Stacy Sullivan - Its A Good Day: A Tribute To Miss Peggy Lee

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 50:26
Size: 115,9 MB
Art: Front

(3:09)  1. I Love Being Here With You
(3:17)  2. I Got Rhythm / My Romance / One Kiss
(4:14)  3. The Folks Back Home
(2:20)  4. You Was Right Baby
(2:45)  5. He's A Tramp
(3:13)  6. Till There Was You
(2:45)  7. I Don't Know Enough About You
(3:03)  8. I Love The Way You're Breaking My Heart
(3:21)  9. Cheek To Cheek
(4:19) 10. Nobody's Heart Belongs To Me
(3:55) 11. That Old Black Magic / Lover
(4:32) 12. Where Did They Go
(4:05) 13. Johnny Guitar
(2:25) 14. It's A Good Day
(2:57) 15. Angeles On Your Pillow

An intimately swinging project, fresh with courageous takes on Peggy Lee’s famous canon. Joining forces with Jon Weber, Steve Doyle, and Bucky Pizzarelli, Miss Sullivan evokes Lee, but deftly applies her own stamp to each and every song. To complete the picture, the album introduces “The Folks Back Home,” (a previously unreleased song by Lee and Paul Horner,) and Stacy Sullivan possesses the musicianship and vocal chops to do both Peggy Lee and the material justice.

“Sly and subtle, Stacy Sullivan, like Peggy Lee, is a master of suggestion. There's a wink in her voice, and when you hear her on this gorgeous, intimately swinging album, you know that wink is meant only for you.”~ David Hajdu, Music Critic - The New Republic

“With her blond long hair caressing her shoulders, Stacy Sullivan, the seventh sibling in the multi- talented Sullivan family, has never been better than she is in her ‘A Tribute to Miss Peggy Lee.’ Sullivan is a revelation. Watch for a repeat engagement of this show! It will be a contender for every award this year.”~ Joe Regan, Jr. - Times Square Chronicles.   More....http://www.lmlmusic.com/album/itsagoodday/

Personnel: Bucky Pizzarelli (guitar); Jon Weber (piano).

Its A Good Day: A Tribute To Miss Peggy Lee

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Betty Carter - The Complete: 1948 - 1961

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 76:24 (Disc 1)
Size: 175,5 MB (Disc 1)
Time: 75:19 (Disc 2)
Size: 173,0 MB (Disc 2)
Art: Front + Back

Disc 1

(3:27)  1. Moonlight In Vermont
(1:43)  2. Thou Swell
(2:41)  3. I Could Write A Book
(4:14)  4. Gone With The Wind
(2:44)  5. The Way You Look Tonight
(2:29)  6. Can't We Be Friends
(2:36)  7. Tell Him I Said Hello
(2:41)  8. Social Call
(2:32)  9. Runaway
(2:34) 10. Frenesi
(2:01) 11. Let's Fall In Love
(1:48) 12. You're Driving Me Crazy
(2:49) 13. I Can't Help It
(2:11) 14. By The Bend Of The River
(2:52) 15. Bab's Blues
(2:25) 16. Foul Play
(2:34) 17. You're Getting To Be A Habit
(2:07) 18. On The Isle Of May
(4:03) 19. But Beautiful
(2:19) 20. All I've Got
(4:33) 21. Make It Last
(1:34) 22. Bluebird Of Happiness
(3:41) 23. Something Wonderful
(3:18) 24. Red Top
(3:20) 25. Benson's Boogie
(3:07) 26. The Hucklebuck
(3:48) 27. Jay Bird

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Disc 2

(2:06)  1. What A little Moonlight Can Do
(3:13)  2. There's No You
(2:26)  3. I Don't Want To Set The World On Fire
(2:26)  4. Remember
(2:52)  5. My Reverie
(2:07)  6. Mean To Me
(3:04)  7. Don't Weep For The Lady
(2:00)  8. Jazz
(2:23)  9. For You
(3:27) 10. Stormy Weather
(2:47) 11. At Sundown
(1:59) 12. On The Alamo
(4:43) 13. Ev'ry Time We Say Goodbye
(3:29) 14. You And I
(3:22) 15. Goodbye / We'll Be Together Again
(2:53) 16. People Will Say We're In Love
(3:17) 17. Cocktails For Two
(2:25) 18. Side By Side
(4:12) 19. Baby, It's Cold Outside
(1:37) 20. Together
(3:45) 21. For All We Know
(3:24) 22. Takes Two To Tango
(4:47) 23. Alone Together
(1:59) 24. Just You, Just Me
(1:58) 25. Frenesi
(2:21) 26. Rock-A-Bye Baby

The Precious And Rare series presents beautifully remastered recordings by some of the very finest jazz artists. Betty Carter brought a new vocal style to jazz, rich in improvisation, passionate scat singing and fighting spirit. She sang with jazz legends such as Dizzy Gillespie, Lionel Hampton, Charles Mingus, Wes Montgomery and Ray Charles and created her own jazz label, achieving prominence in the music business. Songs include 'The Way You Look Tonight', 'Let's Fall In Love', 'Something Wonderful', 'Stormy Weather', 'Baby It's Cold Outside', and many more. 'The finest jazz singer heard in Australia in the past 20 years remains Betty Carter on her two tours in the 1990s. Anyone who witnessed her performances then will never forget the spell she cast as she swept audiences into a theatrical as well as musical world of her own...This comprehensive collection of recordings - from the initial dates with Lionel Hampton through to 12 songs with [Ray] Charles reveals an artist with flawless musical instincts from the outset.' ~ Sydney Morning Herald  https://www.musicdirect.net.au/audio/the-complete-betty-carter-1948-1961.do

The Complete: 1948 - 1961 (CD1)

The Complete: 1948 - 1961 (CD2)

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Tab Smith - Vintage Dance Orchestra No. 262 - Ep Sax For Dance

Styles: Saxophone Jazz
Year: 1952
File: MP3@320K/s
Time: 21:00
Size: 49,5 MB
Art: Front

(2:20)  1. Ace High
(2:32)  2. Sunny Side Of The Street
(3:08)  3. Under A Blanket Of Blues
(2:41)  4. You Belong To Me
(2:39)  5. Auf Wiederseh'n Sweetheart
(2:38)  6. Red, Hot And Blue
(2:21)  7. Hands Across The Table
(2:37)  8. Can't We Take A Chance

Tab Smith's career can easily be divided into two. One of the finest altoists to emerge during the swing era, Smith became a popular attraction in the R&B world of the 1950s due to his record "Because of You." After early experience playing in territory bands during the 1930s, Tab Smith played and recorded with Lucky Millinder's Orchestra (1936-1938) and then freelanced with various swing all-stars in New York. He had opportunities to solo with Count Basie's band (1940-1942) before returning to Millinder (1942-1944), and took honors on a recording of "On the Sunny Side of the Street" with a stunning cadenza that followed statements by Coleman Hawkins, Don Byas, and Harry Carney. After leaving Millinder, Smith led his own sessions which became increasingly R&B-oriented (he never became involved with bop). His string of recordings for United in the 1950s (which have been reissued by Delmark on CD) made him a fairly major name for a time even though he had a relatively mellow sound and avoided honking. In the early '60s Tab Smith retired to St. Louis and later became involved in selling real estate. Bio ~ Scott Yanow  http://www.allmusic.com/artist/tab-smith-mn0000013954/biography

Vintage Dance Orchestra No. 262 - Ep Sax For Dance

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Paul Kuhn - I Wish You Love

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 59:41
Size: 138,1 MB
Art: Front

(4:52)  1. Sister Sadie
(7:48)  2. Take The A-Train
(4:55)  3. I Wish You Love
(6:40)  4. Stitt's Tune
(8:12)  5. Polka Dots & Moonbeams
(7:38)  6. Broadway
(5:27)  7. Soon
(5:42)  8. With A Song In My Heart
(8:23)  9. Flying Home

Paul Kuhn (12 March 1928 – 23 September 2013) was a German jazz musician, band leader, singer and pianist. He was the band leader of the SFB Big Band, the orchestra of the Sender Freies Berlin, the TV-Station of West Berlin, part of ARD. He was the conductor of the German entry in the 1972 Eurovision Song Contest. Kuhn was born a the son of a croupier in Wiesbaden. In 1936, at the age of 8, he had a public gig at the 'Funkausstellung' in Berlin, playing the accordion. Some years later, he discovered jazz music (which was frowned upon during the nazi time (1933-1945)). In 1944, he was in Paris and had some gigs to entertain soldiers of the Wehrmacht, who still occupied Paris. After V-Day (8 May 1945), the USA formed an occupation zone in parts of Germany, amongst them the region around Frankfurt. Kuhn was hired by AFN (American Forces Network), he was live on radio almost every day, alone or with his band. 

He adopted the style and sound of Glenn Miller (1904-1944). In the 1950s, he arranged and composed entertainment music. Around 1955, he increasingly launched pop songs, sung and played by himself. During the sixties, more and more west German households bought a TV; music shows, big bands and singers were very successful. In 1968, Kuhn was named head of the entertainment orchestra of Sender Freies Berlin. In 1980, this band was dissolved and Kuhn moved to Cologne and founded his own orchestra. Starting in 2000, he toured with Max Greger, Hugo Strasser and the Big Band of SWR (Südwestdeutscher Rundfunk). At the end of 2011, Kuhn travelled to San Francisco to record a CD (The L.A. Session, with John Clayton and Jeff Hamilton). The album was released in 2013. His most known hits were Der Mann am Klavier (1954), Es gibt kein Bier auf Hawaii (1963) and Die Farbe der Liebe (1958 in the charts).Bio ~ http://en.wikipedia.org/wiki/Paul_Kuhn_%28band_leader%29

Personnel:  Bass – Paul G. Ulrich; Clarinet, Alto Saxophone – Georg Mayr; Drums – Willy Ketzer; Piano – Paul Kuhn;  Trombone – Ludwig Nuss; Trumpet – Till Brönner

I Wish You Love

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New City Swing Quartet - Jazz Standards And Torch Songs

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 89:29
Size: 206,5 MB
Art: Front

(2:50)  1. All Of Me
(2:04)  2. A Tisket A Tasket
(2:25)  3. On A Slow Boat To China
(4:29)  4. Summertime (And The Living Is Easy)
(3:08)  5. Since I Met You Baby
(3:08)  6. Don't Get Around Much Anymore
(3:41)  7. Just A Gigolo
(3:35)  8. Crazy (For Loving You)
(4:22)  9. Georgia ( On My Mind)
(2:38) 10. Knobbby
(2:48) 11. Simply
(2:41) 12. Is Your Is Or Is You Ain't (My Baby)
(3:06) 13. Phanton Blues Bar
(3:24) 14. Walking With Christopher
(2:25) 15. Come On Home
(4:23) 16. Linus And Lucy (The Peanuts Theme Song)
(4:54) 17. What Are You Doing The Rest Of Your Life?
(4:37) 18. Steamroller Blues
(3:48) 19. Stars Fell On Alabama
(2:32) 20. She May Be Your Girl
(2:16) 21. Do Nothing Till You Hear From Me
(2:22) 22. Ain't Misbehavin'
(6:01) 23. My Funny Valentine
(3:19) 24. Annie Had A Baby
(5:34) 25. Tenderly
(2:49) 26. The Gypsy Song

Jazz Standards And Torch Songs

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Rodney Whitaker - Ballads And Blues

Bitrate: 320K/s
Time: 69:45
Size: 159.7 MB
Styles: Post bop
Year: 1999
Art: Front

[ 7:26] 1. Whims Of Chambers
[ 7:29] 2. Alone With Just My Dreams
[ 9:02] 3. Ease It
[ 4:57] 4. The Way They Always Said It Should Be
[ 7:14] 5. The Hand Of Love
[ 5:37] 6. Wise Young Man
[10:32] 7. Centerpiece
[10:00] 8. For Rockelle
[ 7:25] 9. Big Foot

In this, his third release as a leader, Detroit-born bassist and member of the Lincoln Center Jazz Orchestra Rodney Whitaker sides with his Big Apple buds on a program of mainstream jazz standards and one pop tune. Tenor saxophonist Ron Blake plays lines everywhere between Coleman Hawkins and King Curtis, vibist Stephon Harris continues on the rise, pianist Eric Reed approaches monstrous levels, and drummer Carl Allen is solid as a rock. Trombonist Wycliffe Gordon joins on two of the nine selections. Whitaker takes charge on these cuts up front. A bass lead with Reed on "Whims of Chambers," a short unison line with Blake on "Ease It" before multiple solos (especially from the fantastic Reed), and the hot bossa-to-bop "The Hand of Love" all display his esteemed reverence for Paul Chambers. Whitaker's thick, syrupy, swing-laden sound, like Mr. P.C., is ever-present on his numerous solos and in his stance-aside-melody approach. "Whims" is particularly invigorating during the bridge, as playing from Whitaker and Reed seems to scamper, and Harris' vibes chase this; together with Blake, the four then incorporate a stair-step stop/start figure that sets the vibes on fire and puts the tenor sax in a soulful groove. Blake really sounds good on this date; Coleman Hawkins can be heard in his measured phrases during George Duvivier's excavated loping ballad "Alone With Just My Dreams," and on soprano sax, eschewing waves of love and happiness in "For Rockelle"'s steady, 120 beats-per-second fashion. Gordon's cameo roosts on the red hot "Big Foot" (informed by Harris on a patiently devoloped solo), and on the famous, easy, blues treatment of Harry Edison's classic "Centerpiece." Gordon plays trombone with the dexterity of J.J. Johnson on "Big Foot" and quotes "Chicago" on "Centerpiece." He seems in his element. With the musicians at their tenderest for Reed's "Wise Young Man," Harris is, again, the surrogate leader and delivers a cropped but substantial solo. Here is a jazz musician who doesn't need to play a flurry of notes to tell a story. On Carly Simon's "The Way They Always Said It Should Be," Whitaker's arco bass plays informant on a nicely rendered version of a soft rock tune. After the previous, more progressive jazz efforts, Whitaker has felt a need to play music "that doesn't have to be threatening or complex, some things that can help people relax." While not a collection of cool ballads and blues á la Chet Baker or George Shearing et al., as the title might suggest, the album is substantial, well-prepped, and nicely turned out. Recommended. ~Michael G. Nastos

Ballads And Blues

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Donna Hightower - Take One!

Bitrate: 320K/s
Time: 59:12
Size: 135.6 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[2:26] 1. Perfidia
[2:47] 2. Maybe You'll Be There
[1:56] 3. Lover Come Back To Me
[2:14] 4. There, I've Said It Again
[2:29] 5. Because Of You
[2:52] 6. Please Don't Take Your Love Away From Me
[2:33] 7. C'est La Vie
[2:31] 8. Too Young
[2:38] 9. Baby, Get Lost
[2:26] 10. I Get A Kick Out Of You
[2:31] 11. Anytime, Anyday, Anywhere
[2:33] 12. Trouble In Mind
[2:46] 13. Every Day I Have The Blues
[3:06] 14. Gee, Baby, Ain't I Good To You
[1:45] 15. All Or Nothing At All
[2:20] 16. I Laughed To Keep From Crying
[1:37] 17. Lonesome And Sorry
[2:31] 18. The First To Know
[2:54] 19. The Blues Don't Care
[2:04] 20. Can't Help It
[2:25] 21. Born To Be Blue
[2:03] 22. I'll Be Around
[3:04] 23. A Cottage For Sale
[2:30] 24. I'm Alone Because I Love You

2 LPs in 1 CD: Tracks #1-12 from "Take One!" (Capitol T 1133). Tracks #13-24 from "Gee, Baby, Ain't I Good To You?" (Capitol ST 1273).

One of the highest tributes to any musician in a recording session is that he or she is a “Take One” artist. Donna Hightower is just that, a singer who delivers perfectly the first time she steps to the mike. In these late Fifties sides she demonstrated the phrasing, taste and skill which marked her as one the brightest new vocalist stars of the time. Backing her are two all-star groups conducted by Sid Feller and featuring some of the greatest soloists of the New York jazz scene, including Joe Wilder, Ben Webster, Hank Jones, Georgie Auld, Mundell Lowe, George Duvivier and Don Lamond.

Donna Hightower (vcl), Joe Wilder (tp), Ben Webster (ts), Mundell Lowe (g), Hank Jones (p), George Duvivier (b), Don Lamond (d), Sid Feller (cond).

Take One!

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Antônio Carlos Jobim - Collection

Bitrate: 320K/s
Time: 48:41
Size: 111.5 MB
Styles: Bossa Nova, Brazilian jazz
Year: 2014
Art: Front

[2:40] 1. The Girl From Ipanema
[2:48] 2. Agua De Beber
[2:52] 3. Corcovado (Quiet Nights Of Quiet Stars)
[3:31] 4. Águas De Março
[4:09] 5. Desafinado
[5:03] 6. Para Machuchar Meu Coracao
[2:45] 7. How Insensitive
[3:15] 8. Meditation
[2:14] 9. Samba De Uma Nota Só (One Note Samba)
[2:45] 10. Felicidade
[4:17] 11. Chega De Saudade
[3:49] 12. Quiet Nights Of Quit Stars
[2:19] 13. So Danco Samba (Jazz Samba)
[3:19] 14. O Morro Nao Tem Vez
[2:49] 15. Wave

It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source.

Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner. ~partial bio by Richard S. Ginnell

Collection

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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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