Michael Carvin - Marsalis Music Honors Series

Styles: Straight-ahead/Mainstream
Year: 2006
File: MP3@320K/s
Time: 67:01
Size: 153,6 MB
Art: Front

( 5:58)  1. I'll Remember April
( 6:53)  2. The Lamp Is Low
( 9:42)  3. Prisoner of Love/ Body and Soul
( 4:57)  4. In Walked Bud
(12:42)  5. Forest Flower
( 9:11)  6. A Night in Tunisia
(11:46)  7. You Go to My Head
( 5:49)  8. Hello, Young Lovers

Other than the ability to record musicians like drummers Jimmy Cobb and the less well-known Michael Carvin, what status could allow this young label led by a lion (Branford Marsalis) to be said to honor either of these men? Actually the company is honoring itself, and doing some justice to the veteran Carvin, whose sometime partner Jackie McLean has alas just died. Those two are credited with producing one masterpiece (Antiquity, Steeplechase 1974), and Carvin himself is acknowledged with a lot of musical and especially jazz associations, coaching (a term he prefers to "teaching") and playing; and with an enormous amount of work getting this programme with this band right. Getting right not just trying to!  Like Cobb on the partner CD, Carvin performs within a quartet comprised of people he's been working with of late, notably Marcus Strickland on tenor saxophone. On the track on which "Prisoner of Love segues into "Body and Soul, Branford Marsalis himself sits in, first alternating solos, then part-choruses with Strickland.

Strickland is not intimidated, and his own ballad take on "Forest Flower, with sometimes an almost baritone sound on tenor, is a terrific performance. It also demonstrates why Carvin has of late has featured Carlton Holmes on piano. His solo following Strickland's extended opening improvisation is all you could hope for. "In Walked Bud has already demonstrated the bassist Dezron Douglas's ability to combine with Carvin in bass and drums accompaniment of a sort featured in Monk quartet performances, with the piano dropping out. The quartet does get very directly to work at the start of that Monk number. Other highlights include the rhythm section work and the drummer's celebration on "A Night in Tunisia ; and, after a great intro from Douglas's bass, a ballad performance of "You Go to My Head that's remarkable for sustaining tension over almost twelve minutes. Sonny Rollins might be given credit for pioneering the sort of paraphrase of an initial melody which adds gold to "Hello, Young Lovers (a Rollins-like choice of song, whether or not Rollins himself ever delivered improvisations on it!), but this specific example signals the high class of this quartet and its whole set. Their merits might not be loudly blatant upon first listen, but discovering them justifies many more. ~ Robert R.Calder  http://www.allaboutjazz.com/marsalis-music-honors-michael-carvin-michael-carvin-marsalis-music-review-by-robert-r-calder.php#.VFGDOslZi5g
 

Personnel: Michael Carvin: drums; Carlton Holmes: piano; Marcus Strickland: tenor saxophone; Dezron Douglass: bass; Branford Marsalis: tenor saxophone (3).

Marsalis Music Honors Series

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Tina Brooks - Back to the Tracks

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 38:35
Size: 88,5 MB
Art: Front

( 8:05)  1. Back to the Tracks
(10:21)  2. Street Singer
( 8:56)  3. The Blues and I
( 6:06)  4. For Heaven's Sake
( 5:05)  5. The Ruby and the Pearl

And "Street Singer," an outtake from Jackie McLean's Jackie's Bag (Blue Note, 1960) sessions, adds slots in the solo rotation for McLean's alto sax and Paul Chambers' bass. To be sure, such predictable solo rounds are far from unheard of, but the formula may have accounted, at least in part, for Blue Note's decision to leave the album in the can. After the Mosaic release, the album did eventually appear on CD and is currently available as a CD import and a 33-1/3-rpm mono LP. But thankfully, Music Matters has chosen to include it as part of its 45-rpm vinyl reissue program (with 45-rpm necessitating a two-disc format). For not only does the musicianship overcome what might seem a staid musical concept, it also brings to light (or, more precisely, to sound) a fabulous "lost" work by a musician who recorded and lived for far too brief a period (born in 1932, Brooks died in 1974). 

Three of the album's tunes are Brooks originals. They are based on simple, repetitive passages in the hard bop mode a modernist form that had no qualms broadcasting itself as a soloist's jungle gym and contain all the power of Brooks' fabulous and similarly structured numbers on True Blue (Blue Note, 1960). Brooks has a light, playful sound on most of the pieces on Back To The Tracks. His tone courses rounded hills and valleys that usually lead into sharper bop peaks with slashing angles. Shying away from the one-note R&B squawks fired at times on True Blue, Brooks' playing here is a bit more relaxed and soulful, especially on "Street Singer" and "For Heaven's Sake," the latter finding the saxophonist swooning with a deep, reedy timbre. Trumpeter Blue Mitchell, a trusty sideman who gained lesser fame up-front, largely follows Brooks' lead, fashioning bright, metal statements or antagonistic growls that echo the saxophonist's moods. The reliable Drew, a hard bop pianist perhaps best known for his work on John Coltrane's Blue Train (Blue Note, 1957), wields a light yet confident touch in tapping out quick, hard-swinging solos from the stereo's "center channel." 

His harmonic solo on "For Heaven's Sake" employs classical overlays, producing a desperate yearning effect in front of Paul Chambers' dipping bass. The excellent Chambers is afforded a brief moment in the sun near the close of "Street Singer," a tune he transforms with nice, muddy lines. (Again, it is notable that the bassist was given solo light only on the McLean-led track.) Drummer Art Taylor never emerges from the rear. But his percussive support is solid throughout and he comes on with a strong, varied attack on the exotic closer "The Ruby And The Pearl." The stereo sound of this vinyl reissue is impeccable. Play it next to the True Blue CD and you'll hear the difference a warm, live tone that sacrifices none of the stereo separation nor chisels it into a series of conjoined instrumental cubicles; the group dynamic is never lost. You can almost smell the smoke swirling up from a cigarette abandoned in an ashtray at the Van Gelder Studio. The year is 1960 and the music of an extremely talented young saxophonist is blowing with all the promise of a bright future. ~ Matt Marshall  http://www.allaboutjazz.com/tina-brooks-back-to-the-tracks-by-matt-marshall.php#.VFVL78lZi5g

Personnel: Blue Mitchell, trumpet; Jackie McLean, alto saxophone; Tina Brooks, tenor saxophone; Kenny Drew, piano; Paul Chambers, bass; Art Taylor, drums.

Back to the Tracks

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Frank Morgan - Mood Indigo

Bitrate: 320K/s
Time: 53:42
Size: 123.0 MB
Styles: Bop, Saxophone jazz
Year: 1989
Art: Front

[1:30] 1. Lullaby
[6:35] 2. This Love Of Mine
[4:21] 3. In A Sentimental Mood
[9:00] 4. Bessie's Blues
[1:46] 5. A Moment Alone
[6:00] 6. Mood Indigo
[4:57] 7. Up Jumped Spring
[4:30] 8. Polka Dots And Moonbeams
[6:55] 9. We Three Blues
[5:53] 10. Round Midnight
[1:35] 11. Lullaby Ver 2
[0:35] 12. Gratitude

This ballad-oriented set features veteran altoist Frank Morgan on four duets with pianist George Cables, interacting with either Cables or Ronnie Mathews on piano, bassist Buster Williams and drummer Al Foster on the other selections, and welcoming trumpeter Wynton Marsalis to "Bessie's Blues" and "Up Jumped Spring." Every Morgan recording is well worth picking up (the altoist has been very consistent in the studio), but this one purposely has less mood variation than most and is often a bit melancholy. ~Scott Yanow

Mood Indigo

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Kay Starr - Jazz Singer

Bitrate: 320K/s

Time: 31:42

Styles: Vocal

Year: 1960/2011

Art: Front

[2:42] 1. I Never Knew (I Could Love Anybody Like I'm Loving You)

[2:38] 2. My Man

[1:52] 3. Breezin' Along With The Breeze

[2:57] 4. All By Myself

[2:28] 5. Hard Hearted Hannah (The Vamp Of Savannah)

[1:56] 6. Me-Too (Ho-Ho! Ha-Ha!)

[2:47] 7. Happy Days And Lonely Nights

[3:10] 8. Not A Sweetheart

[2:54] 9. Hummin' To Myself

[2:41] 10. My Honey's Lovin' Arms

[2:45] 11. Sunday

[2:47] 12. I Would Do Anything For You

For this 1960 session, Kay Starr joined the Van Alexander & His Orchestra -- with whom she had worked on earlier recordings -- to produce an album of so-called "jazz singer songs." With her deep, husky saloon singer-type voice, Starr swings a set of 12 songs all arranged by Alexander in a variety of tempos. Helped along on such tracks as "I Never Knew" by a wailing, soulful electric organ and a singing ensemble, Starr applies her one-of-a-kind technique to these hardy standards. She brings to most of the tunes that "hillbilly"/blues inflection she developed very early in her career when she was singing on radio stations first in Dallas and then in Memphis. Her blues biases are prominent on such cuts as "My Man" and "All by Myself." Starr reminds the listener that she could swing with the best of them with up-beat romps of "Breezin' Along With the Breeze" and "Happy Days and Lonely Nights." Because of her pop hits, Starr has been underrated as a jazz singer. But with an album such as this, that underestimation is clearly undeserved and wrong, and this album helps document her place as a top-flight jazz vocalist. ~Dave Nathan

Jazz Singer

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Manhattan Jazz Orchestra - Swing, Swing, Swing

Bitrate: 320K/s
Time: 53:00
Size: 121.3 MB
Styles: Swing, Big band
Year: 2006
Art: Front

[6:18] 1. Ironside
[7:24] 2. Swing, Swing, Swing
[6:37] 3. Jumpin' At The Woodside
[6:38] 4. Moonlight Serenade
[6:54] 5. Take The A Train
[6:51] 6. Ai No Corrida
[6:04] 7. Manteca
[6:11] 8. Stompin' At The Savoy

Manhattan Jazz Orchestra was created by pianist/arranger David Matthews and an accomplished Japanese producer Shigeyuki Kawashima (both GRAMMY winners) in 1989. It is one of the premier and most prolific big bands in the US, having released more than 13 CDs over the years.

For Swing, Swing, Swing, recorded in 2006, Matthews and his big band chose as materials tunes written by and associated with Quincy Jones ("Ironside," "Ai No Corrida") and Glenn Miller ("Moonlight Serenade") for the first time. They also pay tribute to the great big bands led by Count Basie, Duke Ellington, Dizzy Gillispie and Benny Goodman. The title tune is Matthews' original that takes a nostalgic look back at the big band era. The all-star band, including star players Lew Soloff, Ryan Kisor, Randy Brecker, Jim Pugh and Chris Hunter, plays Matthews' intricate scores with technical perfection and provide inspired solos. Recommended for fans of the contemporary big band sound!

Produced by Shigeyuki Kawashima and David Matthews. Recorded February 2004, New York. Lew Soloff (trumpet); Ryan Kisor (trumpet); Walter White (trumpet; )Scott Wendholt (trumpet); Randy Brecker (trumpet); Jim Pugh (trombone); John Fedchock (trombone); Larry Farrell (trombone); David Taylor (bass trombone); Fred Griffen (French horn); John Clark (French horn); Tony Price (tuba); Chris Hunter (alto sax,flute); Aaron Heick (soprano sax,tenor sax); Scott Robinson (baritone sax,bass clarinet); Chip Jackson (bass); Terry Silverlight (drums); David Matthews (arranger,conductor,piano).

Swing, Swing, Swing

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Melvin Rhyne - Kojo

Styles: Straight-ahead/Mainstream
Year: 1998
File: MP3@320K/s
Time: 60:57
Size: 139,8 MB
Art: Front

(4:27)  1. Blue Gold
(5:33)  2. Blues For Mike And Teju
(6:16)  3. End Of A Love Affair
(6:42)  4. I Wish I Knew
(5:35)  5. Blue 'n' Boogie
(8:36)  6. Loose Change
(6:43)  7. In A Sentimental Mood
(7:43)  8. Time For Love
(9:17)  9. Dorothy

Taking advantage of the cyclical nature of fads and stylistic "ins" and "outs", Melvin Rhyne is lucky to be part of the current renaissance movement involving the classic sound of the Hammond B-3 organ and the type of funky fare that was prosperous and bountiful during the ‘60s. Of course, Rhyne was around during the heydays as a member of Wes Montgomery’s touring trio. Now this Milwaukee resident has caught the other side of the upswing with a renewed interest in his particular brand of jazz organ. Added now to four previous Criss Cross dates as a leader, two as a co-leader with the Tenor Triangle and several sideman appearances for the small Dutch independent, Kojo is Rhyne’s latest offering and it serves us a savory and filling plate of grooves that are sure to please. Over the course of his many Criss Cross dates Rhyne has developed quite a simpatico relationship with guitarist Peter Bernstein and drummer Kenny Washington. 

The three function like an integrated machine, anticipating and feeding lines off of each other with the refinement of well-trained athletes. Rhyne's own style is really something out of the ordinary in that he seems to have eschewed the histrionic displays often associated with the organ and with followers of Jimmy Smith. He also has a knack for writing great hooks that stick in your mind long after the song has ceased. Just sample "Loose Change", which sports a catchy descending triplet melody over a heavy Latin groove that then gives way to a double-timed samba for the bridge. More involved than your typical organ grinder fare, but still down to earth enough to connect with the listener, Rhyne and company deliver an agreeable mix of originals and standards that nicely flow from one to the next. As for Melvin's buddies here, much has already been written regarding Peter Bernstein's lissome guitar work. His Grant Green-inspired tone fits so well with the organ trio format (just sample him with Lonnie Smith and Larry Goldings for further proof) and his lines are so sensible and tuneful that one can't help but savor every note. 

Drummer Kenny Washington, in addition to being a sagacious jazz historian and radio dee-jay, is simply one of the best drummers of his generation, with a characteristic sound and encouraging swing that can lift even the dullest session out of monotony. Taken as a threesome, Rhyne, Bernstein, and Washington can seemingly do no wrong and have come up with another winner. Thanks, guys, and keep 'em comin'! ~ C.Andrew Hovan  http://www.allaboutjazz.com/kojo-melvin-rhyne-criss-cross-review-by-c-andrew-hovan.php#.VFF3sclZi5h

Personnel: Melvin Rhyne- organ, Peter Bernstein- guitar, Kenny Washington- drums, Daniel G. Sadownick- percussion (tracks 6 & 9 only)

Kojo

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Nicki Parrott - Sakura Sakura

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 65:09
Size: 150,3 MB
Art: Front

(4:18)  1. April In Paris
(4:55)  2. April Showers
(3:34)  3. Cherry Pink And Apple Blossam White
(5:39)  4. It Might As Well Be Spring
(3:24)  5. Sakura Sakura
(5:08)  6. Some Other Spring
(4:52)  7. I Love Paris
(4:53)  8. Spring Can Really Hang You Up The Most
(3:35)  9. Spring Is Here
(3:46) 10. Suddenly It's Spring
(5:24) 11. There'll Be Another Spring
(5:09) 12. They Say It's Spring
(5:53) 13. You Must Believe In Spring
(4:33) 14. I'll Remember April

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award.”  Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd. Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001). 

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It. In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention. In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. 

They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”. Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q. Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro. 

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble. Bio ~ http://musicians.allaboutjazz.com/nickiparrott

Sakura Sakura

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Melissa Aldana & Crash Trio - Melissa Aldana & Crash Trio

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 52:38
Size: 120,7 MB
Art: Front

(4:58)  1. M&M
(5:45)  2. Turning
(5:34)  3. You’re My Everything
(5:09)  4. Bring Him Home
(6:08)  5. Tirapie
(5:49)  6. Peace, Love & Music
(4:19)  7. Perdon
(6:39)  8. New Points
(3:57)  9. Dear Joe
(4:15) 10. Ask Me Now

Chilean tenor saxophonist and composer Melissa Aldana was the first female to win the Thelonious Music International Institute's competition for saxophone. Though her two previous recordings were noteworthy as showcases for her soloing and compositions, it is with Crash Trio Chilean bassist Pablo Menares and Cuban drummer Francisco Mela (both are also composers) that she shines brightest. Save for readings of Harry Warren's "You're My Everything" and a tenor solo on Monk's "Ask Me Now," the entire program was written by the trio's various members. Aldana possesses a big, earthy, edgy tone deeply influenced by Sonny Rollins, but her phrasing is her own. While swinging post-bop is predominant, forward-thinking harmonic ideas informed by composers/musicians Kurt Rosenwinkel and Mark Turner add balance to the attack.

Aldana's "M&M" features a stellar walking bassline from Menares and a tight, hard-grooving head from the saxophonist. She explores its various individual elements, recombining them and moving them afield in her solo. The long, folk-like bass solo intro to Menares' "Tirapie" is gorgeous and gives way to a minor-key, midtempo, Latin-tinged ballad that showcases the canny interplay of the rhythm section. Aldana's solo is nearly song-like. Mela's "Dear Joe" kicks off with a bright, Caribbean rhythmic signature, and Menares and Aldana paint a knotty, joyous carnivalesque melody. The taut arpeggios in the saxophonist's solo take place in all three registers with soulful verve as Mela's accents, fills, and rimshot rolls alongside his cruising ride cymbal create an infectious, nearly danceable groove. Aldana's "New Points" is breezily and gently informed by Brazilian samba. 

On the Monk tune, she displays tremendous control and an avid imagination that keeps the composer's melody firmly at the root of her investigation. Melissa Aldana & Crash Trio is fresh, sophisticated, invigorating modern jazz that deserves notice for its fine tunes and seamless execution. ~ Thom Jurek  http://www.allmusic.com/album/melissa-aldana-crash-trio-mw0002637150 

Melissa Aldana & Crash Trio

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Lucky Thompson & Tete Montoliu - Soul's Nite Out

Styles: Piano And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 42:08
Size: 96,8 MB
Art: Front

(3:56)  1. When Sunny Is Blue
(4:19)  2. Body And Soul
(3:48)  3. Spanyola
(5:26)  4. I Got It Bad
(3:04)  5. Soul Carnival
(3:56)  6. Blues 'N' Boogie
(4:46)  7. Spanish Rails
(5:17)  8. What's New
(3:31)  9. Soul's Nite Out
(4:00) 10. The World Awakes

Recorded in Barcelona on May 1 and 2, 1970 and released shortly thereafter on the Spanish Ensayo label, Soul's Nite Out was reissued in 1978 by Chuck Nessa as Body and Soul, reappeared under its original title on a second Ensayo LP in 1993, and was finally released on CD by Ensayo in 2000. On this mainstream hard bop session, Lucky Thompson blew both soprano and tenor saxophones with sympathetic support from pianist Tete Montoliu, bassist Eric Peter, and drummer Peer Wyboris.

In addition to five Thompson compositions the quartet handled ballads and standards including Duke Ellington's "I Got It Bad and That Ain't Good" and Dizzy Gillespie's "Blue 'n' Boogie" (mistitled "Blues 'n' Boogie"). Like Gene Ammons, Charlie Ventura, and Jack McVea, Lucky Thompson was always "straight-ahead accessible". This album represents only a fraction of the excellent music he recorded in collaboration with Tete Montoliu. ~ arwulf arwufl  http://www.allmusic.com/album/souls-nite-out-mw0001487598

Personnel:  Eric Peter - Bass; Peer Wyboris - Drums; Tete Montoliu - Piano; Lucky Thompson - Soprano Saxophone, Tenor Saxophone

Soul's Nite Out

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The John East Project - Live At The 606

Size: 125,2 MB
Time: 53:55
File: MP3 @ 320K/s
Released: 2012
Label: First Jazz Records
Art: Front

01. Comin' Home Baby (Live) (3:01)
02. Señor Blues (Live) (5:45)
03. Here's To Life (Live) (5:15)
04. All The Way (Live) (4:48)
05. Wave (Live) (3:08)
06. Mercy, Mercy, Mercy God Bless The Child (Live) (5:54)
07. I Love Being Here With You (Live) (3:30)
08. Blues For Steve (Live) (5:11)
09. In The Wee Small Hours Of The Morning (Live) (4:16)
10. I'll Be Your Baby Tonight (Live) (3:42)
11. Vinyl (Live) (4:17)
12. Your Mind Is On Vacation (Live) (5:03)

Personnel:
John East - Hammond Organ and vocals
Mark Fletcher - drums
Neville Malcolm - double bass
Carl Orr - Guitar
Max Grunhard - alto saxophone
Scott Baylis - trumpet, flugelhorn and piano

John East’s love for the music has been evident over the many years that I have known him. Not only a great Jazz enthusiast, however, John is also a successful corporate financier, whose practical assistance to the Club has been invaluable. But he also has another string to his bow, as a Jazz Hammond organ player, which led me to suggest that he might like to do a gig at the Club sometime. John’s response was typically enthusiastic and he immediately set about organising a band. His first choice was bassist Neville Malcolm, a wonderful player who includes work with the likes of “Incognito” and Tom Jones on a stellar cv and is a musician I admire enormously. Next was Mark Fletcher, a brilliant world class drummer, as his work with the likes of Liane Carroll, Dizzy Gillespie and Michel LeGrand shows. I recommended an old friend on guitar and the John East Project was born.

The gig was excellent, everyone loved it and regular dates soon followed. Over the following months the guitarist dropped out and the terrific Carl Orr (formerly with Billy Cobham) was drafted in; shortly after that two horn players were added to complete the line up that you hear on this CD, which was recorded live at the Club. The music is swinging and compelling. John’s vocals on a mix of songs from up-tempo Blues to gentle ballads are sensitive and to the point and the playing is universally impressive. The horn section, with Max Grunhard’s searing alto sax a great counterpoint to the beautiful tone and lovely melodic lines of trumpeter Scott Baylis (who also pops up on piano) is thoughtfully crafted. Carl’s incisive guitar lines sparkle and the rhythm section swings mightily, demonstrating exactly why Mark and Neville are considered to be amongst the best in Europe. And not forgetting the Hammond organ driven by John, prodding and guiding, an ever present but never overbearing force that comes into its own most notably on the instrumental blues, highlighting the jazz credentials of this excellent band.

This is a lovely album and one to savour for the individual contributions as well as the impressive sum of the parts. So should you see a dapper, middle aged gent with a constant smile and friendly manner making his way to work in the City don’t jump to conclusions; it could be a fine Jazz organist on his way to his day job…..Enjoy. ~Steve Rubie

Live At The 606

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Pamela Hines Trio - Thrive!

Size: 120,5 MB
Time: 52:00
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Ella's Room (4:30)
02. While We Can (4:14)
03. Armory (4:35)
04. Good Change (6:06)
05. Across The Room (5:06)
06. Alteration (4:19)
07. Philippe (6:05)
08. There's More (5:45)
09. Across The Room (Vocal Version Feat. Suzanne Cabot) (6:06)
10. Groove Trip (5:11)

Personnel:
Pianist/Composer- Pamela Hines
Bass- David Clark
Drums- Les Harris, Jr.

Pianist/composer Pamela Hines has been a prolific and consistent presence in the world of jazz. Her creative stamina has established her as an artist who presents to her audiences a newness, individuality and freshness that have made her piano style and originals identifiable. She has received critical acclaim for edgy instrumental compositions and originals for jazz vocalists that are more at home in the modern American Songbook.

New release! “Thrive!” is a project of all original compositions by Hines with lyrics penned to the tune,” From Across the Room.” It features Dave Clark on bass and Les Harris, Jr. on drums and the vocal tune features Suzanne Cabot.

Thrive!

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Mitch Winehouse - But Beautiful

Size: 108,6 MB
Time: 46:47
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Label: Lioness Records
Art: Front

01. Suit & Tie (3:51)
02. The Nearness Of You (4:12)
03. Learning The Blues (3:44)
04. Once I Loved (3:58)
05. But Beautiful (4:08)
06. Never Too Far From A Song (3:07)
07. I'm A Fool To Want You (2:42)
08. Please Baby Don't (4:17)
09. Only The Lonely (2:38)
10. Wave (3:20)
11. Goodbye (4:11)
12. Meditation (2:52)
13. We'll Be Together (3:41)

Amy Winehouse’s father and swing crooner, Mitch, is releasing a new album with songs that his late daughter had helped him carve out.

It follows his debut album Rush of Love released in 2011, for which he sought the help of Amy months prior to her death.

The new instalment, But Beautiful, will include further songs they had chosen together but which didn’t make the debut’s cut. It goes on sale 29 September.

It will also raise funds for the Amy Winehouse Foundation, which was set up in the late singer’s name “to prevent the effects of drug and alcohol misuse on young people,” the charity states.

Winehouse senior said: “It's something I can do that connects with Amy's memory and raises money for what we believe in.”

“Even now it's very painful and emotional, but you just got to get on with it. If we don't, no one else will do what we do.

“We don't have the luxury of thinking we can stop. It's not sexy, it's people struggling with drug addiction, it's homeless kids, people who don't get chance otherwise.

Mitch has previously said that his childhood was full of “Jazz, swing, lots of Sinatra,” where his relatives would belt out tunes all day while his mum and aunt would waltz around the family-owned barber shop in east London.

He also said that being able to make his own music brings him closer to Amy, who died in July 2011 at the age of 27 of alcohol poisoning.

“It's just great to be able to get out and sing, it's something I love to do. I feel that when I'm on stage, Amy's on stage. She wouldn't let a little thing like not being here stop her from jumping on stage.”

“She’s in here now saying, ‘Just get on with it, Dad’. I’m always speaking to her, all day, every day,” he said in an interview.

But Beautiful

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Anna Wilson - Jazzbird/Songbird

Size: 100,9 MB
Time: 43:31
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Little Jazzbird (4:31)
02. Champagne (3:22)
03. Show Me Love (3:51)
04. On A Summer's Day (4:32)
05. The Shadow Of Your Smile (4:31)
06. Inconsolably Blue (5:19)
07. Polaroid (4:32)
08. How Do You Measure A Life (4:20)
09. While The Music's Still In Me (4:38)
10. Songbird (3:49)

Among the many recent jazz-vocalist recordings I've heard, jazz singer/songwriter Anna Wilson's new album stands out for its mingling of classic jazz sensibility with skillful songwriting. Its title, Jazzbird/Songbird, in addition to naming the Gershwin and Fleetwood Mac songs that bookend the 10-song set, accurately reflects Wilson's musical identity on this disk and the nature of her art.

In a velvety, breathy voice both girlish and sophisticated, Wilson lives the songs, standards and originals alike, more like a cabaret singer than a cooler-than-thou jazz cat. The way she slides up to the second syllable of the word "champagne" in the song by that title, one of the six originals on the disc, is a small thing of beauty. "On a Summer's Day," another original, is a little bit Billy Joel and a little bit Marvin Hamlisch (the melody echoes the latter's "What I Did For Love" in jazzier style). And Wilson's understated take on the standard "The Shadow of Your Smile" demonstrates her way of putting her own interpretive stamp on a good melody without bending it all out of shape.

The original, vintage-style ballad "Inconsolably Blue," a gem of accessible pop-jazz songwriting, forms the centerpiece of the album. "While the Music's Still In Me," Wilson's declaration of the preeminence of music in her life, sounds like sophisticated 1970s pop in a jazz setting. It leads into a slim, airy, tasteful version of one of that era's loveliest songs, Christine McVie's "Songbird" from Fleetwood Mac's legendary Rumours album. Wilson sings the hit fairly straight, proving, as if this needed further proof, that a great song remains a great song in any era.

Jazzbird/Songbird

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Bobby Jaspar - Clarinescapade

Bitrate: 320K/s
Time: 51:12
Size: 117.2 MB
Styles: Post bop, Saxophone jazz
Year: 2007/2011
Art: Front

[3:06] 1. Clarinescapade
[4:19] 2. How Deep Is The Ocean
[3:43] 3. What's New
[2:44] 4. Tutti Flutti
[4:51] 5. I Remember You
[3:35] 6. Spring Is Here
[6:24] 7. Wee Dot
[3:54] 8. I Won't Dance
[3:36] 9. In A Little Provincial Town
[5:30] 10. The Lock Alike
[5:00] 11. Barry's Tune
[4:25] 12. Minor Drop

Belgian multi-instrumentalist Bobby Jaspar was hitting his stride in 1956, with great recognition in Europe and a budding reputation in the U.S. via his membership in the J.J. Johnson combo. This CD, a Fresh Sound compilation derived from French Columbia Records LP and EP releases, shows why he was a well-liked and respected cool-to-bop post-Lester Young-influenced tenor saxophonist. The seven tracks where he emphasizes tenor show him breaking away from his influences and exercising voicings of his own, quite similar at that time to peers Stan Getz and Zoot Sims. He ably extrapolates on melodies of the standards "How Deep Is the Ocean" and "I Remember You," and Johnson's hard bopper "Wee Dot," while circling the wagons around the line in an unusual rendition of "I Won't Dance." His fluidity and innate melodic sense are impeccable. The numbers on flute, "Tutti Flutti" and "In a Little Provincial Town," also demonstrate his abilities as a composer, the former bright and sunny with clean unison playing astride masterful Detroit pianist Tommy Flanagan, the latter a near third stream ballad with shining, shimmering modal voicings courtesy of Barry Galbraith. The opener is the title track, a nice bop romp on clarinet, the only tune where he plays the black woodwind, making the title of the CD misleading. Drummer Elvin Jones cements the Detroit connection on the first eight tracks in a more popping, heady, restrained (for him) rhythmic fashion, and it's a rare chance to hear the legendary Nabil Totah on bass in an extended setting. The first ten tracks (eight by quintet and two by quartet formations) were originally on LP, and the last two bop quintet numbers were on EP only. One always wonders if the Manny Albam counterpoint-infused composition "They Lock Alike" was/is misspelled. Shouldn't it be "They Look Alike?" At any rate, this is a first-class date from unsung jazz hero Jaspar, sonically a very well-recorded and remastered effort, and highly recommended. ~Michael G. Nastos

Clarinescapade

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Boz Scaggs - Speak Low

Bitrate: 320K/s
Time: 52:16
Size: 119.7 MB
Styles: Adult contemporary
Year: 2008
Art: Front

[5:24] 1. Invitation
[3:51] 2. She Was Too Good To Me
[5:23] 3. I Wish I Knew
[3:42] 4. Speak Low
[4:03] 5. Do Nothing Till You Hear From Me
[4:03] 6. I'll Remember April
[5:14] 7. Save Your Love For Me
[5:33] 8. The Ballad Of The Sad Young Men
[4:01] 9. Skylark
[3:26] 10. Senza Fine
[3:51] 11. Dindi
[3:39] 12. This Time The Dream's On Me

From his late 1960s days as the lead singer of the Steve Miller Band, Boz Scaggs has always had an undercurrent of jazz influence in his phrasing. Therefore, SPEAK LOW should come as no surprise to longtime fans. No mere raid on the Great American Songbook in the manner of Rod Stewart's adult contemporary albums, SPEAK LOW is a personal, canny follow-up to 2003's collection of standards, BUT BEAUTIFUL. These 12 tracks offer less familiar tracks like Duke Ellington's "Do Nothing Till You Hear From Me" and Chet Baker's "She Was Too Good To Me," given abstract, cerebral arrangements in the manner of 1950s Gil Evans charts. ~Charity Stafford

Speak Low

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Urbie Green - All About Urbie Green: His Quintet And Big Band

Bitrate: 320K/s
Time: 71:00
Size: 162.5 MB
Styles: Trombone jazz, Big band
Year: 2011
Art: Front

[3:15] 1. Reminiscent Blues
[3:18] 2. Thou Swell
[4:19] 3. You Are Too Beautiful
[2:59] 4. Paradise
[2:45] 5. Warm Valley
[1:48] 6. Frankie And Johnny
[2:44] 7. One For Dee
[2:02] 8. Limehouse Blues
[3:02] 9. Am I Blue
[2:43] 10. Dirty Dan
[3:09] 11. Too Late Now
[2:51] 12. Sleep
[6:28] 13. Soft Winds
[3:09] 14. With The Wind And The Rain In Your Hair
[3:30] 15. I Ain't Got Nobody
[3:03] 16. Stella By Starlight
[3:05] 17. Little John
[3:20] 18. Home
[2:36] 19. Cherokee
[3:20] 20. 'round Midnight
[3:15] 21. Springsville
[4:11] 22. Plain Bill From Bluesville

Featuring: Urbie Green (tb, v-tb), Joe Wilder, Johnny Carisi, Phil Sunkel (tp), Chauncey Welsh, Jack Satterfield, Lou McGarity, Rex Peer (tb), Hal McKusick, Al Cohn, Sol Schlinger (saxes), Dave McKenna (p), Jimmy Raney (g), Percy Heath (b), Kenny Clarke (d)

This CD presents Urbie Green, one of the most versatile of all top-ranking trombonists in two facets. On the first quintet recordings we hear him playing relaxed, modern mainstream jazz with strong roots in the blues. His tone is full, his ideas personal and imaginative, and his beat equal to that of his gassing rhythm section.

Urbie’s role on the remaining tracks is that of the leader of a big band. He had often expressed a desire to front a large dance band of his own before he had this opportunity. His choice of Johnny Carisi as chief arranger and unofficial musical director was made because of a rather mutual agreement between the two about the purposes of a band of this kind and the methods of achieving them. Johnny was among the group of writers—like Gil Evans, Gerry Mulligan, Tiny Kahn, et al.—who were setting new stepping-stones in band and small-group arranging. Carisi’s writing in this set is clean and functional— achieving the prime purposes of providing a good jazz and dance-band style and setting a foundation upon which Urbie can project himself as leader-soloist.

All About Urbie Green: His Quintet And Big Band

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Andrew P Done - She Moves

Bitrate: 320K/s
Time: 44:09
Size: 101.1 MB
Styles: Blues-Jazz
Year: 2014
Art: Front

[4:11] 1. Signs
[4:25] 2. Birthday Call
[3:37] 3. Midnight Train
[6:31] 4. Sun Face
[3:19] 5. Different Kind
[3:31] 6. Meadows
[6:36] 7. She Moves
[3:49] 8. On The Road
[1:28] 9. Momma
[4:57] 10. Hey Momma
[1:38] 11. Stones

Andrew has spent the last year gigging this material. It was after 12 months he decided to record. The Album was recorded and produced in August 2014 by Mr "M" at 3legg Birmingham England.

"In the past i have kinda written the songs in the studio then gigged..this time its different we have totally nailed the live set, when we recorded we did not do any drop ins. Each tune was played from start to finish so we could achieve that live sound as much as possible."Sonic UK Rated the Album 5 Stars. "Great Guitar and Voice Almost Rockabilly in Places, then Switches to melodic Blues Folk Fusion with some Awesome Harp Playing, Recommended"

She Moves

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Eileen Joyce - Life Is Too Short

Styles: Vocal Jazz

Year: 2013
File: MP3@320K/s
Time: 31:42
Size: 73,0 MB
Art: Front

(2:54)  1. Life Is Too Short
(3:45)  2. No Time At All
(3:53)  3. Ain't It Sad Sister
(3:08)  4. Just Me and the Boys
(3:57)  5. He's Got the Power
(3:25)  6. When You've Fallen Out of Love
(4:01)  7. Tired of Daydreams
(3:08)  8. I'm Not Coming Back
(3:28)  9. One Vision

Eileen Joyce is undeniably Nova Scotia's Lady of The Blues. Eileen brings a soulful energy to her singing, songwriting, producing and performing. Her passion comes from the depths of her strength, perseverance and love of music. Born in Halifax, Eileen was inspired and encouraged by her father and brother, both jazz drummers, Lou Williamson Sr., and Lou Williamson Jr. Eileen has spread her inspiration and gifts as creator and founder of Blues East, and Ladies In Blues. Also in 2002, became co founder of The East Coast Blues Society. Eileen's fourth and strongest CD to date “Life Is Too Short” is a collection of originals, mostly co-written with her pianist Bill Harvey, and brings out the very best of her determination and abilities. Eileen also collaborate with Woody Woods from Las Vegason a few songs. She has drawn on her hearts desire and will inspire you with her energetic yet sophisticated Jazz, Blues, R&B style. Special guests include the Nova Scotia Mass Choir , Jackie Richardson, Reeney Smith Lela Coles and Lisa MacDougall.  http://www.cdbaby.com/cd/eileenjoyce3

Life Is Too Short

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Eric Alexander Quartet - In Europe

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 62:43
Size: 143,9 MB
Art: Front

( 8:58)  1. What A Difference A Day Made
( 6:50)  2. The Edge
( 6:04)  3. Stay On It
( 6:37)  4. To Be With You
(10:03)  5. Trippin'
( 8:09)  6. Spank That Pig
( 8:07)  7. Good Morning Heartache
( 7:52)  8. That's All

For a change of pace, Eric Alexander recorded this set with an organ trio. The fact that it was cut in Europe is not too relevant, since the musicians are all Americans. With stimulating backing by organist Melvin Rhyne, guitarist Bobby Broom, and drummer Joe Farnsworth, Alexander plays five originals by bandmembers (including three of his own) and a trio of standards. However, the originals all swing and mostly sound as if they could have been veteran standards, too. With the underrated Rhyne keeping the rhythm grooving and lightly funky, Alexander often tears into the pieces, while playing the ballads with a great deal of warmth. Virtually all of Eric Alexander's recordings are easily recommended. ~ Scott Yanow  http://www.allmusic.com/album/eric-alexander-in-europe-mw0000084712

Personnel: Eric Alexander (tenor saxophone); Bobby Broom (guitar); Melvin Rhyne (organ); Joe Farnsworth (drums).

In  Europe

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Jim Hall - Fame And Fortune

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 75:04
Size: 172,2 MB
Art: Front

(4:30)  1. Deep in a Dream
(5:19)  2. Romain
(3:55)  3. Stella By Starlight
(5:19)  4. Skating in Central Park
(4:43)  5. I Was Doing All Right
(5:14)  6. Thanks for the Memory
(5:06)  7. Darn That Dream
(5:19)  8. My Funny Valentine
(6:21)  9. Willow Weep for Me
(4:36) 10. I Hear a Rhapsody
(2:47) 11. This Is Always
(5:45) 12. Things Ain't What They Used to Be
(4:31) 13. Dream Gypsy
(5:03) 14. Look for the Silver Lining
(6:29) 15. When I Have You

A harmonically advanced cool-toned and subtle guitarist, Jim Hall was an inspiration to many guitarists, including some (such as Bill Frisell) who sound nothing like him. Hall attended the Cleveland Institute of Music and studied classical guitar in Los Angeles with Vicente Gómez. He was an original member of the Chico Hamilton Quintet (1955-1956), and during 1956-1959 was with the Jimmy Giuffre Three. After touring with Ella Fitzgerald (1960-1961) and sometimes forming duos with Lee Konitz, Hall was with Sonny Rollins' dynamic quartet in 1961-1962, recording The Bridge. He co-led a quartet with Art Farmer (1962-1964), recorded on an occasional basis with Paul Desmond during 1959-1965 (all of their quartet performances are collected on a Mosaic box set), and then became a New York studio musician. 

He was mostly a leader during the following years and, in addition to his own projects for World Pacific/Pacific Jazz, MPS, Milestone, CTI, Horizon, Artist House, Concord, MusicMasters, and Telarc, Jim Hall recorded two classic duet albums with Bill Evans. A self-titled collaboration with Pat Metheny followed in 1999. A flurry of studio albums, reissues, and compilations followed throughout the next few years, with the exceptional Jim Hall & Basses standing out for its bass/guitar duet format. Jim Hall died at his apartment in Manhattan on December 10, 2013; he was 83 years old. ~ Bio  https://itunes.apple.com/us/artist/jim-hall/id125367#fullText

Fame And Fortune

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