (28th April 1978), and Hammersmith Odeon, London (2nd May 1978). The album was produced by Tim Hauser and Janis Siegel. For many years, this album had the distinction of being the only Manhattan Transfer album not to be released on CD… but finally Wounded Bird Records (WOU-540) released it in the spring of 2005. Interestingly, when asked for the group’s comments on this album, Janis and Alan had something very similar to say about it. Janis: “Worst album cover in history (with possible exceptions of ‘Coming Out’ and ‘Mecca’)” Alan: “Wins the award for worst album cover.” There are actually two covers to the album, one being an actual photo of the group that is a silhouette, and the other one is a “cartoonish” rendition of a similar pose. Alan says that the album “was never released in the United States. The first printing is a collector’s item.” 

The version with the “photo” cover was released by Mobile Fidelity Sounds Labs as an “Original Master Recording”. It’s a great album that captures the essence of The Manhattan Transfer during that time: The group was riding a wave of success and had become very popular in Europe, and the enthusiasm is evident in their performance. “The album was recorded live at the Hammersmith Odeon,” recalls Alan. The performance captures numbers by L Dorado Caddy and Guido Panzini. It’s also the last album made with Laurel Massé. Produced by Tim and Janis, it was recorded in late April/early May of 1978. Janis was truly dedicated to her producing duties, as she recalls “I co-produced and was in the hospital for emergency surgery remember listening to mixes and taking notes up until the time they wheeled me in the O.R.” http://manhattantransfer.net/discography/the-manhattan-transfer-live/

The Manhattan Transfer: Cheryl Bentyne , Janis Siegel, Alan Paul, Tim Hauser (vocals).

Personnel:  Bass – Michael Schnoebelen; Contractor – David Katz; Drums – Peter Johnson; Guitar – Wayne Johnson; Keyboards – Dave Wallace; Saxophone – Derek Grossmith, Eddie Mordue, Keith Bird, Stan Sultzman; Trombone – Cliff Hardie, David Horler; Trombone [Bass] – Geoff Perkins;  Trumpet – Bobby Haughey, Derek Watkins, Ronnie Hughes, Tony Fisher

Live

---

Ernie Watts Quartet - A Simple Truth

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 54:52
Size: 127,6 MB
Art: Front

( 2:49)  1. The Sound: Morning
( 8:04)  2. No Lonely Nights
( 7:25)  3. The Road We’re On
(10:31)  4. Acceptance
( 6:27)  5. Bebop
( 9:41)  6. Hope in the Face of Despair
( 5:52)  7. 7. A Simple Truth
( 4:00)  8. The Sound: Evening

The title of Ernie Watt's seventh release on his Flying Dolphin label reflects the tenor great's guiding philosophy, as he explained in a recent interview for dublinjazz.ie: "We are creating our reality all day every day by the thoughts that we think and by the things that we say and by our belief systems. It's a very clear and simple path." For Watts, this path has translated, on average, into two hours practice virtually every day for the past fifty three years. Such dedication to his art is clear every time Watts plays and prompted journalist Nat Hentoff to speak of Watts' "total command of his instrument." Now approaching seventy, Watts is arguably at the peak of his powers as he amply demonstrates on another fine addition to a discography as leader that stretches back to <="">(World Pacific, 1969). Backed by his working quartet of fifteen years standing, Watts serves up five striking originals and three stellar interpretations of tunes by pianist Keith Jarrett, trumpeter Dizzy Gillespie and pianist/arranger Billy Childs. Bookending the set are two lush orchestral pieces, co-written with and arranged by Ron Feuer: "The Sound: Morning" and "The Sound: Evening" are haunting, gently rhapsodic pieces; layered synthesizer parts and sparkling piano glissandi buoy Watts and Feuer's mellifluous odes to nature. 

Like the day slowly warming, the music gains gradually in intensity from the meditative incantation of "The Sound: Morning" through lyrical terrain to an all-out bebop climax, before relenting and easing into softer, end of day colors. In a sense, this is a conceptual recording but Watts' spirituality translates in very visceral musical terms. Swing, bebop and the blues are the wells Watts drinks from. On Jarrett's "No Lonely Nights" Watts' demonstrates that he's a master of slow seduction to boot, his warm tone radiating throughout. Pianist Christof Saenger, bassist Rudi Engel, and drummer Heinrich Koebberling on brushes, add perfectly weighted support. Watts has imbibed much of Jarrett's art of melodic improvisation over the years, regardless of tempo, as his soaring solo on Koebberling's mid-tempo "The Road We're On" testifies. Saenger and Engel make their own elegant statements before returning to the head. Watts turns up the heat a little on "Acceptance" a satisfyingly meaty straight-ahead tune with a bouncing walking bass line and strutting room aplenty for all; Saenger's bluesy solo sets a high bar for Watts who responds with impassioned energy. 

The quartet burns on Gillespie's "Bebop," with water-tight unison playing and breathless individual virtuosity the order of the day. The relay between the musicians during Koebberling's feature is an overly familiar device but the drummer's locking of horns with Watts provides a genuinely exciting passage and remains a highlight of any of Watt's shows. The mellow contours of Childs' "Hope in the Face of Despair" and Watts' caressing ballad "A Simple Truth" steer the quartet past the sunset, while the dusky warmth of the orchestral "The Sound: Evening" calls time on an impressive collective statement that only strengthens Watts' legend. ~ Ian Patterson  

http://www.allaboutjazz.com/a-simple-truth-ernie-watts-flying-dolphin-records-review-by-ian-patterson.php#.U95bNWNryKI
 

Personnel: Ernie Watts: tenor saxophone; Christof Saenger: piano; Rudi Engel: acoustic bass; Heinrich Koebberling: drums; Ron Feuer: synthesized orchestration (1, 8).

A Simple Truth

---

Kai Winding & Carl Fontana's Cleveland Express - The Complete Ohio Sessions

Styles: Trombone Jazz
Year: 1957
File: MP3@320K/s
Time: 74:41
Size: 171,4 MB
Art: Front

(7:12)  1. Blue Lou
(4:25)  2. The Party's Over
(6:47)  3. The Preacher
(3:33)  4. The Surrey With the Fringe on Top
(4:34)  5. Jive at Five
(7:19)  6. The Blues
(3:07)  7. Whistle While You Work
(5:10)  8. You Don't Know What Love Is
(4:51)  9. Mole Hill
(6:43) 10. There'll Never Be Another You
(8:04) 11. Jim and Andy's
(5:14) 12. In a Sentimental Mood
(7:36) 13. I Want to Be Happy

Of all the legendary trombone innovators, no one deserves more recognition for the development of the instrument than the great Kai Winding and Carl Fontana. Peerless soloists, band leaders, section players, arrangers and composers, the two trombonists' legendary collaboration began in August 1956, when Winding decided to form a septet consisting of four trombones and a rhythm section. The band's most impressive recording consists of an excellent June, 1957 live performance in Cleveland, Ohio. The minimal amount of background noise and ample applause is a testament to the high musical quality and audience chemistry. 

Winding expertly weaves moods, tempos, and textures on an array of show tunes, movie songs, classic jazz and several originals that showcase his superb arrangements and virtuoso group of musicians. all the legendary trombone innovators, no one deserves more recognition for the development of the instrument than the great Kai Winding and Carl Fontana. Peerless soloists, band leaders, section players, arrangers and composers, the two trombonists' legendary collaboration began in August 1956, when Winding decided to form a septet consisting of four trombones and a rhythm section. The band's most impressive recording consists of an excellent June, 1957 live performance in Cleveland, Ohio. The minimal amount of background noise and ample applause is a testament to the high musical quality and audience chemistry. Winding expertly weaves moods, tempos, and textures on an array of show tunes, movie songs, classic jazz and several originals that showcase his superb arrangements and virtuoso group of musicians.

"This 1957 concert in Cleveland seems to be Winding's earliest date with four trombones in a generally well-recorded nightclub date that has a bare minimum of clinking dishes and audience conversations. The rich harmonies are a delight as Winding blends with trombonists Carl Fontana, Wayne André and Dick Lieb." ~ Ken Dryden http://www.freshsoundrecords.com/the_complete_ohio_sessions-cd-3519.html

The Complete Ohio Sessions

---

Red Garland - Blues In Mambo

Bitrate: 320K/s

Time: 74:57

Size: 173.0 MB

Styles: Piano blues

Year: 2011

Art: Front

[5:14] 1. Lover

[7:22] 2. Blues In Mambo

[8:10] 3. Manteca

[5:13] 4. Five Ô Clock Whistle

[9:15] 5. East Of The Sun

[7:11] 6. Exactly Like You

[6:45] 7. S'Wonderful

[6:57] 8. Estrellita

[5:54] 9. Lady Be Good

[5:27] 10. You'd Be So Nice To Come

[7:24] 11. Ahmad's Blues

Largely self-taught, Red Garland established a reputation as a solid post-bop mainstream player in the 50s, playing with many of the most famous jazz musicians of the time. He achieved international fame in the late 50s as part of the Miles Davis quintet. He went on to lead his own groups, but then retired in 1968, a victim the declining demand for jazz. He reemerged in 1976 and performed regularly until his death in 1984.

Garland was known for his eloquent middle-of-the-road style. A fertile, often moving improvisor, he developed a characteristic block chord sound by combining octaves with a fifth in the middle in the right hand over left-hand comp (accompanying) chords. The style has been much imitated.

ED GARLAND-PIANO, PAUL CHAMBERS-BASS, ART TAYLOR-DRUMS, RAY BARRETTO-CONGAS. RECORDED, JUNE 27, 1958.

Blues In Mambo

---

Denis Chang - Nature Boy

Bitrate: 320K/s
Time: 55:32
Size: 127.2 MB
Styles: Guitar jazz
Year: 2007
Art: Front

[3:38] 1. Pour Jimmy Them There Eyes
[3:48] 2. I've Found A New Baby
[6:01] 3. Stardust
[2:04] 4. Some Of These Days
[3:16] 5. Donna Lee
[2:07] 6. Improvisation No 5
[2:35] 7. Oui
[2:32] 8. Rosetta
[3:51] 9. Danse Norvegienne
[5:00] 10. Minor Swing
[5:20] 11. Seul Ce Soir
[2:05] 12. Valse De Wasso
[4:47] 13. Cherokee
[3:01] 14. Rue De Pierre
[5:18] 15. Nature Boy

Denis Chang was already an avid musical explorer when he discovered Django Reinhardt at 19. An exceptional player in the gipsy swing style, he is no mere copyist but is open to bebop, fusion, latin, pop, rock, blues And classical for inspiration. On fifteen tunes -- including Stardust, Cherokee, Nature Boy And Charlie Parker's Donna Lee, Chang employs a range of instrumentation to support his guitar work in addition to his rhythm guitarists: accordeon, tenor sax, Hammond organ & percussion.

Solo guitar: Dennis Chang (1-15), Ritary Gaguenetti (4,5), Frank Gambale (15); Rhythm guitar: Lou Boustani (1,7,8,10,11,12,13), Jesse Barksdale (2,3,9), Roberto Rosenman (2,3,9), Hervé Gaguenetti (4,5,15); Vocals: John Labelle (3), Jeanne Rochette (11), Dawn Tyler Watson (15); Violin: Drew Jurecka (2,3); Rhodes, Hammond B-3: Vanessa Rodrigues (11,15); Accordion: Marin Nasturica (1,10,13); Tenor saxophone: Sean Craig (3,5,7,8,9,10,13); Trombone: Nadav Nirenberg (11); Electric bass: Lauréat Cormier (15); Upright bass: Alex Bellegarde (1,4,5,7,8,10,12,13), Chris Bartos (2,3,9); Percussions: Ben Caissie (1,3,7,8,10,11,12,13); Drums: Isaac Dumont (15).

Nature Boy

---

Jim Owens & Brett Stamps - Bad To The Bone

Bitrate: 320K/s
Time: 67:15
Size: 154.0 MB
Styles: Hard bop, Trombone jazz
Year: 2008
Art: Front

[5:45] 1. Blues For J & K
[5:49] 2. Summertime
[6:09] 3. Blackbird
[5:11] 4. In A Mellow Tone
[4:55] 5. Alone Together
[6:06] 6. Ants In Your Pants
[5:18] 7. What Are You Doing The Rest Of Your Life
[4:10] 8. Stella By Starlight
[5:37] 9. Embraceable You
[4:35] 10. Lucky Southern
[4:27] 11. Where Or When
[5:32] 12. 1 17 Am
[3:35] 13. Four Brothers

Victoria Records presents "BAD TO THE BONE", featuring Brett Stamps (trombone) and Jim Owens (trombone), Cody Henry and Jim Martin also featured on last track (trombone), Miles Vandiver (drums), Zeb Briskovich (bass), Reggie Thomas (piano) and Rick Haydon (guitar). Our local music store sold out of this recording as soon as it became available. You're in for some great listening to some hot jazz!

Some of us can't get enough of a good thing and such is the case with the Brett Stamps recordings. "Bad to the Bone" is the 2008 release by two fine trombonists, Brett Stamps and Jim Owens. It is a tribute album to the music of Kai Winding and J.J. Johnson. The musicians heard on this CD are all well known in the St. Louis metro area: all but Jim Martin teach at SIUE; Jim teaches at Webster U. in the suburb of Webster Groves. Bill Becker, executive producer, arranged for the men to record this fabulous music. Ross Gentile, of radio station WSIE fame, is a tireless promoter of jazz in the St. Louis area. All these men are responsible for this terrific CD and its popularity with local jazz aficionados. ~J. Lovins/amazon

Bad To The Bone

---

Mack Avenue Superband - Live From The Detroit Jazz Festival 2013

Bitrate: 320K/s
Time: 60:43
Size: 139.0 MB
Styles: Mainstream jazz
Year: 2013
Art: Front

[11:07] 1. Liberty Avenue Stroll
[ 7:24] 2. All Blues
[ 6:27] 3. Guantanamera
[11:36] 4. Breakthrough
[ 7:35] 5. Nuages
[ 7:07] 6. Oh Daddy Blues
[ 9:23] 7. Honky Tonk

Mack Avenue SuperBand’s Live From The Detroit Jazz Festival – 2013 documents a concert at the Motor City’s capacious Hart Plaza by an ensemble of leaders culled from Mack Avenue Records’ extraordinary artist roster. It’s the second configuration of the group, which debuted at the 2012 Detroit Jazz Festival, mixing veteran stars with mid-career leaders and up-and-comers. The resulting album, Live From The Detroit Jazz Festival – 2012, received critical kudos for the fiery chemistry and soloistic derring-do contained therein.

For the follow-up, Al Pryor, Mack Avenue’s Executive Vice President for A&R, assembled a slightly pared-down unit. Back for round two are vibraphonist Gary Burton, trumpeter Sean Jones, guitarist Evan Perri, and the rhythm section of pianist Aaron Diehl, bassist (and music director) Rodney Whitaker and drummer Carl Allen. Joining the mix are veteran soul/jazz saxophone giant Kirk Whalum and the sensational vibraphonist-marimbist, Warren Wolf. The results are no less scintillating—a program as cohesive and precise as a studio recording, but infused with energetic vibrations emanating from the several thousand hip, enthusiastic fans who attended the free concert.

Whitaker attributes the bandstand discipline and simpatico in part to his determination to follow collective, inclusive principles in organizing the program. “I solicited everyone’s input,” he says. “With artists at this level, you don’t need to dictate every moment. Sometimes it’s more important to listen and facilitate, and not always try to be the boss. When you have a conversation with everyone about what music we’re playing and the direction we want to go, everybody buys in, and they make it sound like a band. We put together a set list two months before the concert took place.”

Whitaker discerns several common denominators that promoted camaraderie. One is the role of gospel music in the musical development of Whalum, Jones, Wolf, Diehl, Allen and himself during formative years. “Everyone—not just those who grew up in church—tries to tell a story in the way they play, in the way they try to touch an audience and say something to them,” he says. “They put together their solos to get across a message that music is not just about notes, but has some greater meaning, whatever you may translate that to mean.”

(Carl Allen – drums 1, 2, 4, 7; Gary Burton – vibes 2, 7; Aaron Diehl – piano 1, 4-7; Kevin Eubanks – guitar 2, 7; Tia Fuller – alto sax 1, 4, 7; Sean Jones – trumpet 1, 4, 7; Cécile McLorin Salvant – vocals 6; Evan Perri – guitar 5, 7; Diego Rivera – tenor sax 7; Alfredo Rodríguez – piano 3; Rodney Whitaker – bass 1, 2, 4-7)

Live From The Detroit Jazz Festival

---

Lisa Bassenge - Going Home

Styles: Vocal, Jazz Pop
Year: 2007
File: MP3@320K/s
Time: 59:29
Size: 138,5 MB
Art: Front

(5:20)  1. Like a Virgin
(4:59)  2. Caravan
(5:15)  3. I'm Through with Love
(4:37)  4. Besame Mucho
(5:57)  5. 50 Ways to Leave Your Lover
(1:57)  6. Fly Me to the Moon
(4:20)  7. Gee Baby
(4:54)  8. I Hope That I Don't Fall in Love with You
(4:14)  9. Gigolo
(5:04) 10. A Hard Day's Night
(3:05) 11. Guess Who I Saw Today
(5:03) 12. De Doo Doo Doo de Da Da Da
(4:39) 13. Going Home

After three highly anticipated albums, Lisa Bassenge's trio is back with a new CD that takes its inspiration from a wide variety of jazz and popular music.  Features gorgeous renditions of songs made popular by Madonna, Paul Simon, Tom Waits, The Beatles, The Police, Don Redman, and more.  Lisa Bassenge has built a solid following in Berlin. She presents an interesting repertoire ranging from Duke Ellington to Madonna, and is a young singer with a personal vision who utilizes new ways of expression.  Bassenge has released seven previous recordings of various projects, always attempting to reveal the eternal truths in pop songs--A Sigh, A Song (2002), Three (2004), and various albums with the groups Micatone and Nylon.~Editorial Reviews(http://www.amazon.com/Going-Home-Lisa-Trio-Bassenge/dp/B000059QD8/ref=sr_1_1?ie=UTF8&qid=1350412834&sr=8-1&keywords=Lisa+Bassenge-Going+Home).

Personnel: Lisa Bassenge (vocals); Daniel Mattar (vocals); Soren Fischer (trombone); Andreas Schmidt (piano); Paul Kleber (double bass).

Going Home

---

Manhattan Transfer - Couldn't Be Hotter

Styles: Vocal Jazz, Swing
Year: 2002
File: MP3@320K/s
Time: 77:30
Size: 178,1 MB
Art: Front

(2:46)  1. Old Man Mose
(3:42)  2. Sing Moten's Swing
(3:06)  3. A-Tisket, A-Tasket
(3:41)  4. Sugar (That Sugar Baby O'Mine)
(5:38)  5. Up A Lazy River
(5:32)  6. Do You Know What It Means To Miss New Orleans
(4:32)  7. Stars Fell On Alabama
(5:03)  8. Gone Fishin'
(5:29)  9. Blue Again
(7:51) 10. Clouds (Adapted from 'Nuages')
(3:08) 11. Stompin' At Mahogany Hall
(6:43) 12. Nothing Could Be Hotter Than That
(3:14) 13. It's Good Enough To Keep
(4:19) 14. Don't Let Go
(4:15) 15. Twilight Zone / Twilight Tone
(8:25) 16. My Foolish Heart

Last year the Manhattan Transfer made its Telarc debut with the live Couldn't Be Hotter. Terrific as the disc was, it turns out the title was merely prescient of the follow-up studio release Vibrate, the group's first in four years. Drawing on all of Tim Hauser, Janis Siegel, Alan Paul and Cheryl Bentyne's individual and collective talents, and echoing such eclectically brilliant group accomplishments as Swing, Bop Doo-Wopp, Vocalese, Tonin' and Pastiche (which, though it predates Bentyne's arrival in 1979, remains classic MT), Vibrate can best be described as a triumphant "greatest skills" collection.

The opener, Brenda Russell's "Walkin' in N.Y.," recalls the breezy retro sophistication of the Transfer's long-ago "Tuxedo Junction" days. It's followed by Rufus Wainwright's cheekily romantic "Greek Song," which, with its mixed Asian and European accents, is strongly reminiscent of the pre-Bentyne Transfer's dazzling, cross-cultural treatment of "On a Little Street in Singapore" on Pastiche. The cunning title track, another Wainwright delight, follows, blending an old-fashioned tango with a conventional tale of heartbreak and longing, and then twisting both in the chords of modern contrivances. "Doodlin'" is yet another fine example of the Transfer's ability to channel the tightly choreographed vivacity of Lambert, Hendricks and Ross while making the tune distinctly its own. Their creamy "Embraceable You," dripping in strings, is gorgeously reminiscent of the Tommy Dorsey days of the Pied Pipers; "I Met Him on a Sunday" infuses the Shirelles' hit with plenty of rib-sticking N'awlins gumption; and "First Ascent," cowritten by Alan Paul (with Billy Hulting and Bob Mair) and set to a deliciously cacophonous Afro-Latin rhythm, is an homage to creative inspiration that is itself an inspired creation. Then there's "The New JuJu Man," based on Miles Davis' "Tutu," which shows off these four vocalese masters at their most imaginatively incendiary. Put 'em all together and, indeed, the Transfer couldn't be hotter. ~ Christopher Loudon  http://jazztimes.com/articles/15114-couldn-t-be-hotter-manhattan-transfer

Manhattan Transfer: Alan Paul, Janis Siegel, Cheryl Bentyne, Tim Hauser (vocals)
Personnel: Wayne Johnson (guitar); Larry Klimas (soprano saxophone, tenor saxophone); Lew Soloff (trumpet); Yaron Gershovsky (keyboards); Tom Brechtlein (drums).

Couldn't Be Hotter

---

Charlie Ventura & Bill Harris - Live At the Three Deuces

Styles: Saxophone and Trombone Jazz
Year: 1947
File: MP3@320K/s
Time: 51:49
Size: 119,1 MB
Art: Front

(10:25)  1. Characteristically B. H.
( 5:37)  2. Blue Champagne
( 8:11)  3. Frolic Sam
( 9:26)  4. High On an Open Mike
( 6:54)  5. Body and Soul
( 7:56)  6. The Great Lie
( 3:17)  7. Everything Happens To Me

Charlie Ventura and Bill Harris made their mark among fellow jazz musicians but both died in obscurity. The reappearance of these historic live performances from 1947 are important parts of their discography, most of them transcribed by collector Jerry Newman during gigs at the Three Deuces. Unlike 78 rpm discs of the era, the musicians get a chance to stretch out at length. Ventura's boppish tenor sax shows the influence of swingers like Coleman Hawkins and Ben Webster, yet he is clearly speaking a new language on the instrument. Harris is a bit more economical with his notes but no less effective an improviser. The rhythm section features pianist/arranger Ralph Burns, bassist Bob Leininger and the tragic but gifted drummer Dave Tough. While this isn't a complete compilation of their material from this period, it represents most of the highlights. Highly recommended. ~ Ken Dryden  http://www.allmusic.com/album/live-at-the-three-deuces-1947-mw0000082005

Personnel: Charlie Ventura (tenor saxophone); Bill Harris (trombone); Ralph Burns (piano); Bob Leininger, Curley Russell (bass); Dave Tough (drums).

Live At the Three Deuces

---

Terry Gibbs - Launching A New Band 1959

Styles: Vibraphone Jazz
Year: 2010
File: MP3@320K/s
Time: 36:45
Size: 84,3 MB
Art: Front

(2:45)  1. Opus Nº 1
(3:01)  2. Moten Swing
(2:35)  3. I'm Getting Sentimental Over You
(3:28)  4. Let's Dance
(3:29)  5. Stardust
(2:54)  6. Cottontail
(2:29)  7. Begin The Beguine
(2:44)  8. Jumpin' At The Woodside
(3:03)  9. Prelude To A Kiss
(3:53) 10. Don't Be That Way
(3:26) 11. Midnight Sun
(2:52) 12. Flyin' Home

Terry Gibbs began his career at the age of 12 after winning the Major Bowes Amateur Hour Contest and subsequently began touring professionally. He spent many years as a drummer and percussionist playing gigs until his affinity for bebop motivated him to turn down a scholarship to Julliard as a timpanist and return to the vibes. Six decades of inspirational vibe playing and technique, Gibbs is recognized as one of the best ever to grace the genre of bop. After World War II, Gibbs toured with Chubby Jackson, Buddy Rich and Woody Herman. He co-led a sextet with Louie Bellson and Charlie Shavers; and in 1950, he formed his own band for Mel Torme's TV show. In 1951, he joined the Benny Goodman Sextet. Subsequently, he toured with his own band where he won acclaim as “# 1 Vibraphonist in the world,” in both the down beat and Metronome polls from 1950 to 1955. Gibbs also played a role in breaking down the sex barrier in music, using pianists Terry Pollard, who he often featured in vibe duos, and Alice McLeod, who later married John Coltrane. Settling in Los Angeles in 1957, he formed his big band known as “The Dream Band.”

Comprised of Mel Lewis, Joe Maini, Frank Rosolino, Conte Candoli and Richard Kamuca, they were named “Best Band in the World” in the Downbeat '62 Critic's Poll. Gibbs returned to New York in the early sixties only to move back to LA to take a position as Music Director for the Regis Philbin Show. This gave him the opportunity to compose the music and conduct a sextet. He later served as Music Director/Composer for the ABC TV show, Operation Entertainment and for Steve Allen, building a substantial ASCAP rating. Gibbs also taught Steve Allen to play the vibes. Gibbs, throughout his illustrious career has enjoyed world acclaim playing with greats such as clarinetist Buddy DeFranco, Charlie Parker, Dizzy Gillespie, Horace Silver, Max Roach, Art Blakely, Elvin Jones and Tito Puente. Co-leading a quintet, he had an unprecedented nomination in four categories of the Playboy Jazz Poll: Best Vibraphonist, Best Quartet, Best Big Band and Best Band Leader. 

His association with DeFranco has spanned 18 years and is still an invigorating collaboration today. With 65 albums to his credit, winner of 3 major jazz polls and creator of 300+ compositions (recorded by Gibbs, Nat Cole, Les Brown, Cannonball Adderly, Count Basie, George Shearing, etc.), Gibbs has left an indelible mark in the world of vibes. Terry Gibbs plays the Yamaha YV-3710 vibraphone. Bio ~ http://musicians.allaboutjazz.com/terrygibbs

Personnel:  Vibraphone – Terry Gibbs; Alto Saxophone – Charlie Kennedy, Joe Maini ; Baritone Saxophone – Jack Schwartz Bass – Joe Mondragon , Max Bennett ; Piano – Pete Jolly ; Tenor Saxophone – Bill Holman, Med Flory Trombone – Bob Enevoldsen, Frank Rosolino, Vern Friley ; Trumpet – Al Porcino, Conte Candoli, Phil Gilbert, Ray Triscari, Stu Williamson 

Launching A New Band

---

Claude Williamson Trio - Keys West

Bitrate: 320K/s
Time: 32:56
Size: 75.4 MB
Styles: Piano jazz
Year: 1955/2010
Art: Front

[2:30] 1. Get Happy
[3:25] 2. On The Atchison
[3:23] 3. Spring Is Here
[4:44] 4. Like Someone In Love
[2:48] 5. My Heart Stood Still
[2:23] 6. Of Thee I Sing
[3:01] 7. Don't Get Around Much Anymore
[5:20] 8. Yesterdays
[1:57] 9. The Kerry Dance
[3:21] 10. Between The Devil And The Deep Blue Sea

In the very early 1950s, Los Angeles was awash in jazz pianists who could play with ferocious speed and delicate grace. The names that spring to mind include Russ Freeman, Marty Paich, Hampton Hawes, Dodo Marmarosa, Carl Perkins, Pete Jolly, Lorraine Geller, Victor Feldman, Sonny Clark and Jimmy Rowles. But perhaps the most overlooked member of this silky-swinger set is Claude Williamson. Back in 1954 and '55, Williamson recorded two perfect trio albums for Capitol when Stan Kenton briefly headed the Stan Kenton Presents imprint, which showcased West Coast talent.Williamson was born in Brattleboro, Vt., and his father was a drummer and leader of a local territory band. Williamson studied piano and soon joined his father's band from 1940 to 1944—an invaluable experience while in high school. After graduation, Williamson studied at Boston's New England Conservatory of Music. But his exposure to an Al Haig record began to lure him regularly to New York. Before long, though, Williamson came under the influence of bop pianist Bud Powell.

Keys West

---

Sonia V - I Wish You Love

Bitrate: 320K/s
Time: 61:23
Size: 140.5 MB
Styles: Jazz vocals
Year: 2004
Art: Front

[4:56] 1. A Day In The Life Of A Fool
[4:35] 2. Autumn Leaves
[5:28] 3. The Nearness Of You
[3:58] 4. Fly Me To The Moon
[7:14] 5. The Look Of Love
[4:20] 6. I Wish You Love
[5:18] 7. You Don't Know What Love Is
[5:57] 8. Dindi
[3:23] 9. Bye Bye Blackbird
[5:31] 10. The Girl From Ipanema
[7:09] 11. Am I Blue
[3:29] 12. Watch What Happens

sonia v. is for die hard romantics only. her voice is as fragile as a birds wing, but when she sings about the familiar heart-bursting feeling of being helplessly in love, the romantics in the audience can only feel a genuine empathy. sonia's singing makes you feel like you've been invited into her living room for a private concert. if her version of "you don't know what love is" doesn't induce a bit of wistfulness then "tear up your donor card," as british author richard cook would say "they can't transplant hearts of stone". sonia is not a musical careerist and doesn't desire commercial success, but to hear sonia v in full stride at a public appearance is to glimpse the rarest of life's experiences.........she wishes you love. (written by ray grunnert / intelligencer journal correspondent)

I Wish You Love

---

Antigua Jazz Band - Old Friends

Bitrate: 320K/s
Time: 37:17
Size: 85.4 MB
Styles: Ragtime, New Orleans jazz
Year: 2013
Art: Front

[4:53] 1. I've Got Rhythm
[4:40] 2. Don't Get Around Much Anymore
[4:17] 3. Antigua Stomp
[4:25] 4. Gaston Blues
[3:21] 5. Hot Loving
[3:39] 6. Ain't Misbehavin'
[3:15] 7. It Don't Mean A Thing Ain't Got That Swing
[3:36] 8. Old Friends
[5:07] 9. Big Butter And Egg Man

Pablo Scenna (music director, banjo, guitar), Juan Alejandro Lacruz (baritone saxophone), Luis Sirimarco (piano), Julio Juan (alto saxophone), Juan Manuel Klappenbach (alto saxophone, clarinet), Rolando Vismara (trumpet), Claudio Marcelo Cagegi (trumpet), Osvaldo H. Ricci, Hernán Avella (drums, washboard), Orlando Merli (tenor saxophone), Juan Carlos Scenna (double bass), Hugo Bornia (trombone), Mauro Montes de Oca (trumpet)

Old Friends

---

Sarah Ellen Hughes - The Story So Far

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 55:08
Size: 126,5 MB
Art: Front

(4:04)  1. The Story So Far
(3:13)  2. My Favourite Things
(4:00)  3. Honeysuckle Rose
(3:43)  4. Gef Out Of Town
(4:33)  5. Take Me Away
(7:39)  6. Corcovado/If You Never Come To Me
(2:46)  7. Busy Bee
(5:01)  8. Close To You
(5:07)  9. It's Alright With Me
(3:50) 10. Oh Lady Be Good
(5:16) 11. Little Wing
(5:53) 12. Spain

Award-winning vocalist Sarah Ellen Hughes has established herself as a notable presence on the London jazz scene and beyond. Sarah began her career with the National Youth Jazz Orchestra (NYJO), with whom she was lead vocalist from 2005-2008. Since then she has earned many accolades including winning the 2010 International Jazz Singing Competition, “Jazz Voices,” held in Lithuania. In 2011, she was selected as a semi-finalist for the Montreux Jazz Festival voice competition where she was lucky enough to perform in front of Quincy Jones. Quincy himself said “Great singing girl, keep doing what you’re doing.” Sarah has appeared at many of the UK’s top jazz venues including Ronnie Scott’s, Pizza on the Park (where she held a residency for 8 months), 606 Club, Wakefield Jazz Club, and Marlborough Jazz Festival. In 2010, she was invited to participate in the London Jazz Festival “Vocal Summit,” where she was selected by Paul Pace -jazz programmer at Ronnie Scott’s - as one of three singers “whom I consider to be the best on the scene in terms of the vocal art, individuality, and the ability to move and entertain the audience.” 

Championed by distinguished vocalists Claire Martin and Ian Shaw, Sarah’s first album “Darning the Dream” was released in 2010, to critical acclaim. The recording features some of the UK’s finest musicians including Jim Hart and Dave O’Higgins, plus two duets with Ian Shaw. It was selected as UK Jazz Radio’s “CD of the month” for a record three months running in early 2010. Sarah’s next album “The Story So Far” will be released in September 2011. As well as singing, Sarah enjoys writing for one of Britain’s best jazz blogs, LondonJazz (www.londonjazz.blogspot.com). Additionally, her years with NYJO prepared her to set up her own big band: The Sarah Ellen Hughes Big Band, featuring an all-star line-up. Sarah is the founder member of Sector7, which has been described by Ian Shaw as “Possibly the most exciting thing to happen to the London Jazz scene.” Sector7 is a sensational septet featuring jazz trio and four singers, and it can be heard here: www.sector7.org.uk. The release of Sarah’s debut album was followed by a 24-date UK tour, and her 2011 release will be promoted with a 31-date UK tour. Sarah’s busy gig calendar indicates her popularity and appeal as a significant British vocalist: “A talent to look out for” ~ Jazz Journal. http://musicians.allaboutjazz.com/sarahellenhughes

The Story So Far

---

Jack Jezzro & Friends - Rio Nights

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 52:45
Size: 122,5 MB
Art: Front

(3:28)  1. You Are The Sunshine Of My Life
(3:48)  2. I've Got A Crush On You (feat. Denis Solee)
(4:31)  3. This Masquerade (feat. Beegie Adair)
(4:19)  4. Makin' Whoopee
(3:40)  5. Blue Bossa (feat. Leif Shires)
(4:37)  6. Can't Take My Eyes Off You (feat. Sam Levine)
(3:37)  7. Sunny
(4:02)  8. You And The Night And The Music (feat. Lori Mechem)
(4:50)  9. A Nightingale Sang In Berkeley Square (feat. Sam Levine)
(3:43) 10. Tea For Two
(4:02) 11. The Shadow Of Your Smile (feat. Beegie Adair)
(3:23) 12. Watch What Happens (feat. Leif Shires)
(4:38) 13. Bossa Nova Nights

An internationally recognized guitarist and composer, Jack Jezzro is a multifaceted and successful studio musician. He has produced over 100 albums, earned a Grammy nomination and five Dove award nominations. Starting out as a member of Rochester Philharmonic Orchestra and attending the Eastman School of Music, Jezzro eventually moved to Nashville where he now resides. Also an accomplished double bassist, Jezzro performs regularly with Nashville String Machine, an in-demand studio group recording with many top artists. As a studio musician, Jezzro's recording credits include work with Faith Hill, Matchbox Twenty, Randy Travis, and many others. His work can also be heard on numerous motion picture soundtracks including Con Air, Pocahontas, and The Green Mile. Bio ~ https://itunes.apple.com/us/artist/jack-jezzro/id200096162

Personnel: Jack Jezzro (guitar); Sam Levine (soprano saxophone); Denis Solee (tenor saxophone); Leif Shires (trumpet); David Huntsinger (piano, keyboards); Lori Mechem, Beegie Adair (piano); Eric Darken (percussion).

Rio Nights

---

Al Jarreau - My Old Friend: Celebrating George Duke

Styles: Vocal Jazz
Year: 2014
File: MP3@VBR ~244K/s
Time: 44:43
Size: 79,2 MB
Art: Front

(4:51)  1. My Old Friend (Feat. Gerald Albright)
(4:08)  2. Someday (Feat. Dianne Reeves)
(4:52)  3. Churchyheart (Backyard Ritual) (Feat. Marcus Miller)
(4:37)  4. Somebossa (Summer Breezin') (Feat. Gerald Albright)
(4:28)  5. Sweet Baby (Feat. Lalah Hathaway)
(3:46)  6. Every Reason to Smile/Wings of Love (Feat. Jeffrey Osborne)
(4:00)  7. No Rhyme, No Reason (Feat. Kelly Price)
(4:32)  8. Bring Me Joy (George Duke, Boney James)
(4:42)  9. Brazilian Love Affair / Up from the Sea / It Arose and Ate Rio in One Swift Bite (Feat. Dianne Reeves)
(4:42) 10. You Touch My Brain (Dr. John)

My Old Friend, Celebrating George Duke (Concord, 2014) is Al Jarreau’s special tribute to his friend and former music collaborator. The multiple Grammy Award-winner is joined by several of George Duke’s many collaborators, including long-time music partner Stanley Clarke. Al Jarreau has invited guest artists Gerald Albright, Dr. John, Lalah Hathaway, Boney James, Marcus Miller, Jeffrey Osborne, Kelly Price, Dianne Reeves and several others to join the celebration and re-interpret some of George Duke’s best known post-bop, jazz, R&B and Brazilian jazz compositions. The album was produced by Stanley Clarke, John Burk, Marcus Miller and Boney James. The 10 songs selected from Duke’s extensive catalogue will lift your spirits and bring back fond memories of George Duke in his heyday. The program opens with the appropriate title track “My Old Friend.” Al Jarreau’s great vocals are supported by an all-star ensemble that not only features his label mate-saxophonist Gerald Albright- but such great artists as Stanley Clarke on bass, Patrice Rushen on piano/keyboards, Paul Jackson, Jr. on guitar, John Robinson on drums and backing vocals by Jeffrey Osborne with several other background vocalists. Although George Duke did not write this song, its selection was certainly on-point because of Al Jarreau’s 50-year friendship with the great musician. Gerald Albright is also featured on “Somebossa (Summer Breezin’)” a song written by Jarreau, Duke, and Patrick Lundquist. This breezy bossa nova-styled song is a gentle reminder of George Duke’s diverse musical abilities and understanding of Brazilian jazz. 

John Burk and Stanley Clarke produced both songs. “Someday” features George Duke’s cousin, the multiple Grammy Award-vocalist Dianne Reeves. She duets with Al on this wonderful George Duke original which also features keyboardist John Beasley and Marcus Miller on bass. Miller also produced the track with John Burk. Dianne Reeves returns later in the program to sing “Brazilian Love Affair/Up from the Sea It Rose and Ate Rio in One Swift Bite.” Her lovely vocals make these songs worth several listens. Marcus Miller is the featured performer on “Churchyheart (Backyard Ritual),” another beautiful song written by Al Jarreau and George Duke. This ballad is sung by Al accompanied by John Beasley on keyboards, Mike Cottone on trumpet, Jubu on guitar, and John Robinson on drums. What makes this song so special is the addition of Miller’s bass clarinet solo that underlines the dynamic vocals of Al Jarreau and adds another great attitude to the hot rhythm section. There is no way to forget the Clarke/Duke monster hit “Sweet Baby” due to its repeated airplay on classic smooth jazz radio stations these days. Vocalist Lalah Hathaway joins Al Jarreau in a remarkable duet. Duke’s writing partner Stanley Clarke plays bass and lends his backing vocals on this lovely reinterpretation of one of their best-loved hits. As a composer/producer/arranger George Duke was behind many artists’ chart-topping hits including Jeffrey Osborne’s. 

Here, Jeffrey sings a medley of the Clarke/Duke hit “Every Reason to Smile” and his own hit "On the Wings of Love.” One of Duke’s major show-stoppers, "No Rhyme, No Reason,” gets a soulful update from Kelly Price with programming by Boney James. Boney James also produced “Bring Me Joy.” This song was recorded by Boney James, Dave Rideau and Seth Presant and mixed by Dave Rideau. It features the original recording of George Duke himself performing on keyboards. James’ haunting saxophonics will surely bring a smile to your face as you remember them playing this amazing song together. The CD closes with Dr. John reinterpreting “You Touch My Brain” a funky, jam that showcases Al Jarreau and Dr. John’s bluesy vocals. Al Jarreau has done a great job with My Old Friend: Celebrating George Duke. With his leadership, vocal expertise and the abundance of great artists gathered for the recording, he has definitely extended George Duke’s exciting legacy as well as his own for years to come. http://www.axs.com/al-jarreau-s-my-old-friend-celebrating-george-duke-features-jazz-great-13060

My Old Friend: Celebrating George Duke

---

The Everly Brothers - EB 84

Styles: Pop/Rock
Year: 1984
File: MP3@320K/s
Time: 33:20
Size: 76,4 MB
Art: Front

(2:37)  1. On The Wings Of A Nightingale
(3:29)  2. Danger Danger
(4:11)  3. The Story Of Me
(2:47)  4. I'm Takin' My Time
(3:00)  5. The First In Line
(3:14)  6. Lay, Lady, Lay
(3:33)  7. Following The Sun
(3:14)  8. You Make It Seem So Easy
(3:00)  9. More Than I Can Handle
(4:10) 10. Asleep

After their televised reunion concert, the Everlys made a commercial and artistic comeback with EB 84. With Dave Edmunds producing, Phil and Don brought their sound into the '80s while maintaining their trademark harmonies. Lifted by Paul McCartney's "Wings of a Nightingale" and Jeff Lynne's ethereal "The Story of Me," this record has more to offer than simply nostalgia. ~ J.P.Ollio  http://www.allmusic.com/album/eb-84-mw0000189823

Personnel: Don Everly, Phil Everly (vocals, guitar); Paul McCartney, Albert Lee, Dave Edmunds, Phil Donnelly (guitar); Gerry Hogan (pedal steel guitar); Pete Wingfield, Richard Tandy (keyboards); John Giblin, Jeff Lynne (bass); Terry Williams, Gerry Conway (drums).

Eb 84

---

Steve Kuhn Trio - Life's Magic

Bitrate: 320K/s
Time: 65:08
Size: 149.1 MB
Styles: Post bop, Piano jazz
Year: 2012
Art: Front

[ 4:10] 1. Little Old Lady
[ 7:47] 2. Two By Two
[10:06] 3. Jitterbug Waltz
[11:59] 4. Ulla Trance
[ 6:06] 5. Yesterday's Gardenias
[ 6:30] 6. Mr. Calypso Kuhn
[ 4:48] 7. Never Let Me Go
[13:39] 8. Softly, As In A Morning Sunrise

Steve Kuhn leads an all-star trio with bassist Ron Carter and drummer Al Foster in this compilation of 1986 performances recorded over several nights at the Village Vanguard. First issued on Black Hawk and subsequently re-released in 2012 with a new cover, this is one of the many highlights of the pianist's vast discography. Opening with a spry, playful take of "Little Old Lady," Kuhn follows with his loping, bluesy "Two by Two" and Fats Waller's lyrical "Jitterbug Waltz," the latter showcasing Carter's intricate bass and Foster's light touch with brushes. His brisk setting of "Yesterday's Gardenias" (a song recorded by Glenn Miller in the 1940s) takes it far from its roots, turning this ballad into an engaging post-bop vehicle. The pianist's "Mr. Calypso Kuhn" puts the spotlight on Foster, opening with an intense solo, followed by the addition of Carter and, finally, the leader. Kuhn's luxurious, spacious take of "Never Let Me Go" conveys the song's message even without its lyrics. The disc closes with an extended workout of "Softly, as in a Morning Sunrise" that leaves the entranced audience wanting more. ~Ken Dryden

Life's Magic

---

Graciela López - Jazz Project

Bitrate: 320K/s
Time: 29:58
Size: 68.6 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[5:22] 1. Summertime
[3:11] 2. Just Friends
[4:03] 3. Body And Soul
[2:43] 4. Love For Sale
[2:43] 5. My Funny Valentine
[4:41] 6. Mood Indigo
[4:28] 7. Straight No Chaser
[2:44] 8. What A Difference A Day Made

Graciela López.., cantante y guitarrista (Buenos Aires, Argentina) comienza desde temprana edad sus estudios musicales. En su adolescencia estudia a las grandes cantantes de jazz, Ella Fitzgerald, Sarah Vaughan, Billie Holiday, Anita O'Day, Nina Simone, entre otras. Se dedica al estudio de este género durante más de 10 años, comenzando en Argentina y perfeccionándose en París.

En la capital francesa se presenta en el circuito de jazz parisino Café Charbon, El Blue Note, el Franc Pinot, etc. Paralelamente, crea el Ensemble d'improvisation en Temps Réel, fuertemente interesada en la experimentación vocal y la improvisación libre, elementos que incluye en sus actividades de docencia.....

Instalada en Madrid desde el año 2002, se dedica a la creación de talleres de técnica vocal, al jazz contemporáneo y a la improvisación libre. Cordel 05 .. en dúo con la compositora e improvisadora ..Abril Padilla..). También forma parte de la orquesta ....FOCO...., orquesta de improvisación libre, que cada año tiene su cita en el festival Hurta Cordel de la mano de directores internacionalmente reconocidos (Buth Morris, Walter Thompson, Olivier Benoit, Michael Fischer, etc..)

Graciela López (voz, guitarras); Nacho Reig (guitarra); Alberto Almonacid (bajo); Lorenzo Palomares (batería); Marcos Monge (saxofón tenor).

Jazz Project

---