Russell Garcia - Russell Garcia & His Four Trombone Band

Bitrate: 320K/s
Time: 69:17
Size: 158.6 MB
Styles: Trombone jazz
Year: 2012
Art: Front

[3:13] 1. I'll Never Forget What's Her Name
[2:13] 2. But Beautiful
[3:04] 3. Dancing On The Ceiling
[2:33] 4. The Boy Next Door
[3:58] 5. Just One Of Those Things
[2:48] 6. Zigeuner
[2:57] 7. Limehouse Blues
[2:03] 8. Lush Life
[5:28] 9. Lover, Come Back To Me
[2:33] 10. Ramona
[2:27] 11. Someone To Watch Over Me
[3:01] 12. What Is This Things Called Love
[2:30] 13. Toreador
[2:42] 14. They Can't Take That Away From Me
[2:24] 15. He's Funny That Way
[3:04] 16. I've Got You Under My Skin
[1:50] 17. All Of A Sudden My Heart Sings
[2:22] 18. Somebody Loves Me
[3:00] 19. September In The Rain
[3:11] 20. These Foolish Things
[2:44] 21. Love For Sale
[5:35] 22. Medley
[3:28] 23. Out Of This World

A two-fer CD containing:
Tracks #1-12, from the 10" album "Four Horns and a Lush Life". Recorded in Holywood, November 14, 1955. Russel Garcia (cond,arr); Frank Rosolino, Herbie Harper, Maynard Ferguson, Tommy Pederson (tb); Dick Houlgate (bs); Marty Paich (p); Red Mitchell (b); Stan Levey (d).

Tracks #13-23, from the 10" album "Frances Faye-I'm Wild Again". Recorded in Holywood, November 14, 1955. Russel Garcia (cond,arr); Frank Rosolino, Herbie Harper, Maynard Ferguson, Tommy Pederson (tb); Al Hendrickson (g); Gerry Wiggins (p); Red Mitchell (b); Chico Hamilton (d); Frances Fayes (vcl).

"Russell Garcia's Four Trombone Band can easily be compared to some of Stan Kenton's brass experiments, and more directly Slide Hampton's World of Trombones ensembles. This single-CD compilation features instrumental tracks reinventing a variety of standards and many selections featuring vocalist Frances Faye, with either pianists Marty Paich or Gerry Wiggins, respectively, in the rhythm sections. Garcia directs these substantive musicians on his unique arrangements, where the music jumps up and grabs your ears with the ineffable cool and swing typical of mid-'50s West Coast jazz. Detroiter Frank Rosolino relocated to California during this time, as Tommy Pederson and Herbie Harper were establishing themselves as session men, while Maynard Ferguson is heard here, not on trumpet, but valve trombone -- and all the participants sound like they are having a really good time.

Garcia conducts this music, and puts the bandmembers through their paces, cleverly adding and subtracting measures during his original "I'll Never Forget What's Her Name," loading up staccato phrases for the 'bones during "Limehouse Blues," writing strong unison charts for the melodies of "Lover, Come Back to Me" and "Ramona," and offering a strict arrangement of Noël Coward's "Ziguener." Baritone saxophonist Dick Houlgate is the only other horn on these dates, and guitarist Al Hendrickson is the other front liner on the selections with Faye. The vocalist is straight-laced, stoic, effortless like peer Peggy Lee, and very solid. While fairly typical on well-known standards and a seamless seven-song medley, she steals the show from the trombones on the Mary and Norman Kaye-penned wordplay of the Latin-pop novelty tune "Toreador" and a calypso take of "I've Got You Under My Skin," and she revives the lost introductory lyrics of "Love for Sale." Chico Hamilton is greatly responsible for the tropical beats in his pre-boogaloo period, hopping up "Out of the World" as Faye glides along while his drum work is busily active.

This is one of three Fresh Sound reissues showcasing the underappreciated Russell Garcia, only recognizable to California audiences in the main, but now with an opportunity like peers Bill Holman and Onzy Matthews  to be known and revered on a larger scale some 60 years later." ~Michael G. Nastos

Russell Garcia & His Four Trombone Band   

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Maceo Parker - Roots Revisited

Bitrate: 320K/s
Time: 64:27
Size: 147.5 MB
Styles: Soul-jazz, Saxophone jazz
Year: 1990/2008
Art: Front

[ 3:55] 1. Them That Got
[10:46] 2. Children´s World
[ 5:39] 3. Better Get Hit In Yo´ Soul
[ 5:53] 4. People Get Ready
[ 8:10] 5. Up And Down East Street
[ 4:13] 6. Over The Rainbow
[ 6:16] 7. Jumpin´ The Blues
[ 5:27] 8. In Time
[ 3:54] 9. Them That Got (Alternate Master)
[10:09] 10. Funky Christmas

Altoist Maceo Parker has spent most of his career in R&B funk bands, most notably those led by James Brown, George Clinton, and Bootsy Collins. This CD gave him a chance to stretch out as a leader, and his soulful horn immediately brings to mind Hank Crawford and (to a lesser extent) Lou Donaldson. With a strong backup group that includes Pee Wee Ellis on tenor, trombonist Fred Wesley, and Don Pullen on organ, Parker enthusiastically plays over infectious grooves with just one funky departure ("In Time"). Roots Revisited is a throwback to the 1960s soul-jazz style and Maceo Parker gives one the impression that, if called upon, he could hold his own on a bebop date. ~Scott Yanow

Roots Revisited

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Polly Bergen - The Early Years

Bitrate: 320K/s

Time: 72:24

Size: 165.8 MB

Styles: Vocal

Year: 2007

Art: Front

[2:09] 1. Honky Tonkin'

[2:33] 2. Mount'n Boys Have Fun With Mount'n Girls

[2:30] 3. Oh Them Dudes

[2:30] 4. I Got Tookin

[2:52] 5. Just The Way You Are

[2:20] 6. I Put My Head In The Lion's Mouth

[2:45] 7. Tonda Wanda Hoy

[3:23] 8. Out Of Sight Out Of Mind

[2:13] 9. Apple On A Pear Tree

[2:49] 10. Don't Let Our Love Die On The Vine

[2:44] 11. No One Else Will Ever Know

[2:15] 12. Let's Make Love

[3:24] 13. Someone To Watch Over Me

[3:59] 14. Happiness Is A Thing Called Joe

[3:43] 15. Little Girl Blue

[2:51] 16. The Way You Look Tonight

[2:55] 17. A Woman Likes To Be Told

[2:33] 18. I Thought Of You Last Night

[6:03] 19. When The World Was Young

[3:06] 20. The Wayward Wind

[2:12] 21. How Little We Know

[2:22] 22. Too Close For Comfort

[2:21] 23. It's All Yours

[2:40] 24. Darling I Belong To You

[3:00] 25. One Little Mistake

Mostly known as a TV and film actress, Polly Bergen recorded several album of pop standards in the 1950s and '60s, as well as using her expressive voice onstage in musicals. This rare collection features recordings from the very beginning of her career, showcasing tunes from 1950 through 1956. The looks and poise of a 1950s Vogue model; the mentholated singing voice; the actress' approach to words all these helped launch Polly Bergen on a career that began in the late 40s and still thrives today. This CD includes almost every side she cut before 1957, when she burst into prominence with an Emmy-winning TV portrayal of the legendary torch singer Helen Morgan. Earlier on, Bergen had recorded a scattered pile of hillbilly tunes (the by-product of her birth in Tennessee), novelty kitsch, and a fine first album of torch songs, heard here in its entirety.

Polly Bergen (vocals); Joe Venuti (violin); Matty Matlock (clarinet); George Tibbles (piano). Additional personnel: Ramey Idriss (guitar); Paul Toenniges (bass instrument); The Mellowmen & Orchestra, The Joe Leahy Orchestra, Morty Stevens & His Orchestra, The Orchestra, George Tibbles, Joe Venuti, Matty Matlock. Audio Remasterer: Robin Cherry. Recording information: Los Angeles, CA (1950-1956); New York, NY (1950-1956).

The Early Years

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Barbara Carroll - This Heart Of Mine

Styles: Jazz, Vocal, Cabaret
Year: 1994
File: MP3@320K/s
Time: 65:58
Size: 151,5 MB
Art: Front

(6:33)  1. The Way You Look Tonight
(5:16)  2. Never Let Me Go
(6:41)  3. In Some Other World
(6:06)  4. This Heart Of Mine
(5:44)  5. I Wanna Be Yours
(5:06)  6. Sweet Lilacs
(6:01)  7. Medley: On Second Thought/Why I Can't
(3:13)  8. Lester Leaps In
(6:32)  9. Some Other Time
(4:23) 10. Rain Sometimes
(5:59) 11. Whenever A Soft Rain Falls
(4:19) 12. It's Like Reaching For The Moon

This is one of the better later recordings by Barbara Carroll. A bop-based pianist and a cabaret singer, Carroll balanced her two very different skills quite well throughout the date. There are a few instrumentals along the way (including "The Way You Look Tonight" and "Lester Leaps In") which team her with Jerome Richardson (heard on tenor and alto) and Art Farmer (on the trumpet) along with drummer Joe Cocuzzo and either Jay Leonhart or Frank Tate on bass. The overall music is more jazz-oriented than some of Carroll's recordings and her soft-spoken vocals are generally a delight; however, it is her swinging piano that consistently takes honors. A fine all-around set that serves as a good introduction to the music of Barbara Carroll. ~ Scott Yanow  http://www.allmusic.com/album/this-heart-of-mine-mw0000120021

This Heart Of Mine

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Dan Cray Trio - Save US

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 69:33
Size: 159,7 MB
Art: Front

(5:54)  1. Don't You Worry 'Bout A Thing
(5:36)  2. When You Wish Upon A Star
(4:38)  3. Just One Of Those Things
(5:31)  4. If You Could See Me Now
(7:51)  5. Farther From That
(7:27)  6. Trinkle Tinkle
(6:06)  7. Night Dreamer
(6:10)  8. Summer In Central Park
(7:30)  9. Without A Song
(6:38) 10. Good Morning.Goodbye
(6:07) 11. Good Morning.Goodbye

Jazz's modern mainstream has to preserve tradition while exploring unique approaches. It's got to grow. A lot of folks translate the concept of uniqueness into something "far out" and "hip" and "never before attempted." But stretching the boundaries of jazz to its limits has drawbacks. Some push too far and become alienated. Some water down the jazz with outside sources that prove discomforting. Many of today's innovators simply sell out. If they turn away from the core music that brought us here, then they've failed. Dan Cray preserves the straight-ahead tradition with his Chicago-based piano trio, yet he finds new ways to interpret it. Like a poet or a painter who searches constantly for new ways to express himself without losing his core focus, the pianist has succeeded in recreating Cole Porter, Thelonious Monk, Wayne Shorter, and Horace Silver with aplomb. They're the same old songs, but they're interpreted with a fresh, new outlook. 

The trio's version of "Just One of Those Things" makes a dramatic impact. Cray moves the familiar theme in suite-like fashion through different scenes that reflect changing moods. Together, the threesome forges ahead with widely different approaches for one theme. The pianist's dynamic strides give the piece new life. After establishing the tune of a standard piece, Cray likes to jazz it up. Isn't that what it's all about? He takes each piece on a whirlwind ride, alters its texture to the foundation, and reinterprets it with authority. Meters change, moods fly back and forth, and the scene varies. 

His fresh approach comes loaded with a fiery, percussive piano attack one moment and a suave, comforting layer of harmony the next. Cray's "Good Morning" and "Good Bye" evoke misty moonlit impressions with introspective leanings that evolve into a confident strut along with powerful reflections. "Trinkle Tinkle" comes loaded with a refreshing new texture as the trio drives it with raw power. "Night Dreamer" appears before us with an exotic façade that remains personal and up close. "Summer in Central Park" finds the trio floating along on its laissez-faire theme with added sparks entering the scene to fire this way and that. Cray builds each of his selections from the ground up, transforming them from the usual to the unique without ever losing sight of tradition. Highly recommended. ~ Jim Santella  http://www.allaboutjazz.com/save-us-dan-cray-blujazz-productions-review-by-jim-santella.php#.VE6qLclZi5g

Personnel: Dan Cray: piano; Clark Sommers: bass; Greg Wyser-Pratte: drums.

Save US

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Lucky Thompson - Lucky Thompson Meets Oscar Pettiford

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 66:28
Size: 153,0 MB
Art: Front

(5:02)  1. Tom-Kattin
(4:04)  2. Old Reliable
(5:13)  3. A Lady's Vanity
(4:05)  4. Translation
(4:40)  5. Nr#1
(3:12)  6. Nr#2
(4:37)  7. Good Luck
(4:38)  8. Tricotism
(3:58)  9. Bo Bi My Boy
(4:34) 10. Body and Soul
(3:54) 11. Op Meets Lt
(3:10) 12. Dancing Sunbeam
(2:51) 13. Little Tenderfoot
(4:47) 14. The Plain but The Simple Truth
(3:34) 15. Mister Man
(4:02) 16. Once There Was

Lucky Thompson (1924-2005) has probably been the most underrated tenorist of his generation. After an active period in both the New York and Los Angeles scenes during the Forties, his career began to suffer all kind of in and outs, and from 1949 up to 1954 Lucky’s name rarely appeared on jazz club marquees. Fortunately, since that year the ‘unlucky’ Lucky Thompson would temporarily find what he was looking for. Lucky described the sessions at hand as the first “I got the freedom and the men I desired.” Here he blows his heart out in one of the most sustained examples of creative, soulful improvisation ever recorded. It is a hard-swinging set powered by Lucky’s big tone and beautifully built ideas, featuring the strength and driving pulse of Oscar Pettiford’s bass.  http://www.freshsoundrecords.com/lucky_thompson_meets_oscar_pettiford-cd-4490.html

Lucky Thompson Meets Oscar Pettiford

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Marlene VerPlanck - One Dream At A Time

Size: 130,6 MB
Time: 55:35
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals
Art: Front

01. Haven't We Met (2:43)
02. In April (4:00)
03. Some Fine Day (3:50)
04. You Can Depend On Me (3:12)
05. I'm Falling For You (4:31)
06. Rio Carioca (4:53)
07. Quietly (3:12)
08. There's No Holding Me (2:50)
09. The Heather On The Hill (3:49)
10. What A Difference A Day Made (4:22)
11. But Beautiful (4:17)
12. As Far As I'm Concerned (2:43)
13. Moon Dreams (3:37)
14. Invitation To The Blues (4:19)
15. One Dream At A Time (3:10)

Marlene Ver Planck paid tribute to the great American songbook. Ver Planck, who grew up in Newark, NJ, listening to Frank Sinatra and Ella Fitzgerald on WNEW radio, collaborated throughout her long career with her husband, arranger, composer, and conductor Billy Ver Planck. Her 2000 CD, My Impetuous Heart (DRG), her 17th album, reunited her with some old friends, including jazz pianist Hank Jones and special guests jazz pianists George Shearing and Marian McPartland and guitarist Bucky Pizzarelli. Ver Planck's career was a long string of success stories, which showcased her as a versatile singer with a gorgeous, pliable voice that knew how to tell a story.

She started singing at age 19. Her career stretched back to the '50s when she worked with Tex Beneke and Charlie Spivak. Her first big break came in 1955 when she teamed up with pianist Hank Jones, flutist Herbie Mann, trumpeter Joe Wilder, bassist Wendell Marshall, and drummer Kenny Clarke on I Think of You with Every Breath I Take on Savoy Records. She met her husband while performing with Charlie Spivak's band, then both moved over to the Dorsey Brothers Orchestra. Tommy Dorsey died in 1956, so the Ver Plancks decided to stay in New York City to pursue studio work with the likes of Frank Sinatra, Perry Como, Tony Bennett, Antonio Carlos Jobim, Blood Sweat and Tears, and Kiss. Millions of people outside the jazz world first heard Ver Planck's voice, though, doing jingles in the '60s : "Weekends were made for Michelob/Yeah!" and "Winston tastes good like a cigarette should!" and "Mmm good/mm-mm good/that's what Campbell's Soups are/mm mm good." After thousands of commercial jingles and hours and hours of studio session work in New York, the Ver Plancks decided to settle down in their house in Clifton, NJ, and began performing and recording together.

Their first recording together was A Breath of Fresh Air, arranged, produced, and conducted by Billy Ver Planck in 1968. In 1976, Marlene Ver Planck hooked up with North Carolina-based composer/pianist Loonis McGlohon, who hired her to do two installments of a radio show he co-hosted called Alec Wilder's American Popular Song. Afterwards, she recorded Marlene Ver Planck Sings Alec Wilder, and later, after Wilder's death, she appeared on the radio show The American Popular Singers, co-hosted by McGlohon and opera singer Eileen Farrell. Ver Planck performed at Carnegie Hall, Michael's Pub, and the Rainbow Room in New York City. She appeared on Entertainment Tonight, The Today Show, and CBS's Sunday Morning. In The Digital Mood, featuring Ver Planck, Mel Torme, and Julius La Rosa with the Glenn Miller Orchestra, became the first big band CD to go gold in the '90s. Ver Planck planned to record again in late 2001 in tribute to her love for the music of Irving Berlin, George Gershwin, Jerome Kern, and Cole Porter. ~Biography by Robert Hicks

One Dream At A Time

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Simon Curphey - With You

Size: 115,9 MB
Time: 50:16
File: MP3 @ 320K/s
Released: 2014
Styles: Blues/Jazz Vocals
Art: Front

01. Too Much (5:55)
02. Beautiful (4:19)
03. Message (5:24)
04. Gone (5:11)
05. With You (5:29)
06. Sally (4:06)
07. Open Up (4:22)
08. More (6:48)
09. Sailor (6:30)
10. Endings (2:08)

Simon Curphey is one of Australia’s most fascinating and enigmatic 'low profile' singer/songwriters of the last 30 years. For his latest album (With You) Simon has managed to assemble an eclectic ensemble of seasoned musicians and singers from all over the world to create a totally unique and brutally honest body of work.

Simon Curphey – Guitar, Vocals
Kintsho Tshabalala – Percussion
Susie Ahern – Backing Vocals
Zenzile Tshabalala – Ululation Vocals
Paul McAuslan – Saxophone, Keyboards
Don Nadi – Keyboards, Drum Programming
Peter German – Bass Guitar
Scott Lambie – Drums
Marcus Satchell – Bass Guitar
Sam Keevers – Keyboards
George Butrumlis – Piano Accordion

With You

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Tyrone Clark - Music In The Grain

Size: 162,7 MB
Time: 70:34
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Contemporary Jazz, Smooth Jazz
Art: Front

01. Hello Alaadeen (13:15)
02. Fay Fay ( 4:20)
03. Midwest Girl ( 8:36)
04. Nutty Peach ( 6:37)
05. Traveling ( 5:31)
06. Brazilian Dance ( 7:22)
07. Drive Thru ( 6:46)
08. Who Knows Ville ( 7:48)
09. Sing And Pray (10:15)

In a musical career spanning nearly 40 years, Tyrone Clark, born in Chicago, has played professionally since he was eighteen. Although adept in a variety of musical genres, Clark’s concept and interpretation of playing is stylistically best described as rooted in the Kansas City jazz tradition. Described by a fellow musician, Clark is one of the few who impeccably delivers that style. He is a “full” bassist and always right there – “just when you need him.” His sure drive and sense of rhythm and melody impress audiences and musicians alike.

Such proficiency has placed Clark on stage and in studio alongside such talents as: Author Prysock, Hank Crawford, Eddie Harris, Benny Golson, Cyrus Chestnut, Nicholas Payton, Milt Jackson, Billy Taylor, Max Roach, Kevin Mahogany, Luqman Hamza, Lisa Henry, Ahmad Alaadeen, Ronnel Bright, The Pete Eye Trio, and The Madden Brothers.

Along with Cyrus Chestnut and Nicolas Payton, Clark was among the musician featured in the 1997 Robert Altman production of “Kansas City,” the soundtrack of the movie, and the follow-up extended release, “The Music of Kansas City.” In addition to a number of pop and gospel recordings, Clark’s jazz studio work includes accompaniment for vocalist Lisa Henry and saxophonist Ahmad Alaadeen on their respective releases. Additionally, Clark has toured Japan, Europe and throughout the United States.

Music In The Grain

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Johnaye Kendrick - Here

Size: 133,2 MB
Time: 57:22
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Your Flowers (5:23)
02. You're Mine (4:23)
03. I Will Wait Forever (3:48)
04. Here (6:36)
05. Love (5:35)
06. A Thousand Nights (5:42)
07. He Finds Me Beautiful (2:40)
08. The Water (5:40)
09. Placebo Effect (5:23)
10. You're So High (You're So Low) (4:26)
11. I Am Not Afraid (3:41)
12. Standing Still (3:58)

The Seattle singer Johnaye Kendrick’s talent centers in the modern jazz tradition: On the first several tracks of her first record, “Here” (Johnygirl), her light and accurate voice quickly establishes authority in tone, improvisation, swing feeling. If you’re interested in singers like Gretchen Parlato and Luciana Souza, go directly to her. But jazz these days is sometimes best defined as a connection to other things, and this record lives at the point where the strategies and sonic dimensions of jazz plug into much else: R&B and bossa nova, songs without drums, creeping ballads or laments; new reshufflings of very old ideas in American music.

Still, everything here comes down to the settled and centered quality of Ms. Kendrick’s voice. She’s organically connected to her band, which includes the pianist Dawn Clement, the bassist Chris Symer and the drummers Byron Vannoy and D’Vonne Lewis. But on one of the strongest tracks, “I Am Not Afraid,” Ms. Kendrick sings in long tones, with only her harmonium and multitracked vocals for accompaniment. It’s easy to imagine most of these songs done that way, or with voice alone.

Here

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John MacMurchy - Silent Partner

Size: 101,9 MB
Time: 43:53
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. The Stars Were Out Of Order (8:11)
02. Salon B (4:30)
03. Wabash Blue (7:02)
04. Nightwalker (6:13)
05. Neverwhere (6:20)
06. A Good Day To Be Happy (5:44)
07. Westville Road (Michelle Unexpected) (5:51)

John MacMurchy plays tenor saxophone and clarinet with flawless technique, wonderful tone, and fluid, melodic phrasing on seven thoughtful, original compositions.

"John MacMurchy is a fleet, accomplished reedman with a knack for writing and arranging. John's got everything together and balanced out when it comes to: Tone, technique extraordinaire, and seemingly endless ideas."

As well as leading his own ensembles John has been a sideman for Henry Mancini, Cleo Laine, John Dankworth, Linda Ronstadt, Peter Appleyard, and Guido Basso as well as a host of R&B stars. Well versed in the classical and early twentieth century repertoire, jazz is his first and lasting passion. You might hear diverse influences in his music but the compositions are cohesive and original. "I don't know whether to think of John MacMurchy as a player who writes or a writer who plays. That he does both exceptionally well is demonstrated on his recent CDs." - Ted O'Reilly

"John's vision of music exudes clarity; of companionship between musicians, of sound, of musical ideas, of execution, of music. It's an honest sound that John uses to converse with the listener. Nothing is hidden, it's all there on the table: heart, experience, pleasure, life."

"John is solidly within the jazz tradition, with a solid grasp of the too-often forgotten need to swing."

Silent Partner

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Barry Manilow - My Dream Duets

Size: 84,9 MB
Time: 36:12
File: MP3 @ 320K/s
Released: 2014
Styles: Pop
Art: Front

01. The Song's Gotta Come From The Heart (With Jimmy Durante) (2:06)
02. Goody Goody (With Frankie Lymon) (2:12)
03. Dream A Little Dream Of Me (With Mama Cass) (3:07)
04. I Believe In You And Me (With Whitney Houston) (3:53)
05. Sunshine On My Shoulders (With John Denver) (4:33)
06. Zing! Went The Strings Of My Heart (With Judy Garland) (3:17)
07. Moon River (With Andy Williams) (3:33)
08. The Look Of Love (With Dusty Springfield) (4:10)
09. The Candy Man (With Sammy Davis Jr.) (3:04)
10. I Wanna Be Loved By You (With Marilyn Monroe) (2:14)
11. What A Wonderful World/What A Wonderful Life (With Louis Armstrong) (3:59)

At 71 years old, Barry Manilow has reached the age when he can do anything he pleases, and what pleases him is singing along with old records by dead singers. That's all My Dream Duets is: Manilow brushing off his old cabaret routine so it can spruce up vintage records by Jimmy Durante and Judy Garland. He's not the only new element on these electronically rejiggered duets -- instrumentation, usually synthetic, sometimes as incessant as the drum loop that runs underneath "The Candyman," has been added -- but he's the notable addition, crooning full verses in addition to sliding in some corny asides. For all his showboating, he doesn't do much to distract from his idols. Time and time again, the singer who stands out on My Dream Duets is the original vocalist, the one who cut the track originally and stamped it indelibly with his or her own personality. Manilow recedes out of deference but also practicality: he's not duetting with a living singer; he's singing over an existing track and tailoring his performance to suit established contours. Consequently, there's not much dynamism here, but it's also not stiff because Manilow is so over the top. Perhaps that's Barry's natural response because there's nothing left for him to do but ham it up on the margins but, ultimately, that means My Dream Duets isn't much more than an exceedingly odd curiosity. ~Review by Stephen Thomas Erlewine

My Dream Duets

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Hazel Scott - 'Round Midnight

Bitrate: 320K/s
Time: 37:56
Size: 86.9 MB
Styles: Post bop, Piano jazz
Year: 1957/2004
Art: Front

[2:57] 1. 'round Midnight
[2:52] 2. Just Imagine
[3:23] 3. It's You Or No One
[4:15] 4. It's Easy To Remember
[3:10] 5. Lucky To Be Me
[2:47] 6. Maybe
[2:59] 7. I Wish I Didn't Love You So
[3:02] 8. (In The) Wee Small Hours (Of The Morning)
[3:24] 9. Warm All Over
[2:52] 10. Love Is The Thing
[3:07] 11. Ev'ry Time
[3:04] 12. For You, For Me, For Evermore

Though Hazel Scott (1920-1981) earned a great deal of her fame for swinging the classics from a red hot keyboard, her talents extended far beyond the realm of crass showmanship and she reached the other extreme, that of warm, delicate and intimate jazz playing. This album presents this lesser known side of Miss Scott’s musical personality, and the resulting music creates a mood which is relaxing and richly romantic, particularly suited for ‘round midnight.

Hazel Scott - piano;, Everett Barksdale (g), Sandy Block (b), Jimmy Crawford (d). Recorded in New York City (1956-1957)

'Round Midnight

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Moe Koffman - Devil's Brew

Bitrate: 320K/s
Time: 76:06
Size: 174.2 MB
Styles: Saxophone jazz
Year: 1996
Art: Front

[5:57] 1. Invitation
[5:48] 2. On Dolphin Street
[6:59] 3. Angel Eyes
[6:05] 4. The Best Thing For You (Would Be Me)
[9:19] 5. Devil's Brew
[4:44] 6. Take Five
[4:44] 7. Have You Met Mr. Ed
[6:06] 8. Blues For Clifford
[8:58] 9. Killer Joe
[5:24] 10. Mango Mama
[5:56] 11. Autumn Leaves
[6:00] 12. Who Am I

Moe Koffman Quintet (Moe Koffman, alto & soprano saxophones, flute & alto flute ; Ed Bickert, guitar ; Bernie Senensky, piano ; Patrick Collins, bass ; Barry Romberg, drums).

Born in Toronto, Koffman played violin at age nine. Later he took up clarinet, sax, and flute at age 13. In 1948 he won a jazz poll in 'Metronome' magazine which garnered him a record deal with Mainstream Records in New York who released two records on 78 RPM.

In January 1950 he moved to New York and hooked up with Sonny Durham's band and later did stints with Buddy Morrow, Jimmy Dorsey, Ralph Flannagan, Charlie Barnet, Tex Beneke, Doc Severinsen as well as some Latin acts. After six years on the road Koffman returned to Toronto and formed the Moe Koffman Quartet to play clubs and concert halls where they were highly in demand.

On the suggestion of a friend, they recorded a demo tape which landed them a record deal with Jubilee Records. Their first record for them was originally an original by Koffman called "Blues A La Canadiana" but was changed by the producer during the recording session to "Swingin' Shepherd Blues" becoming a smash hit in 1958. Koffman has stuck mostly to session and other studio work (like Bach Sonata's on GRT Records in the '70's) while also performing at Colleges and clubs with his band. He was music director at George's Spaghetti House in Toronto for over 20 years. He was also an integral part of Rob McConnell's Boss Brass, worked closely with Doug Riley, Jimmy Dale and Guido Basso.

In the 80's he would sign to Duke Street Records producing music that was back in style once again -- be-bop jazz plus 'cover material' by the masters.In 1993 Koffman was appointed the Order Of Canada for his outstanding work and service to the arts; Koffman's instrumental piece "Curried Soul" was the theme music to CBC Radio's 'As It Happens' show for many years.

Devil's Brew

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The David Leonhardt Jazz Group - Plays Gershwin

Bitrate: 320K/s
Time: 54:44
Size: 125.3 MB
Styles: Straight ahead jazz, Mainstream jazz
Year: 2000
Art: Front

[5:03] 1. Summertime
[4:18] 2. But Not For Me
[6:15] 3. The Man I Love
[4:54] 4. How Long Has This Been Going On
[3:56] 5. I've Got A Crush On You
[3:32] 6. They Can't Take That Away From Me
[4:47] 7. A Foggy Day
[3:18] 8. I Got Rhythm
[5:33] 9. Lady Be Good
[5:40] 10. Embraceable You
[3:03] 11. S'wonderful
[4:19] 12. Our Love Is Here To Stay

Pennsylvania-based David Leonhardt Jazz Group, noted for its presentation of both straight and modern jazz, eschews the latter on this CD turning its considerable talents and energy to the music of the Gershwin Brothers. One of the Group's stalwarts, Village Vanguard Orch. veteran Ralph Lalama, sets aside his hard bop sax as he revels in the tenderer arrangements of these classic entries from the Great American Songbook. The rhythm section of bassist Paul Rostock and drummer Tom Melito go beyond the usual role of keeping the beat, especially Melito. He is an active participant with solos, contributing punctuating rim shots and cymbal play on almost every cut, going far beyond routine time keeping as on "S'Wonderful". In doing so, he adds a level of excitement that otherwise would be missing. Rostock burns brightly on "A Foggy Day" where he is the principal backing for singer Nancy Reed.

It is the lyrical pianism of David Leonhardt and the articulate vocalizing of long time collaborator Reed which lifts this album out of the drudgery of the ordinary. Leonhardt has been on the scene for more than 25 years, having played with many a stellar jazz performer. Reed excels here not only as a soloist, but as a background singer where she her voice assumes the role as an instrument. The Leonhardt/Reed offering of "Embraceable You" is as sincere a rendering as one will find of this Gershwin classic. The years these two have worked together is evident in the intimacy embedded in their approach to this song in particular and throughout the session generally. Lalama's sax comes in on the last chorus with his tenor noodling soulfully behind Reed accenting the mood created by Leonhardt's piano. A similar situation is found with "The Man I Love", this time with Lalama's sax being a bit more assertive without becoming overly demanding. This is outstanding work.

Plays Gershwin is Leonhardt's 5th album for his Big Bang label. Dilettantes and other assorted naysayers will moan that the last thing we need is another "plays Gershwin" album. But as this fine effort reveals, that position as always is shortsighted as Mr. Leonhardt's group gives refreshing insight to the music of George and Ira Gershwin. Happily recommended. ~David Nathan

David Leonhardt - Piano/Leader; Nancy Reed - Vocals; Ralph Lalama - Tenor Saxophone; Paul Rostock - Bass; Tom Melito - Drums

Plays Gershwin

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Kat Edmonson - Take To The Sky

Styles: Vocal Jazz

Year: 2009
File: MP3@320K/s
Time: 42:53
Size: 98,6 MB
Art: Front

(5:12)  1. Summertime
(4:09)  2. Just Like Heaven
(3:49)  3. Night and Day
(4:17)  4. Charade
(4:01)  5. Lovefool
(5:10)  6. Angel Eyes
(2:27)  7. Just One Of Those Things
(4:55)  8. One Fine Day
(5:08)  9. (Just Like) Starting Over
(3:42) 10. Spring Can Really Hang You Up The Most

Jazz vocalist Kat Edmonson summed up her musical philosophy best when she told journalist Joey Guerra, "I just think good music is good music." The Austin-based singer's album Take To The Sky draws half of its repertoire from America's most timeless Tin Pan Alley songwriters, including the Gershwins and Cole Porter. The other half of the album draws from a wide range of contemporary popular songwriters, including the Cure and John Lennon.This strategy of mixing the classic with the modern is not a new approach for jazz vocalists. Cassandra Wilson, for example, has built an impressive career covering songs by compositional innovators from Miles Davis to Bob Dylan. Edmonson's particular stylistic approach is unique and satisfying for two reasons the high-quality arrangements by pianist Kevin Lovejoy and Edmonson's own quirky synthesis of nymph-like timbre and classic jazz phrasing. Edmonson's first statement is bold. 

Though jazz singers have covered the Gershwin standard "Summertime" ad nauseam, she shows why the classic song deserves just one more chance. Lovejoy begins with an ominous Brad Mehldau-inspired piano and bass ostinato in six-eight time. At the second verse, drummer J.J. Johnson (best known for his work with Eric Clapton and John Mayer) adds decisive buoyancy to the band with an Afro-Cuban groove pitting four beats against every three in the piano and bass. The repetitive nature of the instrumentation is the perfect backdrop to introduce Edmonson's stark, whispery vocal style. Equal parts Billie Holiday and Hacke Bjorksten, it is Edmonson's distinctive coyness that marks her as a vocalist of 2009, not merely a re-do of the 1930s. For the most part, Edmonson holds true to the original melodies of the jazz standards, including "Night and Day." Here, Lovejoy channels inspiration from soul music with a driving four-on-the-floor groove complete with tambourine. Edmonson's charming delivery successfully disguises the fact that the lyrics are more than 70 years old. In fact, she is so convincing that one might easily mistake her cover of Henry Mancini and Johnny Mercer's "Charade" as one of Rufus Wainwright's latest laments. Edmonson and Lovejoy can easily dress up classic jazz in modern pop clothing, but that clothing must be reversible. 

One of the most successful pop-to-jazz conversions on the album is "Lovefool," a song best known for its performance by the Cardigans and subsequent inclusion on the 1996 Romeo and Juliet film soundtrack. Lovejoy's arrangement pairs Edmonson's voice with an austere brass accompaniment on each verse, making his switch to a tongue-in-cheek salsa montuno for the choruses a delightful surprise. Edmonson is not one to pursue the vocal improvisations of the classic jazz singers, but it is her subtlety that is most appreciated here. The band, however, provides numerous tasteful moments of improvisational depth to the album. Reed player John Ellis plays a lovely, if brief, tenor saxophone solo on Edmonson's inspired bossa nova cover of the Cure's "Just Like Heaven." Likewise, Ellis's bass clarinet musings on "Charade" prove the weighty jazz roots of the band members without forcing unnecessary harmonic complexity upon what is meant to be an understated aesthetic. 

One of the gems of the album is made possible by the communication between the trio of Lovejoy, Revis and Johnson: the standard "Angel Eyes" is captivating. The only song that comes close to conventionality is Carole King's "One Fine Day," heard here as a loping ballad. But, even then, it does not disappoint. The same is true of the soft ballad performance of John Lennon's "(Just Like) Starting Over." Edmonson delivers each lyrical line with such sensitivity and thoughtfulness as to rival any classic jazz songstress. The final piece (a hidden track 10) is a pitch-perfect unaccompanied performance by Edmonson of "Spring Can Really Hang You Up the Most." Though the album certainly straddles numerous stylistic divides, there is one category that fits without question it is just "good music." ~ Holly Homes  http://www.allaboutjazz.com/kat-edmonson-take-to-the-sky-by-holly-holmes.php#.VE1kLclZi5g

Personnel: Kat Edmonson: vocals; Kevin Lovejoy: piano, arranger; Eric Revis: bass; J.J. Johnson: drums (1-4, 6, 7, 9); Chris Lovejoy: percussion (1-5, 7); John Ellis: tenor saxophone (2, 7), bass clarinet (4); Ron Westray: trombone (1, 5, 8), euphonium (5); Donald Edwards: drums (8).

Take To The Sky

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Archie Shepp & Mal Waldron - Left Alone Revisited: A Tribute to Billie Holiday

Styles: Piano And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 55:39
Size: 127,7 MB
Art: Front

(5:50)  1. Easy Living
(0:49)  2. Left alone (Spoken Lyrics)
(4:22)  3. Nice Work If You Can Get It
(5:46)  4. Everything Happens To Me
(9:08)  5. Left Alone
(5:25)  6. When Your Lover Has Gone
(6:47)  7. I Only Have Eyes For You
(5:23)  8. Blues For 52nd Street
(8:35)  9. Porgy
(3:31) 10. Lady Sings The Blues

Mal Waldron's first tribute to Billie Holiday, titled Left Alone, was recorded in 1959, mere months before the singer's death. He returned to salute the legendary vocalist on several occasions since then, with this CD likely being his final tribute, recorded less than a year before his own death. Waldron, who worked with Holiday during her last years, is intimately familiar with her takes of the six standards heard on this disc, along with her own "Lady Sings the Blues." Archie Shepp's often gritty tenor sax is reminiscent of the texture of Holiday's voice, yet he perfectly complements Waldron's lush piano. They also pack a punch with their stark performance of "Left Alone" (Shepp's occasional reed squeaks seem deliberate, as if to imitate breaks in her voice).

Waldron also recites Holiday's lyrics set to his composition at the conclusion of the CD. Shepp switches to soprano sax for an emotional take of "Everything Happens to Me" and "I Only Have Eyes for You," with the latter song sounding as if the unheard singer is being ignored by her love interest. Shepp's "Blues for 52nd Street" is both sassy and swinging. This instrumental salute to Billie Holiday is one of the best albums ever to honor her memory. ~ Ken Dryden  http://www.allmusic.com/album/left-alone-revisited-a-tribute-to-billie-holiday-mw0000141190

Personnel: Mal Waldron (piano); Archie Shepp (vocals, saxophone).

Left Alone Revisited:  A Tribute to Billie Holiday

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Kenny Davern - I'll See You In My Dreams

Styles: Clarinet Jazz
Year: 1988
File: MP3@320K/s
Time: 54:34
Size: 125,4 MB
Art: Front

(5:13)  1. Blue Lou
(3:48)  2. Sweet And Lovely
(5:54)  3. Liza
(7:01)  4. Pee Wee's Blues II
(5:35)  5. Riverboat Shuffle
(4:13)  6. Oh, Miss Hannah
(4:19)  7. Melancholy Baby
(8:22)  8. Royal Garden Blues
(4:53)  9. (In My) Solitude
(5:13) 10. I'll See You In My Dreams

Recorded at the same two sessions as One Hour Tonight, this CD gets the edge due to more tempo variation. Clarinetist Kenny Davern, guitarist Howard Alden, bassist Phil Flanigan and drummer Giampaolo Biagi are all heard in excellent form, coming up with fresh ideas on "Blue Lou," "Riverboat Shuffle," "My Melancholy Baby," "Royal Garden Blues" and six other veteran standards. 

Easily recommended to mainstream and Dixieland collectors. ~ Scott Yanow  http://www.allmusic.com/album/ill-see-you-in-my-dreams-mw0000315815

Personnel: Giampaolo Biagi – Drums; Phil Flanigan – Bass; Howard Alden – Guitar; Kenny Davern - Clarinet

I'll See You In My Dreams

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Jeff Hamilton - Red Sparkle

Styles: Straight-ahead/Mainstream
Year: 2012
File: MP3@320K/s
Time: 57:40
Size: 132,1 MB
Art: Front

(6:10)  1. Ain't That a Peach
(4:43)  2. Bye Ya
(7:06)  3. On and On
(4:28)  4. Hat's Dance
(5:16)  5. Too Marvelous for Words
(5:37)  6. Laura
(5:12)  7. A Sleepin' Bee
(5:14)  8. Red Sparkle
(6:05)  9. I Know You Oh So Well
(7:44) 10. In an Ellingtone

When it comes to touch, taste, and a deep understanding of what makes a band swing, drummer Jeff Hamilton has no peers. Hamilton's recordings with everybody from Diana Krall and Rosemary Clooney to his own co-led Clayton-Hamilton Jazz Orchestra have marked him as a paragon of class and groove, and his place as the defining brush player of his generation was cemented long ago, but his legacy in jazz may ultimately be related to his trio work. Hamilton, along with best buddy/bassist John Clayton, turned heads early in his career as part of pianist Monty Alexander's trio, and his long stint with bassist Ray Brown's group helped to create some of the finest trio documents put down on record in the late '80s and early '90s. Hamilton ultimately left Brown's employ to focus on building a magical trio of his own, and his current outfit fits the bill. Pianist Tamir Hendelman and bassist Christoph Luty have been working with Hamilton for the past decade, and such earlier recordings as The Best Things Happen (Azica, 2004) and Symbiosis (Capri, 2009) serve as evidence of their compatibility. 

Red Sparkle, the trio's sophomore effort for the Capri label, speaks further of the connection these three musicians have forged, as their ensemble artistry seems to deepen over time and age like fine wine. While Hamilton references Brown directly through a performance of the bassist's "I Know You So Well" that has Luty brandishing a bow, and indirectly through jubilant or bluesy originals like the drummer's nod to the dearly departed trumpeter Snooky Young on "Ain't That A Peach" and Luty's tribute to Duke Ellington, "In An Ellingtone" this trio moves beyond the musical scope of the late bassist's band. Hamilton re-imagines Thelonious Monk's "Bye Ya" as a tropically tinged Brazilian number, brings all kinds of hits, stops and solo breaks into "Too Marvelous For Words," highlights Hendelman's lush piano work and deft touch on "Laura," and burns on the up-tempo title track, which ends with an excitable snare drum solo and shows off a harder-hitting Hamilton than usual. While it's too early to tell if this group will serve as a template for threesomes of the future, they're making beautiful music in the here-and-now that swings, soothes and leads to plenty of toe-tapping and head-nodding of the enthusiastic approval variety. ~ Dan Bilawsky  http://www.allaboutjazz.com/red-sparkle-jeff-hamilton-capri-records-review-by-dan-bilawsky.php#.VEwna8lZi5g
 

Personnel: Jeff Hamilton: drums; Tamir Hendelman: piano; Christopher Luty: bass.

Red Sparkle

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Phil Kelly & The New Prevailing Winds - Convergence Zone

Size: 150,8 MB
Time: 65:09
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz: Big Band
Art: Front

01. Damp Brown Places (6:39)
02. Cuzn Bubba Luvz Ewe (6:11)
03. Subztatoot Shuffle (7:32)
04. Sweet Georgia Upside Down (5:17)
05. Bella Luce (7:06)
06. You And The Night And The Music (6:32)
07. Yada Yada (5:28)
08. Otbs (7:22)
09. Kathy's Waltz (4:33)
10. The Refrigerator (8:25)

A "convergence zone" is where winds from all over gather together to blow up a storm, which is an entirely appropriate metaphor for this tempestuous new album by composer/arranger Phil Kelly & the NW Prevailing Winds—except that Kelly not only has those formidable winds at his command but muscular brass and rhythm as well.

The tornadic uproar begins with Kelly's tongue-in-cheek "Damp Brown Places" (apologies to Stephen Foster) and doesn't subside until trumpeter Jay Thomas, tenor Pete Christlieb, pianist Pat Coil and the band have finished raiding "The Refrigerator." In all, eight of Kelly's impressive compositions (including the best known, "Sweet Georgia Upside Down") are performed by his stalwart ensemble, with Joe LaBarbera's loving tribute to the late Conte Candoli, "Bella Luce," and the standard "You and the Night and the Music" sandwiched midway between them.

One of the themes, "Yada Yada," sounds as though it could have been checked out almost intact from the Sammy Nestico/Count Basie library. The others are pure Kelly, including two ("Cuzn Bubba Luvz Ewe," "Refrigerator") that use a rhythm section imported from Nashville via software files with horn parts cleverly positioned around it and Christlieb and Bill Ramsay overdubbing the reed section. The results are so seamless it's hard to imagine that that everyone wasn't seated together in the same recording studio.

There's one brief respite along the way, the gracious "Kathy's Waltz," featuring Ramsay's soulful alto with programmed strings; the rest is breathtaking big-band fireworks punctuated by warm-blooded solos, chiefly by Christlieb and Thomas, who share the spotlight not only on "Cuzn Bubba," "Refrigerator" and "Yada Yada," but with drummer Gary Hobbs on "Damp Brown Places" and trombonist Dan Marcus on "Sweet Georgia." Thomas also pours heart and soul into his soliloquy on "Bella Luce."

Other prominent soloists include baritone saxophonist Gary Smulyan (with Christlieb and Marcus) on "Subztatoot Shuffle" and trombonist Andy Martin with tenor Jim Coile, trumpeter Vern Seilert and pianist John Hansen on "You and the Night," Ramsay, Thomas, pianist Butch Nordal, trombonist Gary Shutes, alto Travis Ranney and bassist Chuck Deardorf on Kelly's "O.T.B.S." (which stands for "old time blues... expletive"). Speaking of Hobbs and Deardorf, they anchor a shrewd and sinewy rhythm section that provides an unerring compass and keeps everyone marching in close formation. Big-band albums this rewarding don't come along very often. ~Jack Bowers

Personnel: Phil Kelly, leader, composer, arranger; Brad Allison, Jay Thomas, Paul Baron, Vern Seilert, trumpet, flugelhorn; Andy Martin, Gary Shutes, trombone; Dan Marcus, trombone, tuba; Nelson Bell, bass trombone; Bill Ramsay, Travis Ranney, Pete Christlieb, Jim Coile, Gary Smulyan, reeds; John Hanson, Butch Nordal, piano; Chuck Deardorf, bass; Gary Hobbs, drums. Rhythm section on ?Bubba? and ?Refrigerator? -- Pat Coil, piano; Mark Baldwin, guitar; Craig Nelson, electric bass (?Bubba?); Gerald Stockton, electric bass (?Refrigerator?); Paul Leim, drums. Matt Bennett, string programming.

Convergence Zone

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