David Newman - Heads Up

Bitrate: MP3@320K/s

Time: 62:58

Size: 144.1 MB

Styles: Soul-jazz-blues, Saxophone jazz

Year: 1986/2005

Art: Front

[7:41] 1. Ain't Misbehavin

[8:23] 2. Makin' Whopee

[6:15] 3. Heads Up

[8:13] 4. Old Folks

[7:21] 5. Delilah

[9:53] 6. Lover Man

[6:43] 7. For Buster

[8:26] 8. New York State Of Mind

For this superior showcase, tenorman David Newman (who also plays some alto and flute) jams on four jazz standards and his own "Heads Up" and "For Buster" while joined by a top-notch rhythm section consisting of vibraphonist Steve Nelson, pianist Kirk Lightsey, bassist David Williams and drummer Eddie Gladden. Although often placed in more tightly arranged settings throughout his career, Newman really excels in a small-group format, where his soulful tones and expertise at jamming over common chord changes are best displayed. This was one of his better sets, even though the album is not very well known. ~Scott Yanow

Heads Up

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Eddie Bert Quartet & Quintet - Crosstown (2-Disc Set)

When trombonist Eddie Bert made these recordings he was at a point in his career where his playing was illustrative of all the eloquence that is representative of that many-dimensioned individual. Eddie had emerged as a major voice on his horn in 1954, when the Metronome Yearbook awarded him as one of the four “Musicians of the Year.” Eddie was one of those musicians on the Jazz scene who had been able to participate in some of the most advanced musical experiments and yet retain a healthy, creative and swinging style of playing.

The primary reason: his roots run deep into the varied streams of Jazz. As a composer, his tunes are an evidence of Eddie’s unpretentiously imaginative, well constructed, and melodically attractive writing.

Eddie Bert (tb), JR. Monterose (ts), Joe Puma (g), Hank Jones (p), Wendell Marshall or Clyde Lombardi (b) and Kenny Clarke (d).

Recorded at Rudy Van Gelder Studio in Hackensack, N.J., 1955.

Album: Eddie Bert Quartet - Crosstown (Disc 1)

Bitrate: MP3@320K/s

Time: 50:22

Size: 115.3 MB

Styles: Trombone jazz

Year: 2011

[5:29] 1. Fragile

[3:20] 2. Stompin' At The Savoy

[4:32] 3. I Should 'a' Said

[5:00] 4. See You Later

[7:35] 5. Three Bass Hit

[5:45] 6. What D'ya Say

[3:35] 7. Billie's Bounce

[3:04] 8. Bert Tram

[5:23] 9. One For Tubby

[3:12] 10. Opicana

[3:23] 11. It's Only Sunshine

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Album: Eddie Bert Quintet - Crosstown (Disc 2)

Bitrate: MP3@320K/s

Time: 47:54

Size: 109.7 MB

Styles: Trombone jazz

Year: 2011

Art: Front

[7:09] 1. Crosstown

[6:32] 2. Wishbone

[6:53] 3. Bronx Line

[6:40] 4. Conversation

[5:37] 5. Manhattan Suite

[5:24] 6. Steady Eddie

[9:36] 7. Slow Crosstown

Crosstown (Disc 1),(Disc 2) 

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Andrea Bocelli - Passione

Bitrate: MP3@320K/s
Time: 51:23
Size: 117.7 MB
Styles: Classical crossover
Year: 2015
Art: Front

[4:05] 1. Perfidia
[4:11] 2. Roma Nun Fa' La Stupida Stasera
[3:46] 3. Champagne
[4:06] 4. Anema E Core
[3:15] 5. Quizàs, Quizàs, Quizàs
[3:39] 6. Era Già Tutto Previsto
[3:21] 7. Tristeza
[3:05] 8. La Vie En Rose
[3:33] 9. Corcovado - Quiet Nights Of Quiet Stars
[3:39] 10. Sarà Settembre
[2:58] 11. Love In Portofino
[3:35] 12. Garota De Ipanema
[4:14] 13. Malafemmena
[3:50] 14. Love Me Tender

Italian tenor Andrea Bocelli's 14th studio album, 2013's Passione features a selection of romantic Mediterranean love songs. Produced by David Foster, the album features several duets including tracks with Jennifer Lopez, Nelly Furtado, and Chris Botti. Also included is a special duet with the late Edith Piaf on her signature song, "La Vie en Rose." ~Matt Collar

Passione

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Linda Lawson - Introducing Linda Lawson

Styles: Jazz, Vocal
Year: 1960
File: MP3@224K/s
Time: 34:15
Size: 55,1 MB
Art: Front

(2:29)  1. Are You With Me
(3:18)  2. Where Flamingos Fly
(2:45)  3. But Beautiful
(2:47)  4. Me and My Shadow
(3:16)  5. You Dont Know What Love Is
(1:49)  6. Easy To Love
(3:21)  7. Meaning of the Blues
(2:46)  8. Mood Indigo
(3:05)  9. Like Young
(2:40) 10. Hi Lili Hi Ho
(3:01) 11. Make The Man Love Me
(2:53) 12. Up Pops Love

Linda Lawson doesn't have a very strong voice, but it is expressive and within its limits and the jazz settings arranged by Marty Paich. Here she delivers a generally satisfying, sometimes beautiful pop-jazz album. The repertory includes "You Don't Know What Love Is," co-authored by Gene DePaul, Cole Porter's "Easy to Love," and Bobby Troup's "Meaning of the Blues." Her intonation is occasionally questionable, particularly on the numbers that would have constituted side one of the original LP, and especially when she reaches for certain high notes, but even at those moments as on "Easy to Love" the band carries her, and the arrangement and the overall ensemble work. She'll skate past a number like that and then perform splendidly on "Meaning of the Blues" and "Mood Indigo," where it's impossible to fault anything she does. Jimmy Rowles (piano); Bud Shank (alto); Med Flory (baritone sax); Bill Perkins (tenor sax); Al Porcino, Stu Williamson, and Jack Sheldon (trumpets); Frank Rosolino (trombone); Bill Pitman (guitar); Joe Modragon (bass); and Mel Lewis (drums) make a superb band, although one wishes that Lawson and her producer DeAngelis hadn't followed up the hot, swinging "Like Young" (the best number on the album) with the string-laden "Hi Lili-Hi-Lo," even though she does a beautiful job with the latter number as well. The bluesy "Make the Man Love Me" and the gently swinging, high-flying "Up Pops Love" restore the mood. The original album is rarer than hen's teeth, but Fresh Sound records has re-released Introducing Linda Lawson on vinyl LP and as a CD, with beautiful sound and a careful reproduction of the original LP cover. ~ Bruce Eder  http://www.allmusic.com/album/introducing-linda-lawson-mw0000977986

Personnel:  Linda Lawson (Vocal);  Jimmy Rowles (piano); Bud Shank (alto, sometimes); Med Flory (baritone sax); Bill Perkins (tenor sax); Al Porcino, Stu Williamson, and Jack Sheldon (trumpets); Frank Rosolino (trombone); Bill Pitman (guitar); Joe Modragon (bass); and Mel Lewis (drums)

Introducing Linda Lawson

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Gary Smith - The Soft Side Of Jazz

Styles: Guitar Jazz
Year: 2007
File: MP3@320K/s
Time: 58:38
Size: 135,2 MB
Art: Front

(5:21)  1. Autumn Leaves
(3:56)  2. Time After Time
(4:52)  3. Quiet Nights
(5:07)  4. Here There & Everywhere
(4:20)  5. The Days Of Wine & Roses
(2:27)  6. Cry Me A River
(3:52)  7. There Will Never Be Another You
(5:58)  8. My Funny Valentine
(3:31)  9. A Foggy Day
(6:00) 10. How Insensitive
(4:04) 11. Long Ago & Far Away
(4:36) 12. Black Orpheus
(4:29) 13. Over The Rainbow

Originally from a background in commercial music, Gary Smith worked in a wide range of musical situations in the UK and Europe. With the formation of The Acme Quartet in the mid ’70s he moved out of the commercial arena. For around 8 years, until 1990, Gary retreated from recording and live performance. During this period, he studied harmony and counterpoint with composer John South and started developing the technique and approach to playing the guitar he now utilizes. Since the release of his first solo album ‘Rhythm Guitar’ in 1991 he has worked with, amongst others, John Stevens, Mass, Shoji Hano, Rhys Chatham, Bill Fay, Aufgehoben, and Masayoshi Urabe. He is known for his dense, contrapuntal style of playing and has been a pioneer in the use of stereo guitar. In recent years he has reduced his use of technology to just guitar, amp and volume pedal, creating sounds similar to prepared instruments, static, mechanical effects, computer generated sounds, birdsong, etc. - these detailed and magnified sounds he combines with the traditional parameters of Western music.  http://www.last.fm/music/Gary+Smith/+wiki

The Soft Side Of Jazz

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Andy LaVerne - All Ways

Styles: Post-Bop, Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 65:55
Size: 151,2 MB
Art: Front

(5:57)  1. Without A Song
(6:04)  2. Apropos
(6:12)  3. Watermelon Man
(6:34)  4. Hydroponic
(6:20)  5. So Long Ago
(7:47)  6. Blue Bossa
(5:34)  7. Love Is A Many Splendored Thing
(7:16)  8. Bewitched, Bothered And Bewildered
(8:33)  9. All Ways
(5:34) 10. Cool De La

Andy LaVerne ventured into relatively unexplored territory by recruiting organist Gary Versace and drummer Billy Drummond for this trio session. It helps that the leader has played electric keyboards in the past, while Versace began his professional career as a pianist. As a result, there is plenty of give and take throughout the date, with the musicians making the most of LaVerne's inspiring arrangements and no problems emerge with one keyboardist dominating the other. Herbie Hancock's "Watermelon Man" retains its slinky funkiness, though this version expands upon the original with strong solos by both keyboardists. Kenny Dorham's "Blue Bossa" is a subtle chart, with less emphasis on its Latin rhythm. "Love Is a Many Splendored Thing," often an overdone vocal feature, brings out the lyrical Bill Evans influence in LaVerne's playing, while the ultra-slow treatment of "Bewitched, Bothered and Bewildered" gushes with romantic feeling. All six of LaVerne's originals also are of interest, especially the simmering "All Ways" (featuring Drummond at length as well) and the playful, conversational "Hydroponic." ~ Ken Dryden  http://www.allmusic.com/album/all-ways-mw0000259724

Personnel:  Drums – Billy Drummond;  Organ [Hammond] – Gary Versace;  Piano – Andy LaVerne

All Ways

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The Blue Vipers Of Brooklyn - Forty Days And Forty Nights

Styles: New Orleans Jazz
Year: 2007
File: MP3@320K/s
Time: 36:07
Size: 83,3 MB
Art: Front

(3:48)  1. When You're Smiling
(2:46)  2. World Is Waiting
(3:43)  3. Perdon
(2:29)  4. Leave You Then
(2:44)  5. Five Guys Named Moe
(2:48)  6. Forty Days & Forty Nights
(3:28)  7. Stardust
(3:43)  8. Up, Up & Away
(3:12)  9. Cross The Room
(3:48) 10. Outskirts Of Town
(3:33) 11. Gloryland

The Blue Vipers of Brooklyn are an acoustic early jazz, swing, and blues band, composed of resonator guitar/vocals, upright bass, homemade washboard percussion, trumpet, and saxophone.

Their repertoire of witty songs with moving yet often bawdy lyrics and catchy 4 part vocal harmony always draw large crowds. The lead vocalist Billy Nemec learned his craft busking on the streets of New Orleans. Their music is upbeat, energetic, and infectious. http://www.cdbaby.com/cd/tbvofbrooklyn

Forty Days And Forty Nights

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Budd Johnson His Septet & Quintet - Blues A La Mode

Bitrate: MP3@320K/s
Time: 38:49
Size: 88.9 MB
Styles: Saxophone jazz, Bop
Year: 1958/2013
Art: Front

[5:36] 1. Foggy Nights
[7:15] 2. Leave Room In Your Heart For Me
[5:15] 3. Destination Blues
[7:31] 4. À La Mode
[7:05] 5. Used Blues
[6:05] 6. Blues By Five

Originally released on the Felsted label and reissued by Master Jazz, this LP features underrated tenor and arranger Budd Johnson with two overlapping groups. Three selections feature Budd with the great trumpeter Charlie Shavers, trombonist Vic Dickenson, Al Sears on baritone, Bert Keyes doubling on piano and organ, bassist Joe Benjamin, and drummer Jo Jones, while three other pieces have Johnson, Shavers, Benjamin, Jones and pianist Ray Bryant. The leader contributed all six numbers and stars in prime form throughout; Shavers and Bryant also fare quite well. This album awaits reissue on CD and is an excellent example of 1950s mainstream jazz. ~Scott Yanow

Recording Date: February 11, 1958 - February 14, 1958

Blues A La Mode

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Mari Wilson - Cover Stories

Bitrate: MP3@320K/s
Time: 51:11
Size: 117.2 MB
Styles: Contemporary vocals
Year: 2012
Art: Front

[5:02] 1. Don't Get Me Wrong
[4:18] 2. Disney Girls
[4:08] 3. Be My Baby
[4:24] 4. Don't Let The Sun Catch You Crying
[6:21] 5. I Only Want To Be With You
[4:01] 6. First Of May
[4:39] 7. Own Side
[4:30] 8. Right About Now
[4:14] 9. Dear Someone
[3:58] 10. They Don't Know
[5:31] 11. Everybody Needs A Holiday

Back in the 1980s, when she was renowned for her retro beehive hairstyle and her spectacular live shows, Mari Wilson had a string of chart-making hits that included "Just What I Always Wanted" and "Cry Me a River." These days, the only remaining vestige of that hairstyle is in the name of her record label. More recently, Wilson has appeared in musical theater (including playing Dusty Springfield in Dusty: The Musical), been a BBC radio presenter and, significantly, started the trio Girl Talk with Barb Jungr.

Compared to her albums Dolled Up (Beehive, 2005) and Emotional Glamour (Beehive, 2008), Cover Stories marks a new direction for Wilson, as it consists solely of cover versions without any of her own compositions. The album features eleven of Wilson's favorite songs, lending it a certain similarity to Jungr's album The Men I Love: The New American Songbook (Naim, 2010). However, unlike Jungr's choices, four of Wilson's selections are by female songwriters and six are by non-Americans.

Another similarity between Wilson and Jungr is that, rather than recording a straightforward cover version, they each often radically reinvent a song, sometimes making it unrecognizable in the process. One of the best examples of Wilson doing this is her stunning version of "Be My Baby," originally recorded by The Ronettes. Stripping away Phil Spector's wall-of-sound production, she is accompanied by atmospheric acoustic guitar alone, played by John Parricelli. She savors every word of the verses as well as the famous chorus, milking them all for emotion. Wilson achieves similarly miraculous transformations of "Don't Let the Sun Catch You Crying" (originally by Gerry and the Pacemakers) and Dusty Springfield's "I Only Want to be with You"—the latter her first ever Springfield cover.

If those examples suggest that Wilson is stuck in some sixties time warp, nothing could be further from the truth. Her choice of songs demonstrates that she has an ear for a great song and its possible reinterpretation. While including some songs by well-known artists, The Beach Boys' "Disney Girls" and The Bee Gees' "First Of May" for example, the eclectic array of tunes also features the lesser-known Caitlin Rose, Gillian Welch, Ron Sexsmith and even Big Audio Dynamite. Most of all, Cover Stories lives up to its title. Every track is a cover version, but each is also a story in its own right. And Wilson is a story teller par excellence, extracting meaning and emotion from each one and communicating them impeccably to her audience, her voice as formidable an instrument as ever. ~John Eyles

Mari Wilson: vocals; Simon Hale: piano, keyboards; John Parricelli: guitar; Geoff Gasgoyne: electric bass, acoustic bass; Keith Fairbairn: percussion; Ben Hale: flugelhorn, trumpet.

Cover Stories

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Jay McShann - Confessin' The Blues

Bitrate: MP3@320K/s

Time: 42:33

Size: 97.4 MB

Styles: Jump blues, Piano blues-jazz

Year: 1969/2007

Art: Front

[3:45] 1. Kansas City

[3:28] 2. Roll 'em

[3:39] 3. Our Kinda Blues

[4:13] 4. Rollin' With Roland

[5:20] 5. Stompin' In K.C

[4:24] 6. After Hours

[3:27] 7. Hootie Blues

[3:23] 8. Four Days Rider

[3:19] 9. Hands Off

[3:32] 10. Hootie Ignorant Oil

[3:57] 11. Confessin' The Blues

Pianist Jay McShann sticks to the blues on this enjoyable release, not only welcoming bassist Roland Lobligeois and drummer Paul Gunther but, in a rare (and purely instrumental role) as a sideman, guitarist T-Bone Walker. McShann takes vocals on several of the selections and contributes his accessible brand of blues piano. The results are enjoyable if not essential.A bit more imagination could have gone into picking out a more inventive repertoire. ~Scott Yanow

Confessin' The Blues

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The Ink Spots - The Best Of The Ink Spots

Bitrate: MP3@320K/s
Time: 36:02
Size: 82.5 MB
Styles: R&B, Vocal Harmony group
Year: 1999
Art: Front

[3:03] 1. If I Didn't Care
[3:12] 2. My Prayer
[3:02] 3. Java Jive
[3:03] 4. I Don't Want To Set The World On Fire
[2:59] 5. Don't Get Around Much Anymore
[2:49] 6. I'll Get By (As Long As I Have You)
[3:09] 7. I'm Making Believe
[3:09] 8. Into Each Life Some Rain Must Fall
[2:43] 9. The Gypsy
[2:41] 10. I'm Beginning To See The Light
[2:58] 11. Prisoner Of Love
[3:09] 12. To Each His Own

MCA's 20th Century Masters: The Millennium Collection is a good, basic collection of the Ink Spots' biggest hits -- including "If I Didn't Care," "My Prayer," "Java Jive," "Don't Get Around Much Anymore," "I'm Making Believe," "The Gypsy," "I'm Beginning to See the Light," "Prisoner of Love,"and "To Each His Own" -- available at a budget price. Although there are a couple of hits and good songs missing, this has enough of the best-known tunes to make it worthwhile for casual listeners on a budget. ~Stephen Thomas Erlewine

Recording Date: January 12, 1939 - July, 1946

The Best Of The Ink Spots

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Ray Marchica - In The Ring

Bitrate: MP3@320K/s
Time: 50:15
Size: 115.1 MB
Styles: Pop/rock/jazz
Year: 2005
Art: Front

[5:47] 1. Billy’s Bounce
[1:14] 2. Worm
[5:40] 3. Tequila
[6:17] 4. 9h5
[7:29] 5. Journey’s End
[7:14] 6. The Joneses
[5:09] 7. Minor Mishap
[5:27] 8. I Can’t Get Started
[5:55] 9. Summertime

Drummer Ray Marchica had a simple goal for the pianoless quartet date In the Ring. Marchica simply wanted to go in the studio as a leader and record some of his favorite songs (both standards and originals) with a few of his favorite players. The results range from straight-ahead to mildly funky. Tenor saxophonist Teodross Avery emerges as the most impressive soloist, but guitarist Rodney Jones and bassist Lonnie Plaxico make strong contributions too. While Marchica takes a fair amount of solo space, he does not dominate the music. Among the many highlights are “Billie’s Bounce,” the up-tempo blues “9H5,” Rodney Jones’ hard bop original “Minor Mishap,” and a surprisingly fast version of “Summertime.” Marchica more than achieves his goal, putting together a well-paced and highly enjoyable set of first-class jazz. ~ Scott Yanow

In The Ring

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Deep Blue Organ Trio - Wonderful!

Bitrate: MP3@320K/s
Time: 62:17
Size: 142.6 MB
Styles: Smooth jazz, Soul-jazz
Year: 2011
Art: Front

[6:56] 1. Tell Me Something Good
[5:58] 2. If You Really Love Me
[5:56] 3. Jesus Children Of America
[8:45] 4. My Cheri Amour
[7:18] 5. Golden Lady
[7:30] 6. You Haven't Done Nothin'
[6:47] 7. It Ain't No Use
[5:26] 8. As
[7:37] 9. You've Got It Bad Girl

It's always amusing when a jazz snob claims that jazz and classical are the only legitimate forms of music and that popular culture, past and present, has no artistic value whatsoever. Typically, those who make such ludicrous statements will turn around and sing the praises of The Great American Songbook, meaning prolific Tin Pan Alley pop composers such as George Gershwin, Irving Berlin, Harry Warren and Cole Porter; in other words, they are endorsing pop songs while claiming to hate pop songs. It makes no sense. So let's set the record straight: popular culture has always been great for jazz. Popular songs have always been excellent vehicles for jazz expression, and there is no reason why jazz musicians should ignore an R&B/pop icon like Stevie Wonder, who the Deep Blue Organ Trio pay tribute to with splendid results on Wonderful. This soul-jazz/post-bop CD approaches nine Wonder songs not as vocal-oriented R&B, but as instrumental jazz. Wonderful is by no means an album of smooth jazz elevator music; organist Chris Foreman, guitarist Bobby Broom, and drummer Greg Rockingham aren't simply playing note-for-note covers of Wonder's songs and calling it jazz; improvising, stretching, and blowing prevail whether the song in question is "You've Got It Bad, Girl," "Golden Lady," "If You Really Love Me," or "Tell Me Something Good" (which was a major hit for Rufus & Chaka Khan in 1974, although Wonder was the composer). But as imaginative and improvisatory as these versions of Wonder songs are, they are also fairly accessible. Take their performance of "My Cheri Amour," for example. Foreman, Broom, and Rockingham approach that '60s gem as a slow ballad, which is a departure from Wonder's medium-tempo approach, and yet, they don't forget the song's romantic, sentimental nature. From a marketing standpoint, the Deep Blue Organ Trio probably made a mistake by not giving this release a slightly longer, more descriptive title. Instead of simply calling it Wonderful, they probably should have come up with something along the lines of Wonderful: The Stevie Wonder Songbook or Wonderful: A Jazz Perspective on Stevie Wonder. Also, the recording date is listed as December 18-20, 2011, which would be impossible because the album went out to the media in July 2011. But none of those things make the performances any less rewarding. Wonderful is an excellent jazz tribute to a soul-pop legend. ~Alex Henderson

Wonderful!

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Leslie Lewis With Gerard Hagen Trio - Midnight Sun

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 50:06
Size: 115,4 MB
Art: Front

(4:30)  1. Love Me Or Leave Me
(7:42)  2. Midnight Sun
(4:39)  3. It's Alright With Me
(5:56)  4. A House Is Not a Home
(4:35)  5. Lover Come Back to Me
(5:39)  6. My Love
(5:03)  7. I Believe in You
(5:38)  8. The Man I Love
(6:20)  9. Where Or When

The lesser-known songs on Midnight Sun Burt Bacharach / Hal David's "A House Is Not a Home," Paul and Linda McCartney's "My Love" are explicit highlights, but by no means the only ones, as Lewis fares equally well at a faster clip, as on "Lover Come Back to Me," "It's All Right with Me," "I Believe in You" and "Love Me or Leave Me" (which includes one of the most bizarre lyrics ever written: "I'd rather be lonely than happy with somebody else." Huh?) Hagen, who doubles as arranger, trebles (offstage) as Lewis' husband. Along with bassist Domenic Genova and drummer Jerry Kalaf, he does his best to keep her in an upbeat frame of mind, as do Foster, Manning and Sellers. When Lewis sings Frank Loesser's "I Believe in You," she may as well be applauding her supporting cast. A pair of first-rate albums by a vocalist who whose singular talents should be more widely heard and appreciated. 

~ Jack Bowers  http://www.allaboutjazz.com/leslie-lewis-midnight-sun-keeper-of-the-flame-by-jack-bowers.php

Personnel: Leslie Lewis: vocals; Gerard Hagen: piano; Domenic Genova: bass; Jerry Kalaf: drums, percussion; Chuck Manning: tenor sax; Joey Sellers: trombone.

Midnight Sun

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The Bill Evans Trio - The Very Best Of The Bill Evans Trio

Styles: Post-Bop, Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 63:30
Size: 145,9 MB
Art: Front

(5:56)  1. Autumn Leaves
(6:22)  2. My Man's Gone Now
(8:51)  3. Solar
(3:31)  4. How Deep Is The Ocean
(4:33)  5. What Is This Thing Called Love?
(5:22)  6. Blue In Green
(5:03)  7. Beautiful Love
(5:48)  8. Nardis
(4:54)  9. My Foolish Heart
(6:08) 10. Gloria's Step
(6:57) 11. Waltz for Debby

This compilation from Concord compiles 11 tracks from four Bill Evans Trio albums recorded between 1959 and 1961: Portrait in Jazz, Explorations, and the live Waltz for Debby and Sunday at the Vanguard. The lineup, of course, is Evans' classic trio with bassist Scott LaFaro and drummer Paul Motian. While this may be merely another attempt by the label to milk Riverside's catalog, there is a very practical purpose for such a compilation, and that argument is put forth in Neil Tesser's liner notes: that this trio used Evans' "trialog" system to "prefigure a change in the very fabric of jazz." In Evans' estimation, the trialog was a way to look at new conceptions and possibilities for the piano trio. Instead of the pianist merely leading a supporting rhythm section, he would in fact be one of three equal players in an ongoing musical conversation; he would be informed by the other two members, and be free to follow them as well as lead. 

The members of this trio cover a wide patch of ground, not only in their ability to push the music further into an intimate creative conversation, but to free themselves, at least to a great degree, of the burden of history. The evidence is abundant in the originals such as LaFaro's "Gloria's Step," Evans' "Waltz for Debby," and even "Blue in Green," co-composed with Miles Davis. Speaking of Davis, both "Nardis" and "Solar" are here as well. Arguably, the evidence that the trialog can shift meaning and logic in jazz is best borne out by the interpretation of standards such as "Autumn Leaves," "My Foolish Heart," "What Is This Thing Called Love?," and George Gershwin's "My Man's Gone Now."

Here, the nature of song emerges not from the harmonic changes employed by the pianist, but from the collective interaction of the trio itself. While Evans scholars and hardcore fans don't need to be reminded of the trio's contribution, there are still many listeners, mostly younger, who are seeking an introduction to Evans' music outside of his contribution to Kind of Blue. The Very Best of the Bill Evans Trio provides an excellent entry point for a budget price. ~ Thom Jurek  http://www.allmusic.com/album/the-very-best-of-the-bill-evans-trio-mw0002363992

Personnel: Bill Evans (piano); Paul Motian (drums); Scott LaFaro (bass).

The Very Best Of The Bill Evans Trio

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Shirley Scott - Great Scott!

Styles: Jazz, Hard Bop
Year: 1959
File: MP3@320K/s
Time: 35:02
Size: 80,3 MB
Art: Front

(3:09)  1. The  Scott
(3:22)  2. All Of You
(5:01)  3. Goodbye
(3:54)  4. Four
(4:41)  5. Nothing Ever Changes My Love
(7:00)  6. Trees
(5:23)  7. Cherokee
(2:28)  8. Brazil

Great Scott! is the debut album by organist Shirley Scott recorded in 1958 for the Prestige label.  The Allmusic review stated "Great Scott! was her first out-front contribution to popularizing the organ in a jazz format that also drew on parts of blues and soul music. 

She displays admirable command of the instrument's swoops and funky glows here". http://en.wikipedia.org/wiki/Great_Scott!_%281958_Shirley_Scott_album%29

Personnel:  Shirley Scott – organ;  George Duvivier – bass;  Arthur Edgehill - drums

Great Scott!

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Junior Mance - Straight Ahead

Bitrate: MP3@320K/s
Time: 28:20
Size: 64.9 MB
Styles: Soul jazz, Piano jazz
Year: 1965/2012
Art: Front

[2:28] 1. In A Mellow Tone
[1:42] 2. Hannah Strikes Again
[4:51] 3. Li'l Darlin'
[2:44] 4. Diane
[2:36] 5. Happy Time
[2:07] 6. The Late, Late Show
[2:08] 7. Fine Brown Frame
[2:12] 8. Senor Mance
[2:57] 9. Stompin' At The Savoy
[2:17] 10. Trouble In Mind
[2:12] 11. The J. A. M. F

Of the three recordings Junior Mance made for Capitol, two were within a big-band format. Straight Ahead is the second of the two large-group recordings. The band is populated by some of the top studio musicians and bandmembers on the West Coast, including Don Fagerquist and Pete Candoli on trumpet, Milt Bernhart on trombone, and Shelly Manne on drums. Bob Bain fronts the group and wrote the charts. The major difference from the previous recording is that it's all brass here; no reeds are present. Combining Mance's natural blues-inflected piano with a big horn sound is a true aural treat. The result is a musical conversation with each side taking turns playing on or over the melody line. On "Li'l Darlin'," the band plays the familiar slow-drag melody while Mance improvises on top. There's a heated call and response on "Happy Time," with Mance going out swinging against blaring riffs by the brass. A similar swinging conversation takes place on "The Late, Late Show," with the band kicking off the cut with a roaring trumpet call. Usually a large-ensemble format doesn't allow for much diversion from the charts. Here it's clear that the band stayed with the charts, but Mance was allowed a good deal of leeway in his playing. He could respond to the call of the band as he saw fit. The result is a dynamic session combining the best of a disciplined brass assembly with the unfettered play of a top jazz improvisor. Some enterprising label should take the first album Mance made with this group, Get Ready, Set, Jump!, combine it with this one, and release them together on a CD. ~Dave Nathan

Straight Ahead

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Jimmy Witherspoon - Jimmy Witherspoon With The Duke Robillard Band

Bitrate: MP3@320K/s
Time: 56:52
Size: 130.2 MB
Styles: Urban blues, Jazz-blues
Year: 2000
Art: Front

[13:59] 1. Glide On
[ 6:30] 2. Going Down Slow
[ 5:54] 3. Big Boss Man
[ 8:11] 4. Ain't Nobody's Business
[ 7:05] 5. I'll Always Be In Love With You
[ 8:22] 6. Stormy Monday Blues
[ 6:49] 7. Times Getting' Tougher Than Tough

The material on this album was recorded in concert shortly before Jimmy Witherspoon's death at age 74, and it appears that this was his last recording. The significance of that fact cuts both ways on this attractive but sometimes frustrating album. On the one hand, fans will welcome it as a last document of Witherspoon's undeniable talent and presence. On the other hand, it's hard to overlook the fact that by this point he was no longer at the peak of his powers. Although he tries gamely to generate the energy of his past work -- and occasionally succeeds, as on the electrifying "I'll Always Be in Love With You" -- for the most part his voice is phlegmy and weak, his intonation approximate at best. Duke Robillard works well with Witherspoon, goosing his band to a level of energy intended to invigorate the aging singer without overpowering him, and delivering sharp and witty solos that keep things lively and interesting. There is also a fine cameo appearance by the British blues singer Long John Baldry, whose presence also seems to give Witherspoon a shot in the arm. Overall, though, this is an album that will appeal primarily to diehard fans of the singer and to Robillard completists. ~Rick Anderson

Jimmy Witherspoon With The Duke Robillard Band

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Smith Dobson With Bobby Hutcherson - Sasha Bossa

Bitrate: MP3@320K/s

Time: 41:15

Size: 94.4 MB

Styles: Post bop, Piano jazz

Year: 1989/1992

Art: Front

[5:34] 1. It Could Happen To You

[7:00] 2. Love's Mirror Image

[7:15] 3. Old Acquaintance

[7:28] 4. Old Devil Moon

[4:43] 5. Ottawa On

[4:24] 6. Sasha Bossa

[4:48] 7. Day In, Day Out

Smith Dobson was one of the top jazz pianists based in the San Francisco Bay area. He did not record all that often as a leader, but this somewhat obscure release is fairly definitive. Dobson teams up with vibraphonist Bobby Hutcherson, bassist Jeff Carney, and either Eddie Marshall or Vince Lateano on drums. Altoist Mark Lewis and singer Gail Dobson (Smith's wife) make two appearances apiece. The music is straight-ahead with a bit of Latin ("Sasha Bossa") included for variety. Highlights include "It Could Happen to You," "Old Acquaintance," and "Old Devil Moon." Smith Dobson brought his own personality to the straight-ahead music he played; this is one of his strongest releases. ~Scott Yanow

Sasha Bossa

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Susannah McCorkle - Adeus: The Berlin Concert

Bitrate: MP3@320K/s
Time: 62:09
Size: 142.3 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[2:28] 1. Zing! Went the Strings of My Heart
[3:53] 2. Still Crazy After All These Years
[7:56] 3. Adeus America
[4:59] 4. Get Out of Town
[3:42] 5. That Ole Devil Called Love
[5:39] 6. Don't Fence Me In
[0:54] 7. (instrumental)
[5:33] 8. I Thought About You
[4:14] 9. Swing That Music
[5:01] 10. That Old Feeling
[4:09] 11. You Do Something to Me
[5:06] 12. P'rá Machucar Meu Coracao
[3:26] 13. (Instrumental) S'Wonderful
[3:33] 14. Bye Bye Baby
[1:27] 15. (instrumental) outro

Exceptional musical legacy of one of America`s greatest yet misunderstood songbirds: jazz singer Susannah McCorkle (1946 - 2001) and quartet live in Berlin 1996, recorded at the pinnacle of her career in front of an enthusiastic audience. “Susannah McCorkle is in the forefront!” (Tony Bennett, 1986). Some of the finest songs from her repertoire, mastered from lost tapes recently discovered in the archives of music journalist and writer Siegfried Schmidt-Joos, with Kai Rautenberg (p & arr), Walter Gauchel (ts), Dave King (b) and Ned Irving (dr) - her first live release!

Adeus: The Berlin Concert

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