Sean Jones Quartet - Im.pro.vise - Never Before Seen

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 69:24
Size: 159,3 MB
Art: Front

(6:33)  1. 60th & Broadway
(4:49)  2. Don't Fall off the L.E.J
(5:07)  3. Not While I'm Around
(7:15)  4. Dark Times
(6:27)  5. Interior Motive
(7:10)  6. The Morning After
(7:12)  7. I Don't Give a Damn Blues
(3:33)  8. Dr. Jekyll
(6:48)  9. How High the Moon
(7:03) 10. We'll Meet Under the Stars
(7:22) 11. New Journey

Sean Jones' recently released im.pro.vise - never before seen, on Mack Avenue Records, is a crisp suit of an album, cufflinks in the sleeves. The quartet of Jones on trumpet, Orrin Evans on piano, Luques Curtis on bass, and Obed Calvaire on drums create a sound that is built on a foundation that includes quite a few bricks from Miles' late-1960's period (as Jones' "ESP"-quoting solo on "Dark Times" can attest), it also builds on the sound of the Wynton Marsalis' 1980's output and the other Young Lions of the time (appropriate, given Jones' tenure with Marsalis in the Lincoln Center Jazz Orchestra). For a music that lives and dies by the drum, the presence of Obed Calvaire is always a good sign (see also: the SFJAZZ Collective and The Clayton Brothers, among others). Likewise, the presence of Christian McBride as one of the album's producers is a good sign, and portends the no-nonsense, good-feeling, straight-ahead jazz on im.pro.vise. 

Jones has been playing in groups with Orrin Evans at the keyboard since 2004's Eternal Journey, and with this quartet since 2006's Roots, and their time together definitely shows. From the opening duet between Jones' trumpet and Calvaire's drums on "60th & Broadway", the group works together to build a sound that is greater than the sum of its considerable parts. Each of the members of the quartet gets plenty of room to shine, with Jones and Evans taking memorable solos throughout the album. While there are no proper drum or bass solos on here, both Curtis and Calvaire get a chance to shine as well - Curtis' bassline notably driving "Dr. Jekyll" forward and Calvaire's drums getting a serious workout at the end of "New Journey". They play on seven originals from Jones, plus one from Evans ("Don't Fall off the L.E.J.", Jackie McLean's "Dr. Jekyll", the standard "How High The Moon", and Stephen Sondheim's "Not While I'm Around" (here as a duet between Jones and Evans). 

And while the quartet is definitely playing straight-ahead jazz, that's not to say there aren't some very modern elements in here - check out the end of "Don't Fall off the L.E.J." or the clipped trumpet on the introduction to "How High The Moon". The music on im.pro.vise won't change the way jazz is played or define a new sub-genre, but it also won't be leaving my CD player for some time. This album makes a very strong argument that nothing else is needed when the feeling is right and the music is this strong - no overdubs or other studio production, no electronic instruments (not that there's any problem with any of that) - just great, straight-ahead jazz that continues to reveal new layers on each listen.  http://nextbop.com/blog/seanjonesimproviseneverbeforeseen

Personnel: Sean Jones (trumpet); Orrin Evans (piano); Obed Calvaire (drums); Luques Curtis (bass)

Im.pro.vise - Never Before Seen

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Lizz Wright - The Orchard

Styles: Neo-Soul
Year: 2008
File: MP3@320K/s
Time: 53:05
Size: 122,7 MB
Art: Front

(4:46)  1. Coming Home
(4:00)  2. My Heart
(4:54)  3. I Idolize You
(5:21)  4. Hey Mann
(3:42)  5. Another Angel
(3:54)  6. When I Fall
(5:03)  7. Leave Me Standing Alone
(3:45)  8. Speak Your Heart
(4:10)  9. This Is
(4:52) 10. Song For Mia
(5:00) 11. Thank You
(3:32) 12. Strange

Vocalist Lizz Wright mixes jazz, gospel, and soul on THE ORCHARD, an intimate, intensely personal album that ranks among the most compelling of the artist’s career. With help from singer-songwriter Toshi Reagon, Marc Anthony Thompson (who records under the name Chocolate Genius), and members of Ollabelle, Calexico, and Bob Dylan’s band, Wright has created a beautiful, organic feel on THE ORCHARD one that is the perfect vehicle for her expressive voice and original songwriting vision. Yet it is Wright herself that shines through most powerfully here, whether on stunning originals such as “When I Fall” or her treatments of Ike and Tina’s “I Idolize You” or Led Zeppelin’s “Thank You.” ~ Anthony Tognazzini  http://www.allmusic.com/album/the-orchard-mw0000492953

Personnel: Lizz Wright (vocals); Chris Bruce, Oren Bloedow (acoustic guitar, electric guitar); Joey Burns (acoustic guitar, baritone guitar, cello); Toshi Reagon (acoustic guitar, background vocals); Martin Wenk, Jacob Valenzuela (trumpet); Glenn Patscha (keyboards); John Covertino (vibraphone, drums, percussion); Larry Eagle (drums, percussion); Ben Perowsky (drums); Catherine Russell (background vocals).

The Orchard

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Frank Morgan - S/T

Bitrate: 320K/s
Time: 74:33
Size: 170.7 MB
Styles: Bop, Saxophone jazz
Year: 1988/2006
Art: Front

[5:37] 1. Bernie's Tune
[4:47] 2. My Old Flame
[4:29] 3. I'll Remember April
[5:11] 4. Neil's Blues
[5:01] 5. Champ, The
[3:37] 6. Chooch
[5:21] 7. The Nearness Of You
[4:41] 8. Whippet
[4:44] 9. Milt's Tune
[4:08] 10. Get Happy
[6:08] 11. Crescendo Blues
[6:36] 12. Huh!
[3:43] 13. Autumn Leaves
[6:23] 14. Well, You Needn't
[4:00] 15. B.T

When altoist Frank Morgan recorded his debut as a leader in 1955, he was being hyped as "the new Bird." Unfortunately, he followed in Charlie Parker's footsteps mostly by becoming an irresponsible drug addict. After 30 years passed, he cut his second album and seriously began his successful comeback. This GNP album features Morgan back at the beginning, performing four numbers with Machito's rhythm section and six other songs with a septet that also includes tenor saxophonist Wardell Gray (heard on his final recordings). Trumpeter Conte Candoli is a major asset on both of these boppish dates, while Morgan shows why he was rated so highly at this point in his career. ~Scott Yanow

Frank Morgan                

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Dakota Staton - Time To Swing

Bitrate: 320K/s

Time: 39:44

Size: 91.0 MB

Styles: Jazz vocals

Year: 1959/2009

Art: Front

[1:53] 1. When Lights Are Low

[2:27] 2. Willow Weep For Me

[1:52] 3. But Not For Me

[2:25] 4. You Don't Know What Love Is

[1:41] 5. The Best Thing For You

[2:10] 6. The Song Is You

[2:00] 7. Avalon

[2:32] 8. Baby, Don't You Cry

[2:32] 9. Let Me Know

[2:34] 10. (It Will Have To Do) Until The Real Thing Comes Along

[2:47] 11. If I Should Lose You

[1:40] 12. Gone With The Wind

[2:48] 13. You've Changed

[2:23] 14. All In My Mind

[3:01] 15. Detour Ahead

[2:25] 16. Once There Lived A Fool

[2:27] 17. You'd Better Go Now

Dakota Staton was a classy Sarah-influenced vocalist who easily straddled the worlds of jazz and supper club pop. Her biggest success, 1957's "The Late, Late Show," had a sort of novelty-value sing-song quality, almost a pre-requisite for a jazz side to hit the pop charts in the '50s. TIME TO SWING is a short and breezy Capitol LP from 1959, the mood uptempo though there are some ballad treatments here, like "You Don't Know What Love Is" and "Until The Real Thing Comes Along." The clean, lightly- scored arrangments are by Sid Feller, a Capitol house-arranger at the time. As stated, the album is a short one; all the tracks clock in under 2:50 and a few are under 2:00! The reissue label DRG (which has been licensing neglected Capitol LPs as of late) includes five bonus cuts to make up the shortfall, including a fine version of "You've Changed," which Billie Holiday memorably introduced on her 1958 LADY IN SATIN. ~Richard Mortifoglio

Bass – George Duvivier; Drums – Don Lamond; Guitar – Ken Burrell; Oboe, Flute – Romeo Penique; Piano – Hank Jones; Saxophone – Al Johnson, Bill Woods, Don Hammond, George Berg, Jerome Richardson, Ray Beckenstein; Trumpet – Joe Wilder, Taft Jordan.

Time To Swing

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Jim Hall - Subsequently

Bitrate: 320K/s
Time: 53:43
Size: 123.0 MB
Styles: Post bop, Guitar jazz
Year: 1992
Art: Front

[5:40] 1. Subsequently
[5:29] 2. Mister Blues
[8:18] 3. Pancho
[6:45] 4. The Answer Is Yes
[5:22] 5. Waiting To Dance
[6:10] 6. I'm In The Mood For Love
[5:01] 7. What's It Like To Love
[3:43] 8. Waltz For Sonny
[7:11] 9. More Than You Know

Jim Hall's third CD for Musicmasters is the usual excellent mix of well-crafted originals and thoughtfully-arranged standards that one has come to expect from the veteran guitarist. It also marks the addition of young keyboardist Larry Goldings and the recording debut of a promising young Danish tenor saxophonist Rasmus Lee. The leader's "Subsequently" is an immediately infectious song that kicks off the release, while "Pancho" is a captivating bossa nova with a few twists thrown in, and "Waiting to Dance" is a brisk waltz that has a few detours into post-bop. Hall's also covers his wife's tasty composition "The Answer Is Yes" once again. Standard fare includes a gracefully swinging "I'm in the Mood for Love" and a foot-tapping "More Than You Know"; harmonica player Toots Thielemans is a special guest on his own upbeat "Waltz for Sonny." With the demise of Musicmasters, this highly recommended CD could soon turn into a hard to find collectable, so it merits immediate an immediate search. ~Ken Dryden

Subsequently

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Charlie Palmieri - El Fantastico

Bitrate: 320K/s

Time: 28:11

Size: 64.5 MB

Styles: Latin jazz

Year: 2010

Art: Front

[2:50] 1. A Veces Soy Feliz

[2:49] 2. El Continental

[2:48] 3. Lullaby of Broadway

[2:55] 4. Ravel's Bolero

[2:31] 5. Sweet Sue, Just You

[3:04] 6. Noche y Día

[2:49] 7. Cielito Lindo

[3:03] 8. I've Got You Under My Skin

[2:20] 9. Lover's Mambo

[2:59] 10. Softly As In The Morning Sunshine

The older brother of Eddie Palmieri, Charlie Palmieri was every bit as gifted a pianist as his sibling, very percussive and responsive to rhythm while also flashing florid passages that were clearly the product of a classical education. His piano studies began at seven and he attended the Juilliard School of Music, turning pro at 16. He started the group El Conjunto Pin Pin in 1948, and then played in a series of ensembles -- including those of Tito Puente, Tito Rodriguez, and Pupi Campo -- before forming his own Charanga Duboney group in 1958. As music director of the Alegre All Stars while recording for the Alegre label in the 1960s, Palmieri stimulated competition among Latin labels like Tico and Fania, which formed their own all-star bands in response. Like many Latin jazz artists of the time, Palmieri flirted with the popular Latin boogaloo style in the 1960s and made some records for major labels like RCA Victor and Atlantic. He endured a near mental breakdown in 1969, but rebounded to work again for Puente on his El Mambo de Tito Puente television program, and he also found a second career as a historian and teacher of Latin music and history at various New York colleges in the 1970s. Palmieri moved briefly to Puerto Rico from 1980 to 1983, and after suffering a severe heart attack and stroke upon his return to New York, he recovered to lead various Latin combos, including Combo Gigante. ~Richard S. Ginnell

El Fantastico

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Maria Williams - Rhythmic Remedy

Styles: Jazz, Vocal
Year: 2004
File: MP3@320K/s
Time: 55:13
Size: 127,2 MB
Art: Front

(5:07)  1. The Island
(2:51)  2. More
(4:59)  3. Nature Boy
(4:04)  4. And All That Jazz
(4:05)  5. A Taste Of Me - Sabor A Mi
(4:28)  6. Sleepwalk
(3:11)  7. It Don't Mean A Thing If It Ain't Got That Swing
(3:45)  8. Sabor A Mi
(1:50)  9. Give Me The Simple Life
(5:23) 10. Garden Of Imagining
(4:20) 11. Besame Mucho
(5:48) 12. Rays Of Dawn
(5:15) 13. All Very Clear

Sultry Houston Singer/Songwriter Maria Williams is also known as Texas' only female to front and lead her OWN 15 Piece Swingin' Big Band. This CD (her 2nd) has garnered radio airplay from Alaska to Brazil, and from California to Boston. Rhythmic Remedy is a compilation and integration of her own original compositions infused with Jazz & Latin Rhythms, English translations of Latin classics, and, of course, Broadway Musicals and Big Band Jazz Standards. With a Bachelor of Arts from the University of Houston, she has been entertaining and performing as a professional singer for more than twenty years. Her dance band is in high demand along the Texas Gulf Coast. The fourth of five children, she was born in Mexico to a Spanish Mother, yet her Father, a retired U.S. Colonel in the Air Force, gave her dual citizenship, along with a love of both cultures' food, dance, and music...http://www.cdbaby.com/cd/mariawilliams

Rhythmic Remedy

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Rodney Whitaker - When We Find Ourselves Alone

Styles: Straight-ahead/Mainstream
Year: 2014
File: MP3@320K/s
Time: 63:50
Size: 146,6 MB
Art: Front

(5:28)  1. The World Falls Away
(5:14)  2. When We Find Ourselves Alone
(4:57)  3. Lost Alone in You Again
(6:00)  4. When You Played with Roy
(4:34)  5. Autumn Leaves
(6:48)  6. You Go To My Head
(7:01)  7. Jamerson's Lullaby
(6:38)  8. Invitation
(5:45)  9. Freedom Day
(4:54) 10. A Mother's Cry
(6:25) 11. Mr. Magic

Bassist Rodney Whitaker is often cited for his affiliations rather than his own work. That's a shame, as it takes attention away from some wonderful music that he's put out under his own name, but it's easy to understand why that's the case. He anchored trumpeter Roy Hargrove's band for a while, ballasted and buoyed Wynton Marsalis's Jazz at Lincoln Center Orchestra during his stint with that acclaimed organization, and connected with drummer Carl Allen for a pair of exciting dates on the Mack Avenue imprint. He also directs that label's "Superband" and contributes to the future of the music through his educational work as a Distinguished Professor of Jazz Bass at Michigan State University. Add to that a list of recording credits that finds him supporting everybody from vocal breakout star Cecile McLorin Salvant to under-recognized pianist Junko Onishi and you start to realize why Whitaker's name is often spoken in the same breath as those he works with and supports. Here, all of that known-by-association nonsense falls away.  

When We Find Ourselves Alone presents Rodney Whitaker in all his glory, playing exactly what he wants to play. He doesn't share billing or serve somebody else's vision. Instead, he pulls from various places and interests to create a straightforward yet diverse program with some help from some old friends. Whitaker's joined by pianist Bruce Barth, an associate from his days with trumpeter Terence Blanchard, and two of his comrades-in-arms from his time with Hargrove saxophonist Antonio Hart and drummer Gregory Hutchinson. All four men gel beautifully and seem to have a ball walking down different musical avenues together.  The album starts off with "The World Falls Away," a swinging number that gives everybody a chance to solo, but the band immediately switches gears on the follow-up song the Brazilian-tinged, Hargrove-referencing "When You Played With Roy." 

As things progress, lots of other approaches are utilized. Pure beauty comes to the fore as Hart's poignant soprano steers the proceedings during "Jamerson's Lullaby"; drive and intensity are at the heart of "Freedom Day"; soul jazz makes an appearance via "Mr. Magic"; and "You Go To My Head" is reconfigured as a funk-inflected, backbeat-driven number. Whitaker's daughter vocalist Rockelle Fortin also brings some different things to the table. Her first appearance finds her working with her father's arco support at the dawn of "Autumn Leaves"; the piece later moves into a swinging environment with Fortin scatting away. She also enlivens "Freedom Day" and "You Go To My Head," brings a dash of sly sophistication to "Mr. Magic," and merges with Hart's uplifting saxophone on the hopeful, album-ending "Lost In You Again."  When We Find Ourselves Alone projects solitude through its name, but the music contained herein does the exact opposite. A sense of togetherness and camaraderie shines through here. ~ Dan Bilawsky  http://www.allaboutjazz.com/when-we-find-ourselves-alone-rodney-whitaker-mack-avenue-records-review-by-dan-bilawsky.php#.VCXB3RawTP8
 

Personnel: Rodney Whitaker: bass; Bruce Barth: piano; Antonio Hart: alto saxophone, soprano saxophone; Greg Hutchinson: drums; Rockelle Fortin: vocals.

When We Find Ourselves Alone

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Mick Hucknall - American Soul

Styles: Vocal, Soul
Year: 2012
File: MP3@320K/s
Time: 37:35
Size: 86,6 MB
Art: Front

(3:20)  1. That's How Strong My Love Is
(2:37)  2. Turn Back The Hands Of Time
(4:25)  3. I'd Rather Go Blind
(2:49)  4. Lonely Avenue
(3:08)  5. I Only Have Eyes For You
(3:09)  6. Tell It Like It Is
(2:02)  7. Baby What You Want Me To Do
(3:00)  8. The Girl That Radiates That Charm
(2:57)  9. Let Me Down Easy
(3:21) 10. Don't Let Me Be Misunderstood
(3:04) 11. It's Impossible
(3:38) 12. Hope There's Someone

Continuing with his journey through the past, Mick Hucknall doesn't focus on a specific singer, the way he did on 2008's Tribute to Bobby, where he saluted his idol Bobby Bland. Here, on the 2012 American Soul, Hucknall pays tribute to, well, American soul, selecting 12 soul standards, most of them from the '60s. Hucknall bends the rules a bit, allowing the Animals' "Don't Let Me Be Misunderstood" into the mix to flirt with Jimmy Reed's "Baby What You Want Me to Do," but he generally sticks to well-loved standards such as "I'd Rather Go Blind," "Lonely Avenue," "I Only Have Eyes for You," and "Tell It Like It Is." Compared to Tribute to Bobby, this adds a bit of grit to its production in its attempt to sound like old-fashioned soul, and that's why it's a better record: it gets closer to the spirit and sound of what Hucknall loves. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/american-soul-mw0002417228

Personnel: Mick Hucknall (vocals, background vocals).

American Soul

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Billy Eckstine - Momento Brasileiro

Styles: Vocal
Year: 1979
File: MP3@224K/s
Time: 34:22
Size: 55,4 MB
Art: Front

(4:07)  1. Cidade Maravilhosa
(3:11)  2. I Apologize
(3:19)  3. Corcovado
(3:05)  4. Where Or When
(3:42)  5. Dindi
(4:25)  6. Dora
(4:41)  7. Vivo Sonhando
(4:50)  8. Você e  Eu
(2:58)  9. Insensatez

One of the most distinctive of all ballad singers, Eckstine was both a pivotal figure in the history of jazz (because of his commitment to bebop) and the first black singer to achieve lasting success in the pop mainstream. After winning a talent contest in 1930 by imitating Cab Calloway, Eckstine sang briefly with Tommy Myles’ band, before returning to college.  On the recommendation of composer and tenor saxophonist Buddy Johnson he joined Earl Hines’ band in 1939 as singer and  occasionally  playing  trumpet  and in turn  encouraged  Hines to sign up Charlie Parker and Sarah Vaughan. Eckstine’s recordings with the band include ‘Stormy Monday Blues’ and his own ‘Jelly Jelly’. In 1943, he quit to go solo but in 1944 formed his own big band, a modern swing band committed almost exclusively to bebop, to the point where Eckstine’s stylized vocals regularly took second place to the playing of Dizzy Gillespie, Dexter Gordon, Art Blakey, Charlie Parker, Fats Navarro, Gene Ammons and Kenny Dorham, among others. 

The band was badly recorded and badly managed and in 1947 Eckstine folded it to go solo. However, the support Eckstine gave bop musicians at that time was crucial. Even before folding his band, Eckstine had recorded solo to support it, scoring two million-sellers in 1945 with ‘Cottage for Sale’ and a revival of ‘Prisoner of Love’. Far more successful than his band recordings, though more mannered and pompously sung, these prefigured Eckstine’s future career. Where before black bands had played ballads, jazz and dance music, in the immediate post-war years they had to choose. Lacking an interest in the blues and frustrated by the failure of his big band, Eckstine, at first reluctantly, turned to ballads. Henceforth his successes would be in the pop charts. 

In 1947, he was one of the first signings to the newly established MGM Records and had immediate hits with revivals of ‘Everything I Have Is Yours’ (1947), Richard Rodgers’ and Lorenz Hart’s ‘Blue Moon’ (1948), and Duke Ellington’s, Irving Mills and Juan Tizol’s ‘Caravan’ (1949). He had further success in 1950 with Victor Young’s theme song to ‘My Foolish Heart’ and a revival of the 1931 Bing Crosby hit, ‘I Apologize’. However, unlike Nat ‘King’ Cole who followed him into the pop charts, Eckstine’s singing, especially his exaggerated vibrato, sounded increasingly mannered and he was unable to sustain his recording success throughout the decade. His best record of the fifties was the thrilling duet with Sarah Vaughan, ‘Passing Strangers’, a minor hit in 1957. Eckstine later concentrated on live appearances, regularly crossing the world, and recorded only intermittently. In 1967, he briefly joined Motown and in 1981 recorded the impressive ‘Something More’. ~ Bio  http://www.vervemusicgroup.com/billyeckstine

Momento Brasileiro

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Steve Hobbs - On The Lower East Side

Bitrate: 320K/s
Time: 64:06
Size: 146.7 MB
Styles: Hard bop, Vibraphone jazz
Year: 1995
Art: Front

[7:38] 1. Amazing Grace
[5:21] 2. Around And Around
[7:26] 3. Sweet And Lovely
[5:53] 4. The Song Is You
[4:08] 5. Pedra Bonita
[7:23] 6. Thinking Of Chet
[3:52] 7. Au Privave
[5:09] 8. 18-35 (Together Again)
[5:12] 9. Pentachronic
[5:42] 10. But Beautiful
[6:17] 11. What Is This Thing Called Love

On the Lower East Side is an appropriate title for this hard bop date, which Steve Hobbs really did record on Manhattan's Lower East Side. It was in that part of New York that the vibist/marimba player formed a cohesive quartet with pianist Kenny Barron, bassist Peter Washington, and drummer Victor Lewis. Barron's solos alone make this CD worth the price of admission, but Hobbs is no slouch either. Although not as well known as he deserves to be, Hobbs is an expressive, swinging improviser with a recognizable sound. Though influences like Milt Jackson and Bobby Hutcherson serve him well, Hobbs is definitely his own person. This is apparent on inspired versions of overdone warhorses (including "What Is This Thing Called Love?" and "The Song Is You") as well as Hobbs originals that range from the Brazilian-flavored "Pedra Bonita" to the intriguing "Song for Chet" (which the jazzman wrote after learning about trumpeter Chet Baker's mysterious death in May 1988). One of the CD's most imaginative tracks is "Amazing Grace," which works quite well in a bop setting. On the Lower East Side isn't Hobbs' most essential release, but it's still an album that he can be proud of. ~Alex Henderson

On The Lower East Side

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Julie Kelly - Kelly Sings Christy (Thou Swell)

Bitrate: 320K/s
Time: 48:23
Size: 110.8 MB
Styles: Vocal jazz
Year: 2002
Art: Front

[3:46] 1. There's No You
[5:19] 2. Something Cool
[4:43] 3. It Might As Well Be Spring
[3:19] 4. Thou Swell
[4:59] 5. Lazy Afternoon
[2:45] 6. Gone For The Day
[5:16] 7. It's So Peaceful In The Country
[3:27] 8. It's A Most Unusual Day
[5:53] 9. Midnight Sun
[2:58] 10. The Best Thing For You
[5:53] 11. Lonely House

No discussion of '40s and '50s cool jazz would be complete without some mention of June Christy. Like Chris Connor and Julie London, the Misty Miss Christy (b. 1925, d. 1990) was a vocal equivalent of tenor saxophonist Stan Getz, alto saxophonist Lee Konitz, or trumpeter Miles Davis -- her singing was characterized by subtlety, restraint, and economy instead of aggression or forcefulness. Although Christy was the essence of cool jazz, one doesn't have to be a full-time member of the Cool School to acknowledge her greatness. Julie Kelly is far from a carbon copy of Christy, and that's the thing that makes this Christy tribute as interesting as it is -- on Kelly Sings Christy: Thou Swell, Kelly salutes the cool-toned goddess on her own terms. Recorded in 2001 (11 years after Christy's death), this excellent CD is devoted to songs that people associate with Christy -- gems that include Billy Barnes' "Something Cool" and Lionel Hampton's "Midnight Sun." To her credit, Kelly doesn't go out of her way to emulate Christy's versions. Her own personality never becomes obscured, and Kelly does some things that Christy wouldn't have done. An Afro-Cuban-flavored version of "It Might as Well Be Spring," for example, is more aggressive and hard-swinging than Christy would have been -- and Kelly's interpretations of "Thou Swell" and "Lazy Afternoon" have a tougher, harder edge than one would expect from Christy. So even though Christy is among Kelly's many influences, no one will accuse this CD of being a carbon copy of Christy's work. Jazz tribute albums can be incredibly predictable, cliché-ridden affairs, but that isn't a problem here. Letting her individuality shine through, Kelly isn't afraid to offer some surprises on this inspired tribute to the Misty Miss Christy. ~Alex Henderson

Kelly Sings Christy (Thou Swell)

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Cannonball Adderley - Bohemia After Dark

Bitrate: 320K/s
Time: 46:55
Size: 107.4 MB
Styles: Hard bop, Soul jazz
Year: 1960/2009
Art: Front

[6:03] 1. Bohemia After Dark
[4:19] 2. Chasm
[6:19] 3. Willow Weep For Me
[3:14] 4. Late Entry
[9:09] 5. Hear Me Talkin' To Ya
[5:40] 6. With Apologies To Oscar
[6:54] 7. We'll Be Together Again
[5:13] 8. Carribean Cutie (Alternate)

The June 26, 1955 session is most notable for being the recorded debut of the recently discovered altoist Cannonball Adderley and his brother, cornetist Nat (who is also featured on the lone number from July 26, a quartet version of "We'll Be Together Again"). Although drummer Kenny Clarke is the nominal leader and the other sidemen include trumpeter Donald Byrd, Jerome Richardson on tenor and flute, pianist Horace Silver and bassist Paul Chambers, the impressive performance by the young Adderleys makes this a historic session that has often been reissued under Cannonball's name. ~Scott Yanow

Alto Saxophone – Julian "Cannonball" Adderley; Bass – Paul Chambers; Cornet – Nat Adderley; Drums, Leader – Kenny Clarke; Piano – Hank Jones, Horace Silver; Tenor Saxophone, Flute – Jerome Richardson; Trumpet – Donald Byrd.

Bohemia After Dark

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Loston Harris - Comes Love

Styles: Vocal And Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 42:59
Size: 98,6 MB
Art: Front

(4:49)  1. Swinging At The Haven
(4:48)  2. Moonlight In Vermont
(3:15)  3. Close Your Eyes
(4:22)  4. Do Nothin' Till You Hear From Me
(4:00)  5. Stompin Down Broadway
(4:36)  6. Comes Love
(5:34)  7. There Goes My Heart
(6:50)  8. Easy Listening Blues
(4:42)  9. Shaw We Dance?

Loston Harris' debut makes it easy to compare him to early Harry Connick, Jr. Harris plays piano in a likable style that is swing-based but sometimes boppish; he takes four vocals that sound a bit like Connick, performs an Ellis Marsalis piece ("Swinging at the Haven") and even thanks Ellis and Wynton Marsalis and Marcus Roberts, among others, in the acknowledgements. Harris has stronger technique than Connick (his playing on "Easy Listening Blues" is a good example) and Oscar Peterson is one of his influences. His vocals are unassuming, straightforward and warm. Although no innovations are heard and Loston Harris is in the early stages of forming his own sound, overall this trio date (with bassist David Grossman, drummer Clarence Penn and, on three numbers, Mark Shim guesting on tenor) is an enjoyable set of swinging music. The highlights include "Moonlight in Vermont" (which has a groove reminiscent of the Ahmad Jamal Trio), "Do Nothin' Till You Hear from Me," "Comes Love" and "Easy Listening Blues." ~ Scott Yanow  http://www.allmusic.com/album/comes-love-mw0000034193

Personnel: Loston Harris (vocals, piano); Mark Shim (tenor saxophone); Clarence Penn (drums).

Comes Love

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Ralph Sutton, Jim Galloway, Don Vickery - Pocketful Of Dreams

Styles: Piano And Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 65:54
Size: 151,2 MB
Art: Front

(5:34)  1. Sleep
(7:50)  2. Farewell Blues
(7:33)  3. Sweet And Slow
(6:05)  4. Blue Skies
(4:54)  5. I've Got a Pocket Full of Dreams
(7:01)  6. You've Changed
(5:59)  7. Baby Won't You Please Come Home
(7:12)  8. Poor Butterfly
(6:49)  9. If Dreams Come True
(6:51) 10. She's Funny That Way

Ralph Sutton was the greatest stride pianist to emerge since World War II, with his only close competitors being the late Dick Wellstood and the very versatile Dick Hyman. Nearly alone in his generation, Sutton kept alive the piano styles of Fats Waller and James P. Johnson, not as mere museum pieces but as devices for exciting improvisations. Although sticking within the boundaries of his predecessors, Sutton infused the music with his own personality; few could match his powerful left hand. Ralph Sutton played with Jack Teagarden's big band briefly in 1942 before serving in the Army. After World War II he appeared regularly on Rudi Blesh's This Is Jazz radio show and spent eight years as the intermission pianist at Eddie Condon's club, recording frequently. He spent time playing in San Francisco, worked for Bob Scobey, moved to Aspen in the mid-'60s, and became an original member of the World's Greatest Jazz Band with Yank Lawson, Bob Haggart, and Bud Freeman. 

In the 1970s, he recorded many exciting albums for the Chaz label and then cut albums for quite a few labels. Despite suffering a stroke in the early '90s, Sutton kept a busy schedule through the mid-'90s, playing at jazz parties and festivals. He died suddenly on December 29, 2001, in his car outside a restaurant in Evergreen, CO. Although he would have received much greater fame if he had been born 20 years earlier and come to maturity during the 1930s rather than the 1950s, at the time of his death it was obvious that Ralph Sutton had earned his place among the top classic jazz pianists of all time. ~ Bio  https://itunes.apple.com/us/artist/ralph-sutton/id1579569#fullText

An excellent swing soprano player with a lighter tone than Sidney Bechet, Jim Galloway has made many recordings with like-minded veterans. He played locally in Scotland on clarinet and alto before emigrating to Canada in 1965. He soon began specializing on soprano, led the Metro Stompers (1968), put together the Wee Big Band (1978), and hosted the weekly jazz radio program Toronto Alive! (1981-1987). Galloway, who has appeared at many jazz festivals and jazz parties, has recorded for Sackville, Hep, and Music & Arts along with several smaller Canadian labels with such pianists as Dick Wellstood, Art Hodes, and most often with Jay McShann. ~ Bio  https://itunes.apple.com/ca/artist/jim-galloway/id110727063

Personnel: Ralph Sutton (piano); Jim Galloway (soprano saxophone); Don Vickery (drums).

Pocketful Of Dreams

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Hank Jones - I'm All Smiles

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 47:15
Size: 108,9 MB
Art: Front

(5:19)  1. Relaxin' At Camarillo
(7:37)  2. In A Sentimental Mood
(6:53)  3. Some Day My Prince Will Come
(4:29)  4. Afternoon In Paris
(6:17)  5. Au Privave
(5:03)  6. I'm All Smiles
(4:48)  7. Rockin In Rhythm
(6:46)  8. Con Alma

Although Tommy Flanagan tended to refer to two-piano dates as a gimmick, that's hardly the case during this superb 1983 concert in Germany with Hank Jones. The two pianists have the kind of feel for one another's playing that avoids the crash of egos and instead inspires the give and take necessary for each performance to reach its full potential. Immediately, the two veterans captivate their audience with a stunning aggressive improvisation upon Charlie Parker's "Relaxin' at Camarillo," then immediately quiet them with a soft, lyrical interpretation of the gorgeous ballad "In a Sentimental Mood." They're clearly having a lot of fun during their upbeat waltz through the popular ballad "Someday My Prince Will Come." The rest of the concert is every bit as fulfilling, with an inspired treatment of "Rockin' in Rhythm" getting the nod as the highlight of a memorable evening. ~ Ken Dryden  

http://www.allmusic.com/album/im-all-smiles-mw0000188033

Personnel:  Hank Jones – Piano; Tommy Flanagan – Piano.

I'm All Smiles

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The Al Nicholls Quartet - That Swing Thing

Size: 124,0 MB
Time: 53:34
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Swing Jazz
Art: Full

01. Zing! Went The Strings Of My Heart (5:12)
02. God Bless The Child (7:04)
03. Love For Sale (6:55)
04. I've Got A Crush On You (5:31)
05. Night And Day (6:12)
06. The Man I Love (6:21)
07. Last Train's Gone (4:45)
08. Time After Time (5:24)
09. Tea For Two (4:50)
10. Too Close For Comfort (1:15)

A Modern recording of (mostly) swing standards of the 1940's and 50's played with aplomb by four masters of their craft.

Stylish small group swing of the kind that became popular alongside the big band music of the late 1930's and 1940's. There are ten tracks here - some well known standards, plus a few less frequently heard. The playing is superb - 4 guys who have obviously learnt their craft well through years of playing "on the road" as well as in the studio. The arrangements are intelligent and well thought out, and throw up quite a few surprises. The sound quality is excellent - crisp and modern, considering this was recorded in the "live" environment of the excellent Goldtop Studios.

That Swing Thing

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Geila Zilkha - Day Dreaming

Size: 162,1 MB
Time: 69:48
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Vocals
Art: Front

01. Phoebe (4:34)
02. Love For Sale (6:06)
03. Come Fly With Me (3:59)
04. Dray Dreaming (6:28)
05. My Funny Valentine (6:03)
06. The First Time Ever I Saw Your Face (7:17)
07. Summertime (5:45)
08. Sleeping With An Angel Who Broke My Heart (7:43)
09. Fate & Promises (4:09)
10. Moonlight Serenade (4:34)
11. What A Wonderful World (6:01)
12. When The Party's Over (7:04)

Geila Zilkha is a successful and highly recognized singer in Japan. With a solid background in jazz and additional essence of strong soul music, her vocal performances delight the audiences’ ears and hearts wherever she sings.

Born and raised in Kobe to an Israeli father and Japanese mother, Geila attended the international school Canadian Academy from kindergarten through high school and is fluent in both English and Japanese. She showed a strong interest in the arts and music from an early age, and studied ballet from the age of three. When Geila was nine years old, she was diagnosed with scoliosis and underwent surgery during which a metal rod was implanted in her back. This operation meant that she could no longer dance or play sports, and ever since then Geila knew that she would pursue a career in music.

Soon after the operation, Geila began learning how to play the alto saxophone. When she felt the need to deepen her understanding of music, she also began playing the keyboard. She played in bands in high school and led a jazz big band. Geila was then accepted to Berklee College of Music in Boston to study the alto saxophone. Shortly afterwards, she realized that her voice was the instrument she should pursue, and changed her major to singing from her second year.

During her time at Berklee, she participated in Vocal Jazz Ensemble taught by her vocal mentor April Arabian, Vocal Summit taught by Bob Stoloff, and Reverence Gospel Choir led by Orville Wright and Dennis Montgomery III. She graduated from Berklee in 1991.

Geila returned to her hometown of Kobe following graduation and worked as a TV and radio personality. At FM802, a leading Osaka radio station, she hosted her own program for almost three years. She also co-hosted a morning show for ABC Television.

In 1995, the great Hanshin-Awaji Earthquake occurred and interrupted the course of her career as a well-known personality and singer, forcing her to take a leave of absence.

However, Geila was not ready to give up her dreams of becoming a successful musician. She moved to Tokyo, the cultural center of Japan. There, she sang in TV commercials and worked as a radio personality for InterFM. She worked as a voice actor for Benesse, a major correspondence education and publishing company, which earned her more spots narrating and singing in TV commercials for companies such as Mazda, All Nippon Airways (ANA) and Haagen Dazs. In the case of ANA, the commercial was so popular that audiences requested the company disclose the singer's name.

In 2002, she began an all-female gospel choir named Voissalot Choir. The group released three albums, sang in TV commercials and performed at Tokyo Disney Sea, JZ Brat and Sweet Basil as well as other renowned clubs. In 2004, Geila gave birth to a son. Six months later, she started singing again. In 2006, she was invited to teach at a high-ranking jazz school. In 2007, she met the highly acclaimed male vocalist Ayumu Yahaba, and they started singing duo shows entitled SOLO-DUO.

In 2009, after successfully leading Voissalot Choir to the Apollo Theater in New York, Geila decided to concentrate her efforts on solo shows. In 2010, she earned the Grand-Prix title for the annual Kobe Jazz Vocal Queen Contest which entitled her to sing a highly acclaimed show at the renowned jazz club Jazz Alley in Seattle. In October of the same year, she released her first solo album, all Me, which surprisingly became a megahit among jazz audiences although many people had never heard of her before. Print media feedback has also been very positive: the top jazz magazines in Japan, Jazz Japan, Jazz Life and Jazz Hihyo [Jazz Review], gave high praise, and the national newspaper Asahi Shimbun dedicated two feature articles.

Day Dreaming

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Smooth Jazz All Stars - Smooth Jazz Tribute To Richard Marx

Size: 105,4 MB
Time: 45:07
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Smooth Jazz
Art: Front

01. Right Here Waiting (4:27)
02. Now & Forever (4:56)
03. This I Promise You (4:09)
04. Endless Summer Nights (4:30)
05. Hold On To The Nights (5:10)
06. Keep Coming Back (4:53)
07. Until I Find You Again (4:13)
08. Heaven Only Knows (4:55)
09. Chains Around My Heart (3:40)
10. Hazard (4:09)

A nice collection of well known contemporary songs played with a rich sax, comfortable bass, keyboard, and drums. May be the perfect fusion of contemporary music and jazz.

Smooth Jazz All Stars

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The Cookers - Time And Time Again

Size: 143,2 MB
Time: 61:27
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. Sir Galahad (7:54)
02. Reneda (6:12)
03. Slippin' And Slidin' (7:00)
04. Double Or Nothing (6:43)
05. Farewell Mulgrew (6:44)
06. Three Fall (6:36)
07. Time And Time Again (6:35)
08. Dance Of The Invisable Nymph (9:17)
09. Dance Eternal Spirits Dance (4:22)

Celebrating seven years together, Time and Time Again is the fourth release by The Cookers since the group's recording debut, Warriors (Jazz Legacy Productions, 2010). The band's all-star lineup, who first rose to prominence in the late '60s and early '70s, was initially formed by trumpet player David Weiss, who also serves as musical director. In addition to Weiss, the septet features the muscular frontline of trumpeter Eddie Henderson, tenor saxophonist Billy Harper and alto saxophonist Donald Harrison (replacing Craig Handy), with pianist George Cables, bassist Cecil McBee and drummer Billy Hart manning the blue chip rhythm section.

Drawing upon their varied experiences, the ensemble members split writing duties, effectively summarizing the entire spectrum of the jazz continuum in the process. Although hard bop-influenced post-bop is the unit's forte, most of these musicians have also worked in cutting-edge avant-garde settings; their forward-looking tendencies imbue the project's straight-ahead sensibility with a bold, modernistic aesthetic.

With five of the seven members contributing tunes to the session, there is ample stylistic diversity on display, ranging from breakneck swingers ("Double or Nothing") and swaggering blues ("Slippin' and Slidin'") to majestic waltzes ("Three Fall") and opulent ballads ("Farewell Mulgrew"). As seasoned veterans, their spirited performances convey the informality of an old school blowing session, tempered by an awareness of formalized song-craft. The arrangements are rhythmically tight and harmonically sophisticated, but supple enough to demonstrate the band's freewheeling rapport, with ample room for each member to shine.

Working as a true collective, no one player dominates the session, although Harper's commanding tone and assured phrasing lifts the bandstand when he takes center stage, with quicksilver cadences underscored by the nimble rhythm section, whose fluid interplay is a marvel of triadic interaction. Lending credence to its title, Time And Time Again expertly conveys the palpable commitment of these elder statesmen to push beyond preconceived boundaries and move the music forward, while acknowledging the innovations of the past. ~by Troy Collins

Personnel: Billy Harper: tenor saxophone; Eddie Henderson: trumpet; David Weiss: trumpet; Donald Harrison: alto saxophone; George Cables: piano; Cecil McBee: bass; Billy Hart: drums.

Time And Time Again

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