The Cannonball Adderley Quintet - Why Am I Treated So Bad!

Bitrate: MP3@320K/s

Time: 61:05

Size: 139.8 MB

Styles: Hard bop, Soul jazz

Year: 2006/2011

Art: Front

[ 0:13] 1. Introduction

[ 6:41] 2. Mini Mama

[ 7:49] 3. I'm On My Way

[ 7:48] 4. Why Am I Treated So Bad!

[ 5:16] 5. One For Newk

[ 2:22] 6. Yvette

[ 9:04] 7. The Other Side

[ 2:40] 8. The Scene

[ 7:00] 9. Heads Up! Feet Down

[12:08] 10. The Girl Next Door

By any stretch of the imagination, it would have been hard for Cannonball Adderley to follow up the stunning Mercy, Mercy, Mercy! with anything quite as strong or inspired. This set follows the exact same m.o. Producer David Axelrod invited a group of friends into the Capitol studios, supplied them with free booze, warmed them up, and brought out the band (the same lineup: bassist Victor Gaskin, drummer Ron McCurdy, pianist Joe Zawinul, cornetist Nat Adderley, and Cannonball on alto) to tear into a group of covers and originals. The better moments here include the Latin-tinged "I'm on My Way" (written by Nat and featuring a beautifully lyrical solo by him) and a cool little read of the Pops Staples tune the album is titled for (featuring a killer little Rhodes piano part by Zawinul with a mournful dual head by Cannonball and Nat). The other hard groover is Nat's "The Other Side," which takes the outside track in Cannonball's solo. Zawinul's tunes are starkly more original in contrast -- particularly "One for Newk" -- but sound less inspired somehow. The CD version issued by Capitol in 2006 contains two bonus tracks with workmanlike versions of Jimmy Heath's fine "Heads Up! Feet Down!" and an overly long take on the Blane-Martin standard "The Girl Next Door." The album doesn't quite live up to its predecessor, but it is a burner and Adderley fans are likely to want to own it. ~Thom Jurek

Why Am I Treated So Bad

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Sara Caswell - But Beautiful

Bitrate: MP3@320K/s
Time: 59:53
Size: 137.1 MB
Styles: Post bop, Violin jazz
Year: 2006
Art: Front

[5:29] 1. The Way You Look Tonight
[6:01] 2. Moon And Sand
[5:39] 3. But Beautiful
[4:31] 4. Professor Abc
[5:16] 5. Black Nile
[4:37] 6. And So It Goes
[4:37] 7. Sometime Ago
[4:52] 8. Receipt Please
[4:20] 9. Black Is The Color Of My True Love's Hair
[5:18] 10. Bye Bye Blackbird
[4:45] 11. Straight No Chaser
[4:20] 12. Shenandoah

Jazz violinists are a rare breed, and female jazz violinist are, well, an even rarer one. The rarity of the species, then, makes a new album by violinist Sara Caswell even more welcome. But Beautiful features Caswell, pianist Lynne Arriale, bassists Larry Kohut and Jeremy Allen, and drummer Steve Davis on a varied set list of standards along with a few surprises. The album begins in a mellow, almost classical mode, seguing from "The Way You Look Tonight" to "Moon and Sand" to the title track. Caswell's technique is pristine here, but perhaps too careful, and one longs for a bit of careless excitement. But Beautiful takes an interesting detour on Wayne Shorter's "Black Nile," a piece with fun tempo shifts and, during the slower passages, a dark undercurrent. A similar deviation takes place on Thelonious Monk's "Straight, No Chaser," with Caswell offering something like a free jazz interpretation. Caswell's sister Rachel joins the band for vocals on Billy Joel's "And So It Goes," Ron Carter's "Receipt Please," and "Shenandoah." The most exciting of these is her scat workout on "Receipt Please," and how her tone nearly matches her sister's violin. But Beautiful is a solid album, and although it may have benefited from more challenging material, it will nonetheless be warmly greeted by jazz violin lovers. ~Ronnie D. Lankford Jr

But Beautiful

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Bobby Durham's Trio - Tribute To My Friend Bobby Timmons

Bitrate: MP3@320K/s
Time: 31:53
Size: 73.0 MB
Styles: Mainstream jazz
Year: 2010
Art: Front

[6:32] 1. Dat Dere
[4:36] 2. Gettin' Togheter
[5:24] 3. Popsy
[3:26] 4. Blues For Evelyn
[5:00] 5. This Here
[6:53] 6. Moanin'

Part of the enormous Philadelphia family tree of jazz players, Bobby Durham has amassed a long list of impressive jazz credits while alternating residencies between Italy and his hometown. He is perhaps best known as a member of several of the virtuoso pianist Oscar Peterson's classic trios from the '50s and as one of the great jazz singer Ella Fitzgerald's most sensitive accompanists, although jazz fans that are into the smoking organ trio sound will know Durham from his associations with the likes of turbaned Charles Earland or the innovative organist Shirley Scott. Durham is a personal favorite of jazz producer Norman Granz, who has turned to Durham again and again for help with his projects involving the likes of Fitzgerald and Basie as well as using Durham as the rhythm section drummer for jam session encounters with the likes of pianist Tommy Flanagan, guitarist Joe Pass, and trumpeter Harry "Sweets" Edison, among many. ~Eugene Chadbourne

Tribute To My Friend Bobby Timmons

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Sarah Eyden - Once In a Lifetime

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 42:59
Size: 99,6 MB
Art: Front

(3:09)  1. Get Happy
(3:00)  2. You’d Be Surprised
(3:02)  3. This Dream
(4:37)  4. The Man That Got Away
(3:03)  5. Sweet Danger
(1:15)  6. Just You, Just Me
(3:19)  7. Whatever Lola Wants
(2:21)  8. Satin Doll
(2:59)  9. Just In Time
(2:05) 10. A Lot Of Livi’n To Do
(3:33) 11. My Heart Belongs To Daddy
(2:37) 12. Comes Once In A Lifetime
(4:47) 13. Makin’ Whoopee
(3:05) 14. It Never Was You

Sarah is a versatile concert and recording artist who has performed with leading orchestras worldwide. From The Royal Philharmonic Orchestra in London to Chicago Symphony Orchestra, Tokyo Symphony Orchestra and Boston Pops Orchestra. She trained at The Guildhall School of Music and Drama where she studied classical singing and is at home singing a light classical repertoire. She also enjoys Jazz as she studied a postgraudate jazz and arranging course also at The Guildhall. 

She has performed in the UK with the major orchestras and with The Syd Lawrence Orchestra, and recorded her debut Big Band album with members of the BBC Big Band in 2006. Her versatility in the recording studio has meant she has sung on many album recordings for artists such as Bjork, Tony Bennett, Elton John, Seal, Lesley Garrett and Goldfrapp. http://www.saraheyden.com/eng/home

Personnel:  Sarah Eyden – vocals; Howard MacGill - saxophones, clarinet, flute;  Mike Lovatt– trumpets; Andy Wood – trombones; Andrew Vinter – piano; Rutledge Turnlund – bass; Allan Cox – drums; John Parricelli – guitar; Fergus Gerrand – percussion; Gerry Berkley – timpani; Michael Dore - male vocals; Charlie Baker - special guest vocalist

Once In a Lifetime

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Zoot Sims & Eddie "Lockjaw" Davis - The Tenor Giants Featuring Oscar Peterson

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 57:47
Size: 132,4 MB
Art: Front

(10:42)  1. The Man I Love
( 2:51)  2. My Old Flame
( 3:13)  3. Don't Worry 'Bout Me
( 8:19)  4. There Will Never Be Another You
( 5:34)  5. (I Don't Stand) A Ghost Of A Chance
( 9:05)  6. Tangerine
( 7:34)  7. Out of Nowhere
(10:24)  8. Groovin' High

Pairing Zoot Sims and Eddie "Lockjaw" Davis together on stage was an inspired idea, because each of the two tenor saxophonists approach the instrument differently. This CD contains highlights from six concerts during a 1975 tour of Europe, and none have been previously released. The rhythm section is a great one, with Oscar Peterson, Niels Pedersen, and Louis Bellson providing plenty of fuel for the featured soloists. A furious take of "The Man I Love" starts things off in high gear, as Sims' softer solo precedes a hard blowing effort by Davis, as well as some choice licks at the keyboard by Peterson. Both horn players are masterful ballad interpreters as well, as heard on "(I Don't Stand) A Ghost of a Chance," with Sims achieving a somewhat darker tone and Davis incorporating some effective slurs into his solo. The remaining tracks are every bit as enjoyable, so this CD is highly recommended. ~ Ken Dryden  http://www.allmusic.com/album/tenor-giants-featuring-oscar-peterson-mw0000118492

Personnel: Zoot Sims, Eddie 'Lockjaw' Davis (tenor saxophone); Oscar Peterson (piano); Niels-Henning Orsted Pedersen (bass); Louis Bellson (drums).

The Tenor Giants Featuring Oscar Peterson

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Sonny Criss - This Is Criss!

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 40:15
Size: 92,9 MB
Art: Front

(7:52)  1. Black Coffee
(3:20)  2. Days Of Wine And Roses
(5:42)  3. When Sunny Gets Blue
(2:28)  4. Greasy
(2:52)  5. Sunrise, Sunset
(6:23)  6. Steve's Blues
(5:10)  7. Skylark
(6:25)  8. Love For Sale

Along with tenor saxophonist Harold Land, altoist Sonny Criss qualifies as one of the most overlooked giants of West Coast jazz. His sound  like most alto players of the bebop and hard bop days -- was heavily influenced by Charlie Parker, but Criss still managed to forge an original style featuring a very original melodic bent with loads of bluesy underpinnings. The goods can be optimally previewed on this great Prestige date from 1966. Backed by a trio consisting of pianist Walter Davis, bassist Paul Chambers, and drummer Alan Dawson, Criss makes fine work of such rare-bird covers as "Sunrise, Sunset" and "When Sunny Gets Blue." There are also some fine originals here, including Criss' own "Steve's Blues" and Davis' classic "Greasy." A perfect start to your Criss collection. ~ Stephen Cook  

http://www.allmusic.com/album/this-is-criss!-mw0000203394

Personnel: Sonny Criss (alto saxophone); Walter Davis (piano); Paul Chambers (bass); Alan Dawson (drums).

This Is Criss!

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Meschiya Lake & The Little Big Horns - Foolers' Gold

Bitrate: MP3@320K/s
Time: 54:02
Size: 123.7 MB
Styles: New Orleans jazz
Year: 2013
Art: Front

[3:11] 1. Catch Em Young
[4:28] 2. Don't Start With Me
[4:15] 3. My Man
[3:30] 4. It's The Rhythm In Me
[2:48] 5. I'll Wait For You
[5:30] 6. Midnight On The Bayou
[3:38] 7. Foolers' Gold
[4:28] 8. Young Woman's Blues
[4:58] 9. Satan, Your Kingdom Must Come Down
[3:42] 10. Organ Grinder
[3:29] 11. Miss Otis Regrets
[3:30] 12. The Fragrance Of Your Charms
[2:58] 13. Do Right
[3:31] 14. I Believe In Music

U.K. reviewer Allan Wilkinson wrote of the album, “a couple of self-penned numbers from Lake...just go to prove, along with the rest of this gem of a record, that no flood nor new century can subdue the spirit of New Orleans.” Her sophomore effort with the Little Big Horns, Foolers Gold was released in September of 2013. It mixes the extraordinary traditional jazz mastery she demonstrated on Lucky Devil with a bold, contemporary sensibility all her own. Foolers Gold promises to once again evoke the words of Dan Baum when he wrote in the New Yorker: “Meschiya Lake rocks back on her heels, lifts her chest, and opens her throat like an air raid siren to croon in a thrilling pre-microphone style that...can make you feel by turns as though you were shivering around a campfire in a railroad yard or drinking in a Budapest nightclub in 1938."

Foolers' Gold

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The Ray Bryant Trio - S/T

Bitrate: MP3@320K/s
Time: 35:01
Size: 80.2 MB
Styles: Piano jazz, Soul jazz
Year: 1957/1993
Art: Front

[4:50] 1. Golden Earrings
[3:19] 2. Angel Eyes
[4:59] 3. Blues Changes
[4:34] 4. Splittin'
[5:02] 5. Django
[4:51] 6. The Thrill Is Gone
[4:00] 7. Daahoud
[3:22] 8. Sonar

Pianist Ray Bryant solidified his reputation with this outstanding 1957 trio release. It displayed his facility with the blues, speed, gospel influence, and interpretive abilities on such songs as John Lewis' "Django" and Clifford Brown's "Daahoud." It also contained Bryant's funky originals "Splittin" and "Blues Changes," and was punctuated by Ike Isaacs' careful bass work and Specs Wright's loose, in the groove drumming. This set has recently been reissued by Fantasy, and the remastering provides a fine sonic framework for Bryant's heady, unpredictable, and often exciting playing. ~Ron Wynn

The Ray Bryant Trio

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Jeanie Bryson - Tonight I Need You So

Styles: Vocal Jazz
Year: 1994
File: MP3@320K/s
Time: 62:07
Size: 142,5 MB
Art: Front

(4:22)  1. Simple Song
(5:19)  2. Honeysuckle Rose
(4:22)  3. Tonight I need You So
(5:20)  4. Willow Weep For Me
(5:43)  5. I Don't Want To Fall
(5:08)  6. Moonlight in Vermont
(6:58)  7. Two-Hump Ride
(6:02)  8. The Face I Love
(5:08)  9. Solamente Tu
(4:29) 10. What Can A Miracle Do?
(3:02) 11. Too Thy To Say
(6:09) 12. Skydive

Bryson's soft warm voice at times recalls Maxine Sullivan and on "Solamente Tu" she comes very close to the fragility of Astrud Gilberto. There are a few memorable selections on her second Telarc disc, most notably the exuberant "Simple Song" (which has some jubilant playing from altoist Paquito D'Rivera), a sensuous "Honeysuckle Rose" and a fine version of "Skydive." Unfortunately the set also has an excess of forgettable poppish material that weighs down the content somewhat. However Bryson mostly overcomes the material and her likable and easygoing style compensates. This release is not essential but is enjoyable. ~ Scott Yanow  http://www.allmusic.com/album/tonight-i-need-you-so-mw0000114090

Personnel: Jeanie Bryson (vocals); Don Braden (tenor saxophone); Paquito D'Rivera (alto saxophone); Claudio Roditi (trumpet); Jay Ashby (trombone); Ted Brancato, Danilo Perez (piano); Vic Juris (guitar); Christian McBride (acoustic bass); Ron Davis, Ignacio Berroa (drums); Rudy Byrd (percussion).

Tonight I Need You So

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Jan Lundgren - Cooking! At The Jazz Bakery CD 1 And CD 2

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 50:56 (CD 1)
Size: 117,4 MB (CD 1)
Time: 49:09 (CD 2)
Size: 113,2 MB (CD 2)
Art: Front

CD 1
(0:33)  1. Introduction
(4:02)  2. Our Delight
(4:46)  3. Bruz
(4:13)  4. Social Call
(4:39)  5. Little Niles
(5:46)  6. Nica's Tempo
(5:15)  7. Early Autumn
(5:48)  8. Bohemia Ater Dark
(4:32)  9. Milestones
(5:41) 10. Webb City
(5:36) 11. Four

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CD 2
(5:52)  1. Hot House
(4:27)  2. On a Misty Night
(4:51)  3. Lady Bird
(5:06)  4. If You Could See Me Now
(5:02)  5. Sister Sadie
(5:03)  6. Relaxin' at Camarillo
(5:02)  7. Confirmation
(5:06)  8. Groovin' High
(6:54)  9. Moanin'
(1:41) 10. Varmlandsvisan

A talented Swedish pianist, Jan Lundgren has on various occasions showed that he is quite versatile. On this two CD set, Lundgren sticks to bebop, playing in a style influenced by Bud Powell but filled with his own individual approach. Recorded live at Los Angeles' famed Jazz Bakery in a trio with bassist Chuck Berghofer and drummer Joe La Barbera, the 20 selections were all performed on the same night. Despite being first takes, there are no obvious missteps and the music is quite impeccable. Lundgren revives a variety of bop-oriented songs (mostly from the 1940s and '50s and ranging from Tadd Dameron to Randy Weston and Horace Silver), swings hard, and never runs out of melodic ideas. It is a particularly impressive outing and one of Jan Lundgren's finest recordings to date. ~ Scott Yanow  http://www.allmusic.com/album/cooking-at-the-jazz-bakery-mw0000046454

Personnel: Jan Lundgren (piano); Joe La Barbera (drums).

Cooking! At The Jazz Bakery CD 1

Cooking! At The Jazz Bakery CD 2

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Zoot Sims With Scott Hamilton - It Had To Be You

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 67:45
Size: 155,2 MB
Art: Front

(10:44)  1. It Had To Be You
(10:25)  2. Gone With the Wind
(10:48)  3. Indiana
( 7:06)  4. Easy Living
( 9:56)  5. Sunday
(10:38)  6. Broadway
( 8:04)  7. Just You, Just Me

Recorded four months before his death and three days after what was thought to have been his final recording, this jam-session CD is notable not only as the last Zoot Sims record but the only one to team him with fellow tenor Scott Hamilton. Since Zoot was one of Hamilton's idols, the Swedish concert was a happy affair. Joined by pianist Claes Crona, bassist Arne Wilhelmsson, and drummer Per Hulten, the two tenors battle it out (with mutual respect) on lengthy versions of such standards as "Gone With the Wind," "Indiana," "Sunday," and "Just You, Just Me." A historic encounter that lives up to expectations and shows that Zoot Sims never did decline. 

~ Scott Yanow  http://www.allmusic.com/album/it-had-to-be-you-mw0000446416

Personnel: Zoot Sims, tenor sax; Scott Hamilton, tenor sax; Claes Crona, piano; Arne Wilhelmsson, bass; Per Hultén, drums

It Had To Be You

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Junko Onishi - Baroque

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 74:48
Size: 171,7 MB
Art: Front

( 9:04)  1. Tutti
( 5:51)  2. The Mother's (Where Johnny Is)
(19:41)  3. The Threepenny Opera
( 4:47)  4. Stardust
(10:45)  5. Meditations for a Pair of Wire Cutters
( 9:48)  6. Flamingo
(10:24)  7. The Street Beat/52nd Street Theme
( 4:26)  8. Memories of You

The world has been a slightly less happy place since Junko Onishi's last record. After establishing herself as one of the finest young jazz pianists around with her debut, Wow (EMI, 1993), Onishi released a string of fine Blue Note recordings: Live At The Village Vanguard Volume 1 and Volume 2 (both 1994); the superb Cruisin' (1994), featuring her majestic "Eulogia"; and Piano Quintet Suite (1995).

With Fragile (Blue Note, 1999) a virtual rock covers album that took on Jimi Hendrix, Cream and The Righteous Brothers Onishi's recorded output all but vanished in the U.S., while the pianist reportedly released a number of CDs in Japan. Now on Verve, Onishi is back with another unpredictable but typically excellent effort. A more lavish-sounding record than the rock n' raw Fragile, Baroque gives Onishi the opportunity to showcase her formidable compositional and arranging skills. Working with durable and longtime band members Rodney Whitaker and Reginald Veal, (bass), Wycliffe Gordon (trombone), and fellow former Jazz at Lincoln Center Orchestra band mate Herlin Riley (drums) along with stellar guests Nicholas Payton (trumpet) and woodwind/reed phenom James Carter Baroque is Onishi's show, yet every musician shines brightly. Riley and Gordon solo engagingly in avant-garde fashion on the album's obvious highlight, "The Three Penny Opera," which, according to the liners, features a piano solo based a musical score by Onishi's mentor and friend, the great Jaki Byard. This Onishi original is both a surprise and a revelation, with all the musicians allowed to stretch more than on her previous recordings. 

As evidenced by the album's opener, "Tutti," Onishi's style has now allowed for a more improvisational approach. In some of her earlier records, her classical training sometimes kept things rather tight. But on numbers like bassist Charles Mingus' notoriously difficult "Meditations for a Pair of Wire Cutters," the pianist seems to have taken a page from the composer's book, allowing her seasoned fellow musicians room to interpret more freely. Onishi gives herself two beautiful unaccompanied piano showcases on Baroque: Hoagy Carmichael's "Stardust" and Eubie Blake's "Memories of You." Both are fresh takes, technically impressive, and inventive without fussiness. Baroque's expansiveness and variety make for what could be Onishi's most purely entertaining CD to date. ~ Keith Henry Brown  http://www.allaboutjazz.com/baroque-junko-onishi-verve-music-group-review-by-keith-henry-brown.php

Personnel: Junko Onishi : piano; Rodney Whitaker: bass; Reginald Veal: bass; Wycliffe Gordon: trombone; Herlin Riley: drums; Nicholas Payton: trumpet; James Carter: tenor and soprano saxophones, bass clarinet, flute; Roland Guerrero: congas.

Baroque

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Johnny 'Hammond' Smith - The Soulful Blues

Bitrate: MP3@320K/s
Time: 75:31
Size: 172.9 MB
Styles: Hard bop, Soul jazz
Year: 2000
Art: Front

[4:20] 1. The Sin-In
[2:43] 2. Stand By Me
[2:42] 3. Knock On Wood
[7:28] 4. The Soulful Blues
[2:42] 5. Ebb Tide
[3:32] 6. Summertime
[6:13] 7. Gettin' Up
[3:17] 8. The In Crowd
[8:37] 9. If I Were A Bell
[7:15] 10. Song For My Father
[6:41] 11. Speak Low
[3:44] 12. Unchained Melody
[9:02] 13. Nasty
[7:09] 14. Four Bowls Of Soup

Soulful Blues combines Johnny Smith's Ebb Tide LP from 1967 and Nasty from 1968 onto one CD of decent soul-jazz, albeit often sounding predictably like what you'd expect Prestige soul-jazz from this era to sound like. For Ebb Tide, Smith came right out and declared it in the liner notes: "I'm thinking more commercially and I don't care what the critics say." That meant covering soul hits like "Knock on Wood," "Stand By Me," and "The 'In' Crowd," presumably, in addition to throwing in standards like the title cut and "Summertime," as well as three Smith originals. So what does this critic say? Good job, Johnny! This is superior organ-soul-jazz with a feistier edge than much of the genre, evident right from the opening "The Sin-In," which has riffs worthy of a TV detective show and some fine stuttering keys from the leader. The feistiness in this combo is in large part down to drummer John Harris, who really bashes it out; on "Knock on Wood," for instance, he sounds rather more like a rock drummer than a jazz drummer. Prestige stalwart Houston Person is on hand with tenor sax, while Virgil Jones' trumpet lends the arrangements some good complementary color. In some respects this is more of the same as far as mid- to late-'60s soul-jazz goes, particularly in repertoire ("Summertime" certainly isn't the most imaginative cover choice), but there's a brash energy that makes it a cut or two above the norm for the genre. On the quartet session comprising Nasty, Smith was accompanied by a young John Abercrombie on guitar, Grady Tate on drums, and Prestige mainstay Houston Person on tenor sax. With the exception of "Unchained Melody," the musicians gave the tunes space, with all of the other five tracks clocking in at about seven to nine minutes. Yeah, in a sense it's more run-of-the-mill Prestige late-'60s soul-jazz: quite fine grooves, a dependable yet somewhat predictable house sound, and a reliance upon cover versions for much of the material (two-thirds of the songs, in this case). It's solidly executed, though, in a lean fashion that, to its credit, runs counter to the more excessive arrangements that were creeping into soul-jazz around this time. Smith hits a comely slow-burn groove on his version of Horace Silver's classic "Song for My Father," does a surprisingly swaggering and infectious job with the overdone "Unchained Melody," and gets down into his funkiest and bluesiest mode on the title cut, a nine-minute original composition. ~Richie Unterberger

The Soulful Blues 

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Sue Raney - Heart's Desire: A Tribute To Doris Day

Bitrate: MP3@320K/s
Time: 51:00
Size: 116.7 MB
Styles: Easy Listening
Year: 2007
Art: Front

[4:23] 1. Que Será, Será (Whatever Will Be, Will Be)
[2:53] 2. Sentimental Journey
[4:05] 3. I May Be Wrong
[4:28] 4. Secret Love
[3:09] 5. Everybody Loves A Lover
[3:38] 6. It's Magic
[2:14] 7. Put'em In A Box, Tie'em With A Ribbon
[4:04] 8. My Dream Is Yours
[3:52] 9. Lullaby Of Broadway
[4:08] 10. I'll Never Stop Loving You
[2:28] 11. Shanghai
[3:49] 12. With A Song In My Heart
[2:35] 13. Love Me Or Leave Me
[5:10] 14. Heart's Desire

A wonderful record come true, recorded in Hollywood at the legendary Capitol Studio A, it was cut featuring the same hallmark sound that made Capitol a world-wide celebrity between the classic labels in jazz. Backed by a large ensemble -including brass, reeds, rhythm and strings- singer Sue Raney performs here as touchingly as if she were back in 1957, when Capitol Records made the teenage Sue its newest Cinderella, and her idol Doris Day was America’s favourite singing sweetheart on film. Her partner on this CD is two-time Grammy-winning pianist and arranger Alan Broadbent, who can evoke the mellow big band swing of Doris Day’s early years with Les Brown, making her classic repertory sound like a swirling cloud of memories.

“Sue has a lot of wisdom to show for those fifty years on record, and as this beautiful album proves, she’s still in her prime.” ~ James Gavin

Chuck Berghofer (b), Joe LaBarbera, Clayton Cameron (d), Gary Foster, Lanny Morgan (as, fl), Terry Harrington, Bob Sheppard (ts, cl), John Mitchell (bars, bcl, bassoon), Jim Walker (fl), Earl Dumler (oboe), Charlie Davis, Carl Saunders, Larry McGuire (tp, flgh), Carmen Fanzone (flgh), Andy Martin, Bruce Otto, Charlie Morillas (tb), Rick Todd, Suzette Moriarty (frh), Charlie Bisharat (violin concertmaster), Kevin Connolly, Julian Hallmark, Joe Ketendjian, Mike Markman, Horia Moroaica, Michele Richards, Norm Hughes, Christine Wu, John Wittenberg, Julie Rogers, Armen Garabedian, Sara Parkins, Joel Pargman, Cameron Patrick, Josefina Vergara, Roger Wilkie (violin), Nancy Roth, Harry Shirinian, Jorge Moraga, Danny Seidenberg, Andrew Duckles (violas), Larry Corbett, Cameron Stone, Miguel Martinez, Vanessa Freebairn- Smith, Armen Ksajikian (cellos), Lou Ann Neill (harp).

Heart's Desire: A Tribute To Doris Day

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Jim Snidero - Standards Plus

Bitrate: MP3@320K/s
Time: 57:40
Size: 132.0 MB
Styles: Post bop, Saxophone jazz
Year: 1997
Art: Front

[6:51] 1. You And The Night And The Music
[6:01] 2. Long Ago And Far Away
[8:18] 3. Round Midnight
[6:29] 4. Twilight Waltz
[7:27] 5. Along Came Betty
[6:49] 6. You're My Everything
[4:34] 7. Bluesville
[4:47] 8. What's New
[6:21] 9. Without A Song

After three albums each for the Dutch Criss Cross label and the Italian Red label, this is Maryland born alto player Jim Snidero's first recording for a domestic label. It is also his first album where standards predominate, and where he didn't compose any of the tunes. When asked what prompted him to take this route, he said "There was no real reason. It was simply something I had never done and wanted to do."

Snidero's boppish style comes through the strongest on "You and the Night and the Music" and "Without a Song." But he shows that he can "play pretty" on tunes like "Long Ago and Far Away." Pretty, but not sugary. Even his softer sounds reveal the Cannonball Adderley influence, coupled with the John Coltrane passion. The standards not only include pages from the Great American Songbook, but jazz standards like Cedar Walton's "Twilight Waltz" and Benny Golson's bop masterpiece "Along Came Betty." Snidero's musical confreres on this outing are top-notch. Mike LeDonne, Dennis Irwin, and Kenny Washington all have well established credentials as among the very best in the jazz world. LeDonne's piano makes a very important contribution to the success of the album. Listen to him on "Along Came Betty" and Bob Haggard's poignant "What's New." There's excellent soloing by all throughout, but more important, the ensemble playing is outstanding. A characteristic which sets Snidero apart from contemporary sax players is his ability to stay true to his bop heritage, but not let it dominate everything he plays. When he puts the horn in his mouth, what comes out the other end is not the same every time, there's real variety. Snidero is an under-recognized player at the height of his creative energies. This album should go a long way in giving him the recognition he has earned and deserves. ~Dave Nathan

Standards Plus

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Eddie 'Lockjaw' Davis & Johnny Griffin - Blues Up And Down

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 78:09
Size: 179,4 MB
Art: Front

(5:29)  1. Camp Meeting
(5:10)  2. Blues Up And Down
(7:34)  3. Nice And Easy
(3:57)  4. Oh,Gee
(7:00)  5. Walkin'
(4:42)  6. Leapin' On Lenox
(4:56)  7. Layin' On Mellow
(6:56)  8. Last Train From Overbrook
(8:00)  9. Hey, Lock!
(5:29) 10. Midnight At Minton's
(4:26) 11. Second Balcony Jump
(6:41) 12. I' Ll Remember April
(7:41) 13. Good Bait

Tandem tenor teams enjoy an illustrious history in improvised music: Herschel Evans and Lester Young, Coleman Hawkins and Don Byas, Dexter Gordon and Wardell Gray, Gene Ammons and Sonny Stitt, Fred Anderson and Kidd Jordan, the list goes on. One duo that often doesn’t get its fair share in terms of prestige and influence is the one documented so generously on this disc. “Jaws” and “Griff” easily rank with the aforementioned pairs and the albums on this two-fer bear out their case for inclusion in bold relief. Their jointly fronted quintet was one of the hardest blowing in the business during 1960s and this was due in no small part to their regular sidemen, Mance, Gales and Riley. On the first album gathered here Mance sits out and relinquishes his stool to the somewhat less at ease Mayers, but the group circumvents any stumbling blocks posed by the change in personnel and commences to setting into their signature brand of hard charging swing. Griffin was (and still is) widely regarded as one of fastest players in jazz and he doesn’t disappoint on this date blowing rapid-fire rings around the rich-toned phrasings of Davis. But what Davis sacrifices in the way of speed he more than compensates for in terms of depth of sound. 

The tunes are largely blues-based originals with the title track, a favorite of Ammons and Stitt, tossed in for compositional variety. On the second date recorded nine months earlier Mance is a member of the group and the rhythm section sounds slightly more in tune with one another. With a tightened rhythmic garrison behind them Griffin and Davis seem even more committed to showing off all their instruments have to offer in the way of toe-tapping swing and spirit. Leaping headlong into tight harmonies, nimble unison phrases and vigorous solo passages each man revels in the moment and goads his partner to new expressive heights over successive choruses. 

No egos or arrogance, just good old fashioned, visceral blowing. Listeners with the least bit of love for the tenor saxophone owe it to themselves to procure this disc and the others available by this top-flight twosome at earliest convenience. ~ Derek Taylor  http://www.allaboutjazz.com/blues-up-and-down-eddie-lockjaw-davis-fantasy-jazz-review-by-derek-taylor.php

Personnel: Eddie "Lockjaw" Davis, Johnny Griffin (tenor saxophone); Lloyd Mayers (piano); Larry Gales (bass); Ben Riley (drums); Junior Mance (piano).

Blues Up And Down

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Joan Chamorro & Magali Datzira - Joan Chamorro presenta Magali Datzira

Styles: Vocal, Trumpet And Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 61:22
Size: 143,6 MB
Art: Front

(4:17)  1. Someone to Watch Over Me
(4:25)  2. Honeysuckle Rose
(3:08)  3. Bye Bye Love
(5:38)  4. Insensatez
(3:29)  5. Softly As in a Morning Sunrise
(4:23)  6. Nature Boy
(3:16)  7. Give Me a Break
(2:19)  8. Georgia on My Mind
(3:39)  9. Alone Together
(5:07) 10. Just a Closer Walk with Thee
(3:45) 11. Love Is Here to Stay
(5:37) 12. 'Round Midnight
(3:39) 13. Wade in the Water
(4:57) 14. I Fall in Love Too Easily
(3:37) 15. Unchain My Heart

Magalí Datzira is a double bass player and a vocalist. In the second CD-DVD of the Sant Andreu Jazz Band, which she took part in the recording of when she was only 13 years old, she started to sing and we were able to glimpse an original and very personal voice. She has a very particular way of approaching tempo and melodies, reading them in a special way and confronting a score as if compass bars did not exist ~ Joan Chamorro

I wanted this to be an assorted album: a combination of different rhythms, different voices and textures… a variety that essentially represents the different tonalities of one and the same color. ~ Magalí Datzira

It is impossible to remain indifferent whilst listening to Magalí singing. Her voice is special, uniquely beautiful, and combines sweetness and character in a balanced way, instinctively, I would say. http://jazztojazz.bandcamp.com/album/joan-chamorro-presenta-magali-datzira

Personnel: Magalí Datzita - vocal, bass; Joan Chamorro - saxophones, bass; Andrea Motis - trumpet, vocal; Ignasi Terraza – piano; Josep Traver – guitar; Esteve Pi – drums; Scott Robinson, Perico Sambeat – saxophones; Josep M. Farràs – trumpet; Víctor Correa – trombone; Curro Gálvez – bass; Orchestra - Sant Andreu Jazz Band

Joan Chamorro presenta Magali Datzira

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The Manhattan Transfer - The Best Of The Manhattan Transfer

Styles: Vocal Jazz, Big Band
Year: 1981
File: MP3@320K/s
Time: 46:25
Size: 107,9 MB
Art: Front

(3:07)  1. Tuxedo Junction
(3:40)  2. Boy From New York City
(3:56)  3. Twilight Zone
(4:27)  4. Body And Soul
(3:27)  5. Candy
(3:49)  6. Four Brothers
(5:59)  7. Birdland
(2:58)  8. Gloria
(2:21)  9. Trickle Trickle
(3:12) 10. Operator
(2:46) 11. Java Jive
(3:47) 12. A Nightingale Sang In Berkeley Square
(2:55) 13. Chanson D'Armour

There's no annotation to speak of on this 12-track collection, but little is needed, as this particular group's work speaks for itself. This is a smooth and impressive cross-section of the renowned vocal group's work across the first six years of its successful "reincarnation" nothing of the original late-'60s quartet is here, apart from the newer group's successful reworking of "Java Jive" near the end of the disc. But basically this album moves from strength to strength, in something of a jumble in terms of original release order the live "Tuxedo Junction," the hit single "Boy from New York City," their stylized homage to Marius Constant's (not Bernard Herrmann, as erroneously listed on the composer's credit) "Twilight Zone" theme, the soaring "Body and Soul," the doo wop homage "Gloria," etc. There are no personnel or detailed recording data, but the release dates and original album information make it easy for anyone who wants more of what they hear to track down the original Atlantic albums and CDs. ~ Bruce Eder  http://www.allmusic.com/album/the-best-of-the-manhattan-transfer-mw0000194748

Manhattan Transfer: Tim Hauser, Janis Siegel, Alan Paul, Laurel Masse, Cheryl Bentyne (vocals).

The Best Of The Manhattan Transfer

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P.J. Perry - Worth Waiting For

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 68:02
Size: 156,2 MB
Art: Front

(4:53)  1. I Cried for You
(3:44)  2. Stardust
(5:07)  3. You'd Be So Easy to Love
(4:31)  4. Blue and Sentimental
(5:24)  5. Poor Butterfly
(3:32)  6. Blue Daniel
(4:18)  7. The Star-Crossed Lovers
(4:36)  8. Namely You
(6:22)  9. Smoke Gets in Your Eyes
(7:17) 10. My Old Flame
(3:23) 11. Dig
(5:40) 12. Ev'ry Time We Say Goodbye
(4:38) 13. My Ideal
(4:31) 14. Never Let Me Go

A top Canadian altoist who is still relatively unknown in the United States, P.J. Perry is a bop-oriented veteran who occasionally resembles Sonny Stitt. However Perry's sounds on both alto and tenor are fairly original and he has the bop vocabularly down pat, with few hints of later developments. Joined by a top-notch rhythm trio for this set of swing and bop standards (pianist Kenny Barron who takes "Star Crossed Lovers" as an unaccompanied feature, bassist Chuck Deardorf and drummer Victor Lewis), P.J. Perry is an underrated but major player who deserves to be discovered by straightahead jazz fans. ~ Scott Yanow  http://www.allmusic.com/album/worth-waiting-for-mw0000678276

Personnel: P.J. Perry (alto & tenor saxophones); Kenny Barron (piano); Chuck Deardorf (bass); Victor Lewis (drums).

Worth Waiting For

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Mark Isham + Kate Ceberano - Bittersweet

Size: 119,6 MB
Time: 51:50
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz Vocals
Art: Front

01. My One And Only Love (4:25)
02. Skylark (4:06)
03. In A Sentimental Mood (4:53)
04. Don't Get Around Much Anymore (4:20)
05. In My Solitude (4:27)
06. Night And Day (5:02)
07. I Wanna Be Loved (6:45)
08. Easy Living (4:14)
09. Lush Life (4:15)
10. Do It Again (4:09)
11. Every Time We Say Goodbye (5:08)

Although best known as a trumpet player, Mark Isham is actually an immensely gifted multi-instrumentalist—a virtual study in contrasts depending on what the musical situation requires. I’d heard of Isham back in the late ‘70s when he’d joined the Rubisa Patrol album with Art Lande. Next thing you know it’s 1980 and Isham had just released the groundbreaking first Group 87 album, an Lp that paved the way for both a new brand of cinematic American rock fusion sound as well as starting a number of new careers for all the members. You can read my interview with Mark Isham from 2000 where he discusses the Group 87 album in depth. And you can also read my liner notes printed with the first ever CD reissue of Group 87 released by One Way Records back in 2000. Now nearly 30 years after the original release of Group 87, Isham picks up his trumpet and returns to his jazzy roots sound with his 2009 CD, Bittersweet—an album that sizzles with a smokey, late night jazz club sound and vibe. Recording with singer Kate Ceberano and jazz legends Alan Pasqua (keyboards), Pete Erskine (drums) and Tom Warrington (acoustic bass), Isham’s horn revisits the golden age of jazz with timeless updates of song classics form the pen of Hoagy Carmichael, Duke Ellington, Cole Porter, George Gershwin and Billy Strayhorn—in other words pure jazz classics. Even though she’s being billed as part of the duet album with Isham, the vocals of Ms. Ceberano has a great effect on all these players here, who each really rise to the occasion. Mastered by Bernie Grundman, the CD release on Isham’s Earle Tones imprint presents a state of the art look back at the classic jazz sound of yesteryears. So, you might be thinking, will Mark Isham ever get back to making the kind of music he made his breakthru with on the 1980 Group 87 album? Well part of the answer to that is a resounding yes, especially after giving a good listen to Isham’s 2009 soundtrack to the Crash movie released by Lions Gate Records. This is the kind of experimental neo-rock based album in the guise of a soundtrack that Isham does best. Although missing Group 87 genius guitarist Peter Maunu and New Age keyboardist / bassist Patrick O’Hearn, (not to mention the great G-87 engineer Ed E. Thacker or the budget of Columbia Records producer Bobby Colomby), Crash nevertheless features a fine pairing of Isham and his co-composer on this CD, Cindy O’Connor. Compared to the jazzy vocal vibe of Bittersweet, the Crash CD is a great instrumental electronica album that sounds more like Vangelis or William Orbit than say, Herb Alpert? Anyone who dug the two Group 87 albums should take a listen to Isham’s Crash soundtrack. Though sadly not as well recorded as the trendsetting Group 87 album, (not too many albums comes close) Crash is pretty darn good and is nevertheless a modern masterpiece of instrumental electronic soundtrack music that adds to Isham’s reputation as being among the great soundtrack composers of the past fifty years.

Bittersweet

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