Marc Copland & Vic Juris - Double Play

Bitrate: MP3@320K/s
Time: 61:50
Size: 141.5 MB
Styles: Post bop, Piano & guitar jazz
Year: 2002
Art: Front

[7:02] 1. Who Can I Turn To
[6:54] 2. I Loves You Porgy
[8:03] 3. Dark Territory
[5:37] 4. Stella By Starlight
[5:52] 5. Vaults
[5:06] 6. Jive Samba
[8:22] 7. I Concentrate On You
[5:37] 8. Blackbird
[3:33] 9. Twenty Five
[5:39] 10. Con Alma

This warm duo collaboration between pianist Marc Copland and guitarist Vic Juris is a textbook example of a well-planned and executed studio date. Starting with an imaginative treatment of "Who Can I Turn To," the chemistry between the two musicians is apparent in their support of each other's solos as well as in the crisp interplay. Other standards, such as "I Loves You, Porgy" and "Stella By Starlight," also display a freshness even though they have been recorded countless times by many other jazz artists. The originals by each man deserve attention as well; both Copland's brooding "Dark Territory" and Juris' "Vaults" have a haunting sound, while the breezy bop of the guitarist's "Twenty Five" is pure joy. Nat Adderley's "Jive Samba" takes on a darker tone in their intriguing arrangement, and the last-minute suggestion of Dizzy Gillespie's "Con Alma" proves to be the perfect closer, with Copland's lush chords accompanied by Juris on acoustic guitar in a very deliberate performance. This outstanding session deserves to be ranked alongside any of the landmark piano/guitar duo recordings one can name. ~Ken Dryden

Double Play

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Various - Cha Cha Party

Bitrate: MP3@320K/s
Time: 57:59
Size: 132.7 MB
Styles: Afro-Cuban jazz, Latin rhythms
Year: 2001
Art: Front

[4:17] 1. Poncho Sanchez - Bodacious Q
[5:23] 2. Mongo Santamaria - Day Tripper
[5:48] 3. Tito Puente - Oye Como Va
[6:09] 4. Caribbean Jazz Project - Jamboree
[5:45] 5. Ray Barretto - Killer Joe
[3:42] 6. Poncho Sanchez - Watermelon Man
[6:14] 7. Cal Tjader - Soul Sauce (Guachi Guaro)
[5:38] 8. Ray Vega - Boperation
[4:25] 9. Ed Calle - Rum & Coke (Cuba Libre)
[5:06] 10. Pete Escovedo - 'ah' Bailar Cha-Cha-Cha
[5:28] 11. Poncho Sanchez, Ray Vega - Besame Mama

Cha Cha has the distinction of being one of the most dominant "pop" rhythms of the last 40 to 50 years and is characterized as having an upbeat, infectious rhythm, which creates a sense of playfulness and flirtation. The Cha Cha is said to be a combination of the Mambo and the American Swing.

Cha Cha is a Cuban innovation of the old Latin form (danson). Originally known as the Cha-Cha-Cha the Cha Cha became popular about 1954. Cha Cha is an off-shoot of the Latin dance 'Mambo'. In the slow Mambo tempo, there is a distinct sound in the music that people began dancing to, calling the step the "Triple" Mambo. Eventually it evolved into a separate dance, today known as the Cha Cha.

Cha Cha Party

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Harry 'Sweets' Edison & Jonah Jones - S/T

Bitrate: MP3@320K/s
Time: 63:38
Size: 145.7 MB
Styles: Mainstream jazz, Trumpet jazz
Year: 1985
Art: Front

[ 8:08] 1. Black Orpheus
[ 6:59] 2. Keester Parade
[ 7:31] 3. The Shadow Of Your Smile
[ 9:08] 4. Seven Eleven
[10:48] 5. Ode To Billie Joe
[ 1:07] 6. Don't Get Around Much Anymore
[ 2:16] 7. I Let A Song
[ 2:57] 8. Mood Indigo
[ 4:15] 9. It Don't Mean A Thing
[ 3:11] 10. Caravan
[ 3:04] 11. Take The A Train
[ 4:07] 12. The Sheik Of Araby

A talented and flashy trumpeter, Jonah Jones hit upon a formula in 1955 that made him a major attraction for a decade; playing concise versions of melodic swing standards and show tunes muted with a quartet. But although the non-jazz audience discovered Jones during the late '50s, he had already been a very vital trumpeter for two decades. Jones started out playing on a Mississippi riverboat in the 1920s. He freelanced in the Midwest (including with Horace Henderson), was briefly with Jimmie Lunceford (1931), had an early stint with Stuff Smith (1932-1934), and then spent time with Lil Armstrong's short-lived orchestra and the declining McKinney's Cotton Pickers. Jones became famous for his playing with Stuff Smith's Onyx club band (1936-1940), recording many exciting solos. He gigged with Benny Carter and Fletcher Henderson and became a star soloist with Cab Calloway (1941-1952), staying with the singer even after his big band became a combo. Jones played Dixieland with Earl Hines (1952-1953), toured Europe in 1954 (including a brilliant recording session with Sidney Bechet), and then led his quartet at the Embers (1955), hitting upon his very successful formula. His shuffle version of "On the Street Where You Live" was the first of many hits and he recorded a long series of popular albums for Capitol during 1957-1963, switching to Decca for a few more quartet albums in 1965-1967. Jonah Jones recorded a fine date with Earl Hines for Chiaroscuro (1972) and still played on an occasional basis in the 1980s and early '90s; he died April 30, 2000, at the age of 91.

Harry "Sweets" Edison (1919-1999) is one of the few players in the history of jazz trumpet who could be instantly identified after only a few notes; along with Bobby Hackett, he was acknowledged as one of the few master trumpet accompanists. Born in Columbus, Ohio, Edison moved to Louisville, Kentucky to live with his uncle, a coal miner and farmer. It was his uncle who first exposed Edison to music, first teaching him to play a pump organ. Edison later found an old cornet in the house and taught himself scales. He cited early exposure to recordings of Louis Armstrong backing up Bessie Smith as important influences on his playing.

In 1952, Edison moved to California, where he established himself as a stalwart studio musician and first call trumpet soloist for the influential arranger Nelson Riddle. He would record with Sinatra for six years, and fill similar roles on recordings Bing Crosby, Billy Daniels, Nat Cole, Margaret Whiting, Jerry Lewis and Ella Fitzgerald, and played on many film soundtracks. (His commercial work and the studio pension system provided him $800 a week for the rest of his life, giving him a great deal of prosperity later in life.) During this time, Edison also led his own band in Los Angeles, and toured with Norman Granz's all-star Jazz at the Philharmonic unit. During the Fifties he recorded frequently with Shorty Rogers' Giants. He played in the bands led by Henry Mancini, Quincy Jones, Buddy Rich and Louie Bellson, plus frequent guest appearances with the Basie band. Edison taught music seminars at Yale University and was honoured as a 'master musician' in 1991 with a National Endowment for the Arts Award at the Kennedy Center.

Harry "Sweets" Edison (trumpet); Jerome Richardson (soprano saxophone, tenor saxophone); Charles Coker (piano); Earl Palmer , Paul Humphrey (drums).

Harry 'Sweets' Edison & Jonah Jones

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Marty Paich - I Get A Boot Out Of You

Bitrate: MP3@320K/s

Time: 35:05

Size: 80.3 MB

Styles: Bop, Cool

Year: 1959/2010/2014

Art: Front

[3:10] 1. It Don't Mean A Thing

[4:20] 2. No More

[4:25] 3. Love For Sale

[4:59] 4. Moanin'

[4:04] 5. Violets For Your Furs

[5:30] 6. What Am I Here For Cottontail

[4:23] 7. Warm Valley

[4:12] 8. Things Ain't What They Used To Be

The last of three Marty Paich albums reissued by Discovery in the early 1980s, this outing finds the arranger featuring a 13-piece band with such all-stars as altoist Art Pepper (showcased on "Violets for Your Furs"), trumpeters Jack Sheldon and Conte Candoli, tenorman Bill Perkins, vibraphonist Victor Feldman and pianist Russ Freeman. Paich does not play any piano this time around, but he contributed the eight arrangements. The selections are all jazz standards, with Paich's reinterpretations of such numbers as "It Don't Mean a Thing," "Moanin'" and "Things Ain't What They Used to Be" making even the most familiar songs sound fresh. This LP is well worth searching for. ~Scott Yanow

I Get A Boot Out Of You

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Jessica Molaskey & Dave Frishberg - At the Algonquin

Styles: Vocal And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 51:45
Size: 119,4 MB
Art: Front

(3:19)  1. Who's On First?
(2:42)  2. Slappin' the Cakes On Me
(3:53)  3. I'm Hip
(4:14)  4. My Attorney Bernie
(1:16)  5. Introduction for Will You Die?
(3:32)  6. Will You Die?
(4:50)  7. Excuse Me for Living
(3:19)  8. I Want to Be a Sideman
(3:43)  9. Heart's Desire
(0:45) 10. Introduction for Long Daddy Green
(4:42) 11. Long Daddy Green
(4:26) 12. My New Celebrity Is You
(3:59) 13. Do You Miss New York?
(3:18) 14. Can't Take You Nowhere
(0:16) 15. Introduction for Listen Here
(3:21) 16. Listen Here

The Algonquin Hotel's Oak Room was long a favorite of jazz artists who warmed to its intimate setting, excellent piano, and attentive audiences, though it closed for good at the start of 2012. This live set featuring pianist/vocalist/composer Dave Frishberg and vocalist Jessica Molaskey features music from an entire performance in March 2011, not the highlights of several nights, focusing on Frishberg's pieces. The pianist has plenty of experience playing for singers, having made a series of recordings with Rebecca Kilgore and accompanying greats like Jimmy Rushing, among others. Molaskey is a seasoned Broadway performer who has frequently worked with guitarist John Pizzarelli (her husband) on live dates, as well as his and her own CDs. Together Frishberg and Molaskey make quite a team, with a playful attitude and rapport that makes it seem like they've been a team for years. With the exception of two new songs, most of the material will be familiar to Frishberg's fans. 

Old favorites include the hilarious "I'm Hip" (co-written with another funny pianist/vocalist/composer, Bob Dorough), the side-splitting samba "My Attorney Bernie," the whimsical "Do You Miss New York?," and a rollicking version of "Can't Take You Nowhere." Frishberg has his serious side as well, delivering a thoughtful "Long Daddy Green," while Molaskey's touching performances of the pianist's lyric to "Heart's Desire" and Frishberg's solo finale of his introspective "Listen Here" also stand out. The new material was written for a theater project about the famous writers who held court in the Algonquin bar back in the 1930s and '40s. The duo excels in the witty "Will You Die?," a piece about Dorothy Parker's numerous suicide attempts, while Molaskey's acting skills come across in her interpretation of "Excuse Me for Living." The Algonquin's Oak Room may no longer play host to live music, but it's a safe bet that this won't be the last time Dave Frishberg and Jessica Molaskey join forces to entertain appreciative audiences. ~ Ken Dryden  

http://www.allmusic.com/album/at-the-algonquin-mw0002392491

Personnel: Dave Frishberg (vocals, piano); Jessica Molaskey (vocals).

At the Algonquin

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Joe Williams and Friends - I Just Want to Sing

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 57:55
Size: 133,1 MB
Art: Front

(3:07)  1. Corner Pocket:  Until I Met You
(3:41)  2. What a Difference a Day Made
(5:26)  3. Sawmill Blues
(4:20)  4. It's Later Than You Think
(4:27)  5. All the Things You Are
(4:49)  6. After You've Gone
(5:06)  7. Fat and Forty
(3:15)  8. War No More
(3:22)  9. It's Not Easy Being White
(5:09) 10. Dimples
(4:45) 11. Young And Foolish
(3:39) 12. I Was a Fool
(6:44) 13. I Got It Bad And That Ain't Good

For this session, Joe Williams is backed by such master jazzmen as trumpeter Thad Jones, the contrasting tenors of Eddie "Lockjaw" Davis and Benny Golson and guitarist John Collins. The material varies from the dated humor of "It's Not Easy Being White" to classic versions of "Until I Met You" and "I Got It Bad." Joe Williams is in prime form, and this is one of his better sessions from his later years. ~ Scott Yanow  http://www.allmusic.com/album/i-just-wanna-sing-mw0000649786

Personnel:  Vocals – Joe Williams;  Bass – John Heard;  Drums – Gerryck King;  Guitar – John Collins;  Keyboards – Jerry Peters; Piano – Norman Simmons; Tenor Saxophone – Benny Golson, Eddie "Lockjaw" Davis;  Trumpet – Thad Jones

I Just Want to Sing

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Wanda Sa - Wanda Sa Ao Vivo

Size: 122,0 MB
Time: 52:14
File: MP3 @ 320K/s
Released: 2014
Styles: Bossa Nova, Brazilian Rhythms
Art: Front

01. So Me Fez Bem (2:43)
02. Discussao (2:02)
03. E Nada Mais (4:06)
04. Samba De Uma Nota So (3:50)
05. Consolaçao (3:44)
06. O Que E Amar (4:09)
07. Novo Acorde (Feat. Marcos Valle) (4:13)
08. Vagamente (Feat. Marcos Valle) (5:05)
09. Ciume (Feat. Carlos Lyra) (2:08)
10. Pra Sempre (Feat. Joao Donato, Carlos Lyra) (3:12)
11. Minha Saudade - Bim Bom (Feat. Joao Donato) (3:53)
12. Inutil Paisagem - If You Never Come To Me (Feat. Jane Monheit) (4:07)
13. Coraçao Sem Saida - Spring (Feat. Jane Monheit, Dori Caymmi) (3:54)
14. Caminhos Cruzados (Feat. Jane Monheit, Dori Caymmi) (5:02)

Some of the coolest, most compelling work we've heard in years from Wanda Sa – a very spare, stripped-down session that really gets back to the roots of her music from the 60s! Wanda Sa has been reviving her bossa sound for the past decade or more, but most of those recordings often have a decidedly modern feel in some of the instrumental and production choices – while this album really goes for a classic vibe all the way through, as Wanda sings beautifully without any extra trappings, and plays guitar with this sublime sense of tone and color to really illuminate the lyrics! The music has some extra backings, too – but really in a light, small combo bossa mode – save for some points when Sa is joined by Marcos Valle, Joao Donato, and Carlos Lyra – all of whom approach the project in a similar way. Titles include "O Que E Amar", "Novo Acorde", "Vagamente", "Ciume", "Pra Sempre", "Minha Saudade/Bim Bom", and "E Nada Mais". Also features bonus tracks with appearances from Jane Monheit and Dori Caymmi!

Wanda Sa Ao Vivo

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Tom Garvin - Alone

Size: 117,9 MB
Time: 50:26
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Once In A While (5:15)
02. Autumn In New York (5:27)
03. Early (7:30)
04. Bradley's Revenge (4:33)
05. Elaine (2:01)
06. If I Had You (0:47)
07. Everthing Happens To Me (8:38)
08. Kathryn (6:12)
09. Joy Spring (3:07)
10. Jane (4:57)
11. Lullaby Of Broadway (1:54)

Tom Garvin, highly regarded jazz pianist, accompanist, arranger, composer, lyricist, and producer died from cancer July 31, 2011. He was 67. Born February 4, 1944, in Petersburg, VA, he graduated from Peabody Conservatory and served in the US Army Field Band as pianist/arranger. After moving to LA, he relocated to NYC for a couple of years before returning permanently to LA. There he became well-known as a first-call accompanist for jazz singers. Garvin's melodic and inventive arrangements and compositions were sparked with fresh and unpredictable ideas. His self-styled, creative solos were memorable and his genuine and authentic critiques made him one of a kind. Tom enjoyed a rich musical career performing and recording with countless artists and bands including Yolanda Adams, Art Farmer, Jack Jones, Peggy Lee, Carmen McRae, George Mraz, Lou Rawls, Estelle Reiner, Michal Urbaniak, Bill Watrous, Phil Woods, Sy Zentner, Doc Severinsen and The Tonight Show.

Alone

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Carol Kidd & Brian Kellock - True Love: A Tribute To Cole Porter (Live)

Size: 136,4 MB
Time: 59:08
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. I Love Paris (Live) (4:49)
02. You Do Something To Me (Live) (4:36)
03. I Concentrate On You (Live) (6:03)
04. Get Out Of Town (Live) (4:54)
05. So In Love (Live) (6:06)
06. You'd Be So Nice To Come Home To (Live) (3:14)
07. Don't Fence Me In (Live) (6:58)
08. Why Can't You Behave (Live) (5:41)
09. True Love (Live) (5:27)
10. (You'd Be So) Easy To Love [Live] (5:18)
11. Count Your Blessings (Live) (5:56)

Kidd, who, since 2007 has resided in the sunnier climes of Majorca, makes occasional trips back to Scotland and this time it’s for three reasons. Firstly, for a series of concerts; celebrating her 70th birthday (19 October); and, demonstrating another string to her creative bow, the unveiling of a pop-up art exhibition in Glasgow display her portraits and landscapes.

With a triumphant career in jazz spanning half a century, Carol Kidd is widely recognised as ‘Britain’s finest ballads singer’ (Jazz Review). She has been named ‘Best Vocalist’ at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. Kidd is renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard.

Over the last couple of years, she has been performing intimate duo concerts with the renowned Scots pianist, Brian Kellock, and this led to Kidd’s first live recording. Entitled, Carol Kidd Live With Brian Kellock Present Cole Porter it features their interpretations of classic songs including True Love, I Concentrate On You, I Love Paris, So In Love and You Do Something to Me.

True Love

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Thomas Clausen - Blues Rain

Size: 155,4 MB
Time: 67:21
File: MP3 @ 320K/s
Released: 1982/2015
Styles: Jazz: Contemporary Jazz
Art: Front & Back

01. Leaves ( 7:25)
02. Blue Rain (10:05)
03. Punk Monk (10:35)
04. Prelude To A Kiss (10:11)
05. Prism (10:43)
06. Things You Are ( 9:02)
07. Spring Is A Promise Of Fall (Cecilia Heick Vocals) ( 9:17)

Thomas Clausen, Tomas Franck, Jesper Lundgaard and Billy Hart are all jazz stars. The first three mainly on the European firmament, while the legendary American drummer’s light shines throughout most of the universe. This new group was on the road during the fall of 2014 and wrapped up their tour with a two-day recording session in Copenhagen. They brought the atmosphere from their intense concerts with them to the studio and played away. It was a hot session: All four musicians in the same room; no headphones, and exclusively first takes focusing on the improvisational art that is the heartbeat of jazz. In other words, a concert in the studio – that is how they wanted it, and that is how it was. These days, Thomas Clausen is one of the grand old men of Danish jazz, and an important pianist with a personal, powerful touch inspired by Bill Evans, European modernism and Brazilian music. His activities spread out in to many genres.
For quite a few years Thomas Clausen’s musical attention has zoomed in on Brazilian music and tango, but on BLUE RAIN he turns to his first love, the melodic jazz with which he initially made his reputation via recordings with bassists Niels-Henning Ørsted Pedersen, Mads Vinding and Jesper Lundgaard; drummers Peter Danemo, Alex Riel and Aage Tanggaard, and a long list of visiting American musicians. Born in 1949, Thomas Clausen was around twenty when his professional career took off. He learned from the very best when, as part of a trio, he accompanied not only Gary Burton and Dexter Gordon, but many others of the most popular jazz artists of the day: Eddie “Lockjaw” Davis, Ben Webster, Joe Henderson, Johnny Griffin, Lee Konitz and Dizzy Gillespie. He became a cherished accompanist for soloists from far and near. His first recording was in 1973 with Jackie McLean and Gary Bartz, but even more important was his work with many of the trendsetting Danish bands of the ‘70s and ‘80’s: Boone/Jædig Quintet, V8, Crème Fraiche Big Band and Entrance. In 1984 Clausen was the natural choice as pianist for the recording of Palle Mikkelborg’s composition AURA featuring Miles Davis. Over the years Thomas Clausen’s impressive solo career has blossomed in breadth and unmistakable originality. He has worked in small and large formats, which is documented in many fine recordings ranging from solo and trios to large groups as well as orchestral music written for the Danish Radio Big Band, theater, choir and classical instrumentations.
This new quartet is a reunion for Thomas Clausen and Swedish (though 30-year resident of Denmark) tenor saxophonist Tomas Franck, who has always been - and still is - loyal to his musical starting point, the schools based on the playing of Dexter Gordon and John Coltrane. In the 1990’s Thomas and Tomasworked together in Tomas Franck’s quartet and in trumpeter Jens Winther’s band. Tomas Franck is one of Scandinavia’s leading saxophonists with numerous recordings under his belt.
BLUE RAIN also brings one of Denmark’s leading bassists, Jesper Lundgaard together with Tomas Franck again. Lundgaard was part of Franck’s trio from 2001-2003. Jesper has played with just about everybody – you name them; he’s been there! As a new challenge, Thomas invited one of the absolute top drummers in the world, Billy Hart. Hart worked with Herbie Hancock in the early ‘70s; later with Stan Getz, Niels Henning Ørsted Pedersen’s trio, Quest, Dave Liebmann and numerous other artists – not to forget his own groups, which are now released on the ECM label. He is a good friend of Denmark and has recorded here several times with pianist Ben Besiakov, bassist Mads Vinding, saxophonist Jesper Thilo and most recently with tenor saxophonist Niels Vincentz.
Thomas Clausen put this super-group together to play a repertoire consisting mainly of his original compositions. The two exceptions are the lovely Ellington tune “Prelude To A Kiss” and a special bonus, the wonderful “Spring Is A Promise Of Fall” composed by Cecilia Heick, who sings the tune with the band on the album.

Blues Rain

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Rosemary Clooney - Rosemary Clooney Sings The Music Of Jimmy Van Heusen

Bitrate: MP3@320K/s
Time: 40:11
Size: 92.0 MB
Styles: Vocal, Standards
Year: 1986/2014
Art: Front

[3:59] 1. Love Won't Let You Get Away
[5:10] 2. I Thought About You
[3:09] 3. My Heart Is A Hobo
[3:12] 4. The Second Time Around
[4:29] 5. It Could Happen To You
[4:04] 6. Imagination
[4:50] 7. Like Someone In Love
[3:29] 8. Call Me Irresponsible
[3:06] 9. Walking Happy
[4:39] 10. The Last Dance

A special treat of this tribute to composer Jimmy Van Heusen is that Rosemary Clooney sings two songs ("The Second Time Around" and "Call Me Irresponsible") while accompanied only by guitarist Ed Bickert; she excels in the intimate setting. Other selections feature tenor saxophonist Scott Hamilton (a fixture on Clooney's Concord recordings), cornetist Warren Vache, guitarist Emily Remler (on six of the ten songs), pianist John Oddo, bassist Michael Moore and drummer Joe Cocuzzo. In addition to some famous numbers ("I Thought About You," "It Could Happen to You" and "Like Someone in Love"), a few lesser-known Jimmy Van Heusen compositions are included, such as "My Heart Is a Hobo" and "Walking Happy." An easily recommended, well-rounded set that finds Rosemary Clooney in prime voice. ~Scott Yanow

Rosemary Clooney Sings The Music Of Jimmy Van Heusen

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Kevin Conlon/The Groove Rebellion - In Transit

Bitrate: MP3@320K/s
Time: 53:06
Size: 121.6 MB
Styles: Contemporary jazz
Year: 2014
Art: Front

[5:01] 1. In The White City
[5:46] 2. Sunset Over Cadiz
[4:06] 3. Hipper Than Hip
[4:07] 4. Some Say I Am Lucky
[6:36] 5. In Transit
[4:48] 6. Say Queen Bee
[5:47] 7. Dig This
[4:19] 8. Hip Pocket Rocket
[4:54] 9. Voodoo
[3:58] 10. Hot Summer Morning
[3:38] 11. Dirty And Lowdown

The fact that bassist/keyboardist/guitarist/percussionist/vocalist Kevin Conlon feels that creating a groove is actually a rebellion in itself should tell you that this disc is made for the finger snapper in all of us. He doesn’t disappoint; A collection of drummers rotates around with Ari Caprow/g, Mark Secosh/sax and guests Bernie Bagshaw/g and Charlie Bareda/vibs while the advertised grooves range from latin loving “Dirty and Lowdown” to soul funky “Hip Pocket Rocket.” Secosh’s tenor simmers n the good feeling “In the White City” and bops to the beat on “Hipper Than Hip” which also spotlights some nice picking by Caprow. A Kind of Bluish “Say Queen Bee” allows Conlon to sing a bit, while a rich flamenco lilt is irresistible on “Sunset Over Cadiz.” If rhythm is your business, give this one a shout.

In Transit

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David Grisman Bluegrass Experience - Muddy Roads

Bitrate: MP3@320K/s
Time: 62:01
Size: 142.0 MB
Styles: Bluegrass
Year: 2013
Art: Front

[2:01] 1. Muddy Roads (Old Time)
[2:21] 2. The Train That Carried My Gal
[4:22] 3. The Lone Pilgrim
[4:30] 4. Walkin' Boss
[2:58] 5. Handsome Molly
[3:50] 6. Willie Moore
[3:10] 7. The Cuckoo Bird
[3:51] 8. I'll Rise When The Rooster Crows
[6:22] 9. Omie Wise
[3:05] 10. The Roving Gambler
[3:44] 11. Crawdad
[5:04] 12. Trouble In Mind
[3:25] 13. Blue Ridge Mountain Blues
[4:13] 14. Shady Grove
[6:00] 15. Your Long Journey
[2:58] 16. Muddy Roads

In 2013, Grisman unveiled Muddy Roads by the David Grisman Bluegrass Experience with his longstanding bluegrass band of Jim Nunally on guitar, Keith Little on banjo, Chad Manning on fiddle, and his son Samson Grisman on bass. Muddy Roads presents 16 songs from the field recordings that Ralph Rinzler had brought home in the early ’60s, sharing them with his young understudy. These historical recordings introduced the world to the music of Clarence Ashley and Doc Watson, together with some of their neighbors. David dedicates Muddy Roads to their memory, also paying homage to the life and work of Rinzler.

Muddy Roads

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Johnny Griffin - From Johnny Griffin With Love (3-Disc Set)

Chicago native Johnny Griffin was undoubtedly one of the greatest artists to ever play the tenor saxophone. His technical capacity at high velocity tempi was legendary, earning him the nicknames "fastest gun in the West" and "Little Giant." Not mere empty displays, Griffin's virtuosity served his expressive needs.

This three-CD collection features live sessions from the '60s-80s. "I think that you need an audience to bring the personality out of yourself," Griffin said in an interview with Bob Bernotas. "That's why I hate to play in the studio, 'cause I don't have anyone to play to. When I play I like the vibrations of people, 'cause it helps me create. I want to see people, not microphones." ~Greg Thomas

Album: From Johnny Griffin With Love (Disc 1)
Bitrate: MP3@320K/s
Time: 69:36
Size: 159.3 MB
Styles: Saxophone jazz
Year: 2009

[17:34] 1. What Is This Thing Called Love
[ 9:26] 2. Body And Soul
[ 4:47] 3. Wee Dot
[19:20] 4. Doctor's Blues
[ 9:56] 5. Exactly Like You
[ 8:30] 6. A Night In Tunisia

The first CD, recorded at the Montmartre Jazzhouse in Denmark in 1964, has him with drummer Art Taylor, pianist Kenny Drew and 18-year-old wunderkind bassist Niels-Henning Orsted Pedersen, who displays the facility and agility that made him a favorite of Griffin, Dexter Gordon and Oscar Peterson. Taylor and Griffin perform "Wee Dot" at a furious pace and on "What Is This Thing Called Love," Drew's comping and solos sparkle. A gentle treatment of "Body and Soul" highlights the soft and furry side of Griffin's personality. Yet the most intriguing cut here may be Griffin's original "Doctor's Blues." He alternates singing mock mournful lyrics with melancholy riffs on tenor and brings laughter to bear on the blues. ~Greg Thomas

From Johnny Griffin With Love (Disc 1)

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Album: From Johnny Griffin With Love (Disc 2)
Bitrate: MP3@320K/s
Time: 72:50
Size: 166.7 MB
Styles: Saxophone jazz
Year: 2009
Art: Front

[10:47] 1. Blues Up And Down
[ 9:55] 2. Oh, Gee
[10:39] 3. Call It What You Wanna
[12:10] 4. Funky Fluke
[14:40] 5. Hey Lock
[11:15] 6. Lester Leaps In
[ 3:20] 7. Intermission Riff

The second CD fast-forwards 20 years to the last recording of Griffin and Eddie "Lockjaw" Davis, a fellow "tough tenor" with whom he partnered on nine records. Davis was an original stylist comfortable in any genre from swing to hard bop and a wonderful foil for Griffin, as on "Blues Up and Down" and "Lester Leaps In," where Davis' unorthodox, gruff phrasing contrasts with Griff's sinewy runs and high-note screams. Another Griff blues, "Call It What You Wanna," is notable for the tight accompaniment by drummer Kenny Washington - Drums, bassist Curtis Lundy and the pianist Harry Pickens. The song is also another example of Griffin's fine writing skills, an asset best demonstrated on The Cat, his 1991 masterpiece. ~Greg Thomas

From Johnny Griffin With Love (Disc 2)

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Album: From Johnny Griffin With Love (Disc 3)
Bitrate: MP3@320K/s
Time: 68:57
Size: 157.9 MB
Styles: Saxophone jazz
Year: 2009

[ 8:39] 1. Just Friends
[14:06] 2. If I Should Lose You
[13:24] 3. Hush-A-Bye
[14:45] 4. Slukefter Blues
[12:15] 5. Isfahan
[ 5:46] 6. Rhythm-A-Ning

Kenny Drew, who like Griffin was an African-American expatriate in Europe, rejoins him for Disc Three, a joyous affair recorded in Copenhagen in 1989. On "Just Friends" Griffin still plays fast but not with as many notes; by this point he had nothing to prove. The mid-tempo "If I Should Lose You" finds him alternating between swift passages and allusions to the melody in a mid-song cadenza. Billy Strayhorn's "Isfahan" is taken at such a slow tempo that Griffin luxuriates in a Ben Webster-like reverie of lush tones. Evidence of a mellower Griffin is apparent on this date, his intensity and fire tempered by maturity. ~Greg Thomas

From Johnny Griffin With Love (Disc 3)

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Caribbean Jazz Project - New Horizons

Bitrate: MP3@320K/s
Time: 62:12
Size: 142.4 MB
Styles: Latin jazz, Crossover jazz
Year: 2000
Art: Front

[5:38] 1. Descarga Canelén
[6:57] 2. Ivory Coast
[7:23] 3. Rain Forest
[8:19] 4. Charanga Si, Si
[5:02] 5. A Night In Tunisia
[7:13] 6. Moon And Sand
[6:24] 7. Over The Horizon
[4:11] 8. Arthur's Dance (Danzón Para Arturo)
[6:13] 9. Safe And Sound (Sano Y Salvo)
[4:47] 10. Rompiendo El Hielo En 2000

The third CD for this band has a change in personnel, with Paquito D'Rivera and Andy Narell gone but Dave Valentin (flute) and Steve Khan (guitars) joining. It has changed the entire dynamic structure of the band, for the better. Valentin's otherworldly sound and Khan's acoustic and electric abilities open fresh vistas for Samuels' pan-Caribbean notions on vibes and marimba. They have worked together before; see Valentin's Sunshower (GRP) or Samuels' excellent Tjaderized (Verve) for further examples. The threesome are complemented by Eddie Palmieri band members John Benitez (bass) and Richie Flores (congas/bongos), with timbalist/percussionist Robert Vilera and background singer Caridad Canelon. The combination has great potential, fully realized on several of the ten selections. Samuels wrote four of these, the most impressive being "Ivory Coast," which features introductory jungle sounds, a moody, darkly hued melody, churning beats of six and four juxtaposed, and a true sense of sound sculpting. "Arthur's Dance" is a sensual, Cal Tjader-like danzon; a 6/8 beat on "Over the Horizon" leads to a neat descarga bridge to the coda; and "Rain Forest" is more concerned with imagery rather than substantive, compelling music. Valentin gets off on the Khan-penned jam "Descarga Canelon," while a 7/8 beat -- with the marimba strutting, guitar and rhythm following -- leads to the familiar strains of "A Night in Tunisia," a different, most intriguing treatment of this chestnut. There's the darker mambo/cha cha of Khan's "Safe and Sound," or the bright vocal and instrumental melody of Khan's "Charanga." The slowest number is the "I Didn't Know What Time It Was"-flavored version of the Alec Wilder standard "Moon and Sand," while the overdubbed vibes and marimba of Samuels work out with the percussionists only on the finale "Rompiendo El Hielo En 2000/Breaking the Ice in Y2K." For the most part, this is music that will make you happy, bringing much melodic warmth from the tropics, and gives you more evidence as to the advanced talents of the participants. Recommended. ~Michael G. Nastos

New Horizons

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Vic Juris - Free Admission

Bitrate: MP3@320K/s
Time: 56:23
Size: 129.1 MB
Styles: Guitar jazz
Year: 2012
Art: Front

[5:31] 1. Congeniality
[5:19] 2. Ocean View
[5:29] 3. How Deep Is The Ocean
[5:23] 4. The Sky
[8:26] 5. An Oversea's Memory
[5:12] 6. Floater
[7:12] 7. You're My Thrill
[4:41] 8. Mccoy
[4:19] 9. 12 Tone Jones
[4:46] 10. Dolores

VIC JURIS (g); JAY ANDERSON (b); ANTHONY PINCIOTTI (d).

A native of Jersey City, N.J., Juris took up guitar at age 10 during the summer of 1963. Accordion, he notes, was a far more popular instrument than guitar at that time. All that would change the following year when Beatlemania washed up on the Jersey shore. Juris got his first electric guitar on Christmas of 1964, and by the mid-’60s he was playing cover versions of Jimi Hendrix, Cream and the Temptations material in rock and R&B bands around his area. He discovered jazz in his late teens and subsequently studied with Philly jazz guitar legend Pat Martino.

Juris uses a nylon-string Takamine acoustic guitar for the Brazilian music, but his main ax since 1980 has been a thin hollow-body guitar made by New Jersey luthier Tom Doyle. He also plays a closed archtop (no f-holes) built by Phoenix luthier Glen McKerrihan.

Free Admission

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Mario Peluso - Juste Un Autre Beau Rêveur

Bitrate: MP3@320K/s
Time: 39:02
Size: 89.4 MB
Styles: Country
Year: 2013
Art: Front

[0:27] 1. 1972
[3:55] 2. Partir
[3:32] 3. Juste Un Autre Beau Reveur
[4:00] 4. Elle Et Lui
[2:59] 5. Enfin Chez Nous
[5:06] 6. Angliers
[3:13] 7. J'ai Mal A L'amour
[2:53] 8. My Song Is Yours
[2:56] 9. Voudrais Tu Danser Avec Moi
[3:22] 10. Rien A Faire
[2:44] 11. Quelqu'un
[3:50] 12. Presque Rien

Vétéran cowboy solitaire de la chanson québécoise, Mario Peluso livre avec ce sixième album peuplé de malchanceux chroniques et d’abonnés à la mélancolie une véritable leçon de country-rock, aussi bien dire une leçon de vie. Qu’il s’émeuve du sort tragique d’«un joueur d’harmonica noyant sa peine dans la vodka» (Elle et lui, avec un solo de guitare de Richard Boisvert à faire lever le poil), se tire le portrait à la troisième personne (la pièce-titre) ou écrive, dans le sillon du vieux Neil, une suite illégitime d’Out on the Weekend (Partir), le gars du Nord aura aménagé un disque-repaire pour tous ceux qui n’ont d’habitude pour refuge que la ligne d’horizon du bout de la route. Beau à en pleurer dans le fond de son bock de bière.

Juste Un Autre Beau Reveur

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Carol Kidd & Nigel Clark - Tell Me Once Again

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 46:20
Size: 106,7 MB
Art: Front

(3:48)  1. Stormy Weather
(3:30)  2. Moon Blue
(3:08)  3. Alfie
(4:20)  4. Once in a While
(2:46)  5. Tell Me Once Again
(3:12)  6. He Won't Send Roses
(3:59)  7. Moon River
(3:36)  8. I Got Lost in His Arms
(3:25)  9. You Don't Know Me
(4:31) 10. I Loves You Porgy
(4:49) 11. The Shadow of Your Smile
(5:11) 12. The End of a Love Affair

Since launching her career in the mid-’80s, Scottish vocalist Carol Kidd has earned plaudits from Peggy Lee, Ella Fitzgerald, Sarah Vaughan and Tony Bennett. In 1990, Sinatra invited her to open for him in Glasgow and subsequently declared her “the best-kept secret in British jazz.” The Brits, and about two-thirds of the globe particularly Asia, where she is a major star, on par with Michael Bublé and Diana Krall have embraced her. Yet, after nearly a dozen albums, her secret status persists on this side of the pond.

What American listeners are missing out on is an exceptional talent whose phrasing mirrors the clarity and precision of Streisand and whose interpretive skills are perhaps unrivaled. There is an enticing vulnerability about Kidd, an emotional openness that is particularly effective across these dozen tracks, all focused on wistful romantic musings. Kidd’s longtime guitarist Nigel Clark, providing solo accompaniment, gorgeously enhances the pensive mood.

The exquisite tenderness of their kinship extends from the gentle ache of “Once in a While” and “The Shadow of Your Smile” to the muted acquiescence of Jerry Herman’s “He Won’t Send Roses” (originally written from a male perspective as “I Won’t Send Roses” and, possibly for the first time, retold from the woman’s viewpoint). And Kidd also makes her debut as a lyricist, crafting with Clark the sweetly reflective title track. Written after the sudden loss of her partner, John, it explores the warm afterglow of their long relationship. ~ Christopher Loudon  http://jazztimes.com/articles/29392-tell-me-once-again-carol-kidd-nigel-clark

Personnel: Nigel Clark (Guitar), Carol Kidd (Vocal).

Tell Me Once Again

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Freddie Hubbard - The Body & The Soul

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 36:15
Size: 83,3 MB
Art: Front

(4:36)  1. Body And Soul
(5:18)  2. Carnival (Manha De Carnaval)
(3:56)  3. Chocolate Shake
(3:22)  4. Dedicated To You
(3:28)  5. Clarence's Place
(3:04)  6. Aries
(4:32)  7. Skylark
(3:40)  8. I Got It Bad (And That Ain't Good)
(4:15)  9. Thermo

At age 25, Freddie Hubbard made inroads into modern jazz most trumpeters could not imagine, much less come through with. As a soloist, one of Hubbard's crowning achievements in his early period was this recording on which he teamed with Wayne Shorter, marginally as a performer but prominent in the role of arranger/conductor for his first time ever. Utilizing a septet, 16-piece big band, and orchestra plus stings to play concise, tight tunes, Shorter provides the backdrop to employ Hubbard's bold toned trumpet and all of its devices in a full display of his powerful melodic talents. Yeoman Reggie Workman plays bass on all selections, with drummer Louis Hayes in the seven-piece combo, and great work from Philly Joe Jones in the larger bands. Interestingly enough, the three tracks with the smaller ensemble are the most interesting, due to the presence of Eric Dolphy, Curtis Fuller, Cedar Walton, and Shorter on the front line. "Clarence's Place" is a post-bop jewel with spiky brass accents and Dolphy's ribald and outre alto sax solo contrasting Shorter's relatively reserved tenor, "Dedicated to You" is a wisp of a tune, while "Body & Soul," an atypical choice for the opening selection, is a straight read of the classic ballad with a chart that sounds larger than the small horn section, and a wavering flute via Dolphy. 

The big band does an unusual soul-jazz treatment of the Brazilian number "Manha de Carnaval" flavored by Robert Northern's French horn, while "Aries" is a hard bop show stopper with two-note accents buoying Hubbard's great lyrical lines, and goes further into hard bop with "Thermo" as the horns demand attention with the trumpeter as an afterthought. The string section, ten pieces strong, joins the big band on the film noir type Duke Ellington piece "Chocolate Shake," the stock "I Got It Bad," and "Skylark," with its soft clarion intro bubbling underneath with the violins, violas, and cellos. The manner in which this recording is programmed is thoughtful in that it lends to the diversity of the project, but is seamless from track to track. Dan Morgenstern's hefty liner notes also explain the concept behind this ambitious project, one which did not compare to any of Hubbard's other recordings in his career. Therefore it stands alone as one of the most unique productions in his substantive discography, and a quite credible initial go-round for Shorter as an orchestrator. ~ Michael G.Nastos  http://www.allmusic.com/album/the-body-the-soul-mw0000612194

Personnel: Freddie Hubbard (trumpet, horns); Gene Orloff, Harry Lookofsky (vocals, violin, strings); Julius Held, Sol Shapiro, Arnold Eidus, Morris Stonzek, Charles McCracken , Raoul Poliakin, Harry Katzman (violin, strings); Harry Cykman (violin); Eric Dolphy (flute, alto saxophone); Jerome Richardson (saxophone, tenor saxophone, baritone saxophone); Seldon Powell, Wayne Shorter (saxophone, tenor saxophone); Charles Davis (saxophone, baritone saxophone); Richard Gene Williams , Clark Terry, Ernie Royal, Edward Armour, Al DeRisi (trumpet); Robert "Brother Ah" Northern, Julius Watkins (French horn, horns); Curtis Fuller, Melba Liston (trombone); Robert Powell (tuba, horns); Cedar Walton (piano); Joe Craig Jones, Louis Hayes, Philly Joe Jones (drums).

The Body & The Soul

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Hank Jones - Hank Jones Trio With Mads Vinding & Al Foster

Styles: Bop, Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 60:49
Size: 139,7 MB
Art: Front

(5:10)  1. Pent Up House
(5:50)  2. Four
(7:01)  3. When Will I Know
(5:12)  4. Bloomdido
(6:49)  5. Midnight Sun
(6:13)  6. Monk's Mood
(7:21)  7. Quintessence
(5:18)  8. Bemsha Swing
(6:37)  9. Up Jumped Spring
(5:13) 10. Bag's Groove

Although pianist Hank Jones has been a major player since the mid-1940s, his classy swing-to-bop style still sounds fresh a half-century later. Both of his sidemen (bassist Mads Vinding and drummer Al Foster) were actually born in the mid to late '40s, but they certainly have no difficulty communicating with the elder Jones. This fine trio workout finds the musicians digging into ten jazz standards (mostly from the 1950s and '60s) and coming up with fresh statements on such numbers as "Pent Up House," "Bloomdido," "Quintessence" and "Up Jumped Spring." A typically flawless and swinging effort from Hank Jones. ~ Scott Yanow  http://www.allmusic.com/album/hank-jones-trio-with-mads-vinding-and-al-foster-mw0000628137

Personnel: Hank Jones (piano); Al Foster (drums).

Hank Jones Trio With Mads Vinding & Al Foster

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