Carl Fontana & Jiggs Whigham - Nice 'n Easy

Styles: Trombone Jazz
Year: 1999
File: MP3@320K/s
Time: 68:36
Size: 158,6 MB
Art: Front + Back

( 6:45)  1. The Touch of Your Lips
( 8:50)  2. Sweet Lorraine
( 7:22)  3. Take the Coltrane
( 8:07)  4. Here's That Rainy Day
(10:13)  5. If I Only Had a Brain
( 9:15)  6. Nice 'n Easy
( 5:45)  7. It Could Happen to You
( 6:39)  8. Incident
( 5:36)  9. Cape Clip So

Recorded in 1997, Nice 'n' Easy finds Carl Fontana joining forces with another veteran trombonist: Jiggs Whigham. Together, Fontana and Whigham form a two-trombone front line, and they have a solid rhythm section that consists of pianist Stefan Karlsson, bassist Tom Warrington, and drummer Ed Soph. These days, two-trombone attacks are a rarity, and anyone who has a high opinion of the sessions that trombonists J.J. Johnson and Kai Winding co-led in the '60s knows how regrettable that is. So, when two skilled trombone veterans like Fontana and Whigham get together, it is a happy event. Fontana is the older of the two; born in 1929, he was 14 when Whigham was born in 1943. Both of them bring a lot of experience to the table, and they enjoy a strong rapport when they turn their attention to original pieces, as well as Duke Ellington's "Take the Coltrane" and some overdone standards (including "Sweet Lorraine" and "It Could Happen to You"). Those who have listened to Fontana and Whigham extensively should have no problem telling them apart; both are recognizable. 

But even so, it is a good thing that the liner notes tell you which trombonist is soloing first on a particular song  that way, novices will know for sure. On Nice 'n' Easy, the trombonists do not sound like they are trying to compete with one another. There are no duel-to-the-death battles; in fact, most of the performances tend to be relaxed and easygoing (which is why Nice 'n' Easy is an appropriate and accurate title). Fontana and Whigham always share a friendly, good-natured dialogue on this rewarding disc. ~ Alex Henderson  http://www.allmusic.com/album/nice-n-easy-mw0000245872

Personnel: Carl Fontana (trombone); Jiggs Whigham (trombone); Stefan Karlsson (piano); Ed Soph (drums).

Nice 'n Easy

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Hank Mobley - Workout

Bitrate: 320K/s
Time: 45:50
Size: 104.9 MB
Styles: Hard bop, Saxophone jazz
Year: 1961/2006
Art: Front

[ 9:58] 1. Workout
[10:44] 2. Uh Huh
[ 7:28] 3. Smokin'
[ 5:16] 4. The Best Things In Life Are Free
[ 6:58] 5. Greasin' Easy
[ 5:23] 6. Three Coins In The Fountain

This is one of the best-known Hank Mobley recordings, and for good reason. Although none of his four originals ("Workout," "Uh Huh," "Smokin'," "Greasin' Easy") caught on, the fine saxophonist is in top form. He jams on the four tunes, plus "The Best Things in Life Are Free," with an all-star quintet of young modernists -- guitarist Grant Green, pianist Wynton Kelly, bassist Paul Chambers, and drummer Philly Joe Jones -- and shows that he was a much stronger player than his then-current boss Miles Davis seemed to think. [Some reissues add a version of "Three Coins in the Fountain" from the same date, originally released on Another Workout.] ~Scott Yanow

Workout

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Hot Club Of Columbia - Swing 42

Bitrate: 320K/s
Time: 62:04
Size: 142.1 MB
Styles: Gypsy jazz
Year: 2012
Art: Front

[3:44] 1. Swing 42
[3:30] 2. Billet Doux
[3:51] 3. Minor Swing
[4:14] 4. Undecided
[5:46] 5. Manoir De Mes Reves
[3:54] 6. J'attendrai
[4:42] 7. Tears
[7:45] 8. Dr. Jazz
[4:03] 9. Lulu Swing
[3:15] 10. Viper's Dream
[5:51] 11. Slide Sister Slide
[2:51] 12. Swing De Paris
[5:27] 13. One Stolen Night
[3:06] 14. Belleville

Eventually everything old is new again. If you survey today’s music scene you will observe a fusion of music happening. Elements of rock, blues, jazz and ethnic folk music are being combined in a variety of ways. This reminds us of when jazz was blooming. Classically trained musicians such as Eddie Lang, Joe Venuti and Stephane Grappelli were inflecting jazz music with their classical heritage. Likewise Django Reinhardt was infusing traditional folk music from the gypsy camps in France into jazz. Swing 42 fuses classically trained musicians with jazz musicians to create hot club jazz.

Swing 42

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Shannon Gibbons - S/T

Bitrate: 320K/s
Time: 41:40
Size: 95.4 MB
Styles: Jazz vocals
Year: 1987/2010
Art: Front

[3:16] 1. This Could Be The Start Of Something Big
[4:48] 2. But Beautiful
[3:07] 3. This Can't Be Love
[5:56] 4. Lately
[5:26] 5. Make Someone Happy
[3:02] 6. Just In Time
[6:08] 7. My One And Only Love
[3:28] 8. There Will Never Be Another You
[6:22] 9. You Don't Know What Love Is

Recording information: 39th Street Studio, NY (05/11/1987). Shannon Gibbons (vocals); Cecil Bridgewater (trumpet); Kenny Barron (piano); Rufus Reid (acoustic bass); Ben Riley (drums).

Shannon Gibbons

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Rob Heron & The Tea Pad Orchestra - Talk About The Weather

Bitrate: 320K/s
Time: 47:19
Size: 108.3 MB
Styles: Swing, Folk, Roots
Year: 2014
Art: Front

[3:30] 1. Drinking Coffee Rag
[4:39] 2. Soleil
[3:49] 3. Junk On The Radio
[3:48] 4. Crazy Country Fool
[4:32] 5. Hey Mr Landlord!
[4:08] 6. Small Town Blues
[4:27] 7. Killed By Love
[4:07] 8. High Speed Train
[5:20] 9. I'm Feelin' Blue
[4:06] 10. Penny Drop Mambo
[4:48] 11. Don't Kick That Oven Door

There’s always something to be grumbly, opposed to and misanthropic about. While this may seem bleak for humanity in general, it’s great news for blues’ musicians who wish to sing about more than love and drunkenness. Long queues at the supermarket? There’s a tune right there. The council has rerouted your favourite bus a 15 minute walk away from your house? Get out the guitar. The possibilities are endless, unfortunately.

Distilling the essence of disgruntlement into song, however, is a special kind of talent, particularly if a songwriter is to avoid hitting the same downbeat note. It requires spinning a sense of joy and satisfaction from subject matter that is often resolutely unromantic, such as the weather, rogue landlords and the HS2 rail network.

Step forward Rob Heron and the Tea Pad Orchestra. A combination of offbeat, quirky lyrics and wonderfully tight and inventive musicianship raises their new album Talk About The Weather firmly out of the humdrum. Heron’s smokey, expressive vocals and keen sense of dynamics inject a sense of continuity into a varied repertoire of upbeat ragtime and swing numbers, country songs and a mambo. There is a real sense of fun and occasion that runs throughout the album.

Drinking Coffee Rag tells the sorry tale of one man’s descent into coffee addiction, while Junk On The Radio bemoans the vacuousness of modern media. Hey Mr Landlord and High-Speed Train tackle some of the more pressing political and social issues of our time. Penny Drop Mambo evidences the group’s flair for a broad variety of musical styles and Heron showcases his talent as a straight up crooner on I’m Feeling Blue, a simple, sparse song about love and loneliness. Sometimes the meaning of the blues is just that straightforward. ~Rachel Devine

Talk About The Weather

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Ken Peplowski - Noir Blue

Styles: Clarinet And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 61:48
Size: 141,8 MB
Art: Front

(4:31)  1. The Best Thing For You
(5:13)  2. Home With You
(5:38)  3. Bourbon Street Jingling Jollies
(6:44)  4. Riverboat Shuffle
(6:17)  5. Love Locked Out
(4:00)  6. If Not For You
(8:31)  7. Multi-Colored Blue
(6:20)  8. Noir Blue
(6:35)  9. Nobody Else But Me
(7:56) 10. Little Dogs

Ken Peplowski has much to say; not in the sense that he jabbers incessantly, as many men with horns (and embouchures for hire) sometimes do. However, in erudite and leaping ululations, and in warm, wafting glissandos he sings of the gaiety and sadness of life. This he does through clarinet or tenor saxophone, depending on the echo and longevity he wishes his harmonic monologues to have. An old soul, with a spectacular perspective on the past, Peplowski lives in a place called the "near future"; just close enough for him to cast shy, but frequent glances into the ever-present. His song is tinged with a glimmering shade of sadness, but as a wry epicure, he seems to always smile just beyond the wet guise of his reeds. If all this seems contrary to a musician schooled on the waxed floors of swing, it bears mention that the Peplowski eschews unnecessary chatter and hollow garrulousness for meaningful tributaries of sound that always have a harmonic confluence with the poetry of melody and utterly surprising rhythm . He is a not-so-distant disciple of Duke Ellington and Billy Strayhorn, of Hoagy Carmichael and therefore Bix Beiderbecke. Not in emulating their music, but certainly in his understanding of the alchemy of sound that made them special beacons that called across the ocean of music. This is why he can hear and reveal in genteel manner a bolero once hidden in "Bourbon Street Jingling Jollies." Or where he might skip and swing with eloquent grace (including a quick wink at Charlie Parker somewhere in the middle chorus) as he romps through the "Riverboat Shuffle," where others might end up with a wild and loud rant. 

On Noir Blue, which might well be something to savor for a considerable length of time, the clarinetist and saxophonist finds that he is closer to the deep azure of the Duke that otherwise imagined. Not that anyone is complaining. Ray Noble "Love Locked Out" and Strayhorn's "Multi-Colored Blue" come in complimentary shades of indigo, the latter an elemental lament with a deeply cathartic wail in its tail. "Noir Blue" is equally moving and inhabits the same realm and yet gives credence to the ancient belief that the blues is nothing but deep sorrow turning into joy and at Peplowski's hand, seemingly turning on a dime if that. Such is his mastery of emotion and his ability to curve the air with feeling. Peplowski is not alone in this wonderful adventure. Surrounding himself with a group of musicians who subscribe the identical point of view, he forges an alliance that can only further his joyous cause. Pianist Shelly Berg, bassist Jay Leonhart and drummer Joe LaBarbera are old souls too. They dive into the same well of emotions with Peplowski, plunging into sorrowing hues and bursting out; soaring into the bubbling spray of elation with him. Together they make the experience of Noir Blue something truly unforgettable. ~ Raul D’Gama Rose  http://www.allaboutjazz.com/noir-blue-ken-peplowski-capri-records-review-by-raul-dgama-rose.php#.U-f98GNryKI

Personnel: Ken Peplowski: clarinet, tenor saxophone; Shelley Berg: piano; Jay Leonhart: bass; Joe La Barbera: drums.

noir blue

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Freda Payne - Come Back to Me Love

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 63:00
Size: 147,7 MB
Art: Front

(4:23)  1. You'd Be so Nice to Come Home To
(3:54)  2. Haven't We Met
(3:52)  3. Lately
(5:24)  4. Come Back to Me Love
(3:23)  5. Whatever Happened to Me
(3:48)  6. You Don't Know
(5:21)  7. Save Your Love for Me
(3:55)  8. Guess I'll Hang My Tears out to Dry
(6:10)  9. The Island
(3:32) 10. I Should Have Told Him
(4:25) 11. I Just Have to Know
(5:38) 12. Midnight Sun
(4:47) 13. Spring Can Really Hang You up the Most
(4:23) 14. I'd Rather Drink Muddy Water

In 1970, the spirited R&B/pop singer Freda Payne had a monster success with "Band of Gold," a bouncy love-gone-wrong song that was probably the first top 40 hit ever written about impotence. Decades later, with undiminished pipes, beauty, and impressive energy, Payne returns to the spotlight with this big-band outing from Mack Records on its Artistry Music imprint. Arranged and conducted by the brilliant pianist Bill Cunliffe, Come Back to Me Love features a full complement of brass and horns together with a cushion of violins, violas, cellos, and a guitar, vibraphone, and harp. It's an elaborate yet tasteful backdrop for the 14 songs in the session. 

These include six written by Gretchen C. Valade, the founder of Mack Records, whose lyrics are clever and ring true, but whose melodies don't rise to the classic level of "You'd Be So Nice to Come Home To," "The Island" and "Midnight Sun" (Note: the "Lately" on this track list is not by Stevie Wonder.) Payne's versatile voice, with its echoes of Dinah Washington, Marlena Shaw and Nancy Wilson, sounds best when belting through a blazing arrangement of "I'd Rather Drink Muddy Water," or sensuously wrapped around a beloved standard like "Guess I'll Hang My Tears Out to Dry." 

It's ironic, given the luscious colors of all those horns and strings, that one of the album's standouts would be this simple quartet arrangement of ..."Tears" (bass, piano, brushes, guitar). Moreover at least to these ears Payne never sounds better than she does on "Spring Can Really Hang You Up the Most," which is just a duo with Cunliffe's eloquent and lyrical piano. Perhaps the intimacy of the setting makes the communication deeper and more direct; maybe Payne just had a special love for the song. It's also possible that things in the studio were simply more relaxed when it was recorded. In any case, it's a moving and memorable beauty, the crown jewel of a thoroughly enjoyable and versatile collection. ~ Dr Judith Schlesinger  http://www.allaboutjazz.com/come-back-to-me-love-freda-payne-mack-avenue-records-review-by-dr-judith-schlesinger.php#.U-ZoS2NryKI
 

Personnel: Freda Payne: vocals; Bill Cunliffe: piano, synth; David Stone: bass; Dan Lutz: bass; Jonathan Richards: bass; Curt Bisquera: drums; Joe LaBarbera: drums; Walter Rodriguez: percussion; John Chiodini: guitar; Alisha Bauer: cello; Vanessa Freebairn-Smith: cello; Pete Christlieb: saxophone; Tom Peterson: saxophone; Keith Fiddmont: saxophone; Brian Scanlon: saxophone; Bob Sheppard: saxophone; Nick Mancini: vibraphone; Bob McChesney: trumpet: Carl Saunders: trumpet; Bob Summers: trumpet; Kye Palmer: trumpet; John Papenbook: trumpet; Bijon Watson: trumpet; Jeff Driskill: flute; Ben Devitt: trombone; Andy Martin: trombone; Bob McChesney: trombone: Ira Nepus: trombone; Briana Bandy: viola; Scott Hosfeld: viola; Jessica Vanvelzen Freer: viola; Amy Shulman: harp; Clayton Haslop: violin; Sharon Jackson: violin; Peter Kent: violin; Barbara Porter: violin; Erica Walczak: violin; John Wittenberg: violin; Judy Yoo: violin.

Come Back to Me Love

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Fred Hersch - Floating

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 58:36
Size: 134,2 MB
Art: Front

(5:41)  1. You & the Night & the Music
(5:48)  2. Floating
(2:01)  3. West Virginia Rose (For Florette & Roslyn)
(5:52)  4. Home Fries (For John Hebert)
(6:34)  5. Far Away (For Shimrit)
(6:27)  6. Arcata (For Esperanza)
(7:03)  7. A Speech to the Sea (For Maari
(6:05)  8. Autumn Haze (For Kevin Hays)
(6:11)  9. If Ever I Would Leave You
(6:49) 10. Let's Cool One

There's no arguing the considerable merits of pianist Fred Hersch's Alive at the Vanguard (Palmetto Records, 2012) or his Alone at the Vanguard (Palmetto Records, 2011), trio and solo efforts respectively, both recorded live at the legendary Village Vanguard, home of so many classic live sets. Hersch is at the height of his artistic powers in the place. It seems a consensus opinion that "Live" is better, an idea that has picked up credibility with the technical evolution resulting in very nearly studio quality sound for the documentation of concert recordings. No more murky sonics injected with those "tinkling ice, background chatter" crowd noises that can be heard on so many of the live offerings from yesteryear. But let's not downplay the studio, especially in Hersch's case. His Whirl (Palmetto Records 2010) isn't Hersch's most lauded recording that accolade probably goes to his ambitious larger ensemble offering Leaves of Grass (Palmetto Records, 2005). But Whirl is a studio piano trio recording put together to perfection to simulate a tight live set. And Floating is more of that, with the same trio Hersch joined by John Hebert on bass and drummer Eric McPherson going even deep in that mode of operation. The trio opens with a touchstone, the familiar "You and the Night and the Music," laid down in an unfamiliar way spiced up and rollicking. Saucy. A version to bring a smile, that gives way to the title tune, a Hersch original. 

The sound is a fluid, frictionless momentum that does indeed evoke the sensation of weightlessness, of notes floating on clouds. Music played on the moon. Hersch is a marvelous tune-smith, writing in a variety of styles and moods, while maintaining the cohesion of the "set." "West Virginia Rose," dedicated to Hersch's mother and grandmother, plays with Appalachian themes. "Home Fries" slides down south to Louisiana with its second line New Orleans feel, and is dedicated to bassist Hebert, who hails from the Baton Rouge. The trio really lets go and lets it rip on the tune, before moving into the wistful, delicately drawn "Far Away," a piece that Hersch wrote for the late Israeli pianist Shimrit Shoshan. The pianist's touch here is deft and delicate beside McPherson's subtle brushwork and Hebert's steady, dreamy patience on the bass. Three more distinctive originals are played out before the trio shifts back to the familiar, with a gorgeous, understated version of Lerner and Lowes' "If Ever I Would Leave You," and then closing with Thelonious Monk's "Let's Cool One," sounding refined and playful and devil-may-care on this perfect close out to a superb piano trio set. ~ Dan Mcclenaghan  http://www.allaboutjazz.com/floating-fred-hersch-palmetto-records-review-by-dan-mcclenaghan.php#.U-hTTmNryKI

Personnel: Fred Hersch: piano; John Hebert: bass; Eric McPherson: drums.

Floating

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Yvonne Sanchez - My Garden

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 50:33
Size: 116,8 MB
Art: Front

(4:26)  1. The Girl
(4:18)  2. Just For Us
(3:37)  3. Voa Voa
(3:09)  4. Sunshine
(4:09)  5. Pieces
(2:58)  6. Under the Moon and the Stars
(4:13)  7. The Song
(4:09)  8. Roses
(3:33)  9. Skylight
(4:03) 10. Rainbow
(4:03) 11. Dito's Lullaby
(7:49) 12. Meu Jardim (My Garden)

Yvonne Sanchez first performance was in Poland as a percussionist with the Polish rock star legend Joseph Skrzek. Later during her German stay, she started to play bass guitar and piano, but regardless her passion for musical instruments she never planned to become a vocalist until she moved to Prague in 1994 and whithin one year she had her premiere as a jazz vocalist at the reonouned Reduta jazz club in Prague. In 1997 she won the poll held by the Czech magazine Harmony which covers classical, jazz and world music as the best jazz singer and in 1998 Yvonne was awarded with Vocalist of the Year by the Czech Jazz Society. Yvonne Sanchez has always talked about Ella Fitzgerald, Sarah Vaughan and Billie Holliday in particular as her main inspirations but except her passion for jazz standards in 1998 she started a new project called “Brazilian Groove” interpreting songs based on Latin American rhytms such as Bossa Nova and Samba, especially written by her favorite Brazilian composer, Antonio Carlos Jobim. Yvonne Sanchez co-produced and arranged her first album “Invitation” in 2001. 

The album was recorded with Robert Balzar Trio, one of the best and most well respected jazz musicians in Czech Republic. “Invitation” was a great success and was considered by critics and audiences as one of the best jazz records ever to be recorded in the Czech Republic. “Invitation” received a nomination for the 2002 Czech Grammy awards in the jazz and blues category. In 2008 Yvonne recorded and produced her latest album “My Garden” (Warner Music) presenting herself for the first time as a songwriter. “My Garden was recorded with international musicians and is a fusion of jazz, latin and world music. “My Garden” received great reviews from critics and was nominated for the Andel award (equivelant of a Grammy) in the categories for the Best Album of the year and the Jazz Album of the year. Less than a year of the release, My Garden reached gold sales.Yvonne’s latest work is a live album recording with Brazilian guitarist Pedro Taglini. The album was recorded in Prague in October 2011 and will be released through Supraphon records. Songs about love is a beautifully arranged album which include love songs such as “The look of Love”, “Cry me a river” and a couple of original compositions by Yvonne Sanchez. Yet another musical treat from Producer/Singer/Composer Yvonne Sanchez.Yvonne Sanchez has performed in Russia, Poland, Hungary, Slovakia, Turkey, Cyprus, France, Germany, Austria, Luxemburg, England, Portugal, Israel, Brazil, Cuba and the USA. Bio ~ http://yvonnesanchez.eu/yvonne-sanchez-bio.html

My Garden

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Joe Zawinul - My People

Styles: World Fusion, Big Band
Year: 1996
File: MP3@320K/s
Time: 52:39
Size: 127,0 MB
Art: Front

(1:52)  1. Introduction  to a Mighty Theme
(6:03)  2. Waraya
(6:36)  3. Bimoya
(3:20)  4. You Want Some Tea, Grandpa ?
(4:12)  5. Slivovitz Trail
(2:29)  6. Ochy-Bala / Pazyryk
(7:53)  7. Orient Express
(4:53)  8. Erdäpfee Blues (Potato Blues)
(6:13)  9. Mi Gente
(4:48) 10. In An Island Way
(4:15) 11. Many Churches

If one must indulge in categories, My People, featuring the Zawinul Syndicate and a United Nations coterie of guests, probably belongs on the vast world music shelf, the links to so-called jazz now so tenuous as to be nearly, but not quite, invisible. On the percolating "Slivovitz Trail," "Orient Express," "Many Churches," and the Caribbean-tinged cleverly titled "In an Island Way," the music does suggest earlier versions of the Syndicate, and Joe Zawinul's nostalgic evocations of Wayne Shorter on the Korg Pepe reach back even further. Otherwise, Zawinul is looking entirely toward ethnic cultures for musical sustenance. The musical structures are linear, the rhythms full of intricacies welded to Zawinul's love affair with the groove, the synthesizer textures usually sparer than ever. There are vocals in several languages by Zawinul's longtime colleague Salif Keita (for whom Zawinul produced a great album in 1991), Syndicate percussionist Arto Tuncboyaciyan, a throat vocal specialist from South Siberia named Bolot, Thania Sanchez, Zawinul himself, and several others. When translated, the lyrics speak of joy and unity among the cultures, and there isn't any doubt that Zawinul's bubbling music feeds the message of uplift. Hear it; you purists may be jiggling along in spite of yourselves. ~ Richard S.Ginell  

http://www.allmusic.com/album/my-people-mw0000613149

Personnel includes: Joe Zawinul (vocals, keyboards, programming); Bolot (vocals, topshur); Richard Bona (vocals, bass); Arto Tuncboyaciyan (vocals, percussion); Salif Keita, Thania Sanchez, Burhan Ocal (vocals); Duke Ellington (spoken vocals); Bobby Malach (tenor saxophone); Mike Mossman (trumpet, trombone); Cheick Tidiane Seck (keyboards); Gary Poulson, Amit Chatterjee, Osmane Kouyake (guitar); Matthew Garrison (bass); Paco Sery, Tal Bergmann (drums, percussion); Alex Acuna, Trilok Gurtu, Rudy Regalado, Michito Sanchez, Souleyman Doumbia (percussion); Ivan Zawinul (programming); Djene Doumbouya, Assitan Dembele, Beto Sabala, Kenny O'Braian, Lucho Avellaneda (background vocals).

My People

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Coleman Hawkins And Roy Eldridge - Live At The Opera House

Styles: Trumpet And Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 73:55
Size: 171,5 MB
Art: Front

( 7:58)  1. Bean Stalkin'
( 2:50)  2. The Nearness Of You
( 2:27)  3. Time On My Hands
( 7:17)  4. The Walker
( 6:00)  5. Tea For Two
( 2:23)  6. Blue Moon
( 2:19)  7. Cocktails For Two
( 7:55)  8. Kerry
( 7:27)  9. Bean Stalkin'
( 2:36) 10. I Can't Get Started
( 2:12) 11. Time On My Hands
( 7:22) 12. The Walker
(15:04) 13. Stuffy

This CD contains the two complete sets by the Coleman Hawkins/Roy Eldridge quintet recorded it the fall of 1957 at the "Civic Opera House" in Chicago (stereo) and at the "Shrine Auditorium" in Los Angeles (mono). The "Hawk" is still imperial here, and there is also a particularly welcome bonus in the fine form of Roy Eldridge on both concerts - not always the case during his career. Another astonishing surprise is the rhythm section, which consists of three quarters of the "Modern Jazz Quartet": John Lewis, Percy Heath and Connie Kay. They swing hard, proving they were versatile enough to change their style when accompanying their two elders. Making a great closing performance for a CD full of outstanding playing is a very rare version of "Stuffy," with Coleman and Roy, plus JJ Johnson, Stan Getz, Oscar Peterson, Ray Brown, Herb Ellis and Jo Jones. ~ Editorial Reviews  http://www.amazon.com/Live-Opera-House-Roy-Eldridge/dp/B002LTNWWG

Personnel:  Bass – Percy Heath;  Drums – Connie Kay;  Piano – John Lewis;  Tenor Saxophone – Coleman Hawkins; Trumpet – Roy Eldridge

Live At The Opera House

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Eddie Chamblee - Chamblee Special

Bitrate: 320K/s
Time: 66:42
Size: 152.7 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[3:09] 1. Chamblee Special
[4:26] 2. Without A Song
[2:39] 3. At Your Beck And Cal
[3:57] 4. And The Angels Sing
[4:38] 5. Whisper Not
[3:13] 6. Flat Beer
[4:10] 7. Sometimes I'm Happy
[3:57] 8. Stella By Starlight
[4:34] 9. Stella By Starlight (2)
[2:22] 10. Strollin' Sax
[4:34] 11. Stardust
[2:37] 12. Swing A Little Taste
[4:00] 13. Robbin's Nest
[4:22] 14. Doodlin'
[4:16] 15. Village Square
[2:14] 16. Lone Gone
[3:23] 17. Lester Leaps Again
[2:11] 18. Solitude
[1:51] 19. Back Street

This CD brings together two excellent sessions that Chamblee made in Chicago in 1957 and 1958, fronting a septet of outstanding category that had previously served as a very efficient backing group on some of the recordings made by his wife Dinah Washington. They were most certainly not just mere blowing sessions in the studio but effective and exciting arrangements executed with enormous precision and swing.

Throughout these sessions we can hear Chamble in his triple facet of impressive honker, excellent composer and quality arranger. Apart from the splendid labours of the leader, on many of the themes that appear on this CD we can hear other experienced jazzmen such as Joe Newman, Johnny Coles, Charlie Davis or Jack Wilson. A very suitable example of the extraordinary quality of a musician who made some of his best performances fronting small combos, the type of formation that allowed him to demonstrate his great musical qualities and his enormous capacity for swinging.

Tracks #1-5: Johnny Coles (tp), Julian Priester (tb), Eddie Chamblee (ts), Charlie Davis (bs), Jack Wilson (p), Richard Evans (b), Charlie Persip (d).
#6-9: Joe Newman (tp) and Osie Johnson (d) replaxe Coles and Persip.
#10-19: Flip Ricard (tp), Julian Priester (tb), Eddie Chamblee (ts, vcl #11), Charlie Davis (bs), Jack Wilson (p), Robert Wilson (b), Charlie james Slaughter (d).
Recorded in Chicago, 1957 (1-9) and 1958 (10-19).

Chamblee Special

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Paul Horn - Plenty Of Horn (2-Disc set)

While still a member of the Chico Hamilton Quintet, Paul Horn recorded two albums for the Dot label that were later reissued on Impulse and most recently came out in the late 1970's on this two-LP set. Switching between flute, clarinet and his cool-toned alto, Horn is in excellent form on the wide-ranging material which reflects the influence of Hamilton's chamber jazz approach but also contains some hard swinging. The settings range from a quartet to a ten-piece group that utilizes a string quartet and a 12-piece mini big band. Among the sidemen are drummer Hamilton, cellist Fred Katz, vibraphonist Larry Bunker and pianist Gerry Wiggins, but most of the emphasis is on Horn's playing (particularly on flute); he also contributed five originals. Worth searching for, this music has not yet been reissued on CD. ~Scott Yanow

Bass – Don Bagley, Don Payne, Hal Gaylor, Red Mitchell; Celesta – Gerry Wiggins; Cello – Fred Katz, Ray Kramer; Claves – Larry Bunker; Congas – Mongo Santamaria; Drums – Chico Hamilton, Gene Estes, Mel Lewis, Osie Johnson, Shelly Manne; Flute, Piccolo Flute, Clarinet, Alto Saxophone, Flute [Alto] – Paul Horn; French Horn – Dick Perissi, Vince DeRosa; Guitar – Billy Bean, John Pisano; Piano – Calvin Jackson, Dick Katz, Fred Katz, Gerry Wiggins; Tuba – Red Callender; Vibraphone – Larry Bunker; Viola – DavidSterkin; Violin – Dan Lube, David Frisina;

Album: Plenty Of Horn (Disc 1)
Bitrate: 320K/s
Time: 60:49
Size: 139.3 MB
Styles: Hard bop
Year: 2011

[3:39] 1. A Soldier's Dream
[4:27] 2. Day By Day
[4:06] 3. To A Little Boy
[5:46] 4. Siddartha
[2:55] 5. Pony Tale
[3:30] 6. House Of Horn
[3:50] 7. Sunday, Monday Or Always
[3:30] 8. The Golden Princess
[4:37] 9. Interlude
[2:55] 10. Pony Tale
[4:34] 11. Lover Man
[3:53] 12. Mood Improvisation
[4:46] 13. Chloe
[4:10] 14. Romanze
[4:04] 15. A Parable

Plenty Of Horn (Disc 1)

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Album: Plenty Of Horn (Disc 2)
Bitrate: 320K/s
Time: 53:33
Size: 122.6 MB
Styles: Hard bop
Year: 2011
Art: Front

[3:53] 1. Blues For Tom
[4:06] 2. Yesterdays
[2:41] 3. The Smith Family
[4:06] 4. Invitation
[3:32] 5. Tellin' The Truth
[2:24] 6. Effervescense
[3:56] 7. Reminescense
[2:06] 8. Exuberance
[4:19] 9. Ebullience
[7:46] 10. Give Me The Simple Life
[4:22] 11. Willow Weep For Me
[2:58] 12. Jive At Five
[4:28] 13. My Old Flame
[2:50] 14. Swedish Pastry

Plenty Of Horn (Disc 2)1

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Jean Bonal - Jazz Loves Paris By Night

Bitrate: 320K/s
Time: 42:24
Size: 97.1 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[2:42] 1. Pétales
[2:21] 2. We'll Meet Again
[2:07] 3. Flor Do Brazil
[2:25] 4. Tenderly
[2:19] 5. From The Beginning
[3:15] 6. The Gambler
[3:11] 7. San Paolo
[2:22] 8. Still Swinging
[2:48] 9. Spleen
[2:09] 10. Bruno
[2:01] 11. Phelippe
[2:11] 12. Anatole
[2:53] 13. Caco
[2:49] 14. Tendresse
[2:23] 15. Retour
[2:15] 16. Minha Querida
[2:05] 17. Superstition

Le jazz est une affaire de passion, de feeling, presque de militant, témoin la carrière de Jean Bonal dont le jeu de guitare est nourri, entre autres de Charlie Christian et Django Reinhardt : ses premières séances d'enregistre-ment datent de 1946 pour la fameuse marque "Savoy" avec Michel de Villiers et André Persiani. Il participera même à des cessions privées avec Jeff Gilson (alors clarinettiste), puis pour Eddie Barclay (sous la marque Blues Star, encore une légende !) avec les nouvelles étoiles du Hot Club de France, et fera aussi les belles heures du Caveau de la Montagne et du Boeuf sur le toit. Depuis Jean Bonal a travaillé et enregistré avec tout le gotha du jazz français, notamment Alix Combelle, André Ekyan, Stéphane Grappelli, mais aussi du jazz américain, de Don Byas à Nelson Williams, Art Simmons, Jonah Jones, Buck Clayton (trompette chez Count Basie) avec lequel il enregistre deux 33 tours. Il a même à son palmarès un moment d'anthologie; une séance historique, le rêve de tout jazzman digne de ce nom : une authentique jam session avec Charlie Parker, Oscar Peterson, Ray Brown, à la grande époque ! De quoi peut-on rêver après cela ! Rien d'étonnant donc à ce qu'il ait obtenu de multiples récompenses dont déjà un prix SACEM en 1982 avec "Guitare à la carte", une mention spéciale de l'Académie du jazz en 1998 pour son "Histoire de la guitare dans la musique de jazz" et le prix de la SACEM de la musique instrumentale de variétés en 1993. Nous tenions a couronner la carrière de Jean Bonal; nous avons eu la chance de pouvoir réunir quelques uns des grands jazzmen français qui ont jalonné sa carrière .

Jazz Loves Paris By Night

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Budd Johnson - Off The Wall

Bitrate: 320K/s

Time: 37:59

Size: 87.0 MB

Styles: Bop, Saxophone jazz

Year: 1964/2005

Art: Front

[5:07] 1. Off The Wall

[5:19] 2. The Folks Who Live On The Hill

[7:28] 3. Love Is The Sweetest Thing

[3:54] 4. Strange Music

[6:01] 5. Baubles, Bangles, And Beads

[5:01] 6. Ill Wind

[5:05] 7. Playin' My Hunch

A great little album from tenor legend Budd Johnson -- and a record that nicely updates his sound by pairing him with a hip 60s-styled group! The album's got a jaunty feel that's like the best soul jazz sessions on Impulse at the time -- taking Budd's tenor and placing it next to trumpet by Joe Newman, piano by Albert Dailey, bass from Richard Davis, and drums by Grady Tate. Upbeat tracks bounce along in a swinging take on mainstream soul jazz -- and the mellower cuts feature some really wonderful blowing from Budd -- done with a raspy tone that's got a nice earthy quality! Includes the jazz dancer "Off The Wall", the samba-styled "Strange Music", a snapping take on "Baubles Bangles & Beads", and the syncopated groover "Playin' My Hunch". ~The Jazz Cooperative

Bass – George Duvivier (tracks: A3, B1, B2), Richard Davis (2) (tracks: A1, A2, B3, B4); Drums – Grady Tate; Piano – Al Dailey, Jr.; Tenor Saxophone – Budd Johnson; Trumpet – Joe Newman.

Off The Wall

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Grant Stewart - In The Still Of The Night

Bitrate: 320K/s
Time: 60:01
Size: 137.4 MB
Styles: Mainstream jazz, Saxophone jazz
Year: 2007
Art: Front

[6:28] 1. In The Still Of The Night
[6:42] 2. Theme For Ernie
[7:43] 3. Wives And Lovers
[8:26] 4. Autumn In New York
[7:50] 5. If Ever I Would Leave You
[8:00] 6. Work
[8:35] 7. Lush Life
[6:13] 8. Loads Of Love

This is hardly tenor saxophonist Grant Stewart's first recording as a leader, but his earlier CDs were for various European labels. In the Still of the Night is the release that set his career afire, as he joins forces with three of New York's in-demand musicians in his rhythm section: the hard-driving pianist Tardo Hammer, everyone's first call bassist Peter Washington and the talented drummer Joe Farnsworth. Right of the box, the big-toned Stewart makes his presence known with an up-tempo rendition of "In the Still of the Night" that makes one stand up and take notice. Stewart and Hammer dive head first into Thelonious Monk's "Work" (not exactly one of the pianist's more frequently recorded numbers), with Washington and Farnsworth fueling their spirited solos. But Stewart is also no slouch playing ballads, as his dreamy take of "Autumn in New York" and haunting treatment of "Lush Life" display a profound lyricism. Stewart's astute choice of Richard Rodgers' "Loads of Love" uncovers another gem that is rarely recorded, his sizzling solo will invite comparisons to Dexter Gordon. Even Burt Bacharach's often blandly played "Wives & Lovers" is rejuvenated with Stewart's lighthearted but aggressive interpretation. Highly recommended! ~Ken Dryden

In The Still Of The Night

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Freda Payne - How Do You Say I Don't Love You Any More

Styles: Vocal
Year: 1966
File: MP3@320K/s
Time: 32:20
Size: 75,1 MB
Art: Front

(2:37)  1. (How Do You Say) I Don't Love You Anymore
(3:03)  2. Yesterday
(2:29)  3. San Juan
(2:41)  4. You Never Should Have Loved Me
(3:15)  5. Let It Be Me
(2:03)  6. On Easy Street
(3:16)  7. You've Lost That Lovin' Feeling
(2:57)  8. It's Here For You
(3:13)  9. Feeling Good
(1:55) 10. Sad Sad September
(2:35) 11. If You Love Me
(2:12) 12. Too Late

In 1966, when Freda Payne recorded How Do You Say I Don't Love You Anymore for MGM, she had already recorded a jazz LP for Impulse! but was still a few years away from Invictus and her commercial peak with the polished '70s soul of "Band of Gold." Although the LP was arranged by Benny Golson, one of the finest arranger/composers in jazz, it was closer to a pop date than vocal jazz. Payne sang "Yesterday" and "Let It Be Me" and "You've Lost That Lovin' Feelin'," while the studio charts of Golson (and production by Tom Wilson) looked to the contemporary pop burgeoning across the pond from Petula Clark and Tony Hatch. (Think punchy but compressed brass, perfect for mono speakers in car radios and department stores.) Despite her early jazz leanings, Payne proves herself a far better pop-soul singer, sounding great on the two songs with the most hit potential, the title track and "You Never Should Have Loved Me." By comparison, her interpretations of the standards are clumsy; she holds notes a beat too long and wrings every last note of melodrama from "Yesterday" and "Let It Be Me." Overall, not a bad dry run for her Invictus recordings, which would begin in just a few years. ~ John Bush  http://www.allmusic.com/album/how-do-you-say-i-dont-love-you-anymore-mw0000811893

How Do You Say I Don't Love You Any More

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Yves Brouqui - Foreign Currency

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 53:20
Size: 122,3 MB
Art: Front

(5:37)  1. Will You Still Be Mine
(5:24)  2. The More I See You
(5:41)  3. An Eye With Steeve
(6:50)  4. You Go To My Head
(6:16)  5. Somewhere In The City
(6:43)  6. The End Of A Love Affair
(6:25)  7. From this Moment On
(5:20)  8. Uhhuh!
(5:01)  9. Love Is A Many Splendored Thing

Classical guitarist and personal style, leaving a large part in the melody and blues, Yves Brouqui , popular and sought sideman, is also a persuasive leader who likes to give his own version of little known standards and play his compositions. His latest personal project is an adaptation for piano quartet / guitar music of the American composer and pianist Horace Silver, culminated in the release of his latest CD as a leader, "  The Music of Horace Silver  . " A native of Grenoble, Yves Brouqui began studying jazz in the early 80s with local musicians as Benoit Sourisse . After studying at CIM in Paris, he decided to turn professional when Simon Goubert engages in his first sextet. This group will allow it to become known and to be asked by musicians such as Luigi Trussardi, Philippe Combelle, Olivier Hutman, Alain Jean-Marie , or the Belgian musicianJacques Pelzer , former partner René Thomas. Follows a prolific period during which it can be heard alongside Steve Potts - with whom he remained six years. It will also be hired by the American drummer - former partner of Wes Montgomery - George Brownwho also uses Emmanuel Bex to complete the trio. It will also, during this period, appeared in the quartet of Christian Vander, alongside his friend pianist Emmanuel Borghi, and the septet Pierre Blanchard. 

Co-founder of the first sextet Laurent Fickelson the early 90s, he then enters the quintet 'of Emmanuel Bex - the Bextet -with whom he recorded two CDs and plays regularly and intensively to Paris, in the provinces, in some countries Europe and South America. After a brief stay in New York, Yves Brouqui decided to settle there. It is in a jazz club became famous, the Smalls Jazz Club , he contacted the New York scene. The legendary "jam sessions" of "Smalls" allow him to be heard and appreciated American musicians. His encounter with tenor saxophonistGrant Stewart will lead to the creation of a quartet with Nicolas Rageau (bass) and Johnny Ellis or Phil Stewart (drums).This group produced locally and conduct several tours in France. During his stay, which lasted eight years, Yves Brouqui meeting and working with the next generation of musicians as New Yorkers Michael "Spike" Wilner (with whom he recorded two CDs for Fresh Sound), Joe Strasser, Mark Taylor, Joe Magnarelli, Jim Rotundi, Sam Yahel, Brian Floody, Tony Leone, Rob Bargad, Sylvia Cuenca, Charles Ruggiero, Mike Le Donne, Eric Alexander, Joe Farnsworth, Joe Cohn, Joel Forbes, Dan Converse, Frank Amsalem, Joe Martin, Niel Minor, Barak Mori Peter Zack, Mike Karn, John Weber, Paul Gill, and those of previous generations asBobby Durham, Bob Mover, Charles Dennis and Mike Clarke.

 He befriends guitarist Peter Bernstein , occasionally it replaces, including within the pianist / organist group Mike Le Donne   another New Yorker club has also become famous:Smoke. Yves Brouqui records one after her first two CDs as a leader. The first, "  Foreign Currency  "will be awarded the Diapason d'Or in Diapason magazine and the second, "  Live at Smalls  "will also receive excellent reviews from the press. Once back in France Yves Brouqui worked and recorded with the younger generation of Parisian musicians like Fabien Mary, Xavier Richardeau (two CDs for Taxi Rec.) Laurent Courthaliac David Sauzay Mourad Benhamou , but  Alain Jean-Marie, Luigi Trussardi, James Stafford, Douglas Sides . Together with Nicolas Rageau, he recorded a third album for Elabeth "Made In France", alongside Grant Stewart and Joe Magnarelli then set up a project with two guitars with Peter Bernstein. It will also have the opportunity to accompany the singer Bob Dorough during his time at Sunset in Paris. Along with its status as a guitarist of " Duc Des Lombards Jazz Affair "sextet" home "of the Parisian club, led by Xavier Richardeau , he joined the new quintet of singer Elisabeth Kontomanou with whom he turns three years and rides a draft quartet with saxophonist Martin Jacobsen will happen in Parisian clubs and Africa and Portugal. More recently, he accompanied, alternating with Alain Jean-Marie, the New Yorker saxophonist Dmitry Baevsky during his visits to France. Recently, he released his new CD as a leader "  Tribute to Horace Silver  "on the label Elabeth. Translate by google... Bio ~ http://www.yvesbrouqui.com/bio/

Foreign Currency

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Stefan Patry - Singer

Styles: Vocal, Jazz
Year: 2012
File: MP3@320K/s
Time: 54:36
Size: 125,3 MB
Art: Front

(4:10)  1. Ain't No Sunshine
(5:24)  2. When I Fall in Love
(4:09)  3. I Got My Mojo Workin'
(4:57)  4. Moonlight In Vermont
(4:18)  5. Teach Me Tonight
(5:04)  6. Night & Day
(4:39)  7. You Are the Sunshine of My Life
(4:07)  8. Only You
(5:18)  9. That' All
(5:39) 10. Young Forever, Forever Young
(6:45) 11. The Man I Love

Born in 1962, Stefan Patry feels naturally drawn to music. as a teenager, he discovered and developed a passion for jazz; meeting with Rhoda Scott at the age of 14 years will be decisive as to its lifeline and its exclusive choice for the Hammond organ. After studying classical piano, organ, singing and harmony, he discovers Paris and its clubs and jazz musicians. He received his first engagement at Petit Journal Montparnasse and other clubs in rapid succession ( Caveau de la Huchette , Meridien Etoile , Bilboquet, Sunset , Duc des Lombards ...).  It is programmed in festivals in France and abroad; gradually his career as an organist is emerging; he plays in training of gospel, jazz and blues. He developed the immense possibilities of his instrument, fully exploits the pedal bass with the composition will become its main musical weapons. 

In 1996, he created the association Tribute To Hammond (which he chairs) in which he brings together amateur and professional organists; he organized the famous "rushes organ" real events around the Hammond organ. It also creates Organ Jam Sessions at the Caveau des Oubliettes in Paris. Designer label Must Record, the label of Hammond organists , it produces well-known artists but does not hesitate to find out and discover new talent. Musician, organist, songwriter and singer recently, he has recorded over 10 CDs under his name; worked with an incredible number of artists. Every day he is looking forward to living his passion, he plays, he composes and is looking for a simple music always melodic, and rhythmic mixed. Translate by google..http://stefanpatry.com/discographie.html

Personnel: Stefan Patry – Vocal & Hammond organ, Gilles Renne – Guitar, Benjamin Henocq – Drums. And in its special guests : Anne Ducros – Vocal (2), La Velle – Vocal (5), Emmanuel Bex – Hammond organ (11), Hervé Meschinet – Flute (3 & 6), Jean-Luc Pino – Violin (6), Michel Delakian – Trumpet (8), Sydney Haddad – Percussions (3 & 6).

Singer

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Stan Kenton - Lush Interlude & The Kenton Touch

Styles: Jazz, Big Band
Year: 2003
File: MP3@320K/s
Time: 42:36
Size: 98,0 MB
Art: Front

(4:20)  1. Interlude
(4:19)  2. Collaboration
(4:03)  3. Opus In Pastels
(3:32)  4. A Theme For My Lady
(3:33)  5. Artistry In Bolero
(6:33)  6. Concerto To End All Concertos
(2:51)  7. Machito
(4:36)  8. Theme To The West
(4:13)  9. Lush Waltz
(4:32) 10. Artistry In Rhythm

A pair of Pete Rugolo-arranged classics from 1958, both featuring string sections and legendary West Coast jazz musicians like Red Mitchell, Shelley Manne and Laurindo Almeida! In fact, this pairing went together so well that we’re putting it out on a two-CD set, since the two albums didn’t fit on a single CD. "Lush Interlude" dramatically re-interprets the Kenton standards "Interlude," "Collaboration," "Opus in Pastels," "A Theme for My Lady," "Artistry in Bolero," "Concerto to End All Concertos," "Machito," "Theme to the West," "Artistry in Rhythm," and the new composition "Lush Waltz." "The Kenton Touch," meanwhile, features sparkling Bill Holman charts on "Salute," "Monotony," "Elegy for Alto," "Theme for Sunday," "Ballade for Drums," "Minor Riff," "The End of the World," "Opus in Chartreuse," "Painted Rhythm," and "A Rose for David." A Collectors’ Choice Music exclusive! ~ Editorial Reviews  http://www.amazon.com/The-Kenton-Touch-Lush-Interlude/dp/B00008A8I8

Lush Interlude

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Stan Kenton - Kenton Touch

Styles: Jazz, Big Band

Year: 2003

File: MP3@320K/s

Time: 37:16

Size: 85,7 MB

Art: Front

(3:57)  1. Salute

(3:48)  2. Monotony

(3:12)  3. Elegy For Alto

(5:26)  4. Theme For Sunday

(3:08)  5. Ballade For Drums

(3:30)  6. Minor Riff

(2:31)  7. The End Of The World

(3:28)  8. Opus In Chartreuse

(5:25)  9. Painted Rhythm

(2:46) 10. A Rose For David

Kenton Touch

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