Dana Robbins - So So Good

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 30:44
Size: 73,0 MB
Art: Front

(3:29)  1. Poquito Mas
(4:25)  2. For The Boyz
(3:31)  3. So Good
(3:35)  4. Watch It
(3:44)  5. Alexandra
(4:13)  6. Love Crusade
(4:16)  7. Groovin' The Boulevard
(3:28)  8. Maddi's Lullaby

Dana Robbins is an American singer who was the first contestant eliminated from the music reality competition Rock Star: INXS, in 2005. The daughter of a physician father and a nurse/real estate agent mother, Dana was born and mostly raised in Las Vegas, Nevada. Despite her parents’ professional backgrounds, Dana caught the performance bug early, becoming a showgirl at the age of 17 and performing in the Riviera hotel shows Jubilee and Splash. She also founded the band Honey Pot and performed at Vegas hotspots like Club Utopia. She then moved to Los Angeles where she formed her current band Aerial. As the lead singer of Aerial, she's rocked in L.A.’s classic clubs, including the Viper Room, the Roxy, and the Gig. She has also performed in a number of softcore films and television series, including Intimate Nights (1998), Stripper Wives (1999), Sinful Obsession (1999), The Pleasure Zone (1999) and Pleasure Zone: Volume 4 - Promiscuous (2000). By day Dana is a bartender, yoga instructor and dancer.Her rock idol is Robert Plant of Led Zeppelin.  

http://www.tvsa.co.za/actors/viewactor.aspx?actorid=6740

So So Good

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Nicholas Payton - Numbers

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 68:20
Size: 158,0 MB
Art: Front

(7:48)  1. Two
(6:42)  2. Three
(5:46)  3. Four
(3:15)  4. Five
(4:59)  5. Six
(5:49)  6. Seven
(6:25)  7. Eight
(6:00)  8. Nine
(6:33)  9. Ten
(4:51) 10. Eleven
(6:37) 11. Twelve
(3:29) 12. Thirteen

I think y’all are going to dig this one. It's what Prince was going for on the Madhouse joints, but we leaned closer to Funk and Soul with a flare of New Orleans, of course. It’s like Leon Ware and Marvin Gaye - I Want You meets the vamps of The Meters and the cues of The Ohio Players, with a touch of Herbie Hancock and Patrice Rushen thrown in, and a dash of Dilla. But it don't sound like none of that shit at the same time. This album was recorded at Jellowstone Studios on all live instruments in one room with these cats out of VA called "Butcher Brown." Butcher Brown is Corey Fonville on drums; Devonne Harris on keys and bass; Keith Askey on guitar; and Andrew Randazzo on bass. Fonville's been working with me since 2010. I met him while he was still in college. I kept my eye on him and snatched him up as soon as he finished. 

He had been telling me about Harris, aka DJ Harrison, for years. Being the product of mentorship myself, the idea of sharing, lineage, and ancestry inspired me to get with these cats whom I felt a kinship. Sankofa is the spirit of Paytone Records. Go back and get it! When we tracked, I played mostly Rhodes and just a hint of trumpet with the idea that I would go back and overdub solos. After I lived with the material for a while, I came to love it just the way it is. As a result we may have recorded the hippest, funkiest Play-A-Long album that's ever been documented. Musicians, rappers, singers, DJs, and lovers have in this collection of records an album designed for you to float on top of. It’s a bed of sex wrapped in 500-thread count sonic sheets. The idea is that we leave space for you to find yourself in the music. In the New Orleans tradition, collective interplay is key. The cats from Virginia fit right in with my concept. I had these motifs sitting around for years these little 2 and 4-bar vamps. Part of the reason I started Paytone Records is to get all this stuff out, so I can do it on my schedule and not have to wait for the green light from someone else. I stopped writing songs over 10 years ago. I get moments of melodic, chordal, or rhythmic inspiration and I put that down. 

They write themselves. That’s the real stuff. When I began to assemble all of these melodic fragments, I was astonished at how seamlessly they all fit together. It’s like when you buy clothes and pick up a tie here or a vest there. Then you go to your closet and arrange an ensemble and it works as if you bought all the pieces at the same time, but it’s an assortment of things you’ve accumulated over the years. Because they were all picked with your eyes, it works. That’s what composing is for me these days. So far, Butcher Brown and I have done two sessions. The first was September 9 – 11, 2013, and the one that produced Numbers was from December 18 – 20, 2013. The last tune we did in the first session is called “One,” so I called the first piece from the 2nd session, “Two.” So if you’re wondering why the first track on Numbers is “Two,” and it makes you ask, “Where’s One?” you’ll have to wait for the first album. If someone wants you to describe what Numbers sounds like, tell them it’s like Nicholas and Butcher Brown took a time capsule back to 1973 and played a gig for the people demonstrating what's happened in music for the past 40 years. ~ Nicholas Payton, June 2014  http://nicholaspayton.wordpress.com/2014/07/09/press-release-for-numbers-by-nicholas-payton-ft-butcher-brown/

Numbers

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Shirley Scott & Stanley Turrentine - Blue Flames

Styles: Hard Bop, Soul Jazz
Year: 1964
File: MP3@320K/s
Time: 33:32
Size: 77,4 MB
Art: Front

(5:41)  1. The Funky Fox
(5:41)  2. Hips Knees An' Legs
(5:31)  3. Five Spot After Dark
(7:25)  4. Grand Street
(9:12)  5. Flamingo

All of the many collaborations between organist Shirley Scott and tenor saxophonist Stanley Turrentine in the 1960s resulted in high-quality soul jazz, groovin' music that was boppish enough to interest jazz listeners and basic enough for a wider audience. This CD reissue has the duo (joined by bassist Bob Cranshaw and drummer Otis "Candy" Finch) performing a pair of Scott originals, Benny Golson's "Five Spot After Dark," Sonny Rollins' obscure "Grand Street" and the veteran standard "Flamingo." The only fault of this CD reissue is its brief length, just 32 minutes. ~ Scott Yanow  http://www.allmusic.com/album/blue-flames-mw0000263755

Personnel: Shirley Scott (Hammond organ); Stanley Turrentine (tenor saxophone); Bob Cranshaw (bass); Otis Finch (drums).

Blue Flames

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Milt Jackson Orchestra - Big Bags

Bitrate: 320K/s

Time: 50:47

Size: 116.3 MB

Styles: Hard bop, Vibraphone jazz

Year: 1962/1989

Art: Front

[3:04] 1. Old Devil Moon

[6:46] 2. 'Round Midnight (Take 2)

[6:47] 3. 'Round Midnight (Take 1)

[3:08] 4. The Dream Is You

[2:58] 5. You'd Be So Nice To Come Home To

[4:31] 6. Echoes

[5:14] 7. If You Could See Me Now

[3:21] 8. Star Eyes (Take 5)

[3:21] 9. Star Eyes (Track 4)

[3:18] 10. Namesake

[3:32] 11. If I Should Lose You

[4:43] 12. Later Than You Think

Vibraphonist Milt Jackson is backed by a big band for this change-of-pace release, reissued on CD along with two alternate takes. The Ernie Wilkins and Tadd Dameron arrangements fit the high-quality standards well and Jackson (who contributed two originals) is in top form. There are short solos for cornetist Nat Adderley, trombonist Jimmy Cleveland, and the tenors of James Moody and Jimmy Heath but Milt Jackson is the main voice throughout this melodic and always-swinging set. [Originally issued in 1962, Big Bags was reissued on CD in 1989 and includes bonus tracks not included on the LP.] ~Scott Yanow

Alto Saxophone – Earl Warren, George Dorsey, Jerome Richardson; Alto Saxophone, Flute – James Moody; Baritone Saxophone – Arthur Clarke, Tate Houston; Bass – Ron Carter; Drums – "Philly" Joe Jones, Connie Kay; Flute – George Dorsey ; French Horn – Willie Ruff; Piano – Hank Jones; Tenor Saxophone – Jimmy Heath; Tenor Saxophone, Flute – James Moody, Jerome Richardson; Trombone – Snooky Young, Jimmy Cleveland, Melba Liston, Paul Faulise, Tom McIntosh; Trumpet – Bernie Glow, Clark Terry, Dave Burns, Doc Severinson, Ernie Royal, Nat Adderley; Vibraphone – Milt Jackson.

Rec at Plaza Sound Studios, New York City, June 19, 20 and July 5 1962

Big Bags

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Jon Gordon - The Things You Are

Bitrate: 320K/s
Time: 58:00
Size: 132.8 MB
Styles: Saxophone jazz
Year: 2007
Art: Front

[7:06] 1. I Should Care
[5:39] 2. Alone Together
[6:08] 3. I Can't Give You Anything But Love
[3:38] 4. Arco
[6:35] 5. All The Things You Are
[8:43] 6. Something To Live For
[2:18] 7. On This Day
[5:43] 8. Invitation
[3:04] 9. Embraceable You
[9:01] 10. Artistshare (Bonus Track)

Jon Gordon studied with Phil Woods and also won first place in the 1996 Thelonious Monk International Jazz Saxophone Competition, while also recording an impressive series of CDs for several different labels. But Gordon takes a new direction with The Things You Are, omitting a pianist, choosing to play with an outstanding rhythm section consisting of guitarist Ben Monder, bassist Joe Martin, and either Billy Drummond or Bill Campbell on drums. The spacy treatment of the standard "I Should Care" increases the melancholy air of the song, while the hard-charging approach to "Alone Together" is a wild roller coaster ride. He switches to soprano sax for his originals "Arco" and "On This Day," both of which are haunting abstract works. The saxophonist is consistently at the top of his game throughout these sessions. Don't miss out on this masterpiece! ~Ken Dryden

The Things You Are 

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Caroline Nin - Hymne A Edith Piaf

Bitrate: 320K/s
Time: 49:07
Size: 112.5 MB
Styles: Vocal
Year: 2011
Art: Front

[2:38] 1. Les Mots D'amour
[6:30] 2. Les Amants D'un Jour
[5:20] 3. Milord
[3:14] 4. La Foule
[5:18] 5. Mon Dieu
[5:12] 6. L'accordéoniste
[3:59] 7. Mon Manège à Moi
[4:54] 8. La Vie En Rose
[5:26] 9. If You Love Me
[2:48] 10. Non, Je Ne Regrette Rien
[3:42] 11. Les Mots D'amour Remix

Born in France, the Parisian-based Nin’s debut in the late 80s at The Hollywood Savoy in Paris’ glamorous Opera district, quickly garners her a loyal following. Influential music songwriter and producer Marc Almond invites Caroline to perform at his new creative venture The Freedom Theatre, a club in London’s Soho where she appears alongside Frankie Goes to Hollywood’s Holly Johnson, Dead or Alive’s Pete Burns and Taboo’s Leigh Bowery.

Nin is selected as The French Institute’s ambassador, chosen to promote French culture through a series of concert tours from 1994 to 1996 across Britain and The United States. The international spotlight has been firmly turned on to the French chanteuse, who decides to create a show based on her own unique interpretation of France’s greatest musical icon, Edith Piaf. “HYMNE A PIAF” is born and quickly is requested and so begins a global tour from New York’s Don’t Tell Mama off Broadway on 46st St. Delving deep into Piaf’s unfortunate, joyous but ultimately memorable life, Nin’s smoky, jazzy and sensitive interpretation – rather than impersonation – of The Little Sparrow’s works, includes showstoppers such as Milord, Non, je ne regrette rien and Padam.

Fans of Edith Piaf know there is more to “the little sparrow” than “Non, je ne regrette rien” ! Parisian cabaret performer Caroline Nin gives you a chance to hear more of Piaf ’s much loved oeuvre. This frank, tender and bi-lingual tribute to France’s most famous chanteuse is a spine- tingling and moving revelation as she uses her eloquent, chiseled features, attentive diction and spirited singing to breathe new life into familiar anthems.

Hymne A Edith Piaf

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Billy Higgins - Once More

Bitrate: 320K/s
Time: 41:30
Size: 95.0 MB
Styles: Free jazz
Year: 1995/2010
Art: Front

[7:30] 1. Plexis
[7:35] 2. Lover Man
[4:31] 3. Sabia
[6:22] 4. Amazon
[7:12] 5. Estate
[8:18] 6. Horizons

Although released on CD in 1995, this is one of drummer Billy Higgins' earliest sessions as a leader, recorded in 1980. Leading a quartet including Cedar Walton, Bob Berg, and bassist Tony Dumas, he steps to the forefront with an explosive solo in the midst of Walton's hard bop vehicle "Plexus," while he sticks to brushes (until Berg returns) in the rendition of "Lover Man," which showcases the rest of the band. The quartet takes Antonio Carlos Jobim's "Sabiá" away from its bossa nova roots, offering a driving post-bop arrangement. Berg contributed "Amazon," an infectious tune built upon a simple riff that opens with Higgins alone. The tense introduction to the bittersweet Brazilian ballad "Estate" sets up Berg's heartfelt solo, backed by Walton's thoughtful piano and Higgins' whispering brushes. Recommended. ~Ken Dryden

Once More

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Maria Jacobs - Free as a Dove

Styles: Vocal Jazz, R&B
Year: 2010
File: MP3@320K/s
Time: 38:39
Size: 91,4 MB
Art: Front

(3:48)  1. Love You with the Lights On
(5:02)  2. Free as a Dove
(3:54)  3. Not Another Love Gone Wrong
(4:29)  4. Loneliness
(3:31)  5. Love Me Like the First Time
(4:22)  6. I Got Nothin' But the Blues
(3:55)  7. Pour Me a Cup of Yesterday
(3:17)  8. I Wish You Belonged to Me
(6:17)  9. Since I Fell for You [Live]

This album, Free As A Dove, is a couple of years in the making. I wrote eight out of the nine songs. They were tracked and recorded in Los Angeles. seven out of eight originals were tracked, co-produced and arranged and recorded/mixed at Moonlight Studios with Dave Vasquez and Jeff Lewis. J Curtis played guitar on the first three. He also co-arranged. J is the writer of the song Where Is The Love by the Blackeyed Peas. Track two was done in Los Angeles by Tadashi Namba. Finally, track nine is one of my favorite standards, Since I Fell For You. It was recorded live at the Torrance Civic Center in LA with the Richard Sherman Trio.  http://www.cdbaby.com/cd/MariaJacobs1

Free as a Dove

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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