Sheila Cooper - While The World Is In Slumber

Styles: Vocal And Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 56:55
Size: 131,5 MB
Art: Front

(5:51)  1. It's All Right With Me
(3:46)  2. Tulip Or Turnip
(6:52)  3. Warm Valley
(6:19)  4. Cry Me A River
(4:55)  5. An Occasional Man
(5:28)  6. Brookliner Boogaloo
(3:28)  7. Too Close For Comfort
(5:59)  8. In The Still Of The Night
(4:20)  9. 100 Easy Ways To Lose A Man
(5:08) 10. Love's Echo (For Calli)
(4:44) 11. Stardust

Alto saxophonist and singer Sheila Cooper combines a sense of jazz cool with humor and passion to bring new life to old treasures from the American songbook.

Canadian-born, New York-based singer, alto saxophonist, composer and arranger, Sheila Cooper is as saxophone legend Lee Konitz has noted "a singer on her horn and with her voice, and that's the best playing for me." Ever since she moved to New York, she has been wowing audiences at the city's top venues, including the Blue Note, Birdland, The Knitting Factory and Five-Spot.

And her European tours in support of her acclaimed first CD "Since You Were Mine" which featured world-class rhythm section Renee Rosnes, Scott Colley and Billy Drummond were triumphantly successful, playing to enthusiastic audiences in Germany, Austria, Switzerland, France, Czech Republic, Slovenia, Slovakia. "It was so thrilling to have people lining up in the break to have me autograph CDs," says Cooper. "I was quite overwhelmed by how excited they were."

Her follow-up CD, "While the World is in Slumber" featuring her trademark quirky, yet elegant renderings of popular standards, also includes two original compositions (one vocal, one instrumental). Her clever additional lyrics to Leonard Bernstein's little-known "100 Easy Ways to Lose a Man" wittily personalize and update a 50's gem. And her fresh, sexy voice is beautifully showcased by her imaginative and seductive arrangements of the songs, "In the Still of the Night" a line from which inspired the CD's title "Cry Me a River" and "It's All Right With Me." Also heard on the CD are the wonderful musicians John Hart on guitar, Chris Berger on acoustic bass and Marcello Pellitteri. More.. http://www.cdbaby.com/cd/sheilacooper2

Personnel:  Sheila Cooper: vocals, alto saxophone; John Hart: guitar; Chris Berger: acoustic bass; Marcello Pellitteri: drums

While The World Is In Slumber

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Phil Woods - American Songbook II

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 65:24
Size: 150,2 MB
Art: Front

(7:52)  1. Suddenly It's Spring
(6:54)  2. Careless
(5:40)  3. Last Night When We Were Young
(5:39)  4. I Remember You
(6:50)  5. I'll Take Romance
(5:21)  6. Bewitched, Bothered and Bewildered
(6:43)  7. Yesterdays
(6:07)  8. Come Rain or Come Shine
(6:53)  9. Watch What Happens
(8:27) 10. Night and Day

The Phil Woods Quintet has long been famous for being the perfect outlet for the veteran altoist. In addition to bebop standards, the group usually includes inventive originals and lots of interplay between the five notable musicians, which in recent times has included trumpeter Brian Lynch and pianist Bill Charlap in addition to original members bassist Steve Gilmore and drummer Bill Goodwin. The American's Songbook II, like its predecessor, is a bit different in that all ten songs are standards from American popular music and usually shows rather than originating in the jazz world. Only "Careless" is a little obscure. 

The arrangements, often by Lynch, modernize the songs a bit while retaining their melodies and feel. There is some particularly beautiful playing along the way from Woods and, although this is not the most heated or intense recording by his group, it is quite pleasing, respectful and full of subtle adventures. ~ Scott Yanow  

http://www.allmusic.com/album/the-american-songbook-vol-2-mw0000481747

Personnel: Phil Woods: alto saxophone & clarinet; Bill Charlap: piano; Steve Gilmore: bass; Bill Goodwin: drums; Brian Lynch: trumpet.

American Songbook II

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John Swana - John Swana & Friends

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 61:40
Size: 141,6 MB
Art: Front

( 9:40)  1. Oleo
( 7:49)  2. Before You
( 7:15)  3. Darn That Dream
( 6:18)  4. Out Of My Dreams
( 6:18)  5. You Don't Know What Love Is
( 8:42)  6. Straight, No Chaser
( 5:27)  7. I Didn't Know What Time It  Was
(10:07)  8. Pendulum At Falcon's Lair

John Swana is one of the most exciting trumpeters to arrive for a decade,” declares Mark Gardner, co-author of Blackwell's Guide to Recorded Jazz. Born in Norristown, Pennsylvania, a suburb of Philadelphia, Swana took up Trumpet at the age of 11. He was drawn to jazz at the age of 17 after hearing Dizzy Gillespie, and the interest developed into a passion while he was in college. There he began transcribing the solos of Freddie Hubbard, Clifford Brown, Miles Davis, and Tom Harrell. Swana has performed and toured with the Mingus Big Band. He has also played with well known jazz names such as Don Patterson, Shirley Scott, Mickey Roker, Stanley Turrentine, Harold Mabern, Cecil Payne, Johnny Coles, Ralph Peterson, Charles Fambrough, Bobby Watson, Trudy Pitts, Bootsie Barnes, Craig Handy, Chris Potter, Stephen Scott, Tim Warfield, Eric Alexander, Sam Newsome, Brad Mehldau,Vincent Herring, Uri Caine, Tim Armacost, Peter Leitch, Peter Bernstein, Ravi Coltrane, Ralph Bowen, Terrel Stafford, Seamus Blake, and Robin Eubanks. 

He has also been heard with Freddie Hubbard, Phil Woods, Ronnie Cuber, Eddie “Lockjaw” Davis, Clark Terry, Frank Foster, John Faddis, Slide Hampton, J.J. Johnson, Bob Minzer, and Charlie Persip. John Swana can be heard on recordings with: Benny Golson, Grover Washington Jr., Charles Fambrough, Craig Handy, Tito Puente, Bill O'Connell, Lenny White, Ricky Sabastian, Marlon Simon, Ed Simon, Dave Valentin, Cafe', Art Webb, Adam Holtzman, Ralph Bowen, Ron Blake, Peter Bernstein, Carl Allen, Mulgrew Miller, Benny Green, Kenny Barron, Tim Warfield, Lewis Nash, Clarence Penn, Kevin Hays, Chris McBride, Uri Caine, Peter Leitch, Marvin “Smitty” Smith, Ralph Peterson, Bobby Zankel, and Tom Harrell. http://musicians.allaboutjazz.com/johnswana

Personnel: John Swana (trumpet, flugelhorn); Bill Pierce (tenor saxophone); Tom Harrell (trumpet, flugelhorn); Mulgrew Miller (piano); Billy Drummond (drums).

John Swana & Friends

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Lionel Hampton - Hamp: The Legendary Decca Recordings Disc 1 And Disc 2

Styles: Jazz, Big Band
Year: 1996
File: MP3@320K/s
Time: 66:41 (Disc 1)
Size: 153,7 MB (Disc 1)
Time: 66:04 (Disc 2)
Size: 152,7 MB (Disc 2)
Art: Front

Disc 1

( 3:11)  1. Flying Home
( 3:23)  2. Hamp's Boogie Woogie
( 3:07)  3. Million Dollar Smile
( 3:45)  4. Red Cross
( 3:31)  5. Hamp's Blues
( 3:17)  6. Evil Gal Blues
( 7:24)  7. Flying Home
(15:15)  8. Stardust
( 2:29)  9. Ribs And Hot Sauce
( 3:20) 10. Blow Top Blues
( 3:21) 11. Hey! Ba-Ba-Re-Bop
( 5:55) 12. Rockin' In Rhythm, Parts 1 And 2
( 2:54) 13. Limehouse Blues
( 2:49) 14. Tempo's Birthday
( 2:55) 15. Jack The Fox Boogie

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Disc 2

(3:34)  1. How High The Moon
(3:13)  2. Three Minutes On 52nd Street
(3:06)  3. Red Top
(3:08)  4. Mingus Fingers
(3:20)  5. Midnight Sun
(3:16)  6. Chicken Shack Boogie
(3:09)  7. Central Avenue Breakdown
(3:23)  8. Drinkin' Wine, Spo-Dee-O-Dee
(3:18)  9. Moonglow
(3:07) 10. The Hucklebuck (Vocal Version)
(2:47) 11. Lavender Coffin
(2:51) 12. Rag Mop
(3:05) 13. I Wish I Knew
(2:31) 14. There Will Never Be Another You
(3:16) 15. Pink Champagne
(2:48) 16. Memories Of You
(3:13) 17. Time On My Hands
(2:34) 18. Easy To Love
(2:50) 19. Twentieth Century Boogie
(4:12) 20. Dancing On The Ceiling
(3:16) 21. How High The Moon

A very nice two-disc set indeed, with a wonderful cross section of Hampton's career, with the focus rightfully on the pre-1950 stage, with the final few cuts taking Hampton as far as a 1963 club date with trumpeter Charlie Teagarden. The music here is often delicate, spun from silver, and it's doubtful you'll find a better compilation of jazz vibraphone work. One fascinating highlight: Hampton's 15-minute version of "Stardust." 

~ Steven McDonald 

http://www.allmusic.com/album/hamp-the-legendary-decca-recordings-mw0000184511

Personnel: Lionel Hampton (vocals, piano, vibraphone); Dinah Washington, Joe James, Little Jimmy Scott, Sonny Parker (vocals); Eric Miller , Irving Ashby, Barney Kessel, Wes Montgomery, Billy Mackel (guitar); Ray Perry (violin, alto saxophone); Jerome Richardson (flute, alto saxophone); Herbie Fields (clarinet, soprano saxophone, alto saxophone); Marshall Royal (clarinet, alto saxophone); Jack Kelson, Jr. (clarinet); Earl Bostic, Gus Evans, Johnny Board, Willie Smith, Ben Kynard, George Dorsey, Bobby Plater (alto saxophone); John Sparrow, Corky Corcoran, Gene Morris, Eddie Barefield, Curtis Lowe, Jay Peters, Gil Bernal, Illinois Jacquet, Fred Simon , Johnny Griffin, Al Sears, Arnett Cobb, Bill Williams , Morris Lane (tenor saxophone); Lonnie Shaw, Jack McVea, Charlie Fowlkes (baritone saxophone); Manny Klein, Dizzy Gillespie, Ernie Royal, Roy McCoy, Jack Trainor, Ed Mullens, Leo Shepherd, Duke Garrette, Walter Williams , Lammar Wright, Jr., David Page , Joe Morris , Joe Wilder, Kenny Dorham, Al Killian, Snooky Young, Teddy Buckner, Benny Bailey, Wendell Culley, Jimmy Nottingham, Cat Anderson, Charlie Shavers, Charlie Teagarden (trumpet); John Morris, Paul Lee , Al Hayes , Harry Sloan, Fred Beckett, Andrew Penn, Jimmy Wormick, James Robinson , Sonny Craven, Chips Outcalt, Abdul Hamid, Jake "Vernon" Porter, Allen Durham, Lester Bass, Jimmy Cleveland, Al Grey, Benny Powell, Booty Wood (trombone); Dan Burley, Doug Duke, John Mehegan, Leonard Feather, Albert Ammons, Milt Buckner, Tommy Todd (piano); Buddy Cole (organ); Curley Hamner, Fats Heard, Fred Radcliffe, Ellis Bartee, George Jones, Earl Fox Walker, George Jenkins, Tom Montgomery, Lee Young (drums).

Hamp: The Legendary Decca Recordings Disc 1

Hamp: The Legendary Decca Recordings Disc 2

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Lester Young Trio - S/T

Bitrate: 320K/s

Time: 59:53

Size: 137.1 MB

Styles: Swing, Mainstream jazz, Saxophone jazz

Year: 1951/1994

Art: Front

[3:51] 1. Back To The Land

[3:52] 2. I Cover The Waterfront (12 Version)

[4:01] 3. I Cover The Waterfront (Take Two)

[3:51] 4. Somebody Loves Me

[4:03] 5. I've Found A New Baby

[4:47] 6. The Man I Love

[4:02] 7. Peg O' My Heart

[3:56] 8. I Want To Be Happy

[4:10] 9. Mean To Me

[3:59] 10. Back To The Land

[4:37] 11. I've Found A New Baby

[5:05] 12. Rosetta

[4:51] 13. Sweet Lorraine

[4:41] 14. Blowed And Gone

One of Lester Young's most memorable post-World War II dates came in 1946, when he entered a Los Angeles studio and formed a trio that employed Nat King Cole on piano and Buddy Rich on drums. In 1994, the results of that classic encounter, which Norman Granz produced for his Clef label, were reissued on the CD Lester Young Trio. Unfortunately, the sound is pretty scratchy, and one wishes that Verve had used digital remastering to reduce the noise. But the performances themselves are outstanding. From the blues "Back to the Land" to the soulful ballad statements of "The Man I Love" and "I Cover the Waterfront," Lester Young Trio explodes the absurd myth that Young's postwar output is of little or no value -- a myth that many jazz critics have been all too happy to promote. The CD's four bonus tracks which include "Sweet Lorraine," "Rosetta" and "I've Found a New Baby") come from a 1943 or 1944 session that didn't employ Young at all, but rather, was led by tenor saxophonist Dexter Gordon and features trumpeter Harry "Sweets" Edison and Cole, among others. Listeners might ask what that session, which was Gordon's first as a leader, has to do with Young, and the answer is that it illustrates Young's tremendous influence on Gordon. At that point, Gordon still sounded a lot like Young, was still playing swing rather than bebop and had yet to develop a recognizable sound of his own, although by 1945, Gordon would become quite distinctive and influential himself. Highly recommended. ~Alex Henderson

Lester Young Trio                 

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Dirindi (Feat Marzieh Reyhani) - Esse Samba

Bitrate: 320K/s
Time: 47:39
Size: 109.1 MB
Styles: Latin jazz
Year: 2008
Art: Front

[4:59] 1. Brasileirinho
[3:54] 2. Minha Abelha Abelha Aripuá
[4:55] 3. Tim Dom Dom
[4:44] 4. Teco Teco
[3:37] 5. Chora Tua Tristeza
[5:37] 6. Caprichos Do Destino
[4:56] 7. Errei...Erramos
[3:26] 8. Valsinha
[5:35] 9. Tintim Por Tintim
[5:52] 10. Cansado De Sambar

Marzieh Reyhani: vocals; Friederike Darius: flutes; Sjoerd Dijkhuizen: tenor sax, bass clarinet; Maarten van der Grinten: guitars; Jurandir Gomes: bass guitar, vocal; Enrique Firpi: drums, percussion; Alaor Soares: percussion.

The last CD by Dirindi ‘Cantar do Jobim’ was a homage to Antonio Carlos Jobim and consisted mainly of his lesser-known compositions. For this new Jazz-Samba project, the group has once again not opted for the most obvious pieces. But it’s not only this that makes it an exceptional project. The international make-up of Dirindi, which includes Brazilians as well as three other nationalities, ensures a dynamically played, sparkling samba repertoire, mainly arranged by guitarist Maarten van der Grinten.

Dominating this musical combo is singer Marzieh Reyhani, whose beautiful, fluid voice of bell-like clarity will sometimes produce more than 500 words or syllables a minute. Even more than with other Brazilian projects, jazz-lovers will be thrilled with this album, as each piece presents us with individual solo contributions of a high artistic standard. (Bob Hagen

Esse Samba

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Jeni Fleming - Things I Meant To Say

Bitrate: 320K/s

Time: 48:38

Size: 111.4 MB

Styles: Folk, Acoustical jazz

Year: 2003

Art: Front

[4:07] 1. Mr. Bojangles

[4:20] 2. Stars And The Moon

[3:58] 3. Garota De Ipanema

[3:18] 4. O Pato

[8:10] 5. Ode To Billie Joe

[2:22] 6. If I Loved You

[3:01] 7. Old Man With A New Twist

[3:58] 8. Twisted

[5:34] 9. Almost A Rainy Day

[4:48] 10. Nature Boy

[4:57] 11. Time After Time

They may perform folksy acoustic renditions of Jerry Jeff Walker, or gracefully deliver a pop cover from Cyndi Lauper...but in the end, the jazz comes out in every tune.

The trio is lead by Jeni Fleming's powerful and honest voice capable of effortlessly delivering complex Classical and modern jazz dichotomies in one breath, breezy folk tunes with a modern twist and vibrant original pop, in another. Her lush ballads simply drip with so much emotion and strength that her audiences routinely require tissue boxes on every chair. Rounding out the Trio's full-bodied melodies are Jake Fleming , Jeni's husband, on guitar and saxophone, and Chad Langford on bass. Each accomplished musicians in their own right, both Fleming and Langford add depth to the music while perfectly and intuitively knowing exactly how and when to enhance Jeni's soulful sound.

"Things I Meant To Say" is the first studio effort from the Trio. Again you can enjoy a well chosen blend of standards and originals while experiencing more layers of the Trio than their first album, "The Trinity Tour".

Things I Meant To Say

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Walter Bishop, Jr. - Midnight Blue

Bitrate: 320K/s
Time: 67:22
Size: 154.2 MB
Styles: Hard bop, Piano jazz
Year: 1991/2010
Art: Front

[6:25] 1. Sweet And Lovely
[5:19] 2. Never Let Me Go
[4:57] 3. You Don't Know What Love It Was
[4:31] 4. Lady Barbara
[6:09] 5. I Should Care
[4:43] 6. More I See You
[5:11] 7. The Christmas Song
[4:45] 8. Farmer's Delight
[8:19] 9. Up Jumped Spring
[6:10] 10. Autumn In New York
[4:49] 11. What Is This Thing Called Love
[6:00] 12. Midnight Blue

This 1991 session is one of Walter Bishop, Jr.'s final dates as a leader prior to his death in 1998 and it is well worth acquiring. With bassist Reggie Johnson and drummer Doug Sides on hand, the bop pianist is in top form. A jaunty "Sweet and Lovely" starts the CD with gusto, followed by an intense, rather brisk samba treatment of "Never Let Me Go." His approach to Mel Tormé's timeless holiday favorite, "The Christmas Song," is a bit more strident than one would expect, but his version won't be confused with anyone else's. Freddie Hubbard's waltz "Up Jumped Spring" finds him skating around the theme in a sometimes discordant manner reminiscent of Monk, while his quotes of "Greensleeves," "Willow Weep for Me," and even "Blue Monk" add a touch of humor. Bishop wrote three of the 12 songs, including the very bluesy "Midnight Blue," the tricky bop piece "Lady Barbara," and "Farmer's Delight," a delightful hard bop vehicle. Recommended. ~Ken Dryden

Midnight Blue

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Patty Peterson - The Very Thought Of You

Styles: Vocal Jazz

Year: 2012
File: MP3@320K/s
Time: 52:00
Size: 119,3 MB
Art: Front

(6:26)  1. The Shadow Of Your Smile
(6:20)  2. Bluer Than Blue
(4:39)  3. Love For Sale
(6:20)  4. Angel Eyes
(5:23)  5. Save Your Love For Me
(5:31)  6. The Very Thought Of You
(6:14)  7. Higher Ground
(5:35)  8. Lover Man
(5:28)  9. Something

Sultry and heart felt vocal interpretations of jazz standards and pop tunes with a contemporary jazz feel. Patty's at the top of her game, backed by some of the industry’s best musicians. Patty Peterson is an award winning vocalist who has performed to sold out audiences all over the country such as The Dakota Jazz Club in Minneapolis, and The Jazz Bakery in Hollywood California. She hails from Minnesota’s First Family of Music, The Petersons. The 3 generations include Jeanne Arland, Linda, Billy Patty, Ricky, Paul, Jason Peterson DeLaire, Cousins Tom and Russ and many of the third generation. Patty Peterson-on the release of “The Very Thought Of You”.  More...http://www.cdbaby.com/cd/pattypeterson2

The Very Thought Of You

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Jackie Mclean - Fly Like The Wind

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 78:56
Size: 181,5 MB
Art: Front

(6:50)  1. Sudwest Funk
(6:29)  2. Goin' Way Blues
(7:06)  3. Paul's Pal
(4:44)  4. Lost
(6:07)  5. Capuchin Swing
(5:16)  6. Down Tempo
(6:06)  7. Torchin'
(6:46)  8. A Fickle Sonance
(5:50)  9. Subdued
(6:48) 10. Lover Come Back To Me
(4:51) 11. Sundu
(7:15) 12. Blues Function
(4:41) 13. On The Lion

Jackie McLean has long had his own sound, played slightly sharp and with great intensity; he is recognizable within two notes. McLean was one of the few bop-oriented players of the early '50s who explored free jazz in the '60s, widening his emotional range and drawing from the new music qualities that fit his musical personality.

The son of guitarist John McLean (who played guitar with Tiny Bradshaw), Jackie started on alto when he was 15. As a teenager he was friends with such neighbors as Bud Powell, Thelonious Monk, and Sonny Rollins. He made his recording debut with Miles Davis in 1951 and the rest of the decade could be considered his apprenticeship. McLean worked with George Wallington, Charles Mingus, and Art Blakey's Jazz Messengers (1956-1958). He also participated on a string of jam session-flavored records for Prestige and New Jazz which, due to the abysmal pay and his developing style, he later disowned. Actually they are not bad but pale in comparison to McLean's classic series of 21 Blue Note albums (1959-1967). On sessions such as One Step Beyond and Destination Out, McLean really stretches and challenges himself; this music is quite original and intense yet logical. 

McLean also appeared as a sideman on some sessions for Blue Note (most notably with Tina Brooks, acted in the stage play The Connection (1959-1961), and led his own groups on a regular basis. By 1968, however, he was moving into the jazz education field and other than some SteepleChase records from 1972-1974 (including two meetings with his early idol Dexter Gordon) and an outing for RCA (1978-1979), McLean was less active as a player during the '70s. However in the '80s Jackie McLean returned to a more active playing schedule (sometimes with his son René McLean on tenor), recording for Triloka, Antilles, and most recently (with a renewed relationship) with Blue Note without losing the intensity and passion of his earlier days. Bio ~  https://itunes.apple.com/nz/artist/jackie-mclean/id802975#fullText

Fly Like The Wind

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Jeff Hamilton - Dynavibes

Styles: Jazz, Mainstream Jazz
Year: 2007
File: MP3@320K/s
Time: 51:41
Size: 118,8 MB
Art: Front

(5:25)  1. Killer Joe
(4:00)  2. Just Like SD
(6:15)  3. Cherokee
(6:33)  4. Long Ago And Far Away
(6:19)  5. Sweet Lorraine
(4:41)  6. Close Enough For Love
(5:07)  7. Happy Kick
(4:16)  8. Midnight Sun
(3:32)  9. Todo
(5:28) 10. Blues For Milt

Although vibraphonist Frits Landesbergen had recorded a couple of dates as a leader for Timeless prior to appearing as a guest with the Jeff Hamilton Trio on the 1996 studio session Dynavibes, the Mons CD should introduce him to a wider audience. With Hamilton's first-rate drumming and solid accompaniment from pianist Larry Fuller and bassist Lynn Seaton, the trio turns over the spotlight to Landesbergen, who acquits himself rather well with his four-mallet technique playing a mix of standards like "Cherokee" and "Sweet Lorraine," bop classics ("Killer Joe"), and a quartet of intriguing originals, including the funky "Happy Kick" and a smoking tribute to a legendary vibraphonist, "Blue for Milt." Overall, this is a very rewarding session. ~ Ken Dryden  http://www.allmusic.com/album/dynavibes-mw0000031524

Personnel: Jeff Hamilton (drums); Larry Fuller (piano); Frits Landesbergen (vibraphone)

Dynavibes

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Indigo Mist - That the Days Go By & Never Come Again

Styles: Beyond Jazz
Year: 2014
File: MP3@320K/s
Time: 43:32
Size: 122,4 MB
Art: Front

(5:04)  1. L'Heure Bleue
(9:33)  2. Indigo Mist
(2:35)  3. A Flower Is a Lovesome Thing
(3:04)  4. Billy
(6:52)  5. Duke
(1:25)  6. In a Sentimental Mood
(1:41)  7. Charles
(1:49)  8. Lush Life
(3:14)  9. The Electric Mist
(8:11) 10. Mood Indigo

Trumpeter-composer Cuong Vu has established himself as a distinctive voice on the new music/improvising scene for his adventurous work over the past 20 years with the likes of guitarist Bill Frisell, Pat Metheny and Laurie Anderson as well as his four recordings as leader. Composer Richard Karpen has earned accolades for his work in the classical field as well as for being a cutting edge sonic experimenter of the highest order. Joined by innovative bassist Luke Berman (their faculty colleague at the University of Washington) and Vu’s longstanding bandmate, drummer Ted Poor, these two kindred spirits push the envelope in a myriad of provocative ways on That The Days Go By And Never Come Again. An extended suite that pays tribute to the indelible composing team of Duke Ellington and Billy Strayhorn in a most uncompromising fashion, their extraordinary RareNoiseRecords debut under the collective name of Indigo Mist is unlike any Ellingtonia you’ve ever heard.” Says Vu, “The whole record, to me, is a tone poem that is deeply affected by their music, even to the point where as we were at the apex of experimenting, Duke and Billy were always in the room with us and we had to come to terms with their presence. 

I feel that we've respectfully paid homage to them by taking our own connection to them and sprinkled that all over the record like a mist.”The unlikely duo of New York-based improviser-bandleader Vu and Seattle academician Karpen crystallized when they met at the University of Washington. As Vu explains, “One of the things that I did when I became a new faculty here was to research my colleagues, mainly just to get to know about the various interests of the School of Music faculty and get a feel for how I would move about within that musical community. Once I started reading about Richard, I was immediately interested because his work was on the forefront of electro-acoustic music as well as being a composer from the Western Classical Art Music tradition. Much of classical music had such an impact on how I interfaced with music while I was doing my bachelors of music that I've always been interested in working with a serious composer at some point. Then when I heard his music I was completely blown away and knew that I had to work with him, if not to just make music together somehow, then to at least learn from him.” Adds Karpen, “It is very unusual for a ‘classically’ trained composer like me, with my particular background and continued interest in experimental music and several decades of very deep involvement in the development of computer music both as a composer and as a programmer, to be head of such a School of Music. 

And it seems to me to be just as unusual for someone coming from a jazz background like Cuong, who is deeply involved in breaking through artificial boundaries through many kinds of experimentation, would be on the a faculty of such a school. The chance that both of us would be at the same place at the same time, and with one of us heading this school, seems to be one chance in millions! The provocative tone poem kicks off with a torrent of drums from Ted Poor entitled “L’Heure bleue.” While traversing the kit with power and precision, Poor’s drumming is sonically enhanced to give it the effect of rolling thunder, gently falling rain or a phalanx of drummers. Poor then switches to mallets for the evocative title track as Karpen and Vu make their entrance into the mysterious soundscape, beginning with Karpen’s sparsely plucked notes from inside the piano and continuing with Vu’s electronically treated trumpet and Luke Bergman’s sparse bass lines. The piece builds to a thunderous crescendo with Karpen’s throbbing bass notes and Cecil Tayloresque cascading in the high register of the piano. Poor’s potent free drumming fuels the track while Vu’s intuitive keening trumpet wails over the top of the fray. This urgent piece gradually morphs into a haunting treatment of Strayhorn’s “A Flower is a Lovesome Thing” that has Vu remaining close to the melody as Karpen pushes the harmonic envelope with his probing piano work. It then flows organically into a thoughtful but uncompromising meditation on Strayhorn entitled “Billy.” An element of swing enters the picture on “Duke,” which opens with Poor’s hip, syncopated playing on the kit in intimate conversation with Vu’s unaffected trumpet worked, Bergman and Karpen enter the conversation near the midway mark and extrapolation ensues until they build up to extreme layers of density and dissonance with Vu reaching into his bag of extended techniques on the trumpet to match the pitch of the turbulent proceedings. At their tumultuous peak, Vu and Bergman lay out and Karpen gradually settles into zen-like repose on the piano, setting up for a sublime reading of Ellington’s gorgeous “In a Sentimental Mood,” which is played beautifully by Vu and underscored with tastefully restraint by Karpen, Bergman and Poor. This gentle but brief bit of Ellingtonia then morphs into the more mysterioso excursion “Charles” (for Mingus), which in turn leads into a highly impressionistic take on Strayhorn’s “Lush Life.” Karpen’s furious, rolling bass notes and aggressive stabs at the keyboard next come into play on “The Electric Mist,” a frenzied improvisation which has the pianist going toe-to-toe in full-out Cecil Taylor mode with drummer Poor augmenting his urgent attack with some powerhouse playing of his own. 

The piece ends with an electronic barrage that is purely of the 21st century. The album concludes with a spacious, abstract rendition of Ellington’s “Mood Indigo” that begins with the sounds of a gong (or singing bowl) and plucked piano strings penetrating the silence before Bergman and Vu enter with a walking-on-eggshells approach. The familiar theme of this final nod to Ellington is hinted at throughout the course of the piece but not truly revealed until near the end of its eight-minutes in the beautifully warm tones of Vu’s trumpet. It's definitely the most challenging music I've been engaged in our musical interests and curiosities, I'm at a place in my life right now where it's crucially important for me to make music that is completely honest and without any external pressures.” “We're trying to do something new and different while flipping the whole idea of playing ‘jazz’ upside down,” says Vu of this Indigo Mist project. “And by choosing this music as our primary subject matter or subject of inspiration, we are addressing jazz in a way that I feel is in reverence and trying to add our own perspective of the greatness what jazz really means to me along with the greatness of these two masters.” ~ Antje Huebner http://jazztimes.com/community/articles/133006-cuong-vu-and-richard-karpen-join-forces-on-provocative-ellington-strayhorn-tribute-indigo-mist

Personnel:  Cuong Vu – trumpet;  Richard Karpen – piano;  Luke Berman – bass;  Ted Poor - drums

That the Days Go By & Never Come Again

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Aurora Scott - Dance With You

Bitrate: 320K/s
Time: 41:48
Size: 95.7 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[2:43] 1. Quizas, Quizas, Quizas
[4:43] 2. Dance With You
[3:34] 3. Is You Is Or Is You Ain't My Baby
[3:33] 4. Now Or Never
[4:55] 5. Nature Boy
[3:31] 6. A Sunday Kind Of Love
[4:00] 7. I've Got To See You Again
[2:17] 8. Hallelujah I Just Love Her So
[4:04] 9. A Case Of You
[4:37] 10. Moody's Mood For Love
[3:47] 11. Something's Got A Hold On Me

After much training and dedication, Aurora is now an active jazz singer in Victoria B.C. Her style is best described as “versatile”, as she loves most genres of music including Jazz, R&B, Pop, Ska, Folk, and Latin. Her ability to interpret and express such a diverse range of material, along with her strong stage presence and natural beauty makes her an ideal choice of entertainment for any venue, and any occasion. On "Dance With You" Aurora lives up to her name. Love songs glow, heartaches are electric, lighter songs pulse with joy and passion, and her luminous voice fills the void between reality and dreams.

"Aurora unveils her musical passions in a voice that is at once expressive, smooth, sultry and powerful." (Jonny Canuck)

Dance With You

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Modern Jazz Quartet - Autumn

Bitrate: 320K/s
Time: 32:15
Size: 73.8 MB
Styles: Bop
Year: 2009
Art: Front

[3:25] 1. Softly As In A Morning Sunrise
[2:59] 2. True Blues
[3:05] 3. Milt Meets Sid
[2:29] 4. Yesterday
[2:54] 5. Autumn Breeze
[2:44] 6. Bluesology
[2:55] 7. You Go To My Head
[2:31] 8. Junior
[4:50] 9. Sonor
[4:19] 10. Blues Mood

Pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown and drummer Kenny Clarke first came together as the rhythm section of the 1946 Dizzy Gillespie & His Orchestra and they had occasional features that gave the overworked brass players a well-deserved rest. They next came together in 1951, recording as the Milt Jackson Quartet. In 1952, with Percy Heath taking Brown's place, the Modern Jazz Quartet (MJQ) became a permanent group. Other than Connie Kay succeeding Clarke in 1955, the band's personnel was set. In the early days Jackson and Lewis both were equally responsible for the group's musical direction but the pianist eventually took over as musical director. The MJQ has long displayed John Lewis' musical vision, making jazz seem respectable by occasionally interacting with classical ensembles and playing concerts at prestigious venues, but always leaving plenty of space for bluesy and swinging improvising. Their repertoire, in addition to including veteran bop and swing pieces, introduced such originals as Lewis' "Django" and Jackson's "Bags' Groove." The group recorded for Prestige (1952-55), Atlantic (1956-74), Verve (1957), United Artists (1959) and Apple (1967-69) and, in addition to the many quartet outings, they welcomed such guests as Jimmy Giuffre, Sonny Rollins, the Beaux Arts String Quartet, a symphony orchestra conducted by Gunther Schuller, singer Diahann Carroll (on one piece), Laurindo Almeida, a big band and the Swingle Singers. Although the musicians all had opportunities to pursue individual projects, in 1974 Milt Jackson, tired of the constant touring and the limitations set on his improvising and he quit the group, causing The MJQ to have a final tour and break up. In 1981 Jackson relented and the Modern Jazz Quartet (which has recorded further albums for Pablo and Atlantic) became active again although on a more part-time basis. Connie Kay's health began to fade in the early '90s (Mickey Roker often filled in for him) and after his death in 1995, Albert "Tootie" Heath became his replacement. ~bio by Scott Yanow

Autumn

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Dave Liebman - Besame Mucho & Other Latin Jazz Standards

Bitrate: 320K/s
Time: 57:07
Size: 130.8 MB
Styles: Saxophone jazz
Year: 1994/2010
Art: Front

[6:15] 1. Besame Mucho
[9:25] 2. Poinciana
[6:04] 3. Lazy Afternoon
[6:43] 4. Caravan
[6:50] 5. Andalucia (The Breeze And I)
[4:09] 6. Speak Low
[4:32] 7. The Island
[6:51] 8. How Insensitive
[6:13] 9. Night In Tunisia

"David Liebman has the ability to touch the soul eeking from the wayward horn an extraordinary depth of emotion and dramatic range. His cantabile style, as identifiable as a human voice in its emotional tone and dramatic role playing, may in a given solo, conjure up anguish, ecstasy, anger, fear, hilarity or haughtiness. Liebman's music is storytelling of a very high order-form, content, accent, color and mood are all in place, on cue. " ~Downbeat Magazine

Awarded the National Endowment for the Arts Jazz Master (2011); the highest honor granted for jazz by the U.S. government.

Drums – Bill Goodwin; Electric Bass, Acoustic Bass – Tony Marino; Percussion – Mark Holen, Scott Cutshall (tracks: 6); Piano – Danilo Perez; Soprano Saxophone – Dave Liebman. Recorded at Red Rock Studios, Saylorsburg, PA, USA on March 6,7 - 1993

Besame Mucho & Other Latin Jazz Standards

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Various - Jazzin' The Boogie

Bitrate: 320K/s
Time: 52:22
Size: 119.9 MB
Styles: Boogie woogie, Jump blues
Year: 2013
Art: Front

[2:26] 1. Quincy Jones - Choo Choo Ch'boogie
[2:52] 2. Ella Fitzgerald - Cow Cow Boogie
[2:25] 3. Jimmy Mcgriff - Hob Nail Boogie (Remastered)
[2:47] 4. Count Basie & His Orchestra - Boogie Woogie (I May Be Wrong)
[4:10] 5. Dizzy Gillespie - Joogie Boogie
[3:12] 6. Charlie Barnet & His Orchestra - Andy's Boogie
[2:34] 7. Stan Kenton - Artistry In Boogie
[6:33] 8. Meade Lux Lewis - 620 Boogie
[3:11] 9. Lester Young - Lester's Be Bop Boogie (Remastered)
[3:44] 10. Anita O'day - Boogie Blues
[5:38] 11. Herb Ellis - Big Red's Boogie Woogie
[3:10] 12. Bing Crosby - Pinetop's Boogie Woogie
[3:05] 13. Ben Webster - Boogie Woogie
[3:08] 14. Lionel Hampton Quintet - Hamp's Boogie Woogie
[3:20] 15. Tommy Dorsey & His Orchestra - T.D.'s Boogie Woogie

Boogie Woogie was the first and to date the only exclusively piano music to issue from the blues. Boogie Woogie, a term used to describe the blues piano playing that thrived roughly between the years 1920 and 1945, was a highly popular music in tenements. The very name Boogie was another name for the "house rent party." Both terms describe a phenomenon that took place in the crowded tenements of Chicago, Detroit, New York, and virtually every city with a large black population. Because poverty was a way of life, black people learned quickly to depend on each other to band together and to work toward common goals. One such goal was that of simply being able to pay the rent. With unemployment at a normally high level (at least for blacks), men long accustomed to surviving under the most adverse conditions ingeniously devised a technique that served the combined purposes of raising the rent and providing a means of social intercourse.

Jazzin' The Boogie

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Nancy Harms - In the Indigo

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 42:39
Size: 98,3 MB
Art: Front

(4:24)  1. Bye Bye Blackbird
(2:55)  2. I Wished On the Moon
(3:58)  3. Softly, As In a Morning Sunrise
(2:51)  4. In the Indigo
(4:21)  5. On a Clear Day (You Can See Forever)
(5:07)  6. Cry Me a River
(3:02)  7. Great Indoors
(3:39)  8. Surprised By the Morning
(4:44)  9. I'm Pulling Through
(4:41) 10. Blue Skies
(2:53) 11. Reach for Tomorrow

Jazz vocalist Nancy Harms presents In the Indigo, a sultry yet intelligent offering of old standards, original material, and the occasional pop cover. She sings like a woman who's sure of herself. Whether singing John Mayer's "Great Indoors" or Irving Berlin's "Blue Skies" she has a way of making even the simplest lyric sound like a masterpiece of thought. Armed with a talented band and beautiful vocals, In the Indigo is good packaging for even better music. If the recording could be summarized in a few words, then the general sound would have to be described as cool and confident. Singing is something that Harms is good at, approaching each song like a skilled scientist who knows how to dissect it and build something better. 

She doesn't scream when singing and doesn't try to reinvent Billie Holiday, Dinah Washington, or Ella Fitzgerald; she has her own voice and that's good enough. On the disc's opening number, "Bye Bye Blackbird," Harms and the musicians sound as if their meeting was one of "love at first sight." Neither tries to one up the other the bass makes the first introduction, opening the song and laying the foundation for its structure. Harms joins in, sounding as though there's no place else she'd rather be.

Her voice is so inviting that before long, the trumpet, piano, and drums make their presence known as they all come together and soar. The relationship between Harms and the band strengthens from minute to minute and song to song, ending as beautifully as it began. With her best work shining through in the disc's title track, "In the Indigo" as well as "Cry Me A River," "Great Indoors," "Surprised By the Morning," and "Blue Skies," the singer has made it known that she's one to watch. With better known vocalists like Diana Krall, Gretchen Parlato, and Norah Jones at the forefront of the contemporary jazz vocalist movement, Harms will be in good company on her rise to the top. ~ Bridget A.Arnwine  http://www.allaboutjazz.com/in-the-indigo-nancy-harms-self-produced-review-by-bridget-a-arnwine.php#.U_jCvGMfLP8

Personnel: Tanner Taylor: piano, Hammond B3; Graydon Peterson: bass; Jay Epstein: drums (1-3, 5, 7-10); Kelly Rossum: trumpet (1, 2, 5, 8); Robert Bell: guitar (4, 7); Chico Chavez: cajon (4); Spencer McGinnis: drums (6).

In the Indigo

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Doug Webb - Swing Shift

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 54:46
Size: 125,8 MB
Art: Front

( 7:28)  1. Soul Eyes
(22:23)  2. Patagonia Suite
( 7:34)  3. Simone
( 6:35)  4. Where Or When
( 2:41)  5. Rizone
( 8:03)  6. Apodemia

An essential part of jazz fandom is participating in the endless debate about the pros and cons of recordings versus live performances. Despite the obstacles in the pursuit of the holy grail of recorded perfection, such as budget limitations, artistic differences between producers and performers, and the stifling effect of herding musicians into separate cubicles, records give us the opportunity to savor the essence of a performance; after repeated listening, we often make these sounds a part of ourselves. While live shows are frequently subject to encumbrances like noisy patrons and claustrophobic seating arrangements, who among us would forsake the memories of great gigs, the bragging rights that come with catching musicians on a fire-breathing night, or the chance to be a part of the excitement by applauding or offering spontaneous verbal support? Saxophonist Doug Webb's Swing Shift is a studio session that sounds and feels like a late night club set. Though some of the six-track, 55-minute record bears a resemblance to John Coltrane's early 1960s quartet and includes well trodden material by Mal Waldron, Frank Foster and Rodgers and Hart, there's nothing safe, referential or predictable about it. These recognizable points of reference are a framework for a profoundly present-centered music that like the greatest live performances possesses the power to wash away the dust of daily existence.

At the record's core is a rhythmic thrust that is at once nimble, bold and almost unremittingly aggressive. Bassist Stanley Clarke and drummer Gerry Gibbs are one of the fiercest and most focused bass and drums teams in recent memory. They generate their own brand of conventional swing, and manufacture a steely momentum outside the confines of a traditional, steady pulse. There's something primal and dead certain about Clarke's lines, whether he's walking or finding other, more skeletal ways to mark time and outline harmony. The brisk, irregular chatter of Gibbs' snare, as well as frequent bass drum and tom-tom punctuation, offers another layer of rhythmic stimulation that manages to stay on point. During "Soul Eyes," the disc's opening track, it's impossible to tell who's responsible for the music's steadily rising temperature Clarke and Gibbs, in cahoots with pianist Larry Goldings, or the leader's muscular, cogent tenor solo. Throughout the permutations of the 22-minute "Patagonia Suite," Clarke and Gibbs (along with pianist Mahesh Balasooriya) aggressively maneuver amidst Webb's tenor and soprano, going inside and outside as the suite evolves. 

When Webb and Gibbs square off on the all-too-brief "Rizone," they fashion a claustrophobic zone somewhere between ludicrously fast straight-ahead time and free form; the cumulative effect sounds like they're slapping each other silly. Webb is a smart, effusive and resourceful soloist who finds his own ways of dealing with the melodies and changes of familiar tunes, like "Soul Eyes," "Simone" and "Where Or When." His improvisations exhibit the gritty, uninhibited feel of a jazzman playing for the sake of the music alone, with no other agenda in mind. Webb juggles a variety of phrases of varying lengths, makes brief, interesting digressions, takes into account whatever Clarke and Gibbs throw at him, and never ties things together too neatly. The mastery that comes with ardently playing the horn for decades and taking the standard repertoire seriously runs through these tracks and results in music that is deep, challenging and emotionally satisfying. As Webb and his bandmates throw their whole selves into every note, playing like there's no tomorrow and caring not one whit about the consequences, you might almost hear an audience's applause and shouts of delight. Swing Shift is a terrific record.~ David A.Orthmann  http://www.allaboutjazz.com/doug-webb-swing-shift-by-david-a-orthmann.php#.U_6q32MfLP8

Personnel: Doug Webb: saxophones; Stanley Clarke: bass; Gerry Gibbs: drums; Larry Goldings: piano (1); Joe Bagg: piano (4, 6); Mahesh Balasooriya: piano (2, 3).

Swing Shift

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Ralph Sharon Trio - The Magic Of Cole Porter

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 70:05
Size: 163,4 MB
Art: Front

(2:32)  1. You're The Top
(2:36)  2. All Through The Night
(4:03)  3. Medley: Easy To Love / Get Out Of Town / You'd Be So Nice To Come Home To
(3:22)  4. I Concentrate On You
(2:54)  5. I've Got You Under My Skin
(3:19)  6. Down In The Depths On The 90th Floor
(3:14)  7. So In Love
(2:17)  8. Anything Goes
(2:18)  9. Let's Do It (Let's Fall In Love)
(1:41) 10. From This Moment On
(2:40) 11. What Is This Thing Called Love?
(2:31) 12. Do I Love You?
(3:17) 13. Night And Day
(3:37) 14. I Love Paris
(3:35) 15. Love For Sale
(2:44) 16. I Love You
(2:23) 17. All Of You
(3:00) 18. It's Alright With Me
(2:28) 19. I Get A Kick Out Of You
(2:55) 20. Why Should I Care?
(2:58) 21. Just One Of Those Things
(3:22) 22. At Long Last Love
(4:06) 23. Begin The Beguine
(2:06) 24. Sorta Porter

Ralph Sharon made his professional debut with Ted Heath in 1946, then moved on to Frank Weir's orchestra before leading his own sextet. He moved to the U.S. in 1953, where he initially worked as an accompanist to Chris Connor. In 1957, he became musical director and pianist for Tony Bennett. He acquired American citizenship in 1958. In 1965, he and Bennett split up, but they got back together in 1979 and have played together since. Sharon has also led various groups and made many recordings as a leader. Bio ~ https://itunes.apple.com/us/artist/ralph-sharon-trio/id31399556#fullText

Ralph Sharon Trio: Ralph Sharon (piano); Lennie Bush (bass); Jack Parnell (drums).

The Magic Of Cole Porter

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Dani nel-lo & Barcelona Big Blues Band - Dani nel-lo & Barcelona Big Blues Band

Styles: Big Band
Year: 2014
File: MP3@320K/s
Time: 43:45
Size: 100,4 MB
Art: Front

(2:54)  1. Marshall Plan
(3:46)  2. Please Mr. Plas
(3:58)  3. Pomez Stone
(3:02)  4. Jump For George
(2:50)  5. Sax Attack
(3:40)  6. Smooth
(3:25)  7. Bajo El Puente
(3:15)  8. Dey-Lo
(3:16)  9. Wine-O
(3:30) 10. Hot Rod
(2:53) 11. Rhumambo
(3:48) 12. Saltos Y Meneos
(3:22) 13. Zip

Traditionally, Barcelona has good jazz Big Band and swing bands Since the early seventies to the present, there have been many musicians and arrangers of the city that have been seduced by the power and versatility characteristics of this type of line up. But so far, none of them had done it with the will to point to blues and rhythm and blues. The Barcelona Big Blues Band, under the direction of bassist Ivan Kovacevic, combines a group of good musicians that create an energetic sound as well as wild and sophisticated. Through his arrangements, Kovacevic applies to the Big Band all the experience and knowledge he has acquired playing in small combos. The resulting is a stream of sound in the tradition of bands like T-Bone Walker's and Johnny Otis'.

The Barcelona Big Blues Band at every concert has the support of a national and international guest artist making of the show this way in an unique proposal. Sharing the stage with names like Dani Nel.lo, Myriam Swanson, Agusti Burriel, Pere Puertas, Big Dani Perez, Blas Picon, Ray Gelato, Mike Sanchez, Steve Lucky, Marc Tortorici, Carmen Gettit etc. they big band has ensured that the crowd enjoys the same way they do when playing .... with all their heart!  http://www.eltororecords.com/eltorowebshop/product_info.php?info=p323_BARCELONA-BIG-BLUES-BAND.html

Dani nel-lo & Barcelona Big Blues Band

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